Satirical novel-review “History of one city. Satirical novel "Modern idyll" M

Ivanova Polina Sergeevna, student of Samara Social and Humanitarian University, Samara [email protected]

Syntagmatic relations of semes by semes in the form of comparisons

Annotation. The article deals with the image of comparison in a literary text on the example of N. Abgaryan's story "Manyunya". Syntagmatic relations are considered on the example of the relationship of semes by semes (according to the classification of VG Gak): semantic disagreement, semantic disagreement, semantic agreement. Semantic and grammatical types of lexical compatibility are revealed. Keywords: image of comparisons, N. Abgaryan's creativity, seme, sememe, syntagmatic relations.

Syntagmatic relations (Greek syntagma - together built, connected) are based on the linear nature of speech, this is a sequence of any linguistic elements that together form more complex units in speech. A sememe consists of many semantic features, fam. Seme is a component of meaning that reflects the distinctive feature of the denotation of a word (object, phenomenon, process) or the use of a word and is able to distinguish the meanings of words. linking becomes its main function. Syntagmas (combinations of words connected in meaning) can represent free or related combinations of words; the former are easily created and “crumble”, the latter are reproduced as a whole. The category of phraseologically related meanings includes, on the one hand, cases of phraseological conditionality of the use of a word, and on the other hand, the meaning of a limited area of ​​applicability.

Let's consider the syntagmatic relations of semes by semes in the form of usual and occasional comparisons of N. Abgaryan's story "Manyunya". Comparisons of this story are analyzed in the works of E.P. Ivanyan, see,,. The subject of the study is the syntagmatic relations of semes by semes. The purpose of the article is to consider the syntagmatic relations of semes by semes in lexical and grammatical compatibility. At the basis of lexical compatibility, grammatical compatibility is highlighted. Comparisons of the story are not only free and connected combinations of words, but also related combinations of words that have undergone deformation. Free syntagmas form occasional comparisons, bound syntagmas form usual ones. It is customary to distinguish between the compatibility of lexical units of two types - grammatical (syntactic) and lexical. If lexical compatibility is a set and conditions for the implementation of lexical distributors of a word, then the syntactic compatibility of a word is the totality and properties of syntactic links potentially possible with it, a set and conditions for the implementation of syntactic links.

In a speech sequence, words enter into combinations with each other, and various relationships arise between their sememes. It is from the seme composition of sememes that the possibility or impossibility of a meaningful combination of words with each other depends. The classification of sememe relationships according to semes in the syntagmatic series by V.G. Gaka. The scientist proposed to distinguish three types of relations between the sememes of combined lexemes: semantic agreement, which implies “the presence of the same component in two members of the syntagma”; semantic inconsistency, which involves “omitting a common component in one of the terms”; mismatch, which means “the presence within the syntagma of components that are incompatible from the point of view of real subject relations” . From the story of N. Abgaryan, 194 comparisons were identified by the method of continuous sampling. 63% of images of comparisons enter into syntagmatic relations: semantic disagreement (41%), semantic disagreement (19%), semantic agreement (12%). The remaining images of comparisons (37%) are presented in one word, considered, combinations of semes by semes in syntagmatic relations, cannot. The correlation of syntagmatic relations of semes by semes in the image of comparisons of the story "Manyunya" is shown in the diagram:

I. Semantic inconsistency

Semes in the sememe of comparison images are considered in the mismatch of the connecting components of meaning between a noun and a noun, a noun and an adjective, a noun and a numeral, a noun and a verb. 1. The common component of meanings is omitted in combinations of a noun with a noun in ordinary, occasional comparisons, as well as in ordinary comparisons containing deformation. In these comparisons, two objects enter into syntagmatic relations, one object is combined with the other grammatically, but nouns do not have connecting components in the meaning. In the usual comparison, as from a cornucopia, the components of the meaning of the elements of comparisons form coherent combinations of words and do not correlate in a common seme: the word horn has the meaning “a hard, tapering outgrowth of bone substance on the skull in some animals”, and the word abundance

"large quantity, excess, abundance." Phrasebook interprets the phraseological unit cornucopia - "about a generous, abundant source of earthly goods", on the basis of the phraseological unit, a comparison was formed as from a cornucopia with the meaning "in a very large amount."

