Types of sleep in Russian literature. Maria Vitovtseva, Republican Classical Lyceum, Gorno-Altaisk (teacher - Olga Anatolyevna Fedyaeva). Translation and processing of a work of art

Question Help, please! ! What works of Russian and foreign literature contain dreams? given by the author Neurologist the best answer is DREAM in revealing the image of the hero was used by many writers.
And this is not surprising, because dreams play a special role in literary works. The dreams of heroes often determine their lives. Often what the characters in the works see with their eyes closed, more important than that what he does by opening them.
They can show inner world the hero, his experiences or what may await him in the future. Vivid examples of heroes' dreams in literature are Tatiana's dream from the novel "Eugene Onegin" by A. S. Pushkin, the dream of Ilya Ilyich from the novel "Oblomov" by I. A. Goncharov, the dreams of Raskolnikov and Svidrigailov from "Crime and Punishment" by F. M. Dostoevsky, dreams of heroes in the novel "The Master and Margarita" by M. A. Bulgakov.
Raskolnikov's dreams are very important for revealing the image of the hero ....
Famous dreams of Vera from the novel "What to do". Utopian and sweet...
Dreams predict the future of heroes, explain their past, help to make right choice or trying to avoid mistakes.
"Oblomov's Dream" is a special chapter of Goncharov's novel. The chapter tells about the childhood of Ilya Ilyich, about his influence on the character of Oblomov. The DREAM shows his native village of Oblomovka, his family, the way in which they lived on the Oblomov estate.
Sleeping Beauty Dream... Dream of the Sleeping Princess... .
A delusional dream of a boy in Chingiz Aitmatov's story "Piebald dog running along the seashore"... Dehydrated, hungry, frightened. and his dream is confused.
The dreams of Dostoevsky's heroes are numerous. And sometimes they can be confused with delusions, hallucinations ... Such dreams-reveal from Ivan Karamazov... .
The dreams of Versilov-Dolgorukov in the novel "Teenager" are interesting.. A pure young man, and his dreams are clear and pure ...
In a dream, all the hidden desires and dreams of heroes often appear ...
Herman saw an old woman in a dream... And it was very for him. important event... .
Kirillov in the novel "Demons" said that he never sleeps. But I am sure that he also had dreams, almost in reality .... This line between sleep and reality was an important moment in his life.
Dreams are seen by thinking heroes, doubting, reflecting...
A very interesting dream is considered by Daniil Andreev. He explains the dreams of many heroes by the fact that the author deliberately transfers these heroes from one layer of the world to another ...
This explains such a strange feeling from Blok's poems, for example. Visions are waking dreams....
A prophetic dream also often plays a significant role in the development of the action of a literary work. Such is the prophetic dream of Anna Karenina in Leo Tolstoy.
According to the same plan, Turgenev's "Dream" was built.
In The Thousand and One Nights, where the dream of the merchant Abu-Ghassan, at the beginning and end of the story, serves as a frame for the development of the main plot of the adventures of Caliph for an Hour.
In Vladimir Korolenko's story "The Dream of Makar", the entire main plot is the content of the hero's dream.
Gogol in the story "May Night or the Drowned Woman" offers the reader a confusing, fantastic plot without explaining that it is the content of the dream, and only at the very end the author adds that it was all in a dream.
In another story by Gogol, (late edition) "Portrait", where the author resorts to describing a dream as a means of introducing a completely fantastic element, but gives an explanation to the reader only after the end of the dream.
The image of a dream helps the artist to successfully introduce and safely resolve the most intricate collision, as we see in Shakespeare in Macbeth (the dream of Duncan and the servants) and especially in Cymbeline (the dream of Imogen), where the whole plot of the action would be unthinkable without this literary device .
"Dream of the White Mountains" by Victor Astafiev. Sleep is both a plot-forming device, both artistic and psychological.
The motif of sleep can be used to create a special mood, emotional tone. artwork. An example of such a literary device is Turgenev's Song of Triumphant Love.

Chapter 1. Tatyana's dream in the novel by A.S. Pushkin "Eugene Onegin" p. 4-8

Chapter 2. "Oblomov's Dream" in I.A. Goncharov's novel "Oblomov" p. 9-12

Chapter 3. Three dreams of Rodion Raskolnikov in the novel by F.M. Dostoyevsky "Crime and Punishment" p. 13-18

Conclusion c. 19-20

List of sources p. 21

Introduction

Since ancient times, the world of dreams and dreams has been of interest to man. While awake, we see and understand what is happening around, evaluate what is happening - our consciousness works the way we want it to. But what happens to a person's consciousness in a dream? And is it really so important that a person dreams at night, because for us, realists, daytime, quite tangible life is more important, everything else seems to not count.

