The Adventures of Julio Jurenito. Book The Extraordinary Adventures of Julio Jurenito read online

The extraordinary adventures of Julio Jurenito and his students Monsieur Dele, Karl Schmidt, Mr. Kuhl, Alexei Tishin, Ercole Bambucci, Ilya Ehrenburg and the black Aisha, in the days of Peace, war and revolution, in Paris, in Mexico, in Rome, in Senegal, in Kineshma , in Moscow and other places, as well as various opinions of the teacher about pipes, about death, about love, about freedom, about playing chess, about the Jewish tribe, about construction and much more.

Introduction

With the greatest excitement I begin work in which I see the purpose and justification of my wretched life, to describe the days and thoughts of Teacher Julio Jurenito. Overwhelmed by the kaleidoscopic abundance of events, my memory became prematurely decrepit; This was also due to insufficient nutrition, mainly the lack of sugar. With fear, I think that many of the Master’s stories and judgments are forever lost to me and the world. But his image is bright and alive. He stands before me, thin and fierce, in an orange vest, in an unforgettable tie with green specks, and grins quietly. Teacher, I will not betray you!

Sometimes I still write, out of inertia, poetry of average quality, and when asked about my profession, I shamelessly answer: “A writer.” But all this relates to everyday life: essentially, I long ago fell out of love and abandoned such an unproductive way of spending time. I would be very offended if anyone perceived this book as a novel, more or less entertaining. This would mean that I failed to complete the task given to me on the painful day of March 12, 1921, the day of the Master’s death. May my words be warm, like his hairy hands, lived-in, homely, like his vest that smelled of tobacco and sweat, on which little Aisha loved to cry, trembling with pain and anger, like his upper lip during tic attacks!

I call Julio Jurenito simply, almost familiarly, “Teacher,” although he never taught anyone anything; he had neither religious canons, nor ethical commandments, he did not even have a simple, seedy philosophical system. I will say more: poor and great, he did not have the pitiful income of an ordinary man in the street - he was a man without convictions. I know that in comparison with him, any deputy will seem like a model of steadfastness of ideas, any intendant will seem like the personification of honesty. Violating the prohibitions of all currently existing codes of ethics and law, Julio Jurenito did not justify this with any new religion or new world knowledge. Before all the courts of the world, including the revolutionary tribunal of the RSFSR and the marabout priest of Central Africa, the Teacher would appear as a traitor, a liar and the instigator of countless crimes. For who, if not the judges, should be good dogs, protecting the order and beauty of this world?

Julio Jurenito taught us to hate the present, and to make this hatred strong and hot, he opened before us, thrice astonished, the door leading to the great and inevitable tomorrow. Having learned about his affairs, many will say that he was only a provocateur. This is what wise philosophers and cheerful journalists called him during his lifetime. But the Teacher, without rejecting the venerable nickname, told them: “The provocateur is the great midwife of history. If you do not accept me, a provocateur with a peaceful smile and an eternal pen in my pocket, another one will come for caesarean section, and it will be bad for the earth.”

But his contemporaries do not want, cannot accept this righteous man without religion, a sage who did not study at the Faculty of Philosophy, an ascetic in a criminal robe. Why did the Teacher order me to write the book of his life? For a long time I languished with doubts, looking at honest intellectuals, whose old wisdom is aged, like French cheese, in the comfort of their offices with Tolstoy above the table, at these conceivable readers of my book. But this time my insidious memory helped me out. I remembered how the Teacher, pointing to a maple seed, said to me: “Yours, or rather, it flies not only into space, but also into time.” So, not for the spiritual heights, not for the chosen ones now, the barren and doomed, I write, but for the future lower reaches, for the land plowed not by this plow, on which his children, my brothers, will tumble in blissful idiocy.

Ilya Ehrenburg, 1921

Chapter one

My meeting with Julio Jurenito. – The Devil and the Dutch Pipe

On March 26, 1913, I sat, as always, in the Café Rotunda on the Boulevard Montparnasse, in front of a cup of long-drunk coffee, waiting in vain for someone who would free me by paying the patient waiter six sous. This method of feeding was discovered by me back in the winter and has proven itself brilliantly. Indeed, almost always, a quarter of an hour before the cafe closed, some unexpected liberator appeared - a French poetess, whose poems I translated into Russian, an Argentinean sculptor, who for some reason hoped through me to sell his works to “one of the Shchukin princes,” an unknown card sharper nationality, who won a considerable sum from my uncle in San Sebastian and obviously felt remorse; finally, my old nanny, who came with her gentlemen to Paris and ended up, probably due to the absent-mindedness of a policeman who did not notice the address, instead of the Russian church that is on the street I give it to you, in a cafe where Russian idiots were sitting. This last one, in addition to the canonical six sous, gave me a large roll and, moved, kissed my nose three times.

Perhaps as a result of these unexpected deliverances, or perhaps under the influence of other circumstances, such as chronic hunger, reading books by Leon Bloy and various love troubles, I was in a very mystical mood and saw in the most wretched phenomena some signs from above. The neighboring shops - colonial and green - seemed to me like circles of hell, and the mustachioed baker with a high chignon, a virtuous woman of about sixty, looked like a shameless ephebe. I unwrapped in detail an invitation to Paris for three thousand inquisitors for the public burning in the squares of all those who consumed aperitifs. Then he drank a glass of absinthe and, drunk, recited the poems of Saint Therese, proved to the accustomed innkeeper that Nostradamus had foreseen a nursery of deadly centipedes in the Rotunda, and at midnight he knocked in vain on the cast-iron gates of the Church of Saint-Germain-des-Prés. My days usually ended with my mistress, a Frenchwoman with a decent amount of experience, but a good Catholic, from whom I demanded, at the most inopportune moments, an explanation of the difference between the seven “deadly” sins and the seven “major” ones. So little by little time passed.

On a memorable evening, I was sitting in a dark corner of a cafe, sober and extremely calm. Next to me, a fat Spaniard was puffing, completely naked, and on his knees a breastless, bony girl was twittering, also naked, but in a wide hat that covered her face and in gilded shoes. All around, various more or less naked people were drinking mar and Calvados. This spectacle, quite common for the Rotunda, was explained by a costumed evening at the “neo-Scandinavian academy.” But to me, of course, all this seemed like a decisive mobilization of Beelzebub’s army directed against me. I made various body movements, as if swimming, to protect myself from the sweaty Spaniard and especially from the heavy thighs of the model pointed at me. In vain I looked in the cafe for the baker or anyone who could replace her, that is, the chief marshal and inspirer of this monstrous action.

The cafe door opened and a very ordinary gentleman in a bowler hat and a gray rubber raincoat slowly walked in. Only foreigners, artists and simply vagabonds, people of indecent appearance came to the “Rotunda”. Therefore, neither the Indian with chicken feathers on his head, nor my friend, a music hall drummer in a sand top hat, nor the little model, a mulatto in a bright cap of a man's cut, attracted the attention of visitors. But the gentleman in the bowler hat was such a curiosity that the entire Rotunda trembled, fell silent for a minute, and then burst out in a whisper of surprise and alarm. Only I understood everything at once. Indeed, it was worth taking a close look at the newcomer to understand the very specific purpose of both the mysterious bowler hat and the wide gray cloak. Above the temples, under the curls, steep horns clearly protruded, and the cloak tried in vain to cover the sharp, militantly raised tail.

Year of publication: 1921

Added: 12/31/2015

Ilya Grigorievich Erenburg (1891–1967) is one of the most popular Russian writers of the 20th century, an extremely complex and multifaceted figure. A well-known poet in his time, a talented translator, a subtle essayist, memoirist, the most famous publicist of the 30s and 40s, he was primarily an outstanding prose writer, the author of many bestsellers. Having passed the test of time, his first book “The Extraordinary Adventures of Julio Jurenito” and the novel that followed it “The Life and Death of Nikolai Kurbov” still sound fresh and original. It is not so easy to classify them into any specific novel category: lyrical satire, novels of adventure and picaresque, socio-psychological, parody, philosophical - all these definitions will be legitimate in their own way. But one way or another, eh modern reader will not be disappointed. A fascinating read awaits.

Introduction

Julio Jurenito taught us to hate the present, and to make this hatred strong and hot, he opened before us, thrice astonished, the door leading to the great and inevitable tomorrow. Having learned about his affairs, many will say that he was only a provocateur. This is what wise philosophers and cheerful journalists called him during his lifetime. But the Teacher, without rejecting the venerable nickname, told them: “The provocateur is the great midwife of history. If you do not accept me, a provocateur with a peaceful smile and an eternal pen in my pocket, another will come for a Caesarean section, and it will be bad for the earth.”

Ilya Ehrenburg, 1921

Chapter one.
My meeting with Julio Jurenito. – The Devil and the Dutch Pipe

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The Extraordinary Adventures of Julio Jurenito
“The extraordinary adventures of Julio Jurenito and his students: Monsieur Dele, Karl Schmidt, Mr. Kuhl, Alexei Tishin, Ercole Bambuchi, Ilya Erenburg and the Negro Aisha, in the days of Peace, war and revolution, in Paris, in Mexico, in Rome, in Senegal, in Kineshma, in Moscow and in other places, as well as various opinions of the teacher about pipes, about death, about love, about freedom, about playing chess, about the Jewish tribe, about construction and much more.”
First edition
Genre:

Original language:
Year of writing:	June-July 1921
Publication:	M.-Berlin: Helikon (Printed in Berlin), ; Preface N. Bukharin. - M.-Pg.: Gosizdat [Print. in M.], ; Preface N. Bukharin. - Ed. 2nd. - M.-L.: Gosizdat [Print. in M.], ; Preface N. Bukharin. - Ed. 3rd. - M.-L.: Gosizdat [Print. in M.], ; Complete collection works: [In 8 vols.] /Reg. artist N. Altman. -M.-L.: Land and factory [Print. in M.]. T. 1; Collected works: In 9 volumes / Commentary. A. Ushakova; Artist F. Zbarsky. - M.: Goslitizdat, . T. 1

"The Extraordinary Adventures of Julio Jurenito" (listen(inf.)) is a novel by Soviet writer Ilya Ehrenburg, published in 1922 and now considered one of his best books. Published with a foreword by Bukharin, it was an extraordinary success in the 1920s, in subsequent years it was seized and placed in a special storage facility, and was not republished until the 1960s.

