All works by Shchedrin. Saltykov-Shchedrin: list of fairy tales. Satire in the fairy-tale works of Saltykov-Shchedrin. Creative stages of life

Mikhail Evgrafovich Saltykov-Shchedrin(real name Saltykov, pseudonym Nikolai Shchedrin; January 15 - April 28 [May 10]) - Russian writer, journalist, editor of the magazine "Domestic Notes", Ryazan and Tver vice-governor.

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Biography

early years

Mikhail Saltykov was born into an old noble family, on his parents’ estate, in the village of Spas-Ugol, Kalyazinsky district, Tver province. He was the sixth child of the hereditary nobleman and collegiate adviser Evgraf Vasilyevich Saltykov (1776-1851). The writer's mother, Olga Mikhailovna Zabelina (1801-1874), was the daughter of the Moscow nobleman Mikhail Petrovich Zabelin (1765-1849) and Marfa Ivanovna (1770-1814). Although in the note to “Poshekhonskaya antiquity” Saltykov asked not to confuse him with the personality of Nikanor Zatrapezny, on whose behalf the story is told, the complete similarity of much of what is reported about Zatrapezny with the undoubted facts of the life of Mikhail Saltykov allows us to assume that “Poshekhonskaya antiquity” is partly autobiographical character.

M. E. Saltykov’s first teacher was a serf of his parents, the painter Pavel Sokolov; then his elder sister, the priest of a neighboring village, the governess and a student at the Moscow Theological Academy worked with him. At the age of ten, he entered the school, and two years later he was transferred, as one of the best students, as a state student to the Tsarskoye Selo Lyceum. It was there that he began his career as a writer.

Beginning of literary activity

In 1844 he graduated from the Lyceum in the second category (that is, with the rank of X class), 17 out of 22 students were expelled because their behavior was certified as no more than “pretty good”: ordinary school offenses (rudeness, smoking, carelessness in clothing) Shchedrin added “writing poetry” with “disapproving” content. At the Lyceum, under the influence of Pushkin’s legends, which were still fresh at that time, each course had its own poet; in the 13th year, Saltykov played this role. Several of his poems were placed in the “Library for Reading” in 1841 and 1842, when he was still a lyceum student; others, published in Sovremennik (ed. Pletnev) in 1844 and 1845, were also written by him while still at the Lyceum; all these poems are reprinted in “Materials for the biography of M. E. Saltykov”, attached to the complete collection of his works.

None of Mikhail Saltykov’s poems (some translated, some original) bear any traces of talent; the later ones are even inferior to the earlier ones. M. E. Saltykov soon realized that he had no vocation for poetry, stopped writing poetry and did not like being reminded of them. However, in these student exercises one can sense a sincere mood, mostly sad and melancholy (at that time Saltykov was known among his acquaintances as a “gloomy lyceum student”).

In August 1845, Mikhail Saltykov was enlisted in the office of the Minister of War and only two years later he received his first full-time position there - assistant secretary. Literature even then occupied him much more than service: he not only read a lot, being particularly interested in Georges Sand and the French socialists (a brilliant picture of this hobby was drawn by him thirty years later in the fourth chapter of the collection “Abroad”), but also wrote - at first small bibliographic notes (in “Domestic Notes”), then the stories “Contradictions” (ibid., November 1847) and “A Confused Affair” (March)

Already in the bibliographic notes, despite the unimportance of the books about which they were written, the author’s way of thinking is visible - his aversion to routine, to conventional morality, to serfdom; In some places there are also sparkles of mocking humor.

In M. E. Saltykov’s first story, “Contradictions,” which he never subsequently reprinted, the very theme on which J. Sand’s early novels were written sounds, muffled and muffled: recognition of the rights of life and passion. The hero of the story, Nagibin, is a man weakened by his hothouse upbringing and defenseless against environmental influences, against the “little things in life.” Fear of these little things both then and later (for example, in “The Road” in “Provincial Sketches”) was apparently familiar to Saltykov himself - but for him it was the fear that serves as a source of struggle, not despondency. Nagibin thus reflected only one small corner of the author’s inner life. Another character in the novel - the “woman-fist”, Kroshina - resembles Anna Pavlovna Zatrapeznaya from “Poshekhon Antiquity”, that is, it was probably inspired by the family memories of Mikhail Saltykov.

Much larger is “The Entangled Case” (reprinted in “Innocent Stories”), written under the strong influence of “The Overcoat”, perhaps and “Poor People”, but containing several wonderful pages (for example, the image of a pyramid of human bodies that is dreamed Michulin). “Russia,” the hero of the story reflects, “is a vast, abundant and rich state; Yes, the man is stupid, he is starving to death in an abundant state.” “Life is a lottery,” the familiar look bequeathed to him by his father tells him; “It is so,” some unkind voice answers, “but why is it a lottery, why shouldn’t it just be life?” A few months earlier, such reasoning would perhaps have gone unnoticed - but “Entangled Affair” appeared just when the February Revolution in France was reflected in Russia by the establishment of the so-called Buturlinsky  committee (named after its chairman D.P. Buturlin), vested with special powers to curb the press.

