Verification work in geography on the topic “Political map of the world. The key to the test "Geography of the population of the world"

XXIII Regional Scientific and Practical Conference of Schoolchildren of the Dinskoy District Section: Literature Typology of Dreams of Literary Heroes in Russian Literature of the 19th-20th Century Author: Blokhina Anastasia Vladimirovna, student of the 11th grade of BOUSOSH No. 1 of the Moscow Region Dinskoy District Supervisor: Bulatova Liliya Petrovna, teacher of Russian language and literature BOUSOSH №1 MO Dinskoy district 2012 CONTENTS I.. Introduction…………………………………………………….. pg. 3 II. Typology of dreams in Russian literature of the 19th-20th centuries 2.1. Sleep-forgetfulness ........................…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………… 4-6 2.2. Sleep-prediction ..................................................................... 6-8 2.3. Sleep warning………………………………........... 8-9 2.4. Dream-prophecy……………………………...................... 9-11 2.5 Dream-punishment………………… ……………………......... 11-12 2.6. Dream-symbol………………………………........................... 12-14 III. Conclusion…… ……………………………………………...14 IV.List of references…………………….....15 V.Appendices ………………… …................................................. 5.1. A guide to the dreams of literary heroes of the 19th and 20th centuries.....16 5.2. Scheme "Types of Literary Dreams"....................................................17 5.3 . Dream Interpretation of Tatyana's Sleep ............................................... ....................17 5.4. Dream in painting and music .............................................. ..............18-19 5.5. The list of works, in the title of which there is the word "DREAM" -19 5.6. Illustrations for works of Russian literature.............20-21 2 TYPOLOGY OF DREAMS OF LITERARY HEROES IN RUSSIAN LITERATURE OF THE 19-20th CENTURY I. INTRODUCTION The world of dreams and dreams has been of interest to man since ancient times as something equally close our understanding, how 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...Poets and writers, composers, artists tried to unravel this mystery (Appendix 4). The study of the mechanisms of sleep and the nature of dreams gives researchers the key to understanding the laws of the work of the spiritual life of man. In my work, I investigated the function of dreams in the works of Russian writers and made an attempt to classify dreams depending on the role they play in literary texts of various genres. The subject of my research is not accidental. The desire to unravel the past or look into the future and find out what is in store for fate owns each of us. One way to fulfill this desire is the interpretation of dreams. We live in an extraordinary time when there is a special interest in the inner world of man. It is in the works of Russian writers that one can find answers to many questions that concern the modern reader. II. TYPOLOGY OF DREAMS IN RUSSIAN LITERATURE The motive of sleep in literature is one of the most common. According to A.M. Remizov, a researcher of dreams in literature, "... a rare work of Russian literature does without sleep." And V.V. Rozanov once remarked: "There is only one real theme in Russia: sleep." There are many works in Russian literature that have the word “DREAM” in their titles (Appendix 5). Many authors made the dream a full-fledged “character” of their works. Why did writers and poets turn to this technique? The dreams of literary heroes allow us to better understand their characters, 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. And it is not constrained by external conventions, it does not allow you to lie, pretend and hide behind masks. Perhaps it is for these reasons that the authors so often resort to the following technique: revealing the personality of a character through his dream. The dreams of heroes are different: with the help of some, the heroes escape from reality, others tell them what choice to make, some dreams predict the future. Depending on the role of dreams in the text of a work of art, in my opinion, several main types of dreams can be distinguished: oblivion dream, premonition dream, warning dream, prophecy dream, punishment dream, symbol dream (Appendix 2). Consider the features of each dream on the example of texts of works of art. 2.1. DREAM-Oblivion The word "forgetfulness" means temporary oblivion, a state in which you are transferred from reality to another world, more light and joyful. In the literature, several oblivious dreams can be distinguished: the dream of a lyrical hero in the poems of M.Yu. Lermontov's "Dream", "I go out alone on the road ...", the second dream of Raskolnikov, the protagonist of the novel by A.F. Dostoevsky "Crime and Punishment", youthful dreams of Katerina from the drama by A.N. Ostrovsky "Thunderstorm", Piskarev's dream from the story of N.V. Gogol "Nevsky Prospekt". These dreams help the heroes to forget for a while, escape from reality, feel peace and find peace. It is sleep-oblivion that we meet in the poem “I go out alone on the road ...”, written by M. Yu. Lermontov in Last year the poet's life. The motive of death is developed in it, which gives the work a tone of sadness, even despair and hopelessness, and is closely intertwined with the motive of loneliness, characteristic of all his works. Moreover, it is the motive of the hero's loneliness that makes him want to "fall asleep forever." The lyrical hero deliberately leaves others. He admits that he dreams "all night, all day" of listening to a "sweet voice" that sings a quiet, cherished love song. But this dream in reality seems to him unrealizable, the realization of this leads to a gloomy confession, full of despair and hopelessness: I do not expect anything from life, I am looking for freedom and peace! And I do not feel sorry for the past at all; I would like to forget and fall asleep! The anguish and loneliness of a homeless human heart is opposed by the unity of natural life. natural world seems ideal to the hero, where one echoes the other, the third - the fourth, and at the same time does not in any way violate the general silence and serenity. In the world of nature, the hero is attracted by calmness, harmony, integrity. The fabulous picture of the hero's dream in the shade of a strong dark oak, under a mythical sweet voice singing about eternal love, is amazing and beautiful. It's a dream that you don't want to wake up from. It brings calmness, peace and oblivion. Oblivion-dreams also become salvation for Gogol's heroes, they erase the boundaries between dream and reality, "dream and reality are mutually recoded", thus forming "a kind of semantic field of lies". In the story "Nevsky Prospekt", Piskarev, who found himself immersed in his dreams of oblivion, finds there the only refuge in the "muddy mess" of life and the opportunity to say about the abnormality of this world: "Oh, how disgusting it is, reality!" The desire to break away from reality, to plunge into “light dreams” becomes for him the need to hide from reality, in which “the everyday and real began to strangely strike his ear. Finally, dreams became his life, and from that moment his life took a strange turn: he, one might say, slept in reality and was awake in a dream. In a dream, Piskarev imagined a completely different world, living according to its own laws, understandable only to him. The discrepancy between sleep and reality, pink fog and low, despicable life, filled with emptiness, had a detrimental effect on him. His life turned into a dream because only in short moments of oblivion was he inspired by something, only then did his thoughts and feelings come to life. Close in character to these dreams is the second dream of Raskolnikov, the protagonist of the novel by F.M. Dostoevsky "Crime and Punishment". This is a dream-dream that he dreamed of on the eve of the crime. He sees himself in Egypt, in an oasis, palm trees, blue and cold water, "clean sand with golden sparkles", he drinks water directly from the stream. The landscape of this dream is clearly opposed to the stuffy Petersburg, and the cold water, blue and gold colors of the dream allow us to imagine what Raskolnikov's soul longs for. The scene of the dream is Egypt, a country in which all sorts of trials fell to the lot of the Old Testament characters. Trials await the hero of the novel. The beauty of the images of this dream calms Raskolnikov for a moment. This is a dream - oblivion, a dream - a deception that fate sends to the soul of a criminal on the eve of trials. Alexei Turbin, the hero of the novel by M.A., is also forgotten in his dreams. Bulgakov "The White Guard". Alexei Turbin dreams of the City. The image of the City radiates an extraordinary light, the light of life, which is truly inextinguishable. The City began to dream of the Turbine in the morning. It is not called Kyiv anywhere, although its signs are clear, it is simply the City, but with a capital letter as something generalized, eternal. It is described precisely in the hero’s dreams: “Like a multi-tiered honeycomb, the City smoked, and chalk lived. Beautiful in frost and fog on the mountains, above the Dnieper. The streets smoked with haze, giant snow creaked. And there were as many gardens in the City as in no other city in the world... the bend of the frozen Dnieper ... It played with light and shimmered, shone and danced and shimmered The city at night until the morning, and in the morning it faded, dressed in smoke and fog. A magnificent, almost symbolic picture, which combines the memories of youth, the beauty of the City and anxiety for its future, for the fate of everyone. In the dreams of the hero, the City appears true, real, as opposed to the City, tormented by the revolution, as the heroes see it in reality. key point is the dream of Alexei Turbin, in which he sees paradise. Both Nai-5 Tours and Sergeant Zhilin find themselves in paradise together. Bulgakov wants to tell the reader that what matters is not which camp or political system a person belongs to, what matters is who he is. The best people, both red and white, end up in paradise, because they deserve it by the way they lived their lives. God speaks of reds and whites: "you are all the same to me, killed on the battlefield." This is a view from the height of universal positions, which is also available to the author. 