“Depiction of the life of working people in the fairy tales of M. E.

An important place in the work of Saltykov-Shchedrin is occupied by his “Fairy Tales”, which sum up the forty years creative activity author. Most of fairy tales were written in the last ten years of the writer’s life. And this, of course, is not accidental. Saltykov-Shchedrin resorted to the fairy tale genre in the 80s XIX century, when political censorship was such that the author had to find a form that was most convenient and understandable to the common reader.

As in all the works of Saltykov-Shchedrin, in fairy tales two forces confront each other: the people and their oppressors. The people appear here under the masks of kind, defenseless, disadvantaged animals, and the exploiters under the masks of predators. This is a fable tradition, which was further developed in his work by the great Russian fabulist Krylov. In all fairy tales there is a generalized image of a worker who is mocked by his oppressors. This is Konyaga, which is a symbol of the working and peasant Rus', and the men from the story “How one man fed two generals,” and many others.

Portraying hard life working people Shchedrin sympathizes with him, but at the same time he mourns his humility and humility, immeasurable obedience. Gorky is felt through the author’s lines when he tells us how a man made a rope for himself. In almost all fairy tales, the writer draws a man with love, showing him great power and nobility. The people in his works are kind, brave and smart. He can do everything: build a hut for himself and his master, shoe a horse, sew clothes, and cross the “sea-ocean”. The oppressors in fairy tales look ridiculous, funny, the author laughs at their helplessness, ignorance, and inability to live without a man. Shchedrin ridicules such human vices, inherent in the masters of life, such as greed, stinginess, despotism, complete ignorance. All this is clearly visible in Saltykov’s collection; let us recall at least two generals or a wild landowner from the fairy tale of the same name.

One of the main ideas that the author preaches in his works is the liberation of the peasants from the yoke of autocracy represented by the landowners. This is best seen in the fairy tale “ Wild landowner", where the author seemed to put together all his thoughts and ideas on this matter. Here the problem of the relationship between the tortured people and the serf owners is especially acute: “The cattle go out to water - the landowner shouts: my water! A chicken wanders into the outskirts - the landowner shouts: my land! And the earth, and the water, and the air - everything became his. There was no torch to light the man’s light, there was no rod to sweep out the hut with.”

The author shows what happens to a landowner abandoned by the peasants: he becomes a fierce predator, unwashed, unshaven, dying of hunger. And then we see that there is no life for the master without a man; the landowner cannot get a piece of bread for himself. But as soon as people return, everything falls into place. By this Shchedrin wants to tell us that the people are the creator of wealth, and its owner is only a consumer.

The personification of philistinism became “ wise minnow", who spent his entire life hiding, fearing and fearing everyone and everything. The goal of this “enlightened, moderately liberal coward’s life was to save his own skin, avoid trouble, get away from everyone life problems. Even though he lived to a ripe old age, his life was so empty and insignificant that it does not evoke any feelings in the reader other than grinning and contempt.

Whole line fairy tales are dedicated to ridiculing the Tsarist power and government system. "Eagle Patron" is a parody of enlightened Rus'. The author, in the person of Eagle, depicts the ruler and his entourage who destroy culture and science to achieve their mundane, material goals.

Despite his love for the people, the writer could not help but reflect such qualities as long-suffering, humility, and obedience. The author says that only the people themselves can help themselves, correct their humiliated, disastrous, subjugated position.

It is impossible not to mention the language of Shchedrin’s fairy tales. In creating them, the writer relied on experience folk art, as evidenced by the presence of many proverbs, sayings, sayings. allegories are reflected in these works, changing according to the genre of political fairy tales. The author talks about the distant past or some unknown place, but in fact he describes contemporary reality: “Today this does not exist, but there was such a time...”. Shchedrin resorts to allegory, the use of masks from the animal world, which still failed to hide their socio-political content and ideas.

At all times, the theme of the people has worried Russian writers. Saltykov-Shchedrin was no exception in this series with his fairy tales.

Both in the serfdom and in the post-reform years, he tirelessly denounced the “ablakats of the Balalaikins,” their “smudged, bashful, empty eloquence,” which turned into connivance and betrayal in the tragic moments of Russian history.

Formation of public and literary views The writer’s rise began in the era of the secret spread of social-utopian theories in Russia, and then the powerful revolutionary-democratic sermon of V. G. Belinsky. During the Vyatka exile, Saltykov-Shchedrin had to directly confront the tsarist province, with the bureaucratic and landowner provincial clan. He understood and experienced a lot during these years.

