/ / / The history of the creation of the fairy tale by Saltykov-Shchedrin “ wise scribbler»
Fairy tale form before M.E. Saltykov-Shchedrin used many different writers. And, despite the fact that the writer's work is diverse in terms of genre, it is fairy tales that are most widely used. There were 32 of them in total. Fairy tales were a kind of outcome of the life of M.E. Saltykov-Shchedrin. In them he reflected everything actual problems of that time, satirically describing them.
When writing "The Wise Scribbler", the writer chooses the form of a fairy tale, because it was it that was most suitable for the author's purposes: to show a satire on the liberal intelligentsia in a simple and understandable way.
The writer sets himself a certain task: to reveal the problem of contemporary society, as well as to teach people to do the right thing. The main function, according to Saltykov-Shchedrin, is educational.
The satirically directed fairy tale was created in December 1882 - January 1883. The period of writing the work is enough hard times in the country. This is the time of various reactions and terror that reigned after the encroachment on Tsar Alexander II. Spiritual terror, oppression of the intelligentsia - this is what caused the writing of many fairy tales by M.E. Saltykov-Shchedrin.
Having written his work, M.E. Saltykov-Shchedrin wants to make people think about honor and dignity, about true and false wisdom. The writer gave to think about the meaning of life and the cost.
For the first time, Shchedrin's work was published in 1883 in the foreign newspaper Common Cause anonymously and without any signature in the section "Tales for Children fair age».
Soon after the release in the newspaper "The Wise Scribbler" and some other works were published as collections and separate brochures.
Here, in 1883, the brochure “Three Tales for Children of a Fair Age. N. Shchedrin”, which included “The Wise Scribbler”, “The Selfless Hare” and “The Poor Wolf”. This pamphlet was republished in 1890 and 1895, and in 1903 it was printed in Berlin by G. Steinitz as the 69th edition of the Collection of the Best Russian Works.
However, in 1883, the Public Benefit hectography published the pamphlets Fairy Tales for Children of a Fair Age. M.E. Saltykov", which included the following works: "Wise scribbler", " selfless hare"," Poor wolf. This edition for 1883 was issued 8 times. Because of the censorship ban, the underground distribution of fairy tales was frequent.
After publishing in Domestic notes”according to the rules of censorship, it was withdrawn. M.E. Saltykov-Shchedrin tries three times to officially publish his creation, but he fails.
Only in 1906 did he publish a fairy tale, but in a softened form. This edition had the title: "Small fish, but better than a big cockroach."
Thus, the difficult living conditions in the country caused the writing of the fairy tale "The Wise Piskar". They were the reason for the difficult publication this work. Despite the fact that the censorship did not want to let the satirical tale go into print, it came out underground and was widely distributed.
"Saltykov-Shchedrin fairy tales" - Here Saltykov-Shchedrin became seriously interested in literature. "The Tale of How One Man Feeded Two Generals." "Eagle patron". Some plans (at least six fairy tales) remained unrealized. 6. If Gogol's "laughter through tears", then how can one define Shchedrin's? Genre originality. In terms of genre, the tales of M.E. Saltykov-Shchedrin are similar to Russian folk tales.
"Lord Golovlevy" - -What is it! Saltykov-Shchedrin "Gentlemen Golovlevs". "Niece". Pavel Vladimirovich and Vladimir Mikhailovich are dying. Stepan is dying. Volodya's suicide. The ideological and thematic content of the novel. "Kindly". "Family Court" Suicide of Lyubinka Death of Judas. The binge of idle thought Judas. Depth and breadth of thought.
"Mikhail Evgrafovich Saltykov-Shchedrin" - 4. Mother, Olga Mikhailovna Zabelina. The education of young Saltykov. In our family, it was not stinginess that reigned, but some kind of stubborn hoarding. 2. Daughter of M.E. Saltykov-Shchedrin Son of M.E. Saltykov-Shchedrin. Father, Evgraf Vasilyevich Saltykov. She appeared angry, implacable, with her lower lip bitten, resolute in her hand, angry.
"The history of one city is a lesson" - The writer's works are still relevant. Checking the assimilation of difficult words and expressions. What is the "History of one city" in terms of genre? Brief retelling chapter "On the root of the origin of the Foolovites". How can you explain the names of the peoples listed by the writer? (Lesson on literature for grade 8).
"The Works of Shchedrin" - Cruel and merciless laughter in "The History of a City" has a cleansing meaning. The language of Shchedrin's fairy tales is deeply folk, close to Russian folklore. Saltykov-Shchedrin. At the end of the 60s. No. The images of Foolov's inhabitants are also fantastic. heyday fairy tale genre falls on Shchedrin in the 1980s.
"Lesson Saltykov-Shchedrin" - 1869 - 1886 . As a result, not a single writer was subjected to such persecution as Saltykov-Shchedrin. The purpose of the lesson: Features: Fiction, reality + tragic, grotesque, hyperbole, Aesopian language. Cover of Saltykov-Shchedrin's book "History of a City". Saltykov-shchedrin. Evgrafovich. Satire writer-satirist hyperbole grotesque "Aesopian language".
There are 35 presentations in total in the topic
History of creation The first three tales (“The Tale of How One Man Feeded Two Generals”, “Conscience Lost” and “ wild landlord”) M.E. Saltykov-Shchedrin wrote back in 1886. By 1886 their number had increased to thirty-two. Some plans (at least six fairy tales) remained unrealized.
