Analysis of the "history of one city" by Saltykov-Shchedrin, the main idea and theme of the work. The main problematic of the novel by Saltykov-Shchedrin "The History of One City" - Any composition on the topic The main idea of ​​the work is the history of one city

Mikhail Evgrafovich Saltykov-Shchedrin ridiculed the Russian government with his novel and described all its flaws in a satirical form. The novel is about a city that changed a large number of bosses, but none of them could do something good for the city. Saltykov-Shchedrin highlighted reality in his work, intertwined with fantasy.

In such a light and satirical form, the writer was able to fully express his thought and conceived idea. The novel "The Story of a City" depicts the problem of the whole of Russia. In a city in which bosses are constantly changing and cannot normally lead the state. All bosses are very stupid and each of them pursues his own goals.

Saltykov-Shchedrin writes about the city of Foolov as a capital, then as a provincial small town, then generally calls it a village. The author collected all segments of the population and described different times for the city. Mikhail Evgrafovich writes that the city stands on a swamp, and at other times it stands on seven hills.

In the novel "The History of a City", the main part is occupied by the description of the mayors who were sent to govern the city. Here Saltykov-Shchedrin also came up with great exaggeration and a satirical note. Each of the mayors did nothing to make the city prosperous, but only destroyed it and dragged it to the logs. Some bosses had an empty head in the corner, and there was only an organ in the corner, while others had a head that smelled like minced meat, which they even ate.

But the novel also describes the inhabitants of this very city, who are inactive. They do absolutely nothing to make a difference in their hometown and in their lives. The people simply watched how the myriad of bosses were replaced and how they destroyed the city and, in parallel, their lives. Residents of the city only adjust to each new boss and did not want to get out of this circle of injustice. You might think that the residents themselves do not want a good mayor for themselves, but are content with what they have.

Each chief is despotic towards the people in his own way, and the people, in turn, have already resigned themselves to their fate. The last mayor, who decides to destroy the city and rebuild it. Gloom-Grumblev's gaze terrifies the townspeople, and they follow him unconditionally. The construction began and the townspeople were left in the ruins of their own city.

In his novel, Saltykov-Shchedrin was able to vividly describe the problems of society and the state.

Option 2

Most writers of one era or another tried to convey their dissatisfaction with a particular situation through their works, trying to convey them as best as possible to the general mass of people. Someone tried to identify a problem that is inherent only in the period of their life, someone tried to convey their feelings about a topic that is inherent not only to their generation, but also to previous ones. One of these writers was Saltykov-Shchedrin.

Many of his works were educational in nature, trying to help people see the problem and suggest ways to solve it. Reading such works, people realized what was happening around them and tried to do at least something, and this is exactly what the works of Saltykov-Shchedrin are good for, they gave reason to think.

The work "The History of a City" tells the reader about a city in which people lived, which can be called, without exaggeration, the personification of a particular period in the life of our homeland. The city was called Foolov, and its inhabitants called themselves the Foolovites, most likely by this Saltykov-Shchedrin tried to convey their ignorance and limitations as much as possible. Further in the course of the story, we see that the city and its inhabitants are the literal embodiment of everything that a person would like to hide in himself and not let go. All those vices that are in him. The city is full of stupid people who try to obey, not think for themselves.

The works reveal many problems that were inherent in one period or another. For example, the work clearly reveals the problem of excessive corruption of the bureaucracy. Also in the work we see the problem of human rejection from society, the residents of the city do not care about everyone except themselves, they only care about their loved ones, which makes us think about human indifference in our society.

Also in the work you can see the obvious comical superiority of bureaucracy over ordinary people, as it was in the days of the writer.

One way or another, the work tells us about the most important things in human life, which we need to adhere to and follow them. Saltykov-Shchedrin tells us that spiritual things are much more important for a person than material values. The author tells us to stick to ourselves and not be led by the surrounding opinion, which can often be wrong. This generalized opinion Saltykov-Shchedrin recommends to be guided throughout life, which he, in fact, did.

Also, for his works, he experienced pressure from the authorities for his seemingly revolutionary impulses and oppositional themes.

In this essay, I analyzed the work of Saltykov-Shchedrin “The History of a City” from which I concluded that the work has a number of issues that the author pondered over in the work, and the problems of which are described above. The opinion described in the essay is subjective and does not claim to be true.

Essay based on the story The story of a city

Mikhail Evgrafovich Saltykov-Shchedrin wrote his work for several years, in the period from 1869 to 1870. Initially, the novel was called The Fool's Chronicler. Later it was renamed "The History of One City" and was published in parts in the journal "Otechestvennye zapiski" and caused violent emotions among the readers.

Most readers compare a written book with a short story, in fact it is not. The genre "Stories of one city" - "Satirical novel", which describes the life of the fictional city of Foolov, but the chronological events taking place in it take place from the chronicles found by the writer.

The novel is set in the town of Foolov, the name of which speaks for itself. The novel describes the life of city governors, their "great deeds": bribery, imposition of tribute, collection of various taxes and much more. Saltykov-Shchedrin in his work raised the main problem - the essence of the history of the Russian state. He assessed the past and present of Russia rather critically, since he considered the majority of the country's inhabitants to be "Foolovites." That in translation from the language of the ancient people means "caddies". For his ignorance and lack of understanding, he renamed them.

The novel begins with small warring tribes. Tired of the constant war among themselves, they decided to choose a person who would lead the affairs of the tribes and command their people. This is how the first prince in Russia and the city of Foolov appeared.
By this he described the formation of Ancient Russia and the rule of the Rurik dynasty.

First, the prince called to power entrusted some of the affairs to his landowner. But he turned out to be a thief, the ruler had to take tough measures himself. Then the writer lists most of the rulers of the Russian state, their contribution to history and deeds, how they distinguished themselves. The bosses changed one after another, their worldview and the absurdity of government, which the author indicates in his work, also changed.

Madness and unnecessary reforms created chaos and disorder in the country, people became beggars, devastation ensued. And the monarchs were in a constant state of drunkenness, then war, and they had nothing to do with ordinary people. A gradual series of mistakes on the part of the authorities led to dire consequences, which the author narrates with sarcasm and satire. Ultimately, the death that overtook the last ruler Gloom-Grumblev, because of which the narrative is cut off, gives the Russian people hope for a change in life for the better.

In the novel "The History of a City", the writer touched upon many topics important for the history of Russia, such as war, power, ignorance, religion, servility and fanaticism. Each topic is important in its own way and carries great meaning in the life of the common people.

The main problem described in the work, which Saltykov-Shchedrin wanted to emphasize, is the inaction and humility of the common people in relation to the authorities, their consent to the fact that monarchs infringe and oppress their rights, infringe on them. The writer is inclined to believe that people are afraid to become without their ruler. The fear of falling into anarchy is so strong that they are driven by force, and the desire to obey their boss.

The essence of the novel "The Story of a City" is that society does not want to make responsible decisions on its own, leaving everything on the shoulders of one person who cannot change the history of the country. The author wants to show that without the will of the people, their awareness and desire for a better life, nothing will change. The writer does not call for an open rebellion or revolution, but he is trying to convince the people that it is impossible to have blind obedience, only people and their will can influence changes for the better, you cannot be afraid of power, but, on the contrary, turn to it with your problems.

Sample 4

Perhaps Saltykov-Shchedrin is one of the few satirical writers in Russia in the 19th century. Yes, there were many classical authors, but in such a way as to make fun of, to present reality from the other side, then, of course, this is for Saltykov-Shchedrin. The Story of a City was the pinnacle of satire at the time. This novel will be discussed now.

He once caused a lot of controversy and controversy. Critics sometimes gave completely opposite assessments. Some did not hide their admiration for the author's skill, others branded him in every possible way, calling him a Russophobe. Which side should you take?

Rather, the side of the former, since it is known for sure that the writer loved his country. He simply described the current reality "without cuts" in a humorously absurd tone. Censors most often occupied pro-government positions, and they could not like that the emphasis was placed on the corruption and lawlessness that raged at that time.

The novel has an interesting structure. It was based on some fictional chronicle of the city of Foolov. It scrupulously describes how the mayors were replaced and their mental and external features. The work is replete with hints of different rulers of Russia. That is, these chiefs were presented in the form of one of the emperors.

Some bosses looked like robots at all. Their stiffness is emphasized. Someone incessantly carried out reforms that only made life worse in the city. Someone's head looked like minced meat and one day it was eaten.

The novel contains a general outline of the description in that not a single boss has ever shown himself as an intelligent official. All their activities were reduced to tyranny and arbitrariness. They dishonestly robbed the people, taking the last from them. Corruption and bureaucracy have reached unprecedented proportions.

The worst thing is that the work had a real historical background, and the typical Foolov differed little from the typical Kostroma, for example. That is why the censorship was so angry with him: she perfectly understood what the author was trying to convey and at whom he was laughing.

In fact, the city of Foolov is a collective image of any Russian provincial city of those years. And the author between the lines reminded that it was high time to start reforms and destroy the negative consequences of Borocratism.

The satirical novel by Saltykov-Shchedrin "The History of a City" is one of the brightest works of Russian literature of the 19th century. The grotesque image of the state system in Russia, a parody of the hierarchy that reigns in the state, caused an ambiguous reaction in society. For "The History of a City", a deep and detailed analysis is required, since this work only at first glance may seem like easy reading. It will be especially useful when preparing for a literature lesson in grade 8 and writing essays on a given topic.

Brief analysis

Year of writing-1870

History of creation- The writer has long cherished the idea of ​​writing a novel about autocracy. Work on the work was carried out intermittently, since Saltykov-Shchedrin simultaneously wrote several books at once.

Topic- Exposing the vices of the social and political sphere in the life of Russia, as well as disclosing the peculiarities of the relationship between the people and the authorities under the autocracy.

Composition- The novel consists of 16 chapters. The peculiarity lies in the fact that they are all written supposedly by different authors, and only the first and the last - by the publisher himself. According to the version of the writer, "The History of a City" is only a publication of the notebook "The Fool's Chronicler", accidentally found in the city archive.

genre- Novel.

Direction- Realism.

History of creation

Saltykov-Shchedrin had been hatching the idea of ​​the novel for quite a long time. The image of the fictional city of Foolov as the embodiment of the autocratic-landlord system in Russia first appeared in the writer's essays in the early 60s, when the liberation struggle of the common people was on the rise in the vastness of the Russian empire.

In 1867, the writer published his fantastic "Story about the Governor with a Stuffed Head", which later formed the basis for the chapter "Organchik". A year later, Mikhail Evgrafovich began work on a full-scale novel, which he completed in 1870. When writing the book "The History of a City", the writer suspended his work for some time for the sake of fairy tales and some other works.

Initially, the novel had a different name - "The Fool's Chronicler", but then the author changed it to "The History of the Old City". The literary work was published in parts in the journal Otechestvennye zapiski, in which Saltykov-Shchedrin was the chief editor. In the same 1870, the full version of the book was published.

After the publication of the novel, a wave of indignant criticism fell on the writer. Saltykov-Shchedrin was accused of distorting Russian history and insulting the entire Russian people, interest in his work noticeably declined. The reflection of the realities of the life of the Russian people and the long-standing problems in society, the practically uncovered criticism of the autocracy was openly frightening, and not everyone was ready to accept the truth in its true light.

Topic

The History of a City is an innovative work that went far beyond the bounds of artistic satire. Saltykov-Shchedrin, as a true patriot of his country, could not remain an indifferent observer of what was happening in Russia.

In his novel, he touched on a rather poignant theme- exposure of the imperfections of the political structure of the Russian state, in which the oppressed people humbly accept their slavish position and consider this to be the only correct and possible.

Using the example of the fictional city of Foolov, Saltykov-Shchedrin wanted to show that the Russian people simply cannot exist without a tough and, at times, outright cruel ruler. Otherwise, he immediately finds himself at the mercy of anarchy.

TO issues of the novel, the author also refers to the distortion of the essence of history, which is extremely beneficial for the state to present as the history of sole power, but not as the history of compatriots. In the "History of a city" protagonists- mayors, and in each of them recognizable features of historical figures are visible. In some cases, mayors are collective images of statesmen who at one time occupied high posts.

The basic idea the work lies in the fact that the unconscious worship of the people of autocratic power and the unwillingness to take responsibility for what is happening in the country are an inviolable obstacle on the way to the welfare of the state.

The meaning of "The History of a City" is not in a mockery of Russia, but in the author's desire to open society's eyes to what is happening in the country and to move them to decisively eradicate vices in society.

Composition

The novel "The Story of a City" consists of 16 chapters and they are all written by different authors. After the first publication, the author carried out a thorough analysis of the work, during which its composition was changed. So, Mikhail Evgrafovich changed the places of some chapters, and also added the "Letter to the Editor" appendix, in which he responded to criticism addressed to him.

The novel begins with the words of Saltykov-Shchedin himself, who allegedly accidentally came across a historical chronicle about the fictional city of Foolov and its inhabitants.

After a short introduction, the story begins on behalf of a fictional chronicler about the origin of the Foolovites. The reader is introduced to the history of the emergence of the state system in Foolov. Tribal enmity, the search for a ruler and the further enslavement of citizens occupy a whole century in the novel.

In the "Inventory to the town governors" there is a brief description of the 22 town governors, who at different times possessed power over all the Foolovites.

The following chapters describe the most prominent mayors - the rulers of Foolov: Velikanov, Baklan, Brudastoy, Dvoekurov, Negodyaev, Grustilov and others.

In the finale of the novel, "Vouchers" are published, which, in fact, are an edification to other mayors.

main characters

genre

"The Story of a City" is satirical novel... Mikhail Evgrafovich has always been a faithful follower of this genre, and many of his works are written in the spirit of caustic satire. Grotesque, irony, humor - the novel is replete with these artistic devices.

However, "The History of a City" is a very ambiguous work: it is written in the form of a chronicle, but all the characters seem fantastic, and the events that take place more resemble a delusional dream than reality.

However, the fantasy in the work is very true and realistic, only the outer shell of images and events is unreal. That is why the novel "The History of a City" in its direction refers to realism.

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Analysis rating

Average rating: 4.2. Total ratings received: 664.

If in Provincial Essays the main arrows of satirical denunciation fell on provincial officials, in The History of a City Shchedrin rose to the top of the government: in the center of this work is a satirical depiction of the relationship between the people and the authorities, the Foolovites and their mayors. Saltykov-Shchedrin is convinced that bureaucratic power is a consequence of the "minority", the civil immaturity of the people.

The book satirically covers the history of the fictional city of Foolov, even its exact dates are indicated: from 1731 to 1826. Any reader, in the slightest degree familiar with Russian history, will see echoes of real historical events of the period of time named by the author in the fantastic events and heroes of Shchedrin's book. But at the same time, the satirist constantly distracts the reader's mind from direct historical parallels. Shchedrin's book is not about some narrow segment of Russian history, but about its features that resist the passage of time, which remain unchanged at different stages of Russian history. The satirist sets himself a dizzyingly bold goal - to create a holistic image of Russia, which summarizes the age-old weaknesses of its history, the fundamental vices of Russian state and public life worthy of satirical coverage.

In an effort to impart a generalized meaning to the heroes and events of The History of a City, Shchedrin often resorts to anachronisms — the confusion of times. The story is told from the perspective of a fictional archivist from the eighteenth to early nineteenth centuries. But his story is often interwoven with facts and events of a later time, about which he could not know. And Shchedrin, in order to draw the attention of the reader to this, deliberately stipulates anachronisms in the notes "from the publisher." And in Foolov's mayors, traits of different statesmen from different historical eras are generalized. But the image of the city of Foolov is especially strange and bizarre from this point of view.

Even its outward appearance is paradoxically contradictory. In one place we learn that the tribes of buggers founded it in a swamp, and in another place it is stated that "our native town of Fools has three rivers and, in accordance with ancient Rome, it was built on seven mountains, on which a great many carriages break down in the icy conditions." ... Its social characteristics are no less paradoxical. Either he appears in front of readers in the form of a district town, then he will take on the appearance of a provincial and even a capital city, and then suddenly it will turn into a seedy Russian village or village, which, as usual, has its own pasture for cattle, fenced off with a typical village hedge. But only the borders of Foolov's pasture are adjacent to the borders of ... the Byzantine Empire!

The characteristics of Foolov's inhabitants are also fantastic: at times they resemble those of the capital or provincial townspeople, but sometimes these “townspeople” plow and sow, graze cattle and live in village huts covered with straw. The characteristics of Foolov's authorities are just as incongruous: city governors combine the habits typical of Russian tsars and nobles with actions and deeds typical of a district governor or village headman.

How can these contradictions be explained? Why did Saltykov need "a combination of the incompatible, a combination of the incompatible"? One of the connoisseurs of Shchedrin satire, D. Nikolaev, answers this question in the following way: “In the History of a City, as can be seen from the title of the book, we meet with one city, one image. signs of all cities at once. And not only cities, but also villages and villages. Moreover, it embodied the characteristic features of the entire autocratic state, the entire country. "

Working on The History of a City, Shchedrin draws on his rich and versatile experience in public service, on the works of the greatest Russian historians: from Karamzin and Tatishchev to Kostomarov and Soloviev. The composition "The History of One City" is a parody of an official historical monograph such as "History of the Russian State" by Karamzin. The first part of the book provides a general outline of Foolov's history, and the second - descriptions of the life and deeds of the most prominent city leaders. This is how many of Shchedrin's contemporary historians structured their works: they wrote history "according to the kings." Shchedrin's parody has a dramatic meaning: Foolov's story cannot be written otherwise, it all boils down to a change of tyrannical authorities, the masses remain silent and passively submissive to the will of any mayor. The stupid state began with a formidable shout from the city governor: "I'll screw it up!" The art of governing the Foolovites since then consists only in the variety of forms of this section: some mayors whip the Foolovites without any explanation - "absolutely", others explain the flogging "by the demands of civilization", and still others want the inhabitants themselves to want to be whipped. In turn, in the Foolov's masses, only the forms of obedience change. In the first case, the townsfolk tremble unconsciously, in the second - with the consciousness of their own benefit, but in the third they rise to awe filled with trust in the authorities!

In the inventory of city governors, brief characteristics of Foolov's state people are given, a satirical image of the most stable negative features of Russian history is reproduced. Basilisk Wartkin planted mustard and Persian chamomile everywhere, with which he entered Foolov's history. Onufriy Negodyaev placed the streets paved by his predecessors and set up monuments for himself from the quarried stone. Interception-Zalivatsky burned down the gymnasium and abolished science. By-laws and circulars, for the composition of which the town governors became famous, bureaucratically regulate the life of the townsfolk down to everyday trifles - "The Charter on respectable baking pies."

The biographies of Foolov's mayors are opened by Brudasty. In the head of this figure, instead of the brain, there is something like a hurdy-gurdy, playing periodically two shouts: "I'll tear it apart!" and "I will not tolerate!" This is how Shchedrin makes fun of the bureaucratic insanity of the Russian state power. Another mayor with an artificial head - Pimple adjoins Brudasty. His head is stuffed, so Pimple is not able to administer, his motto is "Relax, sir". And although the Foolovites sighed under the new leadership, the essence of their life changed little: in either case, the fate of the city was in the hands of the mindless authorities.

When The History of a City was published, critics began to reproach Shchedrin for distorting life, for deviating from realism. But these reproaches were untenable.

The grotesque and satirical fiction in Shchedrin do not distort reality, but only bring to a paradox the qualities that any bureaucratic regime is fraught with. Artistic exaggeration acts like a magnifying glass: it makes the secret clear, reveals the essence of things hidden from the naked eye, enlarges the really existing evil. With the help of fiction and the grotesque, Shchedrin often makes an accurate diagnosis of social illnesses that exist in their embryos and have not yet developed all the possibilities and "readiness" that are imprisoned in them.

Bringing these "readiness" to its logical conclusion, to the size of a social epidemic, the satirist acts as a seer, enters into the realm of foresight and premonitions. It is precisely this prophetic meaning that is contained in the image of Gloom-Grumblev, which crowns the biographies of Foolov's mayors.

What is the basis of the despotic regime? What features of the life of the people give rise to and nourish it? "Fools" in the book is a special order of things, the remaining element of which is not only the administration, but also the people - the Foolovites. The "History of a City" provides an unparalleled satirical picture of the weakest sides of the people's world outlook. Shchedrin shows that the masses of the people are basically politically naive, that they are characterized by inexhaustible patience and blind faith in the authorities, in the supreme power.

“We are extravagant people!” The Foolovites say. “We can endure. They oppose energy and administration with the energy of inaction, a "riot" on their knees: "What you want to do with us! - said some, - if you want - cut into pieces, if you want - eat porridge, but we do not agree!" “You’ll take nothing from us, brother!” The others said, “we are not like the others who have overgrown with bodies! And they stubbornly stood on their knees. "

When the Foolovites take up their minds, then, "according to the seditious custom rooted from time immemorial," they either send a walker, or write a petition addressed to the high authorities. "Look, you have dragged along!" The old men said, watching the troika that carried their request into an unknown distance, "now, great atamans, we will not endure for long!" Indeed, the city became quiet again; The Foolovites did not undertake any new riots, but sat on the heaps and waited. When the passers-by asked: how are you? - then they answered: "Now our work is true! Now, my brother, we have submitted the paper!"

The story of Ionka Kozyrev, Ivashka Farafontiev and Aleshka Bespyatov is presented in a satirical light from the pages of Shchedrin's book "The history of Foolov's liberalism" (free thinking). Beautiful-hearted daydreaming and complete practical helplessness - these are the characteristic features of Foolov's freedom-lovers, whose fates are tragic. It cannot be said that the Foolovites did not sympathize with their intercessors. But in the very sympathy they have the same political naivety: "I suppose, Evseich, I suppose!" "From that moment on, old Yevseich disappeared, as if he were not in the world, disappeared without a trace, as only the" prospectors "of the Russian land can disappear.

When, after the publication of The History of a City, the critic A.S. Suvorin began to reproach the satirist for mocking the people, in an arrogant attitude towards them, Shchedrin replied: “My reviewer does not distinguish between the people of history, that is, those acting in the field of history, from the people as the embodiment of the idea of ​​democracy. The first is appreciated and acquires sympathy as he deeds. If he produces the Wartkins and Gloom-Grumblevs, then sympathy is out of the question ... As for the "people" in the sense of the second definition, then this people cannot not to sympathize with the mere fact that it contains the beginning and end of all individual activity. "

Let us note that the pictures of the life of the people are nevertheless illuminated by Shchedrin in a different tone than the pictures of the governor's arbitrariness. The satirist's laughter here becomes bitter, contempt is replaced by secret sympathy. Relying on the "people's soil", Shchedrin strictly observes the boundaries of the satire that the people themselves created for themselves, and makes extensive use of folklore.

"The history of one city" ends with a symbolic picture of the death of Gloom-Burcheev. It comes at a moment when a feeling of shame began to speak in the Foolovites and something akin to civic consciousness began to awaken. However, the picture of the riot is ambivalent. This is not a thunderous, refreshing element, but "it is full of anger," rushing from the North and making "dull, croaking sounds."

Like a tornado that destroys everything, sweeps away everything, the terrible "it" plunges into horror and awe the Foolovites themselves, falling on their faces. This is a "Russian revolt, senseless and merciless", not a conscious revolutionary re-revolution.

Such an ending convinces that Saltykov-Shchedrin felt the negative aspects of the spontaneous revolutionary movement in a peasant country and warned against its destructive consequences. Gloom-Grumblev disappears into the air without finishing the well-known phrase to the reader: "Someone will come for me, who will be even more terrible than me." This "someone", judging by the "Inventory of City Governors" - Intercept-Zalivatsky, who entered Foolov as a winner ("on a white horse"!), Burned down the gymnasium and abolished science! The satirist hints that spontaneous indignation may lead to an even more reactionary and despotic regime, capable of stopping the very "course of history".

Nevertheless, Shchedrin's book is optimistic in its depths. The course of history can be stopped only for a while: this is evidenced by the symbolic episode of curbing the Ugryum-Grumblev river. It seems that the ruling idiot managed to calm the river, but its stream, turning in place, still triumphed: "the remains of the monumental dam floated downstream in disorder, and the river murmured and moved on its banks." The meaning of this scene is obvious: sooner or later, living life will make its way and sweep away from the face of the Russian land the despotic regimes of gloomy-gurgling and interception-dashing.

Due to its cruelty and mercilessness, Shchedrin's satirical laughter in "The History of a City" has a great cleansing meaning. Long ahead of his time, the satirist exposed the complete inconsistency of the police-bureaucratic regime that existed in Russia. Shortly before the first Russian revolution, another writer, Leo Tolstoy, speaking about the social system of his day, declared: “I’ll die, maybe, until it is still destroyed, but it will be destroyed, because it has already been destroyed to the main half in the minds of people ".

"The history of one city"- one of the central works of M.E. Saltykov-Shchedrin. It was published in the journal Otechestvennye zapiski in 1869-1870 and caused a wide public response. The main means of satirical denunciation of reality in the work are grotesque and hyperbole... V genre, it is stylized as a historical chronicle. The image of the author-narrator is called “the last archivist-chronicler” in it.

With subtle irony M.E. Saltykov-Shchedrin on how the faces of these mayors change with a change in a particular historical era: “So, for example, the mayors of the times of Biron are distinguished by their recklessness, the mayors of the times of Potemkin - by managerial control, and the mayors of the times of Razumovsky - by unknown origin and knightly courage. All of them whip the inhabitants, but the first whip absolutely, the second explain the reasons for their management by the demands of civilization, the third want the inhabitants to rely on their courage in everything. " Thus, from the very beginning, a hierarchy is built and emphasized: the highest spheres - local government - the inhabitants. Their fates mirrored what was happening in the areas of power: "in the first case, the inhabitants trembled unconsciously, in the second, they trembled with the consciousness of their own benefit, in the third, they rose to awe filled with trust."

Problematic

The "History of a City" denounces the imperfection of the social and political life of Russia. Unfortunately, Russia was rarely lucky to have good rulers. You can prove this by opening any history textbook. Saltykov Shchedrin, sincerely worried about the fate of their homeland, could not stay away from this problem. The work "The History of a City" became a kind of solution. The central issue in this book is the power and political imperfection of the country, or rather of one of Foolov's cities. Everything - both the history of its foundation, and the string of worthless autocrats, and the people of Foolov themselves - are so absurd that it looks like some kind of farce. This would be a farce if it were not so similar to the real life of Russia. "The history of one city" is not just a political satire on the state system existing in this country, but fundamentally affects the very mentality of the people of the whole country.

So, the central problem of the work is the motive of power and political imperfection.... In the city of Foolov, mayors are replaced one after another. Their fates are to some extent tragic, but at the same time grotesque. For example, Busty turned out to be a doll with an organ in its head, which uttered only two phrases "I will not tolerate!" and "I will break!", and Ferdyschenko forgets about his duties when it comes to food, especially goose and boiled pork, which is why he dies of gluttony. Acne turns out with a stuffed head, and vans dying of strain, trying to comprehend the meaning of the decree, Melanov dying of melancholy ... The end of the reign of each of them is sad, but ridiculous. The mayors themselves do not inspire respect - someone is impenetrably stupid, someone is excessively cruel, liberal rulers are also not the best way out, since their innovations are not vital, but, at best, a tribute to fashion or an empty whim. For some completely incomprehensible reason, the mayors do not think about the people, about what people need. There are many rulers, they are different creatures, but the result is the same - life does not get better or worse... And the rulers become city governors more out of misunderstanding than out of necessity. Who was not among the Foolov's bosses - a cook, a barber, a fugitive Greek, minor army ranks, an orderly, state councilors and, finally, a scoundrel Gloom Grumblev. And the most amazing thing is there was not a single mayor who had an idea of ​​his duties and rights people a. For Foolov's mayors, there was no clear concept of their own actions. As if they had nothing to do, they transplanted birches in the alley, introduced grammar schools and sciences, abolished grammar schools and sciences, introduced Provencal oil, mustard and bay leaves into use, collected arrears ... and, in fact, that's all. On this, their functions were limited.

The author emphasizes that the chronicler's appearance is the most real, which does not allow for a moment to doubt his authenticity. M.E. Saltykov-Shchedrin clearly indicates the boundaries of the period under consideration: from 1931 to 1825. The piece includes "Address to the reader from the last archivist-chronicler." To give a documentary character to this fragment of the narrative, the author places a footnote after the title stating that the appeal is conveyed exactly, in the words of the chronicler himself. The publisher allowed himself only spelling correction of the text in order to edit certain liberties in the spelling of words. The appeal begins with a conversation with the reader about whether there will be worthy rulers and leaders in the history of our country: “ Can it be that in every country there will be both glorious Nero, and Caligula, shining with valor, and only here we will not find such?» Omniscient Publisher complements this quote with a reference to to the poem by G.R. Derzhavin: “Caligula! Your horse in the Senate Could not shine, shining in gold: Good deeds shine! " This addition aims to highlight the value scale: it is not gold that shines, but good deeds... In this case, gold acts as a symbol of acquisitiveness, and good deeds are proclaimed the true value of the world.

Further in the work followed by reasoning about a person in general. The chronicler encourages the reader to take a look at his own person and decide what is more important in her: the head or the belly... And then to judge those who have power.

At the end of his address, Foolov is compared with Rome, this again emphasizes that we are not talking about any particular city, but about the model of society in general... Thus, the city of Foolov is a grotesque image of not only all of Russia, but also of all power structures on a global scale, for Rome has been associated with an imperial city since ancient times, the same function is embodied by the mention of the Roman emperors Nero (37-68) and Caligula (12- 41) in the text of the work. For the same purpose, to expand the informational field of the narrative, surnames are mentioned in the work Kostomarov, Pypin and Soloviev. Contemporaries imagined what views and positions in question. N.I. Kostomarov - famous Russian historian, researcher of the socio-political and economic history of Russia and Ukraine, Ukrainian poet and fiction writer. A .N. Pypin (1833-1904) - Russian literary critic, ethnographer, academician of the Petersburg Academy of Sciences, cousin N.G. Chernyshevsky. B.C. Soloviev (1853-1900) - Russian philosopher, poet, publicist, literary critic of the late XIX - early XX century.

Further, the chronicler attributes the action of the narrative to the era existence of tribal strife ... Moreover, M.E. Saltykov-Shchedrin uses his favorite compositional technique: the fabulous context mates with the pages of real Russian history. All this creates a system of witty subtle hints that are understandable to the sophisticated reader.

Having come up with funny names for fabulous tribes, M.E. Saltykov-Shchedrin immediately reveals their allegorical meaning to the reader, when representatives of the tribe of blockheads begin to call each other by name (Ivashka, Peter). It becomes clear that this is precisely Russian history.

Thought up bunglers to find a prince for themselves, and since the people themselves are stupid, they are looking for an unwise ruler for themselves. Finally, one (the third in a row, as is customary in Russian folk tales) "Princely lordship" agreed to own this people. But with a condition. “And you will pay me many tributes,” the prince continued, “from whom the sheep bring the bright, write off the sheep for me, but keep the bright one for yourself; whoever has a penny, break it in four: give one part to me, the other to me, the third to me again, and keep the fourth for yourself. When I go to war - and you go! And you don't care about anything else! " Even unreasonable bunglers bowed their heads at such speeches..

In this scene M.E. Saltykov-Shchedrin convincingly shows that any power is based on the obedience of the people and brings them more troubles and problems than real help and support. It is no coincidence that the prince assigns a new name to the bunglers: “ And as you did not know how to live on your own and yourself, fools, wished for bondage, then you will henceforth be called not bunglers, but Foolovites».

The experiences of deceived bunglers are expressed in folklore... It is symbolic that one of them sings a song on the way home. "Don't make a noise, mother the oak grove is green!"

One after another, the prince sends his thieves governors. The satirical inventory of city governors gives them an eloquent description, testifying to their business qualities.

Clement n received the proper rank for the skilful concoction of pasta. Lamvrocanis traded in Greek soap, sponge and nuts. Marquis de Sanglot loved to sing obscene songs. It is possible to enumerate for a long time the so-called feats of mayors. They did not stay in power for a long time and did nothing worthwhile for the city.

Methods of satirical depiction of mayors

The publisher saw fit to present detailed biographies of the most prominent leaders. Here M.E. Saltykov-Shchedrin resorts to N.V. Gogol's classic technique. Just as Gogol portrayed landowners, he presents to the readers' judgment a whole gallery of typical images of town governors.

The first of them outlined in the work of Dementy Varlamovich Brudasty by nickname Organchik. In parallel with the story about any specific mayor M.E. Saltykov-Shchedrin constantly paints a general picture of the actions of the city authorities and the perception of these actions by the people.

For example, he mentions that the Foolovites long remembered those bosses who flogged and collected arrears, but at the same time always said something kind.

The organ struck everyone with its cruel severity.... His favorite word was the cry: "I will not tolerate!" Further M.E. Saltykov-Shchedrin talks about secretly visiting the mayor of organ affairs at night master Baibakov... The secret is revealed suddenly at one of the receptions, when the best representatives come to Brudasty's reception " Foolov's intelligentsia " (this phrase itself contains oxymoron, which gives the story an ironic connotation). There it happens at the mayor breakage of the organ he used instead of the head... Only Brudasty allowed himself to pretend a friendly smile, uncharacteristic for him, as "... suddenly something inside him hissed and buzzed, and the longer his mysterious hiss lasted, the more and more his eyes turned and sparkled." The reaction of the urban secular society to this incident looks no less interesting. M.E. Saltykov-Shchedrin emphasizes that our ancestors were not carried away by revolutionary ideas and anarchist sentiments. Therefore, they only sympathized with the city head.

In this fragment of the work, another grotesque move is used: the head, which is being taken after the repair to the mayor, suddenly begins to bite around the city and says the word: "I will ruin!" A special satirical effect is achieved in the final scene of the chapter, when two different city governors are brought almost simultaneously to the rebellious Foolovites. But the people are already used to not being surprised at anything: “The impostors met and measured each other with their eyes. The crowd dispersed slowly and in silence. "

After that, anarchy begins in the city, as a result of which women seized power. These are the childless widow Iraida Lukinishna Paleologova, the adventurer Clementine de Bourbon, the Revel native Amalia Karlovna Stockfish, Anela Aloizievna Lyadokhovskaya, Dunka the tolstopyataya, Matryonka-nostril.

In the characteristics of these mayors, subtle allusions to the personality of the persons reigning in Russian history are guessed: Catherine II, Anna Ioannovna and other empresses. This is the most stylistically reduced chapter. M.E. Saltykov-Shchedrin generously rewards city ​​governors with offensive nicknames and offensive definitions("Fatty", "fatty", etc.) ... Their whole reign comes down to outrage... The last two rulers are generally more reminiscent of witches than real people: “Both Dunka and Matryonka raged indescribably. They went out into the street and knocked down the heads of passers-by with their fists, went alone to taverns and smashed them, caught young guys and hid them underground, ate babies, and cut out the breasts of women and also ate them. "

An advanced person who takes seriously his duties is named in the work of S.K. Dvoekurov... It correlates in the author's understanding with Peter the Great: "One thing is that he introduced mead and beer brewing and made the use of mustard and bay leaves obligatory" and was "the ancestor of those brave innovators who, after three quarters of a century, fought wars in the name of the potato." The main Dvoekurov's achievement was an attempt to establish an academy in Foolov... True, he did not achieve results in this field, but in itself the desire to implement this plan was already a progressive step in comparison with the activities of other city governors.

The next ruler Petr Petrovich Ferdyschenko was simple and even liked to equip his speech with the affectionate word "brother-sudarik". However, in the seventh year of his reign, he fell in love with a suburban beauty Alena Osipovna... All nature has ceased to be supportive of the Foolovites: “ From the very spring of St. Nicholas, from the time the water began to enter the low-water period, and up to Ilyin's day, not a drop of rain fell. The old-timers could not remember anything like that, and not without reason attributed this phenomenon to the brigadier's fall into sin ”.

When the pestilence went all over the city, it was found in it truth-loving Evseich, who decided to talk to the foreman. However, he ordered the old man to be put on a prisoner's attire, so Yevseich disappeared, as if he was not in the world, disappeared without a trace, as only the "prospectors" of the Russian land can disappear.

Light on the real plight of the population of the Russian Empire is shed by the petition of the inhabitants of the most unfortunate city of Foolov, in which they write that they are dying out, that the authorities around them see unskilful.

Striking savagery and cruelty crowds in the scene when the inhabitants of Foolov throw the unfortunate Alenka from the bell tower accusing her of all mortal sins. Barely had time to forget the story with Alenka, as the foreman found himself a different hobby- shooter Domashka... All these episodes, in fact, show women's powerlessness and defenselessness in front of a voluptuous foreman.

Another disaster that befell the city is fire on the eve of the Kazan Mother of God: two settlements burned down... The people perceived all this as another punishment for the sins of their foreman. The death of this mayor is symbolic... He drank too much and ate too much of the national food: “ After the second break (there was a pig in sour cream) he felt sick; however, he overcame himself and ate another goose and cabbage. After that, his mouth twisted. One could see how some kind of administrative vein on his face shuddered, trembled, trembled, and suddenly froze ... The Foolovites jumped up from their seats in confusion and fright. It's over ... ".

Another city ruler turned out to be agile and corrosive. Vasilisk Semenovich Wartkin like a fly, flashed around the city, loved to shout and take everyone by surprise. It is symbolic that he slept with one eye open (a kind of hint to the "all-seeing eye" of autocracy). However, Wartkin's irrepressible energy is not spent for the intended purpose: he builds castles on the sand. Foolish people aptly call his way of life energy of inaction... Wartkin leads wars of enlightenment, the reasons for which are ridiculous (for example, the refusal of the Foolovites to plant Persian chamomile). Under his leadership, the tin soldiers, entering the settlement, begin to break the huts. It is noteworthy that the Foolovites always learned about the subject of the campaign only at the end of it.

When comes to power Mikoladze, graceful champion, the Foolovites overgrow with wool and begin to suck their paw. And on the contrary, they grow dull from wars for education.... Meanwhile, when they stopped education and legislative activity, the Foolovites stopped sucking their paws, the wool shed from them without a trace, and soon they began to dance in circles. A great impoverishment is prescribed in the laws, and the inhabitants are becoming obese. The Pie Baking Charter convincingly shows how much nonsense is concentrated in legislation. It states, for example, that it is forbidden to make pies from mud, clay and building materials. As if a person of sound mind and solid memory is able to bake pies from this. In fact, this charter symbolically shows how deeply the state apparatus can interfere in the everyday life of every Russian. Here he is already given a prescription on how to bake pies. Moreover, special recommendations are given regarding filling positions... Phrase " Let everyone use the filling as"Testifies about a clearly expressed social hierarchy in society... However, the passion for legislation also did not take root on Russian soil. Mayor Benevolensky was suspected of ties with Napoleon charged with treason and sent "To the land where Makar did not drive calves."So, using the figurative expression of M.E. Saltykov-Shchedrin allegorically writes about the link. Contradictions in the artistic world of M.E. Saltykov-Shchedrin, which is a caustic parody of the contemporary author's reality, awaits the reader at every turn. So, during the reign of lieutenant colonel Pimples people in Foolov completely spoiled themselves, because he preached liberalism during his rule.

“But as freedom developed, its primordial enemy, analysis, was born. With the increase in material well-being, leisure was acquired, and with the acquisition of leisure, the ability to explore and experience the nature of things appeared. This always happens, but the Foolovites used this "newfound ability" not to strengthen their well-being, but to undermine it, "writes M.Ye. Saltykov-Shchedrin.

Pimple has become one of the most desirable rulers for the Foolovites... However, the local leader of the nobility, who was not distinguished by special qualities of mind and heart, but had a special stomach, once, on the basis of gastronomic imagination, mistook his head for stuffed. In the description of the scene of death The pimple writer boldly resorts to the grotesque... In the final part of the chapter, the leader, in a rage, rushes at the mayor with a knife and, cutting off chunk after chunk of pieces of the head, eats it to the end.

Against the background of grotesque scenes and ironic notes by M.E. Saltykov-Shchedrin reveals to the reader his philosophy of history, in which the stream of life sometimes stops its natural course and forms a whirlpool.

The most painful impression is made Gloom-Grumblev... This a man with a wooden face never lit up with a smile... His extended portrait eloquently tells about the character of the hero: “Thick, combed and like pitch black hair covers a conical skull and tightly, like a yarmulke, frames a narrow and sloping forehead. The eyes are gray, sunken, shaded by somewhat swollen eyelids; the look is clear, without hesitation; the nose is dry, descending from the forehead almost in a straight downward direction; lips thin, pale, pubescent with trimmed mustache stubble; the jaws are developed, but without an outstanding expression of carnivorousness, and with some inexplicable bouquet of readiness to crush or bite in half. The whole figure is lean with narrow shoulders raised upward, with an artificially protruding chest forward and with long, muscular arms "

M.E. Saltykov-Shchedrin, commenting on this portrait, emphasizes that we are dealing with the purest type of idiot. His style of government could only be compared with the chaotic felling of trees in a dense forest, when a person waves them left and right and steadily walks wherever his eyes look.

In a day in memory of the apostles Peter and Paul the mayor ordered people to destroy their homes. However, this was only the beginning of the Napoleonic plans of Gloom-Grumblev. He began to sort people by families, taking into account their height and physique. Six months or two months later, there was no stone unturned from the city. Gloom-Grumblev tried to create his own sea, but the river refused to obey, tearing down dam after dam. The town of Foolov was renamed Nepreklonsk, and the holidays differed from everyday life only in that instead of labor worries, it was ordered to engage in increased marching. Meetings were even held at night. In addition to this, spies were appointed. The end of the hero is also symbolic: he instantly disappeared, as if he had melted into thin air.

The very unhurried, viscous style of narration in the work of M.E. Saltykov-Shchedrin shows the insolubility of Russian problems, and satirical scenes emphasize their acuteness: one after another rulers are replaced, and the people remain in the same poverty, in the same lack of rights, in the same hopelessness.

Grotesque

Satire, irony

Allegory

Forms of folklore: fairy tales, proverbs, sayings ...

Real + fantasy

Writing

If in Provincial Essays the main arrows of satirical denunciation fell on provincial officials, in The History of a City Shchedrin rose to the top of the government: in the center of this work is a satirical depiction of the relationship between the people and the authorities, the Foolovites and their mayors. Saltykov-Shchedrin is convinced that bureaucratic power is a consequence of the "minority", the civil immaturity of the people.
The book satirically covers the history of the fictional city of Foolov, even its exact dates are indicated: from 1731 to 1826. Any reader, in the slightest degree familiar with Russian history, will see echoes of real historical events of the period of time named by the author in the fantastic events and heroes of Shchedrin's book. But at the same time, the satirist constantly distracts the reader's mind from direct historical parallels. Shchedrin's book is not about some narrow segment of Russian history, but about its features that resist the passage of time, which remain unchanged at different stages of Russian history. The satirist sets himself a dizzyingly bold goal - to create a holistic image of Russia, which summarizes the age-old weaknesses of its history, the fundamental vices of Russian state and public life worthy of satirical coverage.
In an effort to impart a generalized meaning to the heroes and events of The History of a City, Shchedrin often resorts to anachronisms — the confusion of times.
The story is told from the perspective of a fictional archivist from the eighteenth to early nineteenth centuries. But his story is often interwoven with facts and events of a later time, about which he could not know. And Shchedrin, in order to draw the attention of the reader to this, deliberately stipulates anachronisms in the notes "from the publisher." And in Foolov's mayors, traits of different statesmen from different historical eras are generalized. But the image of the city of Foolov is especially strange and bizarre from this point of view.
Even its outward appearance is paradoxically contradictory. In one place we learn that the tribes of buggers founded it in a swamp, and in another place it is stated that "our native town of Fools has three rivers and, in accordance with ancient Rome, it was built on seven mountains, on which a great many carriages break down in the icy conditions." ... Its social characteristics are no less paradoxical. Either he appears in front of readers in the form of a district town, then he will take on the appearance of a provincial and even a capital city, and then suddenly it will turn into a seedy Russian village or village, which, as usual, has its own pasture for cattle, fenced off with a typical village hedge. But only the borders of Foolov's pasture are adjacent to the borders of ... the Byzantine Empire! The characteristics of Foolov's inhabitants are also fantastic: at times they resemble those of the capital or provincial townspeople, but sometimes these “townspeople” plow and sow, graze cattle and live in village huts covered with straw. The characteristics of Foolov's authorities are just as incongruous: city governors combine the habits typical of Russian tsars and nobles with actions and deeds typical of a district governor or village headman.
How can these contradictions be explained? Why did Saltykov need "a combination of the incompatible, a combination of the incompatible"? One of the connoisseurs of Shchedrin satire, D. Nikolaev, answers this question in the following way: “In The History of a City, as can be seen from the title of the book, we meet with one city, one image. signs of all cities at once. And not only cities, but also villages and villages. Moreover, it embodied the characteristic features of the entire autocratic state, the entire country. "
Working on The History of a City, Shchedrin draws on his rich and versatile experience in public service, on the works of the greatest Russian historians: from Karamzin and Tatishchev to Kostomarov and Soloviev. The composition "The History of One City" is a parody of an official historical monograph such as "History of the Russian State" by Karamzin. The first part of the book provides a general outline of Foolov's history, and the second - descriptions of the life and deeds of the most prominent city leaders. This is how many of Shchedrin's contemporary historians structured their works: they wrote history "according to the kings." Shchedrin's parody has a dramatic meaning: Foolov's story cannot be written otherwise, it all boils down to a change of tyrannical authorities, the masses remain silent and passively submissive to the will of any mayor. The stupid state began with a formidable shout from the city governor: "I'll screw it up!" The art of governing the Foolovites since then consists only in the variety of forms of this section: some mayors whip the Foolovites without any explanation - "absolutely", others explain the flogging "by the demands of civilization", and still others want the inhabitants themselves to want to be whipped. In turn, in the Foolov's masses, only the forms of obedience change. In the first case, the townsfolk tremble unconsciously, in the second - with the consciousness of their own benefit, but in the third they rise to awe filled with trust in the authorities! In the inventory of city governors, brief characteristics of Foolov's state people are given, a satirical image of the most stable negative features of Russian history is reproduced. Basilisk Wartkin planted mustard and Persian chamomile everywhere, with which he entered Foolov's history. Onufriy Negodyaev placed the streets paved by his predecessors and set up monuments for himself from the quarried stone.
Interception-Zalivatsky burned down the gymnasium and abolished science. By-laws and circulars, for the composition of which the town governors became famous, bureaucratically regulate the life of the townsfolk down to everyday trifles - "The Charter on respectable baking pies."
The biographies of Foolov's mayors are opened by Brudasty. In the head of this figure, instead of the brain, there is something like a hurdy-gurdy, playing periodically two shouts: "I'll tear it apart!" and "I will not tolerate!" This is how Shchedrin makes fun of the bureaucratic insanity of the Russian state power. Another mayor with an artificial head - Pimple adjoins Brudasty. His head is stuffed, so Pimple is not able to administer, his motto is "Relax, sir". And although the Foolovites sighed under the new leadership, the essence of their life changed little: in either case, the fate of the city was in the hands of the mindless authorities.
When The History of a City was published, critics began to reproach Shchedrin for distorting life, for deviating from realism. But these reproaches were untenable. The grotesque and satirical fiction in Shchedrin do not distort reality, but only bring to a paradox the qualities that any bureaucratic regime is fraught with. Artistic exaggeration acts like a magnifying glass: it makes the secret clear, reveals the essence of things hidden from the naked eye, enlarges the really existing evil. With the help of fiction and the grotesque, Shchedrin often makes an accurate diagnosis of social illnesses that exist in their embryos and have not yet developed all the possibilities and "readiness" that are imprisoned in them. Bringing these "readiness" to its logical conclusion, to the size of a social epidemic, the satirist acts as a seer, enters into the realm of foresight and premonitions. It is precisely this prophetic meaning that is contained in the image of Gloom-Grumblev, which crowns the biographies of Foolov's mayors.

What is the basis of the despotic regime? What features of the life of the people give rise to and nourish it? "Fools" in the book is a special order of things, a component of which is not only the administration, but also the people - the Foolovites. The "History of a City" provides an unparalleled satirical picture of the weakest sides of the people's world outlook. Shchedrin shows that the masses of the people are basically politically naive, that they are characterized by inexhaustible patience and blind faith in the authorities, in the supreme power.
“We are extravagant people!” The Foolovites say. “We can endure. They oppose energy and administration with the energy of inaction, a "riot" on their knees: "What you want to do with us! - said some, - if you want - cut into pieces, if you want - eat porridge, but we do not agree!" “You’ll take nothing from us, brother!” The others said, “we are not like the others who have overgrown with bodies! And they stubbornly stood on their knees. "
When the Foolovites take up their minds, then, "according to the seditious custom rooted from time immemorial," they either send a walker, or write a petition addressed to the high authorities. "Look, you have dragged along!" The old men said, watching the troika that carried their request into an unknown distance, "now, great atamans, we will not endure for long!" Indeed, the city became quiet again; The Foolovites did not undertake any new riots, but sat on the heaps and waited.
When the passers-by asked: how are you? - then they answered: "Now our work is true! Now, my brother, we have submitted the paper!" The story of Ionka Kozyrev, Ivashka Farafontiev and Aleshka Bespyatov is presented in a satirical light from the pages of Shchedrin's book "The history of Foolov's liberalism" (free thinking). Beautiful-hearted daydreaming and complete practical helplessness - these are the characteristic features of Foolov's freedom-lovers, whose fates are tragic. It cannot be said that the Foolovites did not sympathize with their intercessors. But in the very sympathy they have the same political naivety: "I suppose, Evseich, I suppose!" "From that moment on, old Yevseich disappeared, as if he were not in the world, disappeared without a trace, as only the" prospectors "of the Russian land can disappear.
When, after the publication of The History of a City, the critic A.S. Suvorin began to reproach the satirist for mocking the people, in an arrogant attitude towards them, Shchedrin replied: “My reviewer does not distinguish between the people of history, that is, those acting in the field of history, from the people as the embodiment of the idea of ​​democracy. The first is appreciated and acquires sympathy as he deeds. If he produces the Wartkins and Gloom-Grumblevs, then sympathy is out of the question ... As for the "people" in the sense of the second definition, then this people cannot not to sympathize with the mere fact that it contains the beginning and end of all individual activity. "
Let us note that the pictures of the life of the people are nevertheless illuminated by Shchedrin in a different tone than the pictures of the governor's arbitrariness. The satirist's laughter here becomes bitter, contempt is replaced by secret sympathy. Relying on the "people's soil", Shchedrin strictly observes the boundaries of the satire that the people themselves created for themselves, and makes extensive use of folklore.
"The History of One City" ends with a symbolic picture of the death of Gloom-Burcheev. It comes at a moment when a feeling of shame began to speak in the Foolovites and something akin to civic consciousness began to awaken.
However, the picture of the riot is ambivalent. This is not a thunderous, refreshing element, but "it is full of anger," rushing from the North and making "dull, croaking sounds." Like a tornado that destroys everything, sweeps away everything, the terrible "it" plunges into horror and awe the Foolovites themselves, falling on their faces. This is a "Russian revolt, senseless and merciless", not a conscious revolutionary coup.
Such an ending convinces that Saltykov-Shchedrin felt the negative aspects of the spontaneous revolutionary movement in a peasant country and warned against its destructive consequences. Gloom-Grumblev disappears into the air without finishing the well-known phrase to the reader: "Someone will come for me, who will be even more terrible than me." This "someone", judging by the "Inventory of City Governors" - Intercept-Zalivatsky, who entered Foolov as a winner ("on a white horse"!), Burned down the gymnasium and abolished science! The satirist hints that spontaneous indignation may lead to an even more reactionary and despotic regime, capable of stopping the very "course of history".
Nevertheless, Shchedrin's book is optimistic in its depths. The course of history can be stopped only for a while: this is evidenced by the symbolic episode of curbing the Ugryum-Grumblev river. It seems that the ruling idiot managed to calm the river, but its flow, turning in place, still triumphed:
"the remains of the monumental dam floated downstream in disarray, and the river murmured and moved on its banks." The meaning of this scene is obvious: sooner or later, living life will make its way and sweep away from the face of the Russian land the despotic regimes of gloomy-gurgling and interception-dashing.
Due to its cruelty and mercilessness, Shchedrin's satirical laughter in "The History of a City" has a great cleansing meaning. Long ahead of his time, the satirist exposed the complete inconsistency of the police-bureaucratic regime that existed in Russia. Shortly before the first Russian revolution, another writer, Leo Tolstoy, speaking about the social system of his day, declared: “I’ll die, maybe, until it is still destroyed, but it will be destroyed, because it has already been destroyed in the main half in the minds of people "

Other compositions on this work