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Правда, «Американская трагедия» не смогла избежать стандартных для враждебной Драйзеру части американской критики обвинений в тяжеловесности стиля.
Отвечая на подобные нападки критика. Г.‑К. Уиппля в еженедельнике «New republic», Генри Миллер справедливо писал, что «сила романа Драйзера достигается не вопреки, а благодаря его стилю. Эти «дешевые, избитые и старые» приемы помогают ему 'представить нам мир, на который нам мог бы только намекнуть более элегантный и тонкий стиль. Он использует язык сознательно или несознательно, в манере, в которой современный авторы, например Джойс, пользуются им намеренно; то есть он идентифицирует свой язык с сознанием своих героев».
Еще определеннее высказалась Маргарет Чедер, которая сказала, что стиль Драйзера отличает то истинное изящество, с каким движется огромный слон, сохраняющий, несмотря на кажущуюся неуклюжесть, истинную грацию в своей походке.
Наиболее же точно этим критикам ответил Герберт Уэллс: «Это гораздо больше, чем простое и жизненное описание типичного бедного уголка американской действительности, освещенного вспышкой печальной трагедии… Она передает большую, суровую Реальную правду с силой, которой не может достигнуть никакая грамматическая точность».
Драйзер, писатель-гуманист, видевший враждебность капиталистического строя развитию человеческой личности, не мог не, искать путей, которые позволяли бы личности действительно бодро развиваться. Драйзер задумывается над путями содействовавших таким социальным условиям, которые сделают невозможными, а трагедии. Во время работы над «Американской три дней» Драйзер не видел возможности найти разрешения проблем развития общества. Он говорил: «Я не имею, каких теорий относительно жизни или какого-либо средства решить экономические или политические проблемы».
Поиски ответов на вопросы, затронутые в «Американской Трагедии», пробудили у Драйзера интерес к победе Октябрьской революции в России. Поездка писателя в СССР, о которой оп рассказал в. книге «Драйзер смотрит на Россию» (1928), способствовал коренным сдвигам в его мировоззрении. Писатель сблизив с революционным рабочий движением в США, написал боев публицистические, книги – «Трагическая Америка? (1931) и стоит спасать» (1941). В июле 1945 года Драйзер вступи; Коммунистическую; партию США. «Вся логика моей жизни и работы, – писал он в июле 1945 года, – побуждает меня вступить ряды компартии'», И по сей день автор «Американской трагедии остается крупнейшим мастером реалистической литературы Америки двадцатого века. Не случайно в шестидесятые годы возрос интерес к творчеству Драйзера. Поход против него критики, начатый сразу же после смерти писателя, последовавшей в 1045 году, литературоведом Лайояелем Триллингом, валился. О своем уважении к Драйзеру заявил Фолкнер.
Жизненность традиций Драйзера, открывшего новых эпох американской литературы, отмечена крупнейшими американским! писателями двадцатого века. Это традиции реалистического искусства; благодаря которым были созданы шедевры американской литературы двадцатого века – «Американская трагедия», «Прощай, оружие!», «Гроздья гнева». Несмотря на запреты реакцию вой критики, они продолжают жить и в тех произведениях современной американской литературы, которые отстаивают идеал! подлинной человечности.
«Американская трагедия» остается эпохальной вехой в истории литературы США, определяющей магистральное направление ее развития.
Dreiser, DRY suhr. Theodor (1871–1946), ranks as the foremost American writer in the naturalizm movement (a passimistic form of realizm) Dreiser`s characters are victims of apparently meaningles incidents that result in pressures, they can neither control understand. He based such novels as «Sister Carrie» and «An american Tragedy» on events from real life. He condemned not his villaines, but his best stories are powerful and sobering.11
«An American Tragedy» (1925) is possibly the most impressive of Dreiser`s books, it concerns a weak young man who in excuted for the meerden of the pregnant girl friend. Again Dreiser did not condem his villain, but the soceity that produced and destroyed him.
He was an objective realist who gathered his facts impersonally, but he was more. He lived in his dreams, his hopes, his broodings. For this reason, he absorbed both the realistic method and the new conceptions of the ceniverse from science into his thought and his writing. His kiews are loose in formulation, and inconsistent. For example, his theary of the realitivity of morals is as inconsistent as it is challenging. But such kiews of man and nature as he had, however ill formed, are essential parts of his writing; without them, his works would be interlay different. They helped to deepen his imagination; they contributed toward the feeling of awe he creates concerning the condition of man; they served him in his very construction of theme, of story, of character. He was an artist, not a philosopher.
The absence of money means defeat; it means the back of education of beauty; it means that one is a victim, like Clyde Griffiths, of the rich, of one’s relationships with others. Dreiser directly described the pitilessness and the hierarchical character of capitalistic society by showing that just as the poor or the victims of the rich, the weak of the strong, so are women, inferior to men, usually victims. American tragedy, like all tragedy is the consequence of weakness. The impulses, the passions of man pitilessly drive him to satisfy himself; the force of social circumstance, the fierce nature of the social struggle, toward him and produce both social and biological tragedy.
