What works of Russian writers depict the morals of officials. Educational portal

A.P. Chekhov in his humorous story “Chameleon” makes fun of officials. From “But the dog must be exterminated” to “It’s your own fault” - this is how Ochumelov’s opinion changes with lightning speed. The author ridicules and condemns the “chameleonism” of the main character. In the works of A.P. Chekhov one can often “meet” works that touch upon the problem of “honoring rank.” One of these is the story “The Death of an Official.”

The main character, like Ochumelov, is characterized by “chameleonism”. Chervyakov’s monologues are filled with fear of high-ranking officials. After all, initially he says that “No one is forbidden to sneeze,” but, noticing General Brizzhalov, changes immediately occur in the hero. “I sprayed him!” - the author uses an exclamation to show the reader Chervyakov’s sudden anxiety. At the same time, if “Chameleon” is a humorous story and the denouement only makes you smile, then “Death of an Official” is satirical work. In the final main character not only dies, but also renounces his own human dignity. The problem of “honoring rank” in the story “The Death of an Official” is most condemned by the author.

In N.V. Gogol's comedy "The Inspector General" the behavior of officials is also ridiculed. The author, like A.P. Chekhov in “Chameleon,” expresses his opinion using irony and humor. Speaking surnames the main characters reflect their vices and shortcomings. For example, Judge Lyapkin-Tyapkin is described by the writer as a stupid person who has read 5 or 6 books in his entire life. In addition, he also does everything carelessly. But, unlike the story of A.P. Chekhov, “The Inspector General” includes more specific examples of destructive bureaucracy.

Updated: 2018-02-23

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9. In what works of Russian literature is the behavior of officials ridiculed and in what ways can they be compared with “Chameleon” by A.P. Chekhov?

In what works of Russian literature are images of officials created and in what ways are these works similar to this fragment?

Ferdyshchenko decided to travel. This intention was very strange, because Ferdyshchenko was in charge only of the city pasture, which did not contain any treasures either on the surface of the earth or in its depths. In various places there were, of course, dung heaps lying around, but they, even from an archaeological point of view, did not represent anything remarkable. “Where and for what purpose should I travel here?” All reasonable people asked themselves this question, but could not resolve it satisfactorily. Even the brigadier's housekeeper was greatly embarrassed when Ferdyshchenko announced his intention to her. - Well, where are you wandering? - she said, - you will stumble upon the first pile and get stuck! Stop your mischief, for Christ's sake! But the foreman was unshakable. He imagined that the grass would become greener and the flowers would bloom brighter as soon as he went out into the pasture. “The fields will become fat, rivers will flow in abundance, ships will float, cattle breeding will flourish, lines of communication will appear,” he muttered to himself and cherished his plan more than the apple of his eye. “He was simple,” explains the chronicler, “so simple that even after so many disasters he did not abandon his simplicity.” Obviously, in this case, he copied his patron and benefactor, who was also a keen traveler (according to a brief inventory of the mayors, Ferdyshchenko is designated as a former orderly of Prince Potemkin) and loved to be honored everywhere. The plan was drawn up extensively. First head to one corner of the pasture; then, cutting its square across, rush to the other end; then find yourself in the middle, then drive again in a straight direction, and then wherever your eyes look. Receive congratulations and gifts everywhere. -- You are looking! - he said to the townsfolk, - as soon as you see me, hit the pots now, and then start congratulating me, as if I came from God knows where! - Listen, Father Pyotr Petrovich! - said the learned Foolovites; but they thought to themselves: “Lord! Look, the city will burn down again!” He left on Nikola’s day*, now after an early lunch, and said at home that he wouldn’t be back soon. With him was his orderly Vasily Chernostup and two disabled soldiers. This train walked at a pace to the right corner of the pasture, but since the distance was close, no matter how much they hesitated, they were in time in half an hour. The Foolovites waiting there, four of them, hit the basins, and one shook a tambourine. Then they began to bring gifts: they gave the mother-in-law salted sturgeon, medium-sized stellate sturgeon, and a piece of ham. The foreman got out of the britzka and began to argue that there were few gifts, “and those gifts are not real, but stale,” and serve to diminish his honor. Then the Foolovites took out another fifty dollars each, and the foreman calmed down. “Well, now show me, old men,” he said affectionately, “what attractions do you have?” They began to walk back and forth across the pasture, but found nothing of note except one dung heap. “It was last year that we were camping during the fire, and at that time there were plenty of all kinds of livestock here!” - explained one of the old men. “It would be nice to build a city here,” said the brigadier, “and call it Domnoslav, in honor of that riflewoman whom you needlessly disturbed at that time!” And then he added: “Well, what about in the bowels of the earth?” “We don’t know about this,” answered the Foolovites, “we think that there must be a lot of things, but we are afraid to find out: lest someone see it and tell the authorities!” - Are you afraid?! - The brigadier grinned. In a word, in half an hour, and even then unnecessarily, the entire inspection was over. The foreman saw that there was a lot of time left (the departure from this point was scheduled only for the next day), and began to grieve and reproach the Foolovites that they had no navigation, no navigation, no mining and coinage, no means of communication, and not even statistics. - nothing to cheer the boss’s heart. And most importantly, there is no entrepreneurship.

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Images of officials are created in many works of Russian literature. With the novel by M.E. Saltykov-Shchedrin's "The History of a City" can be compared to the play by N.V. Gogol's "The Inspector General" and the story by A.P. Chekhov's "Thick and Thin".
In his play, Gogol described bureaucracy from different angles. He created collective satirical images of the mayor, judge, trustee of charitable institutions, thereby exposing the vices this class of people. There are geese running around in court, people in the hospital. are dying like flies, all officials engage in embezzlement, bribery

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Introduction

image bureaucracy official work of the Czechs

Chekhov was one of the first classical writers who completely denounced vulgarity and reluctance to live a full, rich life. In Chekhov's works we see a moral call for the inner freedom of man, spiritual purification. His later stories are permeated through and through with an inner spiritual cry: “It’s impossible to live like this anymore!” M. Gorky wrote about the significance of Chekhov’s work:

“No one understood as clearly and subtly as Anton Chekhov the tragedy of the little things in life; no one before him was able to so mercilessly and truthfully paint people a shameful and dreary picture of their lives in the dull chaos of bourgeois everyday life. His enemy was vulgarity; all his life he struggled with it, he ridiculed it and depicted it with a dispassionate, sharp pen, able to find the charm of vulgarity even where at first glance, everything seemed to be arranged very well, conveniently, even brilliantly...”

