A.P. Chekhov on the Russian intelligentsia

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Introduction

A.P. Chekhov entered the literature of the 80s of the 19th century immediately as an innovator, in many ways unlike either his predecessors or the writers around him. Innovation consisted, first of all, in the choice of genre: Chekhov was a master of “small forms”, short story. Also unconventional was the manner of narration, brevity, laconism; The themes of the stories themselves are also unusual.

Working at the turn of the century, he created many wonderful works telling about the life of Russian society. His stories reflected many of the shortcomings and “diseases” of that time, including veneration and philistinism, vulgarity and the desire to protect oneself from active life for the benefit of society. Chekhov, being an irreconcilable fighter against vulgarity and philistinism, fiercely fought against these vices throughout his entire life. creative life. In his stories, as in the works of the luminaries of Russian literature, “the century and modern man are reflected.”1 (Heroes of our time / Alexander Melekhov // Friendship of Peoples, 2010-No. 1.-P.207.)

Over time, the stories of A.P. Chekhov cease to be cheerful and cheerful. Hidden vices begin to come to the fore in them. It was on them that the writer fell with all the power of his talent. The basis of the creativity of the late Chekhov was the fight against false values. Chekhov saw how genuine “forms of life” were replaced by erroneous ideas and aspirations. A person begins to become a servant of ideals that have no future. A.P. Chekhov, like many progressive people of his time, tried to point out to people their mistakes and wanted to guide society into the new century along the right path.

Thus, one of the leading themes of the mature period of Chekhov’s work is the depiction of the life of the Russian intelligentsia. Using a variety of artistic media, the author created a number of bright, typical images representatives of the working and creative intelligentsia, and also reflected the problems and conflicts that arose among them.

The purpose of our work is to study the image of an intellectual and intelligence in the image of Chekhov.

Chapter 1. Image of an intellectual

Who is an intelligent person? In different ways, in accordance with your worldview and life experience, thinkers, scientists, writers answered him - that is, the intellectuals themselves. "Soviet encyclopedic Dictionary" gives the following definition: "intelligent (from the Latin intelligens - understanding, thinking, reasonable), society. layer of people professionally engaged in mental, predominantly. complex, creative labor, development and dissemination of culture. The term "I." introduced by the writer Boborykin (in the 60s of the 19th century) and from Russian. passed into other languages." It would not be worth quoting the dictionary of Soviet, pre-perestroika even times (1980 edition) if this concept about the intelligentsia has not entered so deeply into our national consciousness.

Each period of Russian history introduced new nuances to the concept of “intellectual”. In the last century and the beginning of this one, it had a very definite socio-political overtones. Naturally, in retrospect this could be called - and is now called - by Russian enlightenment freethinkers of the 18th century, the great poets of the early 19th century... But still, this was, first of all, a type of the second half of the last century - a commoner, who became one of the people thanks to his thirst for knowledge, a simple person who received an education, who by his very origin was obliged to fight class and social inequality.

On the other hand, at the same time a type of intellectual appeared that can be called Chekhovian. This is an intellectual who strived not so much for a political, but for a moral reorganization of the world. The model representative of this type was Chekhov himself, who not only created works preaching the ideas of goodness and justice, but also opened free hospitals and libraries.

Russian intelligentsia A.P. Chekhov paid a lot of attention in his works. It is possible, without exaggeration, to say that it is precisely where Chekhov speaks about the intelligentsia or about the intelligentsia that they shine through most clearly, through the veils literary form, his worldview, political views and public face.2 (Berdnikov G.P. A.P. Chekhov. Ideological and creative quests. - L., 1970.P.195.)

Chekhov's ideas about the intelligentsia and intelligentsia are very complexly organized and do not fit into the framework of either a socio-economic or socio-ethical approach. Intelligence is more than education, but it is not a set of specific liberal ideas. The idea of ​​the intelligentsia is formed in the key further destinies Russian culture triangle: “people” - “intelligentsia” - “philistinism”, and behind each of these categories there is not so much a set of ideas as a certain lifestyle. It is here that the line separates the domestic intellectual from the Western intellectual passes: “intelligentsia” is connected by strict semantic connections with the concepts of “people” and “philistinism”.

This fact also explains the emergence of the concept of “intelligentsia” only in the late 60s of the 19th century: earlier, neither “people” nor “philistinism” had yet become key cultural categories. Of course, the style of life that Chekhov speaks of took shape earlier, but outside of the opposition to the “people” and “philistinism” it had a significantly different cultural meaning.

The 80s of the 19th century and later, the majority of the intelligentsia presented a sad sight. Intimidated, disappointed in the success of the fight against the tyranny of tsarism, intellectuals tried to hide from the struggle and dangers in the shell of personal happiness, in the darkness of mysticism, and from their own conscience - in the bustle of “small affairs” or behind the screen of Tolstoy’s non-resistance.

Chekhov sees this perfectly and ridicules it. There are many cowards among his heroes. For example, Laptev (“Three Years”), who says about himself: “I have a cowardly conscience, I just can’t adapt to life, become its master... Neither flexibility, nor strong will: I’m afraid for every step I take, as if I’ll be whipped, I work in front of nonentities, idiots, brutes who are immeasurably inferior to me mentally and morally: I’m afraid of janitors, doormen, policemen, gendarmes - I’m afraid of everyone ... "

Ivan Dmitrievich (“Ward No. 6”) was just as afraid of everything, and his fear drove him to a madhouse. But not everyone's fear of life leads them to a madhouse. Some, out of fear of the struggle, save themselves in their own home, fencing themselves off from life with a thorny gooseberry fence, behind which they vegetate in inaction, run wild, fall into bestiality, into swinishness.

In “Gooseberry,” the hero of the story Chimsha-Himalayan is shown by Chekhov in an atmosphere of general pig-likeness.

Chekhov denigrates and ridicules life “in a shell,” the “little world” of family happiness, in every possible way. He shows how small this little world is, how stuffy it is there, and contrasts life in it with another world - the world of the collective, the world of work for the benefit of many: “In addition to the small lamp light smiling at quiet family happiness, besides this little world in which life is so sweet, there is still another world. And he passionately, to the point of melancholy, suddenly wanted to go to this other world, to work somewhere in a factory... to speak from the pulpit, to compose, to type, to make noise, to get tired, to suffer. He wanted something that would captivate him to the point of oblivion of himself, to the point of indifference to personal happiness” (“Literature Teacher”).

A.P. Chekhov speaks with hatred about that part of the intelligentsia that substitutes words and phrases for participation in the struggle to improve the lives of the people, in the fight against reaction: “For generations they read and hear about truth, about mercy, about freedom, and yet they lie from morning to day until their death.” evenings, they torture each other, and they fear freedom and hate it as an enemy” (“My Life”), because for this freedom one must risk comfort, tranquility, and life.

In the stories, the entire intelligentsia as a social stratum, a certain set of people united by professional characteristics and personal qualities, can be divided into labor (doctors, teachers) and creative (artists, painters, musicians), and this division sometimes even develops into an antithesis, for example in the story "The Jumper". Here, representatives of the creative intelligentsia are described clearly satirically: the author treats the artist Ryabovsky with disdain, as well as all the artists, musicians and writers who visit Olga Ivanovna’s house, main character. The pretense, unnaturalness of words and actions, monotony and vulgarity that reign in the “creative” environment are emphasized. The image of Ryabovsky is reduced: Chekhov mocks his eternal tired appearance and the phrase “I’m tired,” uttered by the hero several times with the same theatrical intonation. Actually, the course of events, the development of the plot reveal the inner essence, the vices of Ryabovsky hidden behind a pleasant appearance, who, as it turned out, considers any of his actions, even immoral ones, to be justified by his “creative” character, inconstancy, and penchant for change.4 (Shcherbakov K. Ascents to Chekhov. - M., 1988.) intellectual Chekhov intellectual shell

The failure of the intelligentsia is emphasized by Chekhov in the story “The House with a Mezzanine.” The author condemns the two extremes in which the heroes persist. Lida is the embodiment of fanatical, thoughtless action, which is far from the actual needs of the peasants. The assistance she provides is too insignificant even for the county. She personifies the “populists” who were defeated in practice, in the villages. But the artist is not called upon to solve global problems. Its disadvantage is unembodied ideas. Lida’s reproach is fair: “You can’t sit idly by.” Idealistic theories in his presentation remain just beautiful words. He is not even able to fight for his feelings, allowing his wife to leave and not trying to find her. His whole life is vague fragments of memories.

Chekhov despised and ridiculed vulgarity in all its manifestations, including in creativity.

