"Compositional parts of a fairy tale: proverb, beginning, ending". Vladimir Propp Morphology of a "fairy" tale

The study of a fairy tale in many respects can be compared with the study of organic formations in nature. Both the naturalist and the folklorist deal with types and varieties of phenomena that are essentially the same. The question of the "origin of species", posed by Darwin, can also be posed in our field.

The similarity of phenomena both in the kingdom of nature and in our country does not lend itself to direct, precisely objective and absolutely convincing explanation. It presents a problem. Both here and there two points of view are possible: either the internal similarity of two externally unrelated and unrelated phenomena is not raised to a common genetic root - theory self-origin species, or this morphological similarity is the result of a well-known genetic relationship - the theory of origin through metamorphoses and transformations, traced to one reason or another.

In order to resolve this issue, first of all, it is necessary to elucidate the question of the nature of the similarity of fairy tales. Until now, this similarity has always been determined by the plot and its variants. This method is acceptable only if you take the point of view of the independent emergence of species. Proponents of this method do not compare plots with each other, and such a comparison is considered impossible or, in any case, erroneous.

Without denying the benefits of subject study and comparison only from the point of view of plot similarity, one can put forward another method, another unit of comparison. Fairy tales can be compared in terms of composition or structure, and then their similarity will appear in a new light.

It can be observed that the characters of fairy tales, no matter how diverse they are in their appearance, age, sex, occupation, in their nomenclature and other static, attributive signs, do the same in the course of the action. This determines the ratio of the values ​​of the constants to the values ​​of the variables. The functions of the actors are constant values, everything else can change.

1. The Tsar sends Ivan for the princess. Ivan leaves.
2. The Tsar sends Ivan for a curiosity. Ivan leaves.
3. Sister sends brother for medicine. The brother leaves.
4. Stepmother sends stepdaughter for fire. The stepdaughter leaves.
5. The blacksmith sends a laborer for a cow. The farm laborer leaves. etc.

Sending and questing are constant values.

Sending and departing characters, motivation for sending, etc. are variable values. In the future, the stages of searches, obstacles, etc. - again may coincide in essence, not coinciding in their design in images. The functions of the actors can be distinguished.

Fairy tales know 31 functions. Not all fairy tales provide all functions, but the absence of some does not respond to the order of alternation of others. Their totality forms one system, one composition. This system is found to be extremely robust and extremely widespread.

The researcher gets the opportunity to determine quite precisely that, for example, the ancient Egyptian tale of two brothers, and the tale of the firebird, the tale of Frost, the fisherman and the fish, as well as a number of myths, admit a common concept. This is confirmed by the analysis of the details. 31 functions do not exhaust the system. A motive such as "Baba Yaga gives Ivan a horse" consists of four elements, of which only one is a function, and the other three are static.

The tale knows about 150 of all the elements, all the constituent parts. Each of these elements can be titled according to its meaning for the course of action. So, in the given example, Baba Yaga is a character giving, the word "transfers" is a moment of supply, Ivan is a character being gifted, a horse is a gift.

If the titles for all 150 elements of a fairy tale are written out in the order in which it is dictated by the fairy tale itself, then all fairy tales will be written out under such a table, and vice versa: everything that subscribes to such a table is a fairy tale, everything that is not subscribes, - there are tales of a different formation, of a different category.

These components are to be compared. This would correspond in zoology to the comparison of vertebrae with vertebrae, teeth with teeth, etc. But there is one big difference between organic formations and a fairy tale, which makes our task easier.

While there a change in one part or one characteristic leads to a change in another characteristic, in a fairy tale each part can change independently of the other parts.

This phenomenon is noted by many researchers, although there are still no attempts to draw all methodological and other conclusions from it. So Krohn, while agreeing with Spies on the issue of the relocation of the component parts, nevertheless considers it necessary to study the tale in whole formations, and not in parts, without putting forward compelling arguments for his position (characteristic of a representative of the Finnish school). From this we draw the conclusion that it is possible to study the constituent parts of a fairy tale, regardless of what plot they are included in. The study of headings vertically reveals the norms, the paths of transformation.

What is true for each element separately will turn out to be true for whole formations due to the mechanical nature of the connection of the component parts.

V.Ya. Propp. Poetics of Folklore - M., 1998

People get to know them since childhood. The main function of fairy tales is educational, because they teach kindness, disinterestedness, altruism.

The history of Russian folklore includes a large number of fairy tales. Many of them come in several flavors.

Fairy tale and its genre varieties

Fairy tales can be different. The main classification divides them as follows:

1. The tale of animals. The main characters and characters are animals. In Russian literature, every animal is an allegory of some kind.For example, a fox personifies cunning, a hare - cowardice, etc.

2. Has a rather complex composition. The beginning of such a tale, as a rule, is the beginning. In a fairy tale, it is that which expresses the moral, the main idea and the idea.

3. Novelistic tale. A hero is a person who does amazing things. Only if magic objects or unusual animals help in magic, then in short stories the character uses only his mind.

4. Everyday tale. It tells about a person's life in an ordinary world without magic.

Each tale begins in its own way. The beginnings of Russian fairy tales deserve great attention, however, before considering them, it is necessary to get acquainted with structural elements traditional fairy tale.

The structure of the tale

The tale begins at the beginning. After him, the main events begin. The hero finds himself in an extraordinary situation. Then in the tale there are twists and turns - actions. The heroes intersect with each other. The most crucial moment comes - the climax. After the climax, there is a decline in events, and subsequently - a denouement.

This is the structure of ordinary history.

A little about the beginning

The beginning in a fairy tale is the beginning of a fairy tale. It can be short (one sentence), or it can be a whole paragraph long. The beginning introduces the reader into a fairy tale. He gives initial information about the characters, for example, "there once was a peasant."

The beginning in a fairy tale is a small digression that sets the tone for the story. The main goals of the initiation:

1. Attract the attention of the audience. The origins of the Russians folk tales can represent a proverb or a saying. The reader or listener wonders how this tale associated with the sentence indicated in the beginning.

