MOU "UST - VELSKY MIDDLE
COMPREHENSIVE SCHOOL №23»
Methodical development
literature lesson in grade 11
(based on the work of M. Zoshchenko)
Designed by:
Vodopyanova Olga Anatolyevna,
Russian language teacher
and literature
"Laughter through tears"
Targets and goals:
To reveal the artistic originality of M. Zoshchenko's satire.
Make you think about human value, about real intelligence.
Continue to instill in students a sense of kindness and nobility.
Board layout:
Lesson plan:
Updating students' knowledge.
Analysis of the works of M. Zoshchenko.
Generalization. The works of M. Zoshchenko are a satirical encyclopedia.
During the classes:
I. Actualization of students' knowledge.
Introduction by the teacher.
Painful and long, not easy was the return of the writer's name to our current everyday life. How much labor and mental strength many enthusiasts of our literature had to put in to Zoshchenko's books began to appear one after another.
When they talk about someone - he returned, returned - it means that the person left. But Zoshchenko did not go anywhere and did not go away. He was excommunicated. From literature, from the reader.
For what? For what sins? There was only one sin, Zoshchenko had the misfortune to be born a satirist.
After all, it was much more dangerous to live as a satirist everywhere and at all times. Juvenal ended his life in exile. Swift was guarded by the people. They wrote about Gogol that "he is an enemy of Russia." So was Zoshchenko. Let's remember his biography.
Quiz on the biography of M. Zoshchenko.
Years of the writer's life? (1894 - 1958)
What did he finish? (St. Petersburg University, Faculty of Law, Pavlovsk Military School)
Who became after the February Revolution? (Commandant of the Main Post Office and Telegraph)
When did you move into literature? (1902 - 1905)
Continue Zoshchenko's words: "The goal in life ... (find a calling)
What is the person concerned about in Zoshchenko's stories? (water supply, sewerage, pennies)
Name the storybooks: ("Sentimental Tales", "Letters to the Reader", "Youth Restored", "The Blue Book", "Before Sunrise")
Creativity of which writers continued Zoshchenko? (Gogol, Saltykov-Shchedrin, Chekhov)
20 - 40 years of the twentieth century.
And now let's remember the 20s, 30s - 40s of the 20th century.
What are they characterized by? (cruelty, inhumanity, denunciation)
What regime was established in the country after the October Revolution? Fast forward to that time.
II. Analysis of M. Zoshchenko's stories.
1. The plot and system of characters in the works of the writer.
Story "On the live" (dramatization)
What does the narrator advise? (“Mom! Look, they’ll take the package away. Put it on your knees”)
Citizen actions? (Looks angrily, puts a finger to his lips and, unable to stand it, falls on his companion: “Maybe I want to catch a thief on this package!”)
Stop! Let's think about the meaning of what has been said. The old woman is not only sure that thieves and swindlers are teeming with swarms, but she wants everyone to steal, so that they can catch a person and report on him and hand him over "where it should be." There is already a sporting interest, here is the excitement of denunciation.
What is she happy about? (I managed to "catch" someone)
Do you feel pathos? (Society is engulfed in denunciation, a thirst to catch and expose. It doesn’t matter who: spies, thieves, class enemies)
When was the story written? (1923)
A tragic premonition of general enmity and total fear of the 1930s is born. Were these women in warm headscarves helping to hide hundreds of thousands of innocent people in the Gulag?
2. The stories of M. Zoshchenko are a satirical encyclopedia.
A cruel bureaucratic control over every step of a person is established at this time.
And the control in the story is completely absurd
« Night incident"(retelling).
- What is it?(The old man - the watchman sits between two closed doors). Disregard for a person. What freedom between doors?
3. The main interest of M. Zoshchenko is the “little man”
Zoshchenko lived in this era of great lies, in the years when all the newspapers and magazines trumpeted the successes of socialism, the supposedly happy fate of the working man. Many scientists and artists sincerely believed in these fairy tales, did not allow the idea that next to them, in the next apartment, in the next house, on the next street, people live in blatant poverty.
But Zoshchenko is not like that. He understood that the situation of the common people not only did not improve after the revolution, but, on the contrary, worsened.
a) "Bath" ( 1924) ( reading by heart)
b) "4 days" (1925)
in) "Operation" (1927)
Did you notice the main thing? ( Everyone wears the same pants. Coat: one pocket is torn, the other is missing. Buttons.) Here is such a uniform for a working man.
