The creativity of Saltykov-Shchedrin can be rightfully called the highest achievement of social satire 1860-1880s. N. V. Gogol, who created a satirco-philosophical picture of the modern world was considered the closest predecessor of Generin. However, Saltykov-Shchedrin puts a fundamentally different creative task: to expose and destroy as a phenomenon. V. G. Belinsky, arguing about the work of Gogol, determined His humor as "calm in his indignation, good-natured in his lucavia," comparing with another "formidable and open, bull, poisonous, merciless". This second characteristic deeply reveals the essence of Satira Shchedrin. He removed from Satire Gogol Lorism, made a more explicit and grotesque. But this work was not easier and monotolous. On the contrary, a comprehensive "vanity" of the Russian Society of the XIX century was fully manifested in them.

"Fairy tales for children of a fair age" created in the last years of the writer's life (1883-1886) and appear to us with a certain outcome of the work of Saltykov-Shchedrin in the literature. Both the wealth of art techniques, and ideological significance, and in a variety of recreated social types, this book can fully be considered artistic synthesis of all the creativity of the writer. The fairy tale shape gave a genergier to openly speak about exciting problems. Turning to the folklore, the writer sought to preserve his genre and artistic features, with their help to attract the attention of the reader to the main problem of his work. The fairy tales of Saltykov-Shchedrin in genre nature are a certain alloy of two different genres of folk and author's literature: Fairy Tales and Basni. When writing fairy tales, the author used grotesque, hyperbola, antithesis.

Grotesque and hyperbole are the main artistic techniques, with the help of which the author creates a fairy tale "The story about how one man's two generals has punished." The main characters are a man and two shackle generals. Two completely helpless generals miraculously hit the uninhabited island, and they fell there straight out of bed in the night shirts and with orders on the neck. The generals almost eat each other, because they cannot not only catch fish or game, but also to rip the fruit from the tree. In order not to disappear with the hunger, they decide to look for a man. And he immediately found: sat under the tree and lean away from work. "Hasive men" turns out to be all the hands as a master. He pulled out apples from the tree, and dried out potatoes from the ground, and Salok prepared for ripples from his own hair, and the fire was mined, and the provisions were prepared. And what? General gave the top ten apples, and he took one thing - sour. Even the rope of the foul, so that his generals to the tree tied. Yes, I was ready for the "generals to please him for the fact that they, Tune Tempel, they didn't disappear with Muzitsky."

The man and fluff swan scored to deliver his generals with comfort. How much they scold a man for the tunestry, but a man "all rows and rowing, yes feeds with herring generals."

Hyperbole and grotesque are manifested in all narration. And the dexterity of the peasant, and the ignorance of the generals are extremely exaggerated. A skillful man cooks soup in a hassle. Stupid generals do not know that the bells of flour bake. Hungry general swallows the Order of his friend. The unconditional hyperbole is that the man built a ship and took the generals directly to a large sublict.

The extreme exaggeration of individual situations allowed the writer to turn a funny story about stupid and worthless generals into the fierce loss of existing orders in Russia, which contribute to their appearance and carefree existence. In fairy tales, Shchedrin there is no random detail and extra words, and the heroes are revealed in actions and words. The writer pays attention to the funny sides of the depicted. It is enough to remember that the generals were in the night shirts, and on the neck they hung around the Order.

The originality of the fairy tales is also in the fact that they are real intertwined with fantastic, thereby creating a comic effect. On the fabulous island, the generals find the famous reaction newspaper "Moscow Vedomosti". From the extraordinary island near St. Petersburg, to a large sublictic.

These fairy tales are a magnificent artistic monument of the past era. Many images have become nominal, denoting the social phenomena of Russian and world reality.

