V. V. Orlov's novel "Violist Danilov" is riddled with references to literary texts, with a very wide range from the Gospel to opera librettos and popular songs in the 70s. An important layer of sources - works of Russian classical literature of the XIX century. We analyzed the references contained in the text of the novel to the poems of M. Y. Lermontov "Demon", "Azrael" and "Angel of Death", considered in detail the episode of the quarrel and duel between Danilov and Karmadon (Sukhanova I. A. Intertextual connections of V. Orlov's novel "Violist Danilov" / / Language of Russian literature of the XX century: Collection of articles. Yaroslavl. 2001) from the point of view of references to episodes of textbook works of Russian literature and their transformation in a new text, contributing to the creation of a comic effect, more complete identification of the characters ' characters, highlighting their essence.

In Orlov's work, the polemic with T. Mann's novel "Doctor Faustus" is obvious, the chapter of which contains a demonstrative reference to the episode with the Devil in F. M. Dostoevsky's "The Brothers Karamazov" - to the IX chapter of the eleventh book " The Devil. The nightmare of Ivan Fyodorovich".

The devil appears to Ivan Karamazov in a nightmare as a figment of his sick imagination. Mephistopheles ' grandnephew Karmadon visits Danilov's violist in reality and exists independently of his imagination; Danilov, himself half a demon, once exiled "to Earth, to people", receives Karmadon on Earth by order of the "Nine Layers": "to Earth on a premium ticket" from the Office

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Danilov's classmate at the Karmadon Lyceum is going to enjoy two weeks of vacation." Karmadon's main residence is the Nine Layers, or Ether: "And the mischievous Karmadon <...> after all, it was with a gray cap that he could have emerged from the ether and in a different form" (Quoted from: Orlov V. V. Violist Danilov, Moscow, 1993. The italics are ours. - I. S.). The ether is also the usual habitat of the Devil, who appeared to Ivan Karamazov: "in these spaces, in the ether, in this water, even above the firmament, because it is such a frost," the Devil tells about his careless premature incarnation before one of his visits On the Ground. "I sometimes incarnate - confides the Devil in Dostoevsky. "As I incarnate, I accept the consequences."

In Orlov's novel about the inhabitants of the Nine Layers it is reported: "And the beings of this world could not only transform and transform <...> but also incarnate. < ... > In communication with earthlings and with individuals engaged in business only on Earth, like Danilov, the Nine Layers and their inhabitants were embodied in forms known to the inhabitants of the Earth." The same applies to Karmadon. Almost immediately, he is "transformed" twice, because the first transformation turns out to be unsuccessful: "The last time Karmadon was on Earth and in Moscow was in the fifty-fourth year... He had a twisted kok pocket belt, painted and powdered, a speckled jacket with padded shoulders, a tie with a pink, vicious monkey, and tight trousers... Only Karmadon's face was no longer young." The devil who appeared to Ivan Karamazov also looked middle-aged and out of fashion: "It was a gentleman, or rather, a well-known sort of Russian gentleman, no longer young."..> He was dressed in some kind of brown jacket < ... > Underwear, a long tie in the form of a scarf <...> the wide scarf is very frayed. The guest's tartan pantaloons fit perfectly, but they were again too light and somehow too narrow, as they have now ceased to be worn."

Thus, although the Devil looks like a" hanger-on "and Karmadon is an" ace with a special task", they also have something in common: both are not young, and both clothes were fashionable once upon a time. Details of clothing, despite the difference in eras, have similarities: a jacket, too narrow trousers and a conspicuous tie.

The reasons why both guests look old-fashioned are different: A devil who looks like a freeloader should humiliate Ivan Fyodorovich by his very appearance: "how, they say, could such a vulgar devil enter such a great man?" Karmadon simply does not know what is now worn on Earth, and relying on previous experience, in the image of the "dudes" of the 50s should cause a comic effect, and he was behind the fashion for a much longer time than the Devil Karamazov. Therefore, Karmadon's clothing did not reflect the touch of "shabbiness" and "dirtiness" characteristic of the "vulgar trait". Karmadon is in a hurry to " preob-

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take off his clothes", so as not to stand out in the crowd: "Karmadon flipped through the magazines without much energy and immediately found himself in a mustache and thick curls to his shoulders, he also bought a suede jacket and corduroy trousers...". Carmadon's hairstyle now resembles that of the Devil: "with a not very strong gray streak in dark, rather long and thick hair".

