Author: Savelyeva Vera, Kazakh National Pedagogical University in honor of Abai, Kazakhstan
The studies of dreams in fictional literature form a special area of
the literary theory, which is called “literary hypnology” or “oineropoetics.” Scholars
try to define the specifics of literary dreams and distinguish them from the
reality of life. “The purposes of such studies are not to use the psychological
methods for the literary analysis, but to use the literary methods in order to
analyze the psychological phenomenon, which is described in the literary text”)
(20, с. 9). These studies are
interdisciplinary, for they are situated on the boundaries of different
academic fields, such as physiology, medicine, philosophy, psychology, literary
and cultural studies, and semiotics.
V.M. Kovalzon, The Doctor of Biology and a member of the
International Association for the Study of Dreams, defines the process of
sleeping as “… особое генетически детерминированное состояние организма
человека и других теплокровных животных (т.е. млекопитающих и птиц),
характеризующееся закономерной последовательной сменой определенных
полиграфических картин в виде циклов, фаз и стадий» (“… a
special, genetically determined state of the human body and the body of other
warm-blooded animals (mammals and birds), which is characterized by the logical
succession of certain multi-graphic pictures in the form of cycles, phases, and
stages”) (6, с. 311). The process of sleeping is inevitably accompanied by the
phases of dreams, which some scholars describe as the period of paradoxical
sleeping. According to J.M. Lotman, a dream is «семиотическое зеркало, и каждый
видит в нем отражение своего языка» (“…a semiotic mirror, and everyone beholds
in it the reflection of his or her own language”) (9, с.124).
V. N. Toporov, while chronologically cataloguing literary dreams
from the texts of I. S. Turgenev, proposed to classify them according to their
themes and to distinguish their repeating motifs and archetypes (21). But the
recurrence of similar images and situations of literary dreams might be found
in the literary texts not only of the same, but of different authors. This fact
cannot be explained in a single way, and, probably, is connected to the
phenomena of inter-textual genesis, and the formation of the literary meta-text
within the boundaries of one national culture. The appearance of the same image
in different texts hardly proves the influence of one author on another, but,
rather, the close connection of the literary creativity and the collective
unconscious – or, to put it in another way, the link to the irrational forms of
our consciousness from which the literary creativity derives experience and
inspiration.
This article discusses one literary space image - a “topos” (any
space image in semiotics is called “topos” from Greek “a place”) – in the world
of the literary hypnology of the Russian fiction. In the literary dreams, ‘the
door” topos and situations connected to it undoubtedly possess both everyday
life and metaphysical senses, thus growing to the
level of archetypal “chronotop” (the term of M. Bakhtin, from Greek
“chronos”-“time” and “topos” –“a place”).
The door is a spatial image, a real material thing, and, at the same
time, it is- together with the motif of the plot- an important detail of the
plot development. This image takes a special place in oineropoetics; in a
literary text it is also connected with the other, non-oineropoetic episodes. Ananalysis An
analysis of the literary dreams from the works of V. Zhukovsky, A.
Pushkin, F. Dostoyevsky, L. Tolstoy, A. Chekhov, V. Nabokov allows to see the
literary objectification of this archetype and the poetics of its literary
incarnation.
Scholars that tried to interpret the dream from the novel “Eugene
Onegin” («Евгений Онегин»), point out at its folklore, mythological and
literary sources. Summarizing these multiple observations, J. M. Lotman writes:
“Tatiana’s dream is a living amalgam of literary fairy-tale and folklore song
images, with concepts coming from Christmas and Russian national marriage
ceremonies” (8, с. 266). Scholars designate different literary works of Russian
and European Romanticism that are mirrored in the poetics of Tatiana’s dream.
Among these dreams two- from the ballade “Svetlana” («Светлана») and from the
comedy “Woe from Wit” («Горе от ума») - take a special place, for the direct
borrowings from them are found in the Pushkin’s text.
