“The fairy tale is a lie, but there is a hint in it...”, a hint of acute problems, important, burning issues. This is the lesson that a wise man will definitely use it.
Shchedrin's fairy tales are a special, bright and significant phenomenon in literature. This is a synthesis of the comic and the tragic, a celebration of the grotesque and allegory, a triumph of hyperbole, a skillful example of the use of Aesopian language. What does the author direct his efforts to, using all these artistic techniques? To illuminate all those aspects of contemporary reality to which he remained irreconcilable until his death.
In Shchedrin's fairy tales, stupid, fierce, ignorant rulers of the people coexist and simple men, resourceful, strong, hardworking, talented and at the same time slavishly obedient to their masters and servilely devoted to them. We find an example of this in “The Tale of How One Man Fed Two Generals,” “The Horse,” and “The Wild Landowner.” In these works, the writer acts not only as a defender popular interests. He is trying to instill in the common man a belief in his uniqueness and significance, to inspire him to defend his own dignity and to chide him for his patience.
The hero of “The Wild Landowner” is a fool who hated the people and, unexpectedly for himself, became wild without them. landowner for a long time lived at the expense of other people's labor, cared for “his own body, white, loose, crumbly,” and could not stand the “servile spirit.” It's a pity to look at him at the end of the fairy tale. “...It will grab onto its prey, tear it apart... with its nails, and so on with all the insides, even the skin, and eat it,” the author writes about it. There is no life for masters without the people: it is the people who are the drinker and breadwinner, the creator of values, and not only material, but also spiritual.
In Shchedrin's fairy tales, heroes also come to life folk tales about animals: here the reader will find a cunning fox, a clumsy bear, a cowardly hare, and an evil wolf. Allegorical images help the satirist to speak allegorically about many vices of society. The fairy tale “The Bear in the Voivodeship” is indicative in this regard. The Toptygins commit “petty, shameful” atrocities and even “major bloodshed” in their forest, and their regime is no less cruel than the despotic system that existed in Russia at that time.
Fairy tale " The wise minnow"depicts a 'dumb who doesn't eat, doesn't drink, doesn't see anyone, doesn't share bread and salt with anyone, and only saves his hateful life." Shchedrin mercilessly castigates such a man in the street. “What joys did he have? Who did he console? Who did you give good advice to? to whom kind word said? whom did you shelter, warm, protect? who has heard of him? who will remember his existence? - asks the author. But this is not the only thing Shchedrin emphasizes. The satirist makes the reader think about his civic position. “Those who think that only those minnows can be considered worthy citizens who, mad with fear, sit in holes and tremble, believe incorrectly. No, these are not citizens, but at least useless minnows,” he writes.
The fairy tales of M. E. Saltykov-Shchedrin have not ceased to be necessary and useful even today. From them one can still learn lessons of wisdom, justice, respect for the people, kindness, morality, and citizenship.
The main themes and problems of fairy tales by M. E. Saltykov-Shchedrin
Fairy tales come to us from the depths folk life. They were passed down from generation to generation, from father to son, changing slightly, but maintaining their basic meaning. Fairy tales are the result of many years of observations. In them, the comic is intertwined with the tragic, the grotesque and hyperbole are widely used ( artistic technique exaggeration) and amazing art Aesopian language. Aesopian language is an allegorical, allegorical way of expression artistic thought. This language is deliberately obscure, full of omissions. It is usually used by writers who are unable to express their thoughts directly.
The folk tale form has been used by many writers. Literary tales recreated the world in poetry or prose folk ideas, and sometimes also contained satirical elements, for example the fairy tales of A. S. Pushkin. Saltykov-Shchedrin also created sharply satirical tales in 1869, as well as in 1880-1886. Among Shchedrin’s enormous heritage, they are perhaps the most popular.
In fairy tales we will meet heroes typical of Shchedrin: here are the stupid, fierce, ignorant rulers of the people (“The Bear in the Voivodeship”, “The Eagle Patron”), here are the people, powerful, hardworking, talented, but at the same time submissive to their exploiters ( “The story of how one man fed two generals”, “Horse”).
