Research: "Folklore motifs in fairy tales M.E. Saltykov-Shchedrin"
Samoilov M.
Research: " Folklore motifs In fairy tales M.E. Saltykov-Shchedrin "
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Municipal budgetary educational institution
Bondar Secondary School
Competition of literary and artistic creativity
"Masterpieces from the inkwell"
Research (abstract) on the topic:
"Folk motifs in fairy tales M.E. Saltykov-Shchedrin "
Nomination: "Literary criticism"
Completed: Student 7 A Class of Samoilov M.
Leader: Teacher of Russian Language and
Literature Shestakova O.A.
from. Bondari.
2016 year
Brief abstract
The author of this work tried to find distinctive features and features of the fairy tales M.E. Saltykova-Shchedrin, and also analyze what brings the fairy tales of the Great Writer with the works of folklore and what they differ from them.
Tasks:
Analyze folklore motifs in the fairy tales M. Sealtykova-Shchedrin;
Learn distinctive features and features of the fairy tales M.E. Saltykova-Shchedrin;
Check if creativity is interesting this author Modern reader.
Research methods:
1. Working with the texts of fairy tales.
2. Analysis of information on the fairy tales M.E. Saltykova-Shchedrin from various sources.
3. Testing for fairy tales Saltykov-Shchedrin.
Relevance
The bright admission of creativity of many writers of the XIX century was their ability to continue in their works folklore traditions. This also applies to the work of M.E. Saltykov-Shchedrin. This is most brightly manifested in his fairy tales.
The fairy tale is one of the most popular folk genres. This type of oral narration with fantastic fiction, having a centuries-old history. Fairy tales Saltykov-Shchedrin are associated not only with folk traditions, but also with satirical literary fairy tale XVIII-XIX centuries.
In "Fairy Tales for Children easy age»The writer will beak unrest that prevent Russia's development. And the main evil that the author condemns is serfdom.
I expand the connection of the fairy tales M.E. Saltykov-Shchedrin with the traditions of oral folk art and will try to understand why the author in folk motifs introduced topical political topics and with the help of the usual characters revealed complex problems of his time.
Introduction
M. E. Saltykov-Shchedrin wrote more than 30 fairy tales.
But A. S. Pushkin was right, when he wrote: "The fairy tale is a lie, yes there is a hint! .." Yes, a fairy tale - a lie, fiction, but it is with the help of a fairy tale M.E. Saltykov - Shchedrin shows all positive traits People and brand, ridicules domination in society alone over others. I believe that with the help of a fairy tale, the author was easier to communicate with the people, because her tongue is understandable to everyone. In order to make sure that you look more closely in the fairy tale M. E. Saltykov-Shchedrin.
Main part
Among the huge literary heritage of M.E. Saltykova, his fairy tales enjoy great popularity. It is in them that the traditions of Russian folklore are most clearly traced. Fairy tales are the result of the author's perennial vital observations, as they were created at the final stage of his life and creative path. Of the 32 fairy tales 28 created for four years, from 1882 to 1886. Writer Denies them to the reader in the affordable and bright artistic form. Words and images for them, he took in folk fairy tales and legends, in proverbs and sayings, in a picturesque show of the crowd, in the entire poetic element of the lively popular language. Shchedrin wrote his fairy tales for ordinary peopleFor the widest readers. It was not by chance that the subtitle was chosen: "Fairy tales for children of a fair age." These works were distinguished by true humans..
What brings the tales of generous with folk tales and what they differ from them? We will try to figure out. In fairy tales of generous, we see typical fabulous inscriptions ("there were two generals ...", "in some kingdom, in some state there was a landowner ...") who give the fairy tales a special, some kind of fantastic shade; SCNCTIONS ("By schuye village"," Neither in a fairy tale, notice to describe "); Characteristic for folk speech Turns ("thought-thought", "said is done"); approximate to the folk language syntax, vocabulary; Exaggeration, grotesque, hyperbola. For example, one of the generals eats another; "Wild landowner" like a cat, in one moment climbs on a tree, a man cooks soup in a hassle. As in folk fairy tales, the wonderful incident ties the plot: two generals "suddenly found themselves on an uninhabited island"; By the grace of God "did not become a man on the entire space of possessions of the stupid landlord." The use of proverbs and sayings is another of the features of Shchedrin fairy tales, which naturally indicates their nationality, their originality. A distinctive feature of allegory of fairy tales Saltykova is to use the author of the periphrase ("Bear on the Voivodeship", "Drown Vobla", "Eagle-Metzenate").
But, at the same time, Tales M.E. Saltykova-Shchedrin is not a speech of the people of the narrator. This is philosophical and satirical fairy tales. They are about life, that I saw and watched the writer in reality. The difference between the fairy tales of Saltykov-Shchedrin from the people is that they often intertwined fantastic not only with real events, but even with historically reliable.
To make sure that you can compare the tales of generous with Russian folk fairy tales and mark general and distinctive features.
Tales Saltykov-Shchedrin | Fairy tales of the Russian nation |
|
Common features | Stainless | Stainless |
Distinctive features | Satire No positive hero | Humor Victory of good evil |
Stressing the connection of fairy tales with real reality, M.E. Saltykov-Shchedrin joined the elements of folk speech with modern concepts. The author used not only the usual staining ("lived - there were ..."), traditional turnover ("Neither in a fairy tale, nor to describe", "began to live yes,"), folk expressions ("Duma thinks", "the mind of the Chamber "), the spaciousness (" distribution "," destroy "), but also introduced publicistic vocabulary, foreign words. He enriched folklore plots with new content. Folk tradition M.E. Saltykov-Shchedrin follows in fairy tales of animals when the shortcomings of society rines in allegorical form! He created the images of the animal kingdom: a greedy wolf, a fox cunning, a cowardly hare, stupid and evil bear. Despite the fact that these images reader knew well according to Krylov's fables, Shchedrin, with the help of familiar characters, revealed complex problems of modernity, introducing magic and folk arts to the world of popular creativity.
Relying on folk wisdomUsing the wealth of folk speech, Russian folklore, imbued with a purely popular humor, the writer created works, the purpose of which was to awaken his great spirit, his will and power. All their work M.E. Saltykov-Shchedrin sought toso that the "children of a fair age" indignant and stopped being children.
Thus, having enriching the fairy tale with new satirical techniques, Saltykov-Shchedrin turned it into an instrument of socio-political satire.
Satiric does not parody folklore and modern living, popular speech, and adapts them to solve their own artistic tasksWhat has become a characteristic copyright style. Saltykov-Shchedrin did not copy the structure of the folk fairy tale, and contributed to it, new.
Conclusion
M.E. Saltykov-Shchedrin - Great Russian writer. His fairy tales are a great monument of the past. Not only the types created by this author, but also winged words and expressions are still found in our everyday life. Images of its works are firmly included in the life of the Russian people, they became nominated and live in centuries.
Output
After analyzing the fairy tales M.E. Saltykova - generousAccording to the purpose of our work, I came to the following conclusions:
1. The language of the writer's fairy tales is deeply peoples, close to Russian folklore.
2. The folk basis of fairy tales attracted the attention of readers. "Tales" M.E. Saltykov-Shchedrin was walked by the political consciousness of the people, called against the fight against injustice and human vices.
3. Testing done by me among classmates showed:
Most guys are reading fairy tales M. Sealtykova-Shchedrin.
Application:
1. Test.
1. What explains the choice of M. E. Saltykov-generous tale genre?
a) the desire to leave the vitality of truth;
b) the desire to overcome censorship obstacles;
c) addiction to an allegorical manner of the letter;
d) popularity of fairy tales as a favorite genre
propaganda literature;
2. What is common in the fairy tales M. E. Saltykov-Shchedrin with folk tales?
a) a fabulous story
b) are based on life realities
c) folk ideas about good and evil
d) traditional fabulous techniques
e) social and pointed issues
e) typical for folk fairy tales Images of animals
3. What is the "Shchedrian" fairy tale from the people?
a) evil in the final is punished not always
b) the use of sarcasm and satire
c) interpretation of characters
d) introduction of atypical for folk fairy tale
4. Who is ridiculed in the fairy tales of M. Saltykova-Shchedrin?
a) government
b) revolutionary democrats
c) ordinary people
d) Liberals
"Wallable Pescar" was not only the result of self-development and the synthesis of familiar shaped associations. In the dramatic scene of the court over Pescarem Ivan Riven, Satirov depicted an autocracy of the people's revolutionaries after March 1, 1881. Political acuity of the topic required a complex artistic disguise, the invention of a special form, which was suggested by Satyrics already used by the associations previously and enriched with some new achievements of creative Fantasy, giving the work a bright and unique peculiarity.
This originality is expressed in the fact that people with compliance with 308 M. E. Saltykov-Shchedrin procedural rules are judged by representatives of the animal world. Neither in the artistic literature, nor in Russian folklore, in any other product of the most generous, we do not meet with this phenomenon. "Wheel Pescar" appeared in the "domestic notes" in January 1884, that is, a year later, "ill-starred sand". The date of writing a fairy tale usually or does not give values, or indicate it erroneously.
