What common human problems are raised in the gobsek story? "Gobsek" analysis

Written by Honoré de Balzac in January 1830, the story "Gobsec" is included in the series of works "The Human Comedy" and belongs to "Scenes from privacy". The main actors it includes the old usurer Gobsek, the solicitor Derville and the count family of de Resto.

The main theme of the work- passion. She is explored in the story on two levels: on the one hand, Gobsek studies human passions (love of wealth, power, women, selfish selfishness, etc.), on the other, Balzac himself examines the nature of the old usurer and shows us that even under the guise of a man who is wise in life can hide one all-consuming and all-destroying passion - a craving for gold, for accumulation, for constant enrichment.

The life story of Jean Ester van Hobseck, the son of a Jewess and a Dutchman, is presented to the reader through the story of the solicitor Derville, who decided to reassure the young girl Camille de Granlier regarding the brilliant position of her beloved Count Ernest de Resto.

Derville met Gobsek when he was a student. The old moneylender was 76 years old at the time. The story in the salon of the Viscountess de Granlier Derville leads a few days after the death of 89-year-old Gobsek.

Thirteen years of acquaintance allowed the solicitor to make friends and penetrate the secrets of the soul of the adamant usurer, who inspires terror throughout Paris. The first impression of Gobsek (by the way, this character bears a speaking surname: translated from French, “Gobsec” is “Live-Eater”) is created by a colorful description of his appearance, each feature of which is metaphorically related to wealth, old age or cunning.

The face of the old moneylender with its "yellowish pallor", similar to "the color of silver, from which the gilding has peeled off", reminds Derville of the "moon face". Gobsek's eyes are "small and yellow, like a ferret," a nose - long with a sharp tip, lips - thin, "like alchemists", facial features - "motionless, impassive, seemed cast from bronze." When the usurer lifts the frayed cap, the gaze reveals "a strip of naked skull, yellow as old marble." “All his actions were measured, like the movements of a pendulum. It was some kind of automatic man who was turned on every day. " At first, Derville could not even say how old Gobsek was, since the latter looked either aged up to a time, or well preserved forever.

Art space, in which there is a Parisian usurer, to match his calculating and cold nature. The things in his room are worn and neat, and the fire in the fireplace does not flare up at full power even in winter. Gobsek's room is in a damp house without a courtyard, with windows facing the street. It is no different from the rest of the building, each of which, with its structure, reminds Derville of a monastic cell.

The feeling of contentment with the past day and inner joy in Gobsek could only be noticed by rubbing his hands and changing the position of wrinkles on his face. Being a cabin boy in his youth and having experienced a lot of dangers, in old age the usurer reached a state of a kind of wisdom: he made his own conclusion about life and began to live in accordance with it. Existence, according to Gobsek, is "just a habit of one's favorite environment." Moral rules are different for different nations, inner passions are destructive for people and only the instinct of self-preservation is the only thing that is valuable in life. Standing firmly on your feet in a world immersed in vanity is only possible with the help of gold. It gives everything - wealth, power, position, the favor of women. Passions are best studied and profited from. The last two things are Gobseck's main amusement.

The usurer treats his clients as a means of profit. Gobsek cannot perceive vicious people differently. Only simple, honest, hardworking personalities such as the seamstress Fanny Malvo are encouraged to participate in it. At the same time, Gobsek helps only those who can return the money taken from him with interest. In Derville, the usurer is captivated by his youth (Gobsek believes that up to the age of thirty people still retain their reserve of honesty and nobility), knowledge (Gobsek uses his advice), a sober mind, a desire to work and the ability to clearly express one's thoughts without playing on feelings, and reasoning logically.

Participation in the hereditary affairs of the count's family de Resto Gobsek explains simply: he agreed to help the unfortunate father because he trusted him "without any tricks." The wife of the Count de Resto, the beautiful Anastasi, day after day squandered the family's fortune, releasing it on the young lover Maxim de Tray, and something had to be done about it. Artistic image the heroine is devoid of unambiguity: she is both an unhappy woman who succumbed to love passion, and a changed wife (Anastazi's younger children are not from her husband), and a curmudgeon who stops at nothing, striving for wealth, and, perhaps, a good mother, equally wishing well to all children ...

With all his rationality, Gobsek, on the verge of death, faces one on one with his individual passion - he dies without leaving behind a will (oral, given in words to Derville - does not count), in a house filled to capacity with rotting delicacies, money and the last he received a pile of gold, hidden by weakness in the ash of the fireplace.

The first cycle and foundation of the epic is "STUDIES ON MORES" - a stratification of society, given through the prism of the private life of contemporaries. These include the bulk of the novels written by Balzac, and he introduced six thematic sections for him:

"Scenes of private life"(" Gobsek "," Colonel Chabert "," Father Goriot "," Marriage Contract "," The Lunacy of the Atheist ", etc.);

"Scenes of provincial life"(" Eugenia Grande "," The Illustrious Godissar "," The Old Maid ", etc.); "Scenes of Parisian Life"("The History of the Greatness and Fall of Caesar"? Irotto "," The Banker's House of Nucingen "," The Glory and Poverty of the Courtesans "," The Secrets of the Princess de Cadignan "," Cousin Betta "and" Cousin Pons ", etc.); "Scenes political life "(" Episode of the era of terror "," Dark Business ", etc.);

"Scenes of military life" (Shuana ");" Scenes of village life "(" Rural doctor ". Rural priest", etc.).

The second cycle, in which Balzac wanted to show the causes of the phenomena, is called "PHILOSOPHICAL SKETCHES" and includes: "Shagreen Skin", "Elixir of Longevity", "Unknown Masterpiece", "Search for the Absolute", "Drama on the Seaside", "Reconciled Melmot" and other works.

And finally the third cycle - "ANALYTICAL STUDIES"(" The Physiology of Marriage "," Small Adversities of Married Life ", etc.). In it the writer tries to define the philosophical foundations of human existence, to reveal the laws of the life of society. This is the external composition of the epic.

Already one list of works included in the "Human Comedy" speaks of the grandeur of the author's plan. “My work,” Balzac wrote, “must encompass all types of people, all social positions, it must embody all social shifts, so that not a single life situation, not a single person, not a single character, male or female, not anyone's views ... have remained forgotten. "

The story " Gobsek " did not immediately find its final form and place in The Human Comedy; it belongs to the works, the very history of the creation of which sheds light on the formation of the titanic Balzac concept.

It first appeared (in April 1830) under the heading "The Dangers of Dissatisfaction" in the first volume of Scenes from Private Life. The first chapter of this work a little earlier, in February 1830, was published in the form of an essay in the magazine "Fashion" and was called "The Usurer". In 1835, the story was included in a new edition of Scenes from Parisian Life and was entitled Papa Gobsek. And finally, in the landmark year of 1842, Balzac included it in Scenes from the Private Life of the first edition of The Human Comedy, entitled Gobsec.

