The fairy tale by M. Saltykov-Shchedrin, which you read. Real and fantastic in a fairy tale
1. Satire by Saltykov-Shchedrin.
2. Genre features fairy tales
3. Heroes.
4. Fantastic motives.
The fairy tales of M. E. Saltykov-Shchedrin are a completely special layer of the writer’s creativity. Almost everything Saltykov-Shchedrin created in last years life. These short works They amaze with their variety of artistic techniques, as well as their social significance. The writer addresses his “fairy tales” to “children of a fair age.” Thus, Saltykov-Shchedrin seems to want to debunk the naive illusions of some adults who are accustomed to looking at the world through rose-colored glasses. The writer treats his readers harshly and does not spare them. Saltykov-Shchedrin's satire in fairy tales is especially sharp and merciless. The writer uses fantastic motives, so that thanks to them they emphasize social contradictions. He can be poisonous and merciless. But otherwise his works would not be so accurate and truthful. I. S. Turgenev wrote about the work of Saltykov-Shchedrin: “I saw listeners writhing with laughter when reading some of Saltykov’s essays. There was something scary in that laughter. The audience, laughing, at the same time felt like a scourge was lashing itself.” The writer used satire to make readers think about social contradictions, to arouse indignation in their minds about what is happening around them.
It was not by chance that Saltykov-Shchedrin chose the fairy tale genre. Thanks to allegory, he could openly express his opinion on a variety of issues. Saltykov-Shchedrin managed to harmoniously connect the genres of fairy tales and fables. From fairy tales the writer borrowed such genre techniques as unexpected transformations and the location of the action (the writer often says: “in a certain kingdom...”). The fable genre is manifested in the choice of heroes. The wolf, hare, bear, eagle, crow and other animals, birds and fish are perceived by the reader as masks behind which quite recognizable faces from the human world are hidden. Under the masks of representatives of the animal world, Saltykov-Shchedrin shows character traits different social types. The topical content of fairy tales is only emphasized by the intensity of passions that are characteristic of each fairy tale. Saltykov-Shchedrin aimed to use a grotesquely ugly form to show vices public life, and weak sides of people. It is easy to recognize human characters behind the heroes of fairy tales, the writer shows them so recognizable. If Saltykov-Shchedrin makes people heroes of fairy tales, then he depicts a fantastic situation. People who find themselves in the center of this situation look very unattractive. Fantasy in fairy tales is an extraordinary situation. And everything else - human types, characters - this is all quite real. All fairy tales, without exception, are very interesting. For example, the fairy tale “The Wild Landowner” shows us a very stupid and short-sighted master. He always enjoyed the fruits of the labors of his peasants, but did not appreciate it at all. Moreover, the master turned out to be so stupid that he decided to get rid of the peasants. His wish came true. What happened after that? The landowner degenerated and became wild. The fantastic thing in the fairy tale is the situation when the stupid master’s wish came true, and the peasants disappeared from his estate. The fantastic nature of the tale shows that the well-being of the landowner rested solely on the peasants. And as soon as the peasants were gone, the landowner turned into a wild beast. The harsh truth of this tale is that the ruling class takes advantage of the labors ordinary people and at the same time does not appreciate them at all.
Saltykov-Shchedrin repeatedly emphasizes the wretchedness, stupidity, and short-sightedness of representatives of the ruling class. For example, the fairy tale “The Tale of How One Man Fed Two Generals” makes you think about how helpless the generals are and how strong and savvy the common man is. The generals cannot do without his help, and he himself lives well alone. Saltykov-Shchedrin gives animals human traits and reproduces any social situation. In the fairy tale “The Selfless Hare,” the hare is cowardly, weak, and indecisive. He is a typical victim, humiliated and helpless. The wolf is vested with power, personifies the master. The hare puts up with his position as a slave and does not try to do anything to change his life. The despot wolf revels in power, humiliating the unfortunate victim. People are visible under the masks of animals. Tales of Saltykov-Shchedrin - realistic works. The writer calls a spade a spade using allegory. In the fairy tale “The Selfless Hare,” the wolf says: “Because you didn’t stop at my first word, here’s my decision for you: I sentence you to be deprived of your belly by being torn to pieces. And since now I’m full, and my wolf is full, and we have enough reserves for another five days, then sit under this bush and wait in line. Or maybe... ha ha... I’ll have mercy on you.” He is clearly mocking the victim. But the trouble is that the victim deserves such treatment. After all, a slavishly obedient hare is devoid of pride and self-respect. He represents the common people, patient, humble and helpless. From the point of view of Saltykov-Shchedrin, all these qualities deserve reproach. The writer considered satire to be an effective and efficient weapon, capable of opening eyes to various social and personal vices.
The writer's tales occupy a very important place in the treasury of Russian literature. Their relevance is obvious even now, when a lot of time has passed since they were written. There are also phenomena in society that deserve sharp condemnation.
A brief analysis of Saltykov-Shchedrin’s fairy tale “The Wild Landowner”: idea, problems, themes, image of the people
The fairy tale “The Wild Landowner” was published by M. E. Saltykov-Shchedrin in 1869. This work is a satire on the Russian landowner and the ordinary Russian people. In order to bypass censorship, the writer chose a specific genre, “fairy tale,” within which a deliberate fable is described. In the work, the author does not give his characters names, as if hinting that the landowner is collective image all landowners in Rus' in the 19th century. And Senka and the rest of the men are typical representatives of the peasant class. The theme of the work is simple: the superiority of the hardworking and patient people over the mediocre and stupid nobles, expressed in an allegorical manner.
Problems, features and meaning of the fairy tale “The Wild Landowner”
Saltykov-Shchedrin’s fairy tales are always distinguished by simplicity, irony and artistic details, using which the author can absolutely accurately convey the character of the character “And there was that stupid landowner, he read the newspaper “Vest” and his body was soft, white and crumbly”, “he lived and looked at the light rejoiced."
The main problem in the fairy tale “The Wild Landowner” is the problem of the difficult fate of the people. The landowner in the work appears as a cruel and ruthless tyrant who intends to take away the last thing from his peasants. But after hearing the prayers of the peasants for better life and the landowner's desire to get rid of them forever, God grants their prayers. They stop bothering the landowner, and the “men” get rid of oppression. The author shows that in the world of the landowner, the peasants were the creators of all goods. When they disappeared, he himself turned into an animal, grew overgrown, and stopped eating normal food, since all the food disappeared from the market. With the disappearance of the men, the bright one left, rich life, the world has become uninteresting, dull, tasteless. Even the entertainment that previously brought pleasure to the landowner - playing pulque or watching a play in the theater - no longer seemed so tempting. The world is empty without the peasantry. Thus, in the fairy tale “The Wild Landowner” the meaning is quite real: the upper strata of society oppress and trample the lower ones, but at the same time cannot remain at their illusory heights without them, since it is the “slaves” who provide for the country, but their master is nothing but problems, we are unable to provide.
The image of the people in the works of Saltykov-Shchedrin
The people in the work of M. E. Saltykov-Shchedrin are hardworking people in whose hands any business “argues.” It was thanks to them that the landowner always lived in abundance. The people appear before us not just as a weak-willed and reckless mass, but as smart and insightful people: “The men see: although their landowner is stupid, he has been given a great mind.” Peasants are also endowed with such an important quality as a sense of justice. They refused to live under the yoke of a landowner who imposed unfair and sometimes insane restrictions on them, and asked God for help.
The author himself treats the people with respect. This can be seen in the contrast between how the landowner lived after the disappearance of the peasantry and during his return: “And suddenly again there was a smell of chaff and sheepskins in that district; but at the same time, flour, meat, and all kinds of livestock appeared at the market, and so many taxes arrived in one day that the treasurer, seeing such a pile of money, just clasped his hands in surprise...”, it can be argued that the people are driving force society, the foundation on which the existence of such “landowners” is based, and they, of course, owe their well-being to the simple Russian peasant. This is the meaning of the ending of the fairy tale “The Wild Landowner”.
Interesting? Save it on your wall!
Scientific and practical conference
“First steps into science-2015” on the basis of the Petropavlovsk Secondary School named after the hero Soviet Union Zhukova D.A.”
Subject:
« Folklore motives in fairy tales by M.E. Saltykov-Shchedrin" (project)
10th grade student,
MBOU "Solovyikhinskaya Secondary School"
Scientific adviser:
Nechaeva Irina Nikolaevna,
teacher of Russian language and literature
Petropavlovskoe, 2015
Content
Plan research work………………………………………………...2
Epigraph………………………………………………………………………2 Relevance…………………………………………………………… ……………………...3
Objectives of the work………………………………………………………………………………….5
Hypothesis………………………………………………………………………………4
Objectives of the work………………………………………………………………………………..5
Research methods……………………………………………………………………………….5
Introduction……………………………………………………………………………………..6
Main part…………………………………………………………..7-16
Conclusion………………………………………………………..…………......17
Conclusions………………………………………………………………………………….18
Results…………………………………………………………………………………18
Literature………………………………………………………………………………19
Appendix…………………………………………………………....20-22
Research plan :
Stage I.Organizational and preparatory.
Determining the research topic; formulation problematic issues research; research planning (goals, hypothesis, methods); familiarization with the criteria for assessing public defense of work.
Stage II.Research.
Conducting research: collecting information; solving intermediate problems; documenting research results; information analysis; drawing conclusions
III.Final. Public protection of educational and research work.
Oral report with demonstration of materials, written report.
Epigraph
“Saltykov has... this serious and malicious humor, this realism, sober and clear amid the most unbridled play of the imagination...”
