basement with basement
The main characters of the work are a wax person. Yuri Tynyanov wax person

The main characters of the work are a wax person. Yuri Tynyanov wax person

Tynyanov Yuri

wax person

Yuri Tynyanov

wax person

CHAPTER FIRST

The most faithful doctor, try to heal me,

Separate the painful wound from me.

Act of Caleandra.

On Thursday it was pita. And how was it! And now he was screaming day and night and hoarse, now he was dying.

And how was the pit on Thursday! But Archiatr Blumentrost showed little hope now. Yakov Turgenev was then put in a tub, and there were eggs in the tub. But then there was no fun and it was difficult. Turgenev was an old peasant, he screamed like a chicken and then wept - it was hard for him.

The canals were not completed, the Neva towpath was ruined, the order was not followed. And is it really so, in the midst of unfinished works, now you really had to die?

He was persecuted from his sister: she was cunning and evil. The nun is unbearable: she was stupid. The son hated: he was stubborn. Favorite, minion, Danilovich is a thief. And a tsedula was opened from Vilim Ivanovich to the hostess, with the composition of the drink, such a drink, about no one else, about the owner himself.

He thrashed his whole body on the bed up to the canvas ceiling, the bed came in like a ship. These were convulsions from illness, but he still fought himself, on purpose.

Catherine bent over him with what she took him by the soul, by the meat, by the breasts.

And he obeyed.

Who kissed two months ago, Mr. Chamberlain Mons, Vilim Ivanovich.

He was quiet.

In the next room, the Italian doctor Lazaritti, black and small, all frail, warmed his red hands, and that Englishman, Gorn, sharpened a long and sharp knife - to cut him.

Mons's head was infused in alcohol, and now she stood in a flask in the kunshtkamor, for science.

To whom to leave that great science, all that organization, the state, and, finally, the considerable art of art?

Oh Katya, Katya, mother! Roughest!

Danilych, Duke of Izhora, now did not undress at all. He sat in his bedroom and dozed off: aren't they coming?

He had long ago learned to sit and doze while sitting: he was waiting for death for the robbery of the monastery, the Pochep survey and the great dachas that he was given: some for a hundred thousand, and some for fifty efimki; from cities and from peasants; from foreigners of various states and from the royal court; and then with contracts in a false name, lining the troops, making unusable porticos - and directly from the treasury. He had a sharp, fiery nose, and dry hands. He loved everything to burn with fire in his hands, so that there was a lot of everything and everything was the best, so that everything was harmonious and careful.

In the evenings he counted his losses:

Vasilyevsky Island was presented to me, and then suddenly taken away. In the last salary of the troops surrounded. And there will be only one great consolation for me if the city of Baturin is presented.

His Serene Highness Prince Danilych used to call on his minister Volkov and ask him for an account of how many misunderstandings he had to this day. Then he locked himself, remembered the last figure, fifty-two thousand subjects of souls, or recalled the slaughter and greasy trade that he had in the Arkhangelsk City - and felt a certain hidden sweetness at the very lips, the sweetness from the fluctuations that he has a lot of things, more than all , and that everything grows with him. He led the troops, built quickly and zealously, was a diligent and willing master, but the campaigns passed and the canal buildings ended, and the hand was all dry, hot, did she need work, or did she need a woman, or a dacha?

Danilych, Prince of Rome, fell in love with the dacha.

He could no longer grasp with his eye all his phenomenalities, how many cities, villages and souls belonged to him, and sometimes he was surprised at himself:

The more I volode, the more my hand burns.

He sometimes woke up at night, in his deep alcove, looked at Mikhailovna, the Duchess of Izhora, and sighed:

Oh fool, fool!

Then, turning with a fiery eye to the window, to those Asian colored glass, or staring at the painted leather ceilings, he calculated how much interest he would have from the treasury; to show less in the accounts, but actually get more bread. And it turned out either to five hundred Efimki thousand, or to all six hundred and fifty. And he felt hurt. Then again he looked at Mikhailovna for a long time:

Lumpy!

And then, nimbly and quickly, he put his feet into Tatar shoes and walked to the other half, to his sister-in-law Varvara. She understood him better, with that he talked this way and that, right up to the morning. And it delighted him. Old fools said: it's impossible, it's a sin. And the room is nearby, and you can. From this he felt the courage of the state.

But moreover, he fell in love with a small dacha and sometimes said this to his sister-in-law Varvara or the same Mikhailovna, the Pochepskaya Countess:

What kind of joy do I get from vagueness when I can’t see them all at once or even understand them? I saw ten thousand people in formations or encampments, and that is darkness, and at this hour, according to the statement of Mr. Minister Volkov, I have fifty-two thousand souls, except for the still beggars and old walkers. It cannot be understood. And the dacha, it is in my hand, clamped in five fingers, as if alive.

And now, after the passage of many small and large dachas and robberies and the exile of all the furious enemies: Baron Shafirka, the Jew, and many others, he sat and waited for the trial and execution, while he thought, clenching his teeth:

"I'll give you half, I'll laugh it off."

And having drunk Rensky, he already imagined a certain sweet city, his own, and added:

But Baturin is for me.

And then it got worse and worse; and it was easy to understand that both nostrils could go out - hard labor.

There was only one hope left in this decline: a lot of money was transferred to London and Amsterdam, and later it will come in handy.

But who was born under the planet Venus - Bruce spoke about that: the fulfillment of desires and deliverance from cramped places. That's where I got sick.

Now Danilych sat and waited: when will they call? Mihailovna kept praying that it would be quick.

And for two nights he had already been sitting in the parade, in all his uniform.

And so, when he sat and waited like that, in the evening a servant came to him and said:

Count Rastrelli, on a special matter.

What the hell did they bring him? the duke was surprised. - And his county is worthless.

But now Count Rastrelli himself entered. His county was not real, but papezhskoe: papa gave him a county for something, or he bought this county from the pope, and he himself was none other than an artist of art.

He was let through with an apprentice, Mr. Legendre. Mr. Legendre walked through the streets with a lantern and lit the way for Rastrelli, and then below he reported that he asked to be let through to the duke and his apprentice, Mr. Legendre, because the boy knows how to speak German.

They were allowed.

