The concept of "way" as a characteristic of the image of the hero in the novel by A. A. Fadeev "The Rout"

Yuan' Xinjie ORCID: 0009-0005-6658-7646 Postgraduate student, Department of Russian Language and Literature, Far Eastern Federal University 690000, Russia, Primorsky Krai, Vladivostok, Ajax str., 10 iuan.si@dvfu.ru Other publications by this author

Space is usually understood as an objective form of existence, a form in which the existence of an object is characterized mainly by its extent and volume. The concept of space is the basic category of human life, according to V. G. Gak, "space is one of the first realities of being, which is perceived and differentiated by a person" ^{[2, p. 127]}.

Space is an important way and form of cognition, it is one of the most important categories reflecting the picture of the personality's world, which defines the category of a person's place in the world from the point of view of some real substance. As Yu. M. Lotman says, "the semantics of space is extremely important, if not dominant, in creating a picture of the world of a particular culture" ^{[5, p. 205]}. At the same time, the need to analyze the text in a spatially oriented research perspective is due to the fact that the text is perceived as a spatial phenomenon fixed in the text. On the one hand, according to P. A. Florensky, "the artistic essence of an art object is the structure of its space, or the shape of its space" ^{[12, p. 71]}. On the other hand, the interaction of text and space creates a multidimensional synergetic system that arises as a result of the projection of some sets of system elements onto other sets of elements of the same system, and therefore differs in specific properties that allow studying text in a spatial model. Therefore, the concept of text space is used in research that studies self-organization within texts.

If we talk about the types of space, the real space is the basis for its construction. This is due to the fact that the plot of the story often unfolds in a certain spatial perspective, the reader from the very beginning "seeks to identify it with the local attribution of episodes to real space (for example, geographical)" ^{[4, p. 413]}. In addition, virtual space is necessarily the opposite of real space, as D. S. Likhachev notes, "the space created by the author in his work may have peculiar "geographical" properties: to be real or imaginary" ^{[3, p. 335]}. Based on this, you can simply divide the objective (dictum) and subjective (modus) space.

Space is not only the embodiment of objective being, but also the subjective consciousness of spatial thinking of conscious reaction, it is an interpretation of the textual content of a spatial representation inextricably linked to the volume of communication: in which textual events of location, movement and other spatial coordinates of information are summarized. Thus, each character in the work appears in a certain external space, but at the same time there is also an internal space of the personality (sensual, psychological, spiritual). Therefore, the themes of the characters inevitably unfold spatially.

Since the object, the represented thing exists in a state of physical space, they can be revealed by the "static/dynamic nature of the text in a local relation" ^{[6, p. 33]}, which allows us to distinguish the types of text space – dynamic and static.

When linguistic labeling of spatial text spaces, lexical, morphological and syntactic labeling are distinguished, and therefore spatial relations are not only able to exist in a set of spatial objects, but are also reflected in the linguistic picture of the world using various levels of language – words with spatial meanings, morphological forms with local meanings, special syntactic constructions. G. V. Matveeva offers linguistic markers of the text category of the space: "categorical lexical units of place and space and other words of different parts of speech with local semantics; toponyms and geographical terminology... in particular, all the specific subject vocabulary" ^{[6, p. 33]}.

In various standards of texts directly focused on spatial representation, V. N. Toporov noted texts devoted to the path and its various types: "straight and curved, real and mental, new (for the first time) and repeated, single-subject and multi-subject" ^{[9, p. 281]}. In his opinion, space is "defined through a set of paths that can be in it" ^{[9, p. 229]}, paths serve as the center of the trend of reorganization in this space, at the same time, the importance of the path itself is associated with the character who is the subject of the path.

