V. N. Berdinsky's novel "You are for me, I am for you": the poetics of psychologism

Kudryavtseva Raisiya Alekseevna Doctor of Philology Professor of the Department of Finno-Ugric and Comparative Philology at Mari State University 424002, Russia, respublika Respublika Marii El, g. Ioshkar-Ola, ul. Kremlevskaya, 44, kab. 503 kudsebs@rambler.ru Other publications by this author

introduction

Valery Nikolaevich Berdinsky (born in 1950) is a modern Mari prose writer who entered the regional literary process in the perestroika era with relevant socio–cultural issues related to the study of the state of provincial society in the conditions of socio-economic, cultural and moral-psychological shift.

Books published by him in the Mari language ^{[4; 5; 6; 7; 8]} and in the translation into Russian ^{[1; 2; 3]} they invariably emphasized Berdinsky's natural inclination as a writer to short prose, namely, to short stories. The only exception in his work in genre terms is the novel "Ty – mylam, my – tylat" ("You are to me, I am to you") ^[9]. Despite the differences associated with the poetics of the novel genre (the broad social ties of the character with the world around him, the heterogeneity of the problematic and narrative structure, the multiplicity of the plot, multi-heroism, etc.), this work organically fits both into the general concept of his work (a person in conditions of social change) and into the socio-moral problems of transition (perestroika) era. The novel "You are for me, I am for you" is about the market economy in the service sector of the transition period, with which the author is connected by more than fifty years of professional experience, which is unconditionally reflected in the work (after graduating from Cheboksary Cooperative Technical School in 1969, Berdinsky came to his native Sernur, first worked as a commodity expert at the trading base of the Sernur district Consumer Union, with 1994 Chairman of the Sernur district Consumer Society, currently Chairman of the Council of the consumer cooperative "Sernur district Consumer Society").

In Berdinsky's novel, as well as in his stories, his penchant as an artist for acute and complex themes, plots (event and internal) and heroes, for a deep socio-psychological analysis of the depicted reality is noted. It largely explains the writer's interest in psychological storytelling and the variety of forms and techniques of psychologism, the use of which, for example, allows the author to "focus on both the personality traits, the peculiarities of the mental makeup of the hero, and his momentary emotional (mental) state and ideological and moral quest" ^{[13, p. 269]}. However, the poetics of psychologism in the novel "You are to me, I am to you" has not yet become the subject of special study. Berdinsky's novel "You are to me, I am to you" has been analytically studied at present only in terms of themes, issues and character system ^{[15; 16]}; there are also arguments of the writer himself about the ideological intent of the work in his interview ^[19]. The poetics of Berdinsky's psychologism was studied only in the context of his stories [See: 12, pp. 101-107; 13, pp. 215-280]. As for the poetics of psychologism in Mari literature, in general, in philological science it has been systematically studied so far only in relation to the genres of the novella ^[17] and the short story ^{[12; 13; 14]}.

RESEARCH RESULTS, DISCUSSION

Psychologism in Berdinsky's novel "You are to me, I am to you" manifests itself at the plot (internal plot) and character (techniques of internal characterization of characters) levels of the text, and it is also important in the context of the author's assessments of the depicted events and phenomena (inappropriate–direct speech of the character, an artistic detail in the psychological function).

Defining the place of Berdinsky's work in modern novelistics and summarizing the analytical consideration of the characters of the novel, V. T. Mikhailov notes the following: "... the writer as a whole managed to convey the dynamics of events, show individual images in development and through the prism of their consciousness and the vicissitudes of fate to characterize the current situation in the public life of the country during the period of perestroika" ^{[15, p. 220]}. Agreeing with the researcher, we note that the development of these "individual images" (we mean, first of all, the image of the chairman of the Tichmarsky district Peter Kuzmich Yambulatov) is given not only in an event, but also in a psychological way; in addition, according to his "external" and "internal" biography, the character is noticeably close to the biographical author, and the reflections of the character are akin to the moral and ideological attitudes of the author himself, whose entire work activity is connected with the district consumer cooperative.

In the inner plot (in the artistic unfolding of the character's thoughts and feelings, in the transmission of internal conflict), a significant place is given to the inner monologue of the character, which is defined by A. P. Skaftymov as "monological reflections of the characters" ^{[18, p. 305]}), allowing "to approach the greatest illusion of the living process of an emotional-mental act as a complex tangle of colliding thoughts, feelings and various motives" ^{[18, p. 306]}. And in the context of the means of expressing the author's position, the most important thing is also the inappropriate direct speech of the character "as a form of convergence of the perspective (point of view) of the narrator and the hero" [see: 13, p. 269].

