What is the meaning of the name of the fairy tale horse. Analysis of the fairy tale "Konyaga

Tale of M.E. Saltykov-Shchedrin's "Konyaga" describes the plight of the peasantry in Tsarist Russia. The image of a tortured horse is a stable symbol in Russian classical literature. F.M. Dostoevsky in the novel Crime and Punishment. In the fairy tale M.E. Saltykov-Shchedrin, the image of Konyaga symbolizes the stoicism of the people oppressed by the autocracy. Saltykov-Shchedrin spares no figurative means and artistic details to create this miserable, ugly image. With the help of a number of epithets (“tortured”, “beaten”, “narrow-chested”), eloquent comparisons (“upper lip hung down like a pancake”), an unusually expressive image of a tortured nag with thin ribs and broken legs appears before the reader.

During work, Konyaga cannot even rest. He has a special relationship to nature: “For everyone, nature is a mother, for him alone she is a scourge and torture. Every manifestation of her life is reflected on him with torment. Every flowering is poison."

An insoluble contradiction arises: life turns into death. A flowering field turns into a lifeless one, covered with a white shroud. Konyaga, on the other hand, has only one thing left - exhausting work: “The whole meaning of his existence is exhausted by work; for him he is conceived and born, and outside of her, not only is he needed by anyone, but, as prudent owners say, he is a loss. The whole environment in which he lives is directed solely to preventing that muscular strength from freezing in him, which exudes the possibility of physical labor. Social inequality is shown in a fairy tale with the help of a parable about Konyaga and Pustoplyas, which tells about the happy brother of Konyaga. The Wasteboy was assigned to a warm stall and a soft straw was laid out. And they decided to live in a barn for Konyaga and threw an armful of rotten straw.

Gradually, such idlers began to walk around Konyaga and annoy with valuable advice. One of them sees common sense in his work, the other sees the spirit of life, and the third believes that work brings Konyaga peace of mind. The fourth believes that Konyaga is in his place, accustomed to work and eternal. These conversations, however, are empty, like the life of idle dancers who have no habit and work. The horse is driven by a peasant, who whips him with the words: “No, convict, move!”. Thanks to the parallelism at the end of the tale, the image of the exhausted Konyaga is even more closely aligned with the image of the people. The saying "The work of the master is afraid" further emphasizes his similarity. In the person of four idle dancers who admire the endurance of Konyaga, Saltykov-Shchedrin ridiculed the liberals, Slavophiles, liberal populists and the bourgeoisie, who are trying with all their might and theories to justify the miserable, oppressed position of the Russian peasantry. In empty disputes, as the writer shows, not only is truth not born, but the last common sense, a sober look at the problem of social inequality, disappears.

Tales of M.E. Saltykov-Shchedrin - a response to the social events that took place in Russia in the second half of the 19th century. They embody all the pain of the writer about the fate of the people, about his lack of rights and impotence, about the oppression on the part of those "town governors" about whom the satirist wrote in the "History of a City".

Living images served as the basis for all the works of Saltykov-Shchedrin. His fairy tales are no exception: animals, the main characters of many of the writer's fairy tales, hide very real human faces. It is curious that even now the tales of the great satirist do not lose their relevance, they are still in demand by the reader as highly artistic and topical works.

One of the tales of M.E. Saltykov-Shchedrin is "Konyaga" - a fairy tale in which all the pain of the writer for his homeland is reflected. The horse is a symbol of a peasant, a symbol of the people and the country, humiliated by an unjust political regime and suppressed by brutal exploitation. The village verdant field pleases the eye, labor is a source of contentment and self-respect for the peasant. This is how it should be, according to Saltykov-Shchedrin, but this has never happened in reality.

The skinny fields were the scene of everyday torment by Konyaga, "an ordinary man's stomach, tortured, beaten, narrow-chested, with protruding ribs and burned shoulders, with broken legs." No one else has ever written about these fields the way Shchedrin did. The expanses of these fields did not open the way to the world, but kept the peasant as if in prison. Their greenery promised satiety to anyone - a gentleman, an official, a merchant, a foreign buyer, but not a peasant, not Konyaga. For Konyaga and the peasant, these fields were hard labor, lasting from year to year, without respite and without hope for the future: “There is no end to the fields: they filled all life and distance, even where the earth merged with the sky, and there all the fields. Golden, green, naked - they surrounded the village with an iron ring and it has no way out except into this gaping abyss of fields ... For everyone, the field is expanse, poetry, space; for Konyaga it is bondage. There was no end to the work of Konyaga, and he received nothing for this work, except for pain, fatigue and misfortune.