Genre originality In terms of genre, the tales of M.E. Saltykov-Shchedrin are similar to Russian folk tales. They are allegorical, animal characters act in them, traditional fairy-tale techniques are used: beginnings, proverbs and sayings, permanent epithets, triple repetitions. At the same time, Saltykov-Shchedrin significantly expands the circle fairy tale characters and also “individualizes them. Besides important role in the tale of M.E. Saltykov-Shchedrin, morality plays - in this it is close to the fable genre. The story of how one man fed two generals
Allegory - allegory Beginning - A rhythmically organized joke that precedes the beginning in fairy tales. “They lived - they were ...”, “In a certain kingdom, in a certain state ...”). Proverbs and sayings - (“grandmother said in two”, “without giving a word - be strong, but having given it - hold on”). Epithet - In poetics: figurative, artistic definition. Permanent e. (in folk literature, for example, “golden heart”, “white body”).
The main themes The tales of M.E. Saltykov-Shchedrin are united not only by the genre, but also common topics. 1) The theme of power (“The Wild Landowner”, “The Bear in the Voivodeship”, “The Eagle-Maecenas”, etc.) 2) The theme of the intelligentsia (“The Wise Piskar”, “The Selfless Hare”, etc.) 3) The theme of the people (“The Tale about how one man fed two generals”, “Fool”, etc.) 4) The theme of universal vices (“Christ's night”) Eagle-philanthropist
Problems The tales of M.E. Saltykov-Shchedrin reflect the “special pathological state” in which Russian society in the 80s XIX years century. However, they cover not only social problems(the relationship between the people and the ruling circles, the phenomenon of Russian liberalism, the reform of education), but also universal (good and evil, freedom and duty, truth and lies, cowardice and heroism). wise scribbler
Artistic Features artistic features Fairy tales of M.E. Saltykov-Shchedrin are irony, hyperbole and grotesque. An important role in fairy tales is also played by the reception of antithesis and philosophical reasoning (for example, the fairy tale “The Bear in the Voivodeship” begins with the preface: “Large and serious atrocities are often called brilliant; History is not led astray, but they do not receive praise from contemporaries either. Bear in the province
Irony is a subtle, hidden mockery (for example, in the fairy tale “The Wise Scribbler”: “What sweetness is it for a pike to swallow an ailing, dying scribbler, and besides, a wise one?”) Hyperbole is an exaggeration (for example, in the fairy tale “The Wild Landowner”: “Thinks what kind of cows will he breed, that neither skin nor meat, but all one milk, all milk! so contrived that he even began to cook soup in a handful") Antithesis - opposition, opposite (many of them are built on the relationship of antagonist heroes: a man - a general, a hare - a wolf, a crucian - a pike)
To the genre literary fairy tale in the 19th century, many writers applied: L.N. Tolstoy, V.M. Prishvin, V.G. Korolenko, D.N. Mamin-Sibiryak. main feature fairy tales by M.E. Saltykov-Shchedrin lies in the fact that folk genre they are used to create an "Aesopian" narrative about the life of Russian society in the 1880s. Hence their main themes (power, intelligentsia, people) and problems (the relationship between the people and the ruling circles, the phenomenon of Russian liberalism, the reform of education). Borrowing from Russian folk tales images (especially animals) and techniques (beginnings, proverbs and sayings, constant epithets, triple repetitions), M.E. Saltykov-Shchedrin develops the satirical content inherent in them. At the same time, irony, hyperbole, grotesque, and other artistic techniques serve the writer to denounce not only social, but also universal human vices. That is why the fairy tales of M.E. Saltykov-Shchedrin have been popular with the Russian reader for many decades.
Analysis of the fairy tale "The Wild Landowner"
In satire, reality as a kind of imperfection is opposed to the ideal as the highest reality.(F. Schiller) Saltykov-Shchedrin is one of the most original writers of Russian literature. His talent perfectly coped with the tasks that the era set before him. Tales chronologically complete the satirical work of Saltykov-Shchedrin. Their problem was
social conditions after reform Russia. The task of the writer can be defined as educational and agitational, so the style of fairy tales is simple and accessible to the general public. My favorite fairy tale is "The Wild Landowner". The plot of the tale is based on a grotesque situation, behind which real social and serf relations are easily guessed. As a result, reality is shown under the guise of a fairy tale. Grotesque - hyperbolic images are metaphors of real socially -
psychological types then Russia. The stupid landowner complains to God: "... there are too many peasants divorced in our kingdom!", not realizing that he completely depends on him. And without receiving help from God, the landowner himself began to squeeze them out of the world. “He reduced them so that there was nowhere to stick his nose out ...” Then the peasants prayed to the Lord God and disappeared from the landowner's possessions. A peculiar combination of fiction and reality is one of the features of Saltykov-Shchedrin's fairy tales. In the fairy tale "The Wild Landowner" there are
real names newspapers (“Vest”), people (actor Sadovsky), references to topical social
political topics. In the depiction of animals, the author follows
folklore tradition: Animals speak, act on a par with humans. For example, the bear enters into a conversation with the landowner and even gives him advice. In this case, the animals also act in their original role: the bear eats the peasant, the peasant catches fish. The tale "The Wild Landowner" refers to a satire on government steeps and the ruling class, as well as to socially -
everyday fairy tales. The main characters of such fairy tales are stupid generals, landowners who know nothing and cannot do anything. AT
folk tale the man is always smarter, stronger, braver, fooling
the mighty of the world this, leaves the oppressors in the cold. Saltykov-Shchedrin emphasizes the paradox of mixing valuable, vital
necessary qualities peasant and humility, longevity, sometimes bordering on dementia. This is a typical antithesis for the author, and the qualities on both sides are exaggerated. Using traditional fairy tales in the language
folklore elements(“In a certain kingdom, in a certain state there once lived ...”), the author does not borrow the plot.
great attention the writer devoted to such means
artistic expressiveness, as an epithet ("crumbly body", "bad life"), a metaphor ("
fire ball"- the sun), comparison ("like a black cloud, swept ... peasant trousers"). Saltykov-Shchedrin -
real master words, which uses the richness and imagery of the language to achieve the goal: to awaken the thought and feelings of a submissive Russian person. The satirist's tales are evidence of his great love for Russia and its people.