According to I. S. Stepanova, "the path is one of the basic concepts of Russian literature and culture. The motif of the way-road in Russian and world literature is a stable artistic phenomenon" ^{[8, p.32]}. In addition, cognitive features in the spatial concept of "path" have a metaphorical meaning, which is directly related to the basic concepts of movement and distance, composition, which contributes to its metaphorization, which means that we can talk about a metaphorical representation of this concept. N. D. Arutyunova notes the dynamic properties of the path that the path has as a space in relation to characters, and this "gives the metaphor of the path the meaning of the inner, spiritual formation of the personality" ^{[1, p. 9]}. The concept of "path" turns out to be associated with the concept of fate, the predestination of life.

Thus, we consider the concept of "path" as a reflection of the text space of the novel "Mayhem".

A. A. Fadeev's novel "The Rout" is dedicated to the life of a partisan detachment in the conditions of military life. The plot of the novel unfolds on the way of the detachment's retreat. So, the concept of "path" is, on the one hand, a marker of the text space of the novel, on the other hand, a subconception of the concept of "Civil War".

Violent and realistic life experiences strongly influenced the style of his works. Speaking about his creative ideas, A. A. Fadeev commented that "everything that rose from the true roots of the revolution, from the millions of masses of the people, is tempered, grows, develops in this struggle. There is a huge transformation of people" ^{[10, p. 14]}. The writer reveals to the reader not only the external behavior of the Bolshevik, but also his inner world. The character created in this way is more voluminous and convincing. This feature of his work is also emphasized by Sozryko Britaev, in his opinion, A. A. Fadeev is able to "reveal the inner, spiritual world of his heroes, fighters for people's power, to show the process of formation of the character of a new person" ^{[7, 141]}.

Morozka is one of the most important characters in the novel, a former miner and a representative of the working class in the novel. He comes to the revolution and the Civil War by accident, in the end his self-sacrifice marks the birth of his revolutionary personality. We will consider the image of Frost and the formation of his personality according to the path of death of the partisan detachment, pressed by the white army and the Japanese. Objectively, all the events of the novel are arranged in a kind of linear component, marked by the concept of the path of the detachment. If we consider the metaphorical understanding of the path, then we see the development of the character in his spiritual formation. Let's consider how verbs marking the spatial concept of the path acquire the status of interpretive ones, demonstrating the inner world of the character.

The path of Frost in the novel includes the following five stages: 1) the living space of the orderly before the retreat of the detachment; 2) conflict with the Sword; 3) in the hospital; 4) integration into the team; 5) sacrifice in an ambush.

The first stage is the living space of the orderly before the detachment retreats.

The location of the partisan detachment in the novel is described through the eyes of Morozka: "After a few minutes, lowering the reins, supporting the burden with both hands, he galloped around the hill to the village where Levinson's detachment stood" ^{[11, p. 12]}. Morozka met a wounded and unconscious Mechik on the road and brought him to the partisan detachment. The action verb "jump" indicates a dynamic space, and also represents a semantic category: the verb of displacement. "Stand" is a static verb with a localized meaning indicating the location of the village. The specific subject vocabulary "village" has a diminutive meaning with a local lexical meaning. The location of the detachment was too small and remote, it is even modestly called a "village". In the absence of a specific place name, the location of Levinson's detachment cannot be indicated on the map.

At the first stage, Frost is simple and pleasant, awareness of the nature of the Civil War is also vague: "he caused a big commotion — he burst out of the taiga with a squeal and a whoop, raising the stallion and shouting something absurd. He did it out of an excess of vitality and ... just for fun" ^{[11, p. 54]}. The space is dictatorial and dynamic. This stage of the journey has the name of the natural geographical feature taiga. "To break in" is an interpretive verb here understood as to penetrate somewhere by force, overcoming obstacles; to enter swiftly, to run somewhere. The display of his movement in space at high speed indicates mischief, as well as the fact that the state of life of the partisans at this time is relatively stable.

The second stage is the conflict with the Sword. At this stage, since the Sword was interfering in his relationship with his wife, this caused Frost to be extremely angry. At this time, Morozka remained an orderly and did not live with other partisans, which deepened the feeling of abandonment and loneliness.

