Tale of M. Saltykov-Shchedrin, which you read. Real and fantastic in a fairy tale

Brief analysis fairy tales by Saltykov-Shchedrin "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 common Russian people. In order to circumvent censorship, the writer chose a specific genre of "fairy tale", within which a notorious fable is described. In the work, the author does not give his heroes names, as if hinting that the landowner is collective image all landowners in Russia in the 19th century. And Senka and the rest of the men are typical representatives peasant class. The theme of the work is simple: the superiority of the industrious and patient people over mediocre and stupid nobles, expressed in an allegorical manner.

Problems, features and meaning of the fairy tale "The Wild Landowner"

Tales of Saltykov-Shchedrin are always distinguished by simplicity, irony and artistic details, using which the author can absolutely accurately convey the character of the character “And that landowner was stupid, he read the Vesti newspaper and his body was soft, white and crumbly”, “he lived and looked happy at the light”.

The main problem in the fairy tale "The Wild Landowner" is the problem difficult fate people. The landowner in the work appears as a cruel and ruthless tyrant who intends to take away the last from his peasants. But having heard the prayers of the peasants about a better life and the desire of the landowner to get rid of them forever, God fulfills their prayers. The landowner ceases to be disturbed, and the "muzhiks" get rid of oppression. The author shows that in the world of the landowner, the creators of all goods were the peasants. When they disappeared, he himself turned into an animal, overgrown, stopped eating normal food, since all the products disappeared from the market. With the disappearance of the peasants, a bright, rich life left, the world became uninteresting, dull, tasteless. Even the pastimes that had brought pleasure to the landowner before - playing pulca 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 they cannot remain at their illusory height without them, since it is the “serfs” who provide the country, but their master is nothing but problems, unable to provide.

The image of the people in the work of Saltykov-Shchedrin

The people in the work of M.E. Saltykov-Shchedrin are hard-working people, in whose hands any business “argues”. Thanks to them, the landowner always lived in abundance. The people appear before us not just a weak-willed and reckless mass, but smart and insightful people: “The peasants see: although they have a stupid landowner, they have a great mind.” Also, the peasants are endowed with such important quality like a sense of justice. They refused to live under the yoke of the 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 its return: “And suddenly again there was a smell of chaff and sheepskins in that district; but at the same time, flour, and meat, and all kinds of living creatures appeared in the market, and so many taxes were received in one day that the treasurer, seeing such a pile of money, only threw up his hands in surprise ... ”, - it can be argued that the people are driving force society, the foundation on which the existence of such "landlords" is based, and they certainly owe their well-being to a simple Russian peasant. This is the meaning of the finale of the fairy tale "The Wild Landowner".

Interesting? Save it on your wall!

"History of one city lesson" - Brief retelling chapter "On the root of the origin of the Foolovites". Name the characters. Aesopian language. Techniques for typing a satirical image-character. With the help of what artistic means did Shchedrin manage to show the Foolovites? The satirical orientation of the "History of a City" by M.E. Saltykov-Shchedrin. Checking the assimilation of difficult words and expressions.

"Creativity of Shchedrin" - Moscow Institute of Nobility. Father of the writer Evgraf Vasilyevich. Spas-Angle estate. M.E. Saltykov early childhood. Kramskoy Portrait of M.E. Saltykov-Shchedrin. The writer's mother Olga Mikhailovna. Daughter of M.E. Saltykov-Shchedrin. Written "Poshekhonskaya antiquity". The house where he was born future writer. 1880 - separate edition"Gentlemen Golovlev".

"Lesson Saltykov-Shchedrin" - 1869 - 1886 Grotesque. As a result, not a single writer was subjected to such persecution as Saltykov-Shchedrin. Evgrafovich. Lesson vocabulary. 1 In what year was Saltykov-Shchedrin born? a) in 1822 b) in 1826 c) in 1828. Satire. Satire writer-satirist hyperbole grotesque "Aesopian language". The purpose of the lesson: I. M. Sechenov. Verification test.