Vyatka

Mikhail Evgrafovich’s health, shaken since the mid-1870s, was deeply undermined by the ban on Otechestvennye zapiski. The impression made on him by this event is depicted by him with great force in one of the tales (“The Adventure with Kramolnikov,” who “one morning, waking up, quite clearly felt that he was not there”) and in the first “Motley Letter,” beginning words: “several months ago I suddenly lost the use of language”...

M. E. Saltykov was engaged in editorial work tirelessly and passionately, keenly taking everything concerning the magazine to his heart. Surrounded by people he liked and who were in solidarity with him, Saltykov felt, thanks to Otechestvennye Zapiski, in constant communication with readers, in constant, so to speak, service to literature, which he loved so dearly and to which he dedicated such a wonderful book in “All the Year Round.” a hymn of praise (a letter to his son, written shortly before his death, ends with the words: “love your native literature above all else and prefer the title of writer to any other”).

Therefore, an irreplaceable loss for him was the severance of the direct connection between him and the public. Mikhail Saltykov knew that the “reader-friend” still existed - but this reader “became shy, lost in the crowd, and it is quite difficult to find out exactly where he is.” The thought of loneliness, of “abandonment” depresses him more and more, aggravated by physical suffering and, in turn, aggravating it. “I’m sick,” he exclaims in the first chapter of “Little Things in Life.” The disease has dug its claws into me and is not letting go. The emaciated body cannot oppose anything to it.” His last years were a slow agony, but he did not stop writing as long as he could hold a pen, and his work remained strong and free to the end: “Poshekhon Antiquity” is in no way inferior to his best works. Shortly before his death, he began a new work, the main idea of ​​which can be understood by its title: “Forgotten Words” (“There were, you know, words,” Saltykov told N.K. Mikhailovsky shortly before his death, “well, conscience, the fatherland, humanity, others are still out there... Now take the trouble to look for them!.. We need to remind you!..). He died on April 28 (May 10), 1889 and was buried on May 2 (May 14), according to his wishes, at the Volkovsky cemetery, next to I. S. Turgenev.

Basic motives of creativity

There are two lines of research in the interpretation of M. E. Saltykov’s texts. One, traditional, going back to literary criticism of the 19th century, sees in his work an expression of accusatory pathos and almost a chronology of the most important events in the history of Russian society. The second, formed not without the influence of hermeneutics and structuralism, reveals in the texts objectively given semantic constructs of different levels, allowing us to talk about the strong ideological tension of Shchedrin’s prose, putting it on a par with F. M. Dostoevsky and A. P. Chekhov. Representatives of the traditional approach are reproached for sociologizing and epiphenomenalism, the desire to see in the text what, due to external bias, one wants to see, and not what is given in it.

The traditional critical approach focuses on Saltykov's attitude to reforms (without noticing the difference between his personal position and the literary text). For twenty years in a row, all major phenomena of Russian social life found an echo in the works of Mikhail Saltykov, who sometimes foresaw them in their infancy. This is a kind of historical document, reaching in places to a complete combination of real and artistic truth. M.E. Saltykov took his post at a time when the main cycle of “great reforms” had ended and, in the words of Nekrasov, “early measures” (early, of course, only from the point of view of their opponents) “lost their proper dimensions and retreated miserably back".

The implementation of reforms, with only one exception, fell into the hands of people hostile to them. In society, the usual results of reaction and stagnation manifested themselves more and more sharply: institutions became smaller, people became smaller, the spirit of theft and profit intensified, everything frivolous and empty floated to the top. Under such conditions, it was difficult for a writer with Saltykov’s talent to refrain from satire.

Even an excursion into the past becomes a weapon of struggle in his hands: when compiling “The History of a City,” he means - as can be seen from his letter to A. N. Pypin, published in 1889 - exclusively the present. “The historical form of the story,” he says, “was convenient for me because it allowed me to more freely address known phenomena of life... The critic himself must guess and convince others that Paramosha is not only Magnitsky at all, but at the same time also NN. And not even NN., but all the people of a well-known party, who have not lost their strength.”

And indeed, Wartkin (“The History of a City”), who secretly writes a “statutory on the freedom of city governors from laws,” and the landowner Poskudnikov (“The Diary of a Provincial in St. Petersburg”), “recognizing it as not useful to shoot all those who think dissent” are of the same breed; The satire that castigates them pursues the same goal, no matter whether we are talking about the past or the present. Everything written by Mikhail Saltykov in the first half of the seventies of the 19th century repulses, mainly, the desperate efforts of the vanquished - defeated by the reforms of the previous decade - to again win lost positions or to reward themselves, one way or another, for the losses suffered.