Morozka realized that his wife Varya had fallen in love with a soft, worthless Sword, and was beside himself with anger: "Here she is, conscience, here she is! He hacked furiously, making obscene gestures. From the taiga, from different sides, ran sister and Pike, shouting something at each other, Frost jumped on the stallion and pulled him hard with a whip, which happened to him only in moments of the greatest excitement... The frantic tramp of retreating hooves could be heard from the disturbed thicket" ^{[11, p. 58]}. "Taiga" and "thicket" demonstrate physical geography, dictum and dynamic space. "Disturbed Thicket" hints that the author gives the natural environment the advantages of a chaotic emotional state of a person. The interpretative verb "to jump up" here is understood as quickly, swiftly to get up. The verb itself expresses urgency, showing his angry, irritated state at the moment.

In the novel, he experiences loneliness for the first time: "The sun peered into the Frost under the visor — it still stood over the ridge with an impassive, unblinking eye, but the fields around were alarmingly deserted ... A crow perched dejectedly, like an orphan, on a crooked haystack and was silent... He felt abandoned and lonely. It seemed that he himself was floating over a huge frozen field, and the alarming emptiness of the latter only emphasized his loneliness more strongly" ^{[11, p. 60]}. The verb "to swim" shows a subjective virtual space on the path of movement, the space turns from objective reality into subjective, from static to dynamic. The state of the sun seems devoid of passion and illuminated, which echoes the current psychological state of Frost and emphasizes the character's impotence. The expressions "the fields around were alarmingly deserted", "a huge frozen field" demonstrate the natural geography of a deserted desert land, deepen the silent, dreary, negative spatial atmosphere. The crow, being alone and out of the herd, on the one hand, corresponds to the position of Frost at a time when he was an orderly and was alone away from his partisans, on the other hand, truthfully reflects his current relationship with his wife, and his feeling of abandonment.

The third stage is in the hospital. At this stage, we see the indifference and heaviness on the soul of Frost. A long period of internal dissonance led to the fact that Frost began to think about the influence of the Sword on his life.

Morozka returns with his squad to the military hospital, where he meets his wife. The spatial movement of the characters reflects the complex relationships between the characters and hidden psychological actions: "when he saw her — Varya, Stashinsky and Kharchenko were standing near the barracks, laughing and holding out their hands — everything in him turned upside down. Without pausing, he rode under the maples with the platoon and fussed for a long time beside the stallion, loosening the girths" ^{[11, p. 100]}. "Stand" is a verb of localizing meaning. "To drive" is a verb of movement, movement. Here, the static "stood" and the dynamic "drove" are contrasted, these verbs belong to two characters, which indicates a breakdown in the relationship between Morozok and his wife. The adverb "for a long time" especially vividly reflects Morozka's embarrassment, since he can hide his depressed state of mind only by doing one thing for a long time.

The environment is getting tighter. The partisans were forced to leave the military hospital and set off on their way: "At dawn Frolov was buried, and Morozka, among others, indifferently buried him in the grave...... The party moved up the steep, goat-eaten ridge. The cold bluish-gray sky was above him. Far below, I could see blue falls, and heavy boulders were rolling noisily from under my feet. The golden-leaved, dry-grass taiga embraced them in the autumn waiting silence" ^{[11, pp. 107-108]}. "Bury" is a dynamic verb of a specific physical action. Specifically, the subject vocabulary "grave" as a spatial location capable of evoking negative emotions, and the author's use of the adverb "indifferently" shows, firstly, Frost's insensitivity to death itself, and secondly, the extreme negativity of his mental state at this time. There are many natural objects along the way: "steep ridge", "blue paddy", "golden-leaved, dry-grass taiga". Space is real and objective. Dynamic space demonstrates the verb of displacement "to move". The contrast between the adverbs "up" and "down" emphasizes the depth of the valley and the danger of the path. The verb "imagined" hints at distance and depicts the immensity of space. Different descriptions of the environment determine the complexity of the path.