2.2. DREAM-PRESENTING Premonition is the ability to see in advance any events in life. These dreams are usually a premonition of something tragic. Unlike dreams, predictions do not contain events that subsequently occur in the lives of the characters. These dreams are generated by anxiety, excitement, doubts that torment the human soul. The premonition is Katerina's dream in The Thunderstorm, the dream of the Teenager from the novel of the same name by F.M. Dostoevsky, the dream of Anna Karenina, the heroine of the novel by L.N. Tolstoy "Anna Karenina", Andrei Bolkonsky's dream in "War and Peace". Let me dwell on some of these dreams. In the drama A.N. Ostrovsky’s Thunderstorm, Katerina, having told Varvara about the dreams of her youth, complains: “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is talking to me so affectionately, as if he’s dove me, like a dove cooing. I no longer dream, Varya, as before, paradise trees and mountains; but it’s as if someone is leading me, hugging me so hot and hot and leading me somewhere, and I follow him, I go ... ”Katerina fell in love, she craves love, she wants to ride along the Volga,“ on a boat, with songs , or on a good troika, embracing ... ". “Only not with her husband,” Varvara instantly responds. Katerina's dreams are psychologically justified, they reflect her inner state, the change in her soul under the influence of love, her inability to fight "sin". Her dreams and foreboding: “It’s as if I’m standing over an abyss, and someone is pushing me there, and there’s nothing for me to hold on to,” or rather, “no one for.” The dreams of Anna Karenina in L.N. Tolstoy "Anna Karenina". She tells Vronsky that she sees the same dream: "I saw that I ran into my bedroom, that I needed to take something there, to find out something, and in the bedroom, in the corner, there was something." “And this something turned, and I see that this is a small peasant with a disheveled beard and scary. I wanted to run, but he bent over the bag and his hands were fumbling about something there ... "" He fumbles and says in French ... "And I wanted to wake up from fear, woke up. .. but I woke up in a dream. And I began to ask myself what it means. And Korney said to me: “You will die in childbirth, childbirth, mother ...“ And I woke up ... ”And, indeed, we remember that Karenina almost died of childbed fever, but it turns out that the dream promised otherwise: he was harbinger of suicide. In part VII, ch. XXVI. In the novel, a crisis ensues between Karenina and Vronsky. On the night before her death, Anna takes opium and falls into a "heavy, incomplete 6 sleep." “In the morning, a terrible nightmare, repeated several times in her dreams even before the connection with Vronsky, presented itself to her again and woke her up. An old peasant with a disheveled beard was doing something, bending over the iron, pronouncing meaningless French words, and she, as always in this nightmare (which was his horror), felt that this peasant did not pay attention to her, but did this is some kind of terrible thing in the gland above it<...>And she woke up in a cold sweat." In some contradiction with the previous narrative is the author's message that Anna had seen this dream many times "even before the connection with Vronsky." Soon Karenina decides to commit suicide: "And suddenly, remembering the crushed man on the day of her first meeting with Vronsky, she realized what she had to do." The circle is closed; Anna throws herself under the train: "<...>something huge, inexorable pushed her in the head and dragged her behind<...> The peasant, saying something, worked on the iron. So, we can say that the image of a “man”, appearing in a dream and in reality, haunts Anna, accompanying almost all the main events in her life, each appearance of this character strengthens Anna’s heavy foreboding of impending disaster in her soul. Let's turn to another hero created by L.N. Tolstoy, whose dream is a premonition of imminent death. In the novel “War and Peace”, the seriously wounded Bolkonsky sees a dream in which he imagines death trying to enter the door, which the dying man tries in vain to close: “He saw in a dream that he was lying in the same room in which he actually lay, but that he was not wounded, but healthy. Many different persons, insignificant, indifferent, appear before Prince Andrei. He talks to them, argues about something unnecessary. They are going to go somewhere. Prince Andrei vaguely recalls that all this is insignificant and that he has other, most important concerns, but continues to speak, surprising them, some empty, witty words. Little by little, imperceptibly, all these faces begin to disappear, and everything is replaced by one question about the closed door. He gets up and goes to the door to slide the bolt and lock it. Everything depends on whether or not he has time to lock it up. He walks, in a hurry, his legs do not move, and he knows that he will not have time to lock the door, but still painfully strains all his strength. And a tormenting fear seizes him. And this fear is the fear of death: it stands behind the door. But at the same time as he helplessly and awkwardly crawls up to the door, this something terrible, on the other hand, is already, pressing, breaking into it. Something not human - death - is breaking at the door, and we must keep it. He grabs the door, exerts his last efforts - it is no longer possible to lock it - at least to keep it; but his strength is weak, clumsy, and, pressed by the terrible, the door opens and closes again. Once again, it pressed from there. The last, supernatural efforts are in vain, and both halves opened silently. It has entered, and it is death. And Prince Andrew died. 7 But at the same moment as he died, Prince Andrei remembered that he was sleeping, and at the same moment as he died, he, having made an effort on himself, woke up. “Yes, it was death. I died - I woke up. Yes, death is an awakening!” - suddenly brightened in his soul, and the veil that had hidden the unknown until now was lifted before his spiritual gaze. He felt, as it were, the release of the previously bound strength in him and that strange lightness that had not left him since then. When he woke up in a cold sweat, stirred on the sofa, Natasha went up to him and asked what was wrong with him. He did not answer her and, not understanding her, looked at her with a strange look. That was what happened to him two days before Princess Mary's arrival. From that very day, as the doctor said, the debilitating fever took on a bad character, but Natasha was not interested in what the doctor said: she saw these terrible, more undoubted, moral signs for her. From that day on, for Prince Andrei, along with the awakening from sleep, the awakening from life began. And in relation to the duration of life, it did not seem to him more slowly than awakening from sleep in relation to the duration of a dream. If we assume that Bolkonsky died on October 11, his “awakening”, the closing of the door falls on October 7, because it happened “four days before his death.” Thus, we see that the dream that Andrei Bolkonsky had was a dream-premonition of imminent death. 2.3. WARNING DREAM Warning dreams are always very symbolic. They are usually used by writers in cases where the hero is faced with some difficult choice. Warning dreams tell the heroes how to do the right thing, make them think again about the meaning of the events happening to them. These dreams include Raskolnikov's first dream, Bazarov's dream before the duel in the novel by I.S. Turgenev "Fathers and Sons", Natalia's nightmare in the novel by I.A. Bunin "Sukhodol". Let us dwell on the analysis of Raskolnikov's dream. The first dream that Raskolnikov sees even before the murder of the old pawnbroker serves as a warning for him, a kind of warning sign. The reason for the dream is the difficult moral state of a person who has made an inhuman decision to kill an old pawnbroker, an implicit law of the "scales", the bowls of good and evil. Raskolnikov fell asleep in the bushes in the park after the "trial" and a difficult meeting with Marmeladov. Before falling asleep, he wanders around St. Petersburg for a long time and thinks about the usefulness of killing an old pawnbroker who has outlived her life and "seizes" someone else's. Raskolnikov dreams of his childhood, still in his native town. He sees himself as a child, he is seven years old. He walks with his father outside the city. Dull, grey. On the edge of the city there is a "big tavern". It is strange that there is a "church with a green dome" and a cemetery nearby. Laughing, screaming, fighting. The drunken crowd gets into the cart, and Mikolka beats the horse. Finally, someone shouts: “With an ax, what! End her at once…” The boy rushes to defend her, cries, “grabs her dead, bloody muzzle and kisses her, kisses her eyes, lips.” Raskolnikov wakes up “covered in sweat” and decides to abandon the murder: “Is it really possible that I will take an ax, start hitting her on the head, crush her skull ... I can’t stand it, I can’t stand it! » The main idea of ​​this episode is the rejection of murder by the nature of a person, and in particular by the nature of 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. Seven-year-old Rodion, seeing a terrible picture of cruelty, seems to be trying to stop the adult Rodion, to reason with him. But the efforts are in vain: "The nag stretches its muzzle, sighs heavily and dies." The constant mention of the word "ax" is a kind of link between dream and reality, emphasizes the inevitability of upcoming events. So at a certain point, a warning becomes a prediction. The beating of the animal once again reminds Rodion of violence in the world, strengthens his conviction in the correctness of his theory of the "superman", who is allowed to "murder in good conscience", in the name of a great idea, "saving for mankind", and serves as another impetus to the hero's crime. This dream is an omen that Raskolnikov should not commit a crime, that he will not succeed. Just as in a dream, little Rodya tries to protect the horse, but turns out to be powerless against cruel drunken peasants, in life he is a small person who is unable to change the social system. 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. 