Composition: Folklore motifs and elements in the plot, style and language of Pushkin's story “The Captain's Daughter. Folklore motifs and elements in the plot, style and language of the story "The Captain's Daughter

FOLKLORE-FAIRY-TALE MOTIVES IN A.S. PUSHKIN "THE CAPTAIN'S DAUGHTER"

Ivanovskaya Julia

class 9 "B", MBOU "Secondary School No. 37", Kemerovo

Bondareva Vera Gennadievna

scientific adviser, teacher of Russian language and literature, MBOU "Secondary School No. 37", Kemerovo.

"The Captain's Daughter" - the pinnacle of Pushkin's artistic prose - was written in the thirties of the last century, in the era of the gloomy reign of Nicholas, a quarter of a century before the abolition of serfdom. One has only to mentally imagine the all-encompassing changes that have taken place over the past century and a half, as the “tremendous distance” that separates us, contemporaries of the space age, from Pushkin’s unhurried era becomes tangible.

The more rapid social and scientific progress is every year, the more difficult it becomes to fully comprehend “the affairs of bygone days, the legends of the deep antiquity” of the time of the Pugachev uprising - after all, between the formidable peasant war of 1773-1775 and our present two centuries of turbulent historical events have passed. Pushkin found some eyewitnesses of the Pugachev movement still alive, and the entire social structure of society remained essentially the same under him. Various administrative reforms, most of which fall on the reign of Alexander I, did not change the social essence of serfdom in tsarist Russia. As before, the political system of the country, deprived of civil rights, remained unchanged. No wonder the ghost of a new Pugachevism hovered over Nikolaev Russia. If The Captain's Daughter had begun to be studied in those years, then a detailed commentary would hardly have been needed: it was replaced by life itself, repeating in its main features the social conflicts of the Pugachev movement.

Pushkin did not abuse archaisms. However, in the text of his historical story we meet many obsolete words. In addition, some words and expressions, without passing into the category of archaisms, changed their meaning, acquired other semantic shades. Now many pages of The Captain's Daughter are difficult to understand without a detailed socio-historical, everyday, lexical and literary commentary.

Therefore, it is necessary not only to carefully read Pushkin's artistic prose for aesthetic pleasure, but also to understand the historical processes of an irretrievably bygone time. When you read a work, interest in questions of history, in the infinitely diverse and complex relationships between people, intensifies.

The Captain's Daughter, created in 1836, became a kind of artistic testament of Pushkin: it turned out to be the last work of the poet published during his lifetime. Many of the ideological and creative searches of Pushkin's thought of the 1830s find their completion and concentrated expression in the story.

Among the problematics of the work, which reflects the most important aspects of Pushkin's realistic aesthetics, the question of the role and place of the folklore element in it is of particular importance, since it was through folklore that Pushkin tried at that time to dialectically synthesize such important categories for him as nationality and historicism.

Many different works have been written about the fact that folklore in the artistic system of The Captain's Daughter acts as its most important ideological and style-forming factor.

It is rightly assumed that the content of the folklore world of the story is not limited to those folk - poetic realities that are directly present in the text - have with I mean epigraphs from folk songs, proverbs and sayings in the speech of heroes, the Kalmyk fairy tale about the eagle and the raven, the robber song “Don’t make noise, mother green oak tree ...”, etc. All these are the so-called facts of explicit, “pure” folklore h ma, without taking into account which it is impossible to understand either the meaning of the author's position in The Captain's Daughter or the essence of many of her images. This aspect of the folklorism of Pushkin's story has been thoroughly and deeply examined in Pushkin's science.

However, in The Captain's Daughter there are facts of internal, "hidden" folklorism, which reveal themselves not only in the actual folklore realities, but also in the very style of narration, its plot and compositional techniques, the way the characters think - and - ultimately - the author's historical worldview. , the author's vision of the world. In The Captain's Daughter, folklore images and motifs, obviously, must be perceived not only as components of the work, but as a folk poetic element that has permeated the entire text.

Indeed, "The Captain's Daughter" is all permeated with the folk-figurative element of artistic creativity. To help to feel this element, to determine its significance and place in the system of historicism of Pushkin's story is an important task, the solution of which would bring us closer to understanding, to one degree or another, the role of folklore in Pushkin's realistic method.

Let's take a closer look at Pugachev's speech. Already in the very rhythmic-stylistic drawing of his phrases, folk-poetic words are clearly heard:

“Come out, red maiden; I give you freedom. I am the sovereign."

“Which of my people dares to offend an orphan? If he were seven spans in his forehead, he would not leave my judgment.

