T. Megrelishvili. - Mikhail Lermontov`s antinomies.. - Tbilisi - 2000 - 169 p.
The monograph sums up the results of many-years author's investigation in question of art method of M. Lermontov ripe prose, of great Russian poet and writer's creative process peculiarities from the sight of creative psychology and modern interdisciplinary principals of literary analysis, and this perspective gives us a possibility to open in a new fashion many peculiarities of Lermontov's text.
The creative method of Lermontov's prose, by the mind of author of monograph, we can determine as antinomian, which expresses on different levels the process of coming into being of Lermontov's creative thinking. The antinomisity (from antinomian - the antagonisms in law) becomes apparent on all levels of Lermontov's art system: on level story line composition, which lets to give the "ascending" by penetration an analysis of main hero's personality, irony, landscape, system of images and language methods of expressiveness.
The observations in sphere of Lermontov's psychologism peculiarities, in particular, over the landscape function and role of secondary heroes in "Taman", the argumentation of typological similarities (substantiation of typological parallels in investigation are absent, as usual, but it is necessary, and author examines these parallels like the part of one romantic perception) gives the possibility to look in a new fashion on investigated phenomenon's.
Also especially is investigated the question about the correlation of Caucasus landscape with ideology of "Russian European" Pechorin, the demotic conciseness of Maksim Maksimych and enlightened ideology of the author of "The Hero of Our Time".
In monograph are very relevant the chapters, which are devoted to philosophic support of novel. Also very important is the problem of "high evil", discussing of which was began and is worthy of continuous. Lermontov's novel is joined to context of philosophic searches of Russian (P. Chaadayev) and west-european philosophic thought (M. Shtirner, A. Shopengauer, F. Nicshe). This problem is not absolutely new, but it is for the first time lights up so minutely, and exactly this aspect of investigation opens the new perspectives of new ways of Lermontov's text analysis.
"The demonicity" and egocentrism of Lermontov's hero, of free liberty's bearer is opened with the help of comparison with German philosophic thought of XIX century, which elaborates the same problems. The typological analysis of texts of M. Shtirner, A. Shopengauer, and especially F. Nicshe demonstrates Pechorin's cognation with philosophic human conceptions, which were created by the forcible philosophy. "The idea", bearer of which is Pechorin - is idea of act for the sake of historical sense.
This way Lermontov began the investigation of phenomenon in Russian literature, which later will become the object of Dostoyevski's big attention.
The comparative analysis of Lermontov's texts, Russian and German philosophic thought of XIX century lets to trace the evolution of motives of happiness, destiny, and death in Lermontov's creativity. In early poetry with the fate Lermontov associates the conceptions about evil powers of world-creation, which are against the hero, but the late creativity of poet demonstrates the understanding of fate, which hangs over hero, by the position oh German philosophers. The hero, "the son of century" is showed as a person devoid of happiness, because he declines of "old tablets" of values, with which lives the society.
The traditional sight on Pechorin as on "superfluous human person" in monograph sorts with historic-national problematic of Lermontov's prose. Author draws a conclusion, that by Lermontov's mind, Russian people on modern for poet historical period did not mature yet for historical fulfillments, and the heroic personality, finding not a sphere, in which it could use its power, perishes in obscurity.
Making the presumptive conclusions, author of monograph puts forward the conception, by which Lermontov used romantic and realistic methods of reality's perception. And in early youth (since 1837) prevails a romantic method of reality's perception, but later is observed the try to draw up the own method of reality's perception, which in moment of tragic poet's death was synthetically. Lermontov's way in art, by the investigator's mind, we should consider as formation - the incomplete process, interrupted by tragic death of artist.