A striking sign of the creativity of many writers of the 19th centuries 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 readership. It was no coincidence that the subtitle was chosen: "Tales for children 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 skillfully used the folk language. Memories have been preserved about the fact that Saltykov-Shchedrin “loved purely Russian peasant speech, which he knew perfectly.” Often he said about himself: “I am a peasant.” This is basically the language of his works.

Emphasizing the connection between a 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 out", "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 imbued 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's easier for us to perish with small children than to suffer 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 lofty 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.

Samoilov M.

Research: "folklore motifs in the tales of M.E. Saltykov-Shchedrin"

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Municipal budgetary educational institution

Bondar secondary school

Competition of literary and artistic creativity

"Masterpieces from the Inkwell"

Research work (abstract) on the topic:

“Folklore motifs in the fairy tales of M.E. Saltykov-Shchedrin"

Nomination: "Literary criticism"

Completed by: student of class 7 A Samoilov M.

Leader: teacher of Russian and

Literature Shestakova O.A.

With. Bondari

2016

Brief annotation

The author of this work tried to find the distinctive features and features of the fairy tales of M.E. Saltykov-Shchedrin, as well as to analyze what brings the fairy tales of the great writer closer to the works of folklore and how they differ from them.

Tasks:

Analyze folklore motifs in the fairy tales of M.E. Saltykov-Shchedrin;

Learn the distinctive features and features of the fairy tales of M.E. Saltykov-Shchedrin;

Check whether the work of this author is interesting to the modern reader.

Research methods:

1. Work with the texts of fairy tales.

2. Analysis of information about the fairy tales of M.E. Saltykov-Shchedrin from various sources.

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

Relevance

A striking sign of the work of many writers of the 19th century was their ability to continue folklore traditions in their works. This also applies to the work of M.E. Saltykov-Shchedrin. This is most evident in his stories.

The fairy tale is one of the most popular folklore genres. This kind of oral storytelling with fantastic fiction, having centuries of history. Tales of Saltykov-Shchedrin are connected not only with folklore traditions, but also with satirical literary fairy tale XVIII-XIX centuries.

In "Tales for Children of Fair Age" the writer castigates the unrest that hinders the development of Russia. And the main evil that the author condemns is serfdom.

I explore the connection of M.E. Saltykov-Shchedrin with the traditions of oral folk art and try to understand the purpose for which the author introduced topical political topics into folklore motifs and, with the help of familiar characters, revealed the complex problems of his time.

Introduction

M.E. Saltykov-Shchedrin wrote more than 30 fairy tales.

But A. S. Pushkin was right when he wrote: “A fairy tale is a lie, but there is a hint in it! ..” Yes, a fairy tale is a lie, fiction, but it was with the help of M.E. Saltykov - Shchedrin shows everything positive traits people and stigmatizes, ridicules the domination in society of some over others. I believe that with the help of a fairy tale, it was easier for the author to communicate with the people, because its language is understandable to everyone. In order to be convinced of this, let us take a closer look at the fairy tales of M.E. Saltykov-Shchedrin.

Main part

Among the huge literary heritage of M.E. Saltykov-Shchedrin, his fairy tales are very popular. It is in them that the traditions of Russian folklore are most clearly traced. Fairy tales are the result of many years of life observations of the author, as they were created at the final stage of his life and creative way. Of the 32 fairy tales, 28 were created within four years, from 1882 to 1886. 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. 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..

What brings Shchedrin's tales closer to folk tales and how do they differ from them? Let's try to figure it out. In Shchedrin's tales, we see typical fairy-tale beginnings ("Once upon a time there were two generals ...", "In a certain kingdom, in a certain state there once lived a landowner ..."), which give the tales a special, some kind of fantastic shade; proverbs (“at the command of a pike”, “neither in a fairy tale to say, nor to describe with a pen”); turns characteristic of folk speech (“thought and thought”, “said and done”); syntax, vocabulary close to the folk language; exaggeration, grotesque, hyperbole. For example, one of the generals eats the other; The “wild landowner”, like a cat, climbs a tree in an instant, a peasant cooks soup in a handful. As in folk tales, a miraculous incident sets up the plot: two generals "suddenly found themselves on a desert island"; by the grace of God, "there was no peasant in the entire space of the possessions of the stupid landowner." The use of proverbs and sayings is another feature of Shchedrin's fairy tales, which, of course, indicates their nationality, their originality. A distinctive feature of the allegory of Saltykov's fairy tales is the use by the author of the paraphrase ("Bear in the Voivodeship", "Dried Vobla", "Eagle Patron").