"Tales of Shchedrin" - Magic. Folklore. About animals. Fairy tale literary Author's (the creator is a specific person), authorship is personal. The result of life: “He lived trembled, and died - trembled. Features: Fantasy, reality, comic + tragic, grotesque, hyperbole, Aesopian language. Household. Fairy tales. The writer condemns stupidity, cowardice, helplessness.

"Writer Saltykov-Shchedrin" - "History of one city" - in essence a satirical history of Russian society. Studies. Childhood. In the village of Spas-Ugol, Tver province, in a wealthy landowner's family. By the age of six he was taught French and German. The stories "Contradictions" (1847), "A Tangled Case" (1848) were published in "Domestic Notes".

There are 35 presentations in total in the topic

1. Saltykov-Shchedrin's satire.
2. Genre features fairy tales.
3. Heroes.
4. Fantastic motives.

The tales of M.E. Saltykov-Shchedrin are a very special layer of the writer's work. Almost all Saltykov-Shchedrin created in last years life. These short works amaze with a variety of artistic techniques, as well as with 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, does not spare them. The satire of Saltykov-Shchedrin in fairy tales is especially sharp and ruthless. The writer uses fantastic motives to highlight social contradictions. He is venomous 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 how the audience writhed with laughter when reading some of Saltykov's essays. There was something terrible about that laugh. The audience, laughing, at the same time felt how the scourge whipped itself. The writer used satire to make readers think about social and social contradictions, to arouse in their minds indignation about what is happening around.

Saltykov-Shchedrin did not accidentally choose the fairy tale genre. Thanks to allegory, he was able to 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 devices as unexpected transformations, the scene of action (the writer often says: "in a certain kingdom ..."). The genre of fables is manifested in the choice of heroes. A wolf, a hare, a bear, an eagle, a 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 every fairy tale. Saltykov-Shchedrin set out to use a grotesquely ugly form to show the vices public life, as well as weak sides of people. Behind the heroes of fairy tales it is easy to recognize human characters, their writer shows them so recognizable. If Saltykov-Shchedrin makes people the heroes of fairy tales, then he depicts a fantastic situation. People, being in the center of this situation, look very unattractive. Fantasy in fairy tales is an extraordinary situation. And everything else - human types, characters - it's all quite real. All stories are very interesting. For example, the fairy tale "The Wild Landowner" shows us a very stupid and short-sighted gentleman. 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 degraded, ran wild. Fantastic in a fairy tale is the situation when the desire of a stupid master 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 enjoys the ordinary people and at the same time does not appreciate them at all.

Saltykov-Shchedrin repeatedly emphasizes the wretchedness, stupidity, short-sightedness of the representatives of the ruling class. For example, the fairy tale “The Tale of How One Man Feeded Two Generals” makes you think about how helpless the generals are and how strong and savvy a simple person is. The generals cannot do without his help, and he himself lives perfectly alone. Saltykov-Shchedrin endows animals with human traits and reproduces some kind of social situation. In the fairy tale selfless hare The hare is cowardly, weak, indecisive. He is a typical victim, humiliated and helpless. The wolf is invested with power, personifies the master. The hare puts up with his position as a slave, does not try to do anything for the sake of changes in his life. The despot wolf revels in power, humiliating the unfortunate victim. People are guessed under the mask 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: “For not stopping from my first word, here is my decision for you: I sentence you to be deprived of your stomach by tearing it to pieces. And since now I am full, and my wolf is full, and we have enough stock for another five days, then you sit under this bush and wait in line. Or maybe ... ha ha ... I will have mercy on you. He is clearly mocking the victim. But the trouble is that the victim deserves such an attitude. After all, a slavishly submissive hare is deprived of pride, self-respect. He personifies the common people, patient, humble and helpless. From the point of view of Saltykov-Shchedrin, all these qualities deserve censure. The writer considered satire to be an effective and effective weapon capable of opening one's eyes to various social and personal vices.

