Zoshchenko - an unfortunate incident - a story. Mikhail Zoshchenko - best stories

Mikhail Zoshchenko is the creator of countless stories, plays, and film scripts, and is incredibly adored by readers. However, his true popularity was given to him by small humorous stories published in a wide variety of magazines and newspapers - in Literary Week, Izvestia, Ogonyok, Krokodil and some others.

Zoshchenko's humorous stories were included in his various books. In new combinations, each time they forced us to look at ourselves in a new way: sometimes they appeared as a cycle of stories about darkness and ignorance, and sometimes as stories about small acquirers. Often they were about those who were left out of history. But they were always perceived as sharply satirical stories.

Russian satirical writers in the 20s were particularly bold and frank in their statements. All of them were heirs of Russian realism of the 19th century. The name of Mikhail Zoshchenko is on a par with such names in Russian literature as A. Tolstoy, Ilya Ilf and Evgeniy Petrov, M. Bulgakov, A. Platonov.

The popularity of M. Zoshchenko in the 20s could be the envy of any venerable writer in Russia. But his fate later developed harshly: Zhdanov’s criticism, and then a long oblivion, after which the “discovery” of this wonderful writer for the Russian reader again followed. Zoshchenko began to be mentioned as an author who wrote for the entertainment of the public. Now we know well that Zoshchenko was a talented and serious writer of his time. It seems to me that for every reader Zoshchenko reveals his own special facet. It is known that many were perplexed when "Adventures of the Monkey" incurred the wrath of Soviet cultural officials. But the Bolsheviks, in my opinion, had already developed a sense of their antipodes. A. A. Zhdanov, criticizing and destroying Zoshchenko, who ridiculed the stupidity and stupidity of Soviet life, against his own will, recognized in him a great artist who posed a danger to the existing system. Zoshchenko did not directly, not directly, ridicule the cult of Bolshevik ideas, but with a sad smile protested against any violence against the individual. It is also known that in his prefaces to the editions of “Sentimental Stories”, with the proposed misunderstanding and distortion of his work, he wrote: “Against the general background of enormous scale and ideas, these stories are about small, weak people and ordinary people, this book about a miserable passing life is really , one must assume, will sound to some critics like some kind of shrill flute, some kind of sentimental offensive tripe.” It seems to me that Zoshchenko, by saying this, was defending himself from future attacks on his work.

One of the most significant, in my opinion, stories in this book is “What the Nightingale Sang About.” The author himself said about this story that it is “... perhaps the least sentimental of sentimental stories.” Or again: “And that in this work of vivacity, perhaps some may find there is not enough vivacity, this is not true. There is vivacity here. Not over the top, of course, but there is.” I believe that they could not accept such cheerfulness as the satirical writer offered to the clergy without irritation. The story “What the Nightingale Sang About” begins with the words: “But” they will laugh at us in three hundred years! It’s strange, they will say, how the little people lived. Some will say they had money, passports. Some acts of civil status and square meters of living space..."

It is clear that the writer with such thoughts dreamed of a world more worthy for man. His moral ideals were aimed at the future. It seems to me that Zoshchenko acutely felt the callousness of human relationships, the vulgarity of the life around him. This is evident from the way he reveals the theme of the human personality in a small story about “true love and genuine awe of feelings,” about “absolutely extraordinary love.” Tormented by thoughts about a future better life, the writer often doubts and asks the question: “Will it be wonderful?” And then he draws the simplest, most common version of such a future: “Perhaps everything will be free, for nothing. Let’s say, they will sell some fur coats or mufflers in Gostiny Dvor for nothing.” Next, the writer begins to create the image of the hero. His hero is the simplest person, and his name is ordinary - Vasily Bylinkin. The reader expects that the author will now begin to make fun of his hero, but no, the author seriously talks about Bylinkin’s love for Liza Rundukova. All actions that accelerate the gap between lovers, despite their ridiculousness (the culprit is a chest of drawers not given to the bride’s mother), I believe, are still a serious family drama. For Russian satirical writers, in general, drama and comedy exist side by side. Zoshchenko seems to be telling us that while people like Vasily Bylinkin, when asked: “What is the nightingale singing about?” - they will answer: “He wants to eat, that’s why he sings,” - we won’t see a worthy future. Zoshchenko does not idealize our past either. To be convinced of this, just read the Blue Book. The writer knows how much vulgar and cruel humanity has left behind, so that one can immediately free oneself from this legacy. But I believe that the combined efforts of the satirical writers of the 20s and 30s, in particular those whom I named at the beginning of my essay, have significantly brought our society closer to a more dignified life.

The same thing happened with the heroes of Zoshchenko’s stories: to a modern reader they may seem unreal, completely invented. However, Zoshchenko, with his keen sense of justice and hatred of the militant philistinism, never deviated from the real vision of the world. Who is Zoshchenko's satirical hero? What is its place in modern society? Who is the object of mockery, contemptuous laughter?

Thus, using the example of some of his stories, one can establish the themes of the writer’s satire. In "Hard Times" the main character is a dense, uneducated man with a violent, primordial judgment about freedom and rights. When he is forbidden to bring a horse into the store, which absolutely needs a fitting of a collar, he complains: “What a time. The horse is not allowed into the store... But just now we were sitting in the pub - and for the life of us. No one said a word. The manager I even personally laughed sincerely... What a time.”

Mikhail Mikhailovich Zoshchenko was born in St. Petersburg into the family of an artist. Childhood impressions - including the difficult relationship between parents - were later reflected both in Zoshchenko's stories for children (Overshoes and Ice Cream, Christmas Tree, Grandma's Gift, Don't Lie, etc.) and in his story Before Sunrise (1943). The first literary experiences date back to childhood. In one of his notebooks, he noted that in 1902-1906 he had already tried to write poetry, and in 1907 he wrote the story Coat.

In 1913 Zoshchenko entered the Faculty of Law of St. Petersburg University. His first surviving stories date back to this time - Vanity (1914) and Two-kopeck (1914). Studies were interrupted by the First World War. In 1915, Zoshchenko volunteered to go to the front, commanded a battalion, and became a Knight of St. George. Literary work did not stop during these years. Zoshchenko tried his hand at short stories, epistolary and satirical genres (he composed letters to fictitious recipients and epigrams to fellow soldiers). In 1917 he was demobilized due to heart disease that arose after gas poisoning.

MichaelZoshchenko participated in the First World War, and by 1916 was promoted to the rank of staff captain. He was awarded many orders, including the Order of St. Stanislaus, 3rd degree, the Order of St. Anne, 4th degree “For Bravery,” and the Order of St. Anne, 3rd degree. In 1917, due to heart disease caused by gas poisoning, Zoshchenko was demobilized.

Upon returning to Petrograd, Marusya, Meshchanochka, Neighbor and other unpublished stories were written, in which the influence of G. Maupassant was felt. In 1918, despite his illness, Zoshchenko volunteered for the Red Army and fought on the fronts of the Civil War until 1919. Returning to Petrograd, he earned his living, as before the war, by various professions: shoemaker, carpenter, carpenter, actor, rabbit breeding instructor, policeman, criminal investigation officer, etc. In the humorous Orders on railway police and criminal supervision written at that time, Art. Ligovo and other unpublished works can already feel the style of the future satirist.

In 1919, Mikhail Zoshchenko studied at the Creative Studio, organized by the publishing house “World Literature”. The classes were led by Chukovsky, who highly appreciated Zoshchenko’s work. Recalling his stories and parodies written during his studio studies, Chukovsky wrote: “It was strange to see that such a sad person was endowed with this wondrous ability to powerfully make his neighbors laugh.” In addition to prose, during his studies Zoshchenko wrote articles about the works of Blok, Mayakovsky, Teffi... At the Studio he met the writers Kaverin, Vs. Ivanov, Lunts, Fedin, Polonskaya, who in 1921 united in the literary group “Serapion Brothers”, which advocated freedom of creativity from political tutelage. Creative communication was facilitated by the life of Zoshchenko and other “serapions” in the famous Petrograd House of Arts, described by O. Forsh in the novel Crazy Ship.

In 1920-1921 Zoshchenko wrote the first stories that were subsequently published: Love, War, Old Woman Wrangel, Female Fish. The cycle Stories of Nazar Ilyich, Mr. Sinebryukhov (1921-1922) was published as a separate book by the Erato publishing house. This event marked Zoshchenko's transition to professional literary activity. The very first publication made him famous. Phrases from his stories acquired the character of catchphrases: “Why are you disturbing the disorder?”; “The second lieutenant is wow, but he’s a bastard”... From 1922 to 1946, his books went through about 100 editions, including collected works in six volumes (1928-1932).

By the mid-1920s, Zoshchenko became one of the most popular writers. His stories Bathhouse, Aristocrat, Case History, which he himself often read before large audiences, were known and loved by everyone. In a letter to Zoshchenko, Gorky noted: “I don’t know such a ratio of irony and lyricism in anyone’s literature.” Chukovsky believed that at the center of Zoshchenko’s work was the fight against callousness in human relationships.

