An essay on the theme of Saltykov-Shchedrin called fiction “a reduced universe. Literature Quotes Literature abbreviated universe

The writing

The indissoluble connection of times is especially clearly embodied in the top works of fiction, which we call classical: in their cognitive meaning, the unquenchable moral impact of their heroes on many generations of people, and also in the fact that these works continue to serve as an inexhaustible source of beauty. Great art does not know the past, it lives in the present and the future. One must not only read the classics, one must also learn to re-read them. Because every meeting with them is fraught with the joy of discovery. A person at each subsequent stage of his being is able to perceive spiritual values more and more deeply. An outstanding work, once read and re-perceived, introduces us into an atmosphere of inexplicable charm, caused, among other things, also by the opportunity to really feel our own, aesthetic, in the words of Herzen, “growth”. Perhaps it is appropriate to recall here the excellent entry of the young Herzen: “I have a passion to reread the poems of the great maestro: Goethe, Shakespeare, Pushkin, Walter Scott. It would seem, why read the same thing when at this time you can "decorate" your mind with the works of Messrs. A, B, C? Yes, the fact of the matter is that they are not the same thing; in the intervals, some spirit changes a lot in the eternally living works of the maestro. Just as Hamlet and Faust used to be wider than me, so now they are wider, despite the fact that I am convinced of my extension. No, I will not give up the habit of re-reading, for this I visually measure my growth, improvement, decline, direction ... Mankind in its own way re-reads entire millennia of Homer, and this is for him a touchstone on which he tries the power of age.

Every turn of history gives people the opportunity to take a fresh look at themselves and rediscover the immortal pages of works of art. Each epoch reads them in its own way. Goncharov noticed that Chatsky is inevitable when one century changes to another, that every business that needs updating gives birth to the shadow of Chatsky.

Great artists are responsive to the calls of all times, they are rightly called the eternal companions of mankind. The classical heritage is remarkable in that it expresses self-consciousness not only of its era. Time is moving, and along with it, the classics are moving along the same orbit, in which there is, as it were, a constant process of renewal. She has something to say to every generation, she is ambiguous. Of course, today we perceive the legacy of Gogol and Dostoevsky differently than their contemporaries, and we understand it more deeply. And this happens not because we are smarter, more insightful. The social experience of generations forms that historical tower from which the man of our apokha is aware of the spiritual culture of the past. From this donut, we see much further and clearer. The classic is inexhaustible. Its depth is infinite, as the cosmos is infinite. Shakespeare and Pushkin, Goethe and Tolstoy enrich the reader, but the reader, in turn, continuously enriches the works of great artists with his new historical experience. That is why our knowledge of the classics can never be considered final, absolute. Each subsequent generation discovers new facets in old works that have not been seen before. This means an increasingly capacious comprehension of the meaning and artistic nature of immortal works of the past.

Mastering the classical heritage meets the modern needs of society, because it itself, this heritage, becomes an active participant in modern life. The social content of the works of Russian classics is extremely important. It has always been fertilized by the progressive ideas of the time and expressed the spirit of the liberation struggle of the people, their hatred of despotism and their indomitable desire for freedom. German writer Heinrich Mann said very well that the Russian classic literature was a revolution "before there was a revolution".

Russian literature has always been distinguished by its unusual sensitivity to the decision moral issues, invariably intertwined with the most important social problems modernity. great poet he was proud that in his "cruel age" he "glorified ... freedom" and awakened "good feelings." Striking here is the unexpected neighborhood of so, it seemed, different in historical meaning words like 'freedom' and 'kind'. The first of them in romantic poetry was almost always associated with the boiling of passions, with a titanic and cruel struggle, with courage, prowess, a dagger, revenge. And here it stands next to the words "good feelings." Remarkable is Pushkin's conviction that sometime in the future the awakening of good feelings in people will be understood as something equivalent to the glorification of freedom. But after all, all Russian classics are a sermon of humanity, kindness and the search for ways leading to it!

Tolstoy called on people to improve their soul, their moral world. How the most terrible tragedy Lermontov imagined the extinction in Pechorin best qualities his character - love for people, tenderness for the world, the desire to embrace humanity.

Hatred of various manifestations of injustice was for the great Russian writers the highest measure of a person's moral merits. With its indomitable moral pathos, as well as artistic perfection, Russian literature has long won the recognition of the whole world. “Where for forty years,” recalled Romain Rolland, “we were looking for our spiritual food and our daily bread, when our black soil was no longer enough to satisfy our hunger? Who, if not Russian writers, were our leaders?

