Peter Rosegger: biographical information. See what a "rogue" is in other dictionaries

Dodger/ ... Morphemic-spelling dictionary

Loafer, vein, swindler, fist, mazurik, swindler, deceiver, scoundrel, charlatan, rogue, trickster, burnout, . Dodger big hands, blown, burnt. Blowing beast. Smooth fellow, warm guy. Jack of Hearts. // Nowadays there are no more artists.… … Synonym dictionary

Husband. cheat noun who cheats, a clever deceiver, a swindler, a slacker, a dishonest person, esp. in small things, cheated, entwined, searched. Don't fall into the hands of a rogue. Yes clever man can't help but be a rogue! Griboyedov. Kvass the rogue: he brought the water, and he himself... ... Dahl's Explanatory Dictionary

PLUT, a and a, plural. s, ov and s, ov, husband. 1. A cunning and clever deceiver, swindler. 2. A person who loves to be cunning, disingenuous (colloquial). Oh, you're such a p.s.! | decrease caress. rogue, and husband. (to 2 meanings; usually about a child). | wives cheat, and (to 2 meanings; colloquial ... Ozhegov's Explanatory Dictionary

rogue- PLUT, a, and a, m s, ov, and s, ov, m Razg. A person who acts dishonestly, deceitfully and pretending, cleverly and skillfully hiding his true intentions; Syn: swindler, deceiver, swindler, cunning. And this Fomin must be a decent rogue, Grinevich said about... ... Explanatory dictionary of Russian nouns

Plut, a; pl. rogues, ov... Russian word stress

M. coll. 1. A cunning and clever deceiver; petty swindler. 2. Evil one, cunning man; cunning. 3. Naughty, prankster. Ephraim's explanatory dictionary. T. F. Efremova. 2000... Modern Dictionary Russian language Efremova

A and a; pl. s, ov and s, ov; m. 1. A clever and cunning deceiver, swindler. Large P.P. of the first hand, first class. Minor point 2. Discussion. Sly, cunning. Oh, you're such a p.s.! // Naughty, prankster (mainly about domestic animals). Where is this p... ... encyclopedic Dictionary

rogue- rogue, gen. rogue; pl. rogues, b. rogues and obsolete rogues, rogues... Dictionary of difficulties of pronunciation and stress in modern Russian language

Books

• A gentle rogue. The man of my dreams. Prisoner of My Desire (3-Book Set) by Joanna Lindsay. The set includes three fascinating romance novels by contemporary writer Joanna Lindsay - THE GENTLE ROOK, THE MAN OF MY DREAMS, THE PRISONER OF MY DESIRE...
• The Charming Rogue, Mary Jo Putney. They met by chance - Lord Robert Underville and half-Indian Maxima Collins, who came to England to find out the truth about the sudden death of her father. Together they go on foot to London and...

