Folklore motifs and images in the novel by A.S. Pushkin "The Captain's Daughter"
In the novel by Alexander Sergeevich Pushkin "The Captain's Daughter" folklore is the main compositional component. It would not be entirely correct to call this phenomenon “folklore”, it is rather a part of folk culture.
The story itself is fairly canonical. The road that becomes the road of life for the hero, each of the characters, and the plot as a whole, resemble some kind of legend.
Our experts can check your essay on USE criteria
Experts of the site Kritika24.ru
Teachers of leading schools and acting experts of the Ministry of Education of the Russian Federation.
If we compare the chronology of events with the most common epic story, it becomes noticeable that Petrusha, like a hero, goes to save the beauty, passes the test and returns home with his beloved. The plot of this particular story can be called no less popular than the rescue of a beautiful girl. Pugachev is in some way a folklore character, sometimes perceived as the rebirth of Stenka Razin. The national hero-liberator, a daring robber, whose name causes horror among the nobility and delight among the peasants. He himself is a part of the culture, along with the characters of songs and fairy tales.
I would like to consider the image of Pugachev, directly in the work. A detailed description of his personality suggests memories of those very robbers from the epics. Black beard, glimpses of gray hair. There is something otherworldly about this, so familiar to the culture. He resembles a devil in human form, with lively shining eyes and a hut in gold foil. The image of Masha Mironova is quite consistent with the "standards" of the classic beloved hero from the legends. A young man passing the path of becoming from a "dumb" into a hero. And Shvabrin is perfect for the role of a fabulous assistant. Clever, cunning, sneaky. I would even call the heroes "masks" from the comedy del arte in Russian performance, but each of them goes beyond the image we are used to. The basis of each is based on traditional characters, but they have something unique, their own detail of the image.
Before each chapter, Pushkin inserts something folklore, most often a song or proverb.
Updated: 2019-02-27
Attention!
Thank you for your attention.
If you notice an error or typo, highlight the text and press Ctrl + Enter.
Thus, you will provide invaluable benefit to the project and other readers.
The oral poetic creativity of the people is of great social value, consisting in its cognitive, ideological, educational and aesthetic values, which are inextricably linked.
The cognitive value is great because in his works not only are presented, but also explained the pictures of life, the events of history and the images of the heroes. No wonder A. M. Gorky wrote that the true history of the working people cannot be known without knowing their oral folk art.
The ideological and educational significance of folklore lies in the fact that its best works are inspired by lofty ideas, love for the motherland, for the land, the desire for goodness and peace.
The aesthetic significance of folklore works lies in the fact that they are a wonderful art of the word, they are distinguished by great poetic skill, which is reflected in their construction, and in the creation of images, and in language.
Russian writers and critics, highly appreciating the merits of folklore, saw in oral folk art a manifestation of the enormous talent and creative spirit of the Russian people. A. S. Pushkin and N. V. Gogol showed particular interest in him.
In Russian folklore, A. S. Pushkin saw a living spring of national identity, a model and an inexhaustible source for improving poetic skills. In this regard, Pushkin said: “The study of old songs, fairy tales, etc. is necessary for a perfect knowledge of the properties of the Russian language. »
Exploring the use of folklore by A. S. Pushkin in the story "The Captain's Daughter", we set ourselves the following goals:
1. Show the possibilities of using folklore to characterize the characters of the story "The Captain's Daughter".
2. Consider Pushkin's creative approach to using and creating new proverbs and sayings in his story.
3. Show Pushkin's mastery of work on epigraphs for the chapters of the story.
4. Show the cognitive, ideological, educational, aesthetic value of folklore in the story "The Captain's Daughter".
5. Raise interest among the members of the circle in search and research work, to work with popular scientific literature.
The employees of the Republican Scientific Library, as well as the employees of the regional library, provided us with great help in the selection of critical literature.
The book by M. N. Gilelson “A. S. Pushkin’s story “The Captain’s Daughter” provided us with invaluable help. Comments” (L., “Enlightenment”, 1977), as well as the publication of S. D. Krzhizhanovsky “The Art of the Epigraph (Pushkin)” (“Literary Studies”, 1989).
They also experienced certain difficulties. Even in the Republican Scientific Library, we did not find a collection of old songs to which M. N. Gilelson refers and limited ourselves to the links provided by the author of the comments.
"The Captain's Daughter" is a story about honor, duty, conscience, mercy and is an excellent material for the moral and aesthetic education of students, which we also tried to show.
The great poet's special interest in folklore is known, for he believes that "respect for the past is the feature that distinguishes education from savagery."
In this regard, to study the use of folklore by Pushkin, we chose the story "The Captain's Daughter".
In the story, A. S. Pushkin uses proverbs and sayings many times. We counted more than 40 of them. In addition, he uses old songs, a Kalmyk fairy tale and even an old joke. Juicy, well-aimed folk speech in the story is a detail of the characteristics of the characters.
Pyotr Grinev appears before us within the walls of his parental home with his family and political traditions, with his simple everyday activities. The hero talks with humor about himself, about his teachers, often using stable expressions in his speech: “We lived in perfect harmony”, “was dead drunk”, the saying: “Seven troubles, one answer”.
On the way, Grinev, who has not yet fledged, is unable to resist temptations and behaves “like a boy who has broken free.” At the hour of retribution for the loss, we see in him the manners of a formidable gentleman. “I am your master and you are my servant. My money. I lost them because I felt like it. And I advise you not to be clever and do what you are ordered to give money here, or I will drive you out of your way.
But Petrusha has the ethical experience of generations of his kind, which allows him to look at his actions from the side in the morning. “With a troubled conscience and silent remorse,” he left Simbirsk.
In the most dangerous situations for the life and honor of a nobleman and officer, the hero remembers his father's order to preserve honor. Here is the fortress in anticipation of Pugachev's attack. Grinev has not yet “sniffed gunpowder”, has not seen the formidable “impostor” and “robber”, he is worried about the fate of Marya Ivanovna, but he behaves with dignity: “Our duty is to defend the fortress until our last breath,” he says.
Here Pugachev took the fortress. Grinev - witness massacre with the main defenders of the fortress. The turn reached Grinev. He is preparing to "repeat the answer of the generous comrades," but thanks to the intervention of Savelich and Pugachev's life credo "Debt in payment is red," Grinev was pardoned. He is offered to kiss Pugachev's hand. We read with admiration: “I would prefer the most cruel execution to such vile humiliation.” In another episode we read: “A sense of duty triumphed in me over human weakness,” says Grinev, when he faced a moral choice: honor or betrayal, life or death. Grinev is sincere again: “My head is in your power: let me go - thank you, execute me - God will judge you; but I told you the truth." “My conscience was clear,” Grinev says of himself at the time of his arrest.
As you can see, honor, duty, conscience is above all for a young man.
Grinev is very young, he does not know life, people and has managed to make many mistakes. Real life turned out to be much more complicated. She appeared before Grinev not as a rolled, easy road, but, on the contrary, as a kind of off-road, in which everyone paves his own way: “I looked out of the wagon: everything was darkness and there was no whirlwind and darkness all around.” How to navigate in life? Where to pave the way? What to rely on? All these difficult questions arose before the hero of the story. Obviously, we must hold on to honor, duty, mercy.
And it is very important that Pugachev appears in the story for the first time precisely as an assistant, as a “counselor”. Let us recall the first remarks in a conversation with Pugachev:
“Hey, good man! - shouted the driver. Tell me, do you know where the road is?
The road is here; I’m standing on a solid strip, the roadman answered ”
“A good man” - this is the first time Pugachev is called in the story; the motive of a solid road and the ability to lead the hero to it will accompany him in the future. Pugachev will more than once turn out to be an assistant counselor, saving Grinev from the most seemingly hopeless situations.
Let us dwell on several meetings between Grinev and Pugachev, when the hero found himself in situations dangerous for noble honor and even life.
1. The episode of Grinev's public refusal to kiss the impostor's hand, which Pugachev simply masterfully resolves: “His honor, to know, is stupefied with joy. Pick him up."
2. The episode when Grinev and Pugachev stayed "eye to eye" after the military council. Pugachev remembered the moment when Grinev was to be executed after the capture of the Belogorsk fortress. “Are you afraid, admit it, when my fellows threw a rope around your neck? I, tea, the sky seemed like a sheepskin. And you would have swayed on the crossbar if it were not for your servant. You are deeply guilty before me, he continued, but I have mercy on you for your virtue.
Further, Pugachev invites Grinev to serve "with diligence." The sincere answer struck Pugachev. “So be it,” he said, hitting me on the shoulder: “Execute like this, execute like that, pardon like that. Go on all four sides and do what you want.
