Psychological Features of Officer' Intelligence in Russian Fiction of the Second Half of the XVΙΙΙ Century (Part I)

Naumov Petr Yur'evich ORCID: 0000-0002-2875-2322 PhD in Pedagogy Assistant to the Head of the Hospital for Legal Work; Head of the Department of Legal Support; Main Military Clinical Hospital of the National Guard Troops of the Russian Federation 143914, Russia, Moscow region, Balashikha, ul. Vishnyakovskaya, 101 petr.naumov.777@mail.ru Other publications by this author

Relevance. In the third millennium, humanity is seriously faced with the issues of education and development of personality qualities and subjectivity. This becomes an objective consequence of the social upheavals that, despite the development of the ideals and values of humanism, our planet has experienced over the past hundred and a little years. At the same time, the level of cultural development, the successes of pedagogical and psychological sciences clearly indicate that in the conditions of higher education, it is possible and necessary to form and develop a personality that is capable of creativity, empathy, morality and conscience, is able to actively transform the surrounding reality, to define and spread the values of culture.

At the same time, a separate social stratum – professional military officers, deserves special attention to the upbringing and development of their personality because, firstly, the defense of the whole country, the security of the individual, society and the state depends on them, and secondly, terrible inventions of mankind – weapons (including weapons of mass destruction) are constantly in their hands defeats), capable of bringing death and suffering to thousands of people, and applied comprehensively by several countries is capable of destroying all of humanity.

In such conditions, the formation of a system of values of future officers becomes an urgent task of professional military education. After all, it is she who most corresponds to the values and ideals of humanism and social responsibility, it is intelligence that accumulates education, intellectuality as a derivative of education, a developed system of values, the ability to sacrifice, etc.

In the formation and development of the intelligence of future officers, it is difficult to ignore such a perfect means of personal education and development as fiction, which contains key universal values and meanings and presents them in a form convenient for understanding and translation by consciousness – the form of artistic comprehension.

Chronological framework of the work. D. N. Ovsyaniko-Kulikovsky conducts the history of the Russian intelligentsia with P. Ya. Chaadaev and Griboyedov Chatsky. It seems to us that the countdown of the formation of the layer of Russian educated and thinking people should begin with the second half of the XVII century. During this period, spiritual forces gathered, which gave birth to the cultural wealth of Russian art of the XV century, which amazes the whole world with its greatness, power and depth. M. V. Lomonosov, N. I. Novikov, D. I. Fonvizin, G. R. Derzhavin, A. N. Radishchev, I. A. Krylov and N. M. Karamzin created those ideals that were developed in the XV century, called the golden age of Russian culture.

Russian Russian literary critic G. P. Makogonenko wrote that outside of the achievements of the entire Russian literature of the 17th century ? both poetry and prose ? the literature of the 19th century, and above all the literature of Russian realism, cannot be understood and disclosed. The scientist notes the appeal of the prose of the XVII century to the "middle kind of people", to the diverse and advanced noble intelligentsia and even to the literate peasant, pointing out that the prose writers of this century created a Russian reading public, in which a particularly large role belongs to the enlightener Novikov ^{[9, p. V]}.

Russian Russian literature of the second half of the 17th century, unlike Old Russian literature, no longer sets the tasks of church-Christian propaganda of state changes, it turns to social life, to the individual; Russian thought and the Russian word are freed from the service of the church, writers set and solve educational tasks, developing new literary forms and expanding the base of the literary language; in elements of realism are strengthening in Russian literature, democratic and humanistic tendencies are strengthening.

The object of the submitted work. Russian Russian literature psychological images of officers in the XVII-XX century, which are the precursors of images of military men in the Russian literature of the X-X century.

The subject of this work is the psychological features of artistic images of a military intellectual in the fiction of the second half of the XVIII century.

Analysis of key concepts. The dictionary of foreign words interprets intelligence as mental development, as a combination of high morality and the ability to comprehend scientific knowledge, as a high level of general culture and education ^{[11, pp. 345-346]}. Intelligence and the characteristics of the intelligentsia correlate directly: representatives of the social stratum professionally engaged in complex mental and creative work, the development and dissemination of culture ^{[11, p. 346]}, by virtue of their social mission, must have intelligence; and, indeed, many of them, being true ascetics, honorably fulfill their social purpose. But the supposed obligation cannot give an unambiguous life result, so it turns out that not every representative of the intelligentsia is intelligent ? on the one hand, and on the other hand, intelligence is also characteristic of people of other social strata, if these people are decent and inquisitive, have deep knowledge, as well as the skill of a profession or any meaningful and useful a business that preserves and develops human experience.