Plot

The novel is written in the first person; Ilya Erenburg made himself the narrator, a poor Russian emigrant in Paris on March 26, 1913 on the eve of the First World War. Sitting in the Rotunda cafe on the Boulevard Montparnasse, he meets a demonic figure - Julio Jurenito, who takes him on as a student, then acquires new followers, engages in mysterious and fraudulent activities, travels across Europe and Africa, and ultimately ends up in revolutionary Russia, where on March 12, 1921 he dies in Konotop, bequeathing Ehrenburg to write his biography.

Characters

Julio Jurenito- "Teacher"

His students:

Ilya Erenburg, Russian Jew, devoted, enthusiastic and slightly naive follower
Mr. Cool, American entrepreneur who believes in the dollar and the Bible
Aishi, Senegalese black man, fight in the Majestic Hotel in Paris
Alexey Spiridonovich Tishin, Russian intellectual, originally from Yelets, reads Vladimir Solovyov
Ercole Bambucci, Italian slacker
Monsieur Dele, French entrepreneur, funeral master
Karl Schmidt, German student

These characters also appear in other works of the writer - Mr. Cool appears in “The Trust of D.E.”, Monsieur Delay - in “The Thirteen Pipes”.

Prototypes

Predictions

Mass extermination of Jews:

In the near future, ceremonial sessions for the destruction of the Jewish tribe will take place in Budapest, Kyiv, Jaffa, Algeria and many other places. The program will include, in addition to the traditional pogroms beloved by the respected public, also restoration in the spirit of the era: burning Jews, burying them alive in the ground, sprinkling fields with Jewish blood and new techniques, such as “evacuation”, “cleansing from suspicious elements”, etc. , etc. The place and time will be announced separately. Admission is free.

Nuclear weapons in Japan:

He placed all his hopes on the known effects of rays and on radium. (...) One day the Teacher came out to me cheerful and animated; Despite all the difficulties, he found a means that would greatly facilitate and speed up the destruction of humanity. (...) I know that he made the devices and left them for safekeeping with Mr. Cool. When a year later he finally wanted to use them, Mr. Kuhl began to delay the matter in every possible way, insisting that he had taken the devices to America, and that no one could be entrusted with bringing them, and so on. I believed that Mr. Kuhl was guided by financial considerations, but he once admitted that the Germans could be finished off with French bayonets, and that Jurenito’s tricks were better left for future use by the Japanese. Subsequently, circumstances turned out to be such that the Teacher never remembered this invention, but in any case - I know this for certain - the devices and explanatory notes are now in the hands of Mr. Cool.

German attitude towards the occupied lands:

We will soon have, for strategic reasons, to clear a fairly large piece of Picardy; it is possible that we will not return there, and it is already obvious that we will not annex it. Therefore, I am preparing the proper destruction of this area. A very painstaking task. It is necessary to study all the industries: in Ama, blow up the soap factory; Shawnee is famous for its pear trees - cut down the trees; There are excellent dairy farms near Saint-Quentenay - transfer the cattle to us and so on. We will leave bare ground. If this could be done all the way to Marseille and the Pyrenees, I would be happy...

History of writing and stylistic characteristics

As Ehrenburg writes in his memoirs, he developed the idea for the novel while he was in revolutionary Kyiv. He wrote the book in short order at the Belgian resort of De Panne.

The book consists of a preface and 35 chapters. The first 11 chapters are a collection of students and the Teacher’s discussions on various topics, the next 11 are their fates during the World War, then another 11 chapters are devoted to their fates in revolutionary Russia. The penultimate chapter is about the death of the Teacher; and the latter serves as an afterword.

The novel is a kind of parody of the Gospels: Jurenito is introduced as a Teacher, his followers become like apostles; his birthday is indicated - this is the feast of the Annunciation, his last name, like the nickname of Christ, begins with the letter “X”, he dies at the age of 33, exposing his head to bullets, Ehrenburg in this scene runs away in horror, and then compares himself with the one who renounced Peter. The author's presentation of the topic contributes to the impression - with reverence for Jurenito, interrupting events with parables.

In addition, elements of the Baroque style are noted (for example, a long title); as well as the obvious influence of picaresque romance.

Perception

Bibliography

Sergey Zemlyanoy. “Revolution and provocation. About Ilya Ehrenburg’s novel “Julio Jurenito.”
Kantor, Vladimir Karlovich. Metaphysics of the Jewish “no” in Ilya Ehrenburg’s novel “Julio Jurenito” / Russian-Jewish culture / Int. research center grew and Eastern European Jewishness; edited by O. V. Budnitsky (ed.), O. V. Belova, V. V. Mochalova. - M.: ROSSPEN, 2006. - 495 p. : l. color ill. ; 22 cm. - Tit. l., ref. paral. in English language - Decree. names: 484-492. - Bibliography in note at the end of Art. - 1000 copies. - ISBN 5-8243-0806-3 (translated)
D.D. Nikolaev. Woland against Julio Jurenito // Bulletin of Moscow State University. Philology. - 2006. - No. 5.

Like a lawless comet

In June-July 1921 in Belgium, in the town of La Panne, the Russian writer Ilya Ehrenburg wrote one of the greatest books of the twentieth century, where the title contained a not very hidden hooligan Russian obscenity: “The Extraordinary Adventures of Julio Jurenito and His Students.” This one is, let's say, Russian not giving a damn, based on the Mexican biography of the hero, seemed indeed to be an answer to the nightmares of war and revolution that stunned humanity. At first, the book was perceived as a rather cheerful satire - including on the already strengthened Soviet Russia, of course, and on the bourgeois West, which was eagerly discussed by well-wishers who pushed the book into the Soviet press - from Bukharin to Voronsky. The audience read the book and laughed. Highbrow and petty philological criticism perceived it sharply negatively, since all the laws of the genre were violated, moreover, it seemed (which aesthetes do not like in contemporaries) to be a serious conversation, and not just about life - about the destinies of humanity. How is this possible, they wondered, when all the great books have already been written, there is already the Bible, there is Nietzsche’s Zarathustra, there is Marx’s “Capital”. The book was asked to fit into this context, but one could not expect anything like this from the average poet and funny feuilletonist, especially since he did not even go through a good philological school.

And Yuri Tynyanov, assessing the modern literary process, did not spare sarcasm about Ehrenburg: “Ehrenburg is currently busy with the mass production of Western novels. His novel “The Extraordinary Adventures of Julio Jurenito” was an extraordinary success. The reader is somewhat tired of the incredible amount of bloodshed that took place in all the stories and stories, from heroes who think and think. Ehrenburg weakened the burden of “seriousness”; in his bloodsheds it was not blood that flowed, but feuilleton ink, and he gutted psychology from his heroes, filling them, however, to the brim with hastily made philosophy. Despite the fact that Ehrenburg’s philosophical system included Dostoevsky, Nietzsche, Claudel, Spengler, and in general all and sundry - and maybe that’s why - his hero became lighter than feathers, the hero became pure irony.<…>The result of all this was somewhat unexpected: the “Julio Jurenito” extract turned out to have a familiar taste - it smacked of “Tarzan.”

Particularly characteristic is the comparison of Ehrenburg’s book with Tarzan, in which today it is impossible to discern anything other than the desire to humiliate the writer. The Opoyazovites did not want to see the true modernity and timeliness of the novel; they were busy searching for philological subtleties, analyzing literary life and honestly adapting to the demands of the Soviet government (Viktor Shklovsky, or Nekrylov, as Veniamin Kaverin called him in his novel). In fact, Yevgeny Zamyatin, the author of the great dystopia “We,” who was very sensitive to the era and did not bend before it, answered Tynyanov: “Ehrenburg is perhaps the most modern of all Russian writers, internal and external.<…>There is someone's story about one young mother: she loved her unborn child so much, she wanted to see him as soon as possible, that, without waiting for nine months, she gave birth in six. This happened to Ehrenburg too. However, perhaps this is simply an instinct of self-preservation: if “Jurenito” had matured, the author probably would not have had the strength to give birth. But even so - with the fontanel not closed on the crown of the head, in some places not yet overgrown with skin - the novel is significant and original in Russian literature.

Perhaps the most original thing is that the novel is smart and Jurenito is smart. With few exceptions, Russian literature over the past decades has specialized in fools, idiots, dullards, blessed ones, and if they tried smart ones, it didn’t turn out smart. Ehrenburg succeeded. Other: irony. This is a European weapon, few of us know it; this is a sword, and we have a club, a whip.”

The irony was like a sword, but the swing was not for a duel. And to fight with the whole world. Novalis once exclaimed that the Bible is still being written and every book that penetrates deeply into the essence of the world is part of this book of books. And opponents, willy-nilly, did not accept precisely this universality of claims, coinciding, paradoxically, with the anti-Semitism of Russian writers of the pre-revolutionary and revolutionary years.

I’ll start, perhaps, with something as serious as Andrei Bely, who also claimed to have a symbolic comprehension of the world, and in the poem “First Date” (also, by the way, written in June 1921) even some prophecies:

The world was torn in Curie's experiments
An atomic, exploding bomb
On electronic jets
An unembodied hecatomb;
I am the son of ether, Man, -
I’m deviating from the supermundane path
With its ethereal purple
Behind the world is the world, behind the century is the century.