Frost's mood swings on the way of retreat evoked memories: "when he was driving through an empty field after a quarrel with a sword and a lonely homeless crow was sitting on a crooked haystack, all these thoughts have now acquired unprecedented painful brightness and sharpness ...... It seemed to Morozka now that he had been trying his best all his life to get on the road that seemed straight, clear and correct to him" ^{[11, p. 110]}. Here, the "lonely homeless crow" echoes chapter 8. "To go" is a dynamic verb of displacement, movement. In the novel, the concept of "path" has a metaphorical meaning associated with the concept of fate and life, an image of the path-road appears, and Morozka has no doubt that he is following the right path in life. He also realized and began to overcome his mental block, after which the negative influence from Varya in his subjective space gradually dissipated. Thus, space is subjective, dominated by memories and emotions.

The fourth stage is integration into the team. In the last days of his life, Morozka was again integrated into the team. On the night before the sacrifice, an indifferent attitude towards the onset of his own death manifested itself in his subjective space. Unlike his previous indifference, by this time he had completed his inner transformation and was ready to sacrifice himself for the sake of others.

Frost begins to join the team of miners on a hike: "This conversation took place on the fifth day of the journey, when the detachment descended to the sources of the Khaunihedza. They were driving along an old winter road paved with soft, drying grass" ^{[11, p. 120]}. The Khaunihedzy River appears on the way of the detachment, which allows us to determine their location on a real map. The name "Haunihedzi" comes from the Chinese word for the yellow river, interspersed with mud, and is a tributary of the northern part of Primorsky Krai. The verb "to descend" indicates their orientation in space. Dynamic space is represented by the verb of motion "to go". The participle "drying up" is understood as a figurative meaning, meaning loss of energy. The heavy atmosphere of winter echoes the state of battle and the lack of food in which the partisans now find themselves, creating a suppressed spatial atmosphere.

The detachment came to the village to rest after heavy fighting: "And they walked along the street, joking and stumbling, scaring away dogs, cursing themselves, their relatives, loved ones, this faithless, difficult land to the very heavens, hanging over them with a starless darkening dome" ^{[11, p. 165]}. "Go" is a verb of movement, movement demonstrates the dynamism of space. The stars symbolize hope, and here the dark sky without stars visually forms the atmosphere of a dull and joyless space. There is a transformation of objective space into subjective space. "The wrong, difficult earth" was his complaint about this unstable objective spatial environment. Indeed, in the novel, the partisans are attacked by the enemy at night, and the author uses this oppressively negative spatial tone to anticipate the coming tragedy.

The enemies raided the camp, and Morozka was late because of drunkenness: "the world has become even darker for him. And these shots that crackled in the darkness, this darkness, the fate that awaited him outside the village, seemed to him a just punishment for everything he had done in life" ^{[11, p. 172]}. In this spatial image, the subjective and the objective intersect: the outer darkness symbolizes darkness, and gloomy tones are intertwined with the negative emotions of the hero, who is facing a fierce battle. The dark color indicates the long gray shade of his subjective space up to this point, as well as the objective space of existence, where a battle is to be fought, which carries a deadly test for him. "In the dark" is the spatial state of an objective battle, and the expression "shadow, fate" can remind of death.

The fifth stage is an ambush sacrifice.

After a night battle, the soldiers broke out of the encirclement. As a result of the escape of the Sword, Morozka died: "And when the yellow bands of Cossack caps suddenly rose in front of him and Judas backed away, thrusting him into the viburnum bushes, which fluttered bloodily before his eyes, this joyful vision of a large, sunlit village merged with an instant feeling of unheard—of heinous betrayal that had just been committed here...... But he felt them so vividly in himself, these tired, unsuspecting, trusting people, that he did not think of any other possibility for himself, except the possibility of warning them of danger.… He pulled out a revolver and, holding it high above his head so that it could be heard more clearly, fired three times, as agreed… At the same moment, something flashed sonorously, gasped, the world seemed to split in two, and he and Judas fell into the bushes, throwing back his head" ^{[11, p. 183]}. This paragraph is a combination of modus and dictum space. The sudden appearance of the yellow uniforms of the enemy army creates a visual effect in space. The beautiful terrain in the space of his consciousness is in stark contrast to the enemies that appear in the real space in front of him. "Feel" is an action verb of mental action, which means that at the moment Morozka has fully awakened to the realization of himself as a revolutionary. The image of Frost with a raised revolver resembles Levinson, who raised "a lighted torch in his hand." The author raises Morozka to the same level as Levinson in appearance, which marks the completion of the transformation of the hero himself from a confused and chaotic man into a real warrior.