I.S. Turgenev
Relevance
A striking sign of the creativity of many writers of the 19th century century was their ability to continue folklore traditions in their works. Pushkin, Nekrasov, Gogol, and Tolstoy were famous for this. But this series would be incomplete if we did not add one more name to it - Saltykov-Shchedrin.
The fairy tale is one of the most popular folklore genres. This type of oral storytelling with fantastic fiction has a long history. Saltykov-Shchedrin's tales are connected not only with folklore tradition, but also with satirical literary fairy tale XVIII-XIX centuries. Already in his declining years, the author turned to the fairy tale genre and created the collection “Fairy Tales for Children of a Fair Age.” They, according to the writer, are called upon to “educate” these very “children”, to open their eyes to the world around them.
In “Fairy Tales for Children of a Fair Age,” the writer castigates the unrest that hinders the development of Russia. And the main evil that the author condemns is serfdom.
I explore the connection of tales from Saltykov-Shchedrin with the traditions of oral folk art, their thematic diversity, as well as artistic features. In his work on fairy tales, M. E. Saltykov-Shchedrin relied not only on the experience of folk art, but also on the satirical fables of I. A. Krylov, on the traditions of Western European fairy tales. He created new genre a political fairy tale that combines fantasy with real, topical political reality.
Saltykov-Shchedrin’s faith in his people and in his history remained unchanged. Thus, in the fairy tales of M. E. Saltykov-Shchedrin, satire on different sides life.
The language of Shchedrin's tales is deeply folk, close to Russian folklore.Saltykov - Shchedrin introduced topical themes into the world of folk art political topics and, with the help of familiar characters, revealed the complex problems of our time.
Relying on folk wisdom using wealth folk speech, Russian folklore, imbued with purely folk humor, the writer created works whose purpose was to awaken in the people their great spirit, their will and strength. With all his creativity, Saltykov-Shchedrin sought to ensure that “children of a fair age” matured and ceased to be children.
Hypothesis: disclosure complex problems modernity from M.E. Saltykov-Shchedrin through an introduction to the world of folk art, through folklore motifs.
Goal of the work: Find out the distinctive features and characteristics of Saltykov-Shchedrin's fairy tales.
Tasks:
draw attention to the study of the work of M.E. Saltykov-Shchedrin as prophetic;
collect material about artistic features and folklore motifs;
Research methods:
1. Questioning of students on the works of M.E. Saltykov-Shchedrin.
2. Selection and analysis of information from various sources.
3.Testing based on the tales of Saltykov-Shchedrin.
Object of study: works of M.E. Saltykov-Shchedrin, critical literature on this topic.
Duration of the study: November 2014 – May 2015
Introduction.
M. E. Saltykov-Shchedrin wrote more than 30 fairy tales. Turning to this genre was natural for the writer. Fairytale elements(fantasy, hyperbole, convention, etc.) permeates all of his work.
“A fairy tale is a lie, but there is a hint in it!..” But A.S. Pushkin was right. Yes, a fairy tale is a lie, a fiction, but it is she who teaches us to recognize and hate hostile traits in the world, a fairy tale shows everything positive traits people and stigmatizes and ridicules domination. With the help of a fairy tale, it is easier for the author to communicate with the people, because its language is understandable to everyone. In order to verify this, I would like to analyze the work of M. E. Saltykov-Shchedrin.
What brings Saltykov-Shchedrin’s fairy tales closer to folk tales? Typical fairy tale openings (“Once upon a time there were two generals...”, “In a certain kingdom, in a certain state, there lived a landowner...”); sayings (“by pike command", "neither to say in a fairy tale, nor to describe with a pen"); phrases characteristic of folk speech (“thought-thought”, “said-done”); close to vernacular syntax, vocabulary; exaggeration, grotesque, hyperbole: one of the generals eats the other; The “wild landowner,” like a cat, climbs a tree in an instant, a man cooks a handful of soup. As in folk tales, a miraculous incident sets the plot in motion: two generals “suddenly found themselves on a desert island”; By the grace of God, “there was no man in the entire domain of the stupid landowner.” Folk tradition Saltykov-Shchedrin follows in fairy tales about animals, when in an allegorical form he ridicules the shortcomings of society!
The difference between Saltykov-Shchedrin's fairy tales and folk tales is that they intertwine the fantastic with the real and even historically reliable.
Main part
Among the many genres of folklore, we are most interested infairy tale, for "fairy tale is a very popular genre oral folk art, genre epic, prose, plot."
The traditions of Fonvizin, Krylov, Gogol, Belinsky, Chernyshevsky and others, as well as folk art, were inherited and received further development V new era in the works of M.E. Saltykov-Shchedrin, who, identifying the most painful places of autocratic Russia, enriched literary images, created by progressive writers before him. According to M. Gorky’s fair definition: “It is impossible to understand the history of Russia in the second half of the 19th century without the help of Shchedrin.”
“Allegories in Shchedrin’s work are enriched with folklore images and expressions, which made his language more colorful, bright and passionate.