The correlation of these concepts is devoted to the study of Academician of the Russian Academy of Sciences, Soviet and Russian translator, theorist and literary historian M. L. Gasparov "Intellectuals, intellectuals, intelligence" ^{[3, pp. 5-14]}. The scientist speaks about the vagueness of the concept of "intellectual", about the lack of its terminological accuracy, concluding: here it is not a phenomenon that is looking for words, but a word that is looking for phenomena for itself. M. L. Gasparov writes about the curious evolution of the concept of "intelligentsia" in the Russian consciousness: first it is "the service of the mind", then ? "the service of conscience", and, finally, "the service of education", adding a little?known element of meaning from the unpublished "Methodology of Exact Literary Criticism" by B. I. Yarkho: science stems from the need for knowledge, but people are gifted with such a need to varying degrees, however, it is this measure that measures the degree of intelligence ? an intelligent person is not a subject who knows a lot, but has the thirst for knowledge is above the average norm. M. L. Gasparov sees the peculiarity of the Russian intelligentsia in the fact that, detached from participation in power and dissatisfied with everyday practical work, it focuses on theoretical work ? the development of national identity. Comparing Western intellectuals and Russian intellectuals, the scientist admits: the former, taking care of the self?consciousness of society, develop the science of sociology, and the latter ? create an ideal and a symbol of faith, one at the same time risks turning into a game of imaginary objectivity, and the other - to close on introspection; in fact, in relations with nature, the truth is important, and in relations with society ? the truth. Finishing the article, the scientist summarizes: Russian society is slowly and with difficulty, but still democratizing, and now, when conscience gives way to enlightenment and intelligence as the ability to feel equal in one's neighbor and treat him with respect, there is no need to fight for the truth ? it's enough to tell the truth, it's not necessary to convince others to work well, but it's worth it to show an example of good work by ourselves. Refusing to be called an intellectual, considering himself a representative of intellectual labor on a state salary, M. L. Gasparov nevertheless poses all those high questions of domestic public life, the responsibility for solving which is controlled by the conscience of an intellectual before people.

The Encyclopedic Dictionary reports that: 1) the prerequisite for the emergence of the intelligentsia was the division of labor into mental and physical; 2) originated in ancient and medieval societies, it received significant development in industrial and post-industrial societies; 3) the term "intelligentsia" was introduced in Russia by the famous writer P. D. Boborykin, in the West the term "intellectuals" is more common ^[2]. The "Historical and Etymological Dictionary of Latin Borrowings" states that the word "intelligentsia" was borrowed from the Latin language through the medium of the Polish language ^[17]. The Latin word "intelligentsia" in ancient times meant "knowledge, reason, common sense, the ability to interpret dreams." In the XV century in Europe, the word acquired the meaning of "the educated part of society". In the 1860s, Russian newspapers and magazines ridiculed Poles who fancied themselves "intellectuals" of the Western Region.

Timur Tarkhov in the article "The Russian intelligentsia: shadows of forgotten ancestors" wrote that the Russian intelligentsia turned out to be unlike the European or Chinese: the "penitent" nobles, having united with educated people from the philistinism, clergy, merchants and peasantry, formed a special class with their own system of views and values, to adhere to which it was necessary so much that the those who did not share these views and values did not belong to the intelligentsia, even if they were an aristocrat ^[18].

Encyclopedia of Russian Philosophy: 1) adds that the word proposed by P. D. Boborykin for the name of the highest educated stratum of society in Russia, and then in Western Europe, quickly replaced the concept of "nihilist", known from the works of I. S. Turgenev, and the concept of "thinking proletariat", known from the articles of D. I. Pisarev; 2) notes that in Russian Russian literature of the XIX ? XX centuries has a noticeable tendency to idealize the intelligentsia as a decisive force in the spiritual development of mankind, as a bearer of truth and a moral judge; 3) indicates that the chronological framework of the emergence of the Russian intelligentsia is debatable: the 2nd half of the XVII-XX century, the "remarkable decade" of the 40s of the XX century and the peasant reform of the 60-x years of the XV century ^[16].