Konyaga had a brother - Pustoplyas. Pustoplyas is also a horse, but he did not get labor and hunger, but oats, a full honey and a warm stall. The idle dancers not only lived at the expense of Konyaga, they also had learned conversations about him. These conversations, occupying only a page, satirically convey the essence of the disputes about the people that were going on among the intelligentsia in the eighties of the 19th century.

The idle dancers themselves were amazed at the indestructibility of Konyaga: “They beat him with whatever they hit, but he lives; they feed him with straw, but he lives! The liberal saw the reason for Konyaga's invincibility in following the liberal rules: "ears do not grow higher than the forehead", "you cannot break a butt with a whip." The Slavophil explained the boundless endurance of Konyaga by the fact that "he carries the life of the spirit in himself and carries the spirit of life." The Narodnik saw in Konyaga the realization of the ideal of “real work”: “This work gives him peace of mind, reconciles him with his personal conscience and with the conscience of the masses, and endows him with stability, which even centuries of slavery could not overcome!”

The fourth idle dance, expressing the "ideology" of the grimy fist, believed that the peasant was obliged to deliver everything that was required. He thought that the only sure way to ensure the inexhaustibility of Konyaga's labor was to invigorate him with a whip. And idle dancers, regardless of their ideological nuances, urged Konyaga, all together they were delighted with the picture of his overwork, hysterical work.

The people are a great force, but who will free it, who will let it manifest itself freely? Russia is a great country, but who will liberate it, show it the way to space? All his life Shchedrin wrestled with these questions - and yet he could not give an answer to them: “From century to century, the formidable, immovable bulk of the fields grows numb,” he wrote, “as if guarding a fairy-tale force in captivity. Who will free this force from captivity? who will bring her into the world? This task fell to two creatures: the peasant and Konyaga. And both from birth to the grave are struggling with this task, shedding bloody sweat, but the field did not give out its fabulous strength, - the strength that would resolve the bonds of the peasant, and Konyage healed sore shoulders.

Saltykov-Shchedrin, who often resorted to allegory, could not help but succumb to the temptation to fill the familiar images of a folk tale with political and topical content. The fantasy of his fairy tales is realistic in spirit, just as genuine folklore is realistic in general.
In the fantasy of folk tales, Shchedrin felt something akin to his own artistic devices. Folk tales are full of humor, they denounce and teach. Often they are real satires, imbued with sympathy for the common man, for the social ranks from which these tales came out. The satirical element of the genre made it especially suitable for the realization of Shchedrin's ideas.

Tale of M.E. Saltykov-Shchedrin's "Konyaga" describes the plight of the peasantry in Tsarist Russia. The image of a tortured horse is a stable symbol in Russian classical literature. F.M. Dostoevsky in the novel Crime and Punishment. In the fairy tale M.E. Saltykov-Shchedrin, the image of Konyaga symbolizes the stoicism of the people oppressed by the autocracy. Saltykov-Shchedrin spares no figurative means and artistic details to create this miserable, ugly image. With the help of a number of epithets (“tortured”, “beaten”, “narrow-chested”), eloquent comparisons (“upper lip hung down like a pancake”), an unusually expressive image of a tortured nag with thin ribs and broken legs appears before the reader.

Gradually, such idlers began to walk around Konyaga and annoy with valuable advice. One of them sees common sense in his work, the other sees the spirit of life, and the third believes that work brings Konyaga peace of mind. The fourth believes that Konyaga is in his place, accustomed to work and eternal. These conversations, however, are empty, like the life of idle dancers who have no habit and work. The horse is driven by a peasant, who whips him with the words: “No, convict, move!”. Thanks to the parallelism at the end of the tale, the image of the exhausted Konyaga is even more closely aligned with the image of the people. The saying "The work of the master is afraid" further emphasizes his similarity. In the person of four idle dancers who admire the endurance of Konyaga, Saltykov-Shchedrin ridiculed the liberals, Slavophiles, liberal populists and the bourgeoisie, who are trying with all their might and theories to justify the miserable, oppressed position of the Russian peasantry. In empty disputes, as the writer shows, not only is truth not born, but the last common sense, a sober look at the problem of social inequality, disappears.