In today's struggle for a new man, the great artists of the past are with us. The struggle against injustice, various manifestations of evil is nothing but a struggle in the name of the victory of good, humanity. This is known by such an "evil" genre of literature as satire. Was not the most tender heart of Gogol, who dreamed of a different, more perfect reality! Didn't Shchedrin, who was so merciless for his time, want good for Russia? Kind people in the name of good, they became irreconcilable to various manifestations of evil and to what gave rise to it. Beautiful ideals require beautiful feelings.

Every great artist is a whole world. To enter this world, to feel its versatility and unique beauty means to bring oneself closer to the knowledge of the infinite diversity of life, to put oneself on some higher degree of spirituality, aesthetic development. The work of every major writer is a precious storehouse of artistic and spiritual, one might say, "humanistic" experience, which is of great importance for the progressive development of society. Shchedrin called fiction"reduced universe". By studying it, a person gains wings, turns out to be able to understand history more broadly, deeper and that always restless modern world in which he lives. The great past is connected with the present by invisible threads. The history and soul of the people are captured in the artistic heritage. That is why it is an inexhaustible source of his spiritual and emotional enrichment.

This is also the real value of the Russian classics. With his civic temperament, his romantic impulse, deep and fearless analysis of the real contradictions of reality, she had a huge impact on the development of the liberation movement in Russia. Heinrich Mann rightly said that Russian literature was a revolution "even before the revolution happened."

Gogol played a special role in this respect. "... We don't know," wrote Chernyshevsky, "how Russia could do without Gogol." In these words, perhaps, the attitude of the revolutionary democracy and the entire progressive Russian social thoughts XIX century to the author of The Inspector General and dead souls».

Herzen spoke about Russian literature: “... composing songs, she destroyed; laughing, she burrowed. Gogol's laughter also had tremendous destructive power. He undermined faith in the imaginary inviolability of the police-bureaucratic regime, to which Nicholas I tried to give an aura of invincible power; he exposed to "the eyes of the whole people" the rottenness of this regime, everything that Herzen called "the insolent frankness of autocracy."

The appearance of Gogol's work was historically natural. In the late 1920s and early 1930s, Russian literature faced new, major tasks. The rapidly developing process of the disintegration of serfdom and absolutism evoked in the advanced strata of Russian society an increasingly persistent, passionate search for a way out of the crisis, awakened the idea of further ways of Russia's historical development. Gogol's work reflected the growing dissatisfaction of the people with the feudal system, their awakening revolutionary energy, their desire for a different, more perfect reality. Belinsky called Gogol "one of the great leaders" of his country "on the path of consciousness, development, progress."

Gogol's art arose on the foundation that was erected before him by Pushkin. In "Boris Godunov" and "Eugene Onegin", " The Bronze Horseman" and " Captain's daughter The writer made the greatest discoveries. The amazing skill with which Pushkin reflected the fullness of contemporary reality and penetrated into the secrets of the spiritual world of his heroes, the insight with which he saw in each of them a reflection of the real processes of social life, the depth of his historical thinking and the greatness of his humanistic ideals - all these facets his personality and his work, Pushkin discovered new era in the development of Russian literature, realistic art.

Gogol followed the trail laid by Pushkin, but he went his own way. Pushkin revealed deep contradictions modern society. But for all that, the world, artistically realized by the poet, is full of beauty and harmony, the element of negation is balanced by the element of affirmation. The denunciation of social vices is combined with the glorification of the power and nobility of the human mind. Pushkin, according to the true word of Apollon Grigoriev, "was a pure, sublime and harmonious echo of everything, transforming everything into beauty and harmony." Art world Gogol is not so universal and comprehensive. His perception of modern life was also different. There is a lot of light, sun, joy in Pushkin's work. All his poetry is imbued with the indestructible strength of the human spirit, it was the apotheosis of youth, bright hopes and faith, it reflected the seething passions and that “revelry at the feast of life”, about which Belinsky enthusiastically wrote.

Pushkin covered all aspects of Russian life, but already in his time there was a need for a more detailed study of its individual areas. The realism of Gogol, like that of Pushkin, was imbued with the spirit of a fearless analysis of the essence of the social phenomena of our time. But the originality of Gogol's realism consisted in the fact that he combined the breadth of understanding of reality as a whole with a microscopically detailed study of its most hidden nooks and crannies. Gogol depicts his heroes in all the concreteness of their social existence, in all the smallest details of their everyday way of life, their daily existence.

