# @MNONOFMECKHE HAY! CBA3b TBOPYECTBA (IN. vmeparyposenenne TEOAOPA APAN3EPA VU 2)KEKA JIOHOHA (HA MATEPMANJIE «TPAJIOFMM VW «MAPTMHA UEHA») THE CONNECTION BETWEEN TH KEJIAHN A» E CREATIVE WORK OF THEODORE DREISER AND JACK LONDON (BASED ON THE MATERIAL OF TRILOGY OF DESIRE AND MARTIN EDEN) EM. ommna Apaiisep, owdox, mpunozun, Mden, Kaynepeyd, nosu- ‘muousm, ceepxuenoeex, amepuxanckan meuma, Cnen- cep, Huywe. B craree paccmarpxeaerca Teopueckili nyt ABYX Be- KIX aMepHKaHCKMK mMcareneli-peannctos XX Beka — Teonopa Apatizepa h JieKa MloHqora. Nponspoqurca cono- crasnenne wx @wnocodcunx Mel, a HMeHHO NPeeMcrBeH- HocrH HMyWeanersa W noaMTMBHaMa, OGuAcHReTcA EAMHO- Mmachoe passenunsanne «aMepMKaHcKo MesTBIn 6 Mpo- aseqeHuAx o60Mx asTopos. O6Hapymmsaiorca cxogcraa 6 4yaHeHHom nYTH rnasHbix repoes npoMsseneHuit «TpHno- ran enaHnA» M «Mapran WgeH», panna Kaynepeyaa Mapruna Mgena coorsercraeHHo. NpnBogarea Aosonb! ANA BbinaneHHA cenan Teopvecrea Dipaiiaepa u /loHaoHa, b aH BbiXoAOM 8 cBeT NponsseneHAii UENO} nerabl TanaHtaNBeXx nucaTeneli, cpeaM KoTOpEIX 6einn Teonop Apaiisep 4 Zpxex Nlonpox. Hecimo- TPA Ha To 4TO HET AOCTOBEPHDIX CBEReH O cBA- 3H Teopwectea 3THx aBTOpoB, MHOrHe HccneADBATe- IMM KOCBEHHO ykaabiBaloT Ha Hee 8 CBONK HayMHbIX paGorax. B manHoii crarbe mbi nponssemem nonbIT- Ky cpasHeHun TeopvecrBa aByx niicaTeneli Ha npH- Mepe Wx KUSHEHHOFO nyTH, dH/OCOMcKHX NpeANO- WreHnii W Ha marepnane nponseenennit «Tpanorna YypHwili poct peanncTaveckoii mTepatypbi 8 ‘Amepiike @ Hayane XX seka 6bin osHameHo- »kenannn» ({Ipaiisep) n «Mapran nen» (SoHA0H). fLH. 3acypexnii Hasbisan nucaTeneli «sameva- TenbHbiMit xXyAOMHHKAMM, KOTOpEIe passeHuaNh HeKOPOHOBAHHbIX Koponell “cTpaHbI KE/TOTO AbA- ona”» [BacypcKiii, 1977, c. 108] v o6nmuann Bpe- mena, Korga # o6ulectBe YCraHoBHNoce rocnoacTBO E.M. Fomina Dreiser, London, trilogy, Eden, Cowperwood, positiv- ism, superman, American dream, Spenser, Nietzsche. The article discusses the career of the two great ‘American realist writers of the XX century who are ‘Theodore Dreiser and Jack London. It compares their philosophical ideas, namely the idea of the continu- ity of Nietzsche and positivism. The article also ex- plains the unanimous debunking of American Dream in the works of both authors and identifies similar ties in the course of life of