2. Set the tone for the story. The origin often determines the genre of the work. A similar technique was used by Russian classics, for example, the Saltykov-Shchedrin fairy tale " Wise minnow"begins with the words:" Once upon a time there was a gudgeon. "

Thus, the inception is the main structural unit of a fairy tale, which sets the reader up to read the work and determines the genre originality.

Origins in Russian fairy tales

It is difficult to find a person who could not remember at least one beginning. In a fairy tale, this is the main part, so it is difficult to do without it.

Most fairy tales begin with the words "once upon a time ...", "once upon a time ...". The peculiarities of this beginning is the repeated repetition of the same root words.

No less well-known are the beginnings of Russian folk tales, which begin with the words "in a certain kingdom, in a certain state ...". A similar beginning - "in the distant kingdom, in the thirtieth state ... "Such introductions are characteristic of fairy tales.

Sometimes fairy tales open with sayings with the word "beginning", for example, "the beginning paints a business" or "every business has a beginning, every tale is a beginning." After such an introduction, the story itself begins.

Thus, we can draw the following conclusion: the beginning is a special beginning of a fairy tale, characteristic of the works of Russian folklore. It can act either as a fairy tale, or carry a certain semantic load.

Russian fairy tale

Russian heroic epic

Russian agrarian holidays

Poetics of folklore

The problems of comic and laughter

Stories. Diary. Memories

Moscow Labyrinth

V.Ya.Propp

(Collection of works)

MORPHOLOGY<ВОЛШЕБНОЙ>FAIRY TALES

Moscow Labyrinth 1998

MORPHOLOGY<ВОЛШЕБНОЙ>FAIRY TALES 5

Foreword 5

I. To the history of the issue 6

II. Method and material 18

III. Functions of the actors 23

IV. Assimilation. Cases of double morphological significance of one function 51

V. Some other elements of the tale 54

A. Auxiliary elements for linking functions to each other 54

B. Auxiliary Elements for Triples 56

C. Motivation 57

Vi. Distribution of functions by actors 60

Vii. Ways to include new faces in the course of action 64

VIII. Character Attributes and Their Meanings 66

IX. Fairy tale as a whole 69

A. Ways to combine stories 69

B. Example Analysis 73

C. Question about classification 75

D. On the relationship of particular forms of structure to the general system 79

E. The question of composition and plot, plots and options 87

Conclusion 89

APPENDIX I 91

APPENDIX II 97

APPENDIX III 103

NOTES ON SEPARATE DIAGRAMS 104

ANNEX IV 108

Appendix V Translation of the numbering of the pre-revolutionary editions of Afanasyev's fairy tales to the numbering of the post-revolutionary editions

Schemes for parsing fairy tales Beginning End

Vladimir Yakovlevich Propp. Morphology<волшебной>fairy tales. Historical roots fairy tale. (Collected works of V. Ya. Propp.) Comments by E. M. Meletinsky, A. V. Rafaeva. Compilation, scientific edition, textual commentary by I. V. Peshkov. - Publishing house "Labyrinth", M., 1998. - 512 p.

Editor G. N. Shelogurova Artist I. E. Smirnova Computer typesetting: 14. E. Eremin

For the first time, the famous dilogy about a fairy tale is published as a single (according to the author's idea) work. Extensive commenting articles, a bibliography, a personal index, an index of characters turn the book into an educational and reference manual for fairy tales, and an unusually wide scope of humanitarian material, the depth of its development and an intelligible style of presentation have long introduced its constituent works in the world cultural fund modern educated person.

© Propp M.V., text © Meletinsky E.M., Rafaeva A.V., comments

© Publishing house "Labyrinth", editing, compilation, indexes, design, 1998

All rights reserved

ISBN 5-87604-065-7 (vol. 2) ISBN 5-87604-067-3

Morphology<ВОЛШЕБНОЙ> FAIRY TALES

Foreword

Morphology must still be legitimized as a special science, making its main subject what others interpret on occasion and in passing, collecting what is scattered there, and establishing a new point of view that makes it easy and convenient to consider things of nature. The phenomena she deals with in the highest degree significant; those mental operations with which she compares phenomena are consistent with human nature and are pleasant to her, so that even a failed experience will nevertheless combine benefit and beauty.

Goethe.

Word morphology, means the study of forms. In botany, morphology is understood as the teaching about the constituent parts of a plant, about their relationship to each other and to the whole, in other words, the teaching about the structure of a plant.

On the possibility of a concept and a term morphology of the tale nobody thought. Meanwhile, in the field of the people, folk tale consideration of the forms and the establishment of the regularities of the order is possible with the same precision with which the morphology of organic formations is possible.

If this cannot be asserted about the fairy tale as a whole, in all its volume, then in any case it can be asserted about the so-called fairy tales, about fairy tales "in the proper sense of the word." This work is devoted only to them.

The experience offered is the result of a fairly painstaking work. Such comparisons require some patience from the researcher. But we tried to find a form of presentation that would not tempt the patience of the reader too much, simplifying and shortening where possible.

The work has gone through three phases. Initially, it was a broad study with a large number of tables, diagrams, and analyzes. It turned out to be impossible to publish such a work due to its large volume. A reduction was undertaken calculated for a minimum volume at a maximum content. But such an abbreviated, concise presentation would not have been within the reach of an ordinary

to the reader: it was like a grammar or a harmony textbook. The presentation had to be changed. True, there are things that cannot be stated in a popular way. They also exist in this work. But nevertheless, it seems that in its present form, work is available to every lover of a fairy tale, if only he himself wants to follow us into the labyrinth of fabulous diversity, which in the end will appear before him as a wonderful uniformity.