• Satira M. E. Saltykov-Shchedrin Truthorova and is valid, although often poisonous and evil. His fairy tales is a satire on autocratic rulers, and the image of the tragic position of the oppressed people, its locomotive labor, and riding the Lords and landowners. Fairy tales Saltykov-Shchedrin is a special form of satire. Portrait of reality, the author takes only the brightest features, episodes, if possible, thickens paints when they appear, showing events as if under a magnifying glass. In the fairy tale "The story about how [...]
• M. E. Saltykov-Shchedrin - Russian Satir, who created many wonderful works. His satire is always fair and truthful, he beats exactly in the goal, opening the problems of the modern society to him. The author reached the vertex of expressiveness in his fairy tales. In these small pieces of works, Saltykov-Shchedrin denounces the abuse of officialhood, injustice of orders. He was upset that in Russia, first of all care about the nobles, and not about the people, to whom he himself imbued with respect. All this he shows in [...]
• Creativity M. E. Saltykov-Shchedrin occupies a special place in the Russian literature of the XIX century. All his works are imbued with love for the people, the desire to make life better. However, Satire is often caustic and evil, but always true and fair. M. E. Saltykov-Shchedrin in his fairy tales depicts many types of Lord. These are officials, merchants, and nobles, and generals. In the fairy tale, "the story about how one man's two generals was punished" the author shows two generals helpless, stupid and arrogant. "We served [...]
• For the second half of the XIX century, creativity M.E. Saltykov-Shchedrin was extremely important. The fact was that there was no so hard and harsh chambers of the truth that condemned public vices as Saltykov. The writer chose this path quite consciously, as it was deeply convinced that there should be an artist who fulfills the role of the franchiseer for society. It is noteworthy that he began the career of the "expose" as a poet. But this did not bring him no wide popularity and fame, nor [...]
• Somewhere I read and remembered the idea that when in art it turns out the political content of the work in art, when they pay attention primarily on the ideological, compliance of a certain ideology, forgetting about the artisticity, - art and literature begin to degenerate. Because today it is reluctant today We read "What to do?" Chernyshevsky, the works of Mayakovsky, and very none of the young people know the "ideological" novels of the 20s and 30s, say, "Cement", "Syt" and others. It seems to me that exaggeration [...]
• The talented Russian satirist of the XIX century M. E. Saltykov-Shchedrin dedicated his life to writing works, in which Selfhood and serfdom in Russia. He, as no one else knew the device of the "state car", examined the psychology of the chiefs of all ranks, Russian officials. In order to show the vices of public management in the entire fullness and depth, the writer used the reception of grotesca, which considered the most effective means of displaying reality. The grotesque image always comes out [...]
• "The history of one city" M. E. Saltykov-Shchedrin was written in the form of a narrative of the chroniclel-archivist about the past of the city of Studez, but the writer was not interested in a historical topic, he wrote about real Russia, that he worried him as an artist and a citizen of his country. Stylizing the events of a century ago, giving them the features of the era of the XVIII century, Saltykov-Shchedrin performs in different qualities: first he leads a story from the face of the archivists, the compilers of the "silly chronicler", then from the author who performs the function [...]
• It would be unfair to limit all the problems of the fairy tale of Saltykov-Shchedrin by the description of the confrontation of peasants and landowners and inactivity of the intelligentsia. Being in public service, the author had the opportunity to get acquainted with the so-called owners of life, the images of which found their place in his fairy tales. Examples are "poor wolf", "Tale of the pike toothy" and others. They present two sides - those who are oppressed and oppressed, and those who oppress and oppresses. We are accustomed to certain [...]
• "The history of one city" is the greatest satirical canvas-novel. This is a merciless displacement of the entire management system of Tsarist Russia. The "History of one city" is completed in 1870 shows that the people in the flame-form time remained as powerful that officials are self-spokes of the 70s. They differed from pre-reform only by the fact that they robbed more modern, capitalist ways. The city of stupid is the personification of autocratic Russia, the Russian people. His rulers embody concrete features [...]
• In the "stories of one city" are submitted imperfection of the social and political life of Russia. Unfortunately, Russia rarely was lucky to good rulers. You can prove it by opening any textbook history. Saltykov-Shchedrin, sincerely surviving for the fate of his homeland, could not stay away from this problem. A peculiar decision and was the work of the "History of one city". The central question in this book is the power and political imperfection of the country, or rather one city of silly. All - and His story [...]
• "The history of one city" can rightly be considered the top of the creativity of Saltykov-Shchedrin. It is this work and brought him the fame of Satirik writer, for a long time, strengthening it. I believe that the "history of one city" is one of the most unusual books dedicated to the history of the Russian state. The originality of the "history of one city" is in an amazing combination of real and fantastic. The book was created as a parody of the "history of the Russian state" Karamzin. Historians often wrote the story of "King" than and [...]
• Works about peasants and landowners occupy a significant place in the work of Saltykov-Shchedrin. Most likely it happened because the writer was confronted with this problem at a young age. His childhood Saltykov-Shchedrin spent in the village Savior-angle of the Kalyazinsky district of Tver province. His parents were quite rich people, owned land. Thus, the future writer has seen all the shortcomings and contradictions of serfdom. Realizing the problem familiar with the youngsters, Saltykov-Shchedrin subjected [...]
• Fairy tales of Saltykov-Shchedrin are distinguished not only by caustic satire and genuine tragedy, but also a peculiar construction of the plot and images. The author came to writing the "fairy tales" already in adulthood when much was understood, passed and in detail. Appeal to the very genru of the fairy tale is also no coincidence. The fairy tale is distinguished by allealivity, the tank of statements. The volume of the folk fairy tale is also not very big, which allows you to focus on one particular problem and show it as if through the magnifying glass. It seems to me that for satire [...]
• The name of Saltykova-Shchedrin is standing in one row with such world-famous satirits, like Mark Twain, Francois Rabl, Jonathan Swift and Esop. Satira was always considered a "ungrateful" genre - the state regime never took the caustic criticism of writers. The people tried to protect such figures from creativity by the most families: banned books to publication, refer writers. But everything was in vain. These people knew, read their works and respected for courage. Did not and the exception and Mikhail Evgrafovich [...]
• According to the block, the topic of the Motherland he dedicated life. The poet claimed that absolutely all his poems was about his homeland. The poems of the "Motherland" cycle confirm this statement of the author. In the third volume of lyrical poems of the block, the "Motherland" cycle is clearly indicated by the magnitude and depth of the poetic dating of its creator. This cycle belongs to the late stage of the work of the block. Like most poets of the Silver Century, the block was concerned about the historical future of the country, in his verses sounds doubts and anxiety. In the same time […]
• I have long liked to read the works of different writers and fantasize, no matter how I put a performance on them or removed the movie. Especially I love to represent films on fairy tales and fantasy. Cinema is a very convenient genre for the screening of magical stories. Here you can achieve any special effects using computer graphics and voice acting. Even the actors can not be invited. But, if the director I was, then in my films would always play not stars, and not even professional artists, but my peers, their parents, and maybe [...]
• The beginning of the creative path M. Gorky had to for the period of the crisis in the social and spiritual life of Russia. According to the writer himself, a terrible "poor life" was pushed to writing, the lack of hope in humans. Gorky saw the reason for the creation of the situation primarily in man. Therefore, he decided to offer a new ideal of a Protestant man, a fighter with slavery and injustice. Gorky knew the life of the poor, from which society turned away. In early youth, he himself was "Barestaya". His stories [...]
• Ernest Hemingway is the classic of world literature, the laureate of the Nobel and Pulitzer Prizes. The future writer was born in 1899 in the Oak Park, a privileged suburb of Chicago. His father was a doctor. He tried to instill a love to the Son to the world around. Also on the worldview of the writer influenced his grandfather. At the age of 12, Ernest received a gift from him - a single-charge rifle. It was from this that Hemingway's passion for hunting began. The first stories of the future classics were printed in the Schreizal school magazine. Also […]
• The topic of a "little man" is one of the central themes in Russian literature. She was touched in their works and Pushkin ("Copper Horseman"), and Tolstoy, and Czechs. Continuing the traditions of Russian literature, especially Gogol, Dostoevsky with pain and love writes about a "little man", living in a cold and cruel world. The writer himself remarked: "We all got out of the" Gogol "sinels. The theme of a "little man", "humiliated and offended" was particularly strong in the novel of the Dostoevsky "Crime and Punishment". One [...]
• Alexander Sergeevich Pushkin - the Great Russian Poet, the founder of Russian realistic literature. The poet makes forget all the little things and care of life, awakens in man all the best, deep and present. He is the author of a special perception of the world, so until the end, to comprehend the essence of his thoughts and feelings is impossible. In the work of Pushkin with exceptional brightness and completeness, the best features of Russian character are. The theme of the historical past Motherland has always worried a poet. They were written such a work as [...]

