Works on the Russian language and literature. Written analysis of the fairy tale (based on the fairy tale M

Composition

A special place in the work of Saltykov-Shchedrin is occupied by fairy tales with their allegorical images, in which the author was able to say more about Russian society in the 60-80s of the XIX century than the historians of those years. Saltykov-Shchedrin writes these fairy tales "for children fair age”, that is, for an adult reader, according to the mind of a child who needs to open his eyes to life. A fairy tale, in its simplicity of form, is accessible to any, even an inexperienced reader, and therefore is especially dangerous for those who are ridiculed in it.

The main problem of Shchedrin's fairy tales is the relationship between the exploiters and the exploited. The writer created a satire on tsarist Russia. The reader is presented with images of rulers (“Bear in the Voivodeship”, “Eagle-Maecenas”), exploiters and exploited (“ wild landlord”, “The Tale of How One Man Feeded Two Generals”), the townsfolk (“ wise gudgeon"," Dried vobla).

The fairy tale "The Wild Landowner" is directed against everything social order based on exploitation, anti-people in its essence. Keeping the spirit and style of the folk tale, the satirist speaks of real events his contemporary life. The work begins as ordinary fairy tale: “In a certain kingdom, in a certain state, there lived a landowner ...” But immediately an element appears modern life: "and that landowner was stupid, he read the newspaper" Vest "". "Vest" is a reactionary-feudal newspaper, so that the stupidity of the landowner is determined by his worldview. The landowner considers himself a true representative of the Russian state, its support, he is proud that he is a hereditary Russian nobleman, Prince Urus-Kuchum-Kildibaev. The whole point of his existence is to pamper his body, "soft, white and crumbly." He lives at the expense of his peasants, but he hates them and is afraid, he cannot stand the “servant spirit”. He rejoices when, in some fantastic whirlwind, all the peasants were blown away, and the air became pure, pure in his domain. But the peasants disappeared, and such a famine set in that it was impossible to buy anything at the market. And the landowner himself went completely wild: “All of him, from head to toe, was overgrown with hair ... and his nails became like iron. He stopped blowing his nose a long time ago, but he walked more and more on all fours. I even lost the ability to utter articulate sounds ... ". In order not to die of hunger when the last gingerbread was eaten, the Russian nobleman began to hunt: he would notice a hare - “like an arrow jumping off a tree, clinging to its prey, tearing it apart with its nails, yes, with all the insides, even with the skin, it will eat it.” The savagery of the landowner testifies that he cannot live without the help of the peasant. After all, it was not without reason that as soon as the “swarm of men” was caught and put in place, “flour, meat, and all kinds of living creatures appeared in the bazaar.”

The stupidity of the landowner is constantly emphasized by the writer. The peasants themselves were the first to call the landowner stupid, the representatives of other classes called the landowner three times stupid (three-time repetition technique): actor Sadovsky (“However, brother, you are a stupid landowner! Who gives you a stupid wash?”) Generals, whom he instead of “beef ”He treated me to printed gingerbread and candies (“However, brother, you are a stupid landowner!”) And, finally, the police captain (“You are stupid, mister landowner!”). The stupidity of the landowner is visible to everyone, but he indulges pipe dreams that without the help of the peasants he will achieve the prosperity of the economy, reflects on the English machines that will replace the serfs. His dreams are ridiculous, because he cannot do anything on his own. And only once did the landowner think: “Is he really a fool? Is it possible that the inflexibility that he so cherished in his soul, translated into ordinary language, means only stupidity and madness? If we compare the well-known folk tales about the gentleman and the peasant with the fairy tales of Saltykov-Shchedrin, for example, with The Wild Landowner, we will see that the image of the landowner in Shchedrin's fairy tales is very close to folklore, and the peasants, on the contrary, differ from fairy tales. In folk tales, a man is quick-witted, dexterous, resourceful, defeats a stupid master. And in the "Wild Landowner" arises collective image workers, breadwinners of the country and at the same time patient martyrs-sufferers. So, modifying the folk tale, the writer condemns the people's long-suffering, and his tales sound like a call to rise to the struggle, to renounce the slavish worldview.

Lesson-research on the topic"Tales" by Saltykov-Shchedrin and their features"

On this topic assigned 2 study hours.

Lesson type: combined lesson.

Type of lesson: study lesson.

Equipment: a multimedia projector, texts of fairy tales, handouts for each student: tables, a plan for analyzing a work of art,flashcards with basic concepts, teacher presentation.