In the interests of a more concise and lively presentation, it was necessary to sacrifice much that a specialist would value. In its original form, the work covered, in addition to those parts that are given below, also the exploration of a rich area of ​​attributes of characters (ie, characters as such); she dealt in detail with the questions of metamorphosis, that is, the transformation of a fairy tale; included large comparison tables(only their titles remained in the appendix), the whole work was preceded by a more rigorous methodological outline. It was supposed to give a study of not only the morphological, but also a very special logical structure of the tale, which prepared the historical study of the tale. The presentation itself was more detailed. Elements that are only highlighted here as such have undergone detailed consideration and comparison. But the selection of elements is the axis of all work and predetermines conclusions. An experienced reader will be able to finish the sketches himself.

I. TO THE HISTORY OF THE ISSUE

The history of science always takes on a very important aspect at the point where we are; we appreciate, however, our predecessors and to a certain extent we thank them for the service they rendered us. But no one likes to regard them as martyrs who were led by an irrepressible attraction into dangerous, sometimes almost hopeless situations; and yet, the ancestors who laid the foundation for our existence often have more seriousness than the descendants who have lived out this legacy.

Goethe.

In the first third of our century, the scientific literature about the fairy tale was not very rich. In addition to the fact that few works were published, bibliographic summaries showed the following picture: most of all were published texts, there were quite a lot of works on specific issues and relatively few works of a general nature. If they did exist, then in most cases they were not strictly research, but philosophical and amateurish.

They resembled the works of erudite natural philosophers of the last century, while we needed accurate observations, analyzes and conclusions. Here is how prof. M. Speransky: "Without dwelling on the findings, scientific ethnology continues to search, considering the collected material is still insufficient for general construction... Thus, science again turns to the collection of material and to the processing of this material in the interests of future generations, but what these generalizations will be and when we will be able to make them is unknown "(Speransky 400).

What is the reason for this impotence, this dead end, into which the science of the fairy tale has buried itself in the 1920s?

Speransky blames the lack of material for this. But many years have passed since the above lines were written. During this time, completed the major work of I. Volte and G. Polivka, entitled "Notes on the fairy tales of the Brothers Grimm" (Bolte, Polivka). Here, for each fairy tale of this collection, options from all over the world are summed up. The last volume ends with a bibliography containing sources, that is, all collections of fairy tales known to the authors and other materials containing fairy tales. This list covers about 1200 titles. True, among the materials there are also random, small materials, but there are also major collections, such as "A Thousand and One Nights" or the Afanasyevsky collection with its 400 texts. But that is not all. Great amount fabulous material has not yet been published, some of it has not even been described. It is kept in the archives of various institutions and private individuals. Some of these collections are available to the specialist. Due to this, the material of Bolte and Polivka can be increased in some cases. But if this is so, then how many fairy tales do we have at our disposal at all? And further: are there many such researchers who have covered at least one printed material?

Under such conditions, it is completely unnecessary to say that "the collected material is still insufficient."

So, it's not about the amount of material. The point is different: the methods of study.

While the physical and mathematical sciences have a harmonious classification, a unified terminology adopted by special congresses, a methodology that has been improved by continuity from teachers to students, we do not have all of this. The variegation and colorful variety of the fairytale material lead to the fact that clarity, accuracy in the formulation and solution of questions is achieved only with great difficulty. This essay does not pursue the goal of giving a coherent account of the history of the study of a fairy tale. In a short introductory chapter, this is not possible, and it is not really necessary, since this story has already been told many times. We will try only to critically illuminate the attempts to solve several basic problems of the study of fairy tales and, along the way, introduce the reader into the circle of these problems.

It can hardly be doubted that the phenomena and objects around us can be studied either from the side of their composition and structure, or from the side of their origin, or from the side of those processes and changes to which they are subject. It is also quite obvious and does not require any proof that the origin of any phenomenon can only be spoken about after the phenomenon has been described.

Meanwhile, the study of the tale was carried out mainly only genetically, for the most part without any attempts at a preliminary systematic description. For now, we will not talk about the historical study of fairy tales, we will only talk about their description - for talking about genetics without special coverage of the question of description, as is usually done, is completely useless. It is clear that before elucidating the question of where the tale comes from, it is necessary to answer the question of what it is.

Since the tale is extremely diverse and, apparently, cannot be studied at once over the entire volume, the material should be divided into parts, that is, it should be classified. Correct classification is one of the first steps scientific description... The correctness of further study depends on the correctness of the classification. But, although classification forms the basis of any study, it itself must be the result of a certain preliminary study. Meanwhile, we see just the opposite: most researchers begin with classification, introducing it into the material from the outside, and not deriving it from the material in essence. As we will see later, classifiers, moreover, often violate the most simple rules division. Here we find one of the reasons for the impasse that Speransky speaks of.

Let's dwell on a few samples.

The most common division of fairy tales is the division into fairy tales with wonderful content, everyday life tales, and animal tales *. At first glance, everything seems right. But inevitably, the question arises: do not fairy tales about animals contain an element of the miraculous, sometimes to a very large extent? And vice versa: do they play wonderful fairy tales very big role exactly animals? Can such a feature be considered accurate enough? Afanasyev, for example, ranks the tale of the fisherman and the fish among the tales of animals.

________________

* Suggested by V.F. Miller. This classification essentially coincides with the classification of the mythological school (mythical, about animals, household).

Is he right or wrong? If not, why? Below we will see that the tale with the greatest ease ascribes the same actions to people, objects and animals. This rule is mainly true for so-called fairy tales, but it also occurs in fairy tales in general. One of the most famous examples in this regard is the tale of the division of the harvest ("Me, Misha, tops, your roots"). In Russia, the bear is deceived, and in the west, the devil. Consequently, this tale, with the involvement of the Western version, suddenly drops out of a number of animal tales. Where will she go? It is clear that this is not everyday tale, for where has it been seen that in everyday life the harvest is divided In a similar way? But this is not a fairy tale with wonderful content. It does not fit in this classification at all.