Grotesque is a term meaning a type of artistic picture (image, style, genre), based on fiction, laughter, hyperbola, bizarre combination and contrast of something with something.

In the genre of Grotesque, ideological and artistic features of the Shchedrian satire were most bright: her political acuity and purposefulness, the realism of her fiction, merciless and the depth of Grotesque, shook the sparkiness of humor.

"Tales" Shchedrin in miniature contains problems and images of the whole creativity of the great satirist. If, except for "fairy tales", Shchedrin did not write anything, then they would give him the right to immortality. Of the thirty-two fairy tales, Shchedrin twenty-nine are written by him in the last decade of his life and how to summarize the total of the Soviet of the writer.

To the fabulous genre Shchedrin resorted in his work often. The elements of fabulous fiction are in the "stories of one city", and in the satirical novel "Modern Idylliya" and the chronicle "abroad" are included complete fairy tales.

And it is not by chance that the flourishing of the fabulous genre falls from Generin on the 80s of the XIX century. It was during this period that the political response rampant response in Russia had to look for the form, the most convenient for bypass censorship and at the same time the closest, understandable to the simple people. And the people understood the political urgency of the Shchedrian generalized conclusions hidden for Ezopovskiy speech and zoological masks, the writer created a new one, the original genre of the political fairy tale, which combines fiction with real, topical political reality.

In fairy tales, the two social forces are opposed, as well as in all his work, the labor people and its exploiters. The people act as masks of good and defenseless animals and birds (and often without a mask, under the name "man"), exploiters - in the images of predators. And this is grotesque.

"And I, if you saw: Hanging the man outside the house, in the drawer on the rope, and the wall of paint smears, or on the roof, like a fly, walks - this is he is the very me!" - tells generals the Savior-man. Shchedrin Gorko laughs at the fact that the man, by order of the generals, the rope itself, who is then binding it in almost all fairy tales, the image of the peasant people is described by generous with love, breathes out of illness, nobility. Man is honest, right, kind, extremely rapidly and smart. He can everything: get food, sew clothes; He conquers natural forces of nature, jokingly twists the "ocean-sea". And to enslave their man is mockingly, without losing self-esteem. The generals from the fairy tale "as one man of two generals proceeded" looks like miserable pigments compared to a giant man. For their image, satirik uses completely different paints. They do not understand anything, they are dirty physically and spiritually, they are cowardly and helpless, greedy and stupid. If you look for animals masks, then the pig mask is just suitable.

In the fairy tale "Wild landowner", Shchedrin summarized his thoughts about the reform of the "Liberation" of the peasants contained in all his works of the 60s. He puts it unusually acutely to the problem of the colors of the prosthetics of the nobility and finally ruined the reform of the peasantry: "Cattle on the waterway will be released - the landowner screams: my water! Chicken for the Occolic will decide - the landowner shouts: My Earth! And the earth, and water, and the air - all it has become! "

This landowner, as well as the above-mentioned generals had no idea about labor. Abandoned with his peasants, he immediately turns into a dirty and wild animal, becomes a forest predator. And this life, in essence, is the continuation of its previous predatory existence. The external human appearance is a wild landowner, like the generals, acquires again only after his peasants return. The scolding of a wild landowner for nonsense, fixer tells him that the state could not exist without man without men, that everything would die without men with the hunger, in the bazaar there is no piece of meat nor the pound of bread, and the gentlemen will not be. The people-creator of wealth, and the ruling classes only consumers of this wealth.

Crucian from the fairy tale "Karas-idealist" is not a hypocrite, he is truly noble, pure soul. His ideas of the Socialist deserve deep respect, but the methods of their implementation are naive and ridiculous. Shchedrin, being a socialist for conviction himself, did not accept the theory of utopian socialists, considered it the fruit of an idealistic view on social reality, on the historical process. "I do not believe ... so that the struggle and svara is a normal law, under the influence of which it seems to be destined to develop everything that lives on Earth. I believe in bloodlessly succeeding, I believe in harmony ... "- the crucian rolled down, the pike swallowed him, and swallowed mechanically: she was struck by the absurdity and oddity of this sermon.

In other variations, the theory of cruise idealist was reflected in the fairy tales "selfless hare" and "Sensible hare." Here, the heroes are not the noble idealists, but the man -ans-panties, hoping for the kindness of predators. Hares do not doubt the right of a wolf and fox to deprive their lives, they consider it quite natural that strong eats weak, but they hope to tighten the wolf's heart to their honesty and humility. "And maybe a wolf me ... ha ha ... and raises!" Predators remain predators. Zaitsev does not save what they are "revolutions not poured, they did not go out with weapons."

The personification of the honest and vulgar household became the Shchedrian wovel of Pescar - the hero of the fairy tale of the same name. The meaning of this "enlightened, moderately liberal" cow was self-preservation, care from clashes, from the struggle. Therefore, Pescar lived to deep old age is unharmed. But what it was a humiliating life! She all consisted of a continuous jitter for her skin. "He lived and trembled - only and everything." This fairy tale, written in the years of political reaction in Russia, without missed the liberals, reptile with the government because of its own skins, on ordinary people who hollowed in their non-public struggle.