“Why, then, portray poverty, yes poverty, and the imperfection of our life, digging people out of the wilderness, from the remote nooks and crannies of the state?” These opening lines from the second volume of Dead Souls perhaps best reveal the pathos of Gogol's creativity. A significant part of it was focused on depicting poverty and the imperfection of life.

Never before have the contradictions of Russian reality been so exposed as in the 1930s and 1940s. Critical depiction of its deformities and ugliness became the main task of literature. And Gogol sensed this brilliantly. Explaining in the fourth letter, "Regarding Dead Souls, the reasons for the burning in 1845 of the second volume of the poem, he remarked that it was pointless now" to bring out a few beautiful characters that reveal the high nobility of our breed. And then he writes: “No, there is a time when it is impossible to direct society or even the entire generation towards the beautiful until you show the full depth of its real abomination.”

Gogol was convinced that in the conditions of contemporary Russia, the ideal and beauty of life can be expressed primarily through the denial of ugly reality. This was his work, this was the originality of his realism.

In his famous discourse about two types of artists, to whom the seventh chapter of Dead Souls opens, Gogol contrasts the romantic inspiration soaring in the sky with the hard but noble work of a realist writer who dares to expose to the eyes of the people "all the terrible, amazing mire of trifles that have entangled our life, the whole depth of the cold, fragmented, everyday characters that our earthly, sometimes bitter and boring road is teeming with.” Most of all, Gogol was hostile to the false idealization of life, which always seemed to him offensive to the artist. Only truth, no matter how expensive it may be, is worthy of art.

Gogol was well aware tragic character contemporary social life. His satire did not just deny and denounce. For the first time, it acquired an analytical, research character. In his works, Gogol not only showed certain aspects of Russian "everyday reality", but also revealed its inner mechanism, not only portrayed evil, but also tried to find out where it comes from, what gives rise to it. The study of the material, material and everyday basis of life, its invisible features and the impoverished characters arising from it, who arrogantly believed in their dignity and right, was Gogol's discovery in the history of Russian literature.

The critic saw the national significance of Gogol in the fact that with the appearance of this artist, our literature turned exclusively to Russian reality. “Perhaps,” he wrote, “through this it has become more one-sided and even monotonous, but also more original, original, and therefore true.” A comprehensive depiction of the real processes of life, the study of its "roaring contradictions" - along this path will go all the great Russian literature of the post-Gogol era.

