Fairy tale as a literary genre. Fairy tale concept
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Classification of fairy tales. Specific traits of each kind
The most important ideas, main problems, plot pivots and, most importantly, the alignment of forces that carry out good and evil, in fact, are the same in the tales of different peoples. In this sense, any fairy tale knows no boundaries, it is for all mankind.
Folklore has devoted many studies to the fairy tale, but its definition as one of the genres of oral folk art is still an open problem. The heterogeneity of fairy tales, an extensive thematic range, a variety of motives and characters, they contain prisoners, an uncountable number of ways to resolve conflicts really make the task of genre definition of a fairy tale very difficult.
And yet, the divergence of views on a fairy tale is associated with what is regarded in it as the main one: an orientation toward fiction or the desire to reflect reality through fiction.
The essence and vitality of the tale, the secret of its magical existence in the constant combination of two elements of meaning: fantasy and truth.
On this basis, a classification of types of fairy tales arises, although not completely uniform. So, with the problem-thematic approach, tales dedicated to animals, tales of unusual and supernatural events, adventure tales, social tales, anecdote tales, shape-shifting tales and others are distinguished.
Groups of fairy tales do not have sharply delineated boundaries, but despite the fragility of the distinction, such a classification allows the child to start a substantive conversation about fairy tales within the framework of a conventional "system" - which, of course, facilitates the work of parents and educators.
To date, the following classification of Russian folk tales has been adopted:
1. Fairy tales about animals;
2. Fairy tales;
3. Household tales.
Let's take a closer look at each of the types.
Animal Tales
Folk poetry embraced the whole world, its object was not only man, but also all living things on the planet. Depicting animals, a fairy tale gives them human features, but at the same time captures and characterizes habits, "lifestyle", etc. Hence the lively, tense text of fairy tales.
Man has long felt a kinship with nature, he really was a part of it, fighting with it, looking for protection from it, sympathizing and understanding. The later introduced fable, parable meaning of many fairy tales about animals is also obvious.
In fairy tales about animals, fish, animals, birds act, they talk to each other, declare war on each other, make peace. Such tales are based on totemism (belief in the totemic beast, the patron saint of the clan), which resulted in the cult of the animal. For example, a bear that became a hero of fairy tales, according to the ideas of the ancient Slavs, could predict the future. Often he was thought of as a terrible, vengeful beast, not forgiving insults (the tale "The Bear"). The further the belief goes, the more confident a person becomes in his abilities, the more possible his power over the animal, the "victory" over him. This happens, for example, in the fairy tales "The Man and the Bear", "The Bear, the Dog and the Cat". Fairy tales differ significantly from beliefs about animals - in the latter, fiction associated with paganism plays an important role. The wolf is wise and cunning in beliefs, the bear is terrible. The fairy tale loses its dependence on paganism, becomes a mockery of animals. Mythology turns into art in it. The tale is transformed into a kind of artistic joke - criticism of those creatures that are meant by animals. Hence - the proximity of such tales to fables ("The Fox and the Crane", "Animals in the Pit").
Animal tales stand out in a special group according to the character of the characters. They are subdivided according to the types of animals. There are also fairy tales about plants, inanimate nature (frost, sun, wind), about objects (bubble, straw, bast shoe).
In animal tales, man:
1) plays a secondary role (the old man from the fairy tale "Fox steals fish from the cart");
2) occupies a position equivalent to an animal (a man from the fairy tale "Old bread and salt is forgotten").
Possible classification of animal tales.
First of all, the animal tale is classified according to the protagonist (thematic classification). This classification is shown in the index fairy tales world folklore, compiled by Arne-Thomson and in the "Comparative Index of Plots. East Slavic Tale":
1. Wild animals.
Other wild animals.
2. Wild and domestic animals
3. Man and wild animals.
4. Pets.
5. Birds and fish.
6. Other animals, objects, plants and natural phenomena.
The next possible classification of a fairy tale about animals is a structural-semantic classification, which classifies a fairy tale by genre. In the tale of animals, several genres are distinguished. V. Ya. Propp singled out such genres as:
1. A cumulative tale of animals.
3. Fable (apologet)
4. Satirical tale
E.A.Kostyukhin singled out genres about animals as:
1. Comic (everyday) fairy tale about animals
2. A fairy tale about animals
3. Cumulative animal tale
4. A short story about animals
5. Apologue (fable)
6. Anecdote.
7. A satirical tale of animals
8. Legends, traditions, everyday stories about animals
9. Fables
Propp, in the basis of his classification of the tale of animals by genre, tried to put a formal sign. Kostyukhin, on the other hand, partly based his classification on a formal feature, but basically the researcher divides the genres of fairy tales about animals by content. This allows a deeper understanding of the diverse material of the fairy tale about animals, which demonstrates a variety of structural constructions, diversity of styles, richness of content.
The third possible classification of animal tales is classification by target audience. Allocate tales about animals on:
1. Children's stories.
Fairy tales for children.
Tales told by children.
2. Adult fairy tales.
This or that genre of animal fairy tales has its own target audience... The modern Russian fairy tale about animals mainly belongs to the children's audience. Thus, the tales told for children have a simplified structure. But there is a genre of fairy tales about animals that will never be addressed to children - this is the so-called. "Mischievous" ("cherished" or "pornographic") fairy tale.
About twenty plots of animal tales are cumulative tales. The principle of such a composition is the repeated repetition of a plot unit. Thompson, S., Bolte, J. and Polivka, I., Propp singled out tales with a cumulative composition into a special group of tales. The cumulative (chain-like) composition is distinguished:
1.With endless repetition:
Boring tales like "About the White Bull".
A unit of text is included in another text ("The priest had a dog").
2.With End repetition:
- "Turnip" - plot units grow into a chain until the chain breaks.
- "Cockerel choked" - the chain unravels until the chain breaks.
- "For a rolling duck" - the previous unit of text is denied in the next episode.
Another genre form animal tales is structure fairy tale("The Wolf and the Seven Kids", "The Cat, the Rooster and the Fox").
Comic tales take the leading place in fairy tales about animals - about the tricks of animals ("A fox steals fish from a sleigh (from a cart)," A wolf at an ice hole "," A fox covers his head with dough (sour cream), "A beaten man is lucky", "A fox is a midwife "etc.), which influence other fairy-tale genres of animal epic, especially the apologue (fable). The core of the comic fairy tale about animals consists of a chance meeting and a trick (deception, according to Propp). Sometimes they combine several meetings and tricks. The hero of the comic tale is the trickster (the one who commits the tricks). The main trickster of the Russian fairy tale is the fox (in the world epic - the hare). Its victims are usually a wolf and a bear. It is noticed that if the fox acts against the weak, it loses, if against the strong, it wins. This comes from archaic folklore. V modern fairy tale about animals, the victory and defeat of the trickster often receives a moral assessment. The trickster in the fairy tale is opposed to the simpleton. It can be a predator (wolf, bear), and a man, and a simple animal, like a hare.