It has been repeatedly noted that the satirist’s tales are organically connected with folklore. However, borrowing folklore images, Shchedrin endows them with new features, different from those inherent in them in folk tales.” If in folklore the traits of animals are transformed into the traits of people, then the writer satirically focuses the reader’s attention on individual traits of human character, bringing him closer to the animal.
The use of proverbs and sayings is, perhaps, another of the features of Shchedrin’s fairy tales, which, naturally, indicates their nationality, their originality.
A distinctive feature of the allegory of Saltykov’s fairy tales is the author’s use of periphrasis (“Bear in the Voivodeship,” “Dried Roach,” “Patron Eagle”).
Another important feature of Shchedrin's fairy tales is the use of beginnings and sayings, which give the tales a special, some kind of fantastic flavor. But unlike folk tales, fantasy has a very real, vital basis.
The writer essentially created a new genre - a political fairy tale. The life of Russian society second half of the 19th century century has been imprinted in a rich gallery of characters. “Shchedrin showed the entire social anatomy, touched upon all the main classes and strata of society: the nobility, the bourgeoisie, the bureaucracy, the intelligentsia.”
Rough plan fairy tale analysis
The main theme of the tale (about what?).
The main idea of the fairy tale (why?).
Features of the plot. As in the system characters Is the main idea of the tale revealed?
Features of fairy tale images:
a) images-symbols;
b) the uniqueness of animals;
c) closeness to folk tales.
Satirical techniques used by the author.
Features of the composition: inserted episodes, landscape, portrait, interior.
A combination of folklore, fantasy and reality.
“Even though they are animals, they are still kings...”
These words can be successfully attributed to the study of Saltykov-Shchedrin’s fairy tales, which the writer himself called fairy tales “for children of a fair age.”
“Fairy tales” are a kind of conclusion artistic activity writer, since they were created at the final stage of life and creative path. Of the 32 tales, 28 were created within four years, from 1882 to 1886.
In the satirical images of the writer, there is not only laughter at how one can distort, disfigure one’s life and even one’s appearance, but also tears about how easily and imperceptibly a person is able to abandon his high destiny and irrevocably lose himself. (This is the hero of the fairy tale “The Wise Minnow” - from the word “squeak”, since the gudgeon fish, if you grab it with your hand, makes a sound similar to a squeak.)
The tales of Saltykov-Shchedrin are not the speech of a folk storyteller. These are philosophical and satirical tales. They are about life, about what the writer saw and observed in reality. To verify this, you can compare the tales of Saltykov-Shchedrin with Russian folk tales and note the common and distinctive features in them.
Tales of Saltykov-Shchedrin
Tales of the Russian people
Initiation
Fairytale plot
Folklore expressions
Folk vocabulary
Fairy tale characters
Ending
Satire
Sarcasm
Mixing the categories of good and evil
There is no positive hero
Likening man to animal
Humor
Hyperbola
Victory of good over evil
Positive hero
Humanization of animals
What did Saltykov-Shchedrin teach “children of a fair age” to think about? - “Children of a fair age” must mature and stop being children. What are the objects of Saltykov-Shchedrin’s satire?
Government circles and the ruling class;
philistine-minded (liberal) intelligentsia;
the powerless position of the people in Russia, their passivity and humility,
lack of spirituality.
Satirical techniques used by the writer in fairy tales. Different ways laughter:
a) irony - ridicule that has a double meaning, where the true statement is not the direct statement, but the opposite;
sarcasm is caustic and poisonous irony, sharply exposing phenomena that are especially dangerous for humans and society;
grotesque - an extremely sharp exaggeration, a combination of the real and the fantastic, a violation of the boundaries of plausibility;
b) allegory, allegory - another meaning hidden behind the external form. Aesopian language is artistic speech based on forced allegory;
c) hyperbole - excessive exaggeration.
How did you find out? literary critics, a striking feature of the creativity of many writers of the 19th century was their ability to continue folklore traditions in their works. Pushkin, Nekrasov, Gogol, and Tolstoy were famous for this. “But this series would be incomplete if we did not add one more name to it - Saltykov-Shchedrin. Among the enormous heritage of this writer, his fairy tales are very popular. It is in them that the traditions of Russian folklore can be most clearly traced.”
Saltykov-Shchedrin turned to fairy tales not only because it was necessary to bypass censorship, which forced the writer to turn to Aesopian language, but also in order to educate the people in a form familiar and accessible to them.
a) In my own way literary form and style, Saltykov-Shchedrin’s tales are associated with folklore traditions. In them we meet traditional fairy tale characters: talking animals, fish, Ivan the Fool and many others. The writer uses the beginnings, sayings, proverbs, linguistic and compositional triple repetitions, vernacular and everyday peasant vocabulary, constant epithets, words with diminutive suffixes, characteristic of a folk tale. As in a folk tale, Saltykov-Shchedrin does not have a clear time and spatial framework.
b) But using traditional techniques, the author quite deliberately deviates from tradition. He introduces socio-political vocabulary, clerical phrases, and French words into the narrative. Episodes of modern social life appear on the pages of his fairy tales. This is how styles mix, creating comic effect, and connecting the plot with the problems of our time.
