Thinking about the creative heritage of F. M. Dostoevsky in the works of L. D. Zinovieva-Annibal

Van Lyuyan Postgraduate student; Faculty of the Department of the History of Modern Russian Literature and the Modern Literary Process (Faculty of Philology); Moscow State University Lebedeva str., 1, Leninskie Gory, 119234, Russia w.liuyang@mail.ru

Dostoevsky's work was nourished by the Russian and foreign literature of his predecessors and contemporaries. At the same time, it has had and continues to have a huge impact on all subsequent literature. The content of Dostoevsky's social criticism, his philosophical, aesthetic and moral ideas occupy an important place in the history of Russian and world literature, creating a field of special emotional tension. what is called "fantastic realism". Dostoevsky always puts his characters in extreme situations. In such situations, the hero, endowed with a restless consciousness, is forced to make final, fatal decisions that will have consequences for himself and the people around him. And the consequences of these decisions are often devastating. This structure exposes the philosophical and socio-psychological problems of bourgeois individualism and often the futility of attempts to overcome it. In addition, the catastrophism of being as a form of existence was felt by the writer extremely acutely. His sensitivity to the tragic sides of life, his empathy for the "humiliated and insulted" helped him capture the contradictory features of his time, hurting trembling souls, leaving a heavy memory of himself.

The end of the 19th and the beginning of the 20th centuries were a time of tragic trials for Russia. At this time, Dostoevsky's work became particularly relevant due to the emergence and promotion of radical ways to get rid of evil. Dostoevsky's religious views are becoming particularly acute. Religious Renovationists interpret his ideas differently. Vyach considered them in a Dionysian way. Ivanov: "Dostoevsky ... like the most ancient tragedians of Greece, remained faithful to the spirit of Dionysus. He did not delude himself with the optimistic idea that goodness can be taught by evidence, and that a correct understanding of things naturally makes a person kind. He repeated, as if charmed by Dionysus.: Seek rapture and ecstasy, kiss the earth, see clearly and feel that everyone is to blame for everyone and for everything, and you will be saved by the joy of such rapture and comprehension; truly, only in this way will you be healed" [1. P. 503].

Equally important are the discoveries of the writer in the field of poetics of the text. So, Vyach. Ivanov analyzes his prose in terms of its tragic beginnings, suggesting the use of the term "novel-tragedy." He notes: "Every tragedy, including the ancient one, approached the religious mystery in its meaning" [2. P. 6].

As a writer in the symbolist literary circle, Zinovieva-Annibal was also the wife and muse of the poet and symbolist theorist Vyach. Ivanov. Vyach. Ivanov, in the article "New Masks", which was a commentary and preface to the play "Rings" by Zinovieva-Annibal, mentioned Dostoevsky's name: "To us, who were brought up on Dostoevsky's ideas about the mutual responsibility of all who live as sinners with a single sin and suffering with a single suffering, on Schopenhauer's ideas about world solidarity — on these insights into the mystery of the universal crucifixion (according to Hartmann) and in the moral law of compassion as the universal co—crucifixion, the tragic Muse always speaks of the whole and the universal, shows her heroes in the aspect of eternal sacrifice and illuminates the particular image of cosmic martyrdom with a sacred liturgical crown" [3. P. 27]. On the one hand, like most authors and readers, she was clearly influenced by the philosophical and moral ideas of Dostoevsky and his predecessors during the period of ideological and spiritual upheavals in society, and on the other she and her husband Ivanov summed up their individual creative and aesthetic searches in a joint life impulse and creativity. The theme of overcoming individualism and finding meaning in the tragedy of life is expressed in the works of Zinovieva-Annibal in various forms.

Among the characters appearing on the pages of Dostoevsky's works, from aristocrats to the poor, there are people of various characters. And everywhere the author tried to express "all the disorder, chaos." <...> existence and complexity <...> spiritual experiences" ^{[4, p. 9]}. But a special group among them are children, defenseless and innocent, experiencing social oppression and suffering from domestic violence. Almost every work of the writer has a figure of a child. Usually this is a child on the verge of adulthood, already able to realize the disasters that are coming... (Netochka in "Netochka Nezvanova", 1849; Nelly in "Humiliated and Insulted", 1861; Arkady in "Teenager", 1874; Ilyusha in "The Brothers Karamazov", 1880). Dostoevsky's images of children are complex, diverse and diverse. But their suffering is almost always the focus of the writer's attention. And it causes their perception to become more acute, and it teaches them special behavior. This. Of course, this is due to his concept of suffering consciousness, which arises from oppression, humiliation, and inner slavery. In "Notes from the underground" it is explicitly written: "suffering is the only reason for consciousness" [5. P. 119]. Already in the debut novel "Poor People" appeared weak, sick and helpless children. In the room of one of the minor characters of the work, the official Gorshkov, it is always "quiet and peaceful, as if no one lives. I can't even hear the children. And it doesn't happen that children ever frolic or play" [6. P. 24]. The eldest son, aged nine, died because there was no money for medical treatment (his father's lawsuit in court is dragging on endlessly). And here is the youngest six-year-old girl, "leaning against the coffin, but such a poor thing, boring, thoughtful! ... A doll made of rags is lying on the floor next to her, not playing; she holds a finger on her lips; if she stands there, she won't move. The hostess gave her a piece of candy; she took it, but did not eat it" [6. P. 50].