2.4. DREAM-PROPHECY Dreams-prophecies, or prophetic dreams filled with symbols and signs, fascinate the reader and prepare him for the upcoming events in the plot of the work. This is probably the most large group dreams. This group includes the dream of Tatyana Larina in the novel "Eugene Onegin", the dream of Gregory in "Boris Godunov" by A.S. Pushkin, Marya Gavrilovna's dream from the story "The Snowstorm", Pyotr Grinev's dream in "The Captain's Daughter", Chertkov's dream in Gogol's story "Portrait", the last dream of Rodion Raskolnikov, Nikolenka's dream in "War and Peace" by L.N. Tolstoy, the dream of Ivan Bezdomny, the hero of M. Bulgakov's novel "The Master and Margarita", the dream of General Kornilov in "The Quiet Don of M. Sholokhov", the dream of the Lord from San Francisco in the work of the same name by I.A. Bunin. The dream of Elena, Bulgakov's heroine of The White Guard, is also prophetic. Let's analyze some of the above dreams. 9 Tatyana's dream in the novel in verse "Eugene Onegin" is also a premonition of trouble. The episode of Tatyana's dream occurs to the reader in the middle of the novel - by this moment he is already quite familiar with the main characters. Onegin's visit to the Larins' house, the acquaintance of Yevgeny and Tatyana are left behind, a love letter has already been written and a refusal has been received ... Only the suffering of the unfortunate girl continues. Tormenting her own heart and trying to find the solution 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. “And Tatyana has a wonderful dream...” Tatyana 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”. At this moment, a bear appears from the snowdrift, extends his hand and takes Tatyana across the stream. After that, she continues on her way, but not alone, but pursued by a bear. In an attempt 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 ... A knock on the door - Lensky and Olga enter ... 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 Tatyana, she begins to look in the dream book for the meaning of what she saw, but comes to the conclusion that “Martyn Zadeka will not solve her doubts; but an ominous dream promises her many sad adventures. In fact, Tatyana's dream is a very symbolic episode of the novel. To comprehend the meaning of this episode, I singled out symbolic words and turned to the dream book. A detailed interpretation of the symbols (Appendix 3) proved that this dream is not just a prophetic dream: it reflects the fate of the main characters in the smallest detail and helps to understand the depth of the girl's experiences. The heroine of the story A.S. Pushkin's Snowstorm, Marya Gavrilovna had two dreams, one of which turned out to be prophetic. She “... then saw Vladimir lying on the grass, pale, bloody. He, dying, begged her in a piercing voice to hasten to marry him ... other ugly, meaningless visions rushed before her one after another. In this dream, we see a reflection of Marya Gavrilovna's premonition of "fatal doom", imminent death Vladimir. From further narration, we learn that shortly after that fateful night, Vladimir was mortally wounded near Borodino, on August 26, that is, probably, he really "lay on the grass, pale and bloodied," as Marya Gavrilovna dreamed in advance. Dreams anticipate "the fate of their heroes, in whose lives the blizzard intervenes in the same way." A prophetic dream is also dreamed by Pyotr Grinev from the story " Captain's daughter ". This dream, as if tying together the fate of Petrusha and Emelyan Pugachev, predicts that 10 their life paths will intersect. The dream anticipates further events. Grinev dreams that he arrives at the estate and finds his father dying. Coming closer for a blessing, he sees a peasant with a black beard, whom his mother calls "an imprisoned father." Peter refuses to ask for blessings, as he later refuses to swear allegiance to Pugachev, who in the future will help him and his beloved Masha more than once, becoming their kind of "implanted father." "Puddles of blood", an ax in his father's hand, the dead bodies filling the room foreshadow to Grinev the bloody, cruel events of the Pugachev rebellion.2.5 DREAM-PUNISHMENT A dream in a work of art can serve the same purposes as the "Aesopian language", being, as it were, an allegory, an allegory.As a rule , such dreams are inherent in a logical construction, teaching, sometimes as a moralizing dream becomes a kind of punishment for the hero. Raskolnikov's third dream, Svidrigailov's dream in Dostoevsky's Crime and Punishment, Pontius Pilate's dream in Bulgakov's The Master and Margarita. I will stop at the last one. The great tragedy of Pontius Pilate begins on the day of the execution of Yeshua Ha-Nozri, namely on the festive, Easter night. He orders to make a bed for him on the balcony - on the same balcony from which Yeshua interrogated the day before and pronounced a terrible sentence. Now the procurator lay on the bed for a long time, but sleep did not come. Finally, towards midnight, he fell asleep. ... As soon as the procurator lost contact with what was around him in reality, he immediately set off along the luminous road and went along it straight up to the moon. He even laughed in his sleep with happiness, before that everything turned out perfectly and uniquely on the transparent blue road. He was accompanied by Bungui, and next to him was a wandering philosopher. They were arguing about something very difficult and important, and neither of them could defeat the other. They did not agree on anything with each other, and for this reason their dispute was especially interesting and never-ending. It goes without saying that today's execution turned out to be a pure misunderstanding - after all, the philosopher who invented such an incredibly absurd thing like the fact that all people are kind walked nearby, therefore, he was alive. And, of course, it would be absolutely terrible even to think that such a person could be executed. There was no punishment! Did not have! That's the beauty of this journey up the stairs of the moon... This dream of Pilate is not only symbolic, but also psychological and reveals one of the author's intentions. The symbolism of this episode lies in the image of the moon and moonlight. The image of the moon runs through the whole work, personifying goodness; lunar path - the path to the moon - and therefore the path to the truth. In a dream, Pilate goes after Yeshua - he understands that only this kind philosopher can save him from lies, from the hated position of the procurator and help him find truth and peace. The ancient custom that good triumphs over evil was also realized in The Master and Margarita: realizing his terrible mistake, Pilate repents, and the good beginning triumphs in this hero. In the episode of Pontius Pilate's dream, new spiritual qualities of the procurator are revealed: he realizes what his most a big problem(and cowardice is undoubtedly one of the worst vices). He repents of the execution of Yeshua. He loves the procurator, putting his hand on the dog's neck, and at last closes his eyes. – Banga was the only creature on the planet that Pilate really loved.) From this dream, the punishment of Pontius Pilate will begin. And not just a punishment, but a punishment with sleep: for about two thousand years he has been sitting on this site and sleeping, but when the full moon comes, as you can see, he is tormented by insomnia. The punishment will last two thousand years, until one day spring night The master will not shout with all his might “Free! Free! He is waiting for you!" and the mountains will not collapse and a huge pointed-eared dog will not run along the lunar path, and after it - its owner - the fifth procurator of Judea, the rider Pontius Pilate. The role of dreams in The Master and Margarita is colossal. Dreams help the author to achieve a hypnotic effect, blurring the line between truth and fiction; they, reflecting the soul of the sleeping person, help the reader to better understand the image of the hero; and are also a reflection of one of the semantic lines of the novel - the confrontation between good and evil. 2.6. DREAM-SYMBOL Very many literary dreams are dreams-symbols, reflecting the position of the author. Such dreams are Oblomov's dream in the novel "Oblomov" by Goncharov, the dreams of Petya Rostov and Pyotr Kirillovich Bezukhov, the dream of Pierre Bezukhov in the novel by L.N. Tolstoy's "War and Peace", the watchman's dream in Bulgakov's novel "The Master and Margarita", Vera Pavlovna's dreams in Chernyshevsky's novel "What to Do?" story by I.A. Bunin "Dry Valley", the second dream of Zoska, the heroine of V. Bykov's story "Go and not return." In the novel by I. A. Goncharov "Oblomov" the key place is occupied by "Oblomov's Dream". And this is no coincidence. It is at the subconscious level that the image of the hero, his dreams, ideas about life are more fully and deeply revealed. Oblomov's dream is absolutely different from other dreams of Russian literature. Everything in it is sustained in the spirit of the idyll. The dream does not prophesy, does not warn, it explains inner world hero, reveals the fundamental, primordial features of the Russian character. Oblomovka is a symbol of Russian life. The hero is transferred in this chapter to his childhood, to the happiest time. At first, Ilya Ilyich was only seven years old. He wakes up in his bed. The nanny dresses him, leads him to tea. The entire “staff and retinue” begin to shower him with caresses and praises. After that, feeding him with buns, crackers and cream began. Then his mother let him go for a walk with the nanny. The day in Oblomovka passed seemingly meaninglessly, in petty worries and conversations. “Oblomov himself - the old man is also not without work. He sits at the window all morning and strictly observes everything that is happening in the yard ... But the main concern was the kitchen and dinner. The whole house conferred about dinner.” After dinner, everyone slept together. The next time that comes to Oblomov in a dream is when he got a little older, and the nanny tells him fairy tales. Ilyusha is cherished, "like an exotic flower in a greenhouse." His parents dreamed of an embroidered uniform for him, “imagined him as an adviser in the chamber, and his mother even as a governor. They believed that it was necessary to study lightly, not to exhaustion of the soul and body, not to the loss of the blessed fullness acquired in childhood, but in such a way that only to comply with the prescribed form and somehow get a certificate in which it would be said that Ilyusha had passed all science and art." The immobility of life, slumber, a closed existence - this is not only a sign of the existence of Ilya