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Folklore elements in the fairy tales of Saltykov Shchedrin. Traditions of folk art (about the fairy tales of M

Folklore elements in the fairy tales of Saltykov Shchedrin. Traditions of folk art (about the fairy tales of M

21.03.2019

Creativity Saltykov-Shchedrin is extremely diverse. He wrote novels, dramas, chronicles, essays, reviews, stories, articles, reviews. Among the huge heritage of the satirist, his fairy tales occupy a special place. The folk tale form was used by many writers before Shchedrin. Literary tales, written in verse or prose, recreated the world of folk ideas, folk poetry, and sometimes included satirical elements, such as Pushkin's tales \"About the priest and his worker Balda\", \"About the golden cockerel\ ". Shchedrin creates sharply satirical tales, continuing the Pushkin tradition.

Fairy tales are the result of many years of life observations, the result of the entire creative path of the writer. The fantastic and the real are intertwined in them, the comic is combined with the tragic, the grotesque, hyperbole are widely used in them, and the amazing art of Aesopian language is manifested. In fairy tales we meet all Shchedrin's heroes. Here are the stupid, ferocious, ignorant rulers of the people, its exploiters ("Bear in the Voivodeship", \"Eagle-philanthropist\", \"Wild landowner\") here and the people themselves, hardworking, talented, powerful and at the same time submissive to his exploiters ("The Tale of How a Man Feeded Two Generals", \"Konyaga\") here and the people are awakening, seeking the truth and overthrowing the yoke of the autocracy (\"Crow-petitioner\", \"By the way\ ",\"Bogatyr\").

In fairy tales, the betrayal of the liberals is depicted ("Liberal", "Dried roach", cowardly narrow-mindedness of the layman ("Sane Hare").

In many of Shchedrin's tales there is a belief in the final triumph of positive ideals. This belief illuminates the sad pages of his satire with the light of optimism. So, in the fairy tale\"Lost conscience \" Shchedrin stigmatizes the world of predators, money-grubbers and covetous-a society that has lost its conscience. But the writer expresses confidence that conscience, thrown away like an unnecessary old rag, once in the cradle where a small Russian child lies, will find its protector in it.

Like Nekrasov, Shchedrin wrote his fairy tales for the people, for the widest readership. He turned to oral folk art, enriching traditional images and plots with new, revolutionary content. The satirist masterfully used the folk language, as well as the language of journalism, and clerical jargon, and archaisms, and foreign words.

Shchedrin widely used images of folk tales about animals: a greedy wolf, a cunning fox, a cowardly hare, a stupid and evil bear. However, the satirist introduced topical political motives into the world of folk tales and, with the help of traditional, familiar fairy tale images, revealed the complex problems of our time.

So, in the fairy tale\"The Bear in the Voivodeship \" a dull, sometimes evil, sometimes good-natured fairy-tale club-footed bear, under the pen of a satirist, acquires the features of an obscurantist administrator who exterminates sedition, oppresses the people and destroys education.

The satirist castigated in his tales not only weaknesses and vices. For example, in the fairy tale \"The wise minnow\" with bitter mockery, he draws the image of a frightened layman to death,\"a fool who does not eat, does not drink, does not see anyone, does not lead bread and salt with anyone, but only disposes keeps his life cold \".

This tale poses exceptionally important (and not only for Shchedrin's era) philosophical problems: what is the meaning of life and the purpose of a person, what ideals should he strive for, how to live?

The image of a small, miserable fish, no matter. nauseating and cowardly, perfectly characterizes the trembling layman. The writer ascribes human properties to fish and at the same time shows that \"fish \" features are inherent in a person. Thus,\"minnow \" is the definition of a person, it is an artistic metaphor that aptly characterizes the breed of ordinary people, cowardly and miserable.

The entire biography of the gudgeon boils down to a short formula:\"He lived - trembled and died - trembled \". With his fairy tale, the writer wants to tell the reader: live in such a way as to give people warmth and light, for happiness can only be one thing - to bring happiness to others.

The images of fish, animals, birds created by the satirist have become common nouns. If we are talking about a person: this is a real idealist crucian, this one is a dried roach, and that one is a wise gudgeon, then it is clear to everyone what qualities we mean.

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 a magnifying glass" (V. Mayakovsky). The object of satire in literature can be a variety of phenomena. Political satire is the most common. The tales of M.E. Saltykov-Shchedrin are a striking proof of this. The fantastic nature of fairy tale plots allowed Saltykov-Shchedrin to continue his criticism of the social system, bypassing censorship even in the face of political reaction. Shchedrin's fairy tales depict not just 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 the elemental forces of 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.

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. The pages of his fairy tales include episodes of modern social 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.

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.

Before Saltykov-Shchedrin, various writers used the form of a folk tale. In verse or prose, they recreated the world of folk performances, folk poetry, folk humor. Let us recall, for example, Pushkin's fairy tales: "About the priest and his worker Balda", "About the golden cockerel".

