The work of Saltykov-Shchedrin can rightfully be called the highest achievement of social satire of the 1860s-1880s. The closest predecessor of Shchedrin, not without reason, is considered to be N.V. Gogol, who created the satirical philosophical picture modern world. However, Saltykov-Shchedrin sets himself a fundamentally different creative task: expose and destroy as a phenomenon. V. G. Belinsky, speaking about Gogol's work, defined his humor as "calm in its indignation, good-natured in its cunning", comparing it with other "formidable and open, bilious, poisonous, merciless". This second characteristic deeply reveals the essence of Shchedrin's satire. He removed Gogol's lyricism from satire, made it more explicit and grotesque. But this work did not become simpler and more monotonous. On the contrary, they fully manifested the all-encompassing "bungling" of the Russian Society XIX V.
"Fairy tales for children fair age» created in last years life of the writer (1883-1886) and appear before us as a result of the work of Saltykov-Shchedrin in literature. And by the richness of artistic techniques, and by the ideological significance, and by the variety of recreated social types this book can be fully considered an artistic synthesis of the entire work of the writer. The form of the fairy tale gave Shchedrin the opportunity to speak openly on the problems that troubled him. Turning to folklore, the writer sought to preserve its genre and artistic features, with their help to draw the reader's attention to the main problem of their work. Tales of Saltykov-Shchedrin genre nature represent a kind of fusion of two different genres of folklore and author's literature: fairy tales and fables. When writing fairy tales, the author used the grotesque, hyperbole, and antithesis.
Grotesque and hyperbole are the main artistic techniques, with the help of which the author creates a fairy tale "The Tale of How One Man Feeded Two Generals." The main characters are a peasant and two idler generals. Two completely helpless generals miraculously ended up on a desert island, and they got there straight out of bed in nightgowns and with orders around their necks. The generals almost eat each other, because they cannot not only catch fish or game, but also pluck the fruit from the tree. In order not to starve, they decide to look for a man. And he was immediately found: sitting under a tree and shirking from work. The "huge man" turns out to be a master of all trades. He got apples from the tree, and dug out potatoes from the ground, and prepared a snare for the hazel grouse from his own hair, and got the fire, and prepared provisions. And what? He gave ten apples to the generals, and took one for himself - sour. He even twisted a rope so that his generals would be tied to a tree with it. Moreover, he was ready "to please the generals for the fact that they favored him, a parasite, and did not disdain his peasant labor."
The peasant and swan fluff scored to deliver his generals in comfort. No matter how much they scold the peasant for parasitism, and the peasant "rows and rows, and feeds the generals with herrings."
Hyperbole and grotesque appear throughout the story. Both the dexterity of the peasant and the ignorance of the generals are extremely exaggerated. A skillful man cooks soup in a handful. Stupid generals don't know that they bake flour rolls. The hungry general swallows the order of his friend. It is also an unconditional hyperbole that the peasant built the ship and took the generals directly to Bolshaya Podyacheskaya.
The extreme exaggeration of individual situations allowed the writer to turn funny story about stupid and worthless generals in a furious denunciation of the existing order in Russia, which contribute to their emergence and carefree existence. In Shchedrin's fairy tales there are no random details and superfluous words, and the characters are revealed in actions and words. The writer draws attention to the funny side of the depicted. Suffice it to recall that the generals were in nightgowns, and around their necks hung an order.
The originality of Shchedrin's fairy tales also lies in the fact that in them the real is intertwined with the fantastic, thereby creating comic effect. On a fabulous island, the generals find the well-known reactionary newspaper Moskovskie Vedomosti. From an extraordinary island not far from St. Petersburg, to Bolshaya Podyacheskaya.
These stories are great artistic monument past era. Many images have become common nouns, denoting social phenomena Russian and world reality.
