They differ from other fairy tales and their style, their verbal outfit, form of their performance. It is necessary, however, to keep in mind that in the form of execution and in style it has, as already indicated, two types of these fairy tales. Some are told epically calmly and slightly, like any other fairy tales. They can be called cumulative only according to the composition underlying them. Such is, for example, "Mena", which is usually referred to by the novelist, or the fairy tale "for a cake ringer", attributable to fairy tales about animals. To the same "epic" belongs to a fairy tale of clay guy, about the dreams of thrush, etc.

But along with that there is another, brighter and typical type of cumulative fairy tales. The journey or increasing of events here corresponds to the hearing of words. Such can be called "formal". The boundary between these two types of unstable. The same type can be fulfilled with different masters in one way or another. But the types of fairy tale to one or another method of execution is undoubtedly available. In the latter case, with the joining of each new link, all previous links are often repeated. So, in the fairy tale, "Terem Mukhu", each newcomer asks: "Terem teremok, who lives in a terme?" The answer lists all those who came, that is, at first, then two, then three, etc. in repetitions and consists of all the charm of these fairy tales. All the meaning of them in colorful artistic performance. So, in this case, each beast is characterized by some kind of laptop, usually in rhyme (loss-foam, flea-dying, mouse-Norbishka, Mushech-ka-tutyruyushka, lizard-sherochka, frog-cuckoo, etc.). The execution of them requires the greatest skill: they sometimes come close to patter, sometimes come across. All of their interest is interest in the word as such. The nudity of words is interesting only when the words themselves are interesting. Therefore, such fairy tales to rhyme, verses, Connce and Assonance and in this desire do not stop before bold neoplasms. So, the hare is named "On Yura Assist", Lisitsa - "Everywhere-Jokish", the mouse is "because of the angle of hlysthen", etc.

These features of cumulative fairy tales make their favorite children who love new, sharp and bright words, patter, etc., therefore, the cumulative fairy tales with full right can be called, most advantage of the children's genre.

On the origin of cumulative fairy tales

Now, when even the exact inventory of cumulative fairy tales is not made, and often they are not realized as a special discharge, the problems of cumulative fairy tale can not be resolved with sufficient completeness. The principle of cumulation is felt by us as relic. The modern educated reader, however, will be happy to read or listen to a number of such fairy tales, admiring the most commonly verbal cloth of these works, but these fairy tales do not correspond to our forms of consciousness and artistic creativity. They are a product more early form Consciousness. We have the location of phenomena in a row, where modern thinking and artistic will no longer enumerate the entire row, and would jump over all the links to the last and decisive.

A detailed study of fairy tales should show which rows here are and what logic processes them correspond.

Primitive thinking does not know space as a product of abstraction, it does not know generalizations at all. It knows only the empirical distance. Space and in life, and in fantasy is overcome not from the initial link to the final, but through concrete, the data can be mediated: so go blind, move from the subject to the subject. Nanice is not only artistic reception, but also a form of thinking, which affects not only in folklore, but also in the phenomena of the language. In the language of this, agglutination would be corresponded, i.e., riding without flexions. But at the same time, tales show already some overcoming of this stage, its artistic use in humorous forms and purposes.

Cumulation as a phenomenon is characteristic not only for cumulative fairy tales. It is part of other fairy tales, such as a fisherman's fairy tales and a fish, where the growing wishes of the old woman represents a clean cumulation, or a fairy tale about non-vessels, where the princess is mixed by people who adhere to each other. But it is more important for us to note that the cumulation includes both the system of some rites, reflecting the same way of thinking through the mediated links. As indicated by I. I., the rite of Athenian buffins was built on the principle of cumulation. The bull was killed, and then wines for his murder consistently, according to the principle of cumulation, shifted from one participant to another, until he was transferred to the ax, which was punished. I. I. Tolstoy also indicated that our clay guy corresponds to the Erisihton myth. He punished by the gods unattheless hunger: "Erisikhton devours one dish after another and can not be saturated. He gradually absorbs all the food reserves and the entire animal inventory in the courtyard and in the field: first they are eaten by the animals contained in the beauties, then grazing in herds, then straightened from the harmony of workers' mules, then reflected for the victim of the goddess of the Gestius of the Holel Cow, then Right horse, then father's fighting horse and, finally, to top it all - a domestic cat. "

Aigi examples only put a problem, but do not solve it, just as it does not solve the fact that a purely cumulative fairy tale of the song is part of the Jewish Agada and at the same time he was performed on Easter. Here the cat eats a goat, the dog bites the cat, the stick hits the dog, the fire burns the stick, water fills the fire, etc. To the Lord God, after which the reverse series of a few different order should be. We can assume that the goat eaten by a cat was once a sacrificial goat and that according to the cumulation principle here is the same shifting of guilt, as it takes place in the rite of Athenian buffins.

All the above we want to say that the study should go along the way to establish all types of cumulation, which are in folklore, they must be compared with the same principles in the language and thinking, the ritual reflections of the same principle should be found, and if the materials are enough, To arrange them in a historic series, then the problem can be permitted.

Each science has small questions that, however, may be of great importance. In folkloristic, one of these questions is a question about cumulative fairy tales. The circle of problems associated with the study of these fairy tales is very wide. One of them is the problem of scientific classification and cataloging works of people's prose.

On the question of what fairy tales called cumulative, there is still a disorder. A. Aiarne this term did not apply.

N. P. Andreev, translating into Russian a sign of fairy tale plots Aarn and complementing it with new types, introduced one consolidated type under the sector 2015 (2016, 2018), by calling it like this: "Cumulative (chain) tales of various kinds" (Andron 2015 I). Specified only three examples, and there are no references to Velikorvsky collections. Andreev did not see Russian cumulative fairy tales.

In 1928, the American scientist Stith Thompson translated a pointer into English and supplemented it. There are already 200 numbers (2000-2199, Cumulative Tales) for cumulative fairy tales. Not all rooms are really filled, 22 types are indicated. These rooms are preserved in the last edition of this pointer, released in 1964. Almost all provided numbers are filled here.

The Aiarne-Thompson pointer is useful as an empirical reference book about the types of fairy tales. It is translated into many languages, and the presence of a single international system facilitates orientation. At the same time, however, this pointer is definitely harmful, as it inspires confused and completely incorrect ideas about the nature and composition of the fabulous repertoire.

Elementary performed logic error: Categories are established for non-exclusive features, as a result, it turns out the so-called cross classification.

So, for example, a rubric of fairy tales about animals is highlighted in character acting persons, rubric magic fairy tales - by the nature of the narration, style. Among the magical are such fairy tales as "fairy tales of a wonderful opponent" and "fairy tales of a wonderful assistant." But how to be with fairy tales in which a wonderful assistant helps in the fight against a wonderful opponent? This error permeates the entire pointer.

The appearance of cumulative fairy tales heading in the last editions new principle: These fairy tales are not allocated by the nature of the actors, they are allocated and determined by their composition.

I believe that fairy tales should be determined and classified by their structural features. In the book "Morphology of a fairy tale", an attempt was made to allocate the discharge of fairy tales according to the structural signs commonly called magic.

It can be assumed that the principle of determining fairy tales on structural features may be based on the future scientific classification of fairy tales in general; To this end, it is necessary to study various types of fabulous structures. The cumulative fairy tales in the last editions of the catalog of Aarne Lumpson are determined precisely by the nature of their structure. Here Nashchupan the right waybut he is only Nashchupan. In fact, the question of what fairy tales call cumulative, it remains unclear, and this is explained that a large number of The cumulative fairy tales is scattered over other sections and on the contrary: not all fairy tales included in the discharge of cumulative, really belong to them.

The AARNE system with its cross-classification does not allow an accurate and unambiguous allocation and determination of genres: attempts of translators to make various adjustments to this pointer are compromise.

There are no adjustments here, we need to essentially a new classification system, built on the study of the poetics of fairy tales. Earlier, the close to approach the question of the cataloging of cumulative fairy tales, it is necessary to give at least a preliminary determination that the term cumulative tale will be understood.

There is no unity and clarity on this issue. In the Aiarne, treated Thompson pointer, there is a term "cumulative fairy tale", but there is no determination that it is understood.

A lot of cumulative fairy tales, as indicated, is scattered according to other groups (especially many of them in the discharge of animal fairy tales) and on the contrary: many fairy tales placed in the cumulative section are not in fact such. This situation reflects the ambiguity of this issue in modern folkloristic.

Literature dedicated to cumulative fairy tales is quite large, but there is no generally accepted definition of this concept. The history of study is excellent in the book of M. Haavio. As great, however, another disaster in understanding the essence of this type of fairy tales, it can be seen at least under the article in the "Handvv6RterBuch des Deutschen Marchens", where Taylor, the author of the article "FORMELMARCHN," speaks of cumulative fairy tales, that they arise on the basis of nightmares, visible in dream. And it is with the author's huge erudition in actual material. There is no need to criticize such a point.

Earlier than starting the study of cumulative fairy tales, you need to give at least a preliminary determination that it will be implied by this. However, we will not strive for abstract wording, but we will try to give more or less accurate characteristics of this genre within one national culture.

