Fairy tale as a kind of folk prose. Types of fairy tales

Lesson topic: Fairy tales as a kind of folk prose. Moral and philosophical character of fairy tales. Fairy tales about animals, fairy tales, everyday tales
Lesson objectives: to introduce varieties folk tales, show their peculiarity, continue working on the development of students' speech; develop imagination, replenish vocabulary.
Methodological techniques: expressive reading, analytical conversation.
During the classes
I. Organizational moment.
II. Homework check.
Answers to questions and tasks on page 8
Listening to tongue twisters.
III. Fairy tales as a kind of folk prose. The moral and philosophical nature of fairy tales
Reading a textbook article (p. 810) and collective drafting outline this article.
What is a fairy tale?
We write the definition of a fairy tale in a notebook.
Fairy tale is an entertaining story about extraordinary events and adventures.
IV. Fairy tales about animals, fairy tales, everyday tales
Teacher's word, heuristic conversation
Let's now fast forward one hundred and fifty years ago, or maybe more, and imagine a storyteller or a storyteller. Fairy tales were loved not only by children, but also by adults. Imagine, for example, a winter hut in the taiga, and there are several hunters in the hut. They hunt furs. In the mornings, they disperse through the forest to set and check traps, and in the evening they gather in the hut. And in the hut, an old man is waiting for them, who is young and strong men they took with them to the taiga not just like that, but for the sake of his wonderful fairy tales. He remains in the hut on the farm, and in the evening tells fairy tales to tired workers. When such fishermen returned home, hometown or the village, they sold furs and divided the money, and the old storytellers were given an equal share with everyone: such was the respect for people who knew the secret of the word. The storytellers knew from memory many epics, called olds, historical songs, nursery rhymes, jokes, various fairy tales and magic, and everyday, and fairy tales about animals. When researchers began to write them down, it turned out that one person remembers by heart a whole volume equal in number of lines to Homer's Iliad and Odyssey combined. On different days, on different cases the storytellers had special tales in store. For example, the fishermen quarreled among themselves. A quarrel at the winter quarters is a very dangerous business. People are cut off from the world, like in a spaceship, without connection to the Earth. We urgently need to reconcile the disputants, to defuse the situation. You can't do without a storyteller here. What kind of tales do you think the storyteller will speak in the event of a quarrel? Why? On reflection, the children will come to the conclusion: everyday fairy tales, that is, those in which a greedy, stingy, stupid and vindictive person always gets into trouble. The fishermen will laugh, you see, and the evil is gone as it was. What intonation do you think the storyteller will choose? You can offer a choice of definitions: sly, ironic, wise, reconciling, calming. Imagine that one of the hunters returned annoyed: the beast deftly deceived him, pulled the bait from the trap, and left himself. Seasoned hunters will begin to recall the cases that o or. And our old storyteller is ready to amuse the peasants with what fairy tale? Children will guess: a fairy tale about animals about a cunning fox, a simple wolf, a cowardly hare and an innocent bear. What will be the intonation this time? Cheerful, good-natured, sly, intonation of surprise, mocking, calm. Now let's imagine a winter quarters again. Dense forest covered with snow. In the forest there is a hut, in the hut there is a stove-stove, which is heated in black, in the middle there is a table, along the walls of the bench, under the ceiling of a bed. They slept on benches and on the beds, and dined at the table. The winter is long. The winterers are tired, they want to go home, to their wives, to the kids. Tired of monotonous food, tired of the same pictures, the same people. I want summer, beauty, relaxation and love. The fishermen returned in the evening, had supper, lay there, silent. I don’t want to talk to anyone, it’s sickening at heart. Which fairy tale will the narrator choose this time? With what voice will he start telling it? Children will understand that in such cases, a fairy tale is needed, told with intonations of surprise and admiration for the wealth, beauty and wonders of the world. A fairy tale will help you forget the severity of everyday worries, move your thoughts to wonderful worlds full of magical beauties, talking animals and scarlet flowers, to the worlds where love lives and justice prevails. Consider a small table in the tutorial (p. 10) with examples different types fairy tales. We will invite the children to supplement this table (orally). Fairy tales about animals: "Fox with a Rolling Pin", "Cat and Fox", "Fox and a Jug", "Crane and Heron". Household tales: "The soldier and the queen", "How a priest hired a worker", "How a man divided geese", "Boiled ax". Fairy tales: "Finist the clear falcon", "Ivan Tsarevich and grey Wolf"," Three kingdoms "," Vasilisa the Wise ". Consider the illustrations, read excerpts from fairy tales and call these fairy tales (p. 1112 of the textbook): "Frost", "Golden scallop cockerel", "Geese-swans", "By the pike's command." The teacher can turn to the reading experience of the students and ask: Which artists' illustrations for Russian fairy tales do you especially like? Since fifth graders rarely pay attention to the names of illustrators, we ask them to read the names of the artists whose illustrations are included in the textbook. It would be nice to bring several illustrated collections of Russian fairy tales to the lesson. As a rule, most of all children like the illustrations by Ivan Bilibin. Children say that this artist best conveys the mystery and antiquity of the Russian folk tale. Homework Prepare a retelling of the textbook article according to the plan (p. 810).

Attached files

SKAZKA is one of the types of folklore prose, found among various peoples and subdivided, in turn, into genres. Since there is still no single scientific classification, researchers distinguish genres or groups of fairy tales in different ways. So E.V. Pomerantseva divides them into tales 1) about animals, 2) magic, 3) adventurous novelistic and 4) everyday, while V.Ya. Propp divides fairy tales into:

• 1) magical,
• 2) cumulative,
• 3) about animals, plants, inanimate nature and objects,
• 4) everyday or short stories,
• 5) fables,
• 6) boring tales.