· “Execute so execute, pardon so pardon. Go on all four sides and do what you want.

Everywhere you can clearly hear folklore intonations, bearing an epic-fabulous, legendary connotation. Moreover, this is achieved by Pushkin not due to the methods of external stylization, but as a result of the desire to express the deep qualities of folk national thinking through the characteristic features of the syntactic, rhythmic-intonational and figurative structure of folk speech. A.S. Pushkin gives folklore and fairy tale flavor to the folk colloquial style. This is facilitated by folk poetic vocabulary (“red maiden”, “orphan”), proverbial phraseological units (“seven spans in the forehead”, “go ... on all four sides”), as well as 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. With legends about Pugachev as the people's intercessor tsar A.S. Pushkin met in many variations during his travels in the Orenburg region.

In The Captain's Daughter, everything really happens, as in a fairy tale, in a strange, unusual way. “Strange acquaintance”, “strange friendship”, “strange incidents”, “strange combination of circumstances” - this is a far from complete list of formulas with the word “strange” with which Grinev tries to characterize the peculiarity of his relationship with the “people's sovereign”. The fairy tale could "suggest" to Pushkin not only the external, compositional forms of narration, but also the very type of hero.

Grinev keeps “family notes”, setting off on the road, receives a parental order (the proverbial form also speaks of his folk poetic basis: “Take care of honor from a young age”), he finds himself in a whirlwind of historical uprising, ultimately prompted by personal reasons: Grinev is looking for his bride ―daughter of the executed captain Mironov, Masha.

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 the value of a separate human destiny to the "big" literature. A person is least of all interested in a fairy tale by the official, state side of his activity, the heroes attract a fairy tale primarily as ordinary people subject to persecution, everyday troubles, and vicissitudes of fate. Masha, in Pugachev's view (which Grinev prompted him to), is not the daughter of a captain in government troops, but a kind of innocently persecuted stepdaughter, an "orphan" who is "offended." And Pugachev, like a fairy-tale assistant, goes to "rescue" the bride whom Grinev is "looking for". 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 fairy-tale idyll immediately collapses as soon as the “orphan” whom Pugachev “saved” actually turns out to be the daughter of Mironov, who was executed by him. The sharp change in Pugachev's mood is eloquently indicated by his "fiery eyes" fixed on Grinev. The harsh logic of historical reality is ready to put an end to the "strange agreement" between the heroes, but it was then that 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, truly royally, contrary to any “state” logic, giving Grinev and Masha the joy of salvation and human happiness: “Execute, execute like this, favor, favor: such is my custom. Take your beauty; take her wherever you want, and God give you love and advice!”

Thus, Pugachev ultimately completes the role he has taken on as a fairy-tale savior of the “innocently persecuted” “orphan”, heeding Grinev’s request: “Finish as you started: let me go with the poor orphan, where God will show us the way.”

Folk-fabulous in its origins, the recognition of the ethical value of a separate human destiny, compassion for its "small" concerns and needs, the concept of an emphatically personal - not public - success of a person - all this, rooted in the folk worldview of a fairy tale, gives life to a "strange friendship between Pugachev and Grinev in Pushkin's story. Their relationship 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-tale hero), where the official ethics of behavior recede into the background. ; purely human, direct ties between people are of paramount importance here. The “hare sheepskin coat” marked the beginning of those “strange” relationships between the nobleman and Pugachev, when they were able to abandon the social stereotype of thinking inherent in everyone, to rise above the cruel laws of their social circle.

At the same time, Pushkin does not go against historical and artistic truth. The “strange agreement” reached between Pugachev and Grinev is not a consequence of the arbitrary constructions of the author of the story; it is strange because it does not eliminate the opposition of social camps, which is realized and artistically embodied by Pushkin. The author of The Captain's Daughter clearly sees the inevitability of confrontation between the masters and the people, naturally leading to a riot, to which the nobleman Grinev gives an expressive assessment - "senseless and merciless."

It is important to emphasize that in interpreting the character of Pugachev as a merciful, generous tsar, Pushkin relied not only on the fabulously legendary basis of folk poetic thinking, but also on real historical and documentary facts. As you know, the poet carefully studied the entire "archive" of the "headquarters" of the Pugachev uprising. Among numerous documents, Pugachev's so-called "manifestos" undoubtedly attracted his attention. The title title of one of them contains a significant autocharacteristic of the “peasant tsar”, in which he refers to himself as “the owner of the Russian army and the great sovereign, and all the smaller and larger sackers and the executioner merciful with opponents, the smaller admirer, the meager enricher” .