3. The episode of the rescue of Masha Mironova from the oppression of Shvabrin. “Pugachev’s eyes sparkled. “Which of my people dares to offend an orphan? he shouted. “If he were seven spans in the forehead, but he would not leave my court, He (Shvabrin) would know what it was like for me to be self-willed and offend the people.” Pugachev explains all his noble deeds in relation to Grinev as follows: “Debt in payment is red.”
We examined these episodes from the point of view of the speech characteristics of the hero.
Pugachev's speech is rich in proverbs and sayings that characterize him as an outstanding personality, a fair, merciful person, and a humane politician.
In creating the image of an impostor, Pushkin fundamentally renounces the pre-event generalizing characterization. Pugachev enters the story in a halo of mystery, even poetically. Grinev sees "something black" in the whirlwind of the snowstorm. “It must be either a wolf or a man,” the coachman tries to guess. The unknown from the blizzard, who led the lost Grinev onto the road, is certainly a mysterious person who has a strange, “thievish” conversation with the owner of the umeta. Here is this dialogue:
“- Ege,” he said, “again you are in our land! Where did God bring it from? My guide winked significantly and answered with a saying: “I flew into the garden, pecked hemp; grandmother threw a pebble - yes past. Well, what about yours?
Yes, ours! - answered the owner, continuing the allegorical conversation, - they began to call in the evening, but the priest did not order: the priest was visiting, the devils were in the churchyard.
Be quiet, uncle, - my tramp objected, - it will rain, there will be fungi; and there will be fungi, there will be a body. And now (here he blinked again) plug the ax behind your back: the forester walks
I did not understand anything then from this thieves' conversation.
In the book "The story of A. S. Pushkin" The Captain's Daughter ". Comments”, the author M. I. Gillelson explains the meaning of the word “thieves” in this way: “here: robbery, fraudulent, conditionally encrypted conversation of people persecuted by the government, outlaws, forced to keep secrets, people who are constantly afraid of being exposed.”
In any case, Pugachev's speech characteristic is based on the style of folklore, folk sayings, a joke, which gives his nature not only mystery, but also significance.
The first important conversation between Pugachev and Grinev takes place in the Belogorsk fortress after the end of the “war council”. Unexpectedly, Pugachev invites Grinev to serve him diligently. Why, we wonder, did Pugachev need Grinev? But he is sincere in his proposal. Pugachev's intention will become clear later. Grinev, gathering his courage, declares to Pugachev that he cannot recognize him as a sovereign, and warns: "whoever you are, you are joking a dangerous joke."
No, Pugachev was not indignant that Grinev did not believe him, but confidentially informed him of his plan. It is here that the bold, daring, courageous personality of a Russian person is revealed to us, ready to sacrifice his life for freedom. “Well, good. Isn't there good luck to the daring one? Didn't Grishka Otrepiev reign in the old days? Think what you want about me, and keep up with me. What do you care about anything else? Who is not a pop is a dad"
New meetings with Pugachev continue the "strange friendly" relationship between the nobleman and the rebel. Having received a letter from Masha through the constable, where she asks for help, Grinev turned to the governor of Orenburg for help. Having been refused, Grinev took a bold step: he turned to Pugachev. For censorship reasons, Pushkin abandoned this plan, and this episode appeared in the story in a different version: Grinev accidentally got into Pugachev's headquarters and asks for help. Is this daring step dangerous for Grinev? It's just that Grinev knew well the moral code of his "friend", who acted as a defender of the people.
However, this person is tragic. Talking about the bold plan to go to Moscow, Pugachev immediately admits: “My street is cramped; I have little will. My guys are smart. They are thieves. I must keep my ears open; at the first failure, they will redeem their neck with my head. It becomes clear why he loved the song "Don't make noise, mother green oak tree."
This song was borrowed by Pushkin from the collection of M. D. Chulkov in the publication of N. I. Novikov.
In one of the most important scenes of the story, at dinner in the Belogorsk fortress, in the evening, on the day of its capture, Grinev was present as a half-captive, half-guest. Pugachev and his comrades sing one of the most poetic and significant robber songs. In the comments to The Captain's Daughter, M. I. Gillelson writes: “Pushkin, through the mouth of Grinev, calls the song “Don't make a noise” not a robber, but a “burlatskaya”, i.e., composed in wide circles of the working peasantry employed on seasonal earnings, respectively the meaning of the word "burlak" in the 18th century and the definition of this song in many songbooks. This emphasizes the connection with the peasant masses, and not only with the Cossacks of Pugachev himself - not a robber, but the leader of the oppressed people.
Russian song has always been considered the best way to get to know the soul of the Russian people. Herzen also developed this idea: “All the poetic principles that wandered in the soul of the Russian people,” he wrote, “found their way out in unusually melodic songs. The Russian peasant only with songs and eased his suffering. Their words are just a complaint. There is a special category of Russian songs - robber songs. . Now it is no longer sad elegies, now a bold cry, in it is the violent joy of a person who finally feels free, now a threat, anger and challenge.
Pugachev knows that the uprising will end in defeat, but he does not consider the fight for freedom senseless. And not only because he hopes for a possible victory (“Perhaps he will succeed!”). He suffered through a different, high faith, and it is expressed in the Kalmyk fairy tale.
The episode with the Kalmyk fairy tale is the climax in revealing the image of Pugachev. The tale reveals the depth of Pugachev's spiritual renewal. Lively, large, sparkling eyes predicted Pugachev's ability to high feelings, "to wild inspiration."
The whole scene is built in such a way that the tale poetically conveys the secret meaning. real life Pugacheva. Everything known about him convinces us that this man of eagle nature cannot live according to the laws of a raven, he does not see the point in a long life if you need to eat carrion. There is another life - albeit short-lived, but free: "It's better to get drunk on living blood, and then what God will give!".
Pugachev is in the center of Pushkin's attention because in him, the spokesman for the hopes and aspirations of the people, the national character is clearly manifested. This also explains Pushkin's widespread use of songs, fairy tales, and proverbs to reveal Pugachev's views and beliefs.
Let's turn to the epigraphs of the story.
In the monograph “The Art of the Epigraph (Pushkin)”, S. Krzhizhanovsky writes: “Pushkin’s epigraphs can be divided into the following four categories: 1) quotations from the books of predecessors and teachers, most often Western, less often Russian. 2) excerpts from the works of like-minded contemporaries. 3) epigraphs of a folklore nature and 4) imaginary epigraphs invented by the author or selected by him from his own text. After analyzing the epigraphs to the chapters of the story "The Captain's Daughter", we were convinced that the author of these lines was right. This idea is developed and shown by V. Shklovsky.
Why are we interested in epigraphs? Because the first appearance of Pugachev is preceded by an epigraph - verses from an old recruit song. V. Shklovsky in the book “Energy of Delusion” writes about Pushkin’s epigraphs to “The Captain’s Daughter”: big people that they remain in these epigraphs, and only in them, in the epigraphs, there is a major display - if you want - of the Pugachev uprising; they magnify in our eyes what sometimes seems ordinary.
Now we can say - and this was the discovery of Pushkin. Epigraphs taken from different works, from different angles, from different points of view and illuminate the main event in different ways.
Indeed, without rereading the story, rereading, in their sequence, only the epigraphs to its chapters, the reader will be restored to the entire content of the work.
S. D. Krzhizhanovsky convinces us of this with his table.
Grinev's meeting with a country unknown to him, as well as with Pugachev, whom he gives with a glass of vodka and a hare coat.
Is it my side, my side.
Unfamiliar side!
Why didn't I come to you myself,
Is it not a good horse that brought me:
Brought me, good fellow,
Agility, vivacity valiant
And khmelinushka tavern.
old song
FORTRESS
Grinev's arrival at the fortress. The life of the inhabitants of the fort. Cannon at peace. The Mironov family, people of the old tradition.
We live in a fort
We eat bread and drink water;
And how fierce enemies
They will come to us for pies,
Let's give the guests a feast:
Let's load the cannon.
soldier song
Old people, my father.
undergrowth
Roman Grineva with Marya Ivanovna.
The refusal of his parents to marry.
Oh, you girl, red girl!
Do not go, girl, young married;
You ask, girl, father, mother.
Father, mother, clan-tribe;
Save up, girl, mind-reason,
Uma-reason, dowry.
Folk song.
If you find me better, forget me,
PUGACHEVSHINA
A figurative description of the Pugachev uprising, the heir to the former Old Russian uprisings.
You young guys, listen to what we old old people will say.
Attack. The death of the "service head" of Captain Mironov. Death of his wife. The then Russia from the height of the gallows (see further and options).