Lord Golovlev Roman FAMILY COURT Arina Petrovna, a wealthy landowner, is informed that a house in Moscow has been sold at auction for the debts of her son Stepan, nicknamed Styopka the Stupid in the family, for only eight thousand rubles, although she herself bought it two years ago for twelve thousand. “Arina Petrovna is a woman of about sixty, but still vigorous and accustomed to living with all her will. She holds herself menacingly; single-handedly and uncontrollably manages the vast Golovlev estate, lives in solitude, prudently, almost sparingly, does not make friends with neighbors, is kind to local authorities, and demands from children that they be in such obedience to her that with every act they ask themselves: something will your mother say about it? In general, she has an independent, inflexible and somewhat obstinate character ... Her husband is a frivolous and drunk person (Arina Petrovna readily says about herself that she is neither a widow nor a husband's wife); children partly serve in St. Petersburg, partly took after their father and, as "hateful", are not allowed to any family affairs. “The head of the family, Vladimir Mikhailovich Golovlev, was known from a young age for his careless and mischievous character, and for Arina Petrovna, who was always distinguished by seriousness and efficiency, he never imagined anything pretty ... The husband called his wife “witch” and “devil”, the wife called her husband -"
windmill"and" stringless balalaika. "Being in such a relationship, they used
living together for more than forty years, and it never occurred to either of them that such a life contained something unnatural ... Arina Petrovna was a little happier in children. She had too independent, so to speak, a bachelor nature, so that she could see in children anything but an extra burden ... There were four children: three sons and a daughter. She did not even like to talk about her eldest son and daughter; she was more or less indifferent to her youngest son, and only the middle one, Por-fishu, was not so much loved, but seemed to be afraid. “Stepan Vladimirych, the eldest son ... very early fell into the category of the “hateful” and from childhood played the role of either a pariah or a jester in the house. Unfortunately, he was a gifted fellow, who too readily and quickly perceived the impressions that she produced.
environment... The constant belittling ... was not in vain. As a result, it did not result in bitterness, not protest, but formed a slavish character, accommodating to buffoonery, not
knowing feelings measures and devoid of any forethought.” Stepan Golovlev graduated from the gymnasium and entered the university, where "thanks to his pliability for every thing, he soon became the favorite of rich students." After graduating from the university, “they began wandering around the departments and offices; he had no patronage, no desire to break the road by personal labor. So four years pass. The mother orders her son to come to Moscow, where he is attached to the court. Three years later, he is fired. “Then Arina Petrovna decided on an extreme measure: she “thrown away a piece to her son,” which, however, at the same time was supposed to portray a “parental blessing.” This piece consisted of a house in Moscow ... which promised to give a thousand rubles in silver income ... ”However, after five years he“ burns out completely ”, enters the militia. By the time he returns to Moscow, his house has already been sold, he has a hundred rubles in his pocket, which he loses at cards. Stepan goes to the houses of his mother's wealthy peasants who lived in Moscow: from whom he will dine, from whom he will borrow money. But at last the moment came when he, so to speak, found himself face to face with a blank wall. He was already under forty, and he was forced to admit that a further wandering existence was beyond his strength. There was only one way - to Golovlevo. About her daughter, Anna Vladimirovna, the mother "also did not like to talk." The fact is that she “had views” of Annushka, and not only did she not justify her hopes, but instead she made a scandal for the whole county by running away from Golovlev and marrying a cornet. Daughters Arina Petrovna also “thrown away a piece” - she separated her capital of five thousand and a devastated village. A year later, the cornet fled, leaving his wife with two twin daughters: Anninka and Lyubinka, and three months later Anna Vladimirovna herself died, so Arina Petrovna was forced to shelter her granddaughters. The brothers Porfiry and Pavel Golovlev served in St. Petersburg: the first - before the civilian part, the second - in the military. Porfiry was married, Pavel was single. “Porfiry Vladimirych was known in the family under three names: Judas, a blood drinker, and an outspoken boy ... From infancy, he loved to caress his dear friend, mother ... and sometimes a little puff.” His fawning aroused suspicion even among Arina Petrovna. “He will look - well, as if he is casting a noose,” she sometimes reasoned with herself. “So it pours poison, and it beckons!” But even seeing Porfisha's insincerity, she still favored him. The youngest son of the Golovlyovs, Pavel, is “the complete personification of a man devoid of any deeds. .. an apathetic, mysteriously gloomy personality ... He often snapped at his mother and at the same time was afraid of her, like fire. Arina Petrovna learns that the “hateful,” that is, Styopka the booby, “will again sit on her neck.” At that time he was already on his way to Golovlevo. “One thought fills his entire being to the brim: another three to four hours - and there is nowhere to go further. He recalls his old Golovlev life, and it seems to him that the doors of a damp basement are dissolving before him... From now on he will be alone with the evil old woman... This old woman will seize him... His predictions were justified. He was placed in a special room of the wing, which housed the office. They brought him linen... and papa's old robe... The doors of the crypt opened, let him in and slammed shut... He was fed extremely badly. From morning to evening he was starving and only thought about how to eat. Arina Petrovna, meanwhile, decided to convene a family council “to solve the dunce’s fate”, in order to shift the responsibility for
