Features of the plot and composition. Images of people's defenders in the poem
Read also
Saltykov-Shchedrin's tale "The Wise Gudgeon".
1. Features of the plot. How is the main idea of the tale revealed in the system of characters?
2. The place of the fairy tale in the classification of the ideological and thematic content of fairy tales.
3. Features of the images of the tale.
4. Images-symbols.
5. The peculiarity of animals.
6. Closeness to folk tales.
7. Satirist techniques used by the author.
8. Features of the composition: plug-in episodes, landscape, portraits, interior.
9. Combination of folklore, fantastic and real.
Hi, "Vladislavastyles" you can look at http://www.ucheba.ru/referats/30612.html ...
In 1883, the famous "The Wise Gudgeon" appeared, which has become Shchedrin's textbook fairy tale over the past hundred-odd years. The plot of this tale is known to everyone: once upon a time there was a gudgeon who at first was no different from their own kind. But, a coward by nature, he decided to live his whole life, not sticking out, in his hole, flinching from every rustle, from every shadow that flashed next to his hole. So life passed by - no family, no children. And so he disappeared - either himself, or some pike swallowed. Just before dying, the gudgeon thinks about the life he has lived: “Whom did he help? Whom did he regret that he did any good in his life? - Lived - trembled and died - trembled. Only before death does the man in the street realize that no one needs him, no one knows him and will not remember him.
But this is the plot, the outer side of the tale, what is on the surface. And the subtext of the caricature image of Shchedrin in this fairy tale of the customs of modern bourgeois Russia was well explained by the artist A. Kanevsky, who made illustrations for the fairy tale "The Wise Gudgeon": “... everyone understands that Shchedrin is not talking about fish. Gudgeon is a cowardly philistine, trembling for his own skin. He is a man, but he is also a gudgeon; the writer has donned this form, and I, an artist, must preserve it. My task is to combine the image of a frightened man in the street and a gudgeon, to combine fish and human properties. It is very difficult to "comprehend" the fish, to give it a pose, movement, gesture. How to display on a fish's "face" forever frozen fear? The figurine of the official minnow gave me a lot of trouble…. ”.
A terrible philistine alienation, isolation in himself is shown by the writer in The Wise Gudgeon. M.E. Saltykov-Shchedrin is bitter and painful for the Russian man. Reading Saltykov-Shchedrin is quite difficult. Therefore, perhaps, many did not understand the meaning of his tales. But the majority of "children of fair age" appreciated the work of the great satirist according to their merits.
In conclusion, I would like to add that the thoughts expressed by the writer in fairy tales are still modern today. Shchedrin's satire is time-tested and it sounds especially poignant during a period of social turmoil similar to those that Russia is experiencing today.
M.E. Saltykov-Shchedrin
"Fairy tales" are a kind of result
artistic activities of the writer,
since they were created at the final
stage of life and creative path.
Of the 32 fairy tales, 28 were created during
four years, from 1882 to 1886.
02.04.2017
2
Fairy tales "for children of fair age"
"Fairy tales" are the ratio of socialand the universal in the work of Saltykov M.E. Shchedrin.
Class assignment:
- Explain this statement (what is
social and human)?
- What technique does the author use when determining
reading purpose of fairy tales "for children
of fair age "? Why?
Fairy tales "for children of fair age" and Russian folk tales
Comparative analysis.- Common features?
- Distinctive features?
Common features
Tales of Saltykov ShchedrinInception
Fabulous plot
Folklore
expressions
Folk vocabulary
Fairy tale characters
The ending
Russian fairy tales
the people
Inception
Fabulous plot
Folklore
expressions
Folk vocabulary
Fairy tale characters
The ending
Distinctive features
Tales of Saltykov ShchedrinSatire
Sarcasm
Mixing categories
good and evil
No positive
hero
Assimilation of man
animal
Russian fairy tales
the people
Humor
Hyperbola
The victory of good over
evil
Positive hero
Humanization
animals
FAIRY TALES M.E.SALTYKOV-SHCHEDRIN
Problematic
Autocracy and the oppressed people
("The Bear in the Voivodeship", "Orelmecenat")
Relationship between a man and a master
("The Wild Landowner", "The Tale of
like one man of two generals
fed ")
The situation of the people ("Konyaga",
"Kissel")
The meanness of the bourgeoisie ("Liberal",
"Crucian idealist")
The cowardice of the man in the street ("The Wise
piskar ")
Truth-seeking ("Fool",
"Christ's Night")
Artistic
peculiarities
Folklore motives
(fairy tale, folk
vocabulary)
Grotesque (interlacing
fiction and reality)
Aesopian language (allegory
and metaphoricality)
Social satire (sarcasm
and real fantasy)
Conviction through denial
(showing wildness
and lack of spirituality)
Hyperbolization
Satirical techniques used in fairy tales by the writer.
