Clothing in literary works of the 20th century. Fashion in fiction and painting. Women's costume of the Pushkin era
As soon as mankind learned to make the simplest fabrics and sew the most uncomplicated clothes, the suit became not only a means of protection from the weather, but also a sign, a symbol expressing complex concepts of social life, which are reflected in works of art.
Clothes indicated the nationality and class of a person, his property status and age, and over time, the number of messages that could be conveyed to others by the color and quality of the fabric, the ornament and shape of the costume, the presence or absence of some details and ornaments, increased exponentially. ...
The costume could tell whether the woman had reached, for example, marriageable age, whether she was married, or maybe already married and whether she had children. But only one who belonged to the same community of people could read, decipher without effort all these signs, for they were assimilated in the process of everyday communication.
Each nation in each historical era has developed its own fashion system, which has evolved over the centuries under the influence of cultural contacts, improved technology, and the expansion of trade ties. Compared to other types of art, fashion has another unique quality - the ability to broadly and almost instantly respond to events in the life of the people, to the change of aesthetic and ideological trends in the spiritual sphere.
It cannot be that the character of a person is not reflected in his appearance. How the costume is worn, what details it is supplemented with, in what combinations it is composed - all these are features that reveal the character of the wearer.
He was remarkable in that he always, even in very good weather, went out in galoshes and with an umbrella and certainly in a warm coat with cotton wool, - Chekhov tells about Belikov (Man in a case), - And he had an umbrella in a case, and a watch in a case made of gray suede, and when he took out a penknife to sharpen a pencil, he also had the knife in a case; and the face seemed to be in a case, as he hid it all the time in a raised collar ...
Take a close look at the clothes, and you can draw up a cursory sketch of the owner's character. Absent-mindedness and accuracy, pedantry and good nature, breadth of nature and philistinism - all affect a person's appearance. A sharply noticed piece of clothing sometimes tells more than the most detailed biography. Objects surrounding a person always bear the imprint of his personality, manifestations of his taste and inclinations.
There is no depiction of a dead nature more expressive in terms of the power of human experiences than Van Gogh's sketch Shoes.
On the canvas are two shabby, old-fashioned boots that have just been taken off. It was through old-fashionedness that the artist showed their age. Having long ago assumed the shape of old and sore legs, they shrank on the floor, as if afraid to disturb the peace of the moment's respite. Dirt, sun and rain have left deep wrinkles in old skin. Willingly or unwillingly, the viewer, animating them, will accept the shoes as a living part of the one who has just left, will begin to nourish them with pity and sympathy. Exhausted shoes evoke a chain of deep associations and feelings, compassion for the disadvantaged and the weak, thoughts of a tragic, lonely old age.
There is no person on the globe before whom, at the mention of Charlie Chaplin, a small frail figure, drowned in huge trousers and trampled, oversized, large boots, would not appear at the mention of Charlie Chaplin.
A fashionable bowler hat, mustache and cane speak of prosperity, but what a sad disappointment we experience when our eyes slide over a baggy frock coat and other people's pants falling over our boots! No, life has failed!
The pieces of clothing that were so talentedly played out, built in contrast, created an image that was unforgettable in terms of persuasiveness and power of influence, which has already become a symbol not only of the little man, but also of his performer - Charles Spencer Chaplin.
Sometimes, a small found detail of a costume, any object related to it, is the knot of the entire characterization.
Panikovsky (the Golden Calf of I. Ilf and E. Petrov), a low-lying petty swindler, had white starch cuffs from earlier times. It doesn't matter that they are independent, as there is no shirt; it is important that now no one wears such a detail of a costume, and he, Panikovsky, by this emphasizes his aristocratic origin and contempt for all the new people around him.
The same social characteristic through a very insignificant touch in the costume is given by Leo Tolstoy in the novel Anna Karenina. In the village we are trying, - says Levin, - to bring our hands into such a position that it would be more convenient to work with them, for this we cut our nails, sometimes roll up our sleeves. And here people deliberately let go of their nails, as far as they can hold, and attach saucers in the form of cufflinks so that nothing can be worked with their hands.
There are not and cannot be details that are not related to a person's character. They talk about occupation, age, tastes; carry the characteristic of time: the shapes of suitcases, briefcases, bags, brooches, pins, badges, etc. change.
In the film The End of St. Petersburg by Pudovkin, a sea of bowlers and top hats flows in the frame at the viewer as a symbol of the death of the old society. There are things with which we associate certain concepts and events.
So, the leather jacket is a constant companion of the first days of the revolution; blue blouse - workers and women workers of the 30s; a linen sweatshirt is an indispensable form of employees of this time.
A gabardine coat and a blue rubberized raincoat on a checkered lining have already become a historical accessory and a symbol of Muscovites of the 50s, while in the 60s the notorious Bologna, a symbol of the chemicalization of our clothes, became a summer uniform.
The whole history of fashion is the history of symbols. But, as mentioned above, fashion manifests itself not only in clothes, but also in behavior.
The subtleties of behavior in civil society were unusually varied. N.V. Gogol spoke about them with humor: It must be said that in Russia, if they have not caught up with foreigners in any other way, then they have far surpassed them in their ability to handle. It is impossible to count all the shades and subtleties of our appeal. A Frenchman or a German will not be aware of and will not understand all the peculiarities and differences: he will speak in almost the same voice and in the same language both with the millionaire and with the small tobacco dealer, although, of course, in his heart he does it in moderation before the first. It is not that with us - we have such wise men who will speak to a landowner who has two hundred souls quite differently than to the one who has three hundred, and with the one who has five hundred, again not the same as with the one who has eight hundred - in a word, even ascending to a million, all shades will be found.
Mannerism
Mannerism (from Italian - pretentiousness, mannerism) is a name conventionally denoting crisis stylistic tendencies, as well as a certain stage in the development of European, mainly Italian, art of the middle and end of the 16th century.
This stage reflected the crisis of the artistic ideals of the Italian Renaissance. The art of mannerism, in general, is characterized by the prevalence of forms over content. The sophistication of technique, virtuosity, demonstration of mastery does not correspond to the paucity of design, the secondary nature and imitation of ideas.
In Mannerism one can feel the weariness of the style, the exhaustion of its sources of life. For the first time after the Renaissance, the harmony of content and form, image and expression, achieved with such difficulty, began to disintegrate due to the overdevelopment and aestheticization of individual elements, graphic means: line and silhouette, color spot and texture, stroke and brushstroke. The beauty of a single detail becomes more important than the beauty of the whole.
Mannerism testifies to the degeneration of one style and the imminent advent of another. This role was most clearly manifested in Italy, where manneristic tendencies foreshadowed the birth of the Baroque.
In Spain, mannerism - with the exception of El Greco - was poorly developed. But he expressed himself in fashion, in its general stylization and details. Compared to the harmonious fashion of the Italian Renaissance respecting the human body, Spanish fashion was strongly influenced by geometric shapes that artificially change the natural lines of the human body, deform them. The relationship between individual pieces of clothing is not balanced. The complete distinction between men's and women's dress, which was achieved by the Italian fashion of the Renaissance, in Spanish fashion in some parts of clothing is erased, while in others only naturalistic details are emphasized.
The brilliant economic situation pushed the Spanish court, its mores, society and fashion to the forefront of European life, which gave impetus to the spread of Spanish fashion in Europe. She found the most vivid reflection in the costumes of France, England, Germany, Italy, the Netherlands.
Purpose: - to find out what was the fashion of the Pushkin era; - compare the costumes of literary heroes and the fashion of the Pushkin era; - to compile a dictionary that gives an interpretation to the names of costumes, accessories Purpose: - to find out what was the fashion of the Pushkin era; - compare the costumes of literary heroes and the fashion of the Pushkin era; - compile a dictionary that interprets the names of costumes, accessories
“Among the public who walked along the Nevsky, one could often notice Pushkin. But he, stopping and attracting the gaze of everyone and everyone, did not amaze with his costume, but on the contrary, his hat was far from being new, and his long bekesha was also old. I will not sin against the offspring if I say that one button was missing on his bekesh at the back of the waist. " N. Kolmakov “Sketch and Memories. Russian antiquity "
“He was dressed in a black tailcoat, a fake diamond glittered under a black tie on a yellowish shirt front” A. Pushkin “Egyptian Nights” his angular chin "," by the copper buttons with coats of arms on his dress coat it was possible to guess that he was an official "M. Yu. Lermontov" Princess Ligovskaya "
She wore a very narrow corset And Russian N, like N French She could pronounce in the nose. "Eugene Onegin" "... the waist was tied like the letter X ...". "The young lady - the peasant woman" "Lizavet ordered to take off her stockings and shoes and unlace the corset." The Queen of Spades
46
The Atlas Dictionary application is a fabric with a glossy surface. Sideburns - part of the beard, along the cheek and up to the ears. Barege is a light woolen or silk fabric with a pattern. Bekesha - men's outerwear in the form of a short caftan with gathers on the back and fur trim. A soul warmer is a warm sleeveless jacket, usually with cotton or fur. Haze is a thin translucent silky fabric. Carrick - outerwear for men. The key is a distinctive sign of the court rank of chamberlain, which is attached to the coat tails of the tailcoat.
The corset is a special belt that tightens the lower part of the chest and abdomen to give the figure a slenderness. Crinoline - underskirt made of hair fabric. Lorgnette - folding glasses with a handle. Uniform - military uniform. Pantaloons are long pants for men. Plush is a cotton, silk or woolen fabric with a pile. Readingot - men's or women's outerwear. Jacket - men's outerwear fitted on the knees, with a collar, with a through fastener on buttons.
Taffeta is a thin cotton or silk fabric with small transverse ribs or patterns on a matte background. Turlurlu is a long sleeveless cape for women. Figmas - a skirt with a whalebone. Tailcoat is a garment with cut-out hemlines in the front and narrow, long folds in the back. Top hat is a tall men's hat made of silk plush. Overcoat - uniform outerwear. Esharp is a scarf made of lightweight fabric that was worn tied around the neck, thrown over the elbows, or as a belt.
Plan
Introduction. Fashion of the first half of the 19th century
1. Male costume of the Pushkin era
2. Women's costume of the Pushkin era
3. The role of clothing descriptions in creating the background of an era
Conclusion. Fashion and clothing style
Bibliography
Introduction. Fashion of the first half of the 19th century
You have the right to think differently than your era,
but not entitled to dress differently.
