Aesopian language like artistic technique(using the example of one or several works)
Satire is a way of manifesting the comic in art, consisting of a destructive ridicule of negative phenomena, reality, and exposure of vices of social significance. “Satire fights the “main essential evil”; it is “a formidable denunciation of what causes and develops common national shortcomings and disasters,” wrote Dobrolyubov. Social basis satire is the struggle between the new and the old.
The artistic world of M.E. Saltykov-Shchedrin is populated by unusual heroes. A whole line of mayors, pompadours and pompadours, idle dancers passes in front of us.
The reader of Shchedrin's satirical and journalistic cycles and fairy tales will not fully recognize the names of the vast majority of the heroes.
Almost nothing is known about their individual tastes and habits. Their biographies also coincide in basic terms. Only in some cases, but very sparingly, is a hint of portrait characteristics given. But these internally similar heroes, who are too similar to each other, are guided by the same motives, their socio-political face is extremely clearly revealed, their social and moral images give a vivid idea of what Saltykov-Shchedrin called “the general tone of life ".
Collective images have amazing properties: they include entire social layers, layers and strata of the social organism. And the writer here is not only a painter, he is a researcher who thinks in broad concepts, capturing something common, typical. Saltykov-Shchedrin not only creates the slavish habit of obedience among ordinary people. The writer associates this state of the people with a non-existent, fantastic city and its numerous inhabitants. The author of “The History of a City” seems to see, hear, and feel his foolish heroes.
Residents of the city either rejoice, go to the tavern and shake the air with exclamations of gratitude addressed to the next mayor, then they grow hair, stop feeling shame and suck their paws, then at the end of the novel, in the era of Ugryum-Burcheev, “exhausted, cursed^ destroyed,” they begin to get irritated and grumble.
Saltykov-Shchedrin often talks about what and how people could say and do if their tongues and hands were freed. This is another very important feature of his satirical gift. The writer explores various human, as he said, “readiness”, for the time being, consciously or involuntarily masked. And it turns out that the heads of the all-powerful bureaucrats are stuffed minced meat or a simple musical device/And it turns out that many power-hungers are terrible in their impunity, and the inhabitants who meekly and lovingly listen to them are doomed to a terrible and absurd existence.
In Rus', the beginning of the 70s of the 19th century was thoroughly imbued with the spirit of entrepreneurship, which reached the point of outright large-scale robbery.
The irrepressible claims of yesterday's serf owners, from under whose feet the ground was slipping, and the predatory desires of the landowners could not leave the writer indifferent. Human predators are circling the state pie with the vivacity of locusts. And now, line by line, the first pages of “The Diary of a Provincial in St. Petersburg” appear. This is how the author characterizes his characters: “Everyone pretended that they had something in their pocket, and not a single one even tried to pretend that he had something in his head.”
Saltykov-Shchedrin greatly valued the principle of satirical research and revealing in a person what is outwardly hidden, hidden in the depths and discovered only under suitable circumstances.
All other works included by the writer in the famous fairy-tale cycle were created in the 80s. The events of March 1, 1881 exhausted the second revolutionary situation in Russian history.
Life mercilessly rejected the plans of the thinking intelligentsia-“realists” for the revival of the country.
It became clear that it was impossible for the people to fight for land without their participation. Saltykov-Shchedrin, however, never ceased to hope that “at least something, even one stroke, even a faint sound, will reach the right place.”
Already in 1881, it was possible to say with confidence that the people were beginning to become interested in life, wanted to know a lot about their rights and responsibilities, and it was in the last third of the 19th century, at the time of anticipation of the mass reader, that many Russian writers showed a desire to expand the readership , to close and accessible to most genres of fairy tales, legends, songs. It is in fairy tales that Saltykov-Shchedrin’s ideas about the people’s reader are embodied.
Saltykov-Shchedrin's tales raise difficult questions that cannot be resolved based on truisms.
Saltykov-Shchedrin puts into the title an unambiguously evaluative epithet: “The Wise Minnow.” At V.I. Dahl: wisdom is the combination of truth and goodness, the highest truth, the fusion of love and truth, the highest state of mental and moral perfection.
At first, one retains faith in the certainty of this definition: the gudgeon’s parents were smart; and they did not offend him with parental advice; and the hero of the fairy tale himself, it turns out, “was crazy.” But step by step tracing the course of the minnow’s conclusions, the author arouses in the reader a sly mockery, an ironic reaction, a feeling of disgust, and in the end even compassion for the everyday philosophy of a quiet, silent, moderately neat creature.
