The main problem of the work is the history of one city. Analysis of the "history of one city" by Saltykov-Shchedrin, the main idea and theme of the work
The satirical novel by Saltykov-Shchedrin "The History of a City" is one of the most striking works of Russian literature of the 19th century. The grotesque depiction of the political system in Russia, a parody of the hierarchy reigning in the state, caused an ambiguous reaction in society. For the "History of a City" analysis requires a deep and detailed, because this work only at first glance may seem like an easy reading. It will be especially useful in preparing for a literature lesson in grade 8 and writing essays on a given topic.
Brief analysis
Year of writing-1870
History of creation– The writer has long nurtured the idea of writing a novel about autocracy. Work on the work was carried out intermittently, since Saltykov-Shchedrin simultaneously wrote several books at once.
Subject- Exposing the vices of the social and political sphere in the life of Russia, as well as revealing the peculiarities of the relationship between the people and the authorities under autocracy.
Composition The novel consists of 16 chapters. The peculiarity lies in the fact that all of them are allegedly written by different authors, and only the first and last - by the publisher himself. According to the writer's version, "The History of a City" is just an edition of the notebook "Glupovsky chronicler", accidentally found in the city archive.
Genre- Novel.
Direction- Realism.
History of creation
Saltykov-Shchedrin hatched the idea of the novel for quite a long time. The image of the fictional city of Glupov as the embodiment of the autocratic-landowner system in Russia first appeared in the writer's essays in the early 60s, when the liberation struggle of the common people experienced its rise in the vast Russian empire.
In 1867, the writer published his fantastic "The Tale of the Governor with a Stuffed Head", which later formed the basis of the chapter "Organ". A year later, Mikhail Evgrafovich began work on a full-scale novel, which he completed in 1870. When writing the book "The History of a City", the writer suspended work for some time for the sake of fairy tales and some other works.
Initially, the novel had a different name - "Glupovsky Chronicler", but then the author changed it to "History of the Old City". The literary work was published in parts in the journal Domestic Notes, in which Saltykov-Shchedrin was the editor-in-chief. In the same 1870, the full version of the book saw the light.
After the publication of the novel, a wave of indignant criticism hit the writer. Saltykov-Shchedrin was accused of distorting national history and insulting the entire Russian people; interest in his work has noticeably declined. The display of the realities of the life of the Russian people and long overdue problems in society, the almost undisguised criticism of the autocracy frankly frightened, and not everyone was ready to accept the truth in its true light.
Subject
“The History of a City” is an innovative work that has gone far beyond the scope of artistic satire. Saltykov-Shchedrin, as a true patriot of his country, could not remain an indifferent observer of what was happening in Russia.
In his novel, he touched on a rather acute topic- denunciation of the imperfections of the political structure of the Russian state, in which the oppressed people humbly accept their slave position and consider this the only right and possible.
Using the example of the fictional city of Glupov, Saltykov-Shchedrin wanted to show that the Russian people simply cannot exist without a tough and, at times, outright cruel ruler. Otherwise, he immediately finds himself in the grip of anarchy.
TO issues In the novel, the author also attributes the distortion of the essence of history, which is extremely beneficial for the state to present as the history of sole power, but not as the history of compatriots. In "History of a City" Main characters- mayors, and in each of them recognizable features of historical figures are visible. In some cases, the mayors are collective images of statesmen who once held high positions.
Main thought The work lies in the fact that the people's unconscious worship of autocratic power and the unwillingness to take responsibility for what is happening in the country are an indestructible barrier to the welfare of the state.
The meaning of the "History of a City" is not a mockery of Russia, but the desire of the author to open the eyes of society to what is happening in the country and move towards the decisive eradication of vices in society.
Composition
The novel "The History of a City" consists of 16 chapters and they are all written by different authors. After the first publication, the author made a thorough analysis of the work, during which its composition was changed. So, Mikhail Evgrafovich changed some chapters, and also added an appendix "Letter to the Editor", in which he reacted to criticism addressed to him.
The novel begins with the words of Saltykov-Shchedin himself, who allegedly accidentally came across a historical chronicle about the fictional city of Foolovo and its inhabitants.
After a short introduction, the story begins on behalf of a fictional chronicler about the origin of the Foolovites. The reader gets acquainted with the history of the emergence of the state system in Foolovo. Tribal feuds, the search for a ruler, and the further enslavement of citizens occupy a whole century in the novel.
The "Inventory to the Mayors" presents a brief description of 22 mayors who at various times had power over all the Foolovites.
The following chapters describe the most prominent city governors - the rulers of Glupov: Velikanov, Baklan, Brudasty, Dvoekurov, Negodyaev, Sadtilov and others.
At the end of the novel, "Cautionary Documents" are published, which, in fact, are an edification to other mayors.
Main characters
Genre
"The history of one city" is satirical novel. Mikhail Evgrafovich has always been a faithful follower of this genre, and many of his works are written in the spirit of caustic satire. Grotesque, irony, humor - the novel is full of these artistic devices.
However, “The History of a City” is a very ambiguous work: it was written in the form of a chronicle, but all the characters seem fantastic, and the events that take place are more like a delusional dream than reality.
However, fantasy in the work is very truthful and realistic, only the outer shell of images and events is unreal. That is why the novel "The History of a City" in its direction refers to realism.
Artwork test
Analysis Rating
Average rating: 4.2. Total ratings received: 664.
"- a satirical novel by the writer M. E. Saltykov-Shchedrin. It was written in 1870.
The meaning of the name. The title is an indication of the absurd nature of the novel. This is a kind of historical work, parodying, in particular, the "History of the Russian State." However, the "state" in the novel has shrunk to the size of a small city.
In it, events take place that satirically reflect the real events of Russian history (mainly the period of the 18th - 19th centuries). The novel is built in the form of a historical chronicle - it is the content of a fictional chronicle, which the narrator allegedly finds.
Content. "History of one city" tells about the city of Foolov. The "chronicle" tells about the origin of the Foolovites, about the most prominent rulers of the city, mentions the most important historical events. Here are some descriptions of the rulers: Dementiy the Brody - a mechanical humanoid robot with an "organ" in its head instead of a brain, which each time gives out one of several programmed phrases.
After the inhabitants found out who their ruler really was, Brody was overthrown. Six female rulers who sought to seize power by all means, including active bribery of soldiers. Pyotr Ferdyshchenko - an unreasonable, frivolous reformer who led his city to mass starvation; he himself died of gluttony.
Basilisk Wartkin - a reformer-enlightener, reminiscent of Peter I; at the same time, with wild cruelty, he destroyed many villages, thereby extracting only a few rubles for the treasury. Ruled the city for the longest time. Gloomy-Grumbling is a parody of Arakcheev, a statesman of the times of Paul and Alexander I.
Gloomy-Grumbling is perhaps one of the central characters of the "History". This is a despot and a tyrant who intends to build an ideal state machine in his city. This led to the creation of a totalitarian system that brought only catastrophes to the city. In this part of the novel, Saltykov-Shchedrin was one of the heralds of a new literary genre - dystopia. The death of Grim-Grumble makes people breathe a sigh of relief and gives hope for some change for the better.
Composition. The novel is built from several large fragments, as befits a "chronicle". However, this does not violate the integrity of the work. Here is the outline of the story:
1. Introduction to the history of the inhabitants of Glupov;
2. Description of 22 rulers of the city;
3. Ruler Brodysty with an organ in his head;
4. Struggle for power;
5. Board Dvoekurova;
6. A period of calm and the onset of hunger;
7. Board of Basilisk Borodavkin;
8. Changes in the way of life of citizens;
9. The depravity of the inhabitants;
10. coming to power of Ugryum-Burcheev;
11. Borodavkin's discourse on obligations;
12. Mikaladze talks about the appearance of the ruler;
13. Reasoning Benevolsky about kindness.
Issues. The Saltykov-Shchedrin novel was created with the aim of describing the eternal troubles of the Russian state and society. Despite the satire and grotesque, it becomes clear that the writer only puffed out, exaggerated the trends that really took place in Russian history. Even the sequence of events and the reigns of the mayors largely corresponds to the Russian historical chronology. Sometimes the correspondence of heroes to their real prototypes reaches photographic accuracy; such is Grim-Grumbling, whose appearance is completely written off from the figure of Arakcheev, which can be observed by looking at the well-known portrait of this figure. It should be noted, however, that Saltykov-Shchedrin covered Russian history in a one-sided way. After all, Peter's reforms were generally reasonable and adequate, and the era of Elizabeth Petrovna and Catherine was marked by some cultural and economic upsurge. Even Arakcheev, whom Saltykov-Shchedrin apparently hated so fiercely, is assessed by contemporaries and historians in many respects positively: for example, he never took bribes and did not abuse his position for personal gain, and his fierce pursuit of corruption and embezzlement of public funds turned out to be effective. However, the satirical pathos of the novel has its own meaning.
Idea. The idea of the novel is that stupidity in the city of the same name is permanent and eternal, and no new "reformer" is able to get rid of it; The new mayor turns out to be no less reckless than the previous ones. This happened in the real history of Russia: smart, intelligent figures did not stay in power for a long time, and subsequent rulers nullified their sound reforms, because of which the country returned to its former disorder, poverty and savagery. Stupidity is the only source of all the troubles of the city, and certainly not the desire for wealth, money-grubbing and the thirst for power. Each ruler of Foolov had his own unique form of stupidity, so the nature of national disasters was constantly changing. In addition to the mayors, ordinary inhabitants also live in the city. Their description in the novel is unsightly: they all make up a submissive herd that does not want to change, no matter how reasonable the undertakings of some rulers may be, and does not resist the wild and reckless behavior of the authorities. Time has no effect on simple fools. Only a good shake-up, which is the rule of Grim-Burcheev, can at least a little awaken the self-consciousness of the population. The finale of the work is in a sense prophetic. The power of Grim-Burcheev fell as a result of the revolution, he himself suffered reprisals; however, there is no certainty that the new ruler, elected by the people, will be reasonable and respectable. As we know, half a century after the writing of the novel, this is exactly what happened in reality.
Genus and genre. "The History of a City" is a novel classified as "literature of the absurd". In it, the realistic beginning gives way to the grotesque, exaggeration, and fantasy. At the same time, folklore elements are actively used: for example, individual episodes (like the story about the origin of the Foolovites) resemble fairy tales. At the same time, the author strives to give his narrative the most realistic image.
The chronicle structure comes into play - the novel gives the exact dates of all events, the years of life of the mayors, the history of Glupov is correlated with the history of real Russia and the world; The narrator quotes famous writers. The reader involuntarily begins to believe what is written. It is noteworthy that the "historical" work of Saltykov-Shchedrin is addressed to the contemporary reader. By this he wants to say that certain problems in society arose long ago and have not disappeared with time.
"History of a City"- one of the central works of M.E. Saltykov-Shchedrin. It was published in the journal Otechestvennye Zapiski in 1869-1870 and caused a wide public outcry. The main means of satirical denunciation of reality in the work are grotesque and hyperbole. IN in terms of genre, it is stylized as a historical chronicle. The image of the author-narrator is called in it "the last archivist-chronicler".
M.E. writes with subtle irony. Saltykov-Shchedrin on how the faces of these mayors change with the change of one or another historical era: “So, for example, the mayors of the time of Biron are distinguished by their recklessness, the mayors of the time of Potemkin are distinguished by their diligence, and the mayors of the times of Razumovsky are of unknown origin and chivalrous courage. All of them flog the townsfolk, but the first ones absolutely flog, the second explain the reasons for their management by the requirements of civilization, the third want the townsfolk to rely on their courage in everything. Thus, from the very beginning, a hierarchy is built and emphasized: higher spheres - local government - inhabitants. Their destinies mirror what is happening in the areas of power: “in the first case, the townsfolk trembled unconsciously, in the second, they trembled with the consciousness of their own benefit, in the third, they rose to awe filled with confidence.”
Issues
The "History of a City" denounces the imperfection of the social and political life of Russia. Unfortunately, Russia rarely had good rulers. You can prove this by opening any history textbook. Saltykov Shchedrin, sincerely worried about the fate of their homeland, could not stay away from this problem. A peculiar solution was the work "The History of a City". The central issue in this book is the power and political imperfection of the country, more precisely one city of Foolov. Everything - the history of its foundation, and the string of useless autocrats, and the people of Foolov - are so ridiculous that it looks like some kind of farce. This would be a farce if it were not so similar to the real life of Russia. "The history of one city" is not just a political satire on the state system existing in this country, but it fundamentally affects the very mentality of the people of the whole country.
So, the central problem of the work is the motive of power and political imperfection.. In the city of Foolovo, the mayors are replaced one after another. Their fates are tragic to some extent, but grotesque at the same time. For example, busty turned out to be a doll with an organ in its head, which uttered only two phrases “I won’t stand it!” and "I'll break it!", and Ferdyshchenko forgets about his duties when it comes to food, especially goose and boiled pork, because of which he dies of gluttony. Acne turns out with a stuffed head, and vans dies of effort, trying to comprehend the meaning of the decree, sadilov dying of melancholy... The end of the reign of each of them is sad, but funny. The mayors themselves do not inspire respect - someone is impassibly stupid, someone is excessively cruel, liberal rulers are also not the best way out, since their innovations are not vital, but, at best, a tribute to fashion or an empty whim. For some completely incomprehensible reason, city governors do not think about the people, about what people need. There are many rulers, they are different creatures, but the result is the same - life does not get better or worse. Yes, and rulers become mayors more by misunderstanding than by necessity. Who was not among the chiefs of Foolov - a cook, a barber, a fugitive Greek, small army ranks, a batman, state advisers and, finally, a scoundrel Gloomy Burcheev. And, what is most surprising, there was not a single mayor who would have an idea of his duties and the rights of the people A. For Foolov's mayors there was no clear concept of their own actions. As if from nothing to do, they transplanted birch trees in the alley, introduced gymnasiums and sciences, abolished gymnasiums and sciences, introduced olive oil, mustard and bay leaves into everyday life, charged arrears ... and, in fact, that’s all. This limited their functions.
The author emphasizes that the appearance of the chronicler is very real, which does not allow for a moment to doubt his authenticity. M.E. Saltykov-Shchedrin clearly indicates the boundaries of the period under consideration: from 1931 to 1825. The product includes "Appeal to the reader from the last archivist-chronicler". To give a documentary character to this fragment of the narrative, the author places a footnote after the title that the appeal is transmitted exactly, in the words of the chronicler himself. The publisher allowed himself only a spelling correction of the text in order to edit individual liberties in the spelling of words. The appeal begins with a conversation with the reader about whether there are worthy rulers and chiefs in the history of our country: “ Is it possible that in every country there will be glorious Nerons, and Caligulas, shining with valor, and only in our own country we will not find such?» All-Knowing Publisher complements this quote with a reference to poem by G.R. Derzhavin: "Caligula! Your horse in the Senate Could not shine, shining in gold: Good deeds shine! This addition aims to emphasize the value scale: it is not gold that shines, but good deeds. Gold in this case is a symbol of money-grubbing, and good deeds are proclaimed the true value of the world.
Further in the work talk about man in general. The chronicler encourages the reader to look at his own person and decide what is more important in it: the head or the belly.. And then judge those in power.
At the end of the address, Foolov is compared to Rome., this again emphasizes that we are not talking about a particular city, but about the model of society in general. Thus, the city of Foolov is a grotesque image not only of all of Russia, but of all power structures on a global scale, for Rome has been associated with the imperial city since ancient times, the same function is embodied by the mention of the Roman emperors Nero (37-68) and Caligula (12- 41 years) in the text of the work. For the same purpose, to expand the information field of the narrative, surnames are mentioned in the work Kostomarov, Pypin and Solovyov. Contemporaries imagined what views and positions in question. N.I. Kostomarov - famous Russian historian, researcher of the socio-political and economic history of Russia and Ukraine, Ukrainian poet and novelist. A .N. Pypin (1833-1904) - Russian literary critic, ethnographer, academician of the St. Petersburg Academy of Sciences, cousin of N.G. Chernyshevsky. B.C. Solovyov (1853-1900) - Russian philosopher, poet, publicist, literary critic of the late XIX - early XX century.
Further, the chronicler relates the action of the narrative to the era the existence of tribal strife . At the same time, M.E. Saltykov-Shchedrin uses his favorite compositional technique: the fairy tale context is connected with the pages of real Russian history. All this creates a system of witty subtle hints that are understandable to the sophisticated reader.
Having come up with funny names for fabulous tribes, M.E. Saltykov-Shchedrin immediately reveals to the reader their allegorical meaning, when representatives of the bungler tribe begin to call each other by name (Ivashka, Peter). It becomes clear that we are talking about Russian history.
thought up bunglers to find a prince for themselves, and since the people themselves are stupid, they are looking for a ruler who is not wise. Finally, one (the third in a row, as is customary in Russian folk tales) "princely lordship" agreed to own these people. But with a condition. “And you will pay me many tributes,” the prince continued, “whoever brings a sheep to a bright one, write a sheep on me, and leave a bright one for yourself; whoever has a penny, break it into four: give one part to me, the other to me, the third again to me, and keep the fourth for yourself. When I go to war - and you go! And you don’t care about anything else!” From such speeches, even unreasonable bunglers hung their heads.
In this scene M.E. Saltykov-Shchedrin convincingly shows that any power is based on the obedience of the people and brings them more troubles and problems than real help and support. It is no coincidence that the prince assigns a new name to the bunglers: “ And since you didn’t know how to live on your own and you yourself, stupid, wished for yourself bondage, then you will henceforth be called not bunglers, but Foolovites».
The experiences of deceived bunglers are expressed in folklore. It is symbolic that one of them sings a song on the way home “Don’t make noise, mother green oak tree!”.
One by one, the prince sends his thieving deputies. The satirical description of the mayors gives them an eloquent description, testifying to their business qualities.
Klementy p received the proper rank for the skillful cooking of pasta. lamvrokanis traded Greek soap, sponge and nuts. Marquis de Sanglot liked to sing obscene songs. You can list the so-called feats of mayors for a long time. They did not stay in power for a long time and did nothing worthwhile for the city.
Techniques for a satirical image of mayors
The publisher considered it necessary to present detailed biographies of the most prominent leaders. Here M.E. Saltykov-Shchedrin resorts to N.V. Gogol to the classical reception. Just as Gogol portrayed the landowners, he presents to the reader's judgment a whole gallery of typical images of city governors.
The first of them depicted in the work of Dementy Varlamovich Brudasty nicknamed Organ. In parallel with the story about any particular mayor M.E. Saltykov-Shchedrin constantly draws a general picture of the actions of the city authorities and the perception of these actions by the people.
So, for example, he mentions that the Foolovites remembered for a long time those bosses who flogged and collected arrears, but at the same time they always said something kind.
The organ struck everyone with the most severe severity. His favorite word was the cry: "I won't stand it!" Further M.E. Saltykov-Shchedrin tells that at night he secretly came to the mayor of organ affairs master Baibakov. The secret is suddenly revealed at one of the receptions, when the best representatives come to Brodasty for a reception. stupid intelligentsia" (this phrase itself contains oxymoron, which makes the story ironic. There it happens with the mayor breakage of the organ, which he used instead of a head. Only Brodysty allowed himself to portray an uncharacteristically friendly smile, like “... suddenly something inside him hissed and buzzed, and the longer his mysterious hissing lasted, the more and more his eyes spun and sparkled.” No less interesting is the reaction of urban secular society to this incident. M.E. Saltykov-Shchedrin emphasizes that our ancestors were not fond of revolutionary ideas and anarchist sentiments. Therefore, they only sympathized with the mayor.
In this fragment of the work, another grotesque move is used: the head, which is being taken to the mayor after repairs, suddenly starts biting around the city and utters the word: “I will ruin!” A special satirical effect is achieved in the final scene of the chapter, when two different mayors are brought to the rebellious Foolovites almost simultaneously. But people are used to not being surprised at anything: “The impostors met and measured each other with their eyes. The crowd dispersed slowly and in silence.
After that, anarchy begins in the city, as a result of which women seized power. These are the childless widow Iraida Lukinishna Paleologova, the adventuress Clementine de Bourbon, the Reval native Amalia Karlovna Stockfish, Anelya Aloizievna Lyadokhovskaya, Dunka the fat-fifth, Matryonka the nostril.
In the description of these mayors, subtle hints are discerned about the personalities of the persons reigning in Russian history: Catherine 2, Anna Ioannovna and other empresses. This is the most stylistically reduced chapter. M.E. Saltykov-Shchedrin generously rewards governors with offensive nicknames and offensive definitions("fat-meat", "fat-fifted", etc.) . All their reign is reduced to outrage. The last two rulers in general are more reminiscent of witches than real people: “Both Dunka and Matryonka committed unspeakable outrages. They went out into the street and knocked down the heads of passers-by with their fists, went alone to taverns and smashed them, caught young guys and hid them in the underground, ate babies, and they cut out the breasts of women and also ate.
An advanced person who seriously looks at his duties is named in the work of S.K. Dvoekurov. It correlates in the author's understanding with Peter the Great: “The mere fact that he introduced mead and brewing, and made the use of mustard and bay leaves obligatory” and was “the founder of those bold innovators who, after three-quarters of a century, waged wars in the name of the potato.” Main Dvoekurov's achievement was an attempt to establish an academy in Glupov. True, he did not achieve results in this field, but in itself the desire to implement this plan was already a progressive step in comparison with the activities of other mayors.
The next ruler Peter Petrovich Ferdyshchenko was simple and even liked to equip his speech with the caressing word "brother-sudarik." However, in the seventh year of his reign, he fell in love with a suburban beauty Alena Osipovna. All nature has ceased to be favorable to the Foolovists: From the very spring of Nikola, from the time the water began to enter the low water, and until Ilyin's day, not a drop of rain fell. The old-timers could not remember anything like this, and not without reason attributed this phenomenon to the brigadier's fall into sin.
When the pestilence went through the whole city, he found in it truth-loving Evseich who decided to talk to the foreman. However, he ordered to put on the old man a prisoner's dress, so Yevseich disappeared, as if he had not been in the world, disappeared without a trace, as only the "miners" of the Russian land know how to disappear.
Light on the real plight of the population of the Russian Empire is shed by the petition of the inhabitants of the most unfortunate city of Glupov, in which they write that they are dying out, that they see the bosses around them as inept.
Strikes savagery and cruelty crowds in the scene when the inhabitants of Glupov throw the unfortunate Alenka from the bell tower accusing her of all mortal sins. As soon as the story with Alenka was forgotten, the foreman found himself a different hobby - archer Domashko. All these episodes, in fact, show women's lack of rights and defenselessness in front of the voluptuous foreman.
Another disaster that hit the city is fire on the eve of the feast of the Kazan Mother of God: two settlements burned down. All this was perceived by the people as another punishment for the sins of their brigadier. The death of this mayor is symbolic. He drank and overate folk treats: “ After the second break (there was a pig in sour cream) he became ill; however, he overcame himself and ate another goose with cabbage. After that, his mouth twisted. It was evident how some kind of administrative vein on his face trembled, trembled, trembled, and suddenly froze ... The Foolovites jumped up from their seats in confusion and fright. It's over..."
Another city lord turned out to be agile and capricious. Vasilisk Semenovich Borodavkin, like a fly, flickered around the city, loved to scream and take everyone by surprise. It is symbolic that he slept with one eye open (a kind of hint to the "all-seeing eye" of the autocracy). However, Wartkin's irrepressible energy is spent for other purposes: he builds castles in the sand. Foolovites aptly call his way of life the energy of inaction. Wartkin leads wars for education, the reasons for which are ridiculous (for example, the refusal of the Foolovites to breed Persian chamomile). Under his leadership, the tin soldiers, having entered the settlement, begin to break down the huts. It is noteworthy that the Foolovites always learned about the subject of the campaign only after it was over.
When he comes to power Mikoladze, gentleman of manners, Foolovites are overgrown with hair and begin to suck their paws. And from the wars for education, on the contrary, they become dumber. Meanwhile, when enlightenment and legislative activity were stopped, the Foolovites stopped sucking their paws, their hair was completely shed, and soon they began to dance. Great impoverishment is prescribed in the laws, and the inhabitants come to a fat state. The "Charter on Respectable Cookie Pies" convincingly shows how much stupidity is concentrated in legislative acts. For example, it states that it is forbidden to make pies from mud, clay and building materials. As if a person of sound mind and solid memory is able to bake pies from this. In fact, this charter symbolically shows how deeply the state apparatus can interfere in the everyday life of every Russian. Here they are already giving him instructions on how to bake pies. Moreover, special recommendations are given for stuffing positions. Phrase " Let everyone use the stuffing according to their state» testifies about a clearly defined social hierarchy in society. However, the passion for legislation also did not take root on Russian soil. Mayor Benevolensky was suspected of connections with Napoleon, accused of treason and sent "to the land where Makar did not drive calves."So, with the help of figurative expression M.E. Saltykov-Shchedrin writes allegorically about exile. Contradictions in the artistic world of M.E. Saltykov-Shchedrin, which is a caustic parody of the author's contemporary reality, is waiting for the reader at every turn. So, during the reign of lieutenant colonel Pimple people in Foolovo completely spoiled, because he preached liberalism in the board.
“But as freedom developed, its primordial enemy, analysis, also arose. With the increase in material well-being, leisure was acquired, and with the acquisition of leisure came the ability to explore and experience the nature of things. This always happens, but the Foolovites used this “newly discovered ability among them” not in order to strengthen their well-being, but in order to undermine it, ”writes M.E. Saltykov-Shchedrin.
Pimple became one of the most desirable rulers for the Foolovites. However, the local leader of the nobility, who did not differ in the special qualities of mind and heart, but had a special stomach, once, on the basis of gastronomic imagination, mistook his head for stuffed. Description of the death scene Pimple writer boldly resorts to the grotesque. In the final part of the chapter, the leader in a rage rushes at the mayor with a knife and, cutting off pieces of the head chunk by chunk, eats it to the end.
Against the background of grotesque scenes and ironic notes M.E. Saltykov-Shchedrin reveals to the reader his philosophy of history, in which the stream of life sometimes stops its natural course and forms a whirlpool.
The most painful impression Gloomy-Grumbling. This a man with a wooden face never lit up by a smile. His detailed portrait eloquently tells about the character of the hero: “Thick, comb-cut and pitch-black hair covers a conical skull and tightly, like a yarmulke, frame a narrow and sloping forehead. The eyes are grey, sunken, overshadowed by somewhat swollen eyelids; the look is clear, without hesitation; nose dry, descending from forehead almost straight down; lips thin, pale, trimmed with trimmed mustache stubble; jaws developed, but without an outstanding expression of carnivory, but with some inexplicable bouquet of readiness to split or bite in half. The whole figure is lean with narrow shoulders raised upwards, with an artificially protruding chest and with long, muscular arms.
M.E. Saltykov-Shchedrin, commenting on this portrait, emphasizes that before us is the purest type of idiot. His manner of government could only be compared with the random felling of trees in a dense forest, when a person waves it to the right and left and steadily goes wherever his eyes look.
In a day memory of the apostles Peter and Paul The mayor ordered the people to destroy their homes. However, this was only the beginning of the Napoleonic plans of Ugryum-Burcheev. He began to sort people into families, taking into account their height and physique. Six months or two months later, there was no stone left unturned from the city. Gloomy-Grumbling tried to create his own sea, but the river refused to obey, tearing down dam after dam. The city of Foolov was renamed Nepreklonsk, and the holidays differed from weekdays only in that instead of labor worries, it was ordered to engage in enhanced marching. Meetings were even held at night. In addition to this, spies were appointed. The end of the hero is also symbolic: he instantly disappeared, as if melted into thin air.
The unhurried, viscous style of narration in the work of M.E. Saltykov-Shchedrin shows the insolubility of Russian problems, and satirical scenes emphasize their severity: rulers change one after another, and the people remain in the same poverty, in the same lack of rights, in the same hopelessness.
Grotesque
satire, irony
Allegory
Forms of folklore: fairy tales, proverbs, sayings…
Real + fantasy
If in the provincial essays the main arrows of satirical denunciation fell on provincial officials, then in the History of a City Shchedrin rose to the top of the government: in the center of this work is a satirical depiction of the relationship between the people and the authorities, the Foolovites and their mayors. Saltykov-Shchedrin is convinced that bureaucratic power is a consequence of the immaturity and civic immaturity of the people. The book satirically highlights the history of the fictional city of Glupov, even indicating its exact dates: from 1731 to 1826.
Any reader who is more or less familiar with Russian history will see in the fantastic events and heroes of Shchedrin's book echoes of real historical events of the period of time named by the author. But at the same time, the satirist constantly distracts the reader's mind from direct historical parallels.
Shchedrin's book is not about some narrow segment of Russian history, but about those features of it that resist the passage of time, which remain unchanged at different stages of Russian history. The satirist sets himself a dizzyingly bold goal - to create a holistic image of Russia, which summarizes the age-old weaknesses of its history, worthy of satirical coverage of the fundamental vices of Russian state and public life. In an effort to give the heroes and events of the History of one city a generalized meaning, Shchedrin often resorts to anachronisms - a confusion of times.
The story is told from the perspective of a fictional archivist from the 18th-early 19th century. But facts and events of a later time, about which he could not know, are often woven into his story. And Shchedrin, (*10) in order to draw the reader's attention to this, deliberately stipulates anachronisms in the notes from the publisher. Yes, and in the town governors of Foolov, the features of various statesmen of different historical eras are generalized.
But from this point of view, the image of the city of Glupov is especially strange and bizarre. Even his outward appearance is paradoxically contradictory. In one place we learn that the tribes of the bunglers founded it in a swamp, and in another place it is stated that our native city of Foolov has three rivers and, in accordance with ancient Rome, is built on seven mountains, on which a great many carriages break into ice. No less paradoxical are his social characteristics. Either it appears to readers in the form of a county town, or it will take on the appearance of a provincial and even capital city, or it will suddenly turn into a seedy Russian village or village, which, as usual, has its own pasture for cattle, fenced with a typical village fence.
But only the borders of the Foolov pasture coexist with the borders of ... the Byzantine Empire! The characteristics of Foolov's inhabitants are also fantastic: at times they resemble capital or provincial townspeople, but sometimes these townspeople plow and sow, graze cattle and live in thatched village huts. Equally inconsistent are the characteristics of the Foolov authorities: city governors combine the habits typical of Russian tsars and nobles with the actions and deeds characteristic of a county mayor or village headman.
How can these contradictions be explained? Why did Saltykov need a combination of the incompatible, a combination of the incompatible?
One of the connoisseurs of Shchedrin's satire, D. Nikolaev, answers this question in this way: In the History of one city, as is already evident from the title of the book, we meet with one city, one image.
But this is such an image that has absorbed the signs of all cities at once. And not only cities, but also villages and villages. Moreover, the characteristic features of the entire autocratic state, the entire country, were embodied in it. While working on the History of a City, Shchedrin draws on his rich and varied experience of public service, on the works of the greatest Russian historians: from Karamzin and Tatishchev to Kostomarov and Solovyov. The composition of the History of one city is a parody of the official historical monograph such as the History of the State of the Russian Karamzin.
In the first part of the book, a general outline of Foolov's history is given, and in the second - descriptions of the life (*11) and deeds of the most prominent city governors. This is how many contemporary historians of Shchedrin built their works: they wrote history according to the kings. Shchedrin's parody has a dramatic meaning: there is no other way to write Foolov's story, it all boils down to a change of tyrant authorities, the masses remain silent and passively submissive to the will of any city governors. The Foolovian state began with a formidable mayor's shout: I'll screw it up!
The art of governing the Foolovites since then consists only in the variety of forms of this cut: some city governors whip the Foolovites without any explanation - absolutely, others explain the flogging by the requirements of civilization, and still others make the townsfolk themselves want to be whipped. In turn, in the Foolovian mass only the forms of obedience change. In the first case, the townsfolk tremble unconsciously, in the second, with the consciousness of their own benefit, but in the third, they rise to trembling, filled with confidence in the authorities!
In the inventory of city governors, brief characteristics of Foolov's statesmen are given, a satirical image of the most stable negative features of Russian history is reproduced. Basilisk Wartkin planted mustard and Persian chamomile everywhere, with which he entered the Foolov story. Onufriy Vegodyaev placed the streets paved by his predecessors and set up monuments for himself from the extracted stone. Interception-Zalikhvatsky burned down the gymnasium and abolished the sciences. The statutes and circulars, the composition of which the mayors became famous, bureaucratically regulate the life of the townsfolk down to everyday trifles - the Charter on respectable pastry pies.
The biographies of Foolov's mayors are opened by Brodasty. In the head of this figure, instead of the brain, something like a hurdy-gurdy operates, periodically playing two shouts: I'll ruin it! and I will not stand it!
This is how Shchedrin ridicules the bureaucratic brainlessness of Russian state power. Another mayor with an artificial head, Pimple, adjoins Brudastom.
His head is stuffed, so Pimple is not able to administer, his motto is Rest, sir. And although the Foolovites sighed under the new authorities, the essence of their life changed little: in both cases, the fate of the city was in the hands of the brainless authorities. When the History of a City was published, critics began to reproach Shchedrin for distorting life, for departing from realism. But these accusations were unfounded. The grotesque and satirical fantasy in Shchedrin do not distort the reality, but only bring to a paradox those qualities that any bureaucratic regime is fraught with.
Artistic exaggeration acts like a magnifying glass: it makes the secret clear, reveals the essence of things hidden from the naked eye, enlarges the real evil. With the help of fantasy and the grotesque, Shchedrin often makes an accurate diagnosis of social diseases that exist in the bud and have not yet unfolded all the possibilities and readiness contained in them. Bringing these readiness to its logical conclusion, to the extent of a social epidemic, the satirist acts as a seer, enters the realm of foresight and foreboding. It is precisely this prophetic meaning that is contained in the image of Grim-Burcheev, crowning the biographies of Foolov's mayors. What is the basis of a despotic regime?
What features of folk life generate and nourish it? Foolov in the book is a special order of things, an integral element of which is not only the administration, but also the people - the Foolovites.
The History of a City gives an unparalleled satirical picture of the weakest aspects of the people's world outlook. Shchedrin shows that the masses of the people are fundamentally politically naive, that they are characterized by inexhaustible patience and blind faith in the authorities, in the supreme power.
We are familiar people! - say the Foolovites. - We can endure. If now we are all put together in a heap and set on fire from all four ends, even then we will not say a nasty word!
Energy, administration, they oppose the energy of inaction, rebellion on their knees: Do what you want with us! - said some, - he likes - cut into pieces, he likes - eat with porridge, but we do not agree! “From us, brother, you won’t take anything!”
- others said, - we are not like the others who have acquired a body! We, brother, and there is nowhere to stab. And stubbornly stood at the same time on their knees. When the Foolovites come to their senses, then, according to the old-fashioned seditious custom, they either send a walker or write a petition addressed to the high authorities.
Ouch, wobbled! - the old people said, watching the troika, which carried their request to an unknown distance, - now, well done chieftains, we will not endure for long!
And indeed, the city became quiet again; the Foolovites did not undertake any new revolts, but sat on the rubble and waited. When passers-by asked: how are you?
By creating the ironic grotesque "History of a City," Saltykov-Shchedrin hoped to arouse in the reader not laughter, but a "bitter feeling" of shame. The idea of the work is built on the image of a certain hierarchy: a simple people who will not resist the instructions of often stupid rulers, and the tyrannical rulers themselves. In the face of the common people in this story, the inhabitants of the city of Foolov act, and their oppressors are the mayors. Saltykov-Shchedrin notes with irony that this people needs a leader, one who will give them instructions and keep them in "hedgehogs", otherwise the whole people will fall into anarchy.
History of creation
The concept and idea of the novel "The History of a City" were formed gradually. In 1867, the writer wrote the fairy-tale-fantastic work "The Tale of the Governor with a Stuffed Head", which subsequently formed the basis of the chapter "Organchik". In 1868 Saltykov-Shchedrin began working on The History of a City and finished in 1870. Initially, the author wanted to give the work the name "Glupovsky Chronicler". The novel was published in the then popular magazine Otechestvennye Zapiski.
The plot of the work
(Illustrations by the creative team of Soviet graphic artists "Kukryniksy")
The story is told from the perspective of the chronicler. He talks about the inhabitants of the city, who were so stupid that their city was given the name "Stupid". The novel begins with the chapter "On the Root of the Origin of the Foolovites", in which the history of this people is given. It tells in particular about the tribe of bunglers, who, after defeating the neighboring tribes of onion-eaters, thick-eaters, walrus-eaters, kosobryukhy and others, decided to find a ruler for themselves, because they wanted to restore order in the tribe. Only one prince decided to rule, and even he sent a thief-innovator instead of himself. When he stole, the prince sent him a noose, but the thief was able to get out in a sense and stabbed himself with a cucumber. As you can see, irony and the grotesque coexist perfectly in the work.
After several unsuccessful candidates for the role of deputies, the prince appeared in the city in person. Becoming the first ruler, he marked the "historical time" of the city. Twenty-two rulers with their accomplishments are said to have ruled the city, but the Inventory lists twenty-one. Apparently, the missing one is the founder of the city.
Main characters
Each of the mayors performs its task in implementing the writer's idea through the grotesque to show the absurdity of their government. In many types, the features of historical figures are visible. For greater recognition, Saltykov-Shchedrin not only described the style of their government, ridiculously distorted the names, but also gave apt descriptions pointing to a historical prototype. Some of the personalities of the mayors are images collected from the characteristic features of different people in the history of the Russian state.
So, the third ruler Ivan Matveyevich Velikanov, famous for drowning the director of economic affairs and imposing taxes at three kopecks per person, was exiled to prison for having an affair with Avdotya Lopukhina, the first wife of Peter I.
Brigadier Ivan Matveyevich Baklan, the sixth mayor, was tall and proud of being a follower of Ivan the Terrible's line. The reader understands what is meant by the bell tower in Moscow. The ruler found death in the spirit of the same grotesque image that fills the novel - the foreman was broken in half during a storm.
The personality of Peter III in the image of Guards Sergeant Bogdan Bogdanovich Pfeifer is indicated by the characteristic given to him - "a Holstein native", the style of government of the mayor and his outcome - removed from the post of ruler "for ignorance".
Dementy Varlamovich Brodysty is nicknamed "Organchik" for the presence of a mechanism in his head. He kept the city at bay because he was gloomy and withdrawn. When trying to take the head of the mayor for repair to the capital's masters, she was thrown out by a frightened coachman from the carriage. After the reign of Organchik, chaos reigned in the city for 7 days.
The short period of prosperity of the townspeople is associated with the name of the ninth mayor, Semyon Konstantinovich Dvoekurov. A civilian adviser and innovator, he took care of the appearance of the city, started honey and brewing. Tried to open an academy.
The longest reign was marked by the twelfth mayor, Vasilisk Semenovich Borodavkin, who reminds the reader of the style of government of Peter I. His “glorious deeds” also indicate the connection of the character with the historical figure - he destroyed the Streltsy and Dung settlements, and the difficult relationship with the eradication of the ignorance of the people - spent four years in Foolov wars for education and three - against. He resolutely prepared the city for burning, but suddenly died.
Onufriy Ivanovich Negodyaev, a former peasant by origin, who heated stoves before serving as a mayor, destroyed the streets paved by the former ruler and erected monuments on these resources. The image was copied from Paul I, which is also indicated by the circumstances of his removal: he was fired for disagreeing with the triumvirate about constitutions.
Under the state councilor Erast Andreevich Sadtilov, the stupid elite was busy with balls and night meetings with reading the works of a certain gentleman. As in the reign of Alexander I, the mayor did not care about the people, who were impoverished and starving.
Scoundrel, idiot and "Satan" Ugryum-Burcheev bears a "talking" surname and is "written off" from Count Arakcheev. He finally destroys Foolov and decides to build the city of Neprekolnsk in a new place. When trying to implement such a grandiose project, the “end of the world” occurred: the sun faded, the earth shook, and the mayor disappeared without a trace. Thus ended the story of "one city".
Analysis of the work
Saltykov-Shchedrin, with the help of satire and the grotesque, aims to reach out to the human soul. He wants to convince the reader that the human institution must be based on Christian principles. Otherwise, a person's life can be deformed, mutilated, and in the end can lead to the death of the human soul.
"The History of a City" is an innovative work that has overcome the usual framework of artistic satire. Each image in the novel has pronounced grotesque features, but is recognizable at the same time. That gave rise to a flurry of criticism against the author. He was accused of "slandering" the people and rulers.
Indeed, the story of Glupov is largely written off from the chronicle of Nestor, which tells about the time of the beginning of Rus' - "The Tale of Bygone Years". The author intentionally emphasized this parallel in order to make it clear who he means by the Foolovites, and that all these mayors are by no means a flight of fancy, but real Russian rulers. At the same time, the author makes it clear that he is not describing the entire human race, namely Russia, rewriting its history in his own satirical way.
However, the purpose of creating the work Saltykov-Shchedrin did not make a mockery of Russia. The writer's task was to encourage society to critically rethink its history in order to eradicate existing vices. The grotesque plays a huge role in creating an artistic image in the work of Saltykov-Shchedrin. The main goal of the writer is to show the vices of people who are not noticed by society.
The writer ridiculed the ugliness of society and was called the "great mocker" among such predecessors as Griboyedov and Gogol. Reading the ironic grotesque, the reader wanted to laugh, but there was something sinister in this laughter - the audience "felt how the scourge was whipping itself."
