Christmas dinner (Charles Dickens. "A Christmas Carol in Prose"). Food in Russian classical literature Description of the feast in literary works

18.07.2020

Any literary creation is an artistic whole. Such a whole can be not only one work (poem, story, novel ...), but also a literary cycle, that is, a group of poetic or prose works united by a common hero, general ideas, problems, etc., even a common place of action (for example, the cycle of stories by N. Gogol "Evenings on a Farm near Dikanka", "Tales of Belkin" by A. Pushkin; M. Lermontov's novel "A Hero of Our Time" is also a cycle of individual short stories united by a common hero - Pechorin). Any artistic whole is, in essence, a single creative organism that has its own special structure. As in the human body, in which all independent organs are inextricably linked with each other, in a literary work all elements are also independent and interconnected. The system of these elements and the principles of their relationship are calledCOMPOSITION :

COMPOSITION (from lat. Сompositio, composition, compilation) - construction, structure of a work of art: selection and sequence of elements and visual techniques of a work that create an artistic whole in accordance with the author's intention.

Tocomposition elements literary work includes epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (non-plot images created by the author's imagination), dialogues, monologues, episodes, insert stories and episodes, letters, songs ( for example, Oblomov's Dream in Goncharov's novel "Oblomov", Tatyana's letter to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin", the song "The Sun Rises and Sets ..." in Gorky's drama "At the Bottom"); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.

Oftenthe organizer of the composition is an artistic image , for example, the road in Gogol's poem " Dead Souls".

In my work, I consider the image of food in the works of writers of different centuries.

Relevance my work is connected with the study of the artistic image, in particular the image of food, as one of the most important compositional techniques.

Object of study became the concept of "food".

Research subjects are stylistic, lexical, artistic means creating the image of food in the poem by N.V. Gogol's Dead Souls, Goncharov's novel Oblomov, Bulgakov's novels The Heart of a Dog and The Master and Margarita.

Target research : reveal the philosophical sound of various shades of the food motif in Russian literature of the 19th and 20th centuries, trace the evolution of the image of food, starting from the works of…

Tasks of scientific work:

Get acquainted with the works of the declared writers;

Reveal the variety of meanings of the concept of "food" in these works;

Study the literature on the topic;

Find out the question of the traditions of the image of food in world literature;

Explore the role of food in revealing ideas in the works of the classics;

Analyze the role of food images in these works.

Hypothesis: the philosophical sound of the motive of food acts as a means of revealing the characters of the characters, describing the society and lifestyle of that era. The concept of "food" is an artistic image and can act as a link between events.

Research methods:

comparative analysis;

work with literary articles, monographs.

My work can be used in lessons and lectures at school and other educational institutions, seminars, etc. on the works of Goncharov, Bulgakov, Gogol, composition techniques and artistic images. material of mine research work can help other students in mastering literature material, as well as be used in other research projects.

One of the most revered gods of the ancient Greeks, the god of wine and winemaking, Dionysus, is depicted in myths traveling around the world, surrounded by intoxicated maenads and satyrs, feasting and dancing merrily in shady valleys. Dionysus in mythology was perceived as the apotheosis of vitality and sensual earthly existence ... It is no coincidence that the father of Dionysus, Zeus the Thunderer, severely punished everyone who did not honor or insult the young god.

In the gospel stories, we also repeatedly meet with the "images" of food. This is a well-known parable about five loaves and two fishes, with which Christ fed 5,000 people.

“He took five loaves and two fish and looked up to heaven, blessed them, broke them and gave them to the disciples to distribute to the people. And they all ate and were satisfied; and the pieces that remained with them were collected in twelve baskets.

The image of food in this story acquires a symbolic meaning of the power of faith. In the plot of the Last Supper, Jesus Christ names the bread with his body, and the wine with his blood: this is how the allegorical interpretation of bread and wine arises. (Gospel of Luke - 2, 94.).

The tastes of the Oblomovites differed in their characteristic. Idyllic products, especially favorite ones, included coffee, cream, milk, honey, bread. The latter was especially popular. Incredible quantities of dishes were made and consumed from flour: pancakes, buns, pretzels, cookies, crackers, pies.

The apotheosis and symbol of Oblomov's satiety and general contentment is the gigantic pie, which was baked on Sunday and holidays. This cake required double, against the usual, the amount of flour and eggs. As a consequence of that"there was more groaning and bloodshed in the poultry yard." As for the latter, pies were baked, apparently, with chickens and fresh mushrooms. It was about such pies baked by Agafya Matveevna Pshenitsyna that Zakhar remarked:

"The pie is no worse than our Oblomov ones, with chickens and fresh mushrooms."

This pie“The gentlemen themselves ate the next day; on the third and fourth days, the remains entered the girl's room; the pie survived until Friday, so that one completely stale end, without any filling, was given as a special favor to Antipas, who, crossing himself, fearlessly destroyed this curious fossil with a crash, enjoying more the consciousness that this master's pie than the pie itself, like an archaeologist , with pleasure drinking lousy wine from a shard of some thousand-year-old dishes.

The feast continued until it was time to bake a new cake.

A real cult of pie reigns in Oblomovka. Making a huge muffin and filling it with it resembles a kind of sacred ceremony, performed strictly according to the calendar, from week to week, from year to year.

Let us recall that the pie in the popular worldview is one of the most obvious symbols of a happy, abundant, fertile life. A pie is a “mountain feast”, a cornucopia, the pinnacle of universal fun and contentment, the magical sun of material existence. Feasting, festive people gather around the pie. Warmth and fragrance emanate from the cake; the pie is the central and most archaic symbol of popular utopia. Oblomovka is a forgotten, miraculously surviving "blissful corner" - a fragment of Eden. The local inhabitants broke off to eat up an archaeological fragment-a piece of a once huge pie.

The very word "pie" is consonant with the word "feast". This is a festive feast. Indeed, the “feast” is the central event of every day for Oblomovites; they spend their lives not in labor, but in feasts, for their life is harmony, where both the bodily and spiritual principles are inextricably merged. Such a feeling of life, being is characteristic of Epicurean aesthetics: “You cannot live sweetly without living wisely, well and righteously; one cannot live wisely, well, and righteously without living sweetly. Whoever lacks something to live intelligently, well and righteously, he cannot live sweetly.

Epicurus distinguishes three kinds of pleasures in human life.

1 . From food and drink. (Compare in Oblomovka: “Care for food was the first and main concern of life in Oblomovka.”)

2. From love. (Compare in Oblomov’s dreams: “Oblomov, among lazy lying ... among dull slumber and among inspired impulses, in the foreground, a woman always dreamed as a wife and sometimes as a lover.”)

3. Aesthetic in the field of vision and hearing. (Compare in Oblomov's dream: "Music notes, piano, elegant furniture.")

The principle of Epicureanism was not just pleasure in itself, but that serene, silent peace of the soul, when the measured satisfaction of the needs of the body is followed by the complete absence of any passions and hardships. (Compare with the inhabitants of Oblomovka:

“They did not hear about the so-called difficult life, about people who carry languishing worries in their chests ... Oblomovites also had little faith in spiritual anxieties; they did not take for life the cycle of eternal aspirations somewhere, towards something; they were afraid, like fire, of passions ... the soul of the Oblomovites peacefully, without interference, sank into a soft body ... Kind people understood it (life) only as an ideal of peace and inactivity, disturbed at times by various troubles ... ").

The bliss of such a life is based on physical health and bodily self-awareness.

As we can see from all of the above, in its fundamental principle, the world of Oblomovka - in its own way the "world of food" and, moreover, the "feast of food" - symbolizes the triumph of Life itself, in all its manifestations - both material and spiritual. The description of "food" in "Oblomov's Dream" becomes especially significant. It is at the level of the “food” motive that the archetype (original meaning) of Oblomov's world manifests itself - the joy of life, the enjoyment of it. The motive of "food" and its implementation in the novel transfer the action of the novel from the everyday level to the existential one.

The imprint of this "existential" worldview extends to the entire daily way of life of the Oblomovites - life as a series of successive holidays.

Oblomovites are characterized by fullness of desires, enjoyment of life (existence). Joint food in this world is not a household detail, but a symbol of unity.

1. Food in Oblomov's Petersburg life

Many features in the behavior and life of an adult Oblomov are explained by the unfading family principle, which is sharply discordant with the norms of St. Petersburg life.

Ilya Ilyich in his Petersburg life is looking for warmth and reliability family relations who supported him in childhood, in Oblomovka. Oblomov is a child, “a native of the sleepy Oblomovka”, therefore he does not give a “Petersburg” meaning to joint food and food in general. His constant desire to share a meal with someone cannot be explained by his interest in the news that guests invited to dinner can bring.

“Whoever you don’t love, who isn’t good, you can’t dip bread in a salt shaker with that,” -

says Oblomov in a conversation with Stolz.

In St. Petersburg, on Gorokhovaya Street, Oblomov builds his life according to the "Oblomov model of the world", like the cozy and comfortable life that his fathers and grandfathers lived. He creates his own "Petersburg Oblomovka".