The lines about the "executor who is merciful to opponents" and the "meager enricher" could, no doubt, fall into the artistic memory of the author of The Captain's Daughter. Obviously, his sharp gaze did not hide the fact that in formulas similar to the above, Pugachev’s conscious desire to “submit” his personality as a “muzhik tsar” was clearly manifested in a form closest and understandable to the Cossack masses, that is, painted in tones folk-poetic imagery, basically fabulously legendary. Indeed, according to the legend of imposture, Pugachev was akin to that smaller peasant son who, having fabulously overcome all obstacles, was transformed into a wonderfully beautiful image of a tsar-father, an intercessor tsar, understandable and close to the people. In the minds of the Cossacks, Pugachev, as it were, came out of a fairy tale and continued this fairy tale with his activities. The tale ends with the hero's accession to the royal throne. Pugachev the tsar, by the mere fact of his real existence, was obliged to justify the aspirations of the broad masses of the people, who wanted to see the concrete practical implementation of their fabulous ideals. So the legend of the imposture of the “peasant tsar” organically absorbed the fabulous content, forming in such unity the element of the historical worldview of the people, which was felt by Pushkin both in the historical legends about Pugachev and in the documentary and biographical circumstances of his life.

Folk poetic and, in particular, fairy-tale creativity was necessary for Pushkin in order to better understand the warehouse of the national character of the people, the image of his historical thinking. The poet sought to embody the features of this character in the last period of his work not only in the images he specifically created, but also in the integral artistic world of his works.

At the time of the formation of the concept of The Captain's Daughter, as is known, there was a period of intensive work by Pushkin on the creation of his own fairy tale cycle. Fairy tales for Pushkin were that creative laboratory in which he, comprehending the laws of folk fairy-tale thinking, prepared his future forms of literary narration, striving, by his own admission, to learn to speak like a fairy tale, but not a fairy tale. Pushkin fully achieved this ability in The Captain's Daughter, which is clearly evidenced by the clear textual echo of the narrative style of the story with the style of Pushkin's fairy tales. Take, for example, The Tale of the Fisherman and the Fish. You can compare:

1. "The Tale of the Fisherman and the Fish":

Rybka: “Let me go, old man, into the sea! // Dear for myself, I will give a ransom p: // I will pay off whatever you want.

Old man: “God be with you, goldfish! // I don't need your ransom; / / Go to yourself in the blue sea, / Walk there for yourself in the open.

2. "The Captain's Daughter" (chapter "Attack"):

Savelich: “Dear father! .. What do you care about the death of a master’s child? Let him go; you will be ransomed for it."

Pugachev: “Execute, so execute, pardon, so pardon. Go on all four sides and do what you want.

Thus, obvious coincidences are one more proof that the folk-fabulous epic worldview, represented by the situation of a grateful helper, served as a common basis both for the poet’s own fairy-tale creativity and for the plot-figurative fabric of a historical 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. The poet writes about the “simplicity of a genius” (such, in his opinion, the genius of Mozart), about the “monastic simplicity” of Karamzin’s historical reflections, about the “gaiety” of Gogol’s stories, “simple-minded and at the same time crafty. Pushkin directly points out that in the character of Pimen he reflected the way of thinking of the ancient chronicler: "simplicity, touching meekness, something infantile and at the same time wise ...".

Pushkin also saw this simplicity, the living immediacy of a look at the phenomena of reality in a folk fairy tale. In the prose of the 1830s, the writer's attempts to create a special genre and style community are clearly visible. A significant place in this community was given to the folklore-fairy stylistic basis. It is she, this basis, that is felt in the language, the plot of Belkin's Tales, compositionally united by the image of an ingenuous narrator.

The Captain's Daughter is a qualitatively new stage in Pushkin's synthesis of the literary and folklore-fairytale basis. A simple-hearted, unofficial view of things, supported by direct reminiscences of the fairy-tale style, is here dialectically connected by Pushkin with the height of his own historical thinking. Obviously, it is far from accidental that in the list of articles outlined by Pushkin for the Sovremennik magazine, the names “About Pugachev” and “Tales” stand side by side.

This is one of the aspects of the "hidden", internal folklorism of The Captain's Daughter.