own solutions on their sons. Porfiry and Pavel must immediately arrive in Golovlevo. Arina Petrovna plays before Judaska and Pavel her favorite role of “respectable and dejected mother”. The brothers visit their sick father, whose position gives Judas a reason to seduce her mother: “Really, you even wonder how you have the strength to endure these trials!” Arina Petrovna is satisfied. She is angry with Pavel, as usual. The family council begins. Arina Petrovna paints the sacrifices she made for the sake of the unlucky Stepan, complains about how hard it was for her while she was saving her fortune - and now, she has collected four thousand souls. Let the brothers decide what to do with the “stupid”. Porfiry, of course, refuses to judge his brother - how can he, because this is the right of mother! Arina Petrovna intends to allocate a village to Stepan - “and let him live for himself ... to feed the peasants!”. Yudushka, fawning and Julia, persuades her mother not to give anything to Stepan, but to leave him to live in Golovlev, and even make him sign a paper refusing to share in the inheritance. This is exactly what Arina Petrovna expected from him. “As long as papa and I are alive - well, he will live in Golovlev, he will not die of hunger,” she says, “and then how?” Judas assures her that he will not leave his brother, and even asks her permission to immediately give him two pounds of tobacco. Arina Petrovna silently looks at Yudushka: “Is he really such a blood drinker that he will drive his own brother out into the street?” However, he agrees to do as Judas wants. Both brothers return to Petersburg. Stepan got used to his position. Summer is coming to an end, and in Golovlev “pickles, jams, cooking for the future” are taking place, “woman’s natural duty: dried mushrooms, berries, eggs, vegetables, etc.” are brought in carts from the villages. Stepan is fussing, taking part in this “procedure”. Stepan signs the papers sent by his mother without any objections. He starts drinking again and one night runs away from Golovlev. Arina Petrovna, who had completely forgotten about the existence of her son, begins to find out where he got the vodka from, and for the first time enters Stepan's room. “The room was dirty, black, slushy, so that even she, who did not know and did not recognize any requirements for comfort, became embarrassed.” Stepan is found and brought to Golovlevo. Arina Petrovna shows some concern for him, but Stepan does not react to anything. “It seemed that he was completely plunged into a dawnless mist, in which there is no place not only for reality, but also for fantasy. His brain was producing something, but this something had nothing to do with the present or the future. It was as if a black cloud enveloped him from head to toe...” Soon Stepan dies. Arina Petrovna reports this in a letter to Judas, describes “the sorrow of her
maternal heart and a rich funeral. RELATEDLY Ten years have passed. Pavel Vladimirovich is dying, but he does not believe in it and does not want to sign a document so that his estate passes to his nieces - Anninka and Lubinka. This means that it will go to Judas. Meanwhile, Arina Petrovna “from a quarrelsome owner of Golovlev’s estates became a modest accustomer in the house
younger son... having no voice in economic orders.” “The first blow to Arina Petrovna's authority was dealt” by the approaching abolition of serfdom. She was confused, and at that time her husband died. “Porfiry Vladimirych ... with amazing sensitivity guessed the confusion that had taken possession of her thoughts.” As a result, Arina Petrovna divides the estate, leaving only capital with her. At the same time, Porfiry Vladimirych was allocated
the best part, and Pavel Vladimirych - worse. Arina Petrovna, as if forgetting that Golovlevo is no longer hers, spends her money on this estate. And so, when “Arina Petrovna’s capital has diminished to such an extent that it has become almost impossible to exist independently on interest from it,” Yudushka sends her “a whole bale of accounting forms” - a guide for compiling annual reports. Here everything is taken into account to the last raspberry bush and a gift “to boy N for good manners”. Arina Petrovna is struck by the stinginess of Judas. “After a long polemical correspondence,” she moved to the Dubrovino estate to her son Pavel, and soon Yudushka retired and settled in Golovlev. Pavel Vladimirych received Arina Petrovna “quite tolerably”, undertook to feed her and her orphaned nieces, but on the condition that she would not interfere in the management of the estate. In Pavel's house, everything is run by the housekeeper Julitta, "a malicious woman caught in secret correspondence with the blood-drinking Porfishka, and papa's former valet Kiryushka." Both steal mercilessly. But Pavel does not tolerate any comments from his mother. On top of that, he drinks. He is gnawed by hatred for all people, and especially for Judas. Finally, he falls mortally ill. Arina Petrovna tries to persuade Pavel to give her and her nieces the estate, or at least money, but he does not believe in imminent death and refuses. Judas, sensing a close prey, comes to Dubrovino with his sons - Petenka and Volodenka. Knowing that Paul hates and fears him, Judas nevertheless goes to him. The sick man drives him away, scolds him, accuses him of letting his mother go around the world, but there is nothing to get Judas through. After all, the main thing for him is that Paul did not make any order about the inheritance. So he can only wait for his death - and Dubrovino will be his. Meanwhile, Arina Petrovna started a conversation with the sons of Judas "not without the purpose of finding out something." Petya and Volodya complain to her about their father: he eavesdrops at the door, stingy and petty, incredibly boring with him. And they came to Dubrovino because Julitta reported
imminent death Paul. The only thing that Judas is afraid of is the curse of his mother. His sons are convinced that if their father gets the Dubrovino estate, he will not give anything to anyone, and he will deprive their own sons of their inheritance. Pavel is dead. Arina Petrovna decides to leave for Pogorelka, “the estate of orphans”. “For Judas, she did not feel either hatred or disposition: she simply became disgusted to have business with him.” Yudushka shows that he is offended by this decision of his mother, but he himself ordered Julitta to make sure that Arina Petrovna did not take anything superfluous with her. And so Arina Petrovna and her granddaughters get into the carriage (this is Arina Petrovna's own carriage, she has proof of this), and Yudushka cannot take her eyes off him. Finally he says to his mother: “So tarantasik, mother, how is it? Will you deliver it yourself or will you send for it?” Mother screams that this is her tarantass. “Have mercy, mother! I’m not complaining ... even if the tarantass was Dubrovinsky ... So you, my dear, don’t forget us ... simply ... without fantasies ... in a kindred way!” FAMILY RESULTS Arina Petrovna is trying to somehow improve things in the impoverished Pogorelka, but she is unwell, she can’t fix anything. Anninka and Lyubinka announce to their grandmother that they cannot and do not want to stay in Pogorelka