The life position of the minnow is to take care of itself, its own safety and well-being. But summing up the gudgeon’s long life, a sad truth is revealed: “Those who think that only those gudgeons can be considered worthy citizens who, mad with fear, sit in holes and tremble, believe incorrectly. They give no one warmth or cold, no honor, no dishonor, no glory, no infamy... they live, take up space for nothing and eat food.”
“Eagles are predatory and carnivorous - they always live in isolation, in inaccessible places, they do not engage in hospitality, but they commit robbery.” This is how the tale of the “Patron Eagle” begins.
This introduction immediately reveals to the reader the characteristic circumstances of the life of the royal eagle and makes it clear that we are not talking about birds at all. The eagle “dressed in shackles” and “imprisoned in a hollow forever” the literate woodpecker, destroyed the nightingale for his free songs, and ruined the crow men.
It ended with the crows rebelling. And they left the eagle to die of starvation. “Let this serve as a lesson to the eagles,” the satirist meaningfully concludes.
The lines of “Crucian the Idealist” are worthy of special attention, depicting the death of a naive dreamer who set out to turn a fierce pike into a crucian through one magic word. “Crucian carp suddenly felt that his heart was on fire. And he barked at the top of his voice: “Do you know what virtue is?” The pike opened its mouth in surprise. She mechanically took a sip of water and, not at all wanting to swallow the crucian carp, swallowed it.”
By ironically pointing out the mechanical action of the pike, the author suggests to the reader the idea of the futility of any appeals to the conscience of predators. Predators do not show mercy to their victims and do not heed their calls for generosity. The wolf was not touched by the hare's selflessness, the pike by the crucian carp's call to virtue.
Everyone who tried, avoiding a fight, to hide from the implacable enemy or to pacify him perishes - the wise minnow, the selfless hare, his sensible brother, the dried roach, and the idealistic crucian carp perish.
In general, the book of Saltykov's fairy tales is a living picture of a society torn apart by internal contradictions.
In “Tales” Saltykov-Shchedrin embodied his many years of observations on the life of the enslaved Russian peasantry, his bitter thoughts about the fate of the oppressed masses, his deep sympathy for working person and their bright hopes for people's strength.
Satire is always modern. She not only follows hot on the trail of events. She is trying to look into tomorrow.
References
To prepare this work, materials were used from the site http://www.coolsoch.ru/
Aesopian language, or allegory, is a form dating back to time immemorial. artistic speech. It is not for nothing that it is associated with the name of Aesop, the semi-legendary creator of the Greek fable, who apparently lived in the sixth century BC. As legend has it, Aesop was a slave, and therefore could not openly express his beliefs and in fables based on scenes from the lives of animals, he depicted people, their relationships, advantages and disadvantages. However, Aesopian language is not always a forced measure, the result of a lack of determination; There are people for whom an indirect, allegorical manner of expressing thoughts becomes like a magnifying glass that helps them see life more deeply. Among Russian writers, the most notable talents who used Aesopian language are I. A. Krylov and M. E. Saltykov-Shchedrin. But if in Krylov’s fables the allegory is “deciphered” in morality (let’s say Demyanov’s ear is likened to the creations of a graphomaniac writer), then in the works of Saltykov-Shchedrin the reader himself must understand what reality is behind the writer’s half-fairy-tale, half-fantastic world.
Here is the “History of a City”, built entirely on allegory. What is the city of Foolov? Typical, "average" Russian provincial town? No. This is a conventional, symbolic image of all of Russia; it is not for nothing that the writer emphasizes that its borders expand to the entire country: “The pasture lands of Byzantium and Foolov were so adjacent that the Byzantine herds almost constantly mixed with Foolov’s, and incessant bickering arose from this.” Who are the Foolovites? No matter how sad it is to admit, the Foolovites are Russians. This is evidenced, firstly, by the events of Russian history, which, although presented in a satirical light, are still easily recognizable. Thus, the struggle of the Slavic tribes (Polyans, Drevlyans, Radimichi, etc.) and their subsequent unification, known from the chronicles, is parodied by Saltykov-Shchedrin in his depiction of how the bunglers were at enmity with neighboring tribes - the bow-eaters, frog-eaters, and hand-swords. In addition, such qualities noted by the writer as laziness, inactivity, and inability to be courageous builders make one see Russians in Foolovites. own life, and hence the passionate desire to entrust your destiny to someone, just so as not to make responsible decisions yourself. One of the first pages of Foolov's story is the search for a ruler. After the distant ancestors of the Foolovians kneaded the Volga with oatmeal, then bought a pig for a beaver, greeted the crayfish with the ringing of bells, exchanged the father for a dog, they decided to find a prince, but only a stupid one: “A stupid prince is, perhaps, even better for us.” will be! Now we’ll give him a little cake: chew it, and don’t bother us!” Through this story depicted by Saltykov-Shchedrin, the chronicle legend about the invitation of the Varangian princes to Russian soil is clearly visible; Moreover, the chronicler emphasizes that the Russians decide on foreign power over themselves, having become convinced of their own insolvency: “Our land is great and abundant, but there is no order in it...”
