At whom, at what and how does M. E. Saltykov-Shchedrin laugh in “Fairy Tales for Children” of considerable age»?

The tales of Saltykov-Shchedrin are a textbook work. Often these fairy tales are not only taught at school, but also read to young children. However, it is unlikely that a child will be able to comprehend the meaning that the author put into his works. Therefore, Saltykov-Shchedrin himself called this direction of his work “fairy tales for children of a fair age.” In order to understand this definition, it is important to know the answer to three questions: at whom, at what and how does the writer laugh at in his books.

Who is the satirist laughing at? Literally above everyone: it affected all representatives of society: the nobility, the bourgeoisie, the bureaucracy, the intelligentsia, the common people. Moreover, the author writes not only about them, but also for them, trying to get a reader response.

Saltykov-Shchedrin also makes fun of human shortcomings: laziness, hypocrisy, hypocrisy, arrogance, arrogance, rudeness, cowardice, stupidity. Making fun of individual flaws human character, the writer touches on a much wider range of problems: social, political, ideological, moral. In a word, like a true satirist, Shchedrin, speaking about individual shortcomings, shows the entire panorama public life generally.

But the most interest Ask lies in exactly how Saltykov-Shchedrin laughs at social flaws. We should start with the fact that the genre he chose—fairy tales—is unusual. However, this choice is completely justified, because under the mask fairy tale hero You can hide any face you want without fear of strict censorship. That is why the author so widely used animal images (“Bear in the Voivodeship”, “Eagle-Patron”, “Sane Hare”, “Crucian-Idealist”, “Wise Minnow”, “Horse”). There are very few fairy tales where the direct characters are people. The advantage of the image of an animal is that the author, at his own request, forces one animal to play any social type. So, Orel plays the reigning person, personifying the entire monarchy, Bear represents the military, and Konyaga is a simple Russian peasant who does not straighten his back through life. Thanks to this, every fairy tale becomes an accusation, a reproach to some social evil. For example, in the fairy tale “The Bear in the Voivodeship” the administrative principles of autocracy are exposed. In “Karas the Idealist,” the writer laughs at naive, narrow-minded truth-seekers with their utopian hopes of appeasing predators, that is, those in power.

As we can see, the fairy tale genre helps the writer in accomplishing his task. How did Saltykov-Shchedrin manage to put quite serious ideas and slogans into an interesting, exciting shell? Last but not least, this can be explained by the style of writing. The satirist uses traditionally fairy-tale phrases: “once upon a time,” “in a certain kingdom,” “drank honey and beer,” and many others. This initially immerses the reader in a fairy-tale atmosphere. It is also worth noting the Aesopian language, so beloved by Saltykov. This is not only a style of language, but also a whole system of images and concepts.

So, the system used by Saltykov is quite simple: traditional fairy-tale sound, a fairy-tale hero, Aesopian language, the technique of the grotesque. And now we have a whole picture in front of us: we laugh, knowing full well that the subject of laughter is more worthy of tears and pity. The fairy tale “is very indicative in this regard.” Wild landowner" It begins in the traditional spirit: “In a certain kingdom, in a certain state...” Then we talk about a landowner who dreamed of getting rid of the peasants. His wish is granted, but it turns out that he is practically left without hands and runs wild. It seems funny to look at a wild, bestial landowner, but at the same time it is very sad to realize that man, the king of nature, can come to such a fall. I immediately remember “The Tale of How One Man Fed Two Generals.” The generals in this tale also do not notice that they exist solely due to the labor of others. Their ideas about life remain at the level that buns grow on trees. Exaggeration? Undoubtedly! But this does not mean that people with this type of consciousness do not exist in the world. They just exist. It was for this reason that Saltykov-Shchedrin wrote his fairy tales. His blows always hit the target, since the vices that he exposed have always been the scourge of our society.

