The article analyzes the collections of N. F. Pavlov “Three Stories” (1835) and “New Stories” (1839) in the aspect of the functioning of such a type of supertext as an individual author’s textual unity, realized in the form of a collection. Since it is compiled by the author, its components are selected and grouped by him in accordance with a certain intention. The texts within each writer’s collection correspond with each other. In their plot, there is a clear orientation towards “an incident from life”; the plot is based on the clash of the heroes with a rejecting secular environment. The common properties of all structural components of Pavlov’s collections are elements of psychologism, romantic stylistics (sustained motifs, characters endowed with unusual passions, poetics of a fragment) with an emphatically social sound, attention to everyday details, and the use of physiological features. Unifying impulses are also set by extra-textual elements (titles, subtitles, epigraph to the first collection). In the form of a collection, Pavlov’s stories are combined into a kind of megatext, endowed with “super meaning,” which fundamentally changes the scale of the depiction of reality and ensures a higher level of the author’s awareness of the most pressing problems in society. The core of this version of textual unity is the author’s idea, which determines the presence of intertextual connections between the components of the collection and their general modality. However, in the presence of a structure and internal logic set by the author, the collection differs from the adjacent phenomenon — the cycle — in that the compositional arrangement of individual parts is not of decisive importance here, the connections between the stories that make up the collection are significantly weakened.
supertext, textual unity, collection, cyclization, author’s concept of reality, romanticism
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