However, why were representatives of Russian literature interested in dreams no less, and sometimes even more, than reality? Many writers and poets introduced dreams into their works as a fantastic element with a realistic motivation and, with its help, resorted to the method of a deeper disclosure of the character's personality. What so attracted the creators in this side of the life of the heroes? It is clear that the origins of the introduction of sleep into a work of art is romanticism with its interest in the unconscious. And still…

Target of this work is the definition of the place and role of dreams and dreams in the works of art of Russian writers of the 19th century: in the novels "Eugene Onegin" by A.S. Pushkin, "Oblomov" I.A. Goncharova, "Crime and Punishment" by F.M. Dostoevsky.

Research objectives:

determine the meaning of Tatyana's dream in the novel by A.S. Pushkin "Eugene Onegin", its peculiarity and purpose in the work;

find out the meaning of "Oblomov's Dream" in the characterization of the hero and the ideological sound of the novel by I.A. Goncharova;

establish the role of dreams in the psychological novel
F.M. Dostoevsky "Crime and Punishment", to reveal the concept of sleep-warning.

Hypothesis: if dreams and dreams in real life, according to the majority, do not matter and do not play a significant role in human life, it is reasonable to assume that in realistic works of art they also do not have a decisive significance in the lives of heroes and are not the main means of revealing their characters.

To achieve this goal, we used methods analysis, comparison and generalization. The order and structure of the work are determined by the chronological principle of studying Russian literature.

object studies have become works of art: novels by A.S. Pushkin "Eugene Onegin", "Oblomov" I.A. Goncharova
and "Crime and Punishment" by F.M. Dostoevsky.

Subject research - dreams and dreams of the heroes of works of art by A.S. Pushkin, I.A. Goncharova, F.M. Dostoevsky.

The work used different sources: texts of fiction, critical literature on the topic of research, as well as reference literature and Internet sites.

The order of the chapters is determined in accordance with the chronological principle of the works of art chosen for the study.

Chapter 1. Tatiana's dream novel by A.S. Pushkin "Eugene Onegin"

Roman A.S. Pushkin's "Eugene Onegin" is very peculiar and unusual: a large number of bizarre characters, lyrical digressions, the presence of the author in the lines of the work, and the "novel in verse" genre itself makes the novel unlike any other. It is also unusual because for a deeper disclosure of the psychology of Tatyana Larina, the author introduces a fantastic element - a dream. The dream of Tatyana Larina is special. Having the opportunity to compare its content with subsequent events in the fate of the character, one can guess the author's logic and reveal the meanings of the symbols.

The episode of Tatyana's dream is the middle of the novel; At this point, we are already quite familiar with the main characters. Left behind is Onegin's visit to the Larins' house, the acquaintance of Evgeny and Tatyana, a love letter has already been written and a refusal has been received ... Only the suffering of the unfortunate girl continues: she falls ill, trying to find the answer to Eugene Onegin, on the night of Christmas time she goes to guess. But not a single fortune-telling gives a result. Then Tatyana, on the advice of her nanny, puts her girlish mirror under her pillow and falls asleep. Let's remember this dream.

She dreams that she is walking through a gloomy forest, and on the way she meets a stream that she is afraid to cross: a bridge of two perches glued together with ice seems to her “disastrous”. 1 At this moment, a bear appears from the snowdrift, extends his hand and leads Tatyana across the stream. She continues her journey not alone, but pursued by a bear. Trying to escape, Tatyana falls, and the bear picks her up and carries her "godfather" - Eugene Onegin - to the hut. Inside - noise, exactly "like at a big funeral", and terrible monster guests. Events change very abruptly, and now, Tatyana is already sitting alone with her lover ... There is a knock on the door - Lensky enters

and Olga ... Eugene scolds uninvited guests; a dispute, a knife, and - Lensky was killed. An unbearable cry was heard ... “And Tanya woke up in horror ...”

What she saw in a dream torments Tatiana, she begins to look for the meaning of sleep in the dream book, but comes to the conclusion that “Martyn Zadeka will not solve her doubts; but an ominous dream promises her many sad adventures. 2

In fact, Tatyana's dream is a significant episode of the novel. This is not just a prophetic dream - it reflects in great detail the fate of the main characters and helps to understand the depth of the girl's experiences. To comprehend the meaning of this episode, we single out the word-symbols and turn to the dream book.

In the first stanza of the dream, it turns out that the action takes place in winter: Tatyana first walks along the “snowy meadow”, then along the “perches glued together by an ice floe”, crosses a stream flowing in snowdrifts, “not shackled in winter”, and ends up in a snowy forest, where “ there is no road; the bushes of the rapids are all covered by a blizzard, deeply immersed in the snow. Thus, the first keyword- "winter". According to the interpretation of dreams, winter (as well as snow, snowdrift, ice, blizzard) means “sadness” or “death”. 3 So in the description of the death of Lensky, the impending death of the hero is compared with a block of snow that rolls from the top of a mountain: “So slowly along the slope of the mountains, shining with sparks in the sun, a block of snow falls ... the young singer found an untimely end.”