In the collections of stories of the 1920s: Humorous Stories (1923), Dear Citizens (1926), Zoshchenko created a new type of hero for Russian literature - a Soviet man who has not received an education, has no skills in spiritual work, does not have cultural baggage, but strives to become a full-fledged participant in life, equal with “the rest of humanity.” The reflection of such a hero produced a strikingly funny impression. The fact that the story was told on behalf of a highly individualized narrator gave literary critics the basis to define Zoshchenko’s creative style as “fairy-tale.” Academician Vinogradov, in his study “Zoshchenko’s Language,” examined in detail the writer’s narrative techniques and noted the artistic transformation of various speech layers in his vocabulary. Chukovsky noted that Zoshchenko introduced into literature “a new, not yet fully formed, but victoriously spreading extra-literary speech throughout the country and began to freely use it as his own speech.”

In 1929, which was called “the year of the great turning point” in Soviet history, Zoshchenko published the book “Letters to a Writer” - a kind of sociological study. It consisted of several dozen letters from the huge reader mail that the writer received, and his commentary on them. In the preface to the book, Zoshchenko wrote that he wanted to “show genuine and undisguised life, genuine living people with their desires, taste, thoughts.” The book caused bewilderment among many readers, who expected only more funny stories from Zoshchenko. After its release, Meyerhold was forbidden to stage Zoshchenko's play "Dear Comrade" (1930).

Soviet reality could not but affect the emotional state of the sensitive writer, prone to depression from childhood. A trip along the White Sea Canal, organized in the 1930s for propaganda purposes for a large group of Soviet writers, made a depressing impression on him. No less difficult for Zoshchenko was the need to write after this trip thatcriminalsupposedly being re-educatedin Stalin's camps(The Story of a Life, 1934). An attempt to get rid of a depressed state and correct one’s painful psyche was a kind of psychological study - the story “Youth Restored” (1933). The story provoked an interested reaction in the scientific community that was unexpected for the writer: the book was discussed at many academic meetings and reviewed in scientific publications; Academician I. Pavlov began to invite Zoshchenko to his famous “Wednesdays”.

As a continuation of “Youth Restored,” the collection of short stories “The Blue Book” (1935) was conceived.By internal contentMikhail Zoshchenko considered The Blue Book a novel, defined it as “a short history of human relations” and wrote that it “is driven not by a novella, but by a philosophical idea that makes it.” Stories about modern times were interspersed with stories set in the past - in different periods of history. Both the present and the past were presented in the perception of the typical hero Zoshchenko, unencumbered by cultural baggage and understanding history as a set of everyday episodes.

After the publication of the Blue Book, which caused devastating reviews in party publications, Mikhail Zoshchenko was actually prohibited from publishing works that went beyond “positive satire on individual shortcomings.” Despite his high writing activity (commissioned feuilletons for the press, plays, film scripts), his true talent manifested itself only in stories for children, which he wrote for the magazines “Chizh” and “Hedgehog”.

In the 1930s, the writer worked on a book that he considered the main one. The work continued during the Patriotic War in Alma-Ata, in evacuation; Zoshchenko could not go to the front due to severe heart disease. The initial chapters of this scientific and artistic study of the subconscious have been publishedin 1943in the magazine "October" under the title "Before Sunrise". Zoshchenko examined incidents from his life that gave impetus to severe mental illness, from which doctors could not save him. Modern scientists note that the writer anticipated many of the discoveries of science about the unconscious by decades.

The magazine publication caused a scandal; Zoshchenko was subjected to such a barrage of critical abuse that the printing of “Before Sunrise” was interrupted. He addressed a letter to Stalin, asking him to familiarize himself with the book “or give orders to check it more thoroughly than has been done by critics.” The response was another stream of abuse in the press, the book was called “nonsense, needed only by the enemies of our homeland” (Bolshevik magazine).In 1944-1946 Zoshchenko worked a lot for theaters. Two of his comedies were staged at the Leningrad Drama Theater, one of which, “The Canvas Briefcase,” had 200 performances in a year.

In 1946, after the release of the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines “Zvezda” and “Leningrad”,” the party leader of Leningrad Zhdanov recalled in a report the book “Before Sunrise,” calling it “a disgusting thing.”The resolution of 1946, which “criticized” Zoshchenko and Akhmatova with the rudeness inherent in Soviet ideology, led to public persecution and a ban on the publication of their works. The occasion was the publication of Zoshchenko’s children’s story “The Adventures of a Monkey” (1945), in which the authorities saw a hint that in the Soviet country monkeys live better than people. At a writers’ meeting, Zoshchenko stated that the honor of an officer and a writer does not allow him to come to terms with the fact that in the Central Committee resolution he is called a “coward” and a “scum of literature.” Subsequently, Zoshchenko also refused to come forward with the repentance and admission of “mistakes” expected of him. In 1954, at a meeting with English students, Zoshchenko again tried to express his attitude towards the 1946 resolution, after which the persecution began in the second round.The saddest consequence of the ideological campaign was the exacerbation of mental illness, which did not allow the writer to work fully. His reinstatement in the Writers' Union after Stalin's death (1953) and the publication of his first book after a long break (1956) brought only temporary relief to his condition.

Zoshchenko the satirist

Mikhail Mikhailovich's first victory was “Stories of Nazar Ilyich, Mr. Sinebryukhov” (1921-1922). The loyalty of the hero, the “little man” who had been in the German war, was told ironically, but kindly; The writer, it seems, is more amused than saddened by the humility of Sinebryukhov, who “understands, of course, his title and post,” and his “boasting,” and the fact that from time to time “a bump and a regrettable incident” happens to him. The case takes place after the February Revolution, the slave in Sinebrykhov still seems justified, but it already appears as an alarming symptom: a revolution has occurred, but the psyche of the people remains the same. The narration is colored by the words of the hero - a tongue-tied person, a simpleton who finds himself in various funny situations. The author's word is collapsed. The center of artistic vision is moved to the consciousness of the narrator.

In the context of the main artistic problem of the time, when all writers were solving the question “How to emerge victorious from the constant, exhausting struggle of the artist with the interpreter” (Konstantin Aleksandrovich Fedin), Zoshchenko was the winner: the relationship between image and meaning in his satirical stories was extremely harmonious. The main element of the narrative was linguistic comedy, the form of the author’s assessment was irony, and the genre was the comic tale. This artistic structure became canonical for Zoshchenko's satirical stories.

The gap between the scale of revolutionary events and the conservatism of the human psyche that struck Zoshchenko made the writer especially attentive to the area of ​​life where, as he believed, high ideas and epoch-making events were being deformed. The writer’s phrase, “And we are little by little, and we are little by little, and we are on a par with Russian reality,” which caused a lot of noise, grew out of a feeling of an alarming gap between the “rapidity of fantasy” and “Russian reality.” Without questioning the revolution as an idea, M. Zoshchenko believed, however, that, passing through “Russian reality,” the idea encounters obstacles on its way that deform it, rooted in the age-old psychology of yesterday’s slave. He created a special - and new - type of hero, where ignorance was fused with a readiness for mimicry, natural acumen with aggressiveness, and old instincts and skills were hidden behind new phraseology. Stories such as “Victim of the Revolution”, “Grimace of NEP”, “Westinghouse Brake”, “Aristocrat” can serve as a model. The heroes are passive until they understand “what’s what and who isn’t shown to beat,” but when it’s “shown,” they stop at nothing, and their destructive potential is inexhaustible: they mock their own mother, a quarrel over a brush escalates into “an integral battle” (“Nervous People”), and the pursuit of an innocent person turns into an evil pursuit (“Terrible Night”).

,

The new type was the discovery of Mikhail Zoshchenko. He was often compared to the “little man” of Gogol and Dostoevsky, and later to the hero of Charlie Chaplin. But the Zoshchenkovsky type - the further, the more - deviated from all the models. Linguistic comedy, which became an imprint of the absurdity of his hero’s consciousness, became a form of his self-exposure. He no longer considers himself a small person. “You never know what the average person has to do in the world!” - exclaims the hero of the story “Wonderful Holiday”. The proud attitude towards “the cause” comes from the demagoguery of the era; but Zoshchenko parodies her: “You understand: you drink a little, then the guests will hide, then you need to glue a leg to the sofa... The wife, too, will sometimes begin to express complaints.” Thus, in the literature of the 1920s, Zoshchenko’s satire formed a special, “negative world,” as he said, so that it would be “ridiculed and pushed away from itself.”

Since the mid-1920s, Mikhail Zoshchenko has been publishing “sentimental stories.” Their origins were the story “The Goat” (1922). Then the stories “Apollo and Tamara” (1923), “People” (1924), “Wisdom” (1924), “Terrible Night” (1925), “What the Nightingale Sang” (1925), “A Merry Adventure” (1926) appeared ) and “The Lilac is Blooming” (1929). In the preface to them, Zoshchenko for the first time openly sarcastically spoke about the “planetary tasks”, heroic pathos and “high ideology” that are expected of him. In a deliberately simple form, he posed the question: where does the death of the human in a person begin, what predetermines it and what can prevent it. This question appeared in the form of a reflective intonation.