Ilyich, this is the essence of life in Oblomovka. She is isolated from the whole world: "Neither strong passions, nor courageous enterprises worried the Oblomovites." And Oblomov's dream helps us understand this. Dream reflects real life, which was typical for Russia of that time, which rejected the innovations of the West. Symbolic is the dream of the guard in the novel The White Guard. An armored train stood at Darnitsa station. Soon the Reds will take the City. Near the armored train in a pointed doll-hood sentry. He is numb and constantly walks, his shadow walks behind him. “The shadow, now growing, now ugly hunchbacked, but invariably sharp-headed, dug the snow with its black bayonet. The bluish beams of the lantern hung in the rear of the man. Two bluish moons, not warming and teasing, burned on the platform. A person cannot warm up. His eyes were blue, "suffering, sleepy, languid." He dreams of warmth, but the cold light of lanterns is all around, and his gaze directed to the sky sees cold stars. “It was most convenient for him to look at the star Mars, shining in the sky ahead of Slobodka ... It contracted and expanded, obviously lived and was five-pointed.” The man fell into a half-asleep. The black wall of the armored train did not leave the dream. “An unseen firmament grew in a dream. All red, sparkling and all clad with the Marses in their living brilliance. The human soul was instantly filled with happiness. An unknown, incomprehensible rider in chain mail came out and brotherly swooped down on the man. It seems that a black armored train was just about to fail in a dream, and instead of it, the buried village of Small Chugry grew in the snow. He, a man, is at the outskirts of Chugrov ... ”The sentry wakes up. “The sleepy firmament disappeared, again dressed the whole frosty world with the blue silk of the sky, pierced by the black and destructive trunk of the gun. Venus played reddish, and from the blue moon of the lantern, from time to time, a reciprocal star gleamed on the chest of a person. She was small and also five-pointed. What is the meaning of this dream? It is meaningful and symbolic. A man from Chugry, apparently, a peasant boy, torn from peaceful life, who became a helmet-bearer, a man of the 13th war. He disappears, petrifies, but he is full of faith, and like a person seized with faith, he looks into the sky, and there and on the earth colors shine, beautiful, but cold. The star Mars is in the sky. Mars is the god of war and the star is red. What kind of a red fighter can she see? Of course, five-pointed. five pointed star glitters on his chest. The nineteenth year is terrible, the red star Mars is burning in the sky. The last episode of the novel. "And finally, Petka Shcheglov had a dream in the wing." “Petka was small, so he was not interested in either the Bolsheviks, or Petlyura, or the Demon. And the dream he dreamed was simple and joyful, like a ball of sunshine. It was as if Petka was walking along a large earthly meadow, and on this meadow lay a sparkling diamond ball, larger than Petka. In a dream, adults, when they need to run, stick to the ground, groan and rush about, trying to tear their legs off the quagmire. Children's legs are frisky and free. Petka ran to the diamond ball and, choking with joyful laughter, grabbed it with his hands. The ball doused Petka with sparkling spray. Here is the whole dream of Petka. He burst out laughing in the night with pleasure. When reading this dream, a non-random association arises with the dreams of Petya Rostov and Pyotr Kirillovich Bezukhov. A ball with spreading and merging drops is a symbol of unity, harmony. The ending of Bulgakov's novel gives hope, like a child's dream. “Over the Dnieper, from the sinful and bloodied and snowy land, Vladimir’s midnight cross rose into the black, gloomy heights. From a distance, it seemed that the crossbar disappeared, merged with the vertical, and from this the cross turned into a threatening sharp sword. And the last paragraph: “But he is not terrible. All will pass. Suffering, torment, blood, hunger and pestilence. The sword will disappear, but the stars will remain, when the shadow of our bodies and deeds will not remain on earth. There is not a single person who does not know this. So why don't we want to turn our eyes to them? Why?" III. CONCLUSION So, we made a small, sightseeing trip to mysterious world dreams of literary characters. Each dream fascinates the reader in its own way: some are turned to the past and tell about the true state of the hero’s soul, others predict the future, intrigue and, as if through a haze of riddles and symbols, “show us upcoming events. Thus, through dreams, as a special form of expression of the elements of the unconscious beginning, a writer or poet can convey any thought and idea. And this is undoubtedly a masterful technique in literature. On the one hand, a dream serves as a kind of background or digression in the plot, on the other hand, an attentive reader will see the author’s personal attitude to any problem, and the character traits hidden in the hero, and all the complexity of his nature. Therefore, great writers and poets very often resorted to this technique, setting themselves a difficult task: to make the work bright, versatile, lively, artistically expressive and rich. LIST OF USED LITERATURE 1. M.Yu. Lermontov. Works in 2 volumes. M.: Pravda, 1988. 2. N.V. Gogol. Works in 2 volumes. M.: Eksmo, 2003. 3. Goncharov I.A. Oblomov: A novel in 4 parts. L.: Fiction, 1978. 4. Bulgakov M.A. Collected works. In 5 volumes - M.: Fiction, 1990. 5. A.S. Pushkin. Works in 3 volumes. M.: Fiction, 1992. 6. N.S. Leskov. Works in 5 volumes. M.: Pravda, 1989. 7. N.A. Ostrovsky. Thunderstorm. M.: Fiction, 1984. 8. Chernyshevsky N.G. What to do? From stories about new people. Minsk: Belarus, 1969. 9. Lotman Yu.M. Roman A.S. Pushkin "Eugene Onegin". Comment. - L .: Education, 1980. 10. Nadezhdina V. The most complete modern dream book: 100,000 interpretations. - Minsk: Harvest, 2008. 11. Ozhegov S.I., Shvedova N.Yu. Dictionary Russian language. - M.: Az, 1995. 12. Dal V.I. Explanatory dictionary of the Russian language. Modern version. - M.: Eksmo, 2002. 13. Gershenzon M.O. Articles about Pushkin. M.: Academia, 1926. 14. Bakhtin M.M. Problems of Dostoevsky's Poetics. M.: Sov. Russia, 1979. 15. Karyakin Yu.F. Raskolnikov's self-deception. / Dostoevsky and the eve of the XXI century. - M., 1989. 16. Lotman M.Yu. In the school of the poetic word: Pushkin, Lermontov, Gogol. - M.: Education, 1988 LIST OF USED INTERNET RESOURCES 1. http://www.studbirga.info 2. http://www.proza.ru 3. http://www.rlspace.com 4. http:/ /www.portal-slovo.ru 5. http://www.nevmenandr.net 6. http://www.sgu.ru 7. http://www.goncharov.spb.ru 8. http://www .e-kniga.ru 15 9. http://lit.1september.ru 10. http://ru.wikipedia.org APPENDIX 1 GUIDE TO THE DREAMS OF LITERARY HEROES OF THE 19-20th CENTURY 1. V.A. Zhukovsky. "Svetlana" is the main character's dream. 2. A.N. Griboyedov. "Woe from Wit"  Sophia's dream. 3. A.S. Pushkin. "Eugene Onegin"  Tatyana's dream  Onegin's dream "The Captain's Daughter" Pyotr Grinev's dream "The Undertaker"  Andrian Prokhorov's dream. "Snowstorm"  Marya Gavrilovna's dream. "Boris Godunov"  Gregory's dream. 4. M.Yu. Lermontov  “I go out alone on the road”  “Dream”  “Mtsyri” - Mtsyri's dream 5. N.V. Gogol.  "Inspector" - the mayor's dream.  "Nevsky Prospekt" - Piskarev's dream.  "Nose" - dream  "Portrait" - Chertkov's dream 6. A.N. Nekrasov. “Who should live well in Russia” - a dream of Matryona Timofeevna. 7. I.A. Goncharov. "Oblomov" - Oblomov's dream. 8. I.S. Turgenev. "Fathers and Sons"  Bazarov's dream before the duel. 9. F.M. Dostoevsky. "Crime and Punishment"  Raskolnikov's dreams and visions;  Svidrigailov's dream. 10. L.N. Tolstoy. "War and Peace"  Pierre Bezukhov's dream;  Andrey Bolkonsky's dream;  Nikolenka Bolkonsky's dream;  Nikolai Rostov's dream. "Anna Karenina" - dreams of Anna Karenina 11. N.S. Leskov. "The Enchanted Wanderer" - Flyagin's dreams and visions. "Lady Macbeth of the Mtsensk district" - Katerina Lvovna's dreams 12. A.P. Chekhov.  “I want to sleep” - Varka's dream. 13. A.N. Ostrovsky.  "Thunderstorm" - the dream of Katerina Kabanova. 14. M.A. Bulgakov "Master and Margarita"  Dream of Ivan Bezdomny  Dream of Pontius Pilate "White Guard"  Dream of Alexei Turbin  Dream of Elena  Dream of Vasilisa  Dream of guard 15. М.А. Sholokhov "Quiet Don" - the dream of General Kornilov 16. V. Bykov "Go and not return" - Zoska's dreams. "Sotnikov" - Sotnikov's dream before execution. 16 APPENDIX 2 TYPES OF DREAMS OF LITERARY HEROES APPENDIX 3 Interpretation of the symbols of Tatyana's dream according to the dream book  Winter (as well as snow, snowdrift, ice, blizzard) - means “sadness” or “death”.  To be bound by ice means "to be sealed by death."  Find yourself in a snowy forest - “get into the kingdom of death, i.e. to the other world, the world of souls.  Cover with snow - “cover with a wedding veil”.  Go to the girl through the stream - "get married." APPENDIX 4 DREAM IN PAINTING Dream of Ossian. Ingres The nun's dream. K. Bryulov 17 Dream of Joseph. Ivanov's Dream of Constantine della Francesca the Great. Pierrot DREAM IN MUSIC 1.Wagner. Operas: "Fairy", "Parsifal", "Rings of the Nibelungen" and "Tristan and Isolde". 2. Schubert "Spring Dream". 3. Berlioz "Fairy Mab, Queen of Dreams". "Fantastic Symphony" 4. Mendelssohn "A Midsummer Night's Dream". 5. Grieg "Dream". 6. Schumann "In my dream I wept bitterly." 7. Weber "Oberon". 8. Meyerbeer "Robert the Devil" and "African 9. Glinka" Ruslan and Lyudmila ". 10. Tchaikovsky "Sleeping Beauty". APPENDIX 5 LIST OF WORKS CONTAINING THE WORD “DREAM” IN THE TITLE  A.S. Pushkin "Dream"  M.Yu. Lermontov "Dream"  F.M. Dostoevsky "The Dream of a Ridiculous Man"  I.A. Bunin "Chang's Dreams"  A.P. Chekhov "Dream"  I.S. Turgenev "Dream"  M. Tsvetaeva "Dream"  W. Shakespeare "A Midsummer Night's Dream"     Borges "Coleridge's Dream" Calderon "Life is a dream" Tyutchev "Dream at the sea", Block "Dream", "Dreams thoughts unprecedented”,  Heine “Sleep and Life”, “Death is a night, a cool dream ...”,  Byron “Dream” ... APPENDIX 6 18 ILLUSTRATIONS TO THE WORKS OF RUSSIAN WRITERS Dream of Tatyana Larina Dream of Tatyana Larina Dream of Tatyana Larina Dream Oblomov's Dream Oblomov's Dream 19 Raskolnikov's Dream Raskolnikov's Dream Ivan Homeless's Dream 20 Major Kovalev's Dream Svetlana's Dream Svetlana's Dream Pontius Pilate's Dream Chertkov's Dream 21 22