To be bound by ice means to be sealed by death. The key to this symbol is in the description of Lensky's grave, where two pine trees are “fastened by death”, that is, Lensky is buried under them: “Two pine trees have grown together with their roots; under them trickles meandered the streams of the neighboring valley. four

To be in a snowy forest - to fall into the kingdom of death, that is, in other world, world of souls. If the forest is the kingdom of souls, then the owner of the forest is "the owner of the kingdom of souls." And since the bear is considered the master of the forest, he is also a guide to realm of the dead, in which Tatyana falls.

All these pictures predict the death of Lensky, but one cannot fail to note the obvious prophecies of his death. For example, being in the hallway of the "hut", Tatyana hears "a scream and the clinking of a glass, like at a big funeral ...". Moreover, at the end of the dream, Onegin and Lensky argue, which will lead to a duel. In this duel, Onegin will kill Lensky - later, in real life, events will develop in this way, that is, Tatyana saw the future in a dream.

But this dream also has another prophecy - the marriage of a girl.

The word "snow" also has such a meaning: "bringing fertility." From here to cover with snow - "to cover with a wedding veil." Apparently, deep snow, snowdrifts in which Tatyana gets stuck, falls and where a bear overtakes her and picks her up, portend a future marriage.

According to folk tradition, to cross a stream for a girl means “to get married”. The bridge of two perches is symbolic - one of Christmas divination on the groom (just the one that Tatyana used that night) is that the girls make bridges on the mirror from twigs and put it under the pillow, wondering: “Who is my betrothed, who is my mummer, he will take me across the bridge.” In the novel, the death of Lensky became the “bridge” for marriage, because it was after the duel and Onegin’s departure that Tatyana left for Moscow, where she married the general.

The bear is Tatyana's future fiance - the general. The fact is that since ancient times the people associated the bear with the groom as a symbol of wealth and fertility, in addition, Pushkin emphasizes that the bear was “shaggy”, “big, disheveled” - like the general himself. In a dream, the bear brings Tatyana to Onegin's hut with the words "here is my godfather." And indeed, in Moscow, at a reception, the general introduces Onegin, “his relatives and friend,” to Tatyana, his wife.

It turns out that the fortune-telling came true - Tatyana really saw her betrothed in a dream, however, hidden from her in the form of a bear. This can be guessed even without the help of interpreting dreams, because near the stream the bear gives Tatyana a hand - the groom does the same when he is wooing - he offers "a hand and a heart."

The third important symbol of Tatyana's dream is the "hut", which as a result turns out to be a completely comfortable hut, with a vestibule, a table and benches. In other words, it is "home".

The word "house" has long meant a person - such a comparison came from the pagan "fire - the soul of a person" (and the hearth, as you know, is the soul of the house). With the help of such a symbol, the secret of the inner world of Eugene Onegin is revealed - the secret that tormented Tatyana. According to the dream book, looking into the door gap of the hut from the outside means trying to understand the inner world of the owner, in this case Onegin.

Entering the room, Tatyana sees that Onegin rules over the brownies and his demon guests. A simple logical chain: if the “hut” is Onegin, then everything inside (and in particular brownies) are parts of his inner world. From here, the episode of demon control symbolizes the hero's dominance: “He will give a sign - and everyone is busy; he drinks - everyone drinks and everyone screams; he laughs - everyone laughs; furrows his brows - everyone is silent.

To look at the door from inside the house is to avoid oneself (“Onegin sits at the table and looks furtively at the door”). Maybe, we are talking about Onegin's blues, which forced him, "languishing spiritual emptiness cool to life and hate yourself.

Penetrate into the house - "become the subject of Onegin's thoughts and feelings." The appearance of Tatyana in the hut symbolizes future love Evgenia to her. Subsequently, Onegin, already in love, will see the same plot in a dream: "a rural house - and she is sitting at the window ... and that's all she is." 5

The disappearance of brownies - getting rid of the old vices. After Tatyana entered the hut, the brownies were at first embarrassed, and then completely disappeared. Obviously, love for Tatyana completely changed the inner world of Eugene, saved him from the "demons".

And finally, the destruction of the house - Onegin's disease. At the end of the dream, "the hut staggered." Indeed, at the end of the novel, Onegin falls ill. (“Onegin begins to turn pale ... Onegin dries up - and almost suffers from consumption”). The hero will experience a huge spiritual tragedy when he realizes the hopelessness of his love for Tatyana. Interestingly, in the episode of the collapsing hut, the dream ends just as unexpectedly as in the episode of Tatyana and Onegin's explanation, the whole novel ends.

So, the dream picture is an integral part of the novel in verse "Eugene Onegin" by A. S. Pushkin. M. V. Lebedeva claims that a dream is a special reality, “ special condition soul, heart, hope, imagination, equivalent to oblivion, when the spirit lives by its own content, opening the way to memories that synthesize the highest truth. 6 It is difficult to disagree with this, judging by the study.