Head, my head,
Head serving!
Served my head
Exactly thirty years and three years.
Ah, the little head did not last
Neither self-interest, nor joy,
No matter how good a word
And not a high rank;
Only served little head
Two tall poles
Maple crossbar.
Another loop of silk.
folk song
As you can see, The Captain's Daughter goes from chapter to chapter, surrounded by epigraphs, which can be attributed, almost without exception, to the third, folklore group. All epigraphs of all 14 chapters of the story are completely proverbial, song.
A. S. Pushkin put an epigraph to the story: “Take care of honor from a young age.”
This maxim accurately conveys the theme of the work. The whole goal-setting of a hero who finds himself in situations that are extremely dangerous for his "noble honor" is to keep it inviolable. Grinev, a provincial landowner's son, has neither a special mind, nor talents, nor knowledge. His only asset is honor. It is not for nothing that Grinev Sr., seeing his son off to work, gives him an order: “Remember the proverb: take care of the dress again, and honor from youth.” The adventures of "honor" constitute the plot of the story.
But why does Pushkin put half of the proverb as an epigraph? Let us turn again to the monograph by S. Krzhizhanovsky. He gives two reasons:
“Firstly, the proverb-epigraph, leading us through the whole story, should slide, not lingering on individual chapters. And in the second chapter, a scene is given in which Grinev gives his new dress (highlighted by the author) - a hare coat - to Pugachev the counselor. In vain Savelich, assigned to the barchuk to "protect" his goods, tries to defend the sheepskin coat on the grounds that it is "almost brand new." Pushkin does not want in the first epigraph to anticipate this episode from a number of others that vary it. But he wants to contrast the second part of the proverb with the first part, to reveal the internal contradiction of the double formula. Indeed, the very honor (author's discharge), as it turns out in the development of the story, the ability to preserve it lies in the ability not to preserve the external (emphasis added by the author), when it comes to the internal (emphasis added by the author). If Grinev had not lost his money to Zurin and had not given Grinev Pugachev a sheepskin coat, if he had not given up external petty valuables, he would not have received friendship from Zurin and sympathy from Pugachev.
So, the first appearance of Pugachev in the story is preceded by an epigraph - a slightly modified quote from the recruit song “Mother gave birth to me”, published in the “New and Complete Collection of Russian Songs”
Her hero, reflecting on what led him to an “unfamiliar side”, answers “A good fellow, agility, bravery and a tavern’s hmelinushka led me.”
The epigrapher started talking about Pugachev as a folk hero, "a good fellow", with his "agility, courageous courage."
Epigraph to chapter III ch. "Fortress" is taken from a soldier's song, shows the life of the inhabitants of the fortress. Readiness to fight back "guests" is shown.
Two episodes from a folk song have been selected for chapter V "Love".
The first epigraph is the end of the song "Oh you Volga mother" from N. Novikov's collection "Collection of Russian Folk Songs". The second epigraph was taken by Pushkin from the song “My Heart Spoke, Spoke,” published in the same collection. The chapter tells about Grinev's romance with Masha Mironova. The words of the song are introduced into the dialogue between Masha and Grinev.
The second epigraph to the chapter "Love" in an altered form entered the text of the chapter as Masha's remark. Let's compare:
Folk song: If you find me better, you will forget me.
If you find me worse, you will remember.
Masha: If you find yourself a betrothed, if you love another - God be with you, Pyotr Andreevich; and I'm for both of you." Here is an example of self-denial in the name of love for another person!
Chapter VI with the expressive title "Pugachevshchina" is accompanied by a song epigraph:
"You young guys listen,
What are we old people going to say?
This song is historic. It gives a folk version of the heroic capture of Kazan. The meaning of the epigraph is to emphasize the people's memory of the most famous event in the history of Russia. That is why the event is called as the people called the uprising - "Pugachevshchina".
Chapter VII "Attack" begins with an epigraph taken from a folk song about the execution of the archery ataman "You are my head, my head is serving (New and complete collection). From this song, after the sentence “My little head served Exactly thirty years and three years,” Pushkin omitted the following two lines:
From the goodness of the horse do not get off,
From the stirrups, the legs do not get wet.
These lines are not cited by Pushkin because they spoke of a service that was not similar to that of Captain Mironov.
Chapter VIII "The Uninvited Guest" The epigraph is a proverb "An uninvited guest is worse than a Tatar." The chapter tells about the atrocities of the Pugachevites in the fortress, about the presence of Grinev at the strange “military council” and about the famous conversation with “eye to eye” between Pugachev and Grinev.
Thus, we have not only traced the use of folklore by Pushkin, but also showed skill in a creative approach to introducing it into the story.
Commitment to freedom and intolerance to slavery engendered in folk heroes the idea of a tragically beautiful life - in constant battles for freedom, about the readiness to challenge authority, in the rejection of a submissive and, perhaps, long-term existence.
The philosophy of Pugachev's life is this: the Russian rebellion may end in defeat, but it is not without meaning, since the truth of history is on the side of a free man, the truth is in the freedom-loving people, in their hatred of the oppressors.
So, in the song “Don't make noise, mother green oak tree”, and in the Kalmyk fairy tale, the thought of the tragedy of the life of folk heroes can be traced.
In his story, A. S. Pushkin also used a historical anecdote. True, it should be said that in the old days a joke was called "a short, concise story about a wonderful, funny incident." We read: “In the magazine “Children's Reading for the Heart and Mind” (Ch. 8, M., 1786), the following anecdote was printed: “Joseph II, the current Roman emperor, walking once in the evening as usual, saw a girl who was filled with tears, asked her what she was crying about, and found out that she was the daughter of a certain captain who was killed in the war, and that she was left without food with her mother, who, moreover, had long been ill.
"Why don't you ask the emperor for help?" - he asked.
The girl replied that she did not have a patron who would introduce the sovereign to their poverty.
I serve at court, - said the monarch, - and I can do it for you. Come only tomorrow to the palace and ask Lieutenant B.
At the appointed time, the girl arrived at the palace. As soon as she uttered the name B., then they took her to a room where she saw the officer who had spoken to her yesterday, and recognized her sovereign in him. She came beside herself with surprise and fear. But the emperor, taking her by the hand, said to her very affectionately: “Here are three hundred chervonets for your mother and another five hundred for your tenderness towards her and for your power of attorney to me. In addition, I will determine for you five hundred thalers of an annual pension.”
How did Pushkin use this anecdote?
Pushkin greatly enriched him.
Firstly, the Tsarskoye Selo Garden, which the poet loved very much, was chosen as the place of a chance meeting between Masha Mironova and a noble lady. In the poem "Tsarskoye Selo" memories draw "magic places", "always kind to my free laziness." In a number of poems, the poet describes the "sumptuous beauty" of the garden. Only good deeds should be done in this paradise.
Secondly, Pushkin did not say anything about how the Empress favored the daughter of Captain Mironov. We read the text: “I know that you are not rich,” she said, “but I am indebted to the daughter of Captain Mironov. Don't worry about the future. I undertake to arrange your condition. And further, Pushkin, either with irony or with bitterness, writes about what the Russian empress did, unlike the Roman emperor: “he (Peter) was released from prison at the end of 1774, by nominal command there is a village belonging to ten landowners. In one of the lord's outbuildings, a handwritten letter from Catherine II is shown behind a framed glass. It is written to the father of Pyotr Andreevich and contains an excuse for his son and praise for the mind and heart of Captain Mironov's daughter. Note: only.
Thirdly, this episode served as fertile material for the characterization of Catherine II. Pushkin exposes the hypocrisy of the Russian Empress. No doubt, in portraying the Empress, Pushkin felt constrained by political and censorship conditions. Pushkin called Catherine II "Tartuffe in a skirt and a crown." However, in the work for the press, he could not remain at the mercy of his feelings. Pushkin got out of the difficulty with dignity. Firstly, the image of Catherine is given by the perception of the 18th century nobleman Grinev, who, with all his sympathy for Pugachev as a person, remains a faithful subject of the Empress. Secondly, in his description of Catherine, Pushkin relied on an artistic document - a painting by Borovikovsky.
Pushkin exposes the hypocrisy of the Empress. The "Tartuffe" mask instantly falls off Catherine's face when she finds out that Masha is asking for Grinev. From the "charm of the inexplicable" appearance of a friendly smiling lady, there is not a trace left. She turned into an angry, domineering empress.