Toptygins from the fairy tale "Bear on Voivodeship" sent by Lvom to Voivodeship, the purpose of his reign was made as much as possible to perform "bloodshed". By this they called the anger of the people, and they have suffered "the fate of all furious animals" - they were killed by the rebels. The same death from the people accepted the wolf from the fairy tale "Poor Wolf", which, too, "day and night robbed". In the fairy tale "Eagle-Macenate" is given a destroying parody of the king and the ruling classes. Eagle - the enemy of science, art, defender of darkness and ignorance. He destroyed the nightingale for his free songs, Dattla's certificate "dressed up., In the shackles and sharpened in the hollow forever," Raven's Mudle Raven ended the fact that the crows rebelled, "starred all herds and flew", leaving the eagle to die with a hungry death . "Sieu will serve Orlam lesson!" - Satirik fairy tale meaningfully.

All tales of Shchedrin were subjected to censorship and alterations. Many of them were printed in illegal editions abroad. Masks of the animal world could not hide the political content of Tales Shchedrin. The transfer of human traits - psychological and political - on the animal world created a comic effect, clearly exposed the absurdity of the existing reality.

The images of fairy tales entered the source, became nominable and live for many decades, and the universal types of Satiykova-Shchedrin objects and today are found in our lives, it is enough just to look in the surrounding reality and reflect.

9. Humanism Roman F.M.Dostoevsky "Crime and Punishment"

« The very feasible murder of even the last of the people, the most malicious of people is not permitted by the spiritual nature of man ... The eternal law entered into their rights, and he (Raskolnikov) fell under his power. Christ came not to violate, but to fulfill the law ... Not so did those who were genuinely great and ingenious, who committed great acts for all mankind. They did not consider themselves superchors who are allowed, and therefore they could give a lot to "human" (N. Berdyaev).

Dostoevsky, according to his own recognition, was worried about the fate of "nine tenths of humanity", morally humiliated, socially disadvantaged in the conditions of modern bourgeois system. "Crime and Punishment" - a novel, reproducing paintings of social suffering of the urban poor. Extreme poverty is characterized by the fact that "go no more." The image of poverty is constantly varied in the novel. This is the fate of Katerina Ivanovna, who remained after the death of her husband with three minor children. This is the fate of Mar-Meladova himself. Father tragedy, forced to take a daughter's fall. The fate of Sony, who committed a "fee of the crime" on the sake of love for loved ones. The torment of children who have grown in a dirty corner, next to a drunken father and dying, irritated mother, in the atmosphere of constant quarrels.

Permissible for the sake of the sake of the majority of the destruction of the "unnecessary" minority. Dostoevsky answers all artistic content of the novel: no - and consistently refutes the theory of Ras Kolfangov: if one person assigns himself the right to physically destroy an unnecessary minority for the sake of happiness of the majority, then "simple arithmetic" will not work: In addition to the old woman, the distributioners kills and Lizaven The most humiliated and offended, for which he tries to inspire himself, and an ax was raised.

If the Raskolnikov and this takes such a high mission - defenders humiliated and offended, they inevitably have to consider themselves to be an unusual people who are all allowed, that is, inevitably ending with contempt to those humiliated and offended, which they protect.

If you allow yourself "blood on conscience", you will inevitably turn into Svidrigaylov. Svidri-Guilov is the same splitters, but already finally "corrected" from any prejudice. Svid-Rigailov Blocks the Raskolnik all the ways leading not only to repentance, but even to a purely official appearance with a guy. And it is not by chance only after the suicide Svidrigaylov Raskolnikov learns this appearance with the obey.

The image of Sony Marmaladeova plays the most important role in the novel. Active love for the neighbor, the ability to respond to someone else's pain (especially deeply manifested in the scene recognition of Raskolnikov in murder) make the image of Sonya ideal. It is from the standpoint of this ideal in the novel and a sentence is pronounced. For Sony, all people have the same right to life. No one can seek happiness, his or someone else, by crime. Sonya, according to Dostoevsky, embodies the national beginning: patience and humility, immense love for man.

Savings and reunites the disappeared man with God only love. The power of love is such that it can contribute to salvation even such a unreasonable sinner as a splitter.

The religion of love and self-sacrifice acquires exceptional and crucial importance in the Christianity of Dostoevsky. The idea of \u200b\u200bthe inviolability of any human person play a major role in understanding the ideological meaning of the novel. In the image of Ras-Ringland, Dostoevsky execute the denial of the intrinsicness of the human person and shows that any person, including the disgusting old-year-old, is sacred and inviolable, and in this respect people are equal.

Skolnikov protest is associated with acute pity for the poor, suffering and helpless.

10. The theme of the family in the novel L.N. Tolstoy "War and Peace"

The idea of \u200b\u200bthe spiritual foundations of familyhood as an external form of unity between people received a special expression in the epilogue of the novel "War and Peace". In the family, as it were, the opposite of spouses is removed, in communication between them, the limited shower loving. Such is the family of Marya Bolkonskaya and Nikolai Rostov, where they are connected in the highest synthesis of such opposite beginnings of growth and Bolkonsky. The feeling of the "proud love" of Nicholas to the Countess Marya, based on surprise "before its mentality, before that almost inaccessible to him, an elevated, moral world, in which his wife always lived." And touching the submissive, gentle love of Marya "To this man who will never understand the whole thing that she understands, and no matter how much stronger it is, with a touch of passionate tenderness, loved him."

In the epilogue of the "War and Mira" under the roof of the Lysogor-Sky House, a new family is going to connect the heterogeneous Rostov, Bolkonsky in the past, and the Karataevsky starts also started through Pierry. "As in the real family, several completely different worlds lived in the Lyssogorsk house, which, each holding its own feature and making concessions to one another, merged into one harmonious whole. Each event happening in the house was equally joyful or sad - important for all these worlds; But every world had completely their own, independent of others, reasons to rejoice or suffer from any event. "

This new family has not happened by chance. It was the result of the nationwide unity of people born by the Patriotic War. So in a new one is approved in the epilogue Communication of the overall stroke of history with individual, intimate relations between people. 1812, which giving Russia a new, higher level of human communication, who shot many estate obstacles and restrictions, led to the emergence of more complex and wide family worlds. Women - Natasha and Marya are the Guardians of Family Ostrov. There is a durable, spiritual union between them.