Shchedrin's tales are distinguished by their true nationality. Covering the most pressing issues of Russian life, the satirist acts as a defender of people's interests, an exponent of people's ideals, advanced ideas of its time. He uses it masterfully vernacular. Turning to the oral folk art, the writer enriched folk stories folklore works revolutionary content. He created his images based on folk tales about animals: the cowardly hare, sly fox, a greedy wolf, a stupid and evil bear.
A master of Aesopian speeches, in fairy tales written mainly during the years of cruel censorship, he widely uses the technique of allegory. Under the guise of animals and birds, he depicts representatives of various social classes and groups. Allegory allows the satirist not only to encrypt, to hide true meaning his satire, but also to exaggerate the most characteristic things in his characters. The images of the forest Toptygins committing “petty, shameful” atrocities or “major bloodshed” in a forest slum could not have been more accurate in reproducing the very essence of the despotic system. The activity of Toptygin, who destroyed the printing house and dumped the works of the human mind into a cesspool, ends with the fact that he was “respected by the men”, “put on a spear.” His activities turned out to be meaningless and unnecessary. Even the Donkey says: “The main thing in our craft is: laissez passer, laisses faire (allow, don’t interfere). And Toptygin himself asks: “I don’t even understand why the governor is being sent! " Fairy tale " Wild landowner” is a work directed against social order, based not on the exploitation of men. At first glance it is only funny story a stupid landowner who hated the peasants, but, left without Senka and his other breadwinners, became completely wild, and his farm fell into decay. Even the mouse is not afraid of him.
Portraying the people, Saltykov-Shchedrin sympathizes with them and at the same time condemns them for their patience and resignation. He likens it to a “swarm” of industrious bees living an unconscious gregarious life. “...They raised a chaff whirlwind, and a swarm of men was swept away from the estate.”
Slightly different social group the population of Russia is depicted by a satirist in the fairy tale “The Wise Minnow”. Before us appears the image of a frightened man in the street, “a dunce who doesn’t eat, doesn’t drink, doesn’t see anyone, doesn’t share bread and salt with anyone, and only saves his hateful life.” Shchedrin explores in this tale the question of the meaning and purpose of human life.
The average “minnow” considers the main meaning of life to be the slogan: “Survive and the pike won’t get hit.” It always seemed to him that he was living correctly, according to the orders of his father: “If you want to chew your life, then keep your eyes open.” But then death came. His whole life flashed before him instantly. “What joys did he have? Who did he console? Who did you give good advice to? Who did you say a kind word to? whom did you shelter, warm, protect? who has heard of him? who will remember his existence? He had to answer all these questions: no one, no one. “He lived and trembled - that’s all.” The meaning of Shchedrin’s allegory, which depicts, of course, not a fish, but a pathetic cowardly man, lies in the words: “Those who think that only those minnows can be considered worthy citizens who, mad with fear, sit in holes and tremble, believe incorrectly. No, these are not citizens, but at least useless minnows.” Thus, “minker” is the definition of a person artistic metaphor, aptly characterizing ordinary people.
So, we can say that ideological content, And artistic features satirical tales of Saltykov-Shchedrin are aimed at instilling respect for the people and civic feelings in Russian people. In our time, they have not lost their vibrant vitality. Shchedrin's fairy tales continue to be a highly useful and fascinating book for millions of readers.
Aesopian language helps to identify the evils of society. And now it is used not only in fairy tales and fables, but also in the press, in television programs. On TV screens you can hear phrases that have double meaning, denouncing evil and injustice. “This happens when the evils of society cannot be spoken openly.
Fairy tales come to us from the depths of folk life. They were passed down from generation to generation, from father to son, changing slightly, but maintaining their basic meaning. Fairy tales are the result of many years of observations. In them, the comic is intertwined with the tragic, the grotesque, hyperbole (an artistic technique of exaggeration) and the amazing art of Aesopian language are widely used. Aesopian language is an allegorical, allegorical way of expressing artistic thought. This language is deliberately obscure, full of omissions. It is usually used by writers who are unable to express their thoughts directly.
The folk tale form has been used by many writers. Literary fairy tales in verse or prose recreated the world of folk ideas, and sometimes contained satirical elements, for example, the fairy tales of A. S. Pushkin. Saltykov-Shchedrin also created sharply satirical tales in 1869, as well as in 1880-1886. Among Shchedrin’s enormous heritage, they are perhaps the most popular.