Dreiser’s methods of character Erabion are consistent with these attitudes and social revelations. Just as he does not conceive the individual as individual, so his characterizations are not mere representations of atomized men and women struggling in the American society of their time. They appear in their social roles, and their natures as well as their actions are involved in the functions which they perform in society. Carrie’s first lover, Drayed, is one of the most successful and attractive of Dreiser’s minor characters. He is jolly, genial, superficial, yet he is strikingly different from the salesmen of, for example, Sinclair Lewis. Drayed does not subordinate himself to the «fetish of commodities», a successful salesman, he is concerned with a late of pleasure, he feels secure in his world. He appears in a social role which is an integral feature of his «individuality», similarly, Hurstwood has the charm, the savoir-faire, the sophistication of the professional major domo in a high class saloon, concerned with meeting important personage, when he loses this position, he loses also the personality that goes with it. His character is social rather than individual, and his defeat is that of a man who has lost his function and place in society. The tragedy in Dreiser’s novels is social tragedy. His characters do not merely represent themselves, they speak for their classes and their occupation. «An American Tragedy» would remain a tragic work even if Clyde and Roberta had no died; but it is tragic in a new sense. In Dreiser, the old terms of art are reset by the social thinking of his day. He wrote what he knew what he was. His many colloquialisms were part of the coinage of his time, and his sentimental and romantic passages were written in the language of the educational system and the popular of his formative years. In his style, an in his material, he was a child of his time, of his class. Self-educated, a type or model of the artist of plebeian origin in America, his language, like his subject matter, is not marked by internal inconsistencies. As a style, in the formal sense, it never developed at all, and he frequently permitted his novels to be revised by others before publication.
In our final graduation paper aims at studying Theodore Dreiser’s creative mastery skills. For this purpose we analyzed Russian translation of «An American Tragedy» as the Uzbek translator chose for his morel the Russian translation. We must study the translation comparing English – Russian – Uzbek versions.
For fictional translation every author, every text should be carefully selected. When translated any work becomes the spiritual heritage of the people into whose tongue it is translated. As a Russian text we have the translation made by Вершинина and Н. Галь. Теодор Драйзер, «Американская Трагедия» Часть первая (книга первая и книга вторая) Часть вторая. Оба они печатались по изданию «Художественная литература Москва, 1984 год, в издательстве «Узбекистан», 1984 года
Bibliography
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Theodore Dreiser «An American Tragedy» New American Library, New York and Toronto.
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Theodore Dreiser «An American Tragedy» «Pravda» Publishing House, Moscow 1987.
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Theodore Dreiser «An American Tragedy» Gofur Gulom Publishing House, Tashkent 1976.
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N.I. Samohvolova. «The history of an American Literature» Part 2. «Proskusheniye» Publishing House, Moscow 1972.
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Ronald Vroom. «XXth century American literature». «Progress». Publishing House, 1976.
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M. Tugusheva «The Wrieters of the U.S.A. about Literature». «Progress» Publishing House 1974
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Theodore Dreiser «Jennie Gerhardt», «pravda» Publishing House Moscow 1986.
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Theodore Dreiser «Jennie Gerhardt», «Progress» Publishers, Moscow 1972.
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Theodore Dreiser «An American Tragedy», «Foreign Languages» Publishing House.
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Теодор Драйзер. «Американская трагедия» часть первая (книга первая и книга вторая) Издательство Узбекистан Ташкент. 1978
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Теодор Драйзер «Америка фожеаси» Биринчи кисм Ғўфур Ғулом Адабиёт ва санъат нашриёти. 1976.
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18. «American Tragedy»: a Fallen Dream, 2002. a look at The concept of The American Dream through a review of «An American Tragedy» by THEODORE DREISER. www.academon.com/lib/essay/Theodore-dreiser. html – 45k – Дополнительный Результат – Сохранено – Похожие страницы Дополнительные результаты с www.academon.com
19. An American Tragedy was part of what Frederick Lewis Allen describes as the mid… From the Paper: «Sister Carrie by Theodore Dreiser was published in 1900 and was…www.academon.com/lib/essay/ theodore-dreiser-american-tragedy.html – 45k
20. An Analysis of Clyde Griffiths, the anti-hero of «An American Tragedy» by THEODORE… «Sister Carrie by Theodore DREISER was published in 1900 and was the… www.essaytown.net/theodore-dreiser_essays_papers.html – 50k
21. Theodore Dreiser's «An American Tragedy», 2005…. «Sister Carrie by Theodore Dreiser was published in 1900 and was the author's first book…. www.essaytown.net/theodor-mommsen_essays_papers.html – 52k
22. Search Results on «THEODORE DREISER AN AMERICAN TRAGEDY»: Term Paper #58570: Add to Cart (You can… «AN AMERICAN TRAGEDY» by THEODORE DREISER, 1999…. www.termpapers2000.com/lib/essay
23. Theodore DREISER, «An AMERICAN TRAGEDY», 1995. Examines This 1925 novel and a critical controversy… «An AMERICAN TRAGEDY» BY Theodore DREISER, 1999…. www.termpapers2000.com/lib/essay
1 “American Tragedy" a Fallen Dream , 2002. a look at The concept of The American Dream through a review of "An American Tragedy" by THEODORE DREISER
2 Theodore Dreiser “An American Tragedy” “Pravda” Publishing House, Moscow 1987
3 Theodore Dreiser “An American Tragedy” “Pravda” Publishing House, Moscow 1987
4 Theodore Dreiser “An American Tragedy” “Pravda” Publishing House, Moscow 1987.с.53-58
5 Theodore Dreiser “An American Tragedy” “Pravda” Publishing House, Moscow 1987
6 Theodore Dreiser “An American Tragedy” Gofur Gulom Publishing House, Tashkent 1976
7 Theodore Dreiser “An American Tragedy” New American Library, New York and Toronto
8 Theodore Dreiser “An American Tragedy” “Pravda” Publishing House, Moscow 1987
9 Theodore Dreiser “An American Tragedy” Gofur Gulom Publishing House, Tashkent 1976
10 Theodore Dreiser “An American Tragedy” Gofur Gulom Publishing House, Tashkent 1976
11 Theodore Dreiser “An American Tragedy” New American Library, New York and Toronto
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