- The satire of M. E. Saltykov-Shchedrin is truthful and fair, although often poisonous and evil. His fairy tales are both a satire on the autocratic rulers, and an image of the tragic situation of the oppressed people, their hard labor, and ridicule of the masters and landowners. Tales of Saltykov-Shchedrin are special form satire. Depicting reality, the author takes only the most striking features, episodes, exaggerates as much as possible when depicting them, showing events as if under a magnifying glass. In the fairy tale "The Tale of How […]
- M. E. Saltykov-Shchedrin is a Russian satirist who created many wonderful works. His satire is always fair and truthful, he hits right on target, revealing the problems of contemporary society. The author reached the heights of expressiveness in his fairy tales. In these small works, Saltykov-Shchedrin denounces the abuses of the bureaucracy, the injustice of the order. He was upset that in Russia, first of all, they care about the nobles, and not about the people, for whom he himself was imbued with respect. All this he shows in […]
- The work of M. E. Saltykov-Shchedrin occupies a special place in Russian literature XIX V. All his works are imbued with love for the people, the desire to make life better. However, his satire is often caustic and evil, but always truthful and fair. M. E. Saltykov-Shchedrin in his fairy tales depicts many types of gentlemen. These are officials, and merchants, and nobles, and generals. In the fairy tale “The Tale of How One Man Feeded Two Generals,” the author shows two generals as helpless, stupid and arrogant. “Served […]
- For the second half of XIX century, the work of M.E. Saltykov-Shchedrin was extremely important. The fact is that in that era there were no such harsh and harsh champions of truth who condemned social vices as Saltykov. The writer chose this path quite consciously, since he was deeply convinced that there should be an artist who acts as a pointing finger for society. It is noteworthy that he began his career as a "whistleblower" as a poet. But this did not bring him either wide popularity and fame, or […]
- Somewhere I read and remembered the idea that when art comes to the fore political content works, when they pay attention primarily to ideological content, compliance with a certain ideology, forgetting about artistry, art and literature begin to degenerate. Chernyshevsky, the works of Mayakovsky, and absolutely none of the young knows the "ideological" novels of the 20-30s, say, "Cement", "Sot" and others. I think it's an exaggeration [...]
- The talented Russian satirist of the 19th century M. E. Saltykov-Shchedrin devoted his life to writing works in which he denounced autocracy and serfdom in Russia. He, like no one else, knew the structure of the "state machine", studied the psychology of the chiefs of all ranks, the Russian bureaucracy. In order to show the vices of public administration in their entirety and depth, the writer used the grotesque technique, which he considered the most effective tool display of reality. The grotesque image always comes out […]
- The “History of a City” by M.E. Saltykov-Shchedrin was written in the form of a chronicler-archivist’s story about the past of the city of Glupov, but the writer was not interested in historical theme he wrote about real Russia, about what worried him as an artist and a citizen of his country. Having stylized the events of a hundred years ago, giving them features epoch XVIII century, Saltykov-Shchedrin acts in different capacities: first, he narrates on behalf of the archivists, the compilers of the Foolovsky Chronicler, then from the […]
- It would be unfair to limit the entire range of problems in Saltykov-Shchedrin's fairy tales to a description of the confrontation between peasants and landlords and the inactivity of the intelligentsia. Being on public service, the author had the opportunity to get to know the so-called masters of life, whose images found their place in his fairy tales. Examples of such are "Poor Wolf", "The Tale of the Toothy Pike", etc. There are two sides to them - those who are oppressed and oppressed, and those who are oppressed and oppressed. We are accustomed to certain […]
- The History of a City is the greatest satirical canvas-novel. This is a merciless denunciation of the entire control system tsarist Russia. The History of a City, completed in 1870, shows that the people in the post-reform period remained as disenfranchised as the officials were petty tyrants of the 1970s. differed from the pre-reform ones only in that they robbed in more modern, capitalist ways. The city of Foolov is the personification of autocratic Russia, the Russian people. Its rulers embody specific traits […]
- The "History of a City" denounces the imperfection of social and political life Russia. Unfortunately, Russia has rarely been lucky in good rulers. You can prove this by opening any history textbook. Saltykov-Shchedrin, sincerely worried about the fate of his homeland, could not stay away from this problem. A peculiar solution was the work "The History of a City". The central issue in this book is the power and political imperfection of the country, more precisely one city of Foolov. Everything - and the history of […]
- "The History of a City" can rightfully be considered the pinnacle of Saltykov-Shchedrin's work. It was this work that brought him the fame of a satirist writer, on for a long time, strengthening it. I believe that the "History of a City" is one of the most unusual books dedicated to history Russian state. The originality of the "History of a City" - in an amazing combination of real and fantastic. The book was created as a parody of Karamzin's History of the Russian State. Historians often wrote history "according to the kings", which […]
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The work of Saltykov-Shchedrin can rightly be called the highest achievement of social satire of the 1860s-1880s. The closest predecessor of Shchedrin, not without reason, is considered to be N.V. Gogol, who created a satirical and philosophical picture of the modern world. However, Saltykov-Shchedrin sets himself a fundamentally different creative task: to expose and destroy as a phenomenon. V. G. Belinsky, speaking about Gogol's work, defined his humor as "calm in its indignation, good-natured in its cunning", comparing it with other "formidable and open, bilious, poisonous, merciless". This second characteristic deeply reveals the essence of Shchedrin's satire. He removed Gogol's lyricism from satire, made it more explicit and grotesque. But this work did not become simpler and more monotonous. On the contrary, they fully manifested the all-encompassing "bungling" of Russian society in the 19th century.