Note that we will not find a single soil image in these lines. But there are a lot of biblical themes and guesses, not to mention the orientation towards Western science. It is curious that it was precisely against the lack of rootedness, against “internationalism” in Russian literature that he wrote a real pogrom article, the meaning of which was essentially reproduced by the Opoyazovites: “The responsiveness of Jews to questions of art is undeniable; but, equally groundless in all areas of national Aryan art (Russian, French, German), Jews cannot be closely attached to one area; it is natural that they are equally interested in everything; but this interest cannot be the interest of a genuine understanding of the tasks of a given national culture, but is an indicator of an instinctive desire for processing, for the nationalization (Judaization) of these cultures (and, consequently, for the spiritual enslavement of the Aryans); and so the process of this instinctive and completely legal absorption of foreign cultures by Jews (by applying their stamp) is presented to us as some kind of desire for international art.” Tynianov's passage about the “mass production of Western novels” by Ehrenburg looks like some kind of illustration of this anti-Semitic trick by Bely. What he was ready to allow himself as a Russian writer, Bely did not want to tolerate in the work of writers who were Jews by blood, not even by culture, precisely because of their worldwide responsiveness, i.e. that trait that Dostoevsky so admired in Pushkin.

Contemporaries who described the Parisian Ehrenburg painted a classic portrait of a Jew: “I cannot imagine Montparnasse during the war without the figure of Ehrenburg,” wrote Maximilian Voloshin. - His appearance could not be more suitable for general character spiritual desolation. With a sickly, poorly shaven face, with large, overhanging, subtly squinting eyes, heavy Semitic lips, with very long and very straight hair hanging in awkward tufts, in a wide-brimmed felt hat standing up like a medieval cap, hunched over, with shoulders and legs , rolled inside, in a blue jacket sprinkled with dust, dandruff and tobacco ash, looking like a man “who has just washed the floor,” Ehrenburg is so “Left Bank” and “Montparnasse” that his very appearance in other quarters of Paris causes confusion and excitement passers-by." As we have seen, his first novel also caused literary turmoil.

The theme of Jewry is extremely abundant in Russian literature. From the proud and touching lines of Pushkin about Judith, Susanna Turgenev through the monstrous texts of Dostoevsky and Rozanov, demands for the universal sterilization of Jews (“ castration of all Jews") by the famous Orthodox philosopher Florensky to Chekhov's "Rothschild's Violin", Kuprin's "Gambrinus", Bunin's stunning cycle "Shadow of the Bird" about Judea. The same Bunin perfectly understood the role of the Jew in Russian culture as a scapegoat. In “Cursed Days” (1918) he wrote: “Of course, the Bolsheviks are a real “workers’ and peasants’ power.” She “fulfills the most cherished aspirations of the people.” And we already know what the “aspirations” of this “people” are, who are now called upon to rule the world, the course of all culture, law, honor, conscience, religion, art.<…>The left blames all the “excesses” of the revolution on the old regime, the Black Hundreds blame it on the Jews. But the people are not to blame! And the people themselves will subsequently blame everything on someone else - on the neighbor and on the Jew. “What about me? As Ilya, so am I. It was the Jews who put us up to this whole thing...”

The racism of the invective of the symbolist poet is obvious, for it is difficult to find a racially pure and “full-fledged” French writer(Proust, or what?) or even more so a Russian, if even Tolstoy attributed Jewish traits to Dostoevsky, Bulgarin reproached Pushkin with his Arab origin, which supposedly did not give him the opportunity to comprehend the “Russian spirit,” not to mention the poets of the early twentieth century - Balmont , Blok, Mandelstam, Pasternak, the great researcher of Russian literature Gershenzon, philosopher Shestov, Frank and others. Perhaps this anti-Semitism of the great symbolist expressed the rising spirit of the times. But it is interesting that Bely considered himself a follower of Vl. Solovyov, who before his death prayed for the “Jewish tribe.” In the memoirs of S.N. Trubetskoy about last days and watch V.S. Solovyov (recorded on the day of his death) tells how before his death in July 1900 he prayed for the Jewish people: “He prayed both in consciousness and in half-oblivion. Once he said to my wife: “Keep me from falling asleep, make me pray for the Jewish people, I need to pray for them,” and began to read a psalm loudly in Hebrew. Those who knew Vladimir Sergeevich and his deep love for the Jewish people will understand that these words were not nonsense."

In “A Brief Tale of the Antichrist,” Soloviev predicted that the 20th century would be a century of great wars, civil strife and coups, described the appearance of the Antichrist, as well as his extermination of the Jews, who, in response to his persecution, gather a multimillion-dollar army, defeat the troops of the Antichrist and take possession of Jerusalem. And then the enemies, writes Solovyov, “saw with amazement that the soul of Israel in its depths lives not by the calculations and lusts of Mamon, but by the power of heartfelt feeling - the hope and anger of its eternal messianic faith.” It is Jews, and not Christians, according to Solovyov, who defeat the Antichrist. The Antichrist, however, manages to escape from the circle of Jews surrounding him, after which he gathers an army of incredible size to give battle to the Jews. But then an earthquake occurs, under the Dead Sea, not far from which the army of the Antichrist is located, the crater of a huge volcano opens, which swallows up the Antichrist and his army. Thus came the predicted end of the world, in which, with the help of God, the Jews destroyed the enemy of the human race. After which there was a unity of all the faithful - Christians and Jews. But before the complete victory over the enemy of the human race, obviously, and Solovyov understood this very well, years of Antichrist victories and preventive destruction of his main enemy - the Jews - must pass.

Having assessed this prophetic background, we can move on to the theme of Ehrenburg’s novel.

Medium

In the same July 1921, when “Jurenito” was created, Ehrenburg wrote the following poetic lines:

I'm not a trumpet player - a trumpet. Blow, Time!
It is given to them to believe, to call me.
Everyone will hear, but who will appreciate
Why can even copper cry?

The position of a medium, a prophet through whom something is spoken. What? Future tense? Past? Not clear.

But Time was a trumpeter.
Not me, with a dry and hard hand
Turning over a heavy leaf,
Built hordes for the review of centuries
Blind hewers of the earth.

This book is already being written and is about to come to an end. He puts the date for writing the book at the end: “June-July 1921.” Writing something like this in two months was like completing some kind of higher task, although he himself called it an even shorter period: “I worked from morning until late at night in a small room with a window overlooking the sea. I wrote “Julio Jurenito” in one month, as if I was taking dictation. Sometimes my hand got tired, then I went to the sea.”

What did he do? We have already seen the first reactions of Russian readers. The novel was immediately translated in Germany, but even there its problematics seemed at first to be poorly digested by Nietzsche’s themes. In any case, I have heard such stories from modern German philologists. The situation began to change much later. And the point is not in Ehrenburg’s stunning journalism during the war years, not in his memoirs, which solved the cultural task - the great task - of raising the sunken continent of culture. It’s just time to put the book in a different row, without even paying attention to the writer’s other works. The Germans pair “Julio Jurenito” with “The Magic Mountain” by Thomas Mann, Russian researchers - with “The Master and Margarita” by Mich. Bulgakov, in which the irrational spirit of the 20th century and quite conscious parallels with the eternal book can be traced. If we talk about Bulgakov, then the phenomenon of Jurenito is quite comparable to the phenomenon of Woland, and stylistically the first acquaintance of the author-narrator and at the same time the hero is reminiscent of the acquaintance of the writer Maksudov with the publisher Rudolphi, whom he initially takes for the devil.

Ehrenburg understood that his book was not just untimely, as Gorky called his writings, imitating Nietzsche, it was simply from a different category, from a different spiritual series. I remember talking to an aspiring critic in my first year at university and telling him that I liked Jurenito. “I once liked it too,” he answered importantly, “but this is not literature. Literature is Chekhov, Yuri Kazakov, maybe Rasputin.” At first I was offended for Ehrenburg. Then I agreed. This is really not literature. But in the same sense as the literature “The Magic Mountain” by Thomas Mann, “The Poem about the Grand Inquisitor” by Dostoevsky, “Three Conversations” by Vl. Solovyova. What is this if not a novel? Let's just call this work a book. This is not low at all, if not too high. However, this is exactly what Ehrenburg himself called his text in one of his poems of the same year:

To whom will I convey the insights of this book?
My age among the growing waters
He won’t see the land any closer,
The olive branch will not understand.
A jealous morning rises over the world.
And these years are not to flog multilinguals,
But only the work of a bloody midwife,
She came to cut off the child from the mother.
So be it! From these loveless days
I throw a singing bridge into the centuries.

This is January or February 1921. This is how he marks the poem himself. The book hasn't been written yet. But it's all in my head. And when I started writing, it was as if I didn’t write it myself. He recalled: “I didn’t know how to write. There are many unnecessary episodes in the book, it is not planed, and every now and then there are clumsy turns of phrase. But I love this book." He could not help but love her, since he did not create her himself, but was only an intermediary, a medium of higher powers, which he could barely keep up with writing down. To whom did he give it? I didn't know myself. He lived a long life, and new generations did not even suspect the existence of this book: “For young readers, I, as a writer, was born during the Second World War,” he complained in his memoirs. “It’s mostly pensioners who remember Jurenito, but it’s dear to me: in it I expressed a lot of things that determined not only my literary path, but also my life.” Of course, this book contains a lot of nonsense judgments and naive paradoxes; I kept trying to discern the future; I saw one thing, I was wrong about the other. But overall, this is a book that I will not refuse." He, of course, was fiddling and cunning, but he really wanted to bring the forbidden text back to life, citing the fact that Lenin had read the book (judging by Krupskaya’s memoirs) and liked it. So, resorting to various subterfuges, Ehrenburg still managed to re-publish it during his lifetime, however, sacrificing the chapter on Lenin as the Grand Inquisitor. Which gave subsequent truth-loving readers the basis to look for this particular chapter, to make it representative of the entire text. Even Ben, who is in love with Ehrenburg. It is through this chapter that Sarnov reads Jurenito. It seems that the questions posed there are more serious. I would say metaphysical. It is unlikely that the unknown force that guided Ehrenburg’s hand cared only about exposing the leader of the world proletariat.