Once upon a time there lived a Dodger. All he did was cheat, cunning, deceive, dissemble, pull dust in the eyes of some, deceive others, lead others by the nose, in a word, he gave no rest to anyone. And that country was ruled by a king who did nothing at all. One day the Dodger was walking along the road and met the king.
-Where are you going, Dodger? - asks the king.
- Yes, I’m looking for someone to deceive.
- Come on, deceive me! What are you going to do?
- Where there! - says the Dodger. - Is it a joke to deceive the king himself! And besides, I left my best tricks at home.
- Well, go get them. I really want to see if you are as clever a rogue as people say. Well, go, go, and I'll wait for you here.
“I’m afraid Your Majesty will have to wait a long time.” I don't walk as fast as I cheat.
“And I will give you my horse and saddle,” said the king.
- Yes, I don’t even know how to sit on a horse. A horse is not a stump!
But the king really wanted the Dodger to show him his tricks.
“My servants will drop you off,” said the king, “but you’ll get there somehow!”
The rogue scratched the back of his head, thought and said:
- Okay, so be it, give me a ride!
Somehow the Dodger climbed onto his horse and trotted along the road. Well, the royal retinue was amused, looking after him! And the king laughed right to the point of tears. Yes, and there was something to be done! The rogue kicked his legs, waved his arms, fell first on one side, then on the other - he was about to fall, but it was not known which side.
But as soon as he disappeared from the royal eyes, things immediately went well for him: he sat well in the saddle, spurred his horse and galloped into the city at full speed, as if he had stolen the horse and was being chased. And this was not far from the truth, because in the city he sold the royal horse along with the royal saddle, and he himself returned home as a pawn, but with a wallet filled to the brim with coins.
Meanwhile, the king kept walking up and down the road, waiting for the Dodger with his tricks. Every now and then he began to laugh, remembering how the Dodger shifted from side to side while sitting in the saddle. Well, just a bag of sand, not a rider!
However, time passed, and the Dodger did not return. Now the sun has disappeared behind the forest, it has become completely dark, but the Dodger is still not there. Then the king finally realized that the Trickster had simply deceived him and stole the horse from under his nose. The king became very angry. Is it ever heard of that the Trickster deceived the king himself without any trickery!
“Tomorrow I will execute him,” the king decided.
And the Plut thought that the king, of course, would not let him do such a trick. But since all the tricks at home were at his fingertips, he was not very afraid of the royal wrath.
The next day, in the morning, the Dodger lit a fire in the hearth and began to cook porridge in a pot. And as soon as he heard that the king and his retinue were approaching his house, he took the hot pot out of the stove and put it on a wooden block. And he immediately squatted down and began stirring the porridge with a spoon.
The king opened the door and, seeing that the Dodger was cooking something on a wooden block, he was so surprised that he even forgot why he had come.
- Listen, Dodger, what are you doing? - asked the king.
“I’m cooking porridge,” answered the Dodger as if nothing had happened. “If Your Royal Majesty waits a little, I can treat my dear guests.”
“Wait,” said the king, “how do you cook porridge without fire?”
- What do I need fire for? - answered the Dodger. “In this pot, anything can be cooked without any fire, just have time to stir so that it doesn’t burn.”
And the Dodger began to diligently stir the spoon in the pot. The king couldn't believe his eyes. He lifted the lid with his own hands and looked into the pot. That’s right, the porridge was very hot and delicious steam came from it.
“Listen, Plut,” said the king, “sell me this bowler hat.” I'll give you a hundred talers for it.
“Eh, no,” said the Dodger. “With this bowler hat I live like a king!” You don’t need to buy firewood, you don’t need to chop or saw either... Stir in the pot with a spoon - that’s all you have to worry about!..
The king really didn’t like that anyone else, besides him, lived like a king. And he became so angry that he even remembered why he came to the Dodger.
“That’s it, Plut,” the king said sternly, “don’t forget that you have offended me.” I understand perfectly well that yesterday you deceived me when you said that you left your tricks at home. Of course, they were with you. But I’m ready to forget the old things if you sell me this pot. Otherwise I will have you executed right now.
“Well, you don’t have to choose here,” said the Dodger. “And if you don’t want to, you’ll agree.” Okay, take the pot for a hundred thalers. And in addition to it, I can also give you a block of wood.
“I don’t need a blockhead,” said the king. “I already have enough blockheads.” Let it stay for you.
The king returned to the palace and immediately invited guests from all over the kingdom to his feast. He personally placed the pot on the floor in the middle of the hall and ordered all the food to be cooked right there, in front of the guests, in a magic pot. The guests were very surprised. They even thought that everything was not right in the king’s head, and they quietly laughed at him. But the king did not pay any attention to this. He walked around the pot, personally stirred it with a spoon and said:
- Laugh, laugh! You'll see, everything will be cooked now.
But, of course, nothing was cooked, and in the end the king realized that the Plut had cheated again. At this point the king completely lost his temper. He immediately went to Plut to execute him on the spot. And the Plut stood on the porch and seemed to be waiting for the king.
- Well, isn’t your pot cooking? - asked the Dodger.
“That’s what it doesn’t cook,” said the king. “You deceived me again!” Now I see that you are quite a rogue. Only you won’t have to cheat anymore.
With these words, the king pulled out his sword and wanted to cut off the Trickster’s head.
“Wait, wait,” exclaimed the Dodger. “This time it’s not my fault at all.” I told you that we need to take a block of wood. It's the whole secret. And without a log, of course, you can’t even cook simple porridge in this pot.
- Aren’t you lying again? - asked the king. “Maybe this is all your trickery?”
- What kind of tricks are there? Everyone understands that nothing can be welded on the floor. The whole thing is a block. Nothing will work without him.
- How much do you want for this block?
“Its real price is three hundred thalers,” said the Dodger, “well, so be it, I’ll sell it for two hundred.”
The king did not bargain, because, frankly speaking, three hundred thalers is not a price for such a block of wood. He took the log and, very satisfied, went to his palace.
On the same day the king again decided to have a feast and called full house guests. The guests looked from all sides at the old block of wood that stood in the middle of the hall, and could not understand why it was standing there. But then the doors opened and the king entered. He solemnly carried a clay pot and placed it on a block of wood with his own hands.
“If you have such a log, you don’t need a cook, a stoker, or a woodcutter,” said the king. “Now you will see for yourself how perfectly dinner is cooked on it.”
But for some reason dinner was not cooked. And how could he cook? Does it matter if the pot is on wooden floor or on a block of wood? All the guests understood this perfectly well, but everyone kept quiet, because it was better not to argue with kings. In the end, the king realized that the wooden block was just a wooden block and nothing more. So it turned out that the Trickster had deceived the king again!