S.M. Kozlova in her article «Миф о похищении Персефоны в сюжетных схемах
русской литературы» (“Myth of the abduction of Persephone in the plot
structures of the Russian literature”) demonstrates that she found in Tatyana’s
dream multiple mythological situations: abduction, getting into the world of
the dead, sacrificial murder, and resurrection-return. This scholar thinks that
«поток», «шумящая пучина», «гибельный мосток» (“the stream, “the boisterous
abyss,” “the pernicious gangway”) correspond to the picture of the pagan realm
of Hades: the Styx river, the crossing of the Styx, the helper of the abductor-
«косматый лакей» (“the shaggy footman”) - at the same
time performs the function of Charon. «Tatiana попадает в «хижину» на шабаш
(«как на больших похоронах») «адских привидений», где оказывается в роли
«хозяйки» - Персефоны, участницы черной мессы – убийства Ленского» (“Tatiana
gets into “the hut” to the sabbath (“as at the big funeral”) of “hell
apparitions”), where she finds herself to be a hostess – Persephone, the
partaker of the black mass-of the murder of Lensky”) (7, с. 52-53).
The word-image “door” repeats in Tatiana’s dream 5 times. First
Tatiana notes that «behind the door are cries and glass clink as if at some big
funeral» and that «she stealthily looks through the chink». She sees that
«Onegin at the table sits and through the door furtively gazes» (15, р.211). In
the next stanza Tatiana, «being curious …opened the door a little».The actions
of Onegin are also directed to the door: «doorward he goes», and later «Eugene has pushed the door» (15, р. 212). Thus the heroine finds herself
in Onegin’s room. In the moment of her awakening Tatiana sees that «thedoorhasopened”
and that “to her, Olga, rosier than Northern Aurora and lighter than a swallow,
flits in» (15, р. 213).
In the images and pictures of this dream both the preceding and the
following episodes of the novel are reflected; the dream is filled with
reminiscences and allusions from the text of the novel. «Сон есть травестия и
прошлого, и будущего» (“The dream is a travesty of the past and the future”) –
writes V. Nabokov (14, с.404). In the studies of J.N. Chumakov these phenomena
of the novel poetics are termed like «перебросы смыслов», «рифмы ситуаций»,
«ассонансы ситуаций» и, наконец, «смысловой телекинез» ( “gybing of the
meanings,” ”rhyming of the situations,” ”assonances of the situations” and,
finally, “the connotative telekinesis”) (27). In the scene of the names day
party in Chapter 5 «The door leaves suddenly fly open: Lenski enters, and with
him Onegin» (15, р.217). The forest hut forestalls the image of the Onegin’s
country estate house, into which Tatiana will enter in Chapter 7: «Anisia came
forth to her promptly, and the door opened before them, and Tanya stepped into
the empty house» (15, р.258). When Onegin visits Tatiana’s manor in Saint Petersburg the last time, «… heentersareceptionroom. Oh! No one. A door he opens… The
princess before him, alone, sits…» (15, р.303). This repeating image of the
opening door both in the dream and in the real lifetime of the novel
sequentially connects and disconnects the main characters.
It is possible to see that the archetypal image of a door appears
already in the ballade of V. Zhukovsky “Svetlana,” (“Светлана”) where the dream
of a heroine is described. Svetlana, as well as later on Tatiana, is afraid to
open the door and to cross the threshold. Both these characters go through a
special rite of initiation in their dreams. Before writing his famous novel in
verse, A. Pushkin had already tried to use the motifs of a ritual woman’s dream
in the fairy-tale “The Groom” («Жених») (1825).In the fairy-tale the desperate
heroine, Natalia, invents a dream in order to punish the murderer. Scholars
traditionally compare her imaginary dream to the dream of Tatiana. Both
heroines get lost in the forest in a moonlit night and “suddenly” find
themselves in front of a cottage/a hut of the highwaymen/the forest evil
spirits. Fear and curiosity accompany the actions of the girls: they secretly
observe the running feasts. In both dreams the image of the opening and closing
door- a dangerous border of the two worlds- appears: «Дверь отворила я. /
Вхожу…»; «Я поскорее дверью хлоп / И спряталась…» (“I opened the door. /I
entered…”; “I quickly slammed the door/ And hid myself…”) (17, с. 284-285). The
heroines of the two nightmares become the witnesses of the murder, and the tool
of the murder in both cases is a knife.