The most important characteristic of a fairy tale is that it contains a mandatory orientation towards fiction, which also determines the poetics of the tale. The main features of a fairy tale, according to V.Ya. Propp, "the inconsistency of the surrounding reality" and "the uncommonness ... of the events being told" (this is the difference between a fairy tale and a literary narrative).

Fabulous genres. Fairy tales, as V.Ya. Propp (whose classification is used in this section), "stand out not on the basis of magic or wonder ... but on a completely clear composition." At the heart of the fairy tale (a thought that came to a variety of researchers, independently of each other) is the image of initiation (initiation is a kind of rite of passage, the initiation of young men into the category of adult men) - hence the "other kingdom" where the hero should get in order to acquire bride or fabulous values, after which he must return home. The narrative is "taken entirely outside of real life." Characteristic features of a fairy tale: verbal ornament, sayings, endings, stable formulas.

Cumulative fairy tales are based on the repeated repetition of some link, as a result of which there is either a "heap" (Terem of a fly), or a "chain" (Turnip), or a "successive series of meetings" (Kolobok) or "references" (Cockerel choked). In Russian folklore cumulative tales Little. In addition to the peculiarities of the composition, they differ in style, richness of language, often gravitating towards rhyme and rhythm.

The rest of the tales stand out in special genres not on the basis of the composition, which has not yet been sufficiently studied, but on other grounds, in particular, the nature actors... In addition, in fairy tales that are not magical, the “extraordinary” or “miraculous” “is not taken out of the bounds of reality, but is shown against its background. The supernatural (wonderful objects, circumstances) is absent here, and if it does occur, it is comically colored.

Tales about animals, plants (the war of mushrooms, etc.), about inanimate nature (wind, frost, sun) and objects (bast shoes, straw, bubble, coal) make up a small part of Russians and western European fairy tales, while among the peoples of the North, North America and Africa, animal tales are widespread (the most popular heroes- dexterous deceivers-tricksters (jesters) hare, spider, fox, coyote).

Household fairy tales (novelistic) are divided according to the types of characters (about clever and clever guessers, about wise advisers, about clever thieves, about evil wives, etc.).

Fables tell "about absolutely impossible events in life" (for example, how wolves, having driven a man up a tree, stand on each other's backs to get him out of there).

Boring tales, according to V.Ya. Proppa, rather, "jokes or nursery rhymes", with the help of which they want to calm down children who demand to tell fairy tales (About the white bull).

The variety of folk tales in this classification is by no means exhausted, so, for example, in the Slavic tradition one can also distinguish heroic, soldier's, etc.

Existence of a fairy tale. Folk tales were performed by special storytellers - storytellers. One and the same tale in the mouths of the performers could be transformed, both for subjective reasons (the preferences of the storyteller himself, his giftedness), and for objective reasons, for example, depending on the nature of the audience.

The written narrative tradition has had a significant impact on the folk tale. The Panchatantra collection, which united Indian parables and fables, was assimilated by the literatures of different peoples through translations and borrowings. A similar fate at the vault oriental tales Thousand and One Nights, first translated into French, and already from French into the languages ​​of the peoples of Europe. The Russian fairytale tradition was also influenced by translated literature (parables, novels of chivalry, etc.) and popular literature. All this, in turn, enriched the oral tradition.

Collection and scientific study of fairy tales. The science of fairy tales became an independent discipline in the 19th and 20th centuries. Its formation is not associated with any one scientific school; scientists from various scientific fields have contributed.

Mythological school. The main position defended by the mythological school boils down to the fact that the similarity of plots is determined by a common "great-myth" inherited by different peoples from a common ancestor.

The brightest representatives of the school were the German philologists and folklorists brothers Jacob Grimm (1785-1863) and Wilhelm Grimm (1786-1859). See also GRIMM, JACOB AND WILHELM. Authors of interesting scientific works, including the Germanic heroic legends (1829), they became famous, first of all, for the publication of German folklore - legends (1816-1818) and appeared slightly before fairy tales... The book Children's and Family Tales, published in separate issues from 1812 to 1814, not only presented to the public the monuments of German folk literature with great completeness (the last lifetime edition includes 210 fairy tales), the attitude of folklorists to the material determined the approach of other researchers to the folk tale.

The Brothers Grimm strived for accuracy, keeping as much as possible the characteristics of oral storytelling. Their collection is distinguished by clarity and simplicity, the notes give plot options and parallels drawn from the folklore of various European nations... The publication prepared by them is not free from weaknesses: the sequence of fairy tales is random, the most typical fairy tales were chosen for publication, which prevented the presentation of the material in all its diversity, in addition, the language and style of the published texts were edited, which is especially noticeable now, when the so-called Elenberg manuscript has been published , where the texts are given without editing.

Among the followers of the mythological school are prominent Russian philologists F.I. Buslaev (1818-1897) and A.N. Afanasyev.

Alexander Nikolaevich Afanasyev (1826-1871), historian and literary critic, author of the fundamental three-volume study Poetic views of the Slavs on nature (1866-1869), played an outstanding role in collecting and publishing the Russian fairytale heritage. The collection of Russian Folk Tales (originally published in eight separate issues, published from 1855 to 1864), is still unsurpassed.

Speaking about the most important task of collecting and publishing "common folk tales" (which, in his words, "are the fragments of the most ancient poetic word- the epic ", and therefore preserved many signs of the past), A. N. Afanasyev notes not only the aesthetic and scientific merits of such a collection, but also its importance in raising children, subject to a strict selection of fairy tales.

The collection has been compiled from various sources. Russian geographic society, of which Afanasyev was a member, placed at his disposal materials on fairy tales from his rich archive. P.V. Kireevsky (1808-1856) handed over to the compiler the records kept by him, made by P.I. Yakushkin (1822-1872), a famous collector of folk songs, V.I. Dahl (1801-1872), who concentrated on publishing Russian proverbs and sayings, passed on his own notes (before that, he published some fairy tales, having previously processed them). In addition, texts borrowed from periodicals and popular prints of the 18-19th centuries were included. A.N. himself Afanasyev recorded a little more than a dozen fairy tales, but he did not intend to act as a folklorist. He set himself the task of classifying and publishing the accumulated materials, and he coped with it excellently. Russian folk tales, including about 600 texts, are not only the largest collection of this kind. Starting from the second edition of A.N. Afanasyev introduced the classification of fairy tales. He also published the options that he had.

Unfortunately, it is impossible to compensate for the different approach to the material in the primary sources - there are both retellings and accurate recording (in some cases, the local pronunciation is preserved), not all texts are provided with an indication of where they are written. On the other hand, the compiler treated the texts with care; editorial revisions on his part were rare and insignificant. Also excluded from the collection, according to A.N. Afanasyev, "everything that has been mutilated" by the censorship. Censorship bans affected texts that had an acute social (often anti-clerical) orientation, and texts that were excluded from the press for moral reasons (frank vocabulary, erotic stories, sometimes "with pictures", sexual symbolism).

A truncated version of this part of the Afanasyev collection was published around 1872 in Geneva under the title Russian Folk Tales not for publication. The first scientific edition was published only in 1997. Among the "cherished fairy tales" (the definition adopted in scientific literature) less than a dozen fairy tales about animals, not much more fairy tales (it is characteristic that in the tradition the same tales coexist with and without erotic details), the overwhelming majority are everyday tales.

Comparative (migration) school. Its adherents developed the idea that the similarity in the works of the Eurasian peoples, not necessarily related, arose either through borrowing or as a result of a common source. Migration and development in time of literary and folklore images, motives and plots were mainly studied. Among the representatives of the school are the German philologist T. Benfey (1809-1881), the Czech philologist J. Polivka (1858-1933), the Finnish folklorist A. Aarne (1867-1925). In Russian literary criticism, the ideas underlying the comparative theory arose independently. The largest representative of comparative studies in Russia is the philologist A.N. Veselovsky (1838-1906).

English "anthropological school". The followers of this school argued that the similarity of fairy-tale plots was dictated by their spontaneous generation on a single household and psychological basis... The most famous representatives of the school are the English ethnographer E. Taylor (1832-1917), the Scottish writer E. Lange (1844-1912).

Structural approach. The most important role in the study of the fairy tale was played by the Russian scientist Vladimir Yakovlevich Propp (1895-1970). He demonstrates his approach in the book Morphology of a Fairy Tale (1928) on the example of a fairy tale. He considers a fairy tale as a single structure in which there are constant and stable elements, functions, and these functions do not depend on how and who performs them, the number of functions is limited, the sequence is unchanged.

There are 31 functions in total, and not every fairy tale necessarily contains everything - absence, prohibition, violation of the prohibition, villain ( negative character( troubles), returning home, false hero, punishment of a false hero, transformation (recognition of a true hero and receiving a new status), marriage, accession to the throne.

In a fairy tale, according to V.Ya. Proppu, there are seven types of characters: villain, helper, giver, seeker, messenger, hero and false hero. In the absence of some characters, his functions are transferred to the hero himself. In addition to the division into genres (fairy tales, magic, cumulative, etc.), he proposed a further division into types, which in turn disintegrate into plots that fall into versions and variants.

The structural approach to the material was supplemented and partly rethought in the book The Historical Roots of the Fairy Tale (1946). The author considers the initiation rite as the general basis of the fairytale structure (we are talking again about the fairytale). These scientific propositions were partly anticipated in the book by Perrault's Tales and Parallel Stories (1923) by the French researcher P. Sentive, which does not detract from the value of V.Ya. Proppa.

An original approach to the material is proposed in the monograph by E. Meletinsky, D. Segal, E. Novik The structure of a fairy tale (1999).

Systematization of fabulous material. Great value in the study and systematization of fairy tales, the work of the Finnish scientist A. Aarne played an Index of Fairy Tale Types (1910). The index is based on the material of European fairy tales, the tales themselves are divided into 1) animal tales,

• 2) fairy tales,
• 3) legendary,
• 4) short stories,
• 5) tales of the fooled devil and 6) anecdotes.

Important clarifications in the work of Aarne were made by the American scientist S. Thompson, who created the Index of Fairy Plots (1928). Soviet folklorist N.P. Andreev (1892-1942), who translated Aarne's index into Russian, revised it, adding fairy tales from the Russian fairy repertoire. The book Index of Fairy Plots according to the Aarne system (1929) has not lost its significance. Half a century later, the work of L.G. Baraga, I.P. Berezovsky, K.P. Kabashnikova, N.V. Novikov Comparative Index of Plots (1979), dedicated to East Slavic tales.

The International Federation of Folklorists (Helsinki), founded in 1910, does a lot for the study and systematization of the fairy tale, which regularly publishes indexes and monographs. In addition, an important role in international folklore is played by the international magazine"Fabula" (Göttingen), and the Encyclopedia of Fairy Tales published in English and German since 1975 (Berlin, New York).

Interpretation of fairy material. A significant role, if not in the study of fairy tales as a phenomenon of folklore, then in cultural studies and self-awareness modern culture play scientific works on psychology, interpreting fairy-tale material for their own purposes.

Sigmund Freud (1856-1939), Austrian psychologist, neuropathologist and psychiatrist, creator of "psychoanalysis". Based on Freud's theory, his follower O. Rank considered the fairy tale (which appeared, according to him, during the period of ordering family-tribal relations), as a veiling sexual complex, in contrast to the myth, where the complex is presented frankly.

Carl Gustav Jung (1875-1961), a Swiss psychiatrist, the founder of "analytical psychology", in contrast to Z. Freud, investigated not sexual complexes and their repression, but the psychology of the unconscious. According to him, there are two layers in the subconscious - personal, and collective, deeper, while developing not individually, but inherited. The bowels of the collective subconscious store not complexes, but archetypes, elements of mental structures, which the scientist compared with fairy-tale and mythical images and motives.

Erich Fromm (1900-1980), American philosopher and culturologist, transformer of Freudianism, in his work Forgotten Language (1951) considered the language of symbols, using dreams, myth and fairy tale to study.

Literary tale and author's tale. Analyzing the attitude to reality in folk tales and in literature, V.Ya. Propp draws a clear line between the forms of thinking typical of folklore and the forms of thinking that determine literary creation(in the original source, the speech is about the 19th century, but the pattern extends to the 20th century), moreover, the laws underlying the poetics of folklore and the poetics of literature also differ. V.Ya. Propp does not deny that literature and folklore are related: "The process of transition of plots or narrative style into literature was accomplished ... not by borrowing only, but - and this is most important - by overcoming the attitude to reality that is characteristic of fairy-tale narrative folklore." This is where the difference between the author's and literary fairy tales from the folk tale begins.

The "mechanics" of transferring the text from folklore to literature is also important. If a folk tale exists exclusively in the oral tradition, then it is logical to conclude that with the most careful transfer to paper, it loses some of its properties, acquiring properties that are not inherent in it. The conditional division of the text during recording, and the very principle of "fixing" the text, while during oral performance the same tale is transmitted a little differently each time, makes us talk about the emergence of a literary tale, that is, one that has been processed, even when the original the text is a folk tale. The famous incident with A.M. Remizov, who was accused of plagiarism after the publication of the folk tale he had processed, The sky fell. The victim noted that if we compare his text with the folklore recording made by M.M. Prishvin, there are not many differences, but he, in his words, "hung up the language for the narrator," clarified the intonation with the help of syntax, and added expressiveness. It is also characteristic that, especially at the early stage of recording folklore texts, the intrusion of the folklorists themselves, their "ennobling" of the folk tale, its "smoothing" away from the original folklore source.

The next stage in the written existence of a fairy tale is an author's fairy tale. It is not always distinguished from a literary fairy tale (sometimes both words act as synonyms), which is incorrect. The author's fairy tale is characterized by an increased degree of psychologism, the transformation of characters from "signs" into full-blooded "images," and often an emphasized play with fairy-tale clichés (the latter is especially important for 20th century literature).

The author's tale is also distinguished by "double existence". With rare exceptions (in cases where the essay is intended exclusively for a children's audience), the author's fairy tale has several levels of reading, and therefore can be perceived differently by adults and children. Moreover, it does not matter to which reader the tale is addressed, as evidenced by two equivalent processes: the transformation of "adult" books into "children's" (C. Perrault, R.R. Tolkien) and the reverse movement - from a "children's" book to an "adult" ( L. Carroll).

It should be noted that the border between a literary tale and an author's tale is mobile. Often, the processing of folk tales turns them fully into the author's tales. It should also be remembered that the principle of processing depends not only on the author's intention, but also on what audience the text is intended for. In this sense, it is necessary to consider various adaptations of a fairy tale for a poorly prepared reader (listener), as a purely service approach, not inscribing them either in folklore or literary context.

fairy tale folklore prose genre

Masters of the author's fairy tale. The founder of the author's tale can be considered the French poet and critic Charles Perrault (Perrault, 1628-1703). The collection "Tales of My Mother Goose, or Stories and Tales of Bygone Times with Teachings", which was published in 1697 and was signed not with the name of Perrault himself, but with the name of his son Darmancourt, included 8 fairy tales (when republishing the book, the author included 3 more poems fairy tales), each fairy tale contained morality in verse. The style of these works brought them closer to court literature.

The tradition of the author's fairy tale was influenced by the Italian playwright Carlo Gozzi (1720-1806), whose plays combined motives borrowed from Italian folklore and oriental fairy tales, but transformed by the author's imagination and the influence of the commedia dell'arte, the poetics of which the author used. Among the dozens of fairy tales written by Gozzi are The Love for Three Oranges (1761), The Deer King (1762) and Turandot (1762), imbued with a kind of fairy-tale psychologism, distinguished by the sharpness of collisions and the accuracy of the characters' characteristics.

One of the best masters German author's fairy tale was the prose writer Wilhelm Hauff (Hauff, 1802-1827). A peculiar combination of oriental motifs with motifs of national folklore marked his Tales for the Sons and Daughters of the Educated Estates (1826-1828). The works that the author composed for adults have become classic children's reading.

The tales of the Danish prose writer Hans Christian Andersen (Andersen, 1805-1875) are addressed to the audience, regardless of age. His books Tales Told to Children (1835), New Tales (1844-1848), Histories (1852-1855), New Tales and Stories (1858-1872) combine fairy tales of various origins (from those heard in childhood to those written on plots, borrowed from Italian folk songs, poetry of Anacreon, etc.).

Italian writer Carlo Collodi (real name - Lorenzini, 1826-1890) created classic fairy tale The Adventures of Pinocchio. The Story of a Puppet (1880). For the adventures of a wooden doll, attentive readers discerned a background and, on this basis, interpreted the fairy-tale episodes as an evangelical plot (the carpenter-father, the last supper in the "Red Cancer" tavern).

A unique situation has developed in English literature, where a whole school of the author's fairy tale was formed. Characteristics played an important role English prose, including ironic narration, humor on the verge of absurdity. English authors largely anticipated later genre discoveries. It is also important that many English literary tales were initially told to a small circle of listeners (details and plot twists could be incomprehensible to outsiders), and only later were transferred to paper.

Literary critic N. Demurova notes: "Raskin, Kingsley and MacDonald use the 'morphology' of a fairy tale, adapting the morphology of English and German folklore to build their own fairy tale narratives, sustained in Christian-ethical tones, in general, without going beyond the limits of reductions and substitutions allowed by the structure of a folk tale Dickens and Thackeray create in their fairy tales a very different in spirit organic fusion, in which the element of parody (sometimes self-parody) is extremely strong. Ironically rethinking the characteristic themes of their own realistic creativity, romantic fairy-tale motives and techniques, they depart far from the strict structure of a folk tale, retaining only some of its moves and characteristics. "

William Makepeace Thackeray (1811-1863), rejecting edification and ridiculing the pedagogical bombast, which permeates the works of minor and tertiary writers, created fairy tales, in a certain sense"anti-fairy tales", destroying the established canons, altering the usual plot schemes. At the same time, material was used and borrowed - for example, the tale Sultan Aist (1842), an ironic variation based on the tale of V. Hauf, and quite original - the tale The Ring and the Rose (1855).

Paid tribute to the author's fairy tale Charles Dickens (Dickens, 1812-1870), it is worth mentioning at least The Magic Bone "(A novel written during the holidays, 1868). Classics are the books The King of the River Golden (1841, first edition - 1851) by John Raskin (Ruskin , 1819-1900) and Children of the Water (1863) by Charles Kingsley (Kingsley, 1819-1875).

Huge role in history english fairy tale played by George MacDonald (MacDonald, 1824-1905). The sentimental intonation with which the narrative is colored pays off with amusement, while the relationship of the heroes with folklore characters, as in the fairy tale The Princess and the Goblin (1872), fits into the framework of the literary, not oral tradition. Other works include the fairy tales The Princess and Kurdi (1877), The Golden Key (1867) and the fairy tales The Weightless Princess (1864) and The Heart of a Giant (1864), which were originally included in Adela Cathcart's novel, and were subsequently published separately. In D. MacDonald's prose, mystical motives occupy a prominent place. His books influenced, by their own admission, G.K. Chesterton, K.S. Lewis and R.R. Tolkien. Took into account his experience and L. Carroll, who was friends with the children of D. MacDonald.

The origin of the fairy tale Alice in Wonderland (1865) by Lewis Carroll (Carroll, real name - Charles Lutwidge Dodgson, 1832-1898) is significant. The tale was composed at the request of the little sisters of Liddell, and features of oral improvisation were inherent in it: an ill-conceived composition, relying not on an accurately chosen word, but on intonation. Again, at the request of the audience, the tale was recorded, under the title Alice's Adventures Underground (1863), and subsequently edited. After Alice's success in Wonderland and Through the Mirror and what Alice saw there, or Alice Through the Looking Glass (1871), facsimiles of Alice's Adventures underground and Alice for children were published, which confirmed the idea of ​​the multifacetedness of fairy tales. From here originate and numerous interpretations of the works of L. Carroll, up to psychoanalytic and mathematical.

A Tale Topsy-turvy, or A Lesson to the Fathers (1882) F. Anstey (real name and surname - Thomas Anstie Guthrie, 1856-1934) is a typical shape-shifter used in folk poetry and theatrical farces. The reason why the heroes of the story, father and son, have changed places. The plot of the story "The Copper Jug" (1900) is borrowed from the book "A Thousand and One Nights".

The story, which later received the name "The Wind in the Willows" (1908), was composed by Kenneth Grahame (Grahame, 1859-1932) for his son, therefore oral stories formed its basis. Characters quite suitable for animal tales, Rat, Mole, Badger, Toad, and appearance, and the behavior is reminiscent of English gentlemen, and the adventures that befell them are quite in the literary tradition.

James Matthew Barrie (Barrie, 1860-1937) invented the story behind Peter Pan and Wendy (1911) for the children of his close friends. Growing out of oral story, this story was embodied in both prose and drama - there is a play of the same name.

Rudyard Kipling (Kipling, 1865-1936) used in his prose knowledge not only of his native folklore, but also of world mythology. Mythological motives and reminiscences are discernible in The Jungle Book (1894) and The Second Jungle Book (1895). The collection This is how fairy tales (1902) combine stories that were initially told to their daughter. Rather, call them not fairy tales, but etiological stories ( folklore genre, offering listeners an explanation of certain cultural situations, the history of the origin of things and rules of behavior). A fairy tale built according to such laws is also in the Jungle Book (How Fear Came). In the collections Pak from the Pook Hills (1906) and Awards and Fairies (1910), there are both fairy-tale characters and historical personalities. The author wanted to show the continuity of the history of mankind.

It should at least mention other masters of the author's fairy tale - these are Walter de la Mar (de la Mare, 1873-1956), Eleanor Farjeon (Farjeon, 1881-1965), Alan Alexander Milne (Milne, 1882-1956), Pamela Lyndon Travers ( Travers, real name and surname - Helen Lyndon Goff, 1899 or 1906-1996). This genre continues to develop in English literature.

Literary and author's fairy tales were actively developing not only in England. The Swedish writer Selma Lagerlef (1858-1940) authored the children's classic Niels Holgerson's Wonderful Journey through Sweden (1906-1907). Another Swedish writer, Astrid Lindgren (Lindgren, 1907-2003), began composing fairy tales after World War II. Her books, albeit indirectly, reflected the changes that Western society underwent: behavioral stereotypes became different, social norms were less strict, and therefore, even a few years earlier, books such as Pippi Long stocking(1945-1946) or Kid and Carlson, who lives on the roof (1955-1968), would not see the light of day.

The Italian novelist Gianni Rodari (1920-1980) is associated both with the tradition of folk tales and with the literary tradition, which is reflected in the fairy tales The Adventures of Cipollino (1951) and The Journey of the Blue Arrow (1952), as well as in the book Tales by Telephone (1962) ... The storyteller summarized his experience in the book The Grammar of Fantasy (1973), a kind of self-study guide for those who want to try to compose. He actively uses various literary works, including the work of representatives of the Russian formal school - V.B. Shklovsky, etc.

The book Tim Thaler, or Sold Laughter (1962) by the German novelist and poet James Crews (1926-1999) vivid example the fact that a "children's" book can be read at different levels. The recent attempt by J. Cross-Tink to compile a dictionary of magic and sorcery as a tool for interpreting this text is curious and fruitful.

Fairy tale in Russian and Soviet culture... To understand how special the fairy tale occupied in Russian culture, and the significant role that it played, one should remember that in Ancient Rus there was no fiction. This situation was created due to the fact that literature did not have an entertainment function, the questions raised by it were political, historical, and religious questions. Reading was "good", not "pleasure." But, as V.Ya. Propp, "a fairy tale ... the main genre of folk prose, pursuing its own aesthetic goals." Although other genres objectively carry aesthetic functions, the narrator has a different goal in mind (tradition introduces the past, legend offers moralizing, etc.).

The circle of "useless reading" took shape only in the 17th and 18th centuries. Among the "novellas" and "stories" an important place is occupied by novelistic fairy tales, including "fairy tales not for print." In a certain sense, this tendency made itself felt in the 19th century, when Russian literary and author's tales began to take shape.

Vasily Andreevich Zhukovsky (1783-1852) became one of the founders of the Russian author's fairy tale. It is curious that, in 1831, composing tales about the Sleeping Princess and Tsar Berendey, he entered into creative competition with A.S. Pushkin, who developed similar subjects.

Among the tales of A.S. Pushkin (1799-1837), at least two are associated with "cherished" tales - this is an openly frivolous tale of Tsar Nikita (1822) and the anticlerical Tale of the priest and his worker Balda (1831), the plot of which was recorded by the author along with others he heard fairy tales. Pushkin's fairy tales reflected an acquaintance with a variety of texts, from folk tales from the collection of the Brothers Grimm to high literature, motives and whole storylines from which they learned - the short story of the American prose writer Washington Irving (1783-1859) suggested some plot moves in the Tale of the Golden Cockerel (1834). The author's acquaintance with Russian folklore undoubtedly influenced Pushkin's tales - the plot of the Tale of the Dead Princess and the Seven Heroes (1833) was popular among the peasantry, just as the theme of the Tale of Tsar Saltan (1831), in the latter, the influence of popular literature is also noticeable ...

One of the best Russian author's fairy tales Black Chicken, or Underground inhabitants. Magic tale for children (1829) written by Anthony Pogorelsky (real name and surname - Alexey Alekseevich Perovsky, 1787-1836). The title of the tale and some of the motives reflected the author's acquaintance with esoteric literature (on the basis of this, the second plan of the tale is built, of course, not intended for a children's audience).

Vladimir Ivanovich Dal, with his variations on themes of Russian folk tale, Peter Pavlovich Ershov (1815-1869), author of the poetic tale The Little Humpbacked Horse (1834), Mikhail Evgrafovich Saltykov-Shchedrin (1862-1889), creator of numerous satirical tales.

A special place is occupied by the work of N.P. Wagner (1829-1907). The Tales of the Cat Purring (first edition - 1872), a collection of various fairy tales, some of which were written under the clear influence of G.Kh. Andersen, includes fairy tales that are completely independent. They were so popular that the book went through nine editions from 1872 to 1913.

The fact that the Soviet author's fairy tale took place as a genre is a great merit of Korney Ivanovich Chukovsky (real name and surname - Nikolai Vasilyevich Korneichukov, 1882-1969). Having begun to compose poetic fairy tales even before the revolution - the first experience of this kind - the tale Crocodile (1916), improvised for his son. He created a number of fairy tales that have become classics - Moidodyr (1923), Cockroach (1923), Mukha-Tsokotukha (1924), Barmaley (1925), Aibolit (1929). Chukovsky defended the fairy tale's right to exist in the years when a purposeful struggle was waged against it: the fairy tale was considered unnecessary, and even harmful reading, developing empty daydreaming in children.

An interesting experience of creating an author's fairy tale in the mainstream of the folk oral tradition was done by Boris Viktorovich Shergin (1896-1973), who perfectly knew northern folklore, who wrote down fairy tales from school times and published several books of original fairy tales (the first - Near the Arkhangelsk city, near the ship shelter, 1924), and Stepan Grigorievich Pisakhov (1879-1960), the creator of the Northern Munchausen cycle, told from the perspective of a Pomor peasant, whose first book Don't Like - Don't Listen (1924) was published simultaneously with Shergin's book.

A milestone in the development of the author's fairy tale was the book by Yuri Karlovich Olesha (1899-1960) Three Fat Men (1924, published in 1928), his only experience in children's literature. The author was influenced by various sources, from the prose of Western European writers to the play by S.M. Eisenstein To every sage, quite simplicity, nevertheless, the tale is absolutely original and represents, probably, the first, and an unusually successful experience of a revolutionary fairy tale (the heroes overthrow the yoke of the Three Fat Men and free the people languishing under the yoke of rulers, evil idlers and parasites).

The work of Evgeny Lvovich Schwartz (1896-1958) demonstrates the "mechanism" of creating an author's fairy tale. If in his first plays, such as Underwood (1929), fairy-tale motifs occupy a modest place, then later the fairy tale grows to the volume of the entire work, while borrowed from G.H. Andersen plots - The Naked King (1934), The Snow Queen(1939), Shadow (1940) - transformed by Schwartz's fantasy, become completely independent. Later plays, such as The Dragon (1944) and The Ordinary Miracle (1954), demonstrate an excellent knowledge of Western European fairy tales, but are an integral part of the playwright's artistic world.

The book by Alexei Nikolaevich Tolstoy (1883-1945) The Golden Key, or The Adventures of Buratino (1936) was a success. He first turned to this topic in 1924, when he published his retelling of Carlo Collodi's book about the adventures of Pinocchio. However, the book, which tells about the adventures of the wooden boy Pinocchio, is far from the original Italian source, it is original in its plot, and its hero is more charming than the hero of an Italian fairy tale. This book, in a certain sense, is a pamphlet reflecting the culture of the "Silver Age" perfectly familiar to the author. A hint that there are several plans here is given in the author's designation of the genre " new romance for children and adults ", but in the printed text the genre is not put down. AN Tolstoy also approached the retelling of folk tales in his own way. counting the rest of the options For various reasons, only the first volume saw the light (1941).

Lazar Ilyich Lagin (real name - Ginzburg, 1903-1979), creating the story Old Man Hottabych (1938), was also guided by a foreign model. However, F. Ansti's book The Copper Jug was just a source of the plot, the author builds a different story, in his opinion, a fairy tale magic in a socialist country that has achieved considerable success and, most importantly, has developed new type person, not entirely appropriate, it is not for nothing that the genie Ghassan Abdurrahman ibn Hottab in the end himself tries to participate in the construction of a socialist society.

Alexander Melent'evich Volkov (1891-1977) also began with a retelling of someone else's book. The novel The Wizard of the Emerald City (first edition - 1939) is directly related to the book American writer L.F. Bauma (1856-1919) Sage of Oz (first edition - 1900). Oorfene Deuce and his wooden soldiers, the Seven Underground Kings, the Fire God of the Marrans, the Yellow Mist and the Secret of the Abandoned Castle, who came out later are original compositions.

In the works of Tamara Grigorievna Gabbe (1903-1960), there are also "variations on a theme" and original works. Processing and retelling of fairy tales written by Western European prose writers, on the one hand, became literary school, on the other hand, a source of plots and details used by the playwright in his own works, therefore the plays The City of Masters, or the Tale of the Two Hunchbacks (1943) and Tin Rings (another name is The Magic Rings of Almanzor, 1960) make up a complex whole characterized by recognizable motives rearranged and incorporated into the original work.

A transitional genre between the literary and the author's fairy tale is presented in the collections Finist - Yasny Sokol (1947) and The Magic Ring (1949), collected by Andrei Platonovich Platonov (1899-1951). Russian folk tales have been so transformed that it is hardly true to call it "processing".

By the 50s, the genre designation "story-tale" or " fairy tale", in fact, it is not quite an exact substitution of the concept of" author's tale ".

The books of Vitaly Georgievich Gubarev (1912-1981) Kingdom of Crooked Mirrors (1951), V The far-away kingdom(1956), Three on the Island (1959). In the first of them, an unsuccessful attempt was made to create a "revolutionary fairy tale". The book's true popularity was brought by the film of the same name directed by A.A. Rowe, released in 1963.

On the example of the trilogy of Nikolai Nikolaevich Nosov (1908-1976) The Adventures of Dunno and His Friends (separate edition - 1954), Dunno in the Solar City (separate edition - 1958) and Dunno on the Moon (separate edition - 1971), it is easy to see that the genre of the author's fairy tale can accommodate any structural formation, from utopia to pamphlet.

Valery Vladimirovich Medvedev (born 1923) in the story Barankin, Be a Human! (1962) is close to the science fiction genre.

It is necessary to highlight the Leningrad school of the author's fairy tale. Leading place it was occupied by Radiy Petrovich Pogodin (1925-1993), the author of books designed for different age audiences. If the story A Step from the Roof (1968) is addressed to teenagers, then the Book about Grishka. The story about the axle and the nut that is inside (1974) and About the foal Misha and the little mouse Terenty (1978) were written for younger students.

An interesting tendency - the movement from the author's own fairy tale to a rather literary fairy tale - is demonstrated by the stories of Eduard Nikolaevich Uspensky (born 1937). In the book Gena the Crocodile and His Friends (1966), he creates an unusual system of characters, making the creature invented by him the main character, the book Down the Magic River (1979) is built on a game with clichés and stereotypes of a folk tale, where the way of processing (in this case , reduction) of the initial material, which passes folklore work, acquiring the features of an author's fairy tale.

Fairy tale in literature and art. A fairy tale, both folk and author's, is actively used in other forms of art. At the same time, a fairy tale is used both as a genre and as a source material (not necessarily processed according to fairy canons).

Entered the treasury visual arts illustrations to the tales of C. Perrot by the French artist G. Doraet. Fairy-tale motifs and plots were used by Russian artists V.M. Vasnetsov, I. Ya. Bilibin, G.I. Narbut.

Many pieces of music have been written on fairy tales, in particular on the stories of C. Perrault's fairy tales: based on the fairy tale Cinderella (opera by G. Rossini, ballet by S. Prokofiev), after the fairy tale Bluebeard (opera by B. Bartok The Castle of the Duke of Bluebeard).

Soviet cinematic fairy tales, directed by A. Rowe and A. Ptushko, have won worldwide recognition. Excellent films were made by director N. Kosheverova (including Cinderella based on Perrault's tale, Two friends based on a script by E. Schwartz, completed after his death by playwright N. Erdman, Shadow based on a play by E. Schwartz). Known movie tales of B. Rytsarev, ironic variations on the fairy-tale themes of the film director M. Zakharov.

Even the "cherished" fairy tale was reflected in the cinema: one of the central episodes of S. Eisenstein's film Alexander Nevsky (1938) is a retelling of the "off-print fairy tale" about the hare and the fox.

Literature

• 1. Pomerantseva E.V. The fate of the Russian fairy tale. M., 1965
• 2. Permyakov G.L. From sayings to fairy tales (Notes on general theory of clichés). M., 1970
• 3. Roshianu N. Traditional formulas of the tale. M., 1974
• 4. Novikov N.V. Images of the East Slavic fairy tale. L., 1974
• 5. Kotlyar E.S. Myth and fairy tale of Africa. M., 1975
• 6. Braude L.Yu. Scandinavian literary tale... M., 1979
• 7. Kazak E.V. Genre originality of Charles Perrot's tales. Dnepropetrovsk, 1984
• 8. Kruk I.I. East Slavic animal tales. Minsk, 1989
• 9. Zueva T.V. Fairy tale. M., 1993
• 10. Korepova K.E. Russian popular fairy tale. Nizhny Novgorod, 1999
• 11. Friedel Lenz. Figurative language of folk tales. M., 2000

Methodical development of a literature lesson on the topic "Fairy tale as a kind of folk prose"

Shishaeva Ekaterina Nikolaevna,

teacher of Russian language and literature, methodologist

KGBOU "Altai Regional Pedagogical

boarding school "

Grade: Grade 5, Russian

Section: Oral folk art

Topic: "Fairy tale as a kind of folk prose.

Planned lesson results:

Educational :

to study and consolidate the knowledge of students about Russian folk tales;

to familiarize students with the terms: "fairy tale", "collector of fairy tales";

to acquaint with the types of folk tales;

Developing :

develop the ability to analyze, compare, generalize,

developing oral skills monologue speech, ability to work with text.

Improve students' work with different sources of information

Development logical thinking

Educational :

to cultivate a love for the artistic word;

to form the ability to determine the artistic significance of a word;

development of skills to use scientific methods knowledge.

Lesson type: lesson of "discovery" of new knowledge.

Forms of work: group, individual.

Equipment: computer, interactive board, presentation.

Technological lesson map

Additional material: Teacher's word, heuristic conversation

Let's now fast forward one hundred or one hundred and fifty years ago, or maybe more, and imagine a storyteller or a storyteller. Fairy tales were loved not only by children, but also by adults. Imagine, for example, a winter hut in the taiga, and there are several hunters in the hut. They hunt furs. In the mornings, they disperse through the forest to set and check traps, and in the evening they gather in the hut. And in the hut, an old man is waiting for them, whom young and strong men took with them to the taiga for a reason, but for the sake of his wonderful fairy tales. He remains in the hut on the farm, and in the evening tells fairy tales to tired workers. When such fishermen returned home, to their hometown or village, they sold furs and divided the money, and the old storytellers were given an equal share with everyone: such was the respect for people who knew the secret of the word.

The storytellers knew from memory a lot of epics, called old men, historical songs, nursery rhymes, jokes, various fairy tales - both magical, and everyday, and fairy tales about animals. When researchers began to write them down, it turned out that one person remembers by heart a whole volume equal in number of lines to Homer's Iliad and Odyssey combined.

For different days, for different occasions, the storytellers saved up special fairy tales. For example, the fishermen quarreled among themselves. A quarrel at the winter quarters is a very dangerous business. People are cut off from the world, like in a spaceship, without connection to the Earth. We urgently need to reconcile the disputants, to defuse the situation. You can't do without a storyteller here.

What kind of tales do you think the storyteller will speak in the event of a quarrel? Why?

On reflection, the children will come to the conclusion: everyday fairy tales, that is, those in which a greedy, stingy, stupid and vindictive person always gets into trouble.

The fishermen will laugh, you see, and the evil is gone as it was.

What intonation do you think the storyteller will choose?

You can offer a choice of definitions: sly, ironic, wise, reconciling, calming.

Imagine that one of the hunters returned annoyed: the beast deftly deceived him, pulled the bait from the trap, and left himself. Seasoned hunters will begin to recall the incidents that happened to them in the field. And our old storyteller is ready to amuse the peasants - with what fairy tale?

Children will guess: a fairy tale about animals - about a cunning fox, a simple wolf, a cowardly hare and an innocent bear.

What will be the intonation this time?

Cheerful, good-natured, sly, intonation of surprise, mocking, calm.

Now let's imagine a winter quarters again. A dense forest covered with snow. In the forest there is a hut, in the hut there is a stove-heater, which is heated in black, in the middle there is a table, along the walls there are benches, under the ceiling there are shelves. They slept on benches and on the beds, and dined at the table. The winter is long. The winterers are tired, they want to go home, to their wives, to the kids. Tired of monotonous food, tired of the same pictures, the same people. I want summer, beauty, relaxation and love. The fishermen returned in the evening, had supper, lay there, silent. I don’t want to talk to anyone, it’s sickening at heart. Which fairy tale will the narrator choose this time? With what voice will he start telling it?

Children will understand that in such cases, a fairy tale is needed, told with intonations of surprise and admiration for the wealth, beauty and wonders of the world. A fairy tale will help you forget the severity of everyday worries, transfer your thoughts to wonderful worlds full of magical beauties, talking animals and scarlet flowers, to worlds where love lives and justice prevails.

Consider a small table in the textbook (p. 10), which gives examples of different types of fairy tales. We will invite the children to supplement this table (orally).

Fairy tales about animals: "Fox with a Rolling Pin", "Cat and Fox", "Fox and a Jug", "Crane and Heron".

Everyday fairy tales: "The Soldier and the Queen", "How a Pop Worker Hired a Worker", "How a Man Divided Geese", "Boiled Ax".

Fairy tales: "Finist the clear falcon", "Ivan Tsarevich and the gray wolf", "Three kingdoms", "Vasilisa the Wise".

1. In oral prose, two large sections are distinguished: fairy tales and non-fabulous prose. Their differentiation is based on different things. the attitude of the people themselