твор ество марины цветаевой в контексте гендерных

STUDIA ROSSICA POSNANIENSIA, vol. XXXVII: 2012, pp. 79-86. ISBN 978-83-232-2519-5. ISSN 0081-6884.
Adam Mickiewicz University Press, PoznaĔ
ɌȼɈɊɑȿɋɌȼɈ ɆȺɊɂɇɕ ɐȼȿɌȺȿȼɈɃ
ȼ ɄɈɇɌȿɄɋɌȿ ȽȿɇȾȿɊɇɕɏ ɂɋɋɅȿȾɈȼȺɇɂɃ
MARINA TSVETAEVA’S OEUVRE
IN THE CONTEXT OF GENDER STUDIES
ȺȽɇȿɒɄȺ ɏɊɕɇɕɄ
ABSTRACT. This article is an attempt to look at Marina Tsvetaeva’s literary output in the context
of gender studies. The following aspects are briefly discussed: a woman as a writer, a womanartist defending her right to create, a woman telling/writing her story, gender performance,
contravention of the gender role, and the apocryphal writing strategy. The basic material for the
text are: On a Red Steed (1921), The Tsar-Maiden (1922), A Hero of Labour (1925).
Agnieszka Hrynyk, Uniwersytet im. Adama Mickiewicza w Poznaniu, PoznaĔ – Polska.
Ɋɭɛɟɠ XIX ɢ XX ɜɟɤɨɜ, ɚɫɫɨɰɢɢɪɭɸɳɢɣɫɹ ɫ ɜɫɩɥɟɫɤɨɦ ɤɚɤ ɪɭɫɫɤɨɣ ɥɢɬɟɪɚɬɭɪɵ, ɬɚɤ ɢ ɤɭɥɶɬɭɪɵ ɜ ɰɟɥɨɦ, ɡɚɧɢɦɚɟɬ ɨɫɨɛɨɟ ɦɟɫɬɨ ɜ ɪɚɡɜɢɬɢɢ ɠɟɧɫɤɨɝɨ
ɬɜɨɪɱɟɫɬɜɚ, ɱɬɨ – ɧɟɫɨɦɧɟɧɧɨ – ɫɜɹɡɚɧɨ ɫ ɢɧɬɟɧɫɢɜɧɵɦ ɪɚɡɜɢɬɢɟɦ ɠɟɧɫɤɨɝɨ
ɞɜɢɠɟɧɢɹ ɧɚ ɜɫɟɯ ɭɪɨɜɧɹɯ. Ɇɚɫɫɨɜɵɣ ɩɪɢɯɨɞ ɜ ɥɢɬɟɪɚɬɭɪɭ ɠɟɧɳɢɧ (ɜ ɬɨɦ
ɱɢɫɥɟ ɧɟ ɬɨɥɶɤɨ ɩɢɫɚɬɟɥɶɧɢɰ, ɧɨ ɬɚɤɠɟ ɢɡɞɚɬɟɥɟɣ, ɩɟɪɟɜɨɞɱɢɤɨɜ, ɤɪɢɬɢɤɨɜ),
ɨɬɤɪɵɬɨ ɡɚɹɜɢɜɲɢɯ ɨ ɫɜɨɟɦ ɩɪɚɜɟ ɞɚɜɚɬɶ „ɠɟɧɫɤɢɟ ɨɩɪɟɞɟɥɟɧɢɹ ɠɢɡɧɢ”, ɝɨɜɨɪɢɬɶ ɨɬ ɥɢɰɚ ɠɟɧɳɢɧ, „ɛɪɨɫɢɥ ɜɵɡɨɜ ɩɚɬɪɢɚɪɯɚɥɶɧɨɣ ɤɭɥɶɬɭɪɟ, ɨɛɪɟɤɚɸɳɟɣ
ɠɟɧɳɢɧ ɧɚ ɬɜɨɪɱɟɫɤɨɟ ɛɟɡɦɨɥɜɢɟ”1. ȼɵɞɜɢɧɭɜ ɡɧɚɱɢɬɟɥɶɧɨɟ ɤɨɥɢɱɟɫɬɜɨ ɩɢɫɚɬɟɥɶɧɢɰ ɫɦɟɥɨ ɜɨɲɟɞɲɢɯ ɜ ɫɮɟɪɭ, ɤɨɬɨɪɚɹ ɞɨ ɫɢɯ ɩɨɪ ɫɱɢɬɚɥɚɫɶ ɢɫɤɥɸɱɢɬɟɥɶɧɨ ɦɭɠɫɤɨɣ, ɥɢɬɟɪɚɬɭɪɚ ɋɟɪɟɛɪɹɧɨɝɨ ɜɟɤɚ ɩɪɟɞɫɬɚɜɥɹɟɬ ɫɨɛɨɣ ɮɟɧɨɦɟɧ,
ɤɨɬɨɪɵɣ ɡɚɫɥɭɠɢɜɚɟɬ ɜɧɢɦɚɧɢɹ.
ɉɨɜɵɲɟɧɢɸ ɢɧɬɟɪɟɫɚ ɫɨɜɪɟɦɟɧɧɵɯ ɢɫɫɥɟɞɨɜɚɬɟɥɟɣ ɤ ɫɨɡɧɚɬɟɥɶɧɨɦɭ ɜɨɫɩɪɢɹɬɢɸ ɠɟɧɫɤɨɣ ɥɢɬɟɪɚɬɭɪɧɨɣ ɬɪɚɞɢɰɢɢ, ɜ ɪɚɦɤɚɯ ɢɯ ɫɨɛɫɬɜɟɧɧɵɯ ɤɭɥɶɬɭɪ,
ɫɩɨɫɨɛɫɬɜɭɟɬ ɢ ɫɨɜɪɟɦɟɧɧɚɹ ɢɡɞɚɬɟɥɶɫɤɚɹ ɢ ɩɟɪɟɜɨɞɱɟɫɤɚɹ ɩɪɚɤɬɢɤɚ, ɨɫɭɳɟɫɬɜɥɹɸɳɚɹ ɩɟɪɟɢɡɞɚɧɢɹ ɩɪɨɢɡɜɟɞɟɧɢɣ ɚɜɬɨɪɨɜ-ɠɟɧɳɢɧ ɪɭɛɟɠɚ XIX–XX ɜɜ.2
________________
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Ɇ.ȼ. Ɇ ɢ ɯ ɚ ɣ ɥ ɨ ɜ ɚ, ɉɢɫɚɬɟɥɶɧɢɰɵ ɋɟɪɟɛɪɹɧɨɝɨ ɜɟɤɚ ɜ ɥɢɬɟɪɚɬɭɪɧɨɦ ɤɨɧɬɟɤɫɬɟ
ɷɩɨɯɢ, „ȼɟɫɬɧɢɤ Ɇɨɫɤɨɜɫɤɨɝɨ ɍɧɢɜɟɪɫɢɬɟɬɚ”, cɟɪ. 9: „Ɏɢɥɨɥɨɝɢɹ” 2001, ʋ 1, ɫ. 43.
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Ʉɪɨɦɟ ɪɭɫɫɤɢɯ ɢɡɞɚɧɢɣ ɫɬɨɢɬ ɬɚɤɠɟ ɨɛɪɚɬɢɬɶ ɜɧɢɦɚɧɢɟ ɧɚ ɩɨɜɵɲɟɧɧɵɣ ɢɧɬɟɪɟɫ
ɤ ɬɜɨɪɱɟɫɬɜɭ ɐɜɟɬɚɟɜɨɣ ɧɚ ɚɧɝɥɨɹɡɵɱɧɨɦ ɢɡɞɚɬɟɥɶɫɤɨɦ ɪɵɧɤɟ. ɋɪɟɞɢ ɦɧɨɝɢɯ ɩɟɪɟɜɨɞɱɟɫɤɢɯ
ɬɪɭɞɨɜ ɫɬɨɢɬ ɧɚɡɜɚɬɶ ɮɚɦɢɥɢɸ ɗ. Ɏɟɣɧɲɬɚɣɧ, ɤɨɬɨɪɚɹ ɜ 2009 ɝ. ɢɡɞɚɥɚ ɫɥɟɞɭɸɳɟɟ ɫɨɛɪɚɧɢɟ ɫɬɢɯɨɬɜɨɪɟɧɢɣ ɐɜɟɬɚɟɜɨɣ (ɩɟɪɜɨɟ – ɨɬ 1961 ɝ., ɞɜɚɠɞɵ ɢɡɞɚɜɚɥɨɫɶ ɜ 1971 ɢ 1987, ɜɬɨ-
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Ⱥ. ɏ ɪ ɵ ɧ ɵ ɤ
ɋɜɨɟ ɜɥɢɹɧɢɟ ɨɤɚɡɚɥɨɫɶ ɬɨɠɟ ɩɨɹɜɥɟɧɢɟ ɢ ɲɢɪɨɤɨɟ ɪɚɫɩɪɨɫɬɪɚɧɟɧɢɟ ɧɨɜɵɯ
ɦɟɬɨɞɨɥɨɝɢɱɟɫɤɢɯ ɧɚɩɪɚɜɥɟɧɢɣ, ɬɚɤɢɯ ɤɚɤ ɮɟɦɢɧɢɫɬɫɤɚɹ ɥɢɬɟɪɚɬɭɪɧɚɹ ɤɪɢɬɢɤɚ, ɬɟɨɪɢɹ ɝɟɧɞɟɪ ɢ ɤɜɢɪ ɢ ɩɨɫɬɤɨɥɨɧɢɚɥɶɧɵɟ ɢɫɫɥɟɞɨɜɚɧɢɹ.