Before proceeding directly to the topic, it is useful to clarify the terms, without which it will be impossible to do in the future. The main terms here are "sleep" and "dream". In everyday use, these two words are often confused, there is no clear line between them. Often we substitute the term "dream" with the concept of "sleep". But from a literary point of view, such a substitution is unacceptable. Sleep is “an intermittent physiological state of rest and rest,” while dreaming is “images that arise during sleep.” Thus, the main component in the definition of the concept of "sleep" is process, and in the concept of "dream" - image.

At times Dostoevsky sleep and dreams were considered together, even adding dream-like phenomena to them, for example, hallucinations, visions, dreams etc.

Myself Dostoevsky neither in life nor on the pages of his works does he distinguish between sleep and dream. Let us recall, for example, his “Petersburg Dreams in Verse and Prose”, where, putting the word “dreams” in the heading of the feuilleton, the writer further uses the word “vision” exclusively, thereby adjoining these concepts: “And since then, since that very vision (I call my feeling on the Neva a vision). In another work Dostoevsky we find the following lines: “A bad dream, a terrible dream, and thank God that this is just a dream!” Here one can clearly see such a feature of the narrative as the indistinguishability of the material, in this case sleep as a physiological process, and ideal (visions, dreams). This indistinction stems from the confusion of sleep and wakefulness by the writer himself in real life.

non-delimitation Dostoevsky in his works of sleep and waking is quite consistent with the scientific concept of that time, and we know that the writer always tried to justify the actions of his heroes with psychological plausibility. In the study K.D. Kavelina There is the following definition of sleep: “Sleep is a phenomenon at the boundary of the mental and material elements, in which these elements are directly in contact with each other.” As can be seen from this definition, the mental (ideal) and physiological (material) are not distinguished here.

Having characterized sleep and dream from the point of view of the different nature of origin (physiological and psychological), one should not, however, draw a fundamental distinction between them. Especially since he Dostoevsky did not make this distinction. After all, it is impossible, when quoting the writer, to replace the word “dream”, which he used in the meaning of “dream”, with another, which would be necessary from the point of view of a scientific approach.

Since ancient times, the world of dreams and dreams has been of interest to man 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...

According to V. Rudneva, two key archetypal ideas - "life is a dream" and "death is a dream" penetrated into European culture in different ways, having gone through a number of cultural mediations. So, Rudnev writes:

“Sleep is a common metaphor for death in Christianity<…>In general, we can say that Christianity has a negative attitude towards sleep and dreaming (it is needless to say that divination from dreams, dream books, etc. are elements of pagan folk culture and rather oppose Christianity) due to the obvious semiotic nature of its doctrine. Everything in Christianity is text.<…>That mystical that is from God is strictly semiotically codified - in prayer, ritual, fasting, service, etc.<…>A dream is something completely opposite to Revelation. It is uncontrollable and therefore it is completely obvious from the devil, since it is in a dream that suppressed devilish inclinations come out - sexuality, ambition, etc.

The idea that life is a dream<…>came, of course, from the East, through classical Mahayanistic Buddhism, penetrating into the Far Eastern esoteric teachings, primarily Tao and Chan.

