『골로블료프가의 사람들』의 서술구조 (The Narrative Structure of )

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초록

This article is intended to analyze the narrative structure of Saltykov-Shchedrin’s «The Golovlevs». The narrative structure of this work deviates from the norms of the 19th century traditional novel in that most of the characters die in a row from the first chapter to the end of the novel. It means that there are no rooms for the protagonists to interact in «The Golovlevs». Instead of representing the gradual rise of the hero’s fortunes, or at least offering a satisfactory resolution of the problems the novel poses as we see in the nineteenth-century novel, Saltykov-Shchedrin, well-known not so much a novelist as a satirist in the 19th century Russia, portrays the consecutive deaths in the novel concentrating on the downfall of the Golovlev family, thus creates the gloomy picture of nineteenth-century land owning class.
The novel focuses only on exposing the hypocrisy and corruptive aspects of the gentry class so that there exists neither positive figures nor the bright side of life. It makes us postulates that Saltykov-Shchedrin simplifies the narrative structure of «The Golovlevs» for his satiric intent. In fact, the novel consists of two narrative forms. One is the reiteration and the other is symbolic projection of the themes to the natural settings. The repetitive structure is mainly based upon the parody of the ‘Prodigal Son’ and the deaths of the characters. Each of three generations of the Golovlevs family seemingly assumes the reversed roles of either a generous father or a forgiven son.. For example, the first son of the family, Stepan who dissipates his share of parents’ wealth returns home and meets the severe punishment instead of forgiveness. The protagonist, Porfiry assuming the role of a generous father of the parable denies his two sons’ supplication for help, which drives them to death.
The tragic destiny of the Golovlevs is intensified by repetitive descriptions of characters’ self-destruction at the last moments of their life. The novel moves in keeping with the setting. Beginning from the landscape scenery to the portrayal of the domestic surroundings of the Golovlevs, all is dismal, heavy and dark. Take weather for example, it is either raining or snowing regardless of the seasons. The empty thoughts and psychological chaos of the characters are reflected in the natural settings. As a result, the satiric bent of the writer is fulfilled. The emotional effect, however, we expect from satire is not achieved despite all the villains in the novel deserve their tragic destiny. The stirring of Porfiry’s conscience and his death with no chance of moral regeneration at the ending especially makes readers rather sympathize with him than laughs at him.
In conclusion, we might say that Saltykov-Shchedrin realizes his satiric purpose of attacking the landowners of the nineteenth-century Russia in the novel while «The Golovlevs» cannot be categorized as satire because of its intensive attack on the evil-doers instead of their corrigible faults. Satire can be justified in that its ideal object is not so much the individual as the failing.

영어초록

This article is intended to analyze the narrative structure of Saltykov-Shchedrin’s «The Golovlevs». The narrative structure of this work deviates from the norms of the 19th century traditional novel in that most of the characters die in a row from the first chapter to the end of the novel. It means that there are no rooms for the protagonists to interact in «The Golovlevs». Instead of representing the gradual rise of the hero’s fortunes, or at least offering a satisfactory resolution of the problems the novel poses as we see in the nineteenth-century novel, Saltykov-Shchedrin, well-known not so much a novelist as a satirist in the 19th century Russia, portrays the consecutive deaths in the novel concentrating on the downfall of the Golovlev family, thus creates the gloomy picture of nineteenth-century land owning class.
The novel focuses only on exposing the hypocrisy and corruptive aspects of the gentry class so that there exists neither positive figures nor the bright side of life. It makes us postulates that Saltykov-Shchedrin simplifies the narrative structure of «The Golovlevs» for his satiric intent. In fact, the novel consists of two narrative forms. One is the reiteration and the other is symbolic projection of the themes to the natural settings. The repetitive structure is mainly based upon the parody of the ‘Prodigal Son’ and the deaths of the characters. Each of three generations of the Golovlevs family seemingly assumes the reversed roles of either a generous father or a forgiven son.. For example, the first son of the family, Stepan who dissipates his share of parents’ wealth returns home and meets the severe punishment instead of forgiveness. The protagonist, Porfiry assuming the role of a generous father of the parable denies his two sons’ supplication for help, which drives them to death.
The tragic destiny of the Golovlevs is intensified by repetitive descriptions of characters’ self-destruction at the last moments of their life. The novel moves in keeping with the setting. Beginning from the landscape scenery to the portrayal of the domestic surroundings of the Golovlevs, all is dismal, heavy and dark. Take weather for example, it is either raining or snowing regardless of the seasons. The empty thoughts and psychological chaos of the characters are reflected in the natural settings. As a result, the satiric bent of the writer is fulfilled. The emotional effect, however, we expect from satire is not achieved despite all the villains in the novel deserve their tragic destiny. The stirring of Porfiry’s conscience and his death with no chance of moral regeneration at the ending especially makes readers rather sympathize with him than laughs at him.
In conclusion, we might say that Saltykov-Shchedrin realizes his satiric purpose of attacking the landowners of the nineteenth-century Russia in the novel while «The Golovlevs» cannot be categorized as satire because of its intensive attack on the evil-doers instead of their corrigible faults. Satire can be justified in that its ideal object is not so much the individual as the failing.

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