Russian Russian literary critic, linguist, cultural historian and psychologist D. N. Ovsyaniko-Kulikovsky wrote a unique work ? "The History of the Russian Intelligentsia" ^[12]. For the scientist, the intelligentsia is "an educated and thinking part of society, creating and spreading universal spiritual values", he points out that it is in backward and belated countries that intellectuals are constantly asking puzzled questions "who is to blame?", "what to do?" and that it is in such countries that it is necessary to describe the history of the intelligentsia as the history of these tricky issues, and such research turns into the psychology of searches, longings of thought, mental anguish of ideologists, "superfluous people" and their successors.

Social functions of an officer in fiction. For a long time, military people have occupied a very special honorable and responsible place in society. The ancient Greek thinker Plato in the treatise "The State" sees the impeccable guardian as agile and strong, possessing by nature both the desire for wisdom and the desire to learn, and he presents the education of the guards in two ways ? first of all, musical (literature: myths of Hesiod, Homer and other poets about gods and heroes), and then gymnastic. The philosopher says that the dwellings of the military and their other property should be arranged by the state, but without owning any private property, without extra food, as well as without gold and silver. Plato warns: "... as soon as they have their own land, houses, money, they will immediately become masters and farmers from the guards; they will become masters hostile to them from the allies of other citizens; hating themselves and causing hatred to themselves, harboring evil intentions and fearing them, they will live in greater fear all the time in front of internal enemies than in front of external ones, and in this case they themselves and the whole state will rush to their speedy demise" ^{[14, p. 417]}.

Twenty centuries separate Plato and Thomas More, and the Lord Chancellor of the English kingdom and the author of "Utopia" says the same thing, describing the military affairs of Utopians: "... their self-confidence is created by awareness in military sciences; ... their courage is enhanced by the correct views that have been instilled in them since childhood and education, and excellent state formation. Because of this, they do not value life so cheaply as to waste it, but at the same time they do not value it with such shamelessness as to greedily and shamefully cling to it when the duty of honor inspires them to lay it down" ^{[10, p. 191]}.

Despite the fact that both authors proceed from the structure of an ideal state, their ideas about the soldiers-defenders of their Fatherland are not too far from life.

The German word "Offizier", formed from the Latin "officiarius" (official) means a person of command (commanding) staff in the armed forces, security services, militia, police, gendarmerie; for the first time the title of officer appeared at the end of the 17th century in France, in Russia ? in the 30s of the 17th century ^{[11, p. 593]}.

Methodology for describing the psychological traits of an intelligent officer. The Great Psychological Dictionary recognizes: art preserves the human world as a whole, it constantly reminds science of the existence of a holistic, non-fragmented world; many psychologists have turned to art; the psychology of art contributes to the development of holistic ideas about man, to the study of the living soul and consciousness of man. ^[2]. The fundamental work "Psychology of Art" by L. S. Vygotsky, an outstanding Russian scientist who made a significant contribution to the development of psychological science of the XX century, received universal recognition.

The stylistic characteristic of works of art that profoundly and in detail depict the feelings, thoughts, feelings of the characters, that is, their inner world, giving a convincing and subtle analysis of the mental phenomena and behavior of the characters, is called psychologism in literary studies. It is literary studies, psychologists believe, that are the only sphere where psychologism has a positive reputation and connotation ? in all other contexts it is condemned.

Russian psycholinguist, Doctor of Philology, Candidate of Psychological Sciences, Professor V. P. Belyanin in his book "Psychological Literary Studies" ^[1], listing the directions of research of a literary text (linguistic analysis, linguistic and cultural analysis, literary analysis, sociological interpretation, linguophenomenological approach to the text, works in line with experimental aesthetics, work in the field of sensory physiology systems), focuses on psycholinguistics, which has a broad view of speech as the result of human speech-thinking activity, which allows us to consider the text as a phenomenon of human speech activity, as a way of reflecting reality in the author's speech consciousness using elements of the language system. Having described the psychological and psychoanalytic approaches to the literary text, V. P. Belyanin defines the approach to the character, pointing out: the psychologist's appeal to the types of heroes of works and to fiction as a fairly reliable description of the inner life of a person is natural and justified; the characters of the literary text represent certain persons significant in one way or another for the "living space" the author. Belyanin calls the psychiatric approach to the character an expression of an extremely subjective view of literature, referring to K. Leonard, who introduces the concept of character accentuation, highlighting the types of accentuated personalities (demonstrative, pedantic, stuck, excitable, hyperthymic, dysthymic, affectively labile, affectively exalted, anxious, emotive, extroverted, introverted) and correlating with these types classify the characters of literary works.