The writer's tales are very important place in the treasury of Russian literature. Their relevance is obvious even now, when a lot of time has passed since the moment of writing. All the same, there are phenomena in society that deserve sharp censure.

Scientific and practical conference

"First steps into science-2015" on the basis of MBOU "Petropavlovsk secondary school named after the hero Soviet Union Zhukova D.A.”

Topic:

« folklore motifs in the tales of 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 of research work………………………………………………...2

Epigraph……………………………………………………………………………… 2 Relevance………………………………………………… ……………………...3

Objectives of the work………………………………………………………………………….5

Hypothesis………………………………………………………………………………4

Tasks 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 :

I stage.Organizational and preparatory.

Definition of the research topic; formulation problematic issues research; research planning (goals, hypothesis, methods); familiarization with the criteria for evaluating the public defense of work.

II stage.Research.

Conducting research: collecting information; solution of intermediate tasks; registration of research results; information analysis; drawing conclusions

III.Final. Public defense of educational and research work.

Oral report with demonstration of materials, written report.

Epigraph

"Saltykov has ... this serious and vicious humor, this realism, sober and clear in the midst of the most unbridled imagination ..."

I.S. Turgenev

Relevance

A striking sign of the creativity of many writers of the 19th century was their ability to continue folklore traditions in their works. Pushkin, and Nekrasov, and Gogol, and Tolstoy were famous for this. But this series would be incomplete if we did not put one more name in 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. The tales of Saltykov-Shchedrin are connected not only with the folklore tradition, but also with the satirical literary fairy tale XVIII-XIX centuries. Already in his declining years, the author turns to the genre of fairy tales and creates a collection of "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 "Tales for Children of 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 fairy 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 a new genre of political fairy tale, in which fantasy is combined with real, topical political reality.

Saltykov-Shchedrin's faith in his people, in his history, remained unchanged. Thus, in the tales of M.E. Saltykov-Shchedrin, satire on various aspects of life is clearly visible.

The language of Shchedrin's fairy tales is deeply folk, close to Russian folklore.Saltykov-Shchedrin introduced into the world of folk art topical 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 his great spirit, his will and strength. With all his work, Saltykov-Shchedrin strove to ensure that "children of a fair age" matured and ceased to be children.

Hypothesis: disclosure of the complex problems of modernity by M.E. Saltykov-Shchedrin through the introduction to the world of folk art, through folklore motifs.

Objective: Learn the distinctive features and features of the fairy tales of Saltykov-Shchedrin.

Tasks:

draw attention to the study of the work of M.E. Saltykov-Shchedrin as prophetic;

collect material about artistic features, folklore motifs;

Research methods:

1. Questioning of students on the work of M.E. Saltykov-Shchedrin.

2. Selection and analysis of information from various sources.

3. Testing based on the fairy tales of Saltykov-Shchedrin.

Object of study: works by M.E. Saltykov-Shchedrin, critical literature on this topic.

Study timeline: November 2014 – May 2015

Introduction.

M.E. Saltykov-Shchedrin wrote more than 30 fairy tales. Appeal to this genre was natural for the writer. Fairy tale elements(fantasy, hyperbole, conventionality, etc.) all his work is permeated.

“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, fiction, but it is she who teaches to recognize and hate hostile traits in the world, a fairy tale shows everything positive traits people and stigmatizes, 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 be convinced of this, I would like to analyze the work of M. E. Saltykov-Shchedrin.

What brings the fairy tales of Saltykov-Shchedrin closer to folk tales? Typical fairy-tale beginnings (“Once upon a time there were two generals ...”, “In a certain kingdom, in a certain state, there once lived a landowner ...”); sayings ("according to pike command”, “neither in a fairy tale to say, nor to describe with a pen”); turns characteristic of folk speech (“thought and thought”, “said and done”); close to vernacular syntax, vocabulary; exaggeration, grotesque, hyperbole: one of the generals eats the other; " wild landowner”, like a cat, in an instant climbs a tree, a man cooks soup in a handful. As in folk tales, a miraculous incident sets up the plot: two generals "suddenly found themselves on a desert island"; by the grace of God, "there was no peasant in the entire space of the possessions of the stupid landowner." folk tradition Saltykov-Shchedrin also follows in fairy tales about animals, when he ridicules the shortcomings of society in allegorical form!

