Let's talk about fairy tales. What is a fairy tale? Fairy tales

Bogdanov I. D. 1

Samoilova E.A. 1

1 Municipal autonomous educational institution of Novolyalinsky urban district "Secondary school No. 4"

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“In fairy tales one can see both the soul of the Russian people and wisdom.

they are our wealth. "

(Vasily Andreevich Zhukovsky)

Introduction

Today it is difficult to imagine a person who would not like fairy tales and everything connected with them.

Fairy tales came to us from ancient times, passed down from generation to generation. It was so long ago that now no one can even find out exactly when.

The first creator of fairy tales was the people who put into them their cherished dreams of justice, a happy life, talked about beauty, intelligence and hard work ordinary people... A fairy tale surrounds, bewitches, captivates a person from early childhood to the end of life with its wonderful transformations and magical plots.

The theme of the presence of fairy tales in our life is relevant, because even nowadays people read fairy tales with pleasure. The main feature of fairy tales is the presence of magical objects that helped and made life easier for the heroes. In Russian folk tales, there are household items and clothing that make their owner invulnerable and give him the opportunity to do great things. Walking boots, an invisible hat, a self-assembled tablecloth, a flying carpet, a magic wand - these are the main objects of fairy tales. With the help of magical objects, the heroes of fairy tales cope with difficulties that cannot be overcome in the usual way. Note that not every fairy tale with a magical subject is a folk tale. Many world-famous storytellers happily wrote about useful curiosities.

After reading a lot of fairy tales, I realized that magic "helpers" exist in reality. These are human inventions that help and make life easier for modern people. Surprisingly, discoveries and perfections take place every day in the world of technology. The basis of these inventions to mankind is given by the wisdom of the whole people, that is, fairy tales.

Object of study: magic items from fairy tales.

Research subject: connection of magical objects with inventions of the modern world.

Hypothesis: magic items are closely related to modern inventions that we are using now.

Purpose: to find out if there is a possibility of creating magic in the real world, that is, to find inventions in the modern world, the ideas for creating which came to us from fairy tales.

Find magic objects in fairy tales that helped the heroes

Find objects in the modern world, the progenitors of which are magical objects from fairy tales.

Prove the relationship between magical objects and modern inventions.

Attract the attention of the group to the study.

Analyze the results and draw a conclusion.

Research methods:

comparison;

study and analysis of literature;

generalization;

Study period: February 2018 - September 2018

“You shouldn't turn away from grandma's fairy tales so easily.

They sometimes store knowledge from the inheritance of the Wise. "

( Gene Ronald Ruel Tolkien. "Lord of the Rings")

After reading and analyzing a large number of fairy tales, I found magical objects that, thanks to the development of science, were embodied in real life. I have divided these subjects into several groups.

1. Fast movement.

People have always dreamed of quickly moving long distances for a short time, that's why they came up with magic items that help you fly and run fast. We learn about these magical objects from fairy tales.

So, from a fairy tale " Prophetic dream"we learn about the flying carpet. The main character Ivan, the merchant's son, took possession of this magical object in a not entirely honest way." They went out of town, spread a flying carpet, sat down and climbed above the walking cloud; they flew, flew and descended just at that dense forest where they left their good horses. ”But with his help he did good deeds. In the same tale, walking boots are also mentioned.

Or in the fairy tale "The Enchanted Princess", a retired soldier married a princess in the guise of a bear. To overcome obstacles, he also deceives himself with a flying carpet, an invisible hatand running boots.The tale says "a soldier got on a flying carpet and flew ... wandered for a long, long time, saw many lands and many seas, and finally flew to the end of the world ... nowhere else to fly!" I did not use boots when doing fabulous deeds.

I also read Charles Perrault's fairy tale "A Boy with a Thumb", in which I also met a magical object with which it is possible to move - seven-league boots. "The cannibal took seven-league boots from his chest and hurried after the brothers. He crossed half the state in a few steps and soon found himself on the road along which the boys were running ... He jumped from mountain to mountain, stepping over huge rivers like little puddles." Then the finger-boy stole the seven-league boots from the Ogre. The kid got a job in the royal service as a messenger and with their help earned a lot of money and helped the family get out of need (the tale is written inXVII v.).

In the fairy tale "Little Muck" by Wilhelm Hauff there are magic shoes that move the wearer at any distance.I read about them: “Leaving the house, he started to run and raced without looking back until he ran out of the city into the field. no matter how hard he tried to stop them. He tried to fall and turn - nothing helped. Finally he realized that the whole thing was in his new shoes. They pushed him forward and did not let him stop. Muk was completely exhausted and did not know what should he do. ”In despair, he waved his hands and shouted like cabbies:
- Whoa! Whoa! Stop! And suddenly the shoes stopped at once, and the poor dwarf from all over fell to the ground. "Later, Muck used this property of shoes to achieve his goals (the tale was published in 1826).

In A. Volkov's fairy tale "The Wizard of the Emerald City" I came across a magic object - silver shoes. "- Silver shoes have many wonderful properties, - said Stella. - But their most amazing property is that in three steps they will take you even to the ends of the world. You just need to bang your heel on the heel and name the place ..." This magic shoe endured Ellie from fairy land to Kansas to dad and mom. The work was written only in 1939.

In the Russian folk tale The Flying Ship, I learned about how the Tsar decided to give his daughter in marriage to someone who could make the Flying Ship. This turned out to be the younger brother in one poor family, who went to the forest and asked for advice from his grandfather - a kind wizard who helped the guy build a ship of unprecedented beauty "... fool on flying ship sat down, straightened the sails. The sails were inflated, the ship soared into the sky, flew faster than the falcon. It flies a little lower than walking clouds, a little higher than standing forests ... "

And yet, in many Russian folk tales, the most evil heroine - Baba Yaga - moved in a mortar.

Most lazy hero in fairy tales Emelya rode a sleigh not pulled by horses. Here is how it is said in the fairy tale: "Emelya got off the stove, put on his shoes, dressed. He took a rope and an ax, went out into the yard and sat in a sleigh:

Women, open the gate!

His daughters-in-law say to him:

Why, you fool, got into the sleigh, but didn't harness the horse?

I don’t need a horse.

The daughters-in-law opened the gates, and Emelya says quietly:

On the pike's command, according to my desire - go, sled, into the forest ... The sleds themselves drove through the gate, but so quickly - you can't catch up on horseback. "

Even Emelya, who was reluctant to do anything, went to the stoves. "Emelya lay still and said:

According to the pike's command, according to my desire - come on, bake, go to the king ...

Here in the hut the corners crackled, the roof swayed, the wall flew out, and the stove itself went down the street, along the road, straight to the king.

The king looks out the window, marvels: What is this miracle?

The biggest nobleman answers him: And this is Emelya on the stove coming to you. "

After reading all these tales, I came to the conclusion that people have always dreamed of moving quickly, so in the modern world they have come up with analogs of fabulous magical objects.

Having heard or read in childhood about the flying carpet, scientists began with Serious studies of the possibility of flying on a spacecraft only in the 18th century. After many unsuccessful attempts to take off and stay in the air, on December 17, 1903, the American inventors, the brothers Wilbur and Or-Villa Wright, carried out four controlled flights on the engine-powered Flyer 1 biplane. Later
this invention was improved and now we can fly on a modern airplane, helicopter, rocket.

After reading in childhood about Emelya, who traveled on the stove with a stove bench, scientists thought about creating a convenient and comfortable vehicle.

In 1791, the inventor Ivan Kulibin built his "self-running stroller", which was powered by a flywheel. This stroller already had a brake, bearings and a gearbox. In 1885, German inventors Gottlieb Daimler and Karl Benz were the first in the world to build cars equipped with gasoline engines.

In subsequent years and decades, the development of technology did not stand still, and modern locomotives and cars are much more powerful, faster, more beautiful and more comfortable than their "ancestors".

The famous self-propelled oven is also the prototype of a steam locomotive.

Impressed by the fairy tale about the comfortable movement of Emelya on the stove, Englishman Richard Trevithick presented the first steam locomotive in 1801. The main drawback was the cast iron rails, which collapsed under the weight of this heavy machine.

It was only in 1814 that the English mechanical engineer George Stephenson built his own steam locomotive and made sure that the cast-iron rails were replaced with steel ones.

In 1833-1834. Ural mechanical engineers - the father and son of the Cherepanovs, who worked at the Demidov factories, first created a steam locomotive in Russia, which was simpler in design in comparison with their foreign counterparts.

V late XIX century the steam locomotive underwent some changes and became like a large and powerful machine, which had the ability to accelerate to 150 kilometers per hour.