In “Letters about the Province,” historiographers - that is, those who have long made Russian history - are fighting with new writers; in the “Diary of a Provincial”, projects pour in as if from a cornucopia, highlighting “reliable and knowledgeable local landowners”; in “Pompadours and Pompadours” the strong-headed “examine” the peace mediators, recognized as renegades of the noble camp.

In “Gentlemen of Tashkent” we get acquainted with “enlighteners free from science” and learn that “Tashkent is a country that lies everywhere where people kick in the teeth and where the legend about Makar, who does not drive calves, has the right to citizenship.” “Pompadours” are leaders who have taken a course in administrative sciences from Borel or Donon; “Tashkent residents” are the executors of the Pompadour’s orders. M.E. Saltykov does not spare new institutions either - the zemstvo, the court, the bar - he does not spare them precisely because he demands a lot from them and is indignant at every concession they make to the “little things in life.”

Hence his severity towards certain press organs, which were engaged, as he put it, in “foaming.” In the heat of struggle, Saltykov could be unfair to individuals, corporations and institutions, but only because he always had a high idea of ​​​​the tasks of the era.

“Literature, for example, can be called the salt of Russian life: what will happen,” thought Mikhail Saltykov, “if the salt ceases to be salty, if to the restrictions that do not depend on literature, it adds voluntary self-restraint?..” With the complication of Russian life, with the emergence of new social forces and the modification of old ones, with the multiplication of dangers threatening the peaceful development of the people, the scope of Saltykov’s creativity expands.

The second half of the seventies dates back to the creation of such types as Derunov and Strelov, Razuvaev and Kolupaev. In their person, predation, with hitherto unprecedented boldness, lays claim to the role of a “pillar”, that is, the support of society - and these rights are recognized from different sides as something due (remember the police officer Gratsianov and the collector of “materials” in the “Mon Repos Shelter” "). We see the victorious march of the “grimy” to the “noble tombs,” we hear the “noble melodies” being sung, we are present during the persecution against the Anpetovs and Parnachevs, suspected of “starting a revolution among themselves.”

Even sadder are the pictures presented by a decaying family, an irreconcilable discord between “fathers” and “children” - between cousin Mashenka and the “disrespectful Coronate”, between Molchalin and his Pavel Alekseevich, between Razumov and his Styopa. “Sore spot” (printed in “Domestic Notes”, reprinted in the “Collection”), in which this discord is depicted with stunning drama - one of the culminating points of M. E. Saltykov’s talent for “Moping people”, tired of hoping and languishing in their corners , are contrasted with “people of triumphant modernity”, conservatives in the image of a liberal (Tebenkov) and conservatives with a national tint (Pleshivtsev), narrow statists, striving, in essence, for completely similar results, although they set off alone - “from Officers’ Square in the capital city of St. Petersburg, the other is from Plyushchikha in the capital city of Moscow.”

With particular indignation, the satirist attacks the “literary bedbugs” who have chosen the motto: “you are not supposed to think,” the goal is the enslavement of the people, and the means to achieve the goal is slandering opponents. The “triumphant pig,” brought onto the stage in one of the last chapters, “Abroad,” not only interrogates the “truth,” but also mocks it, “searches for it with its own means,” gnaws at it with a loud slurping sound, in public, without any embarrassment. . Literature, on the other hand, is invaded by the street, “with its incoherent hubbub, the base simplicity of demands, the savagery of ideals” - the street, which serves as the main hotbed of “selfish instincts.”

Somewhat later, the time comes for “lies” and closely related “notices”; the “Ruler of Thoughts” is “a scoundrel, born of moral and mental dregs, educated and inspired by selfish cowardice.”

Sometimes (for example, in one of his “Letters to Auntie”) Saltykov hopes for the future, expressing confidence that Russian society “will not succumb to the influx of base bitterness towards everything that goes beyond the barn atmosphere”; sometimes he is overcome by despondency at the thought of those “isolated calls of shame that broke through among the masses of shamelessness - and sank into eternity” (end of “Modern Idyll”). He takes up arms against the new program: “away with phrases, it’s time to get down to business,” rightly finding that it is just a phrase and, in addition, “decayed under layers of dust and mold” (“Poshekhonsky Stories”). Dejected by the “little things of life,” he sees in their increasing dominance a danger all the more formidable, the more large issues grow: “forgotten, neglected, drowned out by the noise and crackling of everyday vanity, they knock in vain on the door, which cannot, however, remain forever for them closed." - Observing the changing pictures of the present from his watchtower, Mikhail Saltykov never stopped looking into the unclear distance of the future.

The fairy-tale element, unique and little similar to what is usually understood by this name, was never completely alien to the works of M. E. Saltykov: what he himself called magic often burst into his images of real life. This is one of the forms that the strong poetic streak in him took. In his fairy tales, on the contrary, reality plays a large role, without preventing the best of them from being real “prose poems.” These are “The Wise Minnow”, “Poor Wolf”, “Crucian-Idealist”, “The Unremembered Ram” and especially “The Horse”. The idea and the image merge here into one inseparable whole: the strongest effect is achieved by the simplest means.