Pushkin himself creates popular expressions by analogy with proverbs and sayings. The words of Grinev Sr. “let him serve in the army, let him pull the strap, let him sniff gunpowder, let him be a soldier” became a saying and characterize Andrei Petrovich as a true citizen, a man of honor, the highest responsibility and duty. The phrase was included in the Phraseological Dictionary as an example of the phraseological unit "sniff gunpowder". The replicas of the characters, created by the author by analogy with proverbs and sayings, can also be considered examples of high morality. For example: “let him serve in the army, let him pull the strap, let him sniff gunpowder, let him be a soldier”; “serve faithfully to whom you swear; obey your superiors; do not chase after their affection; do not ask for service; don't give up on the service. » The last remark was created by analogy with the existing proverb: “Don’t get stuffed into business, and don’t fight back from business.” And again: “they are not given service, nor do you know any sense in it”; “my head is in your power: let me go - thank you, execute me - God will judge you”; “you yourself look into the grave, but you destroy others”; “I destroyed the enemy, not the guest; at a free crossroads and in a dark forest, not at home, sitting at the stove; with a flail and a butt, and not with a woman’s slander, ”etc.
Pyotr Grinev - the son of his time He cannot give a political assessment of the peasant uprising led by Emelyan Pugachev. This important event in the history of the Russian liberation movement was of great importance. For Grinev, a nobleman who swore allegiance to the Empress, the peasant uprising was just a "rebellion", "senseless and merciless." In the “Missed Chapter” we read: “God forbid to see a Russian rebellion - senseless and merciless. Those who are plotting impossible revolutions among us are either young and do not know our people, or hard-hearted people, to whom someone else's little head is a half, and their own neck is a penny. We think that this proverb was born under Pushkin’s pen by analogy with the content of the saying: “The horses are strangers, the collar is not your own, drive, don’t stand”, as well as the proverbs: “The neck is a penny, altyn is the head, three money is a leg, and a darling - a half. And the expression "God forbid to see a Russian rebellion - senseless and merciless" was fixed as a catch phrase.
Thus, we showed the cognitive, ideological, educational, aesthetic value of folklore in the story "The Captain's Daughter", followed Pushkin's masterful use of various genres of oral folk art in the story, and also plunged into the creative laboratory of the great poet. This study will help readers to better comprehend Pushkin's filigree work on the creation of his literary masterpieces.
We believe that “Folklore in A. S. Pushkin’s story “The Captain’s Daughter” will be of interest to both students and teachers when studying this story, in extracurricular work in order to instill interest in the work of the great poet, in the study of the Russian language. Moreover, the literature textbook, ed. V. Ya. Korovina focuses students on immersion in the creative laboratory of the studied writer.
Exploring the use of folklore by Pushkin in the story, we set ourselves the following goals:
Show the possibilities of using folklore to characterize the characters of the story.
Show Pushkin's creative approach to the use and creation of new proverbs and sayings.
Show Pushkin's skill in selecting epigraphs for the story and its chapters.
Show the cognitive, ideological, educational, aesthetic value of folklore in Pushkin's story
To educate the members of the circle of interest in search and research work, in working with popular science literature.
We have worked on more than ten monographs, various publications on the topic of our research. Of the entire bibliographic list, the book by M. N. Gilelson “The Tale “The Captain's Daughter” by Pushkin” provided us with the greatest help. Comments "(L.," Enlightenment, 1977), monograph by S. D. Krzhizhanovsky "The Art of the Epigraph (Pushkin)". She helped us not only in research work; it contains valuable advice for the right choice epigraph in general.
On the example of several episodes, we examined how the relationship between the officer, nobleman Grinev and the “imposter”, “robber”, defender of the interests of the common people Pugachev developed.
We stopped at the episodes in which Grinev finds himself in situations dangerous for noble honor and even life, and where the nobility of Pugachev is most clearly shown.
We analyzed the epigraphs to the chapters of the story, taken from old folk songs. They showed the masterful and creative approach of Pushkin to the use of old folk songs as epigraphs.
By analogy with the existing proverb “Don’t push yourself to work, and don’t fight back from work,” Pushkin created another proverb, significantly enriching it: “Serve faithfully to whom you swear allegiance; obey the bosses, do not chase after their caress; do not ask for service; do not excuse yourself from the service; and remember the proverb: take care of the dress again, and honor from youth. It can be seen that this is a man of the highest responsibility and a sense of duty to the empress and the homeland, and he did not think of giving his son any other instruction.
In the "Missed Chapter" we read Grinev's reflections on the Russian rebellion. For the nobleman Grinev, the historical event - the uprising led by Pugachev - is just “a revolt - senseless and merciless”, and he calls its organizers “hard-hearted people” “whose other head is a penny, and their own neck is a penny”. This saying, shortened and slightly altered by Pushkin, sounded like this: “a neck is a penny, an altyn is a head, a leg is three pieces of money, and a darling is a half”. There was also a saying similar in meaning: "The horses are strangers, the collar is not your own, drive, do not stop." The expression: "God forbid to see a Russian rebellion - senseless and merciless", created by Pushkin, was fixed as a saying (See "Flashes of thoughts from the steps of time").
In our research work, we also showed how Pushkin used an old anecdote about the Roman Emperor Joseph II. It served as fertile material for exposing the hypocrisy of the Russian Empress Catherine II, "Tartuffe in a skirt and a crown."
What conclusions did we come to?
1. Pushkin used folklore as one of important details characteristics of the characters in the story "The Captain's Daughter".
2. A. S. Pushkin masterfully used old folk, recruit, robber songs as epigraphs in such a way that they conveyed the content of the chapters of the story.
3. A. S. Pushkin not only used folklore in the story, but he himself created new proverbs and sayings that significantly enriched Russian speech, the Russian language.
4. On examples showing the development of "strange friendly" relations between a nobleman and a rebel, they showed the moral character of a true nobleman and a simple defender of the people.
5. Showed the cognitive, ideological, educational, aesthetic value of folklore in Pushkin's story.
In general, all this speaks of Pushkin's filigree work on the creation of the wonderful story "The Captain's Daughter".
We think that our modest study will be of interest to students and teachers when studying the story and in extracurricular activities with the chain of instilling interest in the work of the great poet.
The contribution of Alexander Sergeevich Pushkin to Russian literature is truly priceless. It is difficult to find another such writer or poet who would paint complete and truthful pictures of people's life with incredible accuracy, highlight great historical events, convey the life and customs of the Russian people. Pushkin possessed a special, unique poetic language, which gave even greater brightness to all his works - both poetry and prose. The outstanding merit of the great master of the word was the widespread use of folk style, folklore motifs, and the depiction of folk traditions in his works.
“Pushkin was the first Russian writer who drew attention to folk art and introduced it into literature without distorting ...” - wrote A. M. Gorky. Indeed, the work of A. S. Pushkin is closely connected with folklore, filled with motifs of folk poetry.
The writer highly valued folk art - songs, Russian fairy tales, proverbs, sayings. “What a luxury, what a sense, what is the use of every saying of ours. What a gold!” he admired. Therefore, Pushkin persistently urged prose writers and poets to study folklore, the language of folk poetry. He himself deeply studied the work of the Russian people and constantly relied on it in his works. In the story "The Captain's Daughter", every line, every image exudes unadorned folk tradition.
The national principle, nationality are included by the writer in the very method of artistic representation, are reflected in the characteristics of his characters, in their appearance, in the manner of speaking, in behavior. Following folk tales, Pushkin draws in the story of Emelyan Pugachev. Only in folk sources was the leader of the peasants perceived as a "father", an intercessor of the oppressed; the people called him the "red sun" and honored the memory of their hero. The world of Russian fairy tales is also widely reflected in the writer's work. In the story "The Captain's Daughter" A. S. Pushkin draws the image of Pugachev - the Russian hero, an image that has its roots in numerous folklore characters. Here, attention is drawn both to his feasts and to the proverbs widely used by Pugachev: “Debt in payment is red,” he says to Grinev. His speech itself is also folklore, completely built on folklore elements: “Isn’t it a sweetheart for a brave heart?
Other images of the story were also created on the basis of folk traditions: the serf Savelich, with his primordially folk speech (“Father Pyotr Andreich ... You are my light”; “Here is the sovereign godfather for you! Having given a frying pan from the fire ...”), or Masha Mironova , strictly observing all ancient traditions. Pushkin makes extensive use of the vocabulary and phrases of the folk colloquial speech, old sayings and linguistic originality of the cultural part of the Russian society of its time. His literary language distinguished by the richness of the dictionary, simplicity and intelligibility, clarity and accuracy. According to the fair remark of M. Gorky, "Pushkin was the first to show how to use the speech material of the people, how to process it."
But most of all, the popular atmosphere of the story is created by the folk songs widely used by the writer. An old song is harmoniously woven into Grinev's road thoughts:
Is it my side, side,
Unfamiliar side!