A modern train and a modern Emelya looks like this:

After reading the fairy tale "By the Pike's Command" and learning about the magic sleigh, engineer S.S. Nezhdanovsky in 1903 invented the first snowmobiles that move on snow and ice. They no longer need to be harnessed to horses.

Having learned about Baba Yaga, who easily moved through the air in a mortar, the Montgolfier brothers in 1783year made their own stupa, attaching it to a balloon. Balloon filled with hot air, thanks to which it rose up. Now everyone can climb into the sky.

After reading about the flying ship, every child dreamed of going on a trip on it, and so in September 1852Frenchman Henri-Jacques-Girard, took to the skies in the first airship. Subsequentlythis device was improved, but it remained similar to the flying ship from a fairy tale.

All the devices that I have considered above can only be activated with the help of adults. And how important it is for a child to feel like a wizard himself and move quickly without assistance. Probably, this is why people who, in childhood, were told fairy tales about speed boots and other magic shoes, invented skates, and later roller skates, skis, scooters, segway.

2. Finding the right path.

Moving quickly is, of course, good, but you need to know exactly in which direction to move. Therefore, in fairy tales there are very important magical objects that help to find the right path.

Such a subject in the Russian folk tale "The Frog Princess" is a glomerulus. When Ivan Tsarevich went to search for his wife Vasilisa the Wise beyond the distant lands in the thirtieth kingdom, then "an old old man came to meet him, who gave him a ball and said:" Here is a ball for you; where he will roll - go boldly after him. "Ivan Tsarevich thanked the old man and went for the ball ..." He helped the traveler to reach the goal - to Koshchei the Immortal.

In another Russian folk tale "Go there - I don't know where, bring that - I don't know what "Marya-Marevnagave her husband Andrey the arrow a ring so that it would help to fulfill the service of the tsar. "Andrey threw the ring - it rolls. Andrey follows him with clean fields, mosses-swamps, rivers-lakes, And after Andrew the tsar's advisor drags on ... Whether close, far, soon, or shortly, they came into a dense, dense forest, went down into a deep ravine, and then the ring stopped. "He brought the hero's ring to the right place. the tale also meets a ball, which also helped the hero get to the intended goal, that is, there - I don't know where. This is how it was: "I threw the ball in front of me, the ball rolled - it rolls and rolls. Andrey follows him. Andrey went through many kingdoms and lands. The ball rolls, the thread stretches from it; the ball became small, about the size of a chicken head; that's how small it has become, it is not visible on the road ... "

In the modern world, it is also important to move in the right direction, therefore, after reading fairy tales in childhood, scientists invented navigators, thanks to which you can make your way to anywhere in the world.

The first personal navigator was manufactured in England in 1920. It was worn on the arm. It contained scrolls of paper maps with instructions that the driver had to scroll through on the way. Modern navigators are mini-computers equipped with special sensors that, using signals from satellites, determine their location on Earth and display it on the terrain maps stored in the navigator's memory, giving its owner voice and visual prompts about the direction of travel and other important information for the user. according to the chosen route.

3. Connection with the outside world.

Since ancient times, people have dreamed of objects that will connect them with the world around them, which will help them learn about what is happening on the other side of the earth.

I read the Russian folk tale "Marya Morevna", where Ivan Tsarevich, going to look for his wife Marya, who was taken by Koschey the Immortal, leaves his relatives a silver spoon, fork and snuffbox. When Koschey the Immortal " he chopped Ivan into small pieces and put it in a tar barrel, took this barrel, fastened it with iron hoops and threw it into the blue sea, and took Marya Morevna to his place. At the same time, the silver of the sons-in-law of Ivan Tsarevich turned black. Ah, - they say, - apparently, trouble happened! "It's good that the relatives knotted about the trouble that happened to Ivan Tsarevich and saved him.

In the modern world, it has also become extremely important for people to keep in touch with each other, wherever they are. Therefore, the idea from a fairy tale became the reason to invent the telephone. The brilliant scientist Antonio Meucci invented the first telephone in 1866. Currently, technologies have developed so much that there is practically nothing left to do with modern telephone except for the principle of operation. 1957 Russian scientist L. Kupriyanov experimentally created a sample of a mobile phone. In 1971, Samuel Hirst developed the elograph, a graphics tablet. And in 1972, the Americans introduced the first touchscreen phone.

Do not pass by the fairy tales read by scientists in childhood. Therefore, now you can find out about your relatives and friends by calling them on the phone.

In the Russian folk tale "The Silver Saucer and the Pouring Apple" a man bought his eldest daughters silk and scarlet velvet, and his younger Mashenka a silver saucer and a pouring apple. The sisters laugh, and "Mashenka sat down in the corner of the room, rolled a pouring apple on a silver saucer, sings and says:

Roll, roll, pouring apple, on a silver saucer, show me both the cities and the fields, show me the forests and the seas, show me the height of the mountains and the beauty of the heavens, all the dear Mother Russia.

Suddenly there was a silver ringing. The whole room was flooded with light: an apple rolled on a saucer, pouring on a silver one, and on a saucer all the cities are visible, all the meadows are visible, and the shelves in the fields, and the ships on the seas, and the height of the mountains, and the beauty of heaven: the sun is clearly rolling after the bright month, the stars gather in a round dance, the swans sing songs in the backwaters. "

Such a liqueur apple on a silver platter is in every modern home - this is a TV. Scientists different countries under the influence of fairy tales, they worked for a long time so that people could see the world at a glance. And they succeeded. Currently, by turning on the TV button, we learn about what is happening not only in Russia, but all over the world.

In the Russian folk tale "Elena the Wise" main character looks into a magic book that knows about everything in the world. This is how it is written about it: " Elena the Wise took the magic book, looked - and saw everything as if in the palm of her hand. "

The magic book is mentioned in many Russian folk tales: "Go there - I don't know where, bring that - I don't know what", "The Enchanted Princess" and others.

Great storytellers also wrote about this amazing subject.

So, I met a magic book in A. Volkov's fairy tale "The Wizard of the Emerald City". Ellie absolutely needed to know how to get home from fairy land. She asked the sorceress Willina about this. And here's what happened next ...

" - Oh yes, - Willina caught herself, - I completely forgot that my magic book is with me. We need to look into it: maybe I’ll read something useful for you there ...

Willina pulled out a tiny little book the size of a thimble from the folds of her clothes. The sorceress blew on her and in front of the surprised and a little frightened Ellie the book began to grow, grow and turned into a huge volume. It was so heavy that the old woman put it on a large stone. Willina looked at the pages of the book and they themselves turned over under her gaze.

Found, found! - suddenly exclaimed the sorceress and began to slowly read: - “Bambara, chufara, scoriki, moriki, turabo, furabo, loriki, eriki ... cherished desires, pickup, trikapu, botalo, shook ... "

Probably, modern scientists were so impressed by these fairy tales about magic books that they invented the computer, and then the laptop, which helps people learn about everything in the world.

4. Magic helpers

4.1. Household helpers

After reading many fairy tales, I noted that ordinary people wrote Russian folk tales about themselves. Great storytellers also wrote fairy tales about common people. And ordinary people worked very hard and had nothing to eat, so in fairy tales, helpers in everyday life are very often found.

So, a self-assembled tablecloth can feed anyone if you say the right words.

Here is an excerpt from the Russian folk tale "Self-assembled Tablecloth", in which the Midnighter thanked the old man for his good deed: " He took out a bundle from his bosom and handed it to the old man:

Here's a self-assembled tablecloth for you - at any time you will be full. Just unfold the tablecloth and say: "Drink, eat!" - and eat, drink, whatever your heart desires ... The old man thanked his named brother for the treat and for the gift, said goodbye and set off on the way back ... I went to the inn.He sat down at the table, took out a tablecloth from his bosom, unrolled it and ... priests-lights, where did it come from: different dishes were set, fragrant honey, sweet wines, snacks, all sorts of snacks - the table was breaking! Drink, eat - the soul is a measure! "

In the XIX - XX centuries. to help housewives, various household appliances were invented and improved to help cook (microwave ovens, bread makers, electric kettles, mixers ...) and clean up the dishes (dishwashers).

The great storytellers Brothers Grimm wrote the tale "Pot of Porridge", in which the old woman thanked the girl for the berries and gave her a pot. This is how it is described in the tale: " The old woman ate the berries and said:

You gave me berries, and I'll give you something too. Here's a pot for you. You just have to say:

"One, two, three, pot, boil!" and he will start cooking delicious, sweet porridge.

And tell him: "One, two, three, don't cook any more!" - and he will stop cooking.

Thank you, grandmother, - said the girl, took the pot and went home to her mother.