The theme of bureaucracy occupies a special place in Chekhov’s work. It is reflected in many of his stories. This is exactly what we decided to choose as the topic of this course work.

The image of a poor official is traditional for Russian writers of the 19th century. However, this topic was explored by writers in different ways, and this image underwent significant changes. To reveal the image of a poor official, the most important are two completely different aspects: voluntary resignation to the position of a powerless person, the thought of the impossibility of changing anything, and the completely opposite desire to achieve “known degrees”, not disdaining any means.

The leading feature of his heroes is blind veneration of rank, reverence for a superior person; Their desire to gain rank is very strong, but they evoke pity and sympathy. The principle of combining the comic and tragic is already embodied in early stories Chekhov, he would later become a leader in his poetics.

Chekhov fulfilled his great artistic calling, noted by A.M. Gorky, - to illuminate the prose of the everyday existence of people with highest point vision.

The relevance of this course work lies in the fact that this topic has not exhausted itself to this day. The phenomenon of Russian bureaucracy, understanding its nature and problems are extremely important for the reform and development of our society on a reasonable basis. In addition, A.P. Chekhov, being a recognized classic of Russian and even world literature, will never lose his popularity and modernity.

Speaking about the degree of development of the topic in educational and popular literature, we emphasize that we did not find any substantive and system analysis problems, including educational literature Therefore, with our study of this topic, we hope to somewhat fill this gap, summarize existing considerations and information on the topic, identify new approaches and reveal the famous Chekhov texts in a single key - through the image of an official. This is the novelty of our work.

The object of our research is the works of A.P. Chekhov, which touches on the topic of bureaucracy

The subject is the image of an official and the means of his depiction in the works of A.P. Chekhov.

The purpose of our research is to determine the ways and means of depicting the image of an official in the stories of A.P. Chekhov.

The goal is achieved by solving the following tasks:

Analyze critical literature on the problem of bureaucracy in the works of A.P. Chekhov;

Compare images of officials A.P. Chekhov with images of officials from other writers;

To identify linguistic means and ways of depicting an official in the stories of A.P. Chekhov;

The structure of this course work includes: introduction, two chapters and conclusion. The introduction substantiates the choice and relevance of the topic of the work, sets the purpose of the research, and defines the main tasks.

Chapter 1. The image of an official in Russian XIX literature V.

OFFICIAL - Civil servant (pre-revolutionary, foreign). A major official. Minor official.

“The landowners, zemstvo chiefs and all sorts of officials commanded enough over the peasants!” Lenin.

OFFICIAL - A civil servant. An official who performs his work formally, following instructions, without active participation in the matter; formalist, bureaucrat.

OFFICIAL - in Russia until 1917, a civil servant who had a certain class rank according to the Table of Ranks. Higher officials (usually 4th - 1st classes) were informally called dignitaries. In a broad sense - the name of lower civil servants who did not have ranks (clerks, copyists).

CHINOMVNIK, -a, m.

1. Civil servant in pre-revolutionary Russia and in bourgeois countries. Customs official. Police official. Petty officials. ? Titular Councilor Kaverznev was a very small official. Saltykov-Shchedrin, Senile grief. I happened to see several times how officials went to the presence in the morning.

2. transfer An official who performs his or her job formally, following instructions, without active participation in the matter. - There are officials sitting on the roadstead, inky rats! - Volodya Makarov was worried. “They don’t care that we lost two hours.”

Officialdom is a class that was widespread in old Russia, so the official was not a new figure in Russian literature. A.S. Pushkin was one of the first to raise the topic " little man”, reflecting it in the personality of the official Samson Vyrin in the story “The Station Agent”. A.S. Griboyedov, M.E. Saltykov-Shchedrin, F.M. Dostoevsky - everyone experienced a bright palette of feelings towards one or another representative of a given class: from ridicule of vices to sympathy, pity.

§1. The theme of bureaucracy in Russian literature of the 19th century.

The official was not a new figure in Russian literature, because officialdom is one of the most widespread classes in old Russia. And in Russian literature, legions of officials pass before the reader - from registrars to generals.

This image of a poor official (Molchalin) is presented in the comedy by A.S. Griboyedov "Woe from Wit".

Molchalin is one of the most prominent representatives Famusov society. However, if Famusov, Khlestova and some other characters are living fragments of the “past century,” then Molchalin is a man of the same generation as Chatsky. But, unlike Chatsky, Molchalin is a staunch conservative, his views coincide with Famusov’s worldview. Just like Famusov, Molchalin considers dependence “on others” to be the basic law of life. Molchalin is a typical “average” person both in intelligence and in his ambitions. But he has “his own talent”: he is proud of his qualities - “moderation and accuracy.” Molchalin's worldview and behavior are strictly dictated by his position in the official hierarchy. He is modest and helpful, because “in ranks... small,” he cannot do without “patrons,” even if he has to depend entirely on their will. Molchalin is the antipode of Chatsky not only in his beliefs, but also in the nature of his attitude towards Sophia. Molchalin only skillfully pretends that he loves the girl, although, by his own admission, he does not find “anything enviable” in her. Molchalin is in love “by position”, “at the pleasure of the daughter of such a man” as Famusov, “who feeds and waters, // And sometimes gives rank...” The loss of Sophia’s love does not mean Molchalin’s defeat. Although he made an unforgivable mistake, he managed to get away with it. It is impossible to stop the career of a person like Molchalin - that is the point author's attitude to the hero. Chatsky rightly noted in the first act that Molchalin “will reach known degrees,” for “The silent are blissful in the world.”

