Saltykov-Shchedrin is one of the world's greatest satirists. All his life he castigated autocracy, serfdom, and after the reform of 1861 - the remnants of serfdom that remained in everyday life and in the psychology of people. Shchedrin's satire is directed not only against the landowners, but also against the new oppressors of the people, who agrarian reform Tsarism gave a free hand to the capitalists. Great writer also exposes the liberals who are distracting the people from the struggle.
The satirist criticized not only the despotism and selfishness of the oppressors of the working people, but also the humility of the oppressed themselves, their patience and slave psychology.
Shchedrin's work is connected with the traditions of his brilliant predecessors: Pushkin, Gogol. But Shchedrin's satire is sharper and more merciless. Shchedrin's talent as an accuser was revealed in all its brilliance in his fairy tales.
Sympathizing with the oppressed people, Shchedrin opposed the autocracy and its servants. The Tsar, ministers and governors are ridiculed by the fairy tale “The Bear in the Voivodeship.” It shows three Toptygins, successively replacing each other in the voivodeship, where they were sent by the lion to “pacify the internal adversaries.” The first two Toptygins were engaged in various kinds of “atrocities”: one - small, the other - large. Toptygin the third did not crave “bloodshed.” Shchedrin shows that the cause of the people's disasters is not only in the abuse of power, but also in the very nature of the autocratic system. This means that the salvation of the people lies in the overthrow of tsarism. This is the main idea of the fairy tale.
In the fairy tale “The Eagle Patron,” Shchedrin exposes the activities of the autocracy in the field of education. The eagle - the king of birds - decided to “introduce” science and art at court. However, the Eagle soon got tired of playing the role of a patron of the arts: he destroyed the nightingale-poet, put shackles on the learned woodpecker and imprisoned him in a hollow, and ruined the crows. In this tale, the writer showed the incompatibility of tsarism with science, education and art, and concluded that “eagles are harmful to education.”
"Fairy Tales" by Shchedrin is magnificent artistic monument of a bygone era, an example of condemnation of all forms social evil in the name of goodness, beauty, equality and justice.
It would be unfair to limit the entire problematic of Saltykov-Shchedrin’s tales to a description of the confrontation between peasants and landowners and the inactivity of the intelligentsia. While in public service, the author had the opportunity to become better acquainted with the so-called masters of life, whose images found their place in his fairy tales. Examples of these are “Poor Wolf”, “The Tale of the Toothy Pike”, etc. There are two sides in them - those who are oppressed and oppressed, and those who oppress and oppress.
We are accustomed to certain roles that characters play. For example, peasants are usually “good”, and landowners are “bad”. Saltykov-Shchedrin's tales are distinguished by a mixture of clear boundaries. It turns out that both the oppressed and the oppressors each have their own shortcomings. Yes, the fox taunts the “sane” hare in order to eventually eat him. Both she and the hare understand this perfectly well, but they can’t do anything. The fox is not even very hungry to eat the hare, but since “where has it been seen that foxes let go of their own dinner,” then we have to obey the law, willy-nilly. All the hare's clever theories are smashed to smithereens by the cruel prose of life. It turns out that hares were created to be eaten, and not to create new laws.
Oddly enough, the “oppressed” sometimes do not evoke any sympathy, while the oppressors show us their weak sides. The fairy tale “Poor Wolf” is especially tragic in this regard. It turns out that the wolf is bloodthirsty and cruel not because he likes it, but because such is the nature of things, or, as he himself says, “his build is tricky.” You cannot go against nature itself. This idea can be confirmed by the fairy tale “Crucian carp the idealist”. Karas is overwhelmed by the ideas of liberalism and humanism. He begins to share his thoughts with everyone, and when it’s the pike’s turn, it simply swallows him. The most interesting thing is that the pike did not want the crucian carp to die at all; it just out of habit sucked in the water and the crucian carp along with it. Why does this happen? Yes, because the pike, like the wolf, “has such a tricky build,” and nothing can be done about it.
It turns out that the “masters of life” turn out to be not their own masters at all, but mired in the abyss of conventions, traditions and “laws” that cannot be broken. As a result of such a life, it turns out that “the wolves are hungry and there are no hares.” In other words, rarely does anyone remain satisfied with the current state of affairs. No, of course, you cannot generalize and introduce this statement beyond universal rule. Of course, it is much easier for predators to survive than for defenseless hares, but this is unlikely to make their life any more interesting, brighter or better. Moreover, it can be said that the secret expectation of mercy and leniency from the authorities, which are predatory by nature, is not only vain, but also to a certain extent meaningless.