Neither God nor devil

Dostoevsky argued more than once that one can believe in the devil without believing in God. Both Stavrogin and Ivan Karamazov talk about this. Then Nietzsche declared that God was dead. But this pleased him, since the empty place was to be filled by a superman, or, more precisely, what Nietzsche himself did not hide, the Antichrist. However, as Martin Heidegger was able to convincingly prove, the death of God does not mean at all that someone will be able to occupy this seemingly vacant place. Nothing like that, and all the horror of the new world, that there is no God in it, and therefore no one knows how to live. Not only moral guidelines have been lost, but also a certain spiritual space that brought a person out of an animal state. Therefore, the rejoicing of the French and subsequent materialists about how great it is to live on a godless land, obviously, turned out to be somewhat premature. The First World War and then the revolution in Russia showed this. What happens in this case to the world? It must be said that the new circumstance (“the absence of God,” in Heidegger’s words) was not immediately comprehended, for the priests served the warring parties, the Bolsheviks shot the priests, fighting the Church as an essential enemy. And the horror was that only masks remained, behind which there was emptiness, temporarily filled with infernal energies.

Everyone in Russia was waiting for the devil, they wrote about this more than once, especially Bulgakov, who painted Soviet Russia as the diocese of the devil. All this is a traditional Christian, or even Manichaean, scheme: evil and good. Ehrenburg offers something completely different: non-existence, nothingness. This was perceived as a joke, which was based on the ironic text of the treatise novel. But Ehrenburg shows the relativity of the entire system of values - both old and new. He, like Einstein, looked at the world from the point of view of another universe.

“I was expecting quick reprisals, ridicule, maybe traditional claws, or maybe, more simply, an imperative invitation to follow him in a taxi. But the tormentor showed rare restraint. He sat down at the next table and, without looking at me, unfolded the evening newspaper. Finally, turning to me, he opened his mouth. I got up. But what followed was something completely unimaginable. Quietly, even somehow lazily, he called the waiter: “A glass of beer!” - and a minute later a narrow glass was foaming on his table. The devil drinks beer! I could not bear this and politely, but at the same time excitedly, told him: “You are waiting in vain. I'm ready. At your service. Here is my passport, a book of poems, two photographs, body and soul. We’re obviously going to go in a car?..” I repeat, I tried to speak calmly and matter-of-factly, as if it wasn’t about my end, because I immediately noted that my character was of a phlegmatic temperament.

Now, remembering this distant evening, which was for me the path to Damascus, I bow before the clear-sightedness of the Teacher. In response to my vague speeches, Julio Jurenito did not lose his head, did not call the waiter, did not leave - no, quietly, looking into my eyes, he said: “I know who you take me for. But he’s not there.” These words, which were not too different from the usual instructions of the doctor who treated me on nervous diseases, nevertheless seemed to me revelation(emphasis mine. - V.K.) - wondrous and vile. My entire harmonious building was collapsing, because outside the devil the “Rotunda”, and I, and the good that existed somewhere were unthinkable” (223).

Ehrenburg describes himself as weak, petty, etc., he draws his hero through his biography. It doesn’t matter what kind of Jew, it matters that he’s a Jew. He is both an author and a hero, this is essential. Because among Jurenito’s seven students there are all people of different cultural and national mentalities: a German, a Frenchman, an Italian, a Russian, a rather abstract black man, an American and a Jew. Except for the Jew, everyone is quite conventional and literary, although bright and impressive. But you understand that all of them are not seen from the inside. The image of a Jew could even look dubious; there are too many connotations associated with it. However, the hero's biography makes this image quite believable and artistically more alive than other characters. Zamyatin noted this, as always laconically, but precisely: “In Jurenito, the method of introducing the author into the number is very successful. characters» .

Only the Jew Ehrenburg understands that he comes into contact with the Teacher, penetrating with his mind through time and space, only he calls himself a student: for Mr. Cool he is a guide, for Monsieur Dele he is a companion, for Ercole Bambuchi Jurenito is a rich man who hired Ercole as a guide, and etc. And only the Jew Ehrenburg calls himself a Student: “I will be your student, faithful and diligent” (226). He is given the insight into the highest meaning. So the twelve Galilean fishermen suddenly called themselves disciples of the One at Whom the crowd laughed, sensing his otherworldliness. But Jurenito is different. The Teacher thought in terms of centuries, nations, not today and not tomorrow, but did not consider himself a Savior at all. He didn’t count it, because the highest floor of the universe seemed empty to him, otherwise this world wouldn’t be so meaningless.

We all remember the terrible accusations brought against God by Job, then repeated by Ivan Karamazov. Jurenito was depressed by the meaninglessness of all world events; they could be monstrous, terrible, funny and absurd, a leapfrog of wars and revolutions, but he did not see a higher meaning in them. He came to testify to the disappearance of the transcendental principle in the world. This is still something other than Nietzsche's assertion that God is dead. There was no God, but the world is full of illusions, beliefs, ideologies with which humanity shields itself from the horror of existence in order to somehow embrace its own piece of the universe. But the fact is that this comfort is sometimes fraught with world horror.

Let us not forget that the coming century was called the century ideocracies, which structured totalitarian systems, defining the value guidelines of new despotisms. Is theology possible after Auschwitz? - Western thinkers and theologians asked the question. There were answers, but Ivan Karamazov’s questions remained unanswered. Moreover, they became poetically intensified. On the horror of World War II, there was a curse on God's world from the Russian poetess Marina Tsvetaeva.

Oh black mountain
Eclipsed - the whole world!
It's time - it's time - it's time
Return the ticket to the creator.

…………………………..
To your crazy world
There is only one answer - refusal.
(March 15 - May 11, 1939)

It is to this world that Ehrenburg tried to contrast a different understanding - the tragic escheat of ideas and ideologies for which one does not need to die, much less blame God for something he did not do. In fact, Ehrenburg proposed an amazing theodicy, justifying God by the fact that he does not exist. As I already mentioned, Ehrenburg was accused of following Nietzsche by both German and Russian literary scholars. It would seem that Heidegger showed the futility of the superman’s attempts to take the place of God, but “Jurenito” is still persistently trying to match “Zarathustra”. Although, unlike the vaguely defined listeners of Zarathustra, Jurenito's students represent completely different cultures, even races. And this is very important for Ehrenburg - to present all cultures in one system and laugh at their imaginary contradictions, which sometimes lead to serious bloodshed. Only he is not looking for sacred meaning in this; on the contrary, he is sadly ironic. And then we will see that Ehrenburg fully continues the biblical tradition of accepting what is alien. In the book of Leviticus, for example, goodwill towards strangers is commanded: “When a stranger settles in your land, do not oppress him. Let the stranger who settles with you be the same as your native; love him as you love yourself; for you also were strangers in the land of Egypt" ( Lev 19:33–34). We are not talking here about love for enemies, but about love for non-tribesmen, strangers who become neighbors or household members.

The idea of Ehrenburg imitating Nietzsche returned to Russian thought in a paradoxical essay by the postmodernist publicist from the third wave of emigrants Boris Paramonov: “Nietzsche. We have already said that Zarathustra can be considered the literary ancestor of Jurenito: the very type of paradoxical sage is taken, the novel does not exist outside of Jurenito’s monologues, it boils down to them.”

Obviously, you can look further afield for your ancestors: these are the sages and prophets of the Bible (both the Old and New Testaments), the travesty imitation of which is the whole of Nietzsche, unable to get out of the biblical paradigm even in his Antichrist, where he accuses the Jews of having overcome in Christianity the cultures of other peoples. However, it is clear even without Nietzsche that Christianity is a supranational idea. And we see in the novel how each of Jurenito’s students holds on to their national values, defending them to the point of bloodshed, with the exception of the Jew Ehrenburg. It is no coincidence that long before Stalin, the Russian philosopher Vasily Rozanov called the Jews cosmopolitans. But if we look even further, we understand that this is the self-name of the Cynics (Diogenes), coming from Ancient Greece, the early Christians very willingly applied to themselves.

Strictly speaking, the Teacher in Ehrenburg’s novel is not that against God, he simply states the absence of this idea in contemporary European culture. Meanwhile, Jurenito himself - and here I see one of the novel's mysteries - lives completely in a transcendental dimension. It is into this dimension that the hero of the novel, the Jew Ehrenburg, is drawn.

Predictions, they are also historical statements

The extermination of Jews during the revolution and Civil War has assumed monstrous proportions in Russia, Ukraine, and Poland. These facts, historical, statistical, etc., are incredible in number. Let me quote a few lines from work of art, written, of course, by a Jew, but by a Jew who went through the entire Civil War and wrote another biblical book about the life of Jews in the Diaspora. I mean Isaac Babel.

In the story "Zamosc" from "Cavalry" a good-natured Red Army man talks with the narrator in scary night, when the groans of Jews being killed by the Poles are heard from afar: “The man made me light a cigarette from his light.

“The Jew is to blame for everyone,” he said, “both ours and yours.” After the war, only the smallest number of them will remain. How many Jews are there in the world?

“Ten millions,” I answered and began to bridle the horse.

There will be two hundred thousand of them left! - the man cried and touched me by the hand, afraid that I would leave. But I climbed onto the saddle and galloped to the place where the headquarters was.”

In Soviet Russia they hoped that headquarters will save. But the cultural West? Nothing like that could have happened there at all. The fires of the Inquisition, the expulsion of Jews from England and Spain seemed such a distant past! This was an almost universal belief: “The Protocols of the Elders of Zion”, written in Russia, anti-Semitic books and magazines in Germany, published, as a rule, by immigrants from Eastern Europe and the Baltic states, even the Dreyfus affair, condemned by all Western intellectuals, looked like an unfortunate accident, without which indispensable in the era of liberalism and freedom of speech. Banning them would violate the basic principle of European freedom.