A completely different image of a poor official was examined by A.S. Pushkin in his “St. Petersburg story” “The Bronze Horseman”. In contrast to Molchalin’s aspirations, the desires of Evgeny, the protagonist of the poem, are modest: he dreams of quiet family happiness, his future is associated with his beloved girl Parasha (remember that Molchalin’s courtship of Sophia is due solely to his desire to obtain a higher rank). Dreaming of simple (“philistine”) human happiness, Evgeniy does not think at all about high ranks; the hero is one of countless officials “without a nickname” who “serve somewhere” without thinking about the meaning of their service. It is important to note that for A.S. For Pushkin, what made Evgeny a “little man” is unacceptable: the isolation of existence in a close circle of family concerns, isolation from his own and historical past. However, despite this, Evgeny is not humiliated by Pushkin; on the contrary, he, unlike the “idol on a bronze horse,” is endowed with a heart and soul that has great importance for the author of the poem. He is capable of dreaming, grieving, “fearing” for the fate of his beloved, and exhausting himself from torment. When grief bursts into his measured life (the death of Parasha during a flood), he seems to wake up, he wants to find those to blame for the death of his beloved. Eugene blames Peter I, who built the city in this place, for his troubles, and therefore blames the entire state machine, entering into an unequal battle. In this confrontation, Eugene, the “little man,” is defeated: “deafened by the noise” of his own grief, he dies. In the words of G.A. Gukovsky, “with Evgeniy... enters high literature... tragic hero" Thus, the tragic aspect of the theme of a poor official unable to resist the state (an insoluble conflict between the individual and the state) was important for Pushkin.

N.V. also addressed the topic of the poor official. Gogol. In his works (“The Overcoat”, “The Inspector General”) he gives his interpretation of the image of a poor official (Bashmachkin, Khlestakov), and if Bashmachkin is close in spirit Pushkinsky Evgeniy(“The Bronze Horseman”), then Khlestakov is a kind of “successor” to Molchalin Griboedov. Like Molchalin, Khlestakov, the hero of the play “The Inspector General,” has extraordinary adaptability. He easily assumes the role of an important person, realizing that he is being mistaken for another person: he meets the officials, accepts the request, and begins, as befits a “significant person,” to “scold” the owners for nothing, causing them to “shake from fear." Khlestakov is not able to enjoy power over people; he simply repeats what he himself probably experienced more than once in his St. Petersburg department. The unexpected role transforms Khlestakov, making him an intelligent, powerful and strong-willed person. Talking about his studies in St. Petersburg, Khlestakov involuntarily betrays his “desire for honors apart from merit,” which is similar to Molchalin’s attitude towards service: he wants to “take the rewards and have fun.” However, Khlestakov, unlike Molchalin, is much more carefree and flighty; his “lightness” “in thoughts... extraordinary” is created with the help large quantity exclamations, while the hero of Griboyedov’s play is more cautious. The main idea of N.V. Gogol is that even the imaginary bureaucratic “greatness” can set in motion generally intelligent people, turning them into obedient puppets.

Another aspect of the theme of the poor official is considered by Gogol in his story “The Overcoat”. Its main character, Akaki Akakievich Bashmachkin, evokes an ambiguous attitude towards himself. On the one hand, the hero cannot but evoke pity and sympathy, but on the other hand, hostility and disgust. Being a man of a narrow-minded, undeveloped mind, Bashmachkin expresses himself “mostly in prepositions, adverbs and particles that absolutely do not have any meaning,” but his main occupation is the tedious rewriting of papers, a task with which the hero is quite satisfied. In the department where he serves, officials “do not show him any respect,” making evil jokes at Bashmachkin’s expense. The main event in his life is the purchase of an overcoat, and when it is stolen from him, Bashmachkin forever loses the meaning of life.

Gogol shows that in bureaucratic St. Petersburg, where “significant persons” rule, coldness and indifference reign to the fate of thousands of shoemakers, forced to eke out a miserable existence, which deprives them of the opportunity to develop spiritually, makes them wretched, slave creatures, “eternal titular advisers.” Thus, the author’s attitude towards the hero is difficult to determine unambiguously: he not only sympathizes with Bashmachkin, but also sneers at his hero (the presence in the text of contemptuous intonations caused by the insignificance of Bashmachkin’s existence).

So, Gogol showed that the spiritual world of a poor official is extremely meager. F.M. Dostoevsky made an important addition to the understanding of the character of the “little man”, revealing for the first time all the complexity inner world this hero. The writer was interested not in the social and everyday, but in the moral and psychological aspect of the theme of the poor official.

Depicting the “humiliated and insulted,” Dostoevsky used the principle of contrast between the external and the internal, between the humiliating social status person and his increased self-esteem. Unlike Evgeny (“The Bronze Horseman”) and Bashmachkin (“The Overcoat”), Dostoevsky’s hero Marmeladov is a man with great ambitions. He acutely experiences his undeserved “humiliation,” believing that he is “offended” by life, and therefore demanding more from life than it can give him. The absurdity of Marmeladov’s behavior and mental state unpleasantly strikes Raskolnikov at their first meeting in the tavern: the official behaves proudly and even arrogantly: he looks at visitors “with a tinge of some arrogant disdain, as if at people of lower status and development, with whom he has no business talking” , In Marmeladov, the writer showed the spiritual degradation of “poor officials.” They are incapable of either rebellion or humility. Their pride is so exorbitant that humility is impossible for them. However, their “rebellion” is tragicomic in nature. So for Marmeladov these are drunken rantings, “tavern conversations with various strangers.” This is not Evgeniy's fight with Bronze Horseman and not Bashmachkin’s appearance to a “significant person” after death. Marmeladov is almost proud of his “pigness” (“I am a born beast”), happily telling Raskolnikov that he even drank his wife’s “stockings”, “with rude dignity” reporting that Katerina Ivanovna “tears out his hair.” Marmeladov’s obsessive “self-flagellation” has nothing to do with true humility. Thus, Dostoevsky has a poor official-philosopher, a thinking hero, with a highly developed moral sense, constantly experiencing dissatisfaction with himself, the world and those around him. It is important to note that F.M. Dostoevsky in no way justifies his hero, it is not “the environment that has stuck”, but the man himself is guilty of his actions, for he bears personal responsibility for them. Saltykov-Shchedrin radically changed his attitude towards bureaucracy; in his works, the “little man” becomes a “petty man”, whom Shchedrin ridicules, making him the subject of satire. (Although already in Gogol, bureaucracy began to be depicted in Shchedrin’s tones: for example, in “The Inspector General”). We will focus on Chekhov's “officials”. Interest in the topic of bureaucracy not only did not fade away from Chekhov, but on the contrary, it flared up, reflected in the stories, in his new vision, but also without ignoring past traditions. After all, “...the more inimitable and original the artist, the deeper and more obvious his connection with previous artistic experience.”