“Fairy Tales for Children of a Fair Age” is the result of the author’s many years of work; they synthesize his ideological and artistic principles. They reveal wealth spiritual world writer. They denounce vice and ignorance. Even in our time, being creations of the distant past, these works have not lost their vitality and relevance, still remaining fascinating and an interesting book for “children of a fair age.”

Traditions folk tale. It should be noted that we're talking about first of all, not about magic, but about social and everyday life, satirical tale: the characters in such a fairy tale are stupid generals, landowners who don’t know and can’t do anything.
However, it is significant that the characteristics of the peasant are not the same as in the folk tale. There he is always smarter, braver, stronger, always fooling powerful of the world this leaves the oppressors in the cold. Saltykov-Shchedrin emphasizes the paradoxical mixture of valuable, vital necessary qualities peasant and humility, long-suffering, bordering almost on dementia. Typical antithesis for a writer: sharp contrast physical strength, ingenuity (and exaggeration of these qualities) and patience, humility, he allows himself to be oppressed.
The general style is also in many ways fairy-tale (“in a certain kingdom”), but there are no plots directly borrowed from fairy tales. The plots are essentially as allegorical as in the latest, more original fairy tales, and therefore unique. Only externally these tales are associated with folk tales (heroes, style).
One of the main techniques of Saltykov-Shchedrin is grotesque (the generals are wearing nightgowns with orders; the man himself wove a rope “from wild hemp” so that the generals would tie him up).
Fairy tales of the 1880s were written during the years of political reaction, so it is advisable to compare them not only with the works of Gogol, Krylov, but also Chekhov, who had just begun his writing activity. The difference is that in Saltykov-Shchedrin’s tales the emphasis is on social issues(the relationship between the people and the authorities, the phenomenon of Russian liberalism and enlightenment, the socio-psychological type of “liberal”, etc.), and in Chekhov - on the “universal”, ethical and existential (vulgarity, philistinism, routine of life, etc. ) .
In accordance with this, the basic pictorial principles also differ: Saltykov-Shchedrin has allegorical generalizations on a national scale, Chekhov has everyday trifles. What unites them is their commitment the only form freedom of thought allowed in that era - laughter, which in both writers is combined with allegory. At the same time, Saltykov-Shchedrin’s laughter is distinguished not only by fun, but also by anger; it is satirical in nature. His later tales are gloomy and devoid of optimism. In them, he relies on the traditions of not so much folk tales as fables, where the allegorical nature is set initially, constituting the structure-forming genre type.
The heroes of fairy tales of the 1880s resemble the heroes of fables. Animals often perform in a typical fable function, rather than in a fairy tale. In addition, as happens in a fable, animals sometimes suddenly turn from characters into “themselves”: for example, a fish - actor may be fried at the end of the fairy tale.
Saltykov-Shchedrin uses “ready-made” roles assigned to some animals; traditional symbolism is found in his fairy tales. For example, the eagle is a symbol of autocracy; so the fairy tale where main character- an eagle, is immediately understood by the reader accordingly (reflection on eagles and their essence is undoubtedly perceived in an allegorical sense).
Saltykov-Shchedrin demonstrates his commitment to the fable tradition; in particular, he includes a moral in some fairy tales, a typical fable device (“let this serve as a lesson to us”).
The grotesque, as Saltykov-Shchedrin’s favorite means of satire, is expressed in the very fact that animals act as people in specific situations (most often associated with ideological disputes, socio-political issues relevant to Russia in the 1880s). In the depiction of these incredible, fantastic events, the originality of Shchedrin’s realism is revealed, which captures the essence social conflicts and relationships, character traits which are hyperbolized.
Parody also belongs to Shchedrin’s typical techniques; the object of parody can be, for example, Russian historiography, as in “The History of a City,” or the history of education in Russia.

>Essays based on the work The Wild Landowner

What is the author laughing at?