Why didn't I come to you myself,
Is it not a good horse that brought me ...
Folk songs are often sung in the environment of Pugachev himself. So, before the campaign, he asks his comrades to tighten his favorite song. And the old Burlatsky chant sounds in the assembly:
Don't make noise, mother green dubrovushka,
Don't bother me, good fellow, to think.
That in the morning I, a good fellow, go to interrogation
Before the formidable judge, the king himself ...
Most of the epigraphs to the chapters of the story are also proverbs, words and couplets from folk lyric or soldier songs, for example:
Take care of honor from a young age (proverb - an epigraph to the whole work);
Like our apple tree
There is no apex, no processes;
Like our princess
There is no father, no mother.
There is no one to equip her,
There is no one to bless her.
(wedding song - epigraph to the chapter "Orphan").
Describing the artistic style of A. S. Pushkin, Academician V. V. Vinogradov noted: “Pushkin sought to create a democratic national literary language based on the synthesis of the book culture of the literary word with lively Russian speech, with forms of folk poetic creativity ... In Pushkin’s language, everything the previous culture of the Russian artistic word not only reached its highest flowering, but also found a decisive transformation.
Thanks to the works of the great writer folk traditions, folk art, Russian folklore will live in Russian literature for a long time.
Marusova Irina Vladimirovna, Candidate of Philology, Associate Professor of the Department of Literature and Methods of its Teaching of Smolensk state university(Smolensk) [email protected]
The structure of a fairy tale in the novel by A.S. Pushkin "The Captain's Daughter"
Annotation. The article deals with the novel by A.S. Pushkin's "The Captain's Daughter" from the point of view of the correspondence of its plot to the structure of a fairy tale, highlighted by V.Ya. Propp. In the text of the novel, not only are the main functions of the fairy tale plot present, but their traditional sequence is largely preserved, and the images of the characters correlate with the folklore model. This allows us to speak about the deep connection of "The Captain's Daughter" with folk traditions, based on the data provided by the analysis of the structure of the text. Key words: A.S. Pushkin; "Captain's daughter"; V.Ya. Propp; fairy tale; plot; functions.
In the book V. Ya. Propp's "The Morphology of a Fairy Tale", first published in 1928, proposed an original classification of fairy tales based on their structure and morphological characteristics. V.Ya. Propp established that when comparing fairy tales, constant and variable quantities can be distinguished. So, in one fairy tale, the king gives the daredevil an eagle, which takes him to another kingdom. In another tale, the princess gives Ivan a ring, and the fellows from the ring take him to another kingdom. The names of the characters and their attributes are changing; their actions or functions remain unchanged. “Function is an act actor , defined in terms of its significance for the course of action. ”The number of functions known to a fairy tale is limited. V.Ya. Propp identifies 31 functions (although not all fairy tales provide all functions). Their sequence is also important: it is always the same. The essence of a function is determined by the meaning that it has in the course of action. So, if the snake kidnapped the princess, the hero went in search, defeated the snake and freed the princess, we face the hero's struggle with the antagonist pest. If the princess demands that the hero, who wants to get her hand, defeat the snake, we have a difficult task (the snake is not a pest and can be replaced by another creature without prejudice to the plot). Identical actions have different meanings depending on their place in the sequence of events. V.Ya. Propp created a kind of universal plot model, which, although in a modified form, is found not only in folklore, but also in literary works that reveal a genetic relationship with folklore. Many scientists spoke about the folklore basis of Pushkin's works. According to M.K. Azadovsky, Pushkin's perception of folklore went through a consistent path of development from "Ruslan and Lyudmila" through "Songs about Razin" and "Songs of the Western Slavs" to "Fairy Tales" and "The Captain's Daughter". The novel about the Pugachev uprising is "the completion of the path of holistic disclosure through folklore of the image of the Russian people and their creative power." A number of studies are devoted to the analysis of folklore genres included in the text of "The Captain's Daughter" Blagova, V. Schmid, G.E. Danilov consider the functions of the proverb in "The Captain's Daughter"; S.V. Alpatov notes the closeness of the narration to historical songs; D.N. Medrish explores the role of folklore-song subtext in understanding the most important end-to-end image of the novel of a hare sheepskin coat; N.N. Mikhailova shows the connection between "The Captain's Daughter" with the popular oratory, which was especially vividly embodied in the decrees of Pugachev and in the dialogue between Beloborodov and Khlopushi in the scene of Grinev's trial in Berdskaya Sloboda. Researchers examine the structural affinity of The Captain's Daughter and the folk fairy tale. One of the first to note this similarity was Shklovsky, who compares the relationship between Grinev and Pugachev with the relationship between the hero of a folk tale and a helper beast, and also identifies other parallels with the plot of a fairy tale (see). S. Sapozhkov examines the fabulous basis of Pugachev's character. Sim Ji Young believes that the fairy tale influenced not only the plot and the structure of the characters' images, but also the ideological content of The Captain's Daughter: the fairytale logic of the miraculous, combined with the documentary attitude of memoirs, makes it possible to embody the utopian ideal that elevates humanity into the principles of public policy , on a real historical background. These researchers limit themselves to analyzing individual episodes. The most detailed is the comparison of the plots of the Pushkin novel and the folk tale, carried out by S.Z. Agranovich and L.P. Rassovskaya. They single out two fairy-tale plots in "The Captain's Daughter". The first plot: the hero leaves home in search of magical objects or a bride; on the verge of his own and someone else's worlds he meets a donor or a magic helper; passes a number of tests; defeats the antagonist. The tale ends with marriage. This plot is connected with the events of Grinev's life from leaving the parental home to his arrest. The second plot: a wise wife comes to the ruler and rescues her husband, who has gone to prison. This plot correlates with Masha's journey to Tsarskoe Selo. However, here, too, there is no consistent identification of the structural elements of the fairy tale in the text of the novel; only fragments of the novel fall into the field of view of the researchers.
The purpose of our study is to carry out a detailed comparative analysis of the plot of the fairy tale and the text of The Captain's Daughter and to establish the degree of their structural similarity, highlighting the main functions and finding out how they are distributed among the characters. return. In The Captain's Daughter, such actions are encountered three times: Grinev leaves home for military service, Grinev goes to the Belogorsk fortress to free Masha from Shvabrin's hands, Masha goes to the capital to plead for Grinev. Each of these cases ends with the elimination of the initial situation of lack of something, shortage. Based on this, the text of the story can be divided into three sections, which, in accordance with the terminology of V.Ya. Proppa, let's call it moves, and find out how much each move structurally corresponds to a fairy tale. The first move includes chapters 19, describing the events that took place between the first acquaintance of the reader with Grinev and the departure of the hero from the Belogorsk fortress, captured by Pugachev. An important morphological element, with which begins the tale, the initial situation: the future hero is introduced by bringing his name or mentioning his position, or a more detailed description of his family members, previous life is given. The initial situation is portrayed as emphatically prosperous in order to make the contrast with subsequent events more vivid. "The Captain's Daughter" opens with a description of Grinev's life in the parental home. Mention is made of Grinev's father, a retired prime minister who lives in the village, and his wife Avdotya Vasilievna. Describes the birth of a son, from the mother's womb intended for military service, his upbringing in the serene atmosphere of the Grinevs' estate: he "lived a small man, chasing pigeons and playing leapfrog with the yard boys." The set is preceded by a picture of emphasized family well-being: “Once in the fall, my mother was making honey jam in the living room, and I, licking my lips, looked at the bubbling foam. Father at the window was reading the Court Calendar, which he received annually. " Proppom lack: one of the family members lacks something, he wants to have something. The shortage can be caused by the actions of the antagonist (the geese kidnap the boy) or introduced initially (the tsarevich has no wife). The tale uses various types of motivations to inform the hero of the lack. Here the reading of the Court calendar plays this role: Andrey Petrovich Grinev sees the names of his colleagues, thinks about military service and remembers that the time has come for his son to go to the regiment. The function of mediation follows, the hero is informed about trouble or shortage: “let him serve in the army, let him pull the strap, and sniff gunpowder, let there be a soldier, not chamaton.” on the search (hero-seeker), or being a victim of circumstances (the hero is the victim, who is kicked out of the house, is deceived into the forest, etc.). Grinev combines these two types: on the one hand, his father decisively sends him away from home, on the other, he eagerly goes to meet the pleasures of military service. leaving the parents bless Grinev: “Serve faithfully, to whom you swear allegiance; obey your superiors; do not chase after their affection; do not ask for service; do not excuse yourself from the service; and remember the proverb: take care of your dress again, and honor from your youth. " In a fairy tale, a parental order and its subsequent violation are one of the methods of setting an action, opening the way for the antagonist's sabotage. In "The Captain's Daughter" Grinev also violates his father's mandate, at least as far as behavior is concerned: arriving in Simbirsk, he loses a hundred