Маски

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Читать бесплатно онлайн","description":"Полный текст книги «Маски». А также краткое содержание, главные мысли, конфликт, темы, персонажи, цитаты и ответы на вопросы.","breadcrumb":{"@id":"https://bookra.app/books/4LxFFB5Y#breadcrumb"},"mainEntity":{"@id":"https://bookra.app/books/4LxFFB5Y#work"},"primaryImageOfPage":{"@type":"ImageObject","url":"https://storage.yandexcloud.net/bookra-catalog-pd-public/content/dcb5ee58-59a5-102a-990a-1c76fd93e5c4/thumbs/1200.webp"}},{"@context":"https://schema.org","@type":"Book","@id":"https://bookra.app/books/4LxFFB5Y#work","name":"Маски","url":"https://bookra.app/books/4LxFFB5Y","description":"«Роман „Маски“ есть второй том романа „Москва“, обнимающего в задании автора 4 тома. 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Второй том рисует предреволюционное разложение русского общества (осень и зима 16-го года); третий том в намерении автора должен нарисовать эпоху революции и часть эпохи военного коммунизма; четвертый том обнимает эпоху конца нэпа и начала нового реконструктивного периода; таково намерение автора, который должен оговориться: намерение – не исполнение, тот, кто намеревается, мыслит механически, рассудочно, квантитативно; процесс написания, т. е. процесс обрастания намерения, как абстрактной конструкции, образами есть выявление тех новых качественностей, в которых квантитативное мышление, так сказать, заново вываривается; мышление образами – квалитативно, мышление в понятиях – квантитативно. Художественное произведение есть синтез обоих родов мышления: и как всякий конкретный синтез, оно является порой сюрпризом для автора."},{"id":"id4377:2","kind":"paragraph","text":"Таким сюрпризом явился для меня второй том романа «Москва», долженствовавший включить февральскую и октябрьскую революции. Но в процессе организации текста тема разрасталась; и подход к революции автора усложнил значительно для него ту художественную платформу, с которой он хотел показать своих героев в революции; сюжет разросся, и часть второго тома неожиданно выросла в том; действующие лица, которых истинный характер развертывается лишь в революции, остались в судьбах метаморфозы сюжета второго тома, – в подпольи; они показаны сознательно в задержи, в полумолчании, они заговорят лишь в третьем томе, такова фигура Тителева: лишь в третьем томе определится роль и других действующих лиц в революции: братьев Коробкиных, Серафимы, Лизаши; во втором томе они даны в самопротиворечии; особенно это имеет место относительно профессора Коробкина, который показан как антитеза первого тома, т. е. как отрицающий свою прежнюю жизнь и как еще не осознавший своего места в событиях, которые властно его вырывают из той среды, в которой он жил."},{"id":"id4377:3","kind":"paragraph","text":"В третьем и четвертом томах автор надеется показать своих героев в синтезе диалектического процесса, который протекает в душе каждого: по-своему; второй том – антитеза: как таковой, он есть сознательно заостряемый автором вопрос: как жить в таком гнилом мире? «Быть или не быть» (бытие, небытие), сознательный гамлетизм, размышление над черепом уже сгнившей действительности, морочащей, что жива, есть планомерное заключение второго тома; он – диада без триады: поэтому-то второй том – «Маски»; революция уже рвет их с замаскированных; личности, в первом томе показанные в своем самостном эгоизме, уже – личности-личины. Второй том сознательно кончается фразой: «Читатель – пока: продолжение следует». Диада волит триады; антитеза восходит к синтезу."