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Shklovsky's Sentimental Journey. Book: Sentimental Journey - Viktor Shklovsky Shklovsky on a Sentimental Journey 1923

Series: "ABC - classics"

Viktor Borisovich Shklovsky is known primarily as an outstanding literary critic, one of the founders of the legendary OPOYAZ (Society for the Study of Poetic Language), a theorist of the formal school, whose ideas have become firmly established in scientific use, the author of biographies of Mayakovsky, Leo Tolstoy, Eisenstein, artist Pavel Fedotov. But few people know that his own fate took shape like an adventure novel. "Sentimental Journey" is an autobiographical book by Viktor Shklovsky, written by him in exile and published in Berlin in 1923. In it, Shklovsky talks about the events of the recent past - about the revolution and the Civil War.

Publisher: "Azbuka (Azbuka-classic)" (2008)

ISBN: 978-5-395-00083-5

Other books by the author:

Book	Description	Price	book type
Zoo.Letters not about love or Third Eloise		50	paper book
Second May after October	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	10	paper book
Hamburg account	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	50	paper book
Dostoevsky	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	10	paper book
Once upon a time (memories)	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	40	paper book
The Life of a Bishop's Servant	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	50	paper book
Pros and cons. Notes on Dostoevsky	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	60	paper book
Lev Tolstoy	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	90	paper book
Marco Polo	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	55	paper book
Minin and Pozharsky	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	50	paper book
About the ancient masters (1714 - 1812)	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	55	paper book
About Mayakovsky	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	50	paper book
About the sun, flowers and love	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	10	paper book
Story about prose. Reflections and analysis	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	80	paper book
The Tale of the Artist Fedotov	Viktor Borisovich Shklovsky - Russian Soviet writer, critic, literary critic. In the 20s of the twentieth century, he was close to the futurists and was one of the leaders of the "Lef" group, actively participated in the literary ... - FTM,	40	paper book

Shklovsky, Viktor


Viktor Shklovsky
Viktor Shklovsky
Name at birth:	Viktor Borisovich Shklovsky
Date of Birth:
Place of Birth:
Date of death:
A place of death:
Citizenship:
Occupation:	Russian Soviet writer, literary critic, film critic and screenwriter
Years of creativity:

Viktor Borisovich Shklovsky(, -,) - Russian Soviet writer, literary critic, critic, film critic and screenwriter.

Biography

Shklovsky died in 1984 in Moscow.

Addresses in Petrograd

The expression "", introduced into the Russian language thanks to Shklovsky, was based on the story of non-fixed matches in Hamburg, when the wrestlers decided which of them was stronger for themselves, and not for the public, and all this happened in secret. Apparently, these Hamburg matches are an invention of Shklovsky, and they never existed.
Shklovsky, to whom he had hostility on the basis of love rivalry, was brought out by him under the name "Shpolyansky" in the novel "The White Guard", as a man with demonic sideburns, who commanded an automobile company in Kiev and sabotaged it before the arrival of Petliura - an act actually committed by Shklovsky.
“Zoo, or Letters not about love” are based on partly fictional, partly real correspondence between Shklovsky, unrequitedly in love with Berlin, and his sister. Several letters were written by her. After some time, she will become a famous French writer and wife. She will be advised to write books by someone who has read her letters in Zoo.
In addition, Viktor Shklovsky was bred as a hero or acted as prototypes for the following works: the book "Crazy Ship" (under the name "Beetle"), the novel "Brawler, or Evenings on Vasilyevsky Island" ("Nekrylov"), the book "U" ( "Andreyshin"). According to the researchers, he was also the prototype of Serbinov from the story "The Pit".
Heroine's name Suok novel "Three Fat Men" - actually a surname. This surname belonged to Olesha's wife, Olga Gustavovna, before marriage. And her two sisters married Shklovsky and: Shklovsky married Serafima Gustavovna (1902-1982) in 1956, and Bagritsky married Lydia. At first, Seraphim herself was the common-law wife of Olesha (a soulless doll is exactly she), and from 1922 -, and after N. I. Khardzhiev, and only then Shklovsky. She is bred as a “friend of the key”, “friend” in the novel “My Diamond Crown”. Shklovsky was also married to the artist Vasilisa Georgievna Shklovskaya-Kordi (1890-1977).