But the contrast is a portrait of the Soviet deputy Dmitry Naumych.
"Patient" (1924)
Story conversation:
How is it different? ( coat, boots, 4 actions of mathematical fraction)
What traits of the hero did you notice? ( Arrogant, ashamed of his own uneducated wife) And it is not the warehouse keeper who speaks, but the deputy! A person with power.
4. The Devastated Soul of Heroes M. Zoshchenko.
Angrily scourging Zoshchenko phrase-mongering, boasting, eyewash, squabbles, quarreling, squabbles in stories:
a) "Aristocrat" ,
b) "Love" ,
in) "Nervous People"
Story "Love" ( staging)
The ugly grimaces of communal life are shown in the story " nervous people " (work with text)
characters do not feel sympathy for the murdered, compassion. Truly man is distorted, mangled, destroyed! His soul is devastated.
Story analysis "Aristocrat"
the word " aristocrat» - « petty bourgeois», « stupid».
Name the classic phrase of primitiveness :( “Lie down,” I say, “back!” )
What is comedy? ( Inability to behave, speak, move, express one's feelings)
What is the purpose of plot and language? ( Means of creating characters of heroes of low culture, narrow interests, but striving to keep up with modern requirements)
Stories:
« Sleep, hurry up»
« Disease history»
« Photocard»
What are the stories of M. Zoshchenko intended for?
Where is the courage of the writer? ( He told the bitter truth about his time, about his country)
What kind of world did M. Zoshchenko create? (" Satirical anti-world"; a world teeming with scammers, bribe-takers, talkers, red tape, bribe-takers, flatterers, opportunists, tyrants)
5. The language of the works of M. Zoshchenko.
You, of course, drew attention to the peculiar language of Zoshchenko's works.
Why do you think he uses the "wrong words"?
And K. Chukovsky recalls:
"The motley beads of your lexicon" seemed peculiar and valuable that Professor V. Vinogradov wrote the treatise "Zoshchenko's Language"
This is a lively, fresh, genuine speech that sounded then in the markets, in trams, in lines, at stations, in baths.
Zoshchenko was the first writer to introduce non-literary speech into literature and began to use it freely. She is silly and funny.
For example, they say about some woman that she ... smelled flowers and nasturtiums. As if nasturtiums are not flowers. "Screams, exclamations and ladies' tears are heard" As if tears could be heard.
What are you doing to break the mess?
M. Zoshchenko said: “I write very concisely. My sentence is short. Available to the poor. Maybe that's why I have a lot of readers"
The more we laugh at rudeness, ignorance, the less we want to be like them.
Laughter of condemnation caused speech, the language of heroes.
What can be said about words?
(words are rude, misused)
This is a literary device - reduced incorrect speech - laughter at ignorance, lack of culture. Life determines speech.
III. Generalization.
What is the hero of M. Zoshchenko's stories?
How does the linguistic comedy of the writer manifest itself?
What are the features of the spiritual world of people in 20-40 years. twentieth century?
I finish the lesson with the words of B. Okudzhava. This is exactly how M. Zoshchenko wanted to see a person.
Conscience, nobility and dignity -
Here it is, our holy army -
Give him your hand
For him, it is not scary even into the fire.
His face is high and amazing.
Dedicate your short life to him.
Maybe you won't win
But you will die like a man. B. Okudzhava
Literature.
M. Zoshchenko. Stories. M.: "Fiction". - 1987.
M. Zoshchenko. Returned youth. M.: ONIKS. - 2003.
N.L. Krupinina, N.A. Sosnina. Complicity of time. Moscow: Enlightenment. – 1992.
Russian writers of the XX century. Bibliographic dictionary. - M .: "Rendezvous - AM". – 2000
Encyclopedia. Russian literature. "Avanta+". – 1999.
True, Zoshchenko's attempts to write in a new way were not immediately understood. Zoshchenko brought one of his first stories to the Sovremennik magazine, which was edited by the poet M. Kuzmin. The story was not accepted. “Your stories are very talented,” says Kuzmin ...
* - But you will agree yourself - this is a bit of a caricature.
* - This is not a caricature, - I say.
* - Well, take at least the language.