The writer portrays the working intelligentsia no less critically and strictly. These are mainly doctors, which is probably due to Chekhov’s profession, as well as teachers as the most educated part of the intelligentsia, on whom the future depends. As a rule, the author presents these heroes with a choice: to join the gray mass of vulgar, uninteresting people, to allow themselves to be drawn into the swamp of bourgeois life with its pettiness and routine, or to remain an individual, to preserve human dignity, interest in people and everything new. The stories show the full range of possible solutions to the problem. Perhaps the extreme case is Belikov, the hero of the story “The Man in a Case.” The image is typical for all its grotesqueness; Belikov is a limited man, living in his small, deaf, frightened world with one thought: “No matter what happens.” Chekhov uses an interesting artistic technique: the transfer of a person’s properties, indirectly and allegorically depicted, onto his things, directly and specifically: “And he had an umbrella in a case, and a watch in a gray suede case, and when he took out a penknife to sharpen a pencil, then he had a knife in a case.” These details (like many others, for example, the very subject that Belikov taught - the Greek language, a dead language, which also helps the hero escape from reality into his own world) outline a clear image of a person living in a “case”, preventing himself and others from living, a teacher about whom a colleague says: “I admit, burying people like Belikov is a great pleasure.”

In another story, “Ionych,” Chekhov depicts the change inner world, the degradation of a person who did not resist the surrounding vulgarity. At the beginning the hero's name is Doctor Startsev, in the finale - Ionych. Chekhov again uses detail to depict changes in the soul, in the principles, beliefs, behavior, and lifestyle of Doctor Startsev. For example, at the beginning of the story, the hero prefers to walk and leads an active lifestyle (“Having walked nine miles and then went to bed, he did not feel the slightest fatigue, but on the contrary, it seemed to him that he would gladly walk another twenty miles”); in the second part he already has “his own pair of horses and a coachman”; in the third - “three with bells”; The very composition of the story, the parallelism of the scenes in the garden, the relationship with Katerina Ivanovna reveal the main character traits and emphasize the irreversibility of the process of degradation, so logical and natural in conditions of general intellectual and spiritual stagnation.

However, in the story “The Literature Teacher,” the main character realizes the danger and contagiousness of everyday life and philistinism, albeit after making a mistake - marrying the outwardly sweet, but limited girl Manyusa. The story ends with Nikitin’s thought: “There is nothing more terrible, more offensive, more depressing than vulgarity. Run away from here, run away today, otherwise I’ll go crazy!” For him, the surrounding everyday life is unbearable; Chekhov does not show what happens to the hero next; What is important here is the very fact of the decision to flee from vulgarity.

Thus, it is obvious that Chekhov not only does not share the desire of part of the intelligentsia to completely withdraw into their personal lives, build their personal happiness and cover up their inaction, their powerlessness with phrases, but also hates these aspirations, ridicules them, and is indignant at the people who are overwhelmed by them.

Chekhov saw the ability of the intelligentsia to help the people: “The strength and salvation of the people lies in its intelligentsia - in those who honestly think, feel and know how to work.” He devoted all his energy, all the strength of his talent, to, by telling the Russian intellectuals: “You live badly, gentlemen,” to pull them out of the narrow world of family happiness, the darkness of mysticism, from behind the screen of Tolstoyism - into the light, onto the road of struggle for freedom, on the path of exploits, for a clearly realized goal.

Chapter 2. Intelligentsia

Intelligence, according to Chekhov, is a complexly organized characteristic that does not lend itself to strict formalization. It includes, but by no means exhausts, the idea of ​​a good education. Intelligence is not so much education as a certain lifestyle, formed in early childhood and manifested in such features as voice, tone, figure, facial expression, clothing, speech. Intelligence cannot be learned, but you notice it immediately, and by subtle, often unconscious signs. The context of the use of the concepts “intelligent life”, “intelligent city”, “intelligent society” is indicative: Passengers on the train talk about trade, new singers, about Franco-Russian sympathies; everywhere you can feel a living, cultured, intelligent, vigorous life... (Duel, 1891); “intelligent appearance”: I look at Rublev... His face is worn out and worn, but in all his appearance there is still so much decency, lordly elegance and decency that this rude “gave me in the neck” does not at all fit with his intelligent figure (Taper , 1885). The footman's laughter, his words, jacket and mustache gave Anna Akimovna the impression of impurity. She closed her eyes so as not to see him, and, without wanting to, imagined Pimenov having dinner with Lysevich and Krylin, and his timid, unintelligent figure seemed pitiful to her, more helpless, and she felt disgust (Woman's Kingdom, 1894).

Intelligence for Chekhov is a positive characteristic. When he talks about negative qualities, he involuntarily makes a reservation: “... intelligent, more precisely, belonging to an intelligent circle.” Intelligence according to Chekhov is not necessarily associated with a bright mind and great talent, but is undoubtedly associated with inner dignity with restraint, tact , emphasized respect for the interlocutor; Opposition to power is not a mandatory or even essential characteristic of an intelligent person; intelligence, let us emphasize, is not “what”, but “how”, not a set of ideas, but a certain style, in which it is not so much the ideas that are important, but the intonation with which they are pronounced. 3(Glebkin V.V. IS IT POSSIBLE TO “SPEAK CLEARLY” ABOUT THE INTELLIGENCE?

All this is confirmed by the words of Chekhov himself, explaining to his brother who should be called an intelligent person: “In order to feel at ease in an intelligent environment, in order not to be a stranger among it and not be burdened by it, you need to be in a known way educated... Talent brought you into this environment, you belong to it, but... you are pulled away from it, and you have to balance between the cultural public and the vis-a-vis residents. The flesh of the bourgeoisie, which grew up on rods near the Rhine cellar, on handouts, takes its toll. It is difficult to defeat her, terribly difficult.

Well-mannered people should, in my opinion, satisfy the following conditions:

1) They respect the human personality, and therefore are always condescending, soft, polite, compliant... They do not rebel because of a hammer or a missing rubber band; when they live with someone, they don’t make a favor out of it, and when they leave, they don’t say: I can’t live with you! They forgive noise, cold, overcooked meat, witticisms, and the presence of strangers in their home...

2) They are compassionate not only towards beggars and cats. They are sick in their souls and from what cannot be seen with the naked eye. So, for example, if Peter knows that his father and mother are turning gray with melancholy and do not sleep at night due to the fact that they rarely see Peter (and if they do, they are drunk), then he will rush to them and spit on the vodka. They don’t sleep at night to help the Polevaevs, pay for their student brothers, and clothe their mother.

3) They respect other people's property, and therefore pay debts.

4) They are sincere and fear lies like fire. They don't lie even about trifles. A lie is offensive to the listener and vulgarizes him in the eyes of the speaker. They do not show off, they behave on the street the same way as at home, they do not throw dust in the eyes of the smaller brethren... They are not talkative and do not barge in with frankness when they are not asked... Out of respect for other people's ears, they are often silent.

5) They do not humiliate themselves in order to arouse sympathy in others. They do not play on the strings of other people's souls, so that in response they sigh and coddle them. They don’t say: “They don’t understand me!” or: “I exchanged it for a small coin! I [...]!..”, because all this has a cheap effect, vulgar, old, false...

6) They are not vain. They are not interested in such fake diamonds. like meeting celebrities, the handshake of a drunken Plevako, the delight of someone they meet at Salon, being famous for their porters... They laugh at the phrase: “I am a representative of the press!!” with their folder worth a hundred rubles and do not boast that they were allowed to go where others were not allowed... True talents always sit in the dark, in the crowd, away from the exhibition... Even Krylov said that an empty barrel is more audible than a full one ...

7) If they have talent, they respect it. They sacrifice peace, women, wine, vanity for him... They are proud of their talent...

8) They cultivate aesthetics in themselves. They cannot sleep in their clothes, see cracks on the wall with bedbugs, breathe crappy air, walk on a spit-stained floor, or eat from a kerosene stove. They try to tame and ennoble the sexual instinct as much as possible... What they need from a woman is not bed, not horse sweat, [...] not intelligence, expressed in the ability to cheat with a fake pregnancy and lie tirelessly... They, especially artists, need freshness , grace, humanity, the ability to be not [...], but a mother... They do not casually crack vodka, do not sniff cupboards, because they know that they are not pigs. They drink only when they are free, on occasion... Because they need mens sana in corpore sano” (Letter to N.P. Chekhov, March 1886).