sayings

Bohemia was created by co-opting 3,000 people into writers (from a speech).
When we give way to a bus, we don't do it out of courtesy. (according to B. Sarnov).
Love is a play. With short acts and long intermissions. The hardest part is learning how to behave during the intermission ("Third Factory").
In order to know your heart, you need to know a little anatomy ("Lev Tolstoy").
The stairs of literary associations lead to painted doors. This staircase exists while you are walking ("Third Factory").
As for electricity, telephone and bath, the latrine is 100 fathoms away. ("Third Factory").
The Soviet government taught literary criticism to understand the shades of shit.

List of compositions

Collected works in 3 vols.

"Resurrection of the Word", 1914. Theoretical work
"Meetings", 1944
Second May after October. historical prose
"In Yasnaya Polyana". historical prose
"Hamburg account", 1928.
"Diary", 1939. Collection of articles
"Dostoevsky", 1971. Article
"Lived once". Memoirs
"The Life of a Bishop's Servant". historical prose
"Pros and cons. Notes on Dostoevsky», 1957
"Notes on the prose of Russian classics", 1955
“For 60 years. Works about cinema». Collection of articles and studies.
“For forty years. Articles about cinema». [Intro. Art. M. Bleiman], 1965. Collection of articles and research.
"Mustard gas". Fantastic story co-authored with
"Art as Reception". Article
"Historical novels and stories", 1958. Collection
"Konstantin Eduardovich Tsiolkovsky"
"Lev Tolstoy". Biography for .
"Literature and cinema", 1923. Collection
"Marco Polo". Historical tale
"Matvey Komarov, a resident of the city of Moscow", 1929. Tale
"Minin and Pozharsky", 1940. Historical prose.
"About the ancient masters". Historical prose.
"About Mayakovsky", 1940. Memoirs
"On poetry and abstruse language". Theoretical work.
"About the sun, flowers and love"
"On the Theory of Prose",1925. Theoretical work.

(excerpts from the book)
Back in the fall, a studio for translators opened at the World Literature on Nevsky Prospekt.

Very quickly, it turned into just a literary studio.

N. S. Gumilyov, M. Lozinsky, E. Zamyatin, Andrey Levinson, Korney Chukovsky, Vlad. (imir) Kaz. (imirovich) Shileiko read here, later invited me and B. M. Eikhenbaum.

I settled in the House of Arts. (...)

Below, Nikolai Stepanovich Gumilyov walked without bending at the waist. This man had a will, he hypnotized himself. There were young people around him. I do not like his school, but I know that he knew how to raise people in his own way. He forbade his students to write about spring, saying that there is no such season. Can you imagine what a mountain of mucus carries mass poetry. Gumilyov organized poets. He made good poets out of bad ones. He had the pathos of craftsmanship and the self-confidence of a master. He understood other people's poems well, even if they were far out of his orbit.

For me, he is a stranger and it is difficult for me to write about him. I remember how he told me about proletarian poets, in whose studio he read.

"I respect them, they write poetry, eat potatoes and take salt at the table, as shy as we are sugar."

Notes:

Shklovsky Viktor Borisovich (1893-1984) - writer, literary critic, critic.

The text is printed according to the edition: Shklovsky V. Sentimental Journey. Memoirs 1918-1923. L .: Ateney, 1924. S. 67, 137.

Memoirist's mistake. On Nevsky, in Gorky's apartment, there was the editorial office of World Literature (subsequently moved to Mokhovaya Street). The translators' studio was located on Foundry in the House of Muruzi (see the memoirs of E. G. Polonskaya, p. 158 of this edition).

See comment 4 to the memoirs of I. V. Odoevtseva (p. 271 of this edition).