* - The language is not caricatured. This is the syntax of the street… of the people… Perhaps I exaggerated a little, so that it would be satirical, so that it would criticize…
* - Let's not argue, - he says softly. - You give us your usual story or story ... And believe me - we really appreciate your creativity.
* - God be with them, - I think. I'll do without thick magazines. They need something "ordinary". They want something that looks like a classic. This impresses them. This is very easy to do. But I'm not going to write for readers who don't. People have a different idea of literature.
* I'm not upset. I know I'm right."
This is how Zoshchenko's prose was born - prose, which, capturing its pathos, parodist poets called literature "for the poor." But even more serious criticism for a long time could not determine the originality of Zoshchenko's prose. “Zoshchenko's talent,” K. Fedin later recalled, “caused the most versatile and tragicomic misunderstanding.” A lot has changed over the years. Zoshchenko’s desire to be “an intermediary in good deeds” evokes Gogol’s desire to openly and directly influence the morals of people, and behind the naive simplicity of Zoshchenko’s stories, the writer’s intense preoccupation with reflections on the fates and properties of his fellow citizens comes through more and more clearly.
Zoshchenko is a humorist, satirist, moralist... What did he see as evil? What did you struggle with? And where did you look for a way out?
* “At the beginning of my literary activity, in 1921,” Zoshchenko recalled, “I wrote several long stories, these are: “Love”, “War”, “Female Fish”. It seemed to me later that the form of a long story, built on the old tradition, so to speak, Chekhov's form, is less suitable, less flexible for the modern reader, who, it seemed to me, is better to give a short form, precise and clear, so that in 100 or 150 lines there was all the plot and no chatter. Then I switched to a short form, to short stories.
The spiritual revival of Russia, which the writer longed for, seemed inevitably connected with the renewal of man and a decisive break with the slavish psyche. The consciousness that a person was created for great deeds, for great work, which once forced Chekhov to intervene in the everyday petty side of life, grew in the work of Zoshchenko, who survived the revolution and commensurate human life with the revolution, into a moral maximalism that knows no compromises. Zoshchenko would later say that he created a "gallery of outgoing types." In fact, the writer told the reader who survived the revolution about the inertia of social life, about the conservatism of moral life and about the high spiritual responsibility that is required of a person who is called to overcome inertia and inertia. This gave the "sentimental stories" that philosophical coloring, which was barely perceptible, but which testified that in the new, post-revolutionary conditions, the search for the purpose of man and the spiritual rebirth of the individual continued the moral problems of Russian literature, introducing into it new accents born by the revolution.
In this attention to the moral self-improvement of man, Zoshchenko was far ahead of his contemporaries. This was the strength of the writer.
Zoshchenko is primarily interested in the spiritual world, the system of thought of an outwardly cultured, but all the more disgusting in essence, tradesman. Oddly enough, but in Zoshchenko's satirical stories there are almost no caricatured, grotesque situations, less comic ...
I want to start my essay with famous words from I. Ilf and E. Petrov’s “The Golden Calf”: “Parallel to the big world in which big people and big things live, there is a small world with small people and small things... In the big world. ..
After the war, at a conference on the problems of dramaturgy, held at the WTO, Zoshchenko explained the appearance of the "Canvas Briefcase" by a conscious appeal to a new genre, which he himself defined as "a combination of a realistic play with elements of vaudeville."...
Dramatic heritage of M.M. Zoshchenko - extensive and original enough to become the object of attention and study - has always been considered the weakest, uninteresting part of the writer's work. His comedies have almost no stage history (for...
The work of Mikhail Zoshchenko is an original phenomenon in Russian Soviet literature. The writer, in his own way, saw some characteristic processes of contemporary reality, brought under the blinding light of satire a gallery of characters that gave rise to the common term "Zoshchenko's hero". All the characters were shown with humor. These works were accessible and understandable to the common reader. “Zoshchenko’s heroes” showed modern people at that time ... so to speak, just a person, for example, in the story “Bathhouse” you can see how the author shows a man who is clearly not rich, who is absent-minded and clumsy, and his phrase about clothes when he loses his number “let's look for him by signs ”And gives a rope from the number. After which he gives such signs of an old, shabby coat on which there is only 1 button from the top and a torn pocket. But in the meantime, he is sure that if he waits until everyone leaves the bathhouse, then he will be given some kind of rag, even though his coat is also bad. The author shows all the comicality of this situation ...