The textbook was the work of the famous cultural critic and literary critic A. B. Esin "The psychology of Russian classical literature" ^[4]. The main provisions of this work are as follows.

A. No literary work can do without some, even the most brief and primitive, information about the inner world of the actors. However, it is possible to speak about psychologism only when the psychological image becomes the main way by which the depicted character is known; when it carries a significant content load, revealing the peculiarities of the subject, problematics and pathos of the work; when it is large in volume.

B. Psychological representation in the literature is carried out in several basic forms: 1) direct form (highlighted by I. V. Strakhov: portrayal of characters "from the inside", that is, through artistic cognition of the inner world of the actors, expressed through internal speech, images of memory and imagination); 2) indirect form (also highlighted by I.V. Strakhov: psychological analysis "from the outside", expressed in psychological interpretation by the writer expressive features of speech, speech behavior, facial expressions and other means of external manifestation of the psyche); 3) summatively-designating form ? using naming, extremely brief designation of those processes that take place in the inner world (A. P. Skaftymov wrote about this technique, comparing the features of the psychological image of the characters in Stendhal and L. Tolstoy).

At an early stage of the development of society, the psychological image in literature exists only as a fixation of the external manifestations of the inner world of a person with a limited set of simple experiences; psychologism arises when a high level of development of the culture of society as a whole is formed, when in this culture a unique human personality is recognized as a value: ancient psychologism, active development of the inner world of a person in literature Renaissance; qualitative shifts in the development of psychologism at the turn of the XVII ? XX centuries with the literary trends of sentimentalism and Romanticism; an increase in the specific weight of the psychological image in the narrative and the accuracy of the fixation of psychological processes and states in the realistic literature of the XV century; psychological representation of mental processes as a comprehensive and unique element of the narrative in modernist psychologism.

It is worth admitting that the significance of the work done in the development of literary psychologism by the Russian writers of the XVII century is not fully appreciated by A. B. Yesin.

Thus, systemic, activity-based and psycholinguistic approaches were applied as the leading principle of the study, and comparative, structural, functional, semantic and linguistic-technological analysis, synthesis of the results obtained, analogy and comparison, deduction and conceptualization were used as the main scientific methods.

Images of officers in the Russian literature of the XVII century and their psychological features. In the literary work of one of the greatest sons of our Motherland, Mikhail Vasilyevich Lomonosov, we meet with the image of Peter the Great, who appears in the odes as the ideal of an enlightened monarch, and in the poem "Peter the Great" ^{[7, pp. 297-329]} ? as "a builder, a swimmer, a hero in the fields, in the seas." The first Russian emperor is depicted in the poem as a conquering warrior, a conqueror, a converter, a tireless worker, inspiring everyone with his personal example - and this is based on a historical plot, with faithful adherence to reality in the depiction of events. Kantemir and Feofan Prokopovich were already searching for the historical hero. Thus, a prominent figure of culture of the Peter the Great era, orator, poet and playwright F. Prokopovich in "A laudable Word about the Russian fleet and about the victory of the Russian galleys over the Swedish ships of Julia received on the 27th day ^[1720]" ^{[15, pp. 17-21]} exalts the glorification of Peter the Great so high and enthusiastic that it simply replaces the recent praise of God in religious writings and in works of literature: in the place of the Lord secular the face has been placed only mechanically so far. Lomonosov's theme of Peter received a social sound and artistic expressiveness.

What qualities of the autocratic hero does the author note?

He was zealous for science, peaceful and generous,

Moreover, he stretched out his sword both on the sea and in the field.

It is doubtful what he is, war or peace more.

Others in honor of the temple were eager to enter through that,

But he wanted to enlighten Russia with it.

Diligence, peacefulness, generosity, military spirit, perspicacity and firmness are also complemented by the presence of faith in their work and the inexhaustible energy of a creative person. Convincing the subjects that the Russian Columbians

between the ice a new way will be opened to the east,

And our power will reach America",

Peter himself is filled with readiness for achievements:

The hope-filled look of his word has died,

And a cheerful spirit to work shone all over his face.

It is clear that the display of these psychological qualities is conditional, just as the whole poem is conditionally heroic. But the rhetoric and pathos, coupled in this work with the dynamism of the paintings, give the personality traits of Peter the Great solidity and reality. Lomonosov, glorifying the monarch, highly appreciating his contribution to the creation of the power of the Russian state, when describing his hero, focuses on the psychological mechanism of overcoming:

...He is above man

Bore the labors for us, unheard of from time immemorial,

With what zeal, loving the Fatherland,

He exposed himself to terrible dangers...