The heroes of the “sentimental stories” continued to debunk the supposedly passive consciousness. Evolution of Bylinkin (“What the Nightingale Sang About”), who at the beginning walked in the new city “timidly, looking around and dragging his feet,” and, having received “a strong social position, public service and a salary of the seventh category plus for the workload,” turned into a despot and boor, convinced that the moral passivity of the Zoshchensky hero was still illusory. His activity revealed itself in the degeneration of his mental structure: the features of aggressiveness clearly appeared in it. “I really like,” Gorky wrote in 1926, “that the hero of Zoshchenko’s story “What the Nightingale Sang About,” the former hero of “The Overcoat,” at least a close relative of Akaki, arouses my hatred thanks to the author’s clever irony.” .

But, as Korney Ivanovich Chukovsky noted in the late 1920s and early 1930s, another type of hero is emergingZoshchenko- a person who has “lost his human form”, a “righteous man” (“Goat”, “Terrible Night”). These heroes do not accept the morality of the environment, they have different ethical standards, they would like to live according to high morality. But their rebellion ends in failure. However, unlike the rebellion of the “victim” in Chaplin, which is always covered in compassion, the rebellion of Zoshchenko’s hero is devoid of tragedy: the individual is faced with the need for spiritual resistance to the morals and ideas of his environment, and the strict demands of the writer do not forgive her for compromise and capitulation.

The appeal to the type of righteous heroes betrayed the eternal uncertainty of the Russian satirist in the self-sufficiency of art and was a kind of attempt to continue Gogol’s search for a positive hero, a “living soul.” However, one cannot help but notice: in the “sentimental stories” the writer’s artistic world has become bipolar; the harmony of meaning and image was disrupted, philosophical reflections revealed a preaching intention, the pictorial fabric became less dense. The word fused with the author's mask dominated; in style it was similar to stories; Meanwhile, the character (type) that stylistically motivates the narrative has changed: he is an intellectual of average grade. The old mask turned out to be attached to the writer.

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Mikhail Zoshchenko at a meeting of the Serapion Brothers literary circle.

Zoshchenko and Olesha: double portrait in the interior of the era

Mikhail Zoshchenko and Yuri Olesha - twothe most popular writer of Soviet Russia of the 20s, who largely determined the appearance of Russian literature of the 20th century. They were both born into impoverished noble families and experienced phenomenal success and oblivion. They were both broken by the authorities. They also had a common choice: to exchange their talent for day labor or to write something that no one would see.

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ZOSCHENKO, MIKHAIL MIKHAILOVICH (1894-1958), Russian writer. Born on July 29 (August 9), 1894 in St. Petersburg in the family of an artist. Childhood impressions - including the difficult relationships between parents - were later reflected in Zoshchenko’s stories for children ( Christmas tree, Galoshes and ice cream, Grandma's gift, Do not lie etc.), and in his story Before sunrise(1943). The first literary experiences date back to childhood. In one of his notebooks, he noted that in 1902-1906 he already tried to write poetry, and in 1907 he wrote a story Coat.

In 1913 Zoshchenko entered the Faculty of Law of St. Petersburg University. His first surviving stories date back to this time - Vanity(1914) and Two-kopeck(1914). Studies were interrupted by the First World War. In 1915, Zoshchenko volunteered to go to the front, commanded a battalion, and became a Knight of St. George. Literary work did not stop during these years. Zoshchenko tried his hand at short stories, epistolary and satirical genres (he composed letters to fictitious recipients and epigrams to fellow soldiers). In 1917 he was demobilized due to heart disease that arose after gas poisoning.

Upon returning to Petrograd they wrote Marusya, Philistine, Neighbour and other unpublished stories in which the influence of G. Maupassant was felt. In 1918, despite his illness, Zoshchenko volunteered for the Red Army and fought on the fronts of the Civil War until 1919. Returning to Petrograd, he earned his living, as before the war, by various professions: shoemaker, carpenter, carpenter, actor, rabbit breeding instructor, policeman, criminal investigation officer, etc. In humorous stories written at that time Orders on railway police and criminal supervision Art. Ligovo and other unpublished works, the style of the future satirist can already be felt.

In 1919, Zoshchenko studied at the Creative Studio, organized by the publishing house “World Literature”. The classes were supervised by K.I. Chukovsky, who highly appreciated Zoshchenko’s work. Recalling his stories and parodies written during his studio studies, Chukovsky wrote: “It was strange to see that such a sad person was endowed with this wondrous ability to powerfully make his neighbors laugh.” In addition to prose, during his studies Zoshchenko wrote articles about the works of A. Blok, V. Mayakovsky, N. Teffi and others. At the Studio he met the writers V. Kaverin, Vs. Ivanov, L. Lunts, K. Fedin, E. Polonskaya and others, who in 1921 united in the literary group “Serapion Brothers,” which advocated freedom of creativity from political tutelage. Creative communication was facilitated by the life of Zoshchenko and other “serapions” in the famous Petrograd House of Arts, described by O. Forsh in the novel Crazy ship.

In 1920-1921 Zoshchenko wrote the first stories that were subsequently published: Love, War, Old Woman Wrangel, female fish. Cycle Stories of Nazar Ilyich, Mr. Sinebryukhov(1921-1922) was published as a separate book by the Erato publishing house. This event marked Zoshchenko's transition to professional literary activity. The very first publication made him famous. Phrases from his stories acquired the character of catchphrases: “Why are you disturbing the disorder?”; “The second lieutenant is wow, but he’s a bastard,” etc. From 1922 to 1946, his books went through about 100 editions, including collected works in six volumes (1928-1932).

By the mid-1920s, Zoshchenko became one of the most popular writers. His stories Bath, Aristocrat, Disease history and others, which he himself often read before numerous audiences, were known and loved in all levels of society. In a letter to Zoshchenko A.M. Gorky noted: “I don’t know of such a relationship between irony and lyricism in anyone’s literature.” Chukovsky believed that at the center of Zoshchenko’s work was the fight against callousness in human relationships.

In story collections of the 1920s Humorous stories (1923), Dear citizens(1926), etc. Zoshchenko created a new type of hero for Russian literature - a Soviet man who has not received an education, has no skills in spiritual work, does not have cultural baggage, but strives to become a full participant in life, to become equal to the “rest of humanity.” The reflection of such a hero produced a strikingly funny impression. The fact that the story was told on behalf of a highly individualized narrator gave literary critics the basis to define Zoshchenko’s creative style as “fairy-tale.” Academician V.V. Vinogradov in the study Zoshchenko language analyzed in detail the writer's narrative techniques, noted the artistic transformation of various speech layers in his vocabulary. Chukovsky noted that Zoshchenko introduced into literature “a new, not yet fully formed, but victoriously spreading extra-literary speech throughout the country and began to freely use it as his own speech.” Zoshchenko’s work was highly appreciated by many of his outstanding contemporaries - A. Tolstoy, Y. Olesha, S. Marshak, Y. Tynyanov and others.

In 1929, which received the name “the year of the great turning point” in Soviet history, Zoshchenko published a book Letters to the writer- a kind of sociological research. It consisted of several dozen letters from the huge reader mail that the writer received, and his commentary on them. In the preface to the book, Zoshchenko wrote that he wanted to “show genuine and undisguised life, genuine living people with their desires, taste, thoughts.” The book caused bewilderment among many readers, who expected only more funny stories from Zoshchenko. After its release, director V. Meyerhold was forbidden to stage Zoshchenko’s play Dear comrade (1930).

The inhumane Soviet reality could not but affect the emotional state of the susceptible writer, who was prone to depression from childhood. A trip along the White Sea Canal, organized in the 1930s for propaganda purposes for a large group of Soviet writers, left a depressing impression on him. No less difficult for Zoshchenko was the need to write after this trip that criminals were allegedly being re-educated in Stalin’s camps ( The story of one life, 1934). An attempt to get rid of a depressed state and correct one’s own painful psyche was a kind of psychological research - a story Youth returned(1933). The story evoked an interested reaction in the scientific community that was unexpected for the writer: the book was discussed at numerous academic meetings and reviewed in scientific publications; Academician I. Pavlov began to invite Zoshchenko to his famous “Wednesdays”.

As a continuation Restored youth a collection of stories was conceived Blue Book(1935). Zoshchenko believed Blue Book according to the internal content of the novel, he defined it as “a short history of human relations” and wrote that it “is not driven by a novella, but by a philosophical idea that makes it.” Stories about modernity were interspersed in this work with stories set in the past - in different periods of history. Both the present and the past were presented in the perception of the typical hero Zoshchenko, unencumbered by cultural baggage and understanding history as a set of everyday episodes.

After publication Blue Book, which caused devastating reviews in party publications, Zoshchenko was actually prohibited from publishing works that went beyond the scope of “positive satire on individual shortcomings.” Despite his high writing activity (commissioned feuilletons for the press, plays, film scripts, etc.), Zoshchenko’s true talent was manifested only in the stories for children that he wrote for the magazines “Chizh” and “Hedgehog”.

