The image of a doctor in European literature. Doctors in works of literature

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1 “The image of a doctor in fiction” Literature review Compiled by: Serpukhova V.M. Ozerkina O.V. NB KhNMU 2013

2 The proposed review “The Image of a Doctor in Fiction” is intended for junior medical students. Its task is to familiarize future doctors with the most interesting works, revealing the profession of a doctor and available in the collections of the Scientific Library of KhNMU. Since ancient times, both domestic and foreign writers and not only writers have addressed the medical topic. Doctors themselves have repeatedly taken up the pen in order to “convey their pains, experiences, hopes, joys, humor from their own lips...”, since daily practice gave them enormous material for both scientific and artistic comprehension. In this regard, I would like to quote the words of the famous French writer Andre Maurois: “Both of them, the doctor and the writer, are passionately interested in people, both of them try to unravel what is obscured by deceptive appearances. Both forget about themselves and own life looking into the lives of others." The library collection of our university contains quite a lot of works of art that reveal the topic of today’s literature review. I would just like to draw attention to a small part of the works that deserve special attention. The first section of our review is called “Knights of the Pen and Mercy.” It is dedicated to works of art created by medical professionals. The noticeable activity of doctors in the literature did not begin today, nor yesterday. If we look through the history of world literature, we will meet the first professional doctor in ancient Greek literature. Of the three great Athenian playwrights, except Aeschylus and

3 Euripides, was Sophocles. According to legend, he was a direct descendant of Asclepius, the god of healing, and also a priest of the temple in honor of Asclepius in Athens. Interestingly, excerpts from the works of Sophocles were found in the excavations of this temple (he wrote 123 dramatic and poetic works throughout his life). I bring to your attention Sophocles’ book “Dramas” (Moscow, 1990). When we talk about medicine in the Middle Ages, we first of all remember the outstanding physician and poet Abu Ali Ibn Sina (Avicenna), whose poems are classics in the Arabic-speaking world. He, possessing encyclopedic knowledge of various sciences of that time, addressed all young people who had taken the path of serving their profession: “Improve your soul with sciences in order to move forward.” Our library does not have works by Avicenna, but there are books about him: the author Boris Petrov “Ibn Sina (Avicenna)”, published in Moscow in 1980 and dedicated to the thousandth anniversary of the birth of the great scientist, as well as “The Tale of Avicenna”, written Vera Smirnova-Rakitina (Moscow, 1955). Now I would like to come closer to our time and talk about the famous English writer Arthur Conan Doyle. He said about his creative destiny: “After studying medicine, for which I received a master’s degree in Edinburgh, I have come a long way in literature.” It is worth remembering his Notes on Sherlock Holmes. Did the writer portray himself as Dr. Watson? The hero, like the author of the notes, was a military doctor and participated in military campaigns. Here he acts as a chronicler of the life and activities of the protagonist and advises the detective on medical issues during the investigation of crimes, and also provides medical assistance to everyone in need. Dr. Watson is endearing to readers not only because of his devotion to Holmes, but also because of his reliability and integrity.

4 One of the famous Russian medical writers of the second half of the 19th century who reflected the medical profession in his literary work was A.P. Chekhov. Thanks to his own experience as a district doctor, for the first time in Russian literature he fully revealed the image of a physician, his asceticism, his tragedy, etc. His works will tell you about this: “The Jumper”, “Ward 6” ( full meeting works, volume 8), “Trouble,” “Surgery” (pol. collected works, volume 3), “Ionych” (Chekhov “Selected”), etc. I would like to dwell on the story “Ionych”, in which the author told the story of a young doctor who came to work in the province, and years later turned into an ordinary man, living lonely and boring. He became hardened and indifferent to his patients. The image of Ionych is a warning to all young doctors embarking on the path of serving people: do not become indifferent, do not become callous, do not stop in your professional development, serve people faithfully and selflessly. Chekhov wrote about his first and main profession: “Medicine is as simple and as complex as life.” The profession of a doctor is widely reflected in such wonderful Russian writers as Vikenty Vikentievich Veresaev and Mikhail Afanasyevich Bulgakov. If Chekhov first chose the medical profession and then became a writer, then Veresaev immediately took up literature, and then came to medicine, without stopping to study literature. His “Doctor's Notes” became truly famous, and interest in them continues to this day. The work is dedicated to the complex moral, social and professional problems that arise before a young doctor. The narrative begins with the memories of a freshman and ends with the mature judgments of a doctor. An illustration of what has been said can be the words of the writer himself: “I will write about what I experienced while getting acquainted with medicine, what I expected from it, and what it gave me.”

5 The literary career of the outstanding Russian writer of the twentieth century, Mikhail Afanasyevich Bulgakov, began in 1919, when he refused the position of a zemstvo doctor and devoted himself entirely to creativity. However, it was precisely thanks to the experience acquired in front-line hospitals, and then in a rural hospital, that Bulgakov the writer was formed, with his special sense of humor and special view of the emerging Soviet reality. The collection of stories “Notes of a Young Doctor” became a kind of transition for Bulgakov from medicine to literature. The collection also includes the famous story “Morphine”, in which Bulgakov with cruel frankness described all the torments of a young doctor who was addicted to a harmful drug and the story “adjacent to the “medical” cycle of works by M. Bulgakov. Extraordinary Adventures the doctors". All works are largely autobiographical in nature. There is no doubt that the amount of medical knowledge acquired by the writer at Kiev University affected the appearance of such works as “Fatal Eggs”, “ dog's heart", "Master and Margarita". Famous English writer Somerset Maugham, a doctor by profession, devoted his entire life to literary creativity. The profession of a doctor helped him better understand the nature of man and his actions, as evidenced by his words: “I don’t know best school for a writer than being a doctor." The influence of medical knowledge can be traced in many of his works, but I would like to list his books in which we can meet the hero-doctor: “The Burden of Human Passions”, “The Moon and a Penny”, “The Razor’s Edge”. Our library also has a collection of Maugham’s short stories and the two above-mentioned novels, except for “The Burden of Human Passions.” Next, I would like to dwell on the works of authors who have reached considerable heights in the field of medicine and at the same time

6 engaged literary creativity, broadly reflecting the profession of a doctor. They are also united by one more circumstance: they all went through the Great Patriotic War, fulfilling their professional duty. And this, of course, first of all, is the famous Ukrainian cardiac surgeon, medical scientist, and also writer, Nikolai Mikhailovich Amosov. Having experienced all the hardships of being a military surgeon, the author talks about his experiences in the book “PPG-2266” (“Notes of a Military Surgeon”), which he conducted throughout the Great Patriotic War during a lull at the front. You can find this book in our library collection. Talented surgeon and famous writer, Fyodor Uglov, who knew about the war firsthand, worked throughout the siege of Leningrad as the head of the surgical department of one of the city’s hospitals, a pioneer of cardiac surgery in the USSR, wrote, in addition to scientific works, a number of works of fiction: “Man Among People” (1982), “Are We Living?” his century" (1983), "Under the White Robe" (1984), etc. Our library collection includes his autobiographical story "The Heart of a Surgeon", published in Leningrad. This is a real surgeon's diary, in which everything is true - from the first to last word. Fascinating descriptions of operations, complex cases, mysterious diagnoses. It is impossible to tear yourself away from stories from the practice of the famous surgeon. Particularly striking are the descriptions of operations during bombing and shelling in besieged Leningrad: “One day, in the midst of an operation, an air raid alarm sounded. But how can you move away from such a wounded man? And we continued to work...” The book received worldwide recognition and was translated into many languages. The words of the famous doctor are imbued with sincere admiration when he writes about strength artistic word: “And how many times... have I become convinced of the great ennobling power of literature: even the most seemingly callous, hardened hearts surrender to true poetry!”

8 “Notes from the Future”, “PPG-2266”, “Book of Happiness and Misfortune” and “Voices of the Times”. The next famous doctor-writer, Pavel Beilin, embodies his love for life, his desires and willingness to protect human life, dignity, and health in his book “Talk to Me, Doctor,” which was published in 1980 in Kyiv. The main theme that unites all the works in this book is the relationship between the attending physician and patients. One of the decisive factors of the medical profession, according to the author, remains humanity, which determines the authority of the physician and medicine in society. In the last section “My Teachers” (“Strokes to Portraits”), the author talks with great love about his mentors, doctors: Alexey Krymov, Alexander Pkhakadze, Mikhail Kolomiychenko. In 1981, the first book by pediatrician Sergei Ivanov, “I Treat Children” (A story in the form of notes from a young man, a student and then a doctor), was published in Moscow. While writing this story, the author had already gained some experience working with young patients: after graduating from the Leningrad Pediatric Medical Institute, he worked for three years as a distribution worker in the Western Urals in a small local hospital, and was a doctor. orphanage. At the same time, he was a freelance correspondent for a number of district and regional newspapers. The author of the book appears before us as a sincere person who writes truthfully and is in love with his profession. And for the honesty, especially for the compassion for children, you believe the author, you even catch yourself thinking about who to take the children to when, God forbid, they get sick. About the first meeting with his patients, the author writes: “We were taught to heal a child, to understand him, we were left to learn on our own. And he, sick, separated from his mother, confused and frightened, waited for understanding and only then for treatment.” Today, Sergei Ivanov is the author of many publications in various media, as well as books dedicated to the work of a pediatrician, a new approach to herbal treatment, and science fiction books.

9 In the 50s of the last century, the famous Austrian publicist and public figure, a military doctor by training, Hugo Glaser wrote the popular science book “Dramatic Medicine”. It is dedicated to doctors who conducted medical experiments on themselves. Various areas of medical science are considered, in each of which at a certain stage it was necessary to test new methods associated with risks to health and life. “Medicine is made up of science and art, and above them lies a cloak of heroism,” the author states in his book. If we talk about doctors-writers, our contemporaries, it is impossible not to mention the name of Vladimir Andreevich Bersenev, a neurologist of the highest category, founder and director of the Institute of Pain Problems, member of the National Union of Writers of Ukraine. In the Documentary story “Maintaining Composure,” published in the Rainbow magazine for 2004, issues 9 and 10, the author talks about his patients, among whom there were many famous people, and reflects on medical duty and professionalism: “I am convinced that professionalism without discipline is impossible. Otherwise, you will never be in the right place at the right time. You start with discipline, without it you can’t become a professional.” Our contemporary, Evgeny Chernyakhovsky, a general practitioner, a resident of Kiev, writes stories and humorous miniatures in his free time. They can be read in the magazines: “Fontan” (Odessa), “Around Laughter” (St. Petersburg), “Rainbow” (Kyiv). In addition, he is the author of a book of ironic prose, “Notes of an Elderly Doctor,” which is not in our collection. We can offer you the story “Happiness Has Come,” published in the magazine “Rainbow” (2012, 11-12), in which the author humorously talks about a careless medical student, his classmate. Modern fiction about doctors is most often of an entertaining nature, without delving into the analysis of the reasons for the actions of the heroes. This is fiction intended primarily for leisure purposes.

