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Provocation and provocateurs: one of aspects of the Russian revolution in M. Gorky’s and A. Solzhenitsyn’s image

M.M. Goloubkov
80,00 ₽


Golubkov Mikhail M.,

Doctor of Philology,

Professor of Philological faculty

Lomonosov Moscow State University,

Department of history of the latest Russian literature and modern literary process



In article an attempt to compare works of two great Russian writers of the XX century who are traditionally perceived as antipodes is made: M. Gorky and A.I. Solzhenitsyn. However the logic anniversary, 2018, forces to think not only about the fundamental difference between their ideological and aesthetic views, but also to look for the convergence points general for them. It is a scale created by both, the appeal to the most important points of national life of the XX century, the multiple types of the Russian life of a pre-Revolutionary and post-Revolutionary era written by them. It is the character of their relations with the political power, and the addressing to the tragedy of the Russian history — to GULAG.

Among similar points of a convergence there are also images of the provocateurs created by both writers and the appeal to the subject of provocation as to the accompanying circumstance of revolutionary work. Gorky creates Azef’s, Georgy Gapon's images; the fictional character Pyotr Karazin (story “Karamora”). However the essence of provocation is obvious to Solzhenitsyn: it is logical, rational, pursues accurately designated aims and is a natural form of revolutionary fight, though disgusting from the moral point of view. Gorky, unlike Solzhenitsyn, can't understand provocation as a form of revolutionary work as revolution for him is Saint, noble and is thought as the best form of transformation of life. Therefore Gapon or Karamora's provocation appears under the writer's feather as the inexplicable phenomena.

Keywords: M. Gorky, Solzhenitsyn, provocateurs, provocation, Karamora, Gapon, Bogrov, Stolypin, terror, act of terrorism, revolutionary fight.



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