Bibliography:

1. Vsevolod Voevodin. The story of Pushkin. ― L., 1966.
2. Tale of prose / Shklovsky V.B. ― M.: T. 2. ― Moscow: fiction, 1966. ― with. 463
3. Pushkin A.S. selected works / Comp. ON THE. Chechulin ― SPB., 1968
4. Pushkin A.S. Complete Works Volume Four ― Krasnoyarsk: "Univers", PSK "Soyuz", 1999.
5. Bright name Pushkin / Comp., comment. V.V. Kunin. ― M.: True; 1998. ― with. 606
6. Sinyavsky A. (Abram Terts) Journey to the Black River. ― M., 2002
7. Smolnikov I.F. Pushkin's journey to the Orenburg region / Smolnikov I.F. ― M.: Thought, 1991. ― with. 271
8. Social protest in folk poetry. Russian folklore / Ed. A.A. Gorelov ― L .: "Science", 1975.
9. The fate of Pushkin: a novel ― research / B. Bursov. ― St. Petersburg: Sov. writer, 1986. ― with. 512
10. Reading Pushkin / Vs. Christmas ― St. Petersburg: Det. Literature, 1962. ― with. 188

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 vocabulary and turns of folk colloquial speech, old sayings and linguistic originality of the cultural part of the Russian society of his time. His literary language is 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.

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Folklore motifs and elements in the plot, style and language of A.S. Pushkin "The Captain's Daughter"

Researchers have repeatedly noted the influence of oral folk art on the plot, style and language of the story "The Captain's Daughter" by A.S. Pushkin.

Folklore motifs can be traced, firstly, at the plot-compositional level. Critics have repeatedly noted that the composition of The Captain's Daughter corresponds to a fairy-tale model: the hero's journey from his home, a difficult test, the red maiden's rescue, the return home. Like a fairy-tale hero, Pyotr Grinev leaves his home. His service in the Belogorsk fortress, the clash with the Pugachevites, becomes a real test for him. Meetings with Pugachev become a test of his courage and honor. Grinev saves Masha from imprisonment, behaves courageously and nobly at the trial. In the finale, he happily returns home.

Two compositional inserts in the story - the song "Don't make noise, mother green oak tree" and Pugachev's fairy tale about the eagle and the raven - are works of folklore.

The epigraph to the work is a Russian folk proverb - "Take care of honor from a young age." Andrei Petrovich Grinev gives such a covenant to his son, and the same motive develops in the plot situations of the story. So, after the capture of the Belogorsk fortress, Pugachev saved the hero from the death penalty. However, Grinev cannot recognize him as a sovereign. “I was again taken to the impostor and put on my knees before him. Pugachev held out his sinewy hand to me. Kiss the hand, kiss the hand! they were talking about me. But I would prefer the most cruel execution to such vile humiliation,” the hero recalls. Grinev refuses to serve the impostor: he is a nobleman who swore allegiance to the empress.

Seven epigraphs to the chapters are lines from Russian folk songs, three epigraphs are Russian proverbs. Vasilisa Yegorovna's mourning for her husband reminds us of the people's lamentations: “You are my light, Ivan Kuzmich, a daring soldier's little head! Neither Prussian bayonets nor Turkish bullets touched you; not in a fair fight did you lay down your stomach, but perished from a runaway convict!

The motives of oral folk art can be traced directly in some episodes. So, Pugachev is described by the author in accordance with the folklore tradition. He appears in the story in the traditions of folk heroes, spiritually powerful, courageous, intelligent, generous. He takes Grinev under his protection, punishes Shvabrin, who dared to offend the “orphan” Masha Mironova. As A.I. Revyakin, “Pushkin portrays Pugachev in accordance with the folk poetic ideal of a good, just tsar. The peasant tsar, as if in a fairy tale, enters Marya Ivanovna, imprisoned in the room, thin, pale, in a torn dress, eating only bread and water, and affectionately says to her: “Come out, fair maiden, I will give you freedom. I am a sovereign." Pugachev's deep faith in people is contrasted with the petty suspicion of his opponents. Of course, this image is idealized and poeticized by A.S. Pushkin in the story.

In Pugachev’s speech, there are many proverbs and sayings: “Debt in payment is red”, “Honor and place”, “Morning is wiser than evening”, “Execute so execute, pardon so pardon”. He loves folk songs. The originality of the personality of the peasant leader is manifested in the inspiration to which he tells Grinev a Kalmyk folk tale about an eagle and a raven.

Thus, folklore in the creative mind of the poet was closely connected with nationality and historicism. “The folklore element of The Captain's Daughter clarifies the true essence of the story ... At the same time, Pushkin's understanding of folklore as the main artistic means of revealing the people is clearly defined here. "The Captain's Daughter" is the completion of the path begun in "Fairy Tales" - the path of a holistic disclosure through folklore of the image of the Russian people and their creative power. From "Ruslan and Lyudmila" - through "Songs about Razin" and "Songs of the Western Slavs" - to "Tales" and "The Captain's Daughter" was the path of Pushkin's folklorism, "wrote M.K. Azadovsky.

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