"Konyaga" analysis of the work - theme, idea, genre, plot, composition, heroes, problems and other issues are disclosed in this article.

Tale of M.E. Saltykov-Shchedrin's "Konyaga" describes the plight of the peasantry in Tsarist Russia. The image of a tortured horse is a stable symbol in Russian classical literature. F.M. Dostoevsky in the novel Crime and Punishment. In the fairy tale M.E. Saltykov-Shchedrin, the image of Konyaga symbolizes the stoicism of the people oppressed by the autocracy. Saltykov-Shchedrin spares no figurative means and artistic details to create this miserable, ugly image. With the help of a number of epithets (“tortured”, “beaten”, “narrow-chested”), eloquent comparisons (“upper lip hung down like a pancake”), an unusually expressive image of a tortured nag with thin ribs and broken legs appears before the reader.

During work, Konyaga cannot even rest. He has a special relationship to nature: “For everyone, nature is a mother, for him alone she is a scourge and torture. Every manifestation of her life is reflected on him with torment. Every flowering is poison."

An insoluble contradiction arises: life turns into death. A flowering field turns into a lifeless one, covered with a white shroud. Konyaga, on the other hand, has only one thing left - exhausting work: “The whole meaning of his existence is exhausted by work; for him he is conceived and born, and outside of her, not only is he needed by anyone, but, as prudent owners say, he is a loss. The whole environment in which he lives is directed solely to preventing that muscular strength from freezing in him, which exudes the possibility of physical labor. Social inequality is shown in a fairy tale with the help of a parable about Konyaga and Pustoplyas, which tells about the happy brother of Konyaga. The Wasteboy was assigned to a warm stall and a soft straw was laid out. And they decided to live in a barn for Konyaga and threw an armful of rotten straw.

Gradually, such idlers began to walk around Konyaga and annoy with valuable advice. One of them sees common sense in his work, the other sees the spirit of life, and the third believes that work brings Konyaga peace of mind. The fourth believes that Konyaga is in his place, accustomed to work and eternal. These conversations, however, are empty, like the life of idle dancers who have no habit and work. The horse is driven by a peasant, who whips him with the words: “No, convict, move!”. Thanks to the parallelism at the end of the tale, the image of the exhausted Konyaga is even more closely aligned with the image of the people. The saying "The work of the master is afraid" further emphasizes his similarity. In the person of four idle dancers who admire the endurance of Konyaga, Saltykov-Shchedrin ridiculed the liberals, Slavophiles, liberal populists and the bourgeoisie, who are trying with all their might and theories to justify the miserable, oppressed position of the Russian peasantry. In empty disputes, as the writer shows, not only is truth not born, but the last common sense, a sober look at the problem of social inequality, disappears.

Analysis of the fairy tale "Konyaga"

