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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” separating us, contemporaries of the space age, from Pushkin’s unhurried era becomes tangible.
The faster 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 principle 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 attitude , 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 the 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 mandate (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 fabulous 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 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 meaningful auto-characteristic 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, i.e., 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-priest, 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 very 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. Thus, 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-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 yet another proof that the folk-fabulous epic worldview, represented by the situation of a grateful assistant, served as a common basis for both 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. The simple-hearted, unofficial view of things, reinforced 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:
Marusova Irina Vladimirovna, Candidate of Philological Sciences, Associate Professor of the Department of Literature and Methods of its Teaching, Smolensk State University (Smolensk) [email protected]
The structure of a fairy tale in A.S. Pushkin "The Captain's Daughter"
Annotation. The article deals with the novel by A.S. Pushkin "The Captain's Daughter" in terms of the correspondence of its plot to the structure of a fairy tale, identified by V.Ya. Propp. The text of the novel not only contains the main functions of a fairy tale plot, but to a large extent retains their traditional sequence, and the images of the characters correlate with the folklore model. This allows us to speak about the deep connection between The Captain's Daughter and folklore traditions, based on the data provided by the analysis of the text structure. Key words: A.S. Pushkin; "Captain's daughter"; V.Ya. Propp; fairy tale; plot; functions.
In the book V.Ya. Propp's Morphology of a Fairy Tale, first published in 1928, proposed an original classification of fairy tales based on their structure and morphological features. V.Ya. Propp established that when comparing fairy tales, constant and variable values can be distinguished. So, in one fairy tale, the king gives the eagle 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 actors, their attributes change; their actions or functions remain unchanged. “A function is understood as an act of a character, 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 also matters: it is always the same. The essence of a function is defined by the value 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 have before us the struggle of the hero with the antagonist pest. If the princess demands that the hero, who wants to get her hand, defeat the snake, we are faced with 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 "Tales" and "The Captain's Daughter". The novel about the Pugachev uprising is "the completion of the path of holistic disclosure through the folklore of the image of the Russian people and its creative power." Blagova, V Schmid, G.E. Danilova consider the functions of the proverb in The Captain's Daughter; S.V. Alpatov notes the closeness of the narrative to historical songs; D.N. Medrish explores the role of folklore-song subtext in understanding the most important cross-cutting image of the novel hare sheepskin coat; N.N. Mikhailova shows the connection between The Captain's Daughter and the popular oratorical word, which is especially vividly embodied in the decrees of Pugachev and in the dialogue between Beloborodov and Khlopushi in the scene of the trial of Grinev in Berdskaya Sloboda. Researchers consider the structural similarity between 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). The fairy-tale basis of Pugachev's character is considered by S. Sapozhkov. Sim Ji Yong believes that the fairy tale had an impact not only on the plot and the structure of the characters' images, but also on the ideological content of The Captain's Daughter: the fairy tale logic of the miraculous, combined with the focus on documentary memoirs, makes it possible to embody a utopian ideal that elevates humanity to the principles of state policy , on a real historical background. These researchers are limited to the analysis of 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. Rassovskoy. They highlight two fairy-tale plots in The Captain's Daughter. The first plot: the hero leaves home in search of magic items or a bride; on the verge of his own and someone else's worlds he meets a donor or a magical assistant; passes a series of tests; defeats the antagonist. The story ends with a marriage. This plot is connected with the events of Grinev's life from his departure from his parental home to his arrest. The second story: a wise wife comes to the ruler and rescues her husband, who is in prison. This plot correlates with Masha's journey to Tsarskoye Selo. However, here, too, there is no consistent identification of the structural elements of a 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 perform a detailed comparative analysis of the plot of a fairy tale and the text of The Captain's Daughter