"The History of a City": chapter-by-chapter analysis of the work. M.E
History of creation
Leaving work on the “Pompadours and Pompadours” series for a while, Saltykov got excited about the idea of creating the novel “The History of a City,” thematically related to “Pompadours and Pompadours.”
In January 1869, the satirist appeared with the first chapters of “Inventory for City Governors” and “Organchik” in the magazine “Domestic Notes” (No. 1), but until the end of the year he suspended work in order to implement the idea of creating fairy tales (“The Tale of How One Man Two fed the generals”, “I lost my conscience”, “ Wild landowner"). In addition, the work “Gentlemen of Tashkent” was outlined; it was necessary to bring “Signs of the Times” and “Letters about the Province” to their logical conclusion. Saltykov does not leave work in the magazine: a series of journalistic and literary-critical articles and reviews appears. Over the course of ten literary and literary-critical articles and reviews.
Returning to work on the novel, already in No. 1-4, 9 (“Notes of the Fatherland”) in 1870, he published a continuation of “The History of a City.” In 1870, the book was published as a separate edition entitled “The History of a City.” Based on original documents, it was published by M. E. Saltykov (Shchedrin).
“The History of a City” caused a lot of interpretation and indignation, which forced Saltykov to respond to an article by the famous publicist A. Suvorin. The author of the critical article “Historical Satire”, which appeared in the April issue of the magazine “Bulletin of Europe” for 1871, accused the writer of mocking the Russian people and distorting the facts of Russian history, without penetrating the depth of the plan and essence artistic originality works. I. S. Turgenev called the book wonderful and believed that it reflected “the satirical history of Russian society in the second half of the last and the beginning of this century.”
M.E. Saltykov-Shchedrin knew that “a writer whose heart has not suffered from all the pains of the society in which he operates can hardly claim in literature a significance above the mediocre and very fleeting.” Nevertheless, the previous interest of the reading public in Saltykov’s work faded somewhat after the publication of the novel.
Plot
The story begins with the words of the author, who introduces himself exclusively as a publisher who allegedly found a real chronicle with a story about the fictional city of Foolov. After a short introduction on behalf of a fictional chronicler, there is a story about “the roots of the origin of the Foolovites,” in which the author gives the first sketches of a satire on historical facts. But the main part itself tells about the most prominent mayors of the city of Foolov.
Dementy Varlamovich Brudasty, the eighth mayor of Foolov ruled for a very short period of time, but left a noticeable mark on the history of the city. He stood out from the others in that he was not an ordinary person, and in his head, instead of a brain, he had a strange device that produced one of several phrases programmed into it. After this became known, civil strife began, leading to the overthrow of the mayor and the beginning of anarchy. In a short period of time, there were six rulers in Foolov, who, under various pretexts, bribed soldiers to seize power. Afterwards he reigned in Foolov for many years Dvoekurov, whose image was reminiscent of Alexander I, because he, scared, did not complete some assignment, because of which he was sad all his life.
Pyotr Petrovich Ferdyshchenko, the former orderly of Prince Potemkin, the mayor “enterprising, frivolous and carried away,” subjected the city to famine, fire, and died of gluttony during his reign when he went on a journey through the lands under his control in order to feel like the emperors who traveled around the country.
But Foolov ruled the longest Vasilisk Semyonovich Wartkin, during his power he subjected the Streletskaya and Dung settlements to destruction.
Satirical focus
In its focus, the story is a satire on many historical figures of the Russian Empire and on some events indicated in Inventory of Mayors era.
Shchedrin himself said:
“If I were really writing a satire on the 18th century, then, of course, I would limit myself to “The Tale of the Six City Leaders””
But besides the obvious parallels in Tales of the Six City Leaders, which contains allusions to the 18th century empresses Anna Ioannovna, Anna Leopoldovna, Elizaveta Petrovna and Catherine II and their rise to power through palace coups, the story contains a large number of parodies of other historical figures of that era - Paul I, Alexander I, Speransky, Arakcheev and others. In the cartoon based on the work, the real city of Kostroma appears as the city of Foolov: buildings that exist and existed in the era described (for example, a fire tower) are shown.
Film adaptations
- Film "It" by Sergei Ovcharov.
- Cartoon “The History of a City. Organic"
Theater productions
- Performance “The History of a City”. Director - Boris Pavlovich, play - Maria Boteva. Staged at the Theater on Spasskaya (Kirov State Youth Theater). The premiere took place on July 6, 2012.
- The play “The History of the City of Foolov” - director Egorov, Dmitry Vladimirovich. Staged in the theater: Novosibirsk Drama Theater "Red Torch". The premiere took place on December 17, 2011 in Novosibirsk.
- Photo gallery of the play “The History of the City of Foolov” on the theater website
- Photo report with comments from the dress rehearsal before the premiere of the play “The History of the City of Foolov” on December 17, 2011.
Illustrations
- Illustrations for the story “The History of a City,” made by the artist A. N. Samokhvalov, were awarded the Grand Prix at the international exhibition in Paris in 1937.
see also
Notes
Saltykov-Shchedrin | |
---|---|
Novels and Chronicles |
Messrs. Golovlevs · The story of one city · Poshekhonskaya antiquity · Monrepos Asylum |
Fairy tales | Conscience gone · Faithful Trezor · Wild landowner · Crucian idealist · The Tale of a Zealous Boss · Bear in the province · Eagle Patron · The wise minnow · The story of how one man fed two generals · Selfless hare · Poor wolf · Sane Hare · Liberal · Horse · Adventure with Kramolnikov · Christ's night · Christmas tale · Dried roach · Virtues and Vices · The deceiving newspaperman and the gullible reader · Unsleeping Eye · Fool · Ram-Nepomnyashchy · Kissel · Idle talk · Bogatyr · Raven petitioner · Toy business people · Neighbours · Village fire · By the way |
Stories | Anniversary · kind soul · Spoiled Children · Neighbours · Chizhikovo Mountain |
Essays | In a mental hospital · Gentlemen of Tashkent · Lord Molchalin · Provincial essays · Diary of a provincial in St. Petersburg · Abroad · Letters to Auntie · Innocent stories · Pompadours and pompadours · Satires in prose · Modern idyll · Well-Intentioned Speeches |
Comedy | Death of Pazukhin · Shadows |
Grustilov Erast Andreevich - Foolov's mayor, state councilor. “Friend of Karamzin” (bears the name of one of his main characters “ Poor Lisa"). “The tenderness and sensitivity of his heart” did not prevent him from “disposing of government property quite easily”...
As one of the researchers of the work of M.E. Saltykov-Shchedrin, V.K. Kirpotin, determined, “Shchedrin was not interested in the biographies of mayors. His attention was focused on the power that determined the life of the country and the nature of government. Power is explored by a satirist...
Ferdyshchenko Pyotr Petrovich - brigadier, former orderly of Prince Potemkin. At first, the Foolovites “saw the light” during his reign, since F., in his simplicity, “did not interfere in anything” for six whole years. However, then he “became active” and began to enjoy it, shamelessly...
The work of Saltykov-Shchedrin, a democrat for whom the autocratic-serf system reigning in Russia was absolutely unacceptable, had satirical orientation. The writer was outraged by the Russian society of “slaves and masters”, the outrages of the landowners, obedience...
The main themes of the works of M. E, Saltykov-Shchedrin are the denunciation of the autocracy, the ruling class, as well as the problem of the people. In fairy tales and in the novel "The History of a City" are strong folklore traditions. Many fairy tales begin as Russian folk tales...
By creating the ironic, grotesque “History of a City,” Saltykov-Shchedrin hoped to evoke in the reader not laughter, but a “bitter feeling” of shame. The idea of the work is built on the image of a certain hierarchy: ordinary people who will not resist the instructions of often stupid rulers, and the tyrant rulers themselves. In this story, the common people are represented by the residents of the city of Foolov, and their oppressors are the mayors. Saltykov-Shchedrin ironically notes that these people need a boss, one who will give them instructions and keep a tight rein, otherwise the whole people will fall into anarchy.
History of creation
The concept and idea of the novel “The History of a City” was formed gradually. In 1867, the writer wrote a fairytale-fantastic work, “The Story of the Governor with a Stuffed Head,” which later formed the basis for the chapter “The Organ.” In 1868, Saltykov-Shchedrin began working on “The History of a City” and completed it in 1870. Initially, the author wanted to give the work the title “Foolish Chronicler.” The novel was published in the then popular magazine Otechestvennye zapiski.
The plot of the work
(Illustrations of the creative team Soviet graphic artists"Kukryniksy")
The narration is told on behalf of the chronicler. He talks about the inhabitants of the city who were so stupid that their city was given the name “Fools”. The novel begins with the chapter “On the Roots of the Origin of the Foolovites,” which gives the history of this people. It tells in particular about a tribe of bunglers, who, after defeating the neighboring tribes of bow-eaters, bush-eaters, walrus-eaters, cross-bellied people and others, decided to find a ruler for themselves, because they wanted to restore order in the tribe. Only one prince decided to rule, and even he sent an innovative thief in his place. When he was stealing, the prince sent him a noose, but the thief was able to somehow get out of it and stabbed himself with a cucumber. As you can see, irony and grotesque coexist perfectly in the work.
After several unsuccessful candidates for the role of deputies, the prince came to the city in person. Having become the first ruler, he started the countdown of the “historical time” of the city. It is said that twenty-two rulers with their achievements ruled the city, but the Inventory lists twenty-one. Apparently, the missing one is the founder of the city.
Main characters
Each of the mayors fulfills his task in implementing the writer’s idea through the grotesque to show the absurdity of their rule. Traits are visible in many types historical figures. For greater recognition, Saltykov-Shchedrin not only described the style of their rule, comically distorted their surnames, but also gave apt characteristics pointing to the historical prototype. Some personalities of the mayors are images collected from characteristic features different faces of the history of the Russian state.
Thus, the third ruler, Ivan Matveevich Velikanov, famous for drowning the director of economic affairs and introducing taxes of three kopecks per person, was exiled to prison for an affair with Avdotya Lopukhina, the first wife of Peter I.
Brigadier Ivan Matveyevich Baklan, the sixth mayor, was tall and proud to be a follower of the line of Ivan the Terrible. The reader understands that this refers to the bell tower in Moscow. The ruler found his death in the spirit of the same grotesque image that fills the novel - the foreman was broken in half during a storm.
The personality of Peter III in the image of Guard Sergeant Bogdan Bogdanovich Pfeiffer is indicated by the characteristic given to him - “a Holstein native”, the style of government of the mayor and his outcome - removed from the post of ruler “for ignorance”.
Dementy Varlamovich Brudasty was nicknamed “Organchik” for the presence of a mechanism in his head. He kept the city in fear because he was gloomy and withdrawn. When trying to take the mayor's head to the capital's craftsmen for repairs, it was thrown out of the carriage by a frightened coachman. After Organchik's reign, chaos reigned in the city for 7 days.
A short period of prosperity for the townspeople is associated with the name of the ninth mayor, Semyon Konstantinovich Dvoekurov. A civilian advisor and innovator, he took up appearance city, started honey and brewing. Tried to open an academy.
The longest reign was marked by the twelfth mayor, Vasilisk Semenovich Wartkin, who reminds the reader of the style of rule of Peter I. The character’s connection with a historical figure is indicated by his “glorious deeds” - he destroyed the Streletskaya and Dung settlements, and difficult relations with the eradication of the ignorance of the people - he spent four wars for education and three - against. He resolutely prepared the city for burning, but suddenly died.
By origin, a former peasant Onufriy Ivanovich Negodyaev, who, before serving as mayor, stoked furnaces, destroyed the streets paved by the former ruler and erected monuments on these resources. The image is copied from Paul I, as evidenced by the circumstances of his removal: he was dismissed for disagreeing with the triumvirate regarding the constitutions.
Under State Councilor Erast Andreevich Grustilov, Foolov's elite was busy with balls and nightly meetings with the reading of the works of a certain gentleman. As in the reign of Alexander I, the mayor did not care about the people, who were impoverished and starving.
The scoundrel, idiot and “Satan” Gloomy-Burcheev has a “speaking” surname and is “copied” from Count Arakcheev. He finally destroys Foolov and decides to build the city of Neprekolnsk in a new place. When attempting to implement such a grandiose project, the “end of the world” occurred: the sun went dark, the earth shook, and the mayor disappeared without a trace. This is how the story of “one city” ended.
Analysis of the work
Saltykov-Shchedrin, with the help of satire and grotesque, aims to reach human soul. He wants to convince the reader that human institutions must be based on Christian principles. Otherwise, a person's life can be deformed, disfigured, and in the end can lead to the death of the human soul.
“The History of a City” is an innovative work that has overcome the usual boundaries of artistic satire. Each image in the novel has pronounced grotesque features, but is at the same time recognizable. Which gave rise to a flurry of criticism against the author. He was accused of “slander” against the people and rulers.
Indeed, the story of Foolov is largely copied from Nestor’s chronicle, which tells about the time of the beginning of Rus' - “The Tale of Bygone Years.” The author deliberately emphasized this parallel so that it becomes obvious who he means by the Foolovites, and that all these mayors are by no means a flight of fancy, but real Russian rulers. At the same time, the author makes it clear that he is not describing the entire human race, but specifically Russia, reinterpreting its history in his own satirical way.
However, the purpose of creating the work Saltykov-Shchedrin did not make fun of Russia. The writer’s task was to encourage society to critically rethink its history in order to eradicate existing vices. The grotesque plays a huge role in creating artistic image in the works of Saltykov-Shchedrin. The main goal of the writer is to show the vices of people that are not noticed by society.
The writer ridiculed the ugliness of society and was called a “great scoffer” among such predecessors as Griboyedov and Gogol. Reading the ironic grotesque, the reader wanted to laugh, but there was something sinister in this laughter - the audience “felt like a scourge lashing itself.”
Saltykov-Shchedrin’s novel “The History of a City” was written during 1869-1870, but the writer worked not only on it, so the novel was written intermittently. The first chapters were published in the journal Otechestvennye zapiski No. 1, where Saltykov-Shchedrin was the editor-in-chief. But until the end of the year, work on the novel stopped, as Saltykov-Shchedrin took up writing fairy tales, completed several unfinished works and continued to write literary criticism.
The continuation of “The History of a City” was published in 5 issues of “Notes of the Fatherland” for 1870. In the same year, the book was published as a separate edition.
Literary direction and genre
Saltykov-Shchedrin is a writer of a realistic direction. Immediately after the book was published, critics defined the genre variety of the novel as a historical satire, and treated the novel differently.
From an objective point of view, Saltykov-Shchedrin is as great a historian as he is a wonderful satirist. His novel is a parody of chronicle sources, primarily “The Tale of Bygone Years” and “The Tale of Igor’s Campaign.”
Saltykov-Shchedrin offers his own version of history, which differs from the versions of Saltykov-Shchedrin’s contemporaries (mentioned by the first chronicler Kostomarov, Solovyov, Pypin).
In the chapter “From the Publisher,” Mr. M. Shchedrin himself notes the fantastic nature of some episodes (the mayor with music, the mayor flying through the air, the mayor’s feet facing backwards). At the same time, he stipulates that “the fantastic nature of the stories does not in the least eliminate their administrative and educational significance.” This satirical phrase means that “The History of a City” cannot be considered as a fantastic text, but as a mythological one that explains the mentality of the people.
The fantastic nature of the novel is associated with the grotesque, which allows one to depict the typical through extreme exaggeration and deformation of the image.
Some researchers find dystopian features in “The History of a City.”
Topics and problems
The theme of the novel is the hundred-year history of the city of Foolov - allegories Russian state. The history of the city is the biographies of mayors and descriptions of their great deeds: collection of arrears, imposition of tribute, campaigns against ordinary people, construction and destruction of pavements, fast travel on postal roads...
Thus, Saltykov-Shchedrin raises the problem of the essence of history, which is beneficial for the state to consider as the history of power, and not the history of compatriots.
Contemporaries accused the writer of revealing the supposedly false essence of reformism, which led to the deterioration and complication of the people's life.
The democrat Saltykov-Shchedrin was concerned about the problem of the relationship between man and the state. Mayors, for example, Borodavkin, believe that the meaning of life for “ordinary people” living in the state (not on earth!) is in pensions (that is, in state benefits). Saltykov-Shchedrin understands that the state and ordinary people live on their own. The writer knew this first-hand, having himself for some time played the role of “mayor” (he was vice-governor in Ryazan and Tver).
One of the problems that worried the writer was the study of the mentality of his compatriots, their national character traits that influence their position in life and cause “insecurity in life, arbitrariness, improvidence, and lack of faith in the future.”
Plot and composition
The composition of the novel from the moment of its first publication in the magazine was changed by the author himself, for example, the chapter “On the root of the origin of the Foolovites” was placed third, following the introductory chapters, which corresponded to the logic of the ancient Russian chronicle, starting with mythology. And supporting documents ( works of three mayors) moved to the end, as historical documents are often placed in relation to the author’s text.
The last chapter, appendix “Letter to the Editor,” is Shchedrin’s indignant response to a review in which he was accused of “mockery of the people.” In this letter, the author explains the idea of his work, in particular, that his satire is directed against “those features of Russian life that make it not entirely comfortable.”
“Address to the Reader” was written by the last of the four chroniclers, archivist Pavlushka Masloboinikov. Here Saltykov-Shchedrin imitates real chronicles that had several authors.
The chapter “On the Roots of the Origin of the Foolovites” talks about the myths and prehistoric era of the Foolovites. The reader learns about tribes warring among themselves, about the renaming of blockheads into Foolovites, about the search for a ruler and the enslavement of the Foolovites, who found for themselves a prince who was not only stupid, but also cruel, the principle of whose rule was embodied in the word “I’ll screw up,” which begins the historical period of Foolov. The historical period considered in the novel occupies a whole century, from 1731 to 1825.
“Inventory for mayors” - a brief description of 22 mayors, which emphasizes the absurdity of history by the concentration of the described madmen, of whom the least, “having accomplished nothing,... was removed for ignorance.”
The next 10 chapters are devoted to describing the most prominent mayors in chronological order.
Heroes and images
“The Most Remarkable Mayors” deserved closer attention from the publisher.
Dementiy Varlamovich Brudasty is “more than strange.” He is silent and gloomy, also cruel (the first thing he did was flog all the coachmen), and is prone to fits of rage. Brudasty has and positive quality– he is managerial, puts in order the arrears left behind by his predecessors. True, he does this in one way - officials catch citizens, flog them and flog them, and seize their property.
The Foolovites are horrified by such rule. They are saved by the breakdown of the mechanism that is located in Brudasty’s head. This is an organ that repeats only two phrases: “I will ruin” and “I will not tolerate.” The appearance of the second Brudasty with a new head relieves the Foolovites from a couple of organs, declared impostors.
Many of the characters are satires on real rulers. For example, the six mayors are empresses of the 18th century. Their internecine warfare lasted 6 days, and on the seventh day Dvoekurov arrived in the city.
Dvoekurov is a “man of the forefront,” an innovator who was engaged in fruitful activities in Glupov: he paved two streets, opened brewing and mead making, forced everyone to use mustard and bay leaves, and flogged the disobedient, but “with consideration,” that is, for the cause.
Three whole chapters are dedicated to Pyotr Petrovich Ferdyshchenko, the foreman. Ferdyshchenko is Prince Potemkin’s former orderly, a simple man, “good-natured and somewhat lazy.” The Foolovites consider the mayor stupid, a fool, they laugh at his tongue-tiedness, and call him a rogue old man.
During the 6 years of Ferdyshchenko's reign, the Foolovites forgot about the oppression, but in the seventh year Ferdyshchenko went berserk and took away his husband's wife Alyonka, after which a drought began. The Foolovites, in a fit of rage, threw Alyonka from the bell tower, but Ferdyshchenko was inflamed with love for the archer Domashka. For this, the Foolovites suffered a terrible fire.
Ferdyshchenko repented before the people on his knees, but his tears were hypocritical. At the end of his life, Ferdyshchenko traveled around the pasture, where he died of gluttony.
Vasilisk Semyonovich Wartkin (satire on Peter 1) is a brilliant city ruler, under him Foolov experiences a golden age. Wartkin was small in stature and not stately in appearance, but he was loud. He was a writer and a brave utopian, a political dreamer. Before conquering Byzantium, Wartkin conquers the Foolovites with “wars for enlightenment”: he reintroduces mustard, forgotten after Dvoekurov, into use (for which he undertakes an entire military campaign with sacrifices), demands to build houses on a stone foundation, plant Persian chamomile and establish an academy in Foolov. The obstinacy of the Foolovites was defeated along with contentment. The French Revolution showed that the education instilled by Wartkin was harmful.
Onufriy Ivanovich Negodyaev, a captain and former stoker, began the era of retirement from wars. The mayor tests the Foolovites for their toughness. As a result of the tests, the Foolovites became wild: they grew hair and sucked their paws, because there was no food or clothing.
Ksaviry Georgievich Mikaladze is a descendant of Queen Tamara, who has a seductive appearance. He shook hands with his subordinates, smiled affectionately, and won hearts “solely through graceful manners.” Mikaladze stops education and executions and does not issue laws.
Mikaladze's reign was peaceful, punishments were mild. The mayor's only drawback is his love for women. He doubled the population of Foolov, but died of exhaustion.
Feofilakt Irinarkhovich Benevolinsky - state councilor, assistant to Speransky. This is a satire on Speransky himself. Benevolinsky loved to engage in lawmaking. The laws he came up with are as meaningless as the “Charter on the Respectable Baking of Pies.” The mayor's laws are so stupid that they do not interfere with the prosperity of the Foolovites, so they become fatter than ever. Benevolinsky was exiled for his connection with Napoleon and called a scoundrel.
Ivan Panteleevich Pryshch does not make laws and governs simply, in the spirit of “limitless liberalism.” He rests himself and persuades the Foolovites to do so. Both the townspeople and the mayor are getting richer.
The leader of the nobility finally realizes that Pimple has a stuffed head, and eats it without a trace.
Mayor Nikodim Osipovich Ivanov is also stupid, because his height does not allow him to “accommodate anything extensive,” but this quality of the mayor benefits the Foolovites. Ivanov either died of fright, having received a “too extensive” decree, or was fired due to his brain drying out from their inaction and became the founder of microcephaly.
Erast Andreevich Grustilov is a satire on Alexander 1, a sensitive person. The subtlety of Grustilov's feelings is deceptive. He is voluptuous, in the past he hid government money, he is debauched, “in a hurry to live and enjoy,” so that he inclines the Foolovites towards paganism. Grustilov is arrested and dies of melancholy. During his reign, the Foolovites lost the habit of working.
Gloomy-Burcheev is a satire on Arakcheev. He is a scoundrel, a terrible person, “the purest type of idiot.” This mayor exhausts, scolds and destroys the Foolovites, for which he is nicknamed Satan. He has a wooden face, his gaze is free from thought and shameless. Gloomy-Burcheev is impassive, limited, but full of determination. He is like the force of nature, going ahead in a straight line, not recognizing reason.
Gloomy-Burcheev destroys the city and builds Nepreklonsk in a new place, but he fails to control the river. It seems that nature itself is ridding the Foolovites of him, carrying him away in a tornado.
The arrival of Gloomy-Burcheev, as well as the phenomenon that follows him, called “it”, is a picture of an apocalypse that ceases the existence of history.
Artistic originality
Saltykov-Shchedrin skillfully changes the speech of different narrators in the novel. The publisher M.E. Saltykov stipulates that he corrected only the “heavy and outdated style” of the Chronicler. In the address to the reader of the last archivist chronicler, whose work was published 45 years after it was written, there are outdated words of high style: if, this, such. But the publisher allegedly did not correct this particular appeal to readers.
The entire address of the last chronicler is written in the best traditions of the oratory art of antiquity, contains a series of rhetorical questions, and is replete with metaphors and comparisons, mainly from ancient world. At the end of the introduction, the chronicler, following the biblical tradition widespread in Rus', humiliates himself, calling him a “meager vessel,” and compares Foolov with Rome, and Foolov benefits from the comparison.