Chapter 3. Chekhov's favorite hero

The works of Anton Pavlovich Chekhov, who became a writer for the diverse democratic Russian intelligentsia, reflected both the best and weak sides of this part of the intelligentsia. Along with growth artistic skill The image of Chekhov's beloved hero of his work - an ordinary, ordinary Russian man, in whose name the writer lived and worked, and whose responsibility he felt so deeply until the end of his days - deepened more and more. In every line, in every word, under the cover of a restrained and impartial narrative, one must discern passionate love for the working man, contempt for his enemies - meanness, vulgarity, parasitism, rudeness, selfishness, violence against man.

A simple man, a hard worker - this is one of the variants of the main Chekhov image. This is the hero of the story “The Jumper”. Doctor Dymov is a spiritually rich and strong man, whose spiritual gentleness, kindness, timid, always slightly guilty delicacy, simplicity only emphasize his will, tirelessness in work, perseverance in achieving goals, and dedication to his science.

Among the celebrities surrounding his wife, Olga Ivanovna, Doctor Dymov seemed too ordinary, ordinary, insignificant. And when Dymov dies, having contracted diphtheria from a boy from whom he sucked out the diphtheria bacillus through a tube, one of his colleagues, Doctor Korostelev, tells Olga Ivanovna that “he was great, extraordinary person. What talents! And what moral strength! kind, clean, loving soul, - not a person, but glass! He served science and died from science. And he worked like an ox, day and night, no one spared him, and the young scientist, future professor, had to look for an internship and do translations at night in order to pay for these... vile rags!”

Diphtheria is not the main reason why Dymov’s young life was cut short. Diphtheria was only Olga Ivanovna’s “accomplice”. She did not understand that the great man, whom she had been searching for all her life, lived next to her. She overlooked, “skimmed over” the main thing, did not understand either the beauty or the strength of Dymov, was unable to see the extraordinary in the ordinary.

In the entire appearance of Dymov, the reader guessed the features of Sechenov, a great Russian scientist. Chekhov felt deeply national character people of this type, the everyday heroism of their gigantic labor, their boundless modesty, moral strength, unbending perseverance, dedication to the cause of culture, noble love for the homeland and people. When creating the image of Dymov, Chekhov put into it his admiration for the type of Russian scientist.

In the novel that began between Ryabovsky and Olga Ivanovna, the theme of ordinariness and exceptionalism of personality develops. Olga Ivanovna, the “jumper,” seeks greatness in the extraordinary, the exceptional; in her understanding, a great person is a chosen person, towering high above the crowd of “ordinary,” “small,” people. It is characteristic of Chekhov that Olga Ivanovna’s very betrayal of Dymova expressed her contempt for “ordinary”, “little” people, her ideas about a great man as a chosen individual rising above the crowd. The image of the “jumping girl”, “jumping” all her life in search of an exceptional, great person, is ultimately a satirical image.

Chekhov first called his story about Doctor Dymov and his wife “ great person" With this title, he sent it to the editors of the magazine “North”. But the name did not satisfy him. He wrote to the editor of the magazine: I don’t like “The Great Man” at all. It must be called something else - that's a must. Call it that - “Jumping”. Don’t forget to change.”

It is possible that the name “Great Man” seemed immodest to Anton Pavlovich. But it correctly conveys the whole essence of the matter. Chekhov contrasted false greatness in the story with the true greatness of a simple and modest, “ordinary” person. Chekhov's favorite heroes are ordinary Russian people. In each of them we clearly see not only an individual person, but also his entire environment, entire layers of life itself. Behind the figure of Chekhov's Dymov we clearly sense many working people.

Conclusion

In his short stories, Chekhov put big problems modernity, deeply explored life phenomena, exposing the causes of social disorder; Chekhov saw with pain that, under conditions of reaction, the Russian intelligentsia openly broke with the ideals of progress and democracy. The standard of social behavior became lack of spirituality, pessimism, and sometimes direct betrayal of the ideals of goodness, which reflected the general crisis of noble-bourgeois culture. Chekhov was not associated with the emerging proletarian movement, but, anticipating a radical restructuring of all forms of social life, the writer opposed inertia, stagnation, and resolutely denied the existing order. “His enemy was vulgarity, he fought against it all his life... No one before him knew how to so mercilessly and truthfully paint people a shameful and dreary picture of their life in the dull chaos of petty-bourgeois everyday life” (M. Gorky).

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A textbook school text. It would seem, why repeat what they read at school? There are works that are interpreted in a new way at every age, and this applies to all eras and genres.

D.S. Likhachev in his article “Talks about intelligence” wrote: “Education cannot be confused with intelligence. Education lives on the old content, intelligence lives on the creation of the new and the awareness of the old as new. Moreover... Deprive a person of all his knowledge, education, deprive him of his memory itself, but if at the same time he retains receptivity to intellectual values, love of acquiring knowledge, interest in history, taste in art, respect for the culture of the past, skills of an educated person, responsibility in decisions moral issues and the richness and precision of one’s language - spoken and written - this will be intelligence.

Of course, education cannot be confused with intelligence, but education is of great importance for a person’s intelligence. The more intelligent a person is, the greater his desire for education. And here one important feature of education attracts attention: the more knowledge a person has, the easier it is for him to acquire new ones. New knowledge easily “fits” into the stock of old ones, is remembered, and finds its place.”
"A nation that does not value intelligence is doomed to destruction." - writes D.S. Likhachev. Semi-intellectuals are the most terrible category of people. They imagine that they know everything, they can judge everything, they can make decisions, decide destinies, etc. They don’t ask anyone, don’t consult, don’t listen (they are deaf and morally). Everything is simple for them. A real intellectual knows the value of his “knowledge.” This is his basic “knowledge”. Hence his respect for others, caution, delicacy, prudence in deciding the fate of others and a strong will in upholding moral principles.
And Yuri Lotman also says well about intelligence:
What characterizes an intellectual?
The ability not to impose your problems on others.
Awareness of purpose and life management
The ability to be happy
Curiosity
The pursuit of knowledge
The ability to understand and empathize with art
The intelligentsia carries a humanistic and creative beginning
Rudeness is inhibitory and destructive.
The property of intelligence is to understand another. Thinking - the right to doubt
The position of an unintelligent person - I am certainly right.
An intelligent person has mature thoughts from which beliefs are born.
An intellectual defends the right of others to their opinion
A.P. Chekhov wrote in a letter to his brother Nikolai:“You have only one drawback - this is your extreme bad manners. Well-mannered people must satisfy the following conditions: They respect the human person, and therefore are always condescending, soft, polite, compliant... They are compassionate not only towards beggars and cats... They are sincere and They are afraid of lies like fire. They do not lie even in trifles. Out of respect for other people’s ears, they are often silent. They do not humiliate themselves in order to arouse sympathy in others. They are not vain. If they have talent with them, they respect it "They sacrifice peace, women, wine, vanity for him... They cultivate aesthetics in themselves."
You can't pretend to be an intellectual! - That's what it is. You can pretend to be smart and kind, but you can’t pretend to be intelligent.

A.P. Chekhov "On Intelligence"

A person must be intelligent. What if his profession does not require intelligence? And if he could not get an education: did the circumstances turn out that way? What if the environment doesn’t allow it? What if his intelligence makes him a “black sheep” among his colleagues, friends, relatives, and simply prevents him from getting closer to other people?