Initially, the story was divided into chapters: "The Usurer", "The Lawyer" and "The Death of the Husband". This division corresponds to the main thematic episodes that make up the work: the story of the usurer Gobsek, the years of apprenticeship and the beginning of the career of the solicitor Derville, the love drama of Anastasi de Resto, which largely led to the premature death of her husband.

Gobsek is a moneylender who has made millions in his business. This is a lonely person who, however, does not consciously strive for society. Gobsek takes extremely high rates of interest from his clients, taking advantage of their predicament, effectively ruining them. He does not believe in human honesty, decency, love and friendship. This characterizes Gobsek as a callous and heartless person, and characterizes the social situation. It was an era of discouragement in the best human relationships built on trust and respect. The world and society were imagined by many French people of that time as a large mechanism, whose name is money and power. It is interesting that the images of the story "Gobsek" are not one-sided. After all, Balzac's contemporaries were not unambiguous: many of them had an analytical mind, knew how to think independently, were a non-intersecting personality. Nevertheless, a large mechanism, a machine driven by gold, was launched, and it often frayed the fate of people or the fate of entire families in its forges.

In his story, Balzac protests against this arrangement of society and the state. The writer rightly considers him to be erroneous, unnatural, unhealthy. Depicting people who are predatory for money, Balzac emphasizes that relations with people, society and the state cannot be built on such relationships. Creating realistic images, Honoré de Balzac asserts the idea of objection to the abnormal structure of society, which gives rise to people like Gobsec, and the idea of money and power, which, of course, must recede before the values of humanity - love, decency, nobility.

23. " popular thought "in the novel - epic" War and Peace "by Tolstoy

War and Peace was conceived as a novel about a Decembrist returning from an amnesty in 1856. But the more Tolstoy worked with archival materials, the more he realized that without telling about the uprising itself and, deeper, about the war of 1812, it was impossible to write this novel.

The war of 1812 became a frontier, a test for all goodies in the novel: for Prince Andrey, who feels an extraordinary rise before the Battle of Borodino, faith in victory; for Pierre Bezukhov, all of whose thoughts are aimed at helping the expulsion of the invaders, he even develops a plan to assassinate Napoleon; for Natasha, who gave the carts to the wounded, because it was impossible not to give them up, it was “shameful and disgusting” not to give them up; for Petya Rostov, who takes part in the hostilities of a partisan detachment and dies in a battle with the enemy; for Denisov, Dolokhov, even for Anatol Kuragin. All these people, having discarded everything personal, become a single whole, participate in the formation of the will to win.

By the word "people" Tolstoy understood the entire patriotic population of Russia, including the peasantry, and the urban poor, and the nobility, and the merchant class. The author poeticizes the simplicity, kindness, morality of the people, opposes them to falsehood, hypocrisy of the world. Tolstoy shows the dual psychology of the peasantry using the example of two of its typical representatives: Tikhon Shcherbaty and Platon Karataev.

In the images of Tikhon Shcherbaty and Platon Karataev, Tolstoy concentrated the main qualities of the Russian people, who appear in the novel in the person of soldiers, partisans, courtyards, peasants, and the urban poor. Both heroes are dear to the writer's heart: Plato as the embodiment of “everything Russian, kind and round,” all those qualities (patriarchy, gentleness, humility, non-resistance, religiosity) that the writer highly valued among the Russian peasantry; Tikhon - as the embodiment of a heroic people who rose up to fight, but only at a critical, exclusive time for the country (the Patriotic War of 1812). Tolstoy condemns Tikhon's rebellious moods in peacetime.

Tolstoy correctly assessed the nature and goals of the Patriotic War of 1812, deeply understood and the decisive role of the people defending their homeland from foreign invaders in the war, rejecting the official assessments of the war of 1812 as a war between two emperors - Alexander and Napoleon. On the pages of the novel and, especially in the second part of the epilogue, Tolstoy says that until now all history has been written as history individuals, as a rule, tyrants, monarchs, and no one thought about what is the driving force of history. According to Tolstoy, this is the so-called "swarm principle", the spirit and will of not one person, but of the nation as a whole, and how strong the spirit and will of the people are, so likely are certain historical events... V Patriotic War Tolstoy clashed two wills: the will of the French soldiers and the will of the entire Russian people. This war was just for the Russians, they fought for their Motherland, so their spirit and will to win turned out to be stronger than the French spirit and will. Therefore, Russia's victory over France was predetermined.

Tolstoy glorifies the "club of the people's war", glorifies the people who raised it against the enemy. "Karps and Vlasov" did not sell hay to the French even for good money, but burned it, thereby undermining the enemy army. The small merchant Ferapontov, before the French entered Smolensk, asked the soldiers to take his goods free of charge, since if “Raseya decided”, he would burn everything himself. The inhabitants of Moscow and Smolensk did the same, burning their houses so that they would not fall into the hands of the enemy. The Rostovs, leaving Moscow, gave up all their carts for the removal of the wounded, thus completing their ruin. Pierre Bezukhov invested huge sums of money in the formation of the regiment, which he took on his support, while he himself remained in Moscow, hoping to kill Napoleon in order to decapitate the enemy army.

24. Turgenev's novel "Fathers and Sons", a conflict of generations

In the 18th century, an ideological movement called "Enlightenment" spread in Europe. It was imbued with the spirit of the struggle against all manifestations of feudalism. Enlighteners put forward and defended the ideas of social progress, equality, free development of the individual.

In Russia, this historical period is marked by the appearance in the 19th century of “new people” - commoners - educated intellectuals who speak of the need to change life in the country. I.S. Turgenev noticed the beginning of the conflict in the disagreements between society and commoners. This prompted the writer to create the novel "Fathers and Sons", in which the socio-political conflict between representatives of the nobility and commoners is the main one.

One of the representatives of the commoners is the protagonist of the novel Yevgeny Vasilyevich Bazarov, who has amazing willpower, solid character, deep mind, rare hard work. But at the same time, a demonstrative indifference to art, to aesthetics, to music and poetry can be attributed to the shortcomings of the generation of “children”. Also, indifference to romance and love does not decorate the younger generation.

Bazarov personifies the generation of democrats. He accepts only what is useful, denies principles and authorities. Continuous work for the good of society is the content of its life.

Pavel Petrovich represents the generation of the liberal nobility. He asserts that “... only immoral or empty people can live without principles in our time”; recognizes the old social order, not seeing flaws in it, fearing its destruction.

The heroes argue about poetry, art, philosophy. Bazarov amazes and irritates Kirsanov with his cold-blooded thoughts about denying personality, everything spiritual. Pavel Petrovich, on the contrary, admires nature, loves art.