ɉɪɟɞɥɚɝɚɟɦɵɣ ɜ ɧɚɫɬɨɹɳɟɣ ɫɬɚɬɶɟ ɩɨɞɯɨɞ ɡɚɤɥɸɱɚɟɬɫɹ ɜ ɨɛɪɚɳɟɧɢɢ ɤ ɥɢɬɟɪɚɬɭɪɟ ɧɚɱɚɥɚ XX ɫɬɨɥɟɬɢɹ – ɚ ɢɦɟɧɧɨ ɤ ɯɭɞɨɠɟɫɬɜɟɧɧɨɦɭ ɧɚɫɥɟɞɢɸ Ɇɚɪɢɧɵ ɂɜɚɧɨɜɧɵ ɐɜɟɬɚɟɜɨɣ – ɜ ɤɨɧɬɟɤɫɬɟ ɝɟɧɞɟɪɨɥɨɝɢɢ, ɬ.ɟ. ɦɟɬɨɞɨɥɨɝɢɱɟɫɤɨɝɨ
ɧɚɩɪɚɜɥɟɧɢɹ, ɜɨɡɧɢɤɲɟɝɨ ɜ ɝɭɦɚɧɢɬɚɪɧɵɯ ɧɚɭɤɚɯ ɧɚ ɩɪɨɬɹɠɟɧɢɢ ɬɪɟɯ ɩɨɫɥɟɞɧɢɯ ɞɟɫɹɬɢɥɟɬɢɣ XX ɜɟɤɚ3. ɏɨɬɹ ɩɨɩɵɬɤɢ ɨɫɨɡɧɚɬɶ ɬɜɨɪɱɟɫɬɜɨ ɚɜɬɨɪɚ ɉɢɫɶɦɚ
ɤ Ⱥɦɚɡɨɧɤɟ ɫ ɜɵɲɟɭɩɨɦɹɧɭɬɵɯ ɩɨɡɢɰɢɣ ɭɠɟ ɩɪɟɞɩɪɢɧɢɦɚɥɢɫɶ ɫɨɜɪɟɦɟɧɧɵɦɢ
ɢɫɫɥɟɞɨɜɚɬɟɥɹɦɢ, ɩɨɡɜɨɥɹɹ ɜ ɪɹɞɟ ɫɥɭɱɚɟɜ ɩɨɥɭɱɢɬɶ ɨɱɟɧɶ ɢɧɬɟɪɟɫɧɵɟ ɢɬɨɝɢ,
ɨɧɢ, ɬɟɦ ɧɟ ɦɟɧɟɟ, ɢɦɟɸɬ ɮɪɚɝɦɟɧɬɚɪɧɵɣ ɯɚɪɚɤɬɟɪ4. ȼ ɪɟɡɭɥɶɬɚɬɟ ɜɨɩɪɨɫ ɨ ɜɨɡɦɨɠɧɨɫɬɢ ɢɡɭɱɟɧɢɹ ɝɟɧɞɟɪɧɨɣ ɩɪɨɛɥɟɦɚɬɢɤɢ ɜ ɯɭɞɨɠɟɫɬɜɟɧɧɵɯ ɬɟɤɫɬɚɯ ɐɜɟɬɚɟɜɨɣ ɧɟ ɞɨɠɞɚɥɫɹ ɤɨɦɩɥɟɤɫɧɨɝɨ ɨɛɫɭɠɞɟɧɢɹ. ɉɨɷɬɨɦɭ ɫɱɢɬɚɸ ɰɟɥɟɫɨɨɛɪɚɡɧɵɦ
ɧɚɱɟɪɬɢɬɶ ɫɨɜɨɤɭɩɧɨɫɬɶ ɫɜɨɣɫɬɜ ɢ ɨɫɨɛɟɧɧɨɫɬɟɣ oeuvre ɐɜɟɬɚɟɜɨɣ, ɫɩɨɫɨɛɫɬɜɭɸɳɢɯ ɜɵɹɜɥɟɧɢɸ ɢɧɬɟɪɟɫɭɸɳɟɣ ɦɟɧɹ ɩɪɨɛɥɟɦɚɬɢɤɢ5. ɂɬɚɤ, ɦɨɟ ɜɧɢɦɚɧɢɟ ɛɭɞɟɬ ɚɤɰɟɧɬɢɪɨɜɚɬɶɫɹ ɧɚ ɫɥɟɞɭɸɳɢɯ ɜɨɩɪɨɫɚɯ:
• ɠɟɧɳɢɧɚ-ɩɢɫɚɬɟɥɶɧɢɰɚ;
• ɯɭɞɨɠɧɢɰɚ, ɫɬɪɟɦɹɳɚɹɫɹ ɡɚɳɢɬɢɬɶ ɫɜɨɟ ɩɪɚɜɨ ɧɚ ɬɜɨɪɱɟɫɬɜɨ;
• ɠɟɧɳɢɧɚ, ɩɢɲɭɳɚɹ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɢɣ ɬɟɤɫɬ;
• ɩɟɪɮɨɪɦɚɬɢɜɧɨɫɬɶ ɝɟɧɞɟɪɚ;
• ɩɨɷɬɟɫɫɚ, ɧɚɪɭɲɚɸɳɚɹ ɧɨɪɦɭ, ɝɟɧɞɟɪɧɭɸ ɪɨɥɶ;
• ɫɬɪɚɬɟɝɢɢ ɩɢɫɶɦɚ – ɚɩɨɤɪɢɮɚ.
________________
ɪɨɟ – ɨɬ 1976 ɝ.): M. T s v e t a e v a, Bride of Ice. New Selected Poems, ɩɟɪ. E. Feinstein,
Manchester 2009. Ⱥɧɚɥɨɝɢɱɧɚɹ ɩɟɪɟɜɨɞɱɟɫɤɚɹ ɢɥɢ ɢɡɞɚɬɟɥɶɫɤɚɹ ɩɪɚɤɬɢɤɚ ɧɟ ɨɫɭɳɟɫɬɜɥɹɟɬɫɹ
ɜ ɉɨɥɶɲɟ.
3
Ɉɩɪɟɞɟɥɹɸɳɢɦɢ ɛɭɞɭɬ ɡɧɚɤɨɜɵɟ ɹɜɥɟɧɢɹ: ɜɵɫɬɭɩɥɟɧɢɟ ɧɚ ɩɫɢɯɨɚɧɚɥɢɬɢɱɟɫɤɨɦ ɤɨɧɝɪɟɫɫɟ Ɋ. ɋɬɨɥɥɟɪɚ ɜ 1964 ɝ. ɢ ɜɵɩɭɫɤ ɟɝɨ ɤɧɢɝɢ Sex and Gender: On the Development of
Masculinity and Femininity (1968); ɜɵɩɭɫɤ ɤɧɢɝ: K. Millet, Sexual Politics (1970), A. Oakley,
Sex, Gender and Society (1972), M. Foucault, The History of Sexuality (1976), N. Chodorow The
Reproducing of Mothering: Psychoanalysis and Sociology of Gender (1978), J. Butler, Gender
Trouble: Feminism and the Subversion of Identity (1990). ȼ 1991 ɝ. Ɍ. De Lauretis ɜɜɨɞɢɬ ɜ ɞɢɫɤɭɪɫ ɩɨɧɹɬɢɟ „ɤɜɢɪ”. ɉɨɞɪɨɛɧɟɟ ɫɦ.: H. ɉ ɭ ɲ ɤ ɚ ɪ ɟ ɜ ɚ, Ƚɟɧɞɟɪɧɚɹ ɬɟɨɪɢɹ ɢ ɢɫɬɨɪɢɱɟɫɤɨɟ
ɡɧɚɧɢɟ, ɋɚɧɤɬ-ɉɟɬɟɪɛɭɪɝ 2007; A. B u r z y Ĕ s k a, FEMINIZM, GENDER i QUERR, [w:] Teorie literatury XX wieku, red. A. BurzyĔska, M.P. Markiewicz, Kraków 2006, ɫ. 389–473.
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ɋɪ.: A.W. D i n e g a, A Russian Psyche. The Poetic Mind of Marina Tsvetaeva, Wisconsin
2001; L. F e i l e r, Marina Tsvetaeva. The Double Beat of Heaven and Hell, Durham–London
1994; M. S t a d t e r F o x, The Troubling Play of Gender. The Phædra Dramas of Tsvetaeva,
Yourcenar, and H.D., Susquehanna–London 2001; ɂ.ɉ. Ɂ ɚ ɣ ɰ ɟ ɜ ɚ, Ƚɟɧɞɟɪɧɨɟ ɫɜɨɟɨɛɪɚɡɢɟ
ɢɧɞɢɜɢɞɭɚɥɶɧɵɯ ɞɢɫɤɭɪɫɨɜ ɝɟɪɨɟɜ ɬɪɚɝɟɞɢɢ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ „Ⱥɪɢɚɞɧɚ”, [ɜ:] Ʌɢɤɢ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ, ɪɟɞ. ɂ.ɘ. Ȼɟɥɹɤɨɜɚ, Ɇɨɫɤɜɚ 2006, ɫ. 265–280.
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ɉɨɫɤɨɥɶɤɭ ɦɨɢ ɡɚɦɟɱɚɧɢɹ ɨɬɧɨɫɹɬɫɹ ɧɟ ɬɨɥɶɤɨ ɤ ɬɟɨɪɢɢ ɝɟɧɞɟɪɚ, ɧɨ ɢ ɤ ɮɟɦɢɧɢɫɬɫɤɨɣ ɥɢɬɟɪɚɬɭɪɧɨɣ ɤɪɢɬɢɤɟ, ɚ ɬɚɤɠɟ ɤ ɬɟɨɪɢɢ ɤɜɢɪ (ɬɚɤ ɤɚɤ ɜɫɟ ɷɬɢ ɧɚɩɪɚɜɥɟɧɢɹ ɫɜɹɡɚɧɵ
ɞɪɭɝ ɫ ɞɪɭɝɨɦ), ɜ ɪɚɦɤɚɯ ɧɚɫɬɨɹɳɟɣ ɫɬɚɬɶɢ ɹ ɪɟɲɢɥɚ – ɧɟɦɧɨɝɨ ɢɫɤɭɫɫɬɜɟɧɧɨ – ɨɝɪɚɧɢɱɢɬɶɫɹ ɨɛɫɭɠɞɟɧɢɟɦ ɩɪɨɛɥɟɦɵ ɜ ɤɨɧɬɟɤɫɬɟ ɝɟɧɞɟɪɨɥɨɝɢɢ.
Ɍɜɨɪɱɟɫɬɜɨ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ ɜ ɤɨɧɬɟɤɫɬɟ ɝɟɧɞɟɪɧɵɯ ɢɫɫɥɟɞɨɜɚɧɢɣ
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ɇɟɤɨɬɨɪɵɟ ɢɡ ɧɢɯ ɹ ɪɟɲɢɥɚ ɨɛɫɭɞɢɬɶ ɛɨɥɟɟ ɩɨɞɪɨɛɧɨ, ɨɫɬɚɥɶɧɵɟ ɬɨɥɶɤɨ
ɡɚɬɪɨɧɭɬɶ ɢ ɨɬɦɟɬɢɬɶ ɢɯ ɡɧɚɱɢɦɨɫɬɶ ɢ ɩɥɨɞɨɬɜɨɪɧɵɣ, ɫ ɬɨɱɤɢ ɡɪɟɧɢɹ ɝɟɧɞɟɪɨɥɨɝɢɢ, ɯɚɪɚɤɬɟɪ.
ɉɨɹɜɥɟɧɢɟ ɧɚ ɪɭɛɟɠɟ XIX ɢ XX ɜɟɤɨɜ – ɩɪɢɱɟɦ ɫɪɚɡɭ ɢ ɜ ɦɚɫɫɤɭɥɶɬɭɪɧɨɦ ɢ ɷɥɢɬɚɪɧɨɦ ɫɥɨɹɯ ɤɭɥɶɬɭɪɵ – „ɩɪɨɮɟɫɫɢɨɧɚɥɶɧɵɯ ɥɢɬɟɪɚɬɨɪɨɜ-ɠɟɧɳɢɧ”
ɜ ɧɚɫɬɨɹɳɟɣ ɥɢɬɟɪɚɬɭɪɟ Ɋɨɫɫɢɢ ɨɛɵɱɧɨ ɫɜɹɡɵɜɚɟɬɫɹ ɫ ɢɦɟɧɚɦɢ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ ɢ Ⱥɧɧɵ Ⱥɯɦɚɬɨɜɨɣ. ɋɬɨɢɬ ɨɞɧɚɤɨ ɩɨɦɧɢɬɶ, ɱɬɨ ɨɛɟ ɩɨɷɬɟɫɫɵ ɛɵɥɢ ɞɚɥɟɤɨ ɧɟ ɩɟɪɜɵɦɢ ɠɟɧɳɢɧɚɦɢ ɜ ɢɫɬɨɪɢɢ ɪɭɫɫɤɨɣ ɥɢɬɟɪɚɬɭɪɵ. ɗɬɨ ɫɬɟɪɟɨɬɢɩɧɨɟ ɭɛɟɠɞɟɧɢɟ ɩɨɞɞɟɪɠɢɜɚɟɬɫɹ ɡɚɦɚɥɱɢɜɚɧɢɟɦ ɨ ɬɜɨɪɱɟɫɬɜɟ ɯɨɬɹ ɛɵ Ⱥɧɧɵ
Ȼɭɧɢɧɨɣ ɢɥɢ Ʉɚɪɨɥɢɧɵ ɉɚɜɥɨɜɨɣ6, ɱɶɢ ɩɪɨɢɡɜɟɞɟɧɢɹ ɧɟ ɬɨɥɶɤɨ ɯɪɨɧɨɥɨɝɢɱɟɫɤɢ ɩɪɟɞɲɟɫɬɜɨɜɚɥɢ ɰɜɟɬɚɟɜɫɤɢɦ ɢ ɚɯɦɚɬɨɜɫɤɢɦ, ɧɨ ɬɚɤɠɟ ɹɜɥɹɥɢɫɶ ɫɜɨɟɝɨ
ɪɨɞɚ ɨɪɢɟɧɬɢɪɨɦ ɞɥɹ ɩɢɲɭɳɢɯ ɠɟɧɳɢɧ. Ɍɟɦ ɧɟ ɦɟɧɟɟ, ɜɩɨɥɧɟ ɩɪɚɜɨɦɟɪɧɨ
ɭɬɜɟɪɠɞɚɬɶ, ɱɬɨ ɞɨ ɬɨɝɨ ɩɟɪɟɥɨɦɧɨɝɨ ɦɨɦɟɧɬɚ ɫɭɳɟɫɬɜɨɜɚɜɲɚɹ ɫ ɜɨɫɟɦɧɚɞɰɚɬɨɝɨ ɜɟɤɚ ɠɟɧɫɤɚɹ ɥɢɬɟɪɚɬɭɪɚ ɫɱɢɬɚɥɚɫɶ ɩɪɟɢɦɭɳɟɫɬɜɟɧɧɨ ɫɚɥɨɧɧɨɣ ɢ ɧɢɤɬɨ
ɧɟ ɪɚɫɫɦɚɬɪɢɜɚɥ ɟɟ ɜɫɟɪɶɟɡ, ɚ „ɥɢɲɶ ɤɚɤ ɢɡɹɳɧɨɟ ɡɚɧɹɬɢɟ ɞɥɹ ɨɛɪɚɡɨɜɚɧɧɵɯ
ɠɟɧɳɢɧ, ɧɚɪɹɞɭ ɫ ɦɭɡɢɰɢɪɨɜɚɧɢɟɦ ɢ ɜɵɲɢɜɚɧɢɟɦ”7.