No, no and NO! Intelligence is needed under all circumstances. It is necessary both for others and for the person himself.
This is very, very important, and above all in order to live happily and long: yes, long! For intelligence is equal to moral health, and health is needed to live long - not only physical, but also mental. People say: honor your father and mother and you will live long on earth. This applies to both an entire nation and an individual. That's wise.
But first of all, let’s define what intelligence is, and then why it is connected with the commandment of longevity.
Many people think: an intelligent person is one who has read a lot, received a good education(and even mainly humanitarian), has traveled a lot, knows several languages.
Meanwhile, you can have all this and be unintelligent, and you can not possess any of this to a large extent, but still be an internally intelligent person.
Deprive a truly intelligent person of his memory completely. Let him forget everything in the world, not know the classics of literature, not remember the greatest works of art, forget the most important historical events, but if at the same time he remains receptive to cultural values, aesthetic sense, will be able to distinguish a real work of art from a crude “thing” made only to surprise, if he can admire the beauty of nature, understand the character and individuality of another person, enter into his position, and having understood the other person, help him, will not show rudeness, indifference, gloating, envy, but will appreciate the other at their true worth - this will be an intelligent person... Intelligence is not only in knowledge, but in the ability to understand another. It manifests itself in a thousand and a thousand little things: in the ability to argue respectfully, in the ability to quietly (precisely imperceptibly) help another, to take care of nature, even in the habit of behaving modestly at the table, not littering around oneself - not littering with cigarette butts or swearing, bad ideas (this also rubbish, and whatnot!).
I knew peasants in the Russian North who were truly intelligent. They maintained amazing cleanliness in their homes, knew how to appreciate good songs, knew how to tell “happenings” (i.e., what happened to them or others), lived an orderly life, were hospitable and friendly, and treated the grief of others with understanding, and to the joy of others.
Intelligence is the ability to understand, to perceive, it is an attitude towards the world and towards people.
You need to develop intelligence in yourself, train it – train your mental strength, just as you train your physical strength. And training is possible and necessary in any conditions.
That training physical strength contributes to longevity is understandable. Much less understands that longevity requires training of spiritual and mental strength.
The fact is that an angry and angry reaction to the environment, rudeness and lack of understanding of the environment is a sign of mental and spiritual weakness, human inability to live... Pushing around in a crowded bus is weak and nervous man, exhausted, reacting to everything incorrectly. Quarreling with neighbors is also a person who does not know how to live. An aesthetically unresponsive person is also an unhappy person. Someone who cannot understand another person, attributes only evil intentions to him, and is always offended by others - this is also a person who impoverishes his own life and interferes with the lives of others. Mental weakness leads to physical weakness. I'm not a doctor, but I'm convinced of this. Long-term experience has convinced me of this.
Friendliness and kindness make a person not only physically healthy, but also beautiful. Yes - beautiful.
A person’s face, which is often distorted by anger, becomes ugly, and the movements of this evil man lacking grace, not deliberate grace, but natural grace, which is much more expensive.
A person's social duty is to be intelligent. This is a duty to yourself. This is the key to his personal happiness and “aura” [From lat. aura (breath of breeze)] goodwill around him and towards him (directed towards him).
Everything I talk about with young readers in this book is a call to intelligence, to physical and moral health. Let us live long as people and as a people! And honoring father and mother should be understood broadly - as honoring all the beautiful aspects of our past - the past, which is the father and mother of our modernity, great modernity, to which it is great happiness to belong.

In his works, Chekhov responds to the moral and ideological quests of his contemporary intelligentsia. His focus is on the measure of a person’s spiritual value, regardless of his profession and class.
Chekhov raises questions about the value of human life, about a person’s moral duty to the people, about the meaning of human life.
The questions raised by Chekhov are universal.
In stories from the life of the intelligentsia, Chekhov expressed his most intimate thoughts about contemporary reality, about the present and future of Russia, about moral position person.
In his stories, Chekhov shows how the best representatives of the Russian intelligentsia perish.
One of these people is Doctor Dymov, the hero of the story “The Jumper”. He belongs to that part of the Russian intelligentsia that Chekhov admired. The image of Doctor Dymov combines the heroism of labor and moral human power, and noble love for the Motherland.
His wife Olga Ivanovna devoted her life to the search for a “great man.” Her image is associated with the theme of vulgarity, the meaninglessness of ordinary people, and, according to Gorky, vulgarity was Chekhov’s enemy. Olga Ivanovna never saw the man she was looking for next to her, did not understand the strength and beauty of Dymov. His talent and remarkable spiritual qualities were noticed only after his death. Olga Ivanovna never understood that the value of human life lies in herself, and not in false greatness.
The epigraph to “The Jumper” can be the words of the professor from “A Boring Story”: “I want our wives, children, friends, students to love us not as a name, not as a company, not as a label, but as ordinary people.”
Chekhov has his favorite heroes. All of them are holistic, purposeful natures, they all despise miserable comfort, possessive happiness. They all strive for life worthy of a person, to the fight against meanness and vulgarity.
Chekhov said: “Everything in a person should be beautiful: face, clothes, soul, and thoughts.” Another of his sayings is known: “A person must be clear mentally, pure morally and tidy physically.” This desire to see people simple, beautiful and harmonious explains Chekhov’s irreconcilability towards vulgarity, towards moral and spiritual limitations.
But if a person submits to the force of circumstances, if the ability to resist gradually fades away in him, then he ultimately loses everything truly human that was characteristic of him. This is the death of the human soul.
This is the hero of the story “Ionych”. This is a young man, full of unclear but bright hopes, with ideals and desires for something high. But love failure turned him away from his aspirations for a pure, rational life. He succumbed to the vulgarity that surrounded him on all sides. He lost all spiritual interests and aspirations. The time when simple things were characteristic of him disappeared from his consciousness. human feelings: joy, suffering, love. We see how a person, smart, progressively thinking, hardworking, turns into an ordinary person, into a “living dead man.” We see his moral degradation.
Chekhov's heroes, like Ionych, lose that humanity that nature endowed them with. But they themselves are satisfied with themselves and do not notice that they have lost the main thing - a living soul.
In his works, Chekhov shows how the thoughtless joy of everyday existence can imperceptibly lead even a living and receptive person to complete spiritual devastation.
In this regard, the story “Gooseberry” is remarkable.
The hero of the story is an official. This is a kind, meek person. The dream of his whole life was the desire to have a “homestead” with gooseberries. It seemed to him that this was enough for complete happiness.
But Chekhov's idea of ​​real human happiness is different. “It is customary to say that a person only needs three arshins of land... A person needs not three arshins of land, not an estate, but the whole Earth, all of nature, where in the open space he could demonstrate all the properties and characteristics of his free spirit,” wrote Chekhov.
And now the hero’s dream came true, he acquired an estate, gooseberries grow in his garden. And we see that before us is no longer the former timid official, but “a real landowner, master.” He enjoys having achieved his goal. The more the hero is satisfied with his fate, the more terrible he is in his fall. And the hero’s brother cannot answer the question of what good needs to be done in order to get rid of vile possessive happiness.
Chekhov's heroes can be divided into two groups: some of them have little moral experience, while others are intensely looking for a person in themselves and in those around them.
The indifference and dullness of ordinary people, opportunists in Chekhov’s works is opposed by a different, conscientious attitude to life, characteristic of many Chekhov's heroes.
One of these heroes is Alekhine, the hero of the story “About Love”. This is a good and intelligent person, but he is mired in petty household concerns. He loves a woman married woman. He feels that she is not indifferent to him. They love each other silently. Alekhine has nothing to give her, he has nowhere to take her. He does not lead a bright, interesting, exciting life as an artist, artist, hero. He understands that if she follows him, she will not be happy, which means he will not be happy either.
Let us note that not a single Chekhov’s hero was successful in love. Maybe because the meaning of life is not in happiness, but in something more significant: “I realized that when you love, then in your reasoning about this love you need to proceed from the highest, from something more important than happiness or unhappiness, sin either virtue in their current sense, or there is no need to reason at all.”
They also argue about the meaning of life, about the purpose of man in “The House with a Mezzanine.”
The hero of the story, a young artist, dreams of a utopian ideal of social order: if you free people from hard physical labor by dividing it, then everyone will think about the main thing, about the search for truth.
His “enemy” is an adherent of the theory of “small deeds” that make small changes in the life of the people, but do not rise to the solution of major problems.
The story embodies the thirst for harmony, the dream of a healthy, meaningful existence, the spiritual beauty of man, and work as the basis of a just and honest life. And Lida, with her small deeds, proves that this is impossible without a common idea.
Here is another story, the hero of which reflects on the meaning of life, on his responsibilities to the people.
Nikolai Stepanovich, the hero of “A Boring Story,” comes to the conclusion that he lived his life incorrectly. Reflecting on the years he has lived, he seeks justification for his activities. He re-evaluates his behavior as a citizen, scientist, head of the family and comes to the conclusion that he never resisted the vulgarity that reigned both in his home and in science. Only at the very end of his life did the hero find a flaw both in his attitude towards the world and in his scientific work: “Every feeling and every thought lives separately in me, and in all my judgments about science, theater, literature, students and in all the pictures that my imagination draws, even the most skillful analyst will not find what is called the general idea or god of a living person. And if this is not there, then it means there is nothing.”
Life without a common idea is meaningless. Chekhov longed for a harmonious existence for man and suffered from the lack of a common idea.
The questions raised by Chekhov are still relevant in our time. Therefore, Chekhov can be considered a writer whose work is modern.

Reasonable, thinking... This word - intellectual - denotes throughout the world a group of people professionally engaged in mental work. However, for Russia this concept has become more broad meaning. It includes a special psychology, moral principles, way of thinking, and traditions of the “Russian cultural layer,” formed first from the most enlightened part of the nobility, which then included advanced commoners. The Russian intelligentsia has always been under the influence of some social idea; it could live exclusively by the idea, devoting itself to it without reserve. According to the Russian philosopher Berdyaev, the idea of ​​populism, which dominated the minds of the intelligentsia in the 70s - 90s of the 19th century, was associated with a conscious sense of guilt before the people for the knowledge and culture acquired at their expense. The intelligentsia sought to find lost ground under their feet, to return to the people, to their roots.