The king could no longer tolerate this. He ordered his retinue to follow him and went to Plut. And Plut thought that the king would come to him again. He ran for his sister, who lived nearby and also understood something about tricks. Then he slaughtered a ram, collected the ram's blood in a vial and told his sister to hide the vial in her bosom. The sister sat down on the porch, and the Dodger himself hid in the house.
And then the king appeared. He was shaking all over with anger - from head to toe.
- Where is Plut? - the king shouted.
- Excuse me, Your Majesty, who are you asking about? - Sister Pluta said, bowing low to the king.
- I’m asking about the swindler, the deceiver, the rogue who lives in this house. Do you know him?
- My brother lives here, Your Majesty.
“So know that your brother is the greatest rogue,” said the king. “Tell me, where is he?”
“He’s at home, sleeping, Your Majesty,” said the sister.
“Wake him up,” ordered the king.
“What are you saying, Your Majesty,” said the sister. “He will be very angry if I wake him.”
“And if you don’t wake him up, I’ll be angry,” said the king, in such a voice that anyone would be seriously scared.
“Your Majesty,” my sister begged, “he will kill me if I wake him up ahead of time.”
“If you don’t wake him up right now, I’ll cut off your head right now,” the king shouted. And it was clear from everything that he would do just that.
At this time, the door swung open, the Dodger jumped out onto the porch and rushed at his sister with a knife.
“You woke me up again,” shouted the Dodger and pierced the lamb bladder hidden in his sister’s bosom with his knife.
The sister fell, and blood flowed like a river on the ground. Here even the king was afraid.
- What have you done, unfortunate Dodger? You killed your sister. And I, the king, saw it with my own eyes. Now I have to execute you twice... But you are such a rogue that if you don’t go to execution twice, you will certainly get out somehow.
- Don't worry, Your Majesty! “I’ll fix the problem now,” said the Dodger.
He went into the house and a minute later returned with a ram's horn in his hands. He put one end of the horn to his lips, the other to his sister’s lips and blew. He blew once, blew twice, and when he blew a third time, the sister got up as if nothing had happened.
- Yes, you are not a rogue, but, apparently, the devil himself! - exclaimed the king. “Can you revive a dead man?”
- What about it, Your Majesty! I simply could not live without this. I am very hot-tempered, and almost anything - I kill anyone who comes to my hand. Think how many times I would have to be executed if I didn't have this horn.
“Yes, yes, that’s true,” muttered the king. “Listen, Trickster, won’t you sell me your magic horn?” You see, I am also very hot-tempered and when I get angry, I will execute both the right and the wrong - indiscriminately. Sometimes this is not entirely convenient, because I am a king and must be fair. If I have such a horn, it will help me a lot. Sell ​​me your horn, and I promise to forget about all your tricks. The Dodger scratched the back of his head.
- It will be difficult for me without this horn. But what can you do - I can’t refuse the king.
He gave the ram's horn to the king and in return received one hundred talers and forgiveness of all his sins. And the king received the ram's horn and, very pleased, went home. He couldn't wait to try out the new magic horn. Before he and his retinue had gone a hundred paces, one of the courtiers displeased him with something, and, drawing his sword, the king hit him with all his might on the head. The courtier only groaned and fell from his horse.
“It seems he’s dead,” said the king. “That’s good.” Now we will revive it.
He placed one end of the ram's horn to his mouth, the other end to the mouth of the dead man, and began to blow. But no matter how much he blew, he was unable to breathe life into the dead man. Just as he was dead, he remained dead.
“Well, okay,” said the king, “I can’t revive this one, but I can execute the Trickster.”
And he turned back to the Dodger's house.
The guards burst into the house and seized the Dodger, and the king said:
- You have deceived me so many times that you no longer hope for mercy. Take him to the palace.
The rogue did not argue or cheat.
- Well, let's go like this.
And everyone moved towards royal palace. There the king ordered a barrel to be rolled out into the yard, the Dodger to be placed in the barrel, then to be nailed up tightly, taken to the seashore and placed on the top of the highest rock. And then the king ordered this: let the barrel stand on the rock for three days so that the Plut has time to repent of all his tricks, and on the fourth day the king himself will throw it into the sea. The king loved to do everything with his own hands.
No sooner said than done. The Dodger sits in a barrel one day, sits another, sits a third and, so that it won’t be so boring, he sings songs. And just then some rich man was driving past.
“Hey,” he shouts, “who’s singing that?”
“I am,” answers the Dodger.
“Where are you?” asks the rich man.
“In a barrel,” answers the Dodger.
- Why did you climb into the barrel?
“And I’m waiting to be taken to heaven alive.” It’s too good there; whoever gets there will never return to earth. The sun is warming, the clouds are floating by... No worries, no hassle... Good!
The rich man was overcome with envy here. He also wanted to go to heaven. After all, when will such an opportunity arise again? Servants and neighbors increasingly wanted him to fall through the ground, and then alive - straight into heaven!
“Listen, buddy,” said the rich man, “won’t you give me your seat?” I'll pay you well.
“Well, I guess I’ll give in,” said the Dodger. “But it will cost a lot, you know that.”
- Yes, for the sake of such a thing, I don’t feel sorry for anything! I will leave you all my wealth! - exclaimed the rich man. - Why do I need it in heaven!
He immediately wrote a will in favor of the Plut, then knocked out the bottom of the barrel, released the Plut into freedom, and climbed into his place.
- Have a nice stay! - the rich man shouted.
- Bon Voyage! - shouted the Dodger.
He sealed the bottom again and quickly went to the market - he was very hungry while sitting in the barrel. Soon the king came ashore.
He tapped the barrel and shouted:
- Hey, are you ready?
- Prepared! - answered the rich man.
“Well, have a good trip!” said the king and pushed the barrel off the cliff. “You can’t cheat here!” All your trickery is over now!
And, whistling cheerfully, the king went home. He approaches the palace, and the Dodger sits on the porch - alive and unharmed - and plays the harmonica as if nothing had happened.
- How dare you sit here when I threw you into the sea? - the king shouted.
- Why don’t I sit here? I belong in the palace. I’m not some kind of poor man, I now have more money, and livestock, and all sorts of things than you will have.
- When did you manage to get so rich? - the king was surprised.
- But when you threw me into the sea. There is something to profit from at the bottom - gold lies in mountains there. Just don't be lazy - pick it up!
- Listen, brother, won’t you throw me there too? - asked the king.
“With pleasure,” said the Dodger. And this time he told the truth.
- How much will you charge me for this?
“There can be no question of money here,” answered the Dodger. “You didn’t take anything from me, and I will help you for nothing.”
The king ordered the barrel to be rolled ashore immediately and climbed into it. The rogue hammered the bottom well and pushed the barrel into the sea.
- Bon Voyage! - shouted the Dodger. - Now all your nonsense is over!
And so the Trickster got rid of the stupid king and began to rule the kingdom himself. Whether he ruled well or not is unknown, but no one under him dared to cheat or deceive anyone, but you can’t fool a Trickster.