In the dreams of I. S. Turgenev’s characters, who are in love with
each other, the motifs of Tatiana’s dream revive again. While preparing “The
Song of Triumphant love” (“Песнь торжествующей любви”) (1881) for the
publication, I. S. Turgenev in his letter to M.M. Stasyulevich (from the 1(13)
of March 1881) called it «фантастическим рассказом» (“a fantasy story”).
V.N. Toporov defines the two dreams that are introduced in this story as the
situation «одного общего сна, видимого двумя людьми одновременно» (“of a single shared dream, seen by two persons at the same time”)
(21, с. 166). If we take into consideration that this shared dream first is
voiced by the author as if by Valeria herself, and later told aloud by Muzio to
his guests, we will clearly perceive the shift in the points of view of the
dreamers. This shift, first of all, has something to do with the image of the
door. There is Valeria’s recollection of the space: «Ей почудилось, что вступает
она в просторную комнату с низким сводом <…>; окон нет нигде; дверь, завешанная
бархатным пологом, безмолвно чернеет во впадине стены. И вдруг этот полог тихонько
скользит, отодвигается… и входит Муций». Compare this with the dream of Muzio: «Я видел,
будто я вступаю в просторную комнату со сводом, убранную по-восточному.
<…> Я вошел через дверь, завешенную пологом, а из другой двери, прямо напротив
– появилась женщина, которую я любил когда-то» (24, с.54-55).
In front of us is a mirrored hypnotic dream, into which there are
two ways: the woman enters through one of the doors, the man through another
one. The second door is from the outside, the first one –is a secret door,
covered with a drapery. The outside door leads from the real life to the world
of the magic; the inner door is the passage from the darkness of the black
magic to the «полупрозрачную» (“translucent”) rendezvous chamber, saturated
with «бледно-розовым светом» (“the pale-pinkish light”) and balm scent. The
symmetry of the doors underlines their reflectivity and ambivalent symbolism.
Valeria’s door - is the border between the world of reality and the world of a
dream, between consciousness and the curiosity of the hidden wish. The door
covered with drapery – is the border between the world of the realized wish and
the darkness of the unconscious.
The doors are in the way to the world of the dark Eros and Valeria’s
unconscious. In order to release these wishes in Valeria-Cecilia, Muzio uses
the magic of a pearl necklace. Fragrant and thick «ширазское вино» (“Shiraz wine”) and the melody that «полилась, красиво изгибаясь, как та змея, что покрывала своей
кожей скрипичный верх» (“Started to flow, bending wondrously as the snake that
covered by its skin the violin’s surface”) (24, с.53) – complete the
enchantment.
The doors in the dreams correspond with the real topography of
Fabia’s house and the pavilion, where Muzio settled down. When Muzio leaves
after the evening talk, Valeria looks at the door through which he has gone
(24, с.54). Fabio, trying to interrupt the hypnotic influence, locks the door
from the house to the orchard, and feels that somebody strains to open it from
the inside. Later Fabio, tracing the path of Valeria, with the stopping heart,
opens the outer door, but the Malaysian «повелительно указал» (“peremptorily
pointed him…”) at the door. Fabio remembers about «потаённой двери» (“the
secret door”) to the pavilion, and gets through it into the room with the
corpse of Muzio. Persistently repeated image-“topos” allows to coordinate the
worlds of reality and dream and to multiply the symbolical meanings of the
door. Fabio witnesses the dreadful scene of resuscitation of the corpse. In
three hours «дверь павильона растворилась» (“the door of the pavilion flung
open”) and the revived cadaver, strangely stepping and supported by the
Malaysian, left Ferrara forever. The door becomes a symbol of the border
between the two worlds-the world of the alive and the world of the dead, and
the mute Malaysian is one who possesses a secret ability to go through this
border.