Rostov. Special sympathies of the writer causes a patriarchal family of growth, in whose behavior there is a high nobility of feelings, kindness (even rare generosity), naturalness, proximity to people, moral purity and integrity. The yard growth - Tikhon, Prophyology, Praskovya Savvishna - are committed to their gentlemen, feel like a single family with them, they find an understanding and show attention to the Bar in interest.

Bologkoe. Old prince presents the color of the nobility of the era of Catherine II. It is characterized by true patriotism, the latitude of the political horizon, the understanding of the genuine interests of Russia, indomitable energy. Andrei and Marya - advanced, educated people seeking new ways in modern life.

The Kuragin family carries some troubles and misfortunes in peaceful "nests" of growth and Bolkonsky.

With Borodina, on the Battery of Raevsky, where Pierre gets, it is felt "in common, as it would be a family revival." "Soldiers ... Mentally accepted Pierre in his family, assigned themselves and gave him a nickname. "Our Barin" nicknamed him and gently laughed among themselves. "

So the feeling of the family, which in peaceful life holy shields close to the people of Rostov, will be historically significant during the Patriotic War of 1812.

11. Patriotic topic in the novel "War and Peace"

In extreme situations, at the moments of great shocks and global changes, a person will definitely show itself, will show his inner essence, certain qualities of their nature. In the novel of the Tolstoy "War and Peace", someone utters loud words, engaged in noisy activities or useless fuss, someone experiences a simple and natural feeling of the "the needs of the victim and suffering in the consciousness of common misfortune." The first only imagines themselves with patriots and loudly scream about love for the Fatherland, the second - patriots in essence - give life in the name of the general victory.

In the first case, we are dealing with false patriotism that replies your false, egoism and hypocrisy. This will behave secular velmes on a dinner in honor of Bagration; When reading poems about the war, "everyone got up, feeling that dinner was more important than poems." The liarpatriotic atmosphere reigns in the salon Anna Pavlovna Sherler, Helene Bezuhova and in other St. Petersburg salons: "... calm, luxurious, concerned only by ghosts, reflections of life, St. Petersburg life went older; And due to the course of this life, it was necessary to make great efforts to conscious the danger and the difficult situation in which the Russian people were located. The same exits, balls, the same French theater, the same interests of the yards, the same interests of the service and intrigue. This circle of people was far from awareness of all-Russian problems, from understanding the great trouble and the needs of the people in this war. The light continued to live with his interests, and even in a minute of the nationwide disaster here reigns korestolubie, promoter, service.

Lhapatriotism also shows the Count of Mensor, who puts stupid "bills in Moscow" in Moscow, encourages residents of the city not to leave the capital, and then, escaping from the national anger, consciously sends to the death of the innocent son of the merchant Vereshchagin.

A falsepatrice is represented in Roman Berg, which for a minute of universal confusion is looking for a case to live and concerned about the purchase of Chiffiorier and toilet "with the aglitsky secret". He does not occur to him that now is ashamed to think about Chiffijerochk-kakh. That and Drubetskaya, who, like other staff officers, thinks about awards and promotion in service, wants to "arrange the best position, especially the position of the adjutant with an important person that seemed especially tempting in the army." Probably, this is not by chance on the eve of the Borodino battle, Pierre notices on the faces of officers this is greedy arousal, he mentally compares him with the "other expression of excitement", "which spoke about the issues not personal, and the general, issues of life and death."

What kind of "other" persons are we talking about? These are the faces of ordinary Russian men dressed in Soldiers, for whom the feeling of the Motherland is holy and inherently. True patriots in the battery Tushina are fighting and without cover. And Tushin himself "did not experience the slightest feeling of fear, and the thought that he could kill or hurt him, did not come to his head." Living, the blood sense of the Motherland makes the soldier with a unthinkable resistance to resist the enemy. The merchant of Ferapontov, assigning its property to loot when leaving Smolensk, is also definitely a patriot. "Tashchi all guys, do not leave the French!" - He shouts with Russian soldiers.

Pierre Duhov gives her money, sells the estate to equip the regiment. The feeling of concern for the fate of his country, the involvement of the overall grief makes him, provided an aristocrat, go to the bake of the Borodino battle.

True patriots were those who left Moscow, not wanting to conquer Napoleon. They were convinced: "Under the control of the French was impossible to be." They "simply and truly" did "then a great deal that Russia saved."

Petya Rostov rushes to the front, because "Fatherland in danger." And his sister Natasha frees the supply for the wounded, although without family good it will remain a cape.

True patriots in Tolstoy's novel do not think about themselves, they feel the need of their own contribution and even the victims, but do not expect for this awards, because they carry the genuine holy feeling of the Motherland in the shower.

The answer was left the guest

The main problem of generous fairy tales is the relationship between the exploiters and exploited. The writer created Satira at Tsarist Russia. In front of the reader are the images of the rulers ("Bear on Voivodestern", "Eagle-Macenate"), OPERATORS AND OPERATED ("Wild landowner", "The story of how one man's two generals proceeded"), inhabitants ("Wheat Pescar", " Dried vobla ").
The fairy tale "Wild landowner" is directed against the entire social system based on exploitation, 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 an ordinary fairy tale: "In some kingdom, in some state there was a landowner ..." But immediately an element of modern life appears: "And the landowner was stupid, read the newspaper" Mest "." "Mest" - the newspaper is reactive, so 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 comes down to losing his body, "soft, white and crumbly". He lives at the expense of his men but hates them and is afraid, 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 the legs, 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: notice the hare - "like an 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 no wonder as soon as the "Roy Manyakov" was caught and cast into place, "meat, and meat, and all sorts of livestock appeared in the bazaar.
The stupidity of the landowner is constantly emphasized by the writer. The first to be the landlords are stupid to the 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 are you stupid, wash it out?") Generally, whom he instead of "beef -You "I treated with printed gingerbread and lollipops (" however, brother, the stupid you are a landowner! ") And finally, Captitip-Fauxer (" Stupid you, Mr. Penic! "). 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 landowner ", 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 a collective image of a worker

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17 Nov 2011.