If in the animal world the state of affairs “predator - prey” is the norm, then now is the time to remember that Saltykov-Shchedrin wrote about people, covering their images with masks of animals. Using established stereotypes, the author makes the images of landowners, peasants, intellectuals, officials and managers more vivid and lively. But it is always necessary to remember that behind the masks of animals there are people, and the main difference between a person and an animal is the presence of reason, concepts of high morality and ethics. It is unclear what has happened to the world if people have to fight for survival like animals. It turns out that people are gradually losing that little, but fundamentally important, thing that distinguishes them from irrational creatures. What is natural for pike is not normal for humans. On the other hand, it should be recognized that Aesopian language in combination with the grotesque became a very successful author’s device, which added richness and richness to the content.
- For the second half of the 19th century century creativity of M.E. Saltykov-Shchedrin was extremely important. The fact is that in that era there were no such tough and stern champions of truth who condemned social vices as Saltykov. The writer chose this path quite deliberately, since he was deeply convinced that there should be an artist who plays the role of 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 widespread popularity and fame, nor […]
- Works about peasants and landowners occupy significant place in the works of Saltykov-Shchedrin. Most likely this happened because the writer encountered this problem at a young age. Saltykov-Shchedrin spent his childhood in the village of Spas-Ugol, Kalyazinsky district, Tver province. His parents were quite rich people and owned land. Thus, the future writer saw with his own eyes all the shortcomings and contradictions of serfdom. Realizing the problem, familiar from childhood, Saltykov-Shchedrin subjected […]
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- Saltykov-Shchedrin's fairy tales are distinguished not only by caustic satire and genuine tragedy, but also by their original construction of plot and images. The author approached writing “Fairy Tales” already in adulthood, when a lot had been comprehended, gone through and thought out in detail. The appeal to the fairy tale genre itself is also not accidental. A fairy tale is distinguished by its allegory and capacity of expression. The volume of a folk tale is also not very large, which allows you to focus on one specific problem and show it as if through a magnifying glass. It seems to me that for satire [...]
- The name of Saltykov-Shchedrin is on a par with such world-famous satirists as Mark Twain, Francois Rabelais, Jonathan Swift and Aesop. Satire has always been considered an “ungrateful” genre - the state regime has never accepted caustic criticism from writers. They tried to protect the people from the creativity of such figures by the most different ways: books were banned from publication, writers were exiled. But it was all in vain. These people were known, their works were read and respected for their courage. Mikhail Evgrafovich was no exception […]
- 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” and studied the psychology of bosses of all ranks and the Russian bureaucracy. To show the vices public administration in all its fullness and depth, the writer used the technique of the grotesque, which he considered the most effective means display of reality. A grotesque image always comes out [...]
- M.E. Saltykov-Shchedrin is a Russian satirist who created many wonderful works. His satire is always fair and truthful, he hits the mark, revealing the problems of his contemporary society. The author reached the heights of expressiveness in his fairy tales. In these short works, Saltykov-Shchedrin denounces the abuses of officials and the injustice of the regime. He was upset that in Russia they primarily care about the nobles, and not about the people, for whom he himself came to respect. He shows all this in [...]
- The satire of M. E. Saltykov-Shchedrin is truthful and fair, although often poisonous and evil. His tales are both a satire on autocratic rulers, and a depiction of the tragic situation of the oppressed people, their hard labor, and ridicule of gentlemen and landowners. Saltykov-Shchedrin's tales are a special form of satire. Depicting reality, the author takes only the most striking features and episodes, and, if possible, thickens the colors when depicting them, showing events as if under a magnifying glass. In the fairy tale “The Tale of How [...]
