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Гуттаперчевый мальчик
Дмитрий Васильевич Григорович — выдающийся русский писатель, автор многочисленных произведений, великолепно изображающих крестьянский быт середины XIX в. Он стал отцом русской «мужицкой» беллетристики, положив начало дворянскому народничеству в литературе.
Первая же его большая повесть, «Деревня», возбудила неподдельный интерес читателей к реальному народному быту. Следующая повесть, «Антон-Горемыка», перевела этот интерес уже в самую горячую симпатию и сочувствие, так как живописала ужасы крепостного права гораздо яснее и непосредственнее, чем вышедшие в то же время тургеневские «Записки охотника». Григорович уловил витавшую в воздухе тех лет идею и смог привести читателя к твердому убеждению, что народ достоин того, чтобы быть свободным.
Первая же его большая повесть, «Деревня», возбудила неподдельный интерес читателей к реальному народному быту. Следующая повесть, «Антон-Горемыка», перевела этот интерес уже в самую горячую симпатию и сочувствие, так как живописала ужасы крепостного права гораздо яснее и непосредственнее, чем вышедшие в то же время тургеневские «Записки охотника». Григорович уловил витавшую в воздухе тех лет идею и смог привести читателя к твердому убеждению, что народ достоин того, чтобы быть свободным.
32 pages, Hardcover
Published January 1, 1978
3 people are currently reading
29 people want to read
About the author
Dmitry Grigorovich
47 books8 followersDmitry Vasilyevich Grigorovich (Russian: Дмитрий Григорович (March 31 [O.S. March 19] 1822 - January 3 1900 [O.S. December 22, 1899]) was a Russian writer, best known for his first two novels, The Village and Anton Goremyka, and lauded as the first author to have realistically portrayed the life of the Russian rural community and openly condemn the system of serfdom.
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Displaying 1 - 9 of 9 reviews
October 7, 2024
Triste, miserabile ma bellissimo.
November 21, 2020
Рассказ - оммаж Диккенсу (а может, просто совпало), но хэппи-энда не ждите.
Эпиграф - спойлер:
Эпиграф - спойлер:
«...Когда я родился — я заплакал; впоследствии каждый прожитой день объяснял мне, почему я заплакал, когда родился...»
May 6, 2021
Il quinto giorno di Maslenica, un allegro periodo di festa che precede la Quaresima, Petja è costretto a eseguire un numero particolarmente difficile per divertire gli spettatori del circo. Lui è infatti “il ragazzo di guttaperca”, uno degli acrobati circensi chiamati a soddisfare la curiosità del pubblico.
Ma se dall’esterno il circo è tutto luci e risate, Petja in realtà è trattato come un prigioniero. Può lasciare la sua stanza solo per recarsi agli allenamenti e agli spettacoli e, per raggiungere la flessibilità necessaria, deve eseguire esercizi estenuanti dove spesso viene sottoposto a violenze. Rimasto orfano, non ha nessuno che lo difenda e può contare solo sulla bontà del vecchio clown Edwards, l’unico a mostrargli affetto.
Proprio quel giorno ad assistere allo spettacolo circense ci sono i tre figli del Principe Limistomirov che, al contrario di Petja, vivono circondati dagli agi e protetti da ogni male. Per loro recarsi al circo equivale a ricevere un premio, un regalo proprio in occasione della Maslenica.
Il romanzo ottocentesco è una vera e propria critica sociale, Petja è l’Oliver Twist di Dickens trasportato in un altro universo e in un altro destino. Grigorovič ci racconta il dramma di “un’infanzia ferita”, Petja è solo e povero e dunque senza speranza.
Ma se dall’esterno il circo è tutto luci e risate, Petja in realtà è trattato come un prigioniero. Può lasciare la sua stanza solo per recarsi agli allenamenti e agli spettacoli e, per raggiungere la flessibilità necessaria, deve eseguire esercizi estenuanti dove spesso viene sottoposto a violenze. Rimasto orfano, non ha nessuno che lo difenda e può contare solo sulla bontà del vecchio clown Edwards, l’unico a mostrargli affetto.
Proprio quel giorno ad assistere allo spettacolo circense ci sono i tre figli del Principe Limistomirov che, al contrario di Petja, vivono circondati dagli agi e protetti da ogni male. Per loro recarsi al circo equivale a ricevere un premio, un regalo proprio in occasione della Maslenica.
Il romanzo ottocentesco è una vera e propria critica sociale, Petja è l’Oliver Twist di Dickens trasportato in un altro universo e in un altro destino. Grigorovič ci racconta il dramma di “un’infanzia ferita”, Petja è solo e povero e dunque senza speranza.
November 22, 2023
“...When I was born, I cried; subsequently, every day I lived explained to me why I cried when I was born...”
A short story written in 1882 tells about a little boy, Petja, whose life has been nothing but tragic. After becoming an orphan during a cold winter in Saint Petersburg, he ends up in a circus against his will.