Of course, images of unhappy children are numerous in the literature of the 19th century, but it was the "complex" of Dostoevsky's ideas that was important to Zinovieva-Annibal. E. V. Kharitonova writes about this: "The experience of depicting a child in the works of F.M. Dostoevsky, whose artistic world was closest (primarily in the psychological manner of writing) to the writer, had a significant influence on the formation of the concept of childhood by L. D. Zinovieva-Annibal" [7. P.12]. Perhaps biographical circumstances also played a role here (Zinovieva-Annibal lost her first child in her marriage to Vyach. Ivanov's daughter Elena). In a letter to Zinoviev's father, Annibal mentions his daughter's untimely death.: "My dear daddy, it is very sad for me to tell you my heavy loss. My little, beloved Elena died of a broken heart in the 11th week of her life. She was a healthy and happy girl, and now our family is in deep anguish, but I do not know what to say about myself. I loved this little creature more than my life. I must submit to the will of the Almighty, and I submit. Do not grieve for me either, but pray, my dear father" ^{[8, p. 643]}. And most likely in the prose poem "Shadows of Sleep" she depicted her departure: "The child is in my arms. His chest aches with suffocation. His eyes rounded. The glassy gaze marveled at the flour. The child is dying and is amazed at the incomprehensible agony..." [9. P. 400]. And the difference between an artistic representation of the horror of a baby's extinction and an informative "report" in a letter is immediately striking.

M. Epstein and E. Yukina drew attention to the inconsistency of children's characters in Dostoevsky's work: "Dostoevsky's children are pure with some special, unique purity, but also cruel with their unreasonable cruelty.... Dostoevsky's child is both a traditional Christian symbol of holiness and a demonic being ready to trample on all Christian shrines. The poles of human morality, the divine and the satanic, are more absolutely expressed in him than in an adult" [10. P. 247]. This contradiction is also reproduced by Zinoviev-Annibal. In the cycle of stories "The Tragic Menagerie", his main character Vera has even more negative features than Dostoevsky's little heroes. She lies, steals, rebels, and indulges in erotic games. MV Mikhailova noted that in Zinovieva-Annibal, the child "appeared not as an innocent Lamb, not as a vessel of purity and innocence, but as a being literally shaken in convulsions of evil and sin. But the "exuberance and storminess" of the child's soul were given to Zinovieva-Annibal in combination with a "deep capacity for emotion and pure joy" ^[11]. And according to the quoted literary critic, in the cycle "Tragic Menagerie" the author is hidden behind the mask of a child.

Indeed, in this work of the writer, the boundary between the adult and the child's "I" is unclear. In Vera's remarks, we hear Zinovieva's voice-Annibal. The writer created these stories based on her own biography, focusing on child psychology and the child's reaction to the world. This was also suggested to her by Dostoevsky, who researched child psychology in depth. Zinovieva-Annibal's depiction of children has similar features.

The key principles of Dostoevsky's poetics - the emphasis on the "inner man" and the use of psychological forms of description - form an important basis for Zinovieva-Annibal's work in depicting the inner world of her characters.