ɐɜɟɬɚɟɜɚ, ɜɨɲɟɞɲɚɹ ɜ ɪɭɫɫɤɭɸ ɥɢɬɟɪɚɬɭɪɭ ɜ ɜɨɡɪɚɫɬɟ 17 ɥɟɬ ɫɛɨɪɧɢɤɨɦ
ɫɬɢɯɨɬɜɨɪɟɧɢɣ ȼɟɱɟɪɧɢɣ ɚɥɶɛɨɦ (1910), ɫ ɦɨɦɟɧɬɚ ɫɜɨɟɝɨ ɞɟɛɸɬɚ ɩɨɥɧɨɫɬɶɸ
ɩɪɨɬɢɜɨɪɟɱɢɥɚ ɬɚɤɨɣ ɦɨɞɟɥɢ. ɋɛɨɪɧɢɤ, ɢɡɞɚɧɧɵɣ ɫɨɛɫɬɜɟɧɧɵɦ ɫɱɟɬɨɦ, ɜɬɚɣɧɟ ɨɬ ɪɨɞɢɬɟɥɟɣ, ɨɱɟɧɶ ɩɨɥɨɠɢɬɟɥɶɧɨ ɩɪɢɜɟɬɫɬɜɨɜɚɥɚ „ɦɭɠɫɤɚɹ” ɤɪɢɬɢɤɚ8,
ɚ ɬɟɦɚɬɢɤɚ ɩɪɨɢɡɜɟɞɟɧɢɣ ɪɚɡɪɭɲɚɥɚ ɫɬɟɪɟɨɬɢɩɧɵɟ ɩɪɟɞɫɬɚɜɥɟɧɢɹ ɨ ɩɪɢɪɨɞɟ
„ɠɟɧɫɤɨɝɨ ɬɜɨɪɱɟɫɬɜɚ”9, ɦɟɧɹɹ ɢɯ ɤɨɪɟɧɧɵɦ ɨɛɪɚɡɨɦ. Ɉɞɧɚɤɨ ɜɟɫɶɦɚ ɩɨɤɚɡɚɬɟɥɶɧɵɦ ɩɪɟɞɫɬɚɜɥɹɟɬɫɹ ɮɚɤɬ, ɱɬɨ Ɇɚɪɢɧɭ ɂɜɚɧɨɜɧɭ, ɧɚɪɹɞɭ ɫɨ ɫɬɪɟɦɥɟɧɢɟɦ
ɝɪɨɦɤɨ ɢ ɨɬɱɟɬɥɢɜɨ ɜɵɫɤɚɡɚɬɶ ɫɜɨɟ ɋɥɨɜɨ, ɫ ɫɚɦɨɝɨ ɧɚɱɚɥɚ ɩɨɫɬɨɹɧɧɨ ɛɟɫɩɨɤɨɢɥ ɜɨɩɪɨɫ ɨɛ ɢɞɟɧɬɢɱɧɨɫɬɢ: ɟɟ ɫɚɦɨɣ ɤɚɤ ɯɭɞɨɠɧɢɤɚ, ɚ ɬɚɤɠɟ ɩɪɢɪɨɞɵ ɟɟ
ɩɨɷɬɢɱɟɫɤɨɝɨ ɜɞɨɯɧɨɜɟɧɢɹ. ɉɨɫɤɨɥɶɤɭ ɬɪɚɞɢɰɢɟɣ ɭɬɜɟɪɠɞɟɧɨ, ɱɬɨ ɦɭɡɚ ɩɨɷɬɨɜ ɹɜɥɹɟɬɫɹ ɠɟɧɫɤɨɣ10, ɱɬɨ ɫɥɭɱɚɟɬɫɹ, ɤɨɝɞɚ ɩɨɷɬ – ɷɬɨ ɠɟɧɳɢɧɚ?11. ɐɜɟɬɚɟɜɚ
________________
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ɉɨɞɪɨɛɧɨ ɨ Ⱥ. Ȼɭɧɢɧɨɣ ɢ Ʉ. ɉɚɜɥɨɜɨɣ ɫɦ., ɧɚɩɪɢɦɟɪ: Dictionary of Russian Women
Writers, ɪɟɞ. M. Ledkovsky, Ch. Rosenthal, M. Zirin, London 1994.
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ɂ. Ɍ ɚ ɪ ɬ ɚ ɤ ɨ ɜ ɫ ɤ ɚ ɹ, Ɋɟɩɪɟɡɟɧɬɚɰɢɹ ɩɨɥɚ ɜ ɬɪɚɞɢɰɢɨɧɧɨɣ ɢ ɫɨɜɪɟɦɟɧɧɨɣ ɪɭɫɫɤɨɣ
ɤɭɥɶɬɭɪɟ. ɋɨɰɢɨɥɨɝɢɹ ɩɨɥɚ ɢ ɫɟɦɶɢ, ɋɚɦɚɪɚ 1997.
8
ɋɪɟɞɢ ɷɬɢɯ ɤɪɢɬɢɤɨɜ ɧɚɯɨɞɢɥɫɹ, ɦɟɠɞɭ ɩɪɨɱɢɦ, Ɇɚɤɫɢɦɢɥɢɚɧ ȼɨɥɨɲɢɧ, ɩɨɷɬ ɢ ɯɭɞɨɠɧɢɤ, ɫ ɤɨɬɨɪɵɦ Ɇɚɪɢɧɚ ɐɜɟɬɚɟɜɚ ɞɪɭɠɢɥɚ ɦɧɨɝɨ ɥɟɬ ɢ ɤɨɬɨɪɨɦɭ ɩɨɫɜɹɬɢɥɚ ɷɫɫɟ ɀɢɜɨɟ
ɨ ɠɢɜɨɦ (1932).
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ɋɬɟɪɟɨɬɢɩɧɨɟ ɦɧɟɧɢɟ ɧɚ ɬɟɦɭ ɩɪɢɪɨɞɵ ɠɟɧɫɤɨɝɨ ɬɜɨɪɱɟɫɬɜɚ, ɜɵɫɤɚɡɚɧɧɨɟ ɩɨɷɬɨɦ
ȼ. Ȼɪɸɫɨɜɵɦ, ɩɨɦɟɫɬɢɥɚ ɐɜɟɬɚɟɜɚ ɜ Ƚɟɪɨɟ ɬɪɭɞɚ:
ɀɟɧɳɢɧɚ. Ʌɸɛɨɜɶ. ɋɬɪɚɫɬɶ. ɀɟɧɳɢɧɚ, ɫ ɧɚɱɚɥɚ ɜɟɤɨɜ, ɭɦɟɥɚ ɩɟɬɶ ɬɨɥɶɤɨ ɨ ɥɸɛɜɢ ɢ ɫɬɪɚɫɬɢ.
ȿɞɢɧɫɬɜɟɧɧɚɹ ɫɬɪɚɫɬɶ ɠɟɧɳɢɧɵ – ɥɸɛɨɜɶ. Ʉɚɠɞɚɹ ɥɸɛɨɜɶ ɠɟɧɳɢɧɵ – ɫɬɪɚɫɬɶ. ȼɧɟ ɥɸɛɜɢ ɠɟɧɳɢɧɚ,
ɜ ɬɜɨɪɱɟɫɬɜɟ, ɧɢɱɬɨ. Ɉɬɧɢɦɢɬɟ ɭ ɠɟɧɳɢɧɵ ɫɬɪɚɫɬɶ... ɀɟɧɳɢɧɚ... Ʌɸɛɨɜɶ... ɋɬɪɚɫɬɶ...
Ɇ. ɐ ɜ ɟ ɬ ɚ ɟ ɜ ɚ, Ƚɟɪɨɣ ɬɪɭɞɚ, [ɜ:] ɟɟ ɠɟ, Ƚɨɫɩɨɞɢɧ ɦɨɣ – ȼɊȿɆə, Ɇɨɫɤɜɚ 2002, ɫ. 141.
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Ⱥɯɦɚɬɨɜɚ, ɧɚɩɪɢɦɟɪ, ɭɬɜɟɪɠɞɚɥɚ, ɱɬɨ ɟɟ ɜɞɨɯɧɨɜɟɧɢɟ ɩɪɟɨɛɪɚɠɚɟɬɫɹ ɜ ɦɨɥɨɞɨɝɨ ɦɭɠɱɢɧɭ.
11
ɗɬɨɬ ɜɨɩɪɨɫ ɨɛɫɭɠɞɚɟɬɫɹ Ⱥ. Ⱦɢɧɟɝɨɣ ɜ ɭɩɨɦɹɧɭɬɨɣ ɦɨɧɨɝɪɚɮɢɢ, ɩɨɫɜɹɳɟɧɧɨɣ
Ɇ. ɐɜɟɬɚɟɜɨɣ. ɋɦ.: A.W. D i n e g a, A Russian Psyche..., ɭɤɚɡ. ɫɨɱ.
Ⱥ. ɏ ɪ ɵ ɧ ɵ ɤ
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ɩɨ-ɪɚɡɧɨɦɭ ɫɬɚɪɚɥɚɫɶ ɪɟɲɢɬɶ ɷɬɭ ɩɪɨɛɥɟɦɭ. Ɍɚɤ, ɧɚɩɪɢɦɟɪ, ɜ ɩɨɷɦɟ ɇɚ ɤɪɚɫɧɨɦ ɤɨɧɟ (1921), ɩɨɫɜɹɳɟɧɧɨɣ Ⱥɯɦɚɬɨɜɨɣ, ɰɜɟɬɚɟɜɫɤɚɹ ɦɭɡɚ ɩɪɟɨɛɪɚɠɚɟɬɫɹ ɜɨ
ɜɫɚɞɧɢɤɚ ɧɚ ɤɪɚɫɧɨɦ ɤɨɧɟ, ɧɨ – ɩɚɪɚɞɨɤɫɚɥɶɧɨ – ɢɦɹ ɤɨɧɹ (ɉɟɝɚɫ – ɫɢɦɜɨɥ
ɬɜɨɪɱɟɫɤɨɣ ɨɞɚɪɟɧɧɨɫɬɢ) ɧɟ ɩɪɨɢɡɧɨɫɢɬɫɹ. ɉɨɷɦɚ ɧɚɱɢɧɚɟɬɫɹ ɢ ɡɚɤɚɧɱɢɜɚɟɬɫɹ
ɨɬɜɟɪɠɟɧɢɟɦ ɠɟɧɫɤɨɣ ɦɭɡɵ, ɤɨɬɨɪɚɹ ɨɩɪɟɞɟɥɹɟɬɫɹ ɤɚɤ ɠɟɫɬɨɤɚɹ:
ɇɟ Ɇɭɡɚ, ɧɟ Ɇɭɡɚ
ɇɚɞ ɛɟɞɧɨɸ ɥɸɥɶɤɨɣ
Ɇɧɟ ɩɟɥɚ, ɡɚ ɪɭɱɤɭ ɜɨɞɢɥɚ.