In the 1930s, the writer worked on a book that he considered the most important in his life. The work continued during the Patriotic War in Alma-Ata, in evacuation, since Zoshchenko could not go to the front due to severe heart disease. In 1943, the initial chapters of this scientific and artistic study of the subconscious were published in the magazine "October" under the title Before sunrise. Zoshchenko examined incidents from his life that gave impetus to severe mental illness, from which doctors could not save him. The modern scientific world notes that in this book the writer anticipated many discoveries of science about the unconscious by decades.

The magazine publication caused such a scandal, such a barrage of critical abuse was rained down on the writer that the publication Before sunrise was interrupted. Zoshchenko addressed a letter to Stalin, asking him to familiarize himself with the book “or give orders to check it more thoroughly than has been done by critics.” The response was another stream of abuse in the press, the book was called “nonsense, needed only by the enemies of our homeland” (Bolshevik magazine). In 1946, after the release of the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the magazines Zvezda and Leningrad,” the party leader of Leningrad A. Zhdanov recalled the book in his report Before sunrise, calling it a “disgusting thing.”

The resolution of 1946, which “criticized” Zoshchenko and A. Akhmatova with the rudeness inherent in Soviet ideology, led to their public persecution and a ban on the publication of their works. The reason was the publication of Zoshchenko’s children’s story Monkey Adventures(1945), in which the authorities saw a hint that in the Soviet country monkeys live better than people. At a writers’ meeting, Zoshchenko stated that the honor of an officer and a writer does not allow him to come to terms with the fact that in the Central Committee resolution he is called a “coward” and a “scum of literature.” Subsequently, Zoshchenko also refused to come forward with the repentance and admission of “mistakes” expected of him. In 1954, at a meeting with English students, Zoshchenko again tried to express his attitude towards the 1946 resolution, after which the persecution began in the second round.

The saddest consequence of this ideological campaign was the exacerbation of mental illness, which did not allow the writer to work fully. His reinstatement in the Writers' Union after Stalin's death (1953) and the publication of his first book after a long break (1956) brought only temporary relief to his condition.

