Biography Forsh

To the list of years ago, on May 28, all this was fully reflected in the historical novels of Olga Forsh created in the years. In the year, Olga Forsh ends the novel “Contemporaries” - about the fate of two Russian artists, writer Nikolai Gogol and painter Alexander Ivanov, the author turns to one of the most difficult episodes of their life, to the Roman period. For Gogol, this is the time of “the chosen places of the writer is peculiarly disposed of the facts of the life of her heroes.

A small time period of events in the novel occur in the second half of the GO - the beginning of the year incorporates a dense series of events that took place, as V. Sobutskiy noted, at another time in another place and through the intensity of passions, maybe not so sharp. For a historical novel, this is pretty bold. Forh does not distort events, does not violate their reliability, it “compacts” them, thickening the action, reaches a strong emotional stress in the text.

In the context of very twisted, saturated events full of drama, it creates the image of Gogol. This is the image of a person who is experiencing and surviving a spiritual screening. Having abandoned his creations, he is looking for the highest truth, but does not find it. In the creation of the image of the writer, the force makes two accents. This is, firstly, dialogues with Alexander Ivanov, with whom Gogol connected friendship in Rome, and secondly, a portrait of a writer who is given in a kind of dynamics.

It should be noted that the force in the historical novel masterfully combines reliability, historicism with the artistic fiction of the main character in the novel is the fictional character Gleb Ivanovich Bagretsov. An educated nobleman, close to a writer, creative circles, possessing an adventurous warehouse of the mind, a self -centered, he witnessed Gogol's spiritual drama.

At first, we see Gogol with his eyes in Russia, before his trip abroad, then in Rome, where Gogol painfully tries to understand what the purpose of the artist was, then in the final of life both Gogol and Bagretsov. This technique allows the author to be internally relaxed, freely simulate the features of the image within the framework of a given idea, not to ask questions: was Gogol so, was his image true?

The speech of a woman, wise with religion, sounded deeper to me, I couldn’t cut her off in one fell swoop, he angrily throws Ivanov in response to his passionate statement, which will not be disclosed to him with insight to reveal everything he sees and prove to the world that the artist can be Russian, it is not for nothing that his self -confirmation is completely inherited: “It is impossible to serve art to the detriment of salvation.

I also repeat: paganism must be pulled out at least with the heart! Yes, tear out and trample. " Gogol is trying on the face of Smilennik: “From now on, my compass in the difficult work of the writer is not the reviews of writers, but the opinion of highly configured souls. The dirty courtyard leading to the elegant structure will remain exactly the first volume of the same second I did not care about him!

Irreality bursts into a realistic romance, something in a gogo fantastic-mystical Gogol itself is depicted on the verge of a real person and phantom: “The blizzard tore, hog. The blizzard wanted to twist this house in a tornado. The flying rate clapped, and either barefoot or copper legs stomped along the roof. The dog howled. Gogol grew up and, staring at the door, as they sprinkled from a pinch of tobacco, blessed around with a small cross: “Grow it at the entrance, he stuck out a dry, naked hand to the elbow.

Gogol disappeared. Yes, without a horse, Bugretsov grabbed his head and settled right on the floor next to the Persian robe. There was no one here.

You yes. They drank and slept. At the same moment, two huge, new leather of lumped soles aimed at the room at the bottom of the wall mirror. ” Gogol dissolves in the snowstorms and in the painful consciousness of Bagretsov, leaves from real life to eternity. Olga Forsh, creating the image of Gogol, answers the question, what is “the price of skill in moral account, what are the origins of his vitality?

Shumilova T. Image of Gogol in the interpretation of Olga Forsh Roman "Contemporaries",