ɇɟ Ɇɭɡɚ ɯɨɥɨɞɧɵɟ ɪɭɤɢ ɦɧɟ ɝɪɟɥɚ,
Ƚɨɪɹɱɢɟ ɜɟɤɢ ɫɬɭɞɢɥɚ.
ȼɢɯɨɪ ɨɬɨ ɥɛɚ ɨɬɜɨɞɢɥɚ – ɧɟ Ɇɭɡɚ,
ȼ ɛɨɥɶɲɢɟ ɩɨɥɹ ɭɜɨɞɢɥɚ – ɧɟ Ɇɭɡɚ.
ɇɟ Ɇɭɡɚ, ɧɟ Ɇɭɡɚ, – ɧɟ ɛɪɟɧɧɵɟ ɭɡɵ
Ɋɨɞɫɬɜɚ, – ɧɟ ɬɜɨɢ ɩɭɬɵ,
Ɉ Ⱦɪɭɠɛɚ! – ɇɟ ɠɟɧɫɤɨɣ ɪɭɤɨɣ, – ɥɸɬɨɣ,
Ɂɚɬɹɧɭɬ ɧɚ ɦɧɟ –
ɍɡɟɥ12.
ɉɪɚɜɨɦɟɪɧɨ ɩɨɥɚɝɚɬɶ, ɱɬɨ ɬɚɤɨɟ ɪɟɲɟɧɢɟ ɩɪɢɜɟɥɨ ɐɜɟɬɚɟɜɭ ɤ ɩɨɫɬɨɹɧɧɨɦɭ ɢɫɩɵɬɚɧɢɸ ɦɭɱɢɬɟɥɶɧɨɝɨ ɩɪɨɬɢɜɨɪɟɱɢɹ. ɋ ɨɞɧɨɣ ɫɬɨɪɨɧɵ, ɫɬɚɜɹ ɜɨɩɪɨɫ
ɨ ɩɪɢɪɨɞɟ ɩɨɷɬɢɱɟɫɤɨɝɨ ɜɞɨɯɧɨɜɟɧɢɹ, ɐɜɟɬɚɟɜɚ ɩɨɫɬɚɜɢɥɚ ɩɨɞ ɫɨɦɧɟɧɢɟ ɭɤɨɪɟɧɢɜɲɟɟɫɹ ɜ ɬɪɚɞɢɰɢɢ ɧɚ ɩɪɨɬɹɠɟɧɢɢ ɜɟɤɨɜ ɭɬɜɟɪɠɞɟɧɢɟ ɨ ɩɪɢɫɭɳɢɯ ɢɫɤɥɸɱɢɬɟɥɶɧɨ ɦɭɠɱɢɧɚɦ ɬɜɨɪɱɟɫɤɢɯ ɫɩɨɫɨɛɧɨɫɬɹɯ (ɛɭɞɬɨ ɝɟɧɟɬɢɱɟɫɤɢ ɡɚɤɪɟɩɥɟɧɧɵɯ).
Ɍɚ ɠɟ ɬɪɚɞɢɰɢɹ ɩɪɢɩɢɫɚɥɚ ɠɟɧɳɢɧɟ ɪɨɥɶ ɦɭɡɵ, ɧɨ ɧɟ ɬɜɨɪɹɳɟɝɨ13 ɫɭɛɴɟɤɬɚ.
Ɋɚɡɪɭɲɚɹ ɯɪɚɦ ɬɪɚɞɢɰɢɨɧɧɨɝɨ ɢɫɤɭɫɫɬɜɚ14, ɐɜɟɬɚɟɜɚ ɧɚɩɨɦɢɧɚɟɬ ɨ ɜɨɡɜɪɚɳɟɧɢɢ ɠɟɧɳɢɧɚɦ ɞɨɥɠɧɨɝɨ, ɪɚɜɧɨɩɪɚɜɧɨɝɨ (ɦɭɠɫɤɨɦɭ) ɦɟɫɬɚ ɜ ɫɮɟɪɟ ɯɭɞɨɠɟɫɬɜɟɧɧɨɣ ɞɟɹɬɟɥɶɧɨɫɬɢ. ɋ ɞɪɭɝɨɣ – ɨɬɪɢɰɚɹ ɠɟɧɫɤɭɸ ɦɭɡɭ, ɨɧɚ ɩɨɥɧɨɫɬɶɸ
ɢɫɤɥɸɱɚɟɬ ɠɟɧɫɤɨɟ ɧɚɱɚɥɨ ɢɡ ɬɜɨɪɱɟɫɤɨɝɨ ɩɪɨɰɟɫɫɚ15. Ɍɟɦ ɫɚɦɵɦ ɭɬɜɟɪɠɞɚɥɚɫɶ ɦɵɫɥɶ, ɱɬɨ ɯɭɞɨɠɟɫɬɜɟɧɧɨɟ ɬɜɨɪɱɟɫɬɜɨ – ɞɟɥɨ ɧɟ ɠɟɧɫɤɨɟ ɢ ɭɫɩɟɯ ɜɨɡɦɨɠɟɧ ɥɢɲɶ ɧɚ ɩɭɬɹɯ ɩɪɢɫɜɨɟɧɢɹ ɦɭɠɫɤɨɣ ɢɞɟɧɬɢɱɧɨɫɬɢ.
Ɍɚɤɨɣ ɩɨɞɯɨɞ ɨɛɴɹɫɧɹɟɬɫɹ ɬɟɦ, ɱɬɨ ɞɨɥɝɨɟ ɜɪɟɦɹ ɨɩɪɟɞɟɥɟɧɢɟ „ɠɟɧɫɤɚɹ”
ɩɨ ɨɬɧɨɲɟɧɢɸ ɤ „ɥɢɬɟɪɚɬɭɪɟ” ɜɨɫɩɪɢɧɢɦɚɥɨɫɶ ɧɟɝɚɬɢɜɧɨ, ɛɵɥɨ ɢɪɨɧɢɱɟɫɤɢɦ
ɹɪɥɵɤɨɦ, ɫɱɢɬɚɥɨɫɶ ɨɬɤɥɨɧɟɧɢɟɦ ɨɬ ɧɨɪɦɵ, ɩɪɢɨɛɪɟɬɚɹ ɤɨɧɧɨɬɚɰɢɸ „ɜɬɨɪɢɱ________________
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Ɇ. ɐ ɜ ɟ ɬ ɚ ɟ ɜ ɚ, ɇɚ ɤɪɚɫɧɨɦ ɤɨɧɟ, http://www.tsvetayeva.com/big_poems/po_na_
krasnom_kone.php (03.04.2012).
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Ƚɨɜɨɪɹɳɟɝɨ ɫɨɛɫɬɜɟɧɧɵɦ ɝɨɥɨɫɨɦ – ɢɫɩɨɥɶɡɭɹ ɨɩɪɟɞɟɥɟɧɢɟ ɗɥɟɧ ɋɢɤɫɭ, ɚɜɬɨɪɚ ɫɬɚɜɲɟɣ ɡɧɚɤɨɜɨɣ ɫɬɚɬɶɢ ɏɨɯɨɬ ɦɟɞɭɡɵ. ɋɦ. H. C i x o u s, ĝmiech Meduzy, przekł. A. Nasiłowska,
[ɜ:] Ciało i tekst. Feminizm w literaturoznawstwie – antologia szkiców, red. A. Nasiłowska, Warszawa 2001.
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Ɇɟɬɚɮɨɪɚ ɨɬɧɨɫɢɬɫɹ ɤ ɬɟɤɫɬɭ: „Ʉɚɤ ɛɭɞɬɨ ɛɵ ɜɶɸɝɨɣ ɜɡɞɵɛɥɟɧ||ɋɬɨɝɥɚɜɵɣ ɯɪɚɦ.
[...] ɒɚɬɚɟɬɫɹ ɤɭɩɨɥ. – Ɋɭɯɚɣ,||ɋɨɧɦ ɫɢɥ ɢ ɫɥɚɜ!” http://www.tsvetayeva.com/big_poems/po_
na_krasnom_kone.php (03.04.2012).
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ȼ ɫɥɟɞɭɸɳɢɯ ɢɡɞɚɧɢɹɯ ɩɨɷɦɵ ɩɨɫɜɹɳɟɧɢɟ Ⱥɯɦɚɬɨɜɨɣ ɜɵɱɟɪɤɧɭɬɨ ɐɜɟɬɚɟɜɨɣ.
Ɍɜɨɪɱɟɫɬɜɨ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ ɜ ɤɨɧɬɟɤɫɬɟ ɝɟɧɞɟɪɧɵɯ ɢɫɫɥɟɞɨɜɚɧɢɣ
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ɧɨɝɨ”, „ɯɭɞɲɟɝɨ”, „ɩɪɨɢɡɜɨɞɧɨɝɨ ɨɬ ɱɟɝɨ-ɬɨ”. ȼ ɫɜɨɸ ɨɱɟɪɟɞɶ ɧɨɪɦɨɣ, ɬɨɱɤɨɣ
ɨɬɫɱɟɬɚ ɜɫɟɝɞɚ ɹɜɥɹɥɨɫɶ ɦɭɠɫɤɨɟ ɩɟɪɨ, ɦɭɠɫɤɨɣ ɜɡɝɥɹɞ, ɚ ɧɟɞɨɫɬɚɬɤɢ ɢ ɞɨɫɬɨɢɧɫɬɜɚ „ɠɟɧɫɤɨɣ ɥɢɬɟɪɚɬɭɪɵ” ɨɩɪɟɞɟɥɹɥɢɫɶ ɩɨ ɫɪɚɜɧɟɧɢɸ ɫ ɥɭɱɲɢɦɢ ɨɛɪɚɡɰɚɦɢ ɬɚɤ ɧɚɡɵɜɚɟɦɨɣ „ɦɭɠɫɤɨɣ” ɥɢɬɟɪɚɬɭɪɵ16. ɉɨɷɬɨɦɭ ɡɜɭɱɚɜɲɢɟ ɨɫɤɨɪɛɢɬɟɥɶɧɨ ɫɥɨɜɚ „ɩɢɫɚɬɟɥɶɧɢɰɚ”, „ɩɨɷɬɟɫɫɚ” ɧɟ ɭɩɨɬɪɟɛɥɹɥɢɫɶ, ɢ „ɧɟɭɞɢɜɢɬɟɥɶɧɨ, ɱɬɨ ɬɚɥɚɧɬɥɢɜɵɟ ɪɭɫɫɤɢɟ ɠɟɧɳɢɧɵ-ɩɨɷɬɟɫɫɵ ɜɨɨɛɳɟ ɨɬɤɚɡɵɜɚɥɢɫɶ ɞɭɦɚɬɶ
ɢ ɝɨɜɨɪɢɬɶ ɨ ɫɟɛɟ ɤɚɤ ɨ ɩɨɷɬɟɫɫɚɯ ɢ ɯɨɬɟɥɢ, ɱɬɨɛɵ ɢɯ ɜɨɫɩɪɢɧɢɦɚɥɢ ɤɚɤ
ɩɨɷɬɨɜ”17.