§2. The image of an official in the stories of A.P. Chekhov

It is in Chekhov that the “little man” - the official becomes “petty”, forced to hide, go with the flow, obey the habits and laws established in the community.

In fact, Chekhov no longer depicts small people, but what prevents them from being big - he depicts and generalizes the small in people.

In the 80s of the 19th century, when official relations between people permeated all layers of society, the “little man” lost his characteristic humane qualities, being a person of the established social system - a product and a tool in one person. Having acquired social status by rank, he becomes an official, not only and not necessarily by profession, but by his main function in society.

In Chekhov, he (the official) acquires a completely independent collective image, bearing within itself the many-sided features of the essence designated by the concept of “rank” in human society. This is how the theme of the “little man” ended in Chekhov’s stories - one of the strongest themes of Russian classical literature.

Beings destitute and oppressed, these “little people” were indeed worthy of compassion, deprived of the care and protection of the state, “humiliated and insulted” by the power of higher officials.

And here Chekhov is the direct successor of this humanistic tradition of democratic Russian literature, quite clearly showing in his early stories the omnipotence of the police and bureaucratic arbitrariness.

The assimilation of the traditions of Russian classical literature simultaneously with a decisive rethinking of many of them will become a defining feature literary position Chekhov.

Some literary scholars attribute the work of A.P. Chekhov to the direction called “sociological realism”, because main theme Chekhov is the problem of the social structure of society and the fate of man in it. This direction explores objective social relations between people and the conditionality of all other important phenomena human life these relationships.

The main object of the writer’s artistic research - “Chekhov’s world” became that in Russian society that connected it into a single state organism, where service relations become the most fundamental relationships between people - the basis of society. A complex hierarchy of people and institutions is emerging, in relationships of subordination (command and subordination) and coordination (subordination).

On this basis, a system of power and management, unprecedented in history, is developing in Russia, in which tens of millions of people are involved - all sorts of bosses, leaders, managers, directors, etc., who become masters of the situation, imposing their ideology and psychology, their attitude towards the whole society. all aspects of public life.

So, in the entire gigantic picture of Russian life written by Chekhov, it is not difficult to notice the dominant features of Chekhov’s vision of reality, namely, the image of that in people and their relationships that is due to the very fact of their unification into a single state whole, their distribution in this social organism according to to various levels of the social hierarchy, depending on the social functions they perform.

Thus, the object of close attention of Chekhov, the writer and researcher, became “state-owned” Russia - the environment of bureaucracy and bureaucratic relations, i.e. the relationship of people to the grandiose state apparatus and the relationship of people within this apparatus itself.

Therefore, it is no coincidence that it was the official who became one of the central figures (if not the most important) in Chekhov’s work, and representatives of other social categories began to be considered in their bureaucratic-like functions and relationships.

Chapter 2. Official of post-reform Chekhov's Russia

So, what is he like, an official of Chekhov’s post-reform Russia?

We learn about this by analyzing the texts of A.P.’s stories. Chekhov.

Chekhov’s refraction of the “little man” theme is clearly visible

in the story “The Death of an Official” (1883)

The same type of hero - a little man, humiliated by his social role, who exchanged his own life for fear of the powerful of the world. However, Chekhov solves the conflict between tyrant and victim, so beloved in our classics, in a new way.

If the general behaves extremely “normally,” then the behavior of the “victim” is implausible, Chervyakov is exaggeratedly stupid, cowardly and annoying - this does not happen in life. The story is built on the principle of sharp exaggeration, beloved by early Chekhov, when the style of “strict realism” is masterfully combined with heightened convention.

The seemingly naive story is, in fact, not so simple: it turns out that death is just a device and a convention, a mockery and an incident, so the story is perceived as quite humorous.

In the clash of laughter and death in the story, laughter triumphs - as a means of exposing the power over people of trifles elevated to a fetish. Official relations here are only a special case of a conditional, invented system of values.

A person’s increased, painful attention to the little things of everyday life stems from the spiritual emptiness and self-inadequacy of the individual, his “smallness” and worthlessness.

The story contains funny, bitter and even tragic things: behavior that is ridiculous to the point of absurdity; bitter awareness of the insignificant value of human life; the tragic understanding that the worms cannot help but grovel, they will always find their brizhals.

And one more thing: I would like to draw attention to the situation of embarrassment that is so characteristic of Chekhov's characters, and escape from it into the bureaucracy. Of course, such a paradoxical embarrassment... with a fatal outcome clearly goes beyond the scope of everyday realism, but in Everyday life The “little man” often avoids unforeseen circumstances - through bureaucratic relations, when the need (according to a circular) and the want (internal needs) outwardly coincide. This is how a true official is born - a bureaucrat, whose internal “I want” - important, desirable - is degenerated into a prescribed “must”, which is externally legitimized, permitted and reliably protects against embarrassment in any circumstances.

§1. Verb vocabulary and its function in the text

The verb, together with verbal forms, which has a large “set” of categories, forms and shades of meaning, is one of the stylistically remarkable parts of speech in the Russian language.

By its nature, the verb is one of the main means of expressing dynamics. This is partly why scientific and business speech are contrasted with artistic and colloquial speech in terms of the frequency of use of verb forms; It is precisely this character of the former that is opposed to the verbal character of the latter. Business speech is characterized by nominal expressions of an official nature: Providing assistance, eliminating deficiencies, taking part in... etc. Fiction, journalistic and lively colloquial speech make greater use of verb forms, avoiding nominal constructions. The overall dynamism of speech largely depends on this. If we compare scientific speech as a whole with artistic speech in relation to the use of the verb, then the qualitative nature of the verbs in the first case and the dynamic nature in the second case clearly appear. This is due not only to the frequency of verbs in speech, but also to their composition, i.e. lexical and grammatical side. Because in scientific writings we're talking about about permanent features and qualities of objects, about regular phenomena, and descriptions take up more space, since verb units corresponding to the meaning of lexemes and forms are selected from the language system. It is no coincidence, for example, that in scientific speech many state verbs used in the present tense do not denote a dynamic state at the moment of speech, as is typical, for example, of everyday speech, but quality.

