Три певца своей жизни (Казанова, Стендаль, Толстой)

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Он манипулирует людьми, обольщает женщин, участвует в азартных играх и мошенничестве, превращая каждое мгновение в яркую сцену. В старости его привлекательность падает, он арестован, изгнан, становится шпионом и писателем, но в итоге умирает забытым.","Стендаль — Писатель-эгоист, известный своей склонностью к обману и псевдонимам, предвосхитивший открытия психологии. Он пишет ради удовольствия, наблюдая за чувствами, разбивая их на детали. Его романы «Красное и черное», «Люсьен Левен» и «Пармская обитель» отражают его идеализм и разочарование. В автобиографии «Souvenirs d'un egotiste» он раскрывает свою психологию.","Толстой — Автор, переживший экзистенциальный кризис, ощущение «ничто», страх перед смертью и переход к моральному писательству. Он проповедует ненасильственную мораль, критик собственности, государства и церкви, стремится жить по убеждениям, но сталкивается с противоречиями. 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Цвейг, знакомя читателей с этой книгой, - я знаю, сопоставление этих трех имен звучит скорее неожиданно, чем убедительно, и трудно себе представить плоскость, где беспутный, аморальный жулик… Казанова встречается стаким героическим поборником нравственности и совершенным изобразителем, как Толстой. В действительности же… эти три имени символизируют три ступени - одну выше другой… в пределах одной и той же творческой функции: самоизображения`."},{"id":"id4266:2","kind":"paragraph","text":"Цвейг Стефан"},{"id":"id4266:3","kind":"paragraph","text":"ПРЕДИСЛОВИЕ СТЕФАНА ЦВЕЙГА К РУССКОМУ ИЗДАНИЮ [70]"},{"id":"id4266:4","kind":"paragraph","text":"ПРЕДИСЛОВИЕ"},{"id":"id4266:5","kind":"paragraph","text":"КАЗАНОВА. Перевод П. С. Бернштейн"},{"id":"id4266:6","kind":"paragraph","text":"ПОРТРЕТ ЮНОГО КАЗАНОВЫ"},{"id":"id4266:7","kind":"paragraph","text":"АВАНТЮРИСТЫ"},{"id":"id4266:8","kind":"paragraph","text":"ОБРАЗОВАНИЕ И ОДАРЕННОСТЬ"},{"id":"id4266:9","kind":"paragraph","text":"ФИЛОСОФИЯ ЛЕГКОМЫСЛИЯ"},{"id":"id4266:10","kind":"paragraph","text":"HOMO EROTICUS"},{"id":"id4266:11","kind":"paragraph","text":"ГОДЫ ВО МРАКЕ"},{"id":"id4266:12","kind":"paragraph","text":"ПОРТРЕТ КАЗАНОВЫ В СТАРОСТИ"},{"id":"id4266:13","kind":"paragraph","text":"ГЕНИЙ САМОИЗОБРАЖЕНИЯ"},{"id":"id4266:14","kind":"paragraph","text":"СТЕНДАЛЬ. Перевод В. А. Зоргенфрея"},{"id":"id4266:15","kind":"paragraph","text":"ЛЖИВОСТЬ И ПРАВДОЛЮБИЕ"},{"id":"id4266:16","kind":"paragraph","text":"ПОРТРЕТ"},{"id":"id4266:17","kind":"paragraph","text":"КИНОЛЕНТА ЕГО ЖИЗНИ"},{"id":"id4266:18","kind":"paragraph","text":"\"Я\" И ВСЕЛЕННАЯ"},{"id":"id4266:19","kind":"paragraph","text":"ХУДОЖНИК"},{"id":"id4266:20","kind":"paragraph","text":"DE VOLUPTATE PSYCHOLOGICA [169]"},{"id":"id4266:21","kind":"paragraph","text":"АВТОПОРТРЕТ"},{"id":"id4266:22","kind":"paragraph","text":"СТЕНДАЛЬ В СОВРЕМЕННОСТИ"},{"id":"id4266:23","kind":"paragraph","text":"ЛЕВ ТОЛСТОЙ. Перевод П. С. Бернштейн под редакцией Б. М. Эйхенбаума"},{"id":"id4266:24","kind":"paragraph","text":"ПРЕЛЮДИЯ"},{"id":"id4266:25","kind":"paragraph","text":"ПОРТРЕТ"},{"id":"id4266:26","kind":"paragraph","text":"ЖИЗНЕННАЯ СИЛА И ЕЕ СОПРОТИВЛЯЕМОСТЬ"},{"id":"id4266:27","kind":"paragraph","text":"ХУДОЖНИК"},{"id":"id4266:28","kind":"paragraph","text":"САМОИЗОБРАЖЕНИЕ"},{"id":"id4266:29","kind":"paragraph","text":"КРИЗИС И ПРЕОБРАЖЕНИЕ"},{"id":"id4266:30","kind":"paragraph","text":"ИСКУССТВЕННЫЙ ХРИСТИАНИН"},{"id":"id4266:31","kind":"paragraph","text":"УЧЕНИЕ И ЕГО НЕСОСТОЯТЕЛЬНОСТЬ"},{"id":"id4266:32","kind":"paragraph","text":"БОРЬБА ЗА ОСУЩЕСТВЛЕНИЕ"},{"id":"id4266:33","kind":"paragraph","text":"ДЕНЬ ИЗ ЖИЗНИ ТОЛСТОГО"},{"id":"id4266:34","kind":"paragraph","text":"РЕШЕНИЕ И ПРОСВЕТЛЕНИЕ"},{"id":"id4266:35","kind":"paragraph","text":"ПОБЕГ К БОГУ"},{"id":"id4266:36","kind":"paragraph","text":"ФИНАЛ"},{"id":"id4266:37","kind":"paragraph","text":"notes"},{"id":"id4266:38","kind":"paragraph","text":"1"},{"id":"id4266:39","kind":"paragraph","text":"2"},{"id":"id4266:40","kind":"paragraph","text":"3"},{"id":"id4266:41","kind":"paragraph","text":"4"},{"id":"id4266:42","kind":"paragraph","text":"5"},{"id":"id4266:43","kind":"paragraph","text":"6"},{"id":"id4266:44","kind":"paragraph","text":"7"},{"id":"id4266:45","kind":"paragraph","text":"8"},{"id":"id4266:46","kind":"paragraph","text":"9"},{"id":"id4266:47","kind":"paragraph","text":"10"},{"id":"id4266:48","kind":"paragraph","text":"11"},{"id":"id4266:49","kind":"paragraph","text":"12"},{"id":"id4266:50","kind":"paragraph","text":"13"},{"id":"id4266:51","kind":"paragraph","text":"14"},{"id":"id4266:52","kind":"paragraph","text":"15"},{"id":"id4266:53","kind":"paragraph","text":"16"},{"id":"id4266:54","kind":"paragraph","text":"17"},{"id":"id4266:55","kind":"paragraph","text":"18"},{"id":"id4266:56","kind":"paragraph","text":"19"},{"id":"id4266:57","kind":"paragraph","text":"20"},{"id":"id4266:58","kind":"paragraph","text":"21"},{"id":"id4266:59","kind":"paragraph","text":"22"},{"id":"id4266:60","kind":"paragraph","text":"23"},{"id":"id4266:61","kind":"paragraph","text":"24"},{"id":"id4266:62","kind":"paragraph","text":"25"},{"id":"id4266:63","kind":"paragraph","text":"26"},{"id":"id4266:64","kind":"paragraph","text":"27"},{"id":"id4266:65","kind":"paragraph","text":"28"},{"id":"id4266:66","kind":"paragraph","text":"29"},{"id":"id4266:67","kind":"paragraph","text":"30"},{"id":"id4266:68","kind":"paragraph","text":"31"},{"id":"id4266:69","kind":"paragraph","text":"32"},{"id":"id4266:70","kind":"paragraph","text":"33"},{"id":"id4266:71","kind":"paragraph","text":"34"},{"id":"id4266:72","kind":"paragraph","text":"35"},{"id":"id4266:73","kind":"paragraph","text":"36"},{"id":"id4266:74","kind":"paragraph","text":"37"},{"id":"id4266:75","kind":"paragraph","text":"38"},{"id":"id4266:76","kind":"paragraph","text":"39"},{"id":"id4266:77","kind":"paragraph","text":"40"},{"id":"id4266:78","kind":"paragraph","text":"41"},{"id":"id4266:79","kind":"paragraph","text":"42"},{"id":"id4266:80","kind":"paragraph","text":"43"},{"id":"id4266:81","kind":"paragraph","text":"44"},{"id":"id4266:82","kind":"paragraph","text":"45"},{"id":"id4266:83","kind":"paragraph","text":"46"},{"id":"id4266:84","kind":"paragraph","text":"47"},{"id":"id4266:85","kind":"paragraph","text":"48"},{"id":"id4266:86","kind":"paragraph","text":"49"},{"id":"id4266:87","kind":"paragraph","text":"50"},{"id":"id4266:88","kind":"paragraph","text":"51"},{"id":"id4266:89","kind":"paragraph","text":"52"},{"id":"id4266:90","kind":"paragraph","text":"53"},{"id":"id4266:91","kind":"paragraph","text":"54"},{"id":"id4266:92","kind":"paragraph","text":"55"},{"id":"id4266:93","kind":"paragraph","text":"56"},{"id":"id4266:94","kind":"paragraph","text":"57"},{"id":"id4266:95","kind":"paragraph","text":"58"},{"id":"id4266:96","kind":"paragraph","text":"59"},{"id":"id4266:97","kind":"paragraph","text":"60"},{"id":"id4266:98","kind":"paragraph","text":"61"},{"id":"id4266:99","kind":"paragraph","text":"62"},{"id":"id4266:100","kind":"paragraph","text":"63"},{"id":"id4266:101","kind":"paragraph","text":"64"},{"id":"id4266:102","kind":"paragraph","text":"65"},{"id":"id4266:103","kind":"paragraph","text":"66"},{"id":"id4266:104","kind":"paragraph","text":"67"},{"id":"id4266:105","kind":"paragraph","text":"68"},{"id":"id4266:106","kind":"paragraph","text":"69"},{"id":"id4266:107","kind":"paragraph","text":"70"},{"id":"id4266:108","kind":"paragraph","text":"71"},{"id":"id4266:109","kind":"paragraph","text":"72"},{"id":"id4266:110","kind":"paragraph","text":"73"},{"id":"id4266:111","kind":"paragraph","text":"74"},{"id":"id4266:112","kind":"paragraph","text":"75"},{"id":"id4266:113","kind":"paragraph","text":"76"},{"id":"id4266:114","kind":"paragraph","text":"77"},{"id":"id4266:115","kind":"paragraph","text":"78"},{"id":"id4266:116","kind":"paragraph","text":"79"},{"id":"id4266:117","kind":"paragraph","text":"80"},{"id":"id4266:118","kind":"paragraph","text":"81"},{"id":"id4266:119","kind":"paragraph","text":"82"},{"id":"id4266:120","kind":"paragraph","text":"83"},{"id":"id4266:121","kind":"paragraph","text":"84"},{"id":"id4266:122","kind":"paragraph","text":"85"},{"id":"id4266:123","kind":"paragraph","text":"86"},{"id":"id4266:124","kind":"paragraph","text":"87"},{"id":"id4266:125","kind":"paragraph","text":"88"},{"id":"id4266:126","kind":"paragraph","text":"89"},{"id":"id4266:127","kind":"paragraph","text":"90"},{"id":"id4266:128","kind":"paragraph","text":"91"},{"id":"id4266:129","kind":"paragraph","text":"92"},{"id":"id4266:130","kind":"paragraph","text":"93"},{"id":"id4266:131","kind":"paragraph","text":"94"},{"id":"id4266:132","kind":"paragraph","text":"95"},{"id":"id4266:133","kind":"paragraph","text":"96"},{"id":"id4266:134","kind":"paragraph","text":"97"},{"id":"id42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Стефан Три певца своей жизни (Казанова, Стендаль, Толстой)"},{"id":"id4264:0","kind":"heading","text":"ПРЕДИСЛОВИЕ СТЕФАНА ЦВЕЙГА К РУССКОМУ ИЗДАНИЮ [70]"},{"id":"id4264:1","kind":"paragraph","text":"Нежданная радость для меня, что, будучи приглашен на торжества в память Льва Толстого, я могу написать эти строки в Москве. В этом этюде и в другом - противопоставляемом ему - этюде о Достоевском [71] я попытался изобразить русский гений в двух его проявлениях. Мне думалось, что ценой долголетнего изучения и долголетней любви я приобрел на это право. Здесь, в самой России, работа, предпринятая