Disputes between Bazarov and P.P. Kirsanov play huge role to reveal the main contradictions of the eras. They have many directions and issues on which representatives of the younger and older generations do not agree.

Conflict situation Bazarov also appears with Arkady Kirsanov. In "nihilism" he is attracted by opportunities that are usually valuable for a young person entering life - a sense of freedom, independence from traditions and authorities, the right to self-confidence and audacity. All this is combined with other properties of youth, far from "nihilistic" ideas and principles: Arkady is good-natured, ingeniously simple and tied to poetry traditional way of life, to the values of "their" culture. Therefore, Turgenev refers to his generation of “fathers”, since Kirsanov's fascination with the latest teaching is rather superficial.

Part of the novel's conflict is the relationship between Bazarov and his parents. The scene of the arrival home with its touchingness even surpasses the meeting of the father and son of the Kirsanovs. You can immediately notice the boundless love of parents for Eugene. Here he is remembered as a man with all his weaknesses. For them Bazarov is little Enyushenka. But the harsh nihilist hides, disguises his feelings towards his parents. First of all, in front of Arkady. Indeed, for him, the joy of meeting on the part of the Kirsanovs' parents was a sign of aristocratic softness. In turn, Vasily Ivanovich and Arina Vlasyevna are afraid to "frighten off" the rarely arriving son, do not interfere with him, do not talk about their feelings.

The conflict between the protagonists of Turgenev's novel is the clearest example of disputes between generations in the 1860s. But the problem of “fathers and children” is still relevant today. She sharply stands before people who belong to different generations. The generation of “fathers” is trying to preserve everything that it believed in, what it lived all its life, sometimes not accepting the new convictions of the young, it seeks to leave everything in its place, strives for peace. “Children” are more progressive, always in motion, want to rebuild, change everything, they do not understand the passivity of their elders. The problem of “fathers and children” arises in almost all forms of organization of human life: in the family, in the work collective, in society as a whole.

It will be possible to solve this problem if the older generation is more tolerant of the younger generation, somewhere, perhaps, agreeing with it, and the generation of “children” will show more respect for the elders.

25. sol is the founder of naturalism. Analysis of his novel

(from lat.natura - nature), literary direction, which took shape in Europe and the United States in the last third of the 19th century. Naturalism explored a person and his life in society, striving to show it with maximum realism and paying special attention to the interaction of a person and the environment in which he exists. The name of this direction is associated with the idea of the similarity of society and nature: a writer can study society in the same way as a natural scientist studies nature, can discover laws, establish connections. Representatives of naturalism believed that human nature is determined by the environment, society, environment. One of the main tasks is to draw public attention to the terrible conditions in which they live simple people, to show how these conditions break their psyche and make their life unbearably difficult. The writers tried to bring the work as close as possible to the documentary form: they refused to deduce morality, philosophical reasoning in favor of depicting life "under the dictation" of reality. This allowed the literature of the 19th century. expand the range of themes and motives, show new layers of reality. The founder of naturalism was E. Zola (author of the cycle of novels "Rougon-Maccara", which included: "The Womb of Paris", "Germinal", "Earth", "Trap", "Nana" and others, a total of 20 novels). Zola portrayed the lives of people from below in his works (for example, the novel "Germinal" depicts the life of miners) or applied the same descriptive documentary technique to show the immorality and lack of spirituality of high society ("Nana"). Around Zola in the 1870s a naturalistic school was formed, which included E. de Goncourt (author of the novels "Germinie Lasserte", "The Actress" and others, written together with his brother J. de Goncourt), G. de Maupassant ("Life", "Dear Friend"), J.C. Huysmans (Down there, On the contrary, Downstream), A. Daudet (Nabob). E. Zola developed the theory of naturalism, set forth in the collections "Experimental Novel", "Novelists-Naturalists", etc. In the end. 1880s the naturalistic school fell apart. Representatives of naturalism began to appear in other countries as well - A. Holtz and G. Hauptmann in Germany, H. Garland and S. Crane in the USA. In Italy, a similar movement appeared in literature - verism. In Russia, the term "naturalism" was not used, although similar tendencies towards the most realistic description of reality were manifested in the work of representatives of the natural school.

"Germinal" is a unique book in the work of Zola and throughout the French literature XIX century. For the first time, with tremendous artistic force, it depicts the clash of labor and capital as two hostile social classes; it touches on the conflict that, according to Zola's sagacious remarks, was to become "the main issue of the 20th century." With boldness unusual for his time, Zola based the plot not on family conflicts or the hero's business career, but on an episode of the class struggle of the proletariat - the history of the strike. The discovery of this topic was Zola's greatest achievement as a writer. In Germinal, he rose above his naturalistic schemes and, ahead of his literary contemporaries, created an epic canvas folk life and popular indignation, full of high truth, humanity and harsh poetry.

The action of Germinal dates back to 1865 and is based, as always in Zola, on a careful study of documents. But he did not set himself the task of writing historical novel... As in other books of "Rougon-Makkarov", he projected the past into the present and back, verified and illuminated one another, sacrificing historical accuracy for the sake of the breadth of artistic generalization. Germinal combined documents from the 1860s with facts relating to the labor movement of the 1880s, when the novel was written, and this increased its relevance.

In Zola's novel "Germinal" (cycle "Rougon-Maccara", 1885), the environment leaves an imprint on the appearance of the heroes. Working in the mines makes them pale, stunted, anemic, with whitish hair and coal dust embedded in their skin.

26... works of French symbolist poets

By the beginning of the 80s. XIX century in French culture a real rebellion against positivism with its attachment to everything “this worldly”, to “things”, with its casual determinism and mockingly suspicious attitude to such concepts as “ideal”, “absolute”, “soul”, has matured. “Infinity”, “inexpressibility” and even more so “symbol” or “correspondences”, these rebels soon took shape in a course that received the name “symbolism”. The Symbolists were acutely aware of the feeling of dissatisfaction with the world, tormented by the feeling that before them was a perverse reality, that some other reality possessed authenticity, albeit undetected, but at the same time responding to the secret hopes of the “soul”. They strove to break through the “veil” of everyday life to a certain transcendental essence of being and in a mystified form tried to protest against the triumph of philistinism, against positivism and naturalism. In their works, the Symbolists tried to reflect the life of every soul - full of experiences, vague, vague moods, subtle feelings, fleeting impressions.

Charles Baudelaire (1821 - 1867)

The main work of Baudelaire is considered a collection of poems "Flowers of Evil". The Flowers of Evil were a dynamite bomb that fell into the bourgeois society of the Second Empire. Flowers and evil, incompatible in nature, combined in Baudelaire in a bizarre interweaving of real and fantastic images. Angry intonations, longing and bitterness were interspersed with unrealizable hopes and dreams.