Thus, having enriched the tale with new satirical techniques, Saltykov-Shchedrin turned it into a tool of socio-political satire.
The satirical fantasy of Shchedrin's final book is based on folk tales about animals. The writer uses ready-made content, honed by age-old folk wisdom, freeing the satirist from the need for detailed motivations and characteristics.
In fairy tales, each animal is endowed with stable character traits: the wolf is greedy and cruel, the fox is treacherous and cunning, the hare is cowardly, the pike is predatory and voracious, the donkey is hopelessly stupid, and the bear is stupid and clumsy. This plays into the hands of satire, which by its nature shuns details and depicts life in its most dramatic manifestations, exaggerated and enlarged. Therefore, the fairytale type of thinking organically corresponds to the very essence satirical typification. It is no coincidence that among folk tales about animals there are satirical tales: “About Ruff Ershovich, son of Shchetinnikov” - a bright folk satire on court and legal proceedings, “About the toothy pike” - a tale that anticipates the motifs of “The Wise Minnow” and “The Idealist Crucian Carp”.
Borrowing ready-made fairy-tale plots and images from the people, Shchedrin develops the satirical content inherent in them. And the fantastic form is for him a reliable way of “Aesopian” language, at the same time understandable and accessible to the widest, democratic strata of Russian society. “With the advent of fairy tales, the addressee of Shchedrin’s satire changes significantly; the writer now addresses the people. It is no coincidence that the revolutionary intelligentsia of the 80-90s used Shchedrin’s tales for propaganda among the people.”
Saltykov-Shchedrin willingly used traditional techniques of folk art. His fairy tales often begin, like folk tales, with the words “once upon a time,” “in a certain kingdom, in a certain state.” There are often proverbs and sayings: “The horse runs - the earth trembles”, “Two deaths cannot happen, but one cannot be avoided.” What makes Shchedrin’s fairy tales very similar to folk tales is the traditional method of repetition: “everything was trembling, everything was trembling...”, substitutions: “Once upon a time there were two generals... at the behest of a pike, at my will, they found themselves on a desert island...”.
The author deliberately emphasizes one particular trait in each character, which is also characteristic of folklore. There are often sayings (“at the command of a pike”, “neither to say in a fairy tale, nor to describe with a pen”); phrases characteristic of folk speech (“thought-thought”, “said-done”); syntax and vocabulary close to the folk language; exaggeration, grotesque, hyperbole: one of the generals eats the other; The “wild landowner,” like a cat, climbs a tree in an instant, a man cooks a handful of soup. As in folk tales, a miraculous incident sets the plot in motion: two generals “suddenly found themselves on a desert island”; By the grace of God, “there was no man in the entire domain of the stupid landowner.”
In the fairy tale “The Wise Minnow,” Saltykov-Shchedrin also widely uses expressions similar to proverbs and sayings (“no matter where he turns, he’s cursed,” “living life is not like licking a whorl,” “it’s better not to eat, not to drink, rather than lose my life with a full stomach”, “I’ll swim like a gogol all over the river”, “how the water tolerates such idols”).
The satirist does not parody folklore expressions and contemporary living, popular speech, but adapts them to solve his own problems. artistic tasks, which has become a characteristic feature of the author's style.
In his work on fairy tales, M. E. Saltykov-Shchedrin relied not only on the experience of folk art, but also on the satirical fables of I. A. Krylov, on the traditions of Western European fairy tales. He created a new genre of political fairy tale, in which fantasy is combined with real, topical political reality.
Saltykov-Shchedrin did not copy the structure of a folk tale, but introduced something new into it. First of all, this is the appearance of the author’s image. Behind the mask of a naive joker is hidden the sarcastic grin of a merciless satirist. The image of a man is drawn completely differently than in a folk tale. In folklore, a man has intelligence, dexterity, and invariably defeats the master. In the tales of Saltykov-Shchedrin, the attitude towards the peasant is ambiguous.
Often it is he who remains the fool, despite his cleverness, as in the fairy tale “How one man fed two generals.” “The comedy and parody of the figure of the wonderful man are obvious. On the one hand, Saltykov-Shchedrin parodicly reinterprets the motif of the hero finding a wonderful helper, characteristic of folk fairy tales. Shchedrinsky's "man" is endowed with the same supernatural gift as any Gray wolf or Baba Yaga."[5.70] But unlike the hero folklore tales, to whom the assistant owes something (for example, the wolf owes his life), the man does not have the slightest reason to be grateful to the generals.