There are few in our literature such pictures of Russian nature and Russian life as are spread out in “The Horse.” After Nekrasov, no one has heard such groans from a spiritual voice, torn out by the spectacle of endless work on an endless task.

Saltykov is also a great artist in “The Golovlevs.” The members of the Golovlev family, this strange product of the serf era, are not crazy in the full sense of the word, but damaged by the combined effect of physiological and social conditions. The inner life of these unfortunate, distorted people is depicted with such relief that both our and Western European literature rarely achieves.

This is especially noticeable when comparing paintings that are similar in plot - for example, paintings of drunkenness by Mikhail Saltykov (Stepan Golovlev) and by Zola (Coupeau, in “The Trap”). The latter was written by an observer-protocolist, the first by a psychologist-artist. M. E. Saltykov has neither clinical terms, nor stenographically recorded delirium, nor detailed hallucinations; but with the help of a few rays of light thrown into the deep darkness, the last, desperate flash of a fruitlessly lost life rises before us. In a drunkard who has almost reached the point of animal stupor, we recognize a person.

Arina Petrovna Golovleva is depicted even more clearly - and in this callous, stingy old woman, Saltykov also found human traits that inspire compassion. He even reveals them in “Judushka” himself (Porfiry Golovlev) - this “hypocrite of a purely Russian type, devoid of any moral standard and not knowing any other truth than that which is listed in the alphabet copybooks.” Not loving anyone, not respecting anything, replacing the missing content of life with a mass of little things, Judas could be calm and happy in his own way, while around him, without interruption for a minute, there was a turmoil invented by him. Its sudden stop was supposed to wake him from his waking sleep, just as a miller wakes up when the mill wheels stop moving. Once waking up, Porfiry Golovlev should have felt a terrible emptiness, should have heard voices that had until then been drowned out by the noise of an artificial whirlpool.

“The humiliated and insulted stood before me, illuminated by the light, and loudly cried out against the innate injustice that gave them nothing but chains.” In the “abused image of a slave” Saltykov recognized the image of a man. The protest against the “serf chains”, brought up by the impressions of childhood, over time turned from Mikhail Saltykov, like Nekrasov, into a protest against all sorts of “other” chains “invented to replace the serfs”; intercession for a slave turned into intercession for a man and a citizen. Indignant against the “street” and the “crowd,” M. E. Saltykov never identified them with the masses and always stood on the side of the “man who eats swan” and the “boy without pants.” Based on several misinterpreted passages from various works of Saltykov, his enemies tried to attribute to him an arrogant, contemptuous attitude towards the people; “Poshekhon antiquity” destroyed the possibility of such accusations.

In general, there are few writers who would be hated so much and so persistently as Saltykov. This hatred outlived him; Even the obituaries dedicated to him in some press organs were imbued with it. The ally of anger was misunderstanding. Saltykov was called a “storyteller”; his works were called fantasies, sometimes degenerating into a “wonderful farce” and having nothing in common with reality. He was relegated to the level of a feuilletonist, a funnyman, a caricaturist; they saw in his satire “a certain kind of Nozdryovism and Khlestakovism with a big addition of Sobakevich.”

M. E. Saltykov once called his writing style “slave-like”; this word was picked up by his opponents - and they assured that thanks to the “slave tongue” the satirist could chat as much as he wanted and about anything, arousing not indignation, but laughter, amusing even those against whom his blows were directed. Mikhail Saltykov, according to his opponents, had no ideals or positive aspirations: he was only engaged in “spitting”, “shuffling and chewing” a small number of boring topics.

At best, such views are based on a number of obvious misunderstandings. The element of fantasy, often found in Saltykov, does not in the least destroy the reality of his satire. Through the exaggerations, the truth is clearly visible - and even the exaggerations themselves sometimes turn out to be nothing more than a prediction of the future. Much of what was dreamed about, for example, the projectors in “The Diary of a Provincial,” turned into reality a few years later.

Among the thousands of pages written by M. E. Saltykov, there are, of course, those to which the name feuilleton or caricature is applicable - but one cannot judge the huge whole by a small and relatively unimportant part. Saltykov also uses harsh, rude, even abusive expressions, sometimes, perhaps, going over the edge; but politeness and restraint cannot be demanded from satire.

Slave language, in Mikhail Saltykov’s own words, “does not at all obscure his intentions”; they are perfectly clear to anyone who wishes to understand them. Its themes are endlessly varied, expanding and updating in accordance with the needs of the times.

Of course, he also has repetitions, depending partly on what he wrote for magazines; but they are justified mainly by the importance of the questions to which he returned. The connecting link of all his works is the desire for an ideal, which he himself (in “Little Things in Life”) sums up in three words: “freedom, development, justice.”