In addition to the above-mentioned allegories, “The History of a City” also contains more specific correspondences: Scoundrels - Paul I, Benevolensky - Speransky, Ugryum-Burcheev - Arakcheev. In the image of Grustilov, who raised the tribute from the farmstead to five thousand a year and died of melancholy in 1825, a satirical portrait of Alexander I is given. However, it cannot be said that bitter laughter at Russian fate testifies to the historical pessimism of the writer. The ending of the book speaks of the powerlessness of Gloomy-Burcheev to stop the flow of the river, in which one can see an allegory that the efforts of tyrants to stop the flow of life are ineffective.
It is also necessary to understand Aesopian language when reading the tales of Saltykov-Shchedrin. For example, the fairy tale The wise minnow", which tells about a fish trembling with fear for its life, of course, goes beyond the scope of the "life of animals": the gudgeon is the symbolic embodiment of a cowardly, selfish man in the street, indifferent to everything except himself. "The story of how one man fed two generals "is also full of allegories. A man twisting a rope to tie himself on the orders of the generals personifies the slavish obedience of the people. The generals think that French buns grow on a tree; this satirical detail allegorically depicts how far large officials are from real life.
Saltykov-Shchedrin said about himself: “I am an Aesop and a student of the censorship department.” But, probably, Shchedrin’s allegory is not only a necessity caused by censorship considerations. Of course, Aesopian language helps to create a deep, generalized image of reality, and therefore better understand life itself.
A fairy tale can be a lofty creation when it serves as an allegorical garment, clothing a lofty spiritual truth, when it reveals tangibly and visibly even to a commoner a matter that is accessible only to a sage.
N.V. Gogol
It was Saltykov-Shchedrin who introduced the concept of “Aesopian language” into Russian literary use, by which he meant artistic allegory (an expression containing a hidden, secret meaning), or allegory. The writer, as you know, studied at the Tsarskoye Selo Lyceum, where he received an excellent classical education, so the name ancient Greek He knew Aesop very well: lyceum students had to read Aesop's fables in the original.
Aesop - a Phrygian slave, an ugly hunchback, a writer of fables - lived, according to legend, in the 6th century BC. There is no exact information about whether Aesop really existed, but several biographies of him are known, and all the anonymous prose fables in ancient Greek literature are attributed to him. In other words, Aesop is the semi-legendary creator of the European fable genre: Aesop's fable is built on allegory, animals usually act in it, and people are implied.
Saltykov-Shchedrin showed inexhaustible ingenuity in creating allegory techniques (encoding and deciphering his ideas) and developed a whole system of “deceptive means.” Usually animals act in Shchedrin's fairy tales, but the writer constantly makes a reservation, switches the narrative from the fantastic to the real, from the zoological to the human world. Toptygin the First from the fairy tale “The Bear in the Voivodeship” ate a siskin, but the commentary on this insignificant forest event is quite serious: “It’s the same as if someone drove a poor tiny schoolboy to suicide through pedagogical measures...” (I). After this “disclaimer,” it becomes clear that we are talking about police persecution of students. In the fairy tale “Crucian carp the idealist” main character and ruff talk about social problems: world progress, class harmony and civic feelings - in a word, about “socialism” (!).
However, the writer maintains a distance between zoological images and people so that the allegory is artistically convincing. Describing the life of a cowardly minnow, the satirist depicts underwater world and habits different fish, even introduces man into the tale - the terrible “fish enemy”: “And man? - what kind of malicious creature is this! What tricks did he not come up with so that he, the minnow, would be destroyed in vain by death! The result is a complex allegory: on the one hand, the underwater world is presented as a human society, where the strong and rich oppress and destroy the weak and poor, on the other hand, the underwater world is openly opposed to man, that is, it should be perceived seemingly directly and literally.
