Presentation on the topic "M.E. Saltykov-Shchedrin

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History of creation

The first three tales (“The Tale of How One Man Feeded Two Generals”, “The Conscience Lost” and “The Wild Landowner”) were written by M.E. Saltykov-Shchedrin back in 1886.

By 1886 their number had increased to thirty-two. Some plans (at least six fairy tales) remained unrealized.

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Genre originality

In terms of genre, the fairy tales of M.E. Saltykov-Shchedrin are similar to the Russian folk tale. They are allegorical, animal heroes act in them, traditional fairy-tale techniques are used: beginnings, proverbs and sayings, constant epithets, triple repetitions. At the same time, Saltykov-Shchedrin significantly expands the circle of fairy-tale characters, and also “individualizes them.

In addition, morality plays an important role in the tale of M.E. Saltykov-Shchedrin - in this it is close to the fable genre.

The story of how one man fed two generals

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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”).

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Main topics

The tales of M.E. Saltykov-Shchedrin are united not only by the genre, but also by common themes.

• The theme of power ("The Wild Landowner", "The Bear in the Voivodeship", "The Eagle-Patron", etc.)
• The theme of the intelligentsia ("The wise scribbler", "The selfless hare", etc.)
• The theme of the people ("The Tale of How One Man Feeded Two Generals", "The Fool", etc.)
• The theme of universal human vices ("Christ's night")

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Issues

The tales of M.E. Saltykov-Shchedrin reflect the “special pathological state” in which Russian society was in the 80s of the XIX century. However, they touch upon 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 ones (good and evil, freedom and duty, truth and falsehood, cowardice and heroism).

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Artistic Features

The most important artistic features of M.E. Saltykov-Shchedrin's fairy tales 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.

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Irony

• 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”: “He thinks what kind of cows he will breed, that no skin or meat, but all one milk, all milk!”)
• Grotesque - comic, based on sharp contrasts and exaggerations (for example, in the fairy tale “The Tale of How One Man Feeded Two Generals”: ​​“The man was so clever 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, crucian carp - a pike)

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A feature of the fairy tales of M.E. Saltykov-Shchedrin

In the 19th century, many writers turned to the literary fairy tale genre: L.N. Tolstoy, V.M. Prishvin, V.G. Korolenko, D.N. Mamin-Sibiryak. The main feature of the tales of M.E. Saltykov-Shchedrin is that they use the folklore genre 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 (primarily 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, as well as other artistic devices 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.

PLAN I. INTRODUCTION. M.E. Saltykov-Shchedrin - "the bold ruler of satires." (A. S. Pushkin) II. MAIN PART. “Every thing must be called by its real name, and if it is dangerous in real life, then it must be done at least in a fairy tale” (G.Kh. Andersen). (The fairy tale genre in the work of Saltykov-Shchedrin.) 1. The problem of fairy tales by M.E. Saltykov-Shchedrin. 2. The ideological content of "fairy tales for children of a fair age." 3. Artistic originality of M.E. Saltykov-Shchedrin. III. CONCLUSION. "He devoted all the strength of his mind and heart to restoring in the souls of his relatives the idea of ​​​​light and truth and to maintain in their hearts the belief that the light will come and the darkness will not embrace him (Saltykov-Shchedrin M. E. "The Adventure with Kramolnikov ".)

The researcher of the work of M.E. Saltykov-Shchedrin D. Nikolaev in his monograph "M.E. Saltykov-Shchedrin. Life and Work" (1985) defined the place of the writer in Russian and world literature as follows: "The past centuries have given the world many outstanding writers - Swift, Dickens and Thackeray lived and worked in England, the triumphant laughter of Rabelais, Molière and Voltaire sounded in France, Heine shone with caustic wit in Germany, Kantemir, Fonvizin, Novikov, Kapnist - this is not a complete list of Russian writers of the 18th century, entirely devoted themselves to satire. It was to this phalanx of great scoffers that, along with Griboedov and Gogol, Saltykov-Shchedrin belonged. (Nikolaev D. M. E. Saltykova-Shchedrin. Life and work. Monograph. - M., 1985, p. 11.)

"Tales" is one of the brightest creations and the most widely read of the books of the great Russian satirist. Saltykov-Shchedrin continued the satirical traditions of Fonvizin, Griboyedov, and Gogol. Shchedrin's gubernatorial activity allowed him to see more deeply the "vices of Russian reality" and made him think about the fate of Russia. He created a kind of satirical encyclopedia of Russian life. The tales summed up the 40-year work of the writer and were created over four years: from 1882 to 1886.

A number of reasons prompted Saltykov-Shchedrin to turn to fairy tales. The difficult political situation in Russia: moral terror, the defeat of populism, the police persecution of the intelligentsia did not make it possible to identify all the social contradictions of society and directly criticize the existing order. On the other hand, the fairy tale genre was close to the nature of the satirist writer. Fantasy, hyperbole, irony, common to fairy tales, are very characteristic of Shchedrin's poetics. In addition, the fairy tale genre is very democratic, accessible and understandable to a wide range of readers, the people. The fairy tale is characterized by didacticism, and this directly corresponded to the journalistic pathos, the civic aspirations of the satirist.