In another I.S. Turgenev’s tale “Clara Milich (After Death)”
(“Клара Милич (После смерти»”) (1882) the image of a door appears in the
dream-vision of Aratov, when he is concentrated on the will to conjure Clara
from the World of no-existence. «Раза два глаза его слипались… Он тотчас
открывал их… по крайней мере, ему казалось, что он их открывал. Понемногу они
устремились на дверь и остановились на ней. Свеча нагорела – и в комнате стало
опять темно… но дверь белела длинным пятном среди полумрака. И вот это пятно
шевельнулось, уменьшилось, исчезло… и на его месте, на пороге двери, показалась
женская фигура. Аратов всматривается… Клара! <…> На голове у неё венок из
красных роз…». The image of a door is doubled again: it is an
unreal door –the border between the world of the alive and the world of the
dead, from which the spirit of Clara comes; but it is also the door of his
room, into which his aunt steps in «в ночном чепце с большим красным бантом и в
белой кофте» (“in a night cap with a huge red bow and in a white blouse”) (24,
с.107). As in another Turgenev’s story, discussed above, the dream is
“stronger” than reality and appears to be a certain super reality, primaryto
the reality of everyday life, in spite of everything that actually took place.
The novel of F. M. Dostoyevsky “Crime and Punishment” (“Преступление
и наказание”) is saturated with dreams. One
can talk not only about the dreams-novellas, but about the cycles of dreams in
the context of the novel: these are the cycle of Raskolnikov’s dreams and the
triplet cycle of the tripled dream of Svidrigailov. In the previous years these
dreams became the object of the attentive studies and commenting. M.M. Bakhtin,
V.J. Kirpotin, L.P. Grossman, V.J. Kozhinov, J. Karyakin, R.G. Nazyrov, A.M. Rumyanzeva,
N.M. Chirkov, G.K. Szhennikov, S.V. Belov and others devoted special articles,
chapters and pages of their books to the analysis of each of these dreams.
Studying the aspects of the comparative oineropoetics, we are mostly interested
in the forth dream of Raskolnikov
In the third dream Raskolnikov, in despair, pronounces: «Что это,
свет перевернулся, что ли? » (“What is it? Has the world turned around?”) (3,
с.91) This phrase will fatally define the particular qualities of the forth
dream, in which all events, as M.M. Bakhtin precisely noted, develop according
to the rules of the carnival. «В сне Раскольникова смеется не только
убитая старуха (во сне, правда, ее убить оказывается невозможным), но смеются
люди <...>, смеются все слышнее и слышнее. Далее появляется толпа,
множество людей и на лестнице и внизу... Перед нами образ развенчивающего всенародного
осмеяния на площади карнавального короля-самозванца» (“In Raskolnikov’s dream not only the killed old woman laughs-in a
dream, though, it is not possible to kill her-but also multitude of people
laugh <…>, laugh louder and louder. Next, this multitude, this crowd
appears on the stairs and below…In front of us is an image of dethroning folk
derision of the king-imposter on the square”) (1, с.290).
The forth dream is the dream about the repeated murder of the old woman.