But the idea of ​​getting closer to the people and selflessly serving them turned out to be utopian. The intellectuals who came to the village, even after living there for several years, remained strangers. With this rejection, rejection of the intelligentsia common people, more precisely, the peasantry, is associated with the transition of populism from the theory of “going to the people” to the theories of terror and “small deeds”.

The spiritual movement of the Russian intelligentsia of these years occupies one of the main places in Chekhov’s work. A representative of an already established tradition in Russian literature of the 19th century, he soon understands the collapse of the populist intelligentsia and in his works shows its separation from the existing political system and way of life psychologically, and from the people - culturally. He describes the so-called "generations extra people».

Most of Chekhov's heroes are people with high ideals. They pose difficult questions to themselves, but internal indecision does not allow them to achieve their goals and resolve these issues. They are doomed to loneliness in thoughts and deeds.

Chekhov's intellectuals cannot change anything in their lives, but the writer notes two reasons for such helplessness.

The first is the characters’ own laziness, the characters’ inability to cope with life, their reluctance to understand the source of their own misfortunes.

For the most part, this is the provincial noble intelligentsia. These are Lyubov Andreevna Ranevskaya and Leonid Andreevich Gaev from “The Cherry Orchard” - people with a lyrical, very unique mindset, but who decided that everything in their lives will work out by itself.

Neither bankruptcy nor grief from parting with their native places forces them to even lift a finger to save themselves. They are so carried away by savoring their own suffering that they forget about those for whom they are responsible and leave the old lackey in the boarded-up estate.

Chekhov paints images of people “who did not place their conscience anywhere and were tortured by it.” Nikolai Alekseevich Ivanov, the hero of the drama “Ivanov,” could not find his job in this life, protected from the light by bourgeois life, but he did not try to change his life.

Internal indecision nullifies all the heroes’ aspirations for a fulfilling life, and Chekhov increasingly recognizes this. Confirmation of this is the twice rewritten play “Leshy” (“Uncle Vanya”). In the second version, the writer leaves the characters no hope for happiness or even the slightest satisfaction with their own lives. Ivan Petrovich Voinitsky becomes completely incapable of action. Even an insult cannot make him leave the voluntary service for which he has spent his whole life. So is his niece Sonya. However, all of these people can serve as examples of honesty and dedication.

The second reason for helplessness is stultifying “labor without poetry, without thought.” The act of self-sacrifice of the intelligentsia: its renunciation of personal benefits, selfless work for the people - was not accepted by the people. The needlessness of such sacrifices is becoming increasingly clear. These people can't break out of everyday life

outback, but they try to do everything in their power to improve their lives. They lack decisiveness in their actions. These are the sisters Olga, Maria and Irina Prozorov, Baron Tuzenbach from the drama “Three Sisters”. Neither Olga's work at the gymnasium nor Irina's work at the telegraph bring them any satisfaction other than fatigue and headaches.

Chekhov admires the hard work of these people. He deeply sympathizes with Dymov (the story “The Jumper”), who achieved everything in life on his own and did not lose his gentle character, modesty, dedication, and tolerance for others, which is the most remarkable feature of an intellectual. But people with a critical mind and unique thinking increasingly understand the drama of the “smart uselessness” of their business. This is most clearly manifested in the thoughts of the main character of the story “The Wife” by Pavel Asorin. An engineer increasingly thinks about the meaninglessness of his work. Unconscious guilt before the people leads him to think about the dependence of the work on the personality of the author. The hero, comparing the serf carpenter’s wardrobe and his bridge designs, concludes: the carpenter “had in mind an immortal man, but the engineer Asorin did not love either people or life.” But M was able to find a temptation for his guilt by sacrificing his fortune for Konstantin Treplev, the hero of the comedy “The Seagull”; the only way out of this state was suicide.

Chekhov again and again compares the current way of life with a prison dungeon, a case. This theme begins with the story “Man in a Case”, where the narrator calls the established, traditional way of life a tight case; continues her story “Ward No. 6”, where the doctor talks about the pure chance of a person being in a madhouse or outside it. This idea is expressed most directly by Dmitry Gurov, the hero of the story “The Lady with the Dog”: “there remains some kind of short, wingless life... and you can’t run away, as if you were sitting in a madhouse or in a prison company.”

Only a few of Chekhov's heroes combine spiritual beauty, hard work, and determination. The most striking images are Doctor Astrov (“Uncle Vinya”) and Nina Zarechnaya (“The Seagull”). They found a calling, were able to break out of their environment, which prohibited extraordinary individuals, and did not lose either their hard work or their thirst for search and activity. Close to them in spirit are Anya Ranevskaya and Pyotr Trofimov from The Cherry Orchard.

At the same time, the idea of ​​the independent existence of the intelligentsia in the state became increasingly clear to Chekhov.

The writer questions the theory of “small deeds”. This is reflected in the story "The House with a Mezzanine". The dispute between the artist and Lydia Volganinova gives an idea of ​​two types of thinking of the intelligentsia. According to Chekhov, the theory of “small deeds” does not justify inaction, although it makes people’s lives a little easier.

However, Chekhov’s warning about “cold and aspiring faces, such as people have one-sided and strong believers,” sounds absolutely unambiguous. Even complete confidence in one’s rightness does not give anyone the right to decide other people’s destinies or judge others. Distinguishing the excellent moral traits of Doctor Lvov (“Ivanov”) and Lydia Volganinova (“House with a Mezzanine”), Chekhov condemns the imposition of ideas and lifestyles.

Chekhov is most irritated by the philistine intellectuals. They absorbed from their environment a passion for hoarding, petty-bourgeois tastes, arrogance, and lost the ability to think independently and see high goals human existence. They are present in many works, but the most generalized, even somewhat grotesque, images of such people who have lost their human appearance are given in the stories “Ionych”, “Man in a Case”, “Gooseberry”. For the hero of the story, Ionych, the initially romantic perception of life gives way to greed. He recalls the past movements of his soul without any emotional expression: “How much trouble, however!” For teacher Belikov real life life turned out to be in a case, he doesn’t know another, doesn’t understand, and doesn’t want to understand. Fear of people, isolation, and limitations turned him into a city scarecrow. He robbed himself by squeezing his life into the narrow framework of instructions and regulations. Chekhov paints people who, by their position, should have had the traits of an intellectual, but exchanged them for “canary happiness.” This is how the hero of the story “Gooseberry” directed his hard work towards enrichment. He realized his dream - he bought an estate with gooseberries, but how petty this dream turned out to be.

Chekhov contrasts such ordinary people with people seeking active happiness.

Korney Chukovsky in his book “About Chekhov” notes: “Chekhov is an extremely active person: his heroes are helpless people, not only incapable of heroism, but also incapable of insignificant deeds,” and based on Chekhov’s sympathy for the restless heroes, he concludes that Chekhov’s comprehensive pity.

Critic Berdnikov says that this is not pity, but commitment to people looking for their place in life.

Berdnikov’s position is closer to me. Chekhov writes about people with analytical mind, a special way of thinking. They feel the imperfection of the world and realize that “the ways to correct it are unknown to them.” The writer believes that there cannot be complete happiness, complete satisfaction with life for a thinking person. His life is development. He is obliged to grow new gardens, restore forests, and again and again search for himself, his only “song of life.”

Chekhov does not touch upon the revolutionary intelligentsia of Russia; he examines the spiritual development of the provincial intelligentsia from the point of view of an observer-psychologist. The writer again emphasizes the importance of the spiritual principle in a person and says that there are no superfluous generations, people with such a reserve of spirituality can do a lot.

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M.: PROMEDIA

You are distinguished by true intelligence, which is inseparable from such the best human qualities

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Alexander Alekseevich Lomtev - journalist, writer. Born in 1956. Founder and publisher of the cultural and educational newspaper “Sarov Desert”. Published in various literary magazines in Russia. Author of the books “Journey with an Angel” (finalist for the 2008 Bunin Prize in the category “Discovery of the Year”), “Underwood”, “Ashes of Memory”. Laureate of the Union of Writers of Russia “Imperial Culture” award, the “Patriot of Russia” award, etc. Lives in Sarov, Nizhny Novgorod region.

And Ivanovna knows that the dog won’t eat chicken, but she’s annoyed by the intellectual (an artist who doesn’t know a damn<...>Ivan Nikolayevich was a quite intelligent man and, although he wrote on the receipts “a photo on the parade ground

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When I was at school, of all the Russian classics I disliked Anton Pavlovich Chekhov the most. Firstly, with his lean face in pince-nez. And secondly, what we read according to the program - “The Death of an Official”, “Thick and Thin”, “Chameleon”, “Ionych”, “The Man in a Case”, “Gooseberry”, “ The Cherry Orchard"and even "About Love" - ​​seemed boring and insipid. Maybe because the teaching was boring, maybe because I didn’t grow up enough, but even today I don’t consider Chekhov’s “school” stories and this play my favorites.