The comparison has a mythological origin and correlates with the images of ancient Greek myths. The images, as a rule, do not appear independently, but as an element of situations associated with myths about gods, heroes, historical and mythological events. In occasional comparisons, the components of meanings form free combinations of words with the omission of the common component of meanings . So, in comparisons, like in a doctor's waiting room, like a stone idol from Easter Island, like a crest of a secretary's bird, and other semes do not agree in the combination of words. word Semantic agreement Semantic disagreement Semantic disagreement Usual comparisons Occasional comparisons Deformation of usual comparisons The elements of the right side of the comparison, which are literary onym and ideonym, do not have common semes, but the semantic content of the ideonym has a reference to the literary onym. For example, a comparison like a monster from the cartoon "The Scarlet Flower" of the seme of the lexeme monster does not find common semes with the ideonym used in the comparison. But the semantic content of the cartoon "The Scarlet Flower" implies a character denoted by this lexeme. We also find in comparison like Cinderella from the movie "Three Nuts for Cinderella". Sememes in comparison with the transformation of the associated meaning, like leaves on the windmill, have sem.2 in common. The common component of meanings is omitted in adjective-noun combinations in ordinary, occasional, and deformed comparisons. In such combinations, syntagmatic relations form an object and its attribute; there is no common seme in the sememe of the object and its attribute. Among the usual comparisons of the story, syntagmas stand out as from a toothache, as a white flag, as House of cards, etc. Occasional comparisons with a mismatch between the connecting components of meanings are represented by examples of a quiet mouse, a hound dog, etc. Comparisons with transformations of the usual meaning, in which the common seme is omitted, include: like a granite rock, like a sacrificial sheep.3. The common component of meanings is omitted in combinations of a numeral with a noun in ordinary and occasional comparisons. Comparative combinations are formed between an object and its quantity, a common component of meaning is absent in the semes of an object and its quantity. Combinations of a noun and a numeral represent an ordinary comparison as two drops of a similar one and occasional comparisons as two scarecrows, like a hundred thousand cheetahs, like two mutant tadpoles, like two dolphins. 4. The common component of meanings is omitted in combinations of a pronoun with a noun in occasional comparisons: like my dad; better than our mother. There is no common component in semes between lexemes with the meaning of an object and an indication of it. 5. The common component of meanings is omitted in verb-noun combinations in ordinary and occasional comparisons. The absence of a common seme is observed between the objects of the process in ordinary (as if by hand, as if a demon was possessed by others) and occasional (as if her teeth ached, etc.) comparisons. II. Semantic mismatch

In cases of semantic mismatch between the components, the semantic adaptation of the components to each other occurs: one of the conflicting semes is extinguished or the missing seme is transferred to the meaning of another component. In the images of comparisons, there is a semantic mismatch of semes by semes in the connection of a noun and a noun, a noun and an adjective, a noun and a verb, the connection between the elements of the object of comparison is lost due to a single element of comparison. 1. The presence of incompatible components within the syntagma in combinations of a noun with a noun is found in usual, occasional and deformed comparisons. In these comparisons, two objects enter into syntagmatic relations, one object is combined with another grammatically, but the meaning components of nouns are incompatible. So, in the usual comparison, the connection between the semes is lost like in a frying pan: already “non-venomous snake, reptiles”, a frying pan is “a kitchen utensil for frying food”. In the syntagma, the meaning “for frying food” in the lexeme frying pan is extinguished, since the reptile snake cannot be found in the usual human diet. In this example, the components of the meaning diverge, which leads to comic effect. E.N. Nikitin, considering the conflict connection in literary texts XIX-XX centuries, concludes that the experimental direction of realism “is achieved by non-canonical combination of techniques of different models of speech activity (created within the framework of the realistic method) . In comparison, as on the wings of love, the missing seme “flying through the air” is transferred to the seme love, the seme “the organ of birds and insects” fades away. In occasional (an angel in the flesh) and transformed (as in God's bosom) comparisons, the seme "an incorporeal being, a spirit" is extinguished. 2. The presence of incompatible components within the syntagma in combinations of a noun with an adjective is present in occasional comparisons. In such combinations, syntagmatic relations form an object and its attribute, there is a mismatch between the sememe of the object and its attribute. Incompatible components are observed in comparisons as a weak-willed lump, a blind lump, reminiscent of an indifferent (reinforced concrete) structure. In all examples, the sign inanimate objects animated. The seme "substance/construction" is eliminated, acquiring the missing seme "inherent in the living."3. The presence of incompatible components within the syntagma in combinations of a noun with a verb contains usual comparisons. In comparison, as if swallowed arshin, there is an incompatible seme “measure of length” in the subject and process: arshin is “a Russian measure of length equal to 0.711 meters, used before the introduction of the metric system” and swallow “with the movements of the muscles of the throat, draw in and push thon. through the esophagus to the stomach." The seme “measure of length” fades away, the dictionary gives the meaning of the comparison “about a person with an unnaturally straight posture, bearing; about a person holding himself unnaturally upright because of stiffness, ceremony, restraint, aloofness, etc.” .4. Lost connection in comparison due to single element of comparison in occasional and transformed comparisons. In an occasional comparison, it is as if an unfortunate animal is being tormented somewhere in her stomach. In the example “It was easier to put in a scoop and throw the consequences of a tornado out of the barn” there is an incompatible seme “ a natural phenomenon» at the lexeme tornado. In comparison with the transformation, as if all the darkness of Egypt has thickened in your intestines, there is a semantic adaptation of the seme "part digestive system» to the phraseology Egyptian darkness.III. Semantic agreementSemantic agreement of semes by sememes is observed in connection with the components of meanings noun and noun, noun and adjective, noun and verb.1. The presence of a common seme between combinations of a noun with a noun is observed in ordinary and occasional comparisons. In these combinations, there is a common seme between the sememes of an object and an object. In comparison, as in the sea, the ships, the agreement of semantics with the lexemes sea and the ship gives a common semantic “sea”. Semantic agreement occurs in examples of occasional comparisons like a soldier (retreating) army, like a stingy knight (over his) chests, etc.2. The presence of a common seme between combinations of a noun and an adjective in occasional comparisons. The same components of meaning are found between the subject and its attribute, for example, the comparison by baby talk contains the common seme “period of human development”. We find a common seme between the semes in comparisons like the Homeric Cyclops Polyphemus, as if (she participated) in gladiator fights etc.3. The presence of a common seme between combinations of a noun and a verb is found in occasional comparisons. The comparison, like our Vasya, when he climbs the climb, contains two combinations: (1) like (our) Vasya, when he climbs (the climb) and (2) (like our Vasya), when he climbs the climb. In example 1, the lexemes Vasya (in the story, such a name is given to a car) and climb have a common seme “movement”, in example 2, the lexemes climb and (on) rise have a common component of the meaning “up”. In comparison - a separate sentence "This is how the locomotive slows down when it is afraid to miss the platform - loud, frightening pffffffff" the combination slows down the locomotive has a common seme " vehicle". Some elements of the comparison do not agree on a common seme: the semes of the meanings of the words are afraid and miss, contain the contradictory seme "live" and refer the comparison to the group of semantic mismatch. This comparison is based on the combination of semantic agreement and disagreement.IV. An image represented by one word/words with one meaning