Meanwhile, the refinement of the work of Shchedrin over the fairy tale "Wombar Pescar" is important for a more complete disclosure of the ideological plan of saticar. The fairy tale, as it can be installed on the letters of Shchedrin, was written in late January 1883. Shchedrin, apparently, began to immediately, as soon as January 21, 1883 he learned about the announcement " Domestic memorization»A second warning for the January book, where the heads of the" modern idylli "were printed, which included" ill-fated sand. " Forced due to the warning to temporarily suspend the "modern idyll", Shchedrin reported A.L. Korovikovsky in a letter dated January 31: "Posted for the February book four fairy tales - somehow it is not enough to be at all." Among these fairy tales was "Wheel Pescar". So for a quarter of a century, you can observe such elements of the form in the works of generous, which are ultimately synthesized in the fairy tale "Wheel Pescar".
The process of forming ideological design and the poetic form of this fairy tale can serve as a prototype of the formation and many other Satirik fairy tales. This process can be represented in this form. The most satirical typing tasks were dictated by bringing human images These or other zoological shades. Appropriate epithets and comparisons with animals appeared, there were separate episodes, scenes and, finally, isolated fairy tales in the form of an animal epic.
Shchedrin understood everything more clearly that the main cause of defeats of revolutionary fighters and a long celebration of the government and public reaction is the perishability and inorganization of the masses, their ideological unpreparedness to the struggle for their rights.
The writer sought to reveal the main cause of the weakness of the liberation movement, so the problem of the people took a special place in the last works of Shchedrin, so "Mass Mass" considered it now the main topic. The image of the people is represented in one way or another in almost all generarous fairy tales, and, above all, in such as "the story of how one man's two generals proceeded", " Wild landmark"," Neighbors "," Konya "," Kisel "," idle conversation "," Rustic fire "," way-expemon "," Crow-jub ". And in those fairy tales, the theme of which did not touch the man directly, the latter appears in the collective image of "middle and small people, which because of the penny all day beats in the rain yes on a slush" ("Missing conscience"), then in an episodic figure of Ivanushka Following the way - to submit an expensive to the Treasury "(" virtues and vices "), or Ivan the poor, who has been deprived of the cow for the voltage of the filse (" Christmas fairy tale ").
And even the Shchedrian paintings of nature captured the Great Sorrow peasant Russiacrushed by dirty bone.
On a dark background of the night, the author's gaze catches first of all the "mourning points of the villages", "the silent village", the long-suffering military of people "gray, tortured life and poverty, people with the exterpassed hearts and a downlink of the dollars" ("Christ's Night"). If you collect and group multiple episodes and images of fairy tales related to the characteristics of the masses, then we will get multilateral, deep and complete drama pictures of the life of the Foreign Russia. It is told about the hopeless work, suffering, the innermost thinks of the people ("Konya", "Rustic fire", "neighbors", "by expensive"), about his age-old humility ("The story of how one man's two generals was punished," "Selfless hare"), about his vain attempts to find the truth and protection in the ruling tops ("Crow-Man"), about the spontaneous explosions of his class indignation against oppressors ("Bear on Voivodeship", "Poor Wolf"), etc.
All these amazing in laconism and brightness sketches peasant lifemating high artistic M. E. Saltykov-Shchedrin with the advantages of the scientific political and economic treatise, with inexorable logic reveal the causes of social disasters.
Shchedrin not only knew how to understand the need and explain the origin of folk disasters; He perceived them with the deep "cardiac pain, which forces to be opposed to the worldly need and bear the sins of this world." The source of permanent and painful pondays of the writer served as a striking contrast between strong and last sides Russian peasantry. On the one hand, the peasantry represented great strength, showed unparalleled heroism in labor and the ability to overcome any difficulties of life; On the other hand, hesitantly endured his oppressants, too passively transfers the oppression, fatalistically hoping for some external assistance, naive faith in the coming of the good chiefs.
The spectacle of the passivity of the peasant masses was dictated by generous pages, performed by the lyrical sadness, then a density of longing, then a sorrowful humor, then bitter indignation. This motive is truly terrible love to the people pass through many Shchedrian fairy tales. With bitter irony depicted generin fuel, the slave humility of the peasantry in the "Tale of how one man's two generals was punished," presenting a picture of the screaming contradiction between the huge potential strength and class passivity of the peasantry.
"Masteful Muzin", he is all the hands of the master. He pulled the apples from the tree, and potatoes in the ground mined, and the silk for catching the rivets from their own hair, and the fire was removed, and there were a different provisions to the peaks to feed the voracious TUneevs, and the Swan's fluff gained to be gently slept. Yes, it's a strong men! Before his protest, if he was capable of this, the generals would not be resist. And in the meantime, he is badly subordinate to the generals gave them a dozen apples, and he took "one, sour". The rope itself, so that the generals keep him at night at the taught and was still ready for the "generals to please for the fact that they, Guenewadets, did not pray and did not be born!" How many generals either ruled the man "for his tunestry", but "the man is all rowing and rowing and feeds the herds to the generals."
It is difficult to imagine a more embossed image of the strength and weakness of the Russian peasantry in an autocracy era! Bearing in mind the passivity and humility of the man, satiric with a heart painted pain liked the Russian peasantry, then a hare, fearing to break the wolf order ("selfless hare"), then the Voronene - "Pouring Bird and All I agree" ("Eagle-Metzenate"), then Keel, allowing you to never eat yourself ("Kisel"). Satirik loved to repeat that the Russian man was poor in all respects, and above all the poor consciousness of his poverty. In this sense, the image of a man in a "toy business of people" is noteworthy. A man comes to Mtzompuitsa, he feels "guilty", and his whole wine is only that he is a man. To redeem this "guilt", it allows the Mtzoimetsu to thorough himself, and besides, receives a fair amount of tumaki. "The man was strongly abandoned, but, apparently, Nimalo is not distressed. He understood that he had fulfilled his duty, and only slowly shake. "
Feel "guilty" in front of the authorities, to give everything that I got your work, getting only tumaki for it, and to be satisfied that "fulfilled my duty," here it is, a genuine tragedy of the man's unconsciousness! Recreation in fairy tales a picture of peasant disasters, Shchedrin consistently conducted an idea of \u200b\u200bthe need to oppose the exploiters to the power of the people. He persistently inspired the oppressed masses that their oppressants are cruel, but not so powerful as it seems to be frightened.
He sought to raise the consciousness of the masses to the level of their historical calling, to arm them with courage and faith in his dormant forces, wake up their huge potential energy for collective self-defense and active liberation struggle. In fairy tales, he repeatedly returned (of course, to the extent that it was possible in the legal press) to the image of the process of a concerning, revolutionary protest, then a spontaneous ("poor wolf", "Bear in Voivodeship", "Crowbar"), That illuminated by the first glimpse of the awakening class consciousness ("way-expensive").
Folk patience is not indefinite, the outrage of the masses increases and inevitably be completed by the spontaneous explosion: "Trying and cold, and hunger, everyone is waiting for: would be better ... no longer?" ("By expensive"); "Do we endure? After all, if we ... "(" Crow-Gulb ") Toptygin 2nd with his pogroms brought men from patience:" The men exploded, "and they dealt with the oppressive, putting him on Hhatina (" Bear on Voivodeship "). The fact that, on the one hand, the Peasant Democrat Shchedrin laid his hopes primarily on the peasantry, and on the other hand, it was quite aware that it was not ready for consciously organized struggle, it was this circumstance that was a source of deep tragic Satir's experiences .
With a special force, these experiences were reflected in the fairy tale "Konya", where the peasant mass is represented as a huge creative force, but the strength is politically sleeping. The fairy tale of "Konya" is the strongest work of Shchedrin in the row of the consecrated position of the Russian peasantry in Tsarist Russia. Never subsided the pain of Saltykov-Shchedrin for the Russian man, the whole bitterness of the writer about the fate of his people, its country was concentrated in the close borders of one fairy tale and spoke in the burning words, exciting images and filled with high poetry paintings.
The bright admission of creativity of many writers of the XIX century was their ability to continue in their works folklore traditions. It was famous for this and Pushkin, and Nekrasov, and Gogol, and Tolstoy. But this series would be incomplete if we did not put another name in it - Saltykov-Shchedrin. Among the huge heritage of this writer is very popular with his fairy tales. It is in them that the traditions of Russian folklore are most clearly traced.
The form of a folk tale to Saltykov-Shchedrin was used different writers. In verses or prose, they recreated the world of people's ideas, folk poetry, people's humor. Recall, for example, Pushkin's fairy tales: "About Pop and about the employee of his Bald", "About the Golden Cockerel".
The creativity of Saltykov-Shchedrin is also shot by folk poetic literature. His fairy tales is the result of the author's perennial vital observations. Writer Denies them to the reader in an affordable and bright artistic form. Words and images for them, he took in folk fairy tales and legends, in proverbs and sayings, in a picturesque show of the crowd, in the entire poetic element of the lively popular language. Like Nekrasov, Generin wrote his fairy tales for ordinary people, for the widest readers. It was not by chance that the subtitle was chosen: "Fairy tales for children of a fair age." These works were distinguished by true erup. Using folklore samples, the author was created on their basis and in their spirit, creatively revealed and developed their meaning, took them from the people to return then ideologically and artistically enriched. He used the masculine language. Memories are preserved that Saltykov-Shchedrin "loved the purely Russian peasant speech, which he knew perfectly." Often he spoke about himself: "I am a man." This is basically the language of its works.