As a result, the internal storyline associated with the main character Yambulatov becomes one of the most important plot–forming lines of the novel, expressing the idea of the work, which V. T. Mikhailov rightly defines as follows: "Romanyn T shonymashizhe - ilyshyn kech-mogai yyzhyshty- zhat chyn aydeme liyyn kodash tyrshymash. The author of shizhtarynezhe: oxa ogyl, and sh?m-chon yandarlyk – aydemyn en kugu poyanlykshe. Vocten ulsho yoltashym oxa meshakshe dene ogyl, and ushyzh da chon yandarlykshe dene aklyman. Chyn yoltash kelshymashte nigunamat paidam ogesh kychal" ^{[15, pp. 221-222]} (The main idea of the novel is the need to remain human in any life situation. The author wants to say: the greatest wealth of a person is not money, but the purity of the soul.  Surrounding people should not be evaluated by their wealth (lit. a bag of money. – R. K.), but by their intelligence and beauty of soul. A true friend never looks for benefits in friendship).

Let's consider the movement of the psychological plot (the central storyline of the novel) – the internal development of the image of Yambulatov – with the allocation of key internal monologues and inappropriate direct speech of the character to generalize the essence of the internal conflict in it and clarify the author's concept of the image and the novel as a whole.  

The peculiarity of the poetics of Berdinsky's psychologism is the alternation of momentary and retrospective segments of the text, the combination (interweaving) of internal monologues and inappropriate direct speech of the character, which can be traced throughout the psychological narrative, including those related to the internal dynamics of the main character.

The combination of these techniques of direct psychological portrayal is noted already at the beginning of the second chapter – in the scene of Yambulatov's reflections, who has just started his new position (after leaving the office, he goes about his business in the car): Chynak, idalyk pytymesh sang tylze utlarak vele kodyn, and raipo ik veryshte toshkyshtesh. t indicator - turnover plan - ok temalt. Latik tylze zhapyshte arakam uzhalyme dech posna yatyrlan pochesh kodmo. Decembrate nimogay ?shanym ok pu. ... "Kuze vorandarashige?" – mashinashte shinchyshyzhla shona Pyotr Kuzmich, omsashte pochyltsho yanda gych ysht? purymymat ok shizh. Teve kyzyt garazhyshte lie – onchychso semynak nimogai vashtaltysh uke. Te?geche adak kok machine shogalyn. Toshto ulyt, pudyrgat. Adakshe gasoline uke nergen usheshtarysht. Idalyklan oyyrymo pyten foundation. Respotrebsoyuzin oyyrymyzho. And the oil depot dech utyzhym from nal – nimogai amal denat ogyt pu. Tygezhe kok keche gich chyla machine shogal kertesh. "Ushet kaya tide pashashte, – shona chairman, – yodysh pochesh yodysh." ... Raipo chairman ale samyryk. Eshe kumlo iyymat temen ogyl, adakshe of consumer cooperatives pasha tudlan u, palydym. Tyshke logalash nigunamat shonen ogyl yle, manmyla, omeshyzhat oy koncho, and chylazhat tyge savyrnen shinche ^{[9, p. 22. Further in the article this edition is quoted, the pages are indicated in the text in square brackets. Translation of quotations into Russian is ours everywhere. – R. K.]} (Indeed, there is a little more than a month left until the end of the year, and the raipo is marking time in one place. The main indicator – the turnover plan – is not being fulfilled. Within eleven months, we were far behind, except for the sale of vodka. And December does not give any hope. ... "How to cope?" thought Pyotr Kuzmich, sitting in the car, not even noticing the cold coming from the open window.  Just now I was in the garage – as before, there are no changes. Two cars got up again yesterday. Old, broken. They also reminded me that there is no gasoline. The fund allocated for the year has been exhausted. What the district consumer union highlighted. And you can't take too much from the oil depot – they won't give it for any reason. So in two days all cars can stop. "You'll go crazy at this job," the chairman thought, "problem after problem." ... The chairman of the Raipo is still young. He hasn't turned thirty yet, and the work of consumer cooperation is new and unfamiliar to him. I never thought that I would get here, as they say, and I never dreamed of it, but that's how it turned out).

The successive psychological techniques in this fragment (improper-direct speech, internal monologue-replica, again improper-direct speech, again a short internal monologue and the final part – improper-direct speech) maximally characterize the original (in the plot) semantic component of the character (responsibility, masterly and critical mind, concern for public economy, adequate professional self-reflection). Further, in the retrospective scene of Yambulatov's meeting with the party leader of the district Shabalin, who entrusted him with the leadership of the district consumer cooperation, the author masterfully uses the technique of improper direct speech of the character - with obvious elements of deliberate stylization of a neutral narrative for the speech of the character: Samyryk e? shizhe: party district committee ikymshe secretary tygai mutlanymashym ukelan ogyl tarvatysh. But Molan? Vigak tudo oy washed. Titakym ytymyzhla ok chuch. And what about the pallet mo? Uke, tygela ogyl. Tygailan vashliymash Vest?rl? liesh yle. And kyzyt Ivan Matveyevich shyman, laskan kutyra. Adakshe molgunamsyla tudym ok vashkykte, ok pokto. Ochyn, mutlanymashat kugu liesh. Teve shomakshym ala-kushech umbachyn tale. Oh and choya tidee aideme, Shabalin Ivan Matveyevich. But molan komsomolyn pashazh nergen chagall umylkala? Pesh shuen gina yodesh. Teve kyzyt shomakym luktesh gyn vele? Lukmyzho... luktyn. Komsomol pashash tolmo nergen oylas, pasha oytyme nergen. Ala tudo mylanna, Komsomol Pashaye-vlaklan, t?rys ?shana? Tygelat chuchesh [pp. 23-24] (The young man guessed: the first secretary of the district party committee did not start this conversation in vain. But why ? He didn't understand right away. It doesn't feel like I'm to blame. And in general, who knows? No, not like that. Because of this, the meeting would have been different. And now Ivan Matveyevich is talking calmly, affectionately. Yes, and does not rush him, does not drive him, as before. Probably, the conversation will be big. So I started the conversation from somewhere far away. Oh, and this man is cunning, Ivan Matveyevich Shabalin. Maybe he'll start a speech right now? To start... started it. Wow, he talks about coming to Komsomol work, about doing this work. Maybe he trusts us, Komsomol workers, completely? And it feels like that).