From the more or less active life that the hero led in St. Petersburg, he gradually moves to a calm and measured course of his days:

“He was almost not attracted from home, every day he settled more firmly and more permanently in his apartment”;

“At first it became hard for him to stay dressed all day, then he was too lazy to dine at a party, except for briefly acquaintances, more bachelor houses, where you can take off your tie, unbutton your vest and where you can “lie down” to sleep for an hour.”

Oblomov spends his days at home, occasionally going out to visit one of these houses - to Ivan Gerasimovich, with whom he served before. It is about him that Ilya Ilyich Stolz tells with such tenderness:

“He is somehow right, comfortable in the house. The rooms are small, the sofas are so deep, the three dogs are so kind! The snack table does not come off. The engravings all depict family scenes. You come and you don't want to leave. You sit without worrying, without thinking about anything, you know that there is a person near you ... simple, kind, hospitable, without pretensions and will not stab you behind the eyes!

Ilya Ilyich brings his "Oblomovka" to St. Petersburg, along with "bed beds, caskets, suitcases, hams, rolls, all kinds of fried and boiled cattle and poultry," and "reigned" on Gorokhovaya Street on the same scale.

Oblomov liked lying on the couch and plentiful food very much, however, according to the doctor, such a lifestyle would only lead to a blow.

“Avoid meat and animal food in general, starchy and gelatinous too ... eat light broth, greens, do not eat fatty and heavy ... do not lie ... walk 8 hours a day ... have fun ... dance, - such a way of life was offered to Oblomov by a doctor.

In principle, he is not far from the dreams of Ilya Ilyich.

Goncharov looks at life with an undifferentiated view, capturing both the main and the secondary, equaling them. It is not a person who descends to the level of a dumb creature, furniture or household item (as was the case with Gogol), but, on the contrary, the little things of everyday life rise to the level of a person. A person is merged with the surrounding reality, is reflected in it, and she - in him. In the novel, all components of human life become important - both spiritual and domestic; and one is not conceivable without the other. A full-fledged human life includes both matter (material wealth) and spirit (spiritual life) Oblomov dreams of such a life, building his life ideal: food, rest, walks (matter) and disputes, conversations, thoughtful silence (spirit). The absence of one of the components of a full-fledged human existence makes the life of an “Oblomov” person flawed, incomplete, unhappy. A Russian person should have everything in full, there should be an excess in everything ...

The image of food in Bulgakov's novels "The Heart of a Dog" and "The Master and Margarita"
1. The image of food in the novel "Heart of a Dog"

By placing the theme in the historical context of the time, Bulgakov at the same time creates a truly pagan cult of the art of cooking on the pages of his works. In The Heart of a Dog, he gives the reader a glimpse into the "kingdom of the cook Darya Petrovna", where the sacrament of cooking took place:

“Flames shot and raged in the black top and tiled slab ... Golden pots hung on hooks along the walls, the whole kitchen rumbled with smells, bubbled and hissed in closed vessels.”

Here, the destroyed space is being restored: two days later, Sharik was already lying next to a basket of coal and watching Darya Petrovna work. And there is something naturally common in them:

“With a sharp narrow knife, she cut off the heads and legs of the helpless hazel grouse, then, like a furious executioner, she tore off the flesh from the bones ... At that time, the ball tormented the hazel grouse's head.”

The narration here is conducted slowly: the procedure for preparing cutlets painted by the author looks like a matter for which the time and place has come:

“From a bowl of milk, Darya Petrovna pulled out pieces of soaked bun, mixed them on the board with meat gruel, poured it all with cream, sprinkled with salt and sculpted cutlets on the board” - and again:“The stove buzzed like a fire, and the pan grumbled, bubbled and jumped. The damper jumped back with a thunder, revealing a terrible hell. It bubbled, it poured."

A true idyll, painted in soft colors, crowns this picture: in the evening, cleaned pots"they shone mysteriously and dimly", "The ball lay on a warm stove, like a lion on a gate, and a black-moustached and excited man ... hugged Darya Petrovna."

Orderliness and predictability are a consequence of the natural development of events:

“Zinka went to the cinema,” thought the dog, “and when she comes, we will have dinner, so we will. For supper, presumably, veal chops.”

In the context of the normal course of life, Bulgakov presents the forms of eating developed by mankind for centuries and options for attitudes towards it, different in mood:

"Morning breakfast - half a cup of oatmeal and yesterday's lamb bone - ate without any appetite,"

“Waiting for dinner. The dog was somewhat revived by the thought that today there would be a turkey for the third course.

quit"unfinished cup of coffee" for Philipp Philippovich meant something extraordinary in this light, for"That never happened to him."

Bulgakov willingly joins Preobrazhensky's judgment that"Food is tricky" and gladly gives him the opportunity to "preach" on the subject. At the same time, the word of the hero is again included in the conflict dialogue with social opponents:

“Only the landowners who were not cut by the Bolsheviks eat cold appetizers and soups. A slightly self-respecting person operates with hot appetizers.

At the same time, the hero quite benevolently reveals the truth in food:

“Pour not English, but ordinary Russian vodka ... Darya Petrovna herself perfectly prepares vodka ... Vodka should be at forty degrees, not thirty ... God knows what they splashed there ... ".

A leisurely conversation touches on many subjects, including the direct merits of the food consumed:

“He hooked something that looked like a small dark bread onto a silver fork. The victim followed suit. Philipp Philippovich's eyes lit up: "Is that bad?" - Chewing, asked Philip Philipovich. - Badly? You answer, dear doctor. “It’s incomparable,” the bitten man answered sincerely.

Table talk is drawn as a necessary component of the eating process. You can, of course, as Sharikov does, raise a glass and say:"Well, I wish that everything" and then"shove vodka down your throat" and complete such a libation, bending over the bucket with a twisted face;"staggering in the hands of Bormenthal", is he"very gently and melodiously cursed with bad words, pronouncing them with difficulty."

1. The image of food in the novel "The Master and Margarita"

The image of food in the restaurant "At Griboyedov"

In order to recreate the features of a way of life adapted to man, Bulgakov often makes exits into the culinary limits of the recent past.

So, using the form of feigned excessive praise and playing with the word of an enthusiastic narrator, Bulgakov in The Master and Margarita gives the reader an idea of the gastronomic and culinary delights that in the recent past were a common occurrence in a restaurant menu: here are portioned pike perch, and a sterlet in a silver saucepan , sterlet pieces, laid with crayfish necks and fresh caviar, and cocotte eggs with champignon puree in cups, and thrush fillets with truffles, Genoese quail, some kind of exotic soup-printagner. The listing is given in ascending order:

“What are your sizhki, perch! And what about great snipes, harriers, snipes, seasonal woodcocks, quails, waders? Narzan hissing in the throat?!”

And, leading the reader into the endless corridors of banquet splendor, the author, by a sudden violation of the inertia of enumeration(“But enough, you are digressing, reader!” ) states the irreversibility of the disappearance of all these signs of a sustainable social order. Like "leave hope!" the tinted speaking detail given by him looks like:

“It smelled of onions from the basement of the aunt’s house, where the restaurant kitchen worked.”

The author's unequivocal assessment is visible in this collision of the poem and the prosaic statement of fact. like a sister"restaurant cuisine" Communal kitchens look in Bulgakov's works with years of unwashed windows, with roaring stoves on the stove, smoking kerosene stoves and quarreling women.

Oil leitmotif in the novel

Creatively perceiving traditions, Bulgakov at the same time forms sharply individual contexts that aesthetically bring the little things of culinary and kitchen life into a position of significant semantic generalization. That is how in the novel "The Master and Margarita" there is a leitmotif detail -butter . Forever remains in the memory of the shocked reader:

“Annushka has already bought sunflower oil, and not only bought it, but even spilled it.”

The author, however, does not allow the reader's perception to remain on the surface of events. In his usual manner - playing, yet pointing to the truth - he immediately gives an important, as it turns out, exacting question of Berlioz:

"What does sunflower oil have to do with it... and what kind of Annushka?"

What kind of Annushka, it soon becomes clear from the conversation of women:

"Our Annushka! From Sadovaya! She took sunflower oil in the groceries, and smash a liter on a turntable!

Explain why here vegetable oil, the unlucky Homeless is taken first:"Sunflower oil is here to do with it," - he begins resolutely, but he cannot move on, scandalously and recklessly only hinting at Woland's madness. The author leads the reader in a suggestive way: in the second paragraph of the chapter on Pilate, he writes:

“More than anything in the world, the procurator hated the smell of pink oils , and everything now foreshadowed a bad day, since this smell began to haunt the procurator from dawn.

This annoying detail that slows down the narrative will be repeated many times:

“It seemed that the cypress trees exuded a pink smell”, “the damned pink stream is mixed with the smell of leather equipment and sweat from the convoy”, “and the same fat pink spirit was mixed with the bitter smoke, indicating that the cooks in the centuries had begun to cook dinner ".

smellolive oil all the space around Pilate is filled.