в Европе без знакомства с русским языком, кажется мне дерзкой затеей. За эти несколько дней у меня набралось много отдельных впечатлений: будь они пережиты раньше, они могли бы с пользою сказаться в свое время на моем изложении. Но оправдывает меня все же то обстоятельство, что за границей эти два очерка немало повысили восхищение перед обоими русскими гениями и интерес к ним. Я знаю, что тому послужила истинная любовь, а всякое служение духовного порядка, так или иначе, плодотворно."},{"id":"id4264:2","kind":"paragraph","text":"Я не отваживаюсь истолковывать России великих ее писателей, но все-таки интересно, может статься, узнать, каким именно образом и как страстно, а прежде всего - как любовно боремся мы с русским духом и какими из-за нашего рубежа представляются нам, европейцам, ваши великие художники."},{"id":"id4264:3","kind":"paragraph","text":"Как утверждают мои друзья, в этом издании - единственно авторизованном - слово мое передано точно, и у меня создается чувство, будто я сам беседую с русским читателем и говорю, как важно, как необходимо стало для всего нашего духовного развития, для познания нами природы чувств вступать в общение с русским духом."},{"id":"id4264:4","kind":"paragraph","text":"Москва"},{"id":"id4264:5","kind":"paragraph","text":"14 сентября 1928"},{"id":"id4263:0","kind":"heading","text":"ПРЕДИСЛОВИЕ"},{"id":"id4263:1","kind":"paragraph","text":"The proper study of mankind is man"},{"id":"id4263:2","kind":"paragraph","text":"Pope [72]"},{"id":"id4263:3","kind":"paragraph","text":"В ряду изображений \"Строители мира\", в котором я пытаюсь пояснить творческие устремления духа самыми яркими типами, а типы, в свою очередь, образами, этот том противопоставляется двум другим и дополняет их. В \"Борьбе с демоном\" показаны Гёльдерлин, Клейст и Ницше как три различных воплощения гонимой демоном трагической душевной природы, переступающей в борьбе с беспредельным границы, положенные как ей самой, так и реальному миру. \"Три мастера\" показывают Бальзака, Диккенса и Достоевского как типы мировых эпических изобразителей, создавших в космосе своих романов вторую действительность наряду с существующей. Путь \"Трех певцов своей жизни\" ведет не в беспредельный мир, как у первых, и не в реальный, как у вторых, а обратно - к собственному \"я\". Важнейшей задачей своего искусства они невольно считают не отражение макрокосма, то есть полноты существования, а демонстрирование перед миром микрокосма собственного \"я\": для них нет реальности более значительной, чем реальность их собственного существования. В то время как создающий мир поэт, extroverte [73], как его называет психология, тс есть обращенный к миру, растворяет свое \"я\" в объективности произведения до полного исчезновения личности (совершеннее всех Шекспир - как человек, ставший мифом), субъективно чувствующий, introverte [74], обращенный к себе, сосредоточивает весь мир в своем \"я\" и становится прежде всего изобразителем своей собственной жизни. Какую бы форму он ни избрал - драму, эпос, лирику или автобиографию, - он всегда бессознательно в центр своего произведения ставит свое \"я\", в каждом изображении он прежде всего изображает себя. Задачей этого тома является попытка продемонстрировать на трех образах - Казановы, Стендаля и Толстого - этот тип поглощенного собой субъективного художника и характернейшую для него художественную форму - автобиографию."