If this experience is successful, it can be attached to the study of the creativity of other peoples, which will create the basis for a comprehensive comparative historical study of this genre and will allow several promotion about the scientific classification and cataloging of fairy tales.

The main artistic method of these fairy tales is in any multiple repetition of the same actions or elements as long as the circuit created in this way is not rummaged or is not broken in reverse decreasing order.

The simple example of a cumulative fairy tale can serve as a Russian fairy tale "Repka" (on the content of which you can not stop). This fairy tale is quite applicable german designation Kettenmarchen - chain fairy tales. In general, however, this name is too narrow.

Cumulative fairy tales are built not only on the principle of the chain, but also by the most diverse forms of attachment, jams, or increasing, which ends with some funny disaster.

In English, they relate to the category of Formula-Tales and are referred to as Cumulative, Accumulative Stories, which is connected with the Latin word Cumulare - accumulate, straighten, and strengthen. IN german language In addition to the term Kettenmarchen, there is a more successful term Haufungsmarchen - gurgling fairy tales or ZAHLMARCHEN-listed fairy tales. In french They are called Randouunes (actually "circling around one place").

Special designation for these fairy tales was not developed in all languages. The examples showed that everywhere in different words It is referred to some junction. In a diverse in its shapes, all the interest of such fairy tales is. They do not contain any interesting or meaningful "events" of a storyline.

On the contrary, the most events are negligible (or begin with insignificant), and the insignificance of these events sometimes stands in a comic contrast with a monstrous increase in the consequences of them and with the ultimate disaster (the beginning: the egg broke, the end - the whole village burns).

First of all, we focus on the compositional principle of these fairy tales. It is necessary, however, to pay attention to the verbal outfit, as well as on the form and style of execution. Mostly you can outline two of different types Cumulative fairy tales. Some formuula-tales can be called formula-tales. These fairy tales are pure formula, clean scheme. All of them are clearly divided into equally decorated repetitive syntactic links. All phrases are very short and the same type. Fairy tales of another type also consist of the same epic links, but each of these links can syntactically decorate differently and more or less detail. The name "Formular" to them is not suitable, although they refer to cumulative on the composition.

They are told epically calmly, the style of magical or other prosaic fairy tales. A sample of this type of cumulative fairy tales can serve as a "Mena" fairy tale. The hero changes the horse on a cow, a cow on a pig, etc., right up to the needle he loses, so he comes home with anything.

These fairy tales, in contrast to the "formula", can be called "epic". The compositional principle (cumulation) in both cases is the same, and this explains that sometimes a "formular" fairy tale can tell the epically and on the contrary. But in general, you can still note that each type is on a particular performing technique.

We still need to mention that formula fairy tales can take not only a poetic, but also a song form. Such fairy tales can be found not only in tales collections, but also in the collections of songs. So, for example, in the song Collection of Shane "Velikorus in his songs, rites, customs ..." (1898) There are songs, composition and plot of which are based on cumulation.

They should be included in the signs of cumulative fairy tales. Here you can specify that both "repka" was recorded as a song. The composition of cumulative fairy tales regardless of the form of execution is extremely simple. It is composed of three parts: from the exposure, from the cumulation and from the final.

The exposition most often consists of a minor event or very common in the life of the situation: the grandfather puts a river, the woman bakes a bitch, the girl goes to the river to put the mop, the egg is broken, the man is aiming in a hare, etc. This origin cannot be called string, since the action is not developed from the inside, but from the outside, for the most part Quite by chance and unexpectedly.

In this surprise, one of the main artistic effects of such fairy tales. The exposure follows the chain (cumulation). Methods of connection of the exposure with a chain extremely much. Let us give a few examples, not seeking any systematization yet.

In the mentioned Fairy Tale, the creation of a chain is caused by the fact that the repka sits in the ground very tightly, it is impossible to pull out, and it is all new and new assistants. In the fairy tale, "Terem Mukhi", Muha builds Terem or settled in some abandoned mitten or in a dead head, etc.

But here one after another in the growing order of magnitude is the beasts and ask himself in the hut: first insert, flew, mosquito, then frog, mouse, lizard, then - hare, fox and other animals. The latter is a bear, which cums the fact that it sits on this, and everything crushes.

In the first case ("repka") the creation of the chain is motivated and internally necessary. In the second case ("Teremok") no logical necessity in the appearance of all new and new animals. On this basis, you would distinguish two types of these fairy tales. The second prevails - the art of such fairy tales does not require any logic. However, to establish types of cumulative fairy tales, this distinction has no significant value, and we will not do it.

V.Ya. Proppage Folklore poetics - M., 1998

Introduction

1. Definition of the concept of "fairy tale"

2. The story of collecting fairy tales

3. Cumulative fairy tales

3.1 general characteristics

3.3 style of cumulative fairy tales

4. German fairy tales

Conclusion

Introduction

Empirically we all represent what a fairy tale is, and we have more or less clear ideas about it. We may be stored about her poetic memories, remember it from childhood. We intuitively feel her charm, enjoying her beauties, we vaguely understand that there is something very significant before us. In understanding and assessing the fairy tale, we manage the poetic flair.

The poetic flair is absolutely necessary for understanding the fairy tale, and not only fairy tales, but any works of verbal art. However, poetic perception, although it is necessary for understanding the fairy tale, is still not enough. It will be fruitful only in conjunction with strict methods of scientific knowledge and research.

To explore the fairy tale, the science is made extremely many. There is a huge, unbarrous literature about the fairy tale. Before the war in Germany, the encyclopedia of the fairy tales was published - Handwörterbuch Des Märchens, several volumes came out. But the war interrupted this undertaking. In Germany, a new edition of this encyclopedia is preparing at the level of modern scientific requirements. With the Berlin Academy of Sciences there is an institute of Germanic nation. This institute publishes the annual, which provides reviews of everything that in European countries is being made to study the fairy tale.

The purpose of this work is the study of cumulative fairy tale within the framework of culture.

Tasks of work - to consider the story of the fairy tale, reveal the topic "Tale and modernity", to define the concept of "fairy tale", and also give the characteristic of German fairy tales.

Scientific understanding of the term "fairy tale" has its own story.

One of the definitions adopted in Europe was given boutique and watering. It makes sense to the following: "Under the fairy tale since the times of Gerder and Brothers Grimm is understood as a story based on poetic fantasy, especially from the magical world, a story not related to the conditions real lifewhich in all layers of society listened to pleasure, even if they find it incredible or unreliable. "

Although this definition It is accepted, it discovers a number of weaknesses:

1. Definition of a fairy tale as a "story based on poetic fantasy", too wide. On poetic fantasy, any literary and artistic work is based.

2. In most fairy tales there is no magic. It is only in the so-called magic fairy tales. All non-magic fairy tales remain out of this definition.

3. The researcher will not agree with the one hundred fairy tale "is not related to the terms of valid life." The question of the attitude of the fairy tale to real life is very complex.

4. Formula that the fairy tale delivers aesthetic pleasure, even if the listeners find it "incredible or unreliable," means that the fairy tale can be considered a reliable and probable that it is entirely depends on the listener.

The definition is made through the nearest family and a specific difference. Under the nearest reason in this case, you should understand the story at all, the narration. The tale is a story, he belongs to the field of epic art. But not any story can be called a fairy tale.

The fairy tale is determined by its plots. Indeed, when we think about a fairy tale, we remember the fairy tales of the fox, about the stolen princess, about the heat-bird, etc., i.e. We present yourself a number of plots.

The plot is of very essential importance for understanding and studying the fairy tale, but the tale is still determined not by its plots. The fairy tale is a story that differs from all other types of narration specificity of its poetics.

This definition still does not fully reveal the essence of the fairy tale and requires further additions.

Definition, this A.I. Nikiforov, says: "Fairy tales are oral storiesFounding in the people with a view to entertainment, having an unusual event in the everyday event and distinguished by special compositional and stylistic construction. " This definition has not lost its scientific value still. It must be the basis of the understanding of the fairy tale.

This definition is the result of a scientific understanding of a fairy tale, expressed in the shortest formula. All major signs characterizing a fairy tale are given here. Tale, folk tale, there is a narrative folklore genre. It is characterized by his form of existence. This is a story transmitted from generation to generation only by oral transmission.

The fairy tale is characterized as a story, i.e. It belongs to K. narrative genres. The fairy tale indicates something talked. This means that people perceives a fairy tale as a narrative genre of the advantage.

Another feature established by Nikiforov, is that the fairy tale is described in order to entertain. It belongs to the entertainment genre.

Sign of entertainment stands in connection with another sign of the fairy tale, namely the extraordinary event that makes up the content of the fairy tale. About ordinary, everyday, everyday epic folklore does not narrow at all. It serves only the background for the next, always extraordinary events.

The following sign is a special composite-stylistic construction. Style and composition can be combined with the general concept of poetics and say that the fairy tale is characterized by a particular poetic for it. It is this sign that is decisive to determine what a fairy tale is.