The stylistic properties of various categories and forms determine the varying degrees of their application in functional styles. For example, forms of the imperative mood, rich in expression and emotionality, are almost unknown in scientific and official business speech, but are widely used in colloquial fiction and journalistic speech (in the latter case, in appeals).

Many shades of the verb type and ways of expressing them have limited areas of use. For example, verbs of multiple and single action are a striking feature of colloquial speech (beat, caught, sadanul), but are not characteristic of book speech.

Verb categories and forms have rich synonymy and possibilities for figurative use. For example, the present of a living representation is used to express actions that took place in the past, or, on the contrary, the past tense is used to express actions in the future, etc. All the variety of these possibilities is presented in fiction. It is also characteristic of artistic speech that, within a relatively small context, a wide variety of forms and their meanings, as well as ways of expressing moods, are used for expressive purposes, while scientific and especially business speech is characterized by the use of forms of one or two types.

§2. The functioning of verbal vocabulary in the story by A.P. Chekhov's "Death of an Official"

The pinnacle of the comic discrepancy between what should have been, from the point of view of common sense, and what actually happened, is the event that forms the basis of the 1883 story “The Death of an Official.” One person, sneezing, accidentally sprayed another, and then... died of fear and grief. However, the anecdote acquires the flesh of authenticity.

The story is extremely laconic and, as a result, dynamic. This special dynamism of the story is contained in verbs and their forms (in all their diversity). It is through verbal vocabulary that the plot develops, and the characteristics of the characters are also given; although, of course, the writer also uses other artistic techniques (for example, speaking surnames).

But let's move directly to the text.

The main character of the work is introduced into the story in the very first lines: “One fine evening, an equally wonderful executor, Ivan Dmitrievich Chervyakov, was sitting in the second row of chairs and looking through binoculars at the Bells of Corneville.” He looked and felt on top of bliss. But suddenly...” As we see, the plot of the story is already contained here - the intriguing “But suddenly...”. The ellipsis only enhances this effect. Through verbs, the author introduces us to this atmosphere.

First of all, it should be noted that the action develops in the past long time, i.e. the action is represented in its existence, statically. This is achieved thanks to the form of verbs - past tense, imperfect form (sat, looked, felt).

The verb looked gives us the primary characteristics of the hero. Ivan Dmitrievich Chervyakov sat in the theater and did not watch, but looked at the stage. The word itself bears the imprint of colloquialism, stylistic “lowness”. Thus, Chervyakov seems to us to be a simple man in the street, a “little man.”

The repetition of the verb (... and looked through binoculars at “The Bells of Corneville.” He looked and felt...) fixes our attention on the state of “looking” of the hero, which indicates some relaxation and which, in part, serves as an impetus for the development of the plot, since it causes surprise sneezing.

“But suddenly his face wrinkled, his eyes rolled up, his breathing stopped... he took the binoculars away from his eyes, bent down and... apchhi! He sneezed, as you can see.” The author gradually brings us to one of the key words of the story. With clear, bright verbs, Chekhov conveys Chervyakov’s state, the process of sneezing itself (a series of winced - rolled up - stopped - pulled away - bent over - sneezed). Thus, the writer conveys the state of a person, his hero, through actions.

The author presents this case directly and easily. This is facilitated by constant appeal to the reader. In this case, the verbs are used in the present tense (it occurs, as you can see). Although it should be noted that it is not the author himself who addresses the readers, but rather the narrator. He owns a small " lyrical digression", reflection on sneezing: "No one is forbidden to sneeze anywhere. Men and police chiefs, and sometimes even privy councilors, sneeze. Everyone is sneezing." In the first case, the verb sneeze is part of a compound verbal predicate in an impersonal sentence. In this case, we are dealing with the present timeless, which is only emphasized by the impersonal form. This, in turn, refers us to the scientific style, or rather, to the truly timeless with a touch of quality, i.e. We are talking here about a quality, a property inherent in a person. Further repetition of this verb (sneeze) in the present tense, 3rd person, plural form extends this property to all people (Everyone sneezes).

In total, the word sneeze appears six times in the story (one of them is in the form of a gerund), but its repeated repetition (four times in a row) puts a logical emphasis on it, on the one hand, and this word becomes one of the key words of the text, on the other hand - imparts to this action the nature of constant, repeated repetition in life, i.e. commonality, commonality.

Then the action develops dynamically. This is achieved through the use of perfective verbs, because It is they who represent action as a component of a dynamic situation [Karpukhin 2004: 106], in development. “Chervyakov was not at all embarrassed, wiped himself with a handkerchief and, like a polite person, looked around him: had he bothered anyone with his sneezing? But here I already had to be embarrassed. He saw that the old man sitting in front of him, in the first row of seats, was diligently wiping his bald head and neck with a glove and muttering something.” As we can see, the verbs used here in the perfect form of the past tense convey the actions of the hero, Ivan Dmitrievich Chervyakov (was not embarrassed, wiped himself off, looked, did not bother, saw). The verbs of the imperfect form that we encounter here convey Brizzhalov’s state rather than the action (wiped, muttered).

The case of opposition in the above passage is also interesting: I wasn’t embarrassed - I had to be embarrassed. The first form of the 3rd person singular verb of the past tense conveys Chervyakov’s action - he was not embarrassed, speaks of his natural behavior (he just sneezed, and no one is forbidden to sneeze). The second, impersonal form rather conveys the effect of something extraneous on the consciousness of the hero, an influence from the outside - he had to be embarrassed. What made him embarrassed was the realization that he had caused trouble, especially since it turned out to be a civil general, the rank of an old man being the determining factor here. The prevailing morals, principles and admiration for high rank determine the further behavior of the hero. This verb - to be embarrassed is also one of the key ones.