“In world literature, the mutual influence of fairy tale plots is clearly visible. different countries and peoples; In addition, we constantly come across some images that are firmly entrenched in world folklore. This can primarily be said about the image of the wolf, which appears in both Aesop’s fables and ancient Eastern tales (in particular, Arabic ones). Russian folk tales, proverbs and sayings give the wolf its colorful characteristics. The wolf is not forgotten by Saltykov-Shchedrin (“Poor Wolf”, “Candidate for the Pillars”).”
Conclusion
His tales are a magnificent satirical monument of a bygone era. Not only the types created by Saltykov-Shchedrin, but also winged words and the expressions of the master of Aesopian speeches are still found in our everyday life. Word-images of his works, such as “pompadour”, “idealist crucian carp”, “bungler”, “foam-skimmer”, have firmly entered the life of his contemporaries.
“I love Russia to the point of heartache,” said Saltykov-Shchedrin. He distinguished the dark phenomena of her life because he believed that moments of insight were not only possible, but constituted an inevitable page in the history of the Russian people. And he waited for these minutes and with all his creative activity tried to bring them closer, in particular, with the help of such artistic medium, like Aesopian language.
In general, all of Saltykov-Shchedrin’s tales can be conditionally divided into three main groups: tales castigating the autocracy and the exploiting classes; fairy tales exposing cowardice contemporary writer liberal intelligentsia and, of course, fairy tales about the people.
The images of fairy tales have come into use, become household names and live on for many decades. That's whyII think that it was not in vain that Pushkin said the words “A fairy tale is a lie, but there is a hint in it!..”. After all, thanks to the fairy tale, we, I mean our generation, learned, are learning and will learn to live.
Relying on folk wisdom, using the riches of folk speech, Russian folklore, imbued with purely folk humor, the writer created works whose purpose was to awaken in the people their great spirit, their will and strength.
Conclusion
Having analyzed the work of M.E. Saltykov-Shchedrin, in accordance with the purpose of our work, I came to the following conclusions:
1. The writer’s language is deeply folk, close to Russian folklore. In fairy tales, Shchedrin widely uses proverbs, sayings, sayings: “Two deaths cannot happen, one cannot be avoided,” “My hut is on the edge,” “Once upon a time...”, “In a certain kingdom, in a certain state...” .
2. “Fairy tales” by Saltykov-Shchedrin awakened the political consciousness of the people, calling for struggle and protest.
3. The survey showed:
Most students became interested in the work of M.E. Saltykov-Shchedrin.
Results:
Scientificthe significance of our work is related to the study large quantity factual material.
Practical application : the results of our research can be found when preparing history and literature lessons using the genre of political fairy tales.
The results of our research allow us to use the main conclusions of the work when developing lessons and extracurricular activities on literature and moral education students.
Literature:
Bazanov V. G. From folklore to folk book. – L., 1973.
Bushmin A. S. The evolution of Saltykov-Shchedrin’s satire. - M., 1984.
History of Russian literature of the 19th century (second half). / Ed. S. M. Petrova. – M., 1974.
Kachurin M. G., Motolskaya D. K. Russian literature. – M., 1981.
Criticism about M. E. Saltykov-Shchedrin //Saltykov-Shchedrin M.E. The story of one city. Mr. Golovlev. Fairy tales. - M., 1997.
Lebedev Yu. V. Tales of M. E. Saltykov-Shchedrin / M. E. Saltykov-Shchedrin. Fairy tales. - M., 1999.
Prozorov V.V. Saltykov-Shchedrin. - M., 1988.
Russian literature XIX century. Second half. Issue 1. / Ed. L. G. Maksidonova. – M., 2002.
Russian writers. Biobibliographical dictionary. / Ed. P. A. Nikolaeva. – M., 1990.
Informational resources:
Application:
1. Test.
1. What explains M. E. Saltykov-Shchedrin’s choice of the fairy tale genre?
a) the desire to escape life’s verisimilitude.
b)desire to overcome censorship barriers
c) a passion for allegory! writing style
d) the popularity of fairy tales as a favorite genre
propaganda literature
2. What do the fairy tales of M. E. Saltykov-Shchedrin have in common with folk tales?
a) fairy tale plot
b)based on real life
V) folk performances about good and evil
d) traditional fairy tale techniques
d) socially sensitive issues
f) images of animals typical of folk tales
3. How does the “Shchedrin” tale differ from the folk tale?
a) evil is not always punished in the finale
b)use of sarcasm and satire
V)interpretation of characters
d) introduction of images atypical for folk tales
4. Distribute the names of fairy tales by topic.
"The Wise Minnow"; "Bear in the Voivodeship"; "Eagle Patron"; “The story of how one man fed two generals”; "Horse"; "Crucian idealist"; "Bogatyr"; "The Raven Petitioner"; "Dried roach"; "Wild landowner."
a) the theme of the people
b)theme of power
V)condemnation of philistinism
5. Distribute comic means in ascending order.
Sarcasm; humor; hyperbola; irony; grotesque; satire.
