Little man in the literature of the 20th century. The history of the image of the "little man" in world literature and its writers

Introduction

little man ostrovskiy literature

The concept of "little man" was introduced by Belinsky (1840 article "Woe from Wit").

"Little Man" - who is it? This concept refers to the literary hero of the era of realism, who usually occupies a fairly low place in the social hierarchy. A "little man" can be anyone from a petty official to a tradesman or even a poor nobleman. The more democratic literature became, the more relevant the “little man” became.

Appeal to the image of the "little man" was very important even at that time. More than that, this image was relevant, because its task is to show the life of an ordinary person with all his problems, worries, failures, troubles and even small joys. It is a very hard work to explain, to show the life of ordinary people. To convey to the reader all the subtleties of his life, all the depths of his soul. This is difficult, because the "little man" is a representative of the whole people.

This topic is still relevant today, because in our time there are people who have such a shallow soul, behind which you can’t hide either deceit or a mask. It is these people who can be called "little men." And there are just people who are small only in their status, but great, showing us their pure soul, unspoiled by wealth and prosperity, who know how to rejoice, love, suffer, worry, dream, just live and be happy. These are small birds in the boundless sky, but they are people of great spirit.

The history of the image of the "little man" in world literature and its writers

Many writers raise the topic "little man". And each of them does it in his own way. Someone represents him accurately and clearly, and someone hides his inner world so that readers can think about his worldview and somewhere in depth, compare with your own. Ask yourself the question: Who am I? Am I a small person?

The first image of a little man was Samson Vyrin from the story "The Stationmaster" by A.S. Pushkin. Pushkin, in the early stages of his work, as one of the first classics who described the image of the "little man", tried to show the high spirituality of the characters. Pushkin also considers the eternal ratio of the "little man" and unlimited power - "Arap of Peter the Great", "Poltava".

Pushkin was characterized by a deep penetration into the character of each hero - the "little man".

Pushkin himself explains the evolution of a small person by constant social changes and the variability of life itself. Each era has its own "little man".

But, since the beginning of the 20th century, the image of the “little man” in Russian literature has been disappearing, giving way to other heroes.

Pushkin's traditions are continued by Gogol in the story "The Overcoat". A “little man” is a person of low social status and origin, without any abilities, not distinguished by strength of character, but at the same time kind, harmless and does no harm to people around him. Both Pushkin and Gogol, creating the image of a little man, wanted to remind readers that the most ordinary person is also a person worthy of sympathy, attention and support.

The hero of the "Overcoat" Akaki Akakievich is an official of the lowest class - a person who is constantly mocked and mocked. He was so accustomed to his humiliated position that even his speech became inferior - he could not finish the phrase. And this made him humiliated in front of everyone else, even equal to him in class. Akaki Akakievich cannot even defend himself in front of people equal to him, despite the fact that he opposes the state (as Yevgeny tried to do this).

It was in this way that Gogol showed the circumstances that make people "small"!

Another writer who touched on the topic of the “little man” was F.M. Dostoevsky. He shows the "little man" as a person more deeply than Pushkin and Gogol, but it is Dostoevsky who writes: we all came out of Gogol's "Overcoat".

His main goal was to convey all the internal movements of his hero. Feel through everything with him, and concludes that "little people" are individuals, and their personal feeling is valued much more than people with a position in society. Dostoevsky's "little man" is vulnerable, one of the values ​​of his life is that others can see in him a rich spiritual personality. And self-awareness plays a huge role.

In the work “Poor people” F.M. Dostoevsky's protagonist scribe Makar Devushkin is also a petty official. He was also bullied at work, but this is a completely different person by nature. The ego is concerned with issues of human dignity, it reflects on its position in society. Makar, after reading The Overcoat, was indignant that Gogol portrayed the official as an insignificant person, because he recognized himself in Akaky Akakievich. He differed from Akaky Akakievich in that he was able to deeply love and feel, which means that he was not insignificant. He is a person, although low in his position.

Dostoevsky strove for his character to realize in himself a person, a personality.

Makar is a person who knows how to empathize, feel, think and reason, and according to Dostoevsky, these are the best qualities of a “little man”.

F.M. Dostoevsky becomes the author of one of the leading themes - the theme of "humiliated and insulted", "poor people". Dostoevsky emphasizes that every person, no matter who he is, no matter how low he stands, always has the right to compassion and sympathy.

For a poor person, the basis in life is honor and respect, but for the heroes of the novel “Poor People” this is almost impossible to achieve: “And everyone knows, Varenka, that a poor person is worse than a rag and cannot receive any respect from anyone, what’s there do not write".