The difference between the fairy tales of Saltykov-Shchedrin 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, becausefairy tale - very popular genre oral folk art, epic, prose, story genre.

The traditions of Fonvizin, Krylov, Gogol, Belinsky, Chernyshevsky and others, as well as folk art, were inherited and received further development in new era in the work of M.E. Saltykov-Shchedrin, who, denoting the most painful places of autocratic Russia, enriched literary images created by progressive writers before him. According to the fair definition of M. Gorky: "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, vivid 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 that are inherent in them in folk tales. If in folklore the traits of animals are transformed into traits of people, then the writer satirically draws the reader's attention to individual traits of the 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 tales is the use by the author of the paraphrase ("Bear in the Voivodeship", "Dried Vobla", "Eagle-philanthropist").

Another important feature of Shchedrin's tales is the use of beginnings and sayings, which give the tales a special, some kind of fantastic shade. 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 is the second half of XIX centuries was imprinted in the richest gallery of characters. "Shchedrin showed the entire social anatomy, touched on all the main classes and strata of society: the nobility, the bourgeoisie, the bureaucracy, the intelligentsia."

Sample Plan fairy tale analysis

What is the main theme of the story?

The main idea of ​​the tale (why?).

Plot features. How to system actors reveals the main idea of ​​the story?

Features of fairy tale images:
a) images-symbols;
b) the originality of animals;
c) closeness to folk tales.

Satirical techniques used by the author.

Features of the composition: inserted episodes, landscape, portrait, interior.

Combination of folklore, fantastic and real.

"Although animals, but still kings ..."

These words can be successfully attributed to the study of the fairy tales of Saltykov-Shchedrin, which the writer himself called fairy tales "for children of a fair age."

"Tales" is a kind of summary artistic activity writer, as they were created at the final stage of life and creative way. Of the 32 fairy tales, 28 were created within four years, from 1882 to 1886.

In the satirical images of the writer, not only laughter over how you can distort, mutilate your life and even your appearance, but also tears about how easily and imperceptibly a person is able to abandon his high destiny and irretrievably lose himself. (Such is the hero of the fairy tale " wise scribbler”- from the word“ squeak ”, since the minnow fish, if grabbed by hand, makes a sound similar to squeaking.)

The tales of Saltykov-Shchedrin are not the speech of a people-storyteller. This is philosophical satirical tales. They are about life, about what the writer saw and observed in reality. To verify this, one can compare the tales of Saltykov-Shchedrin with Russian folk tales and note their common and distinctive features.

Tales of Saltykov-Shchedrin

Tales of the Russian people

Common features

Zachin
Fairy story
folklore expressions
Folk vocabulary
Fairy tale characters
ending

Distinctive features

Satire
Sarcasm
Mixing categories of good and evil
no good hero
Comparison of man to animal

Humor
Hyperbola
Victory of good over evil
Positive hero
Animal Humanization

What did Saltykov-Shchedrin teach "children of a fair age" to think about? - "Children of a fair age" should grow up and stop being children. What are the objects of Saltykov-Shchedrin's satire?

Government circles and the ruling class;

philistine-minded (liberal) intelligentsia;

the disenfranchised position of the people in Russia, their passivity and humility,

lack of spirituality.

Satirical techniques used in fairy tales by the writer. different ways laughter:

a) irony - ridicule, which has double meaning, where the true is not a direct statement, but the opposite;

sarcasm is a caustic and poisonous irony that sharply exposes phenomena that are especially dangerous for a person 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 - a different meaning, hidden behind the external form. Aesopian language - artistic speech based on forced allegory;

c) hyperbole - excessive exaggeration.