Count Rastrellius went up the stairs briskly and felt the railing with his hand, as if it were the head of his own cane. He had round, red, small hands. He did not look at anything around him, because the house was built by the German Shedel, and what the German could build was of no interest to Rastrelli. And in the office - he stood proudly and modestly. His height was small, his stomach was large, his cheeks were thick, his legs were small, like women's, and his arms were round. He leaned on a cane and sniffed heavily because he was out of breath. His nose was bumpy, bumpy, the color of burgundy, like a sponge or Dutch tuff, which is lined with a fountain. His nose was like that of a newt, because Count Rastrelli breathed heavily from vodka and great art. He loved roundness and if he portrayed Neptune, then it was the bearded one, and so that sea girls splashed around. So he rounded up to a hundred bronze pieces along the Neva, and all the funny ones, into Ezop's fables: opposite Menshikov's house stood, for example, a bronze portrait of a frog, which pouted so that in the end it burst. This frog was like a living thing, her eyes popped out. If someone lured such a person, it would not be enough to give a million: he had more joy and art in one finger than all Germans. In one journey from Paris to Petersburg, he spent ten thousand in French coins. This Menshikov still could not forget. And even respected for it. How many arts could he produce alone? Menshikov looked with surprise at his thick calves. Painfully thick calves, it is clear that a strong person. But, of course, Danilych, like a duke, sat in an armchair and listened, while Rastrelli stood and spoke.

That he spoke Italian and French, the apprentice Legendre spoke German, and Minister Volkov understood and even then reported to the Duke of Izhora in Russian.

Count Rastrelli bowed and said that duk d "Izhora is an elegant gentleman and magnificent patron of the arts, their father, and that he had come only for this.

Your altessa is the father of all arts, - this is how the apprentice Legendre conveyed it, but instead of "arts" he said: "pieces", because he knew the Polish word - piece, meaning: art.

Here the minister, Mr. Volkov, thought that it was about chest and bronze pieces, but Danilovich, the duke himself, rejected this: at such a time at night - and about pieces.

But then Count Rastrelli brought a complaint against Monsieur de Caravacca. Caravaccus was an artist for small things, he painted small characters and arrived at the same time as the count. But duk showed his patronage and began to use him as a historical master, and it was to him that he gave a contract to portray the Battle of Poltava. And now a rumor had reached the count that such a thing was being prepared on the part of Monsieur de Caravacca, that he had come to ask the Duke to intervene in this matter.

The story is of medium length - 100 pages in the collection of the "Classics and Contemporaries" series. Tynyanov wrote it in 1931. The narrator's language is either really stylized for the depicted time, or simply "distanced" from the time of creation. The last days of the life of Peter the Great are shown, as well as what happened after his death, in the coming months. Rastrelli (Rastrelli, as the author calls him) creates a wax figure of the first Russian emperor (hence the title of the story). The inner circle of the king makes his own plans, continues to weave intrigues.

However, the people are also shown. "Monsters" living in the "Kunshtkamor", including the clever six-fingered "freak" Yakov, besides his brother soldier Mikhalko. Well, and a number of different representatives of other classes. The strongest of the feelings that arise when reading is a feeling of the general ugliness and cruelty of life. Of course, only enhanced by the special clumsy language of the narrative. Still, there was a suspicion that the author made some kind of substitution. He was very successful in demonstrating technical imperfections of the then world, its wretchedness, backwardness in relation to the world of today (the world of 1931 and even more so the world of 2014). Something similar, by the way, was achieved by Golding in his historical stories and novels - the impression of alienation, dissimilarity, even incomprehensibility of ancient life for us, the inhabitants of modernity (from which the impression complete and unmistakably accurate reconstruction of the era, in any case, the illusion of such infallibility). But is such an approach to history appropriate - in a work of art?

At the same time, I read two more works of Tynyanov's short prose - the stories "Second Lieutenant Kizhe" and "Young Vitushishnikov". The first tells one story from the era of Paul, the second shows an episode from the reign of Nicholas the First. Such stylization as in "The Wax Person" is not used, but the characters and all the reality surrounding them are again shown as ugly, imperfect, absurd.

Here in this I saw a kind order. Now we know that the era in which all this was written was even more cruel than the time that the author depicted. Yes, and various stupid things were done then, probably, no less. No, after all, this is not just arrogance, but downright stupidity - to consider the previous times more mediocre and stupid. Aldanov's approach is much more credible. He knew how to find rational and even sensible in any era. Of course, the ratio of good and bad inevitably changes over time. But absolutely stupid and absurd times, it seems, however, do not exist ....

On the plinth of the tombstone of Peter I, one can see (if you bend down) the inscription: "To the founder of the city of St. Petersburg from the Italian sculptor Carlo Rastrelli and the Russian artist Mikhail Shemyakin. Cast in New York in 1991." The bronze person is turned to the towering Cathedral of Peter and Paul right in front of her, where the ashes of the emperor rest. The wax persona of Rastrelli once lived in the Kunstkamera, then moved to the Hermitage. That's why a persona is a persona, so as not to sit in one place (Latin persona - "mask, disguise", "theatrical role, character", "everyday role, position", "personality, face"). During life and after death, Peter moves and moves - during his lifetime he transfers the capital (as easily as itinerant artists move from one place to another), does not copy the old one, but builds a new one from scratch, becomes the director of a completely new action, in which the new everything - the script, the scenery, and the actors; after his death (as, indeed, now) in St. Petersburg, you can hear the Bronze Horseman galloping.

The tombstone of Peter I by Shemyakin, despite its external static nature, turns out to be in the rhythm of transitions and metamorphoses set by the emperor himself. Wax and bronze Persons are similar as Life and Death are similar. Rastrelli's persona is probably warm, as if alive, but we know that this is the face of death, pretending to be life (the very possibility of comparing it with a living being enhances the feeling of death 1). The persona of Shemyakin, with her bare skull and the coldness of metal, is the persona of death. However, it is no coincidence that both Persons are so similar; The "secondary" nature of the artist in relation to the work of his predecessor, the sculptor, is provocative, giving new meaning to the ancient opposition between the living and the dead, mythological ideas about the resurrection of a dead likeness and the transformation of a living being into a motionless image.