Plut m. plutovka w. who cheats, a clever deceiver, a swindler, a slacker, a dishonest person, esp. in small things, cheated, entwined, searched. Don't fall into the hands of a rogue. Yes, an intelligent person cannot help but be a rogue! Griboyedov. Kvass is a rogue: he brought water and left! about liquid kvass. Rogue, rogue, rogue b. comic smart, cunning, lively child. Rogue, a softened nickname for a rogue. A notorious rogue. | Cheat and cheat, b. comic and caresses. This cheat will get around anyone. The merchant is a rogue. Every rogue has his own calculations. The hand washes the hand, and the rogue covers the rogue. A diamond is cut (or: cut) by a diamond, but a rogue is destroyed by a rogue. The rogue rides on the rogue, the rogue drives. Not bad at heart, but simply a rogue. | Plut, plutevo cf. roguish, astrakh. arch. Chernomorsk float for nets, checker, balberka, usually from sedge bark, probably from confuse (to get lost). Plutier cf. collect rogues, deceivers, and | rogues, non-water rogues, plutiviers will collect. The silk nets got along, the silver rogues laid down, the song. Plutonus, Plutonos, Plutonos Shoveler Duck, Anas clypeata. Plutnya clever deception, fraud, idleness. You can’t count all the scams, fists and scams. Order tricks. People live by gambling tricks. Political tricks are in vogue these days. Cheating cf. trick; | fraud as something abstract. Cheating cheating cf. old trickery, trickery. For his drunken roguery, he was sent to Verkhoturye. There are a lot of tricks. A roguish subterfuge. These are tricks and tricks. Cunning and roguish, prone to trickery, ready for it, given the opportunity; comic cunning, dexterous. Cheating property, adj. quality, thievery. To cheat, cleverly deceive, idle, cheat; hide your views, intentions, deeds, under the guise of directness; to be cunning or disingenuous, and to deceive, to entangle someone, to deceive, to bypass, to go around on curves, to deceive, to deceive. He cheats and cheats at cards. Learn to cheat, so you will be rich. There is no cheating here, impersonal. no one cheats, and no one can cheat. He deluded himself into society, entered by deception. If you get it wrong, you'll end up in trouble. Got lost again! The guy got confused. He cheated and left. He will fool everyone. He got away with it and got away. Once lost, it’s hard to fall behind. A century has gone astray. There is no one to calm them down, everyone has gone wild. Cheated, take it! Cheating Wed. trickery, trickery, as an action. To cheat, to cheat, to engage in trickery, fraud, to engage in cheating, to cheat. We don’t have plounderers, but only pluto-bearers. To cheat, to cheat, to deceive oneself, to twist one’s conscience. Yes, and you shouldn’t go astray yourself, don’t indulge the thieves, old man. | Confuse. Don't get lost, south. He's lying about something and not telling the truth. | To wander, to wander, to get lost, to lose one's way, not to know the way, to wander at random. We wandered all night and managed to get out onto the road by dawn. | *Mentally go astray, or fall on the wrong path of thinking, reasoning. He wanders around and around, but never gets to the point. Rather than go astray, it is better to return. Knit and tangle, twist and wrap, toss and tangle! To get lost, to get lost, meaning. wander, no one knows where or where. We wandered through the snowstorm for 24 hours. They got me involved in the matter. Somehow he got out. We got lost in the forest. Got lost in the forest. The entire forest has been exhausted, but there is no way out. He made a fool of himself, he said a lot of things. The detectives fooled him innocently. We got lost a little. Confused everywhere. Why did they drag me here? Having wandered until the light, they found their way. Unravel, unravel. Got the threads all tangled together. Wandering, action. according to verb. Stupid, wandering, who is wandering. Our wanderers got out onto the road by force. You can't find this wanderer anywhere, he's just a little guy. Damn, twisted place, crazy little band! Pluttsy m. pl. Psk. hard films, snares, for catching birds.

