ПРОБЛЕМЫ ПОЭТИКИ ЗАРУБЕЖНОЙ ЛИТЕРАТУРЫ УДК 821.111-31(Скотт В.) Proskurnin B. M. DOI 10.26170/FK19-02-24 Perm, Russia ББК Ш33(4Вел)5-8,444 ORCID ID: 0000-0002-5077-1650 ГСНТИ 17.07.29 Код ВАК 10.01.03 E-mail: [email protected] Tokarev E. A. Perm, Russia ORCID ID: 0000-0003-1650-9314 E-mail: [email protected] SIR WALTER SCOTT’S THE ANTIQUARY: CULTURES, HISTORY, ART AND NARRATIVE ALLIANCES1 Abstract. One of the least known to Russian readers novels of Sir Walter Scott is under analysis. Russian Keywords: histor- critical thought of Scott does not speak of the novel as it should since The Antiquary (1816) is the novel which ical novels; irony; the demonstrates the movement of the writer’s artistic method towards more complex and realistic depiction comic; French revolu- of characters and circumstances. The authors of the essay analytically concentrate on the talk of the artistic tion; English literature; structure of the novel as a wholeness that is characterized by quite harmonious alliances which eliminate English writers; liter- various antinomies and dichotomies. The authors argue that the central role in the artistic wholeness of ary creative activity; the novel are played by such antinomies as ‘historical fact – imaginative (fictitious) fact’, ‘man as a private literary plots; literary individual – man as a social being’, ‘past – present’, ‘historical novel – social novel’, ‘historical novel – novel character. of manners’, ‘socio – psychological novel – romance’, ‘realism – romanticism’, ‘realistic – gothic’, ‘dramatic – comic’, ‘Scottish – English’, ‘grassroots culture – high culture’, etc.; the movement of the narration towards bright resolution of them is revealed in the essay. The authors of the essay also show the role and specificity of ethnographical peculiarities of the Scottish life in the late 1790s as they were seen and narrated by the writer. Проскурнин Б. М. Токарев Е. А. Пермь, Россия РОМАН ВАЛЬТЕРА СКОТТА «АНТИКВАРИЙ»: КУЛЬТУРНЫЕ, ИСТОРИЧЕСКИЕ, ХУДОЖЕСТВЕННЫЕ И ПОВЕСТВОВАТЕЛЬНЫЕ АЛЬЯНСЫ Аннотация. В статье анализируется мало известный российскому читателю роман В. Скотта, без Ключевые слова: обращения к которому, по мнению большинства историков литературы, трудно представить дина- исторические рома- мику как жанра исторического романа, так и эстетической мысли В. Скотта на пути от романтизи- ны; ирония; коми- рованного мировоспроизведения к реалистическому типу письма, к которому приходит писатель ческое; Французская в конце 1810-х гг. Роман «Антикварий» анализируется в статье с точки зрения целостности его худо- революция; англий- жественной структуры, выстроенной писателем на основе содержательных, жанровых и нарратив- ская литература; ных «альянсов», таких как «исторический факт – вымышленный факт», «человек как частное лицо – английские писатели; человек как социальное существо», «прошлое – современное», «исторический роман – социальный литературное твор- роман», «исторический роман – нравоописательный роман», «социально-психологический роман – чество; литературные любовное романтическое повествование», «реалистическое – романтическое», «реалистическое – сюжеты; литератур- готическое», «драматическое – комическое», «низовая (народная) культура – высокая культура» ный характер. и т. д. Авторы статьи показывают также роль и специфику этнографического начала в этом романе о Шотландии 1790-х гг., каким их понимал Скотт. Для цитирования: Проскурнин, Б. М. Роман Вальтера For citation: Proskurnin, B. M. Sir Walter Scott’s The Anti- Скотта «Антикварий»: культурные, исторические, художе- quary: Cultures, History, Art and Narrative Alliances / B. M. Pro- ственные и повествовательные альянсы / Б. М. Проскурнин, skurnin, E. A. Tokarev // Philological Class. – 2019. – № 2 (56). – Е. А. Токарев // Филологический класс. – 2019. – № 2 (56). – P. 181–185. DOI 10.26170/FK19-02-24. С. 181–185. DOI 10.26170/FK19-02-24. 1 The essay is written on the basis of the paper read by the authors at the Eleventh Scott Conference ‘Alliances, Antagonisms, Authorship’ held in Sorbonne University, Paris, 10th – 13th July, 2018. © Б. М. Проскурин, Е. А. Токарев, 2019 181 Проскурнин Б. М., Токарев Е. А. Роман Вальтера Скотта «Антикварий»: культурные, исторические... The Antiquary (1816), as Walter Scott said, completes the se- organic and determines substantial move of the whole aes- ries of narratives which Waverley (1813) opens and Guy Man- thetic of the novel towards realism).This tone to much ex- nering (1815) continues; this series depicts Scottish mores of tent exists due to the figure of antiquary Jonathan Oldbuck the three different periods. Scott in his Introduction writes: and its central position in the narrative. We’ll concentrate ‘Waverley embraced the age of our fathers, Guy Mannering mostly on his character made of interesting antinomies that of our own youth, and The Antiquary refers to the last and alliances. Avrom Fleishman in his The English Histori- ten years of the eighteenth century»’ [Scott]. These three cal Novel. From Walter Scott to Virginia Wolf (1971) asserts that novels show the main Scott’s concern, as Ian Duncan