Поэзия кошмаров и ужаса

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На русском языке издали его роман «Бретонец», рассказ «Таверна мертвецов», повесть «Инфанта Анна-Мария-Виктора» и самый известный его роман – «Кавалер де Сен-Жорж»."},{"id":"contentnotes0:397","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:398","kind":"heading","text":"133"},{"id":"contentnotes0:399","kind":"paragraph","text":"Фредерик Сулье (1800–1847) – французский писатель и драматург, начинал как классический поэт, затем был известен как представитель романтизма; писал историко-авантюрные драмы, романы, переводил Шекспира; дружил с Гюго, Дюма, Бальзаком, Нервалем, Жаненом. Одно из самых известных его произведений – авантюрно-социальный роман «Мемуары дьявола»."},{"id":"contentnotes0:400","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:401","kind":"heading","text":"134"},{"id":"contentnotes0:402","kind":"paragraph","text":"Алексис-Феликс Арвер (1806–1850) – французский писатель, поэт и драматург."},{"id":"contentnotes0:403","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:404","kind":"heading","text":"135"},{"id":"contentnotes0:405","kind":"paragraph","text":"Однако еще до Делакруа Жерико создал образец новой мрачно-кошмарной живописи в известной картине «Крушение Медузы» (1819), где на плоту – ком мертвых тел, а несколько уцелевших моряков зовут на помощь."},{"id":"contentnotes0:406","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:407","kind":"heading","text":"136"},{"id":"contentnotes0:408","kind":"paragraph","text":"Гетевский «Фауст» также, как известно, вдохновлял Делакруа."},{"id":"contentnotes0:409","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:410","kind":"heading","text":"137"},{"id":"contentnotes0:411","kind":"paragraph","text":"Hexenkiiche (нем.) – шабаш ведьм."},{"id":"contentnotes0:412","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:413","kind":"heading","text":"138"},{"id":"contentnotes0:414","kind":"paragraph","text":"Documenta paupertatis (лат) – свидетельства слабости."},{"id":"contentnotes0:415","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:416","kind":"heading","text":"139"},{"id":"contentnotes0:417","kind":"paragraph","text":"Kont’ ich Magie von meinem Pfad entfernen и т. д."},{"id":"contentnotes0:418","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:419","kind":"heading","text":"140"},{"id":"contentnotes0:420","kind":"paragraph","text":"Wenn Geister spucken, geh er seinen Gang."},{"id":"contentnotes0:421","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:422","kind":"heading","text":"141"},{"id":"contentnotes0:423","kind":"paragraph","text":"Пер. Холодковского."},{"id":"contentnotes0:424","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:425","kind":"heading","text":"142"},{"id":"contentnotes0:426","kind":"paragraph","text":"Перевод К. Д. Бальмонта."},{"id":"contentnotes0:427","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:428","kind":"heading","text":"143"},{"id":"contentnotes0:429","kind":"paragraph","text":"Габриэле д’Аннунцио (1863–1938) – итальянский писатель, поэт, драматург, военный и политический деятель. Член Королевской академии французского языка и литературы Бельгии."},{"id":"contentnotes0:430","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:431","kind":"heading","text":"144"},{"id":"contentnotes0:432","kind":"paragraph","text":"Генрих Манн (1871–1950) – немецкий писатель-прозаик и общественный деятель. Был академиком отделения литературы Прусской Академии искусств, возглавлял Союз немецких писателей в эмиграции, собирался возглавить Немецкую академию искусств."},{"id":"contentnotes0:433","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:434","kind":"heading","text":"145"},{"id":"contentnotes0:435","kind":"paragraph","text":"Здесь не место обсуждать вопрос, почему этот новый Ренессанс выразился сравнительно слабо и в сущности потерпел крушение."},{"id":"contentnotes0:436","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:437","kind":"heading","text":"146"},{"id":"contentnotes0:438","kind":"paragraph","text":"Бодлер перевел По на французский язык."},{"id":"contentnotes0:439","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:440","kind":"heading","text":"147"},{"id":"contentnotes0:441","kind":"paragraph","text":"Отдел «Политика» XVIII и LXIL"},{"id":"contentnotes0:442","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:443","kind":"heading","text":"148"},{"id":"contentnotes0:444","kind":"paragraph","text":"Перевод Эллиса, остальные стихи Бодлера в переводе Якубовича."