A significant place in the work of the satirist M. E. Saltykov-Shchedrin is occupied by cautionary tales. Some of them are included in school curriculum, and some parents even read to their young children. Still, not every child will fully understand what meaning the author actually put into his “funny” works. Speaking out against social injustice and social evil, Saltykov-Shchedrin ridiculed the vices of the “masters of life” who oppress the common people.

In the fairy tale "The Wild Landowner" he shows the life of a landowner left without the help of peasants. At first, he himself begs the Lord to remove the “man” from his life, and with their disappearance he finds himself in a difficult situation. In fact, the author notices and brings to the surface a huge number of human vices. This is laziness, hypocrisy, hypocrisy, and cowardice. All this is included in the list of topics that he touches on in his fairy tales. While ridiculing individual flaws in people, he illuminates a wide range of socio-political, ideological and moral problems.

It should be noted here that Saltykov-Shchedrin condemns the very idea of ​​serfdom. It cannot be said that he only takes the side of the peasants and laughs at the “wild landowner.” Peasants who lack their own goals and desires also seem absurd to him. They are strongly dependent on the landowners, since they absorbed the desire to obey with their mother’s milk. The satirical genre of the fairy tale helped the writer to most vividly and colorfully express his views on society.

The question arises, how did he manage to put such serious ideas into such a fascinating package? The style of writing played an important role in this. Indeed, in his fairy tales, Saltykov-Shchedrin often playfully uses traditional fairy-tale expressions, such as “in a certain kingdom,” “once upon a time,” “he drank honey and drank beer,” etc. This manner simultaneously immerses the reader in the atmosphere of a fairy tale and the grotesque. It's funny to watch how an ordinary landowner, because of his ridiculous claims, gradually turns into a wild beast.

Left without disgusted peasants, he begins to dream of how he will take care of his own farm. However, not having the proper skills, he soon neglected the garden and himself to such an extent that he became like a wild beast. As the author writes, he began to run on all fours, hunt hares and became friends with a bear. Thus, the author shows that the people are the support of the state. Exactly simple people create those moral and material values used by the nobility. Therefore, having expelled the “peasant”, the landowner became powerless and quickly degraded.