rubles to Zurin, goes to a party with him, gets drunk for the first time in his life. The consequence of this should have been harm, and indeed, Grinev loses a significant amount of money. However, later acquaintance with Zurin will serve Grinev a good service: when Grinev and Masha, who left the Belogorsk fortress, end up with the government troops, only a meeting with Zurin frees them from the fate of prisoners, and subsequently ensures Grinev is treated with respect upon arrest. Violation of parental mandate turns in the end positive consequences which is uncharacteristic of a fairy tale. In addition, this function does not define the setting, as it should be. After the hero is sent from home, a new person appears in the fairy tale, named the donor. Usually it is accidentally encountered by the hero on the road. From him, the hero receives a magical remedy, which will subsequently help to eliminate the trouble. But this is preceded by the test of the hero, which he withstands or does not withstand, depending on this, receiving or not receiving a gift. This circle of events includes the following functions: the first function of the donor, the reaction of the hero, the receipt of a magic remedy. On the way to Orenburg, Grinev falls into a blizzard. In the steppe, he accidentally meets Pugachev, who takes him to the inn. Grinev wants to reward his savior, sees that he is freezing without warm clothes, and presents him with his rabbit sheepskin coat. The satisfied man promises: "I will never forget your favors." Before us is a chance meeting; one of the forms of testing a helpless state without asking for help; the hero's correct reaction is the service rendered; the promise of help by the man he met, although given in an indirect form, but subsequently fulfilled more than once. Thus, Pugachev enters the text in the role of a donor, but instead of a magic agent, he promises Grinev his services, combining the functions of a donor and an assistant. Following the acquisition of a magic agent or a magic assistant, the hero's spatial movement follows when he is delivered to the place of search. Pugachev fulfills this function, taking the lost Grinev to the spotlight. But he performs this action even before the hero and his reaction are tested, and besides, his ability to know is not the ultimate goal of Grinev's searches. The assistant fulfills its function, but its place in the sequence of events and its meaning for the plot differ from the characteristics of the corresponding function of the fairy tale. However, in Pushkin's novel, Grinev arrives at the Belogorsk fortress. Here, another version of the tie is realized, connected with the appearance of the antagonist. After the first days of his life in the fortress, Grinev finds himself in a situation similar to the original one: “... my life in the Belogorsk fortress has become for me not only bearable, but even pleasant. In the house of the commandant, I was received as a family ... I was promoted to an officer. The service did not burden me ... Calm reigned around our fortress. " Here we see the same emphasized well-being, peace and serenity. In the version of the plot, associated with the actions of the antagonist, the hero should be prohibited from taking any actions, the prohibition is violated, the antagonist sorts out any information, the release of information, trick and sabotage, as a result of which a situation of shortage arises. In "The Captain's Daughter" these functions have found a kind of embodiment in Grinev's relationship with Shvabrin. The antagonist appears twice in the tale. The first time he comes from the outside or is included in the initial situation, the second time he is found by the hero in order to eliminate the harm caused to him. Shvabrin first appears before us when, as an old-timer of the Belogorsk fortress, he comes to Grinev to get acquainted, that is, he is included in the initial situation. The functions of finding out and issuing information in their pure form are absent in the text. Grinev's song. Grinev addresses her to a certain Masha. This raises Shvabrin's question about his feelings for the daughter of the commandant Mironov. Grinev does not give a direct answer, but everything is already clear enough. The antagonist receives information and does not require confirmation of his guesses. Then there is a catch: the antagonist tries to deceive the victim in order to take possession of her property. Shvabrin, trying to neutralize his opponent, slanders Masha, presenting her as a frivolous woman. In a fairy tale, the victim of a pest succumbs to deception, thereby unwittingly contributing to the enemy. Grinev does not believe Shvabrin's words and calls him a liar. So the function of complicity turns into its opposite. The subsequent duel between Grinev and Shvabrin is tempting to interpret as a struggle between a hero and an antagonist. But this is hindered by the principle of determining a function by its consequences (see), to which V.Ya. Propp proposes to navigate difficult cases when assimilating the ways of performing functions. The struggle between the hero and the antagonist is followed by the victory of the hero and the elimination of the initial trouble or shortage. However, as a result of the duel, the hero is wounded, and the denunciation of Shvabrin, who informed Grinev's father about the duel, on the contrary, forms a new situation of shortage, depriving Grinev of the opportunity to marry Masha. From the point of view of the structure of a fairy tale, the duel should be considered in terms of functions related not to the culmination, but to the setting of the fairytale plot. As such an order, we can consider the ban on dueling both in the "military article" and in the unwritten code of honor of the Grineva father. The son violates this order by engaging in a duel. The sequence of functions has been changed compared to the fairy tale, but the analysis of their consequences allows us to define a duel as a dirty trick, and reporting a duel to parents as sabotage. Further, Pushkin tells about the capture of the Belogorsk fortress by Pugachev. These events have special meaning for Grinev. During the first move, a shortage situation occurs for the third time. For the first time, the shortage was eliminated by Grinev's arrival at the Belogorsk fortress, where he seemed to have found everything he was looking for. The deficiency associated with the actions of Shvabrin temporarily fades into the background. The line, begun by Grinev's meeting with Pugachev, continues, the development of the relationship between the hero and the assistant. Pugachev captures the fortress, and Grinev becomes a prisoner of the rebellious Cossacks. This is the original trouble. In this situation, Grinev meets with his assistant, who promised him eternal gratitude for the hare's sheepskin coat. However, the whole range of functions associated with the donor is repeated a second time. Pugachev again accidentally appears on life path Grineva: Savelich recognizes a recent leader in the leader of the troops. Pugachev leaves Grinev's life, and this is payment for Grinev's help. But later, the donor again subjects the hero to the test, asking him and offering to enter his service. Grinev again withstands the test with honor, giving truthful and sincere answers to questions. As a reward, Pugachev releases the officer and gives him a horse, a sheepskin coat, and even half a dollar. Before us is a meeting with the donor, testing the hero, the hero's reaction and helping him. We see that the first move of "The Captain's Daughter" contains a number of functions characteristic of the structure of a fairy tale, but their sequence in some cases is changed in accordance with the author's intention. At its core, the first move is a branched outset, in which both versions of the fabulous beginnings are presented. The first option is correlated with the initial shortage and the appearance of the donor and determines the further development of the relationship between Grinev and Pugachev, and the second is associated with the actions of the antagonist and precedes the events of the second move. 12). First, a shortage situation is presented: Grinev lives in Orenburg, and his beloved remained in the fortress captured by the rebels, in the complete power of Grinev's worst enemy. Shvabrin holds Masha captive and forces her to marry him. Thus, he performs the function of the antagonist who kidnapped the princess, sabotage. Soon, during a sortie, Grinev meets a sergeant from the Belogorsk fortress. He performs the function of mediation, notifies the hero of the trouble, passing him a letter from Masha, in which she asks Grinev for help. The general in Orenburg remains deaf to the officer's requests, and then Grinev decides to go alone to the rescue of his beloved. In the structure of the fairy tale, this corresponds to the function of an incipient counteraction. This is followed by the sending of the hero in search: Grinev, accompanied by Savelich, leaves Orenburg. When Grinev drives past the Berdskaya settlement, he is captured and escorted to Pugachev. This is how a new meeting of the hero and the donor takes place. To some extent, it is also accidental, since Grinev does not deliberately seek a meeting, although he does not exclude such a possibility. Grinev is brought to the "palace" of Pugachev, who, together with his advisers, interrogates the officer. Grinev convinces them of the purity of his intentions and asks for help. This is how the donor test is repeated for the third time. Grinev withstands it thanks to his courage and honesty, and Pugachev decides to accompany Grinev to the Belogorsk fortress. For a fairy tale, such a tripling of individual functions is characteristic. But in a fairy tale this is precisely the repetition of the same action, and the result follows only after the third time. For example, the ball leads Ivan first to one sister, then to another, and only the third sister shows him the way; the king assigns the hero three tasks and only after that gives him his daughter, etc. In "The Captain's Daughter" the next test of the donor leads each time to a new result: for the first time Pugachev leaves Grinev's life, in the second he lets him loose with gifts, in the third he helps to rescue his beloved from captivity. The whole range of functions of the donor-assistant is repeated three times, and this is one of the differences between Pushkin's plot and the fairy tale. Pugachev is taking Grinev to the Belogorsk fortress in his wagon. This is a function of spatial movement, characteristic of a magical helper. Spatial movement in a fairy tale is followed by a struggle between the hero and the antagonist. They engage in battle or use other forms of competition. In the novel, Shvabrin and Grinev enter into an argument: each