And nevertheless, we will argue that the above classification is fundamentally correct. The researchers here were guided by instinct, and their words do not match what they actually felt. It is unlikely that anyone will be mistaken when referring to the tale of the firebird, and gray wolf to fairy tales about animals. It is also quite clear to us that Afanasyev was mistaken with the tale of the goldfish. But we see this not because animals appear or do not appear in fairy tales, but because fairy tales have a completely special structure, which is felt immediately and determines the category, although we are not aware of this. Any researcher, saying that he classifies according to the given scheme, in fact classifies differently. But, contradicting himself, he is doing the right thing. But if this is so, if the structure of a fairy tale, which has not yet been studied and not even fixed, is subconsciously based on the division, then the whole classification of fairy tales should be put on a new track. It needs to be translated into formal, structural features. And in order to do this, these signs should be studied.

But we are getting ahead of ourselves. The outlined position has remained unclear to this day. Further attempts do not substantially improve. So, for example, in its famous work"The psychology of peoples" Wundt proposes the following division (Wundt 346 ff.):

1) Mythologische Fabelmarchen (Mythologische Fabelmarchen).

2) Pure fairy tales (Reine Zaubermarchen).

3) Biological tales and fables (Biologische Marchen und Fabein).

4) Pure Animal Fables (Re i ne Tierfabeln).

5) Tales of "origin" (Abstammungsmarchen).

6) Humorous tales and fables (ScherZmarchen und ScherZfabeln).

7) Moral fables (Moralische Fabein).

This classification is much richer than the previous ones, but it also raises objections.

Fable(a term that occurs five times with seven digits) is a formal category. What Wundt meant by this is unclear. The term "playful" fairy tale is generally unacceptable, since the same fairy tale can be interpreted both heroically and comically. The next question is: What is the difference between a "pure animal fable" and a "moral fable"? Why are "pure fables" not "moral" and vice versa?

The analyzed classifications relate to the distribution of fairy tales by discharges. Along with the distribution of tales by category, there is a division by plots.

If the situation with the division into categories is unfavorable, then with the division into plots, complete chaos begins. We will not even talk about what a complex, indefinite concept like a plot is either not specified at all, or is specified by each author in his own way. Looking ahead, we say that the division of fairy tales into plots is essentially impossible at all. It must also be put on new rails, like division by category. Fairy tales have one feature: the constituent parts of one fairy tale can be transferred to another without any change. Below, this law of displacement will be elucidated in more detail, but for now we can restrict ourselves to indicating that, for example, Baba Yaga can be found in a wide variety of fairy tales, in a wide variety of plots. This trait - specific feature fairy tales. Meanwhile, in spite of this peculiarity, the plot is usually defined as follows: one part of the tale is taken (often accidental, just striking), the preposition "o" is added, and the definition is ready. So a fairy tale in which there is a fight with a serpent is a fairy tale "about fighting a snake", a fairy tale in which there is Koschey is a fairy tale "about Koschey", etc., and there is no single principle in the choice of defining elements. If we now recall the law of transferability, then with logical inevitability confusion, or, more precisely, cross division, results, and such a classification always distorts the essence of the material being studied. Added to this is the inconsistency of the basic principle of separation, that is, one of the most elementary rules of logic is violated. This situation continues to this day.

We will illustrate this point with two examples. In 1924, a book appeared about the fairy tale of the Odessa professor R. M. Volkov (Volkov). Volkov, from the very first pages of his work, determines that a fantastic tale knows 15 plots. These plots are as follows:

1) About the innocent persecuted.

2) About the bad hero.

3) About three brothers.

4) About snake fighters.

5) About getting brides.

6) About the wise virgin.

7) About the sworn and enchanted.

8) About the owner of the talisman.

9) About the owner of wonderful items.

10) About the unfaithful wife, etc.

How these 15 plots were established is not specified. If you look closely at the principle of division, you get the following: the first category is determined by the tie (that there really is a tie, we will see below), the second - by the character of the hero, the third - by the number of heroes, the fourth - by one of the moments of the course of action, etc. Thus, there is no principle of division at all. It turns out to be really chaos. Aren't there fairy tales where three brothers (third grade) get brides for themselves (fifth grade)? Doesn't the owner of the talisman punish the unfaithful wife with this talisman? Thus, this classification is not a scientific classification in the exact sense of the word, it is nothing more than a conditional index, the value of which is highly questionable. And how can such a classification even remotely be compared with the classification of plants or animals, made not by eye, but after an accurate and long preliminary study of the material?

Having touched upon the issue of the classification of plots, we cannot pass over in silence the index of fairy tales by Antti Aarne (Aarne 1911). Aarne is one of the founders of the so-called Finnish school. The works of this school currently represent the pinnacle of fabulous study. This is not the place to properly assess this direction. We will only point out that in the scientific literature there is a fairly significant number of articles and notes on options for individual subjects. Such variants are sometimes obtained from the most unexpected sources. Gradually, a lot of them accumulate, but there is no systematic development. This is where the attention of the new direction is mainly directed. Representatives of this school mine and compare options individual plots on their worldwide distribution. The material is grouped geo-ethnographically according to a well-known, forward-developed system, and then conclusions are drawn about the basic structure, distribution and origin of the plots. However, this technique also raises a number of objections. As we will see below, the plots (especially the plots of fairy tales) are closely related to each other. It is possible to determine where one plot with its variants ends and where another begins is possible only after an inter-plot study of fairy tales and an accurate fixation of the principle of selecting plots and options. But this is not the case.

The relocation of elements is also not taken into account here. The works of this school proceed from the unconscious premise that each plot is something organically integral, that it can be snatched from a number of other plots and studied independently.

