Mikhail Evgrafovich Saltykov-Shchedrin: analysis of the tale "The Selfless Hare". Grotesque as an artistic device in the works of M.E. Saltykov-Shchedrin (on the example of one work) Satirical devices in a fairy tale selfless hare

Fairy tale "Selfless Hare". fairy tale "The Sane Hare"

The theme of exposing cowardice to "The Wise Gudgeon" draws closer to him at the same time the written "Selfless Hare". These tales do not repeat, but complement each other in exposing slave psychology, illuminating its different sides.

The tale of the selfless hare is a vivid example of the crushing irony of Shchedrin, exposing, on the one hand, the wolfish habits of the enslavers, and on the other, the blind obedience of their victims.

The tale begins with the fact that a hare was running near the wolf's den, and the wolf saw him and shouted: “Zainka! Stop, darling! " And the hare only increased its pace. The wolf got angry, caught him, and says: “I am sentencing you to deprivation of your belly by being torn apart. And since now I am full, and my wolf is full ... then you sit here under this bush and wait in line. Or maybe ... ha-ha ... I'll have mercy on you! " What is a hare? I wanted to run away, but as soon as he looked at the wolf's den, “the hare's heart pounded”. A hare sat under a bush and lamented that he had so much left to live and his hare dreams would not come true: “I counted on getting married, bought a samovar, dreamed of drinking tea and sugar with a young hare, and instead of everything, where did I go? ! ". One night, the bride's brother rode up to him and began to persuade him to run away to the sick bunny. More than ever, the hare began to lament about his life: “For what? how did he deserve his bitter fate? He lived openly, did not start revolutions, did not go out with weapons in his hands, fled according to his need - is it really death for that? " But no, the hare cannot even move from the spot: “I can’t, the wolf didn’t tell me!”. And then the wolf and the wolf climbed out of the den. The hares began to make excuses, persuaded the wolf, pity the wolf, and the predators allowed the hare to say goodbye to the bride, and leave her brother as an amanat.

The hare, released on leave, “like an arrow from a bow,” hurried to the bride, ran, went to the bathhouse, circled him, and running back to the den - would return by the specified date. The way back was hard for the hare: “He runs in the evening, runs at midnight; his legs are excised with stones, on the sides of the thorny branches the wool hangs in tufts, his eyes are dimmed, bloody foam oozes at his mouth ... ”. After all, he "gave the word, you see, and the hare is the master of his word." It seems that the hare is very noble, he only thinks about how not to let his friend down. But nobility in relation to the wolf stems from slavish obedience. Moreover, he realizes that the wolf can eat him, but at the same time stubbornly harbors the illusion that "maybe the wolf ... ha-ha ... will have mercy on me!" This kind of slave psychology overpowers the instinct of self-preservation and is elevated to the level of nobility and virtue.

The title of the tale with surprising accuracy outlines its meaning, thanks to the oxymoron used by the satirist - a combination of opposing concepts. The word hare is always in a figurative sense synonymous with cowardice. And the word selfless in combination with this synonym gives an unexpected effect. Selfless cowardice! This is the main conflict of the tale. Saltykov-Shchedrin shows the reader the perversity of human properties in a society based on violence. The wolf praised the selfless hare, who remained true to his word, and issued him a mocking resolution: "... sit, for the time being ... and later I will ... ha-ha ... have mercy on you!"

The wolf and the hare not only symbolize the hunter and the victim with all the qualities corresponding to them (the wolf is bloodthirsty, strong, despotic, angry, and the hare is cowardly, cowardly and weak). These images are filled with topical social content. The exploitative regime is hidden behind the image of the wolf, and the hare is the man in the street who believes that a peace agreement with the autocracy is possible. The wolf enjoys the position of a ruler, a despot, the whole wolf family lives according to the "wolf" laws: the cubs play with the victim, and the wolf, ready to devour a hare, pity him in her own way ...

However, the hare also lives by the laws of the wolf. The Shchedrinsky hare is not just cowardly and helpless, but cowardly. He refuses to resist in advance, going into the wolf's mouth and making it easier for him to solve the “food problem”. The hare believed that the wolf had the right to take his life. The hare justifies all his actions and behavior with the words: "I can’t, the wolf didn’t tell me!" He is used to obeying, he is a slave to obedience. Here the author's irony turns into caustic sarcasm, into deep contempt for the psychology of a slave.

