Story shaggy skin. "Shagreen leather" - a unique masterpiece of genius

X and r and k t e r i t i k a and u d u sh to and g about l about in l e in a.

The generic "nest" of the gorges was like a prototype of serfdom in miniature on the eve of the abolition of serfdom in 1861. In the novel, M.E. Saltykova-Shchedrin "Lord Golovy" we face the disadvantaged fate of the main characters, tragically by the lives of the children of the heirs of Arina Petrovna - the Grozny and power hostess of Golovyev's estate. The passion for the accumulation and compassion took over the top of the true maternal feelings in it, so she spent all her strength to acquire, not engaged in the upbringing of children, but held them so that they ask themselves with each act: "Something tells about it Mama? " The words "Balbes", "Monster", "Merzavets", "Scounds", "Round" were in this family ordinary. Physical punishment here was also the norm. And all this was done as if for the sake of family well-being, for the same children, whom Arina Petrovna was gone to his upbringing. The result of such activities is to encourage hypocrisy and headquarters for the sake of the "best piece on the dish", the separation of children on "pets" and "caught" is a situation that formed "monsters".

The most terrible of them is Porfiry Vladimirovich Zholev. His protrases served the salty brothers of the Saltykov-Shchedrin. By the way, the author in his novel partially describes the atmosphere of the father's house in which he grew up, and the prototypes of many heroes of the "Lord Golovna" are also his close relatives.

The author describes Porphyria famous in the family "Under the three names: Jews, bloodworms and a frank boy ... He loved with his infant year to stick to a nice friend Mama, stealing to kiss her shoulder, and sometimes inappropriate." He cried in front of his mother on personal benefit, and in his unconditional obedience was so insincere that it was alarmed even Arina Petrovna.

Brothers Stepan and Paul give Porphyria very much nicknames: "Judushka", "blood pressure". The diminutive form on behalf of the Biblical Hero Judas represents us Porphyry Vladimirovich with a nasty, a picer traitor, a headset that can "sell" anyone for the sake of encouragement for his own benefit. The nickname "blood flow" reminds us of a spider sucking their sacrifice. Judyshka - wip, but he "called, boring, tyrann" his speeches around him, film from his words a kind of web around a person, as if she threw a loop in this way and stifled. By definition of Saltykov-Shchedrin, Jewish did not simply spoke, but exiled "masses of verbal pus."

By mid-year years in Judushka, all the qualities that most encouraged Arina Petrovna in their children, terrible and disgusting for any normal person are developing, terrible and disgusting for any normal person: pre-consistency, hypocrisy, immense comprehension. With age, these qualities were further exacerbated, dusting into cruelty and ruthlessness. So the Jewish on the "Family Council" persuades the mother and brother Paul to leave the steamed Steppe-Balbes in the greenery, perfectly realizing that he was doing it to death, since Stepan is unable to bring the suffocating, the oppressive atmosphere of the native home. Later, after the death of the Father, Porfiry receives the best part of the inheritance - the land of Golovleva and begins to conduct a fearful struggle. As a result, he mastered the estate of Brother Paul and filmed the capital of the "cute friend Mama" to the hands, turning it into the barbank in his home.

No better, Jewish refers to her sons. He threw them into a life like puppies in the water, and left to "swim", without worrying about their future fate. Because of this relationship, Vladimir, who was married without his father accord, committed suicide. Dies in Siberia Peter, not receiving assistance from the father to pay for card debt, for which even his native mother curses Porphyria. His youngest son, born from the maid, he sends to the Moscow Educational House, to which the child was most likely, and did not reach.

The niece of Anninka, applied for help in a difficult minute of life, does not receive due support and starts drinking together with Judish. For drinking, Anninka constantly reminds Judushka, how many of his relatives he brought into the grave (Brother Stepan, Brother Paul, mother, sons of Volodya and Peter). Judish finally understands that "he aged, wild, one foot in the grave stands, and there is no creature that would approach him, would regret it. Why is he alone? .. Why is everything that did not touch him, "everything died?" His "conscience woke up, but fruitlessly. Jewish is angry and drinks even more. Once he suddenly appeals to the niece with the words of participation, she rushes to him, and sincerely embraces him. Judushka asks him to forgive him - "And for myself ... and for those whom I don't ..." At night, Judushka goes to the grave of the mother "to say goodbye", as it feels that his days are considered. The other day the road was found to be a crown corpse.

In an effort to understand and display the features of Russian life in their works, Saltykov-Shchedrin takes one of the most characteristic reservoirs - the life of provincial landowners - nobles. The accusatory pathos of the work applies to the whole estate - it's not by chance in the final, everything as it would be "returning to the circles" - a distant relative of Jews arrives in the estate, which has already long followed what is happening in the grocery. Thus, the repentance of Jews and his visit to the Mother's grave do not lead to anything. Neither moral, nor any other cleansing occurs, no repentance at the power to redeem the atrocities that the Judah was committed in life.

The Grand Artist is Saltykov-Shchedrin in creating a figurative system of the novel. Members of the Goli Family, this ugly product of the fortress era - but the words are crazy in the full sense, but damaged by the aggregate effect of physiological and public obscures. The inner life of these unfortunate, overpire people is depicted with such relief, which our, and Western European literature is reached.

Saltykov-Shchedrin, calling his novel "Lord Golovy", and not the "family of greenery" deliberately emphasizes the significance of events that occur not in the same noble family, but within the entire dominant estate.

Gingerbread - "Small Noble Supka", "scattered in the face of Russian land." They initially covered the idea of \u200b\u200bacquiring, material well-being and family prosperity. Property for them is the cornerstone of the universe. Property - Even the subject of self-sacrification: "... They gathered, the peasant's television truck, the kibitchonku is somehow on her, a couple of horses will fight - I will go ... on the cab driver, there was a sorry for the cabin, - on his own Two from Rogozh to Solyanka PRU! "

The savings combines the warring force in the family. Even the rejected Stepka Balbes takes part in it, although it knows that he does not fall anything.

Monetary relations are the only real thread that connects fathers and children. "Judyshka knew that there is a person who followed the documents of His Son to which he was obliged to send agreed into a well-known date ... a salary and from which, in return, he has the right to demand respect and obedience."

Only twice in the novel manifests true human relations. In the first case - between others, in the second - between the wild relative relatives. A good attitude towards the steamed Balbes of the serf "Cultural Tractor Ivan Mihayleycha", which disinterestedly, from compassion leads home the beggar Steppe. After that, the mental proximity between people arises when Porphyry Vladimirch regrets Syrota Anninke.

In general, the measure of human values \u200b\u200bin the novel is his ability to provide "its family not only" necessary, but also excess. " Otherwise, a person is "extra mouth."

The head of the family, Vladimir Mikhailovich puzzles, at the beginning of the novel looks almost decent: "The nobleman on origin, belonged to the old genus of the puzzles", "the life of the idle and idleness", like many of the nobles, "was engaged in the composition of the so-called" free verses ", What was common among people of their circle. He married he "for that<...>To have a listener for his poems under the hand, "on the young person merchant origin Arina Petrovna. Such marriage in the noble environment was often somewhat. However, the romantic relationship, the honeymoon, generin does not narrow, but, explaining the picture of the approved relationships of the spouses, reports some details from their family everybody after some familiarize.

The young wife "did not immediately floathe the poems of her husband, called them poker and sketching." In this soil there was a breakdown, which soon ended "from his wife with a full and contemptuous attitude towards her husband-jester; From the side of her husband - sincere hatred of his wife, in which, however, it was a significant proportion of cowardice. "

After some time, the relationship was determined finally: "The husband called the wife of" Withemot "and" Scratch, "his wife called her husband -" windmill "and" tangle balalaica ".

However, summarizing these unnatural relations of her husband and wife, the writer still notes that "while in such relations, they used together life in continuation of forty years, and never before, nor the other occurred to make such a life There is an unnatural in yourself. "

The contemptant attitude of the spouses to each other, the author notes, did not cause protest from any side, not on the other, as they testify the presence of four children.

Having devoted us to the married relations of the couples of puzzling at a later stage of their marital life, Saltykov-Shchedrin again does not show the onset of equilibrium and wisdom, but, on the contrary, it suggests further aggravation of family disguise. The head of the family, Vladimir Mikhailovich, continued to manifest himself a man "disabled", "frivolous and drunk", leading "idle and idle life", which closed in his office, where he made up the bird's singing and was engaged in writing, at all showing any interest in his family. However, Arina Petrovna by the 60s "was" so "that no one in the family" did not bother to contradict ", calling himself" neither a widow, nor man's wife, "although the word" family "did not" go with her mouth. "

In the family of gorges there are no moral principles. According to Kritika A.A.Zhuk, "The Spiritual Beginning" of each of its members is "corrupt and distorted", and if it takes attempts to break through, "in the tendency to flights of insane fantasies" or in the desire to "Country and Fragrance ", Or" In the need for communication (at least to eat and play cards) "Zhuk A.A. Afterwording to the novel of the Lord Golovyev. M., 1986. C.280 ..

"Porfishka-Scounded" very thin felt a weak place of mother - her love for himself, and, constantly affecting him, not only reached his own benefit, but also contributed to the further plant of the soul of Arina Petrovna.

In the "noble nest" of the gorgeous, the substitution of the concepts of true relationships false occurs. Lack of spiritual principle from Vladimir Mikhailovich and Arina Petrovna, her passion for property entails the degradation of the entire offspring of the greenery.

Drawing the image of a mother, wife, hostess of the village of Golovyev, Shchedrin shows Arina Petrovna a victim of objective relationship, gives her image to tragic content. "She," Pokusayev believes, is being deceived that the acquirement for her is not an end in itself, but only a heavy cross "Pokusayev E.I. "Lord Golovy" M.E. Saltykov-Shchedrin. P.65 ..