At the beginning of Yuri Tynyanov's story "The Wax Person" Rastrelli explains to Menshikov why it is necessary to make a wax copy of Peter. At the same time, he refers to the portrait of the late King Louis the Fourteenth, made by Anton Benois: "He is dressed in lace, and there is a way for him to jump up and show favor to visitors with his hand ...". The wax image of Louis is a bust of the king, and therefore cannot, of course, "jump up". The person of Rastrelli was supposed to participate in the funeral ritual of the emperor, so the "inaccuracy" of the sculptor is a kind of déjà vu, when the story about the portrait of Louis becomes a story about his plan, which, perhaps, is woven into the "remembrance" of the Greek rituals, during which the gods and the heroes were represented by both live actors and automaton statues moving in chariots and palanquins (at the same time, the establishment of complete equivalence

Yuri Tynyanov

wax person

CHAPTER FIRST

Act of Caleandra

And how was the pit on Thursday! But Archiatr Blumentrost showed little hope now. Yakov Turgenev was then put in a tub, and there were eggs in the tub.

But then there was no fun and it was difficult. Turgenev was an old peasant, screeching like a chicken and then crying - it was hard for him.

Catherine bent over him with what she took him for the soul, for the meat, -

And he obeyed.

Who kissed two months ago, Mr. Chamberlain Mons, Vilim Ivanovich. He was quiet.

In the next room, the Italian doctor Lazaritti, black and small, all frail, warmed his red hands, and that Englishman, Gorn, sharpened a long and sharp knife - to cut him.

He had long ago learned to sit and doze while sitting: he was waiting for death for the robbery of the monastery, the Pochep survey and the great dachas that he was given: some for a hundred thousand, and some for fifty efimki; from cities and from peasants; from foreigners of various states and from the royal court; and then - with contracts in someone else's name, lining the troops, making unusable porticos - and directly from the treasury. He had a sharp, fiery nose, and dry hands. He loved everything to burn with fire in his hands, so that there was a lot of everything and everything was the best, so that everything was harmonious and careful.

– Vasilyevsky Island was presented to me, and then suddenly taken away.

In the last salary of the troops surrounded. And there will be only one great consolation for me if the city of Baturin is presented.

His Serene Highness Prince Danilych used to call on his minister Volkov and ask him for an account of how many misunderstandings he had to this day.

Then he locked himself, remembered the last figure, fifty-two thousand subjects of souls, or recalled the slaughter and greasy trade that he had in the Arkhangelsk City - and felt a certain hidden sweetness at the very lips, the sweetness from the fluctuations that has a lot of things, more than all , and that everything grows with him. He led the troops, built quickly and zealously, was a diligent and willing master, but the campaigns passed and the canal buildings ended, and the hand was all dry, hot, did she need work, or did she need a woman, or a dacha?

He could no longer grasp with his eye all his phenomenalities, how many cities, villages and souls belonged to him - and sometimes he was surprised at himself:

- The more I volode, the more my hand burns.

- Oh, stupid, stupid!

- Lippy!

– What is the joy of vagueness to me when I cannot see them all at once or even understand them? I saw ten thousand people in formations or encampments, and that is darkness, but at this hour, according to the statement of Mr. Minister Volkov, I have fifty-two thousand of them, except for the still beggars and old walkers. It cannot be understood. And the dacha, it is in my hand, clamped in five fingers, as if alive.

"I'll give you half, I'll laugh it off."

- But Baturin is for me.

And then it got worse and worse; and it was easy to understand that both nostrils could be protruding - penal servitude.

But who was born under the planet Venus - Bruce spoke about that: the fulfillment of desires and deliverance from cramped places. That's where I got sick.

- Count Rastrelli, on a special matter.

- What the hell did they bring him? the duke was surprised. “And his county is worthless.

They were allowed.

In the story "The Wax Person" Yuri Nikolayevich Tynyanov refers to the Petrine era, continuing to artistically explore the nature and contradictions of the Russian autocracy. But here, too, Pushkin, of course, turned out to be the "intermediary" between Tynyanov and the epoch. For the great poet, the monument to Falcone became the embodiment of Peter, his deeds and aspirations for the future. However, Pushkin builds his poem "The Bronze Horseman" on an antithesis that is not in the monument. In The Bronze Horseman, the opposition of Peter, the “powerful ruler of fate”, to Eugene, who appears here as the “play of fate” and its victim, is of paramount importance. Praise to Peter, the odic image of what he did, is inseparable in the poem from the sad story about the "poor" Eugene, who entered into a kind of conflict with an idol on a bronze horse.

By introducing Evgeny into the poem, Pushkin posed the most acute problem of the inconsistency of historical progress. The poet gave his decision and at the same time, as in other cases, "discovered" a complex topic for artists of future generations. Tynyanov refers to that moment in Peter's life when the tsar ceases to be "the master of fate" and becomes its victim himself. This irony "few historical figures escaped" . In Tynyanov's narrative, the very death of Peter is, as it were, the result, or, in any case, a symbol of the change of epochs, of historical shifts. The writer takes precisely the moment when rampant cynicism, base passions, corruption among the ruling classes can no longer be justified by anything. The “irony” of the events taking place is felt in the “Wax Person” by the dying Peter himself.

He sees how the work of his whole life is suspended, and bitterly experiences his impotence to change anything. The reason is not so much in his illness, but in the fact that he was faced with circumstances and facts that he could not cope with. The writer's sympathy for Peter, who appears as a tragic figure, is undeniable, but the desire to avoid any kind of idealization of the image of the king and the whole situation that was developing at the time of his death is equally undoubted. Peter feels that he is dying among the unfinished works, but could they even be continued in the way the king would like? He dreams of a burden - the one that he dragged on himself all his life. In a dream, he drags her from place to place in absolute emptiness. What does "emptiness" mean for Peter's painful consciousness? Much. Menshikov - "favorite minion" - a thief. And not only Danilych is a thief. Next to the room where the tsar dies, the tsar's investigator, the "fiscal general", sits in a closet and "sews" the case, one after the other, against Menshikov, against the most distinguished people in the state and against "her autocracy" among them. The scale of lawlessness, theft, corruption of morals is enormous. And as a result, "it's going on," it's "worth it." The “cases” that the investigator is sewing are only an expression of the fact that the main “case” for which the tsar lived has stalled.