Maria Ebner-Eschenbach. 1
"Encyclopedia of Russian Life" - this is how Vissarion Grigorievich Belinsky called the novel in verse "Eugene Onegin" by Alexander Sergeevich Pushkin. And the great Russian critic was certainly right. Indeed, this immortal work better than any history textbook portrays Russian life in the first half of the 19th century, everyday life and customs from the high society of St. Petersburg to the patriarchal2 village, that is, "life in all its dimensions." Pushkin himself lived at this time and knew everything about him. Not everyone, of course, is as observant as the poet, but Pushkin's genius lies precisely in the fact that he recreated the historical era as a whole.
Various historical epochs represent special periods with their own traditions, events, and people's way of life. The breeze of the times, ideas and dreams of people are vividly reflected not only in the policy of the state or social processes, but also in the daily life of a person. Plunging into the world of culture, it is easier to recreate the past, not only to understand, but also to feel the spirit of the era. Acquaintance with the history of the costume can become a guide to the historical past.
Everything related to the costume of the past century has long since disappeared from our everyday life. Even the words denoting ancient costumes and fabrics have disappeared from everyday life. We, modern readers, getting acquainted with the works of Russian literature of the nineteenth century, are faced with the fact that much in the work remains unknown to us. Addressing A.S. Pushkin or N.V. Gogol, F.M. Dostoevsky or A.P. Chekhov, we, in essence, do not see much of what was important for the writer and was understood by his contemporaries without the slightest effort.
I wanted to explore the fashion of Pushkin's time based on his novel in verse "Eugene Onegin". If there are no illustrations in the book, then one can only guess about these important details related to the appearance of the hero. And compared to the readers of those times, we are losing a lot. This explains the choice of the topic of our research, dedicated to the fashion of Pushkin's times.
The purpose of this work- the study of fashion and its direction in the first half of the nineteenth century.
Starting work on the abstract, I set myself the following tasks:
on the basis of the works of Alexander Sergeevich Pushkin, as well as facts from the life of the poet known to us today, to investigate fashion and its trends in the first half of the nineteenth century;
to study the standards of beauty of the era I am investigating;
to compare the manner of dressing of Alexander Sergeevich Pushkin with the clothes of the heroes of his works;
trace how fashion changes from the spring of 1818 to the winter of 1837.
Subject of study- study of important details related to the appearance of the hero.
Object of study - change in fashion in the first half of the 19th century.
The study consists of the following parts:
- introduction, which substantiates the relevance of the study, defines its goals and objectives, formulates the practical and theoretical significance of the fashion of Pushkin's time;
- the main part, consisting of 3 chapters:
Chapter 1 talks about the male costume of the Pushkin era;
Chapter 2 talks about the female costume of the Pushkin era;
Chapter 3 talks about the role of clothing descriptions for the background creatures of the era;
- a conclusion, which formulates the main conclusions of the study;
- list of references.
1. Male costume of the Pushkin era
The first half of the nineteenth century is a special time in Russian history. It is associated with the name of Alexander Sergeevich Pushkin. It is no coincidence that it is called the "Pushkin era". Pushkin was born when the eighteenth century was at the end - the century of world-historical social and political upheavals, the richest culture, remarkable scientific discoveries: “Oh, unforgettable century! You grant Truth, freedom and light to joyful mortals ... ”(AN Radishchev,“ The Eighteenth Century ”).
The poet's genius lies not only in the fact that he wrote immortal works, but also in the fact that a special "spirit of the era" is invisibly present in them. Pushkin's heroes are so lively, figurative, colorful that they convey the feelings and thoughts that the author himself and Russian society at the beginning of the nineteenth century lived with.
The novel "Eugene Onegin" was called "the mirror of Russian life", in full measure this can be attributed to the entire work of the poet. The mores of light, customs, methods of conversation, the rules of etiquette, education, the fashion of the era are vividly represented in Pushkin's poetry and prose.
The fashion of the early 19th century was influenced by the ideas of the Great French Revolution3. The Russian costume of the nobility was formed in line with the general European fashion. With the death of Paul I, the bans on French costume fell. The nobles tried on a tailcoat, a frock coat, a vest ...
Opening the pages of the novel "Eugene Onegin", you immerse yourself in the unique world of the Pushkin era: you walk in the Summer Garden with Onegin - a child, you observe the haughty boredom of the St. Petersburg drawing room, you hear the conversations of the local owners "about wine, about the kennel, about your relatives"; you experience her first and only love with Tatyana, admire the magnificent pictures of Russian nature, and in an amazing way that distant era becomes close and understandable.
Most often words fashion5 and fashionable used in the 1st chapter of the novel. This is no coincidence. The motive of fashion runs through the entire chapter and is its leitmotif. The freedom that has opened up to Onegin is subordinate to fashion, in which he sees almost the law of life. Fashion is not only about following the latest patterns in clothes, although Onegin, of course, as befits a dandy6, is dressed (and not just cut) "in the latest fashion." This and the corresponding demeanor, which has a certain name - dandyism7 , this is a way of thinking, and even a certain mood of feelings. Fashion condemns Onegin to a superficial attitude to everything. Following fashion, you cannot be yourself; fashion is transient, superficial.
During the 19th century, men's fashion was mainly dictated by England. The men's costume of Pushkin's times acquired greater austerity and masculinity compared to the 18th century.
How did the dandies of those times dress?
Over a snow-white shirt with a starchy, stiff and tight collar (jokingly called in German “vatermorder” - “parricide”), a tie was tied around the neck8 . The word "tie" is translated from German as "neckerchief", at that time it really was a scarf or scarf, which was tied with a bow or knot, and the ends were tucked under the vest.
The short vest9 appeared in France in the 17th century and was named after the comic theatrical character Gilles who wears it. At the beginning of the 19th century, a wide variety of vests of all kinds of colors were in fashion: single-breasted10 and double-breasted11, with and without collars, with many pockets. The dandies put on several vests at the same time, sometimes five at once, and the lower one certainly had to look out from under the upper vest.
A tailcoat was worn over the vest12. This garment, which has not gone out of fashion to this day, appeared in England at the end of the 18th century and originally served as a riding costume. That is why the tailcoat has an unusual appearance - a short front and long tails13 at the back, the waist is slightly high, the sleeve at the shoulder is widened, and at the bottom there is a funnel-shaped cuff (but this, however, is not necessary). The collar was usually covered with velvet of a different color than the tailcoat fabric. Tailcoats were sewn in various colors, more often from a single-color fabric, but they could also be from patterned materials - striped, "in front sight", etc. The buttons for the tailcoat were silver, porcelain, sometimes even precious.
In Pushkin's time, tailcoats tightly wrapped around the waist and had a fluffy sleeve in the shoulder, which helped the man to correspond to the ideal of beauty of that time. Thin waist, broad shoulders, small legs and arms with high growth!
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The costume of Pushkin's time can be judged by the painting by his contemporary artist Chernetsov14 "Parade on Tsaritsinskoye Meadow in St. Petersburg in 1831". It depicts famous Russian writers - Krylov, Pushkin, Zhukovsky, Gnedich15. All of them are in long pantaloons16, with cylinders on their heads, and all, except for Gnedich, have sideburns17. But the costumes on the writers are different: Pushkin - in a tailcoat, on Zhukovsky - a frock coat18, Krylov is dressed in a bekesh19, and Gnedich - in an overcoat20 with a cape21.
Another common men's clothing was a frock coat, translated from French - "over everything." Initially, the frock coat was worn on a tailcoat, uniform22. It replaced the modern coat. The coat was sewn at the waist. The hem reached the knees, and the shape of the sleeves was the same as that of the tailcoat. The frock coat became streetwear by the 1920s.
As we can see, the 19th century was distinguished by a special variety of outerwear for men. In the first third of the 19th century, men put on karriks - coats that had many (sometimes up to sixteen) collars. They went down in rows, like capes, almost to the waist. This clothing got its name from the famous London actor Garrick, who was the first to dare to appear in a coat of such a strange style.
In the 30s of the last century, the mac23, a coat made of waterproof fabric, came into fashion. It was invented by Scottish chemist Charles Mackintosh. In cold winters in Russia, fur coats were traditionally worn, which have not gone out of fashion for centuries. Going to his last duel, Pushkin first put on a bekesha (insulated caftan), but then returned and ordered the fur coat to be served. It was frosty outside that day ...
Named after the character in the Italian comedy Pantalone, the pantaloons were held by the now-fashionable suspenders and ended with stripes at the bottom to avoid creases. Usually pantaloons and a tailcoat were of different colors, pantaloons were lighter. Pushkin, giving a list of fashionable items for men's dress in "Eugene Onegin", noted their foreign origin:
But pantaloons, tailcoat, vest,
All these words are not in Russian. 24
Pantaloons took root in Russia with difficulty, causing the nobles to associate with peasant clothing - ports25. Speaking of pantaloons, one cannot but recall leggings26. Throughout the 19th century, they were worn by hussars27. In the portrait of Kiprensky28Evgraf Davydov29 is depicted in snow-white leggings. There shouldn't have been a wrinkle on these long, tight-fitting moose leather pants. To achieve this, the leggings were slightly moistened and sprinkled with soap powder inside.
As usual, along with the fashion for clothes, hairstyles also changed. The hair was cut and curled into tight curls - "alaTitus", the face was shaved, but on the cheeks from the temple, narrow strips of hair were left, called a favorite. After the death of Paul I, wigs were no longer worn - natural hair color became fashionable. True, sometimes wigs were still worn. In 1818, due to illness, Pushkin was forced to shave off his luxurious curls. While waiting for new ones to grow, he wore a wig. Once, sitting in a stuffy theater, the poet, with his characteristic spontaneity, used his wig as a fan, shocking those around him.
Gloves, a cane and a watch on a chain, a breguet30, for which a special pocket was provided in the vest, served as an addition to the men's suit. Men's jewelry was also widespread: in addition to the wedding ring, many wore rings with stones. In Tropininsky's portrait, Pushkin has a ring on his right hand and a ring worn on his thumb. It is known that in his youth the poet wore a gold ring with an octagonal carnelian, which had a magical inscription in Hebrew. It was a gift from my beloved.
Many men, like women, took great care of their nails. Let's turn to Eugene Onegin:
I will portray in a faithful picture
A secluded office
Where is the mod pupil exemplary
Dressed, undressed and dressed again?
