Abstract
The paper is fi rst to analyze the story A. P. Chekhov's «Beauty» in the romantic aspect of the concept of beauty. The author persuasively proves that the two parts of Chekhov's story correlate with each other as the two poetic notions of beauty, refl ecting the peculiarities of human perception of the world the "Golden Age" of Russian literature and a person of the twentieth century. Beauty in the story by Chekhov is presented as the refl ection of the ideal, the absolute as well as the Romantic poets, but different hierarchies of time and eternity fundamentally differ the concept of beauty by Chekhov. The romantic concept claimed the beauty to be the triumph of eternity and the proof immortality of soul. Chekhov’s eternity triumphs over time, shown as the bad infi nity. There is an insurmountable barrier in Chekhov's story between a person and eternity, the sign of which is the beauty. The thing which helped romantics to break this barrier was an aesthetic ability to "dedicated" person – poet, artist, perceiving happiness and unhappiness even as the Divine Providence and does not require proofs of beauty; but in contrast to the lyrical romantic, Chekhov's characters are completely "uninitiated". "Uninitiated" means a characteristic feature of the new era, the successor in the 19th century. Integrity and harmony, elegance and aesthetic views of the world were replaced by a boring mosaic picture of the life perception. Teleological romantic views of Zhukovsky and Pushkin are unfamiliar to Chekhov. Rare occasional glimpses of the beauty in Chekhov's world, despite the romantic concept, show a complete lack of expediency in this life and even make sense at all. Featuring the general and the particular in the perception of beauty in different eras, Chekhov bases on the traditions of Pushkin and Zhukovsky's poetry and anticipates the concept of beauty of the Symbolist poets, particularly Bloc.
Keywords
Russian literature, 19th century, A.P. Chekhov
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