The poet singled out several sections in the book, the central of which was called "Spleen and the ideal". In this context, the English word "splene" sounds like melancholy, longing for vanished beauty, and even more broadly - like world sorrow. It is she who opens - "that way to selfishness, vices, hypocrisy.

For Baudelaire, "ideal" meant not only the aesthetic category, but also poetry, creativity that opposes spleen.

The poem "Lighthouses", in which Baudelaire assessed the great artists of the past, directly indicated that art is called upon to express and transmit from century to century all great values, reflect the manifestations of the spirit that testify to the dignity of man.

And testimony, God, there is no higher in the world,

That we will defend the dignity of a mortal,

Than the surf that grows wider over the centuries,

Breaking into Eternity before Your face.

The paintings depicted in the poet's poems amaze with the power of passion. Sometimes nightmarish visions appear before him, from which it is impossible to free himself, he is tormented by hatred, egoism spread in society, drying up the heart.

The fate of the poet, according to Baudelaire, is sad and tragic precisely because of his mission on earth. This feeling is clearly conveyed in the ending of one of his most famous poems "Albatross":

So, Poet, you are floating in a thunderstorm, in a hurricane,

Inaccessible to arrows, rebellious to fate,

But walking on the ground amid whistles and swearing

Giant wings get in your way.

On the way to achieving the ideal, the poet has many obstacles. This is both the nature of modern art, and the need to sell one's talent for the sake of earning money, inner emptiness, disillusionment with life. A sick Muse will also give birth to sickly flowers.

Baudelaire and his pessimistic poetry were the product of an era when the poverty and depression of some, the corruption and depravity of other classes reach their apogee, and yet over this abyss of "evil", from which the stupefying smells of his terrible "flowers" rush, no longer a beacon of hope ... The failed revolution of 1848 and the coup d'état that followed on December 2 extinguished this beacon and set a suffocating darkness of longing and despair over France and over all of Europe. His pessimism managed to make a significant step forward: the poet's mournful gaze sees the ideal already in some indefinite foggy distance, at a height almost inaccessible to man ...

Hence the bleak pictures that Baudelaire gives us in his "Flowers of Evil". Painting the depravity and vices of the bourgeoisie, the filth and poverty of the working classes, he does not find in his lyre a single comforting sound, not a single bright tone. In big cities, the evil and suffering of life is most concentrated.

Arthur Rimbaud- a genius poet, symbolist, a person completely unusual and in his own way tragic fate... Out of 37 years old, he worked only a few youthful years. It is no coincidence that V. Hugo called him "Shakespeare's child." Rimbaud's small poetic legacy, so unexpected and vivid, had a powerful impact on the development of French poetry in the 20th century.

He created his early poems under the influence of romanticism, in the spirit of his idol Hugo. At the age of 16, Rimbaud made his "escape" to Paris, where he witnessed Paris Commune... The heroics of the revolutionary struggle did not leave indifferent the romantic-minded young man (the poems "The War Anthem of Paris", "The Hands of Jeanne-Marie", etc.). Rimbaud was never a politically engaged poet, but the sight of the bourgeois, so hated by him, the bourgeois, who recovered from the shock, disgusted him ("Paris orgy, or Paris is settled again"), as well as the hypocrisy of a "respectable" society ("The Poor Men in the Temple") ... He shocked the bourgeois in verse, deliberately naturalistic ("Lice Seeker").

After 1871, when the poet reached the age of 17, a new stage began in his work. His previous poems, strong, vivid, but still traditional in form, were replaced by completely new, unexpected ones. He formulated in a letter to Paul Valery (1871) a completely original theory of “clairvoyance”: “The first thing a person who wants to become a poet should get acquainted with , it is with myself. He explores his inner world, carefully studying it in all its details. Having mastered this knowledge, he must in every possible way expand its limits ... I say that one must be a clairvoyant, become a clairvoyant. The poet becomes a clairvoyant as a result of a long and deliberate disorder of all his senses. He tries to experience all the poisons on himself and makes himself the quintessence of them. This is an indescribable torment, which can only be endured with the highest exertion of all faith and with inhuman effort, the torment that makes him a sufferer of sufferers, a criminal of criminals, an outcast of outcasts, but at the same time a sage of sages. "

The theory of "clairvoyance" was further developed in the book of essays and reflections by Rimbaud "Illumination" (1872-1873). This is one of the most important documents of French symbolism.

Rimbaud considered himself an artist committed to the political methodology that inspired the poems of A. Lamartin, V. Hugo and C. Baudelaire. But at the same time, he took a new step. He believed that the poet achieves clairvoyance through insomnia, resorting, if necessary, to alcohol and drugs. He strove to express the inexpressible, to penetrate what he called "the alchemy of the word."

The theory of "clairvoyance" was realized in two famous works by Rimbaud: "The Drunken Ship" and "The Vowels".

His creative take-off did not last long, about two years. He managed to write an amazing cycle "The Last Poems" ("Good Thoughts in the Morning", "Eternity", "April is the reason", etc.), as well as a small fragment written in prose called "Time in Hell". These are memories and reflections of childhood, poetry, life.

Then came a severe crisis. Rimbaud's fate has no analogues in world poetry. Before reaching his 20th birthday, the genius poet stopped creating. A tragic role in his fate was played by a meeting with Verlaine, their difficult relationship. In the future, Rimbaud changed professions: he returned to Charleville for a short time, then announced himself in Cyprus, in North Africa, worked in commercial firms, and traded in arms.

Biographers find it difficult and incomplete to trace the life of Rimbaud. While his fame grew in France, he hardly remembered that he once wrote poetry. In the spring of 1891 he fell seriously ill, returned to his homeland, where he was looked after by his sister Isabel, the only person close to him. Rimbaud had his leg amputated. In November 1891 the poet died in Marseilles.

27. pioneering intellectual drama B.Shaw

"New Drama"- a symbolic designation of those innovations that made themselves known in the European theater of the 1860s-1890s. This is mainly a socio-psychological drama, which at the time of its inception was focused on naturalism in prose, for discussion in the theater of civically significant "topical" problems. However, despite the importance of naturalism and naturalistic literary theory ("Naturalism in the Theater" by E. Zola), as well as the attempts of a number of naturalists to transfer their novels to the stage, the "new drama" is hardly reducible to something unambiguous, so to speak, programmatic ... She turned out to be sensitive to a variety of literary trends and offered her own, in this case specifically theatrical, reading of not only naturalism, but also impressionism, symbolism, influential throughout the 19th century. lines of romantic drama (for example, R. Rolland, E. Rostand).