Amber on the tubes of Constantinople,
Porcelain and bronze on the table
And the feelings of pampered joy,
Perfume in faceted crystal;
Combs, steel nail files,
Straight scissors, curves
And brushes of thirty kinds
For both nails and teeth. 32
According to the memoirs of contemporaries, Pushkin had long, well-groomed nails, captured, by the way, in his portrait by Kiprensky. Fearing to break them, the poet sometimes put on a golden thimble on one of his fingers, with which he did not hesitate to appear even in the theater. Pushkin, as if to justify, wrote in "Eugene Onegin":
You can be a smart person
And think about the beauty of nails:
Why is it fruitless to argue with the century?
The custom of a despot between people. 33
At the beginning of the 19th century, "glasses" - glasses and lorgnets became fashionable. They were used even by people with good eyesight. Pushkin's friend Delvig34, who suffered from myopia, recalled that at the Tsarskoye Selo Lyceum35 it was forbidden to wear glasses, and therefore all women seemed to him then beauties. After graduating from high school and putting on glasses, he realized how deeply he was mistaken. Knowing, probably, about this, Alexander Sergeevich ironically notes in "Eugene Onegin":
You too, mamas, are stricter
Follow your daughters:
Keep your lorgnette straight!
Not that ... not that, God forbid! 36
A common headdress of the Pushkin era was the top hat37. It appeared in England in the 18th century and later changed color, height and shape more than once.
In 1835, in Paris, a folding top hat was invented. Indoors, it was worn under the arm folded and, when required, straightened using a built-in spring.
The fashion of the beginning of the nineteenth century reflects all the trends of the time. As soon as information about the liberation struggle in Latin America reached Russia, people wearing Bolivar hats appeared. Onegin, wishing to appear before the secular public of St. Petersburg "dressed in the latest fashion", puts on the following hat:
Wearing a wide bolivar
Onegin goes to the boulevard ... 38
Bolivar is a large-brimmed top hat popular in Europe in the early 1920s. nineteenth century and got its name from the leader of the liberation movement in Latin America - Simon Bolivar. The poet himself also wore a bolivar.
Men's fashion was permeated with ideas of romanticism39. The male figure emphasized the arched chest, thin waist, graceful posture. But fashion gave way to the trends of the times, the requirements of business qualities, and enterprise. To express the new properties of beauty, completely different forms were required. Long trousers, which were worn in the eighteenth century only by the representatives of the third estate, become the basis of the men's suit, wigs and long hair disappear, men's fashion becomes more stable, the English suit is gaining more and more popularity.
Silk and velvet, lace, and expensive jewelry disappeared from clothing. They were replaced by wool, cloth of dark smooth colors. Men's suits were made of woolen fabrics of tobacco, gray, blue, green and brown colors, and pantaloons were made of lighter woolen fabrics. The trend in color is the pursuit of dark tones. Only vests and court suits were made of velvet and silk. Checkered fabrics, from which trousers and other parts of the suit were sewn, are becoming very fashionable. Folded plaid blankets were often thrown over the shoulder. It was with a checkered plaid that A.S. Pushkin to the artist O. Kiprensky.
But the ball died down, the guests went home. The writer has the ability to "open" any doors and "look" into the houses of his heroes. The most common home clothing for nobles is a robe. Describing the heroes who changed their tailcoat to a dressing gown, Pushkin laughs at their simplicity, measured life, busy with peaceful concerns. Predicting Lensky's future, Alexander Sergeevich Pushkin remarked:
Continuation
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... Or maybe even that: a poet
The ordinary one was waiting for his inheritance.
The youths of the summer would have passed;
In him the ardor of the soul would have cooled.
In many ways, he would change
Parted with muses, got married,
In the village, happy and horned,
Would wear a quilted robe ... 41
2. Women's costume of the Pushkin era
At the beginning of the nineteenth century, the number of women in Russia who preferred the quirks of fashion to traditional vintage dress began to grow at an increasing rate. As in the eighteenth century, these were primarily fashionable city dwellers. And although the costume of a Russian woman in the village, and often in the capital, made it possible to guess about the national and class 42 belonging of its owner, the amount of her wealth, age, marital status, origin, nevertheless the familiar symbolism of the costume of the Russian women has somewhat worn off or took on other forms.
In the early years of the nineteenth century, women's fashion in Russia was not distinguished by the complexity of forms. All art was dominated by neoclassicism43 with its completeness and naturalness, which in Russian fashion received the name "style of empire" or "shemiz" (translated from French - "shirt"). In Russia, this style prevailed from the end of the eighteenth century and did not disappear until the end of the 10s of the nineteenth century. “In the current costume,” wrote the magazine “Moscow Mercury” for 1803, “the main thing is the outlining of forms. If a woman does not see the folding of her legs from shoes to her torso, then they say that she does not know how to dress ... " on only one flesh-colored leotard ", because" the thinnest skirt took away all transparency from such a dress. "
Men - contemporaries found this fashion “not bad”: “… and really, on young women and girls everything was so clean, simple and fresh. Not fearing the horrors of winter, they were in translucent dresses, which tightly clasped a flexible waist and correctly outlined their lovely shapes. " The French portraitist L.Ye. Vigee Lebrun44, who lived in Russia for some time. She wore the shortest skirts for those times and the narrowest, tight-fitting hips dresses. Her outfits were complemented by the lightest shawls bordered with antique ornaments, swan's down or fur.
Shawls, scarves and shawls from a variety of fabrics, having appeared in a woman's costume in the days of Muscovite Russia, have firmly established themselves in the everyday and festive wardrobe of literally all women in Russia. And if the ladies of high society preferred airy capes that corresponded to their "antique" outfits, then in the middle class and in the villages bright, colorful shawls made of fine wool were valued.
Shawls and shawls were preserved in the costume of Russian women during the transition from neoclassicism to the dominant one from the 1810s. Empire style. The refined simplicity of thin antique "shemiz" was replaced by elegantly decorated dresses made of heavy and dense fabrics. The corset45, which raised the chest high and tightly tightened the waist, also returned to fashion. A fitted bodice with a sloping shoulder line, a bell-shaped skirt - a typical silhouette of a Russian city woman of the "Pushkin era". The female figure began to resemble an inverted glass in shape. Here's how Pushkin wrote about it in Eugene Onegin:
The corset was worn very narrow
And Russian N like N French
She knew how to pronounce in the nose. 47
At the beginning of the last century, not only the style of the dresses changed, but also their length: they became shorter. First, the shoes opened, and then the ankles of the feet. It was so unusual that it often caused a thrill in men. It is no coincidence that A.S. Pushkin dedicated so many poetic lines to female legs in Eugene Onegin:
The music is tired of thundering;
The crowd is busy with the mazurka;
The spurs of the cavalry guard strum;
Legs of lovely ladies fly;
In their captivating footsteps
Fiery eyes fly
And the roar of violins is drowned out
Jealous whispers of fashionable women 48
Or, for example:
I love frantic youth
And tightness, and shine, and joy,
And I will give a thoughtful outfit;
I love their legs;
Oh! I couldn't forget for a long time
Two legs ... Sad, cold,
I remember them all, and in a dream
They trouble my heart. 49
The upper part of the dress was supposed to resemble a heart, for which in ball gowns the bodice cutout looked like two semicircles. Usually the waist was encircled with a wide ribbon, which was tied at the back with a bow. . The sleeves of the ball gown looked like a fluffy short puff50. The long sleeves of the everyday dress, reminiscent of medieval gigot51, were extremely wide and narrowed only towards the wrist.
On every weekend dress of a woman, lace must have been present in large quantities and of good quality:
They twist and tremble in the circle of the camp
Sheer lace net.52
On the hat of every respectful woman, a veil must have flaunted, which was called in the French manner - a fleur:
And, turning away the fleur from the hat,
With fluent eyes he reads
Simple inscription. 53
During these years, capes, scarves, and shawls still play an important role in a woman's wardrobe: “I threw a green shawl over the curls of my pretty head” 54. In the women's wardrobe, you can find a wide variety of hats. One of them takes:
Who is there in the crimson beret
Does he speak Spanish with the Ambassador? 55
The beret was decorated with feathers, flowers, was part of the ceremonial dress, and therefore it was not removed at balls, in the theater, at dinner parties.
The most fashionable decoration in this era is considered to be a boa:
He is happy if he throws it on her
Boa fluffy on the shoulder. 56
In terms of the variety of outerwear, women's fashion was not inferior to men's. In Pushkin's "Eugene Onegin" we find words like "coat" 57, "redingot" 58, "hood" 59, "cloak" 60. All these words mean different types of women's outerwear.
At the beginning of the century, women's costume was complemented by a variety of different ornaments, as if compensating for its simplicity and modesty: pearl threads, bracelets, necklaces, tiaras, feronnieres61, earrings. Bracelets were worn not only on the hands, but also on the legs, and almost every finger was decorated with rings and rings.
Ladies' shoes, made of fabric, had the shape of a boat and were tied with ribbons around the ankle like antique sandals. However, in addition to open shoes, fastened boots, worn by women of all walks of life, also came into use.
Gloves and umbrellas were the most common accessories for fashionable women's clothing of the second half of the nineteenth - early twentieth centuries. In summer they wore lacy gloves, often without "fingers", in winter it was difficult to do without woolen gloves. Umbrellas, which were at the same time an elegant addition to a dress or suit, had a functional unconditional significance in the rainy Russian autumn and in the sunny summer in Russia. Umbrella handles were made of bone, wood, tortoise shell and even precious metals ...
Continuation
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The ability to dress elegantly also implied a subtle match between the outfit and the hairstyle or headdress. Fashion for clothes changed, hairstyles also changed. At the beginning of the century, women's hairstyle copied the antique one. Brown hair color was considered preferred. In the 1930s and 1940s, the era of romanticism, hair was styled with curls on the temples. The artist Hau depicted in 1844 the beautiful Natalya Nikolaevna Lanskaya, Pushkin's ex-wife, with just such a hairstyle.
3. The role of the described clothing for creating the background of the era
Clothing in the novel plays the role of not only household item, but also acts in socially sign function. In Pushkin's novel, the clothes of all strata of the population are presented.
In the clothes of the older generation of the Moscow nobility, immutability is emphasized:
Everything in them is on the old sample:
Aunt Princess Helena
The same tulle cap;
Everything is whitewashed Lukerya Lvovna. 63
But the youth of Moscow is trying to keep up with Petersburg in clothes and hairstyles:
Beat her curls in fashion ... 64
The tastes of the provincial nobility are undemanding, convenience is important:
And he ate and drank in his dressing gown ... 65
Pushkin gives an idea about the clothes of ordinary townspeople and peasants:
In glasses, in a torn caftan,
With a stocking in hand, a gray-haired Kalmyk ... 66
A household item is also needed to create the background of an era. The work of Pushkin makes it possible to determine, by the details, to what time this or that fact belongs.