any longer. Arina Petrovna worries about the future of her granddaughters, but lets them go. With the departure of the girls, the Pogorelkovsky house is plunging into “some kind of hopeless silence.” Arina Petrovna, for the sake of economy, dismisses almost all the servants. “The former feverish activity suddenly gave way to drowsy idleness, and idleness gradually corrupted the will ... From a strong and restrained woman ... a ruin turned out for which neither past nor future existed ...” She is afraid of everything: thieves, ghosts, devils... She eats poorly and meagerly, the house is damp and dirty... Increasingly, memories of Golovlev, of the abundance there, come to Arina Petrovna. Her hatred for Judas gradually disappears, “old grievances were somehow forgotten by themselves.” She begins to send "messengers" to Judas with a request to give her either cucumbers, or a turkey, or something else to eat. “Yudushka frowned, but did not dare to openly express displeasure ... He was most afraid that his mother would curse him.” “Tired of a long widowhood,” Judas takes as a housekeeper “a maiden from the clergy,” Yevprak-sei, “who was industrious, unresponsive, and made almost no demands.” Meanwhile, Arina Petrovna often moved to Golovlevo, and then moved here altogether. Five years have passed. Yudushka “has grown considerably older, has faded and faded, but is swindling, lying and talking even more than before, because now he has a good friend mother almost constantly at hand, who, for the sake of a sweet old woman’s piece, has become an obligatory listener to his idle talk ... If he was a hypocrite , then a hypocrite of a purely Russian kind, that is, simply a person deprived of any moral measure and not knowing any other truth, except for the one that appears in the alphabetical copybooks. He was ignorant without borders, a quarrel, a liar, an idle talker, and to top it all, he was afraid of the devil, "Having settled in Golovlev," he immediately felt free, because nowhere, in any other sphere, his inclinations could not find such scope for themselves, like here... No one's judgment disturbed anyone, no one's immodest glance disturbed - therefore, there was no reason to control himself either ... Long ago, this complete freedom from any moral restrictions attracted him to itself ... ". Yudushka spends his days counting and counting, taking into account every penny, every thing in twenty books, writing complaints to the justice of the peace ... All contact with the outside world is broken, he does not receive books, newspapers, or even letters. One of his sons - Volodenka - committed suicide, with another - Petenka - he writes only when he sends him money. Arina Petrovna receives a letter from her granddaughters. They became actresses and will never return to Pogorelovka. Judas spat at this news and thought, “some sinister plan flickers in his head.” Son Peter arrives from the regiment. “... The mysterious arrival of Petenka does not particularly excite” Judas, “because, no matter what happens, Judas is already ready for everything in advance. He knows that nothing will take him by surprise and nothing will force him to make any deviation from that network of empty and thoroughly rotten aphorisms in which he has wrapped himself from head to toe. Peter lost government money, asks for a loan from his grandmother, but she does not have her own money, and she cannot spend the capital of her granddaughters. Judas refuses his son flatly, as usual, hiding behind hypocritical excuses and teachings. Peter accuses his father of killing his brother Volodya - it was he who killed him, leaving him penniless when he married allegedly against his wishes. Arina Petrovna silently listens to this conversation. “She by no means remained an indifferent spectator of this family scene. On the contrary, at first glance one could suspect that something unusual was happening to her, and that perhaps the moment had come when the results of her
own life ". She curses Judas. NIECE “Yudushka still didn’t give Petenka money, although, like a good father, he ordered at the moment of departure to put chickens, and veal, and a pie in his wagon ... he himself went out onto the porch to see his son off, inquired if he was able to sit whether he wrapped his legs well ... Contrary to Petenka's expectations, Porfiry Vladimirych endured his mother's curse quite calmly and did not deviate a single hair from those decisions that, so to speak, were always ready in his head ... Arina Petrovna's trick was like this suddenly, that Judas did not even think of pretending to be frightened. The next day after the departure of her grandson, Arina Petrovna leaves for Pogorelka and no longer returns to Golovlevo, despite the hypocritical persuasion of Judas. One day, she discovers that she cannot get out of bed. Yudushka immediately arrived and began to order, found out where the papers were. Arina Petrovna dies, Yudushka takes care of the funeral with pleasure and immediately starts studying the papers. As a result, he declares himself the sole heir to the property left after his mother. With that, he leaves for his home in Golovlevo, taking his mother's tarantass and two cows. A letter arrives from Peter: he says that he is going into exile, and asks if his father will send him the content. Judas, of course, refuses him. But it is not known whether Judas' letter reached his son - a notification arrives that Peter, before reaching the place of exile, fell ill and died. “Judas was left alone, but still, in the heat of the moment, he still did not understand that with this new loss he had already finally been let into space, face to face with his own idle talk.” Anninka arrives - “a tall and stately woman with a beautiful ruddy face, with high, well-developed breasts, with bulging gray eyes and with an excellent ashen braid ... with sharp, even cheeky manners ... ". Judas cannot take his lustful gaze away from his niece, he climbs in to kiss supposedly in a related way. Anninka knows everything about the fate of Peter - it turns out that he sent a letter to him and his sister after the trial, they collected six hundred rubles and sent it to him. Judas jumps up: how did he not receive this money after Petenka's death?! Anninka goes to her grandmother's grave, then to Pogorelka, where she learns that Yudushka even took the icons from there. She says goodbye to the village and to her grandmother's grave forever. Yudushka wants Anninka to stay in Golovlyovo, but, speaking to her, he looks at her with such "oily eyes" that she becomes "embarrassed." She decides to leave under the pretext that she is “bored” in Golovlev. Anninka is dissatisfied with her life. “As a girl not stupid, she perfectly understood that between those vague dreams of labor bread, which served as her starting point in order to leave Pogorelka forever, and the position of a provincial actress in which she found herself, there was a whole abyss. Instead of