10 Tatyana Solomatina, our contemporary, a physician by training. In 2007, her first book, “Obstetrician Ha,” was published, which, like all subsequent ones, is devoted to medical topics. The collection of her works “Sick Heart” (Moscow, 2010) includes three works in which the author, with feminine directness, speaks about medical cynicism, as a form of self-defense of a doctor in the world of human suffering. The next doctor-writer, Andrei Shlyakhov, worked for more than 10 years in the ambulance, in the cardiology department. Since 2009, he has taken up writing. He writes a lot about doctors. In 2012, his book “Doctor Danilov in the Maternity Hospital, or there’s no place for men here” was published in Moscow. The book includes funny and dramatic stories from the life of an ordinary Moscow maternity hospital. The book “Notes of a psychiatrist, or haloperidol for everyone at the expense of the institution” (Moscow, 2012). Its author, Maxim Malyavin, has been in psychiatry for more than a decade and a half. Their literary works the author himself calls them tales. Together with his wife, also a psychiatrist, they run the popular “Blog of Good Psychiatrists,” in which they warn their readers: “Attempts to find in the tales below signs of violation of medical confidentiality, ethics, and patient rights are as fruitless as they are dangerous for the fragile psyche " Possessing an excellent sense of humor, through laughter and tears, Maxim Malyavin vividly and aptly describes the everyday life of a modern psychiatric hospital. The author's books are best described by their titles: “New notes of a psychiatrist, or Barbuhayk, on the road!”, “Psychiatry for the people! Cognac for the doctor." A modern foreign novel on medical topics is presented in our review by two authors. Our contemporary, Noah Gordon, American writer, the grandson of an emigrant from Tsarist Russia, being a professional physician, he preferred journalism to medicine. At the same time, he retained his love for medicine and deep respect for doctors throughout his life. All the writer’s novels, both historical and related

11 modernity, tells exclusively about doctors. I would like to draw your attention to his trilogy, which includes the books “Healer”, “Shaman” and “Doctor Cole”, united by a common theme: the biography of a family of Cole doctors (Kharkov, 2012). Contemporary English writer Ken McClure, author of a series of medical thrillers about the investigations of Dr. Stephen Donbar, special investigator important matters secret agency. The book “Donor” (Moscow, 2011) reveals the burning topic of illegal trade in children's organs. The next section of our review is called “Writers about Doctors,” which presents works by authors who do not have a medical education, but the heroes of their books are doctors. European writers turned to medical topics 300 years ago. Jean-Baptiste Moliere is an outstanding French playwright of the Renaissance, a true humanist, and comedian. 33 plays written by Moliere have survived to this day. The image of a doctor is reflected in two of them: “The Imaginary Patient” and “The Reluctant Doctor,” in which they ridicule in a grotesque form negative traits medicine of that era: quackery, extortion and professional ignorance of doctors and pharmacists. Moliere expressed his attitude towards medicine and doctors in the words of one of his heroes: “I do not ridicule doctors, but show the funny sides of medicine.” You can read the above plays in Moliere’s book “Comedies” (Moscow, 1953). Another famous French writer of the 19th century, Gustave Flaubert, also turned to the image of a doctor in his works. Being himself the son of a surgeon, he decided to devote himself to literature. His novel Madame Bovary is world famous. The author reveals the image of the village doctor Charles Bovary, who, despite his secondary role, plays an important role in the work. It interests the author both in itself and how

12 part of the environment in which the main character exists. Despite his kindness and hard work, he is not a master of his craft, professionally showing superficiality and inertia. A typical case is the straightening of a crooked foot, described in detail by the author, when, due to the mediocrity and ignorance of the hero, the patient lost his leg. The author previously studied the special literature on surgery. Doctor Bovary is contrasted with the highly educated and experienced Doctor Canivet, through whose mouth the author expressed his attitude towards the medical profession: “... Medicine is a high calling... No matter how much different farriers desecrate the art of healing, it cannot be looked at otherwise than as a sacred rite.” The rapid growth of medical discoveries that marked the 20th century was reflected in fiction, in particular Soviet literature. Veniamin Kaverin in his novel “Open Book” writes about the talented microbiologist Tatyana Vlasenkova. The heroine went through a difficult but courageous path to a scientific discovery that had a profound impact on the development of medical science in the first half of the 20th century. This novel was included in Kaverin’s book “Favorites,” published in Moscow in 1999. The life, work and contribution to medicine in particular, and to science in general, of the famous German scientist Wilhelm Roentgen is described in the artistic and documentary story “Wonderful Rays” by Vruyr Penesyan (Yerevan, 1974). The author chronologically traces the development of the great experimenter, who defended his doctoral dissertation at the age of 24, the man to whom we owe the existence of the science of radiology, without which modern medicine cannot do. Information about Wilhelm Roentgen is very scarce: the scientist’s archive was burned according to his will. The author has studied and

13 used all available sources: fragmentary memories scattered in articles, employees and scientists who worked with Roentgen. Many writers addressed the topic of the image of a doctor during the Great Patriotic War. In 1985, a novel by a Russian Soviet writer living in Ukraine, Grigory Tereshchenko, “Medsanbat,” was published in Kyiv about the selfless, often associated with mortal risk, work of our doctors, nurses, and orderlies who saved lives and returned Soviet soldiers to duty during the Great Patriotic War. war. The novel contains the following words about the heroism of military doctors: “Not all medical battalion workers could afford to sleep even two hours. It was especially difficult for surgeons... Yes, surgeons did wonders at the front. How many wounded soldiers they returned to duty!” When writing the novel, the author used his personal experiences as a participant in the Great Patriotic War. The influence of the post-war period on the fate of doctors and their loved ones is reflected in Lyudmila Ulitskaya’s novel “The Kukotsky Case,” published in 2001 in Russia. The book received the Russian Booker Prize in the same year, and in 2006 the prestigious Italian Prize. The main character of the novel is hereditary, a born physician. Pavel Alekseevich Kukotsky treated patients, was engaged in science and even wrote projects on the organization of healthcare. He and his family found themselves at the center of controversial events that took place in the history of Soviet medicine: prohibited abortions, a campaign against genetics. All this had the most tragic impact on the life of the main character and his loved ones. AND last book Our review is the publication of the teachers of the department of pathological anatomy of our university Antonina Fedorovna Yakovtsova, Irina Viktorovna Sorokina and Natalya Vladimirovna Golyeva “Medicine and Art”, published in 2008 in Kharkov.

14 The authors of the book see a close relationship between the science of medicine and the wonderful world of art: literature, music and dance, painting and cinema. Several chapters of the book are devoted to the topic of doctors in literature: the works of Chekhov, Veresaev, Bulgakov, Amosov, etc. The book contains many quotes from prominent people. Our Ukrainian surgeon and clergyman, author of numerous theological works, Valentin Feliksovich Voino-Yasenetsky (Luka Krymsky), once spoke about the connection between medicine and art, in particular painting: “The ability to draw very subtly and my love for form turned into a love for anatomy and fine artistic work during anatomical preparation and operations... From a failed artist, I became an artist in anatomy and surgery.” Finally, I will cite a few statements by prominent people from different eras about medicine and doctors: “Teacher and doctor are two occupations for which love for people is a mandatory quality.” Nikolai Amosov “Learning to be a doctor means learning to be a human being.” “For a true doctor, medicine is more than a profession, it is a way of life.” Alexander Bilibin “The vocation of a doctor is the will to learn from life and continuously improve.” Ippolit Davydovsky

15 “Medicine is made up of science and art, and over them extends a veil of heroism.” Hugo Glaser And I would like to conclude today’s review with the words of Hippocrates: “Medicine is truly the noblest of all arts.” “Love for the art of medicine is love for humanity.” Thank you for your attention!

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1. THEORETICAL AND METHODOLOGICAL FRAMEWORKS FOR ANALYSIS OF THE IMAGE OF A DOCTOR IN CULTURE.

1.1. Culture, profession, vocation as fundamental categories of philosophical and cultural analysis.

1.2. Doctor as a profession and vocation.

1.3. “The image of a doctor” as the main concept of the study.

1.4. Philosophical and cultural images of a doctor in a historical dimension.

2. DOCTOR IN THE CONTEXT OF PROFESSIONAL CULTURE.;.

2.1. Structural and content analysis of the professional culture of a doctor. ,J

2.2. Professional culture of a doctor in the forms of material objectivity (corporality, thing, organization). ^

2.3. Professional culture of a doctor in the forms of spiritual objectivity (knowledge, value consciousness, ideals, communication). U

3. DOCTOR BETWEEN LAW AND MORALITY.

3.1. Morality and law as social regulations of the medical profession

3.2. Moral and legal culture of the doctor’s personality and its life embodiment.

3.3. Debt-guilt-repentance - the triad of moral and legal culture of religion

3.4. Conscience-honor-dignity is a constituent of the spiritual life of a doctor.

4. SOCIO-CULTURAL ASPECTS OF THE ECONOMIC LIFE OF A DOCTOR.

4.2. Economic culture of a doctor: - dialectics of economic consciousness and economic thinking.

V 4.3. Economic culture as a regulator of the doctor’s economic behavior. at 4.4. The image of a Russian doctor in market culture.