According to Dostoevsky, the “little man” himself is aware of himself as “small”: “I am used to it, because I get used to everything, because I am a quiet person, because I am a small person; but, nevertheless, what is all this for? ... ". "Little Man" is the so-called microworld, and in this world there are many protests, attempts to escape from the most difficult situation. This world is rich in positive qualities and bright feelings, but it will be subjected to humiliation and oppression. The "little man" is thrown into the street by life itself. "Little people" according to Dostoevsky are small only in their social position, and their inner world is rich and kind.

The main feature of Dostoevsky is philanthropy, paying attention to the nature of a person, his soul, and not to a person’s position on the social ladder. It is the soul that is the main quality by which a person must be judged.

F.M. Dostoevsky wished for a better life for the poor, defenseless, "humiliated and insulted", "little man". But at the same time, pure, noble, kind, disinterested, sincere, honest, thinking, sensitive, spiritually elevated and trying to protest against injustice.

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The theme of the "little man" in the literature of the XVIII-XIX centuries. Teacher - Komissarova E.V.

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The theme of the "little man" in the literature of the XVIII-XIX centuries. Forgotten, humiliated people almost never attract special attention of others. Their life, their little joys and big troubles seem to everyone unworthy of special interest. But since the beginning of the 19th century, it is precisely such people that have become the subject of close attention from the great Russian literature. With each work, she showed more clearly and more truthfully the life of people of the "lower" class. Little officials, stationmasters - "little people" began to emerge from the shadows.

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The theme of the "little man" in the literature of the XVIII-XIX centuries. The theme of the “little man” is a “cross-cutting theme” of Russian literature. The appearance of this image is due to the Russian career ladder of fourteen steps, on the lower of which small officials worked and suffered from poverty, lack of rights and insults, poorly educated, often lonely or burdened with families, worthy of human understanding, each with his own misfortune. In literary criticism, there are several interpretations of the concept of "little man". One of the definitions was proposed by the literature researcher A.A. Anikin: "Little man" is a literary type of person - a victim of circumstances, government, evil forces, etc."

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The theme of the "little man" in the literature of the XVIII-XIX centuries. The main thematic features of this image will be: 1) a low, disastrous, subordinate social position; 2) suffering that comes not from one's evil intent or guilt, but from weakness and mistakes; 3) in varying degrees, but - the inferiority of the individual, often squalor and underdevelopment; 4) acuteness of life experiences; 5) finally, awareness of oneself as a "little man" and the desire to assert one's right to life in this capacity, but often with a dream only of making life easier; 6) an appeal to God as the only bearer of justice and equality: only before God are all equal. It is precisely the whole complex of features that should be characteristic of a literary hero, the presence of some of the listed features does not yet introduce him into the mainstream of the theme of the "little man". At the same time, it cannot be said that the presence of signs makes the heroes of different works the same: the image of each of them will lead the reader to reflection on this topic in a completely different way, revealing its different facets.

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The theme of the "little man" in the literature of the XVIII-XIX centuries. The very concept of "little man" appears in literature before the very type of hero is formed. Initially, this is the designation of people of the third estate, which became of interest to writers due to the democratization of literature. In the 19th century, the image of the "little man" becomes one of the cross-cutting themes of literature. The concept of "little man" was introduced by V.G. Belinsky in his 1840 article "Woe from Wit". Initially, it meant a "simple" person. With the development of psychologism in Russian literature, this image acquires a more complex psychological portrait and becomes the most popular character in democratic works of the second half of the 19th century. How did the theme of the “little man” appear in Russian literature? The first period in the development of Russian literature, as we know, is ancient Russian literature, the heroes of which were princes, saints, and warriors. Only at the end of the period of existence of ancient Russian literature is a simple person “allowed” into it, not a hero, not a saint, not a ruler. Then classicism comes to literature from the West, this direction corresponded to the needs of that time: Peter I built a strong state. The classicists were concerned about the needs of the state and the person as a citizen, useful to his country. Only with the advent of sentimentalism, again from Western literature, into Russian literature did writers become interested in the personal needs and experiences of people.

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The theme of the "little man" in the work of N.M. Karamzin. The first writer who opened the world of "little people" to us was N.M. Karamzin. The greatest influence on subsequent literature was Karamzin's story "Poor Lisa." The author laid the foundation for a huge cycle of works about "little people", took the first step in the study of this hitherto unknown topic. It was he who opened the way for such writers of the future as Gogol, Dostoevsky and others. The social inequality of the heroes and the natural complexity of the human soul become an obstacle to Liza's happiness. The fate of the poor girl unfolds against the background of the dramatic history of Russia. Karamzin's little story is philosophical. The author disputes the assumption of the philosopher Rousseau about the idyllic past of mankind. The history of mankind is all built on dramatic collisions, and before people were not happier than now, the narrator claims. A big story was made up of small troubles of ordinary people.