quiet life labor she found a stormy existence, filled with endless revels, arrogant cynicism and disorderly, leading to nothing fuss. Arriving in Golovlevo, she remembered her former, pure life, and she became "unbearably disgusting." But her dreams of her home "were immediately to be shattered when confronted with the reality that we encountered in Golovlev." We must leave. She will try to get a job on the Moscow stage. Yudushka does everything to keep her in Golovlyovo, procrastinating and endlessly persuading Anninka to the point of exhaustion. Already sitting in the wagon, when Judas asked if she would come again, Anninka answered him: “No, uncle, I won’t come! Scary with you!” ILLEGAL FAMILY JOYS One day, shortly before the catastrophe with Petenka, Arina Petrovna, a guest in Golovlev, notices that Evprakseyushka is pregnant. It turned out that Porfiry Vladimirych had already been reported, but he did not say anything to this, “but only folded his hands with his palms inward, whispered with his lips and looked at the image ...”. The mother makes fun of her prayerful son, recalls a lot of cases of pregnancies and births, eagerly prepares for the upcoming birth, consults with her old maid Julitta, who in her youth, too, according to rumors, gave birth to a child from Porfiry Vladimirych. But then "a catastrophe happened to Petenka, and Arina Petrovna's death soon followed it." Iudushka's hopes that thanks to Arina Petrovna's experience and Julitta's dexterity... "the 'trouble' will pass without publicity" collapsed. He is afraid that he will be accused of adultery - but he did not take any measures, "he did not even have time to lie." Childbirth begins, Julitta informs Judas about this. “... I don’t know any of your affairs,” he declares. “I know that there is a sick woman in the house, but what she is sick with and why she is sick - I have no curiosity to find out about this, I confess!” He refuses to look at his son, and to the visiting priest he says about Evpraksey: “She is a diligent, faithful servant, but as for the mind, don’t ask! That is why they fall ... into pre-lu-bo-de-yanie! Julitta, at the direction of Judas, takes the baby to Moscow, to an orphanage, while the young mother rushes about in the heat and delirium. Vyvochnyy “Yudushka's agony began with the fact that the resource of idle talk, which he had so willingly abused until now, began to visibly shrink. Everything around was empty: some died, others left. On top of everything else, “some kind of corruption” happened to Evprakseyushka - “she suddenly understood something, and the immediate result of the awakened ability of understanding was a sudden, still unconscious, but evil and invincible disgust.” She “rebelled”: she boldly objects to Judas, does not let him near her, does not spend the night at home, stops courting the master, harasses him with nit-picking and scolding for any reason, threatens to leave for Moscow to look for her son or parents. "AT
a short time Porfiry Vladimirych has gone wild.” He sits in his office all day long. “As much as he was captious and annoying before, he has now become timid and gloomy submissive.” Only in the office, “one on one with himself, did he feel like a complete master, having the opportunity to idly think to his heart's content. Just as both his brothers died of drunkenness, so he also suffered from the same disease. Only it was a binge of a different kind - a binge of idle thought ... From morning to evening he languished over
fantastic job: built all kinds of unrealizable assumptions, took into account himself, talked with imaginary interlocutors and created whole scenes in which the first person who accidentally came to mind was
actor... He was always petty and prone to slander ... he bothered, tormented, tyrannized ... now these properties were transferred to abstract, fantastic soil ... where he could freely entangle
the whole world network of slander, harassment and resentment. He loved to mentally torture, ruin, deprive, suck blood. Yudushka recalls his collisions and quarrels that happened in his youth, and imagines them in such a way that he would certainly emerge victorious. He mentally takes revenge on everyone he has ever met, takes revenge on the living, takes revenge on the dead. “Fantasizing in this way, he imperceptibly reached the point of intoxication ... His existence became so full ... that he had nothing left to desire. The whole world was at his feet... Porfiry Vladimirych was happy.” In this semi-delusion, Yudushka continues to calculate the losses inflicted on him by his mother, as if lending rye to a peasant at unimaginable interest rates, and then, armed with accounts, he counts, counts, counts ... CALCULATION It is December. Everything is covered in snow. Yudushka senselessly wanders around the study, goes to the window and suddenly sees: a wagon drives up to the estate, a young woman hurriedly jumps out of it. It was Anninka who returned. Only she has changed so much that it is almost impossible to recognize - “this is some kind of weak, frail creature with a hollow chest, sunken cheeks, with an unhealthy blush, with sluggish body movements, a stooped creature, almost hunched over.” Her sister Lyubinka poisoned herself a month ago, and she is seriously ill. Anninka asks her uncle's permission to live in Golovlev. He doesn't mind. Having left Golovlev the last time, Anninka went “straight to Moscow and began to work to get her and her sister accepted on the official stage ... But everywhere she was received in a strange way.” As soon as someone found out that they were both provincial actresses, they were immediately refused. In addition, real makings for success on
metropolitan scene sisters did not. I had to return to the province. Anninka goes to the city, where she lives on the payroll of the dishonest zemstvo leader Lyubinka, the sisters quarrel. The merchant Kukishev, an admirer of Anninka, having not achieved his goal, decides to “curb the obstinate upstart”. As a result, Anninka is deprived of roles, her last money is running out, and then her sister appears, persuading her to give in to a rich admirer. Anninka surrenders. The whole winter passes as if in a drunken stupor. The patrons of the sisters steal away, one of them shoots himself, Anninka and Lyubinka are arrested, having taken away all their property. After the trial, the impoverished, desperate sisters go hand in hand. Lyubinka suggests that her sister commit suicide and drinks poison. Frightened by death, Anninka remained alive. In Golovlev, Anninka tries not to remember the past, but it haunts her relentlessly.
