Style as a means of implementing a constructive idea of ​​a work.

Vl. Soloviev, who developed the doctrine of the intuitive path of knowledge, explained its specificity, considering the process of artistic creation:

“Those ideal images that are embodied by the artist in his works are not, first of all, neither a simple reproduction of the observed phenomena and their particular, random reality, nor, secondly, general concepts abstract from this reality. [...]

Everyone who is somewhat familiar with the process of artistic creativity is well aware that artistic ideas and images are not the essence of complex products of observation and reflection, but are the mental gaze at once in their inner integrity (the artist sees them, as Goethe and Hoffmann directly claimed to himself) and further artistic work is reduced only to their development and embodiment in material details ... If, thus, the subject of art cannot be a particular phenomenon perceived in external experience, nor a general concept, produce my rational reflection, then this can only be a real idea, opening up to mental contemplation. "

The development of artistic ideas and the embodiment in material details - this is the embodiment of ideas in style, thus, in a work of art, style is a materialized idea.

If we leave aside the philosophical understanding of the “real idea”, then with regard to artistic creativity we can probably be considered its personal attitude of the artist to the subject of the image, this personal attitude creates its own special vision of the world, which is embodied in the style, and in perception creates the image This style and image of the author.

L.N. Tolstoy wrote: “In any work of art it is more important, more valuable and more convincing for the reader to have his own attitude towards the life of the author and everything in the work that is written to this attitude. The integrity of the work of art is not in the unity of the intention, not in the processing of the actors, but in the clarity and certainty of the author’s attitude to life that permeates the entire work ”[1]. And again: “Cement, which binds every artistic work into one whole and therefore produces the illusion of life reflection, is not the unity of persons and positions, but the unity of the author’s original moral attitude to the subject ” [2].

Let us dwell on the concepts of "the illusion of life" and "original moral attitude to the subject." It is here that the solution to the position of the relationship between ideas and style is concluded.

A. Men in “Knowledge of the World” writes that the world around us — in color, shape, size — is perceived differently by humans, different animals, insects. Therefore, the world seems different. And therefore it is difficult to prove that, for example, “a tree or this house exists independently of me just as I perceive them.” It all depends on the structure of our senses. Indeed, the same current passed through the tongue gives a sensation of acid, passed through the eye, a sensation of red or blue, through the skin, a sensation of tickling, and through a sonic nerve, a sensation of sound.

If we disconnect from purely physical sensuality and go to sensuality of the aesthetic-moral order, then we will just get a peculiar picture of the world seen by the eyes of this artist (not an objective reality, but the illusion of life ) and recreated in the work by this artist (through his relation to the seen ). Different vision and different attitudes and creates a different style. The seen image of the world is embodied in a peculiar image of style. Thus, individuality may manifest itself in an excessive development of the sense of sound — sound images are born (Blok’s “revolution music”); through the sense of color, color images are born (for example, Tsvetaeva's color symbolism), etc.

The process of the birth of a style through the expression of the essential idea [3] can be understood by following the different paths of knowledge.

As already noted, three levels of cognition are known in gnoseology: empirical, abstract (theoretical) and intuitive. And it is the intuitive insight (in our case - inspiration) that is able to penetrate into the essence of the knowable, how to merge with it into one whole and see it “from the inside”. Naturally, the essence of this is revealed by that side, which is under the influence of a hypertrophied "sense organ", the most developed sense organ. By the way, this does not negate the equal impact, then scale and breadth appear in style, such as, for example, in the works of L.N. Tolstoy. However, most often the peculiarity of the vision is manifested through the illumination of one or the other side of the object.

In this sense, Aristotle’s following proposition is interesting: “... one word is more generally accepted than another, more suitable, more suitable for presenting a case before your eyes ... The same with epithets: you can form them from bad or shameful, for example, a "murderer", or from a noble one, for example, "avenger for the father" (Aristotle. Rhetoric). So one event, differently seen, differently embodied in style.

So the factor of communicative strategy works . This factor of a communicative strategy, or a constructive idea, develops into a style that forms it. "The ratio of means and goals, speech construction and the communicative task - this is ... the basis for identifying and describing speech qualities " [4]. To confirm this, we use the example of V.V. Odintsov, in which he explains the stylistic and compositional motivation of the connection between two scenes, described in detail by L. Tolstoy in “War and Peace,” a hunting scene and a scene from one of the combat episodes in which Rostov participated.