The purpose of the lesson: development of research competence of students by example satirical tales M.E. Saltykov-Shchedrin,training in group work and analysis of works.

Tasks:

1 . Development of analytical and creativity students;

2. Training in the skills of working with text;

3. Development of linguistic skills: build a coherent statement, give a logical and consistent answer;

4. Improving the ability to prove, refute, compare, draw conclusions;

5. Development of intellectual abilities.

Epigraph: Fairy tales are powerful in their thought, (1)

Funny (2)

And yet tragic (3)

according to its poisonous malice, (4)

enchant with their linguistic excellence. (5)

I. Creation of a problem situation.

A.V. Lunacharsky

Let's analyze the epigraph. Let's try to determine what plan we will work on?

1. -Each fairy tale contains a deep meaning ;
2. - this is a feature of fairy tales - " amuse";
3. - portrayal of tragedy human life;
4. - " malice"- this is a feature Tales of Saltykov-Shchedrin. So there is a difference from folk tales;
5. - make an analysis of fairy tales, notelanguage features and be enchanted writing style of Saltykov - Shchedrin.

Planning: 1. find out the reasons the writer's appeal to fairy tales, 2. Understand what possibilities opened this genre to the satirist; 3. highlight the main Topics fairy tales, reveal them ideological orientation; 4. show originality; repeat the meaning of literary terms ("grotesque", "Aesopian language", "sarcasm", "irony", "litote" and others); 5. identify thosepositive ideals,which the author preaches in fairy tales; develop skill analyze fairy tales artistic originalityTales of Saltykov-Shchedrin.

II. Work according to the planned plan

1. - So why did the satirist-novelist turn to such a modest genre as a fairy tale?

1. The fact is that the traditions of creating fairy tales in Rus' were very deep and ancient; a fairy tale, as well as a parable, had a simple plot that hid deep meaning, accessible only to the thinking reader. ( fairy tale genre was widespread in Russian literature)
2. It is obvious that Shchedrin wanted to hide real value said behind harmless fabulous events and at the same time express their position. The fabulous manner of presentation allowed, despiteincreased censorship, to touch upon the most politically sensitive topics in their works).
3. The fairy tale, with its wise simplicity, gave the writers a summary of theyour point of viewon the most important issues of our time.
4. Fairy tales were read(and still read) absolutely everything. Perhaps there is no more democratic genre in Russia than a fairy tale. Shchedrin could applyTo a wide range readerspointing out to them the social vices. (For a simple reader, this genre is the most understandable and close)

Return to fairy tale

Terms of censorship

Genre Popularity

2. - Look closely at cover illegal publishing of fairy tales.

Pay attention to the TITLE: "Tales for children of a fair society"

- What associations do you have with the word "Fairy Tale"?

= "Fairy tales" because the works themselves are written in the spirit of fairy tales.

- What associations do you have with the expression "fair age»?

The writer himself hints that his fairy tales are not just children's fun,

Children of considerable age are

adults in need of instruction.

- Remember Turgenev's novel "Fathers and Sons". Here children are like Evgeny Bazarov,

Those who have not lost their conscience, mind, sense of truth.

Conclusion : Saltykov-Shchedrin writes “fairy tales” “for children of a fair age,” that is, for an adult reader who needs to open his eyes to life. Fairy tales are diverse in content, in the presentation of characters,But the main objective- to awaken the people so that "children of a fair age" mature and cease to be children.

3. – What did Saltykov-Shchedrin teach "children of a fair age" to think about?

= “Tales” by M.E. Saltykov-Shchedrin help to understand the significance of such life values as conscience, mercy, honesty, duty, the meaning of life and its purpose.

1. How is the cover illustrated?

She says that if the curtain is raised, i.e. start leafing through "Tales", you can see all the vices of Russia in the 80s of the 19th century, which the rulers and exploiters of the people are trying to hide. It can be seen how a policeman and a pig cling to the curtain and try to draw it.

1. So what is behind this curtain?

What themes unite the tales of Saltykov-Shchedrin?

Tales of Saltykov-Shchedrin

Issues

Autocracy and the oppressed people ("Bear in the Voivodeship", "Eagle-philanthropist")

The relationship between a man and a master ("The Wild Landowner", "The Tale of How One Man Feeded Two Generals")

The state of the people ("Konyaga", "Kissel")

The meanness of the bourgeoisie ("Liberal", "Karas-idealist")

Cowardice of the layman (" wise scribbler»)

Seeking Truth ("The Fool", "Christ's Night")

1. - Fairy tales "for children of a fair age" and Russian folk tales. Do they have common features?