The dream of Tatyana Larina in the novel by A.S. Pushkin turns out to be a symbol, a signal of changes in the lives of the characters. In addition, the poet uses a dream to reveal the inner world of the characters (Tatyana and Onegin). Tatyana's dream is not just prophetic - it reflects in great detail the fate of the main characters and helps to understand the depth of the girl's feelings. And with the help a large number words-symbols used in the description of Tatyana's dream, the author not only reveals the images, but also gives the reader a chance to look into the future and find out further destinies heroes. In addition, Tatyana's dream-prophecy is an artistic technique that makes the text of the novel more colorful and convincing. Tatyana's dream is a reflection of the unconscious in the heroine's psyche, an opportunity to see the future.

Chapter 2. Chapter "Oblomov's Dream" in I.A. Goncharov's novel "Oblomov"

Oblomov's dream is one of the key episodes of the novel

I.A. Goncharov "Oblomov". It is no coincidence that Goncharov called it "the overture of the whole novel ». This is the plot element of the novel, its exposition. Yes, this is the key to the whole work, the solution to all its mysteries. Before the reader passes the early childhood of Ilya Ilyich. It is the episode dedicated to Ilyusha's childhood that is one of the most important in ideological terms.

In Oblomovka, which the hero sees in a dream, the boy's mental warehouse was formed, which predetermined his fate. Here lie the reasons for such a depressing and ineradicable phenomenon in Russian life as “Oblomovism”, and on the other hand, here you can also find the origins of that “pigeon meekness” and unclouded clarity of soul, which so strikingly distinguished Ilya Ilyich from other people of the enterprising and mercantile world .

Oblomov is a gentleman, ready to lie on the couch all day long. He does not know how to work and even despises any work, is only capable of useless dreams. “Life in his eyes was divided into two halves: one consisted of work and boredom - these were synonyms for him; the other - from peace and peaceful fun. 7 Oblomov is simply afraid of any activity. Even the dream of Great love will not be able to bring him out of a state of apathy and peace. And those "two misfortunes" that initially worried Oblomov so much, eventually entered a series of restless memories. This is how his whole life went, day after day. Nothing changed in her measured movement.

“Meanwhile, he painfully felt that some good, bright beginning was buried in him, as in a grave, perhaps now dead ... But the treasure was deeply and heavily littered with rubbish, alluvial rubbish.” 8 So, entertaining himself with his usual thoughts and dreams, Oblomov slowly moves into the realm of sleep, "to another era, to other people, to another place." 9

Oblomov sees himself as a seven-year-old boy, frisky and playful, he is curious about everything that happens around him, he wants to learn more about the world. But the vigilant supervision of his mother and nanny prevents him from fulfilling his desires: “Nanny! Do not you see that the child ran out into the sun! Take him into the cold; bake his head - it will hurt, it will become nauseous, he will not eat. He will go into your ravine ». And only time daytime sleep gave Ilyusha freedom. Everyone fell asleep, even his nanny. And then the independent life of the little gentleman began.

Then Ilya Ilyich sees himself as a boy of 12-13 years old. And now it is already more difficult for him to resist, his mind has already almost understood that it is exactly the way his parents live that one should live. He does not want to study, because, firstly, for this he needs to leave his home, and secondly, he does not understand why he needs to study. The main thing that worried his mother was that the child was cheerful, fat and healthy. Everything else was considered secondary.

It is this dream that largely explains the image of the hero. From the room of Ilya Ilyich we find ourselves in the realm of light and sun. Light sensation, perhaps, is central in this episode. We observe the sun in all its manifestations: daytime, evening, winter, summer. Sunny spaces, morning shadows, a river reflecting the sun. After the dim illumination of the previous chapters, we find ourselves in a world of light: "All nature - and the forest, and water, and the walls of huts, and sandy hills - everything burns like a crimson glow." ten

After such exciting landscapes, Goncharov takes us to a small corner where " happy people lived, thinking that otherwise and not

must and cannot be." The writer introduces us to the surroundings of the village and its inhabitants: “Everything in the village is quiet and sleepy: the silent huts are wide open; not a soul is visible; only flies fly in clouds and buzz in stuffiness. 12 Oblomov was born and formed here.

Goncharov especially singled out the worldview of the child: "And the child watched everything and observed everything with his childish ... mind." 13 The inquisitiveness of the child was emphasized several times by the author. But all this inquisitiveness was shattered by the endless concern for little Oblomov, with which Ilyusha was literally “swaddled”: 14 “And the whole day, and all the days and nights of the nanny were filled with bustle, running around: either torture, or living joy for the child, or fear, that he will fall and hurt his nose ... "Oblomovka is a corner where calmness and imperturbable silence reign. This is a dream within a dream. Everything around seemed to freeze, and nothing can wake up these people who live uselessly in a distant village without any connection with the rest of the world.

Having read the chapter to the end, we realize the only reason for the meaninglessness of Oblomov's life, his passivity and apathy. Ilya's childhood is his ideal. There in Oblomovka, Ilyusha felt warm, reliable and very protected, and how much love ... This ideal doomed him to a further aimless existence. And the way there is already booked for him. Oblomovism is the embodiment of sleep, unrealizable aspirations, stagnation.