Meanwhile, a completely objective separation of one plot from another and the selection of options is not at all an easy matter. The plots of the tale are so closely interconnected, so intertwined with one another, that this issue requires a special preliminary study before the plots are singled out. Without such a study, the researcher is left to his own taste, while objective separation is even simply impossible. Let's give one example. Among the options for the fairy tale "Frau Holle" Bolte and Polivka cite the Afanasiev fairy tale "Baba Yaga" (Af. 102). There are links to a number of other very diverse tales on this plot. But they do not cite the fairy tale "Morozko". The question is - why? After all, here we have the same exile of the stepdaughter and her return with gifts, the same reference own daughter and her punishment. Not only that: after all, both Morozko and "Frau Holle" represent the personification of winter, but in German fairy tale we have personification in the female form, and in the Russian - in the male. But, apparently, "Morozko", due to the artistic brightness of this tale, subjectively fixed itself as a certain fairy-tale type, as a certain independent plot, which may have its own variants. Thus, we see that there are no completely objective criteria for separating one plot from another. Where one explorer will see new plot, the other will see the option and vice versa. We gave a very simple example, and with the expansion and enlargement of the material, the difficulties increase and increase.

But, be that as it may, the methods of this school first of all demanded a list of plots.

The compilation of such a list was undertaken by Aarne.

This list has entered into international use and has rendered the greatest service to the study of the fairy tale: thanks to the Aarne index, the encryption of the fairy tale is possible. The plots are named by Aarne types, and each type is numbered. A short symbol fairy tales (in this case - a reference to the index number) is very convenient.

But along with these advantages, the index also has a number of significant disadvantages: as a classification, it is not free from the mistakes that Volkov makes. The main categories are as follows: I. Fairy tales about animals. II. Actually fairy tales. III. Anecdotes. We easily recognize the old techniques, rebuilt in a new way. (It is somewhat strange that fairy tales about animals do not seem to be recognized as fairy tales proper). Further, I would like to ask: do we have such an accurate study of the concept anecdote, so that they can

it was quite easy to use (cf. fables at Wundt)? We will not go into the details of this classification, but will dwell only on the fairy tales, which are allocated to them in a sub-category. Note by the way that the introduction of subdivisions is one of the merits of Aarne, for the division into genera, species, and varieties was not developed before him. Magic fairy tales cover, according to Aarne, the following categories: 1) a wonderful adversary, 2) a wonderful spouse, 3) a wonderful task, 4) a wonderful helper, 5) a wonderful object, 6) a wonderful strength or skill, 7) other wonderful motives. In relation to this classification, the objections to Volkov's classification can be repeated almost word for word. What about, for example, those fairy tales in which a wonderful task is solved by a wonderful helper, which is very often encountered, or with those fairy tales in which a wonderful wife is a wonderful helper?

True, Aarne does not even strive to create a proper scientific classification: his index is important as a practical reference book, and as such it is of great importance. But Aarne's pointer is dangerous to others. He inspires misconceptions on the merits. In fact, there is no clear distribution into types; it is very often a fiction. If there are types, then they do not exist on the plane as outlined by Aarne, but on the plane of the structural features of similar tales, but more on that later. The closeness of the plots to each other and the impossibility of a completely objective demarcation leads to the fact that when attributing a text to one type or another, you often do not know which number to choose. The correspondence between the type and the text being defined is often only very approximate. Of the 125 fairy tales indicated in the collection of A.I. Nikiforov, 25 fairy tales (i.e. 20%) are classified as types approximately and conditionally, which is noted by A.I. Nikiforov in parentheses (Nikiforov 1927). But if different researchers begin to attribute the same tale to different types, then what can come of this? On the other hand, since the types are determined by the availability of certain highlights, and not by the construction of fairy tales, and one fairy tale can contain several such moments, then one fairy tale sometimes has to be attributed to several types at once (up to 5 numbers for one fairy tale), which does not mean at all that this text consists of five plots. This fixation method is essentially a definition by component parts... For a well-known group of fairy tales, Aarne even deviates from his principles and suddenly, completely unexpectedly and somewhat inconsistently, instead of dividing into plots, he switches to a division based on motives. This is how one of his subdivisions is assigned to him, a group which he titles "about the stupid line."

But this inconsistency is again an instinctively taken the right way... Below we will try to show that the study by fractional component parts is The right way studying.

Thus, we see that with the classification of the tale, the situation is not entirely safe. But classification is one of the first and most important stages of study. Let us recall at least how important Linnaeus' first scientific classification was for botany. Our science is still in the Dolinnean period.

We move on to another critical area study of a fairy tale: to describe it in essence. The following picture can be observed here: very often researchers who touch upon the issues of description do not engage in classification (Veselovsky). On the other hand, classifiers do not always describe the tale in detail, but study only some aspects of it (Wundt). If one researcher deals with both, then the classification does not follow the description, but the description is carried out within the framework of a biased classification.

A. N. Veselovsky spoke very little about the description of the tale. But what he said is of great importance. Veselovsky understands a plot as a complex motives. The motive can be confined to various subjects (Veselovsky 1913). ("A series of motives - a plot. A motive grows into a plot." For Veselovsky, the motive is something primary, the plot is secondary. For Veselovsky, the plot is already an act of creativity, of connection. Hence the need for us to study not so much by plots, but primarily by motives.

If the science of the fairy tale had better got used to Veselovsky's precept: "to separate the question of motives from the question of plots" (ibid., Veselovsky's detente), then many ambiguities would have already been eliminated *.

But Veselovsky's doctrine of motives and plots is only general principle... Specific interpretation of the term by Veselovsky motive currently can no longer be applied. According to Veselovsky, the motive is an indestructible unit of narration ("By motive I mean the simplest narrative unit."

* Volkov's fatal mistake: "A fairy-tale plot is that constant unit from which it is only possible to proceed in the study of a fairy tale" (Volkov 5). Let's answer: the plot is not a unit, but a complex, it is not constant, but changeable, it is impossible to proceed from it in the study of a fairy tale.