5. SOCIO-CULTURAL ASPECTS OF THE POLITICAL LIFE OF A DOCTOR.

5.1. Historical models of politicization of the medical profession. 1"

5.2. The relationship between the doctor and the state: 1 analysis through the prism of medical mentality.

5.3. The political culture of the doctor and the “moral law”. 2^

5.4. State ideology and models of the medical profession. at

6. THE IMAGE OF A DOCTOR IN ARTISTIC CULTURE.

6.1. The artistic image of a doctor and the features of its reflection in artistic culture.

6.2. The image of a doctor in verbal art.

6.3. The image of a doctor in fine art.

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Conclusion of the dissertation on the topic “Philosophy and history of religion, philosophical anthropology, philosophy of culture”, Kovelina, Tatyana Afanasyevna

These are the main conclusions that we came to as a result of this research work. However, this does not mean the end of the study of the image of the doctor in culture. The uniqueness, versatility and inexhaustibility of the image leave the researcher a huge scientific field for its study. Thus, it would be interesting to consider the image of a doctor in information culture or in everyday culture; study the image of a doctor as a sociocultural archetype of the Eastern and Western European traditions; present the image of a doctor through linguistic forms, through the study of clinical thinking and medical sociolect, etc. The author hopes that through the collective efforts of philosophers, cultural scientists, linguists, ethicists, historians, such research will bring not only theoretical, but also specific practical results, which will allow us to overcome the current crisis of relations in medicine and culture in general.

CONCLUSION

The image of the doctor is historical. Being the result specific culture, I he appears as her “mirror”, reflecting goals, values, ideals, ups and crises. The objectivity of the doctor’s image is explained by the objectivity of cultural dynamics and professional activity. A doctor is not only the ability and opportunity to perform certain professional work, but also a personality quality that is assigned to a person who evaluates his profession as a vocation. The content of the image of a doctor in culture is a complex conglomerate of feelings, experiences, ideas, principles and attitudes. The forms of medical consciousness identified in the work: professional, moral and legal, economic and political are conditional, which is explained by the purpose of the study. In real, concrete existence, they form the unity and integrity of the doctor’s personality. The subjectivity of the image refers to its form and is associated with personal ideas about the medical profession and its assessments. In this regard, the image of a doctor is inexhaustible and unique, as evidenced by the works of art and literature dedicated to him.

The essential features and qualities of a doctor, in comparison with other professionals, is value consciousness, embodied in activity, behavior, language, communication, in relation to things, society, and the world. The value consciousness of a doctor is a special form of reflection of the world, determined by the specifics and direction of his professional activity, its goals and values. Traditionally, they were determined by the objectives of medicine - maintaining health, getting rid of disease and prolonging life. The value of human life and health must remain paramount in the medical profession, even despite the changing purpose of modern medicine, embraced by the process of liberalization. Liberal ideas that cultivate individualism and pragmatism transform medicine and the medical profession into a social institution that should serve a person as a factor in achieving well-being. The uncertainty of this goal causes an inversion of values in the mass and medical consciousness. The image of a doctor is seen as a servant of two masters - LIFE and DEATH, which is especially dangerous in conditions of spiritual degradation. There can be only one way out - in the affirmation of a truly humanistic ideology, which aims society at understanding the value of life, and the doctor at preserving his historical mission - to be its defender.

The professional culture of a doctor, existing in three forms of objectivity - material, spiritual and artistic, determines the moral, legal, economic, political and other cultures, the carriers and creators of which are the doctor. It is normative, institutional, stable, relatively closed, and at the same time, intersubjective, historical, dynamic, variable, open to the new and different. Its foundation is medical professional activity, its core is medical thinking. With its focus on the future, professional medical culture forms the ideal (proper) image of a doctor, and the connection with past cultural experience allows us to preserve its best features, and, consequently, the archetype of the image of a doctor that has developed in the domestic ethnocultural tradition.

The moral and legal culture of a doctor is a subsystem of the doctor’s personality culture, which is formed on the basis of the medical profession and includes ideas, attitudes, ideas about morality and law, moral feelings and legal consciousness, which reflect the versatility of the doctor’s relationship with the world around him, as well as system of ethical and legal knowledge. It expresses the unity and contradictions of moral obligations and legal duties, assessment (moral and legal) of the legality of actions and actions, ideas about the correct (normative) behavior of a doctor, and also reflects the qualitative state of the medical profession. Therefore, the image of a doctor, born in a moral and legal culture, can be defined as an expression of the “image” of the entire medical professional community. In the personality of a doctor, the general social and cultural characteristics of the profession find an individually unique expression. The bright personal individuality of a doctor is most clearly revealed in behavior and actions. It is the act committed by a doctor in the profession or in everyday life that is an indicator of his moral and legal maturity as an individual. At the same time, the act was determined by the requirements of medical duty, which has both a moral and legal aspect. The contradictions between them cause complex existential experiences, lead to a doctor’s reassessment of his own profession, and a rejection of traditional medical values. Therefore, the ideal image of a doctor is possible subject to the unity of the foundations of morality and law. The filling of the medical profession with deep moral and legal content determines the sociocultural aspects of its economic and political life.

The economic life of a doctor is the most important factor and condition for the formation of his economic consciousness and economic culture. Economic consciousness, reflecting the economic life of a given social subject, is objectified in its economic activity, in the manifestation of efficiency and economic entrepreneurship. A feature of the economic image of a doctor is precisely that he has a fairly high level of economic consciousness, which is due to his scientific training in the field of general economics and health economics. A high level of economic consciousness allows doctors to understand and evaluate the effectiveness of the economic reforms taking place in society, as well as to develop those personality qualities that will be most in demand in market conditions of life: efficiency, knowledge of the legal and financial foundations of a market economy, initiative, independence in decision-making, entrepreneurship . But at the same time, in the culture of the market, also are formed. such features in the image of a doctor that may conflict with the moral requirements of the profession: orientation towards career growth, which is associated with the desire to be in “great demand” in the medical services market, possession of material values, which generates interest in a larger number of patients as a source of profit. At the same time, feelings of honor, collectivism, corporate ethics, selflessness, and mercy are lost. The way out of the existing contradiction between the economic and moral in the image of a doctor is seen in the humanization of culture and medical activity, which is possible under the condition of an appropriate humanistic ideology. We associate with this ideology the creation of a new model of medicine and an ideal image of a doctor. In our opinion, neither the ideology of Eurasianism, nor the ideology of liberalism or conservative liberalism is capable of becoming a condition for a “reverent” understanding of the essence of Life and Man and for the revival of the Hippocratic model of a doctor, which is based on the principle of mercy and philanthropy. However, humanistic ideology and the image of the Hippocratic doctor are the ideals to which culture strives. In the actual political image of a modern Russian doctor we find a reflection of real political reality. This is clearly manifested in the mental modes of character of doctors, which reflect their attitude towards the state: tolerance, statism, political apathy, supported by political lack of rights, and at the same time, courage, dedication, active patriotism, lack of negativism towards state policy.

The artistic image of a doctor is a special form of existence of professional medical culture, in which the typical features inherent in a given medical group and the individual characteristics of a particular hero are intertwined in a single alloy; objective content, coming from reality, and subjective, manifestation of the artist’s personal traits. Value artistic images doctors is that they represent a conglomerate of feelings and experiences and correlate with images of the people’s world, with the image of culture itself.

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The image of a doctor in Russian classics

Anikin A.A.

The image of a doctor in Russian literature is a topic little touched upon in literary criticism, but its significance for culture is very great. The motives of illness and healing, in literal and symbolic meanings, permeate folklore, religion, and any form of art in every nation, since they “permeate” life itself. Literature provides an aesthetic, not everyday, but deeply vital slice of life, so here we are not talking about professional information itself, here they do not learn any craft, but only understanding, vision of the world: every profession has its own, special angle of view. And we can talk specifically about the artistic, including semantic, significance of the depicted case. The task of the history of medicine is to show how the appearance of a doctor and his professional qualities are changing. Literature will touch on this indirectly, only to the extent that it reflects life: what the artist sees in the medical field and what aspects of life are open to the doctor’s eyes.

Literature is also a kind of medicine - spiritual. Poetry has come a long way from, perhaps, the first appeals of words to the work of healing: in their own way, poetic incantations and spells were designed for genuine healing from ailments. Now such a goal is seen only in symbolic meaning: “Each verse of mine heals the soul of the beast” (S. Yesenin). Therefore in classical literature we focus on the hero-doctor, not the author-doctor (shaman, medicine man, etc.). And in order to comprehend our topic, its antiquity, which goes back in different variations to the pre-literate word, should lead to some caution in the analysis. One should not be deluded by easy and decisive generalizations, such as the fact that it is writers who speak about medicine who are doctors, because in general, almost every classic novel has at least an episodic figure of a doctor. On the other hand, the perspective of the topic suggests non-traditional interpretations of familiar works.

How convenient it would be to focus only on A.P. Chekhov!.. To use the famous aphorism about the “medicine wife” and “literature-mistress”... The word “for the first time”, so beloved by literary scholars, could also appear here: for the first time in Chekhov’s literature, literature fully reflected the appearance of a domestic physician, his asceticism, his tragedy etc. Then Veresaev and Bulgakov came. Indeed, it was as if, thanks to Chekhov, literature looked at life through the eyes of a doctor, and not a patient. But there were doctors-writers before Chekhov, and it would be more accurate to say: it’s not about the author’s biography; In the literature of the 19th century, a rapprochement with medicine was prepared. Is this why literature cried out too loudly to doctors, constantly complaining about hemorrhoids, catarrhs, or “windy pimples”? Not joking, it is clear that no profession has been perceived as meaningfully as the position of a physician. Was it really important whether the hero of literature was a count or a prince, an artilleryman or an infantryman, a chemist or a botanist, an official or even a teacher? A doctor is a different matter; such an image-profession is always not only meaningful, but symbolic. In one of his letters, Chekhov said that “he cannot come to terms with such professions as prisoners, officers, priests” (8, 11, 193). But there are specialties that the writer recognizes as a “genre” (Chekhov’s expression), and it is the doctor who always carries such a genre, i.e. increased semantic load, even when it appears fleetingly in a work, in a short episode, in one line. For example, in Pushkin’s “Eugene Onegin” it is enough to appear in the lines “everyone is sending Onegin to the doctors, They in chorus send him to the waters,” and the flavor of the genre is obvious. Just as in “Dubrovsky,” where only once will one encounter a “doctor, fortunately not a complete ignoramus”: the profession of Deforge’s “teacher” hardly carries a semantic emphasis, while the physician clearly contains the intonation of the author, who, as is known, in his time "ran away from Aesculapius, thin, shaved, but alive." Deeply symbolic of the image of the doctor in Gogol - from the charlatan Christian Gibner ("The Inspector General") to the "Grand Inquisitor" in "Notes of a Madman." Werner is important to Lermontov precisely as a doctor. Tolstoy will show how a surgeon, after an operation, kisses a wounded patient on the lips (“War and Peace”), and behind all this there is the unconditional presence of a symbolic coloring of the profession: the doctor’s position is close to the foundations and essences of existence: birth, life, suffering, compassion, decline , resurrection, torment and torment, and finally, death itself (Cf.: “I am convinced of only one thing... That... one fine morning I will die” - the words of Werner from “A Hero of Our Time”). These motives, of course, capture the personality of everyone, but it is in the doctor that they are concentrated as something for granted, as fate. This is why, by the way, a bad or false doctor is perceived so sharply: he is a charlatan of existence itself, and not just of his profession. The perception of medicine as a purely physical matter in Russian literature also has a negative connotation. Turgenev's Bazarov only on the threshold of his death realizes that a person is involved in the struggle of spiritual entities: “She denies you, and that’s it!” - he will say about death as a character in the drama of life, and not about a medical death. The symbolism of the doctor is directly related to the Orthodox spirituality of Russian literature. The doctor in the highest sense is Christ, driving out the most ferocious ailments with his Word, moreover, conquering death. Among the parable images of Christ - shepherd, builder, groom, teacher, etc. - a doctor is also noted: “It is not the healthy who need a doctor, but the sick” (Matthew, 9, 12). It is precisely this context that gives rise to extreme demands on the “aesculapian”, and therefore even Chekhov’s attitude towards the doctor is harsh and critical: someone who only knows how to draw blood and treat all diseases with soda is too far from the Christian path, if he does not become hostile to it (cf. Gogol : Christian Gibner - the death of Christ), but even the capabilities of the most capable doctor cannot compare with the miracle of Christ.