The mother was delighted with this pot. And how not to rejoice? Delicious, sweet porridge is always ready for lunch without labor and hassle. "

Modern scientists also remember this tale. And in 1956 Yoshitada Minami invented a device similar in operation to a multicooker. Later it was improved and he became a real assistant. women in the kitchen. While the porridge itself is cooked in a slow cooker, women can go about their business. Porridge will definitely not run away from the multicooker.

In the Russian folk tale "Tserevna the Frog" - the wives of the tsar's sons had to sew a shirt in one night, then bake a loaf. The frog princess coped with these tasks with the help of magic.

In those distant times, women could only dream of such helpers that were invented in the modern world. These are vacuum cleaners, washing machines, irons and many, many other household helpers.

In the Russian folk tale "Vasilisa the Wise" Vasilisa is helped by a magic doll, which, if fed and told her his misfortune, will do everything herself. " The doll eats, then gives advice and comforts in grief, and in the morning she does all the work for Vasilisa, she only rests in the chill and tears flowers, and her ridges have already been weeded out, and the cabbage is watered, and the water is applied, and the stove is heated. It was good for her to live with a doll. "

Over the past 10 years, instead of a wish-fulfilling doll, robotic au pair have been invented that can do household chores. They know how to put things in order in the house: load the washing machine, water flowers, cook food, and also make people's lives more interesting and comfortable..

In the Russian folk tale "The Firebird and Vasilisa the Princess", a very common, seemingly, fairytale subject is shown - a feather of a firebird. This is what the fairy tale says about it “In a certain kingdom, distant lands - in the thirty-tenth state there lived a strong, mighty king. And that tsar had a good archer, and a brave archer had a heroic horse. Once the archer rode on his heroic horse into the forest to hunt. He rides along the road, rides wide - and ran into the golden feather of the firebird: the feather glows like a fire! ... "

But how did this "ordinary" fairy-tale object haunt scientists in many countries? And in the 19th century. appeared n First light bulb. Who exactly was the inventor is difficult, but in this direction such names are known asP.N. Yablochkov, A.N. Lodygin, Joseph Swann, Thomas Edison. Such a seemingly insignificant discovery of brilliant scientists changed the world radically and gave a great impetus to the technological development of mankind.

What necessary and important inventions have been made for man thanks to fairy tales. Without them, it would be very difficult to live in the modern world.

4.2. Magic construction assistants

In the Russian folk tale "The Magic Ring" Martynka, who was about to marry the Tsar's daughter, had to build a palace and a crystal bridge in one night. The young man coped with this task with the help of a magic ring. And it was so. "Exactly at midnight, Martyn got out of bed, went out into the wide courtyard, threw the ring from hand to hand - and immediately twelve fellows appeared in front of him, all on the same face, hair in hair, voice in voice.

What did you need, Martyn, the widow's son?

And here's what: make me a richest palace in the light on this very place, and so that from my palace to the royal there was a crystal bridge, trees with golden and silver apples would grow on both sides of the bridge, on those trees would sing different birds, and even build a five-domed cathedral: it would be where to receive the crown, it would be where to celebrate the wedding.

Twelve fellows answered:

Everything will be ready by tomorrow!

They rushed to different places, drove the craftsmen and carpenters from all sides and set to work: everything is arguing with them, the work is done quickly. The next morning Martynka woke up not in a simple hut, but in noble, luxurious chambers; went out onto the high porch, looks - everything is ready as it is: the palace, and the cathedral, and the crystal bridge, and trees with golden and silver apples. "

It would seem that in the real world this cannot be. But scientists read fairy tales for a reason. They have ahead whole life to invent magical items. And it worked! More recently, a giant 3D printer has been created in the world, with the help of which a small house in China has already been "printed" in just one day. In Russia, the construction of such a lady is also underway in the city of Yaroslavl. In the near future, 3D printers will be able to build houses and bridges as beautiful and large as in a fairy tale.

4.3. Magic assistants at work

People different professions constantly think about how good it would be to have magical objects in their work in order to help people and to do their job better. And where to get such assistants. Of course, from fairy tales that were read in childhood. Scientists do just that - they remember magic and invent some very necessary object.

So in the tale of A.S. Pushkin's "The Tale of dead princess and seven heroes "is written about the mirror, which always spoke the truth.

I joked with him

And, showing off, she said:

“My light, mirror! tell

Yes, report the whole truth ...

A very useful thing in the modern world. I think that it was this fairy tale that prompted1921 by John Augustus Larson, medical student at the University of California and Berkeley California Police Departmentto come up with a device that would always tell the truth, or rather determine whether a person is telling the truth - it is a polygraph or a lie detector. It is necessary for the police to determine whether the criminal is telling the truth or not. Why not a mirror of the human brain?

In many Russian folk tales, people wanted to revive or heal a loved one. In this they were helped by rejuvenating apples, living and dead water. So in the fairy tale "About rejuvenating apples and living water" it is said that " distant lands, in the thirtieth kingdom there is a garden with rejuvenating apples and a well with living water. If an old man eats this apple, he will rejuvenate, and wash the eyes of a blind man with this water, and he will see. "

In the fairy tale "Marya Morevna", in order to save Ivan Tsarevich, who was hacked into pieces by Koshchei, "all three flew into one place, broke the barrel, took out the pieces of Ivan Tsarevich, washed them and put them as needed. The raven sprinkled with dead water - the body fused together; the falcon splashed living water - Ivan Tsarevich shuddered ... "

In the modern world, every doctor's dream is to cure all patients, to revive the dead. Therefore, medicine for many centuries now and then "grows rejuvenating apples" and establishes the composition of living and dead water, that is, invents more and more creams, pills, potions, even stem cells, thereby unraveling the secrets of body rejuvenation.

In Wilhelm Hauff's fairy tale "Little Muck" I drew attention to one interesting thing which the main character took it from the old woman along with the shoes - it's a cane. Later in a dream he saw a small dog. She told him: "... And the cane will help you find treasures. Where gold is buried, it will hit the ground three times, and where silver is buried, it will hit twice. ” Modern scientists managed to use knowledge from a fairy tale and invent a metal detector - a device that allows you to find metal objects, regardless of their location.location. The first metal detector was born in 1881 (several decades after the publication of the fairy tale "Little Muck") by the Scottish physicist Alexander Graeme Bell. Today, metal detectors are used by police officers to find a crime weapon or evidence that criminals have hidden. Also, metal detectors are used for security purposes, when mining, archaeological site and even in medicine.

In Russian folk tales "The Prophetic Dream", "The Enchanted Princess" and many others, one more amazing object is mentioned - the invisible hat. Modern scientists are still racking their brains over how to make their childhood dream - to become invisible - come true.

But in our time there are magicians who also read fairy tales in childhood, and learned, with the help of cunning tricks, to create the illusion that objects and even people disappear.

Interviewing the guys from the class

In the course of the research, I decided to conduct a small survey among the children of my class and their parents, since I wondered what other guys think about the connection between fairy tales and modern inventions? They were asked to answer the following questions:

1. List the Russian folk tales that you know.

2. Which fairy tale is your favorite or you liked the most.

3. Were there magic items in the fairy tale that helped the hero in difficult times? List them.

4. Are magical fairy objects connected with modern inventions?

Come up with your magic item.

After processing the questionnaires of the guys from the class, I got the following results:

1. Children remember the following tales:

Morozko;

Gingerbread man;

Swan geese;

Little Red Riding Hood;

By magic;

Teremok.

2. Magic objects from fairy tales are named as follows:

Emelya oven;

A clew showing the way;

Magic wand;

Magic carpet;

Invisible hat;

Walking boots.

3. Found a connection between fabulous magical objects and modern inventions 76% of the children who participated in the survey. Some guys have drawn their own magic items.

After analyzing all the results, I established the following pattern: the more children read fairy tales, the more magical objects they named and the more magical objects they could correlate with modern inventions. Those guys who read the largest number of fairy tales were able to come up with their own magic items.

Thus, I can conclude that children who read fairy tales develop a fantasy and creative thinking... And when they grow up, they will be able to invent useful objects that they learned about from fairy tales or that they invented themselves.

Conclusion

After analyzing my research, I was convinced that the possibility of creating magic in the real world exists - there are inventions around us, the ideas for creating which came to us from fairy tales.

In childhood, people read fairy tales, think about magical objects, imagine them in their games, and when they grow up, they make some outstanding discovery. Thus, as a result of the work carried out, my hypothesis about the "related" connection of fairy objects and modern technology confirmed.

After polling the children from the class, I can say with confidence that fairy tales develop imagination and creative thinking, which in the future will allow the most unrealizable dreams to come true, because there is still a lot of magic left in fairy tales.