Frank Cowperwood and Martin Eden, the main characters of the works Tri ‘ogy of Desire and Martin Eden respectively. Besides, it argues in favour of identifying the connection of, the creativity of Dreiser and London, moHononni. Kak # Apaiisep, JloHRoH Ha KHsHeH- Hom onbrTe oulymn HecocronTenbHocTs «amepH- Nenoseka 8 Kanmranucraveckom oGujecrse [BaTy- pith, 1975, c. 62]. BeoaA 8 pomanei nepconareli «is Hapona», 06a aBTopa cnocoBcrsosann TakiKe «o60- FaUIeHMIO nTepaTypHoro ASbiKa SneMeHTAMM >H- 8044 pasrosopHoll peun» [BacypcKiii, 1977, c. 108]. CC. Batypm otmeuan, uro 8 TaKeNbIe AA Apalisepa epemenia, Kora ero pomalbl sanpeTH- AM K BbIXoAY B NeNaTb, AbKeK /loHAOH Bein oAHKM vs nicaTeneli, npucoeAMHHBUIMXcA K odHUMANDHO- my nporecty 8 sauynty [Apaiisepa [Barypun, 1975, ¢. 135]. Takoxe necnenosatent oTmevaer mHTepec- Heidi axT ~ 8 roabi npoxMeaHna 8 KannopHnn Apaiisep Bonn Gnnskyio apyx6y c nosrom fyKop- zyKem Crapnnvirom, KoTopbil BBeN ero B nitTepa- TypHbii mp CaH-panuncko. MMenio Crapanur, [156]EM, @OMMHA. CBA3b TEOPYECTBA TEOMOPA APAVISEPAM AMEKA OHAOHA (WA MATEPHAMIE «TPH/OTMH MEAAHHA M «MAPTHHA MAIEHAD) No yreepyxaeHio amepnKaHicKHx sMTeparypose- ‘oe, snocneactenn cran npororanom Pacca Bprc- cengevia 6 pomaHe Jlonzoxa «MaprHi Mek» [Ba- typhi, 1975, c. 165]. Cam Maptan Mize, 6 cao10 ovepenp, npeacrasnan coBoli «orpamenne Tania Hbix OBCTORTEMBCTS KM3HH MHOFMX M3BECTHEIK aMe- pikalicknx aTeparopos» (BarypHi, 1979, c. 96], 8 Tom uncne camoro JloHnoHa H fIpafisepa. Kpome toro, C.C. Batypui ormevian exomcreo omHoweniia [palisepa m Jlonmowa K aKypHanncra- ke Toro epemen — aktasHo paGoran 8 sol che- pe # onHoBpemenHo sHan TemHbIe CTOPOHbI pean Holi Kv3HM, aBTOpEI OGHapyKHBaNh «peskoe He- Coorsercrene MexKay NOZIMHHOH HUSHbIO H ee 130- 6pakennem Ha crpaHlax amepHKaHcKinx ‘KypHa- 08» [Barypni, 1979, c. 69]. Tanaxn nponsseneHMit 060ux asTopos Asnnnce peaynbTarom npHcTanbHoro HaGnioneHiA 3a peanbHol sKMSHOIO. CBOM npaBaH- Bole KoppecnoHaeHTcKHe Ha6momeHHA oGa nucaTe- ‘nA nepenann 8 cept o¥epKos (fIpaitsep — 0 Hbto- Hropke, y Nlonpona ~ «hopn GesaHbi»). Yuenne fepGepta Cnecepa nosnnano m Ha Teo- ‘nopa patisepa, nwa Zpxexa /loHaoHa. 