The image of comparison, represented by one word, does not have compatibility with another linguistic unit and cannot be considered in the syntagmatic relation of seme by sememe. The group contains usual and occasional comparisons. In the usual, like in Papa Carloi, occasional, like in Uncle Moishe, like in Jennis Joplin, like the old man Hottabych, and other comparisons, two words form one meaning “face”, which is in the mind of the character of the story - a child. Comparisons are like rubber, well, or how chewing gum, like NifNif and NufNuf, are a combination of two comparisons united by the union or / and. Thus, we can draw the following conclusions: one meaning) into syntagmatic relations of semes by semes. In the images of comparisons, all types of relations between semes by semes are presented, in some of them there is a combination of these types, examples of which are presented in occasional comparisons.2. Semantic inconsistency is represented by combinations of a noun with a noun, an adjective, a numeral, a pronoun, a verb. An object in combination with its attribute, quantity, action or with another object forms an image of comparison, i.e. the left side of the comparison is compared with the right side of the subject, in which the elements of the value do not agree with each other, do not have common components of values. images diverge from each other in meaning. Images of comparisons that enter into relations of semantic mismatch have combinations in which the connection is lost due to a single element of the image of comparison. N. Abgaryan uses comparisons in which the meaning components are incompatible, which, in some examples, leads to a comic effect4. Semantic agreement contains combinations of a noun with a noun, an adjective, a verb. An object has a common component of meaning with a feature, action, or other object.

5. Syntactic compatibility helps to reveal the grammatical structure of the comparison. In the story "Manyunya" the main element of the right part of the comparison is a noun, which is consistent with other parts of speech.

Links to sources: 1. Avdeeva O.I. Features of syntagmatic relations of verbal phrasemes of the Russian language: semantic and grammatical aspects // Bulletin of the Adyghe state university. Series 2: Philology and art history. Issue No. 3 (105) / 2012. -S. 8388.2. Aspects of semantic research / Ufimtseva A.A.; resp. editors Arutyunova N.D., Ufimtseva A.A.; Academy of Sciences of the USSR, Institute of Linguistics. -M.: Nauka, 1980. -356 p. 3. Ivanyan E.P. Natural science and humanitarian approaches in the linguistic analysis of a literary text // Artistic consciousness: consolidation of natural science and humanitarian approaches: Vseross. scientific conf., dedicated 200th anniversary of the birth of M.Yu. Lermontov. – Samara: PSGA, 2014. P. 5664.4. Ivanyan E.P. The problem of studying literary onyms in the logoepistemic aspect // Actual problems of Russian and comparative philology: theory and practice: Intern. scientific and practical conf., dedicated 25th anniversary of the department Russian and comparative philology BSU. May 1213, 2016 -Ufa: RIC BashGU, 2016. -S. 3640.5. Kotelova N.Z. The meaning of the word and its compatibility (to formalization in linguistics) / Nadezhda Zakharovna Kotelova. - Leningrad: Nauka, Leningrad branch, 1975. -164 p. 6. Kuzmina N.A. Modern Russian language. Lexicology: theory, training, control: textbook. allowance / N.A. Kuzmin. -2nd ed., rev. –M.: FLINTA: Nauka, 2010. –336 p.7. Mokienko V.M. Nikitina T.G. Big Dictionary Russians folk comparisons. Moscow: CJSC OLMA Media Group, 2008. 800 p. 159164.9. Nikitina E.N. "There are strange encounters» On the connection of the incompatible in literary texts // Russian speech. 5/2012. -WITH. 2430.10. Pankina M.F. Types of semantic compatibility of verbs of independent movement in Russian and German. –M.: Sputnik+ Company, 2007. –125 p. 11. Plotnikov B.A. Fundamentals of semasiology: Proc. allowance for students. philologist. fak. universities / Plotnikov Bronislav Aleksandrovich; Ed. Supruna A.E. –Minsk: Highest. School, 1984. -220 p.12. Popova Z. D. The lexical system of the language: ( internal organization, categorical apparatus and methods of study): textbook / Popova Zinaida Danilovna, Sternin Iosif Abramovich. -Voronezh: Voronezh University Press, 1984. -148 p.13. Sternin I.A., Salomatina M.S. Semantic analysis of the word in context. -Voronezh: "Sources", 2011. 150 p. Circulation 200 copies. 14. Ufimtseva A.A. The word in the lexical-semantic system of the language / Ufimtseva Anna Anfilofevna; Academy of Sciences of the USSR, Institute of Linguistics. -M.: Nauka, 1968. -271 p.15. Ushakov D.N. Explanatory dictionary of the modern Russian language, D.N. Ushakov M.: "Adelant", 2013. -800 p.16. Phraseological dictionary of the Russian language. (Team of authors: prof. Fedosov I.V., Candidate of Philological Sciences Lapitsky A.N.). M.: UNVES. -2003. –608s.