At the end of his life, this formula seems insufficient to him. “What is freedom,” he says, “without participation in the blessings of life? What is development without a clearly defined end goal? What is justice devoid of the fire of selflessness and love?

In fact, love was never alien to M.E. Saltykov: he always preached it with the “hostile word of denial.” Ruthlessly pursuing evil, he inspires condescension towards people, in whom it finds expression, often against their consciousness and will. He protests in “Sick Place” against the cruel motto: “break with everything.” The speech about the fate of a Russian peasant woman, which he put into the mouth of a village teacher (“A Midsummer Night’s Dream” in the “Collection”), can be ranked in terms of depth of lyricism along with the best pages of Nekrasov’s poem “Who Lives Well in Rus'.” “Who sees the tears of a peasant woman? Who can hear them pouring drop by drop? Only the little Russian peasant sees and hears them, but in him they revive his moral sense and plant in his heart the first seeds of goodness.”

This thought, obviously, had long possessed Saltykov. In one of his earliest and best fairy tales (“Conscience Lost”), conscience, which everyone is burdened with and from which everyone is trying to get rid of, says to its last owner: “find me a little Russian child, dissolve his pure heart before me and bury it.” me in him: maybe he, an innocent baby, will shelter and nurture me, maybe he will make me according to the measure of his age and then come out to people with me - he won’t disdain... According to this word of hers, that’s what happened.

A tradesman found a little Russian child, dissolved his pure heart and buried his conscience in him. A little child grows, and his conscience grows with him. And the little child will be a big man, and he will have a big conscience. And then all untruths, deceit and violence will disappear, because the conscience will not be timid and will want to manage everything itself.” These words, full of not only love, but also hope, are the testament left by Mikhail Saltykov to the Russian people.

The syllable and language of M. E. Saltykov are highly original. Every face he portrays speaks exactly as befits his character and position. Derunov's words, for example, breathe self-confidence and importance, the consciousness of a force that is not accustomed to meeting either opposition or even objections. His speech is a mixture of unctuous phrases drawn from church everyday life, echoes of former respect for masters and unbearably harsh notes of home-grown political-economic doctrine.

Razuvaev’s language is related to Derunov’s language, like the first calligraphic exercises of a schoolchild to the teacher’s copybooks. In the words of Fedinka Neugodov one can discern high-flying clerical formalism, something salon-like, and something Offenbachian.

When Saltykov speaks on his own behalf, the originality of his manner is felt in the arrangement and combination of words, in unexpected convergences, in quick transitions from one tone to another. Saltykov’s ability to find a suitable nickname for a type, for a social group, for a way of action (“Pillar”, “Candidate for Pillars”, “internal Tashkentians”, “Tashkentians of the preparatory class”, “Mon Repos Shelter”, “Waiting for Actions”, etc.) is remarkable. P.).

The second of the mentioned approaches, going back to the ideas of V. B. Shklovsky and the formalists, M. M. Bakhtin, indicates that behind the recognizable “realistic” plot lines and system of characters hides a collision of extremely abstract worldview concepts, including “life” and "death". Their struggle in the world, the outcome of which did not seem obvious to the writer, is presented through various means in most of Shchedrin’s texts. It should be noted that the writer paid special attention to the mimicry of death, clothed in externally vital forms. Hence the motif of dolls and puppetry (“Toy People”, Organ and Pimple in “The History of a City”), zoomorphic images with different types of transitions from man to beast (humanized animals in “Fairy Tales”, animal-like people in “The Tashkent Gentlemen”). The expansion of death forms the total dehumanization of living space, which Shchedrin reflects. It is not surprising how often the mortal theme appears in Shchedrin’s texts. An escalation of mortal images, reaching almost the degree of phantasmagoria, is observed in “The Golovlevs”: these are not only numerous repeated physical deaths, but also the depressed state of nature, the destruction and decay of things, various kinds of visions and dreams, Porfiry Vladimirych’s calculations, when “digits” are not only loses touch with reality, but turns into a kind of fantastic vision, ending with a shift in time layers. Death and lethality in social reality, where Shchedrin painfully acutely sees the alienation leading to a person’s loss of himself, turns out to be only one of the cases of the expansion of the deadly, which forces one to divert attention only from “social everyday life.” In this case, the realistic external forms of Mikhail Saltykov’s writing hide the deep existential orientation of Shchedrin’s creativity, making him comparable to E. T. A. Hoffman, F. M. Dostoevsky and F. Kafka.

There are few such notes, few such colors that could not be found in M. E. Saltykov. The sparkling humor that fills the amazing conversation between a boy in pants and a boy without pants is as fresh and original as the soulful lyricism that permeates the last pages of “The Golovlevs” and “The Sore Spot.” Saltykov’s descriptions are few, but even among them there are such gems as the picture of a village autumn in “The Golovlevs” or a provincial town falling asleep in “Well-Intentioned Speeches.” The collected works of M. E. Saltykov with the appendix “Materials for his biography” were published for the first time (in 9 volumes) in the year of his death () and have gone through many editions since then.