},{"id":"contentnotes0:445","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:446","kind":"heading","text":"149"},{"id":"contentnotes0:447","kind":"paragraph","text":"В дневнике Бодлера «Мое обнаженное сердце» под цифрою LVII говорится: «Прославить бродяжничество и то, что можно назвать le bohomianisme»."},{"id":"contentnotes0:448","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:449","kind":"heading","text":"150"},{"id":"contentnotes0:450","kind":"paragraph","text":"Бодлер перевел «Исповедь» Де-Квинси."},{"id":"contentnotes0:451","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:452","kind":"heading","text":"151"},{"id":"contentnotes0:453","kind":"paragraph","text":"«Золотой век» всеобщего здоровья и счастья лежит, по убеждению Бодлера, не в будущем, а в безвозвратно ушедшем прошлом."},{"id":"contentnotes0:454","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:455","kind":"heading","text":"152"},{"id":"contentnotes0:456","kind":"paragraph","text":"В книге «Le XIX siecle. Les oeuvres et les hommes»."},{"id":"contentnotes0:457","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:458","kind":"heading","text":"153"},{"id":"contentnotes0:459","kind":"paragraph","text":"В книге «Du dandismo et de G Brummel»."},{"id":"contentnotes0:460","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:461","kind":"heading","text":"154"},{"id":"contentnotes0:462","kind":"paragraph","text":"В противоположность Бодлеру, который, впрочем, впоследствии объяснял свое участие в революции 48 года – чувством «мести»."},{"id":"contentnotes0:463","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:464","kind":"heading","text":"155"},{"id":"contentnotes0:465","kind":"paragraph","text":"«По ту сторону добра и зла»."},{"id":"contentnotes0:466","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:467","kind":"heading","text":"156"},{"id":"contentnotes0:468","kind":"paragraph","text":"Барбе д’Оревильи заставляет дьявола то и дело вмешиваться в жизнь людей: молодой человек уже хочет пройти мимо герцогини-проститутки, но следует за ней, ибо он уже находился, во власти дьявола, переулок где она живет – одно из многочисленных его «княжеств», и т. д."},{"id":"contentnotes0:469","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:470","kind":"heading","text":"157"},{"id":"contentnotes0:471","kind":"paragraph","text":"В романе вообще немало ужасов: отец выкапывает из могилы дочь и бросается с ее трупом в пруд, выступает старуха, когда-то занимавшаяся колдовством, и т. д."},{"id":"contentnotes0:472","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:473","kind":"heading","text":"158"},{"id":"contentnotes0:474","kind":"paragraph","text":"Дезессент также большой поклонник художника Гойи."},{"id":"contentnotes0:475","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes0:476","kind":"heading","text":"159"},{"id":"contentnotes0:477","kind":"paragraph","text":"Впоследствии Гюйсманс вернулся от сатанизма к «доброму Богу». В романе «Еп route», где Дюрталь кается в монастыре траппистов и примиряется с небом, дьявол по-прежнему выступает как реальное существо. Таким он представляется не только невежественным монахам, но и самому Дюрталю. Однако все козни сатаны терпят крушение, ибо могущественнее его все же – «добрый Бог». Но вот что важно: Бог может обнаружить свое всемогущество только в монастырском уединении, только в стороне от современной жизни, где, очевидно, царит не Бог, а «князь тьмы». Роман «Еп route» таким образом не противоречит настроению романа «La bas», а только логически его дополняет."},{"id":"contentnotes0:478","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:0","kind":"heading","text":"160"},{"id":"contentnotes1:1","kind":"paragraph","text":"В романе Гамсуна «Голод» выведен голодающий писатель, задумавший сначала написать аллегорию. Изображается пожар в книжной лавке. «Аллегория» заключается в том, что горят не книги, а человеческие мозги. Потом он пишет драму из средневековой жизни, где героиней выступает проститутка, согрешившая в храме «из ненависти к небу», отличающаяся «безобразием»."},{"id":"contentnotes1:2","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:3","kind":"heading","text":"161"},{"id":"contentnotes1:4","kind":"paragraph","text":"Томас Краг (1868–1913) – норвежский писатель и драматург, один из главных представителей норвежских символистов-декадентов."},{"id":"contentnotes1:5","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:6","kind":"heading","text":"162"},{"id":"contentnotes1:7","kind":"paragraph","text":"Владислав Реймонт (1867–1925) – польский писатель, лауреат Нобелевской премии по литературе 1924 года."},{"id":"contentnotes1:8","kind":"paragraph","text":"Вернуться"}],"toc":[{"id":"content0:0:1","label":"Владимир Фриче Поэзия кошмаров и 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