And then a “fatal” thought comes to Chervyakov’s head: “I sprayed him!” - thought Chervyakov. - Not my boss, a stranger, but still awkward. I need to apologize." This phrase contains two verbs that are key to the entire text. This is to spray and apologize. They will “sit” in the hero’s mind and will “torture” him until the very end of the story. Their compositional value is determined by the honesty of their use. The verb to spray occurs four times, and it enters the text, most often, through the dialogue between Chervyakov and Brizzhalov. The verb excuse/apologize occurs seven times and “accompanies” Ivan Dmitrich from the moment the conflict began.

The hero's condition changes dramatically when his apology, in his own opinion, is not accepted properly. This is achieved by repeating the same verbs in the same forms, but in different contexts. Compare: He looked and felt at the height of bliss. - He looked, but no longer felt bliss. The anxiety arising in Cherovyakov’s head is also conveyed through the verb - it “began to torment” him. The prefix gives the verb a rudimentary action, its weak expression. It is this anxiety that makes the hero want to explain: “I should explain to him that I didn’t want it at all...”. The subjunctive mood gives the action a hint of desirability, but after the next meeting the “desirability” turns into a firm intention: I’ll explain to him...

During the second meeting between the general and the executor, laughter comes into the story. It should be noted that laughter here is immediately perceived as ridicule:

You're just laughing, sir! - he said, hiding behind the door.

“What kind of ridicule is there? - Thought Chervyakov. “There is no ridicule here at all!”

A synonym (including contextual) for the word “laugh” is “mockery”. It is the possibility of ridicule that worries and frightens Chervyakov.

“I came yesterday to worry about you,” he muttered when the general raised his questioning eyes to him, “not to laugh, as you deigned to say.” I apologized for sneezing, sir... but I didn’t even think to laugh. Do I dare laugh? If we laugh, then there will be no respect for people... there will be...

Chervyakov did not think, did not dare to laugh. The last sentence generally contains the whole essence of the philosophy of the ill-fated executor Ivan Dmitrievich Chervyakov. Here the discrepancy with elementary human common sense also “pops up”. On the one hand, “no one is forbidden to sneeze,” this is natural and characteristic of every person, but on the other hand, he “does not dare laugh” at this “natural” and generally funny incident.

This discrepancy becomes fatal for the hero. The last “explanation” with the general turns out to be tragic for him.

Something came off in Chervyakov’s stomach. Seeing nothing, hearing nothing, he backed away to the door, went out into the street and trudged... Arriving mechanically home, without taking off his uniform, he lay down on the sofa and... died.”

The entire tragedy of the denouement, the climax of the story, is conveyed here precisely through verbal vocabulary: pulled away - without seeing - without hearing - backed away - went out - trudged - arriving - without taking off - lay down - died. All of the above verbal forms convey, first of all, the state of the hero, his crushed, killed - he did not walk, but trudged, he did not see or hear anything. And as a result of everything, he died.

The tragic ending of the story is not perceived as such. The word “verb”, which contains the culmination and denouement of the work, is stylistically reduced, colloquial. Thus, the reader feels the attitude of the author himself towards the hero, or rather towards his death. It is ironic, he does not consider this the death of Man, the true “pathos” of death is not felt here.

Thus, the entire behavior of Ivan Dmitrievich Chervyakov, the entire development of actions can be conveyed through the following series of key verbs: sat - looked - sneezed - had to be embarrassed - sprayed - apologize - explain - I don’t dare laugh - came off - backed away - trudged - lay down - died. As you can see, the entire plot fabric of the story rests precisely on verbal vocabulary (or rather, directly on verbs).

A.P. Chekhov decisively rethinks the traditional image of the “little man” in Russian literature. Often “The Death of an Official” by A.P. Chekhov is compared and contrasted with “The Overcoat” by N.V. Gogol. But Ivan Dmitrievich Chervyakov is decidedly different from Akaki Akakievich Bashmachkin. And the general is far from being an “oppressor”; he is not that formidable. After all, he barked at his visitor only when he brought him more and more visits. The general’s “boiling” can also be conveyed through a series of verbs. So, first he “mumbled,” then he “said,” then he “made a whiny face and waved his hand,” and only then he “barked.” The degree of the general's rage is conveyed by the participial forms - the general, suddenly blue and shaking, barked.

In addition, the general’s condition is also conveyed by the person in which he addresses Chervyakov. If at first he answered him in the second plural, i.e. on you (let me listen, laugh), then his last phrase is extremely expressive due to the imperative mood and the address to you: Get out!

Thus, one of the leading stylistic functions in A.P.’s story. Chekhov's “Death of an Official” is performed by verbs and their forms. It is the verbal vocabulary that contributes to the brightness, expressiveness and conciseness of the work, which are the defining features of A.P.’s style. Chekhov.

Having traced the functioning of verbal vocabulary in the text, we came to the following conclusions.

The verb, together with its verb forms, which has a large “set” of categories, forms and shades of meaning, is one of the stylistically remarkable parts of speech in the Russian language.

First of all, the verb is the main means of giving the text dynamism and communicating the development of actions.

The functioning of a verb in a text is determined by its personal form, tense, mood, aspect.

The meanings and functions of the past tense are especially diverse in literary texts. The past tense in a literary text is divided into three main types - the past imperfect, expressing a long-lasting action in the past (this is what the descriptive past is called), the past perfect with an effective meaning, and the past narrative.

The determining factor here is the type of verb, which represents the action in two aspects. These are the action view statically and the action view dynamically.

In the story by A.P. Chekhov’s “The Death of an Official”, the verbal vocabulary determines the entire plot fabric of the story and performs the following functions:

1. imperfective past tense verbs convey the hero’s state to a greater extent;

2. verbs of the past tense of the perfect form report the action directly in development, in dynamics and contain the plot thread of the story;

3. verbs of the present tense (in impersonal sentences) convey generality and routine to an object, action, state;

4. the same verbs in different contexts contain oppositions, i.e. are contextual homonyms;

5. stylistic reduction of verbs is a means of expressing the author’s attitude towards the hero, because characterize him in many ways;

6. repetition of the same verbs puts logical emphasis on them and suggests that they may be key;

7. The degree of expressiveness of verbs conveys emotional condition heroes;

8. participles and gerunds are shading in relation to verbs and contribute to a more vivid characterization of the characters.