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The theme of the "little man" in the works of A.S. Pushkin. A.S. Pushkin was the next writer whose sphere of creative attention included the whole of vast Russia: its open spaces, the life of the villages, St. Petersburg and Moscow opened not only from a luxurious entrance, but also through the narrow doors of poor people's houses. For the first time, Russian literature so poignantly and clearly showed the distortion of the individual by a hostile environment. For the first time, it was possible not only to dramatize the contradictory behavior of a person, but also to condemn the evil and inhuman forces of society. "Tales of Belkin" were created in the autumn of 1830 in the village of Boldino. The main character of the "Tales" is a little poor man, his position in society, his desires, aspirations, social contradictions in which he is drawn, moral dignity and simple human happiness.

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The theme of the "little man" in the works of A.S. Pushkin. Of the stories of this cycle, the story "The Stationmaster" had the greatest influence on the entire further course of the development of Russian literature. Pushkin's choice of the hero - the stationmaster - was not accidental. In the 20s of the 19th century, many moralistic essays and stories appeared in Russian literature, the heroes of which were people of the “lower class”. "The Stationmaster" is a socio-psychological story about a "little man" and his bitter fate in a noble society. This is the highest manifestation of realism in Russian prose of the early 30s and a remarkable achievement of Pushkin himself. The fate of the "little man" is shown here for the first time without sentimental tearfulness, without romantic exaggeration, as a result of certain historical conditions, the injustice of social relations.

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The theme of the "little man" in the works of A.S. Pushkin. In the very plot of The Stationmaster, a typical social conflict is conveyed, a broad generalization of reality is expressed, revealed in the individual case of the tragic fate of an ordinary man Samson Vyrin. Pushkin showed in his hero the features of humanity, protest against social injustice, which he revealed in a realistic depiction of the fate of an ordinary person. This is a genuine human drama, of which there are many in life. A wise writer teaches us to pay attention not to the position, but to the soul and heart of a person, because then the world will become much cleaner and more honest. Humility, A. S. Pushkin shows, humiliates a person, makes life meaningless, corrodes pride, dignity, independence from the soul, turns a person into a voluntary slave, into a victim submissive to the blows of fate. For the first time, Russian literature was able to condemn the evil and inhuman forces of society. Samson Vyrin judged this society.

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The theme of the "little man" in the works of A.S. Pushkin. The significance of the theme of the “little man” for Pushkin was not in exposing the hero’s downtroddenness, but in discovering in the “little man” a compassionate and sensitive soul, endowed with the gift of responding to someone else’s misfortune and someone else’s pain. From now on, the theme of the "little man" will be constantly heard in Russian classical literature.

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The theme of the "little man" in the work of N.V. Gogol. The theme of the "little man" reached its apogee in the works of Gogol. Gogol opens the world of "little people", officials in his "Petersburg Tales" to the reader. Especially significant for the disclosure of this topic is the story "The Overcoat", which was of great importance for all subsequent literature. Gogol had a great influence on the further movement of Russian literature, "responding" in the work of its most diverse figures from Dostoevsky and Shchedrin to Bulgakov and Sholokhov.

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The theme of the "little man" in the work of N.V. Gogol. The story brings the "little man" face to face with the cruel bureaucratic machine of old Russia. And this machine mercilessly crushes and humiliates him. Gogol changed and reworked real material in such a way that the humane idea came to the fore. He took a hero who occupied one of the last places in the hierarchical system of tsarist Russia, a most harmless creature who never did anyone any harm, dutifully endured all sorts of hardships and ridicule, who never showed any claims, except perhaps the claim to the most necessary - to an overcoat, and then only when it was impossible to do without it. And it is this man that life mercilessly punishes like a criminal!

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The theme of the "little man" in the work of N.V. Gogol. The "little man" is not destined to be happy in this unfair world. And only after death is justice done. Bashmachkin's "soul" finds peace when he returns his lost thing. Akaky Akakievich dies, but N.V. Gogol revives him. Why is he doing this? It seems to us that N.V. Gogol revived the hero in order to further show the timidity of the hero’s soul, and even having revived, he changed only on the outside, but in his soul he still remained only a “little man”. N.V. Gogol showed not only the life of the “little man”, but also his protest against injustice. Let this "rebellion" be timid, almost fantastic, but the hero stands up for his rights, against the foundations of the existing order.

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The theme of the "little man" in the works of A.P. Chekhov Later, Chekhov would sum up a peculiar result in the development of the theme, he doubted the virtues traditionally sung by Russian literature - the high moral merits of the "little man" - a petty official. Voluntary groveling, self-deprecation of the “little man” - this is the turn of the topic proposed by A.P. Chekhov. If Chekhov “exposed” something in people, then, first of all, it was their ability and readiness to be “small”. A person should not, does not dare to make himself "small" - this is Chekhov's main idea in his interpretation of the theme of the "little man". Summing up all that has been said, we can conclude that the theme of the "little man" reveals the most important qualities of Russian literature of the 19th century - democracy and humanism.