The guest of Ivan Karamazov speaks about his belonging to the devils as about his service and social status: "And it was only because of my duty and my social status that I was forced to crush a good moment in myself and stay with dirty tricks"; "My best feelings,<...> I am formally forbidden solely by my social status." The devil makes it clear that he is in the service of some otherworldly organization:" (...) finally, there are denunciations, because we also have one department that accepts well-known "information"."

In Orlov's novel, such an organization with Offices, bureaucracy and red tape is represented by Nine Layers - a powerful otherworldly structure that manages the life and activities of demons who are considered to be in its service. Before arriving on Earth, Karmadon "sat in his Office from Moral changes and wrote reports on the work done." The fact that he is a demon, Karmadon treats as a profession: "It's in us - professional, demonic." Danilov, who has major troubles "in the service", he offers: "I'll arrange for you to be transferred to our Office from Moral Perestroika. Our Office will take you in and unhook you from your present..."

Karmadon carried out the operation in the constellation of Wolopas on the instructions of his Office. The description of this operation can go back to a lengthy discussion of Karamazovsky's Trait about dreams: "Listen, in dreams, and especially in nightmares, well, from an upset stomach or something, sometimes a person sees such artistic dreams, such complex and real reality, such events or even a whole world of events connected by such intrigue with such people. unexpected details, starting from your highest manifestations to the last button on your shirt front, which, I swear to you, Leo Tolstoy will not compose, and yet such dreams are sometimes not written by writers at all, but by the most ordinary people, officials, feuilletonists, priests... There is even a whole problem with this: one minister even admitted to me that all his best ideas come to him when he is asleep." The inhabitants of the planet Glira in the constellation of Osprey, where Karmadon "worked", not only invent successful ideas in a dream, but also exist in a dream-the idea is brought to the point of absurdity: "Yes, osprey dummies move, eat, think about something, hint at something, invent something, arrange civilization, against someone intrigue, but all this happens

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with them in a deep molybdenum sleep. Blanks have the ability to intertwine with one another, to float into one another, to flow through whole groups of their own kind, and then their dreams are intertwined, and in dreams new plots and cataclysms arise, and so their civilization goes on."

The devil launches into a tirade about dreams in response to Ivan's expressed surprise that the Devil, a figment of his imagination, is expressing thoughts that previously did not occur to him, Ivan. Ivan is ready to believe in the reality of the Devil, but this time the Devil begins to dissuade him: "Although I am your hallucination, but, as in a nightmare, I say original things that have not yet occurred to you, so I do not repeat your thoughts at all, and yet I am only yours a nightmare and nothing more." In "Violist Danilov", the situation is reversed and again brought to the point of absurdity: the real Karmadon must penetrate the dreams of the volopas: "Karmadon received a special task ("Of a moral order," was all he told Danilov), and what it was like for him to enter the dreams of the volopas! < ... > Then he came up with an idea: he smeared himself with soap <...> and somehow squeezed into the dreams of a naive ox-herder-gleer. < ... > Looked through the dreams and confused them." The literalization of a well-known roughly colloquial phraseology enhances the comic effect. The reference to Dostoevsky in the story of the oxen and Karmadon's special task may not be noticed, but in the context of other roll calls, the comparison becomes more convincing.

Karmadon is not particularly satisfied with its activities: "Why did I confuse the wolfhounds' dreams? Why are we here? Why me? Why do I need immortality?" This is also reminiscent of the Devil's complaints: "... I, for example, directly and simply demand my own destruction. No, live, they say, because nothing will happen without you. If everything on Earth had been reasonable, then nothing would have happened. Without you, there will be no accidents, and we need to have accidents." It is precisely incidents from Karmadon's stay on Earth that Danilov is afraid of: "The current Karmadon could have done things on Earth during the holidays, and everything went to this.<...> No matter how much bloodshed and mass dramas happen now. "If only I could set him on a junta like that!" - Danilov lamented."

Apparently, the motif of visiting the bathhouse, which repeatedly appears in connection with the image of Karmadon, also goes back to the image of the Karamazovsky Trait. Already at the very beginning of the holidays, Danilov, while rubbing the guest's back in the bathroom, promises to " take Karmadon to a good steam room in the next few days with beer in the gangs, and Karmadon seemed to be satisfied." After Karmadon's failures, Danilov advises him to go to the sauna to restore his balance: "... maybe you can go to the steam room? To Sanduny or Maryinsky baths." Karmadon follows the advice and finds drinking buddies in the bathhouse: "I met two people in the bathhouse." Next mention-

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the description of the bathhouse is expanded into a whole scene: "He was also in the baths, no longer Maryinsky, but Seleznevsky, again with the violinist Zemsky and the plumber Kolya, to whom he was used. In the bathhouse, he did not get cold or yawn, steamed heartily and from the gang threw only beer on the hot stones. Zemsky and the plumber Kolya, being naked, very much praised Karmadon's film "Seventeen Moments of Spring"."

