Russian literature was very much influenced by the literary trope known as the superfluous man. This trope was ideal for writers to describe the shortcomings of Russian high-class society. There has been a witnessed general consistency when dealing with the superfluous man such as the exhibition of cynicism and existential angst, while indulging in vices such as affairs, gambling and duelling. These individuals are typically from noble birth yet refused to fit into society and disregard the societal norms. This trend can be witnessed through many examples such as Alexander Pushkin’s “Eugene Onegin” and “Diary of a Superfluous Man” by Ivan Turgenev. The characters described by these authors reflects the lifestyles of such a man, and seems to imitate the lives of the men who wrote these stories, as the real life Pushkin and Turgenev were both to be described as superfluous men.
Alexander Pushkin can best be described as an idle aristocrat, a man whom excelled at being superfluous. As his creation, Pushkin best portrays his character in Eugene Onegin, by following his own example. Born to an ancient and noble Russian family, Pushkin plays his part expertly. “The sly baseness, fit to throttle, of entertaining the half-dead: one smoothes the pillows down in bed, and glumly serves the medicine bottle, and sighs, and asks oneself all through: ‘When will the devil come for you?’” (Pushkin, I.I) The cyncism in Onegin reflects the unsatified and morbid curiosity of those of the well educated, which in Russian culture is a natural reaction as the cynical realism of life. From early on Pushkin studies at the Lycee where he excels at French, drawing, fencing and Russian, following the model of the superfluous man, Pushkin is a talented...
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...ountrymen in this generation not just the noblemen, this idea of what sort of men they truly are, and if their actions, if any, had any merit upon society witnessed through the melodrama created by Turgenev, “I’m dying,” as Tchulkaturin says “and at the point of death I really think one may be excused a desire to find out what sort of a queer fish one really was after all.” (Turgenev) The existential angst, and the cynical nature of these men created the era of the superfluous into the age of revolution.
In conclusion, the nature of the superfluous man is found not only in literary as a trope but also as a cultural placement, as without its nature many events would not have happened. W ith the creation of the idel aristocrat the innet being of many would be unclassified and the great works of their times would not have held the flame to which they are now.
A sportsman sketches, by Ivan Turgenev, tells several short stories about himself traveling around Russia. In some of these short stories, he writes about the treatment of the serfs. In the short story called The Agent, Turgenev tells us about an acquaintance of his named Arkady Pavlitch Pyenotchkin. A landowner and retired officer of the Guards, Arkady like many nobles of the time spends his life looking after his estate. In the treatment of his peasants he considers himself harsh but just, believing that peasants behave like children and need a good beating once in a while. He cultivates many French goods and speaks some French phrases but has a dislike for German philosophy. Turgenev prefers not to get involved with the man and only visits the area for the quality of the game to hunt. One night he was forced to stay at Arkady Pavlitch estate while traveling to Ryabovo. While their Arkady asks to accompany
Pushkin’s “The Bronze Horseman” and Gogol’s “Nevsky Prospect” allow a deeper view into the history and lifestyle of St. Petersburg. Both stories exhibit the ambivalence that exists in many aspects of St. Petersburg.
The short story, “Ivan Fyodorovich Shponka and His Aunt”, explicates the life of a man named Ivan Fyodorovich Shponka. We see him briefly in his young years, followed by his life in the army, and his return to the farm where his strong characterized aunt resides. We can see immediately that this man lives in constant cleanliness and dutiful paranoia; these are some of his desires that he wishes to exhibit to others. We can also see his fears, which reside in the confiscation of his masculinity and independence. This short story has many elements that resemble others in the Nikolai Gogol collection.
Dostoyevsky's writing in this book is such that the characters and setting around the main subject, Raskolnikov, are used with powerful consequences. The setting is both symbolic and has a power that affects all whom reside there, most notably Raskolnikov. An effective Structure is also used to show changes to the plot's direction and Raskolnikov's character. To add to this, the author's word choice and imagery are often extremely descriptive, and enhance the impact at every stage of Raskolnikov's changing fortunes and character. All of these features aid in the portrayal of Raskolnikov's downfall and subsequent rise.
Yuri Trifonov chronicled the life of a Soviet conformist named Vadim Aleksandrovich Glebov in his novel, “The House on the Embankment.” Vadim Glebov leads a life in support of the Soviet Union’s tyranny and oppression of human rights in order to gain the high social status and power he envied beginning in childhood. The novel is a narrative that revolves around Glebov’s education and success, and it depicts what life was like as a Soviet citizen between the 1930’s and 1970’s. Through Glebov’s revealed repressed memories, we see the ultimate example of conformity.
In these texts Appollonius and soviet Moscow society function inimically to the forces of imagination and negative capability. These characters represent sobriety and reason. They attempt to limit and control the narrative and the forces of the imagination-which often exceed their powers. A systemic vision of knowledge binds both the Muscovites and Appollonius. Both parties rely on the certainty of this knowledge to inoculate them from the more frightening and unstable aspects of existence. Through categorization they hope to contro...