scary life brought her to Golovlevo, but “this is death itself, vicious, hollow; it is death, always waiting for a new victim.” Accustomed to drunkenness by the merchant Kukishev, Anninka gets drunk every evening. Judas also joins her. Further, the author writes about successful and unsuccessful families. “... Along with successful families, there are a great many of those whose representatives home land, from the very cradle, apparently do not give anything but hopeless misfortune ... It was this kind of ill-fated fate that weighed heavily on the Golovlev family. For several generations, three characteristic features have passed through the history of this family: idleness, unsuitability for any business and hard drinking. The first two brought in their wake idle talk, idle thought and empty wombness, the last one was, as it were, the obligatory conclusion of a general trouble in life ... so that the Golovlev family would probably have completely begun to whine if Arina Petrovna had not flashed like a chance meteor in the midst of this drunken confusion. This woman, thanks to her personal energy, brought the level of well-being of the family to the highest point, but behind all that, her work was in vain, because she not only did not transfer her qualities to any of the children, but, on the contrary, she herself died, entangled with on all sides with idleness, idle talk and wastefulness." During joint drinking parties, Annina's conversation with Yudushka every time turns into a quarrel. The niece "with merciless importunity dug up Golovlev's archive and especially liked to tease Yudushka, proving that
the main role in all injuries, along with the deceased grandmother, belonged to him. This is repeated from day to day! Judas feels that “a misfortune is coming towards him, which will finally crush him. From everywhere, from all the corners of this hateful house, it seemed, "deaths" crawled out ... Here is papa ... here is brother Styopka the dumbass and next to him brother Pashka the quiet one; here is Lubinka. And here they are... Volodya and Petka... And that's it: it's intoxicated, prodigal, exhausted, bleeding...”. Judas suddenly had a conscience. But it’s too late ... “Here he grew old, went wild, with one foot) Stands in the grave, but there is no creature in the world that would approach him, ““ pity “ him.” Only one niece is alive, and she “appeared, to abuse him and finish him off." Yes, "the conscience woke up, but fruitlessly)". Judas wants to die, longs for death, but the end still does not come.
holy week Judas, thinking, suddenly understands: “But I’m guilty before the deceased mother ... in “I tortured her ... I!” He suddenly feels sorry for Anninka, and for the first time in his life he sincerely says to her: "You poor thing! My poor thing!" Judas" asks to forgive him. At night, he secretly goes to his mother's grave - "to say goodbye" ... The next day, the frozen corpse of Golovlev's gentleman was found by the road. They rushed to Anninka, but she lay in a fever, in an unconscious state. Then a rider was sent to the “sister” Nadezhda Ivanovna Galkina (daughter of aunt Varvara Mikhailovna), “who has been vigilantly following everything that happened in Golovlev since last autumn.” Analysis of the novel The Manor's Estate, "noble nests" and their inhabitants are the focus of attention of many writers of the 60s and 70s. This topic has been repeatedly developed in literature in the novels and stories of I. S. Turgenev and. A. Goncharov, L. N. Tolstoy, S. T. Aksakov, in the poems of A. A. Fet, etc. Shchedrin also could not get past the "estate" theme. The peasant and the gentleman were placed at the center of the writer's attention by life itself. But a student of Chernyshevsky, a friend and colleague of Nekrasov, he approaches this topic in a completely different way than Turgenev, Goncharov, Aksakov and Tolstoy. An enemy of the nobility, he looks at the estate through the eyes of "a man who eats quinoa" - through the eyes of a hungry and ruined peasant. Brought up in the "noble nest", he retained his hatred for the rest of his life.
father's house. Idleness, unsuitability for any business, idle talk and idle thought - that's
typical features characterizing, according to Shchedrin, the life of the nobility. The theme of the novel "Lord Golovlyovs" is the life of a Ryan family in the conditions of pre-reform and post-reform Russia. Decay image "
noble nest”is given by Shchedrin from the standpoint of a peasant democrat. The novel shows that nothing can prevent and stop this decay. This idea runs throughout the novel. Decay theme
noble family, her moral and physical decay determined the plot and composition of the novel, showing the history of the worthless existence and ridiculous death of members of the Golovlev family. Stepan dies in the first chapter, Pavel dies in the second, Vladimir Golovlevs in the third, Arina Petrovna and Peter in the fourth; the latter tells about the death of Lyubinka, Porfiry Golovlev dies and the last of the Golovlev family, Anninka, dies. In their fate, the idea of the novel is revealed: parasitic classes, and first of all the nobility, - "this is death itself, vicious, hollow... All ... poisons, all ulcers - everything comes from here." On rotten soil, poisoned by predation and idleness, a healthy, full-fledged personality cannot be formed, socially
useful person. With the ruling classes, the people will make a severe, just and merciless "calculation".