The illusory nature and insignificance of life, the consistent rejection of it is one of the most important doctrines of classical Buddhism. Therefore, if in Christianity a dream is a metaphor for death, then here a dream is certainly a metaphor for life, its emptiness and illusory nature.

In the future, these two ideas were equally relevant to European culture. For example, we find the understanding of death as a dream (and the question of what is the nature of dreams that occur after death) in Hamlet's famous monologue "To be or not to be" from the tragedy Shakespeare"Hamlet", in which the hero, reflecting on death, asks the question:

“To die - to fall asleep - nothing more. And to think that this dream will end the pain of the heart and the thousand strokes of life that are the lot of the flesh - after all, this is the end that you can wish with all your heart! Die. Fall asleep. Fall asleep, maybe dream; yes, that's the obstacle. For in this mortal sleep, what dreams can we have?

Rudnev, of course, simplifies and "straightens" the Christian understanding of sleep. Let us recall that a dream can have a prophetic (prophetic) function and have a Divine source: for example, Joseph the Beautiful interpreted to Pharaoh the dream of seven fat and seven thin cows sent down by God (Genesis ch. 41: 16-25), Orthodox lives and traditions abound examples when it was in a dream that Grace was sent down to the saints, for example, the place of construction of the future monastery was indicated.

Colored dreams were dreamed by Raskolnikov - the hero of the novel "Crime and Punishment" by Dostoevsky

The peculiarity of the dream of a literary hero is that the reader, having the opportunity to compare its content with subsequent events in the fate of the character, can guess the author's logic and reveal the meanings of the symbols.

A dream in a literary work is a highlighted fragment of text that has the following distinctive features:

1) maximum conciseness, sketchiness;

2) an abundance of symbolism (as a result, the concentration of the main semantic threads and motifs in a small section of the text);

3) stylistic discrepancy to the whole work (the discreteness of the narrative is explained by the stream of consciousness, hence the “incoherence” of associations).

Symbol word in a literary work, first of all, a multi-valued structure, which is determined by the unity and interdependence of three semantic dimensions: a) Russian pagan symbols; b) the micro- and macro-context of the work; c) the function of sleep, firstly, to reveal the state of mind of the dreamer (Tatyana Larina in "Eugene Onegin" Pushkin) or his relatives (placing a mirror under the pillow, Tatyana guessed at her betrothed, that is, at Onegin); and secondly, to predict the future.

In any encyclopedia you can read: a dream is a subjective perception of some reality, which may include images, sounds, voices, words, thoughts or sensations during sleep. The dreamer usually does not understand what is in the dream, taking the surroundings for reality, and usually cannot consciously influence the plot of the dream. It has long been believed that a dream carries some kind of encrypted message. As a rule, in ancient and traditional cultures there was a belief that this message is related primarily to the future of a person or his environment. Dreams were sent to man by higher beings (gods, etc.) for this very purpose.

After reading the above article from the encyclopedia, it is difficult not to be imbued with the deep mystery of dreams. This sacrament is like a quagmire: having learned a little, you want to learn more and more, to comprehend new depths. Just like the dreams themselves, this knowledge fills the consciousness and one can never be fed up with this knowledge, just as one cannot be fed up with sleep.

In philological literature, in most cases, the dreams of characters are not defined in any way. They are mainly considered certain types and functions, as well as the motivic structure of dreams in the works of various authors.

The word "sleep" is not used as a scientific term, which contributes to the confusion of this form with a number of others that are by no means identical to it (in particular, with "vision"). Often, within the framework of one literary work, a character’s dream is denoted by different, but not synonymous concepts: “a form of artistic language”, “a stable artistic technique”, “motive”.

Since there is no clear definition of literary dreams in the scientific tradition, criteria for their selection in the text have not been developed either. The negative consequences of this are especially noticeable when studying works in which the dream gravitates towards maximum confusion with reality. Thus, in studies on the novel V. Nabokov“Invitation to the execution”, dreams as inserted forms are either not considered at all because of the difficulty of their detection, or only the most obvious cases of their presence in the text are analyzed.

Lack of clear delineation sleep as an element of a work of art and as a psycho-physiological phenomenon, the fact that the dreams of characters are often considered only in terms of their significance for the depiction of various psychological states. At the other extreme, one can only analyze plot function of dreams. In both cases, it is ignored. the dual nature of literary dreams, which not only provide great opportunities for depicting the psychology of the hero, but are also element of the picture of the world in the work.

The meaning of dreams in overall structure artistic reality has not yet been singled out as a special function of this form, although such a need is to a certain extent recognized. Today, the attention of researchers of literary dreams is riveted to such topics: dream and myth, dream and creativity, dream and the unconscious, dream and text, dream language, dream chronotope.

By Jung, archetypes appear in myths and fairy tales just as they do in dreams and fantasy products. The dream can be seen as a personal myth. It sets in motion the myth in modern culture, activates the ability to create myths in a person, this is a supracultural phenomenon that enriches various mythologies. Mythological plots can appear in dreams, but inconsistently, in a bizarre combination with the deeply personal symbolism of the dreamer, who can directly participate and even influence the events of the dream. One can note the similarity in the laws of the functioning of sleep and myth. A dream, like a myth, needs interpretation, translation from the language of symbols into the language of concepts, he returns a person to the mythological sacred era. This era is called in the cosmogonies of some peoples the era of dreams.

No less actively than in myths, dreams are used in folklore, where they are an expression of popular ideas about life and death. Dreams exist as a special genre and associated with other genres of oral folk art: riddles, spells, conspiracies. They are often included in fairy tales, epics, lyrical songs. Dreams have long been used in fiction to create a mysterious atmosphere, irrational background of the work, motivate the actions of the characters, determine them emotional condition. From folklore and ancient Russian literature, dreams warn, teach heroes, serve as signs, assist in orientation in spiritual world, visualize pictures of hell and heaven, instruct, give rest, fulfill desires, but also tempt, test, put before a choice, provoke. Dreams are inherently ambivalent.

Dreams are multifaceted, they can be subjected to any of the traditional classifications, while the interpretation will be different. Looking for the "meaning" of a dream, one can get lost in the jungle of sub-meanings and associations. You can turn to Buddhist or occult interpretations, you can correlate with psychoanalysis or transpersonal psychology, but it is important not to go far away from the literary analysis of dreams and establishing their connection with the general artistic concept of the author.

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.

In this parable, dream and reality are intertwined. And if even a philosopher cannot draw a clear line between them, then what can be expected from mere mortals? Sometimes you have to hear that we live in a world of illusions or in some kind of invented world. People often talk about how they would like to forget and get away from everyday worries. The desire to fall asleep and not see anything around, one way or another, arises in every person. A dream is always something mysterious, inexplicable.

In Russian literature, dreams have always played no less, and sometimes even more, role than reality. Many writers have made sleep a full-fledged protagonist of their works. The dreams of heroes 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. And it is not constrained by external conventions, it does not allow you to lie, pretend and hide behind masks. Probably, it is for these reasons that the authors so often resort to the following technique: revealing the personality of a character through his dream.

The problems of dreams used in works of fiction are wide and varied. Some of them have a pronounced political connotation, in other cases, dreams help to better understand the subjective experiences of the characters, there are allegorical dreams, and sometimes a dream acts in the work as a means to help make the text more entertaining. But be that as it may, dreams in fiction always serve to more vividly reflect the connection creative imagination writer with real life.

The Dream of an American Northern Soldier in the Civil War

Image of a dream - a description of a dream, a prophetic dream - very common literary device. It serves for a wide variety of purposes of formal construction and artistic composition of the whole work and its constituent parts, for ideological and psychological characteristics actors and, finally, to present the views of the author himself. Sleep is the leading technique for romantic writers. The metaphor of dreams very often becomes the key to understanding the ideological content of works, the author's position.

A dream in a work of art can serve the same purposes as the "Aesopian language", being, as it were, an allegory, an allegory.

The dreams of heroes in the works of Russian literature occupy a special place: through this technique, the inner world of the heroes is revealed, very often dreams have a symbolic meaning, “predict” the development of the plot; With the help of sleep, the inner experiences of the characters are transmitted. In Russian literature, a dream as a device has been used since the 12th century ("The Tale of Igor's Campaign").