In 1869 - 1886, Saltykov-Shchedrin created a cycle of fairy tales "for children of a fair age" - short satirical works in which the vices and weaknesses of contemporary Russian society are allegorically presented to the author: "The Wild Landowner", "Karas - Idealist", "Dried Vobla", " Wise minnow”, “Konyaga” and others. At that time, due to the existing strict censorship, the author could not fully show the entire inconsistency of the Russian administrative apparatus. And yet, with the help of fairy tales, he was able to convey to people sharp criticism of the existing order. Trying to hide the true meaning of what was written from censorship, the writer was forced to use such diverse techniques as the grotesque, hyperbole, and antithesis. Aesopian language was also important.
So, the fairy tale "Konyaga" has the form of a parable. It refers to a horse - a horse, which was "an ordinary man's stomach, tortured, beaten, narrow-chested, with protruding ribs and burnt shoulders, with broken legs." From the nostrils and eyes he "oozes mucus." The upper lip was slanted like a pancake, and he always kept his head "downcast". And there was nowhere for Konyaga to gain strength: they gave him such food that “you can only slap your teeth” from him. And I had to work. They will go through the furrow with the peasant "from end to end" - and both are trembling: here it is, death, has come! Death to both - both the horse and the peasant; death every day. The horse did not live, but did not die either. Like this field, which he irrigated with his blood, he did not count days, years, or centuries ...
He had a brother - Pustoplyas. He was "polite and sensitive." He was placed in a warm stall and spread soft straw. No one could tell at first glance that they were the children of the same father. Pustoplyas already forgot that "the brother lives in the world, but suddenly he became sad for some reason and remembered." He sees that his brother is immortal! “They beat him with anything that doesn’t hit him, but he lives, they feed him with straw, and he lives!” And Pustoplyas decided that Konyaga "draws from work that spiritual clarity that we have lost forever." “That’s who you need to learn from!” "Here's someone to imitate!"
Saltykov-Shchedrin constantly strived to improve his allegorical manner, tried to make his works as accessible to the reader as possible. Therefore, resorting to comparison with animals and to those artistic techniques that are characteristic of folk tales.
So, Konyaga is the personification of not only one tortured poor man - a worker, but of the entire peasantry as a whole, weighed down by exhausting work and a gloomy life, lack of happiness. Like Konyaga, people suffer, not sparing themselves and their strength, and for what? Who among them truly thinks about the future of their efforts, thoughts and desires?
I think that the “poor people” do not notice all the sorrow of losses and waste of energy, blindly believing in something good and in some kind of general happiness.
It is not for nothing that the fairy tale is named precisely “Konyaga”, neither “Horse”, nor “Konyushka”, namely “Konyaga”. Which speaks to all the severity and cruelty of life, about the conditions that they made of a horse - Konyaga, about those conditions in which it was impossible to live otherwise.
It is bitter and painful for the Russian people. Seeing his lack of rights, one can only marvel at the great, age-old patience.
Saltykov-Shchedrin ridicules the layman, speaks with anger about officials. Fantasy and reality in his works are closely connected, but in general, the Tales cycle gives us a complete and accurate picture of the contemporary reality of the writer. But the author did not consider a simple description as his task. Its true goal is to find a way to the hearts of readers, to make them think about what is happening around and, perhaps, to find answers to many questions that life has raised in the book.
And it seems to me that when reading "Tales", you need to learn from the mistakes and weaknesses of the past, so that they do not exist in the future and the present!

The fairy tale by M.E. Saltykov-Shchedrin "Konyaga" describes the plight of the peasantry in Tsarist Russia. The image of a tortured horse is a stable symbol in Russian classical literature. F. M. Dostoevsky addressed him in the novel Crime and Punishment. In the fairy tale by M.E. Saltykov-Shchedrin, the image of Konyaga symbolizes the stoicism of the people oppressed by the autocracy. Saltykov-Shchedrin spares no figurative means and artistic details to create this miserable, ugly image. With the help of a number of epithets ("tortured", "beaten", "narrow-chested"), eloquent comparisons ("the upper lip drooped like a pancake"), an unusually expressive image of a tortured nag with thin ribs and broken legs appears before the reader.

During work, Konyaga cannot even rest. He has a special relationship to nature: "For everyone, nature is a mother, for him alone she is a scourge and torture. Every manifestation of her life is reflected on him as torment. Every flowering is poison."

An insoluble contradiction arises: life turns into death. A flowering field turns into a lifeless one, covered with a white shroud. Konyaga, on the other hand, has only one thing left - exhausting work: “The whole meaning of his existence is exhausted by work; for him he is conceived and born, and outside of it he not only is not needed by anyone, but, as prudent owners say, is a loss. The whole situation in which he lives, is directed solely to not allowing that muscular strength to freeze in him, which exudes from itself the possibility of physical labor. Social inequality is shown in a fairy tale with the help of a parable about Konyaga and Pustoplyas, which tells about the happy brother of Konyaga. The empty dancer was assigned to a warm stall and a soft straw was laid out. And they decided to live in a barn for Konyaga and threw an armful of rotten straw.

Gradually, such idle dances began to walk around Konyaga and annoy with valuable advice. One of them sees common sense in his work, the other sees the spirit of life, and the third believes that work brings Konyaga peace of mind. The fourth believes that Konyaga is in his place, accustomed to work and eternal. These conversations, however, are empty, like the life of idle dancers who have no habit and work. The horse is driven by a peasant, who whips him with the words: "B-but, convict, move!" Thanks to the parallelism at the end of the tale, the image of the exhausted Konyaga is even more closely aligned with the image of the people. The saying "The work of the master is afraid" further emphasizes his similarity. In the person of four idle dancers who admire the endurance of Konyaga, Saltykov-Shchedrin ridiculed the liberals, Slavophiles, liberal populists and the bourgeoisie, who are trying with all their might and theories to justify the miserable, oppressed position of the Russian peasantry. In empty disputes, as the writer shows, not only is truth not born, but the last common sense, a sober look at the problem of social inequality, disappears.