These scenes overlap not only in fact, by events, but most importantly by the moral attitude to the events, and in the language plan as well. “Rostov looked at what had been done before him as a persecution”; "With the feeling with which he rushed across the path of a wolf, Rostov ... galloped"; “Rostov himself did not know how and why he did it” (he hit the Frenchman). Outwardly, this scene was perceived as a brilliant feat. But for Rostov himself (he remembered his feelings on the hunt, he remembered the hunted wolf) this feat turns into a hunt, a hunt for a man. The incarnation in the style - at the stylistic and compositional level - the idea of ​​condemning the war is carried out from episode to episode. So rational is opposed to emotional, moral. Essential assessments contradict rational conclusions if, for a given author, they are value qualities.

L. Tolstoy himself wrote: "It is only because the hunt is so seriously described that it is equally important ... for understanding both" war "and" peace. "

This clutch of pictures, images, details reveals a contradiction in the assessment of the fact, tension is created - both ideological and artistic, and purely stylistic (repetitions, references, motivations - for example, the attack image is given twice; with returns to the beginning, with parallels to the scene of the hunt) . External assessment of the fact is faced with the internal meaning of this fact in the understanding of this character. The emotionally intense presentation is amplified by L. Tolstoy in the battle scene by the fact that Rostov saw the officer’s young, non-enemy, “indoor” face. This is where the fundamental contradiction lies. From the outside - a feat, valiant attack, St. George Cross; and on the other - “a young, not an enemy, indoor face”, why is that?

So each element of style holds the whole work together, shows the author's idea - the moral condemnation of war.

Consequently, it is not so much the thought itself, the fact itself, but the motive that prompted it to express or show the fact that puts the word (speech) in a special form. It is this motive that determines the overall style of the text of the work. Then style can be understood as a means of implementing this motive, or an idea (in fiction, an artistic idea).

V.G. Belinsky wrote: “Under the syllable, we mean the immediate, nature-given ability of the writer ... to closely merge the idea with the form and impose upon all the original, distinctive seal of our personality, our spirit” [5].

Thus, style is a property of the expression plan, but at the same time a means of implementing a constructive idea, i.e. not so much thought (content) as the motive for the appearance of thought.

The style of the work gives rise to the image of this style. When a textologist proves that a certain text belongs to this author, he means the image of his style, he draws it, he perceives it, as it were; and phenomena incompatible with this image, incompatible with it, serve as an argument for denying this authorship. The sense of the author's style leads the reader to create in the imagination and the very image of the author. No wonder the French naturalist Buffon (Georges Louis Leclerc) said: "Style is man."

So, the style of the work, the style of the author is made out through the personal perception of the world, with the main, dominant idea in this perception. This is reflected in the writings of pronounced individuality.

It is known, for example, how strongly A.A. Block, what great value he attached to him. He perceived the life of a language and literary form as “the crossing of rocks” (O. Mandelstam’s term). That is why in matters of style, he was always very careful. He did not deny any piety, did not reject a single canon; he did not break with the past, he only constantly complicated his style. This enabled O. Mandelstam to characterize him as an enlightened conservative. From work to work, developing his own style, embodying it in form, A. Blok was somehow influenced by the idea that absorbed his idea in his style, this is the idea of ​​a cult. The style of A. Blok personifies this idea. Reading “The Stranger” or “Poems about the Beautiful Lady”, then “Balaganchik” and “Snow Mask” and then poems about Russia and the transition to revolution (the music of revolution: “The Twelve” is a dramatic ditty), we are unlikely to immediately identify the connecting the idea, its single (blokovskaya) embodiment. These are very different works. Nevertheless, this is a single organic development of the poetic idea - the idea of ​​a cult: from cult to cult. The all-embracing idea of ​​a cult expresses the need for its realization. This cultivism is manifested in everything - even in spelling:

I anticipate You, the years pass by,

All in the guise of one I anticipate You ...

Proclaiming the ideals of Eternal Femininity, A. Blok wrote to A. Bely: “I love Christ less than Her, and in praise, thanksgiving I will always resort to Her.” And: “I feel Her, Christ sometimes I only understand.” The idea of ​​worship is brilliantly embodied in the lyric-romantic style of A. Blok. These ideals were not unchanged, their attitude towards them changed, but how ideals they preserved: the Soul of the World, the Eternal Feminine were presented in verse as the Beautiful Lady. Next comes the image of the motherland. About the homeland write many poets. Usually it is associated with the image of the mother - the Motherland, the mother of the cheese of the earth. For Blok, these are images of wife and bride, i.e. images intimate and personal. The contrast in the stylistic embodiment of these images turns out to be especially significant: Your songs are windy to me, like tears the first love; and at the same time - ... poor Russia. I hut your gray ...