The work of Saltykov-Shchedrin is also replete with folk poetic literature. His tales are the result of many years of life observations of the author. The writer conveyed them to the reader in an accessible and vivid artistic form. He took words and images for them in folk tales and legends, in proverbs and sayings, in the picturesque speech of the crowd, in all the poetic elements of the living folk language. Like Nekrasov, Shchedrin wrote his fairy tales for ordinary people, for the widest range of readers. It was no coincidence that the subtitle was chosen: "Fairy tales for children of a fair age." These works were distinguished by true nationality. Using folklore samples, the author created on their basis and in their spirit, creatively revealed and developed their meaning, took them from the people in order to return them later ideologically and artistically enriched. He masterfully used the vernacular. There are memories that Saltykov-Shchedrin "loved purely Russian peasant speech, which he knew perfectly." Often he said about himself: "I am a man." This is basically the language of his works.

Emphasizing the connection between the fairy tale and reality, Saltykov-Shchedrin combined elements of folklore speech with modern concepts. The author used not only the usual beginning (“Once upon a time ...”), traditional phrases (“neither in a fairy tale to say, nor to describe with a pen”, “began to live and live”), folk expressions (“thinks a thought”, “mind chamber "), vernacular ("spread-barking", "destroy"), but also introduced journalistic vocabulary, clerical jargon, foreign words, turned to Aesopian speech.

He enriched folklore stories with new content. In his fairy tales, the writer created images of the animal kingdom: the greedy Wolf, the cunning Fox, the cowardly Hare, the stupid and evil Bear. The reader knew these images well from Krylov's fables. But Saltykov-Shchedrin introduced topical political themes into the world of folk art and, with the help of familiar characters, revealed the complex problems of our time.

But the words of the author, dedicated to the people, are filled with bitterness. He endures the oppression of the landowner, endures meekly. When it becomes unbearable, the peasants turn to God with a tearful orphan prayer: "Lord! It is easier for us to perish with small children than to toil like this all our lives!" Men are dumb creatures living an unconscious herd life. The heart of the great writer is filled with longing, pain for his people and hatred for the oppressors.

In a fairy tale, there is a call-question, like in Nekrasov: "Will you wake up full of strength?" And, it seems to me, with this fairy tale and all his other works, Saltykov-Shchedrin tried to convey to the people those high ideals, in the name of which he himself fought with a sharp pen of satire.

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. With all his work, Saltykov-Shchedrin strove to ensure that "children of a fair age" matured and ceased to be children.

Saltykov-Shchedrin in his work often resorted to the fairy-tale form of narration. The folklore genre allowed the great satirist to denounce social vices and bureaucratic failure, bypassing strict censorship.

Let's look at examples of what techniques the master of the accurate pen resorted to and what was hidden behind them. In “The Tale of How One Man Feeded Two Generals,” the satirist immerses the reader in an absolutely fantastic world: two high ranks find themselves on a desert island.

At the same time, none of the generals is adapted to life in extreme conditions. They do not even know that food in its original form "flies, swims and grows on trees."

From the inevitable death of his comrades in misfortune, a peasant appears from nowhere. He fed and watered the generals, and also wove a rope for himself "so as not to run away." In a fairy tale story, a literate reader can easily understand the author’s hint, but Saltykov-Shchedrin introduces an additional detail into the narrative - “the number of the Moscow Vedomosti”, due to which it enhances the grotesque and dispels doubts about the connection of a bizarre story with real life.

No less fantastically developing events in the "Wild Landowner".

The hero of this work is even more stupid than the generals mentioned. The landowner cannot stand the "servant spirit" and dreams of getting rid of the peasants, not realizing his dependence on them. As soon as the men leave the master, he begins to transform: he does not wash, does not cut his hair, and begins to walk on all fours. The culmination of savagery is the transformation of the hero into a bear. The image of the clubfoot was chosen by the author not by chance - he associates it with extreme savagery and stupidity.

It can be concluded that the writer deliberately combined folklore with satire in order to avoid censorship. At the same time, he managed to display topical topics in an accessible form and most fully.

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Updated: 2017-01-21

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“The story of how a man fed two generals” by Saltykov-Shchedrin has common features of building the plot of a fairy tale, but first of all, it carries a satirical orientation.

Social fairy tales, like fairy tales about animals, have the same composition as fairy tales, but everyday fairy tales are qualitatively different. Everyday fairy tale is firmly connected with reality. Here there is only one world - the earth. If a fairy tale has a more or less definite formula - its beginnings, endings, common places, then an everyday fairy tale can begin as you like, usually it immediately introduces the listener to the story of the events that form the basis of the plot - without a beginning, without a preface.

Each work has its own individual genre features. The main features of folk tales associated with the genre can be called:

1) an individual language in which a fairy tale is told;

2) a looped structure (The beginning and the ending build the fairy tale into the “chain” of others. For example: the beginning “Once upon a time ...”, the ending “Here the fairy tale ends ...”);

3) the repetition of actions three times (three iron staffs, three iron boots, etc.);

4) some details of the plot in the fairy tale are connected by special formulas “How long is it short ...”;

5) heroes have special names (Ivan the Fool, Vasilisa the Wise, etc.)

