A. F. Veltman
literary journey is two-dimensional in nature: it is a real journey, and a journey of imagination (memories, reasonings, etc.). On the one hand, the material of the novel is the real journey of the officer A. Veltman to Bessarabia, Moldova, Vala-hii, Dobrudja for almost ten years, and the Russian-Turkish campaign of 1828. But on the other hand, the hero’s journey is an imaginary journey through the map : “take Europe by the ends and lay it on the table”; the author wanders, “not leaving his deceased sofa.”
The reader is not allowed to establish himself on any one point of view: he is interpreted about the map and sofa, but descriptions of the terrain, customs and so on. so detailed that they do not agree with the imaginary journey – for example, descriptions of the monastery Gorodishche, carved into the rock over the Dniester, Moldovan dances, birds on the rotten lake near Chisinau, festivities in Iasi
(fashionable ladies’ dresses, as well as feasts – a favorite topic for free and pointedly incoherent romantic “chatter”). To talk about known sights the author avoids – he is afraid of being banal. According to the general principle of the stylistic “diversity” of the “Wanderer”, descriptions in it can also be poetic (especially often this is how the “low” way of life is described – for example, nags who dragged a Viennese stroller (Chapter 47), a conversation (in different languages!
The author is tormented by the consciousness that “everything is already invented, everything is said, everything is written (Chapter 171), therefore it is possible only to shuffle in its own way – like in a kaleidoscope – invented by others by you.” “Wanderer” is divided into 3 parts, 45 “days”, 325 chapters (samples of the shortest chapters: “CXLI: No it”; “Do not be angry that you can not hear my pen in this chapter.” This is a pause. is expressed in silence “(Chapter 304), such a”
fractionality “allows you to suddenly jump from one theme and intonation to another. In general, Veltman emphasizes in every way the impulsiveness, arbitrariness and even” chance “of his work, the fundamental incompleteness of the novel (” the title is torn off, there is no beginning ” ), the difference between the whiter and the draft is erased (“further erased”, “example here s was; but I erased the example half, and scraped the other half. I did not like it as usual… “).
In novels the narrative is often interrupted by false novels; in The Wanderer, the main text, almost completely ironic, is interrupted by dramatic poems written in very pathetic rhythmic prose, a poem about Ovid and Emperor Augustus (Chapter 290) and “Escander”; Escander – freedom-loving hero: “I’m stifling under the sky, and the sky is embarrassed by the breath, I would throw it off myself to freely breathe in the boundless space! ..”; Eskander himself blows Jupiter (“Jupiter, and you know the envy of a lucky man! ..”); destroys the same hero love of a demonic maiden.
In addition, the game journey is interrupted by lyric poems about love; for the demonstratively incoherent chatter of “The Wanderer” hides the second plan of the novel: the dramatic love story of the author to a married woman;
In the third part of the lyrics in verse and prose, quite serious reasoning of the author about the meaning of life, happiness and so on. already noticeably pushing the game beginning, “Wanderer” almost turns into a lyric diary – and suddenly ends suddenly for the reader, at the author’s whim, interrupted almost at half-word.