of them tries to convince Pugachev of his innocence and accuse the opponent of lying. The next function, highlighted by Propp, is the hero's victory over the antagonist. Pugachev believes it is Grinev. Next is the elimination of trouble or shortage: Pugachev helps the lovers to reunite, and Grinev and Masha leave the Belogorsk fortress forever. The second move is structurally most consistent with the fairy tale, since all the main functions are present here and their sequence remains unchanged. The third one embraces 13 Chapter 14, which deals with Grinev's stay in Zurin's detachment, his arrest and subsequent release at the request of Masha Mironova. Chapter 13 describes the capture of Grinev and Masha by Zurin's detachment and their subsequent release. This is the end of the storyline, which originates from the first move and is associated with the relationship of the characters, in which Grinev acts as the hero who passed the test, and Zurin as the rewarding donor. Zurin accepts Grinev in the detachment, they are fighting with the troops of Pugachev. Then the order for the arrest of Grinev comes, and it is forwarded to the commission of inquiry. Grinev learns that he was arrested on the basis of Shvabrin's testimony. This act can be regarded as a new sabotage, creating a new situation of shortage. Further, Masha Mironova is at the center of the narrative. We are faced with a problem: how to assess her further actions to free Grinev? Do the functions of the hero pass on to her, which cannot be in a fairy tale? Or does she perform a different function? Masha's stay in the Grinevs' house is again accompanied by relative well-being: her parents accepted the girl as their own, fell in love with her and began to want their son to marry Captain Mironov's daughter. a letter comes from Prince B., already definitely reporting on the exile of Pyotr Andreevich to an eternal settlement in Siberia. The letter performs the function of mediation, informing about the misfortune. Masha decides to go to the capital and intercede for Grinev before the empress. She goes to Petersburg, accidentally meets the Empress on a walk, talks to her and convinces her of the innocence of her fiancé. The Empress fully acquits Grinev. Grinev and Masha get married and live happily ever after. The central event here is Masha's conversation with the empress. We have before us a case of assimilation of the ways of performing functions. You can define this conversation as a test of the donor or as a difficult task. Depending on this, the third move is an independent sequence of functions, different from the structure of a fairy tale, or a continuation of the second move, corresponding to the laws of a fairy tale. Let us again turn to the principle of defining a function by its consequences. If the result of completing a task is the receipt of a magic remedy (or a promise of service), we are faced with a test of the donor. If the result is the extraction of the desired character, we define a difficult task. In this case, the consequence of Masha's conversation with the empress is the release of Grinev, that is, the elimination of the initial trouble. This means that we are faced with a difficult task. Since problem solving is included in the circle of actions of the magic assistant, Masha performs exactly this function. In 1314 chapters, a number of important functions are missing: meeting with the donor, receiving a magic agent, fighting the antagonist. Their place is taken by functions characteristic of the continuation of a fairy tale: repeated sabotage, a difficult task solved by an assistant, restoration of the hero's good name, punishment of the enemy and marriage. All this allows us to consider the third move as a continuation of the second move, associated with a situation of repeated sabotage and having a special set of functions. Many functions are logically combined into separate circles that correspond to certain performers. Based on this, Propp singles out the main characters of the fairy tale. This is a hero, antagonist, false hero, princess, giver, helper, sender. The false hero is present only in some fairy tales, the functions of the donor and the helper can be combined in one character. In "The Captain's Daughter" the central characters are Grinev, Pugachev, Masha Mironova, Shvabrin. Among others, one can especially highlight Savelich, the faithful companion of Grinev, Zurin, the parents of Grinev and the Mironovs, the empress. Let us determine how they relate to the characters of the fairy tale, summarizing the above observations. The story unfolds around the fate of Grinev, conducted on his behalf. The following functions are associated with Grinev: sending on a quest, reacting to the donor's tests, fighting the antagonist and gaining victory, wedding. This circle of actions is repeated in general terms both in the first and in the second part and fully corresponds to the functions of the hero. Certain attributes are also characteristic of the fairy tale hero. This is a special form of the appearance of the hero, a miraculous birth, which is usually accompanied by a prophecy about the fate of the hero. It tells about the hero's rapid growth, about his superiority over the brothers. The Captain's Daughter tells about the circumstances of Grinev's birth: while still in the womb, he becomes a soldier of the Semyonovsky regiment. This can be considered a kind of prophecy about the fate of the hero. Grinev had nine siblings who died in infancy. The hero is somehow marked by fate, since one of all survived. Until the age of sixteen, Grinev does nothing and grows up undersized, just as a fairy-tale hero sometimes lies on the stove for thirty years and three years, but then he shows miracles of strength and ingenuity. And Grinev, having escaped from under the parental wing, after the first youthful antics, demonstrates discretion, honesty and courage, unusual for an inexperienced domestic pupil. He even owns a sword no worse than Shvabrin's brether! Researchers explain this turn of events in different ways. In our opinion, one of the reasons is the connection between the image of Grinev and the folklore model of the hero. No less vivid in the novel is the image of Pugachev, who embodied both the evil force that changed Grinev's life and mercy, which restored the well-being lost by the hero. This duality of the image of Pugachev allowed S.Z. Agranovich and L.P. Rassovskaya define him as an antagonist and a magical assistant rolled into one. Let's find out if this is so by considering the range of actions and attributes of the character. Pugachev appears in both the first and second parts by accident. His appearance in the first part seems to be especially fabulous, when he emerges from a snowstorm like a werewolf: “... a cart is not a cart, a tree is not a tree, but it seems that it is moving. It must be either a wolf or a man. " Note that in a fairy tale, the wolf is often the hero's assistant. Further, Pugachev tests Grinev, in the first part showing him his plight, in the second by asking questions. After the hero passes the test, Pugachev promises him his help, takes him out in the first part to the office, and in the second takes him to the Belogorsk fortress, helps to rescue the masha from Shvabrin's hands. Thus, the following functions are inherent in him: testing, supplying with a magical means (in the form of a promise of his services), the spatial movement of the hero, the elimination of the initial misfortune or shortage. These functions are characteristic of the giver and the magic assistant, who are united in the person of Pugachev. The way in which the accidental appearance is included in the narrative is also characteristic of the donor. From the point of view of the structure of the plot, Pugachev is not an antagonist, since he does not fulfill his functions. The role of the antagonist in the novel is played by Shvabrin. It is appropriately included in the action: at first it is a part of the initial situation, and later it is sought by Grinev. Shvabrin performs the following functions: scouting, trick, sabotage, fight with the hero. Defining the role of Shvabrin in the last chapters presents some difficulty. For the continuation of the fairy tale, associated with new sabotage, a special type of saboteur is characteristic, a false hero who deceives the prey of the hero and makes unfounded claims, posing as him. the prisoner, perhaps, wishing not only to take revenge on the opponent, but also to mitigate his fate. The tale ends with the punishment of the false hero. We do not know anything about Shvabrin's fate, but we can make an assumption based on the fate of the first prototype of Pushkin's rebellious nobleman Shvanvich, who died in exile without waiting for an amnesty (see). However, in the third part, Shvabrin appears only sporadically, which allows us to consider his main role as an antagonist. Masha Mironova also combines the functions of two characters: a princess and a magic assistant. In the second part, she is kidnapped from the hero by the antagonist and is the subject of his searches. Here Masha acts as a princess. The princess in fairy tales recognizes the real hero and denounces the offender. These functions include Masha's words in a conversation with Pugachev, when the girl rushes to Grinev and says that Shvabrin is lying and has never been her husband. In the third part, Masha performs other functions. She solves a difficult problem, convincing the empress to listen to her arguments in favor of Grinev, and eliminates the initial trouble with her intercession. These functions are specific to the magic assistant. After completing them, Masha returns to the role of the princess, marrying the hero. Grinev's parents play the role of senders: they send Grinev to the service and give him orders, Zurin acts as a magical assistant. The test for the hero is the payment of the card debt in response to the captain's need for money. The Empress appears only sporadically in the text. She asks Masha a difficult task, albeit in an indirect form, and also punishes the pest Shvabrin. These functions in a fairy tale are performed by the princess and her father, tsar. As for Savelich, he does not perform any functions that determine the development of an action according to fairy laws. The faithful servant accompanies Grinev everywhere and shares his fate in everything, being a kind of comic double of the hero (for more details see). Thus, the plot of "The Captain's Daughter" reveals a great structural affinity to a fairy tale. This is especially true for chapter 1012, where the logic of the miraculous rescue of the characters is supported at the plot level. We can talk about Pushkin's deep connection with folklore traditions, based on the data provided by the analysis of the structure of the text.
