Fairy tales "For children of a fair age" as a work of a new genre in Russian literature. The history of the creation of "fairy tales"

M.E. Saltykov-Shchedrin was the successor of satirical traditions D.I.Fonvizin, A.S. Griboedova and N.V.Gogol. Governor's activity Shchedrin allowed him to discern the "vices of Russian reality" and made him think over the fate of Russia. He created a kind of satirical encyclopedia of Russian life. "Tales" Shchedrin in miniature contains problems and images of the whole creativity of the great satirist. If, except for the "fairy tales", Shchedrin did not write anything, then they would give him the right to immortality. From thirty-two fairy tales shchedrin twenty nine written by him in last decade His life (most from 1882 to 1886) and only three fairy tales were created in 1869. Fairy tales seek a total of a forty creative activity Writer.

Satira Saltykov-Shchedrin is a special phenomenon in Russian literature. Addressing the "fairy tales" "Children of a Christie", he immediately introduced readers into a special atmosphere of his book. On these pages with "children of a fair age", that is, with adults who preserved the naive illusions of the beautiful young junior, are treated. They do not sympathize, they are smart and evil ridicule. Saltykov-Shchedrin put in front of him a fundamentally new creative task: track down, expose and destroy.

V. G. Belinsky, arguing about the work of the writer, called him humor "formidable and open, bull, poisonous, merciless". This characteristic deeply reveals the essence of Saltykov-Shchedrin satry. To illustrate its work on the listeners, the record of I. S. Turgenev is curious: "I saw the listeners wrote from laughter when reading some essays Saltykov. There was something terrible in this laughter. The audience, laughing, at the same time he felt like Beach whine her the same. "

A number of reasons prompted Saltykov-Shchedrin to appeal to fairy tales. The complex political situation in Russia: the moral terror, the defeat of population, the police persecution of the intelligentsia - did not allow to identify everything social contradictions Societies and directly criticize existing orders. On the other hand, the genre of fairy tale was close to the character of Satirik writer. Elements of fabulous fiction is in the "stories of one city", and in satyrian novel "Modern idyll" and the chronicle "abroad" included complete fairy tales. Fantasy, hyperbole, irony, ordinary for fairy tales, are very characteristic of generous poetics. In addition, the genre of fairy tale is very democratic, accessible and understandable wide Circle Readers, people and corresponds to the publicistic pathos, civil aspirations of satirist. Evil, angry ridicule of slave psychology is one of the main tasks of Fairy Tales Saltykov-Shchedrin. He not only states such features of the Russian people, as its long-suffering, unrequitution, not only with anxiety is looking for their origins and limits, but also jealously refuses, it snaps up, scumbles, because he sees here main trouble time.

Writer essentially created new genre - political fairy tale. Fiction folk fairy tale It is organically combined with generrous with a realistic image of reality. Life of Russian society second halves XIX. The century imprinted in the richest gallery of characters. Shchedrin showed all the social anatomy, touched all the main classes and layers of society: nobility, bourgeoisie, bureaucracy, intelligentsia.

In this gallery of Characters of Saltykov-Shchedrin and the Intelligent-Dreamer ("Karas-idealist"), and a self-container playing the role of the patron ("Eagle-Metzenate"), and a worthless general ("Bear in Voivodeship"), and humble " selfless hare", hoping for the mercy of" predators ", and many others reflecting historical era, with her social evil and democratic ideas.

Heroes of fairy tales Saltykov-Shchedrin are satirical allegory, where the wolf, hare, the bear, eagle, crow and other animals, birds and fish belong not to the animal world. Following the traditions of Krylov, Saltykov-Shchedrin involuntarily puts on their characters. Those or other masks and seeks to "give everyone according to merit." In his fairy tales in each lichny concentrated specific traitsdefining social or human type. The people act under masks of good and defenseless animals and birds, exploiters - in the images of predators.

However, animal fairy tales are just one type of Saltykov-Shchedrin fairy tales. In the fairy tales of another type of people (" Wild landmark"," The story of how one man's two generals punished "and others). Their characters are not covered with masks of animals, fish and birds, and the author uses other satirical techniques: hyperbola and grotesque. The heroes of these fairy tales, however, are also revealed as masks symbols: the author creates collective images of social types.