It is impossible to miss this important text sign for the author. And only the heroes themselves still remain vague about its pointing meaning. And Berlioz is inclined to think that the professor's madness explains“and the strangest breakfast at the late philosopher Kant, and stupid speeches about sunflower butter and Annushka... . When retribution is made for this stubborn misunderstanding, a chain began to “knit” in the mind of the shocked Ivan:

“The words “sunflower oil” were attached to the word “Annushka”, and then for some reason, - the author emphasizes- "Pontius Pilate"".

And, in fact, he named two exact answers, weighing everything: a stranger"knew for sure" and“Did he set it all up himself?!” Under the sign of this knowledge, the story of the last journey of Judas is built. He is sent to the "oil estate" at the direction of Niza. Talking text labels lined the road to the date, which lies past "oilseed pulp ».

A series of annoying details looks like a terrible warning: Judas already sees"dilapidated gate" oilseed estates" , he is running "under the mysterious canopy of spreading huge olives ', goes to 'oilseed bagger with heavy stone wheel ". The killer appears, instead of Niza,"unstuck from the thick trunk olives » , and after the murder Aphranius rushes"into the thicket oilseeds trees."

The leitmotif framed in this way within the entire novel is connected with many of its problem nodes. It leads the reader to the idea of the existence of supermundane forces that control the fate of a person, and also signals the manifestation of the highest predestination of just retribution for the evil done by people, no matter what the motives are. Initially based on paradoxes and in general philosophical terms carrying out satanic retribution to all those who had a hand in the destruction of Christ, the novel, using the system of “oilseed” markers, unexpectedly builds a semantic series of typologically related images: Berlioz (Homeless) - Pilate - Judas.

The concept of wine in the work

In Bulgakov's artistic world, where the serious exists in close connection with the funny, and funny jokes are next to the free and sober truth, different semantic connotations are presented in a very wide range.wine concept .

However, in the large space of Bulgakov's artistic world, where the carnival overtone is strong, the theme of wine receives a specific vocalization as the theme of guilt. In the position of the absolute top, in the tragic sound marked by the author"an uncleaned red, as it were, bloody puddle" at the feet of the Procurator of Judea.

The procurator himself, waiting for Aphranius with the news of the execution, pours wine into his cup and keeps looking"for two white roses drowned in a red puddle" . In world culture, as you know, white roses are associated with the holiness of the Savior. With the advent of the messenger, when“the red puddle was wiped out, the shards were removed and meat was smoking on the table” , Pilate invites him to the table:

"You won't hear anything until you sit down and drink guilt ».

Exactly"wine" becomes an axiologically binding semantic center of the described scene:

“The visitor lay down, the servant poured into his bowl a thick red wine . Another servant, carefully bending over Pilate's shoulder, filled the procurator's cup... While the newcomer drank and ate, Pilate, sipping wine looked at his guest with narrowed eyes.

The underlined color of the drink brings to mind the color of blood and becomes a symbolic detail that instantly connects many others of the same type, scattered throughout the text of the novel, but akin to belonging to the main tragic situation:"White coat with red lining" Pilate« scarlet military coat" Afrania,« red puddle", "the most unpleasant bloodshed ”, “burning out colonnades”, “gritty from blood purse", on which« blood Judas of Kiriath" , - and again« thick red wine » . Bulgakov emphasizes the importance of the topic for him« wine ».

The guest, who did not refuse the second bowl, is included in a conversation characteristic of Bulgakov's manner of description:

“Excellent vine, procurator, but this is not Falerno? “Cekuba, thirty years old,” the procurator responded kindly.

The main emphasis is placed on the following episode of the toast, which is ritual in terms of dramaturgy:

“Pilate filled his cup, the guest did the same. Both diners poured some wine from their cups into a dish of meat, and the procurator said loudly, raising his cup: “For us, for you, Caesar, father of the Romans, the dearest and best of people!” After that, they finished drinking the wine, and the Africans removed the food from the table ... ".

Perhaps, out of fear, Pilate utters a toast loudly, but in any case, the very fact that after the execution of Yeshua he is still able to utter these words keeps the seal of indelible guilt on him. Both Pilate and his accomplice are both presented as tragically guilty accomplices tied with blood. In terms of the theme, the slightly removed in the text, as if an accidental stroke looks significant: to the question of Pilate, in what expressions Yeshua refused the drink offered before being hanged on the poles, Aphranius answers:

“He said he was grateful and didn’t blame for the fact that his life had been taken.”

The amazing mastery of Bulgakov's structure of the text determines the semantic richness of the semantic echoes hidden within it:

"Whom? Pilate asked dully. “He didn’t say that, hegemon.”

This powerful final emphasis leaves Pilate in an existential position of inescapable loneliness - alone and face to face with his guilt. Hence the non-random details in the description of the hegemon:"suddenly cracked voice", "hoarse voice". In the large space of the novel, Bulgakov often presents a cheerful carnival tie of wine and wine with an emphasis on images of the material and bodily bottom. So, for example, in the episode of the barman Sokov visiting a bad apartment, the whole situation is played out on subtle conjugations of meanings. Having introduced himself as the head of the buffet of the Variety Theater, Andrey Fokich immediately becomes an accused. Woland points to his guilt:

“I won’t take anything in your buffet in my mouth! .. I, most respected, passed by your counter yesterday and still can’t forget either sturgeon or feta cheese ... My precious one! Bryndza does not come in green color, someone deceived you. She's supposed to be white. Yes, what about tea? After all, this is slop!"

In response, Sokov utters a non-random, according to Bulgakov's plan, word:"I'm sorry" , where is the seme "wine » is present in the meaning"I take the blame" - "I'm not about this, and the sturgeon has nothing to do with it."

famous“The sturgeon was sent second freshness” meets Woland's moralizing rebuke:

“The second freshness - what nonsense! There is only one freshness - the first, it is also the last. And if the sturgeon is of the second freshness, then this means that it is rotten!

In response to the accusation, the barman starts again:

"I'm sorry...",

i.e., again trying to get out of the zone of guilt. Woland blocks his way:

"I can't apologize" he says firmly.

“whose rear leg immediately broke with a crack, and the barman, groaning, hit his back painfully on the floor.”

As he fell, he kicked another stool in front of him, and knocked it over onto his trousers."full bowl red guilt » . In this case"bowl red guilt » - areal sister of the red, "as ifbloody puddles" at the feet of the procurator, she is a kind of meta, certifying guilt. Bulgakov points to its indelibility with an additional and significant touch:

So"totally wet pants" (i.e. forever marked) he will meet later on the stairs to the unfortunate Poplavsky; the author notes that he went"like drunk" . Woland, as if this theatrical pause did not exist, continues from the moment when Andrei Fokich tried to slip out from under the indication of his guilt:

“Yeah, so we settled on sturgeon? My dove! Freshness, freshness and freshness - this is what should be the motto of every barman.

Bulgakov, it seems, builds the episode according to the travesty tracing paper of Pilatov's scene. Subtle irony colors the situation of wine selection:

"A cup of wine? White, red? Which country's wine do you prefer at this time of the day? - Woland kindly asks, and in response he hears:"Most humbly... I don't drink...".

In the world of Bulgakov's works, this is already a characteristic, which, by the way, is voiced by Woland:

"Something evil lurks in men who avoid wine, games, the company of lovely women, table conversation."

Of course, everyone has their own fault: Pilate - Pilatovo, but, apparently, according to Bulgakov, the barman's crime is no less great, which is very significant in terms of understanding our topic.

It should be noted that Woland's description of the ball never mentions red wine, but only cognac, alcohol and champagne, as a result of which the analogies of wine and wine also disappear.

Summing up the observation , it can be said that Bulgakov, using the polyvalence of images of food and drink, developed many original figurative and expressive techniques and ways of forming new meanings with their help. The aesthetic activity of objectivity of this kind was clearly manifested at different levels of the artistic structure and organically entered into agreement with the stylistic laws of Bulgakov's creativity, with his tendency to social and psychological displacement of the image, to carnivalization, grotesque detachment and tragicomic pathos.

Conclusion

Images of food and drink are among the eternal in world culture. Attention to this detail helps us understand the author's intention. The attitude to food and drink, "culinary" details appear in the work as a way of the author's assessment of the characters and the world as a whole. The image of food is the most important compositional device in the novels of Goncharov, Bulgakov, Gogol.

It should be noted that the image of food often goes in parallel with the Christian commandments, which prohibit gluttony, the corruption of the soul, and the satisfaction of only bodily needs. This is especially evident in the work "Dead Souls". Gogol uses the appearance of food absorption by the hero, the food itself as an indicator of spiritual emptiness, the "deadness" of the hero. The food used is so hearty, plentiful, fatty, of incredible size that the reader may even become disgusted. But the motive of a destroyed soul, indulging in gluttony, i.e. violating one of the main commandments, Bulgakov also has (an abundant menu of the restaurant "At Griboyedov", which shows that only bodily saturation is important for the writers of MASSOLIT, and there is not so much spiritual in them: that is why they do not accept the Master), and Goncharova: a hearty, huge pie in a fragment, which was saturated for almost a week. It follows from this that with the help of the image of food, death and corruption can be shown. human soul violating the Christian commandment, its complete immorality and immorality.