},{"id":"id4263:4","kind":"paragraph","text":"Казанова, Стендаль, Толстой, - я знаю, сопоставление этих трех имен звучит скорее неожиданно, чем убедительно, и трудно себе представить плоскость, где беспутный, аморальный жулик и сомнительный художник Казанова встречается с таким героическим поборником нравственности и совершенным изобразителем, как Толстой. В действительности же и на этот раз совмещение в одной книге не указывает на размещение их в пределах одной и той же духовной плоскости; наоборот, эти три имени символизируют три ступени одну выше другой, ряд восходящих проявлений однородной формы; они являются, повторяю, не тремя равноценными формами, а тремя ступенями в пределах одной и той же творческой функции: самоизображения. Казанова, разумеется, представляет только первую, самую низкую, самую примитивную ступень наивное самоизображение, в котором человек рассматривает жизнь как совокупность внешних чувственных и фактических переживаний и простодушно знакомит с течением и событиями своей жизни, не оценивая их, не углубляясь в свой внутренний мир. У Стендаля самоизображение уже стоит на более высокой ступени - психологической. Оно не удовлетворяется простым рапортом, голым curriculum vitae [75], тут собственное \"я\" заинтересовалось самим собой; оно рассматривает механизм своих побуждений, ищет мотивы своих действий и своего бездействия, драматические элементы в области душевного. Это открывает новую перспективу - двойного рассмотрения своего \"я\" как субъекта и объекта, двойной биографии: внешней и внутренней. Наблюдающий наблюдает себя, переживающий проверяет свои переживания, - не только внешняя, но и психическая жизнь вошла в кругозор изобразителя. В Толстом - как типе - это самонаблюдение достигает высшей ступени; оно становится уже этически-религиозным самоизображением. Точный наблюдатель описывает свою жизнь, меткий психолог - разъединенные рефлексы переживаний; за ними, в свою очередь, следит новый элемент самонаблюдения - неутомимый глаз совести; он наблюдает за правдивостью каждого слова, за чистотой каждого воззрения, за действенной силой каждого чувства; самоизображение, вышедшее за пределы любопытствующего самоисследования, является самоиспытанием, самосудилищем. Художник, изображая себя, интересуется не только методом и формой, но и смыслом и ценностью своего земного пути."}],"toc":[{"id":"id4266:0:1","label":"Annotation","page":1,"pageUrl":"/books/1VaXdV5Y#reader-content"},{"id":"id4265:0:1","label":"Цвейг Стефан Три певца своей жизни (Казанова, Стендаль, Толстой)","page":1,"pageUrl":"/books/1VaXdV5Y#reader-content"},{"id":"id4264:0:1","label":"ПРЕДИСЛОВИЕ СТЕФАНА ЦВЕЙГА К РУССКОМУ ИЗДАНИЮ [70]","page":1,"pageUrl":"/books/1VaXdV5Y#reader-content"},{"id":"id4263:0:1","label":"ПРЕДИСЛОВИЕ","page":1,"pageUrl":"/books/1VaXdV5Y#reader-content"},{"id":"id4262:0:5","label":"КАЗАНОВА. Перевод П. С. 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