A hare from Saltykov-Shchedrin's fairy tale "A sane hare", "although it was an ordinary hare, it was a premium one. And he reasoned so sensibly that a donkey would fit. " Usually this hare sat under a bush and talked to himself, discussed various topics: “Everyone, he says, is left to the beast. To a wolf - a wolf, a lion - a lion, a hare - a hare. Whether you are satisfied or dissatisfied with your life, no one asks you: live, that's all ", or" They eat us, eat, and we, hares, that year, we multiply more ", or" These vile people, these wolves - this is the truth. ... All they have is only robbery on their minds! ". But one day he decided to flaunt his common thoughts in front of the hare. “The hare spoke and spoke,” and at this time the fox crawled up to him and let's play with him. The fox stretched out in the sun, told the hare to "sit closer and wiggle," and she "plays comedies in front of him."

Yes, the fox taunts the "sane" hare in order to eventually eat it. Both she and the hare understand this perfectly, but they cannot do anything. The fox is not even very hungry to eat a hare, but since “where has it been seen so that the foxes themselves let go of their dinner,” you have to obey the law willy-nilly. All the clever, justifying theories of the hare, the idea of ​​regulating the wolf's appetites that has completely mastered him, are smashed to smithereens against the cruel prose of life. It turns out that hares were created to eat them, and not to create new laws. Convinced that the wolves of hares "will not stop eating," the sane "philosomph" developed a project for a more rational eating of hares - so that not all at once, but in turn. Saltykov-Shchedrin here ridicules attempts at theoretical justification of slavish "hare" obedience and liberal ideas about adapting to a regime of violence.

The satirical sting of the tale of the "sane" hare is directed against petty reformism, cowardly and harmful populist liberalism, which was especially characteristic of the 1980s.

The tale "The Sane Hare" and the fairy tale "The Selfless Hare" that preceded it, taken together, provide an exhaustive satirical description of "hare" psychology, both in its practical and theoretical manifestations. In The Selfless Hare we are talking about the psychology of the irresponsible slave, and in The Sane Hare - about the perverted consciousness that has developed servile tactics of adaptation to the regime of violence. Therefore, the satirist treated the "sensible hare" more severely.

These two works are one of the few in the cycle of Shchedrin's tales, which end with a bloody denouement (also "The idealist carp", "The wise gudgeon"). With the death of the main characters of fairy tales, Saltykov-Shchedrin emphasizes the tragedy of ignorance of the true ways of fighting evil with a clear understanding of the need for such a struggle. In addition, these tales were influenced by the political situation in the country at that time - the fierce government terror, the defeat of populism, police persecution of the intelligentsia.

Comparing the tales "The Selfless Hare" and "The Sane Hare" artistically, not ideologically, one can also draw many parallels between them.

The plots of both tales are based on folklore, Speaking the heroes are consonant. Saltykov-Shchedrin uses elements of lively, folk speech that have already become classical. The satirist emphasizes the connection of these tales with folklore with the help of numerals with non-numerical meaning ("the distant kingdom", "from beyond the distant lands"), typical sayings and sayings ("the track is cold", "runs, the earth trembles", "not in a fairy tale say, not describe with a pen "," soon the fairy tale will tell ... "," do not put your finger in your mouth "," no stake, no yard ") and numerous constant epithets and colloquialisms (" pesytekhonka "," fox-klyaznitsa " , "The other day", "oh you, grief, grief!"

When reading the tales of Saltykov-Shchedrin, it is always necessary to remember that the satirist wrote not about animals and about the relationship between a predator and a prey, but about people, covering them with animal masks. It is the same in the tales of the "sane" and "selfless" hares. The language, beloved by the author of the Aesopians, gives the tales a richness, richness of content and does not in the least complicate the understanding of all the meaning, ideas and morality that Saltykov-Shchedrin puts into them.