And he was not at all such a gentle and sincere intellectual as he is represented.<...>intellectuals, who were all wondering what would happen in twenty, thirty, forty years, would answer that in<...>Scholars trace the connection between Chekhov's "Darling" and Plato's "Fro".<...>Platonovsky Platonov was a refutation not only of Chekhov’s Platonov, but also of that one I didn’t like at school<...>And intelligent Russia, which believed Chekhov’s diagnosis, lulled and enchanted by it, slept through the revolution

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The article is devoted to the history of Russian youth

Something like Chekhov's garden three hundred years later...<...>Chekhov's intellectual is the same Oblomov, only deprived of serf souls and therefore forced to serve<...>Chekhov's intellectual drinks, gets bored, plays cards, best case scenario serves (very poorly, however), but<...>Chekhov's hero (anti-hero - they would say now) can also dream.<...>The intellectual dreams complacently, with a yawn. And he loves with a yawn.

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Hermeneutics of dramaturgy A.P. Chekhov monograph

M.: FLINTA

Book by Doctor of Philology, Professor I.V. Dmitrevskaya is devoted to a practically unexplored problem, the hermeneutical analysis of the dramaturgy of A.P. Chekhov. Believing the situation of misunderstanding to be the main internal cause of the existential content of Chekhov's plays, the author, using the method of systemic hermeneutics, reveals the sequence of meanings hidden inside Chekhov's texts and aimed at resolving existential situations or identifying the conditions under which they remain insoluble. Thus, the internal logic of the plot is revealed, the movement of the psychological world of the characters from misunderstanding to understanding. The book also reveals other aspects of A.P.’s dramaturgy. Chekhov - phenomenological, existential, symbolic, social, etc.

Intellectuals have increased their self-esteem.<...>But such is the nature of a Chekhov intellectual: he sees a problem where others do not see it; instead of<...>But there is another thought here: an intellectual cannot be destroyed spiritually if he is a true intellectual.<...>What is the meaning of the silence of Chekhov's heroes?<...>What will Chekhov's heroes leave in eternity?

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Conceptosphere A.P. Chekhov Sat. articles

Rostov n/d.: Southern Federal University Publishing House

This collection– the result of the authors’ work on the problem of representing certain concepts in the writer’s idiolect. Currently, there are different understandings of the “concept” and different directions conceptual analysis, and this is reflected in the articles, which corresponds to the situation that has developed in cognitive science - a relatively recently emerged and therefore continuing to form field of knowledge.

And Chekhov’s intellectual will be a guiding star in our search for ourselves and our meaning for a long time.<...>(“Intellectuals-tavern owners.” S., 16, 228).<...>Pietsukh also refers to such features of the Chekhov intellectual as internal isolation from everyday life<...>Chekhov Another type of Chekhov's intellectual is the hero, who senses the onset of everyday life and<...>Another type of Chekhovian intellectual is presented to us in the story “Student”.

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M.I. (Mikhail Ilyin). From the first issue of our publication we would like to create a tradition. I hope that each subsequent book will open with a conversation between the editor-in-chief and one of his colleagues who can and wants to reflect on the method1, on the ways of scientific research and approaches to it. It was not by chance that Yuri Sergeevich Pivovarov was chosen as the first interlocutor. I wanted to continue our many years of debate about how we, Russians, should study Russia, i.e. understand and know ourselves

Or, for example, Chekhov's intellectuals. Here we are – Chekhov’s intellectuals in some sense of the word.<...>All intellectuals are Chekhov's, because Chekhov invented us. We are the creation of Chekhov. M.I.

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In Russian truth... Collection of articles

The collection includes journalistic articles famous writer- publicist dedicated to topical issues of political, cultural, scientific, literary life modern Russia.

intellectuals."<...>Idle, “chattering” intellectuals are Chekhov’s trademark.<...> <...> <...>

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Georgy Ivanovich Chulkov thought of himself as a born playwright. His legacy includes more than ten plays, some of which, and, in his opinion, the best, remained unpublished and are stored in his archive in the Manuscript Department of the RSL.

moment in the development of theater - regardless of what this “breakdown” was seen in: in the inept development of Chekhov’s<...>And the tragedy of the main character, a master of philosophy who studied in Marburg, and, therefore, an intellectual,<...>References to Chekhov's reminiscences are symptomatic, since Chulkov's play was in many ways<...>a “collection” of Chekhov’s motifs, which is why Chekhov’s name appears repeatedly in many reviews.<...>The critic reacted with sympathy to the “mental drama that Bashilov is experiencing as a “Russian intellectual”

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An understanding of the philosophical content of Anton Pavlovich Chekhov's work is revealed, based on the idea of ​​the original religious and philosophical worldview of the writer and at the same time an existential thinker who had a significant influence on the development of Russian philosophy of the 20th century. The author makes an attempt to identify the objective and subjective reasons for his “philosophical underestimation” in Russia.

(This once again proves that a Russian intellectual is not at all equivalent to a European intellectual.)<...>And in life, Chekhov was not an intellectual, but a “collective type” of a Russian person (according to Rozanov)<...>believe in individuals, I see salvation in individuals scattered here and there throughout Russia, intellectuals<...>Chekhov's worldview was developed by himself; it was completely independent and unborrowed.<...>lines, Chekhov sets out a literary plot dedicated to the ostentatious religious piety of a certain intellectual

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And touch history with your hand...

Yuri Konstantinovich Baranov - poet, prose writer. He edited books of the main editorial office of oriental literature of the Nauka publishing house. After switching to journalism in 1967, he turned to journalism, which developed into documentary historical prose. For several years he has been working in the supplement to the Literary Gazette - “Moscow Region: Cultural Reality”. In the newspaper “Daily News. Moscow region" leads literary page"Inspiration", actively engaged historical journalism, which is reflected in this collection.

intellectuals."<...>Idle, “chattering” intellectuals are the writer’s trademark.<...>Or did Chekhov’s “superfluous people” build the Great Siberian Route?<...>So, did “Chekhov’s intellectuals” exist in reality, and if they did, what was their influence?<...>Yes, those same “chattering intellectuals”.

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F. Batyushkov. Theater notes (new items on the stage of the Alexandrinsky Theater). Publication. comments

Publication of an article by F. Batyushkov dedicated to theatrical productions of the Alexandrinsky Theater: “The Bride” by G. Chulkov, “Romantics” by D.S. Merezhkovsky.

wounded, but the interest of the play is not in these events, but in the spiritual drama that he experiences as a Russian “intellectual”<...>", faced with a new question that presented itself to him: how to treat just such an intellectual, an individualist thinker<...>The Russian intellectual with his traditional “millions of sufferings” - without which, as he was destined to do,<...>This is a special case, reminiscent of Chekhov’s “Ivanov” (of course, with a different motivation for the reasons for suicide<...>Chulkov and the characterization of her hero Bashilov from Chekhov’s Ivanov - a conditionality on which we will not

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The article is part of the book “Chekhov - thinker, artist. Catastrophe. Renaissance” and talks about the revision of outdated ideas about the work of A.P. Chekhov, about the poetics and ideological nature of Chekhov’s works.

This is an accurate and objective description of Chekhov's poetics.<...>All unflattering epithets related to the heroes of Chekhov’s works were supposed to show the principle<...>the practice of revolutionary violence; everyone who did not accept him seemed to them a sick, powerless intellectual<...>You know, he still has a small soul, the soul of a Russian intellectual" (M. Gorky, 11.2.1898).<...>Olminsky, Posse and others, despised the works of Chekhov, and himself for his “small soul, the soul of a Russian intellectual

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The article is devoted to the work of Mikhail Bulgakov (“The Master and Margarita”) and Art Theater

“Enemy of the People,” directed by Stanislavsky, is almost a Chekhovian play.<...>Norwegian intellectuals, who somehow miraculously ended up in Moscow, in the Kamergersky Palace, walk across the stage with quiet steps.<...>Before you are your old acquaintances - delicate, handsome Chekhov's heroes.<...>DEVILIADE My parents are intellectuals of the old formation - very typical intellectuals.<...>The devil in the novel “The Brothers Karamazov” is the same Gogolian devil, only reincarnated as a Russian intellectual

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In 1930, in his famous Letter To the Government, Mikhail Bulgakov briefly, clearly and honestly outlined his beliefs and artistic aspirations, among which was “the persistent portrayal of the Russian intelligentsia as the best layer in our country.” What's behind this high rating? And how deserved was it?