Shklovsky is an interesting person. Unlike most, hitting one point, he was completely unfocused and was doing completely different things, up to the opposite. For example, he himself wrote and himself was engaged in literary criticism, that is, he analyzed the books of others, which is rarely combined in one individual.

As a writer, he was a metaphor genius - accurate, beautiful, and yet far-fetched from a great distance. A master of very distant associations - now they would say, "a virtuoso of pulling an owl on a globe." It was he who invented, for example, the "Hamburg account", which has since wandered through articles and books.

No less stormy was his biography in his youth. He wrote the book "Sentimental Journey" in 1924 in Berlin, where he fled from St. Petersburg, fearing arrest. Before that, he managed to visit Persia, participating in the First World War. Then he was shaken all over Russia - along with the revolution and the civil one.

After Berlin, he returned to the USSR, although he had never been a Bolshevik, and lived quietly until old age, writing books on literary criticism, fiction books, articles and film scripts at the same time.

The figure was colorful, so many writers copied him in their books, including Bulgakov (in The White Guard).

Now there are a lot of naive people in LiveJournal who are looking forward to the revolution and the subsequent improvement of their own situation. I recommend Shklovsky's book so that there are no unnecessary illusions.

The collapse of society is always scary and fraught with a huge number of deaths. Most civilians died not from atrocities and executions, but from starvation and infectious diseases. Simply due to the collapse of the relevant life support systems. But then people lived much more autonomously - they had their own wells and toilets in the gardens, grew potatoes outside the house and did not use electricity.

Shklovsky describes everything accurately and calmly, without imposing any conclusions. Detached - as he loved. His political views were then vaguely moderate, the Bolsheviks - the only ones who at that time had their own metaphysical goal, which went beyond the limits of the old world, which was reduced to the redistribution of power and property - are clearly incomprehensible to him and he describes them as aliens, unknown beings.

Some pages of the book are written as if today. Very useful reading - after all, the current authorities of Russia (historical Russia) have clearly set a course for the reconstruction of that time - which means that not only 1913, but also 1918 will be reconstructed. Only without the Bolsheviks, who no longer exist. Run out.

And another moral follows from what I read: when changes are inevitable, they will happen sooner or later. Only the price will be very different. Putting pressure on the current government in order to force it to do something useful will cost much less than a revolution that will overturn not only it, but all the structures of everyday life.

Sentimental Journey is an autobiographical story of a Russian scientist, literary critic, who decidedly could not sit still. The time period in which the book unfolds is from 1917 to 1922.

The first thing that strikes this text is the incredible contrast between war and poetry. Our hero is distinguished by terrible activity, involvement in life. He experiences all the events of his era as his own destiny. Shklovsky campaigns on the front of the First World War as an assistant to the commissar of the Provisional Government, he himself goes on the attack with a grenade in his hand somewhere on the South-Western Front and first gets a bullet in the stomach, and then Georgy for his courage, single-handedly disperses the pogrom with a board in his hands in Persia, candied tanks of hetman armored vehicles in Kiev. And all this time, in fits and starts, he writes the book "The Connection of the Techniques of Versification with the General Techniques of Style." Marvelous. Shklovsky sees at war how a Cossack kills a Kurdish child with a rifle butt; sees along the road the corpses of civilians who were killed to check the sight of a rifle; he sees how women are sold in the market in Feodosia, and people swell from hunger, and in his head the idea of \u200b\u200bthe work “The Plot as a Phenomenon of Style” is ripening. Lives in two worlds. By the way, he will write a book about the plot and style in Samara, where he will work in a shoe shop, hiding from Cheka under a false name. Already after the victory of the Bolsheviks. And he will bring the books needed for quotations, embroidered into sheets and separate scraps. Starvation, executions, civil war, and Shklovsky travels from Samara to Moscow on a fake passport and there he reads a short report on the topic "The plot in verse." And then he goes to Ukraine and, as it were, finds himself right on the pages of the novel "The White Guard" with a terrible confusion of the Germans, Skoropadsky, Petliura and the expectation of the allies. And then he would return to Moscow, and Gorky would beg Sverdlov to "stop the cause of the Socialist-Revolutionary Shklovsky," and after that the Bolshevik-Shklovsky would go to the civil war. And he will do it with joy: “I am riding on my star and I don’t know if it is in the sky, or if it is a lantern in the field.”