There is, however, one sign, although the outlined, but not well disclosed and consisting in the fact that in the reality of the told not believed. That the people himself understands a fairy tale as fiction. This is one of the main and decisive signs of a fairy tale.

This is a very significant sign of the fairy tale, although at first glance it may seem that this is not a sign of a fairy tale, but the property of listeners. They are free to believe or not believe.

Thus, we received a certain definition of a fairy tale, reflecting a modern point of view on it and the possibility of further studying it.

Different types of fairy tales differ not only by external signs, the nature of the scenes, heroes, poetics, ideology, they may be completely different and in their origin and history and demand different studies.

2. The story of collecting fairy tales

At first glance, it seems that burn a fairy tale is very easy that it can make anyone without special training.

To some extent it is so. However, so that such a record has a scientific value, you need to comply with some conditions, you need to know what to write and how to record. In this regard, the accumulations for accumulation (picking) and the recording of fairy tales changed sharply. These views partially depended and are still dependent on the overall level of science on folk creativity, from the socio-political views of the collector and from the goals that the collector puts himself.

In ancient Russia, for example, no one even occurred to record fairy tales. Fairy tales were exposed not only to official contempt, as something completely standing attentionThey were proceeding.

The first trends go to Russia from Western Europe And penetrate Poland. The first compilers of narrative collections were clergy. In Catholic worship, they are accepted in churches to pronounce aspirations. These sermons were abstract and boring. To keep the attention of the parishioners and make them listen, sermons were enjoyed by interesting stories that some kind of moral or religious and philosophical interpretation were attached. For such use, collections of stories were created. They were widespread, were very popular, translated into European languages \u200b\u200band reached us.

In addition to such collections, there is a tale of a semi-checker nature, Western and Eastern origin.

3. Cumulative fairy tales

3.1 General characteristics

There is not a very extensive type of fairy tales that have so specific compositional and stylistic features that their identification in a special discharge does not cause any doubts. These are the so-called cumulative fairy tales.

The existence of cumulative fairy tales as special view It was noticed for a long time, but the corresponding conclusions were not made for no classification or to study the fairy tale. So, processing and translating into English a sign of Fairy Tales Aarn, American scientist Thompson provides for them with 200 numbers. Transferring the same pointer to Russian, prof. Andreev makes one consolidated number for all cumulative fairy tales, silent by his "cumulative tales of various kinds". Thus, both researchers faced the need to somehow allocate this material, but they went opposite ways: one provides for two hundred types of fairy tales, the other one. At the same time, however, the question of what fairy tales is called cumulative, it remains unclear, and a large number of typical cumulative fairy tales is scattered according to other discharges. Especially many cumulative fairy tales are in the section of animal fairy tales. The AARNY system does not allow the possibility of accurate allocation, and the attempts of entering the adjusted signs are compromise. There are no adjustments here, but essentially a new classification system built on the study of the poetics of fairy tales.

In the Russian fabulous repertoire, you can count about twenty different types of cumulative fairy tales. It is necessary to solve the question that, in fact, is cumulative fairy tales. The ambiguity of this issue leads not only to confusing classification, but their false conclusions are essentially studied by the material.

So, B.M. Sokolov in his course folklore devotes a special chapter of the composition and style of fairy tales about animals. This chapter, however, is entirely based on cumulative fairy tales, and the tale of animals is not represented by any example.

The main composite reception of cumulative fairy tales consists in any multiple, all increasing repetition of the same actions until the circuit created in this way does not break down or is not broken in the opposite, descending order. The simplest example of the increase in the lead to the rupture of the chain can serve as well-known "repka", an example of the reverse development of the chain - the fairy tale "Cockerel was suppressed." In addition to the principle of the chain, other types of gradual increases or jet leading to some sudden comic catastrophe are possible. Hence the name of fairy tales - accumulate, straighten, increase. In German, they are referred to as Kettenmärchen, Häufungsmärchen, Zählmärchen.

In this junk and consists of all interest and all the content of fairy tales. They have no interesting scene events. On the contrary, the most event is negligible, and the insignificance of this event is sometimes in comic contrast with the monstrous increase in the consequences arising from it and with the ultimate catastrophe.

These fairy tales are in style and the method of execution of two: some we call formal, others - epic. Characteristic and typical for cumulative fairy tales are the first, i.e. Formular.

3.2 Composition of cumulative fairy tales

The composition of the cumulative fairy tales is extremely simple: the exposition most often consists of some small event or very usual in the life of the situation: the grandfather puts a turnip, Baba bakes a bitch, the girl goes on the river to make the mop, the egg is broken, the man is born in a hare. This exposure cannot be even called stronger, as it is not at all visible, where the action is developing. It develops unexpectedly and in this surprise is one of the main artistic effects of the fairy tales. Methods for connecting the circuit with exposure extremely many. In a falappy about the repka, the creation of a chain is caused by the fact that the grandfather cannot pull it out. In the fairy tale, "Terem Mukhi", Mugu builds Terem or settled in some abandoned mitten. But here one by one, usually in order of increasing magnitude, are the beasts and suggest a hut. The latter is the Bear, which also cums the fact that it sits on this turn.

In the first case (repka), the creation of the chain is motivated and internally necessary, in the second case (teremok) there is no internal necessity in the arrival of new and new animals. On this basis, two types of these fairy tales can be distinguished. The second prevails, the art of such fairy tales does not require any logic.

A number of cumulative fairy tales are built on the consistent appearance of any unandoned guests. Other fairy tales are built on a number of exchanges, and Mena can occur in a descending order - from the best to the worse or on the worst for the better.

For cumulative fairy tales, it is also possible to rank, in which all the effects are based on various types of comic endless dialogues.

3.3 style of cumulative fairy tales

Possessing a completely clear composite system, cumulative fairy tales differ from other fairy tales and their own style, their verbal outfit, form of their performance. It is necessary, however, to keep in mind that in the form of execution and in style it has, as already indicated, two types of these fairy tales. Some are told epically calmly and slightly, like any other fairy tales. They can be called cumulative only according to the composition underlying them.

There is another, brighter and typical kind of cumulative fairy tales with this. The journey or increasing of events here corresponds to the hearing of words. Such can be called "formal". The boundary between these two types of unstable. The same type can be fulfilled in one way or another. But the types of fairy tale to one or another method of execution undoubtedly available. In the latter case, with the joining of each new link, all previous links are often repeated. The repetition consists of all the charm of these fairy tales. All the meaning of them in colorful artistic performance. The execution of them requires the greatest skill: they sometimes come close to patter, sometimes come across. All of their interest is interest in the word as such. The nudity of words is interesting only when the words themselves are interesting. Therefore, such fairy tales are talent to rhyme, poems, to Conason and Assonance and in this desire do not stop before bold neoplasms.

These features of cumulative fairy tales make their favorite children who love new, sharp and bright words, patter, etc., so cumulative fairy tales can be called full right, by the advantage of the children's genre.

3.4 Origin of cumulative fairy tales

Now, when even accurate inventory of cumulative fairy tales is not made, and often they are not recognized as a special discharge, the problems of cumulative fairy tale can not be resolved with sufficient completeness. The principle of cumulation is felt as relic. The modern educated reader, however, will be happy to read or listen to a number of such fairy tales, admiring, mostly, the verbal fabric of these works, but these fairy tales do not correspond to our forms of consciousness and artistic creativity. They are the product of earlier forms of consciousness. We have the location of the phenomena in a row, where modern thinking and artistic creativity will no longer enumerate the entire row, and would jump through all the links to the last and decisive. A detailed study of fairy tales should show which rows here are and what logic processes them correspond.

Primitive thinking does not know space as a product of abstraction, it does not know generalizations at all. It knows only an empirical state. Space and in life, and in fantasy is overcome not from the initial link to the final, but through the specific, real-point linking links. Handling is not only artistic technique, but also a form of thinking, which affects not only folklore, but also in the phenomena of the language. In the language, there would be agglutination, i.e. Name without flexions. But at the same time, tales show already some overcoming of this stage, its artistic use in humorous forms and purposes.

Cumulation as a phenomenon is characteristic not only for cumulative fairy tales. It is part of other fairy tales, for example, fairy tales about fisherman and fish, where the growing desires of the old woman is a clean cumulation. The cumulation enters into the system of some rituals, reflecting the same way of thinking through the mediated links.

4. German fairy tales

Bright representatives of the German fairy tales are Jacob and Wilhelm Grimm. The first fairy tales of the Grimm brothers came out in three volumes in 1812. It was the first edition of the truly folk fairy tales recorded in most directly from the performers. Some texts saved a dialect. True, Wilhelm Grimm subjected to light treatment, leveling them under a few conditional folk style, but did it without affecting the plot. With such a reservation, texts can be recognized as genuine. It was a huge conquest, since the new and right path was found to understand the genuine fairy tale.

The second problem, delivered by the Brothers Grimm - the origin of the fairy tales. This problem occupies science so far.

Thus, the main merit of the Grimm brothers is in the new, actually scientific formulation of the study of the fairy tale. And they have not only set themselves, but also were solved. The Grimm Brothers were not so many folklorists as philologists, linguists.