But, at the same time, the fairy tales of M.E. Saltykov-Shchedrin is not the speech of the people-narrator. These are philosophical and satirical tales. They are about life, about what the writer saw and observed in reality. The difference between the fairy tales of Saltykov-Shchedrin and folk tales is that they often intertwine the fantastic not only with real events, but even with historically reliable ones.

To verify this, one can compare Shchedrin's tales with Russian folk tales and note their common and distinctive features.

Emphasizing the connection between the fairy tale and reality, M.E. Saltykov-Shchedrin combined elements of folk 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 ("hateful", "destroy"), but also introduced journalistic vocabulary, foreign words. He enriched folklore stories with new content. Folk tradition M.E. Saltykov-Shchedrin also follows in fairy tales about animals, when he ridicules the shortcomings of society in allegorical form! He created images of the animal kingdom: the greedy Wolf, the cunning Fox, the cowardly Hare, the stupid and evil Bear. Despite the fact that the reader was well aware of these images from Krylov's fables, Shchedrin, with the help of familiar characters, revealed the complex problems of our time, introducing topical political topics into the world of folk art.

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, M.E. Saltykov-Shchedrin strove toso that "children of a fair age" mature and cease to be children.

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

The satirist does not parody folklore expressions and living, folk speech contemporary to him, but adapts them to solve his own artistic problems, which has become a characteristic sign of the author's style. Saltykov-Shchedrin did not copy the structure of the folk tale, but introduced his own, new one into it.

Conclusion

M.E. Saltykov-Shchedrin is a great Russian writer. His fairy tales are a magnificent monument of the past. Not only the types created by this author, but also winged words and expressions are still found in our everyday life. The images of his works have firmly entered the life of the Russian people, have become common nouns and live for centuries.

Conclusion

After analyzing the tales of M.E. Saltykov-Shchedrin, in accordance with the purpose of our work, I came to the following conclusions:

1. The language of the writer's fairy tales is deeply folk, close to Russian folklore.

2. Folklore basis fairy tales attracted the attention of the masses of readers. "Tales" by M.E. Saltykov-Shchedrin was awakened by the political consciousness of the people, called to fight against injustice and human vices.

3. The testing I conducted among my classmates showed:

Most of the children read the fairy tales of M.E. Saltykov-Shchedrin with interest.

Application:

1. Test.

1. What explains M.E. Saltykov-Shchedrin's choice of the fairy tale genre?

a) the desire to get away from life's plausibility;

b) the desire to overcome censorship obstacles;

c) addiction to the allegorical manner of writing;

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

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

a) fairy tale

b) based on real life

c) popular beliefs about good and evil

d) traditional fairy tale tricks

e) socially acute problems

e) typical for folk tales animal images

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

a) evil in the final is not always punished

b) use of sarcasm and satire

c) interpretation of characters

d) the introduction of images atypical for a folk tale

4. Who is ridiculed in the fairy tales of M.E. Saltykov-Shchedrin?

a) government

b) revolutionary democrats
c) common people

d) liberals

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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 “ wise gudgeon”), “Two neighbors lived in a certain village ..” (in the fairy tale “Neighbors”), “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 familiar folklore images, the writer filled them with new (socio-political) meaning, successfully inventing new - expressive images(wise gudgeon, idealist carp, dried vobla). 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, 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 - "folding", bright, interesting work, which 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.

In a folk tale, such moral values 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. Art world fairy tales M.E. Saltykov-Shchedrin absorbed these features of folk art.