Based on folk tradition, M.E. Saltykov-Shchedrin created a special genre in Russian literature - a literary satirical fairy tale, in which traditional fairy tale fantasy is combined with realistic, topical political satire. According to the unpretentious plot, these tales are close to folk tales. The writer uses techniques from the poetics of folklore beginnings:

“Once upon a time there was a minnow ..” (in the fairy tale “The Wise Minnow”), “Two neighbors lived in a certain village ..” (in the fairy tale “Neighbours”), “In a certain kingdom, the Bogatyr was born ...” (“The Bogatyr”)

Tips:

“At the command of a pike”, “not in a fairy tale to tell”),

Three times repetition of a motive, episode, etc. (three Toptygins, three visits of guests to the Wild Landowner, etc.). In addition, attention should be paid to the construction of a line, characteristic of folk poetic works, with the transfer of an adjective or verb to the end

Transparent morality, which is easy to understand from the content.

At the same time, the tales of Saltykov-Shchedrin differ significantly from folk tales. The satirist did not imitate folk tales, but on their basis he freely created his own, author's ones. Using the usual folklore images, the writer filled them with a new (socio-political) meaning, successfully inventing new expressive images (wise gudgeon, idealist crucian carp, dried roach). Folklore fairy tales (magic, everyday life, fairy tales about animals) usually express universal morality, show the struggle between good and evil forces, the obligatory victory of positive heroes due to their honesty, kindness, intelligence - Saltykov-Shchedrin writes political fairy tales filled with content that is relevant for his time.

Chapter 2 Conclusion

"Tales for children of a fair age" M.E. Saltykov-Shchedrin use folklore canons, but not completely and gradually develop into something else, expressed in the form of a satirical political fairy tale, otherwise, they are transformed under the influence of the cultural context of the era. It should also be noted that poetics is an artistic system with a special world outlook, the so-called "folklore consciousness", the roots of which go back to the archaic past of mankind, and the purpose of the functions of folklore poetics, one might say, is the expression of this consciousness.

Based on folk tradition, M. Saltykov-Shchedrin created a special genre in Russian literature - a literary satirical fairy tale, in which traditional fairy tale fantasy is combined with realistic, topical political satire.

Chapter 3

Many Russian writers recognized the serious significance of fairy tale fiction: fairy tales always tell about something incredible, impossible in real life. However, fantastic fiction includes “an ordinary and natural idea”, that is, there is truth in fiction. The great Russian scientist M. V. Lomonosov wrote that thanks to fantastic fiction, “an ordinary and natural idea”, that is, the truth of life, is expressed “stronger” than the story would have been without fiction.

IN AND. Dalya in the dictionary defines a fairy tale as "a fictional story, an unprecedented and even unrealizable story, a legend" and cites several proverbs and sayings associated with this folklore genre as an example. “Either do business, or tell fairy tales. The fairy tale is a fold, but the song is true. Fairy tale warehouse, the song is red in tune. Not in a fairy tale to say, not to describe with a pen. Before you finish reading the fairy tale, do not throw pointers. A fairy tale starts from the beginning, is read to the end, but is not interrupted in the middle. From these proverbs it is obvious: a fairy tale is a product of folk fantasy - a "foldable", bright, interesting work that has a certain integrity and special meaning.27

When analyzing the features of folk spiritual life, one can come across such a concept as catholicity, which is also reflected in fairy tales. Sobornost represents the unity of deeds, thoughts, feelings; in fairy tales it opposes selfishness and greed. Labor acts not as a duty, but as a holiday. Almost all folk tales, personifying the joy of work, end with the same saying: “Here, in joy, they all started dancing together ...”, in the fairy tales “Konyaga”, “The story of how a peasant fed two generals” by M. E. Saltykov-Shchedrin depicts the exploitation of peasant labor.

The folk tale reflects such moral values of the people as: kindness, as pity for the weak, which triumphs over selfishness and manifests itself in the ability to give the last to another and give life for another; suffering as a motive for virtuous deeds and deeds; victory of spiritual strength over physical strength. By embodying these values in the basis of the fairy tale, its meaning becomes deep, despite the naivety of its purpose. The artistic world of M.E. Saltykov-Shchedrin absorbed these features of folk art.

The writer partly continues the romantic traditions (two worlds), built on the continuous play of the conventional world with the present. The allegorical nature of the text is destroyed with the help of abundant concrete realities, the Aesopian language begins to live its own life, independent of the tasks of the author. It should be noted that in fairy tales, in most cases, sarcasm only coexists with romantic irony, but in the fairy tales of M.E. Saltykov-Shchedrin dominates her.

In folklore, the writer took as a basis not only the images familiar to the national consciousness, but also the distribution of ethical traits between the characters, which is usual for folklore, is replaced by the creation of a psychological portrait (the Sheep-not-remembering with his "sudden thirst for formless aspirations" in the fairy tale "The Unremembering Sheep", The Crow Petitioner with his truly sick heart, even the simple-hearted Chizhik with his unpretentious dreams in the fairy tale "The Raven Petitioner").

M.E. Saltykov - Shchedrin fruitfully uses the folklore fairy-tale traditions. In a folk tale, each animal evoked its own series of impressions in people, and this was developed in versions of the tale by its different performers. For example: the nicknames of the frog were associated with the sounds it made in the water: “rumble on the water”, “squealing toad”, “quack frog”, “balagta on the water”. The bunny aroused visual impressions: “Ivanov’s son of a white hare”, “runaway bunny”, “stray bunny”.

The images of a bear and a wolf are often accompanied by such nicknames as: “at the den, a feltboard”, “forest oppression”, “you crush everyone”. The image of a fox acquired evaluative characteristics: “beautiful fox”, “sister fox”, etc.