The problem of the similarity of fairy tales is also solved as the problem of similarity of languages, i.e. Approval of the existence of some Pranodina of European languages, in which the United People lived, who spoke in the same language. By gradual resettlement and sedimentation, individual peoples were formed, each in their own language.

Another question, the question of the origin of the fairy tale, was more difficult for permission, and it was impossible to rely on these linguistics. Brothers Grimm argue the religious origin of the fairy tales. The fact that now it came to us as fairy tales, in the Epoch of Indo-European Unity was myth. Science has not yet had enough funds to establish what the character of this myth was.

Since the purpose of our work is to consider cumulative fairy tales, we will give some examples of such fairy tales taken from the "Tales of the Grimm Brothers".

The first example, which we consider - the fairy tale "Der Gjldene Schlüssel" ("Golden Key").

An example of a cumulation here is as follows: Described from household theme - Zur Winterzeit, Als Einmal Ein Tiefer Schnee Lag, Muste Ein Armer Junge Hinausgehen und Holz Auf Einem Schlitten Holen. - In winter, when there was a deep snow, the poor young man came out of the house to distort the firewood. Such action is directly related to life. Next, there is a direct risk of events. The young man finds the key, looking for a castle to him. Wo Der Schlüssel Wäre, Müste Auch Das Schloss Dazu Sein. And finally, finds. In this case, a chain of locks are built, among which the young man is looking for a suitable key. What else distinguishes this cumulative fairy tale is simplicity of presentation.

Another example of a cumulative fairy tale can serve as a fairy tale "Die Brautschau" - literally "Selection of the Bride". In this case, there is also a room theme. Events take place. The groom chooses his wife from three sisters, trying on each of them the ring. Which it will suit, that will be his wife. In this case, there is a consistent "sticking" of people to each other. That is, one sister replaces the second, the second one - the third.

Another example: Fairy Tale "Der Fuchs Und Das Pferd" - "Fox and Horse". Here, except for everyday theme: "Es Hatte Ein Bauer En Treues Pferd, Das War Alt Geworden und Konnte Keine Dienste Mehr Zu Tun" - "One peasant was a faithful horse, which has come and could not fulfill their service"; The theme of animals is also affected, which is also a type of cumulative fairy tale.

"Der Hase Und Der Igel" - "Hare and Hedge" - an example of a cumulative fairy tale about animals. In addition, the events are taken here: a meeting of a hare and hedgehog in the forest, then arranged between competitions in speed between them, and, as the final, comic end - a rapid hare remains losers.

"Das Lügenmärchen" - "Tale - Fortiment." Direct example of rolling events and action. Presented by the author in the form of fiction. There is a simplicity of the story, in this fairy tale there is a phenomenon of the patter. "EIN FROSCH SASS UN FRASS EINE PFLUGSCHAR ZU PFINGSTEN ...". What is also a sign of a cumulative fairy tale.

All the examples above are bright representatives Cumulative fairy tales. Of course, in German fairy tales there is no such ripping actions or people as in Russian folk fairy tales, for example, "repka", "teremok", but still such phenomena are observed.

In Germany, the tale is perceived as a symbol of the deepest wisdom. Approved. That the fairy tale dates back to the myths about the gods. What can be traced in the works of Brothers Grimm. In many fairy tales, Divine and Supernatural Topics and Phenomena are affected. "Tale of a lonely boy", "Messengers of death", etc. All data relating to the pagan cultures of the ancient Germans are collected by the Grimm Brothers in Cupitsa. What was reflected in the works of Brothers Grimm.

Conclusion

Just as the song is coming, the fairy tale affects. The fairy tale is designed not to read through the eyes, but for perception of rumor. Tale - typically folk phenomenon.

It is impossible to recognize the fairy tale all that is placed in the collection of fairy tales. The world of fairy tales is extremely varied, diverse and moving. The topic of the classification, which we have been touched a little as part of this work, is important not only because it makes a fairy tale in the motley world. It has a purely cognitive value. Different types of fairy tales differ not only by external signs, the nature of the plots, heroes, poetics, ideology, they can be completely different and in their origin in history and demand different studies.

The purpose of our work was to consider not the entire classification of fairy tales, but only a separate type of its type - a cumulative fairy tale. In paragraph 3 of this work we gave detailed description This type of fairy tales.

In conclusion, it should be said that the task set before us at the beginning of the work was performed. Since we gave the definition of the concept of "fairy tale", as it is considered various authors and researchers. We revealed the topic of fairy tales and modernity, that is, how today a fairy tale is considered, from what positions and sources it was formed to appear before us in her today. We also disassembled genre types of cumulative fairy tales on examples of German fairy tales, as they are represented by brothers Grimm. As well as on some examples of Russian folk fairy tales.