Sokolov N.

For a good two months, the intrigued public was in deep bewilderment. All I heard was something about “Putin’s plan”, but not a single one alive soul I couldn’t clearly explain what kind of animal it was. It is impossible to seriously consider as a “plan” the eloquent messages to the Federal Assembly, which are not at all different in design from the ever-memorable directives...of the 20th Congress. And just as meaningful, because all the content could be conveyed with one vulgar toast “to all the good things!”

Some actions of the authorities really made one suspect the presence of a specific plan - they were carried out so decisively, although no explanations were given for them at all or were given that were clearly inappropriate (such as the cancellation of gubernatorial elections for the sake of a successful fight against terrorism). The hobbling of the press, the “uprooting” of political parties, the demonstrative flogging of inconvenient oligarchs, the castration of the court, and generally the replacement of political institutions with dummies like the Public Chamber - all this looked like part of some rational plan, but its integrity could not be grasped. Some important element was missing that would explain what all these titanic efforts were for. And then suddenly the missing piece became known to the public, the puzzle came together, and Putin’s plan appeared in all its splendor.

We can finally judge this grandiose construction thanks to the amazing frankness of the modest executor of the highest plans - Oleg Shvartsman. Oleg Sergeevich, although he graduated from the Faculty of Biology of Moscow State University only in 1996, and graduate school in 1999 (for some reason already at the Faculty of Philosophy), now manages assets worth $3.2 billion. If it had been during the “monstrous Yeltsin 90s”, no one would have been surprised - what miraculous ascensions happened then. But Mr. Shvartsman’s rise came at a completely different time and is explained by completely different reasons.

Oleg Shvartsman, in his own words, is authorized by the highest authority to seize property from “disloyal owners” and accumulate it within the framework of an organization called “Financegroup”. The organization’s task is formulated very clearly: “To bend, bend, torture, bring out all sorts of Khodorkovskys into social activity...”

Property cannot be taken away so easily, since all the oligarchs quickly acquired their own defenders in law enforcement agencies and frequent conflicts began to arise between the “attackers.” A new system had to be created, delicately called “partnership.” The mechanics, however, are ancient and easily recognizable. Shvartsman’s representatives began to visit entrepreneurs “with different proposals,” which they, of course, did not dare refuse, and entered into “joint activities” with the proposers:

“For example, the Russian Oil Group is the result of alliances with Rosneft, TNK and LUKOIL: first in trading, then we began to buy small and medium-sized oil producing enterprises. In other words, these companies gave the Russian Oil Group part of the sales ".

So " new system“essentially no different from the by no means new bandit protection scheme with the transfer of income to the common fund.

The policy pursued by the new corporation, although the authors call it a policy of “velvet reprivatization,” upon closer examination is indistinguishable from management with iron fists. Some of the “strategic assets” they like are bought up at half price, and the corporation “minimizes the market value different instruments" and "as a rule, these are voluntary-compulsory instruments."

The real innovation lies in the personnel that this impressive organization has: in addition to the current security forces, the “Council of Veterans of the Ministry of Internal Affairs, former employees of the OBEP, RUBOP work for it. Six hundred thousand throughout the country! They are closely monitoring analytical work- which enterprises, in which region, at what stage of corporate relations they are located. Where there is an opportunity... to oust owners who are disloyal to the authorities."

No one dares to argue. Yes, and it makes no sense, because, as Mr. Shvartsman epically narrates, “for us this is a state task - everyone understands that we have been instructed to do this. If not us, then others will come who will also perform the function of consolidating assets in the hands of the state, because This is government policy now."

Directs this public policy, of course, "party". It “is personified by the power bloc, which is headed by Igor Ivanovich Sechin,” deputy head of the Russian presidential administration. Moreover, correspondence with him, in the style of third-rate spy novels, for some reason is conducted not directly, but through a hollow. The hollow serves as the office of the honored State Duma member General Valentin Varennikov, a State Duma deputy. (Now in general outline It’s clear why the State Duma is needed, which is “not a place for discussion.”)

The assets seem to be confiscated in favor of the state corporation, but the real owners and beneficiaries are, however, “various offshore companies, Cypriot and others,” family members of “the leadership of the presidential administration,” simply “ high-ranking people“, and for some reason, separately, “physicists” - individuals, all close ones, FSB or SS members.” Oleg Deripaska once already said something similar, but then they did not pay much attention to these words and even doubted the authenticity of the conversation. After a year and a half, it is absolutely certain that Putin’s plan has not only been clearly formulated verbally, but has also been essentially implemented. And it lies in privatization Russian state a close-knit corporation of security officers and security officials, simultaneously, and with the help of this privatized state, getting their hands on all the tasty profitable assets.

And in vain Mr. Shvartsman is innocently surprised that “bandits in classic look There’s practically nothing left.” How can they survive, the “classical” ones, when the “non-classical” ones have successfully taken up their craft, and have become so successful that they have already capitalized the entire state.

There is nothing surprising in the fact that the last piece of this marvelous puzzle is now on public display, even with some impudent pride. All the preparatory steps that took Mr. Putin and his team seven for long years, have been completed, and now society has practically no legal tools to prevent the final transformation of Russia into a KGB common fund.

Everything is captured. This design is even supported ideologically in the form of the latest courses national history, which must convince citizens of the existence of a special “Russian method of governance”, in which the success of modernization is achieved by concentrating resources in the hands of a terrorist state.

The experience of our history clearly demonstrates that all such “modernizations” that transferred the country’s resources to a service corporation - the oprichnina under Ivan the Terrible, the guards under Peter I, the GPE under Stalin - ended in the complete ruin of the country. But as soon as the country accumulated a little fat under a less cannibalistic government, the new KGB corporation was immediately tempted to “modernize” it in its own way.