The second thing that strikes in the text is the intonation of the author. The intonation of a quiet madman. Here is one of the military scenes: Shklovsky arrived at the battalion, which refuses to take up a position. The battalion has almost no ammunition at its disposal, and it is ordered to take position. Shklovsky - power. Need to do something. Further quote: “I got rifles and cartridges from somewhere through Vonsky who arrived and sent them into battle. Almost the entire battalion was killed in one desperate attack. I understand them. It was suicide. Went to sleep". The episode is over. What is striking here is not just the lack of an ethical assessment of one's actions, but the general lack of reflection on what is happening. We are used to the fact that books about war or revolution are always extremely emotional and ideological. They have good and bad, and, most often, absolute good and absolute evil. Shklovsky does not commit such violence against reality, he watches the picture before his eyes with the equanimity of a Taoist. He seems to be simply cataloging life, neatly laying out the cards. “I am an art theorist,” he writes, “I am a stone falling and looking down.” Shklovsky is such a fighting Taoist who goes on the attack, but somewhat absent-mindedly, with an uncertain step, because the truth is illusory and also because a new book about Lawrence Stern is in his head. You say there are no Taoists with bombs. Well, yes! But Shklovsky is not a Chinese either.

And further. If you refuse to conceptualize reality, but undertook to catalog it, be prepared that you will have to write about all sorts of boring things. Librarian is not the most fun profession. Shklovsky's text is also boring in places. But, God, sometimes there are descriptions that the usual yawning passes, the ache in the back is forgotten and it’s as if you fall under black and white lines, like under ice. Here's an example: The regiment stands in a trench stretched for a mile. People are bored in the pit, who cook porridge in a pot, who dig a mink for the night. From above only stalks of grass. And you studied in St. Petersburg at the Faculty of History and Philology and you need to agitate so that they fight. And here you are walking along the trench, talking, and people somehow huddle together. A stream flows along the bottom of the trench. The farther downstream, the damper the walls, the fuller the stream and the gloomier the soldiers. When you find out that there are mostly Ukrainians here, you talk about Ukraine, about independence. In response: “We don’t need it!” Yes? We are for the community. They look into your hands, waiting for a miracle. And you can't do miracles. And above you is only the unhurried whistle of German bullets.

In the text of Shklovsky there is still a lot of interesting things: a story about the life of St. Petersburg writers during the civil war, about Blok, Gorky, the Serapion Brothers. There is even a theoretical manifesto of the formal school in literary criticism. A guide on how to disable armored vehicles. And other life. A lot of life. I advise.

victor shklovsky - sentimental journey

Before the revolution, the author worked as an instructor in a reserve armored battalion. In February of the seventeenth year, he and his battalion arrived at the Tauride Palace. The revolution delivered him

like other spares, from months of exhausting and humiliating sitting in the barracks. In this he saw (and he saw and understood everything in his own way) the main reason for the quick victory of the revolution in the capital. Democracy that had reigned in the army nominated Shklovsky, a supporter of the continuation of the war, which he now likened to the wars of the French Revolution, to the post of assistant commissar of the Western Front. A student of the Faculty of Philology, a futurist, a curly-haired young man who did not complete the course, reminiscent of Danton in Repin's drawing, is now at the center of historical events. He sits together with the sarcastic and arrogant democrat Savinkov, expresses his opinion to the nervous,

broken Kerensky, going to the front, visits General Kornilov (society was once tormented by doubts which of them is better suited to the role of Bonaparte of the Russian revolution).