Plan
1. The rise of Zoshchenko
2. Reasons for the success of Zoshchenko’s works among readers:
a) a rich biography as a source of knowledge of life;
b) the reader’s language is the writer’s language;
c) optimism helps you survive
3. The place of Mikhail Zoshchenko’s work in Russian literature
There is hardly a person who has not read a single work by Mikhail Zoshchenko. In the 20-30s, he actively collaborated in satirical magazines (“Behemoth”, “Smekhach”, “Cannon”, “The Inspector General” and others). And even then his reputation as a famous satirist was established. Under the pen of Zoshchenko, all the sad aspects of life, instead of the expected sadness or fear, cause laughter. The author himself claimed that in his stories “there is not a drop of fiction. Everything here is the naked truth.”
However, despite the resounding success among readers, the work of this writer turned out to be incompatible with the tenets of socialist realism. The notorious resolutions of the Central Committee of the All-Union Communist Party (Bolsheviks) of the late forties, along with other writers, journalists, and composers, accused Zoshchenko of lack of ideas and propaganda of petty bourgeois ideology.
Mikhail Mikhailovich's letter to Stalin (“I have never been an anti-Soviet person... I have never been a literary scoundrel or a low person”) remained unanswered. In 1946, he was expelled from the Writers' Union, and over the next ten years not a single book of his was published!
Zoshchenko’s good name was restored only during Khrushchev’s “thaw”.
How can one explain the unprecedented fame of this satirist?
We should start with the fact that the writer’s biography itself had a huge influence on his work. He accomplished a lot. Battalion commander, head of post and telegraph, border guard, regimental adjutant, criminal investigation agent, rabbit and chicken breeding instructor, shoemaker, assistant accountant... And this is still an incomplete list of who this man was and what he did before he sat down at the writing desk.
He saw many people who had to live in an era of great social and political change. He spoke to them in their language, they were his teachers.
Zoshchenko was a conscientious and sensitive person, he was tormented by pain for others, and the writer considered himself called to serve the “poor” (as he would later call him) man. This “poor” man personified an entire human layer of Russia at that time. Before his eyes, the revolution tried to heal the country's war wounds and realize lofty dreams. And the “poor” person at this time was forced (instead of creative work in the name of realizing this dream) to spend energy and time fighting minor everyday troubles.
Moreover: he is so busy with this that he cannot even throw off the heavy burden of the past. To open the eyes of a “poor” person, to help him - this is what the writer saw as his task.
It is very important that, in addition to a deep knowledge of the life of his hero, the writer masterfully speaks his language. Reading these stories syllable by syllable, the beginning reader is absolutely sure that the author is his own. And the place where the events unfold is so familiar and familiar (a bathhouse, a tram, a communal kitchen, a post office, a hospital). And the story itself (a fight in a communal apartment over a hedgehog (“Nervous People”), bath problems with paper numbers (“Bathhouse”), which a naked man has “nowhere to put,” a glass cracked at a funeral in the story of the same name and tea that “smells like a mop”) is also close to the audience.
As for the simple, sometimes even primitive language of his works, here is how the satirist himself wrote about it in 1929: They usually think that I distort the “beautiful Russian language”, that for the sake of laughter I take words not in the meaning given to them by life , that I deliberately write in broken language in order to make the most respectable audience laugh. This is not true. I distort almost nothing. I write in the language that the street now speaks and thinks. I did this not for the sake of curiosity and not in order to more accurately copy our life. I did this in order to fill, at least temporarily, the colossal gap that occurred between literature and the street.”
Mikhail Zoshchenko's stories are kept in the spirit of the language and character of the hero on whose behalf the story is told. This technique helps to naturally penetrate into the inner world of the hero, to show the essence of his nature.
And one more significant circumstance that influenced the success of Zoshchenko’s satire. This writer seemed to be a very cheerful and never despondent person. No problems could make his hero a pessimist. He doesn't care about anything. And the fact that one citizen disgraced him with the help of cakes in front of the entire theater audience (“Aristocrat”). And the fact that “due to the crisis” he had to live with his “young wife”, child and mother-in-law in the bathroom. And the fact that I had to travel in the same compartment in a company of crazy psychos. And again nothing! Despite such constant, numerous and most often unexpected problems, it is written cheerfully.
This laughter brightened up difficult lives for readers and gave them hope that everything would be fine.
But Zoshchenko himself was a follower of the Gogol direction in literature. He believed that one should not laugh at his stories, but cry. Behind the apparent simplicity of the story, its jokes and oddities, there is always a serious problem. The writer always had a lot of them.
Zoshchenko was keenly aware of the most important issues of the time. Thus, his numerous stories about the housing crisis (“Nervous People”, “Kolpak” and others) appeared exactly at the right moment. The same can be said about the topics he raised about bureaucracy, bribery, eradication of illiteracy... In a word, about almost everything that people encountered in everyday life.
The word “everyday life” is closely associated with the concept of “everyman”. There is an opinion that Zoshchenko’s satire ridiculed the average person. That the writer created unsightly images of ordinary people to help the revolution.
In fact, Zoshchenko did not ridicule the man himself, but the philistine traits in him. With his stories, the satirist called not to fight these people, but to help them get rid of their shortcomings. And also to alleviate their everyday problems and concerns, why strictly ask those whose indifference and abuse of power undermine people’s faith in a bright future.
All Zoshchenko’s works have another amazing feature: they can be used to study the history of our country. With a keen sense of time, the writer was able to capture not just the problems that worried his contemporaries, but also the very spirit of the era.
This, perhaps, explains the difficulty of translating his stories into other languages. The foreign reader is so unprepared to perceive the life described by Zoshchenko that he often evaluates it as a genre of some kind of social fiction. In fact, how can one explain to a person unfamiliar with Russian realities the essence of, say, the story “A Case History”? Only a compatriot who knows first-hand about these problems is able to understand how a sign “Issuing corpses from 3 to 4” can hang in the emergency room. Or comprehend the nurse’s phrase “Even though the patient is sick, he also notices all sorts of subtleties. Probably, he says, you won’t recover because you’re poking your nose into everything.” Or take into account the tirade of the doctor himself (“This is, he says, the first time I’ve seen such a fastidious patient. And he, impudently, doesn’t like it, and it’s not good for him... No, I like it better when patients come to us in an unconscious state. According at least then everything is to their taste, they are happy with everything and do not enter into scientific disputes with us”).
The caustic grotesquery of this work emphasizes the incongruity of the existing situation: the humiliation of human dignity is becoming common within the walls of the most humane medical institution! And words, and actions, and attitude towards patients - everything here infringes on human dignity. And this is done mechanically, thoughtlessly - simply because it’s the way it is, it’s in the order of things, they’re so used to it: “Knowing my character, they no longer argued with me and tried to agree with me in everything. Only after bathing did they give me huge underwear that was too big for my height. I thought that out of spite they deliberately gave me such a set that didn’t measure up, but then I saw that this was a normal occurrence for them. Their little patients, as a rule, wore large shirts, and the big ones wore small ones. And even my kit turned out to be better than others. On my shirt, the hospital stamp was on the sleeve and did not spoil the general appearance, but on other patients the stamps were on the back and on the chest, and this morally humiliated human dignity.”
Most often, the satirical works of this writer are constructed as simple and artless narratives of the hero about one or another episode from life. The story is similar to an essay, a report in which the author did not invent anything, but simply, having noticed this or that episode, pedantically told about it with the diligence of an attentive and ironic journalist. That is why Zoshchenko's stories, unlike the action-packed short stories of O'Henry or Arkady Averchenko, are built not on an unexpected turn of events, but on revealing unforeseen aspects of character.
Mikhail Zoshchenko left a rich literary heritage. More than 130 books were published during his lifetime. These are more than a thousand stories, feuilletons, novels, plays, scripts... But, in addition to his books, Zoshchenko left behind a more extensive “legacy”, laying (along with his contemporaries - Mikhail Bulgakov, Arkady Bukhov, Arkady Averchenko, Mikhail Koltsov and many others) the basics of the Russian satirical story genre. And the widespread development of this direction is confirmed today.
Thus, “Zoshchenkovsky’s hero” found an undoubted continuation in the image of the narrator - a “lumpen intellectual” in “Moscow-Petushki” by Venedikt Erofeev, in the prose of Yuz Aleshkovsky, E. Popov, V. Pietsukh. In all of these writers, the traits of an “intellectual” and a “hard worker”, the language of the cultural layer and the common people, collide in the structure of the narrator.
Continuing the analysis of Zoshchenko's traditions in literature and art, one cannot help but turn to the work of Vladimir Vysotsky (in his songs the image of the hero-storyteller of songs is promising).
Equally obvious analogies can be traced when analyzing the work of Mikhail Zhvanetsky. It overlaps with Zoshchenkov’s in many ways. Let us first note the similarity of aphoristic constructions, citing several phrases as evidence: “In general, art is falling.” “Therefore, if anyone wants to be well understood here, he must say goodbye to world fame.” “It’s very surprising how some people don’t like living.” “We must adequately respond to the well-founded, although groundless, complaints of foreigners - why are your people gloomy.” “They say that money is stronger than anything in the world. Nonsense. Nonsense". “A person of weak mind can criticize our life.”
The odd phrases belong to Zoshchenko, the even ones to Zhvanetsky (which, as you can see, is revealed not without effort). Zhvanetsky continued Zoshchenko’s work on the rehabilitation of the “common man” with his ordinary everyday interests, his natural weaknesses, his common sense, his ability to laugh not only at others, but also at himself.
...Reading the works of Zoshchenko, reflecting on them, we, of course, remember Gogol and Saltykov-Shchedrin. Laughter through tears is in the tradition of Russian classical satire. Behind the cheerful text of his stories there is always a voice of doubt and anxiety. Zoshchenko always believed in the future of his people, valued them and worried about them.
Analysis of the poem by Robert Rozhdestvensky
"The Ballad of Talent, God and the Devil"
Robert Rozhdestvensky entered literature together with a group of talented peers, among whom E. Yevtushenko, B. Akhmadulina, A. Voznesensky stood out. Readers were primarily captivated by the civic and moral pathos of these varied lyrics, which affirm the personality of the creative person at the center of the Universe.
Analyzing “The Ballad of Talent, God and the Devil,” we see that the very first lines of the work pose an important question: “Everyone says: “His talent is from God!” What if it's from the devil? What then?..”
From the very first stanzas, the image of talent appears before us in two ways. This is both talent - in the sense of unusual human abilities and qualities, and talent as the person himself, endowed with such a gift. Moreover, at first the poet describes his hero in a completely everyday and prosaic way: “... And talent lived. Sick. Ridiculous. Frowning". These short, abrupt sentences, each consisting of a single adjective, have enormous potential for emotional impact on the reader: the strength of tension when moving from one sentence to another increases more and more.
In the “everyday” characteristics and descriptions of the everyday life of the talent, any sublimity is completely absent: “The talent got up, scratching himself sleepily. I found my lost identity. And he needed a jar of cucumber pickle more than nectar.” And since all this clearly happens in the morning, the reader is intrigued: what has the person been doing so far? It turns out that after listening to the devil’s monologue (“Listen, mediocrity! Who needs your poems now?! After all, you, like everyone else, will drown in the hellish abyss. Relax!..”), he simply goes “to the tavern. And relaxes!”
In subsequent stanzas, the poet again and again uses a technique that is already familiar to us, using the word in several meanings and thereby significantly increasing the emotional tension: “He drank with inspiration! He drank so much that the devil looked and was touched. Talent talentedly ruined itself!..” This linguistic device, based on the combination of seemingly paradoxically incompatible words in meaning and style (talentedly ruined) creates vivid and strong images for the reader, allows them to be made as painfully tragic as possible.
The tension is growing. The second half of “Ballad...” is permeated with bitter pathos and hope. It tells how the talent worked - “Evil, fierce. Dipping the pen into my own pain.” This theme, consistently developing further, sounds on an increasingly poignant note: “Now he was a god! And he was a devil! And this means: he was himself.”
Tensions reach their climax. Here is the answer to the eternal question: is talent from God or from the devil? True talent is both its own god and its own devil. Once again, the combination of opposites gives us the opportunity to look at the world with different eyes, to see it not in the unambiguous categories of “white - black”, but in all its many colors.
After this culmination, the author again “descends” to the earth, to the images of the spectators who observed the process of creation. Both God and the devil are attributed here with completely human, and, moreover, unexpected actions. This is how they reacted to the success of the talent: “God was baptized. And God cursed. “How could he write such a thing?!” ...And he still couldn’t do that.”
How everyday and simple the last line sounds! There are no stylistic excesses, the vocabulary is the most colloquial. But in this simplicity lies the power with which the poet expresses the main idea of ​​the work: true talent can control everything. The phrase is spoken as if in a quiet voice, but he is so confident in the justice of what was said that there is no need for pathos, loudness, or declamation. Everything seems to go without saying, and this is the great truth...
The truth of war in the works of Yu. Bondarev
The theme of war is inexhaustible. More and more new works are appearing, which again and again force us to return to the fiery events of more than fifty years ago and see in the heroes of the Great Patriotic War what we have not yet sufficiently understood and appreciated. At the turn of the fifties and sixties, a whole galaxy of names well known to readers today appeared: V. Bogomolov, A. Ananyev, V. Bykov, A. Adamovich, Yu. Bondarev...
The work of Yuri Bondarev has always been dramatic and dramatic. The most tragic event of the twentieth century - the war against fascism, the inescapable memory of it - permeates his books: “Battalions Ask for Fire”, “Silence”, “Hot Snow”, “The Shore”. Yuri Vasilyevich belongs to the generation for which the Great Patriotic War became the first baptism of life, a harsh school of youth.
The basis of Yuri Bondarev’s creativity was the theme of the high humanism of the Soviet soldier, his vital responsibility for our present day. The story “Battalions Ask for Fire” was published in 1957. This book, as well as the subsequent ones, seemingly logical continuations of it (“Last Salvos,” “Silence” and “Two”) brought the author wide fame and recognition from readers.
In “Battalions...” Yuri Bondarev managed to find his own current in the broad literary stream. The author does not strive for a comprehensive description of the picture of the war - he bases the work on a specific combat episode, one of many on the battlefields, and populates his story with very specific people, privates and officers of the great army.
Bondarev's image of war is menacing and cruel. And the events described in the story “Battalions Ask for Fire” are deeply tragic. The pages of the story are full of high humanism, love and trust in people. It was here that Yuri Bondarev began to develop the theme of mass heroism of the Soviet people; later it received its most complete embodiment in the story “Hot Snow.” Here the author spoke about the last days of the Battle of Stalingrad, about the people who stood in the way of the Nazis to their death.
In 1962, Bondarev’s new novel “Silence” was published, and soon its sequel, the novel “Two,” was published. The hero of “Silence” Sergei Vokhmintsev has just returned from the front. But he cannot erase the echoes of recent battles from his memory. He judges the actions and words of people by the highest standard - the measure of front-line friendship, military camaraderie. In these difficult circumstances, in the struggle to establish justice, the hero’s civic position becomes stronger. Let us recall the works of Western authors (Remarque, Hemingway) - in this literature the motif of the alienation of yesterday's soldier from the life of today's society, the motif of the destruction of ideals, is constantly heard. Bondarev's position on this issue gives no reason for doubt. At first, it’s also not easy for his hero to get into a peaceful rut. But it was not in vain that Vokhmintsev went through the harsh school of life. He again and again, like the heroes of other books by this writer, asserts: the truth, no matter how bitter it may be, is always the same.

Tarasevich Valentina

Among the masters of Soviet satire and humor, a special place belongs to Mikhail Zoshchenko (1895-1958). His works still attract the attention of readers. After the death of the writer, his stories, feuilletons, novellas, and comedies were published about twenty times with a circulation of several million copies.