However, the motives that he cites as examples are unfolding. If the motive is something logically whole, then every phrase of the fairy tale gives a motive ("the father has three sons" - the motive; "the stepdaughter leaves the house" - the motive; "Ivan fights with the snake" - the motive, etc.). It would not be so bad at all if the motives did not really decay. This would make it possible to compile an index of motives. But let's take the motive "the serpent kidnaps the Tsar's daughter" (not Veselovsky's example). This motive is decomposed into 4 elements, of which each individually can vary. The serpent can be replaced by Koshchei, whirlwind, devil, falcon, sorcerer. The abduction can be replaced by vampirism and various actions that achieve disappearance in a fairy tale. A daughter can be replaced by a sister, bride, wife, mother. The tsar can be replaced by a tsar's son, a peasant, a priest. Thus, contrary to Veselovsky, we must assert that the motive is not single-term, not indecomposable. The last decomposable unit as such does not represent a logical whole. Agreeing with Veselovsky that the part for the description is more primary than the whole (and according to Veselovsky, the motive is more primary than the plot), we will subsequently have to solve the problem of isolating some primary elements differently than Veselovsky does.

What Veselovsky did not succeed in was not possible for other researchers either. As an example of a methodically very valuable technique, one can point to the methods of J. Bedier (Bed i er). The value of Bedier's techniques lies in the fact that he was the first to realize that in a fairy tale there is some kind of relationship between its constant values ​​and variable values. He tries to express this schematically. He calls constant, essential quantities elements and denotes them by the Greek omega (w). The rest, variable quantities, he denotes with Latin letters... Thus, the scheme of one fairy tale gives w + a + b + c, another -- w + a + b + c + n, Further w + m + l + n and so on. But an essentially correct thought is shattered by the impossibility of grasping this omega exactly. What, in essence, are objectively the elements of Bedier, and how to distinguish them, this remains unclear (cf. Oldenburg 1903, where a more detailed assessment of Bedier's methods is given).

In general, little was concerned with the problems of describing a fairy tale, preferring to take a fairy tale as something ready-made, given. Only in our days is the idea of ​​the need for an accurate description becoming wider and wider, although they have been talking about the forms of a fairy tale for a very long time. And indeed, while minerals, plants and animals are described

(and described and distributed precisely according to their structure), while a number of literary genres have been described (fable, ode, drama, etc.), the tale is still studied without such a description. VB Shklovsky has shown how absurd sometimes the genetic study of a fairy tale does not stop at its forms (Shklovsky 1925, 24 ff). He cites as an example famous fairy tale about measuring the earth with the skin. The hero of the tale receives permission to take as much land as can be covered with cowhide. He cuts the leather into straps and covers the ground more than the deceived side expected. VF Miller and others tried to see traces of a legal act here. Shklovsky writes: “It turns out that the deceived side - and in all versions of the tale it is a matter of deception - therefore did not protest against the seizure of land, because the land was generally measured in this way. It turns out to be absurd. as long as you can circle the belt "existed and was known to both the seller and the buyer, then there is not only any deception, but also the plot, because the seller himself knew what he was doing." Thus, the construction of the story to historical reality without considering the features of the story as such leads to false conclusions, despite the enormous erudition of the researchers.

The techniques of Veselovsky and Bedier belong to a more or less distant past. Although these scholars worked mainly as historians of folklore, their methods of formal study were new, essentially correct, but not developed or applied by anyone. Currently, the need to study the forms of a fairy tale does not raise any objections.

The study of the structure of all types of fairy tales is the most necessary precondition for the historical study of the tale. The study of formal laws predetermines the study of historical laws.

However, such conditions can only be met by such a study that reveals the laws of structure, and not such, which is an external catalog of formal devices of the art of a fairy tale. Volkov's book, already mentioned, provides the following method of description. Fairy tales are first of all decomposed into motives. The motives are considered both the qualities of the heroes ("two clever sons-in-law, the third fool"), and their number ("three brothers"), the actions of the heroes ("the father's covenant to be on duty at his grave after death, the covenant performed by one fool"), objects ( "a hut on chicken legs", talismans), etc. Each such motive corresponds to a conventional sign - a letter and a number or a letter and two numbers. More or less similar motives are indicated by one letter with different numbers.

Now the question is: if we are really consistent and designate the entire content of a fairy tale in this way, then how many motives should we get? Volkov gives about 250 designations ( exact list No). It is clear that a lot is missing, that Volkov somehow chose, but how - it is not known. Having singled out the motives in this way, Volkov then transcribes the tales, mechanically translating the motives into signs and comparing the schemes. Similar tales, clearly, provide similar schemes. The transcriptions take up the entire book. The only "conclusion" that can be drawn from such correspondence is the assertion that similar tales are similar to each other - a conclusion that does not commit to anything and does not lead to anything.

We see the nature of the problems developed by science. A poorly prepared reader may have a question: is not science engaged in such abstractions that, in essence, are not at all necessary? Is it all the same whether the motive is decomposed or not decomposed, is it all the same how to highlight the main elements, how to classify a fairy tale, whether to study it based on motives or plots? I involuntarily want to ask some more specific, tangible questions - questions that are closer to every person, just loving a fairy tale... But such a claim is based on delusion. Let's give an analogy. Is it possible to talk about the life of a language without knowing anything about the parts of speech, that is, about the known groups of words arranged according to the laws of their changes? Living language is a concrete given, grammar is its abstract substratum. These substrates underlie very many life phenomena, and this is precisely where the attention of science is drawn. Without studying these abstract foundations, no concrete given can be explained.

Science is not limited to the issues that are touched upon here. We talked only about those issues that are related to morphology. In particular, we have not touched on the vast area of ​​historical research. These historical investigations may be outwardly more interesting than morphological investigations, and a lot has been done here. But general question: where the fairy tale comes from is generally not permitted, although here too there are undoubtedly laws of origin and development that still await their elaboration. But all the more has been done on individual specific issues. The listing of names and works is meaningless. But we will argue that as long as there is no correct morphological development, there can be no correct historical development... If we do not know how to decompose a fairy tale into its component parts, then we will not be able to make a correct comparison. And if we do not know how to compare, then how can light be shed, for example, on Indo-Egyptian relations or on the relationship of the Greek fable to the Indian, etc.?