In both fairy tales, elements of reality are intertwined in fantastic, fairy-tale plots. The "sensible" hare daily studies "statistical tables published by the Ministry of Internal Affairs ...", and about the "selfless" hare they write in the newspaper: he is like ... running away! " The "sane" hare also tells the fox a little about real human life - about peasant labor, about bazaar entertainment, about the recruiting share. In the tale of a "selfless" hare, events are mentioned that were invented by the author, unreliable, but in essence real: “It rained in one place, so that the river, which the hare jokingly swam a day earlier, swelled up and overflowed ten miles. In another place, King Andron declared war on King Nikita, and on the very hare's way the battle was in full swing. In the third place, cholera manifested itself - it was necessary to go around a whole quarantine chain a hundred miles ... ”.

Saltykov-Shchedrin, in order to make fun of everything negative traits these hares, used the appropriate zoological masks. Since a coward, obedient and humble, then this is a hare. The satirist wears this mask on faint-hearted townsfolk. And the formidable force that the hare fears - the wolf or the fox - personifies the autocracy and the arbitrariness of the royal power.

Evil, angry ridicule of slave psychology is one of the main tasks of the tales of Saltykov-Shchedrin. In the tales "The Selfless Hare" and "The Sane Hare", the heroes are not noble idealists, but ordinary cowards, hoping for the kindness of predators. Hares do not doubt the right of the wolf and the fox to take their lives, they consider it quite natural that the strong eat the weak, but they hope to touch the wolf's heart with their honesty and obedience, and the fox to speak and convince of the correctness of their views. Predators remain predators.

Grotesque is a term that means a type of artistic imagery (image, style, genre) based on fantasy, laughter, hyperbole, bizarre combination and contrast of something with something. In the genre of the grotesque, ideological and artistic features Shchedrin's satire: its political acuteness and purposefulness, the realism of its fantasy, the ruthlessness and depth of the grotesque, the crafty sparkling humor.

Shchedrin's “Tales” in miniature contain the problems and images of the entire work of the great satirist. If, except for "Tales", Shchedrin wrote nothing, then they alone would have given him the right to immortality. Of the thirty-two tales of Shchedrin, twenty-nine were drunk by him in the last decade of his life (most from 1882 to 1886), and only three tales were created in 1869. Fairy tales summarize the forty years creative activity a writer. Shchedrin often resorted to the fabulous genre in his work. Elements of fairy-tale fantasy are also present in The History of a City, while the satirical novel Modern Idyll and the chronicle Abroad include completed fairy tales.

And it is no coincidence that the flowering of the fairy-tale genre fell on Shchedrin in the 80s. It was during this period of rampant political reaction in Russia that the satirist had to look for a form most convenient for circumventing censorship and at the same time the closest, understandable to the common people. And the people understood the political acuteness of Shchedrin's generalized conclusions hidden behind Aesop's speech and zoological masks. The writer created a new, original genre of political fairy tale, which combines fantasy with real, topical political reality.

In Shchedrin's tales, as in all his work, two social forces are opposed: the working people and their exploiters. The people appear under the masks of kind and defenseless animals and birds (and often without a mask, under the name "man"), the exploiters - in the guise of predators. The symbol of peasant Russia is the image of Konyaga - from eponymous tale... Konyaga is a peasant, a toiler, a source of life for everyone. Thanks to him, bread grows in the vast fields of Russia, but he himself has no right to eat this bread. His lot is eternal hard labor. “There is no end to work! The whole meaning of his existence is exhausted by his work ... ”- exclaims the satirist. Konyaga is tortured and beaten to the limit, but he alone is able to liberate his native country. “From century to century the formidable immobile bulk of the fields has become numb, as if it is guarding a fabulous power in captivity. Who will free this power from captivity? Who will call her into the light? This task fell to two creatures: the peasant and the Konyag ... This tale is a hymn to the working people of Russia, and it is no coincidence that it had such a great influence on the democratic literature of modern Shchedrin.

In the fairy tale "The Wild Landowner" Shchedrin, as it were, summarized his thoughts on the reform of the "emancipation" of the peasants, contained in all of his works of the 60s. Here he raises an unusually acute problem of the post-reform relationship between the serf-owners and the peasantry finally ruined by the reform: “The cattle will go out to drink - the landowner shouts: my water! the chicken goes out to the outskirts - the landowner shouts: my land! And earth, and water, and air - everything became him! The peasant did not light up Luchina in the light, the rod was gone, how could he sweep the hut. So the peasants all over the world prayed to the Lord God: - Lord! it is easier for us to be abyss with children and small ones, than to languish like that all our life! "

This landowner, like the generals from the tale of two generals, had no idea of ​​work. Abandoned by his peasants, he immediately turns into a filthy and wild animal. He becomes a forest predator. And this life, in essence, is a continuation of his previous predatory existence. The wild landowner, like the generals, takes on an external human appearance only after his peasants return. Scolding the wild landowner for his stupidity, the police chief tells him that without peasant "taxes and duties" the state "cannot exist", that without peasants everyone will die of hunger, "you cannot buy a piece of meat or a pound of bread in the bazaar" and money from there will be no masters. The people are the creator of wealth, and the ruling classes are only consumers of this wealth.