Saltykov-Shchedrin, being a wonderful satirist, mastered all the techniques of the comic: humor, satire, irony, sarcasm, grotesque. In fairy tales, he most often used irony - subtle, hidden ridicule, presented as praise, flattery, feigned agreement with the enemy. The generals from “The Tale of How One Man Fed Two Generals” wandering around desert island, they stumble upon a man: “Under a tree, with his belly up and his fist under his head, a huge man was sleeping and in the most impudent manner avoided work.” Further, the author reports with ironic sympathy: “There was no limit to the indignation of the generals.” The empty dancers, watching the barely alive Konyaga resting on the edge of the field, discuss with interest why he still does not die from hard work. On this score, the well-fed and satisfied Konyaga brothers have deep thoughts: Konyaga’s vitality lies in “that he carries within himself the life of the spirit and the spirit of life! And as long as it contains these two treasures, no stick will crush it!” This is how the writer conveys the reasoning of “friends of the people” and ironically ridicules the lordly love for a peasant.
All of Saltykov-Shchedrin’s tales, like folklore ones, depict events in a non-specific time and place, and in some it is specifically indicated, for purely external disguise, that they will be talking about old times or foreign countries. The fairy tale “The Fool” begins with the words: “In the old years, under Tsar Gorokh it was...”, in confirmation of the extreme antiquity of events, one of the heroines of the fairy tale is called Militrisa Kirbityevna, like the treacherous mother of Bova the Prince. And in the fairy tale " Wild landowner"The writer ironically used the traditional opening folk tales: “In a certain kingdom, in a certain state, there lived a landowner, he lived and, looking at the light, rejoiced.” The uncertainty of time and place in Saltykov-Shchedrin’s tales only emphasizes the opposite semantic effect: the author describes modern Russian reality, topical social and political events.
The “Aesopian language” includes the choice of the mask of the “well-intentioned narrator”, on whose behalf the story is told. The fairy tale "The Fool" describes in detail Ivanushka's noble and generous actions, but calls them "foolish." Thus, the narrator aligns himself with the prevailing (unscrupulous) morality, but naively depicts the worthy “feats of a fool”: Ivanushka protects the goat, which is being tormented by the neighbor boys; gives all three rubles to the beggar; plays with Militrisa Kirbitevna's son Lyovka, about whom no one cares; is the first to run to a fire or to a seriously ill person, etc.
The “figure of silence” also belongs to the “Aesopian” style - a deliberate omission of words or a whole piece of text that is easily guessed by the reader. A striking example may serve as the end of the fairy tale “The Fool,” when Ivanushka disappears to God knows where for many years, and returns completely sick. The reader is transparently hinted that for his “stupid”, that is, the most noble, beliefs and actions, the hero ended up in prison, or exile, or the like: “Where did he wander? what did you see? understood or not understood? “No one could find out anything from him.”
The “Aesopian” style is manifested in the fact that Saltykov-Shchedrin brings fantasy in a fairy tale to the point of absurdity, so that the reader cannot bring these fantastic pictures closer to reality and, therefore, pays special attention to such episodes close attention. For example, one of the generals in “The Tale of How One Man Fed Two Generals” was a calligraphy teacher at a cantonist school. In other words, he taught the art of writing in a clear, even and beautiful handwriting in a special lower school for soldiers’ children. Here two questions immediately arise: why do soldiers’ children need calligraphy, and does it correspond to the rank of general - to work as a teacher in a soldier’s school? The author does not seek to explain this absurdity, but the reader understands that the generals are useless “sky-smokers” who not only do not know how to carry out basic work about the housework (picking apples, catching fish, etc.), but in general they don’t know how to do anything sensible, because all their lives they have been doing something unknown.
Finally, Saltykov-Shchedrin himself called one of the techniques of “Aesopian language” “lowering the tone.” The Toptygins in the fairy tale “The Bear in the Voivodeship” occupy at least a governor’s (general’s) position, but only have the rank of major. Consequently, satirical ridicule in the fairy tale is directed against large and small ranks and is of a generalizing nature. Having made up the governor as a bear, the satirist does not mince words and easily calls him “a brute”, “son of a bitch”, “scoundrel”. Similarly, the generals from “The Tale of How One Man Fed Two Generals” served all their lives in some kind of registry; the landowner from the fairy tale “The Wild Landowner” was not a rich nobleman (latifundist), but an ordinary small-scale owner.
So, one of the main features of Saltykov-Shchedrin’s fairy tales is the use of “Aesopian language,” that is, the conscious creation of a double-meaning text, when behind the direct meaning of what was said, a second meaning is revealed, which clarifies the author’s idea.