Such situations are usually shown in his stories. And most importantly, the author writes all this for the common people in a simple and understandable language.
Mikhail Zoshchenko
(Zoshchenko M. Selected. T. 1 - M., 1978)
The work of Mikhail Zoshchenko is an original phenomenon in Russian Soviet literature. The writer, in his own way, saw some characteristic processes of contemporary reality, brought under the blinding light of satire a gallery of characters that gave rise to the common term "Zoshchenko's hero". Being at the origins of Soviet satirical and humorous prose, he acted as the creator of an original comic novel that continued the traditions of Gogol, Leskov, and early Chekhov in new historical conditions. Finally, Zoshchenko created his own, completely unique artistic style.
Zoshchenko devoted about four decades to domestic literature. The writer went through a difficult and difficult path of searching. There are three main stages in his work.
The first one falls on the 20s - the period of the flourishing of the writer's talent, who honed the pen of the accuser of social vices in such popular satirical magazines of that time as "Begemot", "Buzoter", "Red Raven", "Inspector", "Eccentric", "Laugher". ". At this time, the formation and crystallization of Zoshchenko's short story and story takes place.
In the 30s, Zoshchenko worked mainly in the field of major prose and dramatic genres, looking for ways to "optimistic satire" ("Returned Youth" - 1933, "The Story of a Life" - 1934 and "Blue Book" - 1935). The art of Zoshchenko as a novelist also undergoes significant changes during these years (a cycle of children's stories and stories for children about Lenin).
The final period falls on the war and post-war years.
Mikhail Mikhailovich Zoshchenko was born in 1895. After graduating from high school, he studied at the Faculty of Law of St. Petersburg University. Without completing his studies, in 1915 he volunteered for the army in order, as he later recalled, "to die with dignity for his country, for his homeland." After the February Revolution, the battalion commander Zoshchenko, demobilized due to illness ("I participated in many battles, was wounded, gassed. I spoiled my heart ...") served as commandant of the Main Post Office in Petrograd. During the troubled days of Yudenich's attack on Petrograd, Zoshchenko was the adjutant of the regiment of the rural poor.
The years of two wars and revolutions (1914-1921) - a period of intensive spiritual growth of the future writer, the formation of his literary and aesthetic convictions. The civil and moral formation of Zoshchenko as a humorist and satirist, an artist of a significant social theme falls on the post-October period.
In the literary heritage, which was to be mastered and critically reworked by Soviet satire, three main lines stand out in the 1920s. Firstly, folklore and tale, coming from a raeshnik, an anecdote, a folk legend, a satirical tale; secondly, classical (from Gogol to Chekhov); and finally satirical. In the work of most of the major satirical writers of that time, each of these trends can be traced quite clearly. As for M. Zoshchenko, when developing the original form of his own story, he drew from all these sources, although the Gogol-Chekhov tradition was closest to him.
In the 1920s, the main genre varieties in the writer's work flourished: a satirical story, a comic novel and a satirical-humorous story. Already at the very beginning of the 1920s, the writer created a number of works that were highly appreciated by M. Gorky.
Published in 1922, "The Stories of Nazar Ilyich Mr. Sinebryukhov" attracted everyone's attention. Against the background of the short stories of those years, the figure of the hero-storyteller, the grated, experienced man Nazar Ilyich Sinebryukhov, who went through the front and saw a lot in the world, stood out sharply. M. Zoshchenko seeks and finds a kind of intonation, in which the lyric-ironic beginning and the intimate-confiding note are fused together, removing any barrier between the narrator and the listener.
In "Sinebryukhov's Stories" says a lot about the great culture of the comic tale, which the writer reached at an early stage of his work:
“I had a soulmate. A terribly educated person, I’ll say frankly - gifted with qualities. He traveled to various foreign powers in the rank of valet, he even understood, maybe in French, and drank foreign whiskey, but he was the same as not me , all the same - an ordinary guardsman of an infantry regiment. "
Sometimes the narrative is quite skillfully built on the type of a well-known absurdity, beginning with the words "a tall man of short stature was walking." Such inconsistencies create a certain comic effect. True, while he does not have that distinct satirical orientation, which he will acquire later. In Sinebryukhov's Tales, such specifically Zoshchenko turns of comic speech, which remained in the reader's memory for a long time, appear as "as if suddenly the atmosphere smelled of me", "they will rob me like sticky and throw them away for their kind, for nothing that their own relatives", "second lieutenant wow, but bastard", "breaks the riots", etc. Subsequently, a stylistic game of a similar type, but with an incomparably sharper social meaning, will manifest itself in the speeches of other heroes - Semyon Semenovich Kurochkin and Gavrilych, on whose behalf the narration was conducted in a number of the most popular comic short stories by Zoshchenko in the first half of the 20s.