In this, and not in the disease, the main cause of his death. Peter reacts incomprehensibly to the messages of his secret investigator: it’s not that, they say, it is necessary to investigate further, it’s not that, they say, drop it, now it’s all the same. Dying, the king finds himself in a dead end and he himself understands this. The writer sought to create a picture of the era, its image, to reveal the main features, while he wanted to get by with a small volume. Hence the extraordinary capacity of the narrative, which is not easy to understand. Peter dies, surrounded by "heirs" - Catherine, Menshikov, Yaguzhinsky. For Menshikov and other "chicks of Petrov's nest" the world of work has turned into a world of intrigue, squabbles, a struggle of ambitions and a thirst for power. The former associates of Peter, together with their creative energy, lost their love of life, they became internally dead. In contrast to them, the author sings of the genius of Rastrelli, primarily as the author of the wax likeness of Peter. Peter and Rastrelli love work and creativity. The artistic unity of the "Wax person" also includes the line of folk "lower classes". Peter could do his great, and his heirs - their unworthy deeds.

Rastrelli had the opportunity to create thanks to the fact that seven skins were flayed from the people. The author of Wax Persona refutes the idea that the mass of the people lives outside of history. All this brings the depicted era closer to the contemporary author. You involuntarily compare time, you see analogies - isn't this what Tynyanov, who lived in one of the harshest eras, was striving for, forcing readers to think about the lessons of history.

Tynyanov Yuri

wax person

Yuri Tynyanov

wax person

CHAPTER FIRST

The most faithful doctor, try to heal me,

Separate the painful wound from me.

Act of Caleandra.

On Thursday it was pita. And how was it! And now he was screaming day and night and hoarse, now he was dying.

The canals were not completed, the Neva towpath was ruined, the order was not followed. And is it really so, in the midst of unfinished works, now you really had to die?

He thrashed his whole body on the bed up to the canvas ceiling, the bed came in like a ship. These were convulsions from illness, but he still fought himself, on purpose.

Catherine bent over him with what she took him by the soul, by the meat, by the breasts.

And he obeyed.

Who kissed two months ago, Mr. Chamberlain Mons, Vilim Ivanovich.

He was quiet.

In the next room, the Italian doctor Lazaritti, black and small, all frail, warmed his red hands, and that Englishman, Gorn, sharpened a long and sharp knife - to cut him.

Mons's head was infused in alcohol, and now she stood in a flask in the kunshtkamor, for science.

To whom to leave that great science, all that organization, the state, and, finally, the considerable art of art?

Oh Katya, Katya, mother! Roughest!

Danilych, Duke of Izhora, now did not undress at all. He sat in his bedroom and dozed off: aren't they coming?

In the evenings he counted his losses:

Danilych, Prince of Rome, fell in love with the dacha.

He could no longer grasp with his eye all his phenomenalities, how many cities, villages and souls belonged to him, and sometimes he was surprised at himself:

The more I volode, the more my hand burns.

He sometimes woke up at night, in his deep alcove, looked at Mikhailovna, the Duchess of Izhora, and sighed:

Oh fool, fool!

Lumpy!

But moreover, he fell in love with a small dacha and sometimes said this to his sister-in-law Varvara or the same Mikhailovna, the Pochepskaya Countess:

"I'll give you half, I'll laugh it off."

And having drunk Rensky, he already imagined a certain sweet city, his own, and added:

But Baturin is for me.

And then it got worse and worse; and it was easy to understand that both nostrils could go out - hard labor.

There was only one hope left in this decline: a lot of money was transferred to London and Amsterdam, and later it will come in handy.

But who was born under the planet Venus - Bruce spoke about that: the fulfillment of desires and deliverance from cramped places. That's where I got sick.

Now Danilych sat and waited: when will they call? Mihailovna kept praying that it would be quick.

And for two nights he had already been sitting in the parade, in all his uniform.

And so, when he sat and waited like that, in the evening a servant came to him and said:

Count Rastrelli, on a special matter.

What the hell did they bring him? the duke was surprised. - And his county is worthless.

They were allowed.

That he spoke Italian and French, the apprentice Legendre spoke German, and Minister Volkov understood and even then reported to the Duke of Izhora in Russian.

Count Rastrelli bowed and said that duk d "Izhora is an elegant gentleman and magnificent patron of the arts, their father, and that he had come only for this.

Your altessa is the father of all arts, - this is how the apprentice Legendre conveyed it, but instead of "arts" he said: "pieces", because he knew the Polish word - piece, meaning: art.

Here the minister, Mr. Volkov, thought that it was about chest and bronze pieces, but Danilovich, the duke himself, rejected this: at such a time at night - and about pieces.

On Thursday, Tsar Peter was drinking and walking, and today he was screaming in pain and dying. Petersburg was under construction, the canals were unfinished. Peter was dying “in the midst of unfinished works” and did not know to whom to leave the structure of the state, that great science that he himself had begun.

Sister Peter kicked out - "she was cunning and evil." He could not stand his ex-wife, a nun, a stupid woman, he ruined his stubborn son, and his favorite Danilych turned out to be a thief. Yes, and beloved wife Katya, judging by the denunciation, was preparing her husband "a special composition of drinks." But when she bent over Peter, he calmed down.

Meanwhile, Alexander Danilych Menshikov sat in his chambers and waited for Peter to call him to account. The Most Serene Prince was greedy, he liked to have a lot of land, houses, slaves, but most of all Danilych liked to take bribes. You can’t squeeze houses and land in a handful, but a bribe - here it is, in your hand, as if alive.

And Danilych took wherever possible. He bribed cities and peasants, foreigners and royal courts. He executed contracts in someone else's name, supplied rotten cloth for the army, robbed the treasury.

He loved everything to burn with fire in his hands, so that there was a lot of everything and everything was the best, so that everything was harmonious and careful.

At night, Danilych did not sleep, he counted the profit. He couldn’t talk to his wife - she was too stupid - so he went to his sister-in-law, with whom he talked “this way and that, right up to the morning”, not considering it a sin.

Menshikov was waiting for the trial and was afraid that his nostrils would be torn out and sent to hard labor. He hoped only for an escape to Europe, where he transferred a large amount in advance. For two nights he sat dressed, waiting to be summoned to the dying king.

Unexpectedly, Count Rastrelli, the chief architect of St. Petersburg, appeared to Menshikov. He came to complain about his competitor, the artist de Caravacca, who was entrusted with depicting the Battle of Poltava.

Having found out that Tsar Peter was dying, Caravakk wanted to make his death mask. From the court physician, Rastrelli knew that the king would "die in four days." The count declared that only he could make a good mask, and spoke of a white wax posthumous copy of the French king Louis VIV, which, thanks to a built-in mechanism, could move.