Bibliography

1. Akimova A.F. Fairy tales. - Moscow: "Culture", 2001. - 288 p.

2. Brothers Grimm. Children's fairy tales. - Berlin - 2000. - 319 p.

3. Veselovsky A.N. Work on folklore. - Moscow: "Illy-RAS", 2004. - 544 p.

4. Desnaitsky V.A. Work on folklore. - M., 2003. - 471 p.

5. Propp V.Ya. Russian fairy tale. - St. Petersburg: "University", 1995.- 334 p.

6. Propp V.Ya. Folklore and reality. Selected articles. - Moscow: "Science", 2002. - 358 p.

7. Rakhimova E.G. German folklore. - Moscow: " Foreign literature", 2004 - 511 p.

8. Sokolov B.M. Russian folklore. Story. - Moscow: "Creativity", 2003. - 511 p.

9. Toporkov A.L. Fairy tale brothers Grimm. - Moscow: "Foreign Literature", 2000. - 413 p.

10. Yagich V.I. Creativity Brothers Grimm. - Moscow: "Science", 2000g. - 219 p.

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For a cumulative fairy tale, a compound of the same type of scene links. However, the meaning of the fairy tale is not concluded in its very composition. The contrast of the causes and consequences, the fancy of the provision and dependencies, as a rule, indicate irony. The deliberation of folding speech in the fairy tale corresponds to a joking design. The phrases become extremely short and at their same certainty acquire the features of the verbal formula. In the fairy tale "Li-Sa, the hare and a rooster" a hare, whom the dog drove out of the hut, the dog, a bear, bull, are decided to help, and everyone first sews at the hare, what he is crying about. And each hare is equally raised: "How don't I cry? I had an election of the Lubyana, and the Foxa Ice, she asked for me, and I was kicked out. " Then the dog, and after her the bear, the bull go to the hare hut and demand: "Look, Fox, Won!" And Lisa is threatened with the same thing: "How to around me, how to emphasize, go bulls on laws of law!" The repetition of the scene chain links is accompanied by the exact reproduction of the finished verbal formula. In the course of the plot development, all new and new details are joined. The hare tells the bear that the dog drove the fox to him, but did not drive, and the bull - that the fox was chasing a dog, a bear. Rooster the hare also told about everything that happened and the same words, but the dog, and the Bear, and Bull are also listed. There is a nap of a verbal formula. Against the background of this one-type speech, Perso-Press, outside the template there is a free speech of a rooster, which is crying "Kukarek!" Three times repeats the threat: "I carry a braid on the shoulders, I want a fox of a furnace!" Only after these words follows the formula: "Look, Fox, Won!" The most expressive replicas were enjoyed into the verbal formula fabulous characters . The verbal repetitions were often transformed into the goddles that entered our daily speech. The most common type of cumulative fairy tales, the investors consider the reference of the heroes: the victim sends someone for help, the first meeting refuses to help, refers to the second, the second - to the third, etc., the tale refers to this type About the rooster, crushed by grain. The following type of cumulation is based on the chains of episodes in which heroes are attempted to live other characters (eat them). These include "Kolobok", "clay guy", etc. For the third type of cumulative fairy tales, the characteristics of the exchanges: for example, a fox requires a strap in return, instead of the strap chicken, etc. Action in the fourth type of cumulative fairy tales is based on a repeating episode, When someone asks in the hut or, on the contrary, is expelled from it. These are "teremok" and already called "Lubyanaya and Ice Hut" and others. There are also other types of cumulation. They are detailed examined in the collection of V. Ya. Proppap "Folklore and the Purchase". This classification is useful to highlight the types of fairy tales, but it is inherent in the formal understanding of the cumulation as a principle of fairy tales. According to the scientist, the interest of the cumulative fairy tale is the jet of episodes: "They do not contain any interesting or meaningful" events "of the story order." This, however, is not so. Each cumulative fairy tale per capita in itself a certain thought. Cumulation is not hushed worn. With diversity there is one immutable property for all cumulative fairy tales - their pedagogical focus. Fairy tales with repetitions contribute to understanding and memorization. For this reason, such fairy tales of animals are called children's: they meet the spiritual requests of the child. In all fairy tales about the animals in general, a lot of action, movement, energy - that is, what children love. The plot in the fairy tale is deployed rapidly, quickly. Broken head runs chicken on the water: the rooster swallowed the grain and was given. The water river did not give, asks to give her a sheet with a sticky. Ku Ritsa - to Lipka, the Leap Podka does not give, asks to bring a thread from the girl, etc. In the end, the chicken brought water, the rooster was saved, but how many he owes his salvation! ("Bean grains"). Grad went - chicken with a rooster decided: "Parish, shoot, we kill us." Raced to run, fascinating all the oncoming. Fight not passing the spirit, once even answer why run. Fucked until they fell into the pit ("Beasts in the pit"). The comic content of fairy tales about animals is developing a feeling of real and simply having fun, activating the spiritual power of the child. However, fairy tales are also sorrow. How contrasting them transitions from sad to merry! Feelings, expressed fairy tale, as bright as the child's emotions. The child can face a trifle, but it is just as easy to console him. Crying a bunny at the threshold of his hut. He was kicked out the goat-deres- tuft-shen he is in Mountain. The rooster came with a scythe: I am going to boots, in gold earrings, I carry the braid - your head will demolish at the very shoulders, lie down from the furnace! The goat rushed out of the hut. Jacot the hare is not end. Fun and listener ("goat-deres"). A sharp distinction of light and shadow, positive and denied, also in the nature of a children's fairy tale. The child never has doubts about how to treat one or another characters: a rooster - a hero, Fox - insidious, wolf - greedy, the bear is stupid, the goat - lies it is not the primitiveness of the life of a vital material, and the necessary simplicity that is absorbed by Botter before he will be ready to perceive complex things. It remains to notice that the fairy tales of animals in Russian foil clore are calculated by a relatively small number of plots. They occupy the tenth of a fabulous repertoire. In some other nations (from North African tribes, the peoples of Australia, Oceania and North America) such fairy tales are meaningful. It was suggested that the lower the people stand on the steps of public progress, the more of these, which are from antiquity, fantastic story. Taja the theory, which was distributed abroad, deeply erroneous: the quantitative wealth of animal fairy tales does not depend on the stage of the public development of the people, but is explained by the originality of its historical development and artistic culture. Fairy tales of animals in each people carry the seal of the uniqueness, which is mostly explained by the history of their occurrence as an art phenomenon. So, according to experts, Polynesian fairy tales are captured by OSO, which already distinguish them from totem myths. These fairy tales have not yet acquired those moral trends, which are characteristic of creativity when it comes closer to the Basney. Russian tales of animals arose in another historical time, with other historical circumstances - from here and the probe-kay artistic peculiarity in content and forms. Chapter FifthMagic fairy tales It is not always easy to distinguish the magic fairy tale from other species. There was an attempt to take for the main thing in the magical fairy tales, the "central subject of the narration" is made in them, and not an animal. But by this sign as a criterion to use it was difficult, since the specifics of the magic fairy tales were not revealed. No magic fairy tale costs without wonderful action: the evil and destructive strength intervene in the life of a person, then a kind and most favorable supernatural force. Magic tale is abounding wonders. Here are terrible monsters: Baba Yaga, Koschey, Fiery Htta; and wonderful items: carpet airplane, invisible hat, boots-boosters; Wonderful events: resurrection from the dead, human appeal in the beast, bird, in some subject, traveling to another, distant kingdom. Wonderful_ fiction - in the basics of this kind of fairy tales. It is necessary to understand the breaking of this fiction.