Faith struggles with the choice between good and evil, between love and hate, when the line between them fades and loses its measure. In the story "The Wolf," Vera sees how wolves are brutally hunted by humans, and in the throes of tragedy, she tries to understand the laws of nature, which Fyodor explains to her: "Everyone eats each other, it's just the way it's supposed to be." <...> And what an inconspicuous and quiet-looking animal it is, but it eats someone. This is because if you don't eat, you'll starve to death. Even the grass suffocates the other grass. That's the way it's supposed to be. The same goes for a person. Only the beast eats in vain, but God has revealed to man how pure the sky is, and how filthy..." ^{[9, P. 68]}. In the story "The Monster," Vera brought several frog eggs from the swamp and put them in a jar. But there is also a "Monster" in the bank, and Vera, from the viewer's point of view, witnesses the death of tadpoles in the bank's world as a result of her indulgence in the predation of the monster. When she finds herself in a situation of the natural law of Darwinian selection, a struggle begins in her soul, and she plunges into the chaos of freedom of choice. The tadpoles disappear day after day: "my tadpoles grew fatter and bigger, but their herd was inexplicably thinning…And that's the third time I saw him, and at first I didn't understand. Already with a third of my little finger, it seemed huge. The flat, rigid body arched its ringing back steeply upward, lowered its strong tail like a stake, and, splashing against that stiff tail, another tail curled around it, and its delicate muslin was torn into rags. Then I saw both the head and the claws. The fat, stupid, clumsy head of a tadpole in the tough, strong, piercing claws of a monster. And I understood <...> The black body-head turned gray, became more and more similar in color to the pale gray tail, thinned in volume, and the stripped tail trembled less... He stopped shaking altogether. A gray film was slowly sinking to the bottom of the jar.… There were already only thirteen tadpoles left, and nothing but them and the living monster remained in the swampy murk" ^{[9, pp.90, 94]}. Vera experiences conflicting emotions towards tadpoles and monsters. She's going through an internal struggle: "I've fallen in love with a monster. It seemed to me to be clad in a shell. And in the soundless murk of the swamp water, where soft-bodied, stupid, completely defenseless tadpoles crowded and jostled in vain, it alone, clear, strong, impetuous, ruled unconditionally over lives. And it fed by dominating. And I despised tadpoles. I ran, however, to the river and to the pond. She squatted down for a long time and looked into the water. I was thinking of throwing it out there. This is in order not to see further and at least to have mercy on those thirteen tailed frogs" ^{[9, P. 94]}. Vera faced a difficult choice: "To kill a monster" or "to save a pet soft frog" ^{[9, P. 96]}? The struggle continues, Vera "walked around angry, impatient. My heart ached. I loved and hated the monster. No, she hated the monster. She went to sleep without deciding" ^{[9, P.96]}. Eventually, one morning, the only remaining frog disappeared. The monster in the jar is also killed by Faith. The ecology of the swamp ends in Vera's bank, but everything continues in the natural swamp. According to Mikhailova, Zinovieva-Annibal's thoughts were closest to Dostoevsky's ideas about "that last, unimaginable freedom of the spirit, to which man will always strive, and about the "great chaos of freedom" into which the world is plunging, devoid of divine institutions, and a man who has not mastered the will and does not coping with freedom of choice" ^{[12, p. 18]}.

But it is not only the study of the phenomenon of childhood that brings Zinoviev-Annibal closer to Dostoevsky. Russian Russian Revolution The peak of her creative activity was the years of the First Russian Revolution, when Russia was experiencing dramatic events, which were preceded by the loss of the Russo-Japanese war. Many perceived what was happening as the threshold of a large-scale catastrophe, which could not be expected for long. The issues of freedom and overcoming individualism are at the center of the spiritual quest of the intelligentsia. These issues are being intensively discussed at the "Tower" in Moscow. Ivanov. In 1906, Zinovieva-Annibal wrote and published several short stories on these hot topics. While preparing her posthumous collection, Ivanov combined them under the title "No".

The hero of the story "Help you!" Zinovieva-Annibal made a mentally ill revolutionary who was completely immersed in his hallucinations. He considers his fantasies to be the only "reality." At first, he sees himself as a terrorist committing acts of retaliation. It is quite possible that a real person appeared before the writer's inner eye – Ivan Kalyaev, who killed the Moscow governor Sergei Alexandrovich. As is known, no one was injured in the murder. But it seems to her hero that not only the enemy died in the explosion he carried out, but innocent people also suffered. Here is His inner monologue: "I was a revolutionary. He threw bombs. He killed the guilty and the innocent. I was the judge of the first ones. And the second ones didn't get caught... It was fun and creepy... before that... to the point of nausea, to the point of cloying nausea! Like blood. Like blood..." ^{[9, P.176]}. It is known that in literature, images of madmen are often used to show their normality in comparison with the abnormality of the established social order. But that's not how Zinoviev-Annibal acts. Her character is really crazy. But his madness is a consequence of crossing the boundaries of humanity. Dostoevsky's characters are teetering on the edge. His underground man, Meek's husband, Fedor Karmazov, enjoys torturing others. They are sadists. Golyadkin also has a split personality. We can see the same thing in Zinovieva's character, Annibal. What he has done makes him both happy and horrified! It is the permissibility of violence that drives the hero of the story to madness.