Tales for Children of a Fair Age were created in the last years of the writer's life (1883-1886) and appear before us as a kind of result of Saltykov-Shchedrin's work in literature. And in terms of the richness of artistic techniques, and in terms of ideological significance, and in terms of the variety of social types recreated, this book can be fully considered an artistic synthesis of the entire work of the writer. The form of a fairy tale gave Shchedrin the opportunity to speak openly on the problems that troubled him. Turning to folklore, the writer sought to preserve its genre and artistic features, using them to draw the reader's attention to the main problem of his work. The tales of Saltykov-Shchedrin by their genre nature are a kind of fusion of two different genres of folklore and author's literature: fairy tales and fables. When writing fairy tales, the author used the grotesque, hyperbole, and antithesis.
Grotesque and hyperbole are the main artistic techniques with which the author creates the fairy tale "The Tale of How One Man Feeded Two Generals." The main characters are a peasant and two idler generals. Two completely helpless generals miraculously ended up on a desert island, and they got there straight out of bed in nightgowns and with orders around their necks. The generals almost eat each other, because they cannot not only catch fish or game, but also pluck the fruit from the tree. In order not to starve, they decide to look for a man. And he was immediately found: sitting under a tree and shirking from work. The "huge man" turns out to be a master of all trades. He got apples from the tree, and dug out potatoes from the ground, and prepared a snare for the hazel grouse from his own hair, and got the fire, and prepared provisions. And what? He gave ten apples to the generals, and took one for himself - sour. He even twisted a rope so that his generals would be tied to a tree with it. Moreover, he was ready "to please the generals for the fact that they favored him, a parasite, and did not disdain his peasant labor."
The peasant and swan fluff scored to deliver his generals in comfort. No matter how much they scold the peasant for parasitism, and the peasant "rows and rows, and feeds the generals with herrings."
Hyperbole and grotesque appear throughout the story. Both the dexterity of the peasant and the ignorance of the generals are extremely exaggerated. A skillful man cooks soup in a handful. Stupid generals do not know that they bake flour rolls. The hungry general swallows the order of his friend. It is also an unconditional hyperbole that the peasant built the ship and took the generals directly to Bolshaya Podyacheskaya.
The extreme exaggeration of individual situations allowed the writer to turn a funny story about stupid and worthless generals into a furious denunciation of the existing order in Russia, which contribute to their emergence and carefree existence. In Shchedrin's fairy tales there are no random details and superfluous words, and the characters are revealed in actions and words. The writer draws attention to the funny side of the depicted. Suffice it to recall that the generals were in nightgowns, and around their necks hung an order.
The originality of Shchedrin's fairy tales also lies in the fact that in them the real is intertwined with the fantastic, thereby creating a comic effect. On a fabulous island, the generals find the well-known reactionary newspaper Moskovskie Vedomosti. From an extraordinary island not far from St. Petersburg, to Bolshaya Podyacheskaya.
These fairy tales are a magnificent artistic monument of a bygone era. Many images have become common nouns, denoting the social phenomena of Russian and world reality.
The work of Saltykov Shchedrin can rightly be called the highest achievement of social satire of the 1860s-1880s. N. V. Gogol, who created a satirical and philosophical picture of the modern world, is not without reason considered to be the closest predecessor of Shchedrin. However, Saltykov Shchedrin sets himself a fundamentally different creative task: to expose and destroy as a phenomenon. V. G. Belinsky, speaking about Gogol’s work, defined his humor as “calm in its indignation, good-natured in its cunning”, comparing it with other “formidable and open, bilious, poisonous, merciless”. This second characteristic deeply reveals the essence of Shchedrin's satire. He removed Gogol's lyricism from satire, made it more explicit and grotesque. But this work did not become simpler and more monotonous. On the contrary, they fully manifested the all-encompassing “bungling” of Russian society in the 19th century.
“Tales for Children of a Fair Age” were created in the last years of the writer’s life (1883-1886) and appear before us as a kind of result of Saltykov Shchedrin’s work in literature. And in terms of the richness of artistic techniques, and in terms of ideological significance, and in terms of the variety of social types recreated, this book can be fully considered an artistic synthesis of the entire work of the writer. The form of a fairy tale gave Shchedrin the opportunity to speak openly on the problems that troubled him. Turning to folklore, the writer sought to preserve its genre and artistic features, using them to draw the reader's attention to the main problem of his work. The tales of Saltykov Shchedrin by their genre nature are a kind of fusion of two different genres of folklore and author's literature: fairy tales and fables. When writing fairy tales, the author used the grotesque, hyperbole, and antithesis.