and 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 occur three times: Grinev leaves home for military service, Grinev goes to the Belogorsk fortress to free Masha from the hands of Shvabrin, Masha goes to the capital to fuss over Grinev. Each of these cases ends with the elimination of the initial situation of lack of something, lack. Based on this, the text of the story can be divided into three segments, which, in accordance with the terminology of V.Ya. Propp, let's call moves, and find out how each move structurally corresponds to a fairy tale. The first move includes chapters 19 describing the events that took place between the reader's first acquaintance with Grinev and the hero's departure from the Belogorsk fortress captured by Pugachev. An important morphological element, with which the fairy tale begins, the initial situation: the future hero is introduced by giving his name or mentioning his position, or a more or less 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 striking. The Captain's Daughter opens with a description of Grinev's life in his parental home. Mention is made of Grinev's father, a retired prime minister living in the countryside, and his wife Avdotya Vasilievna. The birth of a son, destined for military service from his mother's womb, his upbringing in the serene atmosphere of the Grinev estate is described: he "lived underage, chasing pigeons and playing leapfrog with the yard boys" . Immediately the plot is preceded by a picture of emphasized family well-being: “Once in the fall, mother cooked honey jam in the living room, and I, licking my lips, looked at the ebullient foam. The father at the window was reading the Court calendar, which he receives annually. ”A function called V.Ya. Lack proppom: 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 prince does not have a wife). In Pushkin's story, the shortage occurs as follows: Grinev is sixteen years old, and the time comes for him to be sent to the service. The tale uses various types of motivations to inform the hero about the shortage. Here, this role is played by the reading of the Court Calendar: Andrei 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 of a misfortune or shortage: “let him serve in the army, let him pull the strap, let him sniff gunpowder, let him be a soldier, not a shamaton.” in search (hero-seeker), or being a victim of circumstances (the victim hero, who is driven out of the house, taken away by deceit into the forest, etc.). Grinev combines these two types in himself: on the one hand, his father resolutely sends him away from home, on the other, he himself willingly goes to meet the glory and pleasures of military service. Departure parents bless Grinev: “Serve faithfully, to whom you swear allegiance; obey the bosses; 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 the dress again, and honor from youth. In a fairy tale, the instructions of the parents and their subsequent violation are one of the methods of starting an action, opening the way for the antagonist's sabotage. In The Captain's Daughter, Grinev also violates his father's order, at least with regard to behavior: upon arriving in Simbirsk, he loses a hundred rubles to Zurin, goes to party with him, and 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 in good stead: when Grinev and Masha, who left the Belogorsk fortress, end up with government troops, only a meeting with Zurin frees them from the fate of captives, and subsequently provides Grinev with respectful treatment upon arrest. Violation of the parental mandate eventually turns into positive consequences, which is not typical for a fairy tale. In addition, this function does not determine the plot, as it should be. After sending the hero from home, a new person appears in the fairy tale, named the donor. Usually it is accidentally met by the hero on the road. From him, the hero receives a magical remedy, which will later help to eliminate the trouble. But this is preceded by a test of the hero, which he can withstand or not withstand, depending on this, receiving or not receiving a gift. This circle of events includes the following functions: the first function of the giver, the reaction of the hero, the receipt of a magical remedy. On the way to Orenburg, Grinev falls into a snowstorm. 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 favors him with his hare sheepskin coat. A satisfied man promises: "I will not forget your favors for a century." Before us is a chance meeting; one of the forms of testing is a helpless state without asking for help; the correct reaction of the hero is the service rendered; the promise of help by the peasant met, although given in an indirect form, but subsequently fulfilled more than once. Thus, Pugachev enters the text as a donor, but instead of a magical agent, he promises Grinev his services, combining the functions of a donor and an assistant. Pugachev performs this function, leading the lost Grinev to the tutelage. But he performs this action even before testing the hero and his reaction, and besides, skill is not the ultimate goal of Grinev's search. The assistant performs its function, but its place in the sequence of events and its significance for the plot differ from the characteristics of the corresponding function of a fairy tale. However, in Pushkin's novel, Grinev arrives at the Belogorsk fortress. Here, another variant of the plot is realized, associated with the appearance of an antagonist. After the first days of 