The petitioner raven turns to all the highest authorities of his state in turn, begging to improve the unbearable life of the peasant crows, but in response he hears only "cruel words" that they cannot do anything, because under the existing system the law is on the side of the strong. “Whoever prevails is right,” the hawk instructs. “Look around - there is strife everywhere, everywhere there is a quarrel,” the kite echoes. This is the "normal" state of a proprietary society. And although "the crow lives in society, like real men", it is powerless in this world of chaos and predation. The men are defenseless. “They are firing at them from all sides. That Railway it will shoot, then the car is new, then there is a poor harvest, then there is a new extortion. And they just know they turn over. How did it happen that Guboshlepov got his way? After that, the hryvnia in their purse decreased - how can a dark person understand this? * the laws of the world around them.

The crucian carp from the tale “Crucian carp the idealist” is not a hypocrite, he is truly noble, pure in soul. His socialist ideas deserve deep respect, but the methods of their implementation are naive and ridiculous. Shchedrin, being himself a socialist by conviction, did not accept the theory of the utopian socialists, he considered it the fruit of an idealistic view of social reality, of the historical process. “I don’t believe ... that struggle and quarrels were a normal law, under the influence of which everything living on earth was supposedly destined to develop. I believe in bloodless prosperity, I believe in harmony ... ”- the crucian ranted. It ended up being swallowed by a pike, and swallowed mechanically: she was struck by the absurdity and strangeness of this sermon.

In other variations, the idealist crucian carp theory was reflected in the tales The Selfless Hare and The Sane Hare. Here the heroes are not noble idealists, but ordinary cowards, hoping for the kindness of predators. Hares do not doubt the right of the wolf and the fox to take their lives, they consider it quite natural that the strong eat the weak, but they hope to touch the wolf's heart with their honesty and obedience. "Or maybe the wolf ... ha-ha ... will have mercy on me!" Predators remain predators. Zaitsev is not saved by the fact that they “didn’t start up revolutions, they didn’t come out with weapons in their hands”.

Shchedrinsky became the personification of wingless and vulgar philistine wise minnow- the hero of the fairy tale of the same name. The meaning of life of this "enlightened, moderately liberal" coward was self-preservation, avoiding clashes, from struggle. Therefore, the gudgeon lived to a ripe old age unharmed. But what a humiliating life it was! It all consisted of a continuous trembling for its skin. "He lived and trembled - that's all." This fairy tale, written during the years of political reaction in Russia, hit the liberals, creeping in front of the government because of their own skin, without a miss, at the townsfolk who were hiding in their holes from the public struggle. For many years the passionate words of the great democrat have sunk into the souls of the thinking people of Russia: “Those who think that only those minnows can be considered worthy citizens, who, mad with fear, sit in holes and tremble, are wrong. No, these are not citizens, but at least useless minnows. " Shchedrin showed such "minnows" -deepers in the novel "Modern Idyll".

The toptygins from the fairy tale "The Bear in the Voivodeship", sent by the lion to the voivodeship, set as much "bloodshed" as possible with the aim of their reign. By doing this, they aroused the anger of the people, and they suffered the "fate of all fur-bearing animals" - they were killed by the rebels. The same death from the people was accepted by the wolf from the fairy tale "Poor Wolf", which also "robbed day and night." In the fairy tale "The Eagle the Patron" is given a destructive parody of the tsar and the ruling classes. The eagle is the enemy of science, art, protector of darkness and ignorance. He destroyed the nightingale for his free songs, the literate woodpecker "dressed up ... in shackles and imprisoned in a hollow forever", ravaged the raven-men to the ground. In the end, the crows rebelled, "the whole herd took off and flew away," leaving the eagle to starve to death. "Let this be a lesson for the eagles!" - the satirist concludes the tale meaningfully.