Mikhail Zoshchenko perfected the style of comic tale, which had rich traditions in Russian literature. He created an original style of lyrical and ironic storytelling in stories of the 20s-30s.

Zoshchenko's humor attracts with its spontaneity and non-triviality.

In his works, Zoshchenko, unlike modern satirical writers, never humiliated his hero, but, on the contrary, tried to help a person get rid of vices. Zoshchenko's laughter is not laughter for the sake of laughter, but laughter for the sake of moral cleansing. This is precisely what attracts us to the work of M.M. Zoshchenko.

How does a writer manage to create a comic effect in his works? What techniques does he use?

This work is an attempt to answer these questions and analyze the linguistic means of comedy.

Thus, purpose My work was to identify the role of linguistic means of creating the comic in the stories of Mikhail Zoshchenko.

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Regional scientific and practical conference for high school students

“Into the world of search, into the world of creativity, into the world of science”

Techniques for creating comics

in satirical stories

Mikhail Zoshchenko

Municipal educational institution "Ikei Secondary School"

Tarasevich Valentina.

Head: teacher of Russian language and literature Gapeevtseva E.A.

2013

Introduction………………………………………………………………………………………3

Chapter I. 1.1 Zoshchenko is a master of the comic………………………………………………………………...….6

1.2 Hero Zoshchenko……………………………………………………………………………….7

Chapter II. Language means of the comic in the works of M. Zoshchenko……………….….7

2.1. Classification of speech comic means……………………………………….………7

2.2. Means of comedy in the works of Zoshchenko………………………………………….…9

Conclusion…………………………………………………………………………………...15

List of references………………………………………………………...16

Appendix 1. Survey results…………………………………………….…….17

Appendix 2. Techniques for creating comic……………………………………….……..18

Introduction

The origins of satire lie in ancient times. Satire can be found in works of Sanskrit literature and Chinese literature. In ancient Greece, satire reflected intense political struggle.

As a special literary form, satire was first formed among the Romans, where the name itself appeared (Latin satira, from satura - an accusatory genre in ancient Roman literature of an entertaining and didactic nature, combining prose and poetry).

In Russia, satire first appears in folk oral literature (fairy tales, proverbs, songs of guslars, folk dramas). Examples of satire are also known in ancient Russian literature (“The Prayer of Daniil the Zatochnik”). The aggravation of social struggle in the 17th century puts forward satire as a powerful accusatory weapon against the clergy ("Kalyazin Petition"), bribery of judges ("Shemyakin Court", "The Tale of Ruff Ershovich"), etc. Satire in Russia in the 18th century, as in Western Europe , develops within the framework of classicism and takes on a moralizing character (satires by A.D. Kantemir), develops in the form of a fable (V.V. Kapnist, I.I. Khemnitser), comedy (“The Minor” by D.I. Fonvizin, “The Yabeda” V.V. Kapnista). Satirical journalism is widely developed (N.I. Novikov, I.A. Krylov, etc.). Satire reached its greatest flowering in the 19th century, in the literature of critical realism. The main direction of Russian social satire of the 19th century was given by A.S. Griboyedov (1795-1829) in the comedy “Woe from Wit” and N.V. Gogol (1809-1852) in the comedy “The Inspector General” and in “Dead Souls”, exposing the basic foundations of landowner and bureaucratic Russia. The fables of I.A. are imbued with satirical pathos. Krylov, a few poems and prose works by A.S. Pushkin, poetry by M.Yu. Lermontova, N.P. Ogarev, Ukrainian poet T.G. Shevchenko, dramaturgy by A.N. Ostrovsky. Russian satirical literature was enriched with new features in the second half of the 19th century in the works of writers - revolutionary democrats: N.A. Nekrasova (1821-1877) (poems “The Moral Man”), N.A. Dobrolyubov, as well as poets of the 60s, grouped around the satirical magazine Iskra. Inspired by love for the people and high ethical principles, satire was a powerful factor in the development of the Russian liberation movement. Satire reaches unsurpassed political acuteness in the work of the great Russian satirist - revolutionary democrat M.E. Saltykov-Shchedrin (1826-1889), who exposed bourgeois-landlord Russia and bourgeois Europe, the arbitrariness and stupidity of the authorities, the bureaucratic apparatus, the excesses of the serf owners, etc. (“Messrs. Golovlevs”, “The History of a City”, “Modern Idyll”, “Fairy Tales”, etc.). In the 80s, during the era of reactions, satire reached great strength and depth in the stories of A.P. Chekhov (1860-1904). Revolutionary satire, persecuted by censorship, sounds passionately in the pamphlets of M. Gorky (1868-1936), directed against imperialism and bourgeois pseudo-democracy ("American Essays", "My Interviews"), in the stream of satirical leaflets and magazines of 1905-1906, in the feuilletons of the Bolshevik newspaper "Pravda". After the Great October Socialist Revolution, Soviet satire was aimed at fighting the class enemy, bureaucracy, and capitalist remnants in people's minds.

Among the masters of Soviet satire and humor, a special place belongs to Mikhail Zoshchenko (1895-1958). His works still attract the attention of readers. After the death of the writer, his stories, feuilletons, novellas, and comedies were published about twenty times with a circulation of several million copies.

Mikhail Zoshchenko perfected the style of comic tale, which had rich traditions in Russian literature. He created an original style of lyrical and ironic storytelling in stories of the 20s-30s.

Zoshchenko's humor attracts with its spontaneity and non-triviality.

In his works, Zoshchenko, unlike modern satirical writers, never humiliated his hero, but on the contrary tried to help a person get rid of vices. Zoshchenko's laughter is not laughter for the sake of laughter, but laughter for the sake of moral cleansing. This is precisely what attracts us to the work of M.M. Zoshchenko.

How does a writer manage to create a comic effect in his works? What techniques does he use?

This work is an attempt to answer these questions and analyze the linguistic means of comedy.

Thus, the goal My work was to identify the role of linguistic means of creating the comic in the stories of Mikhail Zoshchenko.

To achieve this goal, it is necessary to solve the following tasks:

Study the linguistic means of comics.

Analyze the linguistic features of Zoshchenko’s stories.

Find out what role comic devices play in the stories of Mikhail Zoshchenko.

Hypothesis our research work:

To create a comic effect, Mikhail Zoshchenko uses special linguistic means in his stories.

I was prompted to do research on this topic by my interest in the work of Mikhail Zoshchenko, in the nature of the comic, and simply in new discoveries. In addition, the survey revealed that many of my peers do not know the theory of the techniques of creating comics, they find it difficult to name the stories of Mikhail Zoshchenko, although they like to read humorous and satirical literary works. (Annex 1)

Thus, despite relevance topic, it has an undeniable novelty for the students of our school. Novelty The results obtained is that, within the framework of a small study, we tried to identify the most striking and frequently used techniques for creating the comic, used by Mikhail Zoshchenko in his satirical stories.

Research methods: sociological (survey - questioning, non-survey - analysis of documents, observation, comparison, counting, analysis and synthesis.), theoretical (linguistic, literary criticism). The choice of research methods is optimal, as it corresponds to the specifics of the work.

Chapter I. Zoshchenko - master of the comic

Mikhail Zoshchenko perfected the style of comic tale, which had rich traditions in Russian literature. He created an original style - a lyrical and ironic narrative in stories of the 20s-30s. and the cycle of “Sentimental Stories”.

The work of Mikhail Zoshchenko is a unique phenomenon in Russian Soviet literature. The writer, in his own way, saw some of the characteristic processes of contemporary reality, brought out under the blinding light of satire a gallery of characters who gave rise to the common concept of “Zoshchenko’s hero.” Being at the origins of Soviet satirical and humorous prose, he became the creator of an original comic novella, which continued the traditions of Gogol, Leskov, and early Chekhov in new historical conditions. Finally, Zoshchenko created his own, completely unique artistic style.

Developing the original form of his own story, he drew from all these sources, although the Gogol-Chekhov tradition was closest to him.

Zoshchenko would not be himself if not for his writing style. It was a language unknown to literature, and therefore did not have its own spelling. His language breaks, scooping up and hyperbolizing all the painting and improbability of street speech, the infestation of “storm-ravaged everyday life.”

Zoshchenko is endowed with absolute pitch and a brilliant memory. Over the years spent in the midst of poor people, he managed to penetrate the secret of their conversational structure, with its characteristic vulgarisms, incorrect grammatical forms and syntactic structures, managed to adopt the intonation of their speech, their expressions, turns of phrase, words - he studied this language to the subtleties and from the very first steps in literature I began to use it easily and naturally. In his language one could easily encounter such expressions as “plitoir”, “okromya”, “creepy”, “this”, “in it”, “brunette”, “dragged”, “for the bite”, “why cry”, “ this poodle”, “a dumb animal”, “at the stove”, etc.

But Zoshchenko is a writer not only of a comic style, but also of comic situations. Not only his language is comical, but also the place where the story of the next story unfolded: a wake, a communal apartment, a hospital - everything is so familiar, personal, everyday familiar. And the story itself: a fight in a communal apartment over a hedgehog in short supply, a row at a wake over a broken glass.