- The work of M. E. Saltykov-Shchedrin occupies a special place in Russian literature of the 19th century. All his works are imbued with love for the people and the desire to make life better. However, his satire is often caustic and evil, but always truthful and fair. M. E. Saltykov-Shchedrin depicts many types of gentlemen in his fairy tales. These are officials, merchants, nobles, and generals. In the fairy tale “The Tale of How One Man Fed Two Generals,” the author shows two generals as helpless, stupid and arrogant. “They served […]
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1 TOPIC: Satirical image reality in fairy tales by M. E. Saltykov-Shchedrin I. Lexical work Brief explanatory dictionary Assignment. Study a short explanatory dictionary and supplement it with words: hyperbole, grotesque, fantasy, irony, sarcasm, Aesopian language, parody. Write down the meanings of these words. 1. AUTHORITARIAN - based on unquestioning submission to authority, dictatorship. 2. ASSOCIATION is a connection between individual representations, in which one of the representations causes another. 3. BUREAUCRATISM 1. Management, in which the activities of bodies executive power is unnecessarily complicated and aimed at ensuring departmental interests to the detriment of the interests of society, to the detriment of it. 2. Clericalism, neglect of the essence of the matter for the sake of observing formalities. 4. HYPERBOLE - 5. GROTESQUE - 6. LONG-PATIENCE (book) great, long-term patience. 7. IRONY - 8. NAIVE, simple-minded, revealing inexperience, ignorance. 9. IGNORANCE: lack of knowledge, lack of culture. 10. IGNORANT is rude, ill-mannered. 11. IGNORANT is a poorly educated person, as well as a person ignorant in any area. 12. LEVEL, equalize, smooth out, destroy differences between someone or something. 1
2 13. PEOPLE 1. In Tsarist Russia: a city resident (merchant, tradesman, artisan), as well as a general resident belonging to the tax-paying classes. 2. A person devoid of a social outlook, living only by petty personal interests. 14. PARODYING SARCASM AESOPES LANGUAGE - II. Exercise. Before completing the practical part, study these materials. The artistic originality of Saltykov-Shchedrin's tales Shchedrin's tales - political tales-satires. In them, the writer, with the help of allegories and allusions, castigated the autocratic state, the ruling classes of Tsarist Russia, the bourgeois liberal intelligentsia, who acted “in relation to meanness,” and cowardly inhabitants; he spoke with anger and melancholy about the downtroddenness and submission of the people; happily noted the sprouts of popular discontent and protest against unbearable living conditions. Shchedrin's fairy tales, like all of his work, served the cause of liberation of the homeland and people. Hyperbole and grotesque Truthfully depicting life, Mikhail Evgrafovich Saltykov-Shchedrin resorted to sharpening of images. Being a realist artist, the writer, through hyperbolization and with the help of fantastic images, revealed with remarkable clarity the ugly nature of his contemporary reality. Such a depiction of life, in which the real, everyday is intertwined with the fantastic and the negative, ugly is depicted in a naked, exaggerated form, is called grotesque. An example of the grotesque can be many images created by the powerful talent of the great satirist, including the images of his fairy tales. Shchedrin’s grotesque images were true to life’s truth; with extraordinary depth and power they expressed the characteristic features of that “known order of things” that the writer scourged throughout his life. The connection between Saltykov-Shchedrin's fairy tales and oral folk art In his work, the writer, like Nekrasov, generously used the riches of oral and poetic folk art. Great satirist Mikhail Evgrafovich Saltykov-Shchedrin raised the fairy tale to the top of political journalism. 2
3 In Shchedrin's fairy tales we encounter traditional fairy-tale images of animals, birds and fish. In the spirit of folk tales, the writer resorted to allegories: he painted kings in the images of a lion and an eagle; in the images of bears, wolves, kites, hawks, pikes, representatives of the highest royal administration; in the images of hares and minnows of cowardly inhabitants; in the image of Konyaga, the disadvantaged people. The writer often used folk fairy tales: “Once upon a time there were two generals”; “Once upon a time there was a minnow”; “In a certain kingdom, in a certain state, there lived a landowner”; “In the old days, under Tsar Gorokh, it was like this: smart parents gave birth to a son who was a fool,” etc. No less often did the satirist resort to such fabulous formulas as: “at the command of the pike, at my will”; “neither to say in a fairy tale, nor to describe with a pen”; “he was there, he drank honey-beer, it flowed down his mustache, but it didn’t get into his mouth”; “runs, the earth trembles”; “soon the fairy tale is told, and the matter between the hares is even more quickly done”; “and the man began to grow beans”: “and he began to live and get by”; “how long, how short”; “swim across the ocean-sea”; “I was crazy,” etc. There are many proverbs and sayings scattered in fairy tales: “grandmother said in two”; “We live richly, from the yard it’s easy: whatever you want, you’ll go to the people for everything”; “shame will not eat your eyes away”; “there is jelly seven miles away”; “That’s why the pike is in the sea, so that the crucian does not sleep,” “throwing pearls before swine,” etc. Peculiarities of the language of Shchedrin’s fairy tales In the era when Shchedrin worked, it was impossible to openly express revolutionary views. In order to convey