In the extended context, the role of the species in the formation of the semantics of the sentence decreases, since various linguistic elements participate in the expression of the course of the action. These are, in addition to the verb form and modes of action, lexical indicators: adverbs, pronominal words and prepositional-case combinations with adverbial temporal meanings (already, still, often, every day, in an hour, etc.).

P.); syntactic constructions (for example, complex sentences with temporary conjunctions such as while, as long as), etc.

The Russian language implements the mechanism of semantic coordination of all aspectual elements and their duplication. According to V. G. Gak (1924-2004), semantic agreement is a repetition of one or another meaning in a phrase or sentence, semantic disagreement is the absence of such repetition, and semantic disagreement is “a combination of opposite (or unnecessary) components” [Gak 1972: 381]. For example, in the following sentence I will do this work in two days, before Monday the final limit of the action is indicated in the verb form CB itself and the circumstances of the time.

An unmarked member of the specific opposition - NSV - can imply various aspectual contextual meanings, but with an unambiguous expression of the singularity and completeness of the action by lexical indicators, the use of SS is mandatory in Russian (a similar situation is observed in other Slavic languages). This is a source of errors for speakers of non-Slavic languages ​​who study Russian, who often do not take into account the semantic matching of contextual elements with the form of SV, which is mandatory in such cases. Compare, for example, the misuse of species in the following sentences: * He has already eaten everything I left him; *Do it all the way tonight / before 7pm; *Have you already written your article? Today we *done everything by 7 o'clock. Yesterday I *reworked an article in two hours; Tomorrow in two hours I *will be redoing the article. NE can replace NE when denoting a completed action only if the aspect characteristic of the action (completion, effectiveness) follows from the situation or context, but is not updated by special lexical elements (cf .: I read / read this article, so we can discuss Where did you buy / did you buy this dictionary?)

Thus, NSV retains its own specific meaning even outside the context of specific-process or specific-long-term use, which prevents the replacement of NSV verbs with SNV verbs in the presence of contextual indicators of the completion and effectiveness of a single action. However, when denoting repetitive actions, the compatibility of NSV with such circumstances in Russian is usual, which confirms the neutralization of the aspectual opposition in this type of context, cf.: She usually reprinted such a text in an hour. As a rule, we completed everything completely by 7 o'clock. The NSV verbs, the only ones possible in such contexts, act as aspectually neutral forms and therefore freely combine with circumstances such as in an hour, by 7 o'clock, completely, emphasizing the completion of the action.

In the Czech and Slovak languages, such compatibility is impossible: the more pronounced process meaning of the NSV verbs prevents their use in such contexts: Czech. Takovy text ^přepisovala obyčejně za hodinu; Slovak ^Prepisovala taky text obyčajne za hodinu. The following suggestions are more realistic: Czech. Takovy text přepisovala obvykle hodinu - She usually copied such a text for an hour or Takovy text přepsala (CB) obvykle za hodinu and Slovak.

Prepisala (CB) taky text obyčajne za hodinu – lit. * She usually retyped the text in an hour. The Polish language here shows similarities with Russian: Taki tekst ona zazwyczaj przepisywala (NSV) w godzine.

The opposition of SV and NSV is associated in the text with various semantic oppositions, between which there are hierarchical relations. The implementation of the main opposition of the verbs CB and NSV in relation to the limit of action determines the distinction between sequential and simultaneous actions and the distinction between narrative and description based on this (see § 29). Other semantic oppositions of the verbs SV and NSV are realized, as a rule, when the main aspectual opposition is neutralized - the action with the actualization of its limit (the specific actual meaning of the SS) and the action in the process of flow (the process value of the NSV). In a number of verbs SV and NSV, the opposition to the limit of action is neutralized in the very lexical meaning of the verbs, which, regardless of the form, equally express effective actions. Such, for example, are instant action verbs of the type find - find. For such verbs, the main opposition of NE and NSV is built only in relation to the sign of multiplicity.

In the case of optional neutralization of aspectual opposition, when both aspectual forms can be used when denoting the same denotative situation, the verbs SV and NSV may differ in the interpretation of this situation in a modal-pragmatic sense. Pragmatic meanings are expressed by contrasting NE and NE, in particular, in negation, when it is clear from the situation that the action has not yet taken place, therefore the nature of its course is unimportant, as well as in imperative sentences with an imperative. So, when expressing an inducement not to perform an action with the help of a type, a request-prohibition (NSV) and a warning (SV) are distinguished. Wed: Don't spill my coffee, please! (I'll finish it) / Don't pour out my coffee! (I'll still finish it). Patterns of the use of species in the imperative may be due to the peculiarities of the communicative situation. The neutral impulse to action expresses ST (Bring this magazine to the lesson tomorrow, and now take out the textbook), the verbs of NSV express a more categorical and impatient impulse (Get it soon!). But in the etiquette structures of invitations, greetings, farewells, the function of neutral motivation was assigned to NSW, while NE expresses a direct urge to act motivated specific situation. Wed: Come on! Get undressed! Sit down! - Please go to the next room and wait for the doctor there! Please sit on another chair, this one is broken. The opposition of species in the infinitive is rich in pragmatic meanings, primarily in negative sentences, for example: Olya don’t get up early tomorrow (= don’t get up): holidays; Olya won’t get up early tomorrow (= won’t be able to get up): she went to bed very late.