I got great pleasure from doing the work. I will continue to read fairy tales and maybe in the near future I will be able to unravel the secrets of magical objects and thereby make people's lives easier and happier.

Bibliography

A.S. Pushkin, Fairy Tales, Yekaterinburg: LLC "Litur-opt", 2011, - 120s.

Big book of Russian fairy tales / in the processing of O. Laschevskaya. - SPb .: Lenizdat, "Leningrad", 2007. - 576s.

V. Gauf, Little Muk, Moscow: ROSMEN, 2015 .-- 28p.

Volkov A.M., The Wizard of the Emerald City, Belgorod: LLC "Family Leisure Club", 2013. - 128p.

We rarely think about what became the living basis. literary creation... And that was "The Word." Pronounced, "uttered" in ancient times, it seemed to people as a sign "from above", a sign of "inspiration", which should be kept in memory, passed on to descendants.

A striving of this kind manifested itself at first in the so-called syncretic form - in cult song and dance, reflecting the relationship of man with the forces of nature deified by him. Gradually, in the course of the labor activity of people, the development of certain natural resources, in such "actions" from still disordered ideas about the world around, a tendency arose for a more harmonious understanding and humanization of its forces - myths about gods were born, although they had supernatural powers, but very similar in their aspirations and actions to the unknown creators of these legends themselves. But the less in the process of development of society became a person's dependence on outside world, the more often he himself appeared in the epic more and more powerful, invincible - a hero. Usually, such a character was the lord of the earth, the king, - after all, now not only the forces of nature, but also the leaders determined the life of ordinary people. This is how myths about heroes and heroic epics arose. These myths were first imprinted with the help of drawings on stones, dishes, fabrics, and with the advent of writing - in cuneiform form on clay tablets.

The myth tells about events taking place in space and time. In this story, in the language of symbols, philosophical and religious ideas are expressed, the inner state of a person is conveyed, and this is the true meaning of the myth. The myth is not a "fiction", not a "relic" of the past. And a certain primary language of description, in terms of which a person has modeled, classified and interpreted himself, society, and the world since ancient times.

Even in the early stages of history, people not only cared about maintaining their existence, but also strove to preserve their tribe, their clan. And everything that contributed to the education of a smart, strong, dexterous person became the content of lullabies, nursery rhymes, riddles, fairy tales ... life experience, the accumulated knowledge about the world around, wise conclusions from all this adults in the form of original teachings were presented to children in simple and understandable forms. This is evidenced by folklore. Myth is the oldest literary monument[Propp 2010: 48-49].

Scientists believe that myths served as a kind of source for the development of scientific ideas, the birth of philosophy, literature, painting, sculpture, architecture, music, theatrical art. The most ancient fairy tales reveal a plot connection with primitive myths. It is quite obvious that the myth was the forerunner of the fairy tale about marriage with an enchanted creature, who then cast off the animal shell and took on a human form (the plot of the well-known fairy tale “ The Scarlet Flower"), A fairy tale about a wonderful wife who gives her chosen one good luck in business, hunting, etc., but leaves him because of a violation of any prohibition (" The Frog Princess "). Popular fairy tales about children in power evil spirit, monsters, a sorcerer and those who survived thanks to the resourcefulness of one of them (Sister Alyonushka and brother Ivanushka), tales of the murder of a mighty serpent, a dragon (3meya Gorynych, Koshchei the Immortal) reproduce the motives of certain rituals of ancient people.

Over time, with development human society children "appropriated" most these fairy tales, myths, legends. Perhaps this happened because the child's consciousness is somewhat closer to those naive and at the same time deeply wise ideas about human nature, about good and evil, which were developed by peoples during their infancy and in the early stages of their history.

In Russian science, the term "mythological tales" is often used. It originates from the works of folklorists of the first half of the 19th century, for example, from I.P. Sakharov. He was followed by P. A. Bessonov, O. F. Miller, collector of fairy tales E. R. Romanov and others who called fairy tales mythological.

What is mythological in Russian fairy tales? First, miracles that occur in fairy tales at the behest of characters with magical abilities, or at the behest of wonderful animals, or with the help of magical objects; secondly, characters of a fantastic nature, such as Baba Yaga, Koschey, a multi-headed serpent; thirdly, the personification of the forces of nature, for example, in the image of frost, animation of trees (talking trees); fourthly, anthropomorphism is the endowment of animals human qualities- mind and speech (talking horse, gray wolf).

But all these are just traces of mythological ideas, since “the formation of the classical form of a fairy tale was completed far beyond the historical limits of the primitive communal system, in a much more developed society,” writes E.M. Meletinsky in the article "Myth and Fairy Tale" [Chernousova I. P. 2012: 121].

The question of the direct origin of the fairy tale from the myth remains controversial. EAT. Meletinsky believes that the transformation of myth into a fairy tale took place. This point of view is shared by many folklorists. But it still requires sufficient justification. The only correct opinion is that the mythological worldview provided the basis for the poetic form of the tale, that the poetic mythology of the tale was created. The elements of mythology listed above, included in the fairy tale, acquired artistic functions.

An important point is that the plots of fairy tales, the miracles they talk about, have a vital basis. This is, firstly, a reflection of the peculiarities of work and life of people of the tribal system, their relationship to nature, often their powerlessness in front of it; secondly, a reflection of the features of the feudal system, especially early feudalism (the king is the enemy of the hero, the struggle for inheritance, the acquisition of the kingdom and the hands of the princess for victory over evil forces). It is characteristic that capitalist relations were not reflected in fairy tales. Obviously, its development stopped before the formation of the capitalist formation.

The lifebase of fairy tales was also that dream of power over nature, which, according to M. Gorky, is so characteristic of them.

In fairy tales, there are sometimes goblin, water, and kikimors. They replaced the real characters in the wonderful storytelling. So, for example, in one of the versions of the fairy tale "Frost" instead of the all-powerful master of the winter elements of Frost, a goblin is presented, who presented his stepdaughter with everything a peasant girl could wish for.

Endowing the sorcerer and the witch supernatural powers, people, in an effort to protect themselves from the influence of spells and black witchcraft, furnished their life with many magical rites. Magic is the same sorcery and the same magic, these are rituals associated with belief in a person's ability to counteract supernatural powers and find support and protection from them. Magic wanted to subjugate the will of other people to man, to conquer animals, nature, and also to act on imaginary masters, spirits and gods. The birth of magical rites dates back to primitive times. The appearance of the rite in everyday life became possible due to a person's ignorance of true connections and relationships in the real world. Man depended on nature. His shackled mind was looking for means of protection in the fight against the elements of nature and social troubles.

Remnants of ritual magic are faithfully reproduced in the content of many fairy tales. There is a closeness of a magical fairytale action to magical detachments by indicating the frequent coincidence of objects that constituted an integral part of ritual actions with those objects that are endowed with miraculous properties in fairy tales.

The ring in fairy tales is endowed with a wonderful property. The tale of the three kingdoms speaks of copper, silver and gold rings, each of which contains a special kingdom. In the tale of a wonderful shirt, a ring put on a finger turns the hero into a horse. The wedding ring, thrown from hand to hand, makes the twelve young men appear with the words "What do you order?" The hero orders: "Take me over from this mountain." And the fellows carried it over. The ax in all fairy tales cuts itself. Emelya the fool says to the ax: "At the pike's command, but at my request, come on, ax, chop wood, and you, logs, put yourself in the sleigh and get involved!" And the ax got down to business.

The scarf in fairy tales has a wonderful property. It is enough to throw it or just wave it off, and a lake and even the sea is formed widespread around it. “Ivan Tsarevich heard the noise, looked around - his sister was about to catch up; waved a hustchka, and it became a deep lake. While the witch swam across the lake, Ivan Tsarevich went far away. "

Water, a frequent part of ritual action, in fairy tales works miracle after miracle: it returns sight, gives youth, heals from diseases, revives, deprives of strength, makes the hero stronger than the most terrible monsters. There is also such water that can turn a person into a beast, a bird, but there is another one that returns people to their human appearance. Speaking about the nature of the miraculous in fairy tales, it is necessary to note the preservation in the later fantastic fiction of fairy tales of some properties coming from magical rites. Such are the wonderful "youthful" apples, which, in a fairy tale, return youth, strength and health to a person. It can be assumed that the penetration of this wonderful object into the magical narrative did not occur without the influence of ritual and magical ideas and concepts that lived among the people. Until the very last pre-revolutionary years in some Russian villages, wedding custom: young people on their return from church after the wedding ate an apple [Rafaeva 2012: 71].

The eaten apple was supposed, according to the people who performed this rite, to ensure childbirth and well-being of the new family.