It is impossible not to pay attention to the image of the bear: in almost all fairy tales, the bear is fooled and ridiculed. Such a tradition of depicting a bear is noticeable in many Russian folk tales: “The Bear and the Old Woman”, “The Cat and the Wild Animal”, “The Bear Learns to Carpentry”, “The Man, the Bear and the Fox” ... In fairy tales, perhaps only a wolf can turn out to be more stupid than a bear.

Folk mockery of the beast, perhaps, is caused by the loss of the totem cult. Perhaps it is no coincidence that “bear fun” was widespread among the Eastern Slavs. It is a dramatized entertainment, a grotesque mockery of the rites of the past, as you know, Tsar Ivan the Terrible also liked this fun. For example, in 1571, on his orders, a certain Subota Sturgeon arrived in Novgorod, who collected cheerful people - buffoons - and bears throughout the Novgorod land and took them to Moscow on several carts. The king himself, without fairy tales and fables, could not even fall asleep.

In the works of M.E. Saltykov-Shchedrin, the image of a bear is found in the fairy tale “The Bear in the Voivodeship”, which reveals the problems of the foundations of the monarchical system. Toptygins from this tale are sent by a lion to the province. Their dementia prevents them from doing more or less decent deeds towards their subjects. The goal of their reign was to commit as much "bloodshed" as possible.

Popular anger decided their fate: the Toptygins were killed by the rebels, but the idea of a revolutionary reorganization of the state did not attract the writer much, because he believed that violence only breeds violence. The main thought of this tale is that even the most meek patience comes to an end, and the tyranny of the rulers, who are not “burdened” with intelligence and insight, one way or another will one day work against them, which happened.

Saltykov-Shchedrin also quite often depicts representatives of the "fish" world. On the one hand, fish images refer us to a direct allegory: the silence of the inhabitants of quiet backwaters is the irresponsibility, alienation of the people. But on the other hand, the problems of these works are much more complicated.

So, for example, if the fairy tale "The Wise Gudgeon" is based on a description of the hero's whole life, then the fairy tale "Karas the Idealist" goes back to a philosophical dialogue. We can say that we have before us a kind of fairy tale-dispute, where a harmonious combination of two opposite principles is found. And the fairy tale "Dried Vobla" reminds with its artistic features of a philosophical political pamphlet. It reflects the atmosphere in Russia after the assassination of Emperor Alexander II, the panicked state of society, “there are superfluous thoughts, superfluous conscience, superfluous feelings.”28

If we compare the "Tales" of Saltykov-Shchedrin with Russian folk tales, then it should be noted that Saltykov's characters are special, sharply different from the heroes of Russian folk tales: in folk tales, the hero often changes for the better (Ivan the Fool turns into Ivan Tsarevich), and with Saltykov-Shchedrin everything remains unchanged. In Shchedrin's tales there is no triumph of good over evil, as in Russian folk tales. Rather, vice triumphs in them, but in "Tales for children of a fair age" there is always a moral that makes them related to fables.

In the works of Saltykov-Shchedrin, reality is not perceived in the context of the usual meanings and values. Reality is presented as absurd, as something incredible, but it is she who becomes the terrible reality that surrounds the writer.

"Terrible laughter", or "laughter of fear" is one of the main author's devices in the fairy tales of M. E. Saltykov-Shchedrin. This laughter, as it is often called, senseless and destructive, exposes stereotypes and illusory ideas about life. In folk tales, laughter primarily bears the self-ironic character of generally accepted ideals.

Summing up the observations, it should be noted that the artistic and poetic world of fairy tales consists of structural forms of mythopoetic thinking. M. E. Saltykov - Shchedrin uses a system of binary oppositions, which, as you know, go back to the poetics of myth (dream/reality, life/death, truth/falsehood, up/down, rich/poor, etc.). A special role in the formation of deep semantics, which goes back to mythopoetics, belongs to such images - symbols as horses, fields, consciences, etc., that is, symbols of different semantic layers: from mythological to modern figurative everyday life.

The artistic world of fairy tales by M. E. Saltykov-Shchedrin interprets the poetics of the folklore genre depending on the author's goals. The transformation of the people's worldview will be considered in the next section.

3.1 Transformation of the people's worldview in the fairy tales of M.E. Saltykov-Shchedrin.

In almost every Russian fairy tale there is a "fool" who stands out from the rest of the characters. The strength of the fool in Russian folk tales is in his kindness and responsiveness, in his readiness to help those in trouble, in the absence of greed, M.E. also addresses this hero. Saltykova-Shchedrin. Only his hero finds himself in a society in which high human dignity is recognized as abnormal, dangerous and subjected to severe persecution. The finale of Saltykov-Shchedrin's fairy tale is not like the finale of a folk tale: a miracle does not happen.

The artistic world of the fairy tale "Bogatyr" contradicts the folk tradition: the image of a hero-warrior, a "brave husband" turns into an anti-ideal. Violating folklore traditions, the hero is the son of a "Baba Yaga" and acts as an evil idol, a representative of the pagan world. The sound sleep of a hero is tantamount to death. The motive of death in Shchedrin is caused by a feeling of the exhaustion of the generic ideal image.