B. Shaw, who saw in Ibsen "the great critic of idealism", and in his plays - the prototype of his own play-discussions, in the articles "The Quintessence of Ibsenism" (1891), "Realist playwright - to his critics" (1894), and also in numerous reviews, letters and prefaces to plays he gave a deep analysis of the ideological and artistic innovation of the Norwegian playwright, formulating on its basis his idea of the creative tasks facing the "new drama". The main feature of the "new drama", according to Shaw, is that she decisively turned to modern life and began to discuss "problems, characters and actions that are of direct importance to the audience itself."

Ibsen portrayed life mainly in dark, tragic colors. The show is mocking even where it comes about something quite serious. He has a negative attitude towards tragedy and opposes the doctrine of catharsis. According to Shaw, a person should not put up with suffering that deprives him of "the ability to discover the essence of life, awaken thoughts, educate feelings." The show values comedy highly, calling it "the most sophisticated art form." In the work of Ibsen, according to Shaw, she is transformed into a tragicomedy, "into an even higher genre than comedy." Comedy, according to Shaw, denying suffering, fosters in the viewer a reasonable and sober attitude towards the world around them.

However, preferring comedy to tragedy, Shaw in his artistic practice is rarely kept within the boundaries of one comedy genre. The comic in his plays easily gets along with the tragic, the funny with serious reflections on life.

Among the works written in the pre-war period, Shaw's most popular play was the comedy Pygmalion (1912). Its title recalls the ancient myth, according to which the sculptor Pygmalion, who sculpted the statue of Galatea, fell in love with her, and then the goddess of love Aphrodite, who heeded the pleas of a desperate artist, revived her. The show gives its own, modern, version ancient myth... Phonetics professor Higgins makes a bet with Colonel Pickering that in a few months he will be able to train a street vendor correct speech and to make it so that "she can successfully pass for the duchess." But in an atmosphere of attention and respect for her personality, Eliza shows extraordinary abilities, intelligence, talent, and a sense of inner dignity. Eliza's "transformation", according to Shaw, is intended to refute the established belief that social barriers are insurmountable. They only prevent people from realizing the possibilities inherent in them. Shaw believes infinitely in culture, knowledge, which, in the words of the recovered Higgins, "destroys the chasm that separates class from class and soul from soul."

How much Shaw was interested in the connection between character and social status is especially proved by the fact that he even made a radical restructuring of character main theme the play "Pygmalion".

The intention that Shaw pursued by naming the play after the mythical king is quite obvious. The name Pygmalion should remind us that Eliza Doolittle was created by Alfred Higgins in the same way as Galatea Pygmalion. Man is created by man - such is the lesson of this, by Shaw's own admission, "intensely and consciously didactic" play. This is the very lesson that Brecht called for, demanding that "the construction of one figure should be carried out depending on the construction of another figure, because in life we mutually form each other."

It is widely believed among literary critics that Shaw's plays, more than those of other playwrights, promote certain political ideas. The doctrine of mutability human nature and dependence on class affiliation is nothing more than the doctrine of the social determinism of the individual. The play "Pygmalion" is a good textbook that deals with the problem of determinism. Even the author himself considered it "an outstanding didactic play."

The main problem that Shaw skillfully solves in "Pygmalion" is the question of "is a person a mutable being." This position in the play is concretized by the fact that a girl from the East End of London with all the traits of a street child turns into a woman with the traits of a lady of high society. To show how radically a person can be changed, Shaw chose to go from one extreme to another. If such a radical change in a person is possible in a relatively short time, then the viewer must tell himself that then any other change in the human being is possible.

Second important question plays - how much speech affects human life. What gives a person correct pronunciation? Is it enough to learn how to speak correctly to change the social situation? Here is what Professor Higgins thinks about this: “But if you knew how interesting it is to take a person and, having taught him to speak differently from what he said, until now, make him a completely different, new being. After all, this means - to destroy the abyss that separates the class from the class and the soul from the soul. "

Shaw, perhaps, was the first to realize the omnipotence of language in society, its exceptional social role, about which psychoanalysis spoke indirectly in those same years. It was Shaw who said this in the poster-edifying, but no less ironic-fascinating "Pygmalion". Professor Higgins, albeit in his narrow specialized field, nevertheless outstripped structuralism and poststructuralism, which in the second half of the century will make the ideas of “discourse” and “totalitarian linguistic practices” their central theme.

In Pygmalion, Shaw combined two themes of equal concern to him: the problem of social inequality and the problem of classical in English... But language is not the only expression of the human being. Going out to see Mrs. Higgins has only one mistake - Eliza does not know what they say in society in this language.

In the 1930s, Balzac turned entirely to the description of the customs and life of modern bourgeois society. At the origins of "The Human Comedy" is the small story "Gobsek", which appeared in 1830. Although outwardly it looks like a novel entirely of a portrait plan, a kind of psychological study, it nevertheless contains all the key moments of Balzac's worldview.

The novella was, along with the novel, Balzac's favorite genre. At the same time, many of Balzac's short stories are not built around a certain center - although they sometimes tell about very dramatic twists and turns - but around a certain psychological type. Taken together, Balzac's novellas represent, as it were, a portrait gallery of various types of human behavior, a series of psychological studies. In the general concept of The Human Comedy, they are, as it were, preliminary developments of characters, which Balzac later releases as heroes on the pages of his major plot novels.

And it is extremely significant that the first in this gallery of types appears Gobsek, the usurer, one of the key, main figures of the entire bourgeois century, as it were, a symbol of this era. What is this new psychological type? In our critical literature, unfortunately, the image of Gobsek is often interpreted one-sidedly. If you do not read the story itself, but read other critical judgments about it, then we will see the image of a kind of spider sucking blood from its victims, a person devoid of any mental movements, thinking only about money - in general, this figure, as you can imagine, depicted by Balzac with hatred and disgust.

But if you read the story itself carefully, you will probably be somewhat confused by the categorical nature of these harshly negative judgments. Because in the story you will often see and hear something completely opposite: the narrator, a completely positive and honest person, the lawyer Derville, says about Gobseck, for example, like this: all Paris. Two creatures live in it: the curmudgeon and the philosopher, an insignificant and sublime being. If I die, leaving young children, he will be their guardian. " I repeat, this is said by the narrator, who is clearly speaking on behalf of the author.

Let's take a closer look at this strange character. Gobsek is without a doubt ruthless to his clients. He rips them off, as they say, three skins. He "plunges people into tragedy," as it was said in the old days.

But let's ask a logical question - who is his client, from whom does he take money? The novel features two such clients - Maxime de Trai, a socialite, a gambler and a pimp who squanders his mistress's money; the mistress herself is the Countess de Resto, blindly in love with Maxim and robbing her husband and children for the sake of her lover. When her husband becomes seriously ill, his first concern is to draw up a will so that the money remains not for the wife, but for the children; and then the countess, truly losing her human appearance, protects the dying count's office with vigilant supervision in order to prevent him from transferring his will to a notary. When the count dies, she rushes to the dead man's bed and, throwing the corpse to the wall, rummages in the bed!