"The world has definitely split in two" echoes the saying "the world has become even darker for him," indicating that his subjective space is coming to an end. "To fall" is a dynamic verb that uses the downward movement of a character to indicate his sacrifice. With his sacrifice, Frost retains the hope of survival for his comrades.

So, we see that the use of subject vocabulary for geographical space is: hill, taiga, thicket, ridge, field, ridge, sky, paddy, the sources of the Haunihedza, heaven, world, dark, and the names of the land plot used: village, hospital, grave, road, outskirts.

At the stage of "conflict with the Sword", the concept of "peace" and "shadow" expands the image of the "path". At the stage of "integration into the team", the concretization of space appears, that is, the origins of Haunihedza in the Primorsky Territory. In the end, the "big, sunlit village" appears in the subjective space understood as his idea of happiness.

When studying the path space, the verbs of motion significantly outperform the verbs of position, which creates a dynamic picture. Action dynamic verbs of movement and movement: "jump", "bring", "drive up", "drive", "move", "go", "go". Interpretive verbs of displacement: "to break in", "to jump up". "Stand", "descend" – verbs of localizing meaning participate in the sentence, informing about the spatial correlation of objects. The word "swim" appears in the subjective space.

In the writer's language, which creates a text space, attributes can express spatial features. According to the functional and semantic classification of adjectives, we divide words into about four groups: 1) observed non-emotional (empirical); 2) informative; 3) emotional; 4) evaluative.

The most common signs in the formation of space are observational and evaluative. The words that constitute an unfavorable characteristic in this context show, on the one hand, the gray-dark tones of vision (bluish-gray sky, darkening dome), and on the other – the emptiness of space (the fields around were alarmingly deserted, an empty field). The evaluation characteristics express mainly negative information (a steep, goat-eaten ridge, a cold bluish-gray sky, an old winter road, an incorrect, difficult land). The emotional assessment expresses the anxiety and pessimism of the character (the fields around were alarmingly deserted, the world became even darker).

The direction of the external plot and the psychology of the characters echo the characteristics of natural phenomena in the text and form a spatial flavor that turns out to be cold and dark. On the one hand, such use corresponds to the emotional changes of the characters. On the other hand, the theme of the novel "Mayhem" is the Civil War, its brutality is again accentuated by the tone of the spatial atmosphere.

A. Fadeev uses the "path" as an artistic structure endowed with many meanings. The text space consisting of a path is the objective substance of the movement of troops and the path of the hero, and also forms the central concept of the novel. In the novel, the concept of "path" has a negative connotation, which is reflected not only in the sense of death during the retreat of the detachment, but also in the spiritual crisis of an ignorant Red Army soldier. The writer includes this test in the path of the hero, which is the most important component of the concept of "path", and the external crisis acts rather as a catalyst for the internal development of the character.

The visual state of the space reflects the anguish and loneliness of Frost's physical and internal clashes. He had misunderstandings and suspicions, and at first he did not understand the purpose of the Civil War, but Morozka's own class qualities make him realize not only the value of personality, but also the nature of the Civil War. So, the concept of the "path" in the novel is a process of revising the socialist values of Frost.

Thus, in Morozka's personal spatial interpretation, we see not only accompanying his team on the real path of retreat, but also on the path of transforming his personal soul from a disorderly and unscrupulous person into a real revolutionary.