The artistic functions of describing clothing are quite diverse: it can indicate the social status of the hero, his age, interests and views, and finally, about character traits. All these functions of sketching the costume are present in Pushkin's novel "Eugene Onegin".
In the 19th century, the trendsetters in Russia were courtiers and gentlemen, who were equal to the rest of the capital, and in the last quarter of the century and the provincial nobility. They were also imitated by some of the wealthy merchants and commoners. Basically, merchants and their families dressed in Russian national dress, adopting only a little of the fashionable costume. Fashion spread in the 19th century not by fashion magazines, as it was later (there were very few fashion magazines, and they came out with interruptions of several years), but with the help of ready-made samples.
Conclusion. Fashion and clothing style
The poet's lines serve as an excellent illustrative material, reading them, you can vividly imagine the life and customs of the people of the century, their habits, fashions and customs.
Why is it the costume that appears to be such an important means of expression, a detail that reveals not only the plastic appearance of the characters, but also their inner world, determines the position of the author of a literary work?
This is in the very nature of the costume. As soon as they learned how to make the simplest fabrics and sew simple clothes, the suit became not only a means of protection from the weather, but also a certain sign. Clothes indicated the nationality and class of a person, his property status and age.
Over time, the number of concepts that could be conveyed to others by the color and quality of the fabric, the ornament and shape of the costume, the presence or absence of some details increased. When it came to age, it was possible to indicate a lot of details - whether the girl had reached, for example, marriageable age, whether she was married, or maybe she was already married. Then the costume could tell those who do not know her family if the woman has children. But only those who belonged to this community of people could read, decipher without effort, all these signs, since they were assimilated in the process of everyday life.
Each nation in each historical era has developed its own distinctive signs. They were constantly changing. Cultural contacts of the people, technical improvement of weaving, cultural tradition, expansion of the raw material base, etc. The essence remained unchanged - the special language of the costume.
In the era of Pushkin, fashion in the secular sphere reflected mainly European and, above all, French fashion, everything that was fashionable in France was worn by secular women a little later. From the works of the classics of that time, and above all Alexander Sergeevich Pushkin, the fashion of the late eighteenth - early nineteenth centuries is very well outlined - not only among the nobility, but also among the common Russian people.
Fashion has changed over time. Thus, we can say that each historical period of time has its own fashion or style of clothing.
I was convinced that Belinsky was right when he called Pushkin's novel in verse "Eugene Onegin" "an encyclopedia of Russian life." The only thing I would like to add to the words of the great critic is that all the works of Alexander Sergeevich Pushkin can be called such "encyclopedias", since all his works describe in detail the life of Russian people, their customs and habits.
Bibliography
1. Armand T. "Ornamentation of fabrics." - M., 1931.
2. Berman E. and Kurbatova E. "Russian costume 1750-1917". M., 1960-1972.
3. Big encyclopedic dictionary.
4. Burovik K. A. "The Red Book of Things". - M., 1996.
5. Gilyarovskaya N. "Russian historical costume". M., 1945.
6. Gottenroth F. “History of external culture. Clothes, household utensils, field and military tools of the peoples of ancient and modern times. " (Translated from German) SPb. - M., 1855 (1st ed.) And 1911 (2nd ed.).
7. "The history of Russian clothing." SPb., 1915.
8. Kalinskaya N.M. The history of the costume. - M., 1977.
9. Kireeva E.V. “The history of the costume. European Costumes from Antiquity to the 20th Century ”. M., 1976 (2nd ed. Revised).
10. Kirsanova R.M. A suit is a thing and an image in Russian literature of the nineteenth century. - M., 1989.
11. Mertsalova M. "The history of the costume". M., 1972.
12. Pushkin A.S. "Eugene Onegin". A novel in verse ". M., 2004.
13. Pushkin A.S. "The prose of the great poet." M., 2003.
14. Pushkin A.S. Works in 3 volumes. - M., 1987.
15. Pushkin evening at school. - M., 1968.
16. Modern explanatory dictionary of the Russian language T.F. Efremova.
17. Suprun A.I., Filanovsky G.Yu. Why are we dressed like that. M, 1990.
18. Explanatory dictionary of the Russian language D.N. Ushakov.
19.www.vseslova.ru
20. www.slovorus.ru
Continuation
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Trufanova Yulia
The work contains all sections corresponding to the research work. She talks about the history of the appearance of clothing; about the role of the costume in the 20-30s of the 19th century; about the costumes of the heroes of Griboyedov, Pushkin, Gogol, Dostoevsky.
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Municipal Educational Institution
Middle School of General education
Work completed
Grade 10 student
Trufanova Yulia
Checked the work
literature teacher
Tagintseva N.V.
S. Parfenovo.
PLAN
I. Introduction;
II. The history of the appearance of clothing;
- The aesthetic and cultural-historical role of the costume in the literature of 1820-30;
- Costumes of the heroes of A. S. Griboyedov in the comedy "Woe from Wit".
- Costumes of Pushkin's characters in the novel "Eugene Onegin":
a) "how dandy London is dressed";
b) features of a woman's dress.
IV. The multifunctionality of the costume in the work of N.V. Gogol:
- The costume as an expression of the emotional and psychological state of the hero.
- The social coloring of the costume.
V. The tradition of Gogol costume in the works of F. M. Dostoevsky.
Vi. Conclusion
Literature
INTRODUCTION
A.P. Chekhov said: "In order to emphasize the poverty of the petitioner, one does not need to waste a lot of words, one does not need to talk about her miserable unhappy state, but one should only say through and through that she was in a red talm" (Lazarev-Grunsky, A. S. Memories. A.P. Chekhov in the memoirs of his contemporaries. - M., 1995. - S. 122).
Readers, contemporaries of the writer, effortlessly understood what was hidden behind the “red talma” and why the “red talma” turned out to be exactly the talma, and not the rotunda and sak. The subject environment of a literary work was the habitat for the reader. Therefore, it was so easy to imagine not only the plastic appearance of the character, but also to understand what vicissitudes of fate are hidden behind the mention of the costume or the fabric from which it is sewn.
The description of the external appearance of the heroes of a literary work found an emotional response in the souls of readers: after all, each object had for them not only a specific form, but also had a hidden meaning, was familiar with a number of concepts that were formed in the process of life in the everyday life of this object. With the expectation of understanding in a certain author's sense, the writers built their narratives.
We, modern readers, find ourselves in a different position, getting acquainted with the works of Russian fiction of the 19th century. Everything related to the costume of this century has long since disappeared from our everyday life. Even the words denoting ancient costumes and fabrics have disappeared from everyday life.
Turning to the works of A.S. Pushkin, N.V., Gogol, F.M.Dostoevsky, we, in essence, do not see much of what was important for the writer and understood by his contemporaries without the slightest effort.
In other words, for the first readers a literary work was presented as a painting without the slightest loss or damage. Now, while we admire the psychological power, the integrity of the characters, at the same time we do not notice many of the details with the help of which the writers achieved artistic expressiveness. The costume of literary heroes is a little-studied topic. This explains the relevance of my work.
Object is a description of the character's dress as a multifunctional element of artistic text.
Item - costumes of the heroes of the Russian classics of the 19th century.
The work is written on the material of the works of A. S. Griboyedov, A. S. Pushkin, N. V. Gogol, F. M. Dostoevsky.
Target - to reveal the meaning of the "costume design" of the writer in unity with his general aesthetic attitudes.
To achieve this goal, we decided tasks:
- Approach the costume of a literary character as an aesthetic, historical and cultural phenomenon.
- Show the role of the costume in the structure of the work: its "participation" in the conflict in the creation of the political and social background.
- Reveal the relationship between the dress and the character's inner world.
The theoretical and methodological basis of the study was the work on the theory and history of Russian costume by R.M.Kirsanova, as well as historical and literary works devoted to the work of individual writers of the 19th century (G.A. Chukovsky, E.S.Dobin, S.A. , Yu.M. Lotman and others). Historical, genetic and typological research methods were used.
HISTORY OF APPEARANCE
At different times, the costumes looked different. The costumes of different countries and peoples differ.
We wear clothes of complex shapes made from parts. But it all started with the skin of a killed animal.
Primitive man needed free hands to carry weapons and tools. The belt, located at the waist, served as the primary basis for clothing. In the future, they began to put something on the belt - aprons, skirts, trousers appeared(at present, skirts and trousers are called waist products).
As a material for protecting clothing, a person used everything that could perform a protective function: leaves and fibers of tropical plants, soft bark of trees, etc. The choice of materials for primitive clothing is due to the very nature in which man lived, and animal skins were the main material everywhere.
Having tied two long skins to his belt, which protected his legs from thorns, the man received stockings. Then armbands appear to protect the hands. Later, the idea of a raincoat was born. Shawls, cloaks, capes, rugs that have survived in use in our time are all the "descendants" of the skin with which our cunning ancestor covered his body.
What role does a costume play in a work of art? We tried to answer it in our work.
THE AESTHETIC AND CULTURAL-HISTORICAL ROLE OF THE COSTUME IN THE LITERATURE OF 1820-30
The poem by N. V. Gogol "Dead Souls" is known to everyone. It is difficult to imagine a person who would not read it. Let's try to analyze a small fragment from the second volume of "Dead Souls" in order to understand what knowledge about the costume of the past century can give the reader the best possible approach to the author's intention and the most complete perception of the literary text.
“A guy of about seventeen in a beautiful shirt made of pink ksandreiki brought and placed decanters in front of them<…>... Brother Vasily kept insisting that servants are not an estate: anyone can give anything, and for this one should not get special people, that a Russian person is good in sweat, and quick and not lazy, as long as he walks in a shirt and a zipun; because, as soon as he gets into a German frock coat, he suddenly becomes clumsy and sluggish, and lazy, and does not change his shirt, and he stops going to the bathhouse at all, and sleeps in his frock coat, and he gets under his German frock coat, and bugs and fleas are an unfortunate multitude ... In this, perhaps, he was right. In the village, their people are especially dapper: the women’s kitsch were all in gold, and the sleeves on their shirts were the exact borders of a Turkish shawl ”(vol. 2, ch. IV).
