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Why is Lord Golovleva's novel public. "public" novel "Messrs. Golovlevs"

Topic: "Gentlemen Golovlevs" M.E. Saltykov-Shchedrin as a new type of socio-psychological novel

1. The novel-chronicle by M. E. Saltykov-Shchedrin “Lord Golovlevs”: the history of the idea, the features of historical time.

2. The plot and composition of the novel "Golovlevs":

A. the change of three generations as a plot-forming beginning and a compositional device;

B. Arina Petrovna as the head of the family;

V. middle generation, image of Porfiry;

G. "heads" and their role in the disclosure of the topic.

3. The innovative nature of the work as a socio-psychological novel of a new type, a social novel.

Literature:

1. Auer, A.P. Saltykov-Shchedrin and the poetics of Russian literature of the second half of the 19th century / A.P. Auer. – Kolomna, 1993.

2. Bilinkis Ya.S. Satire and psychological analysis of Saltykov-Shchedrin // Bilinkis Ya.S. Russian classics. - M., 1986.

3. Bushmin, A. S. The artistic world of Saltykov-Shchedrin: fav. tr. / A. S. Bushmin. - L., 1987.

4. Bushmin, A. S. The evolution of the satire of Saltykov-Shchedrin / A. S. Bushmin. - L., 1984.

5. Grigoryan, K. N. Roman M. E. Saltykov-Shchedrin “Lord Golovlevs” / K. N. Grigoryan. – M.; L., 1962.

6. Makashin S.A. Saltykov-Shchedrin. Last years, 1875–1889. - M., 1989.

7. Nikolaev, D. P. Shchedrin’s Laughter: Essays on satirical poetics / D. P. Nikolaev. - M., 1988.

8. M. E. Saltykov-Shchedrin and Russian satire of the 18th–20th centuries. –M., 1998.

9. Saltykov-Shchedrin and Russian literature: Sat. Art. - L., 1991.

Practice #7

Topic: Autobiographical trilogy of Leo Tolstoy

1. Creative history of the autobiographical trilogy.

2. Genre specificity. Narrative structure.

3. The dynamics of the image of Nikolenka in the trilogy:

A. childhood;

B. adolescence;

V. youth.

4. World and man in the trilogy:

A. society;

B. nature;

V. culture (estate, noble life, attributes of culture, etc.).

5. The interaction of two plots - linear (the formation of personality) and "retro-plot" (remembering-remembering the past).

6. "Dialectics of the soul" as a psychological method L.N. Tolstoy.

Literature:

1. Chernyshevsky, N. G. Childhood and adolescence. Composition of Count L. Tolstoy. Military stories of Count L. Tolstoy // Chernyshevsky N. G. Literary criticism. - M., 1981. - V.2. - S. 32-45.

2. Khrapchenko, M. B. L. Tolstoy as an artist / M. B. Khrapchenko. - M., 1978.

3. Kovalev, V. A. Poetics of L. Tolstoy. Origins. Traditions / V.A. Kovalev. - M., 1983.

4. Bilinkis, Ya. S. Innovation of L. Tolstoy in the trilogy / Ya.S. Bilinkis. - M., 1973.

5. Odinokov, V. G. Poetics of Tolstoy's novels / V. G. Odinokov. - Novosibirsk, 1978.

6. Lotman, L. M. Realism of Russian literature of the 60s of the XIX century. / L. M. Lotman. - L., 1974. - S. 142-147, 150, 167, 176-178, 270-274, 281.

7. Bocharov, S. G. L. Tolstoy and a new understanding of man. "Dialectics of the soul" // Literature and the new man. - M., 1963. - S. 224-309.

Practice #8

Topic: "Sevastopol stories" by L. N. Tolstoy

1. "Sevastopol stories" L.N. Tolstoy: the history of creation, the structure of the narrative.

2. The truth about the war in "Sevastopol stories".

3. Man at war. Analysis of individual images and the collective image of the defenders of Sevastopol.

4. "Sevastopol stories" as a landmark work of L. Tolstoy.

Literature:

1. Khrapchenko, M. B. L. Tolstoy as an artist / M. B. Khrapchenko. - M., 1978.

2. Kovalev, V. A. Poetics of L. Tolstoy. Origins. Traditions / V.A. Kovalev. - M., 1983.

3. Gromov, P. On the style of Tolstoy / P. Gromov. - M., 1971.

4. Bursov, B. L. Tolstoy. Ideological search and creative method / B. L. Bursov. - M., 1962.

5. Lotman, L. M. Realism of Russian literature of the 60s of the XIX century. / L. M. Lotman. - L., 1974. - S. 36, 125, 129, 139, 141-142, 155, 174-175, 270.

Practice #9

Topic: Leo Tolstoy's epic novel "War and Peace"

1. The history of the creation of the novel.

2. Disputes about the genre:

A. M. Bakhtin and his concept of the genre of the epic novel;

B. modern literary criticism about the genre of "War and Peace".

3. Philosophy of history L.N. Tolstoy as the philosophical and aesthetic basis of the epic. The problem of freedom and necessity in the general concept of the novel and the structure of the characters' characters.

4. "War and Peace" - an epic novel:

A. military-historical narrative;

B. the people in "War and Peace";

The good characters of the novel, the epic and the novel in them;

G. novel about the entire Russian nation.

5. Features of the plot-compositional construction:

A. the novel "War and Peace" as "an endless labyrinth of links", their laws;

B. the main compositional principles of Tolstoy.

6. Forms and means of psychological analysis in "War and Peace" and their functions in the work (internal monologues, portraits, everyday life, landscape, dreams of heroes).

7. Features of vocabulary and syntax in the novel, their connection with the predominance of the epic or dramatic beginnings in the novel.

8. Practical task. Analysis of the Shengrabin battle, hunting scenes.

Literature:

2. Chicherin, A.V. The emergence of the epic novel / A.V. Chicherin. - M., 1958. - S. 137-168.

3. Gachev, G. Conciseness of form. (Epos. "Iliad" and "War and Peace") // Questions of Literature. - 1965. - No. 10.

4. Bocharov, S. G. “Peace” in “War and Peace” // Bocharov S. G. On Artistic Worlds. - M., 1985. - S. 229-248.

5. Bocharov, S. G. L. Tolstoy and a new understanding of man. "Dialectics of the soul" // Literature and the new man. - M., 1963. - S. 224-309.

6. Kamyanov, V. I. The poetic world of the epic. About L. Tolstoy's novel "War and Peace" / V. I. Kamyanov. - M .: Soviet writer, 1978. - S. 137-168.

7. Khalizev, V. E. Roman L.N. Tolstoy "War and Peace" / V. E. Khalizev, S. I. Kormilov. - M., 1983.

8. Linkov, V. Ya. The world and man in the work of L. Tolstoy and I. Bunin / V. Ya. Linkov. - M., 1989. 25.

9. Plyukhanov, M. B. Creativity of Tolstoy: Lectures in the spirit of Yu.M. Lotman // Leo Tolstoy: pro et contra. The personality and work of Leo Tolstoy in the assessment of Russian thinkers and researchers. - St. Petersburg, 2000. - S. 822-857.

Practice #10

Subject: Leo Tolstoy's novel "Anna Karenina"

1. The history of the creation of the novel "Anna Karenina". Tolstoy's innovation in the field of novel form.

2. Poetics of the novel. Structural and compositional features. The function and meaning of the epigraph in the ideological structure of the work.

3. Principles and means of analyzing the psychology of characters in the novel.

Literature:

1. Bakhtin, M. M. The ideological novel of L. N. Tolstoy // Bakhtin M. M. Sobr. op. - M., 2000. - T. 2. - S. 185-204.

2. Byaly, G. A. "Eternal" themes in Dostoevsky and L. Tolstoy ("The Idiot" and "Anna Karenina") // Byaly G. A. Russian realism of the late XIX century. - L., 1973. - S. 54-67.

3. Ginzburg, L. Ya. About psychological prose / L. Ya. Ginzburg. - M., 1999. - S. 390-399.

4. Kuzina, L. N. Artistic Testament of Leo Tolstoy. Poetics of L. N. Tolstoy of the late XIX - early XX century / L. N. Kuzina. - M., 1993.