As found out literary critics, a striking sign of the work of many writers of the 19th century was their ability to continue folklore traditions in their works. Pushkin, and Nekrasov, and Gogol, and Tolstoy were famous for this. “But this series would be incomplete if we did not put one more name in it - Saltykov-Shchedrin. Among the huge heritage of this writer, his fairy tales are very popular. It is in them that the traditions of Russian folklore are 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 the Aesopian language, but also in order to educate the people in a familiar and accessible form.

a) in your own way literary form and the style of the Saltykov-Shchedrin fairy tales are associated with folk traditions. In them we meet traditional fairy-tale characters: talking animals, fish, Ivanushka the Fool and many others. The writer uses characteristic folk tale beginnings, sayings, proverbs, linguistic and compositional triple repetitions, vernacular and everyday peasant vocabulary, permanent epithets, words with diminutive suffixes. As in folk tale, Saltykov-Shchedrin has no clear temporal and spatial framework.

b) But using traditional techniques, the author quite deliberately deviates from tradition. He introduces socio-political vocabulary, clerical turns into the narrative, French words. The pages of his fairy tales include episodes of modern social life. So there is a mixture of styles, creating comic effect, and the connection of the plot with the problems of the present.

Thus, enriching the tale with new satirical devices, Saltykov-Shchedrin turned it into an instrument 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 qualities of character: the wolf is greedy and cruel, the fox is insidious and cunning, the hare is cowardly, the pike is predatory and gluttonous, the donkey is hopelessly stupid, and the bear is stupid and clumsy. This plays into the hands of satire, which by its very nature shuns details and depicts life in its sharpest manifestations, exaggerated and enlarged. Therefore, the fabulous type of thinking organically corresponds to the very essence of satirical typification. It is no coincidence that among folk tales about animals there are satirical tales: “About Yersh Ershovich, the son of Shchetinnikov” - a bright folk satire on court and legal proceedings, “About a toothy pike” - a fairy tale that anticipates the motives of the “Wise Piskar” and “Karas-idealist”.

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 sections of Russian society. “With the advent of fairy tales, the addressee of Shchedrin's satire itself changes significantly, the writer now addresses the people. It is no coincidence that the revolutionary intelligentsia of the 80s and 90s used Shchedrin's tales for propaganda among the people.

Saltykov-Shchedrin willingly used the traditional methods of folk art. His fairy tales often begin, like folk tales, with the words “they lived and were”, “in a certain kingdom, in a certain state”. Often there are proverbs and sayings: "The horse runs - the earth trembles", "Two deaths cannot happen, one cannot be avoided." Shchedrin's fairy tales are very close to folk tales by the traditional method of repetition: "everyone was trembling, everyone was trembling ...", substitutions: "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 feature in each character, which is also characteristic of folklore. Sayings are often found (“at the behest of a pike”, “neither in a fairy tale to say, nor to describe with a pen”); turns characteristic of folk speech (“thought and thought”, “said and done”); syntax, 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 peasant cooks soup in a handful. As in folk tales, a miraculous incident sets up the plot: two generals "suddenly found themselves on a desert island"; by the grace of God, "there was no peasant in the entire space of the possessions of the stupid landowner."

In the fairy tale “The Wise Scribbler”, Saltykov-Shchedrin also makes extensive use of expressions similar to proverbs and sayings (“wherever he turns, he is cursed everywhere”, “to live life is not like licking a whorl”, “it’s better not to eat, not to drink, rather than lose life with a full stomach”, “I’ll swim like a gogol across the river”, “how water tolerates such idols”).

The satirist does not parody folklore expressions and living, folk speech contemporary to him, but adapts them to solve his own artistic problems, which has become a characteristic sign 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 the folk tale, but introduced his own, new one into it. First of all, this is the appearance of the image of the author. Behind the mask of a naive joker is hidden the sarcastic grin of a merciless satirist. Quite differently than in a folk tale, the image of a peasant is drawn. In folklore, the peasant has sharpness, dexterity, and invariably wins over the master. In the fairy tales of Saltykov-Shchedrin, the attitude towards the peasant is ambiguous.

