An empty model and a sad queen

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An empty model and a sad queen

At the end, what Schklowsky sets a side, is why A is not returned love and why A has stopped loving. The example that Schklowsky has used, and that talk about human changeableness and committing sins, talks more that what it was with it suppose to be said. Not only that a scheme of relations is described, that gives a novel, but also one sketch of character, that give literary character. What kind of a person is the one, that every now and than loves, and every now and then loves not, and what kind of person is that, that does not love when its loved, but fall in love when it is not loved any more? Or is it a description of the modern man and nonsense of its apocalyptical sensibility? Is it not than, that Schklowsky, unintentionally, in this and that kind of choice of example, said also something that he had not actually had on his mind, and that is what is really a like the modern man? Because, one thing is the romantic irony of love, the need in the baffling to fulfill its absolute function, so the eternity would look tragic: dead darling, forever separated lovers, all that is confirmation of love. And in this scheme, it is said, as model of plot, that A and B do not love each other, then when they are loved. A man, after the romanticism, has experienced very important anthropological modification and erotic sensibility, today is, the best recognized in some sort of absurd misunderstanding with it self, and not in the tragic depth and pathos of the romantic irony of love. Isn’t than, according to that, in this drawing back, that build the plot, Schklowsky had shown one compositional, plot principle, that provides the cynical deed of man’s renunciation of itself and of real love, an act of negative projection of lust, that is started by the love verve?
The consequences for the thinking of literature are, however, far-reaching and destructive. The very moment when the meaning of the relations between A and B is transformed in that, that what is moving one and the other being is not any more in immediate connection, but all remain absurd evasion, the entanglement cynicism, then the plot, as literary theory term, is released from the social meaning. The plot, according to that, remains out side of the logical row of reasons, because the social relations and the world of life serves only to that, for such a plot to be realized, and not backwards.
In order to see better this kind of consequences, it will help us thinking about the entanglement and plot, said outside of the methodological frame of contemporary thought about literature. When it is talked about the same problem, also in the twentieth of this century, from another school of thinking, that did not try to separate the literature from the society, it obtains completely different model. It is about the famous Forester’s definition of plot – hence organization, building a plot – from Vida novel. “The king died, and then also, the queen has died”, says Forester, “ that is the story”. But, “the king died, and then the queen died from sadness”, that is already a plot, because it is established the essential logical tie between the events. The queen died from sadness, because she loved the king, and that testifies itself, what kind of marriage they had, what kind of society it is in which the queen is not forced to live with the king, from dynastic reasons, etc.
What is the logical tie in the example that Schlklowsky quotes? As like it is about two absurd beings, and not about people that are bound with something; however, in order to love one another, even to fall in love in wrong time, they must have capabilities which will love one in another. Since Schklowsky discover an example which analyses, talking about the scheme of relations between A and B, Pushkin’s work, it is completely clear whi9ch are the reasons for such a relations between Eugene and Tatiana, and Schklowsky knows them well, but it seems to him that directly the meaning of those relations is that, that has to be left out. Reasons, which are connected for the character of the hero, and the relations in the social environment, are sacrificed in order to gain neutral plot model. The very moment when he renounced the hero and society, Schklowsky has to renounce love, so literature is sentenced to model, to a condition where there is no love. Between Eugene and Tatiana, however, love exists, but not like in this narrative absurd passing over of some A and some B. The model of thinking demand to leave all that is important in life, and with it obliges to devastating anthropological image. The anthropological aspect of thinking about literature disclose the literary methodology developed on the rejection of social relations and characteristic, psychic attributes, the very ties between lovers, with whom, in the plot model and in the thinking about literature suffer the one that represents the love. The thinking which does not see that in the love plot the queen must die from sadness, for the tragic greatness of love to survive, misses out to perceive and in the interpretation to use that, that it is also in the literature, and in life, the best, that that makes the man human being, which can be symbolically expressed and who’s symbolic expression is worth of the attention.
Love was happy in the antique, because the lovers were finding each other at the end, as it is happy in the fairytale, where the hero and hero girl always wait at the end a happy ending. Love, like that, happy and realized, has become plunder of the lowered genres, as the character of the modern man does no longer provide basis for such a displaying of happy outcome. The anthropology of the modern times shows a baffled being, whose opinion is also baffled, so therefore he needs a plot model of absurd unrealized love. Not only because the plot of happy ending is ceded to the trivial genres, but much more due to the reason that the contemporary world does not recognize any more the necessity of happy love outcome, it remains to the thinking about literature the big dilemma of how the literature to start to rule again with the human symbolic space. The question could be asked too, in this way: wouldn’t be necessary to find a new form in which the love would be essential and happy ending inevitable?
The thinking about literature is therefore in front of a challenge of end of the methodological era, and it can be presented, in this case, also as anthropological challenge of happy love. All chances are that this challenge will be seen in one very old key, so, not in the erotic excitement, nor in the sexual freedom, which could be understood, but where the strength and power of love verve initiating to a deeper unity of truth, goodness, and beauty, that are, still, equally irresistible to the mail and female being. In stead of devastating methodology, thinking about literature must search for symbolic roots, for one new vision of literary anthropology, which speaks powerful about the quality of the soul of one queen, that can die from sadness for her dead king. About that attribute of the soul could be said very little, in the poststructuralism, and in the feminism, new historicism or postcolonial critiques.
The queen’s sadness, from the viewpoint of deconstructivism, has to betray itself in the literary work and to discover a fissure, in which the meaning of sadness will be invert in something else, or in its opposite; for the feminism, the queen’s sadness would be unbearable example of patriarchal phallusocracy, in which the woman that stays without husband is assigned only that kind of destiny, to die, as without him, her life is worthless; postcolonial critique would show Eurocentrism, in which there are obligatory the white king and queen, where the king has maybe died from malaria, after visiting the colonies, and similarly, while whole story does not turn into advance given image; for new historicism, the queen’s sadness would show how the social power and position of the royal family are written in the text, which speaks about it, and what is the cultural poetic of that sadness, which is closest to one other, decisive step, that reacquires to interpret in the literary anthropology that, that the cultural poetic is just denoting, mapping, in one wider civilizational system. The thought of love and literature therefore is opening a gate of one new interpretation of the literary creation, in which a literary anthropology should be build.

AuthorAleksandar Jerkov
2018-08-21T17:23:55+00:00 March 1st, 2000|Categories: Reviews, Literature, Blesok no. 13|0 Comments