3HaKOMCTBOC ero KoHUeNUMeM nponsseno apiexT pasopsaswielt- ca Gom6e1 Ha cosHanne {Ipaiiaepa («Spencer, whose introductory volume to his Synthetic Philosophy ("First Principles”) quite blew me, intellectually, to bits» [Dreiser, 1969, c. 457]). Paapa NexaH e pabore «Teopop Apatizep. Ero mup H ero poman!» ormerHn, NTO MMeHHO nog BAMAHEM dunoCOdKH NosMTHEHS- ma Cnevicepa [Ipalizep ocosHan, uro Yenosex aceraa MenaeT TO, Hero He MMeeT, HHTO BCE ero MeNAHHA HE MOTT OcyWKecTBHTECA, NOcKONBKY MAp NlonoH Zanpe- OB; HTO MNSH® YENOBEKA HAXOANTCA HE B TO PYKAX, 80 @nacTH pasnMHHbIK xMMUMYECKHX npoYeCcos Bo acenenHoi [Lehan, 1969, c. 47]. B kHure «Dictionary of Literary Biography» («Cnosape nutepatypHolt 6uorpadnn») Goino ynomaKyTo, 470, sTaR CneHce- a, Apaiizep npnwen x sbisony 0 Geccunnn Yenose- ka nepen 3aKoHaMM KHBHH MO TueTHOCTH Crpemne- HitA AOCTH HeBePOATHEIK BBICOT, NOTOMY 4TO HiKKTO He 3Haer, vem 2T0 moweT OGepHyTécA socneacTaMH [Dictionary of Literary Biography, 1981, c. 238]. Kax cnegcrene, Apaiisep nso6pasiin 6 «Tpn- nOrMH KenaHWAY repoR, HaReNeHHOFO McKMIO- MuTeNbHOlt BoNel K BNacTH, CHAbHYIO AMUHOCTE, koropan cama ce6a cnenana Takosoli, xnaqHo- KpoBHoro Aenbua, ANA KoTOpOrO ace cpencTea XOpOUIM, ECAH OHM noMoraIoT WOCTHTHYTS BNa- Ww Gorarctea. B To Ke BpemA KpyWeHMe THTa- ha @pohika Kaynepaya, Koropbim saKanuneaer- ca Tpunorns, yOeauTensHo AemoncTpupyer, 4T0, Toukn pena Ipatisepa, amopannam Hena6en- Ho npHBoANT nMAHOCTe K camopaspyweHnio. Bene mi0Goi YenoseK, No MHeHMIO [palizepa, KaKHM 661 cHnbHEIM On HH Bbin, no cBoel NpHpone crab W oBpeven Ha KpyuleHHe scex Hanena, Aina rnastoro repoa pomata /lonmova «Map- tw VigeH earnaae! CneHcepa cram ocosolt mi3- HenHol dbunocodun («M sot ator cambiii CneHicep Hapucosan emy crpolinyio Kapruy mupa, caen Bce 3HaHHA BOeAKHO, YTONHWN OCHOBHEIE daK- Tol, MW nepeg ero HayMneHHbiM B20poM Npe~cTa- a BceneHHan cTonb HarnAAHO...» [NloHAoH, 2014, ¢. 111]). Kak # Apatisep, Nlonaon cuntan sanneli- leit Yenbio SBN! CoxpanenHe pasHosecna memay nporpeccom W pasnoxkeHMeN, nockonb- Ky HMeHHO 8 3TOM OH BHAeN rapmoHHto AYXOBHOM NpHpoab! AHHOCTH. Take ecTecTeHHOIM ANA Tlonona sygenca npouecc 6ope6e1 3a BbrKHBA- He Wenosexa 8 peansHom mupe. Mucatenb TpaK- ToBaN KUaHb Kak Gopb6y 2a BbLKHBAHe 8 Mupe, Moropbiii epaxge6en wenoseKy; npoBopAn aHano- THio MeKAY MHPOM KMBOTHEIX H MMPOM MORE: copoKMBaioT cHnbHeMiuMe, a HaMMeHee npHcno- co6nenHbie M cna6bie norHGaioT» [MoposknHa, 2009, ¢. 71]. 