The writer partly continues romantic traditions(two worlds), built on the continuous play of the conditional 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 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 folklore fairy tale tradition. 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”. Found the image of a fox estimated 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 merry people - buffoons - and bears throughout the Novgorod land, and brought 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 results of observations, it should be noted that the artistic poetic world 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. Distinctive feature such fiction is a profound 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 vehicle for artistic image life. Words in the language of a literary work are used for figurative disclosure ideological content works and 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 bright 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. Contrasting magical themes and pronounced real political sense Saltykov-Shchedrin is emphasized in such tales as "The Wakeful Eye" and "Bogatyr", and thereby more strongly exposes political essence 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 province”), and a cheerful mockery of the noble class (“The Tale of How One Man Feeded Two Generals”, “ wild landlord”), and a scornful mockery of the shameful cowardice of the liberal intelligentsia (“The Wise Gudgeon”, “Liberal”).

Fairy tales "Sane Hare" and " selfless hare”, should be analyzed together as soon as together they represent an exhaustive satirical characterization"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. IN

“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 common in figurative meaning is synonymous with cowardice. And the word selfless combined with this synonym gives an unexpected comic effect: the selfless cowardice that characterizes main conflict fairy tales. 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 is an exploitative regime, and the hare is an inhabitant who believes that a peace 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 say. All they have is robbery on their minds!” But one day he decided to show off 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 smashed to smithereens. cruel truth 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 Political Views writer.

In the fairy tales "Karas-idealist", "Wise gudgeon" end with 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 already become classic elements living, folk speech. 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 worldview 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. Traditional genre 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 ME 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 turns out to be, having lost its highest purpose, raises not only concrete historical issues the last two decades of the nineteenth century, but also universal, timeless - the problems of the people's worldview.

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Scientific and practical conference

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

Subject:

“Folklore motifs in the fairy tales of M.E. Saltykov-Shchedrin" (project)

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Nechaeva Irina Nikolaevna,

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Content

Plan of research work………………………………………………...2

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

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

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

Tasks of the work………………………………………………………………………..5

Research methods…………………………………………………………….5

Introduction …………………………………………………………………………..6

Main part.………………………………………………………………..7-16

Conclusion………………………………………………………..…………......17

Conclusions…………………………………………………………………………….18

Results…………………………………………………………………………18

Literature………………………………………………………………………… 19

Appendix ………………………………………………………………....20-22

Research Plan :

I stage.Organizational and preparatory.

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

II stage.Research.

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

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

Oral report with demonstration of materials, written report.

Epigraph

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

I.S. Turgenev

Relevance

A striking sign of the 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.

The fairy tale is one of the most popular folklore genres. This type of oral storytelling with fantastic fiction has a long history. The fairy tales of Saltykov-Shchedrin are connected not only with the folklore tradition, but also with the satirical literary fairy tale of the 18th-19th centuries. Already in his declining years, the author turns to the genre of fairy tales and creates a collection of "Tales for children of a fair age." They, according to the writer, are called upon to "educate" these very "children", to open their eyes to the world around them.

In "Tales for Children of Fair Age" the writer castigates the unrest that hinders the development of Russia. And the main evil that the author condemns is serfdom.

I explore the relationship of fairy tales from Saltykov-Shchedrin with the traditions of oral folk art, their thematic diversity, as well as artistic features. In his work on fairy tales, M. E. Saltykov-Shchedrin relied not only on the experience of folk art, but also on the satirical fables of I. A. Krylov, on the traditions of Western European fairy tales. He created a new genre of political fairy tale, in which fantasy is combined with real, topical political reality.

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

The language of Shchedrin's fairy tales is deeply folk, close to Russian folklore.Saltykov-Shchedrin introduced topical political themes into the world of folk art and, with the help of familiar characters, revealed the complex problems of our time.

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.

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

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

Tasks:

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

collect material about artistic features, folklore motifs;

Research methods:

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

2. Selection and analysis of information from various sources.

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

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

Study timeline: November 2014 – May 2015

Introduction.