The origin of the fiction

The narrative of supernatural strength in the magical talers, it would seem, should lead to the emergence of the mythical creatures characteristic of Russian demonology: ledgers, wildlife, nozzles, water, mermaids, houses, ointles, banners, humans, glevnikov, tents and other inhabitants of the peasant yard and manor. However, in the fairy tale, there are almost no these creatures as there are no unclean strength, personified in the raksters, worships, kymikors and other evil spirits. If in magical fairy tales and sometimes they are sometimes led, water, kyimors, then because they replaced the real person who is wonderful narrative. So, for example, in one of the Var-Antoves of the Fairy Tale "Morozko" Instead of the omnipotental host of the Winter Elements of Claus, Leshel, who gave stepper to everyone, which could wish the peasant girl. The world of magical fairy tales in genetic relations more than those developed anthropomorphic thinking, creating a lash and a kimoromet, mermaids and a shake. In the demonological ideas about Leshem, Water, Halds and afilder there is a connection with the natural basis. The image of a lash, undoubtedly personifies the fruitful wilderness, the image of water - dangerous river and lake depths, and the noreman - the daily heat that could do a careless person. The life of the magical fabulous fiction is different. With demonology, the fiction of the Russian magic fairy tale is not connected. From demonology does not start not a fairy tale, but special genre People's oral prose - Byilichka, not like a magic fairy tale. Names - but here it is said about the debate, houses, water, different worst, tentals and ointles. A large number of images of the magic fairy tale has developed in deep antiquity, in that very era, when the first ideas and the concept of a person about the world arose. Of course, this does not mean that every magical fiction originates from the depths of centuries. Many images of the magic fairy tale have developed in a relatively nearby past. In every new era, the Wolly-seater fairy tale has had a certain fantastic Mate-Rial, which generations were transferred from old people, keeping and developing former oral-poetic traditions. From the ancient fiction, fuzzles perceived what them It was necessary to create new fairy tales. Changes in the life of workers determined the form of change and further development of fantastic material. Fantasy of later fairy tales retained grains of fantastic youthful fairy tales of ancient times. In the report at the I All-Union Congress of Soviet Writers, A. M. Gorky, defending a materialistic look at the occupancy of human culture, expressed the idea that the dream was reflected in fiction in fiction primitive people, Thought has long disappeared generations of the long-weakening times. Here is the old one from fantastics of the magic ska zok! What is in the magic fairy tale belong to the old days and what entered the fairy tales of the next historical time? In the traditional work transmitted from the generation to generation, there is always life material, less than the rest of the influence of new historical conditions. We will try to establish ancient layers. Take for analysis a fairy tale "White Duck". Married one prince on a beautiful princess. I did not have time to talk to her, I did not have time to listen to her, and you already need to part. "Many crushing crying, a lot Prince She persuaded, he commanded not to leave the high Terem, not Going on a conversation, with bad people, do not brand, bad speeches do not listen. " Duke left. Locked the princess in her rest and does not go out. How long, briefly came to her some woman. "Taja is simple, cardiac!" - adds a fairy tale. "What," says, do you miss? If I looked at God's light, at least in the garden passed, the longing was blocked, the head was refreshing. " The princess has long discovered for a long time, did not want to listen to a stranger, but thought it was not a trouble in the garden - and went. The day is so hot, the sun is palette, and the water "student", "so and splashes". Persuaded the woman to swim by the princess. I threw off the princess of Sarafan and jumped into aiothe, just plunged, and the woman suddenly hit her back: "You swim," says, - White Toking. And the princess floated. The black business was accomplished. The witch took the image of princess.Returned the prince, did not recognize the deception. In the meantime, the dodder applied the testicles and brought the kids, do not ducklings, and the guys: two good, and the third is the zeam. The children were walking along the shore and look at the meadow, where the princesses stood. Tells them a mother-duck: "Oh, do not go there, children!" But they did not obey. I saw their witch, creaped my teeth. I called the children, I fed them, I drank and slept to sleep, but myself ordered to decompose the fire, hanging the boilers, put the knives. Spent the older brothers, and sleeps do not sleep. At night, the witch came under the door and asked: "You sleep, kids, Ile not?" Isshek answers: "We sleep - we are not sleeping, Duma think that they want to cut us all: the lights put Kalenny, the boilers hang ki-bending, the knives point cigarette!" - "Do not sleep," the witch decided. She came another time and asked the same question, hears the same answer. I thought the witch and entered. Holded around the Merrt-Woke brothers - and they died. In the morning white dodger Call-called children: kids not go. It was the misfortune of her heart, she flew to the princesses. Looks - the children are lying alongside, "white, as planpoints, are cold, like floasts." The mother rushed to them, abandoned, the wings dissolved, the kids wrapped around and screamed by Mate-Rhine voice: rus, rus, my children! Vary, rus, doves! I needed the need for you, I fell away with a tear, the night had a dark night, sweet cous was dearned! "Wife, hear, unprecedented? Duck sentences, "turns the prince to the witch. "It's fading you! Led the duck from the courtyard about-cha! " She is driven, and she will fly away yes again to the kids: rus, rus, my children! Vary, rus, doves! Ruined you the witch old, the witch is old, the serpent, the serpent, the serpent, the pod, the snake; Delivered your father's father, my father's father - my husband, sinking us in a quick river, turned us in white clarops, and herself lives - is great! "Ege!" - thought the prince and ordered to catch the duck. She was not given to anyone. The prince ran into the courtyard - she herself fell on his hands. He took her behind the ward and says: "Become, white birch, I have behind, and the Red Maiden is ahead!" White birch stretched out behind him, and the Red Maiden became ahead, he learned the prince of his wife in it. Forty brought them alive water. They sprayed children - they came to life. And the witch was tied to a horsepower and "scope-potassium" by field. There was no choice of memory from her! Such is the fairy tale of the Witch's black witchcraft and about the comprehensive car. The fairy tale protects straight mats and innocence, execute deception and cunning. Fantastic fiction fairy tale is subordinate to the expression of this particular idea. A question can be asked: Is fiction here only free game of imagination or reflects any archaic ideas and concepts? One-digit answer is impossible here. The heartfelt damage to the killed sons transmits her endless suffering. Willing light of poetry fairy tale lit the meek, dedicated and stray heart of the mother. This poetry is high and pure, characteristic of fairy tales at the stage of the one-witted poetic consciousness of the people. At the same time, the fairy tale before us is very ancient beliefs. From the ancient ideas, far from purely artistic fiction, there is a part of the painfulness in a fairy tale, where the witch speaks about her black magic. Ancient magic and witchcraft blows from the words of the witch: "You swim with a white refinement!", From the story, how she slaps his sacrifice on the back. Witch knows the magic agent to pay all living things In the dead: It is worth only to circle a victim by a dead hand. This episode of the fairy tale A. N. Afanasyev gave an explanation by using ethnographic observations in Kursk province. "There is a belief," the researcher writes, "that the thieves are inhibited by the handle of the dead man and, coming to the fishery, go to the sleeping owners, to bring some kind of sleep on them." Just as in the conspiracy, the words of the prince sounds: "Beginning, white birch, I have behind, and a red maiden ahead!" And according to his word, everything comes true. Thus, it can be said that the magic fairy tale keeps the ancient reports of people about the possibility of handling a person in the animal, beliefs about witheres, about the collerty-ve. In _Scake, it is clear about the ritual actions accompanied by a plot. Such rituals had to neutralize black forces, subjugate their will of a person. This is the ancient layer that the fairy tale has reported to us from time immemorial. Back in the XIX century. Among the peasants were tasteful and marsh rites, which tells us a fairy tale about white opener. The power of firmly spent superstitions can be explained by the safety in the fairy tales of ancient cultural and historical remnants. Ethnographers researchers tell us that in Cre-Sintyan until the very last time was preserved faith in the witch. Ship cases XVII century. It is evidenced that in the Middle Ages, the witchcraft was still in bloom. The beliefs were attributed to the sorcerers and witch wizards, the ability to divide spouses, destroy the harvest, to be damaged, turn people into livestock, birds and reptiles: Soroki, frog, pig, cat, etc. Having finished the sorcerer and the witch supernatural abilities, people in the desire Mustoke yourself from the influence of the spell and black witchcraft affairs felt their life in many magical rites. Magic is the same sorceress and the same magic, these are rites associated with the faith in the ability of a person to oppose the supernatural forces and find them under-support and protection. Magic wanted to subjugate to the will of other people, conquer animals, nature, as well as act on imaginary owners, spirits and gods. The birth of magical circulars refers to primitive times. The appearance of the rite in everyday life was possible because of the ignorance by the man of true connections and relations in real world. Man depended on nature. His fastened consciousness was looking for means of protection in the fight against the sequins of nature and public troubles. The remains of the ritual magic are accurately reproduced in the content of many magical fairy tales. Unfortunately, there are no more work in the researcher-free literature that would systematically put all the magical actions in fairy tales with ritual magic. This makes it difficult to find out the origins of the magical fiction. One thing that can be done is to confirm the proximity of the Wolly fabulous action to magical rites by specifying the frequent coincidence of objects that constituted an integral part of the ritual actions, with the objects that are endowed in the magical fairy tales with wonderful properties. Among the items that magic rites The East Slavs served the functions of wonderful faces, included a ring, ax, handkerchief, mirror, belt, broom, coal, wax, bread, water, earth, fire, apple, grass, branch, stick. Of course, this does not exhaust the list of objects and substances, which the man attributed the miraculous Si-Lou, with certain circumstances, but these items and substances entered the rite especially often. Stalls in fairy tales endowed wonderful property. The fairy tale from the three kingdoms speaks of copper, silver and gold rings in each of which a special kingdom is concluded. In a fairy tale about a wonderful shirt, the ring, put on his finger, turns the hero in the horse. Wedding ring, defeated with his hand, makes the twelve well-known with the words "what you want?". Ge-Roy "orders:" Transfer me from this mountain. "And his great moved it. The ax in all fairy tales Himself. Emelya-fool says that "But to a whitewashing vein, and in my first, well-TKO, then, Ruby Firewood, and you, lamps, put in Sani and Vyazh!" And the ax began to work. The handkerchief in fairy tales has a wonderful property. It is enough to throw it or simply wave as it is formed to be widely understood around the lake and even the sea. "Ivan-Tsarevich heard a noise, looked back - this is about the sister (Witch. - V.A); Mah-zero hustochka (handkerchief V.A), And there was a deep lake. While the witch twisted the lake, Ivan-Tsarevich went far. " Water, frequent ownership of the ritual action, in fairy tales, the miracle is behind the miracle: it returns vision, gives youth, heals from diseases, revitalizes, deprives forces, makes the hero of Silica's most terrible monsters. There is such water that can turn a person in the beast, a bird, but there is another that returns people to human appearance. Of course, the late storyters gave the will to the poetic violation and endowed items and things such properties that the rite does not know. They introduced the wonderful items that were never part of the rite, in magic ritual. A wonderful box, where military force is hidden: shelves of soldiers going with the music and under the banners is the fiction of some servant. This is an artistic fiction. The same can be said about the wonderful Suma, from which the great people pop up, ready to take for any business. But, speaking of the nature of wonderful in fairy tales, it is necessary to note the preservation and in the late fantastic youth of the magical fairy tales of some properties coming from the Magician rites. Such are the wonderful "boolder" apples, "who in a fairy tale return to man youth, strength and health. It can be assumed that the penetration of this wonderful subject in the magical story did not happen without the influence of the ceremonial and magical ideas and the concepts who lived in the people. To the most recent pre-revolutionary years In some Russian villages, the co-stored wedding custom: young on returning from the church after the wedding ate apple. The eaten apple was due to the thoughts of people, while doing this rite, to provide Chadoroi and well-being new family. In the same time magic subjects in fairy tales lost those Magical properties that were learned from ancient rites. In a fairy tale about the wise Virgin, he got an order from the king to appear "not on foot, not on a horse, not bare, not dressed, not with the hotel, not without a gift." Virgo accurately fulfilled the royal will. She arrived on a hare: not on foot, not on horseback. In the hands of the wise of Virgo kept quail, which the king took it in his hands and missed: not with the hotel, not without a gift. Instead of Virgo's clothes pounced the network: not naked, not dressed. The king recognized the wisdom of the Virgin and married her. An intricate narrative in a fairy tale undoubtedly has no other goals, except for both ease. The ritual-magical moments contained in it almost lost their properties, although they exist with ancient magical actions. At the end of the XIX century. Ethno-graphs were noted the existence of an unwritten household Pra-Vila: "When you're getting married, then you get out the fishing network and then go to myself with God: no one will spoil you, the sorcerer will not approach." The nature of this magical act, scientists are explained in different ways, but most are inclined to thoughts: since the loop and the network have a primitive instrument in the fight against the enemy, in the struggle for life, so far and against black, supernatural forces It is necessary to act with what helped a person in everyday practice. So the motive was born, talking about the Virgin who threw on the network. The fairy tale broke away from the rite, and an ancient connection is still traditionally preserved in the form of a ceremonial magic rudiment. The connection of the fabulous fiction with a magical action is found in the fairy tale and when it comes to magic WordAfter the utterance of which the world should submit to a person who knows a sense in verbal magic. In all folk conspiraciesaccompanied by a certain action, the word text was attached great importance. It was important here to know the most order and accurate verbal wording, otherwise the miracle will not take place. How many fairy tales are based on this faith in the Ma-Gum Power of the Human Word! The conspiracy Sagittarius-Molo-Dach rushed in boiling water, plunged, jumped out of the boiler - and she was squeezed by such a handsome that the eye did not take. The hero of the fairy tale "Happy Deep Child" Customs Bed on the head of your own enemies: "In my first, in my Lime, you, rascal, dog." And at the same moment turned the dog with a dog, the boy put on the neck of the iron chain. In a fairy tale about the enchanted queen, it is said that her narrowed, the hero-soldier, resting by magical potion, fell into a deep sleep, and when the trouble came, the Kingana could not see him: he began to pinch him, prick under the sides, Kolola, Kolola - he And the pain does not feel exactly the dead lies. "The queen was angry and the curse said from hearts:" So that you, Sonya unsuccessful, the buoyed wind under-enough, in the missing countries it was listed! " Just managed to call, as suddenly witnessed, the winds were wondering - and in one moment a pick-up-loot soldier with a richness and fell off the Kingper's eyes. It was too longs for the queen, a bad word was told to her trouble, I cried with bitter tears, turned home and began to live alone, alone. Whole fabulous stories Built on the use of the motive of the correction of trouble, clicked in carelessly by the word. But the Golden Palaces, crystal bridges are built with a uniform word, the roads are brought, the go-kind is erected, huge carpets are. Many other wonders create an Wolly word. The nature of the magical actions in a fairy tale coincides with the species and types of folk magic. The following types of magic were allocated in science: therapeutic, malicious (damage), love, ho;! Nyst1y "Naya ~ among the secondary types of magical rites should be paid special attention to the magic of pregnancy and birth. In fairy tales there are all types of these magical rituals. With Magic rites and verbal formulas were trying to treat people. And in fairy tales, the heroes and heroines find a delight from the flour, resorting to herbs. In some fabulous kingdom It grows such a grass that, it is worth "to lose the trees of grass" eyes, blindly transparents. The washing of the decoction of wonderful grass makes the hero of invulnerable. Grave illness struck the royal daughter. Bo-climb began with a trifle. She became a catering and dropped into the underground the crumb. That crumb picked up a frog and ate. Tsa-Rhnaya began. The hero of the fairy tale treats Tsarevna by means of a magic rite. In Trinity, he took the bullish skin, anointed with honey and put in the underground. The frog crawled on the skin, listed honey, it became sick of her, and she dropped the eaten baby. That crumb was washed in water and rape princes. Tsarevna recovered. This fabulous episode is easily compared with the ma-gate ritual described by scientists: the patient was allowed a live green frog on his back.