The works of Mikhail Saltykov also exist in translations into foreign languages, although Saltykov’s unique style poses extreme difficulties for the translator. “Little things in life” and “Lords Golovlevs” have been translated into German (in the Universal Library Advertising), and “Lords Golovlyovs” and “Poshekhon antiquity” have been translated into French (in “Bibliothèque des auteurs étrangers”, published by “Nouvelle Parisienne”).

Memory

File:The Monument Saltykhov-Shchedrin.jpg

Monument to M. E. Saltykov-Shchedrin on Nikolodvoryanskaya Street in Ryazan

The following were named in honor of Mikhail Saltykov:

• State public library named after. 
• Saltykova-Shchedrin (St. Petersburg).
• Before the renaming, Saltykova-Shchedrina Street was in St. Petersburg.
  • Memorial museums of Saltykov-Shchedrin exist in:
• village of Spas-Ugol, Taldomsky district, Moscow region.

• Monuments to the writer were installed in:
• the village of Lebyazhye, Leningrad region;
• the city of Taldom, Moscow region ((opened on August 6, 2016 in connection with the celebration of the 190th anniversary of his birth). Depicted sitting in a chair, in his right hand - a sheet of paper with the quote “Do not get bogged down in the details of the present, but cultivate the ideals of the future "(from "Poshekhonskaya antiquity") The chair is an exact copy of the real Saltykov chair, kept in the writer's museum in the school of the village of Ermolino, Taldom district. The writer's homeland - the village of Spas-Ugol - is located in the Taldom municipal district, the center of which is the city of Taldom. D. A. Stretovich, architect A. A. Airapetov.

• Busts of the writer are installed in:
  • Ryazan. The opening ceremony took place on April 11, 2008, in connection with the 150th anniversary of the appointment of Mikhail Saltykov to the post of vice-governor in Ryazan. The bust is installed in a public garden next to the house, which is currently a branch of the Ryazan Regional Library, and previously served as the residence of the Ryazan vice-governor. The author of the monument is Honored Artist of Russia, Professor of the Moscow State Academic Art Institute named after Surikov Ivan Cherapkin;
  • Kirov. The stone sculpture, authored by Kirov artist Maxim Naumov, is located on the wall of the building of the former Vyatka provincial government (Dinamovsky proezd, 4), where Mikhail Evgrafovich served as an official during his stay in Vyatka.
  • the village of Spas-Ugol, Taldomsky district, Moscow region.
• The “Saltykiada” project, conceived and born in Vyatka, dedicated to the 190th anniversary of the birth of M. E. Saltykov Shchedrin, combines literature and fine arts. It included: the procedure for open defense of diploma projects of students of the Department of Technology and Design of Vyatka State University, at which the ceremonial transfer of the figurine of the symbol of the All-Russian M. E. Saltykov-Shchedrin Prize to the government of the Kirov region was carried out, as well as the ceremony of donating a sculptural image of the writer and a set of collectible coins to the Kirov regional to the museum. The M.E. Saltykov-Shchedrin Prize was awarded to Evgeniy Grishkovets (September 14, 2015). Exhibition "M. E. Saltykov-Shchedrin. Image of Time”, where the project of a sculptural monument to the writer was presented. Exhibition of works by Maxim Naumov “Saltykiada” at the Kirov Regional Art Museum named after the Vasnetsov brothers (March - April 2016). In October 2016, as part of the Saltykov Readings, a presentation of the multi-information album “Saltykiada” took place.
• In 2017, the play “How Saltykov Met Shchedrin” was written by Maxim Naumov. At the exhibition “Saltykiada. The Story of One Book,” held on March 16, 2017, featured 22 new graphic works from the cycle, as well as works from the collections of the Vyatka Art Museum. As part of the exhibition, the book “Saltykiada. How Saltykov met Shchedrin in Vyatka.” Famous people of the city took part in the reading of the play.
• Postage stamps dedicated to Mikhail Saltykov were issued in the USSR.
• They were released in the USSR and Russia

Both adults and children love to read Saltykov-Shchedrin’s fascinating fairy tales. The fact is that they are not like others, as they are rich in vivid images and original plots. The author actually founded a new genre of political fairy tales, in which he combined elements of fantasy with real-life events. All Saltykov-Shchedrin's tales are created on the basis of the traditions of Russian and Western European folklore; they are permeated with satire, the elements of which Shchedrin learned from the great fabulist Krylov.

Read Saltykov-Shchedrin's tales

In all his works, Saltykov-Shchedrin raises the problem of class inequality. His tales also tell about this in an allegorical form. Here, the collective image of the oppressed working people is personified by a positive protagonist - a kind, harmless animal or person whom the author simply calls “a man.” Shchedrin shows lazy and evil rich people in the images of predators or people representing high ranks (for example, generals).