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GBOU Gymnasium №1505

"Moscow City Pedagogical Gymnasium-Laboratory"

abstract

The role of irony, hyperbolas and grotesque in the fairy tales of the Saltykov - generous

Teplyakova Anastasia

Leader:Vishnevskaya L. L.

Relevance:

The works of the salty-generine are addressed to the people. They highlight all the stabed problems of society, and the author himself acts as a defender of the interests of the people. The basis of fairy tales served the folk plot of folklore works. There are in fairy tales and elements of folk poetry. For example, the presentation of the author about good and evil, about the mind and justice ... Satyra mercilessly rizuats the unseemless essence of behavior and motivation of man, dramatically condemns human vices and imperfection of public life. Problems of society (Time Saltykov, generous) echoes the problems of modern society.

Fairy tales of salted-generous are designed for any level of perception, they help the reader develop. Re-reading any of the fairy tales, the reader can see a deeper meaning for himself, and not just a superficial story.

In fairy tales of Saltykov, a very endoral satirical techniques are used, such as: irony, hyperbole, grotesque. With their help, the author can express its position in relation to what is happening. And the reader, in turn, can understand his attitude towards the main characters. To express a sympathy or antipathy to the actions of the behavior of their characters of Saltykov, also uses satire.

Fairy tales of Saltovka-generarin prefer today's readers. It describes the occurring events in the form of fairy tales, comically or tragically summarizing relationships with the help of a combination of realistic and fantastic. They combine the fabulous real, there are even real people, newspaper names and hints for socially political topics.

Purpose:

Determine the value and role of satirical techniques in Saltykov-Shchedrin fairy tales.

Based on the above objective purpose, we set themselves the following tasks that are supposed to be solved during the study.

Tasks:

1) To form an idea of \u200b\u200bthe creativity of the Saltykov, generous, about the artistic techniques used by him, analyzing the scientific literature dedicated to the creativity of Saltykov, generous.

2) the understanding of the fairy tales of the salted-generous as a special form of the development of aotic literary tradition, the formation of the main theoretical concepts (irony, hyperbole, grotesque) as a condition for full-fledged perception, analysis and evaluation of fairy tales, generous.

Introduction

Chapter 1. §1.

Chapter 1. §2. The role of irony of hyperboles and grotesque at Saltykov, generous.

Chapter 1. §3. Analysis of the fairy tale Saltykov - generous. "The story of how one man's two generals punished" (1869).

Output.

Bibliography.

Chapter 1. Satyr in fairy tales of Saltykova - generous.

The referencing of the book by A. S. Bushmina "M. E. Saltykov- generous". In this book, seven chapters. The role of irony, hyperbolas, and Grotesque in the fairy tales of Saltykov, generous is considered in the sixth and seventh chapters.

§one. Topics and problems of fairy tales of Saltykov, generous.

According to Bushmina, "fairy tales" - one of the most striking creations and the most readable from the books of the Great Russian Satirik. Despite the fact that the fairy tale is just one of the genres of the work of Generin, she harmoniously approached his artistic method. "For satire in general and, particular, for Satira, generous are the techniques of artistic exaggeration, fiction, allegory, rapprochement of the social phenomena with the phenomena of the living world," says critic. In his opinion, it is important that with the current political situation, fiction to some extent was the "means of artistic conspiracy of the most acute ideological and political intentions of satirika". Stressing relevance, Bushmin draws attention to the approach of the form of satirical works to the folk fairy tale, thanks to which the Writer opened the way to a wider reader audience. Therefore, for several years, Shchedrin worked with hobby over fairy tales. This form, the most affordable masses and beloved, emphasizes the critic, it seems to transfix all the ideological wealth of his satire and, thus, creates his small satirical "encyclopedia for the people."

Argumenting Satirik's fairy tales, Bushmin notes that in the fairy tale "Bear on the Voivodeship" autocratic Russia was symbolized in the formation of the forest, and during the day and night "with a million million votes, of which the agonizing cry, others - a victorious click". The fairy tale "Bear on Voivodship" is written on one of the most basic and permanent topics of Shchedrian creativity. It represents an acute political satir, the author notes, on the government system of autocracy, serves the overthrow of the monarchical principle of the state system. The "wild landowner" in the same name of the age of 1869, being without men, the animals, acquires a fusion and the appearance of the bear. Fitting a bear-friendly suit to the corresponding social types ended up by 1884 by creating a fairy tale "Bear on Voivodesternship", where royal dignitaries are transformed into fabulous bears racing in forest slums. Satirik's ability to ignite the "predatory interests" of serfs and coincide with them, the peoples of hatred clearly manifested themselves in the first generin fairy tales: "The story of how one man's two generals punished" and "wild landowner" (1869). According to the author, Shchedrin shows examples of witty fabulous fiction, that the source is not only material well-being, but also the so-called noble culture is the work of a man. The generals who are accustomed to live someone else, to find out on the uninhabited island without servants, found the habits of hungry wild beasts. "Saltykov- Generin loved the people without blind worship before him, without idolatry: he

