Гоголівські традиції й образи в культурі послідовників слов’янського світу

Abstract

Стаття присвячена дослідженню впливу творчості М. В. Гоголя на літературу слов’янських народів — чеського, польського, словацького, болгарського, словенського. Показано, що твори письменника сприяли росту ідейно-естетичного рівня слов’янських літератур, стали основою для створення нового літературного жанру — соціального роману. Творчість Гоголя стала для тогочасних письменників джерелом інтересу, натхнення і новим поглядом на зображення навколишньої дійсності. Доведено, що завдяки зображенню нових героїв з народу — з їхніми радощами і стражданнями, з простою, "неправильною" мовою — Гоголь розставив акценти та визначив проблематику всієї наступної російської літератури, літератури слов’янських народів. Наукова новизна статті полягає в тому, що вперше синтезовано вплив унікального таланту Гоголя на слов’янські літератури та показано, що Україна, її культура стали постійною літературною темою слов’янських літератур ХІХ століття.Gogol’s genius is known all over the world. Mykola Gogol created another world with his incomparable imagination, with his language he made a revolution in literature, with his Ukrainian manner he surprised and put bright accents on the images. V. G. Belinsky called him a kind of school in literature, which opened a new path for young and experienced writers. The theme of the infl uence of the writer’s artistic heritage on the Russian and world literature and culture is inexhaustible and relevant at all times. The objective of this article is to understand the impact of M. Gogol’s works for the literature of Slavic peoples – Czech, Polish, Slovak, Bulgarian, Slovenian. In the 1830s–1840s, Gogol’s works were an impetus for creative pursuits and actions not only for the Russian writers, composers, artists, theater personalities, but also for literary and cultural personalities of the Slavic world. Gogol taught foreign writers to openly and boldly look at the surrounding reality, not trying to embellish it. He was also not indifferent to the natural beauty of Ukraine, describing life, rural landscapes, ceremonies, holidays, clothes of boys and girls, juicy and fair language with great affection. Gogol was interesting and popular in the Slavic environment. He was a contemporary of the national revival of many Slavic peoples who adopted best foreign experience. In the world literature, the Czechs gave a positive assessment of Gogol before others. The fi rst work in the Czech translation was the novella “Taras Bulba”. I. S. Hynek reworked the novella into a drama that was fi rst put on the Czech stage in 1865. In the second half of the 19th century, almost all of Gogol’s works were translated into Czech and widely known. Gogol’s prose was widespread and excited curiosity in Czechia; it was actively translated and studied in schools by the children of immigrants. The researchers K. Mochulsky and D. Chyzhevsky noted the baroque “ambiguity” and grotesqueness of the writer’s works, his unsurpassed humor. The comedies “Marriage” and “The Government Inspector” paraded at all emigrant theaters. In Poland, Gogol’s works became known in the mid- 1830s. The writers J. Kraszewski, J. Korzeniowski, A. Marcinkowski, H. Sienkiewicz wrote their works under the infl uence of Gogol, trying to portray the heroes and reveal their characters in his style. Gogol’s novella “Taras Bulba” was translated into Polish by Petro Glowatsky and published in Lviv in 1850, after which the Polish novelist Henryk Sienkiewicz used Gogol’s characteristic description of Ukrainian steppes in the creation of the novel “With Fire and Sword” (1882). In the 1920s–1930s, Gogol’s works in Poland began to be widely published in translations by J. Tuwim and staged in theaters. Gogol’s works in Slovakia gained popularity in the late 1860s. Gogol’s romantic works became of interest for the Slovak writers due to the folklore motifs and historical themes. The borrowing of motifs, situations, composition, and portrayal of the characters of Gogol’s novella “Taras Bulba” is noticeable in the historical novella “The Holy Spirit” by Ján Kalinčiak. The development of Slovak prose was modeled on Gogol, writers began to borrow plots for their works from Gogol, trying to understand the nature of human. The use of folklore, subtle humor, descriptions of customs, traditions, the ability to reveal comic aspects of life, principles of character creation – all of this impressed Slovak writers and was actively refl ected in their works. These trends can be seen in M. Kukučín, A. Domanytsky, J. Kalinčiak, J. Jesenský, J. Tajovský and others. The productions of Gogol’s works are very successful on the professional and amateur stages of Slovakia. Bulgarian writers admired Gogol. Following his works was for them a kind of literary school. The poet P. Slaveykov became a follower of Gogol the classic and defended the principles of realism. He also imitated sentimental and romantic heroes, combining different trends. The novella “Taras Bulba”, translated by N. Bonchev, became for the Bulgarians a symbol of the struggle for liberation from the fi ve-hundred-year Turkish expansion. Deep interest in the works by Gogol is noticeable in Slovenia. Between 1880 and 1890, the number of publications about him and translations of his works in various journals exceeded all expectations and numbered more than 250. Gogol’s heroes gained archetypal, symbolic meaning and turned into immaterial images of world literature. Gogol’s works attracted the attention of literary personalities from different countries with skill and a true portrayal of reality. It was considered an ornament and promoted the ideological and aesthetic level of Slavic literatures. The writer was able to organize all Slavic literatures, determined their direction and objective, and laid the groundwork for the creation of a new literary genre – the social novel. According to I. Panaev, Gogol appeared in the literary arena at a time when the need for a “new word” and the participation of literature in social life was already ripe in society, as heroes with “rhetorical phrases” were already boring. Gogol portrayed new heroes from the common people with their pleasures and affl ictions, in plain, “wrong” language, highlighting key points and identifying the issues of all subsequent Russian and Slavic literature. He joined the creation of a new novel school based on a true portrayal of the surrounding reality. Gogol’s powerful word echoes in the culture of many peoples in the present-day world.