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 tolerable, but even pleasant. In the commandant's house I was accepted as a native ... I was promoted to officer. The service did not burden me ... Tranquility reigned around our fortress. Here we see the same emphasized well-being, peace and serenity. In the variant of the plot associated with the actions of the antagonist, the hero is prohibited from any actions, violation of the prohibition, the antagonist finds out any information, issuance of information, trick and sabotage, as a result of which there is a situation of shortage. In The Captain's Daughter, these functions found a peculiar embodiment in Grinev's relationship with Shvabrin. The antagonist appears twice in the tale. The first time he comes from outside or is included in the initial situation, the second time he is sought out 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 meet Grinev, 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 it to a certain Masha. This raises a question in Shvabrin about his feelings for the daughter of commandant Mironov. Grinev does not give a direct answer, but everything is clear enough anyway. The antagonist receives information and does not require confirmation of his guesses. Then comes the catch: the antagonist is trying to deceive the victim in order to take possession of her property. Shvabrin, trying to neutralize the opponent, slanders Masha, presenting her as a frivolous woman. In a fairy tale, the victim of a pest is deceived, thereby unwittingly contributing to the enemy. Grinev does not believe Shvabrin's words and calls him a liar. Thus, the function of aiding turns into its opposite. It is tempting to interpret the ensuing duel between Grinev and Shvabrin as a struggle between hero and antagonist. But this is hindered by the principle of defining a function by its consequences (see), to which V.Ya. Propp proposes to navigate in difficult cases when assimilating the ways of performing functions. The struggle of the hero and the antagonist is followed by the victory of the hero and the elimination of the initial misfortune 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 climax, but to the plot of a fairy tale. As such a punishment, we can consider the ban on dueling both in the “military article” and in the unwritten code of honor of Greenefather. The son violates this order by entering into a duel. The sequence of functions has been changed in comparison with the fairy tale, but the analysis of their consequences allows us to define the duel as a catch, and the notification of the duel to parents as sabotage. Further, Pushkin tells about the capture of the Belogorsk fortress by Pugachev. These events are of particular importance for Grinev. During the first move, a shortage situation occurs for the third time. For the first time, the shortage was eliminated by the arrival of Grinev in the Belogorsk fortress, where he seemed to have found everything he was looking for. The lack associated with the actions of Shvabrin temporarily fades into the background. The line started by Grinev's meeting with Pugachev continues, the relationship between the hero and his assistant continues. Pugachev captures the fortress, and Grinev finds himself a prisoner of the rebellious Cossacks. This is the original problem. In this situation, Grinev meets with his assistant, who promised him eternal gratitude for the hare sheepskin coat. However, the whole range of functions associated with the donor is repeated a second time. Pugachev again accidentally appears on Grinev's life path: Savelich recognizes a recent counselor in the leader of the troops. Pugachev leaves Grinev's life, and this is a retribution for Grinev's help. But later, the donor again puts the hero to the test, asking him questions and offering to enter his service. Grinev again stands the test with honor, giving truthful and sincere answers to questions. As a reward, Pugachev lets the officer go free and grants him a horse, a sheepskin coat, and even half a penny of money. Before us is a meeting with the donor, a test of the hero, the reaction of the hero and the provision of assistance to 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 plot, 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 an antagonist who kidnapped the princess, wrecking. Soon Grinev, during a sortie, meets a constable from the Belogorsk fortress. He performs the function of mediation, informing the hero of the trouble, giving him a letter from Masha, in which she asks Grinev for help. The general in Orenburg remains deaf to the requests of the officer, and then Grinev decides to go alone to the rescue of his beloved. In the structure of a fairy tale, this corresponds to the function of the beginning of opposition. This is followed by the sending of the hero in search: Grinev, accompanied by Savelich, leaves Orenburg. When Grinev passes by the Berdskaya Sloboda, he is captured and escorted to Pugachev. So there is a new meeting of the hero and the giver. To some extent, it is also random, since Grinev does not consciously seek a meeting, although he does not exclude such a possibility. Grinev is brought to Pugachev's "palace", who, together with advisers, interrogates the officer. Grinev convinces them of the purity of his intentions and asks for help. So the test of the giver 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. A fairy tale is characterized by a similar tripling of individual functions. 