The works created by the writer in the 1920s were based on specific and very topical facts gleaned either from direct observations or from numerous letters from readers. Their themes are motley and varied: riots in transport and in hostels, grimaces of the New Economic Policy and grimaces of everyday life, the mold of philistinism and philistinism, arrogant pompadourism and creeping servility, and much, much more. Often the story is built in the form of a casual conversation with the reader, and sometimes, when the shortcomings became especially egregious, frankly journalistic notes sounded in the author's voice.
In a series of satirical short stories, M. Zoshchenko maliciously ridiculed the cynically prudent or sentimentally thoughtful earners of individual happiness, intelligent scoundrels and boors, showed in the true light of vulgar and worthless people who are ready to trample on everything truly human on the way to arranging personal well-being ("Matrenishcha", "Grimace of NEP", "Lady with flowers", "Nanny", "Marriage of convenience").
In Zoshchenko's satirical stories, there are no spectacular techniques for sharpening the author's thoughts. They are usually devoid of comedy intrigue. M. Zoshchenko acted here as a denouncer of spiritual Okurovism, a satirist of morals. He chose as the object of analysis the philistine-proprietor, the accumulator and money-grubber, who, from a direct political opponent, became an opponent in the sphere of morality, a hotbed of vulgarity.
The circle of persons acting in Zoshchenko's satirical works is extremely narrow, there is no image of the crowd, the mass, visibly or invisibly present in humorous short stories. The pace of plot development is slow, the characters are deprived of the dynamism that distinguishes the heroes of other works of the writer.
The heroes of these stories are less rude and uncouth than in humorous short stories. The author is primarily interested in the spiritual world, the system of thinking of an outwardly cultured, but all the more disgusting in essence, tradesman. Oddly enough, but in Zoshchenko's satirical stories there are almost no caricatured, grotesque situations, less comic and no fun at all.
However, the main element of Zoshchenko's creativity of the 1920s is still humorous everyday life. Zoshchenko writes about drunkenness, about housing affairs, about losers offended by fate. In a word, he chooses an object that he himself quite fully And accurately described in the story "People": "But, of course, the author still prefers a completely shallow background, a completely petty and insignificant hero with his trifling passions and experiences" . The movement of the plot in such a story is based on the constantly posed and comically resolved contradictions between "yes" and "no". The simple-minded naive narrator assures with the whole tone of his narration that exactly as he does, the depicted should be evaluated, and the reader either guesses or knows for sure that such assessments-characteristics are incorrect. This eternal struggle between the narrator's statement and the reader's negative perception of the events described imparts special dynamism to Zoshchenko's story, filling it with subtle and sad irony.
Zoshchenko has a short story "The Beggar" - about a hefty and impudent subject who got into the habit of regularly going to the hero-narrator, extorting fifty kopecks from him. When he was tired of all this, he advised the enterprising earner to drop in less often with uninvited visits. “He didn’t come to see me again - he must have been offended,” the narrator remarked melancholy in the finale. It is not easy for Kostya Pechenkin to hide double-mindedness, to disguise cowardice and meanness with lofty words ("Three Documents"), and the story ends with an ironically sympathetic maxim: "Oh, comrades, it's hard for a person to live in the world!"
Zoshchenko resolved the issue of relations with the former culture in accordance with the social order received from the "man of the masses", believing that the current situation requires a total reassessment of cultural values. This pathos is expressed by him in the "Blue Book" - a kind of adapted encyclopedia of all previous human civilization. The creative task here is the desire to present a set of certain cultural values, ignoring the entire tradition accumulated over the centuries of their generalization, comprehension and transmission in the chain of human generations.
