Composition on the theme "Means of creating a comic in tales of Saltykov-Shchedrin"

Problems of social structure have always been, it is them in their tales analyze and criticize Saltykov-Shchedrin. By this he shows love for the Motherland, indifference to what is happening with his native people and on his beloved land.

Saltykov-Shchedrin - exposer of social inequality

Saltykov-Shchedrin knew firsthand all the vices of serfdom. Growing up in a noble family, he from childhood absorbed hatred of enslaving the peasants. Saltykov Shchedrin himself talks about his childhood, where the suffering, fear and hunger of the peasants caused pain in the writer's young soul.

Shchedrin goes to study at the Tsarskoye Selo Lyceum. Unfortunately, the educational institution is no longer what it was under Pushkin: the teaching staff has weakened. In the minds of the students, the idea was implanted that their task was "the performance of the master's outlines". Nevertheless, the Lyceum years fruitfully affected the writer's world outlook, where he met Petrashevsky. The friendship of the famous utopian and writer becomes very strong.

Already in his first works Saltykov-Shchedrin criticizes the social order and social order. For this Nicholas I exposes the writer to Vyatka. There Saltykov-Shchedrin is further strengthened in the idea of exposing the social order.

Upon his return from the exile, Saltykov-Shchedrin works in the Ministry, meets Nekrasov and begins work in Otechestvennye zapiski and Sovremennik. Whether it's writing or public service, everywhere the surrounding people celebrated the unique performance of Mikhail Evgrafovich.

Tale - the crown of creativity of the writer

Fairy tales are the crowning of the works of Saltykov-Shchedrin. On the one hand, the appeal to this genre was due to political motives. In 1881, the Narodnaya Volya killing Alexander II. After this event, printed publications are subjected to severe censorship. Accordingly, it was necessary to invent a new form in order to draw the reader's attention to criticism of social problems. This prompted Saltykov-Shchedrin to resort to the Aesopian genre-a fairy tale.

There was another reason for the writer's treatment of the tale: he believed that this genre is closest to the people, and through him one can convey his thoughts to any reader. The means used to create the comic in the tales of Saltykov-Shchedrin did not leave most of the public indifferent.

"Fairy tales for children of good age" - the so-called first collection of Saltykov-Shchedrin, which included 28 fairy tales. Why does the writer call his audience that way? Children with the help of fairy tales know the world around them, just as Saltykov-Shchedrin thinks, and adults should open their eyes to the surrounding reality.

The writer himself appears in the image of a storyteller - a good-natured narrator, through whose stories a sarcastic laugh comes through. Critics have characterized Saltykov-Shchedrin as a "prosecutor of Russian reality."

More often in one fairy tale, several topical issues are raised. They can be reduced to four: exposing the boundless power of the tsar, the ruling class, liberalism, and the writer is also concerned about the people's problem.

The artistic originality of the tales of Saltykov-Shchedrin

In its volume, the tale does not exceed the story. But it reveals the most significant in people and their behavior. The idea is reached through all possible means of creating a comic. In the tales of Saltykov-Shchedrin, the following artistic features can be noted:

1. Connection with folk tales:

• Reasons: "Once upon a time", "In a certain kingdom".
• Numerals in non-numeric meaning: "The Third Far Kingdom."
• Hints: "By the pike command."
• Fabulous epithets: "Beasts are fierce."
• Fabulous names: "Ivan the Fool".

2. The fable tradition is traced. Often they are called fables in prose, because human allegations are shown in an allegorical language through the images of animals ("The Wise Pisar").

3. The combination of the real and the fantastic is the main source by which the comic in the tales of Saltykov-Shchedrin is achieved.

4. For fairy tales, aphoristic language is characteristic.

Humor and satire: the difference of concepts

Before analyzing the means of creating the comic in the tales of Saltykov-Shchedrin, it is necessary to determine what the author uses: humor or satire. These two concepts refer to the comic effect, but they have a significant difference: humor is a kind laughter that does not go over to individuals. With satire, everything is different: this is an evil, caustic grin. As a rule, she ridicules human or social defects. Protest and righteous anger are satellites of satire.

It is satirical laughter that uses Saltykov-Shchedrin in fairy tales. Such laughter should make readers think whether everything is good in the existing order.

How a writer achieves a comic

Consider the means of creating a comic in tales of Saltykov-Shchedrin. The writer uses several techniques:

1. Hyperbole (exaggeration). For example, a pisar who lives and trembles 100 years in his burrow (the fairy tale "The Wisecracker").
2. Grotesque (a mix of reality and fiction). One can say that grotesque is inherent in Shchedrin's most tales. After all, his characters, as a rule, are in a semi-real-semi-fantastic world ("The tale of how one man fed the two generals" - real generals are fantastically moved by the author to an uninhabited island).
3. Allegory (human and social vices are shown through animal images). For example, the fairy tale "The Selfless Hare", where slavish obedience is condemned, overpowering the instinct of self-preservation. And it is erected to nobility.
4. Aesop's language. The reception, in which the author's speech is ironic, is full of misunderstandings and allegories. (The generals, having got to the island, "cried for the first time after they closed the registry").

As you can see, various means are used to create a comic in the tales of Saltykov-Shchedrin. The writing on this topic should cover every reception.

Analysis of comic means in the fairy tale "Wild landowner"

We will analyze one of the tales in order to characterize the means of creating the comic in the tales of Saltykov-Shchedrin. "Wild landowner" - one of the most popular works of the writer of this genre. In a fairy tale it is narrated about the landowner, who was left without serfs. It seemed to him that, having lost his "muzhik", he would heal well, but everything happened vice versa. The landlord was so wild that he looked like an animal.

Saltykov-Shchedrin raises in the tale an important thought: the unlimited power of the landlord class over the peasantry, the dullness and worthlessness of the life of the landlords. The author brings his thought, using the characteristic means: hyperbole, grotesque, synecdoche and antithesis.

The image of the landowner is hyperbolic after the peasants have disappeared: they are covered with wool, claws, lost the ability to speak. If we talk about the grotesque, it is enough to cite as an example the fact that peasants disappeared from the estate. In addition, Saltykov-Shchedrin easily passes from the real to the fantastic: the landlord lives with serfs - the situation is real, it's wild without a man - fantastic, the man has appeared - life has become realistic again.

In the composition of the fairy tale, the antithesis is used - the opposition: the life of the landowner with a full life is contrasted with a man without a peasant. To give the phenomenon of slavish subordination of the peasantry a large-scale character, the writer resorts to a synecdoche, a reception in which a whole is singled out: the "peasant" in the fairy tale is the whole peasantry as a whole.

The language of the author is ironic, his tone is characteristic of the Aesopian language (the landowner could not pronounce already articulate sounds, "but the tail has not yet acquired").

We examined the means of creating a comic in the tales of Saltykov-Shchedrin. The composition will be incomplete, if not to allocate artistic means: metaphors ("fireball") and epithets ("golden word", "friable body").

The author uses and folklore motifs. This achieves the comic in the tales of Saltykov-Shchedrin. The work on "The Wild Landlord" is no exception. It should be noted: the beginnings ("in a certain kingdom"), the words "live and live", the folklore images of animals (a sensible bear, a cowardly hare, a smart mouse), triplicate repetitions (the landlord took guests three times when the peasants disappeared).

Tales of Shchedrin - a monument of satire. Using a folk poetic tradition, the writer was able to translate a rich ideological content.