5. Mardov, I. Vengeance and retribution // Questions of Literature. - 1998. - No. 4. - S. 144–159.

6. Russian literature at the turn of the century (1890s - early 1920s): in 2 books. - M., 2001. - Book. 1. - S. 336-389.

7. Eikhenbaum, B. M. Leo Tolstoy. Seventies / B. M. Eikhenbaum. - L., 1974. - S. 127-191.

Practice #11

Topic: F. M. Dostoevsky's novel "Poor people"

1. Dostoevsky and the "natural school". The new artistic system of F.M. Dostoevsky.

2. Innovation in the interpretation of the theme of the "little man", the meaning of comparison with Pushkin and Gogol.

3. Features of the genre of the novel and the structure of the narrative.

4. Dialogization in the novel "Poor People" ("reflection of someone else's word", correlation of the hero's word and "foreign word").

Literature:

1. Bakhtin, M. M. Problems of Dostoevsky's Poetics / M. M. Bakhtin. - M., 1972. - Ch. II. pp. 97-100, Ch. V, pp. 350-361.

2. Vetlovskaya V.E. Roman F.M. Dostoevsky "Poor people" / V. E. Vetlovskaya. - L., 1988.

3. Nechaeva, V. S. Early Dostoevsky / V. S. Nechaeva. - M., 1979.

4. Chirkov, N. M. On the style of Dostoevsky: Problems, ideas, images / N. M. Chirkov. - M., 1967. - S. 3-15.

5. Shchennikov, G. K. Dostoevsky and Russian realism / G. K. Shchennikov. - Sverdlovsk, 1987. - S. 26-50.

Practice #12

Topic: F. M. Dostoevsky's novel "Crime and Punishment"

1. "Crime and Punishment" F.M. Dostoevsky - the first novel of the Great Pentateuch: the idea and history of creation.

2. Features of the genre of the novel "Crime and Punishment" (polyphonic novel, ideological novel, philosophical novel, tragedy novel, etc.).

3. Features of the problems and poetics of the novel:

A. the system of characters, the clash and "active interpenetration" of theories in the novel;

B. spatio-temporal organization of the work;

B. the originality of the conflict and the features of the composition.

4. The structure of the narrative in the novel. The polyphony of the novel. Narrative as part of action (chapters I-IV). Dialogues and monologues in the novel.

5. Conclave scenes of the novel (scene of Marmeladov's commemoration).

6. The image of St. Petersburg. Cityscape in the novel.

7. The meaning and functions of the epilogue in the novel.

Literature:

1. Bakhtin, M.M. Problems of Dostoevsky's Poetics / M.M. Bakhtin. - M., 1972. -S.104-111, S. 125-127.

2. Dneprov, V. Features of the novel of the twentieth century / V. Dneprov. - M.-L., 1965. - S. 502-514.

3. Belov, S. Dostoevsky's novel "Crime and Punishment": commentary / S. Belov. - M., 1985.

4. Chirkov, N. M. On the style of Dostoevsky: Problems, ideas, images / N. M. Chirkov. - M., 1967.

5. Shchennikov, G. K. Dostoevsky and Russian realism / G. K. Shchennikov. - Sverdlovsk, 1987.

6. Antsiferov, N. P. "Incomprehensible city" ... The soul of St. Petersburg. Petersburg of Dostoevsky. Petersburg Pushkin / N. P. Antsiferov. - St. Petersburg: Lenizdat, 1991.-335 p.

7. Vetlovskaya, V. E. Methods of ideological controversy in Dostoevsky's "Crime and Punishment" // Dostoevsky: Materials and Research. - St. Petersburg, 1996. - T. 12. - S. 78-98.

8. Gachev, GD Dostoevsky's space // Problems of poetics and history of literature (collection of articles). - Saransk, 1973. - S.110-125.

9. Seleznev, Yu. In the world of Dostoevsky / Yu. Seleznev. - M., 1980

10. Toporov, VN On the structure of Dostoevsky's novel in connection with archaic schemes of mythological thinking ("Crime and Punishment") // Toporov VN Mif. Ritual. Symbol. Image. - M., 1995. - S.193-259.

11. Anderson, R. On the visual composition of "Crime and Punishment" // Dostoevsky: Materials and Research. - SPb., 1994 - T.11. -p.89-95.

Practice #13

Topic: F. M. Dostoevsky's novel "The Idiot"

1. The novel by F. M. Dostoevsky "The Idiot": the idea and history of creation.

2. The problem of the positive hero and the place of Prince Myshkin in the system of images of the novel.

3. Storyline Prince Myshkin - Nastasya Filippovna. "The Second Coming of Christ".

4. Features of the genre of the novel "The Idiot". Dramatic multidimensionality and density of the novel. Analysis of the conclave scenes of the novel (Nastasya Filippovna's birthday, date on the green bench, Nastasya Filippovna's letters, meeting of rivals, Myshkin and Rogozhin at the head of the murdered Nastasya Filippovna).

5. Features of the composition of the novel (many stories, "miserables of all classes").

6. Mastery of psychological analysis in the novel "The Idiot".

7. "Idiot" as an aesthetic treatise (the theme of Christ and the myth of the harlot, literary reminiscences).

8. The meaning and functions of the epilogue in the novel.

Literature:

1. Bakhtin, M. M. Problems of Dostoevsky's Poetics / M. M. Bakhtin. - M., 1979. - Ch. 2–4.

2. Byaly, G. A. Russian realism of the late XIX century / G. A. Byaly. - L., 1973. - S. 31-53.

3. Zhuk, A. A. Dostoevsky's philosophical and psychological novel // Zhuk, A. A. Russian prose of the second half of the century. - M., 1981. - S. 87-131.

4. Sorkina, D. L. Genre structure of the novel by F.M. Dostoevsky "The Idiot" // Problems of Method and Genre. - Tomsk, 1976. - S. 57-73.

5. Dostoevsky's novel "The Idiot": the current state of the study. - M., 2001.

6. Budanova N. F. Dostoevsky about Christ and truth // Dostoevsky: materials and research. - St. Petersburg. : Nauka, 1992. - T. 10. - S. 21-38.

7. Volodin, E. F. Petit in The Idiot // Dostoevsky: Materials and Research. - L., 1985. - T. 6. - S. 73-78.

Jones, M. To Understanding the Image of Prince Myshkin // Dostoevsky: Materials and Research. - L., 1976. - T. 2. - S. 106-123.
Ermilova, G. G. The Secret of Prince Myshkin: About F.M. Dostoevsky "The Idiot" / G. G. Ermilova. - Ivanovo, 1993.

Practice #14

Topic: Creativity of N. S. Leskov

1. The problem of passion, crime and punishment in the work of N.S. Leskov ("Lady Macbeth of the Mtsensk District").

2. Images of talented "nuggets" ("Lefty", "The Enchanted Wanderer", "The Sealed Angel", "Dumb Artist").

3. Skaz as a genre-forming beginning in the works of N.S. Leskov.

Literature:

1. Likhachev, D.S. Literature - reality - literature / D.S. Likhachev. - L., 1981. - S. 158-165.

2. Stolyarov, I. V. In search of the ideal: the work of N. S. Leskov / I. V. Stolyarov. - L., 1978.

3. Troitsky, V. Yu. Leskov-artist / V. Yu. Trinity. - M., 1974.

4. In the world of Leskov: Sat. articles. - M., 1973.

5. Annensky, L. Leskovskoe necklace / L. Annensky. - M., 1982.

Practice #15

Topic: Creativity of V.M. Garshin, V.G. Korolenko

1. The ideological and artistic originality of the prose of V. M. Garshin:

A. aesthetics of "painful" art ("Artists");

B. "Red Flower": a synthesis of a psychological novel, a parable and an allegorical fairy tale.

2. Creativity VG Korolenko: the search for a new artistic method in literature. The poetics of neo-romanticism in the works of Korolenko.