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 tsar gives the hero three tasks and only after that gives him his daughter, and so on. In The Captain's Daughter, the next test of the donor each time leads to a new result: the first time Pugachev leaves Grinev's life, the second he releases him with gifts, the third he helps 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 a fairy tale. Pugachev in his wagon carries Grinev to the Belogorsk fortress. This is a function of spatial movement characteristic of a magical assistant. In a fairy tale, spatial movement is followed by a struggle between the hero and the antagonist. They enter into battle or use other forms of competition. In the novel, Shvabrin and Grinev enter into an argument: each of them tries to convince Pugachev that he is right and accuse the opponent of lying. The next function highlighted by Propp is the victory of the hero over the antagonist. Pugachev believes in Grinev. Next comes the elimination of misfortune or shortage: Pugachev helps the lovers reunite, and Grinev and Masha leave the Belogorsk fortress forever. The second move is structurally most consistent with a fairy tale, since all the main functions are present here and their sequence remains unchanged. Chapter 14, which deals with Grinev's stay in Zurin's detachment, his arrest and subsequent release at the request of Masha Mironova. The thirteenth chapter describes the capture of Grinev and Masha by Zurin's detachment and their subsequent release. Here ends the storyline, which originates from the first move and is connected with the relationship of the characters, in which Grinev acts as the hero who passed the test, and Zurin as the donor who rewards him. Zurin takes Grinev into the detachment, they fight Pugachev's troops. Then comes the order to arrest Grinev, and he is escorted 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 story. We are faced with a problem: how to evaluate her further actions to free Grinev? Do the functions of the hero pass 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 prosperity: the parents accepted the girl as their own, fell in love with her and began to wish their son to marry the daughter of Captain Mironov. a letter arrives from Prince B., who already definitely informs about 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 travels to St. Petersburg, accidentally meets the Empress on a walk, talks with her and convinces her of the innocence of her fiancé. The Empress fully justifies Grinev. Grinev and Masha get married and live happily ever after. The central event here is Masha's conversation with the Empress. Before us is a case of assimilation of ways of performing functions. You can define this conversation as a test of the giver 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 plot. Let us turn again to the principle of determining a function by its consequences. If the result of the task is to receive a magical remedy (or the promise of services), we have 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 disaster. So we have a difficult task ahead of us. Since the resolution of problems is included in the circle of actions of the magical assistant, Masha performs this very function. In 1314 chapters, a number of important functions are missing: meeting with the donor, receiving a magical remedy, fighting with 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 in separate circles that correspond to certain performers. Based on this, Propp singles out the main characters of the fairy tale. This is a hero, an antagonist, a false hero, a princess, a giver, an assistant, a sender. The false hero is present only in some fairy tales, and the functions of the giver and assistant 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 single out Savelich, Grinev's faithful companion, Zurin, the parents of Grinev and the Mironovs, the Empress. Let's determine how they relate to the characters of a fairy tale, summarizing the above observations. The story revolves around the fate of Grinev, is conducted on his behalf. The following functions are associated with Grinev: sending out in search, responding to the tests of the donor, fighting the antagonist and winning, 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 his 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 only one of them survived. Until the age of sixteen, Grinev does nothing and grows 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 quick wits. And Grinev, having escaped from under the parental wing, after the first youthful antics, demonstrates prudence, honesty and courage, unusual for an inexperienced home pupil. He even wields a sword no worse than Shvabrin's breter! 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 striking in the novel is the image of Pugachev, who simultaneously embodied an 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 to define him as an antagonist and a magical assistant rolled into one. Let's find out if this is so by considering the circle of actions and attributes of the character. Pugachev appears in both the first and second parts by chance. Especially fabulous is his appearance in the first part, 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 helper. Further, Pugachev tests Grinev, in the first part showing him his plight, in the second asking questions. After the hero passes the test, Pugachev promises him his help, takes him to the umet in the first part, and takes him to the Belogorsk fortress in the second part, helping to rescue Masha from