The food in the fragment reflects not just the state of mind of the heroes, but also their dreams and ideas about a better life. In "Heart of a Dog" the author uses images of food as one of the means of creating the image of the hero, his character, characteristics of the society in which he lives.

The image of food is used not only to convey the destruction of the human soul. In the novel The Master and Margarita, with the help of the image of oil, its smell, the author leads the reader from one picture to another, turning his gaze to the right moments, building a certain chain of events in his head. So the image of food acts as a connecting thread between the parts of the story.

Bulgakov's images of oil and wine pass through the work with a red canvas. And if oil is one of the connecting elements of some parts of the work, then the author draws an analogy between wine and wine, which makes it possible to better reveal the features of society and heroes.

So the image of food is used by different authors for completely different purposes and plays an ambiguous role in the form of a compositional device. And as time passes, the authors find more and more options for using food images in the composition. Thus, this compositional technique will be used for many more centuries, as one of the most striking.

List of used literature

Goncharov "Oblomov"

Gogol N.V. "Dead Souls": Poem. – M.: Artist. lit., 1985.

Bulgakov "Heart of a Dog", "The Master and Margarita"

V. V. Khimich "Aesthetic activity of images of food and drink in the works of Mikhail Bulgakov" epicureanism.

E yes - no matter how absurd it may sound - it has become fashionable. At the turn of the 20th and 21st centuries, almost everyone suddenly turned into culinary specialists. And they began to tell stories about food and cooking. On television, in blogs, in books (and not just cookbooks), a scattering of talents has appeared, connecting the art of cooking with broader cultural objectives. Since food is an important part of life, it is not surprising that it is also a part of literature. Writers write about food, not only building fictional plots, but also following the facts in works based on real life. Reading many of them awakens the appetite - it all depends on the skill of the author and the degree of mastery of the word. Others, like Jonathan Safran Foer's 2009 nonfiction book Eating Animals, are likely to rob you of your appetite.

X Although food is not very often the subject of writer's inspiration, there are works in which the theme of food (or its absence, as in the case of Knut Hamsun's Hunger) plays an important or even main role. Food, its preparation, descriptions of dinners, breakfasts and festive feasts are at the center of the author's attention, since they not only tell about the life and customs of the time, but also allow a better understanding of the psychological type of literary characters. Mentions of food are found in numerous literary works from antiquity to the present day, and in different genres. The literary menu can be compiled from poetic works, novels and short stories, short stories, detective stories and biographical books, and even from erotic prose.

P about literary sources, you can trace the history of the development of food culture, features of cuisines different countries and peoples. Information about food Ancient Greece draw primarily from the plays of the "father of comedy" Aristophanes. Chronicles and monuments of ancient Russian literature rarely mention cooking. And yet in the "Tale of Bygone Years" you can find references to oatmeal and pea jelly. Modern compilers of lists of "books that everyone must read" always put the famous satirical novel by Francois Rabelais "Gargantua and Pantagruel" in the first place. In this voluminous work, written in the 16th century, the description of feasts takes up dozens of pages! It is in this book that the famous proverb “Appetite comes with eating” is first mentioned, erroneously attributed to Rabelais himself.

AT The overwhelming list of gourmet writers is continued by Alexandre Dumas, the father, who not only loved to eat well. He left behind not only a cycle of novels about the fascinating adventures of the royal musketeers, which is still popular today, but also the “Great Culinary Dictionary”, which contains almost 800 short stories on culinary topics - recipes, letters, anecdotes, intersecting in one way or another with the theme of food.

T meanwhile, the talented masters of the pen continued to create national culinary myths. Here is how Pushkin's Eugene Onegin dined:

Entered: and a cork in the ceiling,
The comet's guilt splashed current,
Before him roast-beef bloodied,
And truffles, the luxury of youth,
french cuisine best color,
And Strasbourg's imperishable pie
Between live Limburg cheese
And golden pineapple.

D About Alexander Pushkin in Russia, the Enlightenment poet Gavriil Derzhavin described food deliciously, but without an aristocratic tinge: “Crimson ham, green cabbage soup with yolk, ruddy-yellow cake, white cheese, red crayfish” ... But Nikolai Gogol, unlike Pushkin , was a “soil” patriot and objected to a great contemporary in the most appetizing book of Russian literature “Dead Souls” through the lips of Sobakevich: “I can even put sugar on a frog, I won’t take it in my mouth, and I won’t take oysters either: I know what an oyster looks like” .

«… E If fate had not made Gogol a great poet, he would certainly have been an artist-cook! – Sergey Aksakov stated. It’s hard not to agree after reading this menu: “... Mushrooms, pies, quick-thinkers, shanishkas, spinners, pancakes, cakes with all sorts of seasonings were already on the table: seasoning with onion, seasoning with poppy seeds, seasoning with cottage cheese, seasoning with pictures, and who knows what was not…” (“Dead Souls”). The love of the old-world landowners Afanasy Ivanovich and Pulcheria Ivanovna, sung by the genius gift of the writer, mixed with love for abundant food, is a real sublime hymn to “beautiful edible!

AT All Russian classics of the 19th century leave a cheerful culinary impression. The amount of food and drink on its pages is amazing. One of the most famous characters in Russian literature is Goncharovsky Oblomov, who, apart from eating and sleeping, does nothing. And here is the paradox: all the main characters of the "golden age" of literature - from Onegin to Chekhov's summer residents - are the same charming loafers. Anton Chekhov has a story "Siren", which is a guide to gastronomic temptations.

AT literary works often contain not just descriptions of dishes and feasts, but also culinary recipes. The Polish poet Adam Mickiewicz described in verse the recipe for making Lithuanian bigos, and the German classic Friedrich Schiller described the punch recipe. Haruki Murakami's book Chronicles of the Clockwork Bird is replete with descriptions of dishes.

With With the advent of the Silver Age, the topic of food was completely eliminated from literature. Vamp women, fatal passions, potential suicides began to roam the pages of publications. And no temptations for the stomach! In the Soviet era, feasts almost completely disappeared from the pages of books. If one could still read about how they ate in the 1920s by Ilf and Petrov in The Twelve Chairs, then in the future, the Stakhanov sandwich became the maximum food in literature. It was difficult to expect literature to describe feasts while the people were starving.

F the unloving Khrushchev, with his Kremlin “accession”, returned food to literature, but not the one that Gogol and other classics depicted. National dishes were forgotten, and hamburgers, toasts and barbecue appeared instead. Vasily Aksyonov became a pioneer in the introduction of American gastronomy into the literature. The heroes of his novel "Crimea Island" consume such an amount of whiskey that in the West it would be enough for literary heroes to go to another world ...

With Among the great gourmet writers are such diverse authors as Vladimir Nabokov, Jorge Luis Borges, Mikhail Bulgakov and Marcel Proust. No worse and the author of the book "Three in a boat, not counting the dog" Jerome K. Jerome. Three gentlemen - George, Harris and Jay - the whole story either think about food or talk about it, and the rest of the time they just eat. However, they are just gourmets, not gluttons. Their souls yearn for culinary delights...

To It is impossible to determine the culinary tastes of modern literature in Russia, since they are practically absent on the pages of books. Dining tables in modern works are so rare that it seems as if the characters are deprived of the organs of smell and touch, and of all the temptations they know only one - verbal speaking. And "talking heads" don't eat...

AT During this time, culinary detective stories, love and culinary novels, books about sentimental culinary journeys came into fashion abroad. Chefs now easily investigate crimes, and detectives cook well. After Maigret and Nero Wolfe - not new, but in demand. Particularly popular books are The Goddess in the Kitchen by Sophie Kinsella, Julie & Julia Cooking Happiness with a Recipe by Julie Powell, Boiled Chocolate by Laura Esquivel, Chocolate by Joan Harris, Fried Green Tomatoes at the Whistle Stop Cafe by Fanny Flagg. The sinister character of the series of novels by Thomas Harris about Hannibal Lecter, who also became the hero of a television series, which frighteningly naturalistically shows the process of preparing gourmet dishes by a cannibal, is also "not indifferent" to cooking.

To Books that describe delicious food as "delicious" will always be in demand. After all, cooking is also an art. As Kazuo Ishiguro aptly put it, he is simply not appreciated enough, as the result disappears too quickly.

Dmitry Volsky,
October 2014

The opinion that the characters of classical Russian literature are preoccupied with spiritual issues is fair, but one-sided. If you take a closer look, it turns out that the heroes of the frantic moralist Tolstoy, and the depressive melancholic Gogol, and the modest intellectual Chekhov knew a lot about food and did not hide it.

The quotes were prepared at the Yasnaya Polyana Estate Museum for the Ankovsky Pie or the Secrets of the Manor Kitchen project.

Cold snacks

Five minutes later the chairman was sitting at a table in his little dining room. His wife brought from the kitchen neatly chopped herring, thickly sprinkled with onions. Nikanor Ivanovich poured a glass of lafitnik, drank it, poured a second one, drank it, picked up three pieces of herring on a fork ... and at that time they rang. Swallowing his saliva, Nikanor Ivanovich grumbled like a dog: “May you fail! Food will not be given. Don't let anyone in, I'm not there, I'm not."