The work "A Christmas Tale" reveals the role of truth through the prism of religious sermons. In this tale, truth is taken, but in a distorted public vision. It should be noted that in the fairy tales of M.E. Saltykov-Shchedrin - two truths: one is the "real" truth, which has already "set the teeth on edge", the truth of the surrounding world. There is another truth - the truth is a dream, which is inaccessible to a mere mortal. The truth of the hero of fairy tales is not yet stable, because “no one can really determine where and why he is going ...”29 (in the fairy tale “The Petitioner Raven”).

In fairy tales, truth-seeking is inextricably linked with the theme of conscience; in folk beliefs, conscience is a mirror that reflects how strongly kindness, honesty, and responsibility have become established in the human mind. In the fairy tales of the satirist, the understanding of conscience is reduced or perverted, for example, in the work “Conscience Lost”, conscience abruptly disappears among the people and unexpectedly falls to Samuil Davidovich, who nevertheless finds a way out of this situation. The hero "fitted" his conscience to his ordinary life - "everything in the world is bought and sold." Thus, through external sacrifice, external, and not internal repentance, he “bought his conscience” in order to continue to lead a normal life, now according to his own conscience, but outside of a conscientious spiritual being. At the end of the work, there is still a ray of hope, the writer draws the image of a child in whom the conscience is still buried: “And the little child will be a man, and there will be a great conscience in him. And then all unrighteousness, deceit and violence will disappear.

Folk tales especially sharply show the aspirations of the people, their dreams, desires and hopes. In fairy tales one can meet both a daring dream of a different, bright and just life, and a desire to surrender to the charm of bright fiction, forgetting for a moment an unsettled life, and a desire, at least in fantasy, with undisguised pleasure to punish a gentleman, a priest, a merchant. In fantastic fiction, the fairy tale embodies everything that disturbed the heart and mind of the people. A distinctive feature of such fiction is a deep nationality.

In the tales of M.E. Saltykov-Shchedrin, the people's world outlook is transformed: society is vicious, and the truth is reflected as if in a distorted mirror.

In the fairy tales "Fool", "Conscience Lost", "Christ's Night", "Christmas Tale" the morality of the ruling classes is denied, where the conscience turns into a "useless rag" that needs to be got rid of, and the presence of "vile" thoughts is necessary. for a successful adaptation to life, and each person is forced, as a result, "to choose between tomfoolery and meanness."

3.2 The satirical function in folk tales and fairy tales M.E. Saltykov-Shchedrin

The main function of the fairy tales of M. E. Saltykov-Shchedrin, according to the writer himself, is a satirical orientation, which is also characteristic of folk tales and can be expressed in the use of the folk language - vernacular and colloquial speech, as well as phraseological structures, including proverbs and sayings, traditional fairy tale tricks. All this does not obscure the meaning of fairy tales, but creates a comic effect. The fantasy of fairy tales by M.E. Saltykov-Shchedrin is based on reality and carries a generalized content, which is expressed, for example, in the fairy tale “The Bear in the Voivodeship”.

The inclusion of images of the animal world in nicknames (Toptygin, donkey, wild beast) is a common technique in satirical and joking folk speech. M. E. Saltykov-Shchedrin uses the forms of satirical works for a fairy tale.

Language in literature is the main means for the artistic depiction of life. Words in the language of a literary work are used to figuratively reveal the ideological content of the work and the author's assessment. Saltykov-Shchedrin, in addition to allegory, Aesopian language and similitude, will use folk wit - colloquial speech or vernacular, he seeks to clearly convey to the reader the artistic idea of the work. “Colloquialism - words, expressions, turns, forms of inflection that are not included in the norm of literary speech; often allowed in literary works and colloquial speech to create a certain color. The great satirist often drew synonyms from folk speech and enriched his works with this. As you know, a phraseological unit is a stable combination of words that is used to show individual objects, signs, actions. M.E. Saltykov-Shchedrin often used them to give expressiveness, figurativeness and careless satirical style to fairy tales. For example, “And he began to live and live ...”; “Well, let yourself stand like this for the time being!”; “The devil brought some kind of hard one!”; "... they are teeming with swarms", "... with a bag around the world ..."; “and he’s already right there ...”, “... as if it were a sin ...”, “... on his own two ...”, “... said and done”. In a special group, it is necessary to single out the tautological phrases popular with the author, which are characteristic of folk speech: “And he began to live and live ...”, “... in the bushes, snakes and reptiles teemed with all sorts of swarms”, “... loitered from corner to corner, shrouded in the darkness of times "," ... and Toptygin is already here, as it were, "" suddenly a whole theory of dysfunctional well-being arose."30

It is also necessary to note the phraseological combinations of a fabulous folk aesthetic character: “In a certain kingdom, in a certain state”, “And he began to live and live”.

Since ancient times, fables and satirical tales have actively used images of the animal kingdom. Turning to these images, the people acquired some freedom and the ability to speak in an intelligible, funny, witty manner about serious things. M. E. Saltykov - Shchedrin used the form of artistic narration beloved by the people in his work. The writer masterfully embodied the denounced social types in the images of animals, achieving a vivid satirical effect. By the very fact of likening the representatives of the ruling classes and the ruling caste of the autocracy to predatory beasts, the satirist declared his deepest contempt for them. It should be noted that M. E. Saltykov-Shchedrin often accompanies his allegorical images with direct allusions to their hidden meaning.