Benchmarking:

Common features?

Distinctive features?

Comparative analysis: common features (with examples from the text).

Common features (Slide)

Distinctive features (Slide 8)

Saltykov - Shchedrin is calledgreat satirist.

1. - Working with a dictionary

- What is satire? How is it different from humor?

Satire is a kind of comic, most mercilessly ridiculing human imperfection, angry, denouncing the image of the vices of a person or society)

Humor is a mild form of the comic, good-natured laughter, not aimed at exposing a person, a phenomenon.)

What is irony and sarcasm? How do they differ from each other?

If a work ridicules and contains an assessment of what is ridiculed, is a subtle, hidden mockery, this is irony.

If an evil, caustic, accusatory, and sometimes bitter mockery is manifested in a work, this is sarcasm.

– In the work of Saltykov-Shchedrin there are all kinds of comic, but one of them prevails. Which?

SARCASM

Art is inherent different forms laughter. Depending on what public problem raises the author, he uses different forms of laughter.

- Which? Define these terms:
Humor - (laughter sympathetic, friendly, kind)
Satire - (such a laugh, in which there is a share of anger; accusatory, harsh, sometimes merciless).
Sarcasm - (sarcastic laughter, which sounds hatred or contempt).

So, the types of comic: satire, humor, irony, sarcasm (Slide 12)

- Arrange the types of laughter according to the degree of strengthening of denial

= Laughter unusually illuminates the author's ideal, the beautiful is revealed through ridicule of the ugly; the lofty is affirmed by the denunciation of the vulgar. Therefore, in the era of the most severe reaction, it was necessary to use an allegorical, allegorical way of expressing artistic thought - Aesopian language , the language of omissions, allusions.

What is the Aesopian language? What do you know about this artistic technique?

1. STUDENT'S MESSAGE

(Aesopian language - forced allegory, artistic speech, saturated with omissions and ironic ridicule. The expression goes back to the legendary image ancient Greek poet 6th century BC e. Aesop, creator of the fable genre. A slave by birth, Aesop, in order to tell the truth about his contemporaries, was forced to resort to allegorical images animals, birds. Aesop's speech is a peculiar form of satirical speech. This is a whole system of deceptive satirical techniques designed to express artistic and journalistic thought not directly, but allegorically.

1. Theoretical dictation.

1. allegory, 2. Hyperbole, 3. Grotesque, 4. Sarcasm, 5. Satire,

6. Aesopian language, 7. epithet, 8. Humor, 9. Fantasy.

III. teacher's word

Conclusions on the topic

Most of Shchedrin's works are written in this language and in this manner. Among them is the cycle "Tales for children of a fair age."

Tale of Saltykov-Shchedrin –

alloy folk tale and fables

Peculiarities – Fantastic + real;

Comic + tragic;

Grotesque, hyperbole, Aesopian language.

Essentially a writercreated new genre - political fairy tale .

Shchedrin touched on all the main classes and strata of society: the nobility, the bourgeoisie, the bureaucracy, the intelligentsia.

Fairy tale - a tool of socio-political satire

IV. Group work.

1. group - Work on the fairy tale "Wild landowner"

1. the main idea fairy tales (why?).
2. What is the meaning of the epithet "wise"?
3. Author's position.
4. What is your take on the story?

2. group - work on the fairy tale "The wise scribbler".

An approximate plan for analyzing a fairy tale:

1. What is the main theme of the story?
2. The main idea of ​​the tale (why?).
3. Elements of composition: exposition, plot, climax, denouement.
4. Plot features. How to system actors reveals the main idea of ​​the story?
5. Closeness to folk tales. different from folk tales.
6. What vices does the writer denounce?
7. satirical devices used by the author.
8. Combination of folklore, fantastic and real
9. Why does the writer give the landowner strange last name Urus-Kuchum-Kildibaev and at the same time calls him a “Russian landowner?”
10. Author's position.
11. What is your take on the story?