The hero of the story "Behind bars" "duplicates" Raskolnikov. Here we have a revolutionary terrorist again, but he has already been imprisoned for his crime and is awaiting execution. However, the real punishment for him is the splitting of consciousness, the destruction of personality. "I killed. They'll kill me. Yes, of course, of course. But that's okay. Absolutely nothing, because that's not the point, but freedom. <..It's the same for me: having killed, I died and rose again a new one, and like this... free. I'll explain everything now... I'm free because, first of all, I don't feel anything, not even hunger. And when I was beaten, I didn't feel it, and it was even nice that my head was being drilled through with a drill, and without thoughts... And I'm not afraid of death, because I killed someone else myself. No one will understand this except me, what a thrill it is to die for someone who has killed" ^{[9, p. 180]}. Etkind accurately formulated this state: "Dostoevsky's focus is on the 'inner man.' Even in Crime and Punishment, where murder and investigation are discussed, the main thing is not the events, not the duel of the criminal with the investigator, but the struggle of forces in the hero's soul" ^{[13, P. 217]}. And the prisoner in Zinovieva's story, Annibal, has a break with the human world: now he is separated from them both by prison bars and by the fact that he is a "murderer." As you can see, the writer chose a title for the story that has a symbolic and metaphorical character.

There is a sense of confusion in the manic, confused monologue of the hero. He needs to prove to others the correctness of his ideas because he himself is not sure of their absolute correctness. It's as if he hears an inner voice accusing him and wants to refute it. The bearers of other views come up in his memory. And first of all, his girlfriend: "You said, Masha: 'God's great love, like a bell on a tower, calls the hearts. And everyone will be enlightened. Then there will be nothing to build (every building on blood builds, you and I have long understood and decided there, behind bars), there will be nothing left to build: everything is already in place, and everything is God's. However, by the will of the bell, everything is God's...”You were laughing then, caressing me. But love is disembodied, it does not fit into the bony, thoracic prison of a person. And it was already maturing in me, my hatred. She was ripe for revenge. And so she heated up with revenge and became greedy, insatiable, huge as a mountain, like a huge mountain in a small human chest, or like a volcano, or like a lynx. How a lynx fell from a branch onto its intended victim..." ^{[9, pp. 181, 182]}. This dialogue between the hero and Masha is similar to the dialogue between Raskolnikov and Sonya, because "they are based on the same conflict — between faith and unbelief, between Christian love and the illusory "freedom" of a proud superhuman separation from the world and its moral laws. Associating the ideal of a free man not with love, not with the inner spiritual enlightenment of man, not with the development and transformation of his good will, but with hatred, with rebellion against the Creator, with revenge for the fact that “the world is not pleasant to the human heart,“ L. D. Zinovieva's hero, Annibal, obviously opposes his ”idea" to the Christian one. faith" ^{[14, P. 116]}. How important the idea of uniting people under the rule of the Great Bell of the Christian Community was for Zinovieva-Annibal is evidenced by the fact that at the end of her life she worked on a drama under this name^[1].

Making her hero a man concerned about the world order, Zinovieva-Annibal relied, of course, on the image of Raskolnikov, whose main goal is not to improve his own position or the position of his mother, sister and other unfortunate people, but the desire to change the existing social order. He dreams of creating a new form of human community, but at the same time thinks of himself as a superhuman, arranges a test for himself whether he can match the great ones of this world.… Dostoevsky's other characters reflect "on the need for a radical change in the social and moral destinies of mankind, on the exhaustion of its former historical paths, on the need to establish new social and moral norms" ^{[2, P.20]}. But morality suffers precisely where there is a call for violence. So the heroes of the revolutions also want to change the world, transgressing through blood, they want to be the "makers" of history. They go their separate ways at the same time.: Opalin in the story "London" seeks inspiration in Eastern philosophy, the heroine of the story "The Cat", which has a significant subtitle "A letter about the troubles of the universe", refuses revolutionary transformations and donates her property to those in need. The heroine's faith in building a new human society does not ignite her heart with revolutionary fire. She understands the falsity of socialist beliefs that threaten the loss of individuality, and that it is impossible to solve moral problems by any ideological approaches, to save others from loneliness and suffering. "In the person of an English sculptor suffering from backache," Zinoviev is Annibal, according to Vyach. Ivanova portrayed "the morbidly pessimistic bias of right-wing denial towards the dream of global meltdown and petrification" ^{[16, p. 6]}. The story "Electricity" depicts, as it were, the molecular work of universal sympathy in a soul that does not accept the independent alienation and impenetrability of souls and things. It should be recalled that Ivanov did not accept the non-religious nature of the revolution, because for him the collective consciousness of the people is permeated with religiosity. And his wife shared this belief with him. And he was absolutely categorical about her perception of Dostoevsky's ideas: "revealing the ideological content of the stories of L.D.Zinovieva-Annibal to compatriots who grew up on Dostoevsky is unnecessary work and in vain," because "the author himself finishes his thoughts with lyrical spontaneity and is vivid in the depictions of mental life with piercing vital persuasiveness."" ^{[16, P. 7]}.