So, Goncharov uses the hero's dream as a plot element of the novel, which not only helps to reveal the character's inner world, but also shows the origins of Ilya Ilyich's character. In the chapter "Oblomov's Dream" the author gives detailed description his childhood, shows that Oblomov's laziness is an acquired quality, and not innate. For Goncharov, a dream is a way to see the past in order to determine the present.

Chapter 3. Three dreams of Rodion Raskolnikov in the novel
F.M. Dostoevsky "Crime and Punishment"

In the novel "Crime and Punishment" the reader is presented with three dreams of Rodion Raskolnikov, although this hero is so self-absorbed that, as S. Vygonsky writes, "the line between dream and reality is practically erased here." 15 However, without these dreams it is impossible to fully understand the character of the hero, his state of mind.

Raskolnikov sees his first dream shortly before the crime, falling asleep in the bushes in the park after the “test”, a difficult meeting with Marmeladov, a long wander around St. Petersburg and thinking about the usefulness of killing an old pawnbroker who has already outlived her life and now only interferes with everyone.

Raskolnikov dreams of his childhood. He is walking with his father and, passing by a tavern, he sees how one of the drunken peasants, Mikolka, invites the others to ride in a cart, which is harnessed to "a small, skinny, savage peasant nag ". 16 The men agree and sit down. Mikolka beats the horse, forcing it to pull the cart, but due to weakness, she cannot even walk. Then the owner begins to beat the nag with a frenzy and as a result kills her. Raskolnikov the child at first looks at everything that happens in horror, then rushes to protect the horse, but too late.

the main idea of this episode, of course, lies in the rejection of the murder, and in particular the rejection of the murder by Raskolnikov. Thoughts and worries about his mother and sister, the desire to prove his theory about "ordinary" and "extraordinary" people in practice encourage him to think about murder, drown out the torments of nature, and ultimately lead him to the apartment of an old pawnbroker.

This dream is symbolic: Raskolnikov the boy loves to go to church, which personifies the heavenly principle on earth, that is, spirituality, moral purity and perfection. But the road to the church passes by a tavern, which the boy does not like. A tavern is that terrible, worldly, earthly thing that destroys a person in a person. These images show what is happening inside the hero. constant struggle soul and mind, which will continue long after the crime. And only in the epilogue of the novel will the spiritual triumph, the soul will triumph.

Echoes of Raskolnikov's first dream are found throughout the entire work: Raskolnikov, shuddering at what he planned, will still kill the old woman and also Lizaveta, as helpless and downtrodden as a nag: she will not even dare to raise her hand to protect her face from an ax the killers; the dying Katerina Ivanovna will exhale along with consumptive blood: “Leave the nag!”; 17 Having hidden the jewels stolen from the old woman under a stone, Raskolnikov will return home “trembling like a driven horse”; the tavern keeper Dushkin, who met Raskolnikov, will tell “grandmother’s dream” and at the same time “lie like a horse” ... All these fleeting indications sound intrusive in the novel, but do not reveal deep symbolism mysterious dream.

But the first dream of Rodion Romanovich Raskolnikov is prophetic. This dream is an omen that he should not commit a crime, that he will not succeed. Just like in a dream little Rodya tries to protect the horse, but turns out to be powerless against cruel drunken men, in life he - small man unable to change the social order. If Raskolnikov had listened not to the call of the mind, but to the call of the heart that sounded in a dream, a terrible crime would not have happened. Thus, in the first dream of Raskolnikov, not only the true spiritual qualities of the hero are shown, but also an omen of an imminent mistake, a prophecy of impending death (“Did I kill myself or the old woman?” 18).

Between the first and second dreams, just before the murder, a vision comes to Raskolnikov: a desert and an oasis with blue water in it (the traditional color symbolism is used here: blue is the color of purity and hope, which elevates a person). Raskolnikov wants to get drunk, which means that not everything is lost for him, there is an opportunity to abandon the "experiment on himself." However, again not taking into account the warning of the heart, Raskolnikov nevertheless goes to Alena Ivanovna with an ax ...

Raskolnikov sees his second dream after the murder, when he thinks about the jewels he hid in the courtyard of an old house under a stone. The hero dreams of what he has already experienced: he goes to the old money-lender. “... An old woman is sitting on a chair in the corner, all hunched over and bowing her head, so that he could not make out the faces, but it was her. He stood in front of her: "Afraid!" - he thought, quietly released the ax from the noose and hit the old woman on the top of the head, once and twice. But strange: she did not even move from the blows, like a wooden one. He was frightened, leaned closer and began to examine her; but she bowed her head even lower. He then bent down completely to the floor and looked into her face from below, looked and became dead: the old woman was sitting and laughing - she burst into quiet, inaudible laughter ... Rabies overcame him: with all his strength he began to beat the old woman on the head, but with each with the blow of an ax, laughter and whispers from the bedroom were heard louder and louder, and the old woman was all swaying with laughter. 19

This dream is amazing in its psychological accuracy and artistic power. Dostoevsky exaggerates, exaggerates (the old woman’s laughter is “ominous”, the hubbub of the crowd outside the door is clearly unfriendly, vicious, mocking) in order to reflect as clearly and reliably as possible the state of the hero’s desperate soul, which became especially intensified after the failure of the “experiment on himself”.