As a brilliant researcher, M. V. Lomonosov emphasized the role of labor in the development of the physical and spiritual properties of the sovereign, as well as in the breakthrough deeds for the country that he was able to accomplish; from the constituent elements of the structure of Peter's material and spiritual activities, he emphasized the motives and goals.

Mikhail Vasilyevich collected and studied historical sources for five years before publishing 2 songs of the poem, in which the poet leads a poetic story about the emperor's voyage on the White Sea, about the Streltsy riots, as well as in 1702 about the siege of Noteburg and the storming of the Schlisselburg fortress ? an ancient Russian fortress founded in the XV century by Novgorodians and with 1612 to 1702 owned by the Swedes. The assault is described historically accurately and in detail, the final infantry attack is transmitted in detail. Russian Russian warrior's and commander's psychology is described very accurately as well. When Peter sees that the Swedes are doing great damage to the Russian forces. He orders a temporary retreat:

What is it in vain for me," he said, ?to destroy my sons?

Tell Golitsyn to retreat in a hurry."

Our monarch showed by example that the heroes

Bloody battles are not honored with joy;

And glorious profitable victories over the enemy

A trail covered with corpses is always deplorable.

Prince Mikhail Golitsyn, who is leading the assault on the fortress, replies that now the main difficulty has been overcome, and during the retreat and the second attack, twice as many people will have to be lost.

And is there a sovereign willing to take the city,

He would let us finish the fight we started."

With the answer to the wall in front of everyone hurries,

He commands the soldiers to follow themselves.

Here is the ideal of the artist: Peter, united with the people by work, will and thought, and Lieutenant Colonel Golitsyn, fighting with soldiers shoulder to shoulder and even ahead. Of course, we are dealing with idealization here, but the poet consciously sets out to portray the best qualities of the father of warriors and the father of the nation. A red thread through all of Lomonosov's literary and journalistic work runs the positive example of Peter I created by him, which he urges to emulate.

The episodic image of the leader of the assault, a colonel who expressed the opposite point of view to the sovereign, also deserves attention. Golitsyn, along with the soldiers, climbs the walls of the fortress, but a log falls on top of him; the commander fell, mortally defeated, but he is not defeated:

Still trying to give an order to firmness,

Still suppressed by the disease, the voice is nagging ...

The soldiers, fighting even harder and more courageously, win and take the fortress. The Lomonosov lieutenant colonel calls on the soldiers to glorify the Fatherland and the monarch, but the real Prince Mikhail Golitsyn, when Peter's orderly delivered him the order to retreat, replied with words that have become legendary: "Tell the Sovereign that our army is now not in his, but in God's will!" and continued the assault.

As a classicist, oriented in high literary genres to portray mythological and ancient characters as heroes, as well as major historical figures, M. V. Lomonosov has not yet mentioned in his poem those "grassroots" commanders whose merit is no less great than that of high-ranking commanders. The Russian literature of the X-X century will do this ? it will show such as the lieutenant of the bombardment company of the Preobrazhensky regiment Alexander Menshikov, who gathered and ferried a detachment from the opposite bank of the Neva to help the stormers ? it was this throw, which the Swedes did not expect, forced them to disperse their forces, which weakened the enemy and eventually led the Swedes to defeat.

Peter, having captured the city and the fortress, lets the Swedes go home, providing ships. The poet explains why the sovereign undertakes a "respectful return":

Custom warriors from ancient years keeping,

To read the brave on the delivery of the copostat:

Signs of courage in their hands leave them

And they respect the glory of their victory.

The author of the poem testifies with his images that the military business is based not only on the skill of fighting that is multiplying from century to century, but also on traditions, customs, including respect for the enemy ? especially the defeated one.

M. V. Lomonosov describes the bitterness of the loss of fighters, the bitterness of losses, showing it as the feeling of the sovereign himself:

... approaching the city walls, sighs,

Looking at the different falls of the bodies,

Who was prescribed the limit of how to die;

They say goodbye with sad lips:

"O faithful friends, I am your blood

He overcame both common and his own enemies;

Rejoice in the heavenly ones having been vouchsafed crowns.

By example from the height of others shine on you

And pour courage into the hearts of my regiments."