Could a pink xandrey shirt be called beautiful? "Why not?" - the modern reader will think. However, N.V. Gogol - a great connoisseur of folk life in all its manifestations, as evidenced by his "Notes on Ethnography" - most likely knew that alexandreika, ksandreyka - "cotton fabric of bright red color" ... A pink tint could mean that it was burnt out or washed out, and the definition of "beautiful" could have an ironic meaning, especially noticeable in combination with "kitsch in gold" and "Turkish shawl borders" on peasant shirts, which was impossible in the Russian countryside.
Starting from the "pink color" of the "beautiful shirt" of Plato's servant, one can, by building a hypothetical chain, see a satirical character in this image.
The quoted arguments of Vasily Platonov are contrasted with the statements of Colonel Koshkarev from the previous chapter:
“The colonel still talked a lot about how to bring people to well-being. His costume was of great importance: he vouched with his head that if only half of the Russian men were dressed in German trousers, the sciences would rise, trade would rise and the golden age would come in Russia. "
In the construction of the quoted passages, in the sequence of semantic accents, Gogol has a noticeable overlap with Belinsky's reflections in his article "Petersburg and Moscow".
Belinsky wrote: “Let us assume that putting on a tailcoat or frock coat instead of a sheepskin coat, a blue army jacket or a gloomy caftan does not mean to become a European; but why is it that in our Russia they learn something, and read, and only people who dress in European style reveal both love and taste for the fine arts " ... Belinsky's reflections on the costume were not accidental. In this peculiar form, he expressed his attitude to the reforms of Peter I, many of which concerned costume. The path that Russia took as a result of the reforms was a constant subject of controversy in literary circles and salons, and the consequences - disastrous, in the opinion of some, and fruitful, in the opinion of others - were constantly discussed in the press. This was reflected in the pages of Gogol's poem.
So, analyzing a single fragment from a work well known to readers, we find out that the costume of a literary hero was used:
- As an important artistic detail and stylistic device;
- As a means of expressing the author's attitude towards his heroes and reality in general;
- As a means of connecting a literary work with the extra-textual world, with all the problems of the cultural and literary life of that time.
Why is the costume such an important expressive means, a detail that reveals not only the plastic appearance of the characters, but also their inner world, determines the position of the author of a literary work?
This is in the very nature of the costume. As soon as people learned how to make simple fabrics and sew simple clothes, the suit became not only a means of protection from the weather, but also a certain sign.
Clothes indicated the nationality and class of a person, his property status, age, etc. Over time, the number of concepts that could be conveyed to the environment increased by the color and quality of fabrics, the ornament and shape of the costume, the presence or absence of some details. When it came to age, it was possible to indicate a lot of details - whether the girl had reached, for example, marriageable age, whether she was married or was already married. Then the costume could tell those who do not know her family if the woman has children.
But only those who belonged to this community of people could read, decipher without effort, all these signs, since they were assimilated in the process of everyday life. Each nation in each historical era has developed its own distinctive signs. They were constantly changing: they were influenced by cultural contacts, technical improvement of weaving, cultural tradition, expansion of the raw material base, etc. The essence remained unchanged - the special language of the costume.
In the XVIII century. Russia has joined the common European type of clothing. Did this mean that the iconic symbolism of the costume disappeared? No.
Other forms of expression of very many concepts have appeared. These forms in the XIX century. were not as straightforward as in the 18th century, when in Russia the European dress indicated belonging to the powers that be and opposed a person to all others.
You can even say that by the beginning of the XIX century. forms of expression of social and property status were incredibly sophisticated.
After the death of Emperor Paul I, everyone dressed in previously forbidden tailcoats, thereby expressing their attitude to the existing prohibitions. But the cut of the tailcoat, the type of fabric from which it was sewn, the patterns on the vest made it possible to determine all the subtlest shades of a person's position in the system of social hierarchy.
Compared to other types of art, the costume has another important expressive advantage - the ability to respond widely and instantly to all events that occur.
In order for the aesthetic or ideological views of an architect, writer, sculptor or artist to be embodied in a specific work, sometimes a rather long time must pass. Everything happens unusually quickly in a suit.
As soon as information about the liberation struggle in Latin America at the beginning of the 19th century reached Russia, people wearing bolivar hats appeared in large and small cities of the country, thereby expressing their political sympathies.
The works of Walter Scott (1771 - 1832) gained fame - everyone involved in literary novelties managed to apply a new ornament in their clothes: checkered fabrics became popular, reminiscent of the national dress of the Scots.
Giuseppe Garibaldi's red shirt found fans among student youth - the Garibaldi was worn by boys and girls.
The Russian-Turkish war of 1877-1878 had not yet ended, and ladies in the Skobelev cloak appeared on the streets of Russian cities.
The French actress Sarah Bernhardt visited Russia - the costume was enriched by the cut of the Sarah, just as the once men's wardrobe included a talon coat in honor of the French dancer M. Taglioni.
All the vagaries of fashion, all stages of the development of textile art in the 19th century were recorded in literary works. Moreover, each name included a definite historical and cultural meaning, helping to better understand the peculiarities of the author's stylistics and the psychological essence of the characters he portrayed. Behind the mention of the draped's cloak, there may be a genuine drama that we did not notice, but which was close and understandable to the readers of the past century.
1. COSTUMES OF HEROES A.S. GRIBOEDOVA IN THE COMEDY "WINE FROM MIND"
In the comedy "Woe from Wit" by A. Griboyedov, there are very few references to the costume and fabrics, and there are no remarks on the clothes of the characters at all. However, the attitude to the costume can be traced very clearly. This is manifested, for example, in Chatsky's monologue:
And manners, and language, and a holy country,
And the majestic clothes to another
On the clownish model:
The tail is in the back, in the front there is some kind of wonderful notch
Reason in spite of, in defiance of the elements.
Turning to the lexicon of fashion in disputes about important problems of the spiritual life of the 1920s. XIX century. it was not an accident, since in the everyday culture of that time, the costume was of great importance, it was a form of manifestation of moods, an expression of political sympathies and antipathies (bolivar).
The belief inherent in the era that people “dress as they think” made the costume a sign of a certain ideological position. FF Vigel, to whom this expression goes back, says: “So, the French dress as they think, but why should other nations, especially our separate Russia, not understanding the meaning of their outfits, it makes no sense to imitate them, wear their nonsense and, so to speak, livery "
This tendency was clearly manifested at the time of the involvement of A.S. Griboyedov to testify in the case of the Decembrists. His investigative file contains the following paragraph: "In what sense and for what purpose did you, by the way, in conversations with Bestuzhev not indifferently desire Russian dress and free printing?" . For the authorities, the attitude to clothing was equally important. AS Griboyedov replied: "I wanted a Russian dress because it is more beautiful and more peaceful than dress coats and uniforms, and at the same time I thought that it would again bring us closer to the simplicity of Russian customs, which are extremely dear to my heart."
The opinion of AS Griboyedov coincides with the statement of PI Pestel, which was well known to the secret committee: "As for the beauty of clothing, Russian dress can serve as an example." (Decembrist revolt. The documents. - M., 1958 .-- T. 7. - S. 258).
The author's attitude to costumes, his time, to the vanity of fashion, its omnivorousness and greed was manifested in the comedy "Woe from Wit". The irony of the author can be seen in the replicas of the ladies at the Famusov evening about the turtle and breezy esharp, folds and styles.
Princess 1. What a beautiful style!
Princess 2. What folds!
Princess 1. Fringed.
Natalia Dmitrievna. No, if only they had seen my satin tulur!
Princess 3. What an esharp cousin gave me!
Princess 4. Ah! Yes, barge!
Princess 5. Ah! Lovely!
Princess 6. Ah! How sweet!
The name of Natalya Dmitrievna's cape made of rustling silk fabric - tyurlyu - is depicted as a symbol of frivolity and frivolity. At the beginning of the 19th century, at the time of Griboyedov, it coincided with the French sound combination turlututu - a chorus without words of some fashionable songs.
2. COSTUMES OF PUSHKIN'S CHARACTERS IN THE ROMAN "EVGENY ONEGIN"
"How dandy London is dressed ..."
I must say that Pushkin is very stingy in describing the costumes of his heroes. The first mention of Onegin's appearance is very generalized - "how dandy London is dressed." It is important for a poet to emphasize the panache of his hero.
Next mention of Onegin's costume:
While in the morning dress,
Wearing a wide bolivar
Onegin goes to the boulevard.
Pushkin's hero in clothes for walking and in a "hard hat-top hat with large brim - bolivar" ... The name of the hat comes from the name of Simon Bolivar, the leader of the struggle for the independence of the Spanish colonies in Latin America. Bolivar came into vogue at the end of the 10s of the XIX century, the greatest popularity falls on the early 20s - the time of writing the first chapter of "Eugene Onegin".
In the drawings of the first illustrator of Pushkin's novel, in the poems of A. Notbek, the image of the bolivar is given.
In the XIX century. wrote: "... All the dandies of that time wore their top hats only with wide brim, a la Bolivar." Consequently, Onegin was at the forefront of the fashion of that time, but not only. Undoubtedly, another symbolic meaning of the bolivar is the spirit of free-thinking, that is, Onegin is a man of progressive views in everything.
The life of a bolivar top hat in the history of costume in Russia was short-lived. In 1825 he went out of fashion and remained in Russian culture thanks to Pushkin.
The next mention of Onegin's costume is the preparation of the hero for the ball. Pushkin again emphasizes Eugene's panache with a slight condemnation of the waste of time on the toilet and the hero's dependence on the opinion of high society.
... My Eugene,
Afraid of jealous judgments
There was a pedant in his clothes
And what we called dandy.
He's three hours at least
I spent in front of the mirrors.
And came out of the restroom
Like windy Venus
When, putting on a man's outfit,
The goddess goes to the Masquerade.
But Pushkin is clearly not interested in describing Onegin's costume in detail, and he cleverly gets out of this situation.
I could be in front of the learned light
Describe his parade here.
Of course, it was bold
Describe my own business,
But pantaloons, a tailcoat, a vest ... -
All these words are not in Russian.
These lines indicate that in the early 1820s. the name of these toilet items was not decent yet.
"Pantaloons - long men's trousers, worn over boots, became fashionable in Russia by the end of the 1810s. "
"Tailcoat - men's clothing that does not have a front floor, but only folds at the back, inside which were hidden pockets. "
It is believed that the tailcoat became widespread in England in the middle of the 18th century. like riding clothes, the flaps of which were folded back and then completely disappeared.