We had a snack, as all vast Russia snacks in cities and villages, that is, with all sorts of pickles and other exciting graces.
N.V. Gogol "Dead Souls"

Lebedev. Herring, mother, a snack for all snacks.
Shabelsky. Well, no, a cucumber is better... Scientists have been thinking since the creation of the world and have not come up with anything smarter... (To Peter.) Peter, go ahead and bring some cucumbers and have them fry four pies with onions in the kitchen. To be hot.
A.P. Chekhov "Ivanov"

Noticing that the appetizer was ready, the police chief suggested that the guests finish their whist after breakfast, and they all went into the room from which the wafting smell had long begun to pleasantly tickle the nostrils of the guests, and where Sobakevich had long peered through the door.
N.V. Gogol "Dead Souls"

Yes, something like that would be nice now ... - agreed the inspector of the religious school, Ivan Ivanovich Dvootochiev, wrapping himself in a red coat against the wind. “It’s now two o’clock and the taverns are closed, but it wouldn’t be bad to have some mushrooms, or something ... or something like that, you know ...
A.P. Chekhov "Tears Invisible to the World"

Vegetable and green shops are also not left without attention by me, our gardeners are truly worthy of respect, who know how to preserve greens all year round with such art.

Well, when you enter the house, the table should already be set, and when you sit down, now put your napkin on your tie and slowly reach for a decanter of vodka. Yes, you don’t drink it, mommy, right away, but first you sigh, rub your hands, look indifferently at the ceiling, then, so slowly, bring it, vodka, to your lips and - immediately sparks from your stomach all over your body ... How just drank, now you need to eat. Well, sir, and to eat, my soul Grigory Savvich, you also need to skillfully. You need to know what to eat.
A.P. Chekhov "Siren"

As soon as you have drunk, now, my benefactor, while you still feel sparks in your stomach, eat caviar by itself or, if you wish, with a lemon ... overeating!
A.P. Chekhov "Siren"

Will you order your cheese?
- Yes, parmesan. Or do you love someone else? Steve asked.
"No, I don't care," said Levin, unable to hold back his smiles.
L.N. Tolstoy "Anna Karenina"

- No, no kidding, what you choose is fine. I ran on skates, and I want to eat. And don't think,' he added, noticing the dissatisfied expression on Oblonsky's face, 'that I don't appreciate your choice. I am happy to eat well.
- Still would! Whatever you say, this is one of the pleasures of life,” said Stepan Arkadyevitch.
L. N. Tolstoy "Anna Karenina"

Hot appetizers

Note, Ivan Arnoldovich, only the landlords, who were not cut short by the Bolsheviks, eat cold appetizers and soup. A little self-respecting person operates with hot snacks. And of the hot Moscow snacks - this is the first.

An hour before dinner, Afanasy Ivanovich ate again, drank an old silver glass of vodka, ate mushrooms, various fish and other things.
N.V. Gogol "Old World Landowners"

Dear Stepan Bogdanovich, - the visitor spoke, smiling shrewdly, - no pyramidon will help you. Follow the wise old rule of treating like with like. The only thing that will bring you back to life is two shots of vodka with a spicy and hot snack.
M.A. Bulgakov "Master Margarita"

Dumplings

All Moscow Siberians were constant visitors to the tavern. A cook specially ordered by Lopashov from Siberia made dumplings and stroganina. And somehow the largest gold miners came from Siberia and dined Siberian style at Lopashov's, and the menu included only two changes: the first - an appetizer and the second - "Siberian dumplings". There were no more dishes, and 2,500 dumplings were prepared for twelve diners: meat, fish, and fruit dumplings in pink champagne ... And the Siberians slurped them with wooden spoons ...

Pancakes

But then, finally, the cook showed up with pancakes ... Semyon Petrovich, at the risk of burning his fingers, grabbed the top two, hottest pancakes and appetizingly slapped them on his plate. The pancakes were fried, porous, plump, like a merchant's daughter's shoulder... Podtykin smiled pleasantly, hiccupped with delight, and doused them with hot oil. Whereupon, as if whetting his appetite and enjoying the anticipation, he slowly, with an arrangement, smeared them with caviar. He poured sour cream over the places where the caviar did not fall ... All that remained now was to eat, wasn't it? But no!.. Podtykin looked at the work of his hands and was not satisfied... After thinking for a while, he put the fattest piece of salmon, sprat and sardine on the pancakes, then, melting and panting, he rolled both pancakes into a pipe, drank a glass of vodka with feeling, grunted, opened his mouth ...
A.P. Chekhov "On Frailty"

Soups

And having extinguished the first hunger and raised a real appetite in ourselves, we will turn to meat hodgepodge, and we will have it amber, soaring, hiding under its surface delicious meats of various types and black shiny olives ...
Arkady and Boris Strugatsky "Lame Fate"

Marina. We will live again, as it was, in the old way. Tea in the morning at eight o'clock, lunch at one o'clock, in the evening - sit down to have dinner; everything is in its own order, like with people ... in a Christian way. (With a sigh.) I, a sinner, have not eaten noodles for a long time.
Telegin. Yes, we have not cooked noodles for a long time.
A.P. Chekhov "Uncle Vanya"

And if you love soup, then the best of soups, which is covered with roots and herbs: carrots, asparagus and all that kind of jurisprudence.
- Yes, a magnificent thing ... - the chairman sighed, tearing his eyes from the paper.
A.P. Chekhov "Siren"

Main dishes

Lunch followed. Here the good-natured host became a perfect robber. He hardly noticed someone had one piece, put another one on him immediately, saying: “Without a pair, neither man nor bird can live in the world.”
N.V. Gogol "Dead Souls"

You are my brother, do not need your pineapples! By God ... Especially if you drink a glass, another. You eat and you don’t feel… in some kind of oblivion… you will die from the aroma of one!..
A.P. Chekhov "Tears Invisible to the World"

After a roast, a person becomes full and falls into a sweet eclipse, the secretary continued. - At this time, the body is good and the soul is touching. For pleasure, you can eat after a glass of three.
A.P. Chekhov "Siren"

“It’s damp in the field,” Oblomov concluded, “it’s dark; fog, like an overturned sea, hangs over the rye; the horses shudder with their shoulders and beat with their hooves: it's time to go home. The lights were already on in the house; in the kitchen knock on five knives; mushroom pan, cutlets.
I.A. Goncharov "Oblomov"

Buckwheat porridge. Grain to grain. How many of them, fragrant, faceted! If you pour them out of cast iron, for example, onto a large sheet of paper, they will rustle and crumble as if dry. Oh, not at all, they are soft, hot, overflowing with juice and steam, absorbing the aromas of meadows, the July midday heat, and evening falling asleep flowers, and dew juices. The taste of walnut is felt in these grains. Buckwheat! From black porridge, faces become white and well-groomed, and mercy awakens in the soul.
Bulat Okudzhava "Date with Bonaparte"

Zina brought in a covered silver dish in which something was grumbling. The smell from the dish was such that the dog's mouth immediately filled with liquid saliva. "Gardens of Babylon"! he thought, and tapped his tail on the parquet like a stick.
"They're in here," Philipp Philippovich commanded rapaciously.
M.A. Bulgakov "Heart of a Dog"

Well, Kuzma Pavlovich, we treat the famous artist! Build vodka first ...
For an appetizer so that jars and trays, and not a cat crying.
- I'm listening.
- But between meat it would be nice to have a salmon, - suggests V.P. Dalmatov.
- There is salmon. Mannost heavenly, not salmon.
V.A. Gilyarovsky "Moscow and Muscovites"

In late October or early November, Balaklava begins to live a peculiar life. Mackerel is fried or marinated in every house. The wide mouths of ovens in bakeries are lined with clay tiles, on which fish is fried in its own juice. This is called: mackerel on the scale - the most exquisite dish of local gastronomes.
A.I. Kuprin "Listrigons"

Eat, young lady-countess, - she kept saying, giving Natasha this or that. Natasha ate everything, and it seemed to her that she had never seen or eaten such cakes and such chicken.
L.N. Tolstoy "War and Peace"

The bigger, thicker and fatter your patties, the better, but it's especially good to stuff medium-sized patties, which are more common on the farm.
V.F. Odoevsky "Lectures of Mr. Poof"

desserts

Then we went to the shore, always completely empty, bathed and lay in the sun until breakfast. After breakfast - white wine, nuts and fruit - in the sultry dusk of our hut under the tiled roof, hot, cheerful strips of light stretched through the through shutters.
I.A. Bunin "Dark alleys"

The hippo cut off a piece of pineapple, salted it, peppered it, ate it, and then sipped the second glass of alcohol so daringly that everyone applauded.
M.A. Bulgakov "The Master and Margarita"

You are a writer, - Bernovich tells him, - so describe what I eat today. And no comments, but only facts. In the morning - veal jelly, lax, testicles, coffee with milk. For lunch - pickle, cabbage rolls, marshmallows. For dinner - such as kulebyaki, vinaigrette, sour cream, apple strudel ... In the USSR they will read and be stunned. Maybe the Lenin Prize will be given for glasnost...
Sergey Dovlatov "Solo on Underwood"

P From literary sources, one can trace the history of the development of food culture, the characteristics of the cuisines of different countries and peoples. Information about food in ancient Greece is drawn primarily from the plays of the "father of comedy" Aristophanes. Chronicles and monuments of ancient Russian literature rarely mention cooking. And yet in the "Tale of Bygone Years" you can find references to oatmeal and pea jelly. Modern compilers of lists of "books that everyone must read" always put the famous satirical novel by Francois Rabelais "Gargantua and Pantagruel" in the first place. In this voluminous work, written in the 16th century, the description of feasts takes up dozens of pages! It is in this book that the famous proverb “Appetite comes with eating” is first mentioned, erroneously attributed to Rabelais himself.

