Functioning of Gospel quotations in N. S. Leskov's «autobiographical» narrative

The article is devoted to the topical issue of N. Leskov’s strategies for Gospel text «appropriation». The material for the analysis were the less studied works of the writer written in 1892 which Leskov himself positioned as «autobiographical» – «rhapsody» The Vale of Tears and «picture from life» The Improvisers. Applying modern methods of textual analysis (communicative-pragmatic, receptive) and a complex of research methods of theoretical poetics, the authors of the article investigate the problem of the Gospel reception by the writer at the level of the author's style as a combination of basic stylistic elements (narrative, compositional, plot, figurative, linguistic). In the 1890s Leskov's works, the «autobiographical» kind of narration became quite common. It can be found both as a form of primary narrative, complementing the secondary fairy tale narration (Midnighters, Rabbit Remiz), and as an independent narrative form (Concerning the Kreutzer Sonata, The Vale of Tears, The Improvisers, Lady and Fefela).The comparative analysis of The Vale of Tears and The Improvisers demonstrates fundamental similarities in the functioning of the Gospel quotes in Leskov's «autobiographical» works. The semantic and emotional culmination of the latter is the lyrical monologue of the I-narrator, in which the writer turns to quoting the Gospel. The Gospel quotes do not result directly from the plot and are presented not as rational conclusions from the events described, but as a kind of «revelation» of the I-narrator. It is not the power of logical persuasion that comes to the fore, but feeling. Appeal to the Gospel word, which acts in his works as the main means of satisfying spiritual «hunger,» allows Leskov to show the reader a way out of the situation of moral and spiritual ignorance, which, according to the writer, the Russian «common people» found themselves in at the end of the 19th century.