I deeply understood the strengths of the folk mass, but no less vividly saw her weaknesses "¹. The author wants to note that when Shchedrin speaks of the mass, the people, he, above all, mean the peasantry." In the "fairy tales" saltykov embodied his many years of observations on the life of a challenging Russian peasantry, their bitter meditation over the fate of the oppressed masses, their deep sympathy for labor mankind and their bright hopes for the power of the people "¹. With bitter irony, Satir, compliance, the slave submissions of the peasantry in" Tale about how One man's spirit of the spirit of the generals was punished. "Before the power of his protest, if he was capable of this, the generals would not be resistant. It is noteworthy that in the fairy tale the peasantry is presented in the image of a man and in the image of its twin - cones. It is impossible to disagree with the author that The human image seemed insufficient generous in order to reproduce all the sorrowful picture of hard labor and irresponsible suffering that the life of the Kyrgyz Republic was There are a tsarism. The artist was looking for a more expressive image - and found him in a monya, "tortured, beaten, by Nursing, with the erased ribs and burned shoulders, with broken legs." According to critic, this artistic allegory produces a great impression and amazes multilateral associations. She causes a feeling of deep compassion to a man worker. The conea, like a man in a fairy tale about two generals, is a commander that did not realize its power of the reasons for his sufferer position, this is a frenched fabulous warrior, as Bushmin calls him. "If the first, the philosophical part" Cones "is a lyrical monologue of the author, performed by selfless love for the people, painful grievances about his slave states of disturbing thought about his future, the final pages of the fairy tales are angry Satyrone ideologues of social inequality, on all those empties, Which tried to justify various theories, to open and perpetuate the subanence position of the conea. " "Remove, Konya! .. No, cautious n- but!" "This is the entire meaning of the boric persistence, surprisingly by a laugant with a satirist in the final words of the fairy tales. Do not agree with the author that the rich ideological content of the Shchedrian fairy tales is expressed in publicly available and bright artistic uniform that have perceived the best people's poetic traditions. They are written by the present popular language - simple, compressed and expressive. Literary critic notes that the connection of Tales Shchedrin with Folklore appeared in traditional reasons using the long-lasting time ("lived ..."), and in use of the promotion ("on a whining velinist, in my opinion," "neither in a fairy tale say no pen ") And in the frequent circulation of satirik to folk spares, always filed in witty socio-political interpretation. The Shchedrian fairy tale, taken as a whole, is not like folk fairy tales. According to the author, satirika did not imitate folklore samples, and freely created on their basis. Comparing the Saltykova-Gedrin with Pushkin and Andersen, Bushmin notices that the enriching effect of the artist on the genres of folk

¹ A. S. Bushmin "M. E. Saltykov, generous." Publishing house "Enlightenment". Leningrad. 1970.

poetic literature. Each word, epithet, metaphor, comparison, every image in his fairy tales, approves the author, has a high ideological and artistic meaning, concentrates in itself, like charging, huge satyricalsil. "The workshop of the implanted social types in the images of the beast reaches a bright satirical effect with an emergency brevity and speed of artistic motivation". We agree with the criticism and that the social allegories in the form of fairy tales about the beasts provided the writer some advantages and censors, allowed to consume sharper satirical assessments and expressions. The beast, as Bushmin, presented in the Shchedrian fairy tale calls him, testifies to the great skill of saticar in the field of art allegory, about its inexhaustible ingenuity in allegorical techniques. According to the literary critic, for its socio-political allegories depicting enmity of classes and despotism of the authorities, generin used images fixed by a fabulous and felt tradition (lion, bear, donkey, wolf, fox, hare, pike, eagle, etc.), And also, departing from this tradition, other images (Karas, Pescar, Vobla, Hyena, etc.) created extremely successfully. The critic also does not deny that no matter how "solidified" satirik his zoological paintings, whatever complicated social roles did not charge him with his "tail" heroes, the latter always retain their main natural properties. Konyaga is an additional faithful image of a scoring peasant horse; Bear, Wolf, Fox, Hare, Pike, Ersh, Caras, Eagle, Hawk, Raven, Chizh- All this is not just conditional notation, not external illustrations, but poetic images displaying the appeal, habits, properties of representatives of the living world, designed by the will of the artist Make a parody of the public relations of the bourgeois-presented state. "As a result, we are not naked, not a straightly trendy allegory, and the artistic allegoria, not greeted with the reality of those images that are attracted with the aim of Alkanovia." The author believes that in general, the book of Shchedrian fairy tales is a living picture of a society, torn by internal contradictions. Hence the constant interweaving of the tragic and comic in the Shchedrian fairy tales, the continuous change of feeling of sympathy with anger, the severity of conflicts. Shchedrian fairy tales are most fully demonstrated by the Shchedrian humor in all richness of its emotional shades and artistic forms, smart Shchedrian laughter - imaginary, refining and raising, causing hatred and confusion among enemies, admiration for the joy of truth, good, justice. The critic notes that the "fairy tales" of Shchedrin played a beneficial role in revolutionary propaganda, and in this respect they are distinguished from the entire creativity of saticaries. The Shchedrian fairy tales were constantly in the arsenal of Russian revolutionaries of populists and served for them with an effective weapon in the fight against autocracy. Bushmin wrote his book in Soviet times, hence he believes that Shchedrian fairy tales is a magnificent satirical monument of the past era, and an effective means of dealing with

¹ A. S. Bushmin "M. E. Saltykov, generous." Publishing house "Enlightenment". Leningrad. 1970.

research with the past and with modern bourgeois and ideology. That is why the "fairy tales" salted-generous and in our time did not lose their bright vibrant vibrant: they still remain highly useful and fascinating book of millions of readers.

§2. The role of irony, hyperbolas and grotesque at Saltykov, generous.