Saltykov-Shchedrin, characterizing Arina Petrovna from the point of view of motherhood, writes: "... In her eyes, the children were one of those fatalistic living conditions, against whom she did not consider themselves in the right to protest, but who nevertheless did not affect One string of its inner creature ... " The lack of maternal gentle feelings from Arina Petrovna, a loyal attitude towards children marked at the Golovskie heirs, some kind of inflammation in their spiritual development. It is this anti-elected process of Shchedrin that considers one of the main reasons for the appearance of degraded personalities and the collapse of family relations.

Arina Petrovna, satiric notes, were their techniques and methods of education of children, developed by her Samo: the children were divided into "pets" and "caught". She herself shared children by category: "She did not even even love to talk about her son and about her daughter; To the younger son was more or less indifferent and only medium, Porfish, not that he loved, but as if she was afraid. " Nevertheless, Porfiry was a pet. But, speaking about Arina Petrovna, as a mother, the writer, as if Casual, clarifies: "She had too independent<...> Hosting Natura so that she could see something in children, except for an extra burden.<...> She only breathed freely when there was one with his accounts and business enterprises. " The maternal feelings of Arina Petrovna were ousted by the desire to accumulate capital, and this, as Shchedrin shows, did not grieve Vladimir Mikhailovich.

The eldest son, Stepan Vladimirovich, "early got into the number of" Caught "for the mother, but he walked his father from his father, to which he came at the moments of the departure of the mother and read poems with his father, and also" got a witch "- the father did not constrain himself in The presence of the Son in a cheating attitude to his wife and mother of the Son, what Stepan supported him. The writer, drawing a personal relationship with the married couple, writes that Arina Petrovna in such cases "the lessons guess their classes; Slissedly approached the porch and<...> Listened to fun speeches. Then he followed the immediate and cruel beating of the rainfall.

"- You need to kill you! -<...> He told him Arina Petrovna, - kill - and I will not answer! And the king will not punish me for it. "

Saltykov-Shchedrin never started talking about the spiritual experiences of Arina Petrovna about children. He seemed to see some expediency, replacing the word "soul" by the word "heart", when he speaks about Arina Petrovna, and most often when it comes to the acts of Petrel Pet.

He notices with eagerness: Despite the fact that the mother of the mother anticipated the wrong, he suspected insincerity in the pet, but still "... no matter how much confidence talked in her that Porfishka - a scoundrel only with the tail of Lebyes, and the eyes still loop It throws, but in view of such defensiveness and her heart could not stand. And she involuntarily squeaks her better piece on a dish, "to transfer it to her gentle son, despite the fact that one kind of this son raised a vague anxiety:" ... I'll look, looking, I happened, Arina Petrovna, and it will scatter her Maternal heart … ».

Distorted ideas about the good and evil dismissed the mother's soul - the keeper of the family homely focus, and marked the fact that the happiness and pride of Arina Petrovna began to be not the successes and joy of children, but the determined state collected by it for forty years. And the more intensely grew the condition that she after death would like "to pick up, but it's impossible," the predominance and tougher it became tougher, the more continued it from children, from her god of this purpose a woman and wife. Practices, the oblivion of spiritual values, communications and relations based on utilitarian material interest, become the basic laws of the existence of a gorgeous family, in which Arina Petrovna performs a primary role.

Arina Petrovna itself displaced the most valuable thing, which was considered those in people of all times and peoples - maternal feelings. "In a puzzling house, only one belongs to the privilege of acting," she deprived of all other family members of the family. All children are passive and apathetic, they were not laid since childhood aspirations for creative activities, since it was the "prerogative of Mama" Turkov A.M. M.E. Saltykov-Shchedrin. M., 1965. P. 222. The activities of Arina Petrovna was determined by one-sided orientation, in which she "solely and uncontrollably managed an extensive gingerbread estate, lived secluded, almost noise, did not drive his neighbors ...".

Arina Petrovna selflessly sends its vital energy to an increase in capital and seem to succeed: the power of the puzzle race is indisputable ("What Mahina is built" - she is aware of the same way). However, the abolition of serfdom - "catastrophe" - undermined the autocratic system, the noble landlord, and also knocked the soil from under the feet of Arina Petrovna.

The 1761 reform represented by the generin reform in the novel in the perception of land owners looks like a natural disaster similar to the earthquake. Arina Petrovna is anxiously awaiting the upcoming "catastrophe". "The first blow of the authority of Arina Petrovna was not caused by the very abolition of serfdom, how much the preparations that preceded this cancellation," Satirik explains, "Arina Petrovna somehow suddenly released the balls of the reign and only did it that exclaimed : "At least one thing is something - Pan or disappeared! And then: the first call! The second appeal! Neither God candle, nor hell of a kocherga! ". The state of waiting for another push Shchedrin calls "preparations", which will subsequently destroy the usual way of life.

In this state, the imagination of Arina Petrovna draws a dark paintings. "... it will be introduced by she walks on an empty house, and the people in human climbed and crouch! Get tired - the table is thrown! It will seem that she looked into the cellar, and there, Yulka with Feshka, so they refrain about both cheeks, so they refrain! She wanted to make Reprimand to do - and choked ... ". Arina Petrovna oppressed trifles, trifles , which she herself makes himself: the circle of her interests does not go beyond the limits of the accumulation.

Shchedrin shows Arina Petrovna "not a leader", but only a master of "exhaust beneficial combinations", and in general, Arina Petrovna is not a creator, but rather the destroyer. The writer depicts it a predator looking out for prey, which during the preparation of the reform itself goes into her hands. And although the abolition of serfdom in the consciousness of the puzzles - the tragedy, Arina Petrovna and in this troubled time can extract benefits for itself.

His plans of existence and in new circumstances, Arina Petrovna sees in trifles, wanting to grow "cabbage" and "potatoes" next to the "grave Papnyki". Even widowers, she does not seek to get closer to children, she doesn't remember about them, she is indifferent to the affairs and care, which will live her sons and daughter in other life conditions. Even in the critical moments of life, the best maternal qualities are not awakened in Arina Petrovna. The death of his father and her husband did not unite the family of gorgeous. The fate of children and grandchildren, which people usually live in old age, did not affect the widowed heart of Arina Petrovna.

Talking about Anna Vladimirovna, the daughters of Arina Petrovna, who, wanting to get a family, "Bed from a pitching with the cornet of Ulannov and happened to him, the author pays more attention to the reaction that followed the mother to the fact of marriage. Arina Petrovna rapidly indignantly about this: "So without parental blessing, like dogs, they have happened! Yes, it is still that the circle of the nucleus, a hubby worked! Another would have used - and there was such a thing! Look for him later, yes fistula! ".

The writer, giving special drama of this event, draws indisciencement and cruelty of the mother, who nevertheless, despite the adverse circumstances of his only daughter's marriage, "took" and "threw a piece" to the newlyweds in the form of a village, calling it a "parent blessing." But it does not have the idea of \u200b\u200bmoral support, maternal personnel, about what close people are spoken in such situations. The parent blessing of Arina Petrovna sees only in the discharge from a huge state of a certain part, and besides, not the best, but the worst.

Having become a grandmother, Arina Petrovna is not experiencing natural gentle feelings, she does not feel the events in this phenomenon, which becomes clear after her words about the granddaughters, which she is poisonous with "puppies".

The novel shows the immediate enterprise the active nature of Arina Petrovna, who managed and from this tragic situation to extract the material benefit for themselves. Trying to squeeze as much as possible from a small estate, she delayed "squeezed to the guardianship", taking care of an increase in its capital, although herself said about this, which brings large material costs of maintaining and raising orphans.

Arina Petrovna created the power of the Golovsky kind. But at the same time, she arises some sense of deceived hopes caused by children, their "disrespectfulness", inability to "please" by parents. The whole rich life of Arina Petrovna is poor to joy.

And at the end of it, there are no shortcomings in the chapter, but the "sensation of emptiness."

The real life in the House of Golovna acts as an Arena of the most serious conflicts, the first victim of which is the eldest son of Golovna Stepan. The writer with bitterness notes that there is no means and therefore not capable of keeping himself, Stepan is forced to become a chopper and acknowledged at the rich students of the university. Up to forty years, he led a disassembled lifestyle, did not marry himself, did not start his family, the house was boring in Moscow, did not play any role in the militia, where he was signed up, he had fallen over his mother's rich men who belonged to his mother and, sank to the most The points of human being, returned to the pumader.

Shchedrin does not blame Stepan, who is lost soul in empty and imaginary reality. The writer states that high motivations in Stepan simply had to take it, because for him who grown in the Golovsky Walls, there is no survival experience.

Lies, the game, unnatural in the behavior of the parents made their dark business in the formation of fate of their children. Already in the first scenes of the novel, the author tells about what unnatural and fake seen Arina Petrovna her children: "... she loved in the eyes of children to play the role of a venerable and depressed mother and in these cases with difficulty dragging her legs and demanded that her girls were supported under the hands . And Stepka-Balbes called such solemn techniques - the Archcharian ministry, the mother - the archwater, and the girls of Polka and Yulku - the bishops of the boards. " The children saw unnatural actions in the behavior of the mother, exposed their essence. Stepan did not bother to ulcerative assessments of mother behavior. Back in the period of his life in Gollyovo, being young, called the mother, then the minister, then the witch.

The gloomy irony sounds like a generaris comparing Stepan Vladimirovich with a gospel prodigal son, whom the father met with joy and joy on the threshold of his house. Here, instead of a merciful father, who meets the lost son, Stepan Vladimirovich meets the "evil old woman", who dreamed of the "apathy of power", from which Stepan does not expect.