V. Protection of works, performance from groups.

Slides captions:

Mikhail Evgrafovich Saltykov - Shchedrin (1826 - 1889)

"Tales" by Saltykov - Shchedrin and their Features Epigraph to the lesson: Fairy tales are powerful in their thought, funny and at the same time tragic in their malice, enchant with their linguistic perfection. A.V. Lunacharsky

Appeal to a Fairy Tale: Terms of Censorship Popularity of the Genre

FAIRY TALES by M. E. SALTYKOV-Shchedrin Issues Autocracy and the oppressed people (“The Bear in the Voivodeship”, “The Eagle-Maecenas”) of the people ("Konyaga", "Kissel") The meanness of the bourgeoisie ("Liberal", "Karas-idealist") Cowardice of the layman ("Wise Piskar") Truth-seeking ("Fool", "Christ's Night")

Fairy tales "for children of a fair age" and Russian folk tales Comparative analysis. - Common features? - Distinctive features?

General features of the Tales of Saltykov-Shchedrin Zachin Fairy story Folklore expressions Folk vocabulary Fairy tale characters Ending Tales of the Russian people Zachin Fairy tale plot Folklore expressions Folk vocabulary Fairy tale characters Ending

Distinctive features Tales of Saltykov-Shchedrin Satire Sarcasm Mixing the categories of good and evil No positive hero Likening a person to an animal Tales of the Russian people Humor Hyperbole Victory of good over evil Positive hero Animal Humanization

Arrange the types of laughter according to the degree of strengthening of denial: Humor Sarcasm Satire Irony

Irony Humor Satire Sarcasm

Theoretical dictation 1) Allegory, in which a certain thought or concept is conveyed through the depiction of specific objects, phenomena of reality 2) Explicit exaggeration, aimed at enhancing expressiveness 3) The depiction of reality in a sharply distorted form, the combination of the incompatible, the real with the fantastic, that which is impossible with point of view of common sense 4) Caustic, caustic mockery 5) Angry ridicule of any vices dangerous to society 6) Artistic speech based on allegory (named after the ancient Greek fabulist) 7) Emotionally colored definition 8) Kind of comic in which objects, events , people and their actions are shown in a funny plan 9) Not existing in reality

2) hyperbole 3) grotesque 4) sarcasm 5) satire 6) Aesopian language 7) epithet 8) humor 1) allegory 9) fantasy

Fairy tale of Saltykov-Shchedrin - a fusion of folklore fairy tale and fable Fairy-tale beginning Set expressions Fantastic events Images of animals Aesopian language (language of allegory, allusions)

Features – Fantastic + real; Comic + tragic; Grotesque, hyperbole, Aesopian language.

Satirical devices Sarcasm Grotesque Hyperbole Fiction Aesopian language Metaphor Allegory Paraphrase Irony

The writer essentially created a new genre - a political fairy tale. The life of Russian society is the second half of XIX centuries was imprinted in the richest gallery of characters.

An approximate plan for analyzing a fairy tale The main theme of the fairy tale (what about?). The main idea of ​​the tale (why?). Elements of composition: exposition, plot, climax, denouement. Plot features. How is the main idea of ​​the tale revealed in the system of characters? Closeness to folk tales. different from folk tales. What vices does the writer denounce? Satirical techniques used by the author. Combination of folklore, fantastic and real Author's position. What is your take on the story?

The wise gudgeon What is the meaning of the epithet "wise"?

"THE WISE PISCAR" Why does the satirist resort to allegory and draw not a person, but a fish endowed with philistine features?

What vices does the writer denounce in the fairy tale "The Wild Landowner"?

List the fantastic and real in the fairy tale "The Wild Landowner".

Why does the writer give the landlord the strange surname Urus-Kuchum-Kildibaev and at the same time call him “Russian landowner”?

Homework(optional) Come up with topics for writing your own satirical fairy tale. Finish one of the statements: "Saltykov-Shchedrin condemns ..."; “I do not regret that I met Shchedrin, because…”; “I appreciate in Shchedrin's fairy tales that…” “An indifferent person is…”;