If we fail to compare a fairy tale with a fairy tale, then how to study the connection between a fairy tale and religion, how to compare a fairy tale with myths? Finally, just as all rivers flow into the sea, all questions of the study of fairy tales should ultimately lead to the solution of the most important, still unresolved problem - the problem of the similarity of fairy tales throughout the globe... How to explain the similarity of the fairy tale about the frog princess in Russia, Germany, France, India, in America among the Redskins and in New Zealand

The beginning of the tale, the saying, the epic song, the prayer introduction, the ending - these are the parts that make up the structure of the folklore work. They should be distinguished from each other. Difficult compositional construction folk tales are not accidental. Each of the parts available in them plays a specific role.

What is a saying

Most fairy tales, especially magical ones, begin with a saying. Thanks to its existence, the listener is gradually immersed in a special world and thereby prepares to perceive everything.

Reading or listening to a saying, both a child and an adult in their imaginations create the image of Bayun's cat, they see an island in the middle of the ocean, a mighty oak tree with golden chains and a mysterious chest on mighty branches rises on it, a city from an unknown kingdom-state can be seen in the distance.

The peculiarity that distinguishes the proverb: the beginning of a fairy tale, despite its small size (sometimes it is just a few words), is able to immediately immerse the reader in the world of magic and wizardry. And this is very important, because a person is determined not only to enjoy what he read, but also to comprehend the deep folk wisdom that lies in the content of the fairy tale. And without a special attitude, it can be very difficult to achieve this.

Very often, the saying has a humorous character with elements of confusion, gibberish, confusion, wordplay. Thanks to this technique, it is possible to avoid unnecessary edification, but at the same time preserve the educational role of the work.

Functions of the origin

To fully understand in a fairy tale, you need to understand its purpose. It consists in performing several tasks at once:

• to acquaint the reader with the main works;
• tell about the time of the described action;
• give an idea of ​​the place where the events take place.

Young readers should understand that the beginning of a fairy tale is very important. Already at the very beginning of the work, you can get a lot of information, which in the future will help to fully understand the image of the heroes, their characters and actions.

The beginning of the tale will certainly indicate that the language of the work, with which you are going to get acquainted, is completely different from everyday speech. An example of this can be the following expressions: "in a certain kingdom, in a certain state", "golden poppies", "there is a tree", "a fairy tale tells," "sea-okyan" and many other "fabulous" words.

The beginning of fairy tales, their variety

The origins of fairy tales and endings have a huge variety, they are distinguished by structure, language, semantic content. Only about 36% of folklore works have a traditional beginning. It is known to every person brought up on the traditions of C early childhood when a child is told a fairy tale, he hears the following words: "Once upon a time ..." All in all, when presenting fairy tales, at least nine varieties of beginnings are used.

The ending

"That's the end of the fairy tale, and who listened - well done!" - the traditional form of the ending of many folk tales. In addition to the given example, at least five more options are known with the help of which the storyteller can finish the story he has told. Knowing what an opening in a fairy tale is and what it is used for, it is not difficult to guess for what purpose the ending is used. Fabulous actions must be brought to a logical conclusion. A well-composed ending of the work helps to do this. For example, the storyteller can end the story like this: "They live and live and make good!", "It often happens!", "They live, they chew bread!" Sometimes the storyteller may end a story quite unexpectedly, but he must remember that the ending sums up everything that has been said.

Other features of the structure of a folklore work

Fairy tales, its main part, the ending may contain repetitions. Each new repetition is somewhat different from the previous one, and thanks to this the reader can guess how the whole story will end.

The poetic parts naturally fit into the structure of folk tales, which gives the work a musicality, tunes the reader to a special poetic wave.

The poems used by the storyteller have their own characteristics. The readers are greatly interested in fairy-tale narratives completely written in such a verse. Writers call it fantastic.

In the process of presenting the content of a fairy tale, the narrator sometimes has to not only speak, but even sing, since the heroes often use just this among themselves. Suffice it to recall the fairy tales "Sister Alyonushka and Brother Ivanushka", "The Cat, the Rooster and the Fox", "The Wolf and the Seven Kids" and others.

Onomatopoeia, lively dialogue between epithets, comparisons, hyperbole make works folk art bright and inimitable. After all, it is not for nothing that Russian fairy tales are loved by everyone, young and old: folklore contains not only wisdom, but also true beauty Russian word.

Topic: Compositional parts of a fairy tale: proverb, beginning, ending.

Target: Systematization of knowledge in the theory of literature (compositional derivatives)

Student tasks:

1. To know the compositional parts of the tale.

2. Learn to find them in the text.

3. Make a fairy tale in compositional parts.

Estimated results:

1.Know from which compositional parts consists of a tale and their definition.

2. They are able to find compositional parts in the text.

3. Make up their own fairy tale, using all of its compositional parts.

During the classes.

I ... Motivational stage.

1. Psychological attitude to the lesson.

Screening of the cartoon "Team Interaction" at interactive whiteboard.

Questions after viewing:

2. Formation of groups.

The teacher appoints group leaders:

Choose one student for himself - the speaker, the speaker will choose the secretary, the secretary - the time speaker.

Show how you feel in the group with an emoticon.

Repetition of the rules of work in groups.

4. Goal setting.

Teacher.

Read the text on the cards and take notes. ("Insert" method)

Students read the text on the card and make notes:

"!" - I know, I agree;

"-" - disagree;

"+" - interesting and unexpected;

"?" - I don't know, I want to know.

After filling in the table, a question is asked to the class:

What got you interested in working with the spreadsheet? (They answer and stop at the mark "I don't know, I want to know"

I want to help you gain new knowledge. Define the topic for today's lesson.

What is a proverb, an inception, an ending in a fairy tale.