Dostoevsky’s St. Petersburg is a large, uncaring city which fosters a western style of individualism. As Peter Lowe notes, “The city is crowded, but there is no communality in its crowds, no sense of being part of some greater ‘whole.’” Mrs. Raskolnikov initially notices a change in her son marked by his current state of desperate depression, but she fails to realize the full extent of these changes, even after he is convicted for the murder. The conditions and influences are also noticed by Raskolnikov’s mother who comments on the heat and the enclosed environment which is present throughout the city. When visiting Raskolnikov, she exclaims "I'm sure...
Turgenov’s Fathers and Sons has several characters who hold strong views of the world. Pavel believes that Russia needs structure from such things as institution, religion, and class hierarchy. Madame Odintsov views the world as simple so long as she keeps it systematic and free from interference. This essay will focus on perhaps the most interesting and complex character in Fathers and Sons: Bazarov. Vladimir Nabakov writes that "Turgenov takes his creature [B] out of a self-imposed pattern and places him in the the normal world of chance." By examining Bazarov this essay will make this statement more clear to the reader. Using nihilism as a starting point we shall look at Bazarov’s views and interpretations of science, government and institution. Next we will turn to the issue relationships. Finally we examine Bazarov’s death and the stunning truths it reveals. These issues combined with the theme of nihilism will prove that chance, or fate is a strong force which cannot easily be negated. Nihilism as a concept is used throughout Fathers and Sons. To gain a better understanding of the ideas behind this term let’s look at what Bazarov says on the subject. "We base our conduct on what we recognize as useful... the most useful thing we can do is to repudiate – and so we repudiate" (123). The base concept of nihilism is to deny or negate, and as we learn later in the same paragraph, to negate everything. With this ‘destruction’ of everything from science to art there is no building for nihilists, as Bazarov says "That is not our affair" (126). Nihilists view the current structure of society as concerned with such trivialties as ‘art’ and ‘parliamentism’ while ignoring real life issues such as food, freedom, and equally. Nihilists are aware of these social woes and hence mentally deny to recognize any of the present authority or institutions which only serve to perpetuate a myth. Bazarov agrees with the statement that nihilism "confine[s] [oneself] to abuse" (126). "... I don’t believe in anything: and what is science—science in the abstract? There are sciences as there are trades and professions, but abstract science just doesn’t exist" (98). For Bazarov anything that is not tangible and concrete doesn’t exist. Psychology, quantum mechanics, neurochemistry would be scoffed at by Bazarov. It seems peculiar that Bazarov would say, "... nowadays we laugh at medicine in general, and worship no one," (197) while at the same time he pursues a career as a doctor.
Nikolai Gogol has been widely recognized as one of the most inspiring and remarkable authors of the Russian Empire and the one who produced an enormous impact on literary work of countless contemporaries and successors, both in the Tsarist Russia and abroad. Particularly, Gogol’s literary legacy is praised for his exceptional ability to deploy humor as a means of expression and the way to convey the message. In this respect, the short story The Overcoat written during the St. Petersburg period of Gogol’s activity is a very important work which balances between tragic and humorous elements and presents a brilliant specimen of satire. In this work, Gogol builds up the powerful criticism of the contemporary Russian society with its social hierarchy,
The noble characters, Oedipus and Willy rely on things of substantial value in their lives, but then unfortunately fail, further deepening their harmatia. In Arthur Millers’ essay “Tragedy and the Common Man,” he does not believe that just nobility and power over others is inadequate to just judge a select few:
A. The Epic of Russian Literature. New York: Oxford University Press, 1950. 309-346. Tolstoy, Leo. "
This man is the absolute opposite of everything society holds to be acceptable. Here is a man, with intelligent insight, lucid perception, who is self-admitted to being sick, depraved, and hateful. A man who at every turn is determined to thwart every chance fate offers him to be happy and content. A man who actively seeks to punish and humiliate himself. Dostoyevsky is showing the reader that man is not governed by values which society holds to be all important.
...Russian society and social norms. The greatest reminder of this is found in the fact that Lopahkin, the man who Ranevsky once spoke to condescendingly, is now the family’s last hope for survival. Ironically enough, Lopahkin is often glancing at his watch, a reminder that time is changing, and a message that he, himself, is a testament to.
According to Raskolnikov’s theory in Fyodor Dostoevsky’s “Crime and Punishment”,there are two types of people that coexist in the world; the “Extraordinary” and the “Ordinary”. The ordinary men can be defined as “Men that have to live in submission, have no right to transgress the law, because they are ordinary.”(248). To the contrary “extraordinary” men are “Men that have a right to commit any crime and to transgress the law in any way , just because they are extraordinary”(248). Dostoevsky’s theory is evident through the characters of his novel. The main character, Raskolnikov, uses his theory of extraordinary men to justify contemplated murder. There is a sense of empowerment his character experiences with the ability to step over social boundaries. He is led to believe the killing of the pawnbroker is done for the perseverance of the greater good. It is ironic that character who is shown to be powerful in the early stages of the novel subsequently go on to show many weaknesses.
These aristocrats, despite their high education and power, will do nothing to help win the war. They live like parasites on the body of Russia’s society. This is how Tolstoy describes this class in general, but he also depicts two representatives of this upper class, Andrew Bolkonsky and Pierre Bisuhov, who were the more intellectual ones, and whose lives and views of war and life changed as the result of the war. Andrew was interested in a military career, and wasn’t completely satisfied with the czar, while Pierre wasted his life on alcohol – his everyday activity.