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. Isn't that why today we reluctantly read "What is to be done?" N. G. Chernyshevsky, the works of V. V. Mayakovsky, and absolutely none of the young knows the "ideological" novels of the 20-30s, say, "Cement", "Sot" and others.
It seems to me that the exaggeration of the role of literature as a tribune and arena of political struggle hurt Saltykov-Shchedrin as well.
After all, the writer was convinced that "literature and propaganda are one and the same." Saltykov-Shchedrin is the successor of Russian satire by D.I. Fonvizin, A.N. Radishchev, A.S. Griboyedov, N.V. Gogol and others. But stepped it up artistic medium giving it the character of a political weapon. From this, his books were sharp and topical. However, today they are perhaps less popular than the works of Gogol. Is it because they have less artistry?
Yet it is difficult to imagine our classic literature without Saltykov-Shchedrin. This is, in many ways, a completely unique writer. "The diagnostician of our social evils and ailments" - this is how his contemporaries spoke of him. He knew life not from books. Exiled as a young man to Vyatka for his early works, obliged to serve, Mikhail Evgrafovich thoroughly studied bureaucracy, the injustice of orders, life different layers society. As Lieutenant Governor, I made sure that Russian state before
cares about the nobles, and not about the people, for whom he himself was imbued with respect.
Life noble family the writer beautifully portrayed in the "Misters of the Golovlevs", chiefs and officials - in the "History of a City" and many other works. But it seems to me that he reached the heights of expressiveness in his short fairy tales.
"for children of a fair age." These tales, as the censors correctly noted, are real satire.
There are many types of masters in Shchedrin's fairy tales: landowners, officials, merchants and others. The writer often depicts them as completely helpless, stupid, arrogant. Here is "The Tale of How One Man Feeded Two Generals." With caustic irony
Saltykov writes: “The generals served ... in some kind of registry ... therefore, they didn’t understand anything. They didn’t even know any words, except“ Accept the assurance of my perfect respect and devotion. ”And when they ended up on a desert island, they think , whether to write a report, because they lived according to instructions all their lives.
Of course, these generals did not know how to do anything, only to live at the expense of others, believing that buns grow on trees. They almost died of starvation on the island, where fruit and game abound. But on the other hand, these gentlemen know the main means of living comfortably: to find a peasant! It does not matter that the island is uninhabited: if there are gentlemen, then there must be a peasant! He "is everywhere, you just have to look for him! Probably, he hid somewhere, he is slacking off work!", They argue. It is impossible to taunt, oppose stronger: having been engaged in nonsense and idleness all their lives, the generals always consider the peasant hard worker to be a loafer. Oh, how many such "generals" in our lives, who also believe that they should have apartments, cars, special rations, special hospitals, and so on and so forth, and "loafers" are obliged to work. If only these were sent to a desert island!..
The man is shown as a fine fellow: he can do everything, he can do anything, even cook soup in a handful. But the satirist does not spare him. The generals are forcing this hefty man to twist a rope for himself so that he does not run away. And he obediently obeys the order. In literature this is called an exaggeration, but how true it is! Did not the power of the masters rest on the same peasants, when some peasants followed the others and pacified them?
If the generals ended up on the island without servants against their will, then the wild landowner, the hero of the fairy tale of the same name, all the time dreamed of getting rid of the unbearable peasants, from whom a bad, servile spirit comes. And in general, he, the pillar nobleman Urus-Kuchum-Kildibaev (an ironic allusion to the fact that either the descendants of the Tatars or the Germans sat above the Russian people), white bone, can not tolerate the peasant. Peasants don't like it either.
their life: "wherever they look - everything is impossible, but not allowed, but not yours! A cattle will go to the watering place - the landowner shouts: "My water!" - a chicken wanders out of the outskirts - the landowner shouts: "My land!".
Finally, the male world suddenly disappeared. And the landowner was left alone. And, of course, wild. "All of him ... overgrown with hair ... and his nails became like iron." The hint is quite clear: the labor of the peasants lives in the bar. And therefore they have enough of everything: peasants, and bread, and livestock, and land, but the peasants have little of everything.
The writer's tales are full of lamentations that the people are too patient, downtrodden and dark. He hints that the forces above the people are cruel, but not so terrible. The hero from the fairy tale of the same name, whom the people worshiped for a whole thousand years, in the end turned out to be rotten, "the vipers ate his body to the very neck." Yes, this image leads me to sad thoughts about our lives. The fairy tale "The Bear in the Voivodeship" depicts the Bear, who, with his endless pogroms, brought the peasants out of patience, and they put him on a stalk, "tore off his skin."
There are fairy tales where peasants are looking for the truth.
Not everything in Shchedrin's work is interesting to us today. But the writer is still dear to us with his love for the people, honesty, desire to make life better, loyalty to ideals. And many of his images seemed to come to life, became close, understandable to me and my peers. After all, don’t the words from the fairy tale “The Fool” about its hero still sound bitter truth today, that “he is not a fool at all, but only he has no vile thoughts - from this he is to life
can't adapt?