Action seems to be reversed and go backward, but now the tragedy of the murder
becomes a comedy. The dream is an answer to Raskolnikov’s words: «О, как я ненавижу
теперь старушонку! Кажется, бы другой раз убил, если б очнулась!» (“Oh, hownow I hate the old hag! It seems I would kill her another time if she by chance had
recovered!”) (3, с.212) Compositionally
this dream is situated strictly in the middle of the novel. It ends the third
part of the book and divides the whole novel into two triads. In the full
collection of the works of F.M. Dostoevsky “Crime and Punishment” takes 422
pages, and the forth dream is on the pages 212-213. In the topography of the dream the two doors are mentioned: one led into the bedroom: «вдруг ему
показалось, что дверь из спальни чуть-чуть приотворилась и что там тоже как будто
засмеялись и шепчутся» (“suddenly it seemed to him as if the door from the
bedroom opened slightly, and people there suddenly laughed and continued
whispering”); another door conducted to the stairs outside the apartment:
«двери на лестнице отворены настежь» (“The outside door to the stairs was open
wide”). While awakening, Raskolnikov sees the opened door, and a stranger,
standing on the threshold. This stranger «бережно притворил за собой дверь» (“carefully
closed the door behind himself”) (3, с.213-214), and then introduced himself as
Svidrigailov. Two doors in the dream are correlated with the real ones in the
apartment of the old woman. In the bedroom, Raskolnikov stole the things, which
he did not make use of. The door to the stairs is the outside door from the
apartment, where the murder was committed. The opened door in his dream is the
symbol of his denunciation and despair. And real Svidrigailov, entering through
the opened door to the Raskolnikov`s poor tiny dwelling, seems to be emerging
from Raskolnikov`s dream; closing the door behind himself, Svidrigailov moves
away for some time the torturing for Raskolnikov revelation of his crime.
In the novel “Idiot” (“Идиот”) Hippolytus describes his «хорошенький
сон» (“pretty dream”) and especially emphasizes that he saw it right before the
arrival of Prince Myshkin. In this dream «ужасное животное», «чудовище», «вроде
скорпиона, но не скорпион, а гораздо гаже и гораздо ужаснее» (“an awful
creature”, “a monster”, “like a scorpio, but much more abominable and
dreadful”) (4, с. 323) appears in Hippolytus’s bedroom. Neither Hippolytus’s
mother, nor his acquaintance can catch the insect, and then the mother opens
the door and lets the dog inside the room. Later the following fight between
the dog and the scorpion is described. In the moment when Norma kills the vile
creature, Hippolytus wakes up, and Prince Myshkin enters.
The door is mentioned in this dream twice and symbolizes the border
between the room of horrors and the outside world, from where the help arrives. The
appearance of the dog (in the dream it gets the bite of the scorpio that was
intended for its master) and of the Prince (in reality) in the room of
Hippolytus functionally unifies these images. The dog Norma and the Prince are
the rescuers and the door is the entrance and exit from the room of horrors,
which symbolizes the inner “I” of Hippolytus.
The history of hypnology records dreams, in which a person is
transitioned into certain states and parts of the world unknown to him in his
lifetime. Examples include the dreams about death and different travels and
transitions that precede or follow the moment of death. In such visions the images
of the future overtake the present. One of the main characters of the novel
“War and Peace” (“Война и мир”) Andrey Balkonsky, approaching the moment of his
real death, has exactly this type of a dream: «Он видел во сне, что он лежит в той же комнате, в которой
он лежал в действительности, но что он не ранен, а здоров. Много разных лиц,
ничтожных, равнодушных, являются перед князем Андреем. <…> Понемногу,
незаметно все эти лица начинают исчезать, и все заменяется одним вопросом о
затворенной двери. Он встает и идет к двери, чтобы задвинуть задвижку и
запереть ее. Оттого, что он успеет или не успеет запереть ее, зависит
всё.<...> Что-то не человеческое – смерть – ломится в дверь, и надо удержать
ее. Он ухватывается за дверь, напрягает последние усилия – запереть уже нельзя
– хоть удержать ее; но силы его слабы, неловки, и, надавливаемая ужасным, дверь
отворяется и опять затворяется. Еще раз оно надавило оттуда. Последние,
сверхъестественные усилия тщетны, и обе половинки отворились беззвучно. Оно
вошло и оно есть смерть. И князь Андрей умер. Но в то же мгновение, как он
умер, князь Андрей вспомнил, что он спит, и в то же мгновение, как он умер, он,
сделав над собою усилие, проснулся. «Да, это была смерть. Я умер – я проснулся.