The aspect can act as an indicator of a kind of certainty / indefiniteness of an action, in particular in interrogative and negative sentences (in terms of the past tense): SV expresses a known, expected action, while the verb NSV indicates only the fact of an action or its absence [Rassudova 1968: 20 -21]. Wed: Alexey didn’t return the book to me, although I really asked him about it / Alexey didn’t return any book to me, I don’t know anything. Especially rich in additional pragmatic and thematic functions is the use of NSV verbs with a general factual meaning in terms of the past tense (for the complication of the rules for choosing the past tense forms SS and NSV in the dialogic type of speech, see § 36).

More on the topic § 19. Semantic agreement of aspectual elements of a sentence:

1. General concept of semantic syntax, semantic articulation of a sentence. The semantic structure of the sentence. Schema semantics. Typical sentence value
2. Compound sentences (CSP). Structural and semantic features of the BSC. Means of connection of parts in the SSP: coordinating conjunctions, typified lexical elements, the ratio of aspectual-temporal forms of verbs-predicates, etc.
3. One-part sentences are a special structural-semantic type of a simple sentence. One-part sentences are in
4. Principles of classification of compound sentences. Structural and semantic characteristics of the types of compound sentences. The place of complex sentences with connecting and gradational unions in the system of a complex sentence. Question about compound sentences with explanatory conjunctions.
5. Nominative (nominative) sentences are one-part, segmentable sentences in which the semantic subject and its

satirical novel

satirical novel

Literary encyclopedia. - In 11 tons; M.: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .

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If the "Gentlemen Golovlevs" are in the work of Shchedrin the highest achievement in the genre of social and domestic psychological novel, then “Modern Idyll”, along with “The History of a City”, can serve as an example of a satirical political novel, the purpose of which this time was to expose not so much the directly administrative principles of monarchism as the mass manifestations of political and social reaction generated by the latter.

"Modern idyll", despite the diversity of content that reflected the fluid political material of our time, and also despite the fact that more than four years have passed between the time of the appearance of the first eleven chapters (1877-1878) and subsequent ones (1882-1883), has a harmonious composition, not yielding in this respect to the Golovlevs, and a single tone of satirical narration.

The composition of the novel is characterized by the presence of chapters that include different genre forms - a fairy tale, a feuilleton, a dramatic scene.

However, this is not at all a deviation from the main idea and from the main plot, but a peculiar and highly original development of the main theme: moreover: such, for example, “inserted” episodes as “The Tale of the Zealous Boss” or the dramatic scene “The Unfortunate Scribbler” , are the focal points of the ideas developed in the novel.

In the composition of "Modern Idyll" the "free attitude to form" characteristic of Shchedrin, the art of creating an organic fusion of contrasting genre elements, which give the narrative multicolor and expose the subject of satire in relief and witty illumination, was especially clearly and naturally manifested.

Liberal critic K. K. Arseniev wrote in Vestnik Evropy with a review of Modern Idyll called The New Shchedrin Collection. In this regard, Shchedrin wrote to A. N. Pypin, an employee of the journal, in a letter dated November 1, 1883: “Modern Idyll is called the Collection, but I don’t understand why. This thing is completely coherent, imbued from beginning to end with one thought, which is carried out by the same "heroes"<...>If you take the point of view of Vestnik Evropy, then both The Pickwick Papers and Don Quixote, Dead Souls“will have to be called ‘collections’.”

And indeed, with the works listed by Shchedrin, "Modern Idyll" is related primarily to the genre of a satirical review novel, in which the variety of scenes and persons, widely covering the life of the society of that time, is compositionally cemented into a single picture by the motif of "travelling" characters. At the same time, Shchedrin's novel, unlike its genre predecessors, is entirely immersed directly in the atmosphere of political life.

The heroes of "Modern Idyll" rush about in space, being pushed out of their homes by the raging political reaction, which forced them to flee in panic, spy, inform, exterminate each other, get involved in criminal and political adventures.

In "Modern Idyll" the satirist most vividly realized his plan for such a novel, the "drama" of which goes beyond the domestic framework into the street, unfolds in the public political arena and is resolved in the most diverse, almost unforeseen ways.

The action of "Modern Idyll" begins in a private apartment, from here it is transferred to a police station, a law office, merchant's house, gradually captures more and more wide circle persons and phenomena, then it is transferred from the capital to the cities and villages of the province, and finally returns again to the capital. All this motley flow of persons and events in the work is caused by the intrusion of "internal politics" into the fate of people.

The main theme of the novel is the exposure of the political and social reaction, cowardice and renegade behavior of those sections of the liberal intelligentsia, which during the years of reaction had sunk to the limit of ideological, moral and political decline.

The central characters of "Modern Idyll" are two moderate liberals - Glumov and the narrator. Suspected by the authorities that they are "dissolving the revolution" while sitting in apartments, Glumov and the narrator plan a program, the implementation of which would restore their reputation as well-meaning.