Fool

The tale of Ivanushka the Fool is a partial embodiment of Saltykov-Shchedrin's long-standing plan to create the image of a revolutionary who is completely devoted to the idea. Saltykov-Shchedrin intended to solve this theme in the fairy tale genre. The fairy tale was not written, but the surviving evidence helps to understand the meaning of the fairy tale "The Fool", depicting, in the words of Dostoevsky, a "folk ideal", a "positively beautiful" person, inaccessible to immorality and opportunism.

313. Cartouche - a Parisian thief, the leader of a bandit gang, who was executed in 1721.

Page 314. And he showed his mother a tablet ... - Whipping with a rod was a familiar method of pedagogy. The prevalence of the rod in the “home code” can be judged by the fact that a brochure was published that outraged Saltykov-Shchedrin, recommending parents to purchase a specially designed folding machine for fixing children in it during punishment.

Page 315. Jacks of Hearts - a group of swindlers engaged in financial forgery. Among the criminals turned out to be a lot of people noble origin. Saltykov-Shchedrin saw in the "Jacks of Hearts" another confirmation of the historical dying of the nobility.

Recreation-change (in an educational institution).

3wise hare

Two days before the publication of the tale in Russkiye Vedomosti, Saltykov wrote to his friend V.

M. Sobolevsky: “I have never been so sick ... I still walk, but I'm afraid that I will have to lie down - and then kaput. My death is not with a scythe, but in the form of a fox, which talks to a hare for a long time and, finally, says: well, now let's play ”(letter dated May 17, 1885).

Page 328. Wrong about things they think, Shuvalov ... - from the "Letter on the Usefulness of Glass" by M. V. Lomonosov.

Page 332. ... the glorious General Bibikov. - A. I. Bibikov (1729-1774), who led the suppression of the Pugachev uprising.

Liberal

V. I. Lenin used this tale in his work “What are the “friends of the people” and how they fight against the social democrats” (1894) to characterize the evolution of Russian liberalism.

Adventure with Kramolnikov

"Adventure with Kramolnikov" is one of the most lyrical creatures Saltykov-Shchedrin. The tale reflects some biographical details and the mood of the writer himself ("there is something tragic in my life") after closing " Domestic notes", although Kramolnikov should not be identified with Saltykov-Shchedrin.

Page 357. Churova Valley - an enchanted place (V. Dal.) An image of Russian reality that Saltykov-Shchedrin often encounters.

Christ night

Researchers of Saltykov-Shchedrin’s work note that although in this tale (intended for the Easter issue of Russkiye Vedomosti) the writer turned to gospel story, his solution to this topic is fundamentally opposite to what religion gave her. The condemnation of betrayal, the rejection of Christian humility, the belief in victory over "the people of this age" are dictated by the situation of the 80s, when betrayal, renegacy and unbelief became "signs of the times" in the life of Russian society.

Heroes and plots of satirical fairy tales by M. E. Saltykov-Shchedrin. The main problems of fairy tales by M. E. Saltykov-Shchedrin

Shchedrin, in his fairy tales, puts at the forefront the plight of the people in tsarist Russia. Several main themes follow from this: a satirical description of the governmental tops of the autocracy (“The Bear in the Voivodeship”); depiction of the life of the masses in tsarist Russia ("Konyaga"); denunciation of the intelligentsia ("The Wise Gudgeon"); exposing the owners of life (“The Tale of How One Man Feeded Two Generals”).

However, despite all the revealing problems in fairy tales, to some extent, the futility of popular appeals is shown. Konyaga doesn't care, no matter how hard it is for him, he will go to work again. But a simple peasant remains an implacable opponent of the oppression of the masters: “So the peasants prayed with the whole world to the Lord God:“ Lord! it’s easier for us to be lost with children with small ones than to suffer like this all our lives! ”“ (“Wild landowner”). It turns out that in any case, the peasant and the master will remain implacable enemies. Shchedrin just debunks the illusions about social harmony. Even on a desert island in "The Tale of How ..." a man must obey.

All this is created with artistic images. And each fairy tale as a result becomes a lively and colorful picture of society.