In the work of Saltykov-Shchedrin always big role played the theme of serfdom, the oppression of the peasantry. Since the writer could not openly express his protest against the existing system, almost all of his works are filled with fabulous motifs and allegories. was no exception and satirical tale"Wild landowner", the analysis of which will help to better prepare for the lesson of literature for students in grade 9. Detailed analysis fairy tales will help highlight the main idea of the work, the features of the composition, and will also allow you to better understand what the author teaches in his work.
Brief analysis
Year of writing– 1869
History of creation- Not being able to openly ridicule the vices of autocracy, Saltykov-Shchedrin resorted to allegorical literary form- a fairy tale.
Topic– In the work of Saltykov-Shchedrin “The Wild Landowner”, the theme of the situation of serfs in the conditions of tsarist Russia, the absurdity of the existence of a class of landowners who are unable and unwilling to work independently.
Composition- The plot of the tale is based on a grotesque situation, behind which are hidden real relations between the classes of landowners and serfs. Despite the small size of the work, the composition was created according to the standard plan: the plot, the climax and the denouement.
Genre- A satirical tale.
Direction- Epos.
History of creation
Mikhail Evgrafovich was always extremely sensitive to the plight of the peasants, who were forced to be in lifelong bondage to the landowners. Many of the writer's works, in which this topic was openly touched upon, were criticized and were not allowed to be printed by censors.
However, Saltykov-Shchedrin nevertheless found a way out of this situation, turning his attention to the outwardly quite harmless genre of fairy tales. Thanks to a skillful combination of fantasy and reality, the use of traditional folklore elements, metaphors, and bright aphoristic language, the writer managed to disguise the evil and sharp ridicule of landowner vices under the guise of an ordinary fairy tale.
In an atmosphere of government reaction, only thanks to fairy tale fiction could express their views on the existing state system. Usage satirical devices in a folk tale allowed the writer to significantly expand the circle of his readers, to reach out to the masses.
The fairy tale "The Wild Landowner" was first published in 1869 in the popular literary magazine Otechestvennye Zapiski. At that time he headed the magazine close friend and the writer's associate, Nikolai Nekrasov, and Saltykov-Shchedrin had no problems with the publication of the work.
Topic
Main theme fairy tale "The Wild Landowner" is social inequality, a huge gulf between the two classes that existed in Russia: landowners and serfs. Enslavement common people, complicated relationship between the exploiters and the exploited - main issue
of this work.
In a fabulously allegorical form, Saltykov-Shchedrin wanted to convey to readers a simple idea- it is the peasant who is the salt of the earth, and without him the landowner is only empty space. Few of the landowners think about this, and therefore the attitude towards the peasant is contemptuous, demanding and often frankly cruel. But it is only thanks to the peasant that the landlord gets the opportunity to enjoy all the benefits that he has in abundance.
In his work, Mikhail Evgrafovich concludes that it is the people who are the drinkers and breadwinners not only of their landlord, but of the entire state. The true bulwark of the state is not the class of helpless and lazy landowners, but the exceptionally simple Russian people.
It is this thought that haunts the writer: he sincerely complains that the peasants are too patient, dark and downtrodden, and do not fully realize all their strength. He criticizes the irresponsibility and patience of the Russian people, who do nothing to improve their situation.
Composition
Fairy tale "Wild landowner" - small work, which in the "Notes of the Fatherland" took only a few pages. In her in question about a stupid master who endlessly pestered the peasants working for him because of the “slave smell”.
In the eyeballs works main character turned to God with a request to get rid of this dark and hated environment forever. When the landowner's prayers for deliverance from the peasants were heard, he was left completely alone in his large estate.
climax fairy tales fully reveal the helplessness of the master without the peasants, who in his life were the source of all blessings. When they disappeared, the once polished gentleman quickly turned into a wild animal: he stopped washing, taking care of himself, and eating normal human food. The life of the landowner turned into a boring, unremarkable existence, in which there was no place for joy and pleasure. This was the meaning of the name of the tale - the unwillingness to give up one's own principles inevitably leads to "savagery" - civil, intellectual, political.
In the denouement works, the landowner, completely impoverished and run wild, completely loses his mind.
main characters
Genre
From the first lines of The Wild Landowner, it becomes clear that this fairy tale genre. But not good-naturedly instructive, but caustically satirical, in which the author harshly ridiculed the main vices of the social system in tsarist Russia.
In his work, Saltykov-Shchedrin managed to preserve the spirit and general style nationalities. He skillfully used such popular folklore elements as a fabulous beginning, fantasy, hyperbole. However, he was able to tell contemporary issues in society, describe events in Russia.
Thanks to the fantastic fabulous tricks, the writer was able to reveal all the vices of society. The work in its direction is an epic, in which the real relations in society are shown grotesquely.