his thoughts to the reader, the great satirist had to resort to “deceptive means”: hints, allegories and omissions, which became one of the most characteristic features Shchedrin's uniquely unique language. The critic himself explained the origin and features of his writing style as follows: “I owe the habit of writing allegorically... to the censorship department. It tormented Russian literature to such an extent that it seemed as if it had vowed to wipe it off the face of the earth. But literature persisted in the desire to live and therefore resorted to deceptive means... A special, slavish manner of writing was created, which can be called Esopian, a manner that reveals remarkable resourcefulness in the invention of reservations, omissions, allegories and other deceptive means.” Aesop's style of writing not only helped Shchedrin overcome censorship barriers, but also allowed him to draw aspects of Russian life that would have been impossible to illuminate in any other way. He could not directly say that the people in Tsarist Russia had no rights, that the policy of the autocracy was a policy of oppression and tyranny, and he wrote that the bear governor was sent to the slum so that he could “bring the forest men” to “one common denominator.” Shchedrin did not say that the person was going into exile, but said that he met “Makar, who does not chase calves.” These examples show how skillfully he used the Aesopian style of writing. The extraordinary originality and charm of Shchedrin’s fairy tales is given by the skillful inclusion of book and foreign words: “Look, son, said the old gudgeon, dying: if you want to chew your life, 3
5 Rough plan analysis of a fairy tale 1. The main theme of the fairy tale (about what?). Which thematic group does the fairy tale you read belong to? Give a reasoned answer. 2. the main idea fairy tales (why?). 3. Features of the plot. As in the system characters Is the main idea of the tale revealed? 4. Features of fairy tale images: a) images-symbols; b) the uniqueness of animals; c) closeness to folk tales. 5. Satirical techniques, used by the author. 6. Features of the composition: inserted episodes, landscape, portrait, interior. 7. A combination of folklore, fantasy and reality (grotesque). 8. Artistic features of Shchedrin’s fairy tales (conclusion on all points). 9. What is common and how does the tale of Saltykov-Shchedrin you read differ from Russian folk tales. Clue! Satirical tale by Shchedrin Satire Sarcasm No positive hero Likening man to animal Ending: mixing the categories of good and evil Folk tale Humor Hyperbole Positive hero Humanization of animals Ending: victory of good over evil Materials for reference Saltykov-Shchedrin's tales have the subtitle: "Fairy tales for children of a fair age." In total, he wrote 32 fairy tales, which reflected the essential aspects of post-reform Russia. Three of them are “The Tale of How One Man Fed Two Generals”, “Conscience Lost” and “ Wild landowner" were written in the late 60s, the rest in the 80s. Fairy tales and fairy-tale fiction have always been inherent in the work of the satirist. He used them in “The History of a City”, and in “Modern Idyll”, and in “Satires in Prose”. Folk tales attracted the writer with their constant condemnation of evil, injustice, stupidity, laziness, glorification of goodness, nobility, intelligence, loyalty, and hard work. In the fantastic fairy tale images the people reflected the phenomena of reality, and this made fairy tales akin to Shchedrin’s talent. All the writer’s tales can be divided into three thematic groups: 1) Satire, directed against the policies of the Russian autocracy and the ruling classes; 2) Satire depicting the life of the people in Russia; 3) Satire, exposing the psychology of the philistine intelligentsia and its behavior. 5
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Mikhail Saltykov-Shchedrin - creator of a special literary genre - satirical tale. IN small stories The Russian writer denounced bureaucracy, autocracy, and liberalism. This article examines such works by Saltykov-Shchedrin as “Wild Landowner”, “Eagle Patron”, “ The wise minnow", "Crucian idealist."
Features of Saltykov-Shchedrin's tales
In the fairy tales of this writer one can find allegory, grotesque, and hyperbole. There are features characteristic of an Aesopian narrative. The communication between the characters reflects the relationships that prevailed in society XIX century. What satirical techniques did the writer use? In order to answer this question, it is necessary to briefly talk about the life of the author, who so mercilessly exposed the inert world of landowners.
about the author
Saltykov-Shchedrin combined literary activity With public service. The future writer was born in the Tver province, but after graduating from the lyceum he left for St. Petersburg, where he received a position in the Ministry of War. Already in the first years of work in the capital, the young official began to languish with the bureaucracy, lies, and boredom that reigned in the institutions. With great pleasure, Saltykov-Shchedrin attended various literary evenings, where anti-serfdom sentiments prevailed. He informed St. Petersburg residents about his views in the stories “A Confused Affair” and “Contradiction.” For which he was exiled to Vyatka.
Life in the provinces gave the writer the opportunity to observe in all details the bureaucratic world, the life of landowners and the peasants oppressed by them. This experience became the material for writing later works, as well as the formation of special satirical techniques. One of Mikhail Saltykov-Shchedrin’s contemporaries once said about him: “He knows Russia like no one else.”
