“Creativity of Saltykov-Shchedrin” - Lithograph. House in Vyatka. Served as vice-governor in Ryazan. Cover of the magazine "Dragonfly". Fairy tales. The essence of the work. Acquaintance with V.G. Belinsky. Writer. Death of Nicholas I. Served as an official. Saltykova. Personal life. Pages of a new work. Education. Aphorisms. Vyatka captivity. Estate in the village of Spas-Ugol. Saltykov-Shchedrin with a map of the city of Glupov. Last years life. Questions to think about. Elizaveta Apollonovna.
“The life and work of Saltykov-Shchedrin” - Center literary life. Collection of insects. Book titles. Museum of M.E. Saltykov-Shchedrin. Belinsky. Traditions of Russian satirists. Successive connections. Type artistic imagery. Russian writer. Stages of biography and creativity. Time creative achievements. Museum named after M.E. Saltykova-Shchedrin. Administrator. M.E. Saltykov-Shchedrin. Why did Saltykov suddenly become Shchedrin? M.E. Saltykov-Shchedrin. Magazine " Domestic notes».
“A game based on the fairy tales of Saltykov-Shchedrin” - Name the author of the fairy tales. On what street in St. Petersburg did two generals live? What they did in the city of Vyatka with the caught fish before cooking the fish soup. What the landowner, having gone wild, did not manage to acquire. What is the name of the “Wild Landowner?” Pears. Two generals. Walking method. What the wild landowner treated all the guests to. Who bothered to return the peasant to the landowner? In what form did the two generals arrive on the island?
“Biography of Mikhail Saltykov-Shchedrin” - I love Russia to the point of heartache. The composition of the journal's editorial staff. Opening of the monument to M. E. Saltykov-Shchedrin. The beginning of literary activity. The writer's childhood. The story of one city. In the link. Writer. The museum is open. Olga Mikhailovna. Last years of life. Mikhail Evgrafovich Saltykov-Shchedrin. Street. Shchedrin's creativity. Memorial plaque. Mikhail Evgrafovich with his wife.
“The Life Path of Saltykov-Shchedrin” - The Writer’s Wife. The unimportance of books. Freethinking. The story of one city. Young Saltykov. Moscow Noble Institute. Mikhail Evgrafovich. Mr. Golovlev. Literary activity. Serf man. A convinced socialist. Domestic notes. Born in old noble family. Shchedrin's creativity. Mikhail Evgrafovich Saltykov-Shchedrin.
“Biography of M.E. Saltykov-Shchedrin” - main feature fairy tales by M.E. Saltykov-Shchedrin. Irony is a subtle, hidden mockery. Artistic Features. Idea of Saltykov-Shchedrin. Genre originality. Humor – soft laughter, grin. The house on Liteiny Prospekt, in which the writer lived until the end of his days. Civil service. Issues. "Vyatka captivity." I love Russia to the point of heartache. Education. Abundance of impressions. The writer's daughter. History of creation.
Depicting the people in a fairy tale" Wild landowner", M.E. Saltykov-Shchedrin, without hiding, shows respect and sympathy for him. A similar impression is formed from observing the contrasts between the landowner, on the one hand: “and that landowner was stupid ..." and hardworking people, on the other side.
Throughout the entire work, the author emphasizes the idea that a representative from the people has a difficult fate. He is in the power of the one who pays him for his work, dependent on him. But in fact, a master without a peasant cannot cope with a single problem on his own. The landowner practically does not give the people the right to choose, infringing on their rights. Such is the lot of an oppressed person in captivity.
A man of the people turns out to be irreplaceable. This is evidenced by the events of the work. Finding himself without the services of his workers, the master was left hungry and unkempt. Only after they disappeared did the owner begin to understand their role in his life. He comes to the realization that the people, bit by bit, build their entire life with their own hands - both their own and the owner's, while showing ingenuity and hard work. His character is perseverance and determination. He is friendly, patient and responsive.
Unprotected by anyone, the people humbly agreed to the ridiculous fines and other rules of the landowner. Despite all this, he was not stupid. He understood everything about his master, understood everyday affairs, everyday issues, marveling at his greed. For a long time obedience and diligence were his main characteristics.
Soon the poor man's patience ran out. He could not bear to be bullied by the oppressor. He disappeared in an instant, thus showing his protest against existing system, leaving the owner alone with himself.
The author treats the people with sincere sympathy, ridiculing the negligence of the landowner, his inability to exist independently and serve himself. He emphasizes in the tale that this despot, having unlimited power over the people, becomes a hostage to his laziness, stinginess and aggression. The author humiliates the landowner in front of the people, turning him practically into an animal (only “he hasn’t acquired a tail yet”). The freedom-loving people, in his opinion, should be rewarded according to their deserts.