In fairy tales we will meet heroes typical of Shchedrin: here are the stupid, fierce, ignorant rulers of the people (“The Bear in the Voivodeship”, “The Eagle Patron”), here are the people, powerful, hardworking, talented, but at the same time submissive to their exploiters ( “The story of how one man fed two generals”, “Horse”).
Shchedrin's tales are distinguished by their true nationality. Covering the most pressing issues of Russian life, the satirist acts as a defender of people's interests, an exponent of people's ideals and progressive ideas of his time. He masterfully uses the vernacular. Turning to oral folk art, the writer enriched the folk plots of folklore works with revolutionary content. He created his images based on folk tales about animals: a cowardly hare, a cunning fox, a greedy wolf, a stupid and evil bear.
A master of Aesopian speeches, in fairy tales written mainly during the years of cruel censorship, he widely uses the technique of allegory. Under the guise of animals and birds, he depicts representatives of various social classes and groups. Allegory allows the satirist not only to encrypt and hide the true meaning of his satire, but also to exaggerate the most characteristic things in his characters. The images of the forest Toptygins committing “petty, shameful” atrocities or “major bloodshed” in a forest slum could not have been more accurate in reproducing the very essence of the despotic system. The activity of Toptygin, who destroyed the printing house, dumped the works of the human mind into a cesspool, ends with the fact that he was “respected by the men”, “put on a spear.” His activities turned out to be meaningless and unnecessary. Even the Donkey says: “The main thing in our craft is: laissez passer, laisses faire (allow, don’t interfere). And Toptygin himself asks: “I don’t even understand why the governor is being sent! “The fairy tale “The Wild Landowner” is a work directed against the social system, which is not based on the exploitation of the peasant. At first glance, this is just a funny story of a stupid landowner who hated the peasants, but, left without Senka and his other breadwinners, he became completely wild, and his farm fell into disrepair. Even the mouse is not afraid of him.
Portraying the people, Saltykov-Shchedrin sympathizes with them and at the same time condemns them for their patience and resignation. He likens it to a “swarm” of industrious bees living an unconscious gregarious life. “...They raised a chaff whirlwind, and a swarm of men was swept away from the estate.”
The satirist depicts a slightly different social group of the Russian population in the fairy tale “The Wise Minnow.” Before us appears the image of a frightened man in the street, “a dunce who doesn’t eat, doesn’t drink, doesn’t see anyone, doesn’t share bread and salt with anyone, and only saves his hateful life.” Shchedrin explores in this tale the question of the meaning and purpose of human life.
The average “minnow” considers the main meaning of life to be the slogan: “Survive and the pike won’t get hit.” It always seemed to him that he was living correctly, according to his father’s orders: “If you want to chew your life, then keep your eyes open.” But then death came. His whole life flashed before him instantly. “What joys did he have? Who did he console? Who did you give good advice to? Who did you say a kind word to? whom did you shelter, warm, protect? who has heard of him? who will remember his existence? He had to answer all these questions: no one, no one. “He lived and trembled - that’s all.” The meaning of Shchedrin’s allegory, which depicts, of course, not a fish, but a pitiful, cowardly person, lies in the words: “Those who think that only those minnows can be considered worthy citizens who, mad with fear, sit in holes and tremble, believe incorrectly. No, these are not citizens, but at least useless minnows.” Thus, “minnow” is a definition of a person, an artistic metaphor that aptly characterizes ordinary people.
So, we can say that both the ideological content and the artistic features of Saltykov-Shchedrin’s satirical tales are aimed at instilling respect for the people and civic feelings in Russian people. In our time, they have not lost their vibrant vitality. Shchedrin's fairy tales continue to be a highly useful and fascinating book for millions of readers.
Aesopian language helps to identify the evils of society. And now it is used not only in fairy tales and fables, but also in the press and in television programs. From television screens you can hear phrases that have a double meaning, denouncing evil and injustice. “This happens when the evils of society cannot be spoken openly.
