A person who plays in public and at the same time unjustifiably extols himself is the meaning of the word "fat" in its classical sense. Encyclopedic dictionaries somewhat expand the semantic boundaries of the word, drawing parallels with the scenic roles of pompous and limited, but in fact, just stupid heroes. Entire plays are devoted to playing roles of such a plan, but even in life the Fatov style of behavior looks no less ridiculous and ridiculous.
The language of the classics
Often the word "fat" or "fatalism" is found in the prose of the writers Goncharov, Turgenev, Nekrasov. Druzhinin sharply and not without irony condemned fatalism, wondering how an adult and reasonable person can lay a solid piece of his life on the altar of mystification of his own significance.
Neither Lermontov, nor Pushkin ever mentioned this word in his work, but did not each of them reflect the qualitative essence of such untalented power of a well- suspended language and the ability to play whole solo performances about himself? Fat is primarily a person who is dissatisfied with his own position in the world, that’s what is read between the lines in a ridiculous and shameful manner deduced by the most famous classics of all time.
Well speaks of this phenomenon, not subject to time, the newspaper "Northern Bulletin" 1805 issue. Without citing the entire article, we give the author’s opinion on the question “what is fat?”, Which sounded in those days as an appeal to the fashionable French language (fat is “stupid” in translation from French). An unknown philologist explained to the reader that a person prone to fatalism could create a spectator mass only from the public, much dumber than himself, while people who are at least at the top smarter knowingly avoid talking to such an object. This person is not smart enough to allow himself to be sincere, even alone with himself, but you can’t even completely call her stupid, since creating an image, although false, is the same work of the mind.
Fatalism as a genre
Nobody has described so far a veil more characteristic than Nikolai Gogol in his famous “Examiner”. Not once in the whole play did the prose writer use the word "fat." This is all the more valuable, since the viewer himself was able to discover in the protagonist the entire spectrum of disgusting artificiality inherent in public antics.
But did the people who surrounded this hoaxer and croupier turned out to be even a little smarter? This is an important lesson taught by the brilliant master over the course of numerous episodes and changes of scenery - fatalism is disgusting in itself, and those who follow it are simply ridiculous, ridiculous to absurdity.
From the life of the great composer
According to the brother of P.I. Tchaikovsky, there was a certain oddity in the character of the composer, which, without detracting from the creator in him, found in him a person who was not completely satisfied with himself. We are talking about a rather vague confirmation of the belonging of the Tchaikovsky family to the ancient nobility.
That mocking ardor and even publicly reckoning his family with the plebeian estate bordered Pyotr Ilyich with a sort of mania of a dandyish denial, when a person would certainly want to be constantly convinced of the opposite. It was impossible to name such behavior of the composer as anything other than a peculiar fatality, which his brother admitted frankly in his letters. From this we see that the veil is not only a frank, but also a sufficiently disguised form of exaltation, which is easier to detect, the more violently a person denies his actual position.