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The theme of the "little man" in the literature of the XVIII-XIX centuries. The idea of ​​a “little man” changed throughout the 18th and 19th centuries. Each writer had his own personal views on this hero. The writers of the 18th century - N.M. Karamzin - and the first half of the 19th century - A.S. Pushkin, N.V. Gogol - treat the "little man" with sympathy. At first, the "little man" could love, respect himself, but was powerless in front of the state machine. Then he could not love, could not respect, and could not even think of fighting the state. Later, the "little man" acquires a sense of dignity, the ability to love, and at the same time he is acutely aware of his insignificant position. But the most important thing is that he is no longer insignificant in his soul!

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The theme of the "little man" in the work of N.V. Gogol. The theme of the "little man" is developed in detail in the work of A.S. Pushkin, who repeatedly addressed the problems of such people in his works. You can even trace the change in this image in various works of the writer ("The Stationmaster", "The Captain's Daughter", "The Bronze Horseman"). The theme of the “little man” is continued by N.V. Gogol, who in his story “The Overcoat” for the first time shows the spiritual stinginess, squalor of poor people, but also draws attention to the ability of the “little man” to rebel and for this he introduces elements of fantasy into his work.

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The theme of the "little man" in the literature of the XVIII-XIX centuries. This theme occupied a significant place in Russian literature. The problem of the "little man" excited the writers, although each of them reveals the image of the "little man" in his own way and makes you think about the problems of such people, exposing the spiritual poverty, squalor of the "poor little people" in order to help them change. Thus, the theme of the "little man" underwent significant changes in the work of writers. It is very important for understanding all Russian literature, since in the 20th century it was developed in the images of the heroes of I. Bunin, A. Kuprin, M. Gorky, and even at the end of the 20th century you can find its reflection in the works of V. Shukshin, V. Rasputin and other writers.

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Bibliography. 1. Anikin A.A., Galkin A.B. Themes of Russian classics. Tutorial. - M.: Prometheus, 2000. 2. Arkhangelsky A.N. Russian literature of the 19th century. Grade 10". - M., 2000. 3. Vinogradov I. From "Nevsky Prospekt" to "Rome". / Gogol N.V. Petersburg stories. - M.: Synergy, 2001. 4. Gogol N.V. Overcoat. Petersburg stories. - M.: Synergy, 2001. 5. Gorelov P. O. Essays on Russian writers M.: "Soviet writer", 1984. 6. Gukovsky G. Gogol's Realism. - M .: Higher School, 1959. 7. Karamzin N.M. Poor Liza [electronic resource] http: az.lib.ru\k\karamzin 8. Kozhinov V.V. About the idea of ​​"The Overcoat". / Gogol N.V. Petersburg stories. - M.: Synergy, 2001. 9. Lebedev Yu.V. Russian literature of the 19th century. Grade 10". M., 2002. 10. Korovina V., Zhuravlev V., Korovin V. Literature. Grade 9 Textbook-reader for educational institutions. At 2 o'clock - M.: Enlightenment, 2007. 11. Mann Yu. Gogol's poetics. M .: Fiction, 1988. 12. Markovich V. Gogol's St. Petersburg Tales. L.: Fiction, 1989. 13. Mendeleeva D. A few words about the "little man" and "dead souls" [electronic resource] http:lit.1september.ru\2004 14. Nezdvitsky V.A. "From Pushkin to Chekhov". M., 1997 15. Pushkin A.S. station attendant. Works in 5 volumes - M .: Synergy, 1999. 16. Ulyanov N.I. On Gogol's themes. Who is the true creator of the "demonic" Petersburg? / Gogol N.V. Petersburg stories. - M.: Synergy, 2001. 17. Shenrok V.I. Petersburg Tales of Gogol. / Gogol N.V. Petersburg stories. - M .: Synergy, 2001

"Little Man" is a literary character characteristic of the era of realism. Such a hero in works of art could be a petty official, a tradesman, or even a poor nobleman. As a rule, its main feature is a low social position. This image is found in the works of both domestic and foreign authors. The theme of the little man in Russian literature occupies a special position. After all, this image has received a particularly vivid expression in the works of such writers as Pushkin, Dostoevsky, Gogol.

The great Russian poet and writer showed his readers a soul that is pure and unspoiled by wealth. The protagonist of one of the works included in the Belkin Tale cycle knows how to rejoice, sympathize and suffer. However, the life of Pushkin's character is initially not easy.

The famous story begins with the words that everyone curses the stationmasters, without analyzing which it is impossible to consider the topic “The Little Man in Russian Literature”. Pushkin portrayed a calm and happy character in his work. Samson Vyrin remained a good-natured and good-natured man, despite many years of hard service. And only separation from his daughter deprived him of peace of mind. Samson can survive a hard life and thankless work, but he is not able to exist without the only close person in the world. The stationmaster dies of boredom and loneliness. The theme of the little man in Russian literature is multifaceted. The hero of the story "The Stationmaster", perhaps like no other, is able to arouse compassion in the reader.