Да, смерть – пробуждение! » (22, p. 69-70).
D. S.Merezhkovsky wrote that the philosophy of this dream is
supported by the experience of the physical senses, when the helplessness of
the body both in reality and in a dream frees the soul: «И здесь, как везде, как всегда у Л. Толстого, не тело следует за душою, а, наоборот, душа
за телом: что сначала в теле, то
потом в душе. <...> Тело уходит из жизни вне - жизнь, опускается в «черную дыру» – и
душа влечется за телом; тело тянет душу» (“And here, as everywhere, as always in L. Tolotoy`s texts, not
the body is following the soul, but, on the contrary, the soul is going after
the body: what at the beginning is in the body, later on will be reflected in
the soul’…The body leaves the life for non-existence, descending into the
“black whole”- the soul is dragged after the body, the body pools the soul”)
(10, с. 222).
V.I. Porudominsky points out that the dream of Tolstoy himself
became the source of the dream of Balkonsky (16). This dream Tolstoy recorded
in his Notebook and dated it by April 11 1858: «Я видел во сне, что в моей темной комнате вдруг страшно отворилась дверь и потом
снова неслышно закрылась. Мне было страшно, но я
старался верить, что это ветер. Кто-то сказал мне: «Поди, притвори», я пошел и
хотел отворить сначала, кто-то упорно держал сзади. Я хотел бежать, но ноги не
шли, и меня обуял неописуемый ужас. Я проснулся и был счастлив пробуждением» (“I saw in my dream that in my dark room the door suddenly and
terrifyingly opened, and then closed again silently. I was afraid, but tried to
believe that that was the wind. A voice told me “Go, close it”, and I went and
wanted to open first, but somebody firmly hold it from the outside. I wanted to
run, but my feet did not move, and I was horrified. I woke up and was so
relieved with my awakening”) (23, p.75).
In many books of dream interpretations to see one dead is supposed
to be a lucky omen. From the point of view of the folklore beliefs, the door is
the analog of the gates: a big and tall door foretells a fortune and the high
position in the society; if it opens- there will be a good luck, if it suddenly
flies wide open one should expect happiness and profit.
An absolutely different interpretation of the door is given in the
works of Z. Freud and his followers (18, с. 51-52). Psychoanalysts interpret
all dreams with the door images from the point of view of self-feelings of a
person and a degree of richness of the experience, not only of the erotic
wishes, but emotions in general.
As we see, the great variety of the existing interpretations (often
mutually excluding) does not eliminate the possibility of the new ones. The
dream of Andrey should be understood as a prophetic vision, but simultaneously
it contains space allegories. A door is the archetypal image of the border of
the two worlds, Andrey`s struggle with it – it is his resistance to the
unknown. «Дверь – черта, рубеж, на котором как бы сфокусировано
ожидание, и дверь – заслон. Или точнее так: дверь – привычный предмет, который можно предложить
зрению взамен нечеловеческого «оно»
(“The door is a line, a frontier on which the anticipationis focused, and it is
also a barrier. Or, more accurately: the door is a familiar object, which might
be offered to our vision instead of surreal “it”) (5, с. 53).
In the Yung`s analysis of dreams, the opening of the door symbolizes
the way through the consciousness: «Дверь понимается как амбивалентный символ,
связанный с конкретным действием. Дверь разделяет два пространства, которые
связаны в свою очередь со временем (из прошлого в настоящее и будущее), –
поэтому важно направление движения через дверь, ее местонахождение и степень
усилий» (“The door is understood asana bivalent symbol, connected with a specification. The
door divides the two spaces, which are, in their turn, connected with the time
- from the past- to the present and to the future-therefore, the direction of
the movement through the door, as well as its location and the amount of the
efforts spent on its trespassing, are very important”) (19, с.290). The crisis
dream of Andrey facilitates his transition from life to death: the chronotop of
the door is the border between the world of the dead and the world of the
alive. In Scandinavian mythology Valhalla (the feast hall of the dead) has 540
doors, through which the valiant warriors that fell in battle get inside (2,
с.27). Let`s not forget that Andrey also passes away from the wound that he
received on the battle field.