Initially following the advice of their friend Alexei Stepanych Molchalin, who recommended them to “moderate their ardor”, “wait a minute”, they stop reasoning, indulge exclusively in physical pleasures and bodily exercises. However, this evidence of reliability is not enough. Once, for the purpose of selfish self-preservation, on the path of good intentions, the heroes of the novel are rapidly falling lower and lower.

Moving along an inclined plane towards the reaction turns them into active participants in that same "clownish tragedy", from which they initially tried to stay away. They make acquaintance with the police officials of the district district, the detective, all sorts of notorious scoundrels, get entangled in a dirty story with imaginary bigamy, in fraud with counterfeit bills, etc.

In a word, they "become participants in crimes in the hope that the general criminal code will protect them from the claims of the criminal-political code." And indeed, having fallen on trial, they come out whitewashed and, as people who have proven their good intentions, are honored to work as employees in the newspaper Verbal Fertilizer, published by the manufacturer Kubyshkin.

Shchedrin never recognized the importance of the liberal intelligentsia as the leading liberating force in the social struggle, moreover, he saw and understood the whole danger of the conciliatory policy of liberalism. But for all his immense and well-founded skepticism, Shchedrin did not abandon the thought of the possibility of singling out from the ranks of the liberal intelligentsia its best elements capable of assisting the liberation movement. This manifested itself in the "Modern Idyll". The epic of the reactionary adventures of two liberal intellectuals ends in the novel with the awakening of a sense of shame in them.

Fear of reaction drove them to undertake the humiliating "feat" of self-preservation. But, while striving for the reputation of politically well-intentioned people, they realized that they were doing precisely meanness and vulgarity, and nothing else, and inwardly remained opposed to the reaction. The discord between immoral behavior and a critical line of thought was finally resolved by "anguish of awakened shame."

Shchedrin considered it possible and suggested such an outcome for a certain part of the cultured and critically thinking, but disgraced liberal intelligentsia. And there is nothing unrealizable in this. When the old socio-political system, which has outlived its historical period, disintegrates, then their most conscious and honest representatives still begin to depart from the ruling classes.

For all that, introducing the motif of awakened shame into The Modern Idyll, Shchedrin was not at all inclined to associate any far-reaching hopes in the sense of social transformations with the factor of shame. “They say Shame cleanses people, and I readily believe it.

But when they tell me that the action of Shame captures far, that Shame educates and conquers, I look around, recall those isolated calls of Shame that, from time to time, broke through among the masses of Shamelessness, and then nevertheless disappeared into eternity .. .and evade answering.

These are last words"Modern idyll". Objectively, they are polemical in relation to all kinds of moralistic concepts of the transformation of society and, in particular, in relation to the moral teaching of Leo Tolstoy, which was becoming popular at that time. And although Shchedrin evaded a final answer, his thought about public role shame is clear enough.

Shame helps correct people, cleanse individual representatives of the ruling part of society from the heavy burden of class inheritance, shame serves as a prerequisite for the social liberation struggle, but the effect of shame does not capture far and does not cancel the need for an active mass struggle.

The exposure of liberal renegades in Modern Idyll has grown into a broad satirical picture of political and social backlash. In this regard, Modern Idyll, while being neither Shchedrin's first nor last blow against reaction, retains the significance of a work that is most striking in its force, ruthlessness, and mastery of satirical exposure and denunciation of both government reaction and its pernicious influence on broad strata. Russian society.

The novel, for the most part, was written at a time when autocracy during the reign of Alexander III revealed all its reactionary potentialities. Having dealt with the Narodnaya Volya, it demanded more and more new victims.

Terror, espionage, an epidemic of suspicion raged in the country, and in connection with this, panic spread in society, mass betrayal by the liberal intelligentsia, and servile opportunism. The government's call for assistance in the struggle against the revolution and socialism was answered primarily by various human scum; in the sarcastic expression of the author of "Modern Idyll", the scoundrel has become "the ruler of the thoughts of modernity."

All this found its relief reflection in the satirical mirror of Modern Idyll. Shchedrin caustically ridiculed the authorities, distraught in their reactionary zeal, completing the exposure with the famous "Tale of the Zealous Chief." He branded with contempt the morally corrupted "heroes" of reaction, giving them a generalized portrait in a feuilleton about the scoundrel "The Ruler of Thoughts."

The reality of the era of ferocious government reaction is presented in Modern Idyll as a tragedy of the life of an entire society, a tragedy that stretched out into countless sudden acts, gripped a huge mass of people and, moreover, was complicated by buffoonery.

Heroes of cruel buffoonery - police officials and spies (Ivan Timofeich, Prudentov, Kshepshitsyulsky, a lot of police officers and "pea coats"), bureaucrats-dignitaries (Perekusikhins), conquerors-adventurers (Rededya), capitalists (Paramonov, Vzdoshnikov, Oshmyansky), out of their minds landowning princes (Rukosuy-Poshekhonsky), notorious scoundrels (Gadyuk-Ochishchenny, Balalaykin, and others), "ideally well-intentioned brutes" from among the liberals (Glumov and the narrator) - all these comedians of the old, rotten, bankrupt order are exhibited in the "Modern idylls” to public disgrace and ridicule.

The humor of contempt, malicious and merciless humor - this is the main weapon that the author of "Modern Idyll" unleashed on the types and phenomena that personify the autocratic police state of landlords and capitalists. The desire to reveal the cruel comedy of reality, to tear off the "decent" covers from the enemy and present him in a ridiculous and disgusting form - this is the whole bright, multi-colored poetics of the tragicomic novel, sparkling with wit and merciless denunciations.

