Gogol; The Portrait; Revision; Artist; Fantasy; Religion
러시아어문학연구논집 , v.35, no., pp.121 - 145
This paper aims at examining new inserts and changes that appear in the 1842 version of "The Portrait" by Nikolai Gogol to find out an answer to what motivated the often enigmatic writer to revise the work that was included in Arabesques (1835). A close attention has been paid to the plot and the build-up of characters of "The Portrait." Overall, Gogol grew out of the Romantic views of the supernatural in favor of rendering realistic coloration to the 1835 Arabesques version, the consequence of which is that Chartkov becomes more vulnerable to temptations due to social conditions. More importantly, I argue that Gogol`s firsthand experience of Rome left an unmistakable imprint on the revised work as the monk-artist`s son emerges as an ideal alternative between Chartkov, an artist who squandered his talent to pursue wealth and fame, and the iconographer who represents the Russian faith. In introducing the blood ties between the iconographer and the promising artist who studied in Italy, Gogol suggests an ideal compromise between secular and religious arts. In particular, the iconographer`s son is nothing short of the mouthpiece for Gogol, inasmuch as he gives the lengthy sermon on the right path a talented artist should take. The structure and the message filled with didactic urge point to the similarity that bind "Taras Bul`ba" and "The Portrait." It is noteworthy that Gogol lends both heroes an opportunity to speak up their highly moralistic and politically conservative speech. In conclusion, Gogol apparently strives to strengthen his artistic values that encompass moral ideas. Consequently, Gogol`s presence and desire are recognized in the image of artists he created in the revision.