Ɍɨɝɞɚ ɫɬɚɧɨɜɢɬɫɹ ɜɩɨɥɧɟ ɩɨɧɹɬɧɵɦ ɪɟɡɤɨɟ ɨɬɪɟɱɟɧɢɟ ɐɜɟɬɚɟɜɨɣ ɨɬ ɹɪɥɵɤɚ ɮɟɦɢɧɢɡɦɚ, ɚ ɬɨɱɧɟɟ – ɠɟɧɫɬɜɟɧɧɨɫɬɢ, ɩɪɨɡɜɭɱɚɜɲɟɟ ɜ ɜɨɫɩɨɦɢɧɚɧɢɹɯ
ɨ ɜɟɱɟɪɟ ɩɨɷɬɟɫɫ, ɨɪɝɚɧɢɡɨɜɚɧɧɨɦ Ȼɪɸɫɨɜɵɦ:
[...] ɟɫɬɶ ɜ ɩɨɷɡɢɢ ɩɪɢɡɧɚɤɢ ɞɟɥɟɧɢɹ ɛɨɥɟɟ ɫɭɳɟɫɬɜɟɧɧɵɟ, ɱɟɦ ɩɪɢɧɚɞɥɟɠɧɨɫɬɶ ɤ ɦɭɠɫɤɨɦɭ ɢɥɢ ɠɟɧɫɤɨɦɭ ɩɨɥɭ, ɢ ɨɬɪɨɞɹɫɶ ɛɪɟɡɝɭɹ ɜɫɟɦ, ɧɨɫɹɳɢɦ ɤɚɤɨɟ-ɥɢɛɨ ɤɥɟɣɦɨ ɠɟɧɫɤɨɣ
(ɦɚɫɫɨɜɨɣ) ɨɬɞɟɥɶɧɨɫɬɢ, ɤɚɤ-ɬɨ: ɠɟɧɫɤɢɦ ɤɭɪɫɚɦ, ɫɭɮɪɚɠɢɡɦɨɦ, ɮɟɦɢɧɢɡɦɨɦ, ɚɪɦɢɟɣ ɫɩɚɫɟɧɢɹ, ɜɫɟɦ ɩɪɟɫɥɨɜɭɬɵɦ ɠɟɧɫɤɢɦ ɜɨɩɪɨɫɨɦ [...]. ɀɟɧɫɤɨɝɨ ɜɨɩɪɨɫɚ ɜ ɬɜɨɪɱɟɫɬɜɟ ɧɟɬ: ɟɫɬɶ
ɠɟɧɫɤɢɟ, ɧɚ ɱɟɥɨɜɟɱɟɫɤɢɣ ɜɨɩɪɨɫ, ɨɬɜɟɬɵ, ɤɚɤ-ɬɨ: ɋɚɮɨ – ɂɨɚɧɧɚ ɞ′Ⱥɪɤ – ɋɜ. Ɍɟɪɟɡɚ – Ȼɟɬɬɢɧɚ Ȼɪɟɧɬɚɧɨ18.
Ɉɞɧɚɤɨ ɜɧɢɦɚɬɟɥɶɧɨɟ ɩɪɨɱɬɟɧɢɟ ɰɢɬɢɪɭɟɦɨɝɨ ɨɬɪɵɜɤɚ ɜɵɹɜɥɹɟɬ ɩɨɩɵɬɤɭ
ɐɜɟɬɚɟɜɨɣ ɩɪɟɨɞɨɥɟɬɶ ɬɪɚɞɢɰɢɨɧɧɭɸ ɛɢɧɚɪɧɭɸ ɨɩɩɨɡɢɰɢɸ „ɠɟɧɫɤɨɟ” versus
„ɦɭɠɫɤɨɟ” ɢ ɦɚɪɤɢɪɨɜɚɧɧɵɣ ɷɬɨɣ ɞɢɯɨɬɨɦɢɟɣ ɩɨɥɨɜɨɣ ɫɢɦɜɨɥɢɡɦ ɤɭɥɶɬɭɪɵ19. ɉɨɞɱɟɪɤɢɜɚɹ ɨɛɳɟɱɟɥɨɜɟɱɟɫɤɢɣ ɯɚɪɚɤɬɟɪ ɬɜɨɪɱɟɫɬɜɚ, ɩɨɷɬɟɫɫɚ ɩɪɢɛɥɢɠɚɟɬɫɹ ɤ ɞɟɤɨɧɫɬɪɭɤɰɢɢ ɩɨɧɹɬɢɹ „ɠɟɧɫɤɨɟ” ɜ ɨɛɳɟɤɭɥɶɬɭɪɧɨɦ ɤɨɧɬɟɤɫɬɟ. ɇɚ
ɫɦɟɧɭ ɤɚɬɟɝɨɪɢɹɦ „ɠɟɧɫɤɨɝɨ” ɢ „ɦɭɠɫɤɨɝɨ” ɩɪɢɯɨɞɹɬ ɩɨɧɹɬɢɹ „ɮɟɦɢɧɢɧɧɨɝɨ” ɢ „ɦɚɫɤɭɥɢɧɧɨɝɨ”, ɧɟ ɫɜɹɡɚɧɧɵɟ ɢɫɤɥɸɱɢɬɟɥɶɧɨ ɫ ɩɨɥɨɜɨɣ ɩɪɢɧɚɞɥɟɠɧɨɫɬɶɸ. Ɍɚɤɢɦ ɨɛɪɚɡɨɦ, ɯɭɞɨɠɟɫɬɜɟɧɧɚɹ ɞɟɹɬɟɥɶɧɨɫɬɶ ɫɬɚɧɨɜɢɬɫɹ ɫɩɨɫɨɛɨɦ
ɫɚɦɨɜɵɪɚɠɟɧɢɹ, ɫɜɨɛɨɞɧɵɦ ɨɬ ɨɝɪɚɧɢɱɟɧɢɣ ɛɢɨɥɨɝɢɱɟɫɤɢɯ ɤɚɬɟɝɨɪɢɣ, ɧɨ ɫɩɨɫɨɛɫɬɜɭɸɳɢɦ ɜɵɪɚɠɟɧɢɸ ɫɨɰɢɨ-ɤɭɥɶɬɭɪɧɵɯ (ɢ ɫɟɤɫɭɚɥɶɧɵɯ, ɫɨɝɥɚɫɧɨ ɬɟɨɪɢɢ ɤɜɢɪ) ɪɚɡɥɢɱɢɣ.
ɉɨɢɫɤɢ ɝɟɧɞɟɪɧɨɣ ɫɚɦɨɢɞɟɧɬɢɮɢɤɚɰɢɢ ɐɜɟɬɚɟɜɚ ɩɪɨɞɨɥɠɚɥɚ ɜɫɸ ɫɜɨɸ
ɠɢɡɧɶ, ɩɪɟɜɪɚɳɚɹ ɟɟ ɜ ɠɢɡɧɟɬɜɨɪɱɟɫɬɜɨ. ɇɟɩɪɟɤɪɚɳɚɸɳɟɟɫɹ ɠɟɥɚɧɢɟ, ɩɨɬɪɟɛɧɨɫɬɶ ɩɨɡɧɚɬɶ ɫɟɛɹ, ɨɩɪɟɞɟɥɢɥɨ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɢɣ ɯɚɪɚɤɬɟɪ ɰɜɟɬɚɟɜɫɤɢɯ ɩɪɨɢɡɜɟɞɟɧɢɣ. ɇɟɡɚɜɢɫɢɦɨ ɨɬ ɥɢɬɟɪɚɬɭɪɧɨɝɨ ɠɚɧɪɚ20 Ɇɚɪɢɧɚ ɂɜɚɧɨɜɧɚ ɜɫɟɝɞɚ
________________
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ȼ ɩɚɬɪɢɚɪɯɚɥɶɧɨɣ ɤɭɥɶɬɭɪɟ ɫɥɨɜɚ „ɠɟɧɫɤɨɟ” ɢ „ɦɭɠɫɤɨɟ” ɞɚɸɬ ɧɟ ɬɨɥɶɤɨ ɛɢɨɥɨɝɢɱɟɫɤɨɟ ɨɩɪɟɞɟɥɟɧɢɟ, ɧɨ ɢ ɹɜɥɹɸɬ ɫɨɛɨɣ ɨɰɟɧɨɱɧɭɸ ɤɚɬɟɝɨɪɢɸ. Ɏɨɪɦɢɪɭɸɳɢɟɫɹ ɫɨɰɢɭɦɨɦ,
ɨɧɢ ɡɚɤɪɟɩɥɹɸɬɫɹ ɩɨɫɪɟɞɫɬɜɨɦ ɹɡɵɤɚ ɜ ɫɨɡɧɚɧɢɢ – ɤɚɤ ɨɛɳɟɫɬɜɟɧɧɨɦ, ɬɚɤ ɢ ɨɬɞɟɥɶɧɨɣ ɥɢɱɧɨɫɬɢ.
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ȿ.ɂ. Ɍ ɪ ɨ ɮ ɢ ɦ ɨ ɜ ɚ, Ʌɟɬɧɹɹ ɲɤɨɥɚ „Ɉɛɳɟɫɬɜɨ ɢ ɝɟɧɞɟɪ”, Ɋɹɡɚɧɶ 2003.
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Ɇ. ɐ ɜ ɟ ɬ ɚ ɟ ɜ ɚ, Ƚɟɪɨɣ ɬɪɭɞɚ..., ɭɤɚɡ. ɫɨɱ., ɫ. 137.
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ɋɥɨɜɚɪɶ ɝɟɧɞɟɪɧɵɯ ɬɟɪɦɢɧɨɜ, http://www.owl.ru/gender/010.htm (ɨɬ 25.08.2009).
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ɇɚɩɨɦɧɸ, ɱɬɨ ɯɭɞɨɠɧɢɰɚ – ɢɡɜɟɫɬɧɚɹ ɜ ɦɢɪɟ ɤɚɤ ɩɨɷɬɟɫɫɚ – ɧɟ ɢɡɛɟɝɚɥɚ ɩɪɨɡɚɬɨɪɫɤɢɯ ɢ ɞɪɚɦɚɬɢɱɟɫɤɢɯ ɮɨɪɦ.
Ⱥ. ɏ ɪ ɵ ɧ ɵ ɤ
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ɨɩɢɫɵɜɚɥɚ ɥɸɞɟɣ, ɦɟɫɬɚ ɢ ɹɜɥɟɧɢɹ ɫɤɜɨɡɶ ɩɪɢɡɦɭ ɫɜɨɢɯ ɫ ɧɢɦɢ ɨɬɧɨɲɟɧɢɣ.
