Поэзия кошмаров и ужаса

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Считается основоположником жанра «затерянные миры»."},{"id":"contentnotes1:17","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:18","kind":"heading","text":"166"},{"id":"contentnotes1:19","kind":"paragraph","text":"Во Франции к этому жанру принадлежат еще рассказы Эркман-Шатриана, «Les Nevroses» Роллина и др., в Бельгии – некоторые рассказы Лемоннье, Гелленса."},{"id":"contentnotes1:20","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:21","kind":"heading","text":"167"},{"id":"contentnotes1:22","kind":"paragraph","text":"Якоб Вассерман (1873–1934) – немецкий писатель, новеллист."},{"id":"contentnotes1:23","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:24","kind":"heading","text":"168"},{"id":"contentnotes1:25","kind":"paragraph","text":"В русском переводе – «Серапионовы братья»."},{"id":"contentnotes1:26","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:27","kind":"heading","text":"169"},{"id":"contentnotes1:28","kind":"paragraph","text":"В настоящее время Эверс самый яркий представитель этого «страшного» жанра в Германии: он большой поклонник Гофмана и Бодлера, биограф Эдгара По и переводчик Вилье де Лилль-Адана. В его рассказах то и дело мелькают имена художников Босха, Брейгеля, Гойи, Ропса. Эти рассказы собраны в двух книгах «Grauen» и «Die Bessessenen»."},{"id":"contentnotes1:29","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:30","kind":"heading","text":"170"},{"id":"contentnotes1:31","kind":"paragraph","text":"См. также сборник рассказов Штробля «Die Knocherne Hand»."},{"id":"contentnotes1:32","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:33","kind":"heading","text":"171"},{"id":"contentnotes1:34","kind":"paragraph","text":"Ола Гансон (1860–1925) – шведский беллетрист, историк литературы."},{"id":"contentnotes1:35","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:36","kind":"heading","text":"172"},{"id":"contentnotes1:37","kind":"paragraph","text":"Иоганн Шляф (1862–1941) – немецкий писатель."},{"id":"contentnotes1:38","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:39","kind":"heading","text":"173"},{"id":"contentnotes1:40","kind":"paragraph","text":"Станислав Пшибышевский (1868–1927) – польский писатель. Испытывал влияние взглядов Ф. Ницше, пропагандировал крайний модернистский эстетизм, эротизм и экспрессионизм."},{"id":"contentnotes1:41","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:42","kind":"heading","text":"174"},{"id":"contentnotes1:43","kind":"paragraph","text":"Камилл Лемоннье (1841–1913) – бельгийский писатель. Один из творцов новейшей бельгийской литературы."},{"id":"contentnotes1:44","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:45","kind":"heading","text":"175"},{"id":"contentnotes1:46","kind":"paragraph","text":"Шарль Ван Дерберг (1861–1907) – бельгийский поэт, новеллист и драматург."},{"id":"contentnotes1:47","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:48","kind":"heading","text":"176"},{"id":"contentnotes1:49","kind":"paragraph","text":"К этой категории относится также пьеса бельгийца Кромелинка «Ваятель масок»."},{"id":"contentnotes1:50","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:51","kind":"heading","text":"177"},{"id":"contentnotes1:52","kind":"paragraph","text":"Торжество смерти, вдохновившее когда-то Гольбейна к его «Пляске смерти», нашло яркого художника в лице немца Ретеля, творчество которого относится еще на 50-х годах XIX-е. После крушения мартовской революции, он создал ряд рисунков, изображающих победу смерти над народным движением. Эта превосходная «Пляска смерти» может быть рассмотрена только в другом месте, в другой связи. Кроме этой серии Ретель создал еще два рисунка на ту же тему, один из которых помещен в нашей книге."},{"id":"contentnotes1:53","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:54","kind":"heading","text":"178"},{"id":"contentnotes1:55","kind":"paragraph","text":"См. об этом подробнее нашу брошюру «Торжество пола» (по поводу книги О. Вейнингера)."},{"id":"contentnotes1:56","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:57","kind":"heading","text":"179"},{"id":"contentnotes1:58","kind":"paragraph","text":"Франк Ведекинд (1864–1918) – немецкий поэт и драматург, предшественник экспрессионизма."