So, the historical roots of fairy tales go back to primitive mythology. Many of their motives are associated with magic, with belief in supernatural connections with animals - totemism. Words and objects have magic power. There are many in fairy tales and all kinds of transformations: after all, in mythological consciousness there was no strict boundary between man and nature.

What is the difference between a myth as such and a fairy tale?

It is usually believed that the difference lies in the fact that, listening to a fairy tale, we are aware that it is talking about something invalid and "fairy tale", while the myth is only a naive form scientific explanation taken quite seriously. This characterization shows the difference between a fairy tale and a myth in their mature period; the different attitudes in both cases are correctly highlighted. However, it would be a mistake not to notice precisely the genetic closeness of a fairy tale and a myth - and this is of particular importance in order to enter into the understanding of the children's world. Myth and fairy tale grow from the same root, mutually influence each other, and their difference is associated with a more definite consciousness of the difference between the world of reality and the world of fantasy.

A fairy tale can be compared not only with individual mythological representations, but also with rituals. The ritual and mythological genesis has the motives of a person's marriage with a totemic wonderful animal - a creature that has temporarily thrown off an animal shell. A wonderful wife brings good luck to her chosen one, but leaves him due to the violation of the taboo ("The Frog Princess"). The story of the wonderful husband ("Finist - the Clear Falcon") is of the same origin. In such tales, not only the taboo is reflected, but also the custom of taking a wife from another clan - that is why the hero goes to fetch his wife (the heroine follows her husband) far away.

A number of fabulous motives and symbols (a lost slipper, baking a ring into a pie, dressing a bride in a pig's casing, etc.) can be explained by ancient marriage customs and rituals and also has ritual and mythological semantics.

Highly important role in archaic society, the so-called transitional rituals were played, which linked the individual fate of a person with his social group. The main transitional rite is initiation (dedication): a young man who has reached maturity passed into a group of adult men and received the right to marry. Initiation presupposes a symbolic temporary death and rebirth in a new capacity. The ritual symbolism of temporary death in fairy tales is often expressed in the motive of swallowing a beginner and then spitting him out by a monster, visiting another world and obtaining wonderful objects there. The initiates were taken to the forest, where they lived in a hut and were subjected to all kinds of trials, sometimes cruel. The motive for the initiation of a young man is introduced into all mythical ideas, ceremonies, rituals and techniques of the tribe.

The initiation rite was not only reflected in fairy tales, but also became their compositional core. In fairy tales, there are both a forest house and a forest teacher, as well as a complex of mythological representations associated with temporary death and a visit to the kingdom of the dead. In Russian fairy tales it is Far Far Away kingdom with its gold or fiery color. The hero must certainly get there. Demonstrating his magical skill and taking out magical objects, the hero returns to the living in a new capacity: now he has become a mature person.

So, the initial goal of the initiation rite and the fairy tale going back to it is to demonstrate the hero's magical and heroic skills. Gradually, the theme is transformed under the influence of the wedding ceremony: all these skills are needed in order to marry beautiful princess... Difficult problems in a fairy tale are almost always presented as wedding trials, the bride-princess - as a "payment" for a feat (this "payment" is often announced at the very beginning along with a difficult task), a happy marriage is the happy end of the fairy tale. An indispensable condition for the formation of a genre of a fairy tale based on fiction is the separation of a fairy tale from archaic mythology and ancient rituals. A reliable mythological story had to turn into a poetic fiction. This happened gradually, with the departure of ancient mythological concepts. As noted by E.M. Meletinsky, the transformation of myths proper into fairy tales was accompanied by a weakening of faith in the truth of mythical events and the development of conscious invention, the loss of ethnographic concreteness, the replacement mythical heroes fictional characters and mythical time, fabulously uncertain, the transfer of attention from space to society.

A special impetus was required, however, to help transform the myth into a fairy tale. Such an impetus was given by the era of the collapse of the tribal system. There were also victims of this process: socially disadvantaged, innocently persecuted. The tale takes the disadvantaged under protection and makes it its hero: it is an orphaned youth ("Puss in Boots"), a stepdaughter ("Cinderella", Morozko "), orphaned children (" Sister Alyonushka and brother Ivanushka ") [Afanasyev 2010: 219].

In addition, during the transition from the tribal system to the patriarchal family, the younger brother found himself in the position of a socially disadvantaged. Younger brother impeccable from the point of view of tribal morality: he remains in the parents' house as the keeper of the hearth and ancestral property. He respects the elders, honors the cult of ancestors, protects the ancestral principles.

Old mythological stories about magical forces generated by mythological thinking begin to gather around the new socially disadvantaged heroes. But now these magical powers stand up for the oppressed, help him and establish justice that is leaving life.

Conclusion: Russian folklore could not keep the ancient stories of this distant time intact. Under the influence of historical circumstances, ritual and magical narratives have largely departed from their original forms... But folk tale traditionally preserved plots, which, although changed, acquired a new meaning, but owe their original origin the earliest eras in the development of folklore.

What is a fairy tale and what is it like? In the works of V. Ya. Propp, "The Morphology of a Fairy Tale" and "The Historical Roots of a Fairy Tale," a definition of a fairy tale is given, based on the study of its structure. This is a genre of fairy tales, which can usually begin with the desire to have something, harm or harm someone, then the fairy tale develops through sending the hero from home, meeting with the donor, who gives him a magic tool or assistant, with the help of which the object of the search located. This is followed by a duel with the enemy and the hero's triumphant return home. This is a brief schematic presentation of the compositional core, which lies at the basis of very many and varied subjects. Fairy tales in which such a scheme is present are called magic.

In the book "The Morphology of a Fairy Tale" V. Ya Propp devotes an entire chapter to the question of the classification of fairy tales, "To the history of the question," where he describes several different classifications of fairy tales, finds pros and cons in them, and comes to the conclusion that there is no perfect classification .To. it is very difficult, among such a huge number of fairy tales, to single out something common for everyone, which could later unite them into groups. Nevertheless, I would like to cite as an example the classification of Aarne, the founder of the so-called Finnish school, who introduced the sub-categories of fairy tales in order to get a rough idea of ​​fairy tales in general. Fairy tales cover the following categories:

1) wonderful adversary

2) wonderful spouse

3) a wonderful challenge

4) a wonderful helper

5) wonderful item

6) miraculous strength or skill

7) other wonderful motives.

The specificity of a fabulous fiction in a fairy tale lies in the presence of such an important artistic component as a chronotope (space and time are inseparable from each other - the main categories of the picture of the world). In all tales, the chronotope is common. It is characterized by the fact that the content of fairy tales is not inscribed in real historical time and in real geographic space. It's fabulous. The artistic world of a fairy tale is outside reality, therefore it can be called closed.

It follows from this that fairy tales are connected with reality by their deep historical roots. Much of what began to be perceived in them as fiction, in fact, reflects the archaic way of life and the ancient worldview of people. At the same time, a fairy tale is always directed towards the real future, which, in the opinion of the people, should be better than the real present. The fairy tale corresponds to reality by the opposite. This means that, reacting to certain life problems, the tale offered their utopian solution.

However, the main problems connecting the fairy tale with life were moral and ethical. For example, all peoples have created a fairy tale about an orphan who is offended by an evil stepmother ("Cinderella", "Frost", "Wonderful Cow"). The tale does not know the reasons for this phenomenon, does not see the real ways to overcome it - it only tells people: this is unfair, it should not be so. And in his "closed" world with the help of his special, fabulous fiction, he "corrects" this injustice. Consequently, the aesthetics of fairy tales appeared in unity with folk ethics. The entertaining nature of the tales did not interfere with their ideological aspiration, which, in an extremely generalized form, represents sympathy for the defenseless and innocent persecuted.

Due to the "isolation" artistic world fairy tales, each of its plot could be philosophically perceived as a kind of metaphor for real human relations and, therefore, acquired life analogies. People who in life were unjustly offended or deprived of something necessary (and such always make up the majority) received consolation and hope from the fairy tale. People needed a fairy tale because it helped them live.

Finally, fairy tales are connected with life also by the fact that in the process of natural execution they were filled with truthful everyday details, colored with a kind of "spontaneous realism." This fact is extremely important for working on a fairy tale with students, as it helps to learn the local tradition of storytelling, which should also be taken into account when getting acquainted with the fairy tales of the region.

"There is no fairy tale without truth," the proverb says. And so it is. Truth and fiction, these two opposite principles are dialectically united in a fairy tale into one artistic whole [Propp 2012: 322].