Images-symbols of Blok are the embodiment of the idea of ​​two principles of the world - sensual and spiritual, personal and universal, real and surreal. Moreover, the originality of Blok’s style lies in the fact that this contrast is harmonious, and these principles are one in essence.

The polarization of the two principles of the world is brilliantly represented by A. Blok in the images of Christ and his antipode dog. Here is shown the process of the tragic transformation of the “Russian system of the soul” in the period of the revolutionary era. "So they go with a sovereign step - Behind is a hungry dog, (...) Jesus Christ is ahead." These images represent the inevitability of the revival of the romantic ideal as a spiritually effective antithesis to the image of the dog - the petty-bourgeois, consumer, parasitic attitude to life.

After A. Blok's poem, the works “Christ is risen” by A. Bely, “The Master and Margarita” by M. Bulgakov, “Doctor Zhivago” by V. Pasternak, “Attempt on mirages” by V. Tendryakov, “Scaffold” are the milestones in the comprehension of the image of Christ. Aitmatov. All this is a struggle between good and evil, selfless love and selfishness, creativity and a consumer attitude to life.

In this sense, the great masterpiece by M. Bulgakov “The Master and Margarita” can be perceived as a kind of artistic embodiment of the idea of ​​good and evil, their opposition and the unity that is indispensable, and even the harmony of existence. The dialogue of good and evil is conducted throughout the entire work; this is a constructive idea that has received a stylistic embodiment in the text. This dialogue is embodied in the relationship of Yeshua and Woland [6].

Each of them lives in his own time and space. However, they associate and essentially correlate. There is a hidden, cross-cutting dialogue between Woland and Yeshua. This is a dialogue of opposing worldviews. How is this embodied in style? For the realization of such an idea, parallelism (opposition and unity) is most suitable.

The personality of both of them as if is solved (in the course of applying a single stylistic device). About Woland talk Homeless and Berlioz: Who is he –– alien, foreigner, historian, traveler, professor, expert in black magic. According to the same outline, the personality of Yeshua is established: the accused, the poor preacher, the tramp, the ragged, traveling, the prisoner, the doctor, the philosopher — such a set of characteristics relates to the personality of Yeshua in the scene with Pontius Pilate. Some characteristics even repeat and touch, sometimes directly: professor - philosopher; the historian is a doctor; a specialist in black magic - a preacher; traveler - traveling. Reception concentration is achieved in questions addressed to Woland and Yeshua: Are you a historian? - says Berlioz Woland; Are you a great doctor? - Pontius Pilate turns to Yeshua.

This hidden dialogue, which denotes the general idea of ​​the inseparability of the connection between the existence of Woland (evil) and Jesus Christ (good), concludes with a paradoxical conclusion: good can exist only if evil is present; one necessarily implies the other. So, Woland tells Levi to Matthew: "What would your good do if there was no evil?" And further: "If there is faith in Christ, then there is faith in Satan."

The idea of ​​continuity permeates the entire style of the novel. Such a dispute is over any reason, for example, regarding belief in a word, the power of persuasion with the word: “If I could talk to him ... I am sure that he would have changed dramatically,” says Yeshua about Mark Krysoboy. “All theories stand one after another,” Woland asserts the power of fact (and not words). And to prove that Christ existed does not make sense, he was, and that was all. "If I exist, Woland, then there was Christ."

The contrasting combination of parallel plans — the surreal and the real — also characterizes the creative manner of C. Aitmatov (using the motif of a legend). And it is precisely this that his creative principle is embodied in the poetry of the style of prose. For example, the legendary mother-deer in the “White steamer” is specified for the boy as a real deer; killed the real deer - killed and the dream. And the killed dream, the unreality leads to the real death of the boy. So in essence, in one being, the unity of contrasting principles takes place. And this idea forms an overall image of the style of the work and its author. The same motive is embodied in “Buranny Polang”, “Plakha”. And as a result, an image of Aitmatov's poetic style is created - when reality (events, heroes) is known through the invasion of an unreal beginning into it. The reception itself is not new, but its concrete embodiment is stylistically significant.

The ideas of the contradictory nature of the world, the opposition of man and the universe were the fundamental principle in the style of F. Tyutchev.