Often it is he who remains in the cold, despite his sharpness, as in the fairy tale "How one man fed two generals." “The comedy and parody of the figure of a wonderful man are obvious. On the one hand, Saltykov-Shchedrin parodies the motif of finding a miraculous helper by the hero, which is characteristic of folk fairy tales. Shchedrin's "man" is endowed with the same supernatural gift as any Grey Wolf or Baba Yaga.5.70] But unlike the hero of folklore tales, to whom an assistant owes something (for example, a wolf owes his life), the peasant has not the slightest reason to be grateful to the generals.

“In world literature, the mutual influence of the plots of fairy tales is clearly traced. different countries and peoples; in addition, we constantly meet some images that are firmly entrenched in world folklore. First of all, this can be said about the image of the wolf, which appears both in the fables of Aesop and in ancient Eastern tales (in particular, in Arabic). Russian folk tales, proverbs and sayings give colorful characteristics to the wolf. The wolf is not forgotten by Saltykov-Shchedrin ("Poor Wolf", "Candidate for 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 expressions of the master of Aesopian speeches are still found in our everyday life. The word-images of his works, such as "pompadour", "idealist crucian", "bungler", "foam skimmer", firmly entered the life of his contemporaries.

“I love Russia to the point of pain,” 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 was waiting for these minutes and all his creative activity tried to bring them closer, in particular, with the help of such artistic medium like Aesopian language.

In general, all the fairy tales of Saltykov-Shchedrin can be conditionally divided into three main groups: fairy tales that castigate the autocracy and the exploiting classes; fairy tales that expose cowardice modern writer liberal intelligentsia and, of course, fairy tales about the people.

Images of fairy tales have come into use, have become common nouns and live 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! ..". Indeed, thanks to the fairy tale, we, I mean our generation, have learned, are learning and will learn to live.

Based on folk wisdom, using the wealth of folk speech, Russian folklore, imbued with purely folk humor, the writer created works whose purpose was to awaken in the people his great spirit, his will and strength.

Conclusion

After analyzing 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, called to fight, to protest.

3. Questioning showed:

Most of the students became interested in the work of M.E. Saltykov-Shchedrin.

Results:

Scientificthe significance of our work is related to the study a large number actual material.

Practical application : the results of our study can be found in the preparation of history and literature lessons using the political fairy tale genre.

The results of our study allow us to use the main conclusions of the work in the development of lessons and extracurricular activities on literature and moral education of students.

Literature:

Bazanov V. G. From folklore to folk book. - L., 1973.

Bushmin A.S. The evolution of the satire of Saltykov-Shchedrin. - 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. History of one city. Lord 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. Biobibliographic dictionary. / Ed. P. A. Nikolaev. - 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 get away from life's plausibility.

b)desire to overcome censorship obstacles

c) addiction to allegorical! writing style

d) the popularity of fairy tales as a favorite genre
propaganda literature

2. What do the tales of M.E. Saltykov-Shchedrin have in common with folk tales?

a) fairy tale

b)based on real life

in)folk beliefs about good and evil

d) traditional fairy tale tricks

e) socially acute problems

f) images of animals typical of folk tales

3. What is the difference between the “Shchedrinskaya” fairy tale and the folk one?

a) evil in the final is not always punished

b)use of sarcasm and satire

in)interpretation of characters

d) the introduction of images atypical for a folk tale

4. Distribute the names of fairy tales by subject.

"Wise scribbler"; "Bear in the province"; "Eagle patron"; "The Tale of How One Man Feeded Two Generals"; "Konyaga"; "Karas-idealist"; "Bogatyr"; "Crow petitioner"; "Dried vobla"; "Wild landowner".

a) the theme of the people

b)power theme

in)condemnation of philistinism

5. Distribute the comic funds in ascending order.

Sarcasm; humor; hyperbola; irony; grotesque; satire.