A.P. Chekhov, of course, will be at the center of our topic, but it is impossible not to note several authors who preceded him, at least who gave doctors in Russian literature as the leading characters of their works. And these will be Doctor Krupov from Herzen’s works and Turgenev’s Bazarov. Of course, Dr. Werner from A Hero of Our Time meant a lot. So, already before Chekhov, a certain tradition arose, so some seemingly purely Chekhovian discoveries will most likely turn out to be unconscious, but variations of his predecessors. For example, it would be typical for Chekhov to show the hero’s choice of one of two paths: either a doctor or a priest (“Belated Flowers,” “Ward No. 6,” letters), but this motif will already be found in Herzen; Chekhov's hero has long conversations with a mentally ill person - and this is also the motive of Herzen's "Damaged"; Chekhov will talk about getting used to the pain of others - Herzen will also say the same thing (“It’s hard to surprise our brother... From a young age we get used to death, our nerves get stronger, they become dull in hospitals,” 1, I, 496, “Doctor, dying and the dead"). In a word, the favorite “for the first time” must be used with caution, and so far we have only touched upon the particulars as an example, and not the perception of the medical field itself.

Lermontov's Werner, in turn, was clearly a reference point for Herzen. A number of scenes in the novel "Who is to Blame?" generally have something in common with “Hero of Our Time,” but we note that it is Herzen, perhaps due to his biography (cruel illnesses and death in his family), who is especially attached to the image of a doctor (see: “Who is to blame?”, “Doctor Krupov” , "Aphorismata" - associated with the common hero Semyon Krupov, then "For the sake of boredom", "Damaged", "Doctor, the Dying and the Dead" - i.e. all the main ones. works of art, except for "The Thieving Magpie"). And yet, everywhere there is a strong presence of just an episodic Lermontov doctor: a gloomy and ironic state, the constant presence of death in thoughts, aversion to everyday worries and even to family, a feeling of being chosen and superior among people, a tense and impenetrable inner world, and finally Werner’s black clothes , which deliberately “aggravates” in Herzen: his hero is dressed in “two black frock coats: one all buttoned up, the other all unbuttoned” (1, 8, 448). Let us recall Werner’s condensed summary: “he is a skeptic and a materialist, like almost all doctors, and at the same time a poet, and in earnest - a poet in practice always and often in words, although he never wrote two poems in his life. He studied everything the living strings of the human heart, as they study the veins of a corpse, but he never knew how to use his knowledge... Werner secretly mocked his patients; but... he cried over the dying soldier... the irregularities of his skull would strike a phrenologist with a strange interweaving of opposites. inclinations. His small black eyes, always restless, tried to penetrate your thoughts... The youth nicknamed him Mephistopheles... it (nickname - A.A.) flattered his pride" (6, 74). As is customary in Pechorin’s journal, Werner only confirms this characterization. Moreover, his character is the imprint of his profession, as can be seen from the text, and not just a play of nature. Let’s add or highlight the inability to use knowledge of life, unsettled personal destinies, which is emphasized by the doctor’s usual familylessness (“I’m incapable of this,” Werner), but often does not exclude the ability to deeply influence women. In a word, there is some demonism in the doctor, but also hidden humanity, and even naivety in anticipation of good (this can be seen with Werner’s participation in the duel). Spiritual development makes Werner have a condescending attitude towards both the sick person and the possibilities of medicine: a person exaggerates suffering, and medicine gets off with simple means like sour-sulfur baths, or even promises that he will heal before the wedding (this is how one can understand from Werner's advice).

Herzen generally develops Werner’s character, his “genesis”. If Chekhov’s doctor Ragin from “Ward No. 6” wanted to be a priest, but due to the influence of his father, as if involuntarily, he became a doctor, then for Krupov, the choice of the medical field is not coercion, but a passionate dream: born into the family of a deacon, he had to become a minister of the church , but wins - and in spite of his father - a vague but powerful attraction to initially mysterious medicine, that is, as we understand, the desire for real humanity, embodied mercy and healing of one's neighbor wins in a spiritually excited person. But the origin of character is not accidental: religious spiritual heights move onto a real path, and it is expected that it is medicine that will satisfy spiritual quests, and in dreams it may turn out to be the material reverse side of religion. Not the least role here is played by the unsightly, according to Herzen, church environment, which repels the hero; here people “are struck by an excess of flesh, so that they rather resemble the image and likeness of pancakes than the Lord God” (1, I, 361). However, real medicine, not in the dreams of a young man, influences Krupov in its own way: in the medical field, the “behind-the-scenes side of life”, hidden from many, is revealed to him; Krupov is shocked by the revealed pathology of man and even of existence itself; youthful faith in the beauty of natural man is replaced by a vision of illness in everything; the morbidity of consciousness is especially acutely experienced. Again, as will later be in the spirit of Chekhov, Krupov spends everything, even holiday time, in a mental hospital, and a disgust for life matures in him. Let’s compare Pushkin’s: the famous precept “morality is in the nature of things,” i.e. a person is by nature moral, reasonable, and beautiful. For Krupov, man is not “homo sapiens”, but “homo insanus” (8.435) or “homo ferus” (1.177): a mad man and a wild man. And yet, Krupov speaks more definitely than Werner about love for this “sick” person: “I love children, and I love people in general” (1, I, 240). Krupov, not only in his profession, but also in his everyday life, strives to heal people, and in Herzen this motive is close to his own pathos as a revolutionary-minded publicist: to heal a sick society. In the story “Doctor Krupov,” Herzen with an obsessive pretension presents the essentially shallow and not even witty “ideas” of Krupov, who views the whole world, all history as madness, and the origins of the madness of history are in the always sick human consciousness: for Krupov there is no healthy human brain , just as there is no pure mathematical pendulum in nature (1, 8, 434).

Such a “flight” of Krupov’s mournful thought in this story seems unexpected for readers of the novel “Who is to Blame?”, where the doctor is shown, in any case, outside of world-historical generalizations, which seemed more artistically correct. There, Herzen showed that in a provincial environment, Krupov turns into a resonating man in the street: “the inspector (Krupov - A.A.) was a man who had become lazy in provincial life, but nevertheless a man” (1, 1, 144). In later works, the image of a doctor begins to claim something grandiose. Thus, Herzen sees the ideal vocation of a doctor as unusually broad. But... broadly in concept, not in artistic embodiment, in the outline of a grand scheme, not a physician's philosophy. Here the pretensions of the revolutionary take precedence over the capabilities of the artist in Herzen. The writer is primarily concerned with the “disease” of society, which is why Krupov is already in the novel “Who is to Blame?” He doesn’t so much heal as he thinks about everyday things and arranges the fates of the Krutsiferskys, Beltovs and others. His purely medical skills are given at a distance, they are “told” about them, but they are not “shown”. Thus, the capacious phrase that Krupov “belongs to his patients all day long” (1, 1, 176) remains only a phrase for a novel, although, of course, Herzen’s doctor is not only not a charlatan, but the most sincere a devotee of his cause - a cause, however, located in the shadow of an artistic plan. What is important to Herzen is precisely the humanity and worldview in a doctor: without being a charlatan, his hero must reflect Herzen’s understanding of the influence of medicine on the doctor’s personality. For example, in the episode when Krupov neglected the demands of an arrogant nobleman, did not immediately respond to his capricious call, but ended up delivering a child to the cook, the social rather than the actual medical perspective is much more significant.

And here Herzen, in the story “For the Sake of Boredom,” speaks of “patrocracy,” i.e. about the utopian management of the affairs of society by none other than doctors, ironically calling them “the general staff archiarchs of the medical empire.” And, despite the irony, this is a completely “serious” utopia - a “state of doctors” - after all, the hero of the story rejects irony: “Laugh as much as you want... But the coming of the kingdom of medicine is far away, and we have to treat continuously” (1, 8, 459). The hero of the story is not just a doctor, but a socialist, a humanist by conviction (“I am by profession for treatment, not murder” 1, 8, 449), as if brought up on the journalism of Herzen himself. As we see, literature insistently wants the doctor to take up a broader field: he is a potentially wise ruler of this world, he harbors dreams of an earthly god or a benevolent king-father of this world. However, the utopianism of this character in the story “Boredom for the Sake” is obvious, although for the author it is very light. The hero, on the one hand, often finds himself at a dead end in the face of ordinary everyday vicissitudes, on the other hand, he treats the idea of the “medical kingdom” with bitterness: “If people actually begin to correct themselves, the moralists will be the first to be left in the fool, then who will be corrected?” (1, 8.469). And Titus Leviathansky from “Aphorismata” even hopefully objects to Krupov in the sense that madness will not disappear, will never be cured, and the story ends with a hymn to “the great and patronizing madness” (1, 8, 438)... So, the doctor remains eternal a reasoner, and his practice itself gives him a quick series of observations and - caustic, ironic "recipes".

