«Как ни жить, но жить вместе…»: материнско-сыновний сюжет в социально-политических рассказах Н. Д. Хвощинской

Abstract

In our article, the optics of research developed by I. Savkina on the material of women’s auto-documentary genres is applied to the artistic oeuvre of N. D. Khvoshchinskaya. Based on her correspondence, we have shown that there are no fixed boundaries between an autodocumentary and a fictitious letter in the case of N. D. Khvoshchinskaya. Her works are a kind of sublimation of life experience. In the article we touched on one of the private pages in the biography of the writer, specifically reflected in the mirror of her fiction, – her marriage with I. I. Zayonchkovsky. Against the background of correspondence highlighting the inner experience of the writer, we analyzed the structure and semantics of the maternal-filial plot, persistent in those works that were written after the marriage. Socio-political stories After the Flood (1881) and Blizzard (1889) have been used for the analysis. In the course of the research it was found that in the character analysis of mother heroines the historical component is “extinguished” and, conversely, supra-historical, archetypal features are actualized: maternal care, wisdom, empathy, spiritual elevation, kindness, support, suffering, etc. The article shows that the plot role of the mother is determined not by the socio-political plots that make up the external canvas of the stories, but by the underlying initiation plot. The mother, “superfluous” in the external event plan, plays an important role in the initiation plot: she happens to be near the hero at the moment of life’s trials. At the same time, it is established that she does not facilitate the change in the son’s status. This function is given to her plot “understudy” – the heroine-lover. The plot role of the hero also changes: he acts not so much as a revolutionary who has failed, but as a son experiencing the process of initiation. As a result, the range of themes dealt with in N. D. Khvoshchinskaya’s stories goes beyond the socio-political conflict caused by the historical situation, and acquires a universal scale.