Raskolnikov turns out to be not Napoleon, not a ruler who has the right to easily step over other people's lives in order to achieve his goal; pangs of conscience and fear of exposure make him miserable, and the laughter of the old woman is the laughter and triumph of evil over Raskolnikov, who could not kill his conscience. The second dream of Rodion Romanovich is the dream of a man who made sure that he did not kill the old woman, but killed himself. And the murder is as futile as trying to kill an old woman. The dream episode gives the answer to the protagonist and the reader that the experiment was started in vain.

Last, third, dream main character he sees in hard labor, already on the way to moral rebirth, looking at his theory with different eyes. Raskolnikov is ill and delirious. Under the pillow is the Gospel brought by Sonya at his request (however, it has never been opened to him before). He dreams of pictures of the apocalypse: “Entire villages, entire cities and peoples were infected and went crazy. Everyone was in anxiety and did not understand each other, everyone thought that the truth was in him alone, and he was tormented, looking at others, he beat his chest, wept and wringed his hands. They did not know whom and how to judge, they could not agree what to consider evil, what good. They didn't know who to blame, who to justify. People were killing each other in some kind of senseless malice...” 20

In this dream, Raskolnikov looks at his theory in a new way, sees its inhumanity and regards it as possible cause the emergence of a situation that threatens with its consequences (this apocalypse is the consequences of bringing Raskolnikov's theory to life). Researchers of Dostoevsky's work believe that it is now, after the third dream, that the hero is rethinking the meaning of life, changing his worldview, gradually approaching spiritual perfection - that is, "Raskolnikov's moral revival is taking place, difficult, painful, but still cleansing and bright, bought at a price suffering” 21, and it is through suffering, according to Dostoevsky, that a person can come to true happiness.

So, the first dream of Rodion Romanovich Raskolnikov is prophetic. This dream is an omen that one should not commit a crime, that nothing good will come of it. The second dream is the dream of a man who made sure that he did not kill the old woman, but killed himself. The dream episode gives an answer to the main character that the experiment was started in vain and the hero did not pass the test for the "title" of an unusual person, Raskolnikov's theory fails. In the third dream, Raskolnikov looks at his theory in a new way, sees its inhumanity and regards it as a possible cause of a situation that threatens the human world with its consequences. It is during the third dream that the hero rethinks the meaning of life, changes his worldview, gradually approaches spiritual perfection - that is, a moral revival takes place.

Thus, in Crime and Punishment, dreams do not add any color to the novel. They are not only an understanding of the life situation of the hero, but also portend future changes in life. Just like in "Eugene Onegin", dreams here help to better understand the inner world very much. complex person- Rodion Raskolnikov. Raskolnikov's dreams are symbolic, their echoes resound throughout the novel, helping to better understand the writer's intention, because Dostoevsky's dream is an expression of the writer's views, a warning about future events.

Conclusion

Turning to the works of art of Russian writers of the XIX century "Eugene Onegin" A.S. Pushkin, "Oblomov" I.A. Goncharov, "Crime and Punishment" F.M. Dostoevsky, determined the place and role of the dreams of the main characters in them.

It was determined that the dream is an integral part of the novel in verse by A. S. Pushkin "Eugene Onegin". The dream of Tatyana Larina in the novel by A.S. Pushkin turns out to be a symbol, a signal of changes in the lives of the characters. In addition, the poet uses a dream to reveal the inner world of the characters (Tatyana and Onegin). Tatyana's dream is not just prophetic - it reflects in great detail the fate of the main characters and helps to understand the depth of the girl's feelings. And with the help of a large number of symbolic words used in the description of Tatyana's dream, the author not only reveals the images, but also gives the reader a chance to look into the future and find out the further fates of the heroes. In addition, Tatyana's dream-prophecy is an artistic technique that makes the text of the novel more colorful and convincing. Tatyana's dream is a reflection of the unconscious in the heroine's psyche, an opportunity to see the future.

It was found out that Goncharov uses the hero's dream as a plot element of the novel, which not only helps to reveal the character's inner world, but also shows the origins of Ilya Ilyich's character. In the chapter "Oblomov's Dream", the author gives a detailed description of his childhood, shows that Oblomov's laziness is an acquired quality, not an innate one. For Goncharov, a dream is a way to see the past in order to determine the present.

It was established that in "Crime and Punishment" dreams do not give any brilliance to the novel. They are not only an understanding of the life situation of the hero, but also portend future changes in life. Just like in Eugene Onegin, dreams here help to better understand the inner world of a very complex person - Rodion Raskolnikov. Raskolnikov's dreams are symbolic, their echoes resound throughout the novel, helping to better understand the writer's intention, because Dostoevsky's dream is an expression of the writer's views, a warning about future events.