Saltykov-Shchedrin is a world-recognized master of satire. His talent showed itself in difficult times for Russia. The contradictions that were corroding the country from within and the discord in society became apparent. The appearance of satirical works was inevitable. But only a few were able to fully reveal their talent. Ruthless censorship did not leave the slightest opportunity to express one’s opinion on the situation in Russia if it contradicted the government’s. For Saltykov-Shchedrin, the problem of censorship was very acute, and conflicts with it became more frequent. After the publication of some early stories, the writer was sent into exile in Vyatka. A seven-year stay in the province brought its benefits: Saltykov-Shchedrin got to know the peasants better, their way of life, and the life of small towns. But from now on he was forced to resort to allegory and use comparisons in order for his works to be published and read.
An example of a vivid political satire is, first of all, the story “The History of a City.” It describes the history of the fictional city of Foolov, the relationship between “the inhabitants and the bosses.” Saltykov-Shchedrin set himself the task of showing the typicality of Foolov and his problems, the common details inherent in almost all Russian cities of that time. But all the features are deliberately exaggerated, hyperbolized. The writer exposes the vices of officials with his characteristic skill. Bribery, cruelty, and self-interest flourish in Foolov. The complete inability to manage the city entrusted to them sometimes leads to the most tragic consequences for the residents. Already in the first chapter, the core of the future narrative is clearly outlined: “Raz-dawn! I won’t tolerate it!” Saltykov-Shchedrin shows the brainlessness of the mayors in the most literal sense. Brudasty had “a certain special device” in his head, capable of reproducing two phrases, which turned out to be enough to appoint him to this post. The pimple actually had a stuffed head. Actually to this artistic medium, as a grotesque, the writer resorts quite often. Foolov's pastures are adjacent to Byzantine ones, Benevolensky begins an intrigue with Napoleon. But the grotesque appeared especially later, in fairy tales; it is no coincidence that Saltykov-Shchedrin inserts into the story
“Inventory of mayors.” It shows that it is not people with any state merits who are appointed to positions, but whoever is necessary, which is confirmed by their administrative activities. One became famous for introducing into use Bay leaf, another “placed the streets paved with his predecessors and... set up monuments,” etc. But Saltykov-Shchedrin ridicules not only officials - With all his love for the people, the writer shows them incapable of decisive action, voiceless, accustomed to forever endure and wait best times, obey the most. wild orders. In a mayor, he values, first of all, the ability to speak beautifully, and any active work It only causes fear, the fear of being responsible for it. It is the helplessness of ordinary people, their faith in their superiors that supports despotism in the city. An example of this is Wartkin’s attempt to introduce mustard. The townsfolk responded by “stubbornly standing on their knees”; it seemed to them that this was the only correct decision that could pacify both sides.
As if to sum it up, at the end of the story the image of Gloomy-Burcheev appears - a kind of parody of Arakcheev (although not entirely obvious). The idiot, who destroys the city in the name of realizing his crazy idea, has thought through the entire structure of the future Nepriklonsk down to the smallest detail. On paper, this plan, which strictly regulated people’s lives, seems quite real (somewhat reminiscent of Arakcheev’s “military settlements”). But discontent is growing, the revolt of the Russian people swept the tyrant off the face of the earth. And what? Political immaturity leads to a period of reaction (“abolition of the sciences”).
“Tales” are rightfully considered the final work of Saltykov-Shchedrin. The scope of the problems covered has become much wider. It is not by chance that satire takes on the appearance of a fairy tale. Satirical stories are based on folk ideas about the character of animals. The fox is always cunning, the wolf is cruel, the hare is cowardly. Playing on these qualities, Saltykov-Shchedrin also uses folk speech. This contributed to greater accessibility and understanding among peasants of the problems raised by the writer.
Conventionally, fairy tales can be divided into several groups: satire on officials and the government, on representatives of the intelligentsia, on city residents and on ordinary people. The image of a bear as a stupid, smug, limited official, quick to kill, appears more than once, personifying merciless tyranny. A classic example of the grotesque is the fairy tale “How one man fed two generals.” The generals are not able to provide for themselves, they are helpless. The action often takes on an absurd character. At the same time, Saltykov-Shchedrin also makes fun of the man who made a rope to be tied to a tree. The common minnow “lived and trembled and died and trembled,” without trying to do anything or change. The idealistic crucian carp, who knows nothing about nets or fish ears, is doomed to death. The fairy tale “The Bogatyr” is very significant. Autocracy has outlived its usefulness, only the appearance, the outer shell, remains. The writer does not call for an inevitable struggle. He simply depicts the existing situation, frightening in its accuracy and authenticity. In his works, Saltykov-Shchedrin, with the help of hyperboles, metaphors, sometimes even fantastic elements, carefully selected epithets, showed age-old contradictions that have not outlived their usefulness even in modern times. contemporary to the writer days. But, denouncing the people's shortcomings, he only wanted to help eliminate them. And everything he wrote was dictated by only one thing - love for his Motherland.