},{"id":"contentnotes1:59","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:60","kind":"heading","text":"180"},{"id":"contentnotes1:61","kind":"paragraph","text":"Джеймс Уистлер (1834–1903) – американский художник, мастер живописного портрета, а также офорта и литографии. Один из известных тоналистов – предшественников импрессионизма и символизма. Приверженец концепции «искусство ради искусства». Офицер ордена Почетного легиона."},{"id":"contentnotes1:62","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:63","kind":"heading","text":"181"},{"id":"contentnotes1:64","kind":"paragraph","text":"См. также его роман «The Witch’s Head»."},{"id":"contentnotes1:65","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:66","kind":"heading","text":"182"},{"id":"contentnotes1:67","kind":"paragraph","text":"Фелисьен Ропе (1833–1898) – бельгийский художник-символист. Обри Бердслей (1872–1898) – английский художник-график, иллюстратор, декоратор, поэт, один из виднейших представителей английского эстетизма и модерна 1890-х годов. Франц фон Штук (1863–1928) – немецкий живописец и скульптор. Эдвард Мунк (1863–1944) – норвежский художник-экспрессионист."},{"id":"contentnotes1:68","kind":"paragraph","text":"Вернуться"},{"id":"contentnotes1:69","kind":"heading","text":"183"},{"id":"contentnotes1:70","kind":"paragraph","text":"Нас могут упрекнуть, что нами оставлен в стороне еще один важный социальный фактор, служивший для многих писателей и художников источником ужаса, а именно – война. Такой упрек может показаться тем более основательным, что некоторые из рассмотренных нами творцов кошмарных образов черпали в войне немало мрачных сюжетов. Достаточно указать на известную серию рисунков Гойи «Los desastros de la guerra», созданных им под впечатлением вторжения французов в Испанию, на картину Делакруа, впрочем упомянутую выше «La Bataille de Taillebourg», наконец на картину Штука «Война», где на черном коне по грудам раненых и убитых тел едет с мечом на плече бог брани. Близко к творцам кошмарных образов подходит и французский художник XVII в. Калло, которого мы оставили в стороне, так как в его творчестве все же преобладает гротеск над кошмаром, а у Калло рядом с каким-нибудь «Св. Антонием», напоминающим манеру Босха и Брейгеля, стоят превосходные рисунки, воспроизводящие ужасы войны. Можно было бы указать еще на многих других художников, изображавших безумие войны в мрачных тонах, порой близких к кошмару. Таковы например картины Тинторетто, на которых в зловеще мрачном освещении по полю битвы носятся огромные сказочные витязи, похожие на призраки, картины Вирца и др. Мы оставили мотивы о войне в стороне, во-первых, потому что можно в войне усматривать зло и безумие и однако отнюдь не быть пессимистом, в глазах которого жизнь есть царство дьявола, и поэтому мрачно пессимистические изображения войны не могли бы быть доказательством принадлежности данного писателя или художника к группе кошмарных творцов; и во-вторых, потому что если порой рассмотренные нами художники и воспроизводили ужасы войны, то даже у них сквозь пессимизм настроения пробивается вполне здоровая жизнеутверждающая идея, которую можно формулировать словами заглавия известного романа «Nieder mit den Waffen». Военные картины Гойи, Штука, Делакруа и др. своего рода проповедь антимилитаризма. В них дышит тоже самое настроение, которое заставило Байрона воскликнуть после картины резни, сопровождавшей взятие Измаила (в «Дон-Жуане»):"},{"id":"contentnotes1:71","kind":"paragraph","text":"О внуки! На героев прежних лет Смотрите изумлением объяты, Как смотрим мы на мамонта скелет Дивясь тому, что мог он жить когда-то."},{"id":"contentnotes1:72","kind":"paragraph","text":"Вернуться"}],"toc":[{"id":"content0:0:1","label":"Владимир Фриче Поэзия кошмаров и ужаса","page":1,"pageUrl":"/books/1UZOKZ90#reader-content"},{"id":"content0:3:1","label":"Предисловие","page":1,"pageUrl":"/books/1UZOKZ90#reader-content"},{"id":"content0:18:1","label":"Средние века Эпоха натурального хозяйства","page":1,"pageUrl":"/books/1UZOKZ90#reader-content"},{"id":"content1:0:5","label":"Ренессанс Возникновение и крушение торгового капитализма","page":5,"pageUrl":"/books/1UZOKZ90?page=5#reader-content"},{"id":"content2:0:13","label":"От рококо к романтизму Крушение абсолютизма","page":13,"pageUrl":"/books/1UZOKZ90?page=13#reader-content"},{"id":"content3:0:15","label":"Романтизм Возникновение промышленного 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