This Mirror of the Gospel Proverbs performs the same function as the epigraph in Anne Karenina: In both cases, the sacred writing becomes the "symmetry plane", through which the grace of the highest truth is refracted as an earthly existence. This plot is playing in the novel by Saltykov-Shchedrin again when Porphyry Vladimirovich will celebrate his son.

A terrible, inhibitory atmosphere that exists around a family in which a person stops thinking and to realize himself, depicts generin in the Barsky Manor of Golov. With Stepan, this is exactly what happens, that's why he does not seek to think and realize what is happening, "signs of moral stems, which appeared in those hours, as long as he approached the sideline, again disappeared somewhere. Levity again entered into their rights, and at the same time a reconciliation was followed with "Mamajnikin". Now, in this atmosphere, one thought occupied most of all: "And where is it echo, the ears of money comes! - I was surprised<...>- Brothers, I know, not so much as he sends, herself lives screed, father feeds with salt female ... in Lombard! More nowhere as a pawnshop puts. "

Then the same thought of Stepan will receive some development, and since he has been hunger from the morning to the evening and only thinking about how to eat something and "whatever means of the mother's heart to soften, so that she doesn't have a champion in him," he became Discuss this idea with Zemsky. According to the Council of Zemsky, "the word" it was necessary to find such a mother, and this word is, only for this you need "... or curse to impose<...> Either Chort Soul to sell. As a result, nothing else remained, how to live on the "mamaenicine position."

And this "Mamieneckino position" continued to turn Stepan into a creature, descending on the most extreme, low stage of life. The writer sympathizes Stepan, while noting that only his animal organization remained in it. Sincere suffering, plenty to God in imprisonment does not arise from the eldest son Arina Petrovna, he, as the simplest animal, has retained only grazing reflex to survive.

"- Yesterday's soup, soup and lamb - this is, brother, pushed! - he said to the cook, - Pie, I suppose, I will not give me too!

It is how will you like Mama, sir.

Ehma! And there was a time that I did the poles! Rye, brother!<...>

And now and again they wouldone?

Will not give<...>. Shipping, and not give! ".

The writer shows the memories of Stepan when the moments of "moral stem" happened to him and the fate of his predecessors was resurrected in the memory, the regularity of his position in the native family: "Here is Uncle Mikhail Petrovich, who also belonged to the number of" Caught ", and which Grandfather Peter Ivanovich sharpened To his daughter in a golly, where he lived in human and ate from one cup with a trorrel. Here is the aunt of Vera Mikhailovna, who lived from grace in the Golovsk estate from Brother Vladimir Mikhailovich, who died of "moderation", because Arina Petrovna Crowing her every piece eaten by dinner and every liner, used to heating her room ... ".

Stepan, aware of his hopelessness and doomed, runs away from his bangs. It is unlikely that this can be called a conscious protest. But even at the critical moment of the life of the son who fled from the maternal prison, we do not see in Arina Petrovna of the feelings of compassion and repentance, Shchedrin shows only her cold calculation and enterprise.

The string of "prodigal children", returned to the pumader, opened Stepan Vladimirovich. In the native angle, children are returned only to die.

Ten years later, from St. Petersburg returned to the puzzling estate and Dubrovinsky Barin Pavel Vladimirovich Podleyov, a mustache, a drinking and sick person.

Shchedrin, devoting us to the world of Pavel Vladimirovich, with heart pain draws that nonsense in which he constantly leaves. Created by Pavel The world of illusions takes his strength from him, empties and exhausts it, turning into a certain mechanism-mannequin, devoid of any feelings, including related: neither reverence to mother, nor sympathy for nieces - orphans, who, together with Arina Petrovna, did Judushka, Paul in this world did not experience. Only the housekeeper's housekeeper, the housekeeper could enter His mezzani, where he brought him food and vodka. Even in the face of his death, Paul does not think about the possible repentance, about the inner self-cleaning, he does not have the desire to turn to God, he does not want to see her mother nor niece.

An indifference to the dying pavel reigns throughout the house. It is no coincidence that Pavel Vladimirovich the house seems to be filled with shadows: "Loneliness, helplessness, dead silence - and in the middle of this shade, a whole swarming of shadows. It seemed to him that these shadows go, go, go ... ". Together with these "shadows", Shchedrin shows to Pavel Vladimirovich Brother Porfirov Vladimirovich, but not then to facilitate the last moments of the dying, as Konstantin Levin does for his brother Nicholas, and everything for the same reason in inheritance. Shchedrin paints a terrible scene in which Jewish, who came out of Roy shadows, as if the vampire, takes the last remnants of life from an unprotected and helpless brother.

The whole scene of a visit to the porphyria of Brother Paul is built by a writer so that almost physically experienced the condition of Paul, which chips and porks from powerless rage.

The death of the owner of the village Dubrovina Paul writer repeats almost the entire ritual of Stepan's funeral. This replay of generrine is charged by the feeling of the doom, the lack of movement forward. The author, reinforcing tensions in the novel, draws his gaze to an all-increasing emptiness, which after the death of Paul filled the space of the golly manor.

For Shchedrin, Judushka becomes a mid-day, because from the moment of the funeral of Paul, he is one of the second generation of grooves is the main owner in the estate. The next victim for him, who is not lifting even on the glands of his brother, becomes the Arina Petrovna itself, which raised him with his special "cardiac addiction." And Judushka, choosing a "decent plot", immediately, not slowing down, begins to Tyraniate Arina Petrovna scraps of memorial celebrations, "hopeless attitude" about the same, empty-road theological disputes.

The meaning of the nickname "Judushka" was repeatedly discussed in generous. According to E. Pokusayev, the diminutive suffix "immediately as if everydays landing the hero, brings it from the sphere of significant socio-moral acts and tolerates into the other region, in the region of everyday relations and divisions, ordinary existence" Pokusayev E.I. "Lord Golovy" M.E. Saltykov-Shchedrin. S.87 .. Judushka is Judas, "somewhere here, near, under the side of the home, committing everyday betrayal." For DP Nikolaeva, the nickname of the hero is another hint at his hypocrisy: "The word" Judishka "itself contaminates two concepts in itself -" Judas "and" Dushka ", of which the second is indicating that who he is pretending to be, and the first - who he really is "Nikolaev D.P. Saltykov - generous and realistic grotesque. M., 1977. P. 65 ..

The remark of S. S.Tegine seems more accurate: "Judas betrayed Christ for the adequacy of Satan himself entered into it. [...] But Porfish is too crayon for such a great tragedy, and therefore he is only Jewish, and not Judas, a small demon, but he is terrible to this little thing "Telegin S.M. "It's not so terrible, as his baby": [Analysis of the novel M.E. Saltykov-Shchedrin "Lord Golovy"] // Rus. literature. - M., 1997. - № 5. S. 120 ..

The phenomenon of Jewish hypocrisy, the phenomenon of Jewish hypocrisy, repeatedly disassembled in literature (the precedent created the writer himself, who had a detailed one who had told about the differences of Judishka and Tartuf). The image of porphyry is clearly built on the contrast of two images: the one who is Jewish, and who he seems to be trying to hear. But it remained unnoticed by the fact that both of these images are equally mythologized and equally based on biblical images. The same act, the same word in different ways is interpreted by the Judah and the narrator, but the basis for interpretations is one.

During the "Family Court" over the brother Stepan "Porfiri Vladimirch was ready to raise on himself, but feared that in the village, perhaps, there will be no one to repair them." To break the rhizes means from the point of view of Orthodox (Jews), to witness blasphemy. And in fact, the act of a brother, who "in the permanent pit" threw away Mamienikins "Labor Money", must be to Judekly by blasphemy (it does not matter that Porfiry is actually thinking).

Judshka misses himself with the righteous (in a letter to niece he "called himself a Christian, and their ungrateful") and, probably, even a messenger of the sky. Who he is in fact - many times mentioned in literary criticism: Judishka is "Satan", "Spider", "snakes", "blood flower", etc. S. Telegin finds in the image of the Jewish feature of Vasilisk ibid. Pp. 121 .. Two plans - "Sacred" and "Infernal" - faced within the boundaries of paragraph and even suggestions. "His face was pale, but breathed out of spiritual enlightenment; A blissful smile played on his lips; The eyes watched gently, as if unforgettiously [...] Locking, however, from the first look at the face of Judushki realized that in the depths of his soul, betrayal was decided. "

Porphyry Golovitz is one of those universal types like Yago, Tartuf, Garpagon, which in continuation of many centuries serve for nominal names to represent the very extreme distortion of human nature. Personalities surrounding Porphyria Golovleva, are funny, insignificant, in its kind, disgusting, but they excite in you deep, sorrowful pity, when you see them in the hands of this Jewish and loopback. Even the Patriarchash herself, Arina Petrovna,, so Grozny, drawn in front of us in the "Family Court", in his pre-reform value, is in the last essay, depressed with new orders of magnitude, shot down from his pedestal, robbed his son, all the same Jews. As it humiliates it in front of him, it makes it angry and moaning in it some other remnants of human feelings in front of the unshakable idleness of Jews, which passed all sorts of limits of hypocritical worn. As she desperately grabs for the last attribute of their filtered patriarchal power - for his parental curse, of course, to experience unsuccessful and this last straw. The spectacle of which terrible distortion of human nature drew faces of us Saltykov-Shchedrin, that he could make it terrify before this spectacle even an old woman with a gonut, this, in turn, the ruins of mankind.

The distinguishing feature of the Jewish - the tribulation is very brightly described by the author in the text, for example, in this quotation of tea drinking in a ginger:

"The cups are alternately filled with tea, and Samovar begins to subside. And the blizzard is played by the forest and the forest; It will hit the whole snowfield in the windows of windows, then some kind of incomprehensible crying rolled along the chick borov. - The blizzard, it can be seen, it took himself, "Arina Petrovna notes: - Summates yes he is hesitating! - Well, and let us swear. She is scattering, and we are joining here - so, my friend, mammy! - Porfiri revives Vladimirovich. - Ah, it's not good now in the field, if the wrath of God will find! - Who is not good, and we are not enough for us. To whom dark and cold, and we are lightly and warmly and warmly. We sit yes greens, and with sugar, and with cream, and with a lemon. And we want with a roma, and we will drink with Romsel ... - Yes, if Terecherich ... - Let Mama. I say: Terecherich in the field is very not good. Neither the roads are neither the tropic - everything is preserved. Again wolves. And here we are luminously and cozy, and we are not afraid of anything. Sit here yes, I'm sitting like a poison friend. In the card, I wanted to play - play the card; Seagull wanted to drink - we drink a seagull, do not drink extra need, and so how much you need, so much and drink. Why is it so? Because a dear friend, Mama, that the mercy of God does not leave us. Kaby is not he, the king of Heaven, maybe we would now have been plud in the field, and it would be dark and cold and cold ... in Zipuhenishchka some, a cushache is plenty, laptice ... - so, already laptice! Tea, also in the noble rank were born? What neither is, but still put supies! - Do you know Mama, why are we born in the noble zvany? All because the mercy of God was to us. If she is not she, and we would now sit in the hut, and we would not have a candle, but the rachishka, and about the seagull and the coffee maker, about it and think now, did not dare! I would sit, I would pick up the laptice, you would have collected any empty empty there, Euprakseyushka red weapons ... And maybe on trouble, the dozen would still be kicked up ... - Well, the Tennsky in the same time Supply does not fit! - How to know, dear friend, mammy! And suddenly the shelves go! Maybe there war or indignation - so that there were regiments on the ground! Here, you make, Ignorated to me, Napoleon III Pomer - Believe me, now the French will begin to begin! Naturally, we are now ahead - well, and come on; peasant, eyeliner. Yes, in the smallength, yes to the blizzard, yes in Radorozhitsa - I will not look at anything: go, a peasant, if the authorities tell! And you will be shifted with you yet, you will not be expelled with the pit! - This is what to say! Great for us by the mercy of God ", etc., etc.

There is a not the hypocrite-religious form in which the Judah is taught by the cynic praise, and the most abomination of this praise, practicing in different forms, no less cynical, throughout the surface of the globe. But another scene, showing like Jewish, robbing Mother, Eliko, perhaps, takes away from her the deceased Brother Paul, escorts her in the embarrassment estate almost for hunger and cold.

"Everyone got up and prayed; Then Arina Petrovna was overthrown with everyone, everyone blessed ... in a relative, and, heavily stepping her legs, headed for the door. Porfiri Vladimirovich, at the head of all domestic, spent it to the porch, but here, at the sight of Tarantas, he was embarrassed by the demon of Lyubomatry ... "And Tarantas, because, fraternity!" - flashed in his head. - So see you, kind friend, mammy! - He said, putting his mother and a schos looking at Tarantas. - If God orders ... Why not to see! - Ah, Mama, Mama! Lesson you, right! Majit Tarantas is to postpone, yes with God on the old nest ... right! - Lebesil Judushka. Arina Petrovna did not answer; She completely sat down and the goddling even created, but the species were slow. And the Jewish, meanwhile, glanced yes I looked at Tarantas. "So Tarantas, Mama, how, do you deliver yourself, or send it to them?" "Finally, he did not stand it. Arina Petrovna even shook all from indignation. - My Tarantas! She shouted with such a painful cry that everything was embarrassed and conscientious. - My! my! My Tarantas! I am him ... I have evidence ... There are witnesses! And you ... And you ... Well, I'll wait ... I'll see what will be on you! Children! How long? - Verify, mammy! I'm not in the claim ... if even Tarantas was Dubrovinsky ... - My Tarantas, my! Not Dubrovinsky, and mine! Hear! - I listen, Mama ... So you, Bolkbushka, do not forget us ... Simpar, you know, without Caida! We are to you, you are to us ... in relation to you! - Did you sit? Touch! - shouted Arina Petrovna, barely holding back herself. Tarantas trembled and rolled the little on the road on the road. Jewish stood on the porch, waving a handkerchief and, as long as Tarantas did not disappear completely out of sight, shouted him after: - in relation to himself! We are to you, you to us ... in relation to you! "

Judushkino wiping leads to the fact that not only for him, but also for others, the line is erased between the two worlds. In the ethical system, Shchedrin is one of the biggest sins. Petenka talks about the intention of the father to deprive children of inheritance: "He was not afraid to talk with Pop: and what, says, Batyushka, if the Babylonian Tower is to build a lot of money? [...] He has some kind of project. Not to the Babylonian Tower, so in Athos sacrifice, and we will not give us! " S. S.Tegin fairly claims that the intention of Porphyria to build "the worst Bogological and Satanian invention of mankind, which placed to get to heaven and sit on the place of God," not by no means by chance. Lovely "feat" intended to commit and silly. But the main thing in this episode is not the satanic pride of Judishka, but his complete indifference to what exactly consumes money: for the construction of the Babylonian tower or the Afonov monastery.

The natural next step is the erosion of the boundaries between sacral and infernal. Judushka "I prayed not because I loved God and hoped through prayer to enter into communication with him, but because I was afraid of the damn and hoped that God would save him from the evil." Wed: "Judushka will smooth and looks at the image, as if looking for him to protect against the evil." In the drafts of Porphy, "according to the initial order, called for the Divine: Hurry! "But if the deity he was slow, he did not think to resort to another mysterious strength, which, according to people's people, in everyday affairs, sometimes even more successfully contributes." Jewish, despite his manty, realizes, "that if Mama begins to reveal on God, this means that some flaw in its existence." So, hope for God is a sign of disorder in the system of goning life. Shchedrin is no wonder thanks the Jewish "idolatry". It is hardly the only case when Porphyry Rodvet represents an angry God, is also associated with the ritual - the ritual of a possible mother curse.

Saltykov walked along the path of deepening one definition of a psychological feature in multidimensional disclosure, in various life situations. In each case, the episode opens a new side, some new shades of the hypocritical nature of Judish. Passion for the idle word is not an individual belonging of porphyria. Satiri raised her in the category General and Social. Conscious hypocrisy causes, Satir, "indignation and fear," said, and the unconscious hypocrisy, liganese and void - boredom and disgust.

In modern Russia, Satir was noted the distribution of various forms of hypocrisy. He put this historical fact in direct dependence on the processes of decline, decomposition occurring in the landlord after the cancellation of serfdom. In the chapter "Calculation" was specifically written about it. On the one hand, from the noble families, the whole broods of deft and agile people are pushed into place, who are sensitive to new trends, adapt to them, while putting on the need to a new one, then in the old "skin", and soon become ironically says satirik, True "Maewelers of this century".

On the other hand, the ill-fated landlord nests emit into life, and the closer to the inglorious end, the more often the whole collections of losers, festivolubs, slender "clutch". Saltykov writes about grooming: "For several generations, three characteristic features passed through the history of this family: a fever, unsuitable to some kind of work and stuff. The first two was given a wiping, emptiness and empty, the latter - as it were, as it were, a mandatory conclusion of a common vitality of turmoil. "

In the Shchedrian characteristics of the Jewish, as it were, the features of Golovsky concentrated in himself, that is, landlord, degeneration, decay. In idleness, in hypocrisy satirik saw a special form of social and spiritual decomposition of a class, historically out of herself, poisoning the atmosphere by miasms of rotting. Autoommentaria, like the entire artistic history of the gorgeous family, give reason to argue that it was so expandingly understood the type of Jewish Saltykov himself.

Paccosnitus, hypocriser and voids Jewish artistic type of global scale.

That is why from the many possible options of the end of the novel he chose the most complex and difficult to psychologically. Saltykov showed how in the disgusting personality of the Jewish, mired into the vulnection of the meanness, which came to the extreme limits of moral fall, awakens something "human", something similar for remorse.

The author forced Jewu at the end of his life to look into his devastated soul and shudder. At the same time, no sympathy or pity for the "blood flow", of course, can not be speech. The author's position remained unchanged: the endless string of crimes of Judek, his predatory habits, his delicious and cruelty, sophisticated techniques of oppression, his cynicism and hypocrisy - all this in the soul of the author, humanist and a revolutionary democrat, causes a natural feeling of dismissal and indignation. He shows the Jewish as a hated hypocriser and the "blood flow", which all his life was tormented by Tyranil, tied her, and strangers, without sparing anyone who came across his path. Nevertheless, despite this, a tragic intonation appears at the end of the novel. The final pages of the "gorgeous" are written so that there is no doubt about the awakening in Judishke, something like a remorse of conscience, or, as the author says, "wild conscience". His decision to say goodbye to the grave of the mother was taken after a long, painful meditation. The behavior of Jewish changes dramatically. At the end of his life path, he would have been transformed, became different, it had suffocative features.

The author could complete the novel by the natural death of his hero. But such a decision was not satisfied Saltykov. It was necessary to come up with a more terrible end for Judah. The sense of justice demanded that the Jewish, before you go away from life, experienced moral torments and flour, which he caused others so that he realized his guilt, all the worstness of the crimes committed by him, all the timelessness, meaninglessness, gloomy emptiness His miserable existence. Saltykov and the last pages of the novel merciless to the hypocrisier and the "blood flow".

Judushki was awakened by the "wild conscience" only when he was on the edge of the grave when he became a weak, stray and no longer could make new atrocities.

A variety of gestures, intonational shades of speech characterize the Jewish. At the same time, it is necessary to delimit the scenes where the author fixes the attention of the reader on the pretense and hypocrisy of Jews, and those cases when Judish does not play a role and let it weakly, although they are vague, but there are some glimpse of human emotions.

Jewish is a complex psychological type. It is endowed not only by the features characterizing him as a predator who is a predator, as a representative of the degrading nobility, it is simultaneously a carrier of universal defects.

As we have already noted, the gorgeous family has three generations, and the third is the grandchildren of Arina Petrovna and Vladimir Mikhailovich. As you know, the Porphyrian has a family in St. Petersburg, but the wife died, leaving two sons on the care of Judah: Petenka, whom "like any prodigal son", "who didn't give himself any report in life, somehow instinctively pulls into his own The place, "and Volodynka, unable, like all the pants, do anything and contain themselves and their family, in addition, with Arina Petrovna, there was still her granddaughter of Anninka and Foreign.

In a minute, the despair of Petenka arrives in a pitchly, as in the last "his place", where only he could come with such a cargo inside: a posted money and waiting for prisons.

The writer, removed from the events taking place, is asked about such an appearance in the grocery of the grandson of Arina Petrovna and the son of Porphyrian Vladimirovich: what does he hoped for? What is looking for? "Something will be from this trip? Will a miracle, which should turn a stone into bread, or not? "

Trying to answer and clarify the situation, Shchedrin emphasizes the meaningless appearance in the estate of the Golovsky Sibling: "Of course, Petenka may not have understood his father, but in any case he did not know any feeling, not a single weak string for which he was able to grasp And, exploiting which one could achieve something "," He felt only one thing: that in the presence of his father he is face to face with something inexplicable, elusive. " Father's reaction to the unexpected visit of Son Shchedrin is almost the same way as he met his first son Arina Petrovna. The spiritual emptiness of the Jewish, anxiously felt by Peten, his father is relative to his grandmother. Arina Petrovna with the arrival of Petya recalls the shocks of her own, associated with the return of her son "Ballbes". "And it gives it to her that she hears the whole of the same familiar story, which has long been, and not remember when, began. It was closed at all this story, but again there is no no, no take and opens on the same page. " The premonition of Arina Petrovna was justified. The coincidence coincided and the final: "No muscle trampled on the wooden face of Porphyry Vladimirovich, no note in his voice was played with something like a call to the prodigal son."

The humble request of the Son, his hysterical plea for help, finally, angry charges in cruelty are pushed into a deaf wall, folded from affectionate aspirations and umual ranting. Shchedrin, remembering the folk wisdom that has already been challenged: "Apple from Jablocks is far from rolling down" or "what we will eat, then you will get enough", exposes the Porphyry of Vladimirovich, who just like Arina Petrovna in his time, concerns his native son to death, thus Takes up the binder chain of time without thinking about the continuation of the kind of puzzles.

A terrible death sentence for his son opens the meaning of the father's farewell, which as always spoke in a gentle voice: "Leave, brother! Hey, who is there? Majite for a young Barina kibitka lay. Yes, chick roasted, yes ICORK, and there's something else there ... the testicles, that if ... In a piece of paper ... at the station, brother, and eat, while the horses feed the horses. With God blessing!".

Two Sons of Porphyrian Vladimirovich die not without his participation ("... from Shchedrin, - as N.K. Mikhailovsky wrote, - both of these junctions occur behind the scenes" Mikhailovsky N.K. Shchedrin // M.E. Saltykov-Shchedrin in Russian criticism . M., 1959. p.443.), And Judushka will simulate by the end of his life, is aware of his terrible crimes, as is happening with Arina Petrovnoy now. Ibid. P. 444.

"The most dark and uncomfortable party turned life to the granddaughters of Arina Petrovna Anninka and Foreignness," Shchedrin writes; Creating realistic pictures of their lives, he draws them gloomy and severely.

Without material support, without parent blessing, Anninka and the favorite go to search for happiness to the world, which presented them better than their home position.

Shchedrin, defending the granddaughter Arina Petrovna, notes that the Anninkha did not receive a full-fledged education did not have the concept of significance in her fate of the unity of two life began - the spirit and flesh, about the destructive power of evil, which can enter it and destroy, since "the position of Russian The actresses are very close from the position of a public woman. "

In this situation, the author divides the position of Tolstoy about the "unity of spirit and flesh". The slippery path, on which the granddaughter of the Lords of the puzzles stepped up, earning their own on their own forces, ends for both tragedies. Shchedrin shows the beginning of "creative activity" Anninki as a misleading, which at first she seemed to her merry and rainbow. Having an idea only about the outside of the profession of the actress, Anninka made his life with something like a "entering the house", whose gate "could be punished, who was aware of herself fun, young, rich." Life actresses excited her. Lonely, "Without leadership preparation, without a created goal, with a temperament alone, thirsty, shine and praise," she did not immediately see and realized himself, "Kricky in some chaos, in which endless many persons crowded, without any connection Replacing one thing. " There was a gloomy drama.

Shchedrin directly and openly expresses the artistic activity of Anninki, revealing the cruel essence of what is happening. "Holy Art," he says, "he led her to a passionate pit, but her head immediately said it that she could not distinguish this."

Comparing the life of Anninki with a carousel, carried by his given trajectory of movement, confusing her in a vertepe of pleasures with a reasonable human existence, the writer does not give the heroine of time to look around, listen to public opinion, stop ... and stops it only on the very edge of the abyss.

With some strange doret, "the ominous Fatum" becomes the generrine "depressing monotony", with whom the disease appears in all family members, departure one after another of the life of the siblings.

Shchedrin transfers household sketches from the life of the sisters into a psychological plan. And now, other paintings stand in front of their eyes, the paintings of the carbon monoxide, in which it was found in the "iron survolutionary" in their memory, rapidly floating outwards and, contrary to the desire and spiritual efforts - to forget everything, mercilessly crushed the heart: smelly hotels, rooms, Ober -Ofitzers, Ober officers, Ober officers; Then other memories began: a stable courtyard, drunken and draper nights, passage of the landowners, the merchant grip, the prubing acts almost with Nagayka in their hands. And the outflow is headache, nausea and longing, longing without end. It was impossible to become on my feet and start the dimension life after the verta, the carousel threw them into a terrible life deadlock, where in addition to shame and poverty there is nothing. "

Anninka and Foreignka, considers Literary critic M.S. Goryachkin Goryachkin M.S. Satire Saltykov-Shchedrin. M., 1965. From 109., At the beginning of the novel, "the main features of his character are typical heroines of the noble writers" there. Pp. 110 .., Therefore, generin provides an opportunity for Anninka, as was customary in the novels of that time, go to his small homeland, seemble, realize and start living in a new way.

However, after visiting the chapherneck, in which she rushed with some secret hope for calm, Anninkha understands that there is the same thing as everywhere, just covered with a relational prison.

However, Anninka did not find the strength to act as her friend's sister decided to "die from herself," and "I came to die" in Gollyovo.

As you can see, the writer creates pictures of a close man of reality, a daily life, mastering it here is not as a knowingly "low prose", but as a place of serious conflicts.

The image of the novel, in addition to the characters, includes the image of the Holy Manor itself as a focus of the world. We see that gradually it ceases to depend on the outside world and, on the contrary, begins to dictate his laws to him. Therefore, everything that is outside the godfish turns out to be its continuation. Not only grooming, but also the surrounding landlords "could not carefully distinguish the angelic area from the area of \u200b\u200bAggelskaya and, throughout his life, was confused about themselves as a matter of themselves, about which it becomes to ask for God, and about what the trait." The withdrawal of his neighbors did a completely true neighbors: "A person who has never left the Divine language, before confused in his own aphorism, which, without noticing himself, found himself at the bottom of the damn."

And not only in the vicinity of the manor of the greenery, but also throughout the country, according to Arina Petrovna, "neither God candle, nor the hell of a kocherga!" Moreover, if Gollyovo was presented to Stepanu "Coffin", then in the eyes of Judish "the whole world [...] is a coffin that can serve only a reason for infinite tribal." The delusional activity of Judushki in the world of his dream is only a special case or perhaps the most complete embodiment of the practice dominant in the outside world: "[...] The world of business idleness, - the author notes, - so beyond that there is no lack of work Wherever, which is the sphere.

If you compare the novel and the "story of one city", it should be noted that although a gibby, and stupid are in the "center of the world", the difference between them is essential. After all, stupid is not only the middle-education in the world of "the history of one city", but, in fact,, in general, the only real geographical object (all other, including Petersburg, obviously mythologous or imaginary). Not that in the "granny gentlemen." The world cannot be reduced to the genital manor and the surrounding villages. All referred to cities and weights - Petersburg, Moscow, Sergiev Posad, etc. - There are by themselves without turning into metaphors. But Gollyovo and Golovy are excluded themselves from the world; If at the beginning of the novel, this is not so noticeable, then in the last chapters it becomes obvious. "Every connection with the outside world was finally torn. He did not receive neither books or newspapers, nor even letters, "says the author about the life of Jews, if it can be called life.

A. Zhuk paid attention to the fact that the effect of the novel just once leaves the head of the head - in order to move into imaginary, unitulent, theatrical in the literal sense of the world of Bohemia. Zhuk A.A. Afterwording to the novel of the Lord Golovyev. M., 1986. p.278. Capital is the past of heroes; Sergiev Posad - the subject of fantasies Arina Petrovna, the place where she is allegedly going to leave before death; As usual, Shchedrin, these dreams are accompanied by a restraint and ulcer of the author about their unfulf care. Subsequently, the same intention in the same expressions will express Judushka.

Golubovo can be called the focus of the universe that the generin describes, which determines the factor of all events. The image itself is an extractable metaphor of family fate. "There are families over which there is no compulsory predestination. [...] In the life of these pathetic families and good luck, and failure - everything somehow blindly, not gadano, not thought. [...] just such a malfunctional Fatum for the Golovskaya family "

However, Gollyovo is not only faceless Fatum, but also an active figure. It simultaneously has limits - and does not have them. Stepan, moving away the mid-second pillar and being at the "podilable" native land, sees "endless gorgeous fields". "Estimated without the end of the distance" opens a breath and in another estate of the greenery, chamfering. But if the pussy fields awaken in Arina Petrovna "the remnants of the senses", the Golovsky can only lead to despair. This is no longer a space, the place where the sky and the earth merge and disappear: "gray, the forever, the peeled sky of autumn pressed his [Stepan]. It seemed that it was hanging directly above his head and threatened to drown it in the exposed strokes of the earth. " The last words - a deliberate contrast with the expected idiom of "pesting heavenly" - another sign of "invertedness" of the Golovsky world. Even the picture of the "Spring Renaissance" in the grocery is permeated with images of darkness, rot, mucus.

The estate, therefore, not only dominates the life of its owners, but also organizes the space-time of their existence. Text Analysis allows you to select four plans in which (more precisely, between which the life of the gorges flows.

The foreground is the so-called "reality". The so-called, because it just turns out to be the mild. Jewish, ultimately, is one of the "shadows", the formation of darkness, which "so mysteriously moved" to the dying pavl. Goluborovo - a certain metaphysical impasse, destroying space and time (for the poetics of Shchedrin it is characteristic that all events in a durability of the head can be precisely dated).

"Today Golovleva" is "a number of sluggish, unfortunate days, one after another immersing in the gray, gaping abyss of time." He gradually disappears even the "scarce feeling of the present". "Twilight" covers not only the present, but also the past (in the memoirs of Arina Petrovna "all twilight some"), and the future ("Twilight, which already enveloped the Jewish, was to thicken every day more and more"). It remained "Only a minute, which was to live."

In literature already paid attention to the fact that the writer shall like the estate of the gorgeous kingdom of death. Telegin S.M. "It's not so terrible, as his baby": [Analysis of the novel M. Saltykova-Shchedrin "Lord Golovy"] // Rus. literature. - M., 1997. - № 5. More precisely, the writer allows some heroes of the novel to see and understand it. In fact, "Gollyovo is death itself, evil, empty; This is death, eternally speaking a new victim. " The view of the boric estate produced on Stepan "The effect of a medical head. The coffin mounted him. Coffin! coffin! coffin! - he repeated unconsciously to himself. " The coffin, as we saw, becomes the whole world for Judah. But the coffin becomes Judish himself. He "did not understand that the grave [Mother] opened before his eyes was carried away by his last connection with the living world, the last living being with which he could share the dust that filling it. And that from now on this dust, not finding the source, will accumulate in it until it is finally strangled "(hint of Judah hanging). Further about Judushka speaks directly: "The coffin filled with the ashesis" - such sees Euptrakseyushka. Standerworth: For Porphyry with the departure of the niece "every connection with the world of living" broke out. " Moreover, Juduka is convinced that the unfulfilled being of a person is the most natural for him: "And the person everything has arranged for himself that he has nothing to do anything, and therefore he needs a lot of things."

To create a pledges image as the kingdom of death, one of the conversations of porphyry with a nephemy are important. Anninka complains with uncle: "What do you do! In the morning to get up - drink tea to go, think about tea: I will serve breakfast! During breakfast - there will be linked to lunch! For lunch - is there again tea again? And then dinner and sleep ... die with you! " "And all, my friend, so do," says Judushka pure truth. Everyone is doing that - that is, die.

Celebration from the point of view of the gorgeous essence "Facts ordinary, generally accepted, to evaluate which there was a generally accepted situation, an encouraged due to". Thus, death seems to be out of consciousness. "Jewish for a long wasteful life never even thought that he was right there, about side with his existence, the process of kilding occurs." It is precisely because it's still not possible to forget about death, a gingerbread - an example of Arina Petrovna is an example - they are experiencing a permanent "life desire. Or, it is better to say, not so much the desire of life as a desire to enjoy associated with the perfect lack of the idea of \u200b\u200bdeath. " Jewish with some gloating notes that the dying brother "live, I want! want very much! want very much!". He himself, he, apparently, is not afraid (not afraid of even in the final, although quite for other reasons): "If the Lord God please call me to himself - at least now is ready!" Aryna Petrovna's response replica is not: "Well, how to God, and if you please contact Satan?".

Golubovo is also endowed with the features of the "unclean place", the dwellings of the unclean power. Stepan Golovut is looking for a way out of hopeless position - and does not find him: "All - or the curse has accounted for themselves, or a soul to sell the line. As a result, nothing else remained, how to live on the "mamaenicine position". So Gollyovo - although indirectly - equal to the "damned (enchanted) place," from which heroes cannot escape. "One thought to the edges overwhelms all his [Stepan] creature: three more or four hours - and there is no place to go further. He recalls his old gholel life, and it seems to him that the doors of the raw basement are dissolved in front of him, which, as soon as he oversteps for the threshold of these doors, so they will shut, - and then all over. " And further: "There is no one with anyone, there is nowhere to run, - everywhere she [Arina], power, chaining, despised." Even those who manage to leave the geographical limits of the head, or dying (sons of Jewish, Foreign), or return (Anninka).

As often happens from generous, important characteristics and estimates are submitted as if accidentally; Well-established linguistic metaphors, curses, booms return to a straight value. Porphiri Zholev in the metaphysical plan is in fact "Juda", "Satan" ("Forgive Lord, Satan," as Arina Petrovna says), "Pharisees", at best - "house"; In the opinion of the neighbors, he "found himself at the bottom of the damn", and in addition, "he has some kind of deyvarian scents."

Arina Petrovna her husband is no wonder calls the "Witch"; Stepan Golovut is confident that his mother "Gas", Vladimir Mikhaylich speaks straight: "Eat! Eat! Eat! ", And Paul is mockingly adviser" to tear into pieces ... in a lot of effort ... ". The witch image is created.

Of course, all giblings willingly notice the trait in others, but not in themselves. His Blud Judushka considers the "demonic temptation", that is, something external, "Although he admitted adultery in the sizes of strict need." It does not want to recognize my sins of his Jewish: "Only here it is still necessary to prove that we definitely do not do God." The devil, of course, is sitting in him, but in the street: "Yazva you, ulcer! He said, "the devil sits in you, damn ... pah! Ugh! Ugh!".

All such comparisons and metaphors in the novel acquire reality. "When Judushka entered, the father hurriedly blessed him and pulled out his hand still hurriedly, as he was afraid that the blood consumers would bite her." Of course, it is not about the fact that Jewish and in fact could bite the priest, but about the "materialization" of the nickname "blood flow". Also, Brother Judushka Paul before his death "it seemed that he was alive in the coffin that he was lying as if sought, in a lethal dream, he could not move a member and listens to how the blood consumers swears over his body." Another author's "reservation" directly indicates that Gollyovo and there is a swamp, which generates devils: "At night, Arina Petrovna was afraid; I was afraid of thieves, ghosts, devils, in a word, everything that was the product of her upbringing and life. " The unclean force is a legitarious "product" of a goning life, and it, in turn, generates a whole "cycle of legends" "about Golovsky Lord." No wonder Jewishkina "Anger (not even anger, but rather moral ossification), covered by hypocrisy, always brings some kind of superstitious fear"; And in the decleuchet estate it stands "Silence dead, filling the creature with a superstitone, sad toasting."

Here we are once again observing the combination of opposites: many heroes are presented with a damned place, but something like the lands promised. Petenka - because he has nowhere to go. Pavlu - from envy: "Walk around the clouds - is Ranzlevo far? The blood flow was lying yesterday! "And we have no yes!". Arina Petrovna - for the reasons of nostalgic: her "every minute was recalled, and, as they recall, it was done by something like a light point, which focused on a good live." Judishka in the fit of the bakingbirds so paints the crops of the past years, that his mother is forced to notice: "I didn't hear that in our side ... You can read about the Canaan Earth - there, they really happened." So, Gollyovo (albeit only in the speech of Jews) is Canaan, the land endowed with "God's blessing", but at the same time, if you recall the biblical context, the country is the pagan, which is necessary for the effort of faith and turn into the ground promised.

The surname of the Golovna itself combines the opposite or at least not completely compatible meanings. V.V. Prozorov Prozorov DP Works M.E. Saltykov - Shchedrin in school study. L., 1979. P. 116. I discharged from the dala dial vocabulary: "head" - to be a head, manage, to command (do not forget about the "Imperial" connotations of the name "Porfiry"); "Heads" - a crime and penalty for him; "Hunger" - to whitewashing, thickening, and so on. Of course, these values \u200b\u200bare relevant for the novel; But it is equally important that all of them are connected in one word, which created generous: another example of the combination of mutually exclusive meanings.

Roman Ohore de Balzac "Shagreen Leather"

French writer-novelist, considered by the father of the naturalistic novel. Onor de Balzac was born on May 20, 1799 in the city of Tour (France). Onore de Balzaka father - Bernard Francois Balssa (Some sources are the name of Walza) - the peasant, rich in the years of revolution on the buying and selling confiscated noble lands, and later became an assistant to the mayor of the city. By serving a military supply department and being among the officials, he changed the "native" surname, considering her Plebee. At the turn of the 1830s. ONORE, in turn, also modified the last name, having adding the noble part of the "de" to her, justifying this in fiction about his origin from the noble family Balzac D "Anthrag.

In 1807-1813, He studied at the College of the city by Vandom; In 1816-1819 - in the Paris School of Law, serving at the same time clerk in the notarial office. Father sought to prepare her son for advocacy, but He decided to become a poet. The family council was decided to give him two years to make a dream. Onor de Balzac writes Drama "Cromwell", but the newly convened family council recognizes the work of Nikudushny and the young man deny material assistance. This was followed by a strip of material adversity. The literary career Balzak began approximately from 1820, when he began to print outstanding novels under different pseudonyms and composed the phrases of secular behavior. Later, some of the first novels came under the pseudonym Orace de Saint-Oben. The period of anonymous creativity ended in 1829 after the publication of the novel "Shuana, or Brittany in 1799." "The starting start" of His creativity on Eiore de Balzac called the novel "Shagreen Skin" (1830). From 1830, under the general name of the "Scene of Privacy", novels were published from modern French life. His chief literary teachers of Honor de Balzac considered Moliere, Francois Rabl and Walter Scott. Twice the writer-novelist tried to make a political career, putting forward his candidacy in the ward of deputies in 1832 and 1848, but both times did not pass. In January 1849, he failed in the elections to the French Academy.

The main creation of Balzac - "Human Comedy". It unites all works of the mature stage of his creativity, all written after 1830. The idea to unite his separately published novels, the story, the novels in a single cycle of works first arose from Balzak in 1833, and initially he planned to call the giant work "Social etudes" - title, emphasizing the similarity of the principles of the artist's Balzac with the methodology of the science of his time. However, by 1839, he stopped on another title - "Human Comedy", which expresses the copyright to the bushes of his century, and the writer's audacity of Balzak, who dreamed that his work would be for modernity the same than the Dante "Divine Comedy" was for Middle Ages. In 1842, "Preface to the" Human Comedy "was written, in which Balzac outlined his creative principles, described the ideas based on the compositional structure and figurative typing of the" human comedy ". By 1844, the author's catalog and the final plan in which the names of 144 works are indicated; Of these, Balzac managed to write 96. This is the most large-scale work of the XIX century literature, for a long time, especially in Marxist criticism, which has become a reference to literary creativity. Cemented the giant building of the "Human Comedy" The personality of the author and its conditioned unity of the style invented by Balzac a system of passing characters and the unity of the problematics of its works.

Since 1832, the correspondence of Balzak began with the Polish aristocrat of E. Ganskaya, living in Russia. In 1843, the writer went to her Petersburg, and in 1847 and 1848 - to Ukraine. Official marriage with E. Ganskaya was concluded 5 months before the death of Onor de Balzak, the deceased on August 18, 1850 in Paris. In 1858, the sister of the writer, Ms. Surville, wrote his biography - "Balzac, Sa Vie Et Ses Ouvres D" APRES SA CORRESPONDANCE ". The authors of biographical books about Balzac were Stephen Collegu (" Balzac "), Andre Morua (" Prometheus, Or Life Balzak "), Wurmeser (" Inhuman Comedy "). Balzac Shagreen Leather Roman

"Shagreen leather" is a product of an extraordinary depth. Many researchers are attracted by acute problems, unusual aesthetics, the author's innovative methods against the background of the era literature. Each of the numerous aspects of the novel hides in itself a huge potential and involves different points of view. Balzac himself gives hints, in which directions the idea of \u200b\u200ba scientist can move. In their notes, he gave such definitions of the novel: "Philosophical Etude", "Eastern Fairy Tale", "System".

The novel is definitely the work of "synthetic". In it we will see the transformation of the life of a separate person, the stage in the development of society, the historical era, the philosophical idea and the whole ideological system. Each of these meanings deserves a detailed study, and together they give an idea of \u200b\u200bthe scale of novel and the creativity of Balzak at all.

This work is devoted to the most interesting aspects of the work, as well as the attention of the artistic synthesis of Balzak. The purpose of the work is to familiarize with the various semantic faces of the novel, with the existing points of view of literary critics and critics.

Roman "Shagreen Leather" (1831) is based on the conflict of the clashes of a young man with its time. Since this novel belongs to the section "Human Comedy", called "Philosophical Etudes", this conflict is solved here in the most abstract, abstract form, besides, in this novel, it is clear than that of the standal, the connection of early realism with the preceding literature of romanticism is manifested. This is one of the most colorful Balzac novels, with a dynamic whimsical composition, with a flowery, descriptive style, with a fantastic imagination.

The idea of \u200b\u200b"shagreen skin", as will be with many works of Balzak, passed several stages. According to the show of the contemporary, originally Balzac wanted to write a novel, where the thought of the psyche authorities should be expressed differently. The properties of the talisman according to this plan were assumed to be an invention of Antiquary, the hero believed gross deception and died only from horror before his imaginary lord. It is clearly seen how far was the author from mysticism - and this feature of the idea was completely preserved. Such a plan did not reduce special art depth, and a capital shift occurred. Balzac announced the plot metamorphosis: the talisman will be "real." Fantasy left the inviolable basis of the idea - the idea of \u200b\u200ban inseparable connection of physical and spiritual began, but complicated her: there was an opposition of two types of life, "economical" and "wasteful", the idea of \u200b\u200bswitching energy from passions to "clean" contemplation and knowledge.

In the working notebook, the Balzak "Shagreen skin" is devoted to several records: "The skin is invented, personifying life. Eastern fairy tale. " "Shaped skin. The expression of human life as such, its mechanics. At the same time, the personality is described and evaluated, but poetic.

The creative story of the novel ran between two milestones: from the "Eastern Fairy Tale" to the "Formula of this Century". The former meaning was synthesized with the burning contemporary.

"Shagreen skin" is written on the hottest trails of the July revolution of 1830, and the time of action in the novel almost coincides with the time of writing. Roman is replete with the signs of those years. To portray this time with its spiritual atmosphere meant to certainly depict discontent and deep disappointment, which owned the minds. "The disease of the century" is a challenge and longing of integrity, in meaningfulness, invalid egoism. Thank you for the ideal of the young people of the century on different frets asked the question: "About the world, what did you do to tell me to cause such hatred? What high hopes did you deceive? " All these sentiments were embodied in the novel.

The main hero of "Shagreen Skin" - Raphael de Valenten. The reader meets him at the time when he, exhausted by a humiliating poverty, is ready to commit suicide, rushing into the cold waters of the Seine. On the threshold of suicide, it stops the case. In the old man-antiquary shop, he becomes the owner of the magic talisman - shagreen skin performing all the wishes of the owner. However, as the desires are fulfilled, the mascot decreases in size, and the life of the owner is shortened. Raphael is nothing to lose - he takes the gift of Antiquar, not very believing the magic of the talisman, and begins to waste life in the desires of all the pleasures of youth. When he realizes that chasing the skin is actually cuts, he forbids herself to be desired in general, but late - on top of wealth, when he dustily loves, and without shageless skin, charming Polina, he dies in the arms of his beloved . The mystical, fantastic element in the novel emphasizes his relationship with aesthetics of romanticism, but the nature of the problems and the way they are set in the novel are characteristic of realistic literature.

Rafael de Valenten on origin and upbringing is a sophisticated aristocrat, but his genus lost everything during the revolution, and the effect in the novel unfolds in 1829, at the end of the restoration era. Balzac emphasizes that in the post-revolutionary French society, ambitious desires naturally arise from a young man, and Raphael is aburred by the desires of glory, wealth, love of beautiful women. The author does not question the legality and value of all these aspirations, and accepts them as a given; The center of the problems of the novel is shifted to the philosophical plane: what is the price that man has to pay for his desires? The career problem is set in "Shagreen skin" in the most general form - boiling of pride, faith in its own destination, to their genius cause Raphael to experience two ways to glory. The first is in stubborn work at full poverty: Rafael proudly tells how for three years he lived on three hundred sixty-five francs a year, working on the writings that should be glorified. In the novel, purely realistic details appear when Rafael describes its life in the poor attic "on three SU - bread, on two - milk, on three - sausages; With hunger you will not die, and the Spirit is in a state of particular clarity. " But passion fond of him from a clear path of scientist in the Pochin: Love for a "woman without a heart", Countess Theodore, incarnating a secular society in the novel, pushes Raphael to the gambling table, to crazy spending, and the logic of "Kathers of pleasure" leaves him the last way out - suicide.

The sage antiquary, passing the Raphael chasing the skin, explains him that henceforth his life is only a delayed suicide. The hero will have to comprehend the ratio of two verbs, guiding not just human careers, but with all human life. These are verbs to desire and be able: "It burns us to burn, and be able to destroy, but it gives our weak organism to know the opportunity forever in calm state." Here is the symbolism of the talisman - a can be mounted in shagreen skin and desire, but for its power it is the only possible price - human life.

The main character is the embodiment of the Presentations of Balzak on the high mission of the artist-Creator, combining the "true scientist", endowed with the "ability to compare and reflecting", which considers it natural to "speak on the field of elegant literature."

Balzac called his novel "Philosophical". "Shagreen skin is a new quality of the genre. In it, artistic techniques of the philosophical tale of the 18th century are combined with the latitude and multigid of symbolic images and episodes. Balzac implemented the idea of \u200b\u200bfreedom from genre restrictions in the novel. This novel was both epic and history, and pathetic satire; It was the "philosophical etude" and "fairy tale."

Balzac himself called this novel, subsequently referred to the "philosophical etudes", "the beginning of all my case." In it, in the form of parables, the fact that it will later be deployed in a realistic plan in dozens of novels. The form of parables does not change the circumstance that in this work there is a condensed, complete contrast and boiling passion picture of real life. Rafael receives a talisman that performs the desires of the price of life. "Wish" and "me" - between the two words, according to the approval of the mysterious antiquary, is all human life. A young man finds himself at the crossroads and must choose the road. Conquesting of the situation in society - the sale of your own soul. This is one of many cases when the artistic generalization of Balzak rises to the level of myth. A genuine myth is an image, the situation is deeply meaningful and possessing large generality. In myth, eternal and historical merge as a common and concrete.

Shagreen leather. The "symbol" of Balzak is a wide concept, one of the central and most stable in its aesthetics. Symbols, he also calls its own or created by other artists.

The mascot, created by the imagination of Balzak, became a common symbol and has the wider appeal. It is constantly found in a variety of contexts, in speech and literature as a common image of the need and inexorable objective law. What exactly puts the mascot in the novel? The symbol is far from unambiguity, and a lot of very different answers was given to this question. So, F. Berto sees in chaxeware only the embodiment of Changing, devouring Rafael, turning the symbolism of the novel into the allegory of the well-type; B. Gueon is a symbol of indigenous vanity and amorality of civilization, any social system. M. Shaginyan and B. Raskin bind the power of the skin with the "storm", the authorities of things on people. I. Lileeva distinguishes such a thought in the novel: "In the form of shagreen leather, a generalization of the bourgeois life, subordinate to the pursuit of wealth and pleasures, the generalization of the power of money, the terrible force of this world, devastating and crumpled human personality is given. Most of the proposed decisions do not exclude each other and finds the foundation in the text of the novel, which, thanks to its artistic wealth, it is naturally amenable to many interpretations. All solutions have one common premise: Shagreen leather is a symbol of the immutability of an objective law, against which any subjective protest of personality is reserved. But what is the law on the author's plan? What did the problem of the problem of his novel saw the problem of Balzac? At the perched by the Arab inscription, the meaning of which explains the antiquarian: "All forms of two reasons are reduced to two verbs to desire and be able ... It burns us, and it destroys me." Longevity is achieved by plant or contemplative existence, excluding exhausting passions and actions. The more intense the person lives, the faster he burns. Such a dilemma leaves the choice, and this choice between opposite solutions is determined by the essence of a person.

The game.A visit to Raphael of Gambling and the Loss of the Last Golden - the image of extreme despair caused by the need and loneliness. The gambling house in all his godfather is a place where "blood flows flows", but invisibly for the eyes. The word "game" twice is highlighted in the text of a large font: the image of the game symbolizes the reckless self-stitching of a person in Azart, in passion. So living the old manner, losing all his earnings on the day of receipt; Such is a young Italian player, from whose person has sleigh "gold and fire"; Such and Rafael. In sharp unrest of the game, life flows like blood through the wound. The state of the hero after the loss is transmitted by the question: "Would he be drunk from life, or, perhaps, from death?" - The question is in many ways the key for the novel, in which life and death relate to each other and dismissed.

Antiquard's shop.The Antiquary store opposes the scene of a roulette game as a symbolic embodiment of another way of life. On the other hand, a shop - a hyperbolic accumulation of values, in the museum world faced opposites, contrasts of civilizations are described. The thought of Raphael at the inspection of the bench as if follows the development of mankind, he refers to entire countries, centuries, kingdoms. The shop is fully reflecting the mutual influence of verbal and fine arts. One of the symbolic values \u200b\u200bis that the shop is a compressed image of the global life of all ages and in all its forms. Also, an antique store is called "a kind of philosophical garbage dump", "extensive corruption of human madness." The law, drawn on the skin, should appear as a reasonable experience of centuries, so Antiquard's shop is a decent medium for the talisman.

Orgy.Next of the main symbolic scenes of the novel - banquet on the occasion of the founding of the newspaper. Antique shop - past of mankind, orgy - a lively modernity, which puts the same dilemma in an exacerbated form. Orgy - execution of the first demand of Raphael to Talisman. In the romantic literature of the thirties, descriptions of feasts and bushes were common. In the novel, the Balzak scene of the Orgius carries many functions in his "Analysis of the society's ulcers". The overaffect of luxury expresses the reckless breeding of vitality in sensual passions and pleasures. Orgy - the septicism of the era in the main issues of public and spiritual life - in the "mass scene", where the characters of the interlocutors are clearly drawn in replicas and author's remarks. Balzac owned the art of creating an image with the help of one or two replicas, one gesture.

In the complaints of disappointed "Children of the Century" on a challenge, the inner devastation is the main place of destruction of a religious feeling, disbelief in love; Cleverness in other matters of being seems to be derived from this main.

In the rampage there are also their own poetry, in the mouth of Raphael invested the peculiar experience of its explanation, almost poignic. The rampant leads to himself, like all the abyss, he flatters human pride, in him the challenge to God. But, finding intoxicating the feelings in his temptation, Balzac in a merciless light draws the morning. This is the usual method of the author - show both sides of the medal.

A fantastic image of shaggy skin, a symbol of decreasing life, combined a generalization with the possibilities of an entertaining story. Balzac Vials fiction, drawing a fantastic effect of the talisman, leaves a place for a possible natural explanation of events. Fantastic files so as not to exclude the substitution of natural. The second way is genuinely original: Balzac has brought closer and relaxed a fantastic topic with scientific, heating the fantastics in the spirit of science, translating it to new rails. Whenever fantasy appears in action, the separation of the likely happens gently. The impressions of naturalness by the author is achieved by various means. For Balzak, the wonderful, equal to the inexplicable, really impossible and unthinkable, from here realistic motivation. In his workbook recorded: "There is nothing fantastic. We imagine only what is there will be or was. "

The artistic symbolism of the novel diverges with traditions and full of surprises. The pact with the devilish power is a rather ordinary motive of pre-gate and romantic literature, but there is no religious feeling in the novel, the contract is irreversible, the talisman is inalted. While the skin exists outside the contract, it is neutral, but one day associated with the owner, comes to life.

Fantasy Balzak develops in another sphere than, for example, fantastic Hoffman. The highest manifestations of life most of all are destroyed by approaching death. In everyday life everyday life, it is hidden. For Balzak, the truth is obvious that "the denial of life is essentially contained in the life itself." Its fiction is similar to the accelerated scrolling of the film, "compressing" in time and makes the obvious process that, due to the slowness, is impaired.

Fantastic symbolism best complied with that purpose that Balzac put in this novel. And fantasy here is one of the funds in his artistic arsenal.

Literature

1. Brahman, S.R. Balzac // History of foreign literature of the 19th century. -M., 1982. - S. 190-207.

2. Horses, B. Genius Balzak // Questions of literature. - 2002. -№3. - p.122-131.

3. Reznik, R. What we see Balzak // Questions of Literature. - 1990. -№6. - p.242-250.

4. Reznik, R.A. Roman Balzak "Shagreen Skin". - Saratov, 1971.

5. Elsarova, G.M. "Fantastic" works of Balzak // Bulletin of the Leningrad University. Series 2. - 1986. -Full 1. - C.180-110.

The philosophical story "Shagreen leather" is familiar with us from school bench. His author of Onor Balzac believed that the formula for the existence of society in the modern writer of France was revealed in this work. The work reflects the system of values \u200b\u200band relations in society, reveals the egoism of a separate person. The genius of realism Balzac resorted to mythology and symbolism so that the reader thinks: what is the true meaning of life.

Name

Used in the title The word Le Chagrin has two values. This ambiguity and was originated by the author. Le Chagrin is translated as "shagreen" or shagreen leather, and in another value it is grief and sadness.

And indeed, the fantastic and almighty item gave an imaginary happiness to the chief hero, having relived it from poverty. However, in fact, he became the cause of even greater misfortune for him. This skin deprived the character of the ability to create, deprived the feelings of compassion and the ability to receive joy from life. As a result, she completely destroyed the spiritual world of its owner. It is not by chance that a rich banker Daefer killed a man. It is not by chance that the Chinese Charter is not accidental: the French are not equal to the law, there are people who submit the law.

"Shagreen leather": analysis of the work

Balzac in his work with a large degree of accuracy depicted the life of the country in the XIX century. The fantastic rebirth of Raphael is exposed in front of the reader the life of a person who has become a hostage of wealth. In fact, he turned into an automatic, an insensible robot, whose only goal is to hold it. Philosophical fiction in combination with realism gives the story a special flavor. Owing on the character is that in the work is called as "shaggy skin", Balzac describes the condition and physical suffering of the patient with tuberculosis. They are so real that there is a frost on the skin when you read these lines.

Characters

The story "Shagreen leather", the short content of which will not be able to transfer the atmosphere of the era, enthusiasm and captures. To enhance the contrast, the onor uses two female images radically different from each other. On the one hand, this is Polina, the embodiment of disinterested love and kindness. And on the other hand, aeodora, characteristic of silent, self-adequacy, ambiguity, vagueness, experiencing a dead boredom. These are precisely the qualities that representatives of the Company possesses, which worships the world of money, society, in which there is no place to a loving human heart. An important figure in the story is Antikvar, who opened Raphael the secret of human life. Critics believe that Balzac himself, who wanted to convey his personal thoughts to his reader to the reader.

Conclusion

"Shagreen leather" is a complex story. Behind the fabulous plot read warning to all of us. Stop, people! Look at yourself. Do you want to live where there is no place to be sincere feelings and real joy, and maybe wealth, how much would it be huge, to replace the meaning of life?