Fairy tales have a national and even local flavor. They reflect historical and natural conditions the life of each nation, the surrounding flora and fauna, its way of life. However, the narrative composition of fairy tales, presented in their national interpretations and versions, is mainly international. For this reason, some fairy tales passed from one people to another, that is, borrowing processes took place. The worldwide similarity of fairy tales has made it possible to create international indexes of plots, which greatly facilitates the search for a plot, its analogues. And when working on a fairy tale, it helps to identify a comparative base of motives and plots.

The universal unity of fairy tales manifested itself in the poetic techniques common to them. The fairy tale is always based on the antithesis between dream and reality, which receives a complete, but utopian resolution. The characters are contrastingly distributed along the poles of good and evil (their aesthetic expression becomes beautiful and ugly). The plot is consistent, one-line, develops around the main character, whose victory is obligatory.

The Russian folk fairy tale is distinguished by a special style, the so-called fairy-tale imagery.

The composition of the fairy tale, the fairy world is specific. The fairy-tale world is divided into "this world" and "another world". They are separated by either a dense forest, or a fiery river, or a sea-ocean, or a colossal space that the hero overcomes with the help of a magic bird. Another world can be underground (and the hero usually gets there through a well or a cave), less often under water. This world is not a "different reality" in fairy tales: everything is like "here": oaks grow, horses graze, streams flow. And yet this is a different world: not just kingdoms, but copper, silver and gold. If the world is underground, then the hero plunges first into darkness and only then gets used to its special light. There is no afterlife and the hero does not meet his ancestors. But this is precisely the kingdom of the dead, and other creatures live there: Baba Yaga, Koschey the Immortal. Finally, there and only there the hero passes the main test and meets his betrothed.

As for "our" world, it can be called such only conditionally: the action of a fairy tale takes place in an extremely indefinite space. Sometimes the storyteller wants to clarify what kind of "some kingdom, some state" it is, but usually the clarification is ironic: "on a smooth place, like on a harrow," "against heaven on earth." This makes the fairytale world surreal, not tied to a specific geography.

Like the formulas of "white" and "black" conspiracies, fabulous formulas could form "mirror" pairs within one text: then their hands are red-hot arrows, on their left hands long-measuring spears "[Afanasyeva A. N. 2011: 205].

The formulas have been varied. For example: "There is an oak tree by the sea of ​​a lukomoria, on that oak there are golden chains, and a cat walks along those chains: it goes up - tells fairy tales, down goes - sings songs"; "I have a miracle in the forest: there is a birch, and a cat with samogud walks on a birch, walks up and down, sings songs"; The above formula, depicting a bayun cat from the fairy tale "Wonderful Children", could break away from its work and, in the form of a saying, be attached to other plots.

The stylistics of a fairy tale obeys general folklore laws. There are many so-called formulas - traditional phrases, often repeated poetic clichés. Part of these formulas is the framing of the tale. Among them is a saying that attracts the attention of listeners, becoming the hallmark of the storyteller, evidence of his skill: "On the sea on the ocean, on the island on Buyan there is a green oak, and under the oak there is a baked bull, he has crushed garlic in his bottom; take but cut it, and eat it from the other side! This is not a fairy tale - just a saying. "

The folklore saying about the learned cat was used by AS Pushkin in the introduction to the poem "Ruslan and Lyudmila".

Sayings are special texts, tiny playful tales that are not assigned to specific fabulous stories... The adage introduces you to the fairy-tale world. The task of the adage is to prepare the listener's soul, to evoke the correct fairy-tale attitude in it. It calls the listener out of his everyday thinking. An example of a saying: "When pigs drank wine, and monkeys chewed tobacco, and chickens pecked at it" (Tuvan fairy tale). This formula sets the narrative in a special fairytale-surreal tone.

There are many middle, medial formulas in the tale: "Soon the tale will tell itself, but not soon it will be done", "Whether we drove close, far, low, high." They serve as bridges from one episode to the next. These traditional portrait-descriptive formulas describe, for example, a horse ("The horse is running, the earth is trembling, fire is burning from the nostrils, smoke is pouring out of the ears") or a heroic ride: "He hit his good horse, beat him on the steep hips, pierced the skin to the meat , beat the meat to the bone, broke the bones to the brain - his good horse jumped over the mountains-valleys, let the dark forests between his legs "; or Babu - Yagu: "Suddenly it spun - it became muddied, the earth becomes a navel, a stone out of the ground, from under a stone Baba Yaga - bone leg, rides on an iron mortar, drives with an iron pusher. "

But there are especially many traditional formulas of female beauty in the world fairy tale folklore (these are precisely the formulas: the tale does not know individual characteristics). Here, for example, is the formula of female beauty from a Turkmen fairy tale: "Her skin was so transparent that the water she drank could be seen through her throat, the carrots she had eaten could be seen through her side." The beauty is just as pampered in the Russian fairy tale: "A distance of nine lands in the thirty-tenth state, Vasilisa Kirbityevna sits in a tower - the cerebellum is overflowing from bone to bone."

However, more often it is said about the impression that the beauty made on the hero - he simply loses consciousness: “There was a portrait of a beautiful girl on the wall. "And she was so beautiful that she could not be told in a fairy tale or described with a pen" (Russian fairy tale); "She was so beautiful that it was a pity to touch her with unwashed hands" (Turkmen fairy tale).

Many fabulous formulas are of ancient origin and retain in a schematic form ritual and magical elements.

Such are, for example, the formulas used in the episode of the hero's visit to Yaga's hut. First, the hero utters an incantatory formula to stop the constantly spinning hut: "Hut-hut, stand with your back to the forest, in front of me, let me go out, I will not last a century, spend one night!" Secondly, the hero responds with the formula to the grumble of Yaga, who meets the hero with the formula: "Fu-fu-fu, it smells of the Russian spirit!" The antiquity of this formula is confirmed by the fact that it can be found in the tales of the Indo-European peoples: the guardian of the kingdom of the dead is struck by the smell of a living person. Key actions fairytale characters, their cues are also put on formulas. So, the heroine always consoles her chosen one in the same way: "Go to bed - the morning is wiser than the evening!"

Another framing formula is the ending. Usually she is also playful and returns the listener from the fairy-tale world to the real world: “The wedding was played, they feasted for a long time, and I was there, drinking honey beer, it flowed on my lips, but it didn't get into my mouth. Yes, I left a spoon on the window; easy on the leg, he run on the spoon. "

There are more final formulas in a fairy tale than initial ones. Most often, the presence of the narrator at a fairy feast is reported. But this presence is colored in playful, parodic tones: there was something, but nothing got into the mouth. And what kind of feast is this if it belongs to a time of fabulously uncertain? This is not only a feast at which nothing gets into the mouth, it is also gifts received at the feast, of which absolutely nothing remains. The tale is over. The final formula sounds like this: "Here's a fairy tale, and I have a bunch of bagels", "Here is the end of the fairy tale, and I have vodka korets." This formula gives reason to think that once a fairy tale was told by professionals - bahari and buffoons.

Framing is an optional element of a fairy tale composition. More often the tale begins with a message about the heroes; for this, special compositional formulas are used. They fix the action in time and space (fixation can be parody: "At number seven, where we sit"), or point to a hero ("Once upon a time", "In a certain kingdom, a certain state"), or introduce absurd circumstances, for example: "When the horns of a goat rested against the sky, and the short tail of a camel dragged along the ground ..." [Lazarev A.I. 2011: 62].

Each fairytale genre has its own characteristic motives. A motive is the simplest narrative unit, an elementary plot, or component complex plot. As the simplest motive, Veselovsky cited the formula a + b: "an evil old woman does not love a beauty - and asks her a life-threatening task." The motive contains the possibility of increment, development. So, there can be several tasks, then the formula becomes more complicated: a + b + b and so on. As Veselovsky noted, art forms plots have developed historically. This happened in different ways: for example, by complicating elementary (one-motive) subjects.

The fairy tale also knows such motives as the abduction of the bride, the miraculous birth, the miraculous promise and its fulfillment, the death and miraculous revival of the hero, miraculous escape, violations of the ban, miraculous abduction (or disappearance), substitution of the bride (wife), recognition by miraculous signs, miraculous death of the enemy. V different fairy tales motives are concretized (for example, the miraculous death of an adversary may be in an egg, in a river of fire). The more complex the plot, the more motives it includes.

The simplest way to complicate the motive is repetition (repeated use of any element of the folklore text). The fairy tale widely used this artistic medium. In the composition of fairy tales, repetition can be of different types: stringing - a + b + c ... ("The stuffed fool"); cumulation - a + (a + b) + (a + b + c)… ("Terem flies"); circular repeat - an: the end of the piece goes to its beginning, the same thing is repeated ("The priest had a dog ..."); pendulum repeat - a-b ("Crane and Heron"). In more complex plots of fairy tales, a hierarchy arises: a lower narrative level (motive) and a higher (plot) are formed. The motives here have different content and are arranged in an order that allows expressing the general idea of ​​the plot. The main structural feature of such a plot is central motive corresponding to the climax (for example, a fight with a snake). Other motives are fixed, weakly fixed or free in relation to the plot. Motives can be presented both succinctly and in expanded form; can be repeated three times in the plot with the growth of some important feature (fight with a three-, six-, nine-headed snake) [Anikin 2012: 383].