The language of Shchedrian fairy tales is deeply peoples, close to Russian folklore. Satiri uses not only traditional fabulous techniques, images, but also proverbs, sayings, promscar. Dialogue acting persons Colorful, it draws a specific social type: a powerful, coarse eagle, a beautiful crucian-idealist, an evil reactionary, a lush, Hangua ass, a robust canary, a cowardly hare, etc.

In fairy tales, Shchedrin showed himself a brilliant artist, the master of the Ezopov language, with which he knew how to convey to the reader an acute political thought and transmit social generalizations in an allegorical form. The works of the Shchedrian fairy cycle are united not only genre signs, but also some common ideas and themes. These common ideas and topics associate fairy tales with each other, give the whole cycle a certain unity and allow it to consider it as holistic work, covered by the general ideological and artistic concept.

In the complex ideological content of Tales Shchedrin, four main topics can be distinguished: 1) Satira on government tops autocracy and exploitative classes, 2) the impact of behavior and psychology of the philistical intelligentsia, 3) the image of the life of the masses in Tsarist Russia, 4) the exposure of the morality of the owner Predators and propaganda of a new public ideal and new morality. But, of course, it is impossible to carry out strict the thematic delimitation of Shchedrian fairy tales, and there is no need. Usually one and the same fairy tale along with its the main theme affects others. So, in almost every fairy tale, the writer concerns the life of the people, opposing its lives of the privileged layers of society.

All tales of Shchedrin were subjected to censorship and alterations. Many of them were printed in illegal editions abroad. "Documentary and memoir sources indicate that the Shchedrian fairy tales were constantly in the arsenal of Russian revolutionaries-populations and served for them with an effective weapon in the fight against autocracy. Those of the fairy tales that were banned by the Tsarist Censure ("Bear on Voivodship", "Eagle-Metzenate", "Drier Vobla", etc.), distributed in illegal publications - Russian and foreign. Shchedrin showed interest to the "fairy tales", see: K.Marks and F. Entells. Works, ed. 2nd. M., Goslitisdat, 1964, vol. 36, p. 522. They have repeatedly used Russian Marxists in their journalistic activities. For example, V.I. Lenin brilliantly interpreted many ideas and images of Shchedrian fairy tales by applying them to the conditions of political struggle of their time.

Fairy tales of Saltykov-Shchedrin had a great impact on the further development of Russian literature and especially the genre of satire.

"Saltykov-generin fairy tales" - here Saltykov-Shchedrin seriously carried away literature. "The story of how one man's two generals attacked." "Eagle-Macenate". Some ideas (at least six fairy tales) remained unrealized. 6. If Gogol "laughter through tears", how can I define Shchedrin? Genre peculiarity. In the genre attitude, the fairy tale M.E. Saltykova-Shchedrin is similar to the Russian folk fairy tale.

"Lord Golovy" - what is it! Saltykov-generin "Lord Golovy". "Top". Pavel Vladimirovich and Vladimir Mikhailovich dies. Stepan dies. Suicide Volodya. Idean-thematic The content of the novel. "Related". "Family Court". Suicide favorite Death of Jews. Such festivated Jewish. Depth and latitude of design.

"Mikhail Evgrafovich Saltykov-Shchedrin" - 4. Mother, Olga Mikhailovna Rabelina. Education of young Saltykov. In our family, we reigned not so that the misfortune, but some kind of stubborn scopidomism. " 2. Daughter M.E. Saltykova-Shchedrin Son M.E. Saltykova-Shchedrin. Father, Evgraf Vasilyevich Saltykov. He was an angry, inexorable, with a zealous lower rivy, decisive in hand, evil. "

"The history of one city lesson" - the works of the writer are relevant so far. Checking assimilation hard words and expressions. What is the "history of one city" in genre attitude? Short retelling Chapters "On the root of the origin of the silly". How can I explain the names of the peoples listed by the writer? (Lesson in literature for grade 8).

"The works of Shchedrin" - the cruel and merciless laughter in the "stories of one city" has a cleaner meaning. The language of Shchedrian fairy tales is deeply peoples, close to Russian folklore. Saltykov-Shchedrin. In the late 60s. Not. Fantastic and images of silly inhabitants. The flourishing of the fabulous genre falls from Generin on the 80s.