Satirical techniques of Saltykov-Shchedrin
His work is quite diverse. But perhaps the most popular among Saltykov-Shchedrin’s works are fairy tales. We can highlight several special satirical techniques with the help of which the writer tried to convey to readers the inertia and deceit of the landowner world. And above all, in a veiled form, the author reveals deep political and social problems, expresses his own point of view.
Another technique is the use of fantastic motifs. For example, in “The Tale of How One Man Fed Two Generals” they serve as a means of expressing dissatisfaction with the landowners. And finally, when naming Shchedrin’s satirical techniques, one cannot fail to mention symbolism. After all, fairy tale heroes often point to one of the social phenomena XIX century. Thus, the main character of the work “Horse” reflects all the pain of the Russian people, oppressed for centuries. Below is an analysis of individual works by Saltykov-Shchedrin. What satirical techniques are used in them?
"Crucian idealist"
In this tale, the views of representatives of the intelligentsia are expressed by Saltykov-Shchedrin. Satirical techniques that can be found in the work “Crucian carp the idealist” are symbolism, the use folk sayings and proverbs. Each of the heroes - collective image representatives of one or another social class.
The plot of the tale centers on a discussion between Karas and Ruff. The first, as is already clear from the title of the work, gravitates towards an idealistic worldview, belief in the best. Ruff, on the contrary, is a skeptic who mocks the theories of his opponent. There is also a third character in the tale - Pike. This unsafe fish symbolizes the powers that be in Saltykov-Shchedrin’s work. Pike are known to feed on crucian carp. The latter, driven by the best feelings, goes to the predator. Karas does not believe in the cruel law of nature (or the established hierarchy in society for centuries). He hopes to bring Pike to reason with stories about possible equality, universal happiness, and virtue. And that’s why he dies. Pike, as the author notes, is not familiar with the word “virtue”.
Satirical techniques are used here not only to expose the rigidity of representatives of certain sections of society. With the help of them, the author tries to convey the futility of moralistic debates that were common among the intelligentsia of the 19th century.
"Wild Landowner"
The theme of serfdom is given a lot of space in the works of Saltykov-Shchedrin. He had something to say to readers about this. However, writing a journalistic article about the relations of landowners to peasants or publishing work of art in the genre of realism on this topic was fraught with unpleasant consequences for the writer. Therefore, we had to resort to allegories, easy humorous stories. In “The Wild Landowner” we are talking about a typical Russian usurper, not distinguished by education and worldly wisdom.
He hates “men” and dreams of killing them. At the same time, the stupid landowner does not understand that without the peasants he will die. After all, he doesn’t want to do anything, and he doesn’t know how. One might think that the prototype of the fairy tale hero is a certain landowner whom the writer perhaps met in real life. But no. We are not talking about any particular gentleman. Oh social stratum generally.
Saltykov-Shchedrin fully explored this theme, without allegories, in “The Golovlev Gentlemen.” The heroes of the novel - representatives of a provincial landowner family - die one after another. The reason for their death is stupidity, ignorance, laziness. The character in the fairy tale “The Wild Landowner” faces the same fate. After all, he got rid of the peasants, which he was glad about at first, but he was not ready for life without them.
"Eagle Patron"
The heroes of this tale are eagles and crows. The first symbolize the landowners. The second are peasants. The writer again resorts to the technique of allegory, with the help of which he ridicules the vices of the powerful. The tale also includes the Nightingale, Magpie, Owl and Woodpecker. Each of the birds is an allegory for a type of people or social class. The characters in “The Eagle the Patron” are more humanized than, for example, the heroes of the fairy tale “Crucian the Idealist.” Thus, the Woodpecker, who has the habit of reasoning, at the end of the bird's story does not become a victim of a predator, but ends up behind bars.
"The Wise Minnow"
As in the works described above, in this tale the author raises questions relevant to that time. And here this becomes clear from the very first lines. But Saltykov-Shchedrin’s satirical techniques are the use artistic means for a critical depiction of vices not only social, but also universal. The author narrates the narration in “The Wise Minnow” in a typical fairy-tale style: “Once upon a time...”. The author characterizes his hero in this way: “enlightened, moderately liberal.”
Cowardice and passivity are ridiculed in this tale Great master satires. After all, these were precisely the vices that were characteristic of most representatives of the intelligentsia in the eighties of the 19th century. The gudgeon never leaves its shelter. He lives a long life, avoiding encounters with dangerous inhabitants of the aquatic world. But only before his death does he realize how much he missed during his long and worthless life.