Having heard for the first time so clearly about the death of Peter, Danilych calmed down and allowed Rastrelli to make a mask. Interested brightest and wax copy. Here Menshikov was finally called.

Peter I rushed about in the heat and raved. Waking up, he realized: "Peter Mikhailov is coming to an end, the most final and speedy." He looked at the drawings on the Dutch-made stove tiles and realized that he would never see the sea again.

Peter wept and said goodbye to life, to his state - "a considerable ship." He thought that he had not executed Danilych and Ekaterina in vain and even allowed her to reach him. If he executed, “the blood would get relief,” and he could recover, but now “the blood went down,” stagnated, and the disease does not let go, “and he doesn’t have time to put an ax on that rotten root.”

Suddenly, Peter saw a cockroach on the stove tile. In the life of the king "there were three fears." As a child, he was afraid of water, which is why he fell in love with ships as protection from large waters. He began to be afraid of blood when he saw his uncle killed as a child, but this soon passed, "and he became curious about blood." But the third fear - the fear of cockroaches - remained in him forever.

Cockroaches appeared in Russia during the Russian-Turkish campaign and spread everywhere. Since then, couriers have always galloped ahead of the king and looked for cockroaches in the housing allotted to Peter.

Peter reached for a shoe - to kill a cockroach - and lost consciousness, and when he woke up, he saw three people in the room. They were senators appointed three by three to watch in the bedroom of the dying king.

And in the closet next to the bedroom sat a "small man" Alexei Myakinin and collected reports from the fiscals about Danilych and Ekaterina. Having fallen ill, Peter himself seated him next to him and ordered him to report daily.

Myakinin found out about the sums sent by Menshikov to Europe and sniffed out something about Catherine. But on this day they forgot about him, they didn’t even bring dinner. Myakinin heard people walking and rustling in the Tsar's bedroom. He hastily tore up the papers concerning Catherine, and wrote down the numbers "in an unusual place."

An hour later, the queen entered the closet and drove Myakinin away. Catherine got his notes, in which there were many cases about Menshikov and gentlemen from the Senate. On the same day, many convicts were released to pray for the sovereign's health.

Great things began: the owner was still talking, but he could no longer be angry.

Danilych ordered the guards in the city to be doubled, and everyone learned that the tsar was dying. But in the tavern, which was located in the fortin with the royal eagle, they had known about this for a long time. they also knew there that they were buying up white wax all over the country and were looking for strong oak for the torso of the royal copy. The Germans sitting in the tavern believed that Menshikov would rule after Peter. And the thief Ivan walked and listened.

Chapter Two

The “considerable economy” of the Kunstkamera began in Moscow and occupied a small closet. Then she was given a stone house at the Summer Palace in St. Petersburg, and after the execution of Alexei Petrovich was transferred "to the Foundry part - to Kikin's chambers."

These chambers were on the outskirts, and the people went there reluctantly. Then Peter ordered to build chambers for the Kunstkamera on the main square of St. Petersburg, and while they are being built, he came up with the idea of treating every visitor with a drink and a snack. People began to enter the Kunstkamera more often, others even twice a day.

In the Kunstkamera there was a large collection of alcoholized babies and freaks, both animal and human. Among them was the head of a child born in the Peter and Paul Fortress by the mistress of Tsarevich Alexei. The heads of the executed were kept in the basement - Catherine's tsar's mistress and lover, but outsiders were not allowed there. There was also a large collection of animal and bird stuffed animals, collections of minerals, stone “blockheads” found in the ground, as well as the giant’s skeleton and stomach.

They searched all over Russia for freaks for the Kunstkamera and bought them from the people. Live human freaks were valued the most. Three of them lived at the Kunstkamera. Two of them were two-fingered fools - their hands and feet resembled pincers.

The third "monster", Jacob, was the smartest. He inherited an apiary from his father, and he knew the secret of making white wax. Yakov's brother, Mikhalko, was fifteen years older than him and went into the army before he was born.

Twenty years later, a regiment settled in the village. One of the soldiers turned out to be Michalka. He settled in the house as the owner, but Yakkov still worked. After some time, Mikhalka decided to take the whole household for himself and sold his brother to the Kunstkammer like a freak. When leaving, Yakov took with him the money he had secretly accumulated from his mother.

In the Kunstkamera, Yakov became a stoker, then he began to show visitors the alcoholized "naturals", command the rest of the freaks, and lived "for his own pleasure. He knew that after death he would also become "natural".

Mikhalko returned home, began to manage, but his wax turned out to be dark. Since the mother said that white wax is now in price - the "tsarist German" eats it to remove freckles. Then the soldier denounced his mother and ended up in hard labor with her.

They were released under an amnesty when the king fell ill.

And the villages were flooded, as if the hard labor-Neva overflowed its banks, went along the roads and entered the village streets.

Returning home, the soldier found that strangers had occupied his house. The mother died immediately, and the soldier returned to St. Petersburg.

Yakov got bored in the Kunstkamera and decided to file a petition to be released. For this, he undertook to supply the Kunstkamera with freaks free of charge.

Chapters three and four

At half past five in the morning, when manufactories and workshops were opening, and the furriers were extinguishing the lanterns, Tsar Peter died.

The body had not yet been dressed, and Menshikov had already taken power into his own hands. Catherine opened the treasury, and Danilych bought the loyalty of the guards. And then everyone understood: Catherine would become the empress.

And then great weeping began for the deceased king. Even Menshikov remembered from whom he "received his state power", and for a moment he returned to the past, became Aleksashka, Peter's faithful dog.

In the midst of this turmoil, Rastrelli quietly entered the palace, made a death mask of the king and mines of his hands, feet and face from white wax. The mask remained in the palace, and the sculptor took the rest to himself, to the Molding Barn, which is next to the Foundry Yard. Rastrelli drew a sketch for a long time, and then, together with an apprentice, began to sculpt a copy of Peter, swearing that the king was very large and there was not enough wax.

Meanwhile, Empress Catherine dreamed of her youth. She, Marta, grew up in a village near the Swedish city of Marienburg. As a child, she milked cows, and then she was taken to the city as a servant of the pastor. The pastor's son began to teach her the German language, but taught her something completely different - Martha mastered this language to perfection.

When Martha turned sixteen, the city was filled with Swedish soldiers, and she married a corporal, but soon left him for a lieutenant, and from that she went to the commandant of the city, and the old women called her "a small woman's word."