Stressing the connection of fairy tales with real reality, Saltykov-Shchedrin joined the elements of folk speech with modern concepts. The author used not only the usual staining ("lived - there were ..."), traditional turnover ("Neither in a fairy tale, nor to describe", "began to live yes,"), folk expressions ("Duma thinks", "the mind of the Chamber "), the surprise (" distance "," destroying "), but also introduced a journalistic vocabulary, a stationery jargon, foreign words, turned to Ezopova speech.
He enriched folklore plots with new content. In her fairy tales, the writer created images of the animal kingdom: a greedy wolf, a fox cunning, a cowardly hare, stupid and evil bear. These images, the reader knew well on the fables of Krylov. But Saltykov-Shchedrin entered the world of folk creativity, topical political topics and with the help of the usual characters revealed complex problems of modernity.
But the words of the author dedicated to the people are penetrated by bitterness. He suffers from the oppression of the landlord, tolerates badly. When nemogue becomes short, the men are treated for God with a tear prayer of the orphan: "Lord! It is easier for us to disappear with children with small, rather than life so much!" Men - Wantleless creatures, living unconscious herd life. The heart of the Great Writer is filled with longing, pain for his people and hate to oppressors.
The fairy tale sounds a call, like Nakrasov: "Do you wake up, filled with forces?" And, as it seems to me, Saltykov-Shchedrin tried to convey to the people to the people, in the name of which he himself fought with a sharp pen of satire.
Relying on popular wisdom, using the richness of folk speech, Russian folklore, imbued with a purely popular humor, the writer created works, the goal of which was to awaken his great spirit, his will and power. All their work Saltykov-Shchedrin sought to "children of a fair age" argued and stopped being children.
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"The story as a man of two generals fed" Saltykov-Shchedrin has the general features of building the plot of a magic fairy tale, but first of all, is a satirical orientation.
Socio household fairy tales, like fairy tales of animals, have the same composition with a magic fairy tale, but household fairy tales differ in qualitatively. The household fairy tale is firmly related to reality. There is only one world - earthly. If the magic fairy tale has a more or less defined formula - its inspirations, endings, general places, then the household fairy tale can begin with anything, usually she immediately introduces a listener into a story about the events that make up the basis of the plot-without a prosecution, without preface.
Each work has its own individual genre features. The main features of folk fairy tales associated with the genre can be called:
1) an individual language that tell a fairy tale;
2) The flaked structure (zinch and the ending embedding the fairy tale in the "chain" of others. For example: "Lived" ... ", ending" here and a fairy tale End ... ");
3) the timing of the repetition of actions (three iron cops, three iron boots, etc.);
4) Some plot details in the fairy tale are connected by special formulas "Live Live ...";
5) Heroes have special names (Ivan-Durak, Vasilisa Revinda, etc.
Based on the National Tradition, M. E. Saltykov-Shchedrin created in Russian literature special genre - literary satirical fairy tale, in which traditional fabulous fantasy is combined with realistic, topical political Satira. On an imperious plot, these fairy tales are close to folk. The writer uses receptions from the poetics of folklore zinch:
"He lived, was Pescar .." (in the fairy tale "Promotud Pescar"), "Two neighbor lived in some village .." (in the fairy tale "Neighbors"), "In some kingdom, he was born ..." ("Bogatyr")
SCNCS:
"By whining omen", "not in a fairy tale say"),
Throekt repetition of motive, episode, etc. (Three TopMygins, three guest visits to the wilderness, etc.). In addition, the construction of a string with the transfer of adjective or verb is characteristic of the adjective or verb
Transparent moral, which is easy to understand from the content.
At the same time, the fairy tale of Saltykov-Shchedrin is significantly different from folk. Satirik did not generate folklore fairy tales, and on their basis, freely created his own, author. Taking advantage of the familiar folklore images, the writer filled them with a new (socially political) meaning, successfully came up with new-vigorious images (wisen sand, Karas-idealist, dried by Vobla). Folklore fairy tales (magic, domestic, fairy tales of animals) are usually expressed by universal morality, show the struggle of good and evil forces, mandatory victory positive heroes Thanks to their honesty, kindness, the mind - Saltykov-Shchedrin writes political fairy tales filled with relevant for its time content.
Conclusion by chapter 2
"Fairy tales for children of a fair age" M.E. Saltykov-Shchedrin is used folk canons, but not completely and gradually develop into something other, expressed in the form of a satirical political fairy tale, otherwise, transformed under the influence of the cultural context of the era. It should also be noted that poetics is an artistic system with a special world-up-call, the so-called "folklore consciousness", the roots of which go to the archaic past of humanity, and the purpose of the functions of the poetics of Folklore, can be said, is an expression of this consciousness.
Based on the national tradition, M. Saltykov - Shchedrin created a special genre in Russian literature - a literary satirical fairy tale, in which traditional fabulous fantasy is combined with realistic, topical political satire.
Chapter 3. Artistic and poetic function: Artistic world and poetics of a folk word in the fairy tales of Saltykov-Shchedrin
Many Russian writers recognized serious importance from a fabulous fiction: in fairy tales it is always narrating about something incredible, impossible in real life. However, fantastic fiction includes the "idea of \u200b\u200bordinary and natural," that is, in fiction and is true. The great Russian scientist M. V. Lomonosov wrote that due to the fantastic fiction "ordinary and natural idea", that is life truth, It is expressed "stronger" than the story would be carried out without fiction.
IN AND. Dahl in the dictionary defines a fairy tale as "a fictional story, an unprecedented and even non-abundant story, led" and leads as an example several proverbs and sayings associated with this folk genome. "Or do the case, or fairy tales to tell. Factory fold, and the song is a friend. Fairy tale by the warehouse, the song of Ladron Red. Neither in the fairy tale, nor the pen describe. Without reading the fairy tales, do not throw pointers. The fairy tale from the beginning begins, everything is read to the end, and in the serpent is not interrupted. " Of these proverbs, it is obvious: the fairy tale of a folk fantasy product is "foldable", a bright, interesting product that has a certain integrity and special significance.
When analyzing the peculiarities of folk spiritual life, it is possible to meet such a concept as a conciliarity, reflected in fairy tales. Cathedral represents the unity of the case, thoughts, feelings, in fairy tales opposed egoism and greed. Labor acts not as a meantime, but as a holiday. Almost all folk fairy tales, personifying the joy of labor, end with the same promotion: "Here, on joys, they all went together in the dance ...", in the fairy tales "Konya", "The story as a man of two generals fed" M. E. Saltykov-Shchedrin depicts the operation of the Menietary Labor.
In the folk fairy tale, such moral values \u200b\u200bof the people are displayed, as: a kindness, like pity for a weak, which triumphs over egoism and manifests itself in the ability to give the latter and give to another life; suffering as a motive of virtuous actions and feats; The victory of the spiritual strength over the power of physical. The embodiment of these values \u200b\u200bis the basis of a fairy tale, the meaning of it becomes deep, despite the naiveness of its destination. Artistic world Tales M.E. Saltykov-Shchedrin absorbed these features of folk art.
The writer is partly continuing romantic traditions (Dvouliiria), built on a continuous conditional game with the present. The allegority of the text is destroyed using abundant concrete realities, Ezopov language begins to live its own, independent of the tasks of the author of the author. Follow the note, in most cases, sarcasm only coins with a romantic irony, but in fairy tales M.E. Saltovkova - generous is dominant over it.
In folklore, the writer took as a basis not only familiar to the national consciousness of the image, but also the usual distribution of ethical traits between the characters is replaced by the creation of a psychological portrait (Baran-non-redesign with his "sudden thirst for forming aspirations" in the fairy tale "Baran-Nepomny" Crow-a man with his heartless heart, even his innocent Chizhik with his unpretentious dreams in the fairy tale "Crow-jub").
M.E. Saltykov - Shchedrin fruitfully uses folklore fabulous tradition. In a folk fairy tale, each animal caused his a number of impressions from people, and this was developed in the fairy tale options with various performers. For example: the nicknames of the frogs were associated with the sounds produced by her in the water: "On the water of the rooftop", "Zhabka-damping", "frog-cuckoo", "on the water of the baublet". Bunny excited visual impressions: "Belyanka Zabyanka Ivanov Son", "Bunny-Powder", "Bare-broadcasting".
The images of the bear and the wolf are often accompanied by such nicknames as: "With a bark of the Valen," "Forest Night", "you give everyone". The image of the fox found the estimated characteristics: "Fox-Beauty", "Fox-sister" and others.
It is impossible not to pay attention to the image of the bear: in almost all fairy tales, the bear is fooled and raised. This tradition of the image of a bear is noticeable in many Russian folk fairy tales: "Bear and the old woman", "Cat and wild animal", "Bear learns to go", "Man, Bear and Fox" ... In fairy tales, a stupid of the bear may be, perhaps only a wolf.
People's sword over the beast may be caused by a loss of totem worship. Perhaps not by chance eastern Slavs It was common "bearish fun." It is a dramatized envelope, grotesque mockery over the rites of the past, as you know, I liked this fun and king Ivan Grozny. For example, in 1571, on his order, a certain sustrous sturgeon arrived in Novgorod, which was collected throughout novgorod land Merry people - scrookhov - and bears and on several fallands drove them to Moscow. The king himself without fairy tales and unprecedented could not even fall asleep.
In the works of M. E. Saltykov-Shchedrova The image of a bear is found in the "Bear on Voivodeship" fairy tale, which reveals the problems of the foundations of the monarchical system. Toptygins from this fairy tale are sent to the Voivodeship. Their dementia does not allow them to make more or less devented actions for subjects. The purpose of his reign, they set as much as possible to perform "bloodshed".