T meanwhile, the talented masters of the pen continued to create national culinary myths. Here is how Pushkin's Eugene Onegin dined:

Entered: and a cork in the ceiling,
The comet's guilt splashed current,
Before him roast-beef bloodied,
And truffles, the luxury of youth,
French cuisine best color,
And Strasbourg's imperishable pie
Between live Limburg cheese
And golden pineapple.

Dmitry Volsky,
October 2014

Fisunova Vera

A person in his life can do without a lot: without a phone, clothes, the Internet, a car. But he simply needs food and drink. The theme of cooking has always been acute in literature.

The relevance of the chosen topic is due to the fact that modern people have a very vague idea of what Russian cuisine is, and when reading literary works and meeting the names of dishes in them, they rarely want to get to know the traditions of native Russian cuisine.

The purpose of our study is to analyze the use of the theme of cooking in literary works of the 19th century, to identify the relationship between literature and cooking.

To achieve the goal, the following tasks were set:

Object of study: students of 9-11 grades and school teachers. Subject of study:

Research methods

The main advantage of Russian cuisine is the ability to absorb and creatively refine, improve the best dishes of all nations with which Russian people had to communicate on a long historical path.

How much delicious dishes prepared for us by such masters of Russian prose as Alexander Pushkin, Nikolai Gogol, Andrei Melnikov-Pechersky, Ivan Goncharov and many, many other "great chefs" of Russian literature. Derzhavin's food is perceived with the eyes, Gogol's food with the soul, Goncharov's food with the stomach only, and Chekhov's with the tongue.

I would like to hope that we will revive Russian cuisine, and not a hamburger and sushi will become our favorite dishes, but jam from pine cones or dandelions, real "Pushkin's varenets" and ear from veal cheeks, porcini mushroom jelly, lamb side with porridge, pike perch and red pancakes.

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XIX Regional Scientific and Practical Conference for Youth and Schoolchildren "Step into the Future, Siberia!"

CULINARY REPERTOIRE
IN LITERARY WORKS OF THE XIX CENTURY

City of Bratsk, Irkutsk Region

Bratsk, Irkutsk region

2012

INTRODUCTION page 3

THEORETICAL PART 4 pages

PRACTICAL PART 9 p.

CONCLUSION page 11

BIBLIOGRAPHY 13 p.

APPENDIX I 14 p.
APPENDIX II page 18

APPENDIX III 21p.

APPENDIX IV page 22

APPENDIX V page 23

APPENDIX VI 24 p.

APPENDIX VII page 25

APPENDIX VIII page 26

INTRODUCTION

A person in his life can do without a lot: without a phone, clothes, the Internet, a car. But he simply needs food and drink. The theme of cooking has always been acute in literature. How often, when reading this or that work, you imagine with delight and tenderness how delicious it is: “poppy pies, mushrooms, a glass of vodka, dried fish, sauce with mushrooms, thin uzvar with dried pears, mushrooms with thyme, pies with urda, shortbreads with bacon ... "

What do you think the symbolic image of the Russian table looks like all over the world? Most likely, this picturesque picture looks like this: vodka in a misted glass bottle, a herring with an iridescent sheen on the cut, oozing with shiny fat, cabbage soup in a pot with a wooden spoon nearby. So why do we allow such dismissive comments about Russian gastronomic traditions, carefully collected by our ancestors for many centuries, combining benefit and pleasure? The answer is extremely simple - many recipes and traditions have been lost and simply “sunk into oblivion”. But many modern "masterpieces" are nothing more than a repetition of a well-forgotten old recipe and originate precisely from Russian literature! Botvinya, turnip, kurnik, eyeball, nanny .... Behind these tasty and familiar names from fiction lie easy-to-prepare dishes. Yes, yes, our ancestors were not gourmets in the modern sense.

The relevance of the chosen topic is due to the fact thatmodern man has a very vague idea of what Russian cuisine is, and when reading literary works and meeting the names of dishes in them, he rarely wants to get to know the traditions of primordially Russian cuisine.

Many authors of literature of the 19th century presented us with masterpieces of Russian cuisine: how many delicious dishes you can cook by looking at the works of L.N. Tolstoy, A.S. Pushkin, N.V. Gogol, A.P. Chekhov and many others. One of the essential components of writing skills is the ability to describe all kinds of edible things in a plausible, vivid and expressive way. Sometimes such details play an important role in the overall impression of the book. Has this happened to you? When reading a book and stumbled upon a description of the process of cooking or eating a particularly delicious dish by the characters, did you urgently want to repeat the culinary experiment?

aim Our research is to analyze the use of the theme of cooking in the literary works of the XIX century, identifying the relationship between literature and cooking.To reach the goalthe following tasks were set:

1. To study the culinary habits of writers of the 19th century (to study the works of Russian classics, where there are descriptions of Russian cuisine dishes and learn how to cook dishes).

2. Tracing the history of Russian cuisine and modern restaurants, finding modern analogues to old recipes.

3. Determine what our ancestors who lived in the 19th century ate and study the gastronomic preferences of a modern person.

4. Find out if students are familiar with dishes from literary works.

Object of study: students of 9-11 grades and school teachers.Subject of study:culinary tastes of 19th century writers. The study is devoted to two areas of human activity: Russian literature and Russian cuisine.

Research methodsKey words: study of literature, questioning.

Hypothesis: if I conduct a study, I will find out that in the age of progress and universal employment, life itself is pushing us to forget not only about the traditions of the original Russian cuisine, but also about spiritual food. Accepting all the culinary innovations, we forget about our native Russian cuisine, about what has been learned by experience, passed down from fathers to children.

Theoretical part

1. EXCURSION IN THE XIX CENTURY.

Each nation has its own way of life, customs, its own unique songs, dances, fairy tales. Each country has favorite dishes, special traditions in table decoration and cooking. Old Russian cuisine, which developed from the 9th-10th centuries. and reached its greatest prosperity in the XV-XVI centuries. characterized common features, largely preserved to this day. At the beginning of this period, Russian bread made from yeast rye dough appeared, and all other important types of Russian flour products also arose: saika, bagels, juicy, donuts, pancakes, pancakes, pies, etc.

A large place in the menu was also occupied by various gruels and porridges, which were originally considered ritual, solemn food. The number of dishes by name was huge, but in content they differed little from one another. In the initial period of the development of Russian cuisine, there was also a tendency to use liquid hot dishes, which then received the general name "khlebova", these are cabbage soup, stews based on vegetable raw materials, as well as various mashes, boils, talkers. At the same time, all the main types of Russian soups finally take shape, and at the same time, hangovers, saltworts, pickles, unknown in medieval Russia, appear.

Culinary of the 17th century Tatar cuisine has a strong influence, which is associated with historical events. During this period, dishes made from unleavened dough (noodles, dumplings), as well as raisins, apricots, figs (figs), lemons and tea, which have become traditional in Russia, enter Russian cuisine.

For the boyar table, a large abundance of dishes becomes characteristic - up to 50, and at the royal table their number grows to 150-200. These dishes are huge. Court dinners turn into a pompous, magnificent ritual, lasting 6-8 hours in a row, and include almost a dozen meals, each of which consists of a whole series of dishes of the same name.

The order of serving dishes at a rich festive table, consisting of 6-8 changes, finally took shape in the second half of the 18th century. It was preserved until the 60-70s of the XIX century: hot (soup, stew, fish soup); cold (okroshka, botvinya, jelly, jellied fish, corned beef); roast (meat, poultry); body (boiled or fried hot fish); pies (unsweetened), kulebyaka; porridge (sometimes served with cabbage soup); cake (sweet pies, pies); snacks.

Starting from the time of Peter the Great, the Russian nobility borrows and introduces Western European culinary traditions. And only in the second half of the XIX century. the restoration of the Russian national menu begins, but with French adjustments.

By the last third of the XIX century. Russian cuisine of the ruling classes began to occupy, along with French cuisine, one of the leading places in Europe. The main features of Russian cuisine can be defined as follows: an abundance of dishes, a variety of snack tables, a love for eating bread, pancakes, pies, cereals, the originality of the first liquid cold and hot dishes, a variety of fish and mushroom tables, wide application pickles from vegetables and mushrooms, an abundance of a festive and sweet table with its jams, cookies, gingerbread, Easter cakes, etc.(Appendix I).