the hands of Shvabrin. Thus, the following functions are inherent in him: testing, supplying a magical agent (in the form of a promise of his services), spatial movement of the hero, elimination of the initial misfortune or shortage. These functions are characteristic of the donor and the magical helper, which are combined in the person of Pugachev. The way in which an accidental appearance is included in the narrative is also characteristic of the giver. From the point of view of the structure of the plot, Pugachev is not an antagonist, since he does not fulfill his functions. Shvabrin plays the role of an antagonist in the novel. It is appropriately included in the action: at first it is a part of the initial situation, later it is found by Grinev. Shvabrin performs the following functions: elicitation, trickery, sabotage, combat with the hero. Determining the role of Shvabrin in the last chapters presents some difficulty. The continuation of the fairy tale associated with a new sabotage is characterized by a special type of pest - a false hero who steals the hero's prey by deceit and makes unfounded claims, impersonating him. Shvabrin cannot take the place of Grinev, but, slandering him, reduces him to the position of such the same prisoner, perhaps wanting not only to take revenge on his opponent, but also to mitigate his fate. The tale ends with the punishment of the false hero. We do not know anything about the fate of Shvabrin, however, 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 the role of an antagonist. Masha Mironova also combines the functions of two characters: a princess and a magical assistant. In the second part, she is kidnapped from the hero by the antagonist and is the subject of his search. Here Masha acts as a princess. The princess in fairy tales recognizes the true 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 by persuading 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 helper. Having fulfilled them, Masha returns to the role of a princess, marrying a 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 a card debt in response to the captain's need for money. The Empress appears in the text only sporadically. She sets Masha a difficult task, albeit in an indirect form, and also punishes the wrecker Shvabrin. These functions in the fairy tale are performed by the princess and her father, the king. As for Savelich, he does not perform any functions that determine the development of the 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 (see for more details). Thus, the plot of The Captain's Daughter reveals a great structural similarity to a fairy tale. This is especially true for chapter 1012, where the logic of the miraculous rescue of the characters is maintained at the level of the plot. We can talk about Pushkin's deep connection with folklore traditions, based on the data provided by the analysis of the text structure.
Azadovsky M.K. Pushkin and folklore // Azadovsky M.K. Literature and folklore: Essays and studies. L .: Fiction, 1938.S. 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. St. 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") // Proceedings of the Pushkin Scientific Conference on March 12, 1995, Kyiv, 1995. P. 4345.6. Alpatov S.V. Pushkin's Historical Prose in the Light of Folklore Genres // Pushkin University Collection. M.: Publishing house of Moscow State University, 1999. S. 8388.7. Medrish D.N. At the origins of Pushkin's sayings // Moscow Pushkinist: Annual Collection. Issue. VIII. M.: Heritage, 2000.S. 157168.8.Mikhailova N.N. Folk eloquence in The Captain's Daughter // Pushkin: Research and Materials. T. XIV. L.: Nauka, 1991. S. 253257.9. Shklovsky V.B. Bowstring: About the dissimilarity of similar. M .: Soviet writer, 1970. 376 p. 10. Sapozhkov S. Folklore and fairy-tale motives in the "Captain's Daughter" by A.S. Pushkin // Literature at school. 1986. No. 1. S. 6668.11. Sim Ji Yong. The story of A. S. Pushkin "The Captain's Daughter": the movement of history and the development of characters: dis. … cand. philol. Sciences. SPb., 2003. 168 p.12. Agranovich S.Z., Rassovskaya L.P. Myth, folklore, history in the tragedy "Boris Godunov" and in the prose of A. S. Pushkin. Samara: Samara University Publishing House, 1992. 214 p.13. Pushkin A.S. Captain's daughter // Pushkin A.S. Complete works in 10 volumes. T. VI: Artistic prose. M.: Nauka, 1964.14. Oksman Yu.G. Pushkin in his work on the novel "The Captain's Daughter" // Pushkin A.S. Captain's daughter. L.: Science. Leningrad. holidays, 1984. S. 145199. (Lit. monuments) Two studies about the "Captain's Daughter" by A.S. Pushkin // The Philological Seminar is 40 years old: a collection of proceedings of a scientific conference. Smolensk: Izdvo SmolGU, 2008. T. 1. S. 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, establishedby 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.
Description of the video lesson
Alexander Sergeevich Pushkin from childhood he fell in love with oral folk art thanks to his nanny Arina Rodionovna, who was an amazing storyteller, and his grandmother, Maria Alekseevna Gannibal.
From them, he heard folklore stories, which then became everyone's favorite fairy tales:
"The Tale of Tsar Saltan, his son, the glorious and mighty hero Prince Gvidon Saltanovich and the beautiful Princess Swan";
"The Tale of the Golden Cockerel";
"The Tale of the Fisherman and the Fish";
"The Tale of the Priest and his worker Balda";
"The Tale of the Dead Princess and the Seven Bogatyrs".