Akaki Akakievich

A less attractive character is the hero of the story "The Overcoat". Gogol's character is a collective image. There are many like Bashmachkin. They are everywhere, but people do not notice them, because they do not know how to appreciate in a person his immortal soul. The theme of the little man in Russian literature is discussed year after year at school literature lessons. After all, thanks to a careful reading of the story "The Overcoat", a young reader can take a different look at the people who surround him. The development of the theme of the little man in Russian literature began precisely with this semi-fairytale work. No wonder the great classic Dostoevsky once uttered the famous phrase: "We all came out of the Overcoat."

Until the middle of the 20th century, the image of a little man was used by Russian and foreign writers. It is found not only in the works of Dostoevsky, but also in the books of Gerhart Hauptmann, Thomas Mann.

Maksim Maksimovich

The little man in Lermontov's work is an outstanding personality suffering from inaction. The image of Maxim Maksimovich is first found in the story "Bela". The theme of the little man in Russian literature, thanks to Lermontov, began to serve as a literary device for critically depicting such vices of social society as kneeling and careerism.

Maxim Maksimovich is a nobleman. However, he belongs to an impoverished family, and besides, he does not have influential connections. And therefore, despite his age, he is still in the rank of staff captain. However, Lermontov portrayed the little man not offended and humiliated. His hero knows what honor is. Maksim Maksimovich is a decent man and an old campaigner. In many ways, it resembles Pushkin from the story "The Captain's Daughter".

Marmeladov

The little man is pathetic and insignificant. Marmeladov is aware of his uselessness and uselessness. Telling Raskolnikov the story of his moral fall, he is hardly able to arouse sympathy. He states: “Poverty is not a vice. Poverty is a vice." And these words seem to justify the weakness and impotence of Marmeladov.

In the novel "Crime and Punishment" the theme of the little man in Russian literature is especially developed. An essay based on a work by Dostoevsky is a standard task in a literature lesson. But, no matter what name this written task has, it is impossible to complete it without first compiling a description of Marmeladov and his daughter. At the same time, it should be understood that Sonya, although she is also a typical little person, is significantly different from other “humiliated and insulted”. She is unable to change anything in her life. However, this fragile girl has great spiritual wealth and inner beauty. Sonya is the personification of purity and mercy.

"Poor People"

This novel also deals with "little people". Devushkin and Varvara Alekseevna are the heroes that Dostoevsky created with an eye on Gogol's "Overcoat". However, the image and theme of the little man in Russian literature began precisely with the works of Pushkin. And they have a lot in common with Dostoevsky's novels. The story of the stationmaster is told by himself. The "little people" in Dostoevsky's novels are also prone to confession. They are not only aware of their insignificance, but also seek to comprehend its cause, act as philosophers. One need only recall Devushkin's lengthy messages and Marmeladov's long monologue.

Tushin

The system of images in the novel "War and Peace" is extremely complex. Tolstoy's characters are heroes from the highest aristocratic circle. There is little in them that is insignificant and pathetic. But why is the great epic novel remembered then, as the theme of the little man is discussed in Russian literature? An essay-reasoning is a task in which it is worth giving a characterization of such a hero as from the novel "War and Peace". At first glance, he is ridiculous and clumsy. However, this impression is deceptive. In battle, Tushin shows his masculinity and fearlessness.

In the huge work of Tolstoy, this hero is given only a few pages. However, the theme of the little man in Russian literature of the 19th century is impossible without considering the image of Tushin. The characterization of this character is very important for understanding the views of the author himself.

Little people in the work of Leskov

The theme of the little man in Russian literature of the 18-19th century is revealed to the maximum. Leskov in his work also did not bypass her. However, his characters are significantly different from the image of a little man, which can be seen in Pushkin's stories and Dostoevsky's novels. Ivan Flyagin is a hero in appearance and soul. But this hero can be classified as "little people." First of all, because many trials fall to his lot, but he does not complain about fate and does not cry.

The image of a little man in Chekhov's stories

Such a hero is often found on the pages of the works of this writer. The image of a small man is especially vividly depicted in satirical stories. The petty official is a typical hero of Chekhov's works. In the story "The Death of an Official" there is an image of a little man. Chervyakov is driven by an inexplicable fear of his boss. Unlike the heroes of the story "The Overcoat", the character from Chekhov's story does not suffer from harassment and bullying from colleagues and the boss. Chervyakov is killed by fear of the highest ranks, eternal admiration for the authorities.

"Celebration of the Winner"

The theme of admiration for the authorities Chekhov continued in this story. However, the little people in "The Triumph of the Victor" are portrayed in a much more satirical light. The father, in order to obtain a good position for his son, humiliates himself with fawning and coarse flattery.