The words and images recreated in the works, Shchedrin borrowed from fairy tales and legends: “In a certain kingdom, in a certain state, there lived a landowner ...” (“The Wild Landowner”). To process them, he uses such techniques as artistic exaggeration, allegory, fantasy. Artistic exaggeration expressed in the fact that a simple man, like a magician, becomes capable of great feats. For example, katya in "The Tale of How ...": "I made a snare out of my own hair and caught a hazel grouse ... so contrived that he even began to cook soup in a handful." The fantastic is manifested in the fact that two generals "according to pike command, at my will, "find themselves on a desert island."

For allegory, Shchedrin uses images of animals. This fairy tradition helps to preserve the nature of the images. For example, in the fairy tale of the same name: “Konyaga holds his head dejectedly; the mane around his neck fell off; mucus oozes from eyes and nostrils; upper lip sagged like hell."

The rapprochement of characters with the animal world is both ironic and tragic. The wild landowner becomes a new kind of extraordinary animal: “He lays out grand solitaire, yearns for his former life in the forests, washes only under duress, and bellows from time to time.” But Konyaga has become a kind of symbol of a hard worker-peasant. How much they carry on a poor horse, plow, but without it it’s impossible - you can’t feed your family. So the peasant “plows” from dawn to dusk: “There is no end to work! The whole meaning of his existence is exhausted by work; for her, he is conceived and born, and outside of her, not only is he not needed by anyone, but, as the prudent owners say, he is harmful.

The plots in Shchedrin's fairy tales are themes that come up like an edge in that modern life. For example, inappropriate and sometimes unjustified bloodshed. So they think in the "Bear in the Voivodship". No matter what they talked about with Toptygin 1: whether it was about trade, whether about industry, whether about the sciences - he turned everything in one direction: “Bloody ... more bloody ... that's what you need.”
Another plot is taken from the proverb: "The king is smart as long as he has a smart secretary." Shchedrin beats him in "The Bear in the Voivodeship": "The donkey at that time was known to him (Lev) as a sage in the councils."
In "Karas the Idealist" an attempt is shown to establish harmony in relations between people through moral re-education: "Karas said that one can live in the world with truth alone ...". However, the attempt was not crowned with success, and Shchedrin deftly beats the pike in random movements. “Do you know what virtue is,” Karas gave out his last trump card. “The pike opened its mouth in surprise. She automatically sucked in water, and not wanting to swallow the crucian at all, she swallowed it.

In Shchedrin's tales, not only virtue, but also science does not bring any benefit to the heroes. So the eagle-philanthropist in the fairy tale of the same name tried to establish enlightenment in himself, which in the end did not give positive results: “This de will serve the eagles as a lesson!”

The plot theme certainly captures the people's problems. Not only can a simple man simply not draw attention to himself, but he also voluntarily climbs into the noose. So a man twisted a rope for himself in The Tale of How a Man Feeded Two Generals. “With this rope, the generals tied the man to a tree so that he would not run away, but they themselves went to bed.” Or selfless hare in the fairy tale of the same name sits at wolf lair as if on a leash: “I can’t,” he says, “the wolf did not order” to run.

In his fairy tales, Shchedrin shows the hopeless darkness and difficult conditions created by the tyrant-landowner: “He reduced them so that there was nowhere to stick his nose: wherever you look - everything is impossible, but not allowed, but not yours ... Both land and water, and the air - all of it became! ("The Wild Landowner").

And all this is brought to the point of absurdity in the fairy tale "The Fool", where it is explained that it is better to remain a fool than to realize all the horror of the surrounding life. “He’s not a fool at all,” says the traveler, “only he doesn’t have vile thoughts - that’s why he can’t adapt to life ... But, however, there is no doubt that the moment will come when the influx of life, by the force of its oppression, will force him to choose between foolishness and meanness. Then he will understand."

And at the end of the tale, one can guess that he understood all the meanness and vileness of the life around him: “But there are no traces left of the fool who was blooming with health. He was pale, thin and exhausted ... He came home and fell silent. In this abnormal environment in which he lived, only the abnormal could seem normal.

It can be said that Shchedrin's cherished goal was and remained the liberation of the oppressed masses from any kind of slavery. And no matter what images and ideas the writer raises in his fairy tales, they are all for the people and about the people. The era of the abolition of serfdom has passed, but at the same time, the accumulated problems that are reflected in fairy tales have not gone away.

Images from legends and fairy tales, reality and reality help us to restore the terrible, inhuman years of writing. Each character, taken from life and embodied in a fairy tale, is presented to us in the form of a certain typical image. Imi Shchedrin shows the mistakes of his time. You just need to take a closer look and understand what is needed for the people, and not for us from the people.