6. Match the example from the fairy tale text and the title artistic technique, which is used in it.
a) “Men see: even though he’s stupid 1) irony
They are a landowner, and he was given a great mind...”
b)"Through provincial town flew from - 2) speech alogism
a swarming swarm of men..."
V)“He was an enlightened minnow, 3) a grotesque
moderately liberal and very firmly
I understood that living life is not
what to lick the whorl..."
7. Which heroes of M. E. Saltykov-Shchedrin’s fairy tales are atypical even for folk tales?
A)Bear
b)Donkey
V)Vobla
d) Hare
d) Piskar
e)a lion
g) Crucian carp
h) Chizhik
8. Who is ridiculed in the fairy tale “The Wise Minnow”?
A)government
b)revolutionary democrats
c) ordinary people
d) liberals
Answers to the test “M. E. SALTYKOV-SHCHEDRIN. FAIRY TALES"
1. c, d
2. b, d
3. a, b
4. a) “The Bear in the Voivodeship”, “The Tale of How One Man Fed Two Generals”, “The Horse”, “The Petitioner Crow”, “The Wild Landowner”
b) “Bear in the Voivodeship”, “Eagle-Patron”, “Bogatyr”
c) “The Wise Minnow”, “Crucian Crucian Idealist”, “Dried Roach”
5. irony, humor, hyperbole, satire, sarcasm, grotesque
6. a – 3, b – 1, c – 2
7. c, d, f, g
8. c.
2. Survey questions (based on the work of M.E. Saltykov-Shchedrin)
1. Where and in what family were you born?
2. When did you start? literary activity?
3. Why do we study his work?
4. List the main life principles M.E. Saltykova-Shchedrin. Was he strong personality?
5. What was the style of his works?
6. What is the phenomenon of Shchedrin’s fairy tales?
A satirical depiction of reality appeared in Saltykov-Shchedrin (along with other genres) and in fairy tales. Here, as in folk tales, fantasy and reality are combined. So, Saltykov-Shchedrin’s animals are often humanized, they personify the vices of people.
But the writer has a cycle of fairy tales where people are the heroes. Here Saltykov-Shchedrin chooses other techniques for ridiculing vices. This is, as a rule, grotesque, hyperbole, fantasy.
This is Shchedrin’s fairy tale “The Wild Landowner”. In it, the stupidity of the landowner is taken to the limit. The writer sneers at the master’s “merits”: “The men see: although their landowner is stupid, he has a great mind. He shortened them so that there was nowhere to stick his nose; No matter where they look, everything is impossible, not allowed, and not yours! The cattle go to water - the landowner shouts: “My water!” The chicken goes outside the outskirts - the landowner shouts: “My land!” And the earth, and the water, and the air - everything became his!”
The landowner considers himself not a man, but a kind of deity. Or at least a person of the highest rank. For him, it’s normal to enjoy the fruits of other people’s labor and not even think about it.
The men of the “wild landowner” are exhausted from hard work and cruel need. Tortured by oppression, the peasants finally prayed: “Lord! It’s easier for us to perish even with small children than to suffer like this all our lives!” God heard them, and “there was no man in the entire domain of the stupid landowner.”
At first it seemed to the master that he would now live well without the peasants. And all the noble guests of the landowner approved of his decision: “Oh, how good it is! - the generals praise the landowner, - so now you won’t have that slave smell at all? “Not at all,” the landowner answers.”
It seems that the hero does not realize the deplorability of his situation. The landowner only indulges in dreams, empty in essence: “and so he walks, walks from room to room, then sits down and sits. And he thinks everything. He thinks what kind of cars he will order from England, so that everything is steam and steam, and so that there is no servile spirit at all; he thinks what a fruitful garden he will plant: here there will be pears, plums...” Without his peasants, the “wild landowner” did nothing but caress his “loose, white, crumbly body.”
It is at this moment that the climax of the tale begins. Without his peasants, the landowner, who cannot lift a finger without a peasant, begins to run wild. In Shchedrin's fairy tale cycle, full scope is given for the development of the motif of reincarnation. It was the grotesque in the description of the process of the landowner's savagery that helped the writer show with all clarity how greedy representatives of the “conducting class” can turn into real wild animals.
But if in folk tales the process of transformation itself is not depicted, then Saltykov reproduces it in all its details. This is the unique artistic invention of the satirist. It can be called a grotesque portrait: a landowner, completely wild after the fantastic disappearance of the peasants, turns into primitive man. “He was all overgrown with hair, from head to toe, like the ancient Esau... and his nails became like iron,” Saltykov-Shchedrin slowly narrates. “He stopped blowing his nose a long time ago, walked more and more on all fours, and was even surprised that he had not noticed before that this way of walking was the most decent and most convenient. He even lost the ability to utter articulate sounds and adopted some kind of special victory cry, a cross between a whistle, a hiss and a roar.”
