The peculiarity of the vision of the present and the future in V. K. Kuchelbecker’ "Diary"

Gofshtein Oleg Georgievich ORCID: 0000-0002-0419-6456 Postgraduate student, Department of Linguistics and Literature, Nosov Magnitogorsk State Technical University 455000, Russia, Chelyabinsk region, Magnitogorsk, Lenin str., 38 zavuch@magpedcol.ru Other publications by this author

Rudakova Svetlana Viktorovna ORCID: 0000-0001-8378-061X Doctor of Philology Professor, Department of Linguistics and Literature, Nosov Magnitogorsk State Technical University 455000, Russia, Chelyabinsk region, Magnitogorsk, Lenin str., 38 rudakovamasu@mail.ru Other publications by this author

Diaries belong to the world of ego-literature ^[1],[2],[17], like memoirs, letters, autobiography. Among the distinctive features of the diary are "fragmentarity, non–linearity, violation of cause-and-effect relationships, intertextuality, self-reflection, mixing of documentary and artistic, fact and style, fundamental incompleteness and lack of a single plan" ^{[9, p. 163]}.

The popularity of the diary as a genre falls on the XVIII century, the heyday of sentimentalism, when an interest in the private life of a private person was formed (this will become one of the important signs of the diary ^[22]), when his inner world became one of the important values in culture and philosophy, this is manifested starting with "Diary for Eliza" (1767) L. Stern. Among the authors of the famous diaries of the late XVIII – first third of the XIX century, one can recall N. M. Karamzin, who put diary entries about his journey to Europe in 1789-1790. the basis of his novel is the journey of "Letters of a Russian traveler" ^[10], P. P. Svinyin, who wrote "American diaries and letters" in the period 1811-1813." ^[13] and others.

As O. G. Egorov notes in his research ^[7],[8], often a person is prompted to write a diary by some event or condition that is out of the usual series - it can be a trip, a business trip, participation in a military company, something significant in personal destiny (the content of the "Diary" is interesting in this regard chamber-junker F. V. Berkholz", considered in the work of A.V. Petrov and S. L. Skvortsova ^[18]). A later form is the so-called writers' diaries (see the works of O. G. Egorov ^[8], S. V. Rudzievskaya ^[21], K. R. Kobrin ^[11] for more details). They are distinguished by a great openness to the external social space, a great involvement of the writer in the discussion of topical issues, his comprehension of not so much personal events as cultural and political life of society. The space of a writer's diary, as a rule, turns out to be subordinated to a certain author's idea, which can manifest itself at different levels. In addition, if we talk about a writer's diary, then the author has a conscious or subconscious hope that sooner or later a reader will appear in this text, so the dialogue in such a diary is not so much by itself (after all, as a rule, in a diary, as he accurately noted in his study of this genre Yu. M. Lotman, "we have a message transmission from "I" to "I". These are all cases when a person turns to himself, in particular, those diary entries that are not made for the purpose of memorizing certain information, but are intended, for example, to clarify the internal state of the writer, an explanation that does not happen without a record" ^{[15, p. 164]}), how much communication is built with the remote in the reader, for whom the momentary moment is revealed and a bridge is built to the near or distant future. This means that the factor of intimacy and extreme honesty for the writer's diary ceases to be decisive.

The phenomenon of the diary as a literary genre attracts more and more attention, and not only philologists, but also sociologists, psychologists, historians. So, psychologists, studying diaries, get information about a person's self-identification, about his feelings and states in time "here" and "now" ^[2],[4],[5], historians consider diaries – private and literary – as one of the important historical sources ^[20],[23], which provides rich material for the study of historical figures and historical epoch.

The Diary of V. K. Kukhelbecker is in many ways a unique work of Russian literature. For the first time, separate pages of the "Diary" of V. K. Kuhelbecker were published on the pages of the magazine "Russian Antiquity" in 1875. The first serious study of this work was the work of Yu. N. Tynyanov together with V. N. Orlov and S. I. Khmelnitsky, who prepared the first edition of the "Diary" in 1929, accompanied it with an introductory article and expanded comments. A more complete and accurate version of the "Diary" edition was prepared in 1979 by the editorial board (under the leadership of B. F. Egorov), N. V. Koroleva and V. K. Rak, extended comments on the works of Kuchelbecker were offered to this collection. In recent decades, the "Diary" has also become the focus of attention of European literary critics, who have considered this work in the context of the literary environment and in the aspect of Kuchelbecker's personal biography ^[3],[19].