The impression from the front: the Russian army had a hernia before the revolution, and now it simply cannot walk. Despite the selfless activity of Commissar Shklovsky, which included a military feat, rewarded with the St. George Cross from the hands of Kornilov (attack on the Lomnica River, under fire in front of the regiment, wounded in the stomach through and through), it becomes clear that the Russian army is incurable without surgical intervention. After the decisive failure of the Kornilov dictatorship, the Bolshevik vivisection became inevitable. To Persia, again as a commissar of the Provisional Government in the Russian expeditionary corps. Battles with the Turks near Lake Urmia, where the Russian troops are mainly stationed, have not been fought for a long time. The Persians are in poverty and hunger, the local Kurds, Armenians and Aysors (descendants of the Assyrians) are busy slaughtering each other. Shklovsky is on the side of the Aisors, who are simple-hearted, friendly and few in number. In the end, after October 1917, the Russian army was withdrawn from Persia. The author (sitting on the roof of the car) returns to his homeland through the south of Russia, full of all kinds of nationalism by that time. In St. Petersburg, Shklovsky is interrogated by the Cheka. He, a professional storyteller, tells about Persia, and they let him go. Meanwhile, the need to fight the Bolsheviks for Russia and freedom seems obvious. Shklovsky heads the armored department of the underground organization of the supporters of the Constituent Assembly (Socialist-Revolutionaries). However, the performance has been postponed. The continuation of the struggle is expected in the Volga region, but nothing happens in Saratov either. Underground work is not to his liking, and he goes to the fantastic Ukrainian-German Kyiv of Hetman Skoropadsky.

He does not want to fight for the Germanophile hetman against Petlyura and disables the armored cars that were entrusted to him (with an experienced hand he pours sugar into the jets). News arrives of Kolchak's arrest of members of the Constituent Assembly. The fainting that happened to Shklovsky at this news meant the end of his struggle with the Bolsheviks. There was no more strength. Nothing could be stopped. Everything rolled along the rails. He came to Moscow and capitulated. In the Cheka, he was again released as a good friend of Maxim Gorky. There was a famine in Petersburg, my sister died, the Bolsheviks shot my brother. Went south again

in Kherson, during the offensive of the Whites, he was already mobilized into the Red Army. Was a demolition expert. One day a bomb exploded in his hands. Survived, visited relatives,

Jewish inhabitants in Elisavetgrad, returned to St. Petersburg. After they began to judge the Socialist-Revolutionaries for their past struggle with the Bolsheviks, he suddenly noticed that he was being followed. He did not return home, he went to Finland on foot. Then he came to Berlin. From 1917 to 1922, in addition to the above, he married a woman named Lyusya (this book is dedicated to her), because of another woman he fought a duel, starved a lot, worked together with Gorky in World Literature, lived in the House of Arts ( in the then main writer's barracks, located in the palace of the merchant Eliseev), taught literature, published books, and together with friends created a very influential scientific school. On his wanderings, he carried books with him. He again taught Russian writers to read Stern, who once (in the 18th century) was the first to write Sentimental Journey. He explained how the novel "Don Quixote" works and how many other literary and non-literary things work. With many people successfully quarreled. Lost his chestnut curls. On the portrait of the artist Yuri Annensky - an overcoat, a huge forehead, an ironic smile. He remained an optimist. Once I met a shoe shiner, an old friend of the Aisors, Lazar Zervandov, and wrote down his story about the exodus of the Aisors from Northern Persia to Mesopotamia. He placed it in his book as a fragment of a heroic epic. In St. Petersburg at that time, people of Russian culture were tragically experiencing a catastrophic change, the era was expressively defined as the time of the death of Alexander Blok.

This is also in the book, it also appears as a tragic epic. Genres have changed. But the fate of Russian culture, the fate of the Russian intelligentsia appeared with inevitable clarity. The theory was also clear. Craft constituted culture, craft determined fate. On May 20, 1922, in Finland, Shklovsky wrote: “When you fall like a stone, you don’t need to think, when you think,

you don't have to fall. I mixed two crafts.” In the same year in Berlin, he ends the book with the names of those who are worthy of their craft, those to whom their craft does not leave the opportunity to kill and do meanness.