It is no coincidence that Saltykov-Shchedrin’s “Fairy Tales” is called the author’s final work. They raise with all their severity those problems of Russia in the 60-80s. XIX century, which worried the advanced intelligentsia. In the debate about Russia's future paths, many points of view were expressed. It is known that Saltykov-Shchedrin was a supporter of the fight against autocracy. Like many thinking people At that time, he was passionate about the “folk” idea and complained about the passivity of the peasant. Saltykov-Shchedrin wrote that despite the abolition of serfdom, it lives in everything: “in our temperament, in our way of thinking, in our customs, in our actions. Whatever we turn our attention to, everything comes out of it and rests on it.” This political views and the journalistic and journalistic activities of the writer and his literary creativity are subordinated.
The writer constantly sought to make his opponents funny, because laughter is great power. So in “Fairy Tales” Saltykov-Shchedrin ridicules government officials, landowners, and the liberal intelligentsia. Showing the helplessness and worthlessness of officials, the parasitism of landowners and at the same time emphasizing the hard work and dexterity of the Russian peasant, Saltykov-Shchedrin expresses his main idea in fairy tales: the peasant has no rights, is overwhelmed by the ruling classes.
Thus, in “The Tale of How One Man Fed Two Generals” Saltykov-Shchedrin shows the complete helplessness of two generals who found themselves on a desert island. Despite the fact that there was an abundance of game, fish, and fruits all around, they almost died of hunger.
The officials who were “born, raised and grew old” in some kind of registry did not understand anything, and did not know “even any words,” except perhaps the phrase: “Please accept the assurance of my complete respect and devotion,” the generals did nothing They didn’t know how and quite sincerely believed that buns grew on trees. And suddenly a thought strikes them: we need to find a man! After all, he must be there, just “hid somewhere, shirking work.” And the man really was found. He fed the generals and immediately, on their orders, obediently twists a rope, with which they tie him to a tree so that he does not run away.
In this tale, Saltykov-Shchedrin expresses the idea that Russia rests on the labor of the peasant, who, despite his natural intelligence and ingenuity, obediently submits to helpless masters. The same idea is developed by the author in the fairy tale “The Wild Landowner”. But if the generals from the previous story ended up on a desert island by the will of fate, then the landowner from this fairy tale always dreamed of getting rid of the obnoxious men from whom a bad, servile spirit emanates. Therefore, the pillar nobleman Urus-Kuchum-Kildibaev oppresses the men in every possible way. And so the peasant world disappeared. And what? After some time, “he was all… overgrown with hair… and his claws became iron.” The landowner has gone wild because without a man he is not even able to serve himself.
Saltykov-Shchedrin’s deep faith in the hidden powers of the people is visible in the fairy tale “The Horse”. The tortured peasant nag amazes with its endurance and vitality. Her entire existence consists of endless hard work, and meanwhile the well-fed idle dancers in a warm stall are amazed at her endurance and talk a lot about her wisdom, hard work, and sanity. Most likely, in this tale, Saltykov-Shchedrin meant by idle dancers the intelligentsia, who poured from empty to empty, talking about the destinies of the Russian people. It is obvious that the image of Konyaga reflects a peasant worker.
The heroes of “Fairy Tales” are often animals, birds, and fish. This suggests that they are based on Russian folklore. Addressing it allows Saltykov-Shchedrin to convey the deep content in a laconic form and at the same time satirically sharply convey it. Take, for example, the fairy tale “The Bear in the Voivodeship.” Three Toptygins are three different rulers. In character they are not similar to each other. One is cruel and bloodthirsty, the other is not evil, “but so, a brute,” and the third is lazy and good-natured. And each of them is not able to provide normal life In the woods. And their style of government has nothing to do with it. We see that nothing has changed the general dysfunctional order in the forest slum: kites pluck crows, and wolves skin hares. “Thus, a whole theory of dysfunctional well-being suddenly arose before the mental gaze of the third Toptygin,” the author sneers. Hidden meaning This fairy tale, which parodies the real rulers of Russia, is that without the abolition of autocracy, nothing will change.
Speaking about the ideological content of “Fairy Tales” by Saltykov-Shchedrin, it should be noted that many talented writers of the 20th century (Bulgakov, Platonov, Grossman, etc.) showed in their works what happens when a person violates the eternal laws of development of nature and society . We can say that the literature of the 20th century, which experienced the upheavals of social revolutions, polemicizes with the literature of the second half of the 19th century century, including the work of Saltykov-Shchedrin. The events of the early 20th century led the thinking intelligentsia to disappointment in the people, while “people's thought” in the 19th century was decisive for many Russian writers. But our literary heritage is all the richer because it contains different points of view on the path of development of society.