The peculiarity of the poetics and the irresistible artistic persuasiveness of the writer's tales lies in the fact that no matter how the satirist "humanizes" his images of animals, no matter what difficult roles he entrusts to the "tailed" heroes, the latter always retain their basic natural properties and qualities.

M.E. Saltykov-Shchedrin in fairy tales combines the real with the fantastic, authentic with fiction. The fantasy of fairy tales is based on a reality that is inextricably linked with a specific political reality. For example, in the fairy tales “The Eagle-Patron”, “The Bear in the Voivodeship”, the satirist describes the activities of the heroes, making it clear that this is not at all about bird and bear deeds and deeds. (“Toptygin wrote a report and is waiting ..”, “I would have recruited a servant and would have lived in clover ..”)31

In the images of predators, the satirist emphasizes their main features, while using such techniques as the grotesque. The opposition between magical themes and the pronounced real political meaning of Saltykov-Shchedrin is emphasized in such fairy tales as "The Vigilant Eye" and "Bogatyr", and thereby more strongly exposes the political essence of any type or circumstance.

M.E. Saltykov-Shchedrin gradually adds elements of reality to the plot of fairy tales, for example: hares learn “statistical tables published under the Ministry of the Interior ...”32, write correspondence to newspapers, and articles about them are published in newspapers; bears go on business trips and receive running money; the birds talk about the railroad capitalist Guboshlepov; fish talk about the constitution, debate about socialism; a landowner living "in a certain kingdom, in a certain state" reads the real newspaper "Vest".

The peculiarity of the artistic time of the fairy tale is expressed in the grotesque-parodic form of the alternation of the present and the past. Basically, the heroes of fairy tales live with pleasant memories of blessed times, when “there was plenty of food”, “every animal in the forest”, and “fish swarmed in the water”, “it would be nice to live like the landowners lived in the old days”. Transitions from the past to the present, from the present to the past in fairy tales occur suddenly, as evidenced by the use of the word "suddenly", which belongs to the category of chance, therefore, leads to the exposure and rejection of the hero from life. For example, in the fairy tale "Conscience Lost", the conscience disappears "suddenly", "almost instantly". However, the consequences of the loss of conscience do not fit within the boundaries of "today", representing the extended processes taking place in a shameless world. All the episodes in the fairy tale (the awakening of the conscience of a drunkard, a tavern keeper, a quartermaster, an entrepreneur) return to the starting point of moral unconsciousness.

The peculiarity of the artistic space of the satirist's works is presented in the contrast of the ideal and reality, evil and good, that is, the artistic space is formed within the framework of the opposition of "closed" and "open" space.

As you know, laughter is one of the main weapons of satire. “This weapon is very powerful,” wrote Saltykov-Shchedrin, “for nothing so discourages vice as the consciousness that it has been guessed and that laughter has already been heard about it.” According to the writer, the main purpose of laughter is to arouse feelings of indignation and active protest against social inequality and political despotism.

Depending on the ideological concepts and objects of the image, different shades of laughter can be distinguished in the works of M. E. Saltykov-Shchedrin. In fairy tales, which depict all social strata of society, they can serve as a vivid example of the satirist's humor in all the richness of its artistic manifestation. Here is contemptuous sarcasm, stigmatizing kings and royal nobles (“Eagle-philanthropist”, “Bear in the Voivodeship”), and a cheerful mockery of the noble class (“The Tale of How One Man Feed Two Generals”, “Wild Landowner”), and a scornful mockery of the shameful cowardice of the liberal intelligentsia (“The Wise Gudgeon”, “Liberal”).

The tales "The Sane Hare" and "The Selfless Hare" should be analyzed together as soon as together they represent an exhaustive satirical description of the "hare" psychology in both its practical and theoretical manifestation in the writer's work. As already noted, the image of a hare in folk tales is very different. AT

“The Selfless Hare” reveals the psychology of an irresponsible slave, and “The Sane Hare” tells about a perverted consciousness that has developed a servile tactic of adapting to a regime of violence.

The tale of the selfless hare is a vivid example of the devastating irony of M.E. Saltykov-Shchedrin, denouncing, on the one hand, the wolf habits of the enslavers, and on the other, the blind obedience of their victims.

The tale begins its narrative with the fact that a hare was running not far from the wolf's lair, the wolf, seeing him, shouted: “Hare! Stop, honey!" And the hare only added more pace. The wolf got angry, caught him, and said: “I sentence you to deprivation of the stomach by tearing it to pieces. And since now I am full, and my wolf is full ... then you sit here under this bush and wait in line. Or maybe… ha ha… I’ll have mercy on you!” What is a hare? He wanted to run away, but as soon as he looked at the wolf's lair, "a hare's heart began to pound." The hare sat under a bush and lamented that he had so much left to live and his hare dreams would not come true: ! The bride's brother rode up to him one night and began to persuade him to run away to the sick hare. More than ever, the hare began to lament about his life: “For what? How did he deserve his bitter fate? He lived openly; But no, the hare cannot even move from its place: “I can’t, the wolf didn’t order!”. And then a wolf and a she-wolf came out of the lair. The hares began to make excuses, convinced the wolf, moved the she-wolf to pity, and the predators allowed the hare to say goodbye to the bride, and leave her brother with the amanat.

