Can a Juda be called an eternal type? Composition: Saltykov-Shchedrin m

Apr 13 2015

The type of idle talk (Judushka Golovlev) is the artistic discovery of M. E. Saltykov-Shchedrin. Before that, in Russian, in Gogol, Dostoevsky, there were images that vaguely resemble Judas, but these are only light hints. Neither before nor after Saltykov-Shchedrin has anyone managed to portray a windbag with such force and accusatory clarity. Judas Golovlev is a one-of-a-kind type, an ingenious find of the author. Saltykov-Shchedrin, creating his own, set himself the task of showing the mechanism of the destruction of the family. The soul of this process was, without any doubt, Porfishka the bloodsucker.

It goes without saying that I paid special attention to the development of this particular one, interesting among other things, and the fact that it is constantly changing, right down to the last pages, and the reader can never be sure what exactly this image will turn out to be in the next chapter. We see the portrait of Judas “in dynamics”. Seeing for the first time an unsympathetic “outspoken child”, sucking up to the mother, eavesdropping, listening in, the reader can hardly imagine that disgusting, shuddering creature that commits suicide at the end of the book. The image changes beyond recognition. Only the name remains unchanged.

As Porfiry becomes a Judas from the first pages of the novel, so Judas dies. There is something surprisingly petty in this name, so faithfully expressing the inner essence of this character. One of the main features of Judas (not counting, of course, idle talk) is hypocrisy, a striking contradiction between well-meaning reasoning and dirty aspirations. All attempts by Porfiry Golovlev to snatch a bigger piece for himself, to keep an extra penny, all his murders (you can’t call his policy towards relatives in any other way), in a word, everything he does is accompanied by prayers and pious speeches. Remembering through every word of Christ, Judas sends his son Petenka to certain death, solicits his niece Anninka, sends his own newborn baby to an orphanage. But Judas harasses household members not only with such “godly” speeches.

He also has two favorite themes: family and household. On this, in fact, the scope of his outpourings is limited due to complete ignorance and unwillingness to see anything lying outside his little world. However, these everyday conversations, which mamma Arina Petrovna is not averse to telling, in the lips of Judas turn into endless moralizing. He simply tyrannizes the whole family, bringing everyone to complete exhaustion. Of course, all these flattering, sugary speeches do not deceive anyone.

Since childhood, the mother does not trust Porfishka: he is overplaying too much. Hypocrisy combined with ignorance cannot deceive. There are several powerful scenes in “Gentlemen Golovlevs” that make the reader almost physically feel the state of oppression from the enveloping speeches of Judas. For example, his conversation with his brother Paul, who was dying.

The unhappy dying man suffocates from the presence of Judas, and the latter, allegedly not noticing these rushes, "in a relative way" makes fun of his brother. The victims of Judas never feel so defenseless as in the moments when his idle talk is expressed in “harmless” banter that never ends. The same tension is felt in that part of the novel where Anninka, almost exhausted, is trying to escape from her uncle's house.

The further the story goes, the more people fall under the yoke of Judas tyranny. He harasses everyone who comes into his field of vision, while remaining invulnerable himself. Yet even his armor is cracked.

So, he is very afraid of the curse of Arina Petrovna. She saves this weapon of hers as a last resort against her blood-drinking son. Alas when she's copyright

What makes Judas Golovlev an “eternal type”? (based on the novel by M. E. Saltykov-Shchedrin "The Golovlevs".)

The type of idle talk (Judushka Golovlev) is the artistic discovery of M. E. Saltykov-Shchedrin. Prior to that, in Russian literature, in Gogol, Dostoevsky, there are images that vaguely resemble Judas, but these are only light hints. Neither before nor after Saltykov-Shchedrin has anyone managed to portray the image of a windbag with such accusatory clarity.

Seeing for the first time an unsympathetic "outspoken child", sucking up to the mother, eavesdropping, listening in, the reader can hardly imagine that disgusting, shuddering creature that commits suicide at the end of the book. The image changes beyond recognition. Only the name remains unchanged. As Porfiry becomes a Judas from the first pages of the novel, so Judas dies.

One of the main features of Judas (not counting, of course, idle talk) is hypocrisy, a striking contradiction between well-meaning reasoning and dirty aspirations. All Porfiry Golovlev's attempts to snatch a bigger piece for himself, to keep an extra penny, all his murders (you can call his policy towards relatives in any other way), in a word, everything he does is accompanied by prayers and pious speeches. Remembering through every word of Christ, Judas sends his son Petenka to certain death, harasses his niece Ashshnka, sends his own newborn baby to an orphanage.

But Judas harasses household members not only with such "godly" speeches. He also has two favorite themes: family and household. On this, in fact, the scope of his outpourings is limited due to complete ignorance and unwillingness to see anything lying outside his little world. However, these everyday conversations, which mamma Arina Petrovna is not averse to telling, in the lips of Judas turn into endless moralizing. He simply tyrannizes the whole family, bringing it to complete exhaustion. Of course, all these flattering sugary speeches do not deceive anyone. Since childhood, the mother does not trust Porfishka: he is overplaying too much. Hypocrisy combined with ignorance cannot deceive.

There are several powerful scenes in "Gentlemen Golovlevs" that make the reader almost physically feel the state of oppression from the enveloping speeches of Judas. For example, his conversation with his brother Paul, who was dying. The unhappy dying man suffocates from the presence of Judas, and he, allegedly not observing these throwings, "in a relative way" makes fun of his brother. The victims of Judas never feel so defenseless as in the moments when his idle talk is expressed in "harmless" banter, which has no end. The same tension is felt in that part of the novel where Anninka, almost exhausted, is trying to escape from her uncle's house.

The further the story goes, the more people fall under the yoke of Judas tyranny. He harasses everyone who comes into his field of vision, while remaining invulnerable himself. Yet even his armor is cracked. So, he is very afraid of the curse of Arina Petrovna. She saves this weapon of hers as a last resort against her blood-drinking son. Alas, when it really is. curses Porfiry, this does not produce the effect on him that he himself feared. Another weakness of Judas is the fear of the departure of Evprakseyushka, that is, the fear of violating the once and always established way of life. However, Evprakseyushka can only threaten to leave, while she herself remains in place. Gradually, this fear of the owner Golovlev is dulled.

The whole way of life of Judas is a transfusion from empty to empty. He considers non-existent incomes, imagines some incredible situations and himself solves them. Gradually, when there is no survivor around whom he could seize, Judas begins to harass those who appear in his imagination. He takes revenge on everyone indiscriminately, it is not known why: he reproaches the dead mother, finishes the peasants, robs the peasants. This is all happening with the same fake affection that is ingrained in the soul. But is it possible to say “soul” about the inner essence of Judas? Saltykov-Shchedrin does not speak about the essence of Porfishka the bloodsucker other than ashes.

Judas Golovlev is indeed an "eternal type". His name has already become a household name. Judas is the personification of a person who goes directly to self-destruction and does not realize this until the very last moment.

The type of idle talk (Judushka Golovlev) is the artistic discovery of M. E. Saltykov-Shchedrin. Prior to that, in Russian literature, in Gogol, Dostoevsky, there were images that vaguely resemble Judas, but these are only light hints. Neither before nor after Saltykov-Shchedrin, no one was able to portray the image of a windbag with such force and accusatory clarity. Judas Golovlev is a one-of-a-kind type, an ingenious find of the author.
Saltykov-Shchedrin, creating his novel, set himself the task of showing the mechanism of the destruction of the family. The soul of this process was, without any doubt, Porfishka the bloodsucker. It goes without saying that the author paid special attention to the development of this particular image, which, among other things, is interesting because it is constantly changing, right down to the last pages, and the reader can never be sure what exactly this image will turn out to be in the next chapter. We see the portrait of Judas “in dynamics”. Seeing for the first time an unsympathetic “outspoken child”, sucking up to the mother, eavesdropping, listening in, the reader can hardly imagine that disgusting, shuddering creature that commits suicide at the end of the book. The image changes beyond recognition. Only the name remains unchanged. As Porfiry becomes a Judas from the first pages of the novel, so Judas dies. There is something surprisingly petty in this name, so faithfully expressing the inner essence of this character.
One of the main features of Judas (not counting, of course, idle talk) is hypocrisy, a striking contradiction between well-meaning reasoning and dirty aspirations. All attempts by Porfiry Golovlev to snatch a bigger piece for himself, to keep an extra penny, all his murders (you can’t call his policy towards relatives in any other way), in a word, everything he does is accompanied by prayers and pious speeches. Remembering through every word of Christ, Judas sends his son Petenka to certain death, solicits his niece Anninka, sends his own newborn baby to an orphanage.
But Judas harasses household members not only with such “godly” speeches. He also has two favorite themes: family and household. On this, in fact, the scope of his outpourings is limited due to complete ignorance and unwillingness to see anything lying outside his little world. However, these everyday conversations, which mamma Arina Petrovna is not averse to telling, in the lips of Judas turn into endless moralizing. He simply tyrannizes the whole family, bringing everyone to complete exhaustion. Of course, all these flattering, sugary speeches do not deceive anyone. Since childhood, the mother does not trust Porfishka: he is overplaying too much. Hypocrisy combined with ignorance cannot deceive.
There are several powerful scenes in “Gentlemen Golovlevs” that make the reader almost physically feel the state of oppression from the enveloping speeches of Judas. For example, his conversation with his brother Paul, who was dying. The unhappy dying man suffocates from the presence of Judas, and the latter, allegedly not noticing these rushes, "in a relative way" makes fun of his brother. The victims of Judas never feel so defenseless as in the moments when his idle talk is expressed in “harmless” banter that never ends. The same tension is felt in that part of the novel where Anninka, almost exhausted, is trying to escape from her uncle's house.
The further the story goes, the more people fall under the yoke of Judas tyranny. He harasses everyone who comes into his field of vision, while remaining invulnerable himself. Yet even his armor is cracked. So, he is very afraid of the curse of Arina Petrovna. She saves this weapon of hers as a last resort against her blood-drinking son. Alas, when she really curses Porfiry, it does not have the effect on him that he himself feared. Another weakness of Judas is the fear of the departure of Evprakseyushka, that is, the fear of disrupting the once and for all established way of life. However, Evprakseyushka can only threaten to leave, while she herself remains in place. Gradually, this fear of the owner Golovlev is dulled.
The whole way of life of Judas is a transfusion from empty to empty. He considers non-existent incomes, imagines some incredible situations and himself solves them. Gradually, when there is no survivor around whom he could seize, Judas begins to harass those who appear in his imagination. He takes revenge on everyone indiscriminately, for no reason: reproaches the dead mother, fining the peasants, robbing the peasants. This happens all the same with a false affection that is ingrained in the soul. But is it possible to say “soul” about the inner essence of Judas? Saltykov-Shchedrin does not speak about the essence of Porfishka the bloodsucker other than ashes.
The end of Judas is rather unexpected. It would seem, how can a self-lover who walks over corpses, a hoarder, who has ruined the whole family for the sake of his profit, can commit suicide? And nevertheless, Judas, apparently, begins to realize his guilt. Saltykov-Shchedrin makes it clear that although the realization of emptiness and uselessness has come, resurrection, purification is no longer possible, as well as further existence.
Judas Golovlev is indeed an “eternal type” who has become firmly established in Russian literature. His name has already become a household name. You don't have to read the novel, but you know the name. It is used infrequently, but nevertheless it is occasionally heard in speech. Of course, Judas is a literary exaggeration, a collection of various vices for the edification of posterity. These vices are, first of all, hypocrisy, idle talk, worthlessness. Judas is the personification of a person who goes directly to self-destruction and does not realize this until the very last moment. No matter how exaggerated this character is, his flaws are human, not fictional. That is why the wind chime type is eternal.

The type of idle talk (Judushka Golovlev) is the artistic discovery of M. E. Saltykov-Shchedrin. Prior to that, in Russian literature, in Gogol, Dostoevsky, there were images that vaguely resemble Judas, but these are only light hints. Neither before nor after Saltykov-Shchedrin has anyone been able to paint the image of a windbag with such force and accusatory clarity. Judas Golovlev is a one-of-a-kind type, an ingenious find of the author.

Saltykov-Shchedrin, creating his novel, set himself the task of showing the mechanism of the destruction of the family. The soul of this process was, without any doubt, Porfishka the bloodsucker. It goes without saying that the author paid special attention to the development of exactly this image, which is interesting, among other things, because it is constantly changing, right down to the last pages, and the reader can never be sure what exactly this image will turn out to be in the next chapter. We see the portrait of Judas "in dynamics". Seeing for the first time an unsympathetic "outspoken child", sucking up to the mother, eavesdropping, listening in, the reader can hardly imagine that disgusting, shuddering creature that commits suicide at the end of the book. The image changes beyond recognition. Only the name remains unchanged. As Porfiry becomes a Judas from the first pages of the novel, so Judas dies. There is something surprisingly petty in this name, so faithfully expressing the inner essence of this character.
One of the primary features of Judas (not counting, of course, idle talk) is hypocrisy, a striking contradiction between well-intentioned reasoning and dirty aspirations. All attempts by Porfiry Golovlev to snatch a bigger piece for himself, to keep an extra penny, all his murders (you can’t call his policy towards relatives in any other way), in a word, everything he does is accompanied by prayers and pious speeches. Remembering through every word of Christ, Judas sends his son Petenka to certain death, harasses her niece Anninka, sends her own newborn baby to an educational home.

But Judas harasses household members not only with such "godly" speeches. He also has two favorite themes: family and household. On this, in fact, the scope of his outpourings is limited due to complete ignorance and unwillingness to see anything lying outside his little world. However, these everyday conversations, which mamma Arina Petrovna is not averse to telling, in the lips of Judas turn into endless moralizing. He simply tyrannizes the whole family, bringing everyone to complete exhaustion. Of course, all these flattering, sugary speeches do not deceive anyone. Since childhood, the mother does not believe Porfischka: he is overplaying too much. Hypocrisy combined with ignorance cannot deceive.

There are several powerful scenes in "Gentlemen Golovlev" that make the reader almost physically feel the state of oppression from the enveloping speeches of Judas. For example, his conversation with his brother Paul, who was dying. The unhappy dying man suffocates from the presence of Judas, and the latter, allegedly not noticing these rushes, makes fun of his brother "in a kindred" way. The victims of Judas never feel so defenseless as in the moments when his idle talk is expressed in "harmless" banter, which has no end. The same tension is felt in that part of the novel where Anninka, almost exhausted, tries to leave her uncle's house.

The further the story goes, the more people fall under the yoke of Judas tyranny. He harasses everyone who comes into his field of vision, while remaining invulnerable himself. And yet, more than that, there are cracks in his armor. So, he is very afraid of the curse of Arina Petrovna. She saves this weapon of hers as a last resort against her blood-drinking son. Alas, when she really curses Porfiry, it does not have the effect on him that he himself feared. Another weakness of Judas is the fear of the departure of Evprakseyushka, that is, the fear of disrupting the once and for all established way of life. However, Evprakseyushka can only threaten to leave, while she herself remains in place. Gradually, the very fear of the owner Golovlev is dulled.

The entire current way of Judas is a transfusion from empty to empty. He considers non-existent incomes, imagines some incredible situations and himself solves them. Gradually, when no one of the living remains near whom he could seize, Judas begins to harass those who appear in his imagination. He takes revenge on everyone indiscriminately, for no reason: reproaches the dead mother, fining the peasants, robbing the peasants. This happens all the same with a false affection that is ingrained in the soul. Only is it possible to express the "soul" about the inner essence of Judas? Saltykov-Shchedrin does not speak of the essence of Porfishka the bloodsucker in any other way than ashes.

The end of Judas is rather unexpected. It would seem, how can a self-lover who walks over corpses, a hoarder, who has ruined the whole family for the sake of his profit, can commit suicide? And nevertheless, Judas, apparently, begins to realize his guilt. Saltykov-Shchedrin makes it clear that although the realization of emptiness and uselessness has come, resurrection, purification is no longer possible, as well as further existence.

Judas Golovlev is actually an "eternal type" that has become a part of Russian literature. His name has already become a household name. You don't have to read the novel, but know the name. It is used infrequently, but still rarely heard in speech. Of course, Judas is a literary exaggeration, a collection of various vices for the edification of posterity. These vices are, first of all, hypocrisy, idle talk, worthlessness. Judas is the personification of a person who goes directly to self-destruction and does not realize this until the very last moment. No matter how exaggerated the character is, his flaws are human, not fictional. That is why the wind chime type is eternal.

The type of idle talk (Judushka Golovlev) is the artistic discovery of M. E. Saltykov-Shchedrin. Prior to that, in Russian literature, in Gogol, Dostoevsky, there were images that vaguely resemble Judas, but these are only light hints. Neither before nor after Saltykov-Shchedrin, no one was able to portray the image of a windbag with such force and accusatory clarity. Judas Golovlev is a one-of-a-kind type, an ingenious find of the author.
Saltykov-Shchedrin, creating his novel, set himself the task of showing the mechanism of the destruction of the family. The soul of this process was, without any doubt, Porfishka the bloodsucker. It goes without saying that the author paid special attention to the development of this particular image, which, among other things, is interesting because it is constantly changing, right down to the last pages, and the reader can never be sure what exactly this image will turn out to be in the next chapter. We see the portrait of Judas “in dynamics”. Seeing for the first time an unsympathetic “outspoken child”, sucking up to the mother, eavesdropping, listening in, the reader can hardly imagine that disgusting, shuddering creature that commits suicide at the end of the book. The image changes beyond recognition. Only the name remains unchanged. As Porfiry becomes a Judas from the first pages of the novel, so Judas dies. There is something surprisingly petty in this name, so faithfully expressing the inner essence of this character.
One of the main features of Judas (not counting, of course, idle talk) is hypocrisy, a striking contradiction between well-meaning reasoning and dirty aspirations. All attempts by Porfiry Golovlev to snatch a bigger piece for himself, to keep an extra penny, all his murders (you can’t call his policy towards relatives in any other way), in a word, everything he does is accompanied by prayers and pious speeches. Remembering through every word of Christ, Judas sends his son Petenka to certain death, solicits his niece Anninka, sends his own newborn baby to an orphanage.
But Judas harasses household members not only with such “godly” speeches. He also has two favorite themes: family and household. On this, in fact, the scope of his outpourings is limited due to complete ignorance and unwillingness to see anything lying outside his little world. However, these everyday conversations, which mamma Arina Petrovna is not averse to telling, in the lips of Judas turn into endless moralizing. He simply tyrannizes the whole family, bringing everyone to complete exhaustion. Of course, all these flattering, sugary speeches do not deceive anyone. Since childhood, the mother does not trust Porfishka: he is overplaying too much. Hypocrisy combined with ignorance cannot deceive.
There are several powerful scenes in “Gentlemen Golovlevs” that make the reader almost physically feel the state of oppression from the enveloping speeches of Judas. For example, his conversation with his brother Paul, who was dying. The unhappy dying man suffocates from the presence of Judas, and the latter, allegedly not noticing these rushes, "in a relative way" makes fun of his brother. The victims of Judas never feel so defenseless as in the moments when his idle talk is expressed in “harmless” banter that never ends. The same tension is felt in that part of the novel where Anninka, almost exhausted, is trying to escape from her uncle's house.
The further the story goes, the more people fall under the yoke of Judas tyranny. He harasses everyone who comes into his field of vision, while remaining invulnerable himself. Yet even his armor is cracked. So, he is very afraid of the curse of Arina Petrovna. She saves this weapon of hers as a last resort against her blood-drinking son. Alas, when she really curses Porfiry, it does not have the effect on him that he himself feared. Another weakness of Judas is the fear of the departure of Evprakseyushka, that is, the fear of disrupting the once and for all established way of life. However, Evprakseyushka can only threaten to leave, while she herself remains in place. Gradually, this fear of the owner Golovlev is dulled.
The whole way of life of Judas is a transfusion from empty to empty. He considers non-existent incomes, imagines some incredible situations and himself solves them. Gradually, when there is no survivor around whom he could seize, Judas begins to harass those who appear in his imagination. He takes revenge on everyone indiscriminately, for no reason: reproaches the dead mother, fining the peasants, robbing the peasants. This happens all the same with a false affection that is ingrained in the soul. But is it possible to say “soul” about the inner essence of Judas? Saltykov-Shchedrin does not speak about the essence of Porfishka the bloodsucker other than ashes.
The end of Judas is rather unexpected. It would seem, how can a self-lover who walks over corpses, a hoarder, who has ruined the whole family for the sake of his profit, can commit suicide? And nevertheless, Judas, apparently, begins to realize his guilt. Saltykov-Shchedrin makes it clear that although the realization of emptiness and uselessness has come, resurrection, purification is no longer possible, as well as further existence.
Judas Golovlev is indeed an “eternal type” who has become firmly established in Russian literature. His name has already become a household name. You don't have to read the novel, but you know the name. It is used infrequently, but nevertheless it is occasionally heard in speech. Of course, Judas is a literary exaggeration, a collection of various vices for the edification of posterity. These vices are, first of all, hypocrisy, idle talk, worthlessness. Judas is the personification of a person who goes directly to self-destruction and does not realize this until the very last moment. No matter how exaggerated this character is, his flaws are human, not fictional. That is why the wind chime type is eternal.