And suddenly Jurenito performs a strange experiment. The situation is described in a primitively simple way:

“Talking peacefully, we waited for the Teacher, who was having lunch with some large quartermaster. Soon he came and, having hidden a bundle of documents crumpled in his pocket in a small safe, he cheerfully told us:

“I worked hard today. Things are going well. Now you can relax a bit and chat. Just earlier, so as not to forget, I will prepare the text of the invitations, and you, Alexey Spiridonovich, will take them to the Union printing house tomorrow.

Five minutes later he showed us the following:

In the near future there will be
ceremonial sessions

destruction of the Jewish tribe
in Budapest, Kyiv, Jaffa, Algeria
and in many other places.

The program will include, in addition to the beloved dear
public of traditional pogroms, restored in the spirit
era: burning of Jews, burying them alive in the ground,spraying fields with Jewish blood, as well as new
methods of “evacuation”, “cleansing from suspicious
elements”, etc., etc.

You are invited
cardinals, bishops, archimandrites, English lords,
Romanian boyars, Russian liberals, French
journalists, members of the Hohenzollern family, Greeks
without distinction of rank and everyone.
The place and time will be announced separately.

Admission is free.

"Teacher! - Alexey Spiridonovich exclaimed in horror. - This is unthinkable! The twentieth century, and such vileness! How can I take this to “Union” - I, who read Merezhkovsky? ”(p. 296).

Next, the Teacher pronounces a long list historical events which led to the total extermination of the Jews. He accompanies the description of each of the events with mocking irony addressed to the liberals and humanists of that time. I’ll give one at random: “In southern Italy, during earthquakes, they first ran away to the north, then carefully, in single file, they walked back to see if the earth was still shaking. The Jews also ran away and also returned home, behind everyone else. Of course, the earth shook either because the Jews wanted it, or because the earth did not want the Jews. In both cases, it was useful to bury individual representatives of this tribe alive, which was done. What did the advanced people say?.. Oh yes, they were very afraid that those buried would completely shake the earth.” Each time, this destruction contributed to the unity of a certain national tribe and the strengthening of despotic rule within it, which grew out of the fight against the “common enemy - the Jew.” It is no coincidence that Hannah Arendt persistently emphasizes in her major study on totalitarianism that the harbinger of totalitarianism is certainly anti-Semitism.

Why are Jews alien to the world?

As we see, Nietzsche is talking about overcoming the non-existence into which other nations tried to drive the Jews, and about the victory of the Jews in this struggle. Ehrenburg is talking about something else. About why Jews were able to overcome these private and local cultures. For both Christianity and Marxism, according to Ehrenburg’s logic, have a common root in Judaism. And it can hardly be called a provocation to bring every idea to its logical conclusion - a technique that Jurenito constantly resorts to. And in this he is a complete ally of his student Ehrenburg.

“Teacher,” objected Alexey Spiridonovich, “aren’t Jews the same people as us?”

(While Jurenito was making his “excursion,” Tishin sighed long, wiped his eyes with a handkerchief, but just in case, he moved away from me.)

"Of course not! Are a soccer ball and a bomb the same thing? Or do you think a tree and an ax can be brothers? You can love or hate Jews, look at them with horror, as arsonists, or with hope, as saviors, but their blood is not yours and their cause is not yours. Don't you understand? Don't you want to believe? Okay, I'll try to explain it to you more clearly. The evening is quiet, not hot, over a glass of this light Vouvray I will entertain you with a child's game. Tell me, my friends, if you were offered to leave one word out of the entire human language, namely “yes” or “no”, eliminating the rest, which one would you prefer?” (p. 298).

There is a well-established opinion that a Jew “will always get settled in life.” Moreover, it is precisely the subjugation of the world for themselves and their own convenience that is supposedly the essential task of the Jews, which is why they are so scattered, like the Eternal Jews, throughout all the countries of the world in order to master them for their fellow tribesmen. In the “Protocols of the Elders of Zion,” which appeared in Russia at the beginning of the century, the most important theme, or rather the legend, about the great Jewish conspiracy to conquer world domination should be highlighted as the most important. The topic is old, the legend is old, but it became very relevant precisely at the beginning of the twentieth century - the century of the creation of powerful totalitarian structures that not only claimed, but actually tried in practice to realize their claims to world domination. Hannah Arendt, for example, wrote about this, citing Bolshevik and Nazi sources: “Totalitarian governments strive for global conquest and the subjugation of all peoples of the earth to their domination.<…>The decisive thing here is that totalitarian regimes really build their foreign policy based on the consistent premise that they will eventually achieve their ultimate goal." One of the arguments of totalitarianism is opposition to the world Jewish conspiracy. Ehrenburg accepts the idea that jews against the world, but gives this a completely different - metaphysical - interpretation. It is interesting that totalitarian regimes, like Jurenito, believe that there is no God, but therefore they build the Tower of Babel, the kingdom of the Grand Inquisitor, forcing all people to bless the world around them.

When all of Jurenito’s students accepted “yes” as the basis of their worldview, the cowardly Jew Ehrenburg says something completely unexpected. I would like to quote this episode almost in full:

“Why are you silent?” - the Teacher asked me. I didn’t answer earlier, for fear of annoying him and my friends. “Master, I won’t lie to you - I would leave a “no.”<…>Of course, as my great-great-great-grandfather, the wise man Solomon, said: “A time to gather stones and a time to throw them.” But I am a simple person, I have one face, not two. Someone will probably have to collect it, maybe Schmidt. In the meantime, not out of originality, but out of a clear conscience, I must say: “Destroy “yes”, destroy everything in the world, and then of course only “no” will remain!”

While I was speaking, all the friends who were sitting next to me on the sofa moved to another corner. I was left alone. The teacher turned to Alexey Spiridonovich:

“Now you see that I was right. A natural division occurred. Our Jew was left alone. You can destroy the entire ghetto, erase all the Pale of Settlement, tear down all the borders, but nothing can fill these five arshins that separate you from it. We are all Robinsons, or, if you like, convicts, then it’s a matter of character. One tames a spider, studies Sanskrit, and lovingly sweeps the cell floor. Another hits the wall with his head - a bump, another bang - another bump, and so on; What is stronger - the head or the wall? The Greeks came and looked around - maybe there were better apartments, without disease, without death, without pain, for example Olympus. But there's nothing you can do - you have to settle into this one. And to be in a good mood, it is best to declare various inconveniences - including death (which cannot be changed anyway) - as the greatest blessings. The Jews came and immediately hit the wall! “Why is it done this way? Here are two people, if only they were equal. But no: Jacob is in favor, and Esau is in the background. The undermining of earth and heaven, Jehovah and kings, Babylon and Rome begins. The ragamuffins who spend the night on the steps of the temple - the Essenes are working: like explosives in cauldrons, they are mixing a new religion of justice and poverty. Now indestructible Rome will fly! And against the splendor, against the wisdom of the ancient world, the poor, ignorant, stupid sectarians come out. Rome is shaking. The Jew Paul defeated Marcus Aurelius!

Here we will interrupt Jurenito's speech for a moment. He expresses the idea that many writers and philosophers are trying to formulate in one way or another: why Jews overcome the temporary limitations of all those cultures that they had to encounter and survive them. Why are they always among those dissatisfied with the existing order of the world? Genetic memory of paradise? May be. Therefore, they strive to convince other peoples that there is no need to idolize this moment. I will refer to a remarkable thinker who wrote completely independently of Ehrenburg: “Jews, by their very existence, protect peoples from a relapse into tranquil self-adoration.<…>Performing such a function for thousands of years may seem like nothing.<…>But this is exactly what Jews do all the time. They exist and by their existence remind non-Jews of their inferiority, of the incompleteness of their journey.” The fact is that this overcoming of historical limitations is both the weakness and the strength of the Jewish tribe. That is why it is so opposite, essentially incapable of completely surrendering to any political idea. Philosophical - of course, but not political. The Trotskys always lose to the Stalins, because, according to the thinker just mentioned, the ruler who gives his name to a moment in history must be completely absorbed by this moment. He must dive into the waves of this moment and become indistinguishable from it more than any other person. For the designation of an era is the business of the ruler, and he appears on the stamps or coins of his country. Government, insofar as it personifies an era, is always opposed to the actions of Eternity. A Jew is incapable of this. I will continue quoting Rosenstock-Hüssy: “The pagan leader is a servant of time. A Jew can never “believe” in Time, he believes in Eternity.”

Let's continue reading Jurenito's speech, which shows the reason why people, as a rule, strive to live in time and not in eternity: “But ordinary people, who prefer a cozy house to dynamite, are beginning to settle down new faith, settle down in this naked hut in a good, homely way. Christianity is no longer a battering machine, but a new fortress; terrible, naked, destructive justice is replaced by human, convenient, gutta-percha mercy. Rome and the world survived. But, seeing this, the Jewish tribe renounced their cub and began to dig again. Even somewhere in Melbourne now he sits alone and quietly digs in his thoughts. And again they knead something in cauldrons, and again they prepare a new faith, a new truth. And forty years ago, the gardens of Versailles were hit by the first attacks of fever, just like the gardens of Hadrian. And Rome boasts of wisdom, Seneca’s books are written, brave cohorts are ready. He is trembling again, “indestructible Rome”!

The Jews were carrying a new baby. You will see his wild eyes, red hair and arms strong as steel. Having given birth, Jews are ready to die. A heroic gesture - “there are no more peoples, there are no more us, but all of us!” Oh, naive, incorrigible sectarians! They will take your child, wash him, dress him up - and he will be just like Schmidt. They will say “justice” again, but they will replace it with expediency. And will you leave again to hate and wait, break the wall and moan “how long”?