People's anger decided by their fate: Toptygins were killed by the rebels, but the idea of \u200b\u200bthe revolutionary reorganization of the state was unsolonged the writer, because he believed that violence would cause violence. The ones of this fairy tale lies in the fact that even the most gentle patience comes an end, and the self-admiration of rulers, not "burdened" mind and turning, one way or another will one day will work against them, which happened.
Also, Saltykov-Shchedrin often depicts representatives of the "fish" world. On the one hand, fish images send us to a straight allegory: the silence of the inhabitants of the quiet rays - irresponsibility, the alienation of the people. But on the other hand, the issues of these works are much more complicated.
So, for example, if the fairy tale "Woven Pescar" is built on the description of the whole life of the hero, then the fairy tale "Carace-idealist" dates back to the philosophical dialogue. We can say that we have a kind of fairy tale of the dispute, where the harmonious combination of two opposite has been found. And the fairy tale "Drier Vobla" reminds the philosophical political pamphlet with its artistic features. It reflects the atmosphere in Russia after the murder of Emperor Alexander II, the panic state of society, "There are extra thoughts, an extra conscience, extra feelings" .28
If you compare the "fairy tales" of Saltykov-Shchedrin with Russian folk fairy tales, it should be noted that the Heroes of Saltykov are special, sharply different from the heroes of Russian folk fairy tales: in folk fairy tales, the hero often occurs for the better (Ivan-Furak turns into Ivan-Tsarevich), And the Saltykov-Shchedrian everything remains unchanged. In fairy tales, Shchedrin there is no celebration of good over evil, as in Russian folk fairy tales. Rather, they triumph, but in "fairy tales for children of a fair age" there is always a morality that relates them to the fables.
In the works of Saltykov-Shchedrin, reality is not perceived in the context of familiar meanings and values. Reality is represented as absurd as something incredible, but it is she becoming a terrible reality that surrounds the writer.
"The terrible laughter", or "laughter of fear" is one of the main copyrights in the fairy tales of M. E. Saltykov, generous. This laughter, as often, is called, meaningless and destructive exposes stereotypes and illusory ideas about life. In folk tales, laughter primarily carries the self-blood character of generally accepted ideals.
Summing up observation, it should be noted that artistically poetic The world of fairy tales consists of structural forms of mythopoietic thinking. M. E. Saltykov - Shchedrin uses a system of binary oppositions, which, as you know, go back to the poetics of the myth (Sleep / Press, life / death, truth / lie, top / bottom, rich / poor, etc.). Special role In the formation of deep semantics, which goes back to mythopoethics, belongs to such images - symbols, like cones, fields, conscience, etc., that is, symbols of different semantic layers: from mythological to modern hand-made.
The artistic world of fairy tales M. E. Saltykov-Shchedrin interprets the poetics of the folk genre, depending on the copyright. Transformation of folk worldview Consider in the next section.
3.1 Transformation of folk world view in fairy tales M.E. Saltovka-generous.
Almost every in a Russian magic fairy tale there is a "fool", which stands out against the background of other heroes. The strength of the fool in Russian folk fairy tales in his kindness and responsiveness, in willingness to help those who fell into trouble, in the absence of greed, to this hero appeals and M.E. Saltovka-generous. Only his hero falls into society, in which high human advantages are recognized as abnormal, dangerous and exposed to severe persecution. Final fairy tales Saltykov-Shchedrin is not like the final of the folk fairy tale: the miracle does not happen.
The artistic world of the tales "Bogatyr" contradicts the folk tradition: the image of a warrior hero, "brave husband" turns into anti-ideal. Violating folklore traditions, Bogatyr accounts for the son of "Baba Yagi" and acts as an evil idol, a representative of the pagan world. Diskrophe sleep of the hero of the death is tantamous. The motive of death from Shchedrin is caused by the feeling of the exhaustion of the generic ideal image.
In the work of the "Christmas Tale", the role of the truth through the prism of religious sermons is revealed. In this fairy tale, truth is taken, but in a distorted public vision. It should be noted that in the fairy tales M.E. Saltykov-Shchedrin - two truths: one - "real" truth, which is already "Oskomina nabil", the truth of the world around. There is another truth - a truth-dream, which is not available for a simple mortal. Its truth is the character of fairy tales not yet stable, because "no one can hereby determine where and why he goes ..." 29 (in the fairy tale "Voron-Manub").
In fairy tales, the fabulousness is inextricably linked with the theme of conscience, conscience in people's ideas - this is a mirror reflecting how much the kindness, honesty, responsibility was established in the human consciousness. In Satirik's fairy tales, the understanding of conscience is reduced or perverted, for example, in the work "disappeared" a sharp conscience disappears in the people and suddenly falls to Samuel Davidovich, who still finds a way out of the situation. The hero "adjusted" conscience to his usual life - "everything is sold and bought in the world." In this way, by external donation, external, and not internal repentance, he "bought and his conscience" in order to continue to lead a normal lifestyle, now in his conscience, but outside the conscientious spiritual being. In the final, the works still have a ray of hope, the writer draws an image of a child in which conscience has also been brought: "And there will be a small child, and there will be a big conscience in it. And then all the inappropriate, cunning and violence will disappear. "
Folk tales especially sharply show the aspirations of the people, his dreams, desires and hopes. In fairy tales, you can meet a bold dream of another, bright and fair life, and the desire to surrender to the charm of a bright fiction, forgetting a unreasonable life, and a desire, at least in fantasy, with undisguised pleasure to punish Barin, Pop, merchant. In fantastic fiction, the tale embodies all that the heart and mind of the people worried. A distinctive feature This fiction is deep nationality.
In fairy tales M.E. Saltykov-Shchedrin is transformed by folk world: society in vasto, and truth is reflected as if in a mirror curve.
In the fairy tales "Fool", "disappeared conscience", "Christ's night", "Christmas fairy tale" and denied the moral of the ruling classes, where the conscience turns into a "unsuitable vehicle", from which you need to get rid of, and the presence of "bottom" thoughts is necessary. For a successful adaptation to life, and every person is forced, as a result, "choose between foolishness and meanness."
3.2 Satyric feature in folk tales and fairy tales M.E. Saltykova - generous
The main function of the fairy tales of M. E. Saltykov-Shchedrin, according to the writer himself, is a satirical orientation, which is peculiar to both folk tales and can be expressed in the use of the people's language - the folk and colloquial speech, as well as phraseological structures, including proverbs and Sayings, traditional fabulous techniques. All this does not darken the meaning of fairy tales, but creates a comic effect. Fantasy fairy tales M. E. Saltykov-Shchedrin is based on reality and carries generalized content, which is expressed, for example, in the "Bear in Voivodeship" fairy tale.
The inclusion of animal images in nicknames (Toptygin, donkey, wild beast) is a common reception in satirical and humorious folk speech. M. E. Saltykov-Shchedrin uses forms of satirical works to a fairy tale.
The language in the literature is the main means for an artistic image of life. Words in the language of the literary work are used for the figurative disclosure of the ideological content of the work and the author's assessment. Saltykov-Shchedrin, In addition to allegory, Ezopov language and likelihood, they will apply popular wit - a conversational speech or spaciousness, he seeks to be intelligible to convey to the reader an artistic idea of \u200b\u200bthe work. "The inhibitors - words, expressions, turnover, forms of wordinity, not included in the norm of literary speech; Frequently allowed in literary works and colloquial speech to create a specific color. " Great Satiri often scream synonyms from folk speech and enriched her works. As you know, phraseologism is a steady combination of words that is used to show individual items, signs, actions. M. E. Saltykov-Shchedrin often used them, to give fairy tales of expressiveness, imagery and negligent satirical style. For example, "And he began to live yes, live ..."; "Well, let yourself be on the time being so late!"; "Leshego some difficult brought!"; "... silence silent", "... with a sum of the world ..."; "And he is here like here ...", "... as in sin ...", "... on your two ...", "... said - done." Popular tautological phrases should be highlighted in a special group, which are characteristic of the people's speech: "And he began to live yes,", "... In the bushes of the snake, yes, all sorts of sorts of charts are sick," "... I got out of angle in the corner, shrouded in the dark "," ... And Toptygin is already here, as here, "" Suddenly the whole theory of disadvantaged well-being was grew. ".30
It is also necessary to note the phraseological combinations of a fabulous people's-aesthetic nature: "In some kingdom, in some state," "and began to live well."
Predated fable and satirical fairy tale actively used the images of the animal kingdom. Turning to these images, the people acquired some freedom and the opportunity to speak in an intelligible, fun, witty manner about serious things. M. E. Saltykov - Shchedrin used his favorite form of artistic narration in his work. Writer workshop embodied the implanted social types in the image of animals, reaching a bright satirical effect. Already the fact of the likelihood of representatives of the dominant classes and the ruling caste, self-adjusting predatory beasts Satirov declared his deepest contempt for them. It should be noted, M. E. Saltykov - Shchedrin often accompanies its allegorical images with direct hints on their hidden meaning.
The peculiarity of poetics and the irresistible artistic persuasive fairy tales of the writer is that, no matter how "self-wisted" satiries, his images of animals, what hard roles would not charge the "taper" heroes, the latter always retain their main natural properties and qualities.