From the middle of the 19th century a serious reversal of gastronomic interests towards national traditions begins. There is a completely unique tavern cuisine. It is based on traditional Russian cuisine, here they are no longer shy about porridge, cabbage soup, pies, or kulebyak. Dishes are prepared in large tavern ovens, which do not differ from domestic Russian ovens.

The main advantage of Russian cuisine is the ability to absorb and creatively refine, improve the best dishes of all nations with which Russian people had to communicate on a long historical path. This is what made Russian cuisine the richest cuisine in the world.

2. COOKING IN LITERATURE

The ideas of most of our contemporaries about own kitchen, unfortunately, surprisingly primitive. There are several overwritten templates, from which it follows that the main food of Russian people at all times is cabbage soup, porridge and dumplings, that the “common people” have never seen meat, and the propertied class were served swans on the table right in feathers, that, finally, the imagination of Russian cooks was limited Russian stove and cast iron.

And having stumbled in works of fiction only of the 19th century on mentions of now forgotten dishes, such as nanny, perepecha, salamata, kulaga, kokurka, a contemporary will sigh contritely - they say, there was food before us, but forgotten long ago ...How many delicious dishes have been prepared for us by such masters of Russian prose as Alexander Pushkin, Nikolai Gogol, Andrei Melnikov-Pechersky, Ivan Goncharov and many, many other "great chefs" of Russian literature.

Even the urban intelligentsia openly declares its gastronomic passions. At the peak of his popularity, the liberal poet, successful publisher and gambler N.A. Nekrasovwrites what exactly he sees the meaning of life:

In pies, in sterlet's ear,
In cabbage soup, in goose giblets,
In the nanny, in the pumpkin, in the porridge
And in mutton offal ...

And here is how the main character of Russian literature, Eugene Onegin, dined:

Entered: and a cork in the ceiling,

The comet's guilt splashed current,

Before him roast-beef bloodied,

And truffles, the luxury of youth,

French cuisine best color,

And Strasbourg's imperishable pie

Between live Limburg cheese

And golden pineapple.

Let's read these lines: from them it is clear that Russian aristocrats did not favor domestic cuisine, as, indeed, did the entire aristocracy of the world. By all means give them something special, overseas, not the same as what compatriots feed on. I read Russian classics with envy not for the dishes that our ancestors ate, but because these people were so full of life and delighted with its miracles. Here, for example, Derzhavin:

Crimson ham, green cabbage soup with yolk.
Blush-yellow cake, white cheese, red crayfish,
What is pitch, amber is caviar, and with a blue feather
There is a motley pike: beautiful!

Or, for example, the story of Salytkov-Shchedrin “How one man fed two generals”: “Yesterday,” one general read in an excited voice, “the venerable chief of our ancient capital had a ceremonial dinner. The table was set for a hundred people with amazing luxury. The gifts of all countries have appointed themselves, as it were, a rendezvous at this magical holiday. There was also “Sheksnin’s golden sterlet”, and a pet of the Caucasian forests - a pheasant, and, so rare in our north in February, strawberries ... "

And Gogol in "Old World Landowners" has a different semantic load: the ability and ability to use various household supplies and the passionate desire of the hostess to please her husband with these benefits. They constantly cooked jam, jelly, marshmallows, made with honey, sugar, molasses .... They sat down to dine at 12 o'clock. In addition to dishes and gravy boats, there were a lot of pots with smeared lids on the table so that some appetizing product of old delicious cuisine could not run out of steam.

Russians live differently in the time of Oblomov in Goncharov's novel. On the pages describing his childhood, there is a lot of talk about food. “The whole house conferred about dinner ... Everyone offered their own dish: some soup with offal, some noodles or stomach, some scars, some red, some white gravy for the sauce ... Taking care of food was the first and main life concern in Oblomovka. »

In Aksakov's "Family Chronicle" there is almost no detail on the preparations, only a generalized assessment of the dinner: "There were many dishes, one fatter than the other, one heavier than the other: the cook Stepan did not spare cinnamon, cloves, pepper and most of all oil."

But Chekhov devoted many works to gluttons. Particularly famous in this sense is the story "Apoplexy," where the gastric ecstasy of a gourmet, who was preparing to swallow a pancake with various snacks, was written out in detail. The secretary of the World Congress talks about food like a poet, almost hysterical with his appetite. “The best appetizer, if you want to know, is herring. We ate a piece of it with onion and mustard sauce, now, my benefactor, while you still feel sparks in your stomach, eat caviar by itself, or, if you wish, with lemon, then a simple radish with salt, then herring again, but that's all -it’s better, benefactor, salted mushrooms, if they are cut finely, like caviar, and, you know, with onions, with Provencal oil - delicious! But burbot liver is a tragedy!..”

The descriptions go on for a long time: here and cabbage soup, and borscht, and soup, and a fish dish, and great snipe, and turkey, and casserole ... And it all ends with the fact that officials, seduced by these conversations, quit their business and go to a restaurant.

Again, here the descriptions of food are not an end in themselves, not a glorification of Russian cuisine. Yes, and the dishes are simple, except that they are prepared with inspiration, which we almost forgot about today. Yes, and all Russian classics leave a cheerful impression in this sense. Heroes of literary works now and then sit down at the table, get up from the table, drink with taste, have a bite, clink cutlery, pass dishes with appetizing fillings to each other.

So, Derzhavin's food is perceived with the eyes, Gogol's food with the soul, Goncharov's food with the stomach only, and Chekhov's with the tongue.

3. CULINARY PASSIONS OF MODERN

What are the culinary habits of modern Russian literature? They are missing. For her characters themselves raise some doubts about their existence. In general, they say that according to the culinary preferences of this literature, much can be said about the state of the people to whom it belongs. If dinner tables, snacks, cold and hot dishes, fresh cucumbers, cooks, kitchen utensils disappear from its pages, then something is wrong with the people themselves, or rather, with their creative intelligentsia.

In modern literature, eating scenes always reek of the triumph of the upstart who has proudly achieved the same blessings as others.The desire to be no worse than the authorities, to jump higher from one's environment leads to the fact that food turns out to be a measure of a person's social value. And it's time to regret not that there is not enough food, but that curiosity, inquisitiveness, the desire to cook the simplest dish deliciously, with soul, has disappeared. After all, so much can be made from bread, onions, cheese, apples, cereals, potatoes, milk, eggs amazing works art! And we feed each other hard-boiled eggs until the desire to crow appears, and sandwiches, primitive and monotonous, from which only unhealthy weight and fullness are acquired.

The science of cooking does not stand still, and we take advantage of the benefits of the 21st century, mercilessly poking a finger in microwave ovens, food processors and evaluating the freshness of products by the date stamped on the package. In our age of progress and universal employment, life itself is pushing us to the fact that more and more often we buy ready-made factory-made dishes and less and less often cook food from fresh products. In my opinion, it is cooking that brings a touch of order and peace to the daily chaos of our modern life. Most people eat in order to live. But you can eat while enjoying food.

The "culinary" topic in modern literature is practically not studied, and yet there is such scope for research and imagination. We forget how magnificent, simple and rational Russian cuisine is. Nowadays, more and more dishes of foreign cuisine appear on our table. This is not bad, but we forget about our native Russian cuisine, what we are accustomed to, what we got used to, what we learned from experience, passed on from fathers to children and is determined by the locality of our existence, climate and way of life. Time flows inexorably, changing mores, customs, traditions, and only one thing remains unchanged - the hospitality of the Russian house, despite the social stratum. Despite the dominance of restaurants of European and Asian cuisine, it is gratifying to see that primordially Russian cuisine occupies not the last place among the gastronomic preferences of people from other countries.Russian restaurants are spread all over the world. There are also in Paris, they are in Vienna, London, Boston and Sydney. ATIstanbul has 6 restaurants of high class Russian cuisine. Famous Russian restaurateurs and just public people began to open their own restaurants. For example, in Moscow, some of the most famous Russian restaurants are Ilya Muromets, Sudar, Gogol and others ( Appendix II).

I would like to hope that we will revive Russian cuisine, and not a hamburger and sushi will become our favorite dishes, but jam from pine cones or dandelions, real "Pushkin's Varenets" and ear from veal cheeks, porcini mushroom jelly, lamb side with porridge, pike perch and red pancakes….

Practical part

Having studied the history of Russian cuisine, having analyzed the culinary preferences of the authors of the literature of the 19th century, I decided to try to cook dishes of Russian cuisine, the names of which I came across in works of literature. I was interested in the question: are my peers and people of the older generation familiar with Russian cuisine? Do they like Russian cuisine or do they prefer fast food? To do this, I conducted a study that was conducted on the basis of the MOU "Secondary School No. 32" in Bratsk. It was attended by 20 students of grade 9 "A", 20 students of grade 11 "A", as well as 20 school teachers.

Research order: development of a questionnaire with the names of dishes, preparation of forms for fixing the results, implementation of the study, quantitative and qualitative data analysis, conclusions on the study.

The material for the questionnaire was several names of Russian dishes from the worksGogol, Chekhov, Dostoevsky, Goncharov, Saltykov-Shchedrin.The questionnaire included 10 types of dishes, the participants of the survey were asked to answer questions.(Appendix III). After the survey, the results were processed.