Released, the hare “like an arrow from a bow” hurried to the bride, ran, went to the bathhouse, spent a bit with the bride and ran back to the lair - to return by the specified date. The way back was hard for the hare: “He runs in the evening, runs in the middle of the night; his legs are cut with stones, his hair hangs in clumps from thorny branches on his sides, his eyes are clouded, bloody foam oozes from his mouth ... ". He after all "word, you see, gave, and the hare to the word - the master". At first glance, it may seem that the hare is extremely noble and thinks only about how not to let the bride's brother down, but fear and obedience to the wolf stems from slavish obedience. Moreover, he is aware that the wolf can eat him, but at the same time he stubbornly hopes that “maybe the wolf will… ha ha… and have mercy on me!”34. This kind of slave psychology overpowers the instinct of self-preservation and is elevated to the level of nobility and virtue.

The title of the tale surprisingly accurately expresses the idea of the conflict of the narrative, thanks to the oxymoron used by the satirist - the combination of opposite concepts. The word hare is very often figuratively synonymous with cowardice. And the word selfless in combination with this synonym gives an unexpected comic effect: selfless cowardice, which characterizes the main conflict of the tale. Saltykov-Shchedrin demonstrates to the reader the perversity of human qualities in a society based on violence. The wolf praised the selfless hare, who remained true to his word, and delivered a mocking sentence to him: “... sit, for the time being ..., and later I will ... ha ha ... have mercy on you!”.

Despite the fact that the wolf and the hare symbolize the hunter and the victim with all their accompanying characteristics (the wolf is bloodthirsty, strong, despotic, angry, and the hare is cowardly, cowardly and weak), these images are also filled with topical social content. The image of the wolf represents the exploitative regime, and the hare - the layman, who believes that a peaceful agreement with the autocracy is possible. The wolf enjoys the position of the ruler, the despot, the whole wolf family lives according to the "wolf" laws: both the cubs play with the victim, and the wolf, ready to devour the hare, pities him in her own way ...

However, the hare also lives according to the laws of the wolf: the hare is not just cowardly and helpless, but cowardly. He goes to the wolf's mouth and makes it easier for him to solve the "food problem", believing that the wolf has the right to take his life. He doesn't even try to resist. The hare justifies all his actions and behavior with the words: “I can’t, the wolf didn’t order!”. He is accustomed to obey, he is a slave to obedience. M. E. Saltykov-Shchedrin deeply despises the psychology of a slave: the author's irony gradually turns into caustic sarcasm.

The hare from Saltykov-Shchedrin’s fairy tale “The Sane Hare” is described in the work as follows: “although it was an ordinary hare, it was a clever one. And he reasoned so sensibly that it was just right for a donkey.

Usually this hare sat under a bush and talked to himself, reasoned on various topics: “Everyone, he says, is given his own life to the beast. A wolf is a wolf, a lion is a lion, a hare is a hare. Are you satisfied or dissatisfied with your life, no one asks you: live, that's all, ”or“ They eat us, eat, and we, hares, that year, we multiply more ”, or“ These vile people, these wolves - this is the truth to tell. All they have is robbery on their minds!” But one day he decided to flaunt his common sense in front of the hare. “The hare was talking and talking,” and at that time the fox crawled up to him and begins to play with him, stretching out in the sun, the fox told the hare to “sit closer and chat”, and she herself “plays comedies in front of him.” The fox is clearly mocking the “sensible” hare in order to eventually eat it. And the most terrible thing is that both of them understand this very well. The fox is not even very hungry to eat a hare, but "where is it seen that the foxes themselves let go of their dinner," one has to obey the law willy-nilly. All the smart, justifying theories of the hare, the idea that he has completely mastered the regulation of wolf appetites, are shattered to smithereens against the cruel truth of life. It turns out that hares were created to be eaten, and not to create new laws. Convinced that wolves will not stop eating hares, the “sensible” hare creates a project for a more rational eating of hares - so that not all at once, but one by one.

M.E. Saltykov-Shchedrin in the tale ridicules pathetic attempts at theoretical justification of slavish "hare" obedience and liberal ideas about adapting to a regime of violence. Both tales clearly express the political views of the writer.

In the fairy tales "Karas the Idealist", "The Wise Gudgeon" end in a bloody denouement, which is not typical for the writer. With the death of the main characters of the fairy tales, Saltykov-Shchedrin emphasizes the tragedy of ignorance of the true ways of fighting evil, with a clear understanding of the need for such a struggle. In addition, these tales were influenced by the political situation in the country at that time - the ferocious government terror, the defeat of populism, the police persecution of the intelligentsia.

Researcher M. S. Goryakina rightly notes that the presence of a folklore element in the basis of the narration of both fairy tales is obvious; the colloquial speech of the characters is consonant with the folk language.

Saltykov-Shchedrin uses elements of living, folk speech that have already become classic. The satirist emphasizes the connection of these fairy tales with folklore with the help of: numerals with non-numerical meanings, (“the kingdom is far away”, “because of distant lands”), typical sayings and sayings (“the trace is cold”, “runs, the earth trembles”, “not in you can’t tell a fairy tale, you can’t describe it with a pen”, “soon the fairy tale is told ...”, “don’t put your finger in your mouth”, “no stake, no yard”), numerous constant epithets and vernacular (“presytehonka”, “slander fox”, “ squander", "come on", "Oh, you, goryuny, goryuny!", "hare life", "make good", "tasty morsel", "bitter tears", "great misfortunes", etc.)