I will answer - until the days of your and our madness, until the days of infancy, until distant days. In the meantime, this tribe will be bleeding on the squares of Europe, giving birth to another child who will betray him.

But how can I not love this spade in a thousand-year-old hand? They dig graves for them, but is it not for them that they dig up the field? Jewish blood will be shed, the invited guests will applaud, but according to ancient whispers, it will poison the earth more bitterly. The great medicine of the world!..”

And, coming up to me, the Teacher kissed me on the forehead.”

A little later, the Teacher kisses the Grand Inquisitor - Lenin, explaining his act by imitation of similar actions of the heroes of Russian novels. The kiss with which he kisses the Jew Ehrenburg means only one thing: their spiritual kinship, the mysterious Mexican’s complete acceptance of the pathos of Jewry.

The phrases uttered by Jurenito can be reduced to all the well-known philo-Semitic platitudes, but here these platitudes are overcome by an extremely powerful idea, which I would like to discuss.

“No” as a step towards transcendence

This is already something different than Karamazov’s rejection of the world. “I need retribution... and retribution not in infinity somewhere and someday, but here, already on earth, and so that I can see it myself. I believed, I want to see for myself... I want to see with my own eyes how the doe will lie down next to the lion and how the slaughtered one will get up and embrace the one who killed him. I want to be here when everyone suddenly finds out why it all happened. All religions on earth are based on this desire, and I believe.” Ivan Karamazov demands the fulfillment of all eschatological aspirations in this world, which is why he has a project of theocracy, which puts worldly life under the power of the Church, even if it has forgotten about God, but wipes away every tear of a child. For Ivan, some kind of reward from beyond the grave is not enough; he wants harmony and happiness for all people already here on earth.

Since there is no harmony, he returns his ticket to God. Ehrenburg says something completely different. Ivan does not accept the earthly world, because evil reigns in it. Ehrenburg does not accept this world, even if it is prosperous, simply because it is devoid of a higher meaning, for the national egoism of every people settled on Earth, for the fact that they are satisfied with themselves and cannot approach themselves with the word “no”. Of course, each nation has absorbed its own dose of Christian truth or what it considered to be such. And he even fulfills the necessary commandments to the best of his ability. But there is no us, all of us! Judaism, despite the nationalism of Judaism, endlessly gives birth to supranational ideologies, because the God originally born by them was understood by them as the God of all nations. This is a people who deny tribal gods, but create a common God who has his kingdom in another world. It is precisely this circumstance that gives the Jews the basis for opposing the modern world. And their chosenness by God means only a terrible responsibility before God, who is harsh towards the chosen ones (the flood, Sodom and Gomorrah), but also the hatred of other peoples, devoted to the immediate, and therefore hating the Jews for their existence in Eternity. Existence in Eternity, despite the constant destruction of this tribe in each specific historical period of time. Marina Tsvetaeva saw this brilliant quality of the Jewish tribe, perhaps not without the influence of Ehrenburg’s book.

“Poem of the End”, chapter 12.

Out of town! Understand? For!
Out! Crossed the shaft.
Life is a place where you can't live:
Ev- Reyskiy quarter.

So isn’t it a hundred times more worthy
Become the Eternal Jew?
For for everyone who is not a reptile,
Ev- Reyskiy pogrom-

Life. Only by crossings is she alive!
Judas ver!
To the leper islands!
To hell! Everywhere! But not in

Life only endures crosses, only
Sheep - executioner!
Your residence permit sheet
But- I'm trampling on the bastards!

I'm trampling! For David's shield -
Revenge! - Bodies in a mess!
Well, is it intoxicating that a Jew
Live- didn't want to?!

Ghetto of chosen ones! Shaft and ditch:
By- don't expect mercy!
In this most Christian of worlds
Poets- Jews!

1924 (Prague)

This is the level to which the chosen ones of all nations rise. This is what Marina Tsvetaeva’s lines are about, which are marked with the year of death of Franz Kafka, who also saw, ahead of his time, the coming “noness of God” and the horror of the impersonality that was advancing on the world, claiming to replace God. Life in this world is a path of “crossings,” i.e. who gave up human freedom to adapt to the world. The path of the poet is also “no” to the modern world, it is the path to destruction, therefore poets are “Jews”. For rejection modern world, hidden under humiliated smiles, greasy lapserdak, the world, feeling this Jewish contempt for this world, hates so much, builds a ghetto, which it then destroys, spreading myths about the desire of the Jews to seize power over the universe. But in fact, this is different - it is a rejection of “Euclidean geometry”.

In my novel “The Fortress” (Chapter 7), the hero discusses this topic. I will present these arguments so as not to retell or multiply the essence, and we will attribute some possible inaccuracy to the fact that the work is artistic and not scientific:

«- Historical paradox The point is that the people who gave Christianity to the world, who brought the ideas of humanism into the world, again gave people, in their strength and passion, equal to the biblical prophets and evangelical apostles, who were among the destroyers of Christianity. But this paradox may not even be historical, but mystical, and is still incomprehensible to us. Do you remember that Ivan Karamazov said that with his Euclidean mind he was unable to understand non-Euclidean logic and the wisdom of Holy Scripture?..

That is? - It’s clear that Lina asked, trying to understand.

I mean that this tribe, I don’t know, chosen by God or the Devil, or maybe by aliens, maybe they themselves are aliens, works on transcendental ideas, dragging humanity along with them from the peaceful comfort of a semi-animal life, or even straight from a cannibalistic one, barbaric - into the rarefied heights of the spirit, where a person becomes a person, free and independent. And they, representatives of this tribe, involved and drew all of humanity into their spiritual strife. Never have disputes between Kantians and Hegelians become as acute as between Christians, Marxists, Freudians, Trotskyists, Leninists... It was as if they were not arguing about ideas, but about the very essence of life, and they were paying with their lives for these ideas.”

In an episode of conversation not included in this edition, the hero remarks: “If I name the name of another brilliant Jew - Albert Einstein, who also overcame the earthly physics of Newton, then before us there are two points, or even three, if we remember the Bible, allowing us to draw a straight line the line on which the works of the Jewish sages are immediately located; their row allows one to catch a certain pattern.” This straight line can be expressed by this word “no” in relation to the earthly world. Ehrenburg’s “no” seems to be close to returning the ticket to God from Ivan Karamazov, but in essence it is different. I repeat: this “no” also refuses a well-ordered world order if it is devoid of transcendental spirituality.

And, it must be said, this “no”, addressed to the Euclidean geometry of organizing one’s own home, is based on classical episodes of Jewish history. Everyone can take their own starting point. This is how I take the Exodus from Egypt. At some point, “all the congregation of the children of Israel murmured against Moses and Aaron in the wilderness, and the children of Israel said to them: Oh, that we had died by the hand of the Lord in the land of Egypt, when we sat by the meat pots, when we ate bread to the full ! ( Ex 16, 2-3). Then there was a murmur about thirst, then they actually built the golden calf, without seeing Moses ascending Mount Sinai for a long time. They had to lead the Jews through the desert for forty years until they forgot about the beauty of earthly slavery. It was a “no” to the slavery of this life that Moses taught to his people. And then the prophets denounced their fellow tribesmen when they were mired in the debauchery of this life, in pagan instincts. The first is Elijah in the 10th century BC, who spoke out against the authorities, against King Jeroboam, who indulged the people. The prophets, as messengers of the Kingdom of God, were more than once stoned by those whose lives they said “no.” Until we achieved from our people, as Soloviev said, moral homogeneity with God. “Having separated from paganism and rising by their faith above Chaldean magic and Egyptian wisdom, the ancestors and leaders of the Jews became worthy of Divine election. God chose them, revealed himself to them, entered into an alliance with them. The treaty of alliance or covenant of God with Israel is the center of the Jewish religion. The phenomenon is unique in world history, for no other people’s religion took this form of union or covenant between God and man, as two beings, although unequal, but morally homogeneous". It was this state of mind that allowed the hero-narrator, the character of the novel, the Jew Ehrenburg, in the world that God left, to repeat the feat of his fellow tribesmen, to say “no” to this world. And to say it with desperate courage or, if you prefer, with the courage of despair.

This courage was not appreciated then, nor was it understood. The author himself did not understand.

Of course, precisely because Ehrenburg said “no” to the impending world, he could not fully take it seriously, he could play along with it, etc. It is precisely this musical part that Julio Jurenito plays, putting into practice Ehrenburg’s “no” in his mockery of everyone historical forms born of the twentieth century. Ehrenburg himself perfectly understood his subsequent denial of himself, and for an understanding reader he wrote a story during the war, seemingly talking about the resilience of the common people, but in fact about his fate. Writer Dadaev in the story “Glory” from the collection “Stories of These Years” in 1944, he feels less than the famous soldier Lukashov, who doesn't want fame, and the writer Dadaev does everything for his fame: “He was gifted, he wrote entertainingly, he wrote what was demanded of him - not out of servility, but out of deep indifference, which was hidden behind hot speeches and reckless actions.<…>The stake was glory." In other words, “yes” is indifference to the world, disinterest in its affairs, and glory is a thought about oneself, i.e. vanity. For a person who once chose “no,” fame is a symbol of the earthly and transitory. The hero-writer, through whose eyes the war is shown, is not condemned at all: he is personally brave, is on the front line, shoots at the Nazis with a machine gun, etc. But this double “yes” of his last name spoke a lot to possible readers of his first and great book.