Nikita Sokolov
03.12.2007

UDK 8 (09)

Afanasyeva Tatyana Sergeevna

teacher, Nizhny Tagil Afanasyeva Tatyana Sergeevna

Lecturer Nizhniy Tagil

Integration of the archetypes of the rogue and the demon in the image of Ostap Bender

"Rascal" and "Demon" Archetypes Integration in Ostap Bender's

This article is devoted to the study central image dilogy by I. Ilf and E. Petrov Ostap Bender in accordance with the theory of archetypes. The author examines the genealogy of the archetype of the trickster and the demon in the context of the Russian literary tradition. The results of the study allow us to interpret the novels by I. Ilf and E. Petrov “The Twelve Chairs” and “The Golden Calf” as an integral epic work with deep themes, focused on a reliable reflection of historical realities.

The article studies the central image of the dilogy by I. Ilf and E. Petrov with the help of the theory of archetypes. The author analyzes the genealogy of the rascal and demon archetypes in Russian literary tradition. The results of the survey let us consider the novels "Twelve Chairs" and "The Golden Calf" by I. Ilf and E. Petrov as a single epic work with a deep plot aimed at a true-to-life description of historical events.

Key words: satire, dilogy, demon archetype, rogue archetype, transformation of archetypes, integration of archetypes, duality of image, space, chaos.

Key words: satire, dilogy, the archetype of demon, the archetype of rascal, transformation of archetypes, integration of archetypes, duality of the image, space, chaos.

The interpretation of the main character of the satirical duology by I. Ilf and E. Petrov became one of the main reasons for the controversy surrounding the novels “The Twelve Chairs” and “The Golden Calf”. Search results for both literary predecessors of Ostap Bender and real prototypes were numerous and varied.

The great schemer of I. Ilf and E. Petrov is a certain collective image a person of the “rogue” type, who has his own artistic genealogy in world literature, which allows us to talk about archetypicality this image. However, special attention is deserved by the fact that, paying tribute to the literary tradition, I. Ilf and E. Petrov were able to introduce a certain specificity into the image, thereby combining the artistic tradition with an innovative technique.

Modern Explorer creativity of I. Ilf and E. Petrov Yu. K. Shcheglov determined originality creative solution in creating the image of Ostap Bender is not so much “in a new combination of known characteristics and types literary hero", how much "is that these traditional signs and the types find themselves projected into Soviet reality, against the background of which they suddenly come to court, receive paradoxical application and begin to live new life» .

That historical time(early 20th century), within the framework of which the dilogy was created, largely controlled and even determined the genre, themes and issues works of art. Hence, there are so many myths regarding the state order for the first novel of the dilogy, the debunking of which only confirms the originality of I. Ilf and E. Petrov’s solution to the underlying problem posed.

The synthesis of literary tradition and individual authorial decisions led to a dualistic understanding of the image of the main character of the dilogy. In our opinion, the most justified point of view is Yu. K. Shcheglov, who regards the image of Ostap Bender as a transformation of two archetypes: demonic and picaresque. Each of the named archetypes has a long artistic tradition in world literature.

One of the earliest incarnations of the trickster archetype is the mythical Trickster. IN modern culture the Trickster archetype comes from the works of C. G. Jung; he, in turn, borrowed this image from the researcher of North American Indian myths P. Radin.

IN European culture and literature, the Trickster archetype is embodied in the image of the Scandinavian prankster god named Locke.

“In the image of the Trickster, Jung noted a number of carnival traditions... The Trickster is characterized by a love of insidious practical jokes and evil tricks, and the ability to change his appearance. But, despite its inherent negative qualities, A Trickster can create something that another can create, even at the expense of his best forces, turns out to be incapable. However, the most important thing here is that the Trickster is not a “creature of Chaos”, he is God’s favorite angel, albeit in the past. He is a wanderer, a meditator, a hermeneuticist... a trespasser..."

It should be noted that the archetype of the rogue in the image of the mythological Trickster had the closest possible approximation to the demonic archetype, however, in this case it is not possible to talk about the complete interpenetration of archetypes, since the semantics of these archetypes are fundamentally different.

The artistic tradition of realizing the archetype of the rogue on the basis of Russian culture also has its own vivid examples early interpretation. The motif of trickery and cunning is one of the important components of Russian folklore. It can be clearly seen in the popular image of the Russian fairy tale - the red cheating fox. She easily finds a way out difficult situations, showing an extraordinary mind and the ability to creatively approach problem solving. She is close to the spirit of adventure and the desire to conquer new heights. Despite the fact that the fox’s pranks are often not intended to have good intentions, at the reader’s level they are perceived with a great deal of humor.

A departure from the zoomorphic tradition of depicting the rogue archetype can be traced in the genre of folklore anecdote. “The folklore joke and its book derivatives are built on the opposition of intelligence (cunning) and stupidity (naive simplicity), sometimes combined in one person. The mediator between the rogue and the simpleton is the jester. When both antagonists are cunning, then the trickery of one can be overcome by the counter-cunning of the other. This happens, for example,

in numerous adulterous plots in which we admire either the dexterity of the lover or the counter-actions of the husband.”

The genesis of the rogue archetype is fully explicated in the example of the favorite hero of Russian farce stories, Petrushka, whose fame was created by his wit and cunning.

Traditions of the genre picaresque novel can also be traced in the material of original Russian literature.

In the poem by N.V. Gogol “ Dead Souls“The archetype of the rogue is reconstructed in the image of the main character Chichikov, whom the writer endowed with the traits of a new person who appeared in Russian society of the 19th century.