Thus, it is the verbal vocabulary in A.P.’s story. Chekhov's "Death of an Official" is a defining feature of the writer's style.

Conclusion

As a result of our research, the main object of which was the “Chekhov world” and the heroes inhabiting it, we, first of all, developed a new vision of the work of A.P. Chekhov - in the vein of sociological realism. This allowed us to identify as the central figure of the “Chekhov’s world” an official who acts on behalf of the authorities and who has become the personification of the era. “Russia,” wrote Chekhov, “is a government country.”

And with amazing artistic power, using the example of bureaucracy, he showed that a person’s position in the social system and hierarchy of Russian society began to turn into a factor that determines all other aspects of a person’s life, and the relationship of command and subordination became the basis for all other relationships. Chekhov managed to create a picture of the tragicomedy of human existence in a world of illusory values, worries and anxieties, unprecedented in Russian and world literature.

M. Gorky wrote about the significance of Chekhov’s work:

“No one understood as clearly and subtly as Anton Chekhov the tragedy of the little things in life; no one before him was able to so mercilessly and truthfully paint people a shameful and dreary picture of their lives in the dull chaos of bourgeois everyday life. His enemy was vulgarity; all his life he fought with it, he ridiculed it and depicted it with a dispassionate, sharp pen, able to find the charm of vulgarity even where at first glance, everything seemed to be arranged very well, conveniently, even brilliantly ... "

Therefore among Chekhov's heroes discussed in course work, - not just officials by profession, but various forms of bureaucratic relations, called the “Chekhov world”, where Chekhov managed to create a picture of the tragicomedy of human existence in a world of illusory values, worries and anxieties, unprecedented in Russian and world literature.

A review of the sources used allowed me to see and appreciate different views and approaches to the topic of bureaucracy.

We began the main part of the work with the vision of the official by other writers, in order to understand how Chekhov saw it and what new things he brought to this image.

The main task of our research is to show how the writer saw the official.

The theme of the “little man” is traditional in Russian

literary tradition - found a unique refraction in Chekhov’s stories.

Gaining social status by rank, Chekhov's little man becomes an essentially petty official - not only and not necessarily by profession, but by his main function in society, losing his humane human qualities.

Through Chekhov's short and seemingly unpretentious texts, the pitiful, small and petty in the nature of a social person, who has completely lost himself in the real world of social conventions and priorities, is revealed in all his nature. We explored this moral “break” of a small person in a social environment hostile to him, the loss of humanity in a person in various forms in Chekhov’s stories.

It was impossible to ignore another very important aspect of Chekhov’s exploration of the theme of bureaucracy, since this was precisely what became the writer’s artistic discovery, the subject of his attention and comprehension. Chekhov managed to discover the decisive role of everyday life in the creation of the entire system and way of life of a person. Right here major tragedy human existence, the “little things in life” kill the humanity in a person... This is how the common disease of bureaucracy is revealed - self-forgetfulness in a social role, loss of human essence in official self-realization.

The phenomenon of Russian bureaucracy, understanding its nature and problems are extremely important for the reform and development of our society on reasonable principles, bequeathed to us by Chekhov. And with renewed vigor, among universal human problems, “Chekhov’s problems” “highlighted” - and turned out to be central! After all, the transformation of the Russian state, its social reorganization on a reasonable basis is possible only through a person, and a state person - an official - in the first place.

For a hundred years now, Chekhov has not been with us, but Chekhov’s message to us living in Russia in the 21st century is very important for the construction of “new forms of life” in our Russian reality.

Bibliography

Big encyclopedic Dictionary. 2000.

Gogol N.V. Favorites - Moscow. Enlightenment.1986

Griboyedov A.S. Woe from Wit - Moscow AST Astrel. 2003

Gromov M.P. A book about Chekhov - Moscow: Sovremennik, 1989. Electronic version.

Dostoevsky F.M. Crime and Punishment. Moscow enlightenment 1989

Small academic dictionary

Pushkin A.S. Selected works in two volumes. volume one. Moscow. fiction.1978

Kuznetsov's Explanatory Dictionary of the Russian Language

Ushakov's Explanatory Dictionary

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What works of Russian writers depict the morals of officials and what makes these works similar to N.V. Gogol’s play “The Inspector General”?

Read the text fragment below and complete tasks B1-B7; C1-C2.

Mayor. My duty, as the mayor of this city, is to ensure that those passing by and everyone noble people

no harassment... Khlestakov(at first he stutters a little, but by the end of the speech he speaks loudly)

. But what can I do?.. It’s not my fault... I’ll really pay... They’ll send it to me from the village.

. Sorry, it's really not my fault. The beef at my market is always good. They are brought by Kholmogory merchants, people who are sober and of good behavior. I don't know where he gets one from. And if something goes wrong, then... Let me invite you to move with me to another apartment. Khlestakov. No I do not want to! I know what it means to another apartment: that is, to prison. What right do you have? How dare you?.. Yes, here I am... I serve in St. Petersburg.(Being cheerful.)

no harassment... . Oh my God, so angry! I found out everything, the damned merchants told me everything!. Even if you’re here with your whole team, I won’t go! I'm going straight to the minister! (He hits the table with his fist.) What do you? What do you?

Khlestakov. No I do not want! Here's another! What do I care? Because you have a wife and children, I have to go to prison, that’s great!

Bobchinsky looks out the door and hides in fear. No, thank you humbly, I don’t want to.

Bobchinsky looks out of the door. He is more to blame: he serves me beef as hard as a log; and the soup - God knows what he splashed in there, I had to throw it out the window. He starved me for days on end... The tea is so strange: it stinks of fish, not tea. Why am I... Here's the news! (shaking). Due to inexperience, by golly due to inexperience. Insufficient wealth... Judge for yourself: the government salary is not enough even for tea and sugar. If there were any bribes, it was very small: something for the table and a couple of dresses. As for the non-commissioned officer's widow, a merchant, whom I allegedly flogged, this is slander, by God, slander. My villains invented this: they are such a people that they are ready to encroach on my life.