M. E Saltykov-Shchedrin in fairy tales combines real with fantastic, reliable with fiction. Fantasy fairy tales is based on reality, inextricably related to specific political reality. For example, in the fairy tales of "Eagle-Macenate", "Bear on Voivodship" Satirova describes the activity of heroes, clearly giving understand that we are talking Not at all about bird and bear deeds and actions. ("Toptygin wrote a report and waiting for ..", "I would like a palanche and there would be a lot of drops ..") 31
In the images of predators, satirism emphasizes their main features, using such adhesives like grotesque. The opposition of the magic subject and the pronounced real political meaning of Saltykov-generin is emphasized in such fairy tales as the "Non-Indian Eye" and "Bogatyr", and thus strips the political essence of any type or circumstances.
M.E. Saltykov-Shchedrin gradually in the plot of fairy tales adds the elements of reality, for example: hares teach "Statistical tables, under the Ministry of Internal Affairs of the published ..." 32, write correspondence to the newspapers, and articles are printed in newspapers; Bears go on business trips and get running money; Birds talk about the capitalist-railroad of Spoappovy; Pisces are involved in the constitution, leads to socialism; The landowner living "in some kingdom, in some state" reads the real newspaper "News".
The feature of the artistic time fairy tales is expressed in the grotesque-parody form of the alternation of the present and the past. Basically, the heroes of fairy tales live with pleasant memories of the blessed times, when "food was plenty", "in the forest of any beasts," and "in the water, the fish - a silence of a kishela", "it would be nice to live like that in the older residents lived." Transitions from the past to the present, from the present to the past in fairy tales occur suddenly, as evidenced by the use of the word "suddenly", which refers to the discharge of the case, therefore leads to the exposure and rejection of the hero from life. For example, in a fairy tale "disappeared conscience", the conscience disappears "suddenly", "almost instantly." However, the consequences of the loss of conscience do not fit within the borders "Today", representing the extended processes occurring in a shameless world. All episodes in a fairy tale (the awakening of conscience at the Rosetsya, the Zabatchik, a quarterly, entrepreneur) return to the initial point of moral unconsciousness.
The feature of the artistic space of the works of satirika is presented in the contrast of the ideal and reality, evil and good, that is, the artistic space develops within the opposition "closed" and "open" space.
As you know, laughter is one of the main weapons of satire. "This weapon is very strong," Saltykov-Shchedrin wrote, "because nothing does not discourage the vice as the consciousness that he is gone and that there was already a laughter about him." According to the writer, the main appointment of laughter is to initiate the feelings of indignation and active protest against social inequality and political despotism.
Depending on the ideological designs And image objects can be distinguished by different shades of laughter in the works of M. E. Saltykov-Shchedrin. In the fairy tales in which all social strata of society are depicted, can serve as a bright sample of Satiri's humor in all richness of his artistic manifestation. Here and the contemptuous sarcasm, the branding of the kings and the royal nobles ("Eagle-Macenate", "Bear in Voivodeship"), and a funny mockery of the noble class ("The story about how one man's two generals Picksmil", "Wild landowner"), And dismissive mockery over the shameful foolishness of the liberal intelligentsia ("Liberal Pescar", "Liberal").
The fairy tales "Sensible Hare" and "Selfless Hare" should be analyzed together as it should be an exhaustive satirical characteristic of the "hare" psychology both in its practical and theoretical manifestation in the work of the writer. As it was already noted, the image of the hare in folk fairy tales is sharply different. IN
The "selfless-minded hare" reveals the psychology of an unconscious slave, and in the "healthy-eyed hare" tells about the perverted consciousness that developed the Kholan tactics of adaptation to the violence regime.
Tale O. selfless hare It is a bright sample of crushing irony M.E. Saltykov-Shchedrin, implanting, on the one hand, wolf habits of enslavers, and on the other - the blind humility of their victims.
Begins the fairy tale of his story with the fact that the hare fled near the wolf Logova, the wolf, seeing him, shouted: "Zainka! Stop, nice! " And the hare only added to the way. The wolf was angry, caught him, and he says: "I delegate you to the deprivation of the belly through the confusion. And since now I am fed, and my wolf is full ... then sit you are under this bush and wait for the line. And maybe ... Haha ... I have a lot of you! ". What is the hare? I wanted to escape, but as soon as he looked at the wolf's lair - so "the heart was swamped." The hare was sitting under the bush, it was crushed, that and there was so much of it left and the dreams of His harassment would not come true: "he expected to marry, Samovar bought, dreamed of drinking, and instead of everything - where he pleased ! ". Run to him once at night bride's brother's brother and began to persuade him to escape to Zaineke's scorn. The former started hare began to defeat his life: "For what? What did he deserve his bitter fate? He lived openly, did not let the revolutions, he did not leave the weapon in his hands, fled on his need - is it really death? ". But no, there can not be a hare and shifted from the spot: "I can not, the wolf did not tell!". And then there is also a wolf with wolf from Logov got out. Began the hares to justify, convinced the wolf, kept wolf, and predators allowed the hare to say goodbye to the bride, and her brother to leave her Amanat.
Locked on the will, the hare "How from Luka Arrow" was in a hurry to the bride, came running, went to the bathhouse, with a bride, there was a bit and run back, to the lair - return to the specified period. The return path is hard to hare: "He runs the evening, runs midnight; His legs are stoned with stones, on the sides of the prickly branches of wasts hanging, the eyes were clouded, the bloody foam hurts ... ". After all, he "Word, Vish, gave, and the hare of his word - Mr." At first glance it may seem that the hare is extremely noble and thinks only about how it would not be to bring the bride's brother, but the fear and humble the wolves flow out of slave humility. Moreover, he realizes that the wolf can eat him, but at the same time he stubbornly hoped that "maybe the wolf me ... ha ha ... and raises!" 34. This kind of slave psychology re-plays the instinct of self-preservation and is being built into the degree of nobility and virtue.
The name of the fairy tale surprisingly accurately expresses the idea of \u200b\u200ba conflict of the narrative, thanks to the used Satyrian Oxymoron - the connection of opposing concepts. The word hare is very often in a figurative meaning is synonymous with cowardice. And the word selfless in combination with this synonym gives an unexpected comic effect: selfless cowardice characterizing chief conflict fairy tales. Saltykov-Shchedrin shows the reader perversion human quality In a society based on violence. The wolf praised a selfless hare, who remained faithful to his word, and made him a mocking sentence: "... sit, for the time being ..., And afterwards you ... ha ha ... surviving!".
Despite the fact that the wolf and hare symbolize the hunter and the sacrifice with all the characteristics associated with it (the wolf is blood-blooded, strong, despotic, evil, and the hare is cowardly, low and weak), these images are also filled with topical social content. The wolf is an exploitative regime, and the hare is a manual, which is assumed that a peaceful agreement with autocracy is possible. The wolf enjoys the position of the rulers, the despot, all wolf family Lives in "Wolf" by the laws: and Volchats play with the victim, and wolf, the finished hare is burned, he regrets him in his own way ...
However, the hare also lives according to the wolf laws: the hare is not just a cowardly and helpless, but is worry. He goes to the mouth in the mouth and makes him a decision of the "food problem", believing that the wolf had the right to deprive his life. He does not even try to resist. All his actions and behavior of the hare justify with the words: "I can not, the wolf did not say!". He is used to obey, he is a slave of humility. M. E. Saltykov, generin deeply despises to the psychology of the slave: the author's irony is gradually moving into caustic sarcasm,
The hare from the fairy tale of Saltykov-Shchedrin "SUPENDED BAY", is described in the work: "Though the ordinary it was a hare, but previe. And so expensive reasoned as the donkey room. "
Usually, this hare was sitting under the bush, yes he spoke with himself, reasoned on various topics: "Everyone, he says, the beast of his life is granted. Fit - wolf, lion - lion, hare - snatch. I am satisfied with you or dissatisfied with our lives, no one asks you: we live, just and everything ", or" eat us, eat, and we, hares that year, then more fruit ", or" the dignity of these people - this is the truth to tell. All they have only robbery on the mind! ". But one day he decided to suggest his sound thoughts. "I spoke-spoke the hare," and to him at this time, Lisa crashed and starts to play with him, stretching in the sun, Lisa told the hare "Sit closer and shower", and the "comedy herself hesitates." The fox is clearly mocked over the "healthy" hare in order to eat him in the end. And the terrible itself, that both are perfectly understood. The fox is not even very hungry, so that there is a hare, but "where it is seen that the foxes themselves will be released their lunch," they have to obey the law. All the smart, acquittable theories of the hare, fully mastered the idea of \u200b\u200bthe regulation of wolf appetites are divided into the fluff and dust about the cruel truth of life. It turns out, hares are designed to eat them, and not to create new laws. I am convinced that the wolves of the Zaitsev "There will be no stop", "healthy" hare creates a project more rational eating hares - so as not all at once, but alternately.
M.E. Saltykov-Shchedrin in the fairy tale makes fun of a pitiful attempt to theoretical justification of the slave "hare" submission and liberal ideas about the adaptation to the violence regime. Both fairy tales clearly express the political views of the writer.
In the fairy tales "Karas-idealist", "Wheel Pescar" end in bloody junction, which is not typical for the writer. The death of the main characters of fairy tales Saltykov-Shchedrin emphasizes the tragedy of ignorance of true ways to combat evil with a clear understanding of the need for such a struggle. In addition, these fairy tales also influenced the political situation in the country at the time - a fierce government terror, defeat of population, police persecution of intelligentsia.