Intellectual heroes act on the pages of the works of Leskov, Boborykin, Garshin.<...>/ 157 intellectual in in the best sense this word.<...>Life circumstances, even more than in Chekhov's times, inclined towards self-indulgence<...>Makanin, like Trifonov, continued the Chekhovian tradition, but in its skeptical, absurdist version.<...>State-employed intellectuals turned out to be “men of the air.”

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No. 6 [Legality, 2014]

As you know, over the past decade and a half in Russia, legislation has been actively updated, on some issues - radically, many legal institutions are undergoing significant changes, and new ones are being introduced. During this time, the magazine published many discussion articles about the place and role of the prosecutor’s office in our society and state, dedicated to judicial reform, new Code of Criminal Procedure, jury trials, investigation reform in the prosecutor's office, etc. But this was never to the detriment of materials on the exchange of experience and comments on legislation, complex issues of law enforcement practice. Essays on highly acclaimed prosecutors are also regularly published. The magazine has an established team of authors, which includes well-known scientists and passionate law enforcement officers from almost all regions of Russia.

Printed at OJSC "First Exemplary Printing House" Branch "Chekhov Printing Yard" 142300, Moscow region<...>It was bad form to be an intellectual.

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An intellectual in the third generation, Samghin grew up with a guilt complex in front of the peasant, he was instilled with<...>The features of Gorky’s artistic and speculative manner appear most clearly against the background of Chekhov’s<...>because these authors have one hero - an intellectual.<...>As a literary expert, Gorky highly valued Chekhov's objective poetics, but was even more delighted<...>In Gorky, Chekhov’s metaphor becomes an allegory, moreover, when it materializes, it is played out in the faces of

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Here are some notes from Fr. A. Schmemann from his “Diaries”. They are all dedicated to the Russian theme. I am making a risky attempt to take these notes out of context. Thus, of course, their content is significantly depleted. However, in my opinion, it makes sense to highlight them and comment on them. The idea of ​​Fr. is so important to us. Alexandra

Chekhov's people, Chekhov's situations. The same little life, stupidity, fear, but also kindness.<...>For an intellectual, everything is not only sharpened, but therefore simplified.<...>Moreover, Schmemann himself speaks of Voinovich’s stories - “Chekhov’s people, Chekhov’s situations.”<...>So to speak, the people's intellectual... But that's why Fr.<...>Firstly, Voinovich still has intellectuals, semi-intellectuals, and the lower classes. Yes, the pluses are given satirically.

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His “Batum” was neither a compromise, nor a concession, nor the death and surrender of the Russian intellectual.<...>however, very few - Platonov distanced himself from writers) paint mutually exclusive portraits: from Chekhov’s<...>an intellectual as portrayed by Gumilyovsky to a hooligan in Lipkin’s memoirs.

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No. 2 [Posev, 1985]

Social and political magazine. Published since November 11, 1945, published by the publishing house of the same name. The motto of the magazine is “God is not in power, but in truth” (Alexander Nevsky). The frequency of the magazine has changed. Initially published as a weekly publication, for some time it was published twice a week, and from the beginning of 1968 (number 1128) the magazine became monthly.

As a result, there was a surprising amount of informed political discussion in the Soviet Union... Russian intellectuals<...>During these 4 years, hundreds and perhaps thousands of Kosovo Albanian students and other intellectuals were<...>“And therefore, very engaged Soviet intellectuals, sitting over black caviar and real Russian vodka<...>The “new”, aka Soviet, intellectual allowed himself to partly wake up from his enthusiasm, passion and<...>The “new intellectual” even today gravitates towards that quasi-liberalism, which, according to N.

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Triumph and tragedy of Mikhail Zoshchenko

The article was written for the centenary of Mikhail Zoshchenko. An in-depth analysis of the writer’s moral position is given, an attempt is made to explain the phenomenon of Mikhail Zoshchenko, a hereditary nobleman, an intellectual who devoted his work to depicting “Soviet communal apartments.” The author claims that “Zoshchenko, although his moral lessons very often missed the mark, with the utmost clarity and convexity displayed and conveyed the features of the terrible world of impersonality, soullessness, immorality... the types he derived were truly for all times. Even for the present , have long been post-Soviet, when communal apartments are slowly disappearing, and building managers have sunk into oblivion... That they, his heroes, are by no means going to die, although the writer devoted his whole life to getting into the skin of a tenant of spit-stained communal apartments, to force him, a terry man in the street, who had never read anything except maybe criminal chronicles, to come to his senses at least a little, to think for the first time, looking at himself.”

We have no other people - no matter how much the intellectuals may be upset by their individual actions, which are hardly explainable<...>Of course, she is, the great Chekhov's “Tosca”.<...>Melancholy, the cause of which, although incomparable with that of Chekhov, is also not so small, for it is human<...>This word order is surprising and interesting for an intellectual, who, of course, will immediately note<...>For in the consciousness of an intellectual there is always a linguistic norm.

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No. 12 [Literary newspaper, 2014]

Literaturnaya Gazeta is the oldest Russian periodical. The first issue of the newspaper, founded by a group of writers with the close participation of A.S. Pushkin was published on January 1, 1830. Today “LG” is primarily a socio-political weekly for a wide range of intellectuals, dedicated to politics and economics, society, literature and art, and people. Mandatory topics for each issue: “Events and opinions”, “Politics”, “Society”, “Literature”, “Art”, the famous “12 Chairs Club”. Issues with extensive supplements are periodically published: “Characters”, “LAD - Russian-Belarusian Newspaper”, “Club 206”. “Literaturnaya Gazeta” is an integral part of the history, culture and spiritual life of Russia, its national treasure.

As a progressive intellectual, this is the country of his internal exile.<...>An intellectual - it sounded proud.<...>The intellectual was superior to the people, as he was considered the bearer of culture and morality.<...>But if only you could come to some place and there would be only intellectuals around!<...>“We have gathered here, self-proclaimed intellectuals...” she began.

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The article is devoted to the work of A.P. Chekhov and Chekhov’s touching, intelligent, lyrical Russia

The theater accelerates the famous Chekhov tempos, reducing the tremulous melody of pauses to a minimum.<...>Just like Russian nature - unscreaming, gentle, a little sad, lyrical and truly intelligent<...>What a Chekhovian final chord! OK then; forgot.<...>Chekhov's watercolor is not even watercolor: a drawing slightly tinted with a few tones.<...>And from the sad-smiling pages of Chekhov's notebooks thin kim answers our call &

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The article is devoted literary review collection of articles by G. P. Fedotov "New City", which primarily reflects the fate of Russia and gives detailed analysis its future possibilities.

FEDOTOV This book is undoubtedly one of the best and most relevant books published by Chekhov's publishing house<...>that a personality, both individual and national, consists of opposite portraits: 1) it is an intellectual<...>But if he created the Muscovite kingdom, then the groundless intellectual destroyed it.<...>An amazingly made portrait of a Russian revolutionary intellectual completely coincides with a self-portrait<...>his main national calling, then this does not apply either to a Moscow person or to a real intellectual

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Style and meaning: cinema, theater, literature collection. articles

This book, which is in some respects the final book for the author, includes works different years, united by one theme: how in a work of art, be it a film, theatrical production or literary text, certain meanings are discovered, which allows these meanings to be isolated, as well as how these meanings relate to the system of concepts, aesthetic and philosophical. Some of the published texts were at one time the first steps in Russian criticism in the development of subsequently generally recognized themes, such as, for example, the poetics of the “theater of cruelty” by Antonin Artaud, which was subsequently adopted by cinema.

This, of course, is not Chekhov's intellectual. But this is an Italian parody of it.<...>It is interesting to cite the definition of Chekhov's intellectual that Vladimir gave to his American students<...>Chekhov's intellectual is a person who combines the deepest, almost incredible decency with almost<...>And further, developing his thought, Nabokov characterizes “Chekhov’s intellectuals”: ​​“They missed favorable<...>In the gap between the powerless Chekhovian intellectual and the schizophrenically active Nabokovian dreamer appears

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Based on the works of I. Grekova, Chekhov's traditions in the writer's prose are analyzed: genre preferences, allusions and reminiscences, psychologism, symbolic images, the role of landscape, internal dramaturgy

Tsilevich “The Plot of a Chekhov Story”, which is directly related to the writer’s work.<...>Grekova – representatives of the Chekhov movement in modern literature». <...>ordinary, everyday plots, the movement of which occurs due to the feelings and experiences of the characters; heroes - intellectuals<...>Chekhov's plot is repeated a hundred years later, at the end of Brezhnev's rule; only instead of the undertaker<...>Journalism. 2012, No. 278 The Greek text reveals obvious echoes of Chekhov’s “The Seagull”.