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

“A fairy tale is a lie, but there is a hint in it! ..” But A. S. Pushkin was right. Yes, a fairy tale is a lie, a fiction, but it is she who teaches to recognize and hate the hostile features in the world, the fairy tale shows all the positive qualities of the people and stigmatizes, ridicules domination. With the help of a fairy tale, it is easier for the author to communicate with the people, because its language is understandable to everyone. In order to be convinced of this, I would like to analyze the work of M. E. Saltykov-Shchedrin.

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

The difference between the fairy tales of Saltykov-Shchedrin and folk tales is that they intertwine the fantastic with the real and even historically reliable.

Main part

Among the many genres of folklore, we are most interested infairy tale, becausefairy tale - very popular genre oral folk art, the genre of epic, prose, plot.

The traditions of Fonvizin, Krylov, Gogol, Belinsky, Chernyshevsky and others, as well as folk art, were inherited and received further development in the new era in the work of M.E. Saltykov-Shchedrin, who, denoting the most painful places of autocratic Russia, enriched literary images created by progressive writers before him. According to the fair definition of M. Gorky: "It is impossible to understand the history of Russia in the second half of the 19th century without the help of Shchedrin."
“Allegories in Shchedrin's work are enriched with folklore images and expressions, which made his language more colorful, vivid and passionate.
It has been repeatedly noted that the satirist's tales are organically connected with folklore. However, borrowing folklore images, Shchedrin endows them with new features that are different from those that are inherent in them in folk tales. If in folklore the traits of animals are transformed into traits of people, then the writer satirically draws the reader's attention to individual traits of the human character, bringing him closer to the animal.

The use of proverbs and sayings is, perhaps, another of the features of Shchedrin's fairy tales, which, naturally, indicates their nationality, their originality.

A distinctive feature of the allegory of Saltykov's fairy tales is the use by the author of the paraphrase ("Bear in the Voivodeship", "Dried Vobla", "Eagle Patron").

Another important feature of Shchedrin's tales is the use of beginnings and sayings, which give the tales a special, some kind of fantastic shade. But unlike folk tales, fantasy has a very real, vital basis.

The writer essentially created a new genre - a political fairy tale. The life of Russian society is the second half of XIX centuries was imprinted in the richest gallery of characters. "Shchedrin showed the entire social anatomy, touched on all the main classes and strata of society: the nobility, the bourgeoisie, the bureaucracy, the intelligentsia."

An approximate plan for analyzing a fairy tale

What is the main theme of the story?

The main idea of ​​the tale (why?).

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

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

Satirical techniques used by the author.

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

Combination of folklore, fantastic and real.

"Although animals, but still kings ..."

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

"Fairy Tales" is a kind of result of the writer's artistic activity, since they were created at the final stage of his life and creative path. Of the 32 fairy tales, 28 were created within four years, from 1882 to 1886.

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

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

Tales of Saltykov-Shchedrin

Tales of the Russian people

Common features

Zachin
Fairy story
folklore expressions
Folk vocabulary
Fairy tale characters
ending

Distinctive features

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

Humor
Hyperbola
Victory of good over evil
Positive hero
Animal Humanization

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

Government circles and the ruling class;

philistine-minded (liberal) intelligentsia;

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

lack of spirituality.

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

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

sarcasm is a caustic and poisonous irony that sharply exposes phenomena that are especially dangerous for a person and society;

grotesque - an extremely sharp exaggeration, a combination of the real and the fantastic, a violation of the boundaries of plausibility;

b) allegory, allegory - a different meaning, hidden behind the external form. Aesopian language - artistic speech based on forced allegory;

c) hyperbole - excessive exaggeration.

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

Saltykov-Shchedrin turned to fairy tales not only because it was necessary to bypass censorship, which forced the writer to turn to the Aesopian language, but also in order to educate the people in a familiar and accessible form.

a) In 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, Ivanushka the Fool and many others. 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 clear time and space frames.

b) 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 public 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.

The satirical fantasy of Shchedrin's final book is based on folk tales about animals. The writer uses ready-made content, honed by age-old folk wisdom, freeing the satirist from the need for detailed motivations and characteristics.