Introduction

Empirically we all represent what a fairy tale is, and we have more or less clear ideas about it. We may be stored about her poetic memories, remember it from childhood. We intuitively feel her charm, enjoying her beauties, we vaguely understand that there is something very significant before us. In understanding and assessing the fairy tale, we manage the poetic flair.

The poetic flair is absolutely necessary for understanding the fairy tale, and not only fairy tales, but any works of verbal art. However, poetic perception, although it is necessary for understanding the fairy tale, is still not enough. It will be fruitful only in conjunction with strict methods of scientific knowledge and research.

To explore the fairy tale, the science is made extremely much. There is a huge, unbarrous literature about the fairy tale. Before the war in Germany, the encyclopedia of the fairy tales was published - Handwörterbuch Des Märchens, several volumes came out. But the war interrupted this undertaking. In Germany, a new edition of this encyclopedia is preparing at the level of modern scientific requirements. With the Berlin Academy of Sciences there is an institute of Germanic nation. This institute publishes the annual, which provides reviews of everything that in European countries is being made to study the fairy tale.

The purpose of this work is the study of cumulative fairy tale within the framework of culture.

Tasks of work - to consider the story of the fairy tale, reveal the topic "Tale and modernity", to define the concept of "fairy tale", and also give the characteristic of German fairy tales.

Scientific understanding of the term "fairy tale" has its own story.

Despite the fact that this definition is accepted, it detects a number of weaknesses:

1. Definition of a fairy tale as a "story based on poetic fantasy", too wide. On poetic fantasy, any literary and artistic work is based.

2. In most fairy tales there is no magic. It is only in the so-called magic fairy tales. All non-magic fairy tales remain out of this definition.

3. The researcher will not agree with the one hundred fairy tale "is not related to the terms of valid life." The question of the attitude of the fairy tale to real life is very complex.

4. Formula that the fairy tale delivers aesthetic pleasure, even if the listeners find it "incredible or unreliable," means that the fairy tale can be considered a reliable and probable that it is entirely depends on the listener.

The definition is made through the nearest family and a specific difference. Under the nearest reason in this case, you should understand the story at all, the narration. The tale is a story, he belongs to the field of epic art. But not any story can be called a fairy tale.

The fairy tale is determined by its plots. Indeed, when we think about a fairy tale, we remember the fairy tales of the fox, about the stolen princess, about the heat-bird, etc., i.e. We present yourself a number of plots.

The plot is of very essential importance for understanding and studying the fairy tale, but the tale is still determined not by its plots. The fairy tale is a story that differs from all other types of narration specificity of its poetics.

This definition still does not fully reveal the essence of the fairy tale and requires further additions.

Definition, this A.I. Nikiforov, says: "Fairy tales are oral stories that are among the people with a goal of entertainment, having a content of an unusual event in the everyday sense and characterized by a special composite-stylistic construction." This definition has not lost its scientific significance so far. It must be the basis of the understanding of the fairy tale.

This definition is the result of a scientific understanding of a fairy tale, expressed in the shortest formula. All major signs characterizing a fairy tale are given here. Tale, folk tale, there is a narrative folk genre. It is characterized by his form of existence. This is a story transmitted from generation to generation only by oral transmission.

The fairy tale is characterized as a story, i.e. It belongs to narrative genres. The fairy tale indicates something talked. This means that people perceives a fairy tale as a narrative genre of the advantage.

Another feature established by Nikiforov, is that the fairy tale is described in order to entertain. It belongs to the entertainment genre.

Sign of entertainment stands in connection with another sign of the fairy tale, namely the extraordinary event that makes up the content of the fairy tale. About ordinary, everyday, everyday epic folklore does not narrow at all. It serves only the background for the next, always extraordinary events.

The following sign is a special composite-stylistic construction. Style and composition can be combined with the general concept of poetics and say that the fairy tale is characterized by a particular poetic for her. It is this sign that is decisive to determine what a fairy tale is.

There is, however, one sign, although the outlined, but not well disclosed and consisting in the fact that in the reality of the told not believed. That the people himself understands a fairy tale as fiction. This is one of the main and decisive signs of a fairy tale.

This is a very significant sign of the fairy tale, although at first glance it may seem that this is not a sign of a fairy tale, but the property of listeners. They are free to believe or not believe.

Thus, we received a certain definition of a fairy tale, reflecting a modern point of view on it and the possibility of further studying it.

Different types of fairy tales differ not only by external signs, the nature of the scenes, heroes, poetics, ideology, they may be completely different and in their origin and history and demand different studies.

2. The story of collecting fairy tales

At first glance, it seems that burn a fairy tale is very easy that it can make anyone without special training.

In ancient Russia, for example, no one even occurred to record fairy tales. The fairy tales were subjected not only to official contempt, as something completely not worthwhile attention, they were driving.

The first trends go to Russia from Western Europe and penetrate Poland. The first compilers of narrative collections were clergy. In Catholic worship, they are accepted in churches to pronounce aspirations. These sermons were abstract and boring. To keep the attention of the parishioners and make them listen, sermons were enjoyed by interesting stories that some kind of moral or religious and philosophical interpretation were attached. For such use, collections of stories were created. They were widespread, were very popular, translated into European languages \u200b\u200band reached us.

In addition to such collections, there is a tale of a semi-checker nature, Western and Eastern origin.

3. Cumulative fairy tales

3.1 General characteristics

There is not a very extensive type of fairy tales that have so specific compositional and stylistic features that their identification in a special discharge does not cause any doubts. These are the so-called cumulative fairy tales.

The existence of cumulative fairy tales as a special type was noticed for a long time, but the corresponding conclusions were not made for the classification, nor to explore the fairy tale. So, processing and translating into English a sign of Fairy Tales Aarn, American scientist Thompson provides for them with 200 numbers. Transferring the same pointer to Russian, prof. Andreev makes one consolidated number for all cumulative fairy tales, silent by his "cumulative tales of various kinds". Thus, both researchers faced the need to somehow allocate this material, but they went opposite ways: one provides for two hundred types of fairy tales, the other one. At the same time, however, the question of what fairy tales is called cumulative, it remains unclear, and a large number of typical cumulative fairy tales is scattered according to other discharges. Especially many cumulative fairy tales are in the section of animal fairy tales. The AARNY system does not allow the possibility of accurate allocation, and the attempts of entering the adjusted signs are compromise. There are no adjustments here, but essentially a new classification system built on the study of the poetics of fairy tales.

In the Russian fabulous repertoire, you can count about twenty different types of cumulative fairy tales. It is necessary to solve the question that, in fact, is cumulative fairy tales. The ambiguity of this issue leads not only to confusing classification, but their false conclusions are essentially studied by the material.

So, B.M. Sokolov in his course folklore devotes a special chapter of the composition and style of fairy tales about animals. This chapter, however, is entirely based on cumulative fairy tales, and the tale of animals is not represented by any example.

The main composite reception of cumulative fairy tales consists in any multiple, all increasing repetition of the same actions until the circuit created in this way does not break down or is not broken in the opposite, descending order. The simplest example of the increase in the lead to the rupture of the chain can serve as well-known "repka", an example of the reverse development of the chain - the fairy tale "Cockerel was suppressed." In addition to the principle of the chain, other types of gradual increases or jet leading to some sudden comic catastrophe are possible. Hence the name of fairy tales - accumulate, straighten, increase. In German, they are referred to as Kettenmärchen, Häufungsmärchen, Zählmärchen.

In this junk and consists of all interest and all the content of fairy tales. They have no interesting scene events. On the contrary, the most event is negligible, and the insignificance of this event is sometimes in comic contrast with the monstrous increase in the consequences arising from it and with the ultimate catastrophe.

These fairy tales are in style and the method of execution of two: some we call formal, others - epic. Characteristic and typical for cumulative fairy tales are the first, i.e. Formular.