The features of the character's speech are easily recognized through special markers [they are highlighted by us in the above fragment of the original text in bold italics, which will be used by us further when highlighting words and expressions. – R. A.]: numerous questions, short, unfinished and "torn" sentences (Pesh shuen gina yodesh), personal pronouns (mylanna), emotional and evaluative interjections, words with the meaning of unconditional affirmation (chynak), negation (uke), assumptions (ochyn), introductory words (manmyla). The word "manmyla" occurs many times in the direct speech of the character, which also confirms the stylistic convergence of the author's speech and the character's speech.

In subsequent episodes, psychological techniques recreate the already positive author's connotation in the image of the character (Yambulatov), focused on constructive criticism, sincerely concerned about the situation in the area and just as sincerely wishing for change, believing in their possibility. Here are examples of such episodes:

1) acquaintance of the new chairman of the raipo with the work of the dumpling and cafe: "Urem vel pyrdyzhshe ptynek yanda gynat, shinchalan ok perne. Shukerte ogyl vozen sakyme signat pyrdyzh semynak purak dene levedaltyn, – shonalten, Pyotr Kuzmich k?rtn? omsam shupshylo, pykshe pochyn se?ysh. – Spring lushtarash kulesh", – mane shkange [p. 27] ("Despite the fact that the street wall is all made of glass, it does not catch the eye.  The recently hung signboard, like the wall, was covered with dust, – having thought so, Pyotr Kuzmich pulled the iron door, barely opened it. – We need to loosen the spring," he said to himself) (internal monologue); Iambulatov sharna: iktazh kok–kum iy onchych tyshte kechyvalvel gych tolsho-vlak pasham yytash talych. Shokshyshto, the gas stove vokten ogyl, and the buffet. Kalyk chyla pala, ... vashke yk sharlysh: catering director Bituev shizharzhym da tudyn mariizhym konden shogalten. ... Cafe tachys menuat pesh need yle. The director of "pashae?-vlak ogyt site" manyn umyltarysh, but vet salatshym, vinaigretshym oyten shuktash liesh yle. And the kokymsho dish is ik l?m gyn. Mo tide tygay? Kechyvallan kochkash tolsho kalykshe mom manesh? ... Uke, oy kelshe Pyotr Kuzmichlan rassolnikat, kalyk manmyla, kem tagan guy beefsteak - p?et chyta gyn, chytizhe! Tide shot ogyl [pp. 28-30] (Yambulatov remembers: about two or three years ago Southerners started working here. Not in the heat, by the gas stove, but in the buffet. The people know everything, ... it soon became known: Bituev brought his sister and her husband. ... And today's menu in the cafe turned out to be very poor... The director explained that there were not enough employees, but it was possible to have time to make a salad, a vinaigrette.  And the second courses are only one name. What is it? What will the people who came to dinner say? ... No, Pyotr Kuzmich did not like either the pickle or the steak, similar, as they say, to the shoe of a boot – if the tooth holds, let it endure! This is not the case) (improper-direct speech);

2) Yambulatov's generalization of what he saw during the day and an analysis of the activities of the former head of the raipo (in this scene, the traditional internal monologue and inappropriate direct speech are supplemented by an internal monologue "out loud": "Ozaev dene turnover shotyshto kyzytak mutlanyman. Idalykym sayyn torturash k?lesh, – y?kynak mane Pyotr Kuzmich, cigarette ylyzhtysh. – Yes, the plan. Chylashtyn plan. Tudym temyman. And tidlan mogai u y?n ulo? The turnover of palynak onchyko shkal koltysho ..." [p. 31] ("Now we need to talk to Ozaev about the turnover. The year must be well assured," Pyotr Kuzmich said aloud, lighting a cigarette. – Yes, the plan. Everyone has a plan. It must be fulfilled. And what new methods are there for this? Noticeably advanced trade turnover ...").