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1. The ideological meaning and artistic originality of the satirical tales of M. E. Saltykov-Shchedrin. 2. Features of the fairy tale genre by M. E. Saltykov-Shchedrin. 3. The people and gentlemen in the fairy tales of M. E. Saltykov-Shchedrin. 4. "Tales" by M. E. Saltykov-Shchedrin as an example of socio-political satire. 5. The ideological and thematic content of "Tales" by M. E. Saltykov-Shchedrin. 6. Positive ideals of ME Saltykov-Shchedrin in his fairy tales. 7. Ways of expressing the author's position in the novel by M. E. Saltykov-Shchedrin "The History of a City". 8. The role of the grotesque in
Prose The history of one city The history of the creation of the novel Text analysis Genre features of the novel "The History of One City" The collective image of the Foolovites The meaning of the finale of the novel "The History of One City" Features of the satirical manner of M. E. Saltykov-Shchedrin Criticism about the work of M. E. Saltykov-Shchedrin M. E. Saltykov-Shchedrin P. Weil, A. Genis Themes of essays on the work of M. E. Saltykov-Shchedrin Analysis of the fairy tale by M. E. Saltykov-Shchedrin "The Wise Minnow" Vitaly Solomin reads "The Tale of How One Man Feeded Two Generals " mp3 Questions and
1. What are the artistic features of "Tales" by M. E. Saltykov-Shchedrin? The tales of M. E. Saltykov-Shchedrin are political satires in their pathos and orientation. Satirical images are created on the basis of allegory and grotesque. In fairy tales, M.E. Saltykov-Shchedrin uses traditional images of animals, filling them with new social meaning. In the language of fairy tales, there are often folk proverbs, fairy-tale formulas ("neither in a fairy tale to say, nor to describe with a pen"). The tales are written in Aesopian language, thanks to which it was possible to avoid censorship bans. For example, M.
1. What are the main themes of the work of M. E. Saltykov-Shchedrin? Through all the work of M.E. Saltykov-Shchedrin there are three main themes: social inequality in Russia, the moral and psychological degradation of the nobility, the people and the bourgeois intelligentsia. These themes are disclosed respectively in "Provincial Essays", "Pompadours and Pompadours", "History of a City", "Golovlyov Gentlemen". All these themes are reflected in the "Tales". 2. What detail in "The Tale of How One Man Feeded Two Generals" speaks of the slavish obedience of the people? In "The Tale of
M.E. Saltykov-Shchedrin is a satirist writer. All his work is aimed at criticizing the existing order in the country and, first of all, at the wrong state structure. The writer's works continue the tradition of D. I. Fonvizin, A. S. Griboyedov, N. V. Gogol. In the chronicles and fairy tales of Saltykov, we see a reflection of the real history of Russia, and in fairy-tale images, statesmen, rulers, and officials appear before us. I. S. Turgenev wrote about the features of Saltykov’s satire: “In Saltykov there are
A fairy tale, nothing more than a fairy tale, And meanwhile a high tragedy... I. Kramskoy M. E. Saltykov-Shchedrin was a multi-talented writer. He wrote novels, short stories, essays, chronicles, articles. Shchedrin's fairy tales made him especially popular among the people. Fairy tales are subtitled "For children of a fair age", and this indicates that the fabulous allegorical form is chosen in order to be able to express thoughts that are dangerous to express in another form. Pretending to be a simpleton, the satirist talks about things that are not at all fabulous. Fairy tales were written

Tales of M.E. Saltykov-Shchedrin - a response to the social events that took place in Russia in the second half of the 19th century. They embody all the pain of the writer about the fate of the people, about his lack of rights and impotence, about the oppression on the part of those "town governors" about whom the satirist wrote in the "History of a City".