3.2 Composition of cumulative fairy tales

The composition of the cumulative fairy tales is extremely simple: the exposition most often consists of some small event or very usual in the life of the situation: the grandfather puts a turnip, Baba bakes a bitch, the girl goes on the river to make the mop, the egg is broken, the man is born in a hare. This exposure cannot be even called stronger, as it is not at all visible, where the action is developing. It develops unexpectedly and in this surprise is one of the main artistic effects of the fairy tales. Methods for connecting the circuit with exposure extremely many. In a falappy about the repka, the creation of a chain is caused by the fact that the grandfather cannot pull it out. In the fairy tale, "Terem Mukhi", Mugu builds Terem or settled in some abandoned mitten. But here one by one, usually in order of increasing magnitude, are the beasts and suggest a hut. The latter is the Bear, which also cums the fact that it sits on this turn.

In the first case (repka), the creation of the chain is motivated and internally necessary, in the second case (teremok) there is no internal necessity in the arrival of new and new animals. On this basis, two types of these fairy tales can be distinguished. The second prevails, the art of such fairy tales does not require any logic.

A number of cumulative fairy tales are built on the consistent appearance of any unandoned guests. Other fairy tales are built on a number of exchanges, and Mena can occur in a descending order - from the best to the worse or on the worst for the better.

For cumulative fairy tales, it is also possible to rank, in which all the effects are based on various types of comic endless dialogues.

3.3 style of cumulative fairy tales

Possessing a completely clear composite system, cumulative fairy tales differ from other fairy tales and their own style, their verbal outfit, form of their performance. It is necessary, however, to keep in mind that in the form of execution and in style it has, as already indicated, two types of these fairy tales. Some are told epically calmly and slightly, like any other fairy tales. They can be called cumulative only according to the composition underlying them.

There is another, brighter and typical kind of cumulative fairy tales with this. The journey or increasing of events here corresponds to the hearing of words. Such can be called "formal". The boundary between these two types of unstable. The same type can be fulfilled in one way or another. But the types of fairy tale to one or another method of execution undoubtedly available. In the latter case, with the joining of each new link, all previous links are often repeated. The repetition consists of all the charm of these fairy tales. All the meaning of them in colorful artistic performance. The execution of them requires the greatest skill: they sometimes come close to patter, sometimes come across. All of their interest is interest in the word as such. The nudity of words is interesting only when the words themselves are interesting. Therefore, such fairy tales are talent to rhyme, poems, to Conason and Assonance and in this desire do not stop before bold neoplasms.

These features of cumulative fairy tales make their favorite children who love new, sharp and bright words, patter, etc., so cumulative fairy tales can be called full right, by the advantage of the children's genre.

3.4 Origin of cumulative fairy tales

Now, when even accurate inventory of cumulative fairy tales is not made, and often they are not recognized as a special discharge, the problems of cumulative fairy tale can not be resolved with sufficient completeness. The principle of cumulation is felt as relic. The modern educated reader, however, will be happy to read or listen to a number of such fairy tales, admiring, mostly, the verbal fabric of these works, but these fairy tales do not correspond to our forms of consciousness and artistic creativity. They are the product of earlier forms of consciousness. We have the location of the phenomena in a row, where modern thinking and artistic creativity will no longer enumerate the entire row, and would jump through all the links to the last and decisive. A detailed study of fairy tales should show which rows here are and what logic processes them correspond.

Primitive thinking does not know space as a product of abstraction, it does not know generalizations at all. It knows only an empirical state. Space and in life, and in fantasy is overcome not from the initial link to the final, but through the specific, real-point linking links. Handling is not only artistic technique, but also a form of thinking, which affects not only folklore, but also in the phenomena of the language. In the language, there would be agglutination, i.e. Name without flexions. But at the same time, tales show already some overcoming of this stage, its artistic use in humorous forms and purposes.

Cumulation as a phenomenon is characteristic not only for cumulative fairy tales. It is part of other fairy tales, for example, fairy tales about fisherman and fish, where the growing desires of the old woman is a clean cumulation. The cumulation enters into the system of some rituals, reflecting the same way of thinking through the mediated links.

The second problem, delivered by the Brothers Grimm - the origin of the fairy tales. This problem occupies science so far.

Thus, the main merit of the Grimm brothers is in the new, actually scientific formulation of the study of the fairy tale. And they have not only set themselves, but also were solved. The Grimm Brothers were not so many folklorists as philologists, linguists.

The problem of the similarity of fairy tales is also solved as the problem of similarity of languages, i.e. Approval of the existence of some Pranodina of European languages, in which the United People lived, who spoke in the same language. By gradual resettlement and sedimentation, individual peoples were formed, each in their own language.

Another question, the question of the origin of the fairy tale, was more difficult for permission, and it was impossible to rely on these linguistics. Brothers Grimm argue the religious origin of the fairy tales. The fact that now it came to us as fairy tales, in the Epoch of Indo-European Unity was myth. Science has not yet had enough funds to establish what the character of this myth was.

Since the purpose of our work is to consider cumulative fairy tales, we will give some examples of such fairy tales taken from the "Tales of the Grimm Brothers".

The first example, which we consider - the fairy tale "Der Gjldene Schlüssel" ("Golden Key").

An example of a cumulation here is as follows: Described from household theme - Zur Winterzeit, Als Einmal Ein Tiefer Schnee Lag, Muste Ein Armer Junge Hinausgehen und Holz Auf Einem Schlitten Holen. - In winter, when there was a deep snow, the poor young man came out of the house to distort the firewood. Such action is directly related to life. Next, there is a direct risk of events. The young man finds the key, looking for a castle to him. Wo Der Schlüssel Wäre, Müste Auch Das Schloss Dazu Sein. And finally, finds. In this case, a chain of locks are built, among which the young man is looking for a suitable key. What else distinguishes this cumulative fairy tale is simplicity of presentation.

Another example of a cumulative fairy tale can serve as a fairy tale "Die Brautschau" - literally "Selection of the Bride". In this case, there is also a room theme. Events take place. The groom chooses his wife from three sisters, trying on each of them the ring. Which it will suit, that will be his wife. In this case, there is a consistent "sticking" of people to each other. That is, one sister replaces the second, the second one - the third.

Another example: Fairy Tale "Der Fuchs Und Das Pferd" - "Fox and Horse". Here, except for everyday theme: "Es Hatte Ein Bauer En Treues Pferd, Das War Alt Geworden und Konnte Keine Dienste Mehr Zu Tun" - "One peasant was a faithful horse, which has come and could not fulfill their service"; The theme of animals is also affected, which is also a type of cumulative fairy tale.

"Der Hase Und Der Igel" - "Hare and Hedge" - an example of a cumulative fairy tale about animals. In addition, the events are taken here: a meeting of a hare and hedgehog in the forest, then arranged between competitions in speed between them, and, as the final, comic end - a rapid hare remains losers.

"Das Lügenmärchen" - "Tale - Fortiment." Direct example of rolling events and action. Presented by the author in the form of fiction. There is a simplicity of the story, in this fairy tale there is a phenomenon of the patter. "EIN FROSCH SASS UN FRASS EINE PFLUGSCHAR ZU PFINGSTEN ...". What is also a sign of a cumulative fairy tale.

All given examples are bright representatives of cumulative fairy tales. Of course, in German fairy tales there is no such ripping actions or people as in Russian folk fairy tales, for example, "repka", "teremok", but still such phenomena are observed.

In Germany, the tale is perceived as a symbol of the deepest wisdom. Approved. That the fairy tale dates back to the myths about the gods. What can be traced in the works of Brothers Grimm. In many fairy tales, Divine and Supernatural Topics and Phenomena are affected. "Tale of a lonely boy", "Messengers of death", etc. All data relating to the pagan cultures of the ancient Germans are collected by the Grimm Brothers in Cupitsa. What was reflected in the works of Brothers Grimm.

Conclusion

Just as the song is coming, the fairy tale affects. The fairy tale is designed not to read through the eyes, but for perception of rumor. Tale - typically folk phenomenon.

It is impossible to recognize the fairy tale all that is placed in the collection of fairy tales. The world of fairy tales is extremely varied, diverse and moving. The topic of the classification, which we have been touched a little as part of this work, is important not only because it makes a fairy tale in the motley world. It has a purely cognitive value. Different types of fairy tales differ not only by external signs, the nature of the plots, heroes, poetics, ideology, they can be completely different and in their origin in history and demand different studies.

The purpose of our work was to consider not the entire classification of fairy tales, but only a separate type of its type - a cumulative fairy tale. In paragraph 3 of this work, we gave a detailed description of this type of fairy tales.

In conclusion, it should be said that the task set before us at the beginning of the work was performed. Since we gave the definition of the concept of "fairy tale", as it is considered various authors and researchers. We revealed the topic of fairy tales and modernity, that is, how today a fairy tale is considered, from what positions and sources it was formed to appear before us in her today. We also disassembled genre types of cumulative fairy tales on examples of German fairy tales, as they are represented by brothers Grimm. As well as on some examples of Russian folk fairy tales.

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