Bibliography
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Fairy tales come to us from the depths of folk life. They were passed down from generation to generation, from father to son, changing slightly, but maintaining their basic meaning. Fairy tales are the result of many years of observations. In them, the comic is intertwined with the tragic, the grotesque, hyperbole (an artistic technique of exaggeration) and the amazing art of Aesopian language are widely used. Aesopian language is an allegorical, allegorical way of expressing artistic thought. This language is deliberately obscure, full of omissions. It is usually used by writers who are unable to express their thoughts directly.
The folk tale form has been used by many writers. Literary fairy tales in verse or prose recreated the world of folk ideas, and sometimes contained satirical elements, for example, the fairy tales of A. S. Pushkin. Saltykov-Shchedrin also created sharply satirical tales in 1869, as well as in 1880-1886. Among Shchedrin’s enormous heritage, they are perhaps the most popular.
In fairy tales we will meet heroes typical of Shchedrin: here are the stupid, fierce, ignorant rulers of the people (“The Bear in the Voivodeship”, “The Eagle Patron”), here are the people, powerful, hardworking, talented, but at the same time submissive to their exploiters ( “The story of how one man fed two generals”, “Horse”).
Shchedrin's tales are distinguished by their true nationality. Covering the most pressing issues of Russian life, the satirist acts as a defender of people's interests, an exponent of people's ideals and progressive ideas of his time. He masterfully uses the vernacular. Turning to oral folk art, the writer enriched the folk plots of folklore works with revolutionary content. He created his images based on folk tales about animals: a cowardly hare, a cunning fox, a greedy wolf, a stupid and evil bear.
A master of Aesopian speeches, in fairy tales written mainly during the years of cruel censorship, he widely uses the technique of allegory. Under the guise of animals and birds, he depicts representatives of various social classes and groups. Allegory allows the satirist not only to encrypt and hide the true meaning of his satire, but also to exaggerate the most characteristic things in his characters. The images of the forest Toptygins, committing “petty, shameful” atrocities or “major bloodshed” in a forest slum, could not have more accurately reproduced the very essence of the despotic system. The activity of Toptygin, who destroyed the printing house, dumped the works of the human mind into a cesspool, ends with the fact that he was “respected by the men,” “put on a spear.” His activities turned out to be meaningless and unnecessary. Even Donkey says: “The main thing in our craft is: laissez passer, laisses faire (allow, do not interfere). And Toptygin himself asks: “I don’t even understand why the governor is sent!” ”
The fairy tale “The Wild Landowner” is a work directed against the social system, based not on the exploitation of the peasant. At first glance, this is just a funny story of a stupid landowner who hated the peasants, but, left without Senka and his other breadwinners, he became completely wild, and his farm came to ruins. decline. Even the little mouse is not afraid of him.
Portraying the people, Saltykov-Shchedrin sympathizes with them and at the same time condemns them for their patience and resignation. He likens it to a “swarm” of hardworking bees, living an unconscious herd life. “...They raised a chaff whirlwind, and a swarm of men was swept away from the estate.”
The satirist depicts a slightly different social group of the Russian population in the fairy tale “The Wise Minnow.” Before us appears the image of a scared to death ordinary man, “a dunce who doesn’t eat, doesn’t drink, doesn’t see anyone, doesn’t share bread and salt with anyone, and everything is just He is saving his hateful life.” Shchedrin explores in this tale the question of the meaning and purpose of human life.
The average “minnow” considers the main meaning of life to be the slogan: “Survive and the pike won’t get caught.” It always seemed to him that he was living correctly, according to the orders of his father: “If you want to chew on life, then keep your eyes open.” But then death came. His whole life instantly flashed before him. “What joys did he have? Who did he console? Who did you give good advice to? Who did you say a kind word to? whom did you shelter, warm, protect? who has heard of him? who will remember his existence? He had to answer all these questions: no one, no one. “He lived and trembled - that’s all.” The meaning of Shchedrin’s allegory, which depicts, of course, not a fish, but a pitiful, cowardly man, lies in the words: “Those who think that only those minnows can be considered worthy citizens who , maddened with fear, they sit in holes and tremble. No, these are not citizens, but at least useless minnows.” Thus, “minker” is a definition of a person, an artistic metaphor that aptly characterizes ordinary people.
So, we can say that both the ideological content and the artistic features of Saltykov-Shchedrin’s satirical tales are aimed at instilling respect for the people and civic feelings in Russian people. In our time, they have not lost their vibrant vitality. Shchedrin's fairy tales continue to be a highly useful and fascinating book for millions of readers.