Moreover, the author endows the man with kindness, intelligence, ingenuity, generosity and hard work. He clearly sympathizes with him and, in his person, with all the poor people forced to work hard for rich tyrants all their lives. The man treats his masters with irony, without, however, losing his own dignity.

Also with sympathy in his fairy tales, Saltykov-Shchedrin describes kind, cute animals that suffer from their evil predatory counterparts. He endows the animals with human character traits, making Saltykov-Shchedrin’s fairy tales even more interesting to read. And a thoughtful reader, having had a good laugh at the comical actions of animals, quickly understands that in people’s lives everything happens exactly the same, and that the existing reality is sometimes cruel and unfair.

Born into the wealthy family of Evgraf Vasilyevich Saltykov, a hereditary nobleman and collegiate adviser, and Olga Mikhailovna Zabelina. He received a home education - his first mentor was the serf artist Pavel Sokolov. Later, young Michael was educated by a governess, a priest, a seminary student and his older sister. At the age of 10, Mikhail Saltykov-Shchedrin entered the Moscow Noble Institute, where he demonstrated great academic success.

In 1838, Mikhail Saltykov-Shchedrin entered the Tsarskoye Selo Lyceum. There, for his academic success, he was transferred to study at state expense. At the Lyceum, he began to write “free” poetry, ridiculing the shortcomings around him. The poems were weak; the future writer soon stopped writing poetry and did not like being reminded of the poetic experiences of his youth.

In 1841, the first poem "Lyre" was published.

In 1844, after graduating from the Lyceum, Mikhail Saltykov entered service in the office of the War Ministry, where he wrote free-thinking works.

In 1847, the first story, “Contradictions,” was published.

On April 28, 1848, for the story “A Confused Affair,” Mikhail Saltykov-Shchedrin was sent on official transfer to Vyatka - away from the capital and into exile. There he had an impeccable work reputation, did not take bribes and, enjoying great success, was allowed into all houses.

In 1855, having received permission to leave Vyatka, Mikhail Saltykov-Shchedrin left for St. Petersburg, where a year later he became an official of special assignments under the Minister of Internal Affairs.

In 1858, Mikhail Saltykov-Shchedrin was appointed vice-governor of Ryazan.

In 1860 he was transferred to Tver as vice-governor. During the same period, he actively collaborated with the magazines “Moskovsky Vestnik”, “Russian Vestnik”, “Library for Reading”, “Sovremennik”.

In 1862, Mikhail Saltykov-Shchedrin retired and tried to found a magazine in Moscow. But the publishing project failed and he moved to St. Petersburg.

In 1863, he became an employee of the Sovremennik magazine, but due to microscopic fees he was forced to return to service.

In 1864, Mikhail Saltykov-Shchedrin was appointed chairman of the Penza Treasury Chamber, and was later transferred to Tula in the same position.

In 1867, as head of the Treasury Chamber, he was transferred to Ryazan.

In 1868, he again retired with the rank of a truly state councilor and wrote his main works “The History of a City,” “Poshekhon Antiquity,” “The Diary of a Provincial in St. Petersburg,” and “The History of a City.”

In 1877, Mikhail Saltykov-Shchedrin became the editor-in-chief of Otechestvennye zapiski. He travels around Europe and meets Zola and Flaubert.

In 1880, the novel “Gentlemen Golovlevs” was published.

In 1884, the journal “Domestic Notes” was closed by the government and Mikhail Saltykov-Shchedrin’s health condition deteriorated sharply. He has been sick for a long time.

In 1889, the novel “Poshekhon Antiquity” was published.

In May 1889, Mikhail Saltykov-Shchedrin fell ill with a cold and died on May 10. He was buried at the Volkovskoye cemetery in St. Petersburg.

Mikhail Evgrafovich Saltykov-Shchedrin was born on January 15 (27), 1826 in the village of Spas-Ugol, Tver province, into an old noble family. The future writer received his primary education at home - he was taught by a serf painter, sister, priest, and governess. In 1836, Saltykov-Shchedrin studied at the Moscow Noble Institute, and from 1838 at the Tsarskoye Selo Lyceum.

Military service. Link to Vyatka

In 1845, Mikhail Evgrafovich graduated from the lyceum and entered service in the military chancellery. At this time, the writer became interested in the French socialists and George Sand, and created a number of notes and stories (“Contradiction”, “An Entangled Affair”).

In 1848, in a short biography of Saltykov-Shchedrin, a long period of exile began - he was sent to Vyatka for freethinking. The writer lived there for eight years, first serving as a clerical official, and then was appointed adviser to the provincial government. Mikhail Evgrafovich often went on business trips, during which he collected information about provincial life for his works.

Government activities. Mature creativity

Returning from exile in 1855, Saltykov-Shchedrin entered service in the Ministry of Internal Affairs. In 1856-1857 his “Provincial Sketches” were published. In 1858, Mikhail Evgrafovich was appointed vice-governor of Ryazan, and then Tver. At the same time, the writer was published in the magazines “Russian Bulletin”, “Sovremennik”, “Library for Reading”.