ɋɬɨɢɬ ɡɞɟɫɶ ɭɩɨɦɹɧɭɬɶ ɯɨɬɹ ɛɵ ɥɢɬɟɪɚɬɭɪɧɵɟ ɩɨɪɬɪɟɬɵ ɫɨɜɪɟɦɟɧɧɢɤɨɜ: ɀɢɜɨɟ ɨ ɠɢɜɨɦ (ɨ Ɇɚɤɫɢɦɢɥɢɚɧɟ ȼɨɥɨɲɢɧɟ), ɉɥɟɧɧɵɣ ɞɭɯ (Ɇɨɹ ɜɫɬɪɟɱɚ ɫ Ⱥɧɞɪɟɟɦ Ȼɟɥɵɦ), ɂɫɬɨɪɢɹ ɨɞɧɨɝɨ ɩɨɫɜɹɳɟɧɢɹ (Ɉɫɢɩɭ Ɇɚɧɞɟɥɶɲɬɚɦɭ), ɤɚɠɞɵɣ ɪɚɡ
ɩɪɢɨɛɪɟɬɚɜɲɢɟ ɧɟ ɫɬɨɥɶɤɨ ɮɨɪɦɭ ɜɨɫɩɨɦɢɧɚɧɢɣ, ɫɤɨɥɶɤɨ ɩɨɪɬɪɟɬɚ ɨɬɧɨɲɟɧɢɣ, ɜ ɤɨɬɨɪɨɦ ɝɥɚɜɧɭɸ ɪɨɥɶ ɢɝɪɚɥɚ ɐɜɟɬɚɟɜɚ. Ɍɟɦ ɧɟ ɦɟɧɟɟ, ɡɚɦɟɱɟɧɧɵɣ
ɦɧɨɝɢɦɢ ɢɫɫɥɟɞɨɜɚɬɟɥɹɦɢ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɢɣ ɯɚɪɚɤɬɟɪ ɰɜɟɬɚɟɜɫɤɨɣ ɩɪɨɡɵ
ɩɪɚɤɬɢɱɟɫɤɢ ɧɢɤɨɝɞɚ ɧɟ ɨɫɦɵɫɥɹɥɫɹ ɫ ɩɟɪɫɩɟɤɬɢɜɵ ɬɚɤ ɧɚɡɵɜɚɟɦɨɣ „ɠɟɧɫɤɨɣ
ɚɜɬɨɛɢɨɝɪɚɮɢɢ”21. ɀɚɧɪ, ɜɵɞɟɥɹɟɦɵɣ ɜ ɮɟɦɢɧɢɫɬɫɤɨɣ ɥɢɬɟɪɚɬɭɪɧɨɣ ɤɪɢɬɢɤɟ,
ɦɟɧɹɟɬ ɬɪɚɞɢɰɢɨɧɧɨɟ ɩɨɧɹɬɢɟ auto-bio-graphy ɧɚ auto-gyno-graphy 22, ɚɤɰɟɧɬɢɪɭɹ ɢɦɟɧɧɨ ɠɟɧɫɤɭɸ ɫɩɟɰɢɮɢɱɟɫɤɭɸ ɫɭɛɴɟɤɬɢɜɧɨɫɬɶ ɜ ɚɜɬɨɛɢɨɝɪɚɮɢɱɟɫɤɨɦ
ɩɢɫɶɦɟ23. ɍɝɥɭɛɥɟɧɧɨɟ ɨɡɧɚɤɨɦɥɟɧɢɟ ɫ ɩɪɨɢɡɜɟɞɟɧɢɹɦɢ Ɇɚɪɢɧɵ ɂɜɚɧɨɜɧɵ
ɨɛɧɚɪɭɠɢɜɚɟɬ ɤɪɚɣɧɸɸ ɫɭɛɴɟɤɬɢɜɧɨɫɬɶ ɩɟɪɫɩɟɤɬɢɜɵ: ɫɦɟɥɨ ɢ ɹɪɤɨ ɜɨɫɫɨɡɞɚɸɬɫɹ ɫɨɛɵɬɢɹ ɢ ɫɢɬɭɚɰɢɢ ɠɟɧɫɤɨɣ ɠɢɡɧɢ, ɪɚɫɤɪɵɜɚɟɬɫɹ ɫɩɟɰɢɮɢɱɟɫɤɢɣ ɠɟɧɫɤɢɣ ɨɩɵɬ, ɚ ɬɚɤɠɟ ɪɚɧɟɟ ɬɚɛɭɢɪɨɜɚɧɧɵɟ ɬɟɦɵ, ɧɚɩɪɢɦɟɪ ɠɟɧɫɤɚɹ ɫɟɤɫɭɚɥɶɧɨɫɬɶ ɢ ɬɟɥɟɫɧɨɫɬɶ. ɋɨɨɬɜɟɬɫɬɜɟɧɧɨ ɫɤɚɡɚɧɧɨɦɭ, ɭ ɐɜɟɬɚɟɜɨɣ ɞɟɥɚɟɬɫɹ ɚɤɰɟɧɬ
ɧɚ „ɬɟɥɟɫɧɭɸ ɩɪɢɪɨɞɭ ɠɟɧɫɤɨɝɨ ɦɢɪɨɜɨɫɩɪɢɹɬɢɹ” (Ⱦɠɨɧ Ʉɭɩɮɟɪɦɚɧ), ɱɬɨ
ɜɩɨɥɧɟ ɫɨɜɩɚɞɚɟɬ ɫ ɩɪɢɡɵɜɨɦ ɮɪɚɧɰɭɡɫɤɨɣ ɮɟɦɢɧɢɫɬɤɢ ɗɥɟɧ ɋɢɤɫɭ: „ɉɢɲɢɬɟ! ȼɚɲɟ ɬɟɥɨ ɞɨɥɠɧɨ ɛɵɬɶ ɭɫɥɵɲɚɧɨ”. ɋɬɨɢɬ ɩɪɢ ɷɬɨɦ ɨɬɦɟɬɢɬɶ, ɱɬɨ ɩɪɨɰɟɫɫ ɬɚɛɭɢɪɨɜɚɧɢɹ ɠɟɧɫɤɨɝɨ ɬɟɥɚ ɢ ɫɟɤɫɭɚɥɶɧɨɫɬɢ ɧɟ ɤɚɫɚɥɫɹ ɥɢɬɟɪɚɬɭɪɵ ɤɚɤ
ɬɚɤɨɜɨɣ, ɜ ɰɟɥɨɦ, ɩɨɫɤɨɥɶɤɭ ɭɩɨɦɹɧɭɬɵɟ ɬɟɦɵ ɧɟɪɟɞɤɨ ɜɫɬɪɟɱɚɥɢɫɶ ɜ ɦɭɠɫɤɨɣ (ɬ.ɟ. ɧɚɩɢɫɚɧɧɨɣ ɦɭɠɱɢɧɚɦɢ) ɥɢɬɟɪɚɬɭɪɟ. ɋɥɨɠɧɨɫɬɶ ɩɪɨɛɥɟɦɵ ɫɨɫɬɨɢɬ
ɜ ɩɪɟɨɞɨɥɟɧɢɢ ɩɨɷɬɟɫɫɨɣ ɫɭɳɟɫɬɜɭɸɳɟɝɨ ɜ ɤɭɥɶɬɭɪɟ ɨɬɨɠɞɟɫɬɜɥɟɧɢɹ ɠɟɧɳɢɧɵ ɤɚɤ ɬɟɥɟɫɧɨɝɨ ɨɛɴɟɤɬɚ ɢɫɤɭɫɫɬɜɚ, ɚɜɬɨɪɨɦ ɤɨɬɨɪɨɝɨ ɜɫɟɝɞɚ ɹɜɥɹɟɬɫɹ
ɦɭɠɱɢɧɚ24. ɋɬɪɟɦɹɫɶ ɨɫɜɨɛɨɞɢɬɶ ɠɟɧɫɤɨɟ ɬɟɥɨ ɢ ɢɫɤɭɫɫɬɜɨ ɨɬ ɦɭɠɫɤɨɝɨ ɤɨɧɬɟɤɫɬɚ, ɯɭɞɨɠɧɢɰɚ ɭɫɬɚɧɚɜɥɢɜɚɟɬ ɫɜɨɸ ɚɜɬɨɧɨɦɢɸ ɢ ɤɪɟɚɬɢɜɧɨɫɬɶ ɤɚɤ ɬɜɨɪɹɳɟɝɨ ɫɭɛɴɟɤɬɚ. Ɉɞɧɨɜɪɟɦɟɧɧɨ ɫɩɨɫɨɛɧɨɫɬɶ „ɦɵɫɥɢɬɶ ɱɟɪɟɡ ɬɟɥɨ” (ɩɨ ɫɥɨɜɚɦ
Ⱥ. Ɋɢɱ) ɜɨɩɥɨɳɚɟɬɫɹ ɜ ɪɚɡɧɨɨɛɪɚɡɧɵɟ, ɢɡɦɟɧɹɸɳɢɟɫɹ ɬɢɩɵ „ɚɜɬɨɪɫɤɨɝɨ ɹ”
________________
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ɂɧɬɟɪɟɫɧɨɣ ɩɨɩɵɬɤɨɣ ɜ ɷɬɨɣ ɨɛɥɚɫɬɢ ɹɜɥɹɟɬɫɹ ɪɚɛɨɬɚ Ɇ.ɇ. Ʉɢɫɬɨɜɫɤɨɣ: M.N. K i s t o w s k a, Parler femme w twórczoĞci Mariny Cwietajewej i Tamary Łempickiej. Rewindykacja,
PoznaĔ 2011.
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ɇɚ ɬɟɦɭ ɝɢɧɨɤɪɢɬɢɤɢ ɩɨɞɪɨɛɧɨ ɫɦ.: A. B u r z y Ĕ s k a, FEMINIZM..., ɭɤɚɡ. ɫɨɱ., ɫ. 401–
409; E. S h o w a l t e r, Feminist Criticism in the Wilderness, [ɜ:] The New Feminism Criticism.
Essays on Women. Literature and Theory, red. E. Showalter, New York 1985, ɫ. 243–270.
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ɇɚ ɬɟɦɭ ɨɫɧɨɜɧɵɯ ɩɚɪɚɦɟɬɪɨɜ ɠɟɧɫɤɨɣ ɚɜɬɨɛɢɨɝɪɚɮɢɢ ɤɚɤ ɠɚɧɪɚ ɫɦ., ɧɚɩɪɢɦɟɪ:
B. G a u t i e r, ZaklĊcia czarodziejki Vivien, czyli o autobiografii kobiecej, [ɜ:] Krytyka feministyczna. Siostra teorii i historii literatury, red. G. Borkowska, L. Sikorska, Warszawa 2002,
ɫ. 152–158. E. K r a s k o w s k a, O tak zwanej kobiecoĞci jako konwencji literackiej, [ɜ:] Krytyka
feministyczna..., ɭɤɚɡ. ɫɨɱ., ɫ. 187–212. ɋɦ. ɬɚɤɠɟ ɋɥɨɜɚɪɶ ɝɟɧɞɟɪɧɵɯ ɬɟɪɦɢɧɨɜ, ɪɟɞ. Ⱥ. Ⱦɟɧɢɫɨɜɚ, Ɇɨɫɤɜɚ 2002, http://www.owl.ru/gender/067.htm
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ɒɢɪɟ ɫɦ.: S. G u b a r, “The Blank Page” and the Issues of Female Creativity, [ɜ:] The New
Feminism Criticism..., ɭɤɚɡ. ɫɨɱ., c. 292–313.
Ɍɜɨɪɱɟɫɬɜɨ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ ɜ ɤɨɧɬɟɤɫɬɟ ɝɟɧɞɟɪɧɵɯ ɢɫɫɥɟɞɨɜɚɧɢɣ
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– ɛɭɞɬɨ ɨɫɜɨɛɨɠɞɚɹ „ɫɟɛɹ”, Ɇɚɪɢɧɚ ɂɜɚɧɨɜɧɚ ɩɨɫɬɨɹɧɧɨ ɢɫɤɚɥɚ ɫɨɨɬɜɟɬɫɬɜɭɸɳɟɝɨ ɫɩɨɫɨɛɚ ɫɚɦɨɜɵɪɚɠɟɧɢɹ ɢ ɫɚɦɨɨɩɪɟɞɟɥɟɧɢɹ. ɗɬɨɬ ɩɪɢɟɦ ɩɨɡɜɨɥɹɟɬ
ɜɫɤɪɵɬɶ ɜ ɪɹɞɟ ɩɪɨɢɡɜɟɞɟɧɢɣ (ɧɚɡɨɜɭ ɡɞɟɫɶ ɧɟɫɤɨɥɶɤɨ: ɉɨɜɟɫɬɶ ɨ ɋɨɧɟɱɤɟ,
ɉɢɫɶɦɨ ɤ Ⱥɦɚɡɨɧɤɟ, ɰɢɤɥ ɫɬɢɯɨɬɜɨɪɟɧɢɣ ɉɨɞɪɭɝɚ, ɒɚɪɥɨɬɬɟɧɛɭɪɝ, ɰɢɤɥ ɫɬɢɯɨɬɜɨɪɟɧɢɣ ɍɱɟɧɢɤ) ɩɪɨɛɥɟɦɚɬɢɤɭ ɝɟɧɞɟɪɧɨɣ ɫɚɦɨɢɞɟɧɬɢɮɢɤɚɰɢɢ ɝɟɪɨɢɧɢ
ɢ ɩɟɪɮɨɪɦɚɬɢɜɧɨɫɬɢ ɝɟɧɞɟɪɚ.