Several interesting essays
- Analysis of Chekhov's story The Wager essay
The story of Pari was written by Chekhov six years before his death. He knew that he had little time left to live, and his last stories show Chekhov’s rethinking of life and summing up its results. The bet can be classified as a parable story
- Analysis of Astafiev's work Tsar Fish essay
Astafiev’s famous work “The Fish Tsar” is studied at school. The main characters of this work are not only man, but also nature itself.
- Aesopian language of Saltykov-Shchedrin
A distinctive feature of the writer’s works is the use of artistic allegorical language in them, called Aesopian by the author himself, after the famous fabulist Aesop
I have a lot of people whom I can call friends and acquaintances. And like everyone else, I have my best friend. Yogo's name is Bogdan. This is my classmate. He is smaller in height than me, although he is the same year
Who said words can't be magical? Yes, this is said figuratively, but what magic they create, how they help a person, after that it is simply impossible not to call them magical
An important place in the work of Saltykov-Shchedrin is occupied by his “Fairy Tales”, which sum up the forty years creative activity author. Most of fairy tales were written in the last ten years of the writer’s life. And this, of course, is not accidental. Saltykov-Shchedrin resorted to the fairy tale genre in the 80s years XIX century, when political censorship was such that the author had to find a form that was most convenient and understandable to the common reader.
As in all the works of Saltykov-Shchedrin, in fairy tales two forces confront each other: the people and their oppressors. The people appear here under the masks of kind, defenseless, disadvantaged animals, and the exploiters under the masks of predators. This is a fable tradition, which was further developed in his work by the great Russian fabulist Krylov. In all fairy tales there is a generalized image of a worker who is mocked by his oppressors. This is Konyaga, which is a symbol of the working and peasant Rus', and the men from the story “How one man fed two generals,” and many others.
Portraying hard life working people, Shchedrin sympathizes with them, but at the same time grieves for their humility and humility, immeasurable obedience. Gorky is felt through the author’s lines when he tells us how a man made a rope for himself. In almost all fairy tales, the writer draws a man with love, showing him great power and nobility. The people in his works are kind, brave and smart. He can do everything: build a hut for himself and his master, shoe a horse, sew clothes, and cross the “sea-ocean”. The oppressors in fairy tales look ridiculous, funny, the author laughs at their helplessness, ignorance, and inability to live without a man. Shchedrin ridicules such human vices, inherent in the masters of life, such as greed, stinginess, despotism, complete ignorance. All this is clearly visible in Saltykov’s collection; let us recall at least two generals or a wild landowner from the fairy tale of the same name.
One of the main ideas that the author preaches in his works is the liberation of the peasants from the yoke of autocracy represented by the landowners. This is best seen in the fairy tale “The Wild Landowner,” where the author seemed to put together all his thoughts and ideas on this matter. Here the problem of the relationship between the tortured people and the serf owners is especially acute: “The cattle go out to water - the landowner shouts: my water! A chicken wanders into the outskirts - the landowner shouts: my land! And the earth, and the water, and the air - everything became his. There was no torch to light the man’s light, there was no rod to sweep out the hut with.”
The author shows what happens to a landowner abandoned by the peasants: he becomes a fierce predator, unwashed, unshaven, dying of hunger. And then we see that there is no life for the master without a man; the landowner cannot get a piece of bread for himself. But as soon as people return, everything falls into place. By this Shchedrin wants to tell us that the people are the creator of wealth, and its owner is only a consumer.
The personification of philistinism became “ wise minnow", who spent his entire life hiding, fearing and fearing everyone and everything. The goal of this “enlightened, moderately liberal coward’s life was to save his own skin, avoid trouble, get away from everyone life problems. Even though he lived to a ripe old age, his life was so empty and insignificant that it does not evoke any feelings in the reader other than grinning and contempt.
A number of fairy tales are dedicated to ridiculing the Tsarist power and government structure. "Eagle Patron" is a parody of enlightened Rus'. The author, in the person of Eagle, depicts the ruler and his entourage who destroy culture and science to achieve their mundane, material goals.
Despite his love for the people, the writer could not help but reflect such qualities as long-suffering, humility, and obedience. The author says that only the people themselves can help themselves, correct their humiliated, disastrous, subjugated position.