Usually the “Aesopian language” in Saltykov-Shchedrin’s fairy tales is explained by censorship prohibitions. However, it is known that many fairy tales, with the consent of the satirist, were published abroad. In these cases, the author could express his thoughts completely freely, but even then he did not abandon allegories. The allegorical manner of fairy tales is due not only to censorship obstacles that the writer had to overcome, but also to Saltykov-Shchedrin’s penchant for satire (it is the ambiguous images and expressions that make it poisonous). In other words, for the writer, “Aesopian language” became a witty manner of depiction, and therefore Saltykov-Shchedrin often resorted to allegorical expressions, “accidental” slips of the tongue, omissions, irony and the mask of a “well-intentioned storyteller.” Of course, these techniques appear in complex combinations in fairy tales.
“Aesopian language” allows you to approach the depicted subject from an unexpected angle and present it wittily, and unusual features and colors help create memorable images. The satirical writer knew the paradox very well artistic perception: “Hidden thought increases the power of speech, naked thought restrains the imagination” (A.I. Herzen).
If in the fables of Aesop and I.A. Krylov allegory serves to affirm universal moral values, then in the fairy tales of Saltykov-Shchedrin, with the help of allegory, critical assessment modern public life Russia, that is, social injustice, administrative arbitrariness, and “general reconciliation” are ridiculed social theories, class struggle is shown, etc.
Philologist, candidate philological sciences, poet, member of the Russian Writers' Union.
Publication date:07/25/2019
Collocation "Aesopian language" It is often used in literature classes at school and almost never occurs in life.
Perhaps this is why not everyone remembers what it means. Why did Aesop's language become so famous and why did it become a proverb? Let's find out!
Definition
Aesopian language is called allegory. This is how they define a thought that for some reason cannot be expressed directly. Most often, the ban is associated with censorship considerations.
In everyday life, adults sometimes resort to Aesopian language when they need to pronounce this or that information in the presence of children.
Even with the help of hints, two girlfriends can communicate, whom the husband or young man of one of them, who has become attached to their company, is forced to listen to. They coo “about their own things, about women’s things,” but not every word is comfortable to say in front of a man. So you have to encrypt.
It turns out that Aesopian language is a secret conversation between two parties, bypassing the third, uninitiated party.
Otherwise, allegorical expressions in language are called euphemisms. They are often used for ethical and aesthetic reasons. An example of a funny, absurd euphemism is given by N.V. Gogol in the poem “Dead Souls,” when one of the ladies says about a bad-smelling scarf that it “behaves badly.” Euphemisms surround us everywhere, without them life would not be so pleasant. For example, if students did not use the euphemism “you can go out” during the lesson, but specified exactly where they were going out, the class would savor the details of what was happening for a long time.
Euphemisms surround us everywhere, without them life would not be so pleasant. For example, if students did not use the euphemism “you can go out” during the lesson, but specified exactly where they were going out, the class would savor the details of what was happening for a long time.
Origin
As for the pedigree of the Aesopian language, it owes its appearance to the ancient Greek fabulist Aesop. Aesop was a slave and did not have the right to insult his masters by directly pointing out their shortcomings.
He was forced to transfer human vices to animals. The donkey “took upon himself” stubbornness and stupidity, the lion - vanity, the fox - cunning and prudence, the pig - rudeness. The reader understood that we were not talking about animals.
Modern writers also began to use Aesopian language: for example, the Russian satirist M. E. Saltykov-Shchedrin, who populated his fairy tales with such caricatured images that they still frighten not only children, but also adults.
Severe censorship of the tsarist, and then Soviet Russia forced not only fabulists and satirists to hide. Many writers moved away from tightly barricaded “adult” topics into children's literature.
Can you imagine that K. Chukovsky’s fairy tale “The Cockroach” was perceived as a personal attack by “Grandfather Korney” against Stalin? This is how “subtly” the censors learned to read Aesopian language!
Initially, it was assumed that the allegory is understandable only to the author and the reader, and the censor, even if he is quick-witted, cannot convict the writer of insulting his superiors.
Synonyms
In the minds of Russian people, allegory is not good. This is, frankly speaking, a necessity. In everyday speech, vague hints were always perceived by the people as empty chatter and a departure from the essence of the matter. Therefore, in our language the expression “Aesopian language” has slightly condemning synonyms:
- speak indirectly;
- speak in hints;
- beat around the bush.
Foreigners associate phraseological units with other idioms:
- speak in parables (English);
- to make allegories (French).
The ability to use allegories is, of course, good. True, one cannot always be sure that their exact meaning will reach the addressee. So, if you want to be understood and heard, speak not in Aesopian language, but in your own language.
Aesopian language in the works of M. E. Saltykov-Shchedrin Aesopian language, or allegory, is a form of artistic speech dating back to time immemorial. It is not for nothing that it is associated with the name of Aesop, the semi-legendary creator of the Greek fable, who apparently lived in the sixth century BC. As the legend goes, Aesop was a slave, and therefore could not openly express his beliefs and in fables based on scenes from the lives of animals, he depicted people, their relationships, advantages and disadvantages. However, Aesop’s language is not always a necessary measure, the result of a lack of determination: there are people , for whom the indirect, allegorical manner of expressing thoughts becomes like a magnifying glass that helps to see life more deeply.
Among Russian writers, the most notable talents who used Aesopian language are Krylov and Saltykov-Shchedrin. But if in Krylov’s fables the allegory is “deciphered” in morality (let’s say Demyanov’s ear is likened to the works of a graphomaniac writer), then in the works of Saltykov-Shchedrin the reader himself must understand what reality is behind the half-fairy-tale, half-fantastic world of the writer.
Here is the “History of a City,” built entirely on allegory. What is the city of Foolov? A typical, “average” Russian provincial town? No. This is a conventional, symbolic image of all of Russia; it is not for nothing that the writer emphasizes that its borders expand to the entire country: “The pasture lands of Byzantium and Foolov were so adjacent that the Byzantine herds almost constantly mixed with Foolov’s, and incessant bickering arose from this.” Who are the Foolovites? No matter how sad it is to admit, the Foolovites are Russians.
This is evidenced, firstly, by the events of Russian history, which, although given in a satirical manner; lighting, but still easily recognizable. Thus, the struggle of the Slavic tribes (Polyans, Drevlyans, Radimichi, etc.), known from the chronicles, and their subsequent unification are parodied by Saltykov-Shchedrin in his depiction of how bunglers were at enmity with neighboring tribes - cannibals, frogmen , rukosuami.
In addition, one is forced to see Russians in Foolovites by such qualities noted by the writer as laziness, inactivity, inability to be courageous builders of one’s own life, and hence the passionate desire to entrust one’s destiny to someone, just so as not to make responsible decisions oneself. One of the first pages of Foolov’s history is the search for a ruler. After the distant ancestors of the Foolovites kneaded the Volga with oatmeal, then bought a pig for a beaver, greeted the crayfish with the ringing of bells, exchanged the father for a dog, they decided to find a prince, but only a stupid one: “We are stupid.” -The prince, perhaps, will be even better! Now we’re putting the cake in his hands: chew it, but don’t bother us!” Through this picture Saltykov-Shchedrin history is clearly visible in the chronicle legend about the invitation of the Varangian princes to Russian soil; Moreover, the chronicler emphasizes that the Russians decide on foreign power over themselves, having become convinced of their own insolvency: “Our land is great and abundant, but there is no order in it.” In addition to the above-mentioned allegories, there are more specific correspondences in “The History of a City”: Negodyaev - Pavel I, Benevolensky - Speransky, Ugryum-Burcheev - Arakcheev.
A satirical portrait of Alexander I is given in the image of Grustilov, who raised the tribute from the farm to five thousand a year and died of melancholy in 1825. However, it cannot be said that bitter laughter at Russian fate indicates historical pessimism writer.
The ending of the book speaks of the powerlessness of Gloomy-Burcheev to stop the flow of the river, in which one can see an allegory that the efforts of tyrants to stop the flow of life are ineffective.
It is also necessary to understand Aesopian language when reading the tales of Saltykov-Shchedrin. For example, the fairy tale “The Wise Minnow,” which tells about a fish trembling in fear for its life, of course, goes beyond the scope of “animal life”: the minnow is the symbolic embodiment of a cowardly, selfish man in the street, indifferent to everything except himself. “The story of how one man fed two generals” is also full of allegories.
A man twisting a rope to tie himself on the orders of the generals personifies the slavish obedience of the people. The generals think that French buns grow on trees; This satirical detail allegorically depicts how far large officials are from real life. Saltykov-Shchedrin said about himself: “I am an Aesop and a student of the censorship department.” But, probably, Shchedrin’s allegory is not only a necessity caused by censorship considerations.
Of course, Aesopian language helps to create a deep, generalized image of reality, and therefore better understand life itself.
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