Then the Russians took the city, and Marta was taught the Russian language for a long time by Sheremetyev, Mons, Menshikov and Peter himself, for whom she "did not speak, but sang."

And she understood only one human language, and that language was like a growing child, or leaves, or hay, or girls in a young yard that sang a song.

Waking up, Catherine dressed up and went to sob over her husband's body, deciding along the way to bring the young nobleman closer to her.

The soldier Mikhalko returned to Petersburg. In a tavern under the state eagle, he met a guy who worked as a "fool" for three rich merchants. In order not to pay taxes, the merchants pretended to be blind beggars, and the "fool" was their guide. Through them, the soldier settled down as a watchman "in the wax yard."

Rastrelli began to assemble the model, along the way scolding the tasteless design of the royal funeral - he was not entrusted with this business. In retaliation, he decided to create an equestrian statue "that will stand for a hundred years."

Finally, the royal copy was ready. A wooden blank with a thin mechanism was mounted into her body - now the wax person will be able to move. Yaguzhinsky appeared and instructed Rastrelli to make details for decorating the funeral, and he readily agreed.

Catherine celebrated Shrovetide. She was compared with the ancient rulers, and among themselves they said that she was “weak for chimes ... she didn’t wait.” Even before the funeral, during a magnificent feast, the Empress retired with her first chosen one.

Finally, Peter was buried. Ekaterina felt like a mistress, but she was very disturbed by the wax person. She herself dressed her in Peter's clothes, put her in the throne room, and did not come close so that the mechanism would not work, and the person would not get up - she was very much like a living king.

Sits day and night, and when it is light and in the dark. He sits alone, and it is not known what he is for. From him timidity, swallowing at dinner, he interferes.

Finally, it was decided to send the person to the Cabinet of Curiosities, as an intricate and very rare item.

Rastrelli fashioned a model of an equestrian statue from white wax. There is a laurel wreath on the rider's forehead, and the horse stands on an intricate pedestal with cupids.

Chapter Five

Prosecutor General Count Pavel Ivanovich Yaguzhinsky, white-toothed, cheerful, with a loud voice, was the first enemy and rival of Menshikov. Danilych called him a "spy" and rowdy, and his house - a tavern. Yaguzhinsky put his crazy wife in a monastery, and he married a pockmarked but smart woman. Menshikov also called his enemy a libertine and "farson" for knowing foreign languages and being proud of it. Danilych himself remained illiterate.

Yaguzhinsky, on the other hand, for stealing, called Menshikov "zagreb" and "grip". He said that he was doing dirty tricks to the “lower people”, and flattering the “upper” people, dreaming of “crawling into the boyar thicket” and pocketing the Russian treasury, hinted at Danilych’s relationship with his sister-in-law.

Now, when Menshikov went uphill, Yaguzhinsky sat at home and thought about whom he could rely on. And it turned out that he had no supporters, but Yaguzhinsky was not afraid of exile, because for him there were "lower people" - merchants, artisans, mob, which means Aleksashka would not be king.

At night, the wax person was transported to the cabinet of curiosities and put on a platform upholstered in red cloth, under which they held a mechanism - you step on a certain place, and the person rises, as if alive, pointing at the door with his finger. Stuffed animals of Peter's favorite dogs and the horse on which he participated in the Battle of Poltava were placed nearby.

In the following days, Yaguzhinsky met with many people, including Alexei Myakinin, with whom he had a long conversation. Then, having drunk, he wandered around the chambers for a long time, enumerating Menshikov's crimes and did not know now whether "to be St. Petersburg."

And everything does not go from its place, and all around the city has become unfaithful and may be deserted by the summer. Tremble and crawl.

And Yaguzhinsky decided tomorrow to start disturbing His Serene Highness, “like a dog with a stick,” and his wife supported him.

In recent years, Menshikov recalled his childhood three times. His father baked pies for sale and often came home drunk and without pants. All his life, the brightest changed. At first he was handsome, thin, mischievous and dreary. Then for five years he walked "dense, and prudent, and orderly." Then he became “ugly in face”, greedy, forgot who he was.

Now Danilych had ascended, there were many expensive things, but there was no joy from them, and he could no longer tell his sister-in-law everything. He began to call Catherine "mother" and was cruel to her, dreamed of becoming a prince and a generalissimo, and marrying off his daughter to Petrov's son - then he, Danilych, would become regent, rule, and torment the empress.

In the Tatar camp - a large St. Petersburg market - the soldier Mikhalko was selling wax and met with the thief Ivan. Pretending to be asking the price of the goods, the thief took the soldier to a tavern, found out everything about his guard work and left without buying anything.

Yaguzhinsky had a fight “with drawn swords” with Menshikov, and everyone turned away from him. Then Pavel Ivanovich got drunk, gathered a company and went to "make noise" and play tricks around St. Petersburg. The company swept through the city and reached the Kunstkamera.

A live bird flew into the kunshtkamora, wild, square, thick, in blue silk, and with a star, and with a sword, and it was a man, and he did not walk, he flew.

Everyone dispersed to look at the "naturals", and Yaguzhinsky reached the portrait chamber, where a wax persona was sitting, and she stood in front of him. And Pavel Ivanovich began to complain to the person about the atrocities of Danilych, and the six-fingered Yakov was here and heard everything.

Menshikov was angry with Yaguzhinsky, but still did not want to put him on the chopping block. Hearing about the Kunstkamera, he went there. Under his gaze, Yakov told everything that he remembered, although at first he did not want to speak. And then the person stood in front of Danilych, and he ran away in fright.

At night, Yaguzhinsky read his horoscope, according to which victory came out to him, and recalled his beloved woman - a smooth, swaggering gentry from Vienna. On the same night, the soldier Mikhalka was hit on the head and the barn with the treasury was opened. Menshikov, at that time, planned to exile Yaguzhinsky to Siberia, go on vacation to his estate and call the empress there. And he ordered the six-fingered one, who knew a lot, to be killed and put in alcohol.

Chapter six

In the morning, the townspeople were awakened by cannon volleys - it sounded the alarm because of the fire. Everything stirred. The foundry yard, where "bomb supplies" were stored, was fenced off with felt shields and sails. Thieves ran to the fire - to drag what they had to, and it was not clear where it was burning.