All of Shchedrin's tales were subjected to censorship persecution and many alterations. Many of them were published in illegal publications abroad. The masks of the animal world could not hide the political content of Shchedrin's tales. The transfer of human traits - both psychological and political, to animal world created a comic effect, clearly exposed the absurdity of existing reality.

The fantasy of Shchedrin's tales is real, it carries a generalized political content. Eagles are "predatory, carnivorous ..." They live "in alienation, in inaccessible places, they do not engage in hospitality, but they plunder" - this is what the tale of the eagle-medenate says. And this immediately draws the typical circumstances of the life of a royal eagle and makes it clear that we are not talking about birds at all. And further, combining the atmosphere of the avian world with affairs by no means avian, Shchedrin achieves lofty political pathos and caustic irony. There is also a tale about the Toptygin, who came to the forest to "pacify internal adversaries". Do not obscure the political meaning of the beginnings and endings, taken from magical folk tales, the image of Baba Yaga, Leshy. They only create a comic effect. The discrepancy between form and content contributes here to a sharp exposure of the properties of a type or circumstance.

Sometimes Shchedrin, taking traditional fabulous images, does not even try to introduce them into a fabulous setting or use fabulous techniques. Through the lips of the heroes of the tale, he directly expresses his idea of ​​social reality. Such is, for example, the fairy tale "Neighbors".

The language of Shchedrin's tales is deeply popular, close to Russian folklore. The satirist uses not only traditional fairy-tale techniques, images, but also proverbs, sayings, sayings ("If you don't give a word, hold on, but if you give it, hold on!" , "My hut is on the edge", "Simplicity is worse than theft"). Dialogue actors is colorful, the speech depicts a specific social type: an imperious, rude eagle, a beautiful-minded idealistic crucian carp, an evil reactionary blush, a prude of a priest, a dissolute canary, a cowardly hare, etc.

The images of fairy tales have come into use, have become common nouns and live for many decades, and the common human types of objects of Saltykov-Shchedrin's satire are still found in our life today, it is enough just to take a closer look at the surrounding reality and reflect.

The storyline of the work reveals the relationship between a predator and its prey, presented in the form of a cowardly hare and a cruel wolf.

The conflict of the fairy tale described by the writer is the fault of a hare, which did not stop at the call of a stronger animal, for which the wolf is sentenced to death, but at the same time the wolf does not seek to destroy the prey at the same second, but enjoys its fear for several days, forcing a hare to expect death under a bush.

The narration of the tale is aimed at describing the feelings of the hare, who is frightened not only of the disastrous moment, but also worries about the hare left behind. The writer depicts the whole gamut of suffering of an animal, unable to resist fate, timidly, humbly accepting its own dependence and lack of rights in front of a stronger beast.

The writer calls the main feature of the psychological portrait of the main character the manifestation of slavish submission by a hare, expressed in complete obedience to the wolf, overpowering the instincts of self-preservation and elevated to an exaggerated degree of vain nobility. Thus, in a fairy-tale-satirical manner, the writer reflects the qualities typical of the Russian people in the form of an illusory hope for a merciful attitude on the part of a predator, which have been brought up since ancient times by class oppression and are elevated to the status of virtue. At the same time, the hero does not even dare to think about any manifestations of disobedience to his tormentor, believing his every word and hoping for his false pardon.

The hare rejects not only own life, being paralyzed by fears, but also by the fate of his hare and future offspring, justifying his actions before the conscience of cowardice and inability to resist inherent in the hare family. The wolf, observing the torment of his victim, enjoys his apparent selflessness.

The writer, using the techniques of irony and humorous form, shows, using the example of the image of a hare, the need to reform his own self-consciousness, driven into a dead end by fears, servility, admiration for the omnipotent and superior, blind obedience to any manifestation of injustice and oppression. Thus, the writer creates a socio-political type of person who embodies unprincipled cowardice, spiritual limitation, submissive poverty, expressed in the perverted consciousness of the people, who have developed harmful servile tactics of adapting to a violent regime.

Option 2

The work "Selfless Hare" by M.Ye. Saltykova-Shchedrina tells about the relationship between the strengths and weaknesses of character.