Engaged in The Modern Idyll mainly by exposing the "clownish" aspect of social tragedy, Shchedrin touched directly on tragic collisions. The tragic side of reactionary buffoonery is the suffering and death of a mass of people of honest thought and honest work. Representatives of the advanced Russian intelligentsia, fighters who became victims of police terror ("The trial of the ill-fated scribbler") are experiencing a truly human tragedy.

The bitterest "habitual" tragedy hung over the impoverished, crushed village, robbed by the kulaks and the authorities (a statistical description of the village of Blagoveshchensky in Chapter XXVI), over the village, where "there was not an inch of land that would not hide the word of reproof in its bowels."

Tragedy village life aggravated by the fact that along with material poverty was the spiritual poverty of the peasant masses, their political backwardness, which helped the forces of reaction to use the people as their obedient tool.

The police authorities and the rural bourgeoisie, frightening with the specter of revolution and corrupting with the promise of monetary rewards, incited the peasants to "catch the Sicilists." With bitter irony and harsh truthfulness, Shchedrin notes that there were many who wanted to hunt for "Sicilists". Spring is in full swing, the peasants say, but they have not begun to sow.

“What is it?

“We catch all the Sicilists. The other day, with all the guards, they spent two days in the forest, looking for him - but he, a convict, ran away in front of everyone!

The village in Modern Idyll is a village from the early 1980s. She is still in the grip of age-old prejudices, she is intimidated by the authorities, corrupted by the reaction, her ideas about the revolution are wild and false. At the same time, this village is only two decades separated from the one that will join the mass action during the years of the first Russian revolution. Penetratingly new ideas in the peasant masses and signs of fermentation that began under the influence of their fermentation in the traditional consciousness of the masses are reflected in the "Modern Idyll".

Shchedrin was not in a position to talk about this directly. He limited himself to separate, but rather transparent hints. The word "Sicilists", we read in the novel, "acquired the right of citizenship in the village and was repeated in the most diverse senses." Some - and, of course, these were the majority - identified socialists with traitors and convicts; others, albeit vaguely, following a purely peasant model, began to listen and ponder the meaning of revolutionary propaganda. The representative of the latter is the soldier mentioned in the novel, who came to the village on a visit. He told his fellow villagers that soon "the earth, and water, and air - everything will be state-owned, and the treasury will distribute it to everyone on its own."

"Modern Idyll" gives a vivid picture of satirical skill Shchedrin. The pictorial arsenal of the satirist is demonstrated in "Modern Idyll" more widely and fully than in any other single work of Shchedrin. Not without reason, in connection with the "Modern Idyll", Turgenev wrote to Shchedrin: "The strength of your talent has now reached the point of "agility", as the late Pisemsky expressed it."

The speed of plot development, the organic inclusion in the narrative of a fairy tale, a feuilleton, a dramatic scene, a parody, a pamphlet, transparent allusions to specific political phenomena, polemical arrows directed at political and literary opponents, a variety of Aesopian figures of allegory, interweaving of the real and the fantastic, witty satirical exaggeration persons and events with the use of hyperbole and grotesque, laconism of portrait sketches, masterful dialogues, an abundance of striking satirical formulas, for the first time it was here that the technique of statistical exposure was brilliantly used (the biography of the merchant Paramonov in figures, a statistical description of the village of Blagoveshchensky), etc., etc. - all this multi-colored combination of visual techniques and means of depiction creates a complex satirical symphony of "Modern Idyll", forms its original, inimitable poetics.

In "Modern Idyll" Shchedrin masterfully uses the method of calling to his literary predecessors, which he has tried more than once. Here we meet quotations, reminiscences and images from Derzhavin, Krylov, Sukhovo-Kobylin, Hugo.

A significant place in the work was occupied by disputes on literary themes, sparkling with the sharpness of thought, judgments about the novel and tragedy, satirical remarks about the pedantry of Pushkin bibliographers and about theater repertoire, parodies of a love story and pseudo-folk collectors of folklore, etc.

In the novel, such a characteristic creative method of the satirist, as a typological connection of this work with previous work. Already previously known from a number of other works, the images of Glumov, the narrator, Balalaykin in "Modern Idyll" act as the main characters, and here their image is brought to completion.

"Modern Idyll" refers to those works of Shchedrin, where the satirist's wit breaks through in a stormy stream, where his humor shines with all colors, manifests itself in all gradations.

Playful, sparkling with jokes in scenes depicting Balalaykin's fictitious marriage to the merchant Fainushka, caustic, saturated with poisonous irony on the pages depicting heroes working out the "Charter on Decency", he turns into loud laughter when Shchedrin tells "The Tale of the Zealous Boss", and in a feuilleton about a scoundrel, "The Ruler of Thoughts" is expressed in contemptuous sarcasm.

The humorous element pervades all elements of the plot and poetics of the novel. It even captures the landscape, which in Russian literature is almost the property of Shchedrin alone. It is in "Modern Idyll" that we find remarkable examples of Shchedrin's satirical landscape, unexpectedly and witty bringing together the phenomena of political reality with the phenomena of the natural world.