Fairy tales of Saltykov-Shchedrin Tales of the Russian people General features Beginning fairy tale plot folklore expressions folk lexicon fairy tale characters ending Distinctive features satire sarcasm mixing of categories of good and evil there is no positive hero likening a person to an animal humor hyperbole the victory of good over evil positive hero humanization of animals

Four main themes can be distinguished in the complex content of Saltykov-Shchedrin's fairy tales: satire on the government, denunciation of the behavior and psychology of the philistine-minded intelligentsia, depiction of the masses, exposure of the morality of predatory owners, propaganda of a new morality.

The writer essentially created a new genre of political fairy tale. The life of Russian society in the second half of the 19th century was captured 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.

In The Wise Gudgeon, Shchedrin paints an image of the intelligentsia that succumbed to panic, withdrew from active struggle into the world of personal concerns and interests. The philistine minnow, fearing for his life, walled himself up in a dark hole. "Outdone" everyone! And the result of his life can be expressed in the words: "He lived trembled, he died trembled." Shchedrin's wise gudgeon, the hero of the fairy tale of the same name, became the personification of the wingless and vulgar philistine. The meaning of life for this "enlightened, moderately liberal" coward was self-preservation, avoiding clashes,

So, in the Tale of how one man fed two generals, the writer shows the complete helplessness of two generals who found themselves on a desert island. Despite the fact that there was an abundance of game, fish, fruits around, they almost died of hunger, if not for the skill and resourcefulness of the peasant. In this tale, Saltykov-Shchedrin expresses the idea that Russia rests on the labor of a peasant who, despite his natural intelligence and ingenuity, dutifully submits to helpless masters.

The same idea is developed in the fairy tale The Wild Landowner. But if the generals from the previous tale ended up on a desert island by the will of fate, then the landowner from this story all the time dreamed of getting rid of unbearable peasants, from whom there is a bad, servile smell. Therefore, the pillar nobleman Urus-Kuchum-Kildibaev oppresses the peasants in every possible way. And now the male world has disappeared. And what? After a while, he was all overgrown with hair ... and his claws became iron. The landowner has run wild, because without a peasant he is not even able to serve himself.

In the fairy tale "The Wild Landowner" Shchedrin, as it were, summarized his thoughts on the reform of the "liberation" of the peasants, contained in all his works of the 60s. Here he poses an unusually acute problem of the post-reform relations between the feudal nobility and the peasantry completely ruined by the reform.

The deep faith of Saltykov-Shchedrin in the hidden forces of the people is visible in the fairy tale Konyag. A tortured peasant nag impresses with its endurance and vitality. Her whole existence lies in endless hard work, and in the meantime, well-fed idle dancers in a warm stall are surprised at her endurance, talk a lot about her wisdom, diligence, sanity. Most likely, in this fairy tale of Saltykov-Shchedrin, the intelligentsia is meant by empty dances, which poured from empty to empty arguments about the Russian peasant, about the fate of the Russian people. It is obvious that the peasant-worker is reflected in the image of Konyaga.

In Shchedrin's fairy tales, as in all of his work, two social forces confront each other: the working people and their exploiters. The people appear under the masks of kind and defenseless animals and birds (and often without a mask, under the name "man"), the exploiters - in the images of predators. The fairy tale "Konyaga" is Shchedrin's outstanding work about the plight of the Russian peasantry in Tsarist Russia. Saltykov-Shchedrin's never subsided pain for the Russian peasant, all the bitterness of his thoughts about the fate of his people, his native country, were concentrated in the narrow boundaries of the fairy tale.

In almost all fairy tales, the image of the peasant people is depicted by Shchedrin with love, breathes indestructible power, nobility. The man is honest, straightforward, kind, unusually quick-witted and smart. He can do everything: get food, sew clothes; he conquers the elemental forces of nature, jokingly swims across the "ocean-sea". And the muzhik treats his enslavers with derision, without losing his self-esteem.

The images of fairy tales by Saltykov-Shchedrin came into use, became common nouns and live for centuries. Getting to know them, each new generation learns not only the history of their country, but learns to recognize and hate those vices of mankind that Saltykov-Shchedrin so maliciously and mercilessly ridicules.

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

In the fairy tale genre, the ideological and artistic features of Shchedrin's satire were most clearly manifested: its political sharpness and purposefulness, the realism of its fantasy, the ruthlessness and depth of the grotesque, the sly sparkling humor. 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.

Satirical techniques used in fairy tales by the writer: a) Different ways of laughter: irony - ridicule 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. c) "Aesopian language" - artistic speech based on forced allegory. d) Hyperbole - excessive exaggeration.

Features of the images of a fairy tale: Images-symbols; The peculiarity of animals; 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.