For what purpose do you want to know this?

To find a saying, a beginning, an ending in fairy tales. In order to correctly compose an interesting beautiful fairy tale by ourselves.

Let's write the topic of the lesson in a notebook.

II ... Operational stage.

1. Determination of the compositional parts. Work in pairs. Method "Forecasting".

Teacher: Each pair has a card. Consider and try to determine with the help of arrows a saying, an opening, an ending. (Cards of two variants are used)

Option 1

Name_________

1) Oh, doo-doo! On the oak

A raven burst into the pipe.

And miracles went:

The skies turned blue

Sails went out to sea,

Dark forests arose.

2) There lived a grandfather and a woman. Grandfather says to the woman:

You, woman, bake pies, and I'll harness the sleigh, go for fish ....

3) So they began to live - to live and make good money.

ENDING

THE PRESENTATION

ZACHIN

Option 2.

Name_________

1) And in a forest hut

The stove was flooded -

Cloudberry pies

The bunny began to bake.

Eat pirogov

Listen to the fairy tale.

2) In the old days, one king had three sons. Behold, when the sons grew older, the king gathered them together and said:

My dear sons, while I am not old yet, I would like to marry you, to look at your children, my grandchildren ...

3) And I was there. He drank honey-beer, flowed down his mustache, but did not get into his mouth.

ENDING

THE PRESENTATION

ZACHIN

2.Verification. Mutual verification of pairs by key in the textbook (pp. 39-40. Literary reading, Grade 2)

Who identified correctly? Who did not succeed, do not be discouraged, now you will read precise definition concepts and you will be able to correctly find a saying, a beginning and an ending in fairy tales. (Self-reading the rules in the textbook Pages 39-40. Work in groups)

How does a fairy tale differ from a story?

The story has no proverb, no beginning or ending.

How do we distinguish a fairy tale?

The words "lived-were", "once." Positive and negative characters... Good and evil. Good wins.

3. Determination of the sequence of compositional parts of the tale. (Group work)

Arrange the cards with the names of the compositional parts in the order in which you think the compositional parts are located in the fairy tale.

Cards:

Adage

inception

ending

4. Verification by the "Delegation" method. Delegates from groups go to other groups and see the work done. Their thoughts, assessment and suggestions are left on the sticker. In each group, a speaker remains who presents the work of his group.

Adage

inception

ending

5. Physics "Fun exercise" on an interactive board.

6. Consolidation of the studied material.

Cards with multilevel tasks. (Justify your choice)

1st level.

Assignment: Read the tale and divide it into compositional parts.

The tale will be entertaining. Listen to it carefully. Whoever opens his ears wide will learn a lot of all sorts of things. And who accidentally falls asleep - he will leave with nothing.

Once in the spring, an icicle lived on the roof of a house, which really wanted to have a kerchief.

And then one morning a little girl ran by. The baby was in a hurry to Kindergarten and did not notice how the kerchief from her shoulders fell directly onto the asphalt. The icicle, due to her youth and inexperience, thought that the kerchief was left as a gift for her. All morning she wondered how to get to the kerchief. The day came, the sun shone brightly and strongly. The icicle, carried away by her thoughts, was slowly melting and dripping down, right onto the kerchief ... She did not notice how the whole thing melted ... The kerchief, damp from the water, dried out by the evening under the sun's rays. And in the evening the girl, returning home from the kindergarten, found her in the very place where she left in the morning. That's the end of the fairy tale, but who listened well!

2nd level.

Cut text cards.

Assignment: Read the tale, collecting the parts correctly.

At that ancient time, when the world of God was filled with goblin, witches and mermaids, when milk rivers flowed, the banks were jelly, and fried partridges flew across the fields, at that time there was a king named Peas ...

In the old days, King Peas fought with mushrooms.

The boletus mushroom, the colonel over the mushrooms, the sidyuchi under the oak tree, looking at all the mushrooms, began to order:
- Come, you white women, to my war!
The whites refused:
- We are pillar noblewomen! Let's not go to war!
- Come, you mushrooms, to my war! The mushrooms refused:
- We are rich men! Let's not go to war!
- Come, you volnushki, to my war! Waves refused.
- We, the waves, are old women! Let's not go to war!
- Come you, openki, to my war! Refused detections:
- Our legs are very thin! Let's not go to war!
- Come, milk mushrooms, to my war!
- We, milk mushrooms, - the guys are friendly! Let's go to war!

So the mushrooms of the Tsar Pea won!

And I was there. He drank honey-beer for the victory. It flowed down the mustache, but did not get into the mouth.

Level 3 (talented and gifted)

Assignment: Verbally compose a fairy tale using all the compositional parts.

7. Presentation of the work done by the speakers of the groups.

III .Reflection.

1.Checking the assimilation of the topic.

Here is a test. Think back to what you learned today and answer the questions.

Mini test.

1.Help

a) the idea of ​​\ u200b \ u200bthe tale, its heroes

b) lured to a hearing

c) good triumphs over evil.

2.Zachin

a) the idea of ​​\ u200b \ u200bthe tale, its heroes

b) lured to a hearing

c) good triumphs over evil.

3.Ending

a) the idea of ​​\ u200b \ u200bthe tale, its heroes

b) lured to a hearing

c) good triumphs over evil.

2.Verification.

Look at the whiteboard and check your work (key on the interactive whiteboard)

Rate your test.

If:

all answers are correct - smiley "smiles"

one, two answers are not correct - smiley "sad"

3.The result of the lesson - the method "Unfinished sentences"

In a circle, speak in one sentence, choosing the beginning of the phrase from the reflective screen on the board.

Today I found out ... ..

It was interesting…..

It was difficult….

I performed tasks ... ..

I realized that ... ..
Now I can….

I felt that….

I have purchased….

I learned….

I managed…

4. Homework.

Repeat the rule on page 39-40.

Compose a proverb, an opening or an ending - at will, to choose from.