Do you feel how this complicates the situation? After all, these are different things - does the moneylender Gobsek rob just helpless people in trouble, or just people like these? Here we must be, apparently, more careful in assessing Gobsek, otherwise, logically, we will have to feel sorry for the poor Maxim de Traya and the Countess de Resto! But maybe Gobsek doesn't care who to rob? Today he pressed the Countess and Maxim, tomorrow will he press a decent person?

We are assured that he almost drinks human blood, and he throws it in the face of Maxime de Tray: "It is not blood that flows in your veins, but dirt." He says to Derville: "I appear among the rich as retribution, as a reproach of conscience ..."

Here, it turns out, what a Gobsek! But maybe this is all demagoguery, and in fact Gobsek rips off poor and honest people with the same pleasure? Balzac, as if anticipating this question, introduces into his short story the story of the seamstress Fanny - for her, Gobsek feels sympathy, passion.

You don't need to have any special instinct to see that the hero's speeches here are not hypocritical: they sound completely sincere, they were composed by Balzac in order to highlight precisely the human essence of Gobsek! True, in the same scene, Gobsek, emotionally, almost offers her money on a loan at the minimum rate, "only 12%", but then changes his mind. It sounds sarcastic, but if you think about the situation, it is again more complicated. Because Balzac has no mockery here - on the contrary, the whole stronghold of Gobseck's existence is shaking here! He is a usurer, seemingly ruthless character, he himself is ready to offer money on credit, and he is so forgotten at the sight of Fanny that he is ready to demand the minimum percentage in his understanding. Isn't it obvious that here it is important for Balzac not to mock the sentimentality of Gobsek, but to emphasize precisely all his shock - clearly human, humane feelings began to speak in him! His professional instinct remained stronger, but it is curious that his rejection of this idea is due not to greed, but to skepticism, distrust of people: "Well, no, I reasoned myself, she probably has a young cousin who will make her sign promissory notes and clean out the poor thing! " That is, Fanny Gobsek alone was still ready to do good! Here we have not so much sarcasm or satire as a deep psychological insight of Balzac, here the tragic sides of human psychology are revealed - even trying to do good to worthy people, he does not dare to take this step, because his whole psychology is already poisoned by distrust of people!

The entire plot of the story convinces us of the complexity of Gobsek's character, of the remarkable human resources of his soul. Indeed, at the end of it, it is Gobsek who is entrusted by the dying Count de Resto to protect his children from the intrigues of his own mother! The count, therefore, implies in him not only honesty, but also humanity! Further, when Derville is about to found his own notary office, he decides to ask Gobsek for money, because he feels his friendly disposition. Another brilliant psychological detail follows - Gobsek asks Derville for the minimum amount of interest in his practice, he himself understands that it is still high, and therefore almost demands from Derville to bargain! He is literally waiting for this request - so that, again, he himself does not violate his principle (do not take less than 13%). But ask Derville, he will further reduce the amount! Derville, in turn, does not want to humiliate himself. The amount remains 13%. But Gobsek, so to speak, organizes additional and profitable clientele for him free of charge. And at parting he asks Derville for permission to visit him. Before you in that scene again is not so much a spider as a victim of his own profession and his own distrust of people.

So Balzac, with the finest psychological skill, exposes before us the secret nerves of this strange soul, "the fibers of the heart modern man", as Stendhal said. This man, as if carrying" evil, ugliness and destruction ", in reality he himself is deeply wounded in his soul. His shrewd, sharp mind is cold to the limit. only this he sees: "Here you live with mine - you will find out that of all earthly blessings there is only one reliable enough that it would cost a person to chase after him. Is this gold".

Balzac shows us the path of thought that led the hero to such ethics, he shows us in all its complexity the soul that professes such principles - and then these words already sound tragic. Gobsek turns out to be a deeply unhappy man; the surrounding evil, money, gold - all this distorted his basically honest and good nature, poisoned it with the poison of distrust of people. He feels completely alone in this world. "If human communication between people is considered a kind of religion, then Gobsek could be called an atheist," says Derville. But at the same time, the thirst for real human communication in Gobsek did not die at all, it was not for nothing that his soul was so drawn to Fanny, it is not for nothing that he is so attached to Derville and, to the meager extent of his strength, strives to do good! But the logic of the bourgeois world, according to Balzac, is such that these impulses most often remain just fleeting impulses - or acquire a grotesque, distorted character.

In other words, Balzac is portraying here not the tragedy of Maxime de Trail and the Countess de Resto, who fell into the clutches of the usurer spider, but the tragedy of Gobsek himself, whose soul was distorted, distorted by the law of the bourgeois world - man to man is a wolf. After all, how senseless and tragic at the same time is the death of Gobsek! He dies completely alone next to his rotting wealth - already dying like a maniac! His usury, his tight-fistedness is not a cold calculation, but a disease, mania, a passion that engulfs the person himself. Don't forget about his vengeful feelings for the rich! And it is no coincidence, of course, that this whole story was put into the mouth of Derville, who tells it in a high-society salon - this story is clearly built on the fact that Derville is trying to dissuade his listeners, at least tell them the truth about the life of Gobsek. After all, his listeners know this story from the same Gobsek victims - from the same Maxim, from the same Countess de Resto. And they, of course, have the same idea of Gobseck as in the critical judgments I quoted above - he is a villain, a criminal, he bears evil, ugliness, destruction, and Derville, a lawyer by profession, bases his entire story on extenuating circumstances. And in this way, paradoxically, it is the fate of Gobsek that becomes the guilty verdict of bourgeois society - his fate, and not the fate of Maxim and Countess de Resto!

But realizing this, we are also aware of the serious artistic protest of Balzac in this image. After all, passing a guilty verdict on mercantile ethics, Balzac chooses, of course, a figure that is not the most suitable for this role as the main victim and accuser. Even if we admit that there were such usurers, it can hardly be admitted that such a usurer's fate was typical. She is definitely an exception. Meanwhile, Balzac clearly raises this story above the framework of a particular case, he gives it a generalizing, symbolic meaning! And so that the role of Gobseck as the accuser of society looks legitimate, so that the author's sympathy for the hero looks justified, the author not only provides a subtle psychological analysis of Gobseck's soul (as we saw above), but also reinforces this with a kind of demonization of the image. And this is a purely romantic procedure. Gobsek is shown as an ingenious but sinister connoisseur of human souls, as a kind of explorer.