Living images served as the basis for all the works of Saltykov-Shchedrin. His fairy tales are no exception: animals, the main characters of many of the writer's fairy tales, hide very real human faces. It is curious that even now the tales of the great satirist do not lose their relevance, they are still in demand by the reader as highly artistic and topical works.

One of the tales of M.E. Saltykov-Shchedrin is "Konyaga" - a fairy tale in which all the pain of the writer for his homeland is reflected. The horse is a symbol of a peasant, a symbol of the people and the country, humiliated by an unjust political regime and suppressed by brutal exploitation. The village verdant field is pleasing to the eye, labor is a source of contentment and self-respect for the peasant. This is how it should be, according to Saltykov-Shchedrin, but this has never happened in reality.

The skinny fields were the scene of everyday torment by Konyaga, "an ordinary man's stomach, tortured, beaten, narrow-chested, with protruding ribs and burned shoulders, with broken legs." No one else has ever written about these fields the way Shchedrin did. The expanses of these fields did not open the way to the world, but kept the peasant as if in prison. Their greenery promised satiety to anyone - a gentleman, an official, a merchant, a foreign buyer, but not a peasant, not Konyaga. For Konyaga and the peasant, these fields were hard labor, lasting from year to year, without respite and without hope for the future: “There is no end to the fields: they filled all life and distance, even where the earth merged with the sky, and there all the fields. Golden, green, naked - they surrounded the village with an iron ring and it has no way out except into this gaping abyss of fields ... For everyone, the field is expanse, poetry, space; for Konyaga it is bondage. There was no end to the work of Konyaga, and he received nothing for this work, except for pain, fatigue and misfortune.

Konyaga had a brother - Pustoplyas. Pustoplyas is also a horse, but he didn’t get labor and hunger, but oats, a well-fed honey and a warm stall. The idle dancers not only lived at the expense of Konyaga, they also had learned conversations about him. These conversations, occupying only a page, satirically convey the essence of the disputes about the people that were going on among the intelligentsia in the eighties of the 19th century.

The idle dancers themselves were amazed at the indestructibility of Konyaga: “They beat him with whatever they hit, but he lives; they feed him with straw, but he lives! The liberal saw the reason for Konyaga's invincibility in following the liberal rules: "ears do not grow higher than the forehead", "you cannot break a butt with a whip." The Slavophil explained the boundless endurance of Konyaga by the fact that "he carries the life of the spirit in himself and carries the spirit of life." The Narodnik saw in Konyaga the realization of the ideal of “real work”: “This work gives him peace of mind, reconciles him with his personal conscience and with the conscience of the masses, and endows him with stability, which even centuries of slavery could not overcome!”

The fourth idle dance, expressing the "ideology" of the grimy fist, believed that the peasant was obliged to deliver everything that was required. He thought that the only sure way to ensure the inexhaustibility of Konyaga's labor was to invigorate him with a whip. And idle dancers, regardless of their ideological nuances, urged Konyaga, all together they were delighted with the picture of his overwork, hysterical work.

The people are a great force, but who will free it, who will let it manifest itself freely? Russia is a great country, but who will liberate it, show it the way to space? All his life Shchedrin wrestled with these questions - and yet he could not give an answer to them: “From century to century, the formidable, immovable bulk of the fields grows numb,” he wrote, “as if guarding a fairy-tale force in captivity. Who will free this force from captivity? who will bring her into the world? This task fell to two creatures: the peasant and Konyaga. And both from birth to the grave are struggling with this task, shedding bloody sweat, but the field did not give out its fabulous strength, - the strength that would resolve the bonds of the peasant, and Konyage healed sore shoulders.

Saltykov-Shchedrin, who often resorted to allegory, could not help but succumb to the temptation to fill the familiar images of a folk tale with political and topical content. The fantasy of his fairy tales is realistic in spirit, just as genuine folklore is realistic in general.
In the fantasy of folk tales, Shchedrin felt something akin to his own artistic devices. Folk tales are full of humor, they denounce and teach. Often they are real satires, imbued with sympathy for the common man, for the social ranks from which these tales came out. The satirical element of the genre made it especially suitable for the realization of Shchedrin's ideas.