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

Borrowing ready-made fairy tale plots and images from the people, Shchedrin develops the satirical content inherent in them. And the fantastic form is for him a reliable way of "Aesopian" language, at the same time understandable and accessible to the widest, democratic sections of Russian society. “With the advent of fairy tales, the addressee of Shchedrin's satire itself changes significantly, the writer now addresses the people. It is no coincidence that the revolutionary intelligentsia of the 80s and 90s used Shchedrin's tales for propaganda among the people.

Saltykov-Shchedrin willingly used the traditional methods of folk art. His fairy tales often begin, like folk tales, with the words “they lived and were”, “in a certain kingdom, in a certain state”. Often there are proverbs and sayings: "The horse runs - the earth trembles", "Two deaths cannot happen, one cannot be avoided." Shchedrin's fairy tales are very close to folk tales by the traditional method of repetition: "everyone was trembling, everyone was trembling ...", substitutions: "There were two generals ... at the behest of a pike, at my will, they found themselves on a desert island ...".

The author deliberately emphasizes one particular feature in each character, which is also characteristic of folklore. Sayings are often found (“at the behest of a pike”, “neither in a fairy tale to say, nor to describe with a pen”); turns characteristic of folk speech (“thought and thought”, “said and done”); syntax, vocabulary close to the folk language; exaggeration, grotesque, hyperbole: one of the generals eats the other; The “wild landowner”, like a cat, climbs a tree in an instant, a peasant cooks soup in a handful. As in folk tales, a miraculous incident sets up the plot: two generals "suddenly found themselves on a desert island"; by the grace of God, "there was no peasant in the entire space of the possessions of the stupid landowner."

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

The satirist does not parody folklore expressions and living, folk speech contemporary to him, but adapts them to solve his own artistic problems, which has become a characteristic sign of the author's style.

In his work on fairy tales, M. E. Saltykov-Shchedrin relied not only on the experience of folk art, but also on the satirical fables of I. A. Krylov, on the traditions of Western European fairy tales. He created a new genre of political fairy tale, in which fantasy is combined with real, topical political reality.

Saltykov-Shchedrin did not copy the structure of the folk tale, but introduced his own, new one into it. First of all, this is the appearance of the image of the author. Behind the mask of a naive joker is hidden the sarcastic grin of a merciless satirist. Quite differently than in a folk tale, the image of a peasant is drawn. In folklore, the peasant has sharpness, dexterity, and invariably defeats the master. In the fairy tales of Saltykov-Shchedrin, the attitude towards the peasant is ambiguous.

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

“In world literature, the mutual influence of the plots of fairy tales is clearly traced. different countries and peoples; in addition, we constantly meet some images that are firmly entrenched in world folklore. First of all, this can be said about the image of the wolf, which appears both in the fables of Aesop and in ancient Eastern tales (in particular, in Arabic). Russian folk tales, proverbs and sayings give colorful characteristics to the wolf. The wolf is not forgotten by Saltykov-Shchedrin ("Poor Wolf", "Candidate for Pillars").

Conclusion

His tales are a magnificent satirical monument of a bygone era. Not only the types created by Saltykov-Shchedrin, but also the winged words and expressions of the master of Aesopian speeches are still found in our everyday life. The word-images of his works, such as "pompadour", "idealist crucian", "bungler", "foam skimmer", firmly entered the life of his contemporaries.

“I love Russia to the point of pain,” said Saltykov-Shchedrin. He distinguished the dark phenomena of her life, because he believed that moments of insight were not only possible, but constituted an inevitable page in the history of the Russian people. And he was waiting for these moments and with all his creative activity he tried to bring them closer, in particular, with the help of such an artistic means as Aesopian language.

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

Images of fairy tales have come into use, have become common nouns and live for many decades. That's whyII think that it was not in vain that Pushkin said the words "A fairy tale is a lie, but there is a hint in it! ..". After all, thanks to the fairy tale, we, I mean our generation, have learned, are learning and will learn to live.