The main characters of the story are the wolf and the hare. The wolf is a domineering tyrant who increases his self-esteem at the expense of the weakness of others. The hare is by nature a cowardly character, following the wolf's lead.

The story begins with the bunny hurrying home. The wolf noticed him and called out. The scythe increased his step even more. For the fact that the hare did not obey the wolf, he condemns him to death. But, wanting to mock a weak and helpless bunny, the wolf puts it under a bush in anticipation of death. The wolf scares the hare. If he disobeys him and tries to escape, then the wolf will eat his entire family.

The hare is no longer scared for himself, but for his hare. He calmly submits to the wolf. And he just mocks the victim. He lets the poor fellow go to the hare for just one night. The hare must make offspring - a future dinner for the wolf. The cowardly hare must return by morning, otherwise the wolf will eat his entire family. The hare obeys the tyrant and does everything as ordered.

The hare is a slave to the wolf, fulfilling all his whims. But the author makes it clear to the reader that such behavior does not lead to good. The outcome was still disastrous for the hare. But he did not even try to fight the wolf and show the courage of his character. Fear clouded his brain and consumed everything without a trace. The hare justified himself before his conscience. After all, cowardice and oppression are inherent in his entire family.

The author describes most of humanity in the face of a hare. V modern life we are afraid to make decisions, be responsible, go against the foundations and the prevailing circumstances. This is the most common type of people who are spiritually limited and do not believe in their own strength. It's easier to adapt to bad conditions. And the outcome remains deplorable. It will only be good for the tyrant. Struggle is the key to success.

We, together with the hare, must fight violence and injustice. After all, every action has its own opposition. This is the only way to win.

Several interesting compositions

• Composition based on the work of Yushka Platonov (reasoning)

  The story "Yushka" is the story of the life of a man who knew how to love others selflessly and unselfishly. He gave all of himself to this love, completely dissolving in it. But it is also a story about the imperfection of this world.

  Probably, there is no such person who would not be offended at least once, and maybe more than once by his relatives or close people, and maybe even strangers. And each person reacts to it differently.

("Selfless Hare")

"Selfless Hare" was written in 1883 and is organically included in the most famous collection of Mikhail Saltykov-Shchedrin "Tales". The collection is provided with an explanation of the author: "Fairy tales for children of fair age." "The Selfless Hare", as well as the tales "The Poor Wolf" and "The Sane Hare" within the entire collection constitute a kind of trilogy, which belongs to a group of fairy tales that are an acute political satire on the liberal intelligentsia and bureaucracy.

It turns out that the dedication of the hare lies in the fact that he does not want to deceive the wolf who sentenced him to death, and, having hastily married, overcoming terrible obstacles (the flood of the river, the war between King Andron and King Nikita, the cholera epidemic), with his last strength, rushed to the den wolf by the appointed time. The hare, identifying the liberal-minded bureaucracy, does not keep in mind that the wolf has no right to pass a sentence: "... I am sentencing you to deprivation of your belly by being torn apart." The writer angrily exposes the slavish obedience of enlightened people to those in power, even the Aesopian language does not prevent the reader from understanding that the hare with his contrived selflessness looks insignificant. All the newly minted relatives of the hare, to whom the wolf gave two days to marry, approves the hare's decision: “The truth, you scythe, said: if you didn’t give a word, be strong, but if you gave it, hold on! It has never happened in all our hare family that hares deceive! " The satirist writer leads the reader to the conclusion that verbal husk can justify inactivity. All the energy of the hare is directed not at resisting evil, but at fulfilling the order of the wolf.

“-I, your honor, will come running ... I will turn around in a moment ... that's how holy I will come running! - the convict hurried, and so that the wolf had no doubts ... he suddenly pretended to be such a fine fellow that the wolf himself admired him and thought: "If only I had such soldiers!" Animals and birds marveled at the hares' agility: "Here in" Moskovskiye vedomosti "they write that hares have not a soul, but steam, and there he is running away!" On the one hand, the hare is undoubtedly a coward, but, on the other hand, because the wolf's brother was held hostage by the wolf. However, according to the writer, this is not a reason for the uncomplaining fulfillment of the wolf's ultimatum. After all, the gray robber was well fed, lazy, he did not keep hares in captivity. One wolf shout was enough for the hare to voluntarily agree to accept his evil fate.