It is impossible not to mention the language of Shchedrin’s fairy tales. In creating them, the writer relied on experience folk art, as evidenced by the presence of many proverbs, sayings, sayings. Allegories are reflected in these works, changing according to the genre of political fairy tales. The author talks about the distant past or some unknown place, but in fact he describes contemporary reality: “Today this does not exist, but there was such a time...”. Shchedrin resorts to allegory, the use of masks from the animal world, which still failed to hide their socio-political content and ideas.
At all times, the theme of the people has worried Russian writers. Saltykov-Shchedrin was no exception in this series with his fairy tales.
Both in the serfdom and in the post-reform years, he tirelessly denounced the “ablakats of the Balalaikins,” their “smudged, bashful, empty eloquence,” which turned into connivance and betrayal in the tragic moments of Russian history.
Formation of public and literary views The writer’s rise began in the era of the secret spread of social-utopian theories in Russia, and then the powerful revolutionary-democratic sermon of V. G. Belinsky. During Vyatka exile Saltykov-Shchedrin had to directly face the tsarist province, the bureaucratic and landowner provincial clan. He understood and experienced a lot during these years.
In the turbulent sixties, he became acquainted with the revolutionary-democratic figures of Sovremennik, and in many ways came closer to their views on the political situation and on driving forces stories. This rapprochement was greatly helped by the growing hatred in him for all forms of social and spiritual violence, based on broad observations and analysis of reality
It was during these years that Saltykov-Shchedrin created works that were distinguished by their particular ideological and artistic maturity: “Satires in Prose”, “Pompadours and Pompadours”, “The History of a City”, “ Well-Intentioned Speeches", "In an environment of moderation and accuracy." The banner of revolutionary democracy and social progress he managed to carry him through the difficult times of reaction, through the “era of counter-reforms,” when his satire acquired tragic shades, but at the same time did not lose either analytical depth or ideological and artistic solidity. And the writer himself during these difficult years was a model of firmness, perseverance and endurance.
The basis of Saltykov-Shchedrin’s harsh and sometimes tragic laughter was not skepticism and disbelief, but an incomparable confidence in the triumph of the ideals of humanism, a premonition of the inexhaustible spiritual strength of the people. This is what made his satire so significant, integral and wise. “And the stronger the surprise at the temple in which human thought is beneficently nurtured,” wrote Saltykov-Shchedrin, “the more passionate the devotion to the interests of this thought, the stronger and more passionate becomes the indignation aroused by infectious dens that seek to obscure the temple and introduce infection into it , rot and depravity." The writer filled his works not with images of individual “villainous” individuals, but with the thought of the worthlessness of everything exploitative social order: “My harshness does not refer to individuals, but to a certain totality of phenomena, in which lies the source of all the evils that oppress humanity.”
The popular satirist published his first fairy tales in 1869, then, starting in 1880, they regularly appeared in print for seven years, causing constant interest among readers and impotent aggression among the authorities. What was it that attracted everyone’s attention to these fairy tales?
First of all, it seems to me, the courage with which the writer depicted the vices of Russian society. He did not criticize individual shortcomings individuals, and the entire system public relations in the Russian Federation, and his merciless criticism took the form of social satire, sometimes even grotesque. It can be said that the tales of Saltykov-Shchedrin are not just a mirror in which we see everything social vices, and this is a magnifying glass, convexly showing them to us.
The writer’s tales reflect many of the “diseases” of Russian society: the nonsense and worthlessness of landowners, the arbitrariness of mayors of all ranks, bribery and servility of officials, downtroddenness and obedience of the people. But main theme, of course, is the theme of "gentlemen and people". Most fairy tales are dedicated to her.
The writer's first fairy tale was "The Tale of How One Man Fed Two Generals." It begins traditionally for Russian fairy tales: “Once upon a time there were two generals...” But then, unexpectedly for themselves and the reader, obeying the author’s imagination, they find themselves on desert island. And it turns out that these two respectable men, who spent their whole lives working in some kind of registry office, are not capable of anything. The author describes with undisguised irony how the generals look around the island with bewilderment and decide what to do in these unforeseen circumstances: should they write a report or should they refrain from doing so for now? The island on which Saltykov-Shchedrin’s heroes found themselves literally abounded with all kinds of living creatures: in the forest “hazel grouse are whistling, black grouse are talking, hares are running,” the fish in the stream are “teeming with all sorts of fruits,” “there are all sorts of fruits on the trees.” But the stupid generals had previously not even imagined “that human food, in its original form, flies, swims and grows on trees”; one of the generals believed all his life “that rolls will be born in the same form as they are served with coffee in the morning.” And the poor heroes, with all this abundance, remain hungry and then almost ate each other from hunger, but one of them comes up with the saving idea of finding a man on the island and forcing him to work for themselves. And the man, in fact, not only fed and watered the generals, but, on their orders, he himself wove a rope for himself, with which the generals tied him to a tree, “so as not to run away.” And then the man made a boat and took the generals home, to Podyacheskaya Street, for which the grateful generals “sent him a glass of vodka and a nickel of silver.” Saltykov-Shchedrin shows us with a bitter smile in this tale true essence the relationship of the masters to the people: the masters, wholly and completely dependent on the labor of the people, keep them in slavish obedience, sending them “from their generosity” crumbs from their table.