It was a late longing for one’s real courage, not everyday, not personal, not military, but metaphysical, which is most important in the scheme of human meanings. The meaning of Jurenito was damaged by subsequent novels, too simple, too topical, without access to transcendence. “Julio Jurenito” was also assessed in their context, which began to be perceived only as a satirical story about modernity. A little later, we saw prophecies come true - about the Holocaust, about Nazism, about the American bombing of Japan. So, the writer as a prophet of the twentieth century. As Sergei Zemlyanoy wittily noted, “the initials of the main character of the book are Kh.Kh. is a consciously or unconsciously coded designation of the twentieth century." When I read this remark to my daughter (then a third-year student at the Faculty of Philology of the Russian State University for the Humanities), she said that these two letters can also be read as two X’s, i.e. double unknown. You can also see in these initials the first letters of the word “ha-ha”. So, the unknown 20th century squared off, which the writer talked about with laughter, in the form of ironically written prophecies, which indeed, for the most part, came true.

But the metaphysical meaning of Ehrenburg’s “no” as the semantic basis of Jewish destiny and a factor in the self-movement of humanity in this world was not appreciated. Showing this meaning was the task of my text.

December 2005

Notes

1. Tynyanov Yu.N. Literary today // Tynyanov Yu.N. Poetics. History of literature. Movie. M.: Nauka, 1977. pp. 153–154.

2. Zamyatin E. New Russian prose // Zamyatin E. I'm afraid. Literary criticism. Journalism. Memories. M.: Heritage, 1999. P. 92.

3. Bely A. Stamped culture // Empire and nation in Russian thought of the early twentieth century / Compilation, entry. article and notes CM. Sergeev. M.: Skimen; Prensa, 2004. P. 339. It must be said that the perception of Jews as some kind of international force was quite characteristic of the popular consciousness. In Plato’s novel “Chevengur,” guards ask two people’s communist revolutionaries, Kopenkin and Dvanov, who they are. ““We are international!” - Kopenkin recalled the title of Rosa Luxemburg: international revolutionary.” This is answered by another question: “Jews, what?” To which - an equally characteristic answer: “Kopenkin calmly drew his saber<…>: “I’ll kill you on the spot for saying that.” (115). In a sense, this is Platonov's answer.

5. See: Hagemeister M. New Middle Ages of Pavel Florensky // Studies on the history of Russian thought. Yearbook - M.: Modest Kolerov, 2004. P. 104.

6. Bunin I. Damned days. M., 1990. P. 96.

7. Trubetskoy S.N. Death of V.S. Solovyova. July 31, 1900 // Soloviev V.S.. “Only the sun of love is motionless...” Poems. Prose. Letters. Memoirs of contemporaries. M.: Moscow worker, 1990. P. 384.

8. Soloviev V.S. Three conversations // Soloviev V.S. Collection op. in 10 volumes. T. 10. St. Petersburg, b.g. pp. 219–

9. Ehrenburg I. People, years, life. Memoirs in 3 volumes T.M.: Soviet writer, 1990. P. 377.

10. Here is an excerpt from the first chapter, which describes the appearance of Julio Jurenito: “The door of the cafe opened, and a very ordinary gentleman in a bowler hat and a gray rubber raincoat slowly entered.<…>The gentleman in the bowler hat was such a curiosity that the entire “Rotunda” trembled, fell silent for a minute, and then burst into a whisper of surprise and alarm. Only I understood everything at once. Indeed, it was worth taking a close look at the newcomer to understand the very specific purpose of both the mysterious bowler hat and the wide gray cloak. Above the temples, under the curls, steep horns clearly protruded, and the cloak tried in vain to cover the sharp, militantly raised tail" ( Ehrenburg I. The extraordinary adventures of Julio Jurenito and his students // Ehrenburg I. Collection op. In 8 volumes. T.M.: Artist. lit., 1990. P. 222. In the future, all references to the text of the novel are given from this edition). In approximately the same way, in “Notes of a Dead Man (Theatrical Novel),” as I already mentioned, the publisher Rudolphi comes to the writer Maksudov, mistaking the alien for the devil.

11. It is worth referring to a modern Hungarian researcher who quite sharply defined the novel as a tough calculation with all values European culture: “The novel “Julio Jurenito” (1921) was the first of many and remains the best of all the writer’s novels. It was born of the European post-war atmosphere and became the quintessence of the disappointments of the beginning of the century. In the Teacher's statements or in plot points, all the positive ideals of humanity are methodically and irresistibly revised and immediately discredited. It is shown how faith, hope and love, science, law and art, equally false, lead to collapse" ( Heteni J. Encyclopedia of denial: Julio Jurenito by Ilya Ehrenburg // Studia Slavica Hung. 2000. 45. No. 3-4. P. 317).

12. Ehrenburg I. People, years, life. Memoirs in 3 volumes. T. 1. P. 377.

13. Ibid. P. 378.

14. See: Sarnov B. The Ehrenburg case. M.: Text, 2004. pp. 52–67.

15. Zamyatin E. New Russian prose. P. 93.

16. Paramonov B. Portrait of a Jew // Paramonov B. End of style. St. Petersburg; M.: Agraf, 1999. P. 406.

17. In an article from 1909: “The Jews, of course, did not become Russian, but became cosmopolitans in a Russian frock coat and in a Russian position” ( Rozanov V.V. Belarusians, Lithuanians and Poland in the marginal issue of Russia // Empire and nation in Russian thought of the early twentieth century / Compilation, entry. article and notes CM. Sergeev. M.: Skimen; Prensa, 2004. P. 128).

18. Paramonov B. Portrait of a Jew. P. 406.

19. Nietzsche F. Op. in 2 volumes. T. M.: Mysl, 1990. P. 649–650.

20. This seems to be an illustration of the words of Simon Dubnov, who understood Judeophobia not as hatred, but as fear other Jewish peoples: “The word “Judeophobia,” usually understood in the sense of hatred of Jews, actually means fear before the Jews. Fobos in Greek means fear, fear, and fobeo- I frighten or am afraid, I’m afraid. Thus, “Judeophobia” means fear of Jews" ( Dubnov S.M. Reflections // Dubnov S.M. Book of Life. Materials for the history of my time. Memories and reflections. Jerusalem; M.: Gesharim, Bridges of Culture, 2004. P. 618).

21. Arendt H. The origins of totalitarianism. M.: TsentrKom, 1996. P. 540.

22. Rosenstock-Hussy O. Great revolutions. Autobiography of a Westerner (USA). Hermitage Publishers, p. 184.

23. It is worth citing the opinion of one of the leaders of the “moment” and the “natural order” of things, I mean Hitler: “The Jew is a catalyst that ignites flammable substances. A people among whom there are no Jews will certainly return to the natural world order" ( Picker G. Table conversations with Hitler. Smolensk: Rusich, 1993. P. 80).

24. Rosenstock-Hussy O. Great revolutions. P. 186.

25. "In ancient history Judaism has two periods: a) pre-prophetic, when the people created a patron god for themselves, the patron god of the tribe, along with the patron gods of other tribes; b) the prophetic period, when the idea of the God of all mankind arose and the desire to transform Jewry into a nation of God-bearers, called upon to proclaim to the world the idea of this universal God, the source of truth and justice. In the name of this ethical God, the biblical prophets exposed the injustices of their people and others. And then the creator of the book “Job” appeared and raised a protest against God himself, who allows untruth and injustice in the world he rules. In the Psalms and in medieval religious poetry we hear the complaints of the collective Job, the persecuted nation, against the God who “chosen” him” ( Dubnov S.M. Reflections. P. 617).

26. See about this my article “Horror instead of tragedy (the work of Franz Kafka)” // Questions of Philosophy. 2005. No. 12.

I asked you a question: " Tell me, my friends, if you were offered to leave one word out of the entire human language, namely “yes” or “no”, eliminating the rest, which would you prefer?»

This question is from chapter 11 of the great novel by Ilya Grigorievich Erenburg (1891-1967) “ The Extraordinary Adventures of Julio Jurenito", in which the writer is believed to have predicted the Holocaust of European Jewry long before Hitler came to power.

The question of “yes” or “no” is Julio Jurenito’s test of the Jewish worldview.

Below is the chapter in full:

On a wonderful April evening, we gathered again in the Teacher’s Parisian workshop, on the seventh floor of one of the new houses in the Grenelle quarter. We stood for a long time at the large windows, admiring our beloved city with its only, seemingly weightless, twilight. Schmidt was also with us, but in vain I tried to convey to him the beauty of the gray houses, the stone groves of Gothic churches, the leaden reflection of the slow Seine, the chestnut trees in bloom, the first lights in the distance and the touching song of some hoarse old man under the window. He told me that this is all a wonderful museum, and he can’t stand museums since childhood, but that there is something that enchants him too, namely the Eiffel Tower, light, slender, bending in the wind like a reed, and the unyielding, iron bride of others times in the gentle blue of an April evening.

So, talking peacefully, we waited for the Teacher, who was having lunch with some large intendant. Soon he came and, having hidden a bundle of documents crumpled in his pocket in a small safe, he cheerfully told us:

Five minutes later he showed us the following:

In the near future, ceremonial sessions for the destruction of the Jewish tribe will take place in Budapest, Kyiv, Jaffa, Algeria and many other places.

The program will include, in addition to the traditional pogroms beloved by the respected public, the burning of Jews restored in the spirit of the era, burying them alive in the ground, spraying fields with Jewish blood, as well as new methods of “evacuation”, “cleansing from suspicious elements, etc., etc.

Cardinals, bishops, archimandrites, English lords, Romanian boyars, Russian liberals, French journalists, members of the Hohenzollern family, Greeks without distinction of rank and everyone are invited. The place and time will be announced separately.

Admission is free.

"Teacher! - Alexey Spiridonovich exclaimed in horror.- This is unthinkable! The twentieth century, and such vileness! How can I take this to Union?- I, who read Merezhkovsky?”