Researcher M. S. Goryobina rightly notes that the presence of folk began at the heart of the narrative of both fairy tales is obvious; The speaking speech of the heroes is consonant with the folk language.
Saltykov-Shchedrin consumes already classic elements of alive, folk speech. The relationship of these stizes with folklore Satirik emphasizes with: numeral with a non-numeric value, (" far Far Away kingdom"," Because of the thirty lands "), typical promsories and sayings (" The trail "," runs, the earth trembles "," I don't say in a fairy tale nor a pen "," Soon the fairy tale is affected ... "," Mouth do not put "," Nor a cola, no yard "), numerous permanent epithets and spacious (" Prestekhonka "," Lisa-Klauznitsa "," Missing "," Mix "," Ah you, Goryun, Goryun! "," Hare Life "," Exhaust "," tasty"," Bitter tears "," great troubles "and others)
It should be noted that the scenes of both fairy tales are present elements of reality. So in the fairy tale, "Statistical Tables, with the Ministry of Internal Affairs published ...", and they write about it every day, and they write about it: "Here in the Moscow Vedomosti they write, I don't have a soul in the hare, and couples Won he like ... Floating! "37. Suspended hare also tells the fox a little about the real human life - about the Menietary Labor, about the market entertainment, about the recruit proportion. In a fairy tale about the "selfless" hare, events are mentioned, the author invented, unreliable, but in essence they are real: "In one place, the rains shed, so that the river, which, during the day, the hare was joking, sank, and fled at ten. In another place, the king of Andron King Nikita War announced, and at the very reinstate way, the battle was boiling. In the third place, cholera manifested himself a whole quarantine chain of the verso for a hundred to go out ... ".
It should be noted that in these fairy tales, the language is concise and deeply peoples. It is known that the very first, which came to us the image of a hare can be considered a statue of white marble, dating from the VI century BC. er, now this statue is in the Louvre called "Samos Gera" or
"Goddess with a hare." In Russian folk tales, the hare is usually small, a pitiful, silly, cowardly, as in the fairy tale "Hare and Lisa", where many heroes came to the rescue, and the rooster was kicked out the fox from the holy house, and the hare himself only cried and not I tried neither to join the fox in the fight, nor overcome her. True, sometimes there are some exceptions in behavior it is a character.
Thus, it can be concluded that M. E. Saltykov-Shchedrin, using folk images, creates new, reflecting the spirit of their era, reveals the world weight of the people around him. In literature there is a term "laughter through tears", it also applies to the work of saticaries. Images-symbols of the writer are relevant in our day.
Conclusion by chapter 3
In fairy tales M.E. Saltykov-Shchedrin is transformed by folk world: society is broken, and the truth is reflected, as if in a mirror curve. As already noted, the folk tale is Prazhanr Literary, and that is why there is an abundance of folklore motives in the author's fairy tales. The artistic world of fairy tales M. E. Saltykova-Shchedrin interprets the poetics of the folklore genre, depending on the writer's plan and thereby expands the boundaries of the genre of the fairy tale, and fills it with a new meaning. Satiri draws pictures of all social sections of society, using traditional canon of folk art. main feature Poetics of fairy tales M. E. Saltykov-Shchedrin is to use the form of fiction for the image of the real reality of the whole era.
Conclusion
Folklore fairy tale has a centuries-old history, it epic work, mostly fantastic nature, whose goal is moraling or entertainment. Many years of experience artistic processing Uralnopoietic fabulous stories and motifs preceded the emergence of a literary fairy tale in Russian culture. Study genre features Fairy tales led researchers to ambiguous conclusions: allocate two points of view on determining the boundaries of the tales genre.
On the one hand, it is distinguished by a fairy tale as a single genre, having several genre species, on the other hand, a fairy tale as a generic concept that combines several genres. In our work, we adhere to the second point of view.
The question of comparing the classification of folk fairy tales and fairy tales of Saltykov-Shchedrin to the end is not studied. The discrepancy in views on the definition of a folk fairy tale is associated with the fact that it is regarded in it as the main one: the installation for fiction or the desire to reflect reality through allegories and fiction.
With a problem-thematic approach, fairy tales dedicated to animals, fairy tales of unusual and supernatural events, social and domestic events can be distinguished. All peculiarities of folk fairy tales, thematic and genre-forming, manifested in fairy tales of Saltykov, generous and influenced their poetic features. The study uses the classification of the functions of poetics developed by V. I proppage, in the analysis of the literary fairy tale.
Creativity M. E. Saltykov-Shchedrin is inseparable from his life path and personal qualities, the cycle of fairy tales Saltykov-Shchedrin consider its satirical creativity. The writer's appeal to the fabulous genre is due to the socio-political situation in the public. The feature of the author's fairy tale lies in the fact that in a small amount of work the writer was able to connect lyrical, epic and satyrian start and extremely sharply expressing their point of view on the vices of the class power of items and on the most important problem of the era - the problem of the fate of the Russian people using traditional folklore genre folk fairy tale.
In the course of work, we studied the transformation of folk world-uponymia in the fairy tales of M. E. Saltykov-Shchedrin, the result of this was the following conclusions:
1. Traditional genre The folk fairy tale is modified in the work of the writer and turns into something other, expressed in the form of a satirical political fairy tale.
2. Traditional folk images M. E. Saltykov - Shchedrin filled with new, socio-political meaning.
- The comic effect is created by using the folk language of the spacious and colloquial speech, as well as phraseological structures, including proverbs and sayings, traditional fabulous techniques.
In the "fairy tales for children of a fair age" Saltykov-Shchedrin shows how spiritually scarce and vicious turns out human life, lost the highest purpose, raises not only the specific historical problems of the last two decades of the nineteenth century, but also universal, timeless - the problems of folk world.
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Scientific and practical conference
"First steps in science-2015" based on MBOU "Petropavlovskaya School named after the Hero of the Soviet Union Zhukova D.A."
Subject:
"Folk motifs in fairy tales M.E. Saltykov-Shchedrin "(project)
studying grade 10,
MBOU "Solovykhinskaya SOSH"
Nechaeva Irina Nikolaevna,
russian language and literature teacher
Petropavlovskoe, 2015.
Content
Plan of research work ...................................................... ... 2
Epigraph ......................................................................................... 2 Relevance ...................................................... ........................ ... 3.
Goals of work ................................................................................................5
Hypothesis ....................................................................................... 4.
Tasks of work .............................................................................. ..5
Research methods ......................................................................5
Introduction .................................................................................... ..6
Main part. ...................................................................................... ..7-16
Conclusion .................................................................................. 17
Conclusions .................................................................................... .18.
Results ................................................................................. 18.
Literature ................................................................................. 19.
Appendix ........................................................................ .... 20-22
Research Plan :
Stage I.Organizational - preparatory.
Definition of research topic; Formulation problem issues studies; research planning (goals, hypothesis, methods); Acquaintance with the criteria for assessing public protection of work.
Stage II.Research.
Research: information collection; Decision of intermediate tasks Registration of research results; information analysis; Formulation of conclusions
III.Final. Public protection of educational work.
Oral report with demonstration of materials, written report.
Epigraph
"In Saltykov, there is ... this serious and evil humor, this realism, sober and clear among the most unbridled game of imagination ..."
I.S. Turgenev
Relevance
The bright admission of creativity of many writers of the XIX century was their ability to continue in their works folklore traditions. It was famous for this and Pushkin, and Nekrasov, and Gogol, and Tolstoy. But this series would be incomplete if we did not put another name in it - Saltykov-Shchedrin.
The fairy tale is one of the most popular folk genres. This type of oral narration with fantastic fiction has a centuries-old history. The fairy tales of Saltykov-Shchedrin are associated not only with a folk tradition, but also with a satirical literary fairy tale of the XVIII-XIX centuries. Already on the slope of the years, the author appeals to the genre of the fairy tale and creates a collection of "fairy tales for children of a fair age." They, according to the writer, are designed to "form" these the most "children", open their eyes to the world around them.
In the "fairy tales for children of a fair age" the writer will beak of unrest that prevent Russia's development. And the main evil that the author condemns is serfdom.
I explore the connection of fairy tales from Saltykov-Shchedrin with the traditions of oral folk creativity, their thematic manifold, as well as artistic features. In the work on the fairy tales of M. E. Saltykov-Shchedrin relied not only on the experience of folk art, but also on satirical Basni I. A. Krylov, on the traditions of Western European fairy tales. He created a new genre of a political fairy tale, in which fantasy is combined with real, topical political reality.
Vera Saltykov-Shchedrin remained unchanged in his people, in their history. Thus, in the fairy tales of M. E. Saltykov-Shchedrin is clearly visible to satire on various sides of life.
The language of Shchedrian fairy tales is deeply peoples, close to Russian folklore.Saltykov - Shchedrin entered into the world of people's creativity, the topical political topics and with the help of the usual characters revealed complex problems of modernity.
Relying on popular wisdom, using the richness of folk speech, Russian folklore, imbued with a purely popular humor, the writer created works, the goal of which was to awaken his great spirit, his will and power. All their works of Saltykov - Shchedrin sought to ensure that the "children of a fair age" indignant and stopped being children.
Hypothesis: Disclosure complex problems Modernity at M.E. Saltykova-Shchedrin through the introduction to the world of folk creativity, through folklore motifs.