A significant part of animal tales is occupied by an apologue (fable), in which there is not a comic beginning, but a moralizing, moralizing one. At the same time, the apologist does not have to have a moral in the form of an ending. Morality follows from the plot situations. Situations must be unambiguous so that moral conclusions can be easily drawn. Typical examples of an apologue are fairy tales where contrasting characters clash (Who is more cowardly than a hare? sour grapes; Crow and fox and many others.) The apologue is a relatively late form of fairy tales about animals. To relate to the time when moral norms have already been determined and are looking for a suitable form for themselves. In fairy tales of this type, only a few plots with tricksters' tricks have been transformed, some of the plots he himself developed an apologue (not without the influence of literature). The third way of development of the apologue is the growth of paremia (proverbs and sayings. But unlike paremia, in the apologue the allegory is not only rational, but also sensitive.
Next to the apologet stands the so-called short story about animals, highlighted by E.A.Kostyukhin. A short story in an animal fairy tale is a story about unusual cases with a rather developed intrigue, with sharp turns in the fate of the heroes. The tendency towards moralization determines the fate of the genre. There is a more definite morality in it than in the apologue, the comic beginning is muffled, or completely removed. The mischief of the comic fairy tale about animals is replaced in the novel with a different content - entertaining. Classic example a short story about animals - this is "Grateful Beasts". Most of the plots of the folklore novella about animals are formed in literature, and then turn into folklore. The easy transition of these plots is due to the fact that they themselves literary plots are formed on a folklore basis.
Speaking about satire in animal tales, it must be said that literature once gave an impetus to the development of satirical tales. The condition for the appearance of a satirical tale arises in the late Middle Ages. The satirical effect in a folk tale is achieved by the fact that social terminology is put into the mouth of animals (Fox-confessor; Cat and wild animals). The plot "Ruff Ershovich", which is a fairy tale of book origin, stands apart. Appearing late in a folk tale, satire did not take root in it, since social terminology can be easily removed in a satirical tale.
So in the 19th century, the satirical tale is unpopular. The satire within the animal tale is just an accent in an extremely insignificant group of animal stories. And the satirical tale was influenced by the laws of the animal tale with the tricks of the trickster. The satirical sound was preserved in fairy tales, where the trickster was in the center, and where there was the utter absurdity of what was happening, the fairy tale became a fiction.
Fairy tales
Fairy tales of the magical type include magical, adventure, heroic. Such tales are based on a wonderful world. The wonderful world is an objective, fantastic, unlimited world. Thanks to unlimited fantasy and the wonderful principle of organizing material in fairy tales with a wonderful world of possible "transformation", striking in their speed (children grow by leaps and bounds, every day they become stronger or more beautiful). Not only the speed of the process is surreal, but also its very character (from the fairy tale "The Snow Maiden." usually occur with the help of magical creatures or items.
Basically, fairy tales are older than others, they bear traces of a person's primary acquaintance with the world around him.
A fairy tale is based on a complex composition, which has an exposition, a plot, a plot development, a climax and a denouement.
The plot of a fairy tale is based on the story of overcoming loss or shortage, using miraculous means, or magical helpers. In the exhibition of fairy tales there are stable 2 generations - the older (the tsar with the queen, etc.) and the younger - Ivan with brothers or sisters. Also in the exposition there is an absence of the older generation. An enhanced form of absence is the death of the parents. The plot of the tale is that the main character either the heroine reveals a loss or shortage, or there are motives of the prohibition, violation of the prohibition and the ensuing misfortune. Here is the beginning of opposition, i.e. sending the hero out of the house.
Plot development is about finding the lost or the missing.
The culmination of a fairy tale is that the main character or heroine fights with an opposing force and always defeats it (the equivalent of a battle is solving difficult problems that are always solved).
The denouement is overcoming a loss or shortage. Usually the hero (heroine) at the end "reigns" - that is, acquires a higher social status than he had in the beginning.
V. Ya. Propp reveals the monotony of a fairy tale on a plot level in a purely syntagmatic sense. It reveals the invariance of a set of functions (actions of the actors), the linear sequence of these functions, as well as a set of roles, in a known way distributed among specific characters and related to functions. Functions are distributed among seven characters:
Antagonist (pest),
Donor
Assistant
Princess or her father
Sender
A false hero.
Meletinsky, highlighting five groups of fairy tales, tries to solve the problem historical development genre in general, and plots in particular. The tale contains some motives characteristic of totemic myths. The mythological origin of the universally widespread fairy tale about marriage with a wonderful "totemic" creature who temporarily shed its animal shell and assumed a human form is quite obvious ("A husband is looking for a missing or abducted wife (a wife is looking for a husband)", "The Frog Princess", "The Scarlet Flower" and etc.). The tale of visiting other worlds to free the captives who are there ("Three Underground Kingdoms", etc.). Popular fairy tales about a group of children falling into power evil spirit, monsters, cannibals and escaping thanks to the resourcefulness of one of them ("Boy-with-a-finger at a witch", etc.), or about the murder of a mighty serpent - a chthonic demon ("Winner of the Serpent", etc.). In the fairy tale, the family theme is actively developed ("Cinderella", etc.). For a fairy tale, a wedding becomes a symbol of compensation for the socially disadvantaged ("Sivko-Burko"). Socially disadvantaged hero (younger brother, stepdaughter, fool) at the beginning of the tale, endowed with everyone negative characteristics from the side of his environment, endowed at the end with beauty and intelligence ("The Little Humpbacked Horse"). A distinguished group of fairy tales about wedding trials draws attention to the narration of personal destinies. The novelistic theme in a fairy tale is no less interesting than the heroic one. Propp classifies the fairy tale genre by the presence of "Battle - Victory" in the main test or by the presence of "Difficult problem - Solving a difficult problem". The everyday fairy tale became the logical development of the fairy tale.
Household tales
The reproduction of everyday life in them becomes a characteristic feature of everyday fairy tales. The conflict of everyday fairy tales often lies in the fact that decency, honesty, nobility under the guise of simplicity and naivety oppose those personality traits that have always aroused sharp rejection among the people (greed, anger, envy).
As a rule, in everyday fairy tales there is more irony and self-irony, since Good triumphs, but the randomness or singularity of its victory is emphasized.
The diversity of everyday fairy tales is characteristic: social, everyday, satirical, novelistic and others. Unlike fairy tales, everyday fairy tales contain a more significant element of social and moral criticism, it is more definite in its social preferences. Praise and condemnation in everyday fairy tales sound stronger.
V recent times v methodological literature information about a new type of fairy tales began to appear - about fairy tales mixed type... Of course, tales of this type have existed for a long time, but they were not given of great importance, because they forgot how much they can help in achieving educational, educational and developmental goals. In general, tales of a mixed type are of a transitional type.
They combine the features inherent in both fairy tales with a wonderful world, everyday fairy tales. Elements of the miraculous also appear in the form of magical objects around which the main action is grouped.
Fairy tale in different forms and scale strives to embody the ideal of human existence.
Belief of a fairy tale in the intrinsic value of the noble human qualities, an uncompromising preference for Good is also based on a call for wisdom, activity, for genuine humanity.
Fairy tales broaden the horizons, awaken interest in the life and work of peoples, foster a sense of trust in all the inhabitants of our Earth, who are engaged in honest work.
Each nation has its own fairytale epic. A fairy tale is one of the oldest forms of verbal art. It contains the life and social philosophy of the people, which is determined by its life, history. "A fairy tale is a narrative, usually folk-poetic work about fictional persons and events, mainly with the participation of magical, fantastic forces." It represents one of the genres of folklore or literature.
Exceptionally large artistic significance Russian folk tale. The fairy tale as a product of oral folk art has absorbed national traits of the Russian people. Its national specificity is reflected in the language, the details of everyday life, the nature of the description of landscapes. She fully recreates the way of life in Russia.
Already in Ancient Rus the people themselves singled out the tale as special genre oral poetry, distinguishing it with tradition, legend and myth.
The fairy tale in Russia has long been one of the favorite and popular types of folklore among the people. It was simple and understandable, close to every person. In fairy tales, the spiritual originality of the Russian people, its perception of the surrounding world, its worldview were manifested.
As one of the genres of folklore, the tale reveals the philosophy, ethics and aesthetics of the people. It possesses the most marked national and cultural specifics. A fairy tale is a means moral education personality, an example of human virtues.
Russian folk tales are an inexhaustible source of the wisdom of the people, who have imprinted their ideals and aspirations in it. They keep in themselves the knowledge and experience of the people, are of a moral, educational, instructive nature. Russian folk tales are the repository of the people's consciousness. They are imbued with a deep faith in the power of good and justice, in the victory of the moral principle in man.
Russian folk tales are of particular interest from the point of view of their stylistic specifics. Not only their content, but also stylistic features texts serve as a means of moral education of the reader.
Words with emotional and stylistic coloring are widely used in Russian folk tales. So, the use of diminutives is characteristic, that is, "words with an affix giving the meaning of diminutiveness." To accurately reflect the assessment of objects and phenomena of reality in Russian folk tales, diminutive-affectionate affixes are used: brother, teremok, "cock-golden comb", "Tiny-Khavroshechka", "archer-fellow". Their main function is to give the presentation smoothness, emotionality, melodiousness. So, in the fairy tale "Sister Alyonushka and Brother Ivanushka" already in the title itself, nouns with diminutive meanings are used four times. They not only reflect the author's subjective assessment of the heroes, but also carry an emotional aspect.
Short, truncated forms of adjectives are often used in Russian fairy tales. Today, although the short form of adjectives exists, it is becoming less common. Fairy tales are the source of numerous examples of the use of such adjectives ("red girl", "good fellows", "red sun", "blue sea"). They give speech special imagery and expressiveness. Often they use and short forms verbs ("grab" instead of grabbed, "go" instead of go).
Russian folk tales are characterized by the frequent use of emotionally expressive vocabulary, which makes it possible to express a positive or negative assessment of the characters and current events. So, when reading fairy tales, the reader repeatedly comes across such expressions as "good fellow", "red maiden", "good horse", which clearly show a positive attitude towards the characters.
One of the features of folk tales is the wide use of certain combinations of words, the same constructions: "in a certain kingdom, beyond the distant lands - in the thirtieth state", "in the distant kingdom", "a feast for the whole world", "neither in a fairy tale, nor with a pen describe "," soon the fairy tale tells itself, but not soon things are done "," how long, how short "," go wherever they look "," they began to live - to live and make good money. " Fairy tales are a reflection of the richness of the speech of the people. The special expressiveness of the narration is achieved through the use of different turns of speech. Russian folk tales are characterized by the use of numerous epithets, metaphors that change the emotional coloring of the work ("gilded carriage", "red sun", "clear month", "mighty shoulders"). Along with them, metaphorical epithets are used ("sugar mouth", "living / dead water"). In Russian fairy tales, constant epithets are often used ("red girl", "good fellow", "gray wolf", "good horse", "pure field", "written beauty") and stable phrases ("below the shoulders of a riotous head hung", "Go wherever they look", "a feast for the whole world").
Impersonations in Russian folk tales give the narration a special dynamism (“The sisters wanted to knock them down - their eyes fell asleep, they wanted to rip them off - they unravel their braids”).
The conversational and everyday style is rich in phraseological units. From folk tales, many phraseological units came into Russian speech ("I was there, I drank honey beer", "a hut on chicken legs", "Koschey the Immortal", "Lisa Patrikeevna", "a fairy tale is a lie, but there is a hint in it", "Said - done", "under Tsar Peas", "not to say in a fairy tale, nor to describe with a pen"). The use of such phraseological turns allowed to give a vivid, accurate characterization of the hero, logically, consistently express their thoughts, make the speech more emotional. So, in the Russian folk tale "Geese-Swans", the reader repeatedly encounters such phraseological units as "burst into tears" ("She called him, burst into tears, lament that it would be bad from father and mother, - my brother did not respond"), "bad glory "(" Then she guessed that they took her brother away: the geese-swans had a bad reputation for a long time - that they were playing pranks, they carried away small children ")," neither alive nor dead "(" The girl sits neither alive nor dead, crying ... ").
In the text of fairy tales, there are often interjections that allow to show the emotional state of the heroes ("Ah, Ivan Tsarevich, what have you done!").
Russian folk tales are characterized by the use of such stylistic figures as anaphora (monotony), syntactic parallelism ("The elder brother shot an arrow. An arrow fell on the boyar yard, and the boyar daughter raised it. The middle brother shot an arrow - an arrow flew to the rich merchant in the yard. her merchant daughter. ”Ivan Tsarevich shot an arrow - his arrow flew straight into a swampy swamp, and a frog-frog raised it ...”), lexical repetitions (“Hut, hut, turn your back to the forest, in front of me!”), giving the narration a special dynamism, emphasizing the structural connection between two or three elements of the style of the work.
Typical for Russian folk tales is the use of such a stylistic figure of speech as silence ("Ivan Tsarevich shot an arrow - his arrow flew straight into a swampy swamp, and a frog-frog raised it ...", "My father ordered that you yourself bake by morning loaf of bread ... "). The " stylistic device, in which the expression of thought remains incomplete, is limited to a hint "allows you to convey the emotion of speech, assumes that the reader himself will guess about the unspoken.
Building sentences without the use of alliances allows you to achieve the effect of dynamism, impetuosity ("All the guests were alarmed, jumped up from their seats", "The guests began to eat, drink, have fun", "How the guests got up from the table, the music started, the dancing began"). Non-union in Russian folk tales serves to enhance expression. The use of asyndeton allows you to convey a quick change of actions, impressions of heroes, pictures that serve as a background for the events taking place.
The speech of the characters reflects the most characteristic features of the vocabulary of the colloquial style. In Russian folk tales, numerous obsolete words, archaisms (room), vernacular and colloquial vocabulary (grieve, click, help, tricky, dancing, lopsided). They are one of the most important components of living vocabulary. colloquial speech carriers literary language... Common words are used like stylistic means to give speech a playful, ironic tone. They are used in Russian folk tales as expressive, expressive synonyms of words in neutral vocabulary.
Thus, genre features Russian folk tales, the paths used in them and stylistic figures speeches, give the narrative imagery and expressiveness, make the text of the tale understandable and accessible to every reader.
Bibliography:
- Afanasyev A.N. Folk Russian fairy tales. - 2nd ed., Revised again. - M .: K. Soldatenkov, 1873. - Book. I-IV
- Varbot J. Zh., Zhuravlev A.F. A short conceptual and terminological reference book on etymology and historical lexicology. - Russian Academy of Sciences: Institute of the Russian Language. V.V. Vinogradov RAN, 1998. - 54 p.
- Efremova T. New dictionary of the Russian language - M .: Russian language, 2000.
- Ozhegov S.I. Dictionary of the Russian language - 25th ed., Rev. and add. - M .: Onyx Publishing House: Mir and Education Publishing House, 2006. - 976 p.
Fairy tales, their features; fabulous images.
Russian folk tales about animals. Features of this genre, examples of works.
Small children, as a rule, are attracted by the animal world, so they really like fairy tales in which animals and birds act. In a fairy tale, animals acquire human features - they think, speak, and do things. In essence, such images bring to the child knowledge about the world of people, not animals.
In this type of fairy tales, there is usually no clear division of characters into positive and negative. Each of them is endowed with any one trait, an inherent character trait, which is played out in the plot. So, traditionally, the main feature of the fox is cunning, the wolf is greedy and stupid. The bear has a not so unambiguous image, the bear is sometimes evil, and sometimes it is kind, but at the same time it always remains a fool. If a person appears in such a fairy tale, then he invariably turns out to be smarter than the fox, and the wolf, and the bear. Animals in a fairy tale observe the principle of hierarchy: everyone recognizes the strongest and the main one. This is a lion or a bear. They always find themselves at the top of the social ladder. This brings fairy tales about animals closer to fables, which is especially clearly seen from the presence in both of these and other similar moral conclusions - social and universal. There is a moral in these tales. Linear composition (1 storyline) Outset, climax, denouement. Lots of actions, humor, emotions, songs.
Among the tales of animals, there are quite scary ones. The bear eats the old man and the old woman for cutting off his paw. An angry beast with a wooden leg, of course, seems terrible to kids, but in fact he is a bearer of just retribution. Storytelling allows the child to figure out a difficult situation for himself.
A child must believe in a miracle - fantasize, imagine. The tale is one of the popular genres, which arose on the basis of myths, legends, observations of real life... Fairy tales depict the most different aspects of life, tell about a variety of people, talk about animals, and it is a fairy tale that perfectly meets the needs of children, corresponds to child psychology.
Belief in miracles, craving for good, belief in magic that transforms the world. Fairy tale shows a man the right way, shows the happiness and unhappiness that can happen due to a mistake. But nevertheless, after a mistake, the protagonist gets a second chance, the right to good luck. The main feature of the tale is belief in justice. The child compares real world and washed out, isolates the thought, the idea that the fairy tale carries.
Features of the fairy tale genre
· It doesn't matter who the hero is, it matters what he is.
· Often, the characters have a straightforward character (positive and negative). The fox is cunning, the wolf is evil or narrow-minded - a fairy tale teaches us to evaluate the main qualities.
· The contrast between positive and negative characters is easy to distinguish.
Linear composition (triple repetitions)
· Songs, jokes are repeated, are included in the tale.
The language of the tale is laconic, expressive, rhythmic
· The world of a fairy tale: everything is large (there are no small details, sketches), everything is remembered immediately and for a long time.
Most often, the colors are bright, there are no half-tones (the caftan is red, the chambers are white stone)
The fairytale hero is an ideal person (kind, sympathetic, they believe him)
A special world is created in a fairy tale, in which everything is extraordinary (even the name), I am present magic items, transformations, talking animals. The child is interested in all this - develops the imagination.
· Struggle between light and dark forces. The danger seems most terrible when there are evil spirits - Baba-Yaga, Serpent-Gorynych.
Activities often take place in the family
Ethical motivation: injustice is the source of suffering and misfortune
No irreparable situations
A fairy tale teaches to evaluate the actions and deeds of people
Linear composition
Heroes remain true to their characters (do not change until the end of the tale)
· Availability of travel
The presence of a prohibition (what will happen after the violation of the prohibition, error)
· V difficult minutes assistants come, but initially check the hero
Characters may include children
· There are fabulous stable formulas (once upon a time, in a certain kingdom, soon the tale will tell itself), as well as sayings, epithets, hyperboles.
In a fairy tale, a special, mysterious world appears before the listener than in fairy tales about animals. Extraordinary fantastic heroes act in it, good and truth overcome darkness, evil and lies.
"This is the world where Tsarevich Ivan rushes through the dark forest on a gray wolf, where the deceived Alyonushka suffers, where Vasilisa the Beautiful brings scorching fire from Baba Yaga, where the brave hero finds the death of Kashchei the Immortal."
Some of the fairy tales are closely related to mythological representations. Images such as Frost, Water, Sun, Wind are associated with the elemental forces of nature. The most popular of Russian fairy tales are: "Three Kingdoms", "The Magic Ring", "Finista's Feather - the Falcon is Clear", "The Frog Princess", "Kashchei the Immortal", "Marya Morevna", "The Sea Tsar and Vasilisa the Wise", " Sivka-Burka "," Morozko "and others.
The hero of a fairy tale is courageous, fearless. He overcomes all obstacles in his path, wins victories, conquers his happiness. And if at the beginning of the tale he can act as Ivan the fool, Emelya the fool, then at the end he necessarily turns into the handsome and young Tsarevich Ivan. This was pointed out in his time by A.M. Bitter:
"The hero of folklore - a" fool "despised even by his father and brothers, always turns out to be smarter than them, always the winner of all everyday adversities."
The positive hero is always helped by others. fairy tale characters... So, in the fairy tale "Three Kingdoms" the hero is selected into the world with the help of a wonderful bird. In other fairy tales, the heroes are helped by Sivka-Burka, the Gray Wolf, and Elena the Beautiful. Even such characters as Morozko and Baba Yaga help the heroes for their hard work and good manners. In all this, popular ideas about human morality and ethics are expressed.
Alongside the main characters in the fairy tale, there are always wonderful helpers: the Gray Wolf, Sivka-Burka, Ovesedo, Opivalo, Dubynya and Usynya, etc. They possess wonderful means: flying carpet, running boots, self-assembled tablecloth, invisible hat. Images goodies in fairy tales, helpers and wonderful objects express folk dreams.
The images of women-heroines of fairy tales in the folk performance are unusually beautiful. They say about them: "Not in a fairy tale to say, nor to describe with a pen." They are wise, possess witchcraft power, possess remarkable intelligence and resourcefulness (Elena the Beautiful, Vasilisa the Wise, Marya Morevna).
The opponents of goodies are dark forces, terrible monsters (Kashchei the Immortal, Baba Yaga, Dashing one-eyed, Serpent Gorynych). They are cruel, insidious and greedy. This is how the people's idea of violence and evil is expressed. Their appearance sets off the image of the positive hero, his feat. Storytellers spared no pains to emphasize the struggle between light and dark principles. In its content and in its form, a fairy tale carries elements of the wonderful, the unusual. The composition of fairy tales is different from the composition of animal tales. Some fairy tales begin with a saying - a playful joke that is not related to the plot. The purpose of the saying is to attract the attention of the audience. It is followed by an opening that begins the narrative. He takes listeners to fairy world, indicates the time and place of the action, the situation, the actors. The tale ends with an ending. The narrative develops sequentially, the action is given in dynamics. Dramatically tense situations are reproduced in the structure of the tale.
In fairy tales, episodes are repeated three times (Tsarevich Ivan fights on the Kalinov Bridge with three snakes, Ivan saves three beautiful princesses in the underworld). They use traditional artistic means of expressiveness: epithets (good horse, valiant, green meadow, silk herbs, azure flowers, blue sea, dense forests), comparisons, metaphors, words with diminutive suffixes. These features of fairy tales echo with epics, emphasize the brightness of the narrative.
An example of such a tale is the tale "Two Ivans - Soldiers' Sons".
The beginning of the tale is replete with everyday pictures and reminds little of magical circumstances. It contains the usual everyday information: there was a man, the time has come - he went to the soldier, in his absence twins-boys were born, who were named Ivan - "soldier's sons". Thus, in this tale there are two main characters at once. Nothing wonderful, magical is happening in it yet. The story is about how children learn, how they comprehend literacy, "lordly and merchant children were gagged in the belt." In the development of the action, a plot is outlined when the fellows go to the city to buy horses. This scene is filled with elements of a fairy tale: brothers tame stallions like fairy-tale heroes possess heroic strength. With a "good whistle" and a loud voice, they return the stallions who have run away into the field. The horses obey them: "The stallions came running and stood in place, as if rooted to the spot." The main characters of the tale are surrounded by special objects that emphasize their heroism (heroic horses, three hundred poods each with sabers). It is also wonderful that they received these objects from a gray-haired old man who brought them out their horses by opening a cast-iron door in a big mountain. He brought them two heroic sabers. This is how peasant children turn into heroes. The good fellows got on their horses and drove off.
The fairy tale includes images of crossroads, pillars with inscriptions that determine the choice of the path and the fate of the brothers. The objects accompanying the brothers are wonderful, for example, the handkerchiefs symbolizing death, which they exchanged. The narrative is framed by stable fabulous formulas. One brother reached a glorious kingdom, married Nastasya the Beautiful and became a prince. "Ivan Tsarevich lives in joy, admires his wife, gives order to the kingdom and amuses himself with animal hunting."
And the other brother "rides day and night tirelessly, and a month, and another, and a third." Then Ivan unexpectedly finds himself in an unfamiliar state.
In the city he sees great sadness. "Houses are covered with black cloth, people stagger as if sleepy" 4. The twelve-headed serpent, which emerges from the blue sea, from behind a gray stone, eats a person at a time. Even the king's daughter is being taken to eat the snake. The serpent personifies the dark forces of the world with which the hero fights. Ivan rushes to the rescue. He is brave, knows no fear and always wins in battle. Ivan chops off all the heads of the snake. The magic-fairy element is enhanced by the description of nature, against the background of which a serpent appears: "Suddenly a cloud moved, the wind rustled, the sea stirred - the serpent comes out of the blue sea, rises up the mountain ..." 5. Ivan's duel with the snake is described succinctly.
Repetitive verbs give the action swiftness: "Ivan bared his sharp saber, swung, struck and cut off all twelve heads of the serpent; he raised a gray stone, put his heads under the stone, threw his torso into the sea, and returned home, went to bed and slept for three days." .6
It would seem that this is where the tale should end, the plot is exhausted, but suddenly new circumstances are woven into it with the introduction of a character from the royal entourage - a water carrier, whose thoughts are mean and base.
The situation is getting worse. The climax is coming 7. The water carrier acts as the "savior" of the princess, who, on pain of death, forced her to recognize him as the savior. The episode is repeated two more times with the other two daughters of the king. The tsar granted the water carrier to the rank of colonel, then to the general, and, finally, he married his youngest daughter.
And Ivan fights the monster three times, he threatens to kill the water carrier three times royal daughters... However, the story ends with the hero's victory, evil is punished, the water carrier is hanged, truth is triumphant, the youngest daughter is married to Ivan. This episode of the tale ends with the well-known saying: "The young began to live, live, and make good money."
The story in the fairy tale again returns to another brother - Ivan Tsarevich. It tells how he got lost on a hunt and met an ugly monster - a red maiden, the sister of a twelve-headed snake, who turned into a terrible lioness. She opens her mouth and swallows the prince whole. An element of reincarnation appears in the tale. A wonderful object comes to the aid of the hero - his brother's handkerchief, announcing what has happened. The search for my brother begins. The tale repeats the description of the hunt and the actions of the hero. Ivan - peasant son finds himself in the same environment as Ivan Tsarevich, but remains alive thanks to a wonderful helper - a magic horse. The red maiden pouted as a terrible lioness and wanted to swallow the good fellow, but a magic horse came running, "wrapped his legs around her," and Ivan forced the lioness to throw Ivan Tsarevich out of herself, threatening to chop her to pieces.
An extraordinary miracle in a fairy tale and living water, saving, reviving Ivan Tsarevich. The tale ends with an ending: Ivan Tsarevich remained in his state, and Ivan, a soldier's son, went to his wife and began to live with her in love and harmony.
The tale "Two Ivans - Soldiers' Sons" combines all the elements of a fairy tale: composition, three-fold repetition of episodes and actions of the heroes, the development of the plot, positive characters and the opposition of negative monsters to them, wonderful transformations and objects, the use of pictorial and expressive means ( permanent epithets, sustainable folklore formulas). In the tale, good is affirmed and evil is debunked.
The tale of the golden cockerel
Fairy tale as a genre of oral folk art.
Fairy tales - oldest genre oral folk art, a classic example of folklore. They teach a person to live, instill in him optimism, and affirm faith in the triumph of good and justice. Real human relations are hidden behind the fantastic nature of the fairy tale plot and fiction. Humanistic ideals and life-affirming pathos lend artistic persuasiveness to fairy tales and enhance their emotional impact on listeners.
A fairy tale is a generalizing concept. The presence of certain genre features allows one or another oral prose work to be attributed to fairy tales. Belonging to the epic family puts forward such features of it as narrative and plot. The tale is necessarily entertaining, unusual, with a clearly expressed idea of the triumph of good over evil, truth over falsehood, life over death; all events in it are brought to an end, incompleteness and incompleteness are not characteristic of a fairy tale plot.
The main genre attribute the tale is its purpose, what connects the tale with the needs of the collective. “In Russian fairy tales that have come down to us in the recordsXviii – XXcenturies, as well as in fairy tales that exist now, the aesthetic function dominates. It is due to the special nature of the fabulous fiction. "1
Fiction is characteristic of all types of fairy tales of different peoples. The fact that the fairy tale does not claim to be the truth of its narrative is emphasized by the favorite beginnings of oriental fairy tales: "It was or was not - three apples fell from the sky", as well as the endings of Russian fairy tales: "The whole fairy tale - you can't lie anymore" or German ones: "Who believed - the thaler will pay. " This also determines the transfer of the fairy tale action to the indefinite "distant kingdom, the thirtieth state", the remarks of the storytellers, emphasizing the "fabulousness" of what they are telling the story about, and, finally, the listeners' comments about the skill of the storytellers: "this one will lie to you from three boxes", "Famous liar." “An emphasized, conscious attitude towards fiction is the main feature of the tale as a genre.
The educational function of a fairy tale is one of its genre features. “Fairy-tale didacticism permeates the entire fairy-tale structure, achieving a special effect by a sharp opposition of positive and negative. The moral and social truth always triumphs - this is the didactic conclusion that the tale clearly illustrates. "2
The history of the emergence of a fairy tale as a genre.
The historical roots of the Russian fairy tale are lost in hoary antiquity, each historically stage of the life of the Russian people is reflected in the fairy tale, makes regular changes in it. The study of these changes, or rather, the generalization of these changes, makes it possible to talk about a specific process in the life of a Russian tale, that is, about its history.
Install accurately. When exactly the Russian fairy tale was defined as a genre, when exactly it began to live as a fairy tale, and not a belief or tradition, is impossible.
The first mentions of a Russian folk tale refer to Kievan Rus, but its origins are lost in time immemorial. As for feudal Russia, there is no doubt that fairy tales, in our understanding, were one of the widespread genres of oral folk art in Kievan Rus. Monuments of Old Russian literature have preserved enough references to storytellers and fairy tales to be sure of this.
The earliest information about Russian fairy tales belongs toⅩⅡ century. In the lecture "The Word of the Rich and the Wretched" in describing the going to sleep of a rich man among the servants around him who amuse him in different ways, indignantly mentioned are those who "cradle and blaspheme", that is, tell him the coming fairy tales for sleep. This first mention of the fairy tale fully reflected the contradictory attitude towards it that we observe in Russian society for many centuries. One side, fairy tale - favorite distraction is fun, access to all layers of society is open to it, on the other hand, it is stigmatized and persecuted as something demonic, not permissible, shaking the foundations of ancient Russian life. So, Cyril Turovsky, listing the types of sins, mentions the accordion of fables; Metropolitan Photius at the beginningⅩⅤ for centuries conjures his flock to refrain from listening to fables; royal decreesⅩⅦ centuries speak disapprovingly of those who ruin their souls by "telling unprecedented fairy tales."
All this gives us reason to believe that in Ancient Russia, a fairy tale has already stood out as a genre from oral prose, dissociated itself from tradition, legend and myth. Its genre features - “the attitude to fiction and entertainment functions are realized equally by both its bearers and persecutors. Already in Ancient Russia, they -<сказки небывалые>and it is as such that they continue to live in the folk repertoire in subsequent centuries. "
Fairy tales that throughoutⅩⅡ - ⅩⅦ cc. Russian people told stories, they do not repeat versions mechanically come from ancient times or plots brought from a foreign land, on the contrary, the Russian fairy tale responded vividly to the events of modern life. Tales about Ivan the Terrible speak of pronounced antiboyar tendencies and at the same time the illusions of the people. The tale of the chicken and the fox expresses the anti-clerical sentiments of that time.
"The inner world of manⅩⅧ centuries, his public face, political sympathies are revealed in a fairy tale that castigates evil, untruth, injustice, hypocrisy, in a fairy tale calling for truth and good, expressing popular ideals and swords. "
Researchers about the tale and its genre features.
Exploring a fairy tale, scientists have differently defined its meaning and features. Some of them, with absolute obviousness, sought to characterize the fabulous fiction as independent of reality, while others wanted to understand how the attitude of folk storytellers to the surrounding reality was refracted in the fantasy of fairy tales. Should any fantastic story be considered a fairy tale at all, or should it be singled out orally folk prose and its other types - non-fabulous prose? How to understand fantastic fiction, without which none of the fairy tales can do? These are the problems that have long worried researchers.
A number of researchers of folklore called everything that "had an effect" as a fairy tale. Thus, Academician Yu.M. Sookolov wrote; "By a folk tale in the broad sense of the word, we mean an oral-poetic story of a fantastic, adventurous or everyday character." The scientist's brother, professor B.Yu. Sokolov, also believed that any oral story should be called a fairy tale. Both researchers argued that fairy tales include a number of specific genres and types, and that each of them can be considered separately.
Yu.M. Sokolov considered it necessary to list all the varieties of fairy tales, and B.M. Sokolov pointed out their amusement.
An attempt to distinguish a fairy tale from other genres of folklore was undertaken more than a hundred years ago by K.S. Aksakov. Speaking about the difference between fairy tales and epics, he wrote: “Between fairy tales and songs, in our opinion, there is a sharp line. The tale and the song are different from the beginning. This distinction was made by the people themselves, and it is best for us to accept directly the division that they made in their literature. A fairy tale is a fold (fiction), and a song is a reality, the people say, and their words have a deep meaning, which explains how soon we will pay attention to the song and the fairy tale. "
The fiction, according to Aksakov, influenced both the depiction of the scene in them and the characters of the characters. Aksakov clarified his understanding of the tale with the following judgments:<<В сказке очень сознательно рассказчик нарушает все пределы времени и пространства, говорит о тридесятом царстве,о небывалых странах и всяких диковинках>>. Aksakov believed that the most characteristic of fairy tales is fiction, moreover, a conscious fiction. The famous folklorist A.N. Afanasyev.<< Сказка- складка, песня- быль, говорила старая пословица, стараясь провести резкую грантцу между эпосом сказочным и эпосом историческим. Извращая действительный смысл этой пословицы, поинимали сказку за чистую ложь, за поэттческий обман,имеющий единою целью занять свободный достуг небывалыми и невозможными вымыслами. Несостоятельность такого воззрения уже давно бросалась в глаза>>, - this scientist wrote. Afanasyev did not allow the thought that<<пустая складка>> could persist among the people for a number of centuries and over a huge length of the country, holding and repeating<< один и то жк представления>>. He concluded:<< нет, сказка- не пустая складка, в ней как и вообще во всех созданиях целого народа, не могло быть, и в самом деле нет ни нарочно сочиненённой лжи, ни намеренного уклоднения от действительного понимания сказки.
The sign accepted by Aksakov as significant for the fairy tale narration was, with some clarifications, the basis for the definition of a fairy tale proposed by the Soviet folklorist A.I. Nikiforov. Nikiforov wrote:<< сказки - это устные рассказы, бытовом смысле события (фантастические, чудесные или житейские) и отличающиеся специальным композиционно - стилистическим построением>>. Explaining the meaning of his definition, Nikiforov pointed to three essential features of a fairy tale: the first feature of a modern fairy tale is the goal-setting for the entertainment of listeners, the second feature is an unusual content in everyday life, and finally, the third important feature of a fairy tale is a special form of its construction.
The famous Soviet fairytale writer E.Yu. Pomerantseva adopted this point of view:<<народная сказка (или казка, байка, побасенка) - эпическое устное художественное про изведение, преимущественно прозаическое, волшебного, авантюрного или бытового характера с установкой на вымысел. Последний признае отличает сказку от других жанров устной прозы: сказка, предания и былички, то есть от рассказов, преподносимых рассказчиком слушателям как повествование о действительно имевших место событиях, как бы маловероятны и фантанстичны они иногда ни были>>.
The dictionary of literary terms gives such a definition of a fairy tale as a genre: A fairy tale is one of the main genres of folk oral and poetic creativity.<<Сказка - преимушественно прозаический художественный устный рассказ фантастического, авантюрного или быового характкра с установкой на вымысел. Термином <<Сказка>> name a variety of types of oral prose: stories about animals, fairy tales, adventure stories, satirical anecdotes. Hence - the inconsistency in the definition of specific genre features of the tale >>.
Traditionally, there are three types of fairy tales:
Volshevnaya;
Household;
The tale of animals.
Each of these types has its own characteristics.
Genre originality of fairy tales.
Consider genre originality each of the types of fairy tales.
Fairy tales.
Genre mission: to inspire admiration good hero and condemn the villain, express confidence in the triumph of good.
By the type of conflict, fairy tales are:
Heroic: the hero fights with magic power;
Socio-class: the hero fights with the master, with the tsar;
Family (pedagogical): the conflict occurs in the family or the fairy tale is moral in nature.
Heroes are divided into: defenders, villains, sufferers, helpers.
Common features of fairy tales:
The presence of obvious fiction, magic, miracle (magical characters and objects);
Clash with magical powers;
Complicated composition;
Expanded set of visual and expressive means;
Description dominates gialogue;
Multiple episodes (the tale covers a fairly long period of the hero's life).
Examples of fairy tales are:<<Царевна-лягушка>>, <<Крошечка волке>> and others.
Household tales.
Genre challenge: to make fun of bad features character of a person, to express joyful surprise with intelligence and resourcefulness.
Household tales are divided into the following types:
Aecdotal;
Satirical anti-bar, anti-royal, anti-religious;
Fairy tales - competitions;
Fairy tales - ridicule;
General features:
It is based on an extraordinary incident within the framework of real human relations (there is practically no fantasy);
There is a wonderful assumption based on, for example, a hyperbole:
The hero is so cunning that he can outwit everyone in the world and go unpunished;
Savvy is used instead of magic;
Realism is conditional (real life conflicts get extraordinary fabulous permission);
The acting characters are antagonists;
The goodie is an ironic lucky man;
The semantic emphasis is on the denouement;
Widespread use of dialos;
An abundance of verbs.
Heron: ordinary people (priest, soldier, man, woman, king, master).
Examples of everyday tales are:<<Каша из топора>>, <<как мужик с барином обедал>>, <<Кому горшок мыть>> and others.
Fairy tales about animals.
The task of the genre: to make fun of bad character traits, actions, to evoke compassion for the weak, offended.
According to the conflict, animal tales depict:
The fight of predators among themselves;
The fight between a weak beast and a predator;
The fight between man and beast.
Heroes: animals (traits of animals and conventionally a person).
Special subgroups:
Tales of fox tricks;
Cumulative (chain tales).
General features:
The specific composition of the characters (fairy-tale images - traditional types: fox - cunning, wolf - stupid):
Anthropomorphism (transfer of mental properties and character traits inherent in humans to animals);
Conflicts reflect real life relationships of people;
Lightweight composition;
Narrowed set of pictorial and expressive means;
Extensive use of dialogues;
An abundance of verbs;
Low episode, high-speed performance;
Introduction of small folklore forms.
Examples of animal tales are:<<Кот, Петух и Лиса>>, <<Лисичка-сестричка и Волк>>,<<Лиса, Заяц и Петух>> ,<<Лиса и Тетерев>> and others.
Thus, we examined the features of each of the three types of folk tales.
The traditions of the fairy tale as a genre of oral folklore did not allow mixing the types of fairy tales.
A fairy tale is an integral part of childhood. There is hardly a person who, being small, did not listen to many different stories. Growing up, he retells them to his children, who understand them in their own way, drawing images in their imaginations acting characters and experiencing the emotions that the tale conveys.
What kind of fairy tales are there? We will try to answer these questions further.
Definition
According to the scientific definition in the literature, a fairy tale is "an epic literary genre, a narration about any magical or adventurous events, which has a clear structure: beginning, middle and ending. "From any fairy tale, the reader must learn some lesson, moral. Depending on the type, the tale performs other functions. There are many classifications genre.
The main types of fairy tales
What kind of fairy tales are there? Each of us will agree that in separate species it is worth highlighting the tales of animals. The second type is fairy tales. And, finally, there are the so-called everyday tales. All types have their own characteristics, which become clear by comparative analysis. Let's try to understand in more detail each of them.
What kinds of fairy tales are there about animals?
The existence of such stories is quite justified, because animals are creatures that live with us in close proximity. It was this fact that influenced the fact that folk art uses images of animals, and the most diverse: both wild and domestic. At the same time, it should be noted that the animals found in fairy tales are not represented as typical animals, but as special animals endowed with human traits... They live, communicate and behave like real people. Such artistic techniques make it possible to make an image understandable and interesting, while filling it with a certain meaning.
In turn, fairy tales about animals can also be divided into fairy tales involving wild or domestic animals, objects or objects of inanimate nature. Often literary scholars, speaking about what genres of fairy tales are, classify them into magical, cumulative and satirical. This classification also includes the genre of fable. You can divide animal tales into works for children and for adults. Often in a fairy tale there is a person who can play a dominant or secondary role.
Usually, children get acquainted with fairy tales about animals at the age of three to six years. They are most understandable to young readers, since they meet with constant characters: a cunning fox, a cowardly hare, a gray wolf, an intelligent cat, and so on. As a rule, the main feature of each animal is its characteristic feature.
What are the constructions of a fairy tale about animals? The answer is very different. Cumulative tales, for example, are selected according to the principle of plot connection, where the same characters meet, just in different circumstances. Often stories have names in diminutive form (Chanterelle-Sister, Bunny-Runner, Frog-Kvakushka, and so on).
The second type is a fairy tale
What are literary tales about magic? The main characteristic feature of this species is a magical, fantastic world in which the main characters live and act. The laws of this world are different from the usual ones, everything is not like it really is, which attracts young readers and makes this kind of fairy tales, undoubtedly, the most beloved among children. The magical setting and plot allows the author to use all their imagination and use as many relevant artistic techniques, in order to create a work especially for a children's audience. It's no secret that children's imagination is limitless, and it is very, very difficult to satisfy it.
In most cases, this type of fairy tale has a typical plot, certain characters, and a happy ending. What fairy tales about magic are there? These can be stories about heroes and fantastic creatures, tales of unusual objects and various trials that are overcome thanks to magic. As a rule, in the finale, the heroes get married and live happily ever after.
Note that the heroes of fairy tales embody many. Among the main themes of this literary genre are the struggle between good and evil, the struggle for love, truth and other ideals. Must be present who will be defeated in the final. The structure of the tale is usual - the beginning, the main part and the ending.
Household tales
Stories like this tell about events ordinary life covering various social issues and human characters... In them, the author ridicules the negative. Such tales are social and satirical, with elements of a fairy tale, and many others. Here the negative qualities of the rich and vain people are ridiculed, while the representatives of the people embody in themselves positive features... Everyday fairy tales show that the main thing is not money and strength, but kindness, honesty and intelligence. Literary scholars assert - and this is a fact - that they were written at a time when people were experiencing social crises and were trying to change the structure of society. Among the popular artistic techniques, satire, humor, and laughter stand out here.
What types of fairy tales are there?
In addition to the above classification, fairy tales are also divided into author's and folk tales. Already from the names it is clear that the author's are fairy tales that were written by a specific famous writer-storyteller, and folk are those that do not have one author. Folk tales are passed by word of mouth from generation to generation, and the original author is none. Consider each of the types separately.
Folk tales
Folk tales are rightfully considered a powerful source historical facts, information about the life and social order of a particular people. Each of the peoples in their history invented great amount instructive stories for adults and children, passing on their experience and wisdom to future generations.
Folk tales reflect human relations and the change in moral principles, show that the basic values remain unchanged, teach to draw a clear line between good and evil, joy and grief, love and hate, truth and falsehood.
A feature of folk tales is that in a simple and easy readable text the deepest social meaning is hidden. In addition, they preserve the richness of the vernacular. What folk tales are there? They can be both magical and everyday. There are many folk tales about animals.
The question often arises as to when the first Russian folk tale was invented. This will surely remain a mystery, and one can only speculate. It is believed that the first "heroes" of fairy tales were natural phenomena - the Sun, Moon, Earth, and so on. Later, they began to obey man, and images of people and animals entered the fairy tales. There is an assumption that all Russian folk tales have a real foundation. In other words, some event was retold in the form of a fairy tale, changed over the centuries and came to us in the form to which we are accustomed. We figured out what Russian folk tales are. It's time to talk about fairy tales, the authors of which are well known to readers.
Author's tales
Usually a work of authorship is subjective processing folk story however, new stories are quite common. The characteristic features of the author's fairy tale are psychologism, sublime speech, bright characters using fabulous clichés.
Another feature of this genre is that it can be read at different levels. So, the same story is perceived differently by representatives of different age groups. Charles Perrault's fairy tales for children seem like an innocent story to a child, while an adult will find in them serious problems and morality. Often books aimed initially at young reader, are interpreted by adults in their own way, as well as fantastic stories for adults will appeal to children.
Who are they, the authors of fairy tales? Surely everyone has heard about "The Tales of My Mother Goose" by Charles Perrault, the tales of the Italian Gozzi, the works of the German writer the Brothers Grimm and the Danish storyteller Hans Christian Andersen. We must not forget about the Russian poet Alexander Pushkin! Their stories are adored by children and adults all over the world. Whole generations grow up on these tales. At the same time, all works of authorship are interesting from the point of view of literary criticism, they all fall under a certain classification, have their own artistic features and author's techniques. Films and cartoons are made based on the most famous and beloved fairy tales.
Conclusion
So, we figured out what fairy tales are. Whatever fairy tale may be - author's, folk, social, everyday, magic or telling about animals - it will surely teach the reader something. The most interesting thing is that it doesn't matter who reads the story. Both adults and children will definitely learn something useful from it. The fairy tale will make everyone think, convey the wisdom of the people (or the author) and leave a lasting good impression in the minds of readers. The effect is not in the least exaggerated. There are even so-called therapeutic fairy tales that can re-educate and wean you from a variety of bad habits!