The work of V. K. Kuchelbecker is not a diary in the classical sense, it is difficult to consider it as a purely literary exercise. The private life of a poet isolated from society, imprisoned, and later in exile, turns out to be correlated with many processes – literary, social, cultural, political, etc. plans. Kuchelbecker manages to intertwine micro and macro history, personal life circumstances and macro-historical narrative in the "Diary". The narrator – Kuchelbecker – in the "Diary" does not act as a private person, he acts as a representative of the Decembrists, who, like him, lost their freedom and their former life for their views and actions against the authorities, but who remained faithful to the former ideals and forced those who enter into communication with them to believe in their purity and correctness. The narrator in the "Diary" becomes a kind of "voice" of the Decembrists. V. K. Kuchelbecker begins working on the "Diary" when he is in solitary confinement, continues already in exile.

The parts of the "Diary" that have reached the modern reader are created by Kuchelbecker in the period from December 1831 to June 1835, other parts – from September 1837 to November 1845, the final part was recorded shortly before the author's death in 1846. Although it is known that the first records made were dated April 25, 1831, but unfortunately, were lost.

The main messages, the main aspirations of the author-narrator of the "Diary" are connected with the future, namely, his reflections on the essence of creative genius, on the author's position in the modern world, on his responsibility for his work, on the gift of prophecy, which not only opens and gives an understanding of the past, but also allows him to better see the outlines of the future. In fact, one of the fundamentally important installations implemented by Kuchelbecker in the "Diary", which forced him to continue working on the "Diary" with short breaks during all these long years spent first in solitary confinement, then in exile (in fact, twenty years of his life), was the desire to gain understanding and recognition of descendants, to convey to them important information about how the poet associated with the Decembrist movement lived. Accordingly, this expectation of recognition by descendants of his gift, the significance of his work for Kuchelbecker becomes one of the most important tasks that he wants to implement in the process of creating his "Diary".

In one of the later entries of March 29, 1845, V. K. Kuchelbecker expresses a very important thought for himself, which in fact reveals the most important thing that he wanted to capture on the pages of his "Diary", building between himself, the poet, deprived of freedom and being either imprisoned or in exile, and the reader, able to understand him, accept him, recognize his talent and use his conclusions, observations on his life path. These are notes addressed to Maria Nikolaevna Volkonskaya, in which Kuchelbecker reflects on a certain ideal world related to the spiritual and creative space, about the world with which he again felt some amazing closeness, because he felt less and less connected with the real, earthly, oppressive world. And this was due not only and not so much to material or other circumstances, but to the fact that in the last two years he felt a rapidly growing blindness, putting an insurmountable barrier between him and the real world. "I will try now, when a new life has begun for me, so to speak, in a new place, to be accurate, conscientious and, as much as possible according to the current state of my soul, sincere in keeping my diary. To you, my new but faithful friend, I will occasionally send these notebooks… Let the thought that you will be my second conscience, that you will read everything written here, support me and help me always be at least somewhat worthy of you. I will not confess everything to you: from my judgments about people, about books, from the report on my studies, you will easily see for yourself at what point I am and whether I am stepping forward or leaning back. But there will often be questions here, and two very difficult ones, and now for a long time already on my soul. Whether I will decide to offer them to you in this notebook – I do not know. I will only tell you that they have become very disturbing to me again since I began to get acquainted again in a new way with the world to which I was once closer, but from which the year 1835 and those that followed it removed me" ^{[14, p. 421]}.

Externally, the diary entries of V. K. Kukhelbecker look chaotic, stylistically heterogeneous, both poetic and prose texts are found. But behind the apparent kaleidoscope of images, plots, reflections, there is an implicit, but felt unity – and it is not only in the personality of the narrator, the poet-prisoner that Kuchelbecker creates, it is in the unity of conveying the feeling of the epoch, in reproducing the specifics of the worldview of the hero-narrator; the reader initially understands that this is a Decembrist – by his fate, according to their attitude and their beliefs. Kuchelbecker makes it possible for an attentive reader, plunging into the world he creates, to feel the era of the post-December time, to understand that the one whose thoughts and feelings are described is the bearer of the Decembrist philosophy.