6. Match the example from the text of the fairy tale and the title artistic technique which is used in it.

a) “The men see: although stupid, 1) irony
they are a landowner, and he has been given a great mind ... "

b)“Through the provincial city flew away - 2) speech alogism
swarming swarm of men ... "

in)“He was an enlightened scribbler, 3) a grotesque
moderate liberal and very firm
understood that life is not

what to lick the whorl ... "

7. What heroes of fairy tales by M.E. Saltykov-Shchedrin are not typical even for folk tales?

a)Bear

b)A donkey

in)Vobla

d) Hare

e) Piskar

e)a lion

g) Carp

h) Chizhik

8. Who is ridiculed in the fairy tale "The Wise Scribbler"?

a)government

b)revolutionary democrats
c) common people

d) liberals

Answers to the test "M. E. SALTYKOV-SHCHEDRIN. FAIRY TALES"

1. c, d

2. b, e

3. a, b

4. a) “The Bear in the Voivodeship”, “The Tale of How One Man Feeded Two Generals”, “Konyaga”, “Crow Petitioner”, “Wild Landowner”

b) "Bear in the Voivodeship", "Eagle Patron", "Bogatyr"

c) "Wise scribbler", "Karas-idealist", "Dried roach"

5. irony, humor, hyperbole, satire, sarcasm, grotesque

6. a - 3, b - 1, c - 2

7. c, e, f, g

8. c.

2. Questionnaire Questions (based on the work of M.E. Saltykov-Shchedrin)

1. Where and in what family was he born?

2. When started literary activity?

3. Why do we study his work?

4. List the main life principles M.E. Saltykov-Shchedrin. Was he strong personality?

5. What is the style of his works?

6. What is the phenomenon of Shchedrin's fairy tales?

A special place in the work of Saltykov-Shchedrin is occupied by fairy tales with their allegorical images, in which the author managed to say more about Russian society in the 60-80s of the XIX century than the historians of those years. Saltykov-Shchedrin writes these tales "for children of a fair age," that is, for an adult reader who, according to the mind, is in the state of a child who needs to open his eyes to life. A fairy tale, in its simplicity of form, is accessible to any, even an inexperienced reader, and therefore is especially dangerous for those who ridicule 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”, “The Eagle-Maecenas”), exploiters and exploited (“The Wild Landowner”, “The Tale of How One Man Feeded Two Generals”), ordinary people (“ wise gudgeon"," Dried vobla).

The fairy tale "The Wild Landowner" is directed against everything social order based on exploitation, anti-people in its essence. Keeping the spirit and style of the folk tale, the satirist speaks of real events his contemporary life. The work begins as ordinary fairy tale: “In a certain kingdom, in a certain state, there lived a landowner ...

» But immediately an element appears modern life: “and that landowner was stupid, he read the newspaper“ Vest ”“. "Vest" is a reactionary-feudal newspaper, so that the stupidity of the landowner is determined by his worldview. The landowner considers himself a true representative of the Russian state, its support, he is proud that he is a hereditary Russian nobleman, Prince Urus-Kuchum-Kildibaev.

The whole point of his existence is to pamper his body, "soft, white and crumbly." He lives at the expense of his peasants, but he hates them and is afraid, he cannot stand the “servant spirit”. He rejoices when, in some fantastic whirlwind, all the peasants were blown away, and the air became pure and pure in his domain.

But the peasants disappeared, and such a famine set in that it was impossible to buy anything at the market. And the landowner himself went completely wild: “He is all overgrown with hair from head to toe ...

and his nails became like iron. He stopped blowing his nose a long time ago, but he walked more and more on all fours.