"Saltykov-Shchedrin lesson" - 1869 - 1886. . As a result, no writer was subjected to such persecutions as Saltykov-Shchedrin. The purpose of the lesson: Features: Fantasy, Reality + Tragic, Grotesque, Hyperbol, Ezopov Language. Cover book Saltykov-Shchedrin "The Story of the One City". Saltykov-Shchedrin. Evgrafovich. Satira Satir Satir Gyperball Grotesque Ezopov Language.

Total in the subject of 35 presentations

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

The main problem of generous fairy tales is the relationship between the exploiters and exploited. The writer created Satira on tsarist Russia. In front of the reader are the images of the rulers ("Bear on Voivodeship", "Eagle-Macenate"), OPERATORS AND OPERATED ("Wild landowner", "The story of how one man's two generals PRED"), inhabitants (" Wheat Pescar"," Drier Vobla ").

The fairy tale "Wild landowner" is directed against everything public buildingOperation based, anti-people in its essence. Keeping the spirit and style of a folk fairy tale, satirik speaks about the real events of the modern life. The work begins as normal fairy tale: "In some kingdom, in some state there was a landowner ...

»But the element immediately appears modern life: "And the landowner is stupid, read the newspaper" Mest "." "Mest" - the newspaper is reactive, so that the stupidity of the landowner is determined by its worldview. The landowner considers himself the true representative of the Russian state, supporting him, is proud that he is a hereditary Russian nobleman, Prince Urus-Kuchum Kildibaev.

The whole point of its existence is reduced to reach their body, "soft, white and crumbly". He lives at the expense of his men but hates them and fears, does not endure the "Hopper Spirit." He rejoices when some fantastic swirl was taken unknown to where all the men, and the air became pure-repurable in his possessions.

But men disappeared, and hunger came such that it is impossible to buy anything in the bazaar. And the landower himself completely wild: "He's all, from head to feet, around his hair ...

and his nails have become iron. It has long ceased to blow herdoor, walked more and more on all fours.

Even the ability to pronounce self-searched sounds ... " In order not to die with the hunger, when the last gingerbread was eaten, the Russian nobleman began to hunt: he would notice the hare - "As if the arrow jumps off the tree, it clings to his prey, tear her with her nails, so with all the insides, even with the skin, eat." The wilderness indicates that he does not live without the help of a man.

After all, it is not for nothing, as soon as the "Roy Manyaki" was caught up and cast into place, "meat and meat, and live animals appeared in the bazaar." The stupidity of the landowner is constantly emphasized by the writer. The first named landlords are stupid peasants themselves, they call the landowner stupid (taking a triple repetition) Representatives of other classes: actor Sadovsky ("However, brother, stupid you are a landowner!

Who is, stupid, wash it out? ") Generals whom he instead of" beef ki "treated with printed gingerbread and lollipops (" however, brother, the stupid you are a landowner! ") And finally, Captain-Corplenik (" Stupid You, Mr. Dencher!

"). The stupidity of the landowner is visible to everyone, and he is indulcated to unreserved dreams that the farm will achieve without the help of the peasants, reflects on English machines that will be replaced by serfs. His dreams are ridiculous, because he cannot do anything independently.

And only once the landowner thought: "Is it really a fool? Surely, the inflexibility that he had so cherished in his soul, translated into an ordinary language means only nonsense and madness?

"If we compare the famous folk tales about Barina and a man with fairy tales of Saltykov-Shchedrin, for example, with a" wild landlord, "we will see that the image of the landowner in Shchedrian fairy tales is very close to folklore, and men, on the contrary, differ from fabulous. In folk fairy tales, a manifold man, deft, resourceful, wins the stupid Barin.

And in the "wild landowner" arises collective image Workers, country's breadwinners and at the same time patient martyrs-sufferers. So, by modifying the folk fairy tale, the writer condemns the folk long-suffering, and his fairy tales sound like a call to rise to the struggle, to divert from the slave worldview.

Of all the types of art, literature has the richest opportunities for the incarnation of comic. Most often allocated the following types and techniques of comic: satire, humor, grotesque, irony.

Satir is called a look "through a magnifying glass" (V.). The subject of satire in the literature can be a variety of phenomena.

