The image of a small man in the works of Russian literature. "Little Man" in Russian Literature

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Topic " little man" in literature XVIII-XIX centuries. Teacher - Komissarova E.V.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The writing

"Pain about a person" - that's, perhaps, main topic Russian literature of the 19th century. Compassion for tragic fate"little man" formed the basis of the work of all Russian writers. And the first in this series was, of course, A. S. Pushkin.

In 1830, Pushkin wrote five stories, united by a common title and a common narrator - Belkin's Tales. Of these, the most touching and at the same time the saddest is, it seems to me, the story "The Stationmaster". In it, the poet first brought to the pages of Russian literature the "little man" - Samson Vyrin. Pushkin very accurately described his social position - "a real martyr of the fourteenth grade."

The caretaker of a small postal station endured a lot in his miserable life, endured a lot. Almost every one of the passers-by, voluntarily or involuntarily, offended him, taking out on him, an unrequited official, annoyance at bad roads and the delay of horses. He had one consolation - his daughter Dunya, whom he loved more than life itself. But he lost her too: Dunya was taken with him to St. Petersburg by a passing officer Minsky. Vyrin tried to get the truth, but everywhere he was driven away. And the poor official could not bear the insult - he drank himself and soon died. Pushkin clearly showed Samson Vyrin with sympathy, a deeply unhappy man, with his little, but no less sorrowful drama.

“The Little Man” is dedicated to the story of N. V. Gogol “The Overcoat”, which V. G. Belinsky called the “deepest creation” of the writer. Main character story - Akaki Akakievich Bashmachkin, "the eternal titular adviser." All his life he "zealously and lovingly" copied papers in the department. This rewriting was not only his work, but also his vocation, one might even say, his life's mission. Bashmachkin, without straightening his back, worked all day in the service and took papers home, and rewrote some of the most interesting ones for himself - as a keepsake. His life was rich and interesting in its own way. But one thing upset Akaky Akakievich: the old overcoat, which had served him faithfully for more than a dozen years, eventually fell into such a “decline” that it could no longer be repaired by the most skilled tailor. The existence of Bashmachkin acquired a new content: he began to save money for sewing a new overcoat, and dreams of it warmed his soul for a long time. winter evenings. This overcoat, which became the subject of Bashmachkin's constant thoughts and conversations, acquired an almost mystical meaning for him. And when she was finally ready, Bashmachkin, rejuvenated, inspired, appeared in her service. It was the day of his triumph, his triumph, but it ended unexpectedly and tragically: at night the robbers took away his new overcoat. For the poor official it was a catastrophe, the collapse of his whole life. He turned to some "significant person" for help, begging to find and punish the robbers, but his request seemed too insignificant to the important general to pay attention to. And the loss became fatal for Bashmachkin: he soon fell ill and died. Gogol urged the reader to love the "little man" because he is "our brother", because he is also a man.

The theme of the “little man” was continued by F. M. Dostoevsky, who very accurately said about himself and his contemporaries: “We all came out of Gogol’s Overcoat.” Indeed, the protagonists of almost all of his works were "little people", "humiliated and offended". But, unlike Gogol's hero, Dostoevsky's heroes are able to openly protest. They do not accept the terrible reality; they are able to tell the bitter truth about themselves and about the society around them.

Their spiritual world is not as limited and miserable as that of Bashmachkin. They are sharper than he, feel the injustice and cruelty of the world of profit and money. So, the poor official Marmeladov, thrown to the very bottom of life, retained his soul, did not become a scoundrel and a scoundrel. He is much more human than the "masters of life" - Luzhin and Svidrigailov. Marmeladov's monologue in the tavern is not only regret about his ruined life, but also a bitter reproach to the whole society.

Sonya Marmeladova was forced to sell herself in order not to let her stepmother's little children, Katerina Ivanovna, die of hunger. She suffers for the pain of all people, all orphans and the poor. Sonya helps not only her family, she strives to help complete strangers. It was Sonya who became the moral and spiritual support for Raskolnikov: Sonya carried his “cross” with him - she followed him to hard labor. This is her strength and her greatness - the greatness of self-sacrifice in the name of people, which only an extraordinary person was capable of.

The works of Russian writers make us painfully think about the meaning human life about the purpose of man. Together with their heroes, we learn to respect human personality, sympathize with her pain and empathize with her spiritual quest.

Introduction………………………………………………………………………………………………….4

Main part…………………………………………………………………………………………4

Chapter 1

Chapter 2

Chapter 3 "Death of an Official" "The Man in the Case". "Celebration of the Winner"

"Chameleon". "Thick and Thin"…………………………………………………………………………6

Chapter 4 "Poor people". "Crime and Punishment". ……………………..7

Conclusion ……………………………………………………………………………………………….7

Conclusions………………………………………………………………………………………………….7

Used literature………………………………………………………………………....8

Applications ………………………………………………………………………………………………9

Hypothesis: Man - does that sound proud?

Target: To identify the features of the image of this type of heroes in literature and understand the reasons for the appearance of such people in society

Tasks: read the works of Russian literature of the 19th century: the story "The Overcoat", the story "The Stationmaster", "The Bronze Horseman", "The Captain's Daughter"; study critical literature on the story; look at the Internet resources on this issue.

Methodology:

1. At the stage of determining the needs of students, methods such as:

A) studying the questionnaire of students, which determines the level of their knowledge on the topic;

B) the use of an analytical table that reveals the degree of understanding of the essence of the proposed study.

This stage is extremely important, as it allows the teacher to adjust the work on the project, and for the students to evaluate their own abilities and correlate them with the tasks of the project.

2. During the work of students on the project, it is possible to use a wide variety of methods:

a) drawing up a map-plan of the upcoming work, which will allow students to feel

responsibility for their own learning, as well as - to introduce evaluation criteria for each stage of work;

b) "brainstorming" - in order to concentrate ideas about the upcoming work;

c) informal observations of the teacher, which will support the correction of the study and give grounds for objective assessment;

d) peer feedback that helps the student evaluate the quality of his work and relate it to needs general research in a group;

e) self-assessment and reflection, giving the student the opportunity to evaluate their own work and consider methods for improving it;

f) reports on the implementation of the key stages of the project, presented in the form of draft sketches, plans, schemes, informal questionnaires in which students express their thoughts about the progress of the study. These methods will allow the teacher and students to constantly evaluate the progress of work on the project, will contribute to the development of high-level thinking skills.

3. After the completion of the project, it is expected to evaluate the following final works of students:

a) reports - presentations on the study;

b) speeches at the final student conference;

in) creative works in the form of an essay and a wiki article;

d) staging fragments of Gogol's comedy "The Government Inspector"

e) portfolio of students with research materials.

When evaluating at each stage of the work on the project, the depth and completeness of the study, the use of various educational resources, creativity, the ability to connect the problem with other areas of science and see the prospect of its development will be taken into account.

What do I know: Spiritual world"little man" is scarce, uninteresting.

What else to find: to reveal the true face, the spiritual potential of the "little man" on the example of the image of Bashmachkin from Gogol's story "The Overcoat", Samson Vyrin from the story "The Stationmaster" and the heroes of other works.

Introduction

The definition of "little man" is applied to the category of literary heroes of the era of realism, usually occupying a rather low place in the social hierarchy: a petty official, a tradesman, or even a poor nobleman. The image of the "little man" turned out to be all the more relevant, the more democratic literature became. The very concept of "little man", most likely, was introduced by Belinsky (article of 1840 "Woe from Wit"). The theme of the "little man" is raised by many writers. It has always been relevant, because its task is to reflect the life of an ordinary person with all its experiences, problems, troubles and small joys. The writer takes on the hard work of showing and explaining the lives of ordinary people. "The little man is the representative of the whole people. And each writer represents him in his own way.

The project is dedicated to a "cross-cutting" theme in Russian literature - the evolution of the image of the "little man". This topic is quite capacious, it reflected many of the literary and social processes that took place in Russia throughout the 19th century. The works contain rich material for the disclosure of this topic, for the development of analytical abilities, thinking, general intelligence students. The project method will allow to consider this topic comprehensively, in integration with psychology, sociology, with the realities of the modern world.

Main part

Chapter 1. "Little Man" Akaki Akakievich Bashmachkin

It often happens in life that cruel and heartless people who humiliate and insult the dignity of other people often look more pitiful and insignificant than their victims. The same impression of spiritual miserliness and fragility from the offenders of the petty official Akaky Akakievich Bashmachkin remains with us after reading Gogol's story "The Overcoat". Akaky Akakievich is a real "little man". Why? First, he stands on one of the lowest rungs of the hierarchical ladder. His place in society is invisible at all. Secondly, the world of his spiritual life and human interests is narrowed to the extreme, impoverished, limited. Gogol himself characterized his hero as poor, ordinary, insignificant and inconspicuous. In life, he was assigned the insignificant role of a copyist of documents from one of the departments. Brought up in an atmosphere of unquestioning obedience and execution of orders from his superiors, Akaky Akakievich Bashmachkin was not used to reflecting on the content and meaning of his work. Therefore, when he is offered tasks that require the manifestation of elementary ingenuity, he begins to worry, worry, and eventually comes to the conclusion: "No, it's better to let me rewrite something." Bashmachkin's spiritual life is also limited. Collecting money for a new overcoat becomes for him the meaning of his whole life, filling it with the happiness of waiting for the fulfillment of his cherished desire. The theft of a new overcoat, acquired through such deprivation and suffering, becomes a disaster for him. Those around him laughed at his misfortune, and no one helped him. " significant person"shouted at him so much that poor Akaki Akakievich lost consciousness. Almost no one noticed his death. Despite the uniqueness of the image created by the writer, he, Bashmachkin, does not look lonely in the minds of readers, and we imagine that there were a great many of the same humiliated Gogol was the first to talk about the tragedy of the "little man", respect for whom did not depend on his spiritual qualities, not from education and mind, but from his position in society. The writer compassionately showed the injustice and arbitrariness of society in relation to the "little man" and for the first time called on this society to pay attention to inconspicuous, pitiful and ridiculous, as it seemed at first glance, people. It is not their fault that they are not very smart, and sometimes not smart at all, but they do no harm to anyone, and this is very important. So why laugh at them then? Maybe they should not be treated with great respect, but they should not be offended. They, like everyone else, have the right to decent life for the opportunity to feel like full-fledged people.

Chapter 2"The Stationmaster", "The Bronze Horseman", "The Captain's Daughter"

The greatest poet of the 19th century also did not leave the theme of the “little man” unnoticed, only he turned his gaze not to the image of a kneeling man, but to the fate of an unfortunate person, showing us his pure soul, unspoiled by wealth and prosperity, who knows how to rejoice, love, suffer. This is the story "The Stationmaster", which is part of the cycle "Belkin's Tales". Pushkin sympathizes with his hero. Initially, his life is not easy. "Who did not curse the stationmasters, who did not scold them? Who, in a moment of anger, did not demand from them a fatal book in order to write in it their useless complaint of oppression, rudeness and malfunction? Who does not consider them monsters of the human race, equal to the deceased let's be fair, let's try to understand their position, and maybe we'll judge them much more leniently. not always ... Peace, day or night. All the annoyance accumulated during a boring ride, the traveler vents on the caretaker. The weather is unbearable, the road is bad, the coachman is stubborn, the horses are not driven - and the caretaker is to blame. Entering his poor dwelling, the traveler looks at him as an enemy; well, if he soon manages to get rid of the uninvited guest; but if there are no horses? God! what curses, what threats will fall on his catch! In rain and sleet he is forced to run around the yards; in the storm, in the Epiphany frost, he goes into the canopy, just for a moment to rest from the screams and pushes of the irritated guest ... Let's delve into all this carefully, and instead of indignation, our heart will be filled with sincere compassion. "This is Pushkin's text, but behind it we hear the voices of Radishchev and Karamzin. But the hero of the story - Samson Vyrin - is quite happy and calm, he has long adapted to the conditions of service, the beautiful daughter Dunya helps him run a simple household. He dreams of simple human happiness, hoping to babysit his grandchildren, spend his old age with his family. But fate prepares for him a difficult test. The passing hussar Minsky takes away Dunya, without thinking about the consequences of his act. The unfortunate father hopes to return his daughter, but how can he compete with a rich hussar! After failed attempt return the daughter when the hussar " strong hand, grabbing the old man by the collar, pushed him onto the stairs ", Vyrin was no longer able to fight. He" thought, waved his hand and decided to retreat. "Samson died in anguish for his daughter, grieving about her possible deplorable fate. horseman" looks like Samson Vyrin.

…Our hero
Lives in Kolomna, serves somewhere,
The nobles shy away…

He does not make great plans for the future, he is satisfied with a quiet, inconspicuous life.

What was he thinking about? About,
That he was poor, that he labored
He had to deliver
And independence, and honor;
What could God add to him
Mind and money.

He also hopes for his personal, albeit small, but family happiness that he needs so much.

Marry? To me? Why not?
It's hard, of course.
But well, I'm young and healthy
Ready to work day and night;
Somehow I'll arrange myself
Shelter humble and simple
And I will calm Parasha in it.
It will pass, perhaps, a goy-another -
I'll get a place, Parashe
I will entrust our family
And raising kids.
And we will live, and so on to the grave
Hand in hand we will both reach,
And our grandchildren will bury us.

But all his dreams are in vain, because bad rock breaks into his life: the element destroys his beloved. Eugene cannot resist fate, he quietly worries about his loss. And only in a state of madness does he threaten the Bronze Horseman, considering the man who built the city on this dead place to be the culprit of his misfortune. Pushkin looks at his heroes from the side. They do not stand out either in intelligence or in their position in society, but they are kind and decent people, and therefore worthy of respect and sympathy. In the novel The Captain's Daughter, Pyotr Andreevich Grinev and Captain Mironov are included in the category of "little people". They are distinguished by the same qualities: kindness, justice, decency, the ability to love and respect people. But they have another very good quality- to remain faithful to this word. Pushkin took out the saying in the epigraph: "Take care of honor from a young age." They saved their honor. And just as dear as the heroes of his previously named works.

Chapter 3. "Death of an Official" "The Man in the Case". "Celebration of the Winner" "Chameleon". "Thick and thin".

"Little Man" is constantly found on the pages of works. This is the main character of his work. Chekhov's attitude towards such people is especially vividly manifested in his satirical stories. And the relationship is clear. In the story "The Death of an Official", the "little man" Ivan Dmitrievich Chervyakov constantly and obsessively apologizes to General Brizzhalov for accidentally splashing him when he sneezed. "I sprayed him!" Thought Chervyakov. "Not my boss, someone else's, but still awkward. I must apologize." Keyword in this thought - "boss". Probably, Chervyakov would not endlessly apologize to an ordinary person. Ivan Dmitrievich has a fear of the authorities, and this fear turns into flattery and deprives him of self-respect. A person already reaches the point where he allows himself to be trampled into the dirt, moreover, he himself helps to do this. We must pay tribute to the general, he treats our hero very politely. But the common man is not accustomed to such treatment. thinks that he was ignored and comes to ask for forgiveness for several days in a row. Brizzhalov gets fed up with this and finally yells at Chervyakov. "-Get out !! - the general, who suddenly turned blue and trembling, barked."
"What, sir?" Chervyakov asked in a whisper, trembling with horror.
-Go away!! repeated the general, stamping his feet.
Something broke in Chervyakov's stomach. Seeing nothing, hearing nothing, he backed away to the door, went out into the street and trudged along ... Arriving home mechanically, without taking off his uniform, he lay down on the sofa and ... died. This is what the fear of the highest ranks brings, eternal admiration and humiliation before them. For a more complete disclosure of the image of his hero, Chekhov used a "speaking" surname. Yes, Ivan Dmitrievich is small, pitiful, like a worm, you can crush him without effort, and most importantly, he is just as unpleasant.

In the story "The Triumph of the Victor" Chekhov presents us with a story in which father and son humiliate themselves before the boss so that the son can get a position.
“The boss was talking and, apparently, wanted to seem witty. I don’t know if he said anything funny, but I only remember that dad every minute pushed me in the side and said:
- Laugh! ...
... - So, so! - Dad whispered. - Well done! He looks at you and laughs... It's good; maybe he'll actually give you a job as an assistant clerk!"
And again we are faced with admiration for superiors. Again, this is self-deprecation and flattery. People are ready to please the boss in order to achieve their insignificant goal. It doesn’t even occur to them to remember that there is a simple human dignity which should never be lost. I wanted all people to be beautiful and free. "Everything in a person should be beautiful: the face, and clothes, and the soul, and thoughts." So Anton Pavlovich thought, therefore, ridiculing a primitive person in his stories, he called for self-improvement. Chekhov hated self-humiliation, eternal subservience and admiration for officials. Gorky said of Chekhov: "Vulgarity was his enemy, and he fought against it all his life." Yes, he fought against it with his works, he bequeathed to us "drop by drop to squeeze a slave out of ourselves." Perhaps such a vile way of life of his "little people", their low thoughts and unworthy behavior is the result not only of personal traits of character, but also of their social position and the order of the existing political system. After all, Chervyakov would not have apologized so diligently and lived in eternal fear of officials if he had not been afraid of the consequences. The characters of the stories "Chameleon", "Thick and Thin", "The Man in the Case" and many others have the same unpleasant qualities of character. Anton Pavlovich believed that a person should have a goal to which he will strive, and if it is not there or it is very small and insignificant, then the person becomes just as small and insignificant. A man must work and love - these are the two things that play leading role in the life of any person: small and not small.

Chapter 4 "Poor people". "Crime and Punishment".

If Chekhov's characters are humiliated, do not realize their insignificance, then Dostoevsky's "little man" fully understands his uselessness, uselessness.

In the novel "Poor People" it is about "little people". Makar Devushkin and Varvara Alekseevna also belong to the lower stratum of society. They want to live well, work, hope for their happiness. Makar Devushkin loves Varenka very much, he is like a father to her: he buys her what she dreams of, although she does not ask him about it, and he himself remains virtually without food, becomes a debtor to the mistress of the house in which he lives. Varenka, having learned about the misfortune of Makar Devushkin, tries to help him: she sends him money so that he can pay off the hostess and buy something for himself. It should be noted that she gives far from extra money earned by her painstaking work. Pity and kindness are characteristic of this tender girl and her friend Makar Devushkin, who once saved her from an evil relative. Mutual assistance is very important here, because only these people can hope for it. The author wanted to point out the problems of the disadvantaged with his works. They are forced to live in gloomy, dirty, vile and smelly areas of the city. Why do so many of them deserve it? How did Sonya Marmeladova deserve this? How did Makar Devushkin and Varvara Alekseevna deserve this? This is what Dostoevsky draws attention to. His "little man" knows how to reason. He is not only "humiliated and insulted", understanding his insignificance, he is also a philosopher, posing questions of the greatest importance to society.

Conclusion

The idea of ​​a "little man" changed throughout the 19th and early 20th centuries. Each writer also had his own personal views on this hero. But already from the second third of the 20th century, this image disappears from the pages of literary works, since the method of socialist realism does not presuppose such a hero. In the process of studying the subject, we came to the conclusion that it is impossible to identify any system for changing the views of writers on these heroes. But you can find common ground in the views of different writers. For example, writers of the first half of the 19th century (Pushkin, Lermontov, Gogol) treat the "little man" with sympathy. Standing apart is Griboyedov, who looks at this hero in a different way, which brings his views closer to those of Chekhov and partly Ostrovsky. Here the concept of vulgarity and self-humiliation comes to the fore. In the view of L. Tolstoy, N. Leskov, A. Kuprin, a "little man" is a talented, selfless person. Such a variety of views of writers depends on the peculiarities of their worldview and on the diversity human types that surrounds us in real life

conclusions

As a result of the work, we came to the conclusion that a person is not just a physiological and social being living among other people, but also a person endowed with his own wealth. inner world, feelings, thoughts, rights. Gogol was the first to talk about the tragedy of the "little man", respect for which depended not on his spiritual qualities, not on education and intelligence, but on his position in society. The writer compassionately showed the injustice and despotism of society in relation to the "little man" and for the first time called on this society to pay attention to invisible, pitiful and ridiculous, as it seemed at first glance, people. It is not their fault that they are not very smart, and sometimes not smart at all, but they do no harm to anyone, and this is very important. So why laugh at them then? Maybe they should not be treated with great respect, but they should not be offended. They, like everyone else, have the right to a decent life, to the opportunity to feel like full-fledged people.

References.

Textbooks, teaching aids, anthologies, laboratory manuals, reference material, etc.

Printed materials Dictionaries, manuals, reference materials, etc.

1. Voropaev Vasilyevich Gogol. Russian writers. 19th century. - M., 2000.

2. "Overcoat"

3. "Crime and Punishment"

4. "Inspector"

5. Esin and methods of analysis of a literary work. - M., 2000.

6. Lotman space in Gogol's prose. - M., 1978.

7. Mann Gogol. - M., 1978.

8. Gogol's machine world. - M., 1983.

The theme of depicting the "little man" is not new in Russian literature. At one time, the problem of man was given great attention by N. V. Gogol, F. M. Dostoevsky, A. P. Chekhov and others. The first writer who opened the world of “little people” to us was N.M. Karamzin. The greatest influence on subsequent literature was his story "Poor Liza". The author laid the foundation for a huge cycle of works about “little people”, took the first step into this hitherto unknown topic. It was he who opened the way for such writers of the future as Gogol, Dostoevsky and others.

A.S. Pushkin was the next writer whose sphere of creative attention began to include all of vast Russia, its expanses, the life of villages, Petersburg and Moscow opened not only from a luxurious entrance, but also through the narrow doors of poor people's houses. For the first time, Russian literature so poignantly and clearly showed the distortion of the individual by a hostile environment. Samson Vyrin ("The Stationmaster") and Evgeny ("The Bronze Horseman") represent the petty bureaucracy of that time. But A. S. Pushkin points us to the “little man”, whom we must notice.

Even deeper than Pushkin, this topic was revealed by Lermontov. Naive charm folk character recreated by the poet in the image of Maxim Maksimych. The heroes of Lermontov, his “little people”, are different from all the previous ones. These are no longer passive people, like in Pushkin, and not illusory, like in Karamzin, these are people in whose souls the ground is already ready for a cry of protest against the world in which they live.

N.V. Gogol purposefully defended the right to portray the "little man" as an object of literary research. According to N.V. Gogol, a person is completely limited by his social status. Akaky Akakievich gives the impression of a man who is not only downtrodden and pitiful, but also not at all close-minded. He certainly has feelings, but they are small and come down to the joy of owning an overcoat. And only one feeling in him is huge - it is fear. According to Gogol, the social structure is to blame for this, and his “little man” dies not from humiliation and insult, but more from fear.

For F. M. Dostoevsky, the “little man” is, first of all, a personality that is certainly deeper than Samson Vyrin or Akaky Akakievich. F. M. Dostoevsky calls his novel "Poor people" that way. The author invites us to feel, experience everything together with the hero and leads us to the idea that "little people" are not only personalities in the full sense of the word, but their personal feeling, their ambition is much greater even than that of people with a position in society. "Little people" are the most vulnerable, and they are afraid that everyone else will not see their spiritually rich nature. Makar Devushkin considers his help to Varenka a kind of charity, thus showing that he is not a limited poor man, thinking only about collecting and keeping money. Of course, he does not suspect that this help is driven not by a desire to stand out, but by love. But this once again proves to us main idea Dostoevsky - the "little man" is capable of high deep feelings. We find a continuation of the theme of the “little man” by F. M. Dostoevsky in the first big problematic novel “Crime and Punishment”. The most important and new, in comparison with other writers who have covered this topic, is Dostoevsky's downtrodden man's ability to look into himself, the ability of introspection and appropriate actions. The writer subordinates the characters to a detailed introspection, no other writer in essays, stories, sympathetically depicting the life and customs of the urban poor, had such a leisurely and concentrated psychological penetration and depth of depiction of the character of the characters.

The theme of the “little man” is especially clearly revealed in the work of A.P. Chekhov. Exploring the psychology of his heroes, Chekhov discovers a new psychological type- a serf by nature, a creature according to the soul and spiritual needs of a reptile. Such, for example, is Chervyakov, who finds true pleasure in humiliation. The reasons for the humiliation of the "little man", according to Chekhov, are himself.

Anikin A. A. The definition of “little man” is a true long-liver in school and university literary criticism. Deprived of scientific dryness, it is also convenient for exam topics. Therefore, it is natural that a certain semantic and emotional stereotype has developed that accompanies this expression. Even themselves literary heroes frankly, they recommend themselves this way: “I, sir, am a little man” (Kuligin from A.N. Ostrovsky’s play “Thunderstorm”), with the natural addition: “You can offend me!”. That, it would seem, is the whole simple meaning of this name. But this is clearly crafty simplicity, which, due to its many years, and even centuries of existence, turns out to be completely unproductive both for literary analysis and for a living, sensible work. This apparent rusticity is aggravated by the fact that the image of the “little man”, out of compassion or something, is usually rejuvenated: it’s good when his pedigree is from “ Poor Lisa» N.M. Karamzin, otherwise they will throw back another half century and give N.V. Gogol with the story "The Overcoat". If we take an unbiased look, not through the prevailing dogmas, we will see a different picture. First, not every depicted poor person will fit this theme. The same Kuligin is filled with such pretentious pathos that the definition of "little man" is more like a mask than authenticity. He wants to “rule the thunders with his mind”, he will reject all natural laws and invent “perpeta mobile”, the notorious perpetual motion machine, a symbol of human pride; he sees himself as a rich man, the owner of a million, a judge and benefactor of the people, almost a herald of God (in the final remark, “she is now in front of a judge who is more merciful than you”), and it is hardly possible to “offend” him: they are too intrusive and defiant to him demands to “finance” him, Kuligin’s inventive whims… Secondly, from Kuligin’s short assessment it is clear that the content of the image with the emblem of the “little man” is far from monotonous, rather paradoxical, and this is what makes this topic interesting and alive, despite known costs of any stable expression. In short, the prevailing pattern is that the "little man" is regarded as a victim of certain social relations: if he is good (let's say, like Samson Vyrin), then society unfairly keeps him in the fourteenth, last class; if he is bad, like a ninth-grade official Akaki Bashmachkin, then society is to blame for his shortcomings (remember that N.G. Chernyshevsky called Akaki Akakievich nothing more than an “idiot”: “a complete ignoramus and a complete idiot, incapable of anything” , 5, 323). To reveal a topic in such a spirit is not only vulgar or uninteresting, but the main thing is not to understand the text, but to adjust it to an ideological scheme that remains tenacious, despite the apparent change in social ideologies. So, in the future we will turn to the same images of Pushkin and Gogol, but we emphasize that to build social protection their heroes are not included in author's position, and this, however, by no means crosses out the motive of compassion: the authors see their heroes not in socio-political coordinates, but rather put them before God, before eternity, before the essence of human existence (bright symbolic episodes: the parable of prodigal son, choice of name, death and transformation, etc.).