The writer needed the form of the tale so that its meaning was accessible and understandable to everyone. In the fairy tale "Selfless Hare" there is no fabulous beginning, but there are fabulous sayings ("not to say in a fairy tale, nor to describe with a pen", "soon the tale will tell ...") and an expression ("Runs, the earth trembles", "the distant kingdom") ... Fairy tale characters, as in folk tales, are endowed with the properties of people: the hare wooed, before the wedding went to the bathhouse, etc. The language of the Saltykov-Shchedrin fairy tale is full of vernacular words and expressions (“they will run up playfully,” “the heart will roll,” “spotted a daughter,” "Fell in love with another", "the wolf ate", "the bride is dying"), proverbs and sayings ("caught in three jumps", "grabbed by the collar", "drink sugar tea", "fell in love with all my heart", "rubs from fear "," do not put a finger in your mouth "," launched like an arrow from a bow "," spills with bitter tears "). All this brings together the tale "Selfless Hare" with folk tales. In addition, the use of the magic fairy number "three" (three obstacles on the way back to the wolf's lair, three enemies - wolves, foxes, owls, three hours had to remain with the hare, three times the hare urged itself on with the words: , not to tears ... if only to snatch a friend out of the wolf's mouth! " he will take it "to the Uru"; the river - he does not look for a ford, he scratches right into the water; swamp - he jumps from the fifth bump to the tenth "," neither mountains, nor valleys, nor forests, nor swamps - he does not care "," Shouted like a hundred thousand rabbits together ") reinforce the similarity with a folk tale.

"Selfless hare" there are specific everyday details and signs of real historical time, which does not happen in folk tales (a hare dreamed that he became a "special assignment officer" with a wolf, a wolf, "while he runs through revisions, to visit his hare walks "," he lived openly, did not start up revolutions, did not go out with weapons in his hands "," persuading the sentries to escape ", the hares called the wolf" your honor "). Thirdly, the writer uses the words and expressions of the book vocabulary, and the more insignificant the reason, the higher vocabulary is used ("the luminous wolf's eye", "the condemned for a minute seems to be transformed", "praises a hare for nobility", "his legs are excised with stones "," Bloody foam oozes at the mouth "," the east is crimson "," sprinkled with fire "," the heart of the tortured beast "). The originality of the tale of M.E.Saltykov-Shchedrin lies precisely in the features of the difference from folk tale... Folk tale strengthened faith ordinary people in the fact that evil will someday be defeated, thereby, according to the writer, taught people to passively expect a miracle. The folk tale taught the simplest things, its task was to entertain, amuse. The satirist writer, keeping many of the features of the folk tale, wanted to ignite the hearts of people with anger, to awaken their self-awareness. Open calls for revolution, of course, would never be censored to publish. Using the trick of irony, resorting to the Aesopian language, the writer in the fairy tale "Selfless Hare" showed that the power of wolves rests on the slavish habit of hares to obedience. Particularly bitter irony sounds at the end of the tale:

"- Here am I! Here! - shouted a scythe, like a hundred thousand birds with one stone.

Poor Wolf. Here is its beginning: “Another animal, probably, would have been moved by the dedication of a hare, would not have limited itself to a promise, but now would have pardoned. But of all the predators found in temperate and northern climates, the wolf is the least capable of generosity. However, not of his own will, he is so cruel, but because his complexion is tricky: he cannot eat anything except meat. And in order to get meat food, he cannot do otherwise than deprive a living creature of life. " The compositional unity of the first two tales of this peculiar trilogy helps to understand the politically active position of the satirist writer. Saltykov-Shchedrin believes that social injustice is inherent in the very nature of man. It is necessary to change the thinking of not one person, but the whole nation.

Mikhail Evgrafovich Saltykov-Shchedrin is one of the most famous Russian writers mid XIX century. His works are written in the form of fairy tales, but their essence is far from simple, and the meaning does not lie on the surface, as in ordinary children's counterparts.

About the work of the author

Studying the work of Saltykov-Shchedrin, one can hardly find at least one children's fairy tale in it. In his writings, the author often uses such a literary device as the grotesque. The essence of the technique lies in a strong exaggeration, bringing to the point of absurdity both the images of the characters and the events that happen to them. Therefore, the works of Saltykov-Shchedrin may seem creepy and too cruel even to an adult, not to mention children.