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

Conclusion

After analyzing the work of M.E. Saltykov-Shchedrin, in accordance with the purpose of our work, I came to the following conclusions:

1. The writer's language is deeply folk, close to Russian folklore. In fairy tales, Shchedrin widely uses proverbs, sayings, sayings: “Two deaths cannot happen, one cannot be avoided”, “My hut is on the edge”, “Once upon a time ...”, “In a certain kingdom, in a certain state ...” .

2. "Fairy tales" by Saltykov-Shchedrin awakened the political consciousness of the people, called to fight, to protest.

3. Questioning showed:

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

Results:

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

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

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

Literature:

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

Bushmin A.S. The evolution of the satire of Saltykov-Shchedrin. - M., 1984.

History of Russian literature of the 19th century (second half). / Ed. S. M. Petrova. - M., 1974.

Kachurin M. G., Motolskaya D. K. Russian literature. - M., 1981.

Criticism about M. E. Saltykov-Shchedrin //Saltykov-Shchedrin M.E. History of one city. Lord Golovlev. Fairy tales. - M., 1997.

Lebedev Yu. V. Tales of M. E. Saltykov-Shchedrin / M. E. Saltykov-Shchedrin. Fairy tales. - M., 1999.

Prozorov V. V. Saltykov-Shchedrin. - M., 1988.

Russian literature of the 19th century. Second half. Issue 1. / Ed. L. G. Maksidonova. - M., 2002.

Russian writers. Biobibliographic dictionary. / Ed. P. A. Nikolaev. - M., 1990.

Informational resources:

Application:

1. Test.

1. What explains M.E. Saltykov-Shchedrin's choice of the fairy tale genre?

a) the desire to get away from life's plausibility.

b)desire to overcome censorship obstacles

c) addiction to allegorical! writing style

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

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

a) fairy tale

b)based on real life

V)folk beliefs about good and evil

d) traditional fairy tale tricks

e) socially acute problems

f) images of animals typical of folk tales

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

a) evil in the final is not always punished

b)use of sarcasm and satire

V)interpretation of characters

d) the introduction of images atypical for a folk tale

4. Distribute the names of fairy tales by subject.

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

a) the theme of the people

b)power theme

V)condemnation of philistinism

5. Distribute the comic funds in ascending order.

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

6. Match the example from the text of the fairy tale and the name of the artistic device that is used in it.

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

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

V)“He was an enlightened scribbler, 3) a grotesque
moderately liberal and very firmly
understood that life is not

what to lick the whorl ... "

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

A)Bear

b)Donkey

V)Vobla

d) hare

e) Piskar

e)a lion

g) Carp

h) Chizhik

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

A)government

b)revolutionary democrats
c) common people

d) liberals

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

1. c, d

2. b, e

3. a, b

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

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

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

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

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

7. c, e, f, g

8. c.

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

1. Where and in what family was he born?

2. When did you start your literary activity?

3. Why do we study his work?

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

5. What is the style of his works?

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

The "ill-fated minnow" was not only the result of self-development and synthesis of habitual figurative associations. In the dramatic scene of the trial of the gudgeon Ivan Khvorov, the satirist depicted the massacre of the autocracy over the Narodnaya Volya revolutionaries after March 1, 1881. The political acuteness of the topic required a complex artistic disguise, the invention of a special form, which was suggested to the satirist by the associations he had already used and enriched with some new achievements creative imagination which gave the work a bright and unique originality.

This originality is expressed in the fact that people, observing the procedural rules, judge representatives of the animal world. Neither in fiction, nor in Russian folklore, nor in any other work of Shchedrin himself do we encounter such a phenomenon. "The Wise Minnow" appeared in Notes of the Fatherland in January 1884, that is, a year later than the "Unfortunate Minnow". The date of writing a fairy tale is usually either not given importance, or it is indicated erroneously.