},{"id":"id4377:4","kind":"paragraph","text":"Что касается до сюжетного содержания, то оно является психологически продолжением первого тома в постоянном поверте внимания на события первого тома и в новом освещении их (в показе по-новому); но автор старался писать так, чтобы для читателей второго тома «Москвы» роман «Маски» был самостоятелен, те из читателей, которые не прочли первого тома, в процессе чтения постепенно ознакомляются с его содержанием, подобно тому, как герои ибсеновских драм постепенно в диалоге вводят зрителя в событие, бывшее до начала драмы; некоторая сюжетная неясность первых глав (для не читавших первого тома) не препятствует чтению второго тома, ибо она введена как интрига, сознательно вздергивающая внимание, чтобы удовлетворить любопытство; пусть не знают о случае с профессором (первый том); остается интригующее: «Что это значит?» Недоумение проясняется; пусть интригуют псевдонимы (Домардэн, Тителевы); маски слетают с них. Напомню, что такой прием закономерен; напомню, что весь роман Диккенса «Наш взаимный друг» построен на любопытстве, вырастающем из недоумения."},{"id":"id4377:5","kind":"paragraph","text":"Все же в двух словах восстанавливаю здесь содержание первого тома, фабула которого весьма проста."},{"id":"id4377:6","kind":"paragraph","text":"Рассеянный чудак-профессор наталкивается на открытие огромной важности, лежащее в той сфере математики, которая соприкасается со сферой теоретической механики; из априорных выводов вытекает абстрактное пока что предположение, что открытие применяемо к технике и, в частности, к военному делу, открывая возможность действия лучам такой разрушительной силы, перед которыми не устоит никакая сила; разумеется, об этом пронюхали военные агенты «великих» держав: действуя через авантюриста Мандро, своего рода маркиза де-Сада и Калиостро XX века, они окружают профессора шпионажем; Мандро плетет тонкую паутину вокруг профессора, который замечает слежку, не зная ее подлинных корней; и проникается смутным ужасом, что патриархальные устои быта, вне которого он не мыслит себя, – не защищают его и что стены его кабинета – дают течь."},{"id":"id4377:7","kind":"paragraph","text":"Между тем Мандро, пойманный с поличным как немецкий шпион и как развратник, изнасиловавший собственную дочь, Лизашу, вынужден скрыться; припертый к стене, он решается на крайнее средство: силою вырвать у профессора все бумаги, относящиеся к открытию, чтобы их продать куда следует (в этом залог его ненаказуемости); загримированный, он проникает в пустую квартиру профессора, в которой профессор, приехавший с дачи, ночует один; последний отказывается выдать бумаги, и с абстрактным донкихотизмом пытается силой своих убеждений бороться с физической силой Мандро, которому ничего не остается, как… прибегнуть к пытке профессора, во время которой он в умоисступлении, почти в безумии, выжигает профессору глаз; но пытаемый выказывает силу воли; он сходит с ума во время пыток, но бумаг, зашитых в жилете, не выдает."},{"id":"id4377:8","kind":"paragraph","text":"Мандро случайно пойман на месте преступления; он не бежит, как потерявший сознание; его увозят в тюремную больницу, где он и умирает-де не опознанный; профессора везут в сумасшедший дом. Вот основная линия очень простого сюжета."},{"id":"id4377:9","kind":"paragraph","text":"У профессора есть друг, Николай Николаевич Киерко, тайный революционер, действующий в подпольи и мимикрирующий лукавого шутника, шахматиста, бездельника; Киерко видит драму профессора и понимает, что истинная почва драмы – не аферист Мандро, а весь строй; он случайно узнает об ужасной драме, пережитой дочерью Мандро, Лизашей, после того, как Мандро использовал ее дочернюю любовь для того, чтобы ее обесчестить; в Лизаше среди хаоса болезненных, чисто декадентских переживаний есть и нечто, роднящее ее с утопиями о социалистическом городе Солнца; приняв участие в несчастии Лизаши, Киерко дружески с ней сближается и старается выпрямить в ней до марксизма ее утопические представления."}],"toc":[{"id":"id4379:0:1","label":"Annotation","page":1,"pageUrl":"/books/4LxFFB5Y#reader-content"},{"id":"id4378:0:2","label":"Андрей Белый Маски","page":2,"pageUrl":"/books/4LxFFB5Y?page=2#reader-content"},{"id":"id4377:0:2","label":"Вместо предисловия","page":2,"pageUrl":"/books/4LxFFB5Y?page=2#reader-content"},{"id":"id4376:0:4","label":"Глава первая. 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