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Tale of M.E. Saltykov-Shchedrin's "Konyaga" describes the plight of the peasantry in Tsarist Russia. The image of a tortured horse is a stable symbol in Russian classical literature. F.M. Dostoevsky in the novel Crime and Punishment. In the fairy tale M.E. Saltykov-Shchedrin, the image of Konyaga symbolizes the stoicism of the people oppressed by the autocracy. Saltykov-Shchedrin spares no figurative means and artistic details to create this miserable, ugly image. With the help of a number of epithets (“tortured”, “beaten”, “narrow-chested”), eloquent comparisons (“upper lip hung down like a pancake”), an unusually expressive image of a tortured nag with thin ribs and broken legs appears before the reader.

During work, Konyaga cannot even rest. He has a special relationship to nature: “For everyone, nature is a mother, for him alone she is a scourge and torture. Every manifestation of her life is reflected on him with torment. Every flowering is poison."

An insoluble contradiction arises: life turns into death. A flowering field turns into a lifeless one, covered with a white shroud. Konyaga, on the other hand, has only one thing left - exhausting work: “The whole meaning of his existence is exhausted by work; for him he is conceived and born, and outside of her, not only is he needed by anyone, but, as prudent owners say, he is a loss. The whole environment in which he lives is directed solely to preventing that muscular strength from freezing in him, which exudes the possibility of physical labor. Social inequality is shown in a fairy tale with the help of a parable about Konyaga and Pustoplyas, which tells about the happy brother of Konyaga. The Wasteboy was assigned to a warm stall and a soft straw was laid out. And they decided to live in a barn for Konyaga and threw an armful of rotten straw.

Gradually, such idlers began to walk around Konyaga and annoy with valuable advice. One of them sees common sense in his work, the other sees the spirit of life, and the third believes that work brings Konyaga peace of mind. The fourth believes that Konyaga is in his place, accustomed to work and eternal. These conversations, however, are empty, like the life of idle dancers who have no habit and work. The horse is driven by a peasant, who whips him with the words: “No, convict, move!”. Thanks to the parallelism at the end of the tale, the image of the exhausted Konyaga is even more closely aligned with the image of the people. The saying "The work of the master is afraid" further emphasizes his similarity. In the person of four idle dancers who admire the endurance of Konyaga, Saltykov-Shchedrin ridiculed the liberals, Slavophiles, liberal populists and the bourgeoisie, who are trying with all their might and theories to justify the miserable, oppressed position of the Russian peasantry. In empty disputes, as the writer shows, not only is truth not born, but the last common sense, a sober look at the problem of social inequality, disappears.

Tale Konyaga - a satirical allegorical work from the famous collection of Tales for children of a fair age. In it, the writer expresses his concern about the social and social events in the country and his sympathy for the common people. The name of the collection shows what category of readers his works are intended for. Be sure to read the story online and discuss it with your child.

Tale Konyaga read

Konyaga works from morning till late evening in the field. He has a difficult share: all year round work to exhaustion, food is useless. Exhausting work does not bring any joy, only fatigue, pain and indifference to everything. Konyaga has a brother Pustoplyas, who is more fortunate. He doesn't have to work hard. They feed him with oats, drink full honey. From an excess of brotherly feelings, Empty Dance wanted to look at the life of his brother. Seeing Konyaga exhausted by work, the brother, along with other idle dancers, began to talk about life's vicissitudes. But these were just empty words. You can read the story online on our website.

Analysis of the fairy tale Konyaga

In the allegorical tale of Saltykov-Shchedrin, the usual images of a folk tale acquire a symbolic meaning. The industrious submissive animal personifies the long-suffering forced Russian people, accustomed to humility and deprivation. But you can feel the power and ability to endure all hardships in him. The windbags are intelligentsia, “polite and sensitive” people. Arguing about the share of a simple worker, they are touched, admired, indignant, criticized, clever, in the end, they are inactive. In his fairy tale, Saltykov-Shchedrin is looking for an answer to the question that worried the progressive people of Russia: how to save the people from suffering. What does the fairy tale Konyaga teach? She teaches to fight injustice and evil, not to give up and not to despair.

Moral of the fairy tale Konyaga

What is the main idea of ​​Konyag's satirical tale, written in the 19th century on the topic of the day? You should not endure a plight, you need to look for the strength in yourself to fight against oppression, tyranny and any manifestations of injustice.

Proverbs, sayings and expressions of a fairy tale

• The work of the master is afraid.
• A rolling stone gathers no moss.