The narrator of the Blue Book, the Proletarian Writer of the first half of the 1930s, sees the task in shifting the historical fact and distorting it, in asserting inaccuracies, in erasing the cultural context in the name of simplicity and accessibility. Working with sources of a literary-historical, philosophical, encyclopedic nature, which, of course, the writer used, amounted to a distortion of historical fact from the point of view closest to the reader's audience. Inaccuracy in the perception of the fact became the artistic task of the writer. The angle of this inaccuracy is due to an attempt to give a historical event in the context of the realities available to the mass consciousness of the 1920s, which is why such phrases appear in the book:
"For example, such a large juicy satirist is the fellow traveler writer Cervantes. His right hand was cut off ... Another major fellow traveler is Dante. He was kicked out of the country without the right to enter. Voltaire's house was burned down."
Cervantes and Dante as fellow travelers (the latter without the right to enter) - such a perception of history, as it were, sanctioned the demand of the "man of the masses" to see everything through his own prism, to measure the past with the yardstick of his own political, everyday, cultural experience and to consider this measure the only objective and possible. At the same time, Zoshchenko is absolutely serious, adapting culture to the needs of the "working man." Erasing everything, from his point of view, unimportant, he saved himself the right to abstract from it, while bringing the very process of adapting history and culture to discussion with his reader. But with such selection, absolutely everything turns out to be unimportant and unprincipled for the new culture! Therefore, the narrator, as it were, weighs this or that fact, as if pondering whether it should be forgotten or immortalized:
“There they had, if you remember, several Heinrichs. Actually, seven. Heinrich the Birdcatcher ... Then they had such Heinrich the Navigator. This one probably liked to admire the sea. Or maybe he liked to send sea expeditions ... However, he seems to have ruled in England. Or in Portugal. Somewhere in these coastal regions. For the general course of history, it is absolutely unimportant where this Henry was."
Another example of erasing historical memory:
“As the poet said about some, I don’t remember, animal - something like this: “And under each leaf / Both the table and the house were ready.” This, it seems, he said about some individual representative of the animal world. Something like that was read in childhood. Some kind of nonsense. And then it was shrouded in fog. "
The proletarian writer, whose mask Zoshchenko put on, claims to pass judgment on the entire previous civilization, thinks this judgment is infallible, because it expresses the psychology of a person who is sincerely confident in his own rightness and in his own right to judge everything. If something is "shrouded in fog", then "it is absolutely unimportant for the general course of history."
“I was born into an intelligent family,” Zoshchenko wrote. “I was not, in essence, a new person and a new writer. And some of my novelty in literature was entirely my invention.”
This "novelty" led the writer to a creative crisis in the 1930s-1950s, the first sign of which was The Blue Book, and the culmination was the story Youth Restored (1933). The contradictory attitude towards his hero at the beginning of his creative path (evil irony and at the same time sympathy) was replaced with acceptance of him over time. The gradual loss of distance between the author and the audience turned into a conscious rejection of culture, forgetting that the writer was nevertheless born in an "intelligent family" of Russian culture and genetically belongs to it, that the voices of the creators of "The Overcoat" and "Poor People" sound in his voice.
But the "little man", turning into the XX century. "a man of the masses", demanded the complete subordination of the writer, who feels sympathy and compassion for him, and gave him his social order for the Proletarian Writer. Zoshchenko took this order. After that, he could not speak in his own voice. And if in the early 1920s. saving irony determined the distance between the author and the hero, the loss of it led to the fact that the hero Zoshchenko, having forced out his creator, became a writer himself, forcing his literary creator to speak in a strange voice, forgetting his own.
In his stories, M. Zoshchenko not only plays with comic situations that he skillfully notices in life, but exaggerates them to the limit. The story "Aristocrat" Zoshchenko turned into a small tragicomedy. But we are talking about a trip to the theater that is natural for any person.
The speech in the story is conducted on behalf of a plumber named Grigory Ivanovich, who the aristocracy sees in the presence of a hat, a pug sitting on his hands, in his mouth and fashionable stockings. As in a song about Marusya, who walked along the sea sand. For a complete set of the lady the plumber liked, there is not enough waist in a corset. It was precisely such ladies, so to speak, that Grigory Ivanovich liked, but after getting to know them better, he changed his mind.
At first sight, Grigory Ivanovich was carried away by a lady with a golden tooth in her mouth. He did not know how to care and acted bluntly - he went to her apartment and asked if the plumbing was working - he didn’t have enough imagination for more. But the main comic of the story is the presence of primitive vocabulary used by the narrator. Aloud, he calls the lady not by her first name and patronymic, but by a citizen, but to himself he thinks that she is “frya”. That is, there is some neglect on his part. With this, the plumber wants to show that, they say, he does not care about the aristocracy of a citizen, since now everyone is equal.