V.Ya. Propp in the book "Morphology of a Fairy Tale" decomposed the motive into its constituent elements, especially highlighting the plot necessary actions fairy-tale characters and defining them with the term "functions". He came to the conclusion that the plots of fairy tales are based on the same set and the same sequence of functions. It turns out a chain of functions. In the identified V.Ya. The whole repertoire of fairy tales "fits" with Propp.

To find a motive in a fairy tale, it is necessary to take into account the functions acting characters, as well as such elements as the subject (the producer of the action), the object (the character at which the action is directed), the scene of the action, the circumstances accompanying it, its result. As already noted, fairy-tale motives are often tripled: three tasks, three trips, three meetings, and so on. This creates a measured epic rhythm, a philosophical tonality, restrains the dynamic impetuosity of the plot action. But the main thing is that trebling serves to reveal the general idea of ​​the plot. For example, the increasing number of heads of three kites underlines the significance of the feat of the serpent fighter; the increasing value of the hero's next prey - the severity of his trials. "The song is red in harmony, and the fairy tale is in the warehouse," says a proverb that pays tribute to the fairy-tale composition.

The sequence of functions of the characters leads to a uniform construction of fairy tales, and the stability of functions leads to uniformity. fabulous images... This is distinctive genre attribute fairy tale.

Fairy talesFairy tales read

The word "fairy tale" appears in written sources around the 16th century, but its meaning is far from accepted today. But initially a fairy tale is a list, a list, or a description. What we used to call a fairy tale, our distant ancestors called "blasphemy." And only in the 11th century, after the baptism of Russia, the blasphemy lost both its mythological, sacred meaning, and the name itself (the current meaning of the word blasphemy is blasphemy, desecration of a shrine, a crime against religion, faith), having received in return a new one - a fable, which lasted until the 19th century, having been replaced in turn by the name of the fairy tale already known to us. Now there are many varieties of fairy tales - literary, folklore, everyday, about animals. But, probably, the most exciting, interesting, loved ones are fairy tales. The ones where the wolf knows how to speak in a human voice, the firebird can be caught with your hands, and the reward for fearlessness and fortitude will be a wedding with your beloved, and often the kingdom to boot ...

Composition and plot of a fairy tale.

Unlike other types of fairy tales, the magic one is based on a very clear composition and plot. And also, most often, a recognizable set of some universal "formulas" by which it is easy to recognize and distinguish it. This is the standard beginning - "Once upon a time, we lived in a certain kingdom in a certain state ...", or the ending "And I was there, I drank honey beer ...", and standard question-and-answer formulas "where are you holding your way?" “You are trying to do something or you are getting away with it,” and others.

Compositionally, a fairy tale consists of an exposition (the reasons that gave rise to the problem, damage, for example, a violation of any prohibition). Inception (detection of damage, shortage, loss), development of the plot (search for the lost). Next comes the culmination (battle with evil forces) and the denouement (solution, overcoming the problem, usually accompanied by an increase in the hero's status (accession)). In addition, in a fairy tale, the characters are clearly divided into roles. This is a hero, false hero, antagonist, giver, helper, sender, princess (or princess's father). It is not necessary that all of them be present, and each role is played by a separate character, but certain characters are clearly visible in every fairy tale.

At the heart of the plot of a fairy tale is a story about overcoming a certain shortage, a loss, and in order to overcome the antagonist - the cause of the loss, the hero definitely needs wonderful helpers. But getting such an assistant is not easy - you need to pass the test, choose the right answer or the right path. Well, the conclusion is most often a wedding feast, the one at which “I was, drinking honey beer ...”, and a reward in the form of a kingdom.

A fairy tale is a teacher. What is the lesson?

It is to a fairy tale that those who are looking for traces of ancient knowledge carefully preserved and passed from mouth to mouth by our distant ancestors in ordinary children's fairy tales most often turn. Those very "blasphemers" who educate, educate, lay in the child the base of those qualities that were considered necessary and correct. Both knowledge and qualities were very different for future men and women, although, of course, there was a lot in common. And now, looking closely, it is easy to notice that some fairy tales are intended more for girls, while others are for boys. Although these differences, as well as hints of knowledge, have suffered somewhat over the centuries when blasphemers turned into fables, bringing to the fore not the mythological, sacred, but the entertainment and artistic component. But even in these fairy tales that have come down to us, it is easy to find simple universal values ​​- that it is better to be kind than evil, generous - than greedy, hardworking - than lazy. That evil and deceit are ultimately punished, and kindness, courage and honesty are rewarded. Perhaps, some of these values ​​will be considered by some to be outdated for our world. But how difficult and sad it is to live in a world of deception and evil. And here fairy tales give us a guiding thread, a ray of light leading to the hope that this is not forever, the time of difficulties will pass, evil will be punished. Is it naive? May be. But maybe it is smart fairy tales that will help our children make this world a better and kinder place.

Fairy tale as a healer.

Psychologists who practice a fairly popular direction of fairy tale therapy are very fond of referring to a fairy tale. Why? It's very simple - it is fairy tales that have a wonderful set of clearly traced roles - it is easy to distinguish a positive hero from a negative, bad from good, black from white. It is in a fairy tale that it is easy to find a hero "to your liking" - that is, someone similar to yourself. And then go along with him a long way of trials and return from it different - renewed, wiser. Often not just solving a certain problem, overcoming a crisis state, but even having matured - after all, it is not without reason that a number of scientists (in particular, V.Ya. Propp, one of the outstanding Russian folklorists, French researcher P. Sentiv) see in fairy tales a reminder of initiation rituals, rite of passage from childhood to adulthood. By the way, it is precisely the absence in our modern culture Some psychologists consider such a rite to be the cause of crisis states and even suicidal impulses in adolescence, because initiation is nothing more than a transition to another, adult state through ritual “dying” in the original child status. And a fairy tale can also help to overcome such a crisis.

Danish psychologist and psychiatrist Bruno Betelheim, who devoted a lot of attention to the fairy tale and its meaning for the child, considers it to be a fairy tale that is most suitable for a child's perception, and it is a folk tale (folk tale). Why? Firstly, the simple language of this tale is understandable to a child, the heroes are few and far between and are simplified as much as possible (they often do not even have names). The plot of a fairy tale is as simple as possible, understandable, and not tied to time and space. It helps the perception go beyond the ordinary. In his research, Bruno Betelheim compares the tale with myths and fables very similar to it. The conclusion is that neither myth, which often carries a negative connotation (death of characters), nor fables, whose morality is aimed more at adults, are not suitable for children's perception, moreover, they can even suppress the child.

A fairy tale is a great teacher, a healer of souls, just a kind and intelligent companion. The meaning of a fairy tale is different for different people and even for the same person at different periods of his life - from early childhood to old age. It is like an invaluable treasure, from which everyone will take only what he needs, what he is able to understand, assimilate, appreciate. But the most valuable and necessary are the lessons of fairy tales for children.

A fairy tale reflects the cultural heritage of mankind, sifting out the superficial, unimportant for centuries. She carefully preserves the particles of the truly valuable. A fairy tale contributes to the development of the child's imagination, fantasy, creative abilities, it helps him to look at the world with someone else's eyes - through the eyes of a hero, teaching empathy, sympathy, empathy. The heroes of a fairy tale always have a clear moral orientation. There is no place for semitones. Good or evil, good or bad. It is impossible to stay aside. At the same time, the positive hero of a fairy tale is always in a more advantageous, interesting, attractive position, therefore, more often the child identifies himself with him. The positive hero attracts the child to his side - the side of good, thereby instilling in the child a craving for good, for fostering positive qualities in himself.

Noticing the tendency to call a fairy tale not only fairytale / folklore fantasy (which is very close to this genre and the boundaries between them are sometimes blurred), but even modern romance novels, meaning by this concept something that does not happen in real life, I have long wanted to write about a fairy tale as a genre.
In addition, I hope that this blog will help those who decided to take part in the fabulous competition, which started on November 1, on the mystical and magical Veles night, which we often replace with American Halloween (which grew out of Samhain, an ancient Celtic holiday, during which is considered to be that the boundaries between worlds disappear, and fairies and elves can get to us, and we - to their magic seeds, or hills). Be that as it may, this is a time of secrets and mysteries, travels between worlds and magic, for which there are no limits. Time for magical stories.