Under the new conditions, all the severity of the landowner lost its force. He became helpless, like a small child. Now even “the little mouse was smart and understood that the landowner could not do him any harm without Senka. He only wagged his tail in response to the landowner’s menacing exclamation and a moment later he was already looking out at him from under the sofa, as if saying: wait a minute, stupid landowner! it's only the beginning! I will not only eat the cards, but also your robe, as soon as you oil it properly!”
Thus, the fairy tale “The Wild Landowner” shows the degradation of man, his impoverishment spiritual world(was he even in in this case?!), the withering away of all human qualities.
This is explained very simply. In his fairy tales, as in his satires, with all their tragic gloom and accusatory severity, Saltykov remained a moralist and educator. While showing the horror of the human fall and its most sinister vices, he still believed that in future will happen moral revival of society and times of social and spiritual harmony will come.
A special place in the work of Saltykov-Shchedrin is occupied by fairy tales with their allegorical images, in which the author was able to say more about Russian society of the 60-80s of the 19th century than the historians of those years. Saltykov-Shchedrin writes these fairy tales “for children of a fair age,” that is, for an adult reader whose mind is in the state of a child who needs to open his eyes to life. The fairy tale, due to the simplicity of its form, is accessible to anyone, even an inexperienced reader, and therefore is especially dangerous for those who are ridiculed in it.
The main problem of Shchedrin's fairy tales is the relationship between the exploiters and the exploited. The writer created a satire on Tsarist Russia. The reader is presented with images of rulers (“The Bear in the Voivodeship,” “Eagle Patron”), exploiters and exploited (“The Wild Landowner,” “The Tale of How One Man Fed Two Generals”), and ordinary people (“The Wild Landowner,” “The Story of How One Man Fed Two Generals”) The wise minnow", "Dried roach").
The fairy tale “The Wild Landowner” is directed against everything social order, based on exploitation, anti-people in its essence. Preserving the spirit and style of a folk tale, the satirist talks about real events his contemporary life. The work begins as an ordinary fairy tale: “In a certain kingdom, in a certain state, there lived a landowner...” But then the element modern life: “And that stupid landowner was reading the newspaper “Vest”.” “Vest” is a reactionary-serf newspaper, so the stupidity of the landowner is determined by his worldview. The landowner considers himself a true representative of the Russian state, its support, and is proud that he is a hereditary Russian nobleman, Prince Urus-Kuchum-Kildibaev. The whole meaning of his existence comes down to pampering his body, “soft, white and crumbly.” He lives at the expense of his men, but he hates and is afraid of them, and cannot stand the “servile spirit.” He rejoices when, by some fantastic whirlwind, all the men were carried away to who knows where, and the air in his domain became pure, pure. But the men disappeared, and such hunger set in that it was impossible to buy anything at the market. And the landowner himself went completely wild: “He was all overgrown with hair, from head to toe... and his nails became like iron. He stopped blowing his nose a long time ago and walked more and more on all fours. I’ve even lost the ability to pronounce articulate sounds...” In order not to die of hunger, when the last gingerbread was eaten, the Russian nobleman began to hunt: if he spots a hare, “like an arrow will jump from a tree, grab onto its prey, tear it apart with its nails, and eat it with all its entrails, even the skin.” The savagery of the landowner indicates that he cannot live without the help of the peasant. After all, it was not without reason that as soon as the “swarm of men” was caught and put in place, “flour, meat, and all kinds of living creatures appeared at the market.”
The stupidity of the landowner is constantly emphasized by the writer. The first to call the landowner stupid were the peasants themselves; representatives of other classes called the landowner stupid three times (a technique of threefold repetition): the actor Sadovsky (“However, brother, you are a stupid landowner! Who gives you a wash, stupid?”) generals, whom he instead of “beef ” treated him to printed gingerbread cookies and lollipops (“However, brother, you are a stupid landowner!”) and, finally, the police captain (“You are stupid, Mr. Landowner!”). The stupidity of the landowner is visible to everyone, and he indulges in unrealistic dreams that he will achieve prosperity in the economy without the help of the peasants, and thinks about English machines that will replace the serfs. His dreams are absurd, because he cannot do anything on his own. And only one day the landowner thought: “Is he really a fool? Could it be that the inflexibility that he so cherished in his soul, when translated into ordinary language, means only stupidity and madness?” If we compare the famous folk tales about the master and the peasant with the tales of Saltykov-Shchedrin, for example with “ Wild landowner”, then we will see that the image of the landowner in Shchedrin’s fairy tales is very close to folklore, and the men, on the contrary, differ from those in fairy tales. In folk tales, a quick-witted, dexterous, resourceful man defeats a stupid master. And in “The Wild Landowner” a collective image of workers, breadwinners of the country and, at the same time, patient martyrs and sufferers appears. So, modifying folk tale, the writer condemns the people's long-suffering, and his tales sound like a call to rise up to fight, to renounce the slave worldview.