Some phrases from the writer’s works have remained in Russian literature as aphorisms: “as if the atmosphere suddenly smelled on me”, “they will pick you up like a stick and throw you away for their dear ones, even though they are their own relatives”, “the second lieutenant is wow, but a bastard”, “ causing disturbances."

Zoshchenko, while writing his stories, chuckled himself. So much so that later, when I read stories to my friends, I never laughed. He sat gloomy, gloomy, as if not understanding what there was to laugh about. Having laughed while working on the story, he later perceived it with melancholy and sadness. I perceived it as the other side of the coin. If you listen carefully to his laughter, it is not difficult to discern that the carefree and humorous notes are only a background for the notes of pain and bitterness.

1.2. Hero Zoshchenko

Zoshchenko's hero is an everyman, a man with poor morals and a primitive outlook on life. This man in the street personified an entire human layer of the Russia of that time. Zoshchenko, in many of his works, tried to emphasize that this man in the street often spent all his strength fighting all sorts of minor everyday troubles, instead of actually doing something for the good of society. But the writer did not ridicule the man himself, but the philistine traits in him. “I combine these characteristic, often shaded features in one hero, and then the hero becomes familiar to us and seen somewhere,” Zoshchenko wrote.

With his stories, Zoshchenko seemed to be calling not to fight people who bear philistine traits, but to help them get rid of these traits.

In satirical stories, the characters are less rude and uncouth than in humorous short stories. The author is interested, first of all, in the spiritual world, the system of thinking of an outwardly cultured, but even more so essentially disgusting, bourgeois.

Chapter II. Language means of the comic in the works of M. Zoshchenko

2.1. Classification of means of speech comedy

All comic means can be divided into several groups, among which are those formed by phonetic means; means formed by lexical means (tropes and the use of vernacular, borrowings, etc.); means formed by morphological means (incorrect use of case forms, gender, etc.); means formed by syntactic means (use of stylistic figures: parallelism, ellipsis, repetitions, gradation, etc.) (Appendix 2)

Phonetic means include, for example, the use of spelling irregularities, which helps authors give a capacious portrait of the narrator or hero.

Stylistic figures include anaphora, epiphora, parallelism, antithesis, gradation, inversion, rhetorical questions and appeals, polyunion and non-union, silence, etc.

Syntactic means - default, rhetorical questions, gradation, parallelism and antithesis.

Lexical means include all tropes as figurative and expressive means, as well as puns, paradoxes, ironies, and alogisms.

These are epithets - “words that define an object or action and emphasize some characteristic property or quality in them.”

Comparisons are the comparison of two phenomena in order to explain one of them with the help of the other.

Metaphors are words or expressions that are used figuratively based on the similarity in some respect of two objects or phenomena.

To create a comic effect, hyperboles and litotes are often used - figurative expressions containing an exorbitant exaggeration (or understatement) of size, strength, meaning, etc.

Irony also refers to lexical means. Irony is “the use of a word or expression in the opposite sense to its literal meaning for the purpose of ridicule.”

In addition, lexical means also include allegory, personification, periphrasis, etc. All of these means are paths.

However, only tropes do not completely determine the lexical means of creating comedy. This should also include the use of colloquial, special (professional), borrowed or dialect vocabulary. The author builds the entire monologue and the entire comic situation on the special vocabulary used by thieves in law, but at the same time it is familiar to most of the population: “there is no need to shaggy grandma,” “there will be no will for a century,” etc.

We include the so-called grammatical, or rather morphological, means in cases where the author deliberately incorrectly uses grammatical categories in order to create comedy.

Use of colloquial forms such as evony, ikhny, etc. can also be classified as grammatical means, although in the full sense these are lexico-grammatical means.

Pun [fr. calembour] - a play on words based on deliberate or involuntary ambiguity generated by homonymy or similarity of sound and causing a comic effect, for example: “I’m rushing, exactly like that; // But I’m moving forward, and you’re rushing while sitting” (K. Prutkov)

Alogism (from a - negative prefix and Greek logismos - reason) - 1) denial of logical thinking as a means of achieving truth; irrationalism, mysticism, fideism oppose logic to intuition, faith or revelation - 2) in stylistics, a deliberate violation of logical connections in speech for the purpose of stylistic (including comic) effect.

Paradox, - a, m. (book). - 1. A strange statement that diverges from generally accepted opinion, as well as an opinion that contradicts (sometimes only at first glance) common sense. Speak in paradoxes. 2. A phenomenon that seems incredible and unexpected, adj. paradoxical.

2.2. Means of comedy in the works of Zoshchenko

Having examined the comic in the works of Zoshchenko, in the work we will dwell on the most striking, in our opinion, means of the comic, such as puns, alogism, redundancy of speech (tautology, pleonasm), the use of words in an unusual meaning (the use of colloquial forms, incorrect use of grammatical forms, the creation an unusual synonymous series, a clash of colloquial, scientific and foreign vocabulary), since they are the most commonly used.

2.2.1. Pun as a means of creating comedy

Among the favorite speech devices of Zoshchenko the stylist is a pun, a play on words based on homonymy and polysemy of words.

In the “Dictionary of the Russian Language” by S.I. Ozhegov the following definition is given: “A pun is a joke based on the comic use of words that sound similar but have different meanings.” In the “Dictionary of Foreign Words” edited by I.V. Lekhin and Professor F.N. Petrov we read: “A pun is a play on words based on their sound similarity with different meanings.”

In a pun, laughter occurs when the more general meaning of a word is replaced in our minds by its literal meaning. In creating a pun, the main role is played by the ability to find and apply the specific and literal meaning of a word and replace it with the more general and broader meaning that the interlocutor has in mind. This skill requires a certain talent, which Zoshchenko possessed. In order to create puns, he uses the convergence and collision of literal and figurative meanings more often than the convergence and collision of several meanings of a word.

“Here you are, citizens, asking me, was I an actor? Well, there was. He played in theaters. Touched this art.”

In this example, taken from the story “Actor,” the narrator, using the word touched, uses it in a figurative, metaphorical meaning, i.e. “I was involved in the world of art.” At the same time, touching also has the meaning of incomplete action.

Zoshchenko’s puns often show duality in understanding the meaning.

“I was right at the same point with this family. And he was like a member of the family” (“Great Society History”, 1922).

“At least I am an unilluminated person” (“Great Society History”, 1922).

In the speech of the narrator Zoshchenko, there are numerous cases of replacing the expected word with another, consonant, but distant in meaning.

So, instead of the expected “family member”, the narrator says a member of the family name, “unenlightened person” - a person not illuminated, etc.

2.2.2. Alogism as a means of creating comedy

The main feature of Zoshchenko’s technique for creating verbal comedy is alogism. The basis of alogism as a stylistic device and a means of creating a comic is the lack of logical expediency in the use of various elements of speech, from speech to grammatical constructions; verbal comic alogism arises as a result of a discrepancy between the logic of the narrator and the logic of the reader.

In “Administrative Delight” (1927), antonyms create discord, for example:

“But the fact is that [a pig] has wandered in and is clearly disturbing the public order.”

Disorder and order are words with opposite meanings. In addition to the substitution of the word, the compatibility of the verb violate with nouns is broken here. According to the norms of the Russian literary language, one can “violate” rules, order, or other norms.

“Now we’ll draw up an act and move the matter downhill.”

Obviously, in the story “The Watchman” (1930) we mean not downhill (i.e. “down”), but uphill (“forward, improve the situation”). The antonymic substitution in - under creates a comic effect.

Discord and discord also arise due to the use of non-literary forms of words. For example, in the story “The Groom” (1923):

“And here, my brothers, my woman is dying. Today she, let's say, has collapsed, but tomorrow she feels worse. The brandite is thrown around and falls from the stove.”

Brandit is a non-literary form of the verb "to rave". In general, it should be noted that there are many non-literary forms in Zoshchenko’s stories: brandite instead of “delirious” (“The Groom”, 1923), they are starving instead of starving (“Devil’s Man”, 1922), let’s lie down instead of “lying down” (“Bad Place”, 1921), cunning instead of cunning (“Bad Place”), by the way instead of by the way (“Motherhood and Infancy”, 1929), I ask instead of ask (“Great Society Story”), hello instead of hello (“Victoria Kazimirovna”), whole instead of whole (“Velikosvetskaya history"), skeleton instead of skeleton ("Victoria Kazimirovna"), flow instead of flow ("Great History").

“We spent a whole year with him just wonderfully.”

“And he walks all in white, like some kind of skeleton.”

“My hands are already mutilated - the blood is flowing, and now it stings.”

2.2.3. Redundancy of speech as a means of creating comedy

The speech of the narrator's hero in Zoshchenko's comic tale contains a lot of unnecessary things; it suffers from tautology and pleonasms.

Tautology - (Greek tautología, from tauto - the same and lógos - word), 1) repetition of the same or similar words, for example, “clearer than clear,” “cries, filled with tears.” In poetic speech, especially in oral folk art, tautology is used to enhance the emotional impact. Tautology is a type of pleonasm.