Finally, it seemed to everyone that the Foundry part was on fire, and they fenced it with sails so that the wind would not fan the fire.

And the brave galloped forward, and the cowards hit back. And there were many of both.

Rastrelli was frightened, but when he saw the sails, he decided that these were “military and naval rehearsals” and calmly returned home.

Panic also broke out in the Kunstkamera. Taking advantage of it, Yakov took his belt with money, put on mittens to hide his six-fingered hands, and fled. And Catherine laughed "till you drop and lift your legs" - panic in the city was her April Fool's joke. Two weeks have already passed since Peter was buried, and the empress was having fun.

Yakov wandered around St. Petersburg, bought new clothes, shaved at the barber's and was completely transformed. Passing by the torture site, he saw how the guilty soldier was being punished, recognized his brother in him and passed by, "like light passes through glass."

In the morning Menshikov dressed up and went to the Empress, thinking to decide the fate of Yaguzhinsky with her. But, having arrived, the brightest saw Pavel Ivanovich, who joked and made Catherine laugh with Princess Elizabeth - this smart wife reconciled Yaguzhinsky with the Empress. Catherine forced the enemies to shake hands and kiss. Now Menshikov dreamed of exiling Yaguzhinsky not to Siberia, but as an ambassador to some land "poorer, but only further away."

Then both danced, but Menshikov looked older, and Yaguzhinsky did not feel like a winner. Thus ended the evening of April 2, 1725.

In the Kunstkamera, “two natures dropped out” - a baby born by the mistress of Tsarevich Alexei, and a six-fingered freak Yakov. Two cans of spirits were left empty, and two-fingered fools drank one of them.

Six-fingered was a valuable "natural", and he was ordered to be caught. At this time, Yakov was sitting in a tavern and telling the thief Ivan what treasures and stones were stored in the Kunstkamera. Then Ivan called Yakov "to the Bashkirs, to no man's land," and they left.

Goals:

to acquaint with the works of Y. Tynyanov, his view of the historical process;
develop the skills of comparing works of different authors.

DURING THE CLASSES

1. Brief information about the life and work of Yuri Tynyanov

2. Reflections on the story "Lieutenant Kizhe"

1) Brief retelling.

2) Conversation on questions.

? Why did one person “disappear” from life without dying, while another appeared unexpectedly?
? What role does paper play in a person's life? She decides his fate .
We find in the text words that speak about the influence of "paper" on people's lives.
"He ( Sinyukhaev ) used to listen to the words of orders as special words, not similar to human speech. They had no meaning, no meaning, but their own life and power.
“The point was not whether the order was executed or not executed, the Order somehow changed the regiments, streets and people, even if they didn’t execute it”
“He never thought that there was a mistake in the order. On the contrary, it seemed to him that he was alive by mistake, by mistake.
? Is it only paper that affects the lives of people in the state?
? What drives Paul's actions? - Fear and anger.
“And when great anger became great fear, the office of criminal cases began to work ...”
? What is the emperor afraid of?
«… he did not know if they were true, and did not know whom to fear."
"All around was treason and emptiness"
? How does the emperor "fight" treason?
“He found the secret of how to get rid of them - and introduced precision and perfect submission. Earned offices "
In the story, the author showed the nature of the state, the driving force of which is fear.

Fear is born out of distrust of people. People can think, disagree, betray - that's probably why it's more convenient to work with paper. And the role of paper in the state is growing, replacing living people, individuals.

3. Brief retelling of the story "Juvenile Vitushnikov"

? What are the reasons for the development of the action in this work?

- the mood of Nicholas,
- fear

We look again at the actions of Nicholas. We conclude that he is trying to cover all aspects of life in the state. But this is impossible. Therefore, only the appearance of order arises. And in order to create visibility, it is possible and necessary to punish someone (without really thinking about whom, and what this will lead to, whether there will be a result, and what result is expected), issue an order and convey information about the actions of the sovereign to others. Paper comes into play.
We reflect on the role of paper in people's lives (and again we have before us the imaginary truth that the state needs to maintain the imaginary significance and false greatness).

? What does the increasing importance of paper in life lead to? - The attitude towards people is indifferent, bureaucratic, human dignity is being destroyed. The desire to help another recedes before fear for one's own life and career.

4. In the story "The Wax Person" Tynyanov refers to the Petrine era

He is not interested in the time of breaking the old, the change of life, he begins the story from the moment when Peter ceases to be "the master of fate."

? What worries the dying Peter?
- He sees how his whole life's work is suspended, and he experiences his powerlessness to change anything.
? What dream does he have? What burden does he pull in a dream? What does "emptiness" mean in Peter's dream?
We pay attention to the man sitting in the closet next to Peter's room. "General Fiscal" deals with the most distinguished people in the state. We observe the scale of lawlessness, theft, and the corruption of morals. We understand: the cause for which the king lived has stalled. There are no followers of his undertakings nearby.
? But, perhaps, the thirst for power, the struggle of ambitions, the world of intrigue captured only the "top", Peter's associates? Turning to the Petrine era, the writer began the narrative with the death of the emperor, then focusing his attention on the lives of ordinary people. But the thirst for profit, betrayal and denunciation seized the people. The story tells the story of two brothers - Jacob and Mikhail. Yakov finds himself in Peter's Cabinet of Curiosities, his brother is selling him; then Mikhail informs on his mother, both are tortured, then released, and they return to the house, which they no longer have.
The story suggests the precariousness of the sharp turn that Peter forcibly made, which broke the customs that had been established over the centuries, destroyed the moral laws.
? What was the main weapon of the Petrine state? Fear. Yes, fear makes people active. But is it always for the benefit of the state? Let's return to the image of the "Fiscal General": he "does" business. But these things are on paper! And the third work of Tynyanov leads us to the idea of the imaginary movement of life, the appearance of order. A strong personality, powerful, sure that all forms of life can be planned, and the prosperity of the state, the happiness of people. But Tynyanov, using any historical material, stubbornly raises the problem of the impotence of people in the face of the course of the historical process (in which eternity, the repetition of events), the meaninglessness of the actions of the individual.
? Why is the story called "The Wax Person"?
After the death of Peter, the artist Rastrelli creates his wax likeness, which can move (get up when approached, raise his hand). The figure evokes fear, which was the strongest weapon of the Petrine state. But the figure does not rule for long: she is exiled to the cabinet of curiosities.