Khlestakov. What? I don't care about them. (Thinking.) I don’t know, however, why you are talking about villains and about some non-commissioned officer’s widow... A non-commissioned officer’s wife is completely different, but you don’t dare flog me, you are far from that... Here’s another! Look at you!.. I will pay, I will pay money, but now I don’t have it. The reason I'm sitting here is because I don't have a penny.

Bobchinsky looks out of the door. He is more to blame: he serves me beef as hard as a log; and the soup - God knows what he splashed in there, I had to throw it out the window. He starved me for days on end... The tea is so strange: it stinks of fish, not tea. Why am I... Here's the news! I, I, I.... Oh, subtle thing! Where did he throw it? what a fog he brought in! Find out who wants it! You don’t know which side to take. Well, just try it at random. (Aloud.) If you definitely need money or anything else, then I am ready to serve right now. My duty is to help those passing by.

Khlestakov. Give me, lend me! I'll pay the innkeeper right now. I would only like two hundred rubles or even less.

N. V. Gogol “The Inspector General”

Indicate the genre to which N.V. Gogol’s play “The Inspector General” belongs.

Explanation.

N.V. Gogol's play “The Inspector General” belongs to the comedy genre. Let's give a definition.

Comedy is a genre of fiction characterized by a humorous or satirical approach, as well as a type of drama in which the moment of effective conflict or struggle between antagonistic characters is specifically resolved.

Answer: comedy.

Answer: comedy

Name a literary movement that is characterized by an objective depiction of reality and the principles of which were developed by N.V. Gogol in his work.

Explanation.

This literary movement is called realism. Let's give a definition.

Realism is the fundamental method of art and literature. Its basis is the principle of life truth, which guides the artist in his work, striving to give the most complete and true reflection of life and maintaining the greatest life verisimilitude in the depiction of events, people, objects of the material world and nature as they are in reality.

Answer: realism.

Answer: realism

The above scene is structured as a conversation between two characters. What is this form of communication between characters in a work of art called?

Explanation.

This form of communication is called dialogue. Let's give a definition.

Dialogue is a conversation between two or more persons in a work of fiction.

Answer: dialogue.

Answer: dialogue

The fragment uses the author's explanations, comments on the course of the play (“at first he stutters a little, but by the end of the speech he speaks loudly,” etc.). What term are they called?

Explanation.

They are called the term "remark". Let's give a definition.

Directions are explanations with which the playwright precedes or accompanies the course of action in the play. remarks can explain the age, appearance, clothing of the characters, as well as their state of mind, behavior, movements, gestures, intonations. In the stage directions that precede an act, scene, or episode, a designation and sometimes a description of the scene of action or setting is given.

Answer: remark.

Answer: remark|remarks

What technique is used in Khlestakov’s remark about beef “hard, like a log»?

Explanation.

This technique is called comparison. Let's give a definition.

Comparison is a trope in which one object or phenomenon is compared to another according to some characteristic common to them. The purpose of comparison is to identify new, important, advantageous properties for the subject of the statement in the object of comparison.

Answer: comparison.

Answer: comparison

The surname of Khlestakov, as well as the surnames of other characters in the play, contains a certain figurative characteristic. What are these surnames called?

Explanation.

Such surnames are called “speaking” in the literature. Let's give a definition.

“Talking” surnames in literature are surnames that are part of the characteristics of a character in a work of fiction, emphasizing the most striking character trait of the character.

Answer: speaking.

Answer: speaking|speaking surnames|speaking surname

The speech of the characters is emotional and replete with exclamations and questions that do not require an answer. What are their names?

Explanation.

Such questions are called rhetorical. Let's give a definition.

A rhetorical question is a rhetorical figure that is not an answer to a question, but a statement. Essentially, a rhetorical question is a question to which an answer is not required or expected due to its extreme obviousness.

Answer: rhetorical.

Answer: rhetorical|rhetorical|rhetorical question

What role does the above scene play in the development of the plot of the play?

Explanation.

Each of the heroes of the comedy “The Inspector General,” alarmed by the news of a possible audit, behaves in accordance with his character and his actions against the law. The mayor comes to Khlestakov’s tavern, believing that he is an auditor. In the first minutes, both are frightened: the mayor thinks that the newcomer is not happy with the order in the city, and Khlestakov suspects that they want to take him to prison for non-payment of accumulated bills. This scene reveals the essence of two characters: Khlestakov’s cowardice and the mayor’s experienced resourcefulness. The comedy of the first meeting of the mayor and Khlestakov in the tavern is built on a mistake, which provokes fear in the characters, fear so strong that both do not notice obvious contradictions. From this scene begins the comic story of the absurd relationship between officials of the county town and the petty swindler Khlestakov.

Explanation.

The action in The Inspector General dates back to the early 30s of the nineteenth century. All kinds of abuses of power, embezzlement and bribery, arbitrariness and disdain for the people were characteristic, deep-rooted features of the bureaucracy of that time. This is exactly how Gogol shows the rulers of the county town in his comedy.

All officials are drawn by Gogol as if they were alive, each of them is unique. But at the same time, they all create the overall image of the bureaucracy governing the country, revealing the rottenness of the socio-political system of feudal Russia.

The officials from Gogol's "Dead Souls", the officials from Griboyedov's "Woe from Wit", the "servants of the people" of the Soviet era from M. Bulgakov's novel "The Master and Margarita" are very similar to the officials from The Inspector General.

The officials from the novel “The Master and Margarita” are extremely unscrupulous creatures, mired in proprietary interests. Stepan Likhodeev is a degenerate type, drinks, walks around without thinking, and lets dubious artists into variety shows. “Literary officials,” being the authority for “ordinary” writers, true artists, creators, obey directives from above and with one stroke of the pen prohibit creation, without thinking that by depriving them of the opportunity to write, they are depriving a true master of life.

Thus, in Russian literature of both the 19th and 20th centuries, the bureaucracy does not appear in its most favorable color, revealing in its ranks examples of meanness, hypocrisy, and servility.

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