ɂɬɚɤ, ɫɦɟɳɟɧɢɟ ɝɟɧɞɟɪɧɵɯ ɪɨɥɟɣ ɜ ɩɨɷɦɟ-ɫɤɚɡɤɟ ɐɚɪɶ-Ⱦɟɜɢɰɚ (1920) (ɩɨ
ɦɨɬɢɜɚɦ ɨɞɧɨɢɦɟɧɧɨɣ ɫɤɚɡɤɢ Ⱥ. Ⱥɮɚɧɚɫɶɟɜɚ) ɫɥɟɞɭɟɬ, ɜɟɪɨɹɬɧɨ, ɪɚɫɰɟɧɢɜɚɬɶ
ɤɚɤ ɚɜɬɨɪɫɤɨɟ ɫɬɪɟɦɥɟɧɢɟ ɨɫɨɛɨ ɩɨɞɱɟɪɤɧɭɬɶ ɪɟɥɟɜɚɧɬɧɨɫɬɶ ɯɚɪɚɤɬɟɪɢɫɬɢɤ
(ɩɨɜɟɞɟɧɢɹ, ɜɧɟɲɧɨɫɬɢ), ɩɪɢɩɢɫɵɜɚɟɦɵɯ ɠɟɧɳɢɧɚɦ ɢ ɦɭɠɱɢɧɚɦ ɨɛɳɟɫɬɜɨɦ.
ɐɚɪɶ-Ⱦɟɜɢɰɚ ɞɚɧɚ ɝɢɩɟɪɛɨɥɢɱɟɫɤɢ, ɧɚɩɨɞɨɛɢɟ ɬɨɝɨ, ɤɚɤ ɨɩɢɫɵɜɚɥɢɫɶ ɜ ɛɵɥɢɧɚɯ ɪɭɫɫɤɢɟ ɛɨɝɚɬɵɪɢ25: ɫɢɥɶɧɚɹ, ɪɟɲɢɬɟɥɶɧɚɹ ɝɟɪɨɢɧɹ ɹɜɥɹɟɬɫɹ ɚɤɬɢɜɧɵɦ
ɫɭɛɴɟɤɬɨɦ ɞɟɣɫɬɜɢɣ, ɤɨɬɨɪɨɦɭ ɩɪɨɬɢɜɨɩɨɫɬɚɜɥɹɟɬɫɹ ɩɚɫɫɢɜɧɵɣ ɰɚɪɟɜɢɱ. ɋɥɚɛɵɣ ɢ ɛɟɡɜɨɥɶɧɵɣ ɝɟɪɨɣ ɨɫɬɚɟɬɫɹ ɪɚɜɧɨɞɭɲɧɵɦ ɤ ɫɬɪɚɫɬɹɦ ɥɸɛɹɳɢɯ ɟɝɨ ɠɟɧɳɢɧ (ɤɪɨɦɟ ɐɚɪɶ-Ⱦɟɜɢɰɵ ɰɚɪɟɜɢɱɚ ɥɸɛɢɬ ɬɨɠɟ ɟɝɨ ɦɚɱɟɯɚ), ɥɸɛɹ ɬɨɥɶɤɨ ɫɜɨɢ
ɝɭɫɥɢ26. ɉɪɨɞɨɥɠɚɹ ɢ ɪɚɡɜɢɜɚɹ ɡɚɦɟɱɚɧɢɹ ɢɫɫɥɟɞɨɜɚɬɟɥɟɣ ɬɜɨɪɱɟɫɬɜɚ ɐɜɟɬɚɟɜɨɣ, ɦɨɠɧɨ ɫɤɚɡɚɬɶ, ɱɬɨ ɐɚɪɶ-Ⱦɟɜɢɰɚ ɢ ɰɚɪɟɜɢɱ-ɦɭɡɵɤɚɧɬ – ɩɟɪɫɨɧɚɠɢ ɛɨɥɟɟ
ɚɧɞɪɨɝɢɧɧɵɟ, ɱɟɦ ɚɮɚɧɚɫɶɟɜɫɤɢɟ ɝɟɪɨɢ27. Ɂɚɫɥɭɠɢɜɚɟɬ ɜɧɢɦɚɧɢɹ ɮɚɤɬ, ɱɬɨ
ɫɦɟɳɟɧɢɟ ɝɟɧɞɟɪɧɵɯ ɪɨɥɟɣ ɧɚɛɥɸɞɚɟɬɫɹ ɜɨ ɜɫɟɦ ɬɜɨɪɱɟɫɬɜɟ Ɇɚɪɢɧɵ ɂɜɚɧɨɜɧɵ, ɹɜɥɹɹɫɶ ɟɝɨ ɧɟɢɡɦɟɧɧɨɣ ɬɟɦɨɣ. Ʉɪɨɦɟ ɜɵɲɟɭɩɨɦɹɧɭɬɵɯ ɩɪɨɢɡɜɟɞɟɧɢɣ
ɷɬɨɬ ɚɜɬɨɪɫɤɢɣ ɩɪɢɟɦ ɜɵɫɬɭɩɚɟɬ ɜ ɰɢɤɥɟ ɫɬɢɯɨɬɜɨɪɟɧɢɣ ɉɨɞɪɭɝɟ, ɩɶɟɫɚɯ Ʉɨɦɟɞɢɚɧɬ ɢ ɉɪɢɤɥɸɱɟɧɢɟ, ɚ ɬɚɤɠɟ ɜ ɪɚɧɧɢɯ ɫɬɢɯɨɬɜɨɪɟɧɢɹɯ ɢ ɫɬɢɯɨɬɜɨɪɟɧɢɹɯ
ɰɢɤɥɚ Ɉɮɟɥɢɹ – Ƚɚɦɥɟɬɭ ɢ ȿɜɪɢɞɢɤɚ – Ɉɪɮɟɸ.
ɇɚɤɨɧɟɰ ɫɥɟɞɭɟɬ ɨɛɪɚɬɢɬɶ ɜɧɢɦɚɧɢɟ ɧɚ ɚɜɬɨɪɫɤɨɟ ɩɟɪɟɨɫɦɵɫɥɟɧɢɟ ɐɜɟɬɚɟɜɨɣ ɦɢɮɨɥɨɝɢɱɟɫɤɢɯ ɢ ɤɭɥɶɬɭɪɧɵɯ ɨɛɳɟɢɡɜɟɫɬɧɵɯ ɫɸɠɟɬɨɜ. ə ɢɦɟɸ ɜ ɜɢɞɭ ɬɨɥɶɤɨ ɱɬɨ ɧɚɡɜɚɧɧɵɟ ɫɬɢɯɢ Ɉɮɟɥɢɹ – Ƚɚɦɥɟɬɭ ɢ ȿɜɪɢɞɢɤɚ – Ɉɪɮɟɸ, ɚ ɬɚɤɠɟ ɬɪɚɝɟɞɢɢ Ⱥɪɢɚɞɧɚ ɢ Ɏɟɞɪɚ ɢɡ ɧɟ ɫɨɫɬɨɹɜɲɟɣɫɹ ɬɪɢɥɨɝɢɢ. ɉɪɟɞɨɫɬɚɜɥɹɹ
ɫɥɨɜɨ ɝɟɪɨɢɧɹɦ, ɫɭɳɟɫɬɜɭɸɳɢɦ ɜ ɤɭɥɶɬɭɪɟ ɞɨ ɫɢɯ ɩɨɪ ɛɟɡɦɨɥɜɧɨ (ɢɥɢ ɩɪɚɤɬɢɱɟɫɤɢ ɛɟɡɦɨɥɜɧɨ), ɯɭɞɨɠɧɢɰɚ ɞɟɥɚɟɬ ɚɤɰɟɧɬ ɧɚ ɢɯ ɭɱɚɫɬɢɢ ɜ ɫɨɡɞɚɧɢɢ ɢɫɬɨɪɢɣ, ɜɨɫɩɪɢɧɢɦɚɸɳɢɯɫɹ ɤɚɤ „ɦɭɠɫɤɢɟ ɫɸɠɟɬɵ”. Ɍɚɤɢɦ ɨɛɪɚɡɨɦ ȿɜɪɢɞɢɤɚ,
Ɉɮɟɥɢɹ, Ⱥɪɢɚɞɧɚ, Ɏɟɞɪɚ, ɚ ɬɚɤɠɟ ɋɢɜɢɥɥɚ, ɉɫɢɯɟɹ ɢ ȿɜɚ ɪɚɫɫɤɚɡɵɜɚɸɬ ɫɜɨɸ
ɢɫɬɨɪɢɸ, ɢɫɬɨɪɢɸ ɨɬ ɫɜɨɟɝɨ ɢɦɟɧɢ. Ɍɚɤɚɹ ɫɬɪɚɬɟɝɢɹ, ɨɩɪɟɞɟɥɟɧɧɚɹ ɮɟɦɢɧɢɫɬɫɤɨɣ ɥɢɬɟɪɚɬɭɪɧɨɣ ɤɪɢɬɢɤɨɣ ɫɬɪɚɬɟɝɢɟɣ ɚɩɨɤɪɢɮɚ, ɧɟ ɦɨɠɟɬ ɨɫɬɚɬɶɫɹ ɜɧɟ ɩɨɥɹ ɡɪɟɧɢɹ ɜɧɢɦɚɬɟɥɶɧɨɝɨ ɱɢɬɚɬɟɥɹ, ɞɚɠɟ ɩɪɢ ɩɟɪɜɨɦ ɨɡɧɚɤɨɦɥɟɧɢɢ ɫ ɬɟɤɫɬɨɦ.
ɋɚɦɢ ɡɚɝɥɚɜɢɹ ɩɪɨɢɡɜɟɞɟɧɢɣ, ɹɜɥɹɸɳɢɟɫɹ – ɦɨɠɧɨ ɫɤɚɡɚɬɶ – ɧɚɜɹɡɱɢɜɵɦɢ,
ɩɨɞɫɤɚɡɵɜɚɸɬ ɭɫɬɚɧɨɜɤɭ ɧɚ ɝɟɧɞɟɪɧɵɣ ɚɧɚɥɢɡ ɯɭɞɨɠɟɫɬɜɟɧɧɨɝɨ ɬɟɤɫɬɚ. ɉɪɢ________________
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Ⱥ. ɋ ɚ ɚ ɤ ɹ ɧ ɰ, Ɇɚɪɢɧɚ ɐɜɟɬɚɟɜɚ. ɋɬɪɚɧɢɰɵ ɠɢɡɧɢ ɢ ɬɜɨɪɱɟɫɬɜɚ (1910–1922),
Ɇɨɫɤɜɚ 1986, ɫ. 242.
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Ɍɚɤɨɣ ɠɟ ɨɛɪɚɡɟɰ ɪɟɚɥɢɡɭɟɬ ɐɜɟɬɚɟɜɚ, ɧɚɩɪɢɦɟɪ, ɜ ɬɪɚɝɟɞɢɢ Ɏɟɞɪɚ, ɝɞɟ ɜɨɡɥɸɛɥɟɧɧɵɣ ɦɚɱɟɯɨɣ-Ɏɟɞɪɨɣ ɂɩɩɨɥɢɬ ɩɨɥɧɨɫɬɶɸ ɩɪɟɞɚɧ ɫɥɭɠɛɟ Ⱥɪɬɟɦɢɞɟ.
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ɋɪ.: S. K a r l i n s k y, Marina Tsvetaeva. The Woman, Her World and Her Poetry, New
York 1986, ɫ. 99–100; L. F e i l e r, Marina Tsvetaeva..., ɭɤɚɡ. ɫɨɱ., ɫ. 106–108.