In 1862, Saltykov-Shchedrin, whose biography had previously been associated more with career than with creativity, left public service. Stopping in St. Petersburg, the writer gets a job as an editor at Sovremennik magazine. Soon his collections “Innocent Stories” and “Satires in Prose” will be published.

In 1864, Saltykov-Shchedrin returned to service, taking the position of manager of the treasury chamber in Penza, and then in Tula and Ryazan.

The last years of the writer's life

Since 1868, Mikhail Evgrafovich retired and was actively involved in literary activities. In the same year, the writer became one of the editors of Otechestvennye Zapiski, and after the death of Nikolai Nekrasov, he took the post of executive editor of the magazine. In 1869 - 1870, Saltykov-Shchedrin created one of his most famous works - “The History of a City” (summary), in which he raises the topic of relations between the people and the authorities. Soon the collections “Signs of the Times”, “Letters from the Province”, and the novel “The Golovlev Gentlemen” will be published.

In 1884, Otechestvennye zapiski was closed, and the writer began to publish in the journal Vestnik Evropy.

In recent years, Saltykov-Shchedrin’s work has reached its culmination in the grotesque. The writer publishes the collections “Fairy Tales” (1882 – 1886), “Little Things in Life” (1886 – 1887), “Peshekhonskaya Antiquity” (1887 – 1889).

Mikhail Evgrafovich died on May 10 (April 28), 1889 in St. Petersburg, and was buried at the Volkovsky cemetery.

Chronological table

Other biography options

• While studying at the Lyceum, Saltykov-Shchedrin published his first poems, but quickly became disillusioned with poetry and left this activity forever.
• Mikhail Evgrafovich made popular the literary genre of the social-satirical fairy tale, aimed at exposing human vices.
• The exile to Vyatka became a turning point in Saltykov-Shchedrin’s personal life - there he met his future wife E. A. Boltina, with whom he lived for 33 years.
• While in exile in Vyatka, the writer translated the works of Tocqueville, Vivien, Cheruel, and took notes on Beccari’s book.
• In accordance with the request in the will, Saltykov-Shchedrin was buried next to the grave

Mikhail Evgrafovich Saltykov-Shchedrin (1826 - 1889) - famous writer and satirist.

The famous satirist Mikhail Evgrafovich Saltykov (pseud. N. Shchedrin) was born on January 15 (27), 1826 in the village. Spas-Ugol, Kalyazinsky district, Tver province. He comes from an old noble family, a merchant family on his mother’s side.

Under the influence of socialist ideas, he came to a complete rejection of the landowner way of life, bourgeois relations and autocracy. The writer's first major publication was "Provincial Sketches" (1856-1857), published on behalf of the "court adviser N. Shchedrin."

After a decisive rapprochement with the Social Democrats in the early 1860s. was forced in 1868 to temporarily withdraw from large-scale activities in the editorial office of the Sovremennik magazine due to the crisis of the democratic camp; from November 1864 to June 1868 he was engaged in provincial administrative activities successively in Penza, Tula and Ryazan.

He served in Tula from December 29, 1866 to October 13, 1867 as manager of the Tula Treasury Chamber.

The peculiar features of Saltykov’s character, which he displayed during the leadership of an important government agency in Tula, the most expressive features of his personality were captured by the Tula official I. M. Mikhailov, who served under him, in an article published in the Historical Bulletin in 1902. At an administrative post in Tula, Saltykov energetically and in his own way fought against bureaucracy, bribery, embezzlement, stood for the interests of the lower Tula social strata: peasants, handicraftsmen, petty officials.

In Tula, Saltykov wrote a pamphlet on Governor Shidlovsky, “The Governor with a Stuffed Head.”

Saltykov’s activities in Tula ended with his removal from the city due to acute conflict relations with the provincial authorities.

In 1868, this “restless man” was finally dismissed by order of Emperor Alexander II as “an official imbued with ideas that do not agree with the types of state benefits.”

Continuing his writing career, Saltykov opened the 1870s with the work “The History of a City,” where, according to Tula local historians, the portrait description of the mayor Pyshch contains living features of Governor Shidlovsky.

Tula and Aleksin are mentioned by Saltykov in his works “Diary of a Provincial in St. Petersburg” and “How One Man Fed Two Generals.” Saltykov apparently relied on Tula practical experience in one of his “Letters from the Province.” However, local historians agree that it is difficult to take into account with documentary accuracy which other Shchedrin works reflected Tula impressions.

Saltykov-Shchedrin's stay in Tula is marked by a memorial plaque on the building of the former state chamber (Lenin Ave., 43). Documents about the writer’s professional activities are stored in the State Archive of the Tula Region. Tula artist Yu. Vorogushin created eight etchings and illustrations for “The History of a City” in memory of the satirist.