Le Goff believed that the dreams of the period of Greco-Roman paganism have six main properties - the division into true dreams and false dreams; their connection with the afterlife; the predominance of true dreams; typological systematization of dreams depending on "who sends them"; dream - the dream of the soul, released from the body; the use of dream interpreters.

In the epic, dreams are important because they carry with them a sense of fate. If a writer has enough space and wants to put together a story that he thinks will serve as an illustration of the idea of ​​the omnipotence of fate, he can use dreams very fruitfully and even multiply their number to increase the effect.

AT literary monuments dream plots clearly fall into two groups of phenomena that function at different levels of abstraction and apparently have different origins:

1) presented in a condensed form, as an ornament (usually a prophetic dream to be interpreted, starting already with the Epic of Gilgamesh);

2) in a freer form, as a narrative frame, framing the work as a whole (genre almost does not differ from it visions). The dream of one of the characters in a literary and artistic work can serve as a frame, or frame, for the main plot, emphasizing it in a peculiar way and highlighting it against the background of secondary details.

The first form is present in most epic traditions. The second form is stadially later and appears in Roman literature. In medieval poetry, a dream is one of the most frequent types of frame construction (for example, the famous "Romance of the Rose", a treatise Froissart"Love Treasure", poems Eustasha Deshana"Love le", Raul de Udana"Dream of Hell"). Sometimes it is also found in prose (“Four-part invective” Alain Chartier, 1422).

Of particular importance is the reception of a dream in the literature of the New Age, where it shows a complication of its structure and functions.

The description of a dream, as a literary device, is often effective in those cases when a complex, confusing or fantastic and incomprehensible plot is brought to the attention of the reader without an explanation that it constitutes the content of the dream, and only at the very end the author adds that all this was in dream. This approach is used Gogol in the story "May Night or the Drowned Woman".

In the literature of the New Age, the reception becomes more complicated: psychological sleep characterizes the state of the hero. In creativity Dostoevsky the crisis variation of sleep prevails, that is, a dream that leads to a turning point in a person’s inner life. This type of dream acts as an extremely important, milestone, culminating event in the spiritual life of the hero. Dreams of this type are a kind of spiritual catharsis, ethical and ideological "purgatory", a guiding thread to the primordial and unshakable, universal moral values ​​and imperatives.

Y. Lotman wrote that a dream “speaks to a person in a language, the understanding of which fundamentally requires the presence of an interpreter. The dream needs an interpreter - whether it will be a modern psychologist or a pagan priest", interpreting it, in this way, as a "text" that requires analysis, translation. Also Lotman wrote: in a dream

“... a person gets the experience of 'flickering' between the first and third person, real and conditional areas of activity. Thus, in a dream, the grammatical abilities of the language acquire "a kind of reality". The area of ​​the visible, previously innocently identified with reality, turns out to be a space in which all the transformations allowed by the language are possible: conditional and unreal narration, a set of actions in space and time, a change of point of view. One of the features of sleep is that the categories of speaking are transferred to the space of vision. Without this experience, such spheres as art and religion, that is, the highest manifestations of consciousness, would be impossible.

M. Gershenzon formulates the problem of a dream in literature as a "text in a text" - a dream, like a tiger in the forest in a picture for solving, which can only be seen upon careful examination. The object of his attention was the dream of Pushkin's Tatyana, about which he writes - "the hiding place - the door is locked, we look out the window - all the mysterious things are inside", since then Tatyana's dream becomes a kind of "simulator" on which possible approaches to problems will be developed dream text.

Dream of Tatiana Larina from "Eugene Onegin" by Pushkin

In postmodernism, dreams lose the romantic overtones that were often characteristic of dreams in Silver Age literature. They acquire a parody, a playful character. They cease to be a “second world”, a “separate reality”, take their place in everyday life, become equal to it and even more than it. Dreams take on the character of either an obsessive delirium that displaces everyday, everyday reality, or strange revelations about the world order in which coexist different forms life.

Postmodernists have created "parodic occultism", processing in a new way the theosophical, anthroposophic, and other occult doctrines that carried away the symbolists. By incorporating numerous dreams into the playful realm of their texts, postmodernists have reconsidered the serious modernist attitude to the mysterious realms of consciousness. Researchers of postmodern prose consider dreams as a separate reality, sometimes overlapping the everyday reality, replacing it, and identify the mechanisms of this substitution.

In the work of Russian writers of various prose and poetic genres, sleep performs a certain function. A dream in a work of art is, as it were, an allegory, an allegory. Such dreams are characterized by a logical construction, didacticity, that is, moralizing, teaching.

In the culture of the 20th century, sleep becomes one of the leading images intellectual games along with labyrinth, mask, mirror, garden, library, book. The dream becomes a playing field on which the play of the author and characters in the sacred is carried out.

In ideologized books, the place of dreams is often occupied by politics.

Take, for example, a good German writer Herman Kant and his novel Imprint. For 418 pages, there is not a single artistic depiction of sleep. The novel is written quite well, it tells how the editor of the best illustrated magazine in the world was offered a ministerial portfolio, which seems to the hero of the novel, David Groth, too heavy and responsible. In the novel there are many positive discussions about your favorite work as the meaning of life, memorable pages about tenderness, heartfelt ones about love, hundreds of sentences of subtle humor and brilliant irony, but for this, words about the party constantly flicker, Lenin, Stalin, Marx and Engels.

In such opportunistic books, despite the talent of the author, dreams are completely absent. There is no description of dreams in works that tell about world brotherhood and world love, about social injustice and class struggle.

The absence of literary dreams in ideologized novels and plays is still not absolute. And in novels saturated with Christian ideology Dostoevsky, and, for example, in my acutely ideological (anti-liberal) epic novel “A Fresh Memoir on the Topic of the Day”, dreams and delusions occupy a key place in understanding the nature of the sleeping heroes and the described era.

Often the writers themselves take literary images from their dreams.

So, according to legend, Dante saw the idea Divine Comedy» in a dream on Good Friday 1300. Moreover, in 1321, after his death, part of the manuscript was lost (the last 13 songs), but his son Jacopo had a dream in which his father, who appeared, told him where it lies.

Coleridge admitted that the poem about Kubla Khan (1797) was written by him as a result of visions in a dream caused by the use of opium.

Mary Shelley saw Frankenstein's idea in a dream (1818).

browning claimed that the poem "Childe Roland came to the Dark Tower" (1855) came to him in a dream already completely written.

Stevenson dreamed of the idea of ​​"Dr. Jekyll and Mr. Hyde".

Dostoevsky- the writer is largely autobiographical, therefore, when studying the features of the dreams of his heroes, it is necessary to take into account what big influence rendered the writer's own dreams on his professional activity. Many features of the personal dream world of the writer were reflected in his works of art.

Leo Tolstoy the image of Anna Karenina appeared in a dream.

Stephen King was inspired by his dream when creating Misery, as well as when writing some other books.

So, a dream in a literary work of art helps the reader to penetrate into the deep, natural, layers of the subconsciousness of literary characters. A dream plays either a compensatory role of an unfulfilled desire, or it has the meaning of a foretaste of a turning point in a person’s life, the intervention of fate in the hero’s plans; or insignificant impressions of the day received from the outside, the dream turns into hyperbolic forms of time, space and causality, explaining the religious and aesthetic views of artistic characters.

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Ekaterina Chemskaya 9th grade 402 gymnasium in Kolpino.

In this paper, a dream is considered as a literary device. On the example of works ("The Tale of Igor's Campaign", V.A. Zhukovsky "Svetlana", A.S. Pushkin "The Captain's Daughter", M.A. Bulgakov "The Master and Margarita") the role of sleep in them is considered, the features of sleep: colors, sounds, symbols and artistic details, and a conclusion is made about the role of sleep in works of art.

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1. Dream as a literary device (opening remarks);

2.Table artistic features dreams;

3. The dream of Svyatoslav, his artistic features;

4. Svetlana's dream, its artistic features;

5. Grinev's dream (symbols, details, colors);

6. Dream of Nikanor Ivanovich, his role;

7. Conclusions on research work;

8. Closing word about the work;

9. List of references.

Sleep as a literary device

Sleep as a literary device is quite common in the works of writers. The image of a dream, a description of a dream, a prophetic dream is a very common literary device. It serves for a wide variety of purposes of formal construction and artistic composition of the entire work and its constituent parts, the psychological characteristics of the characters and, finally, the presentation of the views of the author himself.