right- The Antiquary ‘has the makings of a historical vision of the ly stresses in his Scott’s Shadow: The Novel of Romantic Edin- present’ and it happens due to the fact that Jonathan Old- burg (2007) – formation and development of national char- buck’s perspective is narratively dominating (with the au- acter [Duncan 2007: 98]. It is a well-known fact that The An- thor’s existence through irony) [see: Bowden 2016: 128]. Ian tiquary was one of the Scott’s favorite novels; it is difficult to Duncan, in the book of 2007 in Chapter 5 which is rather say the same in regards of readers. In Russia it is one of the metaphorically titled ‘After History’, quite metaphorically least read and referred works of Scott though Russian Scot- writes about this novel: The Antiquary submerges histor- tiana is quite a big one as it is rightly stressed in the essay ical plotting, at the end of history, in the pacific medium on Russian reception of the writer in the volume of The Re- of ‘normal change’, the temporality of common life’ [Dun- ception of Walter Scott in Europe published within the project can 2007: 138]. In other words, the very figure of Oldbuck The Reception of British and Irish Authors in Europe in 2007 [See: is focalization of many antinomies and alliances. All plot Altshuller 2007]. lines circulate around his figure: Lovel’s fate and love, Ar- In this paper we will try to talk about some imaginative, thur Wardour’s unlucky enterprise, tragic love story of Lord genre, cultural, and social alliances which exist as dialec- Glenallen and Lady Evelyn, Maklbeckets’ tragedy, comic tically comprehended dichotomies and antinomies which situation of German charlatan Dousterswivel. Oldbuck’s structure the novel’s artistic system: the very existence of views much as though ironically presented by the narra- these alliances determine synthetic genre and narrative tor are the ‘prism’ through which we see the majority of the characters of The Antiquary (as critics define Scott’s novels characters and plot events, at least in the beginning of their on the whole: see [Belskiy 1968: 208–217]). In the paper we plot-existence. It is a well-known fact that his image has will look at the novel through the role in its artistic whole- a prototype – Scott’s father’s old friend George Constable. ness of such antinomies as ‘historical fact – imaginative At the same time it is obvious that there is a lot of the au- fact’, as Ian Duncan stresses in his work of 1992 [Duncan thor himself in this image, Oldbuck’s obsession with histo- 1992: 51], ‘man as a private individual’ and ‘man as a so- ry and its facts and dates and even his mockingly depicted cial being’ (as he stresses in his essay of 2017 inspired by ‘hatred’ towards women and his anticipation of inevitable Frederic Jameson’s ‘Antinomies of Realism’) [Duncan 2017: damage of everything they touch which is an ironical and 388], ‘novel – romance’, ‘realism – romanticism’, ‘realis- comic characteristic of Oldbuck who in reality adores and tic – gothic’, etc. Walter Freye wrote as back as 1902 about values female beauty. They say that this aspect in the novel gothic elements in Scott’s imaginative world: ‘Though Scott is based on Scott’s reminiscence of his unhappy first love. has given ample proof of his universality of taste, ever since Protagonist Lovel’s love to Miss Wardour is, to some extent, his youth his whole character inclined to the Gothic school an alternative, happy love, full of romantic fleur, heroic of poetry’ [Freye 1902: 1]). move towards happy alliance in the end of the story. When we speak about The Antiquary we arrive to one of The central alliance of the novel in terms of plot-mak- the oldest and still much discussable aspects, at least in ing is sincere affection that emerges between Oldbuck and Russian works about Scott: time distance between the mo- Lovel (future Lord Geraldin). These two images are very ment when a novel is written and the time when the events much connected; their meeting at the stagecoach station of this novel take place, in other words, what time gap ‘al- in Edinburgh and their closeness that appears immedi- lows’ to nominate the novel a historical one (we understand ately is a starting point of the whole narrative and goes on that not only this factor is a decisive one to include a novel through the plot. Affection that exists between these two to historical ones). The events in The Antiquary take place in is jokingly compared with that of Falstaff and Prince Har- July and August of 1794. It is not easy to find real historical ry from Shakespeare’s famous chronicle Henry IV. Though figures in the novel (they exist only as side mentions in the Lovel traditionally is called protagonist, his image is more course of narration). The novel seems to have quite a seri- from romance; at the same time this image symbolizes he- ous historical backdrop – the French Revolution, but the roic nature of young people which awakes due to the pos- event itself and its possible spread over Britain is given in sible invasion of the French, but the fact that this image a rather mock way.