Sobbing was the end of this pathetic speech,

And mania gave a sign to conceal the bones.

The capture of the Oreshek fortress actually opened the lost way to the Baltic Sea to the Russian state, but the enormous significance of this victory does not remove the bitter understanding of the price that this victory was paid. And this is the psychological trait of warriors ? to remember and appreciate the fallen.

The artist himself, glorifying the victories of weapons, is indignant at wars and strife:

O mortals, what are you rushing to death for?

That before the time you ruin each other?

Or are there no paths to the grave except for war?

Everywhere we are pulled by fate by the violence of evil claws!

The research of M. V. Lomonosov's literary work was carried out by: G. Gukovsky, A. Zapadov, A. Morozov (author of a series of books about the life and work of Lomonosov), P. Berkov, V. Fedorov, G. Moiseeva, who differently determined the influence of the ideas of classicism, Baroque and rhetorical rationality on his works. The large-scale image of the reformer tsar in the odes and in the poem by M. V. Lomonosov influenced the image of Peter in subsequent Russian literature, in particular, in the works of Pushkin. V. G. Belinsky called Lomonosov himself "Peter the Great of Russian Literature."

Denis Ivanovich Fonvizin, who gave the first samples of national Russian dramaturgy in his work, created in the comedy "Brigadier" ^{[19, pp. 3-63]} the image of a former cavalryman, an old servant-nobleman in retirement. Although Ignatiy Andreevich has a high military rank (above colonel and below general, the rank existed in the Russian army in the 17th century), he is a deeply ignorant man who does not know letters and considers it unnecessary, but advises reading the "Article", "Military Regulations" and "Boundary Instructions", taking out on his wife "the guilt of everyone private". The brigadier's son Ivan despises his country, everything is Russian and, brought up by a French coachman, is delirious with France alone. Ignatiy Andreevich regrets that he allowed his wife to spoil his son, that he did not send him to the regiment (a decree on the liberties of the nobility is already in effect, exempting nobles from compulsory civil and military service):

... didn't I say to you: wife! don't spoil the child; we'll write him down

to the regiment; let him, while serving in the regiment, gain intelligence, like me

I did; and you always deigned to chatter: ah! Father! No, my

Father! what do you want to do with the baby? Don't kill him, light

mine! ? Here, my mother! here he lives. Here in a minute

he applied me to the dog: won't you also listen? ^{[19, p. 33]}.

The foreman feels a deep sense of regret, that is, indulges in a painful emotional experience, which is caused by bitterness due to lost time. The balance of the thought process is disturbed, attention is focused on a specific topic ? the topic of anti-education of Ivan's son. There is an assessment of life and a search for the culprit. The comedy of this tragic situation is that, constantly treating his wife with his strength and severity, the foreman, it turns out, in such an important family matter as raising a child, looks like a submissive executor of the will of a weak woman. The playwright conveys the level of intensity of regret, putting into the mouth of the hero the understanding that the situation could have been turned in a completely different direction, in which Ivan would have grown up a decent person.

D. I. Fonvizin considers education a means to cure all social ills, and the education of true nobles ? intelligent, educated, loving the Fatherland and respecting their native culture, people of duty and high morality ? considers the primary social task.

The comedy "Brigadier" was interpreted by G. P. Makogonenko, A. Zapadov, L. I. Kulakova, K. V. Pigarev, V. N. Vsevolodsky-Gerngross, V. I. Glukhov, Yu. P. Stennik. Despite the shortcomings of this classic comedy, researchers emphasize the formulation of topical issues of fashionable upbringing and the social role of a nobleman in it. Brigadier Fonvizin is considered the literary ancestor of the Griboyedov Rock-Tooth.

Is the foreman a role model for his son? No, the father himself is vicious, because the only purpose of his service was self-interest, and in retirement, the experience of service is used by him only for swagger before his wife, adviser and the same son. G. P. Makogonenko in his book "Denis Fonvizin. The creative path" indicates that the writer, in line with the ideas of the advanced literature of the XVII century, struggling with the preaching of class and caste advantages, feudal privileges, which were justified by "nobility of origin", in "Brigadier" brought to the stage not a separate "unworthy" of the noble corps, as Sumarokov did in his pamphlet comedies, but ordinary, typical representatives of the Russian nobility ? those slaveholders who were struck by greed, cruelty, hypocrisy, ignorance and depravity ^{[8, pp. 108-109]}. G. P. Makogonenko quotes P. Vyazemsky: "The influence produced by Fonvizin's comedy can be determined by one indication: from her the rank of brigadier turned into a ridiculous name."