For satire, in general, for satirical works of salted, generous in particular, Bushmin says, characterized by a wide use of hyperboles, that is, an artistic exaggeration. Hyperbolitic forms in the works of Gogol and Saltykov are not caused by exclusiveness, but, on the contrary, usability, the massiness of depicted phenomena. The dominant part of society not only does not recognize their vices, and, in opinion, the author only builds them into the degree of virtue protected by capital morality and the law. In order for a widespread social spanking, which determines the nature of a whole class, the deferred vice and became ordinary, was solved by everyone, he reached the consciousness and feelings of the reader, it should be sharply outlined, brightly entitled, strongly emphasized inA. S. Bushmin "M. E. Saltykov, generous." Publishing house "Enlightenment". Leningrad. 1970.

his main essence. Critic claims that this is. The main objective motivation of artistic hyperbolas in satire. The artistic exaggeration is less tangible when it seizes the whole area of \u200b\u200bpassions, feelings, experiences, the features of the internal or external portrait of the personality, the properties of character and is in this case harmonious. "The features of the animals are also not only satirical stigma, imposed on the human appearance, the will of the artist, but also a legitarious result of satirical typing of negative human characters". The author reveals his mind that satiric material is flat, scanty, vulgar types - too lowland, rude poor opportunities for poetic, individual definitions. The lifeling element in the social satire is called, on the one hand, to make a rude, the state of life the fact of artistic activity and, on the other hand, not to embellish, not to mitigate, but to highlight all its unattractiveness. In the creative process of hyperbole is a simultaneous, fused expression of ideological, aesthetic and moral denial or approval of the image of the image. The hyperbole, notes the literary critic, is arranged only as a technical technique applied by purely dispersion, not spiritualized by a strong and sincere feeling of the artist, - nothing can give, except for the coarse, dead caricature, deprived of ideological and artistic meaning. The majestic subject of admiration or the lowest item of indignation, the stronger the hyperbole is manifested. Satira hyperbolizes what deserves chips, and hyperbolizes so to cause laughter. For the Shchedrian satirical hyperbolas, it is precisely the combination of cognitive and comic functions: by means of hyperboles, i.e. An artistic exaggeration, the writer made an image more embossed and more ridiculous, sharply exposing the essence of the negative phenomenon depicted and executed his laughter's weapon as Bushmin writes. A peculiar kind of artistic exaggeration is grotesque, bizarre, contrast combination in the human image of real and fantastic signs. Literary critic concludes that hyperbole and grotesque play their effective role at Saltykov precisely because they are artistic instruments in the complex orchestra, organically include in a realistic system of various forms, techniques and means, as

inherited from predecessors and enriched with their own innovation of satiries. In the acute political plots of the hyperbole manifests itself in all richness of its ideological and aesthetic functions and in the process of the evolution of Satiri's creativity increasingly overwhelmed into fiction.

§3. Analysis of the fairy tale Saltykov - generous.

"The story of how one man's two generals punished" (1869).

The conflict designated in this fairy tale is very large, as the work is written in a satirical genre. The heroes of this work occupy completely different steps of the social staircase, these are completely opposite layers of society between which the collision is inevitable. Calculating fiction and the reality of Saltykov, generous, makes the focus on social inequality in relation to the peasant population of Russia.

This fairy tale is present with elements of magic and elements of life. The generals really served in some kind of registration, "remaining behind the staff, they settled in St. Petersburg, in the Podiaskaya Street, on different apartments; they had each cook and received a pension." But, as in all fairy tales, there is a magic "at a prominent vein in my Wan", "they found themselves on a uninhabited island. The author shows his characters under the action of destructive for them: they turned into creatures of such animals and lost all humanity" ... did not understand anything. Even words did not know any, except: "Take assurances in perfect my respect and dedication".

As the plot is developing, it can be more accurate to reveal the character of the characters. The generals fell out of real life immediately began to turn into animals. "... In the eyes, the sinister fire was glowed, the teeth were knocked out, a deaf growl was flying out of his chest. They began to slip down to each other and in one blink of an eye walked. Flying shreds ...". But neither real people nor animals are obtained, since they are not capable of physical or intellectual activity. "Began to seek where the east and where the West ... did not find anything" "I tried to get climbed nothing ...". In addition to their work, they have not seen anything in life and did not notice, even harsh life circumstances did not help them to look at life. "How, for example, you think, from which the sun is before, and then it comes, and not the opposite? - You have a strange person ... After all, you first get up and go to the department, write there, then go to bed?" They could not even find an article in the newspaper, which would not resemble the "Festival on the occasion of sturgeon, who suffered their hunger."

Each of the characters although it is a collective way, but has its own individual character. One of the generals is very stupid, and the other is simply helpless in unusual circumstances. One of the generals "was inxfortable" the only thing that distinguishes their author. Saltykov-generin shows officials unnecessary elements of the state system, they are just masks for which only emptiness lies. The combination of grotesque and reality gives the author to give them fantastic color to their qualities. Thus, the inconsistency between the position in society and human qualities becomes brighter.

The generals already "drooped the heads", but the way out of the situation was found by itself. Two generals saved a simple man and they perceive it as a proper "now and the lumps would give, and Ryabchikov ...", without him, to survive on the "uninhabited island" would be impossible. Compared to the generals and in the accuracy of the details, it is possible to find exaggeration and in the character of a man, but for this and the hyperbole is used. But these heroes are opposed to each other. In the image of a man you can see the true human qualities, which person is not indifferent to the world, nature and the people around him.

The generals cannot even appreciate the assistance provided by him and consider the man "Leided", "TUNADEM", which "from the work of the liner." They awarded the man "For his works" "Weld of vodka da Pyat Silver" this is opposed to the wealth that the generals received "how much money here is zagrebral, in neither a fairy tale to say a pen to describe!". The author with the help of Grotesque emphasizes the denial of the perpetrators of social inequality, refuses social injustice with the help of satire. After making events beyond the time of time, the author emphasizes the social importance of the problem and universal values.

Output.

After analyzing the fairy tales of the salty-generous and conducting the referencing of the book A. S. Bushmina, the following conclusions can be drawn.

A. S. Bushmin was a criticism of Soviet times, he was interested in greater degree of political issues than artistic. Therefore, he considers the Shchedrian satire as the impact of the vices of civil servants. Saltykov-generin generalizes in the generals of the fairy tales "as one man two generals punished" of all representatives of power. Thus, the role of irony, hyperboles and grotesque in fairy tales of the Saltovikov, the social level of the peasantry and the hyperbulous form shows its independence. And satire rises human nonsense and not an educational, which can meet in any class.

Bibliography.

1. Saltykov-generin M. E .. as one man of two generals Podkormil.-M.: Fiction, 1984.

2. Bushmin A. S. M. E. Saltykov, generous: Enlightenment, 1970.