Grotesque and hyperbole are the main artistic techniques with which the author creates a fairy tale “The Tale of How One Man Feeded Two Generals”. The main characters are a peasant and two idler generals. Two completely helpless generals miraculously ended up on a desert island, and they got there straight out of bed in nightgowns and with orders around their necks. The generals almost eat each other, because they cannot not only catch fish or game, but also pluck the fruit from the tree. In order not to starve, they decide to look for a man. And he was immediately found: sitting under a tree and shirking from work. The “huge man” turns out to be a master of all trades. He got apples from the tree, and dug out potatoes from the ground, and prepared a snare for the hazel grouse from his own hair, and got the fire, and prepared provisions. And what? He gave ten apples to the generals, and took one for himself - sour. He even twisted a rope so that his generals would be tied to a tree with it. Moreover, he was ready to “please the generals for the fact that they favored him, a parasite, and did not disdain his peasant labor.”
The peasant and swan fluff scored to deliver his generals in comfort. No matter how much they scold the peasant for parasitism, but the peasant "rows and rows and feeds the generals with herrings."
Hyperbole and grotesque appear throughout the story. Both the dexterity of the peasant and the ignorance of the generals are extremely exaggerated. A skillful man cooks soup in a handful. Stupid generals don't know that they bake flour rolls. The hungry general swallows the order of his friend. It is also an unconditional hyperbole that the peasant built the ship and took the generals directly to Bolshaya Podyacheskaya.
The extreme exaggeration of individual situations allowed the writer to turn a funny story about stupid and worthless generals into a furious denunciation of the existing order in Russia, which contribute to their emergence and carefree existence. In Shchedrin's fairy tales there are no random details and superfluous words, and the characters are revealed in actions and words. The writer draws attention to the funny side of the depicted. Suffice it to recall that the generals were in nightgowns, and around their necks hung an order.
The originality of Shchedrin's fairy tales also lies in the fact that in them the real is intertwined with the fantastic, thereby creating a comic effect. On a fabulous island, the generals find the well-known reactionary newspaper Moskovskie Vedomosti. From an extraordinary island not far from St. Petersburg, to Bolshaya Podyacheskaya.
These fairy tales are a magnificent artistic monument of a bygone era. Many images have become common nouns, denoting the social phenomena of Russian and world reality.
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You read at once: Hyperbole and grotesque in the fairy tale by M. E. Saltykov Shchedrin “The Tale of How One Man Feeded Two Generals”
Plan
Introduction
In the writer's fairy tales, the vices of contemporary society are ridiculed.
Main part
The satirical form has become an opportunity for the writer to speak freely about pressing issues.
Satirical devices used in The Tale of How One Man Feeded Two Generals.
Satirical techniques express the attitude of the author to the depicted.
Conclusion
Using various satirical devices, the author ridicules the inability of the generals to live and the stupid fulfillment by the peasant of their whims.
In the final period of his work, M.E. Saltykov-Shchedrin refers to the allegorical form of a fairy tale, where, describing everyday situations in "Aesopian language", he ridicules vices modern writer society.
The satirical form became for M.E. Saltykov-Shchedrin the opportunity to speak freely about the pressing problems of society. In the fairy tale "The Tale of How One Man Feeded Two Generals" various satirical devices are used: grotesque, irony, fantasy, allegory, sarcasm - to characterize the characters portrayed and describe the situation in which the main characters of the fairy tale found themselves: two generals. It is grotesque that the generals themselves landed on a desert island "according to pike command at my will." Fantastic is the assurance of the writer that “the generals served all their lives in some kind of registry, they were born there, brought up and grew old, therefore, they did not understand anything.” satirically portrayed by the writer and appearance heroes: "they are in nightgowns, and they have an order hanging around their necks." Saltykov-Shchedrin ridicules the elementary inability of the generals to find food for themselves: both thought that "rolls will be born in the same form as they are served with coffee in the morning." Depicting the behavior of the characters, the writer uses sarcasm: “they began to slowly crawl towards each other and in the blink of an eye they went berserk. Shreds flew, there was a screech and groan; the general, who was a calligraphy teacher, bit off an order from his comrade and immediately swallowed it. The heroes began to lose their human form, turning into hungry animals, and only the sight of real blood sobered them.
Satirical devices not only characterize artistic images, but also express the attitude of the author to the depicted. The writer treats the peasant with irony, who, frightened the mighty of the world of this, “first of all, he climbed a tree and picked the generals for ten of the most ripe apples, and took one sour apple for himself.” Makes fun of M.E. Saltykov-Shchedrin generals' attitude to life: "They began to say that here they are living on everything ready, and in St. Petersburg, meanwhile, their pensions are accumulating and accumulating."
Thus, using various satirical techniques, the allegorical form of the "Aesopian language", M.E. Saltykov-Shchedrin expresses own attitude relationships between people in positions of power and common people. The writer ridicules both the inability of the generals to live, and the stupid fulfillment by the peasant of all the whims of the masters.