The gradually emerging and intensifying conflict of the new chairman of the raipo with his ideological and professional opponents (Ozaev and his ideological supporters) mobilizes the internal artistic strategy of personal development of the image and makes the author's mastery in the field of psychological narration obvious; at the same time, the above-mentioned techniques of the direct form of psychological representation are maximally actualized. Thus, from the experiences and detailed reflections of Yambulatov, from his numerous internal monologues and inappropriate direct speech, literally entangling the external conflict of the novel (the former and new thinking of the people, leaders and ordinary people, hero and antihero), the reader learns about negative social processes, the destructive market psychology of the era of perestroika, about the causes of spiritual and moral impoverishment of people. For example, Yambulatov reflects on the indifference of people (improper-direct speech): ...Kyzytshe mo tugai? Kyzytse ilyshizhe? Nig?lan nimo ok k?l. Nig?n vuige-pochge ilysh lo?gash purymyjo ok shu [p. 39] (... What is it now? Modern life? Nobody needs anything. No one wants to fully enter into the thick of life). About the irresponsibility of managers and about the destroyed economy (improper-direct speech): Izirakyshtynat, kugurakyshtynat pashalan vuyyn shogymysht ok shizhalt. Nunilan pashazysht dech izish kugurak oxam poit da tetla nimem sayyn ogyt yod [p. 40] (Neither the leaders nor the subordinates feel joy for the cause. They will give them a little more money than the workers, and now they don't ask anything well); The jackpot from onchal – er is shuktydymo oral, tolymo equipment, t?rl? vere shala kiyltshe equipment [p. 40] (Wherever you look, there is unfinished construction everywhere, broken equipment, equipment scattered around).Yambulatov also raises the question of who is to blame for the general devastation, indifference and haggling that has reigned in the new era (improper-direct speech): Tyshte vara k? titakan? To Ala vara tide kugu p?lemyshte shinchyshe e?-vlak? ... And molan nuno ogyl, district nuno vuilatatys. Nuno kalykyn ?shanle e?ysht ulytys. ...Kalykyn? ... Ala nunin ogyl? Ala partiyn? Ochyn, partiyn. Vet tudo onchylno [p. 40] (And who is to blame here? Who! Maybe the people sitting in this big office? ... And why not them, they run the district? After all, they are the proxies of the people. ...The people? ...Maybe not the people? Maybe parties? Probably parties. After all, she is ahead). The novel presents numerous reflections of Yambulatov on how to systematize, optimize and direct the work of the raipo towards the people's interests; they are abundantly presented in the dialogue between Yambulatov and correspondent Ilya Ilyich.

The concrete focus of negative changes in society is Ozaev in the novel, in whose image Berdinsky represents a soulless master of the world, nurtured by the perestroika era of commodity scarcity, occupied with the idea of immeasurable enrichment, detached from people and indifferent to their destinies [see about this: 15, p. 226]. The slogan "Ty - mylam, my – tylat" ("You are to me, I am to you") is associated with the author's exposure of just such a socio–psychological type of personality, which is carried out in the title of the novel, having a symbolic meaning, generalizing the character of the depicted epoch. Psychological pieces of the text either precede external clashes between Yambulatov and Ozaev, or follow them as an analysis of the actions of opponents or their own plans and deeds aimed at the common good; they convey either the doubts of the main character or his firm moral and ethical attitudes - in both cases they are designed to elevate him in the eyes of the author and readers.

The central scene from the point of view of fixing the conflict between Yambulatov and Ozaev in the event plot and the whole system of abnormal relations that developed in the perestroika era, and in the psychological plot of the reflective role of a positive character is the exposure of the perpetrators of the emergency with the washing machine. In it, the most important conceptual significance is acquired by Yambulatov's improperly direct speech, in which his reflections on the moral ills of society, on modern god (deficit) and his main principle, corrupting people - from bottom to top, are given, as well as the philosophical components of the worldview of Yambulatov and the author himself, who do not accept the spirit of haggling and disrespect for people, are formulated: ...vurgem mushmo machine is a deficit. Mutshat ala-mo tugai: neither sayin ok shokto nor marla. ... Shomakshe lach satu sitydymym gyna ok onchykto shol. Deficit – tideh shkezh dek shupshsho yyzhy?an korno... Yuzhgunam motkoch k?leshan ?zgar kava gich cho?eshten volymyla tolesh. Sadlan sade kavase tular-tulachym mondash namysyn chuchesh. Ikmanash, nunimat it mondo, tygak vasheshte: "Ty – mylam, my – tylat". ... Mutat uke, tygayim chytash ys?. ... Yambulatov izinekak chylazhymat shke kidshe dene oyten tunemyn, kinde-shinchalyn akshym sayyn pala. Vet yalyshte shochyn-kushkyn, kresanyk yeshyshte. Sadlanak ala-mo eynym pagalen moshtysho, chyla pasham kushtylgo yn dene voradarash tunemdym. Takshe tudo deficitsyn mo tugayzhym washed, tache gina shochyn vochsho ogyl. But tudlan tidee korno putyrak amyrchykyn chuchesh. Ty puyto aideme otyl, and ala-mogai sh?ksh? yydal. Nimom oyten mostydymo, chyla dech ladsh, kolya chonan. And tidee kornyshto koshtsho e? shkenzhym chyla kertshylan shotla, kurykym savyren kertam, shona [p. 89] (...washing machine – shortage. And the word is what: it doesn't sound in Russian, nor in Mari. ... The word, apparently, means not only a shortage of goods. Scarcity is a multi–track road beckoning to you... sometimes a very necessary thing seems to fall from the sky. Therefore, it seems shameful to forget the heavenly matchmaker and matchmaker. In a word, do not forget them, also answer: "You are for me, I am for you." ... Of course, this is difficult to withstand. ... Yambulatov has been used to doing everything with his own hands since childhood, he knows the price of bread and salt well. After all, I was born and raised in a village, in a peasant family. Maybe that's why he knows how to appreciate someone else's, is not taught to look for easy ways in all matters. Actually, he understands what a deficit is, he was not born today. But this road seems to him too dirty. It's like you're not a person, but some kind of old lapot. Not knowing how to do anything, afraid of everything, with a mouse soul. And the one who walks along this road considers himself omnipotent, thinks that he can turn mountains).

As a method of psychological characterization, a significant place in Berdinsky is occupied not only by an internal monologue and improper direct speech, but also by artistic details - both external in the role of psychological (we are talking about the contextual transformation into psychological landscape, portrait or material details expressing certain mental movements), and actually psychological, present there are two types in the novel. The first type is associated with internal gestures – details as components of the "reception of silence" or "nonverbal dialogue": actions and phenomena of kinesics – "gestures, elements of mimicry and pantomime" ^{[10, p. 296]} (L. V. Chernets), and in nonverbal dialogue "also paralinguistic elements, such as: laughter, crying, the pace of speech, etc." ^{[10, p. 296. Italics of the author of the statement quoted by us. – R. K.]} (L. V. Chernets). Such a detail in literary science is conventionally defined as an indirect form of psychological detail (I. V. Strakhov), or as "external manifestations of the inner life of the hero (facial expressions, plastic, gestures, speech to the listener, physiological changes, etc.)" ^{[11, p. 34]}, or as "details of the dynamic portrait of the character" ^{[10, p. 296]}. The second type is the psychological detail itself, correlated with the summative–denoting form of the psychological image, in which the thoughts and feelings of the character are reported using the direct naming of what is happening in the inner world of the character (according to A.P. Skaftymov, "verbal designation of feelings") ^{[18, p. 302]}.

         Relying on these theoretical attitudes, let us consider several examples of artistic details in the psychological function in the novel "You are to Me, I am to you" with their projection into the semantics of the characters' characters.

The young Komsomol district leader Yambulatov, summoned to the secretary of the district party committee, is experiencing excitement, embarrassment, worries in anticipation of the unknown (a new facet of Ivan Matveevich's attitude towards him, some kind of proposal): Pyotr Kuzmich vashtalt kayysh, ala–mom shizhshyla chevergale [c. 23] (Pyotr Kuzmich blushed like as if sensing something); Ivan Matveyevich ... onchaltyshyzhym adak rvez ?mbak kusarysh .... Samyryk e? tygai onchaltyshym se?ash t?chysh – oy kert, vujjo sakalte [p. 23] (Ivan Matveyevich ... turned his gaze back to the guy .... The young man tried to cope with such a look – he could not, he lowered his eyes [lit. hung up. – R. A.] head); Pyotr Kuzmich nimom shonalten oy shukto, lach, ala-mom shizhshyla, yurt liyyn kayysh. Tache tidee plemyshte umshazhym the first gana pochyn, and motkochak shuko kutyrymyla chuchesh. Teve esogyl umsha koshken, nurtashat uto ogyl. Onchaltyshizhe izi ?stembalse grafin ?mbak vozo, shizhdeak, sh?vylv?dshym nele [p. 24] (Pyotr Kuzmich did not have time to think anything, as he was scared, as if he smelled something.  Today I opened my mouth for the first time in this office, but it seems like I was talking a lot. Even my mouth is dry, it would not be superfluous to urinate. His gaze fell on the decanter on the table, unconsciously swallowed saliva).

Yambulatov's first reaction to Ivan Matveevich's proposal to become the chairman of the raipo is expressed by the author at the paralinguistic level: ...kokyraltysh Pyotr Kuzmich [p. 25] (... Pyotr Kuzmich coughed). There is a complex psychological gamut in this detail: confusion, surprise, as well as uncertainty (Pyotr Kuzmich will further hint at his lack of full knowledge about the work) and at the same time a sense of some kind of self-importance (the detail follows after Shabalin's words that he believes in him and that he will succeed).

In turn, the good disposition, attention of the secretary of the district party committee to the young activist is also conveyed through psychological details, mainly portrayed in the role of psychological and internal gestures: A tide gana Ivan Matveyevich Shabalin tudyn vashtarezhe shyrgyzhal tolo, lopka pushkido kidshym rvese e?lan shuyaltysh, shokshyn kormyzhtysh. Vara, volgydo shinchazh dene Yambulatovyn onchaltyshyshkizhe t?knen, ?stelt?rys? p?kenym onchyktysh, shinchash yodo [p. 23] (And this time Ivan Matveyevich Shabalin came up to him smiling, stretched out his broad soft hand to the guy, warmly shook it. Then, facing his bright gaze with Yambulatov's eyes, he pointed to a chair near the table, asked to sit down); ...choka churiyyshte shyrgyzhmash pale ylyzhe, samyryk e?ym t?tkyn onchen, mane ... [c. 25] (...on a wide [lit. dense, massive. – R. A.] a smile appeared, looking closely at the young man, said ...).

And the bewilderment, misunderstanding by the secretary of the district committee of the subordinate's doubts about the position proposed by him is transmitted using the details of the tacit admission: Pyotr Kuzmich Yambulatov peleshten mostydymo liyyn shinche, puito pukenysh pudalalte [p. 25] (Pyotr Kuzmich Yambulatov was speechless, as if he was nailed to a chair).

Psychological details are very important in the context of the internal dynamics of the character, they are inscribed by the author in the description of the manner of his behavior, communicative relations. As an example, let's give a scene of communication between Yambulatov and the head of the cafe "Meeting": – Tazesha Gituevich, ozanlyketym onchykto, – pele strogyn, pele shyrgyzhalyn mane Pyotr Kuzmich [p. 29] (– Tazesha Gituevich, show your farm – half strictly, half smiling, said Pyotr Kuzmich). The author points to the growth of a young leader gaining experience in professional communication, changing under the influence of meetings with people, understanding and correcting his mistakes. This is a scene in which there is a place not only for severity, but also for a smile, noticeably different from the scene of the meeting (in fact, the "bummer" of the newly appointed new leader) with the self-confident head of the convoy Kostin, who directly but kindly gave him a life lesson: Yambulatov behaved too harshly, unfriendly and even ungrateful. This psychological background of the character's behavior was also conveyed with the help of psychological details: vashesh oy shyrgyzhal, oy peleshte [p. 25] – did not even smile in response, remained silent (portrait and as part of silence); Yambulatov sagam kuptyrtysh [p. 25] – Yambulatov wrinkled his forehead (portrait, close to an internal gesture). And the kind, with all the external irony and bossiness of behavior, Kostin's attitude to Yambulatov is conveyed not only with the help of portrait (shyrgyzhale), but also psychological (skizhgan kalasysh) details.

Strong emotions Yambulatova about upcoming actions, of his plans, the urgent desire to solve his problem thrilling, internal focus on it for the most part passed on in the novel with the internal gestures: Raypo Chairman echeat Yol balne, steel octene type-tuga kostidis, Vara variscite since, Nike zamestitelja mbak Tdyn oncale [c. 33] (the Chairman of the society are still standing, back and forth walked around the table, then sat down, looked at his Deputy).

Internal gestures are often given in combination with descriptive details in the role of psychological or actually psychological details, which are mostly constructed by the author from expressive vocabulary or tropes: Pyotr Kuzmich verzhe gych tarvanysh, Pyotr muchko koshtyn savyrnysh. Yol yymalne esogyl k?var lgalte, and ik vere y?ysen kochyrtatysh, chonyshko kozyran kerylte [p. 26] (Pyotr Kuzmich jerked from his seat, walked around the office. Even under his feet, the floor swayed, and in one place creaked groaning, hard [lit. rough. – R. A.] cut into the heart). In this fragment, the author masterfully uses material details in the psychological function (esogyl k?var lgalte, and ik vere yy?ysen kochyrtatysh) and the direct designation of feeling (chonyshko kozyran kerylte). The intensity and strength of the character's experiences in these cases is achieved through metaphorization used in detail.

Material details in the psychological function, coupled with internal realities, are found throughout the novel's narrative, in some cases clearly prevailing, for example, in the scene of a conversation between Yambulatov and his deputy about the poor work of the store and the "incident" with the washing machine. They noticeably strengthen the psychological component of the situation – the extreme discontent and indignation of the chairman of the raipo: the chairman of the Raipo chyte – cigarettes atym rualtysh (the Chairman of the raipo could not stand it – grabbed an ashtray); Pyotr Kuzmich p?ken e?ertyshym murykten koltysh[p. 80] (The back of Pyotr Kuzmich's chair creaked violently [lit. Pyotr Kuzmich made the back of the chair sing. – R. A.]).

In the case of more "muted" emotions of the character, for example, bewilderment and surprise, Berdinsky most often refers to a combination of portrait, proper psychological details and internal gesture (facial expressions): Yambulatov, vachym turtykten, nimom umylyde, chylashtymat onchal koltysh [p. 83] (Yambulatov, shrugging his shoulders, not understanding anything, looked around at everyone).

There are a lot of purely psychological scenes in the novel, connected with the image of the main character and built on a variety of various details. One of such scenes is a scene of communication between Yambulatov and Lyudmila Ushakova, a senior commodity expert of the raipo, who came to his office. This scene contains elements of the character's internal struggle: on the one hand, the reflex reaction of a man to a beautiful woman (Volgido, kugu shinchash t?knen, chonjo puito shogale, turtynalt koltysh [c. 36] (Having come across bright, big eyes, the heart seemed to stop, contracted); Pyotr Kuzmichyn y?ksh? ?kymrak lekte, chonjo pyrtkaltym shizhylaltysh [p. 36] (Pyotr Kuzmich's voice turned out to be forced, he felt a heartbeat); Pyotr Kuzmichyn ushyzho ikmynyar zhaplan puito tdalte, chonjo vurgyzhaltysh. Ikmynyar zhap tarvanide shinchysh ... [p. 37] (Pyotr Kuzmich's mind seemed to be confused for a while [lit. strained. – R. K.], the soul was upset. He sat motionless for a while ...); on the other hand, the desire to control himself (...samyryk p?rå shke shonymyjlan pe?gydyn ruale [p. 37]) (... the young man firmly cut off his thoughts). The female character in this scene is represented, in general, by a minimum of speech, almost the entire texture of the image is the movements of the heroine and portrait details that convey her excitement and a sense of awkwardness: ...pyrdyzh voktense pinkenysh shinche, vozhylalme guy liye. Tidige yrgeshke sh?rgyvylyshyshte vigak paldyrnysh. Adakshe yoshkar pomade dene chevertyme ovargalshe t?rvyzh? onchyko shuynalte, kuzhu punan chinchage pych-pych liyyldale [p. 36] (...sat on a chair near the wall, as if she was shy. It was immediately marked on her round face. And her swollen lips, painted with red lipstick, suddenly stretched forward, eyes with long eyelashes blinked); ...Luda t?knysh, ala-mogai algashtarysh shomakym peshak kalasynezhe yle, chytysh, shyrgyzhal kolten, kynel shogale [p. 37] (...Luda stopped herself [lit. she stumbled. – R. K.], wanted to say some seductive words, endured, smiled, stood up).  

Similarly, the scene of Ozaev's exposure in the fraud associated with the sale and return of the washing machine is constructed; with the help of details in the psychological function, not only the state of Yambulatov and Ozaev (the main participants in the event) is masterfully revealed, but also the minor characters, in particular, the frightened sellers who tried to hide the real circumstances at first, and then forced into everything confess and name real scammers.

It is thanks to the use of psychological details that the image of the antihero Ozaev gets psychological motivation in Berdinsky's novel. At the same time, the psychological detail often becomes also a powerful characterological tool: Pyotr Kuzmich onchaltyshyzhym Ozaev velysh viktarysh. Oi washed – tudyjo mom shona? And Ozaev verzhe gych tarvanysh, kynervuizho dene ?stembak e?erten shinche, vara kokyraltyme shotym ytysh [p. 32] (Pyotr Kuzmich directed his gaze at Ozaev.  I didn't understand – what does he think? And Ozaev started off, sat down, leaning his elbows on the table, then pretended to cough). All the details in this fragment (verzhe gych tarvanysh, kynervuizho dene ?stembak e?erten shinche, vara kokyraltyme shotym ytysh) (these are mainly internal gestures) indicate not only the internal tension and disagreement between Ozaev and his supervisor, but also such traits of his character as cunning, deceitfulness and hypocrisy. It is no coincidence that the author here and in the following narrative constantly focuses the reader's attention on such an important detail as an attempt to avoid direct (face-to-face) communication with the interlocutor. He constantly looks away from him: Pyotr Kuzmich Ozaev yult onchal koltysh. Tudyjo vuyym savyral... [p. 33] (Pyotr Kuzmich suddenly looked at Ozaev. He turned his head to the side...).

In some cases, the author points out Ozaev's insidious and secret thoughts and plans (with his external consent with the interlocutor) with the help of proper psychological details such as: Ozaev chonjo dene kuanen shyrgyzhale, but tzhval t?ssh? dene oy paldare, shomakym vigak weight velysh lupshale [p. 34] (Ozaev smiled happily in his soul, but not he showed it outwardly, immediately turned the conversation in the other direction). In the novel, attention is drawn many times to Ozaev's half-smile, to the artificiality of a smile, to his image of a smile (shyrgyzhalme shotym yytysh [p. 80] – depicted something similar to a smile), thus the author emphasizes the insincerity, secrecy, two-faceedness (the discrepancy between the external and internal life) of the character. Let's turn to the hypocritical behavior of Ozaev, transmitted with the help of proper psychological details, when checking the store warehouse (he is trying to hide the machinations, which, as it turned out, he is involved in; he is overwhelmed with a feeling of anger and discontent): Tudo chylashtlanat peshak syren gynat, tidym tzhvak ok onion, shkenzhym tymatlyn heap [p. 84] (He is very angry at everyone, but does not let it out, keeps calm); Ozaev vachym turtyktysh. Shinchashtyzhe shyde tul koyo gynat, semynzhe shyrgyzhalashat tchysh [p. 84] (Ozaev squeezed his shoulders. Despite the fact that evil lights appeared in his eyes, in his eyes, he even tried to smile to himself).

The author, less than when creating the image of the main (positive) hero, resorts to an internal monologue when creating this image, most often to a short one (for example, in scenes when he mocks people about himself), or to inappropriate direct speech. Mainly, he uses them to convey Ozaev's hatred towards people: Eshezhe tev tideh sho'go map tolyn shinchynat, ozalana, kugu tumam tarvatash yamdyla koesh. Ala-mo k?lesh liyin, vitne. Chilalan k?lesh, chilalan! Sang yolysht dene shogarysh toshkalshysht samyryk kashak dech shuko satum nalnesht. Tidym pu, tudym! Shkalanysht nalit mo deficit satum nina karta-shamych? Erge-?dyryshtlan, sheshke-ve?yshtlan. Here is sitare nunylan – day, temdyme kashaklan! [p. 42] (Also, this old bastard has appeared, is hosting, it seems, is preparing a big discord. Something was needed, apparently. Everyone needs it, everyone! Those who have one foot in the grave, want the young [letters. crowds of young people. – R. A.] take away more goods. Give it, then! Do these incompetents take this scarce product for themselves? Sons-daughters, daughters-in-law-sons-in-law. So provide for them – the greedy, insatiable crowd!).

Ozaev's anger is constantly emphasized by the author and with the help of proper psychological details. Anger and hatred towards people are presented as a constant and skillfully masked dominant of Ozaev's inner state: Varazhe shydizhe lektyn shuo ... [p. 196] (Then his anger woke up); Ozaevyn shydizhe chotak lekte [p. 239] (Ozaev became very angry). They intensify in him with each new exposure of his dishonest professional activity and, apparently, are ineradicable. The latter is emphasized by a new psychological technique linked to the motive of duality. In Ozaev, who has just received a severe reprimand from the party district committee for unfair work in the district, two "subjects" are arguing in it. In the dispute of the soul (Jeonjo), calling for prudence and self-reflection, and the voice (y?ksh?), the voice wins, that is, the real Ozaev, a self-satisfied and deep down despising fraudster. And even after being summoned to the prosecutor's office (for postscript), he is still faithful to the principle of his own and perestroika time: The law is the law of shot money, and my money is ... [p. 245] (The law is according to the law, and I am to you ...). This is how Ozaev responds to his double to his warning remark: Ok lii, the law of tyge ok ksht [c. 245] (It is impossible, the law forbids).

All this does not allow us to agree with V. T. Mikhailov's statement that at the end of the novel elements of positive evolution of Ozaev are outlined, however, the continuation of this line of social behavior, which the author wanted to present in the second book of the novel, the author did not see in life itself and therefore, according to the researcher, did not start writing it ^{[6, p. 226]}.

In our opinion, even the tragic case given in the finale of the work did not save Orayev from inhumanity, selfishness and thirst for power over people and the world.  All the scenes of Ozaev's rude and drunken behavior at the end of the novel contain the author's contempt for the character and convince the reader of the impossibility of his epiphany. The evil force, according to the author's concept, is distinguished by its unique vitality: a drunken Ozaev, who has almost drowned in a spring pond, with ice that has not yet melted, is rescued by two young friends brought up on the principles of humanity, diametrically opposed to those that Ozaev followed in his life (... e?ym serysh luktash k?lesh [p. 282] –...a person needs to be pulled ashore); Vet aidem utaren kodash chylazhymat ytyman [p. 283] – After all, to save a person, you need to do everything possible); and one of them – simple-minded Eric, recognizing his uncle in a drowning man, hopes, having received support from him, to finally buy a long-awaited motorcycle (these thoughts of Eric transmitted through his internal monologue and improper-direct speech). Thus, the author returns the reader to the title of the novel, expressing the inhuman principle of relationships established in the perestroika era. The author's remark about Eric's dream, correlated with the symbolic title of the novel, coupled with sad landscape details (Uremyshte yualge, but kylmykten ogyl. Kavashte zeal viyan yesh. ... Tygodym japlan lekshe tylze shem fervor she?gek shyle, r?p pychkemyshalte. Shukat oy lii, nochko lum yogash tale. Tudo koyyn ovarysh, optyra?e. Cho'gatalashte pochyltsho, shosho yuzh dene shlaltysh mlande ugych ola-vula posto dene levedalte [p. 285] – It's cool outside, but not frosty. Clouds are moving fast in the sky. ... At the same time, the moon that appeared for a while hid behind a black cloud, it became dark abruptly. A little time passed, and wet snow began to fall. He noticeably swelled up and filled up everything around. The land that opened on the hills and breathed the spring air was again covered with spotted cloth), no longer leaves room for the author's optimism.

conclusion

So, psychologism can be defined as the style dominant of Berdinsky's novel "You are to me, I am to you." In the work of the Mari writer, he powerfully manifests himself at the plot and character levels of the text, and he is also important in the context of the author's assessments of the depicted events and phenomena. The most important means of implementing the psychological plot (the inner life of the character, its dynamics) are the internal monologue and inappropriate direct speech. Improper-direct speech of the character as a method of psychologism, expressing an active rapprochement of the position of the author and the main character, certainly contributes to the disclosure of the author's ideological and semantic attitudes in the novel. Among the means of psychological characterization in Berdinsky's novel, the psychological detail plays a dominant role (both external in the role of psychological, and actually psychological).