This subtle and precise definition is quite applicable to the heritage of the classics, in which the centuries-old spiritual experience of mankind is compressed. Classics has always been a powerful stimulus in the development of the culture of any nation. To isolate modern literature from classical traditions would mean cutting it off from the national root - it will bleed and wither. The indissoluble connection of times is especially clearly embodied in the top works of fiction, which we call classical: in their cognitive meaning, the unquenchable moral impact of their heroes on many generations of people, and also in the fact that these works continue to serve as an inexhaustible source of beauty. Great art does not know the past, it lives in the present and the future. One must not only read the classics, one must also learn to re-read them. Because every meeting with them is fraught with the joy of discovery. A person at each subsequent stage of his being is able to perceive spiritual values more and more deeply. An outstanding work, once read and re-perceived, introduces us into an atmosphere of inexplicable charm, caused, among other things, also by the opportunity to really feel our own, aesthetic, in the words of Herzen, “growth”. Perhaps it is appropriate to recall here the excellent entry of the young Herzen: “I have a passion to reread the poems of the great maestro: Goethe, Shakespeare, Pushkin, Walter Scott. It would seem, why read the same thing when at this time you can "decorate" your mind with the works of Messrs. A, B, C? Yes, the fact of the matter is that they are not the same thing; in the intervals, some spirit changes a lot in the eternally living works of the maestro. Just as Hamlet and Faust used to be wider than me, so now they are wider, despite the fact that I am convinced of my extension. No, I will not give up the habit of re-reading, for this I visually measure my growth, improvement, decline, direction ... Mankind in its own way re-reads entire millennia of Homer, and this is for him a touchstone on which he tries the power of age. Every turn of history gives people the opportunity to take a fresh look at themselves and rediscover the immortal pages of works of art. Each epoch reads them in its own way. Goncharov noticed that Chatsky is inevitable when one century changes to another, that every business that needs updating gives birth to the shadow of Chatsky. Great artists are responsive to the calls of all times, they are rightly called the eternal companions of mankind. The classical heritage is remarkable in that it expresses self-consciousness not only of its era. Time is moving, and along with it, the classics are moving along the same orbit, in which there is, as it were, a constant process of renewal. She has something to say to every generation, she is ambiguous. Of course, today we perceive the legacy of Gogol and Dostoevsky differently than their contemporaries, and we understand it more deeply. And this happens not because we are smarter, more insightful. The social experience of generations forms that historical tower from which the man of our apokha is aware of the spiritual culture of the past. From this donut, we see much further and clearer. The classic is inexhaustible. Its depth is infinite, as the cosmos is infinite. Shakespeare and Pushkin, Goethe and Tolstoy enrich the reader, but the reader, in turn, continuously enriches the works of great artists with his new historical experience. That is why our knowledge of the classics can never be considered final, absolute. Each subsequent generation discovers new facets in old works that have not been seen before. This means an increasingly capacious comprehension of the meaning and artistic nature of the immortal works of the past. Mastering the classical heritage meets the modern needs of society, because it itself, this heritage, becomes an active participant in modern life. The social content of the works of Russian classics is extremely important. It has always been fertilized by the progressive ideas of the time and expressed the spirit of the liberation struggle of the people, their hatred of despotism and their indomitable desire for freedom. The German writer Heinrich Mann famously said that Russian classical literature was a revolution "even before the revolution happened." Russian literature has always been distinguished by its unusual sensitivity to the solution of moral issues that are invariably intertwined with the most important social problems of our time. The great poet was proud that in his "cruel age" he "glorified ... freedom" and awakened "good feelings." Striking here is the unexpected neighborhood of words that seemed so different in historical meaning, like “freedom” and “good”. The first of them in romantic poetry was almost always associated with the boiling of passions, with a titanic and cruel struggle, with courage, prowess, a dagger, revenge. And here it stands next to the words "good feelings." Remarkable is Pushkin's conviction that sometime in the future the awakening of good feelings in people will be understood as something equivalent to the glorification of freedom. But after all, all Russian classics are a sermon of humanity, kindness and the search for ways leading to it! Tolstoy called on people to improve their soul, their moral world. As a terrible tragedy, Lermontov imagined the extinction in Pechorin of the best qualities of his character - love for people, tenderness for the world, the desire to embrace humanity. Hatred of various manifestations of injustice was for the great Russian writers the highest measure of a person's moral merits. With its indomitable moral pathos, as well as artistic perfection, Russian literature has long won the recognition of the whole world. “Where for forty years,” recalled Romain Rolland, “we were looking for our spiritual food and our daily bread, when our black soil was no longer enough to satisfy our hunger? Who, if not Russian writers, were our leaders? In today's struggle for a new man, the great artists of the past are with us. The struggle against injustice, various manifestations of evil is nothing but a struggle in the name of the victory of good, humanity. This is known by such an "evil" genre of literature as satire. Was not the most tender heart of Gogol, who dreamed of a different, more perfect reality! Didn't Shchedrin, who was so merciless for his time, want good for Russia? Good people in the name of good became irreconcilable to various manifestations of evil and to what gave rise to it. Beautiful ideals require beautiful feelings.

It's subtle and precise the definition is quite applicable to the heritage of the classics, in which the centuries-old spiritual experience of mankind is compressed. Classics has always been a powerful stimulus in the development of the culture of any nation. To isolate modern literature from classical traditions would mean cutting it off from the national root - it will bleed and wither.

Indissoluble bond time is especially clearly embodied in the top works of fiction, which we call classical: in their cognitive significance, the unquenchable moral impact of their heroes on many generations of people, and also in the fact that these works continue to serve as an inexhaustible source of beauty. Great art does not know the past, it lives in the present and the future. One must not only read the classics, one must also learn to re-read them. Because every meeting with them is fraught with the joy of discovery. A person at each subsequent stage of his being is able to perceive spiritual values more and more deeply. An outstanding work, once read and re-perceived, introduces us into an atmosphere of inexplicable charm, caused, by the way, also by the opportunity to really feel our own, aesthetic, in the word, “growth”. Perhaps it is appropriate to recall here the excellent entry of the young Herzen: “I have a passion to reread the poems of the great maestro: Goethe, Shakespeare, Pushkin, Walter Scott. It would seem, why read the same thing when at this time you can "decorate" your mind with the works of Messrs. A, B, C? Yes, the fact of the matter is that they are not the same thing; in the intervals, some spirit changes a lot in the eternally living works of the maestro. Just as , before they were wider than me, so now they are wider, despite the fact that I am convinced of my expansion. No, I will not give up the habit of re-reading, for this I visually measure my growth, improvement, decline, direction ... Mankind in its own way re-reads entire millennia of Homer, and this is for him a touchstone on which he tries the power of age.