In the turbulent sixties, he became acquainted with the revolutionary-democratic figures of Sovremennik, and in many ways came closer to their views on the political situation and on driving forces stories. This rapprochement was greatly helped by the growing hatred in him for all forms of social and spiritual violence, based on broad observations and analysis of reality

It was during these years that Saltykov-Shchedrin created works that were distinguished by their particular ideological and artistic maturity: “Satires in Prose”, “Pompadours and Pompadours”, “The History of a City”, “ Well-Intentioned Speeches", "In an environment of moderation and accuracy." He managed to carry the banner of revolutionary democracy and social progress through the difficult times of reaction, through the "era of counter-reforms", when his satire acquired tragic shades, but at the same time did not lose either analytical depth or ideological and artistic monolithicity.And the writer himself in these difficult years was a model of firmness, perseverance and endurance.

The basis of Saltykov-Shchedrin’s harsh and sometimes tragic laughter was not skepticism and disbelief, but an incomparable confidence in the triumph of the ideals of humanism, a premonition of the inexhaustible spiritual strength of the people. This is what made his satire so significant, integral and wise. “And the stronger the surprise at the temple in which human thought is beneficently nurtured,” wrote Saltykov-Shchedrin, “the more passionate the devotion to the interests of this thought, the stronger and more passionate becomes the indignation aroused by infectious dens that seek to obscure the temple and introduce infection into it , rot and depravity." The writer filled his works not with images of individual “villainous” individuals, but with the thought of the worthlessness of everything exploitative social order: “My harshness does not refer to individuals, but to a certain totality of phenomena, in which lies the source of all the evils that oppress humanity.”

Analysis of a fairy tale "Wild Landowner" Saltykova-Shchedrin

The theme of serfdom and the life of the peasantry played important role in the works of Saltykov-Shchedrin. The writer could not openly protest the existing system. Saltykov-Shchedrin hides his merciless criticism of the autocracy behind fairy tale motifs. He wrote his political tales from 1883 to 1886. In them, the author truthfully reflected the life of Russia, in which despotic and all-powerful landowners destroy hardworking men.

In this tale, Saltykov-Shchedrin reflects on the unlimited power of landowners, who abuse the peasants in every possible way, imagining themselves almost as gods. The writer also talks about the landowner’s stupidity and lack of education: “that stupid landowner was reading the newspaper “Vest” and his body was soft, white and crumbly.” The disenfranchised position of the peasantry in Tsarist Russia Shchedrin also expresses in this tale: “There was no torch to light the peasant’s light, there was no rod with which to sweep out the hut.” The main idea of the fairy tale was that the landowner cannot and does not know how to live without the peasant, and the landowner dreamed of work only in nightmares. So in this fairy tale, the landowner, who had no idea about work, becomes dirty and wild beast. After all the peasants abandoned him, the landowner never even washed himself: “Yes, I’ve been walking around unwashed for so many days! "

The writer caustically ridicules all this negligence of the master class. The life of a landowner without a peasant is far from normal human life.

The master became so wild that “he was covered with hair from head to toe, his nails became like iron, he even lost the ability to utter articulate sounds. But I haven’t acquired a tail yet.” Life without peasants in the district itself has become disrupted: “nobody pays taxes, no one drinks wine in taverns.” “Normal” life begins in the district only when the peasants return to it. In the image of this one landowner, Saltykov-Shchedrin showed the life of all the gentlemen in Russia. And the final words of the tale are addressed to each landowner: “He plays grand solitaire, yearns for his former life in the forests, washes himself only under duress, and moos from time to time.”

This fairy tale is full folk motifs, close to Russian folklore. There are no sophisticated words in it, but there are simple Russian words: “said and done”, “peasant trousers”, etc. Saltykov-Shchedrin sympathizes with the people. He believes that the suffering of the peasants will not be endless, and freedom will triumph.

M. E. SALTYKOV-SHCHEDRIN

WILD LANDLORD

“In a certain kingdom, in a certain state, there lived a landowner, he lived and looked at the light and rejoiced. He had enough of everything: peasants, bread, livestock, land, and gardens. And that landowner was stupid, he read the newspaper “Vest” and his body was soft, white and crumbly.”

Only one thing worried the landowner: “...There are too many peasants in our kingdom!” But God didn’t help him in any way.

The landowner then decided to look for the answer to the question in the newspaper “Vest”. And it says: “Try hard!”

“And he began to try.” He began to collect fines from the men, and if a peasant chicken wandered into his yard, he “as a rule, put it in the soup.”

“My water!”, “My land!” - the landowner shouts to the people. The peasants were completely squeezed and they then began to pray to the Lord God: “Lord! It’s easier for us to perish with our children than to suffer like this all our lives!”

The Lord listened to the peasant’s prayer and “there was no man in the entire domain of the stupid landowner.”