Ⱥ. ɏ ɪ ɵ ɧ ɵ ɤ
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ɱɟɦ ɚɜɬɨɪɫɤɨɟ ɫɬɪɟɦɥɟɧɢɟ ɡɚɨɫɬɪɢɬɶ ɩɪɨɬɢɜɨɪɟɱɢɹ ɦɟɠɞɭ ɝɟɪɨɹɦɢ, ɱɬɨɛɵ ɩɨɫɬɚɜɢɬɶ ɩɨɞ ɫɨɦɧɟɧɢɟ ɢ ɩɨɤɨɧɱɢɬɶ ɫ ɡɚɤɪɟɩɢɜɲɢɦɫɹ ɜ ɤɭɥɶɬɭɪɟ ɜɨɫɩɪɢɹɬɢɟɦ
ɨɩɪɟɞɟɥɟɧɧɵɯ ɩɟɪɫɨɧɚɠɟɣ ɢ ɫɸɠɟɬɨɜ, ɨɱɟɜɢɞɧɨ ɧɟ ɬɨɥɶɤɨ ɜ ɫɚɦɨɦ ɩɨɞɯɨɞɟ
ɤ ɢɯ ɨɫɦɵɫɥɟɧɢɸ. Ⱥɤɰɟɧɬ ɧɚ ɠɟɧɫɤɨɟ ɧɚɱɚɥɨ – ɡɚɮɢɤɫɢɪɨɜɚɧɧɵɣ ɜ ɡɚɝɥɚɜɢɢ28
– ɩɨɡɜɨɥɹɟɬ ɩɪɟɞɩɨɥɨɠɢɬɶ ɬɚɤɠɟ ɢ ɪɚɡɥɢɱɢɹ ɜ ɜɵɛɨɪɟ ɢ ɨɪɝɚɧɢɡɚɰɢɢ ɜɵɪɚɡɢɬɟɥɶɧɨ-ɢɡɨɛɪɚɡɢɬɟɥɶɧɵɯ ɹɡɵɤɨɜɵɯ ɫɪɟɞɫɬɜ, ɩɨɫɪɟɞɫɬɜɨɦ ɤɨɬɨɪɵɯ ɜɨɩɥɨɳɚɸɬɫɹ ɜ ɩɪɨɢɡɜɟɞɟɧɢɹɯ ɨɛɪɚɡɵ ɝɥɚɜɧɵɯ ɞɟɣɫɬɜɭɸɳɢɯ ɥɢɰ29.
ɉɨɞɵɬɨɠɢɜɚɹ, ɯɨɱɭ ɨɬɦɟɬɢɬɶ, ɱɬɨ ɝɟɧɞɟɪɧɨɟ „ɢɡɦɟɪɟɧɢɟ” ɫɩɨɫɨɛɫɬɜɭɟɬ
ɮɨɪɦɢɪɨɜɚɧɢɸ ɧɨɜɨɝɨ ɜɡɝɥɹɞɚ ɧɚ ɥɢɬɟɪɚɬɭɪɧɨɟ ɩɪɨɢɡɜɟɞɟɧɢɟ, ɚ ɢɧɬɟɪɩɪɟɬɚɰɢɹ ɫ ɭɱɟɬɨɦ ɝɟɧɞɟɪɧɨɣ ɞɢɮɮɟɪɟɧɰɢɚɰɢɢ ɩɨɡɜɨɥɹɟɬ ɧɚɣɬɢ ɮɨɪɦɵ, ɨɬɪɚɠɚɸɳɢɟ ɫɢɦɜɨɥɵ ɠɟɧɫɤɨɝɨ ɨɩɵɬɚ, ɮɨɪɦɢɪɭɹ ɬɟɦ ɫɚɦɵɦ ɝɟɧɞɟɪɧɭɸ ɩɨɷɬɢɤɭ.
Ɉɛɴɟɤɬɨɦ ɝɟɧɞɟɪɧɨɝɨ ɥɢɬɟɪɚɬɭɪɨɜɟɞɟɧɢɹ ɫɱɢɬɚɟɬɫɹ ɝɟɧɞɟɪɧɚɹ ɤɚɪɬɢɧɚ ɦɢɪɚ,
ɨɫɧɨɜɚɧɧɚɹ ɧɚ ɫɬɟɪɟɨɬɢɩɚɯ ɦɚɫɤɭɥɢɧɧɨɫɬɢ ɢ ɮɟɦɢɧɢɧɧɨɫɬɢ, ɫɩɟɰɢɮɢɤɚ ɚɜɬɨɪɫɤɨɝɨ ɫɨɡɧɚɧɢɹ, ɨɩɪɟɞɟɥɹɟɦɨɝɨ ɝɟɧɞɟɪɧɨɣ ɢɞɟɧɬɢɱɧɨɫɬɶɸ, ɨɫɨɛɚɹ ɬɨɱɤɚ
ɡɪɟɧɢɹ ɚɜɬɨɪɚ-ɦɭɠɱɢɧɵ ɢɥɢ ɠɟɧɳɢɧɵ – ɢ ɟɟ/ɟɝɨ ɝɟɪɨɟɜ, ɠɚɧɪɨɜɚɹ ɫɢɫɬɟɦɚ,
ɬɚɤɠɟ ɢɦɟɸɳɚɹ ɝɟɧɞɟɪɧɨɟ ɢɡɦɟɪɟɧɢɟ. Ɂɞɟɫɶ ɪɟɱɶ ɢɞɟɬ ɧɟ ɨ ɫɨɡɞɚɧɢɢ ɧɨɜɵɯ
ɠɚɧɪɨɜ, ɚ ɨɛ ɷɜɨɥɸɰɢɢ ɢ ɬɪɚɧɫɮɨɪɦɚɰɢɢ ɫɭɳɟɫɬɜɭɸɳɟɣ ɠɚɧɪɨɜɨɣ ɫɢɫɬɟɦɵ.
Ɍɚɤɨɣ ɩɨɞɯɨɞ ɨɩɪɨɜɟɪɝɚɟɬ ɬɟɡɢɫ, ɱɬɨ „ɥɢɬɟɪɚɬɭɪɚ ɦɨɠɟɬ ɛɵɬɶ ɥɢɲɶ ɯɨɪɨɲɟɣ
ɢɥɢ ɩɥɨɯɨɣ, ɢ ɧɢɤɚɤɢɯ ɞɪɭɝɢɯ ɚɫɩɟɤɬɨɜ ɪɚɫɫɦɨɬɪɟɧɢɹ ɢ ɚɧɚɥɢɡɚ ɬɟɤɫɬɚ ɛɵɬɶ
ɧɟ ɦɨɠɟɬ”30.
ȼ ɫɜɨɸ ɨɱɟɪɟɞɶ, ɨɛɪɚɳɟɧɢɟ ɤ ɠɟɧɫɤɨɦɭ ɬɜɨɪɱɟɫɬɜɭ ɷɩɨɯɢ ɋɟɪɟɛɪɹɧɨɝɨ
ɜɟɤɚ ɫ ɭɱɟɬɨɦ ɝɟɧɞɟɪɧɨɣ ɭɫɬɚɧɨɜɤɢ ɨɛɨɡɧɚɱɚɟɬ ɩɪɨɪɵɜ ɜ ɩɨɧɢɦɚɧɢɢ ɷɬɨɝɨ
ɮɟɧɨɦɟɧɚ ɢ ɫɬɪɟɦɥɟɧɢɟ ɜɤɥɸɱɢɬɶ ɩɨɷɬɟɫɫ, ɠɟɧɳɢɧ-ɩɪɨɡɚɢɤɨɜ ɢ ɞɪɚɦɚɬɭɪɝɨɜ
ɜ ɥɢɬɟɪɚɬɭɪɧɭɸ ɬɪɚɞɢɰɢɸ, ɩɨ ɞɨɫɬɨɢɧɫɬɜɭ ɨɰɟɧɢɜɚɹ ɢɯ ɜɤɥɚɞ ɜ ɟɟ ɪɚɡɜɢɬɢɟ.
ɉɪɢɡɧɚɧɢɟ ɷɬɨɝɨ ɮɚɤɬɚ ɜɟɞɟɬ ɤ ɩɨɬɪɟɛɧɨɫɬɢ ɪɚɡɪɚɛɚɬɵɜɚɬɶ ɧɨɜɵɟ ɤɪɢɬɟɪɢɢ,
ɤɨɬɨɪɵɟ ɛɭɞɭɬ ɨɬɥɢɱɚɬɶɫɹ ɨɬ ɩɪɢɧɹɬɵɯ ɞɨ ɫɢɯ ɩɨɪ ɜ ɥɢɬɟɪɚɬɭɪɨɜɟɞɟɧɢɢ ɢ ɥɢɬɟɪɚɬɭɪɧɨɣ ɤɪɢɬɢɤɟ. ɇɟɫɨɦɧɟɧɧɨ, ɷɬɨ ɜɚɠɧɵɣ ɲɚɝ ɧɚ ɩɭɬɢ ɤ ɜɨɫɫɨɡɞɚɧɢɸ ɥɢɬɟɪɚɬɭɪɧɨɣ ɤɚɪɬɢɧɵ ɦɢɪɚ ɢ ɩɪɢɬɨɦ ɨɞɧɚ ɢɡ ɧɚɢɛɨɥɟɟ ɩɟɪɫɩɟɤɬɢɜɧɵɯ ɢ ɩɪɢɨɪɢɬɟɬɧɵɯ ɨɛɥɚɫɬɟɣ ɥɢɬɟɪɚɬɭɪɨɜɟɞɟɧɢɹ XXI ɜɟɤɚ.
________________
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ɋɬɨɢɬ ɜɫɩɨɦɧɢɬɶ, ɱɬɨ ɭɩɨɦɹɧɭɬɵɣ ɚɤɰɟɧɬ ɧɚ ɠɟɧɫɤɨɟ ɧɚɱɚɥɨ ɮɢɤɫɢɪɭɟɬɫɹ ɐɜɟɬɚɟɜɨɣ ɜ ɨɤɨɧɱɚɬɟɥɶɧɨɦ ɡɚɝɥɚɜɢɢ ɬɪɚɝɟɞɢɢ – Ⱥɪɢɚɞɧɚ (Ƚɧɟɜ Ⱥɮɪɨɞɢɬɵ) – ɩɨɹɜɢɥɫɹ ɩɨɡɠɟ,
ɜ ɫɨɨɬɜɟɬɫɬɜɢɢ ɫ ɢɡɦɟɧɢɜɲɢɦɫɹ ɡɚɦɵɫɥɨɦ ɐɜɟɬɚɟɜɨɣ.
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ɉɨɷɬɨɦɭ ɰɟɥɶɸ ɝɥɭɛɢɧɧɨɝɨ ɢɫɫɥɟɞɨɜɚɧɢɹ ɦɨɠɟɬ ɹɜɥɹɬɶɫɹ – ɨɬɧɨɫɢɬɟɥɶɧɨ ɞɪɚɦɚɬɭɪɝɢɱɟɫɤɨɝɨ ɞɢɫɤɭɪɫɚ – ɢɡɭɱɟɧɢɟ ɪɟɱɟɜɵɯ ɩɨɪɬɪɟɬɨɜ ɝɟɪɨɟɜ, ɜ ɤɨɬɨɪɵɯ ɧɚɢɛɨɥɟɟ ɝɥɭɛɨɤɨ
ɢ ɪɚɡɧɨɨɛɪɚɡɧɨ ɩɪɨɹɜɹɬɫɹ ɨɬɥɢɱɢɹ. ɋɪ.: ɂ.ɉ. Ɂ ɚ ɣ ɰ ɟ ɜ ɚ, Ƚɟɧɞɟɪɧɨɟ ɫɜɨɟɨɛɪɚɡɢɟ ɢɧɞɢɜɢɞɭɚɥɶɧɵɯ ɞɢɫɤɭɪɫɨɜ ɝɟɪɨɟɜ ɬɪɚɝɟɞɢɢ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ „Ⱥɪɢɚɞɧɚ”, [ɜ:] Ʌɢɤɢ Ɇɚɪɢɧɵ ɐɜɟɬɚɟɜɨɣ, Ɇɨɫɤɜɚ 2006, ɫ. 265–280.
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ȿ. Ɍ ɪ ɨ ɮ ɢ ɦ ɨ ɜ ɚ, ɀɟɧɫɤɚɹ ɥɢɬɟɪɚɬɭɪɚ ɢ ɤɧɢɝɨɢɡɞɚɧɢɟ ɜ ɫɨɜɪɟɦɟɧɧɨɣ Ɋɨɫɫɢɢ,
http://www.a-z.ru/women_cd1/html/trofimovar.htm (10.09.2009).