The history of the tailcoat in Russia is interesting. Under Catherine II, at first, patterned French tailcoats appeared, which after the revolutionary events after 1789 began to be considered as an attempt on the state foundations of Russia, but the measures taken by Catherine II were rather mild and peculiar.
“Empress Catherine did not like such dandies very much. She ordered Chicherin to dress all the attendants in their outfits and give them lorgnets in their hands. The tailcoats then quickly disappeared. "
Unlike Catherine II, Paul I acted very harshly, subjecting the disobedient to punishment up to deprivation of ranks and exile, but immediately after his death tailcoats appeared again instead of caftans, round French hats instead of cocked hats, boots with holes instead of jackboots.
Since the 19th century. men's fashion was influenced by the English. In Russia, English "dandy London" began to serve as a model of imitation, although messages about fashionable novelties were published in French (probably due to the wide spread of this language). Onegin was wearing a tailcoat with a high stand-up collar, the coattails fell below the knees, and there were probably puffs on his hands. This cut was in vogue in the 1820s. And the color of Onegin's tailcoat could be of any shade, but not black. Tuxedos in the first half of the 19th century. sewn from multi-colored cloth: gray, red, green, blue.
"" The color of Pushkin's time was well remembered at the turn of the XIX-XX centuries. Known for his picturesque outfits, I. Ya. Bilibin sewed himself a bright blue "Onegin" frock coat - with long hemlines and a huge collar (in this costume, Bilibin was depicted by B. M. Kustodiev) .
"You could tell Pushkin that it is indecent for him to be alone in a tailcoat when we were all in uniforms, and that he could have got himself, at least, a noble uniform" , VI, 7). And finally, Onegin is wearing a vest. In Russia, vests, like tailcoats and trousers, appeared later than in other countries. During the reign of Peter I, they were prohibited. “Vests are prohibited. The Emperor says that it was the vests that made the French Revolution. When a vest is met on the street, the owner is escorted to the unit. " Back in the early 1820s, the name "vest" was perceived as foreign, although in 1802 (the first reign of Alexander I) the vest became firmly established in the wardrobe of dapper young men.
Since the vest was visible in the cut of the tailcoat, great importance was attached to its cut and fabric.
“Fashionable vests on the chest are so narrow that they can only be half-buttoned. They are deliberately made so that you can see a shirt folded with folds, and especially five buttons on it, of which one is braided with hair, the other is golden with enamel, the third is carnelian, the fourth is tortoiseshell, the fifth is mother-of-pearl. " ... This is how the main character of Pushkin's novel is dressed.
Features of women's dress
And what is the costume of the heroine - Tatyana Larina? Alas, Pushkin mentions almost nothing about her wardrobe before marriage (the “silk belt” in the divination scene). The indication that "Tatiana took off her silk belt" is not a simple description of the undressing of a girl preparing for bed, but a magical act equivalent to taking off the cross ... And it is no coincidence that there is not a drop of coquetry in Tatiana, she does not care about her appearance, she is immersed in the world of her dreams, inspired by the novels of Richardson and Russo. This is how she differs from her peers, from her own sister. "Vesti goroda" and fashion are the topics of their conversation, not hers. And the name was appreciated by Onegin, preferring her, and not the cheerful, simple-minded Olga.
Having become a lady of high society, the wife of an honored general, treated kindly by the court, Tatyana no longer neglects fashion. But in her"Everything is quiet, simple",there is nothing"What is called autocratic fashion in high London circles."
At a social event, where Tatiana, after long wanderings, was met by Onegin, and where she amazed him with the transformation from a village young lady into a lady of high society with an impeccable appearance and manners, on the head of the heroine Pushkin a raspberry beret.
Onegin has not yet recognized Tatiana:
Who is there in the crimson beret
Does he speak Spanish with the ambassador?
But beret, which was in the first half of the 19th century. only a female headdress, and, moreover, only married ladies, had already told him everything about the heroine's marital status.
(Undoubtedly, under the influence of Pushkin's novel, he dressed his character in the story "Princess of Lithuania" by M. Yu. Lermontov in a crimson beret. "The lady in the crimson beret was on pins and needles, hearing such horrors, and tried to move her chair away from Pechorin ...")
In love with Tatyana Onegin pursues her everywhere:
He is happy if he throws it on her
Boa fluffy on the shoulder.
"Boa - a long scarf made of fur and feathers, which became fashionable at the beginning of the 19th century. " Boa was considered a lady's adornment and was not recommended for girls. As if through and through, but with a certain intent, Pushkin mentions the belonging of the wardrobe of married ladies, anticipating the hopelessness of Onegin's attempts to achieve reciprocity.
In the scene of the last explanation of the heroes, Tatiana "sits uncleaned, pale."
What does it mean "not removed"? Suppose that in a simple home dress, combed not for receiving guests. Now before Onegin is "the former Tatiana", and in this situation, the final explanation of the heroes becomes possible.
It is interesting that Pushkin used the details of the costume as steps in the transformation of Tatyana's mother from a fashionable young lady into an ordinary rural lady:
The corset was worn very narrow
And Russian N like N French
She knew how to pronounce in the nose,
But soon everything was translated:
Corset, album, princess
Alina ...
She forgot…
And finally updated
On cotton wool dressing gown and cap.
"Corset - an indispensable part of women's dress in the 18th - 19th centuries. Only at the turn of the 18th - 19th centuries, when tunics made of translucent fabrics came into fashion, women could temporarily refuse a corset, if their figure allowed. The cut of women's suits from the late 1820s again required a tightly pulled waist. Walking without a corset was considered indecent even at home, a woman felt naked if she was found not tied up in a corset. "
We can only assume that Tatyana's mother in the wilderness has either already sunk so much that she neglected decency, or considered herself an old enough woman not to wear a corset.
One more note: wear dressing gown (robe) and cap (especially in the afternoon) was considered permissible only for very elderly women. By modern standards, Tatyana's mother cannot be attributed to an elderly woman, because she is only about forty years old (compare: she is younger than Madonna and Sharon Stone). But Onegin says about her:
By the way, Larina is simple,
But a very nice old lady.
Didn't the dressing gown on cotton wool and the cap made her an old woman?
LN Tolstoy in his novel "War and Peace", describing the events taking place 15 years earlier, writes about Natasha Rostova's mother as a blooming fifty-year-old woman.
THE MULTIFUNCTIONALITY OF THE SUIT IN THE WORKS OF N.V. GOGOL
- The costume as an expression of the emotional and psychological
hero states
Let's return to the work of N. V. Gogol. Let us analyze the role of the costume in revealing the images of the heroes of his works.
As V.V. Nabokov said, in the writings of N.V. Gogol there are always "things crowded together that are meant to play no less a role than animated faces." Developing this idea, the same can be said about the costumes of Gogol's heroes.
Let us turn to an excerpt from the second volume of Dead Souls, which will help us get closer to unraveling the image of Chichikov:
“I understand, sir: you truly desire the color that is now in vogue. I have a cloth of the most excellent quality. I warn you that not only high prices, but also high dignity. The European climbed.
The thing fell. He unfolded it with the art of earlier times, even for a while, forgetting that he belonged to a later generation, and brought it to the light, even leaving the shop, and showed it there, squinting at the light and saying: “Excellent color! Cloth of Navarino smoke with flame. "
"Navarino smoke with flame" color ("Navarino flame with smoke" color) is a figurative name for a color, the fruit of the author's, Gogol's, fantasy, is used by Gogol as a means of emotional and psychological characterization of the character - Chichikov, who dreams of a tailcoat "Navarino smoke with flame" colors.
The name of the color seems to be borrowed from the list of fashionable colors advertised by periodicals, but among the many "Navarin" shades of "Navarin smoke with flame" color or "Navarin flame with smoke" color is not. The reason for the appearance of the "Navarino" colors was the battle of the Russian-Anglo-French fleet with the Turkish fleet in Navarino Bay (Southern Greece) in 1927. The first mention of the "Navarin" color appeared in the "Moscow Telegraph" for 1928: tapes ". Then it was also reported about the color of "Navarin smoke" and "Navarin ash". Both colors are generally characterized as dark reddish brown.
V. Botsyanovsky came closest to the interpretation of Gogol's color in his article “One of the material symbols in Gogol's works”: ".
Indeed, Chichikov is practically the only character in the poem whose story is told in detail, but at the same time his costume, devoid of specific features, does not provide any external event information about him. While the arkhaluk Nozdrev, the "sertuk" of Konstazholy or the Hungarian Mizhuev easily allow one to imagine the circumstances of life and, ultimately, the circle of interests, the inner world of these characters.
The alternation of figurative names for the color "Navarin smoke with a flame or" Navarin flame with smoke "is on a par with such characteristics as" it is impossible to say that he is old, however, and not so that he is too young "," not handsome, but also not bad-looking "," not too thick, not too thin. "
Thanks to the details, Gogol's poem is perceived as a richly written painting - "white rosin pantaloons", "green shalon coat", "bear-colored" tailcoat, "lingonberry-colored with caviar" and, finally, the only indeterminate "Navarino smoke with flame" color, color, highlighted in the text compositionally and presented by an independent storyline. This forces us to associate Gogol's color not with the theme of flame and smoke, but to look for an emotional coloring behind which Chichikov's clue is hidden. In the images of fashion, all "satanic" shades associated with the theme of the underworld were characterized as "strange". The clue to the color lies in the fact that "... Chichikov is a fake, a ghost, covered with an imaginary Pickwick roundness of flesh, which tries to drown out the stench of hell (it is much worse than the" special air "of his gloomy lackey) with aromas that caress the sense of smell of the inhabitants of a nightmarish city" .
"Navarino smoke with flame" color is a kind of materialization, a sign of Chichikov's essential qualities brought to the surface. This designation of color fits into the system of artistic symbols of the poem, which are associated with the categories of life and death. The everyday symbolism of flowers of that time, the correlation of complex red shades as themes of death and hell do not contradict this assumption. So the realities of everyday life in Gogol's work are transformed and turned into an expressive artistic detail.
2. Social coloring of the costume
In his works, N.V. Gogol purely uses the costume of a literary hero as a means of determining his social status. Here is an excerpt from the story "Nevsky Prospect":
« From four o'clock Nevsky Prospect is empty, and you are unlikely to meet at least one official on it. Some seamstress from the store will run through Nevsky Prospekt with a box in her hands, some pitiful prey of a philanthropic povtchik, launched around the world in a frieze overcoat, some visiting eccentric to whom all hours are equal, some long tall Englishwoman with a reticule and with a book in his hands, some artel worker, a Russian man in a demikoton coat with a waist on his back, with a narrow beard, living his whole life on a living thread, in which everything moves: back, and arms, and legs, and head, when he politely walks on the sidewalk, sometimes a low artisan; you will not meet anyone else on Nevsky Prospekt».
The expression "frieze overcoat" and "demicotone coat" we meet in this passage.
"Frieze - coarse woolen fabric with slightly curly pile, one of the cheapest types of cloth. Used mainly in low-income urban environments. "
In the works of Gogol, mentions of the frieze are quite common, since his heroes are mostly people with limited means.
In the story "The Overcoat" we read: "... it was already completely dead by the collar at the very scene of the crime, in an attempt to pull off the frieze overcoat from some retired musician."
N.V. Gogol very accurately defines the social status of each visitor to the basement tavern, to which Selifan went from Dead Souls: “both in sheepskin coats, and simply in a shirt, and some in a frieze overcoat” (the writer means petty officials).
The frieze overcoat (as a sign of the lower ranks) is mentioned by AS Pushkin, describing the assessor Shabashkin from the story "Dubrovsky": "... a little man in a cap and a frieze overcoat."
Thus, the expression "frieze overcoat" can be regarded as a sign of an insignificant social position of a literary character. We only note that this expression as a designation of an insignificant person, a petty official was not the only one in the life of that time. There is also a known combination of "evil cloth", denoting a quarter overseer, "hemp guard" - perceived as a watchman. The "demikotone coat" can be put in the same row.
"Demicoton - very heavy, double cotton satin weave " .
Demicoton was common among small officials and poor townspeople, and this is also a sign of an insignificant social status.
In the story "Nevsky Prospect" by Gogol, not only the fabric of the frock coat speaks about the plight, but also its cut with the waist on the back, since by the time the story was published, the highly raised waist had already gone out of fashion.
If a frieze overcoat and a demikotone frock coat are signs of poverty, then a solid overcoat made of expensive cloth or duplicated drape with a fur lining and with a fur collar served as a sign of success, and therefore often became the dream of small officials.
Akaki Akakievich Bashmachkin, the hero of the story "The Overcoat", dreamed of such an overcoat. For him, an overcoat is a special “ideal thing” that stands out from everything else, the external world that oppresses him. The overcoat is an "eternal idea", "a friend of life" and "a bright guest", a philosophical and love thing.
"And this friend was none other than the same overcoat on thick cotton wool, on a strong lining without wear." And the loss of her for Bashmachkin is tantamount to the loss of his life: the "knight of the poor" of his greatcoat dies as an ideal romantic hero who has lost his beloved or his dream.
Now let's analyze several interesting excerpts from this story by Gogol.
« He finally wondered if there were any sins in his greatcoat. Having examined it thoroughly at home, he discovered that in two or three places, namely on the back and on the shoulders, it had become like a serpentine, the cloth was so worn out that it blew through, and the lining had crawled"(Gogol" The Overcoat ", 1842).
"Serpyanka - loose linen fabric with a sparse arrangement of threads, reminiscent of modern gauze» .
NV Gogol resorted to a figurative comparison of cloth with serpyanka in order to more clearly convey the degree of wear of Bashmachkin's overcoat. It is known that the cloth loses its nap from long wear and the threads of the cloth and the warp with gaps between them are exposed, which determined the Gogolian analogy.
« It is necessary to know that Akaki Akakievich's overcoat also served as a subject of ridicule by officials; even the noble name of the greatcoat was taken away from her and they called her the hood"(N. V. Gogol," The Overcoat ", 1842).
"The hood - spacious women's clothing with sleeves and front fastening " .
In the 20s - 30s of the XIX century. the hood was called the top dress for women for the street. It is in this sense that Pushkin uses the word "hood":
“Lizaveta Ivanovna came out wearing a bonnet and hat.
Finally, my mother! said the Countess.
What outfits! Why is this? Whom to seduce? " (The Queen of Spades, 1833).
By the 40s, the hood becomes only women's home clothing. Therefore, the mockery of officials at Bashmachkin's overcoat is understandable.
N.V. Gogol used the word "hood" to reveal the plastic appearance of a male character dressed in clothes, which, from long wearing, have lost their original appearance to such an extent that the uncertainty of color and shape made it look like a domestic female outfit.
Plyushkin is described in the same way in Dead Souls.
« For a long time he could not recognize what gender the figure was: a woman or a man. The dress she wore was completely indefinite, very much like a woman's hood. "(N. V. Gogol. "Dead Souls", 1842).
But back to the "Overcoat" again. Another excerpt:
« On the first day he went with Petrovich to the shops. They bought very good cloth - and no wonder, because they thought about it half a year earlier and for a rare month did not go to the shops to apply to the prices: on the other hand, Petrovich himself said that there was no better cloth". (Gogol "The Overcoat", 1842).
"Cloth - plain weave woolen fabric with subsequent felting finish» .
The process of making cloth includes many operations. It was possible to renew the cloth, which was in use and partly lost its nap, by exposing it again to the wiped areas. But Bashmachkin's overcoat, which looked like a "serpyanka", could no longer withstand such a procedure.
The selection of cloth in the shop was a whole ritual. The cloth was sniffed, stroked, tasted "on the tooth", stretched with hands, listening to the sound. For the readers of "The Overcoat", the mention of a visit to a cloth shop evoked a clear idea, a bright plastic image, since every hour one could see the purchase of cloth with all the manipulations. A particularly important event in Bashmachkin's life for many months was precisely a visit to the shop, with all the anxieties and worries of a little man who was afraid to make a mistake.
"They chose a calico for the lining, but such a solid and dense one, which, according to Petrovich, was even better than silk and even looked more casist and glossy."(N. V. Gogol "The Overcoat", 1842).
"Calico - plain weave cotton fabric, bleached and starched in the finishing process» .
In the quoted passage, we are talking about a color calico that has undergone another operation - painting. The calicoes were only one-color - white or plain-colored. Glue or starch to give a presentation in the process of wearing crumbled, and the fabric lost its gloss. The rogue Petrovich hardly deliberately misled Akaki Akakievich about the quality of the calico; most likely, he wanted to amuse the vanity of his poor client.
TRADITION OF THE GOGOLSKY SUIT
IN THE WORKS OF F.M.DOSTOEVSKY
In the works of F.M.Dostoevsky, the costume of the heroes of his works appears as an important means of expression. Here are some typical examples for the writer of his use in the novel "Crime and Punishment".
Scene of Sonechka Marmeladova returning home after her first appearance on the panel:
“She didn’t say a word at the same time, even if she glanced at it, but took only our big green handkerchief (we have a common one), covered our head and face with it, and lay down on the bed, facing the wall, only the shoulders and the whole body shudder "(F. M. Dostoevsky. "Crime and Punishment". - 1866. - Part 1, Ch. 2).
Usually, when commenting on Dostoevsky's novel, they refer to the memoirs of A.S. Snitkina-Dostoevskaya: “I called, and an elderly servant in a green checkered dress draped over her shoulders immediately opened the door for me. I had read Crime so recently that I involuntarily wondered if this scarf was the prototype of that Dgrandad's scarf that played such a big role in the Marmeladov family. " .
However, we are talking not only about the scarf as a reality from the life of the writer himself, but also about the conscious use of such an artistic detail as a certain social sign.
The author of the well-known "Art Encyclopedia" of the last century F.M. Bulgakov interprets the term grandfathers as follows: "Woolen fabric, similar to cloth, but less durable and cheaper." .
As a sign of poverty, great-grandfathers are found in many writers. Nekrasov, for example, wrote: "In the corner near the door there was an old woman in brass glasses, dressed in a shabby Dra-Dama salon, she sighed heavily." ("The Tale of Poor Klim", 1843).
The expression "grandfather's salon" can serve as an example of the characteristics of the social and property status of a person (like "demikotone coat" and "frieze overcoat" by N. V. Gogol).
The role of the costume in "Crime and Punishment", as well as in other works of FM Dostoevsky, his diary entries, in which the attitude to the modern writer clothes is noted, suggest that the old man's headscarf was a form of expression of hidden meanings.
Mentioned by the writer in all the culminating episodes of the novel - Sonya's first appearance on the panel, the death of Marmeladov, whose body was covered with a handkerchief that had previously covered Sonya after what she had experienced, a handkerchief with Sonya in hard labor, where she goes to fetch Raskolnikov, - the drafather's handkerchief grows to a symbol of the tragic fate of the Marmeladovs ...
The image of the costume is important for Dostoevsky for the emotional coloring of the action. So, describing the costume of a street singer by chance, the writer repeats his description, but heightens the accents; talking about Sonya Marmeladova, she uses this technique for artistic generalization.
The first episode is a story about“A girl of about fifteen, dressed like a young lady in a crinoline, a mantle, gloves and a straw hat, with a fiery feather; all this is old and worn out "( Part 2, Ch. 6).
The second episode from the 7th chapter of the same part of the novel (the scene of Marmeladov's death) includes a description of Sonya's costume -“Forgetting about my overbought from fourth hands, silk, indecent here, colored dress with the longest and funny tail, and the immense crinoline that blocked the whole door, and about light boots, and about ombrelling, and about a funny straw hat, with a bright fiery color pen ".
The absurdity of the old and worn out dress of the street singer is reinforced when describing Sonya's costume - the crinoline becomes immense, the straw hat is ridiculous and is decorated not just with a fiery, but with a bright fiery feather.
The costume would unite many women's fates, generalize the images of women doomed by life itself.
And here is another excerpt from the novel:
“And where did they collect me for a decent outfit, eleven rubles and fifty kopecks, I don’t understand? Boots, calico shirt-fronts - the most magnificent, a uniform, all for eleven and a half were concocted in the most excellent form, sir "(Part 1, Ch. 2).
This passage mentions a shirt-front - "an insert for a man's suit in the form of a small bib, visible in the neckline of a vest or tailcoat" .
The dies were removable or sewn to the shirt. Removable bibs and cuffs became especially common in the second half of the 19th century among middle-class people. Contemporaries called them “cheap luxury”. We are talking about just such bibs - they imitated the presence of white shirts, which were necessary in a uniform suit, but demanded too much money among the poor bureaucracy.