In this post I will try not to copy-paste from various scientific articles and try to convey everything in my own words, in a simple way. Therefore, those who are waiting for the scientific and schematic, with conclusions and theses (reproaches of this kind were the last time, I had to clean up the comments) - may be disappointed. I am offering a conversation, and I am not going to lecture anyone or tell you how to write to you. All this is a personal matter for everyone.
If you are interested in a specific question (there is no opportunity and time to cover everything at once), ask in the comments, I will definitely try to find the answer.

One of the first and main differences between fairy tales and fantasy lies in the use of certain symbols and archetypes by fairy tales (you can read more about archetypes in Propp's Morphology of a Fairy Tale and Jung in his studies, but I will touch on this topic here), fantasy is usually not uses symbolism and archetypes to the extent that it is characteristic of a fairy tale (or rather, fantasy has its own cliches, but they are somewhat different, unless, of course, this is a fairy tale fantasy, it is more difficult to draw a line here). And it is important that the tale does not pretend to be authentic.
The world of a fairy tale is a different world, with its own laws and images.
It is also fundamentally wrong to believe that in a fairy tale it is obligatory a happy ending- vice versa, before fairy tales were close to gothic and horror, and if you get to know the brothers Grimm or Basile and Perrault in the original (or read our Afanasyev), you can find that the plots familiar from childhood have a completely different development (no one woke the Sleeping Beauty with a kiss, and she in a dream, she gave birth, and then the children and her mother-in-law almost ate her, nobody saved Little Red Riding Hood, etc.), even Andersen's tales, which had a strong religious bias, were reworked into Soviet time and many have not read the original versions.
And yet - a fabulous entourage does not mean that we have a fairy tale in front of us. You can write about Kashchei, Babu Yaga and Vasilisa, but it will be one hundred percent fantasy. And vice versa - you can describe an ordinary city and ordinary children, but it will be just a fairy tale. The main thing is the competent use of archetypes and a certain set of symbols.
In addition, the basis of the fantasy worlds (classic, especially) is still based on real world, with all its laws and history. Fantasy is a subgenre of fiction, and everything in it is logically justified, a fantastic assumption is also usually somehow explained, magic has its own structure and laws (I am not taking into account now some pseudo-fantasy novels with a complete lack of logic, which are generally difficult for me to classify, since the authors write about stamped orc-elf-witches and use the same type of plot, which is easy to predict).
But in a fairy tale, magic usually does not require explanation (but this does not mean that the author can do something strange that he wants, because nobody canceled the folklore archetypes, the fairy tale will use them to the fullest, expanding or changing them, but still - observing) ...
Fairy tales are different - and not necessarily good triumphs over evil (as in a classic fairy tale), as we said above, but any hero usually gets "what he deserves", that is, a fairy tale often contains a certain morality (often, but not always, you need to understand that this morality may differ from the one we are accustomed to or even contradict it, because before people had a different mentality, and this must also be taken into account).
Another mistake is to think that the fairy tale is meant for children. This is not entirely true - just when the concept of children's literature appeared, many fairy tales were adapted for them. In Russian folklore, Afanasyev was the collector of fairy tales - he has both not quite decent fairy tales, and very cruel ones (like Perrault, Basile).
In fairy tales, heroes have precise and clear roles - heroes are usually brave and kind, noble, heroines are beautiful and kind, witch-stepmothers are evil, antagonists are intriguing, kind helpers provide support to the hero and help to win, etc. An exception is the so-called "dark" fairy tale, which is similar to dark fantasy, but this is a separate topic. There are a lot of "masks" and archetypes, as well as options for plots, later I will expand the article, paying attention to this topic.

A bit of theory: the fairy tale is based on the image of initiation - hence the "other kingdom" where the hero needs to get to find a bride or acquire fabulous values, after which he must return home. The narrative is "taken entirely outside of real life." Characteristics fairy tale: verbal ornament, sayings, endings, stable formulas (rhythmic prosaic phrases like "lived-were").

Last time there were questions about archetypes. And again, a little theory.
Archetype (from the Greek arche beginning + typos image) is a concept introduced by K.G. Jung to designate the original primitive images, universal symbols or motives that exist in the collective unconscious and appear in the dreams of each of us. They are repeated in the plots of myths and fairy tales. different nations, because they were "stored" in the collective unconscious from the first days of mankind. Dragon, hero, sage, mother, treasures are examples of archetypal images. “The hero who slays the dragon”, “the struggle between good and evil” are archetypal motives.
https://www.b17.ru/article/1226/ here is a good article on Jung, written in quite simple language

In fairy tales, there is an image of a sage (wizard, teacher) giving advice to the hero, expressed in completely different hypostasis, this is considered the image of our subconscious, the desire to fulfill a dream - with clear instructions attached (go there, do something), and the archetypes of magic helpers - this is essentially a desire to get everything at once (the image of the Golden Fish, which grew out of a Western European tale about the tree of desires, or our Pike in the tale about Emelya).
There is also the archetype of travel between worlds, one of the most beloved by storytellers (and not only, fantasy also began to use this archetype). The hero's classic journey (Paul Proppu) is a reflection of the rite of rebirth, travel to the "next world" and return to his own world. And in fairy tales, both the heroes of the "other world" and the real are reflected. But there are also heroes of the frontier world.
They have features of man and animal, or man and dead. Meeting them is a transition of the hero to another state, to another world. One of striking examples- Baba Yaga. Bayun with his terrible songs that can kill, and many other heroes can also be attributed there.
The image of a fabulous magical country, another world is another symbol. We have this Nav, in the Celtic - the Hills or the land of fairies (elves), there can be a lot of names for this world. But the main thing is that there are certain conditions that are similar for all peoples. Time goes differently there (in reality, a hundred years may pass and the hero will return, and everyone he knew has died, and maybe he himself will crumble to dust), you cannot eat or drink in this world - you will stay forever, etc. Our ancestors considered the ancient forest to be a different side (the Butler uses this myth well in her books), so hunters, for example, were not allowed to go to the common table until they washed themselves and proved that they were people. They could be tested with iron, they could be evicted for a week behind the fence, etc. All this is related to that. that people believed in the afterlife and were afraid that it would drag off a living person.
The fairytale / other side is different in all fairy tales, despite the features that unite it - it can be evil, and kind, beautiful and ugly.
And the solution to the archetype and its ubiquity is that in fairy tales the world is magical and world of the dead they are essentially the same thing. One of the most ancient cults among the ancient peoples is the worship of the dead. And magical creatures are the souls of the dead (which can be seen in the images of navok-mermaids, etc.). From the eerie custom of some peoples to bring home the heads of enemies from the battlefield in order to force them to serve and help, for example, such a magic hero like a brownie. In Slavic tales, this is essentially the spirit of an ancestor.

All kinds of symbols and archetypes (the hero's journey, the hike there-don't-know-where, etc.) - there are still a lot, and I will definitely return to the blog.

What is a fairy tale?
Let's talk about genre varieties.
The genre of a fairy tale includes everyday fairy tale (habitual reality, everyday life), magic and fairy tales about animals.
In the magical ones we are interested in, different types of plots stand out, but JOURNEY is the most common among them ("overcoming" something is also often included in this type of plot). the hero must have some kind of goal. He must strive for something, do something, overcome some obstacles, win someone. If the hero does nothing of this, then we are just trying to make a fabulous stylization. Often in a fairy tale, the hero breaks some kind of prohibition, loses something, and this is what triggers the plot. The symbolism of threefoldness and the presence of magical assistants are inherent in this particular type of fairy tale, and its main difference from others is the presence of two worlds, the ordinary and the magical. Most often, the Journey leads the hero to another world, sometimes he is given a difficult task to complete to an ordinary person will be unrealistic. Everything is always solved in a miraculous way, banter and sarcastic beginning inherent in everyday fairy tale, there is not and cannot be. Everything is exaggerated, exaggerated. The composition of a fairy tale is complex - with an outset, exposure, culmination and denouement. Propp identifies seven characters in such tales - antagonist (pest), giver, helper, princess or king, sender, hero, false hero.
That is, magic includes heroic tales(snake fighting and quests that became the basis for epic fantasy), archaic, fairy tales about heroes who were at the mercy of demons (a persecuted hero), fairy tales about wonderful spouses, wonderful objects, about wedding trials (so the topic of Selection is so popular nowadays, the theme of Brides was born in old fairy tales, and, by the way, some authors very successfully play with these fairy tales).
It turns out that many topics are rooted in folk art, into folklore.

Literature:
Vladimir Propp. Historical roots