Every turn history gives people the opportunity to take a fresh look at themselves and rediscover the immortal pages of works of art. Each epoch reads them in its own way. Goncharov noticed that it is inevitable when one century changes to another, that every business that needs updating gives birth to the shadow of Chatsky.

Great artists are responsive to the calls of all times, they are rightly called the eternal companions of mankind. The classical heritage is remarkable in that it expresses self-consciousness not only of its era. Time is moving, and along with it, the classics are moving along the same orbit, in which there is, as it were, a constant process of renewal. She has something to say to every generation, she is ambiguous. Of course, today we perceive the heritage differently than their contemporaries, and understand it more deeply. And this happens not because we are smarter, more insightful. The social experience of generations forms that historical tower from which the man of our apokha is aware of the spiritual culture of the past. From this donut, we see much further and clearer. The classic is inexhaustible. Its depth is infinite, as the cosmos is infinite. Shakespeare and Goethe and Tolstoy enrich the reader, but the reader, in turn, continuously enriches the works of great artists with his new historical experience. That is why our knowledge of the classics can never be considered final, absolute. Each subsequent generation discovers new facets in old works that have not been seen before. This means an increasingly capacious comprehension of the meaning and artistic nature of the immortal works of the past.

Mastering the classical heritage meets the modern needs of society, because it itself, this heritage, becomes an active participant in modern life. The social content of the works of Russian classics is extremely important. It has always been fertilized by the progressive ideas of the time and expressed the spirit of the liberation struggle of the people, their hatred of despotism and their indomitable desire for freedom. The German writer Heinrich Mann famously said that Russian classical literature was a revolution "even before the revolution happened."

Russian literature always distinguished by extraordinary sensitivity to the solution of moral issues, invariably intertwined with the most important social problems of our time. The great poet was proud that in his "cruel age" he "glorified ... freedom" and awakened "good feelings." Striking here is the unexpected neighborhood of words that seemed so different in historical meaning, like “freedom” and “good”. The first of them in romantic poetry was almost always associated with the boiling of passions, with a titanic and cruel struggle, with courage, prowess, a dagger, revenge. And here it stands next to the words "good feelings." Remarkable is Pushkin's conviction that sometime in the future the awakening of good feelings in people will be understood as something equivalent to the glorification of freedom. But after all, all Russian classics are a sermon of humanity, kindness and the search for ways leading to it!

Improve his soul, his moral world called people Tolstoy. As a terrible tragedy, he imagined the extinction in Pechorin of the best qualities of his character - love for people, tenderness for the world, the desire to embrace humanity.

In today's in our struggle for the new man, the great artists of the past are with us. The struggle against injustice, various manifestations of evil is nothing but a struggle in the name of the victory of good, humanity. This is known by such an "evil" genre of literature as satire. Was not the most tender heart of Gogol, who dreamed of a different, more perfect reality! Didn't Shchedrin, who was so merciless for his time, want good for Russia? Good people in the name of good became irreconcilable to various manifestations of evil and to what gave rise to it. Beautiful ideals require beautiful feelings.

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Literature is… a reduced universe. (Saltykov-Shchedrin)

Indeed, there is no more enlightening, soul-purifying feeling than the one that a person feels when he gets acquainted with a great work of art! (Saltykov-Shchedrin)

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Literary hero

I've outlived my desires

I fell out of love with my dreams;

All I have left is suffering

Fruits of heart emptiness. (Pushkin)

Doubt I'm destined to breathe

And I tremble, and my heart avoids

Look for what you can't understand. (Fet)

In whom the feeling has not cooled down for a long time,

Who has an incorruptible heart

In whom is talent, accuracy, strength. (N.A. Nekrasov) (you can write about Andrei Bolkonsky)

About fairy tales

“Fairy tale is inseparable from beauty. … Thanks to a fairy tale, a child learns the world not only with his mind and heart. And not only cognizes, but responds to the events and phenomena of the surrounding world, expresses his attitude to good and evil "V. A. Sukhomlinsky

And this childishness in him forever

Tells people to be generous

So that somewhere in every person

There lived a kind doctor Aibolit.

Y. Okunev.

Fantastic colors are burning

And, no matter how wise the head,

Do you still believe the fairy tale

The story is always right!

(E.Asadov)