Meanwhile, the clarification of the time of Shchedrin's work on the fairy tale "The Wise Gudgeon" is important for a more complete disclosure ideological concept satire. The tale, as can be established from Shchedrin's letters, was written at the end of January 1883. Shchedrin, apparently, set to work on it immediately, as soon as on January 21, 1883, he learned about the announcement of the second warning for the January book to Otechestvennye Zapiski, where the chapters of Modern Idyll, including The Unfortunate Gudgeon, were printed. Forced in connection with the warning to temporarily suspend " Modern idyll”, Shchedrin informed A.L. Borovikovsky in a letter dated January 31: “I wrote four fairy tales for the February book - it’s somehow shameful not to appear at all.” Among these tales was the "Wise Gudgeon". So for a quarter of a century one can observe in Shchedrin's works such elements of figurativeness that are ultimately synthesized in the fairy tale "The Wise Gudgeon".

The process of forming the ideological concept and the poetic form of this tale can serve to a certain extent as a prototype for the formation of many other satirist tales. This process can be represented as follows. The very tasks of satirical typification dictated the introduction of certain zoological shades into human images. Corresponding epithets and comparisons with animals appeared, separate episodes, scenes arose, and, finally, isolated tales in the form of an animal epic.

Shchedrin understood more and more clearly that the main reason for the defeat of the revolutionary fighters and the prolonged triumph of government and public reaction was the inconscience and disorganization of the masses, their ideological unpreparedness to fight for their rights.

The writer sought to reveal the main reason for the weakness of the liberation movement, so the problem of the people took a special place in latest works Shchedrin, so he now considered the “mood of the masses” to be the main theme. The image of the people is represented to some extent in almost all of Shchedrin's fairy tales, and, above all, in such as "The Tale of How One Man Feeded Two Generals", "The Wild Landowner", "Neighbors", "Konyaga", "Kissel ”, “Idle conversation”, “Village fire”, “By the way”, “Crow petitioner”. And in those fairy tales, the theme of which did not directly concern the peasant, the latter appears either in the collective image of “middle and small people who, because of a penny, fight all day in the rain and slush” (“Conscience Lost”), then in the episodic figure of Ivanushka , going “by way - to submit to the treasury by the road” (“Virtue and Vices”), or Ivan Poor, who lost his cow for unpaid taxes (“A Christmas Tale”).

And even Shchedrin's pictures of nature captured great sorrow for peasant Russia, crushed by dirty bondage.

Against the dark background of the night, the author’s gaze catches, first of all, the “mourning points of the villages”, the “silent village”, the long-suffering army of people “gray, tortured by life and poverty, people with tormented hearts and drooping heads” (“Christ Night”). If we collect and group together numerous episodes and images of fairy tales related to the characteristics of the masses, then we will get a multifaceted, deep and dramatic picture of the life of post-reform Russia. It tells about the hopeless work, suffering, innermost thoughts of the people (“Konyaga”, “Village fire”, “Neighbors”, “By the way”), about his age-old humility (“The Tale of How One Man Feeded Two Generals”, “The Selfless Hare”), about his futile attempts to find truth and protection in the ruling elite (“Crow Petitioner”), about spontaneous explosions of his class indignation against the oppressors (“Bear in the Voivodeship”, “Poor Wolf”), etc.

All these sketches, amazing in conciseness and brightness, peasant life, combining the high artistry of M.E. Saltykov-Shchedrin with the merits of a scientific political and economic treatise, with inexorable logic reveal the causes of social disasters.

Shchedrin not only knew how to understand the need and explain the origin of national disasters; he perceived them with that deep "heartache that makes one identify with worldly need and bear the sins of this world." The striking contrast between the strengths and weaknesses of the Russian peasantry served as a source of constant and painful thoughts for the writer. On the one hand, the peasantry represented a tremendous force, showed unparalleled heroism in labor and the ability to overcome any difficulties of life; on the other hand, it meekly, submissively endured its oppressors, too passively endured oppression, fatalistically hoping for some kind of external help, nourishing a naive faith in the coming of good leaders.

The spectacle of the passivity of the peasant masses dictated to Shchedrin pages full of either lyrical melancholy, now aching anguish, now mournful humor, now bitter indignation. This motif of truly suffering love for the people runs through many of Shchedrin's tales. With bitter irony, Shchedrin depicted the pliancy, the slavish obedience of the peasantry in The Tale of How One Peasant Feed Two Generals, presenting here a picture of a screaming contradiction between the enormous potential power and the class passivity of the peasantry.