It should be noted that the plots of both fairy tales are based on elements of reality. So in the fairy tale “The Sane Hare”, the hero every day learns “statistical tables published at the Ministry of Internal Affairs ...”, and they write about him in the newspaper: “Here in the Moskovskie Vedomosti they write that hares do not have a soul, but steam - but there he is… how he flies away!”37. The sensible hare also tells the fox a little about real human life - about peasant labor, about market entertainment, about recruiting. The fairy tale about the “selfless” hare mentions events invented by the author, unreliable, but essentially real: “In one place it rained, so that the river, which the hare swam jokingly a day earlier, swelled and overflowed ten miles. In another place, King Andron declared war on King Nikita, and on the hare's very path the battle was in full swing. In the third place, cholera manifested itself - it was necessary to go around a whole quarantine chain of a hundred miles ... ".

It should be noted that in these tales the language is concise and deeply folk. It is known that the very first image of a hare that has come down to us can be considered a white marble statue dating back to the 6th century BC. e., now this statue is in the Louvre under the name "Hera of Samos" or

"Goddess with a hare." In Russian folk tales, the hare is usually small, pitiful, stupid, cowardly, as in the fairy tale "The Hare and the Fox", where many heroes came to his aid, and the rooster eventually drove the fox out of the hare's house, and the hare himself only cried and did not tried neither to fight the fox, nor to outwit it. True, sometimes there are some exceptions in the behavior of this character.

Thus, we can conclude that M.E. Saltykov-Shchedrin, using folk images, creates new ones that reflect the spirit of his era, reveals the attitude of the people around him. In literary criticism there is a term "laughter through tears", it is also applicable to the work of a satirist. The images-symbols of the writer are still relevant today.

Chapter 3 Conclusion

In the tales of M.E. Saltykov-Shchedrin, the people's world outlook is transformed: society is vicious, and the truth is reflected, as if in a distorted mirror. As already noted, the folk tale is a prime literary genre, and that is why there is such an abundance of folklore motifs in the author's tales. The artistic world of fairy tales by M. E. Saltykov-Shchedrin interprets the poetics of the folklore genre depending on the writer's intention and thereby expands the boundaries of the fairy tale genre and fills it with new meaning. The satirist draws pictures of all social strata of society, using the traditional canon of folk art. The main feature of the poetics of fairy tales by M.E. Saltykov-Shchedrin is the use of the fantasy form to depict the reality of an entire era.

Conclusion

A folk tale has a long history, it is an epic work, mostly of a fantastic nature, the purpose of which is moralizing or entertainment. Many years of experience in the artistic processing of oral poetic fairy tale plots and motifs preceded the emergence of a literary fairy tale in Russian culture. The study of the genre features of fairy tales has led researchers to ambiguous conclusions: there are two points of view on defining the boundaries of the fairy tale genre.

On the one hand, they single out a fairy tale as a single genre that has several genre varieties, on the other hand, a fairy tale as a generic concept that combines several genres. In our work, we adhere to the second point of view.

The question of comparing the classification of folk tales and tales of Saltykov-Shchedrin has not been fully studied. The divergence in views on the definition of a folk tale is associated with what is regarded as the main thing in it: an orientation towards fiction or the desire to reflect reality through allegory and fiction.

With a problem-thematic approach, one can single out fairy tales dedicated to animals, fairy tales about unusual and supernatural events, social and everyday ones. All the features of folk tales, thematic and genre-forming, manifested themselves in the tales of Saltykov-Shchedrin and influenced their poetic features. The study used the classification of the functions of poetics, developed by V. Ya Propp, in the analysis of a literary fairy tale.

The work of M.E. Saltykov-Shchedrin is inseparable from his life path and personal qualities, the cycle of fairy tales by Saltykov-Shchedrin is considered the result of his satirical work. The writer's appeal to the fairy-tale genre is due to the socio-political situation in the state. The peculiarity of the author's fairy tale lies in the fact that in a small work, the writer was able to combine lyrical, epic and satirical beginnings and extremely sharply express his point of view on the vices of the class of those in power and on the most important problem of the era - the problem of the fate of the Russian people, using the traditional folklore genre folk tale.

In the course of the work, we studied the transformation of the people's worldview in the fairy tales of M.E. Saltykov-Shchedrin, which resulted in the following conclusions:

1. The traditional genre of the folk tale is modified in the writer's work and turns into something else, expressed in the form of a satirical political tale.

2. Traditional folklore images of M. E. Saltykov - Shchedrin are filled with a new, socio-political meaning.

– The comic effect is created by using the folk language of vernacular and colloquial speech, as well as phraseological constructions, including proverbs and sayings, traditional fairy-tale techniques.

In "Tales for Children of a Fair Age" Saltykov-Shchedrin shows how spiritually meager and vicious human life is, having lost its highest purpose, raises not only concrete historical problems of the last two decades of the nineteenth century, but also universal, timeless problems of people's worldview.

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