But it is not only the people who express them who are guilty of low thoughts and unworthy behavior. All this is the result of the orders prevailing in the social and political system. Chervyakov would not have asked for forgiveness so zealously if he had not known about the possible consequences of the mistake he had made.

In the work of Maxim Gorky

The play "At the Bottom" tells about the inhabitants of the rooming house. Each of the characters in this work is a small person, deprived of the most necessary for a normal life. He is unable to change anything. The only thing he has the right to believe in the fables of the wanderer Luke. Sympathy and warmth - this is what the heroes of the play "At the Bottom" need. The author urges readers to compassion. And in this his views coincide with the point of view of Dostoevsky.

Zheltkov

"Garnet Bracelet" - a story about the great love of a little man. Zheltkov once falls in love with a married woman, and he remains true to this feeling until the last minutes of his life. There is an abyss between them. And the hero of the work "Garnet Bracelet" does not hope for a reciprocal feeling.

Zheltkov has the characteristic features of a small person, not only because he occupies a low social position. He, like Bashmachkin and the stationmaster, is left alone with his pain. Zheltkov's feelings serve as the basis for jokes and ironic sketches of Prince Shein. Other heroes are able to appreciate the depth of suffering of the “little man” only after his death.

Karandyshev

The image of a little man in has common features with similar characters in the works of Dostoevsky and Chekhov. However, the humiliated Karandyshev in the play "Dowry" does not cause either pity or sympathy. He strives with all his might to get into a society in which he is not expected. And for the insults that he endures for many years, he is ready to take revenge.

Katerina Kabanova also belongs to the category of little people. But these heroines are integral personalities, and therefore they do not know how to adapt and dodge. Death for them becomes the only way out of the situation in which they find themselves due to the inertia of the social system.

The image of the little man in literature developed in the nineteenth century. However, in modern literature, he has given way to other heroes. As you know, many foreign authors were influenced by Russian literature. Proof of this are the works of writers of the 20th century, in which there are often characters reminiscent of Chekhov's and Gogol's heroes. An example is Thomas Mann's "Little Mr. Friedemann". The hero of this short story lives his short life unnoticed and dies in the same way, from the indifference and cruelty of those around him.