The definition of "calico splendid" helps to represent the degree of poverty of the environment to which the Marmeladovs belong, with all the unsuccessful attempts to show themselves as people of society, poverty, especially noticeable in comparison with the "half dozen Dutch shirts" that Sonya Marmeladova sewed for the state councilor Klopstock.
On the pages of Dostoevsky's novel, one can also find a characteristic example of the influence on a literary work of the realities of the political life of that time. Moreover, this influence is expressed through the detail of the hero's costume.
"Well, Nastenka, here are two headdresses: this palmerston (he took out of the corner Raskolnikov's warped round hat, which, for some unknown reason, he called palmerston)" or this piece of jewelry? Assess, Rodya, what do you think you paid? "(part 2, chapter 3).
Interestingly, there was no headdress called palmerston at that time in Russia. Henry John Palmerston (1784 - 1805) was popular in the mid-19th century. English statesman. In Russia, any mention of Palmerston was associated with an ironic attitude, since Palmerston's position during the Crimean War (1853 - 1856) naturally aroused patriotic indignation. A contemporary recalled: "And we, sinners, at that time (1857) were snapping up cartoons of Nalmerston in stores" ... The events of the Crimean War were still alive in memory when Dostoevsky wrote Crime and Punishment.
The names of headdresses, derived from the name of some public figure (bolivar), artist or writer, were very common. Since the Crimean War, "raglan" (the name given to General Lord Raglan, who, after being injured, began to wear a short to the knee coat with a long cape covering his arms), and "balaclava" have come into use. This is probably why palmerston appeared on the pages of the novel to emphasize the absurdity of Raskolnikov's hat.
By the time of the publication of the novel, G.J. ...
It is not uncommon for writers to use the same means of expression, namely a detail of a costume, to achieve different goals.
Here is an excerpt from the same work by F.M.Dostoevsky:
“You should know that my wife was brought up in a noble provincial noble institute and, when she graduated, she danced with a shawl in front of the governor and other persons, for which she received a gold medal and a certificate of commendation”(Part 1, Ch. 2).
"Shawl - a very large square or rectangular shawl made of various fabrics - wool, silk " .
Shawls became fashionable in Europe at the end of the 18th century, and were unusually expensive - up to several thousand rubles. Already at the very beginning of the 19th century, the dance with a shawl came into fashion, the best performer of which during the reign of Alexander I was considered, according to the memoirs of contemporaries, A. Zubov. Dance with a shawl demanded special grace, grace and in closed educational institutions was considered the best form of demonstrating good posture of students.
It is about such a dance that we are talking about in the quoted passage.
The shawl dance existed until the end of the 19th century, surviving even when shawls were rejected by fashion and existed only in the wardrobes of merchants.
Maid of honor AF Tyutcheva wrote in her memoirs about closed educational institutions for girls: "... And whole generations of future wives and mothers of her subjects (we are talking about the wife of Nicholas I Alexandra Fedorovna) were brought up in the cult of rags, pretense and dancing with a shawl" .
Dostoevsky mentions the dance with the shawl in order to characterize the nobility of the origin and upbringing of Katerina Ivanovna, which Marmeladov is so proud of and brags about.
LN Tolstoy in his novel "War and Peace" uses a dance with a shawl to show the connection of his heroine Natasha Rostova, in spite of her refined upbringing, with the Russian national soil.
“Where, how, when she sucked into herself from the Russian air she breathed — this decanter brought up by an emigrant French woman — this spirit, where did she get these techniques that pas de chale should have long ago supplanted? But these spirit and methods were the same, inimitable, unexplored, Russian ... "(vol. 2, part 4).
CONCLUSION
There is nothing accidental about the great works of literature. Everything in them has a semantic load: a landscape, household items, costumes of heroes.
Being created by the word, things change, transform in the world of literature, become a symbol or just a significant detail of the environment in which a literary character acts, a sign of a historical social and spiritual atmosphere.
From the world of things surrounding a person, the costume merges with him to the greatest extent, in a work of art it seems to grow to the hero, creating his appearance. It is no coincidence that literary heroes are remembered by readers in their characteristic costumes.
Turgenev's heroines emerge in our memory in light, "light barge dresses", Gogol's Strawberry in a yarmulke on his head, Natasha Rostova is spinning in a waltz at her first ball in a "white smoke" dress, Oblomov lies on the sofa in his beloved oriental "very roomy dressing gown ".
When writers describe in detail the dress of their hero, they do not do it at all in order to show off historical erudition or subtlety of observation. In fact, they trust the suit with important semantic information.
The costume complements the characterization of the hero or can completely replace it, conveys many shades of meanings, indicates the social position of the hero, his psychological appearance, adherence to etiquette or deliberate violation of it.
This is how the appearance of a literary hero is revealed - a person of different eras, following the rules of behavior and neglecting them, a person of traditional ideas about life and a destroyer of traditions.
LITERATURE
Texts:
- Griboyedov, A. S. “Woe from Wit”.
- Gogol, N. V. "Dead Souls", "Nevsky Prospect", "Overcoat".
- Dostoevsky, F. M. "Crime and Punishment".
- Lermontov, M. Yu. "Princess Ligovskaya".
- Nekrasov, N. A. "The Story of Poor Klim".
- Pushkin, A. S. "Dubrovsky". "Eugene Onegin". The Queen of Spades.
- Tolstoy, L. N. "War and Peace".
Research and critical literature:
- Belinsky, V. G. Petersburg and Moscow [Text] / V. G. Belinsky // Full.
collection. Op. - T. 13. - M., 1995
- Bely, A. Mastery of Gogol [Text] / A. Bely. - M .; L., 1934.
- Burovik, K. A. Genealogy of things [Text] / K. A. Burovik. - M., 1985.
- Gukovsky, GA Realism of Gogol [Text] / GA Gukovsky. - M .; L., 1959.
- Demidenko, Yu. B. Suit and lifestyle. Panorama of the Arts [Text] /
Yu. B. Demidenko. - 1990. - No. 11.
7. Kirsanova, R. M. Costume in Russian artistic culture of the 18th - first half of the 20th century. [Text] / R. M. Kirsanova. - M., 1995.
8. Kirsanova, R. M. Pink ksandreika and drafin shawl. Costume - things and images in Russian literature of the 19th century. [Text] / R. M. Kirsanova. - M., 1989.
9. Lazarev-Gruzinsky, A. S. Memories [Text] / A. S. Lazarev-Gruzinsky. - M., 1955.
10. Lotman, Yu. M. At the school of the poetic word: Pushkin, Lermontov, Gogol [Text] / Yu. M. Lotman. - M .: Education, 1988.
Design work Topic: "Fashion of the Pushkin era" (based on literary works of writers of the early 19th century)
"It is hardly possible to find at least one writer who would have missed the opportunity to characterize his heroes through descriptions of the costume" MI Kiloshenko
You too, mammas, are stricter. Look after your daughters: Keep your lorgnette straight! Not that ... not that, God forbid! "Eugene Onegin"
Men's suit of the 20s of the XIX century
"Ladies, wrapped up and huddled against the walls, and shielded by bear coats ..."; "Princess Ligovskaya" "Pechorin did not listen, his eyes were trying through the motley wall of fur coats, cloaks, hats" "A Hero of Our Time"
“On young women and girls, everything was so clean, just fresh ... Not afraid of the horrors of winter, they were in translucent dresses, which tightly clasped their waist and correctly outlined their lovely forms” Contemporary of the 19th century
Women's costume of the 20s of the XIX century
Women's costume of the 20s of the XIX century
"Eugene Onegin" Olga "Eugene Onegin" Tatiana Women's costume of literary heroes
Female costume of literary heroes "Liza, in a white morning dress, sat in front of the window and read his letter"
Female costume of literary heroes "Having approached the manor house, he saw a white dress flashing between the trees of the garden" "Dubrovsky"
"Burlin found her with a book in her hands and in a white dress" "Snowstorm" Female costume of literary heroes
Women's costume of the 20s of the XIX century
"The ladies sat in a ceremonial circle, in shabby and expensive outfits, all in pearls and diamonds" "Dubrovsky" Women's costume of literary heroes
"She was dressed in a white morning dress, in a nightcap and in a shower jacket" "The Captain's Daughter" Female costume of literary heroes
Women's costume of the 20s of the XIX century
I love the frantic youth, And the tightness, and the brilliance, and joy, And I will give a thoughtful outfit; I love their legs; Oh! for a long time I could not forget Two legs ... Sad, cold, I remember all of them, and in a dream They disturb my heart. "Eugene Onegin"
Women's costume of the 20s of the XIX century
She wore a very narrow corset And Russian N, like N French She could pronounce in the nose. "Eugene Onegin" "... the waist was tied like the letter X ...". "The young lady-peasant" "Lizavet ordered to take off her stockings and shoes and unlace the corset." The Queen of Spades
V. Gau Portrait of Natalya Nikolaevna Pushkin oi 1843. Female costume of the 20s of the XIX century
Princess Mary Women's costume of literary heroes
"If you cannot remember what the woman was wearing, who amazed you with her beauty, then she was dressed perfectly."
Change of fashion 18th century 19th century
Fashion change 20th century 21st century
The Atlas Dictionary application is a fabric with a glossy surface. Sideburns - part of the beard, along the cheek and up to the ears. Barege is a light woolen or silk fabric with a pattern. Bekesh - men's outerwear in the form of a short caftan with gathers on the back and fur trim. Soul heater is a warm sleeveless jacket, usually with cotton or fur. Haze is a thin translucent silky fabric. Carrick - outerwear for men. The key is a distinctive sign of the court rank of chamberlain, which is attached to the coat tails of the tailcoat.
The corset is a special belt that tightens the lower part of the chest and abdomen to give the figure a slenderness. Crinoline - underskirt made of hair fabric. Lorgnette - folding glasses with a handle. Uniform - military uniform. Pants - long pants for men. Plush - cotton, silk or woolen fabric with a pile. Redingot - men's or women's outerwear. Jacket - men's outerwear fitted on the knees, with a collar, with a through fastener on buttons.
Taffeta is a thin cotton or silk fabric with small transverse ribs or patterns on a matte background. Turlyurlyu is a long sleeveless cape for women. Figmas - a skirt with a whalebone. Tailcoat - clothing with cut-out front hem and narrow, long folds in the back. Top hat made of silk plush. Overcoat - uniform outerwear. An esharp is a scarf made of lightweight fabric that was worn tied around the neck, thrown over the elbows, or as a belt.
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