One of the most famous works Mikhail Evgrafovich Saltykov-Shchedrin is a fairy tale "Selfless Hare". She, like all his creations, has a deep meaning. But before you start analyzing Saltykov-Shchedrin's fairy tale "The Selfless Hare", you need to remember its plot.

Plot

The tale begins with the fact that the main character, a hare, runs past the house of a wolf. The wolf calls out to the hare, calls him to him, but he does not stop, but even more adds speed. Then the wolf catches up with him and accuses that the hare did not obey the first time. The forest predator leaves it near the bush and says that it will eat it in 5 days.

And the hare ran to his fiancee. Here he sits, counts the time to death and sees - the bride's brother is hurrying to him. The brother tells how bad the bride is, and this conversation is heard by the wolf with the she-wolf. They go out into the street and report that they will let the hare go to the betrothed to say goodbye. But with the condition that he returns to be eaten in a day. And the future relative will remain with them for now and, in case of non-return, will be eaten. If the hare returns, then perhaps both of them will be pardoned.

The hare runs to the bride and comes running quickly enough. He tells her and all his relatives his story. I don't want to go back, but the word is given, and the hare never breaks the word. Therefore, having said goodbye to the bride, the hare runs back.

He runs, and on the way he meets various obstacles, and he feels that he does not make it on time. He fights off this thought with all his might and only adds speed. He gave his word. In the end, the hare barely makes it and saves the bride's brother. And the wolf tells them that until they eat them, let them sit still under the bush. Maybe when he will have mercy.

Analysis

In order to give a full picture of the work, you need to analyze the tale "The Selfless Hare" according to the plan:

• Characteristics of the era.
• Features of the author's creativity.
• Characters.
• Symbolism and imagery.

The structure is not universal, but it allows you to build the necessary logic. Mikhail Evgrafovich Saltykov-Shchedrin, whose analysis of the tale "Selfless Hare" needs to be carried out, often wrote works on topical topics. So, in the 19th century, the topic of dissatisfaction with the tsarist power and oppression from the government was very relevant. This must be taken into account when analyzing the tale of Saltykov-Shchedrin "The Selfless Hare".

Different strata of society reacted to the authorities in different ways. Someone supported and tried to join, someone, on the contrary, tried with all their might to change the situation. However, most people were enveloped in blind fear, and they could do nothing but obey. This is what Saltykov-Shchedrin wanted to convey. The analysis of the tale "The Selfless Hare" should begin by showing that the hare symbolizes precisely the last type of people.

People are different: smart, stupid, brave, cowardly. However, none of this matters if they do not have the strength to fight back the oppressor. In the form of a hare, the wolf makes fun of the noble intelligentsia, which shows its honesty and loyalty to the one who oppresses them.

Speaking about the image of the hare described by Saltykov-Shchedrin, the analysis of the tale "The Selfless Hare" should explain the motivation of the protagonist. The word of the hare is an honest word. He could not break it. However, this leads to the fact that the life of a hare is crumbling, because it shows its best qualities in relation to the wolf, who initially treated him cruelly.

The hare is not guilty of anything. He just ran to the bride, and the wolf decided to leave him under the bush without permission. Nevertheless, the hare steps over himself to keep his word. This leads to the fact that the whole family of hares remains unhappy: the brother was unable to show courage and escape from the wolf, the hare could not help but return so as not to break his word, and the bride remains alone.

Output

Saltykov-Shchedrin, whose analysis of the tale "The Selfless Hare" was not so simple, described the reality of his time in his usual grotesque manner. After all, there were quite a lot of such people-hares in the 19th century, and this problem of unrequited obedience greatly hindered the development of Russia as a state.

Finally

So, this was an analysis of the tale "The Selfless Hare" (Saltykov-Shchedrin), according to a plan that can be used to analyze other works. As you can see, a seemingly simple fairy tale turned out to be a vivid caricature of the people of that time, and its meaning lies deep inside. In order to understand the work of the author, you need to remember that he never writes anything just like that. Every detail in the plot is needed so that the reader understands the deep meaning that lies in the work. This is what makes the tales of Mikhail Evgrafovich Saltykov-Shchedrin interesting.