I even lost the ability to utter articulate sounds ... ". In order not to die of hunger when the last gingerbread was eaten, the Russian nobleman began to hunt: he would notice a hare - "like an arrow jumping off a tree, clinging to its prey, tearing it apart with its nails, yes, with all the insides, even with the skin, it will eat." The savagery of the landowner testifies 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 in the bazaar.” The stupidity of the landowner is constantly emphasized by the writer. The peasants themselves were the first to call the landowner stupid, representatives of other classes called the landowner three times stupid (repetition method three times): the actor Sadovsky (“However, brother, you are a stupid landowner!

Who gives you a stupid wash to wash?"), the generals, whom he instead of "beef" treated to printed gingerbread and candies ("However, brother, you are a stupid landowner!") And, finally, the police captain ("Stupid same you, mister landowner!

"). The stupidity of the landowner is visible to everyone, and he indulges in unrealizable dreams that without the help of the peasants he will achieve the prosperity of the economy, reflects on the English machines that will replace the serfs. His dreams are ridiculous, because he cannot do anything on his own.

And only once did the landowner think: “Is he really a fool? Is it possible that the inflexibility that he so cherished in his soul, translated into ordinary language, means only stupidity and madness?

"If we compare the well-known folk tales about the gentleman and the peasant with the fairy tales of Saltykov-Shchedrin, for example, with The Wild Landowner, we will see that the image of the landowner in Shchedrin's fairy tales is very close to folklore, and the peasants, on the contrary, differ from fairy tales. In folk tales, a man is quick-witted, dexterous, resourceful, 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-sufferers appears. So, modifying the folk tale, the writer condemns the people's long-suffering, and his tales sound like a call to rise to the struggle, to renounce the slave worldview.

Of all the arts, literature has the richest possibilities for the embodiment of the comic. Most often, the following types and techniques of the comic are distinguished: satire, humor, grotesque, irony.

Satire is called a look "through magnifying glass" (AT. ). The object of satire in literature can be a variety of phenomena.

Political satire is the most common. A striking proof of this are the tales of M.

E. Saltykov-Shchedrin.

fantasy fairy tales allowed Saltykov-Shchedrin to continue criticizing the social system, bypassing censorship even in the face of political reaction. Shchedrin's fairy tales depict not only evil or good people, not just a struggle between good and evil, like most folk tales, they reveal the class struggle in Russia in the second half of the 19th century.

Consider the features of the problems of the writer's fairy tales using the example of two of them. In The Tale of How One Man Feeded Two Generals, Shchedrin shows the image of a breadwinner.

He can get food, sew clothes, conquer elemental forces nature. On the other hand, the reader sees the peasant's resignation, his obedience, unquestioning obedience to the two generals. He even ties himself to a rope, which once again indicates the humility and downtroddenness of the Russian peasant.

The author calls on the people to fight, protest, calls to wake up, to think about their situation, to stop meekly obeying. In the fairy tale “The Wild Landowner”, the author shows how far a rich gentleman can sink when he finds himself without a peasant. Abandoned by his peasants, he immediately turns into a dirty and wild animal, moreover, he becomes a forest predator.

And this life, in essence, is a continuation of his previous predatory existence. A wild landowner, like the generals, acquires a worthy appearance again only after his peasants return. Thus, the author gives an unambiguous assessment of contemporary reality.

In their literary form and style, the fairy tales of Saltykov-Shchedrin are associated with folklore traditions. In them we meet traditional fairy-tale characters: talking animals, fish, birds. The writer uses the beginnings, sayings, proverbs, linguistic and compositional triple repetitions, common speech and everyday peasant vocabulary, constant epithets, words with diminutive suffixes that are characteristic of a folk tale.

As in a folk tale, Saltykov-Shchedrin does not have a clear time and space framework. But, using traditional techniques, the author quite deliberately deviates from tradition.

He introduces socio-political vocabulary, clerical turns, French words into the narrative. On the pages of his fairy tales there are episodes of modern society.

life. So there is a mixture of styles, creating a comic effect, and the connection of the plot with the problems of the present.

Thus, having enriched the tale with new satirical devices, Saltykov-Shchedrin turned it into an instrument of socio-political satire.