Many of Pushkin's works were created on the basis of genres of oral folk art: songs, proverbs, sayings, ritual poetry.
The historical story was no exception. "Captain's daughter".
There are elements of a fairy tale in this work:
There are positive and negative characters in the story. Shvabrin, a vile, dishonorable person, and Pyotr Grinev, who defends the honor and dignity of a person.
Mirror composition: first, Pyotr Grinev saves the commandant's daughter, and then Marya Mironova saves the main character.
As in any fairy tale, there are helpers on the way of the protagonist. This turned out to be the tramp Emelyan Pugachev, who accidentally met on the way of the protagonist, who will become the leader of the people's war.
As in a fairy tale, various reincarnations take place with the hero, that is, the author uses the technique of werewolf. Pugachev appears to the reader either as a vagabond, or as the great sovereign Peter III, or as a robber, telling a Kalmyk fairy tale about himself about a raven and an eagle, explaining the meaning of his life: “rather than eating carrion for three hundred years, it’s better to drink living blood once.”
The nationality of the image of Pugachev is especially pronounced in his speech, which is full of allegorical expressions, riddles:
“I flew into the garden, pecked hemp; grandmother threw a pebble - yes, by,
“it will rain, there will be fungi, and there will be fungi, there will be a body”,
“Put the ax behind your back: the forester walks”;
"execute so execute, pardon so pardon",
“whoever is a pop is a dad”;
"My street is tight"
"Debt good turn deserves another",
"The morning is wiser than the evening",
"Be he seven spans in the forehead."
Pushkin created a portrait of a native of the people, simple and wise, an intercessor and patron, noble and courageous - this is exactly what they wanted to see the tsar in Russia.
Folklore motifs are also heard in many epigraphs. Alexander Sergeevich Pushkin acted in the work as the publisher of the memoirs of Pyotr Grinev, choosing an epigraph for each chapter. Epigraphs set the tone, hint at what (logical emphasis on the word WHAT) will be seen in the chapter, express the main idea.
Most of them represent folklore genres:
Proverbs are short sentences with a conclusion:
"An uninvited guest is worse than a Tatar",
"worldly rumor is a wave of the sea."
To the whole work, the writer chose the saying as an epigraph
"Keep honor from a young age."
A saying is part of a judgment. This saying expresses the idea of the whole work: the need to preserve honor, dignity from a young age.
The writer used all kinds of folk songs:
soldiers (“We live in a fortification”),
love (“Oh, you girl, red girl!”),
wedding (“Like our apple tree”),
historical ("You young guys, listen").
And the life of the protagonist, Petr Andreevich Grinev, according to the composition resembles an epic. In epics, birth, growing up are common, like everyone else, but then the hero is reincarnated into a hero, the defender of the Russian land.
The hero of the story turns into a real officer who is able to defend not only his own honor, but also the honor of his beloved girl, the daughter of Captain Mironov.
The image of Marya Ivanovna conveys the popular idea of beauty, emphasizing not the external, but the inner charm of the heroine: simplicity, kindness, steadfastness, sincerity, modesty. The captain's daughter was brought up on the folk spiritual values of a patriarchal family, and it is not for nothing that she refuses to marry without her parents' blessing. The depth of her nature, moral purity, dedication, determination, firmness, readiness for self-sacrifice delight readers of all times.
The genius of the great Russian writer Alexander Sergeevich Pushkin is that he managed to harmoniously combine folklore motifs with the personal skill of the artist of the word.
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.
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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 brings to mind memories of those very robbers from epics. Black beard, glimpses of gray hair. There is something otherworldly about it, so familiar to the culture. He resembles a devil in the guise of a man, with lively shining eyes and a hut in gold foil. The image of Masha Mironova fully corresponds to the "standards" of the classic beloved hero from the legends. A young man who is on the path of becoming a "undergrowth" into a hero. And Shvabrin is perfect for the role of a fabulous assistant. Smart, cunning, sneaky. I would even call the heroes "masks" from the commedia dell'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 a proverb.
Updated: 2019-02-27
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