Azadovsky M.K. Pushkin and folklore // Azadovsky M.K.Literature and folklore: Essays and studies. L .: Fiction, 1938, pp. 564.3 Blagova G.F. Proverb in the story "The Captain's Daughter" // Russian speech. 1999. No. 6. P. 9397.4. Schmid V. Prose as poetry: Pushkin, Dostoevsky, Chekhov, avant-garde. Petersburg: INAPRESS, 1998, 352 p. 5. Danilova G.E. Proverbs and sayings in the composition of the works of A.S. Pushkin (based on the story "The Captain's Daughter") // Materials of the Pushkin Scientific Conference on March 12, 1995 Kiev, 1995. S. 4345.6. Alpatov S.V. Historical prose of Pushkin in the light of folklore genres // University Pushkin collection. Moscow: Moscow State University Publishing House, 1999, p. 8388.7. Medrish D.N. At the origins of Pushkin's sayings // Moscow Pushkinist: Annual collection. Issue VIII. Moscow: Heritage, 2000, p. 157168.8 Mikhailova N.N. Folk eloquence in "The Captain's Daughter" // Pushkin: Research and Materials. T. XIV. Leningrad: Nauka, 1991, p. 253257.9. Shklovsky V.B. Bowstring: About the dissimilarity of the similar. M .: Soviet writer, 1970. 376 p.10.Sapozhkov S. Folklore motives in "The Captain's Daughter" by A.S. Pushkin // Literature at school. 1986. No. 1. S. 6668.11. Sim Ji Yong. AS Pushkin's story "The Captain's Daughter": the movement of history and the development of characters: dis. … cand. philol. sciences. Saint Petersburg, 2003, 168 p. 12 Agranovich S.Z., Rassovskaya L.P. Myth, folklore, history in the tragedy "Boris Godunov" and in the prose of Alexander Pushkin. Samara: Publishing House "Samara University", 1992. 214 p.13. Pushkin A.S. The captain's daughter // Pushkin A.S. Complete works in 10 volumes. Vol. VI: Fiction. Moscow: Nauka, 1964.14. Oksman Yu.G. Pushkin in the work on the novel "The Captain's Daughter" // Pushkin A.S. Captain's daughter. L .: Science. Leningrad. separate, 1984. S. 145199. (Lit. monuments) .URL: http: //febweb.ru/feb/pushkin/texts/selected/kdo/kdo145.htm (date of access: 03/23/2014) 15. Marusova I.V. Two sketches about "The Captain's Daughter" by A.S. Pushkin // Philological seminar is 40 years old: collection of proceedings of the scientific conference. Smolensk: SmolSU Publishing House, 2008.Vol. 1.P. 139155.
Marusova Irina VladimirovnaPhD, Assistant professor of Literature and Methods of Teaching of Smolensk State University (Smolensk) The Structure of Fairy Tail in A.S. Pushkin's Novel "The Captain" s Daughter "Abstract. The article discusses A.S. Pushkin's novel" The Captain "s Daughter" in terms of its compliance with the plot structure of a fairy tale, established by V.Y. Propp. The main functions of fairy tale plot are not only found in the text of the novel, but their traditional sequence is largely retained and characters correlate with the folk model. This suggests that "The Captain's Daughter" is deeply connected with folk traditions on the basis of the analysis of the text structure. Key words: A.S. Pushkin; "The Captain" s Daughter "; V.Y. Propp; fairy tale; plot; function.
Folklore and fairy tale motifs in "The Captain's Daughter" by A.S. Pushkin
8th grade
The Captain's Daughter was created in 1836. This is the last work of the poet. In the story: the role of the people and a strong personality in history, the historical pattern and ethical justification of "rebellion", the problem of humanism, "mercy to the fallen" and much more. The question of the folklore principle is also being considered, through which Pushkin tried to convey to us nationality and historicism. These are epigraphs from folk songs, proverbs and sayings in the speech of heroes, the Kalmyk fairy tale about the eagle and the raven, the robbery song "Don't make noise, mother green oak tree" and others. There is hidden folklorism. Pugachev's speech, the presence of a folk poetic word in it. Folklore intonations are distinctly heard. This is how people's national thinking is expressed through characteristics syntactic, rhythmic-intonational and figurative structure of folk speech. The poet does not characterize the folk language, but gives folklore-fabulous flavor to the folk-colloquial style. This is facilitated by the folk poetic vocabulary: "the red maiden, the orphan." Proverbial folklore: "seven span in the forehead, step on all four sides." The intonation of royal intercession, wise generosity, characteristic of the legendary heroic pathos of epics and magical heroic tales. According to folk tradition, a robber is not a villain, but an avenger who punishes unrighteous people, a protector of orphans. A similar semantic load is received in a folk tale by a magical assistant. The poet met the legends about Pugachev on his journey through the Orenburg land. In The Captain's Daughter, everything happens like in a fairy tale, in a strange, unusual way. "Strange acquaintance, strange friendship" - this is not the whole list with the word "strange". The fairy tale could suggest to Pushkin not only the external compositional forms of narration, but also the type of hero himself. Grinev keeps "family records", going on the road, receives a parental order, looking for his bride. It is the refraction of the social through the prism of the personal, private interests of the hero that determines the scope of the depiction of reality in a folk fairy tale. The tale for the first time revealed to literature the value of individual human destiny. These are ordinary people subject to persecution, worldly troubles. Masha, in the view of Pugachev, is not the daughter of the captain of government troops, but a kind of orphan. And Pugachev, like a fairy-tale assistant, goes to rescue Masha, Grinev's bride. Thus, an unofficial, human contact is established between Pugachev and Grinev in the story, on which their “strange” friendship is based. The fairy-tale situation gives the characters the opportunity at certain moments to deviate from the natural logic of their social behavior, to act contrary to the laws of their social environment, referring to the norms of universal ethics. But the fabulous idyll collapses as soon as Pugachev finds out that Masha is the daughter of Mironov, who was executed by him. The "fiery eyes" of Pugachev, directed at Grinev, speak of a sharp change in mood. The harsh logic of historical reality is ready to put an end to the "strange agreement" between the heroes, but then the true generosity of the "people's tsar" manifested itself. He turned out to be able to rise above the historical interests of the camp to which he himself belongs, precisely in a royal way, contrary to any "state" logic, giving Grinev and Masha the joy of salvation and human happiness. The relationship between Grinev and Pugachev is not tied up in the heat of military battles, where the socio-historical essence of each person is exposed to the limit, but at an accidental crossroads, in a chance meeting (hence the role of chance in the fate of a folk fairy tale hero is so great), where the official ethics of behavior recedes to second plan. The first is human contact between people. "Hare sheepskin coat" laid the foundation for a "strange" relationship. The author sees the inevitability of the confrontation between the masters and the people, naturally leading to a riot, to which the nobleman Grinev gives an expressive assessment - "senseless and merciless." Pushkin interprets the character of Pugachev as a merciful, generous tsar, not only relying on the fabulously legendary basis of folk poetic thinking, but also on real historical and documentary facts. The poet carefully studied the entire "archive" of the Pugachev uprising. Pugachev's "manifestos" attracted his attention. Folk-poetic fairy-tale creativity was necessary for Pushkin in order to better understand the warehouse of the national character of the people, the image of their historical thinking. Fairy tales for Pushkin (at the time of the formation of the story, Pushkin intensively created his own fairy tale cycle) were the creative laboratory in which he, comprehending the laws of folk fairy-tale thinking, prepared future forms of literary narration, striving to learn to speak like a fairy tale, but not in a fairy tale. Pushkin achieved this ability in The Captain's Daughter. Linguistic coincidences with fairy tales are proof that the folk-tale epic worldview, represented by the situation of a noble assistant, served as a common basis for both the poet’s own fairy-tale creativity and the plot-shaped fabric of a historical story. There is a common folk-tale interpretation of images. Pushkin emphasizes a common feature, which he considered the most important feature of the people's national character. Both the old man and Pugachev are simple-hearted, their actions are based on a natural heart desire that conflicts with logic common sense, officially accepted norms and rules of the story. In the 1830s, Pushkin strove for that innocence, the infantile simplicity of perceiving reality, which is characteristic of the people's view of the world. Pushkin saw this simplicity in a folk fairy tale. In The Captain's Daughter, Pushkin's simple-hearted, unofficial view of things, supported by reminiscences of the fairy-tale style, is dialectically connected with the height of his own historical thinking.
Loading...