5. Having familiarized ourselves with the stories and short story by Yu. Tynyanov, we can note that in his works the central image is not a person, the state is at the center of his thoughts.

How do we see the state in the works of Tynyanov?

The driving force of the state at all times is fear (the sovereign acts under the influence of fear, fearing treason; subordinates, fearing punishment);
Fear creates the appearance of action, since the purpose of the action is to intimidate or ward off the threat;
There is no place for individuality, personality, because individuality is unpredictable; therefore, in the state, work is reduced to communicating with papers (people on paper are less dangerous);
A strong personality can make changes in the life of the state, but these changes are external; therefore, all attempts to change anything are meaningless.

“... one who until recently believed that he was in control of something suddenly finds himself lying motionless in a wooden box, and those around him, realizing that there is no sense in lying, burn him in a furnace.”
? Who is the author of these lines? What work are these words from?

6. We recall the novel by M. Bulgakov "The Master and Margarita"

? Can a person manage the lives of other people, plan it?
No, because he cannot know what awaits him even in the near future. A person can seem powerful only to himself and to people (we recall Berlioz, Pontius Pilate).
? How does Tynyanov answer this question in his works?
It seems to a person that he controls life, that it passes under his control, but he is powerless to change anything. Therefore, history is "a movement that takes place in a circle and without a goal."
? Why was Yeshua Ha-Nozri punished? What idea was he preaching that was dangerous for the state? Yeshua spoke about the uselessness of state power.
Why is power unnecessary? Each person seeks, first of all, to protect himself, to arrange his life, to make it more comfortable. In selfish interests, he will not adhere to the truth (do good, forgetting about his own needs). And the power is ordinary people. And Bulgakov showed that for centuries people do not change.
? At Tynyanov we saw different eras: the reign of Paul, Nicholas and Peter. What unites these eras? Fear drives people. The rulers are doing something. But they cannot cope with life, subjugate it to themselves. Their actions bring only external changes, therefore temporary. Both Tynyanov and Bulgakov show that the events of the present are eternal events.
In Tynyanov, we have mentioned fear as the engine of life many times. Fear governs the actions of both the "powerful of this world" and the actions of the common people. Will we see something similar in Bulgakov? We talked about the cowardice of man already in the first lesson, considering the image of Pontius Pilate. And what about the various forms of manifestation of human fear in the Moscow chapters?
Woland conducts an experiment on Muscovites, checking what has changed in a person with the advent of a "new" society. What conclusion does he draw from his observations? Centuries have passed and nothing has changed.
? What theme unites the works of Tynyanov we have considered? Eternity, the repetition of events.

7. Conclusions sound pessimistic

? What does Russia need to create a brighter future? (Thinking, the children say that society will not change until people change spiritually, become kinder, cleaner, start caring for others, that you need to try not to put your own selfish interests above the interests of others ... They ponder ... But they do not believe what it is someday it will be possible, trying on such a practice for yourself).

On Thursday it was pita. And how was it! And now he was screaming day and night and hoarse, now he was dying.

And how was the pit on Thursday! But Archiatr Blumentrost showed little hope now. Yakov Turgenev was then put in a tub, and there were eggs in the tub.

But then there was no fun and it was difficult. Turgenev was an old peasant, screeching like a chicken and then crying - it was hard for him.

The canals were not completed, the Neva towpath was ruined, the order was not followed. And is it really so, in the midst of unfinished works, now you really had to die?

He thrashed his whole body on the bed up to the canvas ceiling, the bed came in like a ship. These were convulsions from illness, but he still fought himself, on purpose.

Catherine bent over him with what she took him for the soul, for the meat, -

And he obeyed.

Who kissed two months ago, Mr. Chamberlain Mons, Vilim Ivanovich. He was quiet.

In the next room, the Italian doctor Lazaritti, black and small, all frail, warmed his red hands, and that Englishman, Gorn, sharpened a long and sharp knife - to cut him.

Mons's head was infused in alcohol, and now she stood in a flask in the kunshtkamor, for science.

To whom to leave that great science, all that organization, the state, and, finally, the considerable art of art?

Oh Katya, Katya, mother! Roughest!

Danilych, Duke of Izhora, now did not undress at all. He sat in his bedroom and dozed off: aren't they coming?

He had long ago learned to sit and doze while sitting: he was waiting for death for the robbery of the monastery, the Pochep survey and the great dachas that he was given: some for a hundred thousand, and some for fifty efimki; from cities and from peasants; from foreigners of various states and from the royal court; and then - with contracts in someone else's name, lining the troops, making unusable porticos - and directly from the treasury. He had a sharp, fiery nose, and dry hands. He loved everything to burn with fire in his hands, so that there was a lot of everything and everything was the best, so that everything was harmonious and careful.

In the evenings he counted his losses:

– Vasilyevsky Island was presented to me, and then suddenly taken away.

In the last salary of the troops surrounded. And there will be only one great consolation for me if the city of Baturin is presented.

His Serene Highness Prince Danilych used to call on his minister Volkov and ask him for an account of how many misunderstandings he had to this day.

Danilych, Prince of Rome, fell in love with the dacha.

He could no longer grasp with his eye all his phenomenalities, how many cities, villages and souls belonged to him - and sometimes he was surprised at himself:

- The more I volode, the more my hand burns.

He sometimes woke up at night, in his deep alcove, looked at Mikhailovna, the Duchess of Izhora, and sighed:

- Oh, stupid, stupid!

- Lippy!

But moreover, he fell in love with a small dacha and sometimes said this to his sister-in-law Varvara or the same Mikhailovna, the Pochepskaya Countess:

"I'll give you half, I'll laugh it off."

And having drunk Rensky, he already imagined a certain sweet city, his own, and added:

- But Baturin is for me.

And then it got worse and worse; and it was easy to understand that both nostrils could be protruding - penal servitude.

There was only one hope left in this decline: a lot of money was transferred to London and Amsterdam, and later it will come in handy.

But who was born under the planet Venus - Bruce spoke about that: the fulfillment of desires and deliverance from cramped places. That's where I got sick.

Now Danilych sat and waited: when will they call? Mihailovna kept praying that it would be quick.

And for two nights he had already been sitting in the parade, in all his uniform.

And so, when he sat and waited like that, in the evening a servant came to him and said:

- Count Rastrelli, on a special matter.

- What the hell did they bring him? the duke was surprised. “And his county is worthless.

They were allowed.