Balzac, in essence, raises the private everyday practice of the usurer to majestic proportions. After all, Gobsek becomes not only a victim of the golden calf, but also a symbol of enormous practical and cognitive energy! And here the purely romantic manner of portraying irresistible demonic villains, for whose villainy the world is to blame, invades the methodology of the remarkable realist. Not themselves.

Quite a little time will pass, and Balzac will become much more unambiguous and merciless in the portrayal of bourgeois businessmen - this will be the image of old man Grande. But now, in Gobsek, he is still clearly hesitating on a very important point - on the question of purposefulness, on the moral cost of bourgeois energy.

Creating the figure of the omnipotent Gobsek, Balzac clearly pushes into the background the immorality of the ultimate goal of usury - the siphoning of money from people that you, in essence, did not give them. The energy and strength of Gobseck interests him in and of themselves, and he is clearly weighing for himself the question of whether this practical energy is good for him. Therefore, he clearly idealizes and romanticizes this energy. Therefore, it is precisely in questions of the ultimate goal that Balzac seeks for Gobseck mitigating circumstances that mystify the real state of affairs - now in Gobseck this is a study of the laws of the world, then observation of human souls, then revenge on the rich for their arrogance and heartlessness, then some all-consuming "one single passion ". Romanticism and realism intertwined in this image is truly indissoluble.

As we can see, the whole story is woven from the deepest dissonances, reflecting the ideological fluctuations of Balzac himself. Turning to the analysis of modern mores, Balzac still mystifies them in many respects, overloading the basically realistic image with symbolic meanings and generalizations. As a result, the image of Gobsek appears, as it were, on several levels at once - he is both a symbol of the destructive power of gold, and a symbol of bourgeois practical energy, and a victim of bourgeois morality, and also simply a victim of an all-consuming passion, passion as such, regardless of its specific content.

And it belongs to Scenes from Private Life. The main characters in it are the old usurer Gobsek, the solicitor Derville and the count family of de Resto.

Thirteen years of acquaintance allowed the solicitor to make friends and penetrate the secrets of the soul of the adamant usurer, who inspires terror throughout Paris. The first impression of Gobsek (by the way, this character bears a speaking surname: translated from French, "Gobsek" is "Zhivoglot") is created a colorful description of his appearance, each trait of which is metaphorically associated with wealth, old age, or cunning.

The face of the old usurer with its "yellowish pallor", similar to "the color of silver, from which the gilding has peeled off," reminds Derville "Lunar face"... Gobsek's eyes - "Small and yellow, like a ferret", nose - long with a sharp tip, lips - thin, "Like the alchemists", facial features - "Motionless, impassive, seemed cast in bronze"... When the usurer lifts the frayed cap, the gaze opens "A strip of naked skull, yellow like old marble". “All his actions were measured, like the movements of a pendulum. It was some kind of automatic man who was turned on every day. "... At first, Derville could not even say how old Gobsek was, since the latter looked either aged up to a time, or well preserved forever.

The feeling of contentment with the past day and inner joy in Gobsek could only be noticed by rubbing his hands and changing the position of wrinkles on his face. Being a cabin boy in his youth and having experienced a lot of dangers, in old age the usurer reached a state of a kind of wisdom: he made his own conclusion about life and began to live in accordance with it. Existence, according to Gobseck, is "Just a habit of a favorite environment"... Moral rules are different for different nations, internal passions are destructive for people and only the instinct of self-preservation is the only thing that is valuable in life. Standing firmly on your feet in a world immersed in vanity is only possible with the help of gold. It gives everything - wealth, power, position, the favor of women. Passions are best studied and profited from. The last two things are Gobseck's main amusement.

Participation in the hereditary affairs of the count's family de Resto Gobsec explains simply: he agreed to help the unfortunate father because he trusted him "Without any tricks"... The wife of the Count de Resto, the beautiful Anastasi, day after day squandered the family's fortune, releasing it on the young lover Maxim de Tray, and something had to be done about it. The artistic image of the heroine is devoid of unambiguity: she is both an unhappy woman who succumbed to love passion, and a betrayed wife (Anastazi's younger children are not from her husband), and a curmudgeon who stops at nothing, striving for wealth, and, perhaps, a good mother, equally wishing well to all children.

A summary of the story of Honore de Balzac "Gobsec"

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Gobsec (Nominative title type) Honore de Balzac

The story was written in 1830 and subsequently included in the collected works "The Human Comedy".

The story "Gobsek" did not immediately find its final form and place in the "Human Comedy"; it belongs to the works, the very history of the creation of which sheds light on the formation of the titanic Balzac concept.

Genre story

The story "Gobsek" belongs to the epic, since the story is the middle type of the epic, and not only for this reason.

1. The plot is focused not on one central event: the story of the life of Gobsec, connected with Derville and the de Resto family, but on a whole series of events covering a significant part of Gobsec's life, for example, his childhood and youth.

2. The epic, in turn, reproduces, captures not only what is being told, but also the narrator, in this case it is Derville, the solicitor. This is a young man who made a career solely with his hard work and professional integrity. Derville is a “man of high honesty” (this is how the heroes of the work speak of him). He is a friend of Gobsek.

3. Free organization of time and space in the story. The author covers a significant part of Gobsek's life, transferring him along with his readers to the places of his youth and childhood.

4. The story is written in prose, which is also characteristic of the epic.

The main theme is the theme of the power of money (eternal), which is precisely the same confirmed throughout the entire work not only by individual events (the Countess, instead of belated repentance, burned papers, thinking that this was her husband's amended testament. After such scenes, you begin to understand why Gobseck hated their heirs.), and individual characters (Maxime de Trai, etc.)

In addition to the topic of the power of money, there are a number of other topics in the story, such as: the topic of seclusion and alienation of a person (Gobsek) from society, the topic of human and social vices, etc. etc.

The leading motive of the work is the motive of power

1. The motive of the power of money over people and society

2. The motive of the power of one person over the destinies of other people (The power of the usurer over Anastasi, and in the future, her son Ernesto)

There are also motives:

The motive of adultery

Countess Anastasi's betrayal of the Count with Maxime de Tray

Treasure hunt motive

"He tried everything to get rich, even tried to find the notorious treasure - gold, buried by a tribe of savages somewhere in the vicinity of Buenos Aires."

The motive of friendship between an old man and a young man

The motive of a person's loneliness

The motive of stinginess and other human vices

The motive-character of the philosopher

The motive-character of a hard worker (Fanny Malvo)

The motive-character of a beautiful girl (Anastasi de Resto)

The motive-character of the young man-tempter

The motive of human contemplation from the outside world

Loss of reason motive

The problems that the author describes in the story were so urgent and exciting that he repeatedly returned to them, gradually polishing his idea. Main character the story - the usurer Gobsek, who profits from the fact that he gives a loan at interest.