Purpose of work: Learn the distinctive features and features of the fairy tales of Saltykov-Shchedrin.
Tasks:
attract attention to the study of creativity M.E. Saltykova-Shchedrin as a prophetic;
collect material about artistic features, folklore motifs;
Research methods:
1. Questioning of students on creativity M. Sealtykova-Shchedrin.
2. Selection and analysis of information from various sources.
3. Testing for fairy tales Saltykov-Shchedrin.
Object of study: works M.E. Saltykova-Shchedrin, critical literature on this topic.
Terms of research: November 2014 - May 2015.
Introduction
M. E. Saltykov-Shchedrin wrote more than 30 fairy tales. Appeal to this genre was natural for the writer. Fabulous elements (fiction, hyperbole, conventional, etc.) permeated all his work.
"The fairy tale is a lie, yes in it hint! .." But A. S. Pushkin was right. Yes, a fairy tale is a lie, fiction, but it is she who teaches to recognize and hate hostile features in the world, a fairy tale shows all the positive qualities of the people and branding, ridicules the domination. With the help of a fairy tale, the author is easier to communicate with the people, because her language is understandable to everyone. In order to make sure that I would like to analyze the work of M. E. Saltykov-Shchedrin.
What brings the fairy tales of Saltykov-Shchedrin with folk? Typical fabulous inspired ("lived two generals ...", "in some kingdom, in some state there was a landowner ..."); SCNCTIONS ("By whining kettling", "neither in a fairy tale, notice to describe"); Characteristic of the popular speech of turns ("thought-thought", "said-done"); approximate to the folk language syntax, vocabulary; Exaggeration, grotesque, hyperbole: one of the generals eats another; "Wild landowner" like a cat, in one moment climbs on a tree, a man cooks soup in a hassle. As in folk fairy tales, the wonderful incident ties the plot: two generals "suddenly found themselves on an uninhabited island"; By the grace of God "did not become a man on the entire space of possessions of the stupid landlord." The traditional tradition of Saltykov-Shchedrin follows in fairy tales of animals when the shortcomings of society rines in allegorical form!
The difference between the fairy tales of Saltykov-Shchedrin from the people is that they are intertwined fantastic with real and even historically reliable.
Main part
Among the many genres of folklore, we are most interested intale, for "the fairy tale is a very popular genre of oral-folk creativity, the epic genre, prose, plot. "
The traditions of Phononovin, Krylov, Gogol, Belinsky, Chernyshevsky and others, as well as folk creativity were inherited and received further development In a new era in the work of M.E. Saltykova-Shchedrin, who, denoting the most sick places of autocratic Russia, enriched literary imagescreated by progressive writers before him. Upon fair definition of M. Gorky: "It is impossible to understand the history of Russia in the second half of the XIX century without the help of generous."
"Allegoryrs in the works of Shchedrin are enriched with folkphic images and expressions, which made his tongue more colorful, bright and passionate.
It was repeatedly noted that satiric fairy tales are organically connected with folklore. However, borrowing folk images, generin gives them new features other than those who are inherent in folk tales. " If in folklore, the features of animals are transformed into the features of people, then the writer satirically sharpes the reader's attention on certain features of a human character, bringing it closer with animals.
The use of proverbs and sayings is, perhaps, one more features of Shchedrin fairy tales, which, naturally, indicates their nationality, their originality.
A distinctive feature of allegory of fairy tales Saltykova is to use the author of the periphrase ("Bear on the Voivodeship", "Drown Vobla", "Eagle-Metzenate").
Another important feature of the tales of Shchedrin is the use of styles and promotion, which give the fairy tales a special, some fantastic shade. But unlike folk fairy tales, fiction has a very real, life basis.
The writer essentially created a new genre - a political fairy tale. Life of Russian society second halves XIX. The century imprinted in the richest gallery of characters. "Shchedrin showed all the social anatomy, touched upon all the basic classes and layers of society: nobility, bourgeoisie, bureaucracy, intelligentsia."
Sample Fairy Tale Analysis Plan
The main topic of the fairy tale (about what?).
The main idea of \u200b\u200bthe fairy tale (why?).
Features of the plot. How is the main idea of \u200b\u200bthe fairy tale reveal in the system of actors?
Features of the fairytale images:
a) images symbols;
b) originality of animals;
c) proximity to folk tales.
Satirical techniques used by the author.
Features of the composition: plug-in episodes, landscape, portrait, interior.
Compound of folk, fantastic and real.
"Although animals, but still kings ..."
These words can be successfully attributed to the study of Saltykov-Shchedrin fairy tales, which the writer himself called the fairy tales "for children of a fair age."
"Fairy Tales" is a peculiar result of the artistic activity of the writer, as they were created at the final stage of the life and creative path. Of the 32 fairy tales 28 created for four years, from 1882 to 1886.
In satirical images of the writer, not only laughter on how to be perverted, to disperse their life and even its appearance, but also tears on how easy and unnoticed by a person is able to abandon their high purpose and irrevocably losing himself. (Such is the hero of the fairy tale "Wombary Piskar" - from the word "squeak", as Pescar fish, if you grab it with your hand, makes a sound like a squeak.)
Fairy tales Saltykov-Shchedrin - this is not a speech of the people of the narrator. This is philosophical and satirical fairy tales. They are about life, that I saw and watched the writer in reality. To make sure that you can match the fairy tales of Saltykov-Shchedrin with Russian folk tales and note in them common and distinctive features.
Tales Saltykov-Shchedrin
Fairy tales of the Russian nation
Common features
Stainless
Fabulous plot
Folklore expressions
People's Lexica
Fairy tale characters
Ending
Distinctive features
Satire
Sarcasm
Mixing categories of good and evil
No positive hero
Looking out a man with an animal
Humor
Hyperbola
Victory of good evil
Positive hero
Purpose of animals
What did you learn to think "children of a fair age" Saltykov-Shchedrin? - "Honoracent Children" must be matured and stop being children. What are the facilities of Saltykov-Shchedrin?
Government circles and a dominant estate;
customized (liberal) intelligentsia;
the powerful position of the people in Russia, his passivity and submission,
cheerfulness.
Satirical techniques used in fairy tales with a writer. Different ways of laughter:
a) irony - ridicule double meaningwhere true is not a direct statement, but the opposite;
sarcasm - caustic and poisonous irony, sharply irreviving phenomena, especially dangerous for humans and society;
grotesque - extremely sharp exaggeration, combination of real and fantastic, violation of the boundaries of believing;
b) Allegory, allegory - other meaning hidden behind the external form. Ezopov Language - artistic speechbased on forced allegory;
c) hyperbole - excessive exaggeration.
As literary critics found out, the bright admission of the creativity of many Writers of the XIX century was their ability to continue in their works folklore traditions. It was famous for this and Pushkin, and Nekrasov, and Gogol, and Tolstoy. "But this series would be incomplete if we did not put another name in it - Saltykov-Shchedrin. Among the huge heritage of this writer is very popular with his fairy tales. It is in them that the traditions of Russian folklore are most clearly traced. "
Tales Saltykov-Shchedrin appealed not only because it was necessary to bypass the censorship, which forced the writer to contact Esopov language, but also in order to enlighten the people in the usual and accessible form.
a) in his literary form And the style of fairy tale Saltykov-Shchedrin is associated with folk traditions. We encounter traditional fabulous characters: speaking animals, fish, Ivanushka-fool and many others. The writer uses characteristic of the folk tale of inspired, promsories, proverbs, language and composite trickens, spacious and household peasant vocabulary, constant epithets, words with diminishing suffixes. As in the folklore fairy tale, Saltykov-Shchedrin has no clear temporal and spatial framework.
b) But using traditional techniques, the author quite intentionally retreats from tradition. He introduces into the narration of social and political vocabulary, stationery, French words. The episodes of modern public life fall on the pages of his fairy tales. So there is a mixture of styles that creates a comic effect, and the compound of the plot with the problems of modernity.
Thus, having enriching the fairy tale with new satirical techniques, Saltykov-Shchedrin turned it into an instrument of socio-political satire.
At the heart of the satirical fantasy of the final book Shchedrin is folk tales of animals. The writer uses the finished, deposited by the century-old folk wisdom content, freeing satiries from the need for deployed motivations and characteristics.
In fairy tales, every animal is endowed with sustainable qualities of character: Wolf Zhadala and cruel, fox cowar and cunning, hare cowardly, pike predatory and voracious, donkey is extremely stupid, and the bear is silly and clumsy. It is a satire on the hand, which by nature is alien to the details, depicts life in the most sustained manifestations, exaggerated and enlarged. Therefore, the fabulous type of thinking organically corresponds to the very essence of satirical typing. It is not by chance that there are satirical fairy tales among folk fairy tales about animals: "About Yershovich, the Son of Shchetnikov" - a bright folk satire on the court and legal proceedings, "about the pike of the toothy" - a fairy tale, anticipating the motives of "Promotrious Piskary" and "Karasia-idealist".
