History of the concept of “little people”. What does the term little people mean?

The image of the “little people” in Russian literature

The very concept of “little people” appears in literature earlier, and then the type of hero itself takes shape. From now on, people will become the third, as writers began to flourish through the democratization of literature.

In the 19th century, the image of the “little people” became one of the most pressing themes in literature. The concept of “little people” has always been used by V.G. Belinsky in the 1840 article on rock “Faringly from the mind.” Spochatka vono meant “simple” to the people. With the development of psychologism in Russian literature, this image has a complex psychological portrait and becomes the most popular character in democratic works of the other half XIX century.

Literary encyclopedia:

“Little People” - a number of diverse characters in Russian literature of the 19th century, united by the following symbols: low status in the social hierarchy, poverty, insecurity, which sums up their peculiarities psychology and plot role - victims of social injustice and soulless state mechanism, often persons " significant person." They are dominated by fear of life, humiliation, laziness, which, however, can be combined with injustice and the natural order of speeches, with affected pride and instill a short-term rebellious outburst, so that you dare not to bring about a change in the situation atsii. The type of “little people”, as criticized by A. S. Pushkin (“Midnyi Vshnik”, “Station Watcher”) and N. V. Gogol (“The Overcoat”, “Notes of the Divine One”), creatively, and sometimes polemically, completely re-interpreted traditions F. M. Dostoevsky (Makar Devushkin, Golyadkin, Marmeladov), A. M. Ostrovsky (Balzaminov, Kuligin), A. P. Chekhov (Chervyakov in “The Death of an Official”, the hero of “Thick and Subtle”), M. A. Bulgakov (Korotkov from “Diavolia”), M. M. Zoshchenko and in. Russian writers 19-20 centuries.

“Little People” is a type of hero in literature, most often a poor, unremarkable official who occupies a small position, whose fate is tragic.

The theme of the “little people” is the “overall theme” of Russian literature. The appearance of this image is due to Russian service gatherings on fourteen days, on the lower days of which many officials, ill-informed, often self-sufficient or burdened with families, worked and suffered in the face of poverty, lawlessness and the image of no human understanding, every skin with its own misfortune.

Little people are poor, unknown, their fate is tragic, their smells are hopeless.

Pushkin “The Station Watcher”. Samson Virin.

Worker. Weak people. He is treating his daughter - he is taking the rich hussar Minsky. Social conflict. Belittling. We can't stand up for ourselves. Drunk. Samson lost his life.

One of the first to introduce the democratic theme of “little people” into literature was Pushkin. In “Belkin’s Tales”, completed in 1830, the writer paints pictures of the noble-district life (“Panyanka-village woman”), and he pays respect to the reader’s share of the “little people”.

The share of the “little people” is first shown here realistically, without sentimental tearfulness, without romantic excess, it is shown as the result of the singing historical minds, the injustice of the spouses.

The very plot of “The Station Observer” conveys a typical social conflict, expressed in a broad sense, revealed in the individual version of the tragic fate of the cross-border man Samson Virin.

There is a small postal station here at the crossroads of previous roads. Here live the official of the 14th class Samson Virin and his daughter Dunya - the only joy that brightens the hard life of observing, shouting and shouting from people passing by. And the hero of the story, Samson Virin, is completely happy and calm, having long been in the service of the minds, his beautiful daughter Dunya helps him lead a simple reign. We dream about simple human happiness, hoping to escape from illness, to spend old age with our homeland. Ale share is ready for more difficult testing. The passing hussar Minsky takes Dunya, without worrying about the inheritance of his first meal.

The most terrible thing is that Dunya went with the hussar with strong will. Having crossed the threshold of a new, rich life, she saw her father. Samson Virin is on his way to St. Petersburg in order to “turn back the lost sheep” and get him kicked out of Dunya’s house. The hussar “with a strong hand, having buried the old one behind the chest, snatched it away.” Unlucky dad! Why should I compete with a rich hussar! I'm sorry, I'm taking away a small amount of banknotes for my daughter. “The clouds of frost have come upon your eyes, the clouds of storminess! Having squeezed the papers into your chest, thrown them down, trampled them under your breath and pressed them ... "

Virin was no longer able to fight. “After thinking, he waved his hand and stood up.” Samson, after losing his daughter, got lost in life, got drunk and died with an ace for his daughter, wondering about her possible pitiful share.

About people like these, Pushkin writes at the beginning of his story: “We will, however, be fair and try to get to their place and, perhaps, judge them more kindly.”

The living truth goes back to the “little people” who appear on the skin as bosses, who stand above the rank and position, which is what we perceive when reading the story. To Pushkin, this “little people” is dear to me, who lives in the mountains and in evil. The story has been taken over by democracy and humanity, which so realistically depicts the “little people.”

Pushkin “The Copper Leader”. Evgen

Evgen – “little person”. The place played a fatal role for the share. At the hour the bridegroom is treated. All my dreams and hopes happily perished. Having spent money. The sick god calls out to the “idol on a bronze horse” Nightmare: the threat of death under the bronze hoofs.

In the image of Evgen, the idea of ​​the survival of the common people and the state is infused.

“The poor man fears not for himself.” "Skipila blood." “I’m halfway through my heart”, “Already you!”. Evgen’s protest is a mittev’s protest, but a stronger one, lower than Samson Virin’s.

The image of this lively, lively, lush place is replaced in the first part by a picture of a terrible, ruinous landscape, various images of a stormy element over which people have no control. Among those whose life has collapsed again, Evgen appears, about the peaceful nature of which the author speaks at the beginning of the first part. Єvgen “Lyudina Zvichaina” (“Little” by Lyudina): Vaughn is not May Grosha, Ni Chinv, “The Dies to serve” і mrі, the sobs of the “Prithels of humble and forgive”, Shchobo, with Kokhanyu Divchina, go through Zhittaviy Shlyakh.

…Our hero

I live in Kolomiya, here to serve,

To disobey the nobles...

There will be no great plans in May, but a quiet, unforgettable life will reign.

What were you thinking about? About those

What's the matter, what's wrong

You are guilty of revealing yourself

І independence, і honor;

What could God give you?

Rozumu ta pennies.

The poem does not have the nickname of the hero, nor his age, nothing is said about the past of Evgen, his appearance, his character. Having added individual characteristics to Evgen, the author transforms him into a cross-country, typical person from the crowd. However, in an extreme, critical situation, Evgeni wakes up in his sleep, throws off his mask of “worthlessness” and speaks out against the “honeypot”. At the camp of God, he threatens the Copper Peak, respectfully blaming the misfortune of the people who had a place in this lost place.

Pushkin marveled at his heroes from the side. They are not seen by reason, nor by their position in the marriage, but they are good and decent people, and they are good and happy.

Conflict

Pushkin is at the forefront of Russian literature by showing all the tragedy and intangibility of the conflict between the power and the interests of the power and the interests of private individuals.

The plot of the poem is completed, the hero has died, or has lost the transfer of the central conflict to the readers, what is not allowed and in truth, the antagonism between the “tops” and the “bottoms”, autocratic rule and the sick people has been lost. The victory of the Copper Leader over Evgen is symbolic - a victory of force, not justice.

Gogol “The Overcoat” Akaki Akievich Bashmachkin

"Eternal titular ruler." It is humbly to bear the annoyance of fellow service members, fear and self-importance. The spiritual life is wretched. Irony and the author's hymn. The image of the place is more terrible for the hero. Social conflict: “little people” and a soulless representative of the “important person”. The element of fantasy (fiction) is the motive of rebellion and payment.

Gogol reveals the reader’s world of “little people”, officials in his “Petersburg Tales”. and Shchedrin to Bulgakov and Sholokhov. “We all came out wearing Gogol’s overcoat,” wrote Dostoevsky.

Akakiy Akakiyovich Bashmachkin - “eternal titular ruler.” It is okay to bear the bullying of your fellow employees, but it is also fearful and self-conscious. The stupid office service drove a thought into my mind. This spiritual life is miserable. I am completely pleased to know that I have leafed through the papers. He lovingly wrote out the letters in a clean, neat handwriting and completely immersed himself in work, forgetting the images that his colleagues in service deserved, and the need, and the troubles about the hedgehog and the quiet. At home, I was only thinking about those things that “God should send me to rewrite tomorrow.”

Alas, this downtrodden official was shocked when a new overcoat appeared. The story is careful about the development of the image. “Having become as if he were vital, he seemed to have a firm character. From the face of this person, of course, he knew doubtfulness, insecurity...” Bashmachkin is not separated from his death for a day. He thinks about this, like other people think about their farm, about their family. Axis is putting on a new overcoat, “...his awakening seems to have increased...” The description of the life of Akaki Akakiyovich is permeated with irony, but there is also pity and turmoil in it. Introducing us to the spiritual light of the hero, describing his feelings, thoughts, dreams, joys and wonders, the author makes it clear what happiness was for Bashmachkin to wear an overcoat and what catastrophe transforms his misfortunes.

There was no happiness for the man, Nizh Akaki Akakiyovich, when the Kravets brought him an overcoat. Alas, the joy was unwavering. If he returned home at night, he was robbed. And do not take part in your share from those who are absent. Duremno Bashmachkin sought help from a “significant person.” This was called a riot against the bosses and the “great ones.” Embarrassed Akaki Akakiyovich gets cold and dies.

At the end, a small, timid person, driven by a strong light to the point of protesting against this world. Dying, it is “foully blasphemous”, implying the most terrible words that followed the words “your excellency”. This is a rebellion, even in the dying madder.

It is not through her overcoat that the “little person” dies. Vin becomes a victim of bureaucratic “inhumanity” and that “fierce rudeness,” which, as Gogol asserted, is hidden under the mask of “refined, illuminated secularism.” Who has a deep sense of the story.

The theme of rebellion is reflected in the fantastic image of the ghost that appears on the streets of St. Petersburg after the death of Akaki Akakiyovich and the overcoats are taken from the Krivdniks.

N.V. Gogol, who in his story “The Overcoat” first shows the spiritual savagery, the squalor of poor people, but also pays respect to the ability of the “little people” to revolt and for which to introduce elements of fantasy into his story.

M. U. Gogol destroys the social conflict: the writer showed how the life of the “little people” was, and his protest against injustice. Let this “rebellion” be fearful, perhaps fantastic, but the hero stands up for his rights against the foundations of the natural order.

Dostoevsky “Mischief and Punishment” Marmeladov

The writer himself respected: “We all came from Gogol’s “Overcoat.”

Dostoevsky’s novel is imbued with the spirit of Gogol’s “Overcoat” "Poor people ta." This is a story about the fate of this “little people”, torn by grief, outrage and social injustices. The conversation between the poor official Makar Devushkin and Varenka, who spent her father’s money and the rest of her life, reveals the deep drama of the lives of these people. Makar and Varenka are ready for one another, come what may. Makar, surviving in extreme need, helps Varya. І Varya, having learned about Makar’s camp, comes to your aid. Alas, the heroes of the novel are dry. Their rebellion is a “revolt on the knees.” No one can help them. I am ready to take him to his death, and Makar loses one with his grief. Break, cripple the lives of two beautiful people, break through cruel action.

Dostoevsky reveals the deep and powerful experiences of “little people.”

It means that Makar Devushkin is reading “The Station Observer” by Pushkin and “The Overcoat” by Gogol. Vіz spіvchuttym put before Samson Virin and unpleasantly before Bashmachkin. It’s melody for someone who wants to share their future with someone.

About the share of the “little people” Semyon Semenovich Marmeladov, F.M. Dostoevsky on the side of the novel "Evil and punishment". The writer reveals to us, one after another, pictures of hopeless poverty. As a place for this, Dostoevsky chose the closest part of St. Petersburg. Looking at this landscape, the life of the Marmeladov family is inflamed.

Just as Chekhov’s characters are degraded and do not realize their worthlessness, then Dostoevsky’s senior official, who falls asleep, realizes his unneediness and ugliness. You're a drunkard, useless, no matter what, man, you want to get better, but you can't. I understand that I put my family, and especially my daughter, through suffering, they don’t respect themselves, and they can’t handle anything. “Skoda! It’s time for me to be harmed!” Marmeladov stormed out, standing up with his hand outstretched... “So! There’s no need to harm me for anything! They’ll put me on the cross, and don’t harm me! show up, spoil yogo!"

Dostoevsky creates the image of an active, passionate person: marmalade-like licorice, inescapable cunning language - the power of a beer tribune and the temptation at the same time. Awareness of one’s worthlessness (“I am innately thin”) will make it less powerful in the new bravado. This is a wonderful and pitiful drunkenness of the Marmelads with their cunning promotional and important bureaucratic staff.

The spiritual stature of this noble official is richly folded and subtle, lower than that of his literary predecessors - Pushkin's Samson Virin and Gogol's Bashmachkin. It is the power of self-analysis, which Dostoevsky’s hero achieves. Marmeladov, as he suffers, analyzes his state of mind, as a doctor makes a merciless diagnosis of illness - degradation of moisture. This is how the first friend of Raskolnikov confesses: “Dear sir, poverty is not a vice, it is the truth. Ale... evil - vice - s. In poverty you still retain all the nobility of your innate sensibilities, in evil things none and nothing... for in evil things I am the first to be ready to portray myself.”

People are not only evil, but they understand that they are becoming spiritually empty: they begin to disrespect themselves, rather than worry about anything to get involved in, which would have bothered them due to the disintegration of specialness. The tragic finale of Marmeladov’s life: on the street he was run over by a lady’s purple carriage drawn by a pair of horses. Having thrown herself at his feet, this person herself knew the end of her life.

From the pen of the writer Marmeladov it becomes tragic. Marmalade’s cry - “there is also a need for whatever kind of people they want to be able to sing somewhere” - expresses the remaining stage of development of an uninhabited person and captures the essence of his life’s drama: there is nowhere to go and there is no one to go to.

In the novel, Marmeladova is sung by Raskolnikov. The meeting with Marmeladov at the tavern, his hot friend, as well as Madder, gave the main character of the novel Raskolnikov one of the remaining proofs of the correctness of the “Napoleonic idea”. And no less than Raskolnikov sings Marmeladova. “They’ve already harmed me more than once,” Marmeladov said to Raskolnikov. The good general Ivan Opanasovich was pleased and re-employed. Ale Marmeladov without stopping trying, drinking again, drinking all the food, drinking everything and tiredly removing his tattered tailcoat with a single buzzer. Marmalades behave until they spend the rest of their human resources. There are so many humiliations that she doesn’t feel human among herself, but only dreams about being human among people. Sonya Marmeladova understands and forgives her father, because she is determined to help her neighbor, to be able to sleep to someone who needs sleep.

Dostoevsky urges us to scold the worthless pity, to listen to the worthless sleep. “Singing is the most important and, perhaps, the only law of human life,” Fedir Mikhailovich Dostoevsky said.

Chekhov "Death of an Official", "Tovstiya and Subtle"

Later, Chekhov would give his first hint to the development of those who doubted the honesty traditionally discussed in Russian literature - the high moral virtues of the “little people” - the civil servant. Chekhovim. Since Chekhov “distorted” people’s attitudes, then we will transfer their origin and readiness to be “small”. A person does not dare to bother himself with “little people” - the main idea of ​​​​Chekhov in his interpretation of those “little people”. Having said all that, one can come to the conclusion that the theme of the “little man” reveals the most important aspects of Russian literature XIX century - democracy and humanism.

Over time, the “little people”, reduced in airiness, “humiliated and depicted,” exclaims from leading writers not only slumber, but also condemnation. “You live a boring life, gentlemen,” Chekhov said with her creativity to the “little people” who were reproached by their formation. The writer looks at the death of Ivan Chervyakov with a subtle humor, and the lackey “Vashestvo” cannot escape the pain of life.

The same fate as “The Death of an Official” is the revelation of “Tovsta i Tonka”. Chekhov once again takes a stand against habitualism, against servility. The wheeled campaigner Porfiry giggles, “like a Chinese,” bowing to the forest, having greeted his great friend, who holds a high rank. You almost forgot your friendship, as two people became involved.

Kuprin “Garnet Bracelet”.

In A.I. Kuprin’s “Pomegranate Bracelet” Zhovtkiv is “a little person.” I want the hero to be promoted to the lower class. It’s okay to love, and to love like that, as if you don’t have the riches of a great marriage. Zhovtkov, having moved the girl and all his life away, loved more than one. We understand that the treasure is presented as if it were a chance, a gift to your share, and it cannot be missed. Yogo khannya - this is yogo life, yogo hope. Zhovtkov will end his life with suicide. And after the death of the hero, the woman realized that she didn’t love anyone as much as he did. Kuprin’s hero is a man of an extraordinary soul, given to self-sacrifice, who is able to love truly, and such a gift is very rare. That is why the “little people” Zhovtkiv is a figure to tower over those who are absent.

Thus, the theme of the “little people” saw significant changes in the creativity of writers. Tiny images of “little people”, the writers screamed and reinforced their weak protest, downtroddenness, which would soon lead the “little people” to degradation. But each of these heroes has something in life that helps them endure sleep: for Samson Virin - a daughter, the joy of life, for Akaki Akakiyovich - an overcoat, for Makar Divushkin and Varenka - their love and turbo are one about the same. Having spent a sum, you will perish, not knowing how to survive the waste.

In conclusion, I would like to say that it is not the people’s fault to be small. In one of the pages, Chekhov exclaimed to his sister: “My God, how rich Russia is in good people!”

U XX The centuries-old theme has developed in the images of the heroes of I. Bunin, A. Kuprin, M. Gorky and things like that XX For centuries one can recognize these reflections in the creativity of V. Shukshin, V. Rasputin and other writers.

" The traditions of Pushkin were continued by N.V. Gogol in the story “The Overcoat”.

A little person is a person of low social status and manners, not endowed with remarkable virtues, not showing strength of character, but with goodness, not harming anyone, innocent. Both Pushkin and Gogol, creating the image of a little people, wanted to tell the readers who started to cry about romantic heroes, that the original little people are the same people, when they sing, respect, encouragement.

The same writers from the end of the 19th century and the beginning of the 20th century are written down to those small people: A. Chekhov, M. Gorky, L. Andreev, F. Sologub, A. Averchenko, K. Trenov, I. Shmelov, S. Yushkevich. The power of tragedy of little people - “heroes of stinking and dark places” (A. Grigor’ev) - was correctly emphasized by P. Weil:

The little person from the great Russian literature is so small that it does not allow for further change. Changes could go even faster. This is where the latest successors of our classical tradition began. From our Little People came the heroes of Kafka, Beckett, Camus […], who grew to the dimensions of the world […]. Radian culture threw off its shoe overcoat - on the shoulder of a living Little people, who, obviously, did not go anywhere, simply crawled from the ideological surface, died in literature.

The little person, who does not fit into the canons of social realism, migrated to the literature of the underground and began to appear in the everyday satire of M. Zoshchenko, M. Bulgakov, V. Voinovich.

From the rich literary gallery of little people one sees heroes who are trying to achieve a secret life through changing their material status or appearance (“Luka Prokhorovich” - 1838, E. Hrebinki; “The Overcoat” - 1842, N. Gogol); buried by fear of life (“The People in the Case” – 1898, A. Chekhova; “Our People in the Case” – 1989, V. P’etsukha); who in the minds of important bureaucratic activities are ill due to mental disorders (“Double” - 1846, F. Dostoevsky; “Diavoliada” - 1924, M. Bulgakov); For those who have an internal protest against their spouses, they coexist with painful efforts to raise themselves, to gain wealth, which ultimately leads them to lose their wealth (“Notes of the Divine” - 1834, M. Gogol; “The Double” by F. Dosto Evsky); what fear of the authorities leads to God's will or death (“The Weak Heart” - 1848, F. Dostoevsky, “The Death of an Official” - 1883, A. Chekhov); those who are afraid to give in to criticism, change their behavior and thoughts (“Chameleon” - 1884, A. Chekhov; “Merry Oysters” - 1910, A. Averchenko); who can achieve happiness in love with their wife (“The Old Man’s Sin” - 1861, A. Pisemsky; “Burn” - 1989, E. Popov) who want to change their life by the way of stagnation of magical powers (“Virni Li” ki" - 1840, E. V. Grebinki; “Little People” - 1905, F. Sologuba); who, through life’s misfortunes, are tempted to lay hands on themselves (“The Elder’s Sin” - A. Pisemsky; “Report on Sergius Petrovich” - 1900, L. Andreeva)

Notes

Literature

• Mazurkiewicz E., Mały człowiek, t. V, pod red. Andrzeja de Lazari, Łódź 2003, s. 152-154.
• Gonczarowa O., Sentymentalism, Idea w Rosji. Leksykon rosyjsko-polsko-angielski t. V, pod red. Andrzeja de Lazari, Łódź 2003, s. 256-260.
• Sakharova E. M., Semibratova I. St, Encyclopedia of Russian life, Moscow 1981.

Posilannya

• Erofeev, V. Alarming lessons Dribnogo bisa
• Dmitrievska, L.M. A new look at the image of the “little people” from the story of N.V. Gogol “The Overcoat” // Russian language, literature, culture at school and university. – Kiev, No. 4, 2009. P.2-5.
• Epshtein, M. Little people in a case: Bashmachkin-Belikov syndrome

Wikimedia Foundation. 2010.

Wonder what “Little People” is in other dictionaries:

Dribnitsa, fifth spoke in a chariot, dribnota, zero, nothing, not a great bird, empty seat, nobody, stand-up goat drummer, dribna fry, zero without a stick, worthlessness, ten spokes, small world, etc Ibnitsa, pishak, styutsky, the rest of the spoke in... ... Glossary of synonyms

- “LITTLE LYUDINA”, Georgia, KVALI (Georgia), 1993, b/w, 3 episodes. Animation, excitement. The story is about a little dreamer who wants to make everyone believe in his guesses. And the axis once in a while really collides with a monster... Director: Amiran... ... Encyclopedia of cinema

"LITTLE PEOPLE"- Literature is destined to have a variety of heroes, who share the fact that they occupy one of the lowest places in the social hierarchy and that this situation signifies its psychology and life. behavior (humiliation, combined with admiration...). Literary encyclopedic dictionary

• “Little People” is a type of literary hero, which is the root of Russian literature with the emergence of realism, like that of the 20-30s of the 19th century.

  The first rank of the little man was Samson Virin from A. S. Pushkin’s story “The Station Watcher”. The traditions of Pushkin were continued by M. U. Gogol in the story “The Overcoat”.

  A little person is a person of low social status and manners, not endowed with prominent virtues, not affected by strength of character, but with any goodness, does not harm anyone, is innocent. Both Pushkin and Gogol, who created the image of a little people, wanted to remind readers who began to cry about romantic heroes, that the original little people are also people who sing, respect, and encouragement.

  The same writers from the late 19th century to the beginning of the 20th century: A.P. Chekhov, A.I. Kuprin, M. Gorky, L. Andreev, F. Sologub, A. Averchenko, K. Trenov, I. Shmelov, S. Yushkevich, A. Meshcheryakov. The power of the tragedy of little people – “heroes of stinking and dark places” (A. Grigor’ev) – was correctly emphasized by Petro Weil:

  The little person from the great Russian literature is so small that it does not allow for further change. Changes could go even faster. This is where the latest successors of our classical tradition began. From our Little People came the heroes of Kafka, Beckett, Camus […], who grew to the dimensions of the world […]. Radian culture threw off its shoe overcoat - on the shoulder of a living Little people, who, obviously, did not go anywhere, simply crawled from the ideological surface, died in literature.

  The little person, who does not fit into the canons of social realism, migrated to the literature of the underground and began to appear in the everyday satire of M. Zoshchenko, M. Bulgakov, V. Voinovich.

  From the rich literary gallery of little people we see heroes who are trying to give up their secret desires through changing their material status from their current appearance (“Luka Prokhorovich” by E. Grebinki, 1838; “The Overcoat” by M. Gogol, 1842 ); buried by fear of life (“The People in the Case” by A. Chekhov, 1898; “Our People in the Case” by V. P’etsukh, 1989); who in the minds of important bureaucratic activities are ill due to mental disorders (“The Double” by F. Dostoevsky, 1846; “The Diaboliad” by M. Bulgakov, 1924); For those who have an internal protest against their spouses, they coexist with painful efforts to raise themselves, to gain wealth, which ultimately leads them to lose their money (“Notes of the Divine” by N. Gogol, 1834; “The Double” by F. Dosto Evsky); what fear of the authorities leads to God's will or death (“The Weak Heart” by F. Dostoevsky, 1848, “The Death of an Official” by A. Chekhov, 1883); those who are afraid to give in to criticism, change their behavior and thoughts (“Chameleon” by A. Chekhov, 1884; “Merry Oysters” by A. Averchenko, 1910); how only a woman can achieve happiness in love before a wife (“An Old Man’s Sin” by A. Pisemsky, 1861; “Burn” by E. Popov, 1989; “Garnet Bracelet” by A. I. Kuprin, 1910); who want to change their life through the stagnation of magical powers (“Virni Liki” by E. Grebinki, 1840; “Little People” by F. Sologub, 1905); who, through life’s misfortunes, dare to lay hands on themselves (“The Elder’s Sin” by A. Pisemsky; “Reports about Sergius Petrovich” by L. Andreev, 1900).

  The problem of the little people is also evident in Andriy Platonov’s “Yushka”.

Bogachek A., Shiryaeva E.

Project "The image of the "little people" in the literature of the 19th-20th centuries."

Vantage:

Forward view:

MBOU "Orangereyninska Zosh"

Project on the topic: “The image of the “little people” in the literature of the 19th century - the beginning of the 20th century”

Vikonali students 10 "B" class

Bogachek Oleksandra

Shiryaeva Katerina

Teacher

Mikhailova O.Ye.

2011-2012 primary rіk.

Plan:

“Little People” is a literary hero of the era of realism.

“Little People” - a forelock among the people... becoming... a hero of Russian literature.

From Pushkin's Samson Virin to Gogol's Akaki Akakiyovich.

Znevaga to the “little people” in the works of A.P. Chekhov.

Talanovita and Samoviddan “little people” from the creativity of N.S. Leskova.

Visnovok.

Vikorystuvana literature.

Purpose : Show the diversity of statements about the “little people” of writers of the 19th – early 20th centuries

Zavdannya : 1) read the works of writers from the 19th century to the beginning of the 20th century;

3) create visnovki.

The significant “little people” are placed in the category of literary heroes of the era of realism, who are expected to occupy a low place in the social hierarchy: a noble official, a bourgeois, or perhaps a poor nobleman. The image of the “little people” became even more relevant as literature became more democratic. The very concept of “little people”, who was responsible for everything, was introduced by Belinsky (1840 article “Woe before Reason”). The theme of “little people” has been destroyed by many writers. It has always been relevant because its mission is to depict the life of ordinary people with all their experiences, problems, troubles and small joys. The writer takes on the hard task of showing and explaining the lives of cross-border people. “The little person is a representative of all the people. And the skin writer represents them in their own way.

The image of the little person has been known for a long time - for example, such mastodons as O.S. Pushkin and N.V. Gogol chi A.P. Chekhov and N.S. Leskov, - and inexhaustible.

N.V. Gogol was one of the first to speak openly and loudly about the tragedy of the “little people,” oppressed, humiliated and therefore pitiful.

It’s true that this palm belongs to Pushkin after all; yo Samson Virin from “The Station Observer” opens the gallery of “little people”. But the tragedy of Virin has been reduced to a special tragedy, and its reasons lie in the mutual family of the station observer - the father and the daughter - and the nature of morality, or rather immorality, lies on the side of Dunya, the observer’s daughter. It was a sense of life for my father, a “sleepy sleeper”, with such a self-sufficient, summer people it was warm and quiet.

Gogol, having lost the true traditions of critical realism, introduced his own Gogolian motives to a new level, showing the tragedy of the “little man” in Russia more broadly; the writer “having learned and shown the dangers of the degradation of marriage, in which case the cruelty and hatred of people towards each other increases more.”

And the pinnacle of this madness became Gogol’s Akakiy Akakiyovich Bashmachkin from the story “The Overcoat”, whose name became a symbol of the “little people”, which is rotten in this wonderful world of bureaucracy, nonsense and “blatantly ї"bydujosti.

In life, it is often noticed that cruel and heartless people, who belittle and portray the worthlessness of other people, often look pitiful and worthless, below their victims. The same admiration for spiritual meagerness and the tiredness of the false stories of the noble official Akaki Akakiyovich Bashmachkin is lost from us after reading Gogol’s story “The Overcoat”. Akakiy Akakiyovich - spravzhnya "little person." Why? First of all, you stand on one of the lowest gatherings of hierarchical gatherings. This time, the marriage began to burn uncontrollably. In other words, the world of spiritual life and human interests to the extreme of sounds, meetings, and interactions. Gogol himself characterized his hero as poor, cross-country, insignificant and worthless. In life, he has been given the useless role of copying documents of one of the departments. In the atmosphere of unprotected order and strict order of the authorities, Akaky Akakiyovich Bashmachkin did not sound the size of the place and the place of his work. Whenever he is exposed to the knowledge that requires him to show elementary intelligence, he begins to squirm, worry and decide to come to his senses: “No, better yet, let me rewrite it now.” The spiritual life of Bashmachkin is also limited. Collecting pennies for a new overcoat becomes for a new person the sense of his entire life, and finally, to the happiness of the victorious holy day. The theft of a new overcoat, attached to the path of such mistrust and suffering, becomes a disaster for everyone. Lots of people laughed at my misfortune, and no one helped me. “Significantly denouncing” shouted at him so much that poor Akaki Akakiyovich became unbearable. No one may even mark his death. Regardless of the uniqueness of the image created by the writer, Vin, Bashmachkin, does not seem to be self-contained among the readers, and we discover that there were no such humiliations that share the share of Akaki Akakiyov cha. Gogol was the first to speak about the tragedy of the “little people”, the idea behind which lay not in her spiritual sorrows, not in illuminating her mind, but in her development in marriage. The writer showed the injustice and despotic nature of marriage in relation to the “little people” and first called for the marriage to show respect for the insignificant, pitiful and funny, as it seemed at first glance, people. It’s not my fault that they are not even reasonable, and sometimes they are not reasonable at all. But they shouldn’t hurt anyone, but it’s even more important. So why laugh at them? Possibly, one cannot place oneself before them with great respect, unless one can depict them. The stench, as well as the decision, undermines the right to live every day, to be considered human beings with rights.

“The Little People” is steadily appearing on the pages of the works of A. A. Chekhov. This is the main hero of your creativity. Chekhov's approach to such people is especially clear in his satirical accounts. But the goal is clear. In the account of “The Death of an Official”, the “little person” Ivan Dmitrovich Chervyakov steadily and aggressively reprimands General Brizzhalov for those who violently cut him off when he sneezed. “I’ve shaved him off!” thought Chervyakov. “Not my boss, a stranger, but it’s still not easy. The key word in this Duma is “boss”. Chantingly, Chervyakov would not endlessly fight in front of the crossing people. Ivan Dmitrovich has a fear of his superiors, and this fear of crossing the forest prevents self-esteem. The people even go so far as to allow themselves to be trampled in the flesh; what’s more, they themselves help them to do so. We need to be kind to the general, there’s too much to do with our hero. Alas, a simple person would not have dared to call such a massacre. Therefore, Ivan Dmitrovich thinks that they ignored him and came back to check on him a few days later. Brizzhalova gets angry and decides to shout at Chervyakov. "-Pishov get away! - the blue-faced and aged general barked in a rapt."

- What, sir? - having nourished the whispers of the Worms, they were crying out of fear.

Pishov get away!! - the general repeated, blunting his feet.

The worm's stomach was vomiting. Not seeing anything, not smelling anything, he walked up to the door, went out into the street and settled down... Having mechanically arrived home, not taking off his uniform, he lay down on the sofa and... died. them. To further highlight the image of his hero, Chekhov used a “talking” nickname. Thus, Ivan Dmitrovich is small, pitiful, like a worm, who can be crushed without force, and most importantly, he is just as unacceptable.

In his book "The Purity of the Trooper" Chekhov presents us with a story in which a father and son humiliate themselves before their boss so that the son can get rid of his prison.

“The boss has found out and, perhaps, wants to give in. I don’t know what he said that’s funny, but I only remember that this guy punched me in the back and said:

Laugh!

... - So-so! - Whispered Tato. - Well done! We can marvel at you and laugh. This is good; Maybe I’ll actually give you the position of assistant writer!”

And once again we are humbled by our humbleness before those who are greater. And again there is self-abasement and flattery. People are ready to please the boss in order to achieve their worthless goal. It brings me to the thought that I can’t help but think about those things that come from simple human humanity, which cannot be spent every once in a while. A.P. Chekhov wants all people to be happy and free. “Everything about a person is miraculous: his appearance, his clothes, his soul, his thoughts.” So thinking Anton Pavlovich, seeing the primitive people in his confessions, he exclaimed to the point of completeness. Chekhov hated self-humiliation, eternal servility and worship before officials. Gorky said about Chekhov: “His enemy was vulgarity, and throughout his life he fought against it.” So, he fought against it with his creations, commanding us to “make a slave drop by drop.” It is possible that such a vile way of life for these “little people”, their low thoughts and worthless behavior, is not the result of their special character, but their social development and the order of their political structure. Even without becoming so diligent in trying to get Worms to change their minds and live in eternal fear of officials, as if they were not afraid of their inheritance. The characters in “Chameleon”, “Tovsta i Tonka”, “The People in the Case” and many others are tainted with the same unacceptable viciousness of character.

Anton Pavlovich respected that there is metaness in people, until the end of the war, and if there is none, or they are completely small and worthless, then people become just as small and worthless. A person can treat and love - these are two words that play a major role in the life of any person: small and not small.

Mikoli Semenovich Leskov’s “little person” is a completely different person from his predecessors. In order for anyone to grow up, we compare the heroes of three creative writers: Lefty, Ivan Sever'yanovich Flyagin and Katerina Izmailova. All three characters have strong personalities and are talented in their own way. All the energy of Katerina Izmailova is directed towards achieving special happiness no matter what the path is. Wherever one reaches his mark, evil will go away. And this is the type of character that Leskov suggests. She only sings when she appears to have been cruelly given to her khans.

Shulga is a talented person among the people, who swears about her father’s religion more than the king and the courtiers. If you want to destroy a vice that is so well known to the Russian people, it is the pleasure of that ungodly power to help its subjects. You could have done without this help, as if you were a strong person. Ale, a strong man cannot be a man like P'e. Therefore, for Leskov, this is not the hero who needs to gain superiority.

Among the heroes who fall into the category of “little people,” Leskov sees Ivan Sever’yanovich Flyagin. Leskov's hero is a hero in appearance and spirit. “There was a person of majestic stature, with a smoky face and thick, flailing hair of a leaden color: it was so wonderful to see him sitting... Whose new companion of ours, who had appeared a long time ago even as a great person, in appearance could have been dated with a small rokiv over fifty ; but the word bogatir has a lot of meaning, and so is the typical, simple-minded, kind Russian bogatir, as Illya Muromtsya’s grandfather guessed... And with all this kind simplicity, there was little need for diligence in order to develop richness in a new person bachila i , which is called, “busy.” Trimming boldly, self-indulgently, albeit without any unpleasant dissonance, and speaking in a pleasant bass voice from the voice. He is strong in spirit and allows I can overcome such complex life vicissitudes. I have been on the brink of death, having fought people, and fought myself in the meantime. And all of them have been perfected. The flask is invisible at first, and then more and more aware about the pride of the heroic servant of the Fatherland, this becomes the spiritual need of the hero. From whom do you learn the sense of life? The kindness inherent in Flagina, the desire to help the suffering, comes as a result of the realized need to love your neighbor as yourself. This is a simple person, with his own merits and shortcomings, who, through his actions and shortcomings, conquers and comes to the understanding of God. Leskov portrays his hero as a strong and kind person with a great heart and great soul. Flyagin doesn’t complain about his share, don’t cry. Leskov, describing Ivan Severyanovich, exudes pride in the reader for his people, for his country. Flagin does not humble himself before the powers that be, like Chekhov’s heroes, does not become drunk through his inability, like Dostoevsky’s Marmeladov, does not sink “to the bottom” of life, like Gorky’s characters, does not wish harm to anyone, does not want to humiliate anyone, does not wait assistance from others , do not sit with your hands clasped. This human being, who knows herself as a human being, a competent human being, is ready to stand up for her rights and the rights of other people, who does not lose any sense of self-righteousness and is convinced that a human being can do anything.

ІІІ.

The statement about the “little people” changed throughout the entire 19th century - the beginning of the 20th century. Kozhen the writer also takes a look at this hero in his own way.

You can find out more from the looks of different writers. For example, the writers of the first half of the 19th century (Pushkin, Lermontov, Gogol) are considered to be the “little people” in the past. Stand by Griboedov, who marvels at his hero in a different way, which brings his views closer to the views of Chekhov and Ostrovsky. Here the first plan comes to mind: vulgarity and self-deprecation. According to L. Tolstoy, N. Leskov, A. Kuprin, “little people” are tse talanovita, samoviddan lyudina. Such a spread of the views of writers lies in the peculiarities of their light view and thus the spread of human types, which gives us a sense of active life.

Vikorystuvana literature:

1. Gogol N.V. A collection of works in 4 volumes. Vidavnitstvo "Osvita", M. 1979

2. Pushkin A.S. “Povisti I.P. Belkina. Dubrovsky, Queen of Spades. Vidavnitstvo "Astrel, AST" 2004

3. Chekhov A.P. Rose. Vidavnitstvo "AST". 2010 r.

4. Leskov N.S. Do everything by Mikoli Leskova. 2011 r.

5. Gukovsky G.A. Realism of Gogol - M., 1959 r.