The main attention is paid to updating the meaning of duality. Chichikov, as a representative of modern times, is quite smart and inventive, which makes him similar to the Cosmos, but at the same time, he is extremely ambitious and vain, passionate and passionate, in his desire to achieve his goal he is ready to go to extreme measures, to embark on the most risky adventure, which brings his nature closer to the demonic principle, and therefore to Chaos.

One of distinctive features The trickster is his free spirit. He is free to choose his own path. Therefore, the motif of the road, which ends the novel, promises the Trickster the acquisition of truth and freedom, and gives hope for achieving harmony.

The semantics of the demon archetype in world literature is characterized in to a greater extent separate meaning than the semantics of the rogue archetype. The historical interpretation of the demon archetype is based on its perception as an antagonist of God, that is, within the framework of opposition between the categories of Cosmos and Chaos. Demon in his traditional meaning presented in the image of the devil (Christian literature) and its ethnic and religious equivalents. The meaning of the existence of an archaic demon comes down to his desire to defeat God by “enticing” God’s creations - people - to his side ( biblical story about expulsion from paradise).

The literary work of I. Ilf and E. Petrov was far from the traditions characteristic of romanticism and symbolism. The plot of the novels “The Twelve Chairs” and “The Golden Calf” is built on the same principle as the poem “Dead Souls” by N.V. Gogol, written by him in accordance with the traditions of realism. The similarity of these works is due not so much to the influence of traditions classical literature, as much as the similarity of historical time. However, in the image of Ostap Bender, who, like the image of Chichikov, arose on the basis of a change in foundations, the archetype of the rogue acquired new features that were not characteristic of his predecessors. Thus, the traditional archetype of the rogue in the works of I. Ilf and E. Petrov received new interpretation. First of all, this became possible due to the synthesis of two semantically close and more than once integrated archetypes of the rogue and the demon. The basis for the image of the great schemer was the Trickster archetype, in which the rogue and the demon are components of one whole. The choice of one of the components of the presented archetype as a key one was the reason for the often one-sided interpretation of the image of Ostap Bender in critical literature.

The picaresque and demonic hypostases allow us to interpret the image of the main character of the dilogy on two levels. As a rogue, Ostap Bender “belongs to the type of declassed adventurers whose interests are located in a trivial, “base” sphere, deliberately disconnected from any idealistic or prestigious aspirations.” As a demon, Ostap Bender carries out a specific mission in the confrontation between Space and Chaos.

The system of life principles of a rogue is as mobile and dynamic as the lifestyle he leads. The specificity of the image of the picaresque archetype is its placement in a special art world, possessing an immanent organization with its own norms and laws. This model of the world is most clearly demonstrated in “ Odessa stories"Babel, where the characters speak in their own jargon and discuss topics that are far from human understanding of the “general” world of extra-textual reality.

The great schemer of I. Ilf and E. Petrov also lives in his own separate world and has a fairly flexible concept of morality, which allows him to feel comfortable in the proposed circumstances, and even moreover, to occupy a leading position in them.

Given a different combination of circumstances, the rogue could become a “cultural” (positive) hero, thereby realizing his original cosmic component, expressed, in particular, in his creativity. However, the writers excluded the cosmic component of the Trickster-rogue, focusing on the chaotic, thereby depriving their hero of the right to catharsis. Creative skills Ostap are aimed exclusively at serving his “base” needs, therefore, their development as a cosmic component is ultimately reduced to regression.

The dualistic component of the essence of the rogue archetype is reflected in the ambiguous perception of his role in works. On the one hand, Ostap Bender is an exposer of the vices of modern society, and on the other, he himself is one of its vices. In this case, there is a coincidence of the picaresque and demonic hypostases of the image of the great schemer. Yu. K. Shcheglov notes that “One can consider Bender’s trickery and demonism as two contrasting registers through which a single theme of “lack of involvement” is carried out and which are then inextricably combined in the characteristic model of Bender’s behavior, in the pattern of Bender’s verbal and practical wit familiar to all readers.” .

Traditionally, a demonic character has a certain charisma, which contributes to his perception as positive hero. Here it should be emphasized that the task of the archaic demon was precisely seduction and misinformation. Ostap Bender often acts on the same principle. It is important to note that his process of seduction is always played out in accordance with the “carnival principle,” the key components of which are metamorphosis and mystification (“Start a career as a polygamist without a marvelous, dapple-gray

suit, it was impossible. In addition, you had to have at least ten rubles for representation and seduction." The small obstetric suitcase that Ostap carries with him everywhere is a miniature wardrobe of human masks. Seducing and misleading characters artistic reality, the demonic essence of Ostap also performs a super task, gaining sympathy and empathy from the readership.

Ostap's demonic essence determines his deep internal conflict, which lies in his own soullessness. The money that he so strives to obtain throughout the action of two novels has no value in itself; it is a symbol of life, “free from itself,” from its eternal search and wanderings. They must bring him to an ideal city, a paradise, a “symbolic” Rio de Janeiro: “I have wanted to go to Rio de Janeiro since childhood. You, of course, don’t know about the existence of this city... One and a half million people, and all of them are wearing white pants.” Shura Balaganov, naturally, does not know about the existence of such a city, because precisely such a city-paradise, a city-utopia, does not exist in reality, just as there is no world in which Ostap wants to plunge into, having received the coveted million.