Borrowing ready-made fabulous stories and images from the people, generin develops satirical content laid in them. And a fantastic form is for him a reliable way of the "Esopovsky" language, at the same time understandable and accessible to the widest, democratic layers of Russian society. "With the appearance of fairy tales, the addresident of the Shchedrian Satire itself is significantly changed, the writer is now drawn to the people. It is not by chance that the revolutionary intelligentsia of the 80-90s used the Shchedrian fairy tales to propaganda among the people. "
Saltykov-Shchedrin willingly used traditional techniques of folk art. The fairy tales often begin, as well as folk, the words "lived yes were", "in some kingdom, in some state." Often there are proverbs and sayings: "Horse runs - the Earth trembles", "two deaths will not be, one not to power." Very brings fairy tales of generous with folk traditional Reception: "Everything was trembling, everything was trembling ...", replacing: "There were two generals, there were two generals ... By whining omen, in my desire they found themselves on a desert island ...".
The author deliberately emphasizes in each character some one line, which is also characteristic of folklore. Squirts are often found ("By whining kettling", "neither in a fairy tale, notice to describe"); Characteristic of the popular speech of turns ("thought-thought", "said-done"); approximate to the folk language syntax, vocabulary; Exaggeration, grotesque, hyperbole: one of the generals eats another; "Wild landowner" like a cat, in one moment climbs on a tree, a man cooks soup in a hassle. As in folk fairy tales, the wonderful incident ties the plot: two generals "suddenly found themselves on an uninhabited island"; By the grace of God "did not become a man on the entire space of possessions of the stupid landlord."
In the fairy tale "Promotud Piskar" Saltykov-Shchedrin also widely uses expressions similar to the proverbs and sayings ("Wherever it turns out - it's a mat", "Life will live - not what a mutant lick", "better not to drink, not to drink Relieved with a full stomach life "," Gogol over the entire river sailing "," how such idols will tolerate ").
Satirik does not parody folklore expressions and modern living, popular speech, and adapts them to solve their own artistic tasks, which has become a characteristic of the copyright style.
In the work on the fairy tales of M. E. Saltykov-Shchedrin relied not only on the experience of folk art, but also on satirical Basni I. A. Krylov, on the traditions of Western European fairy tales. He created a new genre of a political fairy tale, in which fantasy is combined with real, topical political reality.
Saltykov-Shchedrin did not copy the structure of the folk fairy tale, and contributed to it, new. First of all, this is the appearance of the image of the author. For the mask of Naive Balaguar hidden a sarcastic smile of merciless satiries. It is completely different than in a folk fairy tale, a man's image is drawn. In folklore, the man has an immaturity, dexterity, the Barin invariably defeats. In the fairy tales of Saltykov-Shchedrin attitude towards a man ambiguously.
Often it remains in fools, despite his humility, as in a fairy tale, "as one man's two generals proceeded." "Comerism and parody of the figure of a wonderful man are obvious. On the one hand, Saltykov-Shchedrin parody reinpecifies the motive of acquiring the hero of a wonderful assistant, characteristic of folk magical fairy tales. Shchedrian "Muzhein" is endowed with the same supernatural gift as any Grey Wolf or Baba Yaga. "[5.70] But unlike the hero of folklore fairy tales, to whom the assistant is obliged to something (for example, a wolf - life), the man does not have the slightest foundations to be a grateful general.
"In world literature, the mutual influence of the plots of fairy tales of different countries and peoples is clearly traced; In addition, we constantly meet some that firmly strengthened in the global folklore images. This is primarily possible to say about the image of a wolf, figuring and in the basins of Ezopa, and in the ancient fairy tales (in particular, in Arabic). Colorful characteristics give the wolves Russian folk tales, proverbs and sayings. Not forgotten Wolf and Saltykov-generous ("poor wolf", "Candidate of Pillars"). "
Conclusion
Its fairy tales is a magnificent satirical monument of the past era. Not only the types created by Saltykov-generous, but also the winged words and expressions of the Master of Ezopova speeches are still found in our everyday life. Words images of his works, such as "Pompadour", "Karas-idealist", "Golotp", "Penfax", firmly entered the life of contemporaries.
"I love Russia to heart pain," Saltykov-Shchedrin said. He distinguished the dark phenomena of her life, because she believed that the minutes of insight were not only possible, but constitute the inevitable page in the history of the Russian people. And he was waiting for these minutes and his whole creative activity He tried to bring them closer, in particular, with the help of such a artistic means like Esopov language.
In general, all the fairy tales of Saltykov-Shchedrin can conventionally divided into three main groups: fairy tales, batching autocracy and exploitative classes; Fairy tales, exposing the cowardice to the modern writer of the liberal intelligentsia and, of course, fairy tales of the people.
The images of fairy tales entered the use, became nominable and live for many decades. thereforei I think that it is not for nothing that Pushkin's words "Tale - a lie, yes in it hint! ..". After all, thanks to the fairy tale, we mean our generation, studied, learn and we will learn to live.
Relying on popular wisdom, using the richness of folk speech, Russian folklore, imbued with a purely popular humor, the writer created works, the goal of which was to awaken his great spirit, his will and power.
Output
After analyzing the work of M.E. Saltykova-Shchedrin, in line with the purpose of our work, I came to the following conclusions:
1. The language of the writer is deeply peoples, close to Russian folklore. In fairy tales, generin is widely used by proverbs, sayings, promotion: "There are no two deaths, one not to power", "My Izba with the Edge", "lived, were ...", "in some kingdom, in some state ..." .
2. "Tales" Saltykov-Shchedrin walked the political consciousness of the people, called to the fight, to the protest.
3. Question showed:
Most students are interested in creativity M. Saltykova-Shchedrin.
Results:
Scientific The importance of our work is related to the study large number actual material.
Practical application : The results of our research can be found in the preparation of the lessons of history and literature using the genre of a political fairy tale.
The results of our study make it possible to use the main conclusions of the work when developing lessons and extracurricular activities in literature I. moral education Pupils.
Literature:
Bazanov V. G. from Folklore to the folk book. - L., 1973.
Bushmin A.S. The Evolution of Saltykov-Shchedrin Satykova. - M., 1984.
The history of Russian literature of the XIX century (second half). / Ed. S. M. Petrov. - M., 1974.
Kachurin M. G., Motolskaya D. K. Russian literature. - M., 1981.
Criticism about M. E. Saltykov-Shchedrine //Saltykov-Shchedrin M.E. The history of one city. Lord Golovy. Fairy tales. - M., 1997.
Lebedev Yu. V. Tales M. E. Saltykov-Shchedrin / M. E. Saltykov-Shchedrin. Fairy tales. - M., 1999.
Prozorov V. V. Saltykov-Shchedrin. - M., 1988.
Russian literature of the XIX century. Second half. Release 1. / Ed. L. Maxidonova. - M., 2002.
Russian writers. Bibliographic dictionary. / Ed. P. A. Nikolaev. - M., 1990.
Informational resources:
Application:
1. Test.
1. What explains the choice of M. E. Saltykov-generous tale genre?
a) the desire to leave the vitality of truth.
b) the desire to overcome censorship obstacles
c) addiction to allegorical! manner letters
d) popularity of fairy tales as a favorite genre
propaganda literature
2. What is common in the fairy tales M. E. Saltykov-Shchedrin with folk tales?
a) a fabulous story
b) Based on life realities
in) Popular ideas about good and evil
d) traditional fabulous techniques
e) social and pointed issues
e) Typical for folk fairy tales of animal images
3. What is the "Shchedrian" fairy tale from the people?
a) evil in the final is punished not always
b) The use of sarcasm and satire
in) Interpretation of characters
d) introduction of atypical for folk fairy tale
4. Distribute the names of fairy tales on topics.
"Will Piskary"; "Bear on Voivodeship"; "Eagle-Macnate"; "The story of how one man's two generals punished"; "Konya"; "Karas idealist"; "Bogatyr"; "Crow-man"; "Drier Vobla"; "Wild landowner."
a) the theme of the people
b) Theme of power
in) Condemnation of burghers
5. Distribute comic to grow.
Sarcasm; humor; hyperbola; irony; grotesque; satire.
6. Relate an example from the text of the fairy tale and name artistic receptionwhich is used in it.
a) "They see peasants: although stupid at 1) irony
they are a landowner, and the mind he is given a big ... "
b) "Through gubernsky city flew from- 2) speech alogi
warded Roy Men ... "
in) "He was Piskary Enlightened, 3) grotesque
moderately liberal and very firm
understood that life live - not
the fact that the muve lick ... "
7. What are the heroes of fairy tales M. E. Saltykov-Shchedrina is not even for folk tales?
but) Bear
b) Donkey
in) Vobla
d) hare
d) Piskary
e) a lion
g) crucian
h) Chizhik
8. Who is subjected to ridiculous in the fairy tale "Will Piskary"?
but) government
b) Revolutionary Democrats
c) ordinary people
d) Liberals
Answers to the test "M. E. Saltykov-Shchedrin. FAIRY TALES"
1. in, g
2. B, D
3. A, B
4. a) "Bear on the Voivodeship", "The story about how one man's two generals proceeded", "Konya", "Crow-Man", "Wild landowner"
b) "Bear on Voivodship", "Eagle-Metzenate", "Bogatyr"
c) "Promotud Piskar", "Carace-idealist", "Drier Vobla"
5. Irony, humor, hyperbole, satire, sarcasm, grotesque
6. A - 3, B - 1, B - 2
7. V, D, E, F
8.
2. Questions questionnaire (by creativity M.E. Saltykova-Shchedrin)
1. Where and in which family was born?
2. When did the literary activities begin?
3. Why are we studying his work?
4. List the main life principles of M. Sealtykova-Shchedrin. Was he a strong person?
5. What is the style of his works?
6. What is the phenomenon of Tales Shchedrin?