These relationships are shown even more dazzlingly and vividly in the fairy tale “The Wild Landowner.” In it, the image of gentlemen is brought to the point of grotesquery. The satirist not only makes fun of the stupid landowner, Prince Urus-Kuchum-Kildibaev, but portrays him in a dazzlingly satirical, grotesque way. In the fairy tale, not only do people call the landowner stupid, but moreover, his friend the bear. Why did the prince receive such an “honor”? and because he drove his peasants to extremes, he tortured them with fines and extortions to the point that the peasants prayed to God and begged him to deliver them from such a landowner. The idiotic landowner achieved his goal: there were no more peasants on his estate, and the air became pure, pure. But there was only one thing the prince didn’t think about: who would care for and cherish? And it turned out that without his Seneks, the landowner himself was not able to wash himself. He quickly became wild, grew hair, began to walk on all fours, “moreover, he lost the ability to utter articulate sounds and adopted some kind of victorious click, a cross between a whistle, hissing and roaring.” “But I haven’t acquired a tail yet,” the author immediately notes ironically. It turned out that not only the landowner cannot live without a peasant, but moreover the state itself: who else, besides them, will pay taxes and duties? It is the people, peasants, and ordinary men, as the writer clearly proves, who are the mainstay of the state, and not stupid landowners and stupid generals. Russia will survive without them, but without the peasant peasant it will not.
Of course, the writer did not always play in the distance, pretending to be the people, good-naturedly laughing at them. In the fairy tale “The Horse,” he sympathizes and sympathizes with the Horse, who works in the field from morning until late evening, straining himself with backbreaking labor, while his brothers, the Pustoplastys, spend an hour having fun. The author was always on the side of the people, and not the gentlemen and idle dancers, and this was reflected in his wonderful fairy tales.
Analysis of a fairy tale "Wild Landowner" Saltykova-Shchedrin
The theme of serfdom and the life of the peasantry played important role in the works of Saltykov-Shchedrin. The writer could not openly protest the existing system. Saltykov-Shchedrin hides his merciless criticism of the autocracy behind fairy tale motifs. He wrote his political tales from 1883 to 1886. In them, the author truthfully reflected the life of Russia, in which despotic and all-powerful landowners destroy hardworking men.
In this tale, Saltykov-Shchedrin reflects on the unlimited power of landowners, who abuse the peasants in every possible way, imagining themselves almost as gods. The writer also talks about the landowner’s stupidity and lack of education: “that stupid landowner was reading the newspaper “Vest” and his body was soft, white and crumbly.” The disenfranchised position of the peasantry in Tsarist Russia Shchedrin also expresses in this tale: “There was no torch to light the peasant’s light, there was no rod with which to sweep out the hut.” The main idea of the fairy tale was that the landowner cannot and does not know how to live without the peasant, and the landowner dreamed of work only in nightmares. So in this fairy tale, the landowner, who had no idea about work, becomes dirty and wild beast. After all the peasants abandoned him, the landowner never even washed himself: “Yes, I’ve been walking around unwashed for so many days! "
The writer caustically ridicules all this negligence of the master class. The life of a landowner without a peasant is far from normal human life.
The master became so wild that “he was covered with hair from head to toe, his nails became like iron, he even lost the ability to utter articulate sounds. But I haven’t acquired a tail yet.” Life without peasants in the district itself has become disrupted: “nobody pays taxes, no one drinks wine in taverns.” “Normal” life begins in the district only when the peasants return to it. In the image of this one landowner, Saltykov-Shchedrin showed the life of all the gentlemen in Russia. And the final words of the tale are addressed to each landowner: “He plays grand solitaire, yearns for his former life in the forests, washes himself only under duress, and moos from time to time.”
This fairy tale is full folk motifs, close to Russian folklore. There are no sophisticated words in it, but there are simple Russian words: “said and done”, “peasant trousers”, etc. Saltykov-Shchedrin sympathizes with the people. He believes that the suffering of the peasants will not be endless, and freedom will triumph.