Satirical techniques usedin fairy tales by the writer.
irony - mockery that has a double meaning, where
true is not a direct statement,
but the opposite;
sarcasm is a caustic and poisonous irony that sharply denounces
phenomena that are especially dangerous for humans and society;
grotesque - an extremely sharp exaggeration, a combination
real and fantastic, breaking boundaries
likelihood;
allegory, allegory - a different meaning, hidden
behind the outer form. Aesopian language - artistic speech,
based on forced allegory;
hyperbole is an excessive exaggeration.
An approximate plan for the analysis of a fairy tale
An approximate plan for the analysis of a fairy taleThe main theme of the tale (about what?).
The main idea of the tale (why?).
Features of the plot. As in the system of actors
the main idea of the tale is revealed?
Features of fairy tale images:
a) images-symbols;
b) the originality of animals;
c) closeness to folk tales.
Satirical techniques used by the author.
Features of the composition: plug-in episodes, landscape,
portrait, interior.
Combination of folklore, fantastic and real
In this tale, Saltykov-Shchedrin reflects on the unlimited power of the landowners, who in every possible way mock the peasants, imagining themselves to be almost gods. The writer also speaks of the landowner's stupidity and over-education: "That landowner was stupid, he read the newspaper" Vesti "and his body was soft, white and crumbly." The disenfranchised position of the peasantry in tsarist Russia Shchedrin also reflects in this fairy tale: "Luchina did not become a peasant to light in the world, the rod is gone, how can you sweep the hut." The main idea of the tale was that the landowner cannot and cannot live without the peasant, and the landowner dreamed of work only in nightmares. So in this tale, the landowner, who had no idea about work, becomes a dirty and wild beast. After all the peasants had abandoned him, the landowner never even washed his face: “Yes, I have been walking around unwashed for many days! ".
The writer caustically ridicules all this negligence of the master class. The life of a landowner without a peasant far from resembles normal human life.
History of creation The first three tales ("The Tale of How One Man Fed Two Generals", "Lost Conscience" and "The Wild Landowner") M.E. Saltykov-Shchedrin wrote back in 1886. By 1886, their number had increased to thirty-two. Some ideas (at least six tales) remained unrealized.
Genre originality In terms of genre, the fairy tales of M.E. Saltykov-Shchedrin are similar to the Russian folk tale. They are allegorical, animal heroes act in them, traditional fairy tales are used: beginnings, proverbs and sayings, constant epithets, threefold repetitions. At the same time, Saltykov-Shchedrin significantly expands the circle of fairy-tale characters, and also “individualizes them. In addition, morality plays an important role in the fairy tale of M.E. Saltykov-Shchedrin - in this it is close to the genre of the fable. The story of how one man fed two generals
Allegory - allegory of Beginnings - A rhythmically organized joke that precedes the beginning in fairy tales. "Once upon a time, they were ...", "In a certain kingdom, in a certain state ..."). Proverbs and sayings - (“grandmother said in two,” “if you don't give a word, hold on, but if you give it, hold on”). Epithet - In poetics: figurative, artistic definition. Constant e. (in folk literature, for example, "golden heart", "white body").
The main themes The fairy tales of M.E. Saltykov-Shchedrin are united not only by the genre, but also by general themes. 1) The theme of power ("Wild landowner", "Bear in the province", "Eagle patron", etc.) 2) The theme of the intelligentsia ("Wise gudgeon", "Selfless hare", etc.) 3) The theme of the people ("The Tale about how one man fed two generals "," Fool ", etc.) 4) The theme of universal human vices (" Christ's Night ") Eagle-patron
Problems The tales of M.E. Saltykov-Shchedrin reflect that “special pathological state” in which Russian society was in the 80s of the XIX century. However, they touch upon not only social problems (the relationship between the people and the ruling circles, the phenomenon of Russian liberalism, the reform of education), but also universal ones (good and evil, freedom and duty, truth and lies, cowardice and heroism). Wise minnow
Artistic features The most important artistic features of M.E. Saltykov-Shchedrin's fairy tales are irony, hyperbole and grotesque. An important role in fairy tales is also played by the method of antithesis and philosophical reasoning (for example, the tale "The Bear in the Voivodeship" begins with a preface: "Large and serious atrocities are often called brilliant, as such are recorded on the tablets of History. Small and comic atrocities are called shameful and not only History is not led astray, but they do not receive praise from their contemporaries either ”). The bear in the voivodeship
Irony is a subtle, hidden mockery (for example, in the fairy tale "The Wise Gudgeon": "What sweetness is it for a pike to swallow a sick, dying gudgeon, and besides, still wise?") Hyperbole is an exaggeration (for example, in the fairy tale "The Wild Landowner": what kind of cows he will breed, that neither skin nor meat, but all one milk, all milk! " so contrived that he even began to cook soup in a handful ") Antithesis - opposition, opposite (many of them are built on the relationship of antagonist heroes: a man - a general, a hare - a wolf, a crucian - a pike)
Many writers turned to the genre of literary fairy tales in the 19th century: L.N. Tolstoy, V.M. Prishvin, V.G. Korolenko, D.N. Mamin-Sibiryak. The main feature of M.E.Saltykov-Shchedrin's fairy tales is that the folklore genre in them is used to create an "Aesopian" narration about the life of Russian society in the 1880s. Hence their main themes (power, intelligentsia, people) and problems (relations between the people and the ruling circles, the phenomenon of Russian liberalism, the reform of education). Borrowing images (primarily animals) and techniques (beginnings, proverbs and sayings, constant epithets, threefold repetitions) from Russian folk tales, M.E. Saltykov-Shchedrin develops the satirical content inherent in them. At the same time, irony, hyperbole, grotesque, as well as other artistic techniques serve the writer to expose not only social, but also universal human vices. That is why the fairy tales of M.E. Saltykov-Shchedrin have been popular with the Russian reader for many decades.