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In Chekhov's mature prose and drama, there are very few Nekrasov quotations, but all of them<...>What is its semantic load in the text of Chekhov's story?<...>Nekrasov" in the Chekhov Encyclopedic Dictionary and Reference Book: ... Found in other Chekhov works<...>Perhaps this fragment also contains the idea that if liberal intellectuals who adored<...>In addition, if we take into account the time when Chekhov’s play was written (1904) and the age of the characters (Gaev is 51

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If possible, combine them in a feuilleton under the common title: “Intellectual and Tramp.”<...>We saw the general starting point intellectual and tramp - the same dogmatics of positivism (vol. 14, p.<...>Christianity,” as a result of which the references to the sources of some quotes were removed, and the phrase: “Between an intellectual<...>(Russian Word, 1905, No. 219, p. 3) - shortened to: “Between an intellectual and a tramp...”<...>(vol. 14, p. 69) - and until the final paragraph: “At the bottom of these stairs is Chekhov’s intellectual; at the top - Gorky

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The subject of research in the article is the stage reception of Chekhov's plays in beginning of XXI V. in the PRC, the problem of adequate perception of a foreign cultural text taking into account mental discourse. The desire of Chinese directors to reveal the psychology of Russian people through the prism of the Eastern worldview in the plays “Three Sisters” and “The Cherry Orchard”.

The history of productions of Chekhov's works in China begins in 1930.<...>XX century In the People's Republic of China there is a special interest in Chekhov's drama.<...>Many newspapers and magazines have published articles about Chekhov's legacy.<...>It should be noted the desire of Chinese directors to reveal the psychology of the Russian person, the intellectual<...>According to Shen Haitao, “the important thing is that on the basis of Chekhov’s dramaturgy the Chinese “Chekhov’s play” was created

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No. 28 [EMPIRE DRAMA, 2009]

The newspaper covers the life of Russian and foreign drama theaters. Articles by famous theater critics with analyzes of performances and reviews of them, interviews with directors and playwrights are published.

Evolution is over, involution has begun. - So you don’t share the hopes of Chekhov’s heroes?<...>When Chekhov's plays are shrouded in some kind of romantic flair, this is complete nonsense.<...>He is smart, intelligent, he has a lot good ideas, he has a vision of what needs to be done to save<...>The Russian intellectual is not a “model to be assembled.”<...>It is obvious, however, that agreement between the well-fed and the hungry, between the intellectual and the proletarian, between the elite

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M.: PROMEDIA

Features of translation and perception of translated works by A.P. Chekhov are considered with an emphasis on the universal/national dichotomy.

our Russian estates, about Russian peasants and landowners, about a Russian intellectual who seems atypical for Europe<...>Due to what mechanisms is the purely Chekhovian preserved? Or in some cases it is no longer saved?<...>Therefore, it happens that Chekhov’s text in translation is perceived flatly, monotonously, monotonously.<...>"XXII Chekhov Readings". Taganrog: Taganrog Publishing House. state ped. Institute, 2004. pp. 185-192.<...>T. 100: In 3 books) // Chekhov Bulletin. M.: MAKSpress, Czech. Com. RAS, 2006. No. 19. P. 6-13.

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In Valery Sazhin’s comments to the miniature “Bale” we read: “In the text they find a parody of Chekhov’s drama�<...>Do you mean a specific episode or the style of Chekhov’s dialogues in general?<...>A complex - indeed, in Chekhovian style - declaration - and nothing behind it.<...>That is, in Chekhov’s settings, which imply “depth,” something completely different is played out, namely<...>begins with his first name and patronymic, which are very inappropriate for this role (“Lev Markovich” is clearly an intellectual

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The historian's book is based primarily on literary material, although the author understands that life and its reflection are far from identical. They influence each other mutually. “Throughout the entire 19th century, Russian culture knew several generations of “superfluous people” romanticized by the great Russian literature. But these were literary heroes, which, of course, had their own real prototypes; these were collective images that were not widespread in real life. Of course, there were many imitators of already created literary models.” They themselves might not have noticed it.

“Up until 1917, every Russian intellectual was more or less to a lesser extent Oblomov in his views<...>In the economic life of the country, the role of traders and industrialists was steadily increasing, which the intellectual did not<...>“Intellectual” is not so much a social category as an ideological one.<...>Provincial intellectuals (in another, social sense) almost all took bribes.<...>It was Chekhov’s understanding of the realities of Russian life that became the contrasting background against which especially

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Chekhov lived in an extremely funny time. It is not surprising that he wrote funny stories. Everyone was homerically funny: students, prostitutes, liberals, ministers, zemstvo leaders, innocent girls, summer residents, teachers, priests, intellectuals, peasants, judges, criminals. It’s so funny only in years of great public despair, after another nationwide bummer, a large-scale collapse of hopes and a return to the previous rut.

prostitutes, liberals, ministers, zemstvo leaders, innocent girls, summer residents, teachers, priests, intellectuals<...>So, Chekhov's humor is ontological.<...>And it’s no wonder that the most profound words about Chekhov’s worldview - without mentioning Chekhov, of course,<...>Chekhov's positive hero is an extremely rare creature, it is difficult to talk about who he really is<...>But precisely in Chekhov’s system, idleness is a wonderful thing, and work is a curse.

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Relevance and goals. The relevance of the study is due to the insufficient knowledge of the literary critical heritage of D. S. Merezhkovsky, which is usually considered as literary criticism or, in in rare cases as critical prose. In this regard, an analysis is required to identify typical, genre and compositional originality, features of Merezhkovsky’s method using the example of a study of his article “Brother of Man” Materials and methods. The implementation of research tasks was achieved through the use of a comparative method, the use of which makes it possible to compare the means of creating imagery in Merezhkovsky’s artistic and critical prose. Biographical method allowed us to identify the reasons for subjectivity in the author’s assessments. The significance of the structural-descriptive method is obvious in terms of studying the features of the composition of an essay. Results. The features of the composition of Merezhkovsky’s essay “The Human Brother” are studied, its genre nature and figurative structure are determined. The traditions of the critical prose of F. M. Dostoevsky, which found continuation and development in the critical prose of D. S. Merezhkovsky, are noted. Conclusions. The essay is a memoir essay of critical prose, in which the author's origin is highly subjective. The critical prose of D. S. Merezhkovsky is characterized by the use of comparisons, antitheses, extensive quotation, and symbolism. The author creates a subjective image of A.P. Chekhov, close in its figurative nature to artistic image, which reflects his religious and philosophical preferences.

Always slightly drooping, as if lopsided, with pale eyes and a pale beard, with the Russian face of an intellectual<...>Purely to motives religious nature added rejection of Chekhov's concept of life, Chekhov's assessment<...>Next to these warm lines is an assessment of Chekhov’s plays: “Chekhov ruined Leshego by remaking it into Uncle<...>the dissimilarity of the ideal, dreams and reality, the dissimilarity of the fundamental views on this problem: our own and Chekhov’s

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Recently, more and more often, non-fiction books occupy leading positions, bypassing fiction not only in sales, but also in nominations for leading awards. It is possible that the work of the famous literary critic, writer and journalist Pavel Basinsky, “Leo Tolstoy: Escape from Paradise,” is expected to be taken into account in the same way.

Moreover, during the last game, the Chairman of the Council of People's Commissars sat on the arm of Chekhov's chair and hugged<...>Early signs of outrage at Chekhov's "zeals" could be observed as early as 1926.<...>The basis of the confrontation between various factions within the theater is Chekhov’s method of working on a play,<...>assert that the theater’s repertoire is alien to the modern viewer “and only satisfies the pre-revolutionary intellectual<...>Cheban directed Chekhov's Hamlet.

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From film adaptation to self-screening: domestic cinema in the context of Russian culture of the 20th century

This publication, consisting of two parts, analyzes the problem of film adaptation as a whole from a theoretical perspective. The author also explores the work of the greatest film artist of his time, V. M. Shukshin, whose films are a unique experience of self-screening. The organic combination of theoretical and historical approaches to the topic under consideration is the main advantage of the methodology used by the author.

Annensky, and Chekhov's “The Swedish Match” directed by K. Yudin.<...>Mastroianni as a Russian man in Chekhov's "Lady with a Dog".<...>But how about an intellectual: “...this phenomenon - an intelligent person - is rare.<...>If all this is in one person, he is an intellectual. But that's not all.<...>An intellectual knows that intelligence is not an end in itself."41