Survey results

The first question of the questionnaire: "What kind of cuisine do you prefer?" - revealed preferences in the kitchen. After analyzing the obtained results, we can draw the following conclusions: Annex IV. Summarizing the results, we can conclude:(Appendix V).

Survey results

In the next part of the questionnaire, the respondents were asked to read the names of the dishes, answer what kind of dishes they are, what products they are prepared from. These questions caused some difficulties for the respondents:(Annex VI)

Summarizing the results, we can conclude that thesome respondents are indifferent to Russian cuisine. The problem is that most of the respondents have a very vague idea of what Russian cuisine is, and when reading literary works and meeting the names of dishes in them, children do not have a desire to get to know the traditions of native Russian cuisine.

Survey results

The last question of the questionnaire: “In what literary work did you meet the names of these dishes” - showed how much the respondents like to read and how attentive they are(Annex VII)

Summarizing the obtained results, it should be noted that there is a certain relationship between age and knowledge and preferences. Young respondents prefer food Japanese cuisine, are almost unfamiliar with the dishes of old Russian cuisine and read little; the most reading are teachers, they also give their preference to dishes of Russian cuisine.

During the survey, the respondents were very interested in the variety and unusualness of these dishes. After the survey, we were asked to hold a culinary tournament. Each participant of the tournament was asked to prepare a dish from the work of Gogol, Chekhov, Pushkin, tell the recipe for its preparation, and, most importantly, without forgetting about literature, present the dish (with an excerpt from the work). The next part of the tournament was a quiz with questions(Appendix VIII).

So, we all have a common weakness: we love to eat delicious food! But for some reason, most of us do not suffer from culinary selectivity. “Foreigners” have long been registered in our diet. And even babies know what hamburgers, sushi and pizza are. But the names of such dishes as perepecha, nanny or botvinya - on the contrary, they sound foreign to us. But these are primordially Russian dishes! All this once again speaks of a deep inner abyss that separates us from our great ancestors. But there are traditions that can not only organically enter the daily life of every family. We must respect our culinary traditions. And for this, first of all, it is necessary to study these very traditions.

Gastronomic art, like theatrical art, is fleeting: it leaves traces only in our memory. It is these memories of exciting and joyful events experienced at the table that make up the plots of culinary prose. No wonder the descriptions of food in classical literature, including Russian, are so beautiful.

Conclusion

This study was an attempt to combine two of my old passions - good literature and delicious food. The hypothesis put forward by me at the beginning of the study was confirmed: in the age of progress and universal employment, life itself pushes us to forget not only about the traditions of the original Russian cuisine, but also about spiritual food. The pursuit of exotic food has become for a modern person another fun that can distract from the daily stresses that always haunt everyday problems. Accepting these culinary innovations, we forget about our native Russian cuisine, about what is learned by experience, passed down from fathers to children and determined by the area of our existence, climate and way of life.

The traditions of modern Russian cuisine have evolved over many centuries, their formation was significantly influenced by both religion and various historical factors, and therefore, it has acquired a multinational and regional character.

Having studied the question of the relationship between literature and cooking, we can conclude that recipes, as well as a description of the meals themselves and traditions in the culinary culture, footnotes explaining the composition and meaning of the dish contained in works of fiction, are not only material witnesses of the culture of life of peoples, various social groups, but also reveal the diversity of people's aesthetic ideas about the beauty of the world around them and about their tastes.

According to culinary preferences in literary works, much can be said about the state of the people to whom it belongs.How many delicious dishes have been prepared for us by such masters of Russian prose as Alexander Pushkin, Nikolai Gogol, Andrei Melnikov-Pechersky, Ivan Goncharov and many, many other "great chefs" of Russian literature. How much pleasure you can get not only from rereading wonderful passages known from childhood, but also enrich your culinary experience by preparing your favorite dishes of literary heroes.

Everyone loves to eat. Russians too. But among some peoples, this process has been brought to gastronomic perfection, while others overturn a glass of cane vodka into themselves, bite it with a good piece of dog meat and consider the problem solved. The former call the latter barbarians, the latter call the former rotten aristocrats. And both sides are right in their own way. Because a national gastronomic tradition can arise only among a developed people - and precisely in its cultural layer.

A reasonable person must have innate intuition and a sense of proportion. And there is no need for another to cook cabbage soup. He will manage in cooking with a hamburger, in art - with a TV, in sports - with poker.

So, before preparing dinner, do not forget to look at the pages of fiction, because whoever, no matter how talented masters of the pen, create national culinary myths.

Bibliography

Pushkin A.S. "Eugene Onegin", Eksmo. 2008
Pokhlebkin V.V. "From the history of Russian culinary culture", Publisher: Tsentrpoligraf, Serie: Classics of culinary art, 2009
Gogol N.V. Tales. "Inspector". "Dead Souls", publishing house: AST, 2008
Goncharov I. "Oblomov", publishing house World of Books, 2008
Dostoevsky F. "The Brothers Karamazov" Publisher: Series: Russian classics, publishing house Eksmo, 2008
Literary newspaper No. 43 (6247) (2009-10-21) "Literary cooking, or the Metaphysics of food" Sergey Mnatsakanyan
Saltykov-Shchedrin M.E. "Lord Golovlevs" Publisher: Siberian University Publishing House, 2009
Chekhov A.P. Stories and novels - from Vlados, 2009
http://restaurant-gogol.ru - Restaurant Gogol
http://sudar.ru - Restaurant of exclusive Russian author's cuisine "Sudar"
http://www.restoran-muromec.ru - Restaurant Ilya Muromets

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APPENDIX I

Culinary repertoire of a Russian person

Tyuri - kvass, schany, dairy. Soups - cereals, peas, turnips, cabbage, onions, meat, fish, mushrooms, with game, with crayfish. Okroshka - meat, fish. Botvini - leavened, steamed. Shchi - fresh cabbage, sauerkraut, turnip, green. Borscht - from pickled beets, from hogweed. Toplёnka. Kalya - fish, chicken. Rassolnik. Pigus. Hangover. Solyanka - fish, meat. Ear - simple, saffron, chicken, double, triple, tutored, with crushed, with cherevtsy. Salted fish - reservoir, barrel, hanging, dry. Caviar - granular light-salted, ovary, pressed, whitefish, boiled in vinegar, in poppy milk. Herring. Fermentation - cabbage, beets, hogweed, turnips. Pickles - cucumbers, black mushrooms, mushrooms, milk mushrooms.

Urination - lingonberries, cranberries, apples, sloes, pears, stone fruits, viburnum, cloudberries, plums, cherries. Corned beef. Bouzhenina. Feathered game - fried, pickled, baked in sour cream.

Jelly. The intestines are mended. Nanny. Stuffing box. Body - fish, chicken, meat. Boiled, baked, pan. Fish bowl. Meat - boiled, twisted, sixth, frying, baked. Hares - brine, wind. Explosions for meat and game - berry, horseradish, sour cream, cabbage. Crayfish - boiled, cashew. Mushrooms baked. Cheeses - creamy, sour cream, spongy. Cottage cheese. Broken cottage cheese. Curd pastries. Varenets. Milk is baked. Syrniki. Hardened eggs. Drachena.Repnitsa. Brukovnitsa. Pumpkin. Tebechnik. Steamed turnip. Steamed cabbage. Radish. Radish - grated, with kvass, with honey, with butter, chunks. Kissels - pea, wheat, milk, buckwheat, oat, from rye pancakes Pancakes - red, milk, millet, pea, cheese. Kundums. Fritters.Sokovenya. Rebake. Kokurki Levashniki. Easter cakes. Varentsi. Gingerbread - honey, mint, beaten, raw. Gingerbread - honey, Vyazma, sugar. Juicy. Pryazhets.

Ladder. Larks. Bagels. Vitushki. Greeks. Drying. Yarn pies. Pies. Kulebyaki - meat, fish, mushroom. Pies - hearth, spun, pancake, layered. Loaves - beaten, yatsky, with cheese, fraternal, mixed, set, pancake rows. Kurnik Bend over. Shangi. Tolokonnik. Zhitnik Pshenichnik Levashi - strawberry, lingonberry, blackberry, raspberry. Mazunya Salamata Martyr Gustukha

Kashi

Buckwheat porridge. Barley porridge. Living porridge. Glazuha. Oatmeal. Millet porridge. Oatmeal porridge

desserts

Sweet blasts - honey, kvass, berry. Apples and pears in molasses. Radish in molasses

Poppy milk. pea sy

The drinks

Morses. Kvass - white, red, berry, apple, shavnoy, pear, juniper, birch. Honey set - white, simple, cranberry, sugar. Sbiten. Vzvarets.

Water - lingonberry, currant, rowan, cherry, strawberry.

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APPENDIX IV

What kind of cuisine do you prefer?

Food in Oblomov's Petersburg life

The image of food in Bulgakov's novels "The Heart of a Dog" and "The Master and Margarita"

The image of food in the novel "Heart of a Dog"

The image of food in the novel "The Master and Margarita"

Conclusion

List of used literature

Cold snacks

Hot appetizers

Dumplings

Pancakes

Soups

Main dishes

desserts

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