Karmadon's addiction to the bathhouse also turns out to be generic, the Karamazovsky Trait had the same weakness: "I accept all your habits here: I've grown fond of going to the commercial bathhouse, as you can imagine, and I like to bathe with merchants and priests." Then the Devil tells how he treated rheumatism captured "on the air" in the bathhouse: "I resorted to folk remedies, one German doctor advised me to rub honey and salt on the shelf in the bathhouse. I only went to the bathhouse to go once again, I went ( ... )". Ivan was very impressed by this passion for the bath - for him this is proof of the smallness of the Devil: "But he's not Satan, he's the one who's lying. He's an impostor. He's just a damn, trashy, little devil. He goes to the bathhouse."

Both Karmadon and the Karamazovsky Devil love the most primitive earthly pleasures. Karmadon turns out to be, in essence, just as "petty" and "vulgar devil" as Ivan Karamazov's "hanger-on". In the midst of a spree with drinking buddies on the railroad, Karmadon expresses a heartfelt dream: "" - I would like to live here!" Karmadon told him. "Where is it?" "Right here," Carmadon said, looking around the sideboard, " on the Ground. Kolya immediately started up and sang: "Birch sap, birch sap..." - That is, how? - surprised Danilov. "Just like that," Karmadon said, and sighed. In this, too, he recalls Karamazov's Trait: "My dream is to be realized, but only so that I can finally, irrevocably, turn into some fat seven-pood merchant's wife and believe everything she believes in"; and then repeats: "I would give all this superstellar life, all the ranks and honors just to be incarnated in the soul of a seven-pood merchant's wife and put candles to God." There are no common language units in these fragments, but the meaning of the utterance is the same. Note that Karmadon does have the "ranks and honors" mentioned by the Devil - he is an "ace with a special task", awarded for conducting "brilliant operations in the constellation Volopas", that is, there was also a "superstellar life".

Karmadon's relationship with the" vulgar devil"," petty and vile", highlights a very important contrast in the novel by V. Orlov. The most important and, in our opinion, fundamental source of the Danilov Viola is Thomas Mann's novel Doctor Faustus. It is in that episode of this work (Chapter XXV), which refers to the Brothers Karamazov, that the German writer's view of the nature of art is concentrated: according to T. Mann, this is a painful, pathological nature. -

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kaya, the devilish one. And in "Violist Danilov" it is repeatedly emphasized that the musical talent of the hero - performing and composing-has a purely human nature. It is no coincidence that Danilov so strongly rejects the legend of Paganini, who allegedly sold his soul to the devil. It is Danilov's music that becomes the main proof for the demons that he "became a man".

In this way, everything that is uncreative and non-musical approaches the demonic, thatis, the demonic. Therefore, Zemsky, Kolya and Kudasov become Karmadon's drinking buddies. The violinist Zemsky-because he professes a "musical direction" that assumes that music should not be played at all, and also tries to solve creative problems with the help of otherworldly forces; the lecturer Kudasov-because he subordinates his whole life to the only desire-to eat at someone else's expense; the plumber Kolya-because he is a banal drinker. Kolya also has an important symbolic role in the novel-the bearer of a primitive song culture, alien to Danilov, who serves high music. When, in a court scene, the hero is asked to "deprive the essence, but not kill, but translate it into a common melody like "Siskin" or" Ladushka", but more modern than them and let them go out into the world", he is horrified and prefers "deprivation of essence": "What a horror! Danilov shuddered. - After all, they can turn them into Buttercups!" (this refers to the popular song in the 70s "Daisies hid, buttercups drooped", repeatedly mentioned in the novel, in particular, it is sung by Karmadon with drinking buddies). Just as a nineteenth - century Devil envies a primitive seven-pood merchant's wife, a twentieth-century "devil" Karmadon is ready to reincarnate as a primitive Kolya with his simple needs, to limit himself to which means getting into the company to hell. As the Devil said to Ivan Karamazov: "moderate your demands, do not demand from me "everything great and beautiful" and you will see how we will get along together..."

Yaroslavl

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