Acrobat Bekker wants Petja to perform with him and uses violence to make the boy as flexible as rubber or gutta-percha tree. The only person who cares about Petja is an alcohol-addicted clown, Edwards, who tries to protect him from Bekker.
Petja stands in contrast to the privileged children of Count Limistomirov, who experience the warmth of love and care in their upbringing. They receive circus tickets as a reward for good behavior and are excited to watch the gutta-percha boy’s performance.
However, Bekker’s violence made Petja very shy and unconfident – traits that are detrimental for an acrobat. And the story takes a tragic turn during the boy’s performance.
Through Petja’s story, the author criticizes a society where some people are born fortunate while others have to face the terrors of life, a theme that also reminds us of Oliver Twist. A very good short story that will leave you contemplating long after you've finished reading it.
A short story written in 1882 tells about a little boy, Petja, whose life has been nothing but tragic. After becoming an orphan during a cold winter in Saint Petersburg, he ends up in a circus against his will.
Acrobat Bekker wants Petja to perform with him and uses violence to make the boy as flexible as rubber or gutta-percha tree. The only person who cares about Petja is an alcohol-addicted clown, Edwards, who tries to protect him from Bekker.
Petja stands in contrast to the privileged children of Count Limistomirov, who experience the warmth of love and care in their upbringing. They receive circus tickets as a reward for good behavior and are excited to watch the gutta-percha boy’s performance.
However, Bekker’s violence made Petja very shy and unconfident – traits that are detrimental for an acrobat. And the story takes a tragic turn during the boy’s performance.
Through Petja’s story, the author criticizes a society where some people are born fortunate while others have to face the terrors of life, a theme that also reminds us of Oliver Twist. A very good short story that will leave you contemplating long after you've finished reading it.
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February 25, 2023Vaene vaeslaps Petja passitatakse tsirkusetruppi akrobaat Beckeri kasvandikuks. Üks lohutu lugu.
Eriti raskeks läks siis, kui õppimine peale hakkas. Pärast esimesi proove oli Becker veendunud, et polnud poisis eksinud; Petja oli kerge kui udusulg ja painduvate liikmetega; muidugi oli lihastes jõudu vähe, et olla nende looduslike omaduste peremees, kuid sellest polnud veel häda. Becker ei kahelnud, et harjutused annavad ka jõudu juurde. Osalt oli ta selles juba oma kasvandiku juures jõudnud veenduda. Kuu ajaga, mil ta oli poisi igal hommikul ja õhtul põrandale pannud, sundinud teda pead jalgade juurde alla painutama, jõudis Petja niikaugele, et sooritas seda harjutust ise, ilma juhendaja abita. Võrratult raskem oli tal painutada end tagurpidi ja puudutada kuklaga kandasid: tasapisi hakkas ta siiski ka sellega toime tulema. Ta õppis osavasti jooksu pealt üle tooli hüppama, ent kui Becker hakkas ka seda nõudma, et kui poiss on toolist üle hüpanud, ei maanduks ta teisele poole mitte jalgadele, vaid kätele, jättes jalad õhku, siis sellega sai ta üksnes harva hakkama; Petja lendas kukerkuuti, kukkus näo või pea peale, riskides kaelaluud murda.
lk 22
Eriti raskeks läks siis, kui õppimine peale hakkas. Pärast esimesi proove oli Becker veendunud, et polnud poisis eksinud; Petja oli kerge kui udusulg ja painduvate liikmetega; muidugi oli lihastes jõudu vähe, et olla nende looduslike omaduste peremees, kuid sellest polnud veel häda. Becker ei kahelnud, et harjutused annavad ka jõudu juurde. Osalt oli ta selles juba oma kasvandiku juures jõudnud veenduda. Kuu ajaga, mil ta oli poisi igal hommikul ja õhtul põrandale pannud, sundinud teda pead jalgade juurde alla painutama, jõudis Petja niikaugele, et sooritas seda harjutust ise, ilma juhendaja abita. Võrratult raskem oli tal painutada end tagurpidi ja puudutada kuklaga kandasid: tasapisi hakkas ta siiski ka sellega toime tulema. Ta õppis osavasti jooksu pealt üle tooli hüppama, ent kui Becker hakkas ka seda nõudma, et kui poiss on toolist üle hüpanud, ei maanduks ta teisele poole mitte jalgadele, vaid kätele, jättes jalad õhku, siis sellega sai ta üksnes harva hakkama; Petja lendas kukerkuuti, kukkus näo või pea peale, riskides kaelaluud murda.
lk 22
December 6, 2019
Way too political, as much of the older/early(1940ies-1950ies) postwar Soviet recommended children's lit. (and yes, I know it's from the 19th century)
June 16, 2024
Still mad at my parents for making me read this shit as a child
May 15, 2025
эх, мое сердце болит
February 1, 2014
Литература для детей? Мальчик-даун, клоун-алкоголик, граф-невротик? Ну допустим, конечно.
Displaying 1 - 9 of 9 reviews