The comedy "Nedorosl", which is the most significant work of Fonvizin, tells about the Prostakov family, in which the nedorosl Mitrofan grows up ? a noble scion who was enlisted in the service, but has not yet reached adulthood. After Peter's time, it was impossible for a nobleman without an education to enter the service, and therefore Mitrofan is trained ? but by undergraduates, or even by a coachman.

The officer in the comedy is Milo. The artistic portrayal of this character is much paler than the depiction of negative characters. But this is the image of a well-behaved young man who honors "virtue decorated with enlightened reason." A. A. Kayev in the textbook "Russian Literature" writes about the heroes of the comedy "Nedorosl" Milone and Sophia that "these are idealized representatives of that "new nature" of people, which, although not particularly successfully, but really tried to create according to the ideas of Locke and Rousseau in some pedagogical institutions (for example, Betsky) and in conditions of home education" ^{[6, p. 531]}.

Milo, with a sword in his hands, snatches his beloved Sophia from the hands of the servants of the Simpletons, whom they forcibly want to marry Mitrofan. The officer is brave, he talks very succinctly about the measure of this quality: 1) bravery is in the heart, for an officer it is his honor; 2) intrepidity is in the soul, not in the heart; "in our military craft, a warrior must be brave, a fearless boss"; the intrepidity of a military commander is "... not to despise his life... He knows how to sacrifice it";

3) "bravery of the heart is proved in the hour of battle, and

the intrepidity of the soul ? in all trials, in all positions

lives. And what is the difference between the fearlessness of a soldier who

on the attack, he braves his life... and between

the intrepidity of a statesman who says

the truth to the sovereign, daring to anger him! The judge who,

Fearing neither vengeance nor threats of the strong, he gave justice

helpless, in my eyes a hero ..." ^{[19, p. 125]}.

Soviet literary critic, great-grandson and biographer of F. I. Tyutchev K. V. Pigarev highlights the speech features of the images of the Fonvizin comedies: the language of the characters of the "Brigadier" serves for their social and household characteristics (the speech individualization of the brigadier finds expression in his military lexicon), and the language of the "Nedoroslya" simultaneously meets the tasks of psychological characteristics ^{[13, p. 131]}. Thus, Milo evaluates social processes on the basis of his professional sphere ? the military, on the basis of strictly fulfilling the oath and the highest ideas about military, noble and male duty.

The comedy "Nedorosl" in the XV and XX centuries was studied by V. O. Klyuchevsky, P. N. Berkov, L. V. Pumpyansky, K. V. Pigarev, G. P. Makogonenko. In the XX century, T. V. Zvereva proposes to take the Fonvizinsky play beyond the limits of ideological reading and turn to the sphere of universal meanings. The researcher defines Starodum, Pravdin and Milon as heroes of ideas, whose "immortality" is ensured by their non-belonging to life, otherness, and concludes: striving for the higher world of eternal ideas and rejection of earthly existence is a characteristic feature of all Russian literature, and its main character is an extra person, unable to distinguish between a Loved One, doomed to long-range vision; the "Nedorosl" imprinted distrust of the surrounding world of things, which in the future will characterize Russian literature as a whole ^{[6, pp. 41-44]}.

A consistent study and a comprehensive study of the above-mentioned work, as well as the psychological traits of an intellectual officer highlighted in it, completes the first part of the article.

Conclusion. Thus, fiction acts as a source and reflection of the qualities of intelligence for various layers of the intelligentsia, including officers. Artistic works accumulating psychological properties characteristic of an officer responsibility, honesty, justice, integrity, decency, compassion, intelligence. The calculation of the formation of the layer of Russian educated and thinking people begins in the second half of the XVII century. During this period, spiritual forces gathered, which gave birth to the cultural wealth of Russian art of the XV century, which amazes the whole world with its greatness, power and depth. M. V. Lomonosov, N. I. Novikov, D. I. Fonvizin, G. R. Derzhavin, A. N. Radishchev, I. A. Krylov and N. M. Karamzin created those ideals that were developed in the XV century, called the golden age of Russian culture and in which the values and meanings of the Russian intelligentsia were concentrated. The conducted research opens up prospects for further analysis of the psychological traits of the military intelligentsia, which will be carried out in Part II of this article.