To illustrate the position “style is the embodiment of a specific idea” is possible not only by the data of fiction. Take, for example, the texts of court speeches [7], in which the author's individuality is actively and openly manifested. This individuality is primarily in the idea that has become dominant for this author. In particular, two different moments of speeches by well-known domestic lawyers - Alexander Ivanovich Urusov and Fyodor Nikiforovich Plevako [8] are interesting. The different style of their speeches is determined by the difference in the very idea of ​​the speech. What is important - the actions of people or motives? Facts, actions or moral principles of them? It is precisely these principles that manifest the peculiarity of oratory in various ways. The speeches of Urusov are logical, rational, accurate. There is no moral or social coloring in them, the system of evidence is tied to bare facts. The speech is slim, but there are no artistic images in it. He carefully anatomizes the event itself. The anatomy of the act - this is his main idea, she is clothed in the appropriate form, style.

In the speech, Plevako was dominated by a system of common principles - moral, legal. The thoroughness of the evidence is not peculiar to him. Animated by poetic images or paintings, Plevaco reached lyricism. This made an impression and forced to neglect the evidence. His analysis of the moral principles of the act roused anger, provoked indignation, moreover at the level of emotions, and not of reason. Апелляция к высшим законам нравственности – эта идея воплощалась в такие стилевые качества, как риторичность, вдохновенность, поэтичность. Обвиняя подсудимую игуменью Митрофанию, Плевако, в частности, восклицает: «Верим, что многое, что написано в книге закона, вам неведомо. Но ведь в этом же законе есть и такие правила, которые давным-давно приняты человечеством как основы нравственного и правового порядка. С вершины дымящегося Синая сказано человечеству: «Не укради...» Вы не могли не знать этого, а что вы творите?» И еще: «Путник, идущий мимо высоких стен Владычного монастыря, вверенного нравственному руководительству этой женщины, набожно крестится на золотые кресты храмов и думает, что идет мимо дома Божьего, а в этом доме утренний звон подымает настоятельницу и ее слуг не на молитву, а на темные дела». Так, основополагающей для формирования стиля становится идея, владеющая автором: внутреннее оправдание и обоснование стиля заключается в нравственном отношении к предмету изложения.

Еще пример не из области художественной стилистики. Осип Мандельштам сделал небольшие заметки-наброски о литературном стиле Дарвина. Здесь также проводится мысль, причем не по воле автора, о воплощении идеи в стиле. Мандельштам пишет: «Дарвин раз и навсегда изгнал красноречие, изгнал риторику, изгнал велеречивость из литературного обихода натуралиста»[9]. «Происхождение видов» (имеет форму отчета) ошеломило современников. Книгу читали взасос. Ее успех у читателей был равен успеху гётевского «Вертера». Ясно, что ее приняли как литературное событие, в ней почуяли большую и серьезную новизну формы»[10].

В чем же дело? Эта книга была рассчитана на завоевание читательских масс. Дарвин сознательно обращался к широким любительским кругам. Его не устраивало своеобразное искусство пассивно-созерцательных натуралистических описаний, выхоленность и виртуозность описи, доведенной до «крепостной миниатюры». «Естественнонаучные труды Дарвина, взятые как литературное целое, как громада мысли и стиля, – не что иное, как кипящая жизнью и фактами и бесперебойно пульсирующая газета природы»[11]. Подчиняясь этой цели, Дарвин организует свой материал как редактор-издатель.

Стиль натуралиста – один из главных ключей к его мировоззрению. Его стиль близок газете, публицистике, политической статье. Его стиль – это научная публицистика, так считает Мандельштам, так был воспринят Дарвин его современниками. На научную стилистику Дарвина оказала влияние система карточных записей. Он никогда ничего не описывает, а только характеризует. «Он вступает с природой в отношения военного корреспондента, интервьюера, отчаянного репортера, которому удается подсмотреть событие у самого его истока»[12].

Его научная речь – это беседа. Чужое мнение не цитирует, приводит его в самом сжатом виде. Избегает научной терминологии. Открытость его мысли и способа изложения – это отражение жажды широкого сотрудничества с международными научными силами и желание быть понятым среднеобразованными читателями. Именно эту основную идею-мысль и воплотил в стилистике своих сочинений Дарвин.

Так стиль подчиняется идее, овладевшей автором. Мотив, побудивший автора высказать эту идею, становится причиной обращения к особой форме. Стиль становится не только свойством произведения данного автора, но и средством выражения его позиции, его главной мысли-идеи.