Political satire meets most often. The bright proof of this is the fairy tales of M.

E. Saltykov-Shchedrin.

Fantastic fabulous scenes allowed Saltykov-generous to continue the criticism of the social system, coming by censorship even in conditions of political reaction. Shchedrian fairy tales draw not just evil or good people, not just the struggle of good and evil, like most people's fairy tales, they reveal the class struggle in Russia the second half of the XIX century.

Consider the peculiarities of the fairy tales of the writer on the example of two of them. In the "Tale of how one man's two generals proceeded" Shchedrin shows the image of a cramp-brewer.

It can get food, sew clothes, conquer natural forces of nature. On the other hand, the reader sees the heartlessness of the man, its humility, unquestioned submission to two generals. He even binds himself to the rope, which once again points to humility, the kingdom of the Russian man.

The author calls people to fight, protest, calls to wake up, to think about their position, stop to obey badly. In the fairy tale "Wild landowner", the author shows how rich barin can drop, being without a man. Abandoned by his peasants, he immediately turns into a dirty and wild animal, moreover, becomes a forest predator.

And this life, in essence, continued its previous predatory existence. Worthy exterior appearance Wild landowner, like the generals, acquires again only after his peasants return. Thus, the author gives an unequivocal assessment of modern reality.

According to literary form And the style of fairy tale Saltykov-Shchedrin is associated with folk traditions. We meet traditional fabulous characters: speaking animals, fish, birds. The writer uses characteristic of the folk fairy tale, promotion, proverbs, language and composite trickens, spacious and household peasant vocabulary, permanent epithets, Words with diminishing suffixes.

As in folklore fairy tale, Saltykov-Shchedrin has no clear temporal and spatial framework. But using traditional techniques, the author is quite intentionally retreating from tradition.

He introduces into the narration of social and political vocabulary, stationery, French words. The episodes of modern public fall on the pages of his fairy tales.

life. So there is a mixture of styles that creates a comic effect, and the compound of the plot with the problems of modernity.

Thus, enriching the fairy tale new satyric receptions, Saltykov-Shchedrin turned her into the instrument of socio-political satire.

The writing

The fairy tale is one of the most popular folk genres. This type of oral narration with fantastic fiction has a centuries-old history. Fairy tales of Saltykov-Shchedrin are associated not only with folk tradition, but also with satirical literary fairy tale XVIIIXIX centuries. Already on the slope of the years, the author appeals to the genre of a 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 children, open their eyes on the world.

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 its literary form and 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. On the pages of his fairy tales, episodes of modern public Life. 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. The fairy tale of a wild landowner (1869) begins as a regular fairy tale: in some kingdom, in some state there was a landowner ... But immediately an element of modern life includes a fairy tale: And there was a stupid element, read the newspaper of the newspaper's reactive, and the stupidity of the landowner Determined by his worldview.

The abolition of serfdom caused an anger from the landowners to peasants. In the plot of the fairy tale, the landowner appealed to God so that he took the peasants from him: he cuts them so that there was no place for the nose: wherever it is impossible, but not allowed, but not yours! I use Ezopov language, the writer draws the stupidity of the landowners who oppress his peasants, at the expense of which they lived, having the body loose, white, crumbly. There were no men on the entire space of the owners of the stupid landlord: where the man did not notice that the man did not notice. Shchedrin hints where a man may be, but the reader should be guessed by himself. The first to be called the landowner with stupid peasants themselves; ... Although they have a stupid landowner, and the mind is given a big one. Irony sounds in these words. Further, they call the landowner stupid (taking a triple repetition) Representatives of other classes: actor Sadovsky with acting, invited to the estate: however, brother, stupid you are a landowner! Who is stupid to you, sinking; The generals, whom he instead of Go Vidninka acted with printed gingerbread and lollipops: however, brother, the stupid you are a landowner!; And finally, Captain-Forusnik: You are stupid, Mr. Dencher! The stupidity of the landowner is visible to everyone, as it is impossible to buy a piece of meat on the bazaar, the treasury was empty, as it was not possible to pay a certain robbery, robbery and murder. And the stupid landowner stands on his own, manifests hardness, proves his inflexibility to Liberals, as the favorite newspaper is advised. He indulges to unreserved dreams that the farm will achieve without the help of the peasants. Thinks what cars from England will write down, so that the Khopovsky spirit is not at all. Thinks which cows explode. His dreams are ridiculous, because he cannot do anything independently. And only once the landowner thought: it really is in fact a fool.

Surely, the inflexibility he was so cherished in his soul, translated into ordinary language means only nonsense and madness .. in further development The plot, showing the gradual wedding and the oscillation of the landowner, Saltykov-Shchedrin resorts to Grotesque. At first there was a hair around ... His nails were made, like iron ... I went more and more on all fours ... I even lost the ability to pronounce the directed sounds ... But the tail has not yet purchased. The predatory nature was manifested in how he hunted: Like an arrow, he jumps away from the tree, clinging to his prey, tear her nails, yes so with all the insides, even with a skin, and eat. The other day, a little captain-charge did not shudder. But here the final sentence was made by a wild landowner new friend Bear: ... Only, Brother, you are in vain, the man destroyed it! And why so and because the peasant is not in an example, it was better than your brother nobleman. And therefore I will tell you straight: the stupid you are a landowner, even though a friend! So in the fairy tale the reception of allegory, where under the mask of animals human types In their inhuman relationship.

This element is used in the peasant image. When the authorities decided to catch and cast a man, as purposefully, at this time through gubernsky city I flew the swarm of the peasants and sneak all the marketplace. The author compares the peasants with bees, showing hardworking when the peasants returned the landowner, at the same time the meal appeared in the bazaar, and meat, and the submissions did so much that the treasurer did, seeing such a pile of money, only threw his hands from Surprise and cried out: And where are you, shelms, take !!! How much bitter irony in this exclamation! And the landowner was caught, washed away, tonsured him nails, but he did not understand anything and did not learn anything, like all the rulers who ruin the peasantry, bumping workers and not understand that it could turn into collapse for themselves. Value satirian fairy tales 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 its point of view on the vices of a class of the power of items and on the most important problem of the era of the problem of the fate of the Russian people.

The Saltykov-Shchedrine fairy tales series was created for 18 years and consists of 32 works. As a result of his creativity, fairy tales are filled with a special satire opposing the public evil. They intertwined the comedy and tragedy, fantasy and reality, the amazing possession of the allegory language is manifested.

The first fairy tales of Saltykov-Shchedrin were published in 1869 in the journal " Domestic notes" The rest were printed in the interval from 1880 to 1886 in various publications. Some fairy tales were not published in the life of Mikhail Evgrafovich due to tough censorship and spread illegally both in Russia and abroad. Also one of the fairy tales, "Bogatyr", was published only in 1922, as it was lost in the archives. Due to the censorship oppressions, Saltykov-Shchedrin could not publish full cycle fairy tales Therefore, the autumn of 1886 was printed a collection, which contained only 23 fairy tales. A century augmented collection came out in a year, in which the writer added another product - "Christmas fairy tale."

Saltykov-Shchedrin turned to fairy tales for many reasons. The difficult political situation in Russia did not allow to reveal all the contradictions of society and directly criticize the existing procedures. Also, the fabulous genre was close to Satirik writer. Fantasy, strong exaggeration, Ironity is familiar to fairy tales and are very characteristic of Saltykov-Shchedrin. He fiercely rizels in his fairy tales to slave psychology. Shows such features of the Russian people, as long-suffering and empty, trying to find the origins of these troubles and determine their limits, seeing in them main tragedy time.

Satirik in his fairy tales uses Russian folklore, thanks to which the dialogues of the heroes are very colorful, and a certain social type of character is evaporated. The works of Shchedrin are united only by the genre, but also general Tommeswhich bind fairy tales and give the whole cycle unity.

By ideal content Shchedrian fairy tales can be divided into four topics:

1. satira on the government and exploitative classes;
2. showing the behavior of the studio predisposed intelligentsia;
3. displaying life simple people in Russia;
4. discharge morality owners and promoting new ideals and morality.

Strict delimitation of the subject of the writer's fairy tales is impossible, and not required. The same fairy tale can affect immediately a few topics. In most fairy tales, Mikhail Evgrafovich affects the life of a simple people, putting it in contrast to the elite layers of society.

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