In the following parts of the novel there is one scene, in which the
image of the door as the border space is as articulate and symbolic as in
Bolkonsky`s dream. This scene belongs to the fourth volume of the novel. Pierre
Bezukhov, who had passed through the imprisonment, is returning back to Moskow,
and visits Mary Bolkonsky, in whose house he suddenly meets Natasha Rostova.
These three spiritually connected friends had suffered much and understood each
other very well. While they talk, Natasha for the first time tells about the
last hours of Andrey Bolkonski’s life. This «мучительный и
радостный рассказ» (“torturing and comforting tale”) is necessary for Natasha
in order to free herself from the burden of the past sufferings. Pierre listens and does not stop looking at her, cultivating in himself the sense of love
to Rostova. At the final moment of this story Bolkonsky’s son enters the room,
and Natasha, taking this chance, stands up in order to leave the room: «Она <…>
почти побежала к двери, стукнулась головой о дверь, прикрытую портьерой, и с стоном
не то боли, не то печали вырвалась из комнаты. Пьер смотрел на дверь, в которую
она вышла, и не понимал, отчего он вдруг один остался во всем мире» (22, с. 234).
Natasha does not know anything about the dream of Balkonsky,
but the reader remembers that dream, and the connection of the real door with
the allegorical image from the dream is present. (The tautological triple
repetition of this word in the same passage is not accidental).The real door is
perceived here as a terrible border, that separated for some time Natasha from Pierre. To bring these images together is the task of that “ideal” reader, who, according
to Tolstoy`s thought, knows how to “conjugate” images.
In A.P. Chekhov ‘s story “Three Years” (“Тригода”) Julia, who came
temporarily to her native city, sees the funeral that is later transferred into
her dream: «Легла она в постель рано, а уснула поздно. Снились ей всё
какие-то портреты и похоронная процессия, которую она видела утром; открытый
гроб с мертвецом внесли во двор и остановились у двери, потом долго раскачивали
гроб на полотенцах и со всего размаха ударили им в дверь. Юлия проснулась и
вскочила в ужасе. В самом деле, внизу стучали в дверь…» (26,
p. 64). The mournful symbolism of the dream in reality becomes life-asserting:
the smash of the coffin at the door forestalls a message - a joyous telegram.
The door in the dream becomes a symbol of connection of a dreamer with the
outer, real world.
V. Nabokov’s novels contain in themselves elements of both practice
and the theory of dreams. In the novel “Despair” («Отчаяние») the nightmares accompany
all actions of Hermann, and all dreams in the novel compositionally form an
independent cycle of stories within a story. The
first dream that disturbs Hermann for several years he sees again before his
meeting with Felix: “For several years I was haunted by a very singular and a
very nasty dream: I dreamed I was standing in the middle of a long passage with
a door at the bottom, and passionately waiting, but not daring to go and open
it, and then deciding at last to go, which I accordingly did; but at once awoke
with a groan, for what I saw there was unimaginably terrible; to wit: A
perfectly empty, newly white-washed room. That was all, but it was so terrible
that I never could hold out; than one night a chair and its slender shadow
appeared in the middle of the bare room – not as a first item of furniture but
as though somebody had brought it to climb upon it and fix a bit of drapery,
and since I knew whom I would find there next time stretching up with a hammer
and a mouthful of nails, I spat them out and never opened that door again” (11,
р. 46-47). The corridor and the door are the symbols of perinatal horror and
inner self of Hermann. Forcing to stop the closed-spaced nightmare of the first
dream, Hermann is imposed with the second, also repeating, but an opposite to
the first - open-spaced nightmare –a delirious dream about his own
counterpart-Felix, who is coming towards him along an empty road and is passing
through Hermann’s own body. The events of the third novella-dream take place in
the hotel’s room, where Hermann and Felix spend the night together. The third
dream is multi-layered and consists of three interconnected dreams: Hermann
awakens into another dream, from the second dream he awakens into the third
one, and only the fourth time he wakes up “really”. Finally, the last dream is
the story of betrayal and deceit, committed by the wife, who breaks up the
agreement and marries another man. The finale of the novel strangely includes
all the events into the frame of a long-lasting dream: “Maybe it is all mock
existence, an evil dream”. Hermann is thinking in this way, while being in a
room, where the gendarme visits him. “As he was leaving, he turned in the
doorway and asked me to remain indoors” (11, p. 211). Differentiating himself
first in his dream (by closing the door into the room that symbolizes the depth
of the consciousness), and then in real life from his own “self”, and taking
the place of his own counterpart, Hermann becomes imprisoned in the room and
loses the sense of reality.