“You are wrong to think that this is incompatible. Very soon, maybe in two years, maybe in five years, you will be convinced of the opposite. The twentieth century will turn out to be a very cheerful and frivolous century, without any moral prejudices, and Merezhkovsky’s readers will be passionate visitors to the planned sessions! You see, the diseases of mankind are not childhood measles, but old, inveterate attacks of gout, and he has some habits in terms of treatment... How can one get out of the habit in old age!

When the Nile was on strike in Egypt and there was a drought, the sages remembered the existence of the Jews, invited them, slaughtered them and sprinkled the land with fresh Jewish blood. “May famine pass us by!” Of course, this could not replace either the rain or the flooded Nile, but it still gave some satisfaction. However, even then there were cautious people with humane views, who said that slaughtering a few Jews, of course, is useful, but one should not sprinkle the ground with their blood, because it is poisonous blood and will give henbane instead of bread.

In Spain, when illnesses began - plague or runny nose,- the holy fathers remembered the “enemies of Christ and humanity” and, shedding tears, although not so abundant as to extinguish the fires, burned several thousand Jews. “May the pestilence pass us by!” Humanists, fearing the fire and ashes that the wind carries everywhere, carefully, in their ears, so that some lost inquisitor would not hear, whispered: “It would be better to simply kill them!”

In southern Italy, during earthquakes, they first ran away to the north, then carefully, in single file, they went back to see if the earth was still shaking. The Jews also ran away and also returned home, behind everyone else. Of course, the earth shook either because the Jews wanted it, or because the earth did not want the Jews. In both cases, it was useful to bury individual representatives of this tribe alive, which was done. What did the advanced people say?.. Oh yes, they were very afraid that those buried would completely shake the earth.

Here, my friends, is a brief excursion into history. And since humanity is facing famine, pestilence, and quite a decent earthquake, I am only showing understandable foresight by printing these invitations.”

"Teacher, - Alexey Spiridonovich objected,“Aren’t Jews people just like us?”

(While Jurenito was making his “excursion,” Tishin sighed long, wiped his eyes with a handkerchief, but just in case, he moved away from me.)

The evening is quiet, not hot, over a glass of this light Vouvray I will entertain you with a child's game. Tell me, my friends, if you were asked to leave one word out of the entire human language, namely “yes” or “no”, eliminating the rest,- which one would you prefer? Let's start with the older ones. Are you Mr. Cool?

“Of course “yes”, it’s a statement. I don’t like “no,” it is immoral and criminal. Even to a calculated worker who begs me to accept him again, I never say this heart-hardening “no,” but “my friend, wait a little, in the next world you will be rewarded for your torment.” “. When I show the dollars, everyone says yes. Destroy any words you like, but leave the dollars and the little “yes”- and I undertake to improve the health of humanity!”

“In my opinion, both “yes” and “no” are extremes,- said Monsieur Dele,- and I like moderation in everything, something in between. But well, if you have to choose, then I say “yes”! “Yes” is joy, impulse, what else?.. That’s it! Madam, your poor husband has passed away. For fourth grade - isn't it? Yes! Waiter, a glass of Dubonnet! Yes! Zizi, are you ready? Yes, yes!

Alexey Spiridonovich, still shocked by what had happened before, could not collect his thoughts, mumbled, jumped up, sat down and finally yelled:

"Yes! I believe, Lord! Communion! "Yes"! The sacred “yes” of the pure Turgenev girl! Oh Lisa! Come, little dove!

Briefly and matter-of-factly, finding this whole game ridiculous, Schmidt said that the dictionary really needs to be revised, throwing out a number of unnecessary archaisms, such as “rose”, “shrine”, “angel” and others, “no” and “yes” must be left as serious words, but still, if he had to choose, he would prefer “yes”, as something organizing.

"Yes! Si! - Ercole replied,- in all pleasant situations in life they say “yes”, and only when they drive you in the neck, they shout “no”!”

Aisha also preferred “yes!” When he asks Krupto (the new god) to be kind, Krupto says yes! When he asks the Teacher for two sous for chocolate, the Teacher says “yes” and gives it.

“Why are you silent?” - the Teacher asked me. I didn’t answer earlier, for fear of annoying him and my friends. “Teacher, I won’t lie to you - I would leave a “no”. You see, frankly speaking, I really like it when things don't work out, I love Mr. Cool, but I would love it if he suddenly lost his dollars, just lost it, like a button, every single one. Or, if Monsieur Dalais' clients had mixed up the classes. The one who was in the sixteenth grade for three years would get up from his grave and shout: “Take out the scented handkerchiefs - I want it outside the classroom!” When the purest girl, who, picking up her skirts, rushes with her purity through the dirty world, attacks in a country grove on a determined tramp,- also not bad. And when the waiter slips and drops a bottle of Dubonnet, it’s very good! Of course, as my great-great-great-grandfather, the wise man Solomon, said: “A time to gather stones and a time to throw them.” But I am a simple person, I have one face, not two. Someone will probably have to collect it, maybe Schmidt. In the meantime, not out of originality, but out of a clear conscience, I must say: “Destroy “yes,” destroy everything in the world, and then of course only “no” will remain!”

While I was speaking, all the friends who were sitting next to me on the sofa moved to another corner. I was left alone. The teacher turned to Alexey Spiridonovich:

“Now you see that I was right. A natural division occurred. Our Jew was left alone. You can destroy the entire ghetto, erase all the “Pale of Settlement,” tear down all the borders, but nothing can fill these five arshins that separate you from it. We are all Robinsons, or, if you like, convicts, then it’s a matter of character. One tames a spider, studies Sanskrit, and lovingly sweeps the cell floor. Another hits the wall with his head - a bump, another bang,- again a bump, and so on; What is stronger - the head or the wall?The Greeks came and looked around, maybe there were better apartments, without disease, without death, without pain, for example Olympus. But there's nothing you can do - you have to settle into this one. And to be in a good mood, it is best to declare various inconveniences - including death (which cannot be changed anyway) - as the greatest blessings. The Jews came and immediately hit the wall! “Why is it arranged this way? Here are two people who, if they were equal, are not: Jacob is in favor, and Esau is in the background. The undermining of earth and heaven, Jehovah and kings, Babylon and Rome begins. The ragamuffins who spend the night on the steps of the temple,- The Essenes are working: like explosives in cauldrons, they are kneading a new religion of justice and poverty. Now indestructible Rome will fly! And against the splendor, against the wisdom of the ancient world, the poor, ignorant, stupid sectarians come out. Rome is shaking. The Jew Paul defeated Marcus Aurelius! But ordinary people, who prefer a cozy house to dynamite, begin to settle into a new faith, to settle down in this bare hut in a good, homely way. Christianity is no longer a battering machine, but a new fortress; terrible, naked, destructive justice is replaced by human, convenient, gutta-percha mercy. Rome and the world survived. But, seeing this, the Jewish tribe renounced their cub and began to dig again. Even somewhere in Melbourne, now he’s sitting alone and quietly digging in his thoughts. And again they knead something in cauldrons, and again they prepare a new faith, a new truth. And forty years ago, the gardens of Versailles were hit by the first attacks of fever, just like the gardens of Hadrian. And Rome boasts of wisdom, Seneca’s books are written, brave cohorts are ready. He is trembling again, “indestructible Rome”!

I will answer, - to the days of your madness and ours, to the days of infancy, to distant days. In the meantime, this tribe will be bleeding on the squares of Europe, giving birth to another child who will betray him.

And, coming up to me, the Teacher kissed my forehead.

The Adventures of Julio Jurenito. Book The Extraordinary Adventures of Julio Jurenito read online

Added: 12/31/2015

Introduction

Chapter one. My meeting with Julio Jurenito. – The Devil and the Dutch Pipe

Plot

Characters

Prototypes

Predictions

History of writing and stylistic characteristics

Perception

Links

Bibliography

1. Tynyanov Yu.N. Literary today // Tynyanov Yu.N. Poetics. History of literature. Movie. M.: Nauka, 1977. pp. 153–154.

2. Zamyatin E. New Russian prose // Zamyatin E. I'm afraid. Literary criticism. Journalism. Memories. M.: Heritage, 1999. P. 92.

5. See: Hagemeister M. New Middle Ages of Pavel Florensky // Studies on the history of Russian thought. Yearbook - M.: Modest Kolerov, 2004. P. 104.

6. Bunin I. Damned days. M., 1990. P. 96.

7. Trubetskoy S.N. Death of V.S. Solovyova. July 31, 1900 // Soloviev V.S.. “Only the sun of love is motionless...” Poems. Prose. Letters. Memoirs of contemporaries. M.: Moscow worker, 1990. P. 384.

8. Soloviev V.S. Three conversations // Soloviev V.S. Collection op. in 10 volumes. T. 10. St. Petersburg, b.g. pp. 219–

9. Ehrenburg I. People, years, life. Memoirs in 3 volumes T.M.: Soviet writer, 1990. P. 377.

12. Ehrenburg I. People, years, life. Memoirs in 3 volumes. T. 1. P. 377.

13. Ibid. P. 378.

14. See: Sarnov B. The Ehrenburg case. M.: Text, 2004. pp. 52–67.

15. Zamyatin E. New Russian prose. P. 93.

16. Paramonov B. Portrait of a Jew // Paramonov B. End of style. St. Petersburg; M.: Agraf, 1999. P. 406.

18. Paramonov B. Portrait of a Jew. P. 406.

19. Nietzsche F. Op. in 2 volumes. T. M.: Mysl, 1990. P. 649–650.

21. Arendt H. The origins of totalitarianism. M.: TsentrKom, 1996. P. 540.

22. Rosenstock-Hussy O. Great revolutions. Autobiography of a Westerner (USA). Hermitage Publishers, p. 184.

24. Rosenstock-Hussy O. Great revolutions. P. 186.

26. See about this my article “Horror instead of tragedy (the work of Franz Kafka)” // Questions of Philosophy. 2005. No. 12.

Chapter one.
My meeting with Julio Jurenito. – The Devil and the Dutch Pipe