It is known that it was the leading reception among romantic writers. As a rule, it was a prophetic dream (N.V. Gogol "Terrible Revenge".)

The dream of one of the characters in a literary and artistic work can serve as a frame, or frame, for the main plot, emphasizing it in a peculiar way and highlighting it against the background of minor details.

The dreams of heroes in the works of Russian literature occupy a special place: through this technique, the inner world of the heroes is revealed, very often dreams have a symbolic meaning, “predict” the development of the plot; with the help of sleep, the inner feelings of the characters are transmitted

A dream in literary works has its own characteristics: maximum conciseness, sketchiness, an abundance of symbols, a dream is a safe occasion for frankness.

Sleep as a compositional element has its own functions:

1. commenting and evaluation of depicted events;
2. psychological characteristics of the character;
3. understanding the ideological content of the work;
4. "alien prophetic voice" - communication with the divine;

We can consider dreams as a form for the development of the main plot. This technique helps the reader to move from reality to aesthetic contemplation; in a dream, the author reflects, as in a concave mirror in an enlarged form, what is especially important, expensive, significant for him.

In the work of Russian writers of various prose and poetic genres, sleep performs a certain function. A dream in a work of art is, as it were, an allegory, an allegory. Such dreams are characterized by a logical construction, didacticity, that is, moralizing, teaching.

Let's put this in the form of a table. For work, let's take the works of ancient literature "The Tale of Igor's Campaign" (note that even then, in the 12th century, this technique was used; the roots of this technique go back to ancient times.)

We also take the ballad by V.A. Zhukovsky “Svetlana” (19th century). And the work of A.S. Pushkin "The Captain's Daughter".
Consider what dreams are usually filled with.

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 further destinies 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, without paying attention, a whole world full of answers and meaning?

1. Origins of tradition. The meaning of dreams in world culture.
2. Dreams in the works of Pushkin and Lermontov.
3. Dreams of the heroine in Chernyshevsky's novel
4. Echoes of tradition in the work of other Russian writers.

The tradition of introducing the motive of a prophetic dream into the plot dates back to ancient times, to ancient and biblical authors. In ancient Greek and Roman mythology, Hypnos - Sleep - is one of the gods. Other gods often come to the heroes in a dream to communicate something important, to induce the heroes to certain actions.

In the biblical tradition, dreams also play a significant role. For example, the ominous dreams of the king of Egypt, unraveled by Joseph, the son of Jacob, foreshadowed fruitful and hungry years. Thus, they were a kind of warning, thanks to which the Egyptians prepared in advance for a difficult time. In a dream, an angel appears to another Joseph and explains to him that the child of Mary is the Son of God. Many other examples of the influence of dreams on people's lives can be cited. Currently, many psychologists have come to the conclusion that dreams reflect a person’s life in a special way, and indeed a dream can be a warning about future events.

The motives of a prophetic dream are repeatedly found in the work of Russian writers. Tatyana's dream in the novel "Eugene Onegin" by A. S. Pushkin, as it turns out later, was prophetic - Lensky dies at the hands of Onegin. The motive of pursuit, flight from a monster (in Tatyana's dream - from a bear) is one of the most common dream images. The path through the forest, crossing the river on a shaky bridge can be interpreted as a wandering of the soul in the world of emotions and overcoming the border between two life stages. It is interesting that Tatyana sees her beloved Yevgeny as the leader of the feast of evil spirits - this can be understood both as a grotesque image of secular society and as a hint of Yevgeny's spiritual emptiness, his skepticism and coldness, which are characteristics of the "spirit of denial".

Pyotr Grinev also sees a prophetic dream, main character"The Captain's Daughter": "I had a dream that I could never forget and in which I still see something prophetic when I think about the strange circumstances of my life with him." In this dream on the spot own father Peter sees "a man with a black beard", Peter's mother tells her son to accept a blessing from this man, calling him the imprisoned father of Petrusha. The planted father and mother, replacing parents, according to the old custom, bless the young man or girl before the wedding. The further course of the plot makes it easy to interpret the images of this dream: “a man with a black beard”, of course, Pugachev. The ax he swings and the dead bodies that suddenly fill the room are symbolic images of the peasant war. It is no coincidence that Pugachev finds himself in the place of Petrusha's father: having pardoned the young officer thanks to the intercession of Savelich, Pugachev thus gave him a second birth. It is also clear why Pugachev is called the planted father, because he handed Peter his bride, Masha Mironov.

In Prince Ruslan's dream, in Pushkin's poem "Ruslan and Lyudmila", the past and the future are mixed: Ruslan sees his wife disappearing into the abyss, a feast in the chamber of Prince Vladimir, where the murdered Rogdai and Ratmir, who has retired from exploits, are present, he hears Bayan's song - all these are images of the past. Farlaf, leading Lyudmila by the hand, is a harbinger of future events: indeed, Farlaf, who is already close, will kill Ruslan and take the sleeping Lyudmila to her father.

One of the poems of M. Yu. Lermontov is called “Dream”. A fantastic mixture of dream and reality, when it becomes difficult to make out what is more real - it turns out to be a prophetic vision of the fate that awaits the poet himself:

In the afternoon heat in the valley of Dagestan
With lead in my chest, I lay motionless;
A deep wound still smoking,
My blood dripped drop by drop.

In this poem, the images of two dreams are intertwined - the dream that the murdered lyrical hero sees, and the dream that his beloved sees. His dream is images of a merry feast. The waking dream of the beloved lyrical hero turns out to be prophetic - she sees the “valley of Dagestan” and the “familiar corpse”.

The mixing of the past, present and future also occurs in the dreams of Vera Pavlovna, the main character of N. G. Chernyshevsky's novel What Is to Be Done? However, it should be noted that Chernyshevsky, introducing Verochka's dreams into his narrative, pursued the goal of not only revealing the experiences of the heroine and showing what awaits her in the future - in the dreams of the heroine, the author in an allegorical form outlined his views on the life and destiny of a person. “Remember that there are still many unreleased, many uncured. Let it out, heal, ”the beauty from the dream says to Verochka, who calls herself“ love for people ”.

Not only the future of the heroine herself, but also the future of all people appears in Vera’s dream: “... The evil ones will see that they cannot be evil ... they were evil only because it was harmful for them to be kind, but they know good is better than evil, they will love it when they can love it without harm.” A similar motif of foreshadowing changes for the better sounds in N. A. Nekrasov’s poem “Dream”, where the lyrical hero sees in a dream an angel stopping him on the edge of the abyss:

And again blessed hours
You will gain by collecting the ear
From its uncompressed lane.

As a rule, images in the dreams of heroes literary works belong to the future, but the dream of the protagonist in I. A. Goncharov's novel "Oblomov" belongs entirely to the past. Childhood impressions, life in: the parental home, fairy tales of the nanny - these images of the past in the subconscious of the hero rise visibly and realistically, they are much more alive than his present, in which Oblomov drags out a sleepy, monotonous existence. The motif of a dream into which reality is overturned is repeated in Goncharov's novel, when Oblomov lives with Agafya Matveyevna, whom he married - in a dream, the hero of the novel sees a nanny who points to his wife and calls her the name of the fairy-tale princess, Militrisa Kirbityevna. We can say that Oblomov's dreams were a reflection of his ideal of human existence. In a sense, they still refer not only to the past, but also to the future, because in the house of Agafya Matveevna almost the same atmosphere is recreated as in Oblomov's parental house.

The motive of mixing sleep and reality sounds in the work of such Russian poets as, for example, A. A. Blok and S. A. Yesenin. So, talking about real events - parting with his beloved, the poet enhances the feeling of bitterness of separation by introducing the motive of reflection of reality in a dream:

I sleep soundly, I dream of your blue cloak,
In which you left on a damp night ...
("About valor, about feats, about glory...")

“My life, or did you dream about me?” Yesenin exclaims. What is the reason for such a mixture of reality and sleep in poetic works? Probably, with a special attitude of poets, who live as if on the verge of two worlds - everyday reality and magical dreams.