Fairy tales by M. E. Saltykov-Shchedrin Problems Artistic features autocracy and the oppressed people ("The Bear in the Voivodeship", "The Eagle-Patron"); relations between a man and a master ("Wild Landowner", "The Tale of How One Man Feeded Two Generals"); the state of the people ("Konyaga", "Kissel"); meanness of the bourgeoisie ("Liberal", "Karas-idealist"); cowardice of the inhabitant ("The wise scribbler"); truth-seeking ("Fool", "Christ's night") folklore motifs (fairytale plot, folk vocabulary); grotesque (interlacing fantasy and reality)" "Aesopian language" (allegory and metaphor); social satire (sarcasm and real fantasy); denunciation through denial (showing wildness and lack of spirituality); hyperbolization

The tales of Saltykov-Shchedrin had a great influence on the further development of Russian literature and especially the genre of satire. The images of fairy tales came into use, became common nouns and live for many decades, and the universal types of objects of satire by Saltykov-Shchedrin are still found in our lives today, you just need to take a closer look at the surrounding reality and think ...

Saltykov-Shchedrin has a fairy tale-elegy "The Adventure with Kramolnikov". In it, the author tells about himself, about his writing activity, about his sorrows and joys, and at the same time about the torments of the Russian forced writer. "Kramolnikov was a native Poshekhon writer. He deeply loved his country. He devoted all the strength of his mind and heart to restoring the idea of ​​light and truth in the souls of his relatives and maintaining in their hearts the belief that light would come and darkness would not embrace him This, in fact, was the task of all his activities.

LITERATURE. 1. Nikolaev D. M. E. Saltykova-Shchedrin. Life and creation. Monograph. - M., Saltykov-Shchedrin M.E. Fairy tales. - M., (Lib.Ru: Library of Maxim Moshkov) Lib.Ru

M.E. Saltykov-Shchedrin. Fairy tales.

Performed:

literature teacher

MBOU secondary school №8

Borodina V.V.

M. E. Saltykov-Shchedrin (1826 - 1889)

Literary pseudonym - Nikolai Shchedrin.

A graduate of the Tsarskoye Selo Lyceum, a major government official.

In his works he punished evil, cruelty, betrayal, stupidity.

History of creation

The first three tales (“The Tale of How One Man Feeded Two Generals”, “The Conscience Lost” and “The Wild Landowner”) were written by M.E. Saltykov-Shchedrin back in 1882.

By 1886 their number had increased to thirty-two.

Main topics

The tales of M.E. Saltykov-Shchedrin are united not only by the genre, but also by common themes.

• The theme of power ("The Wild Landowner", "The Bear in the Voivodeship", "The Eagle-Patron")
• The theme of the intelligentsia ("The wise scribbler", "The selfless hare")
• The theme of the people ("The Tale of How One Man Feeded Two Generals", "Fool")
• The theme of universal human vices ("Christ's night")

Genre originality

In terms of genre, fairy tales are similar to Russian folk tale. Animal heroes act in them, traditional fairy-tale techniques are used: beginnings, proverbs and sayings, constant epithets, triple repetitions. At the same time, Saltykov-Shchedrin significantly expands the circle of fairy-tale characters, and also “individualizes them.

An important role in the fairy tale by M.E. Saltykov-Shchedrin is played by morality - in this it is close to the genre fables.

Tale of Saltykov-Shchedrin – fusion of folk tale and fable

• Fairy-tale beginning
• Set expressions
• fantastic events

• animal images
• Aesopian language (language of allegories, allusions)

Aesop - the legendary poet, the creator of the fable. The literary tradition dates his life to the 6th century. According to legend, he was a slave from Phrygia (in Asia Minor), was subsequently set free and lived for some time at the court of the Lydian king Croesus.

Aesopian language (named after the fabulist Aesop), cryptography in literature, allegory, deliberately masking the thought (idea) of the author. He resorts to the system of "fraudulent means", fable "characters" (fairy tales by M.E. Saltykov-Shchedrin).

Combination of real and fantastic

Real

fantastic

The newspaper "Moskovskie Vedomosti", the city of St. Petersburg, Tula Moscow, Penza, Ryazan, street names - Podyacheskaya street, registry office, Fontanka River, Neva, pension.

An uninhabited island with exotic nature, the way the generals got to the island, returning home, the presence of a man, newspapers on the island.

Use of certain satirical devices

Allegory

allegorical image of an object or phenomenon in order to clearly show its essential features

Hyperbola

deliberate exaggeration of the properties of the depicted object

Irony

negative assessment of an object or phenomenon through ridicule. The comic effect is achieved by the fact that the true meaning of the event is masked

Sarcasm

caustic sarcastic mockery, with a frankly accusatory, satirical meaning

One of the most striking satirical techniques - grotesque.

Grotesque - the ultimate exaggeration based on fiction, on a bizarre combination of real and fantastic

Meaning satire M.E. Saltykov-Shchedrin

In a small work, the lyrical, epic and satirical are combined, and the problem of the fate of the Russian people is expressed to the utmost.

"The Tale of How a Man Feeded Two Generals"