Further, events developed as follows: after about a month, the "lovers" began to walk the streets together. At the same time, Grigory Ivanovich felt very uncomfortable. He did not know what to talk about with a fellow traveler. In addition, he was uncomfortable walking around, leading the lady by the arm, in front of his acquaintances.
The plumber felt like he was being caught by a pike. Thus continues the comic action of Zoshchenko. "Aristocrat" (a summary of the story is presented in the article) will soon show itself in all its glory to both the reader and the narrator.
Further, the so-called aristocrat herself asked for herself to go to the theater. It must be assumed that she was not too interested in the performance, but rather, the intermission, in which the tragicomic event described will take place. But let's not get ahead of ourselves. So, the heroes went to the theater, because by chance Grigory Ivanovich turned up two tickets, but only in different places. One - in the stalls, where the gallant gentleman put the "aristocrat", and the second place was in the gallery. Our plumber went there and, of course, quickly bored, went to the lobby. There, during the intermission, he met his companion, heading straight to the buffet. With a broad gesture, Grigory Ivanovich invited the lady to eat one cake. So wittily and comically makes fun of the tradesman in the theater Zoshchenko. "Aristocrat" (we continue to present a summary of the story of the same name) will not behave as our hero expected from her.
Grigory Ivanovich's heart sank when he saw the depraved, in his opinion, gait of the lady and her incredible voracity. She grabbed and ate a cake, then another, then, without stopping, began on the third. But Grigory Ivanovich was, to put it mildly, not with money. And when the "aristocrat" grabbed the fourth, the gentleman could not stand it and shouted that the "cheesy woman" put the confectionery back.
With sad irony, which is almost invisible behind the comic situation, Zoshchenko continues the story. The “aristocrat” (the summary of the story comes to an end) was confused and frightened. And the vile barman demanded money for four cakes, since the last, uneaten, was crushed and bitten. Here the public gathered, which began to discuss what had happened and argue about whether the cake had been bitten or not. As a result, people in the intermission had better fun than at the performance in the theater. When Grigory Ivanovich scraped off all the change, he barely had enough money to pay for four cakes. Then he proudly offered the "aristocrat" to finish the last delicacy, but she became embarrassed and refused. And then, unexpectedly, a new, quick and nimble character, Zoshchenko, takes the stage. “Aristocrat” (we continue to present a summary of the story in this article) is a story in which the author finally brought the situation to the point of anecdotal, introducing into the narrative a lively uncle who flew up and expressed a desire to finish the cake. At the same time, the “aristocratic woman” silently looked at how the person instantly ate the delicacy. This is for Grigory Ivanovich's money!
And again our heroes went to inspect the opera, since they obviously did not know how to listen. And each during the second act pondered what to say to each other. They returned in deathly silence, and at the house the lady said in a bourgeois tone that there was nothing to go to the theater without money. But Grigory Ivanovich did not remain silent, but explained that there is no happiness in money. Since then, he does not like "aristocrats". On this note, the story "The Aristocrat" by Zoshchenko ends. The retelling, unfortunately, does not convey the vocabulary used by the characters, namely, it characterizes the characters most of all.
It is funny and sad to read this story, which tells about the 20-30s of the last century, when a social stratum surfaced that presented itself as cultural and thinking. The protagonist is pathetic and ridiculous in his ridiculous attempts to woo a woman. A man is able to speak extremely monosyllables and only about the plumbing, in which he is well versed. Even in the theater, he asks his companion not about whether she liked the performance (this question simply does not occur to him), but whether the water supply works here. But the "aristocrat" is no better than Grigory Ivanovich. In the theater, which in the story symbolizes culture, the lady also does not care about what is happening on the stage. All her interest was concentrated on the buffet, in which she did not consider it necessary to moderate her appetites and foresee that the gentleman might not have enough money. The lack of culture, dense ignorance and bad manners of both heroes are shown in full view.
Sad irony comes through in the lines of the story. Is this Russia dreamed of seeing "The Aristocrat" - a vivid mockery of the disgusting, arrogant, ridiculous philistinism, distinguished by a mass of unfounded claims and huge self-conceit.