Pleonasm - (from the Greek pleonasmós - excess), verbosity, the use of words that are unnecessary not only for semantic completeness, but usually also for stylistic expressiveness. It is classified as a stylistic “figure of addition”, but is considered as an extreme, turning into a “flaw of style”; the border of this transition is unsteady and is determined by the sense of proportion and taste of the era. Pleonasm is common in colloquial speech (“I saw it with my own eyes”), where it, like other addition figures, serves as one of the forms of natural redundancy of speech. The tautological nature of the language of the narrator-hero Zoshchenko can be judged by the following examples:

“In a word, she was a poetic person who could smell flowers and nasturtiums all day long” (“Lady with Flowers”, 1930)

“And I committed a criminal offense” (“High Society History”, 1922)

“The old prince, Your Excellency, was killed to death, and the lovely Pole Victoria Kazimirovna was dismissed from the estate” (“Great Society History”, 1922)

“The bastard almost strangled him by the throat” (“A minor incident from his personal life”, 1927)

“And the diver, Comrade Filippov, fell deeply and too much in love with her” (“The Story of a Student and a Diver”)

2.2.4. Using words with unusual meanings

Non-literary words create comic effects, and the heroes are perceived by readers as uneducated ordinary people. It is language that gives a picture of the hero’s social status. This replacement of a literary standardized word form with a non-literary, dialectal one is used by Zoshchenko to show that the narrator, who criticizes others for ignorance, is ignorant himself. For example:

“Her boy is a sucking mammal” (“High Society History”, 1922)

“I haven’t seen you, son of a bitch, for seven years... Yes, I’m you, you brat...” (“You don’t need to have relatives”)

Often, comparing Soviet with foreign leads to the inclusion of foreign words and even entire sentences in foreign languages. Particularly effective in this regard is the alternation of Russian and foreign words and phrases with the same meaning, for example:

“The German kicked his head, they say, bite-dritte, please take it away, what are we talking about, it’s a pity or something” (“Product Quality”, 1927).

“Put on a new blues tunic” (“Victoria Kazimirovna”)

Or the use of foreign words in the Russian context:

“It’s either lorigan or rose” (“Product Quality”, 1927).

The use of words in an unusual meaning makes the reader laugh; the creation of a synonymous series that is unusual for the reader serves as a means of creating a comic effect. So, for example, Zoshchenko, violating the normative literary language, creates synonymous series, such as a printed organ - a newspaper ("Cannibal", 1938), a photographic card - face - muzzle - physiognomy ("Guests", 1926), inclusions in a common network - connection electricity ("The Last Story"), a child - an object - a shibzdik ("Incident", "Happy Childhood"), front, hind legs - arms, legs ("The Story of a Student and a Diver"), a woman - a young woman ("An Incident" ).

“Instead of tearing up the printed organ, you would have taken it and reported it to the editor.”

“It was later discovered that he had been cheated on his photographic card, and he walked around with gumboil for three weeks.”

“And, by the way, she’s riding in this carriage, among others, such a little woman. Such a young woman with a child.”

“Some kind of idiot, about ten years old, is sitting there.” ("Happy childhood")

2.2.5. Paradox as a means of creating comedy

Paradox - (Greek parádoxos - “contrary to common opinion”) - an expression in which the conclusion does not coincide with the premise and does not follow from it, but, on the contrary, contradicts it, giving an unexpected and unusual interpretation of it (for example, “I will believe what anything, as long as it is completely incredible" - O. Wilde). The paradox is characterized by brevity and completeness, bringing it closer to an aphorism, emphasized sharpness of the formulation, bringing it closer to a play on words, a pun, and, finally, unusual content, contrary to the generally accepted interpretation of this problem, which is affected by the paradox. Example: “All smart people are fools, and only fools are smart.” At first glance, such judgments are meaningless, but some meaning can be found in them; it may even seem that some particularly subtle thoughts are encrypted through paradox. The master of such paradoxes was Mikhail Zoshchenko.

For example: “Yes, wonderful beauty,” said Vasya, looking with some amazement at the peeling plaster of the house. - Indeed, very beautiful...”

2.2.6. Irony as a means of creating comedy

Irony is very close to paradox. Determining it is not very difficult. If, in paradox, concepts that exclude each other are united despite their incompatibility, then in irony, one concept is expressed in words, but another concept, opposite to it, is implied (but not expressed in words). The positive is expressed in words, but the negative opposite is understood. In this way, irony allegorically reveals the shortcomings of the one (or what) they are talking about. It represents one of the types of ridicule, and this is also what determines its comedy.

By the fact that a disadvantage is indicated through its opposite advantage, this disadvantage is highlighted and emphasized. Irony is especially expressive in oral speech, when its means is a special mocking intonation.

It happens that the situation itself forces you to understand a word or phrase in a sense that is directly opposite to the generally known one. The pompous expression “the audience is over” when applied to the watchman emphasizes the absurdity and comicality of the situation being described: “Then the watchman finished his water, wiped his mouth with his sleeve and closed his eyes, wanting to show that the audience was over” (“Night Incident”)

“Now, he says, all my ambition has been crushed into blood.” ("Patient")

2.2.7. A clash of different styles

The speech of the narrator in Zoshchenko's works is divided into separate lexical units belonging to different styles. The clash of different styles in the same text speaks of a certain person who is illiterate, impudent and funny. At the same time, it is interesting to note that Zoshchenko managed to create stories and novellas in which almost incompatible, even mutually exclusive lexical series can exist very close to each other, they can literally coexist in one phrase or a character’s remark. This allows the author to freely maneuver the text and provides the opportunity to sharply, unexpectedly turn the narrative in a different direction. For example:

“They make a lot of noise, but the German is certainly quiet, and it was as if the atmosphere suddenly hit me.” ("High Society History")

“The prince, Your Excellency, just vomited a little, jumped to his feet, shook my hand, was delighted.” ("High Society History")

“There’s one without a hat, a long-maned fellow, but not a priest.” (“A minor incident from my personal life”)

Conclusion

Over more than three decades of work in literature, Zoshchenko has come a long and difficult way. There were undoubted successes and even genuine discoveries along this path that promoted him to the ranks of the greatest masters of Soviet literature. There were also equally undeniable miscalculations. Today it is very clear that the satirist’s creativity flourished in the 20s - 30s. But it is equally obvious that Zoshchenko’s best works from these seemingly distant years are still close and dear to the reader. Dear because the laughter of the great master of Russian literature today remains our faithful ally in the struggle for a person free from the heavy burden of the past, from the self-interest and petty calculations of the acquirer.

In the course of our work, we came to the following conclusions:

Verbal means of creating a comic, namely alogism, stylistic substitutions and displacements, a clash of several styles, often even in one sentence, are a fairly productive comic means and are based on the principle of emotional-style contrast.

The narrator Zoshchenko is the very subject of satire; he betrays his squalor, sometimes naivety, sometimes simple-mindedness, sometimes petty-bourgeois pettiness, without realizing it, as if absolutely involuntarily and therefore incredibly funny.

Zoshchenko's satire is not a call to fight people who bear philistine traits, but a call to fight these traits.

Zoshchenko's laughter is laughter through tears.

List of used literature

1. Alexandrova, Z.E. Dictionary of synonyms Russian. language /Ed. L.A. Cheshko. / Z.E. Alexandrova. - 5th ed., stereotype. M.: Rus.yaz., 1986. 600 p.
2. Zoshchenko M.M. Works: In 5 volumes. M.: Enlightenment, 1993.
3. Zoshchenko M.M. Dear Citizens: Parodies. Stories. Feuilletons. Satirical notes. Letters to the writer. One-act plays. M., 1991. (From the press archive).
4. Mikhail Zoshchenko. Materials for a creative biography: Book 1 / Rep. ed. ON THE. Groznova. M.: Education, 1997.
5. Ozhegov, S.I. and Shvedova, N.Yu. Explanatory dictionary of the Russian language. / S.I. Ozhegov, N.Yu. Shvedova // Russian Academy of Sciences Instrument of the Russian language; Russian Cultural Foundation. M: Az Ltd., 1992. 960 p.
6. Chukovsky K. From memories. - Sat. "Mikhail Zoshchenko in the memoirs of his contemporaries." M.: Enlightenment, pp. 36-37.
7. www.zoschenko.info
8. en.wikipedia.org

Appendix 1. Survey results

A total of 68 people took part in the survey.

Question No. 1.

Yes - 98%.

No - 2%.

Question No. 2.

What techniques for creating comics do you know?

Comparison - 8 people.

Metaphor - 10 people.

Epithets - 10 people.

Hyperbole - 12 people.

Allegory - 2 people.

Discrepancy - 3 people.

Surprise - 8 people.

Irony - 21 people.

Question #3

What stories by M. Zoshchenko have you read?

Glass - 24 people. Galosh - 36 people. Incident on the Volga - 8 people. Stupid story - 12 people. Stories about Lelya and Minka - 11 people. .Meeting - 7 people.

Appendix 2. Techniques for creating a comic