Thus, dreams in Russian novels are multifunctional. They absorbed all three times: they showed pictures of the past, present and future, thereby pushing the spatio-temporal boundaries of the text and performing the function of memory. The introduction of fantasy elements (dream) is realistically motivated. This is both the form of introducing plot elements (for example, exposition in the novel by I.A. Goncharov), and the form of expressing the author's views (in Crime and Punishment), and the reflection of the unconscious in the hero's psyche (in the works of Dostoevsky and Pushkin).

The hypothesis put forward that dreams in realistic works of art do not have a decisive significance in the lives of heroes has not been confirmed: in works of art, dreams have a certain meaning in the lives of heroes. Writers used dreams very widely, revealing the character of the hero, his innermost thoughts and desires, feelings and experiences.

List of sources

Grandma's dream book 1918

M.V. Lebedeva "The motive of "sleep" in the novel by A.S. Pushkin" Eugene Onegin ", Vestnik NovGU, 1998

I.A. Goncharov, "Oblomov", 1859

http://www.litra.ru

Article "Dreams of Raskolnikov" (social psychoanalysis from Sergei Vygonsky), issue 12, 2005

Crime and punishment "- F.M. Dostoevsky, 1866

2 Grandma's dream book, 1918

3 Grandma's dream book, 1918

6 M.V. Lebedeva “The motive of “sleep” in the novel by A.S. Pushkin “Eugene Onegin”, Vestnik NovGU, 1998

7 I.A. Goncharov. Oblomov. Moscow, ch. 5, p.44, 1859

8 I.A. Goncharov. Oblomov. Moscow, ch.8, p.8, 1859

9 I.A. Goncharov. Oblomov. Moscow, ch.8, p. 82, 1859

10 I.A. Goncharov, Oblomov, ch. 9, p. 86, 1859

11 1 I.A. Goncharov, Oblomov, p.104

12 2 I.A. Goncharov, Oblomov, p.103

13 2 I.A. Goncharov, Oblomov, p.111

14 http://www.litra.ru

15 Article "Dreams of Raskolnikov" (social psychoanalysis from Sergei Vygonsky), issue 12, 2005

16 "Crime and Punishment" - F.M. Dostoevsky, part 6, ch. 5, 1866

17 "Crime and Punishment" - F.M. Dostoevsky, part 6, ch. 5, 1866

20 "Crime and Punishment" - F.M. Dostoevsky, epilogue, ch.2, 1866

In the first half of the 19th century, at the beginning of the formation of romanticism in Russian literature, such an artistic method as a dream began to be actively used in works of art.

Sleep as an artistic technique

This artistic technique performs many functions in the work. Firstly, it can act as an allegory and allegory, thanks to which the reader is taught, or the formation of logical chains in the structure of the work.

Secondly, the dream reveals inner essence hero, those qualities or thoughts that are not available to the reader. A vivid example of such a function of sleep in Russian poetry is the work of V.A. Zhukovsky "Svetlana".

The author reveals all fears through a dream main character, her dreams, experiences, a tendency to mystify life. The dream ends and we see again the same heroine we met at the beginning of the ballad.

Often, a dream as an artistic device is used to add information about the main events that occur in the life of the main characters.

Translation and processing of a work of art

The translation and reworking of a work of art in Russian literature arose at the turn of the 17th and 18th centuries. Russian writers and philologists during this period for the first time began to translate the works of foreign classics and church books into Russian.

However, the culture of translations and text processing developed in Russian literature in the 19th century. One of the first writers who managed to make high-quality Russian translations of foreign texts was V.A. Zhukovsky. It was he who first translated Goethe's immortal work "Faust" into Russian.

The main problem in the translation and processing of texts was such a phenomenon as literalism, which was eliminated only in the middle of the 20th century. Literalists were called translators - writers who made literal translation text, not paying attention to all the subtleties of its processing. In the process of translation, not only the essence of the work was lost, but also its spirit and atmosphere.

That is why the translation of works of art in the 19th century became the prerogative of outstanding sweats and writers who not only had an impeccable command of both languages, but also masterfully arranged all the original atmospheric moments of the work in translation.

Difficulties in translating and processing a work of art

All the main difficulties that arise in the process of processing and translating a work of art are based on the diversity of cultural and literary traditions. The main stumbling block is dialect words that need not only translation, but also processing.

In order to preserve the literary content, very often writers replace dialect expressions or words with analogues. mother tongue. Also, difficulties arise with abbreviations and slang expressions that are used in one country and are completely incomprehensible to another.

Often, jargons are the fruit of the mentality of a certain nation, which are understandable only to its members. Many translations fiction, which were made by Russian philologists several centuries ago, nowadays require additional processing, as many readers demand from works of art the ability to “keep up with the times”.

My essay is called "Dreams and Dreams in Russian Literature".

There is one old parable. The philosopher dreamed that he became a moth. And, waking up, he no longer knew who he was: a wise old man who saw in a dream that he had become a moth, or a moth who dreams that he is a wise old man.