3t0T HpHHYHN HaHGonee APKo Npo- feWCA 8 pomane JloHgoHa «Maprun Maer, (ne Ha npamepe masHoro repoa HarnanHo M306pa- MaeTCA KOMDAMKT MHANBHAA-OAMHOSKM H YyAKAOII counanbHolt cpepbt («B Gope6ti 3a cyulecteoBa- Hive ... nobexpaer cHnbHerwuii, a cnaBbii ocyyk- eH Ha rHGensl» [(oHAoH, 2014, c. 295], «Mup APHHAAAEKHT CHABHBIM, KOTOPbIE TaK Ke Enaro- PonHbl, KaK M MOry4H, H KOTOPBIe NPesHpaloT cTa- Ao Topraweli H nasounnKos» [Tam re, c. 90]). mH ue, Bbickasbieaemble rmaBHbIM repo- em, cossyuni u dunocodin SpHapxa Hnyue. Fe- Pon Kinr SloKgoHa npegctasnaiot co6oli HocuTe- nell «Bonk K >KH3HMY, CHNbHBIX MMuHOCTeH, Gpoca- OULHK BbIS08 KHHEpTHOMY GonbUIKHCTBY, NPOsA- Garoulemy # Gesqelicrenu» [Mopoakuia, Kyreeea, [as7) {oro TIEJATOPHMECKOLO YHHBEPCHTETA 1, BIT, ACTADBEBA, KPACHOAPCKOIO FOCYAPCTBEH BECTHUK# OMNONOFMMECKHE HAYKH, Jumeparyponenenne 2005, ¢. 34]. Bonk /lapces, Mapa Mex aenaior- cA xynowecTBeHHoIM BONNOWIeHMeM HHUWeaHcKol KOHUeNWH «cBepxHenoBeKa® 6 ee aMepHKaHCKOH TpakrOBKe, BOCNPMHAMaeMoOH 8 KOHTeKcTe Men «HoBoro Agama» M «aMepHiaHicKoli MeuToID, oHa~ KO 8 CTONKHOBeHMK C AelicTBHTeN-HOCTbIO OHK NpO- urpeisaior Guay. OpHospemento 6 naeAK Hnuwe 0 «cBepx4eno- Bere w fIpatisep yengen connowenne co6crseH- Holi Meurbi crate HenoBeKom YcneWHbIM H MoryWKe- crBeHHeIm, KoTOpbilt yBepeHHO Her K BnacTH, HE O6pauiza eHHMZHHA Ha crpanaHKA ApyrMx nioaeli [American Literature..., 1973, c. 1879; Critical Essays on Theodore Dreiser, 1981, ¢. 73]. Np cosaanmn «Tpnnoran wenanns» fIpaiisep Hanennn opanKa Ka- ynepayaa 4epramn, KoTOpbIe nepeKNMKaIOTCA C HKU Weatckolt KOHYeNUMe «cBepxHenoseKa». BO BTO- Pom pomake unkma aaxe ect masa XX nog Ha36a- item «Yenosex caepx4enoseK», 8 KoTOPOM nose- crayerca 0 npesocxoacree Kaynepeya mero Tank -nMsoM MaHHnynMpOBBHI OBLIMHbINK MoAb, Mp cpasHennn pomaka «MaptaH Mex» 1 «Tpnnornn sxenaHNA® MoKHO saMeTHTS napan- nen 6 passuTn o6paz08 raBHeix repoes. MAH Buayanncte! Maprak w @pakk Tepnar nopaxeHne 8 GopeGe c o6ulectaom, Hx «cBepxcHna» He NoMo- Tet WM npeoponeTe 2aKoHe! 2KMBHK, BcnencTENe Mero nponcxonaT pasovaposaHne 8 «aMepnkaH- CKO MeuTe» HW OCosHaHMe TYIETHOCTH CBOE! AeR- TenbHocth. B KOHUe NyTH O6a repon NoHMMator, To OkpYKaIOU\HE NPHSHAIOT Hx TONKO Kak MaBECTHEIX nvonel, oGnanateneli xpynHoro cocronHnn n aGco- MWOTHO He MHTepeCyIOTCA HX BHYTPEHHMM MHPOM, wyscreamn, nepexneannann, Kpome Toro, 06a nepcovana crpemunnce 0- sHaTe KpacoTy 80 8cex €@ NPOABNEHHAX ~ GyAb TO Tpexpachaa nossa, poman, KapTaHa, my3bika Hn kpachoaa eHUIMHa. BOKHSHM H pata, M MapTa- Ha nonenaerca eHWMHa (BepeHc H Pye cooT- BeTcTeHHo), KoTopan nepesopaunsaer mMpos03- apetne repon Ha 180 rpapycos n sacrasnaer o6pa- THTBCA K Tem cTopoHam ero AyWM, KoTOpEIe Goin eMy patbulle HeBemomel. 9TH KEHUIMHDI CTAHOBATCA AAA Hx aHirenami, yKasbIBaIOU\MMH NYT B HOBYIO must» (B cny¥ae OpaHka ~ 370 oBpeTeHHe AyWeS- Holi rapMonMM H OcosHaHMe TuIeTHOCTH «sonoTO AMXopanKin, 8 cnyvae Maptaa — camopasenTHe W noKopenne npodeccnoHanbHbix BbicoT 8 uTepa- TypHom mnpe). Takim 06pas0m, HecMorpA Ha TO 4TO HeT pA: Mbix ykaaaHnli Ha CBs Teopyectsa [Apaiisepa u TloHpova, HeCoMHeHHbIM ABnsIOTeA oGpauleHHe oGonx asTopos K OAHHM dunocodcKMM TeveHH- Am (HMuWealicTEO H nosHTHOHSH), HeonHoKpaT- Hoe nepeceseHne HaHEHHEIX nyTelt asTopos (06- uve 3HaKoMbIe, B3aKMHbIe NONOMHTENbHbIe OT3bt 8b! o nponsBeneHHAX Apyr Apyra), a TAKE cxoAHOE 8 page acnekros noHKmahle yerpolicrea KHSHM Nenoseveckoro oGwlecrea Bu6anorpadwyeckni cnucok 1. Barypun C.C. T. fIpaiisep. M.: Monogaa reap- ana, 1975, 333 2. Batypun C.C. Moptperbi amepnkaHcKux nica- Teneli: Nl. Credepenc, Lx. Jonson, T. [paiisep. Mz Xynomectaeniian nurteparypa. 1979. 422 ¢ 3, 3acypexnii f.H. Teonop Apalizep: Kn3HbM T.Op- Necteo. M.: M3a,-80 Mock. yi-Ta. 197. 319 c. 4, Mowaox £1, Mapran WaeH / nep. c anrn. P. O6- mouckoli, M.: ACT. 2014. 415 «. 5, Moposknwa E.A., Kyreesa H.3. HiyueancKne BanaHHAs anTepaType CLA Ha pyGexe XIX-XX a, Bupek: Bapex. roc. nem, HH-T. 2005. 98 c. 6. Moposkniia EA. MlosHTHen3m 8 amepnkaH- ‘ckoii npose KoHua XIX ~ Hatiana XX 8B. BHPCK: Bupex. roc. cou-nea, akag, 2009. 146 c. 7. American Literature. The Makers and the Making. Book D, 1914 to the Present. NY. St.Martins Press. 1973. P. 1196-2970. 8. Critical Essays on Theodore Dreiser. Boston: G.K. Hall & Co, 1981. 343 p. 9. Dictionary of Literary Biography. Detroit: Gale, 1981. Vol. 9: American Novelists, 1910-1945. 432p. 10. Dreiser T. A book about myself. London: Con- stable, 1929. 502 p. 11. Lehan R. Theodore Dreiser. His World and his Novels. Southern University Press. 1969. 280 p. 11. Lehan R. Theodore Dreiser. His World and his Novels. Southern University Press, 1969. 280 p. Minois: Minois: [158]