In studies of the works of I. Ilf and E. Petrov, the idea of ​​​​the nobility of Ostap Bender, manifested from time to time in broad gestures of unexpected self-sacrifice, can often be traced. All such actions have a different basis. Ostap needs society to fill the emptiness around him, which, nevertheless, turns out to be irreplaceable.

Kisa Vorobyaninov, Shura Balaganov and Panikovsky perform the function of a retinue, “lower” demons surrounding their master. It is no coincidence that Ostap rarely calls each of them by name, preferring to use nicknames (Konrad Karlovich Mikhelson, Kisa, the leader of the Camacho - new names for Ippolit Matveevich Vorobyaninov; Vasya, flight mechanic, Admiral Balaganov - Shura Balaganov; student, old man - Panikovsky). Thus, he not only emphasizes his power over them, but also “destroys” them

individuality. In everyday communication, Ostap often calls Vorobyaninov Kisa, a childhood nickname at home that remains in the distant past and has no connections with the present. The meeting with Shura itself takes place in masquerade conditions (at the time of the meeting with Ostap Balaganov had already renounced his real life). This is confirmed by Bender’s words: “This is not good. Why are you selling your immortal soul? The “ceremony” of accepting Panikovsky into the retinue has the greatest ritualization: “Kneel down,” said Ostap. Panikovsky sank to his knees so quickly, as if his legs had been cut off. - Fine! - said Ostap. - Your pose satisfies me. You are accepted conditionally, until the first violation of discipline, with the assignment of servant duties to you for everything.”

The only one whose name remains unchanged throughout the entire narrative is Adam Kazimirovich Kozlevich. This is explained by the fact that he is not part of Ostap’s retinue. According to the commander's definition, he is “just a lamb, a failed Baptist” who has lost his faith. Thus, Kozlevich is an accidental victim who paid for his unsteady spirit. In this light, the scene of the dispute between Ostap and the clergy takes on symbolic meaning, and the phrase “and the fight for the immortal soul of the driver began” is the direct meaning.

This episode has a fairly clear reference to the philosophical treatise of F. Nietzsche. This fact was not noted in traditional critical literature, and the entire scene of the dispute, despite its deep philosophical themes, was perceived as satirical. Then how exactly here I. Ilf and E. Petrov raised one of the most important problems modern society - spiritual anarchy. In this case, Ostap Bender takes on the role of a superman, a “substitute for God,” about whom Nietzsche spoke: “-Priest! Stop talking! - he said sternly great schemer. - I myself performed miracles. Not more than four years ago I had to spend several days in one small town as Jesus Christ. And everything was in order... The sky is now desolate. Not that era. Wrong period of time." IN this world

the appearance of a demon proclaiming his own dominion is quite natural. Its task is to ensure that in the current historical events awaken confusion and sow Chaos.

Between the two novels of the dilogy lies a relatively short period of time, and, at first glance, the described historical reality is identical, while one cannot help but notice that there is a significant difference between Ostap Bender in “The Twelve Chairs” and Ostap Bender in “The Golden Calf,” for which there are a number of reasons. This is both the increased skill of writers and their changed perception of reality. If the first novel of the dilogy is, to a greater extent, an adventure novel, gravitating toward the classics of the picaresque genre, then “The Golden Calf” is already a novel with philosophical overtones. Plut Ostap Bender according to literary tradition invariably fails, be it a useless pursuit of Madame Petukhova's treasure or a scam with a million. The only thing he gets is sympathy from the reader, captivated by the sharpness of his mind or his cheerful disposition. Thus, we can say that the rogue character receives “conditional immortality.” The ending of the first novel, where Ostap dies at the hands of his companion, is plot-unexpected, but genre-justified.

In the novel “The Golden Calf,” a “qualitatively new” Ostap Bender appears before readers. At the very beginning of the novel, Bender says about himself: “I am not a surgeon. I am a neurologist, I am a psychiatrist. I study the souls of my patients. And for some reason you always come across very stupid souls.” Thus, the new, reborn Ostap is, first of all, a great schemer, that same Bulgakov researcher human souls in its first, early guise. As a character, the demonic Ostap Bender stands above the categories of life and death; even the concept of “reckoning” has only a conditional meaning for him.

The synthesis of the archetypes of the demon and the rogue, presented in the image of Ostap Bender, made it possible to harmoniously reflect the contradictory aspects of his character and, in addition, provide a logical explanation for his actions.

The demonic figure of Ostap Bender became iconic for his era. Disguising himself as a swindler and swindler, he remained above suspicion for a long time. Soviet censorship, because “the jester and swindler who with social point looked like “nobodies”, they got away with a lot.” The organic fusion of the demonic and the picaresque in the image of the great schemer was the reason for saving the duology of I. Ilf and E. Petrov from the label “forbidden literature.”

Without a doubt, Ostap Bender is more of a demon than a rogue, which was especially clearly reflected in the seemingly incomplete plot of the second novel of the dilogy. The question of whether the great schemer suffered defeat or won remained open for a long time, while the answer to it is determined by literary tradition and the archetypal convention of the dilogy of I. Ilf and E. Petrov. The criteria for evaluating the image of Ostap Bender cannot be correlated with typical evaluation criteria that differentiate literary characters according to the “positive-negative” principle. The archetype of the demon-rogue, realized in the image of the great schemer, expanded art space dilogy, focusing on social conflicts modern authors reality.

Bibliography

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