3. Moral-philosophical conception of VG Korolenko's story "The Blind Musician".

Literature:

2. Byaly, G. A. Vsevolod Garshin / G. A. Byaly. - L., 1969.

3. Byaly, G. A. Russian realism. From Turgenev to Chekhov / G. A. Byaly. - L., 1990. - S. 537-592, 593-631.

4. Latynina, L. N. V. Garshin: creativity and fate / L. N. Latynina. - M., 1968.

5. Korolenko, V. G. Diary. Letters, 1917–1921 / Compiled, prepared. text, comments and after. V. I. Losev. - M., 2001.

6. V. G. Korolenko: life and work. - M., 1992.

7. Russian literature at the turn of the century (1890s - early 1920s): in 2 books. - M., 2001. - Book. 1. - S. 457-504.

Practice #16

Theme: Stories by A.P. Chekhov

1. Aesthetic principles of A.P. Chekhov.

2. The plot and compositional originality of the early works of A.P. Chekhov (“Death of an official”, “Thick and thin”, “Jumper”, “Darling”, “House with a mezzanine”, “Student”, etc.). Mastery of psychological detail. Speech characteristics of the characters. A new understanding of the theme of the "little man".

3. The evolution of a short story (story) by Chekhov from the 1880s to the 1890s.

Literature:

1. Berkovsky, N. Ya. Chekhov-narrator and playwright // Berkovsky N. About Russian literature. - L., 1985.

2. Kataev, V. B. Chekhov’s prose: problems of interpretation / V. B. Kataev. - M., 1979.

3. Chudakov, A. P. Poetics of Chekhov / A. P. Chudakov. - M., 1986.

4. Linkov, V. Ya. The artistic world of A. P. Chekhov's prose / V. Ya. Linkov. - M., 1982.

5. Linkov, V. Ya. Skepticism and Chekhov's faith / V. Ya. Linkov. - M., 1995.

6. Chekhov and his time. - M., 1977.

7. Eikhenbaum, B. M. About Chekhov // Eikhenbaum B. M. About prose. About poetry. - L., 1986. - S. 224-236.

Practice #17

Topic: Dramaturgy by A.P. Chekhov

1. Dramaturgical principles of A.P. Chekhov.

2. The evolution of Chekhov's worldview and the artistic and poetic structure of his plays.

3. Innovation of the dramaturgy of A.P. Chekhov:

A) the peculiarity of the conflict;

B) features of the development of the action;

C) the system of characters and features of psychologism;

D) features of building a dialogue;

E) "undercurrent" and forms of its development in plays;

E) symbolism, details, figurative and expressive means;

G) the problem of the genre of Chekhov's plays.

Literature:

1. Chekhov, A.P. Plays (The Seagull. Three Sisters. Uncle Vanya. The Cherry Orchard).

2. Razumova, N. E. History of Russian literature (second half of the 19th century). Drama by A. P. Chekhov / N. E. Razumova, A. N. Koshechko. - Tomsk: Publishing House of the Tomsk State Pedagogical University, 2008. - 112 p.

3. Berkovsky, N. Ya. Articles about literature / N. Ya. Berkovsky. - M., L.: GIHL, 1962. - S. 426-451.

4. Zingerman, B. Chekhov's Theater and its global significance / B. Zingerman. - M., 1989.

5. Holstein, V. Victim and duty in "Uncle Vanya" // Russian literature. - 1998. - No. 2. - P. 65–74.

6. Paperny, Z. S. “Contrary to all the rules”: plays and vaudevilles by A. P. Chekhov / Z. S. Paperny. - M., 1982.

7. Skaftymov, A.P. Moral searches of Russian writers / A.P. Skaftymov. - M., 1972. - S. 380-399, 404-435.

8. Sukhikh, I. N. Problems of poetics of A. P. Chekhov / I. N. Sukhikh. - L., 1987.

9. Fadeeva, N. I. Chekhov's dramaturgy innovation / N. I. Fadeeva. - Tver, 1991.

10. Kataev, V. B. Complexity of simplicity: stories and plays by Chekhov / V. B. Kataev. - M., 1998.

11. Razumova, N. E. Creativity of A. P. Chekhov in the aspect of space / N. E. Razumova. - Tomsk: Publishing House of Tomsk University, 2001.

12. Senderovich, S.Ya. Chekhov - eye to eye / S. Ya. Senderovich. - SPb., 1994.

13. Shubin, B. M. Addition to portraits (Doctor A. P. Chekhov) / B. M. Shubin. - M., 1985.

14. History of Russian dramaturgy of the 17th - the first half of the 19th century. - L., 1982.

Practice #18

Subject: Holistic analysis of the comedy "The Seagull" (1896)

1. Features of dramatic action and conflict in Chekhov's play "The Seagull".

2. The leading theme in comedy (a play about creativity, about life, about the meaninglessness of existence, about revenge, about crime and punishment, about human responsibility, etc.).

3. The symbolic beginning in the play (the meaning of the title, subtext, literary reminiscences).

4. Genre specificity of the play. Comic in "The Seagull" and forms of its manifestation.

5. Features of the speech behavior of the characters in the comedy "The Seagull".

Literature:

1. Razumova, N. E. History of Russian literature (second half of the 19th century). Drama by A. P. Chekhov / N. E. Razumova, A. N. Koshechko. - Tomsk: Publishing House of the Tomsk State Pedagogical University, 2008. - 112 p.

2. Anikst, A. A. Drama theory in Russia from Pushkin to Chekhov / A. A. Anikst. - M., 1972.

3. Berdnikov, G. P. Chekhov-playwright. Traditions and innovation in the dramaturgy of A. P. Chekhov / G. P. Berdnikov. - M., 1981.

4. Iezuitova, L.A. Comedy A.P. Chekhov's "The Seagull" as a type of new drama // Analysis of a dramatic work. - L., 1988. - S. 323-346.

5. Shah-Azizova, T.K. "The Seagull" today and before // Theater. - 1988. - No. 4.

6. Paperny, Z. Chaika / Z. Paperny. - M., 1986.

7. Martyanova, S.A. Aphorism, maxim, quotation in the speech behavior of A.P. Chekhov "The Seagull" // Origins, tradition, context in literature: Sat. tr. - Vladimir, 1992. - S. 81-86.

8. Romanenko, S. M. The author's position as a structure-forming element of the comedy genre A.P. Chekhov "The Seagull" // Problems of Literary Genres: Proceedings of the IX Intern. scientific conf., dedicated 120th anniversary of the founding of Tomsk State University. Part 2. - Tomsk, 1999. - S. 26-32.

9. Trubetskoy, S. N. Superfluous people and heroes of our time // Questions of Literature. - 1990. - No. 9. - S. 131-145.

10. Razumova, N. E. Creativity of A. P. Chekhov in the aspect of space / N. E. Razumova. - Tomsk: Publishing House of Tomsk University, 2001.

APPENDIX 3

Thematic consultations

Thematic consultation №1

Topic: A holistic analysis of a prose work (on the basis of F.M. Dostoevsky's novel "Poor People")

1. Epos as a kind of literature.

2. Epic genres.

3. Algorithms for the analysis of a prose work.

2. Dolinin, K. A. Text interpretation / K. A. Dolinin. - M.: Enlightenment, 1985.

3. Kaida, L. G. Compositional analysis of a literary text / L. G. Kaida. - M. : Flinta, 2005.

4. Lexical aspects of the semantic analysis of a literary text in high school and school. - Tomsk, 2001.

5. Lotman Yu. M. The structure of the literary text / Yu. M. Lotman. - M., 1970.

6. Research on the structure of the text. - M., 1987.

7. Lotman, Yu. M. The structure of the literary text / Yu. M. Lotman. - M., 1970.

8. Esin, A. B. Principles and methods of analysis of a literary work: study guide / A. B. Esin. - M., 1998.

9. Examples of a holistic analysis of a literary text: a study guide. – Tomsk, 1988.

10. Pishchalnikova, V. A. Conceptual analysis of a literary text / V. A. Pishchalnikova. - Barnaul: AGU, 1991.

11. Esalnek, A. Ya. Fundamentals of literary criticism. Analysis of the novel text / A. Ya. Esalnek. - M. : Flinta Nauka, 2004.

12. Esalnek, A. Ya. Typology of the novel (theoretical and historical-literary aspects) / A. Ya. Esalnek. - M., 1991.

The novel "GG" (1875-1880) reflects the writer's valuable program on the content of literature and the relationship between literature and reality. The critical articles of the 1960s and 1970s reflected a whole program of the S-Sch, which addressed the problems of realism and folk literature that were topical for their time. In the article "Unfounded Fears" he objects to the opinion that literature lags behind life. According to the writer, literature is the organizer of social thought, its role is great in determining not only the present, but also the future physiognomy of society.

S-Sch embodied the features of the artistic method in the novel "Lords of the Golovlevs". The idea of the novel arose from separate essays of the series "Well-meaning Speeches". The first stories about the Golovlev family appeared there. On the advice of Turgenev, S-Sch continued this theme. This is how the novel "Lord Golovlev" came about. It manifested a different direction than journalism, the direction of the writer's work. Not the topic of the day, but the social processes of public life. This explains the form of the monumental novel. Because it allows you to show the life of several generations and each person for a long time.

Originally novel was not intended as a great work. The story about the Golovlyovs called "Family Court" was supposed to be included in the cycle "Well-intentioned speeches. The success of the chapter predetermined the writing of the novel. In July 1880, the first separate edition of the novel was published.

It should be noted that the central the theme of the novel is the historical fate of the nobility- rose even to S-Sch. For example, Turgenev's novel "The Nest of Nobles" or Goncharov's "Cliff".

The work shows the process of economic decay and the process of spiritual degeneration of the Golovlevs. The Golovlyov estate is a state in miniature. S-Sch set the task of revealing socio-economic problems, focusing on the inner world of the family. The struggle for property shown in the novel inevitably leads to the death of the family. And all members of the Golovlev family are to blame for this.

The novel combines family and social and political plans, and there is no intrigue, which is uncharacteristic for the novel. S-Sh is simultaneously included in the classical tradition and “falls out” of it. We are talking about the theme of noble nests. This theme is one of the largest in Russian literature. Wider - the theme of the family, at home. For S-Sch, the family nest is not a way to hide from the world, not a way to merge with nature, natural life; it is an exact small copy of the outside world with its vices, problems, inhumanity. The fate of the heroes of the novel is all the more tragic because life in the nest is even more painful for them than life outside it.

S-Sh shows how the lust for power, money, the ambitions of people, the negative properties of their characters destroy family ties. The author perceives the collapse of the Golovlev family as the collapse of the feudal system, the Russian noble class.

In connection with the peculiarities of the solution of the theme of noble nests, the title of the novel acquires a symbolic meaning. Lords are both a way of naming and masters of life. Unlike the Nekrasov landowners, in post-reform Russia the Golovlevs did not lose their fortune. In accordance with his artistic method, S-Sch makes the heroes "deify" material values, not at all having in mind moral ones. These are Gogol's "dead souls" in Shchedrin's style. But Gogol gives the heroes hope for a spiritual rebirth. S.S. doesn't have that.

The artistic space of the novel is built according to the type of Christian hell or the folklore world of the dead. It's all inside out. This explains the nature of the novel's hyperbolization: S-Sch, having caught the most characteristic tendencies, discarding everything superfluous, brings them to the limit, to the extreme. He shows the disease in its purest form. The main theme in the novel is the theme of spiritual and physical death.

The composition of the novel is slender. From head to head, a gradual exit of family members can be traced.

The whole system of artistic characters is built on the principle of 3 belts: 1) Golovlev elders (father and mother); 2) medium (Stepan, Pavel, Porfiry-Judas); 3) golovlyats (children of Anna, Aninka and Lyubenka; Porfiry - Vladimir, Peter and the younger Volodya).

The history of everyone's life includes three stages: idleness, unsuitability for any business or idle thought, hard drinking.

The 1st chapter introduces the central figure of the family, Arina Petrovna. She subjugated all the peasants and households. This is an active and active nature. She married a spineless man, they had different views on life, and as a result Ar. Petrovna pushed her husband into the background. Thanks to his activity and energy, Ar. Petr-a multiplies his income tenfold. Wealth was given to her at the cost of hard work. But she did not disdain bribery, sometimes went to outright blackmail. In the Golovlev family, Arina Petrovna is the only person who has shown himself to be an effective nature. But throughout the story, S-Sch shows that her hoarding is a real waste: much rots, disappears. Hoarding becomes meaningless. Arina P-nu is ruined by two circumstances: the abolition of serfdom and the betrayal of Judas. Without surviving two blows, she dies. Arina Petrovna becomes a slave of the order established by her. And as soon as he changes, she becomes helpless. Forgotten by everyone, she dies.

1st story about the eldest son Stepan Vladimirovich (Stepka the Stupid). He returns with nothing to the family nest. S-Sch uses the worst method of remembering the hero. Due to this, you can get acquainted with the process of forming the character of the hero.

Stepan was like his father. The author repeatedly points out that by nature Styopka is an intelligent person. But in an environment of constant suppression of the personality, its development acquires completely different features: the ability to get out, timidity and complaisance. So, for example, at the university he becomes a hooker and a beggar for wealthy students.

Stepan enters the university and graduates thanks to his natural mind. He tries to work, but it doesn't work. Enrolls in the militia, but nothing comes of it.

The author describes in detail the bleak return to the family estate. The whole system of artistic means suggests that the road to Golovlevo is a road to nowhere (the image of a coffin, a rural cemetery, a family crypt, etc.) Arina Petrovna settles her son in a tiny office. He is not given candles and is fed with the remnants of food from the master's table. Stepan is isolated from outside life and gradually loses the sense of real life and the ability to think. It ends with a scale of vodka. The process of drinking for him becomes a ritual. Stepan tries to run away. After escaping, he seems to lose his mind. The death of Stepan Golovlev opens the story of the gradual dying of the Glovlev family.

The following is the story of Brother Paul. The hero is introduced from childhood. This is an apathetic and gloomy creature. His favorite pastime, huddled in a corner, dreaming of a future wonderful life. Paul becomes a person without actions. Now, as in childhood, he lives in a world of illusions. Pavel's life path can be divided into the following stages: the army, retirement, the road to the Dubrovino estate. In a small room, he ends his life. His story repeats the story of Stepan. In this regard, we can talk about the principle of duality.

The central figure of the novel is Judas Golovlev. It unites all heroes. Porfiry-Judas plays a key role in the fate of everyone. He stood out from childhood with humility, he liked to tinker, his favorite pastime was to caress his beloved friend, mother. Judas grew up, got married, began to serve in St. Petersburg. In order to take possession of the estate, he weaves a network of intrigues. This character is a social type (feudal lord), on the other hand, a psychological type of a liar and idle talker. Having received everything, he runs from reality. The fantasy world, the world of ghosts, becomes real for him.

The name of Yudushka Golovlev has become a household name. The nickname of this character is derived from the name of Judas Iscariot, who betrayed Christ. The nickname that brother Stepan gave him means a person who hides treachery, vice under the mask of virtue. He, like his brothers, goes through three stages of degradation: 1) binge drinking; 2) binge idle thought; 3) drunk drinking.

The moral stiffness of Judas is so great that, without the slightest shudder, he dooms each of his sons in turn to death: Vladimir, Peter and Volodya the younger. In the idle talk and hypocrisy of Judas, the author saw a special form of degeneration of the noble class.

Complements the characterization of Judas by the finale of the novel. In the finale, the main theme of the novel, the theme of escheat, takes a tragic turn. Under the influence of conversations with his niece Aninka, Judas begins to wonder what his life has led to? The tragedy is emphasized by the fact that Porfiry understands the hopelessness of his situation. At the end of the novel, the wild conscience of Judas is resurrected. He feels his involvement not only with his own, but also with the human race in general, his guilt not only before his relatives, but also before the One Who forgave everyone. In the scene of looking at the icon with the face of Christ, the traitor looks into the face of the devotee. It is noteworthy that the repentance of Judas takes place on Holy Week.

The motif of isolation or self-isolation plays a special role in organizing the composition of the novel (to a large extent, it is these motifs that determine the course of storylines, the level of space), which is enhanced by the isolation of space.

Golovlyovo is shown as the center of chaos and destruction. Both the manor and the manor house are constantly connected in the novel with the idea of death and escheat, of the disastrous effect of an evil force that is beyond human control and threatens life: it is death, always waiting for a new victim ... "

If the house in literature traditionally provides a person with shelter and protection, then in the novel S-Sch. the ancestral home is associated with something inhuman, dead. The novel says: “There was something escheated in this house and in this man ( in Judas), something that inspires involuntary and superstitious fear.

In the novel, the motive of the road is important, which acquires ideological and artistic richness. This is a road to nowhere. It is impossible to escape from Golovlevo. There are only two roads: to Siberia or to the garbage pit. The motive of death develops with images of darkness, cold, night.

The image of winter necrosis becomes stable, carrying the idea of hostility to the living, to everything that is connected with the Golovlev family, with its very existence: “... a lonely snowy plain spread around in all directions”, there was “a neighborhood seized by a boundless snow shroud”, she “ quietly numb." The actions described in the novel mainly take place in autumn or winter, that is, the idea of dying is also carried out at the level of time.

S-Sch showed in his novel Lord Golovlyov "dead souls" at a later stage of their historical decomposition.

TALES BY M.E. SALTYKOV-SHCHEDRIN

Tales of Saltykov-Shchedrin are considered as the result of observation of Russian reality. S-Shchedrin made his first fairy tales in 1869. Modern researchers put forward several assumptions about the reasons for S-Shchedrin's appeal to the fairy tale genre.

1. Some believe that the cause was an illness that prevented the writer from working on a great work.

2. In the 80s, the writer was away from children, and he wrote letters to his children in the form of letters.

3. Shchedrin turns to this genre, following the general passion for the fairy tale. In the 1970s, the second birth of the literary fairy tale was observed in Russian literature.

4. Shchedrin and other writers saw in a fairy tale an opportunity to influence a wide audience. The artistic means of the fairy tale were to serve the liberation movement. The fairy tale helped to enlarge the scale of the artistic image, to emphasize the significant and big.

5. Fairy tale fantasy to some extent served as a means of artistic disguise for the most acute ideological and political ideas.

The fairy tales of S-Shchedrin differ from literary tales and from folklore in their pronounced satire.

The fairy tale cycle was conceived by the writer as a single work. But due to the fact that the tales themselves were printed unevenly, in separate series at different times, it is difficult to understand the composition of the planned cycle. The fairy tale is one of the most popular folklore genres. This type of oral storytelling with fantastic fiction has a long history. The fairy tales of Saltykov-Shchedrin are connected, on the one hand, with the folklore tradition, on the other hand, with the satirical literary fairy tale of the 18th-19th centuries. The main part of the fairy tales was written from 1883 to 1886. S-Sch creates a collection of "Tales for children of a fair age." They, according to the writer, are called upon to "educate" these very "children", to open their eyes to the world around them.

Saltykov-Shchedrin turned to fairy tales not only because it was necessary to bypass censorship, which forced the writer to turn to the Aesopian language, but also in order to educate the people in a familiar and accessible form.

In the complex ideological content of fairy tales, researchers conditionally distinguish the following thematic groups of fairy tales:

1) satire on autocratic rulers (“The Tale of the Zealous Chief”); 2) tsarist autocracy and the situation of the oppressed people (“Bear in the Voivodeship”); 3) the relationship between a peasant and a master (“The Wild Landowner”, “The Tale of How One Muzhik Feed Two Generals”); 4) the tragic situation of the oppressed and robbed people, their hard labor ("Konyaga"); 5) ridicule of vile and cowardly bourgeois intellectuals, who talk about freedom and democracy, but in fact serve the ruling classes ("Liberal"); 6) ridicule of the philistine ("Karas-idealist", "Wise gudgeon").

FEATURES OF THE ARTISTIC METHOD AND POETICS OF FAIRY TALE

1. In their literary form and style, the fairy tales of Saltykov-Shchedrin are associated with folklore traditions. In them we meet traditional fairy-tale characters: talking animals, fish, Ivanushka the Fool and many others. The writer uses the beginnings, sayings, proverbs, linguistic and compositional triple repetitions, common speech and everyday peasant vocabulary, constant epithets, words with diminutive suffixes that are characteristic of a folk tale. As in a folk tale, Saltykov-Shchedrin does not have clear time and space frames.

2. With close correspondence to folklore and literary tales, the themes and images of S-Sch. are distinguished by novelty, artistic perfection. St. Shchedrin's tales are based on folk tales about animals. This freed the writer from additional detailed characteristics. For the allegory, S-Shchedrin used images fixed by folklore and fable tradition. Starting from them, he created his images (vobla, piskar).

3. Shchedrin widely uses the technique of switching the narrative from the realm of fantasy to realism, from zoological to human. Conditional images retain a direct, independent meaning. They keep their nature. The distance between man and animal is not violated.

4. S-Shchedrin used the principle of social contrast, for example, in The Tale of How One Man Feeded Two Generals, the images of helpless and despotic generals are contrasted with the image of a simple, submissive and skillful peasant.

5. He introduces socio-political vocabulary, clerical turns, French words into the narrative. The pages of his fairy tales include episodes of modern social life. So there is a mixture of styles, creating a comic effect, and the connection of the plot with the problems of the present.

6. S-Shchedrin used language in Aesopian fairy tales. The writer substantiated allegory based on three points: censorship; artistic value; reader level.

7. Ironic praise, sarcasm, grotesque, allegory, as well as a technique in which the author formally takes a position of solidarity with the enemy were widely used in fairy tales.

The Tale of How One Man Feeded Two Generals and The Wild Landowner were first published in Otechestvennye Zapiski in 1869.

"The Tale of How One Man Feeded Two Generals" (1869)

Topic: satirical denunciation of the privileged classes and estates; the age-old slavish obedience of the common people.

The main idea: the contradiction between the enormous potential power and the class passivity of the peasantry.

In the image of a man S-Sch. portrayed the strength and weakness of the Russian peasantry in the era of autocracy. The generals wander helplessly among the abundance of fruits, game and fish almost die of starvation on the island. The very development of the plot points to an important thought for the author: a simple peasant, the people are the key to the life of the ruling classes.

Composition is based primarily on the principle of antithesis (opposition). This is already stated in the title of the text: the number "one" is opposed to the number "two", the peasant - to the generals.

The image of a peasant is built on the contrast of external and internal: the author emphasizes heroism in his hero (huge growth, great physical strength and dexterity), but this is opposed by a low level of self-consciousness, the eternal habit of being a slave. The latter is revealed with the help of the grotesque: he cooks soup in a handful, weaves snares from his hair to catch grouse, weaves a rope and ties himself up so that the generals do not worry about his escape.

Getting acquainted with the generals, we know nothing about their individual qualities; in fact, we have one person in front of us. Their personal qualities begin to manifest themselves on the island, when both of them awaken from their sleep.

The island, as an organic and natural living space, is opposed to St. Petersburg. It is on the island that the features that distinguish one general from another are manifested, these are not only psychological differences (one was confused; the other, on the contrary, calls for action), but also a professional plan (one of them “served as a calligraphy teacher at the school of military cantonists and, therefore, was smarter).

The island on which the generals ended up is very rich. This is essentially a piece of paradise: “trees grow, and all kinds of fruits are on the trees”, in the stream “fish ... as if in a garden on the Fontanka, it teems and teems”, in the forest “grouse whistle, black grouse lek, hares run” . In this description, one can also hear echoes of the Old Testament description of Eden: “And the Lord God planted paradise in Eden in the east, and placed there the man whom He had created. And out of the ground the Lord God made to grow every tree that is pleasant to the sight and good for food... The Lord God formed from the earth all the animals of the field and all the birds of the air, and brought them to man...” (Genesis 2:8–9, 19 ). The island-paradise is a special background that allows you to reveal the absolute unsuitability for the life of generals.

In the fairy tale, the author uses folklore elements, for example, the beginning, characteristic of a folk tale; reception of realistic fiction (newspaper Russkiye Vedomosti); the reception of the grotesque (a peasant wove snares from his hair, cooked soup in a handful, etc.); clericalism and the reception of allegory.

"Wild Landowner" (1869)

Theme: A satirical portrayal of the ruling classes. Using the techniques of witty fantasy S-Sch. shows that the work of a peasant is a source not only of material well-being, but also of noble culture. If in "The Tale ..." the appearance of a peasant saves the generals from savagery and final brutality, then this tale shows what would have happened to them if the peasant had not appeared. The landowner went wild, covered with hair from head to toe, "walked more and more on all fours", "lost even the ability to utter articulate sounds."

Many fairy tales are devoted to exposing the behavior and psychology of the intelligentsia, intimidated by government persecution. The fairy tale "The Wise Scribbler" (1883), which was first published in the Geneva newspaper "Common Cause", is devoted to this topic. In Russia, this tale was first published in the journal Otechestvennye Zapiski in 1884. In the image of a wise scribbler, the writer portrayed an intellectual-philistine who, submitting to the instinct of self-preservation, leaves the active social struggle for the narrow world of personal interests.

The significance of satirical tales is that in a small work the writer was able to combine lyrical, epic and satirical beginnings and extremely sharply express his point of view on the vices of the class of those in power and on the most important problem of the era - the problem of the fate of the Russian people.

Among the works of M.E. Saltykov-Shchedrin, a prominent place belongs to the socio-psychological novel "Gentlemen Golovlevs" (1875-1880). The basis of the plot of this novel is the tragic story of the landowner Golovlev family. Three generations of the Golovlyovs pass before readers. In the life of each of them, Shchedrin sees “three characteristic features”: “idleness, unsuitability for any kind of work, and hard drinking. The first two led to idle talk, slow thinking, hollowness, the last one was, as it were, an obligatory conclusion to the general turmoil of life.

The novel opens with the chapter "Family Court". It is the beginning of the entire novel. Life, living passions and aspirations, energy are still noticeable here. The center of this chapter is Arina Petrovna Golovleva, formidable to everyone around her, an intelligent landowner-serf, autocrat in the family and in the household, physically and morally completely absorbed in an energetic, persistent struggle to increase wealth. Porfiry is not yet an "escheat" person here. His hypocrisy and idle talk cover up a certain practical goal - to deprive brother Stepan of the right to a share in the inheritance. A strong reproach to Golovlevism is Stepan, his dramatic death, which ends the first chapter of the novel. Of the young Golovlevs, he is the most gifted, impressionable and intelligent person who received a university education. But since childhood, he experienced constant harassment from his mother, was known as a hateful jester son, "Stepka the Stooge."

As a result, he turned out to be a man with a slavish character, capable of being anyone: a drunkard, even a criminal. In the next chapter - "In a related way" - the action takes place ten years after the events described in the first chapter. But how the faces and relations between them have changed! The imperious head of the family, Arina Petrovna, turned into a modest and disenfranchised host in the house of the youngest son Pavel Vladimirovich in Dubravin. Judas-Porfiry took possession of the Golovlevsky estate. He now becomes almost the main figure of the story. As in the first chapter, here we are also talking about the death of another representative of the young Golovlevs - Pavel Vladimirovich. The subsequent chapters of the novel tell about the spiritual disintegration of the personality and family ties, about the "death".

The novel The Golovlevs (1875-1880) ranks among the best works of Russian writers (Gogol, Goncharov, Turgenev, Tolstoy, and others) depicting the life of the nobility, and stands out among them for its merciless denial of the social evil that was generated in Russia by domination landowners.

Saltykov-Shchedrin presented the disintegration of the landlord class in the form of a story of the moral degradation and extinction of one family of landowners-exploiters.

The Golovlev family, taken as a whole, the Golovlev estate, where the main episodes of the novel unfold, is a collective artistic image that summarizes the typical features of the life, customs, psychology of the landowners, the entire despotic way of life on the eve of the abolition of serfdom in 1861 and after this reform.

With all its meaning, Shchedrin's novel begs for rapprochement with Gogol's Dead Souls. The close proximity of the two brilliant creations of critical realism is due to the affinity of the social types derived in them and the unity of the pathos of denial. The Golovlevs educated the people in that school of hatred for the class of masters, the foundation of which was laid by Dead Souls.

Shchedrin showed "dead souls" at a later stage of their historical decay and, as a revolutionary democrat-enlightener, denied them from the height of higher social ideals.

And on the last page: night, not the slightest rustle in the house, a wet March blizzard in the yard, by the road - the stiffened corpse of Golovlev's lord Yudushka, "the last representative of an escheat family."

Not a single softening or reconciling note - such is the calculation of Saltykov-Shchedrin with Golovlevism. Not only with its specific content, but also with its entire artistic tonality, which gives rise to a feeling of oppressive darkness, the novel "Golovlevs" evokes in the reader a feeling of deep moral and physical disgust for the owners of "noble nests".

In the collection of weak and useless little people of the Golovlev family, Arina Petrovna flashed like an accidental meteor. This imperious woman for a long time single-handedly and uncontrollably managed the vast Golovlev estate and, thanks to her personal energy, managed to multiply her fortune tenfold. The passion for accumulation dominated in Arina Petrovna over maternal feeling. The children "did not touch a single string of her inner being, which was completely devoted to the countless details of life-building."

In whom such monsters were born? - Arina Petrovna asked herself in her declining years, seeing how her sons devour each other and how the "family stronghold" created by her hands is crumbling. Before her appeared the results of her own life - a life that was subject to heartless acquisitiveness and formed "monsters". The most disgusting of them is Porfiry, nicknamed in the family since childhood Judas.

The traits of heartless money-grubbing, characteristic of Arina Petrovna and the entire Golovlev family, developed in Iudushka to their utmost expression.

If a feeling of pity for her sons and orphaned granddaughters from time to time still visited the callous soul of Arina Petrovna, then Judas was "incapable not only of affection, but also of simple pity." His moral stiffness was so great that, without the slightest shudder, he doomed to death in turn each of his three sons - Vladimir, Peter and the illegitimate baby Volodya.

In the category of human predators, Judas is the most disgusting variety, being a hypocritical predator. Each of these two main features of his character is in turn burdened with additional traits.

He is a sadistic predator. He loves to "suck the blood", finding pleasure in the suffering of others. Repeatedly repeated by the satirist, the comparison of Judas with a spider, deftly spreading the nets and sucking the blood of the victims that fall into them, extremely aptly characterizes the predatory Judas manner.

He is a hypocrite, idle talker, covering up his insidious plans with feigned affectionate chatter about trifles. His predatory lusts and "bloody" machinations are always deeply hidden, masked by sweet idle talk and an expression of external devotion and respect for those whom he has designated as his next victim. Mother, brothers, sons, nieces - everyone who came into contact with Judas felt that his "good-natured" idle talk was terrible with its elusive deceit.

The peculiarity of Judas as a socio-psychological type lies precisely in the fact that he is a predator, a traitor, a fierce enemy, pretending to be an affectionate friend. He committed his atrocities as the most ordinary deeds, "quietly and lightly", with great skill using such common truths of his environment as respect for the family, religion and law. He harassed people in a quiet manner, acting "in a kindred way", "in a divine way", "according to the law".

Judas is in all respects an insignificant person, dull-witted, petty even in the sense of his negative qualities. And at the same time, this complete personification of nothingness keeps those around him in fear, dominates them, defeats them and brings them death. Insignificance acquires the meaning of a terrible, oppressive force, and this happens because it relies on feudal morality, on law and religion.

By showing that Judas the “blood-drinker” was protected by the dogmas of religion and the laws of power, Shchedrin thereby dealt a blow to the morality of property-owners-exploiters in general, precisely that zoological morality that relies on generally accepted, officially sanctioned lies, on hypocrisy that has become part of the daily routine of the privileged classes.

In other words, in The Golovlevs, within the boundaries of the “family” novel, the social, political and moral principles of a noble-bourgeois society were exposed and denied.

The trampling of all the norms of humanity by Judas brought him retribution, inevitably led to an ever greater destruction of the personality. In his degradation, he went through three stages of moral decay: a binge of idle talk, a binge of idle thought, and a drunken binge that ended the shameful existence of a “blood drinker”. At first, Judas indulged in boundless idle talk, poisoning those around him with the poison of his sweet speeches. Then, when no one was left around him, idle talk was replaced by empty thought.

Closing himself in his office, Yudushka plunged into vicious dreams. In them, he pursued the same goals as in immediate life: he sought the complete satisfaction of his thirst for acquisition and revenge, invented ever wilder ways to rob the peasant.

In the last chapter of the novel (“The Calculation”), Shchedrin introduced a tragic element into the picture of Judas’s deathbed experiences, showing in him the painful “awakening of a wild conscience”, a vague consciousness of guilt for all the crimes he had committed. I. A. Goncharov, in his letter to Shchedrin, expressing his assumptions regarding the finale of "Lord Golovlyov", resolutely rejected the possibility of that end of Judas, which is depicted in the last chapter of the novel. The most principled moralist would not always dare to such an ending.

However, the tragic denouement of the fate of Judas Shchedrin does not come close to the preachers of moralistic concepts of the rebirth of society and man. Shchedrin in Gentlemen Golovlyov takes the most difficult possible case of the awakening of conscience.

Thus, he seems to be saying: yes, conscience can wake up even in the most inveterate covetous. But what follows from this? Practically, in the public sense - nothing! Conscience awakened in Judas, but too late and therefore fruitless, awakened when the predator had already completed the circle of his crimes and stood with one foot in the grave, when he saw before him the specter of inevitable death.

The awakening of conscience in types like Judas is only one of the symptoms of their physical death, it comes only in a hopeless situation and not before their moral and physical decay reaches the last line and makes them incapable of their former villainy.

In the tragic ending of the novel, some critics of the liberal populist camp saw Shchedrin's inclination towards the idea of forgiveness, reconciliation of classes and the moralistic justification of the bearers of social evil by the circumstances of the environment.

In our time, there is no need to refute this obviously incorrect interpretation of the social views of the satirist and the ideological meaning of "Lord Golovlev". The entire socio-psychological complex of the novel is illuminated by the idea of an inexorable denial of Golovlevism.

Of course, while remaining implacable in his denial of the noble-bourgeois principles of the family, property, and the state, Shchedrin, as a great humanist, could not help mourning the depravity of people who were in the grip of pernicious principles.

These experiences of a humanist make themselves felt in the description of both the entire Golovlev martyrology and the death agony of Judas, but they are dictated not by a feeling of indulgence for the criminal as such, but by pain for the trampled human image.

And in general, the socio-psychological content of the novel reflected the complex philosophical reflections of the writer-thinker over the fate of man and society, over the problems of interaction between the environment and the individual, social psychology and morality. Shchedrin was not a moralist in understanding both the causes of social evil and the ways to eradicate it.

He was fully aware of the fact that the source of social misfortunes lies not in the evil will of individuals, but in the general order of things, that moral corruption is not the cause, but a consequence of the inequality prevailing in society. However, the satirist was by no means inclined to fatalistically justify, by referring to the environment, the evil that individual representatives and entire sections of the privileged part of society inflicted on the masses of the people.

He understood the reversibility of phenomena, the interaction of cause and effect: the environment generates and forms human characters and types corresponding to it, but these types themselves, in turn, affect the environment in one sense or another. Hence the irreconcilable militancy of the satirist in relation to the ruling castes, the passionate desire to denounce them with an angry word.

At the same time, Shchedrin was not alien to the idea of the impact on the "embryo of modesty" of representatives of the ruling classes, in his works there are repeated appeals to their conscience. The same ideological and moral considerations of the humanist educator, who deeply believed in the triumph of reason, justice and humanity, were also reflected in the finale of the novel “Golovlevs”.

Late awakening of conscience in Judas does not entail other consequences, except for fruitless agony. Not excluding cases of a "timely" awakening of a consciousness of guilt and a sense of moral responsibility, Shchedrin, with a picture of the tragic end of Porfiry Golovlev, gave the living an appropriate lesson.

However, the satirist did not at all share the petty-bourgeois utopian illusions about the possibility of achieving the ideal of social justice through the moral correction of the exploiters. Recognizing the enormous importance of the moral factor in the destinies of society, Shchedrin always remained a supporter of recognizing the decisive role of fundamental socio-political transformations. This is the fundamental difference between Shchedrin as a moralist and the great moralist writers of his day, Tolstoy and Dostoyevsky.

In Shchedrin's richest typology, Yudushka Golovlev is the same chord word of a satirist about Russian landowners as the image of Grim-Burcheev is about the tsarist bureaucracy. Judas is a symbol of the social and moral decay of the nobility. But this does not exhaust the ideological and artistic meaning of the image.

The novel "Golovlevs" shows not only how representatives of a historically doomed class die, but also how they, showing predatory resourcefulness, try to extend their existence beyond the time limit that history has given them.

Judas personifies the most disgusting and at the same time the most tenacious variety of the psychology of owner-exploiters in general. Therefore, in the content of the image of Judas Golovlev, one should distinguish between its temporary and long-term historical significance.

With a comprehensive disclosure of the social genesis of the hypocrisy of Judas Shchedrin, he emphasized the broad historical significance of the type he created. In the society that gives birth to Judas Golovlevs, all sorts of Judas are possible.

In this sense, Judas turned out to be the true ancestor of many other Jews, subsequent representatives of this "immortal" family. The image of Judas was that capacious artistic psychological formula that summarized all forms and types of hypocrisy of the ruling classes and parties of an exploiting society.

The Jewish patriarchal principles “in a kindred way”, “in a divine way”, “according to the law” have changed among the later bourgeois hypocrites, acquired a completely modern formulation - “in the name of order”, “in the name of individual freedom”, “in the name of good”, “ in the name of saving civilization from revolutionary barbarians,” etc., but their ideological function remained the same, Jewish: to serve as a cover for the selfish interests of the exploiters. The Jews of a later time threw off their old Testament robe, developed excellent cultural manners, and in this guise successfully labored in the political arena.

The use of the image of Yudushka Golovlev in the works of V. I. Lenin is a clear proof of the enormous artistic scale of the type created by Shchedrin.

With the image of Yudushka Golovlev, V. I. Lenin brings together the tsarist government, which “covers its own aspiration to take a piece from the starving” with considerations of higher politics; the bureaucracy, which, like the most dangerous hypocrite Judas, “skillfully hides its Arakcheev desires under fig-leaves of people-loving phrases”; bourgeois landowner, strong "by the ability to cover up his insides of Judas with the whole doctrine of romanticism and generosity."

In the works of V. I. Lenin, the Cadet Judas and the liberal Judas, traitors to the revolution Judas Trotsky and Judas Kautsky are represented; there are also Professor Judas Golovlev, and Judas Golovlev of the latest capitalist formation, and other varieties of hypocrites, whose speeches "are like two drops of water, like the immortal speeches of the immortal Judas Golovlev."

Elevating all these later noble and bourgeois hypocrites who labored in the field of politics to the "immortal" Judas Golovlev, V. I. Lenin thereby revealed the widest socio-political range of Shchedrin's brilliant artistic generalization.

Lenin's interpretation eloquently testifies to the fact that the type of hypocrite Iudushka Golovlev in its significance goes beyond the bounds of its original class affiliation and beyond the bounds of its historical period. Hypocrisy, i.e. predation disguised by good intentions, is the main feature that ensures the Jewish people's vitality beyond the time allotted to them by history, a long existence in the conditions of class struggle.

As long as the exploitative system exists, there is always room for hypocrites, idle talkers and traitors to the Jews; they change but do not disappear. The source of their longevity, their "immortality" is the order of things based on the rule of the exploiting classes.

With the artistic disclosure of the hypocrisy of Judas Golovlev, Shchedrin gave a brilliant definition of the essence of all hypocrisy and all betrayal in general, in whatever scale, form and in whatever field it manifests itself. Hence the enormous potential accusatory power of the image.

Yudushka Golovlev is a truly universal generalization of all the internal abomination generated by the rule of the exploiters, a deep deciphering of the essence of bourgeois-gentry hypocrisy, the psychology of enemy plans, covered with well-intentioned speeches. As a literary type, Yudushka Golovlev has served and will continue to serve for a long time as a measure of a certain kind of phenomena and as a sharp weapon of social struggle.

The novel "Gentlemen Golovlevs" refers to the highest artistic achievements of Saltykov-Shchedrin. If the "History of a City" in 1870 marked the end of the development of Shchedrin's satire in the 60s, then the "Gentlemen Golovlevs", which appeared in its finished form in 1880, indicate the growth of Shchedrin's realism in the 70s.

In The History of a City, the main weapon of the satirist was laughter, which determined the predominance of the techniques of hyperbole, grotesque, and fantasy. In Gentlemen Golovlyov, Saltykov showed what brilliant results he could achieve through psychological analysis without resorting to the weapon of laughter.

No wonder the appearance of the novel was perceived by readers, critics and prominent writers (Nekrasov, Turgenev, Goncharov) as the discovery of new aspects of the mighty talent of Saltykov-Shchedrin.

"Gentlemen Golovlevs" stood out against the background of everything previously created by Saltykov as a major achievement, firstly, in the field of psychological skill, and secondly, in the genre of a social novel. In these two respects, "Golovlevs" retain their first place in the entire work of the writer.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983

The third chapter - "Family Results" - includes a message about the death of Porfiry Golovlev's son - Vladimir. The same chapter shows the cause of the later death of another son of Judas - Peter. It tells about the spiritual and physical withering of Arina Petrovna, about the savagery of Judas himself. In the fourth chapter - "Niece" - Arina Petrovna and Peter, the son of Judas, die. In the fifth chapter - "Unlawful family joys" - there is no physical death, but Judas kills the maternal feeling in Evprakseyushka. In the culminating sixth chapter - "The Void" - it is about the spiritual death of Judas, and in the seventh, his physical death occurs (here it is said about Lubinka's suicide, about Anninka's death agony).

The most tenacious among the Golovlevs is the most disgusting, most inhuman of them - Judas, "the pious dirty trickster", "the stinking ulcer", the "blood drinker". Shchedrin not only predicts the death of Judas, he also sees his strength, the source of his vitality. Judas is a nonentity, but this empty-hearted person oppresses, torments and torments, kills, deprives, destroys. It is he who is the direct or indirect cause of the endless "deaths" in Golovlev's house. In the first chapters of the novel, Judas is in a state of drunkenness of hypocritical idle talk. It is a characteristic feature of the nature of Porfiry.

With his unctuous, deceitful words, he torments the victim, mocks the human personality, religion and morality, the sanctity of family ties. In the following chapters, Judas acquires new features. He plunges into the soul-devastating world of trifles, trifles. But everything died out near Judas. He was alone and silent. Idle talk and idle talk lost their meaning: there was no one to lull and deceive, tyrannize and kill.

And Judas develops a binge of solitary idle thought, misanthropic landowner dreams. In his delusional fantasy, he loved to "extort, ruin, deprive, suck blood." The hero comes to a break with reality, with real life. Judas becomes an escheated person, terrible ashes, a living dead. But he wanted a complete stun, which would completely abolish any idea of life and throw it into the void. This is where the need for a drunken binge arises.

But in the final chapter, Shchedrin shows how a wild, driven and forgotten conscience woke up in Judas. She illuminated for him all the horror of his treacherous life, all the hopelessness, the doom of his position. The agony of repentance set in, mental confusion, an acute sense of guilt arose before people, a feeling appeared that everything around him was hostilely opposed to him, and then the idea of the need for “violent self-destruction”, suicide, also ripened. In the tragic denouement of the novel, Shchedrin's humanism was most clearly revealed in the understanding of the social nature of man, the belief was expressed that even in the most disgusting and degraded person it is possible to awaken conscience and shame, to realize the emptiness, injustice and futility of one's life.

The image of Yudushka Golovlev has become a global type of traitor, liar and hypocrite. M.E. Saltykov-Shchedrin knew Russia very well. The truth of his mighty word awakened and formed the self-consciousness of the readers, calling them to fight. The writer did not know the real ways to the happiness of the people. But his intense search prepared the ground for the future.

27. The ideological content of the "fairy tales" of Saltykov-Shchedrin.

"Tales" by Saltykov-Shchedrin is not accidentally called the final work of the author. In them, those problems of Russia in the 60-80s are raised with all the acuteness. XIX century, which worried the progressive intelligentsia. Many points of view were expressed in the debate about the future paths of Russia. It is known that Saltykov-Shchedrin was a supporter of the struggle against the autocracy. Like many thinking people of that time, he was carried away by the "folk" idea and complained about the passivity of the peasant. Saltykov-Shchedrin wrote that despite the abolition of serfdom, it lives in everything: “in our temperament, in our way of thinking, in our customs, in our actions. Everything, no matter what we turn our eyes to, everything comes out of it and rests on it. These political views are the subject of the journalistic activities of the writer and his literary work.

The writer constantly sought to make his opponents funny, for laughter is a great power. So in "Tales" Saltykov-Shchedrin ridicules government officials, landowners, liberal intelligentsia. Showing the helplessness and worthlessness of officials, the parasitism of landlords, and at the same time emphasizing the industriousness and dexterity of the Russian peasant, Saltykov-Shchedrin expresses his main idea in fairy tales: the peasant has no rights, is overwhelmed by the ruling estates.

So, in “The Tale of How One Man Feeded Two Generals,” Saltykov-Shchedrin shows the complete helplessness of two generals who found themselves on a desert island. Despite the fact that there was an abundance of game, and fish, and fruits around, they almost died of hunger.

The officials, who were “born, raised and grown old” in some kind of registry, did not understand anything, and did not know “even any words”, except perhaps the phrase: “Accept the assurance of my perfect respect and devotion”, the generals do nothing they did not know how and quite sincerely believed that rolls grow on trees. And suddenly the thought dawns on them: we need to find a man! After all, he must be, just “hiding somewhere, shirking work.” And the man really was found. He fed the generals and immediately, on their orders, obediently twists the rope with which they tie him to a tree so that he does not run away.

In this tale, Saltykov-Shchedrin expresses the idea that Russia rests on the labor of a peasant who, despite his natural intelligence and ingenuity, dutifully submits to helpless masters. The same idea is developed by the author in the fairy tale “The Wild Landowner”. But if the generals from the previous story ended up on a desert island by the will of fate, then the landowner from this fairy tale always dreamed of getting rid of unbearable peasants, from whom a bad, servile spirit comes. Therefore, the pillar nobleman Urus-Kuchum-Kildibaev oppresses the peasants in every possible way. And now the male world has disappeared. And what? After a while, "he was all over... covered with hair... and his claws became iron." The landowner has run wild, because without a peasant he is not even able to serve himself.

The deep faith of Saltykov-Shchedrin in the hidden forces of the people is visible in the fairy tale "Konyaga". The tortured peasant nag impresses with its endurance and vitality. Her whole existence lies in endless hard work, and in the meantime, well-fed idle dancers in a warm stall are surprised at her endurance, talk a lot about her wisdom, diligence, sanity. Most likely, in this tale, Saltykov-Shchedrin meant by empty dances the intelligentsia, pouring from empty to empty, talking about the fate of the Russian people. It is obvious that the peasant-worker is reflected in the image of Konyaga.

The heroes of "Tales" are often animals, birds, fish. This suggests that they are based on Russian folklore. Appeal to him allows Saltykov-Shchedrin in a concise form and at the same time satirically sharply convey the deep content. Let's take, for example, the fairy tale "The Bear in the Voivodeship". Three Toptygins are three different rulers. By nature, they are not similar to each other. One is cruel and bloodthirsty, the other is not evil, “but so, cattle”, and the third is lazy and good-natured. And each of them is not able to provide a normal life in the forest. And their style of government has nothing to do with it. We see that nothing has changed the general dysfunctional order in the forest slum: kites pluck crows, and wolves tear the skin from hares. “Thus, a whole theory of dysfunctional well-being suddenly grew before the mental gaze of the third Toptygin,” the author ironically. The hidden meaning of this tale, in which the real rulers of Russia are parodied, is that nothing will change without the abolition of autocracy.

Speaking about the ideological content of "Tales" by Saltykov-Shchedrin, it should be noted that many talented writers of the 20th century (Bulgakov, Platonov, Grossman, etc.) just showed in their works what happens when a person violates the eternal laws of the development of nature, society . We can say that the literature of the 20th century, which experienced the upheavals of social revolutions, polemicizes with the literature of the second half of the 19th century, including the work of Saltykov-Shchedrin. The events of the beginning of the 20th century led the thinking intelligentsia to disappointment in the people, while the “folk thought” in the 19th century was decisive for many Russian writers. But the richer our literary heritage is that it contains different points of view on the path of development of society.

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