The double world that determines the relationship between the dream
and the reality in the literary works of romanticism and modernism is not
always estimated by V. Nabokov in favour of the dream. For instance, in the novel “Gift” (“Дар”) love in reality is a miracle that drives a way them ar vel sof the dreams: «По-настоящему же она
никогда ему не снилась, довольствуясь присылкой каких-то своих представительниц и
наперсниц, которые бывали вовсе на нее непохожи, а возбуждали в
нем ощущение, оставлявшее его в дураках, чему был свидетелем синеватый рассвет.
А потом, совсем проснувшись, уже при звуках утра, он сразу попадал в самую гущу
счастья, засасывающую сердце, и было весело жить” (12, p.
161). But as if in a contrast, the novel “Gift” concludes with
a glaringly happy dream about the return of the father. In this dream the main
character gets into a room, «в которую он думал, что никогда в жизни больше не войдет»
(“into which he thought he would never enter again”). He is told to wait, and
the door into the room is slammed after him. He is listening, while staring at
that door. «Вдруг за вздрогнувшей дверью (где-то далеко отворилась другая),
послышалась знакомая поступь, домашний сафьяновый шаг, дверь бесшумно, но со страшной
силой открылась, и на пороге остановился отец» (12, p. 319).In
this dream a strong wish of the main character to meet again the lost father
comes true, though it is only a dream, and the door lets this dream in.
Anti-freudian image of a father in a dream of the main character –
is the cryptic archetype of Animus. The room with a door (this word-image is
repeated 4 times) is a symbol of a carefully hidden loss and, simultaneously,
of an ardent wish to encounter the lost past (the father, the motherland, the
parent’s house). A door is a space of connection of the past to the present,
and the present to the future. It is not by chance that the double-faced Janus
in Ancient Rome was the god not only of time, but «богом дверей», «входа и выхода вообще, в том числе
начинания какого-то дела и окончания его» (“the god of doors,” “of entrance and exit in general, of the
beginning and ending of any project”) (25, с. 120).
The analysis of ten dreams from the works of Russian classical
writers allows us to assert that the semantics of the neurolinguistic sign “the
door” in literary dreams unifies the archetypal and contextual meanings that
reflect the substantial qualities of Russian mentality. The tragic and dramatic
pathos that accompanies the symbolism of the “door” topos in the works of
Russian authors to the certain extent opposes other different interpretations
of this symbol (for example, in the short stories of O’ Henry “The Green Door”
and of Herbert Wells “The Door in the Wall”).
“The door” topos in the dreams – is a communicative symbol of the
border between the dream and the reality, the world of the dead and the alive,
material and spiritual, the conscious and unconscious of the dreamer, his or
her obvious and hidden wishes, exterior and interior world, rational and
erotic; it is the symbol of connection and disconnection, of mystery and
transition to the sphere of unknown, a chronotop-image, which is fusing the
space of the past and the present, the space of the present and the future.
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