The book "Fairy Tales" was created during the years 1882-1886. The collection includes the main satirical themes that the writer worked on in different periods of his work. All works constitute fragments of a single whole, and they can be divided into several groups: satire on the government and the life of the upper class ("The Bear in the Voivodeship", "The Wild Landowner", "The Tale of How One Man Fed Two Generals" and others), satire on intellectuals-liberals ("Selfless hare", "Sane hare", "Crucian carp-idealist", etc.), fairy tales about the people ("Horse", "Kisel"). The genre of the fairy tale allowed the satirist to present generalizations wider and more capacious, to enlarge the scale of the depicted and give it an epic character. Using the tradition of the folk tale about animals helps M.E.Saltykov-Shchedrin to show the typical character of human vices, without going into details. The "Aesopian language" allows the satirist to appeal to the broadest strata of society.
Each fairy tale by M.E.Saltykov-Shchedrin includes both traditional techniques found in oral folk art and the author's findings that turn the work into a caustic socio-political sa-tira.
The tale "The Wild Landowner" (1869) is a satire on the masters of life. The tale begins with a traditional folk origin: “In a certain kingdom, in a certain state there lived…”, but already in the first paragraph it becomes clear that the reader has a very “modern” history, because the hero of the tale is a landowner, moreover, "there was that stupid landowner, he read the newspaper" News "and had a soft, white and crumbly body." The hero was pleased with everything, but one concern bothered him - "a lot was divorced in our kingdom of the muzhik!" The efforts of the landowner to "cut" the peasant were eventually crowned with success: "Where did the man go - no one noticed, but only the people saw, when suddenly a chaffed whirlwind rose and, like a black cloud, the muzhik's trousers flashed through the air like a black cloud." However, not only the author, but everyone around the landowner calls him "stupid": the peasants, the actor Sadovsky, the generals, the police captain. This epithet within the framework of the tale becomes constant and performs a leitmotiv function.
Having lost the peasants, the hero gradually degrades and turns into a beast. Saltykov-Shchedrin uses the grotesque in his description of the landowner, bringing him to the realized metaphor of “completely run wild”, which becomes the culmination of the plot: “And now he has gone wild. Even though autumn had already come at this time, and the frost was decent, he did not even feel the cold. All of him, from head to toe, was overgrown with hair, word-but ancient Esau, and his nails became like iron. He had long since stopped blowing his nose, but he walked more and more on all fours and was even surprised that he had not noticed before that this way of walking was the most decent and most convenient. He even lost the ability to pronounce articulate sounds and acquired a special victorious click, a middle between a whistle, a hiss and a bark. But I haven't got a tail yet. " Material from the site
The image of the people in a fairy tale. The depiction of peasants in the fairy tale is accompanied by the inclusion of an allegory: “How casually, at this time a swarm of peasants who had been built up flew through the provincial town and showered the entire market square. Now this grace has been caught, put in a lash and sent to the district. " It is no coincidence that the writer speaks of a peasant “swarm”: here an association arises with the image of a bee, traditionally considered a symbol of hard work. It is a simple peasant, in the opinion of M. Ye. Saltykov-Shchedrin, who is the primary life, because with his "placement" in the estate of a stupid landlord, the life of the latter takes on a human character again.
Didn't find what you were looking for? Use search
On this page material on topics:
- wild landowner grotesque
- images-symbols in the fairy tale wild landowner
- artistic problems in the fairy tale wild landowner
- examples of epithets in the fairy tale wild landowner
- tales of saltykov-shchedrin wild landowner artistic features