Aesopian language helps to identify the evils of society. And now it is used not only in fairy tales and fables, but also in the press and in television programs. From television screens you can hear phrases that have a double meaning, denouncing evil and injustice. This happens when the evils of society cannot be spoken openly.
Mikhail Evgrafovich Saltykov-Shchedrin chose the right weapon in his work satirical principle images of reality. He became a successor to the traditions of D.I. Fonvizin, A.S. Griboyedov, N.V. Gogol in that he made satire his political weapon, fighting with its help against thorny issues of its time.
Saltykov-Shchedrin turns to the fairy tale genre several times in his work: first in 1869, and then after 1881, when historical conditions (the murder of the Tsar) led to stricter censorship.
Like many writers, Saltykov-Shchedrin uses the fairy tale genre to reveal the vices of man and society. Written for "children" of considerable age”, fairy tales are harsh criticism of the existing system and, in essence, serve as a weapon denouncing the Russian autocracy.
The themes of the fairy tales are very diverse: the author not only opposes the vices of autocracy (“The Bear in the Voivodeship,” “The Bogatyr”), but also denounces noble despotism (“The Wild Landowner”). The satirist especially condemns the views of liberals (“Crucian carp is an idealist”), as well as the indifference of officials (“Idle talk”) and philistine cowardice (“Idle talk”). The wise minnow”).
However, there is a theme that can be said to be present in many fairy tales - this is the theme of an oppressed people. In the fairy tales “How one man fed two generals” and “The Horse” it sounds especially vivid.
Themes and issues determine the variety of characters acting in these sharply satirical works. These are stupid rulers, striking with their ignorance and tyrant landowners, officials and ordinary people, merchants and peasants. Sometimes the characters are quite reliable, and we find specific traits in them historical figures, and sometimes the images are allegorical and allegorical.
Using the folklore and fairy tale form, the satirist illuminates the most pressing issues of Russian life, acts as a defender of people's interests and progressive ideas.
The fairy tale “The Tale of How One Man Fed Two Generals” stands out from all others due to its special dynamism and variability of plot. The writer uses a fantastic technique - generals, as if “by pike command”, are transferred to desert island, and here the writer, with his characteristic irony, demonstrates to us the complete helplessness of officials and their inability to act.
“Generals served all their lives in some kind of registry; they were born there, raised and grew old, and therefore did not understand anything. They didn’t even know any words.” Because of their stupidity and narrow-mindedness, they almost died of hunger. But a man who is a jack of all trades comes to their aid: he can both hunt and cook. The image of a “hefty man” personifies both the strength and weakness of the Russian people in this fairy tale. Mastery and his extraordinary abilities are combined in this image with humility and class passivity (the man himself weaves a rope to be tied to a tree at night). Having collected ripe apples for the generals, he takes himself sour, unripe ones, and he was also glad that the generals “favored him, a parasite, and did not disdain his peasant labor.”
The tale of two generals suggests that the people, according to Saltykov-Shchedrin, are the support of the state, they are the creator of material and spiritual values.
The theme of the people is developed in another fairy tale by Saltykov-Shchedrin - “The Horse,” which was created in 1885. In style, it differs from others in its lack of action.
This tale is called the strongest work in the series dedicated to the plight of the Russian peasantry. The image of a hard-working horse is a collective one. He personifies the entire forced working people, he reflects the tragedy of millions of men, this enormous force, enslaved and powerless.
This tale also contains the theme of the people’s submission, their dumbness and lack of desire to fight. A horse, “tortured, beaten, narrow-chested, with protruding ribs and burnt shoulders, with broken legs” - such a portrait is created by an author who mourns the unenviable lot of a powerless people. Thinking about the future and the fate of the people is painful, but filled with selfless love.
In the tales of Saltykov-Shchedrin, using Aesopian language, elements of fantasy, folklore traditions And satirical techniques sound various topics, are being developed political problems, are being decided current issues. Defending the progressive ideals of his time, the author acted in his works as a defender of people's interests. Having enriched folklore stories With new content, Saltykov-Shchedrin directed the fairy tale genre towards the education of civic feelings and special respect for the people.