The very concept of "little man" appears in literature before the very type of hero is formed. Initially, this is the designation of people of the third estate, which became of interest to writers due to the democratization of literature. In the 19th century, the image of the "little man" becomes one of the cross-cutting themes of literature. The concept of "little man" was introduced by V.G. Belinsky in his 1840 article "Woe from Wit". Initially, it meant a "simple" person. With the development of psychologism in Russian literature, this image acquires a more complex psychological portrait and becomes the most popular character in democratic works of the second half of the 19th century. The history of literature has shown that the type of little man turned out to be very flexible, capable of modification. With a change in the social, political, cultural structure, under the influence of the philosophical ideas of various thinkers, the type of “little man” also evolves in literature, its various variants appear. The difficult time of the turn of the century gave rise to existential moods: the “little man” is no longer only a social type of the flawed and defenseless, it is a person in general. This is a person who is weak and defenseless against cataclysms, fractures, fate, fate, the Universe. But different writers of the turn of the century placed different accents in developing the theme of the “little man”. M. Gorky (Matryona "Spouses of the Orlovs", Nikita "The Artamonov Case", Arina "Boredom"). Like no other Russian writer, Gorky saw in ordinary people crushed by life a rich and multifaceted inner world, lofty thoughts and great demands, reflections not only on a piece of bread, but also on the structure of the world, a slow but steady growth of people's consciousness. In serious, socially significant conflicts, bright, complex characters, different beliefs collide. Gorky not only and not so much pitied the "little man", "humiliated and insulted", as he demanded from this man that he ceased to be "little", but became a Man with a capital letter, did not allow himself to be humiliated and insulted. ("Man - it sounds proud", Satin, "At the bottom"). Gorky believed in the spiritual, creative powers of man, in the fact that a man, even a "small" one, would defeat the reigning evil. Ultimately, this was due to the maturation of the revolution in the country, and Gorky's works turned out to be in tune with the feelings, thoughts, and moods of the people of those years. Gorky tried to find a bright beginning in the "perished creatures", on behalf of himself and his heroes he opposed attempts to humiliate and insult the "little man", which was especially clearly manifested in the terrible story "Boredom for the sake of". But as an artist, especially in the early period of creativity, Gorky did not escape Nietzsche's aestheticism, which includes admiring force as an "extra-moral" phenomenon. He contrasts "little people" with physically strong, beautiful people and sympathizes with the latter. This is clearly seen in such stories as "Makar Chudra", "On Rafts", "Mallow" and some others. Chelkash gives money to Gavrila not because he pities the unfortunate guy. He is disgusted by his humiliation, he is aesthetically "unpleasant". I.A. Bunin insisted on the irrational nature of human actions. In the stories "Ignat", "Cricket" and others, Bunin claims that "little people" lack a sense of moral consciousness, there are no concepts of good and evil. In his stories, the happiness of the "little man" does not depend on following moral standards. E. Zamyatin in the story "Uyezdnoye" has the main character - "the little man", Anfim Baryba, who is close to Gogol's Bashmachkin. But Gogol defends in Bashmachkin the Man, his brother, and Zamyatin sees in his hero a serious social and moral danger. This is a socially dangerous, malicious variety of the "little man". F. Sologub, on the one hand, inherits the features of Russian classical prose, on the other hand, the author deliberately departs from it. By the nature of his work, Sologub is close to Chekhov, Saltykov - Shchedrin (that is, the “little man” is to blame for his misfortunes, ridicules the “little man”). Like Chekhov, Sologub feel the vulgarity of the surrounding life in its most subtle manifestations. In the novel The Petty Demon, its main character Peredonov is all woven from allusions associated with his predecessors, with all those “small and humiliated”, unprotected, but this is a different variation of a person of a “case” type, a “little man”. Peredonov is an insignificant creature bursting with ambition, the embodiment of an ordinary demon, the reverse side of life, an immoral and unspiritual person, the focus of evil. Thus, in the work of Sologub, the “little man” is transformed into a “petty demon”. The coveted rank of inspector is the transformation of Akaky Akakievich's overcoat, the only valuable thing in life. But unlike the "little people" of 19th-century literature, Peredonov imagines himself important, significant, revels in his significance, but at the same time considers servility, sycophancy in front of superiors not shameful. Peredonov "little man" precisely in the meaning of "small, crushed, vile degenerate, low, insignificant in his malice". This is the embodiment of the social and moral bottom. In this Peredonov is close to Baryba Zamyatin. In the story “The Little Man”, Sologub openly declares the continuation of the tradition: Saranin, unsightly in appearance (small in stature), serves in the department. The hero, having inadvertently drunk drops intended for his wife (to reduce her stoutness and give her the same height as her husband), began to become catastrophically smaller. In the literal sense of the word. The metaphorical name of the historical and literary type of the hero "little man" is read and developed literally by Sologub. But the component of the conflict remains traditional, Sologub speaks directly about this: "the traditions of Akaky Akakievich's colleagues are tenacious." Saranin's colleagues despise him for his small stature, his superiors demand that he return to his previous size, threaten him with dismissal, his wife ceases to consider him a person at all, no one hears the "mosquito squeak" of a small man, he becomes a toy, a puppet in the hands of "the powers that be". Lacking the strength to resist them, the "little man" is forced to submit to the cruel power of capital. “Small people can talk, but their squeak is not heard by people of large sizes,” the author sums up. "Little Man" in the works of A.I. Kuprin (Yeltkov "Garnet Bracelet", Romashov, Khlebnikov "Duel", Sashka "Gambrinus") carries a sense of hopelessness of life, a complete loss of the possibilities of existence. Dispossessed characters in Kuprin's stories often live in an atmosphere of suffering and sorrow. The more striking are their "complex feelings", "bright impulses". Kuprin depicts the originality of the nature of the "little man", which is manifested in his actions. His behavior is accompanied by such a "set of spiritual movements" that there is no reason to doubt the "wonderful gift" of the "little man". One of the manifestations of such a gift is love. Continuing the traditions of Pushkin and Dostoevsky, Kuprin sympathizes with the “little man”, reveals his spiritual qualities as opposed to decadent writers, although he sees his inherent weaknesses, which he