"The biggest man", he is a master of all trades. He got apples from a tree, and got potatoes in the ground, and made a snare for catching hazel grouse from his own hair, and took out a fire, and baked various provisions to feed the gluttonous parasites, and gathered swan's down so that they could sleep softly. Yes, he is a strong man! Before the force of his protest, if he were capable of it, the generals would not have resisted. Meanwhile, he resignedly obeys the generals. He gave them ten apples each, and took “one, sour” for himself. He himself twisted the rope so that the generals would keep him tied up at night. Moreover, he was ready to “please the generals for the fact that they favored him, the gonery, and did not disdain peasant labor!” No matter how much the generals scolded the peasant "for his parasitism", but "the peasant rows and rows and feeds the generals with herrings."

It is hard to imagine a more vivid depiction of the strength and weakness of the Russian peasantry in the era of the autocracy! Bearing in mind the passivity and humility of the peasant, the satirist, with heartache, likened the Russian peasantry either to a hare, afraid to violate the wolf’s order (“Selfless Hare”), then to a crow - “a bird that bears fruit and agrees to everything” (“Eagle-philanthropist”), then to a vague jelly, allowing you to eat yourself unhindered ("Kisel"). The satirist liked to repeat that the Russian peasant is poor in all respects, and above all poor in the consciousness of his poverty. In this sense, the image of a peasant in "Toy People" is noteworthy. A peasant comes to a bribe-taker, he feels “guilty”, and all his guilt lies only in the fact that he is a peasant. To atone for this "guilt" of his, he allows the bribe-taker to rob him clean, and in addition, he receives a fair amount of cuffs. “The peasant was badly rumpled, but, apparently, he was not upset at all. He understood that he had fulfilled his duty, and only slowly shook himself.

To feel “guilty” before the authorities, to give away everything that one has obtained by one’s own labor, to receive only cuffs for it, and at the same time to be satisfied that one has “fulfilled one’s duty” - this is the real tragedy of peasant unconsciousness! Recreating the picture of peasant disasters in fairy tales, Shchedrin consistently promoted the idea of ​​the need to oppose the exploiters with the might of the people. He persistently inspired the oppressed masses that their oppressors were cruel, but not as powerful as it seemed to the frightened consciousness.

He sought to raise the consciousness of the masses to the level of their historical vocation, to equip them with courage and faith in their dormant forces, to awaken their enormous potential energy for collective self-defense and an active liberation struggle. In fairy tales, he repeatedly returned (of course, to the extent that it was possible in the legal press) to depict the process of maturing, revolutionary protest, sometimes spontaneous (“Poor Wolf”, “Bear in the Voivodeship”, “Crow-petitioner”), sometimes illuminated by the first glimpses of the awakening class consciousness (“The Way-Road”).

People's patience is not unlimited, the indignation of the masses is growing and must inevitably end in a spontaneous explosion: “We endure both cold and hunger, every year we all wait: maybe it will be better ... how long?” ("Way-road"); “How long will we endure? After all, if we ... ”(“ Raven-petitioner ”) Toptygin the 2nd, with his pogroms, brought the peasants out of patience:“ the peasants blew up, ”and they dealt with the oppressor, putting him on a spear (“Bear in the Voivodeship”). The fact that, on the one hand, the peasant democrat Shchedrin pinned his hopes primarily on the peasantry, and on the other hand, was fully aware that it was not ready for a consciously organized struggle, this circumstance was the source of the satirist's deep tragic feelings. .

With particular force, these experiences were reflected in the fairy tale "Konyaga", where the peasant mass is presented as a huge creative force, but a politically dormant force. The fairy tale "Konyaga" is the strongest work of Shchedrin in the series of his depictions of the position of the Russian peasantry in tsarist Russia. The pain of Saltykov-Shchedrin for the Russian peasant that never subsided, all the bitterness of the writer’s thoughts about the fate of his people, his country, was concentrated in the narrow boundaries of one fairy tale and expressed itself in burning words, exciting images and paintings full of high poetry.