The problem of O. de Balzac's story belongs to this type as a social one, namely, the problem of the power of money over society and a person separately, but this is only part of the problematics, as a consequence of the first problem, the second, no less important, can be distinguished: degradation human personality and morality under the influence of this very power.

It was an era of despondency in the best human traits, in normal human relationships built on trust and respect. The world and society were imagined by many French people of that time as a large mechanism, ruled by money and power. It is interesting that the images of the story "Gobsek" are not one-sided. They were not unambiguous contemporaries of Balzac: many of them had an analytical mind, knew how to think independently, were a non-intersecting personality. Nevertheless, a large mechanism, a machine driven by gold, was launched, and in its millstones it was grinding the fate of people or the fate of entire families.

In his story, Balzac protests against this image of society. The writer rightly considers him to be erroneous, unnatural, unhealthy. Balzac emphasizes that neither relations with people, nor society, nor the state, and realistic images can be built on the basis, they assert the idea of objection to the normal structure of society, where there are no people like Gobsek, and the idea of money and power, which, of course, must give way to - love, decency, nobility. We must retreat ... but, unfortunately, they do not retreat.

1. Conflict between man and society

This is the conflict between "Daddy Gobsek" and the society in which he lives.

He is detached from him. This is a lonely person who, however, does not deliberately strive for society. Gobsek takes extremely high rates of interest from his clients, taking advantage of their predicament and effectively ruining them. He does not believe in human honesty, decency, love and friendship. This characterizes Gobsek as a callous and heartless person.

2. Social conflict

The crowding out of the nobility by the bourgeoisie and the disintegration of the family as a consequence of the power of monetary relations. (Gobsec-de Resto family)

3. Between a father and his children

“... But children! .. Let them at least be happy ... Children, children! ...

I only have one child! - exclaimed the count, in despair stretching out his withered hands to his son. "

4. Family and household

Within the de Resto family

5. Ideological or philosophical

1. Dramatic

2. Tragic (personal)

The tragedy of the family of Count de Resto, his wife and their children

“This girl seemed like a fairy of loneliness.

In front of me, no doubt, was a girl who was forced to work without straightening her back - probably the daughter of some honest farmer: on her face one could still see the small freckles peculiar to peasant girls. Something good, truly virtuous emanated from her, I seemed to have entered an atmosphere of sincerity, spiritual purity, and somehow it even became easier for me to breathe. Poor simpleton! "

The story is life-like, since it lacks any fantastic elements, this is a story ordinary people, who lived at that time, ousted the nobility by the bourgeoisie. People who have the inherent flaws and merits of ordinary mortals, who live their lives as part of society, who are obliged to work to survive ...

Balzac's realism manifests itself in the story primarily in the disclosure of the characters and phenomena typical of French society of the era of the Restoration. In this work, the author sets himself the goal of showing the true essence of both the nobility and the bourgeoisie. The approach to depicting the surrounding life in "Gobsek" becomes more analytical, as it is based primarily on the study of phenomena by means of art real life and his conclusions about society as a whole flow from this analysis.

The artist shows the decline and decay of the old French aristocracy, (Maxime de Tray, Resto family). De Tray is shown as an ordinary gigolo, a man without honor and without a conscience, who does not hesitate to profit from a woman who loves him and his own children. “Instead of blood, you have dirt in your veins,” the moneylender contemptuously throws in the face of Maxime de Trai. Count Resto is much more likable, but even in him the author emphasizes such an unattractive feature as weakness of character. He loves a woman who is clearly unworthy of him, and, not having survived her betrayal, falls ill and dies.

Characteristics of the narrator and manner of presenting the material

a) The narrator does not pretend to be completely objective, since he expresses himself and his attitude towards Gobsek. Even more, they were buddies. Derville helps readers understand legal terms and concepts mentioned in the work.

· Gobsek and Derville are people of the same profession.

· Thanks to Derville, we see Gobsek as if “from the inside” (what he is like in everyday life, what are his human predilections and weaknesses, we learn his background and outlook on life).

· Derville is a decent person, so we can trust his opinion.

b) Derville's figure did not go beyond the framework of the story, the narrator did not interfere in the events, Gobsek was in the center of the narrative, and only Gobsek.

Story style

The style is expressive, as the story reflects the personality of the narrator: Derville is a solicitor. This is a young man who made a career solely with his hard work and professional integrity. Derville is a “man of high honesty” (this is how the heroes of the work speak of him). He is a friend of Gobsek.

The style of speech also expresses the personality of Derville, as an educated person who belongs to such a profession as a solicitor. Successful person, honest and decent.

The plot and plot of the story "Gobsek" coincide.

Plot type multi-line

The line of Derville, Gobsek and the de Resto family

Derville and Viscountess de Granlier Line

The line of history and life of Gobsek himself

The plot is dynamic. External.

plot components:

2.exposure

3.binding

4.development of action

5. climax

6.junction

Plot organization techniques used in the story:

Receive flashback

Receiving retardation

Ring organization reception

· Reception of concurrency

Receiving forecasting

“I have no doubt that an outstanding figure will emerge from him. And when "this young man" is in power, the wealth itself will come into his hands "

Composition of characters

One central (main) and minor characters

The work contains such types of chronotope as discrete and conditional

The species is specific.

Chronotopic space - near, open.

Chronotopic time - terrestrial, historical

The speech of this work is very rich and rich, expressive and accessible to every reader, there is also a huge number of expressive and pictorial techniques in the work, here are some of them

man-bill, man-machine, golden idol, painted handsome man, cold eyes, heartbreaking smile, lean legs.

Comparisons:

as if you set off like a minister of some nabob, like a dandy from Highway d'Anten, like a ferret, as if repented of his "talkativeness", as if swollen, as if they entered an atmosphere cold as ice.

Metaphors:

soundless laughter, a smoke of gaiety, Her eyes sparkled, energy beat in her, glory thundered, burning eyes, unbridled frankness.

Hyperboles:

a whole hundred smells were mixed, and such a roar, as if a hundred voices were shouting at once, capable of

swallow a million dollar fortune, huge interest, huge wealth, the most courteous and most harmless, the youngest dandy

Litoty: down to the smallest, the smallest bank loan,

Metonymy:

who sleep on silk

Periphrase:

the clawed paw of Inevitability (i.e. horror and fear, despair)

a crowd of all servants (i.e. servants)

in all naked nudity (i.e. in all its glory)

went with her pimples (i.e. scared)

Oxymoron:

soundless laughter

Lexical figures:

Professionals: bill, solicitor, junior scribe, protest bill, tax

Figures in the story of O. de Balzac are very rare, unfortunately, I could not find them.

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What common human problems are raised in the gobsek story? "Gobsek" analysis

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