Then the landowner had “clean air.” I was delighted and decided to set up a theater at my place. The actor Sadovsky came to him “and brought actresses.” There’s just no one to stage the theater. And no one serves guests to wash themselves. Sadovsky left.

Then the landowner and the generals decided to play a game of bullets!

But no one will cook for them to eat. Then the generals left. The landowner began to play grand solitaire himself. I decided that if it comes out three times, it means he’s right. And everything worked out for the landowner. He then began to think about how he would “plant an orchard,” and then went to bed. “And in a dream, dreams are even more fun than in reality. He dreams that the governor himself found out about his landowner’s inflexibility and asked the police officer: “What kind of tough son of a hen do you have in your district?” Then he dreams that he was made a minister for this very inflexibility...”

And then the police captain himself comes to the landowner. I even got “two printed gingerbread cookies” for him.

Only the police officer forced the landowner to pay taxes for each man. After all, because of him, there is not even meat at the market.

And now even the mouse is not afraid of the landowner. He understands “that the landowner cannot do him any harm without Senka.” And in the garden the paths are overgrown with thistles. The landowner went completely wild, “...his nails became like iron.” He began to catch hares himself. I decided to make friends with the bear. The bear tells him:

- You destroyed this guy in vain!

- And why?

- But because this man was far more capable than your nobleman brother. And therefore I will tell you straight: you are a stupid landowner, even though you are my friend!

Then there was a complaint that a man-bear almost killed a man. And everyone decides that this is a landowner.

“As luck would have it, at this time through provincial town An emerging swarm of men flew and showered the entire market square. Now this grace was taken away, they put him in a whip and sent him to the district.”

And the landowner “is alive to this day. He plays grand solitaire, yearns for his former life in the forests, washes himself only under duress, and moos from time to time.”

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WILD LANDLORD

Composition

An important place in Saltykov-Shchedrin’s work is occupied by his “Fairy Tales,” which sum up the author’s forty years of creative activity. Most of the fairy tales were written in the last ten years of the writer's life. And this, of course, is not accidental. Saltykov-Shchedrin resorted to the fairy tale genre in the 80s of the 19th century, when political censorship was such that the author had to find a form that was most convenient and understandable to the common reader.

As in all the works of Saltykov-Shchedrin, in fairy tales two forces confront each other: the people and their oppressors. The people appear here under the masks of kind, defenseless, disadvantaged animals, and the exploiters under the masks of predators. This is a fable tradition, which was further developed in his work by the great Russian fabulist Krylov. In all fairy tales there is a generalized image of a worker who is mocked by his oppressors. This includes Konyaga, a symbol of workers’ and peasants’ Rus', and the men from the story “How One Man Fed Two Generals,” and many others.

Depicting the hard life of the working people, Shchedrin sympathizes with them, but at the same time mourns their humility and humility, immeasurable obedience. Bitter laughter can be felt through the author’s lines when he tells us how a man made a rope for himself. In almost all fairy tales, the writer draws a man with love, showing his great strength and nobility. The people in his works are kind, brave and smart. He can do everything: build a hut for himself and his master, shoe a horse, sew clothes, and cross the “sea-ocean”. The oppressors in fairy tales look ridiculous, funny, the author laughs at their helplessness, ignorance, and inability to live without a man. Shchedrin ridicules such human vices, inherent in the masters of life, as greed, stinginess, despotism, and complete ignorance. All this is clearly visible in Saltykov’s collection; let us recall at least two generals or a wild landowner from the fairy tale of the same name.

One of the main ideas that the author preaches in his works is the liberation of the peasants from the yoke of autocracy represented by the landowners. This is best seen in the fairy tale “The Wild Landowner,” where the author seemed to put together all his thoughts and ideas on this matter. Here the problem of the relationship between the tortured people and the serf owners is especially acute: “The cattle go out to water - the landowner shouts: my water! A chicken wanders into the outskirts - the landowner shouts: my land! And the earth, and the water, and the air - everything became his. There was no torch to light the man’s light, there was no rod to sweep out the hut with.”

The personification of philistinism was the “wise minnow,” who spent his entire life hiding, fearing and fearing everyone and everything. The goal of this “enlightened, moderately liberal coward’s life was to save his own skin, avoid trouble, and avoid all life’s problems. Even though he lived to a ripe old age, his life was so empty and insignificant that it does not evoke any feelings in the reader other than grinning and contempt.

A number of fairy tales are dedicated to ridiculing the Tsarist power and government system. "Eagle Patron" is a parody of enlightened Rus'. The author, in the person of Eagle, depicts the ruler and his entourage who destroy culture and science to achieve their mundane, material goals.

It is impossible not to mention the language of Shchedrin’s fairy tales. In creating them, the writer relied on the experience of folk art, as evidenced by the presence of many proverbs, sayings, and sayings. The language of allegory is reflected in these works, changing according to the genre of political fairy tales. The author talks about the distant past or some unknown place, but in fact he describes contemporary reality: “Today this does not exist, but there was such a time...”. Shchedrin resorts to allegory, the use of masks from the animal world, which still failed to hide their socio-political content and ideas.

At all times, the theme of the people, their life and fate worried Russian writers. Saltykov-Shchedrin was no exception in this series with his fairy tales.

Both in the serfdom and post-reform years, he tirelessly denounced the “Balalaikin ablakats,” their “smudged, bashful, empty eloquence,” which turned into connivance and betrayal in the tragic moments of Russian history.

The formation of the writer’s social and literary views began in the era of the secret spread of social-utopian theories in Russia, and then the powerful revolutionary-democratic sermon of V. G. Belinsky. During the Vyatka exile, Saltykov-Shchedrin had to directly confront the tsarist province, with the bureaucratic and landowner provincial clan. He understood and experienced a lot during these years.

In the turbulent sixties, he met the revolutionary democratic figures of Sovremennik, and in many ways came closer to their views on the political moment and the driving forces of history. This rapprochement was greatly helped by the growing hatred in him for all forms of social and spiritual violence, based on broad observations and analysis of reality

It was during these years that Saltykov-Shchedrin created works that were distinguished by their particular ideological and artistic maturity: \"Satires in Prose\", \"Pompadours and Pompadours\", \"The History of a City\", \"Well-Intentioned Speeches\", \" In an environment of moderation and accuracy." He managed to carry the banner of revolutionary democracy and social progress through the difficult times of reaction, through the “era of counter-reforms,” when his satire acquired tragic shades, but at the same time did not lose either analytical depth or ideological and artistic solidity. And the writer himself during these difficult years was a model of firmness, perseverance and endurance.

The basis of Saltykov-Shchedrin’s harsh and sometimes tragic laughter was not skepticism and disbelief, but an incomparable confidence in the triumph of the ideals of humanism, a premonition of the inexhaustible spiritual strength of the people. This is what made his satire so significant, integral and wise. “And the stronger the surprise at the temple in which human thought is beneficently nurtured,” wrote Saltykov-Shchedrin, “the more passionate the devotion to the interests of this thought, the stronger and more passionate becomes the indignation aroused by infectious dens that seek to obscure the temple and bring into it infection, decay and depravity." The writer filled his works not with images of individual “villainous” individuals, but with the thought of the worthlessness of the entire exploitative social system: “My harshness does not mean individuals, but a certain totality of phenomena, in which lies the source of all the evils that oppress humanity.” .

Portraying the people in the fairy tale “The Wild Landowner,” M. E. Saltykov-Shchedrin, without hiding, shows respect and sympathy for them. A similar impression is formed from observing the contrasts between the landowner, on the one hand: “and that landowner was stupid...” and the hardworking people, on the other hand.

Throughout the entire work, the author emphasizes the idea that a representative from the people has a difficult fate. He is in the power of the one who pays him for his work, dependent on him. But in fact, a master without a peasant cannot cope with a single problem on his own. The landowner practically does not give the people the right to choose, infringing on their rights. Such is the lot of an oppressed person in captivity.

A man of the people turns out to be irreplaceable. This is evidenced by the events of the work. Finding himself without the services of his workers, the master was left hungry and unkempt. Only after they disappeared did the owner begin to understand their role in his life. He comes to the realization that the people, bit by bit, build their entire life with their own hands - both their own and the owner's, while showing ingenuity and hard work. His character is perseverance and determination. He is friendly, patient and responsive.

Unprotected by anyone, the people humbly agreed to the ridiculous fines and other rules of the landowner. Despite all this, he was not stupid. He understood everything about his master, understood everyday affairs, everyday issues, marveling at his greed. For a long time obedience and diligence were his main characteristics.

Soon the poor man's patience ran out. He could not bear to be bullied by the oppressor. He disappeared in an instant, thus showing his protest against existing system, leaving the owner alone with himself.

The author treats the people with sincere sympathy, ridiculing the negligence of the landowner, his inability to exist independently and serve himself. He emphasizes in the tale that this despot, having unlimited power over the people, becomes a hostage to his laziness, stinginess and aggression. The author humiliates the landowner in front of the people, turning him practically into an animal (only “he hasn’t acquired a tail yet”). The freedom-loving people, in his opinion, should be rewarded according to their deserts.

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