Here, for example, in the morning: "... as soon as the golden-fingered Aurora splashed the first sheaves of flame in the far east, the local police officer was already fulfilling his duty." Here is the onset of autumn: “The leaves are still firmly attached to the branches of trees and only slightly begin to turn brown; dahlias, stockroses, mignonette, sweet peas - all this has paled slightly under the influence of matinees, but is still in full bloom; and everywhere buzz myriads of bees, who, like officials before the reform, are in a hurry to get the last bribes.

"Modern Idyll" produced strong impression on Turgenev by the flight of "crazy-humorous fantasy". He wrote to Shchedrin in 1882: "...the vis comica that was born to you has never manifested itself with greater brilliance." In turn, Goncharov, describing the impression made by Shchedrin's humor, recalled: "... the reader angrily laughs with the author over some "modern idyll"".

Shchedrin's laughter in Sovremennaya Idyll is laughter that exposes the "heroes" of political and social reaction to shame and arouses the energy of public indignation towards them.

"Modern idyll", despite its fantastic flavor, relies - even in many details - on the facts of reality. On the whole, the novel is a murderous pamphlet on the epoch of reaction. In it, Shchedrin made many caustic attacks on government officials, titled and non-titled ideologues and lackeys of the reaction.

The novel parodies the Code of Laws (“Charter on Decency”) and the court spy-terrorist organization “Sacred Squad” (“Club of Agitated Lazybones”), ridicules the tsarist bureaucracy and the court, the official and official press, exposes the entire police system of the autocracy, etc. d.

The sharp political content of the novel, published in a legal journal during the years of fierce censorship persecution, obliged the satirist to resort to the complex system of Aesopian conspiracy. According to the skill of Aesopian allegory, next to the "Modern Idyll" only "The History of a City" and "Tales" can be placed.

But if in the "History of a City" the satirist was rescued primarily by the historical form of narration, and in "Tales" - folk fiction, then in "Modern Idyll", aimed directly at the political topic of the day. Shedrin needed a more complex system of artistic disguise.

The art of Aesopian allegory is brought to the point of utmost virtuosity in A Modern Idyll and is a high example of the intellectual victory of an advanced artist of the word over the reactionary censorship policy of the autocracy. Let's just touch on some of the most characteristic features allegorical poetics of "Modern Idyll".

First of all, attention is drawn to the low rank of the representatives of the tsarist bureaucracy acting in the novel. These are, firstly, the officials of the metropolitan quarter section and, secondly, the county officials.

But at the same time, representatives of the district administration are clearly acting out of order. The quarterly clerk of the Prudents drafts the "Charter on the decent behavior of the inhabitants in their lives", i.e., composes laws, which in reality was the prerogative of the highest government bureaucracy. Undoubtedly, the ridicule of this latter is the hidden purpose of describing Prudentov's legislative activity.

As Shchedrin himself explained in a letter to A. N. Pypin dated November 1, 1883, the “Statute of Decency” refers to the exposure of the XIV volume of the Code of Laws. The story about the further fate of the figures of the quarter administration, surviving each other from service with denunciations, transparently hints at leapfrog in the Ministry of the Interior, which was consistently headed in the 80s. M. T. Loris-Melikov, N. P. Ignatiev, D. A. Tolstoy.

Thus, Shchedrin aimed his "Modern Idyll" in that part of it that concerns the bureaucracy in the highest government spheres, prudently disguising his intentions with the apparently modest task of describing the eccentric searchlights of the block district.

At the same time, as is usually the case with Shchedrin, the described Aesopian device also performed a directly satirical function. The image of a naive chronicler in The History of a City served the satirist not only as a protective mask, but also made it possible to expose the exposed object in all its direct, rude nature. Similarly, Shchedrin took advantage of the naive frankness of the clerk Prudentov to put the Code of Laws to shame. “We keep in mind one circumstance: so that there is as little anxiety as possible for the authorities - we are adjusting to this,” - this is how Prudentov formulates the main idea of ​​the “Charter on Decency” he is compiling.

It should, however, be noted that in the "Modern Idyll" there are representatives of the bureaucracy of high rank, shown without lowering their "nominal value". Such, for example, are "two venerable dignitaries" - Privy Councilors Perekusikhin 1st and Perekusikhin 2nd and Colonel Rededya. The satirist gave them the most devastating characterization, prudently - in order to avoid censorship nit-picking - presenting them as unofficial persons "dismissed from service."

The "Modern Idyll" is characterized by a dense fantastic flavor. The fiction of the novel appears in various functions. It also serves to express the "magic" of reality, which is in the grip of panic and arbitrariness, and humorous painting, and Aesopian allegory.

The fantastic element, coloring the entire narrative in Modern Idyll, forms entire chapters in separate chapters. fantastic stories included in the overall composition of the work in the form of fairy tales. In addition to the famous "Tale of the Zealous Chief", there is another tale in the novel, the title of which is not highlighted - "The Tale of a State Councilor" or "The Fruits of Subordinate Debauchery".

Close to the fairy tale genre is the dramatic scene "The Unfortunate Piskar". It is quite obvious that this fabulous fantasy was intended to veil sharply political plots, dangerous in terms of censorship.

But the fairy-tale form of fantasy is conditioned in Modern Idyll not only by the desire for artistic conspiracy. Fantasy was the medium where satirical and allegorical functions found the most harmonious artistic combination. Therefore, the fairy-tale form, which has long been outlined in the work of the satirist, acquired special significance in the reactionary years. Following The Modern Idyll, Shchedrin began to work intensively on a cycle of fairy tales.

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983