The world of dreams and dreams has been of interest to man since ancient times. as something as close to our understanding as far from it. While awake, we see and understand what is happening around, evaluate what is happening - our consciousness works the way we want it to. But what happens to a person's consciousness in a dream? A mystery shrouded in the darkness of the night...

The study of dreams is exciting. Having once touched on the topic of dreams, you strive to study this topic as much as possible. So, one day I became interested in esotericism, in particular the phenomenon of hypnosis, and hypnosis and sleep are more than closely related. I wondered if dreams and dreams had such a big role in literature, and That's why I chose this topic for my essay.

In Russian literature dreams have always played no less, and sometimes more role, than reality. Many authors made the dream a full-fledged “character” of their works. Dreams allow you to better understand the characters of their heroes, the reasons for their actions, their attitude towards people and towards themselves. After all, in fact, sleep is the time when the subconscious of a person is released. It is not constrained by external conventions, it does not allow to lie, pretend and hide behind masks. Probably, it is for these reasons that the authors so often resort to the method of revealing the personality of a character through his dream.

During the work on the essay, I reviewed four works Russian classics: "Eugene Onegin", "Crime and Punishment", "Quiet Don", and "Master and Margarita". In each of these novels, dreams play their own specific role - there are no general canons and cannot be.

In the novel "Eugene Onegin" Alexander Sergeevich Pushkin uses dreams to reveal the inner world of the characters (Tatiana and Onegin). With the help of a large number of symbolic words used in the description of Tatyana's dream, the author not only reveals the images, but also gives the reader a chance to look behind the veil of secrecy and find out the further fates of the heroes. In addition, Tatyana's dream is an artistic device that makes the text of the novel more colorful.

In "Crime and Punishment" on the contrary, dreams do not add any color to the novel, but cloud even more obscure things. Just like in Eugene Onegin, dreams here help to better understand the inner world of a very complex person - Rodion Raskolnikov. Raskolnikov's dreams are symbolic (the antithesis of the church and the tavern in the first dream); their echoes are present throughout the novel. In addition, the reception of dreams helps to better understand the meaning of the work (Raskolnikov's third dream).

In the novel "Quiet Flows the Don" the dream of General Kornilov is prophetic. With the help of symbols, Sholokhov seems to be telling the general the future of his army. Through a dream, the author gives an assessment of the character - Kornilov is not the hero that will save Russia; and shows the reader the inner world of the general.

In The Master and Margarita dreams are used as a "bridge" to another reality, perhaps into a hypnotic trance induced by Woland and his retinue (or Bulgakov himself?). The dream of Pontius Pilate is symbolic - the confrontation between good and evil, as a result of which good wins, forgiveness and freedom come - the path to Truth. In addition, the dream (or rather, its absence) is used by the author as a way of deeper disclosure of the image of the procurator, and later - as a punishment for Pilate.

In all four works dreams and dreams are one of the most important artistic techniques, because they help the author to fully convey his idea to the reader.

Sleep is always a mystery, and by trying to solve it, you can come to amazing discoveries. (It was not for nothing that Dmitry Ivanovich dreamed of the periodic table!) When I was working on the abstract, I wanted to re-read my favorite books (because they contained dreams!) and try to figure out what they - these dreams - mean. Suddenly I scrolled through, not paying attention, the whole world full of answers and meaning?

The work was carried out on the basis of GBOU school No. 1080.
The team behind the data research project, consisted of two people:
supervisor of work - Gureeva Olga Yakovlevna, teacher of Russian and literature, GBOU school No. 1080,
the author of the work is Tortsova Maria Sergeevna, a student of grade 11 "B" GBOU school No. 1080.

In this project, works of Russian literature were considered, in which dreams and dreams of heroes were used as one of the compositional elements. main goal project was to determine the significance this technique in the ideological and compositional structure of the works. We needed to figure out how and why different authors used the technique of sleep and dreams. This project is significant for its practical result: in the course of the work, a literary dream book was compiled based on the images of dreams of a number of works of Russian literature, a survey was conducted among students in the fifth and tenth grades (Appendix 2). Literary dream book can be used by teachers educational institutions and students as a guide to literature lessons. The questionnaire also has a practical meaning, as it is a collection of data from a real survey, which gives new information about students, their preferences, thoughts and opinions on the topic.

Files:

• As of January 16, 2018 2:19 PM (5.1 MB)
• Appendix: Dreams and Dreams in Russian Literature As of January 16, 2018 2:19 PM (12.2 KB)
• Appendix: Dreams and Dreams in Russian Literature As of January 16, 2018 2:19 PM (29.1 KB)
• Presentation: Dreams and dreams in Russian literature As of January 16, 2018 2:19 PM (70.9 KB)
• Text of the work: Dreams and dreams in Russian literature As of January 16, 2018 2:19 PM (44.7 KB)

results peer review

Expert map of the interdistrict stage 2017/2018 (Experts: 3)

Total points: 13