Finally, let us touch upon the last feature of Herzen’s hero-doctor in this case. The doctor, even if utopian, lays claim to many things; he is a universe (“a real doctor must be a cook, a confessor, and a judge,” 1, 8, 453), and he does not need religion, he is emphatically anti-religious. The idea of the kingdom of God is his spiritual rival, and he disparages both the church and religion in every possible way (“The so-called light, about which, in my studies in the autopsy room, I least of all had the opportunity to make any observations,” 1, 8, 434 ). The point is not at all in the notorious materialism of the doctor’s consciousness: with his field he wants to replace all authorities with the most good purpose; "Patrocracy" - in one word. In “Damaged” the hero is already talking about the future overcoming of death (this closest rival for the doctor) precisely thanks to medicine (“people will be treated for death”, 1, I, 461). True, the utopian side of Herzen is everywhere associated with self-irony, but this is rather coquetry next to what seems to be such a bold idea. In a word, here too, with the invasion of the motive of immortality into medicine, Herzen predetermined a lot in the heroic doctors of Chekhov and in Turgenev’s Bazarov, to whom we will now move on: the doctor Bazarov will be spiritually broken in the fight against death; Dr. Ragin will turn his back on medicine and life in general, since immortality is unattainable.

The choice of the hero-doctor in the novel "Fathers and Sons" is more a spirit of the times than an author's credo; Turgenev generally does not have such an excessive passion for the symbolic interpretation of medicine as Herzen did: landowners often treat peasants because they have nothing to do, using their authority according to their position (cf. Lipina in “Rudin”, Nikolai Kirsanov and others). However, the perception of Bazarov as a doctor is a necessary perspective for understanding the novel as a whole. Moreover, we will see other doctors in the novel, including Vasily Ivanovich Bazarov, which is far from accidental: doctors are father and son.

In "Fathers and Sons" Turgenev shows how easily the external side of life changes, how a seeming abyss lies between children and their parents, how the new spirit of the times seems omnipotent, but sooner or later a person understands that being remains unchanged - not on the surface, but in its being: a powerful, cruel, and sometimes beautiful eternity breaks the arrogant person who imagines himself as a “giant” (the word of Evg. Bazarov)... What is the connection with the medical field?..

The life content embedded both in the novel and in the hero-doctor is so capacious that sometimes the hero’s profession remains in vain. D. Pisarev’s textbook and lengthy article “Bazarov” does not seriously touch upon the professional field of this hero, as if it were not an artistic, but a strictly biographical feature: that’s how life turned out. “He will practice medicine partly to pass the time, partly as a bread-making and useful craft” - this is the most meaningful quote from the article concerning Bazarov the physician. Meanwhile, Bazarov and the doctor are not so ordinary, and most importantly, this character in many features is determined precisely by medicine; Again, the point is not in the superficial materialism of the hero of that time; these influences are much more important and subtle.

Unlike Krupov's biography, we do not know how Bazarov came to medicine (although there is also a sexton in his family!); Unlike, for example, Zosimov from Crime and Punishment, Bazarov does not value his profession at all, and rather remains an eternal amateur in it. This is a doctor who defiantly laughs at medicine and does not believe in its prescriptions. Odintsova is surprised at this (“don’t you yourself claim that medicine does not exist for you”), Father Bazarov cannot agree with this (“You even laugh at medicine, but I’m sure you can give me good advice”), this angers Pavel Kirsanov - in a word, an obsessive paradox emerges: the doctor is a nihilist who denies medicine (“We now generally laugh at medicine”). Later we will show, in Chekhov, that for a genuine doctor there is no place for laughter: dejection at the state of the hospital, the tragedy of the doctor’s powerlessness, delight in achievements and more, but not laughter. At the same time, not a single hero will so persistently recommend himself as a doctor (or doctor) as Evg. Bazarov. And although the consciousness of this hero is characterized by the inability to resolve both everyday and ideological contradictions, the explanation here is different: the very type of healer is important to Bazarov, the image of a person who influences his neighbor, rebuilds people and who is expected as a savior. Isn't that exactly what a doctor is? However, he wants to be a savior in a broader field (cf.: “After all, he will not achieve the fame that you prophesy for him in the medical field? - Of course, not in the medical field, although in this respect he will be one of the first scientists" (7, 289): an indicative dialogue between Father Bazarov and Arkady Kirsanov at a time when Evgeny’s life is already measured only in weeks, soon, in his own words, “he will grow into a mug”). Deprived of any intuition as his death approaches, Bazarov behaves as an unconditional authority, and medicine here plays the role of a constant halo around the hero: having touched the depths of life that medicine reveals, Bazarov obviously surpasses the others, who do not dare so easily throw out jokes about the anatomical theater, hemorrhoids, it’s so easy to practice by opening corpses (cf. - just lotions that Nik. Kirsanov uses for patients). The appeal to the helpless and “identical” body of the patient also determines the anti-class position typical of the raznochinets: in illness or anatomy, a peasant and a pillar nobleman are equal, and the dissector-grandson of a sexton turns into a powerful figure (“after all, I am a giant,” Evgeniy will say ). From this “gigantomania” comes laughter at a field that is so necessary for him: medicine itself becomes a kind of rival, which also must be destroyed, just as everyone around him must be suppressed - from friends to parents.

Is Bazarov good or bad as a doctor? In simple matters, he is a good practitioner, but rather a paramedic (he skillfully bandages, pulls teeth), treats the child well (“he... half-jokingly, half-yawning, sat for two hours and helped the child” - cf. Zosimov takes care of Raskolnikov “not jokingly” and without yawning”, he is generally able to stay awake at night with a patient, without claiming an excessive reputation: every “medical” step of Bazarov is turned into a sensation). Nevertheless, he treats medicine more as entertainment, which, however, affects such sensitive aspects of life. So, with his parents, it was out of boredom that Bazarov began to participate in his father’s “practice,” making fun of medicine and his father, as always. The central episode of his “entertainment” - the autopsy of a corpse and infection - speaks not only of Bazarov’s lack of professionalism, but also symbolically of a kind of revenge on the part of the ridiculed profession. Is Pavel Petrovich Kirsanov wrong when he says that Bazarov is a charlatan and not a doctor?..

Professionally, Bazarov will most likely remain a failed doctor, no matter how much everyone around him exalts him (Vasily Ivanovich will say that “Emperor Napoleon does not have such a doctor”; by the way, this is also a kind of tradition: turning to Napoleon (I or III?) reflects on the doctor, such as Lorrey, the doctor of Napoleon I, in Herzen and in the famous episode of the wounding of Andrei Bolkonsky in Tolstoy; in the latter case - an almost miraculous recovery, thanks to the icon, in Prince Andrei, contrary to the “Napoleonic” verdict of the doctor). So for Turgenev, life content, not professional content, is important in the novel. Let's return to how profession leaves its mark on character. Neither a chemist nor a botanist will be able to reduce a person to physicality as clearly as the failed doctor Bazarov: Marriage? - “We, physiologists, know the relationship between a man and a woman”; Eye beauty? - “Study the anatomy of the eye, what’s mysterious there”; Perceptual sensitivity? - “Nerves are frayed”; Heavy mood? - “I ate too many raspberries, got overheated in the sun, and my tongue is yellow.” Life constantly shows that such physiology does not explain anything, but his stubbornness is not just a character trait: reducing everything to physicality, Bazarov always puts himself above the world, only this makes him, like his height, the notorious “giant”. Here, by the way, is the source of Bazarov’s lack of faith: there is no religion in the body, but the idea of God does not allow oneself to exalt oneself in a satanic way (Pavel Kirsanov’s remark): God is the Bazarovs’ rival.

The idea of a sick society or a crazy story is logical and simple for a physician (Krupov). Bazarov loves simplifications, and a similar thought could not help but arise in his mind: “Moral diseases... come from the ugly state of society. Correct society - and there will be no diseases.” Therefore, he secretly dreams of the fate of... Speransky (cf. in the novel "War and Peace"), and not of Pirogov or Zakharyin (see below in Chekhov). Bazarov will constantly play the role of healer and diagnostician of society (instant diagnoses for the entire Kirsanov family and family, almost everyone he meets), because all around are patients or “actors” of the anatomical theater. Of course, Turgenev shows that Bazarov does not cure anything in society, lives only by hints of activity, but his “physiologism” always brings something sharp, touching, but this is rather the courage of speech rather than deeds. Bazarov’s rough, “near-medical” witticisms (“sometimes stupid and meaningless,” Turgenev will note) introduce some kind of area piquancy, but this piquancy is akin to swearing: this is what Bazarov’s “hemorrhoids” sounds like at the table in a decent Kirsanov house.

This perspective is also interesting in the image of Bazarov. His healing is always (until the very scene of his dying) aimed at another, and not at himself. Bazarov himself did not become his patient, although there were plenty of reasons for this. A condescending remark - “The cigar isn’t tasty, the car got stuck” (7, 125) - doesn’t count. For the rest, Bazarov, with unnatural persistence, creates his image as an exceptionally healthy person (we will heal society, the “other,” but not ourselves), healthy both physically and mentally: “than others, but not sinners for this,” “that’s all, you know , not in my line,” etc. At the same time, it should be noted that where Bazarov plays “Superman”, he is uninteresting and monotonous, partly flirtatious and deceitful, but the whole coloring of his character is in painful states, when Bazarov emanates some kind of terrible, unhealthy doom; feelings of the meaninglessness and emptiness of life cover him like no other hero of Fathers and Sons, who do not even try to emphasize their absolute health. And this, by the way, constitutes an important medical symptom - only from that area of \u200b\u200bmedicine that Bazarov practically did not touch: psychiatry. Around Bazarov in literature are heroic doctors who see psychiatry as perhaps the highest medical calling (Krupov, Zosimov, Chekhov’s heroes). Bazarov is either ignorant of this, or deliberately avoids observations that are dangerous for himself. One day the “diagnosis” of P.P. Kirsanov is “idiot”: we don’t know whether the share of psychiatry is large here, although Pavel Petrovich’s neuroses are unlikely to raise doubts, but these are precisely neuroses, maybe mild paranoia. But wouldn’t it be more accurate to see traits of psychopathy in Bazarov himself? However, Turgenev shows that Bazarov does not perceive himself “adequately”, and the gospel motif “doctor, heal yourself” (Luke 4:23) is absolutely alien to this “doctor” (until we touch on the scenes of his death). Bazarov’s lively artistic character is dotted with the features of a neurotic and paranoid: this is not the author’s tendency, Turgenev did not force his hero to drink ink or urine, bark like a dog or forget the calendar, but the basis for observations here is the broadest, although not entirely related to our topic. We will only name a number of details, since what is important to us is the very moment the doctor turns exclusively to “another” and not to himself, which is what we highlight in Bazarov. So, Zosimov, Krupov or Ragin could not help but be wary not only of Bazarov’s feverish and sometimes incoherent speeches (like “The only good thing about a Russian person is that he has a very bad opinion of himself” and for some reason: “The important thing is that twice two is four, and the rest is all nonsense,” 7, 207; by the way, there is an interesting “loss” of the link that Bazarov himself is Russian, as he insists nearby). The plot of the novel itself is based on nervous restlessness, a kind of mania of avoidance, disappearance in Bazarov: he is always running away somewhere unexpectedly: from the Kirsanovs - to the city, from the city - to Odintsova, from there to his parents, again to Odintsova, again to the Kirsanovs and again from parents; Moreover, he always runs to places where his nerves are very restless, and he knows it. For the plot, this is the same as getting up and leaving, without saying a word, from Kukshina, among his favorite champagne, or suddenly suddenly disappearing during a conversation with Odintsova: he “looks angry and cannot sit still, as if something was tempting him " (7, 255); Bazarov is also seized by other fits - rabies: in conversations with Odintsova, Pavel Kirsanov; the main scene is a conversation with Arkady at a haystack, when Bazarov seriously scares his friend: “I’ll grab you by the throat now... - The face (Bazarov - A.A.) seemed so ominous, such a serious threat seemed to him in the crooked smile of his lips , in the eyes that lit up..." Bazarov sees painful dreams, very convenient for a psychoanalyst. Actually, Turgenev, as if sensing this line in Bazarov, ends the novel not just with the death of the hero, but with death in a state of madness (cf.: “after all, even the unconscious are given communion”). This is the “dying” dream about “red dogs” (“I’m definitely drunk,” Bazarov will say), but no “weaker” is the dream before the duel, where Odintsova turns out to be Bazarov’s mother, Fenichka - a cat, Pavel Petrovich - a “big forest” ( cf. in the dream about “red dogs” Bazarov is pursued by his father in the form of a hunting dog and also, obviously, in the forest: “You stood over me like you did over a black grouse”). Sleep is always difficult for Bazarov, isn’t that why he so painfully demands that no one look at him when he sleeps* - more than a capricious demand in a conversation with Arkady: what is more here - concern for his greatness (motive - “everyone is stupid face in a dream”, to prevent the idol from collapsing), fear of one’s dreams, but the demand is schizophrenicly categorical. A state of hysteria, depression, delusions of grandeur - all this is scattered in Bazarov's speeches and actions. Such vividly described delirium on the eve of death: “The butcher is selling meat... I’m confused... There is a forest here” is partly the key to Bazarov’s neuroses: excitement from the flesh, love of meat (cf. in the text the opposition between bread and meat) and again the forest - as in dreams. The roots of neuroses lie in childhood impressions. The hero himself is very stingy with stories about himself, his childhood is also not covered by the plot, and all the more significant is Bazarov’s strange (and extremely rare) and not entirely clear memory that in childhood the circle of his perception was closed on an aspen tree and a pit on his parent’s estate, which for some reason they seemed to him like some kind of talisman. This is a picture of some painful, lonely childhood in the mind of a morbidly impressionable child. Considering Bazarov’s dreams, the childhood motifs “mother – father – home” become overgrown with morbidity, while “forest” is apparently associated with childhood fear, “pit” is also a rather negative image. Let us repeat once again that it is too early to generalize such material in this chapter, but it is necessary to note its presence in the novel and its connection with the line of Bazarov the doctor.

Note that the proposed characterization of the famous hero is, of course, debatable. In addition, the proposed specific assessment cannot reject the established tradition in the interpretation of “Fathers and Sons.” .

In the picture of Bazarov’s death they rightly see a high sound, this is not only delirium, but also a powerful attempt to play the role of the “giant” to the end, even when the chimeras erected by the hero collapse: he is already wavering in godlessness (appealing to parental prayer), he is already frank in his requests about help and recognition of a woman (“It’s like a king” - about Odintsova’s arrival: where is the “anatomical theater” or contempt for women). Finally, Bazarov dies precisely in the doctor’s office: he is entirely focused on the signs of a fatal disease, firmly sees the course of death; Bazarov finally turned to himself as a doctor. There is no laughter at medicine, as well as at his three colleagues, although both the German and the district doctor are shown by Turgenev almost as a caricature, the maximum effort of will definitely transforms Bazarov (see also about this in chapter " Extra person"), but he is already defeated. In line with our theme, we can say that this is a belated transformation of the hero; ridiculed medicine seems to be taking revenge, just as the whole life ridiculed and insulted by Bazarov is taking revenge.

So, Turgenev views the doctor both as a social figure and as a source of deep, sometimes unconscious life impressions that are inaccessible to other heroes. It is impossible, however, not to note that not every doctor will turn out to be Bazarov (maybe his nature, his psyche is just not enough for this?). So, the background in the novel will be the doctor Vasily Bazarov, fascinated by medicine, an accomplished doctor, unlike his son; district doctors are a reason for indignation and irony for both Bazarovs; as we said, even Nikolai Kirsanov tried to heal, and on this basis he built a marriage with Fenichka... In a word, the presence of a “doctor” is an active, rich field of artistic observations.

Now, passing the row minor characters, let's talk about the doctor in the works of A.P. Chekhov, the main writer of this topic - not only because of his “main” profession (cf. even in O.L. Knipper-Chekhov’s passport she was called “the doctor’s wife”): it is in the works Chekhov, we can find a complete picture of the doctor’s fate, in its radical turns and connections with ideological searches.

It seems to us that Chekhov fully expressed the interaction of existential and Christian motives in the doctor. The connection between medicine and what he called in a letter to E.M. Shavrova the expression “furious prose” is more obvious: he was talking about a literary hero, a gynecologist, and, although this specialty is also not accidental, it seems we can replace it in the quote simply with the word “doctor” ": "Doctors are dealing with frantic prose that you have never even dreamed of and which, if you knew it... you would give a smell worse than that of a dog" (8, 11, 524). Having combined two fragments, we will highlight further: “You have not seen corpses” (ibid.), “I am used to seeing people who will soon die” (A.S. Suvorin, 8, 11, 229). Let us note that Chekhov himself not only healed, but also performed forensic autopsies; we would say, he got used to the appearance of bodily death, but did not try to treat it with Bazarov’s dispassionate attitude. It is curious that fellow doctors emphasized this in a special way. One zemstvo doctor wrote to a neighboring district near Moscow that “doctor Chekhov really wants to go to autopsies” (8, 2, 89), suggesting that in such cases he should invite his colleague. In this he “really wants” something more than the desire to practice... In 1886, the experience of the death of the mother and sister of the artist Yanov, who were treated by Chekhov, forced him to forever abandon private practice and (a symbolic detail) remove the “Doctor Chekhov” sign from his house. . The medical writer was especially worried about the “powerlessness of medicine” (from a letter about an attack of illness by D.V. Grigorovich, which occurred in the presence of Chekhov), and, on the contrary, any approach to the ideal of healing unusually inspired him. Let us recall a characteristic episode in a letter to A.S. Suvorin: “If I had been near Prince Andrey, I would have cured him. It’s strange to read that the prince’s wound... emitted a cadaverous smell. What lousy medicine was then” (8, 11, 531). What an important interweaving of literature, medicine and life itself! Chekhov especially valued his recognized gift as an accurate diagnostician, as he repeatedly emphasized in his letters: in case of illness, “I was the only one who was right.”

So, medicine for Chekhov is the focus of truth, and the truth about the most essential, about life and death, and the ability to create life in the most literal and, let’s say, miraculous sense. Is it worth looking for a more significant approximation to the ideal of Christ and doesn’t this force us to rethink the familiar idea of Chekhov as a non-religious person, for whom all that remains of religion is only the love of bell ringing (see, for example, M. Gromov: 4 , 168 and cf. his own idea that “medicine is perhaps the most atheistic of the natural sciences,” 4, 184). In the end, the biography of an artist is created by his works, which do not always coincide with his everyday appearance that is accessible (and most often completely inaccessible!) to us.

Chekhov's Christian feelings did not become the subject of widespread expressions in letters or diary entries, although in a number of cases one can see equally a cooling towards the faith or expressions of faith of the “fathers” (we mean the religiosity of his family), and dissatisfaction with the condition of a person losing contact with the church. But even in this case art world Chekhov cannot be understood outside of religion. (In parentheses, we note that this turn in the study of Chekhov is already present in modern literary criticism, and we will call the book by I.A. Esaulov “The Category of Conciliarity in Russian Literature”, 5.) Such works as “Tumbleweeds”, “Holy Night” , “Cossack”, “Student”, “At Christmastide”, “Bishop”, certainly speak about the depth of Chekhov’s religious experience. With our deeper understanding, we see that all of Chekhov’s work, at first, does not seem to contradict Christian spirituality, but in the end is the embodiment of precisely the gospel vision of man: erring, not recognizing Christ, awaiting revelation and judgment, often weak, vicious and sick. In this sense, the religious disorder of Chekhov himself turns out to be much closer to the gospel revelation than an open sermon on behalf of Christianity or the church. Is this why Chekhov so rejected Gogol’s “Selected Places...”? So in revealing the image of the doctor, the presence of Christ, it would seem, is not at all obvious, is not given as an open tendency, but this only convinces us of the secrecy of the most important features of the spiritual personality of the writer: what cannot be expressed in style and language of writing, seeks expressions in artistic imagery.

Let us first turn to the school textbook “Ionych”. At the end of the story, Chekhov compares Elder's appearance with the appearance of a pagan god: the red and plump Doctor Ionych and his likeness, the coachman Panteleimon, ride in a troika with bells. With its characteristic duality-polytheism, this comparison shows precisely the anti-Christian character of Startsev, immersed in everything earthly and physical, both in his appearance, in his abundance of money, real estate, and in his “enormous practice” as a doctor. It would be too crude a scheme for an artist to lead his hero from Christ to a pagan god. But that’s the point of the plot. It would also be untrue for its time to endow Startsev with Orthodox traits. Meaning, unlike plot and character, is created implicitly, by all the details of the context. Thus, in the beginning of the story, a symbolic date is given - the Feast of the Ascension, when Startsev meets the Turkins. By the way, we note that this is Chekhov’s favorite trait, and a very significant one, to date events according to church calendar(cf.: St. Nicholas Day, Easter, name day - both in letters and in literary texts). At this time, “works and loneliness” were the motive of Startsev’s ascetic life, which is why the festive mood was so vibrant. The scene in the cemetery is especially important in the story, when a deeply spiritualized perception of the world develops in Startsev’s mind, where death turns out to be a step into eternal life: “in every grave one feels the presence of a secret that promises a quiet, beautiful, eternal life” (8, 8, 327). Peace, humility, withered flowers, a starry sky, a church with a striking clock, a monument in the form of a chapel, an image of an angel - obvious details of the transition of life, time from mortal flesh to eternity. And we note that for Chekhov, eternal life is not only a part of religion, but also an ideal of medicine: this is how he talked about I.I. Mechnikov, who allowed the possibility of extending a person’s life to 200 years (8, 12, 759). Perhaps it is precisely with this side of Chekhov’s worldview that we need to connect the often repeated motif of a beautiful, distant, but achievable future: “We will live a long, long series of days, long evenings... and there beyond the grave... God will take pity on us and we will see a bright, beautiful life. We will hear the angels, we will see the whole sky in diamonds,” sounds in “Uncle Vanya” as if in response to the disappointment in the life of the doctor Astrov (8, 9, 332; cf.: “You have nothing to do in the world, You have no purpose in life,” 328). Medicine endlessly prolongs life, directed into eternity, an ideal that equally belongs to the religious and scientific consciousness. However, in Startsev’s mind the image of eternal life passes fleetingly (“At first, Startsev was struck by what he now saw for the first time in his life and what he would probably never see again”), quickly losing its depth and religious aspiration, and limited to the experiences of local, earthly existence: “How badly Mother Nature jokes about man, how offensive it is to realize this!” It seems that this is where the moment of spiritual breakdown in Ionych lies, and not in some fatal influence on him of the ordinary vulgarities of life. Turning away from the images of eternal life, Chekhov’s “materialist” doctor especially sharply plunges into the world of the flesh (“beautiful bodies”, beautiful women buried in graves, warmth and beauty leaving forever with death), no longer seeing anything beyond this shell of life. Hence Startsev’s seemingly unexpected thought in this episode: “Oh, there’s no need to gain weight!”

“Ionych” is a story about how a doctor refuses to feel the meaning of existence, if death puts a limit to life, the “beautiful body” becomes decay, but there is nothing in the world except physicality.

Such detachment from the eternal - let’s imagine a hypothetical “Christ” who would not lead to resurrection, but only treat illnesses well - leads the Chekhov doctor to suffering, his own illness-morbidity, and a craving for death. True, it would not be superfluous to note that Chekhov has a number of medical heroes who did not join the spiritual abysses at all, even as fleetingly as Startsev, the “abyss” of their field, for whom medicine does not outgrow a form of earnings (and a rather unscrupulous one: paramedic from “Ward No. 6”, “Rural Aesculapians”, “Surgery”, “Rothschild’s Violin”, etc.), which often has a satirical connotation: for example, in “The Cure for Binge”, healing without any spiritual abysses uses an excellent medicine - a cruel massacre , to which the human body is so responsive. In a number of works ("Lights", "Fit", "A Boring Story", "A Work of Art", etc.), the professional side of the medical heroes does not play any symbolic role at all, which only sets off significant images and which, probably, could not help but be, considering that Chekhov used the image of a doctor 386 times (3, 240). Perhaps, in this quantity, which is hardly amenable to exhaustive analysis, Chekhov developed all possible variations in the interpretation of the image, so that naturally he did not avoid the “neutral” option? As if on a par with other professions?.. Let us also note the image of the doctor from “Duel”, derived rather due to the parody genre of the story: the presence of a doctor in “Hero of Our Time” forced Samoilenko to be made a military doctor, and not just a colonel, which seems to be in line with Startsev , Ragina, Dymova, Astrov with some defiant absurdity, but among the heroes of “Duel” no other doctor emerges.

Let us return, however, to the works that reflect Chekhov’s medical credo. If for Startsev" living life" went from his “huge practice” into capital, into real estate, then in “Ward No. 6” medicine without the support of Christian values completely deprives a person, a doctor, of vitality, and a greater spiritual experience than Startsev does not allow him to be satisfied with anything ordinary.

Only at first it seems that the hospital gives the “impression of a menagerie” due to backwardness, lack of funds, and cultural decline. Gradually, the leading motive becomes the lack of faith, Grace, and perversion of the spirit. Chekhov will show both the sterility of materialism and the especially ugly features of a false or incomplete faith. So, for the crazy Jew Moiseika, praying to God means “tapping yourself on the chest with your fist and picking at the door with your finger”! Such a picture of insanity could be depicted by Chekhov so convincingly after a deep acquaintance with psychiatry and psychiatric hospitals (see: 8, 12, 168): according to some completely incredible associative series, prayer becomes “picking at doors.” And Chekhov admitted in a letter to his classmate at the Faculty of Medicine, the famous neuropathologist G.I. Rossolimo, that knowledge of medicine gave him accuracy in depicting the disease (8, 12, 356), we also note Chekhov’s reproaches to Leo Tolstoy related to erroneous ideas about the manifestation of the disease 8, 11, 409).

Turning to God becomes a meaningless habit that accompanies the most godless deeds. The soldier Nikita “calls God as a witness” and takes away the beggarly alms from Moiseika and again sends him to beg. Spiritual emptiness “tempers” the doctor, as Chekhov put it, and he is no longer “no different from a peasant who slaughters rams and calves and does not notice the blood” (8, 7, 127). This will be the relatively young doctor Khobotov, as well as the enterprising, fully practicing paramedic Sergei Sergeevich. In this paramedic, whose importance resembled a senator, Chekhov will note ostentatious piety and love of rituals. The reasoning of the paramedic is not much different from the appeals to God of the soldier Nikita, in the name of God, both of them only rob their neighbor: “We are sick and suffer need because we do not pray well to the merciful Lord. Yes!” (8, 7, 136).

In "Ward No. 6" Chekhov shows that a modern person cannot be given a religious feeling easily and without conflict. The doctor Andrei Efimovich Ragin in his youth was close to the church, devout and intended to enter the theological academy, but the trends of the times prevent religious formation, so Chekhov indicates in the text the exact date - 1863 - when Ragin, due to ridicule and categorical demands of his father, entered to the Faculty of Medicine, “he never took monastic vows.” The very bringing together of two fields - church and medicine - speaks volumes, including their incompatibility for a person of the 60-80s. Such inharmony is also expressed in Ragin’s external appearance, conveying the conflict between spirit and matter: rough appearance, riotous flesh (“reminiscent of an overfed, intemperate and tough innkeeper,” cf. Ionych) and obvious mental depression. The medical field deepens the duality in him, forcing him to abandon the main religious idea - the immortality of the soul: “Do you not believe in the immortality of the soul?” suddenly asks the postmaster. “No... I don’t believe and have no reason to believe.” The absence of immortality turns the life and profession of a doctor into a tragic delusion (“Life is an annoying trap”): why treat, what are the brilliant achievements of medicine for, if anyway “death comes to him - also against his will.” Thus, the hero’s spiritual state destroys not only his personality, but also his professional field, in which Chekhov deliberately outlines both his achievements and even his own “Chekhovian” quality - the talent of a faithful diagnostician.

Everything loses meaning in the face of death, and Ragin no longer sees the difference between a good clinic and a bad one, between home and “ward No. B,” freedom and prison. Everything that is sublime in a person only strengthens the impression of the tragic absurdity of existence, and medicine does not save, but only deceives people: “Twelve thousand incoming patients were admitted in the reporting year, which means, simply speaking, twelve thousand people were deceived. ... And why? prevent people from dying, if death is the normal and legitimate end of everyone?” (8, 7, 134). Chekhov also depicts a number of episodes full of actual church images - a service in a church, veneration of an icon - and shows that without a conscious, with a touch of philosophy and science, acceptance of basic religious principles, ritualism will turn out to be only a temporary tranquility, followed by melancholy and doom: “I don’t care, even if I go into a hole.”

So, as in “Ionych,” the consciousness of the physician leads to the depth of the experience of life and death, which does not enrich, but depresses the personality if the hero leaves the field of a powerful spiritual tradition. Ragin, unlike Startsev, completely rejects life, neglects matter itself, the flesh of the world, and ultimately fades into oblivion.

Next to Startsev and Ragin, the hero of the story "The Jumper" Osip Dymov may seem in an ideal way doctor Indeed, the first two heroes, each in their own way, turn away from medicine. Dymov is completely absorbed in science and practice. Here too, Chekhov especially emphasizes the doctor’s proximity to death, designating Dymov’s position as a dissector. Dymov is an example of medical dedication, he is on duty with the patient all day and night, works without rest, sleeps from 3 to 8, and accomplishes something truly significant in medical science. Even risks his life; like Bazarov, Chekhov's hero wounds himself during the autopsy, but, and this is symbolic, does not die (this is how the author will show a kind of victory over death). Even Dymov’s death will be caused by another, the most sublime reason, when he, as if sacrificing himself, cures a child (a very significant opposition - “corpse - child” - at the same time shows that death comes to Dymov from life itself, and not from mortal non-existence) . “Christ and sacrifice” - the analogy suggests itself, but... Chekhov obviously reduces this image. Dymov turns out to be almost helpless in everything that does not relate to his profession. I would like to recognize his extraordinary meekness, tolerance, and gentleness as a moral height, but Chekhov allows this to manifest itself in such comical episodes that it definitely speaks of a different author’s assessment (just remember the episode when “caviar, cheese and whitefish were eaten by two brunettes and a fat actor” ,7, 59). Even Dymov’s mental suffering is comically conveyed: “Eh, brother! Well, what! Play something sad” - and two doctors discordantly began to sing the song “Show me such a monastery where a Russian peasant would not moan.” Dymov’s indifferent attitude towards art is deliberately given: “I have no time to be interested in art.” This means that Chekhov expects something more from the doctor than Dymov contains; the author writes with greater interest about Ragin’s painful and decadent thoughts than about spiritual world Dymov, moreover, the tragedy of Dymov is shown precisely in the combination of the highest qualities with obvious spiritual underdevelopment. The author expects some kind of highest perfection from a doctor: yes, to endure, cure and sacrifice oneself, like Christ? But then preach like Christ, then again, like Christ, take care of the immortal soul, and not just the flesh. The context of the story, in Chekhov's style, intimately and impeccably accurately recreates this ideal, meaningful image of a doctor.

Immediately obvious is the contrast, in comparison with Dymov, in his wife’s passion for art, her exalted and ostentatious passion for any attributes of spirituality, craving for public recognition, and appeal to God. Without Dymov’s tenacity and some, albeit one-sided, but strength and depth, it looks ugly and vulgar, but, oddly enough, the “jumper” makes up for Dymov’s one-sidedness: he heals the body, saves for life, but does not heal the soul, as if he is evading Ragin's questions "why live?" - Olga Ivanovna, endowed with an absolutely false consciousness, on the contrary, is entirely focused on the spiritual. And above all, she is emphatically pious, and not ostentatiously and sincerely in her own way. It is she who is depicted in a state of prayer (an exceptional artistic device), she believes that she is “immortal and will never die,” she lives with purely spiritual ideas: beauty, freedom, talent, condemnation, curse, etc. - this series even seems unexpected for the characterization of Olga Ivanovna, because these ideas are most often extremely perverted, but - they are embedded in this image! Finally, just as Dymov “influences” the patient’s body, Olga Ivanovna thinks that she influences souls: “After all, she thought, he created this under her influence, and in general, thanks to her influence, he has changed greatly for the better” (8, 7, 67). It is interesting to compare Dymov and Olga Ivanovna in the episode of the Christian holiday: the second day of Trinity, Dymov goes to the dacha, incredibly tired after work, with one thought “to have dinner with his wife and go to bed” (8, 7, 57) - his wife is completely fascinated by the device wedding of a certain telegraph operator, in her mind - church, mass, wedding, etc., which unexpectedly gives rise to the question “what will I wear to church?” And yet, we recognize that in the consciousness of Olga Ivanovna the features of spirituality are fixed, although with an invariably false, frivolous connotation. Actually, “The Jumper” is built on the collision of the elements of a healthy body and perverted spirituality. So, to the breakthrough of O.I.’s repentance and suffering, albeit dark and infrequent, Dymov will calmly say: “What, mom? - Eat hazel grouse. You’re hungry, poor thing.” Dymov himself will suffer in secret, subtly avoid exacerbations (for example, “to give O.I. the opportunity to remain silent, that is, not to lie,” “8, 7, 66), but in the ideal of a doctor Chekhov sees complete spiritual experience, sophistication and activity, strengthened by strong faith, which Dymov will be deprived of. And only by sparing his hero, Chekhov will remove the title “Great Man” from the story.

Chekhov creates a situation that is surprisingly significant for our topic in the story “The Princess”: the doctor Mikhail Ivanovich is within the walls of the monastery, where he has a permanent practice. This rapprochement between the doctor and the clergyman also recalls the numerous representations of Chekhov himself in the image of a monk (see: 2, 236), letters with schematic names for himself (up to “St. Anthony”), frequent visits to monasteries (cf. in his father’s diary: Anton " was in David’s desert, struggling in fasting and labor”, 2, 474). And as a physician, the hero of “The Princess” is presented impeccably: “a doctor of medicine, a student at Moscow University, has earned the love of everyone a hundred miles around” (8, 6, 261), but he is assigned the expected role of an accuser and preacher. Let us also note in him the features of a churchgoer, an Orthodox person: appeals to the name of God, unconditional respect for the church and its servants, direct participation in the life of the monastery and a pronounced rapprochement with the monks (cf.: “together with the monks at the porch was and doctor,” 8, 6, 264), defense of Orthodoxy and denunciation of anti-Orthodox trends (spiritism) - it seemed that all the qualities that Dymov lacked, and in general a rare completeness of personality. But here we note once again that Chekhov depicts not the grace of spirit and faith itself, but the present-day reality of the Evangelical man, who is mistaken even when there are all the attributes of rightness (cf. the ministers of the Sanhedrin). So is Mikhail Ivanovich: in his moral denunciations of the princess one can see not only sincerity, but even rightness, there is knowledge of people, the ability to clearly expose, judge, and correct vices, as well as diseases of the body. But - at the same time, Chekhov emphasizes the cruelty and gracelessness of M.I.’s denunciation, including in the sharp contrast of his words with the grace of the Divine universe, the natural cosmos, as well as the actual grace-filled way and rhythm of monastic life: “The princess’s heart was beating terribly, in her ears were pounding, and it still seemed to her that the doctor was hitting her on the head with his hat" (8, 6, 261). The doctor’s denunciations turn into a kind of frenzy, a rapture of moral torment: “Go away!” she said to the crying voices, raising her hands up to shield her head from the doctor’s hat. “Go away!” “And how do you treat your employees!” continued the doctor is indignant..." (8, 6, 261). Only a complete seizure of his victim will suddenly force the doctor to suddenly stop: “I succumbed to an evil feeling and forgot myself. Is this bad? (8, 6, 263). It is clear that Chekhov’s doctor should not be as meekly indifferent to the soul of his neighbor as Dymov , and as furious as Mikhail Ivanovich. M.I. completely repents of his cruelty (“A bad, vengeful feeling”), and the princess, so cruelly denounced by him, in the end remained completely unshaken by his speeches (“How happy I am!” she whispered, closing her eyes. “How happy I am!”). So, in addition to the weakness and wrongness of M.I., Chekhov also emphasizes the futility of his preaching. Later, in the story “Gooseberry”, Chekhov will give the role of an accuser, and even calling for everything high (remember the image of the “man with a hammer”), albeit to a doctor, but a veterinary doctor - I.I. Chimshe-Himalayan, whose pathos also leaves his listeners indifferent. As we see, the ideal doctor becomes truly unattainable! But this will be a wrong opinion.

The ideal of a doctor will turn out to be much simpler, more accessible, closer to the soil, to everyday life. The doctor will not take on the overwhelming role of Christ, but will approach him, as if to the best of human ability, healing both the body and soul of his neighbor. It turns out that Chekhov’s high demands on the doctor will be completely satisfied by the plot of the story “A Case from Practice.”

Once again, the flavor of this story is connected with the Orthodox way of life: the doctor Korolev’s trip to the patient takes place on the eve of the holiday, when everyone is in the mood to “rest and, perhaps, pray” (8, 8, 339). Everything in the story is extremely ordinary: there is no bright search, no sharpened plot (such as betrayal in the family, love, an unfair act, etc.), there is not even a fatal patient (cf. the terminally ill child in “The Jumper”, “Enemies”, "Typhe") On the contrary, the patient “is all right, her nerves are gone.” Motives of the general disorder of existence, factory monotony, people and relationships mutilated by capital are only sketched in a distant background, but this is all the familiar earthly circle, and Chekhov clearly reduces the social pathos of Korolev’s observations, with one stroke transferring it into the eternal layers of religious metaphysics - a remark that would become in another stylistically with the most pathetic gesture: “the main one for whom everything is done here is the devil” (8, 8, 346). Chekhov recognizes who is the “prince of this world” and leads his hero away from a direct fight with the devil - to sympathy, compassion for his neighbor, whom the doctor will treat as an equal in himself, an equal in the common fate of humanity, without rising above his suffering “patient”. Thus, the “patient” Korolev will say: “I wanted to talk not with the doctor, but with a loved one” (8, 8, 348), which in the semantic context of the story sounds exactly like the motive of the merger of a physician and, say, “the closest one” in a doctor. from relatives (it is no coincidence that the contrasting alienation towards each other in the family and in the Lyalikovs’ house is shown, and the doctor makes up for this disorder). Korolev heals the soul not with reproof and is not even ready to preach (“How can I say it?” thought Korolev. “And is it necessary to say it?”), but sympathy and hope for future happiness (an analogue of immortality), expressed, as the author emphasizes, “in a roundabout way.” "(8, 8, 349), lead not so much to the resolution of the hardships of life, but to general peace, spiritual humility and at the same time spiritual mobility, growth: the "roundabout words" of the Korolev were a clear benefit for Liza, who finally looked "like festive,” and “it was as if she wanted to tell him something especially important.” Thus, according to Chekhov, the deepest healing of the soul is even inexpressible in words. The enlightened state of man and the world determines the festive ending of the story: “You could hear the larks singing and the church bells ringing.” Elevation of spirit also changes the gloomy picture of life: “Korolev no longer remembered either the workers, or the pile buildings, or the devil” (8, 8, 350), and isn’t this a real victory over the “prince of this world”, the only possible one, according to Chekhov? The doctor is not given the opportunity to achieve more than this tense and enlightened state; here is the highest level of approach of the “zemsky” - earthly doctor to the ideal of the healing Christ.

We do not undertake to unravel the mystery of the artist’s personal fate, but perhaps the combination of medicine and literature, so characteristic of Chekhov, was a kind of service to Christ: treatment of the body, treatment of the soul.

Indeed, even after Chekhov, professional doctors came to literature - right up to our contemporaries. But Chekhov will be a kind of completion of the development of the theme in line with Russian classics, saturated with the spirit of Orthodoxy. In other times - “other songs”. In this understanding, the path leading from the atheist Krupov to the Chekhovian ideal of the healer Christ is the path to the final and at the same time highest, overcoming contradictions and temptations, interpretation of the image of the doctor in the spirit of the Russian tradition.

Bibliography

1 Herzen A.I. Works in 9 volumes. M., 1955.

2 Gitovich N.I. Chronicle of the life and creativity of A.P. Chekhov. M., 1955.

3 Gromov M.P. A book about Chekhov. M., 1989.

4 Gromov M.P. Chekhov. Series "ZhZL". M., 1993.

6 Lermontov M.Yu. Complete collection essays. T. 4. M., 1948.

7 Turgenev I.S. Collected works in 12 volumes. T. 3. M., 1953.

8 Chekhov A.P. Collected works in 12 volumes. M., 1956.

Bibliography

To prepare this work, materials were used from the site http://www.portal-slovo.ru/

The image of a doctor in European literature. Doctors in works of literature

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