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The autobiographical character of Solzhenitsyn’s oeuvre, inseparable nature of ethical and aesthetic views, have shaped the author’s unique aesthetics. From the point of view of the author of this article, eliciting the meta-poetic principles defines the way of comprehension of Solzhenitsyn’s artistic world, of his ‘phenomenon’. The article presents the analysis of two of Solzhenitsyn’s significant meta-poetic principles: self-meta-description and self-psychologism. The research is based on Diary R-17 which should be introduced into the readers’ and researchers’ circulation as an important key to understanding Solzhenitsyn’s artistic method. An insight into the French edition of the Diary has allowed the author of this article to trace the stages of working on The Red Wheel, and to regard Solzhenitsyn’s ‘creative laboratory’ as a whole. At the same time the diary records broaden the readers’ understanding not only of the ways of creating a historical novel, but of the writer’s biography, of his reading range and literary context, of his predecessors in the genre of historical narrative, of the writer’s techniques and methods. The article turns the spotlight on the fact that Solzhenitsyn does not bestow his biography on characters close to him, he imparts to them the train of his thoughts, the capacity for Tolstoy’s ‘soul dialectics’, making them the author’s self-psychological counterparts. This article is a part of a substantial research of Solzhenitsyn’s system of meta-poetic principles, including the ‘world vision’ on the functions and the responsibility of the artist and the art to the world; on the judgement on the creative work of other authors. The author of the article has an objective to understand the writer’s aesthetics, that was formed under the influence of a vital aspiration to record the history of the Russian revolution, to tell the hidden truth about the history of Russia.

Meta self-description and self-psychologism as meta-poetic principles of A. I. Solzhenitsyn