sometimes portrays with friendly irony. On the eve of the revolution and during its years, the theme of “the little man was one of the main ones in the work of Kuprin. The attention of the writer to the "little man", the defense of his ability to feel, love, suffer is quite in the spirit of Dostoevsky and Gogol. Let us recall at least Zheltkov from the Garnet Bracelet. Quiet, timid and inconspicuous, causing pity for Vera and her husband, he not only grows into a tragic hero, but by the power of his love rises above petty fuss, life's conveniences, decency. The “little man” Zheltkov turns out to be a man who is in no way inferior in nobility, in the ability to love aristocrats. With the greatest brightness and artistic power, the growth of consciousness of the "little man" so beloved by Kuprin in the era of the first Russian revolution is reflected in the famous story "Gambrinus" - one of the best works of the writer. The poor Jewish violinist Sashka from the port tavern "Gambrinus" refuses to perform the monarchist anthem during the days of rampant reaction, boldly throws the word "murderer" in the face of the tsar's guard and hits him - this Sashka is perhaps the most courageous of all the "little people" of Kuprin, unlike on everyone else. The inspiring atmosphere of the days of the first Russian revolution, beautifully conveyed in the story, made him so. The brotherly, "Gogolian" attitude towards the "little man", compassion, sadness about his useless life, we see in the story "Duel". “Who, finally, will arrange the fate of the downtrodden Khlebnikov, feed him, teach him and tell him: “Give me your hand, brother.” At the same time, his “little” hero (Romashov, Zheltkov) is indecisive, romantically disposed, cannot stand the duel with harsh reality, turns out to be unviable, dies physically, having no moral strength to resist the circumstances. The traditionally realistic theme of the “little man” takes on a different color with L.N. Andreeva. Man is a helpless being in the face of sinister forces, infinitely lonely and suffering. It should be noted Leonid Andreev's close attention to everything connected with moral shock: the presence or absence of fear, overcoming it. At the center of his stories is the fear of death and the fear of life, and it is no less terrible than death. The "little man" is experiencing a panicky horror of the universe. In Andreev's early prose, contemporaries immediately saw Chekhov's tradition in the depiction of the "little man". According to the choice of the hero, the degree of his deprivation, the democratism of the author's position, such Andreev's stories as "Bargamot and Garaska", "Petka in the country", "Angel", "Once upon a time there were" are quite comparable with Chekhov's. But Andreev everywhere singled out the terrible state of the world for himself - the complete disunity, mutual misunderstanding of people. In the Easter meeting between the townsman Bargamot and the tramp Haraska, well known to each other, each of them suddenly does not recognize the other: "Bargamot was amazed," "continued to be perplexed"; Garaska experienced "even some kind of awkwardness: Bargamot was painfully wonderful!" However, even having discovered something unknown pleasant in their interlocutor, both cannot, do not know how to establish relations between themselves. Garaska only utters a "plaintive and rude howl", and Bargamot "less than Garaska understands what his cloth tongue is fussing about." In "Petka in the Country" and "Angelochka" - an even darker motive: the natural ties between children and parents are broken . And the little heroes themselves do not understand what they need. Petka "wanted to go somewhere else." Sasha "wanted to stop doing what is called life." The dream does not shrink, it does not even perish (as in the works of Chekhov, Gogol), it does not arise, only indifference or anger remains. Revealing the theme of the "little man", L.N. Andreev affirms the value of every human life. That is why the main theme of his early work is the theme of achieving community between people. The writer seeks to realize the importance of those universal values ​​that unite people, make them related, regardless of any social factors. It should also be noted that the theme of the "little man" in the work of L. Andreev has evolved. At first, it was painted in tones of sympathy and compassion for disadvantaged people, but soon the writer became interested not so much in the “little man”, suffering from humiliation and material poverty (although this was not forgotten), but in the “little man”, oppressed by the consciousness of pettiness and everyday life. of his personality. Starting from the first stories, in the work of Leonid Andreev, a persistently pursuing doubt arises in the possibility of an adequate comprehension of the nature of the world and man, which determines the originality of the poetics of his works: in this respect he experiences either timid hope or deep pessimism. None of these approaches to life ever manage to find complete victory in his writings. In this distinctive feature of his worldview, we see the fundamental feature of his work. "Little Man" by N. Teffi is quite close to Chekhov's hero. Subtle irony, hidden psychologism, Chekhov's elegance of language distinguished her stories from the huge stream of humorous literature that hit Russia in the "days of freedom" and subsequent years. The story "Gift Horse" by N. Teffi is very close to Chekhov's work "The Death of an Official". Like A.P. Chekhov, N. Teffi's laughter is quite distant, but more sarcastic than that of the classic. Her hero is not exceptional, but ordinary. The comedy of the story is closely related to the psychological overtones. In the center of the story is the story of the "little man" Nikolai Ivanovich Utkin. There is no doubt that it is a “little man” before us, since at the very beginning of the story the author defiantly emphasizes the origin of the hero - “a small excise official of a small county town”. For the protagonist of the story, the “happy” win - the horse is a symbol of ambitious dreams, the pitiful claims of the “little man” for some other life, reminiscent of the life of an aristocrat. Utkin's funny actions, his desire to stand out from the crowd, are typical for a petty provincial official. The comic of the story is based on the deep exposure of the psychology of a worthless person, but claiming a higher status, so laughter is colored with notes of sadness. This makes N. Teffi also related to N.V. Gogol. The “little man” in the image of N. Teffi, his true essence, is so adapted and harmonious in the reality surrounding him, which has a permanent modal assessment of the author, which seems to be a worthy product and a semantic continuation of the environment that brought him up, but hostile to him. And if the hero A.P. Chekhov can count on the reader's compassion due to the dramatic situation in which he finds himself, then the character of N. Teffi is placed in the situation of an episode that constitutes the content of the "society-individual" relationship as permanently antonymous. And therefore, faceless, insignificant characters in N. Teffi's short prose constitute an integral part of the environment, their internal and external content in the author's image acquires a harsher interpretation than the image of A.P. Chekhov, although both authors use irony as a way of seeing the world.