ɍɇɂȼȿɊɁɂɌȿɌ ɍɆȿɌɇɈɋɌɂ ɍ ȻȿɈȽɊȺȾɍ ɎȺɄɍɅɌȿɌ ɆɍɁɂЧɄȿ ɍɆȿɌɇɈɋɌɂ Ɉɞɫɟɤ ɡа ɦɭɡɢɤоɥоɝɢјɭ ɂваɧа Ɋ. ɉеткɨвић ɆɍɁɂɑɄɂ ɍɇɂȼȿɊɁɍɆ ɄɅɈȾȺ ȾȿȻɂɋɂЈȺ ɍ ɌɊȺȽȺȵɍ ɁȺ ɇȿɉɈɋɊȿȾɇɈɒȶɍ САГЛАСЈА ɂɁɆȿЂɍ ɍХȺ ɂ ɈɄȺ Ⱦоɤɬоɪɫɤа ɞɢɫɟɪɬацɢја Ȼɟоɝɪаɞ, 2018. UNIVERSITY OF ARTS IN BELGRADE FACULTY OF MUSIC Department of Musicology Ivana R. Petković THE MUSICAL UNIVERSE OF CLAUDE DEBUSSY IN SEARCH OF IMMEDIACY OF CORRESPONDENCE BETWEEN THE EAR AND THE EYE PhD Thesis Belgrade, 2018. iii Ɇɟɧɬɨɪ: ɞɪ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ɪɟɞɨɜɧɢ ɩɪɨɮɟɫɨɪ, Ʉɚɬɟɞɪɚ ɡɚ ɦɭɡɢɤɨɥɨɝɢʁɭ, Ɏɚɤɭɥɬɟɬ ɦɭɡɢɱɤɟ ɭɦɟɬɧɨɫɬɢ, ɍɧɢɜɟɪɡɢɬɟɬ ɭɦɟɬɧɨɫɬɢ ɭ Ȼɟɨɝɪɚɞɭ ɑɥɚɧɨɜɢ ɤɨɦɢɫɢʁɟ: ɞɪ Ɇɢɪʁɚɧɚ ȼɟɫɟɥɢɧɨɜɢʄ-ɏɨɮɦɚɧ, ɪɟɞɨɜɧɢ ɩɪɨɮɟɫɨɪ ɭ ɩɟɧɡɢʁɢ, Ʉɚɬɟɞɪɚ ɡɚ ɦɭɡɢɤɨɥɨɝɢʁɭ, Ɏɚɤɭɥɬɟɬ ɦɭɡɢɱɤɟ ɭɦɟɬɧɨɫɬɢ, ɍɧɢɜɟɪɡɢɬɟɬ ɭɦɟɬɧɨɫɬɢ ɭ Ȼɟɨɝɪɚɞɭ ɞɪ Ɇɚɪɢʁɚ Ɇɚɫɧɢɤɨɫɚ, ɜɚɧɪɟɞɧɢ ɩɪɨɮɟɫɨɪ, Ʉɚɬɟɞɪɚ ɡɚ ɦɭɡɢɤɨɥɨɝɢʁɭ, Ɏɚɤɭɥɬɟɬ ɦɭɡɢɱɤɟ ɭɦɟɬɧɨɫɬɢ, ɍɧɢɜɟɪɡɢɬɟɬ ɭɦɟɬɧɨɫɬɢ ɭ Ȼɟɨɝɪɚɞɭ ɞɪ Ȼɪɚɧɤɚ Ɋɚɞɨɜɢʄ, ɪɟɞɨɜɧɢ ɩɪɨɮɟɫɨɪ, Ʉɚɬɟɞɪɚ ɡɚ ɦɭɡɢɱɤɭ ɬɟɨɪɢʁɭ ɢ ɩɟɞɚɝɨɝɢʁɭ, Ɏɢɥɨɥɨɲɤɨ-ɭɦɟɬɧɢɱɤɢ ɮɚɤɭɥɬɟɬ, ɍɧɢɜɟɪɡɢɬɟɬ ɭ Ʉɪɚɝɭʁɟɜɰɭ ɞɪ Ⱦɪɚɝɚɧɚ ɋɬɨʁɚɧɨɜɢʄ-ɇɨɜɢɱɢʄ, ɪɟɞɨɜɧɢ ɩɪɨɮɟɫɨɪ, Ʉɚɬɟɞɪɚ ɡɚ ɦɭɡɢɤɨɥɨɝɢʁɭ, Ɏɚɤɭɥɬɟɬ ɦɭɡɢɱɤɟ ɭɦɟɬɧɨɫɬɢ, ɍɧɢɜɟɪɡɢɬɟɬ ɭɦɟɬɧɨɫɬɢ ɭ Ȼɟɨɝɪɚɞɭ Ⱦɚɬɭɦ ɨɞɛɪɚɧɟ: iv ɂɡјɚɜɚ ɡɚɯɜɚɥɧɨɫɬɢ ɂɫɤɚɡɢɜɚʃɟ ɡɚɯɜɚɥɧɨɫɬɢ ʁɟ ɧɚʁɱɟɲʄɟ ɧɟɲɬɨ ɲɬɨ ɡɚɨɤɪɭɠɭʁɟ ɱɢɬɚɜ ɩɪɨɰɟɫ ɪɚɞɚ, ɚɥɢ ʁɟ ɢɫɬɨɜɪɦɟɧɨ ɢ ‘ɩɨɡɢɜ’ ɞɚ ɫɟ ɨɫɜɪɧɟɦɨ ɧɚ ʃɟɝɨɜɟ ɩɨɱɟɬɤɟ ɢ ʃɟɝɨɜ ɬɨɤ. ȼɟɪɭʁɟɦ ɞɚ ʁɟ ɢɫɤɚɡɢɜɚʃɟ ɡɚɯɜɚɥɧɨɫɬɢ ɭɜɟɡɚɧɨ ɫɚ ɫɭɦɢɪɚʃɟɦ ɭɬɢɫɚɤɚ, ɨɫɟʄɚʁɚ ɢ ɨɫɟʄɚʃɚ ɤɨʁɚ ɫɭ ɨɛɟɥɟɠɢɥɚ ɫɚɦ ɩɪɨɰɟɫ ɪɚɞɚ, ɚɥɢ ɢ ɩɪɢɥɢɤɚ ɞɚ ɞɨɧɟɫɟɦɨ ɨɞɪɟђɟɧɟ ɡɚɤʂɭɱɤɟ ɨ ɧɚɦɚ ɫɚɦɢɦɚ. Ʉɚɞɚ ɫɟ ɨɫɜɪɧɟɦ ɧɚ ɦɨʁ ɩɪɨɰɟɫ ɪɚɞɚ, ɪɟɤɥɚ ɛɢɯ ɞɚ ɫɟ ɨɧ ɨɞɜɢʁɚɨ, ɛɟɡ ɨɛɡɢɪɚ ɧɚ ɧɟɦɢɧɨɜɧɟ ɫɬɜɚɪɚɥɚɱɤɟ ɧɟɞɨɭɦɢɰɟ ɢ ɤɪɢɡɟ, ɭɧɭɬɪɚɲʃɟ ɬɟɧɡɢʁɟ ɢ ɩɪɢɬɢɫɤɟ, ɭ ɢɧɫɩɢɪɚɬɢɜɧɨʁ ɢ ɩɨɞɫɬɢɰɚʁɧɨʁ ɚɬɦɨɫɮɟɪɢ. Ɍɨ ʁɟ ɬɚɤɨ ɛɢɥɨ ɡɚɯɜɚʂɭʁɭʄɢ ɦɨʁɨʁ ɩɪɨɮɟɫɨɪɤɢ ɢ ɦɟɧɬɨɪɤɢ, Ɍɢʁɚɧɢ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ. Ɂɛɨɝ ɬɨɝɚ ʁɨʁ ɫɟ ɧɟɢɡɦɟɪɧɨ ɡɚɯɜɚʂɭʁɟɦ. ɇɟɫɟɛɢɱɧɨɦ ɩɨɞɪɲɤɨɦ ɬɨɤɨɦ ɰɟɥɨɤɭɩɧɨɝ ɩɪɨɰɟɫɚ ɪɚɞɚ ɧɚ ɞɨɤɬɨɪɫɤɨʁ ɞɢɫɟɪɬɚɰɢʁɢ ɢ ɭɫɦɟɪɚɜɚʃɟɦ ɤɚ ɰɢʂɭ, ɦɨʁɚ ɩɪɨɮɟɫɨɪɤɚ ɦɢ ʁɟ ɩɨɤɚɡɚɥɚ ɤɚɤɨ ɫɟ ɩɪɨɮɟɫɢɨɧɚɥɧɨ ɩɪɢɫɬɭɩɚ ɦɟɧɬɨɪɫɤɨɦ ɩɨɫɥɭ. Ɂɚɯɜɚɥɧɚ ɫɚɦ ʁɨʁ ɡɚɬɨ ɲɬɨ ɦɢ ʁɟ ɞɚɥɚ ɫɥɨɛɨɞɭ, ɲɬɨ ɦɟ ʁɟ ɩɨɞɫɬɢɰɚɥɚ ɞɚ ɪɚɡɦɢɲʂɚɦ, ɢɫɬɪɚɠɭʁɟɦ ɢ ɭɱɢɦ. ɂɡ ɬɢɯ ɪɚɡɥɨɝɚ ɨɧɚ ʁɟ ɡɚ ɦɟɧɟ ʁɟɞɚɧ ɧɟɢɫɰɪɩɧɢ ɢɡɜɨɪ ɩɪɨɮɟɫɢɨɧɚɥɧɟ ɢ ɠɢɜɨɬɧɟ ɢɧɫɩɢɪɚɰɢʁɟ. Ɂɚɯɜɚɥɧɚ ɫɚɦ ɢ ɱɥɚɧɢɰɚɦɚ ɤɨɦɢɫɢʁɟ ‒ ɩɪɨɮɟɫɨɪɤɢ Ɇɢɪʁɚɧɢ ȼɟɫɟɥɢɧɨɜɢʄ-ɏɨɮɦɚɧ, ɩɪɨɮɟɫɨɪɤɢ Ȼɪɚɧɤɢ Ɋɚɞɨɜɢʄ, ɩɪɨɮɟɫɨɪɤɢ Ɇɚɪɢʁɢ Ɇɚɫɧɢɤɨɫɢ ɢ ɩɪɨɮɟɫɨɪɤɢ Ⱦɪɚɝɚɧɢ ɋɬɨʁɚɧɨɜɢʄ-ɇɨɜɢɱɢʄ ʁɟɪ ɫɭ ɩɪɢɯɜɚɬɢɥɟ ɞɚ ɩɪɨɱɢɬɚʁɭ ɢ ɤɪɢɬɢɱɤɢ ɪɚɡɦɨɬɪɟ ɦɨʁ ɬɟɤɫɬ. Ɍɨɦɟ ɫɟ ɩɨɫɟɛɧɨ ɪɚɞɭʁɟɦ. ȼɟɥɢɤɨ ɯɜɚɥɚ ɢ ɦɨʁɢɦ ɩɪɢʁɚɬɟʂɢɦɚ ɤɨʁɢ ɫɭ ɭɡ ɩɢɬɚʃɚ „ɤɚɤɨ ɧɚɩɪɟɞɭʁɟɦ” ɢ „ɞɨɤɥɟ ɫɚɦ ɫɬɢɝɥɚ” ɩɪɚɬɢɥɢ ɦɨʁ ɪɚɞ ɢ ɪɚɞɨɜɚɥɢ ɫɟ ɡɚɜɪɲɟɬɤɭ ɩɢɫɚʃɚ. ɉɨɫɟɛɧɨ ɯɜɚɥɚ ɫɟɫɬɪɢ Ȼɢʂɚɧɢ ɢ ɤɨɥɟɝɢɧɢɰɢ ɇɟɞɢ ɧɚ ɬɟɯɧɢɱɤɨʁ ɩɨɞɪɲɰɢ. ɋɜɚɤɚɤɨ ɨɜɚʁ ɪɚɞ ɧɟ ɛɢɯ ɪɟɚɥɢɡɨɜɚɥɚ, ɫɢɝɭɪɧɨ ɧɟ ɭ ɨɜɨɦ ɪɨɤɭ, ɞɚ ɧɢɫɚɦ ɢɦɚɥɚ ɧɟɫɟɛɢɱɧɭ ɩɨɦɨʄ ɦɨʁɟ ɩɨɪɨɞɢɰɟ: ɦɚʁɤɟ ɢ ɦɨɝ ɛɪɚɬɚ ɤɨʁɢ ɫɭ ɞɟɥɢɦɚ ɢ ɪɟɱɢɦɚ ɛɢɥɢ ɦɨʁɚ ɩɨɞɪɲɤɚ ‘ɢɡ ɩɪɜɢɯ ɪɟɞɨɜɚ’. ȵɢɦɚ ɬɚɤɨђɟ ɞɭɝɭʁɟɦ ɜɟɥɢɤɭ ɡɚɯɜɚɥɧɨɫɬ. ɇɚ ɤɪɚʁɭ, ʁɟɞɧɚ ɤʂɭɱɧɚ ɨɫɨɛɚ (ɱɢʁɟ ɢɦɟ ɧɟʄɭ ɩɨɦɢʃɚɬɢ ʁɟɪ ɡɧɚ ɞɚ ɧɚ ʃɭ ɛɚɲ ɦɢɫɥɢɦ) ʁɟ ɭɱɢɧɢɥɚ ɞɚ ɢɫɬɪɚʁɟɦ. Ɉɧɚ ʁɟ ɦɨʁ ɜɟɥɢɤɢ ɨɫɥɨɧɚɰ ɢ ʁɟɞɚɧ ɨɞ ɢɡɜɨɪɚ ɦɨʁɟ ɠɢɜɨɬɧɟ ɟɧɟɪɝɢʁɟ. Ⱦɭɝɭʁɟɦ ʁɨʁ ɧɚʁɜɟʄɟ ɯɜɚɥɚ! v Ɇɭɡɢɱɤɢ ɭɧɢɜɟɪɡɭɦ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ ɍ ɬɪɚɝɚʃɭ ɡɚ ɧɟɩɨɫɪɟɞɧɨɲʄɭ ɫɚɝɥɚɫјɚ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ Ɋɟɡɢɦɟ Ƚɥɚɜɧɢ ɩɪɟɞɦɟɬ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ „Ɇɭɡɢɱɤɢ ɭɧɢɜɟɪɡɭɦ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɍ ɬɪɚɝɚʃɭ ɡɚ ɧɟɩɨɫɪɟɞɧɨɲʄɭ ɫɚɝɥɚɫʁɚ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ” ʁɟɫɬɟ ɩɢɬɚʃɟ ɨɞɧɨɫɚ ɢɡɦɟђɭ ɫɜɟɬɚ ɦɭɡɢɤɟ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ ɢ ɤɭɥɬɭɪɧɨ-ɢɫɬɨɪɢʁɫɤɨɝ ɤɨɧɬɟɤɫɬɚ ɭ ɤɨʁɟɦ ɫɟ ɨɧ ɩɨʁɚɜʂɭʁɟ. Ɉɫɧɨɜɧɢ ɮɨɤɭɫ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ ɨɪɢʁɟɧɬɢɫɚɧ ʁɟ ɤɚ ɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɢ ɦɟђɭɫɨɛɧɢɯ ɨɞɧɨɫɚ/„ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ ɫɬɜɚɪɚɥɚɲɬɜɚ ɢ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɩɨɟɡɢʁɟ, ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɝ ɫɥɢɤɚɪɫɬɜɚ ɢ ɮɢɥɨɡɨɮɫɤɢɯ ɧɚɫɬɨʁɚʃɚ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɢɯ ɡɚ ɤɪɚʁ 19. ɢ ɩɨɱɟɬɚɤ 20. ɜɟɤɚ, ɨɞɧɨɫɧɨ, ɤɚ ɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɢ ɨɞɧɨɫɚ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ, ɬɟ ɩɨʁɦɨɜɚ „ɟɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ” ɢ „ɩɥɭɪɢɩɟɪɰɟɩɰɢʁɚ”. Ʉɚɤɨ ɛɢ ɫɟ ɧɚ ɩɢɬɚʃɚ ɩɪɨɢɡɚɲɥɚ ɢɡ ɧɚɜɟɞɟɧɢɯ ɩɪɨɛɥɟɦɫɤɢɯ ɤɪɭɝɨɜɚ ɦɨɝɥɚ ɞɚɬɢ ɧɚɭɱɧɨ ɪɟɥɟɜɚɧɬɧɚ ɢ ɚɪɝɭɦɟɧɬɨɜɚɧɚ ɨɛɪɚɡɥɨɠɟʃɚ, ɦɨʁ ɰɢʂ ʁɟ ɞɚ ɭ ɞɢɫɟɪɬɚɰɢʁɢ ɬɟɨɪɢʁɫɤɢ ɪɚɡɦɨɬɪɢɦ ɢ ɫɭɱɟɥɢɦ ɮɢɥɨɡɨɮɫɤɚ ɧɚɫɬɨʁɚʃɚ ɩɟɪɢɨɞɚ fin-de-siècle-ɚ, ɤɚɨ ɲɬɨ ɫɭ ɧɚɫɬɨʁɚʃɚ Ⱥɧɪɢʁɚ Ȼɟɪɝɫɨɧɚ, ȿɞɦɭɧɞɚ ɏɭɫɟɪɥɚ, ȼɢɥɯɟɥɦɚ Ⱦɢɥɬɚʁɚ, Ȼɟɧɟɞɟɬɚ Ʉɪɨɱɟɚ, ȼɢɥɢʁɚɦɚ ȹɟʁɦɫɚ, ɤɚɨ ɢ ɪɚɡɥɢɱɢɬa ɤɭɥɬɭɪɧɨ-ɭɦɟɬɧɢɱɤa ɢ ɧɚɭɱɧɚ ɞɨɫɬɢɝɧɭʄɚ ɧɚɫɬɚɥɚ ɭ ɨɜɨɦ ɩɟɪɢɨɞɭ – ɨɞ ɝɟɲɬɚɥɬ ɩɫɢɯɨɥɨɝɢʁɟ, ɞɨ ɫɥɢɤɚɪɫɤɨɝ, ɩɟɫɧɢɱɤɨɝ, ɦɭɡɢɱɤɨɝ ɢ ɞɪɚɦɫɤɨ-ɬɟɚɬɚɪɫɤɨɝ ɫɢɦɛɨɥɢɡɦɚ, ɨɞɧɨɫɧɨ, ɨɞ ɤɭɛɢɫɬɢɱɤɟ ɭɦɟɬɧɨɫɬɢ ɞɨ ɤɜɚɧɬɧɟ ɮɢɡɢɤɟ ɢ ɬɟɨɪɢʁɟ ɪɟɥɚɬɢɜɢɬɟɬɚ. Ɉɫɧɨɜɧɢ ɰɢʂ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ ʁɟɫɬɟ ɢɡɧɚɥɚɠɟʃɟ ɫɜɢɯ ɨɧɢɯ (ɢɧ)ɞɢɪɟɤɬɧɢɯ ɜɟɡɚ, „ɫɚɝɥɚɫʁɚ”, ɬɚɱɚɤɚ ɩɪɟɫɟɤɚ ɢ ɭɤɪɲɬɚʃɚ ɢɡɦɟђɭ ɤɭɥɬɭɪɧɨ-ɭɦɟɬɧɢɱɤɢɯ ɬɟɠʃɢ ɤɨʁɟ ɫɭ ɨɛɟɥɟɠɢɥɟ ɤɪɚʁ 19. ɢ ɩɨɱɟɬɚɤ 20. ɜɟɤɚ ɢ Ⱦɟɛɢɫɢʁɟɜɢɯ ɟɫɬɟɬɢɱɤɨ-ɩɨɟɬɢɱɤɢɯ ɫɬɚɜɨɜɚ ɨɬɟɥɨɬɜɨɪɟɧɢɯ ɭ ʃɟɝɨɜɨʁ ɦɭɡɢɰɢ. Ɍɚɤɨђɟ, ɰɢʂ ɢɫɬɪɚɠɢɜɚʃɚ ʁɟ ɭɬɜɪђɢɜɚʃɟ ɤɨɧɬɟɤɫɬɭɚɥɧɟ ɢ ɡɧɚɱɟʃɫɤɟ ɪɚɜɧɢ ɰɟɥɨɤɭɩɧɨɝ ɨɩɭɫɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ, ɤɚɤɨ ɤɪɨɡ ɫɩɨɡɧɚʁɭ ɤɨɦɩɨɡɢɬɨɪɨɜɟ ‘ɡɚɜɨɞʂɢɜɟ’ ɩɨɟɬɢɤɟ, ɤɨʁɚ ɪɚɱɭɧɚ ɧɚ ɚɤɬɢɜɧɨɝ ɢ ɢɧɬɟɥɢɝɟɧɬɧɨɝ ɤɨɧɡɭɦɟɧɬɚ, ɬɚɤɨ ɢ ɤɪɨɡ ɪɚɡɦɚɬɪɚʃɟ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ ɫɨɰɢɨɥɨɲɤɨɝ ɞɢɫɤɭɪɫɚ ɫɚɝɥɟɞɚɧɨɝ ɭ ɨɤɜɢɪɭ ʃɟɝɨɜɟ ɭɤɭɩɧɟ ɤɪɢɬɢɱɤɟ ɩɨɡɢɰɢʁɟ ɭ ɫɨɰɢɨ-ɩɨɥɢɬɢɱɤɨɦ ɢ ɤɭɥɬɭɪɧɨ-ɭɦɟɬɧɢɱɤɨɦ ɚɦɛɢʁɟɧɬɭ Ɏɪɚɧɰɭɫɤɟ fin-de-siècle-ɚ. Ʉʂɭɱɧɟ ɪɟɱɢ: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɦɭɡɢɱɤɢ ɭɧɢɜɟɪɡɭɦ, ɫɚɝɥɚɫʁɚ, ɭɯɨ ɢ ɨɤɨ, ɨɞɧɨɫ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ. ɇɚɭɱɧɚ ɨɛɥɚɫɬ: ɯɭɦɚɧɢɫɬɢɱɤɟ ɧɚɭɤɟ ɍɠɚ ɧɚɭɱɧɚ ɨɛɥɚɫɬ: ɦɭɡɢɤɨɥɨɝɢʁɚ vi The Musical Universe of Claude Debussy In Search of Immediacy of Correspondence between the Ear and the Eye Summary The main subject of the doctoral dissertation The Musical Universe of Claude Debussy - In Search of Immediacy of ‘Correspondence’ between the Ear and the Eye is the question of the relationship between Claude Debussy’s world of music and the cultural and historical context in which he appears. The basic focus of the doctoral dissertation is oriented towards the problematization of the mutual relations/correspondences between a composer’s opus and symbolist poetry, impressionist painting and philosophical endeavors being characteristic for the late 19th and early 20th century, that is, towards the problematization of the relationship between the ear and the eye, and the notions of aesthetic experience and pluriperception. In order to give scientifically relevant and argumented explanations to the questions arising from the above-mentioned problem circles, my goal is to theoretically argue and confront the philosophical endeavors of the fin-de-siècle period, such as the efforts of Henri Bergson, Edmund Husserl, Wilhelm Dilthey, Benedetto Croce, Williams James, as well as various cultural, artistic and scientific achievements of this period ‒ from gestalt psychology to painting, poetry, music and drama-theater symbolism, that is, from cubic art to quantum physics and relativity theory. The main goal of the doctoral dissertation is to find all those (in) direct connections, correspondences, points of intersection and crossing between the cultural and artistic aspirations that marked the end of the 19th and the beginning of the 20th century and Debussy’s aesthetic and poetic attitudes embodied in his music. Also, the aim of the research is to determine the contextual and meaningful level of the entire work of Claude Debussy, both through the recognition of the composer’s ‘seductive’ poetics, which counts on an active and intelligent consumer, and through the consideration of the composer’s sociological discourse, viewed within his overall critical position in the social and political, yet the cultural and artistic ambiance of the French fin-de-siècle. Key words: Claude Debussy, musical universe, correspondences, ear and eye, relationship between arts. Scientific field: humanities Specialized scientific field: musicology vii ɋȺȾɊɀȺȳ I ɍȼɈȾɇȺ Ɋȿɑ ............................................................................................................................................... 8 II Ⱦɍɏ FIN DE SIÈCLE-Ⱥ – AGENT PROVOCATEUR? ....................................................................... 16 ɍ ɉɈȴɍ ɎɂɅɈɁɈɎɂȳȿ... ............................................................................................................................. 16 ɍ ɉɈȴɍ ɂɁȼɈɊɇȿ ɉɅɍɊȺɅɇɈɋɌɂ ɑɍɅȺ... ................................................................................................ 37 ɍ ɉɈȴɍ ɄȵɂɀȿȼɇɈɋɌɂ ɂ ɍɆȿɌɇɈɋɌɂ... ................................................................................................62 III ɍ ɌɊȺȽȺȵɍ ɁȺ ɇȿɉɈɋɊȿȾɇɈɒȶɍ ɋȺȽɅȺɋЈȺ..........................................................................69 ...ɂɁɆȿЂɍ ɋɂɆȻɈɅɂɋɌɂɑɄȿ ɉɈȿɁɂȳȿ ɂ ɋɌȼȺɊȺɅȺɒɌȼȺ ɄɅɈȾȺ ȾȿȻɂɋɂȳȺ ..................................... 80 ɂ јɨɲ ɧɟɲɬɨ... ............................................................................................................................. ........114 ...ɂɁɆȿЂɍ ɋɂɆȻɈɅɂɋɌɂɑɄɈȽ ɉɈɁɈɊɂɒɌȺ ɂ ɋɌȼȺɊȺɅȺɒɌȼȺ ɄɅɈȾȺ ȾȿȻɂɋɂȳȺ .......................... 123 ...ɂɁɆȿЂɍ ɂɆɉɊȿɋɂɈɇɂɋɌɂɑɄɈȽ ɋɅɂɄȺɊɋɌȼȺ ɂ ɋɌȼȺɊȺɅȺɒɌȼȺ ɄɅɈȾȺ ȾȿȻɂɋɂȳȺ .................. 155 ...ɂɁɆȿЂɍ ɍɏȺ ɂ ɈɄȺ – ɉɊȿɅɂȾɂ (PRÉLUDES) ɄɅɈȾȺ ȾȿȻɂɋɂȳȺ ....................................................... 179 IV ȾȿȻɂɋɂȳȿȼȺ ɋȺȽɅȺɋЈȺ ‒ ɍ ɌɊȺȽȺȵɍ ɁȺ ɑɂɋɌɈɆ ɆɍɁɂɄɈM ........................................ 205 L’ADORABLE ARABESQUE TOTALE .............................................................................................................. 209 Ɂɚɤɨɧɢɬɨɫɬɢ ɢ ɝɪɚɦɚɬɢɤɚ ɨɪɧɚɦɟɧɬɚ .......................................................................................... 210 ȺɊȺȻȿɋɄɇɈ ɑɂɌȺȵȿ ɉɈȿɆȿ ȻȺɐȺЊȿ ɄɈɐɄȿ ɋɌȿɎȺɇȺ ɆȺɅȺɊɆȿȺ ................................................. 217 ...après Mallarmé ............................................................................................................................. ......219 ȺɊȺȻȿɋɄȺ – LȺ MUSIQUE PURE ................................................................................................................ 222 V ɆɈȽɍȶɂ ɉɊȺȼɐɂ ‘ɒɂɊȿȵȺ’ ɆɍɁɂɑɄɈȽ ɍɇɂȼȿɊɁɍɆȺ ɄɅɈȾȺ ȾȿȻɂɋɂȳȺ .............. 245 ɉɊɂɅɈȽ ....................................................................................................................................................... 254 ɅɂɌȿɊȺɌɍɊȺ ............................................................................................................................................ 281 ȻɂɈȽɊȺɎɂȳȺ ɄȺɇȾɂȾȺɌȺ ................................................................................................................. 300 8 I ɍȼɈȾɇȺ Ɋȿɑ Ƚɥɚɜɧɢ ɩɪɟɞɦɟɬ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ „Ɇɭɡɢɱɤɢ ɭɧɢɜɟɪɡɭɦ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɍ ɬɪɚɝɚʃɭ ɡɚ ɧɟɩɨɫɪɟɞɧɨɲʄɭ ɫɚɝɥɚɫʁɚ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ” ʁɟɫɬɟ ɩɢɬɚʃɟ ɨɞɧɨɫɚ ɢɡɦɟђɭ Ⱦɟɛɢɫɢʁɟɜɨɝ (Claude Debussy) ɫɜɟɬɚ ɦɭɡɢɤɟ – ɞɟɛɢɫɢʁɚɧɫɤɨɝ ɭɧɢɜɟɪɡɭɦɚ1 ɢ ɤɭɥɬɭɪɧɨ- ɢɫɬɨɪɢʁɫɤɨɝ ɤɨɧɬɟɤɫɬɚ ɭ ɤɨʁɟɦ ɫɟ ɨɧ ɩɨʁɚɜʂɭʁɟ. Ɉɫɧɨɜɧɢ ɮɨɤɭɫ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ ɨɪɢʁɟɧɬɢɫɚɧ ʁɟ ɤɚ ɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɢ ɦɟђɭɫɨɛɧɢɯ ɨɞɧɨɫɚ/„ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ ɫɬɜɚɪɚɥɚɲɬɜɚ ɢ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɩɨɟɡɢʁɟ, ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɝ ɫɥɢɤɚɪɫɬɜɚ ɢ ɮɢɥɨɡɨɮɫɤɢɯ ɧɚɫɬɨʁɚʃɚ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɢɯ ɡɚ ɤɪɚʁ 19. ɢ ɩɨɱɟɬɚɤ 20. ɜɟɤɚ, ɨɞɧɨɫɧɨ, ɤɚ ɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɢ ɨɞɧɨɫɚ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ, ɬɟ ɩɨʁɦɨɜɚ „ɟɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ” ɢ „ɩɥɭɪɢɩɟɪɰɟɩɰɢʁɚ” ɤɨʁɢ, ɢɚɤɨ ʄɟ ɩɪɨɢɡɚʄɢ ɢɡ ɮɢɥɨɡɨɮɫɤɨ-ɟɫɬɟɬɢɱɤɟ ɦɢɫɥɢ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ (Mikel Louis Dufrenne) ɱɢɬɚɜɢɯ ɩɨɥɚ ɜɟɤɚ ɧɚɤɨɧ Ⱦɟɛɢɫɢʁɟɜɟ ɫɦɪɬɢ, ɡɚɩɪɚɜɨ, ɩɪɟɞɫɬɚɜʂɚʁɭ ɥɨɝɢɱɚɧ ɩɪɨɞɭɠɟɬɚɤ ɞɭɯɨɜɧɢɯ ɧɚɫɬɨʁɚʃɚ fin-de-sièclɟ-ɚ. Ɉɞɚɛɢɪ ɬɟɦɟ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ ɪɟɡɭɥɬɚɬ ʁɟ ɦɨɝ, ɭ ɨɫɧɨɜɢ, ɜɢɲɟɝɨɞɢɲʃɟɝ ɢɧɬɟɪɟɫɨɜɚʃɚ ɡɚ ɫɬɜɚɪɚɥɚɲɬɜɨ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ, ɢ ɡɚ ɫɩɟɰɢɮɢɱɧɨ ɨɤɪɭɠɟʃɟ ɢ ɢɫɬɨɪɢʁɫɤɢ ɬɪɟɧɭɬɚɤ ɭ ɤɨʁɟɦ ʁɟ ɨɜɚʁ ɤɨɦɩɨɡɢɬɨɪ ɠɢɜɟɨ ɢ ɫɬɜɚɪɚɨ; ɞɪɭɝɢɦ ɪɟɱɢɦɚ, ɨɧɚ ʁɟ ɪɟɡɭɥɬɚɬ ɦɨɝ ɨɬɤɪɢɜɚʃɚ ɦɭɡɢɱɤɨɝ ɭɧɢɜɟɪɡɭɦɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɢ, ɦɟɬɚɮɨɪɢɱɤɢ ɪɟɱɟɧɨ, ɢɫɬɪɚɠɢɜɚɱɤɨɝ ‘ɤɪɫɬɚɪɟʃɚ’ ɤɪɨɡ ɤɭɥɬɭɪɧɨ-ɭɦɟɬɧɢɱɤɢ ɩɟʁɡɚɠ ɮɪɚɧɰɭɫɤɨɝ fin-de-sièclɟ-ɚ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ. ɂɫɬɪɚɠɢɜɚʃɟ ɬɨɝ ɞɟɛɢɫɢʁɟɜɫɤɨɝ ɚɩɟɢɪɨɧɚ2 ɤɚɨ ɦɟɫɬɚ ɪɨђɟʃɚ, ɤɚɤɨ ɫɟ ɢɫɩɨɫɬɚɜɢɥɨ, ɦɧɨɲɬɜɚ ɞɪɭɝɢɯ ɦɢɤɪɨ-ɫɜɟɬɨɜɚ, ɨɞɜɟɥɨ ɦɟ ʁɟ 1 Tijana Popović Mlađenović, Procesi panstilističkog muzičkog mišljenja (Beograd: Fakultet muzičke umetnosti – IP Signature, 2009), 336. 2 ɍ ɫɬɚɪɨʁ Ƚɪɱɤɨʁ, ɦɢɥɟɬɫɤɢ ɮɢɥɨɡɨɮ Ⱥɧɚɤɫɢɦɚɧɞɚɪ ʁɟ ɭɜɟɨ ɩɨʁɚɦ „ɚɩɟɢɪɨɧ” (ɝɪ. ἄπειρον) ɤɚɤɨ ɛɢ ɨɛʁɚɫɧɢɨ ɩɨɱɟɬɚɤ ɫɜɟɝɚ (ɩɪɜɢ ɩɪɢɧɰɢɩ) ɤɨʁɢ ʁɟ, ɩɪɟɦɚ ʃɟɝɨɜɨʁ ɬɟɨɪɢʁɢ, ɭɜɟɤ ɩɨɤɪɟɬɚɧ – ɢɡ ʃɟɝɚ ɫɜɟ ɢɡɜɢɪɟ ɢ ɭ ʃɟɝɚ ɫɟ ɫɜɟ ɜɪɚʄɚ. Ɉɧ ɪɚђɚ ɫɭɩɪɨɬɧɨɫɬɢ, „ɬɨɩɥɨ” ɢ „ɯɥɚɞɧɨ”, „ɜɥɚɠɧɨ” ɢ „ɫɭɜɨ”, ɤɚɨ ɢ ʃɢɯɨɜɭ ɜɟɱɧɭ ɛɨɪɛɭ. Ɋɟɡɭɥɬɚɬ ɨɜɨɝ ɛɟɫɤɨɧɚɱɧɨɝ ɩɪɨɰɟɫɚ ʁɟ ɦɧɨɲɬɜɨ ɩɨɫɬɨʁɟʄɢɯ ɫɬɜɚɪɢ ɢ ɛɟɫɤɨɧɚɱɚɧ ɛɪɨʁ ɭɧɢɜɟɪɡɭɦɚ. ɍɩɨɪɟɞɢ ɫɚ: ȿɮɫɬɪɚɬɢʁɟ Ɍɟɨɞɨɫɢʁɭ, ɉɟɬɪɨɫ Ɇɚɧɬɚɪɚɤɢɫ, Ɇɢɥɚɧ ɋ. Ⱦɢɦɢɬɪɢʁɟɜɢʄ, ȼɚɫɢɥɢʁɟ ɇ. Ɇɚɧɢɦɚɧɢɫ ɢ ȿɦɚɧɭɟɥ Ⱦɚɧɟɡɢɫ, „ɉojaɦ ɛɟɫɤɨɧɚɱɧɨɫɬɢ ɢ ɢɞɟʁɚ ɨ ɦɧɨɲɬɜɭ ɫɜɟɬɨɜɚ ɨɞ ɚɧɬɢɱɤɢɯ ɞɨ ɦɨɞɟɪɧɢɯ ɤɨɫɦɨɥɨɝɢʁɚ”, ɭ: Ɇɢɥɚɧ ɋ. Ⱦɢɦɢɬɪɢʁɟɜɢʄ (ɭɪ.), Ɋɚɡɜɨʁ ɚɫɬɪɨɧɨɦɢʁɟ ɤɨɞ ɋɪɛɚ V, Ɂɛɨɪɧɢɤ ɪɚɞɨɜɚ ɤɨɧɮɟɪɟɧɰɢʁɟ, 2009, ɛɪ. 8, 423–436. 9 ɭ ɩɪɚɜɰɭ ɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɟ ʁɟɞɧɨɝ ɬɟɦɚɬɫɤɨɝ ɤɪɭɝɚ ɤɨʁɢ ɢɚɤɨ (ɝɨɬɨɜɨ ɫɚɫɜɢɦ ɥɨɝɢɱɧɨ) ɩɪɨɢɡɥɚɡɢ ɢɡ ɦɭɡɢɱɤɨɝ ɭɧɢɜɟɪɡɭɦɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ, ɡɚɩɪɚɜɨ, ɡɚɯɜɚɬɚ ʁɟɞɧɨ ɲɢɪɟ, „ɧɟɦɭɡɢɱɤɨ”, ɢɥɢ, ɩɚɤ, ɧɟ ɞɢɪɟɤɬɧɨ ɢ ɫɚɦɨ ɦɭɡɢɱɤɨ ɩɨʂɟ. Ɉɧɨ ɫɟ ɬɢɱɟ ɨɞɧɨɫɚ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ – ɫɥɢɱɧɨɫɬɢɦɚ ɢ ɪɚɡɥɢɤɚɦɚ ɤɨʁɟ ɫɟ ɭɨɱɚɜɚʁɭ ɢɡɦɟђɭ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɨɫɬɢ, ʃɢɯɨɜɢɦ ɦɟђɭɫɨɛɧɢɦ ɩɪɢɛɥɢɠɚɜɚʃɢɦɚ ɢ ɩɪɨɠɢɦɚʃɢɦɚ, ɝɪɭɩɢɫɚʃɢɦɚ, ɤɥɚɫɢɮɢɤɨɜɚʃɢɦɚ ɢ ɜɪɟɞɧɨɜɚʃɢɦɚ – ɤɨʁɟ ʁɟ, ɭ ɤɨɧɬɟɤɫɬɭ ɦɨɝ ɢɫɬɪɚɠɢɜɚʃɚ, ɞɢɪɟɤɬɧɨ ɜɟɡɚɧɨ ɡɚ ɱɢʃɟɧɢɰɭ ɞɚ ʁɟ Ʉɥɨɞ Ⱦɟɛɢɫɢ ɫɜɨʁ ɭɦɟɬɧɢɱɤɢ credo, ɨɞɧɨɫɧɨ, ɫɜɨʁ ‘ɦɚɧɢɮɟɫɬ’ ‘ɢɲɱɢɬɚɜɚɨ’ ɭ ɞɪɭɝɢɦ ɭɦɟɬɧɨɫɬɢɦɚ: ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɦ ɫɥɢɤɚɪɫɬɜɭ ɢ ɩɪɜɟɧɫɬɜɟɧɨ ɭ ɫɢɦɛɨɥɢɫɬɢɱɤɨʁ ɩɨɟɡɢʁɢ, ɬɚɱɧɢʁɟ, ɭ ʃɟɧɨɦ ɦɭɡɢɱɤɨɦ ɫɯɜɚɬɚʃɭ ɢ ɬɪɟɬɢɪɚʃɭ ɫɬɢɯɚ ɢ ɩɪɨɡɟ.3 Ɍɟɦɚ „ɨɞɧɨɫ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ”, ɦɨʁɢɦ ɢɫɬɪɚɠɢɜɚʃɢɦɚ ɫɚɫɜɢɦ ɩɪɢɪɨɞɧɨ ‘ɧɚɦɟɬɧɭɬɚ’, ɩɪɟɞɦɟɬ ʁɟ ɦɧɨɝɢɯ ɬɟɨɪɢʁɫɤɢɯ ɪɚɡɦɚɬɪɚʃɚ, ɮɢɥɨɡɨɮɫɤɢɯ ɢ ɧɚɭɱɧɢɯ ɪɚɫɩɪɚɜɚ ɤɨʁɟ ɩɪɚɬɟ ɱɨɜɟɤɨɜɭ ɭɦɟɬɧɢɱɤɭ ɚɤɬɢɜɧɨɫɬ ɨɞ ɚɧɬɢɤɟ ɞɨ ɞɚɧɚɫ. ɍ ɤɨɧɬɟɤɫɬɭ ɬɟɨɪɢʁɫɤɢɯ ɪɚɡɦɚɬɪɚʃɚ ɨ ɭɦɟɬɧɨɫɬɢ ɦɨɝɭʄɟ ʁɟ, ɧɚɱɟɥɧɨ, ɝɨɜɨɪɢɬɢ ɨ ɞɜɚ ɨɫɧɨɜɧɚ ɩɪɢɫɬɭɩɚ. ɍ ɩɪɜɨɦ ɫɟ ɧɚ ɩɥɚɧɭ ɬɟɨɪɢʁɟ ɢɡɝɪɚђɭʁɭ ɩɨɫɬɚɜɤɟ ɨ ɩɨɫɬɨʁɚʃɭ ɩɨɫɟɛɧɢɯ ɜɪɫɬɚ ɭɦɟɬɧɨɫɬɢ ɢ ɨɬɤɪɢɜɚʁɭ ɪɚɡɥɢɤɟ ɦɟђɭ ʃɢɦɚ, ɞɨɤ ɫɟ ɭ ɨɤɜɢɪɭ ɞɪɭɝɨɝ ɩɪɢɫɬɭɩɚ ɧɚ ɩɥɚɧɭ ɨɩɲɬɟɟɫɬɟɬɢɱɤɢɯ ɬɟɨɪɢʁɚ ɨɬɤɪɢɜɚʁɭ ʃɢɯɨɜɚ ɡɚʁɟɞɧɢɱɤɚ ɫɜɨʁɫɬɜɚ. ɍ ɨɛɚ ɫɥɭɱɚʁɚ, ɨɜɢ ɬɟɨɪɢʁɫɤɢ ɩɪɢɫɬɭɩɢ ɫɭ ɢɡɪɚɡ ɢ ɨɞɪɟђɟɧɢɯ ɮɢɥɨɡɨɮɫɤɢɯ ɩɪɟɬɩɨɫɬɚɜɤɢ ɤɨʁɟ ɧɚʁɱɟɲʄɟ ɬɟɠɟ ɞɚ ɭɫɩɨɫɬɚɜɟ ɫɢɫɬɟɦ ɭ ɨɤɜɢɪɭ ɤɨɝɚ ɫɟ ɪɚɡɦɚɬɪɚ ɢ ɩɪɨɛɥɟɦ ɨɞɧɨɫɚ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ, ɨɛɪɚђɭʁɟ ɚɤɫɢɨɥɨɲɤɚ ɯɢʁɟɪɚɪɯɢʁɚ ɭɦɟɬɧɨɫɬɢ ɢɥɢ ɞɚʁɟ ɧɚɰɪɬ ɡɚ ʃɢɯɨɜɭ ɤɥɚɫɢɮɢɤɚɰɢʁɭ. ɇɨ, ɜɚɠɧɨ ʁɟ ɧɚɩɨɦɟɧɭɬɢ ɞɚ ɫɟ ɨɜɚ ɞɜɚ ɪɚɡɥɢɱɢɬɚ ɩɪɢɫɬɭɩɚ ɧɟ ɢɫɤʂɭɱɭʁɭ ɭɡɚʁɚɦɧɨ, ɜɟʄ ɞɚ ɫɟ ɨɧɢ, ɧɚɩɪɨɬɢɜ, ɧɟɩɪɟɫɬɚɧɨ ɭɤɪɲɬɚʁɭ ɢ ɦɟђɭɫɨɛɧɨ ɞɨɩɭʃɚɜɚʁɭ. ɍ ɩɪɨɭɱɚɜɚʃɭ ɨɞɧɨɫɚ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɩɨɥɚɡɧɚ ɫɬɚɧɨɜɢɲɬɚ ɜɚɪɢɪɚʁɭ. ɂɫɬɢ ɫɥɭɱɚʁ ʁɟ ɢ ɫɚ ɦɟɬɨɞɚɦɚ ɤɨʁɟ ɫɟ ɬɨɦ ɩɪɢɥɢɤɨɦ ɩɪɢɦɟʃɭʁɭ, ɛɭɞɭʄɢ ɞɚ ɨɧɟ ɡɚɜɢɫɟ ɨɞ ɤɨɧɤɪɟɬɧɨɝ ɩɪɟɞɦɟɬɚ ɢɫɬɪɚɠɢɜɚʃɚ. ɉɪɢɫɬɭɩ ɨɜɚɤɜɨɦ ɩɨɪɟђɟʃɭ ɭɦɟɬɧɨɫɬɢ ɦɨɠɟ ɛɢɬɢ ɡɚɫɧɨɜɚɧ ɧɚ ɢɫɬɪɚɠɢɜɚʃɭ ɭɦɟɬɧɢɱɤɨɝ ɞɟɥɚ ɢ ʃɟɝɨɜɟ ɫɬɪɭɤɭɬɪɟ, ɩɫɢɯɨɥɨɝɢʁɢ 3 ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ (1862–1918) ɢ ʃɟɝɨɜɨ ɞɨɛɚ. Ɉɞ „Ɂɦɚʁɚ ɢɡ Ⱥɥɤɟ” ɞɨ „Ɂɚʂɭɛʂɟɧɨɝ ɮɚɭɧɚ” (Ȼɟɨɝɪɚɞ: Ɇɭɡɢɱɤɚ ɨɦɥɚɞɢɧɚ ɋɪɛɢʁɟ, 2008), 15. 10 ɩɪɢɦɚɨɰɚ ɢ ɫɬɜɚɪɚɨɰɚ, ɤɭɥɬɭɪɧɨʁ ɢ ɞɪɭɲɬɜɟɧɨʁ ɭɫɥɨɜʂɟɧɨɫɬɢ ɩɨʁɚɜɚ, ɢɬɞ., ɬɟ ɫɟ, ɫɥɟɞɫɬɜɟɧɨ ɬɨɦɟ, ɦɨɠɟ ɝɨɜɨɪɢɬɢ ɨ ɧɚʁɪɚɡɥɢɱɢɬɢʁɢɦ ɩɪɢɫɬɭɩɢɦɚ: ɩɨɡɢɬɢɜɢɫɬɢɱɤɨɦ, ɩɫɢɯɨɥɨɲɤɨɦ, ɟɦɩɢɪɢʁɫɤɨɦ, ɮɟɧɨɦɟɧɨɥɨɲɤɨɦ ɢ ɞɪɭɝɢɦ. ȵɢɯɨɜ ɛɪɨʁ ɫɟ ɧɚɪɨɱɢɬɨ ɩɨɜɟʄɚɨ ɭ ɧɨɜɢʁɢɦ ɬɟɨɪɢʁɫɤɢɦ ɪɚɡɦɚɬɪɚʃɢɦɚ, ɤɨʁɚ ɫɭ ɩɨɱɟɥɚ ɞɚ ɭɤʂɭɱɭʁɭ ɢ ɩɪɢɦɟʃɭʁɭ ɢɧɫɬɪɭɦɟɧɬɟ ɢ ɦɟɬɨɞɟ ɪɚɡɥɢɱɢɬɢɯ ɧɚɭɱɧɢɯ ɞɢɫɰɢɩɥɢɧɚ, ɩɨɩɭɬ ɥɢɧɝɜɢɫɬɢɤɟ, ɚɧɬɪɨɩɨɥɨɝɢʁɟ, ɫɨɰɢɨɥɨɝɢʁɟ, ɩɫɢɯɨɚɧɚɥɢɡɟ ɢ ɞɪɭɝɢɯ. Ɍɨɤɨɦ 20. ɜɟɤɚ ɩɢɬɚʃɟ ɨɞɧɨɫɚ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɩɨɫɬɚʁɟ ɩɪɟɞɦɟɬ ɢɫɬɪɚɠɢɜɚʃɚ ɤɨɦɩɚɪɚɬɢɜɧɟ ɟɫɬɟɬɢɤɟ ɤɚɨ ɩɨɫɟɛɧɟ ɞɢɫɰɢɩɥɢɧɟ ɤɨʁɚ ɩɪɟɬɟɧɞɭʁɟ ɧɚ ɧɚɭɱɧɨɫɬ ɢ ɫɨɩɫɬɜɟɧɢ ɦɟɬɨɞ.4 Ɍɚɱɧɢʁɟ, ɜɟʄ ʁɟ ɤɪɚʁɟɦ 19. ɢ ɩɨɱɟɬɤɨɦ 20. ɜɟɤɚ ȹɨɪџ Ɋɟʁɦɨɧɞ (George Lansing Raymond) ɞɟɮɢɧɢɫɚɨ ɩɪɟɞɦɟɬ ɤɨɦɩɚɪɚɬɢɜɧɟ ɟɫɬɟɬɢɤɟ, ɚ ɨɧ ɫɟ ɬɢɱɟ ɭɩɨɪɟђɢɜɚʃɚ ɞɟɥɚ ɢ ɩɨɫɬɭɩɚɤɚ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɨɫɬɢ.5 Ɉɧ ʁɟ, ɬɚɤɨђɟ, ɜɟɨɦɚ ɞɟɬɚʂɧɨ ɪɚɡɪɚɞɢɨ ɦɟɬɨɞɨɥɨɝɢʁɭ ɤɨɦɩɚɪɚɬɢɜɧɨ-ɟɫɬɟɬɢɱɤɨɝ ɢɫɬɪɚɠɢɜɚʃɚ ɩɨɥɚɡɟʄɢ ɨɞ ɩɨɪɟђɟʃɚ ɟɮɟɤɚɬɚ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɨɫɬɢ. Ɂɚ ɢɫɬɪɚɠɢɜɚʃɟ ɫɥɢɱɧɨɫɬɢ ɢ ɪɚɡɥɢɤɚ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ, ɤɪɨɡ ɫɥɨɠɟɧ ɢ ɪɚɡɧɨɜɪɫɬɚɧ ɩɪɨɰɟɫ ʃɢɯɨɜɢɯ ɦɟђɭɨɞɧɨɫɚ, ɪɚɡɪɚɞɢɨ ʁɟ ɫɥɟɞɟʄɟ ɦɟɬɨɞɟ: ɩɨɪɟђɟʃɟ, ɩɚɪɚɥɟɥɧɨ ɢɫɬɪɚɠɢɜɚʃɟ, ɦɟђɭɫɨɛɧɨ ɞɟɥɨɜɚʃɟ, ɯɢʁɟɪɚɪɯɢʁɫɤɨ ɜɪɟɞɧɨɜɚʃɟ (ɤɨʁɟ ɩɨɞɪɚɡɭɦɟɜɚ ɩɪɜɟɧɫɬɜɟɧɨɫɬ, ɩɨɞɪɟђɟɧɨɫɬ ɢɥɢ ɪɚɜɧɨɬɟɠɭ ɟɮɟɤɬɚ), ɡɚɬɢɦ ɝɪɭɩɢɫɚʃɟ ɢ ɪɚɡɜɪɫɬɚɜɚʃɟ.6 ɇɚ ʃɟɝɨɜɟ ɪɚɞɨɜɟ ɢ ɦɟɬɨɞɫɤɚ ɭɩɭɬɫɬɜɚ, ɤɨʁɢɦɚ ɫɜɚɤɚɤɨ ɩɪɢɩɚɞɚ ɩɪɚɜɨ ɩɪɜɟɧɫɬɜɚ ɭ ɨɜɨʁ ɨɛɥɚɫɬɢ, ɩɨɡɢɜɚɥɢ ɫɭ ɫɟ ɛɪɨʁɧɢ ɟɫɬɟɬɢɱɚɪɢ, ɢɡɦɟђɭ ɨɫɬɚɥɢɯ ɢ ȿɬʁɟɧ ɋɭɪɢɨ (Étienne Souriau) ɢ Ɇɢɤɟɥ Ⱦɢɮɪɟɧ. 4 Ɋɟɱ ʁɟ ɨ ɟɫɬɟɬɢɱɤɨʁ ɞɢɫɰɢɩɥɢɧɢ ɤɨʁɚ ɭɩɨɪɟђɭʁɟ ɪɚɡɥɢɱɢɬɟ ɭɦɟɬɧɢɱɤɟ ɜɪɫɬɟ, ɨɞɧɨɫɧɨ ɞɟɥɚ ɢ ɩɨɫɬɭɩɤɟ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɨɫɬɢ. ȵɟɧ ɡɚɞɚɬɚɤ ʁɟ ɞɚ ɚɪɝɭɦɟɧɬɨɜɚɧɨ ɩɨɬɜɪɞɢ ɨɧɬɨɥɨɲɤɟ ɢ ɦɨɪɮɨɥɨɲɤɟ ɚɧɚɥɨɝɢʁɟ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɨɫɬɢ, ɚ ɬɨ ʁɟ ɦɨɝɭʄɟ ɭɤɨɥɢɤɨ ɫɟ ɤɨɪɢɫɬɢ ɢɫɬɢ ɦɟɬɨɞ ɚɧɚɥɢɡɟ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɤɨɦɩɚɪɚɬɢɜɧɚ ɟɫɬɟɬɢɤɚ ɩɪɟɬɟɧɞɭʁɟ ɧɚ ɨɞɪɟђɢɜɚʃɟ ɫɥɢɱɧɨɫɬɢ ɢ ɪɚɡɥɢɤɚ ɦɟђɭ ɩɨʁɟɞɢɧɢɦ ɭɦɟɬɧɢɱɤɢɦ ɜɪɫɬɚɦɚ, ɚ ɫɚ ɰɢʂɟɦ ɞɚ ɲɬɨ ʁɟ ɦɨɝɭʄɟ ɨɛɭɯɜɚɬɧɢʁɟ ɢ ɜɢɲɟɫɥɨʁɧɢʁɟ ɨɛʁɚɫɧɢ ʃɢɯɨɜɟ ɦɟђɭɫɨɛɧɟ ɨɞɧɨɫɟ. 5 Ɋɟɱ ʁɟ ɨ ɞɟɥɭ ɫɚɱɢʃɟɧɨɦ ɨɞ ɞɟɜɟɬ ɬɨɦɨɜɚ, ɧɚɫɬɚɥɢɯ ɢ ɨɛʁɚɜʂɟɧɢɯ ɭ ɩɟɪɢɨɞɭ ɨɞ 1894. ɞɨ 1906. ɝɨɞɢɧɟ (1. Art in Theory; 2. The Representative Significance of Form; 3. Poetry as a Representative Art; 4. Painting, Sculpture, and Architecture as Representative Arts; 5. The Genesis of Art Form; 6. Rhythm and Harmony in Poetry and Music; 7. Music as Representative Art; 8. Proportion and Harmony of Line and Color in Painting, Sculpture, and Architecture; 9. The Essentials of Aesthetic in Music, Poetry, Painting, Sculpture, and Architecture). Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ: George Lansing Raymond, Comparative Aesthetics (New York: G.P. Putnam’s Sons, 1894–1906). 6 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: Barbara Shissler, “George Lansing Raymond’s Comparative Aesthetics”, The Journal of Aesthetics and Art Criticism, Vol. 19, No. 3, 1961, 327–337. 11 Ȼɭɞɭʄɢ ɞɚ ʃɢɯɨɜɚ ɞɟɥɚ Ɉɞɧɨɫ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ7, Ɏɟɧɨɦɟɧɨɥɨɝɢʁɚ ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ8 ɢ Ɉɤɨ ɢ ɭɯɨ9 ɩɪɟɞɫɬɚɜʂɚʁɭ ɧɟɡɚɨɛɢɥɚɡɧɭ ɥɢɬɟɪɚɬɭɪɭ ɭ ɜɟɡɢ ɫɚ ɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɨɦ ɨɞɧɨɫɚ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɭ ɩɨʂɭ ɤɨɦɩɚɪɚɬɢɜɧɟ ɟɫɬɟɬɢɤɟ10, ɭɩɪɚɜɨ ʄɟ ɨɧɚ ɛɢɬɢ ɤʂɭɱɧɚ ɡɚ ɩɪɨɦɢɲʂɚʃɟ ɬɟɦɟ ɨɜɨɝ ɪɚɞɚ. Ⱦɚ ɛɭɞɟɦ ɩɪɟɰɢɡɧɢʁɚ, ɭɩɨɪɢɲɬɟ ɩɪɨɰɟɫɚ ɬɪɚɝɚʃɚ ɡɚ ɧɚɩɨɫɪɟɞɧɨɲʄɭ „ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ, ɬɨ ʁɟɫɬ, „ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ Ⱦɟɛɢɫɢʁɟɜɨɝ ɧɚɱɢɧɚ ɦɭɡɢɱɤɨɝ ɦɢɲʂɟʃɚ ɢ ɨɞɥɢɤɚ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɤʃɢɠɟɜɧɨɫɬɢ ɢ ɩɨɡɨɪɢɲɬɚ, ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɝ ɫɥɢɤɚɪɫɬɜɚ ɢ ɫɤɭɥɩɬɭɪɟ, ɬɟ ɮɢɥɨɡɨɮɫɤɢɯ ɧɚɫɬɨʁɚʃɚ fin-de-siècle-ɚ, ɛɢʄɟ ɭ ɨɩɭɫɭ ȿɬʁɟɧɚ ɋɭɪɢɨɚ, ɬɚɱɧɢʁɟ, ʃɟɝɨɜɨʁ ɫɬɭɞɢʁɢ ɢɡ ɨɛɥɚɫɬɢ ɤɨɦɩɚɪɚɬɢɜɧɟ ɟɫɬɟɬɢɤɟ Ɉɞɧɨɫ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɢ ɮɟɧɨɦɟɧɨɥɨɲɤɨʁ ɟɫɬɟɬɢɰɢ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ ɢ ʃɟɝɨɜɢɦ ɫɬɭɞɢʁɚɦɚ Ɏɟɧɨɦɟɧɨɥɨɝɢʁɚ ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ ɢ Ɉɤɨ ɢ ɭɯɨ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ. ɂɡ ɋɭɪɢɨɨɜɟ ɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɟ „ɤɨɪɟɫɩɨɧɞɟɧɰɢʁɟ ɭɦɟɬɧɨɫɬɢ” – ɭ ɤɨɧɬɟɤɫɬɭ ɤɨʁɟ ɨɧ, ɢɡɦɟђɭ ɨɫɬɚɥɢɯ, ɧɚɜɨɞɢ ɢ ɩɪɢɦɟɪ ɞɚ ɦɟɬɪɢɤɚ ɧɚɥɚɡɢ ɫɜɨʁɭ ɩɪɢɦɟɧɭ ɢ ɭ ɦɭɡɢɰɢ ɢ ɭ ɩɨɟɡɢʁɢ, ɚɥɢ ɩɨɫɟɛɧɨ ɭɤɚɡɭʁɭʄɢ ɧɚ ‘ɩɨɝɨɞɧɨɫɬ’ ɦɭɡɢɱɤɢɯ ɦɨɞɟɥɚ ɡɚ ɩɪɢɦɟɧɭ ɭ ɞɪɭɝɢɦ ɭɦɟɬɧɢɱɤɢɦ ɤɨɧɬɟɤɫɬɢɦɚ ‒ „ɨɧɟ ɪɟɱɢ ɤɨʁɟ ɦɨɝɭ ɛɢɬɢ ɭɩɢɫɚɧɟ ɭ ɥɟɤɫɢɤɭ ɞɪɭɝɢɯ ɭɦɟɬɧɨɫɬɢ, ɫɭ ɩɪɟ ɫɜɟɝɚ ɨɧɟ ɪɟɱɢ ɤɨʁɟ ɫɭ ɭɩɢɫɚɧɟ ɭ ɪɟɱɧɢɤ ɦɭɡɢɤɟ 7 Etjen Surio, Odnos među umetnostima [Etienne Souriau, La Correspondance des Arts. Éléments d’esthétique comparée] prev. Miloš Jovanović (Sarajevo: IP Svjetlost), 1958. 8 Mikel Dufrenne, The Phenomenology of Aesthetic Experience [Mikel Dufrenne, Phénoménologie de l’expérience esthétique] transl. by Edward S. Casey (Evanston: Northwestern University Press, 1973). 9 ɉɨɦɟɧɭɬɚ ɫɬɭɞɢʁɚ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ ɩɪɜɢ ɩɭɬ ʁɟ ɨɛʁɚɜʂɟɧɚ 1987. ɝɨɞɢɧɟ. ȼɢɞɟɬɢ: Mikel Dufrenne, L’Œil et l’oreille (Montréal: L’Hexagone, 1987). ȼɟɪɡɢʁɚ ɤɨʁɭ ʄɭ ɤɨɪɢɫɬɢɬɢ ɭ ɞɨɤɬɨɪɫɤɨʁ ɞɢɫɟɪɬɚɰɢʁɢ ɨɛʁɚɜʂɟɧɚ ʁɟ ɭ ɩɪɟɜɨɞɭ ɧɚ ɫɪɩɫɤɢ ʁɟɡɢɤ 1989. ɝɨɞɢɧɟ. ȼɢɞɟɬɢ: Mikel Difren, Oko i uho, prev. Nada Seferović (Banja Luka: Glas, 1989). 10 Ɍɚɤɨђɟ, ɭ ɥɢɬɟɪɚɬɭɪɢ ɱɢʁɟ ɫɟ ɜɪɟɦɟ ɧɚɫɬɚɧɤɚ ɜɟɡɭʁɟ ɡɚ ɞɪɭɝɭ ɩɨɥɨɜɢɧɭ 20. ɜɟɤɚ ɩɨɦɢʃɟ ɫɟ ɢ ɦɨɪɮɨɥɨɝɢʁɚ ɭɦɟɬɧɨɫɬɢ ɤɚɨ ɩɨɫɟɛɧɨ ɭɱɟʃɟ ɨ ɭɫɬɪɨʁɫɬɜɭ ɫɜɟɬɚ ɭɦɟɬɧɨɫɬɢ, ɨ ɡɚɤɨɧɢɦɚ ʃɟɝɨɜɟ ɭɧɭɬɪɚɲʃɟ ɨɪɝɧɚɡɢɨɜɚɧɨɫɬɢ ɤɚɨ ɫɢɫɬɟɦɚ ɭɦɟɬɧɢɱɤɢɯ ɝɪɭɩɚ, ɜɪɫɬɚ, ɪɨɞɨɜɚ ɢ ɠɚɧɪɨɜɚ. ɉɨɥɚɡɟʄɢ ɨɞ ɪɚɡɥɢɤɚ ɤɨʁɟ ɩɨɫɬɨʁɟ ɢɡɦɟђɭ ɩɨʁɟɞɢɧɢɯ ɝɪɚɧɚ ɭɦɟɬɧɨɫɬɢ, ɦɨɪɮɨɥɨɝɢʁɚ ɭɦɟɬɧɨɫɬɢ ɢɫɬɪɚɠɭʁɟ ʃɢɯɨɜɟ ɨɞɧɨɫɟ ɤɨʁɢ ɫɟ ɨɞɪɚɠɚɜɚʁɭ ɧɚ ɩɥɚɧɭ ɫɭɲɬɢɧɫɤɢɯ ɩɪɨɦɟɧɚ ɫɚɦɨɝ ɭɦɟɬɧɢɱɤɨɝ ɛɢʄɚ, ɚ ɩɪɟ ɫɜɟɝɚ ɧɚ ʃɟɝɨɜɨʁ ɬɢɩɨɥɨɲɤɨʁ ɪɚɡɭђɟɧɨɫɬɢ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɢɡɞɜɚʁɚ ɫɟ ɢɦɟ Ɍɨɦɚɫɚ Ɇɚɧɪɨɚ (Thomas Munro), ɩɢɫɰɚ ɡɚ ɫɚɞɚ ɧɚʁɨɛɢɦɧɢʁɟ ɫɬɭɞɢʁɟ ɩɨɫɜɟʄɟɧɟ ɨɞɧɨɫɭ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ, ɤɨʁɢ ɫɜɨʁ ɪɚɞ ɧɚɡɢɜɚ „ɤɨɦɩɚɪɚɬɢɜɧɨɦ ɦɨɪɮɨɥɨɝɢʁɨɦ”. Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Thomas Munro, The Arts and Their Interrelations (New York: The Liberal Arts Press, 1951). ɇɚ ɫɥɢɱɧɨʁ ɥɢɧɢʁɢ ɫɟ ɧɚɥɚɡɢ ɢ Ⱦɪɚɝɭɬɢɧ Ƚɨɫɬɭɲɤɢ ɤɨʁɢ ɩɢɲɟ ɨ „ɟɥɟɦɟɧɬɢɦɚ ɤɨɦɩɚɪɚɬɢɜɧɟ ɦɨɪɮɨɥɨɝɢʁɟ”, ɤɨʁɢ ɫɟ ɭɫɩɨɫɬɚɜʂɚʁɭ ɭ ɪɚɜɧɢ ɬɚɱɤɚ–ɬɨɧ, ɩɪɚɜɚ ɥɢɧɢʁɚ– ‘ɩɪɨɬɟɝɧɭɬɢ’ ɬɨɧ, ɦɟɥɨɞɢʁɫɤɚ ɥɢɧɢʁɚ–ɤɨɧɬɭɪɚ ɰɪɬɟɠɚ ɢɬɞ. Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Dragutin Gostuški, Vreme umetnosti. Prilog zasnivanju jedne opšte nauke o oblicima (Beograd: Prosveta, 1968). 12 (ɯɚɪɦɨɧɢʁɚ, ɪɢɬɚɦ, ɦɟɥɨɞɢʁɚ)”11 – ‘ɢɲɱɢɬɚɜɚɦ’ ɤɚɪɚɤɬɟɪɢɫɬɢɤɟ ɩɟɫɧɢɱɤɨɝ ɫɢɦɛɨɥɢɡɦɚ (ɜɪɥɨ ʁɟɞɧɨɫɬɚɜɧɨ, „ɫɚɠɟɬɟ ɭ ɧɚɦɟɪɢ ɡɚʁɟɞɧɢɱɤɨʁ ɧɟɤɨɥɢɤɢɦ ɩɨɪɨɞɢɰɚɦɚ ɩɟɫɧɢɤɚ ɞɚ ɨɞ ɦɭɡɢɤɟ ɩɪɟɭɡɦɭ ɫɜɨʁɟ ɞɨɛɪɨ”12, ɞɚ ɩɨɟɡɢʁɢ ɜɪɚɬɟ ʃɟɧɭ ɦɭɡɢɱɤɭ ɞɢɦɟɧɡɢʁɭ – ɦɟɥɨɞɢɨɡɧɨɫɬ ɫɬɢɯɚ ɢ ɦɭɡɢɱɧɨɫɬ ɦɢɫɥɢ), ɚ ɤɨʁɟ ɫɭ ɭ ɡɧɚɬɧɨʁ ɦɟɪɢ ɞɨɩɪɢɧɟɥɟ ɮɨɪɦɢɪɚʃɭ Ⱦɟɛɢɫɢʁɟɜɟ ɩɨɟɬɢɤɟ ɢ ɟɫɬɟɬɢɤɟ. ɂɡ ɜɢɡɭɪɟ ɞɢɮɪɟɧɨɜɫɤɨɝ ɡɧɚɱɟʃɚ ɩɨʁɦɚ „ɟɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ” (ɢɡɜɨɪɧɨ ɢɫɤɭɫɬɜɨ ɤɨʁɟ ɩɪɟɬɯɨɞɢ ɪɚɡɥɭɱɢɜɚʃɭ ɧɚ ɫɭɛʁɟɤɬ ɢ ɨɛʁɟɤɬ, ɬɨ ʁɟɫɬ, ɱɢʁɚ ɫɟ ɢɡɜɨɪɧɚ ɬɨɬɚɥɧɨɫɬ ɩɪɟɩɨɡɧɚʁɟ ɭ ɉɪɢɪɨɞɢ ɤɚɨ ɟɫɬɟɬɫɤɢ ɞɨɫɬɭɩɧɨʁ ɬɨɬɚɥɧɨɫɬɢ), ɭɨɱɚɜɚɦ Ⱦɟɛɢɫɢʁɟɜɭ ɩɨɬɪɟɛɭ ɞɚ ɫɟ ɩɪɨɧɚђɭ, ɛɨɞɥɟɪɨɜɫɤɢ (Charles Pierre Baudelaire) ɪɟɱɟɧɨ, ɬɚʁɚɧɫɬɜɟɧɟ ɜɟɡɟ („ɫɚɝɥɚɫʁɚ”, correspondances) ɢɡɦɟђɭ ɩɪɢɪɨɞɟ ɢ (ɭɦɟɬɧɢɱɤɟ) ɢɦɚɝɢɧɚɰɢʁɟ; ɡɚɩɪɚɜɨ, ɢɡ ɜɢɡɭɪɟ ɡɧɚɱɟʃɚ ɩɨɦɟɧɭɬɨɝ (ɫɪɟɞɢɲʃɟɝ) ɩɨʁɦɚ Ⱦɢɮɪɟɧɨɜɟ ɮɢɥɨɡɨɮɢʁɟ, ɩɪɟɩɨɡɧɚʁɟɦ ɤɨɦɩɨɡɢɬɨɪɨɜɭ ɬɟɠʃɭ ɤɚ „ɭɦɟɬɧɨɫɬɢ ɡɚɫɧɨɜɚɧɨʁ ɧɚ ɢɦɚɝɢɧɚɬɢɜɧɢɦ ɦɟɬɚɦɨɪɮɨɡɚɦɚ ɩɪɢɪɨɞɟ ɢɥɢ ɧɚ ɦɭɡɢɱɤɨɦ ɩɪɟɞɫɬɚɜʂɚʃɭ ɫɜɟɝɚ ɨɧɨɝ ɲɬɨ ɦɨɠɟ ɛɢɬɢ ɨɩɚɠɟɧɨ ɱɭɥɨɦ ɫɥɭɯɚ ɭ ɪɢɬɦɭ ɫɜɟɬɚ ɤɨʁɢ ɧɚɫ ɨɤɪɭɠɭʁɟ”13, ɲɬɨ ɪɟɡɭɥɬɢɪɚ ɫɬɜɚɪɚʃɟɦ ʁɟɞɧɟ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɟ ɩɨɟɬɢɤɟ ɤɨʁɚ (ɩɨ)ɫɬɨʁɢ ɭ ɨɬɜɨɪɟɧɨɦ ɞɢʁɚɥɨɝɭ ɫɚ ɫɜɢɦ ɨɧɢɦ (ɤɪɟɚɬɢɜɧɢɦ) ɨɛɪɚɫɰɢɦɚ ɤɨʁɢɦɚ ɫɭ ɛɢɥɢ ɡɚɨɤɭɩʂɟɧɢ ɢ Ⱦɟɛɢɫɢʁɟɜɢ ɫɚɜɪɟɦɟɧɢɰɢ ɢɡ ɞɪɭɝɢɯ ɤɭɥɬɭɪɧɢɯ ɫɮɟɪɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɩɨʁɚɦ „ɩɥɭɪɢɩɟɪɰɟɩɰɢʁɚ” (Mahrwahrnehmung), ɤɨʁɢ ʁɟ ɭɜɟɨ ȼɨɥɮɝɚɧɝ Ɋɨɲɟɪ (Wolfgang Roscher), ɚ ɞɚʂɟ ɩɪɨɛɥɟɦɚɬɢɡɨɜɚɨ Ⱦɢɮɪɟɧ ɭ ɫɜɨʁɨʁ ɫɬɭɞɢʁɢ Ɉɤɨ ɢ ɭɯɨ ɩɢɲɭʄɢ ɨ „ʁɟɞɢɧɫɬɜɭ ɩɥɭɪɚɥɚ”, ɧɚʁɚɞɟɤɜɚɬɧɢʁɟ ɨɩɢɫɭʁɟ ɫɥɨɠɟɧɨɫɬ ɢ ɜɢɲɟɞɢɦɟɧɡɢɨɧɚɥɧɨɫɬ ɨɩɚɠɚʃɚ ɫɬɜɚɪɧɨɫɬɢ, ɨɞɧɨɫɧɨ, „ɨɛɭɯɜɚɬɚ ɢɧɬɟɪɤɭɥɬɭɪɚɥɧɨ ɨɩɚɠɚʃɟ ɩɪɨɫɬɨɪɚ, ɞɨɠɢɜʂɚʁ ɜɪɟɦɟɧɚ ɭ ɢɧɬɟɝɪɚɬɢɜɧɨɦ ɨɩɚɠɚʃɭ ɬɪɚɞɢɰɢʁɚ, ɫɨɰɢɨ- ɤɨɦɭɧɢɤɚɬɢɜɧɨ ɨɩɚɠɚʃɟ ɞɪɭɲɬɜɚ ɢ ɞɪɭɲɬɜɟɧɟ ɪɟɚɥɧɨɫɬɢ, ɦɭɥɬɢɦɟɞɢʁɚɥɧɨ ɨɩɚɠɚʃɟ 11 Ɍɚɤɨђɟ, ɪɟɱ „ɬɨɧ” ɦɨɠɟ ɞɚ ɪɟɮɟɪɢɪɚ ɧɚ ɫɜɨʁɫɬɜɨ ɢ ɤɜɚɥɢɬɟɬ ɨɞɪɟђɟɧɟ ɛɨʁɟ, ɨɞɧɨɫɧɨ, „ɛɨʁɚ” ɧɚ ɤɜɚɥɢɬɟɬ ɡɜɭɤɚ. ɐɢɬɢɪɚɧɨ ɩɪɟɦɚ: Mikel Difren, Oko i uho, ɧɚɜ. ɞɟɥɨ, 166. 12 Ɋɟɱɢ ɉɨɥɚ ȼɚɥɟɪɢʁɚ (Paul Valéry), ɰɢɬɢɪɚɧɟ ɩɪɟɦɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ (1862–1918) ɢ ʃɟɝɨɜɨ ɞɨɛɚ..., ɧɚɜ. ɞɟɥɨ, 15. 13 Caroline Potter, “Debussy and nature”, in: Simon Trezise (ed.), The Cambridge Companion to Debussy (Cambridge: Cambridge University Press, 2003), 137–138. 13 ɭɦɟɬɧɨɫɬɢ ɢ ɞɪɭɝɨ”14. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɫɦɚɬɪɚɦ ɞɚ ʁɟ ɞɭɯ fin-de-sièclɟ ɛɢɨ ɩɪɨɠɟɬ ɩɨɬɪɟɛɨɦ ɡɚ ɢɧɬɟɝɪɚɥɧɢɦ, ɤɨɦɩɥɟɤɫɧɢɦ, ɚɥɢ ɢ ɤɪɢɬɢɱɤɢɦ ɨɩɚɠɚʃɟɦ ɫɜɟɬɚ. Ʉɚɤɨ ɛɢ ɫɟ ɧɚ ɩɢɬɚʃɚ ɩɪɨɢɡɚɲɥɚ ɢɡ ɧɚɜɟɞɟɧɢɯ ɩɪɨɛɥɟɦɫɤɢɯ ɤɪɭɝɨɜɚ ɦɨɝɥɚ ɞɚɬɢ ɧɚɭɱɧɨ ɪɟɥɟɜɚɧɬɧɚ ɢ ɚɪɝɭɦɟɧɬɨɜɚɧɚ ɨɛɪɚɡɥɨɠɟʃɚ, ɦɨʁ ɰɢʂ ʁɟ ɞɚ ɭ ɞɢɫɟɪɬɚɰɢʁɢ ɬɟɨɪɢʁɫɤɢ ɪɚɡɦɨɬɪɢɦ ɢ ɫɭɱɟɥɢɦ ɮɢɥɨɡɨɮɫɤɚ ɧɚɫɬɨʁɚʃɚ ɩɟɪɢɨɞɚ fin-de-siècle-ɚ, ɤɚɨ ɲɬɨ ɫɭ ɧɚɫɬɨʁɚʃɚ Ⱥɧɪɢʁɚ Ȼɟɪɝɫɨɧɚ (Henri-Louis Bergson), ȿɞɦɭɧɞɚ ɏɭɫɟɪɥɚ (Edmund Gustav Albrecht Husserl), ȼɢɥɯɟɥɦɚ Ⱦɢɥɬɚʁɚ (Wilhelm Dilthey), Ȼɟɧɟɞɟɬɚ Ʉɪɨɱɟɚ (Benedetto Croce), ȼɢɥɢʁɚɦɚ ȹɟʁɦɫɚ (William James), ɤɚɨ ɢ ɪɚɡɥɢɱɢɬa ɤɭɥɬɭɪɧɨ- ɭɦɟɬɧɢɱɤa ɢ ɧɚɭɱɧɚ ɞɨɫɬɢɝɧɭʄɚ ɧɚɫɬɚɥɚ ɭ ɨɜɨɦ ɩɟɪɢɨɞɭ – ɨɞ ɝɟɲɬɚɥɬ ɩɫɢɯɨɥɨɝɢʁɟ (ɬɨ ʁɟɫɬ, ɬɟɨɪɢʁɟ Ƚɟɲɬɚɥɬɚ ɤɚɨ ɫɬɪɭɤɬɭɪɚɥɧɟ ɬɟɨɪɢʁɟ ɩɟɪɰɟɩɰɢʁɟ ɤɨʁɭ ɫɭ 1912. ɝɨɞɢɧɟ ɭɜɟɥɢ Ɇɚɤɫ ȼɟɪɬɯɚʁɦɟɪ /Max Wertheimer/, ȼɨɥɮɝɚɧɝ Ʉɟɥɟɪ /Wolfgang Köhler/ ɢ Ʉɭɪɬ Ʉɨɮɤɚ /Kurt Koffka/) ɞɨ ɫɥɢɤɚɪɫɤɨɝ, ɩɟɫɧɢɱɤɨɝ, ɦɭɡɢɱɤɨɝ ɢ ɞɪɚɦɫɤɨ-ɬɟɚɬɚɪɫɤɨɝ ɫɢɦɛɨɥɢɡɦɚ (ɧɚ ɧɟɤɢ ɧɚɱɢɧ, ɞɟɤɚɞɟɧɬɧɨɝ ɢ ɚɩɨɤɚɥɢɩɬɢɱɤɨɝ ɩɨɤɪɟɬɚ fin-de-siècle-ɚ ɤɨʁɢ ɤɚɪɚɤɬɟɪɢɲɟ ɧɟɝɢɪɚʃɟ ɪɟɚɥɧɨɫɬɢ ɪɚɰɢɨɧɚɥɧɨɝ ɢ ɢɧɫɬɪɭɦɟɧɬɚɥɧɨɝ ɝɪɚђɚɧɫɤɨɝ ɞɪɭɲɬɜɚ ɭ ɢɦɟ ɢɧɞɢɜɢɞɭɚɥɢɡɦɚ, ɫɭɛʁɟɤɬɢɜɧɨɫɬɢ, ɟɝɡɨɬɢɱɧɨɫɬɢ, ɫɩɢɪɢɬɭɚɥɢɡɦɚ ɢ ɤɨɧɮɪɨɧɬɢɪɚʃɚ ɮɢɤɰɢɨɧɚɥɧɨɝ ɪɟɚɥɧɨɦ), ɨɞɧɨɫɧɨ, ɨɞ ɤɭɛɢɫɬɢɱɤɟ ɭɦɟɬɧɨɫɬɢ (ɤɨʁɚ ɧɨɜɭ ɨɪɝɚɧɢɡɚɰɢʁɭ ɥɢɤɨɜɧɨɝ, ɫɤɭɥɩɬɨɪɫɤɨɝ ɢ ɦɭɡɢɱɤɨɝ ɩɪɨɫɬɨɪɚ/ɜɪɟɦɟɧɚ ɫɬɚɜʂɚ ɭ ɮɭɧɤɰɢʁɭ ɧɨɜɨɝ ɢ ɤɨɦɩɥɟɤɫɧɢʁɟɝ ɜɢђɟʃɚ ɫɜɟɬɚ) ɞɨ ɤɜɚɧɬɧɟ ɮɢɡɢɤɟ ɢ ɬɟɨɪɢʁɟ ɪɟɥɚɬɢɜɢɬɟɬɚ. Ɍɚɤɨ ʄɟ ɢ ɢɧɬɟɪɞɢɫɰɢɩɥɢɧɚɪɧɢ ɩɪɢɫɬɭɩ ɭ ɬɪɚɝɚʃɭ ɡɚ ɭɩɨɪɢɲɧɢɦ ɬɚɱɤɚɦɚ ɟɫɬɟɬɢɤɟ ɢ ɩɨɟɬɢɤɟ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ, ɡɚ ɚɧɚɥɢɡɨɦ ʃɟɝɨɜɨɝ ɦɭɡɢɱɤɨɝ ʁɟɡɢɤɚ ɢ ɧɚɱɢɧɢɦɚ ɦɭɡɢɱɤɨɝ ɦɢɲʂɟʃɚ, ɛɢɬɢ ɪɟɚɥɢɡɨɜɚɧ ɤɚɨ ɫɜɨʁɟɜɪɫɧɢ ɰɢɪɤɭɥɚɪɧɢ ɢɥɢ feedback ɩɪɨɰɟɫ ɤɨʁɢ ʁɟ ɡɚɫɧɨɜɚɧ ɧɚ ɧɟɩɪɟɫɬɚɧɨɦ ɞɢʁɚɥɨɝɢɡɢɪɚʃɭ, ɩɪɨɠɢɦɚʃɭ, ɭɦɪɟɠɚɜɚʃɭ, ɩɪɟɫɟɰɚʃɭ ɢ ɭɤɪɲɬɚʃɭ ɭɩɨɪɢɲɧɢɯ ɬɚɱɚɤɚ Ⱦɟɛɢɫɢʁɟɜɨɝ ɭɦɟɬɧɢɱɤɨɝ ɤɨɧɰɟɩɬɚ ɫɚ ɞɭɯɨɦ ɜɪɟɦɟɧɚ ɭ ɤɨʁɟɦ ɨɧ ɧɚɫɬɚʁɟ, ɢ ɧɚɤɨɧ ɤɨʁɟɝ ɧɚɫɬɚɜʂɚ ɞɚ ɠɢɜɢ. Ɉɫɧɨɜɧɢ ɰɢʂ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ ʁɟɫɬɟ ɢɡɧɚɥɚɠɟʃɟ ɫɜɢɯ ɨɧɢɯ (ɢɧ)ɞɢɪɟɤɬɧɢɯ ɜɟɡɚ, „ɫɚɝɥɚɫʁɚ”, ɬɚɱɚɤɚ ɩɪɟɫɟɤɚ ɢ ɭɤɪɲɬɚʃɚ ɢɡɦɟђɭ ɤɭɥɬɭɪɧɨ- ɭɦɟɬɧɢɱɤɢɯ ɬɟɠʃɢ ɤɨʁɟ ɫɭ ɨɛɟɥɟɠɢɥɟ ɤɪɚʁ 19. ɢ ɩɨɱɟɬɚɤ 20. ɜɟɤɚ ɢ Ⱦɟɛɢɫɢʁɟɜɢɯ 14 Milan Damnjanović, „Estetičareve oči i uši”, u: Mikel Difren, Oko i uho, ɧɚɜ. ɞɟɥɨ, 22. 14 ɟɫɬɟɬɢɱɤɨ-ɩɨɟɬɢɱɤɢɯ ɫɬɚɜɨɜɚ ɨɬɟɥɨɬɜɨɪɟɧɢɯ ɭ ʃɟɝɨɜɨʁ ɦɭɡɢɰɢ. Ɍɚɤɨђɟ, ɰɢʂ ɢɫɬɪɚɠɢɜɚʃɚ ʁɟ ɭɬɜɪђɢɜɚʃɟ ɤɨɧɬɟɤɫɬɭɚɥɧɟ ɢ ɡɧɚɱɟʃɫɤɟ ɪɚɜɧɢ ɰɟɥɨɤɭɩɧɨɝ ɨɩɭɫɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ, ɤɚɤɨ ɤɪɨɡ ɫɩɨɡɧɚʁɭ ɤɨɦɩɨɡɢɬɨɪɨɜɟ ‘ɡɚɜɨɞʂɢɜɟ’ ɩɨɟɬɢɤɟ, ɤɨʁɚ ɪɚɱɭɧɚ ɧɚ ɚɤɬɢɜɧɨɝ ɢ ɢɧɬɟɥɢɝɟɧɬɧɨɝ ɤɨɧɡɭɦɟɧɬɚ, ɬɚɤɨ ɢ ɤɪɨɡ ɪɚɡɦɚɬɪɚʃɟ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ ɫɨɰɢɨɥɨɲɤɨɝ ɞɢɫɤɭɪɫɚ ɫɚɝɥɟɞɚɧɨɝ ɭ ɨɤɜɢɪɭ ʃɟɝɨɜɟ ɭɤɭɩɧɟ ɤɪɢɬɢɱɤɟ ɩɨɡɢɰɢʁɟ ɭ ɫɨɰɢɨ-ɩɨɥɢɬɢɱɤɨɦ ɢ ɤɭɥɬɭɪɧɨ-ɭɦɟɬɧɢɱɤɨɦ ɚɦɛɢʁɟɧɬɭ Ɏɪɚɧɰɭɫɤɟ fin-de-siècle-ɚ. Ɉɫɢɦ ɬɨɝɚ, ɭɠɢ ɰɢʂɟɜɢ ɞɢɫɟɪɬɚɰɢʁɟ ɨɛɭɯɜɚɬɢʄɟ ɢ: - ɮɨɪɦɭɥɚɰɢʁɭ ɫɬɢɥɫɤɨɝ ɩɟɪɢɨɞɚ fin-de-siècle-a, ɤɚɨ ɢ ɟɤɫɩɥɢɤɚɰɢʁɭ ɩɨʁɦɨɜɚ, ɬɨ ʁɟɫɬ ɨɞɧɨɫɚ ɤɨʁɢ ɫɟ ɞɨɜɨɞɟ ɭ ɜɟɡɭ ɫɚ ɰɟɥɨɤɭɩɧɨɦ ɞɭɯɨɜɧɨɦ ɢ ɢɧɬɟɥɟɤɬɭɚɥɧɨɦ ɤɥɢɦɨɦ ɨɜɨɝ ɩɟɪɢɨɞɚ, ɚ ɫɚɦɢɦ ɬɢɦ ɢ ɫɚ Ⱦɟɛɢɫɢʁɟɜɨɦ ɦɭɡɢɤɨɦ; ɪɟɱ ʁɟ ɨ ɨɞɧɨɫɭ ɫɭɛʁɟɤɬ/ɨɛʁɟɤɬ, ɫɭɩɫɬɚɧɰɚ/ɮɭɧɤɰɢʁɚ, ɫɬɜɚɪɢ/ɦɢɫɥɢ, ɢɞɟɧɬɢɬɟɬ/ɭɪɟђɟʃɟ, ɫɨɩɫɬɜɨ/ɞɪɭɝɢ, ɢɧɬɢɦɧɢ ɫɜɟɬ/ʁɚɜɧɨ, ɢɦɚɝɢɧɚɪɧɨ/ɫɬɜɚɪɧɨ, ɩɪɨɫɬɨɪ/ɜɪɟɦɟ, ɠɢɜɨɬ/ɫɦɪɬ ɢɬɞ.; - ɭɫɩɨɫɬɚɜʂɚʃɟ ɜɟɡɟ ɢɡɦɟђɭ ɧɚɜɟɞɟɧɢɯ ɩɨʁɦɨɜɚ (ɨɩɨɡɢɰɢʁɚ), Ⱦɟɛɢɫɢʁɚ ɢ ʃɟɝɨɜɨɝ ɫɬɜɚɪɚɥɚɲɬɜɚ ɫɚ ɫɪɟɞɢɲʃɢɦ ɩɨʁɦɨɦ ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɟɫɬɟɬɢɤɟ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ – ɫɚ ɩɨʁɦɨɦ „ɟɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ” ɱɢʁɚ ɫɩɟɰɢɮɢɱɧɨɫɬ ɥɟɠɢ ɭ ɫʁɟɞɢʃɟʃɭ ɨɛʁɟɤɬɚ ɢ ɫɜɟɫɬɢ ɤɨʁɚ ɝɚ ʁɟ ɭɡɟɥɚ ɧɚ ɧɢɲɚɧ; - ɬɪɚɝɚʃɟ ɡɚ ɫɜɨʁɟɜɪɫɧɢɦ ɩɚɪɚɥɟɥɚɦɚ ɢɡɦɟђɭ Ⱦɟɛɢɫɢʁɟɜɨɝ „ɨɫɥɭɲɤɢɜɚʃɚ” ɞɭɯɚ ɜɪɟɦɟɧɚ ɢ Ⱦɢɮɪɟɧɨɜɢɦ ɫɬɚɜɨɦ ɞɚ ʁɟ ɜɟɡɚ ɢɡɦɟђɭ ɫɭɛʁɟɤɬɚ ɢ ɩɪɨɫɬɨɪɚ (ɫɯɜɚʄɟɧɨɝ ɭ ɧɚʁɲɢɪɟɦ ɫɦɢɫɥɭ ɪɟɱɢ) ʁɟɞɢɧɨ ɦɨɝɭʄɚ ɡɚɯɜɚʂɭʁɭʄɢ ɢɦɚɝɢɧɚɰɢʁɢ: ɫɭɛʁɟɤɬ ɜɢɞɢ ɩɪɨɫɬɨɪ, ɯɨɞɚ ɭ ʃɟɦɭ, ɪɚɞɢ ɭ ʃɟɦɭ, ɞɨɤ ɩɪɨɫɬɨɪ ɭ ɫɜɨʁɨʁ ɨɬɜɨɪɟɧɨʁ ɢɞɟɨɥɨɝɢʁɢ ɢɦɚ ɫɩɨɫɨɛɧɨɫɬ ɞɚ ɩɨɤɚɠɟ ɞɚ ʁɟ ɫɭɛʁɟɤɬ ɭ ʃɟɦɭ. Ɍɚʁ ɢɦɚɝɢɧɚɬɢɜɧɢ ɩɪɨɫɬɨɪ ɩɨɡɢɜɚ ɱɭɥɚ ɞɚ ɫɟ ɦɟђɭɫɨɛɧɨ ɚɫɨɰɢɪɚʁɭ ɤɪɨɡ ɬɨɧɚɥɧɨɫɬ, ɯɚɪɦɨɧɢʁɟ, ɩɢɤɬɨɪɚɥɧɨɫɬ, ɬɟɤɫɬɭɪɢɡɚɰɢʁɟ, ɨɞɧɨɫɧɨ, ɪɟʂɟɮɧɨɫɬɢ, ɫɜɟɬɥɨɫɬ, ɪɢɬɦɨɜɟ, ɦɢɪɢɫɟ ɢɬɞ.ɫ - ‘ɩɪɟɥɚɦɚʃɟ’ ɢ ɩɪɨɛɥɟɦɚɬɢɡɨɜɚʃɟ ɨɫɧɨɜɧɢɯ ɩɨɫɬɭɥɚɬɚ ɭɦɟɬɧɨɫɬɢ fin-de- siècle-a ɭ ɩɢɫɚɧɨɦ ɞɢɫɤɭɪɫɭ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ; - „ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ ɤɨɦɩɨɡɢɬɨɪɨɜɢɯ ɤɨɦɩɨɡɢɰɢɨɧɨ-ɬɟɯɧɢɱɤɢɯ ɩɨɫɬɭɩɚɤɚ, ɤɨɪɢɲʄɟɧɢɯ ɦɭɡɢɱɤɨ-ɢɡɪɚɠɚʁɧɢɯ ɫɪɟɞɫɬɚɜɚ, ɬɨ ʁɟɫɬ, ɫɜɟɭɤɭɩɧɨɝ ɧɚɱɢɧɚ ʃɟɝɨɜɨɝ 15 ɦɭɡɢɱɤɨɝ ɦɢɲʂɟʃɚ ɢ ɩɨɟɡɢʁɟ ɉɨɥɚ ȼɟɪɥɟɧɚ (Paul Verlaine), Ⱥɪɬɭɪɚ Ɋɟɦɛɨɚ (Arthur Rimbaud), ɋɬɟɮɚɧɚ Ɇɚɥɚɪɦɟɚ (Stéphane Mallarmé), ɡɚɬɢɦ, ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɩɨɡɨɪɢɲɬɚ ɢ Ɇɟɬɟɪɥɢɧɤɨɜɢɯ (Maurice Maeterlinck) ɞɪɚɦɚ, ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɢɯ ɫɥɢɤɚ Ʉɥɨɞɚ Ɇɨɧɟɚ (Claude Monet), ɫɤɭɥɩɬɭɪɚ Ɉɝɢɫɬɚ Ɋɨɞɟɧɚ (Auguste Rodin) ɢ Ʉɚɦɢʁ Ʉɥɨɞɟɥ (Camille Claudel), ɬɟ ɩɨɫɬɭɩɚɤɚ ɤɨɥɚɠɚ ɢ ɦɨɧɬɚɠɟ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɢɯ ɡɚ ɮɪɚɧɰɭɫɤɢ ɪɚɧɢ ɧɟɦɢ ɮɢɥɦ ɢ ɮɟɧɨɦɟɧɚ ɫɬɜɚɪɧɨɫɬɢ ɭ ɭɦɟɬɧɨɫɬɢ ɮɨɬɨɝɪɚɮɢʁɟ; - ɢɧɬɟɪɩɪɟɬɚɬɢɜɧɨ ɧɚɫɥɨʁɚɜɚʃɟ ɭ ɨɤɜɢɪɭ ɤɨʁɟɝ ɛɢ ɢɧɬɟɪɩɪɟɬɚɰɢʁɚ ɮɟɧɨɦɟɧɚ ɦɭɡɢɱɤɨɝ ɜɪɟɦɟɧɚ, ɜɪɟɦɟɧɚ ɭ ɦɭɡɢɰɢ, ɪɢɬɦɢɡɨɜɚɧɨɝ ɜɪɟɦɟɧɚ ɢ ɢɡɝɭɛʂɟɧɨɝ ɜɪɟɦɟɧɚ ɭ Ⱦɟɛɢɫɢʁɟɜɨʁ ɦɭɡɢɰɢ ɭ ɫɟɛɢ ɫɚɞɪɠɚɥɚ ɢ ɞɢɮɪɟɧɨɜɫɤɭ ɢɞɟʁɭ ɨ ɦɨɝɭʄɧɨɫɬɢ „ɩɨɧɨɜɧɨɝ ɨɫɜɚʁɚʃɚ ɢɡɜɨɪɧɨɝ (ɫɨɩɫɬɜɚ)”15 ɩɨɫɪɟɞɫɬɜɨɦ „ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ ɭɯɚ/ɜɪɟɦɟɧɚ ɢ ɨɤɚ/ɩɪɨɫɬɨɪɚ. ɉɪɨɛɥɟɦɚɬɢɡɨɜɚʃɟ ɫɜɟɬɚ ɦɭɡɢɤɟ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ ɢ ɫɜɢɯ „ɫɚɝɥɚɫʁɚ” ɤɨʁɚ ʁɟ ɦɨɝɭʄɟ ɩɪɨɧɚʄɢ ɢɡɦɟђɭ ʃɟɝɚ ɢ koinos-ɚ kosmos-a, ɡɚɯɬɟɜɚ ʁɟɞɚɧ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɚɧ ɨɪɤɟɫɬɪɢɪɚɧɢ ɦɟɬɨɞɨɥɨɲɤɢ ɩɪɢɫɬɭɩ ɤɨʁɢ ʄɟ ɢ ɫɚɦ ɬɪɚɝɚɬɢ (ɜɨђɟɧ ɥɨɝɢɤɨɦ ɩɪɟɞɦɟɬɚ ɧɚɭɱɧɟ ɩɚɠʃɟ, ɨɞɧɨɫɧɨ, ɢɡɛɨɪɨɦ ɫɚɦɟ ɬɟɦɟ) ɡɚ ɭɫɚɝɥɚɲɚɜɚʃɢɦɚ ɢ ɩɨɞɟɲɚɜɚʃɢɦɚ ɢɡɦɟђɭ ɦɭɡɢɤɨɥɨɝɢʁɟ ɢ ɞɪɭɝɢɯ ɧɚɭɱɧɢɯ ɞɢɫɰɢɩɥɢɧɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɦɢɲʂɟʃɚ ɫɚɦ ɞɚ ʄɟ ɭɩɪɚɜɨ ɩɪɟɞɥɨɠɟɧɢ ɢɧɬɟɪɞɢɫɰɢɩɥɢɧɚɪɧɢ ɩɪɢɫɬɭɩ ɨɦɨɝɭʄɢɬɢ ɲɢɪɢ ɫɩɟɤɬɚɪ ɭɜɢɞɚ ɭ ɫɥɨɠɟɧɭ, ɚ ɭ ɩɨʁɟɞɢɧɢɦ ɫɟɝɦɟɧɬɢɦɚ, ʁɨɲ ɭɜɟɤ ɧɟɞɨɜɨʂɧɨ ɢɫɬɪɚɠɟɧɭ ɩɪɨɛɥɟɦɚɬɢɤɭ ɭɦɟɬɧɨɫɬɢ fin-de-siècle-ɚ ɢ ɦɭɡɢɤɟ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ, ɬɟ ɞɚ ʄɟ ɡɚɤʂɭɱɰɢ ɢɡɥɨɠɟɧɢ ɭ ɨɤɜɢɪɭ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ ɞɨɩɪɢɧɟɬɢ ɮɨɪɦɢɪɚʃɭ ʁɟɞɧɨɝ ɧɨɜɨɝ, ɦɨɝɭʄɟɝ ɩɨɝɥɟɞɚ ɧɚ ɤɨɦɩɥɟɤɫɧɨɫɬ ɡɧɚɱɟʃɚ ɦɭɡɢɱɤɨɝ ɭɧɢɜɟɪɡɭɦɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ ɢ ɩɪɨɛɥɟɦɚɬɢɤɭ ɭɦɟɬɧɨɫɬɢ fin-de-siècle-ɚ. ɍ ɲɢɪɢɦ ɪɚɡɦɟɪɚɦɚ, ɧɚɞɚɦ ɫɟ ɞɚ ʄɟ ɨɬɜɨɪɢɬɢ ɢ ɦɨɝɭʄɧɨɫɬ ɧɨɜɢɯ ɤɨɧɬɟɤɫɬɭɚɥɢɡɚɰɢʁɚ ɨɞɧɨɫɧɟ ɩɪɨɛɥɟɦɚɬɢɤɟ, ɬɨ ʁɟɫɬ, ɞɚ ʄɟ ɛɢɬɢ ɩɨɞɫɬɢɰɚʁɚɧ ɧɚɭɱɧɢ ɞɨɩɪɢɧɨɫ ɡɚ ɛɭɞɭʄɚ ɢɫɬɪɚɠɢɜɚʃɚ ɧɚ ɨɜɨɦ ɩɨʂɭ. 15 ɂɫɬɨ, 13. 16 II Ⱦɍɏ FIN DE SIÈCLE-ɚ – AGENT PROVOCATEUR? Ɍɟɪɦɢɧ fin de siècle (ɞɨɫɥɨɜɧɨ ɩɪɟɜɟɞɟɧ ɫɚ ɮɪɚɧɰɭɫɤɨɝ ɧɚ ɫɪɩɫɤɢ ʁɟɡɢɤ ɡɧɚɱɢ „ɤɪɚʁ ɜɟɤɚ”) ʁɟ ɢɡɪɚɡ ɤɨʁɢ ɫɟ ɤɨɪɢɫɬɢ ɭ ɤɭɥɬɭɪɢ ɢ ɢɫɬɨɪɢʁɢ ɢɞɟʁɚ ɡɚ ɨɩɢɫ ɫɩɟɰɢɮɢɱɧɟ ɞɭɯɨɜɧɟ ɢ ɢɧɬɟɥɟɤɬɭɚɥɧɟ ɤɥɢɦɟ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɟ ɡɚ ɤɪɚʁ 19. ɢ ɩɨɱɟɬɚɤ 20. ɜɟɤɚ. ɍ ɨɫɧɨɜɢ ɫɜɢɯ ɫɮɟɪɚ ʂɭɞɫɤɨɝ ɞɟɥɨɜɚʃɚ fin de siècle-ɚ ɥɟɠɢ ɞɪɭɝɚɱɢʁɢ/ɢɡɦɟʃɟɧɢ ɩɨɝɥɟɞ ɧɚ ɫɜɟɬ ɤɨʁɢ ʁɟ ɧɚɫɬɚɨ ɤɚɨ ɪɟɡɭɥɬɚɬ ɞɭɯɨɜɧɢɯ ɤɪɟɬɚʃɚ ɨɞ ɨɛʁɟɤɬɢɜɢɫɬɢɱɤɨɝ ɩɨɝɥɟɞɚ ɧɚ ɫɜɟɬ, ɬɨ ʁɟɫɬ, ɨɞ ɩɪɢɡɧɚʃɚ ɨɛʁɟɤɬɢɜɧɢɯ, ɨɩɲɬɟɜɚɠɟʄɢɯ ɢɫɬɢɧɚ, ɜɪɟɞɧɨɫɬɢ ɢ ɧɨɪɦɢ ɤɨʁɟ ɩɨɫɬɨʁɟ ɧɟɡɚɜɢɫɧɨ ɨɞ ɫɭɛʁɟɤɬɚ ɤɨʁɢ ɫɚɡɧɚʁɟ, ɤɚ „ɫɜɟɬɭ ɱɢɫɬɨɝ ɢɫɤɭɫɬɜɚ”16. Ɍɚʁ „ɧɨɜɢ ɫɜɟɬ” ɧɟ ɫɚɦɨ ɞɚ ʁɟ ɪɟɞɟɮɢɧɢɫɚɨ ɢɧɯɟɪɟɧɬɧɨ ɜɟɪɨɜɚʃɟ ɭ ɞɚɬɨ, ɭ ɤɨɝɧɢɬɢɜɧɨ ɧɟɞɢɪɧɭɬɭ ɢ „ɧɟɨɫɤɪɧɚɜʂɟɧɭ” ɨɛʁɟɤɬɢɜɧɨɫɬ ɤɚɨ ɦɟɫɬɨ ɢ ɢɡɜɨɪ ɭɤɭɩɧɟ ɪɟɚɥɧɨɫɬɢ ɢ ɫɜɟɭɤɭɩɧɨɝ ɩɪɚɜɨɝ ɡɧɚʃɚ, ɜɟʄ ʁɟ ɢɫɬɢɰɚɨ ɜɚɠɧɨɫɬ ɢɧɞɢɜɢɞɭɚɥɧɨɝ ɫɭɛʁɟɤɬɢɜɧɨɝ ɢɫɤɭɫɬɜɚ.17 ɍ ɩɨʂɭ ɮɢɥɨɡɨɮɢʁɟ... Ɂɚɦɢɫɚɨ ɨɛʁɟɤɬɚ ɢ ɨɛʁɟɤɬɢɜɧɨɫɬɢ ɤɚɨ ɧɟɱɟɝɚ ɲɬɨ ɩɨɫɬɨʁɢ ʁɟɞɢɧɨ ɨɧɞɚ ɤɚɞɚ ʁɟ ɭ ɫɭɫɪɟɬɭ ɫɚ ɫɭɛʁɟɤɬɨɦ, ɩɪɟɞɫɬɚɜʂɚ ɝɥɚɜɧɭ ɫɚɞɪɠɢɧɭ ɮɢɥɨɡɨɮɫɤɢɯ ɧɚɫɬɨʁɚʃɚ ɩɟɪɢɨɞɚ fin-de- siècle-ɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ʁɟɞɚɧ ɨɞ ɩɪɜɢɯ ɢ ɧɚʁʁɚɱɢɯ ɢɦɩɭɥɫɚ ɡɚ ɮɢɥɨɡɨɮɫɤɨ 16 ɍɩɨɪɟɞɢɬɢ ɫɚ: Tijana Popović Mlađenović, Procesi..., ɧɚɜ. ɞɟɥɨ, 272. 17 ɍ ɬɨɦ ɫɦɢɫɥɭ, ɬɪɚɞɢɰɢɨɧɚɥɧɢ ɩɨɡɢɬɢɜɢɡɚɦ (ɫɯɜɚʄɟɧ ɤɚɨ ɮɢɥɨɡɨɮɫɤɚ ɞɨɤɬɪɢɧɚ ɤɨʁɚ ɭɜɚɠɚɜɚ ɱɢʃɟɧɢɰɟ ɢ ɧɟɝɢɪɚ ɡɧɚɱɟʃɟ ɫɩɟɤɭɥɚɬɢɜɧɢɯ ɢ ɦɟɬɚɮɢɡɢɱɤɢɯ ɪɚɫɩɪɚɜɚ, ɡɚɥɚɠɭʄɢ ɫɟ ɡɚ ɩɪɢɦɟɧɭ ɦɟɬɨɞɚ ɩɪɢɪɨɞɧɢɯ ɧɚɭɤɚ ɭ ɩɪɨɭɱɚɜɚʃɭ ɞɪɭɲɬɜɚ, ɤɭɥɬɭɪɟ ɢ ɭɦɟɬɧɨɫɬɢ) ɩɪɜɢ ɫɟ ɫɭɨɱɢɨ ɫɚ ɨɬɩɨɪɨɦ ɨɧɢɯ ɞɭɯɨɜɧɢɯ ɩɨɤɪɟɬɚ ɤɨʁɢ ɫɭ ɢɫɬɢɰɚɥɢ ɧɟɫɜɨɞʂɢɜɨɫɬ ɞɭɯɨɜɧɢɯ ɮɟɧɨɦɟɧɚ ɢ ɫɩɟɰɢɮɢɱɧɨɫɬ ɱɨɜɟɤɨɜɟ ɫɬɜɚɪɚɥɚɱɤɟ ɦɨʄɢ. Ʉɚɨ ɩɨɫɥɟɞɢɰɚ ɩɨɦɟɧɭɬɢɯ ɨɬɩɨɪɚ ʁɚɜʂɚʁɭ ɫɟ ɡɧɚɱɚʁɧɢʁɚ ɢɞɟʁɧɚ ɩɨɦɟɪɚʃɚ: ɬɪɚɞɢɰɢɨɧɚɥɧɢ ɩɨɡɢɬɢɜɢɡɚɦ ʁɟ ɭɫɬɭɩɢɨ ɦɟɫɬɨ ɩɫɢɯɨɥɨɲɤɢɦ ɢɫɬɪɚɠɢɜɚʃɢɦɚ, ɞɨɤ ɫɟ ɫɭɩɫɬɚɧɰɢʁɚɥɧɨ ɬɪɚɝɚʃɟ ɡɚ ɬɪɚʁɧɢɦ ɫɜɨʁɫɬɜɢɦɚ ɫɬɜɚɪɢ ɨɬɜɨɪɢɥɨ ɩɪɟɦɚ ɟɝɡɢɫɬɟɧɰɢʁɚɥɢɫɬɢɱɤɢɦ ɢ ɢɞɟɚɥɢɫɬɢɱɤɢɦ ɯɨɪɢɡɨɧɬɢɦɚ. ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ (1962-1918) ɢ ʃɟɝɨɜɨ ɞɨɛɚ, ɧɚɜ. ɞɟɥɨ, 11. 17 ɩɪɨɦɢɲʂɚʃɟ ɩɨɦɟɧɭɬɨɝ vis-à-vis ‘ɫɭɫɪɟɬɚ’ ɫɭɛʁɟɤɬɚ ɢ ɨɛʁɟɤɬɚ, ɞɚɨ ʁɟ ɮɪɚɧɰɭɫɤɢ ɮɢɥɨɡɨɮ Ⱥɧɪɢ Ȼɟɪɝɫɨɧ ɭ ɫɜɨʁɢɦ ɫɬɭɞɢʁɚɦɚ ɨ ɢɧɬɭɢɰɢʁɢ ɤɚɨ ɨɛɥɢɤɭ ɫɚɡɧɚʃɚ ɤɨʁɚ ɧɟ ɞɨɥɚɡɢ ɞɨ ɢɫɬɢɧɟ ɢɫɤɭɫɬɜɨɦ ɢɥɢ ɩɨʁɦɨɜɧɢɦ ɪɚɡɦɚɬɪɚʃɟɦ. ȵɟɝɨɜ ȿɫɟʁ ɨ ɧɟɩɨɫɪɟɞɧɢɦ ɞɚɬɨɫɬɢɦɚ ɫɜɟɫɬɢ (Essai sur les données immédiates de la conscience, 1889)18, ɞɨɜɨɞɢ ɧɚɫ ɭ ɧɟɩɨɫɪɟɞɧɢ ɤɨɧɬɚɤɬ ɫɚ ɭɧɬɪɚɲʃɢɦ ɫɦɢɫɥɨɦ ɩɪɟɞɦɟɬɚ ɢ ʃɟɝɨɜɨɦ ʁɟɞɢɧɫɬɜɟɧɨɦ ɩɪɢɪɨɞɨɦ, ɩɪɨɛɥɟɦɚɬɢɡɭʁɭʄɢ ɮɟɧɨɦɟɧɟ ɱɢɫɬɨɝ ɜɪɟɦɟɧɚ ɢ ɢɧɬɭɢɰɢʁɟ. ɇɚɢɦɟ, Ȼɟɪɝɫɨɧ ɩɢɲɟ ɨ ɫɜɟɫɬɢ ɤɚɨ ɮɟɧɨɦɟɧɭ ɤɨʁɢ ɫɟ ɫɚɫɬɨʁɢ ɨɞ ɯɟɬɟɪɨɝɟɧɢɯ, ɦɟђɭɫɨɛɧɨ ɩɪɨɠɢɦɚʁɭʄɢɯ ɦɨɦɟɧɚɬɚ ɤɨʁɢ ɤɨɧɫɬɢɬɭɢɲɭ ʁɟɞɧɨ ɬɪɚʁɚʃɟ. ȼɪɟɦɟ ʁɟ ɡɛɨɝ ɬɨɝɚ ɫɭɫɥɟɞɧɨɫɬ ɬɪɚʁɧɟ ɫɜɟɫɬɢ, ɬɟ ʁɟ ɭ ɫɜɨʁɨʁ ɛɢɬɢ ɬɪɚʁɚʃɟ ɧɟɜɢɞʂɢɜɨ ɡɚɬɨ ɲɬɨ, ɡɚɩɪɚɜɨ, ɩɪɟɞɫɬɚɜʂɚ ɩɪɨɰɟɫ ɭ ɧɟɩɪɟɫɬɚɧɨɦ ɨɛɨɝɚʄɢɜɚʃɭ. ɍɤɚɡɭʁɭʄɢ ɧɚ ɤɨɧɰɟɩɬ ɬɪɚʁɚʃɚ ɤɚɨ ɧɚ ɜɪɫɬɭ ɬɟɤɭʄɟ, ɠɢɜʂɟɧɟ ɢɫɬɨɪɢʁɟ ɡɛɨɝ ɱɟɝɚ ɫɟ ɧɟ ɦɨɠɟ ɫɚ ɫɢɝɭɪɧɨɲʄɭ ɬɜɪɞɢɬɢ ɤɚɞɚ ɫɟ ɧɟɲɬɨ ɡɚɜɪɲɚɜɚ ɢɥɢ ɤɚɞɚ ɧɟɲɬɨ ɩɨɱɢʃɟ, Ȼɟɪɝɫɨɧ, ɡɚɩɪɚɜɨ, ɤɪɢɬɢɤɭʁɟ ɩɨɡɢɬɢɜɢɫɬɢɱɤɢ ɫɬɚɜ ɞɚ ɫɭ ɮɟɧɨɦɟɧɢ ɜɪɟɦɟ ɢ ɩɪɨɫɬɨɪ ɞɟʂɢɜɢ ɧɚ ɞɟɥɨɜɟ ɤɨʁɢ ɫɟ ɦɟђɭɫɨɛɧɨ ɪɚɡɥɢɤɭʁɭ ɩɨ ɬɨɦɟ ɲɬɚ ʁɟ ɩɪɟ, ɚ ɲɬɚ ɩɨɫɥɟ. ɉɪɟɦɚ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ, ɭ ɫɬɜɚɪɧɨɫɬɢ ɧɢɲɬɚ ɧɟ ɩɨɱɢʃɟ ɢ ɧɟ ɡɚɜɪɲɚɜɚ ɫɟ, ɜɟʄ ʁɟ ɩɪɢɫɭɬɧɨ ʁɟɞɧɨ ɭ ɞɪɭɝɨɦɟ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɜɪɟɦɟ ɧɢʁɟ ɩɭɧɤɬɭɚɥɢɫɬɢɱɤɨ, ɜɟʄ ʁɟ ɤɨɧɬɢɧɭɢɪɚɧɨ ɢ ɢɫɩɪɟɩɥɟɬɚɧɨ, ɬɨ ʁɟɫɬ, ɫɚɫɬɚɜʂɟɧɨ ɨɞ ɞɢɦɟɧɡɢʁɚ ɩɪɨɲɥɨɫɬ, ɫɚɞɚɲʃɨɫɬ ɢ ɛɭɞɭʄɧɨɫɬ.19 Ɉɧɨ ʁɟ ɭ ɮɢɥɨɡɨɮɫɤɨɦ ɬɭɦɚɱɟʃɭ Ⱥɧɪɢʁɚ Ȼɟɪɝɫɨɧɚ ʁɟɞɧɨ, ɨɩɲɬɟ ɬɪɚʁɚʃɟ – ɬɪɚʁɚʃɟ ɠɢɜʂɟʃɚ/„ɠɢɜʂɟɧɨ ɜɪɟɦɟ” (ɮɪ. temps vécu)20 ɤɨʁɟ ɤɚɪɚɤɬɟɪɢɲɟ ɰɟɥɨɤɭɩɧɭ ɫɬɜɚɪɧɨɫɬ; ɚ ɨɧɚ ɩɚɤ (ɫɬɜɚɪɧɨɫɬ), ɧɟ ɩɨɫɬɚɜʂɚ ɛɢɬɚɤ ɤɚɨ ɧɚʁɜɢɲɢ ɩɪɢɧɰɢɩ, ɜɟʄ ɠɢɜɨɬɧɢ ɡɚɦɚɯ, elan vital – ɩɨɫɥɟɞʃɢ ɩɪɢɧɰɢɩ ɫɜɟɤɨɥɢɤɟ ɫɬɜɚɪɧɨɫɬɢ.21 18 ɉɨɦɟɧɭɬɢ ɟɫɟʁ Ⱥɧɪɢʁɚ Ȼɟɪɝɫɨɧɚ ɫɟ ɧɚɞɨɜɟɡɭʁɟ ɧɚ ɬɟɨɪɢʁɭ ɨ ɩɪɨɢɡɜɨʂɧɨɫɬɢ ɡɚɤɨɧɚ ɢ ɫɥɭɱɚʁɧɨɫɬɢ ȿɦɢɥɚ Ȼɭɬɪɭɚ (Emile Boutroux) ɤɨʁɚ ɨɬɜɚɪɚ ɞɪɭɝɚɱɢʁɭ ɩɟɪɫɩɟɤɬɢɜɭ ɫɚɝɥɟɞɚɜɚʃɚ ɨɞɧɨɫɚ ɭɡɪɨɤɚ ɢ ɩɨɫɥɟɞɢɰɚ. ɋɜɨʁɭ ɪɟɚɤɰɢʁɭ ɧɚ ɡɥɨɭɩɨɬɪɟɛɭ ɩɪɢɧɰɢɩɚ „ɚɩɫɨɥɭɬɧɨɝ ɞɟɬɟɪɦɢɧɢɡɦɚ”, Ȼɭɬɪɭ ʁɟ ɚɪɬɢɤɭɥɢɫɚɨ ɭ ɫɜɨʁɨʁ ɫɬɭɞɢʁɢ ɩɨɞ ɧɚɡɢɜɨɦ Ɉ ɩɪɨɢɡɜɨʂɧɨɫɬɢ ɩɪɢɪɨɞɧɢɯ ɡɚɤɨɧɚ (De la contingence des lois de la nature, 1898), ɢɫɬɢɱɭʄɢ ɞɚ ɡɚɤɨɧɢ ɧɢɫɭ ɧɢ ɧɭɠɧɢ ɧɢ ɞɟɬɟɪɦɢɧɢɲɭʄɢ. 19 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Henri Bergson, “Introduction a métaphysique”, Revue de Métaphysique et de Morale, 1903, 5; Henri Bergson, Ogled o neposrednim činjenicama svesti [Henri Bergson, Essai sur les données immédiates de la conscience] prev. Feliks Pašić (Beograd: NIP Mladost, 1978). 20 ɍɡ ɬɨ, ɨɧ ʁɨɲ ɞɨɞɚʁɟ ɞɚ ʁɟ ɭɦ ɫɩɚɰɢʁɚɥɧɨ ɨɪɢʁɟɧɬɢɫɚɧ, ɚɥɢ ɞɚ ʁɟ ɫɜɟ ɨɧɨ ɲɬɨ ʁɟ ɤɪɟɚɬɢɜɧɨ, ɭɫɥɨɜʂɟɧɨ ɜɪɟɦɟɧɨɦ. Ɂɚɬɨ ʁɟ ɩɨɬɪɟɛɧɨ ɞɚ ɫɟ ɧɚɩɪɚɜɢ ɨɬɤɥɨɧ ɨɞ ɫɩɚɰɢʁɚɥɢɡɚɰɢʁɟ ɤɨʁɭ ɧɚɦ ɧɚɦɟʄɟ ɭɦ, ɢ ɫɪɠ ɠɢɜʂɟʃɚ ɩɨɬɪɚɠɢ ɭ ɜɪɟɦɟɧɫɤɨʁ ɞɢɦɟɧɡɢʁɢ. ɉɪɟɦɚ: Doreen Massey, For space (London: Sage Publication, 2008), 24. 21 Ɇɟɬɨɞɚ ɧɚ ɤɨʁɭ ɫɟ ɩɨɡɢɜɚ ɩɪɢɥɢɤɨɦ ɢɫɬɪɚɠɢɜɚʃɚ ɫɬɜɚɪɚɥɚɱɤɟ ɟɜɨɥɭɰɢʁɟ, ɤɚɨ ɫɬɜɚɪɧɨɫɬɢ ɫɚ ɫɩɟɰɢɮɢɱɧɢɦ ɬɪɚʁɚʃɟɦ, ɧɢʁɟ ɩɨɡɢɬɢɜɢɫɬɢɱɤɚ ɢ ɧɟ ɞɨɥɚɡɢ ɨɞ ratia, ɜɟʄ ʁɟ ɨɧɚ ɢɧɬɭɢɰɢʁɚ ɫɚɦɚ ɤɨʁɚ ɩɨɜɟɡɭʁɟ ɢɧɫɬɢɧɤɬ ɢ ɢɧɬɟɥɟɤɬ. Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Anri Bergson, Stvaralačka evolucija [Henri Bergson, 18 ɇɚ ɥɢɧɢʁɢ ɩɨɦɟɧɭɬɟ, ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ, ɞɨɦɢɧɚɧɬɧɟ ɮɢɥɨɡɨɮɫɤɟ ɦɢɫɥɢ fin de siècle-ɚ, ɤɨʁɚ ɫɟ ɬɢɱɟ, ɩɨɞɫɟʄɚɦ, ɩɪɟɩɨɡɧɚɜɚʃɚ ɰɟɥɨɤɭɩɧɟ ɨɛʁɟɤɬɢɜɧɨɫɬɢ ɤɚɨ ɧɟɱɟɝɚ ɲɬɨ ʁɟ ɧɟɩɨɜɪɚɬɧɨ ɩɪɨɠɟɬɨ ɫɭɛʁɟɤɬɢɜɧɨɲʄɭ, ɧɚɲɚɨ ɫɟ ɢ ȿɞɦɭɧɞ ɏɭɫɟɪɥ, ɬɚɱɧɢʁɟ ʃɟɝɨɜ ɮɟɧɨɦɟɧɨɥɨɲɤɢ ɦɟɬɨɞ ɢ ɫɜɟɬ ɠɢɜɨɬɚ (ɧɟɦ. Lebenswelt). ɋɩɟɰɢɮɢɱɧɨɫɬ ɏɭɫɟɪɥɨɜɟ ɮɟɧɨɦɟɧɨɥɨɝɢʁɟ ɥɟɠɢ ɭ ɨɬɤɪɢɜɚʃɭ ɧɚɱɢɧɚ ɫɚɡɧɚʃɚ ɫɜɟɬɚ, ɚ ɧɟ ɭ ɫɚɦɨɦ ɫɚɡɧɚʃɭ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɏɭɫɟɪɥ ɫɟ ɡɚɥɚɠɟ ɡɚ ɩɪɨɰɟɫ ɫɚɡɧɚʃɚ ɤɨʁɢ ʁɟ ɡɚɫɧɨɜɚɧ ɧɚ ɪɟɞɭɤɰɢʁɢ, ɨɞɧɨɫɧɨ, ɩɪɨɰɟɫɭ ɤɨʁɢ ‘ɪɚɫɬɟɪɟʄɭʁɟ’ ɫɜɟɫɬ, ɢ ɢɡ ʃɟɧɟ ɫɬɪɭɤɬɭɪɟ ɢɫɤʂɭɱɭʁɟ ɫɜɟ ɨɧɨ ɲɬɨ ɧɢʁɟ ɪɟɥɟɜɚɧɬɧɨ ɡɚ ɨɛʁɟɤɚɬ.22 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɩɪɨɰɟɫɨɦ ɪɟɞɭɤɰɢʁɟ ɫɟ ɨɛʁɟɤɬ ɫɜɟɫɬɢ ɨɫɥɨɛɚђɚ ɩɪɢɪɨɞɧɢɯ (ɩɪɚɤɬɢɱɧɢɯ) ɫɬɚɜɨɜɚ, ɢɫɬɨɪɢʁɫɤɢɯ ɢ ɞɪɭɲɬɜɟɧɢɯ ɤɚɪɚɤɬɟɪɢɡɚɰɢʁɚ ɢ ɬɟɨɪɢʁɫɤɢɯ ɩɪɟɞɡɧɚʃɚ ɱɢɦɟ ɫɟ ɞɨɥɚɡɢ ɞɨ „ɫɚɦɢɯ ɫɬɜɚɪɢ”, ɚ ɫɜɟɫɬ, ɪɚɫɬɟɪɟʄɟɧɚ ɫɜɢɯ ɩɪɟɬɩɨɫɬɚɜɤɢ, ɩɨɫɬɚʁɟ ɦɢɲʂɟʃɟ (ɢɧɬɟɧɞɢɪɚʃɟ) ɫɜɟɬɚ (ɢɧɬɟɧɰɢɨɧɚɥɧɚ ɫɜɟɫɬ). Ɍɚ ʁɟɞɧɨɫɬɚɜɧɚ ɭɩɪɚɜʂɟɧɨɫɬ ɧɚ ɨɧɨ ɲɬɨ ʁɟ ɞɚɬɨ, ɧɚ ɩɪɟɞɦɟɬɧɨ ɩɨɫɬɨʁɟʄɟ, ɧɚ ɫɜɟɬ, ɬɪɟɛɚɥɨ ɛɢ ɫɯɜɚɬɢɬɢ ɤɚɨ ɤɨɪɟɥɚɬ ɫɜɟɫɧɢɯ ɫɬɚʃɚ, ɬɚɤɨ ɞɚ ɢ ɫɜɟɬ ɩɨɫɬɚʁɟ „ɮɟɧɨɦɟɧ ɫɜɟɬɚ”. ɂɡ ɨɜɨɝɚ ɩɪɨɢɡɥɚɡɢ ɞɚ ʁɟ ɮɟɧɨɦɟɧɨɥɨɝɢʁɚ, ɯɭɫɟɪɥɨɜɫɤɢ ɪɟɱɟɧɨ, ɧɚɭɤɚ ɨ ɢɡɝɪɚɞʃɢ ɢ ɫɬɪɭɤɬɭɪɢ ɫɜɟɬɚ ɢɡ ɮɟɧɨɦɟɧɨɥɨɲɤɨɝ ɭɝɥɚ, ɬɨ ʁɟɫɬ, ɢɡ ɚɤɚɬɚ ɫɜɟɫɬɢ ɤɨʁɢ ɞɚʁɭ ɫɦɢɫɚɨ ɨɧɨɦɟ ɲɬɨ ɢɧɬɟɧɞɢɪɚʁɭ, ɩɪɢ ɱɟɦɭ ɧɢʁɟ ɨɞɥɭɱɭʁɭʄɚ ɧɢ ɫɭɛʁɟɤɬɢɜɧɨɫɬ ɫɜɟɫɬɢ, ɧɢ ɨɛʁɟɤɬɢɜɧɨɫɬ ɬɨɝ ɩɨɫɬɨʁɟʄɟɝ, ɜɟʄ ɫɜɟɫɬ ɤɚɨ ɱɢɫɬɚ ɫɜɟɫɬ (ʃɟɧɚ ɛɢɬ – eidos). Ⱦɚɤɥɟ, ɢɫɬɨɜɪɟɦɧɨ ɭɩɪɚɜʂɟɧɚ ɢɧɬɟɧɰɢʁɚ ɩɪɟɦɚ ɫɭɛʁɟɤɬɭ ɢ ɨɛʁɟɤɬɭ ɨɦɨɝɭʄɭʁɟ ɫɩɟɰɢɮɢɱɧɨ ɮɟɧɨɦɟɧɨɥɨɲɤɢ ɩɭɬ ɫɚɡɧɚʃɚ.23 ɍ ɤɨɧɬɟɤɫɬɭ ɨɜɨɝɚ, ɦɨɝɭʄɟ ʁɟ ɞɚʂɟ ɪɚɡɭɦɟɬɢ ɩɪɨɛɥɟɦ ɩɪɨɫɬɨɪɧɨ-ɜɪɟɦɟɧɫɤɟ ɪɟɥɚɰɢʁɟ ɤɨʁɢɦ ɫɟ ɏɭɫɟɪɥ ɬɚɤɨђɟ ɛɚɜɢɨ, ɚ ɤɨʁɢ ɫɟ ɧɚɲɚɨ ɧɚ ɥɢɧɢʁɢ ɤɪɢɬɢɤɟ ɢ ɪɟɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɟ Ȼɟɪɝɫɨɧɨɜɢɯ ɤɨɧɰɟɩɚɬɚ. ɇɚɢɦɟ, ɭ ɫɜɨʁɢɦ ɩɪɟɞɚɜɚʃɢɦɚ ɨ ɭɧɭɬɪɚɲʃɨʁ ɜɪɦɟɧɫɤɨʁ ɫɜɟɫɬɢ ɢɡ 1905. ɝɨɞɢɧɟ, ɬɟ ɭ ɞɨɞɚɰɢɦɚ ɢ ɞɨɩɭɧɚɦɚ ɚɧɚɥɢɡɟ ɫɜɟɫɬɢ ɨ ɜɪɟɦɟɧɭ ɧɚ ɤɨʁɢɦɚ ʁɟ ɪɚɞɢɨ ɭ ɩɟɪɢɨɞɭ ɨɞ 1905. ɞɨ 1910. ɝɨɞɢɧɟ, ɏɭɫɟɪɥ ɢɞɟ ɭ ɩɪɚɜɰɭ ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɚɧɚɥɢɡɟ ɜɪɟɦɟɧɫɤɟ ɫɜɟɫɬɢ ɢ ɬɢɦɟ ɫɜɨʁɟ ɢɦɟ ‘ɭɩɢɫɭʁɟ’ L’évolution créatrice] prev. Filip Medić (Sremski Karlovci – Novi Sad: Izdavačka knjižarnica Zorana Stojanovića – Dobra vest, 1991). 22 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Miško Šuvaković, Pojmovnik teorije umetnosti (Beograd: Orion Art, 2011), 246. 23 ɍɩɨɪɟɞɢɬɢ ɫɚ: Milan Damnjanović (ur.), Fenomenologija (Beograd: Nolit, 1975), 9‒57. 19 ɧɟɩɨɫɪɟɞɧɨ ɩɨɪɟɞ Ȼɟɪɝɫɨɧɨɜɨɝ.24 Ɉɧ ɬɜɪɞɢ ɞɚ ɨɛʁɟɤɬɢɜɧɨ ɜɪɟɦɟ, ɤɚɨ ɢ ɨɛʁɟɤɬɢɜɧɨ- ɩɪɨɫɬɨɪɧɢ ɨɞɧɨɫɢ ɧɟ ɩɨɫɬɨʁɟ. Ɇɟђɭɬɢɦ, ɨɧɨ ɲɬɨ ɩɨɫɬɨʁɢ ʁɟɫɭ ދɤɜɚɡɢɩɪɨɫɬɨɪɧɢތ ɨɞɧɨɫɢ ɢ ɞɨɠɢɜʂɚʁɢ ɤɨʁɢ ɨɛɪɚɡɭʁɭ ɫɩɟɰɢɮɢɱɧɟ ɬɟɦɩɨɪɚɥɧɟ ɫɚɞɪɠɚʁɟ. ɉɪɟɦɚ ɏɭɫɟɪɥɨɜɨɦ ɦɢɲʂɟʃɭ, ɨɛʁɟɤɬɢɜɧɢ ɩɪɨɫɬɨɪ ɢ ɨɛʁɟɤɬɢɜɧɨ ɜɪɟɦɟ ɩɪɟɞɫɬɚɜʂɚʁɭ ɬɪɚɧɫɰɟɧɞɟɧɰɢʁɟ, „ɮɟɧɨɦɟɧɨɥɨɲɤɭ ɞɚɬɨɫɬ ɱɢʁɨɦ ɫɟ ɟɦɩɢɪɢʁɫɤɨɦ ɚɩɟɪɰɟɩɰɢʁɨɦ ɡɚɫɧɢɜɚ ɨɞɧɨɫ ɩɪɟɦɚ ɨɛʁɟɤɬɢɜɧɨɦ”,25 ɬɟ ɭ ɬɨɦ ɫɦɢɫɥɭ, ɩɪɨɫɬɨɪ ɢ ɜɪɟɦɟ ʁɟɫɭ ɢɡʁɟɞɧɚɱɟɧɢ ɮɟɧɨɦɟɧɢ. Ɍɚɥɚɫ ɮɢɥɨɡɨɮɫɤɢɯ ɢɞɟʁɚ fin de siècle-ɚ ɩɨɤɪɟɧɭɬ Ȼɟɪɝɫɨɧɨɜɢɦ ɩɨɜɪɚɬɤɨɦ ɧɟɩɨɫɪɟɞɧɨɦ ɢ ɏɭɫɟɪɥɨɜɨɦ ɢɧɬɟɧɰɢɨɧɚɥɧɨɦ ɫɜɟɲʄɭ ɢ ɫɚɦɢɦ ɫɬɜɚɪɢɦɚ ɞɚʄɟ ʁɟɞɚɧ ɨɞ ɧɚʁʁɚɱɢɯ ɢɦɩɭɥɫɚ ɪɚɡɜɨʁɭ ɟɜɪɨɩɫɤɟ ɮɢɥɨɡɨɮɫɤɟ ɦɢɫɥɢ 20. ɜɟɤɚ. ɋɢɥɢɧɚ ɬɨɝ ɬɚɥɚɫɚ ɫɬɜɨɪɢʄɟ ɱɭɞɟɫɧɟ ɪɚɡɧɨɥɢɤɟ ɨɛɥɢɤɟ ɦɢɲʂɟʃɚ „ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɨɪɢʁɟɧɬɚɰɢʁɟ” ɤɨʁɚ ɭ ɮɪɚɧɰɭɫɤɨʁ ɮɢɥɨɡɨɮɢʁɢ ɧɨɫɟ ɢɦɟɧɚ ɀɚɧɚ ȼɚɥɚ (Jean Wahl), ɀɚɧ-ɉɨɥ ɋɚɪɬɪɚ (Jean- Paul Sartre), Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ (Maurice Merleau-Ponty), Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ, ɚɥɢ ɢ ɛɟɥɝɢʁɫɤɨɝ ɮɢɥɨɡɨɮɚ ɮɪɚɧɰɭɫɤɨɝ ɩɨɪɟɤɥɚ Ⱥɥɮɨɧɫɚ ɞɟ ȼɟʁɥɟɧɫɚ (Alphonse Marie Adolphe De Waelhens) ɢ ɉɨɥɚ Ɋɢɤɟɪɚ (Paul Ricœur).26 Ɍɚɤɨ, ɧɚ ɩɪɢɦɟɪ, ɡɚ Ɇɟɪɥɨ- 24 ȿɞɦɭɧɞ ɏɭɫɟɪɥ, ɉɪɟɞɚɜɚʃɚ ɨ ɮɟɧɨɦɟɧɨɥɨɝɢʁɢ ɭɧɭɬɪɚɲʃɟ ɜɪɟɦɟɧɫɤɟ ɫɜɢʁɟɫɬɢ [Edmund Husserl, Vorlesungen zur Phänomenologie des inneren Zeitbewußtseins] ɩɪɟɜ.ɑɚɫɥɚɜ Ⱦ. Ʉɨɩɪɢɜɢɰɚ (ɋɪɟɦɫɤɢ Ʉɚɪɥɨɜɰɢ – ɇɨɜɢ ɋɚɞ: ɂɡɞɚɜɚɱɤɚ ɤʃɢɠɚɪɧɢɰɚ Ɂɨɪɚɧɚ ɋɬɨʁɚɧɨɜɢʄɚ, 2004). 25 ȿɞɦɭɧɞ ɏɭɫɟɪɥ, ɧɚɜ. ɞɟɥɨ, 11; Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ: ɢɫɬɨ, 9‒17. 26 ɍ ɧɟɦɚɱɤɨʁ ɮɢɥɨɡɨɮɢʁɢ ɢɡɞɜɚʁɚʁɭ ɫɟ ɢɦɟɧɚ ȿɭɝɟɧɚ Ɏɢɧɤɚ (Eugen Fink) ɢ Ʌɭɞɜɢɝɚ Ʌɚɧɞɝɪɟɛɟɚ (Ludwig Landgrebe) – ɤɨʁɢ ɫɭ ɛɢɥɢ ɭ ɮɨɪɦɚɥɧɨʁ ɫɚɝɥɚɫɧɨɫɬɢ ɫɚ ɢɦɩɭɥɫɢɦɚ ɤɨʁɟ ɫɭ ɞɚɥɢ Ȼɟɪɝɫɨɧ ɢ ɏɭɫɟɪɥ. ɇɚɢɦɟ, Ɏɢɧɤ ɢ Ʌɚɧɞɝɪɟɛɟ, ɫɜɚɤɨ ɧɚ ɫɜɨʁ ɧɚɱɢɧ, ɧɚɫɬɨʁɚɥɢ ɫɭ ɞɚ ɮɢɥɨɡɨɮɫɤɭ ɢɧɬɟɧɰɢʁɭ Ȼɟɪɝɫɨɧɚ, ɚ ɩɨɫɥɟɞɢɱɧɨ ɢ ɏɭɫɟɪɥɚ ɫɯɜɚɬɟ ɭ ɢɡɜɨɪɧɨɦ ɫɦɢɫɥɭ, ɬɟ ɞɚ ʁɟ ɧɚ ɬɨɦ ɩɭɬɭ ɢɡɧɭɬɪɚ ɩɪɟɜɚɡɢђɭ. Ʉɚɨ ɪɟɡɭɥɬɚɬ ʃɢɯɨɜɢɯ ɧɚɫɬɨʁɚʃɚ ɪɨђɟɧɚ ʁɟ ɬɪɚɧɫɰɟɧɞɟɧɬɚɥɧɚ ɮɟɧɨɦɟɧɨɥɨɲɤɚ ɦɢɫɚɨ ɤɨʁɨʁ ɫɭ ɫɟ ɩɪɢɤʂɭɱɢɥɢ ɢ ɮɢɥɨɡɨɮɢ Ɏɪɚʁɛɭɪɲɤɨɝ ɤɪɭɝɚ, ȼɢɥɯɟɥɦ ɋɢɥɚɲɢ (Wilhelm Szilasi), Ɉɫɤɚɪ Ȼɟɤɟɪ (Oscar Becker), Ɏɟɥɢɤɫ Ʉɚɭɮɦɚɧ (Felix Kaufmann); ɞɚʂɟ, ɬɭ ɫɟ ɤɚɨ ɢɦɟɧɚ ɤɨʁɚ ɫɭ ɩɪɭɠɚɥɚ ɮɢɥɨɡɨɮɫɤɢ ɨɬɩɨɪ ɏɭɫɟɪɥɨɜɢɦ ɭɱɟʃɢɦɚ ɢɫɬɢɱɭ Ʉɨɧɪɚɞ-Ɇɚɪɰɢʁɭɫ (Hedwig Conrad-Martius), Ɋɨɦɚɧ ɂɧɝɚɪɞɟɧ (Roman Witold Ingarden) – ɩɪɟɞɫɬɚɜɧɢɰɢ ɬɚɤɨɡɜɚɧɟ ɟʁɞɟɬɫɤɟ ɨɧɬɨɥɨɲɤɟ ɮɟɧɨɦɟɧɨɥɨɝɢʁɟ ɤɨʁɢ ɫɭ ɤɪɢɬɢɤɭʁɭʄɢ ɏɭɫɟɪɥɨɜ ɬɪɚɧɫɰɟɧɞɟɧɬɚɥɢɡɚɦ ɭ ʃɟɦɭ, ɡɚɩɪɚɜɨ, ɩɪɟɩɨɡɧɚɥɢ ɩɚɞ ɭɧɚɡɚɞ ɧɚ ɩɪɟɜɚɡɢђɟɧɟ ɢɞɟɚɥɢɫɬɢɱɤɟ ɩɨɡɢɰɢʁɟ ɧɨɜɨɤɚɧɬɨɜɫɬɜɚ ɢ ɢɡɧɟɜɟɪɚɜɚʃɟ ɫɨɩɫɬɜɟɧɨɝ ɩɨɱɟɬɤɚ ɭ ɫɭɲɬɢɧɫɤɨɦ ɢɫɬɪɚɠɢɜɚʃɭ ɪɟɚɥɧɨɝ ɛɢʄɚ – ɤɚɨ ɢ ɞɪɭɝɢ ɩɪɟɞɫɬɚɜɧɢɰɢ Ƚɟɬɢɧɝɟɧɲɤɨɝ ɤɪɭɝɚ ɮɟɧɨɦɟɧɨɥɨɝɚ ɢ ɱɥɚɧɨɜɢ Ɇɢɧɯɟɧɫɤɟ ɝɪɭɩɟ, ɚ ɩɪɟ ɫɜɢɯ Ⱥɥɟɤɫɚɧɞɟɪ ɉɮɟɧɞɟɪ (Alexander Pfänder); ɧɚʁɡɚɞ, ɩɨʁɟɞɢɧɰɢ ɤɨʁɢ ɫɭ ɞɨɩɪɢɧɟɥɢ ɮɟɧɨɦɟɧɨɥɨɲɤɨʁ ɦɢɫɥɢ ɫɜɨʁɢɦ ɤɨɧɤɪɟɬɧɢɦ ɢɫɬɪɚɠɢɜɚʃɢɦɚ, ɚ ɧɟ ɦɟɬɨɞɨɥɨɲɤɢɦ ɪɟɮɥɟɤɫɢʁɚɦɚ ʁɟɫɭ Ɇɚɤɫ ɒɟɥɟɪ (Max Ferdinand Scheler), ɇɢɤɨɥɚʁ ɏɚɪɬɦɚɧ (Nicolai Hartmann), Ɇɨɪɢɰ Ƚɚʁɝɟɪ (Moritz Geiger) ɢ ɞɪɭɝɢ. Ɉɧɢ ɫɭ ɮɟɧɨɦɟɧɨɥɨɝɢʁɭ ɚɤɬɚ ɞɨɩɭɧɢɥɢ ɮɟɧɨɦɟɧɨɥɨɝɢʁɨɦ ɩɪɟɞɦɟɬɚ ɢ ɧɚ ɬɚʁ ɧɚɱɢɧ, ɤɚɤɨ ɫɭ ɜɟɪɨɜɚɥɢ, ɩɨɧɨɜɨ ɭɫɩɨɫɬɚɜɢɥɢ ɪɚɜɧɨɬɟɠɭ, ɧɚɪɭɲɟɧɭ ɩɪɟɬɯɨɞɧɨɦ ɞɨɦɢɧɚɰɢʁɨɦ „ʁɟɞɧɨɫɬɪɚɧɨɝ ɢɫɬɪɚɠɢɜɚʃɚ ɫɭɛʁɟɤɬɢɜɧɨɫɬɢ”. ɇɚʁɡɚɞ, ɮɟɧɨɦɟɨɥɨɲɤɨ ɦɢɲʂɟʃɟ ɫɟ ɪɚɡɜɢɥɨ ɢ ɭ ɩɪɚɜɰɭ ɮɢɥɨɡɨɮɢʁɟ ɟɝɡɢɫɬɟɧɰɢʁɟ ɤɚɨ ɯɟɪɦɟɧɟɭɬɢɱɤɚ ɮɟɧɨɦɟɧɨɥɨɝɢʁɚ ɢ ɮɟɧɨɦɟɧɨɥɨɲɤɚ ɨɧɬɨɥɨɝɢʁɚ, ɤɨʁɭ ɩɪɟɞɫɬɚɜʂɚʁɭ 20 ɉɨɧɬɢʁɚ „ɫɭɛʁɟɤɬ ɩɨɫɬɨʁɢ ɨɜɞɟ ɢ ɫɚɞɚ; ɫɭɛʁɟɤɬ ʁɟ ɩɪɨɫɬɨɪɧɨ-ɬɟɦɩɨɪɚɥɧɨ ɛɢʄɟ ɡɚɬɨ ɲɬɨ ɞɭɲɚ ɢ ɬɟɥɨ ɧɢɫɭ ɨɞɜɨʁɟɧɢ ɟɧɬɢɬɟɬɢ, ɛɚɲ ɤɚɨ ɧɢ ɩɪɨɫɬɨɪ ɢ ɜɪɟɦɟ. ɇɚɲɟ ɬɟɥɨ ɧɟ ɩɨɫɬɨʁɢ ɧɢ ɭ ɩɪɨɫɬɨɪɭ, ɧɢ ɭ ɜɪɟɦɟɧɭ, ɜɟʄ ɨɧɨ ‘ɧɚɫɟʂɚɜɚ’ ɢ ɩɪɨɫɬɨɪ ɢ ɜɪɟɦɟ”27. ɉɪɢ ɬɨɦɟ, ɡɚ ʃɟɝɚ ɩɪɨɫɬɨɪ ɢ ɜɪɟɦɟ ɧɢɫɭ ɪɟɚɥɧɢ ɮɟɧɨɦɟɧɢ, ɜɟʄ ɤɨɧɰɟɩɬɢ ɤɨʁɢ ɫɟ ɤɨɧɫɬɢɬɭɢɲɭ ɭ ɧɚɲɨʁ ɫɜɟɫɬɢ. ɇɚɢɦɟ, „ɩɪɨɫɬɨɪ ɧɢʁɟ ɫɪɟɞɢɧɚ (ɫɬɜɚɪɧɚ ɢɥɢ ɥɨɝɢɱɧɚ) ɭ ɤɨʁɨʁ ɫɟ ɪɚɫɩɨɪɟђɭʁɭ ɫɬɜɚɪɢ, ɧɟɝɨ ɫɪɟɞɫɬɜɨ ɤɨʁɢɦ ɩɨɫɬɚʁɟ ɦɨɝɭʄ ɩɨɥɨɠɚʁ ɫɬɜɚɪɢ”28. ɉɨɫɥɟɞɢɱɧɨ, ɢ ɜɪɟɦɟ ɧɚɫɬɚʁɟ ɢɡ ɧɚɲɟɝ ɨɞɧɨɫɚ ɫɚ ɫɬɜɚɪɢɦɚ: „ɜɪɟɦɟ ɧɢʁɟ ɫɬɜɚɪɚɧ ɩɪɨɰɟɫ, ɜɟʄ ɫɚɦɨ ɞɢɦɟɧɡɢʁɚ ɫɜɟɝɚ ɲɬɨ ʁɟɫɬɟ. ȼɪɟɦɟ, ɫɬɨɝɚ, ɧɢʁɟ ɥɢɧɢʁɚ ɧɟɝɨ, [ɫɯɜɚʄɟɧɨ ɭ ɞɭɯɭ ɏɭɫɟɪɥɨɜɟ ɮɢɥɨɡɨɮɫɤɟ ɦɢɫɥɢ], ɦɪɟɠɚ ɢɧɬɟɧɰɢɨɧɚɥɧɨɫɬɢ”29. ɍ ɤɨɧɬɟɤɫɬɭ ɝɨɜɨɪɚ ɨ ɩɪɨɫɬɨɪɧɨ-ɜɪɟɦɟɧɫɤɢɦ ɨɞɧɨɫɢɦɚ ɜɚɠɧɨ ʁɟ ɧɚɩɨɦɟɧɭɬɢ ʁɨɲ ʁɟɞɚɧ ɩɪɨɛɥɟɦɫɤɢ ɤɪɭɝ ɤɨʁɢ ɫɟ ɢɲɱɢɬɚɜɚ, ɦɨɠɞɚ ɧɟ ɧɚʁɞɢɪɟɤɬɧɢʁɟ, ɢɡ ɮɢɥɨɡɨɮɢʁɟ Ⱥɧɪɢʁɚ Ȼɟɪɝɫɨɧɚ ɢ ȿɞɦɭɧɞɚ ɏɭɫɟɪɥɚ ɚ ɤɨʁɢ ɞɚʂɟ, ɩɪɟɤɨ ȿɬʁɟɧɚ ɋɭɪɨɚ, ɫ ʁɟɞɧɟ, ɢ Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɜɨɞɢ ɞɢɪɟɤɬɧɨ ɤɚ Ⱦɢɮɪɟɧɭ. Ɋɟɱ ʁɟ, ɧɚɢɦɟ, ɨ ɩɪɨɛɥɟɦɭ ɦɟђɭɫɨɛɧɟ ɤɨɦɭɧɢɤɚɰɢʁɟ ɱɭɥɚ ɤɨʁɢ ɩɪɨɢɡɥɚɡɢ ɭɩɪɚɜɨ ɢɡ ɩɪɨɦɢɲʂɚʃɚ ɩɪɨɫɬɨɪɧɨ- ɬɟɦɩɨɪɚɥɧɢɯ ɨɞɧɨɫɚ. ȿɬʁɟɧ ɋɭɪɢɨ ɫɦɚɬɪɚ ɞɚ ɫɜɚɤɨ ɭɦɟɬɧɢɱɤɨ ɞɟɥɨ ɩɪɟɞɫɬɚɜʂɚ ɭɧɢɜɟɪɡɭɦ ɡɚ ɫɟɛɟ, ɰɟɥɢɧɭ ɤɨʁɚ ʁɟ ɢɡɝɪɚђɟɧɚ ɨɞ ɦɪɟɠɟ ɜɪɟɦɟ-ɩɪɨɫɬɨɪ, ɬɟ ɞɚ ɛɢ ɫɜɟ ɭɦɟɬɧɨɫɬɢ ɬɪɟɛɚɥɨ ɪɚɡɭɦɟɬɢ ɭ ɨɤɜɢɪɭ ɩɨɦɟɧɭɬɨɝ ɤɨɧɬɢɧɭɭɦɚ.30 Ɇɟђɭɬɢɦ, ɨɧ ɢɫɬɨɜɪɟɦɟɧɨ ɭɤɚɡɭʁɟ ɧɚ ɜɚɠɧɨɫɬ ɪɚɡɥɢɤɨɜɚʃɚ ɭɧɭɬɪɚɲʃɟɝ ɜɪɟɦɟɧɚ ɢ ɩɪɨɫɬɨɪɚ ɞɟɥɚ ɨɞ ɪɟɚɥɧɨɝ ɜɪɟɦɟɧɚ ɢ ɩɪɨɫɬɨɪɚ, ɚɪɝɭɦɟɧɬɭʁɭʄɢ ɬɨ ɩɪɢɦɟɪɨɦ ɞɚ ɫɟ ɜɪɟɦɟ ɱɢɬɚʃɚ ɞɟɥɚ ɪɚɡɥɢɤɭʁɟ ɨɞ ɫɭɤɰɟɫɢʁɟ ɞɨɝɚђɚʁɚ ɭ ɫɚɦɨɦ ɞɟɥɭ ɤɚɨ ‘ɡɚɦɢɲʂɟɧɨɦ ɭɧɢɜɟɪɡɭɦɭ’, ɨɞɧɨɫɧɨ, ɞɚ ɫɟ ɜɪɟɦɟ ɞɟɥɚ ɪɚɡɥɢɤɭʁɟ ɨɞ ʃɟɝɨɜɨɝ ɢɡɜɨђɟʃɚ.31 ɋɭɪɢɨ ɞɨɥɚɡɢ ɞɨ ɨɜɚɤɜɢɯ ɡɚɤʂɭɱɚɤɚ ɩɨɥɚɡɟʄɢ ɨɞ ɤɪɢɬɢɤɟ Ʉɚɧɬɨɜɟ (Immanuel Kant) ɩɨɞɟɥɟ ɭɦɟɬɧɨɫɬɢ ɧɚ ɝɨɜɨɪɧɟ, ɥɢɤɨɜɧɟ ɢ ɭɦɟɬɧɨɫɬɢ „ɪɚɧɢ ɏɚʁɞɟɝɟɪ” (Martin Heidegger) ɢ ɏɚɧɫ Ʌɢɩɫ (Hans Lipps). ɍɩɨɪɟɞɢɬɢ ɫɚ: Milan Damnjanović (ur.), Fenomenologija, ɧɚɜ. ɞɟɥɨ, 54‒57. 27 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Anna Maria Harley, Space and Spatialization in Contemporary Music: History and Analysis, Ideas and Implementations, ɞɨɤɬɨɪɫɤɚ ɞɢɫɟɪɬɚɰɢʁɚ, ɪɭɤɨɩɢɫ, McGill University, 1996, 42. 28 Maurice Merleau-Ponty, Fenomenologija percepcije [Maurice Merleau-Ponty, Phénoménologie de la perception] prev. dr Anđelko Habazin (Sarajevo: Veselin Masleša, 1978), 257. 29 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 425‒430. 30 Etienne Souriau, “Time in the Plastic Arts”, The Journal of Aesthetics and Art Criticism. Special Issue On Aesthetics in France, Vol. 7, No. 4, 1949, 294. 31 ɂɫɬɨ, 297. 21 ɢɝɪɟ ɨɫɟɬɚ (ɤɚɨ ɫɩɨʂɚɲʃɢɯ ɱɭɥɧɢɯ ɭɬɢɫɚɤɚ). Ʉɚɞɚ ʁɟ ɪɟɱ ɨ ɝɨɜɨɪɧɢɦ ɭɦɟɬɧɨɫɬɢɦɚ, ɨɞɧɨɫɧɨ, ɝɪɭɩɢ ɤɨʁɨʁ ɩɪɢɩɚɞɚʁɭ ɛɟɫɟɞɧɢɲɬɜɨ ɢ ɩɟɫɧɢɲɬɜɨ, ɪɚɞɢ ɫɟ, ɩɢɲɟ Ʉɚɧɬ ɨ „ɭɦɟʄɢɦɚ ɤɨʁɚ ɧɚɦ ɫɟ ɧɚ ɩɪɜɢ ɩɨɝɥɟɞ ɱɢɧɟ ɫɭɩɪɨɬɧɢɦ: ɛɟɫɟɞɧɢɲɬɜɨ ʁɟ ɜɟɲɬɢɧɚ ɞɚ ɫɟ ɧɟɤɚ ɞɟɥɚɬɧɨɫɬ ɪɚɡɭɦɚ ɨɞɜɢʁɚ ɤɚɨ ɫɥɨɛɨɞɧɚ ɢɝɪɚ ɭɨɛɪɚɡɢʂɟ, ɞɨɤ ʁɟ ɩɟɫɧɢɲɬɜɨ ɜɟɲɬɢɧɚ ɞɚ ɫɟ ɫɥɨɛɨɞɧɚ ɢɝɪɚ ɭɨɛɪɚɡɢʂɟ ɢɡɜɨɞɢ ɤɚɨ ɧɟɤɚ ɞɟɥɚɬɧɨɫɬ ɪɚɡɭɦɚ”32. ɍ ɞɪɭɝɭ ɝɪɭɩɭ ɭɛɪɚʁɚʁɭ ɫɟ ɥɢɤɨɜɧɟ ɭɦɟɬɧɨɫɬɢ ɢ ʃɢɦɚ ʁɟ, ɫɦɚɬɪɚ Ʉɚɧɬ ɫɜɨʁɫɬɜɟɧɨ ɢɡɪɚɠɚɜɚʃɟ ɢɞɟʁɚ ɭ ɱɭɥɧɨɦ ɨɩɚɠɚʁɭ; ɨɧɟ ɫɟ ɞɚʂɟ ɦɨɝɭ ɞɟɥɢɬɢ ɧɚ ɭɦɟɬɧɨɫɬɢ ɱɭɥɧɟ ɢɫɬɢɧɟ ɢ ɭɦɟɬɧɨɫɬɢ ɱɭɥɧɨɝ ɩɪɢɜɢɞɚ. ɉɪɜɨʁ ɝɪɭɩɢ ɩɪɢɩɚɞɚ ɩɥɚɫɬɢɤɚ, ɚ ɞɪɭɝɨʁ ɫɥɢɤɚɪɫɬɜɨ. Ɇɟђɭɬɢɦ, ɢ ɩɥɚɫɬɢɤɚ ɢ ɫɥɢɤɚɪɫɬɜɨ ɩɪɟɬɜɚɪɚʁɭ ɩɪɨɫɬɨɪɧɟ ɨɛɥɢɤɟ ɭ ɢɡɪɚɡ ɡɚ ɢɞɟʁɟ: ɩɥɚɫɬɢɤɚ ɱɢɧɢ ɬɟ ɨɛɥɢɤɟ ɫɚɡɧɚɬʂɢɜɢɦ ɡɚ ɞɜɚ ɱɭɥɚ (ɱɭɥɨ ɜɢɞɚ ɢ ɱɭɥɨ ɞɨɞɢɪɚ), ɞɨɤ ɫɥɢɤɚɪɫɬɜɨ ɬɨ ɱɢɧɢ ɫɚɦɨ ɡɚ ʁɟɞɧɨ ɱɭɥɨ (ɱɭɥɨ ɜɢɞɚ). ɍ ɩɥɚɫɬɢɤɭ ɫɩɚɞɚʁɭ ɜɚʁɚɪɫɬɜɨ ɢ ɚɪɯɢɬɟɤɬɭɪɚ, ɚ ɪɚɡɥɢɤɚ, ɤɨʁɚ ɦɟђɭ ʃɢɦɚ ɩɨɫɬɨʁɢ, ɨɝɥɟɞɚ ɫɟ ɭ, ɤɚɤɨ Ʉɚɧɬ ɩɪɢɦɟʄɭʁɟ, ɭɩɨɬɪɟɛɢ ɩɪɟɞɦɟɬɚ ɭ ɫɥɭɱɚʁɭ ɚɪɯɢɬɟɤɬɭɪɟ ɢ ɢɡɪɚɠɚɜɚʃɭ ɱɢɫɬɢɯ ɟɫɬɟɬɫɤɢɯ ɢɞɟʁɚ ɭ ɫɥɭɱɚʁɭ ɜɚʁɚɪɫɬɜɚ. ɋɥɢɤɚɪɫɬɜɨ, ɤɚɨ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ɭɦɟɬɧɢɱɤɢ ɩɪɢɤɚɡɭʁɟ ɱɭɥɧɢ ɩɪɢɜɢɞ ɩɨɜɟɡɚɧ ɫɚ ɢɞɟʁɚɦɚ, ɦɨɠɟ ɫɟ ɞɚʂɟ ɞɟɥɢɬɢ ɧɚ ɜɟɲɬɢɧɭ ɥɟɩɨɝ ɩɪɢɤɚɡɢɜɚʃɚ ɩɪɢɪɨɞɟ ɤɨʁɚ ɩɪɭɠɚ ɫɚɦɨ ɩɪɢɜɢɞ ɬɟɥɟɫɧɨɝ ɩɪɨɫɬɢɪɚʃɚ (ɫɥɢɤɚɪɫɬɜɨ ɭ ɭɠɟɦ ɫɦɢɫɥɭ, ɩɪɚɜɨ ɫɥɢɤɚɪɫɬɜɨ) ɢ ɜɟɲɬɢɧɭ ɥɟɩɨɝ ɪɚɫɩɨɪɟђɢɜɚʃɚ ɬɜɨɪɟɜɢɧɚ ɩɪɢɪɨɞɟ ɤɨʁɚ ɩɪɭɠɚ ɤɚɤɜɨ ʁɟ ɬɨ ɬɟɥɟɫɧɨ ɩɪɨɫɬɢɪɚʃɟ ɭ ɢɫɬɢɧɢ (ɛɚɲɬɨɜɚɧɫɬɜɨ). ɍ ɬɪɟʄɨʁ ɝɪɭɩɢ ɭɦɟɬɧɨɫɬɢ ɧɚɥɚɡɟ ɫɟ ɥɟɩɟ ɢɝɪɟ ɨɫɟɬɚ, ɚ ʃɢɦɚ ɩɪɢɩɚɞɚʁɭ ɦɭɡɢɤɚ (ɭɦɟɬɧɢɱɤɚ ɢɝɪɚ ɨɫɟɬɚ ɫɥɭɯɚ) ɢ ɫɥɢɤɚɪɫɬɜɨ ɭ ɛɨʁɚɦɚ (ɭɦɟɬɧɢɱɤɚ ɢɝɪɚ ɨɫɟɬɚ ɜɢɞɚ).33 ɂɚɤɨ ɛɢ ɨɜɚɤɜɚ ɩɨɞɟɥɚ ɡɚɯɬɟɜɚɥɚ ʁɟɞɚɧ ɲɢɪɢ ɤɪɢɬɢɱɤɢ ɨɫɜɪɬ, ɨɧɨ ɧɚ ɲɬɚ ʁɟ ɭɫɟɦɪɟɧɚ ɋɭɪɢɨɨɜɚ ɦɢɫɚɨ ɬɢɱɟ ɫɟ, ɝɟɧɟɪɚɥɧɨ, Ʉɚɧɬɨɜɟ ɩɨɞɟɥɟ ɧɚ ɩɪɨɫɬɨɪɧɟ ɢ ɜɪɟɦɟɧɫɤɟ ɭɦɟɬɧɨɫɬɢ. Ɍɚɱɧɢʁɟ, ɋɭɪɢɨ ɭɤɚɡɭʁɟ ɧɚ ɧɟɚɞɟɤɜɚɬɧɨɫɬ ɩɨɞɟɥɟ ɧɚ ɨɧɟ ɭɦɟɬɧɨɫɬɢ ɤɨʁɟ ɫɟ ɜɟɡɭʁɭ ɡɚ ɩɪɨɫɬɨɪ ɢ ɨɧɟ ɤɨʁɟ ɫɭ ɭɫɥɨɜʂɟɧɟ ɜɪɟɦɟɧɨɦ, ɡɚɬɨ ɲɬɨ ʁɟ ɬɚɤɜɚ ɩɨɞɟɥɚ, ɫɦɚɬɪɚ ɨɧ, ɞɨɜɟɥɚ ɞɨ ɬɨɝɚ ɞɚ ɭ ɟɫɬɟɬɢɱɤɨɦ ɞɢɫɤɭɪɫɭ ɩɨɟɡɢʁɚ ɢ ɦɭɡɢɤɚ ɛɭɞɭ ɩɨɜɟɡɚɧɟ ɢɫɤʂɭɱɢɜɨ ɫɚ ‘ɭɧɭɬɪɚɲʃɢɦ ɫɜɟɬɨɦ’, ɬɟ ɥɢɲɟɧɟ ɩɪɨɫɬɨɪɧɟ ɞɢɦɟɧɡɢʁɟ, ɚ ɞɚ ɩɥɚɫɬɢɱɤɟ ɭɦɟɬɧɨɫɬɢ ɛɭɞɭ ɩɨɜɟɡɚɧɟ ɫɚ ‘ɫɩɨʂɚɲʃɢɦ ɫɜɟɬɨɦ’ ɢ, ɬɚɤɨ, ɥɢɲɟɧɟ ɜɪɟɦɟɧɫɤɟ ɞɢɦɟɧɡɢʁɟ. Ⱦɚɤɥɟ, Ʉɚɧɬɨɜɚ ɩɨɞɟɥɚ (ɤɨʁɭ ɫɭ ɩɨɞɪɠɚɥɢ ɛɪɨʁɧɢ ɟɫɬɟɬɢɱɚɪɢ, ɨɞ 32 Imanuel Kant, Kritika moći suđenja (Beograd: BIGZ, 1975), 204. 33 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: ɢɫɬɨ, 204‒208. 22 ɏɟɝɟɥɚ /Georg Wilhelm Friedrich Hegel/ ɞɨ Ⱦɟɫɨɚɪɚ /Max Dessoir/) ɛɢɜɚ ɪɟɞɟɮɢɧɢɫɚɧɚ ɭ ɟɫɬɟɬɢɱɤɨɦ ɞɢɫɤɭɪɫɭ ɋɭɪɢɨɚ; ɨɧ ɭɜɨɞɢ ɤɚɬɟɝɨɪɢʁɭ „ɜɪɟɦɟ ɤɨɧɬɟɦɩɥɚɰɢʁɟ” ɤɨʁɟ ʁɟ, ɩɪɟɦɚ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ, ɫɜɨʁɫɬɜɟɧɨ ɫɜɢɦ ɭɦɟɬɧɨɫɬɢɦɚ, ɚ ɢɫɩɭʃɟɧɨ ʁɟ „ɫɭɤɰɟɫɢɜɧɢɦ ɮɢɡɢɱɤɢɦ ɱɢʃɟɧɢɰɚɦɚ”34. Ɍɚɤɨђɟ, ɋɭɪɢɨ ɩɢɲɟ ɢ ɨ „ɜɪɟɦɟɧɭ ɤɨʁɟ ʁɟ ɢɧɯɟɪɟɧɬɧɨ ɫɬɪɭɤɬɭɪɢ ɞɟɥɚ”, ɬɨ ʁɟɫɬ, ɨ „ɭɧɭɬɪɚɲʃɟɦ ɜɪɟɦɟɧɭ” ɭɦɟɬɧɢɱɤɨɝ ɞɟɥɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɨɧ ɢ ɢɫɬɢɱɟ ɜɚɠɧɨɫɬ ɪɚɡɥɢɤɨɜɚʃɚ ɭɧɭɬɪɚɲʃɟɝ ɜɪɟɦɟɧɚ ɢ ɩɪɨɫɬɨɪɚ ɞɟɥɚ ɨɞ ɨɧɨɝ ɪɟɚɥɧɨɝ – ɞɚɤɥɟ, „ɜɪɟɦɟɧɚ ɤɨɧɬɟɦɩɥɚɰɢʁɟ” ɢ „ɭɧɭɬɪɚɲʃɟɝ ɜɪɟɦɟɧɚ” – ɚɥɢ ɢɫɬɨɜɪɟɦɟɧɨ ɫɤɪɟʄɟ ɩɚɠʃɭ ɢ ɧɚ ɬɨ ɞɚ ɨɛɚ ɞɟɥɭʁɭ ɭ ɢɧɬɟɪɚɤɬɢɜɧɨɦ ɢ ɩɪɨɠɢɦɚʁɭʄɟɦ ɨɞɧɨɫɭ!35 ɂɩɚɤ, ɢɚɤɨ ɫɭ ɨɜɚ ɞɜɚ ɬɢɩɚ ɜɪɟɦɟɧɚ ɫɜɨʁɫɬɜɟɧɚ ɢ ɩɥɚɫɬɢɱɤɢɦ ɭɦɟɬɧɨɫɬɢɦɚ ɢ ɦɭɡɢɰɢ, ɦɟђɭ ʃɢɦɚ ɩɨɫɬɨʁɟ ɢɡɜɟɫɧɟ ɪɚɡɥɢɤɟ. ɋɭɪɢɨ, ɧɚɢɦɟ, ɭɤɚɡɭʁɟ ɧɚ ɬɨ ɞɚ ʁɟ ɭ ɦɭɡɢɱɤɨɦ (ɬɟɚɬɚɪɫɤɨɦ ɢɥɢ ɤɨɪɟɨɝɪɚɮɫɤɨɦ) ɞɟɥɭ ɪɟɞɨɫɥɟɞ ɫɭɤɰɟɫɢɜɧɢɯ ɞɟɥɨɜɚ (ɤɚɨ ɦɨɦɟɧɚɬɚ) ɤɨɧɫɬɚɧɬɚɧ, ɢɡɦɟɪɟɧ ɢ ɨɞɪɟђɟɧ, ɛɚɲ ɤɚɨ ɢ ɫɚɦ ɩɟɪɰɟɩɬɢɜɧɢ ɬɨɤ, ɞɨɤ ɭ ɫɥɢɤɚɪɫɬɜɭ, ɫɤɭɥɩɬɭɪɢ, ɚɪɯɢɬɟɤɬɭɪɢ ɨɜɚʁ ɪɟɞɨɫɥɟɞ ɧɢʁɟ ɭɧɚɩɪɟɞ ɞɟɮɢɧɢɫɚɧ, ɜɟʄ ʁɟ ɭɫɥɨɜʂɟɧ ɩɨɫɦɚɬɪɚɱɟɦ ɢ ʃɟɝɨɜɢɦ ɜɪɟɦɟɧɨɦ.36 Ɋɚɡɥɨɝ ɡɚ ɬɨ ɥɟɠɢ ɭ ɱɢʃɟɧɢɰɢ ɞɚ ɜɪɟɦɟ ɭ ɦɭɡɢɰɢ ɢɦɚ ɨɞɪɟђɟɧɢ ɩɨɱɟɬɚɤ ɢ ɤɪɚʁ (ɬɪɚʁɚʃɟ ɞɟɥɚ) ɢ ɲɢɪɢ ɪɚɫɩɨɧ ɬɪɚʁɚʃɚ (ɨɞ ɧɟɤɨɥɢɤɨ ɦɢɧɭɬɚ ɞɨ ɧɟɤɨɥɢɤɨ ɫɚɬɢ), ɞɨɤ ɭ ɫɥɢɤɚɪɫɬɜɭ ɧɢʁɟ ɩɪɟɰɢɡɢɪɚɧɨ ɜɪɟɦɟ ɤɨɧɤɪɟɬɧɨɝ ɩɪɢɫɭɫɬɜɚ ɞɟɥɚ.37 Ɉɫɢɦ ɬɨɝɚ, ɱɢʃɟɧɢɰɚ ʁɟ ɞɚ ɫɟ ɭ ɦɭɡɢɰɢ ɜɪɟɦɟ ɫɬɪɭɤɬɭɪɢɪɚ ɢ ‘ɦɟɪɢ ɩɨɦɨʄɭ’ ɪɢɬɦɚ, ɲɬɨ ʁɟ ɞɨɧɟɤɥɟ ɫɥɭɱɚʁ ɢ ɭ ɩɥɚɫɬɢɱɤɢɦ ɭɦɟɬɧɨɫɬɢɦɚ, ɫ ɬɢɦ, ɲɬɨ ɭ ɬɨɦ ɫɥɭɱɚʁɭ ɝɨɜɨɪɢɦɨ ɨ „ɫɩɚɰɢʁɚɥɧɨɦ ɪɢɬɦɭ” ɢ ɬɨ ɫɚɦɨ ɭɤɨɥɢɤɨ ɩɨɫɬɨʁɢ ɤɨɧɬɢɧɭɢɪɚɧɚ ɫɭɤɰɟɫɢʁɚ ɨɛɪɚɡɚɰɚ ɭ ɜɢɞɭ ɰɢɤɥɢɱɧɨɝ ɩɨɧɚɜʂɚʃɚ ɨɫɧɨɜɧɟ ɫɯɟɦɟ (ɲɬɨ ɧɟ ɦɨɪɚ ɞɚ ɛɭɞɟ ɱɟɫɬ ɫɥɭɱɚʁ, ɧɚɪɨɱɢɬɨ ɧɟ ɭ ɨɛɥɚɫɬɢ ɫɤɭɥɩɬɭɪɟ). Ɍɚɤɨђɟ, ɦɨɝɭʄɟ ʁɟ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɭɡ ɨɩɪɟɡ ɝɨɜɨɪɢɬɢ ɢ ɨ „ɬɟɦɩɨɪɚɥɧɨɦ ɪɢɬɦɭ” – ɧɟɤɟ ɬɟɦɟ ɧɚ ɫɥɢɰɢ, ɧɚ ɩɪɢɦɟɪ, ɦɨɝɭ ɛɢɬɢ ɨɪɝɚɧɢɡɨɜɚɧɟ ɪɢɬɦɢɱɤɢ ɭ ɜɪɟɦɟɧɭ, ɲɬɨ ɢɩɚɤ ɧɢʁɟ ɤɨɧɫɬɚɧɬɧɨ ɩɪɢɫɭɬɚɧ ɩɪɢɧɰɢɩ ɜɢɡɭɟɥɧɢɯ ɭɦɟɬɧɨɫɬɢ.38 Ɋɚɡɦɚɬɪɚʁɭʄɢ ɢ ɩɢɬɚʃɟ ɬɟɦɩɚ, ɋɭɪɢɨ ɭɨɱɚɜɚ ɪɚɡɥɢɤɟ ɦɟђɭ ɨɜɢɦ ɨɛɥɚɫɬɢɦɚ; ɭ ɦɭɡɢɰɢ ʁɟ ɬɟɦɩɨ ɤɜɚɥɢɬɚɬɢɜɧɚ ɤɚɬɟɝɨɪɢʁɚ ɤɨʁɚ ɫɟ ɞɟɮɢɧɢɲɟ ɤɨɧɤɪɟɬɧɢɦ ɨɞɪɟɞɧɢɰɚɦɚ, ɲɬɨ ɭ ɫɥɢɤɚɪɫɬɜɭ ɧɢʁɟ ɫɥɭɱɚʁ, 34 Etienne Souriau, “Time in the Plastic Arts”, ɧɚɜ. ɞɟɥɨ, 295. 35 ɂɫɬɨ, 300. 36 ɂɫɬɨ, 295. 37 ɂɫɬɨ, 300, 301. 38 ɂɫɬɨ, 303. 23 ɛɭɞɭʄɢ ɞɚ ɧɟ ɩɨɫɬɨʁɟ ɨɛʁɟɤɬɢɜɧɚ ɫɪɟɞɫɬɜɚ ɤɨʁɢɦɚ ɛɢ ɫɟ ɦɨɝɚɨ ɭɬɜɪɞɢɬɢ ɬɟɦɩɨ ɭ ɜɢɡɭɟɥɧɨʁ ɫɮɟɪɢ, ɢɚɤɨ, ɢ ɬɟɦɩɨ ɦɨɠɟ ɞɚ ɛɭɞɟ ɩɚɪɚɦɟɬɚɪ ɡɚ ɪɚɡɦɚɬɪɚʃɟ ɜɢɡɭɟɥɧɢɯ ɭɦɟɬɧɨɫɬɢ.39 Ɂɛɨɝ ɫɜɟɝɚ ɧɚɜɟɞɟɧɨɝ ȿɬʁɟɧ ɋɭɪɢɨ, ɞɨɞɭɲɟ ɫɚ ɢɡɪɚɡɢɬɨɦ ɫɭɩɬɢɥɧɨɲʄɭ, ɢ ɭɡɢɦɚ ɭ ɪɚɡɦɚɬɪɚʃɟ „ɤɨɪɟɫɩɨɧɞɟɧɰɢʁɭ ɭɦɟɬɧɨɫɬɢ” ɩɨɤɚɡɭʁɭʄɢ, ɧɚ ɩɪɢɦɟɪ, ɞɚ „ʁɟɞɚɧ ɢɧɫɬɪɭɦɟɧɬ ɚɧɚɥɢɡɟ – ɤɚɨ ɲɬɨ ʁɟ ɦɟɬɪɢɤɚ – ɧɚɥɚɡɢ ɫɜɨʁɭ ɩɪɢɦɟɧɭ ɢ ɭ ɦɭɡɢɰɢ ɢ ɭ ɩɨɟɡɢʁɢ”, ɚɥɢ ɭɤɚɡɭʁɭʄɢ ɧɚ ‘ɩɪɢɤɥɚɞɧɨɫɬ’ ɢ ɩɪɟɞɧɨɫɬ, ɩɪɟ ɫɜɟɝɚ, ɦɭɡɢɱɤɢɯ ɦɚɬɟɪɢʁɚɥɚ, ɫɪɟɞɫɬɚɜɚ ɢ ɜɨɤɚɛɭɥɚɪɚ ɡɚ ɩɪɢɦɟɧɭ ɭ ɞɪɭɝɢɦ ɭɦɟɬɧɢɱɤɢɦ ɤɨɧɬɟɤɫɬɢɦɚ. ȵɢɯ ɛɢ ɬɪɟɛɚɥɨ, ɫɦɚɬɪɚ ɋɭɪɢɨ, ɢɫɤɨɪɢɫɬɢɬɢ ɨɧɚɤɜɢɦ ɤɚɤɜɢɦ ɢɯ ʁɟɡɢɤ (langage) ɩɪɭɠɚ – ɞɚɤɥɟ, ɧɚ ɧɚɱɢɧ ɦɟɬɚɮɨɪɚ – ɢ ɩɪɟɧɟɬɢ ɢɯ ɭ ɞɪɭɝɟ ɭɦɟɬɧɨɫɬɢ ɢ ʃɢɯɨɜɟ ɥɟɤɫɢɤɟ.40 Ɉɜɨ ɩɪɟɩɨɡɧɚɜɚʃɟ ɜɟɡɚ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɨɬɜɨɪɢɥɨ ʁɟ ɩɪɨɫɬɨɪ ɞɚ ɩɨʁɟɞɢɧɟ ɭɦɟɬɧɢɤɟ ɞɨɠɢɜɢɦɨ ɤɚɨ ɜɢɲɟɫɬɪɚɧɟ ‘ɢɫɬɪɚɠɢɜɚɱɟ’ – ɞɚɤɥɟ, ɧɟ ɫɚɦɨ ɤɚɨ ɫɥɢɤɚɪɟ, ɫɤɭɥɩɬɨɪɟ, ɦɭɡɢɱɚɪɟ, ɩɟɫɧɢɤɟ, ɜɟʄ ɤɚɨ ɫɜɟɫɬɪɚɧɟ ɭɦɟɬɧɢɤɟ ɤɨʁɢ, ɢɫɤɨɪɚɱɭʁɭʄɢ ɢɡ ɩɪɢɦɚɪɧɢɯ ɨɛɥɚɫɬɢ ɞɟɥɨɜɚʃɚ, ɩɨɱɢʃɭ ɞɚ ɤɪɟɢɪɚʁɭ „ɨɛɨʁɟɧɟ ɚɥɝɨɪɢɬɦɟ”, „ɡɜɭɤɨɜɧɟ ɦɟɬɚ-ɪɨɛɨɬɟ”, „ɩɥɟɫɨɜɟ ɯɪɨɦɚɬɫɤɢɯ ɜɚɪɢʁɚɰɢʁɚ”,41 ɦɭɡɢɱɤɟ ɚɪɚɛɟɫɤɟ, ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɚ ɡɜɭɱɧɚ ɩɥɚɬɧɚ, ɥɢɬɟɪɚɪɧɟ ɤɨɦɩɨɡɢɰɢʁɟ, ɢɧɫɬɪɭɦɟɧɬɚɥɧɭ ɩɨɟɡɢʁɭ, ɦɟɥɨɞɢʁɟ ɡɜɭɱɧɢɯ ɛɨʁɚ (klangfarbenmelodie), ɜɨɤɨɜɢɡɭɟɥ ɢ ɞɪɭɝɨ. ɉɪɟɫɭɞɧɭ ɭɥɨɝɭ ɡɚ ɪɚɡɜɨʁ ɢɞɟʁɟ ɨ ɭʁɟɞɢʃɟʃɭ ɭɦɟɬɧɨɫɬɢ ɢɦɚɨ ʁɟ ȼɚɝɧɟɪɨɜ (Richard Wagner) ɤɨɧɰɟɩɬ Gesamtkunstwerk-ɚ.42 ɇɚɢɦɟ, ɨɜɚʁ ɦɨɞɟɥ ɫɟ ɩɨɤɚɡɚɨ ɞɚ ʁɟ „ɞɨɜɨʂɧɨ ɮɥɟɤɫɢɛɢɥɚɧ ɞɚ ɦɨɠɟ ɞɚ ɫɟ ɩɪɢɦɟɧɢ ɧɚ ɩɪɢɧɰɢɩɢʁɟɥɧɨ ɫɜɟ ɤɨɦɛɢɧɚɰɢʁɟ ɢ ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ ɭ ɨɤɜɢɪɭ ɦɨɝɭʄɢɯ ɡɚɦɢɫɥɢ ɪɟɚɥɢɡɨɜɚʃɚ ɫɜɚɤɨɜɪɫɧɢɯ ɫɩɨʁɟɜɚ ɢ ɩɪɨɠɢɦɚʃɚ ɪɚɡɧɢɯ ɭɦɟɬɧɢɱɤɢɯ ɨɛɥɚɫɬɢ”43, ɨɞɧɨɫɧɨ, ɩɪɨɠɢɦɚʃɚ ɢ ɤɨɟɝɡɢɫɬɢɪɚʃɚ ɪɚɡɥɢɱɢɬɢɯ ɦɟɞɢʁɚ. Ɍɚɤɨ ʄɟ ɭ ɩɨɦɟɧɭɬɨɦ ɤɨɧɰɟɩɬɭ, ɬɨ ʁɟɫɬ, ȼɚɝɧɟɪɨɜɨʁ ɦɭɡɢɰɢ, ɒɚɪɥ Ȼɨɞɥɟɪ ɩɪɟɩɨɡɧɚɬɢ ɚɪɬɢɤɭɥɚɰɢʁɭ ɫɨɩɫɬɜɟɧɟ ɬɟɨɪɢʁɟ ɫɚɝɥɚɫʁɚ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɢ ɭ ɟɫɟʁ ɩɨɞ ɧɚɡɢɜɨɦ „Ɋɢɯɚɪɞ ȼɚɝɧɟɪ ɢ Ɍɚɧɯɨʁɡɟɪ ɭ ɉɚɪɢɡɭ” ɢɡ 1861. ɝɨɞɢɧɟ44 ɭɩɢɫɚɬɢ 39 ɂɫɬɨ, 305. 40 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: Mikel Difren, Oko..., ɧɚɜ.. ɞɟɥɨ, 165, 166. 41 Etienne Souriau, “L’esthetique et l’artiste contemporain”, Leonardo, Vol. 1 (1), 1968, 66. 42 ɇɨ, ɩɪɢɦɟɪɢ ɭɦɟɬɧɢɱɤɨɝ ɫɚɞɟʁɫɬɜɚ ɦɨɝɭ ɫɟ ɩɪɨɧɚʄɢ ɭ ɫɜɢɦ ɭɦɟɬɧɢɱɤɢɦ ɟɩɨɯɚɦɚ. 43 Mirjana Veselinović-Hofman, “Drama with Music Die glückliche Hand by Arnold Schönberg as a Multimedia Project”, New Sound, 36/II, 2010, 42. 44 ɉɨɦɟɧɭɬɢ Ȼɨɞɥɟɪɨɜ ɟɫɟʁ „Richard Wagner et Tannhäuser à Paris” ɩɪɜɢ ɩɭɬ ʁɟ ɨɛʁɚɜʂɟɧ 1. ɚɩɪɢɥɚ 1861. ɝɨɞɢɧɟ ɭ Revue européenne, ɞɚ ɛɢ ɝɚ, ɭ ɧɟɡɧɚɬɧɨ ɩɪɨɲɢɪɟɧɨʁ ɜɟɪɡɢʁɢ, ɢɡɞɚɜɚɱ ȿɞɭɚɪɞ Ⱦɟɧɬɢ (Eduard 24 ɫɜɨʁɭ ɩɟɫɦɭ ɋɚɝɥɚɫʁɚ (Correspondences) ɤɚɨ ɦɨɝɭʄɢ ɩɪɟɜɨɞ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɤɟ. Ɍɚɤɨђɟ, ɢ ɋɬɟɮɚɧ Ɇɚɥɚɪɦɟ ʄɟ, ɨɬɤɪɢɜɚʁɭʄɢ ȼɚɝɧɟɪɨɜɭ ɦɭɡɢɱɤɭ ɞɪɚɦɭ ɬɟɨɪɢʁɫɤɢ ɩɪɟɰɢɡɢɪɚɬɢ ɜɥɚɫɬɢɬɭ ɤɨɧɰɟɩɰɢʁɭ ɩɨɡɨɪɢɲɬɚ, a Ʉɥɨɞ Ⱦɟɛɢɫɢ ʄɟ ɭ ɨɞɧɨɫɭ ɧɚ ȼɚɝɧɟɪɚ ɢ ɫɢɦɛɨɥɢɫɬɢɱɤɭ ɩɨɟɡɢʁɭ ɢ ɞɪɚɦɭ, ɫɬɜɚɪɚɬɢ ɫɜɨʁɟ ɟɫɬɟɬɫɤɟ ɩɪɢɧɰɢɩɟ ɫɰɟɧɫɤɨɝ ɜɨɤɚɥɧɨ- ɢɧɫɬɪɭɦɟɧɬɚɥɧɨɝ ɞɟɥɚ – ɥɢɪɫɤɟ ɞɪɚɦɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ (Pelléas et Mélisande, drame lirique) ɤɨʁɚ ɩɪɟɞɫɬɚɜʂɚ ɨɬɤɥɨɧ ɢ ɤɨɪɚɤ ɞɚʂɟ ɨɞ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ.45 Ⱦɚɤɥɟ, ɩɪɨɠɢɦɚʃɟ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɧɢʁɟ ɫɚɦɨ ɩɨɫɥɟɞɢɰɚ ɦɭɡɢɱɤɢɯ ɢ, ɲɢɪɟ, ɭɦɟɬɧɢɱɤɢɯ ɞɟɲɚɜɚʃɚ, ɜɟʄ ɫɬɚʃɚ ɤɨʁɟ ʁɟ ɩɪɨɭɡɪɨɤɨɜɚɧɨ ɝɥɨɛɚɥɧɢɦ ɮɢɥɨɡɨɮɫɤɢɦ ɢ ɬɟɨɪɢʁɫɤɢɦ ɩɪɨɛɥɟɦɚɬɢɡɨɜɚʃɟɦ ɜɪɟɦɟɧɚ ɢ ɩɪɨɫɬɨɪɚ, ɬɟ ʃɢɯɨɜɨɝ ɦɟђɭɫɨɛɧɨɝ ɨɞɧɨɫɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɪɚɫɩɪɚɜɟ ɧɚ ɨɜɭ ɬɟɦɭ ɤɨʁɭ ɫɭ (ɪɟ)ɚɤɬɭɟɥɢɡɨɜɚɥɢ Ⱥɧɪɢ Ȼɟɪɝɫɨɧ ɢ ȿɞɦɭɧɞ ɏɭɫɟɪɥ ɢɦɚʄɟ ɫɜɨʁɭ ɢɧɬɟɪɩɪɟɬɚɬɢɜɧɨ ɩɪɨɲɢɪɟʃɟ ɭ ɮɢɥɨɡɨɮɫɤɨʁ ɦɢɫɥɢ Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ, ɧɚ ɤɨʁɭ ʄɟ ɫɟ ɩɨɬɨɦ ɧɚɞɨɜɟɡɚɬɢ ɢ Ɇɢɤɟɥ Ⱦɢɮɪɟɧ. Ɇɨɪɢɫ Ɇɟɪɥɨ-ɉɨɧɬɢ ʁɟ ɡɚɩɨɱɟɨ ɫɜɨʁ ɮɢɥɨɡɨɮɫɤɢ ɩɭɬ ɩɨɞ ʁɚɤɢɦ ɭɬɢɰɚʁɟɦ ɏɭɫɟɪɥɚ. Ɍɚʁ ɭɬɢɰɚʁ ʁɟ ɨɱɢɝɥɟɞɚɧ ɜɟʄ ɭ „ɉɪɟɞɝɨɜɨɪɭ” ʃɟɝɨɜɨɝ ɧɚʁɩɨɡɧɚɬɢʁɟɝ ɪɚɧɨɝ ɞɟɥɚ – Ɏɟɧɨɦɟɧɨɥɨɝɢʁɚ ɩɟɪɰɟɩɰɢʁɟ ɤɨʁɟ ʁɟ ɨɛʁɚɜʂɟɧɨ 1945. ɝɨɞɢɧɟ. ɇɚɢɦɟ, ɨɧ ɬɭ ɛɟɥɟɠɢ ɫɥɟɞɟʄɟ: „ɜɪɚɬɢɬɢ ɫɬɜɚɪɢ ʃɢɦɚ ɫɚɦɢɦɚ ɡɧɚɱɢ ɜɪɚɬɢɬɢ ɫɟ ɫɜɟɬɭ ɤɨʁɢ ɩɪɟɬɯɨɞɢ ɡɧɚʃɭ”46; ɚ ɬɚʁ ɫɜɟɬ ʁɟ ɭ ʃɟɝɨɜɨʁ ɮɢɥɨɡɨɮɢʁɢ ɩɪɟɞɫɬɚɜʂɟɧ ɩɨʁɦɨɦ „ɦɟђɭɫɜɟɬ” ɤɨʁɢ „ɧɢʁɟ ɫɜɟɬ ɦɟђɭ ɫɜɟɬɨɜɢɦɚ, ɧɟɝɨ ɫɚɦ ʂɭɞɫɤɢ ɫɜɟɬ”, ɫɯɜɚʄɟɧ ɤɚɨ ɞɢʁɚɥɟɤɬɢɱɤɢ ɩɪɨɫɬɨɪ ɤɨʁɢ ɭʁɟɞɢʃɭʁɟ ɩɪɨɲɥɨɫɬ ɢ ɛɭɞɭʄɧɨɫɬ, ɬɟ ɧɟɨɩɯɨɞɧɨɫɬ ɩɪɢɪɨɞɟ ɢ ɠɟʂɭ ɪɚɡɭɦɚ ɡɚ ɨɪɝɚɧɢɡɚɰɢʁɨɦ ɞɪɭɲɬɜɚ; ɬɚʁ Ɇɟɪɥɨ-ɉɨɧɬɢʁɟɜ „ɦɟђɭɫɜɟɬ” ɫɟ, ɤɚɤɨ ɬɨ ɩɪɢɦɟʄɭʁɟ Ʉɥɨɞ Ʌɟɮɨɪ (Claude Lefort), ɫɚɫɬɨʁɢ ɨɞ „ɢɫɬɨɪɢʁɟ, ɫɢɦɛɨɥɢɡɦɚ ɢ ɢɫɬɢɧɚ ɤɨʁɟ ʄɟ ɫɟ ɫɬɜɨɪɢɬɢ”47. „Ɇɟђɭɫɜɟɬ” ʁɟ ɭ ɢɫɬɨ ɜɪɟɦɟ ɞɨɦɟɧ ɫɭɫɪɟɬɚ ɢ ʁɟɞɢɧɫɬɜɚ ɬɟɥɚ ɢ ɫɜɟɬɚ, ɨɞɧɨɫɧɨ, ɡɚɜɢɱɚʁɧɨ ɦɟɫɬɨ/ɩɪɚɩɨɱɟɬɚɤ ʁɟɞɢɧɫɬɜɚ ɫɭɛʁɟɤɬɚ ɢ ɨɛʁɟɤɬɚ, ɚ ʃɟɝɨɜɨ Dentu) ɨɛʁɚɜɢɨ ɭ ɜɢɞɭ ɛɪɨɲɭɪɟ 4. ɦɚʁɚ ɢɫɬɟ ɝɨɞɢɧɟ (ɭɩɨɪ. Lois Boe Hyslop, Baudelaire, Man of His Time /New Haven – London: Yale University Press, 1980/, 68). ɇɚɜ. ɩɪɟɦɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ ɭ ɮɪɚɧɰɭɫɤɨʁ ɤʃɢɠɟɜɧɨɫɬɢ ɢ ɉɟɥɟɚɫɭ ɢ Ɇɟɥɢɫɚɧɞɢ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɝɞɟ, ɡɚɲɬɨ, ɤɚɤɨ ɢ ɤɭɞɚ?”, Ɂɛɨɪɧɢɤ Ɇɚɬɢɰɟ ɫɪɩɫɤɟ ɡɚ ɫɰɟɧɫɤɟ ɭɦɟɬɧɨɫɬɢ ɢ ɦɭɡɢɤɭ, ɛɪ. 46, 2012, 81, 82‒83. 45 Ɉ ɫɜɟɦɭ ɨɜɨɦɟ ɛɢʄɟ ɞɟɬɚʂɧɢʁɟ ɪɟɱɢ ɭ ɩɨɝɥɚɜʂɢɦɚ ɤɨʁɚ ɫɥɟɞɟ. 46 Maurice Merleau-Ponty, Phenomenology of Perception (London: Routledge, 1995), ix. 47 Claude Lefort, “L’idée d’être brut et d’esprit sauvage”, Les Temps Modernes. Numéro Spécial. Maurice Merleau-Ponty, No. 184‒185, 1961, 285. 25 ɨɬɤɪɢɜɚʃɟ ɢ ɛɭђɟʃɟ ʁɟ, ɫɦɚɬɪɚ Ɇɟɪɥɨ-ɉɨɧɬɢ, ɧɚʁɜɚɠɧɢʁɢ ɡɚɞɚɬɚɤ ɮɢɥɨɡɨɮɢʁɟ. Ʉɚɤɨ ɛɢ, ɤɚɨ ɮɢɥɨɡɨɮ ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɨɪɢʁɟɧɬɚɰɢʁɟ, ɨɫɬɜɚɪɢɨ ɬɚʁ ɰɢʂ, ɨɧ ɫɟ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɨɫɥɚʃɚ ɧɚ ɢɞɟʁɟ Ƚɟɲɬɚɥɬ (Gestalt) ɩɫɢɯɨɥɨɝɢʁɟ48 ɢ ɧɚ ɥɟɩɟ ɭɦɟɬɧɨɫɬɢ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ. Ɍɚɱɧɢʁɟ, ɫɦɚɬɪɚ ɞɚ ɫɭ ɞɟɥɚ ɉɨɥɚ ɋɟɡɚɧɚ /Paul Cézanne/, Ɉɝɢɫɬɚ Ɋɨɞɟɧɚ /August Rodin/, ɉɚɭɥɚ Ʉɥɟɚ /Paul Klee/ ɢ Ⱥɧɪɢʁɚ Ɇɚɬɢɫɚ /Henri Matisse/ ɫɥɢɤɚɪɫɤɢ ɩɪɟɜɨɞ ʃɟɝɨɜɟ ɮɟɧɨɦɟɧɨɥɨɝɢʁɟ ɩɟɪɰɟɩɰɢʁɟ ɛɭɞɭʄɢ ɞɚ ɨɬɜɚɪɚʁɭ ɤɚɩɢʁɟ ɜɢɞʂɢɜɨɝ ɫɜɟɬɚ, ɧɚɲɟɝ ɞɨɠɢɜʂɚʁɚ ɢɫɬɨɝ ɢ ɧɚɲɟ ɤɨɫɭɩɫɬɚɧɰɢʁɚɥɧɨɫɬɢ ɫɚ ʃɢɦ. ɍɩɪɚɜɨ ɨɜɚ ɬɚɱɤɚ Ɇɟɪɥɨ- ɉɨɧɬɢʁɟɜɟ ɮɢɥɨɡɨɮɢʁɟ ɩɪɟɞɫɬɚɜʂɚ ɬɚɱɤɭ ɨɬɤɥɨɧɚ ɨɞ ɏɭɫɟɪɥɨɜɢɯ ɤɨɧɰɟɩɚɬɚ ɡɚɫɧɨɜɚɧɢɯ ɧɚ ɩɪɢɦɚɪɧɨɫɬɢ ɫɜɟɫɬɢ ɢ ʁɟɞɢɧɫɬɜɟɧɨʁ ɩɟɪɰɟɩɰɢʁɢ. Ɇɟɪɥɨ-ɉɨɧɬɢʁɟɜɚ ɮɢɥɨɡɨɮɢʁɚ ɫɟ ɨɞɜɢʁɚ ɭ ɩɪɚɜɰɭ ɧɨɜɟ ɮɢɥɨɡɨɮɢʁɟ ʂɭɞɫɤɨɝ ɬɟɥɚ ɭ ɨɤɜɢɪɭ ɤɨʁɟ ɨɬɟɥɨɜʂɟɧɨ ɨɤɨ ɢɝɪɚ ɩɪɟɫɭɞɧɭ ɭɥɨɝɭ. Ɉɬɟɥɨɜʂɟɧɨ ɨɤɨ ʁɟ ɨɧɨ ɤɨʁɟ, ɤɚɤɨ ɜɟɪɭʁɟ Ɇɟɪɥɨ- ɉɨɧɬɢ, ɩɨɫɬɚɜʂɚ ʂɭɞɫɤɨ ɛɢʄɟ ɭɧɭɬɚɪ ɫɜɟɬɚ ɤɨʁɢ ɧɚɡɢɜɚɦɨ „ɧɚɲɢɦ ɫɜɟɬɨɦ”. ɉɨɫɥɟɞɢɱɧɨ, ɬɨ ɢɫɬɨ ɨɬɟɥɨɜʂɟɧɨ ɨɤɨ ɞɨɩɭɲɬɚ ɭɡɚʁɚɦɧɢ ɨɞɧɨɫ ɫɭɛʁɟɤɬɚ („ɩɨɫɬɚɜʂɟɧɨɝ ɭ ɫɜɟɬ”) ɢ ɨɛʁɟɤɚɬɚ ɩɪɟɦɚ ɤɨʁɢɦɚ ʁɟ ɬɨ ɨɤɨ ɭɫɦɟɪɟɧɨ. ɋ ɬɢɦ ɭ ɜɟɡɢ, Ɇɟɪɥɨ-ɉɨɧɬɢ ɰɢɬɢɪɚ ɉɚɭɥɚ Ʉɥɟɚ ɤɨʁɢ ɤɚɠɟ ɞɚ ʁɟ „ɭ ɲɭɦɢ ɨɫɟɬɢɨ ɦɧɨɝɨ ɩɭɬɚ ɞɚ ɬɨ ɧɢʁɟ [ɨɧ] ɤɨʁɢ ɝɥɟɞɚ ɲɭɦɭ […] ɭ ɧɟɤɢɦ ɞɚɧɢɦɚ ɫɚɦ ɨɫɟʄɚɨ ɞɚ ɞɪɜɟʄɟ ɝɥɟɞɚ ɭ ɦɟɧɟ, ɞɚ ɦɢ ɝɨɜɨɪɢ [...] 48 ɂɫɬɪɚɠɭʁɭʄɢ ɩɨʁɦɨɜɟ ɩɟɪɰɟɩɰɢʁɟ ɢ ɩɨɧɚɲɚʃɚ, ɚɥɢ ɤɪɢɬɢɤɭʁɭʄɢ ɛɢɯɟʁɜɢɨɪɢɡɚɦ ɤɚɨ ɜɢɞ ɦɟɯɚɧɢɰɢɫɬɢɱɤɨɝ ɩɪɢɫɬɭɩɚ, ɩɨɫɬɟɩɟɧɨ ɩɨɱɢʃɟ ɞɚ ɩɪɢɯɜɚɬɚ ɢɞɟʁɟ Ƚɟɲɬɚɥɬ ɩɫɢɯɨɥɨɝɢʁɟ. Ƚɨɞɢɧɟ 1942. ɨɛʁɚɜʂɭʁɟ ɞɟɥɨ ɩɨɞ ɧɚɡɢɜɨɦ ɋɬɪɭɤɬɭɪɚ ɩɨɧɚɲɚʃɚ (La Structure du comportement, 1942) ɭ ɤɨʁɟɦ ɚɧɬɢɰɢɩɢɪɚ ɫɬɚɜɨɜɟ ɤɨʁɢ ʄɟ ɭ ɩɪɨɲɢɪɟɧɢʁɟɦ ɢ ɡɧɚɬɧɨ ɢɡɨɲɬɪɟɧɢʁɟɦ ɜɢɞɭ ɚɪɬɢɤɭɥɢɫɚɬɢ ɭ Ɏɟɧɨɦɟɧɨɥɨɝɢʁɢ ɩɟɪɰɟɩɰɢʁɟ, ɬɪɢ ɝɨɞɢɧɟ ɤɚɫɧɢʁɟ. Ɍɚɱɧɢʁɟ, ɨɞ ɜɪɟɦɟɧɚ ɪɚɞɚ ɧɚ ɋɬɪɭɤɬɭɪɢ ɩɨɧɚɲɚʃɚ ɢ Ɏɟɧɨɦɟɧɨɥɨɝɢʁɢ ɩɟɪɰɟɩɰɢʁɟ, Ɇɟɪɥɨ-ɉɨɧɬɢ ʁɟ ɠɟɥɟɨ ɞɚ ɭɤɚɠɟ ɧɚ ɬɨ ɞɚ ɩɟɪɰɟɩɰɢʁɚ ɧɢʁɟ ɭɡɪɨɱɧɢ ɩɪɨɢɡɜɨɞ ɚɬɨɦɫɤɢɯ ɫɟɧɡɚɰɢʁɚ. ɉɪɟɦɚ Ɇɟɪɥɨ-ɉɨɧɬɢʁɭ, ɩɟɪɰɟɩɰɢʁɚ ɢɦɚ ɚɤɬɢɜɧɭ ɞɢɦɟɧɡɢʁɭ, ɬɚɤɨ ɲɬɨ ʁɟ ɨɧɚ ɩɪɢɦɨɪɞɢʁɚɥɧɚ ɨɬɜɨɪɟɧɨɫɬ ɤɚ ɫɜɟɬɭ (ɤɚ Lebenswelt-ɭ). Ɉɜɚ ɩɪɢɦɨɪɞɢʁɚɥɧɚ ɨɬɜɨɪɟɧɨɫɬ ɥɟɠɢ ɭ ɛɢɬɢ ʃɟɝɨɜɟ ɬɟɡɟ ɨ ɩɪɢɦɚɪɧɨɫɬɢ ɩɟɪɰɟɩɰɢʁɟ. Ɇɟђɭɬɢɦ, ɩɨɱɟɬɧɚ ɬɚɱɤɚ Ɇɟɪɥɨ-ɉɨɧɬɢʁɟɜɢɯ ɢɫɬɪɚɠɢɜɚʃɚ ʁɟɫɬɟ ɮɟɧɨɦɟɧɨɥɨɝɢʁɚ ȿɞɦɭɧɞɚ ɏɭɫɟɪɥɚ ɢ ʃɟɝɨɜ ɫɬɚɜ ɞɚ ʁɟ „ɰɟɥɨɤɭɩɧɚ ɫɜɟɫɬ, ɡɚɩɪɚɜɨ, ɫɜɟɫɬ ɨ ɧɟɱɟɦɭ”, ɲɬɨ ɢɦɩɥɢɰɢɪɚ ɪɚɡɥɢɤɭ ɢɡɦɟђɭ „ɱɢɧɨɜɚ ɦɢɫɥɢ” (noesis) ɢ „ɢɧɬɟɧɰɢɨɧɚɥɧɢɯ ɨɛʁɟɤɚɬɚ ɦɢɫɥɢ” (noema). Ɍɚɤɨ ɨɞɧɨɫ ɢɡɦɟђɭ noesisa ɢ noeme ɩɨɫɬɚʁɟ ɩɪɜɢ ɤɨɪɚɤ ɭ ɤɨɧɫɬɢɬɭɰɢʁɢ ɚɧɚɥɢɡɟ ɫɜɟɫɬɢ. Ɉɬɤɪɢɜɚʁɭʄɢ ɢ ɱɢɬɚʁɭʄɢ ɏɭɫɟɪɥɨɜɚ ɞɟɥɚ, ɩɚ ɱɚɤ ɢ ɫɬɭɞɢɪɚʁɭʄɢ ʃɟɝɨɜɟ ɧɟɨɛʁɚɜʂɟɧɟ ɪɭɤɨɩɢɫɟ (ɡɛɨɝ ɤɨʁɢɯ ʁɟ ɩɭɬɨɜɚɨ ɭ Ʌɟɜɟɧ), Ɇɟɪɥɨ-ɉɨɧɬɢ ʁɟ ɩɪɢɦɟɬɢɨ ɞɚ ɏɭɫɟɪɥɨɜ ɪɚɞ ɨɫɜɟɬʂɚɜɚ ɮɟɧɨɦɟɧɟ ɤɨʁɢ ɧɢɫɭ ɭ ɫɤɥɚɞɭ ɫɚ noesis- noema ɨɞɧɨɫɨɦ, ɤɚɨ ɲɬɨ ɫɭ, ɧɚ ɩɪɢɦɟɪ, ɮɟɧɨɦɟɧɢ ɬɟɥɟɫɧɨɫɬɢ (ɢɫɬɨɜɪɟɦɟɧɨ ɬɟɥɨ-ɫɭɛʁɟɤɬ ɢ ɬɟɥɨ-ɨɛʁɟɤɬ) ɢ ɫɭɛʁɟɤɬɢɜɧɨɝ ɜɪɟɦɟɧɚ (ɫɜɟɫɬ ɨ ɜɪɟɦɟɧɭ ɧɢʁɟ ɧɢ ɫɜɟɫɬɚɧ ɱɢɧ, ɧɢ ɨɛʁɟɤɚɬ ɦɢɫɥɢ). Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Aleš Erjavec, „Moris Merlo-Ponti”, u: Figure u pokretu. Savremena zapadna estetika, filozofija i teorija umetnosti, ur. Miško Šuvaković i Aleš Erjavec (Beograd: Atoča, 2009), 384‒394. Ɋɚɡɥɢɤɚ ɢɡɦɟђɭ noesisa ɢ noema, ɞɚɤɥɟ, ɧɟ ɞɟɥɭʁɟ ɤɚɨ ɞɚ ɤɨɧɫɬɢɬɭɢɲɟ ɧɟɫɜɨɞɢɜ ɬɟɪɟɧ. Ɋɚɞɢʁɟ ɫɟ ɢɫɩɨɫɬɚɜʂɚ ɤɚɨ ɜɢɲɢ ɧɢɜɨ ɚɧɚɥɢɡɟ. Ɍɚɤɨ Ɇɟɪɥɨ-ɉɨɧɬɢ ɧɟ ɩɨɫɬɭɥɢɪɚ ɞɚ ʁɟ „ɫɜɚ ɫɜɟɫɬ ɫɜɟɫɬ ɨ ɧɟɱɟɦɭ”. ɍɦɟɫɬɨ ɬɨɝɚ, ɨɧ ɪɚɡɜɢʁɚ ɬɟɡɭ ɩɪɟɦɚ ɤɨʁɨʁ ʁɟ ɫɜɚ ɫɜɟɫɬ, ɫɜɟɫɬ ɤɨʁɚ ɩɟɪɰɢɩɢɪɚ – ɨɧɚ ʁɟ ɩɟɪɰɩɟɬɭɚɥɧɚ ɫɜɟɫɬ. ɉɪɢ ɬɨɦɟ, ɨɧ ɨɫɬɜɚɪɭʁɟ ɡɧɚɱɚʁɚɧ ɩɪɟɨɤɪɟɬ ɭ ɪɚɡɜɨʁɭ ɮɟɧɨɦɟɧɨɥɨɝɢʁɟ, ɭɤɚɡɭʁɭʄɢ ɧɚ ɬɨ ɞɚ ɤɨɧɰɟɩɬɭɚɥɢɡɚɰɢʁɚ ɬɪɟɛɚ ɞɚ ɛɭɞɟ ɩɨɧɨɜɨ ɢɫɩɢɬɚɧɚ ɭ ɫɜɟɬɥɭ ɩɪɢɦɚɪɧɨɫɬɢ ɩɟɪɰɟɩɰɢʁɟ, ɢɦɚʁɭʄɢ ɧɚ ɭɦɭ ɮɢɥɨɡɨɮɫɤɟ ɩɨɫɥɟɞɢɰɟ ɨɜɟ ɬɟɡɟ. 26 Ɇɢɫɥɢɦ ɞɚ ɫɥɢɤɚɪ ɦɨɪɚ ɛɢɬɢ ɩɪɨɠɟɬ ɭɧɢɜɟɪɡɭɦɨɦ ɢ ɞɚ [ɩɪɢ ɬɨɦ] ɧɟ ɠɟɥɢ ɞɚ ɝɚ ɫɚɦ [ɭɧɢɜɟɪɡɭɦ] ɩɪɨɠɦɟ.”49 ɍɡɚʁɚɦɧɨɫɬ ɨ ɤɨʁɨʁ ɝɨɜɨɪɢ Ʉɥɟ ʁɟ ɭ Ɇɟɪɥɨ-ɉɨɧɬɢʁɟɜɨɦ ɬɭɦɚɱɟʃɭ ɨɩɪɢɦɟɪɟɧɚ ɩɪɢɜɢɥɟɝɨɜɚɧɢɦ ɬɟɥɟɫɧɢɦ ɞɨɠɢɜʂɚʁɟɦ ɭɦɟɬɧɢɤɚ ɤɚɨ ʂɭɞɫɤɨɝ ɛɢʄɚ par excellencɟ – ɭɦɟɬɧɢɤ ʁɟ ɤɚɨ ɞɟɬɟ ɭ ɫɜɨʁɨʁ ɩɟɪɰɟɩɰɢʁɢ ɢ ɟɤɫɩɪɟɫɢʁɢ ɫɜɟɬɚ; ɨɧ ɩɨɬɰɪɬɚɜɚ ɧɟɩɨɫɪɟɞɧɨɫɬ, ɨɞɧɨɫɧɨ, ɩɪɟ-ɪɟɮɥɟɤɫɢɜɧɨɫɬ ɞɨɠɢɜʂɚʁɚ ɢ ɧɚ ɬɚʁ ɧɚɱɢɧ ɱɢɧɢ ʁɟɞɢɧɫɬɜɨ ɫɚ ɫɚɦɢɦ ɫɜɟɬɨɦ. ɂɡ ɬɨɝ ɪɚɡɥɨɝɚ ɭɦɟɬɧɨɫɬ, ɚ ɩɨɫɟɛɧɨ ɫɥɢɤɚɪɫɬɜɨ, ɫɦɚɬɪɚ Ɇɟɪɥɨ-ɉɨɧɬɢ ɢɦɚ ɩɪɢɜɢɥɟɝɨɜɚɧ ɞɨɦɟɧ ɧɚɲɟɝ ɩɪɢɫɬɭɩɚ ɫɜɟɬɭ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɫɥɢɤɚɪɫɬɜɨ ɢɦɚ ɩɪɢɜɢɥɟɝɢʁɭ ɞɚ ɩɨɤɚɠɟ ɫɜɟɬ ɭ ʃɟɝɨɜɨʁ ɩɨɬɩɭɧɨʁ ɧɟɜɢɧɨɫɬɢ, ɚ ɫɥɢɤɚɪ ɞɚ, ɛɢɜɚʁɭʄɢ-ɭ-ɫɜɟɬɭ, ɨɬɤɪɢʁɟ ɬɨ ɩɪɚɢɫɤɨɧɫɤɨ ʁɟɞɢɧɫɬɜɨ ɫɚ ʃɢɦ, ɛɟɡ ɢɡɧɨɲɟʃɚ ɦɢɲʂɟʃɚ ɢ ɡɚɭɡɢɦɚʃɚ ɩɨɡɢɰɢʁɚ ɤɨʁɟ ɫɟ ɨɱɟɤɭʁɭ ɨɞ ɮɢɥɨɡɨɮɚ, ɢɥɢ, ɩɚɤ, ɞɚɜɚʃɚ ɧɚɭɱɧɨɝ ɬɭɦɚɱɟʃɚ; ʁɟɪ, „ɫɚɦɨ ʁɟ ɫɥɢɤɚɪ ɩɪɟɞɨɞɪɟђɟɧ ɞɚ ɫɜɟ ɩɨɫɦɚɬɪɚ ɛɟɡ ɨɛɚɜɟɡɟ ɞɚ ɩɪɨɰɟɧɢ ɨɧɨ ɲɬɨ ɜɢɞɢ [...] Ɂɚɢɫɬɚ ɧɟ ɦɨɠɟɦɨ ɡɚɦɢɫɥɢɬɢ ɤɚɤɨ ɛɢ ɭɦ ɦɨɝɚɨ ɞɚ ɫɥɢɤɚ, [ɡɚɬɨ ɲɬɨ ʁɟɞɢɧɨ] ɫɥɢɤɚɪɫɬɜɨ ɫɥɚɜɢ ɡɚɝɨɧɟɬɤɭ ɜɢɞʂɢɜɨɫɬɢ”50. Ⱦɚɤɥɟ, ɡɚ Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ ɭɦɟɬɧɨɫɬ ɧɟ ɩɪɟɞɫɬɚɜʂɚ ɩɨɫɟɛɚɧ ɞɨɦɟɧ ʂɭɞɫɤɟ ɟɝɡɢɫɬɟɧɰɢʁɟ ɢ ɩɪɚɤɫɟ. Ɉɧɚ ʁɟ ɫɚɫɬɚɜɧɢ ɞɟɨ ʂɭɞɫɤɨɝ ɛɢɜɚʃɚ-ɭ-ɫɜɟɬɭ, ɬɟ ʃɟɝɨɜɨɝ ɞɨɠɢɜʂɚɜɚʃɚ ɤɨʁɟ ɩɪɨɢɫɬɢɱɟ ɢɡ ʂɭɞɫɤɨɝ ɬɟɥɚ ɢ ɜɢɡɭɟɥɧɟ ɩɟɪɰɩɟɰɢʁɟ, ɚ ɫâɦɨ ɬɟɥɨ ɩɪɟɞɫɬɚɜʂɚ ɩɪɟɩɥɟɬ ɜɢђɟʃɚ ɢ ɤɪɟɬɚʃɚ. Ɍɨ ɡɧɚɱɢ ɞɚ ɬɟɥɨ ɤɨʁɟ ɫɟ ɤɪɟʄɟ ɢɦɚ ɡɧɚɱɟʃɟ ɬɟɤ ɭ ɜɢɞʂɢɜɨɦ ɫɜɟɬɭ, ɱɢɦɟ ɢ ɫâɦɨ ɜɢɞʂɢɜɨ ɩɨɫɬɚʁɟ ɤɪɟɬɚʃɟ, ɚ ɫɥɢɤɚɪɫɬɜɨ, ɭ ɬɨɦ ɤɨɧɬɟɤɫɬɢ, ɩɪɟɞɫɬɚɜʂɚ ɩɪɚɜɢ ɩɪɢɦɟɪ ɢɫɬɢɰɚʃɚ ɨɧɨɝ ɛɢɬɧɨɝ ɨ ɨɤɭ ɢ ɜɢђɟʃɭ ɤɚɨ ɧɟɱɟɦɭ ɲɬɨ ʁɟ ɜɢɲɟ ɨɞ ɦɟɯɚɧɢɱɤɟ ɮɭɧɤɰɢʁɟ ɨɪɝɚɧɚ ɨɤɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɫɥɢɤɚɪɫɤɨ ɨɤɨ, ɤɨʁɟ ɧɢʁɟ ɧɟɤɨ ɩɨɫɟɛɧɨ ɭɦɟɬɧɢɱɤɢ ɧɚɞɚɯɧɭɬɨ ‘ɬɪɟʄɟ ɨɤɨ’, ɢɩɚɤ ɩɨɤɚɡɭʁɟ ɞɚ ʁɟ ɨɧɨ ɜɢɲɟ ɨɞ ɩɭɤɨɝ ɩɪɢʁɟɦɧɢɤɚ ɡɚ ɫɜɟɬɥɨɫɬ, ɥɢɧɢʁɟ ɢ ɛɨʁɟ ɬɢɦɟ ɲɬɨ, ‘ɪɚɡɥɢɜɚʁɭʄɢ’ ɜɢɞʂɢɜɨ ɢ ɤɪɟɬɚʃɟ ɧɚ ɫɥɢɤɚɪɫɤɨ ɩɥɚɬɧɨ, ‘ɩɪɢɤɚɡɭʁɟ’ ɠɢɜʂɟɧɢ ɫɜɟɬ ɢ ɭɩɢɫɭʁɟ ɡɧɚɤ ʁɟɞɧɚɤɨɫɬɢ ɢɡɦɟђɭ ɧɚɫ ɢ ɬɨɝ ɫɜɟɬɚ. ɍ ɨɜɨɦ ɤɨɧɬɟɤɫɬɭ, Ɇɟɪɥɨ-ɉɨɧɬɢ ɨɛʁɚɲʂɚɜɚ ɞɚ „‘ɢɫɬɢɧɫɤɚ’ ɫɥɢɤɚ ɧɢʁɟ ɨɧɚ ɤɨʁɚ ɜɟɪɢɫɬɢɱɤɢ, ɩɪɟɦɚ ɡɚɤɨɧɢɦɚ ɩɟɪɫɩɟɤɬɢɜɟ, ɩɪɢɤɚɡɭʁɟ ɨɧɨ ɲɬɨ ɜɢɞɢɦɨ ɢɡ ɫɬɚɬɢɱɤɨɝ ɦɨɧɨɤɭɥɚɪɧɨɝ ɩɨɝɥɟɞɚ, ɧɟɝɨ ɧɟɲɬɨ ɲɬɨ ɫɥɟɞɢ ‘ɥɨɝɢɤɭ ɩɨɝɥɟɞɚ’ – ɥɨɝɢɤɭ ɬɟɥɟɫɧɢɯ ɤɪɟɬʃɢ, ɥɨɝɢɤɭ ɛɢɧɨɤɭɥɚɪɧɨɝ ɩɨɝɥɟɞɚ ɢ ɱɢɧɢ ɨɜɟ 49 Maurice Merleau-Ponty, “Eye and Mind”, in: The Merleau-Ponty Aesthetics Reader, ed. by Galen A. Johnson (Evanston: Northwestern University Press, 1993), 127. 50 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 123‒127. 27 ‘ɚɫɩɟɤɬɟ’ ɜɢɞʂɢɜɢɦ ɫɥɢɤɚʃɟɦ ɜɢɞʂɢɜɟ ɪɟɚɥɧɨɫɬɢ ɧɚ ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɨɧɚ ɧɟ ɩɨɫɬɨʁɢ, ɨɫɢɦ [ɲɬɨ ɩɨɫɬɨʁɢ] ɡɚ ɧɚɲɟ ɨɱɢ ɤɨʁɟ ɫɟ ɤɪɟʄɭ ɢ ɱɢɧɟ ɜɢɞʂɢɜɢɦ ɤɪɟɬɚʃɟ ɢ ‘ɪɟɚɥɧɨɫɬ’”51. ɇɚ ɨɫɧɨɜɭ ɨɜɚɤɜɟ ɩɨɫɬɚɜɤɟ ɫɬɜɚɪɢ, ɢɡɥɨɠɟɧɢɯ ɭ ɟɫɟʁɭ Ɉɤɨ ɢ ɞɭɯ (L’Œil et l’esprit, 1961), ɞɨɥɚɡɢɦɨ ɞɨ ɡɚɤʂɭɱɤɚ ɞɚ ʁɟ Ɇɟɪɥɨ-ɉɨɧɬɢʁɟɜɚ ɮɢɥɨɡɨɮɢʁɚ, ɡɚɩɪɚɜɨ, „ɨɧɬɨɥɨɝɢʁɚ ɜɢɞɚ”; ɨɧɚ „ɧɢʁɟ ɨɞɪɚɡ ɩɪɟɟɝɡɢɫɬɢɪɚʁɭʄɟ ɢɫɬɢɧɟ”, ɜɟʄ ʁɟ, ɩɨɩɭɬ ɭɦɟɬɧɨɫɬɢ, „ɚɤɬ ɞɨɜɨђɟʃɚ ɢɫɬɢɧɟ ɭ ɛɢʄɟ”. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɢ ɫɚɦɚ ɮɢɥɨɡɨɮɢʁɚ ʁɟ „ɛɢʄɟ ɤɨʁɟ ɝɨɜɨɪɢ ɭ ɧɚɦɚ”, ɨɧɚ ʁɟ ɫɬɜɚɪɚʃɟ, ɚ ɭɦɟɬɧɨɫɬ ɫɚ ʃɨɦ ɞɟɥɢ ɬɭ ɭɥɨɝɭ: ɨɧɚ ɢɡɪɚɠɚɜɚ ɫɭɲɬɢɧɭ ɭ ɫɬɜɚɪɚɥɚɱɤɨɦ ɱɢɧɭ, ɱɢɧɟʄɢ ɭɦɟɬɧɢɱɤɭ ɬɜɨɪɟɜɢɧɭ ɧɚʁɜɚɠɧɢʁɢɦ ɞɟɥɨɦ ɧɚɲɟɝ ɢɫɤɭɫɬɜɚ ɭ ɤɨʁɟɦ ɦɢ, ɤɨʁɢ ɧɢɫɦɨ ɫɥɢɤɚɪɢ, ɦɨɠɟɦɨ ɞɚ ɭɱɟɫɬɜɭʁɟɦɨ ɩɪɟɤɨ ɢɫɤɭɫɬɜɚ ɫɥɢɤɟ52 ɤɨʁɚ ɧɚɫ ɜɪɚʄɚ ɩɪɜɨɛɢɬɧɨʁ ɩɨɬɩɭɧɨɫɬɢ – ʁɟɞɢɧɫɬɜɭ ɫɚ ɫɜɟɬɨɦ ɢ ɧɟɩɨɫɪɟɞɧɨɫɬɢ ɤɨʁɭ ɫɦɨ ɞɨɠɢɜʂɚɜɚɥɢ ɤɚɨ ɞɟɰɚ.53 ɍ ɤɨɧɬɟɤɫɬɭ Ɇɟɪɥɨ-ɉɨɧɬɢʁɟɜɟ ɮɢɥɨɡɨɮɢʁɟ ɢ ʃɟɝɨɜɟ Ɏɟɧɨɦɟɧɨɥɨɝɢʁɟ ɩɟɪɰɩɟɰɢʁɟ ɢɡɞɜɚʁɚɦ ʁɨɲ ʁɟɞɚɧ ɫɟɝɦɟɧɬ ɤɨʁɢ ɫɦɚɬɪɚɦ ɤʂɭɱɧɢɦ ɡɚ ɭɫɩɨɫɬɚɜʂɚʃɟ ɜɟɡɟ ɫɚ ɮɟɧɨɦɟɧɨɥɨɲɤɨɦ ɟɫɬɟɬɢɤɨɦ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ. Ɋɟɱ ʁɟ ɨ ɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɢ ɩɪɨɫɬɨɪɧɨ-ɬɟɦɩɨɪɚɥɧɢɯ ɨɞɧɨɫɚ ɭɧɭɬɚɪ ʃɟɝɨɜɨɝ ɮɢɥɨɡɨɮɫɤɨɝ ɞɢɫɤɭɪɫɚ. ɇɚɢɦɟ, ɩɪɨɫɬɨɪ, ɩɪɟɦɚ ɦɢɲʂɟʃɭ Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ ɧɢʁɟ ɧɢ ɫɬɜɚɪɧɚ ɧɢ ɥɨɝɢɱɧɚ ɫɪɟɞɢɧɚ ɭ ɤɨʁɨʁ ɫɟ ɪɚɫɩɨɪɟђɭʁɭ ɫɬɜɚɪɢ, ɜɟʄ ɫɪɟɞɫɬɜɨ ɤɨʁɢɦ ɩɨɫɬɚʁɟ ɦɨɝɭʄ ɩɨɥɨɠɚʁ ɫɬɜɚɪɢ ɭ ʂɭɞɫɤɨɦ ɢɫɤɭɫɬɜɭ.54 ɇɚ ɫɥɢɱɚɧ ɧɚɱɢɧ ɢ ɜɪɟɦɟ ɧɚɫɬɚʁɟ ɢɡ ɧɚɲɟɝ ɨɞɧɨɫɚ ɫɚ ɫɬɜɚɪɢɦɚ: ɨɧɨ ɧɢʁɟ 51 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 145. 52 Ɇɟɪɥɨ-ɉɨɧɬɢ ɬɭɦɚɱɢ ɋɟɡɚɧɨɜɭ ɭɦɟɬɧɨɫɬ ɤɚɨ ɩɪɢɦɟɪɧɢ ɧɚɱɢɧ ɢɡɪɚɠɚɜɚʃɚ ɢɫɬɢɧɟ ɨ ɫɜɟɬɭ, ɚ ʃɟɝɨɜɭ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɭ ɬɟɨɪɢʁɭ ɫɥɢɤɚɪɫɬɜɚ ɤɚɨ ɚɧɚɥɨɝɧɭ ɫɚ ɫɨɩɫɬɜɟɧɢɦ ɤɨɧɰɟɩɬɨɦ ɪɚɞɢɤɚɥɧɟ ɪɟɮɥɟɤɫɢʁɟ, ɩɨɤɭɲɚʁɟɦ ɩɨɜɪɚɬɤɚ ɢ ɪɟɮɥɟɤɫɢʁɟ ɧɚ ɩɪɟɪɟɮɥɟɤɫɢɜɧɟ ɫɜɟɫɧɨɫɬɢ. Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Moris Merlo- Ponti, Sezanova sumnja [Maurice Merleau-Ponty, Le doute de Cézanne] prev. Milica Stojković (Beograd: Službeni glasnik, 2016), 193‒207. 53 ɍ ɨɜɨɦ ɤɨɧɬɟɤɫɬɭ, ɫɥɢɤɚɪɫɬɜɨ ɢɦɚ ɩɪɢɜɢɥɟɝɨɜɚɧɨ ɦɟɫɬɨ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ, ɚ ɫɥɢɤɚɪ ʁɟ ʁɟɞɢɧɫɬɜɟɧɨ ɛɢʄɟ ɛɭɞɭʄɢ ɞɚ ɤɪɨɡ ʃɟɝɨɜ ɪɚɞ Ȼɢʄɟ ɞɨɥɚɡɢ ɧɚ ɫɜɟɬ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ʁɨɲ ʁɟɞɧɨɦ ʄɭ ɫɟ ɨɫɜɪɧɭɬɢ ɧɚ ɫɚɦ ɤɪɚʁ „ɉɪɟɞɝɨɜɨɪɚ” Ɏɟɧɨɦɟɧɨɥɨɝɢʁɟ ɩɟɪɰɩɟɰɢʁɟ ɭ ɤɨʁɟɦ ʁɟ Ɇɟɪɥɨ-ɉɨɧɬɢ ɧɚɩɢɫɚɨ ɞɚ „ɮɢɥɨɡɨɮɢʁɚ ɧɢʁɟ ɨɞɪɚɡ ɩɪɟɟɝɡɢɫɬɢɪɚʁɭʄɟ ɢɫɬɢɧɟ, ɧɟɝɨ ʁɟ, ɤɚɨ ɢ ɭɦɟɬɧɨɫɬ, ɚɤɬ ɞɨɜɨђɟʃɚ ɢɫɬɢɧɟ ɭ ɛɢʄɟ” (Maurice Merleau- Ponty, Phenomenology…, ɧɚɜ. ɞɟɥɨ, ix). 54 ɉɪɨɫɬɨɪ ʁɟ ɭɧɢɜɟɪɡɚɥɧɚ ɦɨɝɭʄɧɨɫɬ ɩɨɜɟɡɚɧɨɫɬɢ ɫɬɜɚɪɢ. Ɉɞɧɨɫ ɫɭɛʁɟɤɬɚ ɩɪɟɦɚ ɨɜɨɦ ɩɪɨɫɬɨɪɭ ɦɨɠɟ ɛɢɬɢ ɞɜɨʁɚɤ: ɧɟɪɟɮɥɟɤɬɭʁɭʄ ɢ ɪɟɮɥɟɤɬɭʁɭʄ. ɇɟɪɟɮɥɟɤɬɭʁɭʄ ɨɞɧɨɫ ɝɨɜɨɪɢ „ʁɚ ɠɢɜɢɦ ɭ ɫɬɜɚɪɢɦɚ ɢ ɩɪɨɫɬɨɪ ɧɟʁɚɫɧɨ ɫɦɚɬɪɚɦ ɱɚɫ ɫɪɟɞɢɧɨɦ ɫɬɜɚɪɢ, ɱɚɫ ʃɢɯɨɜɢɦ ɡɚʁɟɞɧɢɱɤɢɦ ɚɬɪɢɛɭɬɨɦ”, ɚ ɪɟɮɥɟɤɬɭʁɭʄ ɨɞɧɨɫ „ɩɪɨɧɢɱɟɦ ɭ ɩɪɨɫɬɨɪ ɤɚ ʃɟɝɨɜɨɦ ɢɡɜɨɪɭ, ɭ ɫɚɞɚɲʃɟɦ ɱɚɫɭ ɪɚɡɦɢɲʂɚɦ ɨ ɨɞɧɨɫɢɦɚ ɤɨʁɢ, ɡɚɩɪɚɜɨ, ɠɢɜɟ ʁɟɞɢɧɨ ɭ ɫɭɛʁɟɤɬɭ ɤɨʁɢ ɢɯ ɧɨɫɢ ɭ ɫɟɛɢ ɢ ɨɩɢɫɭʁɟ”; ɬɨ ʁɟɫɬɟ ɨɞɧɨɫ ɫɭɛʁɟɤɬɚ ɤɨʁɢ ɨɩɢɫɭʁɟ ɩɪɨɫɬɨɪ. ȼɢɞɟɬɢ: Maurice Merleau-Ponty, Fenomenologija percepcije, ɧɚɜ. ɞɟɥɨ, 257. 28 ɫɬɜɚɪɚɧ ɩɪɨɰɟɫ, ɜɟʄ ɫɚɦɨ ɞɢɦɟɧɡɢʁɚ ɫɜɟɝɚ ɲɬɨ ʁɟɫɬɟ. ɋɬɨɝɚ, „ɜɪɟɦɟ ɧɢʁɟ ɥɢɧɢʁɚ ɧɟɝɨ ɦɪɟɠɚ ɢɧɬɟɧɰɢɨɧɚɥɧɨɫɬɢ”55. ɍ ɞɢɪɟɤɬɧɨʁ ɫɩɪɟɡɢ ɫɚ ɩɪɨɛɥɟɦɚɬɢɡɚɰɢʁɨɦ ɩɟɪɰɩɟɰɢʁɟ ɩɪɨɫɬɨɪɧɨ-ɜɪɦɟɧɟɧɫɤɢɯ ɨɞɧɨɫɚ, ɧɚɥɚɡɢ ɫɟ ɢ ɩɪɨɛɥɟɦɫɤɢ ɤɪɭɝ ɦɟђɭɫɨɛɧɟ ɤɨɦɭɧɢɤɚɰɢʁɟ ɱɭɥɚ. ɇɚɢɦɟ, Ɇɟɪɥɨ- ɉɨɧɬɢ ɬɭɦɚɱɢ ɩɟɪɰɟɩɰɢʁɭ ɤɚɨ ɦɟђɭɱɭɥɧɢ ɩɪɨɰɟɫ ɤɨʁɢ ɫɟ ɡɛɢɜɚ ɭ ɧɚɲɟɦ ɬɟɥɭ ɤɚɨ ɫɢɧɟɪɝɢʁɫɤɨɦ ɫɢɫɬɟɦɭ. ɉɪɟɦɚ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ, „ɩɟɪɰɩɟɰɢʁɚ ɭʁɟɞɢʃɭʁɟ ɧɚɲɚ ɫɟɧɡɨɪɧɚ ɢɫɤɭɫɬɜɚ ɭ ʁɟɞɚɧ ʁɟɞɢɧɫɬɜɟɧɢ ɫɜɟɬ”56, ɲɬɨ ɡɧɚɱɢ ɞɚ ɫɟ ɢɫɤɭɫɬɜɨ ɨɞɜɨʁɟɧɢɯ ɱɭɥɧɢɯ ɨɫɟʄɚʁɚ ɞɨɝɚђɚ ɫɚɦɨ ɨɧɞɚ ɤɚɞɚ ɫɟ ɩɨɫɟɛɧɨ ɮɨɤɭɫɢɪɚɦɨ ɧɚ ʁɟɞɧɨ ɱɭɥɨ, ɨɞɧɨɫɧɨ, ɭ ɬɪɟɧɭɬɤɭ ɤɚɞɚ ɨɞɜɨʁɢɦɨ ɮɢɤɫɢɪɚɧɭ ɪɟɝɢʁɭ ɨɞ ɨɫɬɚɬɤɚ ɩɟɪɰɟɩɬɢɜɧɨɝ ɩɨʂɚ – ɧɚ ɩɪɢɦɟɪ, ɤɚɞɚ ‘ɮɢɤɫɢɪɚɦɨ’ ɩɨɝɥɟɞ.57 Ɇɟђɭɬɢɦ, ɱɚɤ ɧɢ ɬɚɞɚ ɜɢɡɭɟɥɧɨɫɬ ɢ ɫɩɚɰɢʁɚɥɧɨɫɬ ɧɟ ɦɨɝɭ ɩɨɫɬɚɬɢ ɨɞɟʂɟɧɟ ɤɚɬɟɝɨɪɢʁɟ, ʁɟɪ, ɚɤɨ ɯɨʄɟɦɨ, ɧɚɜɨɞɢ Ɇɟɪɥɨ-ɉɨɧɬɢ, ɞɚ ɫɟ „ɡɚɬɜɨɪɢɦ[ɨ] ɭ ʁɟɞɧɨ ɨɞ [ɧɚɲɢɯ] ɨɫʁɟɬɢɥɚ ‒ ɢ ɱɢɬɚɜɢ, ɧɚ ɩɪɢɦɟɪ, ɩɪɨʁɢɰɢɪɚɦɨ ɭ ɫɜɨʁɟ ɨɱɢ ɢ ɨɞɚɦɨ ɦɨɞɪɢɧɢ ɧɟɛɚ ‒ ɭɫɤɨɪɨ ɧɟʄɟɦɨ ɜɢɲɟ ɛɢɬɢ ɫɜʁɟɫɧɢ ɞɚ ɝɥɟɞɚɦɨ […] ɇɟɛɨ ʄɟ ɩɪɟɫɬɚɬɢ ɛɢɬɢ ‘ɜɢɡɭɚɥɧɚ ɩɟɪɰɩɟɰɢʁɚ’ ɢ ɩɨɫɬɚʄɟ [ɧɚɲ] ɱɚɫɨɜɢɬɢ ɫɜɢʁɟɬ”58. Ɂɚɬɨ ʁɟ, ɫɦɚɬɪɚ ɨɧ, ɬɟɲɤɨ ɨɝɪɚɧɢɱɢɬɢ ɢɫɤɭɫɬɜɨ ɧɚ ɫɚɦɨ ʁɟɞɚɧ ɫɟɧɡɨɪɧɢ ɪɟɝɢɫɬɚɪ ɡɚɬɨ ɲɬɨ ɫɟ ɨɧɨ, ɫɚɫɜɢɦ ɫɩɨɧɬɚɧɨ, ‘ɪɚɡɥɢɜɚ’ ɩɪɟɦɚ ɨɫɬɚɥɢɦ ɱɭɥɢɦɚ.59 ɍɡɢɦɚʁɭʄɢ ɫɜɟ ɨɜɨ ɭ ɨɛɡɢɪ ɞɨɥɚɡɢ ɫɟ ɞɨ ɡɚɤʂɭɱɤɚ ɞɚ ʁɟ ɩɟɪɰɟɩɰɢʁɚ ɜɢɲɟɱɭɥɧɢ ɩɪɨɰɟɫ, ɬɟ ɢ ɞɚ ɤʂɭɱ ɡɚ ɪɚɡɭɦɟɜɚʃɟ ɨɞɧɨɫɚ/ɤɨɪɟɫɩɨɧɞɟɧɰɢʁɚ/„ɫɚɝɥɚɫʁɚ” ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɥɟɠɢ ɭɩɪɚɜɨ ɭ ɦɟђɭɱɭɥɧɨɦ ɩɪɨɰɟɫɭ, ɪɟɱɟɧɨ ɦɟɪɥɨ-ɩɨɧɬɢʁɟɜɫɤɢ, ɨɞɧɨɫɧɨ, ɭ ʁɟɞɢɧɫɬɜɭ ɩɥɭɪɚɥɚ ɤɨʁɟ ʁɟ ɭ ɛɢɬɢ „ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ”, ɪɟɱɟɧɨ ɮɢɥɨɡɨɮɫɤɨ-ɟɫɬɟɬɢɱɤɢɦ ɪɟɱɧɢɤɨɦ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ. 55 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: ɢɫɬɨ, 421‒430. 56 ɂɫɬɨ, 239, 244, 247. 57 ɍɩɨɪɟɞɢ ɫɚ: ɢɫɬɨ, 239‒240. 58 ɂɫɬɨ, 239. 59 Ɍɚɤɨ, ɧɚ ɩɪɢɦɟɪ, „ɚɭɞɢɬɢɜɧɢ ɪɢɬɚɦ ɞɨɩɪɢɧɨɫɢ ɭɞɪɭɠɢɜɚʃɭ ɤɢɧɟɦɚɬɨɝɪɚɮɫɤɢɯ ɫɥɢɤɚ, ɚ ɡɜɭɤɨɜɢ ɢɦɚʁɭ ɫɩɨɫɨɛɧɨɫɬ ɞɚ ɦɨɞɢɮɢɤɭʁɭ ɫɥɢɤɟ ɢ ɛɨʁɟ (ɢɧɬɟɧɡɢɜɧɢ ɬɨɧ ɱɢɧɢ ɫɥɢɤɟ ɢɧɬɟɧɡɢɜɧɢʁɢɦ, ɬɢɯɢ ɬɨɧ ɱɢɧɢ ɢɯ ɬɚɦɢɧɢɦ ɢ ɫɥ.)”. ȼɢɞɟɬɢ: ɢɫɬɨ, 241. 29 Ⱦɚɤɥɟ, ɬɟɦɚ (ɟɫɬɟɬɢɤɟ) ɩɥɭɪɚɥɧɨɫɬɢ ɱɭɥɚ ɢ ɬɟɦɚ ɬɟɥɚ (ɤɨʁɚ ɫɟ ɜɟɡɭʁɟ ɢ ɨɛɭɯɜɚɬɚ ɫɜɟ ɱɭɥɧɨ, ɨɞ ɩɟɪɰɩɟɰɢʁɟ ɞɨ ɬɟɥɟɫɧɨɫɬɢ ɭ ɰɟɥɢɧɢ, ɢ ɬɨ ɧɟ ɫɚɦɨ ɬɟɥɟɫɧɨɫɬɢ ɤɚɨ ʂɭɞɫɤɨɝ ɬɟɥɚ, ɜɟʄ ɢ ɬɟɥɚ ɫɜɟɬɚ/ɦɟɫɨɦ ɛɢʄɚ/chair de l’être), ɭ ɤɨʁɟ ɫɟ ɫɦɟɲɬɚ ɮɪɚɧɰɭɫɤɢ ɟɫɬɟɬɢɱɚɪ ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɨɪɢʁɟɧɬɚɰɢʁɟ – Ɇɢɤɟɥ Ⱦɢɮɪɟɧ, ɡɚɞɨɛɢʄɟ ɫɜɨʁɭ ɟɤɫɩɥɢɤɚɰɢʁɭ ɭ ɨɬɜɨɪɟɧɨɦ ɚɫɨɰɢɪɚʃɭ ɢɡɦɟђɭ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɢɱɤɢɯ ɩɪɚɤɫɢ. Ⱦɚɤɥɟ, ɢɫɩɢɬɭʁɭʄɢ ɫɜɟɬ ɱɭɥɚ ɢ ɱɭɥɧɨɫɬɢ, ɢɫɬɪɚɠɭʁɭʄɢ ɦɟђɭɡɚɜɢɫɧɨɫɬɢ ɢ ɫɚɞɟʁɫɬɜɚ ɨɤɚ ɢ ɭɯɚ, ɧɚɱɟɥɚ ɨɫɟɬâ (ɨɫɟʄɚʃɚ, ɮɪ. sentir) ɢ ɨɩɚɠɚʁâ (ɨɩɚɠɚʃɚ, ɮɪ. percevoir) ɧɚ ɩɭɬɭ ɤɚ ɢɡɜɨɪɧɨ ɟɫɬɟɬɫɤɨɦ, ɤɚ ɫɜɟɬɭ ɱɭɥɧɨɫɬɢ, ɤɚ „ɡɚʁɟɞɧɢɱɤɨɦ ɩɨɪɟɤɥɭ ɱɨɜɟɤɚ ɢ ɫɜɟɬɚ ɭ ɉɪɢɪɨɞɢ”, Ⱦɢɮɪɟɧ, ɡɚɩɪɚɜɨ, ɧɚɫɬɚɜʂɚ ɨɧɭ ɧɢɬ ɤɨʁɭ ʁɟ ɦɢɧɭɰɢɨɡɧɨ ɩɥɟɥɚ ɮɟɧɨɦɟɧɨɥɨɝɢʁɚ ɩɨɱɟɜ ɨɞ ȿɞɦɭɧɞɚ ɏɭɫɟɪɥɚ, ɧɨ ɱɢʁɚ ʁɟ ɤʂɭɱɧɚ ɱɜɨɪɢɲɬɚ ɢɫɩɥɟɥɚ ɭɩɪɚɜɨ ɮɪɚɧɰɭɫɤɚ ɮɟɧɨɦɟɧɨɥɨɝɢʁɚ, ɚ ɩɪɟ ɫɜɢɯ, ɮɢɥɨɡɨɮɢʁɟ Ɇɨɪɢɫɚ Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ ɢ ɀɚɧ-ɉɨɥɚ ɋɚɪɬɪɚ. Ɇɢɤɟɥ Ⱦɢɮɪɟɧ ʁɟ ɫɜɨʁ ɟɫɬɟɬɢɱɤɨ-ɮɢɥɨɡɨɮɫɤɢ ɩɭɬ ɡɚɩɨɱɟɨ ɭ ɤɪɭɝɭ ȿɬʁɟɧɚ ɋɭɪɢɨɚ ɤɨɝɚ ʁɟ ɫɦɚɬɪɚɨ „ɨɫɧɢɜɚɱɟɦ ɦɨɞɟɪɧɟ ɮɪɚɧɰɭɫɤɟ ɟɫɬɟɬɢɤɟ”.60 Ʉɚɨ ɮɢɥɨɡɨɮ ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɨɪɢʁɟɧɬɚɰɢʁɟ, Ⱦɢɮɪɟɧ ɫɜɨʁɭ ɦɢɫɚɨ ɩɥɟɬɟ ɨɤɨ ɩɨʁɦɚ „ɟɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ” ɤɨʁɢ ɩɪɨɢɡɥɚɡɢ ɢɡ ɤɨɧɰɟɩɬɚ ɟɫɬɟɬɢɤɟ ɤɚɨ ɮɟɧɨɦɟɧɨɥɨɝɢʁɟ (ɢɫɤɭɫɬɜɚ ɨɫɟɬɧɨɝ), ɚɥɢ ɢ ɢɡ ɫɯɜɚɬɚʃɚ ɟɫɬɟɬɢɤɟ ɤɚɨ ɚɭɬɨɧɨɦɧɟ ɧɚɭɤɟ ɫɚ ɫɨɩɫɬɜɟɧɢɦ ɫɩɟɰɢɮɢɱɧɢɦ ɦɟɬɨɞɚɦɚ, ɞɚɤɥɟ, ɭ ɞɭɯɭ Ȼɚɭɦɝɚɪɬɟɧɨɜɟ (Alexander Gottlieb Baumgarten) aestheticae, ɤɚɨ scientia cognitivis sensitivae (ɧɚɭɤɟ ɨ ɱɭɥɧɨɦ ɫɚɡɧɚʃɭ).61 Ɍɚɤɨђɟ, Ⱦɢɮɪɟɧ ɫɯɜɚɬɚ ɟɫɬɟɬɢɤɭ ɢ ɤɚɨ ɤɪɢɬɢɱɤɭ ɬɟɨɪɢʁɭ ɤɨʁɚ ʁɟ ɩɨɜɟɡɚɧɚ ɫɚ ɫɩɨɫɨɛɧɨɲʄɭ ɟɫɬɟɬɢɱɚɪɚ ɞɚ ɧɟɩɨɫɪɟɞɧɨ ɫɭɞɢ ɨ ɟɫɬɟɬɫɤɢɦ ɢ ɭɦɟɬɧɢɱɤɢɦ ɜɪɟɞɧɨɫɬɢɦɚ, ɤɚɨ ɟɫɬɟɬɚ, ɤɚɨ „ɱɨɜɟɤ ɨɞ ɭɤɭɫɚ” (l’homme de goût) ɢ, ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ, ɤɚɨ ɤɪɢɬɢɱɚɪ. 60 Ɉɜɨ ʁɟ ɢɫɬɨɜɪɟɦɟɧɨ ɛɢɨ ɢ ɧɚɫɥɨɜ ɧɟɤɨɪɨɥɝɚ ɡɚ ɋɭɪɢɨɚ ɭ ɮɪɚɧɰɭɫɤɨɦ ɞɧɟɜɧɨɦ ɥɢɫɬɭ Le Monde, 1979. ɝɨɞɢɧɟ. 61 Ɉɬɭɞɚ ɂɧɫɬɢɬɭɬ ɡɚ ɟɫɬɟɬɢɤɭ ɭ ɉɚɪɢɡɭ ɭ ɫɜɨɦ ɧɚɡɢɜɭ ɧɨɫɢ ɢ ɨɡɧɚɤɭ „ɡɚ ɧɚɭɤɟ ɨ ɭɦɟɬɧɨɫɬɢ” (Institut d’esthétique et des sciences de l’art). 30 Ɍɨɦɟ ɨɞɝɨɜɚɪɚ ɢ ɫɚɦ ʁɟɡɢɤ ɟɫɬɟɬɢɤɟ ɤɨʁɢ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɧɢʁɟ ɫɚɦɨ ɮɢɥɨɡɨɮɫɤɢ ɭ ɬɪɚɞɢɰɢɨɧɚɥɧɨɦ ɫɦɫɢɥɭ ɪɟɱɢ, ɜɟʄ ʁɟ, ɡɚɩɪɚɜɨ, ʁɟɡɢɤ ɤɨʁɢ ɫɟ ɞɪɠɢ ɛɥɢɡɢɧɟ ɮɟɧɨɦɟɧɚ ɢ ɧɟ ɡɚɡɢɪɟ ɨɞ ɦɟɬɚɮɨɪɚ.62 62 Ɇɢɥɚɧ Ⱦɚɦʃɚɧɨɜɢʄ ɫɦɚɬɪɚ ɞɚ ʁɟ Ɇɢɤɟɥ Ⱦɢɮɪɟɧ ɫɜɨʁɨɦ ɮɟɧɨɦɟɧɨɥɨɲɤɨɦ ɮɢɥɨɡɨɮɫɤɨɦ ɨɪɢʁɟɧɬɚɰɢʁɨɦ ɩɨɜɟɡɚɨ ɫɜɟ ɬɟɠʃɟ ɢ ɡɚɯɬɟɜɟ ɮɪɚɧɰɭɫɤɟ ɦɨɞɟɪɧɟ ɟɫɬɟɬɢɤɟ ɫɚ ʁɟɞɧɢɦ ɫɚɜɪɟɦɟɧɢɦ ɧɚɱɢɧɨɦ ɦɢɲʂɟʃɚ ɤɨʁɢ ʁɟ ɦɨɝɚɨ ɡɚɞɨɜɨʂɢɬɢ ɢ ɟɦɩɢɪɢʁɫɤɟ ɰɢʂɟɜɟ (ɟɦɩɢɪɢʁɫɤɚ ɮɟɧɨɦɟɧɨɥɨɝɢʁɚ), ɤɚɨ ɢ ɤɪɢɬɢɱɤɨ ɡɚɥɚɝɚʃɟ ɭ ɬɟɦɟʂɧɨɦ, ɢ ɡɚ Ⱦɢɮɪɟɧɚ ɨɞɥɭɱɭʁɭʄɟɦ, ɮɢɥɨɡɨɮɫɤɨɦ ɧɚɩɨɪɭ (ɮɢɥɨɡɨɮɫɤɚ ɮɟɧɨɦɟɧɨɥɨɝɢʁɚ). ȼɢɞɟɬɢ ɭ: Milan Damnjanović, „Estetičareve oči i uši”, u: Mikel Difren, Oko..., ɧɚɜ. ɞɟɥɨ, 6‒7. ɀɢɜɨɬɧɢ ɢ ɩɪɨɮɟɫɢɨɧɚɥɧɨ-ɪɚɞɧɢ ɜɟɤ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ ɛɢɥɢ ɫɭ ɭ ɫɜɨʁɟɜɪɫɧɨɦ ɞɢʁɚɥɨɝɭ ɫɚ ɡɧɚɱɚʁɧɢɦ ɞɨɝɚђɚʁɢɦɚ ɤɨʁɢ ɫɭ ɨɛɟɥɟɠɢɥɢ 20. ɜɟɤ. Ɋɨђɟɧ ʁɟ 9. ɮɟɛɪɭɚɪɚ 1910. ɝɨɞɢɧɟ; ɤɚɨ ɢɡɭɡɟɬɚɧ ђɚɤ ɩɪɢɦʂɟɧ ʁɟ ɭ École Normale Supérieure 1929. ɝɨɞɢɧɟ, ɚ ɞɢɩɥɨɦɭ ɢɡ ɮɢɥɨɡɨɮɢʁɟ ɫɬɟɤɚɨ ʁɟ 1932. ɉɨɱɟɬɚɤ Ⱦɪɭɝɨɝ ɫɜɟɬɫɤɨɝ ɪɚɬɚ ʁɟ ɨɞɥɨɠɢɨ ɩɨɱɟɬɚɤ ʃɟɝɨɜɟ ɭɧɢɜɟɪɡɢɬɟɬɫɤɟ ɤɚɪɢʁɟɪɟ (ɭɛɪɡɨ ɩɨɲɬɨ ʁɟ ɦɨɛɢɥɢɫɚɧ 1939, ɛɢɜɚ ɡɚɪɨɛʂɟɧ, ɢ ɭ ɦɚʁɭ 1940. ɝɨɞɢɧɟ ɨɞɜɟɞɟɧ ɭ ɇɟɦɚɱɤɭ). Ɇɟђɭɬɢɦ, ɝɨɞɢɧɟ ɩɪɨɜɟɞɟɧɟ ɭ ɡɚɪɨɛʂɟɧɢɲɬɜɭ ɧɢɫɭ ɛɢɥɟ ɢɡɝɭɛʂɟɧɟ, ɛɭɞɭʄɢ ɞɚ ɢɯ ʁɟ ɢɫɤɨɪɢɫɬɢɨ ɤɚɤɨ ɡɚ ɫɬɢɰɚʃɟ ɧɨɜɢɯ ɫɚɡɧɚʃɚ, ɬɚɤɨ ɢ ɡɚ ɫɤɥɚɩɚʃɟ ɧɨɜɢɯ ɩɪɢʁɚɬɟʂɫɬɚɜɚ. ɍ ɡɚɪɨɛʂɟɧɢɲɬɜɭ Ⱦɢɮɪɟɧ ɭɩɨɡɧɚʁɟ ɉɨɥɚ Ɋɢɤɟɪɚ ɫɚ ɤɨʁɢɦ ʄɟ, ɧɚɤɨɧ ɡɚʁɟɞɧɢɱɤɨɝ ɞɭɝɨɝɨɞɢɲʃɟɝ ɪɚɞɚ ɨɛʁɚɜɢɬɢ ɤʃɢɝɭ ɩɨɞ ɧɚɡɢɜɨɦ Ʉɚɪɥ ȳɚɫɩɟɪɫ ɢ ɟɝɡɢɫɬɟɧɰɢʁɚɥɢɫɬɢɱɤɚ ɮɢɥɨɡɨɮɢʁɚ (Mikel Dufrenne et Paul Ricoeur, Karl Jaspers et la philosophie de l’existence /Paris: Le Seuil, 1947/). ɇɚɤɨɧ ɩɨɜɪɚɬɤɚ ɢɡ ɡɚɪɨɛʂɟɧɢɲɬɜɚ, Ⱦɢɮɪɟɧ ɧɚɫɬɚɜʂɚ ɞɚ ɩɢɲɟ, ɚɥɢ ɩɨɱɢʃɟ ɢ ɞɚ ɞɪɠɢ ɩɪɟɞɚɜɚʃɚ: ɧɚʁɩɪɟ ɭ ɝɢɦɧɚɡɢʁɢ, ɩɨɬɨɦ, ɨɞ 1953. ɝɨɞɢɧɟ, ɧɚ ɭɧɢɜɟɪɡɢɬɟɬɭ ɭ ɉɨɚɬʁɟɭ (L’université de Poitiers), ɢ ɧɚ ɤɪɚʁɭ, ɨɞ 1963. ɝɨɞɢɧɟ, ɭ ɇɚɧɬɟɪɭ (L’université Paris Nanterre /Paris X/) ɝɞɟ ʄɟ ɭɱɟɫɬɜɨɜɚɬɢ ɭ ɨɫɧɢɜɚʃɭ ɤɚɬɟɞɪɟ ɡɚ ɮɢɥɨɡɨɮɢʁɭ, ɚɥɢ ɢ ɝɞɟ ʄɟ ɡɚɜɪɲɢɬɢ ɫɜɨʁɭ ɭɧɢɜɟɪɡɢɬɟɬɫɤɭ ɤɚɪɢʁɟɪɭ 1974. ɉɢɲɭʄɢ ɫɜɨʁɭ ɞɨɤɬɨɪɫɤɭ ɞɢɫɟɪɬɚɰɢʁɭ ɩɨɫɜɟʄɟɧɭ ɮɟɧɨɦɟɧɨɥɨɝɢʁɢ ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ („Phénoménologie de l'expérience esthétique”, ɨɛʁɚɜʂɟɧɭ 1953 /Paris: PUF/), Ⱦɢɮɪɟɧ ɫɟ ɢɫɬɨɜɪɟɦɟɧɨ ɢɧɬɟɪɟɫɨɜɚɨ ɢ ɡɚ ɩɫɢɯɨɥɨɲɤɟ ɬɟɦɟ ɲɬɨ ɝɚ ʁɟ ɩɨɞɫɬɚɤɥɨ ɞɚ ɤɚɨ ɫɜɨʁɟɜɪɫɧɢ ‘ɞɨɞɚɬɚɤ’ ɬɟɡɢ ɩɪɢɤʂɭɱɢ ɢ ɫɜɨʁɟ ɢɫɬɪɚɠɢɜɚʃɟ ɨ ɨɫɧɨɜɚɦɚ ɥɢɱɧɨɫɬɢ (Mikel Dufrenne, La personalié de base /Paris: PUF, 1953/). ɉɨɪɟɞ ɬɨɝɚ, Ⱦɢɮɪɟɧ ʁɟ ɚɤɬɢɜɧɨ ɭɱɟɫɬɜɨɜɚɨ ɢ ɭ ɤɭɥɬɭɪɧɨɦ ɠɢɜɨɬɭ Ɏɪɚɧɰɭɫɤɟ, ɞɟɥɭʁɭʄɢ ɭ ɧɚʁɭɠɟɦ ɤɪɭɝɭ ɫɚɪɚɞɧɢɤɚ ȿɬʁɟɧɚ ɋɭɪɢɨɚ ɭ ɨɤɜɢɪɭ Ɏɪɚɧɰɭɫɤɨɝ ɞɪɭɲɬɜɚ ɡɚ ɟɫɬɟɬɢɤɭ (La société française d’esthétique), ɭɪɟђɭʁɭʄɢ Ɋɟɜɢʁɭ ɡɚ ɟɫɬɟɬɢɤɭ (Revue d’esthétique), ɧɚʁɩɪɟ ɫɚ ɋɭɪɢɨɨɦ (ɨɞ 1960), ɚ ɩɨɬɨɦ ɫɚ Ɉɥɢɜɢʁɟɨɦ ɞ’Ⱥɥɨɧɨɦ (Olivier Revault d’Allonnes) ɫɜɟ ɞɨ 1995. ɝɨɞɢɧɟ. Ɍɚɤɨђɟ, Ⱦɢɮɪɟɧ ʁɟ ɭɱɟɫɬɜɨɜɚɨ ɭ ɨɫɧɢɜɚʃɭ ɢ ɭɪɟђɢɜɚʃɭ ɫɩɟɰɢʁɚɥɢɡɨɜɚɧɟ ɛɢɛɥɢɨɬɟɤɟ/ɟɞɢɰɢʁɟ ɩɨɫɜɟʄɟɧɟ ɬɟɤɫɬɨɜɢɦɚ ɢɡ ɨɛɥɚɫɬɢ ɟɫɬɟɬɢɤɟ, ɤɨɞ ɢɡɞɚɜɚɱɚ „Klincksieck”. Ȼɢɨ ʁɟ ɩɪɟɞɫɟɞɧɢɤ Ɏɪɚɧɰɭɫɤɨɝ ɞɪɭɲɬɜɚ ɟɫɬɟɬɢɱɚɪɚ ɭ ɩɟɪɢɨɞɭ ɨɞ 1971. ɞɨ 1994. ɝɨɞɢɧɟ. Ⱦɢɮɪɟɧ ʁɟ ɫɬɟɤɚɨ ɡɚɫɥɭɝɟ ɢ ɭ ɦɟђɭɧɚɪɨɞɧɢɦ ɤɪɭɝɨɜɢɦɚ, ɨɩɟɬ ɡɚɯɜɚʂɭʁɭʄɢ ɢɧɢɰɢʁɚɬɢɜɢ ȿɬʁɟɧɚ ɋɭɪɢɨɚ ɤɨʁɢ ʁɟ 1937. ɝɨɞɢɧɟ ɩɪɢɯɜɚɬɢɨ ɞɚ Ⱦɪɭɝɢ ɢɧɬɟɪɧɚɰɢɨɧɚɥɧɢ ɤɨɧɝɪɟɫ ɡɚ ɟɫɬɟɬɢɤɭ ɛɭɞɟ ɨɪɝɚɧɢɡɨɜɚɧ ɭ ɉɚɪɢɡɭ. ɇɚɤɨɧ ɬɨɝɚ, ɬɚɱɧɢʁɟ, ɧɚɤɨɧ ɡɚɜɪɲɟɬɤɚ Ⱦɪɭɝɨɝ ɫɜɟɬɫɤɨɝ ɪɚɬɚ, ɋɭɪɢɨ ʁɟ ɡɚʁɟɞɧɨ ɫɚ Ⱦɢɮɪɟɧɨɦ ɩɪɨɞɭɠɢɨ ɪɚɞ ɭ ɩɪɚɜɰɭ ɢɧɬɟɪɧɚɰɢɨɧɚɥɧɟ ɫɚɪɚɞʃɟ ɬɚɤɨ ɲɬɨ ʁɟ 1956. ɝɨɞɢɧɟ ɨɫɧɨɜɚɨ ɂɧɬɟɪɧɚɰɢɨɧɚɥɧɢ ɨɞɛɨɪ ɡɚ ɫɬɭɞɢʁɟ ɟɫɬɟɬɢɤɟ (Comité international pour des études d’Esthétique), ɱɢʁɢ ʄɟ ɨɝɪɚɧɚɤ ɩɨɫɬɚɬɢ, ɭɩɪɚɜɨ ɂɧɬɟɪɧɚɰɢɨɧɚɥɧɢ ɤɨɧɝɪɟɫɢ (Congrès de la SFE). Ɉɞ ɬɨɝ ɦɨɦɟɧɬɚ ɫɟ ɢ Ⱦɢɮɪɟɧ ɩɨʁɚɜʂɭʁɟ ɧɚ ɦɟђɭɧɚɪɨɞɧɨʁ ɫɰɟɧɢ, ɞɚ ɛɢ ɧɚ ʁɟɞɚɧɚɟɫɬɨɦ ɩɨ ɪɟɞɭ ɢɧɬɟɪɧɚɰɢɨɧɚɥɧɨɦ ɤɨɧɝɪɟɫɭ ɡɚ ɟɫɬɟɬɢɤɭ, ɨɪɝɚɧɢɡɨɜɚɧɨɦ ɭ ɇɨɬɢɧɝɟɦɭ 1988. ɝɨɞɢɧɟ, ɩɨɫɬɚɨ ɩɪɜɢ ɩɨɱɚɫɧɢ ɩɪɟɞɫɟɞɧɢɤ ɬɟ ɢɧɫɬɢɬɭɰɢʁɟ. ȵɟɝɨɜɚ ɞɟɥɚ, ɨɫɢɦ ɱɥɚɧɚɤɚ ɩɨɫɜɟʄɟɧɢɯ ɮɢɥɨɡɨɮɢɦɚ, ɭɦɟɬɧɢɰɢɦɚ ɢɥɢ ɚɤɬɭɟɥɧɢɦ ɬɟɦɚɦɚ, ɜɟʄɢɧɨɦ ɫɚɛɪɚɧɢɯ ɭ ɡɛɢɪɤɚɦɚ ɤɚɨ ɲɬɨ ɫɭ ɉɭɬɨɤɚɡɢ (Mikel Dufrenne, Jalons /Nijhoff: La Haye, 1966/) ɢɥɢ ȿɫɬɟɬɢɤɚ ɢ ɮɢɥɨɡɨɮɢʁɚ (Mikel Dufrenne, Esthétique et philosophie /Paris: Klincksieck, 1967 /Tome I/, 1976 /Tome II/, 1981 /Tome III/), ɦɨɝɭ ɫɟ ɩɨɞɟɥɢɬɢ, ɩɪɟɦɚ ɦɢɲʂɟʃɭ Ɇɚɪɢɜɨɧ ɋɟɡɨɧ (Maryvonne Saison), ɧɚ ɮɢɥɨɡɨɮɫɤɚ, ɮɢɥɨɡɨɮɫɤɨ-ɩɨɥɢɬɢɱɤɚ [Mikel Difren, Za čoveka /Beograd: Nolit, 1973/ (Mikel Dufrenne, Pour l’homme /Paris: Le Seuil, 1968/); Mikel Difren, Umjetnost i politika /Sarajevo: „Svjetlost”, 1982/ (Mikel Dufrenne, Art et politique /Paris: U.G.E., 1974/); Mikel Dufrenne, Subversion, Perversion /Paris: PUF, 1977/] ɢ ɮɢɥɨɡɨɮɫɤɨ-ɟɫɬɟɬɢɱɤɚ ɞɟɥɚ [Mikel Dufrenne, Phéomenologie de l’expérience esthétique /Paris: PUF, 1953/; Mikel Difren, „Poetsko”, Treći program Radio Beograda, 1970, 287‒317 (Mikel Dufrenne, La poéique /Paris: PUF, 1963/); Mikel Difren, Oko i uho /Banja 31 ȼɨɞɟʄɢ ɮɢɥɨɡɨɮɫɤɢ ɦɨɬɢɜ Ⱦɢɮɪɟɧɨɜɨɝ ɦɢɲʂɟʃɚ ɭ ɝɨɬɨɜɨ ɫɜɢɦ ʃɟɝɨɜɢɦ ɞɟɥɢɦɚ, ɛɢɥɨ ɮɢɥɨɡɨɮɫɤɟ, ɛɢɥɨ ɮɢɥɨɡɨɮɫɤɨ-ɟɫɬɟɬɢɱɤɟ ɨɪɢʁɟɧɬɚɰɢʁɟ ʁɟɫɬɟ ɭɩɪɚɜɨ ɨɧɨ ɲɬɨ ɭ ɢɫɬɢ ɦɚɯ ɩɪɢɩɚɞɚ ɩɨɞɪɭɱʁɭ. ɨɞɧɨɫɧɨ, ʁɟɫɬɟ ɩɪɟɞɦɟɬ ɟɫɬɟɬɢɱɤɨɝ ɢɫɬɪɚɠɢɜɚʃɚ. Ⱦɢɮɪɟɧ ɫɟ ɛɚɜɢ ɮɟɧɨɦɟɧɨɦ ɟɫɬɟɬɫɤɨɝ, ɬɨ ʁɟɫɬ, ɟɫɬɟɬɫɤɢɦ ɩɨʂɟɦ ɢɥɢ ɟɫɬɟɬɫɤɢɦ ɮɟɧɨɦɟɧɚɥɧɢɦ ɩɨɞɪɭɱʁɟɦ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɨɫɧɨɜɧɚ ɬɟɦɚ ɧɚ ɨɫɧɨɜɭ ɤɨʁɟ ɝɪɚɞɢ ɫɜɨʁɭ ɟɫɬɟɬɢɤɭ ɬɢɱɟ ɫɟ ɱɭɥɧɢɯ, ɨɫɟɬɧɢɯ (ɫɟɧɡɢɬɢɜɧɢɯ) ɢ ɨɩɚɠɚʁɧɢɯ (ɩɟɪɰɟɩɬɢɜɧɢɯ) ɩɨʁɚɜɚ, ɫɜɟɬɚ ɱɭɥɧɨɫɬɢ ɢɥɢ ɱɭɥɧɨɝ ɫɜɟɬɚ, ɢ ɬɨ ɧɟ ɫɚɦɨ ɢɡ ɤɨɝɧɢɬɢɜɧɟ ɜɢɡɭɪɟ – ɭ ɫɦɢɫɥɭ ɱɭɥɧɨɝ ɫɚɡɧɚʃɚ, ɜɟʄ ɢ ɭ ɢɡɜɨɪɧɨɦ ɟɫɬɟɬɫɤɨɦ ɩɨɝɥɟɞɭ. ɍ ɮɟɧɨɦɟɧɨɥɨɲɤɨɦ ɢɫɬɪɚɠɢɜɚʃɭ „ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ” Ⱦɢɮɪɟɧ ɫɟ, ɡɚɩɪɚɜɨ, ɢɧɬɟɪɟɫɭʁɟ ɡɚ ɨɧɨ ɢɡɜɨɪɧɨ ɟɫɬɟɬɫɤɨ ɤɨʁɟ ɩɪɢɩɚɞɚ ɩɨɞɪɭɱʁɭ ɩɪɟɪɟɮɥɟɤɫɢɜɧɨɝ, ɩɪɟɤɨɝɧɢɬɢɜɧɨɝ, ɩɪɟɬɟɨɪɢʁɫɤɨɝ, ɨɞɧɨɫɧɨ, ɢɧɬɭɢɬɢɜɧɨɝ ɨɫɟɬɧɨɝ ɱɭɥɧɨɝ ɢɫɤɭɫɬɜɚ. „ȿɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ ɩɪɟɞɫɬɚɜʂɚ ʁɟɞɧɨ ɦɟɬɚɮɢɡɢɱɤɨ ɢɫɤɭɫɬɜɨ: ɨɧɨ ɚɤɬɭɟɥɢɡɭʁɟ ɜɪɚʄɚʃɟ [ɢɥɢ ɛɨʂɟ ɪɟɱɟɧɨ ɭɡɧɨɲɟʃɟ] ɛɢʄɚ (remontée) ɤɚ ɢɡɜɨɪɧɨɦ, ɤɚ ɞɪɭɝɨɦ ɛɢʄɭ ɫɭɛʁɟɤɬɚ, ɨɫɧɨɜɢ ɲɬɨ ɫɟ ɞɪɭɠɢ ɫ ɦɨɝɭʄɧɨɫɬɢɦɚ ɢɡ ɤɨʁɟ (ɨɫɧɨɜɟ) ɦɨɠɟ ɢɡɪɨɧɢɬɢ ʁɟɞɚɧ ɫɜɟɬ ɞɪɭɝɢ (un monde autre).”63 ȿɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ ɩɪɟɞɫɬɚɜʂɚ ɢɡɜɨɪɧɨ ɢɫɤɭɫɬɜɨ ɤɨʁɟ ɩɪɟɬɯɨɞɢ ɪɚɡɥɭɱɢɜɚʃɭ ɧɚ ɫɭɛʁɟɤɬ ɢ ɨɛʁɟɤɬ – ɨɧɨ ʁɟ ɢɫɤɨɧɫɤɨ ɢɫɤɭɫɬɜɨ ɫɜɟɬɚ. Ɇɟђɭɬɢɦ, ɛɢɥɨ ɛɢ ɩɨɬɩɭɧɨ ɩɨɝɪɟɲɧɨ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɡɚɤʂɭɱɢɬɢ ɞɚ ʁɟ ɪɟɱ ɨ ɧɟɤɚɤɜɨɦ ɚɦɨɪɮɧɨɦ ɢɫɤɭɫɬɜɭ, ɛɟɡ ɢɤɚɤɜɟ ɫɬɪɭɤɬɭɪɟ ɢ ɫɦɢɫɥɚ; ɪɟɱ ʁɟ, ɧɚɢɦɟ ɨ ɢɫɤɭɫɬɜɭ ɤɨʁɟ ɫɟ ɧɚɥɚɡɢ ɧɚ ɝɪɚɧɢɰɚɦɚ ɫɦɢɫɥɚ ɤɨʁɟ ɫɟ ɧɚ ɢɡɜɟɫɬɚɧ ɧɚɱɢɧ, ɩɪɟɦɚ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ, ɨɬɤɪɢɜɚ ɭ ɢɫɤɭɫɬɜɭ ɰɟɥɨɤɭɩɧɟ ɭɦɟɬɧɨɫɬɢ 20. ɜɟɤɚ ɤɚɨ ɧɟɢɫɰɪɩɧɨɦ ɢ ɩɪɟɜɪɚɬɧɢɱɤɨɦ ɩɨɬɟɧɰɢʁɚɥɭ ɱɭɥɧɨɝ Luka: Glas, 1989/ (Mikel Dufrenne, L’oeil et l’oreille /Montréal: L’hexagone, 1987/, preštampano u ed. Jean- Michel Place, Le Cap Ferrat, Paris, knjiga-objekat u sradnji sa vajarom po imenu Bɨdɟn /Baudin/, van prodaje, 1994)]. ɉɟɪɢɨɞ ɬɨɤɨɦ ɤɨɝɚ ɫɟ Ⱦɢɮɪɟɧɨɜɢ ɬɟɤɫɬɨɜɢ ɧɚɥɚɡɟ ɭ ɫɪɟɞɢɲɬɭ ʁɚɜɧɟ ɩɚɠʃɟ ɩɪɨɬɟɠɟ ɫɟ ɨɞ ɩɟɞɟɫɟɬɢɯ ɞɨ ɫɟɞɚɦɞɟɫɟɬɢɯ ɝɨɞɢɧɚ 20. ɜɟɤɚ. ɉɪɟɤɢɞ ɧɟ ɧɚɫɬɚʁɟ ɬɨɥɢɤɨ ɭ ɜɪɟɦɟ ɞɨɝɚђɚʁɚ ɤɨʁɢ ɫɭ ɨɛɟɥɟɠɢɥɢ 1968. ɝɨɞɢɧɭ (ɤɚɞɚ ʁɟ Ⱦɢɮɪɟɧ ɨɬɜɨɪɟɧɨ ɫɬɚɨ ɧɚ ɫɬɪɚɧɭ ɫɬɭɞɟɧɚɬɚ ɢ ɞɪɭɲɬɜɟɧɢɯ ɩɨɤɪɟɬɚ), ɤɨɥɢɤɨ ɭ ɩɟɪɢɨɞɭ ɭɫɩɨɧɚ ɫɬɪɭɤɬɭɪɚɥɢɡɦɚ ɧɚ ɤɨʁɢ ʁɟ ɝɥɟɞɚɨ ɫɚ ɪɟɡɟɪɜɨɦ (ʁɨɲ ɢɡ ɜɪɟɦɟɧɚ ɤɚɞɚ ʁɟ ɨɛʁɚɜɢɨ ɞɟɥɨ ȳɟɡɢɤ ɢ ɮɢɥɨɡɨɮɢʁɚ, ɲɬɚɦɩɚɧɨɝ ɫɚɦɨ ɧɚ ɟɧɝɥɟɫɤɨɦ ʁɟɡɢɤɭ! ȼɢɞɟɬɢ: Mikel Dufrenne, Language and Philosophy /Bloomingotn: Indiana University Press, 1962./) Ɍɚʁ ɨɬɩɨɪ ɢɫɤɚɡɚɧ ɩɪɟɦɚ ɫɬɪɭɤɬɭɪɚɥɢɡɦɭ ɤɨʁɢ ʁɟ ɫɢɥɨɜɢɬɨ ɧɚɞɢɪɚɨ ɭ Ɏɪɚɧɰɭɫɤɭ ɞɨɩɪɢɧɟɥɢ ɫɭ ɬɨɦɟ ɞɚ Ⱦɢɮɪɟɧɨɜɚ ɦɢɫɚɨ ɛɭɞɟ ɫɤɪɚʁɧɭɬɚ ɢɡ ɜɢɞʂɢɜɢɯ ɬɨɤɨɜɚ ɮɢɥɨɡɨɮɢʁɟ. ɉɪɟɦɚ ɦɢɲʂɟʃɭ ɋɟɡɨɧɨɜɟ, „ɢɚɤɨ Ⱦɢɮɪɟɧɨɜɚ ɤɚɫɧɢʁɚ ɞɟɥɚ ɧɢɫɭ ɩɪɨɥɚɡɢɥɚ ɧɟɡɚɩɚɠɟɧɨ, ʃɢɯɨɜ ɭɫɩɟɯ ɛɢɨ ʁɟ ɩɪɟ ɫɜɟɝɚ ɨɞɪɚɡ ɩɨɲɬɨɜɚʃɚ ɩɪɟɦɚ ɚɭɬɨɪɭ. Ⱦɢɮɪɟɧ ʁɟ ɤɚɨ ɮɢɥɨɡɨɮ ɛɢɨ ɩɨɝɨђɟɧ ɬɢɦ ɧɟɫɩɨɪɚɡɭɦɨɦ ɢ, ɦɚɞɚ ʁɟ ɛɢɨ ɭ ɬɨɤɭ ɞɨɝɚђɚʁɚ ɢ ɜɟɨɦɚ ɩɪɢɫɭɬɚɧ ɡɚ ɜɟɥɢɤɭ ɝɪɭɩɭ ɩɪɢʁɚɬɟʂɚ, ɩɢɫɚɨ ʁɟ ɜɟɨɦɚ ɦɚɥɨ ɭ ɩɨɫɥɟɞʃɢɯ ɞɟɫɟɬ ɝɨɞɢɧɚ ɫɜɨɝ ɠɢɜɨɬɚ”. Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Marivon Sezon, „Mikel Difren – jedna neobična priča”, u: Figure u pokretu. Savremena zapadna estetika, filozofija i teorija umetnosti, ur. Miško Šuvaković i Aleš Erjavec (Beograd: Atoča, 2009), 395‒397. 63 Milan Damnjanović, „Estetičareve oči i uši”, u: Mikel Difren, Oko..., ɧɚɜ. ɞɟɥɨ, 13. 32 ɫɦɢɫɥɚ. ɍ ɫɜɨɦ ɩɨɫɥɟɞʃɟɦ ɞɟɥɭ, Ɉɤɨ ɢ ɭɯɨ, Ⱦɢɮɪɟɧ ɢɫɬɪɚɠɭʁɟ ɢɡɜɨɪɧɨ ɟɫɬɟɬɫɤɨ ɭ ʁɟɞɧɨɦ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ɩɨɞɪɭɱʁɭ – ɭ ɩɨʂɭ ɢɡɜɨɪɧɟ ɩɥɭɪɚɥɧɨɫɬɢ ɱɭɥɚ, ɬɟ ɭ ɫɢɧɟɫɬɟɡɢʁɫɤɢɦ ɩɨʁɚɜɚɦɚ ɨɤɚ ɢ ɭɯɚ. Ɍɚɤɨ ɫɟ ɨɧ ɡɚɩɪɚɜɨ ɧɚɲɚɨ ɧɚ ɥɢɧɢʁɢ ɬɪɚɞɢɰɢɨɧɚɥɧɢɯ ɮɟɧɨɦɟɧɨɥɨɲɤɢɯ ɢɫɬɪɚɠɢɜɚʃɚ ɫɜɟɬɚ ɱɭɥɧɨɝ ɞɨɠɢɜʂɚɜɚʃɚ, ɨɫɟʄɚʃɚ ɢ ɨɩɚɠɚʃɚ Ɇɚɤɫɚ ɒɟɥɟɪɚ (Max Ferdinand Scheler), „ɞɭɯɨɜɧɟ ɟɫɬɟɡɢɨɥɨɝɢʁɟ” ɢ ɩɪɨɛɥɟɦɚ „ʁɟɞɢɧɫɬɜɚ ɱɭɥâ” ɏɟɥɦɭɬɚ ɉɥɟɫɧɟɪɚ (Helmuth Plessner) ɢ „ɮɟɧɨɦɟɧɨɥɨɝɢʁɟ ɩɟɪɰɟɩɰɢʁɟ” Ɇɨɪɢɫɚ Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ, ɬɟ „ɫɦɢɫɥɚ ɱɭɥɚ” ȿɪɜɢɧɚ ɒɬɪɚɭɫɚ (Erwin Straus) ɢ „ɟɫɬɟɬɢɤɟ” ɤɨʁɭ ʁɟ ɉɨɥ ȼɚɥɟɪɢ ɪɚɡɥɢɤɨɜɚɨ ɤɚɨ ɞɢɫɰɢɩɥɢɧɭ ɨɞ „ɩɨʁɟɬɢɤɟ”, ɚ ɭ ɫɚɝɥɚɫɧɨɫɬɢ ɫɚ ɟɫɬɟɬɢɱɤɢɦ ɞɢɫɤɭɪɫɨɦ ȿɬʁɟɧɚ ɋɭɪɢɨɚ. ɉɨɱɟɬɤɟ Ⱦɢɮɪɟɧɨɜɢɯ „ɢɫɬɪɚɠɢɜɚʃɚ ɢɡɜɨɪɧɨɝ” ɦɨɠɟɦɨ ɩɪɚɬɢɬɢ ɨɞ ʃɟɝɨɜɨɝ ɞɟɥɚ ɉɨʁɚɦ a priori (La notion d’a priori), ɨɛʁɚɜʂɟɧɨɝ 1959. ɝɨɞɢɧɟ,64 ɭ ɤɨʁɟɦ ɚɭɬɨɪ ɨɫɬɚɜʂɚ ɨɬɜɨɪɟɧ ɡɚɞɚɬɚɤ ɞɚ ɭ ɩɟɪɫɩɟɤɬɢɜɢ „ɩɨɩɢɲɟ ɦɨɞɭɫɟ a priori-ɚ”. Ɍɨ ʄɟ ɢ ɪɟɚɥɢɡɨɜɚɬɢ ɞɜɟ ɞɟɰɟɧɢʁɟ ɤɚɫɧɢʁɟ ɭ ɤʃɢɡɢ ɩɨɞ ɧɚɡɢɜɨɦ ɂɧɜɟɧɬɚɪ a priori-ɚ (L’inventaire des a priori, 1981) ɤɨʁɚ ɫɟ ɫɢɫɬɟɦɚɬɫɤɢ ɜɪɚʄɚ ɧɚ ɩɪɜɭ, „ɝɨɜɨɪɟʄɢ ɢɫɬɢɦ ʁɟɡɢɤɨɦ”. Ɂɚ Ⱦɢɮɪɟɧɚ, a priori ɩɪɟɞɫɬɚɜʂɚ ɨɧɨ ɲɬɨ ɩɨɫɬɨʁɢ ɩɪɟ ɢɫɤɭɫɬɜɚ, ɚ ɬɨ ɲɬɨ ɩɨɫɬɨʁɢ ɩɪɟ ʁɟɫɬɟ „ɩɪɢɪɨɞɚ”, ɨɞɧɨɫɧɨ, „ɢɞɟʁɚ ɩɪɢɪɨɞɟ” ɤɨʁɚ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɨɦɨɝɭʄɭʁɟ ɞɚ ɦɢɫɥɢɦɨ „ɩɪɟ-ɢɫɬɨɪɢʁɭ ɛɢʄɚ, ɤɚɞɚ ɫɟ ʁɨɲ ɭɜɟɤ ɧɟ ɪɚɡɥɭɱɭʁɟ ɛɢʄɟ ɢ ɫɚɡɧɚʃɟ”; ɞɪɭɝɢɦ ɪɟɱɢɦɚ, ɨɧ ɜɢɞɢ „ɭɤɨɪɟʃɟʃe a priori-ɚ ɭ ɩɪɢɪɨɞɢ”.65 Ɇɟђɭɬɢɦ, ɛɭɞɭʄɢ ɞɚ ɫɟ ɭ ɤɨɧɬɟɤɫɬɭ „ɭɤɨɪɟʃɟʃe a priori-ɚ ɭ ɩɪɢɪɨɞɢ” ɧɟ ɦɨɠɟ ɤɨɧɰɟɩɬɭɚɥɢɡɨɜɚɬɢ ɫɬɚʃɟ ɩɪɜɨɛɢɬɧɟ ɧɟɪɚɡɥɭɱɢɜɨɫɬɢ ɫɭɛʁɟɤɬɚ ɨɞ ɨɛʁɟɤɬɚ, Ⱦɢɮɪɟɧ ɧɚ ɩɪɢɪɨɞɭ ɝɥɟɞɚ ɤɚɨ ɧɚ ʁɟɞɧɭ „ɝɪɚɧɢɱɧɭ ɢɞɟʁɭ”. Ɂɚɩɪɚɜɨ, ɩɪɢɪɨɞɚ ɢɝɪɚ ɦɟɬɚɮɢɡɢɱɤɭ ɭɥɨɝɭ ɧɟɞɨɤɭɱɢɜɟ ɬɨɬɚɥɧɨɫɬɢ ɧɚ ɫɚɦɨʁ ɝɪɚɧɢɰɢ ɧɚɲɟɝ ɢɫɬɨɪɢʁɫɤɨɝ ɨɩɫɬɚɧɤɚ, ɚ ɭ ɬɨɦ ɤɨɧɬɟɤɫɬɭ ɢ „ɟɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ” ɩɪɟɞɫɬɚɜʂɚ ʁɟɞɧɨ ɦɟɬɚɮɢɡɢɱɤɨ ɢɫɤɭɫɬɜɨ par excellence, ɢɫɤɨɧɫɤɨ ɢɫɤɭɫɬɜɨ ɫɜɟɬɚ ɤɨʁɟ ɫʁɟɞɢʃɭʁɟ ɨɛʁɟɤɚɬ ɢ ɫɜɟɫɬ ɤɨʁɚ ɝɚ ʁɟ „ɭɡɟɥɚ ɧɚ ɧɢɲɚɧ”, ɫɜɟɞɨɱɟʄɢ ɨ ɫɨɥɢɞɚɪɧɨɫɬɢ ɢɫɤɭɫɬɜɚ ɢ ɨɧɨɝ ɲɬɨ ɨɧɨ ɩɪɟɞɫɬɚɜʂɚ, ɨ ɫɬɚɜɭ ɢ ʃɟɝɨɜɨɦ ɨɛʁɟɤɬɭ. Ɍɚɤɨ ɱɨɜɟɤ ɤɚɨ ɱɭɥɧɨ, ɬɟɥɟɫɧɨ ɢ ɞɭɯɨɜɧɨ ɛɢʄɟ, ɨɞɧɨɫɧɨ, homo aestheticus ɤɚɤɨ ɝɚ ɧɚɡɢɜɚ Ⱦɢɮɪɟɧ, ɮɢɥɨɡɨɮɫɤɢ „ɞɨɡɢɜɚ ɉɪɢɪɨɞɭ” ɤɚɨ ɟɫɬɟɬɫɤɢ 64 Mikel Dufrenne, La notion d’a priori (Paris: PUF, 1959). 65 Mikel Dufrenne, L’inventaire des a priori. Recherche de l’originaire (Paris: Chr. Bourgois ed., 1981), 13. 33 ɞɨɫɬɭɩɧɭ ɬɨɬɚɥɧɨɫɬ – ɩɪɜɨɛɢɬɧɭ ɩɨ ɜɪɟɦɟɧɭ ɢ ɩɨ ɛɢʄɭ.66 Ɇɟђɭɬɢɦ, ɨɜɞɟ ɫɟ ɩɨɫɬɚɜʂɚ ɩɢɬɚʃɟ ɞɚ ɥɢ ʁɟ ɨɧɨ ɢɡɜɨɪɧɨ ɡɚ ɱɨɜɟɤɚ ɧɟɲɬɨ ɢɦɚ ɩɫɢɯɨɥɨɲɤɭ ɞɢɦɟɧɡɢʁɭ ɢɥɢ ɩɚɤ ɢɦɚ ɨɧɬɨɥɨɲɤɨ ɡɧɚɱɟʃɟ, ɢ „ɲɬɚ ʁɟ ɬɭ ɦɟɬɚɮɨɪɚ ɨɧɨɝ ɞɪɭɝɨɝ”. ɉɨ Ⱦɢɮɪɟɧɨɜɨɦ ɦɢɲʂɟʃɭ, „ɨɧɨ ɧɟɩɨɫɪɟɞɧɨ ɫɟ ɦɨɠɟ ɩɨɧɨɜɨ ɨɫɜɨʁɢɬɢ, ɚ ɢɡɜɨɪɧɨ ɩɨɧɨɜɨ ɧɚʄɢ, [ɨɞɧɨɫɧɨ], ɚɤɨ ʁɟ ɧɟɞɨɫɬɭɩɧɨ ɦɨɠɟ ɦɭ ɫɟ ɩɪɢɛɥɢɠɢɬɢ”; ɭ ɬɨɦ ɫɦɢɫɥɭ, „ɭɦɟɬɧɨɫɬɢ [...] ɢ ɠɢɜɟ ɞɚ ɛɢ ɨɛɚɜɢɥɟ ɬɨ ɤɪɟɬɚʃɟ, ɬɨ ʁɟɫɬ, ɞɚ ɛɢ ɩɨɧɨɜɨ ɩɪɨɧɚɲɥɟ ɢɡɜɨɪɧɨɫɬ”,67 ɬɟ ɬɚɤɨ ‘ɯɢɩɨɫɬɚɡɢɪɚɧɟ’ ɩɨɧɨɜɨ ɜɪɚɬɢɥɟ ɢ ɫɚɦɨɝ ɮɢɥɨɡɨɮɚ ɧɚ ɩɭɬ ɮɟɧɨɦɟɧɨɥɨɝɢʁɟ. ɍ ɨɜɨɦ ɬɪɟɧɭɬɤɭ ɱɢɧɢ ɫɟ ɧɟɨɩɯɨɞɧɢɦ ɢɡɞɜɨʁɢɬɢ ʁɨɲ ʁɟɞɚɧ ɤɨɧɰɟɩɬ ɤɨʁɢ, ɫɦɚɬɪɚɦ, ɩɪɟɞɫɬɚɜʂɚ ɫɬɨɠɟɪ ɞɢɮɪɟɧɨɜɫɤɟ ɟɫɬɟɬɢɤɟ. Ɋɟɱ ʁɟ, ɧɚɢɦɟ, ɨ ɤɨɧɰɟɩɬɭ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ” ɤɨʁɢ, ɢɡ ʁɟɞɧɨɝ ɞɪɭɝɚɱɢʁɟɝ ɭɝɥɚ, ɩɪɨɛɥɟɦɚɬɢɡɭʁɟ ɫɭɲɬɢɧɭ „ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ”. ɇɚɢɦɟ, Ɏɟɧɨɦɟɧɨɥɨɝɢʁɚ ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ ɩɨɱɢʃɟ „ɮɟɧɨɦɟɧɨɥɨɝɢʁɨɦ ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ” ɤɨʁɢ ʁɟ ɞɟɮɢɧɢɫɚɧ ɤɚɨ „ɨɛʁɟɤɚɬ ɤɨʁɢ ɫɟ ɟɫɬɟɬɫɤɢ ɨɩɚɠɚ, ɨɞɧɨɫɧɨ, ɤɨʁɢ ɫɟ ɨɩɚɠɚ ɤɚɨ ɟɫɬɟɬɫɤɢ”68. ɍ ɬɨɦ ɫɦɢɫɥɭ, „ɟɫɬɟɬɫɤɚ ɩɟɪɰɟɩɰɢʁɚ ɫɬɜɚɪɚ ɬɟɦɟʂ ɡɚ ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɚɬ – ɨɧɚ ɝɚ ɧɚ ɧɟɤɢ ɧɚɱɢɧ ɞɨɜɪɲɚɜɚ [ɜɟɪɧɨ ɝɚ ɨɩɚɠɚ], ɚɥɢ ɝɚ ɧɟ ɫɬɜɚɪɚ”69. ɍɩɭʄɭʁɭʄɢ ɩɨɧɨɜɨ ɧɚ ɩɟɪɰɟɩɰɢʁɭ ‒ „ɟɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ ʁɟ ɩɟɪɰɟɩɬɢɜɧɨ ɢɫɤɭɫɬɜɨ”, ɚ „ɟɫɬɟɬɫɤɚ ɩɟɪɰɟɩɰɢʁɚ, ɩɟɪɰɟɩɰɢʁɚ par excellence, ɱɢɫɬɚ ɩɟɪɰɟɩɰɢʁɚ ɤɨʁɚ ɧɟɦɚ ɧɢɤɚɤɚɜ ɞɪɭɝɢ ɰɢʂ ɨɫɢɦ ɫɜɨɝ ɫɨɩɫɬɜɟɧɨɝ ɨɛʁɟɤɬɚ” ‒ Ⱦɢɮɪɟɧ ɞɟɮɢɧɢɲɟ ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɬ ɤɚɨ ɨɛʁɟɤɬ ɤɨʁɢ „ɧɟ ɬɪɚɠɢ ɧɢɲɬɚ ɨɞ ɦɟɧɟ ɢ ɧɟ ɨɞɪɟђɭʁɟ ɦɢ ɧɢɲɬɚ, ɨɫɢɦ ɞɚ ɩɟɪɰɢɩɢɪɚɦ ɢ ɨɬɜɨɪɢɦ ɫɟ ɩɪɟɦɚ ɱɭɥɧɨɫɬɢ”.70 Ɍɚɤɨ ɩɨɫɥɟɞɢɱɧɨ, ɮɨɪɦɚ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ” ʁɟɫɬɟ ʃɟɝɨɜɚ ɢɦɚɧɟɧɬɧɚ ɱɭɥɧɨɫɬ ‒ „ɫɚɦɚ ɫɭɩɫɬɚɧɰɚ ɞɟɥɚ ʁɟ ɱɭɥɧɨɫɬ ɞɚɬɚ ɭ ɩɪɢɫɭɫɬɜɭ”, ɚ „ɨɧɨ ɲɬɨ ɫɚɨɩɲɬɚɜɚ ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɬ, ɨɧ ɬɨ ɫɚɨɩɲɬɚɜɚ ɫɜɨʁɢɦ ɩɪɢɫɭɫɬɜɨɦ, ɭ ɫɚɦɨɦ ɨɤɪɢʂɭ ɨɩɚɠɟɧɨɝ”.71 ɍ ɨɜɨɦ ɤɨɧɬɟɤɫɬɭ, ɦɨɝɭʄɟ ʁɟ ɪɚɡɭɦɟɬɢ ɢ ɭɦɟɬɧɢɱɤɨ ɞɟɥɨ, ɬɨ ʁɟɫɬ, ɛɢʄɟ ɭɦɟɬɧɢɱɤɨɝ ɞɟɥɚ ɤɚɨ ɧɟɲɬɨ ɲɬɨ ɫɟ, ɩɪɟɦɚ 66 ɍɩɨɪɟɞɢɬɢ ɫɚ: Milan Damnjanović, „Estetičareve oči i uši”, ɧɚɜ. ɞɟɥɨ, 14‒15. 67 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 19. 68 Mikel Dufrenne, Phénomenologie de l’expérience esthétique (Paris: PUF, 1953), 9. 69 ɂɫɬɨ, 9. 70 ɂɫɬɨ, 25, 127. 71 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 41‒44. 34 ɦɢɲʂɟʃɭ ɮɪɚɧɰɭɫɤɨɝ ɟɫɬɟɬɢɱɚɪɚ, „ɩɨɦɚʂɚ ɫɚɦɨ ɭɡ ɩɪɢɫɭɫɬɜɨ ɱɭɥɧɨɫɬɢ ɤɨʁɚ ɦɭ ɨɦɨɝɭʄɚɜɚ ɞɚ ɛɭɞɟ ɫɯɜɚʄɟɧɨ ɤɚɨ ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɬ”.72 Ʉɚɨ ʁɟɞɧɭ ɨɞ ɤʂɭɱɧɢɯ ɤɚɪɚɤɬɟɪɢɫɬɢɤɚ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ” Ⱦɢɮɪɟɧ ɢɡɞɜɚʁɚ ɟɤɫɩɪɟɫɢɜɧɨɫɬ, ɤɨʁɚ ɢɦɚ ɜɪɟɞɧɨɫɬ ɩɨ ɫɟɛɢ, ɚ ɡɚɯɜɚʂɭʁɭʄɢ ɤɨʁɨʁ ɫɟ „ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɚɬ”, ɝɨɬɨɜɨ ɧɚ ɧɚɱɢɧ „ɤɜɚɡɢ-ɫɭɛʁɟɤɬɚ”, ɩɪɢɛɥɢɠɚɜɚ (ɪɟɚɥɧɨɦ) ɫɭɛʁɟɤɬɭ ɤɨʁɢ ɩɟɪɰɢɩɢɪɚ. Ɍɚɤɨ, ɩɨɦɟɧɭɬɢ ɨɛʁɟɤɚɬ ɨɬɤɪɢɜɚ ɩɨɫɬɨʁɚʃɟ ɱɢɬɚɜɨɝ ʁɟɞɧɨɝ ɭɧɢɜɟɪɡɭɦɚ ɭɧɭɬɚɪ ɫɟɛɟ ɫɚɦɨɝ ‒ „ɨɧ ʁɟ ɛɪɟɦɟɧɢɬ ʁɟɞɧɢɦ ɫɜɨʁɢɦ ɭɧɭɬɪɚɲʃɢɦ ɫɜɟɬɨɦ”‒ ɤɨʁɢ, ɛɢɜɚʁɭʄɢ ɭ ɫɜɟɬɭ, ɜɪɲɢ ʃɟɝɨɜ ɩɪɟɨɛɪɚɠɚʁ ɢ ɟɫɬɟɬɢɡɭʁɟ ɝɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, „ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɚɬ”, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɫɩɪɨɜɨɞɢ ɜɪɯɨɜɧɢ ɢɦɩɟɪɢʁɚɥɢɡɚɦ: ɨɧ ɢɪɟɚɥɢɡɭʁɟ ɪɟɚɥɧɨɫɬ, ɟɫɬɟɬɢɡɭʁɭʄɢ ʁɟ.73 ɋɜɨʁɟɜɪɫɬɚɧ ɩɚɧɞɚɧ ɨɜɟ ɨɫɨɛɢɧɟ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ” ɧɚ ɫɬɪɚɧɢ ɫɭɛʁɟɤɬɚ ʁɟɫɬɟ „ɨɫɟʄɚʃɟ” – ɫɩɟɰɢɮɢɱɚɧ ɜɢɞ ɪɚɡɭɦɟɜɚʃɚ ɢɫɤɚɡɚɧɨɝ ɫɜɟɬɚ ɨɞ ɫɬɪɚɧɟ ɫɭɛʁɟɤɬɚ. Ɍɨ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨ ɪɚɡɭɦɟɜɚʃɟ ɪɟɡɭɥɬɚɬ ʁɟ ɞɟʁɫɬɜɚ, ɢɥɢ ɦɨɠɞɚ ɩɪɟɰɢɡɧɢʁɟ ɪɟɱɟɧɨ, ɭɬɢɫɤɚ ɤɨʁɢ „ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɚɬ” ɨɫɬɚɜʂɚ ɧɚ ɨɧɨɝ ɤɨʁɢ ɝɚ ɨɩɚɠɚ; ɚ ɭɬɢɫɚɤ ɩɪɨɢɡɥɚɡɢ, ɤɚɤɨ Ⱦɢɮɪɟɧ ɢɫɬɢɱɟ, ɢɡ ɧɟɤɚɤɜɢɯ ɨɫɨɛɢɧɚ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ” ɤɨʁɟ ɞɢɫɤɭɪɫ ɧɟ ɦɨɠɟ ɞɚ ɩɪɟɜɟɞɟ, ɚɥɢ ɤɨʁɟ ɫɟ ɩɪɟɧɨɫɟ ɛɭђɟʃɟɦ ɨɫɟʄɚʃɚ ɤɨɞ ɫɭɛʁɟɤɬɚ. ɍɩɪɚɜɨ ɧɚ ɨɜɨɦ ɦɟɫɬɭ Ⱦɢɮɪɟɧ ɚɪɬɢɤɭɥɢɲɟ ʁɟɞɚɧ ɮɢɥɨɡɨɮɫɤɢ ɩɪɟɥɚɡ ɨɞ ɞɢɪɟɤɬɧɨɝ ɪɚɡɭɦɟɜɚʃɚ ɨɫɟʄɚʃɚ ɤɚ ɡɚɯɬɟɜɭ ɡɚ ɡɧɚʃɟɦ ɢ ɢɫɬɢɧɨɦ. Ɍɚʁ ɩɪɟɥɚɡ ɫɟ, ɦɟђɭɬɢɦ, ɧɟ ɨɞɢɝɪɚɜɚ ɭ ɨɧɬɨɥɨɲɤɨʁ ɞɟɬɟɪɦɢɧɢɫɚɧɨɫɬɢ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ”: ɫɚɦɨ ɧɚɫ „ɨɛɢɱɚɧ ɨɛʁɟɤɚɬ ɩɨɡɢɜɚ ɞɚ ɢɡɚђɟɦɨ ɢɡ ɩɟɪɰɟɩɰɢʁɟ”, ɞɨɤ ɧɚɫ „ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɬ ɭ ʃɭ ɧɟɩɨɛɟɞɢɜɨ ɜɪɚʄɚ” ‒ „ɛɢʄɟ ɬɨɝ ɨɛʁɟɤɬɚ ʁɟ ɨɫɭђɟɧɨ ɧɚ ɩɟɪɰɟɩɰɢʁɭ”.74 Ʉɚɨ ɪɟɡɭɥɬɚɬ ɬɨɝɚ, ɭ ɫɭɛʁɟɤɬɭ ɨɞʁɟɤɭʁɟ ɱɭɥɧɨɫɬ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ”, ɚ ɨɧ (ɫɭɛʁɟɤɬ) ɧɟ ɦɨɠɟ ɩɨɫɬɚɬɢ ɧɢɲɬɚ ɞɪɭɝɨ ɨɫɢɦ ɦɟɫɬɚ ʃɟɧɟ ɩɨʁɚɜɧɨɫɬɢ ɢ ɟɯɨ ʃɟɧɟ ɫɧɚɝɟ. Ƚɨɬɨɜɨ ɨɬɭђɟɧ, ɫɭɛʁɟɤɬ ɩɪɟɞɫɬɚɜʂɚ, ɩɨ Ⱦɢɮɪɧɨɜɨɦ ɦɢɲʂɟʃɭ, ɫɚɦɨ ɢɧɫɬɪɭɦɟɧɬ ɩɟɪɰɩɟɬɢɜɧɨɝ ɞɨɝɚђɚʁɚ ɤɨʁɢɦ ‘ɤɨɦɚɧɞɭʁɟ’ ɨɛʁɟɤɚɬ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɢ ɟɫɬɟɬɫɤɚ ɩɟɪɰɟɩɰɢʁɚ, ɭɤɨɥɢɤɨ ɢ ʁɟɫɬɟ ɫɩɟɰɢɮɢɱɚɧ ɜɢɞ ɪɚɡɭɦɟɜɚʃɚ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ” – ɞɚɤɥɟ, ɭɤɨɥɢɤɨ ɩɟɪɰɟɩɰɢʁɚ ʁɟɫɬɟ ɨɫɟʄɚʃɟ, ɨɧɚ ʁɟ, ɡɚɩɪɚɜɨ, ɚɥɢʁɟɧɚɰɢʁɚ ɫɭɛʁɟɤɬɚ, ʁɟɪ, 72 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 79. 73 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 200‒207. 74 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 285‒287. 35 „ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɚɬ ɫɟ ɤɨɧɫɬɢɬɭɢɲɟ ɭ ɧɚɦɚ ɫɚɦɢɦɚ ɭ ɬɪɟɧɭɬɤɭ ɤɚɞɚ ɝɚ ɭɝɥɟɞɚɦɨ; ɦɢ ɝɚ ɧɟ ɝɥɟɞɚɦɨ ɩɨɫɬɚɜʂɚʁɭʄɢ ɝɚ ɢɡɜɚɧ ɫɟɛɟ, ɧɟɝɨ ɦɭ ɫɟ ɩɨɫɜɟʄɭʁɟɦɨ ɭ ɫɟɛɢ”.75 „ȿɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ” ʁɟ ɫɥɨɠɟɧ ɩɪɨɰɟɫ ɤɨʁɢ ɡɚɯɬɟɜɚ ɜɪɟɦɟ; ɨɧɨ ʁɟ, ɦɟɬɚɮɨɪɢɱɤɢ ɪɟɱɧɨ, ɩɭɬɨɜɚʃɟ ɤɨʁɟ ɩɨɱɢʃɟ ɟɫɬɟɬɫɤɨɦ ɩɟɪɰɟɩɰɢʁɨɦ ɤɨʁɚ ɫɬɜɚɪɚ ɬɟɦɟʂ ɡɚ „ɟɫɬɟɬɫɤɢ ɨɛʁɟɤɚɬ”. „ȿɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ” ɫɟ ɡɚ ɨɧɨɝ ɤɨ ɩɟɪɰɢɩɢɪɚ ɢ ɤɨ ɢɦɚ ɡɚ ɰɢʂ ɫɬɢɰɚʃɟ ɡɧɚʃɚ ɨ ɨɛʁɟɤɬɭ ɢ ʃɟɝɨɜɨʁ ɱɭɥɧɨɫɬɢ ɞɚʁɟ ɭ ɨɛɥɢɤɭ ɨɫɟʄɚʃɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, „ɟɫɬɟɬɫɤɨ ɢɫɤɭɫɬɜɨ” ʁɟ ɩɨɡɢɜ ɫɚɦɨɝ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ” ɧɚ ɪɚɡɦɢɲʂɚʃɟ. Ȼɭɞɭʄɢ ɞɚ ʁɟ ɩɪɢɥɢɱɧɨ ɤɨɯɟɪɟɧɬɚɧ ɢ ɚɭɬɨɧɨɦɚɧ ɮɟɧɨɦɟɧ, ɬɟ ɞɚ ɧɟ ɩɨɥɚɠɟ ɩɪɚɜɨ ɧɚ ɨɛʁɟɤɬɢɜɧɨ ɡɧɚʃɟ, ɚ ɧɢ ɨɫɟʄɚʃɟ, ɨɧɞɚ ɫɟ ɧɢ ɪɚɡɦɢɲʂɚʃɟ ɨ ʃɟɦɭ („ɟɫɬɟɬɫɤɨɦ ɨɛʁɟɤɬɭ”) ɧɟ ɦɨɠɟ ɢɫɰɪɩɟɬɢ ɨɛʁɟɤɬɢɜɧɢɦ ɡɧɚʃɟɦ ɢ ɨɫɟʄɚʃɟɦ. Ɍɚɤɨ, ɨɞɧɨɫ ɤɨʁɢ ɧɚɫɬɚʁɟ ɢɡɦɟђɭ „ɟɫɬɟɬɫɤɨɝ ɨɛʁɟɤɬɚ” ɢ ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ ɡɧɚɬɧɨ ʁɟ ‘ɩɪɢɫɧɢʁɢ’. Ɍɚʁ ɨɞɧɨɫ ɪɚђɚ ɪɚɡɥɢɱɢɬɟ ɦɨɞɚɥɢɬɟɬɟ „ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ” ɤɨʁɢ ɫɭ ɨɞɪɟђɟɧɢ ɤɨɧɬɟɦɩɥɚɰɢʁɨɦ ɧɚɞ „ɟɫɬɟɬɫɤɢɦ ɨɛʁɟɤɬɨɦ”. ɇɨ, Ⱦɢɮɪɟɧɨɜ ɰɢʂ ɧɢʁɟ ɞɚ ɫɩɪɨɜɟɞɟ ɚɧɚɥɢɡɭ ɤɨɧɰɟɩɬɚ ɤɨɧɬɟɦɩɥɚɰɢʁɟ, ɜɟʄ ɞɚ ɭɱɢɧɢ ɜɢɞʂɢɜɢɦ ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɟɫɬɟɬɫɤɢ ɨɞɧɨɫ ɩɨɤɚɡɭʁɟ ɩɪɜɨɛɢɬɧɢ ɨɞɧɨɫ ɤɨʁɢ ɩɨɜɟɡɭʁɟ ɱɭɥɚ ɫɚ ɫɜɟɬɨɦ ɱɢʁɢ ʁɟ ɫɭɛʁɟɤɬ ɱɨɜɟɤ. Ɂɚ ɫɩɪɨɜɨђɟʃɟ ɬɨɝ ɰɢʂɚ, ɨɧ ɫɦɚɬɪɚ ɞɚ ʁɟɞɢɧɨ ɮɟɧɨɦɟɧɨɥɨɲɤɢ ɦɟɬɨɞ ɦɨɠɟ ɩɪɢɛɥɢɠɢɬɢ ɬɚʁ ɧɨɟɬɢɱɤɨ-ɧɨɟɦɚɬɫɤɢ ɨɞɧɨɫ76 ɢ ɨɬɤɪɢɬɢ ɫɩɟɰɢɮɢɱɧɭ ɢɧɬɟɧɰɢɨɧɚɥɧɨɫɬ ɤɨʁɚ ɩɨɫɬɨʁɢ ɭ ɩɨɦɟɧɭɬɨʁ ɤɨɧɬɟɦɩɥɚɰɢʁɢ. Ⱦɚɤɥɟ, ɭ ɫɜɨɦ ɮɟɧɨɦɟɧɨɥɨɲɤɨ-ɟɫɬɟɬɢɱɤɨɦ ɩɪɢɫɬɭɩɭ Ⱦɢɮɪɟɧ ɩɪɚɜɢ ɨɬɤɥɨɧ ɨɞ ɤɚɧɬɨɜɫɤɨɝ ɤɨɧɬɟɤɫɬɚ ɢɧɬɟɪɩɪɟɬɚɰɢʁɟ – ɭ ɤɨɦ ʁɟ ɨɛʁɟɤɚɬ (ɛɟɡ ɢɤɚɤɜɨɝ ɦɨɝɭʄɟɝ ɨɛʁɚɲʃɟʃɚ) ɩɪɢɥɢɤɚ ɡɚ ɩɨʁɟɞɢɧɰɚ ɞɚ ɛɭɞɟ ɱɭɥɧɨ ɛɢʄɟ ɭ ɨɤɨɥɧɨɫɬɢɦɚ ɡɚɞɨɜɨʂɫɬɜɚ ɢɥɢ ɧɟɡɚɞɨɜɨʂɫɬɚ ɡɛɨɝ ɨɫɟʄɚʃɚ ɤɨʁɚ ɞɨɠɢɜʂɚɜɚ ɩɟɪɰɢɩɢɪɚʁɭʄɢ ɬɚʁ ɨɛʁɟɤɚɬ – ɢ ɤɪɟʄɟ ɫɟ ɭ ɩɪɚɜɰɭ ɚɧɚɥɢɡɟ ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ. Ɍɨ ɢɫɤɭɫɬɜɨ ɫɟ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɞɨɝɚђɚ ɡɛɨɝ ɱɢʃɟɧɢɰɟ ɞɚ ɩɨɫɬɨʁɢ ʁɟɞɚɧ ɩɪɢɜɢɥɟɝɨɜɚɧɢ ɨɛʁɟɤɚɬ ɢ ɫɭɛʁɟɤɬ ɫɩɨɫɨɛɚɧ ɞɚ ɦɭ ‘ɨɞɝɨɜɨɪɢ’. Ɍɚɤɜɨ, ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨ ɢɫɤɭɫɬɜɨ ɨɬɤɪɢɜɚ ɢɫɬɨ ɬɨɥɢɤɨ ɫɜɨʁɫɬɜɚ ɨɛʁɟɤɬɚ ɤɨɥɢɤɨ ɢ ɤɚɪɚɤɬɟɪɢɫɬɢɤɟ ɫɭɛʁɟɤɬɚ, ɬɟ ʃɟɝɨɜɟ ɩɟɪɰɩɟɰɢʁɟ. ɍ ɬɨɦ ɫɦɢɫɥɭ, Ⱦɢɮɪɟɧ ɧɚɜɨɞɢ ɞɚ ʁɟ ɡɚ ɫɜɚɤɢ ɚɫɩɟɤɬ ɨɛʁɟɤɬɚ ɦɨɝɭʄɟ ɩɪɨɧɚʄɢ ɩɨ ʁɟɞɧɨ 75 ɂɫɬɨ, 296. 76 ɇɨɟɡɚ ɩɪɟɞɫɬɚɜʂɚ ɱɢɧ ɢɧɬɟɧɰɢɨɧɚɥɧɨɫɬɢ ɫɜɟɫɬɢ ɢɥɢ ɞɨɠɢɜʂɚʁɚ ɭ ɤɨʁɟɦ ɫɟ ɩɨ ɮɟɧɨɦɟɧɨɥɨɲɤɨʁ ɮɢɥɨɡɨɮɢʁɢ ɨɫɜɟɲʄɭʁɭ ɱɭɥɧɢ ɫɚɞɪɠɚʁɢ, ɡɧɚɱɟʃɚ ɢɥɢ ɛɢɬɧɨɫɬɢ; ɨɧɚ ɩɪɟɞɫɬɚɜʂɚ ɱɢɧ ɨɞɜɢʁɚʃɚ ɦɢɫɥɢ. ɇɨɟɦɚ ɨɡɧɚɱɚɜɚ ɨɧɨ ɲɬɨ ʁɟ ɦɢɲʂɟɧɨ, ɞɚɤɥɟ, ɝɪɚђɭ, ɫɚɞɪɠɚʁ ɢ ɫɦɢɫɚɨ ɦɢɫɥɢ. 36 ɩɟɪɰɟɩɬɢɜɧɨ ɫɜɨʁɫɬɜɨ. Ɍɚɤɨ, ɩɚɧɞɚɧ ɱɭɥɧɨɦ ɨɛʁɟɤɬɭ ʁɟɫɬɟ ɩɪɢɫɭɫɬɜɨ, ɩɪɟɞɫɬɚɜʂɟɧɨɦ ɨɛʁɟɤɬɭ – ɩɪɟɞɫɬɚɜʂɚʃɟ, ɚ ɢɡɪɚɠɟɧɨɦ ɫɜɟɬɭ – ɨɫɟʄɚʃɟ. ȿɫɬɟɬɫɤɚ ɩɟɪɰɟɩɟɰɢʁɚ ɩɪɟɥɚɡɢ ɩɭɬ ɨɞ ɩɪɢɫɭɫɬɜɚ ɞɨ ɩɪɟɞɫɬɚɜʂɚʃɚ ɢ ɤɭɥɦɢɧɢɪɚ ɭ ɨɫɟʄɚʃɭ ɫɜɟɞɨɱɟʄɢ ɨ ɩɨɫɬɨʁɚʃɭ ɪɚɡɥɢɱɢɬɢɯ ɩɟɪɰɟɩɬɢɜɧɢɯ ɦɨɞɚɥɢɬɟɬɚ ɭɧɭɬɚɪ ʃɟ ɫɚɦɟ. Ɍɚʁ ɩɭɬ, ɨɞɧɨɫɧɨ, ɩɪɟɥɚɠɟʃɟ ɢɡ ʁɟɞɧɟ ɩɟɪɰɟɩɬɢɜɧɟ ɬɚɱɤɟ ɭ ɞɪɭɝɭ, Ⱦɢɮɪɟɧ ɧɟɤɚɞ ɨɩɢɫɭʁɟ ɬɟɪɦɢɧɨɦ „ɨɫɰɢɥɚɰɢʁɚ”, ɚ ɧɟɤɚɞ ɬɟɪɦɢɧɨɦ „ɞɢʁɚɥɟɤɬɢɤɚ”. ɍ ɤɨɧɬɟɤɫɬɭ ɩɪɜɟ ɩɟɪɰɟɩɬɢɜɧɟ ɬɚɱɤɟ – ɩɪɢɫɭɫɬɜɚ, ɨɫɬɚʁɟɦɨ, ɫɦɚɬɪɚ ɨɧ, ɧɚ ɟɝɡɢɫɬɟɧɰɢʁɚɥɧɨɦ ɩɥɚɧɭ ɩɟɪɰɟɩɰɢʁɟ ɝɞɟ ɫɟ ɪɟɚɥɢɡɭʁɟ ɩɪɢɫɭɫɬɜɨ ɫɜɟɬɚ.77 Ʉɨɪɚɤ ɞɚʂɟ ʁɟɫɬɟ ɩɟɪɰɟɩɬɢɜɧɢ ɦɨɞɚɥɢɬɟɬ ɩɪɟɞɫɬɚɜʂɚʃɚ; ɦɟђɭɬɢɦ, ɩɭɬ ɤɨʁɢɦ ɫɟ ɞɨ ʃɟɝɚ ɫɬɢɠɟ, ɭɤʂɭɱɭʁɟ ɪɚɡɭɦɟɜɚʃɟ ɨɧɨɝ ɲɬɨ ʁɟ ɞɨɠɢɜʂɟɧɨ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɚɥɢ ɢ ɧɚʁɜɢɲɢ ɨɛɥɢɤ ɫɩɨɡɧɚʁɟ – ɢɧɬɟɥɟɤɰɢʁɭ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ. Ʉɚɞɚ ʁɟ ɪɟɱ ɨ ɬɪɟʄɟɦ ɦɨɞɚɥɢɬɟɬɭ ɩɟɪɰɟɩɰɢʁɟ – ɨɫɟʄɚʃɭ, Ⱦɢɮɪɟɧ, ɡɚɩɪɚɜɨ, ɩɪɨɛɥɟɦɚɬɢɡɭʁɟ, ɞɜɚ ɪɚɡɥɢɱɢɬɚ ɩɪɢɫɬɭɩɚ ɨɫɟʄɚʃɭ: „ʁɟɞɚɧ ɤɨʁɢ ɛɢ ɧɚ ɢɡɜɟɫɬɚɧ ɧɚɱɢɧ ɟɤɨɧɨɦɢɫɚɨ ɩɪɟɞɫɬɚɜʂɚʃɟɦ ɢ ɪɚɡɦɢɲʂɚʃɟɦ ɢ ɞɪɭɝɢ, ɤɨʁɢ ɛɢ ɧɚɤɨɧ ɲɬɨ ɩɪɟђɟ ɬɭ ɟɬɚɩɭ, ɩɪɟɨɛɪɚɡɢɨ ɱɭɥɧɨ ɩɪɢɫɭɫɬɜɨ ɭ ɫɯɜɚʄɟɧɨ ɩɪɢɫɭɫɬɜɨ”.78 Ɏɟɧɨɦɟɧɨɥɨɲɤɢ ɩɪɢɫɬɭɩ ɡɚ ɤɨʁɢ ɫɟ ɨɩɪɟɞɟɥɢɨ Ⱦɢɮɪɟɧ, ɢɚɤɨ ɚɮɢɪɦɢɲɟ ɫɨɥɢɞɚɪɧɨɫɬ ɧɨɟɦɟ ɢ ɧɨɟɡɟ, ɢɩɚɤ, ɧɟ ɪɟɲɚɜɚ ɫɜɟ ɩɪɨɛɥɟɦɟ ɨɞɧɨɫɚ ɫɭɛʁɟɤɬɚ ɢ ɨɛʁɟɤɬɚ. ɇɚɢɦɟ, ɢɡɛɨɪɨɦ ɩɨɦɟɧɭɬɨɝ ɩɪɢɫɬɭɩɚ ɢ ɦɟɬɨɞɚ, ɨɧ ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ ɞɨɥɚɡɢ ɭ ɫɭɤɨɛ ɫɚ ɰɢɪɤɭɥɚɪɧɨɲʄɭ ɤɨʁɚ ɤɚɪɚɤɬɟɪɢɲɟ ɨɞɧɨɫ ɢɡɦɟђɭ ɫɭɛʁɟɤɬɚ ɢ ɨɛʁɟɤɬɚ, ɞɨɤ ɫɚ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɩɨɥɚɡɟʄɢ ɨɞ „ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ”, ɪɢɡɢɤɭʁɟ ɞɚ ɫɜɚɤɢ ɨɛʁɟɤɚɬ ɩɨɞɪɟɞɢ ɩɟɪɰɩɟɰɢʁɢ ɤɨʁɚ ɫɜɟ ɦɨɠɟ ɞɚ ɟɫɬɟɬɢɡɭʁɟ. Ɇɟђɭɬɢɦ, ɤɚɤɨ ɛɢ ɢɡɛɟɝɚɨ ɪɟɥɚɬɢɜɢɡɚɦ ɤɨʁɢ ɭɩɪɚɜɨ ɢɞɟ ɤɚ ɬɨɦɟ ɞɚ ɫɜɚɤɢ ɨɛʁɟɤɚɬ ɩɨɫɬɚɧɟ ɟɫɬɟɬɫɤɢ ɫɚɦɨ ɡɚɬɨ ɲɬɨ ʁɟ ɟɫɬɟɬɢɡɨɜɚɧ ɟɫɬɟɬɫɤɢɦ ɢɫɤɭɫɬɜɨɦ, Ⱦɢɮɪɟɧ ɢɞɟ ɭ ɩɪɚɜɰɭ ɩɪɟɬɩɨɫɬɚɜɤɟ ɞɚ ʁɟ ɫɜɚɤɨ ɢɫɤɭɫɬɜɨ ɛɨʂɟ ɩɨɞɪɟɞɢɬɢ ɨɛʁɟɤɬɭ, ɧɟɝɨ ɨɛɪɧɭɬɨ, ɩɪɢ ɬɨɦɟ, ɞɟɮɢɧɢɲɭʄɢ ɫâɦ ɨɛʁɟɤɚɬ ɭɦɟɬɧɢɱɤɢɦ ɞɟɥɨɦ.79 ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɢ ɫɭɛʁɟɤɬ ɤɨʁɢ ‘ɢɧɬɟɪɟɫɭʁɟ’ Ⱦɢɮɪɟɧɚ ɧɢʁɟ ɬɪɚɧɫɰɟɧɞɟɧɬɚɥɧɢ ɫɭɛʁɟɤɬ, ɜɟʄ ɤɨɧɤɪɟɬɚɧ ɫɭɛʁɟɤɬ, ɭɦɟɬɧɢɤ ɢɥɢ ɩɨɫɦɚɬɪɚɱ, „ɫɩɨɫɨɛɚɧ ɞɚ ɨɞɪɠɚɜɚ ɠɢɜɚɯɧɭ ɜɟɡɭ ɫɚ ɫɜɟɬɨɦ”. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɤɨɞ Ⱦɟɛɢɫɢʁɚ ɩɪɟɩɨɡɧɚʁɟɦɨ ɬɭ 77 ɍɩɨɪɟɞɢɬɢ ɫɚ: Mikel Dufrenne, Phénomenologie..., ɧɚɜ. ɞɟɥɨ, 419‒422. 78 ɂɫɬɨ, 514. 79 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 8. 37 „ɠɟʂɭ”, ɢɥɢ ɦɨɠɞɚ ɛɨʂɟ ɪɟɱɟɧɨ ɩɨɬɪɟɛɭ, ɞɚ ɩɪɨɧɚђ ɬɚʁɚɧɫɬɜɟɧɟ ɜɟɡɟ („ɫɚɝɥɚɫʁɚ”, correspondances) ɢɡɦɟђɭ ɩɪɢɪɨɞɟ ɢ (ɭɦɟɬɧɢɱɤɟ) ɢɦɚɝɢɧɚɰɢʁɟ. Ɍɚɤɨ, ɧɚ ɩɪɢɦɟɪ, ɢɡ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ ɰɟɥɨɤɭɩɧɨɝ ɩɢɫɚɧɨɝ ɬɪɚɝɚ ɨ ɦɭɡɢɰɢ ɫɚɡɧɚʁɟɦɨ ɨ ʃɟɝɨɜɢɦ ɪɚɡɦɢɲʂɚʃɢɦɚ ɢ ɫɬɚɜɨɜɢɦɚ ɨ ɦɭɡɢɰɢ, ɩɪɢɪɨɞɢ ɢ ɢɧɬɭɢɰɢʁɢ. ɂɡ ɬɨɝɚ ɩɪɨɢɡɥɚɡɢ ɢ ɩɪɟɬɩɨɫɬɚɜɤɚ ɞɚ ʁɟ ɢɡɦɟђɭ Ⱦɟɛɢɫɢʁɟɜɢɯ ɟɫɬɟɬɢɱɤɨ-ɩɨɟɬɢɱɤɢɯ ɫɬɚɜɨɜɚ ɢ Ⱦɢɮɪɟɧɨɜɨɝ ɜɢђɟʃɚ ɭɦɟɬɧɨɫɬɢ ɦɨɝɭʄɟ ɫɬɚɜɢɬɢ ɡɧɚɤ ʁɟɞɧɚɤɨɫɬɢ, ɛɭɞɭɢ ɞɚ ɢ ʁɟɞɚɧ ɢ ɞɪɭɝɢ ɩɥɟɞɢɪɚʁɭ ɧɚ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ʁɟ ɡɚɫɧɨɜɚɧɚ ɧɚ ɢɦɚɝɢɧɚɬɢɜɧɢɦ ɦɟɬɚɦɨɪɮɨɡɚɦɚ ɩɪɢɪɨɞɟ. Ʉɨɞ Ⱦɟɛɢɫɢʁɚ ɫɟ ɬɨ ɞɚʂɚ ɪɚɡɜɢʁɚ ɭ ɩɪɚɜɰɭ ɬɪɚɝɚʃɚ ɡɚ ɉɪɢɪɨɞɨɦ ɫɚɦɨɦ, ɨɞɧɨɫɧɨ, ɭ ɩɪɚɜɰɭ ɦɭɡɢɱɤɨɝ ‘ɩɪɟɞɫɬɚɜʂɚʃɚ’ ɫɜɟɝɚ ɨɧɨɝ ɲɬɨ ɦɨɠɟ ɛɢɬɢ ɨɩɚɠɟɧɨ ɱɭɥɨɦ ɫɥɭɯɚ ɭ ɪɢɬɦɭ ɫɜɟɬɚ ɤɨʁɢ ɨɜɨɝ ɤɨɦɩɨɡɢɬɨɪɚ ɨɤɪɭɠɭʁɟ.80 ɂɡ ɬɨɝɚ ʄɟ ɧɚɫɬɚɬɢ ʁɟɞɧɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɟ ɩɨɟɬɢɤɚ ɤɨʁɚ (ɩɨ)ɫɬɨʁɢ ɭ ɨɬɜɨɪɟɧɨɦ ɞɢʁɚɥɨɝɭ ɫɚ ɫɜɢɦ ɨɧɢɦ (ɤɪɟɚɬɢɜɧɢɦ) ɨɛɪɚɫɰɢɦɚ ɤɨʁɢɦɚ ɫɭ ɛɢɥɢ ɡɚɨɤɭɩʂɟɧɢ ɢ ɤɨɦɩɨɡɢɬɨɪɨɜɢ ɫɚɜɪɟɦɟɧɢɰɢ ɢɡ ɞɪɭɝɢɯ ɤɭɥɬɭɪɧɢɯ ɫɮɟɪɚ. ɍ ɩɨʂɭ ɢɡɜɨɪɧɟ ɩɥɭɪɚɥɧɨɫɬɢ ɱɭɥɚ... ɇɨ, ɜɪɚɬɢɦɨ ɫɟ ʁɨɲ ʁɟɞɧɨɦ Ⱦɢɮɪɟɧɭ ɢ ɤɨɧɰɟɩɬɭ ɢɡɜɨɪɧɨɝ/„ɟɫɬɟɬɫɤɨɝ ɢɫɤɭɫɬɜɚ” ɤɨʁɢ ɩɪɟɦɚ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ ɞɚʂɟ ɪɚɡɨɬɤɪɢɜɚ ʁɟɞɢɧɫɬɜɨ ɩɥɭɪɚɥɧɨɫɬɢ ɱɭɥɚ ɭ ɫɥɨʁɭ ɩɪɟ- ɨɫɟɬɧɨɝ. ɍɩɪɚɜɨ ɨɜɚʁ ɫɥɨʁ ɭɩɭʄɭʁɟ Ⱦɢɮɪɟɧɚ ɧɚ ɢɡɜɨɪɧɭ ɩɥɭɪɚɥɧɨɫɬ ɱɭɥɚ ɢ ɧɚ ɪɟɜɢɞɢɪɚʃɭ, ɝɨɬɨɜɨ ɨɤɨɲɬɚɥɢɯ, ɫɬɚɜɨɜɚ ɨ ɭɫɩɨɫɬɚɜʂɟɧɨʁ ɞɨɦɢɧɚɰɢʁɢ ɨɤɚ, ɲɬɨ ɩɪɟɞɫɬɚɜʂɚ ɝɥɚɜɧɢ ɦɨɬɢɜ ʃɟɝɨɜɨɝ ɞɟɥɚ Ɉɤɨ ɢ ɭɯɨ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɰɢʂ ɨɜɟ ɫɬɭɞɢʁɟ ʁɟɫɬɟ ɞɚ ɫɟ „ɤɨɧɮɪɨɧɬɚɰɢʁɨɦ” ɨɤɚ ɢ ɭɯɚ ɨɞɛɚɰɢ ɩɨɫɬɨʁɟʄɢ „ɢɦɩɟɪɢʁɚɥɢɡɚɦ ɨɤɚ”, ɨɞɧɨɫɧɨ, ɞɚ ɫɟ „ɪɟɯɚɛɢɥɢɬɭʁɟ ɭɯɨ” ɢ „ɩɪɚɜɢɱɧɨ ɩɨɫɬɭɩɢ ɩɪɟɦɚ ʃɟɦɭ”, ɛɭɞɭʄɢ ɞɚ ʁɟ ɨɧɨ ɭ ɬɨɦ ɨɞɧɨɫɭ „ɢɡɦɟђɭ” ɛɢɥɨ ɩɨɬɢɫɧɭɬɨ ɢ ɩɨɞɪɟђɟɧɨ. Ɂɚ ɪɚɡɥɢɤɭ ɨɞ ɨɤɚ ɤɨʁɟ ɫɟ ɨɞɭɜɟɤ „ɩɨɧɚɲɚɥɨ ɚɭɬɨɪɢɬɚɬɢɜɧɨ ɢ ɢɦɩɟɪɢʁɚɥɢɫɬɢɱɤɢ”, „ɭɯɨ ʁɟ ɨɩɟɪɢɫɚɥɨ ɫɚ ɦɧɨɝɨ 80 Caroline Potter, „Debussy and nature“, u: ɧɚɜ. ɞɟɥɨ, 137–138. 38 ɜɢɲɟ ɞɢɫɤɪɟɰɢʁɟ”.81 Ɍɨ ʁɟ ɪɚɡɥɨɝ ɡɚɲɬɨ ɫɟ ɭ ɫɚɦɨɦ ɧɚɫɥɨɜɭ Ⱦɢɮɪɟɧɨɜɟ ɫɬɭɞɢʁɟ ɧɚɲɥɨ ɨɧɨ „ɢ”; ɨɧɩ ʁɟ ɬɪɟɛɚɥɨ ɞɚ ɫɭɝɟɪɢɲɟ, ɨɞɧɨɫɧɨ, ɭɩɭɬɢ ɧɚ ɪɚɜɧɨɩɪɚɜɚɧ ɩɨɥɨɠɚʁ ɞɜɚ ɱɭɥɚ. Ⱥɭɬɨɪ ɬɭ ɪɚɜɧɨɩɪɚɜɧɨɫɬ ɟɥɚɛɨɪɢɪɚ ɬɚɤɨ ɲɬɨ ɭɤɚɡɭʁɟ ɧɚ ɨɧɨ ɲɬɨ ɢɦ ʁɟ ɡɚʁɟɞɧɢɱɤɨ, ɢ ɬɨ ɭ ɩɨʂɭ ɚɭɬɨɧɨɦɢʁɟ ɫɜɚɤɨɝ ɨɞ ʃɢɯ ɩɨʁɟɞɢɧɚɱɧɨ. Ɉɫɢɦ ɬɨɝɚ, ɰɢʂ ɨɜɟ ɫɬɭɞɢʁɟ ʁɟ ɩɨɤɭɲɚʁ ɫɭɨɱɚɜɚʃɚ ɫɚ ɩɪɨɛɥɟɦɨɦ ɱɭɥɧɨɝ (ɨɫɟɬɧɨɝ) ɦɧɨɲɬɜɚ ɢ ʃɢɯɨɜɨɝ ʁɟɞɢɧɫɬɜɚ ɢɡ ɩɟɪɫɩɟɤɬɢɜɟ ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɮɢɥɨɡɨɮɢʁɟ ɤɨʁɚ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, „ʁɨɲ ɢɦɚ ɯɪɚɛɪɨɫɬɢ ɡɚ ɨɧɬɨɥɨɝɢʁɭ”. ɇɚɢɦɟ, ɨɧ ɢɫɩɢɬɭʁɟ ɢɞɟʁɭ ɩɪɟ‒, ɨɞɧɨɫɧɨ, ɢɞɟʁɭ ɧɚɞɱɭɥɧɨɝ/ ɩɪɟɱɭɥɧɨɝ/ɬɪɚɧɫɟɧɡɨɪɧɨɝ ɤɚɨ ɤɨɪɟɧɚ ɢɥɢ ɢɡɜɨɪɚ ɜɢɞʂɢɜɨɝ ɢ ɱɭʁɧɨɝ. Ɇɟђɭɬɢɦ, ɩɪɟ ɮɟɧɨɦɟɧɨɥɨɲɤɨ ɮɢɥɨɡɨɮɫɤɟ ɡɚɩɢɬɚɧɨɫɬɢ ɨ ɞɜɟɦɚ ɞɢɦɟɧɡɢʁɚɦɚ ɱɭɥɧɨɫɬɢ ɢ ɦɟɫɬɭ ʃɢɯɨɜɨɝ ʁɟɞɢɧɫɬɜɚ, Ⱦɢɮɪɟɧ ɧɚʁɩɪɟ ɩɨɫɬɚɜʂɚ ɩɢɬɚʃɟ ɩɪɢɪɨɞɧɨɝ ɩɨɪɟɤɥɚ, ɨɞɧɨɫɧɨ, ɮɢɥɨɝɟɧɟɡɟ ɱɭɥɧɨɫɬɢ, ɧɚɬɭɪɚɥɢɡɭʁɭʄɢ ɫɚɦ ɫɭɛʁɟɤɬ ɫɚɡɧɚʃɚ; ɩɨɬɨɦ ɮɟɧɨɦɟɧɨɥɨɲɤɢ ɭɫɬɚɧɨɜʂɚɜɚ ɡɚʁɟɞɧɢɱɤɟ ɢɦɟɧɢɬɟʂɟ ɞɜɟ ɞɢɦɟɧɡɢʁɟ ɱɭɥɧɨɫɬɢ, ɦɨɝɭʄɟ ɜɟɡɟ ɢɡɦɟђɭ ʃɢɯ, ɬɟ ɨɞɧɨɫ ɤɨʁɢ ɧɚɫɬɚʁɟ ɫɚ ɩɪɟɨɫɬɚɥɢɦ ɩɨɞɪɭɱʁɢɦɚ ɱɭɥɧɨɫɬɢ, ɞɚ ɛɢ, ɧɚʁɡɚɞ, ɩɨɫɬɚɜɢɨ ɩɢɬɚʃɟ ɩɨɫɬɨʁɚʃɚ ɨɧɨɝ „ɢɡɜɨɪɧɨɝ” ɤɚɨ ʁɟɞɢɧɫɬɜɚ ɱɭɥɧɨɝ ɢ ɬɨ „ɫ ɨɜɟ ɫɬɪɚɧɟ ɨɫɟɬɧɨɝ ɦɧɨɲɬɜɚ”. ɇɚ ɬɨɦ ɩɭɬɭ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɫɢɧɟɫɬɟɡɢʁɟ ɫɭ ɩɨʁɚɜɚ ɫɚ ɤɨʁɨɦ ɫɟ ɧɚʁɩɪɟ ɫɭɫɪɟʄɟɦɨ ɢ ɬɨ ɤɚɨ ɫɢɧɟɫɬɟɡɢʁɟ ɭ ɨɩɚɠɚʁɭ, ɚɥɢ ɫɟ ʃɢɦɚ ɩɪɢɞɪɭɠɭʁɟ ɢ ɫɢɧɟɫɬɟɬɫɤɚ ɩɪɚɤɫɚ ɭɦɟɬɧɨɫɬɢ. Ⱦɚɤɥɟ, ɩɨɥɚɡɟʄɢ ɨɞ ɪɚɡɦɚɬɪɚʃɚ ɚɮɢɧɢɬɟɬɚ ɢɡɦɟђɭ ɜɢɡɭɟɥɧɨɝ ɢ ɚɭɞɢɬɢɜɧɨɝ, Ⱦɢɮɪɟɧ ɢɞɟ ɭ ɩɪɚɜɰɭ ɪɚɡɦɚɬɪɚʃɚ „ɢɡɜɨɪɧɨɝ” ɢɥɢ „ɩɪɜɨɛɢɬɧɨ ɱɭɥɧɨɝ” ‒ ɤɨʁɟ ɫɟ ʁɚɜʂɚ ɩɪɟ ɞɢɮɟɪɟɧɰɢɪɚʃɚ ɧɚ ɱɭɥɚ, ɨɞɧɨɫɧɨ, ɩɪɟ ɫɚɦɢɯ ɱɭɥâ ‒ ɤɚɨ ɫɬɚʃɚ ɤɨʁɟ ɫɟ ɧɟ ɦɨɠɟ ɨɩɚɠɚɬɢ, ɚɥɢ ɦɨɠɟ „ɪɟɮɥɟɤɫɢʁɨɦ ɩɪɟɞ-ɨɫɟɬɢɬɢ”. Ɋɚɡɦɢɲʂɚʁɭʄɢ ɨ ɩɪɢɪɨɞɢ ɱɭɥɚ, Ⱦɢɮɪɟɧ ɧɚʁɩɪɟ ɩɢɲɟ ɞɚ „ɨɧɨ ɲɬɨ ʁɟ ɡɚʁɟɞɧɢɱɤɨ ɨɤɭ ɢ ɭɯɭ ʁɟɫɬɟ ɬɨ ɞɚ ɫɭ ɨɛɚ (ɧɚ ɩɨɜɪɲɢɧɢ ɨɪɝɚɧɢɡɦɚ) ɱɭɥɧɢ ɨɪɝɚɧɢ: ɨɧɢ ɩɪɢɩɚɞɚʁɭ ɢɫɬɨɦ ɞɨɦɟɧɭ ɱɭɥɧɨɫɬɢ. Ⱥɥɢ ɨɧɟ [ɱɭɥɧɨɫɬɢ] ɱɢɧɟ ɞɜɨʁɫɬɜɨ ɭɫɥɟɞ ɬɨɝɚ ɲɬɨ ɩɨɦɟɧɭɬɢ ɱɭɥɧɢ ɨɪɝɚɧɢ ɭ ɬɨɦ ɞɨɦɟɧɭ ɜɪɲɟ ɪɚɡɥɢɱɢɬɟ ɮɭɧɤɰɢʁɟ [...]”82. Ⱦɢɮɪɟɧ ɫɜɨʁɚ ɪɚɡɦɢɲʂɚʃɚ ɨ ɩɪɢɪɨɞɢ ɱɭɥɚ, ɧɚʁɩɪɟ, ɜɨɞɢ ɭ ɨɛɥɚɫɬ ɨɧɨɝ ɡɧɚʃɚ ɤɨʁɟ ɧɚɫɬɨʁɢ ɞɚ ɛɭɞɟ 81 „ȼɢђɟʃɟ ʁɟ ɜɢђɟɧɨ, ʁɚ ɜɢɞɢɦ ɞɚ ɨɤɨ ɨɧɨɝ ɞɪɭɝɨɝ ɜɢɞɢ ɢ, ɚɤɨ ɨɧɨ ɦɟɧɟ ɜɢɞɢ, ʁɚ ɜɢɞɢɦ ɞɚ ɦɟ ɨɧɨ ɜɢɞɢ ɢ ɢɫɬɨɜɪɟɦɟɧɨ ɦɨɝɭ ɞɚ ɭɤɪɫɬɢɦ ɫɜɨʁ ɩɨɝɥɟɞ ɫɚ ʃɟɝɨɜɢɦ. Ɉɜɨɝ ɭɞɜɚʁɚʃɚ, ɤɚɞɚ ʁɟ ɭɯɨ ɭ ɩɢɬɚʃɭ ɧɟɦɚ: ɱɭʁɧɨɫɬ ɧɢʁɟ ɧɢ ɱɭɬɚ ɧɢ ɜɢђɟɧɚ, ɭɯɨ ɫɟ ɱɢɧɢ ɧɟɩɨɦɢɱɧɨ, ɨɧɨ ɧɟ ɩɨɤɚɡɭʁɟ ɞɚ ɱɭʁɟ, ɨɧɨ ɧɟ ɨɬɤɪɢɜɚ ɫɭɛʁɟɤɬ ɤɨʁɢ ʁɟ ɫɩɨɫɨɛɚɧ ɞɚ ɫɥɭɲɚ ɧɢɬɢ ɞɚ ɫɥɭɲɚʁɭʄɢ ɩɨɫɬɚɧɟ ɫɜɟɫɬɚɧ ɫɟɛɟ […] ɢ ɬɚɤɨ ɫɟ ɢɡɥɚɠɟ ɨɩɚɫɧɨɫɬɢ ɞɚ ɨɫɬɚɧɟ ɧɟɩɪɢɦɟʄɟɧɨ.” Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 29‒30. 82 ɂɫɬɨ, 37. 39 ɨɛʁɟɤɬɢɜɧɨ, ɨɞɧɨɫɧɨ, ɚɭɬɨɪ ɫɬɭɞɢʁɟ Ɉɤɨ ɢ ɭɯɨ ɭɥɚɡɢ ɭ ɨɛɥɚɫɬ ɚɧɚɬɨɦɢʁɟ ɢ ɮɢɡɢɨɥɨɝɢʁɟ – ɞɜɟ ɧɚɭɱɧɟ ɞɢɫɰɢɩɥɢɧɟ ɤɨʁɟ, ɨɫɢɦ ɬɨɝɚ ɲɬɨ ɧɚɫ ɢɧɮɨɪɦɢɲɭ ɨ ɬɨɦɟ ɞɚ ɫɭ ɨɤɨ ɢ ɭɯɨ „ɨɪɝɚɧɢ ɱɭɥɚ ɜɢɞɚ ɢ ɱɭɥɚ ɫɥɭɝɚ ”, ɢɫɩɢɬɭʁɭ ɢ ɭɫɥɨɜɟ ɢ ɦɟɯɚɧɢɡɦɟ ɧɚ ɨɫɧɨɜɭ ɤɨʁɢɯ ɨɧɢ ɮɭɧɤɰɢɨɧɢɲɭ. Ȼɭɞɭʄɢ ɞɚ ɩɨɦɟɧɭɬɟ ɞɢɫɰɢɩɥɢɧɟ ɧɟ ɧɭɞɟ ɡɧɚʃɚ ɨ ɩɪɨɠɢɜʂɟɧɨɦ ɢɫɤɭɫɬɜɭ, Ⱦɢɮɪɟɧ ɫɟ ɨɤɪɟʄɟ ɩɫɢɯɨɥɨɝɢʁɢ ɮɟɧɨɦɟɧɨɥɨɲɤɨɝ ɢɥɢ ɟɝɡɢɫɬɟɧɰɢʁɚɥɧɨɝ ɩɪɨɮɢɥɚ ɱɢʁɚ ʁɟ ɰɟɧɬɪɚɥɧɚ ɬɟɦɚ ʁɟɞɢɧɫɬɜɨ ɩɥɭɪɚɥɚ, ɱɢʁɢ ɦɨɞɟɥ ɩɪɨɧɚɥɚɡɢ ɤɨɞ ȿɪɜɢɧɚ ɒɬɪɚɭɫɚ. Ⱦɢɮɪɟɧ ɧɚɫ ɩɨɡɢɜɚ ɞɚ ɬɨ ʁɟɞɢɧɫɬɜɨ ɦɢɫɥɢɦɨ ɩɨɱɟɜɲɢ ɨɞ ɨɞɧɨɫɚ ɫɨɩɫɬɜɚ ɩɪɟɦɚ ɫɜɟɬɭ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɬɨ ʁɟɞɢɧɫɬɜɨ ʁɟ ɦɨɝɭʄɟ ɦɢɫɥɢɬɢ ɤɚɨ ɡɚɱɟɬɧɨ, ɚ ɫɚɦ ɩɪɨɰɟɫ ɞɢɮɟɪɟɧɰɢʁɚɰɢʁɟ ɢɫɩɪɚɬɢɬɢ ɬɨɤɨɦ ɢɫɬɨɪɢʁɟ ɨɫɟʄɚʁɧɨɫɬɢ. Ɍɚɤɨђɟ, Ⱦɢɮɪɟɧ ʄɟ, ɤɚɤɨ ɢ ɫɚɦ ɧɚɝɥɚɲɚɜɚ, ɫɥɟɞɢɬɢ ɢ ɩɨɭɤɟ ɩɫɢɯɨɥɨɝɚ Ɇɨɪɢɫɚ ɉɪɚɞɢɧɟɫɚ (Maurice Pradines) ɤɨʁɢ ɫɟ ɩɨɡɢɜɚ ɧɚ „ɫɚɦɭ ɚɤɬɢɜɧɨɫɬ ɠɢɜɨɬɚ ɤɚɨ ɦɟɫɬɨ ɩɨɪɟɤɥɚ ɱɭɥɚ”83. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, Ⱦɢɮɪɟɧ ɢɫɬɢɱɟ ɞɚ ɫɭ ɢ ɨɤɨ ɢ ɭɯɨ ɱɭɥɚ ɤɨʁɚ ɩɪɢɛɚɜʂɚʁɭ ɧɚʁɩɪɟɰɢɡɧɢʁɟ ɢɧɮɨɪɦɚɰɢʁɟ ɨ ɫɜɟɬɭ, ɚɥɢ ɞɚ ɫɭ ɨɛɚ ɱɭɥɚ ɡɚɩɪɚɜɨ „ɱɭɥɚ ɫɚ ɞɢɫɬɚɧɰɨɦ”;84 ɨɧ ɤɨɧɫɬɚɬɭʁɟ ɞɚ, ɢɚɤɨ ɫɭ „ɨɱɢ ɬɟ ɤɨʁɟ ɜɢɞɟ, ɚ ɭɲɢ ɬɟ ɤɨʁɟ ɱɭʁɭ”, ɫɜɚɤɚɤɨ ʁɟ ɦɨɝɭʄɟ ɪɟʄɢ ɢ ɬɨ ɞɚ ɜɢɞɢɦɨ ɫɜɨʁɢɦ ɭɲɢɦɚ ɢ ɱɭʁɟɦɨ ɫɜɨʁɢɦ ɨɱɢɦɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦ, ɛɟɡ ɨɛɡɢɪɚ ɧɚ ɬɨ ɲɬɨ ɫɟ ‘ɭɤɪɲɬɚʃɚ’ ɦɨɝɭ ɨɞɜɢʁɚɬɢ ɭ ɢɫɬɨɦ ɞɨɦɟɧɭ ɱɭɥɧɨɫɬɢ, ɱɭɥɚ ɦɨɝɭ ɡɚɞɪɠɚɬɢ ɫɨɩɫɬɜɟɧɟ ɫɩɟɰɢɮɢɱɧɨɫɬɢ.85 ɂɫɬɨ ɬɚɤɨ, ɦɨɝɭʄɚ ʁɟ ɢ ɡɚɦɟɧɚ ‘ɢɧɝɟɪɟɧɰɢʁɚ’ ɱɭɥɚ ɤɨʁɚ ɩɪɨɢɡɥɚɡɢ ɢɡ ʃɢɯɨɜɟ ɦɟɭђɫɨɛɧɟ ɢɧɬɟɪɚɤɰɢʁɟ.86 Ɇɟђɭɬɢɦ, ɩɪɟ ɧɟɝɨ ɲɬɨ ɫɟ ɭɩɭɫɬɢ ɭ ɩɪɨɛɥɟɦɚɬɢɤɭ ɪɟɥɚɰɢʁɚ ɢɡɦɟђɭ ɱɭɥɚ, Ⱦɢɮɪɟɧ ɨɬɜɚɪɚ ɩɨʂɟ ɢɫɤɭɫɬɜɚ ɨɧɨɝɚ ɲɬɨ ɱɭɥɚ ɟɥɚɛɨɪɢɪɚʁɭ, ɨɞɧɨɫɧɨ, ɨɧ ɨɬɜɚɪɚ ɩɪɨɫɬɨɪ ɡɚ ɬɟɦɚɬɢɡɚɰɢʁɭ ɨɫɟɬɧɨɝ. „Ɉɫɟɬɧɨ ʁɟ ɨɧɨ ɭ ɨɞɧɨɫɭ ɧɚ ɲɬɚ ɧɟɦɚ ɭɡɦɢɰɚʃɚ, ɨɧɨ ʁɟ ɧɟɲɬɨ ɨ ɱɟɦɭ ɧɟ ɦɨɠɟɦɨ ɡɚɭɡɟɬɢ ɫɬɚɧɨɜɢɲɬɟ. ɍɩɪɚɜɨ ɭ ʃɟɦɭ ɫɟ ɢɫɤɭɲɚɜɚ ɩɪɢɫɭɬɧɨɫɬ, ɚɥɢ ʁɟɞɧɚ ɩɪɢɫɭɬɧɨɫɬ ɤɨʁɚ ʁɟ ʁɨɲ ɭɜɟɤ ɛɟɡ ɞɢɫɬɚɧɰɟ, ɩɪɢɫɭɬɧɨɫɬ ɤɨɞ ɤɨʁɟ 83 ɉɪɚɞɢɧɟɫ ɩɪɟɦɚ: ɢɫɬɨ, 38. 84 ɂɫɬɨ, 41. 85 ɍɩɨɪɟɞɢɬɢ: ɢɫɬɨ, 168. 86 ɉɨɦɟɧɭɬɭ ɡɚɦɟɧɭ ‘ɢɧɝɟɪɟɧɰɢʁɚ’ ɱɭɥɚ Ⱦɢɮɪɟɧ ʁɟ ɩɪɟɞɨɱɢɨ ɧɚ ɩɪɢɦɟɪɭ ɭɦɟɬɧɨɫɬɢ ɤɨʁɟ ʁɟ ɢɫɩɪɜɚ ɩɨɫɬɚɜɢɨ ɤɚɨ ɨɩɨɡɢɬɧɟ ɭɦɟɬɧɢɱɤɟ ɩɪɚɤɫɟ – ɦɭɡɢɤɟ ɢ ɫɥɢɤɚɪɫɬɜɚ. Ⱦɨɤ ɦɭɡɢɤɚ ɩɪɟɞɫɬɚɜʂɚ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ɧɟɦɚ ɩɪɟɞɫɬɚɜʂɚɱɤɢ ɩɨɬɟɧɰɢʁɚɥ ɢ ɤɨʁɚ ɫɟ ɨɞɜɢʁɚ ɭ ɜɪɟɦɟɧɭ, ɫɥɢɤɚɪɬɫɜɨ ʁɟ ɪɟɩɪɟɡɟɧɬɚɰɢʁɫɤɚ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ɫɟ ɦɚɧɢɮɟɫɬɭʁɟ ɭ ɩɪɨɫɬɨɪɭ. ȼɢɞɢ ɭ: Mikel Dufrenne, The Phenomenology..., ɧɚɜ. ɞɟɥɨ, 241. Ʉɚɫɧɢʁɟ ʄɟ Ⱦɢɮɪɟɧ ɪɟɜɢɞɢɪɚɬɢ ɨɜɭ ɬɟɡɭ, ɤɚɞɚ ʄɟ ɭɨɱɢɬɢ ɞɚ ɨɜɟ ɞɜɟ ɭɦɟɬɧɨɫɬɢ ɧɟ ɦɨɪɚʁɭ ɞɚ ɛɭɞɭ ɫɚɝɥɟɞɚɧɟ ɤɚɨ ɨɩɨɡɢɬɧɟ. Ɉ ɬɨɦɟ ɫɜɟɞɨɱɟ ɟɤɫɩɥɢɤɚɰɢʁɟ ɞɚɬɟ ɭ ɨɤɜɢɪ ɧɟɤɨɥɢɤɨ ɩɨɬɩɨɝɥɚɜʂɚ ʃɟɝɨɜɟ ɫɬɭɞɢʁɟ Ɉɤɨ ɢ ɭɯɨ: „ɋɥɢɤɚɪɫɤɨ-ɛɢɜɫɬɜɨ ɦɭɡɢɤɟ” (ɜɢɞɟɬɢ ɭ: Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 218‒226) ɢ „Ɇɭɡɢɱɤɨ ɛɢɜɫɬɜɨ ɫɥɢɤɚɪɫɬɜɚ” (ɜɢɞɟɬɢ ɭ: ɢɫɬɨ, 227‒232). 40 ʁɟ ɤɨɧɬɚɤɬ ɞɨɜɟɞɟɧ ɞɨ ɫɬɚɩɚʃɚ, ɚ Ɇɟɪɥɨ-ɉɨɧɬɢ ɤɚɠɟ, ɞɨ Einfühlung-ɚ.”87 Ɉɫɟɬɧɨ ɫɟ ɢɫɤɭɲɚɜɚ ɭ ɞɨɠɢɜʂɚʁɭ, ɚɥɢ ɫɟ ɩɪɟ ɫɜɟɝɚ ɨɫɟɬɧɢɦ ‘ɢɡɥɚɡɢ’ ɭ ɫɜɟɬ. Ɂɚɯɜɚʂɭʁɭʄɢ ɨɫɟɬɧɨɦ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɦɢ ɫɚɡɧɚʁɟɦɨ ɨ ɫɜɟɬɭ ɭ ɤɨɦɟ ɩɨɫɬɨʁɢɦɨ ɧɚ ɧɚɱɢɧ ɩɭɬɢ. Ɂɚɯɜɚʂɭʁɭʄɢ ɨɤɭ ɢ ɭɯɭ, ɦɢ ɛɢɜɚɦɨ ɞɨɞɢɪɧɭɬɢ ɫɜɟɬɨɦ: „ɦɢ ɫɦɨ ɫɚ ɫɜɟɬɨɦ ɭ ɤɨɧɬɚɤɬɭ, ɢɥɢ ɛɨʂɟ ɪɟɱɧɨ ɭ ɤɨɲɬɚɰɭ: ɨɧɚʁ ɤɨʁɢ ɞɨɞɢɪɭʁɟ ʁɟ ɢ ɞɨɞɢɪɧɭɬ, ɚ ɮɢɥɨɝɟɧɟɡɚ ɫ ɩɭɧɢɦ ɩɪɚɜɨɦ ɱɭɥɨ ɞɨɞɢɪɚ ɫɦɚɬɪɚ ɢɫɯɨɞɢɲɬɟɦ ɱɭɥɧɨɫɬɢ”88; ɭ ɬɨɦ ɫɦɢɫɥɭ, ɤɨɠɚ ʁɟ ɨɪɝɚɧ ɤɨʁɢ ʁɟ ɩɪɟɭɡɟɨ ɮɭɧɤɰɢʁɭ ɧɚʁɫɬɚɪɢʁɟɝ ɱɭɥɚ ɢ ɩɨɞɟɥɢɨ ʁɟ ɧɚ ɧɟɤɨɥɢɤɨ ɫɚɡɧɚʁɧɢɯ ɤɚɧɚɥɚ. Ɇɟђɭɬɢɦ, ɤɨɠɚ ɢɦɚ ɢɡɭɡɟɬɧɨ ɫɥɨɠɟɧɟ ɮɭɧɤɰɢʁɟ ɜɟɡɚɧɟ ɡɚ ʃɟɧɨ ɦɟɫɬɨ ɭ ɨɪɝɚɧɢɡɦɭ: ɨɧɚ ɱɢɧɢ ʃɟɝɨɜɭ ɝɪɚɧɢɰɭ, ɬɟ ɨɫɢɦ ɫɚɡɧɚʁɧɢɯ ɨɛɚɜʂɚ ɢ ɞɪɭɝɟ ɡɚɞɚɬɤɟ – ɨɞɛɪɚɦɛɟɧɟ, ɡɚɲɬɢɬɧɟ, ɟɤɫɤɪɟɬɨɪɧɟ, ɬɟɪɦɨɪɟɝɭɥɚɰɢɨɧɟ, ɞɢɫɚʁɧɟ, ɢɬɞ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɫɚɦɚ ɩɨɜɪɲɢɧɚ ɬɟɥɚ ʁɟ ɝɥɚɜɧɢ ɫɧɚɛɞɟɜɚɱ ɢɧɮɨɪɦɚɰɢʁɚ, ɨɧɚ ʁɟ ɡɚɞɪɠɚɥɚ ɭ ɫɚɡɧɚʁɧɨɦ ɫɦɢɫɥɭ ɩɨɫɟɛɚɧ, ɛɚɡɢɱɚɧ ɩɨɥɨɠɚʁ, ɬɟ ɱɨɜɟɤ ɢɧɮɨɪɦɚɰɢʁɚɦɚ ɞɨɛɢʁɟɧɢɦ ɩɪɟɤɨ ʃɟ (ɤɨɠɟ) ɧɚʁɜɢɲɟ ɜɟɪɭʁɟ. ɋɜɟ ɧɟʁɚɫɧɨʄɟ ɢ ɩɪɨɬɢɜɪɟɱɧɨɫɬɢ ɢɧɮɨɪɦɚɰɢʁɚ ɫɚ, ɬɚɤɨɡɜɚɧɢɯ, „ɦɥɚђɢɯ ɱɭɥɚ” ɩɪɨɜɪɚɜɚʁɭ ɫɟ ɤɨɠɨɦ, ʁɟɪ ʁɟ ɱɨɜɟɤ ɭɜɚɤ ɫɢɝɭɪɚɧ ɭ ɫɜɨʁ ɞɨɠɢɜʂɚʁ ɤɚɞɚ ɦɨɠɟ ɞɚ ɞɨɞɢɪɧɟ ɫɬɜɚɪ ɤɨʁɚ ɝɚ ɢɧɬɟɪɟɫɭʁɟ, ɞɚ ʁɟ ɢɫɩɢɬɚ ɭ ɞɢɪɟɤɬɧɨɦ ɤɨɧɬɚɤɬɭ ɫɚ ɤɨɠɨɦ.89 Ɍɚɤɨ ɩɨɫɬɨʁɟ ʁɚɫɧɨ ɞɚ ɤɨɠɚ ɧɢʁɟ ʁɟɞɢɧɫɬɜɟɧɨ ɱɭɥɨ, ɜɟʄ ɞɚ ʁɟ ɪɟɱ ɨ ɜɢɲɟ ɱɭɥɚ ɫɦɟɲɬɟɧɢɯ ɭ ɢɫɬɨɦ ɯɢɫɬɨɥɨɲɤɨɦ ɦɟɞɢʁɭɦɭ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɢ ɫɜɟɬ ɤɨʁɢ ɞɨɠɢɜʂɚɜɚɦɨ ʁɟ ɫɜɟɬ ɤɨʁɢ ɞɨɞɢɪɭʁɟɦɨ ɢ ɤɨʁɢɦ ɫɦɨ ɞɨɞɢɪɧɭɬɢ; ɨɧ „ɧɢʁɟ ɢɫɩɪɟɞ ɧɚɫ, ɨɧ ʁɟ ɨɤɨ ɧɚɫ; ɬɨ ɱɚɤ ɢ ɫɚɦɨ ɨɤɨ ɡɧɚ, ɨɤɨ ɤɨʁɟ ʁɟ ɫɮɟɪɢɱɧɨ, ɢ ɱɢʁɟ ɫɟ ɜɢђɟʃɟ ɩɪɨɫɬɢɪɟ ɞɨ ɢɡɜɟɫɧɢɯ ɝɪɚɧɢɰɚ”90. Ɍɨ ɨɤɨ ɧɟ ɨɫɟʄɚɦɨ ɤɚɨ ɧɟɤɨ ɨɝɥɟɞɚɥɨ, ɜɟʄ ɩɪɟ ɤɚɨ ɧɟɤɭ ɦɟɦɛɪɚɧɭ ɢɡɚ ɤɨʁɟ ɫɟ ɧɚɥɚɡɢ ɲɭɩʂɢɧɚ. Ʉɚɞɚ ɦɟɦɛɪɚɧɚ ɨɤɚ ɛɢɜɚ ɞɨɞɢɪɧɭɬɚ, ɬɨɝ ɬɪɟɧɭɬɤɚ ɲɭɩʂɢɧɚ ɨɤɚ ɭɩɢʁɚ ɢɧɮɨɪɦɚɰɢʁɟ; ɦɟђɭɬɢɦ, ɞɚ ɛɢ, ɤɪɨɡ ɲɭɩʂɢɧɭ ɨɤɚ ɫɜɟɬ ɩɪɨɞɪɨ ɭ ɧɚɫ, ɩɨɬɪɟɛɧɨ ʁɟ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɞɚ ɢ ɦɢ ɢɦɚɦɨ ɩɪɨɞɢɪɭʄɢ ɩɨɝɥɟɞ, ɡɚɬɨ ɲɬɨ ɬɚɞɚ ɢ ɦɢ ɩɪɨɞɢɪɟɦ ɭ ɫɜɟɬ.91 Ɍɨ ɡɧɚɱɢ ɞɚ ɫɟ, „ɛɨʁɚ ɧɟ ɧɚɥɡɢ ɭ ɦɨɦ ɨɤɭ ɤɨʁɟ ɛɢ ʁɟ ɭ ɬɨɦ ɫɥɭɱɚɭ ɩɪɨʁɟɤɬɨɜɚɥɨ ɧɚ ɨɛʁɟɤɚɬ, ɧɢɬɢ ɫɟ ɧɚɥɚɡɢ ɭ ɨɛʁɟɤɬɭ ɤɨʁɢ ɛɢ ʁɟ ɨɧɞɚ ɭɩɭɬɢɨ ɨɤɭ; ɨɧɚ ʁɟ ɧɟɲɬɨ ɩɨɩɭɬ ɞɨɝɚђɚʁɚ ɤɨʁɢ ɫɟ ɨɛɨɦɚ ɞɟɲɚɜɚ ɭ ɢɫɬɨ ɜɪɟɦɟ”92. 87 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: ɢɫɬɨ, 99. 88 ɂɫɬɨ, 97. 89 ȼɢɞɟɬɢ ɭ: Predrag Ognjenović, Psihologija opažanja (Beograd: Zavod za udžbenike, 2011), 73‒81. 90 Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 97. 91 ɂɫɬɨ. 92 ɂɫɬɨ, 99. 41 ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ ɬɪɟɛɚ ɪɚɡɭɦɟɬɢ ɢ ɨɫɟɬɧɨ; ɨɧɨ ʁɟ ɬɚʁ ɜɟɥɢɤɢ ɧɟɞɢɮɟɪɟɧɰɢɪɚɧɢ ɬɨɬɚɥɢɬɟɬ ɭ ɤɨɦɟ ɫɟ ɢɫɰɪɬɚɜɚ ɩɪɟɞ-ɨɫɟʄɚʁ ɭ ɜɢɞɭ ɧɟɨɞɜɨʁɢɜɟ ɛɥɢɫɤɨɫɬɢ ɨɫɟʄɚʁɭʄɟɝ ɢ ɨɫɟʄɚɧɨɝ. Ɍɚ ɛɥɢɫɤɨɫɬ ɞɚʂɟ ɩɨɤɪɟʄɟ ɢ ɩɪɨɜɨɰɢɪɚ ɦɢɫɚɨ ɞɚ ɢɫɤɭɫɢ ɧɟɞɢɮɟɪɟɧɰɢɪɚɧɨ, ɨɧɚ ɩɨɤɪɟʄɟ ɭɡɚʁɚɦɧɨɫɬ ɢɡɦɟђɭ ɨɫɟʄɚʁɭʄɟɝ ɭ ɤɨɦɟ ɩɨɫɬɨʁɢ ɧɟɲɬɨ ɤɚɨ ɩɪɟ-ɩɨɫɟɞɨɜɚʃɟ ɨɫɟʄɚɧɨɝ, ɢ ɨɫɟʄɚɧɨɝ ɤɨʁɟ ɛɢ ɯɬɟɥɨ ɫɨɩɫɬɜɟɧɨ ɨɜɚɩɥɨʄɟʃɟ ɭ ɨɫɟʄɚʁɭʄɟɦ.93 Ɉɜɞɟ ɧɢʁɟ ɪɟɱ ɨ ɞɭɚɥɢɡɦɭ, ɜɟʄ ɨ ɧɟɪɚɡɥɭɱɢɜɨɫɬɢ ɭ ɨɤɜɢɪɭ ɤɨʁɟ ɫɟ ɭɫɩɨɫɬɚɜʂɚ ɪɟɜɟɪɡɢɛɥɢɬɟɬ. ɉɪɨɬɨɤ ɛɥɢɫɤɨɫɬɢ ɢɡɦɟђɭ ɨɫɟʄɚʁɭʄɟɝ ɢ ɨɫɟʄɚɧɨɝ ɢɦɩɥɢɰɢɪɚ ʁɟɞɧɭ ɤɨɧɚɬɭɪɚɥɧɨɫɬ. ɉɚɪɚɮɪɚɡɢɪɚʁɭʄɢ Ⱦɢɮɪɟɧɚ, ɦɨɝɭʄɟ ʁɟ ɪɟʄɢ ɞɚ ɫɭ ɢ ɨɫɟʄɚʁɭʄɢ ɢ ɨɫɟʄɚɧɢ ɨɞ ɢɫɬɟ ɥɨɡɟ, ɢɫɬɟ ɩɭɬɢ; ɚ ɫɚɦɚ ɩɭɬ ʁɟ „ɞɟɮɢɧɢɫɚɧɚ ɨɜɨɦ ɪɟɜɟɪɡɢɛɢɥɧɨɲʄɭ ɤɨʁɚ ɫɟ ɧɟ ɨɞɢɝɪɚɜɚ ɫɚɦɨ ɭ ɪɟɝɢɫɬɪɭ ɜɢɞʂɢɜɨɝ, ɜɟʄ ɭ ɫɜɢɦ ɱɭɥɧɢɦ ɪɟɝɢɫɬɪɢɦɚ, ɚɥɢ ɢ ɢɡɦɟђɭ ɬɢɯ ɪɟɝɢɫɬɪɚ – ɭ ɰɟɥɨɤɭɩɧɨɦ ɨɫɟɬɧɨɦ […] Tɨ ʁɟ ɬɨɬɚɥɢɬɟɬ ɤɨʁɢ ɧɢʁɟ ɧɢ ɫɭɦɚ ɦɚɬɟɪɢʁɚɥɧɢɯ ɬɟɥɚ ɧɢ ɩɫɢɯɢɱɤɢɯ ɱɢʃɟɧɢɰɚ, ɜɟʄ ɟɥɟɦɟɧɬ ɡɚʁɟɞɧɢɱɤɢ ɢ ɨɫɟʄɚʁɭʄɟɦ ɢ ɨɫɟʄɚɧɨɦ, ɟɥɟɦɟɧɬ ɢɡɜɨɪɧɨɝ percipi ɤɨʁɢ ɩɪɢɩɚɞɚ Ȼɢɜɫɬɜɭ”94. ɉɭɬ ɫɟ ɞɨɝɚђɚ ɭ ɬɨɬɚɥɢɬɟɬɭ ɨɫɟɬɧɨɝ ɤɨʁɟ ɫɟ ɩɥɭɪɚɥɢɡɭʁɟ ɭ ɪɚɡɧɨɥɢɤɨɫɬɢ ɱɭɥɧɢɯ ɪɟɝɢɫɬɚɪɚ, ɚ ɫɚɦɚ ɱɭɥɚ ɫɟ ɪɚɡɥɢɤɭʁɭ ɧɚ ɨɫɧɨɜɭ ʁɟɞɢɧɫɬɜɚ ɤɨʁɟ ɫɟ ɧɟ ɦɨɠɟ ɦɢɫɥɢɬɢ; ɬɨ ʁɟɞɢɧɫɬɨ ɩɪɢɩɚɞɚ ɪɟɝɢʁɢ ɤɨʁɭ Ⱦɢɮɪɟɧ ɧɚɡɢɜɚ ɩɪɟ-ɟɫɬɟɬɫɤɨɦ.95 Ⱦɚɤɥɟ, ɨɫɟɬɧɨ ɧɢʁɟ ɟɮɟɤɚɬ ɩɥɭɪɚɥɢɬɟɬɚ ɱɭɥɚ, ɜɟʄ ɨɧɨ ɤɨɧɫɬɢɬɭɢɲɟ ɱɭɥɚ. Ɉɧɨ ʁɟ, ɧɚ ɢɡɜɟɫɬɚɧ ɧɚɱɢɧ, ‘ɪɚɫɭɬɨ ɩɨ ɬɟɥɭ’, ɚɥɢ ʁɟ ɨɧɨ ɭ ʃɟɦɭ ɢ ɫɚɤɭɩʂɟɧɨ – ɨɧɨ ʁɟ ɞɟɨ ɫɢɧɟɪɝɢʁɫɤɨɝ ɬɟɥɚ ɢ ʃɟɦɭ ‘ɞɭɝɭʁɟ’ ɩɪɟ-ɨɛʁɟɤɬɢɜɧɨ ʁɟɞɢɧɫɬɜɨ ʁɟɞɧɨɝ ɨɫɟɬɧɨɝ: ɞɭɝɭʁɟ ɦɭ ɩɭɬ. ȼɚɠɧɨ ʁɟ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɢɫɬɚʄɢ ɢ ɬɨ ɞɚ ɢɡɦɟђɭ ɨɫɟɬɧɨɝ ɢ ɱɭɥɚ ɩɨɫɬɨʁɢ ɢɫɤɨɧɫɤɢ ɚɮɢɧɢɬɟɬ, ɚ ɫɚɦ ɬɚʁ ɨɞɧɨɫ ʁɟ ɚɧɚɥɨɝɚɧ ɨɧɨɦ ɤɨʁɢ ɩɨɫɬɨʁɢ ɢɡɦɟђɭ ʁɟɡɢɤɚ ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ ɢ ɝɨɜɨɪɟʄɟɝ-ɱɨɜɟɤɚ ɢɥɢ ɝɨɜɨɪɚ ɫɜɟɬɚ ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ. Ɍɚʁ ʁɟɡɢɤ ɧɟɫɭɦʃɢɜɨ 93 Ɍɨ ɡɧɚɱɢ ɞɚ ɫɟ ɫɚ ɩɨɤɪɟɬɚʃɟɦ ɦɢɫɥɢ ɢ ɫɚɦɚ ɩɭɬ ɨɛɡɧɚʃɭʁɟ ɤɚɨ ɦɟɫɬɨ ɧɚ ɤɨʁɟɦ ʁɟ ɞɨɲɥɨ ɞɨ ɪɚɡɞɜɚʁɚʃɚ ɫɭɛʁɟɤɬɚ ɢ ɨɛʁɟɤɬɚ. ɍ ɨɫɟɬɧɨɦ ɫɦɨ ɧɚɬɨɩʂɟɧɢ ʃɢɦɟ; ɭ ɨɫɟɬɧɨɦ ɫɟ ɢ ɞɨɝɚђɚ ɬɨ ɩɭɰɚʃɟ ɤɨʁɟ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ʁɟɞɢɧɨ ɪɟɮɥɟɤɫɢʁɚ ɦɨɠɟ ɦɢɫɥɢɬɢ ɢ ɩɪɨɠɢɜɟɬɢ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɫɚɦɨ ɢɡɜɨɪɧɨ ʁɟ ‘ɩɭɰɚʁɭʄɟ’, ɚ ɩɭɬ ʁɟ ɦɟɫɬɨ ɧɚ ɤɨʁɟɦ ɞɨɥɚɡɢ ɞɨ ɪɚɡɞɜɚʁɚʃɚ. Ɍɨ ɡɧɚɱɢ, ɩɨɫɥɟɞɢɱɧɨ, ɞɚ ʁɟ ɨɫɟɬɧɨ ɬɨɬɚɥɢɬɟɬ ɤɨʁɢ ɫɟ ɩɥɭɪɚɥɢɡɭʁɟ ɭ ɪɚɧɨɥɢɤɨɫɬɢ ɱɭɥɚ. 94 ɂɫɬɨ 102. „Ɍɨ ɡɧɚɱɢ ɞɚ ɫɟ ʁɟɞɢɧɫɬɜɨ ɨɫɟʄɚʁɭʄɟɝ ɢ ɨɫɟʄɚɧɨɝ ɧɟ ɦɨɠɟ ɞɨ ɤɪɚʁɚ ɧɢ ɦɢɫɥɢɬɢ, ɧɢ ɢɫɤɭɫɢɬɢ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ ɢ Ɇɟɪɥɨ-ɉɨɬɧɢ ɤɨɦɟɧɬɚɪɢɲɟ ɞɚ ʁɟ „ɪɟɜɟɪɡɢɛɢɥɧɨɫɬ ɭɜɟɤ ɧɟɦɢɧɨɜɧɚ ɚɥɢ ɧɢɤɚɞɚ ɡɚɢɫɬɚ ɪɟɚɥɢɡɨɜɚɧɚ.” ȼɢɞɟɬɢ: Maurice Merleau-Ponty, Le visible et l’invisible (Paris: Éditions Gallimard, 1964), 194. ɂɫɤɭɫɬɜɚ ɝɥɟɞɚʃɚ ɢ ɞɨɞɢɪɢɜɚʃɚ, ɤɚɨ ɢ ɢɫɤɭɫɬɜɚ ɤɨʁɟ ɫɬɢɱɟɦɨ ɨɧɞɚ ɤɚɞɚ ɫɦɨ ɜɢђɟɧɢ ɢɥɢ ɞɨɞɢɪɧɭɬɢ ɧɢɤɚɞɚ ɧɟ ɭɫɩɟɜɚʁɭ ɞɚ ɞɨɜɟɞɭ ɞɨ ɤɨɢɧɰɢɞɟɧɰɢʁɟ ɤɨʁɚ ɛɢ ɛɢɥɚ ɞɨɜɪɲɟɧɢ Einfühlung, ɫâɦɨ ɢɫɤɭɫɬɜɨ ɢɡɜɨɪɧɨɝ. 95 Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 102. 42 ɩɪɟɬɯɨɞɢ ɱɨɜɟɤɭ, ɬɚʁ ʁɟɡɢɤ ɩɪɟɬɯɨɞɢ ɢɧɞɢɜɢɞɭɢ, ɚɥɢ ʁɟ ɩɨɬɪɟɛɧɨ ɞɚ ɱɨɜɟɤ, ɤɚɨ ʁɟɞɢɧɢ ɨɞ ɫɜɢɯ ɠɢɜɭʄɢɯ, ɛɭɞɟ ɫɩɨɫɨɛɚɧ ɞɚ ɝɨɜɨɪɢ, ɚɥɢ ɢ ɞɚ ʃɟɝɨɜ ɝɨɜɨɪ ɛɭɞɟ ɬɚʁ ɤɨʁɢ ʄɟ ɚɧɢɦɢɪɚɬɢ ʁɟɡɢɤ ɢ ɨɜɥɚɞɚɬɢ ʃɢɦɟ. ɑɨɜɟɤ ɤɨɪɢɫɬɢ ɬɚʁ ʁɟɡɢɤ, ɨɧ ɫɟ ɩɨɢɝɪɚɜɚ ʃɢɦɟ, ɨɧ ɭɫɬɚɧɨɜʂɚɜɚ ʁɟɡɢɱɤɟ ɢɝɪɟ. ȵɟɝɨɜɨ ɩɨɫɬɚʁɚʃɟ-ɫɭɛʁɟɤɬɨɦ ɞɟɲɚɜɚ ɫɟ ɭ ʁɟɡɢɤɭ, ɚɥɢ ɧɟ ɩɨɬɢɱɟ ɫɚɦɨ ɢɡ ʁɟɡɢɤɚ! ɇɢ ɨɛɪɢɫɟ ɤɨʁɟ ɭ ʃɟɝɨɜɢɦ ɨɱɢɦɚ ɞɨɛɢʁɚ ɫɜɟɬ ɧɢɫɭ ɭ ɩɨɬɩɭɧɨɫɬɢ ɞɟɬɟɪɦɢɧɢɫɚɧɢ ʁɟɡɢɤɨɦ ɤɨʁɢ ɨɧ ɝɨɜɨɪɢ. „Ɍɚʁ ʁɟɡɢɤ ɧɟɫɭɦʃɢɜɨ ɩɨɞɫɬɢɱɟ ɢ ɨɪɢʁɟɧɬɢɲɟ ɨɩɚɠɚʃɟ, ɚɥɢ ɱɢɧɢ ɫɟ ɞɚ ʁɟ ɨɧ ɫɚɦ ɩɨɞɫɬɚɤɧɭɬ ɨɩɚɠɚʃɟɦ, ɱɢɧɢ ɫɟ ɤɚɨ ɞɚ ɫɟ ɢ ɫɬɜɚɪɢ ɢ ɞɨɝɚђɚʁɢ ɭ ɫɜɟɬɭ ɢɦɟɧɭʁɭ ʃɟɦɭ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.] ɡɚɬɨ ɞɚ ɛɢ ɢɯ ɨɧ [ɱɨɜɟɤ] ɢɦɟɧɨɜɚɨ.”96 ɋɬɨɝɚ, ʁɟɡɢɤ – ɭ ɨɧɨʁ ɦɟɪɢ ɭ ɤɨʁɨʁ ɩɪɟɬɯɨɞɢ ɢɧɞɢɜɢɞɭɢ - ɧɟɦɚ ɬɚʁ ɩɪɢɨɪɢɬɟɬ ɡɚɯɜɚʂɭʁɭʄɢ ɫɜɨʁɨʁ ɫɨɩɫɬɜɟɧɨʁ ɦɨʄɢ (ɫɜɨɦ ɤɭɥɬɭɪɧɨɦ ɛɢʄɭ), ɜɟʄ ɫɚɦɨʁ ɩɪɢɪɨɞɢ ɤɨʁɚ ɩɨɡɢɜɚ ʁɟɡɢɤ ɞɚ ɛɢ ɦɨɝɥɚ ɞɚ ɫɟ ɩɪɨɦɢɲʂɚ ɭ ɱɨɜɟɤɨɜɨɦ ɝɨɜɨɪɭ! ɂɩɚɤ, „ɧɢʁɟ ɦɨɝɭʄɟ ɩɪɢɩɢɫɚɬɢ ɩɪɢɪɨɞɢ ʁɟɞɧɭ ɚɩɫɨɥɭɬɧɭ ɦɨʄ”, ɤɚɨ ɧɢ ɝɨɜɨɪɟʄɟɦ-ɫɭɛʁɟɤɬɭ ɭɫɤɪɚɬɢɬɢ ɢɧɢɰɢʁɚɬɢɜɭ ɡɚ ʃɟɝɨɜ ɝɨɜɨɪ. ɉɪɟ ɛɢ ɫɟ ɦɨɝɥɨ ɪɟʄɢ ɞɚ ɫɟ „ɢɡɦɟђɭ ʁɟɡɢɤɚ, ɱɨɜɟɤɚ ɢ ɫɜɟɬɚ ɨɬɤɪɢɜɚ ɧɟɤɚ ɜɪɫɬɚ ɫɢɦɛɢɨɡɟ ɭɫɥɟɞ ɤɨʁɟ ʁɟ ɧɟɦɨɝɭʄɟ ɫɚɦɨ ʁɟɞɧɨɦ ɨɞ ʃɢɯ ɩɪɢɩɢɫɚɬɢ ɩɪɜɟɧɫɬɜɨ ɩɨ ɜɪɟɦɟɧɭ ɢɥɢ ɧɚɞɦɨʄ ɢ, ɧɚ ɩɪɢɦɟɪ, ɦɢɫɥɢɬɢ ɱɨɜɟɤɚ ɢɥɢ ɫɜɟɬ ɤɚɨ ɟɮɟɤɬɟ ʁɟɡɢɤɚ. ɂɫɬɚ ɨɜɚɤɜɚ ɫɨɥɢɞɚɪɧɨɫɬ – ɩɪɢ ɱɟɦɭ ʁɟ ɧɟɦɨɝɭʄɟ ɨɬɤɪɢɬɢ ɦɟђɭ ʃɢɦɚ ɧɟɤɭ ɧɟʁɟɞɧɚɤɨɫɬ – ɫʁɟɞɢʃɭʁɟ ɱɭɥɚ ɤɨʁɚ ɤɨɧɫɬɢɬɭɢɲɭ ɫɭɛʁɟɤɚɬ ɨɬɜɚɪɚʁɭʄɢ ɝɚ ɩɪɟɦɚ ɫɜɟɬɭ ɢ ɨɫɟɬɧɨɦ, ɩɪɟɦɚ ɫɜɟɬɭ ɡɚ ɤɨʁɢ ɦɨɠɟɦɨ ɪɟʄɢ ɞɚ ʁɟ ɫɜɟɬ ɤɨʁɢ ɩɨɫɬɨʁɢ ɧɚ ɧɚɱɢɧ ɩɭɬɢ ɢ ɞɚ [ɤɚɨ ɬɚɤɚɜ] ɩɪɢɡɢɜɚ ɱɭɥɚ. [ɍ ɬɨɦ ɫɦɢɫɥɭ], ɦɢɫɥɢɬɢ ɱɭɥɚ ɜɨɞɢ ɧɟɦɢɧɨɜɧɨ ɤɚ ɦɢɫɥɢɬɢ ɨɫɟɬɧɨ, ɚ ɦɢɫɥɢɬɢ ɨɫɟɬɧɨ ɤɚ ɦɢɫɥɢɬɢ ɱɭɥɚ.”97 Ɇɟђɭɬɢɦ, ɩɪɟ ɧɟɝɨ ɲɬɨ ɫɟ ɜɪɚɬɢɦ ɩɪɨɛɥɟɦɭ ɨɫɟɬɧɨɝ ɤɚɨ ɦɟɫɬɭ ɭ ɤɨʁɟɦ ɩɥɭɪɚɥɧɨɫɬ ɱɭɥɚ ɡɚɞɨɛɢʁɚ ɫɜɨʁɟ ʁɟɞɢɧɫɬɜɨ, ɭɤɚɡɚʄɭ ɧɚ ɧɚɱɢɧɟ ɧɚ ɤɨʁɟ ɧɚɫ ɜɢɞ ɢ ɫɥɭɯ, ɩɨ Ⱦɢɮɪɟɧɨɜɨɦ ɦɢɲʂɟʃɭ, ɱɢɧɟ ɩɪɢɫɭɬɧɢɦɚ ɭ/ɧɚ ɫɜɟɬɭ. ȼɢɞ ʁɟ, ɡɚɯɜɚʂɭʁɭʄɢ ɨɤɭ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɧɚʁɭɝɥɟɞɧɢʁɟ ɱɭɥɨ. Ɂɚ ɪɚɡɥɢɤɭ, ɧɚ ɩɪɢɦɟɪ, ɨɞ ɭɯɚ, ɨɤɨ ɦɚɧɢɮɟɫɬɭʁɟ ɫɜɨʁɭ ɚɤɬɢɜɧɨɫɬ. Ɉɧɨ ɦɨɠɟ ɛɢɬɢ ɩɨɤɪɟɬɧɨ ɢ ɯɢɬɪɨ, ɢ ɭ ɧɚʁɜɟʄɟɦ ɛɪɨʁɭ ɫɥɭɱɚʁɟɜɚ ɫɩɪɟɦɧɨ ɞɚ ɱɚɤ ɢ ɝɥɚɜɭ ɭɤʂɭɱɢ ɭ ɫɨɩɫɬɜɟɧɭ ɚɤɬɢɜɧɨɫɬ ɢ ɩɨɤɪɟɬ. Ɍɚɤɨђɟ, ɨɧɨ ɦɨɠɟ ɞɨ ɬɟ ɦɟɪɟ ɛɢɬɢ ɭɫɪɟɞɫɪɟђɟɧɨ ɧɚ ɫɜɨʁ ɨɛʁɟɤɚɬ ɞɚ ɫɟ ɡɚ ʃɟɝɚ 96 ɂɫɬɨ, 58. 97 ɂɫɬɨ, 59. 43 ɨɧɞɚ ɦɨɠɟ ɪɟʄɢ ɞɚ ʁɟ ɨɲɬɪɨ, ɩɪɨɞɨɪɧɨ. Ⱦɟɲɚɜɚ ɫɟ, ɢɫɬɢɱɟ Ⱦɢɮɪɟɧ, ɞɚ ɡɧɚɬɢɠɟʂɚ ɨɤɚ ɩɨɤɭɲɚɜɚ ɞɚ ɫɟ ɫɭɡɛɢʁɟ: „ɨɧɞɚ ɤɚɞɚ ɩɨɫɬɨʁɟ ɫɬɜɚɪɢ ɤɨʁɟ ɧɟ ɛɢ ɬɪɟɛɚɥɨ ɜɢɞɟɬɢ, ɨɤɨ ɩɨɱɢʃɭ ɞɚ ɨɝɪɚɧɢɱɚɜɚʁɭ ɦɧɨɝɢɦ ɡɚɛɪɚɧɚɦɚ; ɧɚ ɩɪɢɦɟɪ, ɫɜɟɬɨ ɫɟ ɧɟ ɫɦɟ ɨɫɤɪɧɚɜɢɬɢ ɩɨɝɥɟɞɨɦ, ɩɚ ɫɟ ɩɪɟɞ ʃɢɦ ɨɱɢ ɨɛɚɪɚʁɭ ɢɥɢ ɫɟ ɩɨɝɥɟɞ ɫɤɪɟʄɟ”98. Ɇɟђɭɬɢɦ, ɤɚɞɚ ʁɟ ɪɟɱ ɨ ɭɧɚɩɪɟђɢɜɚʃɭ ɡɧɚʃɚ ɢɥɢ, ɩɚɤ, ɫɬɢɰɚʃɭ ɦɨʄɢ, ɨɱɢ ɫɟ, ɢɫɬɢɱɟ Ⱦɢɮɪɟɧ, ɲɢɪɨɦ ɨɬɜɚɪɚʁɭ. ɍ ɤɨɧɬɟɤɫɬɭ ɪɚɡɦɚɬɪɚʃɚ ɫɩɟɰɢɮɢɱɧɨɫɬɢ ɱɭɥɚ ɜɢɞɚ ɢ ɚɭɬɨɧɨɦɢʁɟ ɢ ɞɨɦɢɧɚɰɢʁɟ ɨɤɚ, Ⱦɢɮɪɟɧ ɩɨɞɪɠɚɜɚ ɪɟɚɥɢɡɚɰɢʁɭ ʁɟɞɧɨɝ ɡɚɢɫɬɚ ɡɚɧɢɦʂɢɜɨɝ ɩɪɨʁɟɤɬɚ ɩɨɞ ɧɚɡɢɜɨɦ „ɢɫɬɨɪɢʁɚ ɜɢђɟʃɚ”, Ɍɚʁ ɩɪɨʁɟɤɚɬ, ɱɢʁɢ ʁɟ ɢɞɟʁɧɢ ɬɜɨɪɚɰ ɲɜɚʁɰɚɪɫɤɢ ɢɫɬɨɪɢɱɚɪ ɭɦɟɬɧɨɫɬɢ ɏɚʁɧɪɢɯ ȼɟɥɮɥɢɧ (Heinrich Wölfflin), ɛɢ ɭ ɤɨɧɬɟɤɫɬɭ ʁɟɞɧɟ ɢɫɬɨɪɢʁɟ ɰɢɜɢɥɢɡɚɰɢʁɟ ɩɨɬɰɪɬɚɨ ɚɭɬɨɧɨɦɧɨɫɬ ɨɤɚ, ɨɬɤɪɢɜɚʁɭʄɢ ɞɚ ʁɟ ɬɨɤɨɦ ɜɟɤɨɜɚ ɩɨɫɬɨʁɚɥɚ ɠɟʂɚ ɡɚ ʁɟɞɧɢɦ ɫɜɟɩɪɢɫɭɬɧɢɦ, ɩɪɨɧɢɰʂɢɜɢɦ ɨɤɨɦ ɡɚ ɱɢʁɟ ɫɟ ɩɨɬɪɟɛɟ ɢɡɝɪɚɞɢɨ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɢ ɫɚɦ ɉɚɧɨɩɬɢɤɨɧ99. ɍ ɤɨɧɬɟɤɫɬɭ ɡɚɩɚɞɧɨ-ɟɜɪɨɩɫɤɟ ɟɫɬɟɬɢɤɟ, ɨɞ ɪɟɧɟɫɚɧɫɟ ɩɚ ɧɚɞɚʂɟ, ɦɨɝɭʄɟ ʁɟ ɝɨɜɨɪɢɬɢ ɨ „ɦɨɪɚɥɭ ɜɢɡɭɟɥɧɟ ɨɲɬɪɢɧɟ”, ɤɨʁɢ ɡɚɩɪɚɜɨ ɤɪɢɬɢɤɭʁɟ ɫɜɟ ɨɧɨ ɲɬɨ ʁɟ ɦɭɬɧɨ, ɧɟʁɚɫɧɨ, ɢɫɤɪɢɜʂɟɧɨ, ɚ ɜɟɥɢɱɚ ɨɲɬɪɢɧɭ ɢ ɩɪɟɰɢɡɧɨɫɬ ɤɨʁɢ ɫɭ ɧɟɨɩɯɨɞɧɢ ɤɚɤɨ ɛɢ ɫɟ ɩɨɫɬɢɝɥɚ ɨɛʁɟɤɬɢɜɧɨɫɬ ɩɪɢɤɚɡɢɜɚʃɚ. ɂɚɤɨ ɫɟ ɱɢɧɢ ɞɚ ɬɭ ɨɛʁɟɤɬɢɜɧɨɫɬ ʁɟɞɢɧɨ ɝɚɪɚɧɬɭʁɟ ɮɨɬɨɝɪɚɮɫɤɢ ɚɩɚɪɚɬ ɱɢʁɢ ɨɛɟʁɤɬɢɜ ɨɤɚɦɟʃɭʁɟ ɢ ɡɚɭɫɬɚɜʂɚ ɪɟɚɥɧɨ ɭ ɮɨɬɨɝɪɚɮɢʁɢ (ɤɨʁɚ ɭ ɬɨɦ ɬɪɟɧɭɬɤɭ ɩɨɫɬɚʁɟ ʁɚɫɧɚ ɢ ɪɚɡɝɨɜɟɬɧɚ), ɦɨɝɭʄɟ ʁɟ, ɢɩɚɤ, ɭ ɢɫɬɨɦ ɤɨɧɬɟɤɫɬɭ ɚɧɚɥɢɡɢɪɚɬɢ ɫɥɢɤɚɪɫɤɟ ɩɪɚɤɫɟ ɢɦɩɪɟɫɢɨɧɢɡɦɚ, ɚɥɢ ɢ ɫɥɢɤɚɪɫɤɭ ɲɤɨɥɭ ɯɢɩɟɪɪɟɚɥɢɡɦɚ ɭ ɨɤɜɢɪɭ ɤɨʁɢɯ ɫɥɢɤɚɪɢ, ɦɟɬɚɮɨɪɢɱɤɢ ɪɟɱɟɧɨ, ɩɪɟɜɚɡɢɥɚɡɟ 98 ɂɫɬɨ, 61. 99 ɉɚɧɨɩɬɢɤɨɧ ʁɟ ɜɪɫɬɚ ɡɚɬɜɨɪɫɤɟ ɢɧɫɬɢɬɭɰɢʁɟ ɤɨʁɭ ʁɟ ɞɢɡɚʁɧɢɪɚɨ ɟɧɝɥɟɫɤɢ ɮɢɥɨɡɨɮ ɢ ɫɨɰɢʁɚɥɧɢ ɬɟɨɪɟɬɢɱɚɪ ȹɟɪɟɦɢ Ȼɟɧɬɚɦ (Jeremy Bentham) ɤɪɚʁɟɦ 18. ɜɟɤɚ. ɋɭɲɬɢɧɚ ɨɜɟ ɢɞɟʁɟ ʁɟ ɞɚ ɫɟ ɨɦɨɝɭʄɢ ɞɚ ɫɚɦɨ ʁɟɞɚɧ ɱɭɜɚɪ ɧɚɞɝɥɟɞɚ (-optikon) ɫɜɟ (pan-) ɡɚɬɜɨɪɟɧɢɤɟ ɨɜɟ ɢɧɫɬɢɬɭɰɢʁɟ, ɚɥɢ ɬɚɤɨ ɞɚ ɡɚɬɜɨɪɟɧɢɰɢ ɧɟ ɡɧɚʁɭ ɞɚ ɥɢ ɫɭ ɩɨɞ ɩɪɢɫɦɨɬɪɨɦ ɢɥɢ ɧɟ. ɂɚɤɨ ʁɟ ɮɢɡɢɱɤɢ ɧɟɦɨɝɭʄɟ ɞɚ ʁɟɞɚɧ ɱɭɜɚɪ ɧɚɞɝɥɟɞɚ ɫɜɟ ɡɚɬɜɨɪɟɧɢɱɤɟ ʄɟɥɢʁɟ ɭ ɢɫɬɨ ɜɪɟɦɟ, ɱɢʃɟɧɢɰɚ ɞɚ ɡɚɬɜɨɪɟɧɢɰɢ ɧɟ ɡɧɚʁɭ ɞɚ ɥɢ ɫɭ ɩɨɫɦɚɬɪɚɧɢ ɢɥɢ ɧɟ, ɜɨɞɢ ɞɨ ɬɨɝɚ ɞɚ ɫɟ ɨɧɢ ɫɜɟ ɜɪɟɦɟ ɩɨɧɚɲɚʁɭ ɩɪɢɦɟɪɟɧɨ ɢ ɧɚ ɬɚʁ ɧɚɱɢɧ ɫɟ ɟɮɢɤɚɫɧɨ ɤɨɧɬɪɨɥɢɲɟ ʃɢɯɨɜɨ ɩɨɧɚɲɚʃɟ. ɂɦɟ ɫɟ ɩɨɜɟɡɭʁɟ ɢ ɫɚ ɉɚɧɨɩɬɟɫɨɦ, ɥɢɤɨɦ ɢɡ ɝɪɱɤɟ ɦɢɬɨɥɨɝɢʁɟ, ɤɨʁɢ ʁɟ ɛɢɨ џɢɧ ɫɚ ɫɬɨɬɢɧɭ ɨɱɢʁɭ ɢ ɡɛɨɝ ɬɨɝɚ ɜɟɨɦɚ ɟɮɢɤɚɫɚɧ ɱɭɜɚɪ. Ɇɢɲɟɥ Ɏɭɤɨ (Michel Foucault) ʁɟ ɭ ɫɜɨɦ ɞɟɥɭ ɇɚɞɡɢɪɚɬɢ ɢ ɤɚɠʃɚɜɚɬɢ (Surveiller et punir, 1975) ɢɫɤɨɪɢɫɬɢɨ ɦɨɞɟɥ ɉɚɧɨɩɬɢɤɨɧɚ ɤɚɨ ɦɟɬɚɮɨɪɭ ɡɚ ɫɚɜɪɟɦɟɧɨ ɞɪɭɲɬɜɨ ɢ ʃɟɝɨɜɭ ɬɟɠʃɭ ɞɚ ɩɨɫɦɚɬɪɚ, ɞɢɫɰɢɩɥɢɧɭʁɟ ɢ ɭʁɟɞɧɚɱɢ. ɉɚɧɨɩɬɢɤɨɧ ɫɬɜɚɪɚ ɫɜɟɫɬ ɨ ɤɨɧɫɬɚɧɬɧɨɦ ɧɚɞɡɨɪɭ ɠɢɜɨɬɚ ɱɥɚɧɨɜɚ ɞɪɭɲɬɜɟɧɟ ɡɚʁɟɞɧɢɰɟ, ɝɞɟ ɜɢɲɟ ɧɢɫɭ ɧɟɨɩɯɨɞɧɢ ɥɚɧɰɢ ɢ ɤɚɬɚɧɰɢ ɤɚɤɨ ɛɢ ɫɟ ɩɨɤɚɡɚɥɚ ɦɨʄ ɢ ɞɨɦɢɧɚɰɢʁɚ ɫɢɫɬɟɦɚ ɧɚɞ ɩɨʁɟɞɢɧɰɟɦ. Ɏɭɤɨ ɬɜɪɞɢ ɞɚ ɧɢɫɭ ɫɚɦɨ ɡɚɬɜɨɪɢ, ɜɟʄ ɢ ɫɜɟ ɨɫɬɚɥɟ ɢɧɫɬɢɬɭɰɢʁɟ ɤɨʁɟ ɮɭɧɤɰɢɨɧɢɲɭ ɩɨ ɩɪɢɧɰɢɩɭ ɯɢʁɟɪɚɪɯɢʁɟ, ɟɜɨɥɭɢɪɚɥɟ ɬɚɤɨ ɞɚ ɩɨɞɫɟʄɚʁɭ ɧɚ Ȼɟɧɬɚɦɨɜ ɉɚɧɨɩɬɢɤɨɧ. 44 ɮɨɬɨɝɪɚɮɢʁɭ, ɢ ɬɨ ɭ ɨɧɨɦ ɬɪɟɧɭɬɤɭ ɤɚɞɚ ʁɟ ɧɚɜɨɞɧɨ ɞɨɫɬɢɠɭ ɢ ɩɨɞɪɚɠɚɜɚʁɭ.100 Ɍɚɤɨђɟ, ɭ ɤɨɧɬɟɤɫɬɭ ɡɚɩɚɞɧɨ-ɟɜɪɨɩɫɤɟ ɟɫɬɟɬɢɤɟ ɦɨɝɭʄɟ ʁɟ ɝɨɜɨɪɢɬɢ ɢ ɨ ɬɟɨɪɢʁɢ Sichtbarkeit ‒ „ɟɬɢɰɢ ɩɪɚɜɢɥɧɨɝ ɜɢђɟʃɚ” – ɨɞɧɨɫɧɨ, ɨ ɭɦɟɬɧɨɫɬɢ ɤɚɨ ɱɢɫɬɨʁ ɜɢɞʂɢɜɨɫɬɢ ɤɨʁɭ ɫɭ ɤɪɚʁɟɦ 19. ɢ ɩɨɱɟɬɤɨɦ 20. ɜɟɤɚ ɡɚɫɬɭɩɚɥɢ Ɏɢɞɥɟɪ (Conrad Fiedle) ɢ ɏɢɥɞɟɛɪɚɧɞ (Adolf von Hildebrand). Ɉɜɚ ɬɟɨɪɢʁɚ ɫɟ ɭ ɫɭɲɬɢɧɢ ɩɪɢɛɥɢɠɚɜɚ ɨɧɨʁ ɜɪɫɬɢ ɟɫɬɟɬɢɤɟ ɡɚ ɤɨʁɭ ɫɟ ɡɚɥɚɝɚɨ Ⱥɥɟɤɫɚɧɞɚɪ Ȼɚɭɦɝɚɪɬɟɧ, ɚ ɤɨʁɚ, ɤɚɨ ɡɚɞɚɬɚɤ ɭɦɟɬɧɨɫɬɢ, ɩɨɫɬɚɜʂɚ „ɫɚɜɥɚɞɚɜɚʃɚ ɨɫɟɬɧɨɝ ɫɜɟɬɚ”. Ɋɟɱ ʁɟ ɩɪɟ ɫɜɟɝɚ ɨ ɜɢɞʂɢɜɨɦ: ɜɢђɟʃɟ ʁɟ ɞɟɥɚʃɟ ɱɢʁɢ ʁɟ ɡɚɞɚɬɚɤ ɞɚ ɩɨɤɨɪɢ ɜɢɞʂɢɜɨɫɬ, ɞɚ ɫɚ ʁɟɞɧɨɝ ɤɨɧɮɭɡɧɨɝ ɢ ɧɟɨɞɪɟђɟɧɨɝ ɜɢɞʂɢɜɨɝ ɩɪɟђɟ ɧɚ ʁɟɞɧɨ ʁɚɫɧɨ, ɛɨɝɚɬɨ ɢ ɫɪɟђɟɧɨ ɜɢɞʂɢɜɨ. Ɍɚɤɨ, „ɮɢɝɭɪɚɬɢɜɧɟ ɭɦɟɬɧɨɫɬɢ” ɦɨɝɭ ɢɡ ɜɢɡɭɟɥɧɨɝ ɞɚ ɚɩɫɬɪɚɯɭʁɭ ɱɢɫɬɭ ɜɢɞʂɢɜɨɫɬ ɭɡ ɱɢʁɭ ɩɨɦɨʄ ɨɫɟɬɧɨ ɦɨɠɟ ɩɪɢɫɬɭɩɢɬɢ ɫɚɡɧɚʃɭ; ɩɚɪɚɞɨɤɫɚɥɧɨ, ɬɨ ɧɢʁɟ ɫɥɭɱɚʁ ɢ ɫɚ ɬɚɤɬɢɥɧɢɦ, ɛɭɞɭʄɢ ɞɚ ɫɟ ɢɡ ɬɚɤɬɢɥɧɨɝ ɧɟ ɛɢ ɦɨɝɥɚ ɢɡɜɭʄɢ ɱɢɫɬɚ ɬɚɤɬɢɥɧɨɫɬ, ɧɢɬɢ ɛɢ ɫɟ „ɛɪɢɝɚ ɨ ʃɨʁ ɦɨɝɥɚ ɩɪɢɩɢɫɚɬɢ ɭɦɟɬɧɨɫɬɢ”101. Ɇɟђɭɬɢɦ, Ⱦɢɮɪɟɧ ɞɨɥɚɡɢ ɭ ɢɫɤɭɲɟʃɟ ɞɚ Ɏɢɞɥɟɪɭ ɡɚɦɟɪɢ ɭɩɪɚɜɨ ɫɬɚɜ ɞɚ ɜɢɞʂɢɜɨɫɬ ɦɨɠɟ ɛɢɬɢ ɱɢɫɬɚ. ɉɨɥɚɡɟʄɢ ɨɞ ɩɪɟɬɩɨɫɬɚɜɤɟ ɞɚ ɨɤɨ ɧɢɤɚɞɚ ɧɢʁɟ ɫɭɜɟɪɟɧɨ, ɬɟ ɞɚ ɫɟ ɭɜɟɤ ‘ɦɟɲɚ’ ɭ ɨɧɨ ɲɬɨ ɜɢɞɢ (ɭɦɟɫɬɨ ɞɚ ɫɟ ɞɢɫɬɚɧɰɢɪɚ ɨɞ ɬɨɝɚ), Ⱦɢɮɪɟɧ ɭɤɚɡɭʁɟ ɧɚ ɬɨ ɞɚ ɨɤɨ, ɡɚɩɪɚɜɨ, ɭɜɟɤ ɧɚɝɨɧɢ ɰɟɥɨ ɬɟɥɨ ɞɚ ɭɱɟɫɬɜɭʁɟ ɭ ʃɟɝɨɜɨɦ ɢɫɤɭɫɬɜɭ, ɩɪɢ ɬɨɦ, ɨɫɬɚɜʂɚʁɭʄɢ ɧɟ ɞɨ ɤɪɚʁɚ ɡɚɜɪɲɟɧɢɦ ɱɢɬɚʃɟ ɫɜɟɝɚ ɨɧɨɝ ɲɬɨ ʁɟ ɜɢɞʂɢɜɨ ɨɛɭɯɜɚɬɢɥɨ. ɂɡ ɬɨɝɚ ɢ ɩɪɨɢɡɥɚɡɢ ʃɟɝɨɜɨ ɫɭɲɬɢɧɫɤɨ ɩɢɬɚʃɟ: ɚɤɨ ɫɟ ɨɤɭ ɠɟɥɢ ɩɪɢɡɧɚɬɢ ɢɡɜɟɫɧɚ ɦɨʄ ɚɩɫɬɪɚɯɨɜɚʃɚ, ɡɚɲɬɨ ɨɧɞɚ ɬɨ ɧɟ ɩɪɢɡɧɚɬɢ ɢ ɭɯɭ? ɍ ɫɜɚɤɨɦ ɫɥɭɱɚʁɭ, ɨɜɚ ɬɟɨɪɢʁɚ, ɤɚɨ ɢ ɩɨʁɟɞɢɧɟ ɭɦɟɬɧɢɱɤɟ ɩɪɚɤɫɟ, ɭɨɫɬɚɥɨɦ, ɩɨɬɜɪђɭʁɭ ɚɭɬɨɪɢɬɟɬ ɜɢɞɚ ɢ ɩɪɟɫɬɢɠ ɨɤɚ102 ‒ ɩɪɟɫɬɢɠ ɤɨʁɢ ʁɟ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɥɟɝɢɬɢɦɚɧ, ɡɚɬɨ ɲɬɨ ɨɤɨ ɡɚɢɫɬɚ ʁɟɫɬɟ ɦɨʄɧɨ. Ƚɥɟɞɚɬɢ ɡɧɚɱɢ ɢɫɩɨʂɚɜɚɬɢ ɢɡɜɟɫɧɭ ɦɨʄ, ɚ ɞɪɠɚʃɟɦ ɫɬɜɚɪɢ ɧɚ ɞɢɫɬɚɧɰɢ ɢ ɢɡɛɟɝɚɜɚʃɟɦ ɛɢɥɨ ɤɚɤɚɜɨɝ 100 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Florence de Mèredieu, “L’image photographique, prothèse de la représentation”, Revue d’esthétique, (6), 1984, 153. 101 Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 62. 102 ȼɢɞ ɞɨɡɜɨʂɚɜɚ ɪɚɡɦɟɧɭ ɡɧɚɤɨɜɚ ɤɨʁɢ ɧɢɫɭ ɭɜɟɤ ɧɢ ɧɚɩɢɫɚɧɢ ɧɢ ɢɡɝɨɜɨɪɟɧɢ. Ⱦɚɤɥɟ, ɜɢɞ ɛɚɪɟɦ ɫɭɞɟɥɭʁɟ ɭ ɡɚɫɧɢɜɚʃɭ ɢɧɬɟɪɫɭɛʁɟɤɬɢɜɧɨɫɬɢ ɤɨʁɚ ʁɟ ɨɩɟɬ, ɪɟɱɟɧɨ ɯɭɫɟɪɥɨɜɫɤɢ, ɭɫɥɨɜ ɡɚ ɨɛʁɟɤɬɢɜɧɨɫɬ. ɂ ɤɨɦɭɧɢɤɚɰɢʁɚ ɦɨɠɟ ɛɢɬɢ ɜɢɞ ɢɫɬɨɦɢɲʂɟɧɢɲɬɜɚ ɚɤɨ ɫɟ ɩɨɝɥɟɞɢ ɭɫɦɟɪɟ ɤɚ ɢɫɬɨɦ ɨɛʁɟɤɬɭ ɢ ɚɤɨ ɨɧɢ ɞɟɥɟ ɢɫɬɭ ɨɱɢɬɨɫɬ, ʁɟɪ ɫɟ ɬɚɞɚ ɢɡɝɪɚђɭʁɟ ʁɟɞɧɚ ɢɧɬɟɪɫɭɛʁɟɤɬɢɜɧɨɫɬ ɤɨʁɚ ʁɟ ɧɚ ɨɞɪɟђɟɧɢ ɧɚɱɢɧ ɢɞɟɚɥɧɚ, ɚɥɢ ɤɨʁɚ ɢɫɬɨ ɬɚɤɨ ɦɨɠɟ ɛɢɬɢ ɢ ɨɛɨʁɟɧɚ ɚɮɟɤɬɢɜɧɨɲʄɭ ɨɧɞɚ ɤɚɞɚ ɫɟ ɡɚʁɟɞɧɢɱɤɨ ɜɢђɟʃɟ ɞɨɠɢɜʂɚɜɚ ɤɚɨ ɡɚʁɟɞɧɢɱɤɨ ɨɫɟʄɚʃɟ. Ɇɟђɭɬɢɦ, ɢɧɬɟɪɫɭɛʁɟɤɬɢɜɧɨɫɬ ɧɟ ɦɨɪɚ ɛɢɬɢ ɭɜɟɤ ɬɚɤɨ ɫɪɟʄɧɚ, ʁɟɪ ɫɟ ɩɨɝɥɟɞɢ, ɭɦɟɫɬɨ ɞɚ ɛɭɞɭ ɭɫɦɟɪɟɧɢ ɭ ɢɫɬɨɦ ɩɪɚɜɰɭ, ɢɫɬɨ ɬɚɤɨ ɦɨɝɭ ɭɤɪɫɬɢɬɢ ɢ ɫɭɨɱɢɬɢ. ɋɚɪɬɪ ʁɟ ɩɨɬɚɧɤɨ ɨɩɢɫɚɨ ɫɢɬɭɚɰɢʁɭ ɭ ɤɨʁɨʁ ɫɟ ɜɢɲɟ ɧɟ ɪɚɞɢ ɨ ɬɨɦɟ ɞɚ ɫɟ ɬɪɟɛɚ ɭɜɟɪɢɬɢ ɭ ɨɛʁɟɤɬɢɜɧɨɫɬ ɧɟɤɨɝ ɨɛʁɟɤɬɚ, ɜɟʄ ɨ ɬɨɦɟ ɞɚ ɨɧɨɝ ɞɪɭɝɨɝ ɬɪɟɛɚ ɫɜɟɫɬɢ ɧɚ ɫɬɚɬɭɫ ɨɛʁɟɤɬɚ. 45 ɤɨɧɬɚɤɬ, ɨɫɢɝɭɪɚɜɚɦɨ ɫɟɛɢ ɧɚɞɦɨʄ. Ɉɧɨ ɲɬɨ ɫɟ, ɬɚɤɨђɟ, ɞɟɲɚɜɚ ɭ ɩɪɨɰɟɫɭ ɝɥɟɞɚʃɚ ʁɟɫɬɟ ɬɨ ɞɚ ɨɤɨ ɪɚɫɩɥɚɦɫɚɜɚ ɫɧɚɠɧɚ ɜɨʂɚ ɞɨɤ ɨɧɨ ɩɨɤɭɲɚɜɚ ɞɚ ɤɨɦɭɧɢɰɢɪɚ. Ɉɧɨ ɲɬɨ ɚɧɢɦɢɪɚ ɨɤɨ, ɦɨɠɟ ɛɢɬɢ ɠɟʂɚ ɡɚ ɡɧɚʃɟɦ, ɢɫɬɢɱɟ Ⱦɢɮɪɟɧ. Јɟɪ, ɚɤɨ ɨɧɨ ɩɨ ɪɟɱɢɦɚ Ⱥɧɞɪɟɚ Ȼɪɟɬɨɧ (André Breton) ɩɨɫɬɨʁɢ ɭ ɞɢɜʂɟɦ ɫɬɚʃɭ, ɨɧɞɚ ɫɟ ɨɧɨ ɨɬɪɤɢɜɚ ɢ ɭ ɡɧɚɧɫɬɜɟɧɨɦ, ɬɟ ɝɚ ɧɚɭɤɚ ɬɚɞɚ ‘ɧɚɨɪɭɠɚɜɚ’ ɩɨɬɪɟɛɧɢɦ ɜɢђɟʃɢɦɚ ɤɚɤɨ ɛɢ ɨɫɢɝɭɪɚɥɚ ʃɟɝɨɜɭ ɞɨɦɢɧɚɰɢʁɭ ɫɜɟɬɨɦ. „Ɍɚɞɚ ɜɢɞɟɬɢ ɧɟ ɡɧɚɱɢ ɬɨɥɢɤɨ ɨɩɚɡɢɬɢ ɤɨɥɢɤɨ ɱɢɬɚɬɢ. ɂ ɢɫɬɨ ɬɚɤɨ ɤɚɨ ɲɬɨ ɱɢɬɚʃɟ ɧɚɩɢɫɚɧɢɯ ɡɧɚɤɨɜɚ ɢɦɩɥɢɰɢɪɚ ɨɛɭɱɚɜɚʃɟ ɢ ɨɜɥɚɞɚɜɚʃɟ ɡɚɤɨɧɢɦɚ ɩɢɫɦɚ, ɢɫɬɨ ɬɚɤɨ ɢ ɬɭɦɚɱɟʃɟ ɨɧɨɝɚ ɲɬɨ ɫɟ ɧɭɞɢ ɜɢɞɭ ɢɦɩɥɢɰɢɪɚ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɡɧɚʃɟ, ɢ ɫɭɞ.”103 Ɂɧɚɧɫɬɜɟɧɨ ɨɤɨ ɫɟ ɭɩɭʄɭʁɟ ɩɪɚɜɨ ɤɚ ɡɧɚɱɟʃɭ, ɨɧɨ ɧɢʁɟ ɜɢɲɟ ɨɪɝɚɧ ɧɟɤɨɝ ɛɢʄɚ ɧɚ ɫɜɟɬɭ ɢ ɧɟɦɚ ɜɢɲɟ ɡɚ ɰɢʂ ɩɪɨɠɢɜʂɟɧɢ ɫɜɟɬ, ɜɟʄ ʁɟ ɨɧɨ ɩɨɢɦʂɟɧɢ ɭɧɢɜɟɪɡɭɦ: ɨɧɨ ʁɟ ɧɟɨɝɪɚɧɢɱɟɧɨ ɩɨʂɟ ɫɜɟɨɛɭɯɜɚɬɧɨɝ, ɤɨɪɟɥɚɬ ɨɧɨɝ ɲɬɨ ʁɟ Ʉɚɪɥ Јɚɫɩɟɪɫ ɧɚɡɢɜɚɨ ɫɜɟɲʄɭ ɭɨɩɲɬɟ. Ɉɧɨ ɲɬɨ ɡɧɚɧɫɬɜɟɧɨ ɨɤɨ ɢɦɚ ɡɚ ɰɢʂ ɧɢʁɟ ɜɢɲɟ ɧɟɤɚ ɫɬɜɚɪ ɫɜɟɬɚ, ɜɟʄ ʁɟ ɬɨ ʁɟɞɚɧ ɟɩɢɫɬɟɦɨɥɨɲɤɢ ɨɛʁɟɤɚɬ ɤɨʁɢ ʁɟ ɨɦɟђɟɧ, ɨɞɪɟђɟɧ, ɩɨɧɟɤɚɞ ɢ ɩɪɟɮɚɛɪɢɤɨɜɚɧ ɭ ɤɨɧɬɟɤɫɬɭ ɧɟɤɨɝ ɢɫɬɪɚɠɢɜɚʃɚ ɡɚ ɤɨʁɟ ɡɧɚɦɨ ɞɚ ɬɪɟɛɚ ɞɚ ɞɨɧɟɫɟ ɧɟɤɢ ɩɪɟɰɢɡɚɧ ɨɞɝɨɜɨɪ ɧɚ ʁɟɞɧɨ ɢɫɬɨ ɬɚɤɨ ɩɪɟɰɢɡɧɨ ɩɢɬɚʃɟ. Ɍɢɦɟ ʁɟ ɨɧɨ ɩɨɫɬɚɥɨ ɨɡɧɚɱɢɬɟʂ, ɚ ɨɧɨ ɲɬɨ ʁɟ ɜɚɠɧɨ, ɢɫɬɢɱɟ Ⱦɢɮɪɟɧ, ʁɟɫɬɟ ɩɪɨɧɢɤɧɭɬɢ ɭ ʃɟɝɨɜɨ ɡɧɚɱɟʃɟ. Ⱦɚ ɥɢ ʁɟ ɨɧɞɚ ɬɨ ɨɤɨ ɫɚɦɨ ɨɧɨ ɤɨʁɟ ɫɟ ɚɩɫɬɪɚɯɭʁɟ ɨɞ ɫɜɢɯ ɭɫɥɨɜɚ ɞɚ ɛɢ ɞɨɫɟɝɥɨ ɨɛʁɟɤɬɢɜɧɨɫɬ ʁɟɞɧɨɝ ɱɢɫɬɨɝ ɩɨɝɥɟɞɚ? Ɉɞɧɨɫɧɨ, ɩɨɫɬɚɜʂɚ ɫɟ ɩɢɬɚʃɟ ɧɢʁɟ ɥɢ ɨɧɨ ɫɚɦɨ ɨɤɨ ɭɨɩɲɬɟ? Ⱦɢɜʂɟ ɨɤɨ ɛɟɡ ɫɭɦʃɟ ɭɫɩɟɜɚ ɞɚ ɭɯɜɚɬɢ ɡɧɚɱɟʃɚ ɛɟɡ ɩɨɫɪɟɞɫɬɜɚ ɧɟɤɨɝ ɡɧɚʃɚ, ɡɚɯɜɚʂɭʁɭʄɢ ɭɪɨђɟɧɨʁ ‘ɮɚɦɢɥɢʁɚɪɧɨɫɬɢ’ ɫɚ ɫɜɟɬɨɦ, ɤɨʁɭ ȿɪɜɢɧ ɒɬɪɚɭɫ ɫɦɚɬɪɚ ɩɨɤɪɟɬɚɱɟɦ ɨɫɟʄɚʃɚ. ɍɦɟɫɬɨ ɞɚ ɤɚɠɟɦɨ ɞɚ ɨɜɞɟ ɩɨɫɬɨʁɢ ɧɟɤɚ ɜɪɫɬɚ ɫɚɦɨɜɨʂɟ ɡɧɚɤɚ, ɦɢ ɦɨɠɟɦɨ ɪɟʄɢ ɞɚ ɡɧɚɱɟʃɟ ɧɢʁɟ ɩɪɢɪɨɞɧɨ ɜɟɡɚɧɨ ɡɚ ɡɧɚɤ, ɬɨ ʁɟɫɬ, ɞɚ ɨɧɨ ɧɢʁɟ ɧɟɩɨɫɪɟɞɧɨ ɱɢɬʂɢɜɨ ɢɡ ʃɟɝɚ. Ⱦɚɤɥɟ, ɭɡ ɩɨɦɨʄ ɢɧɬɟɥɟɤɬɭɚɥɧɟ ɚɤɬɢɜɧɨɫɬɢ ɨɤɚ, ɫɜɟɬ ɦɨɠɟ ‘ɨɫɜɨʁɢɬɢ’/ɫɩɨɡɧɚɬɢ/ɫɚɡɧɚɜɚɬɢ ɭɧɢɜɟɪɡɭɦ. Ɍɚɤɨ ɫɟ ɧɚ ɨɜɨɦ ɦɟɫɬɭ ʁɚɜʂɚ ɪɟɰɢɩɪɨɰɢɬɟɬ ɢɡɦɟђɭ ɜɢɞɚ ɢ ɡɧɚʃɚ: ɩɨɬɪɟɛɧɨ ʁɟ ɜɢɞɟɬɢ ɞɚ ɛɢ ɫɟ ɡɧɚɥɨ, ɚɥɢ ʁɟ ɬɚɤɨђɟ 103 ɂɫɬɨ, 65. 46 ɩɨɬɪɟɛɧɨ ɢ ɡɧɚɬɢ ɞɚ ɛɢ ɫɟ ɜɢɞɟɥɨ.104 Ɇɟђɭɬɢɦ, ɜɢђɟʃɟ ɧɢʁɟ, ɩɨ Ⱦɢɮɪɟɧɨɜɢɦ ɪɟɱɢɦɚ, ɫɚɦɨ ɫɚɭɱɟɫɧɢɤ ɡɧɚʃɚ, „ɨɧɨ ɫɜɨʁ ɩɪɟɫɬɢɠ ɞɭɝɭʁɟ ɨɧɨɦ ɱɢʁɢ ʁɟ ɦɨɞɟɥ”. „Ɉɧɨ ʁɟ ɦɨɞɟɥ ɧɟ ɫɚɦɨ ɬɟɥɭ, ɧɟɝɨ ɢ ɭɦɭ.”105 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɡɧɚʃɟ ɫɟ ɩɪɟɧɨɫɢ ɢ ɢɞɟʁɚɦɚ ɤɨʁɟ ɫɟ ʁɨɲ ɨɞ ɜɪɟɦɟɧɚ ɉɥɚɬɨɧɚ ɩɨɢɦɚʁɭ ɤɚɨ ‘ɛɢʄɚ’ ɤɨʁɚ ʁɟ ɩɨɬɪɟɛɧɨ (ɞɨɛɪɨ) ɜɢɞɟɬɢ, ɭ ɫɜɟɬɥɭ ɨɱɢɝɥɟɞɧɨɫɬɢ. ɉɥɚɬɨɧ ɢɯ ɧɚɡɢɜɚ eidé, ɞɨɤ ɢɯ ɏɭɫɟɪɥ ɧɚɡɢɜɚ ɢɞɟɚɥɧɢɦ ɢɥɢ ɢɞɟʁɧɢɦ ɨɛʁɟɤɬɨɦ. Ɉɧɚ ʁɟ, ɫɦɚɬɪɚ Ɇɚɤɫ Ʌɨɪɨ (Max Loreau), „ɨɞ ɬɪɟɧɭɬɤɚ ɤɚɞɚ ɩɨɱɢʃɟ ɨ ʃɨʁ ɤɚɨ ɮɟɧɨɦɟɧɭ ɞɚ ɫɟ ɝɨɜɨɪɢ, ɡɚɩɪɚɜɨ, ɧɟɤɨ ɢɪɟɚɥɧɨ ɜɢɞʂɢɜɨ ɤɨʁɟ ɧɟ ɡɚɜɢɫɢ ɨɞ ɨɱɢʁɭ ɬɟɥɚ, ɜɟʄ ɨɞ ɨɱɢʁɭ ɭɦɚ”106. ɍ ɞɭɯɭ ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɦɢɫɥɢ, ɨɧɚ ɩɪɟɞɫɬɚɜʂɚ ɩɪɢɧɰɢɩ ɩɪɢɧɰɢɩɚ, ɨɞɧɨɫɧɨ, ɪɟɱɟɧɨ Ⱦɟɪɢɞɢɧɢɦ (Jacques Derrida) ɪɟɱɧɢɤɨɦ, „ɩɪɢɫɭɫɬɜɨ ɢɥɢ ɩɪɢɫɭɬɧɨɫɬ ɨɫɟɬɧɨɝ ɭ ʁɟɞɧɨʁ ɩɭɧɨʁ ɢ ɢɡɜɨɪɧɨʁ ɢɧɬɭɢɰɢʁɢ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.]”.107 ɂɞɟʁɟ ɫɟ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɦɨɝɭ ɩɪɢɯɜɚɬɢɬɢ ʁɟɞɢɧɨ ɩɨɞ ɭɫɥɨɜɨɦ ɞɚ ɫɭ „ʁɚɫɧɟ ɢ ɪɚɡɝɨɜɟɬɧɟ”, ɚ ʁɚɫɧɨʄɚ ɧɚ ɧɢɜɨɭ ɨɫɟɬɧɨɝ, ʁɟɫɬɟ ɞɟɥɨ ɟɥɟɦɟɧɬɚ ɤɨʁɢɦ ɫɟ ɨɦɨɝɭʄɚɜɚ ɜɢђɟʃɟ, ɨɧɨɝ ɟɥɟɦɟɧɬɚ ɤɨʁɢ ɞɨɡɜɨʂɚɜɚ ɜɢɞʂɢɜɨɦ ɞɚ ɢɡɪɨɧɢ, ɞɨɤ ɧɚ ɧɢɜɨɭ ɪɚɡɭɦʂɢɜɨɝ ʁɚɫɧɨʄɚ ɩɪɟɞɫɬɚɜʂɚ ɞɟɥɨ ɫɚɦɟ ɫɜɟɫɬɢ, ɨɧɨ ɲɬɨ ɨɧɚ ɩɪɭɠɚ ɤɚɨ ɬɟɦɟʂ ɫɜɨʁɟ ɫɨɩɫɬɜɟɧɟ ɬɪɚɧɫɩɚɪɟɧɬɧɨɫɬɢ ɤɚɞɚ ʁɟ ɫɚ ɞɨɜɨʂɧɨ ɩɚɠʃɟ ɭɫɦɟɪɟɧɚ ɧɚ ɢɞɟɚɥɧɢ ɨɛʁɟɤɚɬ. Ɍɚɞɚ ʁɨʁ ɫɟ ɨɧ ɩɨɤɚɡɭʁɟ, ɢ ɬɚɞɚ ɫɟ ɭɤɥɚʃɚ ɫɜɚɤɚ ɧɟʁɚɫɧɨʄɚ; ɬɚɞɚ ʁɟ ɬɚʁ ɨɛʁɟɤɚɬ ɦɨɝɭʄɟ ɢɞɟɧɬɢɮɢɤɨɜɚɬɢ, ɢ ɞɨɞɟɥɢɬɢ ɦɭ ɦɟɫɬɨ, ɤɚɤɨ ɭ ɧɟɤɨɦ ɫɢɫɬɟɦɭ ɨɛʁɟɤɚɬɚ, ɬɚɤɨ ɢ ɭ ɧɟɤɨɦ ɞɢɫɤɭɪɫɭ ɤɨʁɢ ɫɟ ɞɪɠɢ ɩɪɚɜɢɥɚ ɪɚɡɭɦɚ, ʁɟɪ ɪɚɡɭɦʂɢɜɨ ɭɜɟɤ ɭɫɩɟɜɚ ɞɚ ɫɟ ɢɡɪɚɡɢ. „ȼɢђɟʃɟ ɢɞɟʁɚ ɢɥɢ ɫɭɲɬɢɧɚ (Wesenschau) ɩɪɟɬɩɨɫɬɚɜʂɚ ɧɟɤɢ ɢɞɟɚɥɧɢ ɩɪɨɫɬɨɪ ɤɨʁɢ ɫɟ ɨɬɜɚɪɚ ɭɡ ɩɨɦɨʄ ɫɜɚɬɥɨɫɬɢ, ɚ ɭ ɤɨʁɟɦ ɫɟ, ɩɨɩɭɬ ɫɬɜɚɪɢ ɭ ɫɜɟɬɭ ɫɬɜɚɪɢ, ɢɞɟɚɥɧɢ ɨɛʁɟɤɬɢ ɪɚɡɥɢɤɭʁɭ ɡɚɯɜɚʂɭʁɭʄɢ ɱɟɦɭ ɞɢɫɤɭɪɫ ɦɨɠɟ ɞɚ ɢɯ ɚɪɬɢɤɭɥɢɲɟ. ɇɚ ɬɚʁ ɧɚɱɢɧ ɫɟ ɨɧɨ ɲɬɨ ʁɟ ɩɪɢɦʂɟɧɨ ɨɞ ɡɧɚʃɚ – ʁɚɫɧɨʄɚ ɢ ɪɟɞ – ʁɚɜʂɚ ɩɨɧɨɜɨ ɢ ɤɨɞ ɜɢђɟʃɚ. Ⱦɚɤɥɟ, ɢɞɟʁɟ ɤɨʁɟ ɫɭ, ɤɚɨ „ɫɬɜɚɪɢ ɜɢђɟɧɟ ɨɱɢɦɚ ɭɦɚ, ɦɚʃɟ ɢɥɢ ɜɢɲɟ ‘ʁɚɫɧɟ’ ɡɚɩɪɚɜɨ ʁɟɫɭ 104 ȼɢђɟʃɟ ɧɟ ɩɪɨɜɨɰɢɪɚ ɫɚɦɨ ɡɧɚʃɟ, ɨɧɨ ɝɚ ɦɨɠɟ ɩɪɨɫɜɟɬɥɢɬɢ, ɦɨɠɟ ɦɭ ɭɞɟɥɢɬɢ ɨɧɭ ʁɚɫɧɨʄɭ ɤɨʁɚ ʁɟ ɫɜɨʁɫɬɜɟɧɚ ɜɢɞʂɢɜɨɦ. Ɉɛɢɱɧɨ ɫɟ ɧɟɤɨɦɟ ɤɨ ɧɟ ɪɚɡɭɦɟ ɤɚɠɟ: ɬɪɟɛɚ ɥɢ ɞɚ ɬɢ ɫɟ ɧɚɰɪɬɚ? ɐɪɬɟɠ ʁɟ, ɡɚɩɪɚɜɨ, ɞɪɚɝɨɰɟɧ ɢɧɫɬɪɭɦɟɧɬ ɫɩɨɡɧɚʁɟ, ɚ ɧɚ ɬɨɦɟ ʁɟ, ɧɚ ɩɪɢɦɟɪ, ɢɧɫɢɫɬɢɪɚɨ Ʌɟɨɧɚɪɞɨ ɞɚ ȼɢɧɱɢ (Leonardo di ser Piero da Vinci). Ɉɦɨɝɭʄɢɬɢ ɞɚ ɛɭɞɟ ɜɢђɟɧɨ – ɩɨɤɚɡɚɬɢ, ɬɨ ɡɧɚɱɢ ɝɨɬɨɜɨ ɞɨɤɚɡɚɬɢ, ɨɞɧɨɫɧɨ, ɨɦɨɝɭʄɢɬɢ ɩɨʁɚɜɭ ɧɟɤɨɝ ɨɛɪɚɡɥɨɠɟʃɚ. 105 Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 67. 106 Max Loreau, La peinture à l'oeuvre et l'énigme du corps (Paris: Gallimard, 1980), 175. 107 Jacques Derrida, La Voix et le Phénomène (Paris: PUF, 1967), 3. 47 ɦɟɬɚɮɨɪɟ.”108 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɢɞɟʁɟ/ɦɟɬɚɮɨɪɟ ɫɭ ɛɟɡɜɪɟɦɟɧɟ – ɫɬɚɪɟ ɫɭ ɤɨɥɢɤɨ ɢ ʁɟɡɢɤ! Ɇɟɬɚɮɨɪɟ ɡɚɩɪɚɜɨ ɨɬɜɚɪɚʁɭ ɩɪɨɛɥɟɦ ɞɭɛɢɧɟ ɩɨɜɟɫɬɢ ɛɭɞɭʄɢ ɞɚ ɫɩɚʁɚʁɭ ɩɨɞɪɭɱʁɚ ɤɨʁɚ ɦɨɝɭ ɛɢɬɢ ɜɟɪɬɢɤɚɥɧɨ ɭɫɬɪɨʁɟɧɚ (ɧɚ ɬɟɦɟʂɭ ɬɪɚɞɢɰɢʁɟ ɤɨʁɚ ɢɯ ɯɢʁɚɪɚɪɯɢɡɭʁɟ) ɢ ɯɨɪɢɡɨɧɬɚɥɧɨ ɪɚɡɥɭɱɟɧɚ (ɭ ʃɢɦɚ ɦɟɬɚɮɨɪɚ ɮɭɧɤɰɢɨɧɢɲɟ ɭ ɫɜɨʁɨʁ ɤɨɧɰɟɩɬɭɚɥɧɨɫɬɢ). ɍ ɩɪɨɰɟɫɭ ɦɟɬɚɮɨɪɢɡɚɰɢʁɟ ɫɟ ɨɞɪɟђɟɧɚ ɫɜɨʁɫɬɜɚ ɩɪɟɦɟɲɬɚʁɭ, ɚ ɬɨ ɩɪɟɦɟɲɬɚʃɟ ʁɟ ɭɜɟɤ ɩɪɨɦɟɧɚ ɩɪɟɦɚ ɦɟɫɬɭ, ɨɧɚ ʁɟ ɭɜɟɤ phora, ɪɟɱɟɧɨ ɚɪɢɫɬɨɬɟɥɨɜɫɤɢɦ ɪɟɱɧɢɤɨɦ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɬɨ ɩɪɟɦɟɲɬɚʃɟ ɫɟ ɫɚɫɬɨʁɢ ɭ ɬɨɦɟ ɞɚ ɫɟ ɭɦɟɫɬɨ ʁɟɞɧɟ ɪɟɱɢ ɭɩɨɬɪɟɛɢ ɞɪɭɝɚ, ɨɞɧɨɫɧɨ, ɞɚ ɫɟ, ɪɟɱɟɧɨ ɪɢɤɟɪɨɜɫɤɢ ɩɪɟɦɟɫɬɢ ʁɟɞɚɧ ɭɫɚɦʂɟɧɢ ɩɪɟɞɢɤɚɬ ɤɨʁɢ ɮɭɧɤɰɢɨɧɢɲɟ ɭ ɫɭɩɪɨɬɧɨɫɬɢ ɫɚ ɧɟɤɢɦ ɞɪɭɝɢɦ. Ɇɟђɭɬɢɦ, ɦɟɬɚɮɨɪɚ, ɫɦɚɬɪɚ Ɋɢɤɟɪ, „ɪɚɡɜɢʁɚ ɫɜɨʁɭ ɫɩɨɫɨɛɧɨɫɬ ɪɟɨɪɝɚɧɢɡɚɰɢʁɟ ɜɢђɟʃɚ ɫɬɜɚɪɢ ɨɧɞɚ ɤɚɞɚ ɫɟ ɩɪɟɦɟɲɬɚ ɱɢɬɚɜɨ ʁɟɞɧɨ ‘ɰɚɪɫɬɜɨ’ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.]: ɧɚ ɩɪɢɦɟɪ, ɨɧɞɚ ɤɚɞɚ ɫɟ ɡɜɭɰɢ ɩɪɟɦɟɲɬɚʁɭ ɭ ɞɨɦɟɧ ɜɢɡɭɟɥɧɨɝ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.]; ɝɨɜɨɪɢɬɢ ɨ ɡɜɭɱɧɨɫɬɢ ʁɟɞɧɟ ɫɥɢɤɟ ɧɟ ɡɧɚɱɢ ɜɢɲɟ ɩɪɟɫɟʂɟʃɟ ʁɟɞɧɨɝ ɭɫɚɦʂɟɧɨɝ ɩɪɟɞɢɤɚɬɚ, ɜɟʄ ɨɛɟɡɛɟђɢɜɚʃɟ ɭɩɚɞɚ ɱɢɬɚɜɨɝ ʁɟɞɧɨɝ ɰɚɪɫɬɜɚ ɧɚ ɞɪɭɝɭ ɬɟɪɢɬɨɪɢʁɭ; ɬɚʁ ɮɚɦɨɡɧɢ ‘ɬɪɚɧɫɩɨɪɬ’ ɩɨɫɬɚʁɟ ɤɨɧɰɟɩɬɭɚɥɧɚ ɦɢɝɪɚɰɢʁɚ, ɧɟɤɚ ɜɪɫɬɚ ɩɪɟɤɨɦɨɪɫɤɟ ɟɤɫɩɟɞɢɰɢʁɟ ɤɨʁɚ ʁɟ ‘ɧɚɨɪɭɠɚɧɚ’ ɢ ‘ɩɪɟɬɪɩɚɧɚ’ ɫɬɜɚɪɢɦɚ”109. ɉɪɢɦɟɪ ɤɨʁɢ ɧɚɜɨɞɢ ɉɨɥ Ɋɢɤɟɪ – ɩɪɟɦɟɲɬɚʃɟ ɡɜɭɱɧɨɝ ɭ ɞɨɦɟɧ ɜɢɡɭɟɥɧɨɝ ɢ ɨɛɪɧɭɬɨ – ɛɢʄɟ ɨɞ ɢɡɭɡɟɬɧɨɝ ɡɧɚɱɚʁɚ ɢ ɡɚ ɨɜɚʁ ɪɚɞ, ɛɭɞɭʄɢ ɞɚ ʄɭ ɫɟ, ɝɨɬɨɜɨ ɧɚ ɫɜɚɤɨɦ ɤɨɪɚɤɭ, ɭ ɤɨɧɬɟɤɫɬɭ ɭɤɭɩɧɢɯ ɭɦɟɬɧɢɱɤɢɯ ɫɬɪɭʁɚʃɚ fin-de-siècle-a ɫɭɫɪɟɬɚɬɢ ɭɩɪɚɜɨ ɫɚ ɬɢɦ ɮɟɧɨɦɟɧɨɦ ‒ ɮɟɧɨɦɟɧɨɦ ɩɪɟɦɟɲɬɚʃɚ ɱɢɬɜɨɝ ʁɟɞɧɨɝ ‘ɰɚɪɫɬɜɚ’ ɧɚ ɞɪɭɝɭ ɬɟɪɢɬɨɪɢʁɭ. Ⱥ ɬɚʁ ɩɪɨɰɟɫ ɫɟ ɡɛɢɜɚ ɭ ɫɚɦɨɦ ʁɟɡɢɤɭ – ɨɧ ʁɟ ɬɚʁ ɬɚʁ ɤɨʁɢ ɩɨɤɭɲɚɜɚ ɞɚ ɚɪɬɢɤɭɥɢɲɟ ɨɧɨ ɲɬɨ ʁɟ ɞɚɬɨ ɭ ɱɭɥɢɦɚ ɢ ʃɢɯɨɜɨɦ ɦɟђɭɫɨɛɧɨɦ ɨɞɧɨɫɭ, ɨɧ ʁɟ ɬɚʁ ɤɨʁɢ ɫɟ ɫɥɭɠɢ ɦɟɬɚɮɨɪɚɦɚ; ɬɚɤɨђɟ, ɨɧ ʁɟ ɬɚʁ ɤɨʁɢ ɩɨɤɭɲɚɜɚ ɞɚ ɚɪɬɢɤɭɥɢɲɟ ɢ ɫɢɧɟɫɬɟɡɢʁɟ ɤɚɨ ɦɟɬɚɮɨɪɟ.110 Ɇɟɬɚɮɨɪɚ, ɦɟђɭɬɢɦ, ɡɚɞɨɛɢʁɚ ɢ ɢɧɫɬɪɭɦɟɧɬɚɥɧɢ ɤɚɪɚɤɬɟɪ ɨɧɞɚ ɤɚɞɚ ɫɟ ʃɨɦɟ ɩɨɜɟɡɭʁɭ ɧɢɜɨɢ ɤɨʁɢ ɫɟ ɧɚɥɚɡɟ ɭ ɯɢʁɚɪɚɪɯɢʁɫɤɨɦ ɨɞɧɨɫɭ, ɬɚɱɧɢʁɟ, ɤɚɞɚ ɫɟ ɜɟɪɬɢɤɚɥɧɨ ɪɚɡɥɭɱɟɧɢɦ ɧɢɜɨɢɦɚ ɠɟɥɢ ɞɚɬɢ ɢɦɩɥɢɰɢɬɚɧ ɫɬɚɬɭɫ. Ɍɚɤɨ ɫɟ, ɧɚ ɩɪɢɦɟɪ, ɬɟɥɟɫɧɨ ɢ 108 Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 68. 109 Paul Ricoeur, La métaphore vive (Paris: Seuil, 1975), 297. 110 ɍɩɨɪɟɞɢɬɢ: Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 69‒70. 48 ɞɭɯɨɜɧɨ ɧɚɥɚɡɟ ɧɚ ɪɚɡɥɢɱɢɬɢɦ ɧɢɜɨɢɦɚ ɢ ɫɬɨɝɚ ɫɟ ɦɟђɭ ʃɢɦɚ ɢɡɝɪɚђɭʁɟ ɨɞɧɨɫ ɩɨɞɪɟђɟɧɨɝ ɢ ɧɚɞɪɟђɟɧɨɝ. ȼɟɨɦɚ ɫɥɢɱɧɭ ɪɚɡɥɢɤɭ ɭɫɩɨɫɬɚɜʂɚʁɭ ɢ ɮɟɧɨɦɟɧɢ ɪɟɚɥɧɨ ɢ ɢɪɟɚɥɧɨ, ɫɬɜɚɪ ɢ ɢɞɟʁɚ, ɞɨɤ ɩɪɟɥɚɡ ɫɚ ʁɟɞɧɨɝ ɧɚ ɞɪɭɝɨ – ɦɟɬɚɮɨɪɚ ɤɨʁɚ ɢɦɟɧɭʁɟ ɨɱɢ ɭɦɚ ɢ ɜɢђɟʃɟ ɢɞɟʁɚ – ɞɨɛɢʁɚ ɤɚɪɚɤɬɟɪ ‘ɫɤɨɤɚ’. Ɇɟɬɚɮɨɪɟ, ɩɪɢɥɢɤɨɦ ɩɪɨɰɟɫɚ ɩɪɟ-ɜɨђɟʃɚ ɢɡ ʁɟɞɧɨɝ ‘ɰɚɪɫɬɜɚ’ ɭ ɞɪɭɝɨ, ɩɨɤɪɟʄɭ ‘ɩɪɚɫɤɚʃɚ’ ɨɫɟɬɧɨɝ ɭ ɫɜɨʁɨʁ ɫɬɪɭɤɬɭɪɢ, ɚ ɩɢɬɚʃɟ ɤɨʁɟ ɫɟ ɫ ɬɢɦ ɭ ɜɟɡɢ ɧɚɦɟʄɟ ɝɥɚɫɢ: ɭ ɤɨʁɨʁ ɦɟɪɢ ɫɭ ɨɧɟ ɚɪɛɢɬɪɚɪɧɟ? Ⱦɚ ɥɢ ɫɭ ɦɟɬɚɮɨɪɟ ɫɚɦɨ ʁɟɡɢɱɤɟ ɢɝɪɟ ɤɨʁɟ ɭɩɨɬɪɟɛʂɚɜɚʁɭ ɧɨɦɢɧɚɥɢɡɦɟ ɢɡ ɪɚɡɥɨɝɚ ɲɬɨ ɧɟ ɠɟɥɟ ɪɟʄɢ ɧɢɲɬɚ ɜɢɲɟ ɨɞ ɨɧɨɝ ɲɬɨ ɝɨɜɨɪɟ, ɢɥɢ ɫɭ ɨɧɟ ɥɟɝɢɬɢɦɧɢ ɢɡɪɚɡɢ ɤɨʁɢ ɫɜɨʁɭ ɩɨʁɚɜɭ ɞɭɝɭʁɭ ɪɟɚɥɧɨɦ? Ʉɪɨɡ ɦɟɬɚɮɨɪɟ ɤɨʁɟ ɫɭ ɫɬɚɪɟ ɤɨɥɢɤɨ ɢ ɫɚɦ ʁɟɡɢɤ ɜɢɞ ɞɨɛɢʁɚ ɬɚɤɨ ɛɨɝɚɬɭ ɩɚɪɚɞɢɝɦɭ,111 ɢ ɫɯɨɞɧɨ ɭɜɢɞɭ ɭ ɩɥɭɪɚɥɢɬɟɬ ɱɭɥɚ, ɨɬɜɚɪɚ ɫɟ ʁɟɞɚɧ ɫɢɫɬɟɦ ɟɤɜɢɜɚɥɟɧɰɢʁɚ ɤɪɨɡ ɤɨʁɢ ʁɟ ɦɨɝɭʄɟ ɩɨɤɪɟɧɭɬɢ ɢ ɩɚɪɚɞɢɝɦɭ ɫɥɭɯɚ. ɑɨɜɟɤɨɜɨ ɭɯɨ ɧɢʁɟ ɩɨɤɪɟɬɧɨ, ɚɥɢ ɨɧɨ, ɩɪɢɦɚʁɭʄɢ ɡɜɭɱɧɨ ‒ ɦɨɠɟ ɞɚ ɩɪɚɬɢ, ɢ ɤɚɨ ɨɤɨ, ɦɨɠɟ ɞɚ ɞɨɧɟɫɟ ɜɟɨɦɚ ɩɪɟɰɢɡɧɟ ɢ ɤɨɪɢɫɧɟ ɢɧɮɨɪɦɚɰɢʁɟ ɨ ɫɜɟɬɭ. ɇɚʁɩɪɟ, ɨɧɨ ɧɚɫ ɨɛɚɜɟɲɬɚɜɚ ɨ ɭɞɚʂɟɧɨɫɬɢ ɢ ɦɟɫɬɭ ɨɛʁɟɤɬɚ, ɚɥɢ ɧɟ ɩɪɭɠɚʁɭʄɢ ɞɢɫɬɢɧɤɬɢɜɧɭ ɢɦɩɪɟɫɢʁɭ ɨ ʃɟɝɨɜɨɦ ɨɛɥɢɤɭ. ɍɯɨ ɫɟ ɧɚɥɚɡɢ ɭ ɛɥɢɡɢɧɢ ɢɡɜɨɪɚ – ɨɧɨ ɩɨɫɬɚʁɟ ɨɫɟɬʂɢɜɨ ɧɚ ɛɨʁɭ ɝɥɚɫɚ, ɤɨʁɚ, ɢɧɞɢɜɢɞɭɚɥɢɡɢɪɚʁɭʄɢ ɡɜɭɤɟ, ɞɨɡɜɨʂɚɜɚ ɞɚ ɫɟ ɨɧɢ ‘ɪɚɡɭɦɟʁɭ’, ɨɞɧɨɫɧɨ, ɞɚ ɫɟ ɢɞɟɧɬɢɮɢɤɭʁɟ ɢɡɜɨɪ ɤɨʁɢ ɢɯ ɟɦɢɬɭʁɟ.112 ɂɡɦɟђɭ ʁɟɡɢɤɚ ɢ ɭɯɚ ɩɨɫɬɨʁɢ, ɦɟɬɚɮɨɪɢɱɤɢ ɪɟɱɟɧɨ, ɩɨɜɟɪɟʃɟ. Ȼɭɞɭʄɢ ɞɚ ɬɟɨɪɢʁɚ ɨ ɫɜɨʁɫɬɜɢɦɚ ɩɪɢɩɢɫɭʁɟ ɫɯɜɚɬɚʃɭ (ɮɪ. entendement) ɩɨɬɩɭɧɨ ɩɨɡɧɚɜɚʃɟ ɧɟɱɟɝɚ, ɨɧɞɚ ʁɟ ɦɨɝɭʄɟ ɪɟʄɢ ɞɚ ɱɭɬɢ ɧɟɲɬɨ, ɡɚɩɪɚɜɨ ɡɧɚɱɢ ɪɚɡɭɦɟɬɢ ɬɨ ɧɟɲɬɨ. ɋɥɭɯ, ɞɚɤɥɟ, ɢɡɚɡɢɜɚ ʁɟɞɧɭ ɦɟɬɚɮɨɪɢɡɚɰɢʁɭ ɤɨʁɚ ʁɟ ɚɧɚɥɨɝɧɚ ɨɧɨʁ ɤɨʁɭ ɢɡɚɡɢɜɚ ɜɢɞ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɛɭɞɭʄɢ ɞɚ ɫɯɜɚɬɚʃɟ ɡɚɯɬɟɜɚ ʁɟɡɢɤ, ɚ ɢɞɟʁɚ ɡɚɯɬɟɜɚ ɢ ɪɟɱ ɢ 111 ɑɭɥɚ ɫɟ ɧɚɥɚɡɟ ɭ ɨɫɧɨɜɢ ɭɦɚ, ɲɬɨ ɡɧɚɱɢ ɞɚ ɫɟ ɭɦ ɩɨɤɪɟʄɟ ɩɨɦɨʄɭ ɱɭɥɚ. Ɍɨ ɡɧɚɱɢ, ɧɚ ɩɪɢɦɟɪ, ɞɚ ɫɭ ɨɱɢ ɭɦɚ ɨɧɟ ɨɱɢ ɤɨʁɟ ɫɭ ɩɨɬɪɟɛɧɟ ɭɦɭ ɞɚ ɛɢ ɨɧ ɦɨɝɚɨ ɞɚ ɫɟ ɨɫɬɜɚɪɢ, ɬɨ ɫɭ ɨɱɢ ɬɟɥɚ. Ɇɟђɭɬɢɦ, ɚɤɨ ɩɪɟɬɩɨɫɬɚɜɢɦɨ ɞɚ ɫɭ ɨɱɢ ɭɦɚ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɨɱɢ ɬɟɥɚ, ɞɨɥɚɡɢɦɨ ɞɨ ɡɚɤʂɭɱɤɚ ɞɚ ɨɱɢ ɬɟɥɚ ɧɢɫɭ ɫɚɦɨ ɨɪɝɚɧɢ ɤɨʁɢ ɪɟɝɢɫɬɪɭʁɭ, ɚ ɬɟɥɨ ɫɚɦɨ ʁɟɞɧɚ ɫɬɜɚɪ ɦɟђɭ ɞɪɭɝɢɦ ɫɬɜɚɪɢɦɚ, ɜɟʄ ʁɟ ɨɧɨ ɨɪɝɚɧ ɦɢɫɥɢ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɫɜɚɤɢ ɩɭɬ ɤɚɞɚ ɩɪɢɡɢɜɚɦɨ ɭɦ ɢ ɤɚɞɚ ɦɭ ɩɪɢɩɢɫɭʁɟɦɨ ɧɟɤɭ ɪɚɞʃɭ, ɬɚ ɪɚɞʃɚ ɫɟ ɭɜɟɤ ɬɢɱɟ ɬɟɥɚ. Ⱥ ɨɧɨ ɲɬɨ (ɫɚɜɪɟɦɟɧɚ) ɮɢɥɨɡɨɮɢʁɚ ɩɪɢɩɢɫɭʁɟ ʁɟɡɢɤɭ – ɨɧ ʁɟ ɬɚʁ ɭ ɤɨʁɟɦ ɦɢɫɚɨ ɛɨɪɚɜɢ ɢ ɤɨʁɢ ɦɢɫɚɨ ɧɚɫɬɚʃɭʁɟ – ɬɪɟɛɚ ɢɫɬɨ ɬɚɤɨ ɪɟʄɢ ɢ ɨ ɬɟɥɭ, ɝɨɜɨɪɟʄɟɦ-ɬɟɥɭ, ɨ ɬɟɥɭ ɤɨʁɟ ʁɟ ɢ ɜɢɞɟʄɟ-ɬɟɥɨ, ɚɥɢ ɢɫɬɨ ɬɚɤɨ ɢ ‘ɬɟɥɨ ɤɨʁɟ ɱɭʁɟ’. ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 71. 112 Ɉɧɞɚ ʁɟ ɡɜɭɱɧɨ ɨɧɨ ɫɜɨʁɫɬɜɨ ɤɨʁɢɦ ɫɟ ɩɪɟɞɦɟɬ ɨɞɚʁɟ, ɢɥɢ, ɩɚɤ, ɧɚʁɚɜʂɭʁɟ. 49 ɞɢɫɤɭɪɫ ɭ ɤɨɦɟ ʄɟ ɪɟɱ ɞɨɛɢɬɢ ɫɦɢɫɚɨ (ɚ ɬɚʁ ɞɢɫɤɭɪɫ ɦɨɪɚ ɛɢɬɢ ɢɡɝɨɜɨɪɟɧ ɢ ɱɭɬ ɞɚ ɛɢɨ ɫɯɜɚʄɟɧ), ɨɧɞɚ, ɞɚ ɛɢ ɫɟ ɪɚɡɭɦɟɥɟ ‘ɩɨɪɭɤɟ’ ɢɡ ɫɜɟɬɚ, ɩɨɬɪɟɛɧɟ ɫɭ ɧɚɦ ɢ ɭɲɢ ɬɟɥɚ ɤɨʁɟ ɥɟɠɟ ɭ ɨɫɧɨɜɢ ɫɩɨɫɨɛɧɨɫɬɢ ɞɚ ɫɟ ɱɭʁɟ. Ƚɥɚɫ ʁɟ ɭ ɬɨɦ ɫɦɢɫɥɭ ɩɪɢɜɢɥɟɝɨɜɚɧɚ ɢɧɫɬɚɧɰɚ ɫ ɨɛɡɢɪɨɦ ɧɚ ɬɨ ɞɚ ɭɡ ɩɨɦɨʄ ʃɟɝɚ ɞɢɫɤɭɪɫ ɛɢɜɚ ɢɡɝɨɜɨɪɟɧ: ɝɥɚɫ ʁɟ ɨɧɨ ɱɭʁɧɨ; ɚ ɨɧɚʁ ɤɨʁɢ ɫɟ ɝɥɚɫɨɦ ɢɡɪɚɠɚɜɚ ʁɟɫɬɟ ɢɧɞɢɜɢɞɭɚ. Ⱦɚɤɥɟ, ɭɦɟɫɬɨ ɫɚɦɨ ɞɚ ɩɪɢɦɚ ɡɜɭɤɟ ɤɨʁɢ ʁɨʁ ɞɨɧɨɫɟ ɧɟɤɭ ɢɧɮɨɪɦɚɰɢʁɭ ɨ ɫɜɟɬɭ, ɢɧɞɢɜɢɞɭɚ ɢɯ ɟɦɢɬɭʁɟ ɞɚ ɛɢ ɨɛɚɜɟɫɬɢɥɚ ɞɪɭɝɟ ɨ ɫɜɨɦ ɩɨɫɬɨʁɚʃɭ. ɋɥɭɯ, ɤɨʁɢ ɫɟ ɛɪɢɧɟ ɡɚ ɬɨ ɟɦɢɬɨɜɚʃɟ, ʁɟɫɬɟ ʁɟɞɢɧɨ ɱɭɥɨ „ɤɨʁɟ ɩɪɚɬɢ ʁɟɞɧɚ ɛɥɢɫɤɚ ɮɭɧɤɰɢʁɚ ɤɨʁɭ ʁɟ ɨɧɨ ɫɚɦɨ ɭɫɩɨɫɬɚɜɢɥɨ ɢ ɤɨʁɚ ɦɭ ɩɪɭɠɚ ɫɚɦɭ ɦɚɬɟɪɢʁɭ ɨɩɚɠɚʃɚ, ɚ ɤɨʁɭ ɨɧɨ ɨɛɢɱɧɨ ɩɪɢɦɚ ɨɞ ɫɬɜɚɪɢ: ɜɢɞ ɧɢ ɭ ɤɨɦ ɫɥɭɱɚʁɭ ɧɢʁɟ ɫɟɛɢ ɫɬɜɨɪɢɨ ɨɪɝɚɧ ɱɢʁɚ ɛɢ ɫɜɪɯɚ ɛɢɥɚ ɩɪɢɛɚɜʂɚʃɟ ɛɨʁɚ, ɧɢɬɢ ʁɟ ɱɭɥɨ ɦɢɪɢɫɚ ɫɟɛɢ ɫɬɜɨɪɢɥɨ ɨɪɝɚɧ ɤɨʁɢ ɛɢ ɦɭ ɩɪɢɛɚɜɢɥɢ ɦɢɪɢɫɟ”113. Ⱦɚɤɥɟ, ɢɧɫɬɢɬɭɰɢʁɚ ɝɥɚɫɚ ɨɦɨɝɭʄɚɜɚ ɫɭɛʁɟɤɬɭ ɞɚ ɛɭɞɟ ɱɭɬ, ɚɥɢ ɢ ɞɚ ɫɚɦɨɝ ɫɟɛɟ ɱɭʁɟ ɢ ɬɨ ɡɚɯɜɚʂɭʁɭʄɢ ɫɜɨʁɟɜɪɫɧɨʁ ɚɭɬɨ-ɤɨɦɭɧɢɤɚɰɢʁɢ. Ɂɚɯɜɚʂɭʁɭʄɢ ɫɥɭɯɭ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, „ɬɟɥɨ ʁɟ ɩɪɢɫɭɬɧɨ ɫɚɦɨ ɩɨ ɫɟɛɢ: ɱɭʁɟɦɨ ɝɚ ɤɚɤɨ ɲɭɲɤɚ, ɱɭʁɟɦɨ ɤɚɤɨ ɭ ɧɚɦɚ ɨɞʁɟɤɭʁɟ ɞɚɲɚɤ ɠɢɜɨɬɚ, ʃɟɝɨɜ ɧɟɭɦɨɪɧɢ ɪɚɞ, ʁɟɞɧɨ ɞɭɛɢɧɫɤɨ ɡɜɭɱɧɨ ɩɥɚɬɧɨ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.] ɤɨʁɟ ɧɚɫ ʁɨɲ ɭɜɟɤ ɭɛɟђɭʁɟ ɭ ɧɚɫ ɫɚɦɟ, ʁɟɪ ʁɟ ɠɢɜɨɬ ɭ ɧɚɦɚ ɧɟɤɚ ɚɧɨɧɢɦɧɚ ɫɧɚɝɚ ɤɨʁɨʁ ɫɦɨ ɩɨɜɟɪɟɧɢ ɢ ɤɨʁɚ ɞɟʁɫɬɜɭʁɟ ɛɟɡ ɧɚɲɟɝ ɡɧɚʃɚ. Ɇɟђɭɬɢɦ, ɫɚ ɬɨɝ ɩɥɚɬɧɚ ɫɟ ɨɞɜɢʁɚ ɡɜɭɤ ɝɨɜɨɪɚ, ʁɟɞɧɨɝ ɝɨɜɨɪɚ ɤɨʁɢ ɫɚɦ ɞɚɯ ɦɨɞɭɥɢɪɚ ɢ ɤɨʁɢ ɡɚʁɟɞɧɨ ɫɚ ɦɧɨɦ ɱɢɧɢ ɨɜɨ ɬɟɥɨ; ɫɚ ʃɢɦ ɨɜɨ ʁɚɫɬɜɨ ɤɨʁɟ ɩɨɫɬɨʁɢ ɡɚ ɞɪɭɝɟ ɤɚɨ ɲɬɨ ɩɨɫɬɨʁɢ ɢ ɡɚ ɫɜɟɬ, ɚ ɨɧɨ ɧɢʁɟ ɧɟɤɨ ɞɪɭɝɢ ɡɚ ɦɟɧɟ: ɨɧɨ ʁɟ ʁɟɞɚɧ ɫɭɛʁɟɤɚɬ ɤɨʁɢ ɫɟ ɢɡɪɚɠɚɜɚ ɧɟ ɞɢɫɬɚɧɰɢɪɚʁɭʄɢ ɫɟ ɩɪɢ ɬɨɦɟ ɨɞ ɫɨɩɫɬɜɚ ɤɚɨ ɭ ɬɪɟɧɭɬɤɭ ɤɚɞɚ ɫɟ ɝɥɟɞɚ.”114 Ɍɨ ɡɧɚɱɢ ɞɚ ʁɟ ɱɭɬɢ-ɫɟ-ɝɨɜɨɪɢɬɢ ɡɚɩɪɚɜɨ ɫɜɟɫɬ /ɨ/ ɫɟɛɢ; ɬɨ ʁɟ ɩɪɢɫɭɬɧɨɫɬ ɫɨɩɫɬɜɚ ɩɪɨɠɢɜʂɟɧɚ ɭ ɠɢɜɭʄɟɦ, ɚ ɬɚʁ ɠɢɜɭʄɢ ʁɟ ɧɭɠɧɨ ɩɪɢɫɭɫɬɜɨ ɧɟɤɨɝ ɬɟɥɚ ɤɨʁɟ ʁɟ ɫɩɨɫɨɛɧɨ ɞɚ ɱɭʁɟ ɫɜɨʁ ɝɥɚɫ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɱɭɬɢ-ɫɟ-ɝɨɜɨɪɢɬɢ ɧɟ ɩɪɟɞɫɬɚɜʂɚ ɢɧɬɟɪɢɨɪɧɨɫɬ ʁɟɞɧɟ ɭɧɭɬɪɚɲʃɨɫɬɢ ɡɚɬɜɨɪɟɧɟ ɧɚɞ ɫɚɦɨɦ ɫɨɛɨɦ, ɜɟʄ, ɧɚɩɪɨɬɢɜ, ɧɟɩɨɤɨɥɟɛʂɢɜɨ ɨɬɜɚɪɚʃɟ ɩɪɟɦɚ ɭɧɭɬɪɚ, ɨɧɨ ɩɪɟɞɫɬɚɜʂɚ ɨɤɨ ɢ ɫɜɟɬ ɭ ɝɨɜɨɪɭ. ɋɚɦɨ ɩɭɲɬɚʃɟ ɝɥɚɫɚ ɩɪɢɡɢɜɚ ɫɜɟɫɬ ɨ ɫɨɩɫɬɜɭ: ɩɭɲɬɚɦɨ ɝɥɚɫ ɞɚ ɛɢɫɦɨ ɤɨɦɭɧɢɰɢɪɚɥɢ, ɩɭɲɬɚɦɨ ɝɚ ɢ ɭɩɭʄɭʁɟɦɨ ɨɧɨɦ ɞɪɭɝɨɦ ɨɞ ɤɨʁɟɝ ɨɱɟɤɭʁɟɦɨ ɞɚ ɫɥɭɲɚ ɢ ɞɚ ɨɞɝɨɜɨɪɢ; ɧɨ ɢɫɬɨɜɪɟɦɟɧɨ, ɢ ɦɢ ɫɦɨ ɫɚɦɢ ɫɟɛɢ ɧɟɤɨ ɞɪɭɝɢ – ɫɥɭɲɚɥɚɰ ɤɨʁɢ ɱɭʁɟ 113 Maurice Pradines, Traité de psychologie générale, I Tome (Paris: PUF, 1987), 534. 114 Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 78‒79. 50 ɫɨɩɫɬɜɨ! Ɉɜɚʁ ɜɢɞ ɫɚɦɨ-ɞɟɥɨɜɚʃɚ, ɤɚɤɨ ɝɚ ɢɦɟɧɭʁɟ Ⱦɢɮɪɟɧ, ɡɚɩɪɚɜɨ ɩɪɟɞɫɬɚɜʂɚ „ɫɩɨɧɬɚɧɨ ɩɪɨɠɢɜʂɟɧɭ ɩɪɢɫɭɬɧɨɫɬ ɫɨɩɫɬɜɚ. Ⱦɚ ɛɢɫɦɨ ɛɢɥɢ ɩɪɢɫɭɬɧɢ ɡɚ ɫɟɛɟ ɫɚɦɟ ɧɢʁɟ ɧɟɨɩɯɨɞɧɨ ɞɚ ɝɨɜɨɪɢɦɨ, ɞɨɜɨʂɧɨ ʁɟ ɞɚ ɱɭʁɟɦɨ […] ɧɟɚɪɬɢɤɭɥɢɫɚɧɟ ɞɭɛɢɧɫɤɟ ɲɭɦɨɜɟ ɬɟ ɩɭɬɟɧɟ ɦɚɫɟ ɤɨʁɚ ʁɟ ɧɟɩɪɟɤɢɞɧɨ ɧɚ ɞɟɥɭ, ɬɨ ɛɪɭʁɚʃɟ ɠɢɜɨɬɚ ɤɨʁɟ ɧɚɫ ɱɢɧɢ ɠɢɜɭʄɢɦ”115. ɋɚɦɨ-ɞɟɥɨɜɚʃɟ ɩɪɟɞɫɬɚɜʂɚ ɞɟɥɨɜɚʃɟ ɩɨɫɪɟɞɫɬɜɨɦ ɝɥɚɫɚ, ɢɥɢ, ɪɟɱɟɧɨ ʁɨɲ ɩɪɟɰɢɡɧɢʁɟ, ɩɨɫɪɟɞɫɬɜɨɦ ɞɚɯɚ ɛɭɞɭʄɢ ɞɚ ɨɧ ɩɪɟɞɫɬɜʂɚ ʁɟɞɧɭ ɦɟɬɚɦɨɪɮɨɡɭ ɠɢɜɨɬɧɨɝ ɠɚɦɨɪɚ: ɱɭʁɟɦ ɫɟ, ɞɚɤɥɟ ɠɢɜ ɫɚɦ. Ɇɟђɭɬɢɦ, ɨɧɨ ɲɬɨ ɱɭʁɟɦɨ ʁɟ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɬɟɦɩɨɪɚɥɧɨ: ɬɨ ɩɪɨɬɢɱɟ, ɚ ɭɯɨ ɯɜɚɬɚʁɭʄɢ ɬɚʁ ɩɪɨɬɨɤ, ɭɜɨɞɢ ɫɜɟɫɬ ɭ ɜɪɟɦɟ ɫɜɟɬɚ. Ⱦɚɤɥɟ, ɱɭɬɢ-ɫɟ-ɝɨɜɨɪɢɬɢ ʁɟ ʁɟɞɚɧ ɜɢɞ ɱɭɬɢ-ɫɟ-ɠɢɜɟɬɢ, ɚ ɭɯɨ ʁɟ ɬɨ ɤɨʁɟ ɨɦɨɝɭʄɚɜɚ ɫɚɦɨ-ɞɟɥɨɜɚʃɟ, ɨɧɨ ʁɟ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɩɪɢɫɭɬɧɨɫɬ ɫɨɩɫɬɜɚ ɢ ɩɨɤɪɟɬɚɱ ɬɨɝ ɢɫɤɭɫɬɜɚ ɢɡɜɨɪɧɨɝ ɜɪɟɦɟɧɚ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɢ ɫɚɦɚ ɫɜɟɫɬ /ɨ/ ɫɨɩɫɬɜɭ ʁɟɫɬɟ ɫɜɟɫɬ /ɨ/ ɜɪɟɦɟɧɭ.116 ɇɨ, ɜɪɚɬɢɦɨ ɫɟ ɩɢɬɚʃɭ ɨɞɧɨɫɚ ɢɡɦɟђɭ ɜɢɞʂɢɜɨɝ ɢ ɱɭʁɧɨɝ, ɩɢɬɚʃɭ ʁɟɞɢɧɫɬɜɚ ɩɥɭɪɚɥɚ ɢ ɫɢɧɟɫɬɟɡɢʁɫɤɟ ɩɪɚɤɫɟ ɭɦɟɬɧɨɫɬɢ, ɬɟ ɩɢɬɚʃɭ ɞɚ ɥɢ ɩɨɫɬɨʁɢ ʁɟɞɧɨ ʁɟɞɢɧɫɬɜɟɧɨ ɫɪɟɞɢɲɬɟ ɢɡ ɤɨʁɟɝ ʁɟ ɦɨɝɭʄɟ ɨɛɭɯɜɚɬɢɬɢ ɭɦɟɬɧɨɫɬɢ. • • • Ƚɨɜɨɪɟʄɢ ɨ ɦɭɡɢɰɢ Ⱦɢɮɪɟɧ ɩɪɟ ɫɜɟɝɚ ɢɫɬɢɱɟ ɞɚ „ɜɢɞʂɢɜɨ” ɦɨɠɟ ɞɚ ɛɭɞɟ ɭ ɫɥɭɠɛɢ „ɱɭʁɧɨɝ” ɢ ɬɨ ɧɚ ɧɢɜɨɭ ɡɚɩɢɫɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɨɧ ɢɫɬɢɱɟ ɞɚ ʁɟ ɭɩɪɚɜɨ ɪɚɡɜɨʁ ɦɭɡɢɱɤɨɝ ɩɢɫɦɚ ɩɨɱɟɜ ɨɞ ɋɪɟɞʃɟɝ ɜɟɤɚ ɭɫɥɨɜɢɨ ɫɜɟ ɜɟʄɢ ɭɬɢɰɚʁ ɨɤɚ ɧɚ ɭɯɨ, ɲɬɨ ʁɟ ɪɟɡɭɥɬɢɪɚɥɨ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ɜɢɡɭɟɥɢɡɚɰɢʁɨɦ ɡɜɭɱɧɨɝ ɭɡ ɩɨɦɨʄ ɩɢɫɦɚ, ɨɞɧɨɫɧɨ, ɱɢʃɟʃɟɦ ɜɢɞʂɢɜɢɦ (ɧɚ ɧɢɜɨɭ ɩɢɫɦɚ) ɨɧɨɝɚ ɲɬɨ ʁɟ ɱɭʁɧɨ117. ȿɜɨɥɭɰɢʁɚ ɢ ɨɫɥɨɛɚђɚʃɟ ɩɢɫɦɚ ɭ „ɫɚɝɥɚɫʁɭ” ʁɟ ɫɚ ɟɜɨɥɭɰɢʁɨɦ ɢ ɨɫɥɨɛɚђɚʃɟɦ ɦɭɡɢɤɟ ɢ ɩɪɨɲɢɪɟʃɟɦ ɦɭɡɢɱɤɨɝ ɩɨʂɚ ɨɬɤɪɢɜɚʃɟɦ ɱɢɬɚɜɨɝ ʁɟɞɧɨɝ ɧɨɜɨɝ ɚɪɫɟɧɚɥɚ ɡɜɭɤɨɜɚ, ɱɢʁɢ ɫɟ ɞɚʂɢ ɬɨɤ ɪɚɡɜɨʁɚ ɨɞɜɢʁɚɨ, 115 ɂɫɬɨ, 90. 116 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 91. 117 ɂɫɬɨ, 173. 51 ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɭ ɞɜɚ ɩɨɬɩɭɧɨ ɪɚɡɥɢɱɢɬɚ, ɝɨɬɨɜɨ ɟɤɫɬɪɟɦɧɚ ɩɪɚɜɰɚ: ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɦɭɡɢɤɚ ʁɟ ɧɚɫɬɚɜɢɥɚ ɞɚ ɫɟ ɤɪɟʄɟ ɫɬɚɡɨɦ ɜɢɡɭɟɥɢɡɚɰɢʁɟ ɞɨ ɫɨɩɫɬɜɟɧɨɝ ‘ɩɨɧɢɲɬɟʃɚ’, ɞɨɤ ʁɟ ɞɪɭɝɢ ɩɪɚɜɚɰ ɜɨɞɢɨ ɞɨ ɟɦɚɧɰɢɩɚɰɢʁɟ ɦɭɡɢɤɟ ɫɬɚɜʂɚʃɟɦ ɮɨɤɭɫɚ ɧɚ ɡɜɭɤ ɩɨ ɫɟɛɢ, ɡɚ ɲɬɚ ɫɭ, ɩɪɟɦɚ Ⱦɢɮɪɟɧɨɜɨɦ ɦɢɲʂɟʃɭ ɡɚɫɥɭɠɧɢ ȹɨɧ Ʉɟʁџ (John Cage) ɢ ʃɟɝɨɜɢ ɚɦɟɪɢɱɤɢ ɫɚɜɪɟɦɟɧɢɰɢ.118 ɉɪɜɢ ɬɨɤ ɭɤɚɡɭʁɟ ɢ ɧɚ ɜɟɡɭ ɢɡɦɟђɭ ɦɭɡɢɤɟ ɢ ɫɥɢɤɚɪɫɬɜɚ. ɂɡɭɡɢɦɚʁɭʄɢ ɩɚɪɬɢɬɭɪɭ ɤɨʁɚ ɦɨɠɟ ɞɚ ɛɭɞɟ ɩɢɤɬɭɪɚɥɧɢ ɨɛʁɟɤɬ, Ⱦɢɮɪɟɧ „ɫɥɢɤɚɪɫɤɨ-ɛɢɜɫɬɜɨ ɦɭɡɢɤɟ” ɩɪɨɧɚɥɚɡɢ ɧɚ ɞɪɭɝɨʁ ɫɬɪɚɧɢ, ɫɬɪɚɧɢ ɤɨʁɚ ɦɭɡɢɤɭ ɩɨɫɬɚɜʂɚ ɤɚɨ ɩɪɚɤɫɭ ɪɟɩɪɟɡɟɧɬɨɜɚʃɚ ɪɟɚɥɧɨɝ (ɲɬɨ ʁɟ, ɞɚɤɥɟ, ɬɪɚɞɢɰɢɨɧɚɥɧɢ ɰɢʂ ɫɥɢɤɚɪɫɬɜɚ). ɍ ɬɨɦ ɫɥɭɱɚʁɭ, ɦɭɡɢɤɭ ɦɨɠɟ ɛɢɬɢ ɬɭɦɚɱɟɧɚ ɤɚɨ ɪɟɚɥɢɫɬɢɱɤɚ, ɚ ɧɟ ɚɩɫɬɪɚɤɬɧɚ ɭɦɟɧɬɨɫɬ, ɧɚ ɲɬɚ ɩɨɫɟɛɧɨ ɭɩɭʄɭʁɟ ɤɨɧɤɪɟɬɧɚ ɦɭɡɢɤɚ. Ɂɚɬɨ Ⱦɢɮɪɟɧ ɩɨɦɢʃɟ ɫɬɚɜ Ɏɪɚɧɫɨɚ Ȼɟɪɧɚɪ-Ɇɚɲɚ (François Bernadr-Mache) ɤɨʁɢ ɤɚɠɟ ɞɚ ɦɭɡɢɤɚ ɢɡ ɪɟɚɥɧɨɫɬɢ ɩɪɢɫɜɚʁɚ ɡɜɭɤɨɜɧɟ ɦɨɞɟɥɟ (ɡɭʁɚʃɟ ɢɧɫɟɤɬɚ, ɲɭɦ ɜɟɬɪɚ, ɲɚɩɭɬɚʃɟ ɨɤɟɚɧɚ, ɰɜɪɤɭɬ ɩɬɢɰɚ, ɝɚɥɨɩ ɤɨʃɚ, ɡɜɭɤ ɝɪɚɞɚ ɢ ɫɥɢɱɧɨ).119 ɍɫɩɨɫɬɚɜʂɚʃɟ ɨɜɢɯ ɚɧɚɥɨɝɢʁɚ ɢɦɩɥɢɰɢɪɚ ɢ ɪɚɡɦɚɬɪɚʃɟ ɩɢɬɚʃɚ „ɩɪɨɫɬɨɪɧɨɫɬɢ ɦɭɡɢɱɤɨɝ”, ɛɭɞɭʄɢ ɞɚ ɧɚɫ ɭɯɨ, ɢɫɬɨ ɤɚɨ ɢ ɨɤɨ, ɢɧɮɨɪɦɢɲɟ ɨ ɫɦɟɪɭ, ɤɪɟɬɚʃɭ ɢ ɩɪɢɪɨɞɢ ɢɡɜɨɪɚ ɡɜɭɤɚ.120 ɍ ɬɨɦ ɫɦɢɫɥɭ, ɪɟɱ ʁɟ ɨ ɚɤɭɫɬɢɱɤɨɦ, ɨɛʁɟɤɬɢɜɧɨɦ ɩɪɨɫɬɨɪɭ ɭ ɤɨʁɟɦ ɫɟ ɦɭɡɢɤɚ ɧɚɫɬɚʃɭʁɟ ɢ ɨɤɪɭɠɭʁɟ ɫɚ ɫɜɢɯ ɫɬɪɚɧɚ. ɉɨɪɟɞ ɬɨɝɚ, ɦɨɝɭʄɟ ʁɟ ɢɡɞɜɨʁɢɬɢ ɢ ɡɜɭɤɨɜɧɢ ɩɪɨɫɬɨɪ ɤɚɨ ɩɪɨɫɬɨɪ ɦɭɡɢɱɤɨɝ ɞɟɥɚ.121 ɂɚɤɨ ɫɟ ɨɜɢ ɩɪɨɫɬɨɪɢ ɪɚɡɥɢɤɭʁɭ, ɧɚ ɩɟɪɰɟɩɬɢɜɧɨɦ ɧɢɜɨɭ ɨɧɢ ɫɭ ɢɡʁɟɞɧɚɱɟɧɢ – „ɡɜɭɱɧɢ ɩɪɨɫɬɨɪ ɧɢʁɟ ɧɢɲɬɚ ɜɢɲɟ ɜɢɞʂɢɜ ɧɟɝɨ ɲɬɨ ʁɟ ɨɛʁɟɤɬɢɜɧɢ ɩɪɨɫɬɨɪ: ɦɢ ɜɢɞɢɦɨ ɫɬɜɚɪɢ ɭ ɩɪɨɫɬɨɪɭ, ɚɥɢ ɦɢ ɧɟ ɜɢɞɢɦɨ [ɫɚɦ] ɩɪɨɫɬɨɪ”122. ɋɜɟ ɬɨ ɡɚɩɪɚɜɨ ɧɚɜɨɞɢ ɧɚ ɡɚɤʂɭɱɚɤ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɞɚ ɩɨɫɬɨʁɢ „ɫɭɲɬɢɧɫɤɚ ɫɨɥɢɞɚɪɧɨɫɬ ɩɪɨɫɬɨɪɚ ɢ ɜɪɟɦɟɧɚ”, ɬɟ ɞɚ ʁɟ ɦɨɝɭʄɟ ɭɜɟɫɬɢ ɤɚɬɟɝɨɪɢʁɟ ɩɪɨɫɬɨɪ-ɜɪɟɦɟ ɭ ɞɢɫɤɭɪɫ ɨ ɦɭɡɢɰɢ, ɚɥɢ ɢ ɨ ɫɥɢɤɚɪɫɬɜɭ.123 ɇɚɢɦɟ, ɫɥɢɤɚɪɫɬɜɨ ɬɚɤɨђɟ ɩɨɱɢɜɚ ɧɚ ɨɜɨɦ ɤɨɧɬɢɧɭɭɦɭ ɛɭɞɭʄɢ ɞɚ ɩɪɨɫɬɨɪ ɧɟ ɦɨɠɟ ɞɚ ɟɥɢɦɢɧɢɲɟ ɜɪɟɦɟɧɫɤɢ ɟɥɟɦɟɧɬ, ʁɟɪ ʁɟ ɨɩɚɠɚʃɭ ɩɨɬɪɟɛɧɨ ɜɪɟɦɟ ɞɚ ɛɢ ɦɨɝɥɨ ɞɚ 118 ɍɩɨɪɢɞɢɬɢ ɫɚ: ɢɫɬɨ, 181‒182, 221. 119 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 219‒220. 120 ɂɫɬɨ, 223. 121 Ⱦɟɬɚʂɧɢʁɟ ɭ: ɢɫɬɨ, 224. 122 ɂɫɬɨ, 225. 123 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 224. 52 ɢɫɬɪɚɠɢ ɩɪɨɫɬɨɪ, ɬɟ ɞɚ ʁɟ ɬɟɦɩɨɪɚɥɢɡɚɰɢʁɚ ɩɪɨɫɬɨɪɚ ɫɢɦɟɬɪɢɱɧɚ ɫɩɚɰɢʁɚɥɢɡɚɰɢʁɢ ɜɪɟɦɟɧɚ. Ɍɨ ʁɟ ɧɚɜɟɥɨ Ⱦɢɮɪɟɧɚ ɞɚ ɭ ɤɨɧɬɟɤɫɬɭ ɨɞɧɨɫɚ ɢɡɦɟђɭ ɦɭɡɢɤɟ ɢ ɫɥɢɤɚɪɫɬɜɚ ɝɨɜɨɪɢ ɢ ɨ „ɦɭɡɢɱɤɨɦ ɛɢɜɫɬɜɭ ɫɥɢɤɚɪɫɬɜɚ”.124 ɉɨɥɚɡɟʄɢ ɨɞ ɩɪɟɬɩɨɫɬɚɜɤɟ ɞɚ ɢɡɦɟђɭ ɫɥɢɤɚɪɫɬɜɚ ɢ ɦɭɡɢɤɟ ɧɟɦɚ ɩɨɬɩɭɧɨɝ ɞɢɫɩɚɪɢɬɟɬɚ, Ⱦɢɮɪɟɧ ɞɨɡɜɨʂɚɜɚ ɫɟɛɢ ɞɚ ɫɟ ɡɚɩɢɬɚ ɨ ɦɨɝɭʄɧɨɫɬɢ ʁɟɞɧɟ ɦɭɡɢɤɚɥɢɡɚɰɢʁɟ ɫɥɢɤɚɪɫɬɜɚ ɢ, ɭɨɩɲɬɟɧɢʁɟ, ɩɥɚɫɬɢɱɤɢɯ ɭɦɟɬɧɨɫɬɢ. ɇɚɢɦɟ, ɨɧ ɫɦɚɬɪɚ ɞɚ ʁɟ ɬɨ ɦɨɝɭʄɟ ɭɤɨɥɢɤɨ ɫɟ ɩɨɡɨɜɟɦɨ ɧɚ ɧɚʁɨɩɲɬɢʁɟ ɞɢɫɤɭɪɫɟ, ɨɞɧɨɫɧɨ, ɭɤɨɥɢɤɨ ɨ „ɦɭɡɢɰɢ ɫɥɢɤɟ” (ɪɟɱɟɧɨ ʁɟɡɢɤɨɦ ɒɚɪɥɚ Ȼɨɞɥɟɪɚ) ɩɪɨɝɨɜɨɪɢɦɨ ɭ ɤɨɧɬɟɤɫɬɭ ɮɟɧɨɦɟɧɚ ɯɪɚɦɨɧɢʁɟ! ɉɨɡɧɚɬɨ ʁɟ ɞɚ ɫɟ ɬɟɪɦɢɧ „ɯɚɪɦɨɧɢʁɚ” ɩɪɜɨɛɢɬɧɨ ɧɢʁɟ ɨɞɧɨɫɢɨ ɫɚɦɨ ɧɚ ɦɭɡɢɤɭ, ɜɟʄ ɞɚ ʁɟ ɛɢɨ ɨɩɲɬɟɝ ɤɚɪɚɤɬɟɪɚ ɭɩɭʄɭʁɭʄɢ ɧɚ ɫɤɥɚɞ, ɫɤɥɚɞɧɨɫɬ, ɫɚɝɥɚɫɧɨɫɬ, ɩɪɚɜɢɥɚɧ ɨɞɧɨɫ ɢɡɦɟђɭ ɞɟɥɨɜɚ ɧɟɤɟ ɰɟɥɢɧɟ. Ʉɨɞ ɏɟɪɚɤɥɢɬɚ, ɯɚɪɦɨɧɢʁɚ ʁɟ ɢɦɚɥɚ ɫɦɢɫɚɨ ɭɞɟɲɚɜɚʃɚ, ɪɚɜɧɨɬɟɠɟ ɡɚɦɚɯɚ, ɢɥɢ ɟɤɜɢɜɚɥɟɧɬɧɨɫɬ ɬɟɧɡɢʁɚ ɡɚɯɜɚʂɭʁɭʄɢ ɤɨʁɢɦɚ ɥɭɤ ɨɫɬɚʁɟ ɧɚɩɟɬ, ɚ ɯɪɚɦ ɭɫɩɪɚɜɚɧ.125 Ɇɟђɭɬɢɦ, ɦɭɡɢɤɚ ʄɟ ɭɫɤɨɪɨ ɩɨɫɬɚɬɢ ɩɪɢɜɢɥɟɝɨɜɚɧɢ ɩɪɢɦɟɪ ɬɨɝ ɭɫɤɥɚђɢɜɚʃɚ. ɋɚ ɪɚɡɜɨʁɟɦ ɩɨɥɢɮɨɧɨɝ ɧɚɱɢɧɚ ɦɭɡɢɱɤɨɝ ɦɢɲʂɟʃɚ, ɯɚɪɦɨɧɢʁɚ ʄɟ ɭɡɟɬɢ ɭ ɨɛɡɢɪ ɢ ɫɢɦɭɥɬɚɧɨɫɬ. Ʉɨɞɢɮɢɤɨɜɚʃɟɦ ɜɟɪɬɢɤɚɥɧɨɝ ɚɤɨɪɞɫɤɨɝ ɡɜɭɱɚʃɚ, ɬɟɨɪɢʁɚ ɯɚɪɦɨɧɢʁɟ ɞɨɛɢʁɚ ɩɨɧɨɜɨ ɝɪɱɤɢ ɫɦɢɫɚɨ ɪɟɱɢ – ɢɞɟʁɭ ʁɟɞɧɟ ɪɚɜɧɨɬɟɠɟ ɫɧɚɝɚ ɢɥɢ ɬɟɧɡɢʁɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦ, ɪɚɞɢ ɫɟ ɨ ɢɞɟʁɢ ɤɨʁɚ ɭɜɨɞɢ ʁɟɞɚɧ ɞɢɧɚɦɢɱɤɢ ɩɪɢɧɰɢɩ ɢ ɤɨʁɚ ɩɨɡɢɜɚ ɞɚ ɫɟ ɩɨɧɨɜɨ ɭɡɦɟ ɭ ɨɛɡɢɪ ɫɥɟɞ, ɛɭɞɭʄɢ ɞɚ ɤɨɧɫɨɧɚɧɰɚ ɢɦɩɥɢɰɢɪɚ ɞɢɫɨɧɚɧɰɭ ɤɨʁɚ ɢ ɫɚɦɚ ɡɚɯɬɟɜɚ ʁɟɞɧɨ (ɪɚɡ)ɪɟɲɟʃɟ. ɍɤɨɥɢɤɨ ɫɟ ɬɟɦɢɧ ɯɚɪɦɨɧɢʁɚ ɞɨɜɟɞɟ ɭ ɜɟɡɭ ɫɚ ɫɥɢɤɚɪɫɬɜɨɦ, ɬɨ ɫɟ ɱɢɧɢ ɡɚɬɨ ɲɬɨ ʁɟ ɨɧɨ, ɤɚɨ ɢ ɦɭɡɢɤɚ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɩɨɥɢɮɨɧɨ. ɂɫɬɨ ɬɚɤɨ, ɩɨɬɪɟɛɧɨ ʁɟ ɪɟʄɢ ɞɚ ɚɤɰɟɧɚɬ ɦɨɠɟɦɨ ɧɚʁɩɪɟ ɫɬɚɜɢɬɢ ɧɚ ɫɢɦɭɥɬɚɧɨɫɬ, ɫɚɦɨ ɭɤɨɥɢɤɨ ɫɟ ʁɟɞɢɧɫɬɜɨ ɪɚɡɥɢɱɢɬɨɫɬɢ ɧɟ ɦɨɪɚ ɨɞɪɚɡɢɬɢ ɭ ɬɪɚʁɚʃɭ, ɜɟʄ ɫɟ ɦɨɠɟ ɦɚɧɢɮɟɫɬɨɜɚɬɢ ɤɚɨ ɪɚɜɧɨɬɟɠɚ ɢɥɢ ɤɨɯɟɡɢʁɚ ɭ ɬɪɟɧɭɬɤɭ.126 Ȼɨʁɟ ɧɚ ɩɥɚɬɧɭ, ɚɥɢ ɢɫɬɨ ɬɚɤɨ ɢ ɜɨɥɭɦɟɧ ɢ ɦɚɫɟ, ɦɨɝɭ ɢɡɦɟђɭ ɫɟɛɟ ɨɞɪɠɚɜɚɬɢ ɫɤɥɚɞ, ɧɚ ɢɫɬɢ ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɬɨ ɱɢɧɢ ɯɪɚɦ ɤɨʁɢ ɫɬɨʁɢ ɭɫɩɪɚɜɧɨ. Ɍɚʁ ɫɤɥɚɞ ɨɞɦɚɯ ɛɢɜɚ ɭɨɱɟɧ, ɨɧ ɫɟ ɫɯɜɚɬɚ in uno intuitu, ɤɚɨ ɲɬɨ ɭɨɫɬɚɥɨɦ ɦɨɠɟ ɛɢɬɢ ɫɯɜɚʄɟɧ ɢ ɧɟ-ɫɤɥɚɞ. ɍ ɤɨɧɬɟɤɫɬɭ 124 ɂɫɬɨ, 227‒231. 125 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Clémence Ramnoux, Études présocratiques II suivi de Études mythologiques, ou De la légende à la sagesse (Paris: Klincksieck, 1983), 76. 126 Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 228. 53 ɩɨɥɢɮɨɧɨɝ ɫɥɢɤɚɪɫɬɜɚ ɉɚɭɥ Ʉɥɟ ɢɫɬɢɱɟ ɞɚ ʁɟ ɨɧɨ ɫɭɩɟɪɢɨɪɧɨ ɭ ɨɞɧɨɫɭ ɧɚ ɩɨɥɢɮɨɧɭ ɦɭɡɢɤɭ, ɭ ɨɧɨʁ ɦɟɪɢ ɭ ɤɨʁɨʁ ʁɟ ɜɪɟɦɟɧɫɤɢ ɟɥɟɦɟɧɬ ɡɚɦɟʃɟɧ ɩɪɨɫɬɨɪɧɢɦ. ɍ ɬɨɦ ɫɦɢɫɥɭ ɫɟ ɢ ɩɨʁɚɦ ɫɢɦɭɥɬɚɧɨɫɬɢ ɨɜɞɟ ʁɚɜʂɚ ɭ ʁɟɞɧɨɦ ʁɨɲ ɛɨɝɚɬɢʁɟɦ ɜɢɞɭ.127 Ɇɟђɭɬɢɦ, Ⱦɢɮɪɟɧ ɩɪɟɬɩɨɫɬɚɜʂɚ ɞɚ ʁɟ „ɫɜɚɤɨ ɚɭɬɟɧɬɢɱɧɨ ɩɥɚɬɧɨ ɢɡɝɪɚђɟɧɨ ɧɚ ɢɡɜɟɫɧɨɦ ɫɤɥɚɞɭ ɛɨʁɚ ɤɨʁɢ ɩɨɧɟɤɚɞ ɞɨ ɬɟ ɦɟɪɟ ɨɩɫɟɞɚ ɫɥɢɤɚɪɫɬɜɨ ɞɚ ɞɨɡɜɨʂɚɜɚ ɢɞɟɧɬɢɮɢɤɚɰɢʁɭ ɬɢɯ ɩɥɚɬɚɧɚ”128. Ɍɚɤɨ ʁɟ ɢ ȿɬʁɟɧ ɋɭɪɢɨ ɭɤɚɡɚɨ ɧɚ ɫɩɟɰɢɮɢɱɧɨɫɬ ʁɟɞɧɨɝ ɮɪɚɧɰɭɫɤɨɝ ɤɨɥɨɪɢɬɚ ɤɨʁɢ ʁɟ ɩɪɟɩɨɡɧɚɬʂɢɜ, ɢ ɭ ɩɨɬɩɭɧɨɫɬɢ ɪɚɡɥɢɱɢɬ ɨɞ ɮɥɚɦɚɧɫɤɨɝ ɢɥɢ ɮɢɪɟɧɬɢɧɫɤɨɝ. Ɍɚʁ ɤɨɥɨɪɢɬ ɫɟ ɤɪɨɡ ɢɫɬɨɪɢʁɭ ɦɨɞɢɮɢɤɨɜɚɨ ‒ ɧɚ ɩɪɢɦɟɪ, ɭ „ɜɟɤɭ ɩɚɫɬɟɥɚ” ɚ ɧɚɤɨɧ ɜɥɚɞɚɜɢɧɟ ɜɢɬɪɚɠɚ, ɫɬɚɬɢɫɬɢɱɤɭ ɩɪɟɜɥɚɫɬ ɢɡɝɭɛɢɥɟ ɫɭ ɯɚɪɦɨɧɢʁɟ ɱɢʁɟ ʁɟ ɩɥɚɜɨ ɛɢɥɨ ɧɚɝɥɚɲɟɧɨ ɚ ɰɪɜɟɧɨ ɞɨɦɢɧɚɧɬɧɨ. Ɏɪɚɧɰɭɫɤɨ ɫɥɢɤɚɪɫɬɜɨ, ɫɦɚɬɪɚ ɋɭɪɢɨ, „ɧɚɫɬɚɜɢɥɨ ʁɟ ɞɚ ɩɨɤɥɚʃɚ ɩɚɠʃɭ ɢ ɞɚ ɢɧɫɢɫɬɢɪɚ ɧɚ ɨɫɥɨɛɚђɚʃɭ ɛɨʁɟ ɨɞ ɥɨɤɚɥɧɨɝ ɬɨɧɚ, ɤɨʁɢ ʁɟ ɭ ɧɚʁɛɨʂɟɦ ɫɥɭɱɚʁɭ ɫɚɦɨ ʁɟɞɧɚ ɧɨɬɚ ɬɨɝ ɫɤɥɚɞɚ ɰɟɥɢɧɟ, ʁɟɞɧɨɝ ɚɤɨɪɞɚ ɤɨʁɢ ɧɟ ɫɚɞɪɠɢ ɞɨ ɞɜɟ ɢɥɢ ɬɪɢ ɞɨɛɪɟ ɧɨɬɟ ɤɨʁɟ ɫɭ ɨɫɨɛɟɧɟ ɡɚ ɯɚɪɦɨɧɢʁɭ ɩɥɚɬɧɚ. ɋɜɢ ɞɪɭɝɢ ɬɨɧɨɜɢ ɫɭ ɫɚɦɨ ɩɪɟɥɚɡɧog ɤɚɪɚɤɬɟɪɚ, ɫɜɨʁɟɜɫɪɧɟ appoggitura-ɟ ɤɨʁɟ ɧɟ ɬɪɟɛɚ ɧɢɤɚɞɚ ɞɚ ɩɪɟɤɢɞɚʁɭ, ɧɢɬɢ ɞɚ ɫɟ ɨɩɢɪɭ ɢɥɢ ɞɨɜɨɞɟ ɭ ɫɭɦʃɭ ɫɤɥɚɞ ɰɟɥɢɧɟ ɢ ɨɧɨ ɲɬɨ ʁɟ ɤɨɧɫɬɢɬɭɬɢɜɧɨ.”129 Ɉɜɚ ɚɧɚɥɢɡɚ ɩɨɧɨɜɨ ɭɜɨɞɢ ɜɪɟɦɟ ɭ ɭɦɟɬɧɨɫɬ ɩɪɨɫɬɨɪɚ, ɡɚɬɨ ɲɬɨ ɧɢʁɟɞɧɨ ɬɪɚʁɚʃɟ ɧɟ ɦɨɠɟ ɞɚ ɛɭɞɟ ɟɥɟɦɢɧɢɫɚɧɨ, ɧɢɬɢ ɜɪɟɦɟɧɫɤɢ ɟɥɟɦɟɧɬ ɦɨɠɟ ɞɚ ɛɭɞɟ ɡɚɦɟʃɟɧ ɩɪɨɫɬɨɪɧɢɦ, ɤɚɤɨ ʁɟ ɬɨ ɫɦɚɬɪɚɨ Ʉɥɟ. Ɋɚɡɥɨɝ ɬɨɦɟ ɥɟɠɢ ɭ ɱɢʃɟɧɢɰɢ, ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɪɟɱɟɧɨ, ɞɚ ʁɟ ɨɩɚɠɚʃɭ ɩɨɬɪɟɛɧɨ ɜɪɟɦɟ ɤɚɤɨ ɛɢ ɢɫɬɪɚɠɢɥɨ ɩɪɨɫɬɨɪ, ɚ ɡɚɬɢɦ ɨɬɤɪɢɥɨ ɢ ɫɥɟɞɢɥɨ ɩɭɬɟɜɟ ɤɨʁɟ ɜɢɞʂɢɜɨ ɩɪɢɪɩɟɦɚ ɡɚ ɨɤɨ. ɂɡ ɬɨɝɚ ɩɪɨɢɡɥɚɡɢ ɢɡɜɟɫɧɚ ɬɟɦɩɨɪɚɥɢɡɚɰɢʁɚ ɩɪɨɫɬɨɪɚ ɤɨʁɚ ʁɟ ɚɧɚɥɨɝɧɚ ɫɩɚɰɢʁɚɥɢɡɚɰɢʁɢ ɜɪɟɦɟɧɚ. Ɉɜɢɦ ɬɭɦɚɱɟʃɟɦ Ⱦɢɮɪɟɧ ɞɨɥɚɡɢ ɞɨ ɢɞɟʁɟ ɨ ɡɚʁɟɞɧɢɱɤɢɦ ɫɜɨʁɫɬɜɢɦɚ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɨɫɬɢ. Ɉɧ ɨɜɭ ɬɟɡɭ ɢɫɩɢɬɭʁɟ ɝɨɜɨɪɟʄɢ ɨ ɭɦɟɬɧɢɱɤɢɦ ɩɪɚɤɫɚɦɚ ɱɢʁɢ ʁɟ ɡɚʁɟɞɧɢɱɤɢ ɢɦɟɧɢɬɟʂ ɩɥɭɪɚɥɢɡɚɦ ɤɨʁɢ ʁɟ ɜɨɞɢɨ ɞɨ ɩɪɨɲɢɪɟʃɚ ɝɪɚɧɢɰɚ ɭɦɟɬɧɢɱɤɢɯ ɩɨʂɚ, ɨɞɧɨɫɧɨ ɞɨ ‘ɩɪɨɛɢʁɚʃɚ’ ɝɪɚɧɢɰɚ ɭɦɟɬɧɨɫɬɢ/ɝɪɚɧɢɰɚ ɢɡɦɟђɭ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɨɫɬɢ.130 Ɇɟђɭɬɢɦ, ɩɥɭɪɚɥɢɡɚɦ ɢɦɚ ɫɜɨʁɟ ɩɨɪɟɤɥɨ ɭ ɫɢɧɟɫɬɟɡɢʁɚɦɚ, ɫɚɫɜɢɦ 127 Ⱦɟɬɚʂɧɢʁɟ ɭ: Paul Klee, La pensée créatrice, écrits sur l’art (Paris: Dessain et Tolra, 1980) 521. 128 Mikel Dufrenne, Phénomenologie…, ɧɚɜ. ɞɟɥɨ, 364. 129 Etienne Sourio ɩɪɟɦɚ: Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 229. 130 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 165. 54 ɫɩɟɰɢɮɢɱɧɢɦ ɩɨʁɚɜɚɦɚ ɤɨʁɟ ɨɬɜɚɪɚʁɭ ɩɪɨɫɬɨɪ ɡɚ ɱɭɥɧɟ ɯɨɦɨɝɟɧɢɡɚɰɢʁɟ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɫɢɧɟɫɬɟɡɢʁɚ ʁɟ ɫɩɨɫɨɛɧɨɫɬ ʁɟɞɧɨɝ ɱɭɥɚ ɞɚ ɨɫɟɬɢ ɧɚɞɪɚɠɚʁ ɞɪɭɝɨɝ ɱɭɥɚ. Ɉɜɚʁ ɩɨʁɚɦ ɢɦɚ ɞɭɝɭ ɢɫɬɨɪɢʁɭ ɢ ɢɡɜɨɪɧɨ ɫɟ ɩɪɢɩɢɫɭʁɟ ɩɢɬɚɝɨɪɟʁɰɢɦɚ. ɉɨ ʃɢɯɨɜɨɦ ɦɢɲʂɟʃɭ, ɦɭɡɢɤɚ ɫɮɟɪɚ ɫɬɜɚɪɚ ɤɨɫɦɢɱɤɨ ɫɩɚʁɚʃɟ, ɲɬɨ ɡɧɚɱɢ ɞɚ ɛɨɠɚɧɫɤɭ ɝɟɨɦɟɬɪɢʁɫɤɭ ɯɚɪɦɨɧɢʁɭ ɱɢɧɟ ɫɜɢ ɩɪɢɪɨɞɧɢ ɦɢɤɪɨɤɨɫɦɢɱɤɢ ɢ ɦɚɤɪɨɤɨɫɦɱɤɢ ɮɟɧɨɦɟɧɢ. Ɇɚɬɟɦɚɬɢɱɤɟ ɜɢɛɪɚɰɢʁɟ ɨɞɪɚɠɚɜɚʁɭ ɫɟ ɭ ɦɚɧɢɮɟɫɬɚɰɢʁɚɦɚ ɫɜɟɬɥɨɫɬɢ, ɡɜɭɤɚ, ɦɢɪɢɫɚ ɢ ɨɫɬɚɥɢɯ ɱɭɥɧɢɯ ɫɬɢɦɭɥɚɧɫɚ, ɚ ɫɩɚʁɚʃɟ ɨɜɢɯ ɩɪɢɜɢɞɧɨ ɩɨʁɟɞɢɧɚɱɧɢɯ ɱɭɥɧɢɯ ɫɬɢɦɭɥɭɫɚ ɫɬɜɚɪɚ ɟɮɟɤɬɟ ɫɢɧɟɫɬɟɡɢʁɟ. ɋɢɧɟɫɬɟɡɢʁɚ ɭ ɩɫɢɯɨɥɨɝɢʁɢ ɨɛɟɥɟɠɚɜɚ ɫɚ-ɨɫɟɬ ɢɥɢ ɫɟɤɭɧɞɚɪɧɢ ɨɫɟɬ ɤɨʁɢ ɧɚɫɬɚʁɟ ɞɪɚɠɟʃɟɦ ʁɟɞɧɨɝ ɱɭɥɚ, ɩɪɢ ɱɟɦɭ ɫɟ ɧɟ ɢɡɚɡɢɜɚ ɫɚɦɨ ɨɞɝɨɜɚɪɚʁɭʄɢ ɨɫɟɬ, ɜɟʄ ɢ ɨɫɟɬ ɧɟɤɟ ɞɪɭɝɟ ɱɭɥɧɟ ɨɛɥɚɫɬɢ. Ɉɜɚʁ ɮɟɧɨɦɟɧ ʁɟ ɨɞ ɢɡɭɡɟɬɧɨɝ ɡɧɚɱɚʁɚ ɤɚɤɨ ɡɚ ɟɫɬɟɬɢɤɭ, ɬɚɤɨ ɢ ɡɚ ɩɫɢɯɨɥɨɝɢʁɭ ɭɦɟɬɧɨɫɬɢ ɢ, ɩɨɫɟɛɧɨ ɡɚ ɤʃɢɠɟɜɧɨ ɫɬɜɚɪɚʃɟ. ɍ ɤʃɢɠɟɜɧɨɫɬɢ ɫɢɧɟɫɬɟɡɢʁɚ ɩɪɟɞɫɬɚɜʂɚ ɜɪɫɬɭ ɦɟɬɚɮɨɪɢɱɧɨɝ ɡɚɦɟʃɢɜɚʃɚ ɩɨʁɦɨɜɚ, ɭ ɤɨʁɨʁ ɞɨɥɚɡɢ ɞɨ ɫɩɚʁɚʃɚ ɞɜɟ ɢɥɢ ɜɢɲɟ ɱɭɥɧɢɯ ɨɛɥɚɫɬɢ ɬɚɤɨ ɲɬɨ ɫɟ ɨɫɟɬɢ ʁɟɞɧɨɝ ɱɭɥɚ ɤɜɚɥɢɮɢɤɭʁɭ ɪɟɱɢɦɚ ɤɨʁɟ ɨɡɧɚɱɚɜɚʁɭ ɨɫɨɛɢɧɟ ɨɫɟɬɚ ɧɟɤɨɝ ɞɪɭɝɨɝ ɱɭɥɚ. ɉɪɢɦɟɪɟ ɫɢɧɟɫɬɟɡɢʁɟ ɧɚɥɚɡɢɦɨ ɢ ɭ ɫɜɚɤɨɞɧɟɜɧɨɦ ɝɨɜɨɪɭ (ɫɜɟɬɥɢ ɢ ɬɚɦɧɢ ɬɨɧɨɜɢ, ɬɨɩɥɟ ɢ ɯɥɚɞɧɟ ɛɨʁɟ). Ɇɟɬɚɮɨɪɢɱɤɚ ɠɢɜɨɩɢɫɧɨɫɬ ɬɚɤɜɨɝ ɢɡɪɚɠɚɜɚʃɚ ɥɟɠɢ ɢ ɭ ɨɫɧɨɜɢ ɭɦɟɬɧɢɱɤɟ ɭɩɨɬɪɟɛɟ ɫɢɧɟɫɬɟɡɢʁɟ; ʃɟɧɚ ɨɫɧɨɜɧɚ ɫɬɢɥɫɤɚ ɜɪɟɞɧɨɫɬ ɫɚɫɬɨʁɢ ɫɟ ɭ ɫɥɢɤɨɜɢɬɨɦ ɢɡɪɚɠɚɜɚʃɭ ɧɟɤɨɝ ɤɜɚɥɢɬɟɬɚ ɢɥɢ ɧɢʁɚɧɫɟ ɱɭɥɧɟ ɩɟɪɰɟɩɰɢʁɟ. Ɍɚɤɨ, ɧɚʁɪɚɧɢʁɟ ɩɪɢɦɟɪɟ ɫɢɧɟɫɬɟɡɢʁɟ ɤɚɨ ɦɟɬɚɮɨɪɟ ɧɚɥɚɡɢɦɨ ɜɟʄ ɤɨɞ ɏɨɦɟɪɚ („ɦɟɞɧɢ ɝɥɚɫ” ɫɢɪɟɧɚ) ɭ Ȼɢɛɥɢʁɢ („ɂ ɨɛɚɡɪɟɯ ɫɟ ɞɚ ɜɢɞɢɦ ɝɥɚɫ ɤɨʁɢ ɝɨɜɨɪɚɲɟ ɫɚ ɦɧɨɦ”), ɭ ɪɟɧɟɫɚɧɫɧɨʁ ɩɨɟɡɢʁɢ (ȹɨɧ Ⱦɨɧ /John Don/ ɤɨʁɢ ɩɢɲɟ ɨ „ɝɥɚɫɧɨɦ ɦɢɪɢɫɭ”). ɍ ɪɨɦɚɧɬɢɱɚɪɫɤɨʁ ɩɨɟɡɢʁɢ ɫɢɧɟɫɬɟɡɢʁɚ ɞɨɛɢʁɚ ɢɡɪɚɡɢɬɢʁɢ ɫɬɢɥɫɤɢ ɡɧɚɱɚʁ ɤɚɨ ɢɡɪɚɡ ɪɨɦɚɧɬɢɱɚɪɫɤɨɝ ɧɚɩɨɪɚ ɞɚ ɫɟ ɡɚɦɟɧɟ ɫɬɚɧɞɚɪɞɧɢ ɤɥɚɫɢɰɢɫɬɢɱɤɢ ɟɩɢɬɟɬɢ ɫɥɢɤɨɜɢɬɢʁɢɦ ɩɪɟɞɫɬɚɜɚɦɚ. Ɍɚɤɨ, ɧɚ ɩɪɢɦɟɪ, Ʉɥɟɦɟɧɫ Ȼɪɟɧɬɚɧɨ (Clemens Wenzeslaus Brentano) ɩɢɲɟ ɨ ɦɢɥɨɜɚʃɭ ɢ ɫʁɚʁɭ ɡɜɭɤɨɜɚ, ɉɟɪɫɢ ɒɟɥɢ (Percy Bysshe Shelley) ɨ ɫɜɟɠɢɧɢ ɡɭɦɛɭɥɚ ɤɚɨ ɨ ɦɭɡɢɰɢ, ɚ ɏɚʁɧɪɢɯ ɏɚʁɧɟ (Christian Johann Heinrich Heine) ɨ ɪɟɱɢɦɚ „ɫɥɚɬɤɢɦ ɤɚɨ ɦɟɫɟɱɢɧɚ ɢ ɧɟɠɧɢɦ ɤɚɨ ɦɢɪɢɫ ɪɭɠɟ”. Ʉɨɞ ɮɪɚɧɰɭɫɤɢɯ ɫɢɦɛɨɥɢɫɬɚ ɫɢɧɟɫɬɟɡɢʁɚ ɩɨɫɬɚʁɟ ɟɥɟɦɟɧɚɬ ʃɢɯɨɜɟ ɩɨɟɬɢɤɟ; ɬɚɤɨ ɭ Ȼɨɞɥɟɪɨɜɢɦ 55 ɋɚɝɥɚɫʁɢɦɚ ɫɢɧɟɫɬɟɡɢʁɚ ɥɟɠɢ ɭ ɨɫɧɨɜɢ ɞɨɠɢɜʂɚʁɚ ɩɪɢɪɨɞɟ ɢ ɢɡɪɚɡɚ ɬɨɝ ɞɨɠɢɜʂɚʁɚ: ɬɭ ɫɭ ɦɢɪɢɫɢ „ɤɨ ɩɨʂɚ ɡɟɥɟɧɢ”, „ɫɥɚɬɤɢ ɤɨ ɨɛɨɟ”, ɚ ɫɤɥɚɞ/ɯɚɪɦɨɧɢʁɚ ɩɨɱɢɜɚ ɧɚ ɫɢɧɟɫɬɟɡɢʁɢ ‒ „ɫɥɢɜɚʁɭ ɫɟ ɛɨʁɟ, ɦɢɪɢɫɢ ɢ ɡɜɭɰɢ”. ɇɚ ɨɜɚɤɜɨɦ ɦɚɬɟɪɢʁɚɥɭ ɮɪɚɧɰɭɫɤɟ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɩɨɟɡɢʁɟ Ɇɢʁɟ (Jules Millet) ɪɚɡɦɚɬɪɚ ɫɢɧɟɫɬɟɡɢʁɭ ɩɨɞ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɢɦ ɧɚɫɥɨɜɨɦ Ɉɛɨʁɟɧɨ ɫɥɭɲɚʃɟ (Audition coloréɟ), ɚ ɩɪɢɦɟɪɢ ɫɢɧɟɫɬɟɡɢʁɟ ɫɟ ɩɪɨɧɚɥɚɡɟ ɢ ɤɨɞ Ɋɟɦɛɨɚ, Ⱦ’Ⱥɧɭɧɰɢʁɚ (Gabriele D'Annunzio), ɋɢɬɜɟɥɨɜɟ (Edith Louisa Sitwell) ɤɨʁɢ ɝɨɜɨɪɟ ɨ „ɦɢɪɢɫɧɨʁ”, „ɩɥɚɜɨʁ”, „ɥɟɞɟɧɨʁ” ɬɢɲɢɧɢ, ɢɬɞ. ɂɚɤɨ ʁɟ ɭ ɩɨʁɟɞɢɧɢɦ ɬɟɨɪɢʁɚɦɚ ɨɫɩɨɪɚɜɚɧɚ ɤɚɨ ɡɧɚɤ ɩɚɬɨɥɨɲɤɨɝ ɢ ɞɟɤɚɞɟɧɬɧɨɝ (ɇɢɱɟ /Friedrich Wilhelm Nietzsche/), ɫɢɧɟɫɬɟɡɢʁɚ ʁɟ ɲɢɪɨɤɨ ɪɚɫɩɪɨɫɬɪɚʃɟɧ ɨɛɥɢɤ ɦɟɬɚɮɨɪɢɱɤɨɝ ɢɡɪɚɠɚɜɚʃɚ ɤɨʁɢ ɩɪɟɩɥɟɬɨɦ ɨɫɟɬɚ ɢɡ ɪɚɡɥɢɱɢɬɢɯ ɱɭɥɧɢɯ ɨɛɥɚɫɬɢ ɱɟɫɬɨ ɩɨɫɬɢɠɟ ɜɟɥɢɤɭ ɫɥɢɤɨɜɢɬɨɫɬ ɢ ɢɡɧɢʁɚɧɫɢɪɚɧɨɫɬ ɢɡɪɚɡɚ, ɚ ɩɨɧɟɤɚɞ ‒ ɤɨɞ ɪɨɦɚɧɬɢɱɚɪɚ ɢ, ɧɚɪɨɱɢɬɨ, ɫɢɦɛɨɥɢɫɬɚ ‒ ɩɪɟɞɫɬɚɜʂɚ ɢ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨ ɨɛɟɥɟɠʁɟ ʁɟɞɧɨɝ ɞɨɠɢɜʂɚʁɚ ɫɜɟɬɚ ɢ ʃɟɝɨɜɟ ɤʃɢɠɟɜɧɟ ɫɬɢɥɢɡɚɰɢʁɟ.131 ɉɪɟɦɚ Ⱦɢɮɪɟɧɨɜɨɦ ɦɢɲʂɟʃɭ, ʁɟɡɢɤ (langage) ʁɟ ɬɚʁ ɤɨʁɢ ɚɪɬɢɤɭɥɢɲɟ ɫɢɧɟɫɬɟɡɢʁɟ ɤɚɨ ɦɟɬɚɮɨɪɟ. Ɉɧɟ (ɦɟɬɚɮɨɪɟ) ɫɭ ʁɟɡɢɤɭ ɤɨɧɫɭɩɫɬɚɧɰɢʁɚɥɧɟ ɢ ɤɚɨ ɬɚɤɜɟ ɫɟ ɫɚɫɜɢɦ ɩɪɢɪɨɞɧɨ ɭɩɢɫɭʁɭ ɭ ɫɜɚɤɨɞɧɟɜɧɢ ɝɨɜɨɪ. ɉɨɫɬɨʁɟ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɞɜɟ ɜɪɫɬɟ ɦɟɬɚɮɨɪɚ: ɨɧɟ ɤɨʁɟ ɧɚɫ ʁɟɞɧɨɦ ɫɢɧɬɚɝɦɨɦ ɩɪɟɧɨɫɟ ɨɞ ɜɢɞʂɢɜɨɝ ɞɨ ɱɭʁɧɨɝ (ɧɚ ɩɪɢɦɟɪ, ɤɚɞɚ ɤɚɠɟɦɨ ɞɪɟɱɟʄɚ ɛɨʁɚ ɢɥɢ ɫʁɚʁɚɧ ɡɜɭɤ) ɢ ɨɧɟ ɤɨʁɟ ɫɟ ɨɞɧɨɫɟ ɧɚ ɮɭɧɤɰɢɨɧɢɫɚʃɟ ɱɭɥɚ. Ɇɟђɭ ɛɪɨʁɧɢɦ ɩɪɢɦɟɪɢɦɚ, ɦɨɝɭ ɫɟ ɢɡɞɜɨʁɢɬɢ ɨɧɟ ɤɨʁɟ ɧɚɜɨɞɟ Ɋɭɫɨ (Jean-Jacques Rousseau) ɢ Ʉɚɦɢʁ Ʉɥɨɞɟɥ ɤɚɞɚ ɤɚɠɭ ɞɚ „ɨɤɨ ɫɥɭɲɚ” ɢɥɢ, ɩɚɤ, „ɭɯɨ ɜɢɞɢ”, ɚɥɢ ɢ ɱɢɬɚɜ ɧɢɡ ɩɨɥɢɫɟɦɧɢɯ ɪɟɱɢ, ɩɨɩɭɬ ɬɨɧɚ, ɯɚɪɦɨɧɢʁɟ, ɪɢɬɦɚ, ɡɚ ɤɨʁɟ ʁɟ ɦɨɝɭʄɟ ɪɟʄɢ ɞɚ ɫɭ ɦɟɬɚɮɨɪɢɡɢɪɚʁɭʄɟ ɫ ɨɛɡɢɪɨɦ ɧɚ ɬɨ ɞɚ ɫɟ ɨɧɟ, ɝɨɬɨɜɨ ɛɟɡ ɪɚɡɥɢɤɟ, ɤɨɪɢɫɬɟ ɭ (ɛɚɪɟɦ) ɞɜɚ ɪɟɝɢɫɬɪɚ, ɲɬɨ ʃɢɯɨɜɚ „ɞɟɮɢɧɢɰɢʁɚ” ɞɨɩɭɲɬɚ. Ⱦɢɮɪɟɧ ɫɦɚɬɪɚ ɞɚ ɛɢ ɫɢɧɟɫɬɟɡɢʁɚ, ɡɚɩɪɚɜɨ, ɦɨɝɥɚ ɛɢɬɢ ɫɚɫɜɢɦ ʁɟɞɧɨɫɬɚɜɧɨ ɚɫɨɰɢʁɚɰɢʁɚ, ɫɢɧɬɟɡɚ ɫɟɧɡɚɰɢʁɚ ɤɨʁɟ ʁɟ ɩɨɞɫɬɚɤɚɨ ʁɟɞɚɧ ɬɟ ɢɫɬɢ ɨɛʁɟɤɚɬ, ɚ ɤɨʁɢ ʁɟ ɩɨɧɭђɟɧ ɪɚɡɥɢɱɬɢɦ ɱɭɥɢɦɚ: ɬɚʁ ɨɛʁɟɤɚɬ ɫɟ ɢ ɜɢɞɢ ɢ ɱɭʁɟ ɢ ɨɩɢɩɚɜɚ ɢ ʃɭɲɢ. Ɉɧ ɫɟ ɢɞɟɧɬɢɮɢɤɭʁɟ ɧɚ ɨɫɧɨɜɭ ɬɨɝ ɜɢɲɟɫɬɪɭɤɨɝ ɩɪɢɫɬɭɩɚ, ɨɞɧɨɫɧɨ, ɧɚ ɨɫɧɨɜɭ ɪɚɡɥɢɱɢɬɢɯ 131 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Julia Simner and Edward B. Hubbard (eds.), The Oxford Handbook of Synesthesia (Oxford: Oxford University Press, 2014), 647‒670. 56 ɫɟɧɡɚɰɢʁɚ. Ɍɨ ɡɧɚɱɢ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɞɚ ɭɤɨɥɢɤɨ ɛɢ ɢɞɟɧɬɢɮɢɤɚɰɢʁɚ ɨɩɚɠɟɧɨɝ ɨɛʁɟɤɬɚ ɦɨɛɢɥɢɫɚɥɚ ɜɢɲɟ ɱɭɥɚ, ɨɧɞɚ ɛɢ ɫɟ ɫɜɚɤɨ ɨɩɚɠɚʃɟ ɦɨɝɥɨ ɫɦɚɬɪɚɬɢ ɫɢɧɟɫɬɟɡɢʁɫɤɢɦ. ɍɩɪɚɜɨ ɨɜɚʁ ɫɬɚɜ ʁɟ ɛɥɢɡɚɤ Ɇɟɪɥɨ-ɉɨɧɬɢʁɟɜɨɦ ɤɨʁɢ ɫɦɚɬɪɚ ɞɚ ʁɟ „ɫɢɧɟɫɬɟɡɢʁɫɤɨ ɨɩɚɠɚʃɟ ɩɪɚɜɢɥɨ”. Ɇɟђɭɬɢɦ, ɨɧ ɰɟɥɨɤɭɩɧɨ ɨɩɚɠɚʃɟ ɡɚɫɧɢɜɚ ɧɚ ɨɤɭ ɤɨʁɟ ʁɟ ɭ ɨɩɚɠɚʃɭ ɢɧɬɟɝɪɢɲɭʄɢ ɮɚɤɬɨɪ. Ɂɚɯɜɚʂɭʁɭʄɢ ɜɢɞɭ, ɢ ɡɜɭɱɧɨ, ɢ ɬɚɤɬɢɥɧɨ ɩɨɫɬɚʁɭ ɫɢɧɟɫɬɟɡɢʁɟ. ɉɨ ɦɢɲʂɟʃɭ Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ, ɨɛʁɟɤɚɬ ɧɚ ɤɨʁɢ ʁɟ ɨɩɚɠɚʃɟ ɭɫɦɟɪɟɧɨ ɜɟʄ ʁɟ ɞɨɛɢɨ ɫɜɨʁ ɢɞɟɧɬɢɬɟɬ (ɡɚɯɜɚʂɭʁɭʄɢ ɨɤɭ) ɢ ɩɪɟ ɧɟɝɨ ɲɬɨ ɫɟ ɩɨɞɜɪɝɚɨ ɢɫɩɢɬɢɜɚʃɭ ɞɪɭɝɢɯ ɱɭɥɚ. Ɇɟђɭɬɢɦ, ɨɧ ɧɟ ɧɟɝɢɪɚ ɤɨɦɭɧɢɤɚɰɢʁɭ ɢɡɦɟђɭ ɱɭɥɚ, ɜɟʄ ɧɟ ɭɡɢɦɚ ɭ ɨɛɡɢɪ ɦɨɝɭʄɟ ɚɫɨɰɢʁɚɬɢɜɧɟ ɜɟɡɟ ɢɡɦɟђɭ ʃɢɯ ɱɚɤ ɢ ɨɧɞɚ ɤɚɞɚ ɨɩɚɠɚʁɧɢ ɨɛʁɟɤɚɬ ɡɚɯɬɟɜɚ ɢ ɩɪɨɜɨɰɢɪɚ ɬɚʁ ɢɧɬɟɪɫɟɧɡɨɪɢʁɚɥɧɢ ɨɞɧɨɫ. ɂɫɬɢɱɭʄɢ ɤɨɦɭɧɢɤɚɰɢʁɭ ɢɡɦɟђɭ ɱɭɥɚ ɭ ɩɪɜɢ ɩɥɚɧ, ɢ ɬɨ ɨɧɭ ɤɨʁɚ ʄɟ ɭ ɤɪɚʁʃɟɦ ɢɫɯɨɞɭ ɢɦɚɬɢ ɢɧɬɟɝɪɚɰɢʁɭ ɫɜɢɯ ɩɨɞɚɬɚɤɚ ɜɟɡɚɧɢɯ ɡɚ ɨɛʁɟɤɚɬ ɭ ɨɤɭ, Ɇɟɪɥɨ-ɉɨɧɬɢ ɫɦɚɬɪɚ ɞɚ ɫɟ ɤɪɨɡ ɬɚɤɚɜ ɩɪɨɰɟɫ ɨɧɚ (ɱɭɥɚ) ɨɬɜɚɪɚʁɭ ɩɪɟɦɚ ɫɚɦɨʁ ɫɬɪɭɤɬɭɪɢ ɫɬɜɚɪɢ; ɱɚɤ, ɨɧ ɢɫɬɢɱɟ ɞɚ „ɫɜɚɤɨ ɱɭɥɨ ɧɨɫɢ ɫɚ ɫɨɛɨɦ ʁɟɞɧɭ ɫɬɪɭɤɭɬɪɭ ɛɢɜɫɬɜɚ ɤɨʁɚ ɧɢɤɚɞɚ ɭ ɩɨɬɩɭɧɨɫɬɢ ɧɢʁɟ ɩɪɟɧɨɫɢɜɚ ɭ ɪɟɝɢɫɬɚɪ ɞɪɭɝɨɝ ɱɭɥɚ”132. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɩɨ ɦɢɲʂɟʃɭ Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ, ‘ɢɞɟʁɧɢ ɬɜɨɪɚɰ’ ɢ ‘ɝɥɚɜɧɢ ɤɨɪɢɫɧɢɤ’ ɬɟ ɤɨɦɭɧɢɤɚɰɢʁɟ ʁɟ ɱɭɥɨ ɜɢɞɚ; ɜɢɞ ɢɧɬɟɝɪɢɲɟ ɩɨɞɚɬɤɟ ɞɨɛɢʁɟɧɟ ɨɞ ɞɪɭɝɢɯ ɱɭɥɚ ɢ ɩɪɟɬɜɚɪɚ ɢɯ ɭ ɜɢɞʂɢɜɨ: „Ɇɢ ɜɢɞɢɦɨ ɤɪɭɬɨɫɬ ɢ ɤɪɯɤɨɫɬ ɫɬɚɤɥɚ, ɚ ɤɚɞɚ ɫɟ ɨɧɨ ɥɨɦɢ ɩɪɨɢɡɜɨɞɟʄɢ ʁɟɞɚɧ ɤɪɢɫɬɚɥɧɢ ɡɜɭɤ, ɬɚʁ ɡɜɭɤ ɧɚɦ ɨɧɞɚ ɩɪɟɧɨɫɢ ɜɢɞʂɢɜɨ ɫɬɚɤɥɨ”133. ɂɡ ɨɜɨɝɚ ɫɟ ɡɚɤʂɭɱɭʁɟ ɞɚ ʁɟ ɜɢɞ ɞɨɜɨʂɚɧ ɫɜɟɦɭ, ɬɟ ʁɟ ɩɪɟɫɬɢɠ ɤɨʁɢ ɨɧ ɭɠɢɜɚ ɭ ɮɟɧɨɦɟɧɨɥɨɲɤɨʁ ɩɟɪɰɩɟɰɢʁɢ Ɇɟɪɥɨ-ɉɨɧɬɢʁɚ, ɩɨɬɩɭɧɨ ɨɩɪɚɜɞɚɧ. Ⱦɢɮɪɟɧ ɤɪɢɬɢɤɭʁɟ ɨɜɚɤɚɜ ɫɬɚɜ ɢɫɬɢɱɭʄɢ ɞɚ ɢɧɬɟɪɩɪɟɬɚɰɢʁɚ ɭɨɩɲɬɟ ɢ ɧɟ ɦɨɠɟ ɤɪɟɧɭɬɢ ɨɞ ɧɟɤɨɝ (ɩɪɟɬɩɨɫɬɚɜʂɟɧɨɝ) ɢɧɬɟɝɪɢɲɭʄɟɝ ɜɢɡɭɟɥɧɨɝ quale-a. Ɇɟђɭɬɢɦ, ɢɚɤɨ ɫɟ ɬɚ Ɇɟɪɥɨ-ɉɨɧɬɢʁɟɜɚ ɢɧɬɟɪɩɪɟɬɚɰɢʁɚ ɫɢɧɟɫɬɟɡɢʁɟ ɤɪɟʄɟ ɢ ‘ɨɬɜɚɪɚ’ ɩɪɟɦɚ ɫɚɦɨʁ ɫɬɪɭɤɬɭɪɢ ɫɬɜɚɪɢ, Ⱦɢɮɪɟɧ ɫɦɚɬɪɚ ɞɚ ɧɚɫ ɫɢɧɟɫɬɟɡɢʁɟ ɡɚɩɪɚɜɨ ɩɨɡɢɜɚʁɭ ɞɚ ɟɜɨɰɢɪɚɦɨ ɩɪɢɦɚɪɧɨ ʁɟɞɢɧɫɬɜɨ ɨɫɟɬɧɨɝ ɤɨʁɟ ɧɟ ɩɨɬɢɱɟ ɧɢɬɢ ɨɞ ɨɛʁɟɤɬɚ, ɧɢɬɢ ʁɟ ɩɪɨɢɡɜɟɞɟɧɨ ɡɚɯɜɚʂɭʁɭʄɢ ʁɟɞɧɨɦ ɞɨɦɢɧɚɧɬɧɨɦ ɱɭɥɭ. „Ɍɨ ʁɟɞɢɧɫɬɜɨ ɧɟ ɢɦɩɥɢɰɢɪɚ ɤɨɦɭɧɢɤɚɰɢʁɭ ɢɡɦɟђɭ ɱɭɥɚ ɫɚ ɰɢʂɟɦ ɨɞɚɜɚʃɚ ɩɪɢɡɧɚʃɚ ɫɚɦɨʁ ɫɬɜɚɪɢ, ɜɟʄ ɨɧɨ ɢɦɩɥɢɰɢɪɚ ɬɨ ɞɚ ɱɭɥɚ 132 Maurice Merleau-Ponty, Phénomenology…, ɧɚɜ. ɞɟɥɨ, 260. 133 ɂɫɬɨ, 266. 57 ɤɚɨ ɬɚɤɜɚ ʁɨɲ ɭɜɟɤ ɧɟ ɩɨɫɬɨʁɟ.”134 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɨɫɟɬɧɨ ɫɟ ʁɨɲ ɭɜɟɤ ɧɟ ɨɞɧɨɫɢ ɧɚ ɫɩɟɰɢɮɢɱɧɨɫɬ ɱɭɥɚ, ɜɟʄ ɫɟ ɨɞɧɨɫɢ ɧɚ ʁɟɞɢɧɫɬɜɨ ɩɥɭɪɚɥɚ, ʁɟɞɢɧɫɬɜɨ ɫɬɜɚɪɢ, ɧɟɞɢɮɟɪɟɧɰɢɪɚɧɨɫɬ ɫɭɛʁɟɤɬɚ ɢ ɨɛʁɟɤɬɚ – ʁɟɞɢɧɫɬɜɨ ɫɬɜɚɪɢ ʁɟ ɩɪɟ-ɟɫɬɟɬɫɤɨ. Ɇɟђɭɬɢɦ, ɤɚɤɨ ɦɢɫɥɢɬɢ ɬɭ ‘ɧɟɭɬɪɚɥɧɨɫɬ’ ɨɫɟɬɧɨɝ. Ⱦɢɮɪɟɧ ɫɦɚɬɪɚ ɞɚ ɫɚɦɚ ɦɢɫɚɨ ɧɟ ɦɨɠɟ ɞɚ ɛɨɪɚɜɢ ɭ ɛɥɢɡɢɧɢ ɩɪɟ-ɟɫɬɟɬɫɤɨɝ/ɢɡɜɨɪɧɨɝ ɛɭɞɭʄɢ ɞɚ ɨɧɚ ‘ɡɚɯɬɟɜɚ’ ɞɢɮɟɪɟɧɰɢʁɚɰɢʁɭ ɧɚ ɫɜɢɦ ɧɢɜɨɢɦɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɧɟ ɦɨɠɟɦɨ ɦɢɫɥɢɬɢ ʁɟɞɧɨ ɨɫɟʄɚɧɨ ɩɪɟ ɞɢɮɟɪɟɧɰɢʁɚɰɢʁɟ ɱɭɥɚ, ɤɚɨ ɲɬɨ ɧɟ ɦɨɠɟɦɨ ɦɢɫɥɢɬɢ ɞɚ ʁɟ ɨɫɟɬɧɨ (ɦɟɫɬɨ ʁɟɞɢɧɫɬɜɚ ɩɥɭɪɚɥɚ) ‘ɫɩɨɫɨɛɧɨ’ ɡɚ ɩɪɟɨɛɪɚɠɚʁ. Ɉɧɨ ɲɬɨ ɦɨɠɟɦɨ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ ʁɟ ɞɚ ɩɪɢɡɨɜɟɦɨ ɫɢɧɟɫɬɟɡɢʁɟ ɩɨɫɪɟɞɫɬɜɨɦ ʁɟɡɢɱɤɢɯ ɦɟɬɚɮɨɪɚ ɤɨʁɟ ɢɡɝɨɜɚɪɚ ʁɟɞɚɧ „ɝɨɜɨɪɟʄɢ ɫɭɛʁɟɤɬ” ɫɜɟɫɬɚɧ ɱɭɥɧɟ ɞɢɮɟɪɟɧɰɢʁɚɰɢʁɟ.135 ɑɚɤ, ɫɢɧɟɫɬɟɡɢʁɟ ɧɟ ɦɨɪɚ ɞɚ ɢɡɝɨɜɚɪɚ ɧɢ ɫɭɛʁɟɤɬ, ɢɫɬɢɱɟ Ⱦɢɮɪɟɧ. ȵɢɯ ɝɨɜɨɪɢ ɫɚɦ ʁɟɡɢɤ, ɚ ɩɨɬɨɦ ɢɯ „ɫɬɚɜʂɚ ɭ ɭɫɬɚ ɝɨɜɨɪɟʄɟɦ ɱɨɜɟɤɭ; ɢɡ ɬɨɝɚ ɩɪɢɡɥɚɡɢ ɩɪɟɬɩɨɫɬɚɜɤɚ ɞɚ ʁɟɡɢɤ ɧɟ ɥɚɠɟ ɢ ɞɚ ɦɟɬɚɮɨɪɟ ɡɚɢɫɬɚ ɢɦɚʁɭ ʁɟɞɧɭ ɨɫɧɨɜɭ ɡɚ ɫɜɨʁɟ ɩɨɫɬɨʁɚʃɟ”136. Ⱦɚɤɥɟ, ɫɢɧɟɫɬɟɡɢʁɟ ɫɭ ɫɜɨʁɫɬɜɟɧɟ ʁɟɡɢɤɭ, ɚɥɢ ɤɚɤɨ ʁɟɡɢɤ ɧɢʁɟ ɞɨɜɨʂɚɧ ɫɚɦ ɫɟɛɢ, ɨɧɞɚ ɱɨɜɟɤ ɩɪɟɭɡɢɦɚ ‘ɛɪɢɝɭ’ ɨ ʃɟɦɭ. Ɉɧ ʁɟ ɨɞɝɨɜɨɪɚɧ ɡɚ ɨɧɨ ɲɬɨ ɫɟ ɭ ʁɟɡɢɤɭ ɝɨɜɨɪɢ, ɚɥɢ ɨɧ, ɢɫɬɨ ɬɚɤɨ, ɭ ɫɜɚɤɨɦ ɫɥɭɱɚʁɭ ɬɨɦɟ ɞɨɞɚʁɟ ʁɨɲ ɩɨ ɧɟɲɬɨ: ɫɜɚɤɨɦ ɫɜɨʁɟ ɫɢɧɟɫɬɟɡɢʁɟ. ɇɢʁɟ ɥɢ ɨɧɞɚ ɫɭɛʁɟɤɚɬ ɤɨʁɢ ɫɟ ɧɚ ɬɚʁ ɧɚɱɢɧ ɚɮɢɪɦɢɲɟ ʁɟɞɚɧ ɡɚɦɢɲʂɚʁɭʄɢ ɫɭɛʁɟɤɚɬ? ɍɤɨɥɢɤɨ ʁɟ ɫɢɧɟɫɬɟɡɢʁɚ ʁɟɞɧɚ ɦɟɬɚɮɨɪɚ, ɧɢʁɟ ɥɢ ɨɧɞɚ ɬɚ ɦɟɬɚɮɨɪɚ ɭɜɟɤ ʁɟɞɧɨ ɭɦɟʄɟ ɡɚɦɢɲʂɚʃɚ/ɢɦɚɝɢɧɢɪɚʃɚ, ʁɟɞɧɚ ɚɪɛɢɬɪɚɪɧɚ ɮɢɝɭɪɚ? Ⱦɚɤɥɟ, ɧɟ ɡɚɯɬɟɜɚ ɥɢ ɨɧɚ ‘ɢɧɬɟɪɜɟɧɰɢʁɭ’ ʁɟɞɧɨɝ ɫɭɛʁɟɤɬɚ? ɉɨɬɪɟɛɚɧ ʁɟ ʁɟɞɚɧ Ʉɚɧɞɢɧɫɤɢ (ȼɚɫɢɥɢɣ ȼɚɫɢɥьɟɜɢɱ Ʉɚɧɞɢɧɫɤɢɣ) ɤɨʁɢ ʄɟ ɠɭɬɨɦ ɩɪɢɩɢɫɚɬɢ ɡɜɭɱɧɨɫɬ, ɚ ɡɜɭɱɧɨɫɬɢ ɠɭɬɭ ɛɨʁɭ; ɤɨ ɦɭ ɦɨɠɟ ɨɫɩɨɪɢɬɢ ɩɪɚɜɨ ɧɚ ɬɨ, ɩɢɬɚ ɫɟ Ⱦɢɮɪɟɧ. Ɇɟђɭɬɢɦ, ɢɚɤɨ ɦɭ ɫɟ ɧɟ ɩɪɢɡɧɚʁɟ ɩɪɚɜɨ ɢɦɚɝɢɧɚɰɢʁɟ ɧɚ ɢɡɜɨђɟʃɟ ɬɚɤɜɢɯ ɜɟɡɚ ɢɡɦɟђɭ ɜɢɞʂɢɜɨɝ ɢ ɱɭʁɧɨɝ, Ⱦɢɮɪɟɧ ɫɦɚɬɪɚ ɞɚ ɫɟ ɫɜɚɤɚ ɫɢɧɟɫɬɟɡɢʁɚ ɦɨɠɟ, ɡɚɩɪɚɜɨ, ɩɪɢɩɢɫɚɬɢ ɢɦɚɝɢɧɚɰɢʁɢ. ɍ ɬɨɦ ɫɦɢɫɥɢ, ɤɚɞɚ Ɇɟɪɥɨ- ɉɨɧɬɢ ɩɢɲɟ „ɜɢɞɢɦɨ ɱɜɪɫɬɢɧɭ ɢ ɤɪɯɤɨɫɬ ɱɚɲɟ”, ɦɨɝɭʄɟ ʁɟ ɪɟɱ ɜɢɞɢɦ ɡɚɦɟɧɢɬɢ ɫɚ ɪɟɱʁɭ ɡɚɦɢɲʂɚɦ/ɢɦɚɝɢɧɢɪɚɦ; ɞɚɤɥɟ, ɜɢɞɢɦɨ ɱɚɲɭ, ɚɥɢ ɡɚɦɢɲʂɚɦɨ ʃɟɧɭ ɤɪɯɤɨɫɬ ɢɥɢ ʃɟɧɭ ɡɜɭɱɧɨɫɬ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɜɟɪɭʁɟɦɨ ɞɚ ɜɢɞɢɦɨ, ɤɚɠɟɦɨ ɞɚ ɜɢɞɢɦɨ, ɚɥɢ ɫɟ, 134 Mikel Difren, Oko i..., ɧɚɜ. ɞɟɥɨ, 152. 135 ɍɩɨɪɟɞɢɬɢ: ɢɫɬɨ, 156. 136 ɂɫɬɨ. 58 ɡɚɩɪɚɜɨ, ɧɢɲɬɚ ɨɞ ɬɨɝɚ ɧɟ ɞɟɲɚɜɚ – ɧɢ ɬɚɤɬɢɥɧɨ, ɧɢ ɱɭʁɧɨ ɧɢɫɭ ɩɪɟɬɜɨɪɟɧɢ ɭ ɜɢɞʂɢɜɨ (ɨɧɨ ɲɬɨ Ɇɟɪɥɨ-ɉɨɧɬɢ ɫɭɝɟɪɢɲɟ ɢ ɡɚɲɬɚ ɫɟ ɡɚɥɚɠɟ), ɜɟʄ ɫɭ ɫɟ ɡɚɯɜɚʂɭʁɭʄɢ ɢɦɚɝɢɧɚɰɢʁɢ ɫɦɟɫɬɢɥɢ ɭ ɩɨʂɟ ɜɢɪɬɭɟɥɧɨɝ, ɨɞɧɨɫɧɨ, ɩɪɟɲɥɢ ɫɭ ɭ ɫɬɚʃɟ ɜɢɪɬɭɟɥɧɨɫɬɢ. Ɉɜɚ ɡɚɦɟɧɚ ʁɟɞɧɟ ɪɟɱɢ ɞɪɭɝɨɦ – ɜɢɞɢɦɨ-ɡɚɦɢɲʂɚɦɨ – ɧɢʁɟ ɛɟɡ ɩɨɫɥɟɞɢɰɚ. ɇɚɢɦɟ, ɢɚɤɨ ɫɟ ɧɟ ɦɨɪɚ ɫɟ ɜɢɲɟ ɩɨʁɦɢɬɢ ʁɟɞɧɨ ɩɪɢɦɚɪɧɨ ʁɟɞɢɧɫɬɜɨ ɨɫɟɬɧɨɝ ɢ ɭɥɚɡɢɬɢ ɭ ɩɨʂɟ ɩɪɟ-ɟɫɬɟɬɫɤɨɝ, ɩɨɬɪɟɛɧɨ ʁɟ (ɚ Ⱦɢɮɪɟɧ ɫɦɚɬɪɚ ɢ ɞɨɜɨʂɧɨ) ɨɫɥɨɧɢɬɢ ɫɟ ɧɚ ɢɦɚɝɢɧɚɰɢʁɭ ɞɚ ɛɢ ɫɟ ɪɚɡɭɦɟɥɚ ɤɨɦɭɧɢɤɚɰɢʁɚ ɢɡɦɟђɭ ɱɭɥɚ. Ⱦɢɮɪɟɧ ɫɟ ɧɚ ɨɜɨɦ ɦɟɫɬɭ ɩɨɡɢɜɚ ɧɚ ɏʁɭɦɨɜo (David Hume) ɬɭɦɚɱɟʃɟ ɢɦɚɝɢɧɚɰɢʁɟ, ʃɟɧɨɝ ɫɬɚɬɭɫɚ ɢ ɮɭɧɤɰɢʁɟ. „ɂɦɚɝɢɧɚɰɢʁɚ ʁɟ ɨɧɨ ɦɟɫɬɨ ɧɚ ɤɨʁɟɦ ɫɟ ɩɭɬɟɦ ɚɫɨɰɢʁɚɰɢʁɚ ɤɨɧɫɬɢɬɭɢɲɟ ɪɟɚɥɧɨ, ɚ ɤɨɦɭɧɢɤɚɰɢʁɚ ɢɡɦɟђɭ ɱɭɥɚ ɫɟ ɢɞɟɧɬɢɮɢɤɭʁɟ ɨɜɢɦ ɚɫɨɰɢʁɚɰɢʁɚɦɚ.”137 ɍ ɬɨɦ ɫɦɢɫɥɭ, ɢɦɚɝɢɧɚɰɢʁɚ ɢɦɚ ɞɜɨɫɬɪɭɤɭ ɮɭɧɤɰɢʁɭ, ɨɞɧɨɫɧɨ, ʃɨʁ ɫɟ ɩɪɢɩɢɫɭʁɟ ɞɜɨɫɬɪɭɤɚ ɦɨʄ: ɞɚ ɚɫɨɰɢɪɚ ɢ ɞɚ ɟɜɨɰɢɪɚ. „Ɍɚɤɨ ɢɦɚɝɢɧɚɰɢʁɚ ɩɪɢɞɚʁɟ ɫɦɟɪɚɧɨɦ ʃɟɝɨɜɭ ɬɟɠɢɧɭ; ɨɧɨɦ ɲɬɨ ʁɟɞɧɨ ɱɭɥɨ ɩɪɟɡɟɧɬɭʁɟ, ɢɦɚɝɢɧɚɰɢʁɚ ɞɨɞɚʁɟ ɨɧɨ ɲɬɨ ɨɧɚ ɪɟ-ɩɪɟɡɟɧɬɭʁɟ; ɜɢђɟʃɭ ɜɭɧɟɧɨɝ ɬɤɚʃɚ ɨɧɚ ɞɨɞɚʁɟ ɪɟ-ɩɪɟɡɟɧɬɚɰɢʁɭ ɦɟɤɚɧɟ ɬɨɩɥɢɧɟ, [ɢɥɢ, ɩɚɤ,] ɜɢђɟʃɭ ɰɢɧɨɛɟɪ ɰɪɜɟɧɨɝ, ɢɦɚɝɢɧɚɰɢʁɚ ɞɨɞɚʁɟ ɪɟ-ɩɪɟɡɟɧɬɚɰɢʁɭ ʃɟɝɨɜɟ ɬɟɠɢɧɟ.”138 Ɉɜɚ ɦɨʄ ɚɫɨɰɢɪɚʃɚ ɡɚɫɧɢɜɚ ɢ ɚɮɢɪɦɚɰɢʁɭ ɤɚɭɡɚɥɧɨɫɬɢ ɤɨʁɚ ɩɨɜɟɡɭʁɟ ɪɚɡɧɨɥɢɤɨɫɬ ɞɨɝɚђɚʁɚ, ɚɥɢ ɢ ɚɮɢɪɦɚɰɢʁɭ ɪɚɡɥɢɱɢɬɢɯ ɚɫɩɟɤɚɬɚ ʁɟɞɧɨɝ ɨɛʁɟɤɬɚ, ɬɨ ʁɟɫɬ, ʃɟɝɨɜɨɝ ɢɞɟɧɬɢɬɟɬɚ. ɍ ɤɨɧɬɟɤɫɬɭ ɏʁɭɦɨɜɨɝ ɬɭɦɚɱɟʃɚ ɮɟɧɨɦɟɧɚ ɢɦɚɝɢɧɚɰɢʁɟ, Ⱦɢɮɪɟɧ ‘ɱɢɬɚ’ ɢ Ʉɚɧɬɨɜɟ „ɬɪɚɧɫɰɟɧɞɟɧɬɚɥɧɟ ɮɭɧɤɰɢʁɟ ɢɦɚɝɢɧɚɰɢʁɟ” ɤɚɨ „ɫɩɨɫɨɛɧɨɫɬ ɫɢɧɬɟɡɟ a priori”. Ⱦɚɤɥɟ, Ʉɚɧɬɨɜɭ ɦɢɫɚɨ ɞɚ ɫɟ „ɩɪɢɧɰɢɩ ɦɨɝɭʄɧɨɫɬɢ ɚɫɨɰɢɪɚʃɚ ɪɚɡɥɢɱɢɬɢɯ ɟɥɟɦɟɧɚɬɚ ɧɚɡɢɜɚ ɚɮɢɧɢɬɟɬɨɦ ɪɚɡɥɢɱɢɬɨɫɬ”, Ⱦɢɮɪɟɧ ɱɢɬɚ ɨɫɬɚʁɭʄɢ ‘ɜɟɪɚɧ’ ɏʁɭɦɨɜɨɦ ɜɢђɟʃɭ (ɢɥɢ ɛɚɪ ɩɪɟɬɩɨɫɬɚɜʂɚ ɞɚ ʁɟ a priori ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɨɧɨ ɲɬɨ ɤɨɧɫɬɢɬɭɢɲɟ ɨɛʁɟɤɚɬ ɢ ɫɭɛʁɟɤɚɬ, ɞɚ ɨɧɨ ɝɚɪɚɧɬɭʁɟ ʃɢɯɨɜ ɫɤɥɚɞ, ɚɥɢ ɞɚ ɩɪɢ ɬɨɦ ɫɭɛʁɟɤɚɬ ɧɟ ɦɨɪɚ ɞɚ ɫɟ ɩɨɫɬɚɜɢ ɤɚɨ ʁɟɞɢɧɫɬɜɨ ɤɨʁɟ ʁɟ ɢɡɜɨɪɧɨ ɫɢɧɬɟɬɢɲɭʄɟ, ɧɢɬɢ ɦɨɪɚ ɞɚ ɧɚɦɟɬɧɟ ɫɜɨʁ ɡɚɤɨɧ ɩɪɢɪɨɞɢ); ɬɚɤɨ, ɧɚɜɨɞɢ Ⱦɢɮɪɟɧ, „ɧɢ ɰɢɧɨɛɟɪ ɛɨʁɚ ɧɢʁɟ ɤɚɩɪɢɰɢɨɡɧɚ, ɨɧɚ ʁɟ ɜɟɪɧɚ ɫɜɨʁɨʁ ɩɪɢɪɨɞɢ, ɬɟ ɫɟ ɤɚɨ ɬɚɤɜɚ ɩɪɭɠɚ ɦɟɧɢ, ɚ ɦɨʁɟ ɨɩɚɠɚʃɟ ʁɟ ɩɪɢɯɜɚɬɚ”139. 137 ɂɫɬɨ, 157. 138 ɂɫɬɨ. 139 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ. 59 Ɍɚɤɨ ɢ ɢɦɚɝɢɧɚɰɢʁɚ ɭɫɩɨɫɬɚɜʂɚ ɬɟɫɧɟ ɜɟɡɟ ɫɚ ɬɢɦ ɨɩɚɠɚʃɟɦ ɭɬɨɥɢɤɨ, ɭɤɨɥɢɤɨ ʁɟ ɢɦɚɝɢɧɚɪɧɨ ɦɨɝɭʄɟ ɞɟɮɢɧɢɫɚɬɢ ɤɚɨ ɜɢɪɬɭɟɥɧɨ. Ɂɚɩɪɚɜɨ, ɮɭɧɤɰɢʁɚ ɢɦɚɝɢɧɚɰɢʁɟ ʁɟ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɞɚ ɭɡ ɩɨɦɨʄ ɬɨɝ ɜɢɪɬɭɚɥɧɨɝ ɞɨɩɭɧɢ ɩɨɞɚɬɚɤ, ɢ ɞɚ ɤɨɪɢɝɭʁɟ ɫɥɚɛɨɫɬ ʁɟɞɧɨɝ ɨɩɚɠɚʃɚ ɤɨʁɟ ʁɟ ɨɝɪɚɧɢɱɟɧɨ ʁɟɞɧɢɦ ɱɭɥɧɢɦ ɪɟɝɢɫɬɪɨɦ; ɞɪɭɝɢɦ ɪɟɱɢɦɚ, ɨɧɚ ɩɪɢɫɭɬɧɨɦ ɨɛʁɟɤɬɭ ɩɨɧɨɜɨ ɜɪɚʄɚ ʃɟɝɨɜɭ ɩɭɧɨʄɭ, ɦɨɠɞɚ ɱɚɤ ɢ ʃɟɝɨɜɭ ɚɭɪɭ. Ɇɟђɭɬɢɦ, ɚɫɨɰɢɪɚʃɟ ɤɚɨ ɧɟɲɬɨ ɲɬɨ ɫɟ ɩɨɫɬɢɠɟ ɢɦɚɝɢɧɚɰɢʁɨɦ ɦɨɝɭʄɟ ʁɟ ɡɚɬɨ ɲɬɨ ɧɚɦ ɨɛʁɟɤɚɬ ɬɨ ɞɨɡɜɨʂɚɜɚ; ɨɧ ʁɟ ɬɚʁ ɤɨʁɢ ɞɨɩɭɲɬɚ ɞɚ ɢɫɤɭɫɢɦɨ ɚɮɢɧɢɬɟɬ ɬɨɝ ɪɚɡɥɢɱɢɬɨɝ ɤɨʁɟ ɝɚ ɤɨɧɫɬɢɬɭɢɲɟ ɤɚɨ ɞɟɬɟɪɦɢɧɢɫɚɧɢ ɨɛʁɟɤɚɬ. Ʉɚɨ ɬɚɤɚɜ, ɨɧ ɡɚɯɬɟɜɚ ɩɨɬɩɭɧɭ ɩɪɢɫɭɬɧɨɫɬ, ɞɨɩɭɲɬɚʃɟ (ɫɢɧɟɪɝɢʁɫɤɨɝ) ɬɟɥɚ ɞɚ ɫɟ ɩɪɟɩɭɫɬɢ ʃɟɦɭ (ɨɛʁɟɤɬɭ); ɛɭɞɭʄɢ ɞɚ ɫɚɦ ɨɛʁɟɤɚɬ ɩɨɡɢɜɚ ɧɚ ɤɨɦɭɧɢɤɚɰɢʁɭ, ɦɨɝɭʄɟ ʁɟ ɪɟʄɢ ɫɟ ɨɜɞɟ ɪɚɞɢ ɨ ɢɦɚɝɢɧɚɰɢʁɢ ɤɨʁɚ ɩɪɢʁɚʃɚ ɭɡ ɨɩɚɠɚʃɟ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɜɚɠɧɨ ʁɟ ɪɚɡɥɭɱɢɬɢ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɨɧɨ ɢɦɚɝɢɧɚɪɧɨ ɤɨʁɟ, ɩɨɬɢɱɭʄɢ ɨɞ ɫɭɛʁɟɤɬɚ, ɩɨɦɪɚɱɭʁɟ ɨɩɚɠɚʃɟ ɞɨ ɬɟ ɦɟɪɟ ɞɚ ɝɚ ɩɨɧɢɲɬɚɜɚ ɭ ɢɥɭɡɢʁɢ, ɨɞ ɢɦɚɝɢɧɚɪɧɨɝ ɤɨʁɟ ɪɚɡɜɢʁɚ ɢ ɨɛɨɝɚʄɭʁɟ ɫɦɢɫɚɨ ɨɩɚɠɟɧɨɝ. Ⱦɚɤɥɟ, ɨɧɞɚ ɤɚɞɚ ʁɟ ɪɟɱ ɨ ɫɢɧɟɫɬɟɡɢʁɫɤɨɦ ɨɩɚɠɚʃɭ ʃɟɝɚ ɬɪɟɛɚ ɩɪɢɩɢɫɚɬɢ ɢ ɨɩɚɠɟɧɨɦ ɨɛʁɟɤɬɭ ɤɨʁɢ ʁɟ ɛɪɟɦɟɧɢɬ ɜɢɪɬɭɟɥɧɢɦ, ɡɚɯɜɚʂɭʁɭʄɢ ɱɟɦɭ ɫɟ ɦɚɧɢɮɟɫɬɭʁɟ ɭ ɬɨɬɚɥɢɬɟɬɭ ɫɜɨʁɢɯ ɚɫɩɟɤɚɬɚ. Ɍɚɤɨ, ɢ ɫɭɛʁɟɤɚɬ ɫɢɧɟɫɬɟɡɢʁɫɤɨɝ ɨɩɚɠɚʃɚ ɦɨɠɟɦɨ ɧɚɡɜɚɬɢ ɨɧɬɨɥɨɲɤɢɦ ɫɭɛʁɟɤɬɨɦ ɛɭɞɭʄɢ ɞɚ ɨɧ ɢɦɚ ɬɟɧɞɟɧɰɢʁɭ ɞɚ ɫɟ ɜɪɚɬɢ ɭ ɩɪɟɞɟɥɟ ɢɡɜɨɪɧɨɝ, ɬɨ ʁɟɫɬ, ‘ɢɡɝɭɛɢ’ ɭ ɨɛʁɟɤɬɭ „ɤɚɨ ɭ ɤɪɢɥɭ ɧɚɬɭɪɚɧɬɚ ɢɡ ɤɨʁɟɝ ʁɨɲ ɭɜɟɤ ɧɟʄɟ ɛɢɬɢ ɪɨђɟɧ”140. Ⱦɚɤɥɟ, ɚɤɨ ʁɟ ʁɟɞɢɧɫɬɜɨ ɨɫɟɬɧɨɝ ɛɚɪɟɦ ɧɚɫɥɭʄɟɧɨ ɭ ɢɫɤɭɫɬɜɭ ɫɢɧɟɫɬɟɡɢʁɟ, ɨɧɞɚ ɧɚ ʃɟɝɚ ɢɫɬɨ ɬɚɤɨ ɦɨɠɟ ɞɚ ɰɢʂɚ, ɚɤɨ ɧɟ ɢ ɞɚ ɝɚ ɞɨɫɟɝɧɟ, ɩɪɚɤɫɚ ɭɦɟɬɧɨɫɬɢ.141 Ɉɧɨ ɲɬɨ ɭɦɟɬɧɨɫɬɢ ɩɨɜɟɡɭʁɟ ʁɟɫɬɟ ɤɨɧɫɬɚɧɬɧɨ ɫɭɝɟɪɢɫɚʃɟ ɢɫɤɭɫɬɜɚ ɨɫɟɬɧɨɝ, ɢɡ ɱɟɝɚ ɧɚɫɬɚʁɟ „ɬɪɚɧɫɭɦɟɬɧɢɱɤɢ ɤɨɧɰɟɩɬ”142 ɤɚɨ ʁɟɞɚɧ ɫɩɟɰɢɮɢɱɚɧ ʁɟɡɢɤ ɤɨɦɭɧɢɤɚɰɢʁɟ 140 ɂɫɬɨ, 159. 141 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 161. 142 Ɋɟɱ ʁɟ ɨ ɢɞɟʁɢ ɤɨʁɭ ʁɟ Ⱦɢɮɪɟɧ ɩɪɟɭɡɟɨ ɨɞ Ⱦɨɦɟɧɢɤɚ ɇɨɝɟɡɚ (Domenique Noguez) ɤɨʁɚ ɫɟ ɬɢɱɟ ɬɨɝɚ ɞɚ ɭ ɪɚɡɥɢɱɢɬɢɦ ɭɦɟɬɧɨɫɬɢɦɚ (ɩɨɫɟɛɧɨ ɨɧɢɦɚ ɤɨʁɟ ɨɩɚɠɚɦɨ ɪɚɡɥɢɱɢɬɢɦ ɱɭɥɢɦɚ) ɩɨɫɬɨʁɢ ɡɚʁɟɞɧɢɱɤɚ ɫɭɲɬɢɧɚ ɤɨʁɭ ɩɪɟɞɨɱɚɜɚ ʁɟɞɚɧ ɢɫɬɢ ɚɧɚɥɢɬɢɱɤɢ ɚɩɚɪɚɬ ɭ ʁɟɞɢɧɫɬɜɟɧɨɦ ɭɧɢɜɟɪɡɭɦɭ ɞɨɫɤɭɪɫɚ. ȼɢɞɟɬɢ ɭ: ɢɫɬɨ, 166. ɉɨɦɟɧɭɬɚ ɢɞɟʁɚ ɫɟ, ɩɪɟɦɚ Ⱦɢɮɪɟɧɨɜɨɦ ɦɢɲʂɟʃɭ, ʁɚɜɢɥɚ ɧɚɤɨɧ ɩɨʁɚɜɟ ɬɚɤɨɡɜɚɧɢɯ ɧɨɜɢɯ ɭɦɟɬɧɨɫɬɢ ɤɨʁɟ ɫɬɚɪɢ ɫɢɫɬɟɦ ɤɥɚɫɢɮɢɤɚɰɢʁɟ ɭɦɟɬɧɨɫɬɢ ɧɢʁɟ ‘ɩɪɟɩɨɡɧɚɨ’. Ɋɟɱ ʁɟ ɡɚɩɪɚɜɨ ɨ ɭɦɟɬɧɢɱɤɢɦ ɩɪɚɤɫɚɦɚ ɤɨʁɟ ɫɭ ɫɟ ɮɨɪɦɢɪɚɥɟ ɢɡɜɚɧ ɭɬɜɪђɟɧɢɯ ɝɪɚɧɢɰɚ ɭɦɟɬɧɨɫɬɢ ɢ ɤɨʁɟ, ɫɬɨɝɚ, ɩɪɟɢɫɩɢɬɭʁɭ ʃɢɯɨɜɭ ɩɨɫɬɨʁɚɧɨɫɬ ɢ ɮɢɤɫɢɪɚɧɨɫɬ. Ɇɟђɭɬɢɦ, Ⱦɢɮɪɟɧ ɫɦɚɬɪɚ ɞɚ ʁɟ „ɬɪɚɧɫɭɦɟɬɧɢɱɤɢ ɤɨɧɰɩɟɬ” ɜɟɨɦɚ ɞɢɫɤɭɬɚɛɢɥɚɧ ɛɭɞɭʄɢ ɞɚ ɨɧ ɧɭɠɧɨ ɧɟ ɩɨɞɪɚɡɭɦɟɜɚ ɨɫɬɜɚɪɢɜɚʃɟ ɱɭɥɧɨɝ ʁɟɞɢɧɫɬɜɚ, ɬɨ ʁɟɫɬ, „ɬɪɚɧɫɱɭɥɧɭ ɩɟɪɰɩɟɰɢʁɭ”. Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: ɢɫɬɨ, 151‒168. 60 ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ, ɚ performance, body-art, land art, ɢɧɫɬɚɥɚɰɢʁɟ ɢ ɞɪɭɝɨ ɪɟɩɪɟɡɟɧɬɭʁɭ ɨɜɚʁ ʁɟɡɢɤ ɦɟɬɚɦɨɪɮɨɡɚ ɭɦɟɬɧɨɫɬɢ. ɂɡɚ ɨɜɢɯ ɭɤɪɲɬɚʃɚ ɫɬɨʁɢ ɚɮɢɧɢɬɟɬ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɤɨʁɟ ɫɭɝɟɪɢɲɭ ɱɭʁɧɨ, ɞɨɞɢɪʂɢɜɨ ɢ ɜɢɞʂɢɜɨ, ɱɢʁɟ ʁɟɞɢɧɫɬɜɨ ɧɢʁɟ ɦɨɝɭʄ ɝɚɪɚɧɬɨɜɚɬɢ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ. Ɉɧɨ ɲɬɨ ʁɟ ɦɨɝɭʄɟ, ɫɦɚɬɪɚ ɨɧ, ʁɟɫɬɟ ɩɪɢɛɥɢɠɢɬɢ ɫɟ ɬɨɦ ɦɟɫɬɭ ʁɟɞɢɧɫɬɜɚ, ɤɚɨ ɦɟɫɬɭ/ɧɟ-ɦɟɫɬɭ ɭɦɟɬɧɨɫɬɢ ɨɬɤɪɢɜɚʃɟɦ „ɚɫɨɰɢʁɚɰɢʁɚ” ɢ „ɤɨɪɟɫɩɨɧɞɟɧɰɢʁɚ” ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɤɨʁɟ ɛɢ, ɟɜɟɧɬɭɚɥɧɨ, ɦɨɝɥɟ ɞɚ ɨɛʁɟɞɢɧɟ ɪɚɡɥɢɱɢɬɚ ɱɭɥɚ, ɚ ɫɚɦɢɦ ɬɢɦ ɢ ɩɪɢɧɰɢɩɟ ɢ ɦɟɞɢʁɟ ɫɬɜɚɪɚʃɚ. Ɉɜɨ, ɦɟɬɚɮɨɪɢɱɢ ɪɟɱɟɧɨ, ‘ɫɩɚɪɢɜɚʃɟ’ ɭɦɟɬɧɨɫɬɢ ɜɪɲɢ ʁɟɡɢɤ ɤɨʁɢ ɭ ɫɢɧɟɫɬɟɡɢʁɚɦɚ ɨɬɤɪɢɜɚ ɜɢɲɟɫɥɨʁɧɭ ɚɫɨɰɢʁɚɬɢɜɧɨɫɬ: ɢɡɦɟђɭ ɱɭɬɢɯ ɛɨʁɚ ɩɨɫɬɨʁɢ ɨɧɚ ɜɪɫɬɚ ɚɮɢɧɢɬɟɬɚ ɤɨʁɚ ɢɦ ɞɨɡɜɨʂɚɜɚ ɞɚ ɩɪɟɥɚɡɟ ɢɡ ʁɟɞɧɨɝ ɪɟɝɢɫɬɪɚ ɭ ɞɪɭɝɢ, ɞɚ ɫɟ ɫɬɚɩɚʁɭ ɞɨ ɧɟɪɚɡɥɭɱɢɜɨɫɬɢ, ɢ ɨɤɨɧɱɚɜɚʁɭ ɭ ɢɞɟɧɬɢɱɧɨɫɬɢ. ɋɢɧɟɫɬɟɡɢʁɟ ɫɟ ɡɚɩɪɚɜɨ ɧɚɥɚɡɟ ɭ ɭɧɭɬɪɚɲʃɨɫɬɢ ɨɫɟɬɧɨɝ ɤɨʁɟ ɭɦɟɬɧɢɱɤɚ ɩɪɚɤɫɚ ɩɪɟɜɨɞɢ ɢɡ ɜɢɪɬɭɟɥɧɨɫɬɢ ɭ ɪɟɚɥɧɨɫɬ ɢ ɨɛɪɚɬɧɨ. „Ʉɚɞɚ ɝɨɜɨɪɢɦɨ ɨ ɜɢɪɬɭɚɥɧɨɦ ɦɢ ɫɟ ɧɚʁɩɪɟ ɩɨɡɢɜɚɦɨ ɧɚ ɫɭɛʁɟɤɬ. ɍɫɬɜɚɪɢ, ɨɧɨ ɧɟɨɩɚɠɟɧɨ ɤɨʁɟ ʁɟ ɜɟɡɚɧɨ ɡɚ ɨɩɚɠɟɧɨ ɩɨɫɬɨʁɢ ɭɩɪɚɜɨ ɡɚ ʁɟɞɚɧ ɫɭɛʁɟɤɬ, ɚ ɬɚɤɨђɟ ɢ ɡɚɯɜɚʂɭʁɭʄɢ ʁɟɞɧɨɦ ɫɭɛʁɟɤɬɭ.”143 Јɟɪ ɫɟ ɜɢɪɬɭɟɥɧɨ, ɫɦɚɬɪɚ Ⱦɢɮɪɟɧ, ɦɨɪɚ ɧɟɝɞɟ ɫɦɟɫɬɢɬɢ. Ⱦɚ ɥɢ ɦɨɠɞɚ ɭ ɦɟɦɨɪɢʁɭ? Ⱦɚ ɥɢ ʁɟ ɜɢɪɬɭɚɥɧɨ ɨɧɨ ɧɟɨɩɚɠɟɧɨ, ɨɧɨ ɲɬɨ ɡɚɩɪɚɜɩ ɡɧɚɦɨ ʁɟɪ ɫɦɨ ɝɚ ɜɟʄ ɧɟɤɚɞɚ ɨɩɚɡɢɥɢ, ɢ ɞɚ ɥɢ ʁɟ ɬɨ ɨɧɨ ɢɫɬɨ ɲɬɨ ɱɭɜɚɦɨ ɭ ɦɟɦɨɪɢʁɢ? Ⱦɢɮɪɟɧ ɞɚʁɟ ɨɞɝɨɜɨɪ ɧɚɜɨɞɟʄɢ ɞɚ ʁɟ, „ɦɨʁɚ ɪɭɤɚ ɜɟʄ ɨɩɢɩɚɥɚ ɛɚɪɲɭɧɚɬɨɫɬ ɨɜɟ ɬɤɚɧɢɧɟ, ɢ ɧɢʁɟ ʁɟ ɡɚɛɨɪɚɜɢɥɚ, ɢɫɬɨ ɤɚɨ ɲɬɨ ɦɨʁɚ ɭɫɬɚ ɧɢɫɭ ɡɚɛɨɪɚɜɢɥɚ ɨɧɚʁ ɫɥɚɬɤɢ ɭɤɭɫ ɝɪɨɠђɚ ɱɢʁɭ ʁɟ ɡɥɚɬɧɭ ɬɪɚɧɫɩɚɪɟɧɬɧɨɫɬ ɭɯɜɚɬɢɥɨ ɦɨʁɟ ɨɤɨ”144. Ɍɨ ɡɧɚɱɢ ɞɚ ɫɟ ɭɩɪɚɜɨ ɭ ɬɟɥɭ ɩɪɢɤɭɩʂɚ ɧɚɲɟ ɢɫɤɭɫɬɜɨ ɫɜɟɬɚ, ɚ ɬɨ ɞɚʂɟ ɫɭɝɟɪɢɲɟ ʁɟɞɧɭ ɫɚɫɜɢɦ ɞɪɭɝɚɱɢʁɭ ɢɞɟʁɭ ɨɞ ɨɧɟ ɤɨʁɚ ɤɚɠɟ ɞɚ ʁɟ ɬɟɥɨ ʁɟɞɚɧ ɢɧɟɪɬɚɧ ɢ ɛɟɡɞɭɲɚɧ ɜɨɫɚɤ ɭ ɤɨʁɟ ɫɟ ɭɬɢɫɤɭʁɭ ɭɬɢɫɰɢ. ɇɚɩɪɨɬɢɜ, ɨɧɨ ʁɟ ɦɟɫɬɨ ɢɡ ɤɨʁɟɝ ɫɟʄɚʃɚ ɢɡɪɚʃɚʁɭ, ɦɟɫɬɨ ɤɨʁɟ ɧɟɨɩɚɠɟɧɨ ɩɪɟɜɨɞɢ ɭ ɤɜɚɡɢ-ɨɩɚɠɟɧɨ, ɢ ɤɨʁɟ ɫɭɛʁɟɤɬɭ ɨɦɨɝɭʄɚɜɚ ɞɚ ɢɫɤɭɫɢ ɛɥɢɫɤɨɫɬ ɫɚ ɫɬɜɚɪɢɦɚ ɫɜɟɬɚ. ɂ ɭɩɪɚɜɨ ɧɚ ɨɜɨɦ ɦɟɫɬɭ Ⱦɢɮɪɟɧ ɭɜɟɞɢ ɢɦɚɝɢɧɚɪɧɨ: „ɚɤɨ ɜɢɪɬɭɟɥɧɨ ɧɟ ɩɪɟɞɫɬɚɜʂɚ ɫɚɦɨ ʁɟɞɧɨ ɫɥɟɩɨ ɡɧɚʃɟ ɤɨʁɟ ɫɟ ɧɚɥɚɡɢ ɭ ɬɟɥɭ – ɢɫɬɨ ɨɧɨɥɢɤɨ ɫɥɟɩɨ ɤɚɨ ɢ ʁɟɞɚɧ ɭɫɥɨɜʂɟɧɢ ɪɟɮɥɟɤɫ ɤɨʁɢ ʁɟ ɭɦɟɬɧɭɬ ɭ ɬɟɥɨ- ɨɛʁɟɤɚɬ – ɨɧɞɚ ʁɟ ɩɪɢɫɭɬɧɨɫɬ ɤɨʁɚ ɦɭ ɫɟ ɦɨɪɚ ɩɪɢɡɧɚɬɢ ɩɪɢɫɭɬɧɨɫɬ ʁɟɞɧɨɝ 143 ɂɫɬɨ, 234. 144 ɂɫɬɨ, 234‒235. 61 ɢɦɚɝɢɧɚɪɧɨɝ ɤɨʁɟ ʁɟ ɢɦɚɧɟɧɬɧɨ ɨɩɚɠɟɧɨɦ […] ɍɤɨɥɢɤɨ ɠɟɥɢɦɨ ɞɚ ɦɢɫɥɢɦɨ ɜɢɪɬɭɟɥɧɨ ɤɚɨ ɢɦɚɝɢɧɚɪɧɨ, ɦɢ ɬɨ ɦɨɠɟɦɨ ɱɢɧɢɬɢ ʁɟɞɢɧɨ ɩɨɞ ɭɫɥɨɜɨɦ ɞɚ ɦɢɫɥɢɦɨ ɢɦɚɝɢɧɚɪɧɨ ɤɚɨ ɜɢɪɬɭɟɥɧɨ”145. Ⱦɚɤɥɟ, ɨɜɨ ɩɪɢɛɥɢɠɚɜɚʃɟ ɢɦɚɝɢɧɚɪɧɨɝ ɜɢɪɬɭɟɥɧɨɦ, ɡɚɩɪɚɜɨ, ɫɜɟɞɨɱɢ ɨ ɪɚɡɧɨɥɢɤɢɦ ɨɞɧɨɫɢɦɚ ɢɦɚɝɢɧɚɪɧɨɝ ɫɚ ɪɟɚɥɧɨɲʄɭ. Ɉɧɨ ɢɦɚɝɢɧɚɪɚɧɨ ɦɨɝɭʄɟ ʁɟ ɪɟɚɥɢɡɨɜɚɬɢ ʁɟɪ ɢ ɫɚɦɨ ɩɪɨɢɫɬɢɱɟ ɢɡ ɪɟɚɥɧɨɫɬɢ. Ⱦɚɤɥɟ, ɢɡ ɬɢɯ ɪɚɧɨɥɢɤɢɯ ɨɞɧɨɫɚ ɢɦɚɝɢɧɚɪɧɨɝ ɫɚ ɪɟɚɥɧɨɲʄɭ ɢ ɫɚɦ ɫɭɛʁɟɤɬ ɫɟ ɩɨɜɟɡɭʁɟ ɫɚ ɩɪɨɫɬɨɪɨɦ: ɫɭɛʁɟɤɬ ɜɢɞɢ ɩɪɨɫɬɨɪ, ɯɨɞɚ ɭ ʃɟɦɭ, ɪɚɞɢ ɭ ʃɟɦɭ, ɞɨɤ ɩɪɨɫɬɨɪ ɭ ɫɜɨʁɨʁ ɨɬɜɨɪɟɧɨʁ ɢɞɟɨɥɨɝɢʁɢ ɢɦɚ ɫɩɨɫɨɛɧɨɫɬ ɞɚ ɩɨɤɚɠɟ ɞɚ ʁɟ ɫɭɛʁɟɤɬ ɭ ʃɟɦɭ. Ɍɚʁ ɢɦɚɝɢɧɢɬɢɜɧɢ ɩɪɨɫɬɨɪ ɩɨɡɢɜɚ ɱɭɥɚ ɞɚ ɫɟ ɦɟђɭɫɨɛɧɨ ɚɫɨɰɢɪɚʁɭ ɤɪɨɡ ɯɚɪɦɨɧɢʁɟ, ɩɢɤɬɨɪɚɥɧɨɫɬɢ, ɬɟɤɫɬɭɪɢɡɚɰɢʁɟ, ɫɜɟɬɥɨɫɬɢ, ɪɢɬɦɨɜɟ, ɭɤɭɫɟ, ɦɢɪɢɫɟ… ɂ ɩɪɟ ɧɟɝɨ ɲɬɨ ɫɜɨʁɭ ɩɚɠʃɭ ɭɫɦɟɪɢɦ ɧɚ ɛɪɨʁɧɟ ɢɦɚɝɢɧɚɪɧɟ ɫɜɟɬɨɜɟ ɭɦɟɬɧɢɤɚ ɤɨʁɢ ɫɭ ɞɨɩɪɢɧɟɥɢ ɮɨɪɦɢɪʃɭ ɩɪɨɫɬɨɪɚ ɢ ɪɚђɚʃɭ ɞɭɯɚ fin-de-siècle-a, ɨɫɜɪɧɭɥɚ ɛɢɯ ɫɟ ɧɚ ɩɨɫɥɟɞʃɟ ɪɟɞɨɜɟ Ⱦɢɮɪɟɧɨɜɟ ɫɬɭɞɢʁɟ ɨ ɬɚʁɚɧɫɬɜɟɧɢɦ ɜɟɡɚɦɚ ɢɡɦɟђɭ ɨɤɚ ɢ ɭɯɚ... Ɋɟɱɢ ɤɨʁɟ ʁɟ ɨɜɚʁ ɮɪɚɧɰɭɫɤɢ ɟɫɬɟɬɢɱɚɪ ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɨɪɢʁɟɧɬɚɰɢʁɟ ɡɚɛɟɥɟɠɢɨ ɧɚ ɩɨɫɥɟɞʃɨʁ ɫɬɪɚɧɢɰɢ ɤʃɢɝɟ ɝɥɚɫɟ: ɯɨɦɨɝɟɧɨɫɬ ɨɫɟɬɧɨɝ ɧɢʁɟ ɦɨɝɭʄɚ, ʁɟɞɢɧɫɬɜɨ ɦɧɨɲɬɜɟɧɨɝ ɧɢʁɟ ɭɯɜɚɬʂɢɜɨ, ɚ ɩɨɫɥɟɞɢɱɧɨ ɧɢʁɟ ɦɨɝɭʄɚ ɧɢ ɨɧɬɨɥɨɝɢʁɚ. Ɉɧɨ ɲɬɨ ʁɟ ɦɨɝɭʄɟ ʁɟɫɬɟ ʁɟɞɧɚ ɮɟɧɨɦɟɧɨɥɨɝɢʁɚ ɜɢɪɬɭɟɥɧɨɝ ɤɨʁɚ ɧɚɫ ɦɨɠɟ ɩɨɡɜɚɬɢ ɞɚ ɝɨɜɨɪɢɦɨ ɨ ʁɟɞɧɨɦ ɩɪɢɦɚɪɧɨɦ ɫɬɚʃɭ ɨɫɟɬɧɨɝ, ɚɥɢ ɧɚɦ ɨɧɚ ɧɟ ɨɦɨɝɭʄɚɜɚ ɞɚ ɬɨ ɫɬɚʃɟ ɢ ɞɨɠɢɜɢɦɨ. ɂɥɢ ʁɨɲ: „ɨɧɚʁ ɚɮɢɧɢɬɟɬ ɪɚɡɥɢɱɢɬɨɝ ɧɟ ɞɨɜɪɲɚɜɚ ɫɟ ɭ ʁɟɞɢɧɫɬɜɭ ɬɨɝ ɪɚɡɥɢɱɢɬɨɝ”146. Ⱦɢɮɪɟɧ ʁɟ ɧɚ ɬɚʁ ɧɚɱɢɧ ɨɫɬɚɜɢɨ ɭɦɟɬɧɨɫɬɢɦɚ ɨɬɜɨɪɟɧ ɩɪɨɫɬɨɪ ɡɚ ɫɥɨɛɨɞɧɚ ɚɫɨɰɢɪɚʃɚ, ɢ ɬɢɦɟ ɢɯ ɨɫɥɨɛɨɞɢɨ ɨɛɚɜɟɡɟ ɜɟɡɢɜɚʃɚ ɡɚ ɧɟɤɨ ʁɟɞɢɧɫɬɜɨ ɢɡ ɤɨʁɟɝ ɛɢ ɧɭɠɧɨ ɩɪɨɢɡɚɲɥɟ. Ɉɬɭɞɚ ʁɟ ɢ ɭɜɢɞɟɨ ɞɚ ʁɟ ‘ɫɭɞɛɢɧɚ’ ɭɦɟɬɧɨɫɬɢ ɞɚ ɫɟ ɨɧɟ ɪɚɞɨɫɧɨ ɢɝɪɚʁɭ ɚɫɨɰɢɪɚʃɚ ɢ ɭɞɪɭɠɭʁɭ ɤɚɤɨ ɛɢ ɫɟ ɩɪɢɛɥɢɠɢɥɟ ɨɧɨɦ ɧɟɩɨɫɪɟɞɧɨɦ – ɢɡɜɨɪɭ. 145 ɂɫɬɨ, 235. 146 ɂɫɬɨ, 246. 62 ɍ ɩɨʂɭ ɤʃɢɠɟɜɧɨɫɬɢ ɢ ɭɦɟɬɧɨɫɬɢ... ɍ ɨɜɨɦ ɬɪɟɧɭɬɤɭ ɩɨɬɪɟɛɧɨ ʁɟ ɨɫɜɪɧɭɬɢ ɫɟ ʁɨɲ ʁɟɞɧɨɦ (ɧɚ ɤɪɚɬɤɨ) ɧɚ ɨɧɨ ɲɬɨ ʁɟ ɛɢɥɨ ɞɨɦɢɧɚɧɬɧɨ ɮɢɥɨɡɨɮɫɤɨ ɧɚɫɬɨʁɚʃɟ fin-de-siècle-a, ɤɚɤɨ ɛɢɫɦɨ, ɭ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɪɚɡɭɦɟɥɢ ɢ ɫɜɟ ɞɪɭɝɟ ɤɭɥɬɭɪɧɟ ɩɪɨɢɡɜɨɞɟ ɨɜɨɝ ɩɟɪɢɨɞɚ, ɩɨɩɭɬ ɝɟɲɬɚɥɬ ɩɫɢɯɨɥɨɝɢʁɟ (ɬɨ ʁɟɫɬ, ɬɟɨɪɢʁɟ Ƚɟɲɬɚɥɬɚ ɤɚɨ ɫɬɪɭɤɬɭɪɚɥɧɟ ɬɟɨɪɢʁɟ ɩɟɪɰɟɩɰɢʁɟ ɤɨʁɭ ɫɭ 1912. ɝɨɞɢɧɟ, ɩɨɞɫɟʄɚɦ, ɭɜɟɥɢ Ɇɚɤɫ ȼɟɪɬɯɚʁɦɟɪ, ȼɨɥɮɝɚɧɝ Ʉɟɥɟɪ ɢ Ʉɭɪɬ Ʉɨɮɤɚ) ɢ ɩɫɢɯɨɚɧɚɥɢɡɟ147, ɡɚɬɢɦ, ɫɥɢɤɚɪɫɤɨɝ, ɩɟɫɧɢɱɤɨɝ, ɦɭɡɢɱɤɨɝ ɢ ɞɪɚɦɫɤɨ-ɬɟɚɬɚɪɫɤɨɝ ɢɦɩɪɟɫɢɨɧɢɡɦɚ ɢ ɫɢɦɛɨɥɢɡɦɚ, ɤɭɛɢɫɬɢɱɤɟ ɭɦɟɬɧɨɫɬɢ (ɤɨʁɚ ɧɨɜɭ ɨɪɝɚɧɢɡɚɰɢʁɭ ɥɢɤɨɜɧɨɝ ɢ ɫɤɭɥɩɬɨɪɫɤɨɝ ɩɪɨɫɬɨɪɚ ɫɬɚɜʂɚ ɭ ɮɭɧɤɰɢʁɭ ɧɨɜɨɝ ɢ ɤɨɦɩɥɟɤɫɧɢʁɟɝ ɜɢђɟʃɚ ɫɜɟɬɚ), ɬɟ ɤɜɚɧɬɧɟ ɮɢɡɢɤɟ ɢ ɬɟɨɪɢʁɟ ɪɟɥɚɬɢɜɢɬɟɬɚ. ɉɪɟɦɚ ɪɟɱɢɦɚ Ɍɢʁɚɧɟ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɢ ɮɢɥɨɡɨɮɫɤɚ ɧɚɫɬɨʁɚʃɚ ɢ ɤɭɥɬɭɪɧɢ ɩɪɨɢɡɜɨɞɢ ɦɨɝɭ ɫɟ ɬɭɦɚɱɢɬɢ ɭ ɫɦɢɫɥɭ ɡɚɫɟɛɧɢɯ ɭɩɚɞɚ ɧɚ ‘ɢɫɬɢ’ ɭɦɨɦ ɫɬɜɨɪɟɧɢ ɬɟɪɟɧ ɭ ɱɢʁɨʁ ɭɤɭɩɧɨʁ ɫɥɢɰɢ ɫɭɛʁɟɤɬ ɢ ɨɛʁɟɤɬ ɢɧɬɟɪɩɟɧɟɬɪɢɪɚʁɭ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.], ɬɨ ʁɟɫɬ ɦɟђɭɫɨɛɧɨ ɩɪɨɞɢɪɭ”148. Ɍɚ ɫɭɛʁɟɤɬ-ɨɛʁɟɤɬ ɢɧɬɟɪɩɟɧɟɬɪɚɰɢʁɚ ɩɨɱɢʃɟ ɞɚ ɫɟ ɩɨɫɦɚɬɪɚ, ɫɦɚɬɪɚ ɚɭɬɨɪɤɚ, „ɤɚɨ prima materia ɱɢʁɢ ɫɟ ɞɟɥɨɜɢ, ɤɚɨ ɬɚɤɜɢ ɧɟ ɦɨɝɭ ɪɚɡɥɢɤɨɜɚɬɢ ɢ ɢɫɬɨɝ ɫɭ ɫɬɚɬɭɫɚ ɭ ɫɭɲɬɢɧɫɤɨɦ ɫɦɢɫɥɭ, ɬɟ ɫɟ ɫɬɨɝɚ ʃɢɯɨɜ ɢɞɟɧɬɢɬɟɬ ɞɟɬɟɪɦɢɧɢɲɟ ɫɚɦɨ ʁɟɞɚɧ ɭ ɨɞɧɨɫɭ ɧɚ ɞɪɭɝɨɝ […]”149. ɍ ɞɭɯɭ ɨɜɨɝ ɬɭɦɚɱɟʃɚ, ɦɨɝɭʄɟ ʁɟ ɱɢɬɚɬɢ ɢ Ⱦɢɮɪɟɧɨɜ ‘ɩɨɡɢɜ’ ɧɚ ɭɡɧɨɲɟʃɟ ɛɢʄɚ (remontée) ɤɚ ɢɡɜɨɪɧɨʁ ɬɨɬɚɥɧɨɫɬɢ ɤɨʁɟ ʁɟɫɬɟ ɨɧɚʁ ɬɪɟɧɭɬɚɤ ɩɪɟ „ɩɚɞɚ ɭ ɜɪɟɦɟ”150, ɨɞɧɨɫɧɨ, 147 ɉɫɢɯɨɚɧɚɥɢɡɚ ʁɟ ʁɟɞɚɧ ɨɞ ɧɚʁɭɬɢɰɚʁɧɢʁɢɯ ɩɫɢɯɨɥɨɲɤɢɯ ɩɪɚɜɚɰɚ ɧɚɫɬɚɨ ɤɪɚʁɟɦ 19. ɜɟɤɚ, ɤɚɨ ɪɟɚɤɰɢʁɚ ɧɚ ɤɥɚɫɢɱɧɭ ɢɧɬɪɨɫɩɟɤɬɢɜɧɭ ɩɫɢɯɨɥɨɝɢʁɭ. Ɋɟɱ ɩɫɢɯɨɚɧɚɥɢɡɚ ɩɨɤɪɢɜɚ ɧɢɡ ɪɚɡɥɢɱɢɬɢɯ ɫɬɜɚɪɢ ɤɨʁɟ ɫɜɨʁɟ ɢɫɯɨɞɢɲɬɟ ɢɦɚʁɭ ɭ ɬɟɨɪɢʁɢ ɢ ɩɪɚɤɫɢ ɋɢɝɦɭɧɞɚ Ɏɪɨʁɞɚ (Sigmund Freud). Ɉɧɚ ɨɡɧɚɱɚɜɚ ɦɟɬɨɞ ɤɨʁɢɦ ɫɟ ɞɨɥɚɡɢ ɞɨ ɨɬɤɪɢʄɚ ɨ ɧɚɱɢɧɭ ɮɭɧɤɰɢɨɧɢɫɚʃɚ ʂɭɞɫɤɟ ɩɫɢɯɟ, ɬɟɨɪɢʁɟ ɤɨʁɢɦɚ ɫɟ ɨɛʁɚɲʃɚɜɚ ɩɫɢɯɢɱɤɨ ɮɭɧɤɰɢɨɧɢɫɚʃɟ ɱɨɜɟɤɚ, ɨɛɥɢɤ ɩɫɢɯɨɬɟɪɚɩɢʁɟ ɤɨʁɢ ɫɟ ɩɪɢɦɟʃɭʁɟ ɭ ɪɚɞɭ ɫɚ ɤɥɢʁɟɧɬɢɦɚ, ɞɪɭɲɬɜɟɧɢ ɩɨɤɪɟɬ ɨɥɢɱɟɧ ɭ ɚɤɬɢɜɧɨɫɬɢɦɚ ɩɫɢɯɨɚɧɚɥɢɬɢɱɤɢɯ ɭɞɪɭɠɟʃɚ, ɩɪɢɫɬɭɩ ɫɬɜɚɪɧɨɫɬɢ ɤɨʁɢ ɭ ɬɭɦɚɱɟʃɭ ʂɭɞɢ ɩɨɥɚɡɢ ɨɞ ɧɟɫɜɟɫɧɟ ɦɨɬɢɜɚɰɢʁɟ, ɢ ɫɥɢɱɧɨ. Ɏɭɧɞɚɦɟɧɬɚɥɧɟ ɬɟɨɪɢʁɟ ɭ ɫɤɥɨɩɭ ɚɧɚɥɢɡɟ ɫɭ: ɭɱɟʃɟ ɨ ɨɬɩɨɪɭ ɢ ɩɨɬɢɫɤɢɜɚʃɭ, ɨ ɧɟɫɜɟɫɧɨɦ, ɨ ɡɧɚɱɚʁɭ ɫɟɤɫɭɚɥɧɨɝ ɢ ɚɝɟɫɢɜɧɨɝ ɧɚɝɨɧɚ ɢ ɨ ɜɚɠɧɨɫɬɢ ɪɚɡɜɨʁɚ ɥɢɱɧɨɫɬɢ. ɍɱɟʃɟ ɨ ɩɨɬɢɫɤɢɜɚʃɭ ɢ ɨ ɧɟɫɜɟɫɧɨɦ ɢɦɚ ɢɡɭɟɬɚɧ ɡɧɚɱɚʁ ɡɚ ɩɫɢɯɨɚɧɚɥɢɡɭ ɞɚ ɫɟ ɱɟɫɬɨ ɧɚɡɢɜɚ „ɧɚɭɤɨɦ ɨ ɧɟɫɜɟɫɧɨɦ”. ɋɚɦ ɬɟɪɦɢɧ ɩɫɢɯɨɚɧɚɥɢɡɚ, ɩɨɪɟɞ ɮɭɧɞɚɦɟɧɬɚɥɧɟ, ɨɡɧɚɱɚɜɚ ɢ ɩɪɢɦɟʃɟɧɭ ɩɫɢɯɨɚɧɚɥɢɡɭ (ɧɚ ɩɪɢɦɟɪ, ɩɫɢɯɨɚɧɚɥɢɡɚ ɭɦɟɬɧɨɫɬɢ, ɩɫɢɯɨɚɧɚɥɢɡɚ ɪɟɥɢɝɢʁɟ, ɩɫɢɯɨɚɧɚɥɢɡɚ ɤʃɢɠɟɜɧɨɫɬɢ, ɢɬɞ). Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɧɚ ɜɟɛ-ɩɨɪɬɚɥɭ: https://www.bps.org.rs/psihoanaliza/ 148 Tijana Popović Mlađenović, Procesi..., ɧɚɜ. ɞɟɥɨ, 273. 149 ɂɫɬɨ. 150 Ɉɜɞɟ ʁɟ ɪɟɱ ɨ ɧɚɫɥɨɜɭ ɤʃɢɝɟ ɪɭɦɭɧɫɤɨɝ ɮɢɥɨɡɨɮɚ ɢ ɟɫɟʁɢɫɬɟ ȿɦɢɥɚ ɋɢɨɪɚɧɚ – ɉɚɞ ɭ ɜɪɟɦɟ (ȿɦɢɥ ɋɢɨɪɚɧ, ɉɚɞ ɭ ɜɪɟɦɟ [E. M. Cioran, La Chute dans le temps] ɩɪɟɜ. Ɇɢɥɢɰɚ Ʉɨɡɢʄ /ɋɪɟɦɫɤɢ Ʉɚɪɥɨɜɰɢ – ɇɨɜɢ ɋɚɞ: ɂɡɞɚɜɚɱɤɚ ɤʃɢɠɚɪɧɢɰɚ Ɂɨɪɚɧɚ ɋɬɨʁɚɧɨɜɢʄɚ, 2008/), ɤɨʁɢ ɫɜɨʁɟ ɮɢɥɨɡɨɮɫɤɟ ɩɨɱɟɬɤɟ ‘ɞɭɝɭʁɟ’ 63 ɢɡɜɨɪɧɨɝ ʁɟɞɢɧɫɬɜɚ ɫɭɛɟʁɤɬɚ ɢ ɨɛʁɟɤɬɚ. Ⱦɚɤɥɟ, ɧɢʁɟɞɚɧ ɞɟɨ ɧɢʁɟ ɦɨɝɭʄ ɛɟɡ ɨɧɨɝ ɞɪɭɝɨɝ, ɢ ʁɟɞɚɧ ɢ ɞɪɭɝɢ ɫɭ ɭɜɟɤ ɢɧɜɨɥɜɢɪɚɧɢ ɢ ɨɧɞɚ ɤɚɞɚ ɨɧɚʁ ɞɪɭɝɢ ɧɢʁɟ ɭɫɩɨɫɬɚɜʂɟɧ; ɨɧɢ ɧɟ ɞɨɩɭɲɬɚʁɭ ɧɢɤɚɤɜɭ ɩɪɟɞɟɬɟɪɦɢɧɚɰɢʁɭ ɢ ɫɬɨʁɟ ʁɟɞɚɧ ɩɪɟɦɚ ɞɪɭɝɨɦ ɛɟɡ ɭɫɬɚʂɟɧɨɝ ɪɟɞɨɫɥɟɞɚ ɭ ɫɦɢɫɥɭ ɩɪɢɨɪɢɬɟɬɚ.151 Ɍɟɠʃɚ ɤɚ ɩɪɨɧɚɥɚɠɟʃɭ ɧɨɜɢɯ ɨɛɥɢɤɚ ɫɚɡɧɚʃɚ ɢ ɞɪɭɝɚɱɢʁɢɯ ɭɜɢɞɚ ɭ ɬɚʁɧɭ ɱɨɜɟɤɚ ɢ ɫɜɟɬɚ, (ɬɟɠʃɚ ɤɨʁɚ ʁɟ ɞɭɛɨɤɨ ɩɪɨɞɢɪɚɥɚ ɭ ɰɟɥɨɤɭɩɧɭ ɮɢɥɨɡɨɮɫɤɭ ɦɢɫɚɨ fin- de-siècle-ɚ,) ɨɝɥɟɞɚ ɫɟ ɢ ɭ ɫɢɦɛɨɥɢɫɬɢɱɤɨʁ ɩɨɟɡɢʁɢ ɬɨɝ ɜɪɟɦɟɧɚ ɤɨʁɚ, ɭ ɞɨɦɟɧɭ ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɩɪɟɞɫɬɚɜʂɚʃɚ, ɬɪɚɝɚ ɡɚ ɢɪɚɰɢɨɧɚɥɧɢɦ ɞɭɛɢɧɚɦɚ ɫɬɜɚɪɢ ɢ ɛɢʄɚ, ɡɚ ɬɚʁɧɨɦ ɫɜɟɫɬɢ ɢ ʃɟɧɨɝ ɩɪɟɞɦɟɬɚ, ɡɚ ɧɚʁɪɚɡɢɥɢɱɢɬɢʁɢɦ ɦɨɝɭʄɧɨɫɬɢɦɚ ɨɫɜɟɬʂɟʃɚ ɧɟɩɨɡɧɚɬɢɯ ɢɡɜɨɪɚ ɱɨɜɤɨɜɟ ɞɪɚɦɟ ɢ ɦɪɚɱɧɢɯ ɫɬɪɚɧɚ ɛɢʄɚ.152 ɍ ɤɨɧɬɟɤɫɬɭ ɬɨɝɚ, ɢ ɫɚɦɨ ɭɦɟɬɧɢɱɤɨ ɞɟɥɨ ʁɟ ɤɨɧɰɢɩɢɪɚɧɨ ɤɚɨ ɢɡɪɚɡ ʁɟɞɧɨɝ ɦɨɝɭʄɟɝ ɫɬɚʃɚ ɢ ɨɛʁɟɤɬɢɜɚɰɢʁɟ „ɭɧɭɬɪɚɲʃɟɝ ɪɢɬɦɚ ɛɢʄɚ” ɤɨʁɟ ɫɟ ɧɚɥɚɡɢ ɫ ɨɧɭ ɫɬɪɚɧɭ ɞɟɫɤɪɢɩɬɢɜɧɨɝ, ɪɚɰɢɨɧɚɥɧɨɝ ɢ ɫɬɜɚɪɧɨɝ. ɂ ɭ ɩɨɟɡɢʁɢ ɢ ɭ ɫɥɢɤɚɪɫɬɜɭ, ɫɢɦɛɨɥɢɡɚɦ ɧɚɫɬɨʁɢ ɞɚ ɩɪɨɞɪɟ ɫ ɨɧɭ ɫɬɪɚɧɭ ɩɪɢɜɢɞɧɨɝ ɫɩɨɤɨʁɚ ɢ ɜɚɪʂɢɜɟ ɩɨʁɚɜɧɨɫɬɢ ɫɜɟɬɚ, ɢɫɩɢɬɭʁɭʄɢ ɧɚɥɢɱʁɟ ɢ ɤɨɪɟɧ ɩɨʁɚɜɚ ɢ ɫɬɜɚɪɢ, ɬɚʁɧɟ ɫɢɫɬɟɦɟ ɦɨɬɢɜɚ, ɧɟɭɯɜɚɬʂɢɜɟ ɡɚɤɨɧɟ ɢɫɩɨʂɚɜɚʃɚ, ɩɪɨɢɡɜɨʂɧɨɫɬ ɪɟɚɤɰɢʁɚ ɢ ɩɪɨɦɟɧʂɢɜɨɫɬ ɤɚɨ ɧɟɩɪɟɞɜɢɞɢɜɭ ɤɨɧɫɬɚɧɬɭ ɫɜɟɝɚ ɲɬɨ ɩɨɫɬɨʁɢ. ɇɚɢɦɟ, ɭɦɟɬɧɨɫɬ ɫɟ ɨɫɥɨɛɚђɚ ɚɦɛɢɰɢʁɟ ɞɚ ɭɬɜɪɞɢ ɡɚɤɨɧɟ ɫɬɜɚɪɢ: ɨɧɚ ɨɬɤɪɢɜɚ ʃɢɯɨɜɭ ɬɚʁɧɭ ɫɭɲɬɢɧɭ ɢ ɜɟɡɟ ɤɨʁɟ ɩɨɫɬɨʁɟ ɦɟђɭ ɛɪɨʁɧɢɦ ɮɟɧɨɦɟɧɢɦɚ.153 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɢ ɭɦɟɬɧɨɫɬ ɢ ɧɚɭɤɚ ɭ ɩɪɨɰɟɫɭ ɬɪɚɝɚʃɚ ɡɚ ɨɧɢɦ ɡɚɝɨɧɟɬɧɢɦ ɫɚɞɪɠɚʁɢɦɚ ɫɜɟɫɬɢ ɤɨʁɢ ɱɢɧɟ ɢɫɬɢɧɫɤɢ ɤɨɧɬɢɧɭɢɬɟɬ ɬɪɚʁɚʃɚ, ɡɚɧɟɦɚɪɭʁɭ ɤɪɭɬɭ ɫɬɚɛɢɥɧɨɫɬ ɪɟɚɥɧɨɝ ɫɜɟɬɚ, ɫɦɚɬɪɚʁɭʄɢ ɪɚɰɢɨɧɚɥɧɟ ɫɯɟɦɟ ɫɩɨɡɧɚʁɟ ɢ ɪɟɚɥɢɫɬɢɱɤɨ ɩɪɟɞɫɬɚɜʂɚʃɟ ɧɟɞɨɜɨʂɧɢɦ! ɍ ɬɨɦ ɬɪɚɝɚʃɭ ɡɚ ɞɭɛʂɢɦ ɫɦɢɫɥɨɦ ɫɜɟɬɚ ɢ ɫɥɨʁɟɜɢɦɚ ʃɟɝɨɜɟ ɩɪɢɪɨɞɟ, ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨ ɫɥɢɤɚɪɫɬɜɨ ɧɚɩɭɲɬɚ ɤɨɧɰɟɩɬɟ ɚɤɚɞɟɦɫɤɟ ɢ ɤɨɧɜɟɧɰɢɨɧɚɥɧɟ ɮɨɪɦɟ. ɂɦɩɪɟɫɢɨɧɢɫɬɢ ɧɟ ɛɢɪɚʁɭ ɦɨɬɢɜ: ɨɧɢ ɝɚ ɩɪɨɧɚɥɚɡɟ ɫɜɭɞɚ. Ɇɨɬɢɜ ɩɨɫɬɚʁɟ Ⱥɧɪɢʁɭ Ȼɟɪɝɫɨɧɭ (ɞɢɩɥɨɦɫɤɢ ɪɚɞ ɤɨʁɢ ʁɟ ɨɞɛɪɚɧɢɨ ɧɚ Ɉɞɫɟɤ ɡɚ ɮɢɥɨɡɨɮɢʁɭ ɩɪɢ ɍɧɢɜɟɪɡɢɬɟɬ ɭ Ȼɭɤɭɪɟɲɬɭ ɛɢɨ ʁɟ ɭɩɪɚɜɨ ɭɫɦɟɪɟɧ ɤɚ ɬɟɦɚɬɫɤɢɦ ɤɪɭɝɨɜɢɦɚ Ȼɟɪɝɫɨɧɨɜɟ ɮɢɥɨɡɨɮɢʁɟ), ɚ ɩɨɫɪɟɞɧɨ ɢ ɞɭɯɭ fin-de-siècle-a. 151 ɍɩɨɪɟɞɢɬɢ ɫɚ: Tijana Popović Mlađenović, Procesi..., ɧɚɜ. ɞɟɥɨ, 273. 152 ȼɢɞɟɬɢ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 9. 153 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 9‒10; Branko Džakula (ur.), Francuska književnost (od 1857. do 1933) III, (Sarajevo – Beograd: Svjetlost – Nolit, 1981), 79. 64 ɨɫɧɨɜɚ ɡɚ ɫɭɩɬɢɥɧɢʁɭ ɫɬɭɞɢʁɭ ɪɚɡɥɚɝɚʃɚ ɛɨʁɚ ɢ ɛɟɫɤɪɚʁɧɨ ɬɪɟɩɟɪɟʃɟ ɫɜɟɬɥɨɫɬɢ. ɋɜɟɬɥɨɫɬ ɩɨɫɬɚʁɟ ɬɚʁ ‘ɩɪɢɜɢɥɟɝɨɜɚɧɢ’ ɦɟɞɢʁ ɭ ɤɨɦɟ ɩɪɢɜɢɞ ɞɨɛɢʁɚ ɫɧɚɝɭ ɭɜɟɪʂɢɜɨɫɬɢ, ɚ ɧɟɭɯɜɚɬʂɢɜɨɫɬ ɤɨɧɬɭɪɚ ɬɨɩɥɨɬɭ ɤɨʁɨɦ ɡɪɚɱɢ ɱɭɥɧɚ ɚɬɦɨɫɮɟɪɚ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɟ ɤɨɦɩɨɡɢɰɢʁɟ: ɥɨɤɜɚʃɢ, ɢɥɢ ɤɚɬɟɞɪɚɥɚ ɭ Ɋɭɚɧɭ (ɜɢђɟɧɚ ɭ ɪɚɡɥɢɱɢɬɨ ɞɨɛɚ ɞɚɧɚ) Ʉɥɨɞɚ Ɇɨɧɟɚ, ɛɚɥɨɜɢ ɩɨɞ ɜɟɞɪɢɦ ɧɟɛɨɦ Ɉɝɢɫɬɚ Ɋɟɧɨɚɪɚ, ɩɟɪɫɩɟɤɬɢɜɟ ɚɜɟɧɢʁɚ ɭ ɢɡɦɚɝɥɢɰɢ Ʉɚɦɢʁɚ ɉɢɫɚɪɨɚ (Camille Pissarro), ɜɨɞɟɧɢ ɩɟʁɡɚɠɢ Ⱥɥɮɪɟɞɚ ɋɢɫɥɟɚ (Alfred Sisley), ɜɚɡɞɭɲɚɫɬɟ ɩɥɟɫɚɱɢɰɟ ȿɞɝɚɪɚ Ⱦɟɝɚɚ (Edgar Degas)… ɋɜɢ ɬɢ ɪɚɡɥɢɱɢɬɢ ɨɛɥɢɰɢ ɩɪɟɞɫɬɚɜʂɚʃɚ ɫɬɜɚɪɧɨɫɬɢ (ɛɟɡ ɨɛɡɢɪɚ ɧɚ ɬɨ ɭ ɤɨɦ ɫɬɟɩɟɧɭ ɪɟɮɟɪɢɪɚʁɭ ɧɚ ɜɟɧɟɰɢʁɚɧɫɤɢ ɛɚɪɨɤ, ɮɪɚɧɰɭɫɤɢ ɤɥɚɫɢɰɢɡɚɦ ɢ ɟɧɝɥɟɫɤɨ ɩɨɫɬɪɨɦɚɧɬɢɱɚɪɫɤɨ ɫɥɢɤɚɪɫɬɜɨ),154 ɡɚɩɪɚɜɨ, ɫɜɟɞɨɱɟ ɨ ʁɟɞɢɧɫɬɜɟɧɨɦ ɫɬɜɚɪɚɥɚɱɤɨɦ ɩɪɢɧɰɢɩɭ: „ɭɦɟɬɧɢɱɤɢ ɨɛɥɢɤ ɫɟ ɧɟ ɩɪɟɭɡɢɦɚ ɧɟɝɨ ɫɟ ɫɬɜɚɪɚ, ɚ ɫɦɢɫɚɨ ɬɨɝ ɫɬɜɚɪɚʃɚ ɥɟɠɢ ɭ ɧɚɱɢɧɭ ɩɪɟɞɫɬɚɜʂɚʃɚ ɨɞɪɟђɟɧɨɝ ɢɫɤɭɫɬɜɚ, ɚ ɧɟ ɭ ɫɬɟɩɟɧɭ ʃɟɝɨɜɟ ɫɚɨɛɪɚɠɟɧɨɫɬɢ ɫɚ ɪɟɚɥɧɢɦ ɫɜɟɬɨɦ.”155 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɭɦɟɬɧɨɫɬ ɡɚɯɬɟɜɚ ɨɫɥɨɛɚђɚʃɟ ɨɞ ɩɪɟɞɦɟɬɧɨɝ ɫɜɟɬɚ ɢ ɩɨɦɟɪɚʃɟ ɝɪɚɧɢɰɚ ɱɨɜɟɤɨɜɨɝ ɫɚɡɧɚʃɚ ɭ ɞɨɦɟɧ ɤɨʁɢ ɧɟ ɤɨɧɬɪɨɥɢɲɭ ɧɢ ɥɨɝɢɤɚ ɧɢ ɪɚɡɭɦ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɢɦɩɪɟɫɢɨɧɢɡɚɦ, ɢɚɤɨ, ɩɪɟɦɚ ɪɟɱɢɦɚ ɇɢɤɨɥɟ Ʉɨɜɚɱɚ, ɧɟ ɨɡɧɚɱɚɜɚ ɪɚђɚʃɟ ʁɟɞɧɨɝ ɪɚɞɢɤɚɥɧɨ ɧɨɜɨɝ ɫɬɢɥɚ ɭɦɟɬɧɢɱɤɨɝ ɫɬɜɚɪɚʃɚ156, ɢɩɚɤ ɩɪɟɞɫɬɚɜʂɚ „ɧɚʁɨɲɬɪɢʁɢ ɫɭɤɨɛ ɞɨ ɤɨɝɚ ʁɟ ɞɨɲɥɨ ɤɪɚʁɟɦ XIX ɜɟɤɚ”157, ɤɚɤɨ ɤɚɠɟ ɮɪɚɧɰɭɫɤɢ ɩɢɫɚɰ, ɥɢɤɨɜɧɢ ɢ ɤʃɢɠɟɜɧɢ ɤɪɢɬɢɱɚɪ ɀɚɧ Ʉɚɫɭ (Jean Cassou). Ɍɚɤɨђɟ, ɧɚ ɫɚɦɨɦ ɤɪɚʁɭ 19. ɜɟɤɚ ɞɨɲɥɨ ʁɟ ɞɨ ɡɧɚɱɚʁɧɢɯ ɢɞɟʁɧɢɯ ɩɨɦɟɪɚʃɚ. Ɍɪɚɞɢɰɢɨɧɚɥɧɢ ɩɨɡɢɬɢɜɢɡɚɦ158 – ɤɨʁɢ ʁɟ ɜɟɪɨɜɚɨ ɞɚ ɦɨɠɟ ɨɛʁɚɫɧɢɬɢ ʂɭɞɫɤɭ ɩɪɢɪɨɞɭ ɩɪɢɦɟʃɭʁɭʄɢ ɦɟɬɨɞɟ ɟɤɫɩɟɪɢɦɟɧɬɚɥɧɢɯ ɧɚɭɤɚ ɭ ɞɨɦɟɧɭ ɦɨɪɚɥɧɢɯ ɜɪɟɞɧɨɫɬɢ – ɢ 154 ȼɢɞɟɬɢ: ɢɫɬɨ, 80. 155 ɂɫɬɨ. 156 ɂɫɬɨ. 157 ɐɢɬɢɪɚɧɨ ɩɪɟɦɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 9. 158 ɉɪɜɢ ɩɪɨɬɟɫɬ ɩɪɨɬɢɜ ɩɨɡɢɬɢɜɢɫɬɢɱɤɨɝ ɧɚɱɢɧɚ ɫɯɜɚɬɚʃɚ ɢ ɬɭɦɚɱʃɚ ɩɪɢɪɨɞɧɨɝ ɢ ʂɭɞɫɤɨɝ ɫɜɟɬɚ ɛɢɥɚ ʁɟ ɩɚɪɧɚɫɨɜɫɤɚ ɲɤɨɥɚ ɤɨʁɚ ʁɟ, ɭ ɜɪɟɦɟ ɤɚɞɚ ɫɟ ɩɨʁɚɜɢɥɚ, ɨɡɧɚɱɚɜɚɥɚ ɨɬɩɨɪ ɩɪɟɦɚ ʁɟɞɧɨɦ ɭɫɬɨɥɢɱɟɧɨɦ ɦɢɬɭ ɧɚɭɤɟ. ɍ ɠɟʂɢ ɞɚ ɩɪɟɜɚɡɢђɭ ɫɜɟɬ, ɩɚɪɧɚɫɨɜɰɢ ɫɭ ɤɚɨ ɰɢʂ ɢ ɜɪɯɨɜɧɢ ɤɪɢɬɟɪɢʁɭɦ ɭɦɟɬɧɨɫɬɢ ɩɨɫɬɚɜɢɥɢ ɨɫɬɜɚɪɟʃɟ ɥɟɩɨɬɟ: ɭ ɬɨɦ ɟɫɬɟɬɫɤɨɦ ɡɚɯɬɟɜɭ ɞɚ ɫɟ ɫɜɟɬ ɫɚɝɥɟɞɚ ɭ ʃɟɝɨɜɨɦ ɥɟɩɲɟɦ ɢ ɫɜɟɬɥɢʁɟɦ ɥɢɤɭ, ɩɨɟɡɢʁɚ ʁɟ, ɧɚʁɱɟɲʄɟ, ɝɭɛɢɥɚ ɜɟɡɭ ɫɚ ɪɟɚɥɧɨɲʄɭ ɢ ɩɨɫɬɚʁɚɥɚ ɫɚɦɚ ɫɟɛɢ ɰɢʂ, ɯɟɪɦɟɬɢɱɤɢ ɫɟ ɡɚɬɜɚɪɚʁɭʄɢ ɭ ɫɬɟɪɢɥɧɭ ɭɦɟɬɧɨɫɬ ɪɚɞɢ ɭɦɟɬɧɨɫɬɢ/l’art pour l’art. ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 6, 8. 65 ɧɚɬɭɪɚɥɢɡɚɦ159 – ɤɨʁɢ ʁɟ ɭ ɫɜɨʁɢɦ ɧɚɱɟɥɧɢɦ ɩɨɫɬɚɜɤɚɦɚ ɨ ɤɚɪɚɤɬɟɪɭ ɭɦɟɬɧɨɫɬɢ, ɤɚɤɨ ɢɯ ʁɟ ɮɨɪɦɭɥɢɫɚɨ ȿɦɢɥ Ɂɨɥɚ (Émile Zola), ɧɚɫɬɨʁɚɨ ɞɚ ɩɨɫɦɚɬɪɚʃɚ ɢ ɢɫɤɭɫɬɜɨ ɩɪɟɬɜɨɪɢ ɭ ɧɚɭɱɧɟ ɢɧɫɬɪɭɦɟɧɬɟ ɫɚɡɧɚʃɚ ɤʃɢɠɟɜɧɟ ɢɫɬɢɧɟ – ɭɫɬɭɩɚʁɭ ɦɟɫɬɨ ɩɫɢɯɨɥɨɲɤɢɦ ɢɫɬɪɚɠɢɜɚʃɢɦɚ (ɤɚɨ ɲɬɨ ʁɟ ɭɤɚɡɚɧɨ ɧɚ ɩɪɢɦɟɪɭ Ȼɟɪɝɫɨɧɢɜɢɯ ɩɪɨɦɢɲʂɚʃɚ), ɞɨɤ ɫɟ ɫɭɩɫɬɚɧɰɢʁɚɥɧɚ ɬɪɚɝɚʃɚ ɡɚ ɬɪɚʁɧɢɦ ɫɜɨʁɫɬɜɢɦɚ ɫɬɜɚɪɢ ɨɬɜɚɪɚʁɭ ɩɪɟɦɚ ɟɝɡɢɫɬɟɧɰɢʁɚɥɢɫɬɢɱɤɢɦ ɢ ɢɞɟɚɥɢɫɬɢɱɤɢɦ ɯɨɪɢɡɨɧɬɢɦɚ.160 ɋɜɚɤɚɤɨ, ɬɭ ɫɭ ɜɟʄ ɪɚɧɢʁɟ ɧɚɝɨɜɟɲɬɟɧ ɏɭɫɟɪɥɨɜ ɮɟɧɨɦɟɧɨɥɨɲɤɢ ɦɟɬɨɞ ɢ ɫɜɟɬ ɠɢɜɨɬɚ, ɚɥɢ ɢ Ⱦɢɥɬɚʁɟɜɚ ɮɢɥɨɡɨɮɢʁɚ ɠɢɜɨɬɚ (Lebensphilosophie) ɢ ɯɟɪɦɟɦɟɧɟɭɬɢɱɤɢ ɦɨɞɟɥ Geistɟswissenschaften, ɬɟ Ʉɪɨɱɟɨɜɚ ɮɢɥɨɡɨɮɢʁɚ ɞɭɯɚ, ɢ ɪɚɞɢɤɚɥɧɢ ɟɦɩɢɪɢɡɚɦ, ɩɪɚɝɦɚɬɢɡɚɦ ɢ ɩɥɭɪɚɥɢɡɚɦ ȼɢɥɢʁɚɦɚ ȹɟʁɦɫɚ.161 Ȼɭɞɭʄɢ ɞɚ ɫɭ ɩɨɦɟɧɭɬɢ ɮɢɥɨɡɨɮɢ ɢ ʃɢɯɨɜɚ ɞɟɥɚ ɡɚɩɪɚɜɨ ‘ɩɪɨɞɭɤɬɢ’ ɞɭɯɚ fin-de-siècle-ɚ, ɭ ɧɚɫɬɚɜɤɭ ɬɟɤɫɬɚ ɞɚʄɭ ɤɪɚʄɢ ɤɨɦɟɧɬɚɪ ɧɚ ɫɜɚɤɢ ɨɞ ɩɨɦɟɧɭɬɢɯ ɮɢɥɨɡɨɮɫɤɢɯ ‘ɪɭɤɨɩɢɫɚ’, ɩɪɢ ɬɨɦ ɫɤɪɟʄɭʄɢ ɩɚɠʃɭ ɧɚ ɨɧɟ ɫɟɝɦɟɧɬɟ ɤɨʁɢ ʄɟ ɛɢɬɢ ɪɟɥɟɜɚɧɬɧɢ ɡɚ ɞɚʂɢ ɬɨɤ ɪɚɞɚ. ɍ Ʉɪɨɱɟɨɜɨɦ ɨɩɭɫɭ ɧɚʁɡɧɚɱɚʁɧɢʁɟ ɮɢɥɨɡɨɮɫɤɨ ɞɟɥɨ ʁɟɫɬɟ Ɏɢɥɨɡɨɮɢʁɚ ɤɚɨ ɧɚɭɤɚ ɞɭɯɚ ɭ ɤɨʁɨʁ ʁɟ ɟɫɬɟɬɢɤɚ ɩɪɟɞɫɬɚɜʂɟɧɚ ɤɚɨ ɫɩɨɫɨɛɧɨɫɬ ɮɚɧɬɚɡɢʁɟ ɞɚ ɩɪɨɢɡɜɟɞɟ ɩɪɜɟ ɢɡɞɚɧɤɟ ɞɭɯɨɜɧɨɝ ɠɢɜɨɬɚ ɭ ɢɧɬɭɢɰɢʁɚɦɚ ‒ ɢɡɪɚɡɢɦɚ, ɤɚɨ ɢɫɬɢɧɫɤɢ ʂɭɞɫɤɢ ʁɟɡɢɤ ɡɧɚʃɚ ɤɨʁɢ ɝɨɜɨɪɢ ɨ ɢɧɞɢɜɢɞɭɢ. Ɍɚɤɨ ʁɟ ɨɛɥɚɫɬ ɟɫɬɟɬɢɤɟ ɡɚ Ʉɪɨɱɟɚ ɭɩɪɚɜɨ ɨɛɥɚɫɬ ɫɬɜɚɪɚʃɚ ‒ ʁɟɪ ɫɟ ɨɜɞɟ Ⱦɭɯ ɧɟɩɪɟɤɢɞɧɨ ɤɪɟɢɪɚ ɢ ɪɟ-ɤɪɟɢɪɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɭ ʃɟɝɨɜɨʁ ɮɢɥɨɡɨɮɢʁɢ ɢ ɟɫɬɟɬɢɰɢ ɦɨɝɭʄɟ ʁɟ ɪɚɡɥɢɤɨɜɚɬɢ ɞɜɟ ɬɟɦʂɧɟ ɮɨɪɦɟ ʂɭɞɫɤɟ ɫɩɨɡɧɚʁɟ: ɢɧɬɭɢɬɢɜɧɭ ‒ ɞɨ ɤɨʁɟ ɫɟ ɞɨɥɚɡɢ ɩɭɬɟɦ ɮɚɧɬɚɡɢʁɟ (ɢ ɭɩɪɚɜɨ ʄɟ ɨɧɚ ɛɢɬɢ ɤʂɭɱɧɚ ɡɚ ɪɚɡɭɦɟɜɚʃɟ Ⱦɟɛɢɫɢʁɟɜɨɝ ɫɜɟɬɚ ɭɦɟɬɧɨɫɬɢ ɢ ʃɟɝɨɜɨɝ ɦɭɡɢɱɤɨɝ ɭɧɢɜɟɪɡɭɦɚ) ɢ ɥɨɝɢɱɤɭ (ɞɨ ɤɨʁɟ ɫɟ ɫɬɢɠɟ ɩɭɬɟɦ ɢɧɬɟɥɟɤɬɚ). 162 159 ɇɚɬɭɪɚɥɢɡɚɦ ʁɟ ɨɫɢɦ ɫɜɨʁɢɯ ɩɪɟɞɫɬɚɜɧɢɤɚ (ȿɦɢɥ Ɂɨɥɚ, Ƚɢ ɞɟ Ɇɨɩɚɫɚɧ /Guy de Maupassant/ ɢ ɛɪɚʄɚ Ƚɨɧɤɭɪ /Edmond et Jules de Goncourt/), ɞɨɛɢɨ ɢ ɫɜɨʁɟ ɬɟɨɪɢʁɫɤɨ ɭɬɟɦɟʂɟʃɟ. ɇɚɢɦɟ, ɢɧɫɩɢɪɢɫɚɧ ɢɞɟʁɚɦɚ Ʉɥɨɞɚ Ȼɟɪɧɚɪɚ (Claude Bernard), Ɂɨɥɚ ʁɟ ɭ ɫɜɨɦ ȿɤɫɩɟɪɢɦɟɧɬɚɥɧɨɦ ɪɨɦɚɧɭ (Le Roman expérimental) ɡɚɫɬɭɩɚɨ ɫɬɚɜ ɞɚ ɫɟ ɧɚ ɪɨɦɚɧ ɦɨɝɭ ɩɪɢɦɟɧɢɬɢ ɦɟɬɨɞɟ ɩɪɢɪɨɞɧɢɯ ɧɚɭɤɚ ɢ ɞɚ ɫɟ ɩɨɦɨʄɭ ɟɤɫɩɟɪɢɦɟɧɬɚɥɧɟ ɮɢɡɢɨɥɨɝɢʁɟ ɦɨɠɟ ɨɛʁɚɫɧɢɬɢ ɦɟɯɚɧɢɡɚɦ ɱɨɜɟɤɨɜɢɯ ɢɧɬɟɥɟɤɬɭɚɥɧɢɯ, ɚɮɟɤɬɢɜɧɢɯ ɢ ɜɨʂɧɢɯ ɫɜɨʁɫɬɚɜɚ. Ɂɨɥɚ ʁɟ, ɫɪɟʄɨɦ, ɭɜɢђɚ ɇɢɤɨɥɚ Ʉɨɜɚɱ, ɭ ɫɜɨʁɢɦ ɧɚʁɛɨʂɢɦ ɤʃɢɠɟɜɧɢɦ ɨɫɬɜɚɪɟʃɢɦɚ ɩɪɟɜɚɡɢɲɚɨ ɭɫɤɟ ɨɤɜɢɪɟ ɫɜɨɝ ɩɨɡɢɬɢɜɢɫɬɢɱɤɨɝ ɞɟɬɟɪɦɢɧɢɡɦɚ. ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Francuska književnost…, ɧɚɜ. ɞɟɥɨ, 78. ȼɢɞɟɬɢ ɭ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 8. 160 ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Francuska književnost, ɧɚɜ. ɞɟɥɨ, 78, 103‒108, 155‒157, 173. 161 ɍɩɨɪɟɞɢɬɢ ɫɚ: Tijana Popović Mlađenović, Procesi..., ɧɚɜ. ɞɟɥɨ, 273. 162 ɍɩɨɪɟɞɢɬɢ ɫɚ: Lev Kreft, „Benedeto Kroče”, u: Figure u pokretu…, ɧɚɜ. ɞɟɥɨ, 85‒86. 66 ȼɢɥɢʁɟɦ ȹɟʁɦɫ ɭ ɫɜɨʁɨʁ ɤʃɢɡɢ ɉɪɢɧɰɢɩɢ ɩɫɢɯɨɥɨɝɢʁɟ (Principles of Psychology, 1890) ɚɧɚɥɢɡɢɪɚ ɱɨɜɟɤɨɜ ɨɫɟʄɚʁ ɡɚ ɫɬɜɚɪɧɨɫɬ. ɋɬɜɚɪɧɨɫɬ, ɩɢɲɟ ȹɟʁɦɫ, ɧɚɩɪɨɫɬɨ ɡɧɚɱɢ ɨɞɧɨɫ ɩɪɟɦɚ ɧɚɲɟɦ ɟɦɨɰɢɨɧɚɥɧɨɦ ɢ ɚɤɬɢɜɧɨɦ ɠɢɜɨɬɭ.163 ɋɜɟɤɨɥɢɤɚ ɫɬɜɚɪɧɨɫɬ ɢɦɚ ɫɭɛʁɟɤɬɢɜɧɨ ɩɨɪɟɤɥɨ, ɚ ɫɜɟ ɲɬɨ ɩɨɛɭђɭʁɟ ɢ ɩɨɞɫɬɢɱɟ ɧɚɲɟ ɡɚɧɢɦɚʃɟ ʁɟɫɬɟ ɫɬɜɚɪɧɨ; ɦɟђɭɬɢɦ, ɪɟɱ „ɫɬɜɚɪɧɨ”, ɩɪɟɦɚ ɦɢɲʂɟʃɭ ȼɢɥɢʁɟɦɚ ȹɟʁɦɫɚ, ɩɪɟɞɫɬɚɜʂɚ ɫɚɦɨ ɭɤɪɚɫ, ɛɭɞɭʄɢ ɞɚ ɧɚɦ ɧɚɲ ɢɫɤɨɧɫɤɢ ɢɦɩɭɥɫ ɧɚɥɚɠɟ ɞɚ ɨɞɦɚɯ ɩɨɬɜɪɞɢɦɨ ɫɬɜɚɪɧɨɫɬ ɫɜɟɝɚ ɲɬɨ ɩɨɢɦɚɦɨ, ɫɜɟ ɞɨɤ ɧɚɦ ɫɟ ɧɟ ɭɤɚɠɟ ɧɟɲɬɨ ɲɬɨ ɛɢ ɬɨɦɟ ɩɪɨɬɢɜɪɟɱɢɥɨ. ɉɨɫɬɨʁɢ ɦɧɨɲɬɜɨ, ɜɟɪɨɜɚɬɧɨ ɛɟɡɛɪɨʁ ɩɨɪɟɞɚɤɚ ɫɬɜɚɪɧɨɫɬɢ, ɦɧɨɲɬɜɨ „ɩɨɞɭɧɢɜɟɪɡɭɦɢɦɚ”, ɤɚɤɨ ɢɯ ɧɚɡɢɜɚ ȹɟʁɦɫ, ɨɞ ɤɨʁɢɯ ɫɟ ɡɚ ɫɜɚɤɢ ɦɨɠɟ ɪɟʄɢ ɞɚ ʁɟ ɫɬɜɚɪɚɧ, ɫɜɟ ɞɨɤ ʁɟ ɧɚ ʃɟɝɚ ɭɫɦɟɪɟɧɚ ɧɚɲɚ ɩɚɠʃɚ. ɋɜɢ ɬɢ ɫɜɟɬɨɜɢ/„ɩɨɞɭɧɢɜɟɪɡɭɦɢ” – ɫɜɟɬ ɫɧɨɜɚ, ɦɚɲɬɚɪɢʁɚ ɢ ɮɚɧɬɚɡɚɦɚ, ɫɜɟɬ ɭɦɟɬɧɨɫɬɢ, ɫɜɟɬ ɞɟɱʁɟ ɢɝɪɟ, ɫɜɟɬ ɥɭɞɢɥɚ ɢ ɯɢɪɚ, ɡɚɩɪɚɜɨ, ɩɪɟɞɫɬɚɜʂɚʁɭ ɩɨɞɭɧɢɜɟɪɡɭɦɟ ɜɪɯɨɜɧɟ ɫɬɜɚɪɧɨɫɬɢ (ɫɜɟɬɚ ɱɭɥɚ). ɋɜɚɤɢ ɨɞ ʃɢɯ ɢɦɚ ɨɫɨɛɟɧɢ ɤɨɝɧɢɬɢɜɧɢ ɫɬɢɥ, ɚ ɞɨɠɢɜʂɚʁɢ ɭɧɭɬɚɪ ɫɜɚɤɨɝ ɨɞ ʃɢɯ ɩɨʁɟɞɢɧɚɱɧɨ ʁɟɫɭ, ɫ ɨɛɡɢɪɨɦ ɧɚ ɬɚʁ ɤɨɝɧɢɬɢɜɧɢ ɫɬɢɥ, ɭɧɭɬɚɪ ɫɟɛɟ ɤɨɧɡɢɫɬɟɧɬɧɢ ɢ ɭɫɤɥɚɞʂɢɜɢ ʁɟɞɚɧ ɫɚ ɞɪɭɝɢɦ. ɍɩɪɚɜɨ ɨɜɨ ɬɭɦɚɱɟʃɟ ȼɢɥɢʁɟɦ ȹɟʁɦɫɚ ʄɟ ɛɢɬɢ ɨɞ ɡɧɚɱɚʁɚ ɡɚ ɪɚɡɭɦɟɜɚʃɟ ɫɜɟɬɚ ɭɦɟɬɧɨɫɬɢ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ ɤɚɨ ɦɟɫɬɚ ɪɨђɟʃɚ ɛɪɨʁɧɢɯ ɫɜɟɬɨɜɚ, ɨɞɧɨɫɧɨ, „ɩɨɞɭɧɢɜɟɪɡɭɦɚ”. ɉɨɦɟɧɭɥɚ ɛɢɯ ʁɨɲ ɢ „ɯɟɪɦɟɧɟɭɬɢɱɤɢ ɤɪɭɝ” ɤɨʁɢ ɫɟ ʁɚɜʂɚ ɤɚɨ ɫɩɟɰɢɮɢɱɚɧ ɦɟɬɨɞ ɞɭɯɨɜɧɢɯ ɧɚɭɤɚ ɤɨɞ ȼɢɥɯɟɥɦɚ Ⱦɢɥɬɚʁɚ ɢ ɬɨ ɤɚɨ ɩɨɫɬɭɩɚɤ ɤɨʁɢ ɫɟ ɤɨɪɢɫɬɢ ɭ ɬɭɦɚɱɟʃɭ ɬɜɨɪɟɜɢɧɚ ʂɭɞɫɤɨɝ ɞɭɯɚ ɢɥɢ ɢɫɬɨɪɢʁɫɤɢɯ ɟɩɨɯɚ ɬɚɤɨ ɲɬɨ ɫɟ ɞɟɨ ɪɚɡɭɦɟɜɚ ɧɚ ɨɫɧɨɜɢ ɰɟɥɢɧɟ ɤɨʁɨʁ ɩɪɢɩɚɞɚ, ɚ ɰɟɥɢɧɚ ɧɚ ɨɫɧɨɜɢ ɞɟɥɨɜɚ ɤɨʁɟ ɨɛɭɯɜɚɬɚ. Ɉɜɚʁ ɤɪɭɝ ɭ ɭɡɚʁɚɦɧɨɦ ɪɚɡɭɦɟɜɚʃɭ ɞɟɥɚ ɢ ɰɟɥɢɧɟ, ɬɨ ʁɟɫɬ, ɤɪɭɠɧɨɫɬ ɢɥɢ ɰɢɪɤɭɥɚɪɧɨɫɬ ɛɢʄɟ ɤʂɭɱɧɚ ɩɪɢɥɢɤɨɦ ɦɨɝ ɬɪɚɝɚʃɚ ɡɚ ɭɩɨɪɢɲɧɢɦ ɬɚɱɤɚɦɚ Ⱦɟɛɢɫɢʁɟɜɟ ɟɫɬɟɬɢɤɟ ɢ ɩɨɟɬɢɤɚ, ɨɞɧɨɫɧɨ, ɡɚ ɫɩɟɰɢɮɢɱɧɨɫɬɢɦɚ ʃɟɝɨɜɨɝ ɦɭɡɢɱɤɨɝ ʁɟɡɢɤɚ ɢ ɧɚɱɢɧɢɦɚ ɦɭɡɢɱɤɨɝ ɦɢɲʂɟʃɚ. Ɍɨ (ɦɨʁɟ) ɬɪɚɝɚʃɟ ʄɟ ɢ ɫɚɦɨ ɛɢɬɢ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɪɟɮɥɟɤɫɢʁɚ ɬɨɝ ɢɫɬɨɝ ɤɪɭɠɧɨɝ ɩɪɨɰɟɫɚ ɤɨʁɟ ɫɟ ɧɟɩɪɟɫɬɚɧɨ ɨɞɜɢʁɚɥɨ ɢ ɧɟɩɪɟɫɬɚɧɨ ʄɟ ɫɟ ɨɞɜɢʁɚɬɢ ɢɡɦɟђɭ Ⱦɟɛɢɫɢʁɟɜɨɝ ɭɦɟɬɧɢɱɤɨɝ ɤɨɧɰɟɩɬɚ (ɤɚɨ ɞɟɥɚ) ɢ ɞɭɯɚ ɜɪɟɦɟɧɚ (ɤɚɨ ɰɟɥɢɧɟ ɤɨʁɨʁ ɨɧ ɩɪɢɩɚɞɚ). 163 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: William James, Principles of Psychology, vol. II, chapter XXI (New York: Dover Publications, 1950), 283‒322. 67 Ɍɚɤɨђɟ, ɭ ɤɨɧɬɟɤɫɬɭ ɞɭɯɨɜɢɯ ɫɬɪɭʁɚʃɚ ɢ ɤɭɥɬɭɪɧɨ-ɭɦɟɬɧɢɱɤɢɯ ɩɪɨɞɭɤɚɬɚ fin- de-siècle-ɚ, ɢɡɞɜɚʁɚ ɫɟ ɢ ɫɨɰɢɨɥɨɲɤɚ ɲɤɨɥɚ ȿɦɢɥɚ Ⱦɢɪɤɟɦɚ (Emil Durkheim) ɤɨʁɚ ɩɪɨɭɱɚɜɚ ɩɨʁɚɜɟ ɧɟ ɤɚɨ „ɩɪɢɪɨɞɧɟ ɞɚɬɨɫɬɢ”, ɜɟʄ ɤɚɨ „ɩɪɨɢɡɜɨɞɟ ʂɭɞɫɤɟ ɞɟɥɚɬɧɨɫɬɢ”, ɚ Ȼɭɪɠɟɨɜ (Paul Charles Joseph Bourget) ɪɨɦɚɧ ɍɱɟɧɢɤ (Le Disciple) ɫɟ ɭɤʂɭɱɭʁɟ ɭ ɤɪɭɝ ɨɧɢɯ ɞɟɥɚ ɤɨʁɚ ɨɞɪɢɱɭ ɧɚɭɰɢ ɦɨʄ ɚɩɫɨɥɭɬɧɟ ɫɩɨɡɧɚʁɟ ɭɤɚɡɭʁɭʄɢ ɧɚ ɩɪɨɫɬɪɚɧɫɬɜɚ „ɧɟɫɚɡɧɚɬʂɢɜɨɝ”. Ɍɚɤɨ ɫɟ ɮɨɪɦɢɪɚɥɚ ɞɭɯɨɜɧɚ ɤɥɢɦɚ ɤɨʁɚ ʁɟ ɭ ɧɚɭɰɢ ɩɨɞɫɬɢɰɚɥɚ ɫɩɢɪɢɬɭɚɥɧɟ ɬɟɧɞɟɧɰɢʁɟ, ɚɥɢ ɤɨʁɟ ɧɢɫɭ ɢɦɚɥɟ ɯɪɢɲʄɚɧɫɤɨ ɭɬɟɦɟʂɟʃɟ. Ⱥʁɧɲɬɚʁɧɨɜɚ (Albert Einstein) ɨɬɤɪɢʄɚ ɨ ɪɟɥɚɬɢɜɢɬɟɬɭ, ɜɨɞɢɥɚ ɫɭ ɭ ɮɢɡɢɰɢ ɢ ɦɚɬɟɦɚɬɢɰɢ ɤɚ ɪɭɲɟʃɭ ɤɨɧɰɟɩɬɚ ɟɭɤɥɢɞɨɜɫɤɟ ɝɟɨɦɟɬɪɢʁɟ ɢ ʃɭɬɧɨɜɫɤɟ ɦɟɯɚɧɢɤɟ. ɇɚɤɨɧ ɨɬɤɪɢʄɚ ɩɪɢɪɨɞɧɟ ɪɚɞɢɨɚɤɬɢɜɧɨɫɬɢ (1896), ɭɬɜɪђɟɧɨ ʁɟ ɞɚ ɚɬɨɦɢ ɧɢɫɭ ɧɟɞɟʂɢɜɢ ɲɬɨ ʁɟ ɱɢɧɢɥɨ ɨɫɧɨɜɭ ɦɟɯɚɧɢɰɢɫɬɢɱɤɟ ɩɪɟɞɫɬɚɜɟ ɨ ɫɜɟɬɭ, ɞɨɤ ʁɟ Ȼɟɪɝɫɨɧ, ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɩɨɦɟɧɭɬɨ, ɭ ɫɜɨʁɢɦ ɞɟɥɢɦɚ ɪɚɡɜɢʁɚɨ ɬɟɡɭ ɞɚ ɤɜɚɧɬɢɬɚɬɢɜɧɚ ɚɧɚɥɢɡɚ ɧɟ ɦɨɠɟ ɭ ɰɟɥɨɫɬɢ ɨɫɜɟɬɥɢɬɢ ɫɚɞɪɠɚʁɟ ɫɜɟɫɬɢ.164 Ɍɚʁ ɩɨɜɪɚɬɚɤ ɧɟɩɨɫɪɟɞɧɨɦ, ɤɨʁɢ ʄɟ ɭ ɮɢɥɨɡɨɮɫɤɨʁ ɦɢɫɥɢ ɝɨɬɨɜɨ ɱɢɬɚɜ ɜɟɤ ɤɚɫɧɢʁɟ ɛɢɬɢ ɞɟɮɢɧɢɫɚɧ ʁɟɞɧɢɦ ɬɟɪɦɢɧɨɦ – Ȼɟɪɝɫɨɧɢɡɚɦ, ɛɢʄɟ ʁɟɞɚɧ ɨɞ ɧɚʁʁɚɱɢɯ ɢɦɩɭɥɫɚ ɡɚ ɧɚɫɬɚɧɚɤ ɧɚʁɧɟɨɛɢɱɧɢʁɢɯ ɤʃɢɠɟɜɧɢɯ ɨɛɥɢɤɚ ɢ ɨɩɭɫɚ, ɩɨɩɭɬ ɨɧɢɯ ɉɨɥɚ ȼɚɥɟɪɢʁɚ, Ƚɢʁɨɦɚ Ⱥɩɨɥɢɧɟɪɚ (Guillaume Apollinaire), Ⱥɧɞɪɟɚ Ȼɪɟɬɨɧɚ (André Breton), Ɇɚɪɫɟɥɚ ɉɪɭɫɬɚ (Marcel Proust); ɬɚɤɨђɟ, ɩɨɦɟɧɭɬɨ ɢɞɟʁɧɨ ɤɪɟɬɚʃɟ Ⱥɧɪɢʁɚ Ȼɟɪɝɫɨɧɚ ɢɦɚʄɟ ɫɧɚɠɧɨɝ ɭɬɢɰɚʁɚ ɢ ɧɚ ɥɢɤɨɜɧɟ ɭɦɟɬɧɢɤɟ – ɧɚ Ɇɚɤɫɚ ȿɪɧɫɬɚ (Max Ernst) ɢ ɉɚɛɥɚ ɉɢɤɚɫɚ (Pablo Ruiz Picasso), ɚɥɢ ɢ ɧɚ ɛɪɨʁɧɟ ɮɢɥɨɡɨɮɫɤɟ ɲɤɨɥɟ ɢ ɩɨʁɟɞɢɧɚɱɧɟ ɮɢɥɨɡɨɮɫɤɟ ɪɭɤɨɩɢɫɟ, ɦɟђɭ ɤɨʁɢɦɚ ɫɟ ɢɡɞɜɚʁɚʁɭ ɏɭɫɟɪɥɨɜ, Ɇɟɪɥɨ-ɉɨɧɬɢʁɟɜ, Ⱦɢɮɪɟɧɨɜ, ɢ ɫɜɚɤɚɤɨ Ⱦɟɥɟɡɨɜ (Gilles Deleuze). Ɂɚɧɢɦʂɢɜɨ ʁɟ ɬɨ ɞɚ ʄɟ ɭɩɪɚɜɨ Ⱦɟɥɟɡ ɭ ɫɜɨɦ ɞɟɥɭ ɩɨɞ ɧɚɡɢɜɨɦ Ȼɟɪɝɫɨɧɢɡɚɦ (Le Bergsonisme, 1966) ɩɪɨɛɥɟɦɚɬɢɡɨɜɚɬɢ ɢɫɬɟ ɨɧɟ ɤɚɬɟɝɨɪɢʁɟ ɤɚɨ ɢ Ȼɟɪɝɫɨɧ ɩɨɥɚ ɜɟɤɚ ɪɚɧɢʁɟ – ɪɟɱ ʁɟ ɨ ɤɚɬɟɝɨɪɢʁɚɦɚ ɩɪɨɫɬɨɪɚ ɢ ɜɪɟɦɟɧɚ ɤɨʁɟ Ⱦɟɥɟɡ ɬɭɦɚɱɢ ɤɚɨ ɮɨɪɦɟ ɨɛʁɟɞɢʃɟɧɟ ɨɞ ɫɬɪɚɧɟ ɫɭɛʁɟɤɬɚ ɭ ɩɪɨɫɬɨɪɭ „ɜɢɪɬɭɟɥɧɨɝ”.165 Ⱦɚɤɥɟ, ɭɬɢɰɚʁ ɛɟɪɝɫɨɧɢɡɦɚ ʁɟ ɧɟɭɩɢɬɚɧ. Ɉ ɬɨɦɟ ɩɢɲɟ ɢ ɂɜɚɧ Ⱦɢɦɢʄ ɢɫɬɢɱɭʄɢ ɞɚ „ɤɚɞɝɨɞ ɛɭɞɟ ɩɪɨɞɭɛʂɢɜɚɨ ɟɫɬɟɬɫɤɢ ɢɞɟɚɥ ʁɟɞɧɨɝ ȼɚɥɟɪɢʁɚ ɢɥɢ ʁɟɞɧɨɝ ɉɪɭɫɬɚ, ɛɟɡ ɨɛɡɢɪɚ ɧɚ ɚɭɬɟɧɬɢɱɧɭ ɨɪɢɝɢɧɚɥɧɨɫɬ ɨɜɚ ɞɜɚ ɜɟɥɢɤɚɧɚ, ɞɨʄɢ ʄɟ ɞɨ ɨɧɟ ɬɚɧɚɧɟ ɛɟɪɝɫɨɧɨɜɫɤɟ ɬɟɠʃɟ: ɩɪɟɰɢɡɧɨɫɬ ɢɧɬɟɥɟɤɬɭɚɥɧɨɝ 164 ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Francuska..., ɧɚɜ. ɞɟɥɨ, 173; Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 11. 165 Žil Delez, Bergsonizam (Beograd: Factum izdavaštvo, 2015). 68 ɧɚɩɨɪɚ ɢ, ɭʁɟɞɧɨ, ɨɫɥɨɛɚђɚʃɟ ɧɚʁɞɭɛʂɢɯ ʂɭɞɫɤɢɯ ɫɧɚɝɚ ɩɪɨɞɨɪɨɦ ɤɪɨɡ ɩɨɜɪɲɢɧɫɤɢ ɫɥɨʁ ɲɬɨ ɝɚ ɛɟɡ ɩɪɟɫɬɚɧɤɚ ɧɚɧɨɫɢ ɞɪɭɲɬɜɟɧɚ ɧɚɜɢɤɚ ɢ ɧɭɠɧɨɫɬ ʂɭɞɫɤɟ ɚɤɰɢʁɟ”166. ɇɨ, ɜɪɚɬɢʄɭ ɫɟ ʁɨɲ ʁɟɞɧɨɦ ɧɚ ɭɦɟɬɧɢɱɤɚ ɫɬɪɭʁɚʃɚ ɫ ɤɪɚʁɚ 19. ɜɟɤɚ. ɍ ɥɢɤɨɜɧɢɦ ɭɦɟɬɧɨɫɬɢɦɚ ɩɪɨɫɬɨɪ ɢ ɛɨʁɚ ɫɟ ɫɯɜɚɬɚʁɭ ɤɚɨ ɤɨɧɫɬɪɭɤɬɢɜɧɢ ɟɥɟɦɟɧɬɢ ɫɥɢɤɟ, ɚ ɧɟ ɫɚɦɨ ɤɚɨ ɞɟɤɨɪɚɬɢɜɧɢ ɪɚɫɩɨɪɟɞ ɥɢɤɨɜɧɢɯ ɦɚɫɚ. ɐɪɬɟɠ ɧɟ ɩɪɟɞɫɬɚɜʂɚ ɩɪɟɞɦɟɬ, ɜɟʄ ɢɡɪɚɠɚɜɚ ʃɟɝɨɜɚ ɫɩɟɰɢɮɢɱɧɚ ɫɜɨʁɫɬɜɚ ɭ ɩɪɨɫɬɨɪɭ. ɇɚɤɨɧ ɧɟɨɢɦɩɪɟɫɢɨɧɢɡɦɚ ɢɥɢ ɩɨɟɧɬɢɥɢɡɦɚ ɀɨɪɠɚ ɋɟɪɚɚ (Georeges Seurat), ɩɨɫɬɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɢɯ ɭɫɦɟɪɟʃɚ ɉɨɥɚ Ƚɨɝɟɧɚ (Paul Gaugin), ȼɢɧɫɟɧɬɚ ɜɚɧ Ƚɨɝɚ (Vincent van Gogh), Ⱥɧɪɢʁɚ Ɍɭɥɭɡ- Ʌɨɬɪɟɤɚ (Henri Touluse-Lautrec), ɉɨɥɚ ɋɟɡɚɧɚ (Paul Sézanne) ɢ ɮɨɜɢɫɬɚ, ɤɭɛɢɫɬɢ ɨɪɝɚɧɢɡɭʁɭ ɥɢɤɨɜɧɢ ɩɪɨɫɬɨɪ ɭ ɮɭɧɤɰɢʁɢ ɧɨɜɨɝ ɢ ɤɨɦɩɥɟɤɫɧɢʁɟɝ ɜɢɟʃɚ ɫɜɟɬɚ: ɉɚɛɥɨ ɉɢɤɚɫɨ, ɀɨɪɠ Ȼɪɚɤ (Georges Braque) ɢ Ⱥɧɪɢ Ɇɚɬɢɫ (Henri Matisse) ɞɟɮɢɧɢɬɢɜɧɨ ɪɚɡɛɢʁɚʁɭ ɤɨɧɰɟɩɬ ɪɟɧɟɫɚɧɫɧɨɝ ɫɥɢɤɚɪɫɬɜɚ ɢ ɬɪɚɠɟ ɢɡɪɚɠɚʁɧɟ ɦɨɞɟɥɟ ɨɫɥɨɛɨђɟɧɟ ɩɪɟɞɫɬɚɜʂɚʃɚ, ɨɩɢɫɚ ɢ ɨɩɨɧɚɲɚʃɚ. ɋɥɢɤɚɪɢ ɫɟ ɭɩɭɲɬɚʁɭ ɭ ɛɨɞɥɟɪɨɜɫɤɭ ɚɜɚɧɬɭɪɭ ɭ ɤɨʁɨʁ ɫɟ ɫɧɨɜɢ ɩɪɟɨɛɪɚɠɚɜɚʁɭ ɭ ɭɦɟɬɧɢɱɤɨ ɞɟɥɨ.167 166 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: Branko Džakula (ur.), Francuska književnost, ɧɚɜ. ɞɟɥɨ, 187. 167 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 173; Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 11‒12. 69 III ɍ ɌɊȺȽȺȵɍ ɁȺ ɇȿɉɈɋɊȿȾɇɈɒȶɍ ɋȺȽɅȺɋȳȺ... ɉɪɢɪɨɞɚ ʁɟ ɯɪɚɦ ɝɞɟ ɦɭɬɧɟ ɪɟɱɢ ɫɥɟʄɭ ɋɚ ɫɬɭɛɨɜɚ ɠɢɜɢɯ ɩɨɧɟɤɚɞ, ɚ ɞɨɥɟ ɤɨ ɤɪɨɡ ɲɭɦɭ ɢɞɟ ɱɨɜɟɤ ɤɪɨɡ ɫɢɦɛɨɥɟ ɲɬɨ ɝɚ ɩɭɬɟɦ ɩɪɢɫɧɢɦ ɩɨɝɥɟɞɢɦɚ ɫɪɟʄɭ. Ʉɨ ɨɞʁɟɰɢ ɞɭɝɢ ɲɬɨ ɞɚʂɟɦ ɫɟ ɫɜɨɞɟ ɭ ʁɟɞɢɧɫɬɜɨ ɦɪɚɱɧɨ ɢ ɞɭɛɨɤɨ ɲɬɨ ʁɟ, ɨɝɪɨɦɧɨ ɤɨ ɧɨʄ ɢ ɤɚɨ ɫɜɟɬɥɨɫɬ, ɛɨʁɟ, ɦɢɪɢɫɢ ɢ ɡɜɭɰɢ ɪɚɡɝɨɜɨɪɟ ɜɨɞɟ. ɇɟɤɢ ɫɭ ɦɢɪɢɫɢ ɤɨ ɩɭɬ ɞɟɱʁɚ ɫɜɟɠɢ, ɡɟɥɟɧɢ ɤɨ ɩɨʂɚ, ɛɥɚɝɢ ɤɨ ɨɛɨɟ, ‒ ɞɪɭɝɢ ɢɫɤɜɚɪɟɧɢ, ɩɨɛɟɞɧɢɱɤɢ, ɬɟɠɢ, ɲɬɨ ɭ ɛɟɫɤɪɚʁ ɩɪɨɫɬɢɪɚʃɟ ɫɜɨʁɟ, ɤɚɨ ɚɦɛɪɚ, ɦɨɲɭɫ, ɬɚɦʁɚɧ, ɪɚɫɤɨɲ ʃɭɯɚ ɤɨʁɢ ɩɟɜɚ ɡɚɧɨɫ ɱɭɥɚ ɧɚɦ ɢ ɞɭɯɚ. La Nature est un temple où de vivants piliers Laissent parfois sortir de confuses paroles; L'homme y passe à travers des forêts de symboles Qui l'observent avec des regards familiers. Comme de longs échos qui de loin se confondent Dans une ténébreuse et profonde unité, Vaste comme la nuit et comme la clarté, Les parfums, les couleurs et les sons se répondent. II est des parfums frais comme des chairs d'enfants, Doux comme les hautbois, verts comme les prairies, - Et d'autres, corrompus, riches et triomphants, Ayant l'expansion des choses infinies, Comme l'ambre, le musc, le benjoin et l'encens, Qui chantent les transports de l'esprit et des sens. ɒɚɪɥ Ȼɨɞɥɟɪ, ɋɚɝɥɚɫʁɚ (Correspondances, 1857)168 168 ɉɪɟɩɟɜɚɨ ɂɜɚɧ ȼ. Ʌɚɥɢʄ. Ɉɛʁɚɜʂɟɧɨ ɭ: ɒɚɪɥ Ȼɨɞɥɟɪ, ɐɜɟʄɟ ɡɥɚ, ɢɡɛɨɪ Ƚɨɪɚɧ Ʉɨɫɬɪɨɜɢʄ (Ȼɟɨɝɪɚɞ: ɍɞɪɭɠɟʃɟ ɢɡɞɚɜɚɱɚ ɢ ɤʃɢɠɚɪɚ Јɭɝɨɫɥɚɜɢʁɟ, 1997), 13. ɂɡɛɨɪ ʁɟ ɭɪɚђɟɧ ɩɪɟɦɚ ɤʃɢɡɢ: L’Oeuvre Poétique de Charles Baudelaire (Paris: Jean de Bonnot, 1978). { 70 } Ɍɪɟʄɟ ɩɨɝɥɚɜʂɟ ɫɜɨʁɟ ɞɢɫɟɪɬɚɰɢʁɟ ɡɚɩɨɱɢʃɟɦ Ȼɨɞɥɟɪɨɜɨɦ ɩɟɫɦɨɦ Correspondances (ɩɪɟɜɨɞɢ ɫɟ ɢ ɤɚɨ ȼɟɡɟ, ɍɡɚʁɚɦɧɨɫɬɢ, ɋɚɝɥɚɫɧɨɫɬɢ), ɫɜɨʁɟɜɪɫɧɢɦ ɦɚɧɢɮɟɫɬɨɦ ɱɭɥɧɨɫɬɢ, ɨɞɧɨɫɧɨ, ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ɬɟɨɪɢʁɨɦ ɫɢɧɟɫɬɟɡɢʁɟ ɢ ɭɧɢɜɟɪɡɚɥɧɟ ɚɧɚɥɨɝɢʁɟ ɩɪɟɬɨɱɟɧɟ ɭ ɫɨɧɟɬ. ɂɚɤɨ ʁɟ ɨɜɚ Ȼɨɞɥɟɪɨɜɚ ɩɟɫɦɚ ɛɢɥɚ ɩɪɟɞɦɟɬ ɚɧɚɥɢɡɟ ɧɟɛɪɨʁɚɧɨ ɩɭɬɚ, ɢɚɤɨ ɫɟ ɭɤɚɡɢɜɚɥɨ ɧɚ ɡɧɚɱɚʁ ɢ ɦɟɫɬɨ ɤɨʁɟ ɨɧɚ ɡɚɭɡɢɦɚ ɭ ʃɟɝɨɜɨɦ ɨɩɭɫɭ, ɬɟ ɧɚ ɭɬɢɰɚʁ ɤɨʁɢ ʁɟ ɢɦɚɥɚ ɧɚ ɩɨɟɬɢɤɭ ɫɢɦɛɨɥɢɡɦɚ ɭ ɰɟɥɨɫɬɢ, ɫɦɚɬɪɚɦ ɧɟɨɩɯɨɞɧɢɦ ɞɚ ʁɨʁ ɫɟ ɢ ʁɚ, ɭ ɤɨɧɬɟɤɫɬɭ ɬɟɦɟ ɨɜɨɝ ɪɚɞɚ, ‘ɨɛɪɚɬɢɦ’, ɩɨɧɭɞɢɦ ɬɭɦɚɱɟʃɟ ɢɡ ʁɟɞɧɨɝ ɞɪɭɝɚɱɢʁɟɝ ɭɝɥɚ ɢ ɩɨɤɭɲɚɦ ɞɚ ɭɫɩɨɫɬɚɜɢɦ ɜɟɡɟ ɢɡɦɟђɭ ʃɟ, ɦɭɡɢɱɤɨɝ ɭɧɢɜɟɪɡɭɦɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ ɢ, ɧɚ ɤɪɚʁɭ, ɮɟɧɨɦɟɧɨɥɨɲɤɨ-ɟɫɬɟɬɢɱɤɟ ɦɢɫɥɢ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ. ɑɟɫɬɨ ɧɚɡɢɜɚɧɚ ɩɪɨɝɪɚɦɫɤɢɦ ɬɟɤɫɬɨɦ ɫɢɦɛɨɥɢɡɦɚ, ɨɜɚ ɩɟɫɦɚ ɩɪɟɦɟɲɬɚ ɮɨɤɭɫ ɫɚ ɫɩɨʂɚɲʃɟɝ ɫɜɟɬɚ ɧɚ ɭɧɭɬɪɚɲʃɢ – ɭ ɩɪɨɫɬɨɪ ɭɦɚ, ɤɨʁɢ ɩɨɫɬɚʁɟ ʁɟɞɢɧɨ (ɩɪɢɪɨɞɧɨ) ɨɤɪɭɠɟʃɟ ɭ ɤɨɦɟ ɫɜɢ ɩɪɟɞɦɟɬɢ ɩɭɥɫɢɪɚʁɭ ɢɫɬɢɦ ɭɧɭɬɪɚɲʃɢɦ ɪɢɬɦɨɦ. ɋɯɜɚʄɟɧɚ ɤɚɨ Ȼɨɞɥɟɪɨɜɚ ɬɟɨɪɢʁɚ ɫɢɧɟɫɬɟɡɢʁɟ ɢ ɭɧɢɜɟɪɡɚɥɧɟ ɚɧɚɥɨɝɢʁɟ, ɨɧɚ ɡɚɯɬɟɜɚ ɨɞ ɭɦɟɬɧɢɤɚ ɞɚ ɫɬɢɯɨɜɢɦɚ ɨɞɝɨɧɟɬɚ „ɲɭɦɭ ɫɢɦɛɨɥɚ”, ɞɚ ɨɬɤɪɢɜɚ ɞɭɛɨɤɟ, ɫɤɪɢɜɟɧɟ ɚɧɚɥɨɝɢʁɟ ɤɪɨɡ ɤɨʁɟ ɫɟ ɧɚʁɛɨʂɟ ɦɨɝɭ ɢɡɪɚɡɢɬɢ ɫɭɲɬɢɧɟ ʂɭɞɢ ɢ ɫɬɜɚɪɢ.169 ɉɪɟɦɚ ɪɟɱɢɦɚ Ȼɚɪɛɚɪɟ Ɋɚʁɬ (Barbara Wright), ɨɫɧɨɜɧɚ ɢɞɟʁɚ ɋɚɝɥɚɫʁɚ ɥɟɠɢ ɭ ɬɨɦɟ ɞɚ ɫɟ ɩɨɫɪɟɞɫɬɜɨɦ ɦɚɬɟɪɢʁɚɥɧɨɝ ɫɜɟɬɚ ɧɚɝɨɜɟɫɬɟ ɚɩɫɬɪɚɤɬɧɚ ɡɧɚɱɟʃɚ,170 ɨɞɧɨɫɧɨ, ɞɚ ɫɟ, ɤɚɤɨ ɬɨ Ȼɟɪɢɥ ɒɥɨɫɦɚɧ (Beryl Schlossman) ɢɫɬɢɱɟ, ɩɨɜɟɠɟ ɱɭɥɧɨ ɢɫɤɭɫɬɜɨ ɢ ʁɟɡɢɤ ɭɦɟɬɧɨɫɬɢ ɫɚ ɟɫɬɟɬɢɤɨɦ ɧɚɝɨɜɟɲɬɚʁɚ.171 ɍ ɫɜɚɤɨɦ ɫɥɭɱɚʁɭ, ɩɪɨɛɥɟɦɫɤɢ ɤɪɭɝɨɜɢ ɩɨɩɭɬ ɡɧɚɱɟʃɚ, ʁɟɞɢɧɫɬɜɚ ɦɚɬɟɪɢʁɚɥɧɨɝ ɢ ɧɟɦɚɬɟɪɢʁɚɥɧɨɝ, ɫɢɧɟɫɬɟɡɢʁe, ɨɞɧɨɫ ɱɭɥɧɨɝ ɢɫɤɭɫɬɜɚ ɢ ɭɦɟɬɧɨɫɬɢ ɡɚɢɫɬɚ ɥɟɠɟ ɭ ɨɫɧɨɜɢ ɨɜɟ Ȼɨɞɥɟɪɨɜɟ ɩɟɫɦɟ. ɇɨ, ɤɪɟɧɭʄɭ ɨɞ ɩɪɨɛɥɟɦɚ ɱɭɥɚ, ɱɭɥɧɢɯ ɭɬɢɫɚɤɚ ɢ Ȼɨɞɥɟɪɨɜɢɯ ‘ɫɥɢɤɚ’. ɉɪɟɦɚ ɪɟɱɢɦɚ ɇɢɤɨɥɟ Ʉɨɜɚɱɚ, ɱɭɥɧɨɫɬ ɫɟ ɤɨɞ Ȼɨɞɥɟɪɚ ɧɟ ɜɟɡɭʁɟ ɡɚ ɧɟɩɨɫɪɟɞɧɟ ɪɟɚɤɰɢʁɟ ɱɭɥɚ ɧɟɝɨ ɡɚ ɱɢɬɚɜ ɤɨɦɩɥɟɤɫ ɫɢɧɟɫɬɟɡɢʁɫɤɢɯ ɭɬɢɫɚɤɚ ɢ ʃɢɯɨɜɭ ɮɨɪɦɚɥɢɡɚɰɢʁɭ ɭɧɭɬɚɪ ʁɟɞɢɧɫɬɜɟɧɨɝ ɟɥɚɧɚ ɩɟɫɧɢɱɤɟ ɫɢɧɬɟɡɟ ɢɞɟʁɟ ɢ ɡɧɚɤɚ. ɂɡ ɬɨɝɚ 169 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ...”, ɧɚɜ. ɞɟɥɨ, 83. 170 Barbara Wright, “Baudelaire’s poetic journey in Les Fleurs du Mal”, in: Rosemary Lloyd (ed.), The Cambridge Companion to Baudelaire (Cambridge: Cambridge University Press, 2005), 33. 171 Beryl Schlossman, “Baudelaire’s place in literary and cultural history”, in: ɢɫɬɨ, 177. { 71 } ɩɪɨɢɡɥɚɡɢ, ɫɦɚɬɪɚ Ʉɨɜɚɱ, ɢ ɱɢɬɚɜɚ ɬɢɩɨɥɨɝɢʁɚ ɱɭɥɧɢɯ ɭɬɢɫɚɤɚ ɤɚɨ ɨɫɧɨɜ ɫɜɚɤɟ ɢɦɚɝɢɧɚɪɧɟ ɩɪɟɞɫɬɚɜɟ ɤɨɞ Ȼɨɞɥɟɪɚ.172 ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, Ȼɨɞɥɟɪɨɜɟ ɫɥɢɤɟ ɧɟɦɚʁɭ ɡɚ ɰɢʂ ɫɚɜɪɲɟɧɢʁɢ ɨɛɥɢɤ ɩɪɟɞɫɬɚɜʂɚʃɚ ɫɬɜɚɪɢ, ɧɟɝɨ ɫɚɦɭ ɢɡɪɚɠɚʁɧɨɫɬ ɭ ɨɤɜɢɪɭ ɤɨʁɟ ɨɧɟ ɩɨɫɬɚʁɭ ɫɚɦɨ ɟɥɟɦɟɧɬɢ ɢ ɫɪɟɞɫɬɜɚ „ɟɜɨɤɚɬɢɜɧɟ ɱɚɪɨɥɢʁɟ” („sorcellerie évocatoire”). Ɍɚɤɨ, ɩɨɟɡɢʁɚ ɩɨɫɬɚʁɟ „ɦɚɝɢʁɫɤɚ ɨɩɟɪɚɰɢʁɚ” („une operation magique”) ɤɨʁɚ ɧɟ ɨɩɨɧɚɲɚ, ɜɟʄ ɩɪɟɨɛɪɚɠɚɜɚ: ɢ ɫɜɟɬ, ɢ ɪɟɚɥɧɨɫɬ ɢ ɫɜɟɬ ɦɚɲɬɟ ɭ ɫɜɨɦ ɤɨɧɚɱɧɨɦ ɩɟɫɧɢɱɤɨɦ ɭɨɛɥɢɱɟʃɭ ɞɨɛɢʁɚʁɭ ɢɡɝɥɟɞ ɧɨɜɢɯ ɬɜɨɪɟɜɢɧɚ ɚɭɬɨɧɨɦɧɨɝ ɡɧɚɱɟʃɚ ɢ ɧɟɫɜɨɞʂɢɜɢɯ ɜɟɥɢɱɢɧɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɬɚ (ɛɨɞɥɟɪɨɜɫɤɚ) ɫɢɦɛɨɥɢɫɬɢɱɤɚ ɬɪɚɧɫɮɨɪɦɚɰɢʁɚ ɪɟɚɥɧɨɫɬɢ (ɤɨʁɚ ɭɤʂɭɱɭʁɟ ɢ ɭɫɩɨɦɟɧɟ ɢ ɢɞɟʁɟ ɢ ɥɢɱɧɚ ɫɜɟɞɨɱɚɧɫɬɜɚ), ɨɞɧɨɫɧɨ, ɬɨ ɩɪɟɞɫɬɚɜʂɚʃɟ ɦɚɬɟɪɢʁɚɥɧɨɝ ɫɜɟɬɚ ɤɚɨ ɢɧɤɚɪɧɚɰɢʁɟ ɞɭɯɨɜɧɢɯ ɩɪɢɧɰɢɩɚ, ɩɪɟɞɫɬɚɜʂɚ ɧɚʁɜɢɲɢ ɨɛɥɢɤ ɤɪɢɫɬɚɥɢɡɚɰɢʁɟ ɩɟɫɧɢɱɤɨɝ ɢɫɤɭɫɬɜɚ ɩɨ Ȼɨɞɥɟɪɨɜɨɦ ɦɢɲʂɟʃɭ. ɋɚɨɛɪɚɡɧɨ ɬɨɦɟ, ɰɟɥɨɤɭɩɧɚ ɭɦɟɬɧɨɫɬ, ɞɚɤɥɟ, ɧɟ ɫɚɦɨ ɩɨɟɡɢʁɚ, ɫɬɜɚɪɚ, ɪɟɱɟɧɨ ɛɨɞɥɟɪɨɜɫɤɢɦ ɪɟɱɧɢɤɨɦ, ɫɜɟɬ ɫɭɝɟɫɬɢɜɧɟ ɦɚɝɢʁɟ ɭ ɤɨɦɟ ɫɭ ɫɩɨʁɟɧɢ ɢ ɫɭɛʁɟɤɚɬ ɢ ɨɛʁɟɤɚɬ ɢ ɫɩɨʂɧɢ ɫɜɟɬ ɢ ɫɚɦ ɭɦɟɬɧɢɤ. ɍ ɤɨɧɬɟɤɫɬɭ ɬɨɝ ɩɪɢɛɥɢɠɚɜɚʃɚ ɢ ɡɞɪɭɠɢɜɚʃɚ ɫɭɛʁɟɤɬɚ ɢ ɨɛʁɟɤɬɚ, ɫɩɨʂɚɲʃɟɝ ɢ ɭɧɭɬɪɚɲʃɟɝ ɫɜɟɬɚ, ɩɨʁɚɜɧɨɝ ɢ ɫɭɲɬɢɧɫɤɨɝ Ȼɨɞɥɟɪ ɢɫɬɢɱɟ ɢɦɚɝɢɧɚɰɢʁɭ ɤɚɨ ɩɪɟɜɚɫɯɨɞɧɨ ɫɜɨʁɫɬɜɨ ɩɨɟɬɫɤɨɝ ɞɚɪɚ („imagination – reine des facultés”), ɤɚɨ ɟɥɟɦɟɧɬɚɪɧɭ ɫɧɚɝɭ ɬɪɚɧɫɮɨɪɦɚɰɢʁɫɤɨɝ ɟɥɚɧɚ ɭ ɤɨɦɟ ɫɟ ɡɧɚɤɨɜɢ ɢ ɫɢɦɛɨɥɢ ɩɪɟɬɜɚɪɚʁɭ ɭ ɱɢɫɬɟ ɢ ɡɚɬɜɨɪɟɧɟ ɫɜɟɬɨɜɟ ɥɟɩɨɬɟ. Ȼɨɞɥɟɪ ɨɜɞɟ ɢɦɚ ɧɚ ɭɦɭ, ɩɪɟ ɫɜɟɝɚ, ɫɬɜɚɪɚɥɚɱɤɭ ɢɦɚɝɢɧɚɰɢʁɭ ɡɚ ɤɨʁɭ ʁɟ ɨɫɟʄɚʁɧɨɫɬ ʁɟɞɧɚ ɨɞ ɩɪɟɬɩɨɫɬɚɜɤɢ, ɚɥɢ ɧɟ ɢ ɞɨɦɢɧɚɧɬɧɚ ɨɞɥɢɤɚ.173 Ɂɚɯɜɚʂɭʁɭʄɢ ɢɦɚɝɢɧɚɰɢʁɢ ɞɨɥɚɡɢ ɞɨ ɩɪɟɨɛɪɚɠɚɜɚʃɚ ɢɫɤɭɫɬɜɟɧɢɯ ɨɛɥɢɤɚ ɭ ɫɢɧɟɫɬɟɡɢʁɫɤɟ ɩɪɟɞɫɬɚɜɟ174 ɡɚɯɜɚʂɭʁɭɢ ɱɟɦɭ, ɭ ɭɦɟɬɧɢɱɤɨɦ ɫɬɜɚɪɚʃɭ, ɞɨɥɚɡɢ ɞɨ ɢɡɜɟɫɧɨɝ ɫɬɟɩɟɧɚ ɚɩɫɬɪɚɤɰɢʁɟ. ɍ ɤɨɧɬɟɤɫɬɭ ɩɟɫɧɢɱɤɟ ɭɦɟɬɧɨɫɬɢ, ɚɩɫɬɪɚɤɰɢʁɚ ɧɚɫɬɚʁɟ ɤɚɨ ɪɟɡɭɥɬɚɬ ‘ɨɞɪɢɰɚʃɚ’ ɨɞ ɫɬɜɚɪɧɨɝ, ɥɨɝɢɱɧɨɝ, ɚɮɟɤɬɢɜɧɨɝ, ɩɚ ɢ ɝɪɚɦɚɬɢɱɤɨɝ ɩɨɪɟɬɤɚ ɭ ‘ɤɨɪɢɫɬ’ „ɦɚɝɢɱɧɢɯ ɡɜɭɤɨɜɧɢɯ ɦɨʄɢ”. Ɍɚɤɨ ʁɟ ɩɪɟɨɤɪɟɧɭɬ ɢ ɫɚɦ ɪɟɞɨɫɥɟɞ ɭ 172 ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Ɏɪɚɧɰɭɫɤɚ ɤʃɢɠɟɜɧɨɫɬ, ɧɚɜ. ɞɟɥɨ, 50–51. 173 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 51. 174 ɉɪɟɞɦɟɬɧɢ ɨɛɥɢɰɢ ɢɡɛɢʁɚʁɭ ɧɚ ɩɨɜɪɲɢɧɭ ɫɜɟɫɬɢ ɬɟɤ ɤɚɨ ɩɪɟɨɛɪɚɠɟɧɢ ɢ ɫɢɦɛɨɥɢɡɨɜɚɧɢ ɩɨɫɪɟɞɧɢɰɢ ʁɟɞɧɨɝ ɤɨɦɩɥɟɤɫɧɢʁɟɝ ɞɭɯɨɜɧɨɝ ɢɫɤɭɫɬɜɚ. Ɍɚʁ ɡɚɯɬɟɜ ɡɚ ɫɩɢɪɢɬɭɚɥɢɡɚɰɢʁɨɦ, ɤɚɨ ɢ ɡɚ ɩɪɟɞɫɬɚɜʂɚʃɟɦ ɩɪɟɞɦɟɬɚ ɭ ʃɟɝɨɜɨʁ ɦɟɬɚɮɨɪɢɱɤɨʁ ɩɪɨɡɪɚɱɧɨɫɬɢ ɱɢɧɢ ɨɫɧɨɜ Ȼɨɞɥɟɪɨɜɨɝ ɩɟɫɧɢɱɤɨɝ ɫɧɚ ɭ ɤɨɦɟ ɫɟ ɩɪɟɞɦɟɬ ɢ ɪɟɮɥɟɤɫɢʁɚ, ɫɜɟɬ ɢ ʃɟɝɨɜɚ ɩɪɟɞɫɬɚɜɚ, ɨɞɪɚɠɚɜɚʁɭ ɫɧɚɝɨɦ ɬɚʁɧɨɝ ɫɚɝɥɚɫʁɚ ɢ ɫɢɦɛɨɥɢɱɤɟ ɩɨɞɭɞɚɪɧɨɫɬɢ. ȼɢɞɟɬɢ ɭ: ɢɫɬɨ, 51. { 72 } ɩɟɫɧɢɱɤɨɦ ɱɢɧɭ/ɫɬɜɚɪɚʃɭ: „ɨɛɥɢɤ” ɤɨʁɢ ʁɟ ɪɚɧɢʁɟ ɛɢɨ ɪɟɡɭɥɬɚɬ ɩɟɫɦɟ, ɫɚɞɚ ɩɨɫɬɚʁɟ ʃɟɧ ɢɡɜɨɪ; „ɫɦɢɫɚɨ” ɤɨʁɢ ɫɟ ɪɚɧɢʁɟ ɱɢɧɢɨ ɞɚ ɩɪɟɞɫɬɚɜʂɚ ɢɡɜɨɪ, ɫɚɞɚ ʁɟ ɪɟɡɭɥɬɚɬ, ɚ „ɡɜɭɤ”, ɤɨʁɢ ʁɟ ɩɪɟɬɯɨɞɢɨ ɩɨʁɦɨɜɧɨɦ ʁɟɡɢɤɭ ɢ ɧɚɦɟɬɚɨ ɦɭ ɫɟ, ɫɬɨʁɢ ɫɚɞɚ ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ ɩɟɫɧɢɱɤɨɝ ɩɪɨɰɟɫɚ. Ⱦɚ ɛɢ ɫɟ ɡɜɭɤɭ, ɬɨɦ „ɛɟɡɨɛɥɢɱɧɨɦ ɭɝɨђɚʁɭ”, ɞɚɨ ɨɛɥɢɤ, ɩɟɫɧɢɤ ɬɪɚɝɚ ɡɚ ɨɧɢɦ ɝɥɚɫɨɜɧɢɦ ʁɟɡɢɱɧɢɦ ɦɚɬɟɪɢʁɚɥɨɦ ɤɨʁɢ ʁɟ ɧɚʁɛɥɢɠɢ ɬɨɦ ɡɜɭɤɭ. Ɍɚɞɚ ɫɟ ɝɥɚɫɨɜɢ ɜɟɡɭʁɭ ɭ ɪɟɱɢ, ɪɟɱɢ ɡɚɬɢɦ ɭ ɰɟɥɢɧɟ ɜɢɲɟɝ ɪɟɞɚ, ɱɢɦɟ ɫɟ ɢ ɭɫɩɨɫɬɚɜʂɚ ɫɦɢɫɚɨɧɚ ɜɟɡɚ ɢɡɦɟђɭ ɫɚɦɢɯ ɪɟɱɢ. Ⱥɪɬɢɤɭɥɢɫɚɧɨ ɩɟɫɧɢɱɤɨ-ɬɟɨɪɟɬɫɤɢɦ ɪɟɱɧɢɤɨɦ Ȼɨɞɥɟɪɚ, „ɩɟɫɧɢɲɬɜɨ [ɡɚɩɪɚɜɨ] ɧɚɫɬɚʁɟ ɢɡ ʁɟɡɢɱɤɨɝ ɢɦɩɭɥɫɚ ɤɨʁɢ, ɨɫɥɭɲɤɭʁɭʄɢ ɩɪɟɞʁɟɡɢɱɤɢ ‘ɡɜɭɤ’, ɩɨɤɚɡɭʁɟ ɩɭɬ ɧɚ ɤɨʁɟɦ ɫɟ ɫɤɭɩʂɚʁɭ ɫɚɞɪɠɚʁɢ; ɬɢ ɫɚɞɪɠɚʁɢ ɜɢɲɟ ɧɟ ɛɢɜɚʁɭ ɫɭɩɫɬɚɧɰɢʁɨɦ ɩɟɫɦɟ, ɜɟʄ ɫɭ ɨɧɢ ɧɨɫɢɨɰɢ ɡɜɭɤɨɜɧɢɯ ɦɨʄɢ ɢ ʃɢɯɨɜɢɯ ɬɪɟɩɟɪɟʃɚ, ɤɨʁɚ ɫɭ ɧɚɞɦɨʄɧɚ ɡɧɚɱɟʃɭ”.175 Ɍɨ ɡɧɚɱɢ ɞɚ ɫɥɟɞ ɦɢɫɥɢ ɩɪɟɞɫɬɚɜʂɚ ɫɚɦɨ ɫɭɝɟɫɬɢɜɧɨɫɬ ɨɧɨɝ ɧɟɭɯɜɚɬʂɢɜɨɝ, ɲɬɨ ɞɚʂɟ ɜɨɞɢ ɞɨ ɡɚɤʂɭɱɤɚ ɞɚ ɫɦɢɫɚɨ ɪɟɱɢ ɭ ɩɟɫɦɢ, ɚ ɢ ɫɦɢɫɚɨ ɫɚɦɟ ɩɟɫɦɟ ɧɟ ɭɦɚʃɭʁɟ ɞɟɥɨɜɚʃɟ ɡɜɭɱɧɨɝ ɭ ʃɨʁ; ɧɚɩɪɨɬɢɜ, „ɦɚɝɢʁɫɤɨɦ ɨɩɟɪɚɰɢʁɨɦ” ɡɜɭɤɨɜɧɢɯ ɢ ɚɮɟɤɬɢɜɧɯ ɫɜɨʁɫɬɚɜɚ ɪɟɱɢ, ɨɫɥɨɛɚђɚʁɭ ɫɟ ɢ ɧɟɤɢ ɞɪɭɝɢ/ɞɪɭɝɚɱɢʁɢ ɫɚɞɪɠɚʁɢ, ɚɥɢ ɫɟ ɪɚɡɜɢʁɚʁɭ ɢ ɬɚʁɚɧɫɬɜɟɧɟ ɱɚɪɨɛɧɟ ɪɟɱɢ ɱɢɫɬɨɝ ɡɜɭɱɚʃɚ. Ɍɚɤɨ, ɩɨɟɡɢʁɚ ɛɨɞɟɥɪɨɜɫɤɟ ɩɪɨɜɟɧɢʁɟɧɰɢʁɟ, ɞɚɤɥɟ, ɩɨɟɡɢʁɚ ‘ɩɪɟɞɚɧɚ’ ɦɚɝɢʁɫɤɢɦ ɫɧɚɝɚɦɚ ʁɟɡɢɤɚ, ɧɟ ɩɨɫɪɟɞɭʁɟ ɢɫɬɢɧɭ, ɧɟ ɩɨɫɪɟɞɭʁɟ „ɨɩɢʁɟɧɨɫɬ ɫɪɰɚ”, ɜɟʄ ɩɪɟɞɫɬɚɜʂɚ ɩɨɟɡɢʁɭ per se – ɩɨ ɫɟɛɢ ɢ ɭ ɫɟɛɢ ɡɚɜɪɲɟɧɭ/ɡɚɨɤɪɭɠɟɧɭ ɬɜɨɪɟɜɢɧɭ. ɍɩɪɚɜɨ ɨɜɚɤɨ ɡɚɦɢɲʂɟɧɚ ɩɨɟɡɢʁɚ, ɛɢʄɟ ɨɬɢɫɧɚ ɬɚɱɤɚ ɦɨɞɟɪɧɟ ɥɢɪɢɤɟ ɢɡ ɤɨʁɟ ʄɟ ɩɪɨɢɡɚʄɢ ɬɟɨɪɢʁɚ ɦɨɞɟɪɧɨɝ ɩɟɫɧɢɲɬɜɚ ɤɨʁɚ ʄɟ ɤɚɫɧɢʁɟ, ɩɨɱɟɜ ɨɞ Ɇɚɥɚɪɦɟɚ, ɤɪɭɠɢɬɢ ɨɤɨ ɩɨʁɦɚ la poésie pure. ɉɨɫɥɟɞɢɱɧɨ, ɬɨ ʄɟ ɢɦɚɬɢ ɭɬɢɰɚʁɚ ɢ ɧɚ Ⱦɟɛɢɫɢʁɟɜɭ ɩɨɟɬɢɤɭ ɭ ɨɤɜɢɪɭ ɤɨʁɟ ʄɟ ɫɟ ɚɪɢɬɤɭɥɢɫɚɬɢ ɩɨʁɚɦ, ɭ ɬɨɦ ɬɪɟɧɭɬɤɭ, ɫɜɨʁɫɬɜɟɧ ɫɚɦɨ ʃɟɝɨɜɨɦ ɦɭɡɢɱɤɨɦ ɭɧɢɜɟɪɡɭɦɭ, ɚ ɬɨ ʁɟ la musique pure. ɇɨ, ɭɤɨɥɢɤɨ ɫɟ ɜɪɚɬɢɦɨ Ȼɨɞɥɟɪɨɜɨɦ ɩɟɫɧɢɲɬɜɭ ɢ ʃɟɝɨɜɨʁ ɢɞɟʁɢ ɨ „ɫɚɝɥɚɫʁɢɦɚ”, ɞɨɥɚɡɢɦɨ ɞɨ ɡɚɤʂɭɱɤɚ ɞɚ ɰɢʂ ɭɦɟɬɧɨɫɬɢ ɧɢʁɟ ɨɪɝɚɧɢɱɟɧ ɧɚ ɢɦɢɬɚɰɢʁɭ – ɤɨʁɭ ɨɧ, ɡɚɩɪɚɜɨ, ɭ ɩɨɬɩɭɧɨɫɬɢ ɨɞɛɚɰɭʁɟ ɤɚɨ ɫɬɜɚɪɚɥɚɱɤɢ ɩɪɢɧɰɢɩ – ɢ ɪɢɜɚɥɫɬɜɨ ɫɚ ɩɪɢɪɨɞɧɢɦ ɨɛɥɢɰɢɦɚ. Ⱦɨɦɟɧ ʃɟɧɟ ɭɜɟɪʂɢɜɨɫɬɢ ɫɟ ɡɚɩɪɚɜɨ ɧɚɥɚɡɢ ɧɚ ɞɪɭɝɨɦ ɦɟɫɬɭ, ɚ ɬɨ ɦɟɫɬɨ ʁɟ ɫɮɟɪɚ ɫɢɦɛɨɥɢɱɤɨɝ ɫɚɝɥɚɫʁɚ ɢ ɫɢɧɟɫɬɟɡɢʁɫɤɢɯ ɩɪɟɞɫɬɚɜɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, 175 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: Hugo Friedrich, Struktura modern lirike, Higo Friedrich, Struktur der Modern Lyrik] prev. Trude i Ante Stamać (Zagreb: Stvarnost, 1969), 40. { 73 } ɬɨ ʁɟ ɫɜɟɬ ɞɪɭɝɢ („un monde autre”) ɨ ɤɨʁɟɦ ɩɢɲɟ ɢ Ⱦɢɮɪɟɧ, ʁɟɞɢɧɢ ɩɪɚɜɢ ɫɜɟɬ – ɦɟɫɬɨ „ɨɛɢɬɚɜɚʃɚ ɩɟɫɧɢɱɤɨɝ ɞɭɯɚ”; ɬɨ ʁɟ ɫɜɟɬ ɭɦɟɬɧɨɫɬɢ ɤɨʁɢ ɧɚɫɬɚʁɟ ɢɡ ɩɪɨɰɟɫɚ ɬɪɚɝɚʃɚ ɡɚ ɧɟɩɨɫɪɟɞɧɨɲʄɭ ɫɚɝɥɚɫʁɚ ɢɡɦɟђɭ ɫɭɛʁɟɤɬɚ ɢ ɨɛʁɟɤɬɚ, ɫɭɩɫɬɚɧɰɟ ɢ ɮɭɧɤɰɢʁɟ, „ɫɬɜɚɪɢ” ɢ ɦɢɫɥɢ (ɢɥɢ ɟɦɨɰɢʁɟ ɨ ɫɬɜɚɪɢɦɚ), idios kosmosa (ɭɧɭɬɪɚɲʃɟɝ/ɩɪɢɜɚɬɧɨɝ ɫɜɟɬɚ) ɢ koinos kosmosa (ɫɩɨʂɲʃɟɝ ɫɜɟɬɚ ɤɨʁɢ ɧɚɦ ʁɟ ɡɚʁɟɞɧɢɱɤɢ), ɭɯɚ ɢ ɨɤɚ... Ɍɚɤɨђɟ, ɬɚʁ ɫɜɟɬ ɞɪɭɝɢ ɢɫɬɨɜɪɟɦɟɧɨ ʁɟ ɢ ɪɟɡɭɥɬɚɬ ɭɦɟɬɧɢɱɤɟ ɮɚɧɬɚɡɢʁɟ ɤɨʁɚ ʁɟ ɧɚɫɬɚɥɚ ɢɡ ɩɨɬɪɟɛɟ ɭɦɟɬɧɢɤɚ ɞɚ, ɤɚɤɨ ɫɦɚɬɪɚ Ȼɨɞɥɟɪ, ɫɜɟɬɭ ɜɪɚɬɢ ʃɟɝɨɜɟ ɬɚʁɧɟ ɢ ɲɢɪɢɧɭ ɤɨʁɭ ʁɟ ɨɧ ɢɡɝɭɛɢɨ ɫɚ ɩɪɨɞɨɪɨɦ ɩɪɢɪɨɞɧɢɯ ɧɚɭɤɚ. ɉɨ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ, ɮɚɧɬɚɡɢʁɚ ɩɪɟɞɫɬɚɜʂɚ ɤɪɟɚɬɢɜɧɭ ɫɩɨɫɨɛɧɨɫɬ ɪɚɡɥɚɝɚʃɚ (décompose) ɫɜɟɭɤɭɩɧɨɝ ɫɬɜɚɪɚʃɚ; ɨɧɚ ‒ ɜɨђɟɧɚ ɡɚɤɨɧɢɦɚ ɤɨʁɢ ɩɪɨɢɡɥɚɡɟ „ɢɡ ɧɚʁɞɭɛʂɢɯ ɤɭɬɚɤɚ ɞɭɲɟ” ‒ ɫɚɛɢɪɚ ɢ ɪɚɲɱɥɚʃɭʁɟ (ɧɚ ɬɚʁ ɧɚɱɢɧ ɧɚɫɬɚɥɟ) ɞɟɥɨɜɟ, ɢ ɢɡ ʃɢɯ ɫɬɜɚɪɚ ʁɟɞɚɧ ɧɨɜɢ/ɞɪɭɝɢ ɫɜɟɬ. Ɂɚɩɪɚɜɨ, ɪɟɱ ʁɟ ɨ ɫɜɟɬɭ ɭɦɟɬɧɨɫɬɢ – ɛɨɞɥɟɪɨɜɫɤɨɦ ɧɚɞɧɚɬɭɪɚɥɢɡɦɭ (surnaturalisme) ɢɥɢ aɩɨɥɢɧɟɪɨɜɫɤɨɦ ɧɚɞɪɟaɥɢɡɦɭ (surréalisme) – ɭ ɤɨʁɟɦ ɫɟ ɫɬɜɚɪɢ ‘ɨɧɟɫɬɜɚɪɭʁɭ’ ɞɨ ɩɨɬɟɡɚ, ɛɨʁɟ, ɩɨɤɪɟɬɚ, ɞɨ ɫɜɢɯ ɨɧɢɯ „ɨɫɚɦɨɫɬɚʂɟɧɢɯ ɚɤɰɢɞɟɧɰɢʁɚ” ɤɨʁɟ ɱɢɧɟ ɞɚ ʃɢɯɨɜɚ ɪɟɚɥɧɨɫɬ ɡɚɜɪɲɢ ɭ ɬɚʁɧɢ.176 ɋɜɟ ɬɟ „ɨɫɚɦɨɫɬɚʂɟɧɟ ɚɤɰɢɞɟɧɰɢʁɟ” – ɥɢɧɢʁɟ ɢ ɩɨɤɪɟɬɢ ɨɫɥɨɛɨђɟɧɢ ɩɪɟɞɦɟɬɚ ɤɨʁɟ ɧɚɫɬɚʁɭ ɤɚɨ ɪɟɡɭɥɬɚɬ ɚɩɫɨɥɭɬɧɟ (ɧɟɨɝɪɚɧɢɱɟɧɟ) ɦɚɲɬɟ – Ȼɨɞɥɟɪ ɧɚɡɢɜɚ ʁɟɞɧɢɦ ɢɦɟɧɨɦ – ɚɪɚɛɟɫɤɚ, ɫɚɦɚɬɪɚʁɭʄɢ ʁɟ ‘ɰɪɬɟɠɨɦ’ ɫɚ ɧɚʁɜɢɲɟ ɞɭɯɚ! Ɍɨʁ „ɥɢɧɟɚɬɭɪɢ ɨɫɥɨɛɨђɟɧɨʁ ɫɦɢɫɥɚ”, Ȼɨɞɥɟɪ ɩɪɢɞɪɭɠɭʁɟ ɢ ɩɨʁɚɦ „ɩɨɟɬɫɤɨɝ ɫɬɚɜɚ” – ɡɚɫɧɨɜɚɧɨɦ ɧɚ ɧɢɡɭ ɡɜɭɤɨɜɚ ɢ ɩɨɤɪɟɬɚ, ɯɨɪɢɡɨɧɬɚɥɧɨɦ ‘ɬɤɚʃɭ’ ɢ ɜɟɪɬɢɤɚɥɧɨɦ ‘ɡɜɭɱɚʃɭ’, ɫɩɢɪɚɥɧɨɦ ɧɢɡɚʃɭ ɢ ɰɢɤ-ɰɚɤ ɩɪɟɦɟɲɬɚʃɭ ɩɟɪɫɩɟɤɬɢɜɚ – ɡɚɯɜɚʂɭʁɭʄɢ ɤɨʁɟɦ ɫɟ ɩɨɟɡɢʁɚ ɞɨɞɢɪɭʁɟ, ɨɞɧɨɫɧɨ, ɩɪɨɧɚɥɚɡɢ ɦɟɫɬɚ „ɫɚɝɥɚɫʁɚ” ɫɚ ɦɭɡɢɤɨɦ, ɚɥɢ ɢ ɫɚ ɦɚɬɟɦɚɬɢɤɨɦ. ɂɞɟʁɚ ɫɚɝɥɚɫʁɚ ɩɪɟɞɫɬɚɜʂɚ ɩɟɫɧɢɱɤɢ ɢɞɟɚɥ ɡɚ Ȼɨɞɥɟɪɚ,177 ɚ ɬɚʁ ɢɞɟɚɥ, ɨɫɢɦ ɫɜɨʁɢɯ ɮɨɪɦɚɥɧɨ-ɟɫɬɟɬɫɤɢɯ ɨɛɟɥɟɠʁɚ, ɢɦɚ ɢ ɨɞɪɟђɟɧɟ ɟɝɡɢɫɬɟɧɰɢʁɚɥɧɨ-ɦɨɪɚɥɧɟ 176 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 45. 177 Branko Džakula (ur.), Ɏɪɚɧɰɭɫɤɚ ɤʃɢɠɟɜɧɨɫɬ, ɧɚɜ. ɞɟɥɨ, 51. ɂɞɟʁɭ ɨ ɩɨɞɭɞɚɪɧɨɫɬɢɦɚ ɢ ɫɚɝɥɚɫʁɢɦɚ (correspondances), Ȼɨɞɥɟɪ, ɡɚɩɪɚɜɨ, ɩɪɟɭɡɢɦɚ ɨɞ ɋɜɟɞɟɧɛɨɪɝɚ (Emanuel Swedenborg). Ɉɜɚʁ ɲɜɟɞɫɤɢ ɮɢɥɨɡɨɮ ɢ ɦɢɫɬɢɤ ʁɟ, ɬɪɚɝɚʁɭʄɢ ɡɚ ɜɟɡɚɦɚ ɢɡɦɟђɭ ɮɟɧɨɦɟɧɚ ɤɨʁɢ ɩɪɢɩɚɞɚʁɭ ɧɚʁɪɚɡɥɢɱɢɬɢʁɢɦ ɨɛɥɚɫɬɢɦɚ ɦɚɤɪɨ ɢ ɦɢɤɪɨ ɫɜɟɬɚ, ɩɨɱɟɨ ɞɚ ɫɟ ɢɧɬɟɪɟɫɭʁɟ ɢ ɡɚ ɢɞɟʁɭ ɨ ɤɨɪɟɫɩɨɧɞɟɧɬɧɨɫɬɢ, ɬɨ ʁɟɫɬ, ɨ ɨɞɧɨɫɭ ɭɡɪɨɤɚ ɢ ɩɨɫɥɟɞɢɰɟ, ɤɨʁɚ ɩɨɫɬɨʁɢ ɢɡɦɟђɭ ɞɭɯɚ ɢ ɬɟɥɚ. Ɉɧ ʁɟ ɬɭ ɢɞɟʁɭ ɢɡɥɨɠɢɨ ɭ ɫɩɢɫɭ Prodromus Philosophiae Ratiocinantis De Infinito Et Causa Finali Creationis: Deque Mechanismo Operationis Animae Et Corporis (1734). ɉɨ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ ɫɭ ɤɪɚʂɟɜɫɬɜɚ ɩɪɢɪɨɞɟ, ɚ ɧɚɪɨɱɢɬɨ ɬɟɥɨ ɢ ɞɭɯ ɱɨɜɟɤɚ, ɛɢɥɚ ɩɨʂɚ Ȼɨɠʁɟ ɚɤɬɢɜɧɨɫɬɢ. ɋɢɧɯɪɨɧɢɰɢɬɟɬ, ɢɥɢ ɤɚɤɨ { 74 } ɢɦɩɥɢɤɚɰɢʁɟ ɤɨʁɟ ɪɟɡɨɧɢɪɚʁɭ ɫɚ ɩɟɫɧɢɤɨɜɢɦ ɩɨɢɦɚʃɟɦ ɫɜɟɬɚ ɢ ɩɨɥɨɠɚʁɟɦ ɱɨɜɟɤɚ ɭ ʃɟɦɭ. ɇɚɢɦɟ, ɢɞɟʁɭ ɫɚɝɥɚɫʁɚ ɩɟɫɧɢɤ ɫɭɩɪɨɬɫɬɚɜʂɚ ɭɜɟɪɟʃɭ ɨ ɧɟɞɨɜɨʂɧɨɫɬɢ ɢ ɦɚʃɤɚɜɨɫɬɢ ɫɜɟɬɚ, ɩɪɨɲɢɪɭʁɭʄɢ ɬɚɤɨ ɝɪɚɧɢɰɟ ɱɭɥɧɨɝ ɫɜɟɬɚ ɢ ɨɬɜɚɪɚʁɭʄɢ ɩɟɪɫɩɟɤɬɢɜɭ ʁɟɞɧɨɝ ɫɢɧɬɟɬɢɱɤɨɝ ɤɨɧɰɟɩɬɚ ɭɦɟɬɧɨɫɬɢ, ɨɞɧɨɫɧɨ, ɤɨɧɰɟɩɬɚ ɭɦɟɬɧɨɫɬɢ ɭ ɤɨʁɟɦ ‘ɜɥɚɞɚ’ ʁɟɞɢɧɫɬɜɨ ɩɥɭɪɚɥɚ, ɚ ɤɨʁɢ ʁɟ ɤɚɨ ɬɚɤɚɜ ʁɟɞɢɧɢ ɭ ɫɚɝɥɚɫʁɭ ɫɚ ɤɨɦɩɥɟɤɫɧɢɦ ɭɫɬɪɨʁɬɫɜɨɦ ʂɭɞɫɤɟ ɩɪɢɪɨɞɟ. ɍ ɫɜɨʁɨʁ ɩɟɫɦɢ ɋɚɝɥɚɫʁɚ Ȼɨɞɥɟɪ ɢɞɟʁɭ ɨ ɭɡɚʁɚɦɧɨɫɬɢ ɫɭɝɟɪɢɲɟ ɩɪɟɞɫɬɚɜɨɦ ɫɜɟɬɚ ɜɢɞʂɢɜɢɯ ɮɨɪɦɢ ɭ ɱɢʁɨʁ ɩɪɢɜɢɞɧɨʁ ɢɧɟɪɬɧɨɫɬɢ ɫɟ ɨɬɤɪɢɜɚʁɭ ʁɟɡɢɤ ɢ ɫɢɦɛɨɥɢɱɤɚ ɨɛɥɢɱʁɚ ɧɟɤɟ ɧɟɜɢɞʂɢɜɟ ɪɟɚɥɧɨɫɬɢ. ȿɜɨɤɚɬɢɜɧɭ ɫɧɚɝɭ ɢɡɪɚɡɚ ɩɟɫɧɢɤ ɰɪɩɟ ɢɡ ɦɟɬɚɮɨɪɢɱɤɟ ɫɩɪɟɝɟ „ɩɪɢɪɨɞɚ ʁɟ ɯɪɚɦ” („la nature est un temple”), ɭ ɤɨʁɨʁ ʁɟ ɚɩɫɬɪɚɤɬɧɚ ɢɞɟʁɚ (ɨ ɫɜɟɬɨɫɬɢ ɩɪɢɪɨɞɟ) ɞɨɱɚɪɚɧɚ ɞɜɟɦɚ ɜɢɡɭɟɥɧɢɦ ɫɥɢɤɚɦɚ ɤɨʁɟ ɫɟ ɦɟђɭɫɨɛɧɨ ɩɪɟɩɥɢʄɭ – ɫɥɢɤɟ ɯɪɚɦɚ ɢ ɫɥɢɤɟ ɲɭɦɟ ɫɚ „ɠɢɜɢɦ ɫɬɭɛɨɜɢɦɚ” ɭ ɱɢʁɨʁ ɞɭɛɢɧɢ ɨɞɡɜɚʃɚʁɭ „ɧɟʁɚɫɧɟ ɪɟɱɢ”. ɉɪɢɛɥɢɠɚɜɚʃɟ ɨɜɚ ɞɜɚ ɩɥɚɧɚ – ɜɢɡɭɟɥɧɨɝ ɢ ɫɢɦɛɨɥɢɱɤɨɝ – ɩɪɟɞɫɬɚɜʂɚ ɩɪɜɢ ɫɥɨʁ ɩɟɫɧɢɱɤɟ ɢɦɚɝɢɧɚɰɢʁɟ. ȵɟɧ ɤɪɚʁʃɢ ɨɩɫɟɝ ɨɛɭɯɜɚɬɚ ɭɤɭɩɧɨɫɬ ɫɜɢɯ ɟɜɨɤɚɬɢɜɧɢɯ ɩɚɫɚɠɚ ɤɚɨ ʁɟɞɢɧɫɬɜɟɧɭ ɫɬɪɭɤɬɭɪɭ ɩɟɫɧɢɱɤɟ ɮɢɤɰɢʁɟ. Ⱦɢɧɚɦɢɤɚ ɬɨɝ ɩɨɦɟɪɚʃɚ ɢɡɪɚɠɚɜɚ ɫɚɦɨ ɨɧɚʁ ɫɩɨʂɚɲʃɢ ɚɫɩɟɤɬ ɩɨɟɬɫɤɨɝ ɟɥɚɧɚ, ɞɨɤ ɭɧɭɬɪɚɲʃɭ ɢɫɬɢɧɭ ɬɨɝ ɢɦɚɝɢɧɚɬɢɜɧɨɝ ɱɢɧɚ ɩɪɟɞɫɬɚɜʂɚ ɫɜɟɫɬ ɨ „ɞɭɛɨɤɨɦ ɢ ɬɪɚʁɧɨɦ ʁɟɞɢɧɫɬɜɭ” ɪɚɡɥɢɱɢɬɢɯ ɨɛɥɢɤɚ ɩɨʁɚɜɧɨɫɬɢ, ɛɟɡ ɨɛɡɢɪɚ ɧɚ ʃɢɯɨɜɭ ɩɪɢɜɢɞɧɭ ɞɢɫɩɚɪɚɬɧɨɫɬ. „Ɇɢɪɢɫɢ, ɛɨʁɟ ɢ ɡɜɭɤɨɜɢ”, ɤɚɨ ʁɟɞɢɧɫɬɜɨ ɪɚɡɧɨɥɢɤɨɫɬɢ ɢ ɩɢɤɬɭɪɚɥɧɢ ɜɢɞɨɜɢ ɬɨɝ ʁɟɞɢɧɫɬɜɚ (ɞɢɮɪɟɧɨɜɫɤɢ „ʁɟɞɢɧɫɬɜɨ ɩɥɭɪɚɥɚ”), ɧɢɫɭ ɫɚɦɨ ɟɥɟɦɟɧɬɢ ʁɟɞɧɨɝ ɟɫɬɟɬɫɤɨɝ ɩɪɢɧɰɢɩɚ ɢ ɨɛɥɢɤɨɜɧɢɯ ɡɚɯɬɟɜɚ ɩɟɫɧɢɱɤɟ ɮɢɤɰɢʁɟ, ɜɟʄ ɢɡɪɚɠɚʁɧɢ ɟɤɜɢɜɚɥɟɧɬ ɜɥɚɫɬɢɬɟ ɩɟɫɧɢɱɤɟ ɜɢɡɢʁɟ ɨ ɤɨɦɩɥɟɤɫɧɨɦ ɭɫɬɪɨʁɫɬɜɭ ɱɨɜɟɤɚ ɢ ɫɜɟɬɚ. ɋɥɢɱɚɧ ɩɪɢɫɬɭɩ ɢɦɚ ɢ Ɇɢɤɟɥ Ⱦɢɮɪɟɧ ɤɨʁɢ ɤɚɠɟ ɞɚ ɩɟɫɧɢɲɬɜɨ, ɚɥɢ ɢ ɮɢɥɨɡɨɮɢʁɚ ɭ ɢɡɜɟɫɧɨɦ ɫɬɟɩɟɧɭ, „ɦɨɠɟ ɞɨɡɜɚɬɢ ɉɪɢɪɨɞɭ”, ɨɞɧɨɫɧɨ, ɦɨɠɟ ɩɨɬɪɚɠɢɬɢ ɡɧɚɤɨɜɟ ɫɚɝɥɚɫʁɚ ɢɡɦɟђɭ ɱɨɜɟɤɚ ɢ ɫɜɟɬɚ, ɬɟ ʃɢɯɨɜɨ ɡɚʁɟɞɧɢɱɤɨ ɩɨɪɟɤɥɨ ɭ ɉɪɢɪɨɞɢ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɩɟɫɧɢɤ ɩɨɫɬɚʁɟ ɨɧɚʁ ɤɨʁɢ ɨɛɧɚɜʂɚ ʁɟɡɢɤ ɭ ʃɟɝɨɜɨʁ ɩɪɜɨɛɢɬɧɨʁ ɢ ɚɭɬɟɧɬɢɱɧɨʁ ɞɢɦɟɧɡɢʁɢ: ɩɟɫɧɢɤ ɜɪɚʄɚ ʁɟɡɢɤ ɫɜɨɦ ɢɡɜɨɪɭ – ɉɪɢɪɨɞɢ, ʁɟɪ ɨɧɚ ʁɟ, ɫɦɚɬɪɚ ɋɜɟɞɟɧɛɨɪɝ ɩɢɲɟ, „ɭɧɢɜɟɪɡɚɥɧɚ ɚɧɚɥɨɝɢʁɚ” ʁɟ ɩɨɫɬɨʁɚɥɚ ɦɟђɭ ɪɚɡɧɢɦ ɫɢɫɬɟɦɢɦɚ ɛɨɠɢʁɟ ɤɪɟɚɰɢʁɟ. ȼɢɞɟɬɢ ɧɚ ɜɟɛ-ɩɨɪɬɚɥɭ: http://kpv.rs/?p=935. { 75 } Ⱦɢɮɪɟɧ „ʁɟɞɢɧɢ ɤɨɫɦɨɫ ɤɨʁɢ ‘ɩɟɜɚ’”.178 ɇɚ ɫɥɢɱɚɧ ɧɚɱɢɧ ɪɚɡɦɢɲʂɚ ɢ Ⱦɟɛɢɫɢ ɤɚɞɚ ɩɨɫɬɚɜʂɚʁɭʄɢ ɫɚɦ ɫɟɛɢ ɩɢɬɚʃɟ „ɲɬɚ ʁɟ ɦɭɡɢɤɚ”, ɪɟɮɟɪɟɧɬɧɢ ɫɢɫɬɟɦ ɩɪɨɧɚɥɚɡɢ ɭ ɉɪɢɪɨɞɢ. ɇɚɢɦɟ, ɨɧ ɩɢɲɟ: „Ɇɭɡɢɤɚ ʁɟ ɦɢɫɬɟɪɢɨɡɧɚ ɦɚɬɟɦɚɬɢɤɚ ɱɢʁɢ ɟɥɟɦɟɧɬɢ ɩɪɢɩɚɞɚʁɭ ȼɟɱɧɨɫɬɢ. Ɉɧɚ ʁɟ ɨɞɝɨɜɨɪɧɚ ɡɚ ɩɨɤɪɟɬɟ ɜɨɞɟ, ɡɚ ɢɝɪɭ ɬɚɥɚɫɚ ɤɨʁɢ ɨɩɢɫɭʁɭ ɩɪɚɦɟɧɟ ɜɟɬɪɚ. ɇɢɲɬɚ ɧɢʁɟ ɦɭɡɢɤɚɥɧɢʁɟ ɨɞ ɡɚɥɚɫɤɚ ɫɭɧɰɚ. Ɂɚ ɨɧɨɝɚ ɤɨʁɢ ɭɦɟ ɞɚ ɝɥɟɞɚ ɫɚ ɟɦɨɰɢʁɚɦɚ, ɨɧɚ ʁɟ ɧɚʁɥɟɩɲɚ ɥɟɤɰɢʁɚ ɨ ɪɚɡɜɢɬɤɭ ɧɚɩɢɫɚɧɚ ɭ ɬɨʁ ɤʃɢɡɢ, ɤɨʁɢ ɦɭɡɢɱɚɪɢ ɧɟ ɤɨɪɢɫɬɟ ɱɟɫɬɨ. ɏɨʄɭ ɞɚ ɤɚɠɟɦ: ɭ ɩɪɢɪɨɞɢ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.] [...] Ɇɭɡɢɤɚ ʁɟ ɫɥɨɛɨɞɧɚ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ɬɟɱɟ, ɭɦɟɬɧɨɫɬ ɩɨɞ ɜɟɞɪɢɦ ɧɟɛɨɦ, ɭɦɟɬɧɨɫɬ ɩɨ ɦɟɪɢ ɩɪɢɪɨɞɧɢɯ ɩɨʁɚɜɚ, ɜɟɬɪɚ, ɧɟɛɚ, ɦɨɪɚ. Ɉɞ ʃɟ ɧɟ ɬɪɟɛɚ ɩɪɚɜɢɬɢ ɡɚɬɜɨɪɟɧɭ, ɲɤɨɥɫɤɭ ɭɦɟɬɧɨɫɬ [….] Ɇɭɡɢɤɚ ʁɟ ɭɦɟɬɧɨɫɬ ɧɚʁɛɥɢɠɚ ɩɪɢɪɨɞɢ […] Јɟɞɢɧɨ ɦɭɡɢɱɚɪɢ ɢɦɚʁɭ ɩɪɢɜɢɥɟɝɢʁɭ ɞɚ ɨɛɭɯɜɚɬɟ ɫɜɭ ɩɨɟɡɢʁɭ ɧɨʄɢ ɢ ɞɚɧɚ, ɡɟɦʂɟ ɢ ɧɟɛɚ, ɞɚ ɪɟɤɨɧɫɬɪɭɢɲɭ ɚɬɦɨɫɮɟɪɭ ɢ ɞɚ ɪɢɬɦɢɡɭʁɭ ʃɟɧɨ ɜɟɥɢɤɨ ɩɭɥɫɢɪɚʃɟ […] Ɇɭɡɢɤɚ ɧɢʁɟ ɨɝɪɚɧɢɱɟɧɚ ɧɚ ɦɚʃɟ ɢɥɢ ɜɢɲɟ ɬɚɱɧɭ ɪɟɩɪɨɞɭɤɰɢʁɭ ɩɪɢɪɨɞɟ, ɜɟʄ ʁɟ ɭɩɭʄɟɧɚ ɧɚ ɬɚʁɚɧɫɬɜɟɧɟ ɜɟɡɟ [ɫɚɝɥɚɫʁɚ, correspondances] ɢɡɦɟђɭ ɉɪɢɪɨɞɟ ɢ ɂɦɚɝɢɧɚɰɢʁɟ”179. Ⱦɚɤɥɟ, ɦɭɡɢɤɚ, ɩɪɟɦɚ Ⱦɟɛɢɫɢʁɟɜɨɦ ɦɢɲʂɟʃɭ, ɩɪɟɞɫɬɚɜʂɚ ɨɧɭ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ɛɢ ɬɪɟɛɚɥɨ ɞɚ ɤɪɨɡ ɫɟɛɟ ɨɞɪɚɡɢ ɰɟɥɨɜɢɬɨɫɬ ɫɩɨʂɚɲʃɟɝ ɫɜɟɬɚ – ɩɪɢɪɨɞɟ ɢ ɤɨɫɦɢɱɤɢɯ ɡɚɤɨɧɚ. Ɍɚɤɨђɟ, ɭ ɬɨɦ ɩɪɨɰɟɫɭ, ɨɧɚ ɛɢ ɬɪɟɛɚɥɨ ɞɚ ɫɟ ɪɭɤɨɜɨɞɢ ɧɟɤɢɦ ɞɪɭɝɢɦ ɩɪɢɧɰɢɩɢɦɚ ɢɡɝɪɚɞʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɤɨʁɢ ɫɭ ɞɪɭɝɚɱɢʁɢ ɨɞ (ɞɨ ɬɚɞɚ) ɩɨɧɭђɟɧɢɯ ɤɨɦɩɨɡɢɰɢɨɧɨ-ɬɟɯɧɢɱɤɢɯ ɩɨɫɬɭɩɚɤɚ. ɉɪɟɦɚ Ⱦɟɛɢɫɢʁɟɜɨɦ ɦɢɲʂɟʃɭ, ɦɭɡɢɤɚ ɛɢ ɬɪɟɛɚɥɨ ɞɚ ɛɭɞɟ ɭɦɟɬɧɨɫɬ ɤɨʁɚ, ɢɚɤɨ ɫɬɜɨɪɟɧɚ ʂɭɞɫɤɢɦ ɪɭɤɚɦɚ, ɬɟɠɢ ɞɚ ɫɟ ɞɢɫɬɚɧɰɢɪɚ ɲɬɨ ʁɟ ɦɨɝɭʄɟ ɜɢɲɟ ɨɞ ɞɪɭɲɬɜɟɧɢɯ ɢ ɭɦɟɬɧɢɱɤɢɯ ɤɨɧɜɟɧɰɢʁɚ ɢ ɩɪɚɜɢɥɚ. ȵɟɧɚ ɡɚɤɨɧɨɦɟɪɧɨɫɬ, ɫɦɚɬɪɚ ɨɜɚʁ ɤɨɦɩɨɡɢɬɨɪ, ɩɪɨɢɡɥɚɡɢ ɢɡ ɧɨɜɢɯ ɨɞɧɨɫɚ ɭ ɤɨʁɟ ɫɬɭɩɚʁɭ ɭɦɟɬɧɢɤ, ʃɟɝɨɜɚ ɭɦɟɬɧɨɫɬ ɢ ɉɪɢɪɨɞɚ. ɍ ɰɢɬɢɪɚɧɨɦ ɨɞɥɨɦɤɭ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɤɨɪɢɫɬɢ ɫɢɦɛɨɥɢɫɬɢɱɤɢ ɞɢɫɤɭɪɫ, ɛɥɢɡɚɤ Ȼɨɞɥɟɪɭ ɢ ʃɟɝɨɜɨʁ ɬɟɨɪɢʁɢ ɫɚɝɥɚɫʁɚ (correspondances). ȵɟɝɚ ɩɪɟɩɨɡɧɚʁɟɦɨ ɭ ɨɧɨɦ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ‘ɩɨɡɢɜɭ’ ɭɩɭʄɟɧɨɦ ɭɦɟɬɧɢɤɭ ɞɚ ɫɟ ‘ɭʁɟɞɢɧɢ’ ɫɚ ɉɪɢɪɨɞɨɦ, ɞɚ ɭ ʃɟɧɢɦ ɲɤɪɢʃɚɦɚ ɨɬɤɪɢʁɟ ɛɪɨʁɧɟ ɡɧɚɤɨɜɟ, ɫɢɦɛɨɥɟ, ɪɟɱɢ, ɫɥɢɤɟ, ɬɨɧɨɜɟ, ɛɨʁɟ, ɞɚ ɢɯ 178 Mikel Dufrenne, Le poétique (Paris: PUF, 1963), 133. 179 ȼɢɞɟɬɢ: Claude Debussy, Monsieur Croche et autres écrits (Paris: Gallimard, 1985), 62; ɰɢɬɢɪɚɧɨ ɩɪɟɦɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 53. { 76 } ɩɨɬɨɦ ɫɥɨɛɨɞɧɨ ɤɨɦɛɢɧɭʁɟ ɢ ɨɬɤɪɢʁɟ ʃɢɯɨɜɨ ɡɚʁɟɞɧɢɱɤɨ ɩɨɪɟɤɥɨ ɭ ɦɟɚɧɞɪɢɦɚ ɩɨɞɫɜɟɫɬɢ ɢ ɚɫɨɰɢʁɚɰɢʁɚ. ɂɦɚɝɢɧɚɰɢʁɚ ɤɨʁɭ Ⱦɟɛɢɫɢ ɩɨɦɢʃɟ ʁɟ ɬɚɤɨђɟ ɛɨɞɥɟɪɨɜɫɤɟ ɩɪɨɜɟɧɢʁɟɧɰɢʁɟ ‒ „ɨɧɚ ʁɟ ɢ ɚɧɚɥɢɡɚ ɢ ɫɢɧɬɟɡɚ ɢ ɨɫɟʄɚʁɧɨɫɬ” ɢ ɤɚɨ ɬɚɤɜɚ ɨɦɨɝɭʄɚɜɚ ɞɚ ɫɟ ɪɟɚɥɧɨɫɬ ɩɪɢɪɨɞɟ ɬɪɚɧɫɮɨɪɦɢɲɟ ɭ ɧɨɜɭ ɪɟɚɥɧɨɫɬ ɭɦɟɬɧɢɱɤɨɝ ɞɟɥɚ.180 ɂɡ ɬɨɝ ɪɚɡɥɨɝɚ, Ⱦɟɛɢɫɢʁɚ ɢ ɢɧɬɟɪɟɫɭʁɟ ɦɭɡɢɤɚ ɤɚɨ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ʁɟ ɧɚʁɛɥɢɠɚ ɉɪɢɪɨɞɢ, ɨɞɧɨɫɧɨ, ɤɚɨ ʁɟɞɢɧɚ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ɦɨɠɟ ɞɚ ɨɛɟɡɛɟɞɢ ɰɟɥɢɧɭ ɞɨɠɢɜʂɚʁɚ ɡɚɯɜɚʂɭʁɭʄɢ ɫɩɨɫɨɛɧɨɫɬɢ ɞɚ „ɩɪɢɪɨɞɢ ɩɨɫɬɚɜɢ ɡɚɦɤɭ”, ɞɚ ɞɨɱɚɪɚ ɚɬɦɨɫɮɟɪɭ, ɤɚɨ ɢ ɞɚ „ɪɢɬɦɢɡɭʁɟ ʃɟɧɚ ɧɟɢɡɦɟɪɧɚ ɩɨɞɪɯɬɚɜɚʃɚ”.181 Ɉ ɩɪɢɪɨɞɢ ɢ ɫɧɚɡɢ ɦɭɡɢɱɤɟ ɭɦɟɬɧɨɫɬɢ ɧɚ ɜɪɥɨ ɫɥɢɱɚɧ ɧɚɱɢɧ ɝɨɜɨɪɢ ɢ Ȼɨɞɥɟɪ ɤɚɞɚ ɤɚɠɟ ɞɚ ʁɟ „ɨɧɚ [ɦɭɡɢɤɚ] ɫɭɝɟɫɬɢɜɧɚ ɦɚɝɢʁɚ ɤɨʁɚ ɩɨɧɟɤɚɞ ɫɚɞɪɠɢ ɢ ɫɭɛʁɟɤɬ ɢ ɨɛʁɟɤɬ, ɫɩɨʂɚɲʃɢ ɫɜɟɬ ɭɦɟɬɧɢɤɚ ɢ ɫɚɦɨɝ ɭɦɟɬɧɢɤɚ ɢɫɬɨɜɪɟɦɟɧɨ”, ɨɧɚ ʁɟ ɱɢɫɬɚ ɭɦɟɬɧɨɫɬ – la musique pure – ɫɩɨɫɨɛɧɚ ɞɚ ɞɨɫɟɝɧɟ ɢ ɨɜɚɩɥɨɬɢ ɜɟɱɢɬɭ ɬɚʁɧɭ ɨɞɧɨɫɚ ɱɨɜɟɤɚ, ɉɪɢɪɨɞɟ ɢ ɭɦɟɬɧɨɫɬɢ. Ȼɢɥɨ ɞɚ ʁɟ ɪɟɱ ɨ Ⱦɟɛɢɫɢʁɟɜɨʁ ɢɥɢ ɨ Ȼɨɞɥɟɪɨɜɨʁ ɦɭɡɢɰɢ, ɨɧɚ, ɤɚɨ ɢ ɫɜɟ ɨɫɬɚɥɟ ɭɦɟɬɧɨɫɬɢ – ɩɨɟɡɢʁɚ, ɫɥɢɤɚɪɫɬɜɨ, ɜɚʁɚɪɫɬɜɨ ɭ ɨɤɜɢɪɢɦɚ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɟ ɢ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɟɫɬɟɬɢɤɟ ɬɟɠɢ ɞɚ ɞɨɫɟɝɧɟ ɫɚɦɭ ɫɭɲɬɢɧɭ ɫɬɜɚɪɢ. ɍɤɨɥɢɤɨ ɫɟ ʁɨɲ ʁɟɞɧɨɦ ɜɪɚɬɢɦɨ ɧɚ Ⱦɟɛɢɫɢʁɟɜ ɫɬɚɜ ɨ ɬɨɦɟ ɞɚ ɫɭ ɤɨɧɜɟɧɰɢɨɧɚɥɧɟ ɬɟɯɧɢɤɟ ɤɨɦɩɨɧɨɜɚʃɚ ɡɚɫɬɚɪɟɥɟ, ɞɚ ɡɚɩɪɚɜɨ ɨɝɪɚɧɢɱɚɜɚʁɭ ɦɭɡɢɤɭ ɧɚ ʃɟɧɨɦ ɩɭɬɭ ɤɚ ɩɨɧɨɜɧɨɦ ɨɫɜɚʁɚʃɭ ɫɥɨɛɨɞɟ, ɭɨɱɢʄɟɦɨ ɞɚ ʁɟ ɭɩɪɚɜɨ ɬɚʁ Ⱦɟɛɢɫɢʁɟɜ ɫɬɚɜ ɭ ɫɚɝɥɚɫʁɭ ɫɚ Ɇɚɥɚɪɦɟɨɜɨɦ ɢɞɟʁɨɦ ɨ ɩɨɬɪɟɛɢ ɪɟɜɢɡɢʁɟ ʁɟɡɢɤɚ, ʁɟɪ ɭɤɨɥɢɤɨ ʁɟ ʁɟɡɢɤ ɤɨɪɢɲʄɟɧ ɧɚ ɬɪɚɞɢɰɢɨɧɚɥɚɧ ɢ ɤɨɧɜɟɧɰɢɨɧɚɥɚɧ ɧɚɱɢɧ, ɨɧɞɚ ɧɢʁɟ ɭ ɫɬɚʃɭ ɞɚ ɢɫɤɚɠɟ ɦɢɫɬɟɪɢɡɨɧɢ ɞɭɯ ɫɜɟɬɚ, ɨɞɧɨɫɧɨ, ɫɚɦɭ ɂɞɟʁɭ. Ɍɚɤɨђɟ, ɫɥɟɞɟʄɢ ɫɢɦɛɨɥɢɫɬɢɱɤɢ ɩɨɫɬɭɩɚɤ „ɫɭɝɟɪɢɫɚʃɚ ɫɚɦɢɯ ɫɬɜɚɪɢ”, Ⱦɟɛɢɫɢ ɭ ɦɭɡɢɰɢ ɩɪɢɦɟʃɭʁɟ ɚɧɚɥɨɝɚɧ ɩɨɫɬɭɩɚɤ „ɟɜɨɤɚɰɢʁɟ”. Ʉɪɨɡ ɩɨɫɬɭɩɚɤ ɩɨɞɫɟʄɚʃɚ ɢ ɨɠɢɜʂɚɜɚʃɚ ɭɫɩɨɦɟɧɚ ɧɚ ɦɭɡɢɱɤɟ ɞɭɯɨɜɟ ɩɪɨɲɥɨɫɬɢ, ɚ ɩɪɟ ɫɜɟɝɚ ɤɪɨɡ ɪɟɚɤɰɢʁɭ ɧɚ ʃɢɯ, Ⱦɟɛɢɫɢʁɟɜɚ ɦɭɡɢɤɚ ɞɨɠɢɜʂɚɜɚ ɫɜɨʁɟɜɪɫɧɨ ɩɪɨɱɢɲʄɟʃɟ; ɧɚɢɦɟ, ɦɭɡɢɤɚ ɤɪɨɡ ɩɨɫɬɭɩɚɤ ɟɜɨɤɚɰɢʁɟ ɛɢɜɚ ‘ɨɝɨʂɟɧɚ’, ɨɬɜɚɪɚʁɭʄɢ ɩɪɨɫɬɨɪ ɡɚ ɧɨɜɨ ɱɢɬɚʃɟ ɦɨɝɭʄɧɨɫɬɢ ɫɨɩɫɬɜɟɧɨɝ ɦɟɞɢʁɚ, ɬɟ ɩɨɧɨɜɧɢɦ ɨɬɤɪɢɜɚʃɟɦ ɦɚɬɟɪɢʁɚɥɧɟ ɫɭɲɬɢɧɟ ɭɦɟɬɧɢɱɤɨɝ ɞɢɫɤɭɪɫɚ, ɨɧɚ ɩɨɫɬɚʁɟ ɧɨɫɢɥɚɰ ɫɢɦɛɨɥɚ – ɦɢɫɬɟɪɢʁɟ ɫɜɟɬɚ. 180 ɍɩɨɪɟɞɢɬɢ ɫɚ: Stefan Jarocinski, Impressionisme et symbolism (Paris: Edition du Seuil, 1970), 44–45. 181 ȼɢɞɟɬɢ ɭ: Claude Debussy, Monsieur Croche et autres..., ɧɚɜ. ɞɟɥɨ, 245–246. { 77 } ɍ ɤɨɧɬɟɤɫɬɭ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ ɫɬɚɜɚ ɩɪɟɦɚ ɩɪɢɪɨɞɢ ɨɫɜɪɧɭɥɚ ɛɢɯ ɫɟ ɧɚ ʁɨɲ ʁɟɞɧɭ ʃɟɝɨɜɭ ɢɡʁɚɜɭ, ɬɚɱɧɢʁɟ, ʁɟɞɚɧ ɫɟɝɦɟɧɬ ɢɧɬɟɪɜʁɭɚ ɤɨʁɢ ʁɟ ɞɚɨ ɡɚ ɱɚɫɨɩɢɫ Excelsior. ȵɟɝɚ ɢɫɬɢɱɟɦ ɡɚɬɨ ɲɬɨ ʁɟ ɨɧ ɩɨɤɚɡɚɬɟʂ ɞɚ Ⱦɟɛɢɫɢ ɧɢʁɟ ʁɟɞɢɧɨ ɛɢɨ ɩɨɞɫɬɚɤɧɭɬ ɫɢɦɛɨɥɢɫɬɢɱɤɢɦ ɩɪɨɫɟɞɟɨɦ ɤɨʁɢ ʁɟ ɧɚ ɉɪɢɪɨɞɭ ɝɥɟɞɚɨ ɤɚɨ ɧɚ ɧɟɲɬɨ ȼɟɱɧɨ, ɢɡɜɚɧ- ʂɭɞɫɤɨ ɢ ɚɩɫɨɥɭɬɧɨ. ɇɚɩɪɨɬɢɜ, ɨɧɨ ɲɬɨ ɨɬɤɪɢɜɚ ɫɟɝɦɟɧɬ ɩɨɦɟɧɭɬɨɝ ɢɧɬɟɪɜʁɭ ɬɢɱɟ ɫɟ ʁɟɞɧɨɝ ɞɪɭɝɚɱɢʁɟɝ ɨɞɧɨɫɚ ɩɪɟɦɚ ɉɪɢɪɨɞɢ, ɚ ɨɧ ɩɪɨɢɡɥɚɡɢ ɢɡ ɡɚɦɢɲʂɟɧɨɫɬɢ ɦɨɞɟɪɧɨɝ ɱɨɜɟɤɚ ɧɚɞ ɫɚɦɢɦ ɫɨɛɨɦ ɢ ɧɚɞ ɭɠɚɫɢɦɚ ɫɜɚɤɨɞɧɟɜɢɰɟ ɦɨɞɟɪɧɨɝ ɠɢɜɨɬɚ. ɍ ɨɛʁɚɜʂɟɧɨɦ ɢɧɬɟɪɜʁɭɭ, 1911. ɝɨɞɢɧɟ, Ⱦɟɛɢɫɢ ɤɚɠɟ: „ɇɟ ɩɪɚɤɬɢɤɭʁɟɦ ɧɢʁɟɞɚɧ ɩɨɫɜɟʄɟɧɢ ɪɢɬɭɚɥ. Јɚ ɫɚɦ ɜɟɪɧɢɤ ɦɢɫɬɟɪɢɡɨɧɟ ɩɪɢɪɨɞɟ. ɇɟ ɦɢɫɥɢɦ ɞɚ ʁɟ ɱɨɜɟɤ ɨɛɭɱɟɧ ɭ ɫɜɟɲɬɟɧɢɱɤɭ ɨɞɨɪɭ ɛɥɢɠɢ Ȼɨɝɭ, ɧɢɬɢ ɞɚ ʁɟ ʁɟɞɧɨ ɨɞɪɟђɟɧɨ ɦɟɫɬɨ ɭ ɝɪɚɞɭ ɩɨɝɨɞɧɢʁɟ ɡɚ ɦɟɞɢɬɚɰɢʁɭ ɨɞ ɞɪɭɝɨɝ. ɂɫɩɨɞ ɧɟɛɚ ɭ ɩɨɤɪɟɬɭ, ɤɚɞɚ ɪɚɡɦɢɲʂɚɦ ɞɭɝɨ ɨ ʃɟɝɨɜɨʁ ɥɟɩɨɬɢ ɤɨʁɚ ɫɟ ɧɟɩɪɟɤɢɞɧɨ ɨɛɧɚɜʂɚ, ɩɪɨɠɢɦɚʁɭ ɦɟ ɞɭɛɨɤɟ ɟɦɨɰɢʁɟ. ɇɟɢɡɦɟɪɧɚ ɩɪɢɪɨɞɚ ɫɟ ɨɝɥɟɞɚ ɭ ɦɨʁɨʁ ɝɪɟɲɧɨʁ ɢ ɫɥɚɛɨʁ ɞɭɲɢ […] ɢ ɭ ɬɨɦ ɬɪɟɧɭɬɤɭ, ɧɟɫɜɟɫɧɨ, ɪɭɤɟ ɡɚɭɡɢɦɚʁɭ ɦɨɥɢɬɜɟɧɭ ɩɨɡɭ […]”182. Ⱦɟɛɢɫɢ ɢɡɧɨɫɢ ʁɟɞɚɧ ɦɨɞɟɪɧɢɫɬɢɱɤɢ ɫɬɚɜ ɩɪɟɦɚ ɪɟɚɥɧɨɫɬɢ, ɝɞɟ ɩɨʁɟɞɢɧɚɰ, ɧɟɩɪɢɥɚɝɨђɟɧ ɚɤɬɭɟɥɧɢɦ ɞɪɭɲɬɜɟɧɢɦ ɬɨɤɨɜɢɦɚ ɬɪɚɠɢ ɛɟɝ ɨɞ ʃɢɯ, ɚɥɢ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɩɨɛɭɧɭ ɩɪɨɬɢɜ ɧɨɪɦɢ ɤɪɨɡ ɫɨɩɫɬɜɟɧɨ ɫɬɜɚɪɚɥɚɲɬɜɨ, ɱɢʁɚ ʁɟ ɢɧɫɩɢɪɚɰɢʁɚ, ɭ Ⱦɟɛɢɫɢʁɟɜɨɦ ɫɥɭɱɚʁɭ, ɩɪɢɪɨɞɚ. Ɂɚɬɨ ɫɟ ɥɟɩɨɬɚ ɬɟ ɩɪɢɪɨɞɟ ɤɨʁɚ ɫɟ ɪɟɮɥɟɤɬɭʁɟ ɭ ɤɨɦɩɨɡɢɬɨɪɨɜɨʁ ɞɭɲɢ, ɦɨɠɟ ʁɟɞɢɧɨ ɢɡɪɚɡɢɬɢ ɭ ʃɟɝɨɜɨʁ ɭɦɟɬɧɨɫɬɢ ɤɪɨɡ ɟɜɨɤɚɰɢʁɭ, ɬɨ ʁɟɫɬ, ɪɟɱɟɧɨ ɞɢɮɪɟɧɨɜɫɤɢɦ ʁɟɡɢɤɨɦ, „ɤɪɨɡ ɬɪɚʁɚʃɟ ɨɛʁɟɤɬɚ ɭ ɫɟʄɚʃɭ ɫɭɛʁɟɤɬɚ”. Ⱦɟɛɢɫɢ ɬɨ ɭ ɧɚɫɬɚɜɤɭ ɢɧɬɟɪɜʁɭɚ ɨɛɪɚɡɥɚɠɟ ɧɚ ɫɥɟɞɟʄɢ ɧɚɱɢɧ: „Ʉɨ ɦɨɠɟ ɞɚ ɫɩɨɡɧɚ ɬɚʁɧɭ ɦɭɡɢɤɟ? ɏɭɤ ɦɨɪɚ, ɤɪɢɜɢɧɚ ɯɨɪɢɡɨɧɬɚ, ɜɟɬɚɪ ɭ ɥɢɲʄɭ, ɰɜɪɤɭɬ ɩɬɢɰɟ, ɨɫɬɚɜʂɚʁɭ ɭ ɧɚɦɚ ɦɧɨɝɨɛɪɨʁɧɟ (ɦɧɨɝɨɡɧɚɱɧɟ) ɢɦɩɪɟɫɢʁɟ. Ɉɞʁɟɞɧɨɦ, ɨɧɞɚ ɤɚɞɚ ɫɟ ɬɨ ɧɚʁɦɚʃɟ ɨɱɟɤɭʁɟ, ʁɟɞɧɨ ɨɞ ɨɜɢɯ ɫɟʄɚʃɚ [‘ɫɭɜɟɧɢɪɚ’] ɭɫɩɟɜɚ ɞɚ ɫɟ ɨɞɜɨʁɢ ɨɞ ɧɚɫ ɢ ɩɪɟɬɨɱɢ ɭ ɝɨɜɨɪ ɦɭɡɢɤɟ. Ɍɨ ɫɟʄɚʃɟ ɧɨɫɢ ɭ ɫɟɛɢ ɫɜɨʁɭ ɫɨɩɫɬɜɟɧɭ ɯɚɪɦɨɧɢʁɭ. ɇɚɩɨɪ ɤɨʁɢ ɫɟ ɬɚɞɚ ɱɢɧɢ, ɧɚʁɢɦɩɪɟɫɢɜɧɢʁɢ ʁɟ ɢ ɧɚʁɢɫɤɪɟɧɢʁɢ – ɫɚɦɨ ɫɪɰɟ ɩɪɟɞɨɞɪɟђɟɧɨ ɡɚ ɦɭɡɢɤɭ ɬɚɞɚ ɫɬɜɚɪɚ ɫɜɨʁɚ ɧɚʁɥɟɩɲɚ ɨɬɤɪɢʄɚ […] Ɂɛɨɝ ɬɨɝɚ ɠɟɥɢɦ ɞɚ ɡɚɩɢɲɟɦ ɫɜɨʁ ɦɭɡɢɱɤɢ ɫɚɧ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.], ɩɨɬɩɭɧɨ ɨɞɜɨʁɟɧ ɨɞ ʃɟɝɚ ɫɚɦɨɝ. ɀɟɥɢɦ ɞɚ ɩɟɜɚɦ ɫɜɨʁ ɭɧɭɬɪɚɲʃɢ ɩɟʁɡɚɠ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.] ɫɚ ɧɚɢɜɧɨɦ ɢɫɤɪɟɧɨɲʄɭ ɞɟɬɟɬɚ”.183 182 ɂɫɬɨ, 324. 183 ɂɫɬɨ, 325; ɰɢɬɢɪɚɧɨ ɩɪɟɦɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 53. { 78 } Ɉɧɨ ɲɬɨ ɫɟ ɬɚɤɨђɟ ɢɲɱɢɬɚɜɚ ɢɡ ɰɢɬɢɪɚɧɨɝ ɨɞɥɨɦɤɚ ɬɢɱɟ ɫɟ ɨɫɧɨɜɧɢɯ ɦɨɬɢɜɚ, ɨɞɧɨɫɧɨ, ɫɩɟɰɢɮɢɱɧɢɯ ɡɜɭɱɧɢɯ ‘ɨɛʁɟɤɚɬɚ’ ɤɨʁɟ Ⱦɟɛɢɫɢ ɟɜɨɰɢɪɚ ɭ ɫɜɨʁɢɦ ɞɟɥɢɦɚ; ɪɟɱ ʁɟ ɨ ɩɪɢɪɨɞɧɢɦ ɡɜɭɱɧɢɦ ɮɟɧɨɦɟɧɢɦɚ ɩɨɩɭɬ ɡɜɭɤɚ ɦɨɪɚ ɢɥɢ ɡɜɭɤɚ ɜɟɬɪɚ, ɚɥɢ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ʃɢɯɨɜɨɝ ɩɨɤɪɟɬɚ, ɡɚɬɢɦ ɨ ɲɢɪɢɧɢ ɩɪɨɫɬɨɪɚ, ɚɥɢ ɢ ɩɨʁɟɞɢɧɚɱɧɢɦ (ɤɨɧɤɪɟɬɧɢɦ) ɡɜɭɰɢɦɚ ɢɡ ɩɪɢɪɨɞɟ. Ƚɨɬɨɜɨ ɫɜɢ ɨɜɢ ɦɨɬɢɜɢ ɫɭ ɭ ɩɨɬɩɭɧɨɫɬɢ ɩɟɪɰɢɩɢɪɚɧɢ ɱɭɥɨɦ ɫɥɭɯɚ; ɨɧɢ ɩɪɢɩɚɞɚʁɭ ɤɪɭɝɭ ɚɭɞɢɬɢɜɧɢɯ ɨɩɚɠɚʁɚ, ɬɨ ʁɟɫɬ, ɩɪɟɞɫɬɚɜʂɚʁɭ ɡɜɭɱɧɟ ‘ɨɛʁɟɤɬɟ’ Ⱦɟɛɢɫɢʁɟɜɨɝ ɦɭɡɢɱɤɨɝ ɭɧɢɜɟɪɡɭɦɚ. Ɉɧɢ ɫɟ, ɧɚʁɩɪɟ, ɭɧɭɬɚɪ ɫɚɦɨɝ ɭɦɟɬɧɢɤɚ ɩɪɟɨɛɪɚɠɚɜɚʁɭ, ɚ ɡɚɬɢɦ ɩɪɟɜɨɞɟ ɭ ɧɨɜɭ ‘ɪɟɚɥɧɨɫɬ’ – ɦɭɡɢɱɤɭ ɤɨɦɩɨɡɢɰɢʁɭ – ɭ ɨɤɜɢɪɭ ɤɨʁɟ ɫɟ ‘ɪɚɫɬɚɱɭ’, ɩɪɟɬɜɚɪɚʁɭʄɢ ɫɟ ɭ ɡɜɭɱɧɟ ɨɬɢɫɤɟ ɫɬɜɚɪɧɨɫɬɢ ɭ ɭɧɭɬɪɚɲʃɟɦ ɫɜɟɬɭ ɧɟɫɜɟɫɧɨɝ – ɭ ɫɧɨɜɢɦɚ. Ɍɨ ʁɟ Ⱦɟɛɢɫɢʁɟɜ ɧɚɱɢɧ ɡɚɩɢɫɢɜɚʃɚ „ɭɧɭɬɪɚɲʃɟɝ ɩɟʁɡɚɠɚ”; ɢɫɬɨɜɪɟɦɟɧɨ, ɬɨ ʁɟ ɧɚɱɢɧ ɧɚ ɤɨʁɢ Ⱦɟɛɢɫɢ ‘ɥɨɜɢ’ ɦɢɫɬɟɪɢʁɭ ɢɝɪɟ ɨɞɧɨɫɚ ɟɥɟɦɟɧɚɬɚ, ɢɝɪɭ ɤɨʁɚ, ɛɭɞɭʄɢ ɞɚ ʁɟ ɫɭɲɬɢɧɫɤɢ ɚɫɨɰɢʁɚɬɢɜɧɚ ɢ ɞɚ ʁɟ ɧɚɫɬɚɥɚ ɭ ɩɪɟɞɟɥɢɦɚ ɧɟɫɜɟɫɧɨɝ, ɧɢɤɚɞɚ ɧɟ ɦɨɠɟ ɞɚ ɛɭɞɟ ɞɨɜɨʂɧɨ ɩɪɟɰɢɡɧɨ ɤɨɞɢɮɢɤɨɜɚɧɚ. Ȼɭɞɭʄɢ ɞɚ Ⱦɟɛɢɫɢ ɢɡʁɟɞɧɚɱɚɜɚ ɭɬɢɫɚɤ (ɢɦɩɪɟɫɢʁɭ) ɫɚ ɚɩɫɬɪɚɤɬɧɨɦ ɢɦɟɧɢɰɨɦ ɫɟʄɚʃɟ, ɬɨ ɡɧɚɱɢ ɞɚ ɫɟ ɫɜɚɤɢ ‘ɨɛʁɟɤɚɬ’/ɩɪɟɞɦɟɬ ɩɨɧɨɜɨ ɫɬɜɚɪɚ, ɬɨ ʁɟɫɬ, ɪɟɤɪɟɢɪɚ ɧɚ ɨɫɧɨɜɭ ɫɟʄɚʃɚ. Ɉɜɚʁ ɩɪɨɰɟɫ ʁɟ ɧɭɠɧɨ ɬɪɚɧɫɮɨɪɦɚɰɢɨɧɢ ɛɭɞɭʄɢ ɞɚ ɧɢɤɚɞɚ ɧɢʁɟ ɦɨɝɭʄɟ ɫɬɜɨɪɢɬɢ ɞɢɪɟɤɬɧɭ ɢ ɩɪɟɰɢɡɧɭ ɪɟɤɨɧɫɬɪɭɤɰɢʁɭ, ɜɟʄ ɫɚɦɨ ʁɟɞɧɭ ɨɩɲɬɢʁɭ ɢ ɩɨɫɪɟɞɧɢʁɭ ɪɟɚɥɢɡɚɰɢʁɭ ɞɚɬɨɝ ɨɛʁɟɤɬɚ/ɩɪɟɞɦɟɬɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, Ⱦɟɛɢɫɢ ɫɯɜɚɬɚ ɦɭɡɢɤɭ ɤɚɨ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ʁɟ ɫɩɨɫɨɛɧɚ ɞɚ ɭɯɜɚɬɢ ɬɨ ‘ɨɩɲɬɟ’, ɚ ɫɚɦɢɦ ɬɢɦ ɢ, ɪɟɱɟɧɨ ʁɟɡɢɤɨɦ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ, „ɩɪɜɨɛɢɬɧɨ ɫɬɚʃɟ ɟɜɨɰɢɪɚɧɨɝ ɨɛʁɟɤɬɚ”. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɦɭɡɢɤɚ ɧɟ ɩɪɟɬɟɧɞɭʁɟ ɫɚɦɨ ɧɚ ʁɟɞɚɧ ʃɟɝɨɜ ɮɪɚɝɦɟɧɬ ɜɟʄ ɧɚ ʃɟɝɨɜɭ ‘ɦɟɬɚɮɢɡɢɱɤɢ’ ɰɟɥɨɜɢɬɭ ɫɭɲɬɢɧɭ. Ɍɚɤɨ ɫɟ ɭɫɩɨɫɬɚɜʂɚ ɩɪɢɦɚɬ ɦɭɡɢɤɟ ɭ ɨɞɧɫɭ ɧɚ ɫɥɢɤɚɪɫɬɜɨ ɢ ɜɚʁɚɪɫɬɜɨ. ɍ ɨɜɢɦ ɭɦɟɬɧɢɱɤɢɦ ɞɢɫɰɢɩɥɢɧɚɦɚ ɢɧɬɟɪɩɪɟɬɚɰɢʁɚ ɭɧɢɜɟɪɡɚɥɧɟ ɥɟɩɨɬɟ ʁɟ ɜɪɥɨ ɫɥɨɛɨɞɧɨ ɢ ɭɜɟɤ ɮɪɚɝɦɟɧɬɚɪɧɨ ɤɨɧɰɢɩɢɪɚɧɚ, ɮɨɤɭɫɢɪɚʁɭʄɢ ɩɪɢɬɨɦ ɫɚɦɨ ʁɟɞɚɧ ʃɟɧ ɚɫɩɟɤɬ, ɫɚɦɨ ʁɟɞɚɧ ɬɪɟɧɭɬɚɤ. ɍ ɨɜɨɦ ɤɨɧɬɟɤɫɬɭ, ɢɧɬɟɪɟɫɧɚɬɧɨ ʁɟ ɭɨɱɢɬɢ ɞɚ ʁɟ ɩɪɨɰɟɫ ɨ ɤɨɦɟ Ⱦɟɛɢɫɢ ɝɨɜɨɪɢ ɭ ɫɭɲɬɢɧɢ ɪɚɡɥɢɱɢɬ ɨɞ ɫɥɢɤɚɪɫɤɨɝ ɩɨɫɬɭɩɤɚ, ɧɚ ɩɪɢɦɟɪ, Ʉɥɨɞɚ Ɇɨɧɟɚ ɤɨʁɢ ɫɜɨʁɢɦ plain-air ɩɟʁɡɚɠɢɦɚ ɠɟɥɢ ɞɚ ɭɯɜɚɬɢ ɬɪɟɧɭɬɚɤ (ɢɫɟɱɚɤ, ɮɪɚɝɦɟɧɬ), ɬɪɟɧɭɬɧɭ ɩɨʁɚɜɧɨɫɬ ɧɟɤɨɝ ɩɪɢɪɨɞɧɨɝ ɮɟɧɨɦɟɧɚ. Ɉ ɬɨɦ ɩɨɫɬɭɩɤɭ ɩɢɫɚɨ ʁɟ ɢ ȿɦɢɥ Ɂɨɥɚ, { 79 } ɞɟɮɢɧɢɲɭʄɢ plain-air ɧɚ ɫɥɟɞɟʄɢ ɧɚɱɢɧ: „ɇɚɩɨʂɭ (plain-air) ɫɜɟɬɥɨɫɬ ɧɢʁɟ ʁɟɞɢɧɫɬɜɟɧɚ; ʃɟɧɢ ɪɚɡɧɨɥɢɤɢ ɟɮɟɤɬɢ ɪɚɡɚɪɚʁɭ ɢ ɪɚɞɢɤɚɥɧɨ ɬɪɚɧɫɮɨɪɦɢɲɭ ɩɨʁɚɜɧɨɫɬɢ ɫɬɜɚɪɢ ɢ ʂɭɞɢ. ɂɫɬɪɚɠɢɜɚʃɟ ɫɜɟɬɥɨɫɬɢ, ʃɟɧɢɯ ɧɚ ɯɢʂɚɞɟ ɜɢɞɨɜɚ ɪɚɡɚɪɚʃɚ ɢ ɩɨɧɨɜɧɢɯ ɫɬɜɚɪɚʃɚ, ɩɪɢɩɚɞɚ ɩɪɚɜɰɭ ɤɨʁɢ ɜɢɲɟ ɢɥɢ ɦɚʃɟ ɩɪɟɰɢɡɧɨ ɧɚɡɢɜɚɦɨ ɢɦɩɪɟɫɢɨɧɢɡɦɨɦ, ʁɟɪ ɫɥɢɤɚ ɩɨɫɬɚʁɟ ɢɦɩɪɟɫɢʁɚ ʁɟɞɧɨɝ ɩɪɨɠɢɜʂɟɧɨɝ ɦɨɦɟɧɬɚ ɭ ɩɪɢɪɨɞɢ.”184 Ɉɜɚɤɜɢɦ ɫɬɚɜɨɦ, Ɂɨɥɚ ɡɚɩɪɚɜɨ ɩɨɬɜɪђɭʁɟ Ⱦɟɛɢɫɢʁɟɜɭ ɬɟɡɭ ɞɚ ɫɥɢɤɚɪɫɬɜɨ ‘ɯɜɚɬɚ’ ɫɚɦɨ ʁɟɞɚɧ ɬɪɟɧɭɬɚɤ ɭ ɩɪɢɪɨɞɢ, ɞɨɤ ɦɭɡɢɱɚɪ/ɤɨɦɩɨɡɢɬɨɪ ɩɭɬɟɦ ɟɜɨɤɚɰɢʁɟ ɫɩɚʁɚ ɪɚɡɥɢɱɢɬɟ ɦɨɦɟɧɬɟ ɭ ʁɟɞɚɧ ɡɜɭɱɧɢ ɤɨɧɬɢɧɭɭɦ. ɂɩɚɤ, Ⱦɟɛɢɫɢ ʄɟ ɩɪɟɭɡɟɬɢ ɧɟɲɬɨ ɢ ɨɞ ɫɥɢɤɚɪɚ (ɨ ɱɟɦɭ ʄɟ ɞɟɬɚʂɧɢʁɟ ɛɢɬɢ ɩɢɫɚɧɨ ɭ ɧɚɫɬɚɜɤɭ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ), ɚ ɬɨ ʁɟ ɢɫɬɪɚɠɢɜɚʃɟ ɫɚɦɟ ɦɚɬɟɪɢʁɚɥɧɟ ɨɫɧɨɜɟ ɦɭɡɢɱɤɟ ɭɦɟɬɧɨɫɬɢ. ɇɚɥɢɤ ɫɥɢɤɚɪɫɤɨɦ ɪɚɡɥɚɝɚʃɭ ɢ ɢɫɩɢɬɢɜɚʃɭ ɛɨʁɟ, Ⱦɟɛɢɫɢ ʄɟ ɡɚɩɨɱɟɬɢ ɞɚ ɚɧɚɥɢɡɢɪɚ ɫɜɟ ɦɨɝɭʄɧɨɫɬɢ ɬɨɧɚ, ɚ ɩɨɫɟɛɧɨ ʃɟɝɨɜɭ ɤɨɥɨɪɢɫɬɢɱɤɭ ɞɢɦɟɧɡɢʁɭ. ɇɨ, ɭɤɨɥɢɤɨ ɫɟ ɜɪɚɬɢɦɨ ɧɚ ɪɚɡɭɦɟɜɚʃɟ ɨɞɧɨɫɚ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ ɭ ɤɨɧɬɟɤɫɬɭ ɪɟɤɪɟɢɪɚʃɚ ɰɟɥɨɜɢɬɨɫɬɢ ɧɟɤɨɝ ɩɪɟɞɦɟɬɚ, ɞɨɥɚɡɢɦɨ ɞɨ ɡɚɤʂɭɱɤɚ ɞɚ ɭɯɨ, ɤɨʁɟ ɢɚɤɨ ɨɩɟɪɢɲɟ ɫɚ ɦɧɨɝɨ ɜɢɲɟ ɞɢɫɤɪɟɰɢʁɟ ɤɚɤɨ ɩɪɢɦɟʄɭʁɟ Ⱦɢɮɪɟɧ, ɝɨɬɨɜɨ ɭɜɟɤ ɬɟɠɢ ɞɚ ‘ɭɯɜɚɬɢ’ ɰɟɥɢɧɭ, ɫɭɲɬɢɧɭ, ɫɚɦɭ ɛɢɬ ɨɛʁɟɤɬɚ; ɬɚɤɜɨ ɭɯɨ, ɤɨʁɟ, ɢɚɤɨ ‘ɧɟ ɢɫɩɢɬɭʁɟ’, ‘ɧɟ ɥɭɬɚ’ ɧɚ ɧɚɱɢɧ ɨɤɚ, ɢɩɚɤ ɫ ɩɚɠʃɨɦ ɩɪɢɦɚ ɡɜɭɱɧɨ: ɨɧɨ ɨɫɥɭɲɤɭʁɟ, ɪɟɝɢɫɬɪɭʁɟ ɧɚʁɮɢɧɢʁɟ ɧɢʁɚɧɫɟ/ɛɨʁɟ ɢ ɢɧɬɟɧɡɢɬɟɬɟ. Ɉɧɨ ɧɚɦ ɨɦɨɝɭʄɚɜɚ ɞɚ ɱɭʁɟɦɨ ɠɢɜɨɬ, ɤɚɤɨ Ⱦɢɮɪɟɧ ɩɢɲɟ.185 Ⱥ ɱɭɬɢ ɠɢɜɨɬ, ɩɨ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ, ɡɧɚɱɢ ɱɭɬɢ ɫɨɩɫɬɜɟɧɨ ɬɟɥɨ – ɱɭɬɢ ɝɚ ɤɚɤɨ ‘ɲɭɲɤɚ’, ɤɚɤɨ ‘ɨɞʁɟɤɭʁɟ’, ɤɚɤɨ ɪɚɞɢ. ɑɭɬɢ ɠɢɜɨɬ, ɞɪɭɝɢɦ ɪɟɱɢɦɚ, ɡɧɚɱɢ ɱɭɬɢ ʁɟɞɧɨ „ɞɭɛɢɧɫɤɨ ɡɜɭɱɧɨ ɩɥɚɬɧɨ” ɫɚ ɤɨʁɟɝ ɫɟ ɨɞɜɚʁɚ ɡɜɭɤ ɝɨɜɨɪɚ, ɞɚɯ ɤɨʁɢ ɦɨɞɭɥɢɪɚ, ɤɨʁɢ ɬɨ ‘ɠɢɜɭʄɟ’ ɡɜɭɱɧɨ ɬɟɥɨ ɱɢɧɢ ɩɪɢɫɭɬɧɢɦ ɭ ɫɜɟɬɭ. Ɍɚɤɜɨ ɭɯɨ, ɤɨʁɟ ‘ɯɜɚɬɚ’ ɫɚɦɭ ɫɭɲɬɢɧɭ ɫɬɜɚɪɢ – ɫɚɦ ɠɢɜɨɬ, ɭɯɨ ɤɨʁɟ ʁɟ ɭ ɧɟɩɨɫɪɟɞɧɨɦ „ɫɚɝɥɚɫʁɭ” ɫɚ ɉɪɢɪɨɞɨɦ ɢ ʃɟɧɢɦ ɮɟɧɨɦɟɧɢɦɚ, ʁɟɫɬɟ ɢɫɬɨ ɨɧɨ ɭɯɨ ɡɚ ɤɨʁɢɦ ʄɟ ɬɪɚɝɚɬɢ ɢ ɩɟɫɧɢɰɢ ɫɢɦɛɨɥɢɫɬɢ. 184 Emil Zola, Mon Salon – Manet – Écrits sur l’art (Paris: Garnier-Flammarion, 1970), 335. 185 Mikel Difren, Oko i…, ɧɚɜ. ɞɟɥɨ, 78. { 80 } ɋ ɬɢɦ ɭ ɜɟɡɢ, ɢ ɦɭɡɢɱɤɚ ɭɦɟɬɧɨɫɬ ʄɟ ɛɢɬɢ ɬɚ ɨɞ ɤɨʁɟ ʄɟ ɩɟɫɧɢɰɢ ɤɨɧɚɱɧɨ, ɤɚɤɨ ɤɚɠɟ ɉɨɥ ȼɚɥɟɪɢ, „ɩɪɟɭɡɟɬɢ ɫɜɨʁɟ ɞɨɛɪɨ” ɢ ɬɚɤɨ „ɩɨɟɡɢʁɢ ɜɪɚɬɢɬɢ ʃɟɧɭ ɦɭɡɢɱɤɭ ɞɢɦɟɧɡɢʁɭ – ɦɟɥɨɞɢɨɡɧɨɫɬ ɫɬɢɯɚ ɢ ɦɭɡɢɱɧɨɫɬ ɦɢɫɥɢ”186. ...ɂɡɦɟђɭ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɩɨɟɡɢʁɟ ɢ ɫɬɜɚɪɚɥɚɲɬɜɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ Јɟɞɚɧ ɨɞ ɧɚʁɞɪɚɠɢɯ Ⱦɟɛɢɫɢʁɟɜɢɯ ɫɢɦɛɨɥɢɫɬɚ, ɉɨɥ ȼɟɪɥɟɧ187, ɛɢʄɟ ɮɚɫɰɢɧɢɪɚɧ, ɧɟ ɫɚɦɨ ɦɭɡɢɱɤɢɦ ɬɟɦɚɦɚ, ɜɟʄ ɢ ɡɜɭɱɧɨɦ ɫɬɪɭɤɬɭɪɨɦ ɢɫɤɭɫɬɜɚ ɲɬɨ ʄɟ ɛɢɬɢ ɞɨɜɨʂɚɧ ɩɨɞɫɬɢɰɚʁ ɞɚ ɭ ɫɜɨʁɨʁ ɉɟɫɧɢɱɤɨʁ ɭɦɟɬɧɨɫɬɢ (Art poétique, 1884) ɧɚɩɢɲɟ: „Ɇɭɡɢɤɚ ɩɪɟ ɢ ɢɡɧɚɞ ɫɜɟɝɚ (...) Ɇɭɡɢɤɚ ʁɨɲ ɢ ɭɜɟɤ, ɫɜɢɦɚ!”188 Ɉɜɚʁ ɟɤɫɩɥɢɰɢɬɧɨ ɮɨɪɦɭɥɢɫɚɧ ɡɚɯɬɟɜ ɡɚ ɦɭɡɢɤɚɥɧɨɲʄɭ ɫɬɢɯɚ ɢ ɩɟɫɧɢɱɤɢɦ ɨɛɥɢɤɨɜɚʃɟɦ ɧɟɩɨɫɪɟɞɧɢɯ ɢ ɧɟɭɯɜɚɬʂɢɜɢɯ ɭɬɢɫɚɤɚ (impression du moment, ɤɚɤɨ ɢɯ ɧɚɡɢɜɚ ȼɟɪɥɟɧ) ɩɪɟɬɜɚɪɚ ɫɟ ɭ ɜɟɪɛɚɥɧɢ ɩɪɨɫɬɨɪ ɤɨʁɢ ɟɜɨɰɢɪɚ ɢ ɫɭɝɟɪɢɲɟ ɜɢɲɟ ɧɟɝɨ ɲɬɨ ɢɦɟɧɭʁɟ ɢɥɢ ɨɩɢɫɭʁɟ.189 Ɍɚʁ ɜɟɪɛɚɥɧɢ ɩɪɨɫɬɨɪ ʁɟ ɢɡɭɡɟɬɧɨ ɛɨɝɚɬ ɦɭɡɢɱɤɢɦ ɟɮɟɤɬɢɦɚ ɢ ɪɚɡɭђɟɧɢɦ ɡɜɭɱɧɢɦ ɮɢɝɭɪɚɦɚ, ɥɢɲɟɧ ɛɪɟɦɟɧɚ ɛɭɤɜɚɥɧɨɫɬɢ ɢ ɜɚʁɚɧɢɯ ɪɟɱɢ. ȼɟɪɥɟɧɨɜɚ ɩɨɟɡɢʁɚ ʁɟ ʁɟɞɧɨ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨ ɫɜɟɞɨɱɚɧɫɬɜɨ „ɫɚɝɥɚɫʁɚ” ɡɜɭɤɨɜɚ 186 ȼɢɞɟɬɢ ɭ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 15. 187 Ɉɛʁɚɜʂɢɜɚʃɟ ȼɟɪɥɟɧɨɜɟ ɡɛɢɪɤɟ ɋɚɬɭɪɧɫɤɟ ɩɟɫɦɟ (Poèmes saturniens) 1866. ɝɨɞɢɧɟ ɨɡɧɚɱɚɜɚ ɩɨʁɚɜɭ ɫɢɦɛɨɥɢɡɦɚ ɭ ɤʃɢɠɟɜɧɨɫɬɢ, ɨɞɧɨɫɧɨ, ɢɦɩɪɟɫɢɨɧɢɡɦɚ ɭ ɭɦɟɬɧɨɫɬɢ ɭɨɩɲɬɟ. ɋɜɨʁɭ ɨɩɫɟɞɧɭɬɨɫɬ ɢɞɟʁɨɦ ɨ ɬɚʁɚɧɫɬɜɟɧɨʁ ɦɨʄɢ ɋɚɬɭɪɧɚ, ɞɢɜʂɟ ɩɥɚɧɟɬɟ ɢ ʃɟɧɨɝ ɤɨɛɧɨɝ ɭɬɢɰɚʁɚ ɧɚ ɪɚɡɭɦ ɢ ɱɨɜɟɤɨɜɭ ɬɟɠʃɭ ɤɚ ɢɞɟɚɥɢɦɚ, ȼɟɪɥɟɧ ʁɟ ɩɪɟɬɨɱɢɨ ɭ ɩɨɟɡɢʁɭ (ɨɛʁɚɜʂɟɧɭ ɭ ɩɨɦɟɧɭɬɨʁ ɡɛɢɪɰɢ) ɤɨʁɚ ʁɟ, ɡɚɩɪɚɜɨ, ɧɚɫɬɚɥɚ ɤɚɨ ɪɟɡɭɥɬɚɬ ɩɨɤɭɲɚʁɚ ɨɞɛɪɚɧɟ ɧɟɦɨʄɧɨɝ ɱɨɜɟɤɚ ɤɨʁɢ ɫɟ, ɤɚɤɨ ɩɢɲɟ ɩɟɫɧɢɤ, „ɛɚɬɪɝɚ ɦɟђɭ ɞɨɝɚђɚʁɢɦɚ ʁɟɞɧɨɝ ɩɪɢɥɢɱɧɨ ɛɢɡɚɪɧɨɝ ɠɢɜɨɬɚ”. ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: Branko Džakula (ur.), Francuska književnost..., ɧɚɜ. ɞɟɥɨ, 88. ȼɟɪɥɟɧ, ɞɪɭɝɢɦ ɪɟɱɢɦɚ, ɤɪɟɢɪɚ ɩɟɫɧɢɱɤɢ ɫɜɟɬ ɤɨʁɢ ʁɟ ɫɚɡɞɚɧ ɨɞ ɧɨɫɬɚɥɝɢɱɧɢɯ ɫɟʄɚʃɚ ɤɨʁɚ ɭ ɞɭɲɢ ɪɚɡɨɱɚɪɚɧɨɝ ɢ ɧɟɫɪɟʄɧɨɝ ɱɨɜɟɤɚ ɞɨɛɢʁɚʁɭ ɜɪɟɞɧɨɫɬ ɧɟɧɚɞɨɤɧɚɞɢɜɨɝ ɛɨɝɚɬɫɬɜɚ ɢ ʁɟɞɢɧɨɝ ɢɫɬɢɧɫɤɨɝ ɡɚɜɢɱɚʁɚ. ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 13. ɍ ɩɪɢɥɨɝɭ 1 ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ ɧɚɥɚɡɢ ɫɟ ɢɧɬɟɝɪɚɥɧɚ ɜɟɪɡɢʁɚ ɉɟɫɧɢɱɤɟ ɭɦɟɬɧɨɫɬɢ, ɉɨɥɚ ȼɟɪɥɟɧɚ. 188 ɉɪɟɩɟɜɚɨ Ⱦɚɧɢɥɨ Ʉɢɲ. Ɉɛʁɚɜʂɟɧɨ ɭ: ɉɨɥ ȼɟɪɥɟɧ, ɉɟɫɦɟ (ɉɨɞɝɨɪɢɰɚ: ɂɌɉ „ɍɇɂɊȿɄɋ” – Ɂɍɇɋ, 1996), 45–46. 189 ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Francuska književnost..., ɧɚɜ. ɞɟɥɨ, 91; Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 15. { 81 } ɢ ɛɨʁɚ – ɩɨɟɡɢʁɚ ɭ ɤɨʁɨʁ ɫɬɜɚɪɢ ‘ɨɠɢɜʂɚɜɚʁɭ’ ɨɧɞɚ ɤɚɞɚ ɫɟ ɭɝɚɫɢ ɫɟʄɚʃɟ ɧɚ ʃɢɯɨɜ ɦɚɬɟɪɢʁɚɥɧɢ ɢɞɟɧɬɢɬɟɬ ɢ ʃɢɯɨɜ ɫɟɦɚɧɬɢɱɤɢ ɛɭɤɜɚɥɢɡɚɦ. Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ ɢɫɬɢɱɟ ɞɚ ɫɭ ȼɟɪɥɟɧɨɜ „ɩɨɝɥɟɞ ɧɚ ɫɜɟɬ ɢ ɩɪɢɪɨɞɭ ɧɚʁɱɟɲʄɟ ɞɚɬɢ ɭ ɬɟɯɧɢɰɢ ɫɮɭɦɚɬɚ ɭ ɤɨʁɨʁ ɫɟ ɫɜɟɬɥɨɫɧɢɦ ɟɮɟɤɬɢɦɚ, ɤɚɨ ɭɨɫɬɚɥɨɦ ɢ ɭ ɫɥɢɤɚɪɫɬɜɭ (ɚɥɢ ɢ ɭ ɜɚʁɚɪɫɬɜɭ Ɉɝɢɫɬɚ Ɋɨɞɟɧɚ, ɤɨʁɢ ʁɟ ɩɨɧɨɜɨ ɭɥɢɨ ɠɢɜɨɬ ɫɤɭɥɩɬɭɪɢ – ɛɪɨɧɡɚɧɢɦ, ɦɟɪɦɟɪɧɢɦ ɢɥɢ ɝɢɩɫɚɧɢɦ ɨɛɥɢɰɢɦɚ ɤɨʁɟ ɝɪɚɞɢ ɦɨɞɟɥɭʁɭʄɢ ɭ ɝɢɩɤɨʁ ɦɚɫɢ ɜɨɫɤɚ ɢɥɢ ɝɥɢɧɟ, ɚ ɤɨʁɢ ɬɪɟɩɟɪɟ ɨɞ ɩɥɚɫɬɢɱɧɟ ɟɧɟɪɝɢʁɟ, ɢ ɧɚ ɱɢʁɨʁ ɫɟ ɩɨɜɪɲɢɧɢ ɫɜɟɬɥɨɫɬ ɢɝɪɚ, ɪɚɡɥɢɜɚʁɭʄɢ ʁɟ ɢ ɪɚɡɦɟɤɲɚɜɚʁɭʄɢ – ɭ ɫɜɨʁɢɦ ɨɫɬɜɚɪɟʃɢɦɚ ɤɚɨ ɲɬɨ ɫɭ ɑɨɜɟɤ ɫɥɨɦʂɟɧɨɝ ɧɨɫɚ, Ɇɢɫɥɢɥɚɰ, Ȼɚɥɡɚɤ, ɢɥɢ, ɉɨʂɭɛɚɰ) ɫɭɝɟɪɢɲɭ ɫɭɩɬɢɥɧɟ ɩɪɨɦɟɧɟ ɞɭɲɟɜɧɢɯ ɫɬɚʃɚ, ɚ ɦɚɬɟɪɢʁɚɥɧɢ ɫɜɟɬ ɪɚɡɛɢʁɚ ɧɚ ɫɜɨʁɟ ɞɭɯɨɜɧɟ ɤɨɦɩɨɧɟɧɬɟ”.190 Ƚɨɬɨɜɨ ɢɫɬɢ ɦɟɯɚɧɢɡɚɦ ɧɟɩɨɫɪɟɞɧɟ ɩɟɫɧɢɱɤɟ ɢɧɬɭɢɰɢʁɟ ɢ ɩɟɫɧɢɱɤɨɝ ɢɦɩɪɟɫɢɨɧɢɡɦɚ ɫɟ ɨɬɤɪɢɜɚ ɢ ɭ ɞɨɦɟɧɭ ɜɢɡɭɟɥɧɢɯ ɩɪɟɞɫɬɚɜɚ ɢ ʃɢɯɨɜɟ ɫɥɨʁɟɜɢɬɟ ɫɬɪɭɤɬɭɪɟ, ɬɟ ɫɟ ɬɚɤɨ ɫɢɦɛɨɥɢɡɚɰɢʁɚ ɢɫɤɭɫɬɜɚ, ɤɨɞ ȼɟɪɥɟɧɚ, ɪɟɞɨɜɧɨ ɜɪɲɢ ɧɚ ɛɚɡɢ ɜɢɡɭɟɥɧɢɯ ɢɥɢ ɚɭɞɢɬɢɜɧɢɯ ɭɬɢɫɚɤɚ. ɋɬɢɯɨɜɢɦɚ ɫɟ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɨɬɜɚɪɚʁɭ ɩɪɨɫɬɨɪɢ ɭ ɤɨʁɢɦɚ ɬɨɧɨɜɢ ɧɚɤɧɚɞɧɨ ɨɞɡɜɚʃɚʁɭ, ɞɨɤ ɫɟ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɨɬɜɚɪɚʁɭ ɩɪɨɫɬɨɪɢ ɭ ɤɨʁɢɦɚ ɫɟ ɫɥɢɤɚ ɩɪɨɞɭɠɭʁɟ ɭ ɫɜɨʁɭ ɩɢɬɨɪɟɫɤɧɭ ɩɪɨʁɟɤɰɢʁɭ. ɂɡ ɬɨɝɚ ɩɪɨɢɡɥɚɡɢ ɢ ɡɚɤʂɭɱɚɤ ɞɚ ʁɟɡɢɤ ȼɟɪɥɟɧɨɜɟ ɩɨɟɡɢʁɟ ɩɨɫɬɚʁɟ ɫɪɟɞɫɬɜɨ ɚɩɫɨɥɭɬɧɟ ɤɨɦɭɧɢɤɚɰɢʁɟ ɛɚɡɢɪɚɧɟ ɧɚ ɦɭɡɢɱɤɢɦ ɫɜɨʁɫɬɜɢɦɚ ɝɥɚɫɨɜɧɨɝ ɫɢɫɬɟɦɚ ‒ ɪɟɱɢ ɫɟ ɨɫɥɨɛɚђɚʁɭ ɫɜɨɝ ɫɬɚɧɞɚɪɞɧɨɝ ɢ ɪɟɮɟɪɟɧɰɢʁɚɥɧɨɝ ɛɚɥɚɫɬɚ ɬɟɠɟʄɢ ɞɚ ɞɨɫɟɝɧɭ ɱɢɫɬɨɬɭ ɦɭɡɢɱɤɟ ɫɬɪɭɤɬɭɪɟ ‒ ɢɥɢ, ɩɚɤ, ɥɢɤɨɜɧɟ ɩɪɨɡɪɚɱɧɨɫɬɢ, ɩɪɢ ɬɨɦɟ, ɧɟ ɝɭɛɟʄɢ ɫɜɨʁ ɫɦɢɫɚɨ, ɜɟʄ ɢɫɬɢɱɭʄɢ ɚɭɬɨɧɨɦɢʁɭ ɜɥɚɫɬɢɬɟ ɥɨɝɢɤɟ ɢ ɜɥɚɫɬɢɬɢɯ ɩɨɟɬɫɤɢɯ ɡɚɤɨɧɚ. Ɋɨɦɚɧɬɢɱɚɪɫɤɨ ɢɞɟɧɬɢɮɢɤɨɜɚʃɚ ɞɭɲɟ ɢ ɩɟʁɡɚɠɚ ɡɚ ȼɟɪɥɟɧɚ ɩɪɟɞɫɬɚɜʂɚ ɫɚɦɨ ɩɨɡɢɜ ɧɚ ɬɪɚɝɚʃɟ ɡɚ ɤɪɚʁʃɢɦ ɝɪɚɧɢɰɚɦɚ ɦɭɡɢɱɤɨɝ ɫɜɨʁɫɬɜɚ ʁɟɡɢɤɚ ɢ ʃɟɝɨɜɢɦ ɫɭɝɟɫɬɢɜɧɢɦ ɤɚɪɚɤɬɟɪɨɦ; ɭ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɩɨɦɟɧɭɬɢ ɩɟʁɡɚɠ ɩɪɟɫɬɚʁɟ ɞɚ ɛɭɞɟ ɫɚɦɨ „ɫɬɚʃɟ ɞɭɲɟ” (un état d’âme), ɜɟʄ ɩɨɫɬɚʁɟ ɫɜɟɭɤɭɩɧɚ ɯɚɪɦɨɧɢʁɚ ɩɪɨɫɬɨɪɧɢɯ ɢ ɡɜɭɱɧɢɯ ʁɟɞɢɧɢɰɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɧɟɤɚɞɚɲʃɚ ɢɞɟɧɬɢɮɢɤɚɰɢʁɚ ɞɭɲɟ ɢ ɩɟʁɡɚɠɚ, ɞɨɛɢʁɚ ɧɨɜɭ ɞɢɦɟɧɡɢʁɭ ɭ ȼɟɪɥɟɧɨɜɨʁ ɩɨɟɡɢʁɢ: ɨɧɚ ɫɟ ɩɪɟɨɛɪɚɠɚɜɚ ɭ ɞɭɯɭ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɢɯ ɢɫɬɪɚɠɢɜɚʃɚ, ɜɟɡɭʁɭʄɢ ɪɟɱ ɡɚ ɦɭɡɢɤɭ ɧɟɢɡɪɟɰɢɜɨɝ ɢ ɡɚ ɫɜɟɬɥɨɫɧɭ ɟɤɫɩɥɨɡɢʁɭ 190 ɂɫɬɨ, 15–16. { 82 } ɧɚɭɯɜɚɬʂɢɜɢɯ ɢɦɚɝɢɧɚɪɧɢɯ ɩɟʁɡɚɠɚ, ɝɪɚɞɟʄɢ ɬɚɤɨ ɫɢɦɛɨɥɢɱɤɨ ʁɟɞɢɧɫɬɜɨ ɦɭɡɢɱɤɢɯ ɢ ɥɢɤɨɜɧɢɯ ɟɥɟɦɟɧɚɬɚ.191 ȼɟɪɥɟɧɨɜɚ ɤɪɚʁʃɟ ɢɧɞɢɜɢɞɭɚɥɢɡɨɜɚɧɚ ɩɟɫɧɢɱɤɚ ɫɜɟɫɬ ɤɨʁɚ ɫɜɟɬ ɞɨɠɢɜʂɚɜɚ ɤɚɨ ɦɭɡɢɱɤɭ ɜɢɡɢʁɭ, ɪɚђɚ ʁɟɞɚɧ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɚɧ ɩɟɫɧɢɱɤɢ ɫɜɟɬ – ɫɜɟɬ ɧɟɭɯɜɚɬʂɢɜɢɯ ɤɨɧɬɭɪɚ, ɦɟɤɨʄɟ ɢ ɩɪɨɡɪɚɱɧɨɫɬɢ – ɫɚɡɞɚɧ ɨɞ ɧɚʁɪɚɡɥɢɱɢɬɢʁɢɯ ɦɭɡɢɱɤɢɯ ɨɛɥɢɤɚ ɢ ɪɢɬɦɢɱɤɢɯ ɦɨɞɟɥɚ, ɬɟ ɮɢɝɭɪɚ ɤɚɨ ɲɬɨ ɫɭ „ɦɭɡɢɤɚɥɧɚ ɫɜɟɬɥɨɫɬ” (les lueurs musiciennes), „ɤɪɢɰɢ ɦɟɬɚɥɚ” (cris des métaux), „ɡɚɝɪʂɚʁ ɩɨɜɟɬɚɪɰɚ” (l’étreinte des brises) ɢɬɞ.192 ɍ ɬɨɦ ɩɟɫɧɢɱɤɨɦ ɫɜɟɬɭ, ‘ɢɧɬɨɧɚɰɢɨɧɚ ɥɢɧɢʁɚ’, ɤɨʁɨʁ ɫɭ ɪɟɱɢ ɫɚɦɨ ɡɜɭɱɧɢ ɩɨɜɨɞ ɢ ɟɥɟɦɟɧɬ ʁɟɞɧɟ ɫɭɝɟɫɬɢɜɧɟ ɮɨɧɟɬɢɤɟ, ɩɪɟɞɫɬɚɜʂɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɚɧ ɜɢɞ „ɢɧɬɢɦɧɨɝ ‘ɫɚɝɥɚɫʁɚ’” ɢɡɦɟђɭ ɩɟɫɧɢɤɨɜɨɝ ɜɢђɟʃɚ ɫɬɜɚɪɢ ɢ ɧɟɭɯɜɚɬʂɢɜɨɝ ɢ ɧɟɢɡɪɟɰɢɜɨɝ ɫɜɟɬɚ. Ɍɚ ‘ɢɧɬɨɧɚɰɢɨɧɚ ɥɢɧɢʁɚ’, ɨɞɧɨɫɧɨ, ɫɨɧɨɪɧɨ ɬɤɚʃɟ ɤɨʁɟ ɩɨɩɭɬ ɫɢɦɛɨɥɚ ɫɭɝɟɪɢɲɟ ɚɥɢ ɧɢɤɚɞɚ ɞɨ ɤɪɚʁɚ ɧɟ ɨɬɤɪɢɜɚ ɜɟɡɭ ɢɡɦɟђɭ ɫɜɟɬɚ ɢ ɩɟɫɧɢɤɨɜɟ ɞɭɲɟ, ɨɫɬɚɜʂɚ ɨɬɜɨɪɟɧ ɩɪɨɫɬɨɪ ɡɚ ɞɚʂɭ ɢɦɚɝɢɧɚɰɢʁɭ ɫɜɟɝɚ ɨɧɨɝɚ ɲɬɨ ɬɚ ɫɭɝɟɫɬɢʁɚ ɭ ȼɟɪɥɟɧɨɜɨɦ ɩɟɫɧɢɲɬɜɭ ɢɦɩɥɢɰɢɪɚ. ɍ ɬɨɦ ɩɪɨɫɬɨɪɭ ‘ɪɚђɚ ɫɟ’ ɦɭɡɢɤɚ – ʁɟɞɢɧɚ ɭɦɟɬɧɨɫɬ ɤɨʁɚ ʁɟ ɫɬɜɨɪɟɧɚ ɡɚ ɧɟɢɡɪɟɰɢɜɨ193. ɍ ɬɨɦ ɩɪɨɫɬɨɪɭ ɧɚɫɬɚʁɭ ɛɪɨʁɧɟ Ⱦɟɛɢɫɢʁɟɜɟ ɫɨɥɨ-ɩɟɫɦɟ ɤɨʁɟ ɧɚ ʁɟɞɚɧ ɫɚɫɜɢɦ ɤɚɪɚɤɬɟɪɢɫɬɢɱɚɧ ɧɚɱɢɧ ɩɪɭɠɚʁɭ ɨɞɝɨɜɨɪ ɧɚ ɩɢɬɚʃɟ „ɤɚɤɨ ɦɭɡɢɤɨɦ ɨɞɝɨɜɨɪɢɬɢ ɧɚ ɦɭɡɢɤɭ”. ɇɚʁɩɨɡɧɚɬɢʁɟ ɡɛɢɪɤɟ ɫɨɥɨ-ɩɟɫɚɦɚ ɤɨʁɟ Ⱦɟɛɢɫɢ ɤɨɦɩɨɧɭʁɟ ɧɚ ȼɟɪɥɟɧɨɜɟ ɫɬɢɯɨɜɟ ɧɚɥɚɡɟ ɫɟ ɭ ɞɜɟɦɚ ɡɛɢɪɤɚɦɚ Ƚɚɥɚɧɬɧɢɯ ɫɜɟɱɚɧɨɫɬɢ (Fêtes galantes) ɡɚ ɝɥɚɫ ɢ ɤɥɚɜɢɪ, ɤɨʁɟ ɫɟ ɫɚɫɬɨʁɟ ɨɞ ɩɨ ɬɪɢ ɩɟɫɦɟ.194 ɋɚɦɚ ȼɟɪɥɟɧɨɜɚ ɢɫɬɨɢɦɟɧɚ ɡɛɢɪɤɚ – Fêtes galantes ɢɡ 1869. ɝɨɞɢɧɟ, ɩɨɤɚɡɭʁɟ ɞɚ ɫɭ ɫɥɢɤɚɪɫɬɜɨ Ⱥɧɬɨɚɧɚ 191 ȼɢɞɟɬɢ ɭ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 16. ɉɨɦɟɧɭɬɨ ɪɚɫɬɚɤɚʃɟ ɨɫɟʄɚʁɧɨɝ ɛɢʄɚ ɭ ɮɥɭɢɞɭ ɫɜɟɬɥɨɫɬɢ ɢ ɡɜɭɤɚ ɩɨɬɜɪђɭʁɟ, ɫɦɚɬɪɚ ɇɢɤɨɥɚ Ʉɨɜɚɱ, ȼɟɪɥɟɧɨɜɭ ɬɟɠʃɭ ɞɚ ɭɯɜɚɬɢ ɢ ‘ɦɚɬɟɪɢʁɚɥɢɡɭʁɟ’ ɧɟɫɬɚɥɧɢ ɢɡɝɥɟɞ ɫɬɜɚɪɢ, ɨɞɧɨɫɧɨ, ɞɚ ɤɪɚɬɤɨɬɪɚʁɧɟ ɩɨɤɪɟɬɟ ɩɪɢɪɨɞɟ ɢ ɩɟɫɧɢɱɤɟ ɞɭɲɟ ɩɪɟɞɫɬɚɜɢ ɤɚɨ ɬɪɚʁɧɚ ɢ ɜɟɱɧɚ ɫɜɨʁɫɬɜɚ ɩɨɟɡɢʁɟ. ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Francuska književnost…, ɧɚɜ. ɞɟɥɨ, 91. 192 Ʉɚɨ ɲɬɨ ɧɚ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɢɦ ɩɥɚɬɧɢɦɚ ɬɢɬɪɚ ɫɜɟɬɥɨɫɬ ɤɚɨ ʁɟɞɢɧɢ ɡɧɚɤ ɩɪɟɞɦɟɬɚ-ɫɚɞɪɠɚʁɚ, ɬɚɤɨ ɢ ɤɨɞ ȼɟɪɥɟɧɚ ɬɪɚɝɚʃɟ ɡɚ ɦɭɡɢɱɤɢɦ ɟɮɟɤɬɢɦɚ ɢɦɚ ɡɚ ɰɢʂ ɞɚ ɩɪɢɛɥɢɠɢ ɨɫɟʄɚʁɧɭ ɫɭɩɫɬɚɧɰɭ ɫɬɜɚɪɢ, ɨɞɧɨɫɧɨ, ɞɚ „ɩɨɤɪɟɬɟ [ɬɪɟɩɟɪɟʃɚ] ɞɭɲɟ” ɩɪɟɬɜɨɪɢ ɭ ɪɢɬɦɢɡɨɜɚɧɢ ɫɥɟɞ ɬɨɧɨɜɚ. ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 90. 193 ɍɩɨɪɟɞɢɬɢ ɫɚ: Stefan Jarocinski, ɧɚɜ. ɞɟɥɨ, 117. 194 ɉɪɜɭ ɡɛɢɪɤɭ, ɤɨʁɚ ʁɟ ɧɚɫɬɚɥɚ ɭ ɩɟɪɢɨɞɭ ɢɡɦɟђɭ 1891. ɢ 1892. ɝɨɞɢɧɟ, ɱɢɧɟ ɩɟɫɦɟ ɋɚ ɫɨɪɞɢɧɨɦ (En sourdine), Ɇɚɪɢɨɧɟɬɚ (Fantoche) ɢ Ɇɟɫɟɱɢɧɚ (Clair de lune), ɚ ɞɪɭɝɭ, ɤɨʁɭ ʁɟ Ⱦɟɛɢɫɢ ɤɨɦɩɨɧɨɜɚɨ 1904. ɝɨɞɢɧɟ, ɱɢɧɟ ɩɟɫɦɟ ɇɟɜɢɧɢ (Les Ingénus), Ɏɚɭɧ (Le Faune) ɢ ɋɟɧɬɢɦɟɧɬɚɥɧɢ ɪɚɡɝɨɜɨɪ (Colloque sentimental). { 83 } ȼɚɬɨɚ (Antoine Watteau) ɢ ɦɭɡɢɤɚ ɫɭɲɬɢɧɫɤɢ ɩɨɞɫɬɢɰɚʁ ɡɚ ɩɟɫɦɭ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɭɞɪɭɠɟɧɢ ɨɤɨ ɢ ɭɯɨ, ɭ „ɭ ɫɚɝɥɚɫʁɭ” ɡɜɭɱɧɨ ɨɫɥɢɤɚɜɚʁɭ ɟɥɟɝɚɧɬɧɭ ɩɨɜɨɪɤɭ ɛɚɪɨɤɧɢɯ ɩɪɢɜɢђɟʃɚ ɤɪɨɡ ɞɜɚɞɟɫɟɬ ɢ ɞɜɟ ɩɟɫɦɟ. Ɍɚ ɩɨɜɨɪɤɚ, ɥɭɤɫɭɡɧɨ ɞɟɤɨɪɢɫɚɧɚ, ɭɡ ɡɜɭɤɟ ɫɜɟɱɚɧɢɯ ɮɚɧɮɚɪɚ, ɭ ɮɪɚɝɨɧɚɪɨɜɫɤɨɦ ɫɬɢɥɭ ɢ ɫɚ ɩɪɨɬɚɝɨɧɢɫɬɢɦɚ ɢɡ ɢɬɚɥɢʁɚɧɫɤɟ ɤɨɦɟɞɢʁɟ ɞɟɥ ɚɪɬɟ (commedia dell’arte), ɩɪɟɩɭɲɬɚ ɫɟ ɱɚɪɢɦɚ ɝɪɚɰɢɨɡɧɢɯ ɩɥɟɫɧɢɯ ɮɢɝɭɪɚ ɢ ɚɧɚɤɪɟɨɧɬɫɤɢɯ ɭɠɢɜɚʃɚ. ɇɨ, ɬɚʁ ɪɚɮɢɧɢɪɚɧɢ ɢ ɮɪɢɜɨɥɧɢ ɫɜɟɬ ɤɚɨ ɞɚ ʁɟ ɫɢɲɚɨ ɫɚ ɧɟɤɨɝ ȼɚɬɨɨɜɨɝ ɩɥɚɬɧɚ ɢ ɫɜɨʁɢɦ ɢɡɧɟɧɚɞɧɢɦ ɫʁɚʁɟɦ ɩɪɟɤɪɢɨ ɦɟɥɚɧɯɨɥɢɱɧɟ ɝɪɢɦɚɫɟ. ɋɚʃɚɥɚɱɤɚ ɚɬɦɨɫɮɟɪɚ ɬɟ ɮɟɪɢʁɫɤɟ ɢɝɪɟ ɩɪɨɠɟɬɚ ɟɥɟɦɟɧɬɢɦɚ ɛɭɤɨɥɫɤɟ ɢ ɦɢɬɨɥɨɲɤɟ ɢɧɫɩɢɪɚɰɢʁɟ (Ɍɢɪɰɢɫ, Ⱥɬɢɫ, ɏɥɨɪɢɫ), ɞɨɱɚɪɚɧɚ ɫɪɟɞɫɬɜɢɦɚ ɩɚɪɧɚɫɨɜɫɤɟ ɜɢɪɬɭɨɡɧɨɫɬɢ, ɧɨɫɢ ɭ ɫɟɛɢ, ɫɦɬɪɚ ɇɢɤɨɥɚ Ʉɨɜɚɱ, ɞɚɥɟɤɢ ɟɯɨ ɛɨɞɥɟɪɨɜɫɤɨɝ ɫɧɚ ɞɨɤɨɧɢɯ ɭɠɢɜɚʃɚ ɢ ɟɝɡɨɬɢɱɧɢɯ ɟɜɨɤɚɰɢʁɚ, ɚ ɡɚɩɪɚɜɨ, ɬɚɤɜɚ ɚɬɦɨɫɮɟɪɚ ʁɟ ɫɚɦɨ ɜɚɪʂɢɜɚ ɢɥɭɡɢʁɚ ɨ ɱɢɫɬɨɬɢ ɠɢɜɨɬɚ.195 ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɩɟɫɦɚ Ɇɟɫɟɱɢɧɚ (Clair de lune) ɢɡ ȼɟɪɥɟɧɨɜɟ ɡɛɢɪɤɟ Ƚɚɥɚɧɬɧɢɯ ɫɜɟɱɚɧɨɫɬɢ, ɨɞɧɨɫɧɨ, ʃɟɧ ɥɢɤɨɜɧɢ ɩɚɧɞɚɧ – ȼɚɬɨɨɜ ɉʁɟɪɨ (Pierro), ɦɨɠɞɚ ɧɚ ɧɚʁɛɨʂɢ ɧɚɱɢɧ ɞɨɱɚɪɚɜʁɭ ɬɭ ‘ɧɢɲɬɚɜɧɨɫɬ’ ɢ ɩɪɨɥɚɡɧɨɫɬ ɪɚɫɤɨɲɧɢɯ ɜɪɬɥɨɝɚ ɥɢɰɚ ɢ ɦɚɫɤɢ, ɫɧɨɜɢɞɧɢɯ ɩɪɟɞɫɬɚɜɚ ɢ ɛʂɟɲɬɚɜɨɝ ɞɟɤɨɪɚ. 195 ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Francuska književnost…, ɧɚɜ. ɞɟɥɨ, 88‒89; Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 17. ɉɟʁɡɚɠ ɛɟɡ ɩɪɟɦɰɚ, ɬɨ ʁɟ ɜɚɲɚ ɞɭɲɚ Ƚɞɟ ɢɞɭ ʂɭɩɤɟ ɦɚɫɤɟ, ɩɥɟɲɭ ɤɪɢɧɤɟ, Ⱥ ɫɜɢ, ɞɨɤ ɡɜɨɧɤɚ ɥɚɭɬɚ ɫɟ ɫɥɭɲɚ, Ʉɨ ɞɚ ɫɭ ɬɭɠɧɢ ɢɫɩɨɞ ɱɭɞɧɟ ɲɦɢɧɤɟ. ɉɪɟɦɞɚ ɭ ɩɟɫɦɢ ɫɟɬɧɨ ɢɦ ɬɪɟɩɟɪɟ ɉɨɛɟɞɧɚ ʂɭɛɚɜ, ɠɢɜɨɬ ɞɧɟɜɧɨɝ ɫʁɚʁɚ, ɍ ɫɪɟʄɭ ɤɚɨ ɞɚ ɧɟɦɚʁɭ ɜɟɪɟ, Ⱥ ɩɟɫɦɚ ɢɦ ɫɟ ɫ ɦɟɫɟɱɢɧɨɦ ɫɩɚʁɚ. ɋɚ ɦɟɫɟɱɢɧɨɦ ɢ ɬɭɠɧɨɦ ɢ ɥɟɩɨɦ Ɉɞ ɤɨʁɟ ɩɬɢɰɟ ɫɚʃɚʁɭ ɭ ɛɨɪʁɭ ɂ ɜɨɞɨɫɤɨɰɢ ɭ ɡɚɧɨɫɭ ɫɥɟɩɨɦ ȳɟɰɚʁɭ, ɜɢɬɤɢ, ɭ ɫɜɨɦɟ ɦɪɚɦɨɪʁɭ. Votre âme est un paysage choisi Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi Tristes sous leurs déguisements fantasques. Tout en chantant sur le mode mineur L'amour vainqueur et la vie opportune, Ils n'ont pas l'air de croire à leur bonheur Et leur chanson se mêle au clair de lune, Au calme clair de lune triste et beau, Qui fait rêver les oiseaux dans les arbres Et sangloter d'extase les jets d'eau, Les grands jets d'eau sveltes parmi les marbres. ɉɨɥ ȼɟɪɥɟɧ, Ɇɟɫɟɱɢɧɚ (Claire de lune, 1869)196 Ɉɜɚ ɩɟɫɦɚ, ɢɚɤɨ ɫɚɦɢɦ ɧɚɫɥɨɜɨɦ – Ɇɟɫɟɱɢɧɚ ɫɭɝɟɪɢɲɟ ɞɚ ʁɟ ɪɟɱ ɨ ɩɟʁɡɚɠɧɨʁ ɫɥɢɰɢ, ɬɚɱɧɢʁɟ, ɨ ɧɨʄɧɨɦ ɩɟʁɡɚɠɭ ɩɨɞ ɦɟɫɟɱɢɧɨɦ, ɩɪɜɢ ɫɬɢɯ (ɉɟʁɡɚɠ ɛɟɡ ɩɪɟɦɰɚ, ɬɨ ʁɟ ɜɚɲɚ ɞɭɲɚ) ɨɬɤɪɢɜɚ ɞɚ ʁɟ ɭ ɩɢɬɚʃɭ ɫɜɨʁɟɜɪɫɧɚ ɜɚɪɤɚ. ɇɨʄɧɢ ɩɟʁɡɚɠ ɩɨɞ ɦɟɫɟɱɢɧɨɦ ʁɟɫɬɟ ɬɟɦɚɬɫɤɢ ɨɤɜɢɪ, ɫɩɟɰɢɮɢɱɚɧ ɪɚɦ ɭ ɤɨʁɢ ɫɟ ɩɨɫɬɚɜʂɚ ʁɟɞɧɚ ɫɚɫɜɢɦ ɞɪɭɝɚɱɢʁɚ ɫɥɢɤɚ – ɫɥɢɤɚ ʂɭɞɫɤɟ ɞɭɲɟ, ɢ ʃɟɧɚ ɬɚʁɚɧɫɬɜɟɧɚ ɬɪɟɩɟɪɟʃɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɭɩɪɚɜɨ ɩɨɦɟɧɭɬɢ ɩɪɜɢ ɫɬɢɯ ɩɟɫɦɟ ɤɚɨ ɞɚ ɫɬɚɜʂɚ ɡɧɚɤ ʁɟɞɧɚɤɨɫɬɢ ɢɡɦɟђɭ ɩɟʁɡɚɠɚ ɢ ɞɭɲɟ, ɢ ɬɢɦɟ ɫɭɩɬɢɥɧɨ ɭɤɚɡɭʁɟ ɧɚ ɩɪɟɞɦɟɬ ɩɟɫɧɢɤɨɜɨɝ ɢɧɬɟɪɟɫɨɜɚʃɚ – ɧɚ ɩɟʁɡɚɠ ʂɭɞɫɤɟ ɞɭɲɟ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɦɨɝɭʄɟ ʁɟ ɭɨɱɢɬɢ ɱɟɬɢɪɢ ɦɨɬɢɜɚ: ɩɟʁɡɚɠ, ɞɭɲɚ, ɦɚɫɤɟ, ɡɜɨɧɤɚ ɥɚɭɬɚ, ɨɞ ɤɨʁɢɯ ɨɧɚʁ ɩɪɜɢ – ɩɟʁɡɚɠ ʁɟɫɬɟ ɚɝɟɧɫ ɡɚ ɭɜɨђɟʃɟ ɦɨɬɢɜɚ ʂɭɞɫɤɟ ɞɭɲɟ, ɬɟ ɢ ɫɚɦɨɝ ɩɪɟɞɦɟɬɚ ɩɟɜɚʃɚ, ɚ ɬɨ ʁɟ ɩɟʁɡɚɠɧɨ ɛɨɝɚɬɫɬɜɨ ʂɭɞɫɤɟ ɞɭɲɟ, ʃɟɧɚ ɫɚɞɪɠɢɧɚ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ; ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɨɬɜɨɪɟɧ ʁɟ ɩɭɬ ɡɚ ɭɜɨђɟʃɟ ɩɪɨɰɟɫɚ ɫɤɪɢɜɚʃɚ ʂɭɞɫɤɟ ɞɭɲɟ ɢ ɧɚɱɢɧɚ ɦɚɫɤɢɪɚʃɚ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɦɚɫɤɚ ɩɨɫɬɚʁɟ ɫɪɟɞɢɲʃɢ ɦɨɬɢɜ, ɨɞɧɨɫɧɨ, ɫɜɨʁɟɜɪɫɧɢ ɩɚɪɚɜɚɧ ɢɡɦɟђɭ ɨɧɨɝ ɲɬɨ ɫɟ ɧɚɥɚɡɢ ɫɩɨʂɚ ɢ ɨɧɨɝ ɲɬɨ ʁɟ ɫɦɟɲɬɟɧɨ ɭɧɭɬɪɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɦɚɫɤɟ ɢ ɛɟɪɝɚɦɚɫɤɟ, ɩɪɢɩɚɞɚʁɭ ɬɨɦ ɩɚɪɚɞɨɤɫɚɥɧɨɦ ɫɜɟɬɭ, ɨɠɢɜɨɬɜɨɪɟɧɨɦ ɧɟɝɞɟ ɢɡɦɟђɭ idios kosmosa (ɥɨɝɢɤɟ ɢɧɞɢɜɢɞɭɚɥɧɨɝ, ɩɪɢɜɚɬɧɨɝ ɫɜɟɬɚ, 196 ɉɪɟɩɟɜ ɩɟɫɦɟ ɤɨʁɢ ʁɟ ɭɪɚɞɢɨ ɂɜɚɧɚ ȼ. Ʌɚɥɢʄ, ɩɪɟɭɡɟɬ ʁɟ ɢɡ: ɉɨɥ ȼɟɪɥɟɧ, ɉɟɫɦɟ..., ɧɚɜ. ɞɟɥɨ, 58. { 85 } ɫɜɟɬɚ ɞɭɲɟ ɤɨʁɢ ɦɨɠɟ ɛɢɬɢ ɚɧɚɥɨɝɚɧ ɢ ɫɚɦɨɦ ɫɜɟɬɭ ɫɧɚ) ɢ koinos kosomsa (ɥɨɝɢɤɟ ɛɭɞɧɨɝ ɡɚʁɟɞɧɢɱɤɨɝ ɫɜɟɬɚ). Ɍɟ ‘ʂɭɩɤɟ’ ɦɚɫɤɟ ɭ ȼɟɪɥɟɧɨɜɨʁ ɩɟɫɦɢ ɨɠɢɜʂɚɜɚʁɭ, ɩɨɱɢʃɭ ɞɚ ɩɥɟɲɭ ɭɡ ɡɜɭɤɟ ɡɜɨɧɤɟ ɥɚɭɬɟ, ɫɬɜɚɪɚʁɭʄɢ ɩɪɢɜɢɞɧɭ ɫɥɢɤɭ ɪɚɞɨɫɬɢ ɢ ɭɠɢɜɚʃɚ, ɡɚɦɚɝʂɭʁɭʄɢ ɫɭɲɬɢɧɭ ɛɢʄɚ. Ɉɜɚɩɥɨʄɟɧɟ ɧɚ ɥɢɰɢɦɚ ɭ ɜɢɞɭ ɝɪɢɦɚɫɚ, ɫɤɪɢɜɟɧɢɯ ɩɨɝɥɟɞɚ, ɥɚɠɧɢɯ ɨɫɦɟɯɚ, ɛɨɝɚɬɨ ɨɫɥɢɤɚɧɟ ɱɭɞɧɨɦ ɲɦɢɧɤɨɦ, ɨɧɟ ɩɪɢɩɚɞɚʁɭ ɬɨɦ ɩɚɪɚɞɨɤɫɚɥɧɨɦ ɫɜɟɬɭ ɭ ɤɨɦɟ ɫɟ ɭɩɥɢʄɭ ɞɢɦɟɧɡɢʁɟ ʁɚɜɧɨɝ ɢ ɩɪɢɜɚɬɧɨɝ, ɥɨɝɢɤɟ ɞɭɯɚ ɢ ɥɨɝɢɤɟ ɫɬɪɚɫɬɢ, ɢɫɩɪɚɜɧɚ ɩɟɪɰɟɩɰɢʁɚ ɢ ɯɚɥɭɰɢɧɚɰɢʁɚ, ɡɚɛɪɚɧɚ ɢ ɨɫɬɜɚɪɟɧɟ ɠɟʂɟ, ɩɨɬɩɭɧɨ ɩɪɢɥɚɝɨђɚɜɚʃɟ ɫɜɟɬɭ ɢ ɛɟɡɭɫɥɨɜɚɧ ɛɟɝ ɢɡ ʃɟɝɚ.197 ɍ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ, ɢ ɫɚɦɚ ɦɭɡɢɤɚ ʁɟ ɦɚɫɤɚ – ɡɜɭɱɧɚ ɦɚɫɤɚ. Ɂɚɩɪɚɜɨ, ɨɧɚ ɫɜɟɬ ɦɚɫɤɢ, ɩɚɠʂɢɜɢɦ ɫɥɭɲɚʃɟɦ, ɭɜɨɞɢ ɭ ɬɚʁ ɩɪɨɫɬɨɪ ‘ɢɡɦɟђɭ’, ɞɨɩɪɢɧɨɫɟʄɢ ɬɪɟɧɭɬɧɨʁ ɡɚɧɟɫɟɧɨɫɬɢ, ɡɚɞɨɜɨʂɫɬɜɭ ɢ ɭɠɢɜɚʃɢɦɚ. Ɇɟђɭɬɢɦ, ɨɧɨ ɲɬɨ ɡɚɢɫɬɚ ɡɜɭɱɢ ɢ ɲɬɨ ɫɟ ɡɚɢɫɬɚ ɜɢɞɢ, ɞɚɤɥɟ, ɨɧɨ ɲɬɨ ɭɧɭɬɪɚɲʃɟ ɨɤɨ ɪɟɝɢɫɬɪɭʁɟ, ɚ ɢɧɭɬɪɚɲʃɟ ɭɯɨ ɱɭʁɟ, ʁɟɫɬɟ ɬɪɟɩɟɪɟʃɟ – ɦɭɡɢɤɚ ɢ ɫɥɢɤɚ ɞɭɲɟ ɭ ɤɨʁɨʁ ɫɟ ʁɟɞɢɧɨ ɫɜɟ ɤɨɧɫɬɚɧɬɧɨ ɤɪɟʄɟ, ɬɚɥɚɫɚ, ɫɭɞɚɪɚ ɢ ɭɤɪɲɬɚ. Ɍɚɤɨ, ɨɧɚʁ ɫɩɨʂɚɲʃɢ ɦɢɪ ɤɨʁɢ ‘ɝɚɪɚɧɬɭʁɭ’ ɦɚɫɤɟ ɢ ɛɟɪɝɚɦɚɫɤɟ, ɬɟ ɡɜɨɧɤɢ ɡɜɭɤ ɥɚɭɬɚ, ʁɟɫɬɟ ɫɚɦɨ ɩɪɢɜɢɞ – ɨɧ ʁɟ ɩɚɪɚɜɚɧ, ɫɚɦɨ ʁɨɲ ʁɟɞɧɚ ɦɚɫɤɚ, ɨɞɧɨɫɧɨ, ‘ɛɪɚɧɚ’ ɧɚ ɭɥɚɡɭ ɭ ɧɟɩɪɟɝɥɟɞɧɨ ɢ ɱɟɫɬɨ ɧɟɞɨɤɭɱɢɜɨ ɰɚɪɫɬɜɨ ɞɭɲɟ. ɍ ɞɪɭɝɨʁ ɫɬɪɨɮɢ, ȼɟɪɥɟɧ ɭɜɨɞɢ ʁɨɲ ɧɟɤɨɥɢɤɨ ɦɨɬɢɜɚ: ɩɟɫɦɚ, ʂɭɛɚɜ, ɞɧɟɜɧɢ ɫʁɚʁ, ɫɪɟʄɚ. ɂɚɤɨ ɫɟ ɦɨɬɢɜ ɩɟɫɦɟ ɦɨɠɞɚ ɫɚɦɨ ɭ ɬɪɚɝɨɜɢɦɚ ɧɚɫɥɭʄɭʁɟ ɤɪɨɡ ɡɜɨɧɤɢ ɡɜɭɤ ɥɚɭɬɟ ɭ ɩɪɨɜʁ ɫɬɪɨɮɢ, ɭ ɞɪɭɝɨʁ ɫɟ ʁɚɜʂɚ ɟɤɫɩɥɢɰɢɬɧɨ – ɭ ʃɨʁ (ɩɟɫɦɢ) ɬɪɟɩɟɪɟ ɩɨɛɟɞɧɚ ʂɭɛɚɜ ɢ ɠɢɜɨɬ ɞɧɟɜɧɨɝ ɫʁɚʁɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ ɫɟ ɭɨɱɚɜɚ ɢ ɩɪɢɜɪɟɦɟɧɚ ɩɪɨɦɟɧɚ ‘ɨɫɜɟɬʂɟʃɚ’ ɚɬɦɨɫɮɟɪɟ, ɚ ɩɨɫɥɟɞɢɱɧɨ ɢ ɛɨʁɚ ɢ ɧɢʁɚɧɫɢ ɭ ɨɞɧɨɫɭ ɧɚ ɩɪɜɭ ɫɬɪɨɮɭ: ɦɟɫɟɱɢɧɚ (ɤɨʁɚ ɫɟ ɩɨɞɪɚɡɭɦɟɜɚ ɢɡ ɩɨɞɬɟɤɫɬɚ) ɧɚ ɬɪɟɧɭɬɚɤ ɭɫɬɭɩɚ ɦɟɫɬɨ ɞɧɟɜɧɨʁ ɫɜɟɬɥɨɫɬɢ, ɬɭɝɚ ‒ ʂɭɛɚɜɢ, ɡɚɧɨɫ ‒ ɬɪɟɡɜɟɧɨɫɬɢ, ɫɪɟɛɪɧɚ (ɯɥɚɞɧɚ) ɛɨʁɚ Ɇɟɫɟɰɚ ‒ ɡɥɚɬɧɨʁ ɬɨɩɥɢɧɢ ɋɭɧɰɚ, ɞɨɤ ɰɟɥɨɤɭɩɧɚ ɚɬɦɨɫɮɟɪɚ ɟɦɢɬɭʁɟ ɢɡɜɟɫɧɭ ɫɧɚɝɭ ɢ ɠɢɜɨɬɧɢ ɟɥɚɧ. Ɇɟђɭɬɢɦ, ɢ ɬɚʁ ɞɧɟɜɧɢ ɫʁɚʁ ɤɚɨ ɞɚ ʁɟ ɫɚɦɨ ɩɪɨɥɚɡɧɨɝ ɤɚɪɚɤɬɟɪɚ, ɦɟɫɟɱɢɧɚ ɫɟ ɩɨɧɨɜɨ ɩɨɦɚʂɚ, ɚ ɫɚɦɚ ɩɟɫɦɚ ɩɨɧɨɜɨ ‘ɭɪɚʃɚ’ ɭ ʃɟɧɟ ɫɟɧɤɟ: ɍ ɫɪɟʄɭ ɤɚɨ ɞɚ ɧɟɦɚʁɭ ɜɟɪɟ, Ⱥ ɩɟɫɦɚ ɢɦ ɫɟ ɫ ɦɟɫɟɱɧɢɦ ɫɩɚʁɚ. Ɉɜɨ ɦɟɫɬɨ ɫɩɨʁɚ ɦɟɫɟɱɢɧɟ ɢ ɩɟɫɦɟ ʁɟɫɬɟ, ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ, ɢ ɬɚɱɤɚ ‘ɨɬɜɚɪɚʃɚ’ ɞɭɲɟ, ɫɜɨʁɟɜɪɫɧɚ ɢɫɩɨɜɟɫɬ. Ɍɨ ʁɟ ɦɟɫɬɨ ɬɪɟɩɟɪɟʃɚ ɭɧɭɬɪɚɲʃɟɝ ɩɟʁɡɚɠɚ, ɦɟɫɬɨ ɬɪɟʃɚ, ɢ ɪɟɤɥɨ ɛɢ ɫɟ ɚɫɢɦɩɬɨɬɫɤɨɝ ɩɪɢɛɥɢɠɚɜɚʃɚ ɥɚɠɧɨɝ ɫʁɚʁɚ ɦɟɫɟɱɢɧɟ ɢ ɢɫɬɢɧɢɬɨɫɬɢ ɞɧɟɜɧɟ ɫɜɟɬɥɨɫɬɢ 197 ɍɩɨɪɟɞɢɬɢ ɫɚ: Remo Bodei, Logiques du délire. Raison, affects, folie (Paris: Aubier, 2002), 50‒51. { 86 } ɋɭɧɰɚ. Ɇɟɬɚɮɨɪɢɱɤɢ, ɬɨ ʁɟ ɠɢɜɨɬ ɞɭɲɟ ɤɨʁɚ ‘ɩɟɜɚ’ ɫɜɨʁ ɭɧɭɬɪɚɲʃɢ ɩɟʁɡɚɠ ɤɨʁɢ ʁɟ ɡɚɫɧɨɜɚɧ ɧɚ ɞɜɚ ɚɧɬɢɩɨɞɚ: ɧɚ ɦɟɫɟɱɢɧɢ ɤɨʁɚ ɫɭɲɬɢɧɫɤɢ ɫɤɪɢɜɚ ɫɬɜɚɪɧɨɫɬ, ɫɢɦɛɨɥɢɡɭʁɭʄɢ ɩɪɢɜɢɞɧɨɫɬ, ɬɚʁɚɧɫɬɜɟɧɨɫɬ, ɦɢɫɬɢɱɧɨɫɬ, ɩɨɞɫɜɟɫɧɨ, ɧɟɫɬɚɥɧɨɫɬ, ɟɦɨɬɢɜɧɨɫɬ, ɡɚɧɨɫ; ɨɧɚ ʁɟ ɬɚ ɤɨʁɚ ‘ɞɨɩɭɲɬɚ’ ɞɚ ɦɚɫɤɟ ɨɠɢɜɟ ɢ ɡɚɢɝɪɚʁɭ, ɧɚɫɭɩɪɨɬ ɤɨʁɨʁ ɫɬɨʁɢ ɞɧɟɜɧɚ ɫɜɟɬɥɨɫɬ ɤɨʁɚ ɫɤɢɞɚ ɦɚɫɤɟ, ɪɚɡɨɬɤɪɢɜɚ ɫɬɜɚɪɧɨɫɬ, ɞɨɧɨɫɢ ʁɚɫɧɨʄɭ ɢ ɬɪɟɡɜɟɧɫɨɬ. Ɉɜɚʁ ɫɤɭɩ ɞɢɯɨɬɨɦɢʁɚ ʁɟ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɦɟɫɬɨ ɩɪɟɫɟɤɚ ɪɚɡɥɢɱɢɬɢɯ ɫɬɜɚɪɧɨɫɬɢ, ɨɞɧɨɫɧɨ, ɪɟɱɟɧɨ ɬɟɪɦɢɧɨɥɨɝɢʁɨɦ ȼɢɥɢʁɟɦɚ ȹɟʁɦɫɚ, ɦɟɫɬɨ ‘ɫɭɞɚɪɚ’ ɞɜɚ ɫɜɟɬɚ, ɞɜɚ „ɩɨɞɭɧɢɜɟɪɡɭɦɚ”, ɚɥɢ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɦɟɫɬɨ ɫɚɦɨɫɩɨɡɧɚʁɟ/ɫɚɦɨɫɜɟɫɬɢ, ɬɪɟɧɭɬɚɤ ɛʂɟɫɤɚ. Ɇɟђɭɬɢɦ, ɬɚʁ ɬɪɟɧɭɬɚɤ ‘ɤɪɚɬɤɨɝ ɞɚɯɚ’ ɫɟ attacca ɧɚɞɨɜɟɡɭʁɟ ɧɚ ɫɥɟɞɟʄɭ ɫɥɢɤɭ (ɬɪɟʄɭ ɫɬɪɨɮɭ) ɩɚɥɢɥɨɝɢʁɫɤɨɦ ɜɟɡɨɦ ‒ ɪɟɱʁɭ ɦɟɫɟɱɢɧɚ, Ⱥ ɩɟɫɦɚ ɢɦ ɫɟ ɫ ɦɟɫɟɱɢɧɨɦ ɫɩɚʁɚ (II,4) ɋɚ ɦɟɫɟɱɢɧɨɦ ɢ ɬɭɠɧɨɦ ɢ ɥɟɩɨɦ (III,1) ɬɚɱɧɢʁɟ ɞɨɦɢɧɚɧɬɧɢɦ ɦɨɬɢɜɨɦ ɢɡ ɩɪɜɟ ɫɬɪɨɮɟ ɤɨʁɢ ɫɚɞɚ ɞɨɛɢʁɚ ɧɨɜɟ ɡɜɭɱɧɟ ɧɢʁɚɧɫɟ, ɤɚɨ ɲɬɨ ɫɭ ɩɬɢɰɟ ɤɨʁɟ ɫɚʃɚʁɭ ɢ ɜɨɞɨɫɤɨɰɢ ɤɨʁɢ ʁɟɰɚʁɭ ɭ ɦɪɚɦɨɪʁɭ. Ɉɜɚ, ɩɨɫɥɟɞʃɚ ɫɬɪɨɮɚ ɩɟɫɦɟ ɤɨʁɚ ʁɟ ɭ ɰɟɥɨɫɬɢ ɨɛɨʁɟɧɚ ɫɭɦɨɪɧɢɦ ɨɫɟʄɚʃɢɦɚ ɢ ɪɚɫɩɨɥɨɠɟʃɢɦɚ – ɬɭɠɚɧ, ɫɩɚɜɚ, ʁɟɰɚʁɢ – ɛɢɜɚ ɢɧɬɟɧɡɢɜɢɪɚɧɚ ɯɥɚɞɧɨʄɨɦ ɤɨʁɭ ɟɦɢɬɭʁɟ ɦɪɚɦɨɪ ɧɚ ɦɟɫɟɱɢɧɢ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɯɥɚɞɧɨʄɚ ʁɟɫɬɟ ɞɨɦɢɧɚɧɬɧɢ ɤɜɚɥɢɬɟɬ ɨɜɟ ɩɟɫɦɟ ɛɭɞɭʄɢ ɞɚ ɫɭ ɩɪɢɫɭɬɧɟ ɫɜɟ ɨɧɟ ɪɟɱɢ ɤɨʁɟ ɭ ɫɜɨɦ ɡɧɚɱɟʃɭ ɢɥɢ ɚɫɨɰɢʁɚɬɢɜɧɨʁ ɢɝɪɢ ɫɚɞɪɠɟ ɯɥɚɞɚɧ ‘ɬɨɧ’. Ⱦɚɤɥɟ, ɧɚ ɟɦɨɬɢɜɧɨɦ ɩɥɚɧɭ ɨɬɜɚɪɚ ɫɟ ɲɢɪɨɤɚ ɥɟɩɟɡɚ ɧɟɝɚɬɢɜɧɢɯ ɨɫɟʄɚʃɚ ɢ ɪɚɫɩɨɥɨɠɟʃɚ (ɩɨɩɭɬ ɬɭɝɟ, ɫɟɬɟ, ʁɟɰɚʁɚ), ɲɬɨ ɫɟ ɪɟɩɟɪɤɭɬɭʁɟ ɧɚ ɟɝɡɢɫɬɟɧɰɢʁɚɥɧɢ ɩɥɚɧ ɤɨʁɢ ɝɨɜɨɪɢ ɨ ɢɡɝɭɛʂɟɧɨʁ ɜɟɪɢ ɭ ɫɪɟʄɭ, ɡɚɬɢɦ ɧɚ ɟɬɢɱɤɢ ɩɥɚɧ ɤɨʁɢɦ ɞɨɦɢɧɢɪɚ ɩɟɫɢɦɢɡɚɦ (ɞɚɤɥɟ, ɞɨɲɥɨ ɫɟ ɞɨ ɫɩɨɡɧɚʁɟ ɞɚ ɢɫɬɢɧɚ ɧɟ ɩɨɫɬɨʁɢ, ɨɞɧɨɫɧɨ, ɞɚ ʁɟ ɫɜɟ ɦɚɫɤɚ, ɩɪɢɜɢɞ, ɜɚɪɤɚ), ɢ, ɧɚ ɤɪɚʁɭ, ɧɚ (ɫɜɟɭɤɭɩɧɢ) ɫɚɡɧɚʁɧɢ ɩɥɚɧ ɤɨʁɢɦ ɞɨɦɢɧɢɪɚ ɫɭɦʃɚ ɭ ɦɨʄ ɫɚɡɧɚɜɚʃɚ ɫɭɲɬɢɧɟ, ɬɨ ʁɟɫɬɟ, ɩɪɢɪɨɞɟ ɞɭɲɟ ɢ ɨɬɤɪɢʄɚ ʃɟɧɨɝ ɢɫɬɢɧɫɤɨɝ ɡɚɜɢɱɚʁɚ. ɋɜɨʁɟɜɪɫɧɢ ɩɚɧɞɚɧ ɨɜɨʁ ɧɚɢɡɝɥɟɞ ɝɚɥɚɧɬɧɨʁ ɢɞɢɥɢ ɭ ɤɨʁɨʁ ʁɟ ɪɟɱ ɩɨɫɬɚɥɚ ɨɥɢɱɟʃɟ „ɦɭɡɢɱɤɟ ɬɭɝɟ”, ɩɪɨɧɚɥɚɡɢɦɨ ɧɚ ɛɪɨʁɧɢɦ ȼɚɬɨɨɜɢɦ ɩɥɚɬɧɢɦ, ɦɟђɭ ɤɨʁɢɦɚ ɫɟ ɢɡɞɜɚʁɚ ɥɢɤɨɜɧɨ ɨɫɬɜɚɪɟʃɟ ɩɨɞ ɧɚɡɢɜɨɦ ɉʁɟɪɨ. { 87 } Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 1: ɀɚɧ Ⱥɧɬɨɚɧ ȼɚɬɨ, ɉʁɟɪɨ (Pierrot), 1718-1719, ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Ɇɭɡɟʁ Ʌɭɜɪ, ɉɚɪɢɡ. ɉʁɟɪɨ ʁɟ ɫɜɨʁɟɜɪɫɧɚ ɫɬɭɞɢʁɚ ɨ ɫɚɦɨʄɢ, ɧɚ ɤɨʁɨʁ ʁɟ ɧɚɫɥɢɤɚɧ ɩɨɟɬɢɱɚɧ, ɫɚʃɚɥɚɱɤɢ ɥɢɤ ɬɭɠɧɨɝ, ɭɫɦʂɟɧɨɝ ɤɥɨɜɧɚ. Ɏɢɝɭɪɚ ʁɟ ɩɨɫɬɚɜʂɟɧɚ ɰɟɧɬɪɚɥɧɨ ɭ ɫɬɨʁɟʄɟɦ ɫɬɚɜɭ ɫɚ ɪɭɤɚɦɚ ɤɨʁɟ ‘ɜɢɫɟ’ ɨɩɭɲɬɟɧɨ ɭɡ ɬɟɥɨ ɤɥɨɜɧɚ. Ʉɚɨ ɞɚ ɢɡɞɜɨʁɟɧ ɢɡ ɝɨɦɢɥɟ ɨɫɟʄɚ ɧɟɥɚɝɨɞɭ ɭ ɫɜɨɦ ɥɨɲɟ ɫɤɪɨʁɟɧɨɦ ɫʁɚʁɧɨɦ ɫɚɬɟɧɫɤɨɦ ɤɨɫɬɢɦɭ. ȵɟɝɨɜɢ ɪɭɤɚɜɢ ɫɭ ɫɭɜɢɲɟ ɞɭɝɢ, ɜɟɨɦɚ ɧɚɛɨɪɚɧɢ ɢ ɡɝɭɠɜɚɧɢ ɧɚ ɥɚɤɬɨɜɢɦɚ, ɩɚɧɬɚɥɨɧɟ ɫɭ ɫɭɜɢɲɟ ɤɪɚɬɤɟ ɢ ɜɢɞɟ ɫɟ ɡɝɥɨɛɨɜɢ. ȵɟɝɨɜɨ ɥɢɰɟ ɧɚʁɜɟʄɢɦ ɞɟɥɨɦ ɨɫɬɚʁɟ ɭ ɫɟɧɰɢ. ɋɬɢɱɟ ɫɟ ɭɬɢɫɚɤ ɤɚɨ ɞɚ ɩɨɡɢɜɚ ɩɨɫɦɚɬɪɚɱɚ ɞɚ ɦɭ ɤɚɠɟ ɲɬɚ ʁɟ ɩɨɬɪɟɛɧɨ ɞɚ ɭɪɚɞɢ, ɞɚ ɦɭ ɞɚ ɧɟɤɢ ɡɧɚɤ. ɍ ɫɜɨʁɨʁ ɧɟɥɚɝɨɞɧɨɫɬɢ, ɡɛɭʃɟɧɨɫɬɢ ɢ ɨɬɭђɟɧɨɫɬɢ ɨɧ ɤɚɨ ɞɚ ɫɟ ɛɭɧɢ, ɧɟ ɫɚɦɨ ɩɪɨɬɢɜ ɭɥɨɝɟ ɤɨʁɚ ɦɭ ʁɟ ɭ ɤɨɦɟɞɢʁɢ ɞɨɞɟʂɟɧɚ, ɜɟʄ ɢ ɫɜɨʁɟ ɭɥɨɝɟ ɧɚ ɨɜɨʁ ɫɥɢɰɢ. ȵɟɝɨɜ ɢɡɥɚɡɚɤ ɢɡ ɩɪɟɞɫɬɚɜɟ ʁɟ ɬɚɤɨђɟ ɢ ɢɡɥɚɡɚɤ ɢɡ ɮɢɤɰɢʁɟ ɤɨʁɭ ʁɟ ɧɚɫɥɢɤɚɨ ȼɚɬɨ. ɍ ɨɜɨɦ (ɫɩɨʂɚɲʃɟɦ) ɫɜɟɬɭ – koinos kosmos-ɭ, ɤɨʁɢɦ ɜɥɚɞɚʁɭ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɚ ɩɪɚɜɢɥɚ ɢ ɥɭɤɚɜɫɬɜɚ, ɉʁɟɪɨ ɦɨɠɟ ɞɚ ɛɭɞɟ ɫɪɟʄɧɚ, ɫɩɨɤɨʁɧɚ ɢ ɡɚɞɨɜɨʂɧɚ ɦɚɪɢɨɧɟɬɚ. ɍɦɟɫɬɨ ɬɨɝɚ ɨɧ ɝɥɟɞɚ ɭ ɩɨɫɦɚɬɪɚɱɚ ɫɚ ɡɧɚʃɟɦ, ɛɟɡ ɢɥɭɡɢʁɚ, ɛɟɡ ɦɚɫɤɟ. ɉʁɟɪɨ ʁɟ ɬɪɚɞɢɰɢɨɧɚɥɧɢ ɤɚɪɚɤɬɟɪ ɭ ɢɬɚɥɢʁɚɧɫɤɨʁ ɤɨɦɟɞɢʁɢ, ʃɟɝɨɜɟ ɚɤɰɢʁɟ ɫɭ ɨɞɪɟђɟɧɟ, ɚ ɩɨɧɢɠɟʃɚ ɤɨʁɚ ɞɨɠɢɜʂɚɜɚ, ɝɨɬɨɜɨ, ɪɢɬɭɚɥɧɚ. Ɉɧ ɡɚɭɡɢɦɚ ɫɤɨɪɨ ɰɟɥɭ ɩɨɜɪɲɢɧɭ ɫɥɢɤɟ ɢ ɦɨɧɭɦɟɧɬɚɥɧɨ ɫɟ ɢɫɬɢɱɟ ɭ ɨɞɧɨɫɭ ɧɚ ɨɫɬɚɥɟ ɥɢɤɨɜɟ ɢɡ ɢɬɚɥɢʁɚɧɫɤɟ ɤɨɦɟɞɢʁɟ ɤɨʁɢ ɫɟ ɜɢɞɟ ɭ ɩɨɡɚɞɢɧɢ ɭ ɩɪɢʁɚɬɧɨɦ ɩɟʁɡɚɠɭ. ɑɟɬɢɪɢ ɩɨɥɭ ɫɤɪɢɜɟɧɟ ɮɢɝɭɪɟ ɫɟ ɦɨɝɭ ɢɞɟɧɬɢɮɢɤɨɜɚɬɢ ɤɚɨ ɞɨɤɬɨɪ ɧɚ ɫɜɨɦ ɦɚɝɚɪɰɭ, ʂɭɛɚɜɧɢɰɢ Ʌɟɚɧɞɪɨ ɢ ɂɡɚɛɟɥɚ ɢ Ʉɚɩɟɬɚɧ. Ɉɜɢ ɥɢɤɨɜɢ ɞɨɩɪɢɧɨɫɟ ɤɨɦɩɨɡɢɰɢʁɢ ɩɨɟɬɫɤɟ ɞɪɚɦɟ. Ⱦɪɚɦɫɤɚ ɫɧɚɝɚ ɫɥɢɤɟ ɉʁɟɪɨ Ⱥɧɬɨɚɧɚ ȼɚɬɨɚ ɩɪɨɢɡɥɚɡɢ ɢɡ ɦɨɦɟɧɬɚ ɡɚɫɬɨʁɚ ɭ ɚɤɰɢʁɢ, ɧɟɩɨɤɪɟɬɧɨɝ ɰɟɧɬɪɚɥɧɨɝ ɤɚɬɚɤɬɟɪɚ, ɤɥɨɜɧɚ ɉʁɟɪɨɚ. Ʌɚɤɚ ɮɥɭɢɞɧɨɫɬ ɩɨɬɟɡɚ ɱɟɬɤɢɰɟ ɢ ɫɜɟɬɥɟ ɛɨʁɟ ɤɨɫɬɢɦɚ, ɨɫɢɦ ɜɟɡɢɰɚ ɧɚ ʃɟɝɨɜɢɦ ɰɢɩɟɥɚɦɚ ɢ ʁɚɪɤɨ ɰɪɜɟɧɨɝ ɤɨɫɬɢɦɚ ɤɨʁɢ ɧɨɫɢ ʁɟɞɚɧ ɨɞ ɥɢɤɨɜɚ ɭ ɫɟɧɰɢ, ɞɚʁɭ ɫɥɢɰɢ ɦɟɥɚɧɯɨɥɢɱɧɭ ɢ ɫɟɬɧɭ ɚɬɦɨɫɮɟɪɭ. ɉɟʁɡɚɠ ɢɡɚ ʃɟɝɚ ɫɚ ɫɬɚɬɭɨɦ ɫɚ ɥɟɜɟ ɫɬɪɚɧɟ ɢ ɥɢɤɨɜɢɦɚ ɢɡ ɤɨɦɟɞɢʁɟ ɞɟɥ ɚɪɬɟ ɩɨɡɢɰɢɨɧɢɪɚɧɢɯ ɭ ɞɧɭ ɫɥɢɤɟ, ɬɢɤ ɩɨɪɟɞ ʃɟɝɨɜɢɯ ɧɨɝɭ, ɫɬɜɚɪɚʁɭ ɱɭɞɟɫɚɧ ɡɚɱɚɪɚɧ ɫɜɟɬ. Ɉɧɨ ɲɬɨ ɩɪɟɞɫɬɚɜʂɚ ɡɚʁɟɞɧɢɱɤɢ ɢɦɟɧɢɬɟʂ ȼɚɬɨɨɜɟ ɫɥɢɤɟ ɢ ȼɟɪɥɟɧɨɜɟ ɩɟɫɦɟ ʁɟɫɬɟ ‘ɨɫɥɢɤɚɜɚʃɟ’ ɩɚɪɤɨɜɚ, ɦɟɪɦɟɪɧɢɯ ɫɬɚɬɭɚ, ɦɚɫɤɢ (ɢɡ ɢɬɚɥɢʁɚɧɫɤɟ ɤɨɦɟɞɢʁɟ ɞɟɥ ɚɪɬɟ), ‘ɛɟɪɝɚɦɚɫɤɢ’, ɢ, ɧɚ ʁɟɞɚɧ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɚɧ ɧɚɱɢɧ, ɫɚɦɟ ɦɭɡɢɤɟ. Ɍɚɤɨђɟ, ɫɢɦɭɥɬɚɧɨ ʁɟ ɩɪɢɫɭɬɧɨ ɡɚɞɨɜɨʂɫɬɜɨ ɢ ɪɚɡɨɱɚɪɟʃɟ ɤɨʁɟ ɫɟ ɦɨɠɟ ɫɦɚɬɪɚɬɢ ɫɢɦɛɨɥɢɤɨɦ ɨɜɚ ɞɜɚ ɫɜɟɬɚ (ɩɨɟɬɫɤɨɝ ɢ ɫɥɢɤɚɪɫɤɨɝ), ɨɞɧɨɫɧɨ, ɫɜɟɬɚ ɮɚɧɬɚɫɬɢɱɧɟ ɩɪɨɲɥɨɫɬɢ. ɋ ɬɢɦ ɭ ɜɟɡɢ ɢ ɝɚɥɚɧɬɧɢ ɫɬɢɥ (fêtes galantes) ʁɟɞɧɨɝ ȼɚɬɨɚ, ɚɥɢ ɢ ȼɟɪɥɟɧɚ, ɤɪɟʄɟ ɫɟ ɭ { 88 } ɩɨʂɭ ɫɟɧɡɭɚɥɧɨɫɬɢ, ɩɪɟɮɢʃɟɧɨɫɬɢ, ɟɥɟɝɚɧɰɢʁɟ, ɮɚɧɬɚɡɢʁɟ, ɚɥɢ ɢ ɦɟɥɚɧɯɨɥɢʁɟ ɢ ɚɦɛɢɜɚɥɟɧɬɧɢɯ ɨɫɟʄɚʃɚ (ɩɨɩɭɬ ɪɚɞɨɫɬɢ ɢ ɬɭɝɟ) ɝɪɚɰɢɨɡɧɨ ɫɤɪɢɜɟɧɢɯ ɢɡɚ ɞɢɫɤɪɟɬɧɢɯ ɦɚɫɤɢ. ɍ ɲɢɪɟɦ ɫɦɢɫɥɭ, ɝɚɥɚɧɬɧɢ ɫɬɢɥ, ɩɪɜɟɧɫɬɜɟɧɨ ɤɨɞ ȼɚɬɨɚ, ɤɚɨ ɬɟɦɭ ɭɡɢɦɚ ʂɭɛɚɜɧɭ ɱɚɪɨɥɢʁɭ ɤɨʁɚ ʁɟ ɧɚ ɩɥɚɬɧɢɦɚ ɩɪɢɤɚɡɚɧɚ ɭ ɤɜɚɡɢ ɢɞɟɚɥɢɡɨɜɚɧɢɦ ɩɟʁɡɚɠɢɦɚ, ɩɚɪɤɨɜɢɦɚ ɢ ɛɚɲɬɚɦɚ. ɉɨɦɟɧɭɬɚ ɬɟɦɚ ɧɚʁɱɟɲʄɟ ɭɤʂɭɱɭʁɟ ɦɥɚɞɟ ʂɭɞɟ ɤɨʁɢ ɫɤɪɢɜɟɧɢ ɦɟђɭ ɞɪɜɟʄɟɦ ɢ ɮɨɧɬɚɧɚɦɚ, ɢɥɢ ɫɬɜɚɪɚʁɭ ɦɭɡɢɤɭ, ɢɥɢ ɩɚɤ ɩɥɟɲɭ. ɇɚʁɱɟɲʄɟ, ȼɚɬɨ ɩɪɟɞɫɬɚɜʂɚ ɫɜɨʁɟ ɥɢɤɨɜɟ ɧɚ ɛɚɥɫɤɢɦ ɫɜɟɱɚɧɨɫɬɢɦɚ – ɦɚɫɤɚɪɚɞɚɦɚ ɧɚʁɜɢɲɢɯ ɞɪɭɲɬɜɟɧɢɯ ɫɥɨʁɟɜɚ, ɨɛɭɱɟɧɟ ɭ ɨɞɟʄɭ ɤɨʁɚ ʁɟ ɛɢɥɚ ɩɨɩɭɥɚɪɧɚ ɭ ɜɢɫɨɤɨɦ ɞɪɭɲɬɜɭ 18. ɜɟɤɚ. ɍ „ɫɚɝɥɚɫʁɭ” ɫɚ ‘ɦɚɝɢʁɨɦ’ ȼɚɬɨɨɜɢɯ ɫɥɢɤɚ ʁɟ ɢ ȼɟɪɥɟɧɨɜɚ ɡɛɢɪɤɚ Ƚɚɥɚɧɬɧɟ ɫɜɟɱɚɧɨɫɬɢ – ɢɥɢ ɦɨɠɞɚ ɩɪɟ ɪɟɱɟɧɨ ɫɜɢɬɚ ɥɢɤɨɜɚ, ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɚ ɢɡɥɨɠɛɚ 22 ɩɨɪɟɬɪɟɬɚ ɥɢɤɨɜɚ ɤɨʁɢ ɩɪɢɩɚɞɚʁɭ ɬɢɦ ɞɚɜɧɢɦ (ɮɚɧɬɚɫɬɢɱɧɢɦ) ȼɚɬɨɨɜɢɦ, ɚɥɢ ɢ ɧɟ ɫɚɦɨ ȼɚɬɨɨɜɢɦ ɜɪɟɦɟɧɢɦɚ; ɚ ɫɚɦɚ ɡɛɢɪɤɚ ɩɨɱɢʃɟ ɭɩɪɚɜɨ ɧɚʁɫɭɩɬɢɥɧɢʁɟ ɡɜɭɱɧɨ ɢɡɧɢʁɚɧɫɢɪɚɧɨɦ ɩɟɫɦɨɦ – Ɇɟɫɟɱɢɧɚ. Ɉɜɨɦ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ɭɨɞɧɨɲɚɜɚʃɭ ɡɜɭɱɧɨ-ɩɨɟɬɤɢɯ ɢ ɥɢɤɨɜɧɢɯ ɟɥɟɦɟɧɚɬɚ ɫɬɜɚɪɚɥɚɲɬɜɚ ȼɟɪɥɟɧɚ ɢ ȼɚɬɨɚ, ɩɪɢɞɪɭɠɭʁɟ ɫɟ ɢɫɬɨ ɬɚɤɨ ɫɚɫɜɢɦ ɤɚɪɚɤɬɟɪɢɫɬɢɱɚɧ ɦɭɡɢɱɤɢ ɫɜɟɬ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ. ɇɚɢɦɟ, ɨɧ ʁɟ ɝɨɞɢɧɭ ɞɚɧɚ ɩɪɟ ɤɨɦɩɨɧɨɜɚʃɚ ɩɪɜɟ ɡɛɢɪɤɟ Ƚɚɥɚɧɬɧɢɯ ɫɜɟɱɚɧɨɫɬɢ (ɧɚ ȼɟɪɥɟɧɨɜ ɫɬɢɯɨɜɟ), ɧɚɩɢɫɚɨ Ȼɟɪɝɚɦɫɤɭ ɫɜɢɬɭ (Suite bergamasque, 1890) ɡɚ ɤɥɚɜɢɪ, ɭ ɨɤɜɢɪɭ ɤɨʁɟ ʁɟ ɬɪɟʄɢ ɫɬɚɜ – Ɇɟɫɟɱɢɧɚ, ɧɚɫɬɚɨ, ɞɚɤɥɟ, ɩɨ ɢɫɬɨɢɦɟɧɨʁ ȼɟɪɥɟɧɨɜɨʁ ɩɟɫɦɢ. Ɉɫɧɨɜɟ ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɩɪɨɝɪɚɦɚ198 – ɩɨɩɭɬ ɨɬɤɪɢɜɚʃɚ ɧɟɫɥɭʄɟɧɢɯ ɩɪɨɫɬɨɪɚ ɥɟɩɨɬɟ ɢ ɫɦɢɫɥɚ, ɜɟɪɟ ɭ ɬɚʁɚɧɫɬɜɟɧɚ „ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ ɩɪɢɪɨɞɧɨɝ ɢ ʂɭɞɫɤɨɝ ɩɨɪɟɬɤɚ, ɩɪɢɯɜɚɬɚʃɟ ɦɭɡɢɤɟ ɤɚɨ ɧɨɫɢɨɰɚ ɪɟɚɥɧɨɫɬɢ ɫɜɟɬɚ ɢ ɫɧɨɜɢɞɧɢɯ ɫɬɚʃɚ ɞɭɲɟ ‒ ɭɩɢɫɭʁɭ ɫɟ, ɪɟɤɥɨ ɛɢ ɫɟ, ɫɚɫɜɢɦ ɨɱɟɤɢɜɚɧɨ, ɢ ɭ Ⱦɟɛɢɫɢʁɟɜ ɦɭɡɢɱɤɢ ɭɧɢɜɟɪɡɭɦ, ɛɭɞɭʄɢ ɞɚ ɫɟ ʃɟɝɨɜɚ ɭɦɟɬɧɢɱɤɚ ɥɢɱɧɨɫɬ ɮɨɪɦɢɪɚɥɚ ɭ ɨɤɪɭɠɟʃɭ ɩɟɫɧɢɤɚ ɢ ɩɢɫɚɰɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɞɟɛɢɫɢʁɟɜɫɤɢ ɡɜɭɱɧɢ ɭɧɢɜɟɪɡɭɦ ‘ɩɪɟɩɥɢʄɟ ɫɟ’ ɫɚ ȼɟɪɥɟɧɨɜɢɦ ɩɟɫɧɢɱɤɢɦ ɭɧɢɜɟɪɡɭɦɨɦ ɭɩɪɚɜɨ ɭ ɩɨɦɟɧɭɬɨɦ ɫɬɚɜɭ Ȼɟɪɝɚɦɫɤɟ ɫɜɢɬɟ. Ɍɚ ɮɢɧɚ ‘ɭɫɚɝɥɚɲɚɜɚʃɚ’ ɨɤɚ ɢ ɭɯɚ, ɬɨ ʁɟɫɬɟ, ɫɥɢɤɟ ‘ɭɧɭɬɪɚɲʃɟɝ ɩɟʁɡɚɠɚ’ ɢ ʃɟɧɢɯ ‘ɡɜɭɱɧɢɯ’ ɬɪɟɩɟɪɟʃɚ, ɭɨɱɚɜɚʁɭ ɫɟ ɜɟʄ ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ Ⱦɟɛɢɫɢʁɟɜɟ ɤɨɦɩɨɡɢɰɢʁɟ. Ɉɧɨ ɲɬɨ ʁɟ ɩɪɢɫɭɬɧɨ ɜɟʄ ɭ ɩɪɜɢɦ ɬɚɤɬɨɜɢɦɚ 198 ɍ ɩɪɢɥɨɝɭ ɛɪɨʁ 2 ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ ɫɟ ɧɚɥɚɡɢ ɦɚɧɢɮɟɫɬ ɫɢɦɛɨɥɢɡɦɚ ɤɨʁɢ ʁɟ ɧɚɩɢɫɚɨ ɀɚɧ Ɇɨɪɟɚɫ (Jean Moréas). ɉɨɦɟɧɭɬɢ ɦɚɧɢɮɟɫɬ ʁɟ ɨɛʁɚɜʂɟɧ ɭ ɤʃɢɠɟɜɧɨɦ ɥɢɫɬɭ Figaro littéraire, 18. ɫɟɩɬɟɦɛɪɚ 1886. ɝɨɞɢɧɟ. { 89 } ʁɟɫɬɟ ɨɞɪɟђɟɧɢ ɫɬɟɩɟɧ ɚɦɛɢɝɜɢɬɟɬɚ ɢ ɡɚɯɜɚɬɚʃɚ ɨɧɢɯ ‘ɢɡɦɟђɭ’ ɩɪɨɫɬɨɪɚ ɧɚ ɫɜɚɤɨɦ ɦɭɡɢɤɨɦ ɩɥɚɧɭ ɢ ɭ ɩɨʂɭ ɝɨɬɨɜɨ ɫɜɚɤɟ ɦɭɡɢɱɤɟ ɤɨɦɩɨɧɟɧɬɟ. ɍɡ ɡɚɯɟɜ ɡɚ ɢɡɪɚɠɚʁɧɨɲʄɭ ɜɢɫɨɤɨɝ ɫɬɟɩɟɧɚ ɭ ɭɦɟɪɟɧɨɦ ɬɟɦɩɭ (Andante très expressif), ɬɟ ‘ɩɪɢɝɭɲɟɧɨɦ’ ɩɢʁɚɧɢɫɢɦɨ ɞɢɧɚɦɢɤɨɦ (pp con sordina), Ⱦɟɛɢɫɢ ɭɩɢɭʁɟ ɨɡɧɚɤɭ ɡɚ ɦɟɬɚɪ 9/8. Ɇɟђɭɬɢɦ, ɜɟʄ ɫɚɦɚ ɨɫɦɢɧɫɤɚ ɩɚɭɡɚ ɭ ɩɪɜɨɦ ɬɚɤɬɭ, ɚ ɡɚɬɢɦ ɢ ɥɢɝɚɬɭɪɚ ɤɨʁɚ ɜɟɡɭʁɟ ɞɪɭɝɭ ɨɫɦɢɧɭ ɫɚ ɩɨɥɨɜɢɧɨɦ ɫɚ ɬɚɱɤɨɦ ɭ ɞɟɨɧɢɰɢ ɥɟɜɟ ɪɭɤɟ, ɨɞɧɨɫɧɨ, ɬɪɟʄɭ ɨɫɦɢɧɭ ɫɚ ɱɟɬɜɪɬɢɧɨɦ ɫɚ ɬɚɱɤɨɦ ɭ ɞɟɨɧɢɰɢ ɞɟɫɧɟ ɪɭɤɟ, ɧɟ ɞɨɡɜɨʂɚɜɚ ɞɚ ɩɭɥɫɢɪɚʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɩɨɫɬɚɧɟ ɨɞɦɚɯ ʁɚɫɧɨ. Ɍɚɤɜɚ, ɚɦɛɢɜɚɥɟɧɬɧɚ ɦɟɬɪɨ-ɪɢɬɦɢɱɤɚ ɫɥɢɤɚ ɫɟ ɩɪɨɬɟɠɟ ɫɜɟ ɞɨ 14. ɬɚɤɬɚ ɤɪɟɢɪɚʁɭʄɢ ɡɚɩɪɚɜɨ ɪɭɛɚɬɨ ɩɪɨɫɬɨɪ ɭ ɨɤɜɢɪɭ ɤɨʁɟɝ ɫɜɚɤɚ ɥɢɝɚɬɭɪɚ, ɨɫɢɦ ɲɬɨ ɞɨɩɪɢɧɨɫɢ ɭɬɢɫɤɭ ɞɚ ɫɟ ɩɭɥɫɚɰɢʁɚ ɦɟʃɚ ɢɡ ɬɚɤɬɚ ɭ ɬɚɤɬ, ɬɚɤɨђɟ, ɫɬɜɚɪɚ ɭɬɢɫɚɤ ‘ɧɟɭɯɜɚɬʂɢɜɨɫɬɢ’ ɬɟ ɢɫɬɟ ɫɥɢɤɟ. Ɉɧɚ ɤɚɨ ɞɚ ɩɥɭɬɚ, ɤɪɟʄɟ ɫɟ ɱɚɫ ɭɧɚɩɪɟɞ, ɱɚɫ ɭɧɚɡɚɞ.; ɞɪɭɝɢɦ ɪɟɱɢɦɚ, Ⱦɟɛɢɫɢ ɤɚɨ ɞɚ ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ ɬɪɚɠɢ ɞɚ ɬɚʁ ‘ɭɧɭɬɪɚɲʃɢ ɩɟʁɡɚɠ’ ɲɬɨ ʁɟ ɦɨɝɭʄɟ ɞɭɠɟ ɨɞɡɜɭɱɢ, ɨɞɧɨɫɧɨ, ɞɚ ɬɚʁ ɫɧɨɜɢɞɧɢ ɬɪɟɧɭɬɚɤ ɩɨɬɪɚʁɟ.199 Ɍɨʁ, ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨʁ ‘ɬɪɟɩɟɪɚɜɨʁ’ ɫɥɢɰɢ ɤɨʁɚ ɤɚɨ ɞɚ ɢ ɫɚɦɚ ɯɨʄɟ ɞɚ ‘ɡɚɦɪɡɧɟ’ ɬɪɟɧɭɬɚɤ ɬɨɝ ɢɫɬɨɝ ɬɪɟɩɟɪɟʃɚ, ɞɨɩɪɢɧɨɫɢ ɯɚɪɦɨɧɫɤɢ ɬɨɤ ɤɨʁɢ ɫɟ ɨɞɜɢʁɚ ɭ ɤɨɧɫɬɚɧɬɧɨʁ ɫɦɟɧɢ, ɨɞɧɨɫɧɨ, ‘ɤɪɭɠɟʃɭ’ ʁɟɞɧɟ ɬɟ ɢɫɬɟ ɯɚɪɦɨɧɫɤɟ ɜɟɡɟ: ɜɚɧɬɨɧɚɥɧɚ ɞɨɦɢɧɚɧɬɚ ɡɚ ɲɟɫɬɢ ɫɬɭɩɚʃɚ ɫɟ ɩɪɢɜɪɟɦɟɧɨ (ɝɨɬɨɜɨ ɫɚɦɨ ɧɚ ɬɪɟɧɭɬɚɤ) ɪɚɡɪɟɲɚɜɚ ɭ ɞɪɭɝɢ ɨɛɪɬɚʁ ɫɟɩɬɚɤɨɪɞɚ ɲɟɬɨɝ ɫɬɭɩʃɚ, ɤɨʁɢ ɫɟ ɡɚɬɢɦ ɭɥɚɧɱɚɜɚ ɭ ɫɭɛɞɨɦɢɧɚɧɬɧɭ ɨɛɥɚɫɬ ɡɚɫɧɨɜɚɧɭ ɧɚ ɫɦɟɧɢ ɚɤɨɪɚɞɚ ɱɟɬɜɪɬɨɝ ɢ ɞɪɭɝɨɝ ɫɬɭɩʃɚ (ɢ ɬɨ ɭ ɨɛɥɢɤɭ ɫɟɩɬɚɤɨɪɚɞɚ ɢ ʃɟɝɨɜɢɯ ɨɛɪɬɚʁɚ). Ɍɚɤɨ, ɬɨɧɚɥɢɬɟɬ Ⱦɟɫ-ɞɭɪɚ, ‘ɨɛɟʄɚɧ’ ɩɪɟɞɡɧɚɰɢɦɚ ɧɚɡɧɚɱɟɧɢɦ ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ ɤɨɦɩɨɡɢɰɢʁɟ, ɞɨɛɢʁɚ ɫɜɨʁɭ ɩɨɬɜɪɞɭ ɬɟɤ ɭ 9. ɬɚɤɬɭ. 199 ɍɩɨɪɟɞɢɬɢ ɫɚ: Paul Roberts, Images. The Piano Music of Claude Debussy (Portland ‒ Oregon: Amadeus Press, 1996), 94. { 90 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 1: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɇɟɫɟɱɢɧɚ, 3. ɫɬɚɜ ɢɡ Ȼɟɪɝɚɦɫɤɟ ɫɜɢɬɟ (Clair de lune, Suite Bergamasque, 1890), ɬɬ. 1–11. ɋɜɟɬɥɨɫɧɨ ɬɪɟɩɟɪɟʃɟ, ɩɪɨɦɟɧʂɢɜɨɫɬ ɧɢʁɚɧɫɢ ‘ɫɪɟɛɪɧɟ ɛɨʁɟ’ ɦɟɫɟɱɢɧɟ, ɬɟ ɡɧɚɱɟʃɚ ɤɨʁɚ ɫɟ ɧɚɥɚɡɢ ɭ ‘ɞɭɛɢɧɢ’ ȼɟɪɥɟɧɨɜɟ ɩɟɫɧɢɱɤɟ ɫɥɢɤɟ, Ⱦɟɛɢɫɢ ɡɜɭɱɧɨ ‘ɯɜɚɬɚ’ ɢ ɭ ɧɚɫɬɚɜɤɭ ɦɭɡɢɱɤɨɝ ɬɨɤɚ, ɩɚ ɫɜɟ ɞɨ ʃɟɝɨɜɨɝ ɤɪɚʁɚ. Ʉɨɧɤɪɟɬɧɨ, ɨɞ 15. ɬɚɤɬɚ ɧɚ ɯɚɪɦɨɧɫɤɨɦ ɩɥɚɧɭ, ɜɨђɟɧ ɤɨɥɨɪɢɫɬɢɱɤɢɦ ɤɜɚɥɢɬɟɬɨɦ ɯɚɪɦɨɧɢʁɟ, Ⱦɟɛɢɫɢ ɩɨɫɟɠɟ ɡɚ ɧɚʁɪɚɡɥɢɱɢɬɢʁɢɦ ɦɢɤɫɬɭɪɚɦɚ ɫɚɡɜɭɱʁâ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɩɨʁɟɞɢɧɨɫɬɢ, ɧɟ ɫɚɦɨ ɭ ɯɚɪɦɨɧɫɤɨɦ ɫɚɞɪɠɚʁɭ – ɭ ɫɦɢɫɥɭ ɡɚɫɬɭɩʂɟɧɨɫɬɢ ɡɧɚɬɧɨɝ ɛɪɨʁɚ ɱɟɬɜɨɪɨɡɜɭɤɚ, ɩɚ ɢ ɩɟɬɨɡɜɭɤɚ – ɧɟɝɨ ɢ ɭ ʃɢɯɨɜɨʁ ɩɨɫɬɚɜɰɢ, ʁɚɫɧɨ ɩɨɤɚɡɭʁɭ ɢɫɬɢɰɚʃɟ ɩɪɢɦɚɪɧɨ ɤɨɥɨɪɢɫɬɢɱɤɢɯ ɜɪɟɞɧɨɫɬɢ ɬɢɯ ɫɚɡɜɭɱʁâ. Ɋɟɱ ʁɟ ɨ ɫɭɩɪɨɬɫɬɚɜʂɚʃɭ ɤɪɚʁʃɢɯ ɡɜɭɱɧɢɯ ɪɟɝɢɫɬɚɪɚ ɢ ɜɢɲɟɬɪɭɤɢɦ ɨɤɬɚɜɧɢɦ ɭɞɜɚʁɚʃɢɦɚ ɦɟɥɨɞɢʁɫɤɟ ɥɢɧɢʁɟ. ɍɡɢɦɚʁɭʄɢ ɭ ɨɛɡɢɪ ɬɨ ɞɚ ɫɭ ɨɤɬɚɜɟ ɤʂɭɱɧɢ ɬɨɧɨɜɢ ɚɥɢɤɜɨɬɧɨɝ ɧɢɡɚ – 2, 4, 8, 16, ɬɟ ɞɚ ʃɢɯɨɜɨ ɩɨʁɚɱɚɜɚʃɟ { 91 } ɝɨɬɨɜɨ ɭɜɟɤ ɢɦɚ ɤɨɥɨɪɢɫɬɢɱɤɨ ɞɟʁɫɬɜɨ, ɭ ɧɚɜɟɞɟɧɨɦ ɫɟɝɦɟɧɬɭ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɞɨɥɚɡɢ ɭɩɪɚɜɨ ɞɨ ɬɚɤɜɟ ɡɜɭɱɧɟ ‘ɫɦɟɲɟ’ – ɞɚɤɥɟ, ɨɧɟ ɤɨʁɚ ʁɟ ɪɟɡɭɥɬɚɬ ɟɮɟɤɬɚ ɦɢɤɫɬɭɪɚ! ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 2: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɇɟɫɟɱɢɧɚ, 3. ɫɬɚɜ ɢɡ Ȼɟɪɝɚɦɫɤɟ ɫɜɢɬɟ (Clair de lune, Suite Bergamasque, 1890), ɬɬ. 15–20. Ⱦɟɛɢɫɢ, ɤɚɨ ɢ ȼɟɪɥɟɧ ɤɨʁɢ ɬɟɠɢ ɞɚ ɭɯɜɚɬɢ ɫɜɚɤɭ ɩɨʁɟɞɢɧɚɱɧɭ (ɩɪɨɦɟɧʂɢɜɭ) ɫɥɢɤɭ ɫɬɚʃɚ ʂɭɞɫɤɟ ɞɭɲɟ, ɧɚɫɬɨʁɢ ɞɚ ɨɞɪɟђɟɧɟ ɬɪɟɧɭɬɤɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɡɚɭɫɬɚɜɢ, ɢɥɢ, ɛɨʂɟ ɪɟɱɟɧɨ, ‘ɪɚɡɜɭɱɟ ɭ ɛɟɫɤɪɚʁ’, ɬɨ ʁɟɫɬ, ɞɚ ʃɢɯɨɜɨ ɬɪɚʁɚʃɚ ɭɱɢɧɢ ɜɟɱɧɢɦ; ɬɚɤɨ, ɤɨɦɩɨɡɢɬɨɪ ɡɚɦɟʃɭʁɟ ɱɢɬɚɜɟ ɦɟɥɨɞɢʁɫɤɟ ɢ ɪɢɬɦɢɱɤɟ ɫɟɤɜɟɧɰɟ ɡɜɭɤɨɦ ɤɨʁɢ ʁɟ ɢɡɨɥɨɜɚɧ ɫɚɦ ɡɚ ɫɟɛɟ, ɚ ɱɢʁɭ ɫɬɪɭɤɬɭɪɭ ɤɚɪɚɤɬɟɪɢɲɟ ɫɭɩɟɪɩɨɧɢɪɚʃɟ ɛɟɫɤɪɚʁɧɨ ɫɢʄɭɲɧɢɯ ɬɪɚʁɚʃɚ, ɡɜɭɱɧɢɯ ɜɪɟɞɧɨɫɬɢ, ɛɨʁɚ ɡɜɭɤɚ.200 Ɉ ɬɨɦɟ, ɤɚɨ ɢ ɨ ɤɨɦɩɨɡɢɬɨɪɨɜɨʁ ɜɟɡɢ ɫɚ ɩɨɟɡɢʁɨɦ ȼɟɪɥɟɧɚ ɢ ɥɢɤɨɜɧɢɦ ɨɫɬɜɚɪɟʃɢɦɚ ȼɚɬɨɚ, ɫɜɟɞɨɱɟ ʁɨɲ ɞɜɟ ɤɥɚɜɢɪɫɤɟ ɤɨɦɩɨɡɢɰɢʁɟ – Ɇɚɫɤɟ (Masques) ɢ Ɉɫɬɪɜɨ ɪɚɨɞɫɬɢ (L’isle joyuse) – ɨɛɟ ɧɚɫɬɚɥɟ 1904. ɝɨɞɢɧɟ. Ɉɧɟ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, 200 ɍɩɨɪɟɞɢɬɢ ɫɚ: Tijana Popović Mlađenović, Procesi..., ɧɚɜ. ɞɟɥɨ, 300‒301. { 92 } ɭɩɭʄɭʁɭ ɧɚ ɛɪɨʁɧɟ ȼɟɪɥɟɧɨɜɟ ɩɟɫɦɟ ɢɡ ɡɛɢɪɤɟ Ƚɚɥɚɧɬɧɟ ɫɜɟɱɚɧɨɫɬɢ ɤɚɨ ɲɬɨ ɫɭ ɉɚɧɬɨɦɢɦɚ (Pantomime), Ɇɚɪɢɨɧɟɬɟ (Fantoches), Ɇɚɧɞɨɥɢɧɚ (Mandoline) ɢ Ʉɨɥɨɦɛɢɧɚ (Colombine) ɭ ɫɥɭɱɚʁɭ Ɇɚɫɤɢ, ɨɞɧɨɫɧɨ, Ʉɢɬɟɪɚ (Cythère), ɍ ɲɟɬʃɢ (A la promenade) ɢɥɢ, ɩɚɤ, ȴɭɛɚɜ ɧɚ ɬɪɚɜɢ (L’amour par terre), ɭ ɫɥɭɱɚʁɭ Ɉɫɬɪɜɚ ɪɚɞɨɫɬɢ; ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, Ⱦɟɛɢɫɢʁɟɜɚ ɞɟɥɚ ɪɟɮɟɪɢɪɚʁɭ ɢ ɧɚ ɫɜɟɬɨɜɟ ȼɚɬɨɨɜɢɯ ɞɟɥɚ, ɤɚɨ ɲɬɨ ɫɭ ɨɧɢ ɩɪɢɤɚɡɚɧɢ ɧɚ ɤɨɦɩɨɡɢɰɢʁɢ Ɇɟɡɟɬɢɧ (Le Mezzetin, 1718‒1720), ɏɨɞɨɱɚɲʄɟ ɧɚ Ʉɢɬɟɪɭ (Le Pèlerinage à l'île de Cythère, 1717), ɨɞɧɨɫɧɨ, ɍɤɪɰɚɜɚʃɟ ɡɚ Ʉɢɬɟɪɭ (LʼEmbarquement pour Cythere, 1718). Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 2: ɀɚɧ Ⱥɧɬɨɚɧ ȼɚɬɨ, ɍɤɪɰɚɜɚʃɟ ɡɚ Ʉɢɬɟɪɭ (LʼEmbarquement pour Cythere), 1717, ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Schloss Charlottenburg, Ȼɟɪɥɢɧ. { 93 } Ʉɨɧɤɪɟɬɧɨ, ɧɚ ɩɥɚɬɧɭ ɍɤɪɰɚɜɚʃɟ ɡɚ Ʉɢɬɟɪɭ, ȼɚɬɨ, ɨɫɢɦ ɲɬɨ ʁɟ ɩɪɢɤɚɡɚɨ ɩɚɥɟɬɭ ɪɚɫɩɨɥɨɠɟʃɚ ɨɞ ɭɡɛɭђɟɧɨɫɬɢ ɞɨ ɛɟɡɛɪɢɠɧɨɫɬɢ, ɨɫɬɚɜɢɨ ʁɟ ɨɬɜɨɪɟɧɢɦ ɩɢɬɚʃɟ ɞɚ ɥɢ ɧɚɫɥɢɤɚɧɢ ʂɭɞɢ ɧɚ ɫɥɢɰɢ ɞɨɥɚɡɟ ɧɚ ɨɫɬɪɜɨ ɢɥɢ ɨɞɥɚɡɟ ɫɚ ʃɟɝɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɰɟɥɨɤɭɩɧɚ ɫɰɟɧɚ, ɧɚɥɢɤ ɩɨɡɨɪɢɲɧɨʁ – ɭ ɤɨʁɨʁ ɫɜɚɤɢ ɥɢɤ ɨɛɭɱɟɧ ɭ ɨɞɟʄɭ ɤɨʁɚ ɥɢɱɢ ɧɚ ɤɨɫɬɢɦ, ɢɝɪɚ ɫɜɨʁɭ ɭɥɨɝɭ, ɭ ɦɚɧɢɪɭ ɛɚɪɨɤɧɟ ɨɬɦɟɧɨɫɬɢ ‒ ɤɚɨ ɞɚ ɫɟ ɢɫɬɨɜɪɟɦɟɧɨ ɩɨɤɪɟʄɟ ɫ ɥɟɜɚ ɧɚ ɞɟɫɧɨ, ɢ ɫ ɞɟɫɧɚ ɧɚ ɥɟɜɨ. ɍɤɨɥɢɤɨ ɫɟ ɩɪɟɬɩɨɫɬɚɜɢ ɞɚ ʂɭɞɢ ɧɚ ɫɥɢɰɢ ɨɞɥɚɡɟ, ɫɥɢɤɚ ɫɟ ɦɨɠɟ ‘ɱɢɬɚɬɢ’ ɫ ɞɟɫɧɚ ɧɚ ɥɟɜɨ, ɬɨ ʁɟɫɬ, ɩɨɱɟɜ ɨɞ ɩɚɪɚ ɤɨʁɢ ɫɟ ɧɚɥɚɡɢ ɧɚ ɤɪɚʁʃɨʁ ɞɟɫɧɨʁ ɫɬɪɚɧɢ ɤɨɦɩɨɡɢɰɢʁɟ. ɉɚɪ ɤɨʁɢ ɫɟɞɢ ɛɥɢɡɭ ɫɬɚɬɭɟ ɛɨɝɢʃɟ Ⱥɮɪɨɞɢɬɟ, ɤɨʁɢ ɫɭ ɨɛɝɪɥɢɥɚ ɞɜɚ Ʉɭɩɢɞɨɧɚ, ɨɞɜɨʁɟɧ ʁɟ ɨɞ ɨɫɬɚɥɢɯ ɢ ɭɫɦɟɪɟɧ ɫɚɦɨ ɧɚ ɫɟɛɟ. ɋɬɚɬɭɚ ʁɟ ɨɛɚɜɢʁɟɧɚ ɪɭɠɚɦɚ ɢ ɨɤɨ ʃɟ ɫɭ ɩɪɢɩɢʁɟɧɢ Ʉɭɩɢɞɨɧɢ. ɀɟɧɫɤɭ ɮɢɝɭɪɭ ɤɨʁɚ ɫɟɞɢ ɧɚɫɭɩɪɨɬ ɞɪɜɟɬɚ ɢ ɞɪɠɢ ɥɟɩɟɡɭ ɭ ɪɭɰɢ ɞɨɞɢɪɭʁɟ Ʉɭɩɢɞɨɧ ɭ ɬɪɟɧɭɬɤɭ ɤɚɞɚ ʁɨʁ ɦɥɚɞɢʄ ɲɚɩɭʄɟ ɧɚ ɭɯɨ, ɚ ɭɡ ɫɬɚɛɥɨ ɞɪɜɟɬɚ, ɧɚ ɡɟɦʂɢ, ɫɟɞɢ ɩɚɪ ɤɨʁɢ ɢɡɝɥɟɞɚ ɤɚɨ ɞɚ ɭɠɢɜɚ ɭ ɢɞɢɥɢɱɧɨɦ ɩɪɢɡɨɪɭ. ɍ ɧɟɩɨɫɪɟɞɧɨʁ ɛɥɢɡɢɧɢ ɨɜɚ ɞɜɚ ɩɚɪɚ ɫɭ ɩɨɡɢɰɢɨɧɢɪɚɧɚ ʁɨɲ ɞɜɚ ɤɨʁɢ ɫɟ ɤɪɟʄɭ ɩɪɟɦɚ ɛɪɨɞɭ. Јɟɞɧɚ ɞɚɦɚ ɩɨɥɚɤɨ ɭɫɬɚʁɟ, ɞɨɤ ʁɨʁ ʃɟɧ ɩɪɚɬɢɥɚɰ ɩɨɦɚɠɟ, ɚ ɞɪɭɝɚ ɱɟɠʃɢɜɨ ɝɥɟɞɚ ɭɧɚɡɚɞ ɧɚ ɫɬɚɬɭɭ ȼɟɧɟɪɟ, ɞɨɤ ʁɟ ʃɟɧ ɩɪɚɬɢɥɚɰ ɜɨɞɢ ɧɚɩɪɟɞ. Ⱦɜɚ Ʉɭɩɢɞɨɧɚ ɛɥɢɡɭ ʃɢɯ ɥɟɬɟ ɪɚɞɨɫɧɨ ɛɥɢɡɭ ɞɪɜɟɬɚ. Ⱦɪɭɝɢ ɩɚɪɨɜɢ ɫɟ ɨɤɭɩʂɚʁɭ ɭ ɩɨɞɧɨɠʁɭ ɛɪɞɚ ɨɤɨ ɛɪɨɞɚ, ɤɨʁɢ ʁɟ ɭɤɪɚɲɟɧ ɡɥɚɬɧɢɦ ɫɬɚɬɭɚɦɚ, ɜɟɧɰɢɦɚ ɨɞ ɪɭɠɚ ɢ ɪɭɠɢɱɚɫɬɨɦ ɫɜɢɥɨɦ. Ʉɭɩɢɞɨɧɢ, ɧɚɥɢɤ ɮɢɝɭɪɚɦɚ ɤɨʁɟ ɫɟ ɩɨʁɚɜʂɭʁɭ ɤɚɨ ɦɨɬɢɜ ɧɚ ɦɧɨɝɢɦ ɪɟɧɟɫɚɧɫɧɢɦ ɢ ɛɚɪɨɤɧɢɦ ɫɥɢɤɚɦɚ, ɥɟɬɟ ɨɤɨ ɩɚɪɨɜɚ ɢ ɨɤɨ ɛɪɨɞɚ. ɇɚ ɨɫɧɨɜɭ ɪɚɞɨɫɧɢɯ ɢ ɭɡɛɭђɟɧɢɯ ɥɢɰɚ ɩɚɪɨɜɚ ɝɪɭɩɢɫɚɧɢɯ ɧɚ ɞɟɫɧɨʁ ɫɬɪɚɧɢ ɫɥɢɤɟ, ɦɨɝɭʄɟ ʁɟ ɩɪɟɬɩɨɫɬɚɜɢɬɢ ɞɚ ʁɟ ɪɟɱ ɨ ɬɪɟɧɭɬɤɭ ɩɨɥɚɫɤɚ ɧɚ ɯɨɞɨɱɚɲʄɟ ɧɚ ɨɫɬɪɜɨ ɩɨɫɜɟʄɟɧɨ ɛɨɝɢʃɢ ȼɟɧɟɪɢ. Ɇɟђɭɬɢɦ, ɮɢɝɭɪɟ ɝɪɭɩɢɫɚɧɟ ɧɚ ɥɟɜɨʁ ɫɬɪɚɧɢ ɤɨɦɩɨɡɢɰɢʁɟ, ɫɩɪɟɦɚʁɭ ɫɟ ɞɚ ɭђɭ ɭ ɛɪɨɞ, ɩɪɚʄɟɧɢ ɪɨʁɟɜɢɦɚ Ʉɭɩɢɞɨɧɚ, ɢ, ɩɪɟɬɩɨɫɬɚɜɤɚ ʁɟ, ɜɪɚɬɟ ɭ ɫɜɟɬ ɫɜɚɤɢɞɚɲʃɢɰɟ. Ʉɚɤɨ ɫɟ ɡɚ ʃɢɯ ɱɚɪɨɛɧɢ ɞɚɧ ɛɥɢɠɢ ɤɪɚʁɭ, ɰɟɥɨɤɭɩɧɚ ɥɟɜɚ ɫɬɪɚɧɚ ɫɥɢɤɚ ɨɞɢɲɟ ɦɟɥɚɧɯɨɥɢʁɨɦ ɢ ɫɟɬɨɦ ɤɪɚʁɚ. ɂɝɪɟ ɛɨʁɚ, ɤɨʁɟ ɤɚɨ ɞɚ ɫɟ ɡɛɢɜɚʁɭ ɢɡɚ ɧɟɤɚɤɜɨɝ ɜɟɥɚ ɭ ɞɚʂɢɧɢ, ɡɚɩɪɚɜɨ, ɩɪɢɛɥɢɠɚɜɚʁɭ ȼɚɬɨɨɜɭ ɩɨɡɨɪɧɢɰɭ ɩɨɫɦɚɬɪɚɱɭ ɢ ɞɨɩɪɢɧɨɫɟ ɭɬɢɫɤɭ ɞɭɛɢɧɟ ɫɥɢɤɟ. ɉɪɟɞɟɨ ɨɛɪɚɫɬɚɨ ɦɚɯɨɜɢɧɨɦ ɫ ɞɟɫɧɟ ɫɬɪɚɧɟ ɨɫɜɟɬʂɟɧ ʁɟ ɫɭɧɰɟɦ, ɚ ɰɪɜɟɧɢ, ɡɥɚɬɧɢ ɢ ɠɭɬɢ ɡɪɚɰɢ (ɬɨɩɥɢ ɬɨɧɨɜɢ) ɫɟ ɩɪɨɛɢʁɚʁɭ ɤɪɨɡ ɝɪɚɧɟ ɞɪɜɟʄɚ ɭ ɫɟɧɰɢ. Ʉɚɨ ɤɨɧɬɪɚɫɬ, ɭ ɩɨɡɚɞɢɧɢ, ɧɟɛɨ ɢ ɩɥɚɧɢɧɟ ɫɭ ɨɫɥɢɤɚɧɢ ɩɥɚɜɨɦ { 94 } ɛɨʁɨɦ ɢ ɛɨʁɨɦ ɥɚɜɚɧɞɟ (ɯɥɚɞɧɢɦ ɬɨɧɨɜɢɦɚ). ɐɟɥɨɤɭɩɧɚ ɫɥɢɤɚ ɤɚɨ ɞɚ ɫɥɢɤɚ ɫɜɟɫɬ ɨ ɩɪɨɥɚɡɧɨɫɬɢ ɬɪɟɧɭɬɤɚ, ɢ ɜɟɥɢɱɚ ɦɨɦɟɧɬɟ ɭɠɢɜɚʃɚ ɭ ɥɟɩɨɬɢ, ɭɦɟɬɧɨɫɬɢ, ɢɥɢ ʂɭɛɚɜɢ. ɑɚɤ ɤɚɨ ɞɚ ɩɨɫɬɚɜʂɚ ɞɜɚ ɪɚɡɥɢɱɢɬɚ ɫɜɟɬɚ ʁɟɞɚɧ ɩɨɪɟɞ ɞɪɭɝɨɝ – ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɨɧɚʁ ɤɨʁɢ ɩɪɢɩɚɞɚ ɫɜɚɤɨɞɧɟɜɢɰɢ ɤɨʁɚ ʄɟ ɫɟ, ɦɟɬɚɮɨɪɢɱɤɢ, ɢɡɝɭɛɢɬɢ ɭ ɞɚʂɢɧɢ ɢ ‘ɭɝɚɫɢɬɢ’ ɭ ɤɜɚɡɢ ɫɮɭɦɚɬɭ, ɢ ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɨɧɚʁ ɫɜɟɬ ‘ɞɪɭɝɢ’ ɤɨʁɢ ‘ɫɧɚɝɨɦ ɛɨʁɟ’ ɠɟɥɢ ɞɚ ɬɪɟɧɭɬɚɤ ɭɠɢɜɚʃɚ ɭɱɢɧɢ ɜɟɱɧɢɦ. ɇɚ ɫɥɢɱɚɧ ɧɚɱɢɧ ɦɨɝɭʄɟ ʁɟ ɪɚɡɦɢɲʂɚɬɢ ɢ ɨ Ⱦɟɛɢɫɢʁɟɜɢɦ ɤɨɦɩɨɡɢɰɢʁɚɦɚ ɡɚ ɤɥɚɜɢɪ Ɇɚɫɤɟ ɢ Ɉɫɬɪɜɨ ɪɚɞɨɫɬɢ. Ⱦɚ ɛɭɞɟɦ ɩɪɟɰɢɡɧɢʁɚ, ɦɨɝɭʄɟ ɢɯ ʁɟ ɬɭɦɚɱɢɬɢ ɢ ɭ ɤɨɧɬɟɤɫɬɭ ɏɭɫɟɪɥɨɜɢɯ ɬɟɪɦɢɧɚ ɤɨʁɢ ɫɟ ɨɞɧɨɫɟ ɧɚ ɩɨɫɬɨʁɚʃɟ ɜɢɲɟ ɪɚɡɥɢɱɢɬɢɯ ɫɜɟɬɨɜɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɫɜɚɤɨ ɞɟɥɨ ɩɨɧɚɨɫɨɛ ɛɢ ‘ɪɟɩɪɟɡɟɧɬɨɜɚɥɨ’ ʁɟɞɚɧ ɦɨɝɭʄɢ ɫɜɟɬ: ɧɚ ɩɪɢɦɟɪ, ɭ Ɇɚɫɤɚɦɚ ɫɟ ɦɨɠɟ ɩɪɟɩɨɡɧɚɬɢ ɞɚɬɢ ɫɜɟɬ ɢ ɜɪɟɦɟ ɤɨʁɢ ɫɭ ɨɞɪɟђɟɧɢ ɢ ɱɢɧɟ ɨɧɨ ɲɬɨ ɏɭɫɟɪɥ ɧɚɡɢɜɚ „ɪɟɚɥɧɢɦ ɫɜɟɬɨɦ”, ɞɨɤ ɫɟ ɭ Ɉɫɬɪɜɭ ɪɚɨɞɫɬɢ ɧɚɫɥɭʄɭʁɟ ɫɜɟɬ ɩɪɢɱɟ, ɬɨ ʁɟɫɬ, ɧɟɤɢ ɦɨɝɭʄɢ ɫɜɟɬ ɢ ɜɪɟɦɟ ɫɚ ɫɨɩɫɬɜɟɧɢɦ ɡɚɤɨɧɢɬɨɫɬɢɦɚ ɢ ɪɚɡɥɨɡɢɦɚ ɩɨɫɬɨʁɚʃɚ. Ɇɟђɭɬɢɦ, ɱɢʃɟɧɢɰɚ ɞɚ ɨɜɚ ɞɜɚ ɫɜɟɬɚ ɩɨɫɬɨʁɟ ɢɫɬɨɜɪɟɦɟɧɨ, ɬɟ ɞɚ ɫɟ ɦɨɝɭʄɟ ɢ ɩɪɨɠɢɦɚʁɭ, ɭɤɚɡɭʁɟ ɧɚ ɬɨ ɞɚ ɩɨɫɬɨʁɢ ɢɡɜɟɫɧɢ ɩɪɨɫɬɨɪ ‘ɢɡɦɟђɭ’, ɝɞɟ ɫɭ ɪɚɡɦɟɧɟ ɢ ɤɪɟɬɚʃɚ ɢɡɦɟђɭ ɩɨɦɟɧɭɬɢɯ ɫɜɟɬɨɜɚ ‘ɞɨɡɜɨʂɟɧɚ’, ɬɟ ɞɚ ɬɚʁ ɩɪɨɫɬɨɪ ‘ɢɡɦɟђɭ’ ɡɚɩɪɚɜɨ ɨɦɨɝɭʄɚɜɚ, ɨɞɧɨɫɧɨ, ɯɭɫɟɪɥɨɜɫɤɢ ɪɟɱɟɧɨ, ‘ɨɛɟʄɚɜɚ’ ‘ɩɪɟɜɨђɟʃɟ’ ɢɡ ɦɨɝɭʄɟɝ (ʁɨɲ ɧɟɨɫɬɜɚɪɟɧɨɝ) ɭ ɫɬɜɚɪɧɨ (ɪɟɚɥɧɨ). ɍ ɤɨɧɬɟɤɫɬɭ ɩɨɦɟɧɭɬɢɯ Ⱦɟɛɢɫɢʁɟɜɢɯ ɨɫɬɜɚɪɟʃɚ ɬɨ ɛɢ ɡɧɚɱɢɥɨ ɞɚ ʁɟ ɫɜɟɬ ɩɪɢɱɟ Ɉɫɬɪɜɚ ɪɚɞɨɫɬɢ ɦɨɝɭʄɟ ɪɚɡɭɦɟɬɢ ɭ ɨɞɧɨɫɭ ɧɚ ‘ɪɟɚɥɧɨɫɬɢ’ ɫɜɟɬɚ Ɇɚɫɤɢ, ɢ ɨɛɪɧɭɬɨ. ɋɚɦ ɧɚɫɥɨɜ ɞɟɥɚ – Ɇɚɫɤɟ, ɭɩɭʄɭʁɟ ɧɚ ɤɨɦɟɞɢʁɭ ɞɟɥ ɚɪɬɟ ɤɨʁɚ ʁɟ, ɩɪɟɦɚ Ⱦɟɛɢɫɢʁɟɜɨɦ ɦɢɲʂɟʃɭ, „ʁɟɞɢɧɚ ɤɚɞɪɚ ɞɚ ɨɬɟɥɨɬɜɨɪɢ ɬɪɚɝɟɞɢʁɭ”, ɨɞɧɨɫɧɨ, „ɭɤɚɠɟ ɧɚ ʁɟɞɚɧ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɚɧ, ɬɪɚɝɢɱɚɧ ɢɡɪɚɡ ɩɨɫɬɨʁɚʃɚ”201. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɨɧɚ ʁɟɫɬɟ ɦɟɫɬɨ ɩɪɟɩɥɢɬɚʃɚ ɤɨɦɟɞɢʁɟ ɢ ɬɪɚɝɟɞɢʁɟ, ɨɞɧɨɫɧɨ, ɦɟɫɬɨ ɩɪɢɤɚɡɢɜɚʃɚ ɪɟɚɥɧɨɝ ɫɜɟɬɚ ɢ ʃɟɝɨɜɢɯ ɞɚɬɨɫɬɢ ɢɡ ɤɨʁɟɝ, ɤɚɤɨ ɫɟ ɢɫɩɨɫɬɚɜʂɚ, ɧɢʁɟ ɦɨɝɭʄɟ ɬɪɚʁɧɨ ɩɨɛɟʄɢ. ɇɨ, ɨɧɨ ɲɬɨ ʁɟ ɦɨɝɭʄɟ ɭ ɬɨɦ ɪɟɚɥɧɨɦ ɫɜɟɬɭ ʁɟɫɬɟ ɞɚ ɭ ɢɧɬɟɪɚɤɰɢʁɢ ɫɚ ɞɪɭɝɢɦɚ ‘ɢɫɩɪɨɛɚɜɚɦɨ’ ɪɚɡɥɢɱɢɬɟ ɭɥɨɝɟ ɢ ɤɨɪɢɫɬɢɦɨ ɪɚɡɥɢɱɢɬɟ ɦɚɫɤɟ ɤɚɤɨ ɛɢɫɦɨ ɫɟ ɥɚɤɲɟ ɩɪɢɥɚɝɨɞɢɥɢ 201 Paul Roberts, Images…, ɧɚɜ. ɞɟɥɨ, 97. { 95 } ɨɞɪɟђɟɧɨʁ ɫɢɬɭɚɰɢʁɢ, ɤɚɤɨ ɛɢɫɦɨ ɢɦɚɥɢ ɨɫɟʄɚʁ ɩɪɢɩɚɞɧɨɫɬɢ ɨɞɪɟђɟɧɨʁ ɞɪɭɲɬɜɟɧɨʁ ɝɪɭɩɢ ɢɥɢ, ɩɚɤ, ɤɚɤɨ ɛɢɫɦɨ ɦɚɧɢɩɭɥɢɫɚɥɢ. ɍɡ ɩɨɦɨʄ ɦɚɫɤɟ ɩɪɟɭɡɢɦɚ ɫɟ ɢɞɟɧɬɢɬɟɬ ɞɪɭɝɨɝ/ɝɥɚɫ ɞɪɭɝɨɝ, ɢɡɥɚɡɢ ɫɟ (ɧɚ ɬɪɟɧɭɬɚɤ) ɢɡ ɨɤɜɢɪɚ ɩɨɡɧɚɬɨɝ ɢ ɡɚɤɨɪɚɱɭʁɟ ɭ ɧɟɤɢ ɫɜɟɬ ‘ɞɪɭɝɢ’. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɦɚɫɤɚ ɭɤɪɲɬɚ ɨɧɨ ɜɢђɟɧɨ/ɞɨɠɢɜʂɟɧɨ ɫɚ ɠɟʂɟɧɢɦ ɢ ɨɬɜɚɪɚ ɩɪɨɫɬɨɪ ɡɚ ʁɟɞɧɨ ɧɨɜɨ ɢɫɤɭɫɬɜɨ ɭ ‘ɧɨɜɨʁ’ ɪɟɚɥɧɨɫɬɢ, ɭ ɫɜɟɬɭ ɧɟɤɟ ‘ɧɨɜɟ’ ɩɪɢɱɟ. Ɍɨ ɭɤɪɲɬɚʃɟ ɜɢђɟɧɨɝ/ɞɨɠɢɜʂɟɧɨɝ ɢ ɠɟʂɟɧɨɝ ɭɨɱɚɜɚ ɫɟ ɨɞɦɚɯ ɧɚ ɩɨɱɟɬɤɭ Ⱦɟɛɢɫɢʁɟɜɟ ɤɨɦɩɨɡɢɰɢʁɟ Ɇɚɫɤɟ ɢ ɬɨ ɭ ɜɢɞɭ ɚɦɛɢɜɚɥɟɧɬɧɟ ɦɟɬɪɨ-ɪɢɬɦɢɱɤɟ ɫɥɢɤɟ – ɫɜɨʁɟɜɪɫɧɨɝ ‘ɤɨɤɟɬɢɪɚʃɚ’ ɢɡɦɟђɭ ɬɚɤɬɚ 6/8 ɢ 2/4 ɱɟɦɭ ɞɨɩɪɢɧɨɫɟ ɚɪɬɢɤɭɥɚɰɢʁɫɤɟ ɢ ɚɝɨɝɢɱɤɟ ɨɡɧɚɤɟ ɡɚ ɫɜɢɪɚʃɟ ɩɨɩɭɬ détaché et rythmé (ɨɞɜɨʁɟɧɨ ɢ ɪɢɬɦɢɱɧɨ), staccato (ɨɞɫɟɱɧɨ, ɨɞɜɨʁɟɧɨ), tenuto (ɨɬɟɝɧɭɬɨ, ɢɡɞɪɠɚɧɨ), très vif et fantastique (ɜɟɨɦɚ ɠɢɜɨ ɢ ɮɚɧɬɚɫɬɢɱɧɨ) – ɢ ɨɫɰɢɥɢɪɚʃɚ ɢɡɦɟђɭ ɬɨɧɚɥɢɬɟɬɚ ɚ-ɦɨɥɚ ɢ Ⱥ-ɞɭɪɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɨɜɚ ɩɨɱɟɬɧɚ ɡɜɭɱɧɚ ɫɥɢɤɚ – ɤɨʁɚ ʄɟ ɫɟ ɭ ɬɨɤɭ ɞɟɥɚ ɩɨɧɨɜɢɬɢ ɧɚ ɢɞɟɧɬɢɱɚɧ ɧɚɱɢɧ ʁɨɲ ɞɜɚ ɩɭɬɚ, ɢ ʁɨɲ ɞɜɚ ɩɭɬɚ ɭ ɢɡɦɟʃɟɧɨɦ ɬɨɧɚɥɧɨɦ ɤɨɧɬɟɤɫɬɭ (ɩɪɜɢ ɩɭɬ ɨɫɰɢɥɢɪɚʁɭʄɢ ɢɡɦɟђɭ ɐɟ-ɞɭɪɚ ɢ ɐɢɫ-ɞɭɪɚ, ɚ ɞɪɭɝɢ ɩɭɬ ɢɡɦɟђɭ ȿɮ-ɞɭɪɚ ɢ ɟɮ-ɦɨɥɚ) – ɭɤɚɡɭʁɟ ɧɚ ɩɨɫɬɨʁɚɧɨɫɬ ɪɚɡɥɢɱɢɬɢɯ ɦɚɫɤɢ, ɚ ɫɜɚɤɚ ɨɞ ʃɢɯ ɩɨʁɟɞɢɧɚɱɧɨ (ɤɚɞɚ ʁɟ ɨɞɚɛɟɪɟɦɨ) ɩɪɨʁɟɤɬɭʁɟ ɫɜɨʁɟɜɪɫɧɢ ɫɚɧ ɨ ɦɟɬɚɦɨɪɮɨɡɢ ɢ ɡɚɦɟɧʂɢɜɨɫɬɢ ɭɥɨɝɚ ɩɪɢ ɱɟɦɭ ɩɪɨɦɟɧʂɢɜɨɫɬ ɨɡɧɚɱɚɜɚ ɭɤɢɞɚʃɟ ɝɪɚɧɢɰɚ ɢ ɨɫɬɜɚɪɟʃɟ ɠɟʂɟɧɢɯ ɫɥɨɛɨɞɚ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 3: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɇɚɫɤɟ (Masques, 1904), ɬɬ. 1–11. { 96 } ɍ ɨɜɨʁ ɤɨɦɩɨɡɢɰɢʁɢ ɢɫɤɨɪɚɱɟʃɟ ɭ ɩɪɨɫɬɨɪ ɫɧɨɜɢђɟʃɚ, ɨɞɧɨɫɧɨ, ɫɜɟɬ ɧɟɤɟ ɞɪɭɝɟ ɩɪɢɱɟ ɞɟɲɚɜɚ ɫɟ ɭ ɞɜɚ ɧɚɜɪɬɚ: ɩɪɜɢ ɩɭɬ ɭ 96. ɬɚɤɬɭ ɤɚɞɚ ɫɟ ɭɫɩɨɫɬɚɜʂɚ ɐɢɫ-ɞɭɪ ɬɨɧɚɥɢɬɟɬ, ɚ ɩɭɥɫɚɰɢʁɚ ɭ ɨɤɜɢɪɭ ɬɚɤɬɚ 6/8 ɤɨɧɚɱɧɨ ɫɬɚɛɢɥɢɡɭʁɟ, ɢ ɞɪɭɝɢ ɩɭɬ ɭ 148. ɬɚɤɬɭ, ɤɚɞɚ ɫɟ ɭɫɬɚɧɨɜʂɚɜɚ Ƚɟɫ-ɞɭɪ. Ɉɧɨ ɲɬɨ ʁɟ ɡɚɧɢɦʂɢɜɨ ɭɨɱɢɬɢ ʁɟɫɬɟ ɞɚ ɫɟ ɢ ɭ ɨɤɜɢɪɭ ɢɫɤɨɪɚɱɟʃɚ ɞɟɲɚɜɚʁɭ ɫɥɢɱɧɟ ɯɚɪɦɨɧɫɤɟ ɨɫɰɢɥɚɰɢʁɟ, ɤɚɨ ɫɜɨʁɟɜɪɫɧɢ ɩɨɞɫɟɬɧɢɰɢ ɞɚ ʁɟ ɭ ɩɢɬɚʃɭ ‘ɜɚɪɤɚ’/‘ɨɛɦɚɧɚ’ ɤɨʁɭ ɦɚɫɤɚ ɫɨɛɨɦ ɧɨɫɢ ɢ ɞɚ ʁɟ ɩɨɜɪɬɚɤ ɭ ɪɟɚɥɧɢ ɫɜɟɬ ɧɟɦɢɧɨɜɧɨɫɬ. Ɍɚɤɨ ɫɟ ɭ ɨɤɜɢɪɭ ɨɞɫɟɤɚ ɭ ɐɢɫ-ɞɭɪɭ ɡɚɯɜɚɬɚ ɐɟ-ɞɭɪ ɬɨɧɚɥɢɬɟɬ, ɫɚɦɨ ɧɚ ɞɜɚ ɬɚɤɬɚ (ɬɪɟɧɭɬɚɤ ɩɨɞɫɟʄɚʃɚ), ɞɚ ɛɢ ɨɞɦɚɯ ɡɚɬɢɦ, ɟɧɯɚɪɦɨɧɫɤɨɦ ɡɚɦɟɧɨɦ ɩɪɜɨɝ ɫɬɭɩʃɚ Ⱥɫ-ɞɭɪɚ ɭ ɩɟɬɢ ɫɬɭɩɚʃ ɐɢɫ-ɞɭɪɚ, ɰɟɥɨɤɭɩɧɚ ‘ɡɜɭɱɧɚ ɫɥɢɤɚ’ ɩɨɧɨɜɨ ɡɚɤɨɪɚɱɢɥɚ ɭ ɫɧɨɜɢɞɧɢ ɫɜɟɬ. ɍ ɨɛɚ ɫɥɭɱɚʁɚ ɞɨɥɚɡɢ ɞɨ ɩɪɨɦɟɧɟ ɮɚɤɬɭɪɟ, ɤɨʁɚ ʁɟ ɩɪɚʄɟɧɚ ɢ ɩɪɨɦɟɧɨɦ ɚɝɨɝɢɤɟ ɢ ɚɪɬɢɤɭɥɚɰɢʁɟ, ɤɚɨ ɢ ɪɟɝɢɫɬɪɚ ɭ ɤɨʁɟɦ ɫɟ ɬɚ ɧɨɜɚ ‘ɡɜɭɱɧɚ ɫɥɢɤɚ’ ɩɨʁɚɜʂɭʁɟ, ɫ ɬɢɦ ɲɬɨ ʁɟ ɞɪɭɝɨ ɢɫɬɭɩɚʃɟ ɨɛɨɝɚʄɟɧɨ ɩɟɧɬɚɬɨɧɫɤɢɦ ɨɚɡɚɦɚ ɤɨʁɟ ɦɨɝɭ ɛɢɬɢ ɬɭɦɚɱɟɧɟ ɤɚɨ ɜɟɪɚ ɭ ɫɬɜɚɪɧɨɫɬ ɬɨɝ ɫɧɨɜɢɞɧɨɝ ɫɜɟɬɚ, ɬɨ ʁɟɫɬ, ɫɜɟɬɚ ɩɪɢɱɟ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 4: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɇɚɫɤɟ (Masques, 1904), ɬɬ. 96–107. { 97 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 5: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɇɚɫɤɟ (Masques, 1904), ɬɬ. 148–155. ɉɨɜɪɚɬɚɤ ɭ ɪɟɚɥɧɢ ɫɜɟɬ, ɨɞɧɨɫɧɨ, ɫɚɦ ɬɪɟɧɭɬɚɤ ‘ɫɤɢɞɚʃɚ’ ɦɚɫɤɟ, ɤɚɨ ɬɪɟɧɭɬɚɤ ɨɬɜɨɪɟɧɨɝ ɫɭɨɱɚɜɚʃɚ ɨɧɨɝ ʁɚ ɫɚ ɧɟɤɢɦ ɞɪɭɝɢɦ ʁɚ, ɨɞɢɝɪɚɜɚ ɫɟ ɭ Ʉɨɞɢ ɨɜɟ ɤɨɦɩɨɡɢɰɢʁɟ, ɬɚɱɧɢʁɟ ɭ ɩɨɫɥɟɞʃɢɯ ɬɪɢɞɟɫɟɬ ɢ ɩɟɬ ɬɚɤɬɨɜɚ. Ɏɚɤɬɭɪɧɚ ɫɥɢɤɚ ɤɨʁɚ ɫɚɦɨ ɭ ɜɢɞɭ ɟɯɚ ɩɨɞɫɟʄɚ ɧɚ ɩɪɜɨ ɢɫɤɨɪɚɱɟʃɟ ɭ ɫɧɨɜɢɞɧɢ ɫɜɟɬ (ɫɟɝɦɟɧɬ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɨɞ 96. ɬɚɤɬɚ), ɩɨɱɢʃɟ ɩɨɥɚɤɨ ɞɚ ‘ɢɲɱɟɡɚɜɚ’ ɬɚɤɨ ɲɬɨ ɫɟ ɦɨɬɢɜɢ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɢ ɡɚ ɬɚʁ ɫɟɝɦɟɧɬ ɧɚ ɤɨʁɢ ɫɟ ɪɟɮɟɪɢɪɚ, ɧɚʁɩɪɟ, ɭɡ ɩɚɭɡɟ ɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ, ɩɨɧɚɜʂɚʁɭ, ɡɚɬɢɦ ɞɟɥɟ ɧɚ ɫɭɛ- ɦɨɬɢɜɟ ɢ ɧɚ ɤɪɚʁɭ ɪɚɫɩɚɞɚʁɭ, ɨɞɧɨɫɧɨ ɞɟɡɢɧɬɟɝɪɢɲɭ ɭ ɦɭɡɢɱɤɢ ɩɪɫɬɨɪ ɪɟɚɥɧɨɝ ɫɜɟɬɚ. Ɍɪɟɧɭɬɚɤ ɫɤɢɞɚʃɚ ɦɚɫɤɟ ɢ ɩɨɜɪɚɬɚɤ ɭ ɪɟɚɥɧɢ ɫɜɟɬ, ɭ ɩɚɪɬɢɬɭɪɢ ʁɟ ɩɨɬɰɪɬɚɧ ɨɡɧɚɤɨɦ sans retenir (ɛɟɡ ɭɫɩɨɪɚɜɚʃɚ), ɞɢɧɚɦɢɤɨɦ ɩɢʁɚɧɢɫɢɦɨ (pp), ɭɡ ɚɝɨɝɢɱɤɭ ɨɡɧɚɤɭ sourd et en s’éloignant (ɩɪɢɝɭɲɟɧɨ ɫɟ ɭɞɚʂɚɜɚʁɭʄɢ/ɢɱɲɟɡɚɜɚʁɭʄɢ). { 98 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 6: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɇɚɫɤɟ (Masques, 1904), ɬɬ. 350–380. Ɂɚɩɪɚɜɨ, ɦɭɡɢɱɤɭ ɢɝɪɭ ɨɜɨɝ ɫɟɝɦɟɧɬɚ ɤɨɦɩɨɡɢɰɢʁɟ ɤɚɪɚɤɬɟɪɢɲɟ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨ ɭɫɩɨɪɚɜɚʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɲɬɨ ɛɢ ɦɨɝɥɨ ɛɢɬɢ ɩɪɨɬɭɦɚɱɟɧɨ ɤɚɨ ɨɞɥɚɝɚʃɟ ɩɨɜɪɚɬɤɚ ɭ ɪɟɚɥɧɢ ɫɜɟɬ, ʁɟɪ, ɧɚɤɨɧ ɢɫɤɭɫɬɜɚ ɤɨʁɟ ʁɟ ɞɨɧɟɨ ɫɧɨɜɢɞɧɢ ɫɜɟɬ ɤɪɢɧɤɢ, ɪɟɚɥɧɢ ɫɜɟɬ ɭ ɫɜɟɫɬɢ ɜɢɲɟ ɧɢɤɚɞɚ ɧɟʄɟ ɛɢɬɢ ɢɫɬɢ – ɨɧ ʄɟ ɛɢɬɢ ɫɚɦɨ ɩɪɢɜɢɞɧɨ ɩɨɧɨɜʂɟɧɚ ɪɟɚɥɧɨɫɬ. { 99 } Ɉɫɬɪɜɨ ɪɚɞɨɫɬɢ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ, ɭ ɬɨɦ ɫɦɢɫɥɭ, ɱɭɜɚ ‘ɢɫɤɭɫɬɜɚ’ ɫɜɟɬɚ ɩɪɢɱɟ, ɦɨɝɥɨ ɛɢ ɫɟ ɪɟʄɢ, ɨɞ ɫɚɦɨɝ ɩɨɱɟɬɤɚ ɞɟɥɚ, ɩɚ ɞɨ ʃɟɝɨɜɨɝ ɤɪɚʁɚ. Ʉɨɦɩɨɡɢɰɢʁɚ ʁɟ, ɩɨɞɫɟʄɚɦ, ɢɧɫɩɢɪɢɫɚɧɚ ȼɚɬɨɨɜɨɦ ɫɥɢɤɨɦ ɍɤɪɰɚɜɚʃɟ ɡɚ Ʉɢɬɟɪɭ ɤɨʁɨɦ ɫɟ ɫɥɚɜɟ ɠɢɜɨɬɧɚ ɭɠɢɜɚʃɚ ɧɚ ɮɚɧɬɚɫɬɢɱɧɨɦ, ɥɟɝɟɧɞɚɪɧɨɦ ɨɫɬɪɜɭ ʂɭɛɚɜɢ ɢ ɪɚɞɨɫɬɢ – Ʉɢɬɟɪɭ. ɍ ɞɭɯɭ ɬɨɝɚ, ɢ Ⱦɟɛɢɫɢʁɟɜɚ ɤɨɦɩɨɡɢɰɢʁɚ, ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ ɤɚɨ ɞɚ, ɤɚɤɨ ɬɨ ɢɫɬɢɱɟ Ⱦɟʁɚɧ Ⱦɟɫɩɢʄ, „ɩɪɲɬɢ ɪɚɞɨɫɧɢɦ ɤɥɢɤɬɚʁɢɦɚ, ɩɨɬɨɦ ɫɟ ɜɟɫɟɥɨ ɪɚɡɢɝɪɚɜɚ, ɞɚ ɛɢ ɧɚ ɤɪɚʁɭ ɩɪɚɜɢɦ ɮɚɧɮɚɪɚɦɚ ɫɥɚɜɢɥɚ ɫɜɟɬɥɨɫɬ ɢ ɠɢɜɨɬɧɚ ɡɚɞɨɜɨʂɫɬɜɚ”202. Ɉɧɨ ɲɬɨ ɫɟ ɢɫɬɢɱɟ ɭ ɜɟɡɢ ɫɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɢɦ (ɦɭɡɢɱɤɢɦ) ɫɜɟɬɨɦ Ɉɫɬɪɜɚ ɪɚɞɨɫɬɢ ʁɟɫɬɟ ɥɟɫɬɜɢɱɧɚ ɨɫɧɨɜɚ ɤɨʁɚ ɥɟɠɢ ɭ ɨɫɧɨɜɢ ɨɜɨɝ ɞɟɥɚ. ɇɚɢɦɟ, ɪɟɱ ʁɟ ɰɟɥɨɫɬɟɩɟɧɨʁ ɥɟɫɬɜɢɰɢ ɢ ʃɟɧɨɦ ɤɨɥɨɪɢɫɬɢɱɤɨɦ ɫɜɨʁɫɬɜɭ ɤɨʁɟ ɩɪɨɢɡɥɚɡɢ ɢɡ ʃɟɧɟ ɧɟɨɛɢɱɧɟ ɝɪɚђɟ (ɧɢɡ ɰɟɥɢɯ ɫɬɟɩɟɧɚ, ɨɞɧɨɫɧɨ ɜɟɥɢɤɢɯ ɫɟɤɭɧɞɚ) ɤɨʁɚ ‘ɧɟɝɢɪɚ’, ɨɞɧɨɫɧɨ, ‘ɡɚɨɛɢɥɚɡɢ’ ɞɨɦɢɧɚɧɬɭ (ɬɨ ʁɟɫɬ, ɱɢɫɬɭ ɤɜɢɧɬɭ ɧɚ ɬɨɧɢɰɢ). ɋɜɟɩɪɢɫɭɬɧɨɫɬ ɰɟɥɨɫɬɟɩɟɧɟ ɥɟɫɬɜɢɰɟ ɭ ɥɢɧɟɚɪɧɨɦ ɬɨɤɭ Ⱦɟɛɢɫɢʁɟɜɟ ɤɨɦɩɨɡɢɰɢʁɟ ɩɪɨʁɟɤɬɭʁɟ ɫɟ ɢ ɧɚ ɯɚɪɦɨɧɫɤɢ ɬɨɤ ɨɜɨɝ ɞɟɥɚ ɱɢɧɟʄɢ ɰɟɥɨɫɬɟɩɟɧɭ ɥɟɫɬɜɢɰɭ ɚɩɫɨɥɭɬɧɨ ɞɨɦɢɧɚɧɬɧɨɦ; ɢɡɭɡɟɬɚɤ ɞɨɧɟɤɥɟ ɩɪɟɞɫɬɚɜʂɚ ɟɩɢɡɨɞɚ ɭ ȿ-ɞɭɪɭ; ɦɟђɭɬɢɦ, ɱɚɤ ɢ ɭ ɨɜɤɢɪɭ ɨɜɨɝ ɞɟɥɚ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɧɚ ɧɟɤɨɥɢɤɨ ɦɟɫɬɚ ɫɟ ɭɨɱɚɜɚ ‘ɩɪɨɛɨʁ’ ɰɟɥɨɫɬɟɩɟɧɨɫɬɢ. Ɍɚɤɨ, ɩɪɢɫɭɫɬɜɨ ɰɟɥɨɫɬɟɩɟɧɨɫɬɢ ɨɞ ɩɨɱɟɬɤɚ ɞɨ ɤɪɚʁɚ ɦɭɡɢɱɤɨɝ ɬɨɤɚ Ɉɫɬɪɜɚ ɪɚɞɨɫɬɢ ɞɨɩɪɢɧɨɫɢ ɞɚ ɰɟɥɨɤɭɩɚɧ ɦɭɡɢɱɤɢ ɫɜɟɬ ɨɜɨɝ Ⱦɟɛɢɫɢʁɟɜɨɝ ɨɫɬɜɚɪɟʃɚ ɛɭɞɟ ɫɯɜɚʄɟɧ ɭ ʁɟɞɧɨɦ ɲɢɪɟɦ, ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ (ɯɚɪɦɨɧɫɤɨɦ) ɤɨɧɬɟɤɫɬɭ ɤɨʁɢɦ ‘ɜɥɚɞɚʁɭ’ ɧɟɤɚ ɞɪɭɝɚ ɩɪɚɜɢɥɚ. Ɍɚʁ ɤɨɧɬɟɤɫɬ ɞɨɩɭɲɬɚ ɢɡɜɟɫɧɭ ɢɧɬɟɪɩɪɟɬɚɬɢɜɧɭ ɲɢɪɢɧɭ, ɛɚɲ ɤɚɨ ɲɬɨ ɞɨɩɭɲɬɚ ɢ ɫɜɟɬ ɩɪɢɱɟ ȼɚɬɨɨɜɨɝ ɩɥɚɬɧɚ. ɉɢɬɚʃɚ ɤɨʁɚ ɫɭ ɫɟ ɧɚɦɟɬɚɥɚ ɭ ɜɟɡɢ ɫɚ ɫɥɢɤɚɪɫɤɨɦ ɤɨɦɩɨɡɢɰɢʁɨɦ – ɞɚ ɥɢ ʁɟ ɪɟɱ ɨ ɭɤɪɰɚɜɚʃɭ ɡɚ Ʉɢɬɟɪɭ ɢɥɢ ʁɟ ɪɟɱ ɨ ɧɚɩɭɲɬɚʃɭ ɢɞɢɥɢɱɧɨɝ ɨɫɬɪɜɚ ‒ ɨɞɧɨɫɧɨ, ɨɧɚ ɤɨʁɚ ɢɫɤɪɫɚɜɚʁɭ ɭ ɜɟɡɢ ɫɚ Ⱦɟɛɢɫɢʁɟɜɢɦ ɞɟɥɨɦ – ɞɚ ɥɢ ɰɟɥɨɫɬɟɩɟɧɨɫɬ ɢ ʃɟɧɚ ɬɨɧɚɥɧɚ ɧɟɨɞɪɟђɟɧɨɫɬ ɢ ɮɥɭɢɞɧɨɫɬ ɤɪɟɬɚʃɚ ɝɪɚɜɢɬɢɪɚ ɬɨɧɚɥɧɨ ɫɬɚɛɢɥɢɧɢʁɟɦ ɦɭɡɢɱɤɨɦ ɬɨɤɭ, ɢɥɢ, ɩɚɤ, ɤɨɧɫɬɚɧɬɧɨ ɩɪɨɞɢɪɭʄɢ ɢ ɪɚɡɝɪɚђɭʁɭʄɢ ɬɚɤɜɟ ɨɚɡɟ, ‘ɜɪɚʄɚ’/ɩɪɟɦɨɬɚɜɚ ɰɟɥɨɤɭɩɚɧ ɦɭɡɢɱɤɢ ɬɨɤ ɭɧɚɡɚɞ, ɤɚ ɩɨɱɟɬɤɭ – ɡɚɩɪɚɜɨ, ɫɜɟɞɨɱɟ ɨ ɫɜɨʁɟɜɪɫɧɨʁ ɩɨɬɪɟɛɢ ɞɚ ɫɟ, ɩɨɫɪɟɞɫɬɜɨɦ ɬɨɝ ɤɪɟɬɚʃɚ ɭɧɚɩɪɟɞ ɢ ɭɧɚɡɚɞ (ɨɞ ɪɟɚɥɧɨɝ ɫɜɟɬɚ ɤɚ ɫɜɟɬɭ ɩɪɢɱɟ ɭ ɫɥɭɱɚʁɭ ȼɚɬɨɨɜɟ ɤɨɦɩɨɡɢɰɢʁɟ ɍɤɪɰɚɜɚʃɟ ɡɚ Ʉɢɬɟɪɭ, ɚ ɦɨɠɞɚ ɢ ȼɟɪɥɟɧɨɜɟ ɩɟɫɦɟ 202 Dejan Despić, Harmonija sa harmonskom analizom (Beograd: Zavod za udžbenike i nastavna sredstva, 2002), 363. { 100 } Ɇɟɫɟɱɢɧɚ), ɨɞɧɨɫɧɨ, ɤɪɟɬɚʃɟɦ ɨɞ ɯɚɪɦɨɧɫɤɟ ɥɚɛɢɥɧɨɫɬɢ ɤɚ ɬɨɧɚɥɧɨɦ ‘ɪɚɡɪɟɲɟʃɭ’ ɢ ɨɛɪɧɭɬɨ (ɭ ɫɥɭɱɚʁɭ Ⱦɟɛɢɫɢʁɟɜɨɝ ɨɫɬɜɚɪɟʃɚ), ɡɚɦɪɡɧɟ ʁɟɞɚɧ ɬɪɟɧɭɬɚɤ ɩɨɫɬɨʁɚʃɚ, ɨɞɧɨɫɧɨ, ɬɪɚʁʃɟ ɬɨɝ ɬɪɟɧɭɬɤɚ ɭɱɢɧɢ ɜɟɱɧɢɦ. Ʉɨɧɪɤɟɬɧɨ, ɭ Ɉɫɬɪɜɭ ɪɚɞɨɫɬɢ ɬɨɦɟ ɞɨɩɪɢɧɨɫɟ ɬɪɢ ɦɨɬɢɜɚ ɞɚɬɚ ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ ɤɨʁɢ ʄɟ ɞɚʂɟ ɩɪɨɬɤɢɜɚɬɢ ɫɜɟ ɡɧɚɱɚʁɧɢʁɟ ɬɟɦɚɬɫɤɟ ɦɚɬɟɪɢʁɚɥɟ ɞɟɥɚ ɭɬɢɱɭʄɢ ɬɚɤɨ ɧɚ ʃɟɝɨɜɭ ɰɟɥɨɤɭɩɧɭ ɯɚɪɦɨɧɫɤɭ ɫɥɢɤɭ. ɇɚɢɦɟ, ɦɨɬɢɜ ɢɡ ɭɜɨɞɚ ɫɚɱɢʃɟɧ ʁɟ ɨɞ ɬɪɢ ɩɪɟɤɨɦɟɪɧɚ ɬɪɨɡɜɭɤɚ ɩɨɜɟɡɚɧɚ ɫɢɥɚɡɧɨɦ ɯɪɨɦɚɬɫɤɨɦ ɥɢɧɢʁɨɦ ɤɨʁɚ ɫɟ ɤɪɟʄɟ ɨɞ ɰɢɫ2 ɞɨ ɝɟ1 (ɢɧɬɟɪɜɚɥ ɩɪɟɤɨɦɟɪɧɟ ɤɜɚɪɬɟ), ɬɚɤɨ ɞɚ ʁɟ ɭ ɫɚɦɨɦ ɭɜɨɞɧɨɦ ɦɨɬɢɜɭ ɫɚɞɪɠɚɧɨ ɩɪɨɠɢɦɚʃɟ ɰɟɥɨɫɬɟɩɟɧɨɫɬɢ ɫɚ ɯɪɨɦɚɬɫɤɨɦ ɥɟɫɬɜɢɰɨɦ. ɍ ɬɪɟʄɟɦ ɬɚɤɬɭ ɫɟ ɰɟɥɨɫɬɟɩɟɧɚ ɥɟɫɬɜɢɰɚ ɢ ɧɟɩɨɫɪɟɞɧɨ ɢɡɥɚɠɟ ɞɨɞɚɬɧɨ ɩɨɬɰɪɬɚɧɚ ɞɜɨɡɜɭɰɢɦɚ ɭ ɞɟɨɧɢɰɢ ɥɟɜɟ ɪɭɤɟ. Ɍɪɚʁɚʃɟɦ ɢ ɬɪɢɥɟɪɢɦɚ ɩɨɫɟɛɧɨ ɧɚɝɥɚɲɟɧ ɬɨɧ ɰɢɫ2 ɢɩɚɤ ɫɚɦɨ ɞɟɥɭʁɟ ɤɚɨ ‘ɬɨɧɢɤɚ’ ɬɟ ɥɟɫɬɜɢɰɟ, ɧɟ ɧɚɝɨɜɟɲɬɚɜɚʁɭʄɢ ɨɫɧɨɜɧɢ ɬɨɧɚɥɢɬɟɬ, ɬɢɦ ɩɪɟ ɲɬɨ ʁɟ ɭ ɬɪɢɥɟɪɭ ɩɪɚʄɟɧ ɬɨɧɨɦ ɞɢɫ2. ɑɚɤ ɢ ɤɚɞɚ ɫɟ ɧɚɤɨɧ ɭɜɨɞɚ ɧɚ ɬɪɟɧɭɬɚɤ ʁɚɫɧɨ ɢɫɤɚɠɟ ɞɢʁɚɬɧɨɫɤɚ ɨɫɧɨɜɚ Ⱥ-ɞɭɪɚ (ɤɨʁɢ ʁɟ ɢɦɩɥɢɰɢɪɚɧ ɩɪɟɞɡɚɧɢɰɚ), ɬɨɧɨɜɢ ɞɢɫ ɢ ɝɟ ɨɫɬɚʁɭ ɩɪɢɫɭɬɧɢ ɤɚɨ ɥɟɫɬɜɢɱɧɢ ɬɨɧɨɜɢ, ɲɬɨ ɞɨɩɪɢɧɨɫɢ ɥɢɞɢʁɫɤɨ- ɦɢɤɫɨɥɢɞɢʁɫɤɨʁ ‘ɧɢʁɚɧɫɢ’ ɨɜɨɝ (ɤɜɚɡɢ) Ⱥ-ɞɭɪɚ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪɨʁ 7). ɂ ɞɪɭɝɢ ɦɨɬɢɜ – ɤɨʁɢ ɫɟ ʁɚɜʂɚ ɧɟɩɨɫɪɟɞɧɨ ɧɚɤɨɧ ɨɧɨɝ ɧɚ ɬɪɟɧɭɬɚɤ ɭɫɩɨɫɬɚɜʂɟɧɨɝ Ⱥ-ɞɭɪɚ – ɛɢɜɚ ‘ɨɛɨʁɟɧ’ ɥɢɞɢʁɫɤɨɦ ɤɜɚɪɬɨɦ ɢ ɦɢɤɫɨɥɢɞɢʁɫɤɨɦ ɫɟɩɬɢɦɨɦ, ɬɚɤɨ ɞɚ ɫɟ ɦɨɠɟ ɪɟʄɢ ɞɚ ʁɟ ɨɧ (ɭ ɩɨɝɟɥɞɭ ɥɟɫɬɜɢɱɧɟ ɨɫɧɨɜɟ ɧɚ ɤɨʁɨʁ ʁɟ ɡɚɫɧɨɜɚɧ) ɩɪɨɢɡɚɲɚɨ ɢɡ ɩɪɜɨɝ ɦɨɬɢɜɚ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪɨʁ 8). ɋɥɢɱɧɚ ɫɟ ɥɨɝɢɤɚ ɩɪɨɧɚɥɚɡɢ ɢ ɭ ɝɪɚђɢ ɬɪɟʄɟɝ ɦɨɬɢɜɚ ɤɨʁɢ ʁɟ ɡɚɫɧɨɜɚɧ ɧɚ ɨɫɬɢɧɚɬɧɨɦ ɬɪɟɩɟɪɟʃɭ ɧɢɡɚ ɨɞ ɞɢɫ1 ɞɨ ɝ (ɭ ɞɟɨɧɢɰɢ ɞɟɫɧɟ ɪɭɤɟ) ɱɢɦɟ ʁɟ ɡɯɜɚʄɟɧ ɢ ɬɪɢɬɨɧɭɫ ɤɚɨ ɤɨɧɫɬɢɬɭɬɢɜɧɢ ɟɥɟɦɟɧɬ ɰɟɥɨɫɬɟɩɟɧɟ ɥɟɫɬɜɢɰɟ – ɲɬɨ ɪɟɮɟɪɢɪɚ ɧɚ ɦɨɬɢɜ ɢɡ ɭɜɨɞɚ, ɢ ɧɚ ɦɚɪɤɢɪɚʃɭ ɨɫɧɨɜɧɨɝ ɬɨɧɚ ɢ ɤɜɢɧɬɟ, ɚ ɡɚɬɢɦ ɢ ɬɨɧɨɜɚ ɞɨʃɟ ɦɟɞɢʁɚɧɬɟ Ⱥ-ɞɭɪɚ (ɟɮ-ɚ) ɤɨʁɚ ʄɟ ɢɦɚɬɢ ɜɚɠɧɭ ɭɥɨɝɭ ɭ ɤɭɥɦɢɧɚɰɢɨɧɨɦ ɬɚɥɚɫɭ ɞɟɥɚ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪɨʁ 9). { 101 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 7: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɉɫɬɪɜɨ ɪɚɞɨɫɬɢ (L’isle joyeuse, 1904), ɩɪɜɢ ɦɨɬɢɜ, ɬɬ. 1–4. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 8: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɉɫɬɪɜɨ ɪɚɞɨɫɬɢ (L’isle joyeuse, 1904), ɞɪɭɝɢ ɦɨɬɢɜ, ɬɬ. 9–10. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 9: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɉɫɬɪɜɨ ɪɚɞɨɫɬɢ (L’isle joyeuse, 1904), ɬɪɟʄɢ ɦɨɬɢɜ, ɬɬ. 20–23. { 102 } ɉɪɨɫɬɨɪ ɤɨʁɢ ʁɟ ɫɚ ɰɟɥɨɫɬɟɩɟɧɨɦ ɥɟɫɬɜɢɰɨɦ ɨɬɜɨɪɟɧ ɡɚ ɬɨ ʁɟɞɧɨ ɧɨɜɨ ɢɫɤɭɫɬɜɨ ɭ ‘ɧɨɜɨʁ’ ɪɟɚɥɧɨɫɬɢ, ɨɞʁɟɤɢɜɚʄɟ ɢ ɭ ɩɨɦɟɧɭɬɨɦ ɬɨɧɚɥɧɨ ‘ɫɬɚɛɢɥɧɢʁɟɦ’ ɫɟɝɦɟɧɬɭ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɤɨɦɩɨɡɢɰɢʁɟ. ɍ ɨɤɜɢɪɭ ʃɟɝɚ ɫɟ ɢɡɞɜɚʁɚ ɝɪɚɞɚɰɢɨɧɢ ɥɭɤ ɤɨʁɢ ɜɨɞɢ ɤɚ ɯɢɦɧɢɱɧɨʁ ɬɟɦɚɬɫɤɨʁ ɢ ‘ɬɨɧɚɥɧɨʁ’ ɪɟɩɪɢɡɢ. ȼɟʄ ɫâɦ ɪɟɞɨɫɥɟɞ ɬɨɧɚɥɢɬɟɬɚ ɤɪɨɡ ɤɨʁɟ ɫɟ ɩɨɦɟɧɭɬɚ ɝɪɚɞɚɰɢʁɚ ɪɚɡɜɢʁɚ ɩɨɤɚɡɭʁɟ ɥɚɬɟɧɬɧɭ (ɧɟɩɨɬɩɭɧɭ) ɰɟɥɨɫɬɟɩɟɧɨɫɬ: ɰɢɫ- ɦɨɥ/ȿɫ-ɞɭɪ/ȿɮ-ɞɭɪ/Ⱥ-ɞɭɪ; ɦɟђɭɬɢɦ, ɜɟɡɢ ɢɡɦɟђɭ ɨɜɢɯ ɬɨɧɚɥɢɬɟɬɚ ɫɟ ɧɟ ɨɫɬɜɚɪɭʁɟ ɧɚ ɬɪɚɞɢɰɢɨɧɚɥɚɧ ɧɚɱɢɧ – ɩɨɫɪɟɞɫɬɜɨɦ ɦɨɞɭɥɚɰɢʁɚ, ɧɟɝɨ ɫɟ ɩɪɟ ɩɨʁɚɜɟ ɫɜɚɤɨɝ (ɭɤʂɭɱɭʁɭʄɢ ɢ ɩɨɱɟɬɧɢ ɰɢɫ-ɦɨɥ) ʁɚɜʂɚ ɰɟɥɨɫɬɟɩɟɧɚ ɟɩɢɡɨɞɚ ɢɡ ɤɨʁɟ ɫɜɚɤɢ ɩɨʁɟɞɢɧɚɱɧɢ ɬɨɧɚɥɢɬɟɬ ɧɚ ɬɪɟɧɭɬɚɤ ‘ɢɡɪɚʃɚ’ ɤɚɨ ɩɨʂɟ ɫɬɚɛɢɥɧɨɫɬɢ. Ɉɧɨ ɲɬɨ ʁɟ ɬɚɤɨђɟ ɡɚɧɢɦʂɢɜɨ ʁɟɫɬɟ ɞɚ ɫɭ ɫɜɢ ɬɨɧɚɥɢɬɟɬɢ ɦɨɞɚɥɧɨ ‘ɨɛɨʁɟɧɢ’: ȿɫ-ɞɭɪ ɢ ȿɮ-ɞɭɪ ɥɢɞɢʁɫɤɨ-ɦɢɤɫɨɥɢɞɢʁɫɤɨɦ ‘ɧɢʁɚɧɫɨɦ’, ɚ ɡɚɜɪɲɧɢ Ⱥ-ɞɭɪ ɥɢɞɢɫʁɤɨɦ. Ɇɨɠɞɚ ɭɩɪɚɜɨ ɨɜɚʁ ɰɟɧɬɪɚɥɧɢ ɞɟɨ ɤɨɦɩɨɡɢɰɢʁɟ, ɤɨʁɢ ɩɪɟɞɫɬɚɜʂɚ ɫɜɨʁɟɜɪɫɧɨ ‘ɢɫɤɪɰɚɜɚʃɟ’ ɧɚ ɤɜɚɡɢ ɬɨɧɚɥɧɨ ɫɬɚɛɢɥɚɧ ɬɟɪɟɧ ʁɟɫɬɟ ɢɫɬɨ ɨɧɨ ɦɟɫɬɨ ɝɞɟ ɫɟ ɞɜɚ ɫɜɟɬɚ (ɪɟɚɥɧɢ ɫɜɟɬ ɢ ɫɜɟɬ ɩɪɢɱɟ) ɫɪɟʄɭ ɢ ɩɪɨɠɢɦɚʁɭ; ɬɨ ʁɟ ɢɫɬɢ ɨɧɚʁ ɩɪɨɫɬɨɪ ɤɨʁɢ ‘ɞɨɩɭɲɬɚ’ ‘ɩɪɟɜɨђɟʃɟ’ ɢɡ ɨɧɨɝ ɦɨɝɭʄɟɝ (ʁɨɲ ɧɟɨɫɬɜɚɪɟɧɨɝ) ɭ ɫɬɜɚɪɧɨ (ɪɟɚɥɧɨ), ɨɞɧɨɫɧɨ, ɨɧɚʁ ɩɪɨɫɬɨɪ-ɜɪɟɦɟ ɤɨʁɢ, ɤɚɨ ɢ ɭ ȼɟɪɥɟɧɨɜɨʁ ɩɟɫɦɢ Ɇɟɫɟɱɢɧɚ ɢ ɧɚ ȼɚɬɨɨɜɨʁ ɫɥɢɰɢ ɍɤɪɰɚɜɚʃɟ ɡɚ Ʉɢɬɟɪɭ, ɧɚ ɬɪɟɧɭɬɚɤ ɞɨɩɭɲɬɚ ɩɪɟɩɥɢɬɚʃɟ ɞɢɦɟɧɡɢʁɟ ʁɚɜɧɨɝ ɢ ɩɪɢɜɚɬɧɨɝ, ɥɨɝɢɤɟ ɞɭɯɚ ɢ ɥɨɝɢɤɟ ɫɬɪɚɫɬɢ, ɢɫɩɪɚɜɧɭ ɩɟɪɰɩɟɰɢʁɭ ɢ ɯɚɥɭɰɢɧɚɰɢʁɭ, ɡɚɛɪɚɧɭ ɢ ɨɫɬɜɚɪɟʃɟ ɠɟʂɟ, ɬɨ ʁɟɫɬ, ɩɨɬɩɭɧɨ ɩɪɢɥɚɝɨђɚɜɚʃɟ ɫɜɟɬɭ ɢ ɛɟɡɭɫɥɨɜɚɧ ɛɟɝ ɢɡ ʃɟɝɚ.203 • • • 203 ɍɩɨɪɟɞɢɬɢ ɫɚ: Remo Bodei, Logiques du délire..., ɧɚɜ. ɞɟɥɨ, 51. { 103 } Ɂɚ ɪɚɡɥɢɤɭ ɨɞ ȼɟɪɥɟɧɚ ɤɨʁɢ ɦɭɡɢɤɭ ɬɭɦɚɱɢ ɤɚɨ ɦɟɥɨɞɢɨɡɧɢ ɮɥɭɢɞ ɭ ɤɨɦɟ ɥɟɛɞɟ ɫɥɢɤɟ ɢ ɨɫɟʄɚʃɚ, ɋɬɟɮɚɧ Ɇɚɥɚɪɦɟ ɦɭɡɢɤɭ ɫɯɜɚɬɚ ɤɚɨ ɚɥɬɟɪɧɚɬɢɜɭ ɩɢɫɚɧɨʁ ɪɟɱɢ, ɫɚɦɨ ɤɚɨ ʁɟɞɚɧ ɚɫɩɟɤɬ ʁɟɞɢɧɫɬɜɟɧɨɝ ɮɟɧɨɦɟɧɚ, ɬɨ ʁɟɫɬ, ɂɞɟʁɟ. Ɂɚ Ɇɚɥɚɪɦɟɚ, ɞɚɤɥɟ, ɦɭɡɢɤɚ ɧɢʁɟ ɢɡɪɚɠɚʁɧɨ ɫɪɟɞɫɬɜɨ ʁɟɞɧɨɝ ɞɨɠɢɜʂɚʁɚ, ɜɟʄ ɢɧɤɚɪɧɚɰɢʁɚ ɫɜɟɬɚ ɢɞɟʁɚ ɤɨʁɟ ɧɚɢɡɦɟɧɢɱɧɨ ɡɜɭɱɟ ɤɚɨ ɪɟɱ ɢɥɢ ɫɚɦɨ ɤɚɨ ɡɜɭɤ. ɑɭɞɨ ɫɬɜɚɪɚʃɚ, ɨɞɧɨɫɧɨ, ɪɟɱɟɧɨ ɦɚɥɚɪɦɟɨɜɫɤɢ, ɬɪɚɧɫɩɨɡɢɰɢʁɚ ɩɪɢɪɨɞɧɢɯ ɱɢʃɟɧɢɰɚ ɭ ɫɬɚʃɟ ɜɢɛɪɢɪɚʁɭʄɟɝ ɢɲɱɟɡɚɜɚʃɚ („disparition vibratoire”) ɢɦɚ ɡɚ ɰɢʂ ɞɚ ɫ ɨɧɭ ɫɬɪɚɧɭ ɤɨɧɤɪɟɬɧɢɯ ɢ ɪɟɩɪɟɡɟɧɬɚɬɢɜɧɢɯ ɪɟɮɟɪɟɧɰɢ ɮɨɪɦɢɪɚ ɫɜɟɬ „ɱɢɫɬɢɯ ɩɨʁɦɨɜɚ” ɢ ɫɜɟɬ ɜɢɪɬɭɟɥɧɢɯ ɩɪɟɞɫɬɚɜɚ: ɬɟɤ ɧɚ ɬɨɦ ɫɬɟɩɟɧɭ ɚɩɫɨɥɭɬɢɡɚɰɢʁɟ ɝɨɜɨɪɚ, ɫɦɢɫɚɨ ɢ ɡɜɭɤ ɜɟɡɭʁɭ ɫɟ ɤɚɨ ɦɨɝɭʄɚ ɪɟɦɢɧɢɫɰɟɧɰɢʁɚ ɩɪɟɞɦɟɬɚ ɭ ɫɚɫɜɢɦ ɧɨɜɨʁ ɢ ɧɟɩɨɡɧɚɬɨʁ ɚɬɦɨɫɮɟɪɢ, ɢɥɢ, ɩɚɤ, ɬɭɦɚɱɟɧɨ ɭ ɞɭɯɭ Ⱦɢɮɪɟɧɨɜɟ ɮɟɧɨɦɟɧɨɥɨɲɤɟ ɟɫɬɟɬɢɤɟ, ɭ ɫɜɟɬɭ ɩɪɟ ɩɨʁɚɜɟ ɤɨɧɤɪɟɬɧɢɯ ɢ ɪɟɩɪɟɡɟɧɬɚɬɢɜɧɢɯ ɪɟɮɟɪɟɧɰɢ, ɩɪɟ ɩɨɞɟɥɟ ɧɚ ɫɭɛʁɟɤɬ ɢ ɨɛʁɟɤɬ. Ɍɚɤɨ, ɩɟɫɧɢɱɤɚ ɪɟɱ ɧɚ ɫɟɛɟ ɩɪɟɭɡɢɦɚ ɮɭɧɤɰɢʁɭ ɡɚɦɟɧɟ ɪɟɚɥɧɨɫɬɢ ɢ ɫɜɨʁɭ ɢɡɜɨɪɧɨɫɬ ɨɛʁɚɜʂɭʁɟ ɤɚɨ ɝɥɚɫ ɢ ɦɨɝɭʄɢ ɫɦɢɫɚɨ ɚɩɫɨɥɭɬɚ. Ɉɞɜɨʁɟɧɚ ɨɞ ɪɟɚɥɧɢɯ ɨɛɥɢɤɚ ɢɫɤɭɫɬɜɚ ɢ ɫɜɟɫɬɢ, ɪɟɱ ɫɟ ɡɚɬɜɚɪɚ ɭ ɫɜɨʁ ɯɟɪɦɟɬɢɱɤɢ ɤɪɭɝ ɭ ɤɨɦɟ, ɤɚɤɨ ɤɚɠɟ ɇɢɤɨɥɚ Ʉɨɜɚɱ, „ɡɪɚɱɢ ɤɚɨ ɫɚɦɨɞɨɜɨʂɧɚ ɫɜɟɬɥɨɫɬ ɧɟɞɨɤɭɱɢɜɨɝ ɞɭɯɨɜɧɨɝ ɛɢʄɚ”204. ɉɪɢ ɬɨɦɟ, ɪɟɚɥɧɨɫɬ ɞɨɠɢɜʂɚɜɚ ɞɜɨɫɬɪɭɤɢ ɨɛɪɬ: ʁɟɞɧɨɦ ɤɚɨ ɨɞɫɭɬɧɨɫɬ ɫɭɝɟɪɢɫɚɧɚ ʁɟɡɢɱɤɢɦ ɫɢɦɛɨɥɢɦɚ, ɚ ɞɪɭɝɢ ɩɭɬ ɤɚɨ ɨɛʁɚɜɚ ɞɭɯɨɜɧɨɫɬɢ ɤɨʁɚ ɩɭɤɢɦ ɢɦɟɧɨɜɚʃɟɦ ɞɨɫɩɟɜɚ ɞɨ ɫɜɨʁɟ ɮɨɪɦɚɥɧɟ ɤɪɢɫɬɚɥɢɡɚɰɢʁɟ. ɋɜɟɬ ɩɟɪɰɩɟɬɢɜɧɟ ɢ ɢɫɤɭɫɬɜɟɧɟ ɪɟɚɥɧɨɫɬɢ ɫɜɨɞɢ ɫɟ ɧɚ ɤɪɭɝ ʁɟɡɢɤɚ, ɨɛʁɟɤɚɬ ɝɭɛɢ ɫɜɨʁɭ ɪɟɚɥɧɨɫɬ ɢ ɩɪɨʁɢɰɢɪɚ ɫɟ ɤɚɨ ɚɫɨɰɢʁɚɬɢɜɧɢ ɫɧɨɩ ɧɚ ɪɚɜɚɧ ɚɩɫɨɥɭɬɧɢɯ ɩɨʁɦɨɜɚ ɩɟɫɧɢɱɤɟ ɫɜɟɫɬɢ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɩɨɟɬɫɤɢ ɝɨɜɨɪ ɞɨɛɢʁɚ ɢɫɤɨɧɫɤɭ ɦɨʄ, ɚ ɩɨɟɡɢʁɚ ɫɜɨʁ ɤɪɚʁʃɢ ɫɦɢɫɚɨ ɭ ɬɨɦ ɫɬɪɟɦʂɟʃɭ ɤɚ ɚɩɫɨɥɭɬɭ. Ɍɨ ɡɧɚɱɢ ɞɚ ɩɟɫɧɢɱɤɨ ɢɫɤɭɫɬɜɨ ɡɚɧɟɦɚɪɭʁɟ ɞɨɦɟɧ ɟɦɨɬɢɜɧɢɯ ɫɬɚʃɚ ɢ ɢɫɩɨɜɟɞɧɢɯ ɬɨɧɨɜɚ – ɩɨɟɡɢʁɚ ɡɚ Ɇɚɥɚɪɦɟɚ ɧɢʁɟ ɜɢɲɟ ɫɜɟɫɬ ɨ ɩɨɧɨɪɭ ɛɢʄɚ ɢ ɨ ɧɭɠɧɨɫɬɢ ɫɭɨɱɟʃɚ ɫɚ ɛɟɫɦɢɫɥɟɧɢɦ ɩɚɪɚɞɨɤɫɢɦɚ ʂɭɞɫɤɨɝ ɩɨɫɬɨʁɚʃɚ ‒, ɚ ɦɟɫɬɨ ɭɫɬɭɩɚ ɫɜɨʁɟɜɪɫɧɨʁ ʁɟɡɢɱɤɨʁ ɢɝɪɢ, ɢɡ ɤɨʁɟ ʁɟ ɢɫɤʂɭɱɟɧ ʁɟɡɢɤ ɭ ɮɭɧɤɰɢʁɢ ɤɨɦɭɧɢɤɚɰɢʁɟ ‒ ɪɟɱɢ ɫɭ ɨɫɥɨɛɨђɟɧɟ ɫɟɦɚɧɬɢɱɤɨɝ ɛɚɥɚɫɬɚ ɢ ɡɚɤɨɧɚ ɭɩɨɬɪɟɛɧɟ ɮɭɧɤɰɢʁɟ. Ɍɚɤɨ, ɞɨɦɟɧ ʁɟɡɢɱɤɨɝ ɢɡɪɚɡɚ ɨɛɭɯɜɚɬɚ ɚɪɯɚɢɱɧɟ ɫɥɨʁɟɜɟ ɛɢʄɚ ɭ ɤɨʁɢɦɚ ɧɚɫɬɚʁɭ „ɦɚɝɢʁɫɤɟ ɮɨɪɦɭɥɟ” ɧɟɨɬɤɪɢɜɟɧɢɯ 204 Branko Džakula (ur.), Francuska književnost..., ɧɚɜ. ɞɟɥɨ, 147. { 104 } ɡɧɚɱɟʃɚ, ɤɚɤɨ ɢɯ ʁɟ ɧɚɡɢɜɚɨ Ɇɚɥɚɪɦɟ. ɉɨɫɬɭɩɤɨɦ „ɞɟɪɟɚɥɢɡɚɰɢʁɟ”, ɤɚɤɨ ɝɚ ɧɚɡɢɜɚ Ʉɨɜɚɱ, ɨɞɧɨɫɧɨ, ɩɨɫɬɭɩɤɨɦ ɨɞɛɚɰɢɜɚʃɚ ɪɟɚɥɧɢɯ ɤɜɚɥɢɮɢɤɚɬɢɜɚ ɩɨʁɚɜɧɨɝ ɫɜɟɬɚ, Ɇɚɥɚɪɦɟ ʁɟ ɬɟɠɢɨ ɤɚ ɫɜɟɬɭ ɢɞɟʁɚ, ɤɚɨ ʁɟɞɢɧɨʁ ɢɫɬɢɧɫɤɨʁ ɪɟɥɚɧɨɫɬɢ ɭ ɤɨʁɨʁ ɫɭ ɫʁɟɞɢʃɟɧɢ ɟɥɟɦɟɧɬɢ ɪɚɰɢɨɧɚɥɧɨɝ ɢ ɩɨʁɚɜɧɨɝ; ɞɪɭɝɢɦ ɪɟɱɢɦɚ, ɬɟɠɢɨ ʁɟ ɤɚ ɨɧɢɦ ɫɮɟɪɚɦɚ ɭ ɤɨʁɢɦɚ ɫɟ ɪɟɱ ɩɨɞɭɞɚɪɚ ɫɚ ɚɩɫɬɪɚɤɬɧɨɦ ɢɞɟʁɨɦ, ɢ, ɦɨɝɭʄɟ, ɢɡɪɚɠɚɜɚ ʃɟɧɭ ɫɭɲɬɢɧɭ. ɉɪɚɬɟʄɢ ɬɚʁ ɩɪɨɰɟɫ ɦɢɫɚɨɧɨɝ ɭɞɚʂɚɜɚʃɚ ɨɞ ɪɚɰɢɨɧɚɥɧɨɝ ɢ ɩɨʁɚɜɧɨɝ, ɩɨɟɡɢʁɚ ɛɢ, ɩɨɩɭɬ „ɦɚɝɢʁɫɤɟ ɢɝɪɟ”, ɬɚɤɨђɟ, ɬɪɟɛɚɥɨ ɞɚ ɩɪɟɤɨɪɚɱɢ ɝɪɚɧɢɰɟ ɨɛʁɟɤɬɢɜɧɨɝ ɫɜɟɬɚ ɢ ɭђɟ ɭ ɫɮɟɪɭ ɢɞɟɚɥɧɢɯ ɩɨʁɚɜɚ. Ʉɪɚʁʃɢ ɰɢʂ ɨɜɚɤɜɢɯ Ɇɚɥɚɪɦɟɨɜɢɯ ɬɟɠʃɢ ɛɢɨ ʁɟ ɞɚ ɫɟ ɞɨɤɭɱɟ ɧɚɱɟɥɚ ɧɟɤɨɝ ɩɨɪɟɬɤɚ ɡɚɭɦɧɟ ɥɨɝɢɤɟ ɫɬɜɚɪɢ, ɚ ɩɨɫɥɟɞɢɱɧɨ ɢ ɞɚ ɫɟ ɫɜɟɬ ɢɞɟʁɚ ɭɱɢɧɢ ɞɨɫɬɭɩɧɢɦ ɧɚɲɢɦ ɱɭɥɢɦɚ. ɍɡɢɦɚʁɭʄɢ ɫɜɟ ɨɜɨ ɭ ɨɛɡɢɪ, ɩɪɢɪɨɞɧɟ ɫɟ ɨɧɞɚ ɧɚɦɟʄɭ ɩɢɬɚʃɚ: ɭ ɤɚɤɜɨɦ ɨɞɧɨɫɭ ɫɬɨʁɟ ɪɟɱɢ ɢ ɫɜɟɬ ɤɨʁɟ ɨɧɟ ɨɡɧɚɱɚɜɚʁɭ ɢ ɤɚɤɨ ɫɟ ɬɚʁ ɨɞɧɨɫ ɪɟɩɟɪɤɭɬɭʁɟ ɧɚ ɫɚɦɭ ɩɟɫɧɢɱɤɭ ɫɬɪɭɤɬɭɪɭ? ɂ, ɤɚɤɨ ɬɚɤɜɚ ɩɟɫɧɢɱɤɚ ɫɬɪɭɤɬɭɪɚ ɢ ɨɞɧɨɫ ɫɬɜɚɪɢ ɭɧɭɬɚɪ ʃɟ, ɭɫɩɨɫɬɚɜʂɚʁɭ ɜɟɡɭ ɫɚ ɦɭɡɢɤɨɦ? Ɇɚɥɚɪɦɟ „ɩɪɨɰɟɫ ɩɟɫɧɢɱɤɨɝ ɨɪɝɚɧɢɡɨɜɚʃɚ ɭ ɞɭɯɭ ʁɟɞɧɟ ‘ɚɩɫɨɥɭɬɧɟ ɦɟɬɚɮɨɪɟ’, ɫɯɜɚɬɚ ɤɚɨ ɩɨɞɟɲɚɜɚʃɟ ɝɥɚɫɚ ɩɪɟɦɚ ʃɟɝɨɜɢɦ ɦɭɡɢɱɤɢɦ ɫɜɨʁɫɬɜɢɦɚ, ɩɪɢ ɱɟɦɭ ɢ ɩɢɫɚɰ ɢ ɱɢɬɚɥɚɰ ɨɫɬɚʁɭ ɩɨ ɫɬɪɚɧɢ. Ɋɟɱ ɢ ɫɜɟɬ ɤɨʁɟ ɨɧɟ ɨɡɧɚɱɚɜɚʁɭ ɪɚɡɛɢʁɚʁɭ ɫɟ ɭ ɦɭɡɢɱɤɭ ɫɬɪɭɤɬɭɪɭ ɤɨʁɚ ʁɟ ɭ ɨɫɧɨɜɢ ɫɜɟɝɚ ɲɬɨ ɩɨɫɬɨʁɢ”205 – ɤɚɨ ‘ɫɤɭɩ ɨɞɧɨɫɚ ɤɨʁɢ ɭ ɫɜɟɦɭ ɩɪɟɛɢɜɚ’. ɉɪɨɫɬɨɪ ɭ ɤɨɦɟ ɫɟ ɮɨɪɦɢɪɚ ɩɟɫɧɢɱɤɚ ɫɥɢɤɚ Ɇɚɥɚɪɦɟ ɡɚɦɢɲʂɚ ɤɚɨ ɫɜɟɩɪɢɫɭɬɧɨ ɛɪɭʁɚʃɟ ɬɨɧɨɜɚ („musicalité de tout”) ɩɨɞɪɟђɟɧɨ ɫɜɟɨɩɲɬɟɦ ɪɢɬɦɭ („rythme total”). ɍ ɬɨɦ ɦɭɡɢɱɤɨɦ ‘ɩɪɨɱɢɲʄɟʃɭ’ ɪɟɚɥɧɨɫɬɢ, ɤɨʁɟ ɡɚ ɫɨɛɨɦ ɨɫɬɚɜʂɚ ɫɚɦɨ ɡɜɭɤ ɢ ‘ɛʂɟɫɚɤ’ ɤɪɯɤɟ ɫɬɪɭɤɬɭɪɟ ɪɟɱɢ, ɩɟɫɧɢɤ ɤɚɨ ɫɭɛʁɟɤ ɢɲɱɟɡɚɜɚ ɢ ɩɪɟɩɭɲɬɚ ɢɧɢɰɢʁɚɬɢɜɭ ɪɟɱɢɦɚ. Ɍɚɤɨ ɫɟ ɫɚɦɚ ɩɟɫɦɚ ɪɚђɚ ɢɡ ʄɭɬɚʃɚ (ɬɢɲɢɧɟ), ɢɡ ɛɟɥɢɧɟ.206 ȶɭɬɚʃɟ ɫɬɜɚɪɢ ɢ ɛɟɥɢɧɚ ɩɚɩɢɪɚ ɫɭ ɞɜɚ ɦɚɥɚɪɦɟɨɜɫɤɚ ɦɨɬɢɜɚ, ɞɜɟ ɝɨɬɨɜɨ ɨɩɫɟɫɢɜɧɟ ɦɟɬɚɮɨɪɟ ɤɨʁɢɦɚ ʁɟ ɩɪɨɠɟɬ ɰɟɥɨɤɭɩɚɧ ʃɟɝɨɜ ɨɩɭɫ. Ɇɚɥɚɪɦɟɨɜɚ poésie pure/ɱɢɫɬɚ ɩɨɟɡɢʁɚ (ɱɢɫɬɨʄɚ ɨɞ ɧɟɱɟɝɚ, ɱɢɫɬɨɬɚ ɛɢɬɢ ɫɬɜɚɪɢ ɤɨʁɚ ʁɟ ɨɫɥɨɛɨђɟɧɚ ɨɞ ɫɜɢɯ ɩɪɢɦɟɫɚ ɤɨʁɟ ɛɢ ʁɟ ɪɟɦɟɬɢɥɟ) ɩɨɤɥɚɩɚ ɫɟ ɫɚ ɨɫɧɨɜɧɢɦ ɫɜɨʁɫɬɜɢɦɚ ʃɟɝɨɜɟ ɥɢɪɢɤɟ ɢ ɩɪɟɞɫɬɚɜʂɚ 205 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 22–23. 206 ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Francuska književnost..., ɧɚɜ. ɞɟɥɨ, 149. { 105 } ɨɧɚʁ ɬɪɟɧɭɬɚɤ ɭ ɤɨʁɟɦ ɪɟɱɟɧɢɰɚ ɧɚ ɯɚɪɦɨɧɢɱɚɧ ɧɚɱɢɧ ɡɚɛɨɪɚɜʂɚ ɫɜɨʁ ɫɚɞɪɠɚʁ. Ɉɧɚ ʁɟ ɫɬɢɯ ɤɨʁɢ ɜɢɲɟ ɧɟ ɠɟɥɢ ɞɚ ɝɨɜɨɪɢ, ɨɧɚ ʁɟ ɫɬɢɯ ɤɨʁɢ ɠɟɥɢ ɞɚ ɩɟɜɚ.207 Ɇɚɥɚɪɦɟ ɬɪɚɠɢ ɧɨɜɭ ɲɢɮɪɭ ʁɟɡɢɱɤɢɯ ɮɨɪɦɭɥɚ ɢ ɧɨɜɟ ɢɡɜɨɪɟ ɩɟɫɧɢɱɤɢɯ ɫɚɡɧɚʃɚ. ɍ ɩɪɨɰɟɫɭ ɬɨɝ ɬɪɚɝɚʃɚ, Ɇɚɥɚɪɦɟ ɫɟ ɨɤɪɟʄɟ ɢɡɜɨɪɢɦɚ ʁɟɡɢɤɚ, ɚ ɫɚʃɚ ɨ ɨɧɨɦ ɤɨʁɢ ɛɢ ɛɢɨ ɭ ɫɬɚʃɭ ɞɚ ɢɡɪɚɡɢ ɫɜɟ ɤɚɪɚɤɬɟɪɢɫɬɢɤɟ ɫɜɟɬɚ ɱɢɫɬɢɯ ɢɞɟʁɚ ɢ ɨɝɨʂɟɧɢɯ ɡɧɚɱɟʃɚ. ɂɫɬɨɜɪɟɦɟɧɨ ɨɧ ɬɪɚɝɚ ɡɚ ɧɨɜɨɦ ɩɨɟɬɢɤɨɦ ɤɨʁɚ ɬɪɟɛɚ ɞɚ ɦɭ ɨɦɨɝɭʄɢ ɞɚ ɧɚɫɥɢɤɚ, ɧɟ ɫɬɜɚɪ, ɧɟɝɨ ɟɮɟɤɚɬ ɤɨʁɢ ɨɧɚ ɢɡɚɡɢɜɚ. ɍɩɪɚɜɨ ɭ ɬɨɦ ɤɨɧɬɟɤɫɬɭ ɛɢ ɬɪɟɛɚɥɨ ɱɢɬɚɬɢ ɢ ɪɚɡɭɦɟɬɢ ʃɟɝɨɜɭ ɂɪɨɞɢʁɚɞɭ (Hérodiade, 1864‒1867) ɢ ʃɟɝɨɜɨɝ Ɏɚɭɧɚ (L’Après-midi d’un faune, 1876); ɧɢ ʁɟɞɧɨ, ɧɢ ɞɪɭɝɨ ɧɢɫɭ ɛɢʄɚ ɧɟɝɨ ɩɟɪɫɨɧɢɮɢɤɚɰɢʁɟ ɦɟɬɚɮɢɡɢɱɤɨɝ ɫɭɤɨɛɚ ɤɨʁɢɦ ʁɟ ɨɛɟɥɟɠɟɧ ɰɟɥɨɤɭɩɚɧ ɦɢɫɚɨɧɢ ɢ ɩɨɟɬɫɤɢ ‘ɧɚɩɨɪ’ ɋɬɟɮɚɧɚ Ɇɚɥɚɪɦɟɚ. ɂɪɨɞɢʁɚɞɚ ʁɟ ‘ɪɚɡɚɩɟɬɚ’ ɢɡɦɟђɭ ɨɤɪɭɬɧɢɯ ɡɚɯɬɟɜɚ ɱɢɫɬɨɬɟ ɢ ɢɫɤɭɲɟʃɚ ɩɪɢɪɨɞɧɨɝ ɠɢɜɨɬɚ, ɚ Ɏɚɭɧ, ɡɚɬɟɱɟɧ ɢ ɭɩɥɚɲɟɧ ɫɜɨʁɢɦ ɫɟɧɡɭɚɥɧɢɦ ɮɚɧɬɚɡɦɚɝɨɪɢʁɚɦɚ, ɜɪɚʄɚ ɫɟ ɭ ɫɜɨʁ ɦɪɚɤ ɢɫɩɭʃɟɧ ɬɢɲɢɧɨɦ ɢ ɫɟɧɤɚɦɚ ɫɬɜɚɪɢ. ɂ ɨɜɞɟ ɠɢɜɨɬ ɩɨɱɢʃɟ (ɢɥɢ ʁɟ ɩɚɤ ɨɞɭɜɟɤ ɩɨɫɬɨʁɚɨ) ‒ ɫ ɨɧɭ ɫɬɪɚɧɭ ɢɫɤɭɫɬɜɚ!208 Ⱦɚɤɥɟ, Ɇɚɥɚɪɦɟ ʁɟ ɬɪɚɝɚɨ ɡɚ ɫɮɟɪɨɦ ɚɩɫɨɥɭɬɧɟ ɥɭɰɢɞɧɨɫɬɢ ɝɞɟ ɫɟ ɢ ɨɛʁɟɤɬɢɜɧɨ ɢ ɫɭɛʁɟɤɬɢɜɧɨ ɪɚɫɬɜɚɪɚʁɭ ɭ ɧɟɤɨʁ ɜɪɫɬɢ ɧɚɞ-ɫɜɟɫɬɢ (ɭ ɨɜɨɦ ɤʂɭɱɭ ɦɨɠɟɦɨ ɱɢɬɚɬɢ ɢ Ⱦɢɮɪɟɧɨɜɭ ɢɞɟʁɭ ɨ ɧɚɞ-ɱɭɥɧɨɦ, ɤɚɨ ɤɨɪɟɧɭ ɢɥɢ ɢɡɜɨɪɭ ɫɜɟɝɚ ɜɢɞʂɢɜɨɝ ɢ ɫɜɟɝɚ ɱɭʁɧɨɝ). ɇɚ ɩɥɚɧɭ ɩɟɫɧɢɱɤɨɝ ɢɡɪɚɡɚ, Ɇɚɥɚɪɦɟ ʁɟ ɬɟɠɢɨ ɞɚ ɪɟɱɢɦɚ ɤɨʁɟ ɫɭ ɛɢɥɟ ɭ ɭɩɨɬɪɟɛɢ ɭ ɫɜɚɤɨɞɧɟɜɧɨɦ ɝɨɜɨɪɭ ɞɚ ɧɨɜɢ ɫɦɢɫɚɨ, ɢɥɢ, ɩɚɤ, ɫɬɜɨɪɢ ɧɨɜɭ ɪɟɱ ɡɚ ɫɬɜɚɪ ɤɨʁɚ ɧɟ ɩɨɫɬɨʁɢ. Ɉ ɬɨɦɟ ʁɟ ɜɪɥɨ ɢɫɰɪɩɧɨ ɩɢɫɚɨ ɭ ɫɜɨɦ ɟɫɟʁɭ ɨ ɦɭɡɢɰɢ ɢ ɤʃɢɠɟɜɧɨɫɬɢ. ɑɢɬɚɧɨ ɭ Ⱦɢɮɪɟɧɨɜɨɦ ɤʂɭɱɭ, Ɇɚɥɚɪɦɟ ʁɟ, ɡɚɩɪɚɜɨ, ɠɟɥɟɨ ɞɚ ɪɟɱɢɦɚ ɞɨɱɚɪɚ ɢ ɫɜɟɫɬ ɨ ɩɪɟɞɦɟɬɭ ɢ ʃɟɝɨɜɨ ɫɬɜɚɪɧɨ ɩɪɢɫɭɫɬɜɨ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɰɟɥɨɤɭɩɧɚ ɢɫɤɭɫɬɜɟɧɚ ɪɚɜɚɧ ɩɨɫɬɚʁɟ ɞɨɦɟɧ ʁɟɡɢɤɚ ɤɨʁɢ ɧɟ ɫɬɜɚɪɚ ɫɚɦɨ ɧɨɜɟ ɫɩɨʁɟɜɟ ɧɟɝɨ ɢ ɡɚɦɟʃɭʁɟ ɪɟɚɥɧɟ ɩɪɟɞɫɬɚɜɟ ɦɪɟɠɨɦ ɚɫɨɰɢʁɚɬɢɜɧɢɯ ɡɧɚɱɟʃɚ. Ɍɚɤɨ ɫɟ Ɇɚɥɚɪɦɟ ɫɥɭɠɢ ɪɚɡɥɢɱɢɬɢɦ ɩɨɫɬɭɩɰɢɦɚ ɩɨɦɟɪɚʃɚ ɨɫɧɨɜɧɨɝ ɡɧɚɱɟʃɚ, ɛɢɥɨ ɞɚ ɩɪɢɫɭɫɬɜɨ ɩɪɟɞɦɟɬɚ 207 ɍɩɨɪɟɞɢɬɢ ɫɚ: Hugo Friedrich, Struktura moderne lirike..., ɧɚɜ. ɞɟɥɨ, 120. 208 ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Francuska književnost..., ɧɚɜ. ɞɟɥɨ, 151. { 106 } ɫɭɝɟɪɢɲɟ ɫɚɦɨ ɫɟʄɚʃɟɦ, ɛɢɥɨ ɞɚ ɩɪɟɞɦɟɬ ɧɚɢɡɦɟɧɢɱɧɨ ɩɪɢɤɚɡɭʁɟ ɤɚɨ ɪɟɚɥɧɨɫɬ ɢ ɤɚɨ ɫɥɢɤɨɜɧɭ ɩɪɨʁɟɤɰɢʁɭ ɭ ɤɨʁɨʁ ɞɨɦɢɧɢɪɚ ʃɟɝɨɜɚ ɫɬɜɚɪɧɚ ɮɭɧɤɰɢʁɚ!209 ɇɨ, ɭɤɨɥɢɤɨ ɫɟ ɜɪɚɬɢɦɨ ɧɚ ɩɨɱɟɬɚɤ ɫɟɝɦɟɧɬɚ ɨ Ɇɚɥɚɪɦɟɭ, ɢ ɧɚ ɪɟɱɟɧɢɰɭ ɞɚ ʁɟ ɡɚ ʃɟɝɚ „ɦɭɡɢɤɚ ɚɥɬɟɪɧɚɬɢɜɚ ɩɢɫɚɧɨʁ ɪɟɱɢ”, ɡɚɩɪɚɜɨ, ɞɨɥɚɡɢɦɨ ɭ ɞɢɪɟɤɬɚɧ ɤɨɧɬɚɤɬ ɫɚ Ⱦɟɛɢɫɢʁɟɦ ɢ ʃɟɝɨɜɢɦ ɟɫɬɟɬɢɱɤɨ-ɩɨɟɬɢɱɤɢɦ ɫɬɚɜɨɜɢɦɚ ɤɨʁɢ ɭ ɦɧɨɝɢɦ ɫɜɨʁɢɦ ɫɟɝɦɟɧɬɢɦɚ, ɧɟ ɫɚɦɨ ɞɚ ɤɪɟɫɩɨɧɞɢɪɚʁɭ Ɇɚɥɚɪɦɟɨɜɢɦ, ɧɟɝɨ ɢ ɩɪɨɢɡɥɚɡɟ ɢɡ ʃɢɯ. Ⱦɚɤɥɟ, „ɦɭɡɢɤɚ ʁɟ ɚɥɬɟɪɧɚɬɢɜɚ ɩɢɫɚɧɨʁ ɪɟɱɢ” ɡɚ ɮɪɚɧɰɭɫɤɨɝ ɫɢɦɛɨɥɢɫɬɭ, ɚ ɡɚ Ⱦɟɛɢɫɢʁɚ „... ɦɭɡɢɤɚ ɩɨɱɢʃɟ ɬɚɦɨ ɝɞɟ ʁɟ ɪɟɱ ɧɟɦɨʄɧɚ ɞɚ ɢɡɪɚɠɚɜɚ [...] ɚ ɬɪɟɛɚ ɩɟɜɚɬɢ ɫɚɦɨ ɨɧɞɚ ɤɚɞɚ ʁɟ ɬɨ ɩɨɬɪɟɛɧɨ”.210 Ɉ ɬɨɦɟ ɧɚ ɧɚʁɛɨʂɢ ɧɚɱɢɧ ɫɜɟɞɨɱɢ ɜɨɤɚɥɧɢ ɩɚɪɬ ɜɟʄɢɧɟ Ⱦɟɛɢɫɢʁɟɜɢɯ ɫɨɥɨ-ɩɟɫɚɦɚ, ɚ ɧɚʁɜɢɲɟ ɜɨɤɚɥɧɢ ɩɚɪɬ ɫɤɨɪɨ ɱɢɬɚɜɟ ɨɩɟɪɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ. Ɉɧ ʁɟ ɡɚɫɧɨɜɚɧ ɧɚ ɤɨɧɫɟɤɜɟɧɬɧɨɦ ɢɡɜɥɚɱɟʃɭ ɦɟɥɨɞɢʁɫɤɢɯ ɮɥɨɫɤɭɥɚ ɢɡ ɥɚɬɟɧɬɧɢɯ ɮɥɟɤɫɢʁɚ ɮɪɚɧɰɭɫɤɟ ɝɨɜɨɪɧɟ ɪɟɱɢ (Ⱦɟɛɢɫɢ ɢ Ɇɚɥɚɪɦɟ), ɞɨɤ ɫɜɨʁɨɦ ɩɪɢɪɨɞɧɨɲʄɭ ɢ ɫɜɨʁɢɦ ɫɬɚɥɧɢɦ ɪɢɬɦɢɱɤɢɦ ɨɛɥɢɤɨɜɚʃɟɦ ɜɨɤɚɥɧɟ ɞɟɨɧɢɰɟ ɩɪɟɦɚ ɝɢɛɚʃɢɦɚ ɨɛɢɱɧɨɝ ɮɪɚɧɰɭɫɤɨɝ ɝɨɜɨɪɚ ɭɩɭʄɭʁɟ ɧɚ ɟɜɟɧɬɭɚɥɧɟ ɭɬɢɰɚʁɟ ɀɚɧ-Ȼɚɩɬɢɫɬɚ Ʌɢɥɢʁɚ (Jean-Baptiste Lully), ɤɨɦɩɨɡɢɬɨɪɚ ɤɨʁɢ ɫɟ ɡɚʁɟɞɧɨ ɫɚ ɀɚɧ-ɀɚɤ Ɋɭɫɨɨɦ (Jean- Jacques Rousseau) ɭɩɪɚɜɨ ɡɚɥɚɝɚɨ ɡɚ ɬɚɤɚɜ ɬɢɩ ɨɩɟɪɫɤɨɝ ɪɟɱɢɬɚɬɢɜɚ ɤɨʁɢ ɛɢ ɛɢɨ ɭ „ɫɚɝɥɚɫʁɭ” ɫɚ ɥɚɬɟɧɬɧɢɦ ɮɥɟɤɫɢʁɚɦɚ ɮɪɚɧɰɭɫɤɨɝ ɝɨɜɨɪɧɨɝ ʁɟɡɢɤɚ. ɋɭɦɢɪɚʁɭʄɢ ɫɜɨʁ ɪɚɞ ɧɚ ɨɩɟɪɢ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ, Ⱦɟɛɢɫɢ ʁɟ ɧɚɤɨɧ ɡɚɜɪɲɟɬɤɚ ɪɚɞɚ ɧɚ ʃɨʁ ɧɚɩɢɫɚɨ: „ɉɨɫɥɭɠɢɨ ɫɚɦ ɫɟ, ɫɚɫɜɢɦ ɫɩɨɧɬɚɧɨ ɭɨɫɬɚɥɨɦ, ʁɟɞɧɢɦ ɧɚɱɢɧɨɦ ɤɨʁɢ ɦɢ ɫɟ ɱɢɧɢ ɞɨɫɬɚ ɪɟɞɚɤ, ɨɞɧɨɫɧɨ ɬɢɲɢɧɨɦ ɤɚɨ ɢɡɪɚɠɚʁɧɢɦ ɫɪɟɞɫɬɜɨɦ ɢ ɦɨɠɞɚ ʁɟɞɢɧɢɦ ɧɚɱɢɧɨɦ ɞɚ ɫɟ ɢɫɬɚɤɧɟ ɟɦɨɰɢʁɚ ʁɟɞɧɟ ɪɟɱɟɧɢɰɟ [...] Ɍɢɲɢɧɚ ʁɟ ɞɢɜɧɚ ɫɬɜɚɪ ɢ Ȼɨɝ ɡɧɚ ɞɚ ɩɪɚɡɧɢ ɬɚɤɬɨɜɢ ɉɟɥɟɚɫɚ ɫɜɟɞɨɱɟ ɨ ɦɨʁɨʁ ʂɭɛɚɜɢ ɩɪɟɦɚ ɨɜɨʁ ɜɪɫɬɢ ɟɦɨɰɢʁɟ 209 Ʉɚɨ ɡɚɧɢɦʂɢɜ ɩɪɢɦɟɪ ɧɚɱɢɧɚ ɧɚ ɤɨʁɢ Ɇɚɥɚɪɦɟ ɜɟɡɭʁɟ ɧɟɤɟ ɚɩɫɬɪɚɤɬɧɟ ɩɨʁɦɨɜɟ ɢɥɢ ɱɢɬɚɜɟ ɢɞɟʁɟ ɦɨɠɟ ɩɨɫɥɭɠɢɬɢ ʃɟɝɨɜ ɫɨɧɟɬ ɨ ɥɟɩɟɡɢ – Eventail. ɇɚɢɦɟ, ɭ ɨɜɨɦ ɫɨɧɟɬɭ, ɦɚɯɚʃɟ ɥɟɩɟɡɟ – ɞɚɤɥɟ, ɩɨɤɪɟɬ ɚ ɧɟ ɫɚɦɚ ɫɬɜɚɪ – ɬɪɟɛɚ ɞɚ ɫɭɝɟɪɢɲɟ ɢɞɟʁɭ ɧɚɫɬɚɧɤɚ ɫɬɢɯɚ „ɛɭɞɭʄɟ ɩɨɟɡɢʁɟ” ɨɫɥɨɛɨђɟɧɟ ɨɛʁɟɤɬɢɜɧɟ ɫɭɩɫɬɚɧɰɟ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɏɭɝɨ Ɏɪɢɞɢɪɯ ɭ ɚɧɚɥɢɡɢ ɫɬɪɭɤɬɭɪɟ ɦɨɞɟɪɧɟ ɥɢɪɢɤɟ, ɢɫɬɢɱɟ ɭɩɪɚɜɨ ɬɨ ɞɚ ɤɨɞ Ɇɚɥɚɪɦɟɚ ɧɟ ɛɢ ɬɪɟɛɚɥɨ ɨɛɪɚʄɚɬɢ ɩɚɠʃɭ ɧɚ ɩɪɢɦɚɪɧɚ ɡɧɚɱɟʃɚ ɪɟɱɢ ɧɟɝɨ ɧɚ ɤɚɬɟɝɨɪɢʁɟ ɤɨʁɟ ʁɟɡɢɤ ɭɫɩɨɫɬɚɜʂɚ ɢɡɦɟђɭ ɫɬɜɚɪɢ. Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Hugo Friedrich, Struktura..., ɧɚɜ. ɞɟɥɨ, 82‒123. 210 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 22. { 107 } [...]”211 „ɉɪɨɜɟɨ ɫɚɦ ɧɟɞɟʂɟ ɭ ɬɪɚɠɟʃɭ ɨɧɨɝ ‘ɧɢɲɬɚ’ ɨɞ ɱɟɝɚ ʁɟ Ɇɟɥɢɫɚɧɞɚ ɧɚɱɢʃɟɧɚ.”212 Ⱦɟɛɢɫɢ ɧɚ ɨɜɨɦ ɦɟɫɬɭ ɫɤɪɟʄɟ ɩɚɠʃɭ ɧɚ ʁɟɞɚɧ ɨɞ ɜɚɠɧɢʁɢɯ ɟɥɟɦɟɧɚɬɚ ɫɜɨʁɟ ɦɭɡɢɱɤɟ ɟɫɬɟɬɢɤɟ, ɚ ɬɨ ʁɟ ɟɤɫɩɪɟɫɢʁɚ ɬɢɲɢɧɟ ɤɨʁɚ, ɡɚɩɪɚɜɨ, ɢ ɩɪɨɢɡɥɚɡɢ ɢɡ ɟɫɬɟɬɢɤɟ Ɇɚɥɚɪɦɟɨɜɟ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɩɨɟɡɢʁɟ. ɉɨɦɟɧɭɬɚ ɟɤɫɩɪɟɫɢʁɚ ɬɢɲɢɧɟ ɭ ɉɟɥɟɚɫɭ, ɚɥɢ ɢ ɭ ɛɪɨʁɧɢɦ ɞɪɭɝɢɦ Ⱦɟɛɢɫɢʁɟɜɢɦ ɨɫɬɜɚɪɟʃɢɦɚ (ɩɨɩɭɬ Ɉɛɥɚɤɚ /Nuages/ ɢɡ ɇɨɤɬɭɪɧɚ /Nocturnes/, ɢɥɢ Ɍɟɪɚɫɟ ɡɚ ɩɪɢʁɟɦɟ ɧɚ ɦɟɫɟɱɢɧɢ ɢ Ʉɨɪɚɤɚ ɭ ɫɧɟɝɭ) ɭɫɥɨɜʂɚɜɚ ɪɟɞɭɤɰɢʁɭ ɢɧɬɟɧɡɢɬɟɬɚ ɡɜɭɤɚ, ɝɨɬɨɜɨ ɧɚ ɫɚɦɭ ɝɪɚɧɢɰɭ ɱɭʁɧɨɫɬɢ. ɍ ɨɜɢɦ, ɦɟɬɚɮɨɪɢɱɤɢ ɪɟɱɟɧɨ, ɩɨɟɦɚɦɚ pianissima, ɤɨɦɩɨɡɢɬɨɪɨɜɚ ɦɭɡɢɤɚ ɫɟ ‘ɪɚђɚ’ ɢɡ ɬɢɲɢɧɟ, ɝɨɬɨɜɨ ɛɟɡ ɧɚʁɚɜɟ, ɢ ɧɚ ɢɫɬɢ ɧɚɱɢɧ ɫɟ ɜɪɚʄɚ ɭ ʃɭ, ɧɟɤɚɞɚ ɭɡ ɩɨɫɬɟɩɟɧɨ ‘ɝɚɲɟʃɟ’ ɦɭɡɢɤɟ, ɚ ɧɟɤɚɞɚ ɞɢɪɟɤɬɧɨ, in medias res. Ɉ ɬɨɦɟ ɧɚʁɛɨʂɟ ɫɜɟɞɨɱɢ ɩɚɪɬɢɬɭɪɚ ɨɩɟɪɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ ɭ ɤɨʁɭ ɤɨɦɩɨɡɢɬɨɪ (ɧɚ ɮɪɚɧɰɭɫɤɨɦ ʁɟɡɢɤɭ) ɭɩɢɫɭʁɟ ɛɪɨʁɧɟ ɢɡɪɚɡɟ ɤɨʁɢ ɫɭɝɟɪɢɲɭ ɬɨ, ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨ ɦɚɥɚɪɦɟɨɜɫɤɨ/ɞɟɛɢɫɢʁɟɜɫɤɨ ‘ɝɚɲɟʃɟ’ ɦɭɡɢɤɟ. Ɍɚɤɨ, ɧɚ ɩɪɢɦɟɪ, ɭ ɮɢɧɚɥɭ ɩɟɬɨɝ ɱɢɧɚ ɧɚɢɥɚɡɢɦɨ ɧɚ ɢɡɪɚɡ pp ɲɬɨ ʁɟ ɦɨɝɭʄɟ ɜɢɲɟ, ɢɥɢ, ɩɚɤ ɢɲɱɟɡɚɜɚʁɭʄɢ, ɩɨɜɥɚɱɟʄɢ ɫɟ, ɭɞɚʂɚɜɚʁɭʄɢ ɫɟ, ɝɭɛɟʄɢ ɫɟ, ɝɚɫɟʄɢ ɫɟ... ɭ ɬɪɟʄɨʁ ɫɥɢɰɢ ɞɪɭɝɨɝ ɱɢɧɚ. Ɂɚ Ɇɚɥɚɪɦɟɚ, ɤɨʁɢ „ɠɟɥɢ ɢɫɤɭɫɢɬɢ ɛɥɢɡɢɧɭ ɧɟɦɨɝɭʄɟɝ”, ɬɢɲɢɧɚ (ʄɭɬɚʃɟ ɫɬɜɚɪɢ) ɢ ɛɟɥɢɧɚ (ɩɚɩɢɪɚ) ʁɟɫɭ ɨɧɢ ɩɨʁɦɨɜɢ, ɨɩɫɟɫɢɜɧɟ ɦɟɬɚɮɨɪɟ ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɧɚɩɨɦɟɧɭɬɨ, ɤɨʁɢ ɧɚʁɱɟɲʄɟ ɢɡɪɚɠɚɜɚʁɭ ɛɥɢɡɢɧɭ ɬɨɝ ɧɟɦɨɝɭʄɟɝ. ɋɥɢɱɧɨ ɤɚɨ ɢ ɭ Ⱦɟɛɢɫɢʁɟɜɨʁ ɦɭɡɢɰɢ, ɬɢɲɢɧɚ ɫɟ ɭɜɥɚɱɢ ɭ ʃɟɝɨɜɨ ɩɟɫɧɢɲɬɜɨ ɩɨɫɪɟɞɫɬɜɨɦ „ɩɪɟʄɭɬɧɢɯ” ɫɬɜɚɪɢ ɢ ʁɟɞɧɨɝ ɫɚɫɜɢɦ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨɝ ʁɟɡɢɤɚ ɤɨʁɢ ɫ ɝɨɞɢɧɚɦɚ ɩɨɫɬɚʁɟ ɫɜɟ ɨɫɤɭɞɢɧɢʁɢ ɭ ɜɨɤɚɛɭɥɚɪɭ ɢ ɫɜɟ ɬɢɲɢ ɩɨ ɡɜɭɤɭ. Ɍɚɤɨ ɢ ɫɚɦɨ ɩɟɫɧɢɲɬɜɨ ɡɚ ʃɟɝɚ ɡɧɚɱɢ „ʄɭɬʂɢɜ ɭɡɥɟɬ ɭ ɚɩɫɬɪɚɤɬɧɨ”, ɩɟɫɧɢɱɤɢ ɬɟɤɫɬ „ɭɝɚɫɧɭʄɟ”, ɧɟɤɚɤɚɜɚ ɱɚɪɨɥɢʁɚ ɤɨʁɚ ɫɟ ɩɪɢɦɟʄɭʁɟ ɬɟɤ ɧɚɤɨɧ ɲɬɨ ɪɟɱɢ ɨɞɡɜɨɧɟ ɫɜɨʁ „ʄɭɬʂɢɜ ɤɨɧɰɟɪɬ” ɢɡ ɤɨʁɟɝ ɫɭ ɢ ɧɚɫɬɚɥɟ.213 Ⱦɚɤɥɟ, ɟɤɫɩɪɟɫɢʁɚ ɬɢɲɢɧɟ ɨɩɟɪɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ ʁɟɫɬɟ ɨɱɢɝɥɟɞɧɨ ɩɪɨɢɡɚɲɥɚ ɢɡ ɟɫɬɟɬɢɤɟ Ɇɚɥɚɪɦɟɨɜɟ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɩɨɟɡɢʁɟ ɢ ɬɢɦɟ ɧɚɝɨɜɟɫɬɢɥɚ, ɤɚɤɨ 211 Oɜɟ Ⱦɟɛɢɫɢʁɟɜɟ ɪɟɱɢ ɩɪɟɭɡɟɬɟ ɫɭ ɢɡ ʃɟɝɨɜɢɯ ɩɢɫɚɦɚ ɨɞ 2. oɤɬɨɛɪɚ 1893. ɢ 17. ʁɭɥɚ 1895. ɝɨɞɢɧɟ, ɨɞ ɤɨʁɢɯ ʁɟ ɩɪɜɨ ɭɩɭʄɟɧɨ ɮɪɚɧɰɭɫɤɨɦ ɤɨɦɩɨɡɢɬɨɪɭ ȿɪɧɟɫɬɭ ɒɨɫɨɧɭ (Ernest Chausson), ɚ ɞɪɭɝɨ ɮɪɚɧɰɭɫɤɨɦ ɤʃɢɠɟɜɧɢɤɭ, ɩɟɫɧɢɤɭ ɉʁɟɪɭ Ʌɭɢʁɭ /Pierre Louÿs/ ɧɚ ɱɢʁɟ ɬɟɤɫɬɨɜɟ ʁɟ Ⱦɟɛɢɫɢ ɧɚɩɢɫɚɨ ɫɜɨʁɟ ɬɪɢ Ȼɢɥɢɬɢɫɢɧɟ ɩɟɫɦɟ (Chansons de Bilitis, 1897). ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: ɢɫɬɨ. 212 ɂɡ Ⱦɟɛɢɫɢʁɟɜɨɝ ɩɢɫɦɚ ȿɪɧɟɫɬɭ ɒɨɫɨɧɭ ɢɡ ʁɚɧɭɚɪɚ 1894. ɝɨɞɢɧɟ. ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: ɢɫɬɨ. 213 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Hugo Friedrich, Struktura..., ɧɚɜ. ɞɟɥɨ, 103‒104. { 108 } ɬɨ ɩɪɢɦɟʄɭʁɟ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ɫɬɜɚɪɚʃɟ ɪɚɞɢɤɚɥɧɨ ɧɨɜɨɝ ɨɩɟɪɫɤɨɝ ɫɬɢɥɚ: ɫɬɢɥɚ ɤɨʁɢ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɩɪɟɞɫɬɚɜʂɚ ɩɚɬɨɫ ɚɧɬɢɩɚɬɟɬɢɱɧɨɝ (ʁɟɪ ɫɬɪɚɫɬɢ ɫɟ ɭ ɉɟɥɟɚɫɭ ɢɡɪɚɠɚɜɚʁɭ ɩɨɥɭɝɥɚɫɧɨ, ʂɭɛɚɜ ɫɟ ɢɫɩɨʂɚɜɚ ɭ ʁɟɞɜɚ ɩɪɢɦɟɬɧɢɦ ɞɪɯɬɚʁɢɦɚ ɦɟɥɨɞɢʁɫɤɟ ɥɢɧɢʁɟ, ɫɦɪɬɧɢ ɱɚɫ ɫɟ ɡɛɢɜɚ ɭ ɬɪɟɧɭɬɤɭ ɢ ɭ ɧɚʁɜɟʄɨʁ ɦɨɝɭʄɨʁ ɬɢɲɢɧɢ).214 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɪɚɞɢ ɫɟ ɨ ɫɬɢɥɭ ɤɨʁɢ ɫɟ, ɤɚɤɨ ɤɚɠɟ ɧɟɦɚɱɤɢ ɤɨɦɩɨɡɢɬɨɪ, ɦɭɡɢɤɨɥɨɝ, ɢɫɬɨɪɢɱɚɪ ɢ ɤɪɢɬɢɱɚɪ ɦɭɡɢɤɟ ɏɚɧɫ ɏɚʁɧɰ ɒɬɭɤɟɧɲɦɢɬ (Hans Heinz Stuckenschmidt), „ɦɚɬɟɪɢʁɚɥɧɨ ʁɨɲ ɡɚɞɨɜɨʂɚɜɚ ɲɚɩɭɬɚɜɢɦ ɧɚɝɨɜɟɲɬɚʁɟɦ, ɚɥɢ ɢɫɩɨɞ ɛɚɪɲɭɧɚɫɬɨɝ ɩɢʁɚɧɢɫɢɦɚ ɤɪɢʁɟ ɟɤɫɬɪɟɦɧɭ ɭɦɟɬɧɢɱɤɭ ɩɨɛɭɧɭ”215. ȵɭ ɤɪɢʁɟ ɢ Ɇɚɥɚɪɦɟɨɜɚ poésie pure ɤɨʁɚ ɨɜɚɩɥɨʄɭʁɟ ‘ɥɟɥɭʁɚʃɚ’ ɢ ɡɜɭɱɧɚ ɬɪɚɝɚʃɚ ɢɧɬɟɥɟɤɬɭɚɥɧɢɯ ɫɚɞɪɠɚʁɚ ɩɟɫɧɢɲɬɜɚ ɢ ʃɢɯɨɜɢɯ ɚɩɫɬɪɚɤɬɧɢɯ ɧɚɩɟɬɨɫɬɢ ɡɚ ɤɨʁɟ ʁɟ ɭɧɭɬɪɚɲʃɟ ɭɯɨ ɧɚʁɩɪɢʁɟɦɱɢɜɢʁɟ.216 Ɉɧɨ ɞɟɬɟɤɬɭʁɟ ɢ ‘ɪɚɫɰɟɩ’ ɢɡɦɟђɭ ʁɟɡɢɤɚ ɢ ɢɞɟɚɥɢɬɟɬɚ/ɚɩɫɨɥɭɬɚ, ɯɬɟʃɚ ɢ ɦɨʄɢ, ɬɟɠʃɟ ɢ ɰɢʂɚ, ɧɟɨɞɪɟђɟɧɨɝ ɢ ɤɨɧɤɪɟɬɧɨɝ, ɜɢɞʂɢɜɨɝ ɢ ɧɟɜɢɞʂɢɜɨɝ; ɞɪɭɝɢɦ ɪɟɱɢɦɚ, ɬɨ ɭɧɭɬɪɚɲʃɟ ɭɯɨ ɫɟ ɧɚɥɚɡɢ ɭ ɩɨʂɭ ɜɥɚɞɚɜɢɧɟ ʁɟɞɧɟ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɟ (ɦɚɥɚɪɦɟɨɜɫɤɟ) ɧɟɪɚɡɪɟɲɟɧɟ ɞɢɫɨɧɚɧɰɟ ɭ ɱɢʁɨʁ ɨɫɧɨɜɢ ɥɟɠɢ ɩɨɬɪɟɛɚ ɡɚ ɤɨɧɫɬɚɧɬɧɢɦ ɢɡɪɢɰɚʃɟɦ/ɤɚɡɢɜɚʃɟɦ ɧɟɢɡɪɟɱɟɧɨɝ. Ⱦɚɤɥɟ, ɧɟ ɪɚɞɢ ɫɟ ɨ ɧɟɤɚɤɜɨɦ ɜɢɲɟɦ, ɫɜɟɱɚɧɢʁɟɦ ɫɬɭɩʃɭ ɫɯɜɚɬʂɢɜɨɝ ʁɟɡɢɤɚ, ɜɟʄ ɨ Ɇɚɥɚɪɦɟɨɜɨɦ ɡɚɯɬɟɜɭ ɡɚ ɪɚɞɢɤɚɥɧɢɦ ɨɛɧɚɜʂɚʃɟɦ ʁɟɡɢɤɚ; ɨɧɨ ɫɟ ‘ɨɞɜɢʁɚ’ ɤɪɨɡ ɭɩɨɬɪɟɛɭ ɜɟɨɦɚ ɧɟɨɛɢɱɧɢɯ ɫɪɟɞɫɬɚɜɚ, ɤɚɨ ɲɬɨ ɫɭ ɝɪɚɦɚɬɢɱɤɢ ɧɟɨɫɧɨɜɚɧɟ ɢɧɜɟɪɡɢʁɟ, ɭɤɢɞɚʃɟ ɪɚɡɥɢɤɟ ɢɡɦɟђɭ ʁɟɞɧɢɧɟ ɢ ɦɧɨɠɢɧɟ, ɢɡɜɪɬɚʃɟ ɧɨɪɦɚɥɧɨɝ ɩɨɪɟɬɤɚ ɪɟɱɢ, ɩɨɧɟɝɞɟ ɢɡɨɫɬɚɜʂɚʃɟ ɢɧɬɟɪɩɭɧɤɰɢʁɫɤɢɯ ɡɧɚɤɨɜɚ, ɭɜɨђɟʃɟ ɧɨɜɢɯ ɱɥɚɧɨɜɚ, ɢ ɬɚɤɨ ɞɚʂɟ.217 Ⱥɧɚɥɨɝɧɨ ɬɨɦɟ, ɬɨ ʁɟɫɬ, ɚɧɚɥɨɝɧɨ ɧɚɱɢɧɭ ɧɚ ɤɨʁɢ Ɇɚɥɚɪɦɟ ɭɩɨɬɪɟɛʂɚɜɚ ɪɟɱɢ, Ⱦɟɛɢɫɢ ɭɩɨɬɪɟɛʂɚɜɚ ɚɤɨɪɞɟ ɭ ɫɜɨʁɢɦ ɞɟɥɢɦɚ. Ʉɨɧɤɪɟɬɧɨ, ɭ ɉɟɥɟɚɫɭ ɧɚɢɥɚɡɢɦɨ ɧɚ ɩɪɢɦɟɪɟ ɧɟɮɭɧɤɰɢɨɧɚɥɧɢɯ ɚɤɨɪɚɞɚ ɭ ɫɦɢɫɥɭ ɬɨɧɚɥɧɨ-ɯɚɪɦɨɧɫɤɨɝ ɦɢɲʂɟʃɚ ɤɨʁɢ, ɡɚɩɪɚɜɨ, ɫɚɦɨɫɬɚɥɧɨ ɟɝɡɢɫɬɢɪɚʁɭ ɤɚɨ ɱɢɫɬ ɡɜɭɱɧɢ ɮɟɧɨɦɟɧ ɫɬɚɬɢɱɧɨɝ ɟɮɟɤɬɚ, ɱɢʁɚ ʁɟ ɭɥɨɝɚ ɩɪɟɜɚɫɯɨɞɧɨ ɤɨɥɨɪɢɫɬɢɱɤɚ. ɇɨ, ɛɟɡ ɨɛɡɢɪɚ ɧɚ ɨɜɨ ɩɨɦɟɪɚʃɟ ɬɟɠɢɲɬɚ ɧɚ ɤɨɥɨɪɢɫɬɢɱɤɟ ɜɪɟɞɧɨɫɬɢ ɯɚɪɦɨɧɢʁɟ, ɭ ɉɟɥɟɚɫɭ ɧɚɢɥɚɡɢɦɨ ɢ ɧɚ ɨɧɚ ɦɟɫɬɚ ɤɨʁɚ ɨɛɢɥɭʁɭ 214 ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 23. 215 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: ɢɫɫɬɨ, 23. 216 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Hugo Friedrich, Struktura..., ɧɚɜ. ɞɟɥɨ, 120. 217 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 115‒118. { 109 } ɭɩɨɬɪɟɛɨɦ ɞɢɫɨɧɚɧɰɢ ɫɚ ɰɢʂɟɦ ɩɨɞɜɥɚɱɟʃɚ ɤɭɥɦɢɧɚɰɢɨɧɨɝ ɦɨɦɟɧɬɚ ɭ ɦɭɡɢɱɤɨ- ɞɪɚɦɚɬɭɪɲɤɨɦ ɬɨɤɭ, ɚ ɤɨʁɚ ɫɜɟɞɨɱɟ ɨ (ɢ ɞɚʂɟ) ɡɚɫɬɭɩʂɧɨʁ ɟɤɫɩɪɟɫɢɜɧɨʁ ɭɥɨɡɢ ɯɚɪɦɨɧɢʁɟ. ɇɚ ɬɚɤɚɜ ɦɨɦɟɧɚɬ ɧɚɢɥɚɡɢɦɨ ɭ ɞɟɥɢʄɭ ɩɪɜɟ ɫɰɟɧɟ ɞɪɭɝɨɝ ɱɢɧɚ ɤɚɞɚ Ɇɟɥɢɫɚɧɞɚ ɝɭɛɢ ɞɪɚɝɨɰɟɧɢ ɜɟɧɱɚɧɢ ɩɪɫɬɟɧ ɭ ɞɭɛɨɤɨɦ ɛɭɧɚɪɭ, ɲɬɨ ʄɟ, ɩɨɫɪɟɞɧɨ ɩɨɤɪɟɧɭɬɢ ɰɟɥɨɤɭɩɚɧ ɞɚʂɢ ɬɨɤ ʃɟɧɟ (ɥɢɱɧɟ) ɞɪɚɦɟ. ɇɚɝɧɭɬɚ ɧɚɞ ɦɪɚɱɧɨɦ ɜɨɞɨɦ, ɪɚɠɚɥɨɲʄɟɧɚ ɢ ɭɩɥɚɲɟɧɚ ɨɞ ɦɨɝɭʄɢɯ ɩɨɫɥɟɞɢɰɚ, ɨɧɚ ɢɡɝɨɜɚɪɚ ɪɟɱɢ: „Ɉɧ ʁɟ ɢɡɝɭɛʂɟɧ... ɢɡɝɭɛʂɟɧ!” („Elle est perdue…perdue!”). Ɍɟ ɪɟɱɢ ɫɭ, ɭɡ ɮɢɧɨ ɞɢɧɚɦɢɱɤɨ ɫɟɧɱɟʃɟ, ɩɪɚʄɟɧɟ ɢɫɬɨ ɬɚɤɨ ɮɢɧɨɦ ɝɪɚɞɚɰɢʁɨɦ ɞɢɫɨɧɚɧɰɟ – ɨɞ ɤɜɢɧɬɚɤɨɪɞɚ ɧɚ ɫɟɩɬɚɤɨɪɞ, ɩɚ ɧɨɧɚɤɨɪɞ ɢ ɧɚʁɡɚɞ ɭɧɞɟɰɢɦɚɤɨɪɞ, ɤɚɨ ɜɪɯɭɧɚɰ ɧɚɤɨɧ ɤɨʁɟɝ ɫɥɟɞɢ ɩɨɜɪɚɬɧɢ ɬɨɤ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ.10). ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 10: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ (Pelléas et Mélisande, 1898), ɨɪɤɟɫɬɚɪɫɤɚ ɩɚɪɬɢɬɭɪɚ, II ɱɢɧ, I ɫɰɟɧɚ – Ɏɨɧɬɚɧɚ ɭ ɩɚɪɤɭ, ɨɞ ɩɚɪɬɢɬɭɪɧɨɝ ɛɪɨʁɚ 11 ɬɬ. 9–10. { 110 } Јɨɲ ʁɟɞɚɧ ɡɚɧɢɦʂɢɜ ɩɪɢɦɟɪ ɧɟɪɚɡɪɟɲɟɧɟ ɞɢɫɨɧɚɧɰɟ, ɩɪɨɧɚɥɚɡɢɦɨ ɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ ɧɚ ɫɚɦɨɦ ɤɪɚʁɭ ɩɪɜɨɝ ɱɢɧɚ, ɬɚɱɧɢʁɟ, ɭ ɩɨɫɥɟɞʃɚ ɱɟɬɢɪɢ ɬɚɤɬɚ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 11). Ɍɟ ɞɢɫɨɧɚɧɰɟ ɧɚɫɬɚʁɭ ɤɚɨ ɪɟɡɭɥɬɚɬ ɧɟɪɚɡɪɟɲɟɧɢɯ ɡɚɞɪɠɢɰɚ. ɍ ɨɜɨɦ ɩɪɢɦɟɪɭ ʁɟ ɧɚ ɡɚɜɪɲɧɨʁ ɬɨɧɢɰɢ Ɏɢɫ-ɞɭɪɚ ɨɫɢɦ ɫɟɤɫɬɟ ɞɨɞɚɬɚ ɢ ɫɟɤɭɧɞɚ (ɜɟɥɢɤɚ, ɤɚɨ ‘ɦɟɤɲɚ’ – ɬɨ ʁɟɫɬ, ɦɚʃɟ ɞɢɫɨɧɚɧɬɧɚ ɨɞ ɦɚɥɟ), ɚ ɞɚ ɬɚɤɜɨ ɫɚɡɜɭɱʁɟ ɢɩɚɤ ɞɟɥɭʁɟ ɤɚɨ ɞɨɜɨʂɧɨ ɫɬɚɛɢɥɧɨ ɡɚ ɡɚɜɪɲɟɬɚɤ ɰɟɥɨɤɭɩɧɨɝ ɩɪɜɨɝ ɱɢɧɚ ɨɩɟɪɟ. Ʉɚɪɚɤɬɟɪɢɫɬɢɱɚɧ ʁɟ, ɦɟђɭɬɢɦ, ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɫɭ ɬɟ ɞɢɫɨɧɚɧɰɟ ɭɜɟɞɟɧɟ: ɭ ɩɪɜɨɦ ɬɚɤɬɭ (ɨɞ ɩɨɫɥɟɞʃɚ ɱɟɬɢɪɢ ɬɚɤɬɚ) ɨɧɟ ɫɭ ‘ɩɪâɜɟ’ ɡɚɞɪɠɢɰɟ ɫɚ ɨɱɟɤɢɜɚɧɢɦ ɪɚɡɪɟɲɟʃɟɦ – 6 ɭ 5 (ɫɟɤɫɬɚ ɭ ɤɜɢɧɬɭ), ɨɞɧɨɫɧɨ, 2 ɭ 3 (ɫɟɤɭɧɞɚ ɭ ɬɟɪɰɭ); ɭ ɞɪɭɝɨɦ ɬɚɤɬɭ, ɧɚ ɩɪɨɦɟʃɟɧɨʁ ɚɤɨɪɞɫɤɨʁ ɨɫɧɨɜɢ, ʁɟɞɧɚ ɨɞ ɡɚɞɪɠɢɰɚ ɫɟ ɜɟʄ ‘ɮɢɤɫɢɪɚ’, ɚɥɢ ɫɟ ɭ ɞɨɞɚɬɧɨɦ ɞɜɨɡɜɭɤɭ ɧɚɥɚɡɢ ʃɟɧ ɪɚɡɪɟɲɚɜɚʁɭʄɢ ɬɨɧ; ɧɚʁɡɚɞ, ɭ ɬɪɟʄɟɦ ɬɚɤɬɭ ɭ ɤɨʁɟɦ ɫɟ ʁɚɜʂɚ ɩɨɫɥɟɞʃɢ ɚɤɨɪɞ, ɨɛɟ ɩɪɜɨɛɢɬɧɟ ɡɚɞɪɠɢɰɟ ɨɫɬɚʁɭ ɧɟɪɚɡɪɟɲɟɧɟ, ɞɚɤɥɟ, ɩɪɟɬɜɚɪɚʁɭ ɫɟ ɭ ɞɨɞɚɬɟ ɞɢɫɨɧɚɧɰɟ ɤɨʁɟ Ⱦɟɛɢɫɢ ɩɭɲɬɚ ɞɚ ‘ɨɞɡɜɭɱɟ’ ɭ ɩɨɫɥɟɞʃɟɦ ɬɚɤɬɭ ɩɪɜɨɝ ɱɢɧɚ. { 111 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 11: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ (Pelléas et Mélisande, 1898), ɨɪɤɟɫɬɚɪɫɤɚ ɩɚɪɬɢɬɭɪɚ, I ɱɢɧ, III ɫɰɟɧɚ – ɂɫɩɪɟɞ ɞɜɨɪɰɚ, ɨɞ ɩɚɪɬɢɬɭɪɧɨɝ ɛɪɨʁɚ 48 ɩɨɫɥɟɞʃɚ 4 ɬɚɤɬɚ. { 112 } Ɉɫɢɦ, ɩɨɦɟɧɭɬɢɯ, Ⱦɟɛɢɫɢ ɭ ɨɩɟɪɢ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɚ (ɚɥɢ ɢ ɧɟ ɫɚɦɨ ɭ ʃɨʁ!) ɭɩɨɬɪɟɛʂɚɜɚ ɩɨɦɟɧɭɬɟ ɞɢɫɨɧɚɧɬɧɟ ɚɤɨɪɞɟ (ɫɟɩɬɚɤɨɪɞɟ, ɧɨɧɚɤɨɪɞɟ, ɩɪɟɤɨɦɟɪɧɟ ɢ ɭɦɚʃɟɧɟ ɬɪɨɡɜɭɤɟ) ɤɨʁɢɦɚ, ɨɫɢɦ ɲɬɨ ‘ɭɫɤɪɚʄɭʁɟ’ ɪɚɡɪɟɲɟʃɟ, ɧɟɨɛɢɱɧɨ ɢɯ ɬɪɟɬɢɪɚ ɭ ɫɦɢɫɥɭ ɩɚɪɚɥɟɥɧɨɝ ɜɨђɟʃɚ ɱɢɬɚɜɢɯ ɛɥɨɤɨɜɚ. Ⱦɚʂɟ, ɫɟɩɬɚɤɨɪɞ ɞɪɭɝɨɝ ɫɬɭɩʃɚ ɦɨɥɚ ɭ ɫɜɢɦ ɦɨɝɭʄɢɦ ɨɛɪɬɚʁɢɦɚ ɢ ɟɧɯɚɪɦɨɧɫɤɢɦ ɨɞɧɨɫɢɦɚ, ɧɚ ɦɧɨɝɢɦ ɦɟɫɬɢɦɚ ɞɚɥɟɤɨ ɩɪɟɜɚɡɢɥɚɡɢ ɩɨɥɢɜɚɥɟɧɬɧɨɫɬ ɚɤɨɪɞɚ ȼɚɝɧɟɪɨɜɨɝ Ɍɪɢɫɬɚɧɚ (Tristan und Isolde, 1857‒ 1859). ɇɟɨɛɢɱɧɨɫɬ ɦɭɡɢɱɤɨɝ ʁɟɡɢɤɚ Ⱦɟɛɢɫɢ ɩɨɫɬɢɠɟ ɢ ɭɩɨɬɪɟɛɨɦ ɩɟɧɬɚɬɨɧɫɤɟ ɥɟɫɬɜɢɰɟ, ɫɬɚɪɨɰɪɤɜɟɧɢɯ ɦɨɞɭɫɚ ɢ ɰɟɥɨɫɬɟɩɟɧɟ ɥɟɫɬɜɢɰɟ. ɂɡ ʃɢɯ ɫɟ ɱɟɫɬɨ ɪɚɡɜɢʁɚʁɭ ɧɢɡɨɜɢ ɚɤɨɪɚɞɚ ɤɨʁɢ ɭ ɡɚɜɢɫɧɨɫɬɢ ɢɡ ɤɨʁɟ ɥɟɫɬɜɢɰɟ ɩɪɨɢɡɥɚɡɟ, ɨɬɜɚɪɚʁɭ ɛɪɨʁɧɟ ɦɨɝɭʄɧɨɫɬɢ ɡɚ ɧɨɜɟ, ɢɥɢ ɨɫɜɟɠɟɧɟ ɫɬɚɪɟ, ɯɚɪɦɨɧɫɤɟ ɫɤɥɨɩɨɜɟ ɢ ʃɢɯɨɜɟ ɦɟђɭɫɨɛɧɟ ɨɞɧɨɫɟ. Ɍɚɤɨ, ɧɚ ɩɪɢɦɟɪ, ɭ ɩɪɜɨɦ ɫɬɚɜɭ Ⱦɟɛɢɫɢʁɟɜɟ ɋɨɧɚɬɟ ɡɚ ɜɢɨɥɢɧɭ ɢ ɤɥɚɜɢɪ (Sonate pour violon et piano, 1917) ɭɨɱɚɜɚ ɫɟ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɚ ɞɨɪɫɤɚ ‘ɛɨʁɚ’ ɤɨʁɚ ɞɚʁɟ, ɝɨɬɨɜɨ ɭɜɟɤ, ɩɨɫɟɛɧɭ ɦɟɤɨʄɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 12). ɇɚɢɦɟ, ɭ ɨɜɨɦ ɩɪɢɦɟɪɭ ɫɟ ɞɨɪɫɤɚ ɫɟɤɫɬɚ (ɟ) ɩɨʁɚɜʂɭʁɟ ɢ ɭ ɚɤɨɪɞɭ ɞɨɦɢɧɚɧɬɟ ɤɚɨ ɜɟɥɢɤɚ ɧɨɧɚ, ɬɚɤɨ ɞɚ ɨɜɚʁ ɚɤɨɪɞ ɢ ɭ ɦɨɥɭ ɞɨɛɢʁɚ ɧɨɜɭ – ɬɢɩɢɱɧɨ ɞɟɛɢɫɢʁɟɜɫɤɭ ɛɨʁɭ. Ɉɞɧɨɫ t‒S (ɬɨɧɢɤɚ‒ɫɭɛɞɨɦɢɧɚɧɬɚ) ʁɚɜʂɚ ɫɟ ɱɚɤ ɬɪɢ ɩɭɬɚ, ɤɚɨ ɞɚ ɫɟ ɠɟɥɢ ɢɫɬɚʄɢ ɞɨɪɫɤɨ ɨɛɟɥɟɠʁɟ ɬɨɧɚɥɢɬɟɬɚ. Ɇɟђɭɬɢɦ, ɭɫɪɟɞ ɬɚɤɜɨɝ ɯɚɪɦɨɧɫɤɨɝ ‘ɨɤɜɢɪɚ’, ɧɚɫɬɭɩɚ (ɜɟɨɦɚ ɭɩɚɞʂɢɜɨ), ɤɚɨ ɨɞɡɜɭɤ ɫɬɚɪɨɝ ɪɨɦɚɧɬɢɱɚɪɫɤɨɝ ɯɚɪɦɨɧɫɤɨɝ ʁɟɡɢɤɚ, ɯɪɨɦɚɬɫɤɚ ɦɟɞɢʁɚɧɬɚ, ɭ ɩɪɢɜɢɞɧɨɦ ɬɟɪɰɧɨɦ ɫɪɨɞɫɬɜɭ ɩɪɟɦɚ ɫɭɛɞɨɦɢɧɚɧɬɢ, ɚ ɭ ʁɟɞɧɚɤɨɬɟɪɰɧɨɦ ɨɞɧɨɫɭ ɫɚ ɞɨɦɢɧɚɧɬɨɦ. { 113 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 12: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɋɨɧɚɬɚ ɡɚ ɜɢɨɥɢɧɭ ɢ ɤɥɚɜɢɪ (Sonate pour violon et piano, 1917), ɬɬ. 1–14. Ⱦɚɤɥɟ, ɭ Ⱦɟɛɢɫɢʁɟɜɨɦ ɯɚɪɦɨɧɫɤɨɦ ʁɟɡɢɤɭ, ɩɨɪɟɞ ɪɟɲɟʃɚ ɤɨʁɚ ɫɭ ɫɚɦɨ ʃɟɦɭ ɫɜɨʁɫɬɜɟɧɚ, ɦɨɝɭʄɟ ʁɟ ɭɨɱɢɬɢ ɢ ɨɧɚ ɤɨʁɚ ɪɟɮɟɪɢɪɚʁɭ ɧɚ ɪɚɧɢʁɟ ɫɬɢɥɫɤɟ ɟɩɨɯɟ. Ɍɚɤɨђɟ, ɢɡ ɩɨʁɟɞɢɧɢɯ ɥɟɫɬɜɢɱɧɢɯ ɨɫɧɨɜɚ ɪɚɡɜɢʁɚʁɭ ɫɟ ɧɢɡɨɜɢ ɚɤɨɪɚɞɚ ɤɨʁɢ ɫɚɦɨ ɩɪɢɜɢɞɧɨ ɨɞɝɨɜɚɪɚʁɭ (ɞɢɫɨɧɚɧɚɧɬɧɢɦ) ɚɤɨɪɞɢɦɚ ɬɪɚɞɢɰɢɨɧɚɥɧɟ ɧɚɭɤɟ ɨ ɯɚɪɦɨɧɢʁɢ, ɤɚɨ ɲɬɨ ɫɭ, ɧɚ ɩɪɢɦɟɪ, ɩɪɟɤɨɦɟɪɧɢ ɬɪɨɡɜɭɤ ɢɥɢ ɚɥɬɟɪɨɜɚɧɢ ɬɟɪɰɤɜɚɪɬɚɤɨɪɞ. Ɇɟђɭɬɢɦ, ɡɜɭɱɧɚ ɫɥɢɤɚ ɧɢ ɤɨɞ Ⱦɟɛɢɫɢʁɚ, ɚ ɧɢ ɤɨɞ Ɇɚɥɚɪɦɟɚ ɧɢɤɚɞɚ ɧɢʁɟ ‘ɬɜɪɞɚ’. ɉɪɢɥɢɤɨɦ ɬɪɚɝɚʃɚ ɡɚ ɧɟɩɨɫɪɟɞɧɨɲʄɭ „ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ Ɇɚɥɚɪɦɟɨɜɟ ɟɫɬɟɬɢɤɟ ɢ Ⱦɟɛɢɫɢʁɟɜɟ ɩɨɟɬɢɤɟ, ɧɚɦɟɬɧɭɨ ɫɟ ʁɨɲ ʁɟɞɚɧ ɩɨʁɚɦ ɤɨʁɢ ʄɟ, ɢɫɩɨɫɬɚɜɢʄɟ ɫɟ ɧɟɡɧɚɬɧɨ ɤɚɫɧɢʁɟ – ɭ ɞɜɚɞɟɫɟɬɨɦ ɜɟɤɭ, ɩɨɫɬɚɬɢ ʁɟɞɚɧ ɨɞ ɮɭɧɞɚɦɟɧɬɚɥɧɢɯ ɟɥɟɦɟɧɚɬɚ ɦɨɞɟɪɧɟ ɟɫɬɟɬɢɤɟ. Ɋɟɱ ʁɟ ɩɨʁɦɭ ɮɪɚɝɦɟɧɬɚ ɤɨʁɢ ɩɨɫɬɚʁɟ ɝɥɚɜɧɢ ɧɨɫɢɥɚɰ ɢɡɝɪɚɞʃɟ, ɫɚɞɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɝ, ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɤɨɞ Ⱦɟɛɢɫɢʁɚ ɢ ɤɜɚɡɢ-ɪɟɱɟɧɢɱɧɢɯ ɫɬɪɭɤɬɭɪɚ ɤɨɞ Ɇɚɥɚɪɦɟɚ. ɉɪɟɰɢɡɧɢʁɟ ɪɟɱɟɧɨ, ɩɨɫɬɭɩɚɤ ɜɪɚʄɚʃɚ ɪɟɱɢ ʃɟɧɨʁ ɢɡɜɨɪɧɨɫɬɢ ɭɫɥɨɜʂɟɧ ʁɟ ɤɨɞ Ɇɚɥɚɪɦɟɚ ɪɚɡɚɪɚʃɟɦ ɪɟɱɟɧɢɰɟ ɭ ɮɪɚɝɦɟɧɬɟ. Ⱦɢɫɤɨɧɬɢɧɭɢɬɟɬ ɭɦɟɫɬɨ ɩɨɜɟɡɚɧɫɨɬɢ, ɭɩɨɪɟɞɧɨɫɬ ɭɦɟɫɬɨ ɫɥɟɞɚ: ɬɨ ɫɭ ɫɬɢɥɫɤɟ ɨɡɧɚɤɟ ʁɟɞɧɨɝ ɭɧɭɬɪɚɲʃɟɝ { 114 } ɞɢɫɤɨɧɬɢɧɭɢɬɟɬɚ, ʁɟɞɧɨɝ ɝɨɜɨɪɟʃɚ ɧɚ ɝɪɚɧɢɰɢ ɧɟɦɨɝɭʄɧɨɫɬɢ. Ɏɪɚɝɦɟɧɬ ɤɨʁɢ ɞɨɛɢʁɚ ɪɚɧɝ ɫɢɦɛɨɥɚ ɡɚ ɫɚɜɪɲɟɧɫɬɜɨ ɤɨʁɟ ɫɟ ɛɥɢɠɢ, ɢɥɢ ɡɚ ɰɟɥɢɧɭ ɤɨʁɚ ɫɟ ɫɥɭɬɢ, ɡɚ Ɇɚɥɚɪɦɟɚ ɩɨɫɬɚʁɟ „ɫɜɚɞɛɟɧɢ ɡɧɚɤ ɢɞɟʁɚ”218. Ɍɚɤɨђɟ, ɭ Ⱦɟɛɢɫɢʁɜɢɦ ɨɫɬɜɚɪɟʃɢɦɚ ɮɪɚɝɦɟɧɬ ɞɨɛɢʁɚ ɤʂɭɱɧɨ ɦɟɫɬɨ, ɞɨɤ ɫɚɦ ɦɭɡɢɱɤɢ ɬɨɤ ɤɚɪɚɤɬɟɪɢɲɭ: ɞɢɫɤɨɧɬɢɧɭɢɬɟɬ, ɢɡɨɤɪɟɬɚʃɟ ɡɜɭɱɧɢɯ ɩɟɪɫɩɟɤɬɢɜɚ, ɬɟɯɧɢɤɚ ɦɨɧɬɚɠɟ (ɫɜɨʁɫɬɜɟɧɟ ɮɢɥɦɫɤɨʁ ɭɦɟɬɧɨɫɬɢ), ɧɚɝɥɚ ɧɚɪɭɲɚɜɚʃɚ ɩɭɥɫɚɰɢʁɟ ɮɚɤɬɭɪɟ, ɰɟɩɚʃɟ ɧɚ ɬɢɲɢɧɭ ɢ ɟɤɫɩɥɨɡɢʁɭ, ɫɬɚɥɧɨ ɢ ɧɟɨɱɟɤɢɜɚɧɨ ɤɪɟɬɚʃɟ ɢ ɡɚɭɫɬɚɜʂɚʃɟ, ɤɪɚɬɤɨɬɪɚʁɧɢ ɩɨɤɪɟɬɢ, ɫɭɜɢɲɟ ɤɪɚɬɤɢ ɞɚ ɛɢ ɛɢɥɢ ɪɚɡɜɢʁɟɧɢ, ɭɛɪɡɚɜɚʃɚ ɢ ɤɪɟɲɟɧɞɨ ɦɭɡɢɱɤɨɝ ɬɨɤɚ...219 ɂ јɨɲ ɧɟɲɬɨ... Ɉɧɨ ʄɭɬɚʃɟ ɫɬɜɚɪɢ, ɨɧɚ ɛɟɥɢɧɚ ɩɚɩɢɪɚ ɢ ɬɢɲɢɧɚ... ɩɨɧɟɤɚɞ ɞɨɛɢʁɭ ɛɨʁɭ – ɛɨʁɭ ɤɨʁɚ ɡɜɭɱɢ... Ȼɨʁɭ ɤɨʁɚ ɡɚɡɜɭɱɢ ɤɚɨ ɨɧɨ ɮɪɚɧɰɭɫɤɨ, ɞɭɝɚɱɤɨ, ɩɨɦɚɥɨ ɪɚɡɜɭɱɟɧɨ „l’azur” ‒ ɩɥɚɜɟɬɧɢɥɨ, ɩɪɨɫɬɨɪɢ ɚɡɭɪɚ, ɧɟɛɟɫɤɨ ɩɥɚɜɨ, ɛɨʁɚ ɜɨɞɟɧɢɯ ɩɪɨɫɬɪɚɧɫɬɚɜɚ, ɢ ɨɱɢʁɭ; ɪɟɱ ʁɟ ɨ ɛɨʁɢ/ɧɢʁɚɧɫɢ/‘ɬɨɧɭ’ ɤɨʁɢ ɞɟɥɟ ɦɧɨɝɢ ɭɦɟɬɧɢɱɤɢ ɭɧɢɜɟɪɡɭɦɢ – Ɇɚɥɚɪɦɟɨɜ, Ɋɟɦɛɨɨɜ ɢ Ⱦɟɛɢɫɢʁɟɜ, ɚɥɢ ɢ ɭɧɢɜɟɪɡɭɦɢ ɛɪɨʁɧɢɯ ɫɥɢɤɚɪɚ ɢɦɩɪɟɫɢɨɧɢɫɬɚ. Ȼɥɢɫɤɨ Ɇɚɥɚɪɦɟɭ, Ⱥɪɬɭɪ Ɋɟɦɛɨ ɠɟɥɢ ɞɚ „ɜɢɞɢ ɧɟɜɢɞʂɢɜɨ ɢ ɞɚ ɫɥɭɲɚ ɧɟɱɭɬɨ” („inspecter l’invisibile et entendre l’inoui”) ɤɚɤɨ ɛɢ ɩɪɨɞɪɨ ɭ ɫɜɟɬ ɧɨɜɢɯ ɢɞɟʁɚ ɢ ɨɛɥɢɤɚ. ɋɦɚɬɪɚʁɭʄɢ ɞɚ ɪɟɚɥɧɢ ɫɜɟɬ ɫɬɜɚɪɚ ɩɪɢɜɢɞ ɪɚɜɧɨɬɟɠɟ ɢ ɱɭɜɚ ɢɧɟɪɬɧɢ ɩɨɪɟɞɚɤ ɫɬɜɚɪɢ, Ɋɟɦɛɨ ɫɟ ɨɞɥɭɱɭʁɟ ɞɚ ɤɪɟɧɟ ɭ ɩɨɬɪɚɝɭ ɡɚ ɧɟɩɨɡɧɚɬɢɦ ɢ ɬɚɤɨ ɩɪɨɲɢɪɢ ɩɨʂɟ ɧɟɢɡɜɟɫɧɨɫɬɢ ɢ ɫɭɦʃɟ, ɚ ɡɚɬɢɦ ɫɟ ɫɭɨɱɢ ɫɚ ɫɜɟɬɨɦ ɫɥɢɤɚ ɤɨʁɟ ɫɟ ɧɚɥɚɡɟ ɫ ɨɧɭ ɫɬɪɚɧɭ ɢɫɤɭɫɬɜɚ ɢ ɫɬɚɧɞɚɪɞɧɟ ɥɨɝɢɤɟ ɫɜɟɬɚ;220 ɚ ɬɨ ʁɟ, ɫɦɚɬɪɚ ɨɧ, ʁɟɞɢɧɨ ɦɨɝɭʄɟ „ɞɭɝɢɦ, ɫɜɟɨɩɲɬɢɦ ɢ ɫɦɢɲʂɟɧɢɦ ɪɚɫɬɪɨʁɫɬɜɨɦ ɫɜɢɯ ɱɭɥɚ [‘déréglement de tous les sens’]”221. Ʉɚɨ ɪɟɡɭɥɬɚɬ ɬɨɝɚ ‘ɪɚђɚ’ ɫɟ ʁɟɞɚɧ ɩɟɫɧɢɱɤɢ ɫɜɟɬ ‒ „ɩɪɨɬɢɜ-ɫɜɟɬ”/ɜɚɧʂɭɞɫɤɢ ɫɜɟɬ ɤɨʁɢ ʁɟ ɧɟɝɚɰɢʁɚ ɫɜɟɝɚ ɢ ɭʁɟɞɧɨ ɪɟɩɪɟɡɟɧɬ ɪɭɲɟʃɚ ɜɚɪʂɢɜɨɝ ɞɟɤɨɪɚ ɫɜɚɤɨɞɧɟɜɢɰɟ ɢ ɩɪɢɜɢɞɧɟ ɪɟɚɥɧɨɫɬɢ ɤɨʁɨɦ ʁɟ ɱɨɜɟɤ ɨɤɪɭɠɟɧ. ɉɪɨɞɭɛʂɢɜɚʃɟ ʁɚɡɚ ɢɡɦɟђɭ ɩɟɫɧɢɱɤɨɝ 218 Hugo Friedrich, Struktura..., ɧɚɜ. ɞɟɥɨ, 103. 219 ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 82. 220 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 20. 221 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: Branko Džakula (ur.), Francuska književnost, ɧɚɜ. ɞɟɥɨ, 140. { 115 } ɫɭɛʁɟɤɬɚ ɢ ɩɟɫɧɢɤɨɜɨɝ ʂɭɞɫɤɨɝ ɥɢɤɚ ɞɨɜɟɲʄɟ ɞɨ ɫɜɟɫɬɢ ɞɚ ʁɟ ɨɧ ɫɚɦ, ɡɚɩɪɚɜɨ, ɧɟɤɨ ɞɪɭɝɢ („ʁɚ, ɬɨ ʁɟ ɧɟɤɨ ɞɪɭɝɢ”) ɢ ɞɚ ɤɚɨ ɬɚʁ ɞɪɭɝɢ ɭ ɬɨɦ ɩɟɫɧɢɱɤɨɦ ɫɜɟɬɭ, ɨɞɧɨɫɧɨ, ɫɜɟɬɭ ɞɪɭɝɨɦ (ɪɟɱɟɧɨ ɞɢɮɪɟɧɨɜɫɤɢ), ʃɟɝɨɜ ɫɭɛʁɟɤɬ ɩɪɨɧɚɥɚɡɢ ɫɜɨʁɭ ɢɫɬɢɧɫɤɭ ɡɚɜɢɱɚʁɧɨɫɬ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɬɟɤ ɢɫɩɨɞ ɤɨɧɜɟɧɰɢɨɧɚɥɧɟ ɦɚɫɤɟ ɤɨʁɭ ɛɢʄɭ ɫɬɚɜʂɚʁɭ ɨɤɨɥɢɧɚ ɢɥɢ ɧɚɜɢɤɟ, ɬɨ ʁɟɫɬ, ɬɟɤ ɢɫɩɨɞ ɩɨɜɪɲɢɧɟ ɢ ɩɪɢɜɢɞɚ ɤɪɢʁɟ ɫɟ ɩɪɚɜɨ ɥɢɰɟ ɫɬɜɚɪɢ ɢ ʃɢɯɨɜɚ ɩɟɫɧɢɱɤɚ ɫɭɲɬɢɧɚ.222 ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ ɦɨɝɭʄɟ ʁɟ ɪɚɡɭɦɟɬɢ ɢ ɥɨɝɢɤɭ Ɋɟɦɛɨɨɜɨɝ ɨɛɥɢɤɨɜɧɨɝ ɩɨɫɬɭɩɤɚ ɤɨʁɢ ʁɟ ɡɚɫɧɨɜɚɧ ɧɚ ɫɩɟɰɢɮɢɱɧɨɦ ɨɞɧɨɫɭ ɩɪɟɞɦɟɬɚ ɩɨʁɚɜɧɨɝ ɫɜɟɬɚ ɢ ʃɢɯɨɜɟ ɦɟђɭɫɨɛɧɟ ɩɨɜɟɡɚɧɨɫɬɢ ɭɧɭɬɚɪ ɩɟɫɧɢɱɤɟ ɫɥɢɤɟ ɭ ɤɨʁɨʁ, ɤɚɤɨ ɧɚɜɨɞɢ ɇɢɤɨɥɚ Ʉɨɜɚɱ, „ɪɟɚɥɧɢ ɞɟɬɚʂɢ ɢɡ ɞɨɦɟɧɚ ɱɭɥɧɢɯ ɩɪɟɞɫɬɚɜɚ ɝɭɛɟ ɫɜɨʁ ɩɪɢɦɚɪɧɢ ɫɭɩɫɬɚɧɰɢʁɚɥɧɢ ɫɚɞɪɠɚʁ ɢ ɩɨɩɪɢɦɚʁɭ ɨɞɥɢɤɟ ɢɪɟɚɥɧɟ ɬɜɨɪɟɜɢɧɟ ɱɢʁɭ ɡɛɢʂɭ ɩɨɬɜɪђɭʁɟ ɫɚɦɨ ʁɟɡɢɱɤɚ ɦɚɬɟɪɢʁɚ”223. Ⱦɪɭɝɢɦ ɪɟɱɢɦ, ɢɦɚɝɢɧɚɪɧɢ ɫɜɟɬ ɩɨɫɬɚʁɟ ɢɡɜɨɪɧɚ ɜɟɪɛɚɥɧɚ ɬɜɨɪɟɜɢɧɚ ɤɨʁɚ, ɧɟ ɬɪɚɠɟʄɢ ɭɩɨɪɲɬɟ ɭ ɢɦɢɬɢɪɚʃɭ ɡɛɢʂɟ ɢ ɭ ɫɚɞɪɠɚʁɢɦɚ ɤɨʁɢ ɞɨɥɚɡɟ ɫɩɨʂɚ, ɨɠɢɜʂɚɜɚ ɢ ɫɚɛɢɪɚ ɧɟɩɨɫɬɨʁɟʄɟ ɨɞɧɨɫɟ ɢ ɧɟɜɢђɟɧɟ ɨɛɥɢɤɟ. Ʉɚɨ ɪɟɡɭɥɬɚɬ ɨɜɚɤɜɨɝ ʁɟɞɧɨɝ ɩɪɨɰɟɫɚ, ɭ Ɋɟɦɛɨɨɜɨɦ ɩɟɫɧɢɲɬɜɭ ʁɚɜʂɚʁɭ ɫɟ ɫɥɢɤɟ ɤɨʁɟ ɤɚɪɚɤɬɟɪɢɲɭ ɢɡɨɤɪɟɧɭɬɟ ɩɪɨɫɬɨɪɧɟ ɩɟɪɫɩɟɤɬɢɜɟ ɢ ɧɟɥɨɝɢɱɚɧ ɩɨɪɟɞɚɤ ɫɬɜɚɪɢ. Ɉɧɟ ɫɭ ɨɫɥɨɛɨђɟɧɟ ɩɪɨɫɬɨɪɧɢɯ ɨɫɥɨɧɚɰɚ ɢ ɥɨɝɢɱɧɨ-ɪɟɩɪɟɡɟɧɬɚɬɢɜɧɟ ɫɬɚɛɢɥɧɨɫɬɢ (ɨ ɱɟɦɭ ɫɜɟɞɨɱɟ ɢ ɫɬɢɯɨɜɢ ɩɟɫɦɟ Ɋɟɱɟɧɢɰɟ /Phrases, Illuminations, 1872‒1875/, ɤɚɨ ɲɬɨ ɫɭ, ɧɚ ɩɪɢɦɟɪ, „Ɋɚɡɚɩɟɨ ɫɚɦ ɤɨɧɨɩɰɟ ɨɞ ɡɜɨɧɢɤɚ ɞɨ ɡɜɨɧɢɤɚ”; „ɜɟɧɰɟ ɨɞ ɩɪɨɡɨɪɚ ɞɨ ɩɪɨɡɨɪɚ”; „ɡɥɚɬɧɟ ɥɚɧɰɟ ɨɞ ɡɜɟɡɞɟ ɞɨ ɡɜɟɡɞɟ, ɢ ɩɥɟɲɟɦ”), ɞɨɤ ɫɟ ɢɦɚɝɢɧɚɪɧɚ ɫɥɢɤɨɜɢɬɨɫɬ ɨɞɪɚɠɚɜɚ ɭɧɭɬɪɚɲʃɨɦ ɧɚɩɟɬɨɲʄɭ ɢ ɟɧɟɪɝɢʁɨɦ ɤɨʁɚ ɫɚɦɭ ɫɟɛɟ ɪɚђɚ. Ɍɭ ɧɚɩɟɬɨɫɬ, ɫɦɚɬɪɚ Ʉɨɜɚɱ, ɛɪɨʁɧɢ ɤɪɢɬɢɱɚɪɢ ɩɨɪɟɞɟ ɫɚ ɦɭɡɢɤɨɦ, ɚɥɢ ɧɟ ɭ ɫɦɢɫɥɭ ɚɧɚɥɨɝɢʁɟ ɡɜɭɤɨɜɧɢɯ ɢ ɜɢɡɭɟɥɧɢɯ ɮɢɝɭɪɚ, ɧɟɝɨ ɭ ɫɦɢɫɥɭ ɦɟɬɚɦɨɪɮɨɡɟ ɨɫɧɨɜɧɨɝ ɩɟɫɧɢɱɤɨɝ ɬɨɧɚ ɢ ʃɟɝɨɜɨɝ ɫɬɚɥɧɨɝ ɪɚɡɛɭɤɬɚɜɚʃɚ ɭ ɧɨɜɢɦ ɢɦɚɝɢɧɚɪɧɢɦ ɢ ɱɭɥɧɢɦ ɩɪɨɫɬɨɪɢɦɚ.224 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɩɟɫɧɢɱɤɨ ɨɛɥɢɤɨɜɚʃɟ ɢɫɤɭɫɬɜɚ ɨɞɜɢʁɚ ɫɟ, ɫɦɚɬɪɚ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɭ ɡɧɚɤɭ ɯɚɪɦɨɧɫɤɟ ɢ ɚɪɯɢɬɟɤɬɨɧɫɤɟ ɩɨɞɭɞɚɪɧɨɫɬɢ, ɬɨ ʁɟɫɬ ɭ ɫɮɟɪɢ ɝɞɟ ɦɭɡɢɱɤɚ ɫɬɪɭɤɬɭɪɚ ɞɨɛɢʁɚ ɱɜɪɫɬɢɧɭ ɩɥɚɫɬɢɱɧɨɝ, ɜɚʁɚɧɨɝ ɫɚɞɪɠɚʁɚ. ɍ ɬɨɦ ɜɪɬɥɨɠɧɨɦ ɤɪɟɬɚʃɭ ɡɜɭɤɨɜɚ ɢ ɛɨʁɚ ɭ ɤɨɦɟ ɦɚɬɟɪɢʁɚ ɝɭɛɢ ɬɟɠɢɧɭ ɢ ɞɨɛɢʁɚ ɞɭɲɭ, ɫɬɜɚɪɚ ɫɟ ɢɦɚɝɢɧɚɪɧɚ ɩɪɨʁɟɤɰɢʁɚ ɫɜɟɬɚ ɭ ɤɨɦɟ Ɋɟɦɛɨ ɫɥɨɛɨɞɧɨ ɩɪɟɦɟɲɬɚ ɩɪɨɫɬɨɪɧɟ 222 ɂɫɬɨ, 138. 223 ɂɫɬɨ, 139. 224 ɂɫɬɨ, 140. { 116 } ɩɟɪɫɩɟɤɬɢɜɟ („ɤɚɬɟɞɪɚɥɚ ɫɟ ɫɩɭɲɬɚ ɧɚɧɢɠɟ”, „ʁɟɡɟɪɨ ɫɟ ɞɢɠɟ”, ɫɥɢɱɧɨ ɤɚɨ ɢ ɭ Ⱦɟɛɢɫɢʁɟɜɨʁ ɉɨɬɨɧɭɥɨʁ ɤɚɬɟɞɪɚɥɢ /La Cathédrale engloutie, 1910/, ɞɟɫɟɬɨɦ ɩɪɟɥɢɞɭ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ /Préludes/ ɡɚ ɤɥɚɜɢɪ) ɭ ɩɪɨɰɟɫɭ ɞɟɡɢɧɬɟɝɪɚɰɢʁɟ ɨɛɥɢɤɚ ɢ ɪɚɡɛɢʁɚʃɚ ɩɪɨɫɬɨɪɧɢɯ ɨɞɧɨɫɚ, ɡɚɬɢɦ, ɫɥɨɛɨɞɧɨ ɨɛɥɢɤɭʁɟ ɢɦɚɝɢɧɚɪɧɟ ɤɨɧɫɬɪɭɤɰɢʁɟ („ɦɨɫɬɨɜɢ ɪɚɡɚɩɟɬɢ ɭ ɢɦɚɝɢɧɚɪɧɨɦ ɩɪɨɫɬɨɪɭ ɱɭɞɟɫɧɟ ɚɪɯɢɬɟɤɬɭɪɟ”, Ɇɨɫɬɨɜɢ /Les Ponts/, ɂɥɭɦɢɧɚɰɢʁɟ /Illuminations/, 1872‒1875), ɢ ɢɡʁɟɞɧɚɱɚɜɚ ɩɪɟɞɫɬɚɜɟ ɫɧɚ ɢ ʁɚɜɟ, ɫɦɪɬɢ ɢ ɠɢɜɨɬɚ.”225 ɑɚɤ, ɬɚɤɜɚ ɩɪɨɞɭɛʂɟɧɚ ɢ ɤɪɚʁʃɟ ɢɧɞɢɜɢɞɭɚɥɧɚ ɩɟɪɰɩɟɰɢʁɚ ɭ ɨɞɪɟђɟɧɢɦ ɦɨɦɟɧɬɢɦɚ ɩɨɩɪɢɦɚ ɤɚɪɚɤɬɟɪ ɭɧɢɜɟɪɡɚɥɧɨɝ ɫɩɟɤɬɚɤɥɚ, ɢ ɬɨ ɨɧɨɝ ɭ ɤɨɦɟ ɧɟɛɨ ɢ ɦɨɪɟ (ɤɚɨ ɭɨɫɬɚɥɨɦ ɢ ɡɚ Ⱦɟɛɢɫɢʁɚ) ɩɨɫɬɚʁɭ ɫɢɦɛɨɥɢ ɛɟɫɤɪɚʁɚ ɤɨʁɢ „ɩɨɩɭɬ ɨɝɪɨɦɧɢɯ ɨɱɢʁɭ ɧɟɤɨɝ Ȼɨɝɚ”, ɩɪɢɯɜɚɬɚʁɭ ɢ ɨɛɭɯɜɚɬɚʁɭ ɬɨ ɱɭɞɟɫɧɨ ɡɛɢɜɚʃɟ ɠɢɜɨɬɚ ɤɚɨ ɤɨɫɦɢɱɤɭ ɫɜɟɱɚɧɨɫɬ Ʌɟɩɨɬɟ.226 ɍ ɬɨɦ ɞɭɯɭ Ɋɟɦɛɨ ɩɢɲɟ ɢ ɫɨɧɟɬ ɩɨɞ ɧɚɡɢɜɨɦ ɋɚɦɨɝɥɚɫɧɢɰɢ (Voyelles, 1871‒ 1972) ɭ ɤɨɦɟ ɮɨɪɦɭɥɢɲɟ ɢɞɟʁɭ ɨ ɩɨɞɭɞɚɪɧɨɫɬɢ ɡɜɭɤɨɜɚ ɢ ɛɨʁɚ (audition colorée ‒ „ɨɛɨʁɟɧɨ ɫɥɭɲɚʃɟ”, ɢɥɢ „ɫɥɭɲɚʃɟ ɭ ɛɨʁɢ”, ɤɨʁɟ ʁɟ, ɧɚ ʁɟɞɚɧ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɚɧ ɧɚɱɢɧ, ɬɚɤɨ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨ ɢ ɡɚ Ⱦɟɛɢɫɢʁɟɜɭ ɦɭɡɢɤɭ) ɤɚɨ ɩɪɢɧɰɢɩ „ɟɜɨɤɚɬɢɜɧɟ ɱɚɪɨɥɢʁɟ” ɢ ɫɢɦɛɨɥɢɱɤɨɝ ɩɪɟɞɫɬɚɜʂɚʃɚ.227 ɂɚɤɨ ɛɢ ɩɪɜɚ ɩɨɦɢɫɚɨ ɛɢɥɚ ɞɚ ɫɟ Ɋɟɦɛɨ ɫɚɦɨ ɧɚɞɨɜɟɡɚɨ ɧɚ Ȼɨɞɥɟɪɨɜɭ ɢɞɟʁɭ ɨ „ɫɚɝɥɚɫʁɢɦɚ”, ɨɧ ʁɟ ɭ ɫɭɲɬɢɧɢ ɧɢɤɚɞɚ ɧɢʁɟ ɩɪɢɯɜɚɬɢɨ ɤɚɨ ɞɟɮɢɧɢɬɢɜɚɧ ɩɨɟɬɫɤɢ ɩɪɨɝɪɚɦ ɤɨʁɢ ɛɢ ɬɪɟɛɚɥɨ ɞɨɫɥɟɞɧɨ ɩɨɬɜɪђɢɜɚɬɢ. ɇɚɢɦɟ, Ɋɟɦɛɨ ʁɟ ɢɡɚɛɪɚɨ/ɢɡɦɢɫɥɢɨ ɛɨʁɭ ɡɚ ɫɚɦɨɝɥɚɫɧɢɤɟ (Ⱥ – ɰɪɧɨ, ȿ – ɛɟɥɨ, ɂ – ɰɪɜɟɧɨ, ɍ – ɡɟɥɟɧɨ, Ɉ - ɩɥɚɜɨ) ɱɢʁɭ ʁɟ ɡɜɭɱɧɭ ɜɪɟɞɧɨɫɬ ɩɨɬɨɦ ɩɪɟɞɫɬɚɜɢɨ ɤɚɨ ɫɥɟɞ ɜɢɡɭɟɥɧɢɯ ɫɥɢɤɚ; ɞɚɤɥɟ, ɨɧ ʁɟ, ɩɨɲɚɜɲɢ ɨɞ ɢɞɟʁɟ ɨ ɫɢɧɟɫɬɟɡɢʁɫɤɢɦ ɩɪɟɞɫɬɚɜɚɦɚ, ɨɬɢɲɚɨ ɞɚʂɟ, ɭ ɩɪɚɜɰɭ ɦɨɝɭʄɧɨɫɬɢ ɪɚɲɱɥɚʃɚɜɚʃɚ, ɪɚɡɛɢʁɚʃɚ ɰɟɥɢɧɟ, ɚɧɚɥɢɬɢɱɤɨɝ ɪɚɱɜɚʃɚ ɡɚɨɤɪɭɠɟɧɢɯ ɤɨɧɬɭɪɚ, ɨɫɥɚʃɚʁɭʄɢ ɫɟ, ɩɪɢ ɬɨɦ, ɧɚ ɛɨʁɭ ɤɚɨ ɫɪɟɞɫɬɜɨ ɚɫɨɰɢʁɚɬɢɜɧɨɝ ɜɟɡɢɜɚʃɚ ɧɚʁɪɚɡɥɢɱɢɬɢʁɢɯ ɮɢɡɢɱɤɢɯ ɢ ɫɢɦɛɨɥɢɱɤɢɯ ɫɜɨʁɫɬɚɜɚ ɩɨʁɚɜɧɨɝ ɫɜɟɬɚ.228 ɍ ɬɨɦ ɫɦɢɫɥɭ ɦɨɝɭ ɫɟ ɩɨɜɭʄɢ ɢɡɜɟɫɧɟ ɩɚɪɚɥɟɥɟ ɫɚ ɤɨɦɩɨɡɢɰɢʁɚɦɚ ɫɥɢɤɚɪɚ ɢɦɩɪɟɫɢɨɧɢɫɬɚ ɧɚ ɤɨʁɢɦɚ ɨɛɨʁɟɧɚ ɫɟɧɤɚ ɩɪɟɞɦɟɬɚ ɫɭɝɟɪɢɲɟ ɩɪɨɡɪɚɱɧɨɫɬ ɩɪɨɫɬɨɪɚ ɢ 225 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 20. Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Branko Džakula (ur.), Francuska književnost, ɧɚɜ. ɞɟɥɨ, 143. 226 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ. 227 ȼɢɞɟɬɢ: ɢɫɬɨ, 20; Branko Džakula (ur.), Francuska književnost, ɧɚɜ. ɞɟɥɨ, 140. 228 ȼɢɞɟɬɢ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 21. { 117 } ɫɜɟɨɩɲɬɢ ɫɤɥɚɞ ɤɨɥɨɪɢɫɬɢɱɤɟ ɜɢɡɢʁɟ ɢ Ɋɟɦɛɨɨɜɟ ɭɩɨɬɪɟɛɟ ɛɨʁɟ – ɛɢɥɨ ɢɫɤɚɡɚɧɟ, ɛɢɥɨ ɫɭɝɟɪɢɫɚɧɟ – ɤɚɤɨ ɛɢ ɫɚɫɬɚɜɧɢ ɞɟɥɨɜɢ ɫɥɢɤɟ ɛɢɥɢ ɩɪɟɞɫɬɚɜʂɟɧɢ ɤɚɨ ʁɟɞɢɧɫɬɜɟɧ ɜɢɡɭɟɥɧɢ ɢ ɩɨɟɬɫɤɢ ɫɚɞɪɠɚʁ. ɍɤɨɥɢɤɨ ɫɟ ɜɪɚɬɢɦɨ ɧɚ ʃɟɝɨɜ ɫɨɧɟɬ ɩɪɜɨ ɲɬɨ ɫɟ ɭɨɱɚɜɚ ʁɟɫɬɟ ɞɚ ɫɭ ɫɚɦɨɝɥɚɫɧɢɰɢ ɩɨɫɬɚɜʂɟɧɢ ɨɞɦɚɯ ɩɨɪɟɞ ɪɟɱɢ (ɤɨʁɟ ɫɭ ɢ ɫɚɦɟ ɫɚɫɬɚɜʂɟɧɟ ɨɞ ɫɚɦɨɝɥɚɫɧɢɤɚ ɢ ɫɭɝɥɚɫɧɢɤɚ), ɲɬɨ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ʁɟɫɬɟ ɩɪɟɬɟɤɫɬ ʃɢɯɨɜɨɦ ɢɡʁɟɞɧɚɱɚɜɚʃɭ. Ɇɟђɭɬɢɦ, ɬɨ ɧɢʁɟ ɫɚɫɜɢɦ ʁɚɫɧɨ ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ, ɬɚɱɧɢʁɟ, ɫɜɟ ɞɨ ɬɪɟʄɟɝ ɫɬɢɯɚ ɩɪɜɟ ɫɬɪɨɮɟ. ɇɨ, ɨɧɨ ɲɬɨ ʁɟ ɧɟɭɩɢɬɧɨ ʁɟɫɬɟ ɞɚ ɫɟ ɭ ɩɪɜɨɦ ɫɬɢɯɭ ɩɨʁɚɜʂɭʁɭ ɫɥɢɤɟ/ɫɥɨɜɚ ɤɨʁɟ ɨɡɧɱɚɜɚʁɭ ɫɚɦɨɝɥɚɫɧɢɤɟ ɢ ɪɟɱɢ ɤɨʁɟ ɨɡɧɚɱɚɜɚʁɭ ɛɨʁɟ. ɋ ɨɛɡɢɪɨɦ ɧɚ ɬɨ ɞɚ ʁɟ ɦɨɝɭʄɟ ɢ ɫɥɨɜɚ ɢ ɪɟɱɢ ɢɫɬɨɜɪɟɦɟɧɨ ɱɢɬɚɬɢ ɢ ɤɚɨ ɜɢɡɭɟɥɧɟ ɢ ɤɚɨ ɚɤɭɫɬɢɱɤɟ ɡɧɚɤɟ, ɞɨɥɚɡɢ ɫɟ ɞɨ ɡɚɤʂɭɱɤɚ ɞɚ ʁɟ ɪɟɱ ɨ ʁɟɞɧɨɦ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ɚɤɭɫɬɢɱɤɨ-ɜɢɡɭɟɥɧɨɦ ɤɨɥɚɠɭ ɤɨʁɢ ʁɟ, ɩɪɟɬɩɨɫɬɚɜʂɚɦ, ɢ ɞɨɜɟɨ ɞɨ ɩɪɜɟ ɪɟɰɟɩɰɢʁɟ ɨɜɨɝ ɫɨɧɟɬɚ ɤɚɨ audition coloréɟ. Ɇɟђɭɬɢɦ, ɩɢɬɚʃɟ ɤɨʁɟ ɩɪɨɢɡɥɚɡɢ ɢɡ ɨɜɚɤɜɟ ɪɟɰɟɩɰɢʁɟ ɫɨɧɟɬɚ ɬɢɱɟ ɫɟ ɬɨɝɚ ɞɚ ɥɢ ɫɭ ɫɚɦɨɝɥɚɫɧɢɰɢ ɫɚɦɨ ɚɤɭɫɬɢɱɤɢ ɮɟɧɨɦɟɧɢ, ɚ ɪɟɱɢ ɜɢɡɭɟɥɧɢ, ɢɥɢ ɫɭ, ɩɚɤ, ɢ ɫɚɦɨɝɥɚɫɧɢɰɢ ɢ ɪɟɱɢ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɚɤɭɫɬɢɱɤɢ ɢ ɜɢɡɭɟɥɧɢ ɮɟɧɨɦɟɧɢ. ɍɤɨɥɢɤɨ ɫɟ ɭɡɦɟ ɭ ɨɛɡɢɪ ɞɚ ɫɭ ɫɚɦɨɝɥɚɫɧɢɰɢ ɚɤɭɫɬɢɱɤɢ, ɨɧɞɚ ɫɭ ɢ ɪɟɱɢ ɤɨʁɟ ɫɭ ɫɚɱɢʃɟɧɟ ɨɞ ɮɨɧɟɦɚ ɬɚɤɨђɟ ɚɤɭɫɬɢɱɤɟ. ɇɨ, ɛɭɞɭʄɢ ɞɚ ɫɭ ɮɨɧɟɦɟ ɨɡɧɚɱɟɧɟ ɫɥɨɜɢɦɚ, ɨɧɟ ɧɭɠɧɨ ɩɪɢɩɚɞɚʁɭ ɢ ɞɨɦɟɧɭ ɜɢɡɭɟɥɧɨɝ, ɤɚɨ ɢ ɫɚɦɟ ɪɟɱɢ ɤɨʁɟ ɞɟɧɨɬɢɪɚʁɭ ɛɨʁɟ ɭɩɭʄɭʁɭʄɢ ɧɚɫ ɬɚɤɨђɟ ɤɚ ɜɢɡɭɟɥɧɨɦ. Ⱦɚɤɥɟ, ʁɭɤɫɬɚɩɨɧɢɪɚʃɟɦ ɜɢɡɭɟɥɧɟ ɢ ɚɤɭɫɬɢɱɤɟ ɡɧɚɱɟʃɫɤɟ ɞɢɦɟɧɡɢʁɟ ɭ ɨɤɜɢɪɭ ʁɟɞɧɨɝ ɡɧɚɤɚ ɧɚɜɨɞɢ ɧɚ ɡɚɤʂɭɱɚɤ ɞɚ ɮɟɧɨɦɟɧ ɫɢɧɟɫɬɟɡɢʁɟ, ɡɚɩɪɚɜɨ, ɥɟɠɢ ɭ ɨɫɧɨɜɢ ɧɚɲɟɝ ɫɢɫɬɟɦɚ ɫɢɝɧɢɮɢɤɚɰɢʁɟ, ɛɭɞɭʄɢ ɞɚ ɡɧɚɤɨɜɢ ɩɨɥɨɠɟɧɢ ɭ ɩɨʂɟ ʁɟɞɧɨɝ ɱɭɥɚ ɞɟɧɨɬɢɪɚʁɭ ɮɟɧɨɦɟɧɟ ɞɪɭɝɢɯ ɱɭɥɚ. A crno, E belo, I rujno, O plavo, U zeleno: tajna rođena vam tu je: A, crn kosmat pojas muhâ što blistavo Nad svirepim smradom kupe se i zuje, Zatoni sene; - E, koplja gordih santi, Belina čadora, cveće zanjihano; I, krv ispljunuta, smeh što gnevno plamti Na usnama lepim, u kajanju pjanom; U, drhtanje kružno božanstvenih mora, Spokoj pašnjaka i stada, spokoj bora Koje alhemijom stiču učenjaci; O, vrhovna Truba, puna cike lude, Mir kojim Anđeli i svetovi blude, - Omega, Očiju moćnih modri zraci! Ⱥ noir, E blanc, I rouge, U vert, O bleu: voyelles, Je dirai quelque jour vos naissances latentes: A, noir corset velu des mouches éclatantes Qui bombinent autour des puanteurs cruelles, Golfes d’ombre; E, candeur des vapeurs et des tentes, Lances des glaciers fiers, rois blancs, frissons d’ombelles ; I, pourpres, sang craché, rire des lèvres belles Dans la colère ou les ivresses pénitentes ; U, cycles, vibrements divins des mers virides, Paix des pâtis semés d’animaux, paix des rides Que l’alchimie imprime aux grands fronts studieux ; O, suprême Clairon plein des strideurs étranges, Silences traversés des Mondes et des Anges : – O l’Oméga, rayon violet de Ses Yeux ! – Ⱥɪɬɭɪ Ɋɟɦɛɨ, ɋɚɦɨɝɥɚɫɧɢɰɢ (Voyelles, 1871‒1972)229 Ɍɚɤɨђɟ, ɨɜɚʁ ɫɨɧɟɬ ɦɨɠɟ ɛɢɬɢ ɫɯɜɚʄɟɧ ɢ ɤɚɨ ɫɜɨʁɟɜɪɫɧɨ ɭɞɚʂɚɜɚʃɟ ɨɞ Ȼɨɞɥɟɪɨɜɢɯ ɋɚɝɥɚɫʁɚ ɡɚɬɨ ɲɬɨ ɫɢɧɟɫɬɟɡɢʁɚ ɫɢɦɛɨɥɢɱɤɨɝ ɫɜɟɬɚ ɋɚɦɨɝɥɚɫɧɢɤɚ ɧɢʁɟ ɫɭɲɬɢɧɫɤɚ, ɜɟʄ ɚɪɛɢɬɪɚɪɧɚ ɛɭɞɭʄɢ ɞɚ ɧɟ ɩɨɫɬɨʁɢ ‘ɩɪɢɪɨɞɧɚ ɜɟɡɚ’ ɢɡɦɟђɭ, ɧɚ ɩɪɢɦɟɪ, ɪɟɱɢ ɰɪɧɨ ɢ ɫɚɦɟ ɰɪɧɟ ɛɨʁɟ. ɂɫɬɨ ɜɚɠɢ ɢ ɡɚ ɨɞɧɨɫ ɢɡɦɟђɭ ɫɚɦɨɝɥɚɫɧɢɤɚ ɢ ɛɨʁɚ! Јɟɪ, ɚɤɨ ʁɟ Ⱥ (ɫɚɦɨɝɥɚɫɧɢɤ ɢɥɢ ɜɟɥɢɤɨ ɫɥɨɜɨ ɚ) ɡɚɢɫɬɚ ɰɪɧɨ, ɩɨɫɬɚɜʂɚ ɫɟ ɩɢɬɚʃɟ ɡɚɲɬɨ ʁɟ ɨɧɞɚ ɢɫɩɢɫɢɜɚʃɟ ɪɟɱɢ ɰɪɧɨ ɩɨɪɟɞ ʃɟɝɚ ɭɨɩɲɬɟ ɩɨɬɪɟɛɧɨ? Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɞɚ ɥɢ ɩɨɫɬɨʁɢ ɡɧɚɤ ʁɟɞɧɚɤɨɫɬɢ ɢɡɦɟђɭ ɫɚɦɨɝɥɚɫɧɢɤɚ ɢ ɛɨʁɚ? Ȼɭɞɭʄɢ ɞɚ ɫɟ ɝɥɚɝɨɥ ɛɢɬɢ ɧɢʁɟɞɧɨɦ ɧɟ ʁɚɜʂɚ ɢɡɦɟђɭ ɫɚɦɨɝɥɚɫɧɢɤɚ ɢ ɪɟɱɢ (ɤɨʁɟ ɞɟɧɨɬɢɪɚʁɭ ɛɨʁɟ), ɦɨɝɭʄɟ ʁɟ ɩɪɟɬɩɨɫɬɚɜɢɬɢ ɞɚ ɢɞɟɧɬɢɮɢɤɚɰɢʁɚ ɩɪɨɢɡɥɚɡɢ ɢɡ ‘ɮɢɡɢɱɤɟ’ ɛɥɢɡɢɧɟ, ɨɞɧɨɫɧɨ ɜɟɡɟ ɤɨʁɚ ɫɟ ʁɚɜʂɚ ɤɚɨ ɩɨɫɥɟɞɢɰɚ ɢɫɩɢɫɢɜɚʃɚ ɪɟɱɢ ɨɞɦɚɯ ɭɡ ɫɚɦɨɝɥɚɫɧɢɤɟ. Ɍɚɤɨ, Ɋɟɦɛɨɨ ɫɚ ɫɨɧɟɬɨɦ ɋɚɦɨɝɥɚɫɧɢɰɢ ɨɞɥɚɡɢ ɤɨɪɚɤ ɞɚʂɟ ɨɞ Ȼɨɞɥɟɪɚ ɢ ʃɟɝɨɜɨɝ ɜɟɪɨɜɚʃɚ ɮɨɪɦɭɥɢɫɚɧɨɝ ɭ ɜɢɞɭ ɫɬɚɜɚ ɞɚ ɮɟɧɨɦɟɧɢ ɨɞʁɟɤɭʁɭ ʁɟɞɧɢ ɭ ɞɪɭɝɢɦɚ ɢ ɦɨɝɭ ɫɟ 229 ɂɡɜɨɪ: Artur Rembo, Sabrana poetska dela, preveo Nikola Bertolino, Paideia, Beograd, 2004. { 119 } ɩɪɟɜɨɞɢɬɢ ʁɟɞɧɢ ɭ ɞɪɭɝɟ; ɡɚ ɪɚɡɥɢɤɭ ɨɞ Ȼɨɞɥɟɪɚ, Ɋɟɦɛɨ ɫɜɨʁɚ ɬɪɚɝɚʃɚ ɡɚɩɪɚɜɨ ɫɩɪɨɜɨɞɢ ɭ ɩɨʂɭ ɫɚɦɨɝ ʁɟɡɢɤɚ ɢ ɦɢɲʂɟʃɚ. Ɍɚɤɨђɟ, ɋɚɦɨɝɥɚɫɧɢɤɟ ʁɟ ɦɨɝɭʄɟ ɪɚɡɭɦɟɬɢ ɢ ɤɚɨ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɭ ɪɚɞɢɤɚɥɢɡɚɰɢʁɭ Ȼɨɞɥɟɪɨɜɢɯ ɋɚɝɥɚɫʁɚ: ɭɤɨɥɢɤɨ ɧɟɦɟ ɫɬɜɚɪɢ ɦɨɝɭ ɞɚ ɩɪɨɝɨɜɨɪɟ ɤɪɨɡ ɩɨɟɡɢʁɭ, ɨɧɞɚ ɢ ɫɚɦɨɝɥɚɫɧɢɰɢ, ɤɨʁɢ ɫɭ, ɩɚɪɚɞɨɤɫɚɥɧɨ, ‘ɧɟɦɢ’ ɞɟɥɨɜɢ ɝɨɜɨɪɚ (ʁɟɪ ɨɧɢ ɧɟ ɞɟɧɨɬɢɪɚʁɭ), ɦɨɝɭ ɬɚɤɨђɟ ɞɚ ɩɪɨɝɨɜɨɪɟ. ɑɢɧɢ ɫɟ ɞɚ ʁɟ ɭɩɪɚɜɨ ɬɨ ɨɧɨ ɲɬɨ ɫɟ ɞɟɲɚɜɚ ɭ Ɋɟɦɛɨɨɜɨɦ ɫɨɧɟɬɭ ‒ ‘ɧɟɦɚ’ ɦɚɬɟɪɢʁɟ ʁɟɡɢɤɚ (ɫɚɦɨɝɥɚɫɧɢɤɚ ɢ ɫɭɝɥɚɫɧɢɤɚ) ɩɨɱɢʃɟ ɞɚ ɩɪɨɝɨɜɚɪɚ, ɬɨ ʁɟɫɬ, ɞɚ ɡɜɭɤɨɦ ‘ɨɠɢɜʂɚɜɚ’. Ɍɚʁ ɩɪɨɰɟɫ ɞɚʂɟ ɜɨɞɢ ɩɨɜɟɡɢɜɚʃɭ ɫɚ ɛɨʁɚɦɚ, ɚ ɩɨɬɨɦ ɢ ɫɚ ɮɟɧɨɦɟɧɢɦɚ ɫɜɟɬɚ. ɋ ɨɛɡɢɪɨɦ ɧɚ ɬɨ ɞɚ ɮɨɪɦɢɪɚʃɟ/‘ɪɨђɟʃɟ’ ɫɚɦɨɝɥɚɫɧɢɤɚ ɩɪɚɬɢ ɩɪɨɰɟɫ ‘ɪɚђɚʃɚ’ ɢɦɟɧɚ ɛɨʁɚ, ɱɢɧɢ ɫɟ ɤɚɨ ɞɚ ɫɭ ɫɚɦɨɝɥɚɫɧɢɰɢ ɩɪɟɞɫɬɚɜʂɟɧɢ ɤɚɨ ɤʂɭɱɧɚ ɬɚɱɤɚ, ɦɨɠɞɚ ɱɚɤ ɢ ɤɚɨ ɩɥɚɬɨɧɢɫɬɢɱɤɚ ɢɞɟʁɚ ɢɡ ɤɨʁɟ ɫɟ ‘ɪɚђɚ’ ɫɜɟɬ, ɧɢɠɭ ɧɚʁɪɚɡɥɢɱɢɬɢʁɟ ɩɨʁɚɜɟ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɨɧɨ ɲɬɨ ʁɟ ɭ ɩɟɫɦɢ ɢɦɟɧɨɜɚɧɨ, ɡɚɩɪɚɜɨ, ʁɟ ɜɟʄ ɫɚɞɪɠɚɧɨ ɭ ɫɚɦɨɝɥɚɫɧɢɰɢɦɚ. Ɍɚɤɨ ʁɟ ɭ ʃɢɦɚ ɫɚɞɪɠɚɧ ɢ ɫɚɦ ɫɜɟɬ ɱɭɥɚ... Ɇɨɝɥɨ ɛɢ ɫɟ ɱɚɤ ɪɟʄɢ ɞɚ ɨɜɚʁ ɫɨɧɟɬ ɩɪɨɧɚɥɚɡɢ ɧɟɩɨɫɪɟɞɧɚ ‘ɫɚɝɥɚɫʁɢɦɚ’ ɢɡɦɟђɭ ɱɭɥɚ, ɚ ɩɪɟ ɫɜɢɯ, ɧɟɩɨɫɪɟɞɧɚ ‘ɫɚɝɥɚɫʁɚ’ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ, ɢɡɦɟђɭ ɚɭɞɢɬɢɜɧɨɝ ɢ ɜɢɡɭɟɥɧɨɝ. ɇɨ, ɨɫɢɦ ɱɭɥɚ ɫɥɭɯɚ ɢ ɜɢɞɚ, ɜɟʄ ɭ ɩɪɜɨʁ ɫɬɪɨɮɢ ʁɟ ɞɚɬɨ ɢ ɱɭɥɨ ɦɢɪɢɫɚ, ɚ ɢɦɩɥɢɰɢɬɧɨ ɢ ɱɭɥɨ ɞɨɞɢɪɚ (ɮɢɡɢɱɤɚ ɢɧɬɟɪɚɤɰɢʁɚ ɛɢʄɚ ɢ ɦɚɬɟɪɢʁɟ), ɬɟ ʃɢɯɨɜ ɦɨɝɭʄɢ ɨɞɧɨɫ ‒ „Ⱥ, ɰɪɧ ɤɨɫɦɚɬ ɩɨʁɚɫ ɦɭɯâ ɲɬɨ ɛɥɢɫɬɚɜɨ ɧɚɞ ɫɜɢɪɟɩɢɦ ɫɦɪɚɞɨɦ ɤɭɩɟ ɫɟ ɢ ɪɨʁɟ”. ɑɭɥɨ ɭɤɭɫɚ ɫɟ ʁɚɜʂɚ ɭ ɞɜɚ ɧɚɜɪɚɬɚ, ɬɚɤɨђɟ ɭ ɨɞɧɨɫɭ ɫɚ ɧɟɤɢɦ ɞɪɭɝɢɦ ɱɭɥɨɦ, ɢ ɬɨ ɩɪɜɢ ɩɭɬ ɭ ɫɬɢɯɨɜɢɦɚ „ɂ, ɤɪɜ ɢɫɩʂɭɧɭɬɚ, ɫɦɟɯ ɲɬɨ ɝɧɟɜɧɨ ɩɥɚɦɬɢ”, ɚ ɡɚɬɢɦ ɢ ɭ ɫɬɢɯɭ „ɇɚ ɭɫɧɚɦɚ ɥɟɩɢɦ, ɭ ɤɚʁɚʃɭ ɩʁɚɧɨɦ”. Ɍɚɤɨ, ɨɜɚʁ ɫɨɧɟɬ, ɨɞɧɨɫɧɨ, ɩɟɫɧɢɱɤɚ ɪɟɱ ɩɨɫɬɚʁɟ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɩɪɢɫɬɭɩɚɱɧɚ ɫɜɢɦ ɱɭɥɢɦɚ, ɪɟɱɟɧɨ ɪɟɦɛɨɨɜɫɤɢɦ ɪɟɱɧɢɤɨɦ; ɫɚɦɚ ɫɥɨɜɚ ʁɟɫɭ ɩɨɱɟɥɨ ɱɭɥɧɨɝ ɫɜɟɬɚ, ɚɥɢ ɬɚʁ ɫɜɟɬ ʁɟ, ɩɪɟ ɫɜɟɝɚ, ɫɜɟɬ ɩɟɫɦɟ, ɬɟ ɫɭ ɬɚɤɨ ɫɥɨɜɚ ɩɨɱɟɥɚ ɩɟɫɦɟ ɤɨʁɚ ʁɟ ɦɨɠɞɚ ɭ ɨɫɧɨɜɢ ɰɟɥɨɤɭɩɧɨɝ ɫɜɟɬɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, Ɋɟɦɛɨ ɤɚɨ ɞɚ ɭ ɫɜɨʁɨʁ ɢɦɚɝɢɧɚɪɧɨʁ ɞɢɧɚɦɢɰɢ ɬɪɚɧɫɮɨɪɦɢɫɚɧɢɯ ɱɭɥɧɢɯ ɩɪɟɞɫɬɚɜɚ ɢ ɧɚɪɭɲɟɧɢɯ ɩɨʁɦɨɜɧɢɯ ɫɬɚɧɞɚɪɞɚ ɩɨɜɟɡɭʁɟ ɥɚɧɚɰ ɝɥɚɫɨɜɚ ɢ ɫɥɢɤɚ ɤɚɨ ɝɨɜɨɪ ɛɢʄɚ ɭ ɤɨɦɟ ɫɟ ɪɚɡɢɦɢɪɚ ɧɚɫɬɚɧɚɤ ɫɜɟɬɚ ɢ ʃɟɝɨɜ ɫɦɢɫɚɨ; ɭ ɬɨɦ ɫɦɢɫɥɭ, ɩɟɫɧɢɱɤɢ ɫɜɟɬ ɋɚɦɨɝɥɚɫɧɢɤɚ ʁɟɫɬɟ ʁɟɞɧɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɚ ɤɨɫɦɨɝɨɧɢʁɚ. Ɉɧɨ ɲɬɨ ʁɟ ɜɚɠɧɨ ɭɡɟɬɢ ɭ ɨɛɡɢɪ ʁɟɫɬɟ ɬɨ ɞɚ ɭ ɋɚɦɨɝɥɚɫɧɢɰɢɦɚ ɧɢʁɟ ɪɟɱ ɨ ɦɟɬɚɮɨɪɚɦɚ ɤɚɨ ɧɢɡɭ ɫɥɢɤɚ ɭɥɚɧɱɚɧɢɯ { 120 } ɧɚ ɨɫɧɨɜɭ ɫɥɢɱɧɢɯ ɨɞɥɢɤɚ, ɜɟʄ ʁɟ ɪɟɱ ɨ ɭɫɩɨɫɬɚɜʂɚʃɭ ɧɚɤɧɚɞɧɢɯ ɚɫɨɰɢʁɚɬɢɜɧɢɯ ɜɟɡɚ ɢɡɦɟђɭ ɪɚɡɥɢɱɢɬɢɯ ɩɨʁɦɨɜɚ ɢ „ɭɫɚɝɥɚɲɚɜɚʃɭ” ɨɧɢɯ ʃɢɯɨɜɢɯ ɨɞɥɢɤɚ ɤɨʁɟ ɧɟɦɚʁɭ ɡɚʁɟɞɧɢɱɤɚ ɫɜɨʁɫɬɜɚ. Јɨɲ ʁɟɞɚɧ ɬɚɤɚɜ ɩɪɢɦɟɪ ʁɟɫɬɟ Ɋɟɦɛɨɨɜɚ ɩɟɫɦɚ ȼɚɪɜɚɪɫɤɚ (Barbare, Illuminations, 1872‒1875), ɬɚɱɧɢʁɟ ɫɬɢɯ „Ȼɚɪʁɚɤ ɨɞ ɦɟɫɚ ɲɬɨ ɤɪɜɚɪɢ ɧɚ ɫɜɢɥɢ ɦɨɪɚ ɢ ɚɪɤɬɢɱɤɢɯ ɰɜɟɬɨɜɚ”, ɭ ɨɤɜɢɪɭ ɤɨʁɟɝ ɫɭ ɛɨʁɟ ɭ ɬɨɥɢɤɨʁ ɦɟɪɢ ɜɢɞʂɢɜɟ (ɢɚɤɨ ɧɢɫɭ ɟɤɫɩɥɢɰɢɬɧɨ ɩɨɦɟɧɭɬɟ!), ɞɚ ɫɟ ɰɟɥɨɤɭɩɧɚ ɫɥɢɤɚ ɡɚɦɢɲʂɚ ʁɟɞɢɧɨ ɡɚɯɜɚʂɭʁɭʄɢ ɬɨʁ ɤɨɥɨɪɢɫɬɢɱɤɨʁ ɞɢɧɚɦɢɰɢ. Ɍɚɤɨђɟ, ɭ Ɋɟɦɛɨɨɜɨɦ ɩɟɫɧɢɲɬɜɭ ɧɚɢɥɚɡɢ ɫɟ ɢ ɧɚ ɩɪɢɦɟɪɟ ɬɚɤɜɨɝ ɧɢɡɚʃɚ ɫɥɢɤɚ ɞɚ ʁɟ, ɡɚɩɪɚɜɨ, ɦɨɝɭʄɟ ɝɨɜɨɪɢɬɢ ɨ ɩɪɚɜɢɦ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɢɦ ɤɨɦɩɨɡɢɰɢʁɚɦɚ, ɩɨɩɭɬ ɨɧɢɯ ɧɚ ɤɨʁɢɦɚ ɩɪɟɨɜɥɚɞɚɜɚ ʁɟɞɚɧ ɨɫɧɨɜɧɢ ɬɨɧ, ɚ ɫɜɟ ɨɫɬɚɥɨ ʁɟ ɫɜɟɞɟɧɨ ɧɚ ɧɟʁɚɫɧɚ ɧɚɫɥɭʄɢɜɚʃɚ ɢ ɩɭɤɨ ɮɢɡɢɱɤɨ ɩɪɢɫɭɫɬɜɨ. ɋɬɢɯ ɩɨɩɭɬ „Ȼɟɥɢ ɪɨʁ ɧɟʁɚɫɧɢɯ ɫɧɨɜɚ” ʁɟɫɬɟ ɭɩɪɚɜɨ ɩɪɢɦɟɪ ɤɨɦɩɨɡɢɰɢʁɟ ɤɨʁɭ ɨɞɪɠɚɜɚ ɫâɦɨ ɩɨɞɪɯɬɚɜɚʃɟ ɛɨʁɟ ɢ ʃɟɧɚ ɚɭɬɨɧɨɦɧɚ ɪɚɜɧɨɬɟɠɚ.230 Ɍɚ Ɋɟɦɛɨɨɜɚ ɮɚɫɰɢɧɚɰɢʁɚ ɛɨʁɨɦ ɝɨɜɨɪɢ ɨ ʁɟɞɢɧɫɬɜɟɧɨɦ ɞɭɯɭ ɜɪɟɦɟɧɚ ɢ ɢɧɬɟɪɟɫɨɜɚʃɢɦɚ ɤɨʁɚ ɫɭ ɩɪɨɠɢɦɚɥɚ ɩɨɟɡɢʁɭ, ɫɥɢɤɚɪɫɬɜɨ, ɦɭɡɢɤɭ ɢ ɧɚɭɤɭ.231 ɍ ʃɟɝɨɜɨɦ ɫɬɜɚɪɚɥɚɲɬɜɭ, ɬɚɱɧɢʁɟ ɭ ɩɨɦɟɧɭɬɨʁ ɩɟɫɦɢ ȼɚɪɜɚɪɫɤɚ, ɩɪɟɩɨɡɧɚʁɟɦɨ ɭɩɪɚɜɨ ɬɨ ʁɟɞɢɧɫɬɜɨ ɞɭɯɚ ɜɪɟɦɟɧɚ ʁɟɪ ɛɚɲ ɬɚ ɩɟɫɦɚ, ɢɚɤɨ ɩɪɢɦɚɪɧɨ ɩɪɢɩɚɞɚ ɩɨʂɭ ɩɨɟɡɢʁɟ, ɡɚɩɪɚɜɨ ɩɪɟɞɫɬɚɜʂɚ ɩɪɢɦɟɪ ɦɭɡɢɱɤɨɝ ɫɬɪɭɤɬɭɪɢɪɚʃɚ ɬɟɦɟ ɨɫɦɢɲʂɟɧɟ ɧɚ ɧɚɱɢɧ ɩɪɚɜɟ „ɮɭɝɟ ɭ ɰɪɜɟɧɨɦ ɢ ɛɟɥɨɦ”, ɨɞɧɨɫɧɨ, ɩɪɢɦɟɪ ɦɟɥɨɞɢʁɫɤɨɝ ɪɚɫɩɨɪɟђɢɜɚʃɚ ɦɨɬɢɜɫɤɨɝ ɧɢɡɚ ɧɚ ɩɪɢɧɰɢɩɭ ɨɩɨɡɢɰɢʁɟ ɜɚɬɪɟ ɢ ɥɟɞɚ („ɠɟɪɚɜɢɰɚ” ‒ „ɢʃɟ”, „ɜɚɬɪɚ” ‒ „ɞɢʁɚɦɚɧɬɢ”, „ɠɚɪ” ‒ „ɩɟɧɚ”). ɉɨ ɪɟɱɢɦɚ ɇɢɤɨɥɟ Ʉɨɜɚɱɚ: „ɢ ɪɟɮɪɟɧ ɢ ɦɨɞɭɥɢɪɚʃɟ ɨɫɧɨɜɧɟ ɬɟɦɟ ɢ ɤɨɧɬɪɚɩɭɧɤɬɫɤɨ ɚɤɰɟɧɬɨɜɚʃɟ ɢ ɫɢɧɬɟɬɢɱɤɨ ɮɢɧɚɥɟ ɭ ɤɨɦɟ ɫɟ ɪɚɡɢɦɢɪɚʁɭ ɫɜɟ ɬɟɦɟ ɭ ɨɛɥɢɤɭ ɡɚɜɪɲɧɟ ɟɤɫɩɨɡɢɰɢʁɟ ɢ ɚɩɨɬɟɨɡɟ – ɫɜɟ ɬɨ ɭɩɭʄɭʁɟ ɧɚ ʁɟɞɧɭ ɦɭɡɢɱɤɭ ɫɬɪɭɤɬɭɪɭ ɧɚɫɬɚɥɭ ɢɡ ɜɢɡɭɟɥɧɢɯ ɢ ɝɪɚɮɢɱɤɢɯ ɫɢɦɛɨɥɚ. Ɉɜɚɤɜɢɦ ɩɨɫɬɭɩɤɨɦ ɦɭɡɢɱɤɨɝ ɨɛɥɢɤɨɜɚʃɚ ɢ ɨɞɫɬɭɩɚʃɚ ɨɞ ɭɨɛɢɱɚʁɟɧɟ ɥɨɝɢɤɟ ɫɬɜɚɪɢ, Ɋɟɦɛɨ ɢɡɪɚɠɚɜɚ ɫɜɨʁɟ ɭɜɟɪɟʃɟ ɨ ɩɟɫɧɢɱɤɨɦ ɫɬɜɚɪɚʃɭ ɤɚɨ ɮɚɧɬɚɡɢʁɫɤɨʁ ɢɝɪɢ ɢɡɜɚɧ ɝɪɚɧɢɰɚ ɪɟɚɥɧɨɝ ɩɪɨɫɬɨɪɚ ɢ ɜɪɟɦɟɧɚ. Јɟɞɧɨɦ ɪɟɱʁɭ, Ɋɟɦɛɨɨɜɚ 230 ɍɩɨɪɟɞɢɬɢ ɫɚ: Branko Džakula (ur.), Francuska književnost, ɧɚɜ. ɞɟɥɨ, 139. 231 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Charles A. Riley, Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music and Psychology (Hanover: University Press of New England, 1995). { 121 } ɟɫɬɟɬɢɤɚ ɧɚɫ ɨɫɥɨɛɚђɚ ɢ ɤɨɧɰɟɩɬɭɚɥɧɢɯ ɨɛɪɚɡɚɰɚ ɢ ɦɟɪɢɥɚ ɤɨʁɚ ɞɢɤɬɢɪɚ ɪɟɚɥɧɨɫɬ, ɛɢɥɨ ɞɚ ɡɚ ɫɜɨʁɭ ɨɫɧɨɜɭ ɭɡɢɦɚ ɜɢɡɭɟɥɧɟ ɢɥɢ ɦɭɡɢɱɤɟ ɩɪɟɞɫɬɚɜɟ.”232 Ɉ ɦɭɡɢɰɢ ɤɚɨ ɭɝɚɨɧɨɦ ɤɚɦɟɧɭ ɩɨɢɦɚʃɚ ɫɬɜɚɪɧɨɫɬɢ ɢ ɪɚɡɭɦɟɜɚʃɚ ɫɭɲɬɢɧɟ ɤɪɟɬɚʃɚ, ɨɞɧɨɫɧɨ, ɨ ʃɨʁ ɤɚɨ ɫɜɨʁɟɜɪɫɧɨɦ ɫɤɟɥɟɬɭ ɩɨɟɡɢʁɟ, ɩɢɫɚɨ ʁɟ ʁɨɲ ʁɟɞɚɧ ɮɪɚɧɰɭɫɤɢ ɩɟɫɧɢɤ ɢ ɬɟɨɪɟɬɢɱɚɪ ɫɢɦɛɨɥɢɡɦɚ – Ɋɟɧɟ Ƚɢɥ (Réne Ghil). ɇɚɢɦɟ, ɨɧ ʁɟ ɭ ɫɜɨʁɨʁ Ɋɚɫɩɪɚɜɨ ɨ ɪɟɱɢɦɚ (Traité du Verbe, 1886) – ɡɚ ɤɨʁɭ ʁɟ ɩɪɟɞɝɨɜɨɪ ɧɚɩɢɫɚɨ ɋɬɟɮɚɧ Ɇɚɥɚɪɦɟ – ɩɨɤɭɲɚɨ ɞɚ ɫɬɜɨɪɢ ʁɟɞɧɭ ɞɢɧɚɦɢɱɤɭ ‘ɢɧɫɬɪɭɦɟɧɬɚɥɧɭ ɩɨɟɡɢʁɭ’ ɤɨʁɚ ɛɢ ɛɢɥɚ ɨɫɥɨɛɨђɟɧɚ ɫɢɦɟɬɪɢʁɟ ɢ ɩɪɢɯɜɚɬɢɥɚ ɠɢɜɢ ɪɟɞ ɫɢɦɮɨɧɢʁɟ. Ɉɧɚ ɛɢ ɛɢɥɚ ɡɚɫɧɨɜɚɧɚ ɧɚ ɤɪɚʁʃɟ ɮɥɟɤɫɢɛɢɥɧɨɦ ɫɬɢɯɭ – ɫɬɢɯɭ ɤɨʁɢ ʁɟ ɪɢɬɦɢɱɤɢ ɪɚɡɧɨɜɪɫɬɚɧ ɢ ɤɨʁɢɦ ɫɟ ɩɨɫɬɢɠɟ ɜɢɫɨɤ ɫɬɟɩɟɧ ɦɭɡɢɤɚɥɧɨɫɬɢ. ɉɟɫɧɢɤ ɛɢ ɢɦɚɨ ɩɪɚɜɨ, ɢɫɬɢɱɟ Ƚɢɥ, ɞɚ ɧɚɩɢɲɟ ʁɟɞɚɧ ɫɬɢɯ ɨɞ ɞɟɫɟɬ ɫɥɨɝɨɜɚ, ɚ ɧɚɪɟɞɧɢ ɨɞ ɱɟɬɢɪɢ, ɞɚ ɦɟʃɚ ɤɨɧɫɬɚɧɬɧɨ ɪɢɬɦɨɜɟ ɢ ɧɚ ɬɚʁ ɧɚɱɢɧ ɤɨɧɚɱɧɨ ɨɛʁɚɜɢ ɩɨɛɟɞɭ ɧɚɞ ɫɬɚɪɢɦ ‘ɫɜɟɱɚɪɫɤɢɦ’ ɚɥɟɤɫɚɧɞɪɢɧɰɟɦ.233 ɍɨɛɥɢɱɚɜɚʁɭʄɢ ɬɟɨɪɢʁɫɤɢ ɫɜɨʁɭ ɢɞɟʁɭ, Ƚɢɥ ʁɟ ɩɨɲɚɨ ɨɞ Ɋɟɦɛɨɨɜɨɝ ɫɨɧɟɬɚ ɋɚɦɨɝɥɚɫɧɢɰɢ (ɝɞɟ, ɤɚɨ ɲɬɨ ʁɟ ɭɤɚɡɚɧɨ, ɫɜɚɤɨ ɫɥɨɜɨ ɢɦɚ ɨɞɪɟђɟɧɭ ɛɨʁɭ), ɡɚɬɢɦ ʁɟ ɩɪɨɭɱɚɜɚɨ ɪɚɞɨɜɟ ɏɟɥɦɯɨɥɰɚ (Hermann Ludwig Ferdinand von Helmholtz) ɢ ȼɚɝɧɟɪɨɜɭ ɦɭɡɢɤɭ, ɬɟ ɩɨɱɟɨ ɞɚ ɪɚɡɪɚђɭʁɟ ɩɪɢɧɰɢɩ ɤɨɪɟɫɩɨɧɞɟɧɰɢʁɚ ɢɡɦɟђɭ ɛɨʁɚ, ɡɜɭɤɨɜɚ ɢ ɦɢɪɢɫɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, Ƚɢɥɨɜɚ ɬɟɨɪɢʁɚ ‘ɢɧɫɬɪɭɦɟɧɬɚɥɧɟ ɩɨɟɡɢʁɟ’ ʁɟ ɡɚɫɧɨɜɚɧɚ ɧɚ ɢɞɟʁɢ ɩɪɟɬɜɚɪɚʃɚ ɪɟɱɢ ɭ ɧɨɬɟ – ɜɢɞʂɢɜɟ ɦɭɡɢɤɟ, ɝɞɟ ɛɢ ʂɭɞɫɤɢ ɝɥɚɫ ɨɫɬɚɨ ɜɪɫɬɚ ‘ɫɥɨɛɨɞɧɨɝ ɢɧɫɬɪɭɦɟɧɬɚ’, ‘ɩɢɫɚɤ ɫɚ ɪɟɡɨɧɚɬɨɪɨɦ ɪɚɡɥɢɱɢɬɢɯ ɪɟɡɨɧɚɧɰɢʁɚ’. Ʉɪɟɢɪɚʁɭʄɢ ɬɚɤɜɭ ɩɨɟɡɢʁɭ, ɧɟɤɚɞɚɲʃɢ ɩɟɫɧɢɤ ɪɟɱɢ ɛɢ ɩɨɫɬɚɨ ɩɟɫɧɢɤ ɦɭɡɢɤɟ, ɚ ʃɟɝɨɜɚ ɬɜɨɪɟɜɢɧɚ ɛɢ ɩɨɫɬɚɥɚ ‘ɤɨɦɚɞ ɫɭɝɟɫɬɢɜɧɟ ɦɭɡɢɤɟ’, ɞɢɧɚɦɢɱɤɢ ɧɢɡ ɨɛɨʁɟɧɢɯ ɫɥɢɤɚ ɤɨʁɟ ɛɢ ɢɡɪɚɠɚɜɚɥɟ ɜɟɱɧɨ ɩɨɫɬɨʁɚʃɟ ɟɦɨɰɢʁɚ ʃɢɦɚ ɢɦɚɧɟɧɬɧɢɦ ɪɢɬɦɨɦ.234 Ɋɟɧɟ Ƚɢɥ, ɫɜɨʁɨɦ ɢɞɟʁɨɦ ɨ ɤɨɪɟɫɩɨɧɞɟɧɰɢʁɢ ɢɡɦɟђɭ ɭɦɟɬɧɨɫɬɢ ɭ ɩɨʂɭ ‘ɢɧɫɬɪɭɦɟɧɬɚɥɧɟ ɩɨɟɡɢʁɟ’, ɚ Ɋɟɦɛɨ ɫɜɨʁɢɦ ɤɨɧɰɟɩɬɨɦ ɭɧɢɜɟɪɡɚɥɧɨɝ ɩɟɫɧɢɱɤɨɝ ʁɟɡɢɤɚ ɢ ɩɨɟɡɢʁɟ ɤɚɨ ɫɢɧɬɟɡɟ ɪɚɡɭɦɚ ɢ ɢɧɬɭɢɰɢʁɟ, ɪɟɚɥɧɨɫɬɢ ɢ ɫɜɟɫɬɢ, ɤɨɫɦɢɱɤɨɝ ɢ ʂɭɞɫɤɨɝ, 232 Branko Džakula (ur.), Francuska književnost, ɧɚɜ. ɞɟɥɨ, 144. 233 ȼɢɞɟɬɢ ɞɟɬɚʂɧɢʁɟ ɭ: Réne Ghil, Traité du Verbe (Paris: Chez Giraud, 1886), 5‒7. 234 ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ...”, ɧɚɜ. ɞɟɥɨ, 84. { 122 } ɬɟ ɫɯɜɚɬɚʃɟɦ ɞɚ ɭɦɟɬɧɢɱɤɨ ɫɬɜɚɪɚʃɟ ɩɪɟɬɩɨɫɬɚɜʂɚ ɢ ɡɚɯɬɟɜɚ ɫɜɟɭɤɭɩɧɨɫɬ ɱɨɜɟɤɨɜɨɝ ɢɫɤɭɫɬɜɚ ɫɜɭ ɲɢɪɢɧɭ ɫɜɟɬɚ ɢɞɟʁɚ ɢ ʃɢɯɨɜɟ ɠɢɜɨɬɧɟ ɨɛʁɟɤɬɢɜɚɰɢʁɟ ɤɚɨ ɫɜɨʁ ɢɡɜɨɪ ɢ ɫɜɨʁ ɨɫɥɨɧɚɰ, ɛɥɢɫɤɢ ɫɭ ɨɧɨɦ Ⱦɢɮɪɟɧɨɜɨɦ ɫɬɚɜɭ ɤɨʁɢ ɤɚɠɟ ɞɚ ɩɨɟɡɢʁɚ ɭ ɢɡɜɟɫɧɨɦ ɫɬɟɩɟɧɭ ɦɨɠɟ ɪɚɡɪɟɲɢɬɢ ɢ ɩɪɟɜɚɡɢʄɢ ɫɭɩɪɨɬɧɨɫɬɢ, ɞɚ ɦɨɠɟ ɤɪɢɫɬɚɥɢɫɚɬɢ ɢ ɨɛʁɟɞɢɧɢɬɢ ɨɧɨ ɲɬɨ ɠɢɜɨɬ ɧɟ ɦɨɠɟ ɞɚ ɨɞɪɠɢ ɧɚ ɨɤɭɩɭ, ɢ ɧɚ ɬɚʁ ɧɚɱɢɧ ɩɪɟɤɨɪɚɱɢɬɢ ɞɨɦɟɧ ɟɫɬɟɬɫɤɢɯ ɡɚɯɬɟɜɚ. ɉɨɟɡɢʁɚ, ɤɚɨ ɢ ɦɭɡɢɤɚ, ɜɟɪɭʁɟ Ⱦɢɮɪɟɧ, ɡɚɩɪɚɜɨ, ɭɤɚɡɭʁɭ ɧɚ ɨɧɚ ɦɟɫɬɚ „ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ ɱɨɜɟɤɚ ɢ ɫɜɟɬɚ ɤɨʁɚ ɫɟ ʁɟɞɢɧɨ ɢ ɨɬɤɪɢɜɚʁɭ ɭ ɩɟɪɰɩɟɬɢɜɧɨɦ ɫɚɡɧɚʃɭ ɫɬɜɚɪɢ ɭ/ɢɡ ɩɨʂɭ/ɚ ɭɦɟɬɧɨɫɬɢ.235 235 ɍɩɨɪɟɞɢɬɢ ɫɚ: Mikel Difren, Oko i…, ɧɚɜ. ɞɟɥɨ, 5, 21. { 123 } ...ɂɡɦɟђɭ ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɩɨɡɨɪɢɲɬɚ ɢ ɫɬɜɚɪɚɥɚɲɬɜɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ Ʉɪɚʁɟɦ 19. ɜɟɤɚ ʁɚɜʂɚ ɫɟ ɩɨɤɭɲɚʁ ɫɬɜɚɪɚʃɚ ɧɨɜɨɝ ɩɨɡɨɪɢɲɬɚ, ɩɨɡɨɪɢɲɬɚ ɤɨʁɟ ʁɟ ɬɪɟɛɚɥɨ ɞɚ ɛɭɞɟ ɡɚɫɧɨɜɚɧɨ ɧɚ ɩɨɬɩɭɧɨ ɞɪɭɝɚɱɢʁɢɦ ɨɫɧɨɜɚɦɚ ɢ ɫɪɟɞɫɬɜɢɦɚ ɢɡɪɚɠɚɜɚʃɚ ɧɟɝɨ ɲɬɨ ʁɟ ɬɨ ɛɢɨ ɫɥɭɱɚʁ ɫɚ ɧɚɬɭɪɚɥɢɫɬɢɱɤɢɦ.236 Ɍɚʁ ɚɦɛɢɰɢɨɡɧɢ ɩɨɤɭɲɚʁ ɫɬɜɚɪɚʃɚ ʁɟɞɧɟ ɧɨɜɟ ɭɦɟɬɧɨɫɬɢ ɩɪɟɞɫɬɚɜʂɚʃɚ ɩɪɨɢɡɚɲɚɨ ʁɟ ɢɡ ɟɫɬɟɬɢɤɟ ɩɟɫɧɢɱɤɨɝ ɫɢɦɛɨɥɢɡɦɚ, ɬɨ ʁɟɫɬ ɢɡ ɢɞɟʁɟ ʃɟɝɨɜɢɯ ɩɪɟɞɫɬɚɜɧɢɤɚ ɨ ɫɬɜɚɪɚʃɭ ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɩɨɡɨɪɢɲɬɚ ɤɚɨ ɫɢɧɬɟɡɟ ɩɨɡɨɪɢɲɬɚ ɢ ɩɨɟɡɢʁɟ ɤɨʁɟ ɛɢ ɬɪɟɛɚɥɨ ɞɚ ɢɡɚ ɧɚɬɭɪɚɥɢɫɬɢɱɤɟ ɩɪɢɜɢɞɧɟ ɫɬɜɚɪɧɨɫɬɢ ɠɢɜɨɬɚ ɨɬɤɪɢʁɟ ʃɟɝɨɜɭ ɩɪɚɜɭ ɫɭɲɬɢɧɭ, ʃɟɝɨɜɟ ɞɭɛɨɤɨ ɫɚɤɪɢɜɟɧɟ ɬɚʁɧɟ – ɧɟɩɨɡɧɚɬɟ ɫɢɥɟ ɤɨʁɟ ɭɩɪɚɜʂɚʁɭ ɫɭɞɛɢɧɨɦ. Ɍɭ ɭɫɩɟɲɧɨ ɨɫɬɜɚɪɟɧɭ ɫɢɧɬɟɡɭ, ɩɟɫɧɢɰɢ ɩɨɩɭɬ ɀɟɪɚɪɚ ɞɟ ɇɟɪɜɚɥɚ (Gérard de Nerval), ɒɚɪɥɚ Ȼɨɞɥɟɪɚ, ɢ ɩɚɪɢɫɤɢɯ ɫɢɦɛɨɥɢɫɬɚ ɨɤɭɩʂɟɧɢɯ ɨɤɨ ɋɬɟɮɚɧɚ Ɇɚɥɚɪɦɟɚ – ɧɚ ɩɪɢɦɟɪ, ȼɢɥɢʁɟ ɞɟ Ʌɢɥ Ⱥɞɚɦ (Villiers de l’Isle Adam) ɢ ȿɞɭɚɪ Ⱦɢɠɚɪɞɟɧ (Eduard Dujardin), ɨɬɤɪɢɥɢ ɫɭ ɭ ȼɚɝɧɟɪɨɜɨʁ ɦɭɡɢɱɤɨʁ ɞɪɚɦɢ ɢ ʃɟɝɨɜɨʁ ɢɞɟʁɢ Gesamkunstwerke-a. ɇɚɢɦɟ, ɢ ɫɚɦ ȼɚɝɧɟɪ ɧɨɲɟɧ ɚɦɛɢɰɢʁɨɦ ɨ ɫɬɜɚɪɚʃɭ ɩɨɡɨɪɢɲɬɚ ɤɨʁɟ ɛɢ ɭ ʁɚɜɧɨɦ ɠɢɜɨɬɭ ɢɦɚɥɨ 236 ɇɚɬɭɪɚɥɢɫɬɢɱɤɨ ɩɨɡɨɪɢɲɬɟ ɫɟ ʁɚɜʂɚ ɭ Ɏɪɚɧɰɭɫɤɨʁ ɫɟɞɚɦɞɟɫɟɬɢɯ ɝɨɞɢɧɚ 19. ɜɟɤɚ, ɚ ɧɨɫɢ ɢɦɟɧɚ ȿɞɦɨɧɞɚ ɢ ɀɢɥɚ Ƚɨɧɤɭɪɚ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɢ ȿɦɢɥɚ Ɂɨɥɟ, ɫ ɞɪɭɝɟ. ɂɚɤɨ ɫɭ ɫɜɚ ɬɪɨʁɢɰɚ ɤʃɢɠɟɜɧɢɤɚ ɡɚɫɬɭɩɚɥɢ ɫɬɚɜ ɞɚ ʁɟ ʁɟɞɢɧɚ ɩɪɚɜɚ ɩɨɡɨɪɢɲɧɚ ɭɦɟɬɧɨɫɬ ʁɟɫɬɟ ɨɧɚ ɤɨʁɚ ɝɨɜɨɪɢ ɢɫɬɢɧɭ, ɢɩɚɤ ɫɭ ɫɟ ʃɢɯɨɜɢ ɩɪɢɫɬɭɩɢ ɢ ɪɟɚɥɢɡɚɰɢʁɟ ɬɨɝ ɢɫɬɢɧɫɤɨɝ ɩɨɡɨɪɢɲɬɚ ɪɚɡɥɢɤɨɜɚɥɢ. Ȼɪɚʄɚ Ƚɨɧɤɭɪ ɫɭ, ɩɪɟ ɫɜɟɝɚ, ɧɚɫɬɨʁɚɥɚ ɞɚ ɩɪɟɦɨɫɬɟ ʁɚɡ ɢɡɦɟђɭ ɩɨɡɨɪɢɲɬɚ ɢ ɤʃɢɠɟɜɧɨɫɬɢ ɬɪɚɠɟʃɟɦ ɚɞɟɤɜɚɬɧɨɝ ɩɨɡɨɪɢɲɧɨɝ ɝɨɜɨɪɚ, ɤɨʁɢ ʁɟ ɭ ɢɫɬɨ ɜɪɟɦɟ ɢ ɤʃɢɠɟɜɧɢ ɢ ɫɰɟɧɫɤɢ. Ɇɟђɭɬɢɦ, ɭ ɬɨɦ ɬɪɚɠɟʃɭ, ɨɧɢ ɫɭ ɡɚɧɟɦɚɪɢɥɢ ɫɩɟɰɢɮɢɱɧɨɫɬɢ ɢɡɝɪɚɞʃɟ ɤɨʁɟ ɞɪɚɦɫɤɨ ɞɟɥɨ ‘ɡɚɯɬɟɜɚ’, ɲɬɨ ʁɟ ɪɟɡɭɥɬɢɪɚɥɨ ɬɢɦɟ ɞɚ ʃɢɯɨɜɚ ɨɫɬɜɚɪɟʃɚ ɛɭɞɭ ɫɜɟɞɟɧɚ ɧɚ ɥɚɛɚɜɨ ɩɨɜɟɡɚɧɟ ɫɥɢɤɟ ɚɤɬɭɟɥɧɢɯ ɨɛɢɱɚʁɚ ɢɥɢ ɫɥɢɤɟ ɮɪɚɧɰɭɫɤɟ ɪɟɜɨɥɭɰɢʁɟ. Ɉ ɬɨɦɟ, ɫɦɚɬɪɚ ɤɪɢɬɢɤɚ, ɫɜɟɞɨɱɟ ɞɟɥɚ ɩɨɩɭɬ Ⱥɧɪɢʁɟɬ Ɇɚɪɟɲɚɥ (Henriette Maréchal, 1865) ɢ Ⱦɨɦɨɜɢɧɚ ɭ ɨɩɚɫɧɨɫɬɢ (La Patrie en danger, 1889). ɂɞɟʁɚ ɨ ɧɚɬɭɪɚɥɢɫɬɢɱɤɨɦ ɩɨɡɨɪɢɲɬɭ ɩɪɨɧɚɲɥɚ ʁɟ ɫɜɨɝ ɧɚʁɭɩɨɪɧɢʁɟɝ ɡɚɫɬɭɩɧɢɤɚ ɭ ȿɦɢɥɭ Ɂɨɥɢ. ɍɜɟɪɟɧ ɞɚ ʄɟ ɧɚɤɨɧ ɪɨɦɚɧɚ ɧɚɬɭɪɚɥɢɡɚɦ ɩɪɨɞɪɟɬɢ ɢ ɭ ɩɨɡɨɪɢɲɬɟ, Ɂɨɥɚ ɫɟ ɭ ɫɜɨʁɢɦ ɩɨɥɟɦɢɱɤɢɦ ɬɟɤɫɬɨɜɢɦɚ, ɫɚɤɭɩʂɧɢɦ ɭ ɞɜɟ ɡɛɢɪɤɟ ‒ ɇɚɬɭɪɚɥɢɡɚɦ ɭ ɩɨɡɨɪɢɲɬɭ (Le Naturalisme au theater, 1881) ɢ ɇɚɲɢ ɞɪɚɦɫɤɢ ɚɭɬɨɪɢ (Nos auteurs dramatiques, 1881) ‒ ɬɟɦɩɟɪɚɦɟɧɬɧɨ ɡɚɥɚɝɨ ɡɚ ɫɬɜɚɪɚʃɟ ɧɚɬɭɪɚɥɢɫɬɢɱɤɟ ɞɪɚɦɟ. ɋɦɚɬɪɚɨ ʁɟ ɞɚ ʄɟ ɟɤɫɩɟɪɢɦɟɧɬɚɥɧɢ ɢ ɧɚɭɱɧɢ ɞɭɯ ɜɪɟɦɟɧɚ ɨɫɜɨʁɢɬɢ ɢ ɩɨɡɨɪɢɲɬɟ, ɬɟ ɞɚ ʄɟ ɬɨ ɭʁɟɞɧɨ ɩɪɟɞɫɬɚɜʂɚɬɢ ɢ ɤɨɧɚɱɧɭ, ɞɚɜɧɨ ɠɟʂɟɧɭ, ɨɛɧɨɜɭ ɫɰɟɧɟ. ɂɚɤɨ ʁɟ ɜɟɪɨɜɚɨ ɞɚ ʁɟ ɩɨɫɬɭɩɤɟ ɧɚɬɭɪɚɥɢɫɬɢɱɤɨɝ ɪɨɦɚɧɚ ɦɨɝɭʄɟ ɩɪɢɦɟɧɢɬɢ ɢ ɧɚ ɩɨɡɨɪɧɢɰɢ, ɬɨ ɢɩɚɤ ɧɢʁɟ ɞɨɩɪɢɧɟɥɨ ɫɬɜɚɪɚʃɭ ɧɚɬɭɪɚɥɢɫɬɢɱɤɟ ɞɪɚɦɟ. Ɉɧɨ ɞɨ ɱɟɝɚ ʁɟ ɞɨɲɥɨ, ɤɚɨ ɪɟɡɭɥɬɚɬ ɬɚɤɜɟ Ɂɨɥɢɧɟ ɡɚɦɢɫɥɢ, ʁɟɫɬɟ ɩɭɤɚ ɚɞɚɩɬɚɰɢʁɚ ʃɟɝɨɜɢɯ ɪɨɦɚɧɚ ȳɚɡɛɢɧɚ (l’Assomoir, 1879) ɤɨʁɚ ʁɟ ɞɨɠɢɜɟɥɚ ɜɟɥɢɤɢ ɭɫɩɟɯ ɢ ɀɟɪɦɢɧɚɥ (Germinal, 1888) ɤɨʁɢ ʁɟ ɨɡɧɚɱɢɨ ɤɪɚʁ Ɂɨɥɢɧɨɝ ɢɧɬɟɧɡɢɜɧɨɝ ɛɚɜʂɟʃɚ ɩɨɡɨɪɢɲɬɟɦ, ɚɥɢ ɢ ɧɚɝɨɜɟɫɬɢɨ ɤɪɚʁ ɧɚɬɭɪɚɥɢɡɦɚ ɭ ɩɨɡɨɪɢɲɬɭ. Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Branko Džakula, „Pozorište krajem devetnaestog veka”, u: Branko Džakula (ur.), Francuska književnost..., ɧɚɜ. ɞɟɥɨ, 121‒126. { 124 } ɮɭɧɤɰɢʁɭ ɭɡɜɢɲɟɧɟ ɫɜɟɱɚɧɨɫɬɢ, ɤɚɨ ɲɬɨ ʁɟ ɬɨ ɛɢɥɨ ɩɨɡɨɪɢɲɬɟ ɭ Ⱥɧɬɢɱɤɨʁ Ƚɪɱɤɨʁ, ɧɚɫɬɨʁɚɨ ʁɟ ɞɚ ɬɨ ɩɨɡɨɪɢɲɬɟ ɨɫɬɜɚɪɢ ɫɢɧɬɟɡɨɦ ɦɭɡɢɤɟ ɢ ɩɨɟɡɢʁɟ; ɞɚɤɥɟ, ɬɪɟɛɚɥɨ ʁɟ ɞɚ ɫɟ ɤɪɨɡ ɭɨɞɧɨɲɚɜɚʃɟ ɢ ɦɟђɭɫɨɛɧɨ ɤɨɦɩɥɟɦɟɧɬɢɪɚʃɟ ɦɭɡɢɤɟ ɢ ɩɨɟɡɢʁɟ ɨɫɬɜɚɪɢ ʁɟɞɚɧ ɫɧɚɠɚɧ ɢ ɧɟɢɡɛɪɢɫɢɜ ɞɨɠɢɜʂɚʁ. ɇɨ, ȼɚɝɧɟɪɨɜɟ ɢɞɟʁɟ ɨ ʁɚɜɧɢɦ ɩɨɡɨɪɢɲɧɢɦ ɫɜɟɱɚɧɨɫɬɢɦɚ ɢ Gesamkunstwerke-ɭ ɛɢɥɟ ɫɭ ɫɥɚɛɨ ɩɪɢɯɜɚʄɟɧɚ ɨɞ ɫɬɪɚɧɟ ɮɪɚɧɰɭɫɤɢɯ ɤɨɦɩɨɡɢɬɨɪɚ ɬɨɝ ɩɟɪɢɨɞɚ ɢ ɫɚɦɟ ɩɭɛɥɢɤɟ, ɚɥɢ ɫɭ, ɡɚɬɨ, ɦɟђɭ ɩɟɫɧɢɰɢɦɚ ɫɢɦɛɨɥɢɫɬɢɦɚ ɧɚɢɲɥɟ ɧɚ ɝɨɬɨɜɨ ɨɫɬɪɚɲʄɟɧɢ ɩɪɢʁɟɦ. ɉɨɜɨɞɨɦ ‘ɨɬɤɪɢʄɚ’ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɤɟ ɢ ʃɟɝɨɜɢɯ ɢɞɟʁɚ, Ⱦɢɠɚɪɞɟɧ ʁɟ ɨɫɧɨɜɚɨ ȼɚɝɧɟɪɢʁɚɧɫɤɭ ɪɟɜɢʁɭ (La Revue wagnérienne, 1885) ɤɨʁɚ ʁɟ ɨɤɭɩʂɚɥɚ ɫɢɦɛɨɥɢɫɬɟ, ɡɚɩɪɚɜɨ, ɧɚʁɜɚɬɪɟɧɢʁɟ ȼɚɝɧɟɪɨɜɟ ɩɪɢɫɬɚɥɢɰɟ. Ɇɟђɭɬɢɦ, ɢ ɩɪɟ ɨɫɧɢɜɚʃɚ ȼɚɝɧɟɪɢʁɚɧɫɤɟ ɪɟɜɢʁɟ, ɩɟɫɧɢɰɢ ɩɨɩɭɬ ɀɟɪɚɪɚ ɞɟ ɇɟɪɜɚɥɚ ɢ ɒɚɪɥɚ Ȼɨɞɥɟɪɚ ɫɭ ɪɟɡɨɧɢɪɚɥɢ ɫɚ ɩɨɦɟɧɭɬɢɦ ȼɚɝɧɟɪɨɜɢɦ ɢɞɟʁɚɦɚ. ɇɚɢɦɟ, ɩɪɨɧɚɲɚɜɲɢ ɭ ȼɚɝɧɟɪɨɜɢɦ ɥɚʁɬɦɨɬɢɜɢɦɚ ɫɢɦɛɨɥɢɫɬɢɱɤɢ ɢɡɪɚɡ ɦɟɬɚɮɢɡɢɱɤɢɯ ɬɟɠʃɢ ɱɨɜɟɤɚ, Ȼɨɞɥɟɪ ʁɟ ɮɨɪɦɭɥɢɫɚɨ ɢɞɟʁɭ ɨ „ɫɚɝɥɚɫʁɢɦɚ” ɭɦɟɬɧɨɫɬɢ ɤɨʁɚ ɫɟ ɢɫɤɪɢɫɬɚɥɢɫɚɥɚ ɤɚɨ ɪɟɡɭɥɬɚɬ ɢɦɩɪɟɫɢʁɟ ɧɚɤɨɧ ɫɥɭɲɚʃɚ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɤɟ. Ɉ ɭɥɨɡɢ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɤɟ, ɢ ʃɟɧɨʁ ɪɟɰɟɩɰɢʁɢ ɭ ɮɪɚɧɰɭɫɤɨɦ ɫɜɟɬɭ ɭɦɟɬɧɨɫɬɢ ɫɜɟɞɨɱɟ ɛɪɨʁɧɢ ɬɟɤɫɬɨɜɢ ɨɛʁɚɜʂɟɧɢ ɭ ȼɚɝɧɟɪɢʁɚɧɫɤɨʁ ɪɟɜɢʁɢ, ɚɥɢ ɢ ɩɨʁɟɞɢɧɚ ɩɢɫɦɢɦɚ ɩɟɫɧɢɤɚ, ɤɚɨ ɲɬɨ ʁɟ ɧɚ ɩɪɢɦɟɪ ɨɧɨ ɤɨʁɟ ʁɟ Ȼɨɞɥɟɪ ‘ɭɩɭɬɢɨ’ ȼɚɝɧɟɪɭ ɩɨɜɨɞɨɦ ɢɡɜɨђɟʃɚ ʃɟɝɨɜɨɝ ɨɩɟɪɫɤɨɝ ɨɫɬɜɚɪɟʃɚ Ɍɚɧɯɨʁɡɟɪ ɭ ɉɚɪɢɡɭ. Ɋɟɱ ʁɟ, ɧɚɢɦɟ, ɨ ɩɢɫɦɭ/ɟɫɟʁɭ ɩɨɞ ɧɚɡɢɜɨɦ „Ɋɢɯɚɪɞ ȼɚɝɧɟɪ ɢ Ɍɚɧɯɨʁɡɟɪ ɭ ɉɚɪɢɡɭ” ɢɡ 1861. ɝɨɞɢɧɟ, ɤɨʁɢ ɫɟ, ɩɪɟɦɚ ɦɢɲʂɟʃɭ Ɍɢʁɚɧɟ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ɦɨɠɟ ɡɚɩɪɚɜɨ ɫɦɚɬɪɚɬɢ „ʁɟɞɢɧɢɦ ɤɪɢɬɢɱɤɢɦ ɬɟɤɫɬɨɦ ɩɨɫɜɟʄɟɧɨɦ ɦɭɡɢɰɢ”237. ɍ ʃɟɦɭ Ȼɨɞɥɟɪ ɩɢɲɟ ɨ „ɡɚɜɨɞʂɢɜɨʁ ɫɩɨɫɨɛɧɨɫɬɢ ɦɭɡɢɤɟ ɞɚ ɫɥɭɲɚɨɰɚ ɭ ɩɨɫɬɩɭɧɨɫɬɢ ɨɛɚɜɢʁɟ ɢ ɩɪɨɠɦɟ, ɚɥɢ ɢ ɨ ɧɟɫɩɨɪɚɡɭɦɢɦɚ ɢ ɩɪɟɞɪɚɫɭɞɚɦɚ ɭ ɜɟɡɢ ɫɚ ȼɚɝɧɟɪɨɦ ɢ ʃɟɝɨɜɨɦ ɦɭɡɢɤɨɦ ɤɨʁɢ ɫɭ ɨɦɟɬɚɥɢ ɤɪɢɬɢɱɤɭ ɪɟɰɟɩɰɢʁɭ ɨɜɨɝ ɤɨɦɩɨɡɢɬɨɪɚ ɭ Ɏɪɚɧɰɭɫɤɨʁ”.238 Ɍɚɤɨђɟ, ɢɡ Ȼɨɞɥɟɪɨɜɨɝ ɩɢɫɦɚ ɢɡɞɜɚʁɚ ɫɟ ɧɟɤɨɥɢɤɨ ɫɟɝɦɟɧɚɬɚ ɤɨʁɢ ɜɪɥɨ ɪɟɱɢɬɨ ɝɨɜɨɪɟ ɨ ɭɬɢɰɚʁɭ ȼɚɝɧɟɪɚ ɧɚ ɩɨɟɬɢɤɭ ɩɟɫɧɢɤɚ, ɚ ɧɚɪɨɱɢɬɨ ɧɚ ɫɬɜɚɪɚʃɟ ʃɟɝɨɜɟ ɬɟɨɪɢʁɟ ɫɚɝɥɚɫʁɚ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ: 237 ȼɢɞɟɬɢ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ...”, ɧɚɜ. ɞɟɥɨ, 82‒83. 238 ɂɫɬɨ, 82. { 125 } „Ⱦɚ ɥɢ ʁɟ ɦɟɧɢ ɫɚɦɨɦ ɞɨɡɜɨʂɟɧɨ ɞɚ ɩɪɟɩɪɢɱɚɦ, ɞɚ ɪɟɱɢɦɚ ɧɟɢɡɛɟɠɧɨɝ ɩɪɟɜɨђɟʃɚ ɨɩɢɲɟɦ ɨɧɨ ɲɬɨ ʁɟ ɦɨʁɚ ɢɦɚɝɢɧɚɰɢʁɚ ɩɪɨɢɡɜɟɥɚ ɨɞ ɤɚɞɚ ɫɚɦ ɬɚʁ ɤɨɦɚɞ ɩɪɜɢ ɩɭɬ ɫɥɭɲɚɨ ɡɚɬɜɨɪɟɧɢɯ ɨɱɢʁɭ ɢ ɤɚɞɚ ɫɚɦ ɫɟ, ɦɨɝɥɨ ɛɢ ɫɟ ɪɟʄɢ, ɨɫɟɬɢɨ ɩɨɞɢɝɧɭɬɢɦ ɫɚ ɡɟɦʂɟ? (...) ɨɧɨ ɲɬɨ ɛɢ ɡɚɢɫɬɚ ɛɢɥɨ ɢɡɧɟɧɚђɭʁɭʄɟ, ɛɢɥɨ ɛɢ ɬɨ ɞɚ ɡɜɭɤ ɧɟ ɦɨɠɟ ɞɚ ɫɭɝɟɪɢɪɚ ɛɨʁɭ, ɞɚ ɛɨʁɟ ɧɟ ɦɨɝɭ ɞɚ ɩɪɟɞɫɬɚɜɟ ɢɞɟʁɭ ʁɟɞɧɟ ɦɟɥɨɞɢʁɟ, ɤɚɨ ɢ ɞɚ ɡɜɭɤ ɢ ɛɨʁɚ ɧɢɫɭ ɭ ɫɬɚʃɭ ɞɚ ɩɪɟɜɨɞɟ ɢɞɟʁɟ; ɫɬɜɚɪɢ ɫɭ ɫɟ ɨɞɭɜɟɤ ɢɡɪɚɠɚɜɚɥɟ ɩɭɬɟɦ ɪɟɰɢɩɪɨɱɧɟ ɚɧɚɥɨɝɢʁɟ.”239 Ȼɨɞɥɟɪɨɜɚ ɩɟɫɦɚ ɋɚɝɥɚɫʁɚ, ɤɨʁɚ ɫɟ ɤɚɨ ɦɨɝɭʄɢ ɩɪɟɜɨɞ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɤɟ ɧɚɲɥɚ ɨɛʁɚɜʂɟɧɚ ɭ ɨɤɜɢɪɭ ɩɨɦɟɧɭɬɨɝ ɟɫɟʁɚ/ɩɟɫɦɟ, ɨɫɢɦ ɲɬɨ ɩɪɟɞɫɬɚɜʂɚ ɩɟɫɧɢɤɨɜɭ ɬɟɨɪɢʁɭ ɫɢɧɟɫɬɟɡɢʁɚ ɢ ɭɧɢɜɟɪɡɚɥɧɟ ɚɧɚɥɨɝɢʁɟ (ɨ ɱɟɦɭ ʁɟ ɜɟʄ ɛɢɥɨ ɪɟɱɢ), ʁɟɫɬɟ ɢ ɫɜɟɞɨɱɚɧɫɬɜɨ ɩɟɫɧɢɤɨɜɨɝ ɭɜɟɪɟʃɚ ɨ ɬɨɦɟ „ɤɨɥɢɤɨ [ɡɚɩɪɚɜɨ] ɩɨɟɡɢʁɚ ɞɭɝɭʁɟ ɦɭɡɢɰɢ ɢ [ɤɨɥɢɤɨ] ɭ ɩɪɨɡɢ ɧɚɝɨɜɟɲɬɚɜɚ ‘ɜɚɝɧɟɪɨɜɫɤɢ ɪɨɦɚɧ’”240. Ɉɫɢɦ ɬɨɝɚ, ɭ ɩɨɦɟɧɭɬɨɦ ɟɫɟʁɭ Ȼɨɞɥɟɪ ɫɟ ɬɪɭɞɢ ɞɚ, ɤɚɤɨ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ ɩɪɢɦɟʄɭʁɟ, ɭɤɢɧɟ ɝɪɚɧɢɰɟ ɢɡɦɟђɭ „ɱɢɬɚʃɚ ɢ ɩɢɫɚʃɚ ɨ ȼɚɝɧɟɪɨɜɨʁ ɦɭɡɢɰɢ ɢ ɫɥɭɲɚʃɚ ɬɟ ɢɫɬɟ ɦɭɡɢɤɟ.241 „ɇɟɩɪɟɤɢɞɧɨ ɢɡɛɟɝɚɜɚʁɭʄɢ ɛɢɥɨ ɤɚɤɜɟ ɩɪɟɞɢɤɰɢʁɟ ɢ ɤɥɚɫɢɮɢɤɚɰɢʁɟ, ɚɭɬɨɪ ɩɨɜɟɡɭʁɟ ɪɚɡɭɦɟɜɚʃɟ ɦɭɡɢɤɟ, ɤɨɧɤɪɟɬɧɭ ɢɥɢ ɩɪɨɫɬɨɪɧɭ ɞɢɫɨɧɚɧɰɭ, ɤɚɨ ɢ ɚɩɫɬɪɚɤɬɧɭ ɢɥɢ ɤɨɧɰɟɩɬɭɚɥɧɭ ɞɢɫɨɧɚɧɰɭ ɢɡɦɟђɭ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɨɫɬɢ.”242 Ɉɜɨ ɫɟ ɢɫɩɨɫɬɚɜʂɚ ɤɚɨ ʁɟɞɧɨ ɜɟɨɦɚ ɢɧɬɟɪɟɫɧɬɧɨ ɦɟɫɬɨ ɭ ɬɟɤɫɬɭ, ɛɭɞɭʄɢ ɞɚ ʄɟ ɢɞɟʁɚ ɨ ɠɚɧɪɨɜɫɤɢɦ/ɭɦɟɬɧɢɱɤɢɦ/ ɞɢɫɰɢɩɥɢɧɚɪɧɢɦ ɢɧɬɟɪɚɤɰɢʁɚɦɚ ɛɢɬɢ, ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɭɤɚɡɚɧɨ, ɞɨɦɢɧɚɧɬɧɚ ɬɟɦɚ ɩɪɨɦɢɲʂɚʃɚ ɭ ɫɬɜɚɪɚɥɚɲɬɜɭ ɩɟɫɧɢɤɚ, ɚɥɢ ɢ ɛɪɨʁɧɢɯ ɞɪɭɝɢɯ ɭɦɟɬɧɢɤɚ ɧɚ ɤɪɚʁɭ 19. ɜɟɤɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, Ȼɨɞɥɟɪ ʁɟ ɠɟɥɟɨ „ɞɚ ɫɜɨʁ ɬɟɤɫɬ ɨ ȼɚɝɧɟɪɨɜɨʁ ɦɭɡɢɰɢ ɧɚɩɢɲɟ ɬɚɤɨ ɞɚ ʃɢɯ ɞɜɨʁɢɰɚ ɦɨɝɭ ɡɚʁɟɞɧɢɱɤɢ ɞɚ ɫɟ ɭɩɭɬɟ ɭ ɨɧɟ ɟɫɬɟɬɫɤɟ ɩɟʁɡɚɠɟ ɤɨʁɢ ʄɟ ɢɦ ɜɢɲɟ ɩɪɭɠɢɬɢ ɭɬɨɱɢɲɬɟ ɧɟɝɨ ɲɬɨ ʄɟ ɢɯ ɪɚɡɞɜɨʁɢɬɢ.”243 Ⱥ ɭɩɪɚɜɨ ʄɟ ɬɚ Ȼɨɞɥɟɪɨɜɚ ɠɟʂɚ, ɚ ɢ ɫɚɦ ɟɫɟʁ ɞɨɩɪɢɧɟɬɢ ɭɡɞɢɡɚʃɭ ȼɚɝɧɟɪɚ ɢ ɩɨɞɫɬɢɰɚʃɭ ɤɭɥɬɚ ɜɚɝɧɟɪɢɡɦɚ ɤɨʁɢ ʄɟ ɭ ɧɚɪɟɞɧɢɦ ɝɨɞɢɧɚɦɚ ɢ ɞɟɰɟɧɢʁɚɦɚ ɡɚɩʂɭɫɧɭɬɢ ȿɜɪɨɩɭ.244 239 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: ɢɫɬɨ, 82. 240 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 83. 241 ɂɫɬɨ. 242 ɂɫɬɨ. 243 ɂɫɬɨ. 244 ɍ ɬɨɦ ɫɦɢɫɥɭ, ɩɪɢɫɬɚɥɢɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɤɟ ɢ ʃɟɝɨɜɟ ɢɞɟʁɟ ɨ ɬɨɬɚɥɧɨɦ ɭɦɟɬɧɢɱɤɨɦ ɞɟɥɭ ɫɭ, ɨɫɢɦ ɨɞɥɚɫɤɚ ɧɚ ɯɨɞɨɱɚɲʄɚ ɧɚ Ȼɚʁɪɨʁɬɫɤɟ ɫɜɟɱɚɧɨɫɬɢ, ɬɟɠɢɥɢ ɢ ɤɚ ɭɫɩɨɫɬɚɜʂɚʃɭ ɥɢɱɧɨɝ ɤɨɧɬɚɤɬɚ ɫɚ { 126 } Ɇɟђɭɬɢɦ, ȼɚɝɧɟɪɨɜɚ ɤɨɧɬɪɨɜɟɪɡɧɚ ɬɟɨɪɢʁɚ Gesamkunstwerk-ɚ, ɫɚɫɜɢɦ ɩɪɢɪɨɞɧɨ, ɩɨɞɫɬɚɤɥɚ ʁɟ ɭ ɞɪɭɝɨʁ ɩɨɥɨɜɢɧɢ ɞɟɜɟɬɧɚɟɫɬɨɝ ɜɟɤɚ ɭ Ɏɪɚɧɰɭɫɤɨʁ ɢ ʁɟɞɧɭ ɞɪɭɝɚɱɢʁɟ ɨɛɨʁɟɧɭ ɪɟɚɤɰɢʁɭ. Ɋɟɱ ʁɟ ɨ ɫɜɨʁɟɜɪɫɧɨʁ, ɞɨɧɟɤɥɟ ɧɟɥɚɝɨɞɧɨʁ, ɨɞɛɪɚɦɛɟɧɨʁ ɪɟɚɤɰɢʁɢ ɭ ɧɟɤɢɦ ɨɞ ɤɪɭɝɨɜɚ ɫɢɦɛɨɥɢɫɬɚ, ɚ ɬɚ ɨɞɛɪɚɧɚ ʁɟ ɛɢɥɚ ɮɨɪɦɭɥɢɫɚɧɚ ɤɚɨ ɧɚɫɬɚʁɨʃɟ ɞɚ ɫɟ ɩɨɜɪɚɬɢ ɦɨʄ ʁɟɡɢɤɚ ɤɚɨ ɜɪɯɭɧɫɤɨɝ ɢɡɪɚɠɚʁɧɨɝ ɦɟɞɢʁɚ ɤɨʁɢ ‒ ɤɚɤɨ ɫɭ, ɧɚ ɩɪɢɦɟɪ, ɫɦɚɬɪɚɥɢ ɀɨɪɢɫ-Ʉɚɪɥ ɍɢɫɦɚɧɫ (Joris-Karl Huysmans), Ɋɟɧɟ Ƚɢɥ ɢɥɢ, ɩɚɤ, ɋɬʁɭɚɪɬ Ɇɟɪɢɥ (Stuart Merrill) ‒ ɩɨ ɫɧɚɡɢ ʁɟɞɢɧɨ ɦɨɠɟ ɞɚ ɫɟ ɧɚɞɦɟʄɟ ɫɚ ɦɭɡɢɤɨɦ.245 ɇɚ ɥɢɧɢʁɢ ɨɜɚɤɜɟ ɪɟɚɤɰɢʁɟ ɧɚɲɚɨ ɫɟ ɢ ɋɬɟɮɚɧ Ɇɚɥɚɪɦɟ ɫɚ ɫɜɨʁɢɦ ɩɪɨɡɧɢɦ ɞɟɥɨɦ Ɋɢɯɚɪɞ ȼɚɝɧɟɪ. ɋɚʃɚɪɟʃɟ ʁɟɞɧɨɝ ɮɪɚɧɰɭɫɤɨɝ ɩɟɫɧɢɤɚ (Richard Wagner. Rêverie d’un poète français, 1885),246 ɭ ɤɨʁɟɦ ɬɨɧɨɦ ɩɭɧɢɦ ɞɢɜʂɟʃɚ, ɢɩɚɤ, ɨɩɬɭɠɭʁɟ ȼɚɝɧɟɪɚ ɡɚ ɩɨʁɟɞɧɨɫɬɚɜʂɟɧɭ ʁɭɤɫɬɚɩɨɡɢɰɢʁɭ ɞɜɟʁɭ ɜɪɫɬɚ ɭɦɟɬɧɨɫɬɢ. Ɍɚʁ ɬɨɧ ɢɫɩɭʃɟɧ ɞɢɜʂɟʃɟɦ ɫɟ ɢɲɱɢɬɚɜɚ ɭ ɨɧɢɦ ɪɟɞɨɜɢɦɚ ɭ ɤɨʁɢɦɚ Ɇɚɥɚɪɦɟ ɢɫɬɢɱɟ ɞɚ ʁɟ ȼɚɝɧɟɪ ɧɚ ʁɟɞɚɧ ɢɡɭɡɟɬɧɨ ɤɪɟɚɬɢɜɚɧ ɧɚɱɢɧ ɩɨɜɟɡɚɨ le drame personnel et la musique idéale, ɨɩɪɟɞɟɥɢɜɲɢ ɫɟ, ɩɪɢ ɬɨɦ, ɡɚ ʁɟɞɧɭ ɬɚɤɨ ɩɨɩɭɥɚɪɧɭ ɮɨɪɦɭɥɭ. Ɇɟђɭɬɢɦ, ɭ ɤɨɧɬɟɤɫɬɭ ɢɡɚɛɪɚɧɟ ɮɨɪɦɭɥɟ, Ɇɚɥɚɪɦɟ ʁɟ ɫɦɚɬɪɚɨ ɞɚ ʁɟ ȼɚɝɧɟɪɨɜɨ ɩɨɜɟɡɢɜɚʃɟ ɦɭɡɢɤɟ ɫɚ ɞɪɚɦɨɦ ɞɚɥɟɤɨ ɨɞ ɫɬɜɚɪɧɨɝ ɮɢɥɨɡɨɮɫɤɨɝ ‘ɛɪɚɤɚ’.247 Ɉɫɢɦ ɭ ɩɨɦɟɧɭɬɨɦ ɬɟɤɫɬɭ, Ɇɚɥɚɪɦɟ ʁɟ ɨ ȼɚɝɧɟɪɭ ɢ ʃɟɝɨɜɢɦ ɟɫɬɟɬɢɱɤɨ- ɩɨɟɬɢɱɤɢɦ ɫɬɚɜɨɜɢɦɚ ɝɨɜɨɪɢɨ ɢ ɧɚ ɱɭɜɟɧɢɦ „ɭɬɨɪɰɢɦɚ”, ɨɞɧɨɫɧɨ, ɤʃɢɠɟɜɧɢɦ ɜɟɱɟɪɢɦɚ ɤɨʁɟ ɫɭ ɫɟ ɫɜɚɤɨɝ ɭɬɨɪɤɚ ɨɞɪɠɚɜɚɥɟ ɭ ɩɟɫɧɢɤɨɜɨɦ ɫɚɥɨɧɭ. ɉɪɢɥɢɤɨɦ ɬɢɯ ɨɤɭɩʂɚʃɚ ɫɟ ɞɢɫɤɭɬɨɜɚɥɨ ɢ ɩɨɥɟɦɢɫɚɥɨ ɨ ɚɤɬɭɟɥɧɢɦ ɡɛɢɜɚʃɢɦɚ ɭ ɫɜɟɬɭ ɭɦɟɬɧɨɫɬɢ, ɤɨɦɩɨɡɢɬɨɪɨɦ. Ɍɚɤɨ ɫɟ ɤɚɨ ʁɟɞɚɧ ɨɞ ɧɚʁɢɫɬɚɤɧɭɬɢʁɢɯ ‘ɩɨɬɟɡɚ’ ɬɟ ɜɪɫɬɟ ɢɡɞɜɚʁɚʁɭ Ʌɢɥ Ⱥɞɚɦɨɜɚ ɩɭɬɨɜɚʃɚ ɭ Ɍɪɢɛɲɟɧ (1869. ɢ 1870. ɝɨɞɢɧɟ), ɩɨɪɟɞ Ʌɭɰɟɪɧɚ, ɱɢʁɢ ʁɟ ɰɢʂ ɛɢɨ ɫɭɫɪɟɬ ɫɚ ɯɟɪɨʁɟɦ ȼɚɝɧɟɪɨɦ ɢ ɪɚɡɝɨɜɨɪ ɨ ɦɚɧɭɫɤɪɢɩɬɭ ɤɨɦɚɞɚ ɉɨɛɭɧɚ (La Révolte, 1868‒1869). Ɍɚɤɨђɟ, ʁɟɞɚɧ ɨɞ ɡɧɚɱɚʁɧɢɯ ‘ɩɨɬɟɡɚ’ ɭ ɱɚɫɬ ȼɚɝɧɟɪɚ ɢɡɞɜɚʁɚ ɫɟ ɩɨɤɪɟɬɚʃɚ ɱɚɫɨɩɢɫɚ ȼɚɝɧɟɪɢʁɚɧɫɚ ɪɟɜɢʁɚ (ɫɚɦɨ ɞɜɟ ɝɨɞɢɧɟ ɧɚɤɨɧ ȼɚɝɧɟɪɨɜɟ ɫɦɪɬɢ, 1885). ȵɭ ɫɭ, ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɧɟɩɨɦɟɧɭɬɨ, ɩɨɤɪɟɧɭɥɢ ɩɟɫɧɢɤ Ⱦɢɠɚɪɞɟɧ ɢ ɮɢɥɨɡɨɮ Ɍɟɨɞɨɪ ɞɟ ȼɢɡɟɜɚ (Téodor de Wyzewa), ɚ ɩɨ ɭɡɨɪɭ ɧɚ ɇɟɡɚɜɢɫɧɭ ɪɟɜɢʁɭ (La Revue Indépendante) Ɏɟɥɢɤɫɚ Ɏɟɧɨɧɚ (Félix Fénéon) ɤɨʁɚ ʁɟ ɩɨɱɟɥɚ ɞɚ ɢɡɥɚɡɢ ɝɨɞɢɧɭ ɞɚɧɚ ɪɚɧɢʁɟ, ɞɚɤɥɟ, 1884. ɝɨɞɢɧɟ. 245 ȼɢɞɟɬɢ ɞɟɬɚʂɧɢʁɟ ɭ: ɢɫɬɨ, 84. 246 Ɇɚɥɚɪɦɟɨɜ ɬɟɤɫɬ Richard Wagner. Rêverie d’un poète français ɨɛʁɚɜʂɟɧ ʁɟ ɭ ȼɚɝɧɟɪɢʁɚɧɫɤɨʁ ɪɟɜɢʁɢ, 8. ɚɜɝɭɫɬɚ 1885. ɝɨɞɢɧɟ, ɚ ʃɟɝɨɜ ɩɪɟɜɨɞ ɧɚ ɫɪɩɫɤɢ ʁɟɡɢɤ ʁɟ ɞɨɫɬɭɩɚɧ ɭ ɨɤɜɢɪɭ ɩɪɢɥɨɝɚ ɭ ɬɟɤɫɬɭ Ɍɢʁɚɧɟ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ ɭ ɮɪɚɧɰɭɫɤɨʁ ɤʃɢɠɟɜɧɨɫɬɢ ɢ ɭ ɉɟɥɟɚɫɭ ɢ Ɇɟɥɢɫɚɧɞɢ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɝɞɟ, ɡɚɲɬɨ, ɤɚɤɨ ɢ ɤɭɞɚ?”. ȼɢɞɟɬɢ ɭ: ɢɫɬɨ, 96‒100. 247 ɍɩɨɪɟɞɢɬɢ: Elizabeth McCombie, Mallarmé and Debussy. Unheard music, Unseen Text (Oxford: Oxford University Press, 2003), 3. { 127 } ɧɟ ɫɚɦɨ Ɏɪɚɧɰɭɫɤɟ, ɜɟʄ ɢ ɲɢɪɟ, ɚɥɢ ɫɭ ɫɟ ɢɫɬɨ ɬɚɤɨ ɤɪɢɫɬɚɥɢɫɚɥɢ ɢ ɭɦɟɬɧɢɱɤɢ, ɟɫɬɟɬɢɱɤɢ ɢ ɩɨɟɬɢɱɤɢ ɫɬɚɜɨɜɢ ɨɜɟ ɟɩɨɯɟ.248 ɍ ɜɟɡɢ ɫɚ ȼɚɝɧɟɪɨɦ, Ɇɚɥɚɪɦɟ ʁɟ ɭɬɨɪɰɢɦɚ ɝɨɜɨɪɢɨ ɞɚ ɦɭ ɫɟ ɱɢɧɢɥɨ ɞɚ „ɨɧ, ɭɩɪɤɨɫ ɫɜɟɦɭ, ɩɪɟɞɧɨɫɬ ɞɚʁɟ ɦɭɡɢɰɢ, ɬɟ ɞɚ ɫɟ ɫɬɨɝɚ ɩɨɟɡɢʁɚ ɩɨɞɜɨɞɢ ɩɨɞ ɦɭɡɢɤɭ, ɞɚ ɩɨɟɡɢʁɚ ɢɡɜɢɪɟ ɢɡ ɦɭɡɢɤɟ ɢ ɞɚ ɭ ʃɭ ɭɜɢɪɟ, ɞɨɤ ʁɟ [Ɇɚɥɚɪɦɟ], ɭɩɪɚɜɨ ɫɭɩɪɨɬɧɨ, ɫɦɚɬɪɚɨ ɞɚ ɩɨɟɡɢʁɚ ɢɦɚ ɧɚɞɦɨʄɧɭ ɭɥɨɝɭ”.249 ɇɨ, ɩɨɞɫɟʄɚɦ ɞɚ ʁɟ ɮɪɚɧɰɭɫɤɢ ɩɟɫɧɢɤ ɩɨɫɟɛɧɨ ɢɧɫɢɫɬɢɪɚɨ ɧɚ ɡɧɚɱɚʁɭ ɦɭɡɢɤɟ ɤɚɨ ɩɪɚɜɟ ɫɭɲɬɢɧɟ ɩɨɟɡɢʁɟ, ɢɫɬɢɱɭʄɢ ɞɚ ɡɚɞɚɬɚɤ ɦɨɞɟɪɧɟ ɩɨɟɡɢʁɟ ɜɢɲɟ ɧɢʁɟ ɞɚ ɩɪɢɱɚ, ɩɪɨɭɱɚɜɚ ɢ ɨɩɢɫɭʁɟ; ɩɨ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ, ɫɬɢɯɨɜɢ ɦɨɪɚʁɭ ɞɟɥɨɜɚɬɢ ɩɨɩɭɬ ɦɭɡɢɱɤɟ ɟɦɚɧɚɰɢʁɟ, ɧɟ ɫɦɢɫɥɨɦ, ɜɟʄ ɫɨɧɨɪɧɨɲʄɭ, ɧɟ ɡɧɚɱɟʃɟɦ, ɜɟʄ ɦɭɡɢɱɤɢɦ ɜɢɛɪɚɰɢʁɚɦɚ. ɇɚ ɬɚʁ ɧɚɱɢɧ, ɩɨɟɡɢʁɚ ɩɨɫɬɚʁɟ ɜɪɫɬɚ ɦɭɡɢɱɤɟ ɩɚɪɬɢɬɭɪɟ.250 ɐɟɥɨɤɭɩɚɧ ɤʃɢɠɟɜɧɨ-ɬɟɨɪɢʁɫɤɢ ɫɜɟɬ ɋɬɟɮɚɧɚ Ɇɚɥɚɪɦɟɚ ɢɫɩɨɫɬɚɜʂɚ ɫɟ ɤɚɨ ɜɢɲɟɫɬɪɭɤɨ ɡɧɚɱɚʁɚɧ: ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɡɚɬɨ ɲɬɨ ɩɪɭɠɚ ɭɜɢɞ ɭ ʁɟɞɧɭ ɨɞ ɥɢɧɢʁɚ ɪɟɚɤɰɢʁɟ ɧɚ ȼɚɝɧɟɪɨɜɭ ɦɭɡɢɱɤɭ ɞɪɚɦɭ (ɚ ɬɚ ɪɟɚɤɰɢʁɚ ʁɟ ɫɚɠɟɬɚ ɭ Ɇɚɥɚɪɦɟɨɜɨʁ ɤɪɢɬɢɰɢ ɞɚ ʁɟ ɭ ɤɨɦɩɨɡɢɬɨɪɨɜɢɦ ɞɟɥɢɦɚ ɦɭɡɢɤɚ ɭɡɭɪɩɢɪɚɥɚ ɦɟɫɬɨ ɩɨɟɡɢʁɟ); ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɬɚʁ ɢɫɬɢ ɫɜɟɬ, ɢɡ ɫɭɨɱɚɜɚʃɚ ɫɚ ɬɨɦ ɢɫɬɨɦ ȼɚɝɧɟɪɨɜɨɦ ɦɭɡɢɱɤɨɦ ɞɪɚɦɨɦ, ɪɚђɚ ʁɟɞɧɭ ɬɟɨɪɢʁɫɤɭ ɤɨɧɰɟɩɰɢʁɭ ɩɨɡɨɪɢɲɬɚ, ɫɚɫɜɢɦ ɞɪɭɝɚɱɢʁɭ ɨɞ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ. ɇɚɢɦɟ, ɫɦɚɬɪɚʁɭʄɢ ɞɚ ʁɟ, ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɩɨɦɟɧɭɬɨ, ɭ ȼɚɝɧɟɪɨɜɨʁ ɦɭɡɢɱɤɨʁ ɞɪɚɦɢ ɦɭɡɢɤɚ ɭɡɭɪɩɢɪɚɥɚ ɦɟɫɬɨ ɩɨɟɡɢʁɟ, ɬɟ ɞɚ ʁɨʁ ɫɟ ɦɨɪɚ ɜɪɚɬɢɬɢ ɢɫɤʂɭɱɢɜɨ, ɞɨɦɢɧɚɧɬɧɨ ɦɟɫɬɨ, ɋɬɟɮɚɧ Ɇɚɥɚɪɦɟ ɩɨɡɢɜɚ ɧɚ ɫɬɜɚɪɚʃɟ ‘ɩɪɟɞɫɬɚɜɟ’ ɤɨʁɚ ɛɢ, ɡɚɩɪɚɜɨ, ɛɢɥɚ ɫɜɟɞɟɧɚ ɧɚ ɫɜɟɱɚɧɢ ɱɢɧ ɱɢɬɚʃɚ ɩɨɟɬɫɤɨɝ ɬɟɤɫɬɚ, ɞɚɤɥɟ, ɥɢɲɟɧɚ ɫɜɟɝɚ ɫɩɨʂʃɟɝ, ɞɨɤ ɛɢ ɭɥɨɝɚ ɝɥɭɦɰɚ ɛɢɥɚ ɫɜɟɞɟɧɚ ɧɚ ɦɢɧɢɦɭɦ. ɋɚɦ Ɇɚɥɚɪɦɟ ɧɢʁɟ ɨɫɬɚɜɢɨ ɧɢʁɟɞɧɨ ɞɟɥɨ ɤɨʁɟ ɛɢ ɩɪɟɞɫɬɚɜʂɚɥɨ ɪɟɚɥɢɡɚɰɢʁɭ ɬɚɤɜɟ ɢɞɟʁɟ ɨ ɩɨɡɨɪɢɲɬɭ, ɢɞɟʁɟ ɤɨʁɚ ɫɭɲɬɢɧɫɤɢ ɩɪɟɞɫɬɚɜʂɚ ɧɟɝɚɰɢʁɭ ɩɨɡɨɪɢɲɬɚ,251 ɚɥɢ ʁɟɫɬɟ ɨɫɬɚɜɢɨ ʁɟɞɧɨ ɨɫɬɜɚɪɟʃɟ ɤɨʁɟ ʁɟ ɩɪɨɢɡɚɲɥɨ ɢɡ ɩɨɦɟɧɭɬɢɯ ɡɚɦɢɫɥɢ. Ɋɟɱ ʁɟ ɨ ɨɫɬɜɚɪɟʃɭ ɩɨɞ ɧɚɡɢɜɨɦ ɉɨɩɨɞɧɟ ʁɟɞɧɨɝ 248 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Rosemary Lloyd, “Debussy, Mallarmé, and ‘Les Mardis’”, ɭ: Debussy and His World, ed. by Jane F. Fulcher (Princenton – Oxford: Oxford University Press, 2001), 255‒269. 249 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ...”, ɧɚɜ. ɞɟɥɨ, 85. 250 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 85. 251 Ɇɟђɭɬɢɦ, ɫɚɦ Ɇɚɥɚɪɦɟ ɧɢʁɟ ɨɫɬɚɜɢɨ ɧɢʁɟɞɧɨ ɞɟɥɨ ɤɨʁɟ ɛɢ ɩɪɟɞɫɬɚɜʂɚɥɨ ɪɟɚɥɢɡɚɰɢʁɭ ɬɚɤɜɟ ɢɞɟʁɟ ɨ ɩɨɡɨɪɢɲɬɭ, ɢɞɟʁɟ ɤɨʁɚ ɫɭɲɬɢɧɫɤɢ ɩɪɟɞɫɬɚɜʂɚ ɧɟɝɚɰɢʁɭ ɩɨɡɨɪɢɲɬɚ. ȼɢɞɟɬɢ: Branko Džakula, „Pozorište krajem...”, ɧɚɜ. ɞɟɥɨ, 125. { 128 } ɮɚɭɧɚ (L’Après-Midi D’un Faune, 1876)252 ɧɚ ɬɟɦɟʂɭ ɤɨʁɟɝ ʄɟ ɧɚɫɬɚɬɢ Ⱦɟɛɢɫɢʁɟɜɨ ɨɪɤɟɫɬɚɪɫɤɨ ɞɟɥɨ ɉɪɟɥɢɞ ɡɚ ɩɨɩɨɞɧɟ ʁɟɞɧɨɝ ɮɚɭɧɚ (Prélude à l’après-midi d’un faune, 1892‒1894), ɚ ɤɨʁɟ ʄɟ ɩɨɬɨɦ ɚɥɬɟɪɧɚɬɢɜɧɨ ɩɨɫɬɚɬɢ ɦɭɡɢɤɚ ɡɚ ɛɚɥɟɬ ɤɚɞ ɞɨɠɢɜɢ ɫɜɨʁɭ ɫɰɟɧɫɤɭ ɪɟɚɥɢɡɚɰɢʁɭ ɭ ɩɪɨɞɭɤɰɢʁɢ Ɋɭɫɤɨɝ ɛɚɥɬɟɚ (Les Ballets russes) ɋɟɪɝɟʁɚ Ⱦʁɚɝɢʂɟɜɚ (ɋɟɪɝɟ ɣ ɉɚ ɜɥɨɜɢɱ Ⱦ ɝɢɥɟɜ) ɢ ɤɨɪɟɨɝɪɚɮɢʁɢ ȼɚɰɥɚɜɚ ɇɢɠɢɧɫɤɨɝ (ȼɚɰɥɚɜ Ɏɨɦɢɱ ɇɢɠɢɧɫɤɢɣ) 1912. ɝɨɞɢɧɟ. ɇɚ ɬɚʁ ɧɚɱɢɧ, ɩɨɫɪɟɞɧɨ, Ɇɚɥɚɪɦɟɨɜɨ ɨɫɬɜɚɪɟʃɟ – ɟɤɥɨɝɚ ɉɨɩɨɞɧɟ ʁɟɞɧɨɝ ɮɚɭɧɚ ʄɟ ɞɨɠɢɜɚɬɢ ɫɜɨʁɟɜɪɫɧɭ ɢɧɫɰɟɧɚɰɢʁɭ, ɤɨʁɭ ʁɟ ɩɟɫɧɢɤ ɨɞ ɩɨɱɟɬɤɚ ɫɬɜɚɪɚʃɚ ɞɟɥɚ ɢɦɚɨ ɧɚ ɭɦɭ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɭɩɪɚɜɨ ʄɟ ɩɨɦɟɧɭɬɚ ɛɚɥɟɬɫɤɚ ɪɟɥɚɢɡɚɰɢʁɚ ɩɨɫɬɚɬɢ ɨɧɨ ɩɟɫɧɢɤɨɜɨ ‘ɫɚʃɚɧɨ’ ɩɨɬɩɭɧɨ ɭɦɟɬɧɢɱɤɨ ɞɟɥɨ – ɞɟɥɨ ɫɚɡɞɚɧɨ ɨɞ Ⱦɟɛɢɫɢʁɟɜɟ ɦɭɡɢɤɟ ɢ Ɇɚɥɚɪɦɟɨɜɟ ɩɨɟɡɢʁɟ. ɇɨ, ɜɪɚɬɢʄɭ ɫɟ ɧɚ ɩɨɱɟɬɚɤ ɢ ɩɨɤɭɲɚɬɢ ɞɚ ɢɫɰɪɬɚɦ ɥɢɧɢʁɭ ɪɚɞɚ ɧɚ ‘ɩɪɨʁɟɤɬɭ’ Ɏɚɭɧ, ɚ ɩɨɬɨɦ ɭɤɚɠɟɦ ɧɚ ɨɧɚ ɦɟɫɬɚ ɤɨʁɚ ɩɪɟɞɫɬɚɜʂɚʁɭ ɫɜɨʁɟɜɪɫɧɚ ɢɫɯɨɞɢɲɬɚ ɡɚ ɧɚɫɬɚɧɚɤ Ⱦɟɛɢɫɢʁɟɜɟ ɥɢɪɫɤɟ ɞɪɚɦɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ. Ɏɢɧɚɥɧɨʁ ɜɟɪɡɢʁɢ Ɇɚɥɚɪɦɟɨɜɟ ɟɤɥɨɝɟ ɢɡ 1876. ɝɨɞɢɧɟ ɤɨʁɚ ʁɟ ɧɨɫɢɥɚ ɧɚɡɢɜ ɉɨɩɨɞɧɟ ʁɟɞɧɨɝ ɮɚɭɧɚ, ɩɪɟɬɯɨɞɢɥɟ ɫɭ ɞɜɟ ɜɟɪɡɢʁɟ, ɢɡ 1865. ɢ 1875. ɝɨɞɢɧɟ. ɉɪɜɚ ɜɟɪɡɢʁɚ, ɜɟʄ ɫɚɦɢɦ ɧɚɫɥɨɜɨɦ – Ɇɨɧɨɥɨɝ ɮɚɭɧɚ, ɫɜɟɞɨɱɢ ɨ ɩɟɫɧɢɤɨɜɨɦ ɢɧɬɟɪɟɫɨɜɚʃɭ ɡɚ ɩɨɡɨɪɢɲɬɟ, ɬɟ ɭɤɚɡɭʁɟ ɧɚ ɩɪɢɦɚɪɧɭ ɢɞɟʁɭ ɞɚ ɫɬɢɯɨɜɢ ɞɪɚɦɫɤɟ ɩɨɟɦɟ ɛɭɞɭ ɱɢɬɚɧɢ ɧɚɝɥɚɫ ɨɞ ɫɬɪɚɧɟ ʁɟɞɧɟ ɥɢɱɧɨɫɬɢ, ɞɚɤɥɟ, ɤɚɨ ɦɨɧɨɥɨɝ. Ɇɚɥɚɪɦɟɨɜ ɡɚɯɬɟɜ ɞɚ ɞɪɚɦɫɤɚ ɩɨɟɦɚ ɧɚ ɬɚʁ ɧɚɱɢɧ ɛɭɞɟ ɩɪɟɞɫɬɚɜʂɟɧɚ ɭ Ɏɪɚɧɰɭɫɤɨɦ ɩɨɡɨɪɢɲɬɭ (Théatre Français), ɛɢɨ ʁɟ ɨɞɛɢʁɟɧ. ɇɚɤɨɧ ɩɚɭɡɟ ɨɞ ɞɟɫɟɬ ɝɨɞɢɧɚ, ɬɚɱɧɢʁɟ 1875, Ɇɚɥɚɪɦɟ ʄɟ ɫɟ ɜɪɚɬɢɬɢ ɫɜɨɦ ɨɫɬɜɚɪɟʃɭ ɢ ɩɪɨɦɟɧɢɬɢ ɦɭ ɧɚɫɥɨɜ ɭ ɂɦɩɪɨɜɢɡɚɰɢʁɚ ɮɚɭɧɚ. Ɋɚɡɥɨɡɢ ɡɚ ɨɜɭ ɜɪɫɬɭ ɩɪɨɦɟɧɟ ɧɢɫɭ ɩɨɡɧɚɬɢ; ɧɨ, ɩɪɟɬɩɨɫɬɚɜɤɚ ʁɟ ɞɚ ʁɟ ɬɚʁ ɩɨɬɟɡ ɛɢɨ ɩɟɫɧɢɤɨɜ ɩɨɤɭɲɚʁ ɞɚ ɫɟ ɞɢɫɬɚɧɰɢɪɚ ɨɞ ɩɪɜɨɛɢɬɧɟ ɢɞɟʁɟ ɤɨʁɭ ɧɢʁɟ ɭɫɩɟɨ ɞɚ ɪɟɚɥɢɡɭʁɟ, ɬɟ ɞɚ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɩɪɢɤɪɢʁɟ ɧɚɦɟɪɟ ɢ ɭɫɤɪɚɬɢ ɦɨɝɭʄɧɨɫɬ ɢɤɚɤɜɟ ɜɟɡɟ ɫɚ ɩɨɡɨɪɢɲɬɟɦ. Ƚɨɞɢɧɭ ɞɚɧɚ ɤɚɫɧɢʁɟ, 1876, Ɇɚɥɚɪɦɟɨɜ Ɏɚɭɧ ɞɨɛɢʁɚ ɫɜɨʁ ɤɨɧɚɱɧɢ ɨɛɥɢɤ ɢ ɧɚɫɥɨɜ ɢ ɩɨɫɬɚʁɟ ɟɤɥɨɝɚ 252 Ⱦɟɥɚ ɤɨʁɚ ɫɭ ɦɨɝɭʄɟ ɩɨɫɥɭɠɢɥɚ Ɇɚɥɚɪɦɟɭ ɤɚɨ ɭɡɨɪ ɢ ɢɧɫɩɢɪɚɰɢʁɚ ɞɚ ɫɟ ɨɤɪɟɧɟ ɦɢɬɨɥɨɲɤɨʁ ɬɟɦɚɬɢɰɢ ɢ ɮɚɭɧɨɜɨɦ ɫɜɟɬɭ, ɢ ɡɚɩɨɱɧɟ ɪɚɞ ɧɚ ɟɤɥɨɝɢ, ʁɟɫɭ Ȼɚɧɜɢɥɨɜɚ ɩɨɡɨɪɢɲɧɚ ɤɨɦɟɞɢʁɚ Ⱦɚʁɚɧɚ ɭ ɲɭɦɢ (Diane au bois, 1864), ɩɨɟɦɚ ɋɚɬɢɪ (La Satyre) ȼɢɤɬɨɪɚ ɂɝɨɚ (Victor Hugo) ɤɨʁɟɝ ʁɟ Ɇɚɥɚɪɦɟ ɜɪɥɨ ɩɨɲɬɨɜɚɨ ɢ ɱɢʁɟ ʁɟ ɩɨɦɟɧɭɬɨ ɞɟɥɨ ɭ ɱɥɚɧɤɭ ɩɨɞ ɧɚɡɢɜɨɦ ɍɦɟɬɧɨɫɬ ɡɚ ɫɜɟ (L’Art pour tous, 1862) ɧɚɡɜɚɨ ɪɟɦɟɤ-ɞɟɥɨɦ, ɩɨɬɨɦ Ȼɚɥɡɚɤɨɜ (Honoré de Balzac) ɪɨɦɚɧ ɋɟɪɚɮɢɬɚ (Séraphita) ɢ ɦɧɨɝɚ ɞɪɭɝɚ. ɍɩɨɪɟɞɢɬɢ ɫɚ: Austin Gill, Histoire d’un Faune by Henri Mondor, The Modern Langugages Review, Vol. 45, No.2, 1950, 264. { 129 } ɉɨɩɨɞɧɟ ʁɟɞɧɨɝ ɮɚɭɧɚ. ɋɚ ɨɜɨɦ, ɮɢɧɚɥɧɨɦ ɜɟɪɡɢʁɨɦ Ɏɚɭɧɚ, ɩɟɫɧɢɤ ɫɟ ɜɪɚʄɚ ɫɜɨʁɢɦ ɩɪɜɨɛɢɬɧɢɦ ɡɚɦɢɫɥɢɦɚ ɭ ɜɟɡɢ ɫɚ ɩɨɡɨɪɢɲɧɨɦ ɩɨɫɬɚɜɤɨɦ ɞɟɥɚ, ɬɟ ʁɟ ɭ ɫɤɥɚɞɭ ɫɚ ʃɢɦɚ, ɚ ɢ ɫɚ ɫɨɩɫɬɜɟɧɢɦ ɢɞɟʁɚɦɚ ɨ ɫɢɦɛɨɥɢɫɬɢɱɤɨɦ ɩɨɡɨɪɢɲɬɭ, ɠɟɥɟɨ ɞɚ ʃɟɝɨɜɚ ɟɤɥɨɝɚ ɛɭɞɟ ɫɰɟɧɫɤɢ ɩɨɫɬɚɜʂɟɧɚ ɭ ɉɨɡɨɪɢɲɬɭ ɭɦɟɬɧɨɫɬɢ (Thèâtre d’Art) ɢ ɢɡɜɟɞɟɧɚ ɨɞ ɫɬɪɚɧɟ ɉɨɥɚ Ɏɨɪɚ (Paul Fort). ɉɪɟɦɚ ɪɟɱɢɦɚ Ɍɢʁɚɧɟ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɩɟɫɧɢɤɨɜɚ ɡɚɦɢɫɚɨ ʁɟ ɩɨɞɪɚɡɭɦɟɜɚɥɚ ɦɭɡɢɤɭ, ɤɨʁɚ ɧɟ ɛɢ ɛɢɥɚ ɮɨɧ, ɜɚʄ ɚɤɬɢɜɧɢ ɭɱɟɫɧɢɤ ɬɟɚɬɚɪɫɤɨɝ ɞɨɝɚђɚʁɚ, ɩɪɢ ɱɟɦɭ ʁɟ ɩɨɫɬɨʁɚɥɚ ɢ ɢɞɟʁɚ ɨ ɧɟɱɟɦɭ ɫɥɢɱɧɨ ɦɚɥɨʁ ɨɩɟɪɢ – ɫɚ ‘ɩɟɜɚɧɢɦ ɪɟɰɢɬɨɜɚʃɟɦ’ ɢɥɢ ‘ɝɨɜɨɪɧɢɦ ɩɟɜɚʃɟɦ’ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.], ɧɚ ɧɚɱɢɧ ɮɪɚɧɰɭɫɤɟ ɦɭɡɢɤɟ ɩɪɨɢɡɚɲɥɢɦ ɢɡ ɩɪɨɡɨɞɢʁɟ ɮɪɚɧɰɭɫɤɨɝ ɝɨɜɨɪɧɨɝ ʁɟɡɢɤɚ ɢ ɢɡ ɧɚɝɥɚɲɟɧɨ ɦɭɡɢɱɤɢɯ ɫɪɟɞɫɬɚɜɚ ɫɚɦɟ ɟɤɥɨɝɟ, ɢɡ ɩɨɞɟɲɚɜɚʃɚ ɝɥɚɫɚ ɩɪɟɦɚ ʃɟɝɨɜɢɦ ɦɭɡɢɱɤɢɦ ɫɜɨʁɫɬɜɢɦɚ”253. ɇɚɤɨɧ ɲɬɨ ɫɭ ɫɟ Ɇɚɥɚɪɦɟ ɢ Ⱦɟɛɢɫɢ ɭɩɨɡɧɚɥɢ 1890. ɝɨɞɢɧɟ, ɢ ɧɚɤɨɧ ɲɬɨ ʁɟ Ɇɚɥɚɪɦɟ ɨɞɫɥɭɲɚɨ Ⱦɟɛɢɫɢʁɜɨ ‘ɨɦɭɡɢɤɚʂɟʃɟ’ ɉɟɬ Ȼɨɞɥɟɪɨɜɢɯ ɩɨɟɦɚ (Cinque poèmes de Baudelaire, 1887‒1889), ɩɟɫɧɢɤ ʁɟ ɞɨɲɚɨ ɧɚ ɢɞɟʁɭ ɞɚ ɛɢ ɭɡ Ⱦɟɛɢɫɢʁɟɜɭ ɦɭɡɢɱɤɭ ‘ɩɨɞɪɲɤɭ’ ʃɟɝɨɜɚ ɟɤɥɨɝɚ ɤɨɧɚɱɧɨ ɞɨɛɢɥɚ ɫɜɨʁɭ ɩɨɡɨɪɢɲɧɭ ɢɧɫɰɟɧɚɰɢʁɭ. Ɉɧ ʁɟ ɫɜɨʁ ɩɪɟɞɥɨɯ ɢɡɥɨɠɢɨ Ⱦɟɛɢɫɢʁɭ ɢ ʃɢɯɨɜɚ ɫɚɪɚɞʃɚ ɧɚ ɨɜɨɦ ɩɪɨʁɟɤɬɭ ʁɟ ɨɬɩɨɱɟɥɚ 1891. ɝɨɞɢɧɟ. Ʉɨɦɩɨɡɢɬɨɪɨɜ ɩɪɜɨɛɢɬɧɢ ɩɥɚɧ, ɭ ɫɚɝɥɚɫʁɭ ɫɚ ɩɟɫɧɢɤɨɜɨɦ ɜɢɡɢʁɨɦ ɩɨɡɨɪɢɲɧɟ ɦɭɡɢɤɟ ɢɥɢ ɱɚɤ ɦɭɡɢɱɤɨ-ɫɰɟɧɫɤɨɝ ɞɟɥɚ, ɛɢɨ ʁɟ ɞɚ ɤɪɨɡ ɬɪɨɞɟɥɧɭ ɦɚɤɪɨɤɨɧɰɩɰɢʁɭ ɦɭɡɢɤɟ, ɩɨɞ ɧɚɡɢɜɨɦ ɉɪɟɥɭɞɢʁɭɦ, ɢɧɬɟɪɥɭɞɢʁɭɦ ɢ ɮɢɧɚɥɧɚ ɩɚɪɚɮɪɚɡɚ ɡɚ „ɉɨɩɨɞɧɟ ʁɟɞɧɨɝ ɮɚɭɧɚ” (Prélude, interlude et paraphrase finale pour L’après-midi d’un faune), ɨɛɭɯɜɚɬɢ ɧɢɡ ɫɰɟɧɚ/ɦɭɡɢɤɢɯ ɫɥɢɤɚ. ɋ ɨɛɡɢɪɨɦ ɧɚ ɬɨ ɞɚ ɞɨ ɫɚɦɟ ɪɟɚɥɢɡɚɰɢʁɟ ɨɜɨɝ ɩɪɨʁɟɤɬɚ ɧɢʁɟ ɞɨɲɥɨ, ɪɟɚɥɚɧ ɢɫɯɨɞ ɨɜɟ ɡɚɦɢɫɥɢ ɛɢɥɚ ʁɟ, ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɩɨɦɟɧɭɬɨ, Ⱦɟɛɢɫɢʁɟɜɚ ɨɪɤɟɫɬɚɪɫɤɚ ɤɨɦɩɨɡɢɰɢʁɚ, ɧɚɡɜɚɧɚ ʁɨɲ ɢ ɬɨɧɫɤɚ ɩɨɟɦɚ – ɉɪɟɥɢɞ ɡɚ ɩɨɩɨɞɧɟ ʁɟɞɧɨɝ ɮɚɭɧɚ, ɞɚɤɥɟ, ɩɪɜɢ ɞɟɨ ɧɟɤɚɞɚɲʃɟ ɨɪɢɝɢɧɚɥɧɨ ɡɚɦɢɲʂɟɧɟ ɤɨɧɰɟɩɰɢʁɟ ɦɭɡɢɤɟ ɡɚ ɩɨɡɨɪɢɲɬɟ. ɉɪɟɦɢʁɟɪɧɨ ɢɡɜɨђɟʃɟ Ⱦɟɛɢɫɢʁɟɜɨɝ ɩɪɟɥɢɞɚ ɛɢɥɨ ʁɟ ɡɚɤɚɡɚɧɨ ɡɚ 20. ɞɟɰɟɦɛɚɪ 1894. ɝɨɞɢɧɟ, ɢ ɬɨɦ ɩɪɢɥɢɤɨɦ ʁɟ Ⱦɟɛɢɫɢ, ɫɚ ɢɡɜɟɫɧɨɦ ɞɨɡɨɦ ɢɪɨɧɢʁɟ, ɭɩɭɬɢɨ ɩɨɡɢɜ Ɇɚɥɚɪɦɟɭ, ɫɚ ɪɟɱɢɦɚ ɞɚ ɛɢ „ɫɜɨʁɢɦ ɩɪɢɫɭɫɬɜɨɦ ɩɨɱɚɫɬɜɨɜɚɨ ɚɪɚɛɟɫɤɟ ɡɚ ɤɨʁɟ ɜɟɪɭʁɟ ɞɚ ɦɭ ɢɯ ʁɟ ɢɡɞɢɤɬɢɪɚɥɚ Ɏɥɚɭɬɚ ɩɟɫɧɢɤɨɜɨɝ Ɏɚɭɧɚ”254. ɇɚɤɨɧ ɩɪɟɦɢʁɟɪɟ Ⱦɟɛɢɫɢ ʁɟ ɭ ɧɟɤɨɥɢɤɨ ɧɚɜɪɚɬɚ ɩɨɤɭɲɚɨ ɞɚ ɫɟ 253 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ ʃɟɝɨɜɨ ɞɨɛɚ..., ɧɚɜ. ɞɟɥɨ, 30. 254 ɂɫɬɨ, 30. { 130 } ɞɢɫɬɚɧɰɢɪɚ ɨɞ ɩɪɜɨɛɢɬɧɢɯ ɡɚɦɢɫɥɢ ɢ ɩɪɨʁɟɤɬɚ ɧɚ ɤɨʁɟɦ ʁɟ ɪɚɞɢɨ ɫɚ Ɇɚɥɚɪɦɟɨɦ, ɨɛʁɚɲʃɚɜɚʁɭʄɢ ɞɚ ʁɟ ʃɟɝɨɜ ɉɪɟɥɢɞ, ɡɚɩɪɚɜɨ, „ɫɚɦɨ ɫɥɨɛɨɞɧɚ ɢɥɭɫɬɪɚɰɢʁɚ ɩɟɫɧɢɤɨɜɟ ɩɪɟɞɢɜɧɟ ɩɨɟɦɟ ɢ ɞɚ ɫɟ ɫɚɫɬɨʁɢ ɢɡ ɧɢɡɚ ɨɤɨɥɧɨɫɬɢ ɭ ɤɨʁɢɦɚ ɫɭ ɫɟ ɠɭɞʃɟ ɢ ɫɧɨɜɢ ɮɚɭɧɚ ɤɪɟɬɚɥɟ ɭ ɬɨɩɥɢɧɢ ɩɨɩɨɞɧɟɜɚ”255. ɇɨ ɢɩɚɤ, ɱɢɧɢ ɫɟ ɞɚ ɫɟ ɢ ɭ Ⱦɟɛɢɫɢʁɟɜɨʁ ɬɨɧɫɤɨʁ ɩɨɟɦɢ ɪɟɮɥɟɤɬɭʁɭ Ɇɚɥɚɪɦɟɨɜɟ ɡɚɦɢɫɥɢ ɱɚɤ ɢ ɢɡ ɪɚɧɟ ɞɜɟ ɜɟɪɡɢʁɟ ɞɟɥɚ; ɫ ɬɢɦ ɭ ɜɟɡɢ, ɡɚɧɢɦʂɢɜɨ ʁɟ ɢɫɬɚʄɢ ɞɚ ɭ Ⱦɟɛɢɫɢʁɟɜɨʁ ɦɭɡɢɰɢ ɫɨɥɨ-ɮɥɚɭɬɚ (ɮɚɭɧɨɜɚ/ɫɚɬɢɪɨɜɚ ɫɜɢɪɚɥɚ/ɮɪɭɥɚ – ɤɜɚɡɢɫɨɥɨ-ɝɥɚɫ) ɡɚɩɪɚɜɨ ɩɪɟɞɫɬɚɜʂɚ, ɬɨ ʁɟɫɬ, ɢɫɩɨʂɚɜɚ ɬɨ ɩɪɨɜɛɢɬɧɨ Ɇɚɥɚɪɦɟɨɜɨ ɦɨɧɨɥɨɲɤɨ ɨɞɪɟђɟʃɟ, ɚ ɞɚ ɬɢɩ ɪɚɞɚ ɫɚ ɦɭɡɢɱɤɢɦ ɦɚɬɟɪɢʁɚɥɨɦ (ɫɚ ɝɟɧɟɪɢɲɭʄɨɦ ɬɟɦɨɦ ɱɢɬɚɜɨɝ ɞɟɥɚ ɭ ɫɨɥɨ-ɮɥɚɭɬɢ, ɢ ʃɟɧɢɦ ɚɪɚɛɟɫɤɧɢɦ ɦɨɬɢɜɫɤɢɦ ɩɨɬɟɧɰɢʁɚɥɨɦ) ɢ ɨɞɪɟђɟɧɢ ɤɨɦɩɨɡɢɰɢɨɧɢ ɩɨɫɬɭɩɰɢ ɤɚɨ ɞɚ ‘ɩɪɢɡɢɜɚʁɭ’ ɢɦɩɪɨɜɢɡɚɰɢʁɭ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɱɢɧɢ ɫɟ ɞɚ ʁɟ ɢ ɝɟɧɟɡɚ ɫɚɦɟ Ɇɚɥɚɪɦɟɨɜɟ ɟɤɥɨɝɟ ɞɨɛɢɥɚ ɫɜɨʁɟ ɨɬɟɥɨɜʂɟʃɟ ɭ Ⱦɟɛɢɫɢʁɟɜɨɦ ɞɟɥɭ.256 Ⱥ ɫɤɨɪɨ ɞɜɟ ɞɟɰɟɧɢʁɟ ɤɚɫɧɢʁɟ, ɬɚɱɧɢʁɟ 29. ɦɚʁɚ 1912. ɝɨɞɢɧɟ, ɞɟɥɨ ʁɟ ɞɨɠɢɜɟɥɨ ɢ ɫɜɨʁɭ ɢɧɫɰɟɧɚɰɢʁɭ, ɤɚɨ ɦɭɡɢɤɚ ɡɚ ɛɚɥɟɬ ɭ ɩɪɨɞɭɤɰɢʁɢ ɜɟʄ ɩɨɦɟɧɭɬɨɝ Ɋɭɫɤɨɝ ɛɚɥɟɬɚ ɋɟɪɝɟʁɚ Ⱦʁɚɝɢʂɟɜɚ, ɭ ɤɨɪɟɨɝɪɚɮɢʁɢ ȼɚɰɥɚɜɚ ɇɢɠɢɧɫɤɨɝ. Ⱦɚɤɥɟ, ɢɧɢɰɢʁɚɥɧɨ, ɨɞɧɨɫɧɨ, ɭ ɢɧɬɟɧɰɢʁɢ ɉɪɟɥɢɞ ɡɚ ɩɨɩɨɞɧɟ ʁɟɞɧɨɝ ɮɚɭɧɚ ʁɟɫɬɟ ɦɭɡɢɤɚ ɡɚ ɩɨɡɨɪɢɲɬɟ, ɬɨ ʁɟɫɬ, ɧɟ-ɚɭɬɨɧɨɦɧɚ ɦɭɡɢɤɚ. Ɏɢɧɚɥɧɨ, ɭ ɪɟɚɥɢɡɚɰɢʁɢ – ɪɟɱ ʁɟ ɨ ɩɪɨɝɪɚɦɫɤɨʁ, ɧɟ-ɚɩɫɨɥɭɬɧɨʁ ɦɭɡɢɰɢ. Ⱥɥɬɟɪɧɚɬɢɜɧɨ, Ⱦɟɛɢɫɢʁɟɜ ɉɪɟɥɢɞ ʁɟ ɢ ɦɭɡɢɤɚ ɡɚ ɛɚɥɟɬ.257 Ⱥ Ɇɚɥɚɪɦɟɨɜɚ ɟɤɥɨɝɚ? Ɉɧɚ ʁɟ, ɫɚɫɜɢɦ ɧɟɩɨɫɪɟɞɧɨ, ɞɨɠɢɜɟɥɚ ɫɜɨʁɭ ɨɞɭɜɟɤ ɠɟʂɟɧɭ, ɚɥɢ ɮɢɧɚɥɧɨ ‘ɧɟɝɨɜɨɪɧɭ’ ɩɨɡɨɪɢɲɧɭ ɢɧɫɰɟɧɚɰɢʁɭ. ɂ ɨɩɟɬ ɫɟ ɜɪɚʄɚɦ ɧɚ ɩɨɱɟɬɚɤ... ɂɚɤɨ Ɇɚɥɚɪɦɟ ɫɚɦ ɧɢʁɟ ɨɫɬɚɜɢɨ ɧɢʁɟɞɧɨ ɞɟɥɨ ɤɨʁɟ ɛɢ ɩɪɟɞɫɬɚɜʂɚɥɨ ɪɟɚɥɢɡɚɰɢʁɭ ʃɟɝɨɜɢɯ ɢɞɟʁɚ ɨ ɩɨɡɨɪɢɲɬɭ, Ⱦɟɛɢɫɢʁɟɜ ɉɪɟɥɢɞ ‒ „ɫɥɨɛɨɞɧɚ ɢɥɭɫɬɪɚɰɢʁɚ ɩɟɫɧɢɤɨɜɟ ɩɪɟɞɢɜɧɟ ɟɤɥɨɝɟ” – ɢɧɢɰɢʁɚɥɧɨ ɬɨ ʁɟɫɬɟ ‘ɧɚɝɨɜɟɫɬɢɨ’. ɂɫɤɭɫɬɜɨ ɪɚɞɚ ɧɚ ‘ɩɪɨʁɟɤɬɭ’ Ɏɚɭɧ, ɤɪɨɡ ɢɫɬɨɜɪɟɦɟɧɨ ɭɩɨɡɧɚɜɚʃɟ ɫɚ Ɇɚɥɚɪɦɟɨɜɢɦ ɢɞɟʁɚɦɚ ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɩɨɡɨɪɢɲɬɚ, ɚɥɢ ɢ ȼɚɝɧɟɪɨɜɨɦ ɦɭɡɢɱɤɨɦ ɞɪɚɦɨɦ, ɪɟɩɟɪɤɭɬɨɜɚɥɨ ɫɟ ɧɚ Ⱦɟɛɢɫɢʁɟɜɭ ɤɨɧɰɟɩɰɢʁɭ ɥɢɪɫɤɟ ɞɪɚɦɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɚɥɢ ɢ ɧɚ 255 Rosemary Lloyd, “Debussy, Mallarmé, and ‘Les Mardis’”, ɭ: Jane F. Fulcher (ed.), Debussy and His World (Princenton – Oxford: Oxford University Press, 2001), 255. 256 ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 30. 257 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 30‒31. { 131 } ɨɞɧɨɫ ɩɪɟɦɚ ɥɢɬɟɪɚɪɧɨɦ ɩɪɟɞɥɨɲɤɭ – Ɇɟɬɟɪɥɢɧɤɨɜɨʁ ɢɫɬɨɢɦɟɧɨʁ ɫɢɦɛɨɥɢɫɬɢɱɤɨʁ ɞɪɚɦɢ, ɬɟ ɜɨɤɚɥɧɨɦ ɢ ɢɧɫɬɪɭɦɟɧɬɚɥɧɨɦ ɩɢɫɦɭ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ. ɋɚ ɤɨʁɢɯ ɬɚɱɚɤɚ ɫɟ Ⱦɟɛɢɫɢ ɦɨɝɚɨ ɨɬɢɫɧɭɬɢ, ɤɚɞɚ ɫɟ ɭɩɭɫɬɢɨ ɭ ɤɨɦɩɨɧɨɜɚʃɟ ɫɜɨɝ ɉɟɥɟɚɫɚ? ɍ ɫɥɭɱɚʁɭ Ɇɚɥɚɪɦɟɚ, ɬɨ ʁɟ ɛɢɥɚ ɡɚɦɢɫɚɨ ɨ ɜɪɯɭɧɫɤɨʁ ɭɦɟɬɧɢɱɤɨʁ ɮɨɪɦɢ ɱɢɬɚʃɚ ɨɧɨɝɚ ɲɬɨ Ɇɚɥɚɪɦɟ ɦɟɬɚɮɨɪɢɱɤɢ ɧɚɡɢɜɚ ɤʃɢɝɨɦ (‘le Livre’, ‘les feuillets’), ɚ ɱɢʁɢ ɢɦɚɝɢɧɚɬɢɜɧɢ ɩɪɨɰɟɫ ɨɜɚʁ ɩɟɫɧɢɤ ɜɢɞɢ ɤɚɨ ɫɬɜɚɪɧɢ ɢɡɜɨɪ ɞɪɚɦɟ. ɉɨ Ɇɚɥɚɪɦɟɨɜɨɦ ɦɢɲʂɟʃɭ, ɪɟɱ ʁɟ ɨ ɧɟɱɭʁɧɨɦ ɱɢɬɚʃɭ ɤɨʁɟ ɩɪɟɞɫɬɚɜʂɚ ɞɪɚɦɫɤɢ ɱɢɧ ɭ ʃɟɝɨɜɨɦ ɧɚʁɱɢɫɬɢʁɟɦ ɨɛɥɢɤɭ ɭ ɨɤɜɢɪɭ ɤɨʁɟɝ ɩɨɡɨɪɢɲɧɟ ɫɰɟɧɟ ɩɨɫɬɚʁɭ ɦɟɧɬɚɥɧɢ ɩɪɨɰɟɫɢ. „ɇɟɱɭʁɧɚ ɞɪɚɦɫɤɚ ɩɪɟɞɫɬɚɜɚ ɤɨʁɚ ɫɟ ɨɞɜɢʁɚ ɧɚ ɫɬɪɚɧɢɰɚɦɚ ɤʃɢɝɟ ɩɨɫɬɚʁɟ ɱɢɫɬɚ ɦɭɡɢɤɚ [la musique pure].”258 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɞɪɚɦɫɤɚ ɪɚɞʃɚ ɫɟ ɞɨɫɬɢɠɟ ɬɨɤɨɦ ɢɞɟɚɥɢɡɨɜɚɧɨɝ ɩɪɨɰɟɫɚ ɱɢɬɚʃɚ, ɞɨɤ ʁɟ ɦɭɡɢɤɚ, ɫɦɚɬɪɚ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɫɚɦɨ dans le sens propre (ɭ ɱɢɫɬɨɦ ɫɦɢɫɥɭ) ɭ ɫɬɚʃɭ ɧɟ ɫɚɦɨ ɞɚ ɛɭɞɟ ɭɦɟɬɧɭɬɚ ɭ ɫɜɟɨɛɭɯɜɚɬɧɭ ɤʃɢɝɭ ɜɟʄ ɢ ɞɚ ʁɟ ɩɪɚɬɢ, ɢɥɢ ɱɚɤ ɡɚɦɟɧɢ ɤɚɨ ɨɱɟɜɢɞɧɢ ɢɡɪɚɡ ɝɥɨɛɚɥɧɨɝ ɭɦɟɬɧɢɱɤɨɝ ɱɢɧɚ.”259 ɍ ɬɨɦ ɫɦɢɫɥɭ, ɫɜɚɤɢ ɢɧɫɬɪɭɦɟɧɬ ɭ ɨɪɤɟɫɬɪɭ ɛɢ ɫɜɨʁɨɦ ɦɚɬɟɪɢʁɚɥɧɨɲʄɭ ɡɚɩɪɚɜɨ, ɤɚɤɨ ɬɨ ɫɦɚɬɪɚ Ɇɚɥɚɪɦɟ, ɫɚɦɨ ɤɨɧɬɚɦɢɧɢɪɚɨ ɭɦɟɬɧɨɫɬ; ɨɞɧɨɫɧɨ, ɨɧ ɧɟ ɛɢ ɩɪɟɧɨɫɢɨ ɧɟɢɡɪɟɰɢɜɭ ɟɦɨɰɢʁɭ (ɤɚɤɨ ʁɟ ɬɨ ȼɚɝɧɟɪ ɩɪɟɞɜɢɞɟɨ), ɧɢɬɢ ɛɢ ʁɟɡɢɤɭ ɨɛɟɡɛɟђɢɜɚɨ ɟɦɨɰɢɨɧɚɥɧɭ ɧɟɩɨɫɪɟɞɧɨɫɬ ɢ ɫɭɝɟɫɬɢɜɧɨɫɬ, ɛɭɞɭʄɢ ɞɚ ɭ ɫɚɦɨʁ ɦɭɡɢɰɢ, ɛɚɲ ɤɚɨ ɢ ɭ ʁɟɡɢɤɭ, ɩɨɫɬɨʁɟ ɯɟɪɦɟɧɟɭɬɢɱɤɟ ‘ɩɭɤɨɬɢɧɟ’...260 ɍɩɪɚɜɨ ɫɚ ɨɜɨɝ ɦɟɫɬɚ ɨɬɢɫɤɭʁɟ ɫɟ ɢ Ʉɥɨɞ Ⱦɟɛɢɫɢ ɤɨʁɢ ʄɟ, ɫɥɢɱɧɨ Ɇɚɥɚɪɦɟɭ (ɤɨʁɢ ʁɟ ɞɨɞɭɲɟ ɫɚɦɨ ɬɟɨɪɢʁɫɤɢ ɢɡɝɪɚђɢɜɚɨ ɫɜɨʁɭ ɤɨɧɰɟɩɰɢʁɭ ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɩɨɡɨɪɢɲɬɚ) ɢ, ɬɚɤɨђɟ, ɭ ɨɞɧɨɫɭ ɧɚ ȼɚɝɧɟɪɚ (ɚ ɩɪɟ ɫɜɟɝɚ ʃɟɝɨɜɨɝ Ɍɪɢɫɬɚɧɚ), ɫɬɜɚɪɚɬɢ ɫɜɨʁɟ ɟɫɬɟɬɫɤɟ ɩɪɢɧɰɢɩɟ ɫɰɟɧɫɤɨɝ ɜɨɤɚɥɧɨ-ɢɧɫɬɪɭɦɟɧɬɚɥɧɨɝ ɞɟɥɚ – ɥɢɪɫɤɟ ɞɪɚɦɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ. ɇɨ, ɩɪɟ ɧɟɝɨ ɲɬɨ ɭɤɚɠɟɦ ɧɚ ɦɨɝɭʄɟ ɞɨɞɢɪɧɟ ɬɚɱɤɟ ɬɪɢ ɭɧɢɜɟɪɡɭɦɚ – ɞɟɛɢɫɢʁɟɜɫɤɨɝ, ɜɚɝɧɟɪɨɜɫɤɨɝ ɢ ɦɚɥɚɪɦɟɨɜɫɤɨɝ, ɫɦɬɪɚɦ ɞɚ ʁɟ ɧɟɨɩɯɨɞɧɨ ɧɚɩɪɚɜɢɬɢ ʁɟɞɚɧ, ɦɟɬɚɮɨɪɢɱɤɢ ɪɟɱɟɧɨ, ɤɨɧɬɟɤɫɬɭɚɥɧɢ ɩɪɟɥɭɞɢʁɭɦ, ɭ ɨɤɜɢɪɭ ɤɨʁɟɝ ɛɢɯ ɩɨɤɭɲɚɥɚ ɞɚ ɢɫɰɪɬɚɦ ɦɪɟɠɭ ɤɨɧɬɚɤɚɬɚ ɤɨʁɟ ʁɟ Ⱦɟɛɢɫɢ ɨɫɬɜɚɪɢɨ ɭ ɩɟɪɢɨɞɭ ɨɞ ɫɚɦɨ ɬɪɢ ɝɨɞɢɧɟ, ɢ ɬɨ 258 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ...”, ɧɚɜ. ɞɟɥɨ, 86. 259 ɂɫɬɨ. 260 ɍɩɨɪɟɞɢɬɢ ɫɚ: Elizabeth McCombie, ɧɚɜ. ɞɟɥɨ, 17‒18, 25. { 132 } ɨɧɟ ɬɪɢ ɝɨɞɢɧɟ ɤɨʁɟ ʄɟ ɛɢɬɢ ɤʂɭɱɧɟ ɡɚ Ⱦɟɛɢɫɢʁɟɜɨ ɨɫɦɢɲʂɚɜɚʃɟ ɥɢɪɫɤɟ ɞɪɚɦɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ. Ʉɚɨ ɩɨɱɟɬɚɤ, ɦɨɝɭʄɟ ʁɟ ɦɚɪɤɢɪɚɬɢ 1887. ɝɨɞɢɧɭ, ɤɚɞɚ ɫɟ Ⱦɟɛɢɫɢ ɜɪɚʄɚ ɢɡ Ɋɢɦɚ ɭ ɉɚɪɢɡ ɢ ɭɛɪɡɨ ɡɚɬɢɦ ɫɬɭɩɚ ɭ ɤɨɧɬɚɤɬ ɫɚ Ⱦɢɠɚɪɞɟɧɨɦ, ɬɟ ɩɨɫɬɚʁɟ ɞɟɨ ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɤʃɢɠɟɜɧɨɝ ɢ ɭɦɟɬɧɢɱɤɨɝ ɤɪɭɝɚ – ɤɪɭɝɚ ɤɨʁɢ ɫɟ ɨɤɭɩʂɚ ɭ Ʉʃɢɠɚɪɢ ɧɟɡɚɜɢɫɧɟ ɭɦɟɬɧɨɫɬɢ (Librairie de l’Art Indépendant). ɇɚɪɟɞɧɟ, 1888. ɝɨɞɢɧɟ, ɩɪɜɢ ɩɭɬ ɩɨɫɟʄɭʁɟ ɦɭɡɢɱɤɢ ɮɟɫɬɢɜɚɥ ɭ Ȼɚʁɪɨʁɬ ɢ ɩɪɢɫɭɫɬɜɭʁɟ ɢɡɜɨђɟʃɭ ȼɚɝɧɟɪɨɜɢɯ ɨɩɟɪɚ Ɇɚʁɫɬɨɪɢ ɩɟɜɚɱɢ (Die Meistersinger von Nürnberg, 1867) ɢ ɉɚɪɫɢɮɚɥ (Parsifal, 1882), ɞɨɤ ɫɥɟɞɟʄɟ 1889. ɝɨɞɢɧɟ, ɭ ɨɤɜɢɪɭ ɢɫɬɢɯ ɫɜɟɱɚɧɨɫɬɢ, ɫɥɭɲɚ ɢɡɜɨђɟʃɟ Ɍɪɢɫɬɚɧɚ ɢ ɂɡɨɥɞɟ.261 ɂɫɬɟ ɝɨɞɢɧɟ ɭ ɉɚɪɢɡɭ ɫɟ, ɭ ɨɤɜɢɪɭ ɜɟɥɢɤɟ ɋɜɟɬɫɤɟ ɢɡɥɨɠɛɟ, ɭɩɨɡɧɚʁɟ ɫɚ ɦɭɡɢɤɨɦ Ʉɢɧɟ, ɂɧɞɨɧɟɡɢʁɟ, ȼɢʁɟɬɧɚɦɚ ɢ ɞɪɭɝɢɯ ɚɡɢɢʁɫɤɢɯ ɧɚɪɨɞɚ, ɡɚɬɢɦ ɡɜɭɤɨɦ ɝɚɦɟɥɚɧɫɤɨɝ ɨɪɤɟɫɬɪɚ ɫɚ Јɚɜɟ ɢ ɩɨɡɨɪɢɲɬɟɦ Ⱥɧɚɦɢɬɚ, ɚɥɢ ɢ ɫɚ ɫɬɜɚɪɚɥɚɲɬɜɨɦ Ȼɚɥɚɤɢɪʁɟɜɚ (Ɇɢɥɢɣ Ȼɚɥɚɤɢɪɟɜ), Ɇɭɫɨɪɝɫɤɨɝ (Ɇɨɞɟ ɫɬ ɉɟɬɪɨ ɜɢɱ Ɇɭ ɫɨɪɝɫɤɢɣ) ɢ Ɋɢɦɫɤɨɝ-Ʉɨɪɫɚɤɨɜɚ (ɇɢɤɨɥɚɣ Ⱥɧɞɪɟɟɜɢɱ Ɋɢɦɫɤɢɣ-Ʉɨɪɫɚɤɨɜ). Ɍɨɤɨɦ 1890. ɭɩɨɡɧɚʁɟ ɫɟ ɫɚ ȿɪɢɤɨɦ ɋɚɬɢʁɟɦ (Eric Alfred Leslie Satie), ɨɬɤɪɢɜɚ ɤʃɢɠɟɜɧɢ ɫɜɟɬ ɢ ɩɨɟɬɢɤɭ ȿɞɝɚɪɚ Ⱥɥɚɧɚ ɉɨɚ (Edgar Allan Poe), ɤɚɨ ɢ Ɇɨɪɢɫɚ Ɇɟɬɟɪɥɢɧɤɚ! Ʉɪɚʁɟɦ ɬɟ ɢɫɬɟ 1890. ɝɨɞɢɧɟ, ɫɪɟʄɟ ɫɟ, ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɧɚɩɨɦɟɧɭɬɨ ɭ ɤɨɧɬɟɤɫɬɭ ‘ɩɪɨʁɟɤɬɚ’ Ɏɚɭɧ, ɢ ɫɚ Ɇɚɥɚɪɦɟɨɦ ɭ ɱɢʁɟɦ ɫɟ ɦɚɝɧɟɬɧɨɦ ɩɨʂɭ, ɬɨɤɨɦ ɤʃɢɠɟɜɧɢɯ ɜɟɱɟɪɢ ɨɪɝɚɧɢɡɨɜɚɧɢɯ ɭɬɨɪɰɢɦɚ ɭ ɫɚɥɨɧɭ ɩɟɫɧɢɤɚ, ɞɟɮɢɧɢɬɢɜɧɨ ɤɪɢɫɬɚɥɢɲɭ ɢ Ⱦɟɛɢɫɢʁɟɜɢ ɭɦɟɬɧɢɱɤɢ, ɤɪɚʁʃɟ ɫɚɦɨɫɜɨʁɧɢ ɟɫɬɟɬɢɱɤɢ ɢ ɩɨɟɬɢɱɤɢ ɫɬɚɜɨɜɢ. ɂɫɬɨɜɪɟɦɟɧɨ, ɨɜɨ ʁɟ ɛɢɥɚ ɢ ɝɨɞɢɧɚ ɤɚɞɚ ʁɟ Ⱦɟɛɢɫɢ ɩɨɱɟɨ ɞɚ ɩɪɟɢɫɩɢɬɭʁɟ ȼɚɝɧɟɪɨɜ ɤɨɧɰɟɩɬ ɦɭɡɢɱɤɟ ɞɪɚɦɟ, ɚɥɢ ɧɟ ɢ ɝɨɞɢɧɚ ɤɚɞɚ ʄɟ ɧɚɱɢɧɢɬɢ ɞɟɮɢɧɢɬɢɜɚɧ ɨɬɤɥɨɧ ɨɞ ʃɟɝɚ262. Ɉ ɬɨɦ, ɦɟɬɚɮɨɪɢɱɤɢ ɪɟɱɟɧɨ, ‘ɭɩɢʁɚʃɭ’ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɤɟ, ɫɜɟɞɨɱɟ ɢ ɩɨʁɟɞɢɧɚ ɯɚɪɦɨɧɫɤɚ ɪɟɲɟʃɚ ɭ ɉɟɥɟɚɫɭ ɢ Ɇɟɥɢɫɚɧɞɢ ɤɨʁɚ ɩɪɟɞɫɬɚɜʂɚʁɭ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɚ ɟɯɚ ȼɟɝɧɟɪɨɜɨɝ ɉɚɪɫɢɮɚɥɚ. ɑɚɤ ɱɢɬɚɜɭ ɞɟɰɟɧɢʁɭ ɢ ɩɨ ɧɚɤɨɧ, ɤɚɤɨ Ⱦɟɛɢɫɢ ɩɢɲɟ, „ɱɚɪɨɛɧɢɯ ɝɨɞɢɧɚ […] ɩɭɧɢɯ ȼɚɝɧɟɪɨɜɨɝ ɥɭɞɢɥɚ”,263 ɨɧ ʄɟ ɢ ɞɚʂɟ ‘ɤɨɦɭɧɢɰɢɪɚɬɢ’ ɫɚ ɫɜɟɬɨɦ ɦɭɡɢɱɤɟ ɞɪɚɦɟ. 261 ɂɡɜɨђɟʃɭ ɨɜɟ ɨɩɟɪɟ, Ⱦɟɛɢɫɢ ʁɟ ɩɪɢɫɭɫɬɜɨɜɚɨ ɢ ɪɚɧɢʁɟ, ɭ Ȼɟɱɭ. 262 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Barbara L. Kelly, “Debussy’s Parisian affiliations”, ɭ: The Cambridge…, ɧɚɜ. ɞɟɥɨ, 32. 263 Richard Langham Smith (trans. and ed.) Debussy on Music. The Critical Writings of the Great French Composer Claude Debussy (New York: Cornell University Press, 1977), 167. { 133 } O Ⱦɟɛɢɫɢʁɜɢɦ ɪɚɡɦɢɲʂɚʃɢɦɚ ɢ ɫɬɚɜɨɜɢɦɚ ɭ ɜɟɡɢ ɫɚ ɦɭɡɢɤɨɦ ɢ ɭɦɟɬɧɨɲʄɭ, en général, ɫɚɡɧɚʁɟɦɨ ɢɡ ɢɡɭɡɟɬɧɨ ɛɨɝɚɬɨɝ ɩɢɫɚɧɨɝ ɬɪɚɝɚ ɤɨʁɢ ʁɟ, ɤɚɨ ɦɭɡɢɱɤɢ ɩɢɫɚɰ, ɡɚ ɫɨɛɨɦ ɨɫɬɚɜɢɨ. ɉɨɫɟɛɧɭ ɞɪɚɠ ɭ ɨɬɤɪɢɜɚʃɭ ɭɩɨɪɢɲɧɢɯ ɬɚɱɚɤɚ Ⱦɟɛɢɫɢʁɟɜɨɝ ɨɞɧɨɫɚ ɩɪɟɦɚ ɦɭɡɢɰɢ, ɚɥɢ ɢ ɞɭɛʂɟɦ ɪɚɡɭɦɟɜɚʃɭ ʃɟɝɨɜɨɝ ɭɦɟɬɧɢɱɤɨɝ ɤɨɧɰɟɩɬɚ ɭ ɨɤɜɢɪɭ ʃɟɝɨɜɟ ɫɩɢɫɚɬɟʂɫɤɟ ɞɟɥɚɬɧɨɫɬɢ, ɩɪɭɠɚ ɤɨɦɩɨɡɢɬɨɪɨɜɚ ɩɪɟɩɢɫɤɚ. ɍɤɭɩɧɨ ɬɪɢɫɬɚ ʁɟɞɚɧɚɟɫɬ ɨɛʁɚɜʂɟɧɢɯ Ⱦɟɛɢɫɢʁɟɜɢɯ ɩɢɫɚɦɚ ɩɪɨɬɤɢɜɚʁɭ ɤɨɦɩɨɡɢɬɨɪɨɜɨ ɠɢɜɨɬɧɨ ɜɪɟɦɟ ɨɞ ɬɪɟɧɭɬɤɚ ɤɚɞɚ ʁɟ ɢɦɚɨ ɞɜɚɞɟɫɟɬ ɞɜɟ ɝɨɞɢɧɟ, ɩɚ ɫɜɟ ɞɨ ɧɟɤɨɥɢɤɨ ɦɟɫɟɰɢ ɩɪɟɞ ɫɦɪɬ. Ɉɧɚ ɡɚɩɪɚɜɨ, ɩɪɟɦɚ ɪɟɱɢɦɚ Ɍɢʁɚɧɟ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ɧɚɫɬɚʁɭʄɢ ɢ ɪɚɡɚɫɬɢɪɭʄɢ ɫɟ ɭ ɩɟɪɢɨɞɭ ɨɞ 1884. ɩɚ ɞɨ ɤɪɚʁɚ 1917. ɝɨɞɢɧɟ, ɤɨɧɫɬɪɭɢɲɭ ɢ ɦɚɪɤɢɪɚʁɭ ɠɢɜɟ ɞɨɝɚђɚʁɟ ʃɟɝɨɜɨɝ ɠɢɜɨɬɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɬɨɤɨɦ ɝɨɬɨɜɨ ɬɪɢ ɢ ɩɨ ɞɟɰɟɧɢʁɟ Ⱦɟɛɢɫɢʁɟɜɚ ɩɢɫɦɚ ʄɟ ɢɫɩɪɟɞɚɬɢ ɪɚɡɧɨɜɪɫɧɨ ɢɫɩɪɟɩɥɟɬɚɧɟ ɢ ɢɫɩɪɟɫɟɰɚɧɟ ɦɪɟɠɟ ʃɟɝɨɜɨɝ ɠɢɜɨɬɚ, ʃɟɝɨɜɢɯ ɛɪɨʁɧɢɯ ɫɭɛʁɟɤɬɢɜɧɢɯ ɩɪɢɱɚ ɫɚɬɤɚɧɢɯ ɨɞ ɛɪɨʁɧɢɯ ɩɪɢɜɚɬɧɢɯ ɢ ʁɚɜɧɢɯ ʁɚ ɤɨʁɚ ɫɟ ‘ɭɩɭʄɭʁɭ’ ɧɚ ɨɤɨ ɫɟɞɚɦɞɟɫɟɬ ɩɟɬ ɪɚɡɥɢɱɢɬɢɯ ‘ɚɞɪɟɫɚ’.264 Ɍɚɤɨђɟ, ɩɨɫɟɛɧɨ ɡɚɧɢɦʂɢɜɢ, ɭ ɤɨɧɬɟɤɫɬɭ ɧɚɫɬɚɧɤɚ ɥɢɪɫɤɟ ɞɪɚɦɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ, ʁɟɫɭ ɪɚɡɝɨɜɨɪɢ ɤɨʁɟ ʁɟ Ⱦɟɛɢɫɢ ɜɨɞɢɨ ɫɚ ɫɜɨʁɢɦ ɩɪɨɮɟɫɨɪɨɦ ɤɨɦɩɨɡɢɰɢʁɟ ȿɪɧɟɫɬɨɦ ɀɢɪɨɨɦ (Ernest Guiraud), ɚ ɭ ɤɨʁɢɦɚ ɨɬɤɪɢɜɚ ɫɜɨʁɟ ɫɬɚɜɨɜɟ ɨ ɭɦɟɬɧɨɫɬɢ, ɚ ɩɨɫɟɛɧɨ ɨ ȼɚɝɧɟɪɨɜɨʁ ɤɨɧɰɟɩɰɢʁɢ ɦɭɡɢɱɤɟ ɞɪɚɦɟ. ɍ ʁɟɞɧɨɦ ɨɞ ɬɢɯ ɪɚɡɝɨɜɨɪɚ, ɤɨʁɟ ʁɟ ɡɚɛɟɥɟɠɢɨ ɮɪɚɧɰɭɫɤɢ ɦɭɡɢɤɨɥɨɝ ɢ ɤɨɦɩɨɡɢɬɨɪ Ɇɨɪɢɫ ȿɦɚɧɢɟɥ (Maurice Emmanuel), Ⱦɟɛɢɫɢ ʁɟ ɢɫɬɚɤɚɨ ɞɚ ɧɢɤɚɞɚ ɧɢʁɟ ɩɨɤɭɲɚɜɚɨ ɞɚ ɢɦɢɬɢɪɚ ɨɧɨ ɱɟɦɭ ɫɟ ɞɢɜɢɨ ɭ ȼɚɝɧɟɪɨɜɨʁ ɦɭɡɢɰɢ. ɇɚɢɦɟ, ɨɧ ɡɚɦɢɲʂɚ ɞɪɭɝɚɱɢʁɭ ɞɪɚɦɚɬɫɤɭ ɮɨɪɦɭ, ɨɧɭ ɭ ɤɨʁɨʁ „ɦɭɡɢɤɚ ɩɨɱɢʃɟ ɬɚɦɨ ɝɞɟ ʁɟ ɪɟɱ ɧɟɦɨʄɧɚ ɞɚ ɢɡɪɚɠɚɜɚ, [ʁɟɪ] ɦɭɡɢɤɚ ʁɟ ɫɬɜɨɪɟɧɚ ɡɚ ɧɚɢɡɪɟɰɢɜɨ”. „ɀɟɥɟɨ ɛɢɯ”, ɤɚɠɟ Ⱦɟɛɢɫɢ, „ɞɚ ɨɧɚ ɢɡɝɥɟɞɚ ɤɚɨ ɞɚ ɩɨɜɪɟɦɟɧɨ ɢɡɥɚɡɢ ɢɡ ɫɟɧɤɟ ɢ ɞɚ ɫɟ ɡɚɱɚɫ ɭ ʃɭ ɨɩɟɬ ɜɪɚʄɚ; ɞɚ ɭɜɟɤ ɛɭɞɟ ɞɢɫɤɪɟɬɧɚ ɥɢɱɧɨɫɬ […] ɇɢɲɬɚ ɧɟ ɫɦɟ ɞɚ ɭɫɩɨɪɢ ɬɨɤ ɞɪɚɦɟ: ɫɜɚɤɢ ɞɪɚɦɫɤɢ ɪɚɡɜɨʁ, ɦɚ ɢ ɧɚʁɦɚʃɟ ɩɪɨɞɭɠɟɧ, ɧɟɫɩɨɫɨɛɚɧ ʁɟ ɞɚ ɫɟ ɫɥɨɠɢ ɫɚ ɩɨɤɪɟɬʂɢɜɨɲʄɭ ɢ ɩɪɨɦɟɧʂɢɜɨɲʄɭ ɪɟɱɢ.”265 ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, Ⱦɟɛɢɫɢ ɞɚʂɟ ɢɡɧɨɫɢ ɜɪɥɨ ʁɚɫɚɧ ɫɬɚɜ ɭ ɜɟɡɢ ɫɚ ɬɢɦ ɤɨʁɢ ʄɟ ɦɭ ɩɟɫɧɢɤ ɞɚɬɢ ɥɢɛɪɟɬɨ; ɬɨ ʄɟ ɛɢɬɢ „ɨɧɚʁ ɤɨʁɢ ʄɟ [ɦɭ] ɢɫɤɚɡɭʁɭʄɢ 264 Tijana Popović Mladjenović, Voices od Debussy’s letters as something more and something less than (auto)biography, u: (Auto)Biography as a Musicological Discourse, ed. by Tatjana Marković and Vasna Mikić (Belgrade: Faculty of Music, Department of Musicology, 2010), 227‒235. 265 ɐɢɬɢɪɚɧɨ ɩɪɟɦɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ...”, ɧɚɜ. ɞɟɥɨ, 88. ɍɩɨɪɟɞɢɬɢ ɫɚ: Stefan Jarociński, Debussy – impressionnisme et symbolisme (Paris: Éditions du Seuil ,1970), 116‒117. { 134 } ɫɬɜɚɪɢ ɬɟɤ ɞɟɥɢɦɢɱɧɨ, ɞɨɡɜɨɥɢɬɢ ɞɚ ɭɝɪɚɞɢ [ɫɨɩɫɬɜɟɧɢ] ɫɬɚɜ ɭ ʃɟɝɨɜ.”266 ɂ ɧɚɫɬɚɜʂɚ: „ɫɚʃɚɦ ɨ ɥɢɛɪɟɬɭ ɤɨʁɢ ɦɟ ɧɟʄɟ ɩɪɢɦɨɪɚɬɢ ɞɚ ɧɢɠɟɦ ɞɭɝɟ, ɬɟɲɤɟ ɱɢɧɨɜɟ, ɜɟʄ ʄɟ ɦɢ ɩɪɭɠɢɬɢ ɩɪɢɡɨɪɟ ɪɚɡɥɢɱɢɬɟ ɩɨ ɚɦɛɢʁɟɧɬɭ, ɝɞɟ ɥɢɱɧɨɫɬɢ ɧɟʄɟ ɫɬɭɩɚɬɢ ɭ ɤɨɧɮɥɢɤɬɟ, ɜɟʄ ʄɟ ɩɨɞɧɨɫɢɬɢ ɠɢɜɨɬ ɢ ɫɭɞɛɢɧɭ.”267 ɍɩɪɚɜɨ ɬɚɤɚɜ ɥɢɛɪɟɬɨ ʁɟ ɩɪɨɧɚɲɚɨ ɭ Ɇɟɬɟɪɥɢɧɤɨɜɨɦ ɧɚʁɭɫɩɟɲɧɢʁɟɦ ɩɨɡɨɪɢɲɧɨɦ ɞɟɥɭ – ɫɢɦɛɨɥɢɫɬɢɱɤɨʁ ɞɪɚɦɢ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ ɭ ɤɨʁɨʁ ɞɨɦɢɧɢɪɚ ɥɢɪɢɡɚɦ, ɨɞɧɨɫɨ, ɭ ɤɨʁɨʁ ɫɧɚɠɧɢ ɥɢɪɫɤɢ ɡɚɧɨɫ ɞɚʁɟ ɨɫɧɨɜɧɢ ɬɨɧ. ɉɪɟɭɡɟɜɲɢ ɝɨɬɨɜɨ ɭ ɰɟɥɨɫɬɢ ɩɨɟɬɫɤɢ ɬɟɤɫɬ Ɇɟɬɟɪɥɢɧɤɨɜɟ ɞɪɚɦɟ, Ⱦɟɛɢɫɢ ʁɟ ɪɟɚɥɢɡɨɜɚɨ ɫɜɨʁɟ ɞɟɥɨ ɤɚɨ ɥɢɪɫɤɭ ɦɭɡɢɱɤɭ ɞɪɚɦɭ ɛɟɡ ɩɪɚɜɨɝ ɞɪɚɦɫɤɨɝ ɫɭɤɨɛɚ, ɬɨ ʁɟɫɬ, ɞɪɚɦɫɤɟ ɪɚɞʃɟ ɤɨʁɚ ɛɢ ɢɡ ʃɟɝɚ ɩɪɨɢɡɥɚɡɢɥɚ. Ʌɢɱɧɨɫɬɢ ɫɭ ɩɚɫɢɜɧɚ, ɫɥɚɛɚ ɢ ɤɪɯɤɚ ɛɢʄɚ, ɥɢɲɟɧɚ ʂɭɞɫɤɟ ɩɭɧɨʄɟ ɢ ɫɧɚɝɟ, ɫɜɟɫɧɚ ɫɜɨʁɟ ɧɟɦɨʄɢ ɞɚ ɫɟ ɫɭɩɪɨɬɫɬɚɜɟ ɧɟɦɢɧɨɜɧɨɫɬɢ ɫɜɟɦɨʄɧɟ ɫɭɞɛɢɧɟ ɤɨʁɚ ɢɦ ʁɟ ɩɪɟɞɨɞɪɟђɟɧɚ. ɍ ɤɨɧɬɟɤɫɬɭ ɬɨɝɚ, Ⱦɟɛɢɫɢ ɫɟ, ɤɚɨ ɲɬɨ ɢ ɫɚɦ ɧɚɜɨɞɢ, ɧɢʁɟ ɩɨɜɨɞɢɨ „ɡɚɛɥɭɞɚɦɚ ɬɪɚɞɢɰɢɨɧɚɥɧɟ ɨɩɟɪɟ ɭ ɤɨʁɨʁ ɦɭɡɢɤɚ ɞɪɫɤɨ ɞɨɦɢɧɢɪɚ, ɞɨɤ ʁɟ ɩɨɟɡɢʁɚ ɭ ɞɪɭɝɨɦ ɩɥɚɧɭ, ɩɪɢɝɭɲɟɧɚ ɩɪɟɝɭɫɬɢɦ ɨɩɟɪɫɤɢɦ ɬɤɢɜɨɦ”. Ɉɧ ʁɟ, ɡɚ ɩɨɬɪɟɛɟ ɪɟɚɥɢɡɚɰɢʁɟ ɫɜɨʁɟ ɥɢɪɫɤɟ ɞɪɚɦɟ, ɚ ɭ ɧɟɩɨɫɪɟɞɧɨɦ „ɫɚɝɥɚɫʁɭ” ɫɚ ɟɫɬɟɬɢɤɨɦ Ɇɚɥɚɪɦɟɨɜɟ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɩɨɟɡɢʁɟ, ɨɬɤɪɢɨ ɢɡɪɚɠɚʁɧɨ ɫɪɟɞɫɬɜɨ ɤɨʁɟ ɫɦɚɬɪɚ ɫɚɫɜɢɦ ɩɨɫɟɛɧɢɦ ‒ ɬɢɲɢɧɭ. ɋ ɬɢɦ ɭ ɜɟɡɢ, Ⱦɟɛɢɫɢ ʁɟ ɭ ɩɢɫɦɭ ɭɩɭʄɟɧɨɦ ɩɪɢʁɚɬɟʂɭ ȿɪɧɟɫɬɭ ɒɨɫɨɧɭ (Ernest Chausson) – ɤɨɦɩɨɡɢɬɨɪɭ, ɧɚɩɢɫɚɨ ɫɥɟɞɟʄɟ: „Ɇɨɠɞɚ ʁɟ ɬɨ [ɬɢɲɢɧɚ] ʁɟɞɢɧɢ ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɫɟ ɟɦɨɰɢʁɢ ʁɟɞɧɟ ɪɟɱɟɧɢɰɟ ɦɨɠɟ ɞɚɬɢ ʃɟɧɚ ɩɭɧɚ, ɩɪɚɜɚ ɜɪɟɞɧɨɫɬ ɢ, ɢɚɤɨ ʁɟ ʁɟ ȼɚɝɧɟɪ ɤɨɪɢɫɬɢɨ, ɱɢɧɢ ɦɢ ɫɟ ɞɚ ɫɟ ɨɧɚ ɧɚɥɚɡɢ ɫɚɦɨ ɭ ɨɧɨɦ ɚɩɫɨɥɭɬɧɨ ɞɪɚɦɚɬɢɱɧɨɦ, ɚ ɧɟ ɭ ɫɭɦʃɢɜɢɦ ɞɪɚɦɚɦɚ ɤɚɨ ɲɬɨ ɫɭ Ȼɭɲɚɪɞɢʁɟɜɟ [Jozeph Bouchardy], Ⱦ’ȿɧɟɪɢʁɟɜɟ [Adolphe Philippe d'Ennery] ɢ ɨɫɬɚɥɢɯ! […] ɉɪɨɜɟɨ ɫɚɦ ɧɟɞɟʂɟ ɭ ɬɪɚɠɟʃɭ ɨɧɨɝ ‘ɧɢɲɬɚ’ ɨɞ ɱɟɝɚ ʁɟ Ɇɟɥɢɫɚɧɞɚ ɫɚɬɤɚɧɚ.”268 ɍ ɤɨɧɬɟɤɫɬɭ ɬɨɝɚ ɫɟ ɨɧɞɚ ɢ ɪɚɡɭɦɟɜɚ Ⱦɟɛɢɫɢʁɟɜ ɤɪɢɬɢɱɤɢ ɫɬɚɜ ɞɚ ɫɟ „ɭ ɨɩɟɪɢ ɩɪɟɜɢɲɟ ɩɟɜɚ”, ʁɟɪ „ɬɪɟɛɚ[ɥɨ] ɛɢ ɩɟɜɚɬɢ ɫɚɦɨ ɨɧɞɚ, ɤɚɞɚ ʁɟ [ɬɨ] ɩɨɬɪɟɛɧɨ […]”269. ɍɩɪɚɜɨ ɭ ɨɜɢɦ ɬɚɱɤɚɦɚ ɭɨɱɚɜɚʁɭ ɫɟ ɨɧɚ ɧɟɩɨɫɪɟɞɧɚ „ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ ɞɟɛɢɫɢʁɟɜɫɤɨɝ ɢ ɦɚɥɚɪɦɟɨɜɫɤɨɝ ɫɬɜɚɪɚɥɚɱɤɨɝ ɭɧɢɜɟɪɡɭɦɚ; ɞɚ ɛɭɞɟɦ ɩɪɟɰɢɡɧɢʁɚ, ɬɚ ɦɟɫɬɚ „ɫɚɝɥɚɫʁɚ” – 266 ɐɢɬɢɪɚɧɨ ɩɪɟɦɚ: ɢɫɬɨ, 88; ɭɩɨɪɟɞɢɬɢ ɫɚ: Stefan Jarociński, ɧɚɜ. ɞɟɥɨ, 116. 267.ɐɢɬɢɪɚɧɨ ɩɪɟɦɚ: ɢɫɬɨ, 89; ɭɩɨɪɟɞɢɬɢ ɫɚ: Stefan Jarociński, ɧɚɜ. ɞɟɥɨ, 117. 268 François Lesure and Roger Nichols (eds.), Debussy Letters (London ‒ Boston: Harvard University Press, 1987), 56, 62. 269 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ...”, ɧɚɜ. ɞɟɥɨ, 89. { 135 } ɟɤɫɩɪɟɫɢʁɚ ɬɢɲɢɧɟ ɢ ɫɬɚɜ ɞɚ ʁɟ ɦɭɡɢɤɚ ɚɥɬɟɪɧɚɬɢɜɚ ɩɢɫɚɧɨʁ ɪɟɱɢ – ɡɚɩɪɚɜɨ ɢ ‘ɞɟɮɢɧɢɲɭ’, ɨɞɧɨɫɧɨ, ɫɬɜɚɪɚʁɭ ɦɭɡɢɱɤɢ ɫɜɟɬ ɥɢɪɫɤɟ ɞɪɚɦɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ. ɇɚɢɦɟ, ɰɟɥɨɤɭɩɚɧ ɜɨɤɚɥɧɢ ɩɚɪɬ ɉɟɥɟɚɫ ɡɚɫɧɨɜɚɧ ʁɟ ɧɚ ɤɨɧɫɟɤɜɟɧɬɧɨɦ ɢɡɜɥɚɱɟʃɭ ɦɟɥɨɞɢʁɫɤɢɯ ɮɥɨɫɤɭɥɚ ɢɡ ɥɚɬɟɧɬɧɢɯ ɦɟɥɨɞɢʁɫɤɢɯ ɮɥɟɤɫɢʁɚ ɮɪɚɧɰɭɫɤɟ ɝɨɜɨɪɧɟ ɪɟɱɢ, ɨɞɧɨɫɧɨ, ɧɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ɩɨɞɟɲɚɜɚʃɭ ɝɥɚɫɚ ɩɪɟɦɚ ʃɟɝɨɜɢɦ ɦɭɡɢɱɤɢɦ ɫɜɨʁɫɬɜɢɦɚ. Ɇɭɡɢɤɚ ɫɟ ɩɨʁɚɜʂɭʁɟ ɢɡ ɬɢɲɢɧɟ, ɧɚɦɟɬɧɭɜɲɢ ɫɟ ɛɟɡ ɩɪɟɬɯɨɞɧɟ ɧɚʁɚɜɟ, ɩɪɟɤɢɞɚʁɭʄɢ ɡɚɬɢɦ ɫɜɨʁ ɬɨɤ ɩɨɧɨɜɧɢɦ ɡɚɩɚɞɚʃɟɦ ɭ ʃɭ, ɧɚɫɬɚɜʂɚʁɭʄɢ ɞɚ, ɤɚɤɨ ɬɨ ɢɫɬɢɱɟ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɩɥɟɬɟ ɧɢɬ ɭ ɧɚɲɢɦ ɫɧɨɜɢɦɚ”270. Ʉɚɨ ɪɟɡɭɥɬɚɬ ɫɜɟɝɚ ɬɨɝɚ ɧɚɫɬɚʁɟ ɪɟɱɢɬɚɬɢɜ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɟ ɩɪɢɪɨɞɟ, ɪɟɱɢɬɚɬɢɜ ɞɨɜɟɞɟɧ ɞɨ ɤɪɚʁʃɢɯ ɝɪɚɧɢɰɚ – ɧɚ ɫɚɦɭ ɪɚɜɚɧ ɟɤɫɩɟɪɢɦɟɧɬɚ, ɪɟɱɢɬɚɬɢɜ ɤɨʁɢ ɩɨɫɬɚʁɟ ʁɟɞɢɧɨ ɫɪɟɞɫɬɜɨ ɜɨɤɚɥɧɨɝ ɢɡɪɚɡɚ ɭ ɉɟɥɟɚɫɭ, ɱɢɦɟ ʁɟ ɨɦɨɝɭʄɟɧ ɚɩɫɨɥɭɬɧɨ ɧɟɨɦɟɬɚɧ ɬɨɤ ɞɪɚɦɫɤɟ ɪɚɞʃɟ. ɇɨ, ɩɨɫɬɚɜʂɚ ɫɟ ɩɢɬɚʃɟ ɤɚɤɜɚ ʁɟ ‘ɩɪɢɪɨɞɚ’ ɬɨɝ ɪɟɱɢɬɚɬɢɜɚ ɢ ɝɞɟ ɨɧ ɩɪɨɧɚɥɚɡɢ ɫɜɨʁ ɪɟɮɟɪɟɧɬɧɢ ɫɢɫɬɟɦ? ɍɤɨɥɢɤɨ ɩɨђɟɦɨ ɨɞ ɱɢʃɟɧɢɰɟ ɞɚ ʁɟ ɩɪɢɪɨɞɧɚ ɢ ɨɫɧɨɜɧɚ ɦɚɧɢɮɟɫɬɚɰɢʁɚ ʂɭɞɫɤɨɝ ɝɥɚɫɚ ɝɨɜɨɪ – ʁɟɡɢɤ ɤɚɨ ɢɧɫɬɪɭɦɟɧɬ ɤɨɦɭɧɢɤɚɰɢʁɟ, ɬɟ ɞɨɜɟɞɟɦɨ ʁɟ ɭ ɜɟɡɭ ɫɚ Ⱦɟɛɢɫɢʁɟɜɢɦ ɫɬɚɜɨɦ ɞɚ „ɭ ɦɭɡɢɱɤɨʁ ɞɪɚɦɢ ɫɜɟ ɬɪɟɛɚ ɞɚ ɫɥɭɠɢ ɟɤɫɩɪɟɫɢʁɢ ɥɢɪɫɤɨɝ ɟɥɟɦɟɧɬɚ ɤɨʁɢ ʁɟ ɢɧɤɚɪɧɢɪɚɧ ɭ ʂɭɞɫɤɨɦ ɝɥɚɫɭ” ɞɨɛɢʁɚɦɨ ɪɟɡɭɥɬɚɬ ɤɚɤɚɜ ʁɟ ɤɨɦɩɨɡɢɬɨɪ ɩɨɫɬɢɝɚɨ ɭ ɫɜɨʁɨʁ ɥɢɪɫɤɨʁ ɞɪɚɦɢ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ. Ɋɟɱ ʁɟ, ɧɚɢɦɟ, ɨ ɦɟɥɨɞɢʁɫɤɨʁ ɥɢɧɢʁɢ ɜɨɤɚɥɧɨɝ ɩɚɪɬɚ ɤɨʁɚ ʁɟ ɜɟɨɦɚ ɛɥɢɫɤɚ ɢɧɬɨɧɚɬɢɜɧɢɦ ɥɢɧɢʁɚɦɚ ɢɞɟɧɬɢɮɢɤɨɜɚɧɢɦ ɭ ɨɤɜɢɪɭ ɩɪɨɡɨɞɢʁɫɤɨɝ ɮɪɚɧɰɭɫɤɨɝ ɫɢɫɬɟɦɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɪɚɞɢ ɫɟ ɨ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ɦɟɥɨɞɢʁɫɤɨɦ ɪɟɰɢɬɨɜɚʃɭ (ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨɦ ɧɟ ɫɚɦɨ ɡɚ ɉɟɥɟɚɫɚ, ɜɟʄ ɢ ɡɚ Ɍɪɢ Ȼɢɥɢɬɢɫɢɧɟ ɩɟɫɦe /Trois Chansons de Bilits, 1898/), ɪɟɰɢɬɨɜɚʃɭ ɤɨʁɟ ɭ ɧɚʁɜɟʄɨʁ ɦɟɪɢ ɩɨɲɬɭʁɟ ɜɟɪɛɚɥɧɨ ɡɧɚɱɟʃɟ Ɇɟɬɟɪɥɢɧɤɨɜɟ ɩɪɨɡɟ. ɋ ɬɢɦ ɭ ɜɟɡɢ, Ⱦɟɛɢɫɢ ʁɟ ɧɚɩɢɫɚɨ ɫɥɟɞɟʄɟ: „Јɚ ɫɚɦ ɩɨɲɬɨɜɚɨ ɩɪɟ ɫɜɟɝɚ ɤɚɪɤɚɬɟɪ, ɠɢɜɨɬ ɦɨʁɢɯ ɥɢɱɧɨɫɬɢ; ɯɬɟɨ ɫɚɦ ɞɚ ɫɟ ɨɧɢ ɢɡɪɚɠɚɜɚʁɭ ɜɚɧ ɦɟɧɟ, ɜɚɧ ɫɚɦɢɯ ɫɟɛɟ. ɉɭɫɬɢɨ ɫɚɦ ɢɯ ɞɚ ɩɟɜɚʁɭ ɭ ɦɟɧɢ. Ɍɪɭɞɢɨ ɫɚɦ ɫɟ ɞɚ ɢɯ ɱɭʁɟɦ ɢ ɞɚ ɢɯ ɬɭɦɚɱɢɦ ɜɟɪɧɨ. Ɍɨ ʁɟ ɫɜɟ.”271 270 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɨɩɟɪɚ ɢɥɢ ɚɧɬɢɨɩɟɪɚ?”, Ɇɭɡɢɱɤɢ ɬɚɥɚɫ, 3‒6, 1997, 63. 271 Claude Debussy, Monsieur Croche et autres…, ɧɚɜ. ɞɟɥɨ, 270; ɧɚɜɟɞɟɧɨ ɩɪɟɦɚ: ɢɫɬɨ, 69. { 136 } Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɉɟɥɟɚɫɨɜ ɪɟɱɢɬɚɬɢɜ ɭɫɚɝɥɚɲɟɧ ʁɟ ɫɚ „ɩɪɢɪɨɞɨɦ” – ʁɟɡɢɤɨɦ, ɢ ɬɨ ʁɟ „ɬɢɩ ɪɟɱɢɬɚɬɢɜɚ ɱɢɫɬɨ ɥɢɧɝɜɢɫɬɢɱɤɟ ɩɟɪɰɟɩɰɢʁɟ”272. Ɇɟђɭɬɢɦ, ɩɪɢɥɢɤɨɦ ɭɫɚɝɥɚɲɚɜɚʃɚ ɝɨɜɨɪɧɨɝ ɢ ɦɭɡɢɱɤɨɝ ʁɟɡɢɤɚ, Ⱦɟɛɢɫɢ ʁɟ ɧɚɢɥɚɡɢɨ ɧɚ ɢɡɜɟɫɧɟ ɩɪɨɛɥɟɦɟ, ɚ ɨɧɢ ɫɭ ɩɪɟɜɚɫɯɨɞɧɨ ɛɢɥɢ ɫɤɨɧɰɟɧɬɪɢɫɚɧɢ ɨɤɨ ɩɢɬɚʃɚ ɦɭɡɢɱɤɨɝ ‘ɬɭɦɚɱɟʃɚ’ ɝɨɜɨɪɧɨɝ, ɭ ɫɦɢɫɥɭ ɩɪɟɧɨɲɟʃɚ, ɬɨ ʁɟɫɬ, ɩɨɞɪɠɚɜɚʃɚ ɜɢɫɢɧɟ, ɬɪɚʁɚʃɚ, ʁɚɱɢɧɟ ɢ ɛɨʁɟ ɪɟɱɢ.273 ɉɨɞɪɠɚɜɚʃɟ ɬɪɚʁɚʃɚ (ɩɨɞɭɞɚɪɚʃɟ ɜɟɪɛɚɥɧɢɯ ɢ ɦɭɡɢɱɤɢɯ ɚɤɰɟɧɚɬɚ ɤɪɨɡ ɭɩɨɬɪɟɛɭ ɚɧɚɥɨɝɧɢɦ ɪɢɬɦɢɱɤɢɯ ɜɪɟɞɧɨɫɬɢ), ʁɚɱɢɧɟ (ɞɢɧɚɦɢɱɤɨɝ ɢɧɬɟɧɡɢɬɟɬɚ) ɢ ɛɨʁɟ ɝɨɜɨɪɧɟ ɪɟɱɢ – ɛɢɥɨ ʁɟ ɦɨɝɭʄɟ ɪɟɚɥɢɡɨɜɚɬɢ. Ɇɟђɭɬɢɦ, ɤɨɞ ɩɢɬɚʃɚ ‘ɩɪɟɧɨɲɟʃɚ’ ɜɢɫɢɧɟ ɧɚɫɬɚɨ ʁɟ ɩɪɨɛɥɟɦ, ʁɟɪ ʁɟ Ⱦɟɛɢɫɢ ‒ ɭ ɠɟʂɢ ɞɚ ɞɨɫɥɟɞɧɨ, ɤɨɧɫɟɤɜɟɧɬɧɨ ɫɩɪɨɜɟɞɟ ɦɭɡɢɱɤɨ ‘ɬɭɦɚɱɟʃɟ’ ɝɨɜɨɪɧɨɝ ‒ ɦɨɪɚɨ ɞɚ ɩɪɨɧɚђɟ ɪɟɲɟʃɟ ɤɨʁɟ ɛɢ ɨɦɨɝɭʄɢɥɨ ɞɚ ʁɟɡɢɱɤɭ ɢɧɮɨɪɦɚɰɢʁɭ ɤɨʁɚ ɩɪɨɢɡɥɚɡɢ ɢɡ ɧɢʁɚɧɫɟ ɜɢɫɢɧɟ ɝɨɜɨɪɧɟ ɥɢɧɢʁɟ, ɡɚɛɟɥɟɠɢ ɢ ɮɢɤɫɢɪɚ ɬɟɦɩɟɪɨɜɚɧɢɦ ɦɭɡɢɱɤɢɦ ɫɢɫɬɟɦɨɦ. ɋ ɨɛɡɢɪɨɦ ɞɚ ɬɨ ɧɢʁɟ ɦɨɝɭʄɟ ɭɱɢɧɢɬɢ ʁɟɪ ɫɟ ɪɚɞɢ ɨ ɢɡɪɚɠɚʁɧɨɫɬɢ ɝɨɜɨɪɚ ɭ ɤɨʁɨʁ ɦɧɨɲɬɜɨ ɧɢʁɚɧɫɢ ɫɦɢɫɚɨɧɨɝ ɡɚɜɢɫɟ ɨɞ ɜɟɥɢɤɨɝ ɛɪɨʁɚ ɦɨɝɭʄɢɯ ɚɤɭɫɬɢɱɤɢɯ ɜɚɪɢʁɚɧɬɢ ɭ ɝɨɜɨɪɭ, Ⱦɟɛɢɫɢ ɫɟ ɨɞɥɭɱɢɨ ɞɚ ɩɨɦɟɧɭɬɨ ‘ɧɢʁɚɧɫɢɪɚʃɟ’ ɢɡɪɚɠɚʁɧɨɫɬɢ ɝɨɜɨɪɚ ɩɨɜɟɪɢ ɨɪɤɟɫɬɚɪɫɤɨɦ ɩɚɪɬɭ. Ɍɚɤɨ ɫɟ „ɢɡɪɚɠɚʁɧɨ ɛɨɝɚɬɫɬɜɨ ɉɟɥɟɚɫɚ ɨɫɥɚʃɚ ɧɚ ɰɟɥɨɤɭɩɧɨɫɬ ɦɭɡɢɱɤɨɝ ɩɢɫɦɚ, ɝɞɟ ɨɪɤɟɫɬɚɪ ɢɝɪɚ ɨɫɧɨɜɧɭ ɭɥɨɝɭ”274! ɇɨ, ɢ ɭ ɜɨɤɚɥɧɨɦ ɩɚɪɬɭ, ɞɚɤɥɟ, ɭ ɫɚɦɨʁ ɩɟɜɚɧɨʁ ɥɢɧɢʁɢ ɦɨɝɭʄɟ ʁɟ ɩɪɚɬɢɬɢ ɬɪɚɝɨɜɟ ɦɧɨɝɢɯ ɟɫɬɟɬɫɤɢɯ ɬɟɧɞɟɧɰɢʁɚ ɤɨʁɟ ɫɭ ɭ ɫɥɭɠɛɢ ɞɪɚɦɫɤɨɝ ɢɡɪɚɡɚ.275 Ʉɪɢɫɬɢʁɚɧɟ ɒɩɢɬ-ȼɚʁɫɟɧɛɚɯɟɪ ɞɟɬɟɤɬɭʁɟ ɬɪɢ ɜɪɫɬɟ ɮɢɝɭɪɚ ɧɚ ɤɨʁɢɦɚ ʁɟ ɡɚɫɧɨɜɚɧɚ ɦɭɡɢɱɤɚ ɢɡɪɚɠɚʁɧɨɫɬ ɜɨɤɚɥɧɨɝ ɩɚɪɬɚ ɉɟɥɟɚɫɚ. Ɋɟɱ ʁɟ ɨ: - ɩɪɨɡɨɞɢɦɚ ɭ ɫɦɢɫɥɭ ‘ɪɟɚɥɢɫɬɢɱɧɢɯ’ ɬɪɚɧɫɤɪɢɩɰɢʁɚ ɫɩɨɧɬɚɧɢɯ ɝɨɜɨɪɧɢɯ ɨɫɨɛɢɧɚ (ɨɜɚʁ ɩɨɫɬɭɩɚɤ Ⱦɟɛɢɫɢ ɫɩɪɨɜɨɞɢ ɬɨɤɨɦ ɰɟɥɨɝ ɞɟɥɚ), - ɦɚɞɪɢɝɚɥɢɡɦɢɦɚ ‒ ɦɚʃɟ ɢɥɢ ɜɢɲɟ ‘ɪɟɚɥɢɫɬɢɱɤɢɦ’ ɨɰɪɬɚɜɚʃɢɦɚ ɫɩɨʂɧɢɯ ɞɨɝɚђɚʁɚ (ɨɜɚ ɮɢɝɭɪɚ ɫɟ ɜɪɥɨ ɪɟɬɤɨ ɦɨɠɟ ɧɚʄɢ ɭ ɪɟɱɢɬɚɬɢɜɭ ɉɟɥɟɚɫɚ), ɢ ɨ 272 Christiane Spieth-Weissenbacher, “Prosodes et symbols mélodiques dans le recitative de Pelléas et Mélisande ou place du figuralisme dans l’écriture vocale de Debussy”, International review of the aesthetics and sociology of music, Zagreb, 1982, 83. 273 Ɉɫɧɨɜɧɟ ɤɚɪɤɬɟɪɢɫɬɢɤɟ ɬɨɧɚ, ɤɚɨ ɲɬɨ ɫɭ ɜɢɫɢɧɚ, ɬɪɚʁɚʃɟ, ɢɬɟɧɡɢɬɟɬ ɢ ɛɨʁɚ, ʁɟɫɭ ɝɥɚɜɧɟ ɨɞɥɢɤɟ ɢ ɢɡɝɨɜɨɪɟɧɟ ɪɟɱɢ. 274 Christiane Spieth-Weissenbacher, ɧɚɜ. ɞɟɥɨ, 84. 275 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ. { 137 } - ɫɢɦɛɨɥɢɦɚ – ɦɭɡɢɱɤɢɦ ɨɫɨɛɢɧɚɦɚ ɱɢʁɢ ɫɭ ɨɞɧɨɫɢ ɫɚ ɚɩɫɬɪɚɤɬɧɢɦ ɩɨʁɦɨɜɢɦɚ ɤɨʁɟ ɩɪɟɞɫɬɚɜʂɚʁɭ ɫɚɦɨ ɚɧɚɥɨɝɧɢ, ɢ ɱɟɫɬɨ ɫɭ ɫɤɪɢɜɟɧɢ. ɉɨɞ ɩɨɫɥɟɞʃɨɦ ɮɢɝɭɪɨɦ ɩɨɞɪɚɡɭɦɟɜɚ ɫɟ ɡɚɩɪɚɜɨ ɫɢɦɛɨɥɢɱɤɚ ɭɩɨɬɪɟɛɚ: - ɢɧɬɟɪɜɚɥɚ (ɧɚ ɩɪɢɦɟɪ, ɭ ɞɟɨɧɢɰɢ ɂɧɢɨɥɞɚ ɱɢɫɬɟ ɤɜɚɪɬɟ ɢ ɤɜɢɧɬɟ ʁɚɜʂɚʁɭ ɫɟ ɞɜɨɫɬɪɭɤɨ ɜɢɲɟ ɧɟɝɨ ɭ ɞɟɨɧɢɰɚɦɚ ɨɫɬɚɥɢɯ ɥɢɤɨɜɚ, ɲɬɨ ʁɟ ɫɢɦɛɨɥ ɢɡɜɟɫɧɟ ɛɟɡɚɡɥɟɧɨɫɬɢ ɫɜɨʁɫɬɜɟɧɟ ɞɟɬɢʃɫɬɜɭ; ɢɥɢ ɩɪɨɝɪɟɫɢɜɧɨ ɫɦɚʃɢɜɚʃɟ ‘ɱɢɫɬɢɯ’ ɢɧɬɟɪɜɚɥɚ ɭ ɞɟɨɧɢɰɢ Ƚɨɥɨɚ, ɲɬɨ ʁɟ ɫɢɦɛɨɥ ‘ɨɩɚɞɚʃɚ’ ʃɟɝɨɜɟ ɱɟɞɧɨɫɬɢ ɢ ɛɟɡɛɪɢɠɧɨɫɬɢ); - ɥɟɫɬɜɢɱɧɢɯ ɨɫɧɨɜɚ (ɩɟɧɬɚɬɨɧɫɤɟ ɥɟɫɬɜɢɰɟ ɤɚɨ ɫɢɦɛɨɥɚ ɱɢɫɬɨɬɟ, ɧɟɜɢɧɨɫɬɢ, ɫɜɟɬɥɨɫɬɢ ɢ ɥɟɩɨɬɟ ɢ ɰɟɥɨɫɬɟɩɟɧɟ ɥɟɫɬɜɢɰɟ ɤɚɨ ɫɢɦɛɨɥɚ ɫɭɦʃɟ, ɫɟɧɤɟ, ɡɥɚ) - ɪɢɬɦɚ (ɨɪɢɝɢɧɚɥɧɚ ɪɢɬɦɢɱɤɚ ɤɨɧɮɢɝɭɪɚɰɢʁɚ ɨɞɪɟђɟɧɨɝ ɦɨɬɢɜɚ ɫɟ ‘ɞɟɮɨɪɦɢɲɟ’ ɩɨɦɨʄɭ ɫɢɧɤɨɩɢɪɚɧɨɝ ɪɢɬɦɚ ɢ ɪɟɩɟɬɢɰɢʁɟ ɩɨʁɟɞɢɧɢɯ ɬɨɧɨɜɚ); - ɤɪɚʁʃɢɯ ɬɚɱɚɤɚ ɪɚɫɩɨɧɚ ɝɥɚɫɚ (ɭ Ⱥɪɤɟɥɨɜɨʁ ɞɟɨɧɢɰɢ ɩɨʁɚɦ „ɫɦɪɬ” ʁɟ ɫɢɦɛɨɥɢɱɤɢ ɩɪɢɤɚɡɚɧ ɧɚʁɞɭɛʂɢɦ ɬɨɧɨɦ ɛɚɫɨɜɨɝ ɪɟɝɢɫɬɪɚ, ɚ ɧɟ ɫɚɦɨ ɞɭɛɨɤɢɦ ɬɨɧɨɦ, ɲɬɨ ɛɢ ɛɢɨ ɦɚɞɪɢɝɚɥɢɡɚɦ).276 Ⱦɟɛɢɫɢʁɟɜɨ ɜɨɤɚɥɧɨ ɩɢɫɦɨ ɭ ɉɟɥɟɚɫɭ, ʃɟɝɨɜɚ ɨɪɢɝɢɧɚɥɧɨɫɬ ɢ ɫɩɟɰɢɮɢɱɧɨɫɬ, ɞɚɥɨ ʁɟ ɩɨɜɨɞɚ ɛɪɨʁɧɢɦ ɦɭɡɢɤɨɥɨɡɢɦɚ ɢ ɟɫɬɟɬɢɱɚɪɢɦɚ ɦɭɡɢɤɟ ɡɚ ɢɧɬɟɪɟɫɚɧɬɧɚ ɢɫɬɪɚɠɢɜɚʃɚ ɢ ɱɟɫɬɨ ɩɨɫɬɚɜʂɚʃɟ ɩɢɬɚʃɚ ɝɞɟ ɬɚɤɚɜ „ɛɟɫɤɪɚʁɧɢ ɪɟɱɢɬɚɬɢɜ” ‘ɩɪɨɧɚɥɚɡɢ’ ɫɜɨʁ ɪɟɮɟɪɟɧɬɧɢ ɫɢɫɬɟɦ. Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ ɢɫɬɢɱɟ ɞɚ „ɛɟɫɤɪɚʁɧɢ ɪɟɱɢɬɚɬɢɜ” ɉɟɥɟɚɫɚ, ɤɨʁɢ ʁɟ ɧɚɫɬɚɨ ɤɚɨ ɪɟɡɭɥɬɚɬ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɝ ɭɫɚɝɥɚɲɚɜɚʃɚ ɝɨɜɨɪɧɨɝ ɢ ɦɭɡɢɱɤɨɝ ʁɟɡɢɤɚ, ɭɩɭʄɭʁɟ ɧɚ ȼɚɝɧɟɪɚ, ɚɥɢ ɫɚɦɨ ɭ ɫɦɢɫɥɭ ɤɨɧɮɪɨɧɬɢɪɚʃɚ ɩɚɪɚɞɨɤɫɚ ‒ ɞɚɤɥɟ, Ⱦɟɛɢɫɢʁɟɜ „ɛɟɫɤɪɚʁɧɢ ɪɟɱɢɬɚɬɢɜ” ɧɚɫɩɪɚɦ ȼɚɝɧɟɪɨɜɟ „ɛɟɫɤɪɚʁɧɟ ɦɟɥɨɞɢʁɟ”.277 Ɍɚɤɨђɟ, ɨɧɚ 276 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Christiane Spieth-Weissenbacher, Le Recitatif melodique dans Pelléas et Melisande de Claude Debussy, thèse de 3e cycle, 1979. ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɨɩɟɪɚ ɢɥɢ ɚɧɬɢɨɩɟɪɚ?”, ɧɚɜ. ɞɟɥɨ, 69‒70. 277 ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ...”, ɧɚɜ. ɞɟɥɨ, 91; Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɨɩɟɪɚ ɢɥɢ ɚɧɬɢɨɩɟɪɚ?”, ɧɚɜ. ɞɟɥɨ, 54‒73; Tijana Popović Mlađenović, „Varijacije na temu Peleas i Melisanda Kloda Debisija i istorija”, u: Opera – od obreda do umetničke forme, zbornik tekstova (Beograd: Fakultet muzičke umetnosti, 2001), 184‒197. { 138 } ɢɫɬɢɱɟ ɢ ɬɨ ɞɚ ɉɟɥɟɚɫɨɜ „ɛɟɫɤɪɚʁɧɢ ɪɟɱɢɬɚɬɢɜ” ɤɨɦɭɧɢɰɢɪɚ ɫɚ ɡɧɚɬɧɨ ɭɞɚʂɟɧɢʁɨɦ ɦɭɡɢɱɤɨɦ ɩɪɨɲɥɨɲʄɭ. ɋ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɧɚ ɪɚɜɧɢ ɜɨɤɚɥɧɨɝ ɩɢɫɦɚ ɉɟɥɟɚɫ ɭɩɭʄɭʁɟ ɧɚ ɬɢɩ ɪɟɱɢɬɚɬɢɜɚ ɡɚ ɤɨʁɢ ɫɭ ɫɟ ɭ ɢɫɬɨɪɢʁɢ ɪɚɡɜɨʁɚ ɮɪɚɧɰɭɫɤɟ ɨɩɟɪɟ ɡɚɥɚɝɚɥɢ Ʌɢɥɢ ɢ Ɋɭɫɨ. Ɍɨ ʁɟ ɪɟɱɢɬɚɬɢɜ ɤɨʁɢ „ɧɚ ɫɚɫɜɢɦ ɧɨɜ ɧɚɱɢɧ ɨɡɧɚɱɚɜɚ ɬɚɱɧɨ ɬɪɚʁɚʃɟ ɢɡɝɨɜɚɪɚʃɚ ɪɟɱɢ”, ɪɟɱɢɬɚɬɢɜ ɭ ɤɨʁɟɦ „ɩɪɨɡɨɞɢʁɚ ʁɟɡɢɤɚ ɧɚɦɟʄɟ ɫɜɨʁ ɤɚɪɚɤɬɟɪ”, ɪɟɱɢɬɚɬɢɜ ɤɨʁɢ ʁɟ ɭ ɩɨɝɥɟɞɭ ɢɧɬɟɪɜɚɥɫɤɟ ɤɨɧɮɢɝɭɪɚɰɢʁɟ ‘ɫɤɪɨɦɧɢʁɢ’ ɛɭɞɭʄɢ ɞɚ „ɭ ʃɟɦɭ ɧɟɦɚ ɧɢɬɢ ɜɢɤɟ, ɧɢɬɢ ɢɱɟɝ ɧɚɥɢɤ ɩɟɜɚʃɭ”, ɪɟɱɢɬɚɬɢɜ ɤɨʁɢ ʁɟ ɭ ɞɭɯɭ ɮɪɚɧɰɭɫɤɨɝ ʁɟɡɢɤɚ – ʁɟɞɧɨɫɬɚɜɧɨ ɪɟɱɟɧɨ, ɮɪɚɧɰɭɫɤɢ ɪɟɱɢɬɚɬɢɜ.278 Ʉɚɨ ɩɪɢɦɟɪ ɡɚ ɞɟɛɢɫɢʁɟɜɫɤɢ (ɮɪɚɧɰɭɫɤɢ) ɪɟɱɢɬɚɬɢɜ ɤɨʁɢ ɫɜɨʁɨɦ ‘ɩɪɢɪɨɞɧɨɲʄɭ’ ɢ ɫɜɨʁɢɦ ɤɨɧɫɬɚɧɬɧɢɦ ɨɛɥɢɤɨɜɚʃɟɦ ɜɨɤɚɥɧɟ ɞɟɨɧɢɰɟ ɩɪɟɦɚ ɝɢɛɚʃɢɦɚ ɨɛɢɱɧɨɝ ɮɪɚɧɰɭɫɤɨɝ ɝɨɜɨɪɚ ɭɩɭʄɭʁɟ ɧɚ ɟɜɟɧɬɭɚɥɧɟ ɭɬɢɰɚʁɟ Ʌɢɥɢʁɟɜɨɝ ɪɟɱɢɬɚɬɢɜɚ, ɦɨɠɟ ɩɨɫɥɭɠɢɬɢ ɀɟɧɟɜʁɟɜɢɧ ɪɟɱɢɬɚɬɢɜ ɧɚ ɩɨɱɟɬɤɭ ɞɪɭɝɟ ɫɥɢɤɟ ɩɪɜɨɝ ɱɢɧɚ (ɋɰɟɧɟ ɱɢɬɚʃɚ ɩɢɫɦɚ), ɤɚɞɚ ɨɧɚ ɱɢɬɚ Ƚɨɥɨɨɜɨ ɩɢɫɦɨ. 278 „Ɉɤɨ ɫɬɨ ɩɟɞɟɫɟɬ ɝɨɞɢɧɚ ɩɪɟ ɩɪɜɨɝ ɢɡɜɨђɟʃɚ ɉɟɥɟɚɫɚ ɢ Ɇɟɥɢɫɚɧɞɟ, ɬɚɱɧɢʁɟ 1753. ɝɨɞɢɧɟ, ɞɪɭɝɢ ɨɞ ɞɜɚ ɩɪɟɬɯɨɞɧɨ ɩɨɦɟɧɭɬɚ ɮɪɚɧɰɭɫɤɚ ɤɨɦɩɨɡɢɬɨɪɚ, ɀɚɧ ɀɚɤ Ɋɭɫɨ ʁɟ ɭ ɫɜɨɦ ɫɩɢɫɭ ɉɢɫɦɨ ɨ ɮɪɚɧɰɭɫɤɨʁ ɦɭɡɢɰɢ (Lettre sur la musique française) ɡɚɤʂɭɱɢɨ ɞɚ ʁɟ ɮɪɚɧɰɭɫɤɢ ʁɟɡɢɤ ɭɫɥɟɞ ɫɜɨʁɢɯ ɚɤɰɟɧɚɬɚ ɢ ɪɢɬɦɚ ɧɟɩɨɞɟɫɚɧ ɡɚ ɤɨɪɢɲʄɟʃɟ ɭ ɦɭɡɢɰɢ, ɨɞɧɨɫɧɨ ɡɚ ɩɟɜɚʃɟ. ɉɚ ɢɩɚɤ, ɧɚɩɢɫɚɨ ʁɟ ɞɜɚ ɜɨɤɚɥɧɨ- ɢɧɫɬɪɭɦɟɧɬɚɥɧɚ ɞɟɥɚ ɧɚ ɮɪɚɧɰɭɫɤɨɦ ʁɟɡɢɤɭ: operu buffo ɋɟɨɫɤɢ ɜɪɚɱ (Le Devin du village, 1752), ɤɚɨ ɢ ɭ ɢɫɬɨɪɢʁɢ ɦɭɡɢɤɟ ɩɪɜɢ ɫɰɟɧɫɤɢ ɦɭɡɢɱɤɢ ɦɟɥɨɞɪɚɦ, ɭ ɞɚɧɚɲʃɟɦ ɫɦɢɫɥɭ ɬɟ ɪɟɱɢ – ɪɟɰɢɬɨɜɚʃɟ ɭɡ ɩɪɚɬʃɭ ɦɭɡɢɤɟ, ɉɢɝɦɚɢɥɢɨɧ (Pygmalion, 1770).” ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɨɩɟɪɚ ɢɥɢ ɚɧɬɢɨɩɟɪɚ?”, ɧɚɜ. ɞɟɥɨ, 69. „Ⱦɟɨ ɤɨʁɟɦ ɫɚɦ ɩɨɫɜɟɬɢɨ ɧɚʁɜɢɲɟ ɩɚɠʃɟ”, ɩɢɫɚɨ ʁɟ Ɋɭɫɨ ɨ ɋɟɨɫɤɨɦ ɜɪɚɱɭ, „ɢ ɭ ɤɨʁɟɦ ɫɚɦ ɧɚɱɢɧɢɨ ɧɚʁɜɟʄɟ ɨɞɫɬɭɩɚʃɟ ɨɞ ɜɟʄ ɭɬɪɬɨɝ ɩɭɬɚ, ʁɟɫɬɟ ɪɟɱɢɬɚɬɢɜ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.]. Ɇɨʁ ɪɟɱɢɬɚɬɢɜ ʁɟ ɚɤɰɟɧɬɨɜɚɧ ɧɚ ɫɚɫɜɢɦ ɧɨɜ ɧɚɱɢɧ ɢ ɨɡɧɚɱɚɜɚ ɬɚɱɧɨ ɬɪɚʁɚʃɟ ɢɡɝɨɜɚɪɚʃɚ ɪɟɱɢ.” ȼɢɞɟɬɢ: John F. Strauss, Jean-Jacques Rousseau: Musician, The Musical Quarterly, Vol. LXIV No.4, 1978, 479. Ɋɭɫɨ ɫɜɨʁɭ ɨɫɧɨɜɧɭ ɦɢɫɚɨ ɨ ɜɪɚʄɚʃɭ ɩɪɢɪɨɞɢ ɫɩɪɨɜɨɞɢ ɢ ɭ ɬɟɨɪɢʁɫɤɨɦ ɩɪɢɫɬɭɩɭ ɦɭɡɢɰɢ: ɦɟɥɨɞɢʁɚ ɫɟ ɫɬɜɚɪɚ ɩɨɞɪɠɚɜɚʃɟɦ ɚɤɰɟɧɚɬɚ ɝɥɚɫɚ ɭ ɝɨɜɨɪɭ, ɨɞɧɨɫɧɨ ɩɨɞɪɠɚɜɚʃɟɦ ɮɥɟɤɫɢʁɚ ɩɪɢɪɨɞɧɨɝ ɝɨɜɨɪɚ. ɋɜɨʁɟɜɪɫɧɨ Ɋɭɫɨɨɜɨ ɩɪɟɞɜɢђɚʃɟ ɪɟɱɢɬɚɬɢɜɚ ɛɭɞɭʄɧɨɫɬɢ – ɪɟɱɢɬɚɬɢɜɚ ɤɨʁɢ ʄɟ ɫɟ ɤɪɟɬɚɬɢ ɭ ɦɚɥɢɦ ɢɧɬɟɪɜɚɥɫɤɢɦ ɩɨɤɪɟɬɢɦɚ, ɛɟɡ ɩɪɟɬɟɪɚɧɨɝ ɞɢɡɚʃɚ ɢɥɢ ɫɩɭɲɬɚʃɚ ɝɥɚɫɚ, ɛɟɡ ɞɭɝɨɝ ɡɚɞɪɠɚɜɚʃɚ ɧɚ ɬɨɧɨɜɢɦɚ, ɛɟɡ ɜɢɤɟ ɢ ɛɟɡ ɢɱɟɝ ɲɬɨ ɥɢɱɢ ɧɚ ɩɟɜɚʃɟ, ɫɚɦɨ ɦɚɥɨ ɧɟʁɟɞɧɚɤɨɫɬɢ ɭ ɬɪɚʁɚʃɭ ɧɨɬɧɢɯ ɜɪɟɞɧɨɫɬɢ – ɧɚʁɚɜʂɭʁɟ ɜɨɤɚɥɧɭ ɭɦɟɬɧɨɫɬ Ⱦɟɛɢɫɢʁɚ ɢ Ⱦɚɪɝɨɦɢɠɫɤɨɝ (Ⱥɥɟɤɫɚ ɧɞɪ ɋɟɪɝɟ ɟɜɢɱ Ⱦɚɪɝɨɦ ɠɫɤɢɣ (Ʉɚɦɟɧɢ ɝɨɫɬ /Ʉɚɦɟɧɧɵɣ ɝɨɫɬɶ, 1869/)), ɩɚ ɢ Ɇɭɫɨɪɝɫɤɨɝ ɢ Јɚɧɚɱɟɤɚ (Leoš Janáček), ɬɨ ʁɟɫɬ, ɧɚʁɚɜʂɭʁɟ ʁɟɞɧɨ ɜɪɟɦɟ ɭ ɤɨʁɟɦ ɩɪɨɡɨɞɢʁɚ ʁɟɡɢɤɚ ɧɚɦɟʄɟ ɫɜɨʁ ɤɚɪɚɤɬɟɪ ɢ ɭɱɟɫɬɜɭʁɟ ɭ ɫɬɜɚɪɚʃɭ, ɢɡɦɟђɭ ɨɫɬɚɥɨɝ, ɢ ɧɚɰɢɨɧɚɥɧɨɝ ɢɡɪɚɡɚ ɭ ɦɭɡɢɰɢ. ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɨɩɟɪɚ ɢɥɢ ɚɧɬɢɨɩɟɪɚ?”, ɧɚɜ. ɞɟɥɨ, 69. { 139 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 13: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ (Pelléas et Mélisande, 1902), ɨɪɤɟɫɬɚɪɫɤɚ ɩɚɪɬɢɬɭɪɚ, I ɱɢɧ, II ɫɥɢɤɚ – ɋɰɟɧɚ ɱɢɬɚʃɚ ɩɢɫɦɚ, ɀɟɧɟɜʁɟɜɢɧ ɪɟɱɢɬɚɬɢɜ, ɩɪɜɢɯ 18 ɬɚɤɬɨɜɚ ɨɞ ɩɚɪɬɢɬɭɪɧɨɝ ɛɪɨʁɚ 22. { 140 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 13: ...ɧɚɫɬɚɜɚɤ. { 141 } ɉɨɫɟɛɧɨɫɬ ɨɜɨɝ ɪɟɱɢɬɚɬɢɜɚ ɨɝɥɟɞɚ ɫɟ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɢ ɭ ɞɢɫɤɪɟɬɧɨʁ ɨɪɤɟɫɬɚɪɫɤɨʁ ɩɪɚɬʃɢ ɪɟɞɭɤɨɜɚɧɨʁ ɧɚ ɞɪɠɚɧɟ ɚɤɨɪɞɟ, ɚɥɢ ɢ ɭ ɜɟɨɦɚ ɟɮɢɤɚɫɧɨʁ ɟɤɫɩɪɟɫɢɜɧɨɫɬɢ ɯɚɪɦɨɧɢʁɟ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɩɨɫɟɛɧɨ ɧɚ ɡɧɚɱɚʁɧɢɦ ɦɟɫɬɢɦɚ ɤɚɨ ɲɬɨ ʁɟ ɨɧɚʁ ɬɪɟɧɭɬɚɤ ɤɚɞɚ Ƚɨɥɨ ɭ ɩɢɫɦɭ ɟɜɨɰɢɪɚ, ʁɟɞɧɨ ɡɚ ɞɪɭɝɢɦ, ɫɜɨʁɭ ɦɚʁɤɭ ɢ ɫɬɚɪɨɝ ɤɪɚʂɚ Ⱥɪɤɟɥɚ. ɋ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɜɨɤɚɥɧɢ ɩɚɪɬ Ⱦɟɛɢɫɢʁɟɜɟ ɥɢɪɫɤɟ ɞɪɚɦɟ ɤɨɦɭɧɢɰɢɪɚ ɢ ɫɚ ɜɨɤɚɥɧɢɦ ɩɢɫɦɨɦ ɤɨʁɟ ʁɟ ɛɢɥɨ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨ ɡɚ ɩɪɜɟ ɩɨɤɭɲɚʁɟ ɭ ɨɛɥɚɫɬɢ ɨɩɟɪɫɤɨɝ ɫɬɜɚɪɚɥɚɲɬɜɚ. Ⱥɭɬɨɪɢ ɩɪɜɢɯ drama per musica ɢɥɢ melodrama, ɱɥɚɧɨɜɢ ɬɚɤɨɡɜɚɧɟ Ɏɢɪɟɧɬɢɧɫɤɟ ɤɚɦɟɪɚɬɟ (Camerata), ɬɪɚɠɢɥɢ ɫɭ ɞɚ ɬɨɧ ɛɭɞɟ ɩɨɞɪɟђɟɧ ɪɟɱɢ, ɨɞɧɨɫɧɨ, ɞɚɜɚɥɢ ɫɭ ɩɪɜɟɧɫɬɜɨ ʁɚɫɧɨʄɢ ɬɟɤɫɬɚ ɢ ɞɪɚɦɫɤɟ ɪɚɞʃɟ, ɞɨɤ ɫɟ ɦɭɡɢɤɚ ɭ ʃɢɯɨɜɢɦ ɨɫɬɜɚɪɟʃɢɦɚ ɨɝɪɚɧɢɱɚɜɚɥɚ ɧɚ stile rappresentativo, ɬɨ ʁɟɫɬ, ɦɟɥɨɞɢʁɫɤɨ ɪɟɰɢɬɨɜɚʃɟ. Ɇɨɧɬɟɜɟɪɞɢ ʁɟ ɩɨɫɬɟɩɟɧɨ ɫɜɟ ɜɢɲɟ ɩɪɨɞɭɛʂɢɜɚɨ ɭɥɨɝɭ ɦɭɡɢɤɟ, ɭɞɚʂɚɜɚʁɭʄɢ ɫɟ ɧɚ ɬɚʁ ɧɚɱɢɧ ɨɞ ɮɢɪɟɧɬɢɧɫɤɟ ɤɨɧɰɟɩɰɢʁɟ. Ɇɟђɭɬɢɦ, ɨɧɨ ɲɬɨ ɭ ɧɚʁɨɩɲɬɢʁɟɦ ɫɦɢɫɥɭ Ⱦɟɛɢɫɢʁɟɜɭ ɡɚɦɢɫɚɨ ɩɪɢɛɥɢɠɚɜɚ Ɇɨɧɬɟɜɟɪɞɢʁɟɜɨʁ ʁɟɫɬɟ ɱɢʃɟɧɢɰɚ ɞɚ ɢ ɤɨɞ ʁɟɞɧɨɝ ɢ ɤɨɞ ɞɪɭɝɨɝ ɤɨɦɩɨɡɢɬɨɪɚ ɩɨɟɡɢʁɚ (ɪɟɱ) ɞɨɦɢɧɢɪɚ, ɚɥɢ ɩɨɦɨʄɭ ɦɭɡɢɱɤɢɯ ɫɪɟɞɫɬɚɜɚ!279 Oɧɨ ɲɬɨ ɫɟ ɱɢɧɢ ɩɨɫɟɛɧɨ ɢɧɬɟɪɟɫɚɧɬɧɢɦ ɭ ɜɟɡɢ ɫɚ ‘ɭɩɭʄɢɜɚʃɢɦɚ’ ɜɨɤɚɥɧɟ ɞɟɨɧɢɰɟ Ⱦɟɛɢɫɢʁɟɜɨɝ ɞɟɥɚ ɧɚ ɦɭɡɢɱɤɭ ɩɪɨɲɥɨɫɬ ʁɟɫɬɟ ɬɨ ɞɚ ɭ ɨɞɪɟђɟɧɢɦ ɫɟɝɦɟɧɬɢɦɚ ɬɚ ‘ɭɩɭʄɢɜɚʃɚ’ ɢɡɥɚɡɟ ɜɚɧ ɠɚɧɪɚ ɨɩɟɪɟ ɭɨɩɲɬɟ, ɢ ɩɪɟɧɨɫɟ ɫɟ ʁɨɲ ɞɚʂɟ ɭ ɩɪɨɲɥɨɫɬ: ɧɚ ɝɪɟɝɨɪɢʁɚɧɫɤɭ ɩɫɚɥɦɨɞɢʁɭ, ɧɚ ɧɟɤɟ ɤɚɪɚɤɬɟɪɢɫɬɢɤɟ ɫɪɟɞʃɨɜɟɤɨɜɧɢɯ ɰɪɤɜɟɧɢɯ ɦɟɥɨɞɢʁɚ – ɧɚ ɜɪɫɬɭ ɫɥɨɛɨɞɧɟ ɥɢɪɫɤɟ ɩɫɚɥɦɨɞɢʁɟ. „Ɉɜɚ ɞɪɚɦɚ ʁɟ”, ɩɪɟɦɚ ɪɟɱɢɦɚ Јɭɥɢʁɟ Ⱦ’Ⱥɥɦɟɧɞɪɟ (Julia d’Almendra), „ʁɟɞɧɚ ɜɪɫɬɚ ɫɬɚɪɨɝ ɪɟɱɢɬɚɬɢɜɚ, ɪɟɰɢɬɨɜɚʃɚ ɧɚ ʁɟɞɧɨʁ ɢɫɬɨʁ ɦɟɥɨɞɢʁɫɤɨʁ ɥɢɧɢʁɢ, ɭ ɤɨʁɨʁ ɚɤɰɟɧɬɢ ɭ ɬɟɤɫɬɭ ɢɦɚʁɭ ɫɥɢɱɧɭ ɭɥɨɝɭ ɤɚɨ ɚɤɰɟɧɬɢ ɥɚɬɢɧɫɤɨɝ ɬɟɤɫɬɚ ɭ ɝɪɟɝɨɪɢʁɚɧɫɤɨʁ ɩɫɚɥɦɨɞɢʁɢ.”280 Ɋɟɱ ʁɟ, ɡɚɩɪɚɜɨ, ɨ ɬɢɩɢɱɧɢɦ ɦɟɥɨɞɢʁɫɤɢɦ ‘ɮɨɪɦɭɥɚɦɚ’ ɢ ɤɚɞɟɧɰɚɦɚ, ɫɥɨɛɨɞɧɨɦ ɪɢɬɦɭ ɤɨʁɢ ɫɟ ʁɚɜʂɚ ɭ ɜɢɞɭ ɱɟɫɬɢɯ ɩɪɨɦɟɧɚ ɬɚɤɬɚ ɢɥɢ ɫɦɟʃɢɜɚʃɭ ɛɢɧɚɪɧɢɯ ɢ ɬɪɢɧɚɪɧɢɯ ɝɪɭɩɚ, ɬɟ ɭɩɨɬɪɟɛɢ 279 ɂɫɬɨ, 66. 280 Julia d’Almendra, Debussy et le movement modal dans la musique du XXe siècle, u: Debussy et l’évolution de la musique au XXe siècle (Paris: Éditions du centre national de la recherché scientifique, 1962), 116. { 142 } ɫɪɟɞʃɨɜɟɤɨɜɧɢɯ ɦɨɞɭɫɚ. ɍ ɨɜɨɦ ɤɨɧɬɟɤɫɬɭ ɫɟ ɢɡɞɜɚʁɚ Ɇɟɥɢɫɚɧɞɢɧ ɫɨɥɨ ɪɟɱɢɬɚɬɢɜ, ɞɚɤɥɟ, ɛɟɡ ɨɪɤɟɫɬɚɪɫɤɟ ɩɪɚɬʃɟ, ɢɡ ɩɪɜɟ ɫɥɢɤɟ ɬɪɟʄɟɝ ɱɢɧɚ ɤɨʁɢ ɢɦɚ ɦɨɞɚɥɧɭ ɨɫɧɨɜɭ – ɞɨɪɫɤɢ ɦɨɞɭɫ ɨɞ ɬɨɧɚ ɟ, ɬɢɩɢɱɧɟ ɦɟɥɨɞɢʁɫɤɟ ‘ɮɨɪɦɭɥɟ’ ɢ ɤɚɞɟɧɰɟ ɫɪɟɞʃɨɜɟɤɨɜɧɢɯ ɰɪɤɜɟɧɢɯ ɦɟɥɨɞɢʁɚ, ɲɬɨ ɧɚ ɢɡɜɟɫɬɚɧ ɧɚɱɢɧ ɭɩɭʄɭʁɟ ɢ ɧɚ ɦɟɥɨɞɪɚɦɚɬɫɤɢ ɦɨɦɟɧɚɬ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 14). ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 14: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ (Pelléas et Mélisande, 1902), ɨɪɤɟɫɬɚɪɫɤɚ ɩɚɪɬɢɬɭɪɚ, III ɱɢɧ, I ɫɥɢɤɚ – ȳɟɞɧɚ ɨɞ ɤɭɥɚ ɞɜɨɪɰɚ, Ɇɟɥɢɫɚɧɞɢɧ ɫɨɥɨ ɪɟɱɢɬɚɬɢɜ, ɨɞ 3. ɬɚɤɬɚ ɭ ɩɚɪɬɢɬɭɪɧɨɦ ɛɪɨʁɭ 2 ɞɨ ɩɚɪɬɢɬɭɪɧɨɝ ɛɪɨʁɚ 4; { 143 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 14: ... ɧɚɫɬɚɜɚɤ. ɍɡɢɦɚʁɭʄɢ ɭ ɨɛɡɢɪ ɫɜɟ ɧɚɜɟɞɟɧɨ ɭ ɜɟɡɢ ɫɚ ɜɨɤɚɥɧɢɦ ɩɢɫɦɨɦ ɉɟɥɟɚɫɚ ɩɪɢɪɨɞɧɨ ɫɟ ɧɚɦɟʄɟ ɩɢɬɚʃɟ ɞɚ ɥɢ ʁɟ Ⱦɟɛɢɫɢʁɟɜɨ ɨɫɬɜɚɪɟʃɟ ɭɨɩɲɬɟ ɩɪɢɩɚɞɚ ɨɩɟɪɫɤɨɦ ɠɚɧɪɭ. Ȼɭɞɭʄɢ ɞɚ ʁɟ ‘ɛɟɫɤɪɚʁɧɢ ɪɟɱɢɬɚɬɢɜ’ ɧɚɫɬɚɨ ɤɚɨ ɪɟɡɭɥɬɚɬ ɩɨɫɬɭɩɤɚ ‘ɪɟɚɥɢɫɬɢɱɤɢɯ’ ɬɪɚɧɫɤɪɢɩɰɢʁɚ ɫɩɨɧɬɚɧɢɯ ɝɨɜɨɪɧɢɯ ɨɫɨɛɢɧɚ ɫɪɟɞɫɬɜɢɦɚ ɦɭɡɢɱɤɨɝ ɧɚɱɢɧɚ ɢɡɪɚɠɚɜɚʃɚ, ɬɨ ɧɚɜɨɞɢ ɧɚ ɡɚɤʂɭɱɚɤ, ɩɪɟɦɚ ɦɢɲʂɟʃɭ Ɍɢʁɚɧɟ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ɞɚ „ɥɢɪɫɤɚ ɞɪɚɦɚ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ ɩɨ ɬɪɟɬɦɚɧɭ ɜɨɤɚɥɧɨɝ ɩɚɪɬɚ ɧɢʁɟ ɨɩɟɪɚ ɭ ʃɟɧɨɦ ɫɭɲɬɢɧɫɤɨɦ ɡɧɚɱɟʃɭ ɤɨʁɟ ɩɨɞɪɚɡɭɦɟɜɚ ɦɧɨɝɨ ɪɚɡɜɢʁɟɧɢʁɭ, ɩɟɜɚɧɭ ɦɟɥɨɞɢʁɫɤɭ { 144 } ɥɢɧɢʁɭ ɮɨɪɦɢɪɚɧɭ, ɩɪɟ ɫɜɟɝɚ, ɩɪɟɦɚ ɡɚɤɨɧɢɬɨɫɬɢɦɚ ɦɭɡɢɱɤɟ ɥɨɝɢɤɟ […]”281. ɉɟɥɟɚɫ ɡɚɩɪɚɜɨ ɧɟ ɩɪɢɫɬɚʁɟ ɞɚ ɛɭɞɟ ɞɟɨ ɢɫɬɨɪɢʁɟ ɨɩɟɪɫɤɨɝ ‘ɫɬɢɥɚ’, ɢɫɬɨɪɢʁɟ ɤɨʁɨʁ ʁɟ ɢɦɚɧɟɧɬɚ ɢɞɟʁɚ ɨ ɧɟɩɪɟɤɢɧɭɬɨɦ ɤɨɧɬɢɧɭɢɬɟɬɭ ɢ ɫɬɚɥɧɨɦ ɩɪɨɝɪɟɫɭ ‘ɫɬɢɥɚ’ ɩɨɡɨɪɢɲɧɨɝ, ɨɩɟɪɫɤɨɝ ɩɟɜɚʃɚ. Ɂɚɬɨ, ɫɦɚɬɪɚ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ ɭɩɭʄɭʁɟ ɧɚ stile rappresentativo ɩɪɜɢɯ ɨɩɟɪɚ ɢ ɜɪɚʄɚ ɜɨɤɚɥɧɭ ɞɟɨɧɢɰɭ ɧɚ ʁɨɲ ɫɬɚɪɢʁɭ ɝɪɚɝɨɪɢʁɚɧɫɤɭ ɩɫɚɥɦɨɞɢʁɭ – ɧɚ ɤɨɪɟɧɟ ɡɚɩɚɞɧɨɟɜɪɨɩɫɤɟ ɜɨɤɚɥɧɟ ɦɭɡɢɤɟ ɭɨɩɲɬɟ – ɞɚ ɛɢ ɭɫɬɚɧɨɜɢɥɚ ɪɚɡɥɢɱɢɬɨɫɬ, ɢ ɞɚ ɛɢ ɪɟɥɚɬɢɜɢɡɨɜɚɥɚ ɢ ɨɞɭɡɟɥɚ ɥɟɝɢɬɢɦɧɨɫɬ ɩɨɡɨɪɢɲɧɨɦ ‘ɫɬɢɥɭ’ ɉɟɥɟɚɫɨɜɟ ɫɚɞɚɲʃɨɫɬɢ”282. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɩɨɫɬɚɜʂɚ ɫɟ ɢ ɩɢɬɚʃɟ ɤɚɤɜ ʁɟ ‘ɫɬɚɬɭɫ’ ɉɟɥɟɚɫɚ ɤɚɞɚ ʁɟ ɪɟɱ ɨ ʃɟɝɨɜɨʁ ɫɬɪɭɤɬɭɪɢ ɢ ɢɧɫɬɪɭɦɟɧɬɚɥɧɨɦ ɩɢɫɦɭ, ɬɟ ɤɚɤɨ ɫɟ Ⱦɟɛɢɫɢʁɟɜɨ ɨɫɬɜɚɪɟʃɟ ɭɨɞɧɨɲɚɜɚ ɩɪɟɦɚ ȼɚɝɧɟɪɨɜɨʁ ɦɭɡɢɱɤɨʁ ɞɪɚɦɢ, ɚɥɢ ɢ ɬɟɨɪɢʁɫɤɢɦ ɤɨɧɰɟɩɰɢʁɚɦɚ ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɩɨɡɨɪɢɲɬɚ ɋɬɟɮɚɧɚ Ɇɚɥɚɪɦɟɚ ɢ ɫɚɦɨʁ ɫɢɦɛɨɥɢɫɬɢɱɤɨʁ ɞɪɚɦɢ Ɇɨɪɢɫɚ Ɇɚɬɟɪɥɢɧɤɚ. Ȼɭɞɭʄɢ ɞɚ ɦɭɡɢɱɤɚ ɞɪɚɦɚ, ɭ ɩɨɝɥɟɞɭ ɧɚɱɢɧɚ ɧɚ ɤɨʁɢ ʁɟ ɫɬɪɭɤɬɭɪɢɫɚɧɚ, ɩɪɟɞɫɬɚɜʂɚ ʁɟɞɧɭ ɮɚɡɭ ɭ ɪɚɡɜɨʁɭ ɨɩɟɪɟ, ɨɧɞɚ ɛɢ ɫɟ ɢ ɡɚ ɥɢɪɫɤɭ ɞɪɚɦɭ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ ɦɨɝɥɨ ɪɟʄɢ ɞɚ ɨɧɚ ʁɟɫɬɟ ɨɩɟɪɚ ʁɟɪ ʁɟ Ⱦɟɛɢɫɢ ɭ ɫɭɲɬɢɧɢ ɩɪɢɯɜɚɬɢɨ ȼɚɝɧɟɪɨɜɭ ɩɨɫɬɚɜɤɭ ɦɭɡɢɱɤɟ ɞɪɚɦɟ, ɚɥɢ ɫɚ ɢɡɜɟɫɧɢɦ ‘ɩɨɦɚɰɢɦɚ’ ɭ ʃɨʁ ɫɚɦɨʁ, ɚɥɢ ɢ ‘ɢɫɤɨɪɚɱɟʃɢɦɚ’ ɢɡ ʃɟɧɢɯ ɨɤɜɢɪɚ. Ⱦɚɤɥɟ, ɧɚ ɪɚɜɧɢ ɝɥɨɛɚɥɧɟ ɫɬɪɭɤɬɭɪɟ, ɉɟɥɟɚɫ ɪɟɮɟɪɢɪɚ ɧɚ ɢɫɬɨɪɢʁɭ ɤɨʁɚ ʁɨʁ ɧɟɩɨɫɪɟɞɧɨ ɩɪɟɬɯɨɞɢ, ɬɨ ʁɟɫɬ, ɧɚ ȼɚɝɧɟɪɨɜɭ ɩɨɫɬɚɜɤɭ ɦɭɡɢɱɤɟ ɞɪɚɦɟ: ɱɢɧɨɜɢ ɫɟ ɧɟ ɞɟɥɟ ɧɚ ɡɚɬɜɨɪɟɧɟ ɧɭɦɟɪɟ, ɜɟʄ ɧɚ ɫɰɟɧɟ, ɨɞɧɨɫɧɨ ɫɥɢɤɟ ɤɨʁɟ ɫɭ ɩɪɨɤɨɦɩɨɧɨɜɚɧɟ ɢ ɤɨʁɟ ɫɟ ɧɚɞɨɜɟɡɭʁɭ ʁɟɞɧɚ ɧɚ ɞɪɭɝɭ. ɇɨ, ɢɫɬɨɜɪɟɦɟɧɨ, ɧɚ ɨɫɧɨɜɭ ɨɪɤɟɫɬɚɪɫɤɢɯ ɢɧɬɟɪɥɭɞɢʁɭɦɚ ɤɨʁɢ ɢɦɚʁɭ ɮɭɧɤɰɢʁɭ ɩɨɜɟɡɢɜɚʃɚ ɩɪɨɤɨɦɩɨɧɨɜɚɧɢɯ ɫɥɢɤɚ ɭɧɭɬɚɪ ɱɢɧɨɜɚ ɉɟɥɟɚɫ ɱɢɧɢ ɨɬɤɥɨɧ ɨɞ ɬɟ ɢɫɬɟ ɤɨɧɰɟɩɰɢʁɟ, ɢ ɭɩɭʄɭʁɟ, ɨɩɟɬ, ɧɚ ɫɚɦɟ ɩɨɱɟɬɤɟ ɨɩɟɪɫɤɨɝ ɠɚɧɪɚ; ɬɚɱɧɢʁɟ, ɥɢɪɫɤɚ ɞɪɚɦɚ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ ɪɟɮɟɪɢɪɚ ɧɚ ɤɨɧɰɟɩɰɢʁɭ ɩɪɜɨɛɢɬɧɟ ɮɢɪɟɧɬɢɧɫɤɟ drama per musica ɤɚɞɚ ʁɨɲ ɭɜɟɤ, ɭ ɦɨɧɨɞɢʁɫɤɨɦ stile rappresentativo ɧɢɫɭ ɛɢɥɟ ɮɨɪɦɢɪɚɧɟ ɧɭɦɟɪɟ. Ɍɚɤɨђɟ, 281 ɂɫɬɨ, 71. 282 Tijana Popović Mlađenović, „Varijacije na temu Peleas i Melisanda Kloda Debisija i istorija”, ɧɚɜ. ɞɟɥɨ, 188. { 145 } ɡɧɚɱɚʁɧɨ ʁɟ ɩɨɦɟɧɭɬɢ ɢ ɬɨ ɞɚ ɭ Ⱦɟɛɢɫɢʁɟɜɨɦ ɨɫɬɜɚɪɟʃɭ ɧɟ ɩɨɫɬɨʁɟ ɚɪɢʁɟ ɢɥɢ ɞɭɟɬɢ, ɜɟʄ ɫɚɦɨ ɞɢʁɚɥɨɡɢ ɢ ɦɨɧɨɥɨɡɢ ɭ ɨɤɜɢɪɭ ɞɢʁɚɥɨɝɚ; ɞɚʂɟ, ɡɚ ɪɚɡɥɢɤɭ ɨɞ ȼɚɝɧɟɪɨɜɢɯ ɨɫɬɜɚɪɟʃɚ ɭ ɤɨʁɢɦɚ ʁɟ ɞɟɥɢɦɢɱɧɨ ɪɟɞɭɤɨɜɚɧɚ ɭɥɨɝɚ ɚɧɫɚɦɛɥɚ ɢ ɯɨɪɚ, ɤɨɞ Ⱦɟɛɢɫɢʁɚ ʁɟ ɬɚ ɪɟɞɭɤɰɢʁɚ ɩɨɬɩɭɧɚ (ɨɫɢɦ ʁɟɞɧɨɝ ɦɭɲɤɨɝ ɯɨɪɚ ɦɨɪɧɚɪɚ, ɤɚɨ ɮɨɧ, ɢɡɚ ɫɰɟɧɟ). Ʉɚɞɚ ʁɟ ɪɟɱ ɨ ɠɚɧɪ-ɫɰɟɧɚɦɚ, ɨɧɟ ɤɨɞ ȼɚɝɧɟɪɚ ɢɦɚʁɭ ɞɪɚɦɚɬɭɪɲɤɭ ɮɭɧɤɰɢʁɭ ɢ ɫɬɪɭɤɬɭɪɚɥɧɭ ɭɥɨɝɭ ɭ ɭɧɭɬɪɚɲʃɟɦ ɩɨɜɟɡɢɜɚʃɭ ɫɰɟɧɚ, ɞɨɤ ɫɭ ɤɨɞ Ⱦɟɛɢɫɢʁɚ ɡɚɫɬɭɩʂɟɧɟ ɫɚɦɨ ɧɚ ɞɜɚ ɦɟɫɬɚ. Ɇɟђɭɬɢɦ, ʃɢɯɨɜɨ ɩɪɢɫɭɫɬɜɨ ʁɟ – ɢɚɤɨ ɧɚɢɝɥɟɞ ɫɤɨɪɨ ɧɟɩɪɢɦɟɬɧɨ ɢ ɧɟɛɢɬɧɨ – ɧɟɨɛɢɱɧɨ ɡɧɚɱɚʁɧɨ ɫɦɚɬɪɚ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ɛɭɞɭʄɢ ɞɚ ɫɟ ʁɚɜʂɚʁɭ ɭ ɤʂɭɱɧɢɦ ɦɨɦɟɧɬɢɦɚ ɭ ɞɪɚɦɚɬɭɪɲɤɨɦ ɫɦɢɫɥɭ – ɨɞ ʃɢɯ ɤɪɟʄɟ ‘ɡɚɩɥɟɬ’ ɢ ‘ɪɚɫɩɥɟɬ’ ‘ɭɧɭɬɪɚɲʃɢɯ’ ɢ ‘ɫɩɨʂɚɲʃɢɯ ɞɟɲɚɜɚʃɚ’.283 Ɋɚɜɚɧ ɢɧɫɬɪɭɦɟɧɬɚɥɧɨɝ ɩɢɫɦɚ ɉɟɥɟɚɫɚ ɢ Ɇɟɥɢɫɚɧɞɟ, ɫɥɢɱɧɨ ɤɚɨ ɢ ɪɚɜɚɧ ɜɨɤɚɥɧɨɝ ɩɢɫɦɚ, ɪɚɡɨɬɤɪɢɜɚ ɫɜɟ ɨɧɟ ɟɫɬɟɬɢɱɤɨ-ɩɨɟɬɢɱɤɟ ‘ɬɟɧɡɢʁɟ’ ɧɚ ɪɟɥɚɰɢʁɢ Ⱦɟɛɢɫɢʁɟɜɚ ɥɢɪɫɤɚ ɞɪɚɦɚ ‒ ȼɚɝɧɟɪɨɜɚ ɦɭɡɢɱɤɚ ɞɪɚɦɚ, ɚɥɢ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɩɪɟɢɫɩɢɬɭʁɟ ɦɟɫɬɚ „ɫɚɝɥɚɫʁɚ” ɞɟɛɢɫɢʁɟɜɫɤɨɝ ɢ ɦɚɥɚɪɦɟɨɜɫɤɨɝ ɭɧɢɜɟɪɡɭɦɚ. ɇɚɢɦɟ, ɧɚ ɪɚɜɧɢ ɢɧɫɬɪɭɦɟɧɬɚɥɧɨɝ ɩɢɫɦɚ, ɤɨʁɟ ʁɟ ɝɥɚɜɧɢ ɧɨɫɢɥɚɰ ɦɭɡɢɱɤɨɝ ɫɚɞɪɠɚʁɚ, ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɪɟɱɟɧɨ, Ⱦɟɛɢɫɢʁɟɜɚ ɥɢɪɫɤɚ ɞɪɚɦɚ ɩɨɧɨɜɨ ɭɩɭʄɭʁɟ ɧɚ ȼɚɝɧɟɪɚ (ɢ ɬɨ ɭ ɫɦɢɫɥɭ, „ɫɧɚɠɧɨɝ ɭɬɢɰɚʁɚ ɥɟɤɫɢɤɟ ɉɚɪɫɢɮɚɥɚ ɢ ɞɨɧɟɤɥɟ Ɍɪɢɫɬɚɧɚ”284), ɚɥɢ ɢ ɧɚ ɨɬɤɥɨɧ ɨɞ ʃɟɝɚ. Ɉɪɤɟɫɬɚɪɫɤɨ ɬɤɢɜɨ ɧɢʁɟ „ɫɢɦɮɨɧɢɡɢɪɚɧɨ”285 ɤɚɨ ɤɨɞ ȼɚɝɧɟɪɚ, ɡɚɬɨ ɲɬɨ ʁɟ Ⱦɟɛɢɫɢ ɫɦɚɬɪɚɨ ɞɚ ɩɪɢɦɟɧɚ ɫɢɦɮɨɧɢʁɫɤɟ ɦɭɡɢɤɟ ɧɚ ɞɪɚɦɫɤɭ ɚɤɰɢʁɭ ɦɨɠɟ ‘ɭɛɢɬɢ’ ɞɪɚɦɫɤɭ 283 ɍ ɬɪɟʄɨʁ ɫɥɢɰɢ ɩɪɜɨɝ ɱɢɧɚ, ɜɟʄ ɩɨɦɟɧɭɬɢ ɯɨɪ ɦɨɪɧɚɪɚ ɩɪɚɬɢ ɞɟɨ ɪɚɡɝɨɜɨɪɚ ɢɡɦɟђɭ ɉɟɥɟɚɫɚ, Ɇɟɥɢɫɚɧɞɟ ɢ ɀɟɧɟɜʁɟɜɟ, ɚ ɩɨɬɨɦ ɢ ɪɚɡɝɨɜɨɪ ɉɟɥɟɚɫɚ ɢ Ɇɟɥɢɫɚɧɞɟ ɤɨʁɢ ɫɭ ɭ ɬɨɦ ɬɪɟɧɭɬɤɭ ɩɪɜɢ ɩɭɬ ɨɫɬɚɥɢ ɫɚɦɢ. Ȼɟɡ ɨɛɡɢɪɚ ɧɚ ɬɨ ɲɬɨ ʁɟ ɦɨɪɟ ɦɢɪɧɨ ɢ ɛɥɢɫɬɚɜɨ, ɉɟɥɟɚɫ ɩɪɟɞɨɫɟʄɚ ɞɨɥɚɡɚɤ ɨɥɭʁɟ, ɞɨɤ Ɇɟɥɢɫɚɧɞɚ ɩɨɫɦɚɬɪɚ ɦɨɪɧɚɪɟ ɤɨʁɢ ɪɚɡɚɩɢʃɭ ʁɟɞɪɚ ɩɟɜɚʁɭʄɢ, ɢ ɫɩɪɟɦɚʁɭ ɫɟ ɧɚ ɩɭɬ. ɉɨɫɦɚɬɪɚʁɭʄɢ ɛɪɨɞ ɤɨʁɢɦ ʁɟ ɞɨɲɥɚ, ɚ ɤɨʁɢ ɫɚɞɚ ɨɞɥɚɡɢ ɛɟɡ ʃɟ, Ɇɟɥɢɫɚɧɞɚ ɡɚɩɪɚɜɨ ɫɯɜɚɬɚ ɞɚ ʁɟ ɬɨ ɫɭɞɛɢɧɚ ɤɨʁɚ ʁɭ ʁɟ ɞɨɜɟɥɚ ɭ ɰɚɪɫɬɜɨ ɤɪɚʂɚ Ⱥɪɤɟɥɚ. Ɉɜɨ ʁɟ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɬɪɟɧɭɬɚɤ ɤɚɞɚ ɫɟ ɢɡɦɟђɭ ɉɟɥɟɚɫɚ ɢ Ɇɟɥɢɫɚɧɞɟ ɫɬɢɞʂɢɜɨ ɪɚђɚ ʂɭɛɚɜ, ɚɥɢ ɢ ɬɪɟɧɭɬɚɤ ɤɚɞɚ ʄɟ ɫɟ ɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ ɫɩɨɪɚɞɢɱɧɨ ʁɚɜʂɚɬɢ ɦɨɬɢɜ Ƚɨɥɨɚ ɩɪɟɞɫɤɚɡɭʁɭʄɢ ɧɟɢɡɛɟɠɧɟ ɢ ɧɟɫɪɟʄɧɟ ɞɨɝɚђɚʁɟ. ɉɨɦɟɧɭɬɚ ɠɚɧɪ-ɫɰɟɧɚ, ɢɚɤɨ ɫɜɟɞɟɧɚ ɧɚ ɦɢɧɢɦɭɦ (ɱɢɧɢɥɨ ɛɢ ɫɟ ɝɨɬɨɜɨ ɟɩɨɢɡɨɞɧɨɝ ɤɚɪɤɚɬɟɪɚ ɢɡ ȼɚɝɧɟɪɨɜɟ ɜɢɡɭɪɟ), ɢɦɚ ɮɭɧɤɰɢʁɭ ɤɨʁɚ ʁɟ ɫɢɦɛɨɥɢɱɤɟ ɩɪɢɪɨɞɟ. ɂɫɬɢ ʁɟ ɫɥɭɱɚʁ ɢ ɫɚ ɠɚɧɪ-ɫɰɟɧɨɦ ɢɡ ɬɪɟʄɟ ɫɥɢɤɟ ɱɟɬɜɪɬɨɝ ɱɢɧɚ (Ɏɨɧɬɚɧɚ ɭ ɩɚɪɤɭ), ɭ ɤɨʁɨʁ ɂɧɢɨɥɞ ɩɨɫɦɚɬɪɚ ɞɨɥɚɡɚɤ ɢ ɨɞɥɚɡɚɤ ɫɬɚɞɚ ɨɜɚɰɚ ɫɚ ɩɚɫɬɢɪɨɦ (ɤɪɚɬɚɤ ɞɢʁɚɥɨɝ ɢɡɦɟђɭ ɩɚɫɬɢɪɚ ɢ ɂɧɢɨɥɞɚ). Ɉɜɰɟ ɫɢɦɛɨɥɢɲɭ ɧɟɜɢɧɨɫɬ ɞɟɬɟɬɚ, ɢ ɭ ɩɪɟɧɨɫɧɨɦ ɫɦɢɫɥɭ ɨɡɧɚɱɚɜɚʁɭ ɦɟɫɬɨ ɝɞɟ ʁɟ Ɇɟɥɢɫɚɧɞɚ ɢɡɝɭɛɢɥɚ Ƚɨɥɨɨɜ ɩɪɫɬɟɧ – ɬɢɦɟ ɢ ʃɟɧɭ ɩɪɜɭ ɨɛɦɚɧɭ, ɤɚɨ ɢ ɦɟɫɬɨ ɝɞɟ ʄɟ ɫɟ ɧɟɤɨɥɢɤɨ ɬɪɟɧɭɬɚɤɚ ɤɚɫɧɢʁɟ ɉɟɥɟɚɫ ɢ ɨɧɚ ɩɨɫɥɟɞʃɢ ɩɭɬ ɜɢɞɟɬɢ, ɢ ɝɞɟ ʄɟ Ƚɨɥɨ ɭɛɢɬɢ ɉɟɥɟɚɫɚ. ɍ ɦɭɡɢɱɤɨɦ ɫɦɢɫɥɭ, ɬɨɤɨɦ ɰɟɥɟ ɫɰɟɧɟ ɞɨɦɢɧɢɪɚ ɩɨɤɪɟɬ ɭ ɬɪɢɨɥɚɦɚ, ɧɚʁɚɜʂɭʁɭʄɢ ɬɪɚɝɢɱɚɧ ‘ɪɚɫɩɥɟɬ’ ɞɨɝɚђɚʁɚ. ȼɢɞɟɬɢ ɭ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɨɩɟɪɚ ɢɥɢ ɚɧɬɢɨɩɟɪɚ?”, ɧɚɜ. ɞɟɥɨ, 62. 284 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „Ʉɨɧɫɟɤɜɟɧɰɟ ȼɚɝɧɟɪɨɜɟ ɦɭɡɢɱɤɟ ɞɪɚɦɟ...”, ɧɚɜ. ɞɟɥɨ, 91. 285 ɍɡ ɬɨ ɝɚ ɤɚɪɚɤɬɟɪɢɲɟ ɢ ɫɚɫɜɢɦ ɩɨɫɟɛɧɚ ɭɡɞɪɠɚɧɨɫɬ ɢɡɪɚɡɚ. { 146 } ɦɭɡɢɤɭ, ɭɦɟɫɬɨ ɞɚ ʁɨʁ ɫɥɭɠɢ. ɉɪɟɦɚ Ⱦɟɛɢɫɢʁɟɜɨɦ ɦɢɲʂɟʃɭ, ɫɢɦɮɨɧɢɡɚɦ ɤɨʁɢ ʁɟ ȼɚɝɧɟɪ ɭɜɟɨ ɭ ɨɩɟɪɭ ɧɟ ɪɟɲɚɜɚ ɩɪɨɛɥɟɦ ɦɭɡɢɱɤɟ ɞɪɚɦɟ, ɡɚɬɨ ɲɬɨ ɦɭɡɢɱɤɢ ɪɢɬɚɦ ɤɨʁɢ ɭɩɪɚɜʂɚ ɪɚɡɜɨʁɟɦ ɦɭɡɢɤɨɝ ɬɨɤɚ ɧɢʁɟ ɭ „ɫɚɝɥɚɫʁɭ” ɫɚ ɪɢɬɨɦ ɤɪɟɬɚʃɚ ʂɭɞɫɤɨɝ ɞɭɯɚ, ɨɞɧɨɫɧɨ ɪɟɱɢ. Ɉɧɨ ɲɬɨ ɧɚɫɬɚʁɟ ɢɡ ɫɭɩɟɪɩɨɡɢɰɢʁɟ ɨɜɚ ɞɜɚ ɪɢɬɦɚ ʁɟɫɬɟ, ɫɦɚɬɪɚ Ⱦɟɛɢɫɢ, ɧɟɩɪɟɤɢɞɚɧ ɫɭɤɨɛ, ɢ ɬɨ ɭ ɫɦɢɫɥɭ: „ɢɥɢ ɫɟ ɦɭɡɢɤɚ ‘ɡɚɬɪɱɢ’ ɩɪɟ ɥɢɱɧɨɫɬɢ, ɢɥɢ ɥɢɱɧɨɫɬ ‘ɫɟɞɧɟ’ ɧɚ ʁɟɞɧɨɦ ɬɨɧɭ ɞɚ ɛɢ ɞɨɩɭɫɬɢɥɚ ɦɭɡɢɰɢ ɞɚ ʁɟ ɞɨɫɬɢɝɧɟ; ɩɨɫɬɨʁɟ ɬɚʁɚɧɫɬɜɟɧɢ ɫɭɫɪɟɬɢ ɨɜɟ ɞɜɟ ɫɧɚɝɟ […] ɚɥɢ, ɬɨ ʁɟ ɩɪɟɩɭɲɬɟɧɨ ɫɥɭɱɚʁɭ”286. Ɉɜɚʁ Ⱦɟɛɢɫɢʁɜ ɫɬɚɜ ɭ ɜɟɡɢ ɩɪɢɦɟɧɟ ɫɢɦɮɨɧɢʁɫɤɟ ɦɭɡɢɤɟ ɧɚ ɞɪɚɦɫɤɭ ɦɭɡɢɤɭ ɩɨɞɪɚɡɭɦɟɜɚ ɢ ɬɪɟɬɦɚɧ ɥɚʁɬɨɦɨɬɢɜɚ ɤɨʁɢ ʁɟ, ɫɚɞɚ ɨɩɟɬ ɭ ɨɞɧɨɫɭ ɧɚ ɬɨ ɤɚɤɨ ɢɯ ʁɟ ȼɟɝɧɟɪ ɬɪɟɬɢɪɚɨ ɭ ɫɜɨʁɢɦ ɞɟɥɢɦɚ, ɭ ɩɪɢɥɢɱɧɨʁ ɦɟɪɢ ɞɪɭɝɚɱɢʁɢ ɭ ɉɟɥɟɚɫɭ. ɉɨɩɭɬ ɦɭɡɢɱɤɢɯ ɫɥɢɤɚ, ɥɚʁɬɦɨɬɢɜɢ ɫɟ ɭ ɉɟɥɟɚɫɭ ʁɚɜʂɚʁɭ ɫɚɦɨ ɭ ɨɪɤɟɫɬɚɪɫɤɨɦ ɩɚɪɬɭ. ɇɚ ɧɚɱɢɧ „ɚɪɚɛɟɫɤɟ”, ɞɨɧɟɤɥɟ ɫɟ ɦɨɬɢɜɫɤɢ ɪɚɡɪɚђɭʁɭ, ɭ ɦɚʃɟɦ ɫɬɟɩɟɧɭ ɫɟ ɡɧɚɱɚʁɧɢʁɟ ɩɪɨɛɪɚɠɚɜɚʁɭ, ɧɟ ɢɡɪɚɫɬɚʁɭ ʁɟɞɚɧ ɢɡ ɞɪɭɝɨɝ – ɧɢɫɭ ɭ ɮɭɧɤɰɢʁɢ ɧɚɪɚɰɢʁɟ, ɞɢɧɚɦɢɤɟ ɬɨɤɚ ɪɚɞʃɟ, ɜɟʄ ɫɭ ɩɪɟ ɫɬɚɬɢɱɧɢ ɢ ɱɟɫɬɨ ɮɪɚɝɦɟɧɬɚɪɧɢ. Ɇɨɪɢɫ ȿɦɚɧɢɟɥ ɧɚɜɨɞɢ ɭɤɭɩɧɨ ɬɪɢɧɚɟɫɬ ɥɚʁɬɦɨɬɢɜɚ ɤɨʁɢ ɦɭɡɢɱɤɢ ɫɢɦɛɨɥɢɡɭʁɭ ɥɢɱɧɨɫɬɢ (ɦɨɬɢɜ Ƚɨɥɨɚ, Ɇɟɥɢɫɚɧɞɟ, ɉɟɥɟɚɫɚ, Ⱥɪɤɟɥɚ ɢ ɂɧɢɨɥɞɚ), ɩɨʁɦɨɜɟ (ɦɨɬɢɜ ɫɭɞɛɢɧɟ, ɫɦɪɬɢ, ɢ Ɇɟɥɢɫɚɧɞɢɧɟ ɞɭɲɟ ɤɨʁɢ ʁɟ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɦɨɬɢɜ ʃɟɧɨɝ ɢ ɉɟɥɟɚɫɨɜɨɝ ɬɟɤ ɪɨђɟɧɨɝ ɞɟɬɟɬɚ), ɫɬɚʃɚ (ɦɨɬɢɜ ɫɭɡɚ ɢ ɦɨɬɢɜ Ɇɟɥɢɫɚɧɞɢɧɨɝ ɦɚɬɟɪɢɧɫɬɜɚ), ɫɬɜɚɪɢ (ɦɨɬɢɜ ɤɪɭɧɟ), ɢ ɡɛɢɜɚʃɚ (ɦɨɬɢɜ ɜɨɞɟ). Ɉɞ ɫɜɢɯ ɧɚɜɟɞɟɧɢɯ ɥɚʁɬɦɨɬɢɜɚ, ʁɟɞɢɧɟ ɩɪɚɜɟ ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ ɫɟ ʁɚɜʂɚʁɭ ɭ ɪɚɞɭ ɫɚ Ƚɨɥɨɨɜɢɦ ɦɨɬɢɜɨɦ, ɚɥɢ ɫɟ ɢ ɬɚɞɚ ɡɚɞɪɠɚɜɚ ɩɪɟɩɨɡɧɚɬʂɢɜɚ ɪɢɬɦɢɱɤɚ ɮɢɝɭɪɚ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 15 ɢ ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 16). 286 Stefan Jarociński, ɧɚɜ. ɞɟɥɨ, 113. { 147 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 15: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ (Pelléas et Mélisande, 1902), ɨɪɤɟɫɬɚɪɫɤɚ ɩɚɪɬɢɬɭɪɚ, I ɱɢɧ, I ɫɥɢɤɚ – ɒɭɦɚ, Ƚɨɨɥɨɜ ɥɚʁɬɦɨɬɢɜ ɭ ɨɫɧɨɜɧɨɦ ɜɢɞɭ, ɬɬ. 1–7. { 148 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 16: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ (Pelléas et Mélisande, 1902), ɨɪɤɟɫɬɚɪɫɤɚ ɩɚɪɬɢɬɭɪɚ, II ɱɢɧ, III ɫɥɢɤɚ – ɂɫɩɪɟɞ ɩɟʄɢɧɟ, Ƚɨɥɨɨɜ ɦɨɬɢɜ ɫɟ ɧɚ ɨɜɨɦ ɦɟɫɬɭ ʁɚɜʂɚ ɭ ɬɪɚɧɫɮɨɪɦɢɫɚɧɨɦ ɜɢɞɭ, ɭ ɮɭɧɤɰɢʁɢ Ɇɟɥɢɫɚɧɞɢɧɟ ɝɪɢɠɟ ɫɚɜɟɫɬɢ ɢ ɫɬɢɞɚ ɡɛɨɝ ɢɡɝɭɛʂɟɧɨɝ ɩɪɫɬɟɧɚ ɢ ɥɚɠɧɨɝ ɨɛʁɚɲʃɟʃɚ Ƚɨɥɨɭ, ɚ ɧɟ ɡɛɨɝ ɫɬɪɚɯɚ ɨɞ ɦɪɚɤɚ ɢ ɲɭɦɨɜɚ ɢɡ ɩɟʄɢɧɟ ɤɚɤɨ ɭ ɬɨɦ ɬɪɟɧɭɬɤɭ ɦɢɫɥɢ ɉɟɥɟɚɫ; ɨɜɚɤɜɚ ɬɪɚɧɫɮɨɪɦɚɰɢʁɚ Ƚɨɥɨɨɜɨɝ ɥɚʁɬɦɨɬɢɜɚ ʁɚɜɢʄɟ ɫɟ ɩɪɜɢ ɩɭɬ ɭ ɢɧɬɟɪɥɭɞɢʁɭɦɭ ɤɨʁɢ ɧɟɩɨɫɪɟɞɧɨ ɩɪɟɬɯɨɞɢ ɨɜɨʁ ɫɥɢɰɢ; ɨɞ ɩɚɪɬɢɬɭɪɧɨɝ ɛɪɨʁɚ 41 ɞɨ ɩɚɪɬɢɬɭɪɧɨɝ ɛɪɨʁɚ 42. { 149 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 16: ...ɧɚɫɬɚɜɚɤ. { 150 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 16: ...ɧɚɫɬɚɜɚɤ. Ɋɚђɚʃɟ ɞɚɧɚ ‒ „ɫɜɟɬɥɨɫɬ ɤɨʁɚ ɩɨɥɚɤɨ ɡɚɦɟʃɭʁɟ ɦɪɚɤ” – ɭɫɥɨɜɢɥɨ ʁɟ ɢ ɬɪɚɧɫɮɨɪɦɚɰɢʁɭ Ƚɨɥɨɨɜɨɝ ɦɨɬɢɜɚ, ɱɢʁɢ ɫɟ ɩɪɟɬɯɨɞɧɢ ɨɩɨɪ ɢ ɛɢɡɚɪɚɧ ɤɚɪɚɤɬɟɪ ɝɭɛɢ, ɚ ɨɞ ɢɧɢɰɢʁɚɥɧɟ ʄɟɥɢʁɟ ɨɜɨɝ ɦɨɬɢɜɚ ‘ɪɚђɚ’ ɟɤɫɩɪɟɫɢɜɧɚ ɬɟɦɚ. { 151 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 17: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ (Pelléas et Mélisande, 1902), ɨɪɤɟɫɬɚɪɫɤɚ ɩɚɪɬɢɬɭɪɚ, II ɱɢɧ, III ɫɥɢɤɚ – ɂɫɩɪɟɞ ɩɟʄɢɧɟ, Ɇɟɥɢɫɚɧɞɢɧɭ ɢɡʁɚɜɭ ɞɚ ɠɟɥɢ ɞɚ ɢɞɟ ɫɚɦɚ, ɛɟɡ ɉɟɥɟɚɫɨɜɟ ɩɨɦɨʄɢ, ɩɪɚɬɢ Ƚɨɥɨɨɜ ɦɨɬɢɜ ɭ ɩɪɜɨɛɢɬɧɨɦ ɜɢɞɭ, ɩɨɞɜɥɚɱɟʄɢ ɢɫɩɪɚɜɧɨɫɬ ʃɟɧɟ ɨɞɥɭɤɟ; ɩɚɪɬɢɬɭɪɧɢ ɛɪɨʁ 44. { 152 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 18: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ (Pelléas et Mélisande, 1902), ɨɪɤɟɫɬɚɪɫɤɚ ɩɚɪɬɢɬɭɪɚ, I ɱɢɧ, I ɫɥɢɤɚ – ɒɭɦɚ, Ɇɟɥɢɫɚɧɞɢɧ ɢ Ƚɨɥɨɨɜ ɥɚʁɬɦɨɬɢɜ ɞɚɬɢ ɭ ɫɢɦɭɥɬɚɧɨɦ ɨɛɥɢɤɭ, ɭ ɬɪɟɧɭɬɤɭ ʃɢɯɨɜɨɝ ɩɪɜɨɝ ɫɭɫɪɟɬɚ; ɨɞ ɩɚɪɬɢɬɭɪɧɨɝ ɛɪɨʁɚ 16 ɬɪɟʄɢ ɬɚɤɬ. Ƚɨɥɨɨɜ ɥɚʁɬɦɨɬɢɜ, Ɇɟɥɢɫɚɧɞɢɧ ɥɚʁɬɦɨɬɢɜ, ɤɚɨ ɢ ɥɚʁɬɦɨɬɢɜ ɜɨɞɟ ʁɚɜʂɚʁɭ ɫɟ ɜɢɲɟ ɩɭɬɚ ɭ ɫɤɨɪɨ ɫɜɢɦ ɫɥɢɤɚɦɚ (ɦɨɬɢɜ ɜɨɞɟ ɨɞ ɩɪɜɟ ɫɥɢɤɟ ɞɪɭɝɨɝ ɱɢɧɚ, ɚ ɨɫɬɚɥɢ ɨɞ ɩɨɱɟɬɤɚ ɞɟɥɚ), ɢ ɭ ɝɨɬɨɜɨ ɫɜɢɦ ɫɢɬɭɚɰɢʁɚɦɚ: ɛɢɥɨ ɭ ɬɪɟɧɭɬɤɭ ʃɢɯɨɜɟ ɩɪɢɫɭɬɧɨɫɬɢ (ɦɢɫɥɢ ɫɟ ɧɚ Ƚɨɥɨɚ ɢ Ɇɟɥɢɫɚɧɞɭ), ɛɢɥɨ ɩɪɢɥɢɤɨɦ ʃɢɯɨɜɨɝ ɩɨɦɢʃɚʃɚ, ɟɜɨɰɢɪɚʃɚ ɢɥɢ ɩɪɟɞɫɤɚɡɢɜɚʃɚ ɧɟɤɢɯ ɞɨɝɚђɚʁɚ. ɋɥɢɱɧɚ ɫɢɬɭɚɰɢʁɚ ʁɟ ɢ ɫɚ ɦɨɬɢɜɨɦ ɫɭɞɛɢɧɟ – ɨɫɧɨɜɧɨɦ ɦɨɬɢɜɭ ɰɟɥɨɝ ɞɟɥɚ ɤɨʁɢ ɫɢɦɛɨɥɢɡɭʁɟ ɧɟɭɦɢɬɚɧ ɬɨɤ ɮɚɬɭɦɚ – ɫɤɨɪɨ ɫɬɚɥɧɨ ɩɪɢɫɭɬɧɨɦ ɭ ʁɟɞɧɨɦ ɨɞ ɫɜɨʁɚ ɞɜɚ ɜɢɞɚ: ɭ ɜɢɞɭ ɩɨɱɟɬɧɢɯ ɚɤɨɪɚɞɚ ɢ ɭ ɜɢɞɭ ɬɪɢɨɥɫɤɨɝ ɩɨɤɪɟɬɚ. Ɉɫɬɚɥɢ ɥɚʁɬɦɨɬɢɜɢ ɫɟ ɟɤɫɩɨɧɢɪɚʁɭ ʁɟɞɚɧɩɭɬ ɢɥɢ ɟɜɟɧɬɭɚɥɧɨ ɞɜɚɩɭɬ, ɢ ɬɨ ɭ ɩɨɫɟɛɧɢɦ ɬɪɟɧɭɰɢɦɚ ɦɭɡɢɱɤɨ-ɞɪɚɦɚɬɭɪɲɤɨɝ ɬɨɤɚ, ɨɞɧɨɫɧɨ, ɭ ɩɨɫɟɛɧɢɦ ɫɥɢɤɚɦɚ, ɡɚɬɨ { 153 } ɲɬɨ ʁɟ Ⱦɟɛɢɫɢ ɫɦɚɬɪɚɨ ɞɚ ʁɟɞɧɨ ɬɟ ɢɫɬɨ ɨɫɟʄɚʃɟ ɧɟ ɦɨɠɟ ɛɢɬɢ ɞɜɚ ɩɭɬɚ ɧɚ ɢɫɬɢ ɧɚɱɢɧ ɢɫɤɚɡɚɧɨ.287 ɇɚ ɨɫɧɨɜɭ ɫɜɟɝɚ ɢɡɥɨɠɟɧɨɝ ɭ ɜɟɡɢ ɫɚ ɫɬɪɭɤɬɭɪɨɦ ɞɟɥɚ, ɬɟ ɤɚɪɚɤɬɟɪɢɫɬɢɤɚɦɚ ʃɟɝɨɜɨɝ ɜɨɤɚɥɧɨɝ ɢ ɢɧɫɬɪɭɦɟɧɬɚɥɧɨɝ ɩɢɫɦɚ, ɥɢɪɫɤɚ ɞɪɚɦɚ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ ʁɟɫɬɟ ɨɧɨ ɦɟɫɬɨ ɪɚɡɨɬɤɪɢɜɚʃɚ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ ɤɪɚʁʃɟ ɫɚɦɨɫɜɨʁɧɨɝ ɦɭɡɢɱɤɨɝ ɪɭɤɨɩɢɫɚ, ɚɭɬɟɧɬɢɱɧɨɝ ɤɨɦɩɨɡɢɰɢɨɧɨɝ ɝɟɫɬɚ (ɧɚ ɩɥɚɧɭ ɦɭɡɢɱɤɟ ɞɪɚɦɚɬɭɪɝɢʁɟ ɦɚɤɪɨ ɢ ɦɢɤɪɨ ɮɨɪɦɟ, ɯɚɪɦɨɧɢʁɟ, ɨɪɤɟɫɬɪɚɰɢʁɟ, ɬɟɦɩɚ, ɞɢɧɚɦɢɤɟ ɢɬɞ.). Ɉɧɚ ʁɟ, ɩɪɟɦɚ ɪɟɱɢɦɚ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ɦɟɫɬɨ ɭɬɜɪђɢɜɚʃɚ ɢ ɩɨɬɜɪђɢɜɚʃɚ ɩɨɬɩɭɧɨ ɢɧɞɢɜɢɞɭɚɥɧɨɝ ɦɭɡɢɱɤɨɝ ʁɟɡɢɤɚ, ʃɟɝɨɜɢɯ ɤɨɧɫɬɚɧɬɢ ɢ ɤɚɪɚɤɬɟɪɢɫɬɢɤɚ. ɋɩɟɰɢɮɢɱɧɨɫɬɢ Ⱦɟɛɢɫɢʁɟɜɨɝ ɞɟɥɚ ɞɨɩɪɢɧɟɥɚ ʁɟ, ɧɚɪɚɜɧɨ, ɢ ɫɚɦɚ Ɇɟɬɟɪɥɢɧɤɨɜɚ ɫɢɦɛɨɥɢɫɬɢɱɤɚ ɞɪɚɦɚ ɭ ɤɨʁɨʁ ɫɟ ɦɚɥɨ ɲɬɚ ɞɨɝɚђɚ ɫɩɨʂɚ. Ɇɟђɭɬɢɦ, ɨɧɨ ɲɬɨ ɫɟ ɨɞɜɢʁɚ ɢɡɭɧɭɬɪɚ, ɭ „ɞɭɲɢ” Ɇɟɬɟɪɥɢɧɤɨɜɢɯ ɥɢɱɧɨɫɬɢ ɢ ɚɬɦɨɫɮɟɪɢ ɤɨʁɚ ɢɯ ɨɛɚɜɢʁɚ ʁɟ ɦɧɨɝɨ ɫɭɩɬɢɥɧɢʁɟɝ ɤɚɪɚɤɬɟɪɚ, ɬɟ ʁɟ ɤɨɥɨɪɢɫɬɢɱɤɚ ɜɪɟɞɧɨɫɬ ɯɚɪɦɨɧɢʁɟ, ɪɚɫɤɨɲɧɚ ɩɚɥɟɬɚ ɱɟɫɬɨ ɩɪɢɝɭɲɟɧɢɯ ɡɜɭɱɧɢɯ ɛɨʁɚ, ɩɚɠʂɢɜɨ ɨɞɦɟɪɚɜɚʃɟ ɤɨɧɬɪɚɫɬɚ ɢ ɝɪɚɞɚɰɢʁɚ, ɥɚʁɬɦɨɬɢɜɢ ɤɚɨ ɪɚɫɩɨɥɨɠɟʃɚ/ɫɬɚʃɚ, ɭ „ɫɚɝɥɚɫʁɭ” ɫɚ ɫɜɢɦ ɬɢɦ ɭɧɭɬɪɚɲʃɢɦ ɡɛɢɜɚʃɢɦɚ, ɢ ɝɟɧɟɪɚɥɧɨɦ ɚɬɦɨɫɮɟɪɨɦ Ɇɟɬɟɪɥɢɧɤɨɜɨɝ ɞɟɥɚ. Ɇɟђɭɬɢɦ, ɢ ɬɚɤɜɚ ɫɢɦɛɨɥɢɫɬɢɱɤɚ ɞɪɚɦɚ (ɞɚ ɛɢ ɭɨɩɲɬɟ ɦɨɝɥɚ ɨɩɫɬɚɬɢ ɤɚɨ ɤʃɢɠɟɜɧɚ ɜɪɫɬɚ), ɢɩɚɤ ɩɨɫɟɞɭʁɟ ɧɭɠɧɨ ɩɨɬɪɟɛɚɧ ɦɢɧɢɦɚɥɧɢ ɪɚɡɜɨʁ ɨɧɢɯ ɫɩɨʂɚɲʃɢɯ ɡɛɢɜɚʃɚ. Ⱦɟɛɢɫɢ ɭ ɫɜɨɦ ɉɟɥɟɚɫɭ ɬɨ ɨɛɟɡɛɟђɭʁɟ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɢɦ ɜɨɤɚɥɧɢɦ ɩɚɪɬɨɦ288 ɤɨʁɢɦ, ɡɚɩɪɚɜɨ, ɭ ɩɨɬɩɭɧɨɫɬɢ ɱɭɜɚ ɫɚɦɨɫɬɚɥɧɨɫɬ ɤʃɢɠɟɜɧɨɝ ɞɟɥɚ, ɪɚɡɭɦʂɢɜɨɫɬ ɬɟɤɫɬɚ, ɚ ɩɨɫɥɟɞɢɱɧɨ ɢ ɫɚɦ ɬɨɤ ‘ɪɚɞʃɟ’, ɬɚɤɨђɟ ɧɟɨɩɯɨɞɚɧ ɡɚ ɧɚɫɬɚɧɚɤ ɨɩɟɪɟ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɜɨɤɚɥɧɢ ɩɚɪɬ Ⱦɟɛɢɫɢʁɟɜɟ ɥɢɪɫɤɟ ɞɪɚɦɟ ɞɨɛɢʁɚ ɞɜɨɫɬɪɭɤɨ ɡɧɚɱɟʃɟ, ɫɦɚɬɪɚ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ. „ɋ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɢɦɚ ɨɞɫɭɫɞɧɭ ɭɥɨɝɭ ɭ ɨɫɬɜɚɪɢɜɚʃɭ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɟ ‘ɦɭɡɢɱɤɟ ɞɪɚɦɟ’ (ɡɚɯɜɚʂɭʁɭʄɢ ɬɨɦɟ ɨɫɬɜɚɪɟɧɚ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɚ ɨɩɟɪɚ ɧɟ ɩɪɟɞɫɬɚɜʂɚ ɧɟɝɚɰɢʁɭ ɢɦɩɪɟɫɢɨɧɢɡɦɚ) ɚ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɫɜɨʁɨɦ ɨɬɜɨɪɟɧɨɲʄɭ ɜɨɞɢ ɤɚ ɧɟɝɚɰɢʁɢ ɫɚɦɟ ɨɩɟɪɟ ɤɚɨ ɜɨɤɚɥɧɨ-ɢɧɫɬɪɭɦɟɧɬɚɥɧɨɝ ɫɰɟɧɫɤɨɝ ɠɚɧɪɚ.”289 287 ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ..., ɧɚɜ. ɞɟɥɨ, 62. 288 Ɂɚɬɨ ɲɬɨ ʁɟ ɦɭɡɢɱɤɢ ɪɚɡɜɨʁ, ɭ ɤɥɚɫɢɱɧɨɦ ɫɦɢɫɥɭ ɬɟ ɪɟɱɢ, ɢɡɨɫɬɚɨ! 289 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ..., ɧɚɜ. ɞɟɥɨ, 72. { 154 } Ɍɚɤɨђɟ, ɤɚɞɚ ʁɟ ɪɟɱ ɨ ɨɞɧɨɫɭ ɢɡɦɟђɭ ɩɨɟɬɢɤɟ ʁɟɞɧɨɝ Ɇɚɥɚɪɦɟɚ ɢ ʁɟɞɧɨɝ Ⱦɟɛɢɫɢʁɚ, ɦɨɝɭʄɟ ʁɟ ɪɟʄɢ ɞɚ ɫɟ ɨɧɟ ɫɭɫɪɟʄɭ ɭ ɛɪɨʁɧɢɦ ɬɚɱɤɚɦɚ ɦɭɡɢɱɤɨɝ ɭɧɢɜɟɪɡɭɦɚ ɉɟɥɟɚɫɚ. Ɍɟ ɡɚʁɟɞɧɢɱɤɟ ɬɚɱɤɟ ɩɪɨɧɚɥɚɡɢɦɨ ɭ ɭɦɟɬɧɢɱɤɢɦ ɨɩɟɪɚɰɢʁɚɦɚ ɤɚɨ ɲɬɨ ɫɭ ɢɞɟɚɥɧɨɫɬɢ, ɚɩɫɬɪɚɤɬɧɨɫɬɢ, ɬɪɚɧɫɰɟɧɞɟɧɬɧɨɫɬɢ, ɨɞɧɨɫɧɨ, ɭ ɧɚɱɢɧɢɦɚ ɭɦɟɬɧɢɱɤɟ ɨɩɟɪɚɰɢʁɟ – ɜɢɲɟɫɦɢɫɥɟɧɨɫɬɢ, ɚɥɭɡɢɜɧɨɫɬɢ, ɩɨɥɢɜɚɥɟɧɬɧɨɫɬɢ ɢɬɞ. Ɂɚɩɪɚɜɨ, ɨɧɨ ɲɬɨ ʁɟ ɡɚʁɟɞɧɢɱɤɨ ɫɜɢɦ ɬɢɦ ɭɦɟɬɧɢɱɤɢɦ ɭɧɢɜɟɪɡɭɦɢɦɚ ɤɨʁɢ ɫɭ ɤɪɲɬɟɧɢ ɤɚɨ ɫɢɦɛɨɥɢɫɬɢɱɤɢ ɢɥɢ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɢ, ɨɞɧɨɫɧɨ, ɨɧɨ ɲɬɨ ɛɢ ɦɨɝɥɨ ɛɢɬɢ ɞɢɮɢɧɢɫɚɧɨ ɤɚɨ ɢɞɟʁɚ ɤɨʁɚ ɩɨɩɭɬ ɰɪɜɟɧɟ ɧɢɬɢ ɩɪɨɬɤɢɜɚ ɩɨɟɬɢɤɟ ɭɦɟɬɧɢɤɚ ɤɨʁɢ ɫɭ ɨɛɟɥɟɠɢɥɢ ɟɩɨɯɭ fin de siècle-a, ʁɟɫɬɟ ɬɪɚɝʃɟ ɢ ɩɪɨɧɚɥɚɠɟʃɟ ɧɨɜɢɯ ɩɭɬɟɜɚ ɢ ɦɨɝɭʄɧɨɫɬɢ ɭɦɟɬɧɢɱɤɨɝ ɢɡɪɚɡɚ. Ɋɟɱɟɧɨ ʁɟɡɢɤɨɦ ɞɟɛɢɫɢʁɚɧɫɤɨɝ ɭɧɢɜɟɪɡɭɦɚ: „ɍɫɭɞɢɯ ɫɟ ɞɚ […] ɤɚɠɟɦ ɞɚ ɫɭ ʂɭɞɢ ɩɨɤɭɲɚɜɚɥɢ, ʁɟɞɧɢ ɭ ɩɨɟɡɢʁɢ, ɞɪɭɝɢ ɭ ɫɥɢɤɚɪɫɬɜɭ (ʁɟɞɜɚ ɞɚ ɫɚɦ ɬɨɦɟ ɞɨɞɚɨ ɧɟɤɨɥɢɤɨ ɦɭɡɢɱɚɪɚ) ɞɚ ɨɬɪɟɫɭ ɫɬɚɪɭ ɩɪɚɲɢɧɭ ɬɪɚɞɢɰɢʁɟ; ʁɟɞɢɧɢ ɪɟɡɭɥɬɚɬ ɛɢɨ ʁɟ ɞɚ ɫɭ ɢɯ ɧɚɡɢɜɚɥɢ ɫɢɦɛɨɥɢɫɬɢɦɚ ɢɥɢ ɢɦɩɪɟɫɢɨɧɢɫɬɢɦɚ – ɚ ɬɨ ɫɭ ɩɨʁɦɨɜɢ ɤɨʁɢɦɚ ɫɟ ɢɡɪɚɠɚɜɚ ɩɪɟɡɢɪɚʃɟ ɛɥɢɠʃɢɯ.”290 290 Claude Debussy, Monsieur Croche antidiletante, Treći program – Manifesti, 1975, 6‒7. { 155 } ...ɂɡɦɟђɭ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɝ ɫɥɢɤɚɪɫɬɜɚ ɢ ɫɬɜɚɪɚɥɚɲɬɜɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ ɍɤɨɥɢɤɨ ʁɟ ɬɚɱɧɨ ɞɚ, ɤɚɤɨ ɩɢɲɟ ɤɨɦɩɨɡɢɬɨɪ, ɢɫɬɨɪɢɱɚɪ ɭɦɟɬɧɨɫɬɢ ɢ ɤɪɢɬɢɱɚɪ, Ⱦɪɚɝɭɬɢɧ Ƚɨɫɬɭɲɤɢ, „ɯɚɪɦɨɧɢʁɢ ɭ ɦɭɡɢɱɤɨɦ ɫɢɫɬɟɦɭ ɨɞɝɨɜɚɪɚ ɪɢɦɚ ɭ ɩɨɟɬɫɤɨɦ ɢ ɩɟɪɫɩɟɤɬɢɜɚ ɭ ɩɢɤɬɭɪɚɥɧɨɦ ɫɢɫɬɟɦɭ”291, ɨɧɞɚ ʁɟ ɩɨɬɪɟɛɧɨ ɞɚ ɭ ɨɜɨ ɬɪɚɝɚʃɟ ɡɚ ɧɟɩɨɫɪɟɞɧɨɲʄɭ „ɫɚɝɥɚɫʁɚ” ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ ɭɤʂɭɱɢɦ ɢ ɥɢɤɨɜɧɟ ɭɦɟɬɧɨɫɬɢ. ɂɦɩɪɟɫɢɨɧɢɡɚɦ ɭ ɫɥɢɤɚɪɫɬɜɭ – ɩɪɚɜɚɰ ɤɨʁɢ ɜɪɟɦɟɧɫɤɢ ɤɨɪɟɫɩɨɧɞɢɪɚ ɩɨʁɚɜɢ ɫɢɦɛɨɥɢɡɦɚ ɭ ɤʃɢɠɟɜɧɨɫɬɢ, ɨɞɧɨɫɧɨ, ɡɚ ʃɢɦ ɤɚɫɧɢ ɫɜɟɝɚ ɨɫɚɦ ɝɨɞɢɧɚ292 ‒ ɧɚɫɬɚɨ ʁɟ ɤɚɨ ɪɟɚɤɰɢʁɚ ɧɚ ‘ɨɥɨɜɤɭ ɩɪɢɪɨɞɟ’ (ɮɨɬɨɝɪɚɮɢʁɭ) ɤɨʁɚ ʁɟ ɩɨɬɜɪɞɢɥɚ ɢɫɬɢɧɢɬɨɫɬ ɪɟɧɟɫɚɧɫɧɟ ɩɟɪɫɩɟɤɬɢɜɟ, ɚɥɢ ʁɟ ɭɫɬɚɧɨɜɢɥɚ ʁɟɞɚɧ ɢɞɟɚɥ ɬɚɱɧɨɫɬɢ ɩɪɢɤɚɡɢɜɚʃɚ ɫɚ ɤɨʁɢɦ ɧɢʁɟɞɧɚ ɧɚɫɥɢɤɚɧɚ ɫɥɢɤɚ ɧɢʁɟ ɦɨɝɥɚ ɞɚ ɫɟ ɦɟɪɢ. Ɍɚ ɱɢʃɟɧɢɰɚ ʁɟ ɤɨɞ ɬɚɞɚɲʃɢɯ ɫɥɢɤɚɪɚ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɢɡɚɡɢɜɚɥɚ ɢ ɫɬɪɚɯ ɞɚ ʄɟ ɮɨɬɨɝɪɚɮɢʁɚ, ɢ ɬɨ ɩɪɟ ɫɜɟɝɚ ɨɧɚ ɭ ɛɨʁɢ, ɛɢɬɢ ɜɪɯɭɧɚɰ ɢɫɬɢɧɟ, ɚ ɞɚ ɫɚɦɨ ɫɥɢɤɚʃɟ ɪɭɤɨɦ, ɡɚɩɪɚɜɨ, ɧɢɤɚɞɚ ɧɟʄɟ ɛɢɬɢ ɭ ɦɨɝɭʄɧɨɫɬɢ ɞɚ ɢɫɬɭ ɮɨɪɦɭ ɢɡɜɟɞɟ ʁɟɞɧɚɤɨ ɬɚɱɧɨ ɢ ɫɚ ɢɫɬɨɦ ɥɚɤɨʄɨɦ ɤɚɨ ʁɟɞɚɧ ɜɟɲɬɨ ɧɚɩɪɚɜʂɟɧ ɚɩɚɪɚɬ. Ɇɟђɭɬɢɦ, ɬɚʁ ‘ɥɚɜɨɜɫɤɢ ɤɨɪɚɤ’ ɤɨʁɢɦ ʁɟ ɮɨɬɨɝɪɚɮɢʁɚ ɝɪɚɛɢɥɚ ɧɚɩɪɟɞ, ɡɚɩɪɚɜɨ ʁɟ ɞɟɥɨɜɚɨ ɢɡɭɡɟɬɧɨ ɩɨɞɫɬɢɰɚʁɧɨ ɧɚ ɫɥɢɤɚɪɫɬɜɨ ɩɨɫɥɟɞʃɢɯ ɞɟɰɟɧɢʁɚ 20. ɜɟɤɚ ɧɚ ɬɚʁ ɧɚɱɢɧ ɞɚ ʁɟ ɢ ɫɚɦɚ ɞɨɤɚɡɚɥɚ ɞɚ ɭʂɚɧɚ ɫɥɢɤɚ ɧɢʁɟ ɛɭɤɜɚɥɧɨ ɩɪɟɧɨɲɟʃɟ ɨɛɥɢɤɚ ɢɡ ɠɢɜɨɬɚ, ɜɟʄ ɫɬɜɚɪɚʃɟ ɫɚɦɨɫɬɚɥɧɟ ɢ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɟ ɫɬɜɚɪɧɨɫɬɢ. Ɍɨ ɨɫɥɨɛɚђɚʃɟ ɫɥɢɤɚʃɚ ɨɞ ɬɚɤɦɢɱɟʃɚ ɫɚ ɤɚɦɟɪɨɦ ɩɪɜɢ ʁɟ ɭɫɩɟɨ ɞɚ ɨɫɬɜɚɪɢ Ɇɚɧɟ (Édouard Manet) ɢɧɫɢɫɬɢɪɚʁɭʄɢ ɧɚ ɫɬɚɜɭ ɞɚ ʁɟ „ɧɚɫɥɢɤɚɧɨ ɩɥɚɬɧɨ ɩɪɟ ɫɜɟɝɚ ɦɚɬɟɪɢʁɚɥɧɚ ɩɨɜɪɲɢɧɚ ɩɪɟɤɪɢɜɟɧɚ ɛɨʁɨɦ, ɬɟ ɞɚ ɦɢ ɬɪɟɛɚ ɞɚ ɝɥɟɞɚɦɨ ʃɭ, ɚ ɧɟ ɤɪɨɡ ʃɭ”293. Ɉɜɚʁ ɫɬɚɜ ɤɨʁɢ ʁɟ ɡɚɫɬɭɩɚɨ Ɇɚɧɟ ɦɨɠɞɚ ɫɟ ɧɚʁɛɨʂɟ ɭɨɱɚɜɚ ɭɤɨɥɢɤɨ ɫɟ ɭɩɨɪɟɞɢ ɨɪɢɝɢɧɚɥɧɚ ɮɨɬɨɝɪɚɮɢʁɚ ɫɚ ɫɬɪɟʂɚʃɚ ɰɚɪɚ Ɇɚɤɫɢɦɢɥɢʁɚɧɚ ɫɚ ɫɥɢɤɨɦ ɧɚ ɢɫɬɭ ɬɟɦɭ ɤɨʁɭ ʁɟ ɭɪɚɞɢɨ Ɇɚɧɟ. ɇɚɢɦɟ, ɜɢɞɢ ɫɟ ɞɚ ɪɚɡɥɢɤɚ ɧɢʁɟ ɭ ɞɟɬɚʂɢɦɚ ɜɟʄ ɭ ɬɢɩɭ 291 Ⱦɪɚɝɭɬɢɧ Ƚɨɫɬɭɲɤɢ, „Ɇɭɡɢɱɤɟ ɧɚɭɤɟ ɤɚɨ ɦɨɞɟɥ ɢɧɬɟɪɞɢɫɰɢɩɥɢɧɚɪɧɨɝ ɦɟɬɨɞɚ ɢɫɬɪɚɠɢɜɚʃɚ”, ɭ: ɇɟɞɟʂɤɨ Ƚɜɨɡɞɟɧɨɜɢʄ (ɭɪ.), ɋɪɩɫɤɚ ɦɭɡɢɤɚ ɤɪɨɡ ɜɟɤɨɜɟ (Ȼɟɨɝɪɚɞ: ɋȺɇɍ, 1973), 42. 292 Ƚɨɞɢɧɚ 1866. ɢ ɨɛʁɚɜʂɢɜɚʃɟ ɡɛɢɪɤɟ ɋɚɬɭɪɧɫɤɟ ɩɟɫɦɟ /Poèmes saturniens/ ɉɨɥɚ ȼɟɪɥɟɧɚ ɨɡɧɚɱɚɜɚʁɭ ɩɨʁɚɜɭ ɫɢɦɛɨɥɢɡɦɚ ɭ ɤʃɢɠɟɜɧɨɫɬɢ, ɞɨɤ ɝɨɞɢɧɚ 1874. ɢ ɢɡɥɚɝɚʃɟ ɩɥɚɬɧɚ ɂɦɩɪɟɫɢʁɚ, ɪɚђɚʃɟ ɫɭɧɰɚ (Impression, soleil levant, 1872) ɫɢɦɛɨɥɢɱɤɢ ɨɡɧɚɱɚɜɚ ɩɨɱɟɬɚɤ ɢɦɩɪɟɫɢɨɧɢɡɦɚ ɭ ɫɥɢɤɚɪɫɬɜɭ. 293 H. W. Janson, Istorija umetnosti (Beograd: Prosveta, 1982), 492. { 156 } ɫɟɧɡɢɛɢɥɢɬɟɬɚ ɢ ɭ ɧɚɱɢɧɭ ɝɥɟɞɚʃɚ: ɨɛʁɟɤɬɢɜ ʁɟ ɭɫɦɟɪɟɧ ɤɚ ɫɩɨʂɚɲʃɟɦ ɫɜɟɬɭ, ɚ ɫɥɢɤɚɪɟɜɨ ɨɤɨ ɤɚ ɫɥɢɰɢ ɤɚɨ ɩɨɜɪɲɢɧɢ ɤɨʁɭ ɛɢ ɬɪɟɛɚɥɨ ɨɪɝɚɧɢɡɨɜɚɬɢ. Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 3: ɋɬɪɟʂɚʃɟ ɰɚɪɚ Ɇɚɫɢɦɢɥɢʁɚɧɚ, ɮɨɬɨɝɪɚɮɢʁɚ, 1867. Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 4: ȿɞɭɚɪɞ Ɇɚɧɟ, ɋɬɪɟʂɚʃɟ ɰɚɪɚ Ɇɚɤɫɢɦɢɥɢʁɚɧɚ (L’Exécution de Maximilien, 1868), ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Kunsthalle, Ɇɚɧɯɚʁɦ. { 157 } ɋ ɬɢɦ ɭ ɜɟɡɢ, Ɇɚɧɟ ʁɟ ɜɟɪɨɜɚɨ ɞɚ ɫɭ ɫɚɦɢ ɩɨɬɟɡɢ ɤɢɱɢɰɟ ɢ ɦɪʂɟ ɛɨʁɚ, ɚ ɧɟ ɨɧɨ ɲɬɨ ɨɧɟ ɡɧɚɱɟ, ɭɦɟɬɧɢɤɨɜɚ ɨɫɧɨɜɧɚ ɫɬɜɚɪɧɨɫɬ. ȵɟɝɨɜɨ ɩɥɚɬɧɨ Ɏɪɭɥɚɲ ɢɡ 1866. ɝɨɞɢɧɟ ʁɟɫɬɟ ɫɥɢɤɚɪɫɤɨ ɫɜɟɞɨɱɚɧɫɬɜɨ, ɧɟ ɩɨʁɚɱɚɜɚʃɚ ɢɥɭɡɢʁɟ ɫɬɜɚɪɧɨɝ ɩɪɨɫɬɨɪɚ, ɜɟʄ ɩɨʁɚɱɚɜɚʃɟ ʁɟɞɢɧɫɬɜɚ ɫɬɜɚɪɧɨ ɨɛɨʁɟɧɟ ɩɨɜɪɲɢɧɟ. Ɉɧɚ (ɫɥɢɤɚ), ɬɚɤɨ, ɩɨɫɬɚʁɟ ɩɨɜɪɲɢɧɚ ɛɨʁɟɧɢɯ ɤɨɧɬɪɚɫɬɚ ɪɚɡɥɢɱɢɬɨɝ ɫɜɟɬɥɨɫɧɨɝ ɢɧɬɟɧɡɢɬɟɬɚ – ɭ ɫɭɲɬɢɧɢ, ɧɚɝɨɜɟɲɬɚʁ ɢɞɟɚɥɚ „ɱɢɫɬɨɝ ɫɥɢɤɚɪɫɬɜɚ” Ɇɨɧɟɚ, ɉɢɫɚɪɨɚ, ɋɟɪɚɚ ɢ ɞɪɭɝɢɯ. Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 5: ȿɞɭɚɪɞ Ɇɚɧɟ, Ɏɪɭɥɚɲ (Le Fifre, 1866), ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Ɇɭɡɟʁ Ɉɪɫɟʁ, ɉɚɪɢɡ. ȿɞɭɚɪɞ Ɇɚɧɟ ɧɚ ɫɥɢɰɢ Ɏɪɭɥɚɲ ɩɪɢɤɚɡɭʁɟ ɦɥɚɞɨɝ ɦɭɡɢɱɚɪɚ ɨɪɤɟɫɬɪɚ ɰɚɪɫɤɟ ɝɚɪɞɟ ɤɚɨ ɲɩɚɧɫɤɨɝ ɩɥɟɦɢʄɚ. Ⱦɟɱɚɤ ɦɭɡɢɱɚɪ ʁɟ ɨɛɭɱɟɧ ɭ ɜɨʁɧɭ ɭɧɢɮɨɪɦɭ, ɰɪɜɟɧɟ ɩɚɧɬɚɥɨɧɟ, ɬɚɦɧɭ ʁɚɤɧɭ ɫɚ ɦɟɫɢɧɝɚɧɢɦ ɞɭɝɦɚɞɢɦɚ, ɛɟɥɭ ɟɲɚɪɩɭ ɢ ɬɚɦɚɧ ɲɟɲɢɪ ɫɚ ɰɪɜɟɧɨɦ ɤɨɧɤɚɪɞɨɦ. Ɉɧ ɫɜɢɪɚ ɮɪɭɥɭ. Ɏɪɭɥɚ ʁɟ ɨɞ ɬɚɦɧɨɝ ɞɪɜɟɬɚ ɫɚ ɫɪɟɛɪɧɢɦ ɞɟɬɚʂɢɦɚ, ɚ ɦɟɫɢɧɝɚɧɚ ɮɭɬɪɨɥɚ ɡɚ ɮɪɭɥɭ ʁɟ ɨɤɚɱɟɧɚ ɨ ʃɟɝɨɜɨ ɞɟɫɧɨ ɪɚɦɟ. Ɏɢɝɭɪɚ ɞɟɱɚɤɚ ɦɭɡɢɱɚɪɚ ʁɟ ɭɤɪɚɲɟɧɚ ɰɪɧɨɦ ɥɢɧɢʁɨɦ, ɤɚɨ ɲɬɨ ɫɭ ɩɪɭɝɚ ɧɚ ɩɚɧɬɚɥɨɧɚɦɚ, ɰɪɧɢ ɤɚɩɭɬ, ɫɟɧɤɚ ɧɚ ɥɢɰɭ. Ɏɢɝɭɪɚ ʁɟ ɩɨɬɩɭɧɨ ɨɫɜɟɬʂɟɧɚ ɫɚ ɩɪɟɞʃɟ ɫɬɪɚɧɟ, ɚ ɧɚɝɨɜɟɲɬɚʁ ɫɟɧɤɟ ɢɡɚ ʃɟ ɞɚʁɟ ɫɥɢɰɢ ɱɭɞɧɭ ɝɨɬɨɜɨ ɮɨɬɨɝɪɚɮɫɤɭ ɪɚɜɧɢɧɭ. ɋɥɢɤɚ ʁɟ ɩɨʁɟɞɧɨɫɬɚɜʂɟɧɚ, ɛɟɡ ɞɭɛɢɧɟ. ȼɟɪɬɢɤɚɥɧɢ ɢ ɯɨɪɢɡɨɧɬɚɥɧɢ ɩɥɚɧɨɜɢ ɫɥɢɤɟ ɫɭ ʁɟɞɜɚ ɩɪɟɩɨɡɧɚɬʂɢɜɢ. ɂɫɬɢɱɭ ɫɟ ɞɟɤɨɪɚɬɢɜɧɢ ɟɮɟɤɬɢ ɭɫɚɦʂɟɧɟ ɮɢɝɭɪɟ ɫɚ ɧɚɝɥɚɲɟɧɢɦ ɤɨɧɬɭɪɚɦɚ ɭ ɨɞɧɨɫɭ ɧɚ ɩɨɡɚɞɢɧɭ. ɉɥɚɬɧɨ ʁɟ ɧɚɫɥɢɤɚɧɨ ɤɨɧɬɪɚɫɬɧɢɦ ɢ ɱɢɫɬɢɦ ɛɨʁɚɦɚ, ɲɢɪɨɤɢɦ ɢ ɛɪɡɢɦ ɩɨɤɪɟɬɢɦɚ ɱɟɬɤɢɰɟ. Ɇɨɧɨɯɪɨɦɚɬɫɤɚ ɩɨɡɚɞɢɧɚ, ɧɚɫɥɢɤɚɧɚ ɭ ɩɪɢɥɢɱɧɨ ɭʁɟɞɧɚɱɟɧɨʁ ɫɢɜɨʁ ɛɨʁɢ ɩɨɫɟɛɧɨ ɢɫɬɢɱɟ ɫɧɚɠɧɨ ɨɛɨʁɟɧɭ ɮɢɝɭɪɭ ɢ ʃɟɧɭ ɠɢɜɨɫɬ. ɉɚɧɞɚɧ ɬɨɦɟ ɩɪɨɧɚɥɚɡɢɦɨ ɢ ɭ ɚɪɯɢɬɟɤɬɭɪɢ ɬɨɝ ɞɨɛɚ, ɬɚɱɧɢʁɟ ɭ ɝɪɚђɟɜɢɧɢ ɩɨɡɧɚɬɨʁ ɩɨɞ ɧɚɡɢɜɨɦ Ⱥʁɮɟɥɨɜɚ ɤɭɥɚ (La Tour Eiffel, 1887‒1889). Ɂɚ ʃɭ ɫɟ ɫɦɚɬɪɚ ɞɚ ʁɟ ɩɪɚɜɢ ɜɟɫɧɢɤ ɧɨɜɨɝ, ɦɨɞɟɪɧɨɝ ɞɨɛɚ; ɢɡɝɪɚђɟɧɚ ʁɟ ɤɚɨ ɧɟɮɭɧɤɰɢɨɧɚɥɧɢ ɨɛʁɟɤɬ ɨɞ { 158 } ɱɟɥɢɱɧɢɯ ɤɨɧɫɬɪɭɤɰɢʁɚ (ɡɚ ɋɜɟɬɫɤɭ ɢɡɥɨɠɛɭ ɭ ɉɚɪɢɡɭ 1889. ɝɨɞɢɧɟ), ɢɡɪɚɠɚɜɚʁɭʄɢ, ɤɚɤɨ ɬɨ ɢɫɬɢɱɟ Ʌɚɡɚɪ Ɍɪɢɮɭɧɨɜɢʄ, ɱɢɫɬɭ ɫɬɪɭɤɬɭɪɭ, ɧɚɥɢɤ ɫɥɢɤɚɪɫɤɢɦ ɫɬɪɭɤɭɬɪɚɦɚ ɤɨʁɟ ɫɭ ɢɦɩɪɟɫɢɨɧɢɫɬɢ ɢ ɩɨɟɧɬɢɥɢɫɬɢ ɢɫɬɪɚɠɢɜɚɥɢ ɫɟɞɚɦɞɟɫɟɬɢɯ ɢ ɨɫɚɦɞɟɫɟɬɢɯ ɝɨɞɢɧɚ 19. ɜɟɤɚ. Ⱥʁɮɟɥɨɜɨʁ ɤɭɥɢ ɢ ‘ɧɨɜɨʁ ɫɥɢɰɢ’ ɢɦɩɪɟɫɢɨɧɢɡɦɚ ɫɟ ɩɪɢɞɪɭɠɭʁɭ ɢ Ɇɚɥɚɪɦɟɨɜɚ la poésie pure ɢ Ⱦɟɛɢɫɢʁɟɜɚ la musique pure, ɨɫɬɜɚɪɟʃɚ ɤɨʁɚ ‘ɧɟ ɫɤɪɢɜɚʁɭ’ ɦɚɬɟɪɢʁɚɥ, ɟɥɟɦɟɧɬɟ ɢ ɧɚɱɟɥɚ ɨɞ ɤɨʁɢɯ ɫɭ ɧɚɩɪɚɜʂɟɧɚ, ɞɚɤɥɟ, ɞɟɥɚ ɤɨʁɚ ɫɬɚɜʂɚʁɭ ɮɨɤɭɫ ɧɚ ɬɨ ɤɚɤɨ ɫɭ ɫɬɜɨɪɟɧɚ. Ⱦɚɤɥɟ, ɫɚ ɩɨʁɚɜɨɦ ɫɥɢɤɚɪɫɤɨɝ ɢɦɩɪɟɫɢɨɧɢɡɦɚ ɞɨɲɥɨ ʁɟ ɞɨ ɨɬɜɚɪɚʃɚ ɫɬɪɭɤɬɭɪɟ, ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɢ ɫɤɪɚʄɟʃɚ ɩɪɨɫɬɨɪɚ (ɨ ɱɟɦɭ ʄɟ ɤɚɫɧɢʁɟ ɛɢɬɢ ɪɟɱɢ), ɚ ɡɚɬɢɦ ɢ ɫɤɢɞɚʃɚ ɬɟ (ɱɚɪɨɛɧɟ) ɨɩɧɟ ɤɨʁɚ ʁɟ ɧɭɞɢɥɚ „ɝɥɟɞɚʃɟ ɤɪɨɡ ɩɨɜɪɲɢɧɭ ɩɥɚɬɧɚ”, ɚ ɤɨʁɟ ʁɟ ɞɚʂɟ ɜɨɞɢɥɨ ɩɪɟɧɨɲɟʃɭ ‘ɨɝɨʂɟɧɢɯ’ ɩɢɝɦɟɧɚɬɚ ɧɚ ɩɨɜɪɲɢɧɭ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɬɨ ɧɨɜɨ ɨɤɨ ɤɨʁɟ ʁɟ ɛɢɥɨ ɭɫɦɟɪɟɧɨ ɤɚ ɩɨɜɪɲɢɧɢ ɤɨʁɭ ʁɟ ɬɪɟɛɚɥɨ ɨɪɝɚɧɢɡɨɜɚɬɢ ɨɬɤɪɢɥɨ ʁɟ ɧɨɜɢ ɬɢɩ ɜɢɡɭɟɥɧɨɫɬɢ ɢ ɧɚ ɬɨɦ ɨɬɤɪɢʄɭ ɫɚɝɪɚɞɢɥɨ ɫɥɢɤɚɪɫɤɭ ɩɪɚɤɫɭ ɤɨʁɚ ʄɟ, ɩɪɟɦɚ Ɍɪɢɮɭɧɨɜɢʄɟɜɢɦ ɪɟɱɢɦɚ, ɨɬɜɨɪɢɬɢ ɩɭɬ ɦɨɞɟɪɧɨʁ ɭɦɟɬɧɨɫɬɢ.294 Ɇɟђɭɬɢɦ, ɢ ɬɨ ɧɨɜɨ ɨɤɨ ‒ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨ ɨɤɨ, ɩɨɫɬɟɩɟɧɨ ʁɟ ɫɚɡɪɟɜɚɥɨ ɢ ɫɜɨʁ ɪɟɮɟɪɟɧɬɧɢ ɫɢɫɬɟɦ ɬɪɚɠɢɥɨ ɧɚ ɪɚɡɧɢɦ ɦɟɫɬɢɦɚ. ɋɪɨɞɧɢɤɟ, ɩɨɞɪɲɤɭ ɢ ɩɨɞɫɬɢɰɚʁ, ɫɥɢɤɚɪɢ ɢɦɩɪɟɫɢɨɧɢɫɬɢ ɫɭ ɩɪɨɧɚɲɥɢ ɭ ɞɟɤɨɪɚɬɢɜɧɨɦ ɞɭɯɭ ʁɚɩɚɧɫɤɢɯ ɝɪɚɜɢɪɚ ɧɚ ɫɜɢɥɢ. „Ɂɚɯɜɚʂɭʁɭʄɢ ɱɢɱɚ Ɍɚɧɝɢʁɭ, ɬɪɝɨɜɰɭ ɛɨʁɚɦɚ ɧɚ Ɇɨɧɦɚɪɬɪɭ, ɟɫɬɚɦɩɟ ɫɭ ɫɤɭɩʂɚɥɢ ɢ ɫɬɭɞɢɪɚɥɢ ɝɨɬɨɜɨ ɫɜɢ ɢɦɩɪɟɫɢɨɧɢɫɬɢ, ɧɚɪɨɱɢɬɨ Ɇɚɧɟ […] ȼɚɧ Ƚɨɝ ʁɟ ɭ ɏɢɪɨɲɢɝɢɧɢɦ ɞɪɜɨɪɟɡɢɦɚ ɨɬɤɪɢɨ ɧɨɜɭ ɮɢɥɨɡɨɮɢʁɭ ɩɪɢɪɨɞɟ, ɛɢɬɧɨ ɞɪɭɝɚɱɢʁɭ ɨɞ ɡɚɩɚɞɧɨɟɜɪɨɩɫɤɨɝ ɪɚɰɢɨɧɚɥɢɡɦɚ.”295 ‘ɉɪɟɞɢɫɬɨɪɢʁɚ’ ɢɦɩɪɟɫɢɨɧɢɡɦɚ ɩɨɱɢʃɟ ɭ ɫɟɞɦɨʁ ɞɟɰɟɧɢʁɢ 19. ɜɟɤɚ; ɬɚɱɧɢʁɟ, 1863, ɚ ɡɚɬɢɦ 1865. ɝɨɞɢɧɟ ȿɞɭɚɪɞ Ɇɚɧɟ ɢɡɥɚɠɟ ɫɜɨʁɚ ɞɜɚ ɩɥɚɬɧɚ – Ⱦɨɪɭɱɚɤ ɧɚ ɬɪɚɜɢ (Déjeuner sur l'herbe, 1863) ɭ ɋɚɥɨɧɭ ɨɞɛɢʁɟɧɢɯ ɢ Ɉɥɢɦɩɢʁɭ (Olympia, 1865) ɭ 294 „ɋɜɟ ɲɬɨ ɫɟ ɤɚɫɧɢʁɟ ɪɚɡɜɢɥɨ ɢɡ ɬɢɯ ɨɬɤɪɢʄɚ ʁɨɲ ɜɢɲɟ ʁɟ ɩɪɨɞɭɛɢɥɨ ɩɪɨɰɟɫ ɞɟɫɬɪɭɤɰɢʁɟ ɢ ɧɚ ɤɪɚʁɭ ɥɨɝɢɱɧɨ ɞɨɜɟɥɨ ɞɨ ɭɤɢɞɚʃɚ ɫɚɦɨɝ ɦɟɞɢʁɭɦɚ. ɍ ɦɨɞɟɪɧɨɦ ɫɥɢɤɚɪɫɬɜɭ ɧɢʁɟ ɩɨɫɬɨʁɚɨ ɤɨɧɬɢɧɭɢɬɟɬ ʁɟɞɧɟ ɢɞɟʁɟ ɜɟʄ ʁɟɞɧɟ ɧɚɦɟɪɟ, ɩɨɲɬɨ ɫɭ ɫɟ ɢɞɟʁɟ ɦɟʃɚɥɟ ɚ ɨɫɬɚʁɚɥɚ ʁɟ ɜɨʂɚ ɞɚ ɫɟ ɞɨ ɤɪɚʁɚ ɩɨɪɭɲɢ ɢ ɪɚɡɨɪɢ ɫɜɟɬ ɩɪɟɞɦɟɬɚ.” ȼɢɞɟɬɢ: ɢɫɬɨ, Ʌɚɡɚɪ Ɍɪɢɮɭɧɨɜɢʄ, ɋɥɢɤɚɪɫɤɢ ɩɪɚɜɰɢ XX ɜɟɤɚ (ɉɪɢɲɬɢɧɚ: Јɟɞɢɧɫɬɜɨ, 1982), 10. 295 ɂɫɬɨ, 20. { 159 } ɡɜɚɧɢɱɧɨɦ ɋɚɥɨɧɭ. ɋ ɨɛɡɢɪɨɦ ɧɚ ɬɨ ɞɚ ɩɨɦɟɧɭɬɚ ɨɫɬɜɚɪɟʃɚ, ɤɨʁɚ ɫɭ ɪɟɮɥɟɤɬɨɜɚɥɚ ɛɥɚɝɟ ɤɨɧɬɭɪɟ ɛɟɡ ɰɪɧɢɯ ɫɟɧɤɢ, ɧɢɫɭ ɛɢɥɚ ɭ ɫɤɥɚɞɭ ɫɚ ɭɤɭɫɨɦ ɬɚɞɚɲʃɟ ɩɭɛɥɢɤɟ ɢɡɝɪɚђɟɧɨɦ ɧɚ ɭɦɟɬɧɨɫɬɢ ɜɟɥɢɤɢɯ ɚɤɚɞɟɦɢɱɚɪɚ ɩɨɩɭɬ Ʉɚɛɚɧɟɥɚ (Alexandre Cabanel) ɢ Ⱦɟɥɚɪɨɲɚ (Paul Delaroche), ɨɧɚ ɫɭ ɧɚɢɲɥɚ ɧɚ ɨɞɡɢɜ ɤɨɞ ɦɥɚђɟ ɝɟɧɟɪɚɰɢʁɟ ɫɥɢɤɚɪɚ – ɝɨɬɨɜɨ ɫɜɢɯ ɛɭɞɭʄɢɯ ɢɦɩɪɟɫɢɨɧɢɫɬɚ: Ɇɨɧɟɚ, ɉɢɫɚɪɨɚ, Ȼɚɡɢɥɚ (Frédéric Bazille), Ɋɟɧɨɚɪɚ, Ⱦɟɝɚɚ, ɋɟɡɚɧɚ – ɤɨʁɢ ɫɭ ɭɱɢɥɢ ɫɥɢɤɚʃɟ ɢ ɰɪɬɚʃɟ ɭ Ⱥɬɟʂɟɭ „Ƚɥɟɢɪ” (Ⱥtelier Gleyre) ɢ ɧɚ Ⱥɤɚɞɟɦɢʁɢ „ɒɜɚʁɰɚɪɫɤɚ” (L’académie „Suisse”). Ɉɧɢ ɫɭ ɫɟ ɡɚʁɟɞɧɨ ɫɚ ɧɟɤɨɥɢɰɢɧɨɦ ɤʃɢɠɟɜɧɢɤɚ ɢ ɭɦɟɬɧɢɱɤɢɯ ɤɪɢɬɢɱɚɪɚ (Ʌɭɢ Ⱦɢɪɚɧɬɢ /Louis Edmond Duranty/) ɨɤɭɩʂɚɥɢ ɭ ɤɚɮɟɭ Ƚɟɪɛɨɚ (Café Guerbois) ɱɟɬɜɪɬɤɨɦ ɢ ɫɭɛɨɬɨɦ, ɝɞɟ ɫɭ ɬɨɤɨɦ ɞɭɝɢɯ ɞɟɛɚɬɚ ɢ ɪɚɫɩɪɚɜɚ, ɧɚɥɢɤ ɨɧɢɦɚ ɢɡ Ɇɚɥɚɪɦɟɨɜɨɝ ɫɚɥɨɧɚ, ɩɨɫɬɟɩɟɧɨ ɮɨɪɦɭɥɢɫɚɥɢ ɟɫɬɟɬɢɤɭ ɧɨɜɨɝ ɫɥɢɤɚɪɫɬɜɚ. ɇɚɤɨɧ ɲɬɨ ɫɭ ɞɪɭɲɬɜɟɧɨ-ɩɨɥɢɬɢɱɤɚ ɩɪɟɜɢɪɚʃɚ (ɧɚʁɩɪe, Ɏɪɚɧɰɭɫɤɨ-ɩɪɭɫɤɢ ɪɚɬ, ɚ ɡɚɬɢɦ ɢ ɉɚɪɢɫɤɚ ɤɨɦɭɧɚ) ɩɪɟɤɢɧɭɥɚ ɩɨɦɟɧɭɬɚ ɨɤɭɩʂɚʃɚ, ɩɪɢɩɚɞɧɢɰɢ ɦɥɚђɟ ɝɟɧɟɪɚɰɢʁɟ ɫɥɢɤɚɪɚ ɫɭ ɫɟ ɨɞɜɨʁɢɥɢ ɨɞ Ɇɚɧɟɚ ɢ ɩɪɜɢ ɩɭɬ (1874. ɝɨɞɢɧɟ), ɤɚɨ ɝɪɭɩɚ ɢɡɥɨɠɢɥɢ ɫɜɨʁɟ ɪɚɞɨɜɟ ɭ ɚɬɟʂɟɭ ʁɟɞɧɟ ɧɟɨɛɢɱɧɟ ɢ ɫɜɟɫɬɪɚɧɟ ɥɢɱɧɨɫɬɢ, ɮɪɚɧɰɭɫɤɨɝ ɮɨɬɨɝɪɚɮɚ, ɧɟɛɟɫɤɨɝ ɥɟɬɚɱɚ, ɚɭɬɨɪɚ ɰɪɬɟɠɚ ɢ ɩɢɫɰɚ ɇɚɞɚɪɚ (Félix Tournachon Nadar), ɧɚ Ʉɚɩɭɰɢɧɫɤɨɦ ɛɭɥɟɜɚɪɭ ɭ ɉɚɪɢɡɭ. ɇɚ ɬɨʁ ɢɡɥɨɠɛɢ Ʉɥɨɞ Ɇɨɧɟ ʁɟ ɩɪɢɤɚɡɚɨ ɫɜɨʁɟ ɩɥɚɬɧɨ ɂɦɩɪɟɫɢʁɚ, ɪɚђɚʃɟ ɫɭɧɰɚ ɩɨ ɤɨʁɨʁ ʁɟ ɰɟɨ ɩɨɤɪɟɬ ɞɨɛɢɨ ɢɦɟ (ɜɢɞɢ Ɋɟɩɪɨɞɭɤɰɢʁɭ ɛɪ. 6). Ɇɚɞɚ ɢɯ ʁɟ ɤɪɢɬɢɤɚ ɧɚɩɚɥɚ, ɚ ɩɭɛɥɢɤɚ ɫ ɩɨɞɫɦɟɯɨɦ ɝɥɟɞɚɥɚ ʃɢɯɨɜɟ ɫɥɢɤɟ, ɢɦɩɪɟɫɢɨɧɢɫɬɢ ɫɭ ɧɚɫɬɚɜɢɥɢ ɡɚʁɟɞɧɢɱɤɢ ɞɚ ɢɡɥɚɠɭ: 1876. ɤɨɞ Ⱦɢɪɚɧ- Ɋɢɟɥɚ, 1877. ɭ ɭɥɢɰɢ ɉɥɟɬʁɟ, 1879. ɭ ɚɜɟɧɢʁɢ Ɉɩɟɪɚ, ɢ ʁɨɲ ɱɟɬɢɪɢ ɩɭɬɚ, ɫɜɟ ɞɨ 1888, ɤɚɞɚ ɫɟ ʁɚɜʂɚ ɢ ɧɨɜɚ ɝɟɧɟɪɚɰɢʁɚ ɭɦɟɬɧɢɤɚ ɢ ɤɚɞɚ ɫɭ ɢ ɤɪɢɬɢɤɚ (ɤɨʁɚ ɩɨɱɢʃɟ ɞɚ ɭɜɢђɚ ʃɢɯɨɜ ɡɧɚɱɚʁ ɡɚ ɪɚɡɜɨʁ ɫɥɢɤɚɪɫɬɜɚ) ɢ ɩɭɛɥɢɤɚ (ɤɨʁɚ ɤɪɟʄɟ ɞɚ ɨɬɤɭɩʂɭʁɟ ʃɢɯɨɜɟ ɫɥɢɤɟ) ɩɨɱɟɥɢ ɞɚ ɦɟʃɚʁɭ ɫɬɚɜ ɩɪɟɦɚ ʃɢɦɚ.296 296 ȼɢɞɟɬɢ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ ʃɟɝɨɜɨ ɞɨɛɚ..., ɧɚɜ. ɞɟɥɨ, 26. { 160 } Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 6: Ʉɥɨɞ Ɇɨɧɟ, ɂɦɩɪɟɫɢʁɚ, ɪɚђɚʃɟ ɫɭɧɰɚ (Impression, soleil levant, 1872), ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Marmottan Monet, ɉɚɪɢɡ. Ⱦɜɟ ɜɟɥɢɤɟ ɬɟɦɟ ɤɨʁɟ ʁɟ ɢɦɩɪɟɫɢɨɧɢɡɚɦ ɢɫɬɪɚɠɢɜɚɨ ʁɟɫɭ ɛɢɥɟ ɫɜɟɬɥɨɫɬ ɢ ɩɨɤɪɟɬ ɱɢɦɟ ʁɟ ɧɚɩɪɚɜʂɟɧ ɡɧɚɱɚʁɚɧ ɨɬɤɥɨɧ ɨɞ ɪɟɚɥɢɫɬɢɱɤɨɝ ɫɥɢɤɚɪɫɬɜɚ. Ɂɚ ɪɚɡɥɢɤɭ ɨɞ ɪɟɚɥɢɫɬɚ ɤɨʁɢ ɫɭ ɫɥɢɤɚɥɢ ɨɧɨ ɲɬɨ ɜɢɞɟ, ɬɨ ʁɟɫɬ, ɦɟɬɨɞɢɱɧɨ ɩɪɟɧɨɫɢɥɢ ɫɩɨʂɚɲʃɢ ɫɜɟɬ ɧɚ ɩɥɚɬɧɨ ɫ ɧɚɦɟɪɨɦ ɞɚ ɫɚɨɩɲɬɟ ɨɞɪɟђɟɧɟ ɦɨɪɚɥɧɟ ɢ ɫɨɰɢʁɚɥɧɟ ɩɨɪɭɤɟ, ɢɦɩɪɟɫɢɨɧɢɫɬɢ ɫɭ, ɜɨђɟɧɢ ɱɭɥɢɦɚ, ɢɧɬɭɢɰɢʁɨɦ ɢ ɥɢɱɧɢɦ ɨɫɟʄɚʃɟɦ, ɧɚ ɪɟɚɥɧɢ ɫɜɟɬ ɝɥɟɞɚɥɢ ɫɚɦɨ ɤɚɨ ɧɚ ɩɨɞɫɬɢɰɚʁ ɤɚɤɨ ɛɢ ɲɬɨ ʁɟ ɦɨɝɭʄɟ ɫɥɨɛɨɞɧɢʁɟ ɢɡɪɚɡɢɥɢ ɥɢɱɧɢ ɞɨɠɢɜʂɚʁ ɩɪɢɪɨɞɟ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɪɚɰɢɨɧɚɥɧɨ ɫɚɡɧɚʃɟ ɡɚɫɬɭɩʂɟɧɨ ɭ ɪɟɚɥɢɡɦɭ ɛɢɥɨ ʁɟ ɡɚɦɟʃɟɧɨ ɱɭɥɧɢɦ ɨɩɚɠɚʃɟɦ ɢɦɩɪɟɫɢɨɧɢɫɬɚ, ɲɬɨ ʁɟ ɞɚɥɨ ɩɨɜɨɞɚ Ƚɢɫɬɚɜɭ ɀɟɮɪɨɭ (Gustave Geffroy) ɞɚ ɢɡʁɚɜɢ ɤɚɤɨ ʁɟ „ɭ ɢɦɩɪɟɫɢɨɧɢɡɦɭ ɫɚɞɪɠɚɧ ɟɥɚɧ ɞɭɯɚ, ʁɟɞɚɧ ɞɭɯɨɜɧɢ ɡɚɧɨɫ ɤɨʁɢ ɭ ɩɨɫɦɚɬɪɚɱɭ ɩɨɤɪɟʄɟ ɟɝɡɚɥɬɚɰɢʁɭ ɱɭɥɚ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.]”297; ɨɞɧɨɫɧɨ, ɪɟɱɟɧɨ ɦɚɧɟɨɜɫɤɢɦ ɪɟɱɧɢɤɨɦ, „ɫɥɢɤɚɪ ɦɢɫɥɢ ɫɚɦɨ ɧɚ ɬɨ ɤɚɤɨ ʄɟ ɞɚ ɩɪɟɧɟɫɟ 297 Ʌɚɡɚɪ Ɍɪɢɮɭɧɨɜɢʄ, ɋɥɢɤɚɪɫɤɢ..., ɧɚɜ. ɞɟɥɨ, 21. { 161 } ɫɜɨʁ ɭɬɢɫɚɤ”298, ɤɚɤɨ ʄɟ ɞɚ ɫɬɜɨɪɢ ɫɢɧɬɟɡɭ ɭ ɩɪɢɤɚɡɢɜɚʃɭ ʁɟɞɧɨɝ ɬɪɟɧɭɬɤɚ ɫɬɜɚɪɢ ɤɨʁɟ ɫɭ ɨɡɧɚɱɟɧɟ ɭ ɩɪɨɫɬɨɪɭ. ɋɚ ɢɦɩɪɟɫɢɨɧɢɡɦɨɦ ɫɥɢɤɚɪ ʁɟ ɧɚɩɭɫɬɢɨ ɚɬɟʂɟ ɢ ɨɬɢɲɚɨ ɭ ɩɟʁɡɚɠ, ɭ ɩɥɟɧɟɪ (en plain air), ɞɚ ɛɢ ɨɫɬɜɚɪɢɨ ɫɬɚɪɢ ɫɚɧ ɀɚɧ-ɀɚɤɚ Ɋɭɫɨɚ ɨ ɩɨɜɪɚɬɤɭ ɩɪɢɪɨɞɢ, ɢɡɜɨɪɢɦɚ ɢ ɩɪɚɜɢɦ ɜɪɟɞɧɨɫɬɢɦɚ ɠɢɜɨɬɚ. ɋɥɢɤɚɪɟ ɫɭ ɩɪɢɜɥɚɱɢɥɢ ɦɨɪɟ, ɪɟɱɧɟ ɨɛɚɥɟ, ɩɪɢɫɬɚɧɢɲɬɚ, ɱɚɦɰɢ, ɛɪɨɞɨɜɢ, ɛɚɲɬɟ, ɬɟɪɚɫɟ ɢɥɢ ɩɚɫɬɨɪɚɥɧɢ ɫɟɨɫɤɢ ɩɪɟɞɟɥɢ ɫ ɞɪɜɨɪɟɞɢɦɚ ɢ ɦɨɫɬɨɜɢɦɚ (ɡɚ ɪɚɡɥɢɤɭ ɨɞ ɪɚɧɢʁɢɯ ɢɧɬɟɪɟɫɨɜɚʃɚ ɡɚ ɦɢɬɨɥɨɝɢʁɭ, ɪɟɥɢɝɢɨɡɧɟ ɬɟɦɟ ɢ ɢɫɬɨɪɢʁɫɤɟ ɤɨɦɩɨɡɢɰɢʁɟ). Ʉɚɤɨ ɢɫɬɢɱɟ Ʌɚɡɚɪ Ɍɪɢɮɭɧɨɜɢʄ ɭ ɫɜɨʁɨʁ ɤʃɢɡɢ ɋɥɢɤɚɪɫɤɢ ɩɪɚɜɰɢ XX ɜɟɤɚ, „ɢɦɩɪɟɫɢɨɧɢɫɬɚ ʁɟ ɫɥɢɤɚʁɭʄɢ ɭ ɩɪɢɪɨɞɢ ɞɨɛɢɨ ɧɨɜɟ ɨɱɢ: ɩɨɱɟɨ ʁɟ ɞɚ ɜɢɞɢ, ɦɢɫɥɢ ɢ ɨɫɟʄɚ ɧɚ ɞɪɭɝɢ ɧɚɱɢɧ; ɢɡɦɟђɭ ɩɟʁɡɚɠɚ, ɩɥɚɬɧɚ ɢ ʃɟɝɚ ɭɫɩɨɫɬɚɜʂɟɧ ʁɟ ɫɩɨɧɬɚɧ ɢ ɞɢɪɟɤɬɚɧ ɨɞɧɨɫ, ɫɤɪɚʄɟɧ ʁɟ ɩɪɨɰɟɫ ɨɞ ɧɚɞɚɯɧɭʄɚ ɞɨ ɪɟɚɥɢɡɚɰɢʁɟ, ɢɡɦɟʃɟɧ ɦɟɬɨɞ ɫɥɢɤɚʃɚ, ɨɞɛɚɱɟɧɚ ɫɬɚɪɚ ɫɪɟɞɫɬɜɚ; ɩɪɢɪɨɞɚ ɢɯ ʁɟ ɭɱɢɥɚ, ɨɬɤɪɢɜɚɥɚ ɢɦ ɬɚʁɧɟ ɢ ɡɚɤɨɧɟ, ɩɨɤɚɡɢɜɚɥɚ ɞɚ ɫɬɜɚɪɧɨɫɬ ɧɢʁɟ ɫɬɚɬɢɱɧɚ, ɜɟʄ ɩɪɨɦɟɧʂɢɜɚ, ɡɚɜɢɫɧɨ ɨɞ ɢɞɟʁɟ ɢ ɞɨɠɢɜʂɚʁɚ ɤɨʁɢ ɫɟ ɭ ʃɭ ɩɪɨʁɟɤɬɭʁɭ”299. Ⱦɚɤɥɟ, ɜɢɡɭɟɥɧɨ ɨɩɚɠɚʃɟ ʁɟɞɧɨɝ ɢɦɩɪɟɫɢɨɧɢɫɬɟ ɫɟ ɡɚɫɧɢɜɚɥɨ ɧɚ ɧɚɭɱɧɨɦ ɫɚɡɧɚʃɭ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɢ ɧɚ ɫɭɛʁɟɤɬɢɜɧɨɦ ɢɫɤɭɫɬɜɭ, ɫ ɞɪɭɝɟ, ɨɞɧɨɫɧɨ, ɧɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨʁ ɫɢɧɬɟɡɢ ɧɚɬɭɪɚɥɢɡɦɚ ɢ ɢɧɞɢɜɢɞɭɚɥɢɡɦɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɜɟɡɚ ɤɨʁɚ ɫɟ ɫɬɜɚɪɚɥɚ ɢɡɦɟђɭ ɩɪɢɪɨɞɟ ɢ ɫɥɢɤɟ ʁɟ ɛɢɥɚ ɚɧɬɢɦɢɦɟɬɢɱɤɨɝ ɤɚɪɚɤɬɟɪɚ: „ɫɥɢɤɚɬɢ ɩɪɢɪɨɞɭ ɧɟ ɡɧɚɱɢ ɞɨɫɥɨɜɧɨ ɩɪɟɧɨɫɢɬɢ ʃɟɧɟ ɨɛɥɢɤɟ, ɜɟʄ ɫɥɢɤɚɬɢ ɤɚɨ ɩɪɢɪɨɞɚ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.]; ɫɦɢɫɚɨ ɫɥɢɤɟ ɩɪɨɧɚђɟɧ ʁɟ ɭ ɨɧɨɦɟ ɲɬɨ ʁɟ ɢɡɦɟђɭ ɨɛɥɢɤɚ ɩɨɲɬɨ ɫɟ ɬɨ ʁɟɞɢɧɨ ɩɪɟɧɨɫɢ ɭ ɡɧɚɤɨɜɟ ɤɨʁɢ ɩɨɫɦɚɬɪɚɱɚ ɭɜɨɞɟ ɭ ɢɦɚɝɢɧɚɪɧɢ ɫɜɟɬ ɭ ɤɨɦɟ ɫɟ ɧɚɥɚɡɢ ɭɦɟɬɧɢɤɨɜɚ ɦɢɫɚɨ”300. Ɍɨ ɡɧɚɱɢ ɞɚ ɩɪɢɪɨɞɚ ɢ ɫɥɢɤɚ ɤɚɨ ɞɜɟ ɫɬɜɚɪɧɨɫɬɢ ɦɨɝɭ, ɚɥɢ ɢ ɧɟ ɦɨɪɚʁɭ ɩɨɫɬɚɜʂɚɬɢ ɡɧɚɤ ʁɟɞɧɚɤɨɫɬɢ ɢɡɦɟђɭ ɫɟɛɟ ʁɟɪ ʁɟ ɢ ɫɚɦɨ ɫɥɢɤɚɪɫɬɜɨ ɫɯɜɚʄɟɧɨ ɤɚɨ ɢɫɬɪɚɠɢɜɚʃɟ ɡɚɬɜɨɪɟɧɨɝ ɫɢɫɬɟɦɚ ʁɟɞɧɚɤɢɯ ɜɪɟɞɧɨɫɬɢ. Јɟɞɚɧ ɨɞ ɨɫɧɨɜɧɢɯ ɰɢʂɟɜɚ ɫɥɢɤɚɪɚ ɢɦɩɪɟɫɢɨɧɢɫɬɚ ʁɟɫɬɟ ɛɢɨ ɧɚɫɥɢɤɚɬɢ ɫɜɟɬɥɨɫɬ. Ɇɟђɭɬɢɦ, ɤɚɤɨ ɫɟ ɢɫɩɨɫɬɚɜɢɥɨ ɞɚ ɫɜɟɬɥɨɫɬ ɧɢʁɟ ɦɚɬɟɪɢʁɚɥɧɢ ɟɥɟɦɟɧɬ ɤɨʁɢɦ ɫɥɢɤɚɪɫɬɜɨ ɪɚɫɩɨɥɚɠɟ, ɧɢɬɢ ɫɪɟɞɫɬɜɨ ɢ ɫɜɪɯɚ ɭɦɟɬɧɨɫɬɢ, ɜɟʄ, ɤɚɨ ɦɚɬɟɪɢʁɚ, ɫɬɚɥɧɢ ɢ ɧɟɫɜɨɞʂɢɜ ɩɨɞɚɬɚɤ ɧɚ ɤɨɦɟ ɧɟɦɚ ɞɢɪɟɤɬɧɟ ɚɤɰɢʁɟ, ɨɧɚ ʁɟ ɩɨɫɬɚɥɚ ɦɟɬɚɮɨɪɚ. ɇɨ, 298 Ɇɚɧɟɨɜɟ ɪɟɱɢ ɧɚɜɟɞɟɧɟ ɩɪɟɦɚ: ɢɫɬɨ. 299 ɂɫɬɨ, 21‒22. ȼɢɞɟɬɢ ɢ ɭ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 27. 300 Ʌɚɡɚɪ Ɍɪɢɮɭɧɨɜɢʄ, ɧɚɜ. ɞɟɥɨ, 22. { 162 } ɨɬɤɪɢʄɟ ɤɨʁɟ ʁɟ ɛɢɥɨ ɤʂɭɱɧɨ ɡɚ ɢɦɩɪɟɫɢɨɧɢɫɬɟ, ɚ ɞɨ ɤɨʁɟɝ ɫɭ ɞɨɲɥɢ ɱɢɬɚʁɭʄɢ ɪɟɡɭɥɬɚɬɟ ɨɩɬɢɱɤɢɯ ɢɫɬɪɚɠɢɜɚʃɚ ȿɠɟɧɚ ɒɟɜɪɟɥɚ (Michel Eugène Chevreul) ɢɡɥɨɠɟɧɢɯ ɭ ɫɬɭɞɢʁɢ Ɉ ɡɚɤɨɧɭ ɫɢɦɭɥɬɚɧɨɝ ɤɨɧɬɪɚɫɬɚ ɛɨʁɚ (La loi du contraste simultané des couleurs, 1839), ʁɟɫɬɟ ɛɢɥɨ ɬɨ ɞɚ ɭ ɩɪɢɪɨɞɢ ɧɟɦɚ ɛɟɥɟ ɫɜɟɬɥɨɫɬɢ ɢ ɰɪɧɢɯ ɫɟɧɤɢ. ɍ ɬɨɦ ɬɪɟɧɭɬɤɭ ɫɟ ɩɪɟɞ ɫɥɢɤɚɪɢɦɚ ɨɬɜɨɪɢɥɨ ʁɟɞɧɨ ɩɨɬɩɭɧɨ ɧɨɜɨ ɩɨʂɟ ɩɪɚɤɬɢɱɧɨɝ ɪɚɞɚ (ɩɪɢ ɬɨɦ, ɭɬɟɦɟʂɟɧɨ ɢ ɭ ɧɚɭɰɢ!) ɤɨʁɟ ʁɟ ɨɦɨɝɭʄɢɥɨ ɞɚ ɫɟ ɫɜɟɬɥɨɫɬ ɢɩɚɤ ɧɚɫɥɢɤɚ. ɉɨɦɟɧɭɬɨ ɧɚɭɱɧɨ ɢɫɬɪɚɠɢɜɚʃɟ ʁɟ ɩɨɤɚɡɚɥɨ ɞɚ ɫɟ ɫɜɟɬɥɨɫɬ ɫɚɫɬɨʁɢ ɨɞ ɨɫɧɨɜɧɢɯ ɛɨʁɚ – ɩɥɚɜɟ, ɰɪɜɟɧɟ ɢ ɠɭɬɟ – ɢ ɨɞ ʃɢɯɨɜɢɯ ɤɨɦɩɥɟɦɟɧɬɚɪɚ – ɧɚɪɚɧџɚɫɬɟ, ʂɭɛɢɱɚɫɬɟ ɢ ɡɟɥɟɧɟ ‒ ɞɚɤɥɟ, ɭ ʃɨʁ ɧɟɦɚ ɧɢ ɛɟɥɟ ɧɢ ɰɪɧɟ. Ɍɚɤɨ ʁɟ ɫɬɜɨɪɟɧɚ ɩɚɥɟɬɚ ɱɢɫɬɢɯ ɛɨʁɚ ‒ ɡɚɫɧɨɜɚɧɚ ɧɚ ɯɚɪɦɨɧɢɡɚɰɢʁɢ ɫɢɦɭɥɬɚɧɢɯ ɤɨɧɬɪɚɫɬɚ ɢ ɡɚɤɨɧɚ ɨ ɤɨɦɩɥɟɦɟɧɬɚɪɧɨɦ ɫɥɚɝɚʃɭ ɛɨʁɚ ɤɨʁɭ ʄɟ ɧɚɤɨɧ ɒɟɜɪɟɥɚ ɞɚʂɟ ɪɚɡɪɚђɢɜɚɬɢ ɏɟɥɦɯɨɥɰ. ȼɚɠɧɨ ʁɟ ɩɨɞɫɟɬɢɬɢ ɞɚ ʁɟ ɬɚ ɫɜɨʁɟɜɪɫɧɚ ɨɩɫɟɫɢʁɚ ɛɨʁɨɦ ɛɢɥɚ ɩɨɤɚɡɚɬɟʂ ʁɟɞɢɧɫɬɜɟɧɨɝ ɞɭɯɚ ɜɪɟɦɟɧɚ, ɚ ɧɟ ɟɤɫɤɥɭɡɢɜɧɨ ɩɪɚɜɨ ɫɥɢɤɚɪɚ; ɬɚɤɨ ɛɨʁɭ ɩɪɨɧɚɥɢɡɢɦɨ ɢ ɭ ɩɨɟɡɢʁɢ ɬɨɝ ɜɪɟɦɟɧɚ, ɬɚɱɧɢʁɟ ɭ Ɋɟɦɛɨɨɜɨʁ Ⱥɥɯɟɦɢʁɢ ɫɧɨɜɚ ɭ ɤɨʁɨʁ ʁɟ ɩɟɫɧɢɤɚ ɨɞɪɟɞɢɨ ɨɛɥɢɤ, ɪɢɬɚɦ ɢ ɛɨʁɭ ɫɜɚɤɨɝ ɫɚɦɨɝɥɚɫɧɢɤɚ. Ɍɚɤɨђɟ, ɭ Ⱦɟɛɢɫɢʁɟɜɨʁ ɦɭɡɢɰɢ ɧɨɜɨɧɚɫɬɚɥɢ ɨɞɧɨɫɢ ɢɡɦɟђɭ ɚɤɨɪɚɞɚ, ʃɢɯɨɜɚ ɤɨɥɨɪɢɫɬɢɱɤɚ ɮɭɧɤɰɢʁɚ, ɢɧɨɜɚɰɢʁɟ ɭ ɨɪɤɟɫɬɚɪɫɤɨɦ ɬɪɟɬɦɚɧɭ ɮɚɤɬɭɪɟ, ɩɨɫɬɭɩɚɤ ɧɟɦɟɲɚʃɚ ɨɪɤɟɫɬɚɪɫɤɢɯ ɛɨʁɚ, ɤɚɨ ɢ ‘ɤɪɫɬɚɪɟʃɟ’ ɩɨ ɰɚɪɫɬɜɭ ɡɜɭɤɚ ɭ ɫɦɢɫɥɭ ɤɨɪɢɲʄɟʃɚ ɡɚɤɨɧɚ ɚɤɭɫɬɢɤɟ ɚɥɢɤɜɨɬɧɢɯ ɬɨɧɨɜɚ, ɨɞɝɨɜɚɪɚʁɭ ɩɨɫɬɭɩɤɭ ɨɩɬɢɱɤɢɯ ɫɬɭɞɢʁɚ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɢɯ ɢ ɩɨɫɬɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɢɯ ɫɥɢɤɚɪɚ ɤɨʁɢ ɫɜɚɤɭ ɛɨʁɭ ɪɚɡɥɚɠɭ ɭ ɫɩɟɤɬɚɪ (ɧɚ ɩɪɢɦɟɪ, ɫɩɟɤɬɪɚɥɧɟ ɬɚɱɤɟ ɧɟɤɟ ɩɨɟɧɬɢɥɢɫɬɢɱɤɟ ɫɥɢɤɟ) ɩɪɟɩɭɲɬɚʁɭʄɢ ɨɤɭ ɞɚ ɫɚɦɨ ɫɬɜɨɪɢ ɫɢɧɬɟɡɭ (ɤɚɨ ɲɬɨ ɫɟ ɡɜɭɱɧɟ, ɢɧɫɬɪɭɦɟɧɬɚɥɧɟ ɛɨʁɟ „ɦɟɲɚʁɭ ɬɟɤ ɭ ɭɯɭ”).301 Ʉɚɨ ɩɪɢɦɟɪ ɦɨɠɟ ɩɨɫɥɭɠɢɬɢ ɬɪɟʄɢ ɫɬɚɜɢ – ɋɢɪɟɧɟ (Sirènes) ɢɡ ɫɢɦɮɨɧɢʁɫɤɨɝ ɬɪɢɩɬɢɯɚ ɇɨɤɬɭɪɧɚ (Nocturnes, 1897‒1899). ɋɭɩɬɢɥɧɨɦ ɯɨɪɢɡɨɧɬɚɥɧɨɦ ɜɨђɟʃɭ ɦɟɥɨɞɢʁɟ ɭ ɞɟɨɧɢɰɢ ɫɨɩɪɚɧɚ302 ‘ɫɭɩɪɨɬɫɬɚɜʂɚʁɭ’ ɫɟ ɞɟɨɧɢɰɟ ɮɥɚɭɬɟ ɢ ɯɨɪɧɟ ɤɨʁɟ ɭɞɜɚʁɚʁɭ ɫɚɦɨ ɩɨʁɟɞɢɧɟ ɬɨɧɨɜɟ ɢ ‘ɫɬɚɩɚʁɭ ɫɟ’ ɫɚ ɨɫɧɨɜɧɨɦ ɦɟɥɨɞɢʁɨɦ. Ɍɟɦɚɬɫɤɢ ɦɚɬɟɪɢʁɚɥ ɩɨɜɟɪɟɧ ɩɪɜɢɦ ɢ ɞɪɭɝɢɦ ɜɢɨɥɢɧɚɦɚ, ɭɞɜɨʁɟɧ ɭ 301 ɉɚɧɞɚɧ ɬɨɦɟ ɩɪɨɧɚɥɚɡɢɦɨ ɭ Ɇɚɥɚɪɦɟɨɜɨʁ ɩɨɟɡɢʁɢ ɝɞɟ ɪɟɱɢ ɜɢɲɟ ɧɢɫɭ ɫɪɟɞɫɬɜɚ ɤɨʁɚ ɩɪɟɧɨɫɟ ɦɢɫɥɢ, ɜɟʄ ɩɨɱɢʃɭ ɞɚ ɫɟ ɝɪɭɩɢɲɭ ɩɪɟɦɚ ʃɢɯɨɜɨʁ ɫɧɚɡɢ ɫɭɝɟɫɬɢʁɟ, ɩɫɢɯɨɥɨɲɤɟ ɤɪɟɚɰɢʁɟ. ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 29. 302 ɋɢɪɟɧɟ ɫɭ ʁɟɞɢɧɢ ɧɨɤɬɭɪɧɨ ɭ ɤɨɦɟ Ⱦɟɛɢɫɢ, ɩɨɪɟɞ ɨɪɤɟɫɬɪɚ, ɭɜɨɞɢ ɜɨɤɚɥɢɡɟ ɠɟɧɫɤɨɝ ɯɨɪɚ ɤɨʁɢ (ɛɟɡ ɬɟɤɫɬɚ) ɬɪɟɬɢɪɚ ɤɚɨ ɛɨʁɟ ɧɨɜɨɭɜɟɞɟɧɨɝ ‘ɢɧɫɬɪɭɦɟɧɬɚ’. { 163 } ɨɤɬɚɜɚɦɚ, ɞɨɩɪɢɧɨɫɢ ɫɥɨʁɟɜɢɬɨɫɬɢ ɨɪɤɟɫɬɚɪɫɤɟ ɮɚɤɬɭɪɟ ɢ ɧɚɫɥɨʁɚɜɚʃɭ ɡɜɭɱɧɢɯ ɛɨʁɚ. Ʉɚɨ ɫɭɩɪɨɬɧɨɫɬ, ɨɞɧɨɫɧɨ, ɤɚɨ ɤɨɦɩɥɟɦɟɧɬɚɪɧɚ ɡɜɭɱɧɚ ‘ɬɚɱɤɚ’ ʁɚɜʂɚʁɭ ɫɟ ɧɨɜɢ ɦɨɬɢɜɢ ɭ ɜɢɞɭ ɚɪɩɟђɢɪɚɧɟ ɩɪɚɬʃɟ ɭ ɞɟɨɧɢɰɢ ɜɢɨɥɚ ɢ ɜɢɨɥɨɧɱɟɥɚ, ɞɨɤ ʁɟ ɭ ɞɟɨɧɢɰɢ ɤɨɧɬɪɚɛɚɫɚ ɭɨɱʂɢɜɚ ɨɫɬɢɧɚɬɧɚ ɮɢɝɭɪɚ (ɭ ɫɚɝɥɚɫɧɨɫɬɢ ɫɚ ɦɨɝɭʄɧɨɫɬɢɦɚ ɨɜɨɝ ɢɧɫɬɪɭɦɟɧɬɚ). Ɉɜɚɤɜɢɦ ɬɪɟɬɦɚɧɨɦ ɬɟɦɚɬɫɤɨɝ ɦɚɬɟɪɢʁɚɥɚ ɢ ʃɟɝɨɜɢɦ ɢɡɥɚɝɚʃɟɦ ɭ ɞɟɨɧɢɰɚɦɚ ɪɚɡɥɢɱɢɬɢɯ ɢɧɫɬɪɭɦɟɧɚɬɚ ɨɫɬɜɚɪɭʁɟ ɫɟ ɩɪɨɡɪɚɱɚɧɚ, ɚɥɢ ɫɥɨʁɟɜɢɬɚ ɨɪɤɟɫɬɪɚɰɢʁɚ (ɫɬɜɚɪɚʁɭʄɢ ɡɜɭɱɧɢ ɟɮɟɤɚɬ ɤɪɟɬɚʃɚ ɬɚɥɚɫɚ ɢ ɩɟɜɚʃɚ ɫɢɪɟɧɚ). ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 19: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɋɢɪɟɧɟ, ɬɪɟʄɢ ɫɬɚɜ ɢɡ ɇɨɤɬɭɪɧɚ (Sirènes, Nocturnes, 1897‒1899), ɬɬ. 22‒33. { 164 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 19: ...ɧɚɫɬɚɜɚɤ. { 165 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 19: ...ɧɚɫɬɚɜɚɤ. { 166 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 19: ...ɧɚɫɬɚɜɚɤ. { 167 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 19: ...ɧɚɫɬɚɜɚɤ. { 168 } ɍ ɜɟɡɢ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɝ ɫɥɢɤɚɪɫɬɜɚ ɜɚɠɧɨ ʁɟ ɧɚɩɨɦɟɧɭɬɢ ɢ ɬɨ ɞɚ ɫɭ ɫɥɢɤɚɪɢ ɢɦɩɪɟɫɢɨɧɢɫɬɢ ɫɬɜɨɪɢɥɢ ɫɜɨʁ ɬɢɩ ɫɥɢɤɟ ɤɨʁɢ ʁɟ ɩɪɨɢɡɚɲɚɨ ɢɡ ʃɢɯɨɜɟ ɨɩɱɢʃɟɧɨɫɬɢ ɜɨɞɨɦ ɢ ɫɭɧɰɟɦ. Ɍɚ ɫɥɢɤɚ ‘ɛɟɥɟɠɢ’ ɩɟʁɡɚɠɟ (ɜɪɟɨ ɥɟɬʃɢ ɞɚɧ, ʁɟɫɟʃɚ ɢɡɦɚɝɥɢɰɚ, ɪɚɫɰɜɟɬɚɥɟ ɥɢɜɚɞɟ, ɜɟɬɚɪ, ɫɧɟɝ, ɜɥɚɝɚ...) ɫɚ ɞɭɛɨɤɢɦ ɩɪɨɫɬɨɪɨɦ, ɨɞɛɥɟɫɰɢɦɚ ɧɚ ɜɨɞɢ ɢ ɨɝɪɨɦɧɢɦ ɧɟɛɨɦ ɩɨ ɤɨɦɟ ɫɟ ɤɨɬɪʂɚʁɭ ɨɛɥɚɰɢ. ɉɪɢɦɟɪ ɡɚ ɬɨ ɩɪɨɧɚɥɚɡɢɦɨ ɭ ɩɪɜɨɦ ɧɨɤɬɭɪɧɭ – Ɉɛɥɚɰɢ (Nuages), ɝɞɟ ɫɟ ɜɟɥɢɤɢ ɪɟɝɢɫɬɚɪɫɤɢ ɪɚɫɩɨɧ ɞɟɨɧɢɰɚ ɝɭɞɚɱɤɢɯ ɢɧɫɬɪɭɦɟɧɚɬɚ ɦɨɠɟ ɬɭɦɚɱɢɬɢ ɤɚɨ ɫɪɟɞɫɬɜɨ ɡɚ ɫɭɝɟɪɢɫɚʃɟ ɩɪɨɫɬɨɪɧɟ ɞɢɦɟɧɡɢʁɟ ɛɭɞɭʄɢ ɞɚ ʁɟ ɜɟʄ ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ ɞɟɥɚ ɢɫɤɨɪɢɲʄɟɧɚ ɚɫɨɰɢʁɚɰɢʁɚ ɩɪɚɡɧɢɯ ɤɜɢɧɬɢ ɫɚ ɩɪɟɞɫɬɚɜɚɦɚ ‘ɮɢɡɢɱɤɨɝ ɩɪɨɫɬɪɚɧɫɬɜɚ’, ɜɟɪɨɜɚɬɧɨ ɡɚɫɧɨɜɚɧɚ, ɩɢɲɟ Ⱦɟʁɚɧ Ⱦɟɫɩɢʄ, „ɧɚ ɩɫɢɯɨɥɨɲɤɨɦ ɩɨɜɟɡɢɜɚʃɭ ɤɨɧɫɬɚɧɬɧɟ ɫɬɚɛɢɥɧɨɫɬɢ ɫɚ ɞɨɠɢɜʂɚʁɟɦ ɫɩɨɤɨʁɫɬɜɚ ɢ ɲɢɪɢɧɟ, ɧɚɫɭɩɪɨɬ ɫɜɚɤɨɦ ɨɫɟʄɚʁɭ ɬɟɫɤɨɛɟ ɢ ɧɟɦɢɪɚ. Ɋɚɱɭɧɚʁɭʄɢ ɧɚ ɱɭɥɧɨ- ɩɫɢɯɨɥɨɲɤɢ ɟɮɟɤɚɬ, Ⱦɟɛɢɫɢ ɫɥɨɛɨɞɧɨ ɧɢɡɚʃɟ ɫɚɡɜɭɱʁɚ ɩɨɜɟɡɭʁɟ ɭ ɲɢɪɟ ɤɨɥɨɪɢɫɬɢɱɤɟ ɩɪɟɞɫɬɚɜɟ – ɭ ɨɜɨɦ ɫɥɭɱɚʁɭ, ɢɫɤʂɭɱɢɜɨ ɩɫɢɯɨɥɨɲɤɢ, ɭɫɥɟɞ ɜɪɟɦɟɧɫɤɨɝ ɩɪɨɬɢɰɚʃɚ ɦɭɡɢɤɟ.”303 ɇɚ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɢɦ ɩɥɚɬɧɢɦɚ ɚɬɦɨɫɮɟɪɚ ɬɪɟɩɟɪɢ, ɨɛɥɢɰɢ ɫɟ ɩɪɟɫɢʁɚɜɚʁɭ, ɥɟɛɞɟ, ɩɪɟɥɚɦɚʁɭ, ɫɜɟɬɥɨɫɬ ɢɯ ɦɟʃɚ ɢ ɞɟɮɨɪɦɢɲɟ, ɚ ɫɜɟ ɫɟ ɬɨ ɪɟɩɟɪɤɭɬɭʁɟ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɧɚ ɤɨɦɩɨɡɢɰɢɨɧɭ ɫɬɪɭɤɬɭɪɭ ɤɨʁɚ ɫɚɞɚ ɨɞɚʁɟ ɭɬɢɫɚɤ ɤɚɨ ɞɚ ɫɟ ɯɨɪɢɡɨɧɬ ɫɩɭɲɬɚ ɤɚɤɨ ɛɢ ɫɟ ɥɚɤɲɟ ɭɫɩɨɫɬɚɜɢɥɢ ɨɞɧɨɫɢ ɢɡɦɟђɭ ɜɟɥɢɤɢɯ ɩɨɜɪɲɢɧɚ ɢ ɭɯɜɚɬɢɨ ɬɪɟɧɭɬɚɤ ɢ ɤɜɚɥɢɬɟɬ ɚɬɦɨɫɮɟɪɟ, ɚɥɢ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɢ ɧɚ ɫɚɦ ɧɚɱɢɧ ɫɥɢɤɚʃɚ ɤɨʁɢ ɫɚɞɚ ɩɨɞɪɚɡɭɦɟɜɚ ɩɪɨɧɚɥɚɠɟʃɟ ɚɞɟɤɜɚɬɧɟ ɞɭɠɢɧɟ ɢ ɤɚɪɚɤɬɟɪɚ ɩɨɬɟɡɚ ɤɢɱɢɰɨɦ, ɨɞɝɨɜɚɪɚʁɭʄɟ ɞɟɛʂɢɧɟ ɫɥɨʁɚ ɛɨʁɟ, ɭɫɚɝɥɚɲɚɜɚʃɟ ɪɢɬɦɨɜɚ, ɩɨɞɜɥɚɱɟʃɟ ɤɨɧɬɪɚɫɬɚ, ɢ ɬɚɤɨ ɞɚʂɟ. ɋɜɨʁɟɜɪɫɧɢ ɩɚɧɞɚɧ ɬɨɦɟ ɩɪɨɧɚɥɚɡɢɦɨ ɭ ɫɢɦɮɨɧɢʁɫɤɨɦ ɨɫɬɜɚɪɟʃɭ Ɇɨɪɟ (La Mer, 1903‒1905) ɭ ɱɢʁɨʁ ɫɭ ɤɜɚɡɢ-ɦɨɡɚɢɱɧɨʁ ɨɪɤɟɫɬɪɚɰɢʁɢ ɢɧɫɬɪɭɦɟɧɬɢ ɩɨɫɬɚɜʂɟɧɢ ɬɚɤɨ ɞɚ ɨɫɬɚɜʂɚʁɭ ɭɬɢɫɚɤ ‘ɢɡɪɚʃɚʃɚ’ ɢɡ ɦɨɪɫɤɢɯ ɞɭɛɢɧɚ. Ɍɚɤɨ ɫɟ ɧɚ ɩɪɢɦɟɪ ɭ ɩɪɜɨɦ ɫɬɚɜɭ ɫɢɦɮɨɧɢʁɟ, ɨɞɧɨɫɧɨ, ɩɪɜɨʁ ɫɢɦɮɨɧɢʁɫɤɨʁ ɫɤɢɰɢ – Ɉɞ ʁɭɬɪɚ ɞɨ ɩɨɞɧɟɜɚ ɧɚ ɦɨɪɭ (De l’aube à midi sur la mer) – ɯɨɪɢɡɨɧɬɚɥɧɨɦ ɜɨђɟʃɭ ɞɟɨɧɢɰɚ ɨɛɨɚ, ɮɚɝɨɬɚ ɢ ɟɧɝɥɟɫɤɨɝ ɪɨɝɚ, ɫɭɩɪɨɬɫɬɚɜʂɚ ɥɟɫɬɜɢɱɧɚ ɮɢɝɭɪɚ ɭ ɞɟɨɧɢɰɢ ɩɪɜɟ ɜɢɨɥɢɧɟ ɢ ɜɢɨɥɨɧɱɟɥɚ ɭɡ ɢɡɞɜɚʁɚʃɟ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨɝ ɦɨɬɢɜɚ ɭ ɥɢɧɢʁɢ ɮɥɚɭɬɟ ɢ ɤɥɚɪɢɧɟɬɚ (ɜ. 303 ȼɢɞɟɬɢ ɭ: Dejan Despić, Harmonija..., ɧɚɜ. ɞɟɥɨ, 402‒405. { 169 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 20). Ɍɚɤɜɢɦ ɧɚɫɥɨʁɚɜɚʃɟɦ ɡɜɭɱɧɢɯ ɛɨʁɚ, ɭɡ ɞɢɧɚɦɢɱɤɨ ɫɟɧɱɟʃɟ ɨɞ mf ɞɨ f, ɬɟ ɜɪɚʄɚʃɟ ɧɚ ɩɨɱɟɬɧɢ ɞɢɧɚɦɢɱɤɢ ɫɬɚɞɢʁɭɦ ɭ ɫɜɚɤɨʁ ɮɢɝɭɪɢ ɨɫɬɜɚɪɭʁɟ ɫɟ ɡɜɭɱɧɢ ɭɬɢɫɚɤ ɤɪɟɬɚʃɚ ɦɨɪɫɤɢɯ ɬɚɥɚɫɚ.304 ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 20: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɉɞ ʁɭɬɪɚ ɞɨ ɩɨɞɧɟɜɚ ɧɚ ɦɨɪɭ, ɩɪɜɢ ɫɬɚɜ ɢɡ Ɇɨɪɚ (De l’aube à midi sur la mer, Mer, 1903‒1905), ɬɬ. 100‒105. 304 ɉɪɟɦɚ ɪɟɱɢɦɚ Ɋɨџɟɪɚ ɇɢɤɨɥɫɚ (Roger Nichols), ɨɜɚʁ ɫɬɚɜ „ɧɚɡɧɚɱɭʁɟ ʁɟɞɧɨ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨ ɤɪɟɬɚʃɟ, ɫɦɟɪ ɤɪɟɬɚʃɚ ɭ ɜɪɟɦɟɧɭ: ɨɞ ʁɭɬɚɪʃɟ ɩɪɚɬɢɲɢɧɟ ɞɨ ɩɨɞɧɟɜɧɨɝ ɫɜɟɬɥɚ, ɛɥɢɫɬɚɜɨɝ, ɠɚɪɟʄɟɝ, ɧɟɩɨɦɢɱɧɨɝ ɫɜɟɬɥɚ, ɡɚɧɢɬɚ ɞɚɧɚ […] ɋɜɢ ɟɥɟɦɟɧɬɢ ɦɭɡɢɱɤɨɝ ʁɟɡɢɤɚ ɭɤʂɭɱɟɧɢ ɫɭ ɭ ɨɜɭ ɝɢɝɚɧɬɫɤɭ ɝɪɚɞɚɰɢʁɭ ɤɨʁɚ ɫɜɟ ɫɚ ɫɨɛɨɦ ɩɨɜɥɚɱɢ; ɡɜɭɤɨɜɧɟ ɮɨɪɦɚɰɢʁɟ ɫɟ ɧɟɩɪɟɫɬɚɧɨ ɦɟʃɚʁɭ ɭ ɩɪɟɥɢɜɚʁɭʄɢɦ ɛɨʁɚɦɚ ɡɜɭɤɚ, ɛɟɡ ɢɡɝɥɟɞɚ ɞɚ ɫɟ ɭɯɜɚɬɟ ɢɥɢ, ɩɚɤ, ɧɚ ɬɪɟɧɭɬɚɤ ɫɩɭɬɚʁɭ”. Roger Nichols, Claude Debussy, u: The New Gorve Dictionary of Music and Musicians, Vol. V, ed. by Sadie Stanley (London: MAcmillian Publishers Limited, 1981), 299. { 170 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 20: … ɧɚɫɬɚɜɚɤ. { 171 } ɍɩɪɚɜɨ, ɞɚ ɛɢ ɭɯɜɚɬɢɨ ɤɨɥɨɪɢɫɬɢɱɤɟ ɦɟɬɚɦɨɪɮɨɡɟ ɭ ɩɪɢɪɨɞɢ ɞɨ ɤɨʁɢɯ ʁɟ ɞɨɥɚɡɢɥɨ ɭɫɥɟɞ ɩɪɨɦɟɧɟ ɨɫɜɟɬʂɟʃɚ, ɫɥɢɤɚɪ ʁɟ ɦɨɪɚɨ ɞɚ ɪɟɚɝɭʁɟ ɛɪɡɨ: ʃɟɝɨɜ ɩɨɬɟɡ ʁɟ ɩɨɫɬɚɨ ɠɭɫɬɚɪ ɢ ɢɫɤɢɞɚɧ, ɛɭɞɭʄɢ ɞɚ ɦɭ ʁɟ ɩɨɫɬɚɥɨ ɜɚɠɧɢʁɟ ɞɚ ɲɬɨ ɚɭɬɟɧɬɢɱɧɢʁɟ ɡɚɛɟɥɟɠɢ ɫɜɨʁɟ ɡɚɩɚɠɚʃɟ ɢ ɞɨɠɢɜʂɚʁ ɧɟɝɨ ɞɚ ɢɫɰɪɩɧɨ ɨɩɢɲɟ ɩɪɟɞɦɟɬ. Ɍɚɤɨ, ɢɦɩɪɟɫɢɨɧɢɫɬɚ ɫɥɢɤɚ ɢɫɬɢ ɦɨɬɢɜ ɭ ɪɚɡɥɢɱɢɬɨ ɞɨɛɚ ɞɚɧɚ, ɨɞ ʁɭɬɪɚ ɞɨ ɜɟɱɟɪɢ, ɫɬɜɚɪɚʁɭʄɢ ɧɟɲɬɨ ɫɚɫɜɢɦ ɧɨɜɨ – ɫɟɪɢʁɟ ɢɥɢ ɰɢɤɥɭɫɟ, ɤɚɤɜɢ ɫɭ ɋɬɚɧɢɰɚ ɋɟɧ Ʌɚɡɚɪ (Gare Saint-Lazare, 1877; Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 7), Ɇɨɧɟɨɜɢ ɉɥɚɫɬɨɜɢ (Les Meules, 1890‒ 1891; Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 8), Ʌɨɤɜɚʃɢ (Les Nymphéas, 1897‒1922; Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 9) ɢ Ɋɭɚɧɫɤɚ ɤɚɬɟɞɪɚɥɚ (Les Cathédrales de Rouen, 1892‒1895; Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 10).305 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɪɚɞɢ ɫɟ ɨ ɫɚɫɜɢɦ ɧɨɜɨɦ ɨɞɧɨɫɭ ɩɪɟɦɚ ɫɜɟɬɭ ɢ ɩɪɟɞɦɟɬɢɦɚ: ɭɫɥɟɞ ɬɪɟɩɟɪɟʃɚ ɫɜɟɬɥɨɫɬɢ ɢɡ ɫɚɬɚ ɭ ɫɚɬ ɫɟ ɦɟʃɚʁɭ ɥɨɤɚɥɧɢ ɬɨɧ ɨɛɥɢɤɚ ɢ ʃɟɝɨɜɚ ɫɬɪɭɤɬɭɪɚ. ɋɦɢɫɚɨ ɫɥɢɤɟ ɫɟ ɜɢɲɟ ɧɟ ɬɪɚɠɢ ɭ ɪɟɚɥɧɨɦ ɫɜɟɬɭ ɜɟʄ ɭ „ɩɪɨɰɟɫɭ ɩɪɨɦɟɧɚ ɢ ʃɟɝɨɜɨɦ ɡɧɚɱɟʃɭ”306. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ ɢɡɞɜɚʁɚɦ Ɇɨɧɟɨɜɭ ɤɨɦɩɨɡɢɰɢʁɭ ɋɬɚɧɢɰɚ ɋɟɧ Ʌɚɡɚɪ. ɉɪɟɬɩɨɫɬɚɜɤɚ ʁɟ ɞɚ ʁɟ ɨɧɨ ɲɬɨ ʁɟ Ɇɨɧɟɚ ɩɪɢɜɭɤɥɨ ʁɟɫɬɟ ɧɢɡ ɩɨʁɟɞɢɧɨɫɬɢ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɢɯ ɡɚ ɨɜɨ ɦɟɫɬɨ: ɦɟɬɚɥɧɟ ɤɨɧɫɬɪɭɤɰɢʁɟ ɡɝɪɚɞɚ ɢ ɜɨɡɨɜɚ, ɩɪɨɡɢɪɧɨɫɬ ɫɬɚɤɥɟɧɨɝ ɤɪɨɜɚ ɢ ɛɭɪɧɢ ɟɮɟɤɬɢ ɤɨʁɟ ɧɚɫɬɚʁɭ ɤɚɨ ɪɟɡɭɥɬɚɬ ɧɚɫɥɢɤɚɧɟ ɜɟɥɢɤɟ ɤɨɥɢɱɢɧɟ ɞɢɦɚ ɢ ɩɚɪɟ. ɇɨ, ɢɚɤɨ ɫɟ ɱɢɧɢ ɞɚ ʁɟ ɰɟɧɬɪɚɥɧɚ ɬɟɦɚ ɨɜɟ ɫɥɢɤɟ ɬɪɟɩɟɪɟʃɟ ɫɜɟɬɥɨɫɬɢ ɢ ʃɟɧɨ ɩɪɟɥɚɦɚʃɟ ɧɚ ɚɪɯɢɬɟɤɬɨɧɫɤɨʁ ɤɨɧɫɬɪɭɤɰɢʁɢ ɢ ɞɪɭɝɢɦ ɟɥɟɦɟɧɬɢɦɚ, ɡɚɩɪɚɜɨ, ɫɟ ɭ ɮɨɤɭɫɭ Ɇɨɧɟɨɜɟ ɩɚɠʃɟ ɧɚɥɚɡɢ ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɞɢɦ ɢ ɩɚɪɚ ɞɟɥɭʁɭ ɧɚ ɬɟ ɫɧɚɠɧɟ, ɚ ɢɫɬɨɜɪɟɦɟɧɨ ɟɬɟɪɢɱɧɟ ɫɬɪɭɤɬɭɪɟ (ɜ. Ɋɟɩɪɨɞɭɤɰɢʁɭ ɛɪ. 7). Ɉɧɨ ɲɬɨ ɫɟ ɭɨɱɚɜɚ ʁɟɫɬɟ ɩɨɫɬɨʁɚʃɟ ɫɜɨʁɟɜɪɫɧɟ ɜɟɪɬɢɤɚɥɧɟ ɨɫɟ ɧɚ ɱɢʁɨʁ ɜɢɫɢɧɫɤɨʁ ɩɨɥɨɜɢɧɢ ɫɟ ɧɚɥɚɡɢ ɡɚɦɢɲʂɟɧɚ ɯɨɪɢɡɨɧɬɚɥɧɚ ɰɪɬɚ/ɨɫɚ ɤɨʁɚ ɩɨɜɟɡɭʁɟ ɤɪɚʁɟɜɟ ɤɪɨɜɚ ɠɟɥɟɡɧɢɱɤɟ ɫɬɚɧɢɰɟ (ɜ. ɧɚ ɪɟɩɪɨɞɭɤɰɢʁɢ ɛɪ. 7, 2. ɫɥɢɤɚ, ɞɜɟ ɛɟɥɟ ɢɫɩɪɟɤɢɞɚɧɟ ɨɫɟ) ɢ ɞɟɥɢ ɫɥɢɤɭ ɧɚ ɞɜɟ ɝɨɬɨɜɨ ɫɢɦɟɬɪɢɱɧɟ ɫɬɪɚɧɟ. Ȼɭɞɭʄɢ ɞɚ ʁɟ ɩɚɪɚ, ɨɫɢɦ ɥɨɤɨɦɨɬɢɜɟ, ɝɥɚɜɧɢ ɟɥɟɦɟɧɬ ɨɜɟ ɤɨɦɩɨɡɢɰɢʁɚ, ɭɨɱɚɜɚ ɫɟ ʁɟ ɨɧɚ ɩɪɢɫɭɬɧɚ ɭ ɝɨɬɨɜɨ ɫɜɢɦ ɞɟɥɨɜɢɦɚ ɫɥɢɤɟ; ɬɚɤɨ, ʃɟɧɨ ɩɪɢɫɭɫɬɜɨ ɭ ɞɧɭ ɥɨɤɨɦɨɬɢɜɟ, ɫɚ ɨɛɟ ʃɟɧɟ ɫɬɪɚɧɟ, ɭɤɚɡɭʁɟ ɧɚ ɥɚɝɚɧɨ ɤɪɟɬɚʃɟ ɜɨɡɚ, ɚ 305 Ⱦɟɛɢɫɢ ʁɟ ɩɥɚɧɢɪɚɨ ɫɟɪɢʁɭ/ɰɢɤɥɭɫ, ɨɞɧɨɫɧɨ ɧɢɡ ɨɞ ɲɟɫɬ ɬɚɤɜɢɯ ɮɪɚɧɰɭɫɤɢɯ ɫɨɧɚɬɚ – ɫɥɢɱɧɨ Ɇɨɧɟɨɜɨʁ Ʉɚɬɟɞɪɚɥɢ ɭ Ɋɭɚɧɭ, Ʌɨɤɜɚʃɢɦɚ ɢɥɢ ɉɥɚɫɬɨɜɢɦɚ – ɚɥɢ ʁɟ ɭɫɩɟɨ ɞɚ ɪɟɚɥɢɡɭʁɟ ɫɚɦɨ ɬɪɢ. 306 Ʌɚɡɚɪ Ɍɪɢɮɭɧɨɜɢʄ, ɧɚɜ. ɞɟɥɨ, 24. { 172 } ɥɢɧɢʁɟ ɤɨʁɟ ɫɟ ɢɫɰɪɬɚɜɚʁɭ ɭ ʃɟɝɨɜɨʁ ɩɨɡɚɞɢɧɢ ɧɚɝɥɚɲɚɜɚʁɭ ʃɟɝɨɜɨ ɤɪɟɬɚʃɟ ɭ ɫɦɟɪɭ ɤɚ ɩɨɫɦɚɬɪɚɱɭ. ɍ ɩɨɡɚɞɢɧɢ, ɢɡɚ ɡɝɪɚɞɟ ɫɬɚɧɢɰɟ ɢ ʃɟɧɨɝ ɬɪɨɭɝɥɚɫɬɨɝ ɤɪɨɜɚ, ɩɪɨɫɬɨɪ ɫɟ ‘ɢɫɰɪɬɚɜɚ’ ɭ ɜɪɬɥɨɝɭ ɛɨʁɚ – ɠɭɬɢ, ɛɟɥɢ ɢ ɪɭɠɢɱɚɫɬɢ ɬɨɧɨɜɢ, ‘ɦɟɤɚ’ ɡɟɥɟɧɚ ɢ ɫɢɜɚ ɛɨʁɚ ‘ɩɨɩɪɫɤɚɧɟ’ ɩɥɚɜɨɦ ɢ ɰɪɜɟɧɨɦ ɧɢʁɚɧɫɨɦ ɱɢɧɟ ɚɦɚɥɝɚɦ ɫɜɟɬɥɢɯ ɬɨɧɨɜɚ ɫɩɟɤɬɪɚ. ȼɟɥɢɤɟ ɡɝɪɚɞɟ ɫɟ ɧɟ ɢɫɬɢɱɭ ɭ ɬɨʁ ɚɬɦɨɫɮɟɪɢ, ɜɟʄ ɫɟ ɤɚɨ ɤɪɨɡ ɦɚɝɥɭ ɧɚɡɢɪɭ ɭ ɬɨɦ ɤɨɦɟɲɚʃɭ ɛɨʁɚ. Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 7 : Ʉɥɨɞ Ɇɨɧɟ, ɋɬɚɧɢɰɚ ɋɟɧ Ʌɚɡɚɪ (Gare Saint-Lazare, 1877), ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Ɇɭɡɟʁ Ɉɪɫɟʁ, ɉɚɪɢɡ. { 173 } ȵɢɯɨɜɭ ɦɚɫɭ ɞɟɦɚɬɟɪɢʁɚɥɢɡɭʁɟ ɬɟɯɧɢɤɚ ɫɥɢɤɚʃɚ ɫɜɨʁɫɬɜɟɧɚ Ɇɨɧɟɭ, ɚ ɨɧɚ ɩɨɱɢɜɚ ɧɚ ɧɚɧɨɲɟʃɭ ɫɜɟɬɥɢɯ ɛɨʁɚ ɩɨɬɟɡɢɦɚ ɤɢɱɢɰɟ ɭ ɨɛɥɢɤɭ ɡɚɪɟɡɚ. ɋɜɟɬɥɨɫɬ ɫɟ ɫɩɭɲɬɚ ɫɚ ɝɜɨɡɞɟɧɟ ɤɨɧɫɬɪɭɤɰɢʁɟ ɤɪɨɜɚ ɩɪɟɤɪɢɜɟɧɟ ɫɬɚɤɥɨɦ ɭ ɩɪɨɫɬɨɪ ɢɫɩɨɞ ʃɟɝɚ ɛɚɰɚʁɭʄɢ ɦɪɟɠɭ ɫɟɧɤɢ ɤɨʁɟ, ɡɚʁɟɞɧɨ ɫɚ ɲɢɧɚɦɚ, ɨɛɥɢɤɭʁɭ ɬɥɨ ɢ ɩɟɪɫɩɟɤɬɢɜɭ, ɞɨɤ ɫɬɪɚɧɢɰɟ ɤɪɨɜɚ ɩɨɞɭɩɪɬɟ ɫɬɭɛɨɜɢɦɚ ɨɞ ‘ɥɢɜɟɧɨɝ’ ɝɜɨɠђɚ ɫ ɥɟɜɟ ɢ ɞɟɫɧɟ ɫɬɪɚɧɟ ɤɚɨ ɞɚ ɭɨɤɜɢɪɭʁɭ ɦɚɫɭ ɫɜɟɬɥɨɫɬɢ. ɍ ɩɨɡɚɞɢɧɢ, ɚ ɩɨɫɟɛɧɨ ɫɤɨɧɰɟɧɬɪɢɫɚɧɨ ɫ ɞɟɫɧɟ ɫɬɪɚɧɟ ɤɨɦɩɨɡɢɰɢʁɟ, ɩɪɨɫɬɨɪ ɢɡɝɥɟɞɚ ɤɚɨ ɞɚ ʁɟ ɨɫɥɨɛɨђɟɧ ɛɢɥɨ ɤɚɤɜɟ ɫɬɪɭɤɬɭɪɟ. Ɉɛɥɢɰɢ ɢ ɜɨɥɭɦɟɧɢ ɤɨʁɢ ɫɬɪɭʁɟ, ɨɛɥɢɤɨɜɚɧɢ ɤɨɦɩɥɟɦɟɧɬɚɪɧɢɦ ɛɨʁɚɦɚ, ɬɟ ɧɚɫɥɢɤɚɧɨɦ ɩɚɪɨɦ ɢ ɞɢɦɨɦ, ɱɢɧɟ ɰɟɧɬɪɚɥɧɭ ɬɟɦɭ ɨɜɟ Ɇɨɧɟɨɜɟ ɤɨɦɩɨɡɢɰɢʁɟ; ɚ ɫɚɦ ɫɭɫɪɟɬ ɧɨɜɟ ɚɪɯɢɬɟɤɬɭɪɟ ɢ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɟ ɫɥɢɤɟ ɤɚɨ ɞɚ ʁɟ ɢɡɝɭɛʂɟɧ ɭ ɦɭɬɧɨʁ ɞɚʂɢɧɢ. Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 8: Ʉɥɨɞ Ɇɨɧɟ, ɉɥɚɫɬɨɜɢ (Les Meules, 1890‒1891), ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Ɇɭɡɟʁ ɥɟɩɢɯ ɭɦɟɬɧɨɫɬɢ, Ȼɨɫɬɨɧ. Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 9: Ʉɥɨɞ Ɇɨɧɟ, Ʌɨɤɜɚʃɢ, Les Nymphéas, 1897‒1922), ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Ɇɭɡɟʁ Marmottan Monet, ɉɚɪɢɡ. ɍ ɢɦɩɪɟɫɢɨɧɢɫɬɢɤɨɦ ɫɥɢɤɚɪɫɬɜɭ ʁɟɞɚɧ ɨɞ ɧɚʁɭɩɟɱɚɬʂɢɜɢʁɢɯ ɩɪɢɦɟɪɚ ɫɬɭɞɢʁɟ ɩɪɨɬɢɰɚʃɚ ɜɪɟɦɟɧɚ ɢ ɭɬɢɰɚʁɚ ɤɨʁɟ ɨɧɨ ɢɦɚ ɧɚ ɩɪɨɦɟɧɭ ɛɨʁɚ ʁɟɫɬɟ Ɇɨɧɟɨɜɚ ɫɟɪɢʁɚ ɨɞ ɭɤɭɩɧɨ ɬɪɢɞɟɫɟɬ ɫɥɢɤɚ ɤɨʁɚ ɧɨɫɢ ɧɚɡɢɜ Ʉɚɬɟɞɪɚɥɚ ɭ Ɋɭɚɧɭ. ɋɚɦ ɨɛʁɟɤɚɬ ɫɟ ɧɟ ɧɚɥɚɡɢ ɭ ɠɚɪɢɲɬɭ ɫɥɢɤɟ, ɜɟʄ ɨɧɚ ɫɥɭɠɢ ɤɚɨ ɫɪɟɞɫɬɜɨ ɧɚ ɤɨʁɟɦ Ɇɨɧɟ ɩɪɢɤɚɡɭʁɟ ɛɟɫɤɨɧɚɱɧɟ ɩɪɨɦɟɧɟ ɫɜɟɬɥɚ, ɛɨʁɚ ɢ ɫɚɦɟ ɚɬɦɨɫɮɟɪɟ. Ʉɚɬɟɞɪɚɥɚ ɢɡɝɥɟɞɚ ɤɚɨ ɞɚ ɫɭ ʁɟ ‘ɩɪɨɝɭɬɚɥɟ’ { 174 } ɛɨʁɟ ɞɚɧɚ. ɉɥɚɜɟ, ɫɢɜɟ ɢ ɫɦɟђɟ ɧɢʁɚɧɫɟ ɫɭ ɯɚɪɦɨɧɢɱɧɨ ɪɚɫɩɨɪɟђɟɧɟ, ɤɚɨ ɢ ɫɚɦ ɩɨɤɪɟɬ ɤɢɱɢɰɟ. Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 10: Ʉɥɨɞ Ɇɨɧɟ, Ɋɭɚɧɫɤɚ ɤɚɬɟɞɪɚɥɚ (Les Cathédrales de Rouen, 1892‒1895), ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Ɇɭɡɟʁ Marmottan Monet, ɉɚɪɢɡ. Ƚɥɟɞɚɧɨ ɫ ɥɟɜɚ ɧɚ ɞɟɫɧɨ: 1) ȳɭɬɪɨ – ɯɚɪɦɨɧɢʁɚ ɭ ɩɥɚɜɨɦ; 2) ȳɭɬɪɨ – ɯɚɪɦɨɧɢʁɚ ɭ ɛɟɥɨɦ; 3) ɋɭɧɱɚɧɨ – ɯɚɪɦɨɧɢʁɚ ɭ ɩɥɚɜɨɦ ɢ ɡɥɚɬɧɨɦ; 4) ɋɢɜɢ ɞɚɧ – ɯɚɪɦɨɧɢʁɚ ɭ ɫɢɜɨɦ; 5) ɏɚɪɦɨɧɢʁɚ ɭ ɫɦɟђɟɦ. ɍ ɜɟɡɢ ɫɚ ɬɟɦɚɦɚ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɝ ɫɥɢɤɚɪɫɬɜɚ, ɜɚɠɧɨ ʁɟ ɩɨɦɟɧɭɬɢ ɢ ɬɨ ɞɚ ɫɭ ɢɦɩɪɟɫɢɨɧɢɫɬɢ ɨɫɢɦ ɫɜɟɬɥɨɫɬɢ ɢɫɬɪɚɠɢɜɚɥɢ ɢ ɩɨɤɪɟɬ, ɬɟɦɭ ɤɨʁɨɦ ɫɭ ɫɟ ɩɨɫɟɛɧɨ ɛɚɜɢɥɢ Ɋɟɧɨɚɪ ɢ Ⱦɟɝɚ. ɇɚ Ɋɟɧɨɚɪɨɜɨɦ ɩɥɚɬɧɭ ɂɝɪɚɧɤɚ ɭ Ɇɭɥɟɧ ɞɟ ɥɚ Ƚɚɥɟɬɭ (Le Bal au Moulin de la Galette) ɢɡ 1876. ɝɨɞɢɧɟ ɬɪɟɩɟɪɟ ɩɥɚɜɟ ɢ ʂɭɛɢɱɚɫɬɟ ɫɟɧɤɟ, ɩɨɢɝɪɚɜɚ ɥɢɲʄɟ, ɮɢɝɭɪɟ ɫɟ ɝɪɚɰɢɨɡɧɨ ɤɪɟʄɭ, ɰɟɥɚ ɫɰɟɧɚ ʁɟ ɨɛɚɜɢʁɟɧɚ ɚɬɦɨɫɮɟɪɨɦ ɩɨɟɬɫɤɟ ɮɥɭɢɞɧɨɫɬɢ. { 175 } Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 11: ɉʁɟɪ-Ɉɝɢɫɬ Ɋɟɧɨɚɪ, ɂɝɪɚɧɤɚ ɭ Ɇɭɥɟɧ ɞɟ ɥɚ Ƚɚɥɟɬɭ (Bal du moulin de la Galette, 1876), ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Ɇɭɡɟʁ Ɉɪɫɟʁ, ɉɚɪɢɡ ɋɚ ɨɜɚɤɜɢɦ ɫɥɢɤɚɦɚ ɫɟ ɩɪɨɲɢɪɢɨ ɪɟɩɟɪɬɨɚɪ ɬɟɦɚ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɝ ɫɥɢɤɚɪɫɬɜɚ: ɫ ɩɟʁɡɚɠɚ ɫɟ ɩɪɟɥɚɡɢ ɧɚ ɡɚɛɚɜɟ ɢ ɢɝɪɚɧɤɟ, ɤɨʃɫɤɟ ɬɪɤɟ, ɝɪɚɞɫɤɢ ɠɢɜɨɬ, ɫɰɟɧɟ ɢɡ ɤɚɮɟɚ, ɩɨɡɨɪɢɲɬɚ, ɫɚ ɭɥɢɰɟ. Ɍɚɤɨђɟ, ɬɭ ɩɨɟɬɢɤɭ ɩɪɨɰɟɫɚ ɢɥɢ ɩɪɨɦɟɧɚ ɭ ɩɪɢɪɨɞɢ (ɞɨ ɤɨʁɢɯ ɞɨɜɨɞɢ ɩɪɨɦɟɧɚ ɫɭɧɱɟɜɟ ɫɜɟɬɥɨɫɬɢ), Ⱦɟɝɚ ʁɟ ɩɪɟɧɟɨ ɭ ɩɨɤɪɟɬ, ɬɪɚɠɟʄɢ ɬɪɧɭɬɚɤ ɭ ɤɨɦɟ ʁɟ ɫɚɠɟɬɚ ɰɟɥɚ ɚɤɰɢʁɚ: ɨɧɨ ɲɬɨ ʁɟ ɩɪɟɬɯɨɞɢɥɨ ɩɨɤɪɟɬɭ ɫɚ ɨɧɢɦ ɲɬɨ ʄɟ ɥɨɝɢɱɧɨ ɭɫɥɟɞɢɬɢ. ɑɢɧɢ ɫɟ ɞɚ ʁɟ ɨɫɧɨɜɧɢ ɰɢʂ ʃɟɝɨɜɟ ɫɥɢɤɟ ɛɢɨ ɭ ɬɨɦɟ ɞɚ ɫɟ ɫɯɜɚɬɢ ɪɟɚɥɧɨɫɬ ɭ ɩɪɨɦɟɧɢ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.]. ɂɡ ɬɨɝ ɪɚɡɥɨɝɚ, Ⱦɟɝɚ ɫɟ ɭɫɪɟɞɫɪɟɞɢɨ ɧɚ ɫɜɟɬ ɛɚɥɟɪɢɧɚ ɤɨʁɟ ʁɟ ɩɪɢɤɚɡɢɜɚɨ ɭ ɧɟɨɛɢɱɧɢɦ ɫɬɚɜɨɜɢɦɚ ɢ ɫɤɪɚʄɟʃɢɦɚ, ɤɨɪɢɫɬɟʄɢ ɫɟ ɟɮɟɤɬɢɦɚ ɫɰɟɧɫɤɨɝ ɨɫɜɟɬʂɟʃɚ.307 307 Ʌɚɡɚɪ Ɍɪɢɮɭɧɨɜɢʄ, ɧɚɜ. ɞɟɥɨ, 24. { 176 } Ɋɟɩɪɨɞɭɤɰɢʁɚ ɛɪ. 12: ȿɞɝɚɪ Ⱦɟɝɚ, Ȼɚɥɟɬɫɤɚ ɩɪɨɛɚ ɧɚ ɫɰɟɧɢ (Répétition d’un ballet sur la scène, 1874), ɭʂɟ ɧɚ ɩɥɚɬɧɭ, Ɇɭɡɟʁ Ɉɪɫɟʁ, ɉɚɪɢɡ. ɋɚ ɢɦɩɪɟɫɢɨɧɢɡɦɨɦ, ɫɜɟɬ ʁɟ ɩɪɟɫɬɚɨ ɞɚ ɛɭɞɟ ɫɬɚɬɢɱɧɚ ɢ ɬɪɚʁɧɨ ɭɱɜɪɲʄɟɧɚ ɟɭɤɥɢɞɨɜɫɤɚ ɲɭɩʂɢɧɚ ɤɨʁɚ ɫɟ ɦɨɠɟ ɜɢɞɟɬɢ ɫɚɦɨ ɢɡ ʁɟɞɧɨɝ ɭɝɥɚ. „ɉɪɢɪɨɞɚ ʁɟ ɩɨɱɟɥɚ ɞɚ ɫɟ ɩɨɦɟɪɚ ɢ ‘ɤɪɟʄɟ’, ɨɛɥɢɤ ɞɚ ɫɟ ɤɪɭɧɢ, ɫɬɪɭɤɬɭɪɚ ɞɚ ɫɟ ɪɚɫɩɚɞɚ; ‘ɧɚɱɟɬ’ ʁɟ ɢ ɩɪɟɞɦɟɬ, ɚ ɫɚ ʃɢɦ ɩɨɫɥɟɞɢɱɧɨ ɢ ɩɨɪɟɞɚɤ ɜɪɟɞɧɨɫɬɢ ɢ ɫɯɜɚɬɚʃɟ ɫɜɟɬɚ ɤɨʁɟ ʁɟ ɨɧ ɢɡɪɚɠɚɜɚɨ”308. ɉɪɟɰɢɡɧɢʁɟ ɪɟɱɟɧɨ, ɩɨɬɢɫɤɢɜɚʃɟ ɰɪɬɟɠɚ ɩɪɟɞɦɟɬɚ, ɤɚɨ ɨɫɧɨɜɟ ʃɟɝɨɜɟ ɪɟɚɥɧɟ ɩɪɟɞɫɬɚɜɟ, ɢ ɫɬɚɜʂɚʃɟ ɚɤɰɟɧɬɚ ɧɚ ɢɝɪɟ ɫɜɟɬɥɨɫɬɢ ɢ ɠɟʂɭ ɞɚ ɫɟ ɭɯɜɚɬɟ ɤɨɥɨɪɢɫɬɢɱɤɢ ɩɪɟɨɛɪɚɠɚʁɢ ɞɨ ɤɨʁɢɯ ɞɨɥɚɡɢ ɭɫɥɟɞ ɩɪɨɦɟɧɟ ɨɫɜɟɬʂɟʃɚ, ɭɫɥɨɜɢɥɢ ɫɭ ɩɨʁɚɜɭ ɩɪɨɰɟɫɚ ‘ɞɟɦɚɬɟɪɢʁɚɥɢɡɚɰɢʁɚ’ ɨɛɥɢɤɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɫɥɢɤɚɪɫɬɜɨ ɧɢʁɟ ɞɨɠɢɜɟɥɨ ɫɚɦɨ ɩɪɨɦɟɧɭ 308 ȼɢɞɟɬɢ ɭ: ɢɫɬɨ, 26. { 177 } ɫɩɨʂɚ, ɭ ɬɟɦɢ, ɜɟʄ ɞɚɥɟɤɨ ɜɢɲɟ ɢɡɧɭɬɪɚ, ɭ ɫɜɨɦ ɛɢʄɭ, ɬɟ ʁɟ ɡɛɨɝ ɬɨɝɚ ɦɨɪɚɥɨ ɞɚ ɫɬɜɨɪɢ ɧɨɜɚ ɫɪɟɞɫɬɜɚ, ɩɪɨɧɚђɟ ɞɪɭɝɢ ɦɟɬɨɞ ɩɨɫɦɚɬɪɚʃɚ, ɨɬɤɪɢʁɟ ɨɞɝɨɜɚɪɚʁɭʄɭ ɬɟɯɧɨɥɨɝɢʁɭ. Ʉɚɞɚ ʁɟ ɪɟɱ ɨ Ⱦɟɛɢɫɢʁɟɜɨʁ ɦɭɡɢɰɢ, ɭ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɩɪɢɦɟɬɧɨ ʁɟ ɩɨɩɭɲɬɚʃɟ ɫɬɟɝɚ ɬɨɧɚɥɧɨɝ ɧɚɱɢɧɚ ɦɢɲɟʃɚ ɢ ɩɨɦɟɪɚʃɚ ɮɨɤɭɫɚ ɧɚ ɛɨʁɭ ɫɚɦɢɯ ɫɚɡɜɭɱʁâ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɢ ɧɚ ɛɨʁɭ ʃɢɯɨɜɢɯ (ɛɢɥɨ ɜɟɪɬɢɤɚɥɧɢɯ – ɭ ɜɢɞɭ ɟɜɟɧɬɭɚɥɧɢɯ ɧɚɫɥɨʁɚɜɚʃɚ, ɛɢɥɨ ɯɨɪɢɡɨɧɬɚɥɧɢɯ – ɭ ɩɨɝɥɟɞɭ ʃɢɯɨɜɨɝ ɪɟɞɨɫɥɟɞɚ) ɦɟђɭɫɨɛɧɢɯ ɨɞɧɨɫɚ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ. Ɍɚɤɨђɟ, ɞɨɥɚɡɢ ɢ ɞɨ ɩɨɦɟɪɚʃɚ ɦɟɥɨɞɢʁɫɤɟ ɤɨɦɩɨɧɟɧɬɟ ɭ ɞɪɭɝɢ ɩɥɚɧ; ɨɧɚ ʁɟ ɤɨɞ Ⱦɟɛɢɫɢʁɚ ɫɜɟɞɟɧɚ ɧɚ ɤɪɚʄɟ ɮɪɚɡɟ, ɢɫɤɢɞɚɧɟ ɦɨɬɢɜɟ, ɢɥɢ ɬɟɤ ɧɚɝɨɜɟɲɬɟɧɟ ɥɢɧɟɚɪɧɟ ɟɥɟɦɟɧɬɟ. Ɍɨ ʁɟ ɭɡɪɨɤɨɜɚɥɨ ɞɚ ɮɪɚɝɦɟɧɬ (ɤɨʁɢ ɫɚɦ ɩɨɦɢʃɚɥɚ ɭ ɤɨɧɬɟɤɫɬɭ ɜɟɡɟ ɢɡɦɟђɭ Ɇɚɥɚɪɦɟɨɜɨɝ ɢ Ⱦɟɛɢɫɢʁɟɜɨɝ ɫɬɜɚɪɚɥɚɲɬɜɚ) ɩɨɫɬɚɧɟ ɛɢɬɧɚ ɤɚɪɚɤɬɟɪɢɫɬɢɤɚ ɮɨɪɦɟ. ɑɢɧɢ ɫɟ, ɩɪɢ ɬɨɦ, ɞɚ ɨɫɧɨɜɧɢ ɩɪɨɛɥɟɦ ɨɛɥɢɤɨɜɚʃɚ ɥɟɠɢ ɭ, ɤɚɤɨ ɬɨ ɩɪɢɦɟʄɭʁɟ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ‘ɦɚɥɬɟɪɭ’, ɨɞɧɨɫɧɨ, ɩɪɢɪɨɞɢ ɢ ɤɜɚɥɢɬɟɬɭ ɦɚɬɟɪɢʁɚɥɚ ɤɨʁɢ ɬɪɟɛɚ ɧɟɲɬɨ ɞɚ ɫɩɨʁɢ ɢɥɢ ɪɚɡɞɜɨʁɢ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɢ ɩɪɢɪɨɞɚ Ⱦɟɛɢɫɢʁɟɜɟ ɢɧɨɜɚɰɢʁɟ ɥɟɠɢ ɭ ɭɩɨɬɪɟɛɢ ɦɚɬɟɪɢʁɚɥɚ ɤɨʁɢ ɞɨ ɬɚɞɚ ɧɢʁɟ ɛɢɨ ɭ ɭɩɨɬɪɟɛɢ. „Ɉɜɨ ɜɟɡɢɜɧɨ ɬɤɢɜɨ ɭɡɪɨɤɭʁɟ, ɢ ɢɧɚɱɟ, ɧɚɫɬɚʁɚʃɟ ɨɞɪɟђɟɧɢɯ ɫɢɥɚ ɤɨʁɟ ɩɨɫɬɨʁɟ ɢɡɦɟђɭ ɫɜɢɯ ɮɪɚɝɦɟɧɚɬɚ ɞɟɥɚ, ɢ ɤɨʁɟ ɢɯ (ɦɚʃɟ ɢɥɢ ɜɢɲɟ) ɫɩɚʁɚʁɭ ɢɥɢ (ɦɚʃɟ ɢɥɢ ɜɢɲɟ) ɪɚɡɞɜɚʁɚʁɭ. ɉɨɧɟɤɚɞ ɨɜɟ ɫɢɥɟ ɤɨʁɟ ɫɩɚʁɚʁɭ ɢ ɤɨʁɟ ɪɚɡɞɜɚʁɚʁɭ ɦɨɝɭ ɛɢɬɢ ɢɫɬɟ ʁɚɱɢɧɟ – ɦɨɝɭ ɫɟ ɧɚɥɚɡɢɬɢ ɭ ɪɚɜɧɨɬɟɠɧɨɦ ɩɨɥɨɠɚʁɭ.”309 ɋ ɬɢɦ ɭ ɜɟɡɢ, Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ ɢɫɬɢɱɟ ɞɚ ʁɟ ɭ Ⱦɟɛɢɫɢʁɟɜɨʁ ɦɭɡɢɰɢ ɭɩɪɚɜɨ ɪɟɱ ɨ ɢɧɨɜɚɰɢʁɢ (ɩɨ ɬɟɠɢɧɢ ɦɨɝɭʄɟ ʁɟɞɧɚɤɚ ɨɧɨʁ ɤɨʁɭ ʁɟ ɞɨɧɟɨ ɫɢɦɛɨɥɢɡɚɦ ɭ ɤʃɢɠɟɜɧɨɫɬɢ ɢ ɢɦɩɪɟɫɢɨɧɢɡɚɦ ɭ ɫɥɢɤɚɪɫɬɜɭ), ɨ ʁɟɞɧɨɦ ɚɭɬɟɧɬɢɱɧɨɦ, ɚɭɬɨɧɨɦɧɨɦ ɤɨɦɩɨɡɢɰɢɨɧɨɦ ɩɨɫɬɭɩɤɭ ɤɨʁɢ ʁɟ ɭ ɢɫɬɨɪɢʁɫɤɨɦ ɫɦɢɫɥɭ ɨɫɬɚɜɢɨ ɡɧɚɱɚʁɚɧ ɬɪɚɝ. Ɂɧɚɱɚʁ ɬɨɝ ɬɪɚɝɚ ɛɢʄɟ ɩɪɟɞɫɬɚɜʂɟɧ ɭ ɧɚɪɟɞɧɨɦ ɫɟɝɦɟɧɬɭ ɪɚɞɚ ɧɚ ɩɪɢɦɟɪɭ ɞɜɟ ɫɜɟɫɤɟ ʃɟɝɨɜɢɯ ɉɪɟɥɢɞɚ ɡɚ ɤɥɚɜɢɪ ɤɨʁɟ ʄɟ ɛɢɬɢ ɫɚɝɥɟɞɚɧɟ ɭ ɤɨɧɬɟɤɫɬɭ ɩɨɦɟɧɭɬɟ ɢɧɨɜɚɬɢɜɧɨɫɬɢ. Ɍɚɤɨђɟ, ɧɚ ɩɪɢɦɟɪɭ Ⱦɟɛɢɫɢʁɟɜɢɯ ɉɪɟɥɢɞɚ ɬɪɚɝɚʄɟ ɫɟ ɡɚ ɧɟɩɨɫɪɟɞɧɨɲʄɭ ɫɚɝɥɚɫʁɚ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ, ɬɚɤɨ ɲɬɨ ʄɟ ɩɨɦɟɧɭɬɚ ɨɫɬɜɚɪɟʃɚ ɛɢɬɢ ɩɨɫɦɚɬɪɚɧɚ ɤɚɨ ʁɟɞɧɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɚ ɡɜɭɱɧɚ ɢɡɥɨɠɛɚ (ɭɝɥɚɜɧɨɦ) ɜɢɡɭɟɥɧɢɯ 309 Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ...”, ɧɚɜ. ɞɟɥɨ, 66. { 178 } ɭɬɢɫɚɤɚ, ɚ ɱɢʁɚ ɤɨɧɰɟɩɰɢʁɚ, ɨɞɧɨɫɧɨ, ‘ɩɨɫɬɚɜɤɚ’ ɩɪɨɢɡɥɚɡɢ ɢɡ ʁɟɞɧɟ ɤɪɚʁʃɟ ɫɩɟɰɢɮɢɱɧɨ ɡɚɦɢɲʂɟɧɟ ɦɭɡɢɱɤɨ-ɞɪɚɦɚɬɭɪɲɤɟ ɰɟɥɢɧɟ.310 310 ɂɞɟʁɧɢ ɩɨɞɫɬɢɰɚʁ ɡɚ ɨɜɚɤɜɨ ɬɭɦɚɱɟʃɟ Ⱦɟɛɢɫɢʁɟɜɢɯ ɉɪɟɥɢɞɚ ɞɨɛɢɥɚ ɫɚɦ ɲɤɨɥɫɤɟ 2005/2006. ɝɨɞɢɧɟ ɤɚɞɚ ɫɚɦ ɧɚ ɩɪɟɞɚɜɚʃɢɦɚ ɢɡ Ɉɩɲɬɟ ɢɫɬɨɪɢʁɟ ɦɭɡɢɤɟ 4, ɤɨɞ ɩɪɨɮ. Ɍɢʁɚɧɟ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ɩɪɜɢ ɩɭɬ ɱɭɥɚ ɡɚ ɦɨɝɭʄɧɨɫɬ ɬɭɦɚɱɟʃɚ 24 Ⱦɟɛɢɫɢʁɟɜɚ ɩɪɟɥɢɞɚ ɤɚɨ ʁɟɞɢɧɫɬɜɟɧɟ ɰɟɥɢɧɟ ɤɨʁɨɦ ɜɥɚɞɚ ʁɟɞɧɚ ɫɚɫɜɦ ɫɩɟɰɢɮɢɱɧɚ, ɝɨɬɨɜɨ, ‘ɢɡɥɨɠɛɟɧɚ’ ɥɨɝɢɤɚ, ɚ ɤɨʁɚ ɩɚɤ ɩɪɨɢɡɥɚɡɢ ɢɡ ɢɫɬɨ ɬɚɤɨ ɫɩɟɰɢɮɢɱɧɟ ɦɭɡɢɱɤɟ ɞɪɚɦɚɬɭɪɝɢʁɟ ɬɨɝ ɰɢɤɥɭɫɚ. Ɍɚɤɨ, ɡɚɩɚɠɚʃɚ ɤɨʁɚ ʄɟ ɛɢɬɢ ɢɡɧɟɬɚ ɭ ɧɚɪɟɞɧɨɦ ɩɨɬɩɨɝɥɚɜʂɭ, ɢɧɫɩɢɪɢɫɚɧɚ ɫɭ ɜɟɥɢɤɢɦ ɞɟɥɨɦ, ɩɪɟɞɚɜɚʃɢɦɚ ɤɨʁɟ ɫɚɦ ɩɨɦɟɧɭɬɟ ɲɤɨɥɫɤɟ ɝɨɞɢɧɟ ɫɥɭɲɚɥɚ ɤɨɞ ɩɪɨɮ. ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ. { 179 } ...ɂɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ – ɉɪɟɥɢɞɢ (Préludes) Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ Ⱦɜɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ – ɩɪɜɚ ɨɛʁɚɜʂɟɧɚ 1910, ɚ ɞɪɭɝɚ 1913. ɝɨɞɢɧɟ, ɩɪɟɞɫɬɚɜʂɚʁɭ ɜɪɯɭɧɚɰ ɧɚ ɩɨʂɭ ɤɥɚɜɢɪɫɤɟ ɦɭɡɢɤɟ ɭ ɫɬɜɚɪɚɥɚɲɬɜɭ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ ɢ ɧɚʁɱɢɫɬɢʁɟ ɪɟɩɪɟɡɟɧɬɭʁɭ ɦɭɡɢɱɤɢ ɭɧɢɜɟɪɡɭɦ ɨɜɨɝ ɤɨɦɩɨɡɢɬɨɪɚ. ɇɨ, ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɨɜɚ ɨɫɬɜɚɪɟʃɚ ɩɪɟɞɫɬɚɜʂɚʁɭ ɫɢɧɬɟɡɭ ɧɨɜɨɝ, ɭ ɞɚɬɨɦ ɢɫɬɨɪɢʁɫɤɨɦ ɬɪɟɧɭɬɤɭ, ɩɪɨɝɪɟɫɢɜɧɨ- ɚɭɬɟɧɬɢɱɧɨɝ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɝ ɫɬɢɥɚ – ɱɢʁɢ ɤɨɦɩɟɧɞɢʁɭɦ ɦɭɡɢɱɤɨ-ɢɡɪɚɠɚʁɧɢɯ ɫɪɟɞɫɬɚɜɚ ɱɢɧɟ ɭɩɪɚɜɨ ɉɪɟɥɢɞɢ, ɢ ɫɬɚɪɨɝ – ɬɪɚɞɢɰɢɨɧɚɥɧɟ ɮɨɪɦɟ ‒ ɩɪɟɥɭɞɢʁɭɦɚ, ɤɨʁɚ ɢɦɚ ɢɫɬɨɪɢʁɭ ɞɭɝɭ ɜɢɲɟ ɜɟɤɨɜɚ. ȼɟʄ ɭ ɨɜɨɦ ɤɨɧɬɟɤɫɬɭ, ɦɨɝɭʄɟ ʁɟ ɪɚɡɦɢɲʂɚɬɢ ɨ ɞɜɟɦɚ ɫɜɟɫɤɚɦɚ ɉɪɟɥɢɞɚ ɤɚɨ ɨ ɝɚɥɟɪɢʁɫɤɨɦ, ɢɥɢ, ɩɚɤ ʁɨɲ ɛɨʂɟ ɦɭɡɟʁɫɤɨɦ ɩɪɨɫɬɨɪ-ɜɪɟɦɟɧɭ ɛɭɞɭʄɢ ɞɚ ɨɧɟ, ɧɚ ɫɩɟɰɢɮɢɱɚɧ ɧɚɱɢɧ, ɨɬɤɪɢɜɚʁɭ ɫɩɨʁ ɩɪɨɲɥɨɫɬɢ ɢ ɫɚɞɚɲʃɨɫɬɢ, ɚ ‘ɩɪɟɞɦɟɬɢ’ ɫɦɟɲɬɟɧɢ ɭ ʃɢɦɚ (ɞɚɤɥɟ, ɞɜɚɞɟɫɟɬ ɱɟɬɢɪɢ ɩɪɟɥɢɞɚ) ɝɨɜɨɪɟ ɨ ɩɪɨɰɟɫɢɦɚ ɢ ɩɪɨɦɟɧɚɦɚ ɤɨʁɢ ɫɭ ɫɟ ɡɛɢɜɚɥɢ ɭ ɩɪɨɲɥɨɫɬɢ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, Ⱦɟɛɢɫɢʁɟɜɚ ɭɥɨɝɚ ɛɢ ɛɢɥɚ ɩɚɧɞɚɧ ɭɥɨɡɢ ɪɟɫɬɚɭɪɚɬɨɪɚ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɞɚɤɥɟ, ɧɟɤɨɝɚ ɤɨ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ‘ɪɟɤɨɧɫɬɪɭɢɲɟ’ ɢ ‘ɞɨɝɪɚђɭʁɟ’ ɩɨɫɬɨʁɟʄɟ ‘ɩɪɟɞɦɟɬɟ’, ɚɥɢ ɢ ɭɥɨɡɢ ɤɭɫɬɨɫɚ ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɨɞɧɨɫɧɨ, ɧɟɤɨɝɚ ɤɨ ɜɚʂɚɧɨ ɢ ɫɚɜɟɫɧɨ ɢɧɬɟɪɩɪɟɬɢɪɚ ɬɟ ‘ɩɪɟɞɦɟɬɟ’. ɂɫɬɪɚɠɭʁɭʄɢ, ɪɟɤɨɧɫɬɪɭɢɲɭʄɢ ɢ ɞɨɝɪɚђɭʁɭʄɢ ‘ɩɪɟɞɦɟɬɟ’ ɤɨʁɟ ʁɟ ɨɬɤɪɢɨ – ɩɪɟɥɭɞɢʁɭɦ/ɩɪɟɥɢɞ ‒ ‘ɩɪɟɞɦɟɬ’ ɱɢʁɢ ɤɨɪɟɧɢ ɫɟɠɭ ɞɚɥɟɤɨ ɭ ɦɭɡɢɱɤɭ ɩɪɨɲɥɨɫɬ (ɭ ɟɩɨɯɭ ɪɟɧɟɫɚɧɫɟ) ‒ ɬɟ ɡɜɭɤɨɜɟ ɢ ɫɥɢɤɟ, ɝɟɨɝɪɚɮɫɤɢ ɦɚʃɟ ɢɥɢ ɜɢɲɟ ɭɞɚʂɟɧɟ, Ⱦɟɛɢɫɢ ʁɟ ɩɨɧɭɞɢɨ ʁɟɞɧɭ ɜɟɨɦɚ ɡɚɧɢɦʂɢɜɭ ɢɧɬɟɪɩɪɟɬɚɰɢʁɭ, ɨɧɭ ɤɨʁɚ ʁɟ ɭ ɤɨɧɬɟɤɫɬɭ ɦɭɡɟʁɫɤɟ ɢ ɝɚɥɟɪɢʁɫɤɟ ɬɟɪɦɢɧɨɥɨɝɢʁɟ ɨɡɧɚɱɟɧɚ ɤɚɨ „ɬɪɚɧɫɩɚɪɟɧɰɢʁɚ”, ɨɞɧɨɫɧɨ, ɨɧɚ ɤɨʁɭ ɤɚɪɚɤɬɟɪɢɲɟ ‘ɞɢʁɚɥɨɝ’ ɫɚ ɫɜɟɬɨɦ, ɬɨ ʁɟɫɬ, ‘ɞɢʁɚɥɨɝ’ ɫɚ ɫɥɢɱɧɢɦ ɢɥɢ ɩɚɤ ɩɨɬɩɭɧɨ ɪɚɡɥɢɱɢɬɢɦ ɬɭɦɚɱɟʃɢɦɚ ɢɫɬɨɝ ‘ɩɪɟɞɦɟɬɚ’. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, Ⱦɟɛɢɫɢʁɟɜɢ ɉɪɟɥɢɞɢ ʁɟɫɭ ʁɟɞɧɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɚ ɚɭɬɨɪɫɤɚ ɢɡɥɨɠɛɚ ɭ ɨɤɜɢɪɭ ɤɨʁɟ ɤɨɦɩɨɡɢɬɨɪ ɪɟɤɨɧɫɬɪɭɢɲɭʄɢ ɢ ɪɟɢɧɬɟɪɩɪɟɬɢɪɚʁɭʄɢ ɡɜɭɤɨɜɟ ɫɚ ɪɚɡɥɢɢɬɢɯ ɝɟɨɝɪɚɮɫɤɢɯ ɩɪɨɫɬɨɪɚ ɢ ɢɡ ɪɚɡɥɢɱɢɬɢɯ ɜɪɟɦɟɧɚ, ɨɞɧɨɫɧɨ, ɡɜɭɤɨɦ ɩɪɢɡɢɜɚʁɭʄɢ ɫɟʄɚʃɟ ɧɚ ɫɥɢɤɟ ɢ ɩɪɢɡɨɪɟ ɫ ɤɨʁɢɦɚ ɫɟ ɫɭɫɪɟɬɚɨ, ɢɡɧɨɫɢ ɫɜɨʁ ɤɪɚʁʃɟ ɚɭɬɟɧɬɢɱɚɧ ‘ɫɬɚɜ’, ɤɨʁɢ ɛɢ ɞɚ ʁɟɞɧɢɦ ɧɨɜɢɦ ‘ɩɨɝɥɟɞɨɦ’ ɢ ɨɛɥɢɤɨɦ ɢɡɪɚɠɚɜɚʃɚ, ɩɪɨɲɥɨɫɬɢ ɞâ ɛɭɞɭʄɧɨɫɬ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɨɬɢɫɧɚ { 180 } ɬɚɱɤɚ ɛɢʄɟ ɫɬɚɪɚ ɮɨɪɦɚ ɩɪɟɥɭɞɢʁɭɦɚ/ɩɪɟɥɢɞɚ, ɢ ʃɟɝɨɜɚ ɧɨɜɚ ‘ɫɥɢɤɚ’ ɤɨʁɭ ɧɚɦ Ⱦɟɛɢɫɢ ɫɜɨʁɨɦ (ɪɟ)ɢɧɬɟɪɩɪɟɬɚɰɢʁɨɦ ɨɬɤɪɢɜɚ. Ɍɚʁ ɢɧɫɬɪɭɦɟɧɬɚɥɧɢ ɫɬɚɜ ɭɜɨɞɧɨɝ ɤɚɪɚɤɬɟɪɚ ɞɨɠɢɜɟɨ ʁɟ ɟɜɨɥɭɰɢʁɭ ɤɪɨɡ ɧɟɤɨɥɢɤɨ ɮɚɡɚ: ɨɞ ɪɟɧɟɫɚɧɫɧɨɝ ɤɪɚɬɤɨɝ ɢɦɩɪɨɜɢɡɚɰɢɨɧɨɝ ɤɨɦɚɞɚ ɤɨʁɢ ʁɟ ɢɦɚɨ ɮɭɧɤɰɢʁɭ ɭɜɨɞɚ ɭ ɢɡɜɨђɟʃɟ ɯɨɪɫɤɟ ɤɨɦɩɨɡɢɰɢʁɟ311, ɩɪɟɤɨ ɮɭɧɤɰɢʁɟ ʁɟɞɧɨɝ ɨɞ ɞɟɥɨɜɚ ɛɚɪɨɤɧɟ ɫɜɢɬɟ ɢ ɞɢɩɬɢɯɚ ɩɪɟɥɭɞɢʁɭɦ‒ɮɭɝɚ, ɞɨ ɫɬɚɬɭɫɚ ɫɚɦɨɫɬɚɥɧɨɝ ɞɟɥɚ ɭ ɟɩɨɯɢ ɦɭɡɢɱɤɨɝ ɪɨɦɚɧɬɢɡɦɚ, ɤɨʁɢ ɫɬɢɱɟ ɩɪɟ ɫɜɟɝɚ ɡɚɯɜɚʂɭʁɭʄɢ ɒɨɩɟɧɭ (Fryderyk Franciszek Chopin)312. ɂɚɤɨ ɫɟ Ⱦɟɛɢɫɢʁɟɜɚ ɤɨɧɰɟɩɰɢʁɚ ɩɪɟɥɭɞɢʁɭɦɚ ɧɚɞɨɜɟɡɭʁɟ ɧɚ ɬɪɚɞɢɰɢʁɭ, ɬɚɱɧɢʁɟ, ɧɚɫɬɚɜʂɚ ɒɨɩɟɧɨɜɭ ɥɢɧɢʁɭ (ɤɨʁɭ ʄɟ ɩɨɪɟɞ ɮɪɚɧɰɭɫɤɨɝ ɤɨɦɩɨɡɢɬɨɪɚ ɩɪɨɞɭɠɢɬɢ ʁɨɲ ɢ ɋɤɪʁɚɛɢɧ /Ⱥɥɟɤɫɚ ɧɞɪ ɇɢɤɨɥɚ ɟɜɢɱ ɋɤɪ ɛɢɧь/, Ɋɚɯɦɚʃɢɧɨɜ /ɋɟɪɝɟɣ ȼɚɫɢɥьɟɜɢɱ Ɋɚɯɦɚɧɢɧɨɜ/ ɢ ɒɨɫɬɚɤɨɜɢɱ /Ⱦɦɢ ɬɪɢɣ Ⱦɦɢ ɬɪɢɟɜɢɱ ɒɨɫɬɚɤɨ ɜɢɱ/), ɨɧɚ ɫɟ ɭ ɞɜɚ ɤʂɭɱɧɚ ɚɫɩɟɤɬɚ ɡɧɚɱɚʁɧɨ ɪɚɡɥɢɤɭʁɟ ɨɞ ɬɪɚɞɢɰɢʁɟ ɪɨɦɚɧɬɢɱɚɪɫɤɨɝ ɩɪɟɥɭɞɢʁɭɦɚ. Јɟɞɚɧ ɨɞ ɬɢɯ ɚɫɩɟɤɚɬɚ ɬɢɱɟ ɫɟ ɮɨɪɦɢɪɚʃɚ ɰɟɥɢɧɟ ɜɢɲɟɝ ɪɟɞɚ – ɰɢɤɥɭɫɚ, ɚ ɞɪɭɝɢ ɱɢʃɟɧɢɰɟ ɞɚ ʃɟɝɨɜɢ ɟɥɟɦɟɧɬɢ ‒ ‘ɫɬɚɜɨɜɢ’/ɩɪɟɥɢɞɢ ɞɨɛɢʁɚʁɭ ɩɪɨɝɪɚɦɫɤɟ ɧɚɫɥɨɜɟ. ɋɬɨɝɚ ɢ ɨɫɧɨɜɧɢ ɩɪɨɛɥɟɦɫɤɢ ɤɪɭɝɨɜɢ ɤɨʁɢ ɫɟ ɧɚɦɟʄɭ ɩɪɢɥɢɤɨɦ ɩɪɨɭɱɚɜɚʃɚ ɉɪɟɥɢɞɚ ɨɛɭɯɜɚɬɚʁɭ ɭɩɪɚɜɨ ɩɢɬɚʃɚ ɬɭɦɚɱɟʃɚ ɦɭɡɢɱɤɟ ɞɪɚɦɚɬɭɪɝɢʁɟ ɰɢɤɥɭɫɚ, ɫ ɬɢɦ ɭ ɜɟɡɢ ɢ ʃɟɝɨɜɨɝ ɬɭɦɚɱɟʃɚ ɤɚɨ ɚɭɞɢɨ-ɜɢɡɭɟɥɧɟ ɢɡɥɨɠɛɟ, ɚɥɢ ɢ ɤɪɚʁʃɟ ɫɩɟɰɢɮɢɱɧɨɝ ɨɞɧɨɫɚ ɩɪɟɦɚ ɩɪɨɝɪɚɦɧɨɫɬɢ. ɂɡ ɩɪɜɨɝ ɩɪɨɛɥɟɦɫɤɨɝ ɤɪɭɝɚ ɫɟ ɞɚʂɟ ɪɚђɚ ɩɢɬɚʃɟ ɲɬɚ ʁɟ ɬɨ ɲɬɨ ɨɜɟ ɦɢɧɢʁɚɬɭɪɟ ɩɨɜɟɡɭʁɟ ɭ ɰɟɥɢɧɭ ɜɢɲɟɝ ɪɟɞɚ, ɛɭɞɭʄɢ ɞɚ ɫɜɚɤɚ ɨɞ ʃɢɯ ɩɨʁɟɞɢɧɚɱɧɨ, ɧɚ ɮɨɪɦɚɥɧɨɦ, ɯɚɪɦɨɧɫɤɨɦ ɢ ɬɟɦɚɬɫɤɨɦ ɩɥɚɧɭ, ɩɪɟɞɫɬɚɜʂɚ ɞɨɛɪɨ ɢɡɛɚɥɚɧɫɢɪɚɧɭ ɤɨɦɩɨɡɢɰɢʁɭ ɤɨʁɚ ɫɟ ɦɨɠɟ, ɲɬɨ ʁɟ ɢ ɧɚʁɱɟɲʄɢ ɫɥɭɱɚʁ, ɡɚɫɟɛɧɨ ɢɡɜɨɞɢɬɢ. ɂɩɚɤ, ɫɜɚɤɢ 311 „Ɍɨɤɚɬɚ, ɮɚɧɬɚɡɢʁɚ ɢ ɩɪɟɥɭɞɢʁɭɦ ɫɭ ɛɥɢɫɤɨ ɫɪɨɞɧɢ ɨɛɥɢɰɢ, ɤɨʁɟ ɩɨɧɟɤɚɞ ɧɢʁɟ ɦɨɝɭʄɧɨ ɫɬɪɨɝɨ ɨɞɟɥɢɬɢ […] Ɍɨɤɚɬɚ ɜɨɞɢ ɩɨɪɟɤɥɨ ɨɞ ɫɬɚɪɟ ɨɪɝɭʂɫɤɟ ɩɪɟɞɢɝɪɟ, ɡɜɚɧɟ ‘ɢɧɬɨɧɚɰɢʁɚ’, ‘ɩɪɟɚɦɛɭɥɭɦ’ (ɨɞ ɥɚɬ. prae- = ɩɪɟɞ ɢ ambulare = ɯɨɞɚɬɢ, ɞɚɤɥɟ, ɧɟɲɬɨ ɲɬɨ ɞɪɭɝɨɦ ɩɪɟɬɯɨɞɢ) ɢɥɢ ‘ɩɪɟɥɭɞɢʁɭɦ’ (ɥɚɬ. ɩɪɟɞɢɝɪɚ), ɤɚɤɜɚ ɫɟ ɩɨʁɚɜɢɥɚ ʁɨɲ ɭ XV ɜɟɤɭ […] ɢ ɫɥɭɠɢɥɚ ɤɚɨ ɭɜɨɞ ɭ ɢɡɜɨђɟʃɟ ɯɨɪɫɤɟ ɤɨɦɩɨɡɢɰɢʁɟ, ɧɩɪ. ɤɚɤɜɨɝ ɦɨɬɟɬɚ. Ɍɚɤɜɚ ɩɪɟɞɢɝɪɚ ʁɟ ɛɢɥɚ ɜɟɨɦɚ ɫɤɪɨɦɧɢɯ ɞɢɦɟɧɡɢʁɚ, ʁɟɞɧɨɫɬɚɜɧɨ ɮɢɝɭɪɢɪɚɧɟ /‘ɤɨɥɨɪɢɪɚɧɟ’/ ɮɚɤɬɭɪɟ, ɛɟɡ ɢɤɚɤɜɨɝ ɨɞɪɟђɟɧɨɝ ɨɛɥɢɤɚ; ʃɟɧɚ ɧɚɦɟɧɚ ʁɟ, ɭɨɫɬɚɥɨɦ, ɛɢɥɚ ɞɨɛɪɢɦ ɞɟɥɨɦ ɱɢɫɬɨ ɩɪɚɤɬɢɱɧɟ ɩɪɢɪɨɞɟ – ɞɚɜɚʃɟ ɢɧɬɨɧɚɰɢʁɟ ɯɨɪɭ [....].” Vlastimir Peričić, Instrumentalni i vokalno- instrumentalni kontrapunkt (Beograd: Univerzitet umetnosti ‒ Studentski kulturni centar, 1998), 497. 312 Ɉɫɢɦ ɒɨɩɟɧɚ, ɭ ɟɩɨɯɢ ɦɭɡɢɱɤɨɝ ɪɨɦɚɧɬɢɡɦɚ ɩɪɟɥɭɞɢʁɭɦɟ ɫɭ ɤɨɦɩɨɧɨɜɚɥɢ ɢ Ɏɟɥɢɤɫ Ɇɟɧɞɟɥɫɨɧ (Jakob Ludwig Felix Mendelssohn Bartholdy), ɋɟɡɚɪ Ɏɪɚɧɤ (César-Auguste-Jean-Guillaume-Hubert Franck), Ɇɚɤɫ Ɋɟɝɟɪ (Johann Baptist Joseph Maximilian Reger) ɢ ɞɪɭɝɢ; ɦɟђɭɬɢɦ, ʃɢɯɨɜɚ ɨɫɬɜɚɪɟʃɚ ɛɥɢɠɚ ɫɭ ɛɚɪɨɤɧɨɦ ɬɢɩɭ ɩɪɟɥɭɞɢʁɭɦɚ ɛɭɞɭʄɢ ɞɚ ɫɟ ɩɨʁɚɜʂɭʁɭ ɤɚɨ ɞɟɨ ɞɢɩɬɢɯɚ ɢɥɢ ɬɪɢɩɬɢɯɚ. { 181 } ɨɞ ɩɪɟɥɢɞɚ ɢɦɚ ɫɜɨʁɟ ɫɚɫɜɢɦ ɨɞɪɟђɟɧɨ ɦɟɫɬɨ ɭ ɨɤɜɢɪɭ ɰɢɤɥɭɫɚ, ɭ ɨɤɜɢɪɭ ɢɡɥɨɠɛɟɧɟ ɩɨɫɬɚɜɤɟ, ɬɟ ʃɢɯɨɜɨ ɢɧɬɟɝɪɚɥɧɨ ɢɡɜɨђɟʃɟ ɩɪɟɞɫɬɚɜʂɚ, ɡɚɩɪɚɜɨ, ɢɫɩɭʃɟʃɟ ɝɥɨɛɚɥɧɟ ɤɨɦɩɨɡɢɬɨɪɨɜɟ ɡɚɦɢɫɥɢ. Ɍɚɤɨ, ɨɞɝɨɜɨɪ ɧɚ ɩɢɬɚʃɟ ɲɬɚ ʁɟ ɬɨ ɲɬɨ ɩɨɜɟɡɭʁɟ ɨɜɟ ɦɢɧɢʁɚɬɭɪɟ ɭ ɰɟɥɢɧɭ ɜɢɲɟɝ ɪɟɞɚ ɬɪɟɛɚ ɬɪɚɠɢɬɢ ɭ ɫɩɟɰɢɮɢɱɧɢɦ, ɤɪɚʁʃɟ ɢɧɨɜɚɬɢɜɧɢɦ, ɞɟɛɢɫɢʁɟɜɫɤɢɦ ɤɨɦɩɨɡɢɰɢɨɧɢɦ ɩɨɫɬɭɩɰɢɦɚ ɢ ɤɨɦɩɨɡɢɰɢɨɧɨ-ɬɟɯɧɢɱɤɢɦ ɪɟɲɟʃɢɦɚ ɤɨʁɚ, ɧɟɤɚɞɚ ɜɢɲɟ ɚ ɧɟɤɚɞɚ ɦɚʃɟ, ɫɜɟɞɨɱɟ ɨ ɜɟɡɚɦɚ ɢɡɦɟђɭ ɩɪɟɥɢɞɚ. Ɋɟɱ ʁɟ, ɡɚɩɪɚɜɨ, ɨ: - ʁɟɞɢɧɫɬɜɟɧɨɦ ɦɭɡɢɱɤɨɦ ɫɬɢɥɭ, ɩɪɟɩɨɡɧɚɬʂɢɜɨɦ ɭ ɫɜɢɯ ɞɜɚɞɟɫɟɬ ɱɟɬɢɪɢ ɩɪɟɥɢɞɚ, - ɮɨɪɦɚɥɧɨɦ ɨɛɥɢɤɨɜɚʃɭ ɡɚɫɧɨɜɚɧɨɦ ɧɚ ‘ɦɨɡɚɢɱɧɨɦ’ ɧɢɡɚʃɭ ɮɪɚɝɦɟɧɚɬɚ ɤɨʁɢ ɧɚʁɱɟɲʄɟ ɨɫɬɜɚɪɭʁɭ ɬɪɨɞɟɥɧɭ ɮɨɪɦɭ ɢɥɢ, ɩɚɤ, ɧɟɤɭ ɜɪɫɬɭ ɪɚɡɜɢʁɟɧɟ ɨɪɝɚɧɢɡɚɰɢʁɟ ɨɛɥɢɤɚ313, - ɮɚɤɬɭɪɧɨʁ ɨɪɝɚɧɢɡɚɰɢʁɢ ɧɚʁɱɟɲʄɟ ɬɪɨɫɥɨʁɧɟ ɮɚɤɬɭɪɟ ɩɪɢ ɱɟɦɭ ʁɟɞɚɧ ɫɥɨʁ ɩɪɟɞɫɬɚɜʂɚ ɦɟɥɨɞɢʁɫɤɭ ɥɢɧɢʁɭ (ɧɚʁɱɟɲʄɟ ɭ ɤɪɚɬɤɢɦ ɩɨɬɟɡɢɦɚ ‒ ɮɪɚɝɦɟɧɬɢɦɚ), ɞɪɭɝɢ ɩɪɚɬʃɭ (ɭ ɜɢɞɭ ɚɤɨɪɚɞɚ ɢɥɢ, ɩɚɤ ɪɚɡɥɚɝɚʃɚ, ɬɟ ɬɚɤɨ ɞɨɛɢʁɚ ɨɞɥɢɤɟ ɨɫɬɢɧɚɬɧɨɝ ɩɨɧɚɜʂɚʃɚ ɧɟɤɟ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɟ ɮɢɝɭɪɟ), ɞɨɤ ɫɟ ɤɚɨ ɬɪɟʄɢ ɫɥɨʁ ɩɨʁɚɜʂɭʁɟ ɩɟɞɚɥ, ɲɬɨ ɫɟ ɭ ɩɨʁɟɞɢɧɢɦ ɩɪɟɥɢɞɢɦɚ ɨɞɪɚɠɚɜɚ ɭ ɡɚɩɢɫɭ ɫɚ ɬɪɢ ɥɢɧɢʁɫɤɚ ɫɢɫɬɟɦɚ, - ɬɢɩɨɜɢɦɚ ɦɟɥɨɞɢʁɫɤɨɝ ɦɚɬɟɪɢʁɚɥɚ ɤɨʁɢ ɫɟ ɪɚɡɥɢɤɭʁɭ ɧɚ ɨɫɧɨɜɭ ɥɟɫɬɜɢɱɧɨɝ ɧɢɡɚ ɭ ɨɤɜɢɪɭ ɤɨʁɟɝ ɫɟ ɤɪɟʄɭ; ɭ ɬɨɦ ɫɦɢɫɥɭ ɢɡɞɜɚʁɚʁɭ ɫɟ ɚɧɯɟɦɢɬɨɧɫɤɚ ɩɟɧɬɚɬɨɧɢɤɚ, ɦɨɞɚɥɧɚ ɞɢʁɚɬɨɧɢɤɚ, ɰɟɥɨɫɬɟɩɟɧɚ ɢ ɯɪɨɦɚɬɫɤɚ ɥɟɫɬɜɢɰɚ, - ɯɚɪɦɨɧɫɤɢɦ ɪɟɲɟʃɢɦɚ ɤɨʁɚ ɧɚʁɱɟɲʄɟ ɤɚɪɚɤɬɟɪɢɲɟ ɩɚɪɚɥɟɥɧɨ ɤɪɟɬɚʃɟ ɤɨɧɫɨɧɚɬɧɢɯ ɢ ɞɢɫɨɧɚɧɬɧɢɯ ɚɤɨɪɚɞɚ, ɜɟɡɟ ɬɟɪɰɧɨ ɫɪɨɞɧɢɯ ɫɚɡɜɭɱʁɚ, ɚɥɢ ɢ ɩɨɜɪɟɦɟɧɨ ɡɚɫɢʄɟɧ ɯɚɪɦɨɧɤɢ ʁɟɡɢɤ ɤɨʁɢ ɩɪɨɢɡɥɚɡɢ ɢɡ ɭɩɨɬɪɟɛɟ ɫɥɨɠɟɧɢʁɢɯ ɫɚɡɜɭɱʁâ ɢ ɯɪɨɦɚɬɢɤɟ, - ɞɨɫɥɟɞɧɨɦ ɫɩɪɨɜɨђɟʃɭ ɤɨɧɬɪɚɫɬɚ ɧɚ ɧɢɜɨɭ ɬɟɦɩɚ, ɞɢɧɚɦɢɤɟ, ɚɝɨɝɢɤɟ ɢ/ɢɥɢ ɤɚɪɚɤɬɟɪɚ, ɢ 313 ɂɚɤɨ ɫɚɦɨ ɢɫɩɨʂɚɜɚʃɟ ɨɞɪɟђɟɧɨɝ ɮɨɪɦɚɥɧɨɝ ɨɛɪɚɫɰɚ ɭ ɫɜɚɤɨɦ ɩɪɟɥɢɞɭ ɩɨʁɟɞɢɧɚɱɧɨ ɧɢʁɟ ɨɞ ɫɭɲɬɢɧɫɤɨɝ ɡɧɚɱɚʁɚ ɡɚ ʃɟɝɨɜɨ ɬɭɦɚɱɟʃɟ ɭ ɨɤɜɢɪɭ ɰɟɥɢɧɟ, ɩɪɢɧɰɢɩ ɢɡɝɪɚɞʃɟ ɨɛɥɢɤɚ ɩɭɬɟɦ ɮɪɚɝɦɟɧɚɬɚ ɬɨ ʁɟɫɬɟ, ɢ ɢɡ ɬɨɝ ɪɚɡɥɨɝɚ ɩɪɟɞɫɬɚɜʂɚ ɢɧɬɟɝɪɚɬɢɜɧɢ ɮɚɤɬɨɪ. { 182 } - ɭɫɩɨɫɬɚɜʂɚʃɭ ɬɟɦɚɬɫɤɢɯ ɜɟɡɚ ɢɡɦɟђɭ ɩɪɟɥɢɞɚ ɨɛɟ ɫɜɟɫɤɟ ɱɢɦɟ ɫɟ ɝɪɚɞɢ ʁɟɞɚɧ ɰɟɥɨɜɢɬ ɦɭɡɢɱɤɨ-ɞɪɚɦɚɬɭɪɲɤɢ ɬɨɤ.314 ɇɚ ɝɥɨɛɚɥɧɨɦ ɩɥɚɧɭ ɨɜɟ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɟ ɩɨɫɬɚɜɤɟ, ɩɨɫɬɨʁɟ ɰɟɥɢɧɟ, ɨɞɧɨɫɧɨ, ɮɚɡɟ ɭ ɪɚɡɜɨʁɭ ɢɧɬɟɧɡɢɬɟɬɚ ɦɭɡɢɱɤɨɝ ɤɨʁɟ ɩɪɟɞɫɬɚɜʂɚʁɭ ɦɚʃɟ ɫɟɝɦɟɧɬɟ ɫɚ ɧɟɤɨɦ ɜɪɫɬɨɦ ɫɨɩɫɬɜɟɧɟ ɞɪɚɦɚɬɭɪɝɢʁɟ (ɞɪɚɦɚɬɭɪɝɢʁɚ ɧɚ ɦɢɤɪɨɩɥɚɧɭ) ɤɨʁɚ ɨɛɭɯɜɚɬɚ ɪɚɡɜɨʁ, ɩɨɪɚɫɬ ɢɧɬɟɧɡɢɬɟɬɚ ɦɭɡɢɱɤɨɝ ɬɨɤɚ, ɚɧɬɢɤɥɢɦɚɤɫ, ʃɟɝɨɜɨ ɫɥɚɛʂɟʃɟ, ɢɥɢ ɟɩɢɡɨɞɭ, ɢ ɧɚ ɤɪɚʁɭ ɞɨɫɬɢɡɚʃɟ ɜɪɯɭɧɰɚ ɢɥɢ ɩɨʁɚɜɭ ɟɩɢɥɨɝɚ. Ɉɧɨ ɲɬɨ ʁɟ ɡɚɧɢɦʂɢɜɨ ʁɟɫɬɟ ɞɚ ɛɪɨʁ ɩɪɟɥɢɞɚ ɤɨʁɢ ɫɟ ɝɪɭɩɢɲɭ ɭ ɡɚɫɟɛɧɟ ɫɟɝɦɟɧɬɟ ɩɪɚɜɢɥɧɨ ɪɚɫɬɟ. Ɍɚɤɨ ʁɟ ɩɪɜɚ ɫɜɟɫɤɚ ɩɨɞɟʂɟɧɚ ɧɚ ɬɪɢ ɫɟɝɦɟɧɬɚ ɩɪɢ ɱɟɦɭ ɩɪɜɢ ɨɞ ʃɢɯ ɱɢɧɟ ɩɪɜɚ ɬɪɢ ɩɪɟɥɢɞɚ – ɉɥɟɫɚɱɢɰɟ ɢɡ Ⱦɟɥɮɚ (Danseuses de Delphes), ȳɟɞɪɚ (Voiles) ɢ ȼɟɬɚɪ ɭ ɪɚɜɧɢɰɢ (Le vent dans la plaine), ɞɪɭɝɢ ɫɟɝɦɟɧɬ ɧɚɪɟɞɧɚ ɱɟɬɢɪɢ ‒ Ɂɜɭɰɢ ɢ ɦɢɪɢɫɢ ɤɪɭɠɟ ɜɟɱɟɪʃɢɦ ɜɚɡɞɭɯɨɦ (Les sons et les parfums tournent dans l'air du soir), Ȼɪɠɭʂɰɢ Ⱥɧɚɤɚɩɪɢʁɚ (Les collines d'Anacapri), Ʉɨɪɚɰɢ ɭ ɫɧɟɝɭ (Des pas sur la neige) ɢ ɒɬɚ ʁɟ ɜɢɞɟɨ ɡɚɩɚɞɧɢ ɜɟɬɚɪ (Ce qu'a vu le vent d'ouest) ‒ ɢ ɬɪɟʄɢ, ɩɨɫɥɟɞʃɢɯ ɩɟɬ ɩɪɟɥɢɞɚ ‒ Ⱦɟɜɨʁɤɚ ɫɚ ɥɚɧɟɧɨɦ ɤɨɫɨɦ (La fille aux cheveux de lin), ɉɪɟɤɢɧɭɬɚ ɫɟɪɟɧɚɞɚ (La sérénade interrompue), ɉɨɬɨɩʂɟɧɚ ɤɚɬɟɞɪɚɥɚ (La cathédrale engloutie), ɉɚɤɨɜɚ ɢɝɪɚ (La danse de Puck) ɢ Ɇɢɧɫɬɪɟɥɢ (Minstrels). ɇɚ ɨɜɭ ɫɟɝɦɟɧɬɚɰɢʁɭ ɧɚɞɨɜɟɡɭʁɟ ɫɟ ɞɪɭɝɚ ɫɜɟɫɤɚ, ɨɞɧɨɫɧɨ, ɞɪɭɝɢ ɫɟɝɦɟɧɬ Ⱦɟɛɢɫɢʁɟɜɟ ‘ɦɭɡɟʁɫɤɨ-ɝɚɥɟɪɢʁɫɤɟ ɩɨɫɬɚɜɤɟ’ ɤɨʁɢ ʁɟ ɩɨɞɟʂɟɧ ɧɚ ɞɜɚ ɜɟɥɢɤɚ ɨɞɫɟɤɚ, ɩɪɢ ɱɟɦɭ ʁɟ ɩɪɜɢ ɨɞ ʃɢɯ ɫɚɱɢʃɟɧ ɨɞ ɩɪɜɢɯ ɲɟɫɬ ‒ Ɇɚɝɥɚ (Brouillards), Ɇɪɬɜɨ ɥɢɲʄɟ (Feuilles mortes), ȼɢɧɫɤɚ ɤɚɩɢʁɚ (La puerta del Vino), ȼɢɥɟ ɫɭ ɫɚɜɪɲɟɧɟ ɢɝɪɚɱɢɰɟ (Les fées sont d'exquises danseuses), ȼɪɟɫ (Bruyères) ɢ ȿɤɫɰɟɧɬɪɢɱɧɢ Ƚɟɧɟɪɚɥ Ʌɚɜɢɧ (Général Lavine - eccentric), ɚ ɞɪɭɝɢ ɨɞɫɟɤ ɨɞ ɞɪɭɝɢɯ ɲɟɫɬ ɩɪɟɥɢɞɚ ‒ Ɍɟɪɚɫɚ ɡɚ ɩɪɢʁɟɦɟ ɧɚ ɦɟɫɟɱɢɧɢ (La terrasse des audiences du clair de lune), Ɉɧɞɢɧɚ (Ondine), ɍ ɱɚɫɬ ɉɢɤɜɢɤɨɜɚɰɚ (Hommage à S. Pickwick Esq. P.P.M.P.C.), Ʉɚɧɨɩɚ (Canope), ɋɦɟɧɚ ɬɟɪɰɢ ɢɥɢ Ⱥɥɬɟɪɨɜɚɧɟ ɬɟɪɰɟ (Les tierces alternées), ȼɚɬɪɨɦɟɬ (Feux d’artifice). Ɍɚɤɨ ɫɟ ɫɬɢɱɟ ɭɬɢɫɚɤ ɞɚ ɫɟ ɫɚɦɨ ɪɚɲɱɥɚʃɚɜɚʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɨɞɜɢʁɚ ɭ ɫɜɟ ɲɢɪɢɦ ɩɨɬɟɡɢɦɚ, ɨɞ ɩɨɱɟɬɧɨɝ ɝɪɭɩɢɫɚʃɚ ɬɪɢ ɡɜɭɱɧɟ ɫɥɢɤɟ, ɞɨ ɡɚɜɪɲɧɨɝ ‘ɫɩɚʁɚʃɚ’ ɲɟɫɬ. 314 ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ ʃɟɝɨɜɨ ɞɨɛɚ..., ɧɚɜ. ɞɟɥɨ, 73‒74. { 183 } ɍɤɨɥɢɤɨ ɛɢ ɫɟ ɨɛɟ ɫɜɟɫɤɟ ɩɨɫɦɚɬɪɚɥɟ ɤɚɨ ɢɧɬɟɝɪɚɥɧɚ ɰɟɥɢɧɚ, ɨɧɞɚ ɛɢ ɫɟ ɩɪɜɚ ɫɜɟɫɤɚ ɢ ɩɪɜɢ ɫɟɝɦɟɧɬ ɞɪɭɝɟ ɫɜɟɫɤɟ ɦɨɝɥɢ ɩɪɨɬɭɦɚɱɢɬɢ ɤɚɨ ɫɬɚɥɧɢ ɦɭɡɢɱɤɨ- ɞɪɚɦɚɬɭɪɲɤɢ ɪɚɡɜɨʁ ɫɚ ɤɨɥɟɛɚʃɢɦɚ ɭ ʃɟɝɨɜɨɦ ɢɧɬɟɧɡɢɬɟɬɭ (ɫɜɨʁɟɜɪɫɧɢɦ ‘ɭɫɩɨɧɢɦɚ’ ɢ ‘ɩɚɞɨɜɢɦɚ’ ɤɨʁɟ ɤɚɪɚɤɬɟɪɢɲɭ ɩɨʁɚɜɟ ɚɧɬɢɤɥɢɦɚɤɫɚ, ɟɩɢɡɨɞɟ, ɟɩɢɥɨɝɚ), ɤɚɨ ɫɟɝɦɟɧɬ ɤɨʁɢ ɭ ɤɨɧɬɟɤɫɬɭ ɢɡɥɨɠɛɟ ɩɪɨɜɨɰɢɪɚ ɢ ɨɤɨ ɢ ɭɯɨ ɞɚ ɞɚʂɟ ɨɬɤɪɢɜɚʁɭ ɱɚɪɢ ɩɨɫɬɚɜɤɟ, ɞɨɤ ɛɢ ɩɨɫɥɟɞʃɢɯ ɲɟɫɬ ɩɪɟɥɢɞɚ ɞɪɭɝɟ ɫɜɟɫɤɟ, ɬɚɤɨђɟ ɤɚɨ ɡɚɫɟɛɧɚ ɰɟɥɢɧɚ, ɩɪɟɞɫɬɚɜʂɚɥɢ ɧɟɤɭ ɜɪɫɬɭ Ʉɨɞɟ ɰɟɥɨɤɭɩɧɨɝ ɰɢɤɥɭɫɚ. ɐɢɤɥɭɫ ɛɢ, ɞɚɤɥɟ, ɡɚɩɨɱɟɨ ɬɪɨɞɟɥɨɦ ȺȻȺ1, ɤɨʁɢ ɱɢɧɟ ɉɥɟɫɚɱɢɰɟ ɢɡ Ⱦɟɥɮɚ, ȳɟɞɪɚ ɢ ȼɟɬɚɪ ɭ ɪɚɜɧɢɰɢ, ɤɨʁɢ ʁɚɫɧɨ ɚɮɢɪɦɢɲɟ ɬɨɧɚɥɧɢ ɰɟɧɬɚɪ ɢɧ Ȼɟ. Ɍɨɧɚɥɧɚ ɦɨɧɨɥɢɬɧɨɫɬ ɞɨɩɪɢɧɨɫɢ ɞɚ ɬɪɢ ɩɪɟɥɢɞɚ ɱɢɧɟ ɧɚʁɱɜɪɲʄɟ ɩɨɜɟɡɚɧɭ ɰɟɥɢɧɭ ɭ ɨɤɜɢɪɭ ɰɟɥɨɤɭɩɧɨɝ ɰɢɤɥɭɫɚ. ɂɧɬɟɧɡɢɬɟɬ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ʁɟ ɭ ɨɜɨɦ ɩɪɜɨɦ ɞɟɥɭ ɭ ɫɬɚɥɧɨɦ ɩɨɪɚɫɬɭ ɡɚɬɨ ɲɬɨ ȼɟɬɚɪ ɭ ɪɚɜɧɢɰɢ ɩɪɟɞɫɬɚɜʂɚ ɡɧɚɬɧɨ ɢɡɦɟʃɟɧɭ ɢ ɡɧɚɱɚʁɧɨ ɞɢɧɚɦɢɡɢɪɚɧɭ ɪɟɩɪɢɡɭ ɩɪɜɨɝ ɩɪɟɥɢɞɚ (ɩɪɟɥɢɞ ȳɟɞɪɚ ɡɚɩɪɚɜɨ ɩɪɟɞɫɬɚɜʂɚ ɫɥɚɛʂɟʃɟ ɢɧɬɟɧɡɢɬɟɬɚ, ɬɨ ʁɟɫɬ, ɚɧɬɢɤɥɢɦɚɤɫ ɧɚ ɦɢɤɪɨɩɥɚɧɭ). ɋɥɟɞɟʄɚ ɝɪɭɩɚ ɩɪɟɥɢɞɚ – Ɂɜɭɰɢ ɢ ɦɢɪɢɫɢ ɤɪɭɠɟ ɜɟɱɟɪʃɢɦ ɜɚɡɞɭɯɨɦ, Ȼɪɠɭʂɰɢ Ⱥɧɚɤɚɩɪɢʁɚ, Ʉɨɪɚɰɢ ɭ ɫɧɟɝɭ ɢ ɒɬɚ ʁɟ ɜɢɞɟɨ ɡɚɩɚɞɧɢ ɜɟɬɚɪ – ɩɪɟɞɫɬɚɜʂɚ ɧɨɜɭ ɟɬɚɩɭ ɭ ɪɚɡɜɨʁɭ ɤɨʁɢ ʁɟ, ɫɚ ɢɡɭɡɟɬɤɨɦ ɩɪɟɥɢɞɚ Ʉɨɪɚɰɢ ɭ ɫɧɟɝɭ ɤɨʁɢ ɩɪɟɞɫɬɚɜʂɚ ɚɧɬɢɤɥɢɦɚɤɫ, ɬɨ ʁɟɫɬ, ɢɧɬɟɪɩɨɥɢɪɚɧɭ ɟɩɨɢɡɨɞɭ ɩɨɬɩɭɧɨ ɞɪɭɝɚɱɢʁɟɝ ɤɚɪɚɤɬɟɪɚ, ɭ ɫɬɚɥɧɨɦ ɩɨɪɚɫɬɭ ɢ ɞɨɫɬɢɠɟ ɜɪɯɭɧɚɰ ɭ ɩɪɟɥɢɞɭ ɒɬɚ ʁɟ ɜɢɞɟɨ ɡɚɩɚɞɧɢ ɜɟɬɚɪ ɤɨʁɢ ʁɟ ɭʁɟɞɧɨ ɢ ɜɪɯɭɧɚɰ ɰɟɥɨɤɭɩɧɨɝ ɪɚɡɜɨʁɚ. Ɍɨɧɚɥɧɚ ɩɪɨɝɪɟɫɢʁɚ ɫɟ ɨɞɜɢʁɚ ɧɚ ɫɥɟɞɟʄɢ ɧɚɱɢɧ – ɢɧ Ⱥ, ɢɧ ɏɚ, ɢɧ ɞɟ, ɢɧ ɮɢɫ, ɭɤɚɡɭʁɭʄɢ ɧɚ ɫɥɚɛɢʁɭ ɬɨɧɚɥɧɭ ɩɨɜɟɡɚɧɨɫɬ ɩɪɟɥɢɞɚ ɨɞ ɨɧɟ ɤɨʁɚ ʁɟ ɨɫɬɜɚɪɟɧɚ ɭ ɩɪɜɨʁ ɝɪɭɩɢ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɨɜɚ ɝɪɭɩɚ ɡɜɭɱɧɢɯ ɫɥɢɤɚ ɦɨɠɟ ɛɢɬɢ ɬɭɦɚɱɟɧɚ ɤɚɨ ɫɜɨʁɟɜɪɫɧɚ ɚɧɬɢɰɢɩɚɰɢʁɚ ɨɧɨɝɚ ɲɬɨ ɫɥɟɞɢ ɭ ɧɚɪɟɞɧɨʁ. ɋɥɟɞɟʄɚ ɝɪɭɩɚ ɩɪɟɥɢɞɚ, ɨɞɧɨɫɧɨ, ɡɜɭɱɧɢɯ ɫɥɢɤɚ – Ⱦɟɜɨʁɤɚ ɫɚ ɥɚɧɟɧɨɦ ɤɨɫɨɦ, ɉɪɟɤɢɧɭɬɚ ɫɟɪɟɧɚɞɚ, ɉɨɬɨɧɭɥɚ ɤɚɬɟɞɪɚɥɚ, ɉɚɤɨɜɚ ɢɝɪɚ, Ɇɢɧɫɬɪɟɥɢ – ʁɟ ɧɚʁɢɧɬɟɪɟɫɚɧɬɧɢʁɚ, ɧɚʁɪɚɡɧɨɜɪɫɧɢʁɚ ɢ ɧɚʁɧɟɤɨɯɟɪɟɧɬɧɢʁɚ; ɩɨɫɟɞɭʁɟ ɫɥɢɱɚɧ ɞɪɚɦɚɬɭɪɲɤɢ ɬɨɤ ɤɚɨ ɩɪɟɬɯɨɞɧɚ, ɚɥɢ ɫɚ ɞɟɥɢɦɢɱɧɨ ɢɡɦɟʃɟɧɢɦ ɨɞɧɨɫɨɦ ɢɧɬɟɧɡɢɬɟɬɚ. ɇɚɢɦɟ, ɚɧɬɢɤɥɢɦɚɤɫ, ɉɨɬɨɩʂɟɧɚ ɤɚɬɟɞɪɚɥɚ, ɢɦɚ ɞɚɥɟɤɨ ɫɧɚɠɧɢʁɟ ɞɟʁɫɬɜɨ ɨɞ ɩɪɟɥɢɞɚ Ʉɨɪɚɰɢ ɭ ɫɧɟɝɭ, ɢ ɡɚɩɪɚɜɨ ɩɪɟɞɫɬɚɜʂɚ ɚɧɬɢɤɥɢɦɚɤɫ ɰɟɥɨɤɭɩɧɨɝ ɰɢɤɥɭɫɚ; ɩɨɪɟɞ ɬɨɝɚ, ɨɜɚʁ ɫɟɝɦɟɧɬ ɫɟ ɡɚɜɪɲɚɜɚ ɟɩɢɥɨɝɨɦ – ɩɪɟɥɢɞɨɦ Ɇɢɧɫɬɪɟɥɢ, ɲɬɨ ɩɪɟɬɯɨɞɧɚ ɝɪɭɩɚ ɧɢʁɟ ɢɦɚɥɚ.315 ɒɟɫɬ ɩɪɟɥɢɞɚ 315 ɍɤɨɥɢɤɨ ɛɢ ɫɟ ɨɜɚʁ ɫɟɝɦɟɧɬ ɩɨɫɦɚɬɪɚɨ ɢɡɞɜɨʁɟɧɨ ɨɞ ɞɨɬɚɞɚɲʃɟɝ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɞɨɲɥɨ ɛɢ ɫɟ ɞɨ { 184 } ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɤɨʁɢ ɩɨɬɨɦ ɫɥɟɞɟ – Ɇɚɝɥɚ, Ɇɪɬɜɨ ɥɢɲʄɟ, ȼɢɧɫɤɚ ɤɚɩɢʁɚ, ȼɢɥɟ ɫɭ ɫɚɜɪɲɟɧɟ ɢɝɪɚɱɢɰɟ, ȼɪɟɫ ɢ ȿɤɫɰɟɧɬɪɢɱɧɢ Ƚɟɧɟɪɚɥ Ʌɚɜɢɧ – ɬɚɤɨђɟ ɤɚɪɚɤɬɟɪɢɲɟ ɞɪɚɦɬɭɪɲɤɢ ɬɨɤ ɭ ɫɬɚɥɧɨɦ ɩɨɪɚɫɬɭ; ɦɟђɭɬɢɦ, ɬɚʁ ɬɨɤ ɤɨʁɢ ɫɟ ɡɚɜɪɲɚɜɚ ɟɩɢɥɨɝɨɦ (ɩɪɟɥɢɞɨɦ ȿɤɫɰɟɧɬɪɢɱɧɢ Ƚɟɧɟɪɚɥ Ʌɚɜɢɧ), ɛɢɜɚ ɧɚ ɬɪɟɧɭɬɚɤ ɩɪɟɤɢɧɭɬ ɩɨʁɚɜɨɦ ɟɩɢɡɨɞɟ (ɩɪɟɥɢɞ ȼɢɧɫɤɚ ɤɚɩɢʁɚ), ɤɨʁɚ ɭ ɤɨɧɬɟɤɫɬɭ ɩɨɦɟɧɭɬɟ ɢɡɥɨɠɛɟ ɦɨɠɟ ɩɪɟɞɫɬɚɜʂɚɬɢ ɫɜɨʁɟɜɪɫɧɨ ɨɞɦɨɪɢɲɬɟ. Ɉɜɢɯ ɲɟɫɬ ɩɪɟɥɢɞɚ ɨɞɚʁɭ ɭɬɢɫɚɤ ɫɚɠɟɬɨɝ ɢɡɥɚɝɚʃɚ ɩɪɟɬɯɨɞɧɢɯ ɞɜɚɧɚɟɫɬ ɤɨɦɩɨɡɢɰɢʁɚ, ɤɚɨ ʁɟɞɧɚ ɜɪɫɬɚ ɫɭɦɢɪɚʃɚ ɚɭɞɢɬɢɜɧɢɯ ɢ ɜɢɡɭɟɥɧɢɯ ɭɬɢɫɚɤɚ, ɧɚ ɲɬɚ ɭɤɚɡɭʁɭ (ɞɢɪɟɤɬɧɟ) ɚɫɨɰɢʁɚɰɢʁɟ ɢ ɩɨɜɟɡɚɧɨɫɬɢ ɩɪɟɥɢɞɚ ɨɜɟ ɝɪɭɩɟ ɫɚ ɩɪɟɥɢɞɢɦɚ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ. Ɍɚɤɨ ɩɪɟɥɢɞ Ɇɚɝɥɚ ɧɚɞɜɨɫɦɢɫɥɟɧɨ ɚɫɨɰɢɪɚ ɧɚ ȳɟɞɪɚ. ɍ ɩɪɨɝɪɚɦɫɤɨɦ ɫɦɢɫɥɭ, ɨɛɚ ɩɪɟɥɢɞɚ ɩɪɟɞɫɬɚɜʂɚʁɭ ɫɥɢɤɟ ɢɡ ɩɪɢɪɨɞɟ ɫɚ ɫɥɢɱɧɨɦ ɚɬɦɨɫɮɟɪɨɦ; ɧɚɢɦɟ, ɭ ɨɛɚ ɫɥɭɱɚʁɚ ʁɟ ɩɪɢɫɭɬɚɧ ɧɟɤɢ ɜɢɞ ɧɟɫɬɚɥɧɨɫɬɢ ɢ ɧɟɨɞɪɟђɟɧɨɫɬɢ. ɍ ɩɪɜɨɦ ʁɟ ɭ ɩɢɬɚʃɭ ‘ɨɩɢɫ’ ɤɪɟɬɚʃɚ ɭɫɢɞɪɟɧɨɝ ɛɪɨɞɚ ɤɨʁɢ ɧɟɦɚ ɱɜɪɫɬɨ ɭɩɨɪɢɲɬɟ, ɚ ɭ ɞɪɭɝɨɦ ɦɚɝɥɚ, ɢɫɬɨ ɬɚɤɨ ɧɟɨɞɪɟђɟɧɚ, ɫɚ ɬɟɲɤɢɦ ɢ ɫɩɨɪɢɦ ɤɪɟɬɚʃɟɦ. ɉɪɟɞɫɬɚɜɚ ɧɟɨɞɪɟђɟɧɨɫɬɢ ɢ ɡɚɦɚɝʂɟɧɨɫɬɢ ɩɨɫɬɢɝɧɭɬɚ ʁɟ ɭɩɨɬɪɟɛɨɦ ɰɟɥɨɫɬɟɩɟɧɟ ɥɟɫɬɜɢɰɟ (ɤɨʁɚ ʁɟ ɬɚɤɨђɟ ɛɟɡ ɭɩɨɪɢɲɬɚ) ɭ ɩɪɟɥɢɞɭ ȳɟɞɪɚ, ɢ ɭɩɨɬɪɟɛɨɦ ɛɢɬɨɧɚɥɧɨɫɬɢ, ɢɧ ɐɟ ‒ ɢɧ ɛɟ, ɭ ɩɪɟɥɢɞɭ Ɇɚɝɥɚ. ɞɪɭɝɚɱɢʁɟɝ ɡɚɤʂɭɱɤɚ ɨ ɢɡɝɥɟɞɭ ɞɪɚɦɚɬɭɪɲɤɟ ɤɪɢɜɟ: ɩɨɪɚɫɬ ɢɧɬɟɧɡɢɬɟɬɚ ɭ ɩɪɜɚ ɞɜɚ ɩɪɟɥɢɞɚ, ɞɨɫɬɢɡɚʃɟ ɤɭɥɦɢɧɚɰɢʁɟ ɭ ɉɨɬɨɧɭɥɨʁ ɤɚɬɟɞɪɚɥɢ, ɡɚɬɢɦ ɨɩɚɞɚʃɟ ɢɧɬɟɧɡɢɬɟɬɚ ɤɪɨɡ ɉɚɤɨɜɭ ɢɝɪɭ, ɞɚ ɛɢ ɩɨɬɩɭɧɨ ɫɦɢɪɟʃɟ ɛɢɥɨ ɞɨɫɬɢɝɧɭɬɨ ɭ Ɇɢɧɫɬɪɟɥɢɦɚ ɤɨʁɢ ɢɦɚʁɭ ɤɚɪɚɤɬɟɪ ɟɩɢɥɨɝɚ. Ɉɜɚ ɫɢɦɟɬɪɢɱɧɚ ɫɯɟɦɚ ɭ ɤɨʁɨʁ ɨɫɨɜɢɧɭ ɩɪɟɞɫɬɚɜʂɚ ɉɨɬɨɧɭɥɚ ɤɚɬɟɞɪɚɥɚ ɨɫɥɢɤɚɜɚ ɫɟ ɭɩɪɚɜɨ ɭ ʃɟɧɨʁ ɮɨɪɦɚɥɧɨʁ ɨɪɝɚɧɢɡɚɰɢʁɢ Ⱥ Ȼ Ⱥ1 Ȼ1 Ⱥ2. { 185 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 21: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ȳɟɞɪɚ, ɞɪɭɝɢ ɩɪɟɥɢɞ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (Voilès, Prèludes, 1910), ɬɬ. 1‒9. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 21a: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɇɚɝɥɚ, ɩɪɜɢ ɩɪɟɥɢɞ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (Brouillards, Prèludes, 1913), ɬɬ. 1‒3. { 186 } ɉɪɟɥɢɞ Ɇɪɬɜɨ ɥɢɲʄɟ ɦɨɠɟ ɫɟ ɞɨɜɟɫɬɢ ɭ ɜɟɡɭ ɫɚ ɩɪɟɥɢɞɨɦ Ɂɜɭɰɢ ɢ ɦɢɪɢɫɢ ɤɪɭɠɟ ɜɟɱɟɪʃɢɦ ɜɚɡɞɭɯɨɦ ɛɭɞɭʄɢ ɞɚ ɫɭ ɨɛɚ ɩɪɟɥɢɞɚ ɡɚɫɧɨɜɚɧɚ ɧɚ ɫɥɢɤɚɦɚ ɢɡ ɩɪɢɪɨɞɟ, ɚ ɧɚ ɦɭɡɢɱɤɨɦ ɩɥɚɧɭ ɧɚ ɫɥɢɱɧɢɦ ɚɤɨɪɞɫɤɢɦ ɮɚɤɬɭɪɚɦɚ ɢ ɡɚɫɢʄɟɧɨɦ ɯɚɪɦɨɧɫɤɨɦ ʁɟɡɢɤɭ ɤɨʁɢ ɨɞɥɢɤɭʁɟ ɭɩɨɬɪɟɛɚ ɫɟɩɬɚɤɨɪɚɞɚ ɢ ɧɨɧɚɤɨɪɚɞɚ, ɚɥɢ ɢ ɨɬɜɨɪɟɧɟ ɯɪɨɦɚɬɢɤɟ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 22: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɂɜɭɰɢ ɢ ɦɢɪɢɫɢ ɤɪɭɠɟ ɜɟɱɟɪʃɢɦ ɜɚɡɞɭɯɨɦ, ɱɟɬɜɪɬɢ ɩɪɟɥɢɞ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (Les sons et les parfums tournent dans l'air du soir, Prèludes, 1910), ɬɬ. 1‒5. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 22ɚ: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɇɪɬɜɨ ɥɢɲʄɟ, ɞɪɭɝɢ ɩɪɟɥɢɞ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (Feuilles mortes, Prèludes, 1913), ɬɬ. 1‒4. ȼɢɧɫɤɚ ɤɚɩɢʁɚ ɫɜɨʁɭ ɪɟɮɟɪɟɧɰɭ ɩɪɨɧɚɥɚɡɢ ɭ ɉɪɟɤɢɧɭɬɨʁ ɫɟɪɟɧɚɞɢ, ɚ ʃɢɯɨɜ ɡɚʁɟɞɧɢɱɤɢ ɢɦɟɧɢɬɟʂ ʁɟ ɲɩɚɧɫɤɢ ɤɨɥɨɪɢɬ; ɬɚɤɨ, ɩɪɜɢ ɩɪɟɥɢɞ ɞɨɧɨɫɢ ɫɢɦɭɥɚɰɢʁɭ ɫɜɢɪɚʃɚ ɧɚ ɝɢɬɚɪɢ ɤɨʁɚ ɫɟ ɧɚɥɚɡɢ ɭ ɩɪɚɬʃɢ ɦɟɥɨɞɢʁɟ ɮɪɢɝɢʁɫɤɨɝ ɩɨɪɟɤɥɚ ɫɚ { 187 } ɩɨɜɪɟɦɟɧɢɦ ɨɪɢʁɟɧɬɚɥɧɢɦ ‘ɡɚɱɢɧɢɦɚ’. Ɉɫɧɨɜɭ ɞɪɭɝɨɝ ɩɪɟɥɢɞɚ ɱɢɧɢ ɨɫɬɢɧɚɬɧɨ ɩɨɧɚɜʂɚʃɟ ɪɢɬɦɚ ɯɚɛɚɧɟɪɟ (ɢɧ Ⱦɟɫ), ɧɚɞ ɤɨʁɢɦ ɫɟ, ɭ ɧɟɤɨʁ ɜɪɫɬɢ ɛɢɬɨɧɚɥɧɨɝ ɨɞɧɨɫɚ ɪɚɡɜɢʁɚ ɦɟɥɨɞɢʁɚ ɨɛɨʁɟɧɚ ɨɪɧɚɦɟɧɬɢɦɚ, ɨɪɢʁɟɧɬɚɥɧɢɦ ɩɪɢɦɟɫɚɦɚ, ɫɚ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨɦ ɩɨʁɚɜɨɦ ɩɪɟɤɨɦɟɪɧɟ ɫɟɤɭɧɞɟ, ɢ ɟɥɟɦɟɧɬɢɦɚ ɯɪɨɦɚɬɢɤɟ, ɫɚ ɨɫɧɨɜɨɦ ɢɧ ȿ ɤɚɨ ɫɜɨʁɟɜɪɫɧɢɦ ɬɨɧɫɤɢɦ ɫɪɟɞɢɲɬɟɦ, ɢɡɪɚɠɟɧɢɦ ɞɪɭɝɢɦ ɫɬɭɩʃɟɦ ɭ ɨɤɜɢɪɭ ɮɪɢɝɢʁɫɤɨɝ ɦɨɞɭɫɚ ɢ ɚɧɞɚɥɭɡɢʁɫɤɨɦ ɞɨɦɢɧɚɧɬɨɦ.316 ɍ ɩɪɨɝɪɚɦɫɤɨɦ ɫɦɢɫɥɭ, ɨɛɟ ɦɢɧɢʁɚɬɭɪɟ ɩɪɟɞɫɬɚɜʂɚʁɭ ɠɚɧɪ-ɫɰɟɧɭ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 23: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɪɟɤɢɧɭɬɚ ɫɟɪɟɧɚɞɚ, ɞɟɜɟɬɢ ɩɪɟɥɢɞ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (La sérénade interrompue, Prèludes, 1913), ɬɬ. 1‒12. 316 ȼɢɞɟɬɢ: ɢɫɬɨ, 75. { 188 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 23: ...ɧɚɫɬɚɜɚɤ, ɬɬ. 32‒42. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 23ɚ: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ȼɢɧɫɤɚ ɤɚɩɢʁɚ, ɬɪɟʄɢ ɩɪɟɥɢɞ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (La puerta del Vino, Prèludes, 1913), ɬɬ. 1‒13. { 189 } ɉɪɟɥɢɞ ȼɢɥɟ ɫɭ ɫɚɜɪɲɟɧɟ ɢɝɪɚɱɢɰɟ ɚɧɚɥɨɝɚɧ ʁɟ ɩɪɟɥɢɞɭ ɉɚɤɨɜɚ ɢɝɪɚ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ. ɉɪɨɝɪɚɦɫɤɨ ɨɞɪɟђɟʃɟ ɩɪɟɥɢɞɚ ɭɤɚɡɭʁɟ ɧɚ ɩɨɪɬɪɟɬ ɮɚɧɬɚɫɬɢɱɧɢɯ ɛɢʄɚ, ɩɪɢ ɱɟɦɭ ɩɪɜɢ ɡɜɭɱɧɨ ɩɨɪɬɪɟɬɢɲɟ ɝɪɭɩɭ, ɚ ɞɪɭɝɢ ʁɟɞɧɭ ɥɢɱɧɨɫɬ, ɧɨ, ɭ ɨɛɚ ɫɥɭɱɚʁɚ ɫɟ ɫɥɢɤɚʃɟ ɥɢɤɨɜɚ ɡɜɭɤɨɦ ɨɞɜɢʁɚ ɤɪɨɡ ʃɢɯɨɜ ɩɥɟɫ. ɋɬɪɭɤɬɭɪɚ ɤɨɦɩɨɡɢɰɢʁɚ ʁɟ ɫɥɢɱɧɚ: ɩɪɜɢ ɢ ɡɚɜɪɲɧɢ ɞɟɨ ɨɛɟ ɦɢɧɢʁɚɬɭɪɟ ɛɚɡɢɪɚɧɢ ɫɭ ɧɚ ɛɪɡɢɦ ɩɚɫɚɠɢɦɚ (ɭ ɩɪɜɨɦ ɩɪɟɥɢɞɭ ɫɚ ɩɭɧɤɬɢɪɚɧɢɦ ɪɢɬɦɨɦ, ɭ ɞɪɭɝɨɦ ɫɚ ɪɚɜɧɨɦɟɪɧɢɦ ɩɭɥɫɨɦ), ɞɨɤ ʁɟ ɫɪɟɞɢɲʃɢ ɨɞɫɟɤ ɚɤɨɪɞɤɫɟ ɮɚɤɬɭɪɟ ɢ ɭ ɯɚɪɦɨɧɫɤɨɦ ɩɨɝɥɟɞɭ ɛɨɝɚɬɢʁɢ. ɋɚɦɨ ɤɪɟɬɚʃɟ ɫɟ ɨɞɜɢʁɚ ɭ ɨɤɜɢɪɢɦɚ ɦɨɞɚɥɧɟ ɞɢʁɚɬɨɧɢɤɟ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 24: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɉɚɤɨɜɚ ɢɝɪɚ, ʁɟɞɚɧɚɟɫɬɢ ɩɪɟɥɢɞ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (La danse de Puck, Prèludes, 1913), ɬɬ. 1‒3. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 24: ... ɧɚɫɬɚɜɚɤ, ɬɬ. 16‒20. { 190 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 24ɚ: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ȼɢɥɟ ɫɭ ɫɚɜɪɲɟɧɟ ɢɝɪɚɱɢɰɟ, ɱɟɬɜɪɬɢ ɩɪɟɥɢɞ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (Les fées sont d'exquises danseuses, Prèludes, 1913), ɬɬ. 1‒2. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 24ɚ: ... ɧɚɫɬɚɜɚɤ, ɬɬ. 32‒36. Ɇɨɠɞɚ ʁɟ ɫɥɢɱɧɨɫɬ ɤɨʁɚ ɩɨɫɬɨʁɢ ɢɡɦɟђɭ ɩɪɟɥɢɞɚ ȼɪɟɫ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɢ Ⱦɟɜɨʁɤɟ ɫɚ ɥɚɧɟɧɨɦ ɤɨɫɨɦ ɢɡ ɩɪɜɟ ɧɚʁɭɩɟɱɚɬʂɢɜɢʁɚ. ȼɪɟɫ, ɩɪɟɥɢɞ ɤɨʁɢ ɤɚɪɚɤɬɟɪɢɲɟ ɩɟɧɬɚɬɨɧɫɤɚ ɦɟɥɨɞɢʁɚ ɤɨʁɚ ɤɨɟɝɡɢɫɬɢɪɚ ɫɚ ʁɟɞɧɨɫɬɚɜɧɢɦ ɯɚɪɦɨɧɫɤɢɦ ɫɤɥɨɩɨɦ ɭ ɨɤɜɢɪɭ ɞɭɪɫɤɟ ɞɢʁɚɬɨɧɢɤɟ ɫɚ ɟɥɟɦɟɧɬɢɦɚ ɦɨɞɚɥɧɨɫɬɢ, ɩɪɟɞɫɬɚɜʂɚ ɡɜɭɱɧɢ ‘ɟɤɜɢɜɚɥɟɧɬ’ ɢɥɢ ɦɨɠɞɚ ɩɪɟ ɪɚɡɪɚђɟɧɢʁɭ ɜɚɪɢʁɚɧɬɭ ɡɜɭɱɧɟ ɫɥɢɤɟ ɢɡ ɩɪɟɥɢɞɚ Ⱦɟɜɨʁɤɚ ɫɚ ɥɚɧɟɧɨɦ ɤɨɫɨɦ. Ʉɚɨ ɞɚ ʁɟ ɚɭɬɨɪ, ɧɚɤɨɧ ɜɪɟɦɟɧɫɤɟ ɞɢɫɬɚɧɰɟ ɨɞ ɬɪɢ ɝɨɞɢɧɟ ɢɦɚɨ ɩɨɬɪɟɛɭ ɞɚ, ɩɪɟ ɫɜɟɝɚ ɯɚɪɦɨɧɫɤɢ ‘ɞɨɪɚɞɢ’, ʁɨɲ ɦɚɥɨ ɢɡɧɢʁɚɧɫɢɪɚ ɢ ɬɚɤɨ ɡɜɭɱɧɨ ɨɛɨɝɚɬɢ ɨɜɭ ɫɥɢɤɭ-ɩɨɪɬɪɟɬ. { 191 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 25: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ⱦɟɜɨʁɤɚ ɫɚ ɥɚɧɟɧɨɦ ɤɨɫɨɦ, ɨɫɦɢ ɩɪɟɥɢɞ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (La fille aux cheveux de lin, Prèludes, 1913), ɬɬ. 1‒11. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 25ɚ: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ȼɪɟɫ, ɩɟɬɢ ɩɪɟɥɢɞ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (Bruyères, Prèludes, 1913), ɬɬ. 1‒11. ɉɨɫɥɟɞʃɢ ɩɚɪ ɫɥɢɱɧɢɯ ɩɪɟɥɢɞɚ ɫɭ ȿɤɫɰɟɧɬɪɢɱɧɢ Ƚɟɧɟɪɚɥ Ʌɚɜɢɧ ɢ Ɇɢɧɫɬɪɟɥɢ, ɨɛɚ ɭ ɮɭɧɤɰɢʁɢ ɟɩɢɥɨɝɚ ɢ ɫɚ ɰɢʂɟɦ ɞɚ ɩɨɪɬɪɟɬɢɲɭ ɥɢɱɧɨɫɬɢ. ɇɚɥɢɤ ɩɪɟɬɯɨɞɧɨɦ ɩɚɪɭ ɩɪɟɥɢɞɚ ɱɢʁɟ ʁɟ ɩɪɨɝɪɚɦɫɤɨ ɨɞɪɟђɟʃɟ ɛɢɥɨ ɡɜɭɱɧɨ ɫɥɢɤɚʃɟ ɥɢɤɨɜɚ ɢ ɨɜɞɟ ɫɭ ɩɪɟɞɫɬɚɜʂɟɧɢ ʁɟɞɚɧ ɝɪɭɩɧɢ ɢ ʁɟɞɚɧ ɫɚɦɨɫɬɚɥɧɢ ɩɨɪɬɪɟɬ, ɚɥɢ ɧɟ ɮɚɧɬɚɫɬɢɱɧɢɯ, ɜɟʄ ɪɟɚɥɧɢɯ ɥɢɤɨɜɚ. Ɏɭɧɞɭɫ ɢɡɪɚɠɚʁɧɢɯ ɫɪɟɞɫɬɚɜɚ ʁɟ ɫɥɢɱɚɧ, ɚ ʃɟɝɚ { 192 } ɤɚɪɚɤɬɟɪɢɲɟ ɭɩɨɬɪɟɛɚ ɭɤɪɚɫɚ, ɫɬɚɤɚɬɨ ɟɮɟɤɚɬɚ ɢ ɡɚɫɢʄɟɧɟ ɯɚɪɦɨɧɢʁɟ, ɲɬɨ ɭ ɫɥɭɱɚʁɭ ɩɪɜɨɝ ɩɪɟɥɢɞɚ ɫɬɜɚɪɚ ɭɬɢɫɚɤ ɝɪɨɬɟɫɤɟ, ɚ ɭ ɞɪɭɝɨɦ ɚɫɨɰɢʁɚɰɢʁɭ ɧɚ ɢɝɪɭ, ɨɞɧɨɫɧɨ, ɡɚɛɚɜɭ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɭ ɡɚ ɦɢɧɫɬɪɟɥɟ. ɍ ɨɛɚ ɨɫɬɜɚɪɟʃɚ ʁɟ ɬɚɤɨђɟ ɩɪɢɫɭɬɚɧ ʁɟɞɚɧ ɦɨɬɢɜ ɤɨʁɢ ɩɪɨɠɢɦɚ ɭ ɰɟɥɨɫɬɢ ɫɜɚɤɭ ɨɞ ɤɨɦɩɨɡɰɢʁɚ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 26 ɢ 26ɚ). ɋɥɢɱɧɨɫɬ ɢɡɦɟђɭ ɩɪɟɥɢɞɚ ʁɟ, ɞɚɤɥɟ, ɫɥɟɞɟʄɚ: ɞɪɭɝɢ, ɱɟɬɜɪɬɢ, ɞɟɜɟɬɢ, ʁɟɞɚɧɚɟɫɬɢ, ɨɫɦɢ ɢ ɞɜɚɧɚɟɫɬɢ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ ɩɪɟɞɫɬɚɜʂɚʁɭ ɭɡɨɪɟ ɡɚ ɩɪɜɢɯ ɲɟɫɬ ɩɪɟɥɢɞɚ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ, ɪɟɞɨɦ, ɲɬɨ ɧɚɜɨɞɢ ɧɚ ɡɚʂɭɱɚɤ ɞɚ ɨɜɟ ɞɜɟ ɝɪɭɩɟ ɭʁɟɞɧɨ ɩɪɟɞɫɬɚɜʂɚʁɭ ɢ ɰɟɧɬɪɚɥɧɢ ɫɟɝɦɟɧɬ ɰɟɥɨɤɭɩɧɟ ɡɜɭɱɧɨ-ɜɢɡɭɟɥɧɟ ɢɡɥɨɠɛɟ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 26: Ʉɥɨɞ Ⱦɟɛɢɫɢ, Ɇɢɧɫɬɪɟɥɢ, ɞɜɚɧɚɟɫɬɢ ɩɪɟɥɢɞ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (Minstrels, Prèludes, 1913), ɬɬ. 1‒7. { 193 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 26ɚ: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ȿɤɫɰɟɧɬɪɢɱɧɢ Ƚɟɧɟɪɚɥ Ʌɚɜɢɧ, ɲɟɫɬɢ ɩɪɟɥɢɞ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ (Général Lavine - eccentric, Prèludes, 1913), ɬɬ. 1‒10. ɉɨɫɥɟɞʃɢ ɫɟɝɦɟɧɬ ɝɥɨɛɚɥɧɨɝ ɪɚɡɜɨʁɚ, ɨɞɧɨɫɧɨ, ɩɨɫɥɟɞʃɢɯ ɲɟɫɬ ɩɪɟɥɢɞɚ ɞɪɭɝɟ ɫɜɟɫɤɟ (Ɍɟɪɚɫɚ ɡɚ ɩɪɢʁɟɦɟ ɧɚ ɦɟɫɟɱɢɧɢ, Ɉɧɞɢɧɚ, ɍ ɱɚɫɬ ɉɢɤɜɢɤɨɜɚɰɚ, Ʉɚɧɨɩɚ, ɋɦɟɧɚ ɬɟɪɰɢ, ȼɚɬɪɨɦɟɬ) ɧɟ ɩɨɤɚɡɭʁɭ ɢɡɪɚɡɢɬɟ ɜɟɡɟ ɫɚ ɩɨʁɟɞɢɧɢɦ ɩɪɟɥɢɞɢɦɚ ɩɪɟɬɯɨɞɧɨɝ ɬɨɤɚ – ɚɫɨɰɢʁɚɰɢʁɟ ɤɚɨ ɞɚ ɫɭ ɛɥɟђɟ ɢ ɧɚ ɧɟɤɢ ɧɚɱɢɧ ɢɡɦɟɲɚɧɟ. ȵɢɯɨɜɚ ɮɨɪɦɚ ɢ ɮɚɤɬɭɪɚ ɫɭ ɫɥɨɠɟɧɢʁɟ ɢ ɪɚɡɪɚђɟɧɢʁɟ ɧɟɝɨ ɭ ɩɪɟɬɯɨɞɧɢɦ ɩɪɟɥɢɞɢɦɚ ɡɚɬɨ ɲɬɨ ɫɭ ɨɧɢ ɭ ɮɭɧɤɰɢʁɢ ɡɚɜɪɲɧɨɝ ɪɚɡɜɨʁɚ, Ʉɨɞɟ ɰɢɤɥɭɫɚ, ɤɨʁɚ ɜɨɞɢ ɤɚ ɩɨɫɥɟɞʃɨʁ ɤɭɥɦɢɧɚɰɢʁɢ – ɤɚ ȼɚɬɪɨɦɟɬɭ. ɉɪɟɤɢɞ ɭ ɩɨɪɚɫɬɭ ɢɧɬɟɧɡɢɬɟɬɚ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ʁɟɫɬɟ ɩɪɟɥɢɞ Ʉɚɧɨɩɚ, ɚɧɬɢɤɥɢɦɚɤɫ ɨɜɨɝ ɫɟɝɦɟɧɬɚ, ɤɨʁɢ ɩɪɟɞɫɬɚɜʂɚ ɡɚɬɢɲʁɟ ɩɪɟɞ ɟɮɟɤɬɧɨɦ ɡɚɜɪɲɧɢɰɨɦ ɤɨʁɭ ɫɬɜɚɪɚʁɭ ɩɪɟɥɢɞɢ-ɫɥɢɤɚ ɡɜɭɱɧɨɝ ɬɪɟɩɟɪɟʃɚ – ɋɦɟɧɚ ɬɟɪɰɢ ɢ ɩɪɟɥɢɞ-ɫɥɢɤɚ ɡɜɭɱɧɟ ‘ɟɤɫɩɥɨɡɢʁɟ’ ‒ ȼɚɬɪɨɦɟɬ. Ʉɚɨ ɧɚʁɢɡɪɚɡɢɬɢʁɢ ɞɪɚɦɚɬɭɪɲɤɢ ɩɭɧɤɬɨɜɢ ɭ ɧɢɡɭ ɨɞ ɞɜɚɞɟɫɟɬ ɱɟɬɢɪɢ ɩɪɟɥɢɞɚ, ɢɡɞɜɚʁɚʁɭ ɫɟ ɒɬɚ ʁɟ ɜɢɞɟɨ ɡɚɩɚɞɧɢ ɜɟɬɚɪ ɢ ȼɚɬɪɨɦɟɬ ɤɨʁɢ ɩɪɟɞɫɬɚɜʂɚʁɭ ɤɭɥɦɢɧɚɰɢɨɧɟ ɬɚɱɤɟ ɦɭɡɢɱɤɨɝ ɪɚɡɜɨʁɚ, ɬɟ ɩɪɟɥɢɞ ɉɨɬɨɩʂɟɚ ɤɚɬɟɞɪɚɥɚ ɤɨʁɚ ɢɦɚ ɮɭɧɤɰɢʁɭ ɝɥɨɛɚɥɧɨɝ ɚɧɬɢɤɥɢɦɚɤɫɚ. Ʉɚɪɚɤɬɟɪɢɫɬɢɱɚɧ ɩɨɫɬɭɩɚɤ ɢɡɝɪɚɞʃɟ ɩɪɜɟ ɫɜɟɫɤɟ ɉɪɟɥɢɞɚ ʁɟɫɬɟ ɫɥɢɱɚɧ ɧɚɱɢɧ ɮɚɤɬɭɪɧɨɝ ɨɛɥɢɤɨɜɚʃɚ ɫɟɝɟɦɟɧɚɬɚ ɫɚ ɢɫɬɨɦ ɮɭɧɤɰɢʁɨɦ, { 194 } ɞɚɤɥɟ, ɫɟɝɦɟɧɚɬɚ ɫɚ ɮɭɧɤɰɢʁɨɦ ɡɚɩɨɱɢʃɚʃɚ ɰɟɥɢɧɟ, ɚɧɬɢɤɥɢɦɚɤɫɚ, ɩɨɪɚɫɬɚ ɭ ɢɧɬɟɧɡɢɬɟɬɭ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɢɥɢ ɟɩɢɥɨɝɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɭɨɱɚɜɚʁɭ ɫɟ ɫɥɢɱɧɨɫɬɢ ɭ ɮɚɤɬɭɪɧɨʁ ɫɥɢɰɢ (ɞɨɦɢɧɚɧɬɧɚ ɚɤɨɪɞɫɤɚ ɮɚɤɬɭɪɚ) ɢɡɦɟђɭ ɩɪɟɥɢɞɚ ɤɨʁɢ ɢɦɚʁɭ ɮɭɧɤɰɢʁɭ ɡɚɩɨɱɢʃɚʃɚ ɬɪɢ ɰɟɥɢɧɟ ɩɪɜɟ ɫɜɟɫɤɟ – ɉɥɟɫɚɱɢɰɟ ɢɡ Ⱦɟɥɮɚ, Ɂɜɭɰɢ ɢ ɦɢɪɢɫɢ ɤɪɭɠɟ ɜɟɱɟɪʃɢɦ ɜɚɡɞɭɯɨɦ ɢ Ⱦɟɜɨʁɤɚ ɫɚ ɥɚɧɟɧɨɦ ɤɨɫɨɦ. ɉɪɜɚ ɞɜɚ ɩɪɟɥɢɞɚ, ɨɫɢɦ ɫɥɢɱɧɟ ɮɚɤɭɪɟ, ɢɦɚʁɭ ɢ ɫɥɢɱɚɧ ɯɚɪɦɨɧɫɤɢ ʁɟɡɢɤ, ɡɚɫɢʄɟɧ ɩɚɪɚɥɟɥɧɢɦ ɜɨђɟʃɟɦ ɫɟɩɬɟɤɨɪɚɞɚ ɢ ɧɨɧɚɤɨɪɚɞɚ, ɬɟ ɭɩɨɬɪɟɛɨɦ ɯɪɨɦɚɬɢɤɟ, ɲɬɨ ɪɟɡɭɥɬɢɪɚ ɛɨɝɚɬɨɦ ɡɜɭɱɧɨʄɭ. Ɂɚ ɜɪɯɭɧɰɟ ɫɟɝɦɟɧɚɬɚ – ȼɟɬɚɪ ɭ ɪɚɜɧɢɰɢ ɢ ɒɬɚ ʁɟ ɜɢɞɟɨ ɡɚɩɚɞɧɢ ɜɟɬɚɪ ‒ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨ ʁɟ ɩɪɢɫɭɫɬɜɨ ɩɟɞɚɥɧɨɝ ɬɨɧɚ ɢ ɩɚɫɚɠɚ ɭ ɫɢɬɧɢʁɢɦ ɧɨɬɧɢɦ ɜɪɟɞɧɨɫɬɢɦɚ; ɚɧɬɢɥɢɦɚɤɫɢɦɚ, ȳɟɞɪɚ ɢ Ʉɨɪɚɰɢ ɭ ɫɧɟɝɭ, ɫɜɨʁɫɬɜɟɧɨ ʁɟ ɪɚɡɜɢʁɚʃɟ ɦɟɥɨɞɢʁɟ ɧɚɞ ɨɫɬɢɧɚɬɨɦ; ɪɚɡɥɢɤɚ ɫɟ ɭɨɱɚɜɚ ɭ ɩɪɟɥɢɞɭ ɉɨɬɨɧɭɥɚ ɤɚɬɟɞɪɚɥɚ, ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ‘ɞɜɨɫɬɪɭɤɨɦ ɚɧɬɢɤɥɢɦɚɤɫɭ’ (ɢ ɧɚ ɧɢɜɨɭ ɩɪɜɟ ɫɜɟɫɤɟ, ɢ ɧɚ ɧɢɜɨɭ ɰɢɤɥɭɫɚ), ɡɚ ɤɨʁɢ ʁɟ ɤɚɪɚɤɬɟɪɢɫɬɢɱɚɧ ɢɡɭɡɟɬɧɨ ɜɟɥɢɤɢ ɡɜɭɱɧɢ ɜɨɥɭɦɟɧ ɫɚɝɪɚђɟɧ ɧɚ ɨɫɧɨɜɢ ɞɨɱɚɪɚɜɚʃɚ ɫɪɟɞʃɨɜɟɤɨɜɧɟ ɩɪɚɤɫɟ ɮɨɛɭɪɞɨɧɚ, ɫɚ ɤɨɪɚɥɧɨɦ ɬɟɦɨɦ ɩɪɚʄɟɧɨɦ ɩɚɪɚɥɟɥɧɢɦ ɤɜɢɧɬɚɤɨɪɞɢɦɚ ɧɚ ɨɫɬɢɧɚɬɧɨʁ ɮɢɝɭɪɢ ɭ ɞɭɛɨɤɨɦ ɪɟɝɢɫɬɪɭ, ɫɚ ɛɪɭʁɚʃɟɦ ɡɜɨɧɚ ɧɚ ɨɫɧɨɜɢ ɩɟɞɚɥɚ ɢɡ ɤɨɝɚ ɫɟ ɡɚɩɪɚɜɨ ɨɫɥɨɛɚђɚʁɭ ɢ ɛɪɭʁɟ ɚɥɢɤɜɨɬɢ.317 Ɂɚ ɩɪɟɥɢɞɟ ɫɚ ɮɭɧɤɰɢʁɨɦ ɪɚɡɜɨʁɚ ɢɧɬɟɧɡɢɬɟɬɚ ɦɭɡɢɱɤɨɝ ɬɨɤɚ – Ȼɪɟɠɭʂɰɢ Ⱥɧɚɤɚɩɪɢʁɚ, ɉɪɟɤɢɧɭɬɚ ɫɟɪɟɧɚɞɚ ɢ ɉɚɤɨɜɚ ɢɝɪɚ – ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɚ ʁɟ ɩɨʁɚɜɚ ɦɟɥɨɞɢʁɟ ɫɩɟɰɢɮɢɱɧɨɝ ɩɪɨɮɢɥɚ (ɞɢʁɚɬɨɧɫɤɚ ɦɟɥɨɞɢʁɚ ɧɚɩɨɥɢɬɚɧɫɤɟ ɧɚɪɨɞɧɟ ɩɟɫɦɟ ɭ ɫɥɭɱɚɭ ɩɪɟɥɢɞɚ Ȼɪɟɠɭʂɰɢ ɚɧɚɤɚɩɪɢʁɚ, ɦɟɥɨɞɢʁɚ ɮɪɢɝɢʁɫɤɨɝ ɩɨɪɟɤɥɚ ɤɚɞɚ ʁɟ ɪɟɱ ɨ ɉɪɟɤɢɧɭɬɨʁ ɫɟɪɟɧɚɞɢ, ɦɟɥɨɞɢʁɚ ɛɨɝɚɬɚ ɩɭɧɤɬɢɪɚɧɢɦ ɪɢɬɦɨɜɢɦɚ ɢ ɪɚɡɧɨɜɪɫɧɢɦ ɦɨɬɢɜɢɦɚ ɭ ɫɥɭɱɚʁɭ ɉɚɤɨɜɟ ɢɝɪɟ) ɤɨʁɚ ɫɟ ʁɚɜʂɚ ɢɡɧɚɞ ɝɨɬɨɜɨ ɧɟɭɬɪɚɥɧɟ ɩɨɞɥɨɝɟ (ɢɥɢ ɱɚɤ ɛɟɡ ɩɪɚɬɟʄɟ ɞɟɨɧɢɰɟ, ɭ ɫɥɭɱɚʁɭ ɩɨɱɟɬɧɢɯ ɬɚɤɬɨɜɚ ɉɚɤɨɜɟ ɢɝɪɟ). Ɉɜɚɤɜɚ ɩɪɚɜɢɥɧɨɫɬ ɭ ɪɚɫɩɨɪɟɞɭ ɢ ɩɨɜɟɡɚɧɨɫɬɢ ɮɚɤɬɭɪɧɟ ɨɪɝɚɧɢɡɚɰɢʁɟ ɩɪɟɥɢɞɚ ɢ ʃɟɝɨɜɟ ɮɭɧɤɰɢʁɟ ɭ ɫɟɝɦɟɧɬɭ ɧɢʁɟ ɭɨɱʂɢɜɚ ɭ ɞɪɭɝɨʁ ɫɜɟɫɰɢ. Ɋɚɡɥɨɝɟ ɡɚ ɬɨ ɩɪɨɧɚɥɚɡɢɦɨ ɭ ɧɚɱɢɧɭ ɫɬɪɭɤɬɭɪɢɫɚʃɚ ɞɪɭɝɟ ɫɜɟɫɤɟ ɤɨʁɚ, ɩɨɞɫɟʄɚɦ, ɫɚɞɪɠɢ ɫɚɦɨ ɞɜɚ ɜɟɥɢɤɚ ɫɟɝɦɟɧɬɚ, ɬɟ ɭ ɜɢɞɨɜɢɦɚ ɭɫɥɨɠʃɚɜɚʃɚ ɫɬɪɭɤɬɭɪɟ ɦɢɧɢʁɚɬɭɪɚ ɢ ɭ ɫɩɟɰɢɮɢɱɧɨʁ ɩɨɜɟɡɚɧɨɫɬɢ ɩɪɜɢɯ ɲɟɫɬ ɩɪɟɥɢɞɚ ɫɚ ɦɢɧɢʁɚɬɭɪɚɦɚ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ. ɇɨ, ɢɩɚɤ, ɩɪɟɥɢɞ 317 ɍɩɨɪɟɞɢɬɢ ɫɚ: ɢɫɬɨ, 75. { 195 } Ɍɟɪɚɫɚ ɡɚ ɩɪɢʁɟɦɟ ɧɚ ɦɟɫɟɱɢɧɢ ɢɦɚ ɚɤɨɪɞɫɤɭ ɮɚɤɬɭɪɭ ɢ ɛɨɝɚɬ ɯɚɪɦɨɧɫɤɢ ʁɟɡɢɤ ɫɥɢɱɧɨ ɉɥɟɫɚɱɢɰɚɦɚ ɢɡ Ⱦɟɥɮɚ, ɩɚ ɱɚɤ ɢ ɩɪɟɥɢɞɭ Ɂɜɭɰɢ ɢ ɦɢɪɢɫɢ ɤɪɭɠɟ ɜɟɱɟɪʃɢɦ ɜɚɡɞɭɯɨɦ, ɤɨʁɢ ɪɟɩɪɟɡɟɧɬɭʁɭ ɩɨɱɟɬɤɟ ɫɟɝɦɟɧɚɬɚ ɛɚɲ ɤɚɨ ɲɬɨ ʁɟ ɬɨ ɫɥɭɱɚʁ ɫɚ ɧɚɜɟɞɟɧɢɦ, ɫɟɞɦɢɦ ɩɪɟɥɢɞɨɦ ɞɪɭɝɟ ɫɜɟɫɤɟ. ɉɪɚɜɢɥɧɨɫɬ ʁɟ ɧɚɪɭɲɟɧɚ ɭ ɩɪɟɥɢɞɭ Ɇɚɝɥɚ, ɚ ɪɚɥɨɝ ɡɚ ɬɨ ɫɟ ɩɪɨɧɚɥɚɡɢ ɭ ɬɟɠʃɢ ɞɚ ɫɟ ɦɭɡɢɱɤɢ ɬɨɤ ɩɪɜɟ ɢ ɞɪɭɝɟ ɫɜɟɫɤɟ ɩɪɟɥɢɞɚ ɲɬɨ ʁɟ ɦɨɝɭʄɟ ɜɢɲɟ ɢɧɬɟɝɪɢɲɭ. { 196 } Ƚɪɚɮɢɤɨɧ ɛɪɨʁ 1: Ƚɪɭɩɢɫɚʃɟ ɩɪɟɥɢɞɚ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ. { 197 } Ƚɪɚɮɢɤɨɧ ɛɪɨʁ 2: Ƚɪɭɩɢɫɚʃɟ ɩɪɟɥɢɞɚ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ. { 198 } ɉɪɢɥɢɤɨɦ ɤɨɦɩɨɧɨɜɚʃɚ ɞɜɚɞɟɫɟɬ ɱɟɬɢɪɢ ɩɪɟɥɢɞɚ, Ⱦɟɛɢɫɢ ɧɢʁɟ ɩɨɲɚɨ ɡɚ ɢɞɟʁɨɦ ɭɩɨɬɪɟɛɟ ɫɜɢɯ ɪɚɫɩɨɥɨɠɢɜɢɯ ɬɨɧɚɥɢɬɟɬɚ ɭ ɯɪɨɦɚɬɫɤɨɦ ɫɥɟɞɭ.318 Ɇɟђɭɬɢɦ, ɬɨɧɚɥɧɚ ɩɪɨɝɪɟɫɢʁɚ ɭ ɨɤɜɢɪɭ ɰɢɤɥɭɫɚ ɩɨɤɚɡɭʁɟ ʁɟɞɧɭ ɧɨɜɭ, ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɭ ɥɨɝɢɤɭ, ɤɨʁɚ ɤɨɪɟɫɩɨɧɞɢɪɚ ɧɚɜɟɞɟɧɨʁ ɫɟɝɦɟɧɬɚɰɢʁɢ ɰɢɤɥɭɫɚ. ɇɚɢɦɟ, ɭ ɩɪɜɨɦ ɫɟɝɟɦɧɬɭ, ɫɜɚ ɬɪɢ ɩɪɟɥɢɞɚ ɫɭ ɢɧ Ȼɟ (ɢɧ ɛɟ) ɱɢɧɟʄɢ ɞɚ ɩɨɱɟɬɚɤ ɰɢɤɥɭɫɚ ɛɭɞɟ ɬɨɧɚɥɧɨ ɫɬɚɛɢɥɚɧ. ɍ ɞɪɭɝɨɦ ɫɟɝɦɟɧɬɭ, ɬɨɧɚɥɧɚ ɩɪɨɝɪɟɫɢʁɚ ɫɟ ɨɞɜɢʁɚ ɢɧ Ⱥ, ɢɧ ɏɚ, ɢɧ ɞɟ, ɢɧ ɮɢɫ, ɦɚɪɤɢɪɚʁɭʄɢ (ɢɡɦɟʃɟɧɢɦ ɪɟɞɨɫɥɟɞɨɦ) ɬɨɧɨɜɟ ɦɚɥɨɝ ɦɨɥɫɤɨɝ ɫɟɩɬɚɤɨɪɞɚ: ɯɚ-ɞɟ-ɮɢɫ-ɚ. ɉɪɜɨ ɫɟ, ɞɚɤɥɟ, ɩɨʁɚɜʂɭʁɟ ɬɨɧɚɥɢɬɟɬ ɫɟɩɬɢɦɟ ɫɟɩɬɚɤɨɪɞɚ, ɡɚɬɢɦ ɨɫɧɨɜɧɨɝ ɬɨɧɚ ɢ ɬɟɪɰɟ, ɢ ɧɚ ɤɪɚʁɭ ɤɜɢɧɬɟ. Ɋɟɞɨɫɥɟɞ ɬɨɧɚɥɢɬɟɬɚ ɭ ɞɪɭɝɨɦ ɫɟɝɦɟɧɬɭ ʁɟ ɢɧ Ƚɟɫ, ɢɧ Ȼɟ, ɢɧ ɐɟ, ɢɧ ȿɫ, ɢɧ Ƚɟ ɲɬɨ, ɫɥɢɱɧɨ ɤɚɨ ɢ ɩɪɟɬɯɨɞɧɢ ‘ɬɨɧɚɥɧɢ ɩɥɚɬɨ’, ɩɪɟɞɫɬɚɜʂɚ ɬɨɧɨɜɟ ɦɚɥɨɝ ɦɨɥɫɤɨɝ ɢɥɢ, ɩɚɤ, ɭɦɚʃɟɧɨɝ ɫɟɩɬɚɤɨɪɞɚ. Ɉɜɚ ɞɜɨʁɧɨɫɬ ɩɪɨɢɡɥɚɡɢ ɢɡ ɱɢʃɟɧɢɰɟ ɞɚ ɩɨɫɬɨʁɟ ɞɜɟ ɦɨɝɭʄɟ ɤɜɢɧɬɟ ɫɟɩɬɚɤɨɪɞɚ – Ƚɟɫ ɢ Ƚɟ, ɬɟ ɩɨɫɥɟɞɢɱɧɨ ɧɚɫɬɚʁɭ ɚɤɨɪɞɢ ɰɟ- ɟɫ-ɝɟ-ɛɟ (ɦɚɥɢ ɦɨɥɫɤɢ ɫɟɩɬɚɤɨɪɞ) ɢɥɢ ɰɟ-ɟɫ-ɝɟɫ-ɛɟ (ɩɨɥɭɭɦɚʃɟɧɢ ɫɟɩɬɚɤɨɪɞ). ɉɪɜɢɯ ɲɟɫɬ ɩɪɟɥɢɞɚ ɞɪɭɝɟ ɫɜɟɫɤɟ ɫɭ ɧɚɩɢɫɚɧɢ ɢɧ ɐɟ, ɢɧ ɰɢɫ, ɢɧ Ⱦɟɫ, ɢɧ Ⱦɟɫ, ɢɧ Ⱥɫ, ɢɧ ȿɮ. ɑɚɤ ɢ ɬɨɧɚɥɢɬɟɬɢ ɨɜɢɯ ɩɪɟɥɢɞɚ, ɭ ɞɪɭɝɚɱɢʁɟɦ ɪɟɞɨɫɥɟɞɭ, ɞɚʁɭ ɬɨɧɨɜɟ ɜɟɥɢɤɨɝ ɞɭɪɫɤɨɝ ɫɟɩɬɚɤɨɪɞɚ: ɞɟɫ-ɟɮ-ɚɫ-ɰɟ/ɰɢɫ. ɍ ɫɥɭɱɚʁɭ ɨɜɨɝ ɫɟɝɦɟɧɬɚ ɰɢɤɥɭɫɚ, ɩɨɜɟʄɚʃɟ ɛɪɨʁɚ ɩɪɟɥɢɞɚ ɭ ɝɪɭɩɢ ʁɟ ɪɟɲɟɧ ɩɨɧɚɜʂɚʃɟɦ ɬɨɧɚɥɢɬɟɬɚ ɨɫɧɨɜɧɨɝ ɬɨɧɚ ɢ ɞɨɞɚɜɚʃɟɦ ɬɨɧɚɥɢɬɟɬɚ ɚɥɬɟɪɧɚɬɢɜɧɟ ɫɟɩɬɢɦɟ. ɇɚʁɩɪɟ ɫɟ ɩɨʁɚɜʂɭʁɭ ɬɨɧɚɥɢɬɟɬɢ ɨɛɟ ɫɟɩɬɢɦɟ, ɡɚɬɢɦ ɨɫɧɨɜɧɨɝ ɬɨɧɚ, ɤɜɢɧɬɟ ɢ ɧɚ ɤɪɚʁɭ ɬɟɪɰɟ ɫɟɩɬɚɤɨɪɞɚ. ɉɨɫɥɟɞʃɢ ɫɟɝɦɟɧɬ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɤɚɪɚɤɬɟɪɢɲɟ ɫɥɟɞɟʄɚ ɬɨɧɚɥɧɚ ɩɪɨɝɪɟɫɢʁɚ: ɢɧ Ɏɢɫ, ɢɧ Ⱦɟ, ɢɧ ȿɮ, ɢɧ ɞɟ, ɢɧ ɐɟ, ɢɧ ȿɮ. ɑɚɤ ʁɟ ɢ ɭ ɨɜɨʁ ɝɪɭɩɢ ɭɨɱʂɢɜɨ ɤɪɟɬɚʃɟ ɩɨ ɬɨɧɨɜɢɦɚ ɦɚɥɨɝ ɞɭɪɫɤɨɝ, ɨɞɧɨɫɧɨ, ɦɚɥɨɝ ɦɨɥɫɤɨɝ ɫɟɩɬɚɤɨɪɞɚ, ɚɥɢ ɧɟ ɭ ɩɨɬɩɭɧɨɦ ɜɢɞɭ ɛɭɞɭʄɢ ɞɚ ʁɟ ɢɡɨɫɬɚɜʂɟɧɚ ɤɜɢɧɬɚ: ɞɟ-ɮɢɫ/ɟɮ-ɰɟ. Ⱦɚɤɥɟ, ɭ ɨɫɧɨɜɢ ɬɨɧɚɥɧɟ ɩɪɨɝɪɟɫɢʁɟ ɥɟɠɢ ɧɢɡ ɫɟɩɬɚɤɨɪɚɞɚ ɱɢʁɢ ɨɫɧɨɜɧɢ ɬɨɧ ɩɪɟɞɫɬɚɜʂɚ ɩɨɥɭɫɬɟɩɟɧɢ ɯɨɞ ɧɚɜɢɲɟ: ɯɚ-ɞɟ-ɮɢɫ-ɚ→ɰɟ- ɟɫ-ɝ/ɝɟɫ-ɛɟ→ɞɟɫ-ɟɮ-ɚɫ-ɰɟ/ɰɢɫ→ɞɟ-ɟɮ/ɮɢɫ-(ɚ)-ɰɟ, ɲɬɨ ɭ ɬɨɧɚɥɧɨɦ ɫɦɢɫɥɭ ɞɨɩɪɢɧɨɫɢ ɱɜɪɫɬɨɦ ɢɧɬɟɝɪɢɫɚʃɭ ɰɢɤɥɭɫɚ ɭ ʁɟɞɢɧɫɬɜɟɧɭ ɰɟɥɢɧɭ. Ɉɧɨ ɲɬɨ ɫɟ ɬɚɤɨђɟ ɭɨɱɚɜɚ, ʁɟɫɬɟ ɞɚ ɧɢɫɭ ɭɩɨɬɪɟɛʂɟɧɢ ɫɜɢ ɪɚɫɩɨɥɨɠɢɜɢ ɬɨɧɚɥɢɬɟɬɢ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɢɧɬɟɪɟɫɚɧɬɚɧ ʁɟ Ⱦɟɛɢɫɢʁɟɜ ɢɡɛɨɪ ɫɟɩɬɚɤɨɪɞɚ ɤɚɨ ɨɫɧɨɜɧɨɝ ɫɚɡɜɭɱʁɚ, ɲɬɨ ɫɟ ɞɨɜɨɞɢ ɭ ɜɟɡɭ ɢ ɫɚ 318 ɍ ɨɩɭɫɢɦɚ ɒɨɩɟɧɚ, ɋɤɪʁɚɛɢɧɚ ɢ ɒɨɫɬɚɤɨɜɢɱɚ ɛɟɥɟɠɢ ɫɟ ɩɨɫɬɨʁɚʃɟ ɰɢɤɥɭɫɚ ɨɞ ɞɜɚɞɟɫɟɬ ɱɟɬɢɪɢ ɩɪɟɥɭɞɢʁɭɦɚ ɭ ɫɜɢɦ ɞɭɪɫɤɢɦ ɢ ɦɨɥɫɤɢɦ ɬɨɧɚɥɢɬɟɬɢɦɚ. Ɇɟђɭɬɢɦ, Ⱦɟɛɢɫɢʁɟɜ ɰɢɤɥɭɫ ɨɞ ɞɜɚɞɟɫɟɬ ɱɟɬɢɪɢ ɩɪɟɥɢɞɚ ɧɢʁɟ ɡɚɦɢɲʂɟɧ ɧɚ ɬɚʁ ɧɚɱɢɧ! { 199 } ʃɟɝɨɜɢɦ ɯɚɪɦɨɧɫɤɢɦ ɧɚɱɢɧɨɦ ɦɢɲʂɟʃɚ, ɨɞɧɨɫɧɨ, ɩɪɨɰɟɫɨɦ ɨɫɚɦɨɫɬɚʂɟʃɚ ɞɢɫɨɧɚɧɰɢ, ɫɟɩɬɚɤɨɪɚɞɚ ɢ ɧɨɧɚɤɨɪɚɞɚ, ɬɟ ɫɜɨʁɟɜɪɫɧɨɦ ‘ɞɨɦɢɧɚɧɬɢɡɚɰɢʁɨɦ’ ɯɚɪɦɨɧɫɤɟ ɩɪɨɝɪɟɫɢʁɟ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɫɟɩɬɚɤɨɪɞ, ɨɞɧɨɫɧɨ, ʃɟɝɨɜɚ ‘ɦɟɤɨʄɚ’, ɚɥɢ ɢ ɩɭɧɨʄɚ ɫɜɟɬɥɨɫɧɨ-ɤɨɥɨɪɢɫɬɢɱɤɢɯ ɚɫɨɰɢʁɚɰɢʁɚ ɦɨɠɟ ɛɢɬɢ ɩɪɨɬɭɦɚɱɟɧ ɤɚɨ ɨɫɧɨɜɧɢ/ɞɨɦɢɧɚɧɬɧɢ ‘ɬɨɧ’/ɛɨʁɚ/ɧɢʁɚɧɫɚ ɨɜɟ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɟ Ⱦɟɛɢɫɢʁɟɜɟ ‘ɢɡɥɨɠɛɟ’. Ɍɨ ʁɟ ʃɟɝɨɜ ɚɭɬɨɪɫɤɢ ‘ɩɨɬɩɢɫ’ ɧɚ ɩɥɚɧɭ ɯɚɪɦɨɧɫɤɨɝ ʁɟɡɢɤɚ, ‘ɩɨɬɩɢɫ’ ɤɨʁɢ ɩɪɨʁɟɤɬɭʁɟ/ɩɪɟɞɜɢђɚ ɧɚɫɬɭɩɚʁɭʄɟ ɜɪɟɦɟ ɭ ɦɭɡɢɰɢ. ɇɨ, ɧɚ ɢɫɬɨɦ ɨɜɨɦ (ɯɚɪɦɨɧɫɤɨɦ) ɩɥɚɧɭ ɩɪɨɧɚɥɚɡɢɦɨ ɢ ‘ɟɯɨ’ ɩɪɨɲɥɢɯ ɜɪɟɦɟɧɚ ɤɨʁɢ ɫɟ ɨɝɥɟɞɚ ɭ ɚɮɢɪɦɚɰɢʁɢ (ɦɨɝɭʄɟɝ) ɬɨɧɚɥɧɨɝ ɰɟɧɬɪɚ ɰɢɤɥɭɫɚ. ɇɚɢɦɟ, ɛɢɬɨɧɚɥɧɨɫɬ ɩɨɫɥɟɞʃɟɝ ɩɪɟɥɢɞɚ – ȼɚɬɪɨɦɟɬ, ɢɧ ȿɮ – ɢɧ Ⱦɟɫ, ɡɚʁɟɞɧɨ ɫɚ ɩɨɱɟɬɧɢɦ ɢɧ Ȼɟ ɩɥɚɬɨɨɦ, ɚɮɢɪɦɢɲɟ ɭɩɪɚɜɨ ɛɟ-ɦɨɥ ɬɪɨɡɜɭɤ, ɬɟ ʁɟ ɬɚɤɨ ɦɨɝɭʄɟ ɝɨɜɨɪɢɬɢ ɨ ɛɟ-ɦɨɥ ɬɨɧɚɥɢɬɟɬɭ ɤɚɨ ɬɨɧɚɥɧɨɦ ɰɟɧɬɪɭ ɰɢɤɥɭɫɚ, ɢ ɢɧɬɟɝɪɢɲɭʄɟɦ ɮɚɤɬɨɪɭ ɉɪɟɥɢɞɚ.319 Ɂɚɧɢɦʂɢɜɨɫɬ ɤɨʁɚ ɫɟ ɢɫɬɢɱɟ ɭ ɜɟɡɢ ɫɚ Ⱦɟɛɢɫɢʁɟɜɨɦ ‘ɢɡɥɨɠɛɨɦ’ ʁɟɫɬɟ ɫɜɨʁɟɜɪɫɧɢ „ears-on” ɩɪɢɫɬɭɩ ‘ɧɟ-ɦɚɬɟɪɢʁɚɥɧɨʁ’ ɛɚɲɬɢɧɢ. Ɋɟɱ ʁɟ, ɧɚɢɦɟ, ɨ ɢɡɥɨɠɛɢ ɤɨʁɨɦ ɫɟ ‘ɢɧɫɢɫɬɢɪɚ’ ɧɚ ɫɚɦɨɦ ɡɜɭɱɧɨɦ ɞɨɠɢɜʂɚʁɭ ɨɧɨɝɚ ɲɬɨ ʁɟ ɩɪɟɜɚɫɯɨɞɧɨ ɨɤɨ ‘ɡɚɛɟɥɟɠɢɥɨ’, ‘ɦɟɦɨɪɢɫɚɥɨ’. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɫɩɟɰɢɮɢɱɧɨɫɬ ɨɜɟ ‘ɢɡɥɨɠɛɟ’ ɥɟɠɢ ɭ ɩɪɟɢɫɩɢɬɢɜɚʃɭ ɤɚɤɨ ɫɟ ɚɧɝɚɠɨɜɚʃɟɦ ɩɪɟ ɫɜɟɝɚ ɱɭɥɚ ɫɥɭɯɚ – ɚ ɡɚɩɨɫɬɚɜʂɚʃɟɦ ɩɪɢ ɬɨɦ ɩɪɢɦɚɪɧɟ ɭɥɨɝɟ ɤɨʁɭ ɱɭɥɨ ɜɢɞɚ ɢ ɜɢɡɭɟɥɧɨ ɢɦɚʁɭ ɭ ɝɚɥɟɪɢʁɫɤɨɦ ɢ ɦɭɡɟʁɫɤɨɦ ɤɨɧɬɟɤɫɬɭ – ɪɟɤɪɟɢɪɚ ɫɟʄɚʃɟ ɧɚ ɜɢɡɭɟɥɧɟ ɭɬɢɫɤɟ, ɚ ɡɚɬɢɦ, ɤɚɤɨ ɫɟ ɚɤɬɢɜɧɨ ɫɥɭɲɚ, ɪɚɡɭɦɟ ɢ ɧɟɦɢɧɨɜɧɨ ɢɡɧɨɜɚ ɢɧɬɟɪɩɪɟɬɢɪɚ ɰɟɥɨɤɭɩɚɧɚ Ⱦɟɛɢɫɢʁɟɜɚ ɦɭɡɟɚɥɢʁɚ. Ɉɜɚ ɜɪɫɬɚ ɩɨɫɟɛɧɨɫɬɢ Ⱦɟɛɢɫɢʁɟɜɨɝ ɰɢɤɥɭɫɚ/‘ɢɡɥɨɠɛɟ’ ɩɪɨɢɡɥɚɡɢ ɢ ɢɡ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ ɨɞɧɨɫɚ ɩɪɟɦɚ ɩɪɨɝɪɚɦɧɨɫɬɢ. ɋɩɟɰɢɮɢɱɧɨɫɬɢ ɬɨɝ ɨɞɧɨɫɚ ɭ ɉɪɟɥɢɞɢɦɚ ʁɚɫɧɨ ɫɟ ɭɨɱɚɜɚʁɭ ɜɟʄ ɭ ɧɚɱɢɧɭ ɧɚ ɤɨʁɢ ʁɟ ɬɪɟɬɢɪɚɧ ɧɚɫɥɨɜ. ɇɚɢɦɟ, ɩɪɟɩɭɲɬɚʁɭʄɢ ɫɥɭɲɚɨɰɭ ɫɥɨɛɨɞɭ ɚɫɨɰɢʁɚɰɢʁɚ, Ⱦɟɛɢɫɢ ɧɚɫɥɨɜɟ ɤɨɦɩɨɡɢɰɢʁɚ ɨɬɤɪɢɜɚ ɬɟɤ ɧɚ ɤɪɚʁɭ, ɫɭɩɬɢɥɧɨ ɢɯ ɛɟɥɟɠɟʄɢ ɭ ɡɚɝɪɚɞɚɦɚ. Ɍɚɤɜɢɦ ɩɨɫɬɭɩɤɨɦ, ɤɨɦɩɨɡɢɬɨɪ ɧɟɧɚɦɟɬʂɢɜɨ ɭɤɚɡɭʁɟ ɧɚ ɢɡɜɨɪ ɢɧɫɩɢɪɚɰɢʁɟ, ɚɥɢ ɛɟɡ 319 ɉɪɜɢ ɩɪɟɥɢɞ (ɚɥɢ ɢ ɰɟɥɨɤɭɩɚɧ ɩɪɜɢ ɫɟɝɦɟɧɬ) ɭɫɩɨɫɬɚɜʂɚ ɨɫɧɨɜɧɢ ɬɨɧ (ɢɧ Ȼɟ) ɬɪɨɡɜɭɤɚ, ɞɚ ɛɢ ɭ ɩɨɫɥɟɞʃɟɦ ɢɫɬɨɜɪɟɦɟɧɨ ɛɢɥɟ ɩɪɢɫɭɬɧɟ ʃɟɝɨɜɚ ɬɟɪɰɚ (ɢɧ Ⱦɟɫ) ɢ ɤɜɢɧɬɚ (ɢɧ ȿɮ). ɂɧɬɟɪɟɫɚɧɬɧɨ ʁɟ ɬɨ ɞɚ ʁɟ ɭ ɩɪɜɨɦ ɢ ɩɨɫɟɞʃɟɦ ɩɪɟɥɢɞɭ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɩɪɢɫɭɬɧɚ ɛɢɬɨɧɚɥɧɨɫɬ (ɞɪɭɝɚ ɫɜɟɫɤɚ ɩɨɱɢʃɟ ɢ ɡɚɜɪɲɚɜɚ ɧɚ ɢɫɬɢ ɧɚɱɢɧ). { 200 } ɩɪɟɬɟɧɡɢʁɟ ɞɚ ɭɫɦɟɪɢ ɩɚɠʃɭ ɫɥɭɲɚɨɰɚ ɭ ɨɞɪɟђɟɧɨɦ ɫɦɟɪɭ. ɇɨ, ɭɤɨɥɢɤɨ ɩɪɟɬɩɨɫɬɚɜɢɦɨ ɞɚ ʄɟ ɫɥɭɲɚɥɚɰ ɡɚɢɫɬɚ ɩɪɜɨ ɨɞɫɥɭɲɚɬɢ ɤɨɦɩɨɡɢɰɢʁɭ, ɚ ɡɚɬɢɦ ɩɨɝɥɟɞɚɬɢ ʃɟɧ ɧɚɫɥɨɜ (ɲɬɨ ʁɟ ɪɟɞɨɫɥɟɞ ɤɚɤɚɜ ʁɟ ɤɨɦɩɨɡɢɬɨɪ ɨɞɪɟɞɢɨ ɛɟɥɟɠɟʃɟɦ ɧɚɡɢɜɚ ɧɚ ɤɪɚʁɭ ɤɨɦɩɨɡɢɰɢʁɟ), ɚ ɲɬɨ ʁɟ ɢ ɭɨɛɢɱɚʁɟɧɚ ɩɪɚɤɫɚ ɭ ɝɚɥɟɪɢʁɚɦɚ/ɦɭɡɟʁɢɦɚ (ɧɚʁɩɪɟ ɫɟ ɫɥɢɤɚ ɩɨɝɥɟɞɚ, ɚ ɡɚɬɢɦ ɩɪɨɱɢɬɚ ɧɚɫɥɨɜ ɤɨʁɢ ɧɨɫɢ), ɫɚɦ ɬɨɤ ɫɥɭɲɚʃɚ ɨɫɬɚʄɟ ‘ɧɟɞɢɪɧɭɬ’. Ɇɟђɭɬɢɦ, ɧɚɫɥɨɜ ɤɨʁɢ ɫɥɟɞɢ ɤɚɨ ɧɟɤɚ ɜɪɫɬɚ ɨɞɝɨɜɨɪɚ, ɫɜɨʁɟɜɪɫɧɨɝ ɪɟɲɟʃɚ ɩɨɫɬɚɜʂɟɧɟ (ɦɭɡɢɱɤɟ) ‘ɡɚɝɨɧɟɬɤɟ’, ɦɨɠɟ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɡɧɚɬɧɨ ɞɨɩɪɢɧɟɬɢ ɩɪɨɦɟɧɢ ɭɬɢɫɤɚ ɤɨʁɢ ʁɟ ɤɨɦɩɨɡɢɰɢʁɚ ɢɡɚɡɜɚɥɚ ɭ ɬɪɟɧɭɬɤɭ ɢɡɜɨђɟʃɚ; ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɦɨɠɟ ɩɨɬɜɪɞɢɬɢ, ɢɥɢ ɩɚɤ ɤɨɧɤɪɟɬɢɡɨɜɚɬɢ ɧɟʁɚɫɧɟ ɚɫɨɰɢʁɚɰɢʁɟ ɤɨʁɟ ɫɭ ɫɟ ɭ ɬɨɤɭ ɫɥɭɲɚʃɚ ʁɚɜɢɥɟ. ɍɤɨɥɢɤɨ ʁɟ ɧɚɫɥɨɜ ɩɪɟɥɢɞɚ ɭɧɚɩɪɟɞ ɩɨɡɧɚɬ, ɨɧɞɚ ʁɟ ɢ ɫɚɦ ɬɨɤ ɫɥɭɲɚʃɚ ɩɪɨɦɟʃɟɧ, ɨɞɧɨɫɧɨ, ɧɚɡɢɜɨɦ ɫɭɝɟɪɢɫɚɧ ɢ ɭɫɦɟɪɚɜɚɧ. Ɉɜɚɤɜɢɦ ɪɟɲɟʃɟɦ ɡɚ ɩɨɡɢɰɢʁɭ ɧɚɫɥɨɜɚ Ⱦɟɛɢɫɢ ɩɪɟɩɭɲɬɚ ɢɡɛɨɪ ɫɥɭɲɚɨɰɭ, ɚɥɢ ɢɫɬɨɜɪɟɦɟɧɨ ɫɭɝɟɪɢɲɟ ɫɜɨʁɭ ɜɢɡɢʁɭ ɞɟɥɚ, ɢɥɢ ɩɚɤ ɩɨɬɪɟɛɭ ɞɚ, ɪɟɱɟɧɨ ɞɢɮɪɟɧɨɜɫɤɢɦ ɪɟɱɧɢɤɨɦ, „ɢɫɩɪɚɜɢ ɧɟɩɪɚɜɞɭ ɧɚɧɟɫɟɧɭ ɭɯɭ”320; ɚ ɦɨɠɞɚ ʁɟ, ɫ ɨɛɡɢɪɨɦ ɧɚ ɧɟɤɚɞɚɲʃɭ (ɩɪɜɨɛɢɬɧɭ) ɮɭɧɤɰɢʁɭ ɩɪɟɥɢɞɚ ɤɚɨ „ɩɪɟɞɢɝɪɟ” ɡɚ ɯɨɪɫɤɨ ɞɟɥɨ, ɚ ɩɨɬɨɦ ɢ ɡɚ ɮɭɝɭ, ɦɨɝɭʄɟ ɪɚɡɦɢɲʂɚɬɢ ɨ ɬɨɦɟ ɞɚ ɫɭ ɩɪɨɝɪɚɦɫɤɢ ɧɚɫɥɨɜɢ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɫɜɨʁɟɜɪɫɧɢ ɩɭɬɨɤɚɡ ɤɚ ɢɡɜɨɪɭ ɤɨɦɩɨɡɢɬɨɪɨɜɟ ɢɦɚɝɢɧɚɰɢʁɟ, ɬɨ ʁɟɫɬ, ɭɜɨɞ ɭ ɩɪɨɞɭɛʂɟɧɢʁɟ ɪɚɡɭɦɟɜɚʃɟ ɤɥɚɜɢɪɫɤɟ ɦɢɧɢʁɚɬɭɪɟ, ɨɞɧɨɫɧɨ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɞɚ ʁɟ ɦɭɡɢɤɚ Ⱦɟɛɢɫɢʁɟɜɢɯ ɩɪɟɥɢɞɚ ɡɚɩɪɚɜɨ ɭɜɨɞ ɭ ɡɚɤʂɭɱɧɭ ɦɢɫɚɨ – ɫɥɢɤɭ ɞɚɬɭ ɭ ɜɢɞɭ ɪɟɱɢ – ʃɟɧɚ ɦɭɡɢɱɤɚ ɚɧɬɢɰɢɩɚɰɢʁɚ ɢɥɢ ɨɧɚ ɫɚɦɚ ɫɚɨɩɲɬɟɧɚ ɞɪɭɝɢɦ ʁɟɡɢɤɨɦ. ȼɟɨɦɚ ɫɩɟɰɢɮɢɱɧɢ ɩɪɨɝɪɚɦɫɤɢ ɧɚɡɢɜɢ Ⱦɟɛɢɫɢʁɟɜɢɯ ɉɪɟɥɢɞɚ ɭɤɚɡɭʁɭ ɧɚ ɪɚɡɧɨɜɪɫɧɨɫɬ ɧɚɞɚɯɧɭʄɚ (ɫɬɢɯɨɜɢ Ȼɨɞɥɟɪɚ /Ɂɜɭɰɢ ɢ ɦɢɪɢɫɢ ɤɪɭɠɟ ɜɟɱɟɪʃɢɦ ɜɟɡɞɭɯɨɦ/, ɫɥɢɤɚ-ɪɚɡɝɥɟɞɧɢɰɚ, ɩɨɤɥɨɧ Ⱦɟ Ɏɚʂɟ /Manuel de Falla/ ɤɚɨ ɢɧɫɩɢɪɚɰɢʁɚ ɡɚ ɩɪɟɥɢɞ ȼɢɧɫɤɚ ɤɚɩɢʁɚ, ɮɢɝɭɪɟ ɩɪɢɤɚɡɚɧɟ ɧɚ ɚɧɬɢɱɤɢɦ ɝɪɱɤɢɦ ɜɚɡɚɦɚ /ɉɥɟɫɚɱɢɰɟ ɢɡ Ⱦɟɥɮɚ/, ɥɟɝɟɧɞɟ /ɉɨɬɨɩʂɟɧɚ ɤɚɬɟɞɪɚɥɚ/, ɥɢɤ ɥɭɬɤɚ-ɦɚɪɢɨɧɟɬɟ /ȿɤɫɰɟɧɬɪɢɱɧɢ Ƚɟɧɟɪɚɥ Ʌɚɜɢɧ/, ɫɥɢɤɟ ɢɡ ɩɪɢɪɨɞɟ /Ȼɪɟɠɭʂɰɢ Ⱥɧɚɤɚɩɪɢʁɚ/, ɦɭɡɢɱɤɢ ɮɟɧɨɦɟɧ /ɋɦɟɧɚ ɬɟɪɰɢ/), ɚ ɤɪɟʄɭ ɫɟ ɭ ɧɟɤɨɥɢɤɨ ɲɢɪɢɯ ɤɚɬɟɝɨɪɢʁɚ, ɪɟɮɟɪɢɪɚʁɭʄɢ ɬɚɤɨ ɧɚ ʁɟɞɧɭ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɭ, ɛɪɢɠʂɢɜɨ ɨɫɦɢɲʂɟɧɭ ‘ɢɡɥɨɠɛɭ’ ɭ ɨɤɜɢɪɭ ɤɨʁɟ ɫɟ ɩɨʁɚɜʂɭʁɭ ɡɜɭɱɧɟ 320 Mikel Difren, Oko..., ɧɚɜ. ɞɟɥɨ, 27. { 201 } ɫɥɢɤɟ ɢɡ ɩɪɢɪɨɞɟ, ɡɜɭɱɧɚ ɩɨɪɬɪɟɬɢɫɚʃɚ ʁɟɞɧɟ ɢɥɢ ɜɢɲɟ ɥɢɱɧɨɫɬɢ, ɠɚɧɪ-ɫɰɟɧɟ, ɡɜɭɱɧɢ ɩɪɢɤɚɡɢ ɥɟɝɟɧɞɚɪɧɢɯ ɫɚɞɪɠɢɧɚ ɢ ɤɨɦɩɨɡɢɰɢɨɧɢɯ ɩɪɨɰɟɫɚ. ɇɚɢɦɟ, ɧɚʁɜɟʄɢ ɛɪɨʁ ɩɪɟɥɢɞɚ ɢɧɫɩɢɪɢɫɚɧ ʁɟ ɫɥɢɤɚɦɚ ɢɡ ɩɪɢɪɨɞɟ ɤɨʁɟ ɨɞɚʁɭ ɭɬɢɫɚɤ ɫɥɢɤɚʃɚ ɡɚɭɫɬɚɜʂɟɧɨɝ ɜɪɟɦɟɧɚ, ɢɦɩɪɟɫɢʁɭ ɬɪɟɧɭɬɤɚ ɢɡɞɜɨʁɟɧɨɝ ɢɡ ɜɪɟɦɟɧɫɤɨɝ ɬɨɤɚ, ɤɨʁɢ ɞɨɛɢʁɚ ɭɧɢɜɟɪɡɚɥɧɨ, ɜɚɧɜɪɟɦɟɧɫɤɨ ɡɧɚɱɟʃɟ ɢ ʁɟɞɧɨɫɬɚɜɧɨ ɬɪɚʁɟ. ɋ ʁɟɞɧɟ ɫɬɪɚɧɟ, ‘ɫɥɢɤɚʃɟ ɩɪɢɪɨɞɟ’ ɩɨɜɟɡɚɧɨ ʁɟ ɫɚ ɮɟɧɨɦɟɧɨɦ ‘ʁɟɞɧɨɥɢɱɧɨɝ’ ɤɪɟɬɚʃɚ ɡɚɫɧɨɜɚɧɨɝ ɧɚ ɩɨɧɚɜʂɚʃɭ ɢɫɬɢɯ, ɫɜɟɞɟɧɢɯ ɢ ɨɞɦɟɪɟɧɢɯ ɩɨɤɪɟɬɚ, ɞɨɤ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɨɧɨ ɩɪɟɞɫɬɚɜʂɚ ɨɩɢɫ ɛɟɡ ɚɫɨɰɢʁɚɰɢʁɚ ɧɚ ɩɨɤɪɟɬ. Ɍɚɤɨ, ɩɪɜɨʁ ɝɪɭɩɢ ɢɦɩɪɟɫɢʁɚ ɩɪɢɩɚɞɚʁɭ ȳɟɞɪɚ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ, ɫɚ ɩɪɟɞɫɬɚɜɨɦ ɭɫɢɞɪɟɧɨɝ ɛɪɨɞɚ, ʃɟɝɨɜɨɝ ɩɪɢɛɥɢɠɚɜɚʃɚ ɢ ɭɞɚʂɚɜɚʃɚ ɨɞ ʁɟɞɧɟ ɭɩɨɪɢɲɧɟ ɬɚɱɤɟ. Ɋɟɱ ʁɟ ɨ ɩɪɟɥɢɞɭ ɭ ɤɨʁɟɦ ɞɨɫɥɟɞɧɚ ɰɟɥɨɫɬɟɩɟɧɚ ɝɪɚђɚ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ‘ɪɚɫɬɚɱɟ’ ɫɜɟ ɛɢɬɧɟ ɱɢɧɢɨɰɟ ɬɨɧɚɥɢɬɟɬɚ, ɚ ɱɢʁɚ ɤɨɥɨɪɢɫɬɢɱɤɚ ɮɭɧɤɰɢʁɚ, ɫɚ ɢɡɪɚɡɢɬɨ ɮɥɭɢɞɧɨɦ ‘ɜɨɞɟɧɨɦ’ ɡɜɭɱɧɨɲʄɭ321 ɭɫɩɨɫɬɚɜʂɚ ɫɚɝɥɚɫʁɚ ɫɚ ‘ɩɪɟɞɫɬɚɜɨɦ’ ɭɫɢɞɪɟɧɨɝ ɛɪɨɞɚ. Ɂɚɬɢɦ, ɩɪɟɥɢɞ ȼɟɬɚɪ ɭ ɪɚɜɧɢɰɢ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ, ɚɫɨɰɢɪɚ ɧɚ ɭɫɦɟɪɟɧɨ ɫɬɪɭʁɚʃɟ ɜɚɡɞɭɯɚ ɢ ɧɚ ɩɪɢɪɨɞɭ ɤɨʁɚ ɩɨɞ ʃɟɝɨɜɢɦ ɭɬɢɰɚʁɟɦ ɬɚɤɨђɟ ɩɨɩɪɢɦɚ ɧɟɤɢ ɨɛɥɢɤ ɤɪɟɬɚʃɚ ɤɨʁɢ ɫɟ ɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ ‘ɦɚɧɢɮɟɫɬɭʁɟ’ ɤɪɨɡ ɭɩɨɬɪɟɛɭ ɬɨɤɚɬɧɨɝ ɪɢɬɦɚ. ɉɪɟɥɢɞ Ɂɜɭɰɢ ɢ ɦɢɪɢɫɢ ɤɪɭɠɟ ɜɟɱɟɪʃɢɦ ɜɚɡɞɭɯɨɦ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ, ɤɚɪɚɤɬɟɪɢɲɟ ɞɨɠɢɜʂɚʁ ɫɩɨɪɨɝ, ɬɟɲɤɨɝ, ɧɟɩɪɟɤɢɞɧɨɝ, ɚɥɢ ɭ ɩɨɝɥɟɞɭ ɩɪɚɜɰɚ, ɧɟ ɫɚɫɜɢɦ ɨɞɪɟђɟɧɨɝ ɤɪɟɬɚʃɚ, ɤɚɨ ɢ ɩɪɟɥɢɞ Ʉɨɪɚɰɢ ɭ ɫɧɟɝɭ (ɩɪɜɚ ɫɜɟɫɤɚ), ɤɨʁɢ, ɡɚ ɪɚɡɥɢɤɭ ɨɞ ɩɪɟɬɯɨɞɧɨ ɩɨɦɟɧɭɬɨɝ, ɭɤʂɭɱɭʁɟ ɢ ʂɭɞɫɤɢ ɮɚɤɬɨɪ, ɬɟ ɤɪɟɬɚʃɟ ɢɧɢɰɢɪɚɧɨ ɨɜɢɦ ɩɪɟɥɢɞɨɦ ɡɚɞɨɛɢʁɚ ɩɨɫɟɛɧɭ ɩɫɢɯɨɥɨɲɤɭ ɩɨɡɚɞɢɧɭ. Ȼɪɟɠɭʂɰɢ Ⱥɧɚɤɚɩɪɢʁɚ ɩɪɢɩɚɞɚʁɭ ɝɪɭɩɢ ɨɩɢɫɧɢɯ ɩɪɟɥɢɞɚ ɭ ɤɨʁɢɦɚ ɞɨɥɚɡɢ ɞɨ ɢɡɪɚɠɚʁɚ ɭɩɪɚɜɨ ɫɥɢɤɚ/ɩɪɢɡɨɪ, ɩɟʁɡɚɠ ɨɞɪɟђɟɧɨɝ ɩɪɟɞɟɥɚ. Ɇɭɡɢɱɤɢ ɩɪɨɫɬɨɪ ɨɜɨɝ ɩɪɟɥɢɞɚ ‘ɧɚɬɨɩʂɟɧ’ ʁɟ ɤɜɚɡɢ ɡɜɭɰɢɦɚ ɡɜɨɧɚ, ɦɚɧɞɨɥɢɧɟ ɢɥɢ ɝɢɬɚɪɟ, ɬɚɪɚɧɬɟɥɟ, ɞɢʁɚɬɨɧɫɤɟ ɦɟɥɨɞɢʁɟ ɧɚɪɨɞɧɟ ɩɟɫɦɟ, ɩɨɤɪɟɬɢɦɚ ɫɩɨɪɨɝ ɜɚɥɰɟɪɚ ɢ ɯɚɪɦɨɧɫɤɢɦ ɧɚɫɥɨʁɚɜɚʃɢɦɚ, ɤɨʁɢ ɩɪɨɞɭɛʂɭʁɭ ɤɚɪɚɤɬɟɪ ɨɩɢɫɚ ɢ ɭɤɚɡɭʁɭ ɧɚ ɭɩɥɢɜ ɠɚɧɪɨɜɫɤɢɯ ɟɥɟɦɟɧɚɬɚ. Ƚɪɭɩɢ ‘ɨɩɢɫɧɢɯ’/ɩɟʁɡɚɠɧɢɯ ɩɪɟɥɢɞɚ ɩɪɢɩɚɞɚʁɭ ɢ Ɇɚɝɥɚ, Ɇɪɬɜɨ ɥɢɲʄɟ ɢ ȼɪɟɫ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ, ɤɨʁɢ ɫɚɞɪɠɟ ɡɚɱɟɬɚɤ ɢɞɟʁɟ ɨ ɤɪɟɬɚʃɭ – ɭ Ɇɚɝɥɢ ɤɚɨ ɤɪɟɬɚʃɟ 321 Ɍɟɤ ɫɟ ɭ ‘ɫɪɟɞɢɲɬɭ’ ɨɜɨɝ ɩɪɟɥɢɞɚ, ɭ ɫɜɟɝɚ ɩɟɬ ɬɚɤɬɨɜɚ (ɬɬ. 42‒47), ɩɟɧɬɚɬɨɧɫɤɨ ʁɟɡɝɪɨ – ɬɨ ɧɚʁɪɚɧɢʁɟ ‘ɞɟɬɢʃɫɬɜɨ’ ɠɢɜɨɬɚ ɦɭɡɢɤɟ ɭɨɩɲɬɟ, ʃɟɧɚ ɚɪɯɬɟɬɢɩɫɤɚ ɨɫɧɨɜɚ – ɢ ɭɤɭɩɧɨ ‘ɩɪɨɛɢʁɚʁɭʄɟ’ ɩɟɧɬɚɬɨɧɫɤɨ ɡɜɭɱɚʃɟ ɧɚɤɪɚɬɤɨ ‘ɨɬɢɫɧɭɥɨ’ ɨɞ ɰɟɥɨɫɬɟɩɟɧɨɫɬɢ. ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ..., ɧɚɜ. ɞɟɥɨ, 74, 76. { 202 } ɡɝɭɫɧɭɬɨɝ ɜɚɡɞɭɯɚ, ɚ ɭ Ɇɪɬɜɨɦ ɥɢɲʄɭ ɤɪɨɡ ɚɫɨɰɢʁɚɰɢʁɭ ɧɚ ɥɢɲʄɟ ɧɨɲɟɧɨ ɜɟɬɪɨɦ. Ɉɜɚʁ ɩɪɟɥɢɞ ɤɚɨ ɞɚ ‘ɫɤɭɩʂɚ’ ɫɟɩɬɚɤɨɪɞɟ, ɧɨɧɚɤɨɪɞɟ, ɰɟɥɨɫɬɟɩɟɧɭ ɦɟɥɨɞɢʁɭ ɤɨʁɚ ɫɟ ɪɚɡɜɢʁɚ ɧɚɞ ɨɫɬɢɧɚɬɨɦ ɡɚɫɧɨɜɚɧɢɦ ɧɚ ɯɪɨɦɚɬɫɤɨɦ ɩɨɤɪɟɬɭ, ɩɪɨɛɨʁɟ ɦɟɞɢʁɚɧɬɢɤɟ, ɚ ɫɜɟ ʁɚɫɧɨ ɢɫɤɚɡɚɧɨ ɤɪɨɡ ɬɪɨɫɥɨʁɧɨɫɬ Ⱦɟɛɢɫɢʁɟɜɟ ɤɥɚɜɢɪɫɤɟ ɮɚɤɬɭɪɟ ɤɚɨ ɫɜɨʁɟɜɪɫɧɟ ɩɨɥɢɮɨɧɢʁɟ ɫɥɨʁɟɜɚ.322 ɉɨɫɟɛɧɨ ɫɟ ɢɡɞɜɚʁɚ ɩɪɟɥɢɞ ɒɬɚ ʁɟ ɜɢɞɟɨ ɡɚɩɚɞɧɢ ɜɟɬɚɪ ɤɨʁɢ ɭ ɫɜɨɦ ɩɪɨɝɪɚɦɫɤɨɦ ɨɞɪɟђɟʃɭ ɫɚɞɪɠɢ ɬɟɪɦɢɧɟ ɤɨʁɢ ɢɦɩɥɢɰɢɪɚʁɭ ɤɪɟɬɚʃɟ, ɩɪɢɪɨɞɧɢ ɮɟɧɨɦɟɧ, ɡɚɬɢɦ, ɩɢɬɚʃɟ, ɞɨɡɭ ɦɢɫɬɢɱɧɨɫɬɢ ɢ ‘ɛɚʁɤɨɜɢɬɨɫɬɢ’, ɚɥɢ, ɩɪɟɬɩɨɫɬɚɜɤɚ ʁɟ, ɢ ɧɟɤɢ ɜɢɞ ɪɟɤɨɧɫɬɪɭɤɰɢʁɟ ɞɨɝɚђɚʁɚ ɤɨʁɢ ʁɟ ɜɢђɟɧ. Ɇɭɡɢɱɤɨ ‘ɩɨɪɬɪɟɬɢɫɚʃɟ’ (ɬɚɤɨ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨ ɡɚ ɮɪɚɧɰɭɫɤɭ ɦɭɡɢɤɭ, ɢɡɦɟђɭ ɨɫɬɚɥɨɝ, ɢ ɡɚ Ʉɭɩɪɟɧɚ /François Couperin/ ɢ ʃɟɝɨɜɭ ɋɟɫɬɪɭ Ɇɨɧɢɤɭ /Sœur Monique/), ɫɜɨʁɫɬɜɟɧɨ ʁɟ ɢ Ⱦɟɛɢɫɢʁɟɜɨɦ ɤɨɦɩɨɡɢɬɨɪɫɤɨɦ ɪɭɤɨɩɢɫɭ. ɉɪɟɥɢɞ‒‘ɰɪɬɟɠ’, Ⱦɟɜɨʁɤɚ ɫɚ ɥɚɧɟɧɨɦ ɤɨɫɨɦ, ‘ɩɨɪɬɪɟɬ’ ɧɟɦɢɪɧɨɝ ɒɟɤɫɩɢɪɨɜɨɝ (William Shakespeare) ɞɭɯɚ ɢɡ ɋɧɚ ɥɟɬʃɟ ɧɨʄɢ (Midsummer Night’s Dream, 1596‒1596), ɉɚɤɨɜɚ ɢɝɪɚ, ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ, ɡɚɬɢɦ ‘ɩɨɪɬɪɟɬ’ ɥɢɤɚ ɢɡ ɩɚɪɢɫɤɢɯ ɦʁɭɡɢɤ-ɯɨɥɨɜɚ – ȿɤɫɰɟɧɬɪɢɱɧɢ Ƚɟɧɟɪɚɥ Ʌɚɜɢɧ – ɢ ɜɨɞɟɧɟ ɜɢɥɟ – Ɉɧɞɢɧɟ (ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ) – ʁɟɫɭ ɩɨʁɟɞɢɧɚɱɧɢ ɩɨɪɬɪɟɬɢ. Ƚɪɭɩɧɢ ɩɨɪɬɪɟɬɢ ɤɚɨ ɲɬɨ ɫɭ ɉɥɟɫɚɱɢɰɟ ɢɡ Ⱦɟɥɮɚ ‒ ɩɪɟɥɢɞ ɭ ɤɨɦɟ ɫɟ ɟɜɨɰɢɪɚ ɚɧɬɢɱɤɨ ɞɨɛɚ ɢ ɨɡɛɢʂɚɧ, ɫɜɟɱɚɧ ɩɥɟɫ ɪɟɥɢɝɢɨɡɧɟ ɩɪɢɪɨɞɟ, ɞɟɨ ɪɢɬɭɚɥɚ Ⱥɩɨɥɨɧɨɜɨɝ ɯɪɚɦɚ ɭ Ⱦɟɥɮɢɦɚ ‒ ɢ Ɇɢɧɫɬɪɟɥɢ – ɩɪɟɥɢɞ ɢɡ ɩɪɜɟ ɫɜɟɫɤɟ ɤɨʁɢ, ɨɫɢɦ ɲɬɨ ɩɪɟɞɫɬɚɜʂɚ ɝɪɨɬɟɫɤɧɢ ‘ɝɪɭɩɧɢ ɩɨɪɬɪɟɬ’ ɟɧɝɥɟɫɤɢɯ ɦɢɧɫɬɪɟɥɚ ɢ ɫɤɟɪɰɨɡɧɢ ɩɪɟɥɢɞ ɜɟɥɢɤɟ ɮɚɤɬɭɪɧɟ ɝɭɫɬɢɧɟ ɢ ɪɚɡɧɨɜɪɫɧɨɫɬɢ, ɯɚɪɦɨɧɫɤɟ ɡɚɫɢʄɟɧɨɫɬɢ ɫɚ ɩɟɧɬɚɬɨɧɫɤɢɦ ɦɨɬɢɜɨɦ ɤɨʁɢ ɫɟ ɭɩɥɢʄɟ ɭ ɫɜɟ ɫɟɝɦɟɧɬɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ, ɦɨɠɟ ɢɫɬɨɜɪɟɦɟɧɨ ɛɢɬɢ ɬɭɦɚɱɟɧ ɢ ɤɚɨ ɥɚɬɟɧɬɧɚ ɦɭɡɢɤɚ ɡɚ ɩɨɡɨɪɢɲɬɟ; ɩɪɟɥɢɞ ȼɢɥɟ ɫɭ ɫɚɜɪɲɟɧɟ ɢɝɪɚɱɢɰɟ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ ɢɦɩɥɢɰɢɪɚʁɭ ɩɨɤɪɟɬ ɤɨʁɢ ɫɟ ɩɪɟ ɫɜɟɝɚ ɜɟɡɭʁɟ ɡɚ ɢɝɪɭ ɢ ɩɥɟɫ. ɉɨʁɟɞɢɧɢ ɩɪɟɥɢɞɢ ɩɪɟɞɫɬɚɜʂɚʁɭ ɫɜɨʁɟɜɪɫɧɟ ɠɚɧɪ-ɫɰɟɧɟ – ɉɪɟɤɢɧɭɬɚ ɫɟɪɟɧɚɞɚ ɢɡ ɩɪɜɟ ɢ ȼɢɧɫɤɚ ɤɚɩɢʁɚ, Ɍɟɪɚɫɚ ɡɚ ɩɪɢʁɟɦɟ ɧɚ ɦɟɫɟɱɢɧɢ, ɍ ɱɚɫɬ ɉɢɤɜɢɤɨɜɚɰɚ, ȼɚɬɪɨɦɟɬ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ. ɋɜɚɤɢ ɨɞ ɧɚɜɟɞɟɧɢɯ ɩɪɟɥɢɞɚ, ɫɚ ɢɡɭɡɟɬɤɨɦ ɍ ɱɚɫɬ ɉɢɤɜɢɤɨɜɚɰɚ, ɫɚɞɪɠɢ ɫɩɟɰɢɮɢɱɧɟ ɦɭɡɢɱɤɟ ‘ɩɨɬɩɢɫɟ’. ɉɪɟɤɢɧɭɬɚ ɫɟɪɟɧɚɞɚ ɢ ȼɢɧɫɤɚ 322 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: ɢɫɬɨ, 76. { 203 } ɜɪɚɬɚ ɨɞɥɢɤɭʁɭ ɫɟ ɲɩɚɧɫɤɢɦ ɤɨɥɨɪɢɬɨɦ, Ɍɟɪɚɫɚ ɡɚ ɩɪɢʁɟɦɟ ɧɚ ɦɟɫɟɱɢɧɢ ɫɚɞɪɠɢ ɟɥɟɦɟɧɬɟ ɢɧɞɢʁɫɤɟ ɦɭɡɢɤɟ ɤɨʁɢ ɫɟ ɩɨʁɚɜʂɭʁɭ ɭ ɜɢɞɭ ɦɟɥɨɞɢʁɫɤɢɯ ɭɤɪɚɫɚ – ɯɪɨɦɚɬɢɡɨɜɚɧɢɯ ɩɚɫɚɠɚ ɤɨʁɢ ɚɫɨɰɢɪɚʁɭ ɧɚ ɬɪɚɞɢɰɢɨɧɚɥɧɟ ɢɧɞɢʁɫɤɟ ɝɚɦɚɤɟ, ɞɨɤ ɫɟ ɭ ȼɚɬɪɨɦɟɬɭ, ‘ɢɡ ɞɚʂɢɧɟ’, ɨɝɥɚɲɚɜɚ ɩɪɟɩɨɡɧɚɬʂɢɜɢ ɮɚɧɮɚɪɧɢ ɦɨɬɢɜ ɢɡ Ɇɚɪɫɟʂɟɡɟ. Ⱦɜɚ ɩɪɟɥɢɞɚ – ɉɨɬɨɩʂɟɧɚ ɤɚɬɟɞɪɚɥɚ ɢɡ ɩɪɜɟ, ɢ Ʉɚɧɨɩɚ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ, ɩɪɨɝɪɚɦɫɤɢ ɫɭ ɡɚɫɧɨɜɚɧɢ ɧɚ ɩɪɢɱɚɦɚ ɢɡ ɥɟɝɟɧɞɢ. ɉɪɜɢ ɩɪɟɥɢɞ ʁɟ ɭ ɜɟɡɢ ɫɚ ɛɪɟɬɨɧɫɤɨɦ ɥɟɝɟɧɞɨɦ ɨ ɩɨɬɨɩʂɟɧɨɦ ɝɪɚɞɭ ɂɫɭ ɢ ɪɢɛɚɪɫɤɨʁ ɩɪɢɱɢ ɨ ʃɟɝɨɜɨʁ ɤɚɬɟɞɪɚɥɢ ɤɨʁɚ ɫɟ ɤɚɬɤɚɞ, ɭ ɡɨɪɭ, ɩɨʁɚɜɢ ɢɡ ɬɚɥɚɫɚ ɭɡ ɩɟɫɦɭ ɯɨɪɚ ɫɜɟɲɬɟɧɢɤɚ ɢ ɡɜɨʃɚɜɭ ʃɟɧɢɯ ɡɜɨɧɚ, ɞɨɤ ɫɟ ɞɪɭɝɢ ‘ɫɟɥɢ’ ɭ ɞɨɛɚ ɫɬɚɪɨɝɚ ȿɝɢɩɬɚ, ɪɟɮɟɪɢɪɚʁɭʄɢ ɧɚ ɦɢɫɬɢɱɧɭ ɮɭɧɤɰɢʁɭ ɤɨʁɭ ɫɭ ɭɪɧɟ – ɬɟ ɫɩɟɰɢɮɢɱɧɟ ɟɝɢɩɚɬɫɤɟ ɜɚɡɟ/ɢɞɨɥɢ ɭ ɨɛɥɢɤɭ ɬɪɛɭɲɚɫɬɨɝ ɤɪɱɚɝɚ ɫɚ ɱɨɜɟɱʁɨɦ ɝɥɚɜɨɦ ɧɚ ɜɪɯɭ (ɩɨɤɥɨɩɰɭ), ɭ ɤɨʁɢɦɚ ɫɭ ɧɟɤɚɞɚ ɱɭɜɚɧɢ ɦɭɦɢɮɢɤɨɜɚɧɢ ɭɧɭɬɪɚɲʃɢ ɨɪɝɚɧɢ (ɫɪɰɟ ɢ ɩɥɭʄɚ) – ɢɦɚɥɟ ɭ ɨɜɨʁ ɰɢɜɢɥɢɡɚɰɢʁɢ. Ʉɚɨ ɜɪɥɨ ɩɨɫɟɛɚɧ ɩɨ ɫɜɨɦ ɧɚɡɢɜɭ ɢɡɞɜɚʁɚ ɫɟ ɩɪɟɥɢɞ ɋɦɟɧɚ ɬɟɪɰɢ ɢɥɢ Ⱥɥɬɟɪɨɜɚɧɟ ɬɟɪɰɟ, ɤɨʁɢ ʁɟ ʁɟɞɢɧɫɬɜɟɧ ɭ ɱɢɬɚɜɨɦ ɰɢɤɥɭɫɭ ʁɟɪ ʃɟɝɨɜ ‘ɩɨɬɩɢɫ’ ʁɟɞɢɧɢ ɞɢɪɟɤɬɧɨ ɭɤɚɡɭʁɟ ɧɚ ɤɨɦɩɨɡɢɰɢɨɧɢ ɩɨɫɬɭɩɚɤ, ɧɚ ɭɩɨɬɪɟɛɭ ɢɧɬɟɪɜɚɥɚ ɬɟɪɰɟ ɢ ʃɟɝɨɜɨ ɜɢɪɬɭɨɡɧɨ ɬɪɟɬɢɪɚʃɟ. Ɇɟђɭɬɢɦ, ɧɟ ɦɨɠɟ ɫɟ ɫɚ ɫɢɝɭɪɧɨɲʄɭ ɬɜɪɞɢɬɢ ɞɚ ɢɡɚ ɧɚɡɢɜɚ ɨɜɨɝ ɩɪɟɥɢɞɚ ɫɬɨʁɢ ɧɟɤɚɤɚɜ ɡɧɚɱɚʁɧɢʁɢ ɩɪɨɝɪɚɦ, ɚɥɢ ɫɟ ɧɚɦɟʄɟ ɦɢɫɚɨ ɞɚ ɦɨɠɞɚ ɫɦɟɧɚ ɜɟɥɢɤɢɯ ɢ ɦɚɥɢɯ ɬɟɪɰɢ ɭɤɚɡɭʁɟ ɧɚ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨ ɝɥɟɞɢɲɬɟ ɤɨʁɟ ʁɟ ɡɚɫɧɨɜɚɧɨ ɧɚ ɢɞɟʁɢ ɨ ɫɬɚɥɧɨɦ ɬɪɟɩɟɪɟʃɭ ɢ ɩɪɨɦɟɧʂɢɜɨɫɬɢ ɫɬɜɚɪɧɨɫɬɢ. ɍ ɫɤɥɚɞɭ ɫɚ ɬɢɦ, ɢ ɨɛʁɟɤɬɢ ɤɨʁɢ ɱɢɧɟ ɞɟɨ ɬɚɤɨ ɩɪɨɦɟɧʂɢɜɟ ɫɬɜɚɪɧɨɫɬɢ ɢɦɚʁɭ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɚɧ ‘ɫɬɚɬɭɫ’. Ɉɧɢ ɫɭ, ɩɪɟɦɚ ɪɟɱɢɦɚ Ɇɢɤɟɥɚ Ⱦɢɮɪɟɧɚ, „ɢ ɩɪɟɞɦɟɬɢ ɤɨʁɢ ɫɟ ɨɩɚɠɚʁɭ ɡɚɬɨ ɲɬɨ ɫɭ ɩɪɢɫɭɬɧɢ, ɚɥɢ ɫɭ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɧɟɲɬɨ ɞɪɭɝɨ: ɧɟɤɚ ɫɬɪɚɧɚ ɫɬɜɚɪɧɨɫɬ ɤɨʁɚ ɫɟ ɧɟ ɦɨɠɟ ɢɫɰɪɩɟɬɢ ɩɟɪɰɟɩɰɢʁɨɦ”323. ɍ ɫɦɢɫɥɭ ɫɚɞɪɠɚʁɚ ɨɞɪɟђɟɧɨɝ ɩɪɨɝɪɚɦɨɦ, ɧɚɫɥɨɜɨɦ ɩɪɟɥɢɞɚ, ɩɪɢɦɟʄɭʁɟ ɫɟ ɞɚ ɩɪɜɢ ɞɟɨ Ⱦɟɛɢɫɢʁɟɜɟ ‘ɢɡɥɨɠɛɟ’ (ɩɪɜɚ ɫɜɟɫɤɚ) ɡɚɩɨɱɢʃɟ ɢ ɡɚɜɪɲɚɜɚ ɝɪɭɩɧɢɦ ɩɨɪɬɪɟɬɨɦ (ɉɥɟɫɚɱɢɰɟ ɢɡ Ⱦɟɥɮɚ ɢ Ɇɢɧɫɬɪɟɥɢ), ɚ ɞɚ ɫɟ ɬɚɤɨђɟ ɩɨɪɬɪɟɬ, ɚɥɢ ɫɚɞɚ ɩɨʁɟɞɢɧɚɱɧɟ ɥɢɱɧɨɫɬɢ, ɧɚɥɚɡɢ ɢ ɧɚ ɩɨɱɟɬɤɭ ɬɪɟʄɟɝ ɫɟɝɦɟɧɬɚ ɩɪɜɟ ɫɜɟɫɤɟ (Ⱦɟɜɨʁɤɚ ɫɚ ɥɚɧɟɧɨɦ ɤɨɫɨɦ), ɤɚɨ ɢ ɧɚ ɤɪɚʁɭ ɩɪɜɨɝ ɫɟɝɦɟɧɬɚ ɞɪɭɝɟ ɫɜɟɫɤɟ (ȿɤɫɰɟɧɬɪɢɱɧɢ Ƚɟɧɟɪɚɥ Ʌɚɜɢɧ). ɍ ɬɨɦ ɫɦɢɫɥɭ, ɩɨʁɚɜɚ ɩɪɟɥɢɞɚ ɤɨʁɢ ɨɩɢɫɭʁɭ ɥɢɱɧɨɫɬɢ ɭ ɤɨɧɬɟɤɫɬɭ ɫɜɚɤɟ ɫɜɟɫɤɟ 323 Mikel Dufrenne, Phénoménologie..., ɧɚɜ. ɞɟɥɨ, 285. { 204 } ɩɨʁɟɞɢɧɚɱɧɨ ɤɚɨ ɞɚ ɭɤɚɡɭʁɭ ɧɚ ɫɟɝɦɟɧɬɢɪɚʃɟ ɦɭɡɢɱɤɨ-ɞɪɚɦɚɬɭɪɲɤɨɝ ɬɨɤɚ. Ɉɧɨ ɲɬɨ ʁɟ ɬɚɤɨђɟ ɩɪɢɦɟɬɧɨ ʁɟɫɬɟ ɛɪɨʁ ɠɚɧɪ-ɫɰɟɧɚ ɤɨʁɢ ɫɟ ɭ ɞɪɭɝɨʁ ɫɜɟɫɰɢ ɩɨɜɟʄɚɨ ɭ ɨɞɧɨɫɭ ɧɚ ɩɪɜɭ, ɭ ɤɨʁɨʁ ɩɨɫɬɨʁɢ ɫɚɦɨ ʁɟɞɧɚ – ɉɪɟɤɢɧɭɬɚ ɫɟɪɟɧɚɞɚ, ɞɨɤ ɞɨɦɢɧɚɰɢʁɭ ɢɦɚʁɭ ɫɥɢɤɟ ɢɡ ɩɪɢɪɨɞɟ.324 Јɟɞɢɧɫɬɜɟɧɢ ɩɨ ɩɪɨɝɪɚɦɫɤɨɦ ɨɞɪɟђɟʃɭ ɞɟɫɟɬɢ ɩɪɟɥɢɞ ɢɡ ɩɪɜɟ ɢ ɞɟɫɟɬɢ ɩɪɟɥɢɞ ɢɡ ɞɪɭɝɟ ɫɜɟɫɤɟ – ɉɨɬɨɩʂɟɧɚ ɤɚɬɟɞɪɚɥɚ ɢ Ʉɚɧɨɩɚ – ɱɢʁɢ ɫɟ ɫɚɞɪɠɚʁ ɛɚɡɢɪɚ ɧɚ ɥɟɝɟɧɞɚɪɧɢɦ ɩɪɢɱɚɦɚ, ɢɦɚʁɭ ɢɫɬɨɜɟɬɧɭ ɮɭɧɤɰɢʁɭ – ɮɭɧɤɰɢʁɭ ɚɧɬɢɤɥɢɦɚɤɫɚ ɭ ɨɤɜɢɪɭ ɦɭɡɢɱɤɨ-ɞɪɚɦɚɬɭɪɲɤɨɝ ɬɨɤɚ. ɍɨɫɬɚɥɨɦ, ɱɚɤ ɢ ɢɡɜɟɫɧɚ ɢɫɬɨɪɢɱɧɨɫɬ ɭ ɪɚɫɩɨɪɟɞɭ ɤʂɭɱɧɢɯ ɤɨɦɚɞɚ (ɩɪɜɚ ɫɜɟɫɤɚ ɩɨɱɢʃɟ ɬɟɦɨɦ ɢɡ ɚɧɬɢɱɤɢɯ ɜɪɟɦɟɧɚ – ɉɥɟɫɚɱɢɰɟ ɢɡ Ⱦɟɥɮɚ ɚ ɡɚɜɪɲɚɜɚ ɫɟ ɫɪɟɞʃɨɜɟɤɨɜɧɢɦ Ɇɢɧɫɬɪɟɥɢɦɚ, ɞɨɤ ɫɟ ɭ ɩɨɫɥɟɞʃɟɦ ɞɟɥɭ ɰɢɤɥɭɫɚ ɢ ɞɪɭɝɟ ɫɜɟɫɤɟ, ɭ ȼɚɬɪɨɦɟɬɭ, ɱɭʁɟ ɮɚɧɮɚɪɧɢ ɦɨɬɢɜ, ɚɥɭɡɢʁɚ ɧɚ ɮɪɚɧɰɭɫɤɭ ɯɢɦɧɭ ‒ Ɇɚɪɫɟʂɟɡɭ) ɨɩɪɚɜɞɚɜɚ ɩɨɲɬɨɜɚʃɟ ɢɞɟʁɧɟ ɰɟɥɨɜɢɬɨɫɬɢ ɉɪɟɥɢɞɚ. ɂɚɤɨ ʁɟ ɫâɦ ɚɭɬɨɪ ɨɫɬɚɜɢɨ ɦɨɝɭʄɧɨɫɬ ɫɥɨɛɨɞɧɨɝ ɢɡɛɨɪɚ ɢɧɬɟɪɩɪɟɬɚɬɨɪɭ ɤɚɤɨ ʄɟ ɫɟ ɢ ɤɨʁɢɦ ɯɨɞɧɢɰɢɦɚ ɤɪɟɬɚɬɢ ɤɪɨɡ ɨɜɭ ‘ɢɡɥɨɠɛɭ’, ɱɢɧɢ ɫɟ ɞɚ ɬɟɤ ɭ ɰɟɥɨɫɬɢ ɩɨɝɥɟɞɚɧɚ, ɨɞɧɨɫɧɨ, ɢɧɬɟɝɪɚɥɧɨ ɨɞɫɥɭɲɚɧɚ/ɢɡɜɟɞɟɧɚ ɦɨɠɟ ɩɪɟɬɟɧɞɨɜɚɬɢ ɧɚ ɨɫɬɜɚɪɟʃɟ ʁɟɞɢɧɫɬɜɟɧɟ ɡɚɦɢɫɥɢ Ⱦɟɛɢɫɢʁɚ: ‘ɢɡɥɨɠɛɚ’ ɞɜɚɞɟɫɟɬ ɱɟɬɢɪɢ ɡɜɭɱɧɟ ɫɥɢɤɟ, ɢɡɜɨђɟʃɟ ɰɢɤɥɭɫɚ ɫɚɱɢʃɟɧɨɝ ɨɞ ɞɜɚɞɟɫɟɬ ɱɟɬɢɪɢ ɩɪɨɝɪɚɦɫɤɟ ɤɥɚɜɢɪɫɤɟ ɦɢɧɢʁɚɬɭɪɟ – ɩɪɟɥɭɞɢʁɭɦɚ. 324 ɍ ɩɪɟɥɢɞɭ Ȼɪɟɠɭʂɰɢ Ⱥɧɚɤɚɩɪɢʁɚ, ɤɨʁɢ ɢɚɤɨ ɩɪɨɝɪɚɦɫɤɢ ɩɪɢɩɚɞɚ ɨɩɢɫɭ ɩɪɢɪɨɞɟ, ɭ ʃɟɦɭ ɩɨɫɬɨʁɟ ɢ ʁɚɫɧɚ ɨɛɟɥɟɠʁɚ ɠɚɧɪɚ. ȵɢɯ ɞɨɧɨɫɢ ɩɨʁɚɜɚ ɪɢɬɦɚ ɬɚɪɚɧɬɟɥɟ ɢ ɫɩɨɪɨɝ ɜɚɥɰɟɪɚ ɲɬɨ ɱɢɧɢ ɞɚ ɨɜɚʁ ɩɪɟɥɢɞ ɢɦɚ ɞɜɨɫɬɪɭɤɢ ɩɪɨɝɪɚɦ. { 205 } IV ȾȿȻɂɋɂȳȿȼȺ ɋȺȽɅȺɋЈȺ ɍ ɌɊȺȽȺȵɍ ɁȺ ɑɂɋɌɈɆ ɆɍɁɂɄɈM… ɉɢɬɚʃɟ Ⱦɟɛɢɫɢʁɟɜɢɯ ɫɚɝɥɚɫʁɚ ɧɢʁɟ ɫɚɦɨ ɩɢɬɚʃɟ ɫɚɝɥɚɫʁɚ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ. Ɉɧɨ ʁɟ, ɱɢɧɢ ɫɟ, ɡɧɚɬɧɨ ɜɢɲɟ ɨɞ ɬɨɝɚ. Ɍɢɱɟ ɫɟ ɩɢɬɚʃɚ ɨɞɧɨɫɚ ɢɡɦɟђɭ ɭɦɟɬɧɢɤɚ, ʃɟɝɨɜɟ ɭɦɟɬɧɨɫɬɢ ɢ ɉɪɢɪɨɞɟ, ɚ ɭ ɡɧɚɬɧɨ ɲɢɪɟɦ ɥɭɤɭ, ɢ ɨɞɧɨɫɚ ɢɡɦɟђɭ ɉɪɢɪɨɞɟ ɢ ɂɦɚɝɢɧɚɰɢʁɟ... ɚ ɢɦɚɝɢɧɚɰɢʁɚ? Ɉɧɚ ʁɟ, ɪɟɱɟɧɨ ɛɨɞɥɟɪɨɜɫɤɢ, ɢ ɚɧɚɥɢɡɚ ɢ ɫɢɧɬɟɡɚ ɢ ɨɫɟʄɚʁɧɨɫɬ – ʁɟɞɢɧɚ ɤɨʁɚ ɞɨɩɭɲɬɚ ɞɚ ɫɟ ɪɟɚɥɧɨɫɬ ɩɪɢɪɨɞɟ ɬɪɚɧɫɮɨɪɦɢɲɟ ɭ ɧɨɜɭ ɪɟɚɥɧɨɫɬ, ɪɟɚɥɧɨɫɬ ɭɦɟɬɧɢɱɤɨɝ ɞɟɥɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɦɭɡɢɤɚ ɡɚɭɡɢɦɚ ɧɚʁɜɢɲɟ ɦɟɫɬɨ ɦɟђɭ ɭɦɟɬɧɨɫɬɢɦɚ ɡɚɬɨ ɲɬɨ ʁɟ ɨɧɚ, ɜɟɪɭʁɟ Ⱦɟɛɢɫɢ, ɧɚʁɛɥɢɠɚ ɩɪɢɪɨɞɢ ɢ ɡɚɬɨ ɲɬɨ ʁɟɞɢɧɚ ɢɦɚ ɫɩɨɫɨɛɧɨɫɬ ɞɚ ɪɢɬɦɢɡɭʁɟ ʃɟɧɚ ɧɟɢɡɦɟɪɧɚ ɩɨɞɪɯɬɚɜɚʃɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɦɭɡɢɤɚ ʁɟ ʁɟɞɢɧɚ ɤɨʁɚ ɦɨɠɟ ɞɨɫɟɝɧɭɬɢ ɫɚɦɭ ɫɭɲɬɢɧɭ ɫɬɜɚɪɢ; ɨɧɚ, ɩɨɩɭɬ ɫɭɝɟɫɬɢɜɧɟ ɦɚɝɢʁɟ, ɫɚɞɪɠɢ ɢ ɫɭɛʁɟɤɬ ɢ ɨɛʁɟɤɬ, ɢ ɫɩɨʂɚɲʃɢ ɫɜɟɬ ɭɦɟɬɧɢɤɚ ɢ ɫɚɦɨɝ ɭɦɟɬɧɢɤɚ ɢɫɬɨɜɪɟɦɟɧɨ; ɨɧɚ ʁɟ ɡɛɨɝ ɬɨɝɚ ɱɢɫɬɚ ɭɦɟɬɧɨɫɬ – ɱɢɫɬɚ ɦɭɡɢɤɚ (la musique pure), ɫɩɨɫɨɛɧɚ ɞɚ ɨɜɚɩɥɨɬɢ ɢ ɞɨɫɟɝɧɟ ɜɟɱɢɬɭ ɬɚʁɧɭ ɨɞɧɨɫɚ ɢɡɦɟђɭ ɱɨɜɟɤɚ, ɉɪɢɪɨɞɟ ɢ ɭɦɟɬɧɨɫɬɢ. ɇɨ, ɩɪɟɬɩɨɫɬɚɜɤɚ ʁɟ ɞɚ ɫɟ ɧɚɦɟʄɟ ɩɢɬɚʃɟ ɡɚɲɬɨ ʁɟ ɚɪɚɛɟɫɤɚ, ɤɨʁɚ ɩɪɢɦɚɪɧɨ ɩɪɢɩɚɞɚ ɞɨɦɟɧɭ ɜɢɡɭɟɥɧɨɝ, ɨɞɧɨɫɧɨ, ɥɢɤɨɜɧɢɦ ɭɦɟɬɧɨɫɬɢɦɚ, ɞɨɜɟɞɟɧɚ ɭ ɜɟɡɭ ɫɚ ɦɭɡɢɤɨɦ? Ɍɨ ʁɟɫɬ, ɡɚɲɬɨ ʁɟ (ɦɭɡɢɱɤɚ) ɚɪɚɛɟɫɤɚ ɪɟɩɪɟɡɟɧɬ ɱɢɫɬɟ ɦɭɡɢɤɟ? Ɋɚɡɥɨɝ ɥɟɠɢ ɭ ɱɢʃɟɧɢɰɢ ɞɚ ɢɞɟʁɚ ɚɪɚɛɟɫɤɟ ɡɚɩɪɚɜɨ ɩɪɟɞɫɬɚɜʂɚ ɩɨɟɬɢɱɤɭ ɩɚɪɚɞɢɝɦɭ ɚɭɬɨɧɨɦɧɟ ɦɭɡɢɱɤɟ ɨɛɥɢɤɨɬɜɨɪɧɨɫɬɢ; ɞɪɭɝɢɦ ɪɟɱɢɦɚ, ɪɚɞɢ ɫɟ ɨ ɮɟɧɨɦɟɧɭ ‘ɨɱɢɲʄɟɧɨɦ’ ɨɞ ɢɡɜɚɧɦɭɡɢɱɤɨɝ ɫɚɞɪɠɚʁɚ ɢ ɫɢɦɛɨɥɚ. Ɉɫɢɦ ɡɚ Ⱦɟɛɢɫɢʁɚ, ɚɪɚɛɟɫɤɚ ʁɟ ɨɞ ɫɭɲɬɢɧɫɤɨɝ ɡɧɚɱɚʁɚ ɢ ɡɚ ɩɨɟɬɢɤɭ ɋɬɟɮɚɧɚ Ɇɚɥɚɪɦɟɚ. ɇɚɢɦɟ, ɡɚ ʃɟɝɚ ɫɟ ɚɪɚɛɟɫɤɚ ɧɚɥɚɡɢ ɭ ɫɪɟɞɢɲɬɭ ɫɬɜɚɪɚɥɚɱɤɨɝ ɩɪɨɰɟɫɚ, ɨɧɚ ʁɟ ʃɟɝɨɜɚ ɫɪɠ – ɞɚɤɥɟ, ɬɨɬɚɥɧɚ ɚɪɚɛɟɫɤɚ ʁɟɫɬɟ ʁɟɞɢɧɢ ɧɨɫɢɥɚɰ ɡɧɚɱɟʃɚ. ɉɨɩɭɬ { 206 } ɚɪɚɛɟɫɤɧɢɯ ɦɨɬɢɜɚ ɭ ɫɥɢɤɚɪɫɬɜɭ (ɢ ɨɜɨ ʁɟ ɦɟɫɬɨ ɝɞɟ ɫɟ ɭɫɩɨɫɬɚɜʂɚ ɜɟɡɚ ɢɡɦɟђɭ ɨɤɚ ɢ ɭɯɚ) ɤɨʁɢ ɫɭ ɫɟ ɩɨ ɩɪɢɧɰɢɩɭ ɞɨɩɭʃɚɜɚʃɚ ɢ ɪɢɬɦɢɱɤɨɝ ɩɨɧɚɜʂɚʃɚ ɟɥɟɦɟɧɚɬɚ, ɤɨɧɬɢɧɭɢɪɚɧɨ ɩɪɟɩɥɢɬɚɥɢ, ɪɚɡɜɢʁɚɥɢ, ɭɫɢɬʃɚɜɚɥɢ, ɝɭɛɟʄɢ ɫɟ ɭ ɚɩɫɬɪɚɤɰɢʁɢ, Ɇɚɥɚɪɦɟ ʁɟ ɤɨɪɢɫɬɢɨ ɪɟɱɢ. ɍ ʃɟɝɨɜɢɦ ɫɬɢɯɨɜɢɦɚ, ɪɟɱɢ ɫɭ ɩɨɫɬɚɥɟ ɧɟɡɚɜɢɫɧɢ ɢ ɫɚɦɨɞɨɜɨʂɧɢ ɮɪɚɝɦɟɧɬɢ, ɟɥɟɦɟɧɬɢ ɤɨʁɢ ɩɪɨɢɫɬɢɱɭ ʁɟɞɚɧ ɢɡ ɞɪɭɝɨɝ, „ɨɫɦɢɲʂɚɜɚʁɭʄɢ ɫɟɛɟ ɢ ɬɨ ɞɪɭɝɨ”, ɬɟ ɨɫɥɨɛɨђɟɧɢ ɦɟɬɪɢɱɤɟ ʁɟɞɧɚɤɨɫɬɢ, ɮɢɤɫɢɪɚɧɢɯ ɰɟɡɭɪɚ ɢ ɩɪɚɜɢɥɧɨɝ ɝɪɭɩɢɫɚʃɚ, ɩɨɫɪɟɞɫɬɜɨɦ ɫɚɦɨɝɟɧɟɪɢɲɭʄɟ ɨɪɧɚɦɟɧɬɚɥɧɟ ɮɨɪɦɟ ɚɪɚɛɟɫɤɟ – ɡɚɛɨɪɚɜʂɚʁɭ ɧɚ ɫɜɨʁɭ ɫɟɝɦɟɧɬɢɪɚɧɨɫɬ ɢ ɩɨʁɟɞɢɧɚɱɧɨɫɬ, ɝɪɚɞɟʄɢ ʁɟɞɧɭ ɪɚɫɤɨɲɧɭ, ɰɟɥɨɜɢɬɭ ɫɥɢɤɭ. ɇɟɥɢɧɟɚɪɧɨɫɬ, ɨɬɜɨɪɟɧɨɫɬ, ɟɤɫɩɚɧɡɢʁɚ ɨɜɟ ɞɢɧɚɦɢɱɤɟ ɮɨɪɦɟ – ɚɪɚɛɟɫɤɟ, ɨɫɥɢɤɚɜɚʁɭ ɫɥɨɛɨɞɭ ɩɨɤɪɟɬɚ ɱɢʁɚ ɪɚɡɧɨɜɪɫɧɨɫɬ ɟɜɨɰɢɪɚ ɟɧɟɪɝɢʁɭ ɤɨʁɚ ɢɡɪɚɫɬɚ ɢɡ ɮɚɧɬɚɡɢʁɟ ɢ ɤɨʁɚ ɩɨɬɨɦ ɫɚ ʁɨɲ ɜɟʄɢɦ ɢɧɬɟɧɡɢɬɟɬɨɦ ɚɤɬɢɜɢɪɚ ɢ ɩɨɤɪɟʄɟ ɦɚɲɬɭ ɤɪɟʄɭʄɢ ɫɟ ɤɚ ɚɩɫɬɪɚɤɬɧɨʁ ɟɧɟɪɝɢʁɢ.325 ɍ ɢɞɟʁɢ ɚɪɚɛɟɫɤɟ, ɬɨ ʁɟɫɬ, ɭ ʃɟɧɨɦ ɬɟɧɞɢɪɚʃɭ ɤɚ ɚɩɫɬɪɚɤɰɢʁɢ, ɢ Ɇɚɥɚɪɦɟ ɢ Ⱦɟɛɢɫɢ ɫɭ ɩɪɨɧɚɲɥɢ ɡɧɚɱɟʃɟ ɫɬɜɚɪɚʃɚ ‘ɧɨɜɟ ɮɨɪɦɟ’. ɉɨɦɟɧɭɬɨʁ ɢɞɟʁɢ ɫɟ ɢ ʁɟɞɚɧ ɢ ɞɪɭɝɢ ɭɦɟɬɧɢɤ ɨɤɪɟʄɭ ɭ ɫɜɨʁɢɦ ɩɨɡɧɢɦ ɨɫɬɜɚɪɟʃɢɦɚ ɞɨɩɪɢɧɨɫɟʄɢ ɬɚɤɨ ɫɭɲɬɢɧɫɤɢɦ ɩɪɨɦɟɧɚɦɚ ɢ ɤɚɞɚ ʁɟ ɪɟɱ ɨ ɩɨɟɬɢɰɢ, ɢ ɫɬɢɥɫɤɢɦ ɨɫɨɛɟɧɨɫɬɢɦɚ, ɚɥɢ ɢ ɨ ɦɭɡɢɱɤɨɦ/ɩɨɟɬɫɤɨɦ ʁɟɡɢɤɭ. Ʉɨɞ Ⱦɟɛɢɫɢʁɚ jɟ ɬɚʁ ɚɪɚɛɟɫɤɧɢ ɩɪɢɧɰɢɩ (ɢɡɪɚɡɢɬɨ) ɩɪɢɫɭɬɚɧ ɨɞ ɦɭɡɢɤɟ ɡɚ ɛɚɥɟɬ ɂɝɪɚ (Jeux, 1913) ɢ ɞɟɥɚ ɡɚ ɮɥɚɭɬɭ ɫɨɥɨ ɩɨɞ ɧɚɡɢɜɨɦ ɋɢɪɢɧɤɫ (Syrinx, 1913), ɩɚ ɫɜɟ ɞɨ ɞɜɚɧɚɟɫɬ ɟɬɢɞɚ ɡɚ ɤɥɚɜɢɪ (1915) ɢ ɬɪɢ ɤɚɦɟɪɧɟ ɫɨɧɚɬɟ (1915‒1917), ɞɨɤ ɫɟ ɭ Ɇɚɥɚɪɦɟɨɜɨɦ ɨɩɭɫɭ ɢɞɟʁɚ ɚɪɚɛɟɫɤɟ ɭɬɤɢɜɚ ɭ ʃɟɝɨɜɭ ɩɨɟɦɭ Ȼɚɰɚʃɟ ɤɨɰɤɟ (Un Coup de Dés jamais n’abolira le Hasard, 1897), ɚɥɢ ɢ ɭ ɧɟɞɨɜɪɲɟɧɭ Ʉʃɢɝɭ (le Livre) ɢɡ ɱɢʁɢɯ ɫɟ ɫɤɢɰɚ ɡɚɤʂɭɱɭʁɟ ɞɚ ɫɬɪɚɧɢɰɟ ɧɟ ɛɢ ɢɲɥɟ ɯɪɨɧɨɥɨɲɤɢɦ ɪɟɞɨɦ, ɜɟʄ ɛɢ ɫɟ ɦɨɝɥɟ ɤɨɦɛɢɧɨɜɚɬɢ ɪɚɡɥɢɱɢɬɢɦ ɩɨɫɬɭɩɰɢɦɚ ɩɟɪɦɭɬɚɰɢʁɟ. ɋɬɪɭɤɬɭɪɭ ɛɢ ɱɢɧɢɥɟ ɪɟɱɢ ɤɨʁɟ ɛɢ ɫɟ ɫɩɚʁɚɥɟ ɫɚ ɞɪɭɝɢɦ ɪɟɱɢɦɚ ɢ ɮɪɚɡɚɦɚ ɨɛɪɚɡɭʁɭʄɢ „ɧɨɜɟ ɫɭɝɟɫɬɢʁɟ”, ɨɞɧɨɫɟ ɢ ɦɨɝɭʄɧɨɫɬɢ, ɭɡ ɫɬɜɚɪɚʃɟ ɨɝɪɨɦɧɨɝ ɛɪɨʁɚ ɤɨɦɛɢɧɚɰɢʁɚ ɢ ɤɪɟɢɪɚʃɟ ɫɜɟɬɚ ɤɨʁɢ ɫɟ ɧɟɩɪɟɤɢɞɧɨ ɦɟʃɚ ɢ ɪɚђɚ.326 ɋɬɨɝɚ ɢ ɦɨʁ ɮɨɤɭɫ ɭ ɨɜɨɦ ɩɨɝɥɚɜʂɭ ɬɟɡɟ ɛɢʄɟ ɭɩɪɚɜɨ ɭɫɦɟɪɟɧ ɧɚ ɩɨɡɧɟ ɨɩɭɫɟ ɞɜɨʁɢɰɟ ɭɦɟɬɧɢɤɚ: ɧɚ Ɇɚɥɚɪɦɟɨɜɭ ɩɨɟɦɭ Ȼɚɰɚʃɟ ɤɨɰɤɟ ɢ ɧɚ ɞɜɚ Ⱦɟɛɢɫɢʁɟɜɚ ɞɟɥɚ – ɋɢɪɢɧɤɫ ɢ ɂɝɪɚ. 325 ɍɩɨɪɟɞɢɬɢ ɫɚ: Elizabeth McCombie, ɧɚɜ. ɞɟɥɨ, 40‒41. 326 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Umberto Eko, Otvoreno djelo (Sarajevo: „Veselin Masleša”, 1965), 46‒47. { 207 } ɇɨ, ɤɪɟʄɟɦ ɨɞ ɩɨɱɟɬɤɚ... ȿɬɢɦɨɥɨɝɢʁɚ ɪɟɱɢ ɚɪɚɛɟɫɤɚ ɭɤɚɡɭʁɟ ɧɚ ʃɟɧɨ ɩɪɜɨɛɢɬɧɨ ɡɧɚɱɟʃɟ ɤɨʁɟ ɫɟ ɜɟɡɭʁɟ ɡɚ ɞɪɟɜɧɭ ɨɪɧɚɦɟɧɬɚɥɧɭ ɮɨɪɦɭ ɭ ɢɫɥɚɦɫɤɨʁ ɭɦɟɬɧɨɫɬɢ.327 Ɉɜɚʁ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɚɧ ɨɛɥɢɤ (ɨɪɧɚɦɟɧɬ) ɧɚɫɬɚɨ ʁɟ ɫɬɢɥɢɡɚɰɢʁɨɦ ɛɢʂɧɢɯ ɢɡɞɚɧɚɤɚ, ɜɪɟɠɚ, ɥɢɫɬɨɜɚ, ɩɭɩɨʂɚɤɚ, ɰɜɟɬɨɜɚ, ɚɥɢ ɢ ɝɟɨɦɟɬɪɢʁɫɤɢɯ ɨɛɥɢɤɚ (ɛɭɞɭʄɢ ɞɚ ʁɟ ɭ ɢɫɥɚɦɫɤɨʁ ɤɭɥɬɭɪɢ ɛɢɥɨ ɡɚɛɪɚʃɟɧɨ ɩɪɢɤɚɡɢɜɚʃɟ ʂɭɞɫɤɨɝ ɢ ɠɢɜɨɬɢʃɫɤɨɝ ɬɟɥɚ), ɚɧɬɪɨɩɨɦɨɪɮɢɧɢɯ ɦɨɬɢɜɚ, ɤɨʁɢ ɫɭ ɫɟ ɩɨɬɨɦ, ɩɨ ɩɪɢɧɰɢɩɭ ɞɨɩɭʃɚɜɚʃɚ ɢ ɪɢɬɦɢɱɤɨɝ ɩɨɧɚɜʂɚʃɚ ɟɥɟɦɟɧɚɬɚ, ɤɨɧɬɢɧɭɢɪɚɧɨ ɩɪɟɩɥɟɬɚɥɢ, ɪɚɡɜɢʁɚɥɢ, ɭɫɢɬʃɚɜɚɥɢ, ɝɭɛɟʄɢ ɫɟ ɭ ɚɩɫɬɪɚɤɰɢʁɢ ɢ ɭɞɚʂɚɜɚʁɭʄɢ ɨɞ ɫɬɜɚɪɧɨɫɬɢ.328 Ⱦɚɤɥɟ, ɩɪɜɨɛɢɬɧɚ ɮɭɧɤɰɢʁɚ ɚɪɚɛɟɫɤɟ ʁɟ ɛɢɥɚ ɞɚ ɭɤɪɚɫɢ, (ɩɪɨ)ɲɚɪɚ, ɬɨ ʁɟɫɬ, ɞɚ ɛɭɞɟ ɞɟɤɨɪɚɬɢɜɧɢ ɞɨɞɚɬɚɤ ɪɚɡɥɢɱɢɬɢɦ ɩɪɟɞɦɟɬɢɦɚ, ɚ ɡɚɬɢɦ ʁɟ ɫɜɨʁɭ ɩɪɢɦɟɧɭ ɩɪɨɧɚɲɥɚ ɢ ɭ ɚɪɯɢɬɟɤɬɭɪɢ ɢ ɫɥɢɤɚɫɬɜɭ, ɨɞɚɤɥɟ ʄɟ ɫɟ ɭ ɧɚʁɜɟʄɨʁ ɦɟɪɢ ɩɪɨɲɢɪɢɬɢ ɧɚ Ɂɚɩɚɞ, ɤɚɨ ɢɦɢɬɚɰɢʁɚ ɚɪɚɩɫɤɢɯ ɮɨɪɦɢ. Ɂɚɩɪɚɜɨ, ɭ ɩɟɪɢɨɞɭ ɨɞ 11. ɞɨ 15. ɜɟɤɚ, ɧɚ ɬɟɪɢɬɨɪɢʁɢ ɞɚɧɚɲʃɟ ɒɩɚɧɢʁɟ ɢ ɂɬɚɥɢʁɟ, ɚɪɚɛɟɫɤɚ ɩɨɱɢʃɟ ɞɚ ɫɟ ‘ɭɩɥɢʄɟ’ ɭ ɝɨɬɨɜɨ ɫɜɟ ɝɪɚɧɟ ɡɚɩɚɞɧɨɟɜɪɨɩɫɤɟ ɞɟɤɨɪɚɬɢɜɧɟ ɭɦɟɬɧɨɫɬɢ ɭɬɢɱɭʄɢ ɧɚ ɮɨɪɦɢɪɚʃɟ ‘ɦɨɞɧɨɝ ɬɚɥɚɫɚ’ ɤɨʁɢ ʁɟ ɭ ɬɨ ɜɪɟɦɟ ɛɢɨ ɩɨɡɧɚɬ ɩɨɞ ɧɚɡɢɜɨɦ „ɦɚɜɚɪɫɤɚ ɨɪɧɚɦɟɧɬɢɤɚ”329. Ɍɨɤɨɦ 16. ɜɟɤɚ ɭ Ɏɪɚɧɰɭɫɤɨʁ, ɚɪɚɛɟɫɤɚ ʁɟ ɡɧɚɱɢɥɚ „ɧɚ ɚɪɚɩɫɤɢ ɧɚɱɢɧ”, ɞɚ ɛɢ ɫɟ ɭ 17. ɜɟɤɭ ɜɟɡɢɜɚɥɚ ɡɚ ɢɦɢɬɢɪɚʃɟ ɥɢɫɬɨɜɚ (ɪɚɡɥɢɱɢɬɢɯ 327 ɂɩɚɤ ɩɨɫɬɨʁɢ ɩɨɞɚɬɚɤ ɞɚ ɫɟ ɩɨɪɟɤɥɨ ɚɪɚɛɟɫɤɟ ɦɨɠɟ ɩɪɨɧɚʄɢ ʁɨɲ ɭ ɩɟɪɢɨɞɭ ɚɧɬɢɱɤɨɝ ɞɨɛɚ, ɧɚɪɨɱɢɬɨ ɭ ɝɪɱɤɨ-ɪɢɦɫɤɨɦ ɢ/ɢɥɢ ɜɢɡɚɧɬɢʁɫɤɨɦ ɛɢʂɧɨɦ (ɫɬɚɛʂɢɤɚ, ɥɨɡɚ) ɨɪɧɚɦɟɧɬɭ, ɤɨʁɢ ɫɭ ɋɚɪɚɰɟɧɢ ɩɪɨɧɚɲɥɢ ɧɚ ɬɟɪɢɬɨɪɢʁɢ ɋɟɜɟɪɧɟ Ⱥɮɪɢɤɟ ɢ Ɇɚɥɟ Ⱥɡɢʁɟ. ɍɩɨɪɟɞɢɬɢ ɫɚ: Roger Harold Benjamin, “The Decorative Landscape, Fauvism, and the Arabesque of Observation”, The Art Bulletin, Vol. 75, No. 2, 1993, 309. 328 Ⱥɪɚɛɟɫɤɚ ʁɟ ɧɚʁɱɟɲʄɟ ɛɢʂɧɚ ɨɪɧɚɦɟɧɬɚɰɢʁɚ ɭ ɤɨʁɨʁ ɫɟ ɫɬɚɛʂɢɤɚ ɝɪɚɧɚ ɭ ɢɡɜɟɫɧɨʁ ɪɢɬɦɢɱɧɨɫɬɢ ɢ ɟɥɟɦɟɧɬɢɦɚ ɩɨɧɚɜʂɚʃɚ, ɚ ʃɭ ɞɨɩɭʃɭʁɭ ɥɢɫɬɨɜɢ ɤɨʁɢ ɧɢɫɭ ɨɞɫɟɱɟɧɢ ɧɢɬɢ ɢɡɨɥɨɜɚɧɢ; ɦɟђɭɬɢɦ, ɧɢɫɭ ɧɢ ɭ ɬɚɤɜɨɦ ɨɞɧɨɫɭ ɩɪɟɦɚ ɫɬɚɛʂɢɰɢ ɞɚ ɧɚɩɪɨɫɬɨ ɢɡɪɚɫɬɚʁɭ ɢɡ ʃɟ. ɇɚɢɦɟ, ɫɬɢɥɢɡɚɰɢʁɨɦ ɫɟ ɪɟɚɥɢɡɭʁɟ ɜɚɠɚɧ ɚɪɚɛɟɫɤɧɢ ɩɪɢɧɰɢɩ ɞɨɩɭʃɚɜɚʃɚ ɟɥɟɦɟɧɚɬɚ, ɩɪɨɞɢɪɚʃɚ ʁɟɞɧɢɯ ɭ ɞɪɭɝɟ, ɭɦɟɬɚʃɚ ɢ ɫɥɢɱɧɨ, ɬɚɤɨ ɞɚ ɫɟ ɝɪɚɧɚ, ɪɟɰɢɦɨ, ɤɚɨ ɩɪɢɜɢɞɧɚ ɨɤɨɫɧɢɰɚ ɢɥɢ ɞɨɦɢɧɚɧɬɚ ɚɪɚɛɟɫɤɟ, ɩɨɜɥɚɱɢ ɭ ɩɪɨɰɟɫɭ ɪɟɚɥɢɡɨɜɚʃɚ ɝɥɚɜɧɟ ɢɞɟʁɟ – ɩɪɟɩɥɢɬɚʃɚ ɢ ɭɡɚʁɚɦɧɨɝ ɢɡɪɚɫɬɚʃɚ. Ʌɢɫɬɨɜɢ ɭ ɚɪɚɛɟɫɤɢ ɫɭ ɜɢɲɟ ɨɞ ɥɢɫɬɨɜɚ ɧɚ ɝɪɚɧɢ: ɨɧɢ ɧɟ ɢɡɛɢʁɚʁɭ ɢɡ ɫɬɚɛʂɢɤɟ ɜɟʄ ɱɜɪɫɬɨ ɭɪɚɫɬɚʁɭ ɭ ʃɭ, ɨɛɚɜɢʁɚʁɭ ʁɟ ɢ ɟɫɬɟɬɢɡɭʁɭ. 329 „Ɇɚɜɚɪɫɤɚ ɨɪɧɚɦɟɧɬɢɤɚ” ʁɟ ɞɢɪɟɤɬɧɨ ɩɨɜɟɡɚɧɚ ɫɚ ɦɚɜɚɪɫɤɨɦ, ɨɞɧɨɫɧɨ, ɦɚɜɚɪɫɤɨ-ɲɩɚɧɫɤɨɦ ɭɦɟɬɧɨɲʄɭ ɤɨʁɚ ɩɪɟɞɫɬɚɜʂɚ ɫɜɨʁɟɜɪɫɧɭ ɜɟɪɡɢʁɭ ɢɫɥɚɦɫɤɟ ɭɦɟɬɧɨɫɬɢ. Ɉɧɚ ɫɟ ɩɨʁɚɜɢɥɚ ɭ 11. ɜɟɤɭ ɭ ɩɨɞɪɭɱʁɢɦɚ ɩɨɞ ɜɥɚɲʄɭ Ɇɚɜɚɪɚ ɧɚ ɉɢɪɢɧɟʁɫɤɨɦ ɩɨɥɭɨɫɬɪɜɭ, ɭ ɡɟɦʂɚɦɚ ɫɟɜɟɪɧɟ Ⱥɮɪɢɤɟ (Ɇɚɝɪɟɛ) ɢ ɞɟɥɢɦɢɱɧɨ ɧɚ ɋɢɰɢɥɢʁɢ. Ɇɚɜɚɪɫɤɭ ɭɦɟɬɧɨɫɬ, ɧɚʁɩɪɟ ɚɪɯɢɬɟɤɬɭɪɭ, ɨɞɥɢɤɭʁɟ ɠɢɜɚ ɩɨɥɢɯɪɨɦɢʁɚ ɢ ɪɚɫɤɨɲɧɚ ɩɥɚɫɬɢɱɤɚ ɞɟɤɨɪɚɰɢʁɚ ɤɨʁɚ ɩɪɟɤɪɢɜɚ ɫɜɟ ɩɨɜɪɲɢɧɟ ɡɢɞɨɜɚ. Ɉ ɬɨɦɟ ɧɚʁɛɨʂɟ ɫɜɟɞɨɱɟ ɝɪɚђɟɜɢɧɟ ɩɨɩɭɬ ȼɟɥɢɤɟ џɚɦɢʁɟ ɭ Ʉɨɪɞɨɛɢ, ɞɜɨɪɚɰ ɢ ɭɬɜɪђɟʃɟ ɦɚɜɚɪɫɤɢɯ ɜɥɚɞɚɪɚ Ƚɪɚɧɚɞɟ – Ⱥɥɯɚɦɛɪɚ, Ⱦɭɠɞɟɜɚ ɩɚɥɚɬɚ ɭ ȼɟɧɟɰɢʁɢ ɢ ɞɪ. { 208 } ɛɢʂɚɤɚ) ɢɧɫɩɢɪɢɫɚɧɨ Ɉɪɢʁɟɧɬɨɦ.330 ȼɪɟɦɟɧɨɦ ɫɭ ɭɦɟɬɧɢɰɢ ɢɡ ɨɛɥɚɫɬɢ ɤʃɢɠɟɜɧɨɫɬɢ ɢ ɦɭɡɢɱɤɟ ɭɦɟɬɧɨɫɬɢ, ɚ ɩɨɬɨɦ ɢ ɛɚɥɟɬɚ ɧɚ ɫɜɨʁɟɜɪɫɬɚɧ ɧɚɱɢɧ, ɫɜɟ ɜɢɲɟ ދɩɨɡɚʁɦʂɢɜɚɥɢތ ɚɪɚɛɟɫɤɟ ɢɡ ɚɪɯɢɬɟɤɬɭɪɟ ɢ ɥɢɤɨɜɧɢɯ ɭɦɟɬɧɨɫɬɢ, ɭɨɱɚɜɚʁɭʄɢ ʃɟɧɭ ɞɟɤɨɪɚɬɢɜɧɭ ɦɨʄ, ɤɨɪɢɫɬɟʄɢ ʁɟ ɭ ɫɥɭɠɛɢ ɭɩɨɬɩɭʃɚɜɚʃɚ ɢ ɨɛɨɝɚʄɢɜɚʃɚ ɫɜɨʁɢɯ ɨɫɧɨɜɧɢɯ ɢɞɟʁɚ ɢ ɬɨɤɚ ɤɨɦɩɨɡɢɰɢʁɚ. Ɍɚɤɨ ʁɟ ɧɚ ɩɪɢɦɟɪ, ɢɬɚɥɢʁɚɧɫɤɢ ɤɨɪɟɨɝɪɚɮ ɢ ɩɥɟɫɚɱ, Ʉɚɪɥɨ Ȼɥɚɡɢɫ (Carlo Blasis) ɩɪɜɢ ɚɧɚɥɢɡɢɪɚɨ, ɤɨɞɢɮɢɤɨɜɚɨ ɢ ɨɛʁɚɫɧɢɨ ɛɚɥɟɬɤɫɟ ɩɨɤɪɟɬɟ, ɚ ɦɟђɭ ʃɢɦɚ ɢ ɚɪɚɛɟɫɤɭ, ɭ ɫɜɨʁɨʁ ɤʃɢɡɢ ȿɥɟɦɟɧɬɚɪɧɢ, ɬɟɨɪɢʁɫɤɢ ɢ ɩɪɚɤɬɢɱɧɢ ɬɪɚɤɬɚɬ ɨ ɭɦɟɬɧɨɫɬɢ ɩɥɟɫɚ (Traité élémentaire, théorique, et pratique de l’art de la danse, 1820). Ɂɚɯɜɚʂɭʁɭʄɢ ʃɟɦɭ, ɬɟɪɦɢɧ ɚɪɚɛɟɫɤɚ, ɤɨʁɢ ɫɟ ɩɪɜɨɛɢɬɧɨ ɨɞɧɨɫɢɨ ɧɚ ɝɪɭɩɭ ɩɥɟɫɚɱɚ ɭ ɫɤɥɚɞɧɨɦ ɢ ɫɥɢɤɨɜɢɬɨɦ ɞɪɠɚʃɭ ɧɚ ɫɰɟɧɢ, ɞɨɛɢɨ ʁɟ ɧɨɜɨ ɡɧɚɱɟʃɟ – ɚɪɚɛɟɫɤɚ ʁɟ ɛɢɨ ɧɚɡɢɜ ɡɚ ɮɢɝɭɪɭ ɭ ɤɨʁɨʁ ʁɟ ɨɫɥɨɧɚɰ ɩɥɟɫɚɱɚ ɩɪɟɦɟɲɬɟɧ ɫɚ ɨɛɚ ɫɬɨɩɚɥɚ ɫɚɦɨ ɧɚ ɜɪɯɨɜɟ ɩɪɫɬɢʁɭ ʁɟɞɧɟ ɧɨɝɟ, ɞɨɤ ʁɟ ɞɪɭɝɚ ɜɢɫɨɤɨ ɩɨɞɢɝɧɭɬɚ ɧɚɡɚɞ, ɱɢɦɟ ɰɟɥɨɤɭɩɧɚ ɛɚɥɟɬɫɤɚ ɮɢɝɭɪɚ (ɚɪɚɛɟɫɤɚ) ɞɨɛɢʁɚ ɧɚ ɥɚɤɨʄɢ. ɉɪɢɥɢɤɨɦ ɢɡɜɨђɟʃɚ ɚɪɚɛɟɫɤɟ, ɩɥɟɫɚɱ ɨɞɚʁɟ ɭɬɢɫɚɤ ɤɚɨ ɞɚ ɥɟɛɞɢ ɢɡɧɚɞ ɩɨɜɪɲɢɧɟ ɫɰɟɧɟ, ɡɛɨɝ ɱɟɝɚ ɫɟ, ɧɚɪɨɱɢɬɨ ɬɨɤɨɦ ɟɩɨɯɟ ɪɨɦɚɧɬɢɡɦɚ, ɞɨɜɨɞɢɨ ɭ ɜɟɡɭ ɫɚ ɟɬɟɪɢɱɧɢɦ ɛɢʄɢɦɚ ɧɟɛɟɫɤɨɝ ɫɜɟɬɚ. Ɍɨ ʁɟ ɭɫɥɨɜɢɥɨ ɞɚ ɨɜɚ ɛɚɥɟɬɫɤɚ ɮɢɝɭɪɚ ɞɨɛɢʁɟ ɞɭɛɨɤɨ ɫɢɦɛɨɥɢɱɤɨ ɡɧɚɱɟʃɟ.331 330 Elizabeth McCombie, ɧɚɜ. ɞɟɥɨ, 40. 331 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɭ: Francesca Falcone, “The Evolution of the Arabesque in Dance”, Dance Chronicle, Vol. 22, No. 1, 1999, 71–117. { 209 } L’Adorable arabesque totale Ɍɚɤɨђɟ, ɬɨɤɨɦ 19. ɜɟɤɚ ɚɪɚɛɟɫɤɚ ɫɟ ɧɚɥɚɡɢɥɚ ɭ ɫɪɟɞɢɲɬɭ ɟɫɬɟɬɫɤɟ ɢɦɚɝɢɧɚɰɢʁɟ ɜɟɥɢɤɨɝ ɛɪɨʁɚ ɫɥɢɤɚɪɚ, ɩɟɫɧɢɤɚ, ɩɚ ɢ ɦɭɡɢɱɚɪɚ. Ɍɚɤɨ ʁɟ, ɧɚ ɩɪɢɦɟɪ, ɡɚ ɮɪɚɧɰɭɫɤɨɝ ɫɥɢɤɚɪɚ ɢ ɝɪɚɜɟɪɚ Ɏɟɥɢɤɫɚ Ȼɪɚɤɦɨɧɞɚ (Félix Braquemond), ɭɦɟɬɧɨɫɬ ɛɢɥɚ ‘ɚɩɫɬɪɚɤɰɢʁɚ’, ɚ ɧɟ ɤɨɩɢʁɚ ɩɪɢɪɨɞɧɢɯ ɮɨɪɦɢ, ɞɨɤ ʁɟ ʃɟɧɚ ɫɭɲɬɢɧɚ ɛɢɥɚ ɡɚɫɧɨɜɚɧɚ ɧɚ ɨɪɧɚɦɟɧɬɚɥɧɨɦ ɩɪɢɧɰɢɩɭ.332 Ɂɚɩɪɚɜɨ, ɨɪɧɚɦɟɧɬɚɥɧɢ ɩɪɢɧɰɢɩ ʁɟ ɭɦɟɬɧɢɰɢɦɚ ɫɥɭɠɢɨ ɤɚɨ agent (ɩɨɤɪɟɬɚɱɤɚ ɫɢɥɚ) ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ ɭ ɦɟɬɚɦɨɪɮɨɡɢ ɩɪɢɪɨɞɟ ɭ ɭɦɟɬɧɨɫɬɢ, ɚ ɬɨ ʁɟ ɭɩɪɚɜɨ ɨɧɨ ɲɬɨ ʄɟ Ɇɚɥɚɪɦɟ ɧɚɡɜɚɬɢ l’arabesque totale, ɨɞɧɨɫɧɨ, ɫɭɲɬɢɧɫɤɢɦ ɩɨɤɪɟɬɨɦ ɤɨɦɩɨɡɢɰɢʁɟ ɤɨʁɢ ɞɟɮɢɧɢɲɟ ɥɢɱɧɭ ɜɢɡɢʁɭ ɭɦɟɬɧɢɤɚ ɢ ʃɟɝɨɜɨ ɜɢђɟʃɟ ɩɪɟɞɦɟɬɚ. L’arabesque totale ɩɪɟɞɫɬɚɜʂɚ ɦɚɧɢɮɟɫɬɚɰɢʁɭ ɭɦɟɬɧɢɤɨɜɟ ɦɨʄɢ ɢɦɚɝɢɧɚɰɢʁɟ ɩɪɟɞ ɥɢɤɨɦ ɩɪɢɪɨɞɟ ɫɚɦɟ, ɤɨʁɚ ɤɚɨ ɬɚɤɜɚ ɫʁɟɞɢʃɭʁɟ ‘ɨɩɢɩʂɢɜɨ’ (ɨɫɟɬɧɨ) ɢ ‘ɧɟɢɡɪɟɰɢɜɨ’. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɨɧɚ ʁɟ ɡɚ Ɇɚɥɚɪɦɟɚ (ɢɡɭɡɟɬɧɨ ɫɧɚɠɚɧ) ɫɢɦɛɨɥ ɜɟɡɟ ɢɡɦɟђɭ l’object de circonstance ɢ ‘Absolu’, ɚ ʃɟɧɚ ɩɪɢɜɥɚɱɧɨɫɬ ɥɟɠɢ ɭ ɫɩɨɫɨɛɧɨɫɬɢ ɞɚ, ɤɚɤɨ Ɇɚɥɚɪɦɟ ɢɫɬɢɱɟ, ɩɪɢɯɜɚɬɢ ɢ ɨɛɭɯɜɚɬɢ ɩɪɨɰɟɫ ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ ɛɟɡ ɞɢɪɟɤɬɧɨɝ ɩɪɢɛɟɝɚɜɚʃɚ ɫɚɦɨɦ ɨɛʁɟɤɬɭ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɫɬɪɭɤɬɭɪɚ ɫɚɦɟ ɚɪɚɛɟɫɤɟ ɦɨɠɟ ɢɡɪɚɡɢɬɢ ‘ɂɞɟʁɭ’ ɫɭɲɬɢɧɟ ɩɪɟɞɦɟɬɚ, ɚ ɧɟɩɨɫɪɟɞɧɨ ʁɟ ɢ ɭ ɜɟɡɢ ɫɚ ɫɭɲɬɢɧɨɦ ɢɦɚɝɢɧɚɰɢʁɟ ɢ ɩɨɟɡɢʁɟ, ɤɚɨ ɜɢɞ ɨɬɟɥɨɬɜɨɪɟʃɚ ɪɚɫɤɨɲɢ, ɰɟɥɨɜɢɬɨɫɬɢ, ɚɥɢ ɢ ɭɨɩɲɬɟ ɫɚ ɫɬɪɭɤɬɭɪɨɦ ɭɦɟɬɧɢɱɤɢ ɭɪɟђɟɧɨɝ ɯɚɨɫɚ ɭ ɩɨɟɡɢʁɢ.333 ɉɪɢɫɭɫɬɜɨ ɚɪɚɛɟɫɤɧɨɝ ɩɪɢɧɰɢɩɚ ɭ ɧɟɤɨɦ ɞɟɥɭ, ɨɡɧɚɤɚ ʁɟ ɦɨʄɢ ɢɦɚɝɢɧɚɰɢʁɟ ɭɦɟɬɧɢɤɚ – ɬɨ ʁɟ ‘Maître’ ɢɡ Un coup de Dés (Ȼɚɰɚʃɟ ɤɨɰɤɟ) ɢɥɢ ‘opérateur’ ɢɡ le Livre (Ʉʃɢɝɚ). ɋɚɦɚ ɩɪɢɪɨɞɚ ɚɪɚɛɟɫɤɟ, ɭ ɫɜɨʁɨʁ ɬɪɚʁɧɨʁ ɫɬɪɭɤɬɭɪɢ ɚɥɬɟɪɧɚɰɢʁɟ ɢ ɩɨɜɪɚɬɤɚ, ɩɪɟɞɫɬɚɜʂɚ ɫɢɦɛɨɥɢɱɤɭ ɪɟɩɪɟɡɟɧɬɚɰɢʁɭ ɩɪɨɰɟɫɚ ɩɨɫɬɚʁɚʃɚ ɢɡ ɩɪɢɪɨɞɧɟ ɮɨɪɦɟ ɤɚ ɚɩɫɬɪɚɤɬɧɨʁ ɭɦɟɬɧɢɱɤɨʁ ɩɪɟɞɫɬɚɜɢ – ɞɚɤɥɟ, ɚɪɚɛɟɫɤɚ ʁɟ ɫɯɜɚʄɟɧɚ ɢ ɩɪɟɩɨɡɧɚɬɚ ɭ ɫɚɦɨʁ ɩɪɢɪɨɞɢ, ɚɥɢ, ɢ ɤɚɨ ɞɟɨ ɩɪɨɰɟɫɚ ɤɨʁɢ ʁɟ ɬɪɚɧɫɮɨɪɦɢɲɟ. 332 ɍɩɨɪɟɞɢɬɢ ɫɚ: Elizabeth McCombie, ɧɚɜ. ɞɟɥɨ, 99. 333 ɂɫɬɨ. { 210 } Ɂɚɤɨɧɢɬɨɫɬɢ ɢ ɝɪɚɦɚɬɢɤɚ ɨɪɧɚɦɟɧɬɚ ɉɪɟɦɚ ɦɢɲʂɟʃɭ ɟɧɝɥɟɫɤɨɝ ɭɦɟɬɧɢɤɚ ɢ ɢɫɬɨɪɢɱɚɪɚ ɭɦɟɬɧɨɫɬɢ Ɋɚɥɮɚ ȼɨɪɧɚɦɚ (Ralph Wornum), ɰɟɥɨɤɭɩɧɚ ‘ɝɪɚɦɚɬɢɤɚ ɨɪɧɚɦɟɧɬɚ’ ɫɚɫɬɨʁɢ ɫɟ ɨɞ ɦɨɬɢɜɚ, ʃɢɯɨɜɨɝ ɪɢɬɦɢɱɤɨɝ ɩɨɧɚɜʂɚʃɚ, ɫɜɨʁɟɜɪɫɧɨɝ ɞɨɩɭʃɚɜɚʃɚ ɧɨɜɢɦ ɤɨɧɬɪɚɫɬɢɪɚʁɭʄɢɦ ɟɥɟɦɟɧɬɢɦɚ/ɦɨɬɢɜɢɦɚ, ɡɚɬɢɦ ʃɢɯɨɜɨɝ ɩɪɟɩɥɢɬɚʃɚ ɢ ɩɨɧɨɜɧɨɝ ɢɡɪɚɫɬɚʃɚ/ɪɚђɚʃɚ ʁɟɞɧɨɝ ɢɡ ɞɪɭɝɨɝ.334 ɂɡ ɨɜɨɝɚ ɩɪɨɢɡɥɚɡɟ, ɫɦɚɬɪɚ ȼɨɪɧɚɦ, ɢ ɞɜɚ ɨɫɧɨɜɧɚ ɩɪɢɧɰɢɩɚ ɝɪɚɦɚɬɢɤɟ ɨɪɧɚɦɟɧɬɚɥɧɟ ɫɢɧɬɚɤɫɟ, ɚ ɬɨ ɫɭ: ɟɭɪɢɬɦɢʁɚ – ɩɪɢɧɰɢɩ ɤɨʁɢ ʁɟ ɬɭ ɫɚ ɰɢʂɟɦ ɞɚ ɭɫɩɨɫɬɚɜɢ ɯɚɪɦɨɧɢʁɭ ɢɡɦɟђɭ ɦɨɬɢɜɚ/ɟɥɟɦɟɧɚɬɚ – ɢ ɭɫɥɨɠʃɚɜɚʃɟ – ɩɪɢɧɰɢɩ ɤɨʁɢ ʁɟ ɜɨђɟɧ ɞɢʁɚɦɟɬɪɚɥɧɨ ɫɭɩɪɨɬɧɢɦ ɟɫɬɟɬɫɤɢɦ ɠɟʂɚɦɚ.335 Ɉɜɚ ɞɜɚ ɩɪɢɧɰɢɩɚ ɨɪɧɚɦɟɧɬɚɥɧɟ ɫɢɧɬɚɤɫɟ ɪɟɮɥɟɤɬɭʁɭ ɩɪɢɧɰɢɩɟ ɪɟɞɚ ɢ ɯɚɨɫɚ, ɬɨ ʁɟɫɬ, ɫɤɥɚɞɚ ɢ ɧɟɫɤɥɚɞɚ ɤɨʁɢ ɫɟ ‘ɞɪɚɦɚɬɢɡɭʁɭ’ ɤɪɨɡ ɚɪɚɛɟɫɤɭ, ɚ ɤɨʁɢ ɫɭ ɩɪɢɫɭɬɧɢ ʁɨɲ ɨɞ ɧɚʁɪɚɧɢʁɢɯ ɨɛɥɢɤɚ ɢɫɥɚɦɫɤɟ ɜɢɡɭɟɥɧɟ ɭɦɟɬɧɨɫɬɢ. ɋ ɨɜɢɦ ɭ ɜɟɡɢ, ɧɚɦɟʄɟ ɫɟ ɢ ɩɢɬɚʃɟ ɤɨʁɟ ɝɥɚɫɢ: ɤɚɤɨ ɨɤɨ ɩɪɚɬɢ ɨɛɥɢɤ ɚɪɚɛɟɫɤɟ? Ɍɟɤ ɲɬɨ ɭɨɱɢ ɧɟɤɢ ʃɟɧ ɫɟɝɦɟɧɬ ɢ ɩɨɱɧɟ ɞɚ ɝɚ ɩɪɚɬɢ, ɩɨɫɦɚɬɪɚɱ ɚɪɚɛɟɫɤɟ, ɭɨɱɚɜɚ ɤɚɤɨ ɫɟ ɬɚʁ ɫɟɝɟɦɧɬ ɩɨɧɚɜʂɚ (ɫɚ ɦɚʃɟ ɢɡɪɚɠɟɧɢɦ ɦɨɞɢɮɢɤɚɰɢʁɚɦɚ), ɡɚɬɢɦ, ɤɚɤɨ ɫɟ ʁɟɞɚɧ ɢɫɩɪɜɚ ɞɨɦɢɧɚɧɬɚɧ ɦɨɬɢɜ ɧɟɨɱɟɤɢɜɚɧɨ ɩɨɜɥɚɱɢ ɩɪɟɞ ɞɪɭɝɢɦ ɦɨɬɢɜɨɦ, ɢɥɢ, ɩɚɤ ɝɪɭɩɨɦ ʃɢɯ, ɤɨʁɢ ɬɚɤɨђɟ ɩɪɟɩɭɲɬɚʁɭ ɩɪɨɫɬɨɪ ɧɟɤɨɦ ɞɪɭɝɨɦ ɦɨɬɢɜɭ. Ɍɢɦ ɪɢɬɦɢɱɤɢ ɭɫɤɥɚђɟɧɢɦ ɩɨɧɚɜʂɚʃɟɦ, ɤɨɧɫɬɚɧɬɧɢɦ ɝɪɚɧɚʃɟɦ ɢ ɥɢɫɬɚʃɟɦ, ɚɪɚɛɟɫɤɚ ɜɨɞɢ ɩɨɝɥɟɞ ɩɨɫɦɚɬɪɚɱɚ ɭ ɩɨɬɪɚɝɭ ɡɚ ʃɟɧɢɦ ɤɪɚʁɟɦ, ɧɟɧɚɦɟɬʂɢɜɨ ɦɭ, ɭ ɩɪɨɰɟɫɭ ɬɨɝ ɬɪɚɝɚʃɚ, ɨɬɤɪɢɜɚʁɭʄɢ ɫɜɨʁɟ ɨɞɥɢɤɟ. Ⱦɚɤɥɟ, ɨɤɨ ɩɨɫɦɚɬɪɚɱɚ ʁɟ ɮɢɤɫɢɪɚɥɨ ɧɟɤɢ ɞɟɬɚʂ, ɩɪɢ ɱɟɦɭ ɧɢʁɟ ɩɪɟɫɭɞɧɨ ɡɚ ɟɫɬɟɬɫɤɢ ɞɨɠɢɜʂɚʁ ɞɟɥɚ ɨɞ ɤɨʁɟɝ ɞɟɬɚʂɚ ʁɟ ɨɩɚɠɚʃɟ ɩɨɱɟɥɨ (ɬɨ ʄɟ ɫɟ ɩɨɤɚɡɚɬɢ ɜɚɠɧɢɦ ɡɚ ɤɚɫɧɢʁɟ ɢɡɜɨђɟʃɟ ɚɧɚɥɨɝɢʁɟ ɫɚ ɤʃɢɠɟɜɧɢɦ ɞɟɥɨɦ), ɢ ɜɪɥɨ ʁɟ ɛɪɡɨ ɭɨɱɢɥɨ ɤɚɤɨ ɞɟɬɚʂɢ ɬɟɠɟ ɞɚ ɫɟ ɪɢɬɦɢɱɤɢ ɩɨɧɚɜʂɚʁɭ ɭ ɛɟɫɤɪɚʁ. ɍ ɬɨɦ ɫɦɫɥɭ, ɫɟɝɦɟɧɬɚɰɢʁɚ ɟɥɟɦɟɧɚɬɚ ɢ ʃɢɯɨɜɨ ɩɨɧɚɜʂɚʃɟ ɫɟ ɨɞɪɟђɭʁɭ ɤɚɨ ɫɬɪɭɤɬɭɪɧɢ ɩɪɢɧɰɢɩ ɧɚ ɧɚʁɧɢɠɟɦ ɧɢɜɨɭ. ɇɚ ɩɪɜɢ ɩɨɝɥɟɞ, ɮɪɚɝɦɟɧɬɢ ɫɭ ɫɚɦɨɞɨɜɨʂɧɢ: ɚɪɚɛɟɫɤɧɚ ɫɟɝɦɟɧɬɚɰɢʁɚ ɩɨɤɚɡɭʁɟ ɤɚɤɨ ʁɟɞɚɧ ɟɥɟɦɟɧɬ ʁɟɫɬɟ ɬɨ ɲɬɨ ʁɟɫɬɟ, ɚɥɢ ɨɧ ɧɟɨɫɟɬɧɨ ɢ ɫɬɪɯɨɜɢɬɨ ɛɪɡɨ ɩɪɟɥɚɡɢ ɭ ɧɟɲɬɨ ɞɪɭɝɨ, ɟɫɬɟɬɫɤɢ ɨɫɦɢɲʂɚɜɚʁɭʄɢ 334 Ralph Wornum, Analysis of Ornament: The Characteristics of Style (London: Chapman & Hall, 1873), 14. 335 ɍɩɨɪɟɞɢɬɢ ɫɚ: Rae Beth Gordon, Ornament, Fantasy and Desire in Nineteenth Century French Literature (Princeton – New Jersey: Princeton University Press, 1992), 13. { 211 } ɫɟɛɟ ɢ ɬɨ ɞɪɭɝɨ, ɨɞɧɨɫɧɨ, ɫɟɛɟ ɫɚ ɞɪɭɝɢɦ, ɢ ɨɛɪɧɭɬɨ, ɬɚɤɨ ɞɚ ɫɟ ɩɨʁɟɞɢɧɚɱɧɨɫɬɢ ɢ ɩɨɫɟɛɧɨɫɬɢ ɭ ɬɨɦ ɜɟɥɢɤɨɦ ɧɢɡɭ ɩɪɟɜɥɚɞɚɜɚʁɭ ɭ ɰɟɥɨɤɭɩɧɨɫɬɢ ɩɨʁɟɞɢɧɚɱɧɨɫɬɢ. Ɉɧɨ ɭ ɱɟɦɭ ɫɟ ɨɝɥɟɞɚ ɞɪɚɠ ɨɪɧɚɦɟɧɬɚɥɧɟ ɚɪɚɛɟɫɤɟ ʁɟɫɬɟ ɬɨ ɲɬɨ ɫɭ ɩɨɧɚɜʂɚʁɭʄɢ ɟɥɟɦɟɧɬɢ ɭ ɫɬɚɥɧɨɦ ɝɢɛɚʃɭ ɩɪɟɜɥɚɞɚɥɢ ɜɥɚɫɬɢɬɭ ɫɟɝɦɟɧɬɢɪɚɧɨɫɬ ɢ ɫɥɢɱɧɨɫɬ, ɚ ɡɚɬɢɦ ɢ ɤɨɧɫɬɚɧɬɧɭ ɪɟɩɟɬɢɬɢɜɧɨɫɬ, ɭɝɪɚђɭʁɭʄɢ ɫɜɟ ɬɨ ɭ ɰɟɥɢɧɭ ɤɨʁɚ ɢɦ ɞɚʁɟ ɤɨɧɚɱɚɧ ɫɦɢɫɚɨ. Ɉɧɨ ɲɬɨ ɫɟ ɬɚɤɨђɟ ɭɨɱɚɜɚ ʁɟɫɬɟ ɞɚ ɫɭ ɟɥɟɦɟɧɬɢ ɤɨʁɢ ɱɢɧɟ ɚɪɚɛɟɫɤɭ ɭɝɪɚђɟɧɢ ɭ ɰɟɥɢɧɭ ɧɚ ɬɚɤɚɜ ɧɚɱɢɧ ɞɚ ɫɟ, ɡɚɩɪɚɜɨ, ɩɪɟɩɨɡɧɚʁɟ ɬɟɠʃɚ ɞɚ ɫɟ ɩɪɟɤɪɢʁɟ ɰɟɥɨɤɭɩɚɧ ɩɪɨɫɬɨɪ, ɢɥɢ ɰɟɥɚ ɩɨɜɪɲɢɧɚ; ɭɦɟɬɧɢɤ ɧɟɝɞɟ ɡɚɜɪɲɚɜɚ ɫɜɨʁɟ ɞɟɥɨ – ɧɚʁɱɟɲʄɟ ɩɨɲɬɨ ʁɟ ɚɪɚɛɟɫɤɚ ɨɜɥɚɞɚɥɚ ɡɚɞɚɬɢɦ ɩɪɨɫɬɨɪɨɦ – ɚɥɢ ʁɟ ɬɚʁ ɡɚɜɪɲɟɬɚɤ ɦɨɝɚɨ ɛɢɬɢ ɢ ɧɚ ɧɟɤɨɦ ɞɪɭɝɨɦ ɦɟɫɬɭ, ɞɪɭɝɚɱɢʁɟɝ ɨɛɢɦɚ, ɭɤɨɥɢɤɨ ɛɢ ɩɪɨɫɬɨɪ ɬɨ ɧɚɥɚɝɚɨ; ɬɚɤɨ, ɭɦɟɬɧɢɤ ɛɢ ɦɨɝɚɨ ɞɚʂɟ ɝɪɚɧɚɬɢ ɚɪɚɛɟɫɤɭ, ɫɜɟ ɞɨɤ ɧɟ ɨɜɥɚɞɚ ɩɨɜɪɲɢɧɨɦ. Ⱦɚɤɥɟ, ɨɞɥɢɤɚ ɚɪɚɛɟɫɤɟ ʁɟɫɬɟ ɬɟɠʃɚ ɡɚ ɨɜɥɚɞɚɜɚʃɟɦ ɩɪɨɫɬɨɪɨɦ/ɩɨɜɪɲɢɧɨɦ ɤɪɨɡ ɩɪɨɰɟɫ ɪɟɩɟɬɢɰɢʁɟ ɟɥɟɦɟɧɚɬɚ. ɂ ɭɩɪɚɜɨ ɭ ɜɟɡɢ ɫɚ ɬɢɦ, ɡɚ ɚɪɚɛɟɫɤɭ ʁɟ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɨ ɢ ɬɨ ɞɚ ɧɟɦɚ ɧɚɝɥɚɲɟɧ ɩɨɱɟɬɚɤ, ɫɪɟɞɢɧɭ ɢ ɤɪɚʁ: ɨɧɚ ɫɟ ɧɟ ɪɚɡɜɢʁɚ ɥɢɧɟɚɪɧɨ, ɜɟʄ ɩɨɧɚɜʂɚʃɟɦ ɫɜɨʁɢɯ ɫɟɝɦɟɧɚɬɚ ɨɜɥɚɞɚɜɚ ɩɨɜɪɲɢɧɨɦ ɤɪɭɠɧɨ. Ɂɚɩɪɚɜɨ, ɡɚɯɜɚʂɭʁɭʄɢ ɩɪɢɧɰɢɩɭ ɩɨɜɟɡɢɜɚʃɚ ɟɥɟɦɟɧɚɬɚ/ɫɟɝɦɟɧɚɬɚ ɞɟɥɨ ɡɚɫɧɨɜɚɧɨ ɧɚ ɚɪɚɛɟɫɤɧɨɦ ɩɪɢɧɰɢɩɭ ɦɨɝɭʄɟ ʁɟ ɨɛɭɯɜɚɬɢɬɢ ɩɨɝɥɟɞɨɦ ɫɚ ɪɚɡɧɢɯ ɫɬɪɚɧɚ. ɍ ɫɜɚɤɨɦ ɫɥɭɱɚʁɭ, ɨɧɚ ɫɟ ɧɟ ɪɚɡɜɢʁɚ ɥɢɧɟɚɪɧɨ, ɱɢɦɟ ɛɢ ɡɚɯɬɟɜɚɥɚ ɢɫɬɨɫɦɟɪɧɭ ɩɟɪɰɩɟɰɢʁɭ ɢ ɫɬɜɚɪɚɥɚ ɢɡɜɟɫɧɭ ɧɚɩɟɬɨɫɬ ɫɬɪɭɤɬɭɪɢɪɚʃɚ ɨɞ ɩɨɱɟɬɤɚ, ɩɪɟɤɨ ɫɪɟɞɢɧɟ ɤɚ ɤɪɚʁɭ, ɜɟʄ ɡɚɯɜɚʂɭʁɭʄɢ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨʁ ɜɪɫɬɢ ɤɪɭɠɧɨɝ, ɧɟɥɢɧɟɚɪɧɨɝ ɫɬɪɭɤɬɭɪɢɫɚʃɚ, ɨɧɚ, ɦɟɬɚɮɨɪɢɱɤɢ ɪɟɱɟɧɨ, ɨɫɭʁɟʄɭʁɟ ɧɚɩɟɬɨɫɬ ɢ ɬɟɧɡɢʁɭ. Ɋɚɡɥɨɝ ɬɨɦɟ ɥɟɠɢ ɭ ɱɢʃɟɧɢɰɢ ɞɚ ɤɨɞ ɚɪɚɛɟɫɤɟ ɧɟɦɚ ɫɧɚɠɧɢɯ ɝɢɛɚʃɚ, ɧɟɦɚ ɧɟɦɢɪɧɢɯ ɤɨɜɢɬɥɚɰɚ, ɫɢɥɨɜɢɬɨɝ ɫɚɜɢʁɚʃɚ ɢ ɭɜɪɬɚʃɚ, ɧɟɦɚ ɫɭɤɨɛʂɚɜɚʃɚ ɟɥɟɦɟɧɚɬɚ ɫɚ ɰɢʂɟɦ ɩɪɟɭɡɢɦɚʃɚ ɞɨɦɢɧɚɰɢʁɟ ʁɟɞɧɨɝ ɨɞ ʃɢɯ ɭ ɫɚɦɨʁ ɫɬɪɭɤɬɭɪɢ. ɇɚɩɪɨɬɢɜ, ɚɪɚɛɟɫɤɚ ʁɟ ɭ ɰɟɥɨɫɬɢ ɡɚɫɧɨɜɚɧɚ ɧɚ ɛɥɚɝɨɦ ɦɟɚɧɞɪɢɪɚɪʃɭ, ɦɨɬɢɜɢ/ɟɥɟɦɟɧɬɢ ɫɟ ɧɟ ɢɫɬɢɱɭ ɞɨ ɝɪɚɧɢɰɟ ɫɭɤɨɛʂɚɜɚʃɚ ɫɚ ɨɫɬɚɥɢɦ ɟɥɟɦɟɧɬɢɦɚ, ɜɟʄ ɫɟ ‘ɬɢɯɨ’/‘ɦɢɪɧɨ’ ɩɨɜɥɚɱɟ ɩɪɟɩɭɲɬɚʁɭʄɢ ɬɢɦ ɞɪɭɝɢɦ ɟɥɟɦɟɧɬɢɦɚ/ɦɨɬɢɜɢɦɚ ɦɟɫɬɨ. Ɍɚɤɜɢɦ ɩɪɨɰɟɫɨɦ ɨɧɢ ɚɮɢɪɦɢɲɭ ɧɚɩɨɪɟɞɧɨɫɬ ɢ ɩɪɟɪɚɫɬɚʃɟ, ɢ ɬɨ ɭ ɫɜɢɦ ɩɪɚɜɰɢɦɚ. ȿɮɟɤɚɬ ɤɨɧɬɪɚɫɬɚ ɢ ɞɢɧɚɦɢɤɟ ɫɟ, ɟɜɟɧɬɭɚɥɧɨ, ɩɨɫɬɢɠɟ ɪɚɡɥɢɱɢɬɨɦ ‘ɝɭɫɬɢɧɨɦ’ ɟɥɟɦɟɧɚɬɚ, ɨɞɧɨɫɧɨ, { 212 } ɢɧɬɟɧɡɢɜɧɢʁɢɦ ɭɜɨђɟʃɟɦ ɧɨɜɢɯ, ɤɨʁɢ ɢ ɞɚʂɟ ‘ɫɚɪɚђɭʁɭ’ ɭ ɨɩɲɬɟɦ ɩɪɢɧɰɢɩɭ ɯɚɪɦɨɧɢɱɧɨɫɬɢ. Ɍɚɤɨ ɤɪɭɠɧɨ ɦɢɲʂɟɧɚ, ɚɪɚɛɟɫɤɚ ɡɚɩɪɚɜɨ ɩɨɧɢɲɬɚɜɚ ɢɞɟʁɭ ɨ ɩɨɫɬɨʁɚʃɭ ɤɪɚʁɚ ɢ ɤɨɧɚɱɧɨɫɬɢ, ɨɞɧɨɫɧɨ, ɩɪɟɢɫɩɢɬɭʁɟ ɤɨɧɰɟɩɬ ɩɨɫɬɨʁɚʃɚ ʁɟɞɧɨɝ ɩɨɱɟɬɤɚ ɢ ʁɟɞɧɨɝ ɤɪɚʁɚ (ɭɧɭɬɚɪ ɫɟɛɟ ɫɚɦɟ). Ɉɜɚɤɜɨ ɫɬɪɭɤɬɭɪɢɪɚʃɟ ɚɪɚɛɟɫɤɟ ɢ ɩɪɟɞɨɦɢɧɚɧɬɧɨɫɬ ʃɟɧɨɝ ɟɫɬɟɬɢɤɨɝ ɩɪɢɧɰɢɩɚ ɭ ɞɪɭɝɢɦ ɭɦɟɬɧɢɱɤɢɦ ɞɟɥɢɦɚ, ɧɚɪɨɱɢɬɨ ɤʃɢɠɟɜɧɢɦ, ɭ ɬɟɫɧɨʁ ɫɭ ɜɟɡɢ ɫɚ ɩɨɢɦɚʃɟɦ ɜɪɟɦɟɧɚ ɫɜɟɬɚ ɢ ɤɭɥɬɭɪɟ ɢɡ ɤɨʁɢɯ ɜɨɞɢ ɩɨɪɟɤɥɨ. ɇɚɢɦɟ, ɭ ɚɪɚɩɫɤɨɢɫɥɚɦɫɤɨʁ ɤɭɥɬɭɪɢ ɜɪɟɦɟ ɫɟ ɩɨɢɦɚ ɤɚɨ ɰɢɤɥɢɱɧɨ ɢɥɢ ɤɪɭɠɧɨ (al-zaman al-da ’iri). ȼɢɬɪɟʁ-Ɇɟʁɟɪɨɜɢɱ ɜɪɟɦɟ ɭ ɢɫɥɚɦɫɤɨʁ ɮɢɥɨɡɨɮɢʁɢ ɧɚɡɢɜɚ ɜɟɪɬɢɤɚɥɧɢɦ, ɚɬɨɦɢɫɬɢɱɤɢɦ ɜɪɟɦɟɧɨɦ. ɑɢɧɢ ɫɟ ɞɚ ʁɟ ɬɟɪɦɢɧ ɚɬɨɦɢɫɬɢɱɤɢ ɚɞɟɤɜɚɬɧɢʁɢ, ɩɪɟɦɞɚ ʁɟ ɫɦɢɫɚɨ ɜɟɪɬɢɤɚɥɟ ɭ ɢɫɥɚɦɭ ɭɬɟɦɟʂɟɧ ɜɢɲɟɫɬɪɭɤɨ ɢ ɜɢɲɟɡɧɚɱɧɨ. Ɇɟђɭɬɢɦ, ɚɪɚɩɫɤɢ ɬɟɪɦɢɧ al-zaman al-da ’iri ɨɡɧɚɱɚɜɚ ɤɪɭɠɧɨ ɢɥɢ ɰɢɤɥɢɱɧɨ ɜɪɟɦɟ ɤɨʁɟ ʁɟ ɚɬɨɦɢɫɬɢɱɤɢ ɫɚɫɬɚɜʂɟɧɨ ɨɞ ɛɟɫɤɨɧɚɱɧɨɝ ɧɢɡɚ ɩɨɧɚɜʂɚʁɭʄɢɯ ɫɟɤɜɟɧɰɢ. Ɍɨ ɩɨɢɦɚʃɟ ɫɟ ɫɧɚɠɧɨ ɞɢɮɟɪɟɧɰɢɪɚ ɭ ɨɞɧɨɫɭ ɧɚ ɩɨɢɦɚʃɟ ɜɪɟɦɟɧɚ ɭ, ɧɚ ɩɪɢɦɟɪ, ʁɭɞɟɨɯɪɢɲʄɚɧɫɤɨʁ ɤɭɥɬɭɪɢ, ɤɨʁɟ ʁɟ ɥɢɧɟɚɪɧɨ: ɨɧɨ ɬɟɱɟ ɨɞ ɧɟɤɨɝ (ɡɚɦɢɲʂɟɧɨɝ) ɩɨɱɟɬɤɚ ɤɚ ɢɡɜɟɫɧɨɦ ɤɪɚʁɭ in continuo, ɭɩɪɚɜɨ ɥɢɧɟɚɪɧɨ. Ɍɚɤɨ ɪɚɡɥɢɱɢɬɚ ɫɯɜɚɬɚʃɚ ɜɪɟɦɟɧɚ ɮɨɪɦɢɪɚʁɭ ɢ ɪɚɡɥɢɱɢɬɟ ɨɞɧɨɫɟ ɩɪɟɦɚ ʃɟɦɭ, ɛɢɥɨ ɞɚ ʁɟ ɪɟɱ ɨ ɢɫɬɨɪɢʁɫɤɨɦ ɜɪɟɦɟɧɭ, ɢɥɢ ɨ ɜɪɟɦɟɧɫɤɨɦ ɨɪɢʁɟɧɬɢɫɚʃɭ ɢɧɞɢɜɢɞɭɭɦɚ ɭ ʃɟɦɭ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɩɪɚɜɢ ɫɟ ʁɚɫɧɚ ɪɚɡɥɢɤɚ ɢ ɩɪɢɥɢɤɨɦ ɦɟɪɟʃɚ ɜɪɟɦɟɧɚ, ɚɥɢ ɧɟ ɭ ɚɫɬɪɨɧɨɦɫɤɨɦ ɫɦɢɫɥɭ, ɜɟʄ ɭ ɫɦɢɫɭ ɜɪɟɞɧɨɫɬɢ. ɍ ɫɤɥɚɞɭ ɫɚ ɬɢɦ, ɭ ɮɢɥɨɡɨɮɢʁɢ ɥɢɧɟɚɪɧɨɝ ɩɨɢɦɚʃɚ ɜɪɟɦɟɧɚ ɫɜɟɫɬ ɨ ʃɟɦɭ ɤɚɨ ɬɚɤɜɨɦ ɭɩɪɚɜʂɟɧɚ ʁɟ ɨɞ ɩɨɱɟɬɧɟ ɬɚɱɤɟ ɩɪɟɦɚ ɤɪɚʁʃɨʁ, ɞɨɤ ɫɜɟɫɬ ɨ ɚɬɨɦɢɫɬɢɱɤɨɦ ɜɪɟɦɟɧɭ, ɨ ʃɟɝɨɜɨʁ ɤɪɭɠɧɨɫɬɢ ɢ ʃɟɝɨɜɨʁ ɩɨɧɨɜʂɢɜɨɫɬɢ ɭɩɭʄɭʁɟ ɧɚ ɢɡɜɟɫɬɚɧ ɨɫɟʄɚʁ ɥɚɝɨɞɧɨɫɬɢ, ɪɟɥɚɤɫɢɪɚɧɨɫɬɢ, ɩɪɟɞɭɩɪɟђɭʁɭʄɢ ɫɢɥɨɜɢɬɨɫɬ ɢ ɞɪɚɦɚɬɢɱɧɨɫɬ ɢɧɟɪɰɢʁɟ ɤɨʁɭ ɫɨɛɨɦ ɧɨɫɢ ɥɢɧɟɚɪɧɨ ɩɨɢɦɚʃɟ ɜɪɟɦɟɧɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɫɜɟɫɬ ɨ ɚɬɨɦɢɫɬɢɱɤɨɦ ɜɪɟɦɟɧɭ ʁɟ ɫɜɨʁ ɩɭɧɢ ɢɡɪɚɡ ɩɪɨɧɚɲɥɚ ɭ ɚɪɚɛɟɫɤɢ. Ⱦɚɤɥɟ, ɫɬɪɭɤɬɭɪɧɢ ɩɪɢɧɰɢɩ ɚɪɚɛɟɫɤɟ ɡɚɫɧɨɜɚɧ ɧɚ ɩɨɧɚɜʂɚʃɭ ɫɟɝɦɟɧɚɬɚ, ʃɢɯɨɜɨɦ ɪɢɬɦɢɱɤɨɦ ‘ɪɚɫɰɜɟɬɚɜɚʃɭ’, ɩɪɟɩɥɢɬɚʃɭ ɢ ɢɡɪɚɫɬɚʃɭ ʁɟɞɧɢɯ ɢɡ ɞɪɭɝɢɯ, ɫɚɫɜɢɦ ʁɟ ɫɚɨɛɪɚɡɧɨ ɤɪɭɠɧɨɦ ɩɨɢɦɚʃɭ ɜɪɟɦɟɧɚ ɫɚɫɬɚɜʂɟɧɨɝ ɨɞ ɧɢɡɚ ɩɨɧɨɜʂɟɧɢɯ ɫɟɤɜɟɧɰɢ. ɉɪɢ ɬɨɦɟ ʁɟ ɨɞ ɢɡɭɡɟɬɧɟ ɜɚɠɧɨɫɬɢ ɨɞɫɭɫɬɜɨ ɧɚɝɥɚɲɟɧɨɝ ɩɨɱɟɬɤɚ, ɫɪɟɞɢɧɟ ɢ ɤɪɚʁɚ, ɬɟ ɭ ɫɤɥɚɞɭ ɫ ɬɢɦ ɬɟɠʃɚ ɞɚ ɫɟ { 213 } ɧɟɥɢɧɟɚɪɧɢɦ ɪɚɫɩɪɨɫɬɢɪɚʃɟɦ ɩɪɟɤɪɢʁɟ ɰɟɥɚ ɩɨɜɪɲɢɧɚ/ɩɪɨɫɬɨɪ. ȼɪɟɦɟ ʁɟ, ɡɚɩɪɚɜɨ, ɚɪɚɛɟɫɤɧɨ ɢ ɚɪɚɛɟɫɤɚ ʁɟ ɢɡɪɚɡ ɬɚɤɜɨɝ ɜɪɟɦɟɧɚ.336 Ɉɜɚɤɜɨɦ ɤɨɧɰɟɩɬɭ ɦɨɠɞɚ ʁɟ, ɫɚ ɫɜɨɝ ɚɫɩɟɤɬɚ, ɧɚʁɛɥɢɠɢ ɮɪɚɧɰɭɫɤɢ ɬɟɨɪɟɬɢɱɚɪ ɤʃɢɠɟɜɧɨɫɬɢ, ɮɢɥɨɡɨɮ, ɤɪɢɬɢɱɚɪ ɢ ɫɟɦɢɨɬɢɱɚɪ – Ɋɨɥɚɧ Ȼɚɪɬ (Roland Barthes). ɇɚɢɦɟ, ɡɚ ʃɟɝɚ, ɬɟɤɫɬ (ɚ ɩɨɫɟɛɧɨ ɨɧɚʁ ɩɢɫɚɧɢ) ɩɪɟɞɫɬɚɜʂɚ ɝɚɥɚɤɫɢʁɭ ɨɡɧɚɱɢɬɟʂɚ, ɚ ɧɟ ɫɬɪɭɤɬɭɪɭ ɨɡɧɚɱɟɧɢɯ. Ɍɟɤɫɬ ɧɟɦɚ ʁɟɞɚɧ ɩɨɱɟɬɚɤ ɢ ɪɟɜɟɪɡɢɛɢɥɚɧ ʁɟ, ɚ ɭ ʃɟɝɚ ɦɨɠɟɦɨ ‘ɭʄɢ’ ɧɚ ɜɢɲɟ ɪɚɡɥɢɱɢɬɢɯ ɭɥɚɡɚ ɢ ɢɡ ʃɟɝɚ ɦɨɠɟɦɨ ‘ɢɡɚʄɢ’ ɧɚ ɜɢɲɟ ɢɡɥɚɡɚ, ɫ ɬɢɦ ɲɬɨ ʁɟ ɬɟɲɤɨ ɪɟʄɢ ɤɨʁɢ ɨɞ ʃɢɯ ʁɟ ɧɚʁɜɚɠɧɢʁɢ. Ⱦɚɤɥɟ, ɤɨɞ Ȼɚɪɬɚ ɫɟ ɫɭɫɪɟʄɟɦɨ ɫɚ ɨɬɜɨɪɟɧɨɲʄɭ ɤɚɤɜɭ ɦɨɠɟ ɢɦɚɬɢ ɢ ɚɪɚɛɟɫɤɚ. ɍɦɟɫɬɨ ɞɚ ɧɚɪɚɬɢɜ ɜɢɞɢ ɤɚɨ ɚɪɢɫɬɨɬɟɥɨɜɫɤɢ ɬɪɨɭɝɚɨ ɫɚ ɡɚɩɥɟɬɨɦ – ɟɤɫɩɨɡɢɰɢʁɚ, ɤɨɧɮɥɢɤɬ ɫɚ ɤɭɥɢɧɚɰɢʁɨɦ ɢ ɪɚɡɪɟɲɟʃɟ – Ȼɚɪɬ ɪɚɡɭɦɟ ɧɚɪɚɬɢɜ ɤɚɨ ɧɟɤɭ ɜɪɫɬɭ ɤɨɧɫɬɟɥɚɰɢʁɟ. ɑɢɧɢ ɫɟ ɞɚ ʁɟ ɨɜɚɤɚɜ (ɛɚɪɬɨɜɫɤɢ) ɤɨɧɰɟɩɬ ɧɚɪɚɬɢɜɚ ɦɨɠɞɚ ɧɚʁɛɥɢɠɢ ɤɨɧɰɟɩɬɭ ɚɪɚɛɟɫɤɟ ɛɭɞɭʄɢ ɞɚ ɧɢʁɟɞɚɧ ɨɞ ɬɚ ɞɜɚ ɮɟɧɨɦɟɧɚ ɧɟɦɚ ɬɪɢʁɚɞɧɭ ɢɥɢ, ɧɚ ɛɢɥɨ ɤɨʁɢ ɞɪɭɝɢ ɧɚɱɢɧ, ‘ɨɝɪɚɧɱɟɧɭ’ ɫɬɪɭɤɬɭɪɭ; ɬɟɨɪɢʁɫɤɢ, ɚɪɚɛɟɫɤɚ ɫɟ ɭɜɟɤ ɦɨɠɟ ɩɪɨɲɢɪɢɜɚɬɢ/ɪɚɡɥɢɫɬɚɜɚɬɢ/ɪɚɫɰɜɟɬɚɜɚɬɢ ɞɚʂɟ. ɇɨ, ɧɚ ɨɜɨɦ ɦɟɫɬɭ ɫɟ ɪɚђɚ ɢ ɧɨɜɢ ɤɪɭɝ ɩɢɬɚʃɚ ɭ ɜɟɡɢ ɫɚ ɩɨɟɬɢɤɨɦ ɚɪɚɛɟɫɤɟ, ɚ ɨɧɚ ɫɟ ɬɢɱɭ ɬɨɝɚ ɤɚɤɨ ɫɟ ɞɟɥɨɜɢ ɚɪɚɛɟɫɤɟ ɭɤɥɚɩɚʁɭ ʁɟɞɚɧ ɭ ɞɪɭɝɢ, ɤɚɤɨ ɫɟ ɩɨɜɟɡɭʁɭ, ɤɚɤɜɚ ɫɟ ɡɧɚɱɟʃɚ ɢ ɫɦɢɫɥɨɜɢ ɪɚђɚʁɭ ɧɚ ‘ɲɚɜɨɜɢɦɚ’, ɧɚ ɦɟɫɬɢɦɚ ɫɩɚʁɚʃɚ. ɋɜɚɤɢ ɬɚɤɚɜ ɲɚɜ ɢɥɢ ɝɪɚɧɢɰɚ ʁɟɫɬɟ ɡɧɚɱɚʁɧɨ ɦɟɫɬɨ ɡɚɬɨ ɲɬɨ ʁɟ ɬɨ ɦɟɫɬɨ ɩɨɜɟɡɢɜɚʃɚ, ɚɥɢ ɢ ɦɟɫɬɨ ɝɞɟ ɫɟ ɩɨʁɟɞɢɧɢ ɞɟɥɨɜɢ ɨɫɚɦɨɫɬɚʂɭʁɭ – ɬɨ ʁɟ ɢɫɬɨɜɪɦɟɧɨ ɢ ɦɟɫɬɨ ɫɩɚʁɚʃɚ ɢ ɦɟɫɬɨ ɪɚɡɞɜɚʁɚʃɚ, ɬɨ ʁɟɫɬ, ɤɨɧɫɬɟɥɚɰɢʁɚ ɭɩɥɢɬɚʃɚ ɢ ɩɪɟɩɥɢɬɚʃɚ ɡɧɚɱɟʃɚ... ɂ ɭɩɪɚɜɨ ɧɚ ɨɜɨɦ ɦɟɫɬɭ ɛɢɪɚɦ ɞɚ ɫɜɨʁɭ ɦɢɫɚɨ ɞɚʂɟ ɝɪɚɧɚɦ ɭ ɩɪɚɜɰɭ ɤɪɚʄɟ ɚɧɚɥɢɡɟ ɞɜɚ ɤʃɢɠɟɜɧɚ ɨɫɬɜɚɪɟʃɚ ɤɨʁɚ, ɢɚɤɨ ɯɪɨɧɨɥɨɲɤɢ ɜɟɨɦɚ ɭɞɚʂɟɧɚ, ɧɚ ɫɥɢɱɚɧ ɧɚɱɢɧ ɫɤɪɢɜɚʁɭ, ɚɥɢ ɢ ɪɚɡɨɬɤɪɢɜɚʁɭ ɟɥɟɦɟɧɬɟ ɚɪɚɛɟɫɤɧɨɝ ɩɪɢɧɰɢɩɚ. Јɟɞɧɨ ɨɞ ʃɢɯ ɩɪɢɩɚɞɚ ɚɪɚɩɫɤɨɢɫɥɚɦɫɤɨʁ ɤʃɢɠɟɜɧɨɫɬɢ, ɬɟ, ɦɨɠɞɚ ɫɚɫɜɢɦ ɨɱɟɤɢɜɚɧɨ, ɭ ɫɜɨʁɨʁ ‘ɛɢɬɢ’ ɧɟɝɭʁɟ ɚɪɚɛɟɫɤɧɢ ɩɪɢɧɰɢɩ. Ɋɟɱ ʁɟ ɨ „ɤʃɢɠɟɜɧɨʁ ɚɪɚɛɟɫɤɢ” ɏɢʂɚɞɭ ɢ ʁɟɞɧɚ ɧɨʄ /ΏΎتك فلأ ةليل ةليلو‎/), ɡɛɢɪɰɢ ɩɪɢɱɚ ɫɚɛɪɚɧɢɯ ɬɨɤɨɦ ɜɟɤɨɜɚ, ɨɞ ɫɬɪɚɧɟ ɛɪɨʁɧɢɯ ɚɭɬɨɪɚ, 336 ɍɩɨɪɟɞɢɬɢ ɫɚ: Esad Duraković i Marina Katnić-Bakaršić, Poetika arabeske, u: Novi izraz, januar-jun 2005, Sarajevo, 171‒176. { 214 } ɩɪɟɜɨɞɢɥɚɰɚ, ɧɚɭɱɧɢɤɚ ɧɚ ɩɪɨɫɬɨɪɭ ɡɚɩɚɞɧɟ, ɰɟɧɬɪɚɥɧɟ ɢ ʁɭɠɧɟ Ⱥɡɢʁɟ, ɢ ɋɟɜɟɪɧɟ Ⱥɮɪɢɤɟ. Ⱦɪɭɝɨ ɨɫɬɜɚɪɟʃɟ ɩɪɢɩɚɞɚ ɤʃɢɠɟɜɧɨɦ ɫɢɦɛɨɥɢɡɦɭ; ɪɚɞɢ ɫɟ ɨ Ɇɚɥɚɪɦɟɨɜɨʁ ɩɨɟɦɢ Ȼɚɰɚʃɟ ɤɨɰɤɟ ɧɢɤɚɞɚ ɧɟʄɟ ɭɤɢɧɭɬɢ ɫɥɭɱɚʁ ɤɨʁɚ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɧɨɦ ɤɨɧɫɬɟɥɚɰɢʁɨɦ ɪɟɱɢ ɧɚ ɛɟɥɨɦ ɩɚɩɢɪɭ, ɪɚɡɨɬɤɪɢɜɚ, ɤɚɤɨ ɭ ɝɪɚɮɢɱɤɨɦ ɫɦɢɫɥɭ, ɬɚɤɨ ɢ ɭ ɫɦɢɫɥɭ ɦɨɝɭʄɢɯ ɫɦɟɪɨɜɚ ɱɢɬɚʃɚ ɢ ɬɭɦɚɱɟʃɚ ɫɚɦ ɩɪɢɧɰɢɩ ɚɪɚɛɟɫɤɟ. Ɉɧɨ ɲɬɨ ʁɟ ɡɚɧɢɦʂɢɜɨ ɧɚɝɥɚɫɢɬɢ ɭ ɜɟɡɢ ɫɚ ɧɚɫɥɨɜɨɦ ɨɜɨɝ Ɇɚɥɚɪɦɟɨɜɨɝ ɨɫɬɜɚɪɟʃɚ ʁɟɫɬɟ ɬɨ ɞɚ ɪɟɱ le Hasard, ɤɨʁɚ, ɢɚɤɨ ɭ ɮɪɚɧɰɭɫɤɨɦ ʁɟɡɢɤɭ ɢɦɚ ɡɧɚɱɟʃɟ ɫɥɭɱɚʁɚ, ɡɚɩɪɚɜɨ, ɜɨɞɢ ɩɨɪɟɤɥɨ ɨɞ ɚɪɚɩɫɤɟ ɪɟɱɢ al-zahr ɢ ɡɧɚɱɢ „ɤɨɰɤɢɰɟ ɡɚ ɢɝɪɭ”; ɦɟђɭɬɢɦ, ɫɚɦɚ ɚɪɚɩɫɤɚ ɪɟɱ ʁɟɫɬɟ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɦɟɬɚɮɨɪɚ ɡɚ „ɢɦɚɬɢ ɫɪɟʄɟ”, ɲɬɨ ʁɟ ɡɧɚɬɧɨ ɛɥɢɠɟ ɡɧɚɱɟʃɭ ɬɟɪɦɢɧɚ „ɯɚɡɚɪɞɧɨ” – ɪɢɡɢɤɨɜɚɬɢ, ɢɦɚɬɢ ɫɪɟʄɟ, ɢɝɪɚɬɢ ɧɚ ɫɪɟʄɭ ɢ ɫɥ. ɉɪɟɬɩɨɫɬɚɜɤɚ ʁɟ ɞɚ ʁɟ Ɇɚɥɚɪɦɟ ɢɦɚɨ ɭ ɜɢɞɭ ɚɪɚɩɫɤɨ ɩɨɪɟɤɥɨ ɪɟɱɢ le Hasard, ɤɚɨ ɢ ʃɟɧɨ ɞɜɨɫɬɪɭɤɨ ɡɧɚɱɟʃɟ ɫ ɨɛɡɢɪɨɦ ɧɚ ɚɪɚɛɟɫɤɭ, ɤɚɞɚ ʁɟ ɞɚɜɚɨ ɧɚɫɥɨɜ ɫɜɨʁɨʁ ɩɨɟɦɢ. ɉɢɲɭʄɢ ɨ ɩɪɢɧɰɢɩɭ ɚɪɚɛɟɫɤɟ ɭ ɏɢʂɚɞɭ ɢ ʁɟɞɧɨʁ ɧɨʄɢ, ɋɚɧɞɪɚ ɇɚɞɚɮ (Sandra Naddaff) ɭɫɩɨɫɬɚɜʂɚ ɩɚɪɚɥɟɥɭ ɢɡɦɟђɭ ɨɪɧɚɦɟɧɬɚɥɧɟ ɚɪɚɛɟɫɤɟ ɤɚɨ ɫɜɨʁɟɜɪɫɧɟ ɫɬɢɥɢɡɚɰɢʁɟ, ɫɜɨʁɟɜɪɫɧɨɝ ɛɟɝɚ ɨɞ ɩɪɟɞɫɬɚɜʂɚʃɚ ɱɨɜɟɤɨɜɨɝ ɥɢɤɚ ɢ ɪɟɩɪɟɡɟɧɬɚɬɢɜɧɟ ɭɦɟɬɧɨɫɬɢ ɭɨɩɲɬɟ, ɢ ɧɚɪɚɬɢɜɧɟ ɚɪɚɛɟɫɤɟ ɤɚɨ ɛɟɝɚ ɨɞ ɩɪɢɤɚɡɢɜɚʃɚ ‘ɫɬɜɚɪɧɨɝ ɫɜɟɬɚ’, ɬɟ ɤɪɟɢɪɚʃɚ ɫɜɟʁɟɜɪɫɧɨɝ ɧɚɪɚɬɢɜɧɨɝ ɭɧɢɜɟɪɡɭɦɚ ɤɚɨ ɫɬɢɥɢɡɚɰɢʁɟ ɠɢɜɨɬɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɨɧɚ ɧɚɜɨɞɢ ɤɚɨ ʁɟɞɧɨ ɨɞ ɛɢɬɧɢɯ ɫɜɨʁɫɬɚɜɚ ɚɪɚɛɟɫɤɧɟ ɭɦɟɬɧɨɫɬɢ – ɛɢɥɨ ɨɪɧɚɦɟɧɬɚɥɧɟ, ɛɢɥɨ ɤʃɢɠɟɜɧɨ-ɭɦɟɬɧɢɱɤɟ – ɨɞɫɬɭɩɚʃɟ ɨɞ ɦɢɦɟɬɢɱɤɨɝ ɧɚɱɟɥɚ.337 Ⱦɚɤɥɟ, ɚɪɚɛɟɫɤɚ ɫɟ ɧɟ ɨɞɧɨɫɢ ɧɚ ɧɟɤɢ ɫɩɨʂɚɲʃɢ ɟɥɟɦɟɧɬ ɤɚɨ ɪɟɮɟɪɟɧɬ, ɜɟʄ ɩɪɟɧɨɫɢ ɛɪɟɦɟ ɡɧɚɱɟʃɚ ɧɚ ɨɞɧɨɫ ɫɜɚɤɨɝ ɟɥɟɦɟɧɬɚ ɩɪɟɦɚ ɟɥɟɦɟɧɬɢɦɚ ɤɨʁɢ ɦɭ ɩɪɟɬɯɨɞɟ ɢɥɢ ɫɥɟɞɟ ɡɚ ʃɢɦ, ɬɚɤɨ ɞɚ ɫɟ ɚɪɚɛɟɫɤɚ ɢɫɩɨɫɬɚɜʂɚ ɤɚɨ ɮɭɧɞɚɦɟɧɬɚɥɧɨ ɚɭɬɨɪɟɮɟɪɟɧɰɢʁɚɥɧɚ. ɋɚɦɚ ɚɪɚɛɟɫɤɧɚ ɫɬɢɥɢɡɚɰɢʁɚ ɩɪɟɩɨɡɧɚʁɟ ɫɟ ɩɨ ɚɧɬɢɦɢɦɟɬɢɱɤɨɦ ɧɚɱɟɥɭ, ɝɞɟ ɧɚɪɚɬɢɜɧɢ ɞɢɫɤɭɪɫ ɩɪɨɢɡɜɨɞɢ ɭɬɨɱɢɲɬɟ ɭ ɤɨʁɟɦ ɨɛɢɬɚɜɚ ɬɟɤɫɬɭɚɥɧɚ ɪɟɚɥɧɨɫɬ.338 337 Sandra Naddaff, Arabesque. Narrative Structure and the Aesthetics of Repetition in the 1001 Nights (Evanston – Illinois: North-Western University Press, 1991), 117‒119. 338 ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ ɧɟ ɱɭɞɢ ɬɨ ɲɬɨ ʄɟ (ɡɚɩɚɞɧɢ) ɩɨɫɬɫɬɪɭɤɬɭɪɚɥɢɡɚɦ ɢ ɩɨɫɬɦɨɞɟɪɧɚ ɤʃɢɠɟɜɧɨɫɬ, ɤɨʁɢ ɢɧɚɱɟ ɧɚɩɭɲɬɚʁɭ mimesis ɭ ɤɨɪɢɫɬ diegesis-ɚ, ɛɢɬɢ ɬɨɥɢɤɨ ɨɞɭɲɟɜʂɟɧɢ ɏɢʂɚɞɭ ɢ ʁɟɞɧɨɦ ɧɨʄɢ ɢ ɨɧɢɦ ɲɬɨ ɨɜɨ ɞɟɥɨ ‘ɩɪɟɞɫɬɚɜʂɚ’. { 215 } Ɉɧɨ ɲɬɨ ʁɟ ʁɨɲ ɡɚɧɢɦʂɢɜɨ ɭ ɜɟɡɢ ɫɚ ɨɜɢɦ ɤʃɢɠɟɜɧɢɦ ɨɫɬɜɚɪɟʃɟɦ ʁɟɫɬɟ ɬɨ ɞɚ ʁɟ ʃɟɝɚ ɦɨɝɭʄɟ ɱɢɬɚɬɢ ɤɚɨ ɞɟɥɨ ɭ ɤɨɦɟ ʁɟ ɚɪɢɫɬɨɬɟɥɨɜɫɤɢ ɩɨɟɬɢɱɤɢ ɩɨɫɬɭɥɚɬ ɩɨɱɟɬɚɤ – ɫɪɟɞɢɧɚ – ɤɪɚʁ ɤɭɥɬɢɜɢɫɚɧ ɭ ɧɚʁɜɟʄɨʁ ɦɟɪɢ: ɧɚ ɩɨɱɟɥɭ ɫɜɟɝɚ ʁɟ ɒɚɯɪɢʁɚɪɨɜɚ ɨɤɪɭɬɧɨɫɬ ɤɨʁɚ ɧɟɩɨɫɪɟɞɧɨ ɩɪɟɬɢ ɒɟɯɟɪɟɡɚɞɢɧɨɦ ɠɢɜɨɬɭ, ɬɟ ɱɢɬɚɥɚɰ ɠɭɪɢ ɢɡ ɩɪɢɱɟ ɭ ɩɪɢɱɭ ɩɪɟɦɚ ɤɪɚʁɭ, ɨɞɧɫɧɨ ɤɚ ɪɚɡɪɟɲɟʃɭ. Ɍɨ ʁɟ, ɦɟɬɚɮɨɪɢɱɤɢ ɪɟɱɧɨ, ɧɚɜɢɤɚ ɥɢɧɟɚɪɧɨɫɬɢ, ɤɨʁɚ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɩɪɨɜɨɰɢɪɚ ɫɬɚʃɟ ɧɚɩɟɬɨɫɬɢ ɬɨɤɨɦ ɱɢɬɚʃɚ ɢ ɠɭɞʃɭ ɤɨɞ ɱɢɬɚɨɰɚ ɞɚ ɫɬɢɝɧɟ ɞɨ ɤɪɚʁɚ ɞɟɥɚ. Ɉ ɨɜɚɤɜɨʁ ɤɨɧɰɟɩɰɢʁɢ ɠɭɞʃe, ɭ ɤɨɧɬɟɤɫɬɭ ɡɚɩɚɞɧɟ ɩɨɟɬɢɤɟ, ɩɢɫɚɨ ʁɟ ɉɢɬɟɪ Ȼɪɭɤɫ (Peter Brooks) ɭ ɫɜɨʁɨʁ ɤʃɢɡɢ ɑɢɬɚʃɟ ɪɚɞɢ ɡɚɩɥɟɬɚ (Reading for the Plot)339. ɇɚɢɦɟ, ɚɭɬɨɪ ɨɛʁɚɲʃɚɜɚ ɤɚɤɨ ʁɟ ɢ ɫɚɦɨ ɩɪɢɩɨɜɟɞɚʃɟ ɨɛɥɢɤ ʂɭɞɫɤɟ ɠɭɞʃɟ ɢ ɩɪɢɦɚɪɧɚ ʂɭɞɫɤɚ ɩɨɬɪɟɛɚ ɞɚ ɫɟ ɢɫɩɪɢɱɚ ɩɪɢɱɚ ɱɢʁɢ ʁɟ ɰɢʂ ɞɚ ɨɩɱɢɧɢ, ɡɚɜɟɞɟ, ɩɚ ɢ ɩɨɬɱɢɧɢ ɫɥɭɲɚɨɰɚ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɧɟ ɱɭɞɢ ɬɨ ɲɬɨ ʁɟ Ȼɪɭɤɫ ɭɩɪɚɜɨ ɞɟɥɨ ɏɢʂɚɞɭ ɢ ʁɟɞɧɭ ɧɨʄ ɩɪɨɝɥɚɫɢɨ ɡɚ ɩɪɢɱɭ ɫɜɟɤɨɥɢɤɟ ɤʃɢɠɟɜɧɨɫɬɢ ɛɭɞɭʄɢ ɞɚ ɫɟ ɭ ʃɟɦɭ ɧɚɪɚɰɢʁɚ ɭɤɚɡɭʁɟ ɤɚɨ ɠɢɜɨɬɨɞɚɜɧɚ, ɩɪɨɢɡɜɨɞɟʄɢ ɠɭɞʃɭ, ɚɥɢ ɢɫɬɨɜɪɟɦɟɧɨ ʁɟ ɢ ɡɚɞɪɠɚɜɚʁɭʄɢ, ɨɞɥɚɠɭʄɢ ɫɚɦ ɱɚɫ ɢɫɩɭʃɟʃɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, Ȼɪɭɤɫ ɩɪɨɛɥɟɦɚɬɢɡɭʁɟ ɢ ɩɢɬɚʃɚ ɬɟɦɩɨɪɚɥɧɨɝ ɫɥɟɞɚ ɢ ɩɪɨɝɪɟɫɢʁɟ ɭ ɨɜɨɦ ɞɟɥɭ, ɨɞɧɨɫɧɨ ɤɪɟɬɚʃɟ ɡɚɩɥɟɬɚ ɩɪɟɦɚ ɧɚɩɪɟɞ, ɩɪɟɦɚ ɤɪɚʁɭ, ɚɥɢ ɢ ɩɢɬɚʃɚ ɝɪɚɧɢɱɧɢɤɚ ɬɟɤɫɬɚ, ʃɟɝɨɜɢɯ ɪɭɛɨɜɚ, ɞɟɦɚɪɤɚɰɢɨɧɢɯ ɥɢɧɢʁɚ. ɇɨ, ɛɟɡ ɨɛɡɢɪɚ ɧɚ ɤɪɟɬɚʃɟ ɡɚɩɥɟɬɚ ɩɪɟɦɚ ɧɚɩɪɟɞ, Ȼɪɭɤɫ ɫɭɝɟɪɢɲɟ ɞɚ ʁɟ ɏɢʂɞɭ ɢ ʁɟɞɧɭ ɧɨʄ ɦɨɝɭʄɟ ɱɢɬɚɬɢ ɤɪɭɠɧɨ, ɭɩɪɚɜɨ ɡɚɯɜɚʂɭʁɭʄɢ (ɫɤɪɢɜɟɧɨɦ) ɩɪɢɧɰɢɩɭ ɚɪɚɛɟɫɤɧɨɝ ɫɬɪɭɤɬɭɪɢɪɚʃɚ. ɇɚɢɦɟ, ɤɚɞɚ ɫɟ ɨɞɦɚɤɧɟ ɨɞ ɩɨɱɟɬɤɚ ɤɚ ɫɪɟɞɢɧɢ, ɱɢɬɚɥɚɰ ɫɬɢɱɟ ɭɜɢɞ ɭ ɬɨ ɞɚ ɫɜɚɤɚ ɩɪɢɱɚ ɩɪɟɞɫɬɚɜʂɚ ɫɚɦɨɫɬɚɥɧɭ ɰɟɥɢɧɭ, ɚɥɢ ɞɚ ɫɟ ɢɫɬɨɜɪɟɦɟɧɨ ɫɤɥɚɞɧɨ ɭɬɤɢɜɚ ɭ ɞɪɭɝɟ ɩɪɢɱɟ/ɰɟɥɢɧɟ, ɫɥɢɱɧɨ ɚɪɚɛɟɫɤɢ. ɇɚɜɢɤɚɜɚʁɭʄɢ ɫɟ ɧɚ ɬɨ ɤɪɭɠɧɨ ɤɨɧɰɟɧɬɪɢɫɚɧɨ ɩɪɨɫɬɢɪɚʃɟ ɩɪɢɱɚ, ɱɢɬɚɨɱɟɜɨɦ ɫɜɟɲʄɭ ɩɨɫɬɟɩɟɧɨ ɨɜɥɚɞɚɜɚ ɫɬɪɭɤɬɭɪɚ ɫɚɦɨɝ ɞɟɥɚ ɢ ɩɪɢɧɰɢɩ ɧɚ ɤɨʁɟɦ ʁɟ ɡɚɫɧɨɜɚɧɨ, ɬɟ ɨɧ, ɧɚʁɩɪɟ ɫɩɨɪɚɞɢɱɧɨ, ɚ ɡɚɬɢɦ ɫɜɟ ɱɟɲʄɟ ɡɚɛɨɪɚɜʂɚ ɒɟɯɟɪɟɡɚɞɢɧɭ ɫɭɞɛɢɧɭ, ɡɛɨɝ ɧɟɩɪɟɝɥɟɞɧɨɝ ɧɢɡɚ ɞɪɭɝɢɯ ɫɭɞɛɢɧɚ ɤɨʁɟ ɫɟ ɢɡ ɩɪɢɱɟ ɭ ɩɪɢɱɭ ɨɩɢɫɭʁɭ. Ɍɚɤɨ ɫɟ, ɫɦɚɬɪɚ Ȼɪɭɤɫ, ɩɨɱɟɬɧɚ ɠɭɞʃɚ ɬɪɚɧɫɮɨɪɦɢɲɟ ɭ ɪɚɞɨɫɬ, ʁɟɪ ɱɢɬɚɥɚɰ ɫɯɜɚɬɚ (ɭ ɩɨɨɞɦɚɤɥɨʁ ɮɚɡɢ ɱɢɬɚʃɚ) ɞɚ ɦɨɠɟ ɭ ɛɢɥɨ ɤɨɦ ɬɪɟɧɭɬɤɭ ɨɛɭɫɬɚɜɢɬɢ ɱɢɬɚʃɟ ɫɚ ɨɫɟʄɚʃɟɦ, ɧɟ ɫɚɦɨ ɡɚɞɨɜɨɚʂɫɬɜɚ, ɜɟʄ ɢ ɡɚɨɤɪɭɠɟɧɨɫɬɢ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɧɚ ɫɚɦɨɦ 339 Peter Brooks, Reading for the Plot. Design and Intention in Narrative (Cambridge – London: Harvard University Press, 1996). { 216 } ɤɪɚʁɭ ɰɟɥɨɤɭɩɚɧ ɬɚʁ ɩɪɨɰɟɫ ɫɟ ɩɪɟɬɜɚɪɚ ɭ ʁɟɞɧɭ ɜɪɫɬɭ ɫɬɪɭɤɬɭɪɧɟ ɢ ɧɚɪɚɬɢɜɧɟ ɜɚɪɤɟ. ɇɚɢɦɟ, ɫɬɪɭɤɬɭɪɧɢ ɩɪɢɧɰɢɩ ɞɟɥɭʁɟ ɫɧɚɠɧɨ ɢ ɭɩɨɪɧɨ ɬɨɥɢɤɨ ɞɚ ʁɟ ɩɪɨɢɡɜɟɞɟɧɚ ɥɢɧɟɚɪɧɨɫɬ ɩɪɟɜɥɚɞɚɧɚ, ɭ ɢɡɜɟɧɫɨɦ ɫɦɢɫɥɭ ɱɚɤ ɩɪɟɜɟɞɟɧɚ ɭ ɜɥɚɫɬɢɬɭ ɫɭɩɪɨɬɧɨɫɬ: ɒɟɯɟɪɟɡɚɞɢɧ ɠɢɜɨɬɧɢ ɩɭɬ, ɢɥɢ ʃɟɧɚ ɫɭɞɛɢɧɚ, ɩɪɟɬɜɨɪɟɧ ʁɟ ɭ ɨɝɪɨɦɚɧ ɤɪɭɝ ɭ ɤɨɦɟ ʁɟ ɪɚɡɜɢʁɟɧ ɧɟɩɪɟɝɥɟɞɚɧ ɧɢɡ ɞɪɭɝɢɯ ɤɨɧɰɟɧɬɪɢɱɧɢɯ ɤɪɭɝɨɜɚ, ɚ ɜɚɠɧɨɫɬ ɫɭɞɛɢɧɟ ʁɟ ɪɟɥɚɬɢɜɢɡɨɜɚɧɚ ɬɢɦɟ ɲɬɨ ʁɟ ‘ɭɝɪɚђɟɧɚ’ ɭ ɮɨɪɦɭ ɚɪɚɛɟɫɤɟ. Ɍɚɤɨ ɢ ɫɚɦɨ ɫɚɡɧɚʃɟ ɲɬɚ ɫɟ ɧɚ ɤɪɚʁɭ ɡɛɢɥɨ ɫɚ ɒɟɯɟɪɟɡɚɞɨɦ, ɧɟ ɨɫɬɚɜʂɚ ɬɚɤɨ ɫɧɚɠɚɧ ɭɬɢɫɚɤ ɧɚ ɱɢɬɚɨɰɚ ɤɚɤɚɜ ɫɟ ɦɨɝɚɨ ɨɱɟɤɢɜɚɬɢ ɫ ɨɛɡɢɪɨɦ ɧɚ ɩɨɱɟɬɚɤ, ɫɦɚɬɪɚ Ȼɪɭɤɫ;340 ɢɡ ɬɨɝ ɪɚɡɥɨɝɚ ɫɟ ɨɜɨ ɞɟɥɨ ɧɟ ɱɢɬɚ ɧɚ ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɛɢ ɫɟ ɱɢɬɚɥɨ ɞɟɥɨ ɤɨʁɟ ʁɟ ɞɨɫɥɟɞɧɨ ɚɪɢɫɬɨɬɟɥɨɜɫɤɢ ɫɬɪɭɤɬɭɪɢɫɚɧɨ – ɞɚɤɥɟ, ɨɞ ɩɨɱɟɬɤɚ, ɩɪɟɤɨ ɫɪɟɞɢɧɟ, ɤɚ ɤɪɚʁɭ – ʁɟɪ ɨɧɨ ɫɚɦɨ ɨɬɤɪɢɜɚ ɞɚ ɧɢʁɟ ɞɪɚɠ ɭ ɪɚɡɪɟɲɟʃɭ ɡɚɩɥɟɬɚ, ɜɟʄ ɭ ɩɭɬɨɜɚʃɭ ɧɟɩɪɟɝɥɟɞɧɢɦ ɧɚɪɚɬɢɜɧɢɦ ɩɟʁɡɚɠɢɦɚ. Ɉɧɨ ɲɬɨ ɫɟ ɩɨɢɦɚ ɤɚɨ ɨɧɟɨɛɢɱɟɧɨ, ɡɚɱɭɞɧɨ ɭ ɨɜɨɦ ɞɟɥɭ – ɚ ɬɨ ʁɟ ɩɢɬɚʃɟ ɞɚ ɥɢ ɨɧɨ ɢɦɚ ɞɟɮɢɧɢɬɢɜɚɧ ɤɪɚʁ, ɢ ɭɤɨɥɢɤɨ ɝɚ ɩɨɫɟɞɭʁɟ, ɞɚ ɥɢ ʁɟ ɨɧɞɚ ɦɨɝɭʄɟ ɝɨɜɨɪɢɬɢ ɨ ɜɢɲɟ ɪɚɡɥɢɱɢɬɢɯ ɡɚɜɪɲɟɬɚɤɚ – ɡɚɩɪɚɜɨ ʁɟ ɪɟɡɭɥɬɚɬ ʁɟɞɧɨɝ ɩɪɢɧɰɢɩɚ – ɩɪɢɧɰɢɩɚ ɚɪɚɛɟɫɤɟ. ɍ ɬɨɦ ɫɜɟɬɥɭ ɦɨɝɭʄɟ ʁɟ ɞɚʂɟ ɬɭɦɚɱɟʃɟ ɩɨʁɚɜɟ ɫɬɢɥɢɡɨɜɚɧɢɯ ɜɟɪɡɢʁɚ 1002, 1003. ɧɨʄɢ ɧɚ Ɂɚɩɚɞɭ, ɤɚɨ ɫɜɨʁɟɜɪɫɧɢɯ ‘ɧɚɫɬɚɜɚɤɚ’ ɤɨʁɢ ɨɬɜɚɪɚʁɭ ɧɨɜɟ ɤɪɭɝɨɜɟ, ɧɨɜɟ ɥɢɫɬɨɜɟ, ɢɫɬɨɜɪɟɦɟɧɨ ɩɨɤɭɲɚɜɚʁɭʄɢ ɞɚ ‘ɡɚɬɜɨɪɟ’/‘ɡɚɨɤɪɭɠɟ’ ɞɟɥɨ ɭ ʁɟɞɧɭ, ɤɨɧɚɱɧɭ ɰɟɥɢɧɭ. ɂɫɬɨ ɬɚɤɨ, ɧɚ ɚɪɚɩɫɤɨɦ ɂɫɬɨɤɭ ɫɟ ɢ ɞɚɧɚɫ, ɩɪɟɦɚ ɭɜɢɞɢɦɚ ɪɭɫɤɨɝ ɚɪɚɛɢɫɬɟ Ʉɪɢɦɫɤɨɝ, ɭ ɭɫɦɟɧɨɦ ɩɪɟɞɚʃɭ ɏɢʂɚɞɭ ɢ ʁɟɞɧɚ ɧɨʄ ɫɬɚɥɧɨ ɪɚɡɜɢʁɚ, ɲɢɪɢ ɭ ɤɨɧɰɟɧɬɪɢɱɧɢɦ ɤɪɭɝɨɜɢɦɚ (ɩɪɟɦɚ ɛɟɫɤɪɚʁɭ), ɩɪɟɪɚɫɬɚʁɭʄɢ ɭ ʁɟɞɧɭ ɜɪɫɬɭ ɩɪɨɰɟɫɚ ad infinitum.341 ɍɩɪɚɜɨ ɭ ɬɨɦɟ ɥɟɠɢ ɩɪɚɜɚ ɪɢɡɧɢɰɚ ɧɟɢɫɬɪɚɠɟɧɢɯ ɩɢɬɚʃɚ ɫɬɪɭɤɬɭɪɟ ɨɜɨɝ ɞɟɥɚ, ɚɥɢ ɢ ɫɚɦɟ ɚɪɚɛɟɫɤɟ: ɭ ɤɚɤɜɨɦ ɫɭ ɨɞɧɨɫɭ ɩɨɧɨɜʂɟɧɢ ɦɨɬɢɜɢ, ɡɚɩɥɟɬɢ ɢɥɢ ɬɢɩɨɜɢ ɥɢɤɨɜɚ? Ʉɚɤɨ ɬɚɤɜɚ ɩɨɧɚɜʂɚʃɚ ɭɬɢɱɭ ɧɚ ɰɟɥɨɤɭɩɧɭ ɧɚɪɚɬɢɜɧɭ ɫɬɪɭɤɬɭɪɭ ɢ ɧɚ ɫɬɪɭɤɬɭɪɭ ɩɨʁɟɞɢɧɢɯ ɧɚɪɚɬɢɜɧɢɯ ɧɢɜɨɚ ɢɥɢ ɤɨɧɰɟɧɬɪɢɱɧɢɯ ɤɪɭɝɨɜɚ ɭ ɤɨʁɢɦɚ ɫɟ ɨɧɢ ʁɚɜʂɚʁɭ? Ⱦɚ ɥɢ ɫɟ ɬɚɤɜɚ ɩɨɧɚɜʂɚʃɚ ɭɜɟɤ ɦɨɝɭ ɩɪɟɩɨɡɧɚɬɢ ɤɚɨ ɭ ɨɝɥɟɞɚɥɭ ɢ ɬɚɤɨ ɭɬɢɰɚɬɢ ɪɟɬɪɨɫɩɟɤɬɢɜɧɨ ɢɥɢ ɩɪɨɫɩɟɤɬɢɜɧɨ ʁɟɞɧɚ ɧɚ ɞɪɭɝɚ? 340 ɂɫɬɨ, 109. 341 ɍɩɨɪɟɞɢɬɢ ɫɚ: A.E. Krymsky, History of Modern Arabic Literature (Moscow: Nauka, 1971). { 217 } Ⱥɪɚɛɟɫɤɧɨ ɱɢɬɚʃɟ ɩɨɟɦɟ Ȼɚɰɚњɟ ɤɨɰɤɟ ɋɬɟɮɚɧɚ Ɇɚɥɚɪɦɟɚ342 Ɉɜɚ, ɚɥɢ ɢ ɛɪɨʁɧɚ ɞɪɭɝɚ ɩɢɬɚʃɚ ɫɟ ɧɚɦɟʄɭ ɭ ɤɨɧɬɟɤɫɬɭ ɱɢɬɚʃɚ/ɝɥɟɞɚʃɚ Ɇɚɥɚɪɦɟɨɜɟ ɩɨɟɦɟ Ȼɚɰɚʃɟ ɤɨɰɤɟ... ɇɨ, ɩɪɟ ɧɟɝɨ ɲɬɨ ɭɤɚɠɟɦ ɧɚ ɦɨɝɭʄɟ ɜɟɡɟ ɢɡɦɟђɭ ɚɪɚɛɟɫɤɧɨɝ ɩɪɢɧɰɢɩɚ ɢ ɩɨɦɟɧɭɬɨɝ Ɇɚɥɚɪɦɟɨɜɨɝ ɨɫɬɜɚɪɟʃɚ, ɜɪɚʄɚɦ ɫɟ ɧɚ ‘ɩɨɱɟɬɚɤ’, ɱɢɬɚɦ ɩɨɟɦɭ... ...ɫɬɢɯɨɜɢ, ɩɪɨɢɡɜɨʂɧɟ ɞɭɠɢɧɟ, ɪɚɡɛɚɰɚɧɢ ɧɚ ɨɛɟ ɫɬɪɚɧɟ, ɨɥɭʁɚ ɡɚ ɨɱɢ... ɩɨɜɪɲɢɧɚ ɡɚɢɫɬɚ ɝɨɜɨɪɢ, ɩɪɨɦɢɲʂɚ, ɫɬɜɚɪɚ ɩɪɢɜɪɟɦɟɧɟ ɮɨɪɦɟ... ...ɛɟɥɢɧɚ – ɬɢɲɢɧɚ... ɡɚɫɥɟɩʂɟɧɨɫɬ ɛɟɥɢɧɨɦ ɥɢɫɬɚ ɯɚɪɬɢʁɟ... ɩɨɧɨɪ-ɛɟɡɝɥɚɫʁɟ... ɞɚ ɥɢ ɛɟɥɨ/ɬɢɲɢɧɚ ɦɨɠɟ ɞɚ ɩɪɨɩɟɜɚ?... ɱɭʁɟ ɫɟ ɡɨɜ ɡɚɬɨɦʂɟɧɟ ɩɟɫɦɟ... ɪɟɱɢ ɫɟ ɩɨɦɚʂɚʁɭ, ɪɚђɚʁɭ, ɢɡɪɚɫɬɚʁɭ ʁɟɞɧɚ ɢɡ ɞɪɭɝɟ... ɛɟɡ ɭɬɜɪђɟɧɨɝ ɪɟɞɚ... ɫɭɞɚɪɚʁɭ ɫɟ... ɪɚђɚ ɫɟ ɧɟɭɯɜɚɬʂɢɜɨ ɛɢʄɟ ɩɟɫɦɟ, ɚ ɩɪɨɫɬɨɪ ɩɨɧɨɜɨ ɨɬɤɪɢɜɚ ɢ ɨɫɜɚʁɚ... ...ɤɨ ɫɬɜɚɪɚ?... ɫɬɜɚɪɚ/ɩɢɲɟ ɨɧɚʁ ɤɨ ɨɞɝɨɧɟɬɚ ɪɟɱɢ... ɤɨ ɨɞɝɨɧɟɬɚ?... ɨɧɚʁ ɤɨ ɱɢɬɚ?.. ɧɟ ɡɧɚɦ... ɩɟɫɧɢɤ?... ɧɟ ɡɧɚɦ... ɩɟɫɧɢɤ ɭɫɬɭɩɚ ɢɧɢɰɢʁɚɬɢɜɭ ɪɟɱɢɦɚ... ...ɫɜɚɤɚ ɦɢɫɚɨ ɩɪɟɞɫɬɚɜʂɚ ɛɚɰɚʃɟ ɤɨɰɤɟ...ɢɫɯɨɞ ʁɟ ɧɟɢɡɜɟɫɬɚɧ... ...ɩɟɫɧɢɱɤɨ ɫɬɜɚɪɚʃɟ...ɫɥɨɛɨɞɚɧ ɱɢɧ ɛɚɰɚʃɚ ɤɨɰɤɟ ɫɚ ɧɟɢɡɜɟɫɧɢɦ ɢɫɯɨɞɨɦ ɤɨʁɢ ɧɢɤɚɞɚ ɧɟʄɟ ɭɤɢɧɭɬɢ ɋɥɭɱɚʁ. ɇɚɤɨɧ ɲɬɨ ɫɚɦ ɫɤɢɰɢɪɚɥɚ ɩɪɜɟ ɭɬɢɫɤɟ ɧɚɤɨɧ ɱɢɬɚʃɚ ɩɨɟɦɟ, ɦɢɫɚɨ ɞɚʂɟ ɪɚђɚ/ɧɚɦɟʄɟ ɩɢɬɚʃɟ: ɲɬɚ ʁɟ ɩɟɫɦɚ? ɤɚɤɨ ʁɟ ɨɩɢɫɚɬɢ? Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɞɚ ɥɢ ʁɟ ɫɚɦɨ ɧɚ ɨɫɧɨɜɭ ɝɥɟɞɚʃɚ, ɧɟ ɢ ɱɢɬɚʃɚ, ɦɨɝɭʄɟ ɪɟʄɢ ɞɚ ʁɟ ɧɟɤɢ ɬɟɤɫɬ ɩɟɫɦɚ, ɨɞɧɨɫɧɨ, ɞɚ ɥɢ ʁɟ ɨɞɪɟђɟɧɢ ɬɟɤɫɬ ɦɨɝɭʄɟ ɩɪɟɩɨɡɧɚɬɢ ɤɚɨ ɩɟɫɦɭ ɧɚ ɨɫɧɨɜɭ ɫɥɢɤɟ, ɬɨ ʁɟɫɬ, ɝɪɚɮɢɱɤɟ ɰɟɥɢɧɟ ɧɚ ɲɬɚɦɩɚɧɨɦ ɩɚɩɢɪɭ? ɑɢɧɢ ɫɟ ɞɚ ʁɟ ɫɚ ɥɚɤɨʄɨɦ ɦɨɝɭʄɟ ɩɪɟɩɨɡɧɚɬɢ ɫɬɢɯ, ɭɥɚɧɱɚɜɚʃɟ ɫɬɢɯɨɜɚ ɭ ɫɬɪɨɮɭ, ɦɟђɭɫɨɛɧɭ ɨɞɜɨʁɟɧɨɫɬ ɫɬɪɨɮɚ ɤɨʁɟ, ɩɨɬɨɦ, ɝɪɚɞɟ ɧɟɤɭ 342 Ɇɚɥɚɪɦɟɨɜɚ ɩɨɟɦɚ Ȼɚɰɚʃɟ ɤɨɰɤɟ ɞɚɬɚ ʁɟ ɭ ɢɧɬɟɝɪɚɥɧɨɦ ɜɢɞɭ ɭ ɩɪɢɥɨɝɭ ɛɪɨʁ 3. { 218 } ɩɪɟɩɨɡɧɚɬʂɢɜɭ ‘ɮɨɪɦɭ’. ɑɢɧɢ ɫɟ ɞɚ ʁɟ ɦɨɝɭʄɟ ɧɚ ɨɫɧɨɜɭ ‘ɝɪɚɮɢɱɤɨɝ ɩɪɢɤɚɡɚ’ ɧɚɫɥɭɬɢɬɢ ɞɚ ʁɟ ɧɟɲɬɨ ɩɟɫɦɚ, ɢɡɛɪɨʁɚɬɢ ɫɬɢɯɨɜɟ, ɪɚɡɥɢɤɨɜɚɬɢ ɞɢɫɬɢɯ, ɬɟɪɰɢɧɭ, ɤɚɬɪɟɧ. ɉɟɫɦɚ ɭɝɥɚɜɧɨɦ ɢɦɚ ɧɚɫɥɨɜ ɤɨʁɢ ʁɟ ɝɪɚɮɢɱɤɢ ɨɞɜɨʁɟɧ, ɧɚɡɧɚɱɟɧ ɜɟɥɢɤɢɦ, ɩɨɞɟɛʂɚɧɢɦ ɫɥɨɜɢɦɚ ɭ ɲɬɚɦɩɢ. Ʉɚɤɨ ɨɩɢɫɚɬɢ Ɇɚɥɚɪɦɟɨɜɨ Ȼɚɰɚɚʃɟ ɤɨɰɤɟ? ɋɬɢɯ ɫɟ ‘ɫɥɢɜɚ’ ɫɚ ɜɪɯɚ ɥɟɜɟ ɫɬɪɚɧɢɰɟ ɢ ‘ɩɚɞɚ’ ɭ ɛɟɥɢɧɭ ɩɨɧɨɪɚ ɧɚ ɞɟɫɧɨʁ ɫɬɪɚɧɢɰɢ, ɪɚɡɥɨɦʂɟɧ ʁɟ ɧɚ ɪɟɱɢ ɢ ɫɢɧɬɚɝɦɟ, (ɧɚɢɡɝɥɟɞ) ɩɪɨɢɡɜɨʂɧɨ ɪɚɫɬɚɜʂɟɧɟ ɢɥɢ ɫɩɨʁɟɧɟ. ɉɨɧɟɤɚ ɫɬɪɚɧɢɰɚ ɫɚɞɪɠɢ ɫɚɦɨ ʁɟɞɚɧ ɫɬɢɯ, ɢɥɢ ɩɚɤ ɫɚɦɨ ʁɟɞɧɭ ɪɟɱ. Ɏɨɧɬ ʁɟ ɦɟɲɨɜɢɬ, ɪɚɡɥɢɱɢɬɢɯ ɜɟɥɢɱɢɧɚ, ɧɚɫɥɨɜɚ ɧɟɦɚ, ɢɥɢ ɛɚɪ ɧɢʁɟ ɧɚ ‘ɨɱɟɤɢɜɚɧɨɦ’ ɦɟɫɬɭ. ɂ ɫɚɦ Ɇɚɥɚɪɦɟ ʁɟ ɩɨɫɭɦʃɚɨ ɭ ɩɨʁɚɜɧɨɫɬ ɩɨɟɦɟ Ȼɚɰɚʃɟ ɤɨɰɤɟ ɩɢɬɚʁɭʄɢ ɉɨɥɚ ȼɚɪɟɥɢʁɚ: „ɇɟ ɧɚɥɚɡɢɬɟ ɥɢ ɞɚ ʁɟ ɨɜɨ ɱɢɧ ɥɭɞɢɥɚ?”343 ɍ ɨɜɨʁ ɩɨɟɦɢ, ɩɨɜɪɲɢɧɚ ɡɚɢɫɬɚ ɝɨɜɨɪɢ, ɩɪɨɦɢɲʂɚ, ɫɬɜɚɪɚ ɩɪɢɜɪɟɦɟɧɟ ɮɨɪɦɟ, ɚ ɱɟɤɚʃɟ, ɫɭɦʃɚ, ɤɨɧɰɟɧɬɪɚɰɢʁɚ ɩɨɫɬɚʁɭ ɜɢɞʂɢɜɟ ɫɬɜɚɪɢ. Ʉɚɨ ɞɚ ɫɟ ɩɨɝɥɟɞ ɧɚɥɚɡɢ ɧɚɫɩɪɚɦ ɬɢɲɢɧɚ ɤɨʁɟ ɫɭ ɞɨɛɢɥɚ ɬɟɥɚ – ɬɭ ʁɟ ɠɚɦɨɪ, ɲɚɩɭɬɚʃɟ, ɭɦɢʂɚɜɚʃɟ, ɱɢɬɚɜɚ ʁɟɞɧɚ ɞɭɯɨɜɧɚ ɛɭɪɚ ɤɨʁɚ, ɩɪɭɠɚʁɭʄɢ ɫɟ ɫɚ ɫɬɪɚɧɢɰɟ ɧɚ ɫɬɪɚɧɢɰɭ, ɫɟɠɟ ɞɨ ɤɪɚʁɧɨɫɬɢ ɦɢɫɥɢ, ɞɨ ɬɚɱɤɟ ʁɟɞɧɨɝ ‘ɧɟɢɫɤɚɡɢɜɨɝ ɩɪɟɤɢɞɚ’. ɉɨɥ ȼɥɟɪɢ ʁɟ ɧɚɩɢɫɚɨ ɞɚ ɫɟ ɩɪɟɞ ʃɢɦ ɭ ɬɪɟɧɭɬɤɭ ɫɭɫɪɟɬɚ ɫɚ ɩɨɟɦɨɦ ɞɟɲɚɜɚɥɚ ɱɚɪɨɥɢʁɚ: „ɧɚ ɫɚɦɨʁ ɯɚɪɬɢʁɢ, ɛɟɫɤɪɚʁɧɨ ɱɢɫɬɨ ɬɪɟɩɟɪɢɥɨ ʁɟ ɢɫɤɪɟʃɟ ɩɨɫɥɟɞʃɢɯ ɤɨɧɫɬɟɥɚɰɢʁɚ ɭ ɢɫɬɨʁ ɦɟђɭɫɜɟɫɧɨʁ ɩɪɚɡɧɢɧɢ ɭ ɤɨʁɨʁ ʁɟ, ɤɚɨ ɧɟɤɚ ɦɚɬɟɪɢʁɚ ɧɨɜɟ ɜɪɫɬɟ, ɪɚɡɞɟʂɟɧɚ ɭ ɝɨɦɢɥɟ, ɭ ɧɢɡɨɜɟ, ɭ ɫɢɫɬɟɦɟ, ɩɨɫɬɨʁɚɥɚ Ɋɟɱ! [Ɇɚɥɚɪɦɟ] ʁɟ ɩɨɤɭɲɚɨ ɞɚ ɩɨɞɢɝɧɟ ʁɟɞɧɭ ɫɬɪɚɧɢɰɭ ɫɧɚɝɨɦ ɨɡɜɟɡɞɚɧɨɝ ɧɟɛɚ! […]”344 Ⱦɨɞɚʁɟɦ, ɞɚ ʁɟ ɩɨɤɭɲɚɨ ɰɪɬɟɠɨɦ ɞɚ ɭɱɜɪɫɬɢ (ɝɨɥɭ) ɭɩɨɬɪɟɛɭ ɦɢɫɥɢ. ɐɟɥɨɤɭɩɧɚ Ɇɚɥɚɪɦɟɨɜɚ ɢɧɜɟɧɰɢʁɚ, ɤɨʁɚ ɩɪɨɢɡɥɚɡɢ ɢɡ ɜɢɲɟɝɨɞɢɲʃɢɯ ɚɧɚɥɢɡɚ ʁɟɡɢɤɚ ɢ ɦɭɡɢɤɟ, ɬɟ ʃɢɯɨɜɨɝ ɦɟђɭɫɨɛɧɨɝ ɨɞɧɨɫɚ, ɨɫɥɚʃɚ ɫɟ ɧɚ ɩɨɫɦɚɬɪɚʃɟ ɫɬɪɚɧɢɰɟ – ɜɢɡɭɟɥɧɨɝ ʁɟɞɢɧɫɬɜɚ. ɇɚɢɦɟ, ɨɧ ʁɟ ɜɪɥɨ ɛɪɢɠʂɢɜɨ ɩɪɨɭɱɚɜɚɨ (ɱɚɤ ɢ ɧɚ ɩɥɚɤɚɬɢɦɚ, ɢ ɭ ɧɨɜɢɧɚɦɚ) ɞɟʁɫɬɜɨ ɪɚɫɩɨɪɟɞɚ ɛɟɥɢɧɟ ɢ ɰɪɧɨɝ, ɬɨ ʁɟɫɬ, ɭɩɨɪɟɞɧɢ ɢɧɬɟɧɡɢɬɟɬ ɫɥɨɜɚ. 343 ɂɡ ȼɚɥɟɪɢʁɟɜɨɝ ɩɢɫɦɚ ɞɢɪɟɤɬɨɪɭ Ɇɚɪɝɢɧɚ (ɩɪɟɜɨɞ Ʉɨʂɟ Ɇɢʄɟɜɢʄɚ). ɉɢɫɦɨ ɭ ɩɪɟɜɨɞɭ ʁɟ ɨɛʁɚɜʂɟɧɨ ɤɚɨ ɞɨɞɚɬɚɤ ɫɪɩɫɤɨɦ ɢɡɞɚʃɭ Ɇɚɥɚɪɦɟɨɜɟ ɩɨɟɦɟ Ȼɚɰɚʃɟ ɤɨɰɤɟ ɤɨʁɭ ʁɟ ɩɪɟɜɟɨ Ɇɢɨɞɪɚɝ ɉɚɜɥɨɜɢʄ. ȼɢɞɟɬɢ: ɋɬɟɮɚɧ Ɇɚɥɚɪɦɟ, Ȼɚɰɚʃɟ ɤɨɰɤɟ, ɩɪɟɜ. ɢ ɩɨɝɨɜɨɪ Ɇɢɨɞɪɚɝ ɉɚɜɥɨɜɢʄ (ɇɢɲ: ɉɪɨɫɜɟɬɚ, 1997). 344 ȼɢɞɟɬɢ: ɢɫɬɨ. { 219 } ɂɦɚɨ ʁɟ ɢɞɟʁɭ ɞɚ ɞɚʂɟ ɪɚɡɜɢʁɚ ɬɚ ɫɪɟɞɫɬɜɚ ɱɢʁɚ ʁɟ ɩɪɜɨɛɢɬɧɚ ɞɭɠɧɨɫɬ ɛɢɥɚ ɞɚ, ɤɚɤɨ ʁɟ ɢ ɫɚɦ ɜɟɪɨɜɚɨ, ɫɦɟɲɧɨ ɩɪɢɜɥɚɱɟ ɩɚɠʃɭ ɢɥɢ ɞɚ ɫɟ ɫɜɢɞɟ ɤɚɨ ɩɪɢɪɨɞɧɢ ɭɤɪɚɫɢ ɪɭɤɨɩɢɫɚ. Ɇɟђɭɬɢɦ, ɫɬɪɚɧɢɰɚ ɭ ʃɟɝɨɜɨɦ ɫɢɫɬɟɦɭ, ɨɛɪɚʄɚʁɭʄɢ ɫɟ ɩɨɝɥɟɞɭ ɤɨʁɢ ɩɪɟɬɯɨɞɢ ɱɢɬɚʃɭ, ‘ɩɪɢɛɥɢɠɚɜɚ’ ɩɪɢɪɨɞɭ ɬɨɤɚ ɫɚɦɨɝ ɞɟɥɚ. Ɉɧɚ ɦɨɪɚ ɞɚ – ɧɟɤɨɦ ɜɪɫɬɨɦ ɦɚɬɟɪɢʁɚɥɧɟ ɢɧɬɭɢɰɢʁɟ, ɩɪɟɬɯɨɞɧɨ ɭɫɩɨɫɬɚɜʂɟɧɨɦ ɯɚɪɦɨɧɢʁɨɦ ɢɡɦɟђɭ ɧɚɲɢɯ ɪɚɡɥɢɱɢɬɢɯ ɧɚɱɢɧɚ ɡɚɩɚɠɚʃɚ, ɢɥɢ ɢɡɦɟђɭ ɪɚɡɥɢɤɚ ɭ ɤɪɟɬɚʃɢɦɚ ɧɚɲɢɯ ɱɭɥɚ – ɩɨɛɭɞɢ ɩɪɟɞɨɫɟʄɚʁ ɨɧɨɝɚ ɲɬɨ ʄɟ ɫɟ ɨɫɬɜɚɪɢɬɢ ɭ ɢɧɬɟɥɟɤɬɭ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɤɚɨ ʁɟɞɧɚ ɨɞ ɬɟɦɚ Ȼɚɰɚʃɚ ɤɨɰɤɟ ʁɟ ɢ ɫɚɦɨ ɫɬɜɚɪɚʃɟ. Ɇɚɥɚɪɦɟ ɠɟɥɢ ɞɚ ɩɨɤɚɠɟ ɜɢɞʂɢɜɢɦ ɩɪɨɰɟɫ ɫɬɜɚɪɚʃɚ, ɢɡɛɨɪ ɦɨɬɢɜɚ, ɬɨɤ ɩɟɫɧɢɤɨɜɢɯ ɦɢɫɥɢ, ɩɪɟɞɨɦɢɲʂɚʃɟ, ɜɚɪɢɪɚʃɟ ɦɨɬɢɜɚ, ɢɡɨɫɬɚɧɚɤ ɦɢɫɥɢ, ɛɨɪɛɭ ɨɫɟʄɚʃɚ ɞɚ ɧɚђɭ ɨɛʁɟɤɬɢɜɧɢ ɤɨɪɟɥɚɬ. Ɉɫɟʄɚʃɚ ɬɟɠɟ ɟɧɬɪɨɩɢʁɫɤɨɦ ɪɚɫɩɪɨɫɬɢɪɚʃɭ, ɞɨɤ ɦɢɫɚɨ ‘ɠɭɞɢ’ ɞɚ ɢɯ ʁɟɡɢɤ ɡɚɭɡɞɚ ɢ ɨɪɝɚɧɢɡɭʁɟ. Ⱦɨɥɚɡɢ ɞɨ ɫɜɨʁɟɜɪɫɧɨɝ ‘ɨɬɟɠɚɜɚʃɚ’ ɩɪɢɥɢɤɨɦ ɱɢɬɚʃɚ ɢ ɪɚɡɭɦɟɜɚʃɚ, ɲɬɨ ɪɟɡɭɥɬɢɪɚ ɩɪɟɢɫɩɢɬɢɜɚʃɟɦ ɬɪɚɞɢɰɢɨɧɚɥɧɨɝ ɫɯɜɚɬɚʃɚ ɨ ɝɟɧɟɡɢ ɩɟɫɦɟ, ɚɥɢ ɢ ɫɚɦɨɝ ɫɬɜɚɪɚɨɰɚ, ɨɞɧɨɫɧɨ, ʃɟɝɨɜɨɝ ɧɚɞɚɯɧɭʄɚ ɧɟɤɢɦ ɬɪɚɧɫɰɟɧɞɟɧɬɧɢɦ ɫɜɟɬɨɦ ɤɨʁɢ ɨɧ ɭ ɜɢɞɭ ‘ɭɡɜɢɲɟɧɟ ɦɢɫɥɢ’ ɢɡɜɥɚɱɢ ɢɡ ɞɭɛɢɧɟ ɧɟɡɧɚʃɚ ɩɪɟɞ ɧɚɫ. ɍ ɩɨɟɦɢ ʁɟ ɬɚɤɨђɟ ɫɤɪɢɜɟɧɚ ɢ ɢɞɟʁɚ ɨ ɦɨɝɭʄɟɦ ɞɪɭɝɚɱɢʁɟɦ ɩɨɫɬɨʁɚʃɭ ɫɜɟɬɚ ɢ ɧɚɫ ɭ ʃɟɦɭ, ɚ ɞɚ ʁɟ ɨɧ (ɫɜɟɬ) ɨɜɚɤɚɜ ɤɚɤɚɜ ʁɟɫɬɟ ɪɟɡɭɥɬɚɬ ɫɥɭɱɚʁɚ – ɪɟɡɭɥɬɚɬ ɩɨɬɟɡɚ ɛɚɰɚʃɚ ɤɨɰɤɢ. ɂɡ ɬɨɝ ɩɪɨɢɡɥɚɡɟ ɢ ɛɪɨʁɧɟ ɦɨɝɭʄɧɨɫɬɢ ɱɢɬɚʃɚ ɩɨɟɦɟ (ɲɬɨ ʁɟ ɝɪɚɮɢɱɤɢ ɢ ɧɚɡɧɚɱɟɧɨ), ɚ ɩɨɫɥɟɞɢɱɧɨ ɢ ɛɪɨʁɧɨɫɬ ɬɭɦɚɱɟʃɚ ɤɨʁɚ ɫɚɝɥɚɫɧɨ ɛɪɨʁɭ ɱɢɬɚʃɚ, ɩɪɨɝɪɟɫɢɜɧɨ ɪɚɫɬɭ. ɑɢɧɢ ɫɟ ɤɚɨ ɞɚ ʁɟ ɫɚɦɚ ɝɟɨɦɟɬɪɢʁɫɤɚ ɩɪɨɝɪɟɫɢʁɚ ɩɪɢɤɚɡɚɧɚ ɭ Ɇɚɥɚɪɦɟɨɜɨʁ ɩɨɟɦɢ. ...après Mallarmé ɍ ʃɨʁ ɩɪɨɧɚɥɚɡɢɦɨ ɧɟɤɨɥɢɤɨ ɦɨɬɢɜɚ ɢ ɬɟɦɚ ɤɨʁɟ ɫɟ ɜɚɪɢɪɚɧɨ ɩɨɧɚɜʂɚʁɭ ɫɬɜɚɪɚʁɭʄɢ ɦɪɟɠɭ ɡɧɚɱɟʃɚ ɭ ɡɚɜɢɫɧɨɫɬɢ ɨɞ ɫɦɟɪɚ ɱɢɬɚʃɚ ɩɨɟɦɟ ɢ ɧɚɱɢɧɚ ʃɢɯɨɜɨɝ ɭɨɞɧɨɲɚɜɚʃɚ. Јɟɞɧɚ ɨɞ ɬɟɦɚ ɬɢɱɟ ɫɟ ɨɤɨɥɧɨɫɬɢ ɭ ɤɨʁɢɦɚ ɫɟ ɱɨɜɟɤ ɧɚɥɚɡɢ: ɨɧ ʁɟ „ɯɢɬɧɭɬ ɭɫɪɟɞ { 220 } ɨɤɨɥɧɨɫɬɢ”, ɚɥɢ ɧɟ ɩɪɢɯɜɚɬɚ ɞɚ ʁɟ ɩɥɨɞ ɫɥɭɱɚʁɚ – ɛɚɱɟɧɢɯ ɤɨɰɤɢ, ɜɟʄ ɫɬɜɚɪɚ ɢɥɭɡɢʁɭ ɨ ɬɨɦɟ ɞɚ ɩɨɫɬɨʁɢ ɜɢɲɢ ɫɦɢɫɚɨ ʃɟɝɨɜɨɝ ɩɨɫɬɨʁɚʃɚ – ɢɥɭɡɢʁɭ „ɡɚɞɚɬɤɚ” ɤɨʁɢ ɢɦɚ ɧɚ Ɂɟɦʂɢ. Ɍɚɤɨђɟ, ɬɭ ʁɟ ɢ ɩɟɫɧɢɤ ‒ „ɩɟɪɨ ɫɚɦɨɬɧɢɱɤɨ ɢɡɛɟɡɭɦʂɟɧɨ” – ɤɨʁɢ, ɛɭɞɭʄɢ ɞɚ ʁɟ ɭ ɫɥɭɠɛɢ ɉɪɢɪɨɞɟ, ɢɪɨɧɢɱɧɨ, ɫɬɜɚɪɚ ɩɨ ɩɪɢɪɨɞɧɢɦ ɧɚɱɟɥɢɦɚ: ɨɧ ɛɚɰɚ ɤɨɰɤɟ, ɝɪɟɲɢ, ɝɭɛɢ, ɩɨɧɚɜʂɚ, ɪɚɡɦɢɲʂɚ, ɩɪɟɞɜɢђɚ. ɇɨ, ɤɚɞɚ ɞɨɠɢɜʂɚɜɚ ɤɪɢɬɢɱɧɟ ɬɪɟɧɭɬɤɟ ‒ „ɫɚ ɞɧɚ ɛɪɨɞɨɥɨɦɚ” ‒ ɱɨɜɟɤ/ɩɟɫɧɢɤ ɧɟ ɩɪɢɡɧɚʁɟ ɞɚ ʁɟ ɫɜɟ ɬɨ ɪɟɡɭɥɬɚɬ ɫɥɭɱɚʁɚ. Јɟɞɚɧ ɨɞ ɤɚɪɚɤɬɟɪɢɫɬɢɱɧɢɯ ɦɨɬɢɜɚ ʁɟɫɬɟ ɦɨɬɢɜ ɚɦɛɢɫɚ ɤɨʁɟɦ ɫɟ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɞɨɞɚʁɭ ɚɬɪɢɛɭɬɢ ‒ „ɢɡɛɟʂɟɧ”, „ɩɪɭɠɟɧ”, „ɛɟɫɚɧ”, „ɩɨɞ ɧɚɝɢɛɨɦ”, ɢɥɢ ɫɟ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɦɟɬɚɮɨɪɢɱɤɢ ɩɨɪɟɞɢ ɫɚ ɧɚɫɭɤɚɧɢɦ ɛɪɨɞɨɦ ɢɥɢ ɪɚʃɟɧɨɦ ɩɬɢɰɨɦ ‒ „ɥɟɛɞɢ ɨɱɚʁɧɢɱɤɢɦ ɤɪɢɥɨɦ”, „ɧɟɦɨʄɚɧ ɞɚ ɭɫɩɪɚɜɢ ɥɟɬ”, „ɫɚɠɢɦɚ ɫɟɧɤɭ”. Ɍɭ ʁɟ ɢ ɦɨɬɢɜ ɜɨђɟ ɤɨʁɢ ʁɟ „ɝɨʃɟɧ” ʁɟɞɧɢɦ ɛɪɨʁɟɦ ɢ ɞɭɯɨɦ – ɞɚ ɥɢ ʁɟ ɪɟɱ ɨ ɱɨɜɟɤɭ ɤɨʁɢ ʁɟ ɨɫɭђɟɧ ɧɚ ɛɪɨɞɨɥɨɦ ɤɨʁɢ ʁɟ ɨɧɚ ʁɟɞɢɧɚ ɢɡɜɟɫɧɨɫɬ ɭ ɫɩɥɟɬɭ ɫɥɭɱɚʁɧɨɫɬɢ? Ɂɚɬɢɦ, ɦɨɬɢɜ ɩɪɟɞɚɤɚ ɫɬɨʁɢ ‘ɧɚɫɭɩɪɨɬ’ ɬɟɠʃɢ ɱɨɜɟɤɚ ɞɚ „ɩɨɫɬɚɜɢ ɝɪɚɧɢɰɟ ɛɟɫɤɪɚʁɭ” – ɬɚɤɨђɟ, ɡɚɞɚɬɤɭ ɫɚ ɩɪɟɞɜɢɞɢɜɢɦ ɢɫɯɨɞɨɦ. ɋɩɥɟɬ ɦɨɬɢɜɚ ɤɨʁɢ ɩɪɨɛɥɟɦɚɬɢɡɭʁɟ ɩɨɪɟɤɥɨ ɫɜɟɝɚ, ɬɟ ɥɢɧɟɚɪɧɨ ɧɢɡɚʃɟ ɦɨɝɭʄɧɨɫɬɢ ɩɨɪɟɤɥɚ ɠɢɜɨɬɚ ɢ ɫɜɟɬɚ („ɡɜɟɡɞɚɧɨ”, „ɢɡɪɚɱɭɧɚɬɨ”, „ɢɡ ɫɥɭɱɚʁɚ”, „ɢɡ ɩɪɜɨɛɢɬɧɟ ɩɟɧɟ”) ɫɬɚɜʂɟɧɢ ɫɭ ɧɚɩɨɪɟɞɨ ɭɡ ɦɨɬɢɜ ɚɦɛɢɫɚ. ɋɚɦ ɡɚɜɪɲɟɬɚɤ ɩɨɟɦɟ ɭɩɭʄɭʁɟ ɧɚ ɜɢɫɢɧɭ –ɫɚɡɜɟɠђɚ/ɤɨɧɫɬɟɥɚɰɢʁɟ – ɬɚɱɧɢʁɟ, ɧɚ ɜɟɪɬɢɤɚɥɭ ɤɨʁɨɦ ɫɟ ʂɭɞɫɤɢ ɞɭɯ ɭɡɞɢɠɟ, ɚɥɢ ɬɟɤ ɧɚɤɨɧ ɫɦɪɬɢ, ʁɟɪ ɫɦɪɬ ʁɟ „ɩɨɫɥɟɞʃɚ ɬɚɱɤɚ ɩɨɫɜɟʄɟʃɚ”. Ɉɫɬɚʁɟ ɨɬɜɨɪɟɧɨ ɩɢɬɚʃɟ: ɞɚ ɥɢ ʁɟ ɩɨɟɦɚ ɞɪɭɝɚɱɢʁɟ ɢɫɩɪɢɱɚɧ ɞɪɟɜɧɢ ɦɢɬ ɨ ɱɨɜɟɤɭ ɤɨʁɢ ɧɚɤɨɧ ɫɦɪɬɢ ɩɨɫɬɚʁɟ ɡɜɟɡɞɚ, ɨɞɧɨɫɧɨ, ɞɚ ɥɢ ɧɟɫɬɚɧɚɤ ʁɟɞɧɟ ɡɜɟɡɞɟ, ɡɚɩɪɚɜɨ, ɨɡɧɚɱɚɜɚ ɫɦɪɬ ɱɨɜɟɤɚ? ɂ ɨɜɨ ɩɢɬɚʃɟ ɦɟ, ɤɪɭɠɧɨ, ɜɪɚʄɚ ɧɚ ɩɨɱɟɬɚɤ... Ⱦɚ ɥɢ „ɱɢɧ ɥɭɞɚɤɚ”, ɤɚɤɨ ʁɟ Ɇɚɥɚɪɦɟ ɨɩɢɫɚɨ ɫɜɨʁɭ ɩɨɟɦɭ, ɩɪɟɞɫɬɚɜʂɚ ɫɜɨʁɟɜɪɫɧɢ ɟɤɜɢɜɚɥɟɧɬ ɧɚɲɟɦ ‘ɩɪɢɫɬɚɧɤɭ’ ɧɚ ɠɢɜɨɬ ɭ ɤɨʁɟɦ ɫɟ ɧɚɞɦɟʄɟɦɨ „ɩɨɩɭɬ ɨɫɟɞɟɥɨɝ ɥɭɞɚɤɚ” ɫɚ ɬɚɥɚɫɢɦɚ, ɤɨʁɢ ɫɚɫɜɢɦ ɫɢɝɭɪɧɨ ɞɨɧɨɫɟ ɛɪɨɞɨɥɨɦ („ʁɟɞɚɧ” / „ɛɪɨɞɨɥɨɦ ʁɟ ɨɜɨ” / „ɩɨɬɩɭɧ ɱɨɜɟɤɚ”)? ɇɨ, ɬɚʁ ‘ɩɪɢɫɬɚɧɚɤ’ ɢɫɬɨɜɪɟɦɟɧɨ ɫɤɪɢɜɚ ɨɧɭ ɢɫɤɨɧɫɤɭ ɩɨɬɪɟɛɭ ɡɚ ɠɢɜɨɬɨɦ – ɠɢɜɨɬɨɦ ɤɨʁɢ ʁɟ, ɡɚɩɪɚɜɨ, ɡɚɫɧɨɜɚɧ ɧɚ ɛɚɰɚʃɭ ɤɨɰɤɢ ɉɪɢɪɨɞɟ. ɑɢʃɟɧɢɰɚ ɞɚ ʁɟ ɱɨɜɟɤ ɧɟɦɨʄɚɧ ɞɚ ɫɚɜɥɚɞɚ ɫɥɭɱɚʁɧɟ ɨɤɨɥɧɨɫɬɢ, ɬɚɤɨђɟ, ɪɟɜɨɥɬɢɪɚ ɢ ɢɡɚɡɢɜɚ ɤɪɢɤ: ɨɜɨ ʁɟ ɤɪɢɤ ɱɨɜɟɤɚ ɤɨʁɢ ɡɚɱɭђɟɧ ɫɬɨʁɢ ɩɪɟɞ ɬɚʁɧɨɦ ɠɢɜɨɬɚ ɢ ɝɧɟɜɧɨ ɨɞɛɢʁɚ ɢɫɬɢɧɭ ɞɚ ʁɟ ɫɜɟ ɫɥɭɱɚʁɧɨɫɬ. ɋɜɟɫɬɚɧ ɭɦɟɬɧɢɱɤɢ ɩɨɫɬɭɩɚɤ ɭɫɦɟɪɚɜɚ ɢ { 221 } ɱɢɬɚɨɰɚ ɞɚ ɫɬɢɯɨɜɟ ɩɨɜɟɡɭʁɟ ɦɟɬɨɞɨɦ ɫɥɭɱɚʁɧɨɫɬɢ. Ɇɟђɭɬɢɦ, ɫɩɭɬɚɧɢ ɨɤɨɜɢɦɚ ɬɪɚɞɢɰɢɨɧɚɥɧɨɝ ɱɢɬɚʃɚ, ɦɢ ɨɞɛɚɰɭʁɟɦɨ „ɧɟɭɩɚɪɟɧɟ ɦɢɫɥɢ” ɢɥɢ ɨɫɬɚʁɟɦɨ ɡɚɱɭђɟɧɢ, ɭɩɢɬɚɧɢ ɩɪɟɞ ɧɨɜɨɦ ɞɨɛɢʁɟɧɨɦ „ɤɨɦɛɢɧɚɰɢʁɨɦ” ɦɢɫɥɢ. Ⱦɚ ɥɢ ʁɟ ɬɨ ɤɪɚʁ ɢɥɢ ɫɦɨ ɨɩɟɬ ɤɪɭɠɧɨ ɞɨɲɥɢ ɧɚ ɫɚɦ ɩɨɱɟɬɚɤ? Ɉɫɬɚʁɭ ɛɟɡɛɪɨʁɧɚ ɱɢɬɚʃɚ ɤɚɨ ɧɢɡɨɜɢ ɦɨɝɭʄɧɨɫɬɢ ɞɚ ɫɟ ɩɨɟɦɚ ɩɨɧɨɜɨ ɤɨɧɫɬɢɬɭɢɲɟ ɢ ɩɪɨɬɭɦɚɱɢ ɤɚɨ ɧɟɤɚ „ɩɨɪɭɤɚ”, ɞɚ ɫɟ ɧɚђɟ „ʁɟɞɚɧ ɭɤɭɩɧɢ ɡɛɢɪ ɭ ɧɚɫɬɚʁɚʃɭ”. ɂ ɧɚ ɫɚɦɨɦ ɤɪɚʁɭ, ɤɨʁɢ ʁɟ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ʁɟɞɚɧ ɧɨɜɢ ɩɨɱɟɬɚɤ...ɱɨɜɟɤɨɜ ɡɚɞɚɬɚɤ ɧɚ Ɂɟɦʂɢ ɨɫɬɚʁɟ ɢɫɬɢ: ɞɚ ɛɞɢ, ɫɭɦʃɚ, ɢɫɤɪɢ ɢ ɦɢɫɥɢ, ʁɟɪ „ɋɜɚɤɚ Ɇɢɫɚɨ ɫɚɞɪɠɢ Ȼɚɱɟɧɟ Ʉɨɰɤɟ”. { 222 } Ⱥɪɚɛɟɫɤɚ – Lɚ Musique Pure ɂɧɬɟɪɟɫɨɜɚʃɟ ɡɚ Ɉɪɢʁɟɧɬ ʁɟ ɬɨɤɨɦ 19. ɜɟɤɚ ɛɢɥɨ ɨɞ ɢɡɭɡɟɬɧɟ ɜɚɠɧɨɫɬɢ ɡɚ ɩɪɨɦɟɧɭ ɤɨʁɚ ɫɟ ɭ ɫɮɟɪɢ ɢɦɚɝɢɧɚɪɧɨɝ ɨɞɢɝɪɚɥɚ ɭ ɜɟɡɢ ɫɚ ɨɪɧɚɦɟɧɬɨɦ/ɚɪɚɛɟɫɤɨɦ ɢ ɬɨ, ɱɢɧɢ ɫɟ, ɧɢɝɞɟ ɬɨɥɢɤɨ ɤɨɥɢɤɨ ɭ ɦɭɡɢɰɢ. ɉɪɢɦɚɪɧɨ, ɬɟɪɦɢɧ ɚɪɚɛɟɫɤɚ ʁɟ ɭ ɫɮɟɪɢ ɦɭɡɢɤɟ ɨɡɧɚɱɚɜɚɨ ɤɨɧɬɪɚɩɭɧɤɬɫɤɨ ɞɟɤɨɪɚɬɢɜɧɨ ɬɤɚʃɟ ɨɤɨ ɝɥɚɜɧɟ ɬɟɦɟ, ɩɨɬɨɦ ɨɪɧɚɦɟɧɬɚɰɢʁɭ ɫɚɦɟ ɦɟɥɨɞɢʁɫɤɟ ɥɢɧɢʁɟ ɢ, ɧɚ ɤɪɚʁɭ, ɫɟɪɢʁɭ ɯɚɪɦɨɧɢʁɚ ɤɨʁɟ ɫɭ ɛɪɡɢɦ ɫɦɟʃɢɜɚʃɟɦ ɭɤɪɚɲɚɜɚɥɟ ɨɫɧɨɜɧɭ ɥɢɧɢʁɭ – ɬɨɤ ɤɨɦɩɨɡɢɰɢʁɟ.345 Ɇɟђɭɬɢɦ, ɡɚ Ⱦɟɛɢɫɢʁɚ, ɨɜɚʁ ɬɟɪɦɢɧ ʁɟ ɢɦɚɨ ɩɨɬɩɭɧɨ ɞɪɭɝɚɱɢʁɭ ɜɪɟɞɧɨɫɬ ɢ ɞɢɦɟɧɡɢʁɭ. Ⱦɟɛɢɫɢ ʁɟ, ɛɚɜɟʄɢ ɫɟ ɩɢɬɚʃɟɦ ɢɡɝɪɚɞʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ, ɨɞɧɨɫɧɨ ɦɭɡɢɱɤɢ ɤɨɧɫɬɪɭɤɬɢɜɧɢɦ ɮɟɧɨɦɟɧɨɦ ‘ɨɱɢɲʄɟɧɢɦ’ ɨɞ ɢɡɜɚɧɦɭɡɢɱɤɨɝ ɫɚɞɪɠɚʁɚ ɢɥɢ ɫɢɦɛɨɥɚ, ɭ ɢɞɟʁɢ ɚɪɚɛɟɫɤɟ ɩɪɨɧɚɲɚɨ ɩɨɟɬɢɱɤɭ ɩɚɪɚɞɢɝɦɭ ɚɭɬɨɧɨɦɧɟ ɦɭɡɢɱɤɟ ɨɛɥɢɤɨɬɜɨɪɧɨɫɬɢ. Ⱥɪɚɛɟɫɤɚ ʁɟ ɩɪɢɜɭɤɥɚ Ⱦɟɛɢɫɢʁɚ ɭɩɪɚɜɨ ɫɜɨʁɨɦ ɚɩɫɬɪɚɤɬɧɨɦ ɰɪɬɨɦ ɢ ɨɞɫɭɫɬɜɨɦ ɞɟɮɢɧɢɫɚɧɢɯ ɫɢɦɛɨɥɢɱɤɢɯ ɜɪɟɞɧɨɫɬɢ. Ɉɧɚ ɝɚ ɨɞɭɲɟɜʂɚɜɚ ɬɢɦɟ ɲɬɨ ɞɟɥɭʁɟ ɢɫɤʂɭɱɢɜɨ ɫɜɨʁɨɦ ɱɢɫɬɨɦ ɥɟɩɨɬɨɦ, ɞɟɡɢɧɞɢɜɢɞɭɚɥɢɡɨɜɚɧɨɦ ɢ ɨɫɥɨɛɨђɟɧɨɦ ɫɜɚɤɨɝ ɟɦɨɰɢɨɧɚɥɢɡɦɚ. „Ɍɨʁ ɨɪɧɚɦɟɧɬɚɥɧɨʁ ɤɨɧɰɟɩɰɢʁɢ”, ɨɛʁɚɲʃɚɜɚ Ⱦɟɛɢɫɢ, „ɦɭɡɢɤɚ ɞɨɞɚʁɟ ɫɢɝɭɪɧɨɫɬ ɦɟɯɚɧɢɡɦɚ ɤɨʁɢ ɢɦɩɪɟɫɢɨɧɢɪɚ ɩɭɛɥɢɤɭ […] ɇɟ ɛɢ ɬɪɟɛɚɥɨ ɩɨɦɢɫɥɢɬɢ ɞɚ ɫɟ ɬɭ ɪɚɞɢ ɨ ɧɟɱɟɦɭ ɧɟɩɪɢɪɨɞɧɨɦ ɢɥɢ ɜɟɲɬɚɱɤɨɦ […] Ɇɭɡɢɤɚ, ɩɪɟ ɫɜɟɝɚ, ɧɚ ɬɚʁ ɧɚɱɢɧ ɱɭɜɚ ɩɥɟɦɟɧɢɬɨɫɬ, ɧɟ ɞɨɩɭɲɬɚʁɭʄɢ ɫɟɛɢ ɞɚ ɫɟ ɩɪɢɤɥɨɧɢ ɨɧɚɤɜɨʁ ɩɨɬɪɟɛɢ ɡɚ ɨɫɟʄɚʁɧɨɲʄɭ ɤɨʁɚ ʂɭɞɟ ɭɡɛɭђɭʁɟ ɢ ɡɛɨɝ ɤɨʁɟ ɫɟ ɤɚɠɟ ɞɚ ‘ɨɧɢ ɜɨɥɟ ɦɭɡɢɤɭ’.”346 „ɇɟɬɚɤɧɭɬɭ ɦɭɡɢɱɤɭ ɚɪɚɛɟɫɤɭ ɭ ɤɨʁɨʁ ʁɟ ɞɨɦɢɧɚɧɬɚɧ ɩɪɢɧɰɢɩ ɭɤɪɚɲɚɜɚʃɚ, ɚ ɤɨʁɢ ʁɟ ɭʁɟɞɧɨ ɨɫɧɨɜɚ ɫɜɢɯ ɦɭɡɢɱɤɢɯ ɨɛɥɢɤɚ”347 Ⱦɟɛɢɫɢ ʁɟ ɩɪɨɧɚɲɚɨ ɭ ɞɟɥɭ, ɧɚʁɜɟʄɟɝ, ɩɪɟɦɚ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ, ɫɬɜɚɪɚɨɰɚ ɦɟђɭ ɦɭɡɢɱɚɪɢɦɚ – Јɨɯɚɧɚ ɋɟɛɚɫɬɢʁɚɧɚ Ȼɚɯɚ (Johan Sebastian Bach). „ɍ ɛɟɥɟɠɧɢɰɢ ɜɟɥɢɤɨɝ Ȼɚɯɚ”, ɩɢɲɟ Ⱦɟɛɢɫɢ, „ɨɬɤɪɢɜɚɦɨ 345 ɍɩɨɪɟɞɢɬɢ ɫɚ: Caroline Potter, ɧɚɜ ɞɟɥɨ, 144. 346 ɇɚɜɟɞɟɧɨ ɩɪɟɦɚ: Stefan Jarocinski, ɧɚɜ. ɞɟɥɨ, 120‒121. 347 Claude Debussy, Monsieur Croche et…, ɧɚɜ. ɞɟɥɨ, 34. Ʉɪɢɬɢɤɚ ʁɟ ɢɡɚɲɥɚ ɭ ɱɚɫɨɩɢɫɭ La Revue Blanche, 1. ɦɚʁɚ 1901. ɝɨɞɢɧɟ. { 223 } ɩɨɧɨɜɨ ɬɭ ɫɤɨɪɨ ɱɢɫɬɭ ɦɭɡɢɱɤɭ ɚɪɚɛɟɫɤɭ ɢɥɢ ɩɪɟ ɬɚʁ ɩɪɢɧɰɢɩ ‘ɨɪɧɚɦɟɧɬɚ’ ɤɨʁɢ ʁɟ ɭ ɨɫɧɨɜɢ ɫɜɢɯ ɜɢɞɨɜɚ ɭɦɟɬɧɨɫɬɢ. ɉɪɢ ɬɨɦ, ɪɟɱ ɨɪɧɚɦɟɧɬ ɧɟɦɚ ɧɢɲɬɚ ɡɚʁɟɞɧɢɱɤɨ ɫɚ ɡɧɚɱɟʃɟɦ ɤɨʁɟ ɦɭ ɫɟ ɩɪɢɩɢɫɭʁɟ ɭ ɦɭɡɢɱɤɢɦ ɝɪɚɦɚɬɢɤɚɦɚ […] ɉɪɜɨɛɢɬɧɢ ɦɭɡɢɱɚɪɢ, ɉɚɥɟɫɬɪɢɧɚ, ȼɢɬɨɪɢɚ, Ɉɪɥɚɧɞɨ ɞɢ Ʌɚɫɨ [...] ɫɥɭɠɢɥɢ ɫɭ ɫɟ ɬɨɦ ɛɨɠɚɧɫɤɨɦ ɚɪɚɛɟɫɤɨɦ. Ɍɚʁ ɩɪɢɧɰɢɩ ɨɧɢ ɫɭ ɨɬɤɪɢɥɢ ɭ ɝɪɟɝɨɪɢʁɚɧɫɤɨɦ ɤɨɪɚɥɭ. ɉɪɟɭɡɢɦɚʁɭʄɢ ɚɪɚɛɟɫɤɭ, Ȼɚɯ ʁɭ ʁɟ ɭɱɢɧɢɨ ɝɢɩɤɢʁɨɦ, ɮɥɭɢɞɧɢʁɨɦ ɢ ɭɩɪɤɨɫ ɫɬɪɨɝɟ ɫɬɟɝɟ ɤɨʁɭ ʁɟ ɧɚɦɟɬɚɨ ɬɚʁ ɭɱɢɬɟʂ ɥɟɩɨɬɟ, ɚɪɚɛɟɫɤɟ ɫɭ ɭ ʃɟɝɚ ɤɪɚʄɟ, ɫɚ ɭɜɟɤ ɨɛɧɨɜʂɚɧɨɦ, ɫɥɨɛɨɞɧɨɦ ɮɚɧɬɚɡɢʁɨɦ ɤɨʁɚ ɩɥɟɧɢ ɢ ɭ ɧɚɲɟ ɜɪɟɦɟ [...] ɍ Ȼɚɯɨɜɨʁ ɦɭɡɢɰɢ ɧɟ ɭɡɛɭђɭʁɟ ɩɪɢɪɨɞɚ ɦɟɥɨɞɢʁɟ ɜɟʄ ʃɟɧɚ ‘ɤɪɢɜɭʂɚ’; ɧɚʁɱɟɲʄɟ, ɪɟɱ ʁɟ ɨ ɤɪɟɬɚʃɭ ɜɢɲɟ ɩɚɪɚɥɟɥɧɢɯ ɥɢɧɢʁɚ ɱɢʁɢ ɫɭɫɪɟɬ ɩɨɛɭђɭʁɟ ɟɦɨɰɢʁɭ. Ɂɚɯɜɚʂɭʁɭʄɢ ɬɨʁ ɨɪɧɚɦɟɧɬɚɥɧɨʁ ɤɨɧɰɟɩɰɢʁɢ, ɦɭɡɢɤɚ ɫɬɢɱɟ ɫɢɝɭɪɧɨɫɬ ɦɟɯɚɧɢɡɦɚ ɤɨʁɢɦ ɫɟ ɢɦɩɪɟɫɢɨɧɢɪɚ ɩɭɛɥɢɤɚ ɢ ɤɨʁɢ ɪɚђɚ ɫɥɢɤɟ.”348 Ⱦɚɤɥɟ, ɩɪɟɦɚ Ⱦɟɛɢɫɢʁɟɜɨɦ ɦɢɲʂɟʃɭ, Ȼɚɯɨɜɨ ɞɟɥɨ ɩɨɤɚɡɭʁɟ ɩɭɬ ‘ɨɱɢɲʄɟɧɟ’ ɦɭɡɢɤɟ, ɨɫɥɨɛɨђɟɧɟ ɤɨɧɜɟɧɰɢʁɚ ɞɨɛɚ ɭ ɤɨʁɟɦ ʁɟ ɧɚɫɬɚɥɨ ɢ ɭɤɭɫɚ ɩɭɛɥɢɤɟ. Ɂɚɩɪɚɜɨ, Ȼɚɯɨɜɨ ɫɬɜɚɪɚɥɚɲɬɜɨ ɩɨɤɚɡɭʁɟ ɩɭɬ ɚɭɬɨɧɨɦɧɟ ɦɭɡɢɱɤɟ ɭɦɟɬɧɨɫɬɢ ɤɨʁɚ ɫɚɦɭ ɫɟɛɟ ɫɬɜɚɪɚ ɢ ɬɪɚɧɫɰɟɧɞɢɪɚ ɤɚɨ ɲɬɨ ɬɨ ɱɢɧɢ ɢ ɫɚɦɚ ɉɪɢɪɨɞɚ. ɇɚ ɬɚʁ ɧɚɱɢɧ, ɦɭɡɢɱɤɚ ɚɪɚɛɟɫɤɚ ɫɚɦɨɦ ɫɜɨʁɨɦ ɤɨɧɫɬɪɭɤɰɢʁɨɦ ɢɡɦɚɦʂɭʁɟ ɟɦɨɰɢʁɟ, ɚ ɧɟ ɩɪɟɬɩɨɫɬɚɜʂɟɧɢɦ ɫɚɞɪɠɚʁɟɦ ɤɨʁɢ ɛɢ ɬɪɟɛɚɥɨ ɞɚ ɧɨɫɢ. ɉɨɟɬɢɱɤɢ, ɦɭɡɢɱɤɚ ɚɪɚɛɟɫɤɚ ɛɢ ɭɤɚɡɢɜɚɥɚ ɧɚ ɩɪɢɧɰɢɩ ɢɡɝɪɚɞʃɟ ɨɛɥɢɤɚ ɭ ɤɨɦ ʁɟ ɫɜɚɤɚ ɥɢɧɢʁɚ ɪɟɥɟɜɚɧɬɧɚ ɡɚ ɢɡɝɪɚɞʃɭ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɢ ɤɨʁɚ ɫɟ ɧɟ ɩɨɞɜɨɞɢ ɩɨɞ ɩɨɡɧɚɬɟ, ɤɨɞɢɮɢɤɨɜɚɧɟ ɨɛɪɚɫɰɟ. Ɉɧɚ ɩɪɟɞɫɬɚɜʂɚ ɫɥɨɛɨɞɧɭ, ɚɫɨɰɢʁɚɬɢɜɧɭ ɨɪɝɚɧɢɡɚɰɢʁɭ ɤɨʁɚ ɭɜɟɤ ɢɡɧɟɧɚђɭʁɟ ɩɪɟɨɤɪɟɬɢɦɚ ɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ ɧɚ ɫɜɢɦ ɩɥɚɧɨɜɢɦɚ – ɫɬɪɭɤɬɭɪɧɨɦ, ɬɟɦɚɬɫɤɨɦ ɢ ɯɚɪɦɨɧɫɤɨɦ. ɉɨɪɟɞ ɬɨɝɚ, ɦɭɡɢɱɤɚ ɚɪɚɛɟɫɤɚ ɩɪɟɞɫɬɚɜʂɚ ɢ ɟɫɬɟɬɢɱɤɢ ɩɨʁɚɦ, ɡɚɬɨ ɲɬɨ ɨɧɚ ɫɭɲɬɢɧɫɤɢ ɩɪɨɜɨɰɢɪɚ ɩɢɬɚʃɟ ɤɨʁɟ ʁɟ ɩɨɫɬɚɜɢɨ ɢ ȿɞɭɚɪɞ ɏɚɧɫɥɢɤ (Eduard Hanslick) ɭ ɫɜɨʁɨʁ ɫɬɭɞɢʁɢ Ɉ ɦɭɡɢɱɤɢ ɥɟɩɨɦ (Vom Musikalisch-Schönen, 1854), ɚ ɬɨ ʁɟ – ɢɦɚ ɥɢ ɦɭɡɢɤɚ ɞɪɭɝɨ ɡɧɚɱɟʃɟ ɞɨ ɫɚɦɟ ɤɨɧɫɬɪɭɤɰɢʁɟ? Ɉɧ ɩɢɲɟ: „ɋɚɞɪɠɚʁ ɦɭɡɢɤɟ ɫɭ ɮɨɪɦɟ ɩɨɤɪɟɧɭɬɟ ɬɨɧɨɜɢɦɚ. ɇɚ ɤɨʁɢ ɧɚɦ ɧɚɱɢɧ ɦɭɡɢɤɚ ɦɨɠɟ ɞɚɬɢ ɥɟɩɟ ɮɨɪɦɟ ɛɟɡ ɫɚɞɪɠɚʁɚ 348 Claude Debussy, Monsieur Croche Antidiletant, Treći..., ɧɚɜ. ɞɟɥɨ, 9‒10. { 224 } ɧɟɤɚɤɜɨɝ ɨɞɪɟђɟɧɨɝ ɚɮɟɤɬɚ ɩɨɤɚɡɭʁɟ ɢɡɞɚɥɟɤɚ ɜɟʄ ɢ ʁɟɞɧɚ ɝɪɚɧɚ ɨɪɧɚɦɟɧɬɢɤɟ ɭ ɥɢɤɨɜɧɢɦ ɭɦɟɬɧɨɫɬɢɦɚ: ɚɪɚɛɟɫɤɚ. ȼɢɞɢɦɨ ɡɚɜɢʁɟɧɟ ɥɢɧɢʁɟ, ɧɟɝɞɟ ɫɟ ɛɥɚɝɨ ɧɚɝɢʃɭʄɢ – ɧɟɝɞɟ ɨɞɜɚɠɧɨ ɫɬɪɟɦɟʄɢ ɭɜɢɫ, ɥɢɧɢʁɟ ɤɨʁɟ ɫɟ ɧɚɥɚɡɟ ɢ ɭɪɚɫɬɚʁɭ, ɭ ɜɟɥɢɤɢɦ ɢ ɦɚɥɢɦ ɥɭɤɨɜɢɦɚ ɤɨɪɟɫɩɨɧɞɢɪɚʁɭ, ɩɨɡɞɪɚɜʂɚʁɭʄɢ ɭɜɟɤ ɢ ɫɭɩɪɨɬɧɭ ɩɨɛɨɱɧɭ ɫɬɪɚɧɭ, ɬɜɨɪɟʄɢ ɡɛɢɪɤɭ ɫɢɬɧɢɯ ɩɨʁɟɞɢɧɨɫɬɢ, ɚ ɢɩɚɤ ɢ ɰɟɥɢɧɭ. Ɂɚɦɢɫɥɢɦɨ ɫɚɞɚ ʁɟɞɧɭ ɚɪɚɛɟɫɤɭ ɤɨʁɚ ɧɢʁɟ ɦɪɬɜɚ ɢ ɦɢɪɧɚ, ɧɟɝɨ ɩɪɟɞ ɧɚɲɢɦ ɨɱɢɦɚ ɧɚɫɬɚʁɟ ɭ ɧɟɩɪɟɤɢɞɧɨɦ ɫɚɦɨɨɛɥɢɤɨɜɚʃɭ. Ʉɚɤɨ ɫɟ ɭɡɞɢɠɭ ɢɡ ɦɚɥɟ ɤɪɢɜɟ ɤɚ ɜɟɥɢɤɢɦ ɜɢɫɢɧɚɦɚ ɢ ɨɧɞɚ ɩɨɧɨɜɨ ɭɪɚʃɚʁɭ, ɤɚɤɨ ɫɟ ɲɢɪɟ ɢ ɫɤɭɩʂɚʁɭ, ɢ ɧɟɩɪɟɤɢɞɧɨ ɭɡɧɟɦɢɪɭʁɭ ɢ ɢɡɧɟɧɚђɭʁɭ ɨɤɨ ɫɜɨʁɢɦ ɢɧɝɟɧɢɨɡɧɢɦ ɚɥɬɟɪɧɚɰɢʁɚɦɚ ɢɡɦɟђɭ ɬɟɧɡɢʁɟ ɢ ɫɦɢɪɟʃɚ! ɉɪɟɞ ɧɚɲɢɦ ɨɱɢɦɚ ɥɢɤ ɩɨɫɬɚʁɟ ɫɜɟ ɜɟɥɢɱɚɧɫɬɜɟɧɢʁɢ ɢ ɭɡɜɢɲɟɧɢʁɢ. Ʉɨɧɚɱɧɨ, ɯɚʁɞɟ ɞɚ ɪɚɡɦɢɫɥɢɦɨ ɨ ɨɜɨʁ ɠɢɜɚɯɧɨʁ ɚɪɚɛɟɫɤɢ ɤɚɨ ɞɢɧɚɦɢɱɧɨʁ ɟɦɚɧɚɰɢʁɢ ɭɦɟɬɧɢɱɤɨɝ ɞɭɯɚ ɤɨʁɢ ɫɜɟ ɜɢɲɟ ɢɡɥɢɜɚ ɱɢɬɚɜɨ ɢɡɨɛɢʂɟ ɫɜɨʁɟ ɢɧɜɟɧɬɢɜɧɨɫɬɢ ɭ ɚɪɬɟɪɢʁɟ ɨɜɚɤɜɟ ɞɢɧɚɦɢɱɧɨɫɬɢ. Ɂɚɪ ɨɜɚɤɚɜ ɭɬɢɫɚɤ ɧɟ ɩɪɢɥɚɡɢ ɫɚɫɜɢɦ ɛɥɢɡɭ ɭɬɢɫɤɭ ɤɨʁɢ ɨɫɬɚɜʂɚ ɦɭɡɢɤɚ?”349 Ⱦɚɤɥɟ, ɭɤɨɥɢɤɨ ɦɭɡɢɤɭ ɪɚɡɭɦɟɦɨ ɤɚɨ ɩɨɤɪɟɬ ɡɜɭɱɧɢɯ ɦɚɫɚ ɭ ɜɪɟɦɟɧɭ, ɨɧɞɚ ɨɧɚ ɢ ʁɟɫɬɟ ɚɧɚɥɨɝɧɚ ɫɥɢɤɚɪɫɤɨʁ ɚɪɚɛɟɫɤɢ. ȿɜɨɤɚɰɢʁɚ, ɤɚɨ ɢ ɭɧɨɲɟʃɟ ɞɨɞɚɬɧɢɯ ɡɧɚɱɟʃɚ ɛɢ, ɭ ɬɨɦ ɫɥɭɱɚʁɭ, ɩɪɟɞɫɬɚɜʂɚɥɢ ɫɚɦɨ ɞɨɞɚɬɧɢ ɬɟɤɫɬ ɤɨʁɢ ɦɨɠɟ ɩɨɫɬɨʁɚɬɢ, ɚɥɢ ɧɢʁɟ ɢ ɧɟ ɦɨɠɟ ɛɢɬɢ ʁɟɞɢɧɢ ɢ ɨɫɧɨɜɧɢ ɰɢʂ ɦɭɡɢɱɤɟ ɤɨɦɩɨɡɢɰɢʁɟ. Ⱦɟɛɢɫɢʁɟɜ ɨɞɧɨɫ ɩɪɟɦɚ ɩɪɨɛɥɟɦɭ ɩɨɜɟɡɚɧɨɫɬɢ ɭɦɟɬɧɨɫɬɢ ɫɚ ɩɪɢɪɨɞɨɦ, ɨɞɧɨɫɧɨ ɬɪɚɧɫɩɨɡɢɰɢʁɟ ɩɪɢɪɨɞɟ ɭ ɧɨɜɢ, ɭɦɟɬɧɢɱɤɢ ɨɛɥɢɤ, ɦɨɠɟ ɫɟ ɨɞɝɨɧɟɬɧɭɬɢ ɢɡ ɫɚɞɪɠɢɧɟ ʁɟɞɧɨɝ ɨɞ ɤɨɦɩɨɡɢɬɨɪɨɜɢɯ ɩɢɫɚɦɚ, ɭɩɭʄɟɧɨɝ Ƚɚɛɪɢʁɟɥɭ Ɇɨɪɟʁɭ (Gabriel Ɇɨurɟy) ɧɨɜɟɦɛɪɚ 1913. ɝɨɞɢɧɟ. ɉɢɲɭʄɢ ɨ ɩɪɨɰɟɫɭ ɧɚɫɬɚʁɚʃɚ ɤɨɦɩɨɡɢɰɢʁɟ ɡɚ ɮɥɚɭɬɭ ɫɨɥɨ, ɩɨɞ ɧɚɡɢɜɨɦ ɋɢɪɢɧɤɫ, Ⱦɟɛɢɫɢ, ɢɡɦɟђɭ ɨɫɬɚɥɨɝ, ɢɫɬɢɱɟ ɢ ɫɥɟɞɟʄɟ: „ɉɨɲɬɨ ɫɚɦ ɧɟɤɨɥɢɤɨ ɩɭɬɚ ɩɨɤɭɲɚɨ, ɦɢɫɥɢɦ ɞɚ ɫɟ ɬɪɟɛɚ ɞɪɠɚɬɢ ɉɚɧɨɜɟ ɮɪɭɥɟ ɛɟɡ ɢɤɚɤɜɟ ɩɪɚɬʃɟ. Ɉɜɨ ʁɟ ɬɟɠɟ ɩɨɫɬɢʄɢ, ɚɥɢ ʁɟ ɜɢɲɟ ɭ ɫɤɥɚɞɭ ɫɚ ɩɪɢɪɨɞɨɦ [ɩɨɞɜɭɤɥɚ ɂ.ɉ.].”350 ɍ ɬɨɦ ɩɢɫɦɭ, Ⱦɟɛɢɫɢ ɫɟ ɨɫɜɪʄɟ ɢ ɧɚ ɞɪɭɝɟ ɛɢɬɧɟ, ɨɜɞɟ ɪɟɥɟɜɚɧɬɧɟ ɨɞɥɢɤɟ ɞɟɥɚ ɤɨʁɟ ɭɩɭʄɭʁɭ ɧɚ ɤɨɦɩɨɡɢɬɨɪɨɜɭ ɩɨɬɪɟɛɭ ɞɚ ɭ ɩɪɨɰɟɫɭ ɬɪɚɧɫɩɨɡɢɰɢʁɟ ɩɪɢɪɨɞɟ ɫɚɱɭɜɚ 349 Eduard Hanslick, O muzički lijepom (Beograd: BIGZ, 1977), 84‒85. 350 Claude Debussy, Frederick R. Koch Collection, Beinecke Rare Books and Manuscript Library, Yale University, ɮɚɤɫɢɦɢɥ ɨɛʁɚɜʂɟɧ 1992. ɝɨɞɢɧɟ. { 225 } ɟɦɨɰɢɨɧɚɥɧɨɫɬ ɤɨʁɭ ɨɧɚ ɩɨɫɟɞɭʁɟ, ɤɚɨ ɢ ɩɪɢɪɨɞɚɧ ɬɨɤ ɞɨɝɚђɚʁɚ, ɤɨʁɢ ɧɟ ɛɢ ɬɪɟɛɚɥɨ ɞɚ ɛɭɞɟ ɧɚɪɭɲɟɧ. ɇɚ ɬɨ ɫɟ ɨɞɧɨɫɢ ɫɥɟɞɟʄɚ ɤɨɦɩɨɡɢɬɨɪɨɜɚ ɦɢɫɚɨ: „ […] ɮɥɚɭɬɚ ɤɨʁɚ ɩɟɜɚ ɧɚ ɯɨɪɢɡɨɧɬɭ ɦɨɪɚ ɨɞɦɚɯ ɢɫɩɨʂɢɬɢ ɫɜɨʁɭ ɟɦɨɰɢʁɭ! Ɂɚɩɪɚɜɨ, ɧɟɦɚ ɜɪɟɦɟɧɚ ɡɚ ɩɨɧɚɜʂɚʃɚ, ɡɚɬɨ ɲɬɨ ʄɟ ɛɢɥɨ ɤɚɤɜɚ ɧɟɩɪɢɪɨɞɧɨɫɬ ɨɝɪɭɛɟɬɢ ɢɡɪɚɡ, ɛɭɞɭʄɢ ɞɚ ɫɟ ɥɢɧɢʁɚ ɢɥɢ ɦɟɥɨɞɢʁɫɤɢ ɨɛɪɚɡɚɰ ɧɟ ɦɨɝɭ ɨɫɥɨɧɢɬɢ ɧɚ ɛɢɥɨ ɤɚɤɚɜ ɩɪɟɤɢɞ ɛɨʁɟ.”351 ɇɚ ɨɫɧɨɜɭ ɰɢɬɢɪɚɧɢɯ ɫɟɝɦɟɧɚɬɚ ɢɡ ɩɢɫɦɚ, ɦɨɠɟ ɫɟ ɧɚɫɥɭɬɢɬɢ ɞɚ ʁɟ Ⱦɟɛɢɫɢ ɭ ʁɟɞɧɨɦ ɬɪɟɧɭɬɤɭ ɢɦɚɨ ɭ ɜɢɞɭ ɚɪɚɛɟɫɤɭ, ɨɞɧɨɫɧɨ ɚɪɚɛɟɫɤɭ ɤɚɨ ɩɪɢɧɰɢɩ ɢɡɝɪɚɞʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɩɪɢɥɢɤɨɦ ɫɬɜɚɪɚʃɚ ɨɜɟ ɤɨɦɩɨɡɢɰɢʁɟ. ɋɢɪɢɧɤɫ, ɡɚɩɪɚɜɨ, ɩɪɢɩɚɞɚ ɨɧɨʁ ɤɚɬɟɝɨɪɢʁɢ ɞɟɥɚ ɱɢʁɚ ɦɭɡɢɱɤɚ ɮɨɪɦɚ „ɩɪɟɞɫɬɚɜʂɚ ɨɬɟɥɨɬɜɨɪɟʃɟ ɢɧɨɜɚɬɢɜɧɢɯ ɩɚɪɚɞɢɝɦɢ ɜɚɪɢɪaɧɨɝ ɩɨɧɚɜʂɚʃɚ ʁɟɞɧɨɝ ɬɟ ɢɫɬɨɝ ɦɨɬɢɜɚ”352. ɇɚɢɦɟ, ɭ ʃɢɦɚ ʁɟ ɡɚɫɬɭɩʂɟɧɚ ʁɟɞɧɚ, ɨɫɧɨɜɧɚ ɦɭɡɢɱɤɚ ɢɞɟʁɚ ɤɨʁɚ ɫɟ ɞɚʂɟ ɪɚɡɜɢʁɚ ɢ ɭɫɦɟɪɚɜɚ ɤɚ ɧɟɱɟɦɭ ɞɪɭɝɨɦ, ɞɨɤ ɫɟ ɭ ɢɡɜɟɫɧɨɦ ɬɪɟɧɭɬɤɭ ɬɚʁ ɬɨɤ ɧɟ ɩɪɟɤɢɧɟ, ɚ ɡɚɬɢɦ ɢɫɬɢ ɩɪɨɰɟɫ ɢɡɧɨɜɚ ɤɪɟɧɟ, ɜɚɪɢɪɚɧ. Ɉɫɧɨɜɧɚ ɢɞɟʁɚ ɤɨɦɩɨɡɢɰɢʁɟ ɥɟɠɢ ɭ ɩɪɜɚ ɞɜɚ ɬɚɤɬɚ, ɤɨʁɢ ɩɪɟɞɫɬɚɜʂɚʁɭ ɦɭɡɢɱɤɢ ɧɭɤɥɟɭɫ ɧɚ ɨɫɧɨɜɭ ɤɨʁɟɝ ɫɟ ɝɪɚɞɢ ɰɟɥɨɤɭɩɚɧ ɦɭɡɢɱɤɢ ɬɨɤ ɨɜɨɝ ɞɟɥɚ. Ɉɧ ɫɟ ɫɚɫɬɨʁɢ ɢɡ ɞɜɟ ɤɨɦɩɥɟɦɟɧɬɚɪɧɟ ɫɢɥɟ, ɢɥɢ, ɪɟɱɟɧɨ ɭ ɤɨɧɬɟɤɫɬɭ ɚɪɚɛɟɫɤɟ, ɞɜɟ ɥɢɧɢʁɟ, ɨɞɧɨɫɧɨ, ɞɜɚ ɦɨɬɢɜɚ (ɦ1 ɢ ɦ2) ɤɨʁɢ ɫɟ ɞɨɩɭʃɭʁɭ: ɩɪɜɭ ɥɢɧɢʁɭ/ɩɪɜɢ ɦɨɬɢɜ – ɦ1, ɤɚɪɚɤɬɟɪɢɲɟ ɤɨɦɛɢɧɚɰɢʁɚ ɯɪɨɦɚɬɫɤɟ ɥɟɫɬɜɢɰɟ ɢ ɰɟɥɨɫɬɟɩɟɧɨɝ ɧɢɡɚ; ɰɟɥɨɫɬɟɩɟɧɢ ɧɢɡ ɫɟ ɨɞɜɢʁɚ ɧɚɧɢɠɟ ɭ ɞɭɠɢɦ ɧɨɬɧɢɦ ɜɪɟɞɧɨɫɬɢɦɚ (ɬɟ ɫɟ ɧɚ ɬɚʁ ɧɚɱɢɧ ɦɚɪɤɢɪɚʁɭ ɬɨɧɨɜɢ ɤɨʁɢ ɬɚʁ ɧɢɡ ɱɢɧɟ ‒ ɛɟ2-ɚɫ2-ɝɟɫ2/-ɟ2-ɞɟɫ2/), ɞɨɤ ʁɟ (ɧɟɩɨɬɩɭɧɚ) ɯɪɨɦɚɬɫɤɚ ɥɟɫɬɜɢɰɚ ɞɚɬɚ ɭ ɜɢɞɭ (ɯɪɨɦɚɬɫɤɨɝ) ‘ɤɪɭɠɟʃɚ’ ɢɫɩɨɞ ɢ ɢɡɧɚɞ ɬɨɧɨɜɚ ɰɟɥɨɫɬɟɩɟɧɨɝ ɧɢɡɚ. Ɍɚɤɨ, ɜɟʄ ɭ ɩɪɜɨɦ ɦɨɬɢɜɭ ɩɪɟɩɨɡɧɚʁɟɦɨ ɚɪɚɛɟɫɤɧɢ ɩɪɢɧɰɢɩ – ɩɪɨɫɬɨɪ (ɛɟɥɢɧɚ, ɰɟɥɨɫɬɟɩɟɧɨɫɬ) ɢ ɝɭɫɬɨ ɚɪɚɛɟɫɤɧɨ ɩɥɟɬɢɜɨ ɤɨʁɟ ɬɚʁ ɩɪɨɫɬɨɪ ɩɨɱɢʃɟ ɞɚ ‘ɢɫɩɭʃɚɜɚ’ (ɲɚɪɚ, ɯɪɨɦɚɬɢɤɚ). Ⱦɪɭɝɚ ɥɢɧɢʁɚ, ɨɞɧɨɫɧɨ, ɞɪɭɝɢ ɦɨɬɢɜ ‒ ɦ2, ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɩɪɨɢɡɥɚɡɢ ɢɡ ɩɪɟɬɯɨɞɧɨɝ ɫɚɦɨɦ ɱɢʃɟɧɢɰɨɦ ɞɚ ɨɛɭɯɜɚɬɚ ɢ ɰɟɥɨɫɬɟɩɟɧɢ (ɛɟ2-ɰɟ3 → ɧɚɜɢɲɟ) ɢ ɯɪɨɦɚɬɫɤɢ ɩɨɤɪɟɬ (ɰɟ3-ɰɟɫ3-ɛɟ2), ɤɨʁɢ ɫɭ ɫɚɞɚ ɢɡɥɨɠɟɧɢ ɧɚ ɦɚʃɟɦ ɩɪɨɫɬɨɪɭ, ɡɧɚɬɧɨ ‘ɡɝɭɫɧɭɬɢʁɟ’. Ɍɨɧɨɦ 351 ɂɫɬɨ. 352 Richard S. Parks, Music’s inner dance: form, pacing and complexity in Debussy’s music, u: The Cambridge Companion to Debussy..., ɧɚɜ. ɞɟɥɨ, 205. { 226 } ɰɟ3, ʁɟɞɢɧɢɦ ‘ɧɨɜɢɦ’ ɬɨɧɨɦ ɭ ɦ2, ɤɚɨ ɞɚ ʁɟ ‘ɨɫɜɨʁɟɧ’ ʁɨɲ ʁɟɞɚɧ ɫɟɝɦɟɧɬ ɬɨɝ (ɢɦɚɝɢɧɚɪɧɨɝ) ɩɪɨɫɬɨɪɚ, ɬɨ ʁɟɫɬ, ɤɚɨ ɞɚ ʁɟ ɨɫɧɨɜɧɢ ɦɨɬɢɜ ɨɜɟ ɦɭɡɢɱɤɟ ɚɪɚɛɟɫɤɟ ɩɪɨɲɢɪɟɧ ɡɚ ʁɨɲ ʁɟɞɚɧ ɞɟɬɚʂ. Ɉɧɨ ɲɬɨ ʁɟ ɡɚɧɢɦʂɢɜɨ ʁɟɫɬɟ ɞɚ ɫɟ ɧɚɤɨɧ ɦɨɬɢɜɚ ɢɡ ɩɪɜɨɝ ɬɚɤɬɚ (ɢ ɬɨɧɚ ɞɟɫ1), ɧɚ ɩɨɱɟɬɤɭ ɞɪɭɝɨɝ ɱɭʁɟ ɢɫɬɢ ɬɨɧ ɤɚɨ ɫɚ ɩɨɱɟɬɤɚ ɤɨɦɩɨɡɢɰɢʁɟ ‒ ɛɟ2, ɤɚɨ ɫɜɨʁɟɜɪɫɧɢ ɛɚɥɚɧɫ ɢɡɦɟђɭ ɬɟ ɞɜɟ ɫɢɥɟ/ɥɢɧɢʁɟ, ɨɞɧɨɫɧɨ, ɦɨɬɢɜɚ; ɬɨ ʁɟɫɬ, ɪɟɱ ʁɟ ɨ ɬɨɧɭ/ɬɚɱɤɢ ɢɡ ɤɨʁɟ ɫɟ ɝɥɚɜɧɢ ɦɨɬɢɜ ɚɪɚɛɟɫɤɟ ɞɚʂɟ ɜɚɪɚɢɪɚɧɨ ɩɪɨɲɢɪɭʁɟ ɢ ‘ɪɚɡɥɢɫɬɚɜɚ’: ɦɨɬɢɜ ɦ1 – ɧɚɧɢɠɟ ɤɨɦɛɢɧɚɰɢʁɨɦ ɯɪɨɦɚɬɫɤɨɝ ɢ ɰɟɥɨɫɬɟɩɟɧɨɝ ɧɢɡɚ, ɚ ɦɨɬɢɜ ɦ2 ɦɢɧɢɦɚɥɧɢɦ ɩɨɤɪɟɬɨɦ ɧɚɜɢɲɟ ɢ ‘ɤɪɭɠɟʃɟɦ’ ɨɤɨ ɬɨɝ ɬɨɧɚ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 27). ɇɚɤɨɧ ɡɚɭɫɬɚɜʂɚʃɚ ɧɚ ɬɨɧɭ ɛɟ2 ʁɨɲ ʁɟɞɧɨɦ – ɬɪɟʄɢ ɩɭɬ, ɭ ɩɚɪɬɢɬɭɪɢ ʁɟ ɨɛɟɥɟɠɟɧɚ ɤɨɪɨɧɚ – ɡɧɚɤ ɤɨʁɢ ɩɪɨɞɭɠɚɜɚ ɬɪɚʁɚʃɟ ɬɨɝ ɢɫɬɨɝ ɬɨɧɚ, ɚɥɢ ɢ ɡɧɚɤ ɤɨʁɢ ɞɨɩɪɢɧɨɫɢ ɬɨɦɟ ɞɚ ɦɭɡɢɱɤɢ ɧɭɤɥɟɭɫ, ɨɫɧɨɜɧɚ ɦɭɡɢɱɤɚ ɢɞɟʁɚ ɋɢɪɢɧɤɫɚ ɨɞɡɜɭɱɢ ʁɨɲ ɦɚɥɨ ɞɭɠɟ, ɢ ɬɚɤɨ ɛɭɞɟ ‘ɭɪɟɡɚɧɚ’ ɭ ɭɯɭ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 27: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɋɢɪɢɧɤɫ (Syrinx, 1913), ɬɬ. 1–2. Јɟɞɢɧɨ ɞɨɫɥɨɜɧɨ ɩɨɧɚɜʂɚʃɟ ɦɨɬɢɜɚ ɦ1 ɡɛɢɜɚ ɫɟ ɭ 3. ɬɚɤɬɭ, ɞɨɤ ɫɟ ɩɪɜɢ ɫɬɟɩɟɧ ʃɟɝɨɜɟ ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ ɦɨɠɟ ɢɫɩɪɚɬɢɬɢ ɭ 9. ɢ 10. ɬɚɤɬɭ. ɇɚɢɦɟ, ɭ ɞɟɜɟɬɨɦ ɬɚɤɬɭ, ɦɨɬɢɜ ɦ1 ʁɟ ɢɡ ɫɪɟɞʃɟɝ ɪɟɝɢɫɬɪɚ ɢɧɫɬɪɭɦɟɧɬɚ ɬɪɚɧɫɩɨɧɨɜɚɧ ɭ ɞɭɛɨɤɢ, ɞɨɤ ʁɟ ɨɡɧɚɤɚ ɡɚ ɬɟɦɩɨ Très modéré ɡɚɦɟʃɟɧɚ ɨɡɧɚɤɨɦ Un peu mouvementé (mais très peu). Ⱦɚɤɥɟ, { 227 } ɪɟɝɢɫɬɚɪɫɤɨ ɧɢʁɚɧɫɢɪɚʃɟ ɢ (ɧɟ ɜɟɥɢɤɨ) ɭɛɪɡɚɜɚʃɟ ʁɟɫɭ ɨɞɥɢɤɟ ɩɪɜɨɝ ɜɚɪɢʁɚɧɬɧɨɝ ɩɨɧɚɜʂɚʃɚ ɩɪɜɨɝ ɦɨɬɢɜɚ. ȼɟʄɢ ɫɬɟɩɟɧ ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ ɟɧɟɪɝɟɬɫɤɨɝ ɢɡɜɨɪɚ ɞɟɥɚ ɭɨɱɚɜɚ ɫɟ ɭ ɬɚɤɬɭ ɞɟɫɟɬ ɝɞɟ ʁɟ ɩɨɪɟɞ ɩɪɨɦɟɧɟ ɪɟɝɢɫɬɪɚ, ɩɪɨɦɟʃɟɧ ɢ ɫɦɟɪ ɤɪɟɬɚʃɚ ɫɭɛɦɨɬɢɜɚ ɤɨʁɢ ɫɟ ɧɚɥɚɡɢ ɧɚ ɬɪɟʄɨʁ ɱɟɬɜɪɬɢɧɢ, ɢɫɩɨɞ ɤɨʁɟɝ ʁɟ ɞɨɩɢɫɚɧɚ ɢ ɞɢɧɚɦɢɱɤɚ ɨɡɧɚɤɚ ɡɚ ɤɪɟɲɟɧɞɨ. ɉɨɜɪɚɬɚɤ, ɧɚɢɡɝɥɟɞ, ɩɪɜɨɛɢɬɧɨɦ ɦɨɬɢɜɭ ɦ1 ɭɨɱɚɜɚ ɫɟ ɭ 26. ɢ 28. ɬɚɤɬɭ. Ɇɟђɭɬɢɦ, Ⱦɟɛɢɫɢ ʁɟ ɢ ɭ ɨɜɨɦ ɫɟɝɦɟɧɬɭ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɢɡɛɟɝɚɨ ɞɨɫɥɨɜɧɨ ɩɨɧɚɜʂɚʃɟ ɬɢɦɟ ɲɬɨ ʁɟ ɬɨɧ ɛe2 ɩɪɨɞɭɠɢɨ ɡɚ ɬɪɚʁɚʃɟ ʁɟɞɧɟ ɱɟɬɜɪɬɢɧɟ, ɚ ɩɨɬɨɦ ɢ ɞɢɧɚɦɢɱɤɢ ɞɪɭɝɚɱɢʁɟ ɧɢʁɚɧɫɢɪɚɨ ɰɟɥɨɤɭɩɚɧ ɦɨɬɢɜ. Ɍɚɤɨ, ɬɨɧ ɛe2 ɭ mf ɞɢɧɚɦɢɰɢ ɭ 25. ɬɚɤɬɭ ɫɟ ɧɚɞɨɜɟɡɭʁɟ/ɭɥɢɜɚ ɭ ɦɨɬɢɜ ɦ1 ɭ 26. ɬɚɤɬɭ ɤɨʁɢ ʁɟ ɞɢɧɚɦɢɱɤɢ ɫɟɧɱɟɧ ɤɪɟɲɟɧɞɨɦ. ɋɥɢɱɧɚ (ɦɟɬɪɨ-ɪɢɬɦɢɱɤɚ) ɫɥɢɤɚ ɫɟ ɨɞɜɢʁɚ ɢɡɦɟђɭ 27. ɢ 28. ɬɚɤɬɚ, ɫ ɬɨɦ ɪɚɡɥɢɤɨɦ ɞɚ ʁɟ ɦɨɬɢɜ ɦ1 ɫɦɟɲɬɟɧ ɭ ɤɨɧɬɟɤɫɬ diminuendɨ ɩɨɤɪɟɬɚ, ɩɪɚʄɟɧ ɥɟɝɚɬɨ ɚɪɬɢɤɭɥɚɰɢʁɨɦ ɫɭɛɦɨɬɢɜɚ ɤɨʁɢ ɫɟ ɧɚɥɚɡɟ ɧɚ ɞɪɭɝɨʁ ɢ ɧɚ ɬɪɟʄɨʁ ɞɨɛɢ ɬɚɤɬɚ. ȿɜɢɞɟɧɬɧɨ ʁɟ ɞɚ ɫɟ ɧɚʁɜɟʄɢ ɫɬɟɩɟɧ ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ ɦɨɬɢɜɚ ɦ1 ɞɟɲɚɜɚ ɭ ɬɚɤɬɨɜɢɦɚ 29 ɢ 30. ɇɚɢɦɟ, ɢɚɤɨ ʁɟ ɡɚɞɪɠɚɨ ɢɫɬɢ ɢɧɬɟɪɜɚɥɫɤɢ ɫɤɭɩ, Ⱦɟɛɢɫɢ ʁɟ ɪɢɬɦɢɱɤɨɦ ɦɨɞɢɮɢɤɚɰɢʁɨɦ ɩɪɜɨɝ ɢ ɞɪɭɝɨɝ ɫɭɛɦɨɬɢɜɚ (ɞɜɟ ɬɪɢɨɥɟ), ɤɚɨ ɢ ɩɪɨɦɟɧɨɦ ɬɚɤɬɚ 3/4 ɭ 2/4, ɞɨɩɪɢɧɟɨ ɦɟɬɪɨ-ɪɢɬɦɢɱɤɨʁ ɮɥɭɢɞɧɨɫɬɢ ɩɨɦɟɧɭɬɨɝ ɦɨɬɢɜɚ. ɉɨɪɟɞ ɬɨɝɚ, ɢɧɬɟɪɟɫɚɧɬɧɨ ʁɟ ɞɚ ɫɭ ɞɢɧɚɦɢɱɤɟ ɩɪɨɦɟɧɟ ɭɱɟɫɬɚɥɢʁɟ, ɢɚɤɨ ʁɟ ɩɪɨɫɬɨɪɧɚ ɢ ɜɪɟɦɟɧɫɤɚ ɞɢɦɟɧɡɢʁɚ ɩɪɨɦɟʃɟɧɚ. ɉɨɫɥɟɞʃɚ ɬɪɚɧɫɮɨɪɦɚɰɢʁɚ (ɬɚɤɬɨɜɢ 34 ɢ 35) ɩɨɤɚɡɭʁɟ ɩɪɨɦɟɧɟ ɤɚɤɨ ɦɟɬɪɨ-ɪɢɬɦɢɱɤɟ, ɬɚɤɨ ɢ ɦɟɥɨɞɢʁɫɤɟ ɤɨɦɩɨɧɟɧɬɟ: ɩɨɤɪɟɬ ʁɟ ɞɚɬ ɭ ɤɜɢɧɬɨɥɢ, ɛɟɡ ɯɪɨɦɚɬɫɤɢɯ ‘ɩɪɢɦɟɫɚ’, ɞɚɤɥɟ, ɫɚɦɨ ɤɚɨ ɰɟɥɨɫɬɟɩɟɧɢ ɧɢɡ ɨɞ ɯɚ1 ɞɨ ɞɟɫ1. { 228 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 28: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɋɢɪɢɧɤɫ (Syrinx, 1913), ɦɨɬɢɜ ɦ1 ɢ ʃɟɝɨɜɟ ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ. Ɇɨɝɭʄɟ ʁɟ ɭɫɩɨɫɬɚɜɢɬɢ ɜɟɡɭ ɢ ɢɡɦɟђɭ, ɧɚɢɡɝɥɟɞ, ɩɨɬɩɭɧɨ ɪɚɡɥɢɱɢɬɢɯ ɦɨɬɢɜɚ ɤɚɤɜɢ ɫɭ, ɧɚ ɩɪɢɦɟɪ, ɦɨɬɢɜ ɦ1 ɢ ɦɨɬɢɜ ɤɨʁɢ ɫɟ ɩɨʁɚɜʂɭʁɟ ɭ 13. ɬɚɤɬɭ. Ɇɟђɭɬɢɦ, ɭɤɨɥɢɤɨ ɫɟ ɫɚɝɥɟɞɚʁɭ ɢɧɬɟɪɜɚɥɫɤɢ ɨɞɧɨɫɢ ɢɡɦɟђɭ ɫɭɫɟɞɧɢɯ ɬɨɧɨɜɚ, ɤɚɨ ɢ ɢɧɬɟɪɜɚɥɫɤɢ ɨɞɧɨɫɢ ɢɡɦɟђɭ ɫɭɛɦɨɬɢɜɚ, ɦɨɠɟ ɫɟ ɭɨɱɢɬɢ ɜɢɫɨɤ ɫɬɟɩɟɧ ɫɥɢɱɧɨɫɬɢ. ɇɚɢɦɟ, ɢɧɬɟɪɜɚɥɫɤɢ ɪɚɡɦɚɤ ɢɡɦɟђɭ ɩɪɜɨɝ ɢ ɞɪɭɝɨɝ, ɢ ɞɪɭɝɨɝ ɢ ɬɪɟʄɟɝ ɫɭɛɦɨɬɢɜɚ ʁɟ ɢ ɭ ɦɨɬɢɜɭ ɦ1 ɢ ɭ ɦɨɬɢɜɭ ɢɡ 13. ɬɚɤɬɚ – ɦɚɥɚ ɬɟɪɰɚ (ɩɪɟɤɨɦɟɪɧɚ ɫɟɤɭɧɞɚ); ɬɚɤɨђɟ, ɢ ɢɧɬɟɪɜɚɥɫɤɢ ɨɞɧɨɫ ɢɡɦɟђɭ ɫɭɫɟɞɧɢɯ ɬɨɧɨɜɚ ɭ ɨɤɜɢɪɭ ɫɜɚɤɨɝ ɫɭɛɦɨɬɢɜɚ ʁɟ ɢɞɟɧɬɢɱɚɧ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 29: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɋɢɪɢɧɤɫ (Syrinx, 1913), ɨɞɧɨɫ ɢɡɦɟђɭ ɦɨɬɢɜɚ ɦ1 ɢ ɦɨɬɢɜɚ ɢɡ 13. ɬɚɤɬɚ, ɬɬ. 1–2 ɢ ɬɬ. 13–14. { 229 } Ⱦɚɤɥɟ, ɜɚɪɢʁɚɧɬɧɨɫɬ ɤɨʁɚ ɫɟ ɭɨɱɚɜɚ ɭ ɦɨɬɢɜɭ ɢɡ 13. ɬɚɤɬɚ ɭ ɨɞɧɨɫɭ ɧɚ ɩɨɱɟɬɧɢ ɦ1 ɨɞɧɨɫɢ ɫɟ ɧɚ ɬɨɧɫɤɭ ɜɢɫɢɧɭ ɧɚ ɤɨʁɨʁ ʁɟ ɨɧ ɢɡɥɨɠɟɧ ɢ ɧɚ ɪɢɬɦɢɱɤɨ ɡɝɭɲʃɚɜɚʃɟ, ɞɨɤ ʁɟ ɦɟђɭɢɧɬɟɪɜɚɥɫɤɢ ɨɞɧɨɫ ɝɨɬɨɜɨ ɭ ɰɟɥɨɫɬɢ ɡɚɞɪɠɚɧ. Ɍɚɤɨђɟ, ɦɨɬɢɜ ɦ2, ɨɞɧɨɫɧɨ ɞɪɭɝɚ ɥɢɧɢʁɚ ɨɫɧɨɜɧɟ ɢɞɟʁɟ ɨɜɟ ɦɭɡɢɱɤɟ ɚɪɚɛɟɫɤɟ, ɩɨɤɚɡɭʁɟ ɫɪɨɞɧɨɫɬ ɫɚ ɞɪɭɝɢɦ ɦɨɬɢɜɢɦɚ ɭ ɞɟɥɭ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 30: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɋɢɪɢɧɤɫ (Syrinx, 1913), ɦɨɬɢɜ ɦ2 ɢ ʃɟɝɨɜɟ ɦɨɝɭʄɟ ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ. { 230 } ɂɧɬɟɪɟɫɚɧɬɧɨ ʁɟ ɭɨɱɢɬɢ ɞɚ ɫɟ ɩɨɫɥɟɞʃɚ ɞɜɚ ɬɚɤɬɚ ɋɢɪɢɧɤɫɚ ɦɨɝɭ ɬɭɦɚɱɢɬɢ ɢ ɤɚɨ ɞɟɪɢɜɚɬ ɦɨɬɢɜɚ ɦ1 ɢ ɤɚɨ ɞɟɪɢɜɚɬ ɦɨɬɢɜɚ ɦ2. Ɍɨ ɡɧɚɱɢ ɞɚ ɧɚ ɫɚɦɨɦ ɤɪɚʁɭ ɤɨɦɩɨɡɢɰɢʁɟ ɞɜɟ ɫɢɥɟ ɧɟ ɫɬɨʁɟ ɜɢɲɟ ʁɟɞɧɚ ɩɨɪɟɞ ɞɪɭɝɟ, ɜɟʄ ʁɟɞɧɚ ɧɚɩɨɪɟɞɨ ɫɚ ɞɪɭɝɨɦ ɲɬɨ ɨɩɟɬ, ɭ ɫɤɥɚɞɭ ɫɚ ɩɨɟɬɢɤɨɦ ɚɪɚɛɟɫɤɟ, ɨɬɜɚɪɚ ɦɨɝɭʄɧɨɫɬ ɧɨɜɨɝ ɩɨɱɟɬɤɚ, ɨɞɧɨɫɧɨ ɭɫɩɨɫɬɚɜʂɚʃɚ ɩɨɧɨɜɧɨɝ ɰɢɤɥɭɫɚ ɪɚђɚʃɚ ɢɞɟʁɟ, ɚ ɩɨɬɨɦ ɢ ʃɟɧɨɝ ɜɚɪɢɪɚɧɨɝ ɪɚɡɜɨʁɚ. ɇɨ, ɩɨɫɬɚɜʂɚ ɫɟ ɩɢɬɚʃɟ ɤɚɤɨ ɫɟ ɨɜɚ ɦɢɥɢɦɢɤɪɨɧɫɤɚ ɜɚɪɢɪɚɧɚ ɩɨɧɚɜʂɚʃɚ ɪɟɩɟɪɤɭɬɭʁɭ ɧɚ ɦɚɤɪɨ-ɮɨɪɦɭ ɞɟɥɚ. ɋ ɨɛɡɢɪɨɦ ɧɚ ɬɨ ɞɚ ʁɟ ɭɩɪɚɜɨ ɫɩɟɰɢɮɢɱɧɨɫɬ ɦɨɬɢɜɫɤɟ ɝɪɚђɟ ɋɢɪɢɧɤɫɚ, ɬɟ ɧɚɱɢɧɚ ɪɚɞɚ ɫɚ ʃɨɦ ɩɪɢɜɥɚɱɢɨ ɩɚɠʃɭ ɧɚɭɱɧɢɤɚ ɢɡ ɪɚɡɥɢɱɢɬɢɯ ɨɛɥɫɬɢ (ɫɟɦɢɨɥɨɝɢʁɟ, ɩɫɢɯɨɥɨɝɢʁɟ, ɤɨɦɩʁɭɬɟɪɫɤɢɯ ɧɚɭɤɚ)353, ɫɦɚɬɪɚɦ ɧɟɨɩɯɨɞɧɢɦ ɞɚ ɭɤɚɠɟɦ ɧɚ ɪɚɡɧɨɜɪɫɧɨɫɬ ɬɢɯ ɬɭɦɚɱɟʃɚ, ɚɥɢ ɢ ɞɚ ɩɨɧɭɞɢɦ ɫɜɨʁɟ ɭ ɤɨɧɬɟɤɫɬɭ ɩɨɟɬɢɤɟ ɚɪɚɛɟɫɤɟ. Ƚɨɬɨɜɨ ɫɜɢ ɚɧɚɥɢɬɢɱɚɪɢ ɫɭ ɫɚɝɥɚɫɧɢ ɞɚ ʁɟ ɦɨɝɭʄɟ ɭɨɱɢɬɢ ɬɪɢ ɞɟɥɚ ɧɚ ɧɢɜɨɭ ɦɚɤɪɨ ɮɨɪɦɟ. ɉɨɫɬɨʁɟ, ɦɟђɭɬɢɦ, ɪɚɡɥɢɤɟ ɭ ɨɞɪɟђɢɜɚʃɭ ɝɪɚɧɢɰɚ ɢɡɦɟђɭ ɬɢɯ ɞɟɥɨɜɚ, ɢ ɬɨ ɭ ɫɦɢɫɥɭ ɞɚ ɫɟ ɢɫɬɢ ɫɟɝɦɟɧɬ ɦɨɠɟ ɩɪɨɬɭɦɚɱɢɬɢ ɢ ɤɚɨ ɪɟɦɢɧɢɫɰɟɧɰɢʁɚ, ɨɞɧɨɫɧɨ, ɜɚɪɢɪɚɧɨ ɩɨɧɚɜʂɚʃɟ ɩɨɱɟɬɤɚ ɤɨɦɩɨɡɢɰɢʁɟ – ɞɚɤɥɟ, ɤɚɨ Ⱥ1 ɞɟɨ, ɚɥɢ ɢ ɤɚɨ ɩɨɬɩɭɧɨ ‘ɧɨɜ’/ɤɨɧɬɪɚɫɬɢɪɚʁɭʄɢ ɞɟɨ – ɞɚɤɥɟ, ɤɚɨ Ȼ. Ɋɚɡɧɨɜɪɫɧɨɫɬ ɚɧɚɥɢɬɢɱɤɢɯ ɢɧɬɟɪɩɪɟɬɚɰɢʁɚ ɩɪɢɤɚɡɚɧɢɯ ɭ ɬɚɛɟɥɢ ɛɪɨʁ 1 ɨɱɢɝɥɟɞɧɨ ʁɟ ɪɟɡɭɥɬɚɬ ɪɚɡɥɢɱɢɬɢɯ ɩɪɢɫɬɭɩɚ ɢ ɚɧɚɥɢɬɢɱɤɢɯ ɦɟɬɨɞɚ, ɚ ɬɚ ɪɚɡɧɨɜɪɫɧɨɫɬ ɫɟ ɩɪɟ ɫɜɟɝɚ ɨɞɧɨɫɢ ɧɚ ɫɟɝɦɧɬɚɰɢʁɭ ɞɟɥɚ ɧɚ ɧɢɜɨɭ ɦɚɤɪɨ-ɮɨɪɦɟ. 353 ȼɢɞɟɬɢ, ɧɚ ɩɪɢɦɟɪ, ɢɫɬɪɚɠɢɜɚʃɚ ɤɨʁɚ ɫɭ ɫɩɪɨɜɨɞɢɥɢ ɂɪɟɧ Ⱦɟɥɢʁɟɠ (Deliège), Ɉɬɨ Ʌɚɫɤɟ (Laske), ɀɚɧ-ɀɚɤ ɇɚɬɢʁɟ (Nattiez), Ɍɟɧɢ-ɉɨɥɚɧɫɤɢ (Tenney-Polansky). { 231 } Ɍɚɛɟɥɚ ɛɪ. 1: ɉɪɢɦɟɪɢ ɪɚɡɥɢɱɢɬɢɯ ɫɟɝɦɟɧɬɚɰɢʁɚ ɤɨɦɩɨɡɢɰɢʁɟ ɋɢɪɢɧɤɫ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ Ɍɚɤɨ, ɡɚɧɢɦʂɢɜɨ ʁɟ ɩɪɢɦɟɬɢɬɢ ɞɚ ɫɟ ɫɟɝɦɟɧɬɚɰɢʁɚ ɤɨʁɭ ʁɟ ɫɩɪɨɜɟɨ Ɍɟɧɢ- ɉɨɥɚɧɫɤɢ ɧɚʁɜɢɲɟ ɪɚɡɥɢɤɭʁɟ ɭ ɨɞɧɨɫɭ ɧɚ ɞɪɭɝɟ; ʃɟɝɨɜɨ ɪɟɲɟʃɟ ɫɟ ɬɟɦɟʂɢ ɧɚ ɬɟɦɩɨɪɚɥɧɢɦ, ɨɩɚɠɚʁɧɢɦ ɝɟɲɬɚɥɬ-ɰɟɥɢɧɚɦɚ (gestalt-units) ɱɢʁɢ ɫɟ ɩɨɱɟɰɢ – ɤɚɤɨ ɨɞɫɟɤɚ, ɨɞɧɨɫɧɨ ʁɟɞɢɧɢɰɚ ɧɚ ɜɢɲɟɦ ɯɢʁɟɪɚɪɯɢʁɫɤɨɦ ɧɢɜɨɭ, ɬɚɤɨ ɢ ʁɟɞɢɧɢɰɚ ɧɚ ɧɢɠɟɦ ɧɢɜɨɭ – ɧɟ ɩɨɤɥɚɩɚʁɭ ɫɚ ɩɨɱɟɰɢɦɚ ɬɚɤɬɨɜɚ, ɧɟɝɨ ɫɟ ɩɨʁɚɜʂɭʁɭ, ɪɟɰɢɦɨ, ɧɚ ɫɥɚɛɢɦ ɬɚɤɬɨɜɢɦ ɞɟɥɨɜɢɦɚ. Ɉɧɢ ɫɭ, ɩɪɟɬɩɨɫɬɚɜɤɚ ʁɟ, ɜɚɠɧɟ ɬɚɱɤɟ ɡɚ ɫɚɝɥɟɞɚɜɚʃɟ ɤɨɧɫɬɢɬɭɢɫɚʃɚ ɝɪɚɧɢɰɚ ɮɨɪɦɟ, ɚɥɢ ɭɩɪɚɜɨ ɫɟ ɭ ɨɞɧɨɫɭ ɧɚ ʃɢɯ ɪɚɡɥɢɤɭʁɭ ɬɭɦɚɱɟʃɚ ɞɪɭɝɢɯ ɚɧɚɥɢɬɢɱɚɪɚ. ɋɥɟɞɟʄɢ ɩɪɢɦɟɪ ɩɨɤɚɡɭʁɟ ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɫɭ ɩɪɜɢɯ ɞɜɚɞɟɫɟɬ ɬɚɤɬɨɜɚ ɫɟɝɦɟɧɬɢɪɚɧɢ ɢɡ ɚɧɚɥɢɬɢɱɤɟ ɜɢɡɭɪɟ ɤɨʁɭ ʁɟ ɩɨɧɭɞɢɨ Ɍɟɧɢ-ɉɨɥɚɧɫɤɢ. { 232 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 31: Ⱥɧɚɥɢɬɢɱɤɚ ɢɧɬɟɪɩɪɟɬɚɰɢʁɚ ɤɨɦɩɨɡɢɰɢʁɟ ɋɢɪɢɧɤɫ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ ɤɨʁɭ ʁɟ ɩɨɧɭɞɢɨ Ɍɟɧɢ-ɉɨɥɚɧɫɤɢ. . Ɇɟђɭɬɢɦ, ɧɚʁɜɢɲɟ ɩɨɞɭɞɚɪɧɨɫɬɢ ɫɚ ɫɨɩɫɬɜɟɧɨɦ ɚɧɚɥɢɬɢɱɤɨɦ ɢɧɬɟɪɩɪɟɬɚɰɢʁɨɦ ɩɪɨɧɚɲɥɚ ɫɚɦ ɭ ɨɧɨʁ ɤɨʁɭ ʁɟ ɩɨɧɭɞɢɨ Ɇɚɥɟɪɬ (Mahlert), ɫɚ ɢɡɜɟɫɧɢɦ ɪɚɡɥɢɤɚɦɚ ɭ ɨɞɧɨɫɭ ɧɚ ʃɭ, ɚɥɢ ɢ ɞɨɩɭɧɚɦɚ. ɇɚɢɦɟ, ʁɚɫɧɚ ɮɨɪɦɚɥɧɚ ɩɨɞɟɥɚ ɫɟ ɦɨɠɟ ɧɚɩɪɚɜɢɬɢ ɧɚ ɨɫɧɨɜɭ ɞɟɥɨɜɚ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɧɚɤɨɧ ɤɨʁɢɯ ɫɥɟɞɟ ɩɚɭɡɟ. ɍ ɋɢɪɢɧɤɫɭ ɫɟ ɦɨɝɭ ɞɟɬɟɤɬɨɜɚɬɢ ɞɜɚ ɬɚɤɜɚ ɦɟɫɬɚ, ɨɞɧɨɫɧɨ, ɞɜɟ ʁɚɫɧɟ ɰɟɡɭɪɟ: ɧɚʁɩɪɟ ɭ 2. ɬɚɤɬɭ, ɚ ɩɨɬɨɦ ɢ ɭ ɬɚɤɬɭ 25. ɍ ɞɪɭɝɨɦ ɬɚɤɬɭ ɩɚɭɡɚ ɩɪɟɞɫɬɚɜʂɚ ɫɟɦɚɧɬɢɱɤɭ ɲɭɩʂɢɧɭ, ɨɞɧɨɫɧɨ, ɨɧɚ ɨɦɨɝɭʄɚɜɚ ɞɚ ɫɟ ɭ ɭɧɭɬɪɚɲʃɟɦ ɭɯɭ ɮɢɤɫɢɪɚ ɟɧɟɪɝɟɬɫɤɢ ɢɡɜɨɪ ɞɟɥɚ ɢɡ ɤɨʁɟɝ ʄɟ ɰɟɥɨɤɭɩɧɚ ɤɨɦɩɨɡɢɰɢʁɚ ɩɪɨɢɡɚʄɢ, ɞɨɤ ɭ 25. ɬɚɤɬɭ ɰɟɡɭɪɚ ɢɦɚ ɮɭɧɤɰɢʁɭ ‘ɧɚʁɚɜɟ’ ɤɜɚɡɢ ɩɨɜɪɚɬɤɚ ɧɚ ɢɧɢɰɢʁɚɥɧɢ ɦɨɬɢɜ, ɫ ɨɛɡɢɪɨɦ ɧɚ ɬɨ ɞɚ ʁɟ ɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ ɤɨʁɢ ʁɟ ɩɪɟɬɯɨɞɢɨ ɨɜɨɦ ɬɚɤɬɭ ɞɨɲɥɨ ɞɨ ɡɧɚɬɧɨɝ ɦɨɬɢɜɫɤɨɝ ɭɞɚʂɚɜɚʃɚ ɨɞ ɢɡɜɨɪɚ, ɬɨ ʁɟɫɬ, ɞɨ ɭɫɥɨɠʃɚɜɚʃɚ ɚɪɚɛɟɫɤɧɨɝ ɩɥɟɬɢɜɚ. Ɍɚɤɨђɟ, ɩɨɫɬɨʁɟ ɢ ɞɜɚ ɦɚʃɟ ɭɩɚɞʂɢɜɚ ‘ɡɚɫɬɨʁɚ’ ɭ { 233 } ɦɭɡɢɱɤɨɦ ɬɨɤɭ, ɧɚɤɨɧ ɬɚɤɬɨɜɚ 8 ɢ 15, ɤɨʁɢ ɫɭ ɩɪɚʄɟɧɢ ɢ ɚɝɨɝɢɱɤɢɦ ɨɡɧɚɤɚɦɚ ɢ ɨɡɧɚɤɚɦɚ ɡɚ ɬɟɦɩɨ – Retenu ɢ Cédez. ɉɪɜɢ ɨɞ ʃɢɯ, ɧɚ ɤɪɚʁɭ 8. ɬɚɤɬɚ, ɫɚɦɨ ʁɟ ɦɚɥɨ ɦɚʃɟ ɭɩɟɱɚɬʂɢɜ ɭ ɨɞɧɨɫɭ ɧɚ ɨɧɟ ɭ 2. ɢ 25. ɬɚɤɬɭ. Ɋɚɡɥɨɝ ɬɨɦɟ ʁɟɫɬɟ ɩɪɨɞɭɠɟʃɟ ɪɢɬɦɢɱɤɟ ɜɪɟɞɧɨɫɬɢ ɬɨɧɚ ɰɟɫ3 ɤɨʁɢ ɩɪɟɬɯɨɞɢ 8. ɬɚɤɬɭ ɤɚɨ ɢ ɩɪɨɦɟɧɚ ɬɟɦɩɚ ɤɨʁɚ ʁɟ ɧɚɡɧɚɱɟɧɚ ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ 9. ɬɚɤɬɚ – Un peux mouvementé (mais très peu). ɉɚɭɡɚ ɭ 15. ɬɚɤɬɭ ɨɡɧɚɱɟɧɚ ʁɟ ɫɚɦɨ ɫɚ Cédez, ɛɟɡ ɩɪɨɞɭɠɚɜɚʃɚ ɪɢɬɦɢɱɤɢɯ ɜɪɟɞɧɨɫɬɢ ɤɚɨ ɭ ɩɪɟɬɯɨɞɧɨɦ ɫɥɭɱɚʁɭ, ɢɚɤɨ ɨɡɧɚɤɚ Rubato ɧɚ ɩɨɱɟɬɤɭ ɫɥɟɞɟʄɟɝ ɬɚɤɬɚ ɫɬɜɚɪɚ ɭɬɢɫɚɤ ɞɚ ʁɟ ɞɨɬɚɞɚɲʃɢ ɦɭɡɢɱɤɢ ɬɨɤ ɡɚɜɪɲɟɧ, ɚ ɞɚ ʁɟ ɧɨɜɢ ɨɬɩɨɱɟɨ. ɍɤɨɥɢɤɨ ɩɨɦɟɧɭɬɚ ɬɪɢ ɦɟɫɬɚ (ɤɪɚʁ 2, 8, ɢ 25. ɬɚɤɬɚ) ɬɭɦɚɱɢɦɨ ɤɚɨ ɩɪɚɜɟ ɩɚɭɡɟ, ɨɧɞɚ ʁɟ ɤɪɚʁ 15. ɬɚɤɬɚ „ɤɜɚɡɢ-ɩɚɭɡɚ”354 ɤɨʁɚ ɦɭɡɢɱɤɢ ɬɨɤ ɨɞ 9. ɞɨ 25. ɬɚɤɬɚ ɞɟɥɚ ɧɚ ɞɜɚ ɨɞɫɟɤɚ. Ɋɟɡɭɥɬɚɬ ɫɜɟɝɚ ɩɨɦɟɧɭɬɨɝ ʁɟɫɬɟ ɦɭɡɢɱɤɢ ɬɨɤ ɤɨʁɢ ɫɟ ɨɞɜɢʁɚ ɭ ɱɟɬɢɪɢ ɬɚɥɚɫɚ355, ɨɞɧɨɫɧɨ, ɱɟɬɢɪɢ ɦɭɡɢɱɤɨ-ɡɧɚɱɟʃɫɤɟ ɰɟɥɢɧɟ: I ɬɚɥɚɫ II ɬɚɥɚɫ III ɬɚɥɚɫ IV ɬɚɥɚɫ ɚ ɚ1 ɛ ɚ2 (1–8. ɬɚɤɬ) (9–15. ɬɚɤɬ) (16–25. ɬɚɤɬ) (26–35. ɬɚɤɬ) I ɬɚɥɚɫ: ɦɭɡɢɱɤɚ ɪɟɱɟɧɢɰɚ (2+2+4). II ɬɚɥɚɫ: ɦɭɡɢɱɤɚ ɪɟɱɟɧɢɰɚ (1+1+4) ɫɚ ɫɩɨʂɚɲʃɢɦ ɩɪɨɲɢɪɟʃɟɦ ɨɞ ʁɟɞɧɨɝ ɬɚɤɬɚ (+1) ɤɨʁɢ ʁɟ ɭ ɮɭɧɤɰɢʁɢ ɜɟɡɢɜɧɨɝ ɬɤɢɜɚ ɫɚ III ɬɚɥɚɫɨɦ, ɨɞɧɨɫɧɨ, ɨɞɫɟɤɨɦ ɛ; ɩɨɫɦɚɬɪɚɧɨ ɢɡɧɭɬɪɚ, ɨɜɚ ɪɟɱɟɧɢɰɚ ɫɟ ɢɫɬɨɜɪɟɦɟɧɨ ɢ ɫɚɠɢɦɚ ɭ ɨɞɧɨɫɭ ɧɚ ɩɪɟɬɯɨɞɧɭ, ɬɚɤɨ ɲɬɨ ɢɡɨɫɬɚʁɟ ɦɨɬɢɜ/ɥɢɧɢʁɚ ɦ2, ɚɥɢ ɫɟ ɢ ɲɢɪɢ ɫɬɜɚɪɚʃɟɦ ‘ɦɚɥɢɯ ɩɪɢɱɚ’ ɤɨʁɟ ɡɚɩɪɚɜɨ ɩɪɟɞɫɬɚɜʂɚʁɭ ɩɪɨɲɢɪɟʃɟ ‘ɢɡɧɭɬɪɚ’ (ɜɚɪɢɪɚɧɨ ɩɨɧɚɜʂɚʃɟ) ɦɨɬɢɜɚ ɦ1; ɫ ɨɛɡɢɪɨɦ ɞɚ ɩɨɫɬɨʁɢ ɦɢɧɢɦɭɦ ɫɥɢɱɧɨɫɬɢ – ɫɢɝɧɚɥ ɩɨɱɟɬɤɚ ʁɟ ɢɫɬɢ ɢ ɭ I ɢ ɭ II ɬɚɥɚɫɭ, ɨɞɧɨɫɧɨ, 354 ɍɩɨɪɟɞɢɬɢ ɫɚ: Richard S. Parks, ɧɚɜ. ɞɟɥɨ, 212. 355 Ɍɟɪɦɢɧ „ɬɚɥɚɫ” ɩɪɟɭɡɟɥɚ ɫɚɦ ɨɞ Ɍɢʁɚɧɟ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ. Ɉɧɚ ʁɟ „‘ɬɚɥɚɫ’ ɭɜɟɤ ɞɟɬɟɤɬɨɜɚɥɚ ɤɚɨ ɩɪɟɩɨɡɧɚɬʂɢɜɭ ɢɫɬɨɜɪɫɧɭ ɦɭɡɢɱɤɨ-ɡɧɚɱɟʃɫɤɭ ɰɟɥɢɧɭ ɤɨʁɚ, ɛɟɡ ɨɛɡɢɪɚ ɧɚ ʃɟɧ ɤɨɧɪɤɟɬɚɧ ɫɚɞɪɠɚʁ ɢ ɬɪɟɧɭɬɧɭ ɮɭɧɤɰɢʁɭ, ɩɪɟɞɫɬɚɜʂɚ ɡɚɩɪɚɜɨ ɫɧɚɠɚɧ ɢɦɩɭɥɫ, ɤɚɪɚɤɬɟɪɢɫɬɢɱɚɧ ɩɨɤɪɟɬ ɩɥɢɦɟ ɢ ɨɫɟɤɟ […] ɨɞɧɨɫɧɨ ɫɩɟɰɢɮɢɱɧɨ ɩɨʁɚɱɚɧɨ Ⱦɟɛɢɫɢʁɟɜɨ […] ɞɢɧɚɦɢɡɢɪɚɧɨ ɟɦɨɰɢɨɧɚɥɧɨ ɛɨʁɟʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɢ ʃɟɝɨɜɨɝ ɞɨɠɢɜʂɚʁɚ, ɤɨʁɟ ɢɯ ɞɨɜɨɞɢ ɭ ɫɬɚʃɟ ɥɚɬɟɧɬɧɟ ɧɚɩɟɬɨɫɬɢ ɢ ɧɟɫɬɪɩʂɢɜɨɝ ɢɲɱɟɤɢɜɚʃɚ ɩɨɧɨɜɧɨɝ ʁɚɜʂɚʃɚ ɨɜɢɯ ɩɨɤɪɟɬɚ, ɢɧɬɪɢɝɢɪɚʁɭʄɟɝ ɬɪɚɝɚʃɚ ɡɚ ɦɨɝɭʄɢɦ (ɫɤɪɢɜɟɧɢɦ) ɦɟɫɬɢɦɚ ʃɢɯɨɜɨɝ ɨɞɢɝɪɚɜɚʃɚ (ɬɚɤɨђɟ ɢ ɩɨɜɟɡɢɜɚʃɟɦ ɭɧɚɡɚɞ ɫɜɢɯ ɬɚɤɜɢɯ ɩɨɤɪɟɬɚ), ɤɚɨ ɢ ɩɨɬɪɟɛɟ, ɫɬɪɟɦʂɟʃɚ ɤɚ ɧɟɤɨɦ ʃɢɯɨɜɨɦ ɦɨɝɭʄɟɦ ɚɤɭɦɭɥɢɪɚɧɨɦ ɢɧɬɟɝɪɢɫɚʃɭ ɭ ɨɤɜɢɪɭ ʁɟɞɧɟ ɢɥɢ ɫɜɢɯ ɤɨɦɩɨɧɟɧɬɢ ɡɚʁɟɞɧɨ, ɧɚ ʁɟɞɧɨɦ, ɚ ɩɨɬɨɦ, ɲɢɪɟʄɢ ɫɟ, ɢ ɧɚ ɨɫɬɚɥɢɦ ɧɢɜɨɢɦɚ.” ɍɩɨɪɟɞɢɬɢ ɫɚ: Tijana Popović Mlađenović, Proseci..., ɧɚɜ. ɞɟɥɨ, 310‒ 311. { 234 } ɦɢɧɢɦɭɦ ɪɚɡɥɢɤɚ – ɫɢɝɧɚɥ ɤɪɚʁɚ ʁɟ ɞɪɭɝɚɱɢʁɟ ɨɫɦɢɲʂɟɧ, ɢɡɨɫɬɚʁɟ ɥɢɧɢʁɚ/ɦɨɬɢɜ ɦ2, ɞɨɤ ɦɨɬɢɜ ɦ1 ɞɨɛɢʁɚ ɫɜɨʁɚ ɞɢɧɚɦɢɱɤɚ, ɚɝɨɝɢɱɤɚ ɢ ɚɪɬɢɤɭɥɚɰɢʁɫɤɚ ‘ɫɟɧɱɟʃɚ’ ɢ ɩɪɨɲɢɪɟʃɚ ‘ɢɡɧɭɬɪɚ’, ɦɨɝɭʄɟ ʁɟ ɬɭɦɚɱɢɬɢ ɨɜɟ ɞɜɟ ɦɭɡɢɱɤɟ ɪɟɱɟɧɢɰɟ ɤɚɨ ɩɟɪɢɨɞ (8+7). III ɬɚɥɚɫ: ɭ ɩɨɝɥɟɞɭ ɦɨɬɢɜɫɤɨɝ ɫɚɞɪɠɚʁɚ, ɩɪɟɞɫɬɚɜʂɚ ɞɚɥɟɤɢ ‘ɟɯɨ’ ɩɨɱɟɬɧɢɯ ɦɨɬɢɜɚ, ɬɚɱɧɢʁɟ, ɦɨɬɢɜɚ ɦ2 (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ.30); ɭɡ ɨɡɧɚɤɭ Rubato, ɨɜɚ ɦɭɡɢɱɤɚ ɪɟɱɟɧɢɰɚ (2+2+3+3) ɞɨɧɨɫɢ ɡɝɭɲʃɚɜɚʃɟ ɚɪɚɛɟɫɤɧɨɝ ɩɥɟɬɢɜɚ, ɬɟ ɭ ɬɨɦ ɫɦɢɫɥɭ ɭɜɨɞɢ ɭ ɫɬɚʃɟ ɥɚɬɟɧɬɧɟ ɧɚɩɟɬɨɫɬɢ ɢ ɝɨɬɨɜɨ ɧɟɫɬɪɩʂɢɜɨɝ ɢɲɱɟɤɢɜɚʃɚ ‘ɪɚɫɩɥɟɬɚ’, ɬɟ ɩɨɧɨɜɧɨɝ ɭɫɩɨɫɬɚɜʂɚʃɚ ɦɭɡɢɱɤɨɝ ɬɤɚʃɚ ɫɚ ɩɨɱɟɬɤɚ; ɦɟђɭɬɢɦ, ɬɚʁ ɢɦɩɭɥɫ ɧɚ ɩɨɱɟɬɤɭ IV ɬɚɥɚɫɚ ɧɟ ɞɨɧɨɫɢ ɢɞɟɧɬɢɱɧɭ ɦɨɬɢɜɫɤɭ ɫɥɢɤɭ ɫɚ ɩɨɱɟɬɤɚ ɤɨɦɩɨɡɢɰɢʁɟ, ɜɟʄ ɫɜɨʁɟɜɪɫɧɭ ɪɟɦɢɧɢɫɰɟɧɰɢʁɭ/‘ɫɟʄɚʃɟ’ ɧɚ ʃɭ. IV ɬɚɥɚɫ – ɭ ɬɨɦ ɫɦɢɫɥɭ ɩɪɟɞɫɬɚɜʂɚ ɦɨɝɭʄɟ ɚɤɭɦɭɥɢɪɚɧɨ ɢɧɬɟɝɪɢɫɚʃɟ I ɢ II ɬɚɥɚɫɚ ɫɬɪɭɤɬɭɪɢɫɚɧɨ ɤɚɨ ɦɭɡɢɱɤɚ ɪɟɱɟɧɢɰɚ (2+3+3+2), ɤɨʁɚ ɞɨɜɨɞɢ ɞɨ ɤɪɚʁɚ (ɩɨɫɥɟɞʃɚ ɞɜɚ ɬɚɤɬɚ ɞɟɥɚ) ɤɨʁɢ ɭ ɩɨɝɥɟɞɭ ɦɨɬɢɜɫɤɨɝ ɫɚɞɪɠɚʁɚ ɦɨɠɟ ɩɪɟɞɫɬɚɜʂɚɬɢ ʁɨɲ ʁɟɞɚɧ ɦɨɝɭʄɢ ɩɨɱɟɬɚɤ ɢɡ ɤɨʁɟɝ ʄɟ ɫɟ ɢɡɪɨɞɢɬɢ ɦɭɡɢɱɤɢ ɧɭɤɥɟɭɫ ɋɢɪɢɧɤɫɚ, ɢ ɨɛɚ ʃɟɝɨɜɚ ɦɨɬɢɜɚ. Ⱦɚɤɥɟ, ɪɟɥɟɜɚɧɬɧɢ ɩɨɫɬɭɩɚɤ ɤɨʁɢ ɭɬɢɱɟ ɧɚ ɨɜɚɤɜɨ ɤɨɧɫɬɢɬɭɢɫɚʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ʁɟɫɬɟ ɜɚɪɢɪɚɧɨ ɩɨɧɚɜʂɚʃɟ. Ɂɚɩɪɚɜɨ, ɧɚ ɨɫɧɨɜɭ ɪɚɡɥɢɱɢɬɨɫɬɢ ɭ ‘ɝɭɫɬɢɧɢ’ ɜɚɪɢɪɚʃɚ ɨɫɧɨɜɧɟ ɢɞɟʁɟ ɞɟɥɚ, ɝɟɧɟɪɢɲɟ ɫɟ ɮɨɪɦɚ ɭ ɤɨʁɨʁ ɫɟ ɝɪɚɧɢɰɟ ɩɨɤɥɚɩɚʁɭ ɫɚ ɰɢɤɥɭɫɢɦɚ/ɬɚɥɚɫɢɦɚ ɤɨʁɢ ɮɨɪɦɢɪɚʁɭ ɬɚ ɜɚɪɢɪɚɧɚ ɩɨɧɚɜʂɚʃɚ. Ƚɭɫɬɢɧɚ ɡɛɢɜɚʃɚ ʁɟ ɜɟɥɢɤɨɝ ɢɧɬɟɧɡɢɬɟɬɚ ɧɚ ɦɚɥɨɦ ɩɪɨɫɬɨɪɭ, ɨɞɧɨɫɧɨ, ɜɟɥɢɤɢ ɛɪɨʁ ɜɚɪɢɪɚɧɢɯ ɩɨɧɚɜʂɚʃɚ ɨɞɜɢʁɚ ɫɟ ɭ ɤɪɚɬɤɨɦ ɜɪɟɦɟɧɫɤɨɦ ɪɚɫɩɨɧɭ. ɉɨɱɟɬɧɢ ɢɦɩɭɥɫ, ɨɞɧɨɫɧɨ, ɦɨɬɢɜɢ ɦ1 ɢ ɦ2 ɭ ɩɨɧɨɜɧɨɦ ʁɚɜʂɚʃɭ ɦɨɝɭ ɛɢɬɢ ɬɪɚɧɫɩɨɧɨɜɚɧɢ ɧɚ ɞɪɭɝɭ ɬɨɧɫɤɭ ɜɢɫɢɧɭ, ɩɪɨɲɢɪɟɧɢ ɫɩɨʂɚ, ɪɢɬɚɦ ɨɞɪɟђɟɧɨɝ ɦɨɬɢɜɚ ɩɪɢɥɚɝɨђɟɧ ɧɨɜɨʁ ɦɟɥɨɞɢʁɫɤɨʁ ɥɢɧɢʁɢ/ɲɚɪɢ, ɚ ʃɟɝɨɜɚ ɦɟɥɨɞɢʁɫɤɚ ɥɢɧɢʁɚ ɩɪɢɥɚɝɨђɟɧɚ ɧɨɜɨɦ ɪɢɬɦɢɱɤɨɦ ‘ɨɛɪɚɫɰɭ’. Ɉɜɚɤɨ ɤɨɧɰɢɩɢɪɚɧ ɦɭɡɢɱɤɢ ɬɨɤ ɋɢɪɢɧɫɤɚ, Ɋɢɱɚɪɞ ɉɚɪɤɫ ɬɭɦɚɱɢ ɤɚɨ ɫɟɪɢʁɭ ɤɪɚɬɤɢɯ ɩɭɬɨɜɚʃɚ, ɨɞ ɤɨʁɢ ɫɜɚɤɨ ɡɚɩɨɱɢʃɟ ɢɡ ɢɫɬɟ ɬɚɱɤɟ, ɚɥɢ ɢɞɟ ɭ ɪɚɡɥɢɱɢɬɢɦ ɩɪɚɜɰɢɦɚ, ɬɪɚʁɟ ɪɚɡɥɢɱɢɬɨ, ɨɞɜɢʁɚ ɫɟ ɧɚ ɪɚɡɥɢɱɢɬɢɦ ‘ɬɟɪɟɧɢɦɚ’ ɢ ɡɚɜɪɲɚɜɚ ɭ ɪɚɡɥɢɱɢɬɢɦ ɬɚɱɤɚɦɚ. ɉɪɟɜɟɞɟɧɨ ɧɚ ʁɟɡɢɤ ɚɪɚɛɟɫɤɟ, ɚ ɫɚɨɛɪɚɡɧɨ ʃɟɧɨɦ ɫɬɪɭɤɬɭɪɧɨɦ ɩɪɢɧɰɢɩɭ, ɭ ɋɢɪɢɧɤɫɭ ɫɟ ɝɭɛɢ ɧɚɝɥɚɲɟɧɢ ɩɨɱɟɬɚɤ, ɫɪɟɞɢɧɚ ɢ ɤɪɚʁ. Ɂɚɩɪɚɜɨ, ɫɜɚɤɢ ɧɨɜɢ ɩɨɱɟɬɚɤ ɩɪɟɞɫɬɚɜʂɚ ɧɨɜɢ ɰɢɤɥɭɫ – ɦɨɝɭʄɢ ɤɪɭɝ – ɜɚɪɢɪɚɧɢɯ ɩɨɧɚɜʂɚʃɚ ɤɨɧɫɬɢɬɭɬɢɜɧɢɯ ɟɥɟɦɟɧɚɬɚ, ɬɟ ɫɟ ɧɚ ɬɚʁ ɧɚɱɢɧ ɭɨɱɚɜɚ ɢ ɬɟɠʃɚ ɞɚ ɫɟ ɧɟɥɢɧɟɚɪɧɢɦ { 235 } ɪɚɫɩɪɨɫɬɢɪɚʃɟɦ ‘ɩɪɟɤɪɢʁɟ’ ɰɟɥɚ (ɦɭɡɢɱɤɚ) ɩɨɜɪɲɢɧɚ/ɩɪɨɫɬɨɪ; ɭ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɢ ɫɚɦɨ ɜɪɟɦɟ ɩɨɫɬɚʁɟ ɚɪɚɛɟɫɤɧɨ, ɚ ɚɪɚɛɟɫɤɚ ɩɨɫɬɚʁɟ ɢɡɪɚɡ ɬɨɝ ɧɟɥɢɧɟɚɪɧɨɝ, ɨɞɧɨɫɧɨ, ɤɪɭɠɧɨɝ (ɚɬɨɦɢɫɬɢɱɤɨɝ) ɜɪɟɦɟɧɚ. Ɉɞɛɚɰɭʁɭʄɢ ɪɨɦɚɧɬɢɱɚɪɫɤɭ ɚɮɟɤɬɢɜɧɨɫɬ, Ⱦɟɛɢɫɢ ʁɟ ɭɧɟɨ ɧɨɜɢɧɟ ɭ ɩɪɨɰɟɫ ɢɡɝɪɚɞʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ – ɨɫɥɨɛɨђɟɧɟ ɫɜɚɤɨɝ a priori – ɤɨʁɟ ɫɭ ɢɦɚɥɟ ɡɚ ɰɢʂ ɞɚ ɦɭɡɢɤɭ ɨɫɥɨɛɨɞɟ ɨɩɬɟɪɟʄɭʁɭʄɢɯ ɫɢɦɛɨɥɚ ɬɪɚɞɢɰɢʁɟ. ȵɟɝɨɜɚ ɦɭɡɢɤɚ ɫɟ, ɡɚɩɪɚɜɨ, ɜɪɚɬɢɥɚ ʁɟɡɝɪɭ, ɬɨɧɭ ɢ ɫɜɢɦ ɦɨɝɭʄɢɦ ɨɞɧɨɫɢɦɚ ɭ ɤɨʁɟ ɬɨɧ ɦɨɠɟ ɞɚ ɫɬɭɩɢ. Ⱦɟɛɢɫɢ ʁɟ ɬɨ ɪɟɚɥɢɡɨɜɚɨ ɧɚ ɞɜɚ ɧɚɱɢɧɚ: ɬɚɤɨ ɲɬɨ ʁɟ ɬɪɚɠɢɨ ɞɚ ɢɫɤɚɠɟ ɧɟɲɬɨ ɧɨɜɨ, ɢɥɢ ɩɚɤ ɨɧɨ ɧɟɢɡɪɟɰɢɜɨ, ɢ ɬɚɤɨ ɲɬɨ ʁɟ ɩɨɤɭɲɚɨ ɞɚ ɬɟ, ɫɟɛɢ ɢɦɚɧɟɧɬɧɟ, ɟɥɟɦɟɧɬɟ ɨɪɝɚɧɢɡɭʁɟ ɧɚ ɧɨɜ ɧɚɱɢɧ ɭ ɜɪɟɦɟɧɭ. ɍ ɬɟɠʃɢ ɞɚ, ɤɚɤɨ ʁɟ ɝɨɜɨɪɢɨ, „ɞɨɫɟɝɧɟ ɦɭɡɢɤɭ ɤɨʁɚ ʁɟ ɡɚɫɧɨɜɚɧɚ ɫɚɦɨ ɧɚ ʁɟɞɧɨɦ ɧɟɩɪɟɤɢɧɭɬɨɦ ɦɨɬɢɜɭ [ɩɨɞɜɭɤɥɚ ɂ. ɉ.]”356, Ⱦɟɛɢɫɢ ɫɟ ɩɪɢɛɥɢɠɢɨ ɚɪɚɛɟɫɤɢ ɭ ɱɢʁɨʁ ʁɟ ɢɞɟʁɢ ɢ ɩɪɨɧɚɲɚɨ ɩɚɪɚɞɢɝɦɭ ɚɭɬɨɧɨɦɧɟ ɦɭɡɢɱɤɟ ɨɛɥɢɤɨɬɜɨɪɧɨɫɬɢ. Ɂɚ Ⱦɟɛɢɫɢʁɚ, ɚɪɚɛɟɫɤɚ ʁɟ ɩɪɟɞɫɬɚɜʂɚɥɚ „ɞɢɧɚɦɢɱɧɨ ɤɪɟɚɬɢɜɚɧ, ɨɞɧɨɫɧɨ ɩɪɨɤɪɟɚɬɢɜɚɧ ɟɧɟɪɝɟɬɫɤɢ ɩɪɢɧɰɢɩ, ɡɚɫɧɨɜɚɧ ɧɚ ɢɞɟʁɢ ɤɨɧɬɢɧɭɚɥɧɟ ɚɭɬɨɝɟɧɟɡɟ”357. Ɉɧɚ ʁɟ ɧɚʁɱɟɲʄɟ ɭ ɮɭɧɤɰɢʁɢ ɢɡɦɟʃɢɜɚʃɚ ɡɜɭɱɧɢɯ ɦɚɫɚ ɩɨ ɯɨɪɢɡɨɧɬɚɥɢ, ɦɟɫɬɨ ɩɨɥɚɪɢɡɚɰɢʁɟ ɩɨɤɪɟɬɚ ɤɨʁɟ ɞɨɡɜɨʂɚɜɚ ɞɚ ɫɟ ɭɯɜɚɬɢ ɬɪɟɧɭɬɚɤ ɛʂɟɫɤɚ, ɨɞɧɨɫɧɨ ɫɦɢɫɚɨ ɬɪɚɧɫɮɨɪɦɚɰɢʁɟ ɭ ɬɨɤɭ, ‘ɨɞɦɨɬɚɜɚʁɭʄɢ’, ɧɚ ɬɚʁ ɧɚɱɢɧ, ɦɭɡɢɱɤɢ ɬɨɤ ɢ ɨɛɥɢɤɭʁɭʄɢ ɫɜɨʁɟɜɪɫɧɭ ɱɭɥɧɭ ɛɟɫɤɨɧɚɱɧɨɫɬ. ɍ ɨɜɨɦ ɤɨɧɬɟɤɫɬɭ, ɨɫɜɪɧɭɥɚ ɛɢɯ ɫɟ ɢ ɧɚ ɦɭɡɢɤɭ ɡɚ ɛɚɥɟɬ ɂɝɪɚ, ɤɨɦɩɨɧɨɜɚɧɭ ɭ ɢɫɬɨɦ ɩɟɪɢɨɞɭ ɤɚɞ ɢ ɋɢɪɢɧɤɫ, ɢɡɦɟђɭ 1912. ɢ 1913. ɝɨɞɢɧɟ. ɍ ɦɭɡɢɰɢ ɡɚ ɩɨɦɟɧɭɬɢ ɛɚɥɟɬ ɫɟ ɢɧɬɟɧɡɢɜɢɪɚʁɭ ɚɫɩɟɤɬɢ ɦɨɬɢɜɫɤɟ, ɜɪɟɦɟɧɫɤɟ ɢ ɤɨɥɨɪɢɫɬɢɱɤɟ ɨɪɝɚɧɢɡɚɰɢʁɟ, ɤɨʁɢ ɫɟ ɭɤɚɡɭʁɭ ɤɚɨ ɤʂɭɱɧɟ ɨɞɪɟɞɧɢɰɟ ɢ ɨɞɫɭɞɧɚ ɦɟɫɬɚ ɩɪɨɦɟɧɚ ɭ Ⱦɟɛɢɫɢʁɟɜɨɦ ɦɭɡɢɱɤɨɦ ʁɟɡɢɤɭ ɢ ɩɨɟɬɢɰɢ ʃɟɝɨɜɨɝ ɫɬɜɚɪɚɥɚɲɬɜɚ, ɧɚʁɚɜʂɭʁɭʄɢ, ɤɪɚʁʃɟ ɨɬɜɨɪɟɧɨ ɢ ɫɧɚɠɧɨ, ʁɟɞɚɧ ɧɨɜɢ ɩɟɪɢɨɞ ɤɨɦɩɨɡɢɬɨɪɨɜɨɝ ɫɬɜɚɪɚʃɚ. Ɍɚɤɨ ɭ ɜɟɡɢ ɫɚ ɨɜɢɦ Ⱦɟɛɢɫɢʁɟɜɢɦ ɨɫɬɜɚɪɟʃɟɦ, ȿɥɢɡɚɛɟɬ ɆɟɤɄɨɦɛɢ ɢɫɬɢɱɟ ɞɚ ɫɭ ɧɚɱɢɧɢ ɪɚɞɚ ɫɚ ɦɨɬɢɜɨɦ 356 Leon Vallas, Claude Debussy et son temps (Paris: Albin Michel, 1958), 105. 357 Caroline Potter, ɧɚɜ. ɞɟɥɨ, 144. { 236 } ɪɚɞɢɤɚɥɧɨ ɞɪɭɝɚɱɢʁɢ ɭ ɨɞɧɨɫɭ ɧɚ ɛɢɥɨ ɤɨʁɟ ɨɫɬɜɚɪɟʃɟ ɞɨ ɬɚɞɚ, ɧɚɝɥɚɲɚɜɚʁɭʄɢ ɞɚ ɭɩɪɚɜɨ ɢɡ ɫɩɟɰɢɮɢɱɧɨɫɬɢ ɬɟ ɦɭɡɢɱɤɟ (ɦɨɬɢɜɫɤɟ) ‘ɢɝɪɟ’, ɩɪɨɢɡɥɚɡɢ ɢ ɭɬɢɫɚɤ ɞɚ ɨɜɢɦ ɞɟɥɨɦ ɞɨɦɢɧɢɪɚ ɟɜɨɥɭɬɢɜɧɢ ɩɪɢɧɰɢɩ, ɤɨɧɫɬɚɧɬɧɨ ɤɪɭɠɟʃɟ ɦɨɬɢɜɫɤɨɝ ɦɚɬɟɪɢʁɚɥɚ ɢ ʃɟɝɨɜɢɯ ɜɚɪɢʁɚɧɬɧɢɯ, ɩɪɟ ɫɜɟɝɚ ɨɪɤɟɫɬɚɪɫɤɢ ɞɪɭɝɚɱɢʁɟ ɢɡɧɢʁɚɧɫɢɪɚɧɢɯ/ɨɛɨʁɟɧɢɯ, ɩɨʁɚɜɧɢɯ ɜɢɞɨɜɚ. Ɍɨ ʁɟ ɞɚɥɨ ɩɨɜɨɞɚ ɀɚɧɭ Ȼɚɪɚɤɭ (Jean Baraque) ɞɚ ɩɨɜɨɞɨɦ ɢɡɝɪɚɞʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɂɝɪɟ ɢɫɬɚɤɧɟ ɤɚɤɨ ɫɟ ɭ ʃɟɦɭ ɧɟɩɪɟɤɢɞɧɨ ɩɪɟɩɥɢʄɭ ɟɤɫɩɨɡɢɰɢɨɧɢ ɢ ɪɚɡɜɨʁɧɢ ɬɢɩ ɢɡɥɚɝɚʃɚ ɤɨʁɢ, ɩɪɢ ɬɨɦ, ɧɟɨɦɟɬɚɧɨ ɤɨɟɝɡɢɫɬɢɪɚʁɭ.358 Ɍɨɦɟ ɩɨɫɟɛɧɨ ɞɨɩɪɢɧɨɫɢ, ɩɪɟɦɚ ɪɟɱɢɦɚ ɜɟʄɢɧɟ ɚɭɬɨɪɚ ɤɨʁɢ ɫɭ ɫɟ ɛɚɜɢɥɢ ɦɭɡɢɤɨɦ ɡɚ ɛɚɥɟɬ ɂɝɪɚ, ɨɪɤɟɫɬɪɚɰɢʁɚ ɢ ɨɪɤɟɫɬɚɪɫɤɢ ɬɟɦɛɪ. Ɍɚɤɨ, Ȼɚɪɛɚɪɚ Ʉɟɥɢ ɢɫɬɢɱɟ ɞɚ ʁɟ Ⱦɟɛɢɫɢʁɟɜ ɬɪɟɬɦɚɧ ɨɪɤɟɫɬɪɚ ɢɧɬɟɝɪɚɥɚɧ ɤɨɦɩɨɡɢɰɢɨɧɨɦ ɩɪɨɰɟɫɭ, ɨɞɧɨɫɧɨ ɞɚ ɫɚɦ ɨɪɤɟɫɬɚɪɫɤɢ ɬɟɦɛɪ ɩɨɫɬɚʁɟ ɫɚɦɨɫɬɚɥɧɚ ɢɡɪɚɠɚʁɧɚ ɢ ɫɬɪɭɤɬɭɪɚɥɧɚ ɜɪɟɞɧɨɫɬ, ɬɟ ɞɚ ɞɨɛɢʁɚ ɭɥɨɝɭ ɦɭɡɢɱɤɟ ɢɧɬɟɪɩɭɧɤɰɢʁɟ (ɡɚɩɟɬɚ, ɬɚɱɤɚ, ɡɧɚɤ ɭɡɜɢɤɚ ɢ ɡɧɚɤ ɩɢɬɚʃɚ), ɫɜɨʁɟɜɪɫɧɨɝ ‘ɨɰɪɬɚɱɚ’, ‘ɪɟɝɭɥɚɬɨɪɚ’ ɢ ‘ɝɪɚɞɢɬɟʂɚ’ ɦɭɡɢɱɤɨɝ ɬɨɤɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɆɟɤɄɨɦɛɢʁɟɜɚ ɢ ɭɨɱɚɜɚ ɞɚ ɡɚɩɪɚɜɨ ɫɜɚɤɢ ɨɞɫɟɤ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɂɝɪɟ, ɩɨɪɟɞ ɞɨɦɢɧɚɧɬɧɢɯ ɦɨɬɢɜɫɤɢɯ ɩɪɨɰɟɫɚ ɤɨʁɢɦɚ ɞɨɦɢɧɢɪɚ ɚɪɚɛɟɫɤɧɢ ɩɪɢɧɰɢɩ, ɢɦɚ ɫɨɩɫɬɜɟɧɭ ɩɚɥɟɬɭ ɨɪɤɟɫɬɚɪɫɤɢɯ ɛɨʁɚ. Ɍɨ ɡɧɚɱɢ ɞɚ ɫɚɦɚ ɮɨɪɦɚ ɞɟɥɚ ɢɡɪɚɫɬɚ ɢɡ ɨɞɧɨɫɚ, ɢɥɢ ɦɨɠɞɚ ɛɨʂɟ ɪɟɱɟɧɨ ɫɩɪɟɝɟ ɨɪɤɟɫɬɪɚɰɢɨɧɟ ɛɨʁɟ ɢ ɬɟɦɚɬɫɤɨɝ ɦɚɬɟɪɢʁɚɥɚ. ɇɚɢɦɟ, ɤɚɨ ɲɬɨ ʁɟ ɧɟɫɬɚʁɚʃɟ ɤɨɧɬɭɪɟ ɭ ɫɥɢɤɚɪɫɬɜɭ, ɨɞɧɨɫɧɨ, ɪɚɫɬɚɤɚʃɟ ɨɛɥɢɤɚ ɩɨɞ ɭɬɢɰɚʁɟɦ ɫɜɟɬɥɨɫɬɢ ɞɨɜɟɥɨ ɞɨ ɬɨɝɚ ɞɚ ɥɢɧɢʁɚ ɜɢɲɟ ɧɢʁɟ ɞɨɦɢɧɚɧɬɧɨ ɢɡɪɚɠɚʁɧɨ ɫɪɟɞɫɬɜɨ ɫɥɢɤɟ, ɢɫɬɨ ɬɚɤɨ ɢ ɭ ɂɝɪɢ (ɚɥɢ ɢ ɧɟ ɫɚɦɨ ɭ ʃɨʁ), ɦɟɥɨɞɢʁɚ ɜɢɲɟ ɧɟɦɚ ɩɪɢɦɚɬ, ɲɬɨ ɧɟ ɡɧɚɱɢ ɞɚ ɧɢʁɟ ɩɪɢɫɭɬɧɚ. ɉɪɢɫɭɬɧɚ ʁɟ, ɚɥɢ ʁɟ ɧɚ ɞɪɭɝɚɱɢʁɢ ɧɚɱɢɧ ɬɪɟɬɢɪɚɧɚ. ɋɚ ɦɚɬɟɪɢʁɚɥɨɦ ɫɟ ɧɟ ɪɚɞɢ ɬɚɤɨ ɲɬɨ ɫɟ ɨɧ ɬɪɚɧɫɮɨɪɦɢɲɟ ɦɨɬɢɜɫɤɢɦ ɪɚɞɨɦ (ɭ ɤɥɚɫɢɱɧɨɦ ɫɦɢɫɥɭ ɬɟ ɪɟɱɢ), ɜɟʄ ɦɭ ɫɟ ɦɟʃɚʁɭ ɨɫɬɚɥɢ ɩɚɪɚɦɟɬɪɢ, ɩɪɟ ɫɜɟɝɚ ɡɜɭɱɧɚ ɛɨʁɚ, ɬɟ ɫɟ ɰɟɥɢɧɚ ɝɪɚɞɢ ɢɡ ʃɟɝɨɜɢɯ ɪɚɡɥɢɱɢɬɨ ‘ɨɛɨʁɟɧɢɯ’ ɩɨʁɚɜɚ. ɍɩɪɚɜɨ ɫ ɬɢɦ ɭ ɜɟɡɢ ʁɟ ɢ ɨɧɚ Ⱦɟɛɢɫɢʁɟɜɚ ɢɡʁɚɜɚ ɨ ɞɨɫɬɢɡɚʃɭ ɦɭɡɢɤɟ ɤɨʁɚ ʄɟ ɛɢɬɢ „ɫɬɜɨɪɟɧɚ ɧɚ ɨɫɧɨɜɭ ɫɚɦɨ ʁɟɞɧɨɝ ɧɟɩɪɟɤɢɧɭɬɨɝ ɦɨɬɢɜɚ, ɤɨʁɟɝ ɧɢɲɬɚ ɧɟ ɩɪɟɤɢɞɚ ɢ ɤɨʁɢ ɫɟ ɧɢɤɚɞɚ ɧɟ ɜɪɚʄɚ ɫɚɦɨɦ ɫɟɛɢ”. ɍ ɫɥɭɱɚʁɭ ɦɭɡɢɤɟ ɡɚ ɛɚɥɟɬ ɂɝɪɚ ɦɨɝɥɨ ɛɢ ɫɟ ɞɨɞɚɬɢ ɞɚ ɫɟ „ɦɨɬɢɜ ɧɢɤɚɞɚ ɧɟ ɩɪɟɤɢɞɚ ɢ ɧɟ ɜɪɚʄɚ ɫɚɦɨɦ ɫɟɛɢ” ɭɩɪɚɜɨ ɢ ɩɪɟ ɫɜɟɝɚ ɡɚɯɜɚʂɭʁɭʄɢ ɞɨɞɚɜɚʃɭ ɢɥɢ ɨɞɭɡɢɦɚʃɭ ɢɧɫɬɪɭɦɟɧɬɚɥɧɢɯ ɛɨʁɚ, ɬɟ ɫɟ ɩɨɫɥɟɞɢɱɧɨ 358 ȼɢɞɟɬɢ ɭ: Mark DeVoto, “The Debussy sound: colour, texture, gesture”, in: Simon Trezise (ed.), ɧɚɜ. ɞɟɥɨ, 193. { 237 } ɧɢ ɤɨɧɬɢɧɭɢɬɟɬ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɧɟ ɧɚɪɭɲɚɜɚ, ɜɟʄ ɫɟ ɨɛɥɢɤɭʁɟ, ɩɪɟɦɚ ɪɟɱɢɦɚ Ⱥɞɨɪɧɚ (Theodor W. Adorno), ɤɚɨ „ɧɟɤɚɤɜa ɱɭɥɧɚ ɛɟɫɤɧɚɱɧɨɫɬ”359. Ɉɧɚ ɫɟ ɨɫɬɜɚɪɭʁɟ ɢ ɩɨɫɬɚɜɤɨɦ ɝɭɞɚɱɤɢɯ ɢɧɫɬɪɭɦɟɧɚɬɚ ɭ ɮɭɧɤɰɢʁɢ ɡɜɭɱɧɟ ɩɨɞɥɨɝɟ ɤɨʁɚ ɨɫɬɚʁɟ ɤɨɧɫɬɚɧɬɧɚ, ɩɪɢɫɭɬɧɚ ɬɨɤɨɦ ɰɟɥɨɤɭɩɧɨɝ ɦɭɡɢɱɤɨɝ ɬɨɤɚ. Ɉɧɚ ʁɟ ɟɤɜɢɜɚɥɟɧɬ ɩɨɞɥɨɡɢ ɭ ɫɥɢɤɚɪɫɬɜɭ, ɲɬɨ ʁɟ ɡɚɩɪɚɜɨ ɢɞɟɚɥɚɧ ɢɡɛɨɪ ɫ ɨɛɡɢɪɨɦ ɧɚ ʁɟɞɢɧɫɬɜɨ ɛɨʁɟ, ɚ ɭʁɟɞɧɨ ɢ ɦɨɝɭʄɧɨɫɬ ɲɢɪɨɤɟ ɪɟɝɢɫɬɚɪɫɤɟ ɩɨɫɬɚɜɤɟ ɝɭɞɚɱɤɢɯ ɢɧɫɬɪɭɦɟɧɚɬɚ. Ɉɧɢ ɫɟ ɱɭʁɭ ɤɨɧɫɬɚɧɬɧɨ, ɨɛɟɡɛɟђɭʁɭʄɢ ɞɢɫɤɪɟɬɧɭ ɩɨɞɪɲɤɭ ɢɥɢ ɩɚɤ ɤɨɧɬɪɚɫɬɢɪɚʁɭʄɢ ɞɪɭɝɢɦ ɛɨʁɚɦɚ. ɑɟɬɢɪɢ ɜɪɫɬɟ ɞɪɜɟɧɢɯ ɞɭɜɚɱɤɢɯ ɢɧɫɬɪɭɦɟɧɚɬɚ, ɱɢʁɚ ʁɟ ɫɤɭɩɧɚ ɡɜɭɱɧɨɫɬ (ɦɟђɭɫɨɛɧɨ) ɡɧɚɬɧɨ ɯɟɬɟɪɨɝɟɧɢʁɚ, ɩɪɟɞɫɬɚɜʂɚʁɭ ɧɟɩɪɟɫɭɲɚɧ ɢɡɜɨɪ ɫɭɩɬɢɥɧɢɯ ɤɨɧɬɪɚɫɬɚ. Ʉɚɨ ɢ ɝɭɞɚɱɤɢ, ɢ ɞɪɜɟɧɢ ɞɭɜɚɱɤɢ ɢɧɫɬɪɭɦɟɧɬɢ ɫɭ ɫɬɚɥɧɨ ɤɨɪɢɲʄɟɧɢ ɬɨɤɨɦ ɦɭɡɢɱɤɨɝ ɬɨɤɚ, ɚɥɢ ɱɟɫɬɟ ɩɪɨɦɟɧɟ ɭ ʃɢɯɨɜɨɦ ɛɪɨʁɭ ɢ ɤɨɦɛɢɧɚɰɢʁɚɦɚ ɫɬɜɚɪɚʁɭ ɜɚɪɢʁɚɛɢɥɧɭ ɡɜɭɱɧɭ ɩɨɜɪɲɢɧɭ. Ɉɧɢ ɬɚɤɨђɟ ɫɬɨʁɟ ɭ ɤɨɧɬɪɚɫɬɭ ɧɚɫɩɪɚɦ ɡɜɭɱɧɟ ɩɨɞɥɨɝɟ ɤɨʁɭ ɱɢɧɢ ɛɨʁɚ ɝɭɞɚɱɤɢɯ ɢɧɫɬɪɭɦɟɧɚɬɚ. Ʌɢɦɟɧɢ ɞɭɜɚɱɤɢ ɢɧɫɬɪɭɦɟɧɬɢ ɫɟ ʁɚɜʂɚʁɭ ɫɩɨɪɚɞɢɱɧɨ: ɧɚʁɱɟɲʄɟ ɫɟ ɩɨʁɚɜʂɭʁɭ ɯɨɪɧɟ ɤɨʁɟ ɫɭ ɨɛɢɱɧɨ ɤɨɦɛɢɧɨɜɚɧɟ ɫɚ ɯɚɪɮɚɦɚ (ɦɨɝɭʄɟ ɫɚ ɢɥɢ ɛɟɡ ɱɟɥɟɫɬɟ), ɬɪɭɛɟ ɫɭ ɤɨɪɢɲʄɟɧɟ ɪɟɬɤɨ, ɚ ɬɪɨɦɛɨɧɢ ʁɨɲ ɦɚʃɟ (ɢ ɢɧɚɱɟ ɫɟ ɪɟɬɤɨ ɩɨʁɚɜʂɭʁɭ ɛɟɡ ɯɨɪɧɢ). Ƚɪɭɩɚ ɭɞɚɪɚʂɤɢ – ɚ ɩɨɫɟɛɧɨ ɢɧɫɬɪɭɦɟɧɬɢ ɤɨʁɢ ɩɪɨɢɡɜɨɞɟ ɦɟɬɚɥɚɧ ɡɜɭɤ, ɩɨɩɭɬ ɱɢɧɟɥɚ – ɢɦɚ ɩɨɫɟɛɧɭ ɭɥɨɝɭ ɨɛɟɡɛɟђɢɜɚʃɚ ɪɟɬɤɢɯ ɦɨɦɟɧɚɬɚ ɟɝɡɨɬɢɱɧɟ ɛɨʁɟ. Ɍɚɤɨ ɫɭ ɪɚɡɥɢɱɢɬɢ ɨɞɧɨɫɢ ɩɟɬ ɢɧɫɬɪɭɦɟɧɬɚɥɧɢɯ ɩɨɪɨɞɢɰɚ ɢ ʃɢɯɨɜɚ ɭɩɨɬɪɟɛɚ, ɫɦɚɬɪɚ Ɋɢɱɚɪɞ ɉɚɪɤɫ (Richard S. Parks), ɭ ɞɢɪɟɤɬɧɨʁ ɤɨɪɟɥɚɰɢʁɢ ɫɚ ɫɬɟɩɟɧɨɦ ɞɢɫɬɢɧɝɬɢɜɧɨɫɬɢ ɤɨʁɢ ɫɜɚɤɚ ɛɨʁɚ ɩɨɫɟɞɭʁɟ: ɲɬɨ ʁɟ ɡɜɭɤ ɩɨɡɧɚɬɢʁɢ, ɜɢɲɟ ʁɟ ɭ ɭɩɨɬɪɟɛɢ; ɲɬɨ ʁɟ ɟɝɡɨɬɢɱɧɢʁɢ, ɪɟђɟ jɟ ɩɪɢɫɭɬɚɧ ɭ ɨɪɤɟɫɬɚɪɫɤɨʁ ɩɚɥɟɬɢ ɂɝɪɟ.360 Ɇɭɡɢɱɤɢ ɬɨɤ ɂɝɪɟ ɫɟ ɨɪɝɚɧɢɡɭʁɟ ɭ ɫɦɢɫɥɭ ɩɨɫɬɨʁɚʃɚ ɞɜɚɞɟɫɟɬ ɬɪɢ ɨɞɫɟɤɚ (ɤɨʁɟ ʁɟ ɦɨɝɭʄɟ ɝɪɭɩɢɫɚɬɢ ɭ ɰɟɥɢɧɟ ɜɢɲɟɝ ɪɟɞɚ ɤɨʁɟ ɩɨɬɨɦ ɮɨɪɦɢɪɚʁɭ ɬɪɨɞɟɥ Ⱥ /ɬɬ. 1-330/ Ȼ /ɬɬ. 331-701/ ɚ1 /ɬɬ. 702-709/), ɭ ɨɤɜɢɪɭ ɤɨʁɢɯ ɫɟ ɟɤɫɩɨɧɢɪɚ ɝɥɚɜɧɢ ɬɟɦɚɬɫɤɢ ɦɚɬɟɪɢʁɚɥ ɭɜɟɤ ɞɪɭɝɚɱɢʁɟ ɡɜɭɱɧɨ ɧɢʁɚɧɫɢɪɚɧ ɢ ɛɨʁɟɧ. Ɇɨɬɢɜɢ ɢɡ 9. ɢ 10. ɬɚɤɬɚ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 32) ɩɪɟɞɫɬɚɜʂɚʁɭ ɬɟɦɚɬɫɤɨ ʁɟɡɝɪɨ ɰɟɥɨɤɭɩɧɨɝ ɞɟɥɚ; ɬɨ ɦɨɬɢɜɫɤɨ ʁɟɡɝɪɨ ɫɟ ɜɚɪɢɪɚ ɢ ɫɬɜɚɪɚ ɰɟɥɢɧɭ ɜɢɲɟɝ ɪɟɞɚ. 359 Theodor W. Adorno, Filozofija nove muzike (Beograd: Nolit, 1968), 169. 360 ɍɩɨɪɟɞɢɬɢ ɫɚ: Richard S. Parks, The Later Style of Claude Debussy (Michigan: University of Michigan, 1967), 262. { 238 } ȵɟɝɚ ɱɢɧɟ: ɦɨɬɢɜ ɚ (ɨɫɦɢɧɫɤɚ ɩɚɭɡɚ ɢ ɱɟɬɢɪɢ ɲɟɫɧɚɟɫɬɢɧɟ ɧɚ ɬɨɧɭ ɰɢɫ ɭ ɞɟɨɧɢɰɢ ɜɢɨɥɚ) ɢ ɦɨɬɢɜ ɛ (ɲɟɫɧɚɟɫɬɢɧɫɤɢ ɯɪɨɦɚɬɫɤɢ ɩɨɤɪɟɬ ɭ ɞɟɨɧɢɰɚɦɚ ɜɢɨɥɨɧɱɟɥɚ ɢ ɮɚɝɨɬɚ). ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪɨʁ 32: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɂɝɪɚ (Jeux, 1913), ɬɬ. 9‒19. { 239 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪɨʁ 32: ... ɧɚɫɬɚɜɚɤ. ɉɪɚɤɬɢɱɧɨ ɨɞ ɬɪɟʄɟɝ ɩɚ ɞɨ ɩɨɫɥɟɞʃɟɝ ɨɞɫɟɤɚ, ɨɞɧɨɫɧɨ ‘ɧɢɜɨɚ’ – ɝɞɟ ʁɟ ɬɟɪɦɢɧ ɧɢɜɨ ɭɩɨɬɪɟɛʂɟɧ ɞɚ ɛɢ ɫɟ ɩɪɟɞɫɬɚɜɢɥɚ ɝɪɚɞɚɰɢʁɚ ɤɨʁɚ ɫɟ ɮɨɪɦɢɪɚ ɩɪɢɥɢɤɨɦ ɟɤɫɩɨɧɢɪɚʃɚ ɬɟɦɚɬɫɤɨɝ ɦɚɬɟɪɢʁɚɥɚ ɫɬɜɚɪɚʃɟɦ ɪɚɡɥɢɱɢɬɢɯ ɡɜɭɱɧɢɯ ɫɥɢɤɚ, ɩɨɫɟɛɧɢɦ { 240 } ɬɪɟɬɦɚɧɨɦ ɢɧɫɬɪɭɦɟɧɚɬɚ ɢ ɮɚɤɬɭɪɧɢɦ ɧɚɫɥɨʁɚɜɚʃɟɦ ɬɨɤɨɦ ɰɟɥɨɤɭɩɧɨɝ ɦɭɡɢɱɤɨɝ ɬɨɤɚ – ɨɜɚ ɞɜɚ ɦɨɬɢɜɚ ɫɭ ɩɪɟɬɪɩɟɥɚ ɩɪɨɦɟɧɟ ɭ ɨɪɤɟɫɬɪɚɰɢɨɧɨɦ ɫɦɢɫɥɭ. Ɉɧɢ ɫɟ ɧɚʁɩɪɟ ɭ ɱɟɬɜɪɬɨɦ ɨɞɫɟɤɭ, ɤɚɨ ɦɟɥɨɞɢʁɫɤɚ ɢ ɪɢɬɦɢɱɤɚ ɜɚɪɢʁɚɧɬɚ, ɢɡɥɚɠɭ ɭ ɞɟɨɧɢɰɢ ɞɪɜɟɧɢɯ ɞɭɜɚɱɤɢɯ ɢɧɫɬɪɭɦɟɧɚɬɚ – ɧɚʁɩɪɟ ɤɥɚɪɢɧɟɬɚ ɢ ɟɧɝɥɟɫɤɨɝ ɪɨɝɚ, ɚ ɡɚɬɢɦ ɮɥɚɭɬɟ ɢ ɨɛɨɟ (ɭ ɱɟɬɜɪɬɨɦ ɨɞɫɟɤɭ). ɍ ɞɚʂɟɦ ɦɭɡɢɱɤɨɦ ɬɨɤɭ (ɨɞ ɩɟɬɨɝ ɞɨ ɩɟɬɧɚɟɫɬɨɝ ɨɞɫɟɤɚ) ɩɪɚɬɢɦɨ ɡɜɭɱɧɨ ɧɚɫɥɨʁɚɜɚʃɟ ɤɨʁɟ ʁɟ ɪɟɡɭɥɬɚɬ ɞɢɫɬɪɢɛɭɢɪɚʃɚ ʄɟɥɢʁɚ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɩɪɚɤɬɢɱɧɨ ɤɪɨɡ ɫɜɟ ɢɧɫɬɪɭɦɟɧɬɚɥɧɟ ɝɪɭɩɟ; ɩɨɦɟɧɭɬɢ ɦɨɬɢɜɢ ɫɟ ɧɚʁɩɪɟ ɭɞɜɚʁɚʁɭ ɭ ɞɟɨɧɢɰɢ ɨɛɨɟ (5. ɢ 6. ɨɞɫɟɤ), ɤɥɚɪɢɧɟɬɚ (7. ɢ 8. ɨɞɫɟɤ), ɜɢɨɥɢɧɚ ɢ ɜɢɨɥɚ (9. ɢ 10. ɨɞɫɟɤ), ɡɚɬɢɦ ɭ ɞɟɨɧɢɰɢ ɮɥɚɭɬɟ ɢ ɩɢɤɨɥɨ ɮɥɚɭɬɟ (11. ɨɞɫɟɤ), ɞɚ ɛɢ ɫɟ, ɡɚɬɢɦ, ɨɞ ɞɜɚɧɚɟɫɬɨɝ ɨɞɫɟɤɚ ɝɨɬɨɜɨ ɞɢʁɚɥɨɲɤɢ ɩɪɟɦɟɲɬɚɨ ɢɡ ɝɪɭɩɟ ɞɪɜɟɧɢɯ ɞɭɜɚɱɤɢɯ ɢɧɫɬɪɭɦɟɧɚɬɚ ɭ ɝɪɭɩɭ ɥɢɦɟɧɢɯ ɞɭɜɚɱɤɢɯ ɢɧɫɬɪɭɦɟɧɚɬɚ ɫɬɜɚɪɚʁɭʄɢ ɨɪɤɟɫɬɚɪɫɤɢ ɤɪɟɲɟɧɞɨ ɤɨʁɢ ʄɟ ɤɭɥɦɢɧɚɰɢɨɧɢ ɩɥɚɬɨ ɢɦɚɬɢ ɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ ɨɞ 12. ɞɨ 22. ɨɞɫɟɤɚ. ɇɚʁɡɧɚɱɚʁɧɢʁɚ ɩɪɨɦɟɧɚ ɫɟ ɞɟɲɚɜɚ ɭ 16. ɨɞɫɟɤɭ ɤɚɞɚ ɫɟ ɨɫɢɦ ɨɪɤɟɫɬɚɪɫɤɟ ɛɨʁɟ ɦɟʃɚ ɬɟɦɩɨ, ɤɚɪɚɤɬɟɪ ɢ ɦɟɬɚɪ (ɜ. ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪ. 33). Ɉɜɚ, ɫɜɨʁɟɜɪɫɧɚ ɩɥɟɫɧɚ ɨɚɡɚ ɨɡɧɚɱɟɧɚ ɤɚɨ Mouvt de Valse, moins vif que le 3/8 initial ɞɨɧɨɫɢ ɦɨɬɢɜɟ ɚ ɢ ɛ, ɢɫɬɨɜɪɟɦɟɧɨ ɫɚ ʃɢɯɨɜɢɦ ɜɚɪɢʁɚɧɬɚɦɚ, ɞɨɩɪɢɧɨɫɟʄɢ ɧɟ ɫɚɦɨ ɡɝɭɲʃɚɜɚʃɭ ɮɚɤɬɭɪɧɟ ɫɥɢɤɟ ɢ ɪɚɡɧɨɥɢɤɨɫɬɢ ɛɨʁɟ ɨɪɤɟɫɬɚɪɫɤɨɝ ɡɜɭɤɚ, ɜɟʄ ɢ ɩɪɨɦɟɧɢ ɤɚɪɚɤɬɟɪɚ ɢ ɭɛɪɡɚɜɚʃɭ ɦɭɡɢɱɤɨɝ ɬɨɤɚ. ɇɚɤɨɧ ɨɜɨɝ ɨɞɫɟɤɚ, ɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ ɞɨɥɚɡɢ ɞɨ ɩɨɫɬɟɩɟɧɨɝ ‘ɫɤɢɞɚʃɚ’ ɢɧɫɬɪɭɦɟɧɬɚɥɧɢɯ ɛɨʁɚ ɩɪɢɥɢɤɨɦ ɞɢɫɬɪɢɛɭɢɪɚʃɚ ɦɨɬɢɜɫɤɨɝ ɦɚɬɟɪɢʁɚɥɚ ɱɢɦɟ ɫɟ ɮɚɤɬɭɪɧɚ ɫɥɢɤɚ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ‘ɪɚɡɪɟђɭʁɟ’, ɬɟɦɩɨ ɭɫɩɨɪɚɜɚ (ɨɡɧɚɤɚ très retenu ɫɟ ɩɨʁɚɜʂɭʁɟ ɭ 19. ɨɞɫɟɤɭ), ɚ ɞɨɥɚɡɢ ɢ ɞɨ ɩɪɨɦɟɧɟ ɬɚɤɬɚ ɢɡ 3/8 ɭ3/4. ɉɨɫɥɟɞʃɢ ‘ɬɪɡɚʁ’ ɭ ɦɭɡɢɱɤɨɦ ɬɨɤɭ ɞɨɧɨɫɢ 21. ɨɞɫɟɤ ɤɨʁɢ ɫɟ ɜɪɚʄɚ ɧɚ ɬɚɤɬ 3/8. ɇɚ ɬɨɧɚɥɧɨɦ ɩɥɚɧɭ , ɩɪɜɢ ɩɭɬ ɫɟ ɭɨɱɚɜɚ ɫɬɚɛɢɥɧɨɫɬ – ɰɟɥɨɤɭɩɚɧ ɦɭɡɢɱɤɢ ɬɨɤ ɫɟ ɫɦɟɲɬɚ ɭ ɨɛɥɚɫɬ ɢɧ ɐɟ ɭ ɨɤɜɢɪɭ ɤɨʁɟɝ ɞɨɥɚɡɢ ɞɨ ɚɫɢɦɢɥɚɰɢʁɟ ɩɨɦɟɧɭɬɢɯ ɦɨɬɢɜɚ ɢ ʃɢɯɨɜɢɯ ɜɚɪɢʁɚɧɬɢ ɤɪɨɡ ɡɜɭɱɧɨ ɧɚɫɥɨʁɚɜɚʃɟ, ɢɫɬɨɜɪɟɦɟɧɨ ɡɜɭɱɚʃɟ ɢ ɩɪɨɠɢɦɚʃɟ. ɍ ɩɨɫɥɟɞʃɚ ɞɜɚ ɫɟɝɦɟɧɬɚ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɂɝɪɟ, ɦɨɬɢɜɢ ɫɟ ɩɨʁɚɜʂɭʁɭ ɭ ɧɨɜɨɦ ɦɟɬɪɨ-ɪɢɬɦɢɱɤɨɝ ɨɤɪɭɠɟʃɭ – ɚɭɝɦɟɧɬɢɪɚɧɢ ɢ ɭ ɬɚɤɭ 4/4, ɤɨʁɟ ɤɚɪɚɤɬɟɪɢɲɟ ɢ ɩɨɫɬɟɩɟɧɨ ‘ɫɤɢɞɚʃɟ’ ɫɥɨʁɟɜɚ ɨɪɤɟɫɬɚɪɫɤɨɝ ɡɜɭɤɚ, ɚɥɢ ɢ ‘ɝɚɲɟʃɟ’ ɦɭɡɢɱɤɨɝ ɬɨɤɚ ɭ pp ɞɢɧɚɦɢɰɢ. { 241 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪɨʁ 33: Ʉɥɨɞ Ⱦɟɛɢɫɢ, ɂɝɪɚ (Jeux, 1913), ɬɬ. 331‒343. { 242 } ɇɨɬɧɢ ɩɪɢɦɟɪ ɛɪɨʁ 33: ... ɧɚɫɬɚɜɚɤ. Ⱦɚɤɥɟ, ɭɬɢɫɚɤ „ɪɚɡɧɨɥɢɤɨɫɬɢ” ɢ „ɛɟɫɤɪɚʁɚ” ɡɜɭɱɧɟ ɛɨʁɟ ɩɨɫɬɢɝɧɭɬ ʁɟ ɮɪɚɝɦɟɧɬɨɜɚɧɨɦ ɨɪɤɟɫɬɪɚɰɢɨɧɨɦ ɦɟɬɨɞɨɦ ɤɨʁɭ ɤɚɪɚɤɬɟɪɢɲɟ ɞɢɫɬɪɢɛɭɢɪɚʃɟ ɢ { 243 } ɜɚɪɢɪɚʃɟ ɨɫɧɨɜɧɢɯ ɦɨɬɢɜɚ ɞɟɥɚ ɭ ɪɚɡɥɢɱɢɬɢɦ ɢɧɫɬɪɭɦɟɧɬɚɥɧɢɦ ɝɪɭɩɚɦɚ, ɢɥɢ ɩɚɤ ɩɨʁɟɞɢɧɚɱɧɢɦ ɢɧɫɬɪɭɦɟɧɬɢɦɚ. ɇɨ, ɢɧɬɟɧɡɢɬɟɬ ɨɞɫɟɤɚ ɡɚɜɢɫɢ ɩɨɞʁɟɞɧɚɤɨ ɢ ɨɞ ɞɢɧɚɦɢɱɤɢɯ ɨɡɧɚɤɚ ɤɨʁɟ ɫɭ ɭ ʃɟɦɭ ɡɚɫɬɭɩʂɟɧɟ, ɡɚɬɢɦ ɨɞ ɧɚɱɢɧɚ ɧɚ ɤɨʁɢ ʁɟ ɨɪɤɟɫɬɪɚɰɢɨɧɨ ɪɟɲɟɧ, ɬɟ ɨɞ ɞɨɫɬɢɝɧɭɬɟ ɝɪɚɞɚɰɢʁɟ ɛɨʁɟ ɢ ʃɟɧɢɯ ɩɨɫɟɛɧɢɯ ɧɢʁɚɧɫɢ (ɭ ɩɚɪɬɢɬɭɪɢ ɂɝɪɟ, ɧɢʁɚɧɫɟ ɛɨʁɟ ɧɨɫɟ ɨɡɧɚɤɟ ɩɨɩɭɬ col legno, flautando, sur la touché, pres de la table /ɡɚ ɯɚɪɮɭ/ ɢɬɞ.) Ɍɨ ɧɚɜɨɞɢ ɧɚ ɡɚɤʂɭɱɚɤ ɞɚ ʁɟ Ⱦɟɛɢɫɢ ɤɨɧɰɟɩɬ „ɨɪɤɟɫɬɚɪɫɤɨɝ ɨɛɥɚɱɟʃɚ” ɦɭɡɢɱɤɨɝ ɬɤɢɜɚ, ɬɚʁ ɤɪɨɡ ɢɫɬɨɪɢʁɭ ɦɭɡɢɤɟ ɱɟɫɬɨ ɞɨɦɢɧɚɧɬɚɧ ɧɚɱɢɧ ɨɪɤɟɫɬɪɚɰɢɨɧɨɝ ɦɢɲʂɟʃɚ, ɡɚɦɟɧɢɨ „ɨɪɤɟɫɬɚɪɫɤɨɦ ɢɧɜɟɧɰɢʁɨɦ”, ɤɨɧɰɟɩɬɨɦ ɤɨʁɢ ʁɟ ɭ ɞɢɪɟɤɬɧɨʁ ɫɩɪɟɡɢ ɫɚ ɚɪɚɛɟɫɤɧɢɦ ɩɪɢɧɰɢɩɨɦ, ɨɞɧɨɫɧɨ, ɚɪɚɛɟɫɤɧɢɦ ɧɚɱɢɧɨɦ ɢɡɝɪɚɞʃɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ. Ɂɚɩɪɚɜɨ, ɤɨɦɩɨɡɢɬɨɪɨɜɚ ɢɦɚɝɢɧɚɰɢʁɚ ɧɢʁɟ ɭɫɥɨɜʂɟɧɚ ɭɧɚɩɪɟɞ ɧɚɩɢɫɚɧɢɦ ɞɟɥɨɦ ɤɨʁɟ ɫɟ ɡɚɬɢɦ ɨɪɤɟɫɬɪɢɪɚ, ɜɟʄ ɫɟ ɢɡ ɫɚɦɟ ɨɪɤɟɫɬɪɚɰɢʁɟ ɢɲɱɢɬɚɜɚʁɭ ɦɭɡɢɱɤɟ ɢɞɟʁɟ ɤɨʁɟ, ɚɤɨ ɫɟ ɦɨɠɟ ɪɟʄɢ, ɢ ɧɟ ɩɨɫɬɨʁɟ ɨɡɜɭɱɟɧɟ ɭ ɧɟɤɨɦ ɞɪɭɝɨɦ ɜɢɞɭ. ɇɚ ɬɚʁ ɧɚɱɢɧ ʁɟ Ⱦɟɛɢɫɢ ɨɬɜɨɪɢɨ ɜɪɚɬɚ ɦɨɝɭʄɧɨɫɬɢ ɧɨɜɢɧɚ. Ⱦɚɤɥɟ, ɢɚɤɨ Ⱦɟɛɢɫɢʁɟɜɚ ɨɫɬɜɚɪɟʃɚ ɧɟɦɚʁɭ ɞɢɪɟɤɬɧɟ ɧɚɫɬɚɜʂɚɱɟ, ʃɢɯɨɜ ɭɬɢɰɚʁ ɧɚ ɩɨɬɨʃɟ ɝɟɧɟɪɚɰɢʁɟ ɤɨɦɩɨɡɢɬɨɪɚ ʁɟ ɧɚɭɩɢɬɚɧ. ɍ ɜɟɡɢ ɫɚ ɬɢɦ ʁɟ Ɋɨɥɨ Ɇɟʁɟɪɫ (Rollo Meyers) ɢɡɧɟɨ ɡɚɤʂɭɱɚɤ ɞɚ ʁɟ „ɫɥɭɱɚʁ Ⱦɟɛɢɫɢ” ʁɟɞɢɧɫɬɜɟɧ ɩɪɢɦɟɪ ɤɨʁɢ ɫɬɨʁɢ ɭɫɚɦʂɟɧ, ɛɟɡ ɢ ʁɟɞɧɨɝ ɞɢɪɟɤɬɧɨɝ ɫɥɟɞɛɟɧɢɤɚ, ɚɥɢ ɫɚ ɢɡɭɡɟɬɧɨ ɫɧɚɠɧɢɦ ɭɬɢɰɚʁɟɦ ɧɚ ɝɟɧɟɪɚɰɢʁɟ ɤɨɦɩɨɡɢɬɨɪɚ ɤɨʁɟ ɫɭ ɫɟ ɩɨʁɚɜɢɥɟ ɧɚ ɟɜɪɨɩɫɤɨʁ ɦɭɡɢɱɤɨʁ ɫɰɟɧɢ.361 Ɍɚɤɨ ʄɟ Ⱦɟɛɢɫɢʁɟɜɚ ɮɪɚɝɦɟɧɬɨɜɚɧɚ ɨɪɤɟɫɬɪɚɰɢɨɧɚ ɦɟɬɨɞɚ, ɤɨʁɚ ʄɟ ɞɨɜɟɫɬɢ ɞɨ ɬɨɝɚ ɞɚ „ɦɟɥɨɞɢʁɚ ɜɢɫɢɧɚ” ɛɭɞɟ ɡɚɦɟʃɟɧɚ „ɦɟɥɨɞɢʁɨɦ ɬɟɦɛɪɚ”, ɨɞɧɨɫɧɨ ɡɜɭɱɧɢɯ ɛɨʁɚ – ɦɟɬɨɞɚ ɤɨʁɭ ʁɟ ɩɨɱɟɨ ɞɚ ɩɪɢɦɟʃɭʁɟ ɭ ɇɨɤɬɭɪɧɢɦɚ (Ɉɛɥɚɰɢɦɚ), ɡɚɬɢɦ ɞɚ ɪɚɡɜɢʁɚ ɭ Ɇɨɪɭ ɞɚ ɛɢ ɜɪɯɭɧɚɰ ɞɨɫɬɢɝɚɨ ɭ ɂɝɪɢ – ɢɦɚɬɢ ɫɜɨʁ ‘ɩɪɨɞɭɠɟɬɚɤ’ ɭ ɒɟɧɛɟɪɝɨɜɢɦ (Arnold Schönberg) ɨɪɤɟɫɬɚɪɫɤɢɦ ɤɨɦɚɞɢɦɚ ɢɡ 1909. ɝɨɞɢɧɟ, ɬɚɱɧɢʁɟ ɭ ɬɪɟʄɟɦ ɫɬɚɜɭ ɩɨɞ ɧɚɡɢɜɨɦ Ȼɨʁɚ (Farben), ɭ ɤɨʁɟɦ ɦɟɥɨɞɢʁɫɤɭ ɧɢɬ ɝɪɚɞɟ ɪɚɡɥɢɱɢɬɟ ɡɜɭɱɧɟ ɛɨʁɟ ɤɪɟɢɪɚʁɭʄɢ ʁɟɞɚɧ ɧɨɜ ɤɨɧɰɟɩɬ – ɦɟɥɨɞɢʁɭ ɡɜɭɱɧɢɯ ɛɨʁɚ (klangfarbenmelodie). ɍ ɩɨɦɟɧɭɬɨɦ ɫɬɚɜɭ ɭɨɱɚɜɚ ɫɟ ɦɢɧɢɦɭɦ ɦɟɥɨɞɢʁɫɤɟ, ɯɚɪɦɨɧɫɤɟ ɢ ɪɢɬɦɢɱɤɟ ɚɤɬɢɜɧɨɫɬɢ, ɬɟ ʁɟ ɝɥɚɜɧɢ ɚɤɰɟɧɚɬ ɫɬɚɜʂɟɧ ɧɚ ɚɥɬɟɪɧɚɰɢʁɟ 361 „ɂɫɬɨ ɤɚɨ ɲɬɨ Ɇɚɥɚɪɦɟɭ ɩɪɜɟɧɫɬɜɟɧɢ ɰɢʂ ɧɢʁɟ ɛɢɨ ɞɚ ɩɢɲɟ ɫɨɧɟɬɟ, ɜɟʄ ɞɚ ɢɡɜɪɲɢ ɪɟ-ɢɧɜɟɧɰɢʁɭ ɩɨɟɡɢʁɟ, ɤɚɨ ɲɬɨ ʁɟ ɢ ɋɟɡɚɧ ɬɟɠɢɨ ɞɚ ɫɩɪɨɜɟɞɟ ɪɟ-ɢɧɜɟɧɰɢʁɭ ɫɥɢɤɚɪɫɬɜɚ, ɢɫɬɨ ɬɚɤɨ ʁɟ ɢ Ⱦɟɛɢɫɢ ɬɟɠɢɨ ɞɚ ɢɡɦɟɧɢ ɩɪɚɜɢɥɚ ɢ ɩɪɢɧɰɢɩɟ ɧɚ ɤɨʁɢɦɚ ʁɟ ɦɭɡɢɤɚ ɞɨ ɬɚɞɚ ɩɨɱɢɜɚɥɚ ɢ ɤɨʁɚ ɫɭ ɝɚ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɢ ɨɝɪɚɧɢɱɚɜɚɥɚ.” ȼɢɞɟɬɢ ɭ: Rollo Meyers, Debussy and French Music, The Musical Times, Vol. 108, No. 1496, 1967, 900‒901. { 244 } ɪɚɡɥɢɱɢɬɢɯ ɨɪɤɟɫɬɚɪɫɤɢɯ ɛɨʁɚ. ɉɪɟɰɢɡɧɢʁɟ, ɦɟɥɨɞɢʁɚ ɡɜɭɱɧɢɯ ɛɨʁɚ ɞɨɱɚɪɚɧɚ ʁɟ ɧɚ ɫɚɦɨɦ ɩɨɱɟɬɤɭ ɫɬɚɜɚ ɩɨɫɬɚɜʂɚʃɟɦ ʁɟɞɧɨɝ ɚɤɨɪɞɚ (ɰɟ-ɟ-ɝɢɫ-ɚ-ɯɚ), ɱɢʁɟ ɫɟ ɢɡɜɨђɟʃɟ ɩɨɜɟɪɚɜɚ ɪɚɡɥɢɱɢɬɢɦ ɢɧɫɬɪɭɦɟɧɬɚɥɧɢɦ ɝɪɭɩɚɦɚ. Ʉɚɨ ɪɟɡɭɥɬɚɬ ɫɟ ʁɚɜʂɚ ‘ɫɬɚɬɢɱɚɧ ɡɜɭɤ’ ɚɤɨɪɞɚ ɤɨʁɢ ɡɚɩɪɚɜɨ ɫɬɚɥɧɨ ɦɟʃɚ ɛɨʁɭ ɡɛɨɝ ɱɟɝɚ ɫɟ ɫɬɜɚɪɚ ɭɬɢɫɚɤ ɢɡɜɟɫɧɨɝ ɢɧɬɟɪɜɚɥɫɤɨɝ ɤɪɟɬɚʃɚ, ɢɚɤɨ ɨɧɨ ɪɟɚɥɧɨ ɧɟ ɩɨɫɬɨʁɢ. ɍɩɪɚɜɨ ɧɚ ɨɫɧɨɜɭ ɨɜɟ ɤɚɪɚɤɬɟɪɢɫɬɢɤɟ ɫɬɚɜɚ Ȼɨʁɟ, ɏɨɩɤɢɧɫ (G.W.Hopkins) ʄɟ ɢɡɜɟɫɬɢ ɡɚɤʂɭɱɚɤ ɞɚ ɩɨɦɟɧɭɬɨ ɒɟɧɛɟɪɝɨɜɨ ɨɫɬɜɚɪɟʃɟ ɩɪɟɞɫɬɚɜʂɚ ɥɨɝɢɱɚɧ ɧɚɫɬɚɜɚɤ ɩɪɨɰɟɫɚ ɤɨʁɟ ʁɟ Ⱦɟɛɢɫɢ ɡɚɩɨɱɟɨ ɭ ɫɜɨʁɢɦ Ɉɛɥɚɰɢɦɚ. ɂ ɧɟ ɫɚɦɨ ɬɨ! ɑɢʃɟɧɢɰɚ ɞɚ ɩɨɫɥɟɞʃɢ ɫɬɚɜ ɒɟɧɛɟɪɝɨɜɢɯ ɨɪɤɟɫɬɚɪɫɤɢɯ ɤɨɦɚɞɚ – Ɉɛɥɢɝɚɬɧɢ ɪɟɱɢɬɚɬɢɜ, ɭ ɨɫɧɨɜɢ ɫɚɞɪɠɢ ɢɞɟʁɭ ɨ ɪɚɡɜɨʁɧɢɦ ɜɚɪɢʁɚɰɢʁɚɦɚ ɤɨʁɟ ɢɡɜɢɪɭ ɢɡ ʁɟɞɧɟ ɢɞɟʁɟ, ɬɚɤɨ ɞɚ ɫɭ ɨɧɟ ɫɚɦɟ ɩɨɫɪɟɞɧɢɤ ɢɡɦɟђɭ ɢɞɟʁɟ ɢ ɰɟɥɢɧɟ ɞɟɥɚ, ɭɩɭʄɭʁɟ ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ ɧɚ ȼɚɝɧɟɪɨɜɭ ɛɟɫɤɪɚʁɧɭ ɦɟɥɨɞɢʁɭ, ɚɥɢ ɦɨɠɞɚ ʁɨɲ ɞɢɪɟɤɬɧɢʁɟ ɧɚ ɦɭɡɢɱɤɭ ɚɪɚɛɫɤɭ ɤɨʁɭ ʄɟ ɭ ɫɜɨɦ ɫɬɜɚɪɚɥɚɲɬɜɭ Ⱦɟɛɢɫɢ ɜɪɥɨ ɧɟɝɨɜɚɬɢ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɒɟɧɛɟɪɝɨɜɚ ɢɞɟʁɚ ɞɚ ɫɜɚɤɢ ɨɞ ɭɱɟɫɧɢɤɚ ɬɪɟɛɚ ɞɚ ɢɡɜɟɞɟ ɫɜɨʁ ɪɟɱɢɬɚɬɢɜ ɢɡ ɨɫɧɨɜɧɟ ɦɭɡɢɱɤɟ ɢɞɟʁɟ ɪɟɮɟɪɢɪɚ ɧɚ ɚɪɚɛɟɫɤɧɢ ɩɪɢɧɰɢɩ ɡɚɫɧɨɜɚɧ ɧɚ ɢɞɟʁɢ ɤɨɧɬɢɧɭɚɥɧɟ ɚɭɬɨɝɟɧɟɡɟ. Ɉɫɢɦ ɒɟɧɛɟɪɝɚ, ɤɚ ɩɪɨɫɬɨɪɢɦɚ ɛɨʁɟ ɭɩɭɬɢʄɟ ɫɟ ɢ ȼɚɪɟɡ (Edgard Varèse), ɚɥɢ ɢ Ʌɢɝɟɬɢ (György Sándor Ligeti), ɉɟɧɞɟɪɟɰɤɢ (Krzysztof Eugeniusz Penderecki) ɢ Ʌɭɬɨɫɥɚɜɫɤɢ (Witold Roman Lutosławski) ɭ ɱɢʁɟɦ ɫɬɜɚɪɚɥɚɲɬɜɭ ʄɟ ɫɟ ɬɚɤɨђɟ ɫɪɟɬɚɬɢ ɦɭɡɢɤɚ ɡɜɭɱɧɢɯ ɛɨʁɚ. ɑɚɤ ʄɟ ɢ Ʉɟʁџ ɩɪɢɥɢɤɨɦ ɫɜɨʁɢɯ ‘ɢɡɥɟɬɚ’ ɭ ɩɪɨɲɥɨɫɬ, ɭɩɨɪɢɲɬɟ ɩɪɨɧɚɥɚɡɢɬɢ ɭɩɪɚɜɨ ɭ Ⱦɟɛɢɫɢʁɟɜɨɦ ɫɬɜɚɪɚɥɚɲɬɜɭ. Ɍɨ ɫɟ, ɢɡɦɟђɭ ɨɫɬɚɥɨɝ, ɢɲɱɢɬɚɜɚ ɢɡ ɨɧɨɝ ʃɟɝɨɜɨɝ ɫɬɚɜɚ ɤɨʁɢɦ ɨɧ ɩɨɡɢɜɚ ɞɚ „ɩɭɫɬɢɦɨ ɡɜɭɤɨɜɟ ɞɚ ɫɚɦɨɫɬɚɥɧɨ ɡɜɭɱɟ ɤɚɤɨ ɛɢɫɦɨ ɪɟ-ɟɞɭɤɨɜɚɥɢ ɫɟɛɟ ɭ ɩɨɝɥɟɞɭ ɬɨɝɚ ɲɬɚ ɨɱɟɤɭʁɟɦɨ ɨɞ ɦɭɡɢɤɟ ɢ ɜɪɟɞɧɨɫɬɢ ɬɢɲɢɧɟ.”362 362 ɍɩɨɪɟɞɢɬɢ ɫɚ: Roger Nichols, ɧɚɜ. ɞɟɥɨ, 307. { 245 } V ɆɈȽɍȶɂ ɉɊȺȼɐɂ ‘ɒɂɊȿȵȺ’ ɆɍɁɂɑɄɈȽ ɍɇɂȼȿɊɁɍɆȺ ɄɅɈȾȺ ȾȿȻɂɋɂȳȺ ɂ ɡɚɢɫɬɚ, ɲɬɚ ʁɟ ɬɨ ɲɬɨ ɫɟ ɨɱɟɤɭʁɟ ɨɞ ɦɭɡɢɤɟ? Ɉɞɧɨɫɧɨ, ɲɬɚ ʁɟ ɬɨ ɲɬɨ ʁɟ Ⱦɟɛɢɫɢ ɜɟɪɨɜɚɨ ɞɚ ɨɧɚ ɩɪɭɠɚ? Ɇɨɠɞɚ ɛɢ ɫɚɠɟɬ ɨɞɝɨɜɨɪ ɝɥɚɫɢɨ ɞɚ ʁɟ ɦɭɡɢɤɚ ɨɧɚʁ ɫɜɟɬ ɞɪɭɝɢ ɤɨʁɢ ɪɚɡɨɬɤɪɢɜɚ ɬɚʁɚɧɫɬɜɟɧɟ ɜɟɡɟ ɢɡɦɟђɭ ɉɪɢɪɨɞɟ ɢ ɂɦɚɝɢɧɚɰɢʁɟ, ɨɞɧɨɫɧɨ, ɞɚ ʁɟ ɨɧɚ ɬɚ ɤɨʁɚ ɦɨɠɟ ɨɞɪɚɡɢɬɢ ɰɟɥɨɜɢɬɨɫɬ ɫɩɨʂɚɲʃɟɝ ɫɜɟɬɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, Ⱦɟɛɢɫɢʁɟɜ ɫɬɚɜ ɛɢ ɝɥɚɫɢɨ ɞɚ ɦɭɡɢɤɚ, ɤɚɨ ɭɦɟɬɧɨɫɬ ɧɚʁɛɥɢɠɚ ɉɪɢɪɨɞɢ, ʁɟɞɢɧɚ ‘ɝɚɪɚɧɬɭʁɟ’ ɩɨɧɨɜɧɨ ɨɫɜɚʁɚʃɟ ɫɥɨɛɨɞɟ, ɚɥɢ ɢ ɞɨɫɟɡɚʃɟ ɫɚɦɟ ɫɭɲɬɢɧɟ ɫɬɜɚɪɢ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɨɜɚʁ ɤɨɦɩɨɡɢɬɨɪ ʁɟ ɫɟɛɟ ɫɦɚɬɪɚɨ ɡɚ ɧɟɤɨɝɚ ɤɨ ʁɟ ɫɚɦɨ ɡɚɩɨɱɟɨ ɢɫɬɪɚɠɢɜɚʃɚ ɧɟɢɡɦɟɪɧɨɝ ɡɜɭɱɧɨɝ ɯɨɪɢɡɨɧɬɚ, ɚ ɧɟ ɡɚ ɨɧɨɝ ɤɨ ʁɟ ɭɫɩɟɨ ɞɚ ɫɯɜɚɬɢ ʃɟɝɨɜɭ ɫɭɲɬɢɧɭ. Ȼɚɲ ɡɚɬɨ, ɠɟɥɟɨ ʁɟ ɫɟɛɟ ɞɚ ɜɢɞɢ ɤɚɨ ɚɧɨɧɢɦɧɨɝ ɤɨɦɩɨɡɢɬɨɪɚ, ɩɪɢɩɚɞɧɢɤɚ „ɲɚɪɦɚɧɬɧɢɯ ɦɚɥɢɯ ɧɚɪɨɞɚ” ɤɨʁɢ ɫɬɜɚɪɚʁɭ ɦɭɡɢɤɭ ɤɚɨ ɲɬɨ ɞɢɲɭ, ʁɟɪ ɫɚɦɨ ɭ ʃɢɯɨɜɨʁ ɦɭɡɢɰɢ ʁɟ ɦɨɝɭʄɟ ɧɚʄɢ „ɜɟɱɧɢ ɪɢɬɚɦ ɦɨɪɚ, ɜɟɬɚɪ ɭ ɥɢɲʄɭ ɢ ɧɚ ɯɢʂɚɞɟ ɦɚɥɢɯ ɲɭɦɨɜɚ […] ʃɢɯɨɜɚ ɬɪɚɞɢɰɢʁɚ ɫɟ ɫɚɫɬɨʁɢ ɢɡ ɞɪɟɜɧɢɯ ɩɟɫɚɦɚ, ɭʁɟɞɢʃɟɧɢɯ ɫɚ ɩɥɟɫɨɦ, ɭ ɤɨʁɟ ɫɜɚɤɢ ɩɨʁɟɞɢɧɚɰ, ɜɟɤ ɡɚ ɜɟɤɨɦ, ɭɬɢɫɤɭʁɟ ɫɜɨʁ ɫɦɟɪɧɢ ɞɨɩɪɢɧɨɫ”363. ɋɯɜɚʄɟɧɚ ɭ ɞɭɯɭ ɨɜɢɯ ɪɟɱɢ, Ⱦɟɛɢɫɢʁɟɜɚ ɩɨɡɢɰɢʁɚ ɭ ɩɟɪɢɨɞɭ ɤɨʁɢ ʁɟ ɭ ɫɜɢɦ ɫɮɟɪɚɦɚ ʂɭɞɫɤɨɝ ɞɟɥɨɜɚʃɚ ɛɢɨ ɨɛɟɥɟɠɟɧ ɛɪɨʁɧɢɦ ɤɨɦɟɲɚʃɢɦɚ ʁɟɫɬɟ ɩɨɡɢɰɢʁɚ ɬɢɯɨɝ ɪɟɜɨɥɭɰɢɨɧɚɪɚ ɤɨʁɢ ɦɭɡɢɱɤɟ ɤɨɧɜɟɧɰɢʁɟ ɩɪɟɢɫɩɢɬɭʁɟ, ɪɟɜɢɞɢɪɚ, ɚ ɩɨɬɨɦ ‘ɪɭɲɢ’ ɛɟɡ ɨɧɨɝ ɫɩɨʂɚɲʃɟɝ, ɩɨɛɭʃɟɧɢɱɤɨɝ ɝɟɫɬɚ. ɉɨ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ ɬɚɤɚɜ ɝɟɫɬ ɢ ɧɢʁɟ ɧɭɠɚɧ ɡɚɬɨ ɲɬɨ ɭɦɟɬɧɢɱɤɚ ɤɪɟɚɰɢʁɚ ʁɟɫɬɟ ɩɨ ɩɪɢɪɨɞɢ ɫɥɨɛɨɞɧɚ, ɚ ɬɚ ɫɥɨɛɨɞɚ ɫɟ ɨɬɤɪɢɜɚ ɢ ɞɨɫɬɢɠɟ ɤɪɨɡ ɨɫɥɭɲɤɢɜɚʃɟ ɩɪɢɪɨɞɟ ɢ ʃɟɧɢɯ ɬɚʁɚɧɫɬɜɟɧɢɯ ɬɪɟɩɟɪɟʃɚ ɢ ɫɚɝɥɚɫʁɚ. ɍ ɩɪɢɪɨɞɢ, ɢɡ Ⱦɟɛɢɫɢʁɟɜɨɝ ɭɝɥɚ, ɩɨɫɬɨʁɟ ɫɚɝɥɚɫʁɚɫ ɢɡɭɡɟɬɧɨ ɞɢɫɩɚɪɚɬɧɢɯ ɟɥɟɦɟɧɚɬɚ, ɬɚɤɨ ɞɚ ɛɢ ɰɢʂ ɭɦɟɬɧɢɤɚ ɛɢɨ ɞɚ ɭɨɱɢ ʃɢɯɨɜɟ ɩɪɟɜɚɫɯɨɞɧɨ ɯɚɪɦɨɧɢɱɧɟ ɨɞɧɨɫɟ, ɚ ɧɟ ɞɚ ɢɯ ɞɨɠɢɜʂɚɜɚ ɤɚɨ ‘ɬɪɟʃɚ’, ɫɭɤɨɛɟ ɢ 363 Claude Debussy, Monsieur Croche et…, ɧɚɜ. ɞɟɥɨ, 229. ɂɡ ɱɥɚɧɤɚ ɤɨʁɢ ʁɟ ɢɡɚɲɚɨ ɭ S.I.M., 15 ɮɟɛɪɭɚɪɚ 1915. ɝɨɞɢɧɟ ɩɨɞ ɧɚɫɥɨɜɨɦ Ɉ ɭɤɭɫɭ (Du Goût). { 246 } ɛɨɪɛɟ. Ɂɚɬɨ ʁɟ ɫɭɲɬɢɧɫɤɚ ɩɟɪɰɟɩɰɢʁɚ ɥɟɩɨɬɟ/ɉɪɢɪɨɞɟ ɨɧɚ ɤɨʁɚ ɫɟ ɨɞɜɢʁɚ ɭ ɬɢɲɢɧɢ, ɢ ɤɨʁɚ, ɤɚɨ ɫɜɨʁɟ ɜɪɯɭɧɫɤɨ ɧɚɱɟɥɨ, ɩɨɫɬɚɜʂɚ ɟɫɬɟɬɢɤɭ ɩɪɢɪɨɞɧɨɝ ɡɜɭɤɚ – ɫɢɧɬɟɡɟ ɚɥɢɤɜɨɬɚ.364 Ɍɚ ɜɟɱɧɨ ɩɪɨɦɟɧʂɢɜɚ ɢ ɧɟɢɡɦɟɪɧɨ ɛɨɝɚɬɚ ɡɜɭɱɧɚ ɫɥɢɤɚ (ɭ ɤɨʁɨʁ ɫɟ, ɤɚɤɨ ɢ ɫɚɦ Ⱦɟɛɢɫɢ ɧɚɜɨɞɢ, „ɧɢʁɚɧɫɟ ɦɟʃɚʁɭ, ɚ ɬɪɚʁɚʃɚ ɤɨɥɟɛɚʁɭ”365 ɢ ɫɜɟ ʁɟ ɩɨɞɥɨɠɧɨ ɩɪɨɦɟɧɢ), ʁɟɫɬɟ ɨɧɚ ɫɭɲɬɢɧɚ ɤɨʁɭ ʁɟ ɬɟɠɢɨ ɞɚ ɞɨɫɟɝɧɟ, ɨɞɧɨɫɧɨ, ɪɟɤɪɟɢɪɚ ɭ ɫɜɨɦ ɞɟɥɭ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɨɧ ɫɟɛɟ ɧɟ ɫɦɚɬɪɚ ɰɟɧɬɪɨɦ ɫɜɨʁɟ ɭɦɟɬɧɨɫɬɢ, ɜɟʄ ɤɚɬɚɥɢɡɚɬɨɪɨɦ ɤɨʁɢ, ɪɟɱɟɧɨ ɞɢɮɪɟɧɜɨɜɫɤɢ, ɩɪɟɜɨɞɢ ɜɟɱɧɭ ɦɢɫɬɟɪɢʁɭ ɉɪɢɪɨɞɟ ɢ ʃɟɧɚ ɫɭɩɬɢɥɧɚ ɩɨɞɪɯɬɚɜɚʃɚ ɭ ɭɦɟɬɧɢɱɤɭ ɮɨɪɦɭ. Ɍɚɤɨ, Ⱦɟɛɢɫɢʁɟɜɚ ɦɭɡɢɤɚ ɨɫɬɚʁɟ ɦɭɡɢɤɚ „ɫɚɫɬɚɜʂɟɧɚ ɢɡ ɛɨʁɚ ɢ ɪɢɬɢɦɢɡɨɜɚɧɨɝ ɜɪɟɦɟɧɚ”, ɨɞɧɨɫɧɨ ɦɭɡɢɤɚ ɤɨʁɚ ʁɟ ɧɚɫɬɚɥɚ ɤɪɨɡ ɚɫɨɰɢʁɚɰɢʁɟ ɢ ɜɟɡɟ ɤɨʁɟ ɢɦɩɪɟɫɢʁɟ ɫɬɜɚɪɚʁɭ ɫɚ ɩɪɟɬɯɨɞɧɢɦ ɭɦɟɬɧɢɤɨɜɢɦ ɭɬɢɫɰɢɦɚ, ɡɧɚʃɢɦɚ, ‘ɦɨɞɟɥɢɦɚ’. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɪɚɞɢ ɫɟ ɨ ɦɭɡɢɰɢ ɱɢʁɟ ʁɟ ɜɪɟɦɟ ɪɢɬɦɢɡɨɜɚɧɨ ɤɚɨ ɢ ɨɧɨ ɩɪɢɪɨɞɧɨ, ɚɥɢ ɭ ɧɨɜɨʁ ɪɟɚɥɧɨɫɬɢ – ɪɟɚɥɧɨɫɬɢ ɭɦɟɬɧɢɱɤɨɝ ɞɟɥɚ. „Ɇɭɡɢɤɚ ɧɚɩɢɫɚɧɚ ɜɟɲɬɢɦ ɪɭɤɚɦɚ”, ɦɭɡɢɤɚ „ɦɚʁɫɬɨɪɚ”, ɨɞɧɨɫɧɨ, ɤɨɦɩɨɡɢɬɨɪɚ ɤɨʁɢ ɫɭ ɩɨɫɬɚɥɢ ɜɨђɟ ɲɤɨɥɚ, ʁɟɫɬɟ ɦɭɡɢɤɚ ɤɨʁɚ ɧɟɦɚ Ⱦɟɛɢɫɢʁɟɜɟ ɫɢɦɩɚɬɢʁɟ ɢ ɤɨʁɚ ɩɨ ʃɟɝɨɜɨɦ ɦɢɲʂɟʃɭ ɧɟ ɛɢ ɬɪɟɛɚɥɨ ɞɚ ɢɦɚ ɧɢ ɫɢɦɩɚɬɢʁɟ ɛɭɞɭʄɢɯ ɝɟɧɟɪɚɰɢʁɚ ɤɨɦɩɨɡɢɬɨɪɚ. ɋ ɬɢɦ ɭ ɜɟɡɢ, ɨɧ ɤɪɢɬɢɤɭʁɟ ɭɩɨɪɧɨ ɢɫɬɪɚʁɚɜɚʃɟ ɭ „ɨɧɨɦɟ ɲɬɨ ʁɟ ɜɟʄ ɭɫɩɟɥɨ ɭ ɦɭɡɢɰɢ”, ɤɪɢɬɢɤɭʁɟ ɬɚʁ ‘ɢɧɟɪɬɚɧ’ ɫɬɚɜ ɤɨʁɢ ʁɟɞɢɧɨ „ɡɚɝɨɜɚɪɚ ɜɥɚɞɚɜɢɧɭ ɧɚɜɢɤɟ”366. Ɍɚɤɜɚ ɤɪɢɬɢɤɚ ʁɟ ɭ ɫɚɝɥɚɫʁɭ ɢ ɫɚ ʃɟɝɨɜɢɦ ɨɩɭɫɨɦ ɭ ɨɤɜɢɪɭ ɤɨʁɟɝ ɫɟ ɩɪɢɦɟʄɭʁɟ ‘ɢɧɫɢɫɬɢɪɚʃɟ’ ɧɚ ɞɢɜɟɪɡɢɬɟɬɭ, ɬɨ ʁɟɫɬ, ‘ɢɧɫɢɫɬɢɪɚʃɟ’ ɤɨʁɟ ʁɟ ɨɫɦɢɲʂɟɧɨ ɤɚɨ ɛɪɢɠʂɢɜɨ ɧɟɝɨɜɚʃɟ ɫɜɢɯ ɨɧɢɯ ɦɨɠɞɚ ɢ ɦɚɥɢɯ ɧɢʁɚɧɫɢ ɤɨʁɟ ɱɢɧɟ ɞɚ ɫɟ ɞɟɥɚ ɦɟђɭɫɨɛɧɨ ɪɚɡɥɢɤɭʁɭ ɢ ɞɚ ɫɟ ɢɡɛɟɝɧɟ ɦɚɧɢɪ; ɬɨ ʁɟ, ɱɢɧɢ ɫɟ, ɤʂɭɱɧɨ ɦɟɫɬɨ ɡɚ ɨɱɭɜɚʃɟ Ⱦɟɛɢɫɢʁɟɜɨɝ ɫɭɲɬɢɧɫɤɢ ɤɨɧɡɢɫɬɟɧɬɧɨɝ, ɚɭɬɟɧɬɢɱɧɨɝ, ɚɥɢ ɧɟɩɨɧɨɜʂɢɜɨɝ ɫɬɢɥɚ. Ⱦɟɛɢɫɢ ʁɟ ɫɜɨʁ ɭɦɟɬɧɢɱɤɢ credo, ɨɞɧɨɫɧɨ, ɫɜɨʁ ‘ɦɚɧɢɮɟɫɬ’, ‘ɢɲɱɢɬɚɜɚɨ’, ɤɚɨ ɲɬɨ ʁɟ ɜɟʄ ɢɫɬɢɰɚɧɨ, ɭ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɦ ɫɥɢɤɚɪɫɬɜɭ, ɚɥɢ ɩɪɟ ɫɜɟɝɚ ɭ ɫɢɦɛɨɥɢɫɬɢɱɤɨʁ ɩɨɟɡɢʁɢ, ɭ ʃɟɧɨɦ ɦɭɡɢɱɤɨɦ ɫɯɜɚɬɚʃɭ ɢ ɬɪɟɬɢɪɚʃɭ ɫɬɢɯɚ ɢ ɩɪɨɡɟ. 364 ɂɫɬɨ, 49. 365 ɂɫɬɨ, 313. ɂɡ ɢɧɬɟɪɜʁɭɚ ɨɛʁɚɜʂɟɧɨɝ ɭ ɱɚɫɨɩɢɫɭ Ʉɨɦɟɞɢʁɚ (La Comedie), 17. ɞɟɰɟɦɛɪɚ 1910. ɝɨɞɢɧɟ. 366 ɂɫɬɨ, 51. { 247 } Ɍɚɤɨ ʁɟ, ɭ ɫɭɲɬɢɧɢ, ɫɚɦɚ ɦɭɡɢɤɚ – ɩɨɫɪɟɞɧɨ ɩɪɟɤɨ ɭɬɢɰɚʁɚ ɫɢɦɛɨɥɢɫɬɚ, ɞɨɜɟɥɚ ɞɨ ɫɬɜɚɪɚʃɚ Ⱦɟɛɢɫɢʁɟɜɟ ɩɨɟɬɢɤɟ ɢ ɟɫɬɟɬɢɤɟ. Јɟɪ, ɱɢʃɟɧɢɰɚ ʁɟ ɞɚ ɫɭ ɢ ɫɥɢɤɚɪɫɬɜɨ ɢ ɤʃɢɠɟɜɧɨɫɬ ɬɪɩɟɥɢ ɭɬɢɰɚʁ ɦɭɡɢɤɟ ɬɨɤɨɦ ɱɢɬɚɜɨɝ 19. ɜɟɤɚ. Ɇɭɡɢɤɚ ʁɟ ɬɚɞɚ ɛɢɥɚ ɩɪɟɜɚɫɯɨɞɧɚ ɭɦɟɬɧɨɫɬ, ɛɢɥɨ ɤɚɨ ɱɢɫɬɚ ɢɝɪɚ ɬɨɧɨɜɚ, ɛɢɥɨ ɤɚɨ ɟɦɨɰɢɨɧɚɥɧɚ ɭɦɟɬɧɨɫɬ. ɂɡ ɬɟ ɩɪɟɜɥɫɬɢ ɦɭɡɢɤɟ ɩɪɨɢɡɚɲɥɚ ʁɟ „ɮɨɪɦɚɥɢɫɬɢɱɤɚ”, ɨɞɧɨɫɧɨ „ɟɤɫɩɪɟɫɢɨɧɢɫɬɢɱɤɚ” ɨɪɢʁɟɧɬɚɰɢʁɚ – ɭɦɟɬɧɨɫɬ ɤɚɨ ɫɬɢɥ, ɨɞɧɨɫɧɨ ɭɦɟɬɧɨɫɬ ɤɚɨ ɥɢɪɫɤɨ ɭɡɛɭђɟʃɟ. Ɇɭɡɢɱɤɨ ɨɫɟʄɚʃɟ ɢɡɦɟɧɢɥɨ ʁɟ ɤʃɢɠɟɜɧɢ ɢ ɫɥɢɤɚɪɫɤɢ ɭɤɭɫ. Ⱥ ɨɧɨ ɲɬɨ ʁɟ ɛɢɨ ɰɢʂ ɫɢɦɛɨɥɢɡɦɚ ɢ ɬɚɤɨɡɜɚɧɢɯ „ɭɤɥɟɬɢɯ ɩɟɫɧɢɤɚ” ʁɟɫɬɟ ɞɚ ɨɞ ɦɭɡɢɤɟ ɩɪɟɭɡɦɭ ɫɜɨʁɟ ɞɨɛɪɨ ɢ ɞɚ ɩɨɟɡɢʁɢ ɜɪɚɬɟ ʃɟɧɭ ɦɭɡɢɱɤɭ ɞɢɦɟɧɡɢʁɭ, ɬɨ ʁɟɫɬ, ɞɚ ʁɨʁ ɜɪɚɬɟ ɦɟɥɨɞɢɨɡɧɨɫɬ ɫɬɢɯɚ ɢ ɦɭɡɢɱɧɨɫɬ ɦɢɫɥɢ.367 ɇɨ, ɫɜɚɤɢ ɨɞ ɩɟɫɧɢɤɚ ɩɨʁɟɞɢɧɚɱɧɨ ʁɟ ɭ ɫɜɨʁɢɦ ɤʃɢɠɟɜɧɨ-ɬɟɨɪɢʁɫɤɢɦ ɫɯɜɚɬɚʃɢɦɚ, ɦɚɧɢɮɟɫɬɢɦɚ, ɚ ɩɪɟ ɫɜɟɝɚ ɩɨɟɡɢʁɢ, ɬɚʁ ɰɢʂ ɮɨɪɦɭɥɢɫɚɨ ɧɚ ɞɪɭɝɚɱɢʁɢ ɧɚɱɢɧ, ɢɫɤɚɡɭʁɭʄɢ ɩɪɢ ɬɨɦ ɢ ɧɟɤɟ ɨɞ ɛɢɬɧɢɯ ɩɪɟɦɢɫɚ ɫɢɦɛɨɥɢɡɦɚ. Ɍɚɤɨ, ɩɪɟ ɫɜɢɯ, Ȼɨɞɥɟɪ ɭ ɫɜɨʁɨʁ ɩɟɫɦɢ ɋɚɝɥɚɫʁɚ (Correspondances) ɧɚ ʁɟɞɚɧ ɫɚɫɜɢɦ ɫɩɟɰɢɮɢɱɚɧ ɧɚɱɢɧ ɮɨɪɦɭɥɢɲɟ ɬɟɨɪɢʁɭ ɫɢɧɟɫɬɟɡɢʁɟ, ɨɞɧɨɫɧɨ, ɭɧɢɜɟɪɡɚɥɧɟ ɚɧɚɥɨɝɢʁɟ, ɢ ɡɚɯɬɟɜɚ ɨɞ ɭɦɟɬɧɢɤɚ ɞɚ ɩɨɫɪɟɞɫɬɜɨɦ ɫɬɢɯɨɜɚ ɨɞɝɨɧɟɬɚ „ɲɭɦɭ ɫɢɦɛɨɥɚ”, ɚ ɩɨɬɨɦ ɨɬɤɪɢʁɟ ɢ ɞɭɛɢɧɫɤɟ ɚɧɚɥɨɝɢʁɟ ɤɪɨɡ ɤɨʁɟ ɫɟ ɧɚʁɛɨʂɟ ɦɨɝɭ ɢɡɪɚɡɢɬɢ ɫɭɲɬɢɧɟ ʂɭɞɢ ɢ ɫɬɜɚɪɢ. Ɍɚɤɨђɟ, ɭ ɢɫɬɨɢɦɟɧɨʁ ɩɟɫɦɢ, Ȼɨɞɥɟɪ ʁɟ ɩɨɤɚɡɚɨ ɤɨɥɢɤɨ ɩɨɟɡɢʁɚ ɞɭɝɭʁɟ ɦɭɡɢɰɢ ɢ ɧɚɝɨɜɟɫɬɢɨ ɭ ɩɪɨɡɢ „ɜɚɝɧɟɪɨɜɫɤɢ ɪɨɦɚɧ”. Ɉɧɨ ɲɬɨ ʁɟ Ⱦɟɛɢɫɢ ‘ɩɪɟɭɡɟɨ’ ɨɞ Ȼɨɞɥɟɪɚ ɚɪɬɢɤɭɥɢɫɚɧɨ ʁɟ ɭ ‘ɩɨɡɢɜɭ’ ɤɨʁɢ ɤɨɦɩɨɡɢɬɨɪ ɭɩɭʄɭʁɟ ɭɦɟɬɧɢɰɢɦɚ ɞɚ ɫɟ ‘ɭʁɟɞɢɧɟ’ ɫɚ ɉɪɢɪɨɞɨɦ, ɬɟ ɞɚ ɭ ʃɟɧɢɦ ɨɞɚʁɚɦɚ ɨɬɤɪɢʁɭ ɫɢɦɛɨɥɟ, ɫɥɢɤɟ, ɬɨɧɨɜɟ, ɪɟɱɢ, ɛɨʁɟ, ɦɢɪɢɫɟ, ɬɟɤɫɬɭɪɟ, ɡɚɬɢɦ ɞɚ ɢɯ ɫɥɨɛɨɞɧɨ ɢɫɤɨɦɛɢɧɭʁɭ ɢ, ɩɨɬɨɦ, ɩɪɟɩɨɡɧɚʁɭ ʃɢɯɨɜɨ ɡɚʁɟɞɧɢɱɤɨ ɩɨɪɟɤɥɨ ɭ ɲɤɪɢʃɚɦɚ ɩɨɞɫɜɟɫɬɢ ɢ ɚɫɨɰɢʁɚɰɢʁɚ. Ⱦɚʂɟ, ɢ ʁɟɞɚɧ ɢ ɞɪɭɝɢ ɭɦɟɬɧɢɤ ɫɭ ɩɢɫɚɥɢ ɨ ɫɧɚɡɢ ɦɭɡɢɤɟ ɢ ʃɟɧɨʁ ɫɩɨɫɨɛɧɨɫɬɢ ɞɚ ɭʁɟɞɢɧɢ ɢ ɫɭɛʁɟɤɬ ɢ ɨɛʁɟɤɬ, ɨɞɧɨɫɧɨ, ɪɟɱɟɧɨ ɞɢɮɪɟɧɨɜɫɤɢ, ɢ ɫɩɨʂɚɲʃɢ ɫɜɟɬ ɢ ɫɚɦɨɝ ɭɦɟɬɧɢɤɚ. Ɉɧɚ ʁɟ ɡɚ ʃɢɯ ʁɟɞɢɧɚ ɱɢɫɬɚ ɭɦɟɬɧɨɫɬ, ɫɩɨɫɨɛɧɚ ɞɚ ɨɬɤɪɢʁɟ ɜɟɱɧɭ ɬɚʁɧɭ ɨɞɧɨɫɚ ɱɨɜɟɤɚ, ɉɪɢɪɨɞɟ ɢ ɭɦɟɬɧɨɫɬɢ, ɬɨ ʁɟɫɬ, ɞɚ ɨɬɤɪɢʁɟ ɫɚɦɭ ɫɭɲɬɢɧɭ ɫɬɜɚɪɢ. Ʉɚɞɚ ʁɟ ɪɟɱ ɨ ȼɟɪɥɟɧɭ ɢ ʃɟɝɨɜɢɦ ɫɬɚɜɨɜɢɦɚ, ɨɧ ɢɯ ʁɟ, ɜɟɪɭʁɟɦ, ɧɚʁʁɚɫɧɢʁɟ ɢɡɪɚɡɢɨ ɭ ɫɜɨʁɨʁ ɩɟɫɦɢ/ɦɚɧɢɮɟɫɬɭ ɉɟɫɧɢɱɤɚ ɭɦɟɬɧɨɫɬ ɩɨɤɚɡɚɜɲɢ ɤɚɤɨ ɫɟ ɦɭɡɢɤɚ ɢ 367 ɍɩɨɪɟɞɢɬɢ ɫɚ: Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, Ʉɥɨɞ Ⱦɟɛɢɫɢ ɢ ʃɟɝɨɜɨ ɞɨɛɚ...., ɧɚɜ. ɞɟɥɨ, 15. { 248 } ɪɟɱ ɫɩɚʁɚʁɭ ɭ ɨɛɨʁɟɧɢ ɡɜɭɤ, ɢ ɬɨ ɨɧɚʁ ɡɜɭɤ ɤɨʁɢ ʁɨɲ ɭɜɟɤ ɢɫɤɚɡɭʁɟ ʁɟɞɧɨ ɞɭɛɨɤɨ ɟɦɨɬɢɜɧɨ ɬɪɟɩɟɪɟʃɟ ɱɢʁɢ ɫɟ ɫɦɢɫɚɨ ʁɨɲ ɭɜɟɤ ɦɨɠɟ ɨɫɟɬɢɬɢ ɢ ɥɨɝɢɱɤɢ ɩɟɪɰɢɩɢɪɚɬɢ. ɍ ȼɟɪɥɟɧɨɜɢɦ ɫɬɢɯɨɜɢɦɚ ɫɟ ‘ɨɬɜɚɪɚʁɭ ɩɪɨɫɬɨɪɢ’ ɭ ɤɨʁɢɦɚ ɨɞɡɜɚʃɚʁɭ ɬɨɧɨɜɢ, ɞɨɤ ɫɟ ɫɥɢɤɚ ɩɪɨɞɭɠɭʁɟ ɭ ɫɜɨʁɭ ɩɢɬɨɪɟɫɤɧɭ ɩɪɨʁɟɤɰɢʁɭ; ɞɪɭɝɢɦ ɪɟɱɢɦɚ, ȼɟɪɥɟɧɨɜ ɭɧɭɬɪɚɲʃɢ ɩɟʁɡɚɠ ɫɚɫɬɚɜʂɟɧ ɨɞ ɦɭɡɢɤɟ ɢ ɫɥɢɤɚ, ɨɞɧɨɫɧɨ, ɫɢɦɛɨɥɢɱɤɨɝ ʁɟɞɢɧɫɬɜɚ ɦɭɡɢɱɤɢɯ ɢ ɥɢɤɨɜɧɢɯ ɟɥɟɦɟɧɚɬɚ, ɪɚђɚ ʁɟɞɧɭ ɧɨɜɭ, ɞɪɭɝɚɱɢʁɭ ɭɦɟɬɧɨɫɬ – ɨɧɭ ɤɨʁɚ ʁɟ ɤɚɞɪɚ ɡɚ ɧɟɢɡɪɟɰɢɜɨ. ɋɜɨʁɟɜɪɫɧɢ ɩɚɧɞɚɧ ɨɜɢɦ ȼɟɪɥɟɧɨɜɢɦ ɫɬɚɜɨɜɨɜɢɦɚ ɩɪɨɧɚɥɚɡɢɦ ɭ Ⱦɟɛɢɫɢʁɟɜɨɦ ɢɫɤɚɡɭ ɞɚ ʁɟ ɦɭɡɢɤɚ ɧɚʁɛɥɢɠɚ ɩɪɢɪɨɞɢ , ɬɨ ʁɟɫɬ, ɞɚ ɢɡɦɟђɭ ʃɟ (ɦɭɡɢɤɟ) ɢ ɫɬɜɚɪɧɨɫɬɢ ɩɨɫɬɨʁɢ ʁɟɞɚɧ ɫɚɫɜɢɦ ɩɨɫɟɛɚɧ ɨɞɧɨɫ – ɨɞɧɨɫ ɤɨʁɢ ɭɬɢɱɟ ɧɚ ɬɨ ɞɚ ɦɭɡɢɤɚ ɩɨɫɬɚɧɟ ɨɫɟʄɚʁɧɚ ɬɪɚɧɫɩɨɡɢɰɢʁɚ ɫɜɟɝɚ ɨɧɨɝ ɲɬɨ ʁɟ ɭ ɩɪɢɪɨɞɢ ɧɟɜɢɞʂɢɜɨ. Ɇɭɡɢɤɚ ʁɟ, ɪɟɱɟɧɨ Ⱦɢɮɪɟɧɨɜɢɦ ɪɟɱɧɢɤɨɦ, ɭɦɟɬɧɨɫɬ ɤɨʁɚ ɫɜɟɞɨɱɢ ɨ ɬɢɦ ɮɢɧɢɦ ‘ɭɫɚɝɥɚɲɚɜɚʃɢɦɚ’ ɢɡɦɟђɭ ɨɤɚ ɢ ɭɯɚ, ɨɞɧɨɫɧɨ, ɪɟɱɟɧɨ ɜɟɪɥɟɧɨɜɫɤɨ-ɞɟɛɢɫɢʁɟɜɫɤɢɦ ɪɟɱɧɢɤɨɦ, ɭɦɟɬɧɨɫɬ ɤɨʁɚ ɧɚʁɩɪɟɰɢɡɧɢʁɟ ‘ɩɪɟɜɨɞɢ’ ɫɥɢɤɟ ɭɧɭɬɪɚɲʃɟɝ ɩɟʁɡɚɠɚ ɭ ʃɢɯɨɜɚ ‘ɡɜɭɱɧɚ’ ɬɪɟɩɟɪɟʃɚ. Ⱥɤɨ ɉɨɥ ȼɟɪɥɟɧ ɭ ɫɜɨʁɨʁ ɉɟɫɧɢɱɤɨʁ ɭɦɟɬɧɨɫɬɢ ɫɩɚʁɚ ɦɭɡɢɤɭ ɢ ɪɟɱ ɭ ɨɛɨʁɟɧɢ ɡɜɭɤ, ɨɧɞɚ Ⱥɪɬɭɪ Ɋɟɦɛɨ ɨɞɥɚɡɢ ɞɚʂɟ ɩɥɟɞɢɪɚʁɭʄɢ ɡɚ ɚɥɨɝɢɡɚɦ, ɡɚ „ɪɚɫɬɪɨʁɫɬɜɨ ɫɜɢɯ ɱɭɥɚ”, ɡɚ „ɚɥɯɟɦɢʁɭ ɪɟɱɢ” ɤɨʁɚ ʄɟ ɫɬɜɨɪɢɬɢ, ɤɚɤɨ ɬɨ ɩɟɫɧɢɤ ɢɫɬɢɱɟ, „ɧɨɜɟ ɫɜɟɬɨɜɟ ɢ ɧɨɜɟ ɰɜɟɬɨɜɟ”. Ɍɚʁ ɪɟɦɛɨɨɜɫɤɢ „ɧɨɜɢ ɫɜɟɬ”, ɨɞɧɨɫɧɨ, Ⱦɟɛɢɫɢʁɟɜ ɫɜɟɬ „ɟɜɨɤɚɬɢɜɧɢɯ ɱɚɪɨɥɢʁɚ” ɢ Ⱦɢɮɪɟɧɨɜ ɫɜɟɬ ɞɪɭɝɢ, ʁɟɫɬɟ ɫɜɟɬ ɤɨʁɢ ɨɛɭɯɜɚɬɚ ɱɭɞɟɫɧɨ ɡɛɢɜɚʃɟ ɠɢɜɨɬɚ ɭ ɤɨʁɟɦ ɫɭɛʁɟɤɬ ɩɪɨɧɚɥɚɡɢ ɫɜɨʁɭ ɢɫɬɢɧɫɤɭ ɡɚɜɢɱɚʁɧɨɫɬ. ɍ ɬɨɦ „ɧɨɜɨɦ ɫɜɟɬɭ” ɤɨʁɢɦ ɜɥɚɞɚ ɚɥɯɟɦɢʁɚ ɫɧɨɜɚ, Ɋɟɦɛɨ ɢ Ⱦɟɛɢɫɢ ɩɨɡɢɜɚʁɭ ɧɚ ɨɛɨʁɟɧɨ ɫɥɭɲɚʃɟ, ɬɨ ʁɟɫɬ, ɫɥɭɲɚʃɟ ɭ ɛɨʁɢ ɤɚɨ ɩɪɢɧɰɢɩ ɫɢɦɛɨɥɢɫɬɢɱɤɨɝ ɩɪɟɞɫɬɚɜʂɚʃɚ, ɚ Ⱦɢɮɪɟɧ ɧɚ ɩɟɪɦɚɧɟɧɬɧɨ ɪɚɡɛɭɤɬɚɜɚʃɟ ɨɫɧɨɜɧɨɝ ɩɟɫɧɢɱɤɨɝ ɬɨɧɚ ɭ ɧɨɜɟ ɢɦɚɝɢɧɚɪɧɟ ɢ ɱɭɥɧɟ ɩɪɨɫɬɨɪɟ, ɢ ɤɨɧɚɱɧɨ, ɧɚ ɭʁɟɞɢʃɟʃɟ ɫɜɢɯ ɱɭɥɚ. Ɍɚʁ „ɧɨɜɢ ɫɜɟɬ” ɝɨɬɨɜɨ ɦɚɧɢɮɟɫɬɧɨ ɩɪɟɞɫɬɚɜʂɟɧ ɭ Ɋɟɦɛɨɨɜɢɦ ɋɚɦɨɝɥɚɫɧɢɰɢɦɚ, ɚɥɢ ɭ ɢɡɜɟɫɧɨɦ ɫɦɢɫɥɭ ɢ ɭ Ƚɢɥɨɜɨʁ Ɋɚɫɩɪɚɜɢ ɨ ɪɟɱɢɦɚ, ɚɧɬɢɰɢɩɢɪɚ ɩɨʁɚɜɭ ɬɚɤɨɡɜɚɧɟ „ɡɜɭɱɧɟ ɩɨɟɡɢʁɟ” (la poésie sonoré) ɭ ɤɨʁɨʁ ɫɟ ɡɧɚɱɟʃɟ ɢɡɪɚɠɚɜɚ ɝɥɚɫɨɜɧɢɦ ɧɢɡɨɜɢɦɚ ɢ ɥɟɤɫɢɱɤɨɦ ɦɚɬɟɪɢʁɨɦ, ɚɥɢ ɢ ɡɜɭɱɧɨɦ ɟɧɟɪɝɢʁɨɦ ɤɨʁɚ ɫɟ ɪɚɫɩɪɨɫɬɢɪɟ ɬɪɟɩɟɪɟʃɟɦ ɬɚɥɚɫɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɭ „ɡɜɭɱɧɨʁ ɩɨɟɡɢʁɢ” ɡɜɭɤ ʁɟ ɬɚʁ ɤɨʁɢ ɨɦɨɝɭʄɚɜɚ ɢ ɨɜɚɩɥɨʄɭʁɟ ɩɨɫɬɨʁɚʃɟ ʁɟɡɢɱɤɨɝ ɢɡɪɚɡɚ. Ɉɧ ɫɟ ɨɩɚɠɚ ɩɪɟ ɫɚɦɨɝ { 249 } ɨɛɥɢɤɚ ɩɨɟɡɢʁɟ ɛɭɞɭʄɢ ɞɚ ɨɫɟʄɚʁ ɫɥɭɯɚ ɩɪɟɬɯɨɞɢ ɜɢɞɭ. Ɉɜɭ ɭɦɟɬɧɢɱɤɭ ɩɨʁɚɜɭ ɦɨɠɟɦɨ ɫɦɚɬɪɚɬɢ ‘ɤɨɧɚɱɧɢɦ’ ɢɫɩɭʃɟʃɦ Ⱦɢɮɪɟɧɨɜɟ ‘ɠɟʂɟ’ ɞɚ ɫɟ ɪɟɯɚɛɢɥɢɬɭʁɟ ɭɯɨ, ɢɥɢ ɦɚɤɚɪ ɫɬɚɜɢ ɡɧɚɤ ʁɟɞɧɚɤɨɫɬɢ ɢɡɦɟђɭ ɨɤɚ ɢ ɭɯɚ. Ⱦɚɤɥɟ, ɭ ɡɜɭɱɧɨʁ ɩɨɟɡɢʁɢ, ɫɚɦ ɡɜɭɤ ʁɟ ɫɬɜɚɪɚɥɚɱɤɢ ɟɥɟɦɟɧɬ ɭɦɟɬɧɢɱɤɨɝ ɞɟɥɚ. Ɍɚɤɨђɟ, ɭ ɨɜɨʁ ɭɦɟɬɧɢɱɤɨʁ ɩɨʁɚɜɢ ɫɭ ɪɟɱɢ ɩɨɜɟɡɚɧɟ ɬɚɤɨ ɞɚ ɛɢ ɛɟɡ ʃɢɯɨɜɟ ɦɭɡɢɱɤɟ ɞɢɦɟɧɡɢʁɟ ɛɢɥɚ ɞɨɜɟɞɟɧɚ ɭ ɩɢɬɚʃɟ ɰɟɥɨɤɭɩɧɚ ɭɧɭɬɪɚɲʃɚ ɯɚɪɦɨɧɢʁɚ ɩɟɫɧɢɱɤɨɝ ɨɫɬɜɚɪɟʃɚ. Ⱥɤɭɫɬɢɱɤɚ ɩɪɟɞɫɬɚɜɚ ɭ ɡɜɭɱɧɨʁ ɩɨɟɡɢʁɢ ɧɟɨɞɜɨʁɢɜɢ ʁɟ ɞɟɨ ɫɜɟɫɬɢ ɨ ɡɜɭɱɧɢɦ ɨɫɨɛɟɧɨɫɬɢɦɚ ɤɨʁɟ ɩɟɫɧɢɤ ɚɪɬɢɤɭɥɢɲɟ ɧɟɡɚɜɢɫɧɨ ɨɞ ɨɩɚɠɟɧɨɝ ɩɪɟɞɦɟɬɚ, ɤɨʁɢ ɭ ɬɪɟɧɭɬɤɭ ɞɨɠɢɜʂɚɜɚʃɚ ɧɟ ɦɨɪɚ ɛɢɬɢ ɭ ɜɢɞɧɨɦ ɩɨʂɭ. ɉɨɫɥɟɞɢɱɧɨ ʁɟ ɫ ɬɢɦ ɭ ɜɟɡɢ ɢ ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɫɟ ɩɪɢɦɚʁɭ ɡɜɭɤɨɜɢ, ɚ ɬɚʁ ɧɚɱɢɧ ɡɚɜɢɫɢ, ɩɪɟ ɫɜɟɝɚ, ɨɞ ɤɨɧɬɟɤɫɬɚ, ɚɥɢ ɢ ɨɞ ɦɭɡɢɱɤɨɝ ɢɫɤɭɫɬɜɚ ɢ ɫɬɟɩɟɧɚ ɪɚɡɭɦɟɜɚʃɚ ɫɜɟɬɚ ɜɢɛɪɚɰɢʁɚ. ɍ „ɡɜɭɱɧɨʁ ɩɨɟɡɢʁɢ”, ɚɤɭɫɬɢɱɤɨ ʁɟ ɪɟɡɭɥɬɚɬ ɤɪɟɚɬɢɜɧɨɝ ɦɢɲʂɟʃɚ ɤɨʁɟ ɚɭɬɨɪ ɫɭɝɟɪɢɲɟ ɨɫɥɚʃɚʁɭʄɢ ɫɟ ɧɚ ɲɢɪɨɤ ɦɟɥɨɞɢʁɫɤɢ ɪɟɩɟɪɬɨɚɪ, ɪɢɬɚɦ ɢ ɢɧɬɨɧɚɰɢʁɭ. Ɂɚɯɜɚʂɭʁɭʄɢ ɩɫɢɯɨɥɨɲɤɢɦ ɢ ɫɨɧɨɪɧɢɦ ɦɟɯɚɧɢɡɦɢɦɚ ɞɨɥɚɡɢ ɞɨ ɩɪɟɜɨђɟʃɚ ɡɜɭɱɧɢɯ ɫɥɢɤɚ ɭ ɜɢɡɭɟɥɧɟ (ɢ ɨɛɪɧɭɬɨ) – ɪɟɱ ʁɟ ɨ ɧɟɱɟɦɭ ɲɬɨ ʁɟ ɜɟɨɦɚ ɛɥɢɫɤɨ ɢ Ⱦɟɛɢɫɢʁɟɜɨʁ ɭɦɟɬɧɨɫɬɢ, ɤɚɨ ɢ ɞɨ ɭɫɩɨɫɬɚɜʂɚʃɚ ɜɟɡɚ ɢɡɦɟђɭ ɡɜɭɤɨɜɚ ɢ ɫɦɢɫɥɚ – ɩɨɫɬɭɩɚɤ ɤɨʁɢ ɞɟɥɟ ɝɨɬɨɜɨ ɫɜɢ ɩɟɫɧɢɰɢ ɫɢɦɛɨɥɢɫɬɢ. ɍ ɨɜɨɦ ɩɟɫɧɢɱɤɨɦ ɨɛɥɢɤɭ, ɞɚɤɥɟ, ɭ „ɡɜɭɱɧɨʁ ɩɨɟɡɢʁɢ”, ɝɨɜɨɪ, ɫɯɜɚʄɟɧ ɤɚɨ ɫɤɭɩ ɚɤɭɫɬɢɱɤɢɯ ɢɥɢ ɚɭɞɢɬɢɜɧɢɯ ɫɜɨʁɫɬɚɜɚ, ɩɨɫɬɚʁɟ ɞɨɦɢɧɚɧɬɚɧ ɧɨɫɢɥɚɰ ɛɨɝɚɬɫɬɜɚ ɢ ɫɥɨʁɟɜɢɬɨɫɬɢ ɞɟɥɚ, ɞɨɤ ɡɜɭɱɧɚ ɫɭɩɫɬɚɧɰɚ ɩɪɟɞɨɱɚɜɚ ɞɭɯɨɜɧɚ, ɫɚɡɧɚʁɧɚ ɢ ɟɦɨɬɢɜɧɚ ɫɬɚʃɚ ɢ ɩɫɢɯɨɥɨɲɤɟ ɱɢʃɟɧɢɰɟ. ɇɟɲɬɨ ɫɥɢɱɧɨ, ɚɥɢ ɭ ɞɪɭɝɚɱɢʁɟɦ ɦɚɧɢɮɟɫɬɭʁɭʄɟɦ ɜɢɞɭ ɫɟ ɩɪɟɩɨɡɧɚʁɟ, ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ, ɭ ɜɨɤɚɥɧɨɦ ɢ, ɫ ɞɪɭɝɟ ɫɬɪɚɧɟ, ɭ ɨɪɤɟɫɬɚɪɫɤɨɦ ɩɢɫɦɭ Ⱦɟɛɢɫɢʁɟɜɟ ɨɩɟɪɟ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ. ɋ ɨɛɡɢɪɨɦ ɧɚ ɫɩɟɰɢɮɢɱɧɨɫɬ ɮɪɚɧɰɭɫɤɨɝ ʁɟɡɢɤɚ ɢ ʃɟɝɨɜɭ ɜɢɛɪɚɧɬɧɨɫɬ, ɨɱɟɤɢɜɚɧɨ ʁɟ ɬɨ ɲɬɨ ɫɭ ɧɚʁɡɧɚɱɚʁɧɢʁɟ ɞɨɩɪɢɧɨɫɟ „ɡɜɭɱɧɨʁ ɩɨɟɡɢʁɢ” ɢ ʃɟɧɨʁ ɬɟɨɪɟɬɢɡɚɰɢʁɢ ɞɨɩɪɢɧɟɥɢ ɮɪɚɧɰɭɫɤɢ ɩɟɫɧɢɰɢ ɢ ɤʃɢɠɟɜɧɢɰɢ. Ɍɚɤɨ, ɧɚ ɩɪɢɦɟɪ, ʁɟɞɚɧ ɨɞ ɧɚʁɡɧɚɱɚʁɧɢʁɢɯ ɩɟɫɧɢɤɚ „ɡɜɭɱɧɟ ɩɨɟɡɢʁɟ”, Ⱥɧɪɢ ɒɨɩɟɧ (Henri Chopin), ɢɫɬɢɱɟ ɞɚ ʁɟ ɨɜɚ ɜɪɫɬɚ ɩɨɟɡɢʁɟ, ɤɨʁɚ ɫɜɨʁɟ ɤɨɪɟɧɟ ɢɦɚ ʁɨɲ ɭ Ɋɟɦɛɨɨɜɨɦ ɩɟɫɧɢɲɬɜɭ, ɡɚɫɧɨɜɚɧɚ ɧɚ ɮɨɧɟɦɚɦɚ – ɡɜɭɱɧɢɦ ɡɚʁɟɞɧɢɰɚɦɚ ʁɟɡɢɤɚ ɢɡɪɠɟɧɢɦ ɭ ɱɨɜɟɤɨɜɢɦ ɜɨɤɚɥɧɢɦ ɨɪɝɚɧɢɦɚ – { 250 } ɢ ɭɫɦɟɪɟɧɚ ɧɚ ɤɪɟɢɪɚʃɟ ɚɤɬɢɜɧɨɝ ɡɜɭɱɧɨɝ ɩɪɨɫɬɨɪɚ.368 ɉɨɪɟɞ ʃɟɝɚ, ɢɫɬɚɤɧɭɬɚ ɢɦɟɧɚ „ɡɜɭɱɧɟ ɩɨɟɡɢʁɟ” ɤɨʁɚ ʃɟɧɟ ɤɨɪɟɧɟ, ɬɚɤɨђɟ, ɩɪɨɧɚɥɚɡɟ ɭ ɫɢɦɛɨɥɢɫɬɢɱɤɨʁ ɩɨɟɡɢʁɢ, ʁɟɫɭ Ȼɟɪɧɚɪ ɏɚʁɞɫɢɤ (Bernard Heidsieck) ɢ Ɏɪɚɧɫɨɚ Ⱦɢɮɪɟɧ (François Dufrenne). ȵɢɯɨɜɚ ɢɫɬɪɚɠɢɜɚʃɚ ɭ ɩɨʂɭ „ɡɜɭɱɧɟ ɩɨɟɡɢʁɟ” ɡɚɫɧɨɜɚɧɚ ɫɭ ɧɚ ɩɪɨɧɚɥɚɠɟʃɭ ɩɪɚɜɢɯ ɢ ɢɫɬɢɧɫɤɢɯ ʁɟɡɢɤɚ ɡɜɭɤɨɜɚ, ɬɟ ɨɬɤɪɢɜɚʃɭ ɡɜɭɱɧɢɯ ɦɨɝɭʄɧɨɫɬɢ ʂɭɞɫɤɨɝ ɝɥɚɫɚ, ɫɯɜɚʄɟɧɨɝ ɤɚɨ ‘ɩɟɫɦɚ’. Ɉɧɢ ɫɭ ɫɟ ɩɪɢɥɢɤɨɦ ɫɬɜɚɪɚʃɚ ɡɜɭɱɧɢɯ ɩɟɫɚɦɚ ɤɨɪɢɫɬɢɥɢ ɝɥɚɫɨɜɧɢɦ ɧɢɡɨɜɢɦɚ ɢ ɡɜɭɤɨɜɧɢɦ ɩɨɧɚɜʂɚʃɢɦɚ, ɚɥɨɝɢɱɧɨɫɬɢɦɚ ɢ ɪɢɬɦɢɱɤɨɦ ɪɚɡɭђɟɧɨɲʄɭ, ɟɭɮɨɧɢʁɨɦ, ɯɨɦɨɧɢɦɢʁɨɦ, ɞɢɫɨɧɚɧɰɨɦ, ɨɧɨɦɚɬɨɩɟʁɨɦ, ɮɨɧɨɥɨɝɢʁɨɦ, ɝɥɚɫɨɜɧɨɦ ɮɚɤɬɭɪɨɦ ɢ ɢɧɫɬɪɭɦɟɧɬɚɰɢʁɨɦ. ɋɥɢɱɧɢɦ ɩɨɫɬɭɩɰɢɦɚ ɫɟ ɫɥɭɠɢɨ ɢ Ɇɚɥɚɪɦɟ ɤɚɤɨ ɛɢ ɞɨɤɭɱɢɨ ɧɚɱɟɥɚ ɧɟɤɨɝ ɩɨɪɟɬɤɚ ɡɚɭɦɧɟ ɥɨɝɢɤɟ ɫɬɜɚɪɢ, ɚ ɩɨɫɥɟɞɢɱɧɨ ɢ ɞɚ ɛɢ ɫɜɟɬ ɢɞɟʁɚ ɭɱɢɧɢɨ ɞɨɫɬɭɩɧɢɦ ɧɚɲɢɦ ɱɭɥɢɦɚ. Ɉɧ ɬɨ ɱɢɧɢ ɬɚɤɨ ɲɬɨ ɫɬɜɚɪɚ ɫɬɢɯ ɤɨʁɢ ɜɢɲɟ ɧɟ ɠɟɥɢ ɞɚ ɝɨɜɨɪɢ, ɜɟʄ ɞɚ ɩɟɜɚ, ɨɞɧɨɫɧɨ, ɨɧ ɬɨ ɱɢɧɢ ɬɚɤɨ ɲɬɨ ɦɭɡɢɰɢ ɞɚʁɟ ɭɥɨɝɭ ɚɥɬɟɪɧɚɬɢɜɟ ɩɢɫɚɧɨʁ ɪɟɱɢ. Ⱥɧɚɥɨɝɢʁɟ ɫɚ Ⱦɟɛɢɫɢʁɟɜɢɦ ɤɨɦɩɨɡɢɰɢɨɧɢɦ ɩɨɫɬɭɩɰɢɦɚ ɢ ɦɭɡɢɱɤɨ-ɢɡɪɚɠɚʁɧɢɦ ɫɪɟɞɫɬɜɢɦɚ ɫɭ ɭ ɬɨɦ ɫɦɢɫɥɭ ɨɱɢɝɥɟɞɧɟ, ʁɟɪ ɨɧ ʁɟ, ɩɨɞɫɟʄɚɦ, „Ɇɚɥɚɪɦɟ ɦɭɡɢɤɟ” ɢ „ɭɩɨɬɪɟɛʂɚɜɚ ɚɤɨɪɞɟ ɤɚɨ ɲɬɨ Ɇɚɥɚɪɦɟ ɭɩɨɬɪɟɛʂɚɜɚ ɪɟɱɢ”. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɤɚɨ ɧɚʁɟɤɥɚɬɚɧɬɧɢʁɢ ɩɪɢɦɟɪ ɨɜɟ ɚɧɚɥɨɝɢʁɟ ɧɚɜɟɥɚ ɫɚɦ Ⱦɟɛɢɫɢʁɟɜɭ ɨɩɟɪɭ ɉɟɥɟɚɫ ɢ Ɇɟɥɢɫɚɧɞɚ ɭ ɤɨʁɨʁ ʁɟ ɤɨɦɩɨɡɢɬɨɪ, ɤɪɨɡ ɧɟɝɨɜɚʃɟ ɟɫɬɟɬɢɤɟ ɬɢɲɢɧɟ, ɤɪɨɡ ɫɩɟɰɢɮɢɱɧɨ ɨɛɥɢɤɨɜɚʃɟ ɜɨɤɚɥɧɨɝ ɩɢɫɦɚ, ɚɥɢ ɢ ɤɪɨɡ ɧɚɱɢɧɟ ɭɩɨɬɪɟɛɟ ɚɤɨɪɚɞɚ ɢ ɞɢɧɚɦɢɱɤɨɝ ɫɟɧɱɟʃɚ ɭɫɩɨɫɬɚɜɢɨ ɧɚʁɞɢɪɟɤɬɧɢʁɟ ɜɟɡɟ ɫɚ Ɇɚɥɚɪɦɟɨɜɨɦ ɟɫɬɟɬɢɤɨɦ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɩɨɫɟɛɧɨ ɫɟ ɢɡɞɚɜɚ ɩɨʁɚɦ ɮɪɚɝɦɟɧɬɚ ɤɨʁɢ, ɤɚɤɨ ɭ ɩɟɫɧɢɤɨɜɨʁ, ɬɚɤɨ ɢ ɭ ɤɨɦɩɨɡɢɬɨɪɨɜɨʁ ɩɨɟɬɢɰɢ, ɢɦɚ ɜɟɥɢɤɢ ɡɧɱɚʁ: ɤɨɞ Ɇɚɥɚɪɦɟɚ ɮɪɚɝɦɟɧɬ ɞɨɛɢʁɚ ɪɚɧɝ ɫɢɦɛɨɥɚ ɡɚ ɫɚɜɪɲɟɧɫɬɜɨ ɤɨʁɟ ɫɟ ɛɥɢɠɢ, ɢɥɢ ɡɚ ɰɟɥɢɧɭ ɤɨʁɚ ɫɟ ɫɥɭɬɢ, ɞɨɤ ɤɨɞ Ⱦɟɛɢɫɢʁɚ ɨɧ ɩɨɫɬɚʁɟ ɛɢɬɧɚ ɤɚɪɚɤɬɟɪɢɫɬɢɤɚ ɮɨɪɦɟ. ɂ ɭɩɪɚɜɨ ɭ ɨɜɨʁ ɬɚɱɤɢ ɫɬɢɠɟ ɫɟ ɞɨ ɨɧɨɝɚ ɲɬɨ ɫɭ ɧɚʁɩɪɟɩɨɡɧɚɬʂɢɜɢʁɟ ɤɚɪɚɤɬɟɪɢɫɬɢɤɟ ɞɟɛɢɫɢʁɚɧɫɤɨɝ ɦɭɡɢɱɤɨɝ ɭɧɢɜɟɪɡɭɦɚ. Јɟɞɧɚ ɨɞ ɬɢɯ ɤɚɪɚɤɬɟɪɢɫɬɢɤɚ ɫɜɚɤɚɤɨ ʁɟ ɪɚɞ ɫɚ ɦɨɬɢɜɨɦ. Ɉɧ ɫɟ ɧɚɥɚɡɢ ɭ ɫɪɟɞɢɲɬɭ ɤɨɦɩɨɡɢɬɨɪɨɜɟ ɩɚɠʃɟ, ɚɥɢ ɧɟ ɧɚ ɧɚɱɢɧ ɤɥɚɫɢɰɢɫɬɢɱɤɨ- ɪɨɦɚɧɬɢɱɚɪɫɤɟ ɪɚɡɜɨʁɧɨɫɬɢ, ɜɟʄ ɧɚ ɧɚɱɢɧ ʃɟɝɨɜɨɝ, ɤɚɤɨ ɬɨ ɢɫɬɢɱɟ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, „ɦɢɤɪɨɢɡɦɟʃɟɧɨɝ ɩɨɧɚɜʂɚʃɚ, ʃɟɝɨɜɢɯ ɤɨɧɫɬɚɧɬɧɢɯ ɪɟɥɟɜɚɧɬɧɢɯ 368 Ⱦɟɬɚʂɧɢʁɟ ɜɢɞɟɬɢ ɧɚ ɜɟɛ-ɩɨɪɬɚɥɭ: http://www.archiviomauriziospatola.com/prod/pdf_archivio/A00003.pdf { 251 } ɦɢɤɪɨɩɪɨɦɟɧɚ, ɭɧɭɬɪɚɲʃɟ ɤɨɥɨɪɢɫɬɢɱɤɟ ɦɢɤɪɨɟɜɨɥɭɬɢɜɧɨɫɬɢ ɭ ɤɨʁɨʁ ɭɱɟɫɬɜɭʁɭ, ɫɦɟʃɭʁɭʄɢ ɫɟ, ɫɜɟ ɢɥɢ ɫɚɦɨ ɧɟɤɟ ɦɭɡɢɱɤɟ ɤɨɦɩɨɧɟɧɬɟ […]”369. ɍ ɬɨɦ ɫɦɢɫɥɭ, Ⱦɟɛɢɫɢʁɟɜɚ ɦɭɡɢɱɤɚ ɚɪɚɛɟɫɤɚ ɧɚ ɧɚʁɛɨʂɢ ɧɚɱɢɧ ɪɟɩɪɟɡɟɧɬɭʁɟ ɨɜɚɤɚɜ ɩɨɫɬɭɩɚɤ. Ⱦɚʂɟ, ɪɚɞ ɫɚ ɦɨɬɢɜɨɦ ɫɟ ɨɞɜɢʁɚ ɭ ɞɭɯɭ „ɧɟɩɪɟɤɢɞɧɨɝ, ɚ ɩɨɫɬɟɩɟɧɨɝ ɚɤɭɦɭɥɢɪɚʃɚ ɟɧɟɪɝɢʁɟ ɤɨɥɨɪɢɫɬɢɱɤɨɝ ɦɢɤɪɨɬɚɥɚɫɚʃɚ, ɤɨʁɟ ʄɟ ɫɟ, ɡɚɜɢɫɧɨ ɨɞ ɤɨɧɬɟɤɫɬɚ, ɞɢɮɭɡɧɨ ɢɥɢ ɤɨɦɩɚɤɬɧɨ, ɮɪɚɝɦɟɧɬɚɪɧɨ ɢɥɢ ɪɟɱɟɧɢɱɧɨ-ɩɟɪɢɨɞɢɱɧɨ ɪɚɫɩɪɨɫɬɢɪɚɬɢ, ɫɥɚɛɢɬɢ ɢ ɩɪɟɤɢɧɭɬɢ ɫɟ ɧɚ ‘ɩɨɥɚ ɩɭɬɚ’, ɢɥɢ ɫɟ ɩɨʁɚɱɚɜɚɬɢ ɞɨ ɜɪɯɭɧɰɚ, ɧɚɫɬɚɜɢɬɢ ɞɚʂɟ, ɢɥɢ ɫɟ ɫɧɚɠɧɨ ɭ ɧɟɤɨɦ ɬɪɟɧɭɬɤɭ ɧɟɨɱɟɤɢɜɚɧɨ ɬɪɚɧɫɮɨɪɦɢɫɚɬɢ ɢ ɨɬɩɨɱɟɬɢ ɧɟɲɬɨ ɧɨɜɨ”370. ɍ ɜɟɡɢ ɫɚ ɨɜɚɤɜɢɦ ɧɚɱɢɧɨɦ ɪɚɞɚ ɫɚ ɦɨɬɢɜɨɦ ɫɬɨʁɢ ɢ Ⱦɟɛɢɫɢʁɟɜɚ ɮɨɪɦɚ ɤɨʁɚ, ɢɚɤɨ ɛɢ ɫɟ ɦɨɠɞɚ ɨɱɟɤɢɜɚɥɨ ɞɚ ʁɟ ‘ɧɟɩɪɟɝɥɟɞɧɚ’, ɨɧɚ ɩɨɫɟɞɭʁɟ ɩɨɞɭɞɚɪɧɟ ɢɥɢ ɟɤɜɢɜɚɥɟɧɬɧɟ ɞɟɥɨɜɟ. Ⱦɚ ɛɭɞɟɦ ɩɪɟɰɢɡɧɢʁɚ, ɨɧɚ ʁɟ ɧɚʁɱɟɲʄɟ ɞɚɬɚ ɭ ɨɤɜɢɪɭ ɬɪɨɞɟɥɧɟ ‘ɫɤɢɰɟ’, ɫɚ ɪɟɥɚɬɢɜɧɨ ɫɬɚɛɢɥɧɢɦ ɤɨɧɬɭɪɚɦɚ, ɚɥɢ ɨɧɨ ɲɬɨ ɫɟ ɭɧɭɬɚɪ ʃɟ ɡɛɢɜɚ ɧɨɫɢ ɨɞɥɢɤɟ ‘ɪɚɡɥɢɜɟɧɨɝ’ ɞɟɬɚʂɚ ɢ, ɜɟʄ ɩɨɦɟɧɭɬɟ, ɤɨɥɨɪɢɫɬɢɱɤɟ ɟɜɨɥɭɬɢɜɧɨɫɬɢ.371 Ⱦɚɤɥɟ, Ⱦɟɛɢɫɢʁɟɜɚ ɮɨɪɦɚ ɧɢʁɟ ɭɩɢɬɧɚ ɤɚɬɟɝɨɪɢʁɚ, ɚɥɢ, ɢɩɚɤ, ɢ ɨɧɚ ɫɨɛɨɦ ɧɨɫɢ ɫɩɟɰɢɮɢɱɧɨɫɬɢ ɢ ɢɡɜɟɫɧɟ ɧɨɜɢɧɟ ɤɨʁɟ ʄɟ ɫɜɚɤɚɤɨ ɢɦɚɬɢ ɨɞʁɟɤɚ ɭ ɦɭɡɢɰɢ 20. ɜɟɤɚ. ɇɚɢɦɟ, ɨɧɨ ɲɬɨ ɨɞɥɢɤɭʁɟ ʃɟɝɨɜɭ ɮɨɪɦɭ ʁɟɫɬɟ ɬɨ ɞɚ ɫɟ ʃɟɧɢ ɩɨɞɭɞɚɪɧɢ ɢɥɢ ɟɤɜɢɜɚɥɟɧɬɧɢ ɞɟɥɨɜɢ ɧɢɤɚɞɚ ɩɨɩɬɭɧɨ ɧɟ ɩɪɨʁɟɤɬɭʁɭ, ɜɟʄ ɫɟ ɜɚɪɢɪɚɧɨ ɩɪɟɧɨɫɟ ɧɚ ɞɪɭɝɟ ɩɨɥɨɠɚʁɟ ɢ ɬɨ, ɧɟ ɫɚɦɨ „ɩɨ ɞɭɠɢɧɢ ɢ ɲɢɪɢɧɢ”, ɤɚɤɨ ɬɨ ɢɫɬɢɱɟ Ɍɢʁɚɧɚ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ, ɜɟʄ ɢ „ɩɨ ɜɢɫɢɧɢ”, ɨɞɧɨɫɧɨ, „ɭ ɩɟɪɫɩɟɤɬɢɜɢ” ɧɟɤɨɝ ɢɦɚɝɢɧɚɪɧɨɝ ɫɩɢɪɚɥɧɨɝ ɦɭɡɢɱɤɨɝ ɬɨɤɚ. Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɬɢ ɩɨɞɭɞɚɪɧɢ, ɨɞɧɨɫɧɨ, ɟɤɜɢɜɚɥɟɧɬɧɢ ɞɟɥɨɜɢ ɫɟ ɧɚɥɚɡɟ ɧɚ ɢɫɬɢɦ ɦɟɫɬɢɦɚ, ɚɥɢ ɧɚ ɪɚɡɥɢɱɢɬɢɦ ɧɢɜɨɢɦɚ ɫɩɢɪɚɥɟ ɦɭɡɢɱɤɨɝ ɬɨɤɚ, ɩɪɢ ɬɨɦ, ɩɨɞɪɚɡɭɦɟɜɚʁɭʄɢ, ɫɨɛɨɦ ɨɛɭɯɜɚɬɚʁɭʄɢ ɢ ‘ɫɤɭɩʂɚʁɭʄɢ’ ɫɜɚ ɬɚ (ɟɤɜɢɜɚɥɟɧɬɧɚ) ɦɟɫɬɚ ɫɚ ɩɪɟɬɯɨɞɧɢɯ ɧɢɜɨɚ.372 ɍ ɬɟɫɧɨʁ ɜɟɡɢ ɫɚ ɮɨɪɦɨɦ, ɚɥɢ ɢ ɫɚ ɦɟɥɨɞɢʁɫɤɢɦ ɩɪɨɮɢɥɨɦ Ⱦɟɛɢɫɢʁɟɜɢɯ ɞɟɥɚ (ɤɨʁɢ ɱɟɫɬɨ ɭ ɮɪɚɝɦɟɧɬɢɦɚ ɟɦɚɧɰɢɩɭʁɟ ɧɚʁɪɚɡɥɢɱɢɬɢʁɟ ɥɟɫɬɜɢɱɧɟ ɧɢɡɨɜɟ, ɩɨɩɭɬ ɦɨɞɭɫɚ, ɩɟɧɬɚɬɨɧɫɤɟ ɥɟɫɬɜɢɰɟ, ɰɟɥɨɫɬɟɩɟɧɟ ɫɤɚɥɟ ɢ ɞɪ), ɧɚɥɚɡɢ ɫɟ ɯɚɪɦɨɧɢʁɚ, ɢ ɬɨ ɭ 369 Tijana Popović Mlađenović, Proseci..., ɧɚɜ. ɞɟɥɨ, 309. 370 ɂɫɬɨ. 371 ɍɩɨɪɟɞɢɬɢ ɫɚ: Mirjana Veselinović-Hofman, Stvaralačka prisutnost evropske avangarde u nas, (Beograd: Univerzitet umetnosti, 1983), 257. 372 ɍɩɨɪɟɞɢɬɢ ɫɚ: Tijana Popović Mlađenović, Proseci..., ɧɚɜ. ɞɟɥɨ, 309. { 252 } ɩɪɢɦɚɪɧɨ ɤɨɥɨɪɢɫɬɢɱɤɨʁ ɭɥɨɡɢ. ɂɚɤɨ ɦɨɠɞɚ ɧɢʁɟ ɭ ɩɨɬɭɧɨɫɬɢ ɧɨɜɚ, ɭɤɨɥɢɤɨ ɫɟ ɭ ɨɛɡɢɪ ɭɡɦɭ ɫɪɟɞɫɬɜɚ ɤɨʁɢɦɚ ɫɟ ɫɥɭɠɢ, Ⱦɟɛɢɫɢʁɟɜɚ ɯɚɪɦɨɧɢʁɚ ʁɟ ɪɚɞɢɤɚɥɧɨ ɞɪɭɝɚɱɢʁɚ ɩɨ ɧɚɱɢɧɭ ɤɨɪɢɲʄɟʃɚ ɬɢɯ ɫɪɟɞɫɬɚɜɚ, ɡɚɬɨ ɲɬɨ ʁɟ ɭɫɦɟɪɟɧɚ ɤɚ ɤɨɥɨɪɢɫɬɢɱɤɨɦ ɪɚɡɭɥɬɚɬɭ. ɍ ɬɨɦ ɫɦɢɫɥɭ, ɢɡɞɜɚʁɚʁɭ ɫɟ ɩɨɫɬɭɩɰɢ ɩɚɪɚɥɟɥɧɨɝ ɜɨђɟʃɚ ɚɤɨɪɚɞɚ ɭ ɤɨʁɢɦɚ ɫɭ ɩɪɢɫɭɬɧɚ ɫɜɚ ɞɨ ɬɚɞɚ ɩɨɡɧɚɬɚ ɫɚɡɜɭɱʁɚ, ɯɚɪɦɨɧɫɤɟ ɮɢɝɭɪɚɰɢʁɟ ɤɨʁɢɦɚ ʁɟɞɧɚ ɚɤɨɪɞɫɤɚ ɫɬɪɭɤɬɭɪɚ ɜɢɛɪɢɪɚ ɭ ɦɟɥɨɞɢʁɫɤɨɦ, ɚɥɢ ɢ ɪɢɬɦɢɱɤɨɦ ɫɦɢɫɥɭ; ɬɚɤɨђɟ, ɤɚɨ ɤɪɚʁʃɟ ɩɪɨɩɨɡɧɚɬʂɢɜ Ⱦɟɛɢɫɢʁɟɜ ɡɧɚɤ ɢɡɞɜɚʁɚ ɫɟ ɧɚɱɢɧ ɧɚ ɤɨʁɢ ɬɪɟɬɢɪɚ ɨɪɤɟɫɬɚɪɫɤɢ ɡɜɭɤ ɢ ɨɪɤɟɫɬɚɪɫɤɭ ɮɚɤɬɭɪɭ; ɬɚʁ ɧɚɱɢɧ ɤɚɪɚɤɬɟɪɢɲɟ ɩɨɫɬɭɩɚɤ ɧɟɦɟɲɚʃɚ ɛɨʁɚ, ɨɞɧɨɫɧɨ, ɫɥɚɝɚʃɚ ɛɨʁɚ, ʃɢɯɨɜɢɦ ɞɨɞɚɜɚʃɟɦ ɢ ɨɞɭɡɢɦɚʃɟɦ ɬɟ ɩɪɟɥɢɜɚʃɟɦ ɧɢʁɚɧɫɢ ɢɫɬɟ ɛɨʁɟ ɲɬɨ ʁɟ ɩɨɬɰɪɬɚɧɨ ɢ ɫɭɩɬɢɥɧɨ ɪɚɡɪɚђɟɧɨɦ ɞɢɧɚɦɢɤɨɦ; ɞɚʂɟ, ɢɡɞɜɚʁɚ ɫɟ ɢ ɜɟɨɦɚ ɫɩɟɰɢɮɢɱɚɧ ɬɪɟɬɦɚɧ ɢɧɫɬɪɭɦɟɧɚɬɚ ɤɨʁɢ ɫɟ ɨɫɥɚʃɚ ɧɚ ɤɚɪɚɤɬɟɪɢɫɬɢɤɟ ʃɢɯɨɜɢɯ ɤɪɚʁʃɢɯ ɚɪɬɢɤɭɥɚɰɢɨɧɢɯ ɢ ɤɨɥɨɪɢɫɬɢɱɤɢɯ ɦɨɝɭʄɧɨɫɬɢ, ɚ ɫɜɟ ɬɨ ɭ ɰɢʂɭ ɨɡɜɭɱɚɜɚʃɚ ɦɟɥɨɞɢʁɫɤɨ-ɪɢɬɦɢɱɤɨ-ɯɚɪɦɨɧɫɤɨɝ ɤɨɦɩɥɟɤɫɚ ɧɚ ɧɚɱɢɧ ɢɦɩɪɟɫɢɨɧɢɫɬɢɱɤɨɝ ɩɥɚɬɧɚ.373 Ⱦɪɭɝɢɦ ɪɟɱɢɦɚ, ɫɜɢ ɧɚɜɟɞɟɧɢ ɩɨɫɬɭɩɰɢ – ɩɨɞɫɟʄɚɦ, ɧɨɜɢ (ɢ ɭ ɡɜɭɱɧɨɦ ɪɟɡɭɥɬɚɬɭ ɞɪɭɝɚɱɢʁɢ) ɨɞɧɨɫɢ ɢɡɦɟђɭ ɚɤɨɪɚɞɚ, ɤɨɥɨɪɢɫɬɢɱɤɢ ɩɪɟɞɡɧɚɤ ɤɨʁɢ ɨɧɢ ɧɨɫɟ, ɡɚɬɢɦ, ɢɧɨɜɚɰɢʁɟ ɭ ɨɪɤɟɫɬɚɪɫɤɨɦ ɬɪɟɬɦɚɧɭ ɮɚɤɬɭɪɟ ɢ ɩɨɫɬɭɩɚɤ ɧɟɦɟɲɚʃɚ ɨɪɤɟɫɬɚɪɫɤɢɯ ɛɨʁɚ, ɤɚɨ ɢ ‘ʁɟɞɪɟʃɟ’ ɤɪɨɡ ɨɛɥɚɫɬ ɡɜɭɤɚ, ɢ ɬɨ ɭ ɫɦɢɫɥɭ ɭɩɨɬɪɟɛɟ ɡɚɤɨɧɚ ɚɤɭɫɬɢɤɟ ɚɥɢɤɜɨɬɧɢɯ ɬɨɧɨɜɚ – ɩɪɟ ɫɜɟɝɚ, ɭɩɭʄɭʁɭ ‘ɩɨɡɢɜ’ ɭɯɭ ɞɚ ɫâɦɨ ɩɨɦɟɲɚ ɡɜɭɱɧɟ, ɢɧɫɬɪɭɦɟɧɬɚɥɧɟ ɛɨʁɟ; ɬɚɤɨ, ɫɜɢ ɧɚɜɟɞɟɧɢ ɩɨɫɬɭɩɰɢ ɢɧɞɢɪɟɤɬɧɨ ɭɩɭʄɭʁɭ ɧɚ ɨɩɬɢɱɤɟ ɫɬɭɞɢʁɟ ɫɥɢɤɚɪɚ ɢɦɩɪɟɫɢɨɧɢɫɬɚ ɢ ɩɨɫɬɢɦɩɪɟɫɢɨɧɢɫɬɚ ɤɨʁɢɦɚ ʁɟ ɫɜɨʁɫɬɜɟɧɨ ɪɚɡɥɚɝɚʃɟ ɫɜɚɤɟ ɛɨʁɟ ɩɨɧɚɨɫɨɛ ɭ ɫɩɟɤɬɚɪ, ɬɟ ‘ɩɨɡɢɜɚʃɟ’ ɨɤɚ ɞɚ (ɛɚɲ ɤɚɨ ɢ ɭɯɨ ɭ Ⱦɟɛɢɫɢʁɟɜɨʁ ɦɭɡɢɰɢ) ɫâɦɨ ɫɬɜɨɪɢ ɫɢɧɬɟɡɭ.374 Ɉɜɚ ɩɨɬɪɟɛɚ ɡɚ ɦɟђɭɫɨɛɧɢɦ „ɪɚɞɨɫɧɢɦ ɭɞɪɭɠɢɜɚʃɟɦ ɭɦɟɬɧɨɫɬɢ”, ɪɟɱɟɧɨ ɞɢɮɪɟɧɨɜɫɤɢ, ɩɪɨɢɡɥɚɡɢ ɫ ʁɟɞɧɟ ɫɬɪɚɧɟ ɢɡ ɫɜɟɫɬɢ ɨ ɫɜɨʁɟɜɪɫɧɢɦ ‘ɝɪɚɧɢɰɚɦɚ’ ɫɜɚɤɟ ɭɦɟɬɧɨɫɬɢ ɩɨʁɟɞɢɧɚɱɧɨ, ɚɥɢ ɢ ɢɡ ɬɟɠʃɟ ɞɚ ɫɟ, ɭɡ ɩɨɦɨʄ ɢɦɚɝɢɧɚɰɢʁɟ ɭ ɩɪɨɰɟɫɭ ɬɨɝ ɭɞɪɭɠɢɜɚʃɚ,‘ɚɫɨɰɢɪɚʃɚ’, ‘ɭɫɚɝɥɚɲɚɜɚʃɚ’ ɢ ‘ɩɨɞɟɲɚɜɚʃɚ’ ɡɚ ɤɨɪɚɤ ɩɪɢɛɥɢɠɢɦɨ ɦɟɫɬɭ ʁɟɞɢɧɫɬɜɚ ɪɚɡɥɢɱɢɬɢɯ ɱɭɥɚ, ɬɨ ʁɟɫɬ, ɦɟɫɬɭ ɩɪɟ-ɨɫɟɬɧɨɝ – ɢɡɜɨɪɧɨ ɟɫɬɟɬɫɤɨɦ. 373 ɍɩɨɪɟɞɢɬɢ ɫɚ: Mirjana Veselinović-Hofman, Stvaralačka prisutnost evropske..., ɧɚɜ. ɞɟɥɨ, 258. 374 ɋɥɢɱɧɢ ɩɨɫɬɭɩɰɢ ɫɟ ɩɪɨɧɚɥɚɡɟ ɢ ɭ Ɇɚɥɚɪɦɟɨɜɨʁ ɩɨɟɡɢʁɢ ɝɞɟ ɫɭ ɪɟɱɢ ɝɪɭɩɢɫɚɧɟ ɩɪɟɦɚ ʃɢɯɨɜɨʁ ɫɧɚɡɢ ɫɭɝɟɫɬɢʁɟ, ɩɫɢɯɨɥɨɲɤɟ ɤɪɟɚɰɢʁɟ, ɚ ɧɟ ɤɚɨ ɫɪɟɞɫɬɜɚ ɩɨɝɨɞɧɚ ɞɚ ɩɪɟɧɨɫɟ ɦɢɫɥɢ. { 253 } ɍɦɟɬɧɢɱɤɢ ɩɪɚɜɰɢ 20. ɜɟɤɚ ɤɨʁɢ ʄɟ ɫɜɨʁɭ ɨɬɢɫɧɭ ɬɚɱɤɭ ɢɦɚɬɢ ɭɩɪɚɜɨ ɭ ɤɭɥɬɭɪɧɨ-ɭɦɟɬɧɢɱɤɢɦ ɫɬɪɭʁɚʃɢɦɚ fin-de-siècle-ɚ, ɚɥɢ ɢ ɭ Ⱦɟɛɢɫɢʁɟɜɨɦ ɦɭɡɢɱɤɨɦ ɭɧɢɜɟɪɡɭɦɭ, ɪɟɮɥɟɤɬɨɜɚʄɟ ɢɫɬɭ ɬɭ ɩɨɬɪɟɛɭ ɞɚ ɫɟ ɤɨɧɚɱɧɨ ɨɫɜɨʁɢ ɦɟɫɬɨ ʁɟɞɢɧɫɬɜɚ ɩɥɭɪɚɥɚ. ɍ ɬɨɦ ɤɨɧɬɟɤɫɬɭ, ɨɧɨ ɲɬɨ ʄɟ ɨɛɟɥɟɠɢɬɢ ɭɦɟɬɧɢɱɤɭ ɩɪɚɤɫɭ 20. ɜɟɤɚ ɛɢʄɟ ɢɫɤɨɪɚɱɟʃɟ ɭɦɟɬɧɢɤɚ ɢɡ ɩɪɢɦɚɪɧɢɯ ɨɛɥɚɫɬɢ ɞɟɥɨɜɚʃɚ, ɫɚ ɰɢʂɟɦ ɫɬɜɚɪɚʃɚ ɫɜɚɤɨɜɪɫɧɢɯ ɫɩɨʁɟɜɚ ɢ ɩɪɨɠɢɦɚʃɚ ɪɚɡɥɢɱɢɬɢɯ ɭɦɟɬɧɢɱɤɢɯ ɨɛɥɚɫɬɢ, ɬɨ ʁɟɫɬ, ɩɪɨɠɢɦɚʃɚ ɢ ɤɨɟɝɡɢɫɬɢɪɚʃɚ ɪɚɡɥɢɱɢɬɢɯ ɦɟɞɢʁɚ. Ɍɚɤɨ ʄɟ ɭɦɟɬɧɢɱɤɢ ɭɧɢɜɟɪɡɭɦ fin- de-siècle-ɚ, ɚ ɩɨɫɥɟɞɢɱɧɨ ɫɚ ʃɢɦ ɢ Ⱦɟɛɫɢʁɟɜ, ɩɨɱɟɬɢ ɞɚ ɫɟ ‘ɲɢɪɢ’, ɚ ɡɚɬɢɦ ɢ ɞɟɥɢ ɭ ɢɦɩɨɡɚɧɬɚɧ ɛɪɨʁ ɩɚɪɚɥɟɥɧɢɯ ɭɦɟɬɧɢɱɤɢɯ ɪɟɥɚɧɨɫɬɢ, ɤɚɨ ɲɬɨ ɫɭ poésie sonoré, klangfarbenmelodie, ɨɛɨʁɟɧɢ ɚɥɝɨɪɢɬɦɢ, ɡɜɭɤɨɜɧɢ ɦɟɬɚ-ɪɨɛɨɬɢ, ɜɨɤɨɜɢɡɭɟɥ, ɩɥɟɫɨɜɢ ɯɪɨɦɚɬɫɤɢɯ ɜɚɪɢʁɚɰɢʁɚ ɢ ɦɧɨɝɢ ɞɪɭɝɢ. { 254 } ɉɊɂɅɈȽ ɉɪɢɥɨɝ ɛɪɨʁ 1: ɉɨɥ ȼɟɪɥɟɧ, ɉɟɫɧɢɱɤɚ ɭɦɟɬɧɨɫɬ (L’Art Poétique, 1874) Ɇɭɡɢɤɚ ɩɪɟ ɢ ɢɡɧɚɞ ɫɜɟɝɚ ɂ ɫɬɨɝɚ ɇɟɩɚɪ ɜɨɥɟɬɢ ɜɢɲɟ: ɨɧ ɭ ɩɟɫɦɢ ɫɥɨɛɨɞɧɢʁɟ ɞɢɲɟ, ʁɟɪ ɭ ʃɟɦɭ ɧɟɦɚ ɫɩɪɟɝɚ ɧɢ ɫɬɟɝɚ, Ɂɚɬɨ ɛɢɪɚʁ ɪɟɱɢ ɛɟɡ ɫʁɚʁɚ, ɪɟɱɢ ɤɨʁɟ ɨɞ ɩɪɟɡɢɪɚ ɠɢɜɟ. ɇɢɱɟɝ ɥɟɩɲɟɝ ɨɞ ɩɟɫɦɟ ɫɢɜɟ ɝɞɟ ɫɟ ɇɟʁɚɫɧɨ ɫ ȳɚɫɧɢɦ ɫɩɚʁɚ. Ɍɨ ɫɭ ɢɡɚ ɜɟɥɚ ɥɟɩɟ ɨɱɢ, ɬɨ ʁɟ ʁɚɪɤɚ, ɥɚɠɧɚ ɫɜɟɬɥɨɫɬ ɞɚɧɚ, ɩɥɚɜɚ ɡɛɪɤɚ ɨɞ ɡɜɟɡɞɚ ɫɚɬɤɚɧɚ ɡɚ ʁɟɫɟʃɢɯ ɦɥɚɤɢɯ ɧɨʄɢ. ɏɨʄɟɦɨ ɫɚɦɨ ɉɪɟɥɢɜɟ ɫɜɟɝɚ ɬɨɝɚ, ɧɟ Ȼɨʁɭ, ɫɚɦɨ ɉɪɟɥɢɜɟ! Ɉɯ! ɬɟ ɉɪɟɥɢɜɟ ɧɟɞɟʂɢɜɟ: ɋɚɧ ɭɡ ɫɚɧ, ɮɥɚɭɬɭ ɭɡ ɪɨɝ! ɂ ɛɟɠɢ ɨɞ ɞɨɫɟɬɤɟ ɛɭʁɧɟ, ɨɞ ɧɟɱɢɫɬɟ ɋɦɟɯɚ, ɨɞ Ⱦɭɯɚ ɲɬɭɪɚ ɡɛɨɝ ɤɨʁɢɯ ɩɥɚɱɭ ɢ ɨɱɢ ɚɡɭɪɚ, ɨɞ ɥɭɤɚ ɬɟ ɩɪɨɫɬɚɱɤɟ ɤɭʁɧɟ! Ɂɚɜɪɧɢ ɲɢʁɭ ɪɟɱɢɬɨɫɬɢ ɜɟʄɟ! Ȼɢʄɟ ɞɨɛɪɨ ɫɤɭɩɢɲ ɥɢ ɜɨʂɭ ɢ ɧɚђɟɲ ɧɟɤɭ ɪɢɦɭ ɛɨʂɭ: ɧɟ ɛɞɢɲ ɥɢ ɧɚɞ ʃɨɦ, ɞɨɤɥɟ ʄɟ, ɝɞɟ ʄɟ? ɋɜɟ ɡɚɛɥɭɞɟ Ɋɢɦɟ, ɨ, ɤɨ ʄɟ ɪɟʄɢ! Ʉɨʁɟ ɞɟɬɟ ɥɭɞɨ ɢɥ’ ɐɪɧɚɰ ɦɚɯɧɢɬ ɋɤɨɜɚ ɡɚ ɧɚɫ ɬɚʁ ɥɢɦɟɧ ɧɚɤɢɬ Ʉɨʁɢ ɩɪɚɡɧɨ ɢ ɥɚɠɧɨ ɡɜɟɱɢ. Ɇɭɡɢɤɚ ʁɨɲ ɢ ɭɜɟɤ, ɫɜɢɦɚ! ɇɟɤɚ ɫɟ ɨɫɟɬɢ ɞɚ ɫɬɢɯ ɬɢ ɭɡɥɟʄɟ ɢɡ ɞɭɲɟ ɤɨʁɚ ɢ ɫɚɦɚ ɤɪɟʄɟ ɤ ɞɪɭɝɨɦ ɧɟɛɭ, ɞɪɭɝɢɦ ʂɭɛɚɜɢɦɚ. ɇɟɤ ɫɬɢɯ ɬɢ ɛɭɞɟ ɛɭɪɚ, ɚɜɚɧɬɭɪɚ, ʁɭɬɚɪʃɢɦ ɜɟɬɪɨɦ ɪɚɡɜɟʁɚɧɚ, ɨɞ ɤɨʁɟ ɰɜɚɬɭ ɦɟɬɜɢɰɟ ɢ ɧɚɧɚ... Ⱥ ɫɜɟ ʁɟ ɨɫɬɚɥɨ – ɥɢɬɟɪɚɬɭɪɚ. De la musique avant toute chose, Et pour cela préfère l'Impair Plus vague et plus soluble dans l'air, Sans rien en lui qui pèse ou qui pose. Il faut aussi que tu n'ailles point Choisir tes mots sans quelque méprise Rien de plus cher que la chanson grise Où l'Indécis au Précis se joint. C'est des beaux yeux derrière des voiles C'est le grand jour tremblant de midi, C'est par un ciel d'automne attiédi Le bleu fouillis des claires étoiles! Car nous voulons la Nuance encor, Pas la Couleur, rien que la nuance! Oh! la nuance seule fiance Le rêve au rêve et la flûte au cor ! Fuis du plus loin la Pointe assassine, L'Esprit cruel et le Rire impur, Qui font pleurer les yeux de l'Azur Et tout cet ail de basse cuisine ! Prends l'éloquence et tords-lui son cou ! Tu feras bien, en train d'énergie, De rendre un peu la Rime assagie. Si l'on n'y veille, elle ira jusqu'où ? Ô qui dira les torts de la Rime ? Quel enfant sourd ou quel nègre fou Nous a forgé ce bijou d'un sou Qui sonne creux et faux sous la lime ? De la musique encore et toujours ! Que ton vers soit la chose envolée Qu'on sent qui fuit d'une âme en allée Vers d'autres cieux à d'autres amours. Que ton vers soit la bonne aventure Eparse au vent crispé du matin Qui va fleurant la menthe et le thym... Et tout le reste est littérature. ɉɪɢɥɨɝ ɛɪɨʁ 2: ɀɚɧ Ɇɨɪɟɚɫ, ȳɟɞɚɧ ɤʃɢɠɟɜɧɢ ɦɚɧɢɮɟɫɬ – ɋɢɦɛɨɥɢɡɚɦ (1886) „Ʉɚɨ ɢ ɫɜɟ ɭɦɟɬɧɨɫɬɢ, ɤʃɢɠɟɜɧɨɫɬ ɟɜɨɥɭɢɪɚ: ɰɢɤɥɢɱɧɚ ɟɜɨɥɭɰɢʁɚ ɫɚ ɫɬɪɨɝɨ ɨɞɪɟђɟɧɢɦ ɩɪɨɦɟɧɚɦɚ, ɭ ɫɤɥɨɩɭ ɫɚ ɪɚɡɥɢɱɢɬɢɦ ɦɨɞɢɮɢɤɚɰɢʁɚɦɚ ɤɨʁɟ ɞɨɧɨɫɟ ɬɨɤ ɜɪɟɦɟɧɚ ɢ ɤɨɦɟɲɚʃɟ ɫɪɟɞɢɧɟ. Ȼɢɥɨ ɛɢ ɫɭɜɢɲɧɨ ɧɚɝɥɚɫɢɬɢ ɞɚ ɫɜɚɤɚ ɧɨɜɚ ɟɜɨɥɭɬɢɜɧɚ ɮɚɡɚ ɭɦɟɬɧɨɫɬɢ ɨɞɝɨɜɚɪɚ ɫɬɚɪɚɱɤɨʁ ɢɡɧɟɦɨɝɥɨɫɬɢ, ɧɟɢɡɛɟɠɧɨɦ ɤɪɚʁɭ ɲɤɨɥɟ ɤɨʁɚ ʁɟ ɧɟɩɨɫɪɟɞɧɨ ɩɪɟɬɯɨɞɢɥɚ. Ⱦɨɜɨʂɧɚ ɫɭ ɞɜɚ ɩɪɢɦɟɪɚ: Ɋɨɧɫɚɪ ɬɪɢʁɭɦɮɭʁɟ ɧɚɞ ɧɟɦɨʄɢ ɩɨɫɥɟɞʃɢɯ ɢɦɢɬɚɬɨɪɚ Ɇɚɪɨɚ, ɪɨɦɚɧɬɢɡɚɦ ɜɢʁɟ ɫɜɨʁɟ ɛɚɪʁɚɤɟ ɧɚɞ ɪɭɲɟɜɢɧɚɦɚ ɤɥɚɫɢɤɟ ɤɨʁɟ ɫɥɚɛɨ ɱɭɜɚʁɭ Ʉɚɫɢɦɢɪ Ⱦɟɥɚɜɢʃ ɢ ȿɬʁɟɧ ɞɟ ɀɭʁ. Ɍɨ ɡɧɚɱɢ ɞɚ ɫɜɚɤɚ ɭɦɟɬɧɢɱɤɚ ɩɨʁɚɜɚ ɫɢɥɨɦ ɩɪɢɥɢɤɚ ɦɨɪɚ ɞɚ ɫɟ ɨɫɢɪɨɦɚɲɢ, ɞɚ ɫɟ ɢɫɰɪɩɢ, ɨɧɞɚ ɫɟ ɫ ɤɨɩɢʁɟ ɧɚ ɤɨɩɢʁɭ, ɫ ɢɦɢɬɚɰɢʁɟ ɧɚ ɢɦɢɬɚɰɢʁɭ, ɨɧɨ ɲɬɨ ʁɟ ɛɢɥɨ ɩɭɧɨ ɫɨɤɚ ɢ ɫɜɟɠɢɧɟ, ɫɭɲɢ ɢ ɫɤɭɩʂɚ; ɨɧɨ ɲɬɨ ʁɟ ɛɢɥɨ ɧɨɜɨ ɢ ɫɩɨɧɬɚɧɨ, ɩɨɫɬɚʁɟ ɛɚɧɚɥɧɨ ɢ ɨɩɲɬɟ ɩɨɡɧɚɬɨ. Ɍɚɤɨ ʁɟ ɪɨɦɚɧɬɢɡɚɦ, ɩɨɲɬɨ ʁɟ ɨɞɡɜɨɧɢɨ ɫɜɟ ɛɭɪɧɟ ɭɡɛɭɧɟ ɪɟɜɨɥɬɚ, ɩɨɲɬɨ ʁɟ ɩɪɚɡɧɨɜɚɨ ɞɚɧɟ ɫɥɚɜɟ ɢ ɛɢɬɤɟ, ɢɡɝɭɛɢɨ ɫɜɨʁɭ ɫɧɚɝɭ ɢ ɞɪɚɠ, ɧɚɩɭɫɬɢɨ ɯɟɪɨʁɫɤɭ ɫɦɟɥɨɫɬ, ɭɤɥɨɧɢɨ ɫɟ, ɫɤɟɩɬɢɱɚɧ ɢ ɩɭɧ ɡɞɪɚɜɨɝ ɪɚɡɭɦɚ; ɭ ɱɚɫɧɨɦ, ɚ ɫɥɚɛɚɲɧɨɦ ɩɨɤɭɲɚʁɭ ɉɚɪɧɚɫɨɜɚɰɚ, ɧɚɞɚɨ ɫɟ ɜɚɪʂɢɜɨʁ ɨɛɧɨɜɢ, ɢ ɧɚʁɡɚɞ, ɤɚɨ ɦɨɧɚɪɯ ɜɪɚʄɟɧ ɭ ɞɟɬɢʃɫɬɜɨ, ɩɪɟɩɭɫɬɢɨ ɫɟ ɧɚɬɭɪɚɥɢɡɦɭ ɤɨɦɟ ɫɟ ɤɚɨ ʁɟɞɢɧɚ ɨɡɛɢʂɧɚ ɜɪɟɞɧɨɫɬ ɦɨɠɟ ɩɪɢɩɢɫɚɬɢ ɛɭɧɬ, ɡɚɤɨɧɢɬ ɚɥɢ ɧɟɨɩɪɟɡɚɧ, ɭɩɭʄɟɧ ɛʂɭɬɚɜɨɫɬɢ ɧɟɤɨɥɢɰɢɧɟ ɪɨɦɚɧɨɩɢɫɚɰɚ ɤɨʁɢ ɫɭ ɬɚɞɚ ɛɢɥɢ ɭ ɦɨɞɢ. Јɟɞɧɚ ɧɨɜɚ ɭɦɟɬɧɢɱɤɚ ɩɨʁɚɜɚ ɫɟ ɨɱɟɤɢɜɚɥɚ, ɛɢɥɚ ʁɟ ɩɨɫɬɪɟɛɧɚ, ɧɟɢɡɛɟɠɧɚ. Ɍɚ ɩɨʁɚɜɚ, ɤɨʁɚ ɫɟ ɪɚђɚɥɚ ɨɞɚɜɧɨ, ɬɟɤ ɲɬɨ ʁɟ ɩɪɨɰɜɟɬɚɥɚ. ɂ ɫɜɟ ɥɚɤɪɞɢʁɚɲɤɟ ɪɚɞɨɫɬɢ ɧɨɜɢɧɚ, ɫɜɢ ɧɟɦɢɪɢ ɨɡɛɢʂɧɢɯ ɤɪɢɬɢɱɚɪɚ, ɥɨɲɟ ɪɚɫɩɨɥɨɠɟʃɟ ɩɭɛɥɢɤɟ ɢɡɧɟɧɚђɟɧɟ ɭ ɫɜɨɦ ɝɥɭɩɨɦ ɧɟɯɚɬɭ, ɫɜɚɤɢɦ ɞɚɧɨɦ ɫɭ ɫɜɟ ɜɢɲɟ ɩɨɬɜɪђɢɜɚɥɢ ɜɢɬɚɥɧɨɫɬ ɚɤɬɭɟɥɧɟ ɟɜɨɥɭɰɢʁɟ ɭ Ɏɪɚɧɰɭɫɤɨʁ ɥɢɬɟɪɚɬɭɪɢ, ɟɜɨɥɭɰɢʁɟ ɤɨʁɭ ɫɭ ɯɢɬɪɟ ɫɭɞɢʁɟ ɧɚɡɜɚɥɟ, ɡɚɯɜɚʂɭʁɭʄɢ ɧɟɨɛʁɚɲʃɢɜɨʁ ɚɧɬɨɧɢɦɢʁɢ, ɞɟɤɚɞɟɧɬɧɨɦ. ɍɨɱɢɬɟ, ɦɟђɭɬɢɦ, ɞɚ ɫɟ ɞɟɤɚɞɟɧɬɧɟ ɤʃɢɠɟɜɧɨɫɬɢ ɭɝɥɚɜɧɨɦ ɩɨɤɚɡɭʁɭ ɤɚɨ ɭɩɨɪɧɟ, ɠɢɥɚɜɟ, ɢɫɬɪɚʁɧɟ, ɫɟɪɜɢɥɧɟ: ɫɜɟ ȼɨɥɬɟɪɨɜɟ ɬɪɚɝɟɞɢʁɟ, ɧɚ ɩɪɢɦɟɪ, ɧɨɫɟ ɩɟɱɚɬ ɞɟɤɚɞɟɧɰɢʁɟ. Ⱥ ɲɬɚ ɫɟ ɦɨɠɟ ɩɪɟɛɚɰɢɬɢ, ɲɬɚ ɫɟ ɩɪɟɛɚɰɭʁɟ ɧɨɜɨʁ ɲɤɨɥɢ? Ɂɥɨɭɩɨɬɪɟɛɚ ɩɨɦɩɟ, ɧɟɨɛɢɱɧɨɫɬ ɦɟɬɚɮɨɪɚ, { 256 } ɧɨɜɢ ɪɟɱɧɢɤ ɝɞɟ ɫɟ ɯɚɪɦɨɧɢʁɟ ɫʁɟɞɢʃɭʁɭ ɫɚ ɛɨʁɚɦɚ ɢ ɥɢɧɢʁɚɦɚ: ɬɨ ɫɭ ɤɚɪɚɤɬɟɪɢɫɬɢɤɟ ɫɜɚɤɟ ɪɟɧɟɫɚɧɫɟ. ȼɟʄ ɫɦɨ ɩɪɟɞɥɨɠɢɥɢ ɧɚɡɢɜ ɫɢɦɛɨɥɢɡɚɦ ɤɚɨ ʁɟɞɢɧɢ ɦɨɝɭʄɢ ɡɚ ɪɚɡɭɦɧɨ ɨɡɧɚɱɚɜɚʃɟ ɚɤɬɭɟɥɧɟ ɬɟɧɞɟɧɰɢʁɟ ɫɬɜɚɪɚɥɚɱɤɨɝ ɞɭɯɚ ɭ ɭɦɟɬɧɨɫɬɢ. Ɉɜɚʁ ɧɚɡɢɜ ɦɨɠɟ ɞɚ ɫɟ ɡɚɞɪɠɢ. ɇɚ ɩɨɱɟɬɤɭ ɨɜɨɝ ɱɥɚɧɤɚ ɪɟɱɟɧɨ ʁɟ ɞɚ ɫɭ ɭɦɟɬɧɢɱɤɟ ɟɜɨɥɭɰɢʁɟ ɰɢɤɥɢɱɧɨɝ ɤɚɪɚɤɬɟɪɚ, ɢɡɜɚɧɪɟɞɧɨ ɤɨɦɩɥɢɤɨɜɚɧɨɝ ɭ ɫɜɨʁɨʁ ɪɚɡɥɢɱɢɬɨɫɬɢ; ɬɚɤɨ, ɞɚ ɛɢ ɫɟ ɩɪɚɬɢɥɨ ɬɚɱɧɨ ɤɪɟɬɚʃɟ ɧɨɜɟ ɲɤɨɥɟ, ɬɪɟɛɚɥɨ ɛɢ ɫɟ ɜɪɚɬɢɬɢ ɧɚ ɢɡɜɟɫɧɟ ɩɨɟɦɟ Ⱥɥɮɪɟɞɚ ɞɟ Ȼɢʃɢʁɚ, ɞɨ ɒɟɤɫɩɢɪɚ, ɞɨ ɦɢɫɬɢɱɚɪɚ ɢ ʁɨɲ ɞɚʂɟ. Ɍɚ ɩɢɬɚʃɚ ɛɢ ɡɚɯɬɟɜɚɥɚ ɱɢɬɚɜɭ ɤʃɢɝɭ ɤɨɦɟɧɬɚɪɚ; ɪɟɰɢɦɨ, ɬɚɤɨђɟ, ɞɚ ɒɚɪɥɚ Ȼɨɞɥɟɪɚ ɬɪɟɛɚ ɫɦɚɬɪɚɬɢ ɡɚ ɫɬɜɚɪɧɨɝ ɩɪɟɬɯɨɞɧɢɤɚ ɨɜɨɝ ɩɨɤɪɟɬɚ; ɋɬɟɮɚɧ Ɇɚɥɚɪɦɟ ɝɚ ʁɟ ɨɞɜɨʁɢɨ ɨɞ ɡɧɚɱɟʃɚ ɦɢɫɬɟɪɢʁɟ ɢ ɧɟɢɫɤɚɡɚɧɨɝ; ɉɨɥ ȼɟɪɥɟɧ ʁɟ ɪɚɡɛɢɨ ɭ ʃɟɝɨɜɭ ɱɚɫɬ ɫɜɢɪɟɩɟ ɩɪɟɩɢɪɤɟ ɨɤɨ ɫɬɢɯɨɜɚ ɤɨʁɟ ɫɭ ɱɚɪɨɛɧɢ ɩɪɫɬɢ Ɍɟɨɞɨɪɚ ɞɟ Ȼɚɧɜɢɥɚ ɩɪɟɬɯɨɞɧɨ ɭɦɟɤɲɚɥɢ. Ⱥɥɢ ɭɡɜɢɲɟɧɚ ɪɚɞɨɫɬ ɧɢʁɟ ʁɨɲ ɭɬɪɨɲɟɧɚ: ʁɟɞɚɧ ɭɩɨɪɚɧ ɢ ɡɚɜɨɞʂɢɜ ɩɨɫɚɨ ɦɨɥɢ ɫɟ ɡɚ ɧɨɜɨɩɪɢɫɩɟɥɟ. *** ɇɟɩɪɢʁɚɬɟʂɢ ɭɱɟʃɚ, ɞɟɤɥɚɦɚɰɢʁɚ, ɥɚɠɧɟ ɫɟɧɡɢɛɢɥɧɨɫɬɢ, ɨɛʁɟɤɬɢɜɧɟ ɞɟɫɤɪɢɩɰɢʁɟ, ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɩɨɟɡɢʁɟ, ɡɚɯɬɟɜɚʁɭ ɞɚ ɫɟ ɢɞɟʁɚ ɨɞɟɧɟ ʁɟɞɧɨɦ ɫɟɧɡɢɛɢɥɧɨɦ ɮɨɪɦɨɦ ɤɨʁɚ ɭ ɧɚʁɦɚʃɭ ɪɭɤɭ ɧɟ ɛɢ ɛɢɥɚ ɫɟɛɢ ɰɢʂ, ɜɟʄ ɛɢ ɧɚɫɬɨʁɟʄɢ ɞɚ ɢɡɪɚɡɢ ɂɞɟʁɭ, ɨɫɬɚʁɚɥɚ ɩɨɬɱɢʃɟɧɚ. ɂɞɟʁɚ, ɫɚ ɫɜɨʁɟ ɫɬɪɚɧɟ, ɧɟ ɫɦɟ ɞɨɩɭɫɬɢɬɢ ɞɚ ɛɭɞɟ ɥɢɲɟɧɚ ɪɚɫɤɨɲɧɢɯ ɫɤɭɬɚ ɫɩɨʂɧɢɯ ɚɧɚɥɨɝɢʁɚ, ʁɟɪ ɨɫɧɨɜɧɚ ɨɫɨɛɢɧɚ ɫɢɦɛɨɥɢɫɬɢɱɤɟ ɭɦɟɬɧɨɫɬɢ ʁɟ ɧɟ ɞɨɡɜɨɥɢɬɢ ɞɚ ɫɟ ɞɨɫɩɟ ɞɨ ɫɪɠɢ ɫɚɦɟ ɂɞɟʁɟ. Ɍɚɤɨ, ɭ ɬɨʁ ɭɦɟɧɬɨɫɬɢ, ɫɥɢɤɟ ɩɪɢɪɨɞɟ, ɚɤɰɢʁɟ ʂɭɞɢ, ɫɜɟ ɤɨɧɤɪɟɬɧɟ ɩɨʁɚɜɟ ɧɟ ɦɚɧɢɮɟɫɬɭʁɭ ɫɟ ɫɚɦɨ ɩɨ ɫɟɛɢ, ɬɨ ɫɭ ʃɢɯɨɜɢ ɱɭɥɧɢ ɢɡɝɥɟɞɢ ɫ ɰɢʂɟɦ ɞɚ ɩɪɟɞɫɬɚɜɟ ʃɢɯɨɜɭ ɟɡɨɬɟɪɢɱɧɭ ɜɟɡɚɧɨɫɬ ɡɚ ɩɪɜɨɛɢɬɧɭ ɂɞɟʁɭ. Ɉɩɬɭɠɛɚ ɤɨʁɭ ɫɭ ɧɟɨɛɚɜɟɡɧɢ ɱɢɬɚɨɰɢ ɭɩɭɬɢɥɢ ʁɟɞɧɨʁ ɨɜɚɤɜɨʁ ɟɫɬɟɬɢɰɢ, ɧɚɛɟђɭʁɭʄɢ ʁɟ ɡɚ ɨɩɫɤɭɪɧɨɫɬ, ɧɟ ɬɪɟɛɚ ɞɚ ɱɭɞɢ. ɒɬɚ ɞɚ ɫɟ ɪɚɞɢ? ɉɢɬɢʁɢɧɚ { 257 } ɩɪɨɪɨɱɚɧɫɬɜɚ, ɒɟɤɫɩɢɪɨɜ ɏɚɦɥɟɬ, Ⱦɚɧɬɟɨɜ ȼɢɬɚ ɇɨɜɚ, Ƚɟɬɟɨɜ Ⱦɪɭɝɢ Ɏɚɭɫɬ, Ɏɥɨɛɟɪɨɜɨ ɂɫɤɭɲɟʃɟ ɋɜɟɬɨɝ Ⱥɧɬɨɧɢʁɚ, ɡɚɪ ɢ ɨɧɢ ɧɢɫɭ ɛɢɥɢ ɠɢɝɨɫɚɧɢ ɧɟʁɚɫɧɨɲʄɭ? Ɂɚ ɬɚɱɚɧ ɩɪɟɧɨɫ ɫɜɨʁɟ ɫɢɧɬɟɡɟ, ɫɢɦɛɨɥɢɡɦɭ ʁɟ ɩɨɬɪɟɛɚɧ ɚɪɯɟɬɢɩɫɤɢ ɢ ɤɨɦɩɥɟɤɫɚɧ ɫɬɢɥ: ɧɟɨɛɢɱɚɧ ɪɟɱɧɢɤ, ɪɢɬɚɦ ɤɨʁɢ ɫɟ ɫɦɟʃɭʁɟ ɩɨɜɪɟɦɟɧɨ ɫ ɪɢɬɦɨɦ ɬɚɥɚɫɚɫɬɢɯ ɭɬɢɲɚɜɚʃɚ, ɩɥɟɨɧɚɡɦɢ ɫɚ ɡɧɚɱɟʃɟɦ, ɦɢɫɬɟɪɢɨɡɧɟ ɟɥɢɩɫɟ, ɧɟɞɨɜɪɲɟɧɢ ɚɧɚɤɨɥɭɬɢ, ɫɜɟ ɜɪɥɨ ɫɦɟɥɨ ɢ ɜɢɲɟɨɛɥɢɱɧɨ; ɧɚʁɡɚɞ, ɞɨɛɚɪ ʁɟɡɢɤ – ɨɛɧɨɜʂɟɧ ɢ ɨɫɚɜɪɟɦɟʃɟɧ – ɞɨɛɚɪ, ɛɭʁɚɧ, ɛɥɢɫɬɚɜ ɮɪɚɧɰɭɫɤɢ ʁɟɡɢɤ (ɩɪɟ ɪɚɡɧɢɯ ȼɨɠɟɥɚ, ɢ Ȼɭɚɥɨ- Ⱦɟɫɩɟɪɟɚ), ʁɟɡɢɤ Ɏɪɚɧɫɨɚ Ɋɚɛɥɟɚ ɢ Ɏɢɥɢɩɚ ɞɟ Ʉɨɦɟɧ ȼɢʁɨɧɚ, Ɋɢɬɛɟɮɚ ɢ ɬɨɥɢɤɨ ɞɪɭɝɢɯ ɫɥɨɛɨɞɧɢɯ ɩɢɫɚɰɚ, ɩɪɟɩɭɧ ʁɟɡɢɱɤɢɯ ɢɡɪɚɡɚ, ɤɚɨ ɤɪɢɜɟ ɫɬɪɟɥɟ ɬɪɚɱɚɧɫɤɢɯ Ɍɨɤɫɨɬɚ. ɊɂɌȺɆ: ɨɠɢɜʂɟɧɚ ɫɬɚɪɚ ɦɟɬɪɢɤɚ; ɭɱɟɧɨ ɫɪɟђɟɧ ɧɟɪɟɞ; ɧɚɬɟɝɧɭɬɚ ɢ ɧɚɩɪɟɝɧɭɬɚ ɪɢɦɚ ɤɚɨ ɡɥɚɬɧɢ ɢɥɢ ɬɭɱɚɧɢ ɲɬɢɬ ɩɨɪɟɞ ɪɢɦɟ ɧɟɪɚɡɭɦʂɢɜɟ ɬɟɱɧɨɫɬɢ; ɚɥɟɤɫɚɧɞɪɢɧɚɰ ɫɚ ɛɪɨʁɧɢɦ ɢ ɩɨɤɪɟɬɧɢɦ ɩɚɭɡɚɦɚ; ɭɩɨɬɪɟɛɚ ɢɡɜɟɫɧɢɯ ɩɪɨɫɬɢɯ ɛɪɨʁɟɜɚ – ɫɟɞɚɦ, ɞɟɜɟɬ, ʁɟɞɚɧɚɟɫɬ, ɬɪɢɧɚɟɫɬ – ɭ ɪɚɡɥɢɱɢɬɢɦ ɪɢɬɦɢɱɧɢɦ ɤɨɦɛɢɧɚɰɢʁɚɦɚ ɛɪɨʁɟɜɚ ɱɢʁɢ ɫɭ ɨɧɢ ɡɛɢɪɨɜɢ....”375 375 ɉɪɟɭɡɟɬɨ ɢɡ: Vujadin Jokić, Simbolizam (Cetinje: Obod, 1967), 89‒91. { 258 } Jean Moréas, Un manifeste littéraire – Le Symbolisme, 1886. „Comme tous les arts, la littérature évolue : évolution cyclique avec des retours strictement déterminés et qui se compliquent des diverses modifications apportées par la marche des temps et les bouleversements des milieux. Il serait superflu de faire observer que chaque nouvelle phase évolutive de l'art correspond exactement à la décrépitude sénile, à l’inéluctable fin de l'école immédiatement antérieure. Deux exemples suffiront: Ronsard triomphe de l'impuissance des derniers imitateurs de Marot, le romantisme éploie ses oriflammes sur les décombres classiques mal gardés par Casimir Delavigne et Etienne de Jouy. C'est que toute manifestation d'art arrive fatalement à s’appauvrir, à s’épuiser; alors, de copie en copie, d’imitation en imitation, ce qui fut plein de sève et de fraîcheur se dessèche et se recroqueville; ce qui fut le neuf et le spontané devient le poncif et le lieu- commun. Ainsi le romantisme, après avoir sonné tous les tumultueux tocsins de la révolte, après avoir eu ses jours de gloire et de bataille, perdit de sa force et de sa grâce, abdiqua ses audaces héroïques, se fit rangé, sceptique et plein de bon sens ; dans l’honorable et mesquine tentative des Parnassiens, il espéra de fallacieux renouveaux, puis finalement, tel un monarque tombé en enfance, il se laissa déposer par le naturalisme auquel on ne peut accorder sérieusement qu'une valeur de protestation, légitime mais mal avisée, contre les fadeurs de quelques romanciers alors à la mode. Une nouvelle manifestation d'art était donc attendue, nécessaire, inévitable. Cette manifestation, couvée depuis longtemps, vient d'éclore. Et toutes les anodines facéties des joyeux de la presse, toutes les inquiétudes des critiques graves, toute la mauvaise humeur du public surpris dans ses nonchalances moutonnières ne font qu’affirmer chaque jour davantage la vitalité de l’évolution actuelle dans les lettres françaises, cette évolution que des juges pressés notèrent, par une inexplicable antinomie, de décadence. Remarquez pourtant que les littératures décadentes se révèlent essentiellement coriaces, filandreuses, timorées et serviles: toutes les tragédies de Voltaire, par exemple, sont marquées de ces tavelures de décadence. Et que peut-on reprocher, que reproche-t-on à la nouvelle école? { 259 } L'abus de la pompe, l'étrangeté de la métaphore, un vocabulaire neuf où les harmonies se combinent avec les couleurs et les lignes: caractéristiques de toute renaissance. Nous avons déjà proposé la dénomination de Symbolisme comme la seule capable de désigner raisonnablement la tendance actuelle de l'esprit créateur en art. Cette dénomination peut être maintenue. Il a été dit au commencement de cet article que les évolutions d'art offrent un caractère cyclique extrêmement compliqué de divergences; ainsi, pour suivre l’exacte filiation de la nouvelle école, il faudrait remonter jusques à certains poèmes d’Alfred de Vigny, jusques à Shakespeare, jusques aux mystiques, plus loin encore. Ces questions demanderaient un volume de commentaires; disons donc que Charles Baudelaire doit être considéré comme le véritable précurseur du mouvement actuel ; M. Stéphane Mallarmé le lotit du sens du mystère et de l'ineffable; M. Paul Verlaine brisa en son honneur les cruelles entraves du vers que les doigts prestigieux de M. Théodore de Banville avaient assoupli auparavant. Cependant le Suprême Enchantement n'est pas encore consommé: un labeur opiniâtre et jaloux sollicite les nouveaux venus. *** Ennemie de "l’enseignement, la déclamation, la fausse sensibilité, la description objective", la poésie symbolique cherche: à vêtir l'Idée d'une forme sensible qui, néanmoins, ne serait pas son but à elle-même, mais qui, tout en servant à exprimer l’Idée, demeurerait sujette. L’Idée, à son tour, ne doit point se laisser voir privée des somptueuses simarres des analogies extérieures; car le caractère essentiel de l’art symbolique consiste à ne jamais aller jusqu'à la conception de l’Idée en soi. Ainsi, dans cet art, les tableaux de la nature, les actions des humains, tous les phénomènes concrets ne sauraient se manifester eux-mêmes: ce sont là des apparences sensibles destinées à représenter leurs affinités ésotériques avec des Idées primordiales. L’accusation d'obscurité lancée contre une telle esthétique par des lecteurs à bâtons rompus n'a rien qui puisse surprendre. Mais qu'y faire? Les Pythiques de Pindare, { 260 } l’Hamlet de Shakespeare, la Vita Nuova de Dante, le Second Faust de Gœthe, la Tentation de Saint Antoine de Flaubert ne furent-ils pas aussi taxés d'ambiguïté ? Pour la traduction exacte de sa synthèse, il faut au symbolisme un style archétype et complexe: d'impollués vocables, la période qui s’arcboute alternant avec la période aux défaillances ondulées, les pléonasmes significatifs, les mystérieuses ellipses, l’anacoluthe en suspens, tout trope hardi et multiforme; enfin la bonne langue – instaurée et modernisée – la bonne et luxuriante et fringante langue française d'avant les Vaugelas et les Boileau- Despréaux, la langue de François Rabelais et de Philippe de Commines, de Villon, de Rutebœuf et de tant d'autres écrivains libres et dardant le terme acut du langage, tels des toxotes de Thrace leurs flèches sinueuses. LE RYTHME : L’ancienne métrique avivée; un désordre savamment ordonné; la rime illucescente et martelée comme un bouclier d'or et d'airain, auprès de la rime aux fluidités absconses; l’alexandrin à arrêts multiples et mobiles; l’emploi de certains nombres premiers – sept, neuf, onze, treize – résolus en les diverses combinaisons rythmiques dont ils sont les sommes.”376 Ʉɨɦɟɧɬɚɪ: ɋɢɦɛɨɥɢɡɚɦ ɤɚɨ ɫɬɚʃɟ ɞɭɯɚ, ɤɚɨ ɪɟɜɨɥɭɰɢʁɚ ɭ ɩɨɟɡɢʁɢ, ɬɟɨɪɢʁɫɤɢ ɫɟ ɧɚʁɩɪɟ ɫɚɠɢɦɚ ɭ ɦɚɧɢɮɟɫɬɭ ɀɚɧɚ Ɇɨɪɟɚɫɚ. Ɇɚɧɢɮɟɫɬ ʁɟ ɨɛʁɚɜʂɟɧ ɭ ɤʃɢɠɟɜɧɨɦ ɥɢɫɬɭ Figaro littéraire, 18. ɫɟɩɬɟɦɛɪɚ 1886. ɝɨɞɢɧɟ. Ⱥɭɬɨɪ ɦɚɧɢɮɟɫɬɚ ɧɚɫɬɨʁɚɨ ʁɟ ɞɚ ɞɨɤɚɠɟ ɞɚ ʁɟ ɫɢɦɛɨɥɢɡɚɦ ɧɭɠɧɚ ɭɦɟɬɧɢɱɤɚ ɩɨʁɚɜɚ, ɢɡɪɚɡ „ɰɢɤɥɢɱɤɟ ɟɜɨɥɭɰɢʁɟ ɫɚ ɫɬɪɨɝɨ ɨɞɪɟђɟɧɢɦ ɩɪɨɦɟɧɚɦɚ”. ɉɨ Ɇɨɪɟɚɫɨɜɨɦ ɦɢɲʂɟʃɭ, Ȼɨɞɥɟɪɚ ɛɢ ɬɪɟɛɚɥɨ ɫɦɚɬɪɚɬɢ ɫɬɜɚɪɧɢɦ ɩɪɟɬɯɨɞɧɢɤɨɦ ɨɜɨɝ ɩɨɤɪɟɬɚ, ɋɬɟɮɚɧɚ Ɇɚɥɚɪɦɟɚ ɡɚ ɧɟɤɨɝɚ ɤɨ ʁɟ ɫɢɦɛɨɥɢɡɚɦ ɨɞɜɨʁɢɨ ɨɞ ɡɧɚɱɟʃɚ ɦɢɫɬɟɪɢʁɟ ɢ ɧɟɢɫɤɚɡɚɧɨɝ, ɚ ɉɨɥɚ ȼɟɪɥɟɧɚ ɤɚɨ ɩɟɫɧɢɤɚ ɤɨʁɢ ʁɟ ɪɚɡɛɢɨ ɫɜɢɪɟɩɟ ɩɪɟɩɢɪɤɟ ɨɤɨ ɫɬɢɯɨɜɚ „ɤɨʁɟ ɫɭ ɱɚɪɨɛɧɢ ɩɪɫɬɢ Ɍɟɨɞɨɪɚ ɞɟ Ȼɚɧɜɢɥɚ ɩɪɟɬɯɨɞɧɨ ɭɦɟɤɲɚɥɢ”. ɋɢɦɛɨɥɢɡɚɦ ʁɟ ɧɨɜɚɬɨɪɫɬɜɨ ɭ ɩɨɟɡɢʁɢ ɤɨʁɟ ɞɨɧɨɫɢ ɫɨɛɨɦ ɤɨɦɩɥɟɤɫɧɢ ɫɬɢɥ, ɧɟɨɛɢɱɚɧ ɪɟɱɧɢɤ, ɪɢɬɚɦ ɤɨʁɢ ɫɟ ɫɦɟʃɭʁɟ ɩɨɜɪɟɦɟɧɨ ɫ ɪɢɬɦɨɦ ɬɚɥɚɫɚɫɬɢɯ ɭɬɢɲɚɜɚʃɚ; ɬɭ ɫɭ ɢ ɩɥɟɨɧɚɡɦɢ ɫɚ ɡɧɚɱɟʃɟɦ, ɦɢɫɬɟɪɢɨɡɧɟ ɟɥɢɩɫɟ, ɧɟɞɨɜɪɲɟɧɢ ɚɧɚɤɨɥɭɬɢ, ɢ ɞɪɭɝɨ. 376 ɉɪɟɭɡɟɬɨ ɫɚ ɜɟɛ-ɩɨɪɬɚɥɚ: https://www.uni-due.de/lyriktheorie/texte/1886_moreas.html { 261 } ɉɪɢɥɨɝ ɛɪɨʁ 3: ɋɬɟɮɚɧ Ɇɚɥɚɪɦɟ, Ȼɚɰɚʃɟ ɤɨɰɤɟ (Un coup de dés jamais n'abolira le hasard, 1897) { 262 } { 263 } { 264 } { 265 } { 266 } { 267 } { 268 } { 269 } { 270 } { 271 } { 272 } { 273 } { 274 } { 275 } { 276 } { 277 } { 278 } { 279 } { 280 } { 281 } ɅɂɌȿɊȺɌɍɊȺ 1. 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Web ɫɬɪɚɧɢɰɟ: https://www.uni-due.de/lyriktheorie/texte/1886_moreas.html http://www.archiviomauriziospatola.com/prod/pdf_archivio/A00003.pdf { 300 } ȻɂɈȽɊȺɎɂȳȺ ɄȺɇȾɂȾȺɌȺ ɂȼȺɇȺ Ɋ. ɉȿɌɄɈȼɂȶ (1983) ʁɟ ɞɢɩɥɨɦɢɪɚɥɚ ɧɚ Ɉɞɫɟɤɭ ɡɚ ɦɭɡɢɤɨɥɨɝɢʁɭ Ɏɚɤɭɥɬɟɬɚ ɦɭɡɢɱɤɟ ɭɦɟɬɧɨɫɬɢ ɭ Ȼɟɨɝɪɚɞɭ 2009, ɨɞɛɪɚɧɢɜɲɢ ɞɢɩɥɨɦɫɤɢ ɪɚɞ ɩɨɞ ɧɚɡɢɜɨɦ ɉɨɡɧɨ ɫɬɜɚɪɚɥɚɲɬɜɨ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ‘ɂɫɬɢɧɟ’ ɨ ɮɪɚɧɰɭɫɤɨɦ ɦɢɬɭ ɫɚ ɧɚʁɜɢɲɨɦ ɨɰɟɧɨɦ. Ⱦɨɤɬɨɪɫɤɟ ɫɬɭɞɢʁɟ ɧɚ ɫɬɭɞɢʁɫɤɨɦ ɩɪɨɝɪɚɦɭ Ɇɭɡɢɤɨɥɨɝɢʁɚ, ɭɩɢɫɚɥɚ ʁɟ 2010/2011, ɢ ɬɪɟɧɭɬɧɨ ɪɚɞɢ ɧɚ ɢɡɪɚɞɢ ɞɨɤɬɨɪɫɤɟ ɞɢɫɟɪɬɚɰɢʁɟ ɩɨɞ ɧɚɡɢɜɨɦ Ɇɭɡɢɱɤɢ ɭɧɢɜɟɪɡɭɦ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ɭ ɬɪɚɝɚʃɭ ɡɚ ɧɟɩɨɫɪɟɞɧɨɲʄɭ ‘ɫɚɝɥɚɫʁɚ’ ɢɡɦɟђɭ ɭɯɚ ɢ ɨɤɚ, ɩɨɞ ɦɟɧɬɨɪɫɬɜɨɦ ɪɟɞ. ɩɪɨɮ. ɞɪ Ɍɢʁɚɧɟ ɉɨɩɨɜɢʄ Ɇɥɚђɟɧɨɜɢʄ. ɂɜɚɧɚ ɉɟɬɤɨɜɢʄ ʁɟ ɭ ɩɟɪɢɨɞɭ ɨɞ ɮɟɛɪɭɚɪɚ 2011. ɞɨ ɮɟɛɪɭɚɪɚ 2012. ɝɨɞɢɧɟ, ɭ ɫɜɨʁɫɬɜɭ ɫɬɭɞɟɧɬɚ ɩɪɜɟ ɚ, ɩɨɬɨɦ, ɢ ɞɪɭɝɟ ɝɨɞɢɧɟ ɞɨɤɬɨɪɫɤɢɯ ɫɬɭɞɢʁɚ ɧɚ ɎɆɍ ɭ Ȼɟɨɝɪɚɞɭ, ɛɢɥɚ ɚɧɝɚɠɨɜɚɧɚ ɤɚɨ ɫɚɪɚɞɧɢɤ ɭ ɧɚɫɬɚɜɢ ɩɪɢ Ʉɚɬɟɞɪɢ ɡɚ ɦɭɡɢɤɨɥɨɝɢʁɭ ɎɆɍ ɧɚ ɩɪɟɞɦɟɬɢɦɚ Ɉɩɲɬɚ ɢɫɬɨɪɢʁɚ ɦɭɡɢɤɟ, ɇɚɰɢɨɧɚɥɧɚ ɢɫɬɨɪɢʁɚ ɦɭɡɢɤɟ ɢ ɂɫɬɨɪɢʁɚ ɦɭɡɢɤɟ. ɍ ɡɜɚʃɟ ɚɫɢɫɬɟɧɬɚ ɡɚ ɭɠɭ ɧɚɭɱɧɭ ɨɛɥɚɫɬ Mɭɡɢɤɨɥɨɝɢʁa ɧɚ Ʉɚɬɟɞɪɢ ɡɚ ɦɭɡɢɤɨɥɨɝɢʁɭ ɎɆɍ ɭ Ȼɟɨɝɪɚɞɭ, ɂɜɚɧɚ ɉɟɬɤɨɜɢʄ ʁɟ ɢɡɚɛɪɚɧɚ ɭ ɞɟɰɟɦɛɪɭ 2012. ɝɨɞɢɧɟ. Ⱦɨ ɫɚɞɚ ʁɟ ɨɛʁɚɜɢɥɚ ɞɜɟ ɤʃɢɝɟ: ɞɢɩɥɨɦɫɤɢ ɪɚɞ ɉɨɡɧɨ ɫɬɜɚɪɚɥɚɲɬɜɨ Ʉɥɨɞɚ Ⱦɟɛɢɫɢʁɚ – ‘ɂɫɬɢɧɟ’ ɨ ɮɪɚɧɰɭɫɤɨɦ ɦɢɬɭ ɭ ɨɤɜɢɪɭ ɟɞɢɰɢʁɟ Les Beaux Excentriques (Ɇɭɡɢɤɨɥɨɲɤɟ ɫɬɭɞɢʁɟ – ɂɧɬɟɪɩɪɟɬɚɰɢʁɟ, Ȼɟɨɝɪɚɞ, ɎɆɍ, Ʉɚɬɟɞɪɚ ɡɚ ɦɭɡɢɤɨɥɨɝɢʁɭ, 2011), ɤɚɨ ɢ ɤɨɚɭɬɨɪɫɤɭ ɢ ɤɨɭɪɟɞɧɢɱɤɭ ɤʃɢɝɭ ɫɚ Ɉɥɝɨɦ Ɉɬɚɲɟɜɢʄ, ɩɨɞ ɧɚɡɢɜɨɦ ɋɬɟɜɚɧ ɋɬɨʁɚɧɨɜɢʄ Ɇɨɤɪɚʃɚɰ ɭ ɧɚɩɢɫɢɦɚ ‘ɞɪɭɝɢɯ’ (Ȼɟɨɝɪɚɞ, ɆȾɋ ɢ ɆɈȻ, 2014). ɉɨɪɟɞ ɩɨɦɟɧɭɬɨɝ, ɨɛʁɚɜʂɭʁɟ ɫɜɨʁɟ ɬɟɤɫɬɨɜɟ (ɫɬɭɞɢʁɟ, ɱɥɚɧɤɟ, ɩɪɢɤɚɡɟ, ɛɢɨɝɪɚɮɫɤɟ ɨɞɪɟɞɧɢɰɟ, ɢɧɬɟɪɜʁɭɟ, ɩɪɨɩɪɚɬɧɟ ɬɟɤɫɬɨɜɟ) ɭ ɡɛɨɪɧɢɰɢɦɚ ɫɬɭɞɟɧɬɫɤɢɯ ɪɚɞɨɜɚ, ɱɚɫɨɩɢɫɢɦɚ ɨɞ ɦɟђɭɧɚɪɨɞɧɨɝ ɢ ɧɚɰɢɨɧɚɥɧɨɝ ɡɧɚɱɚʁɚ, ɦɟђɭɧɚɪɨɞɧɢɦ ɤɨɥɟɤɬɢɜɧɢɦ ɦɨɧɨɝɪɚɮɢʁɚɦɚ, ɡɛɨɪɧɢɰɢɦɚ ɫɚ ɧɚɭɱɧɢɯ ɫɤɭɩɨɜɚ, ɋɪɩɫɤɨʁ ɟɧɰɢɤɥɨɩɟɞɢʁɢ, ɪɭɛɪɢɰɢ ɂɧɬɟɪɜʁɭɢ ɫɚʁɬɚ ɍɄɋ, ɤʃɢɠɢɰɚɦɚ ɐȾ ɢɡɞɚʃɚ Ɇɭɡɢɤɨɥɨɲɤɨɝ ɞɪɭɲɬɜɚ ɋɪɛɢʁɟ. ɍ ɩɟɪɢɨɞɭ ɨɞ 2010. ɞɨ 2014. ɝɨɞɢɧɟ, ɪɚɞɢɥɚ ʁɟ ɤɚɨ ɫɟɤɪɟɬɚɪ Ɇɭɡɢɤɨɥɨɲɤɨɝ ɞɪɭɲɬɜɚ ɋɪɛɢʁɟ ɢ ɡɚ ɬɨ ɜɪɟɦɟ ʁɟ ɭɱɟɫɬɜɨɜɚɥɚ ɭ ɨɪɝɚɧɢɡɚɰɢʁɢ ɢ ɪɟɚɥɢɡɚɰɢʁɢ ɡɧɚɱɚʁɧɨɝ ɛɪɨʁɚ ɩɪɨʁɟɤɚɬɚ ɨɜɨɝ ɞɪɭɲɬɜɚ. ɑɥɚɧ ʁɟ Ɇɭɡɢɤɨɥɨɲɤɨɝ ɞɪɭɲɬɜɚ ɋɪɛɢʁɟ ɨɞ 2010. ɝɨɞɢɧɟ, ɱɥɚɧ ʁɟ ɂɧɬɟɪɧɚɰɢɨɧɚɥɧɨɝ ɦɭɡɢɤɨɥɨɲɤɨɝ ɞɪɭɲɬɜɚ ɨɞ 2015, ɤɚɨ ɢ ɍɞɪɭɠɟʃɚ ɤɨɦɩɨɡɢɬɨɪɚ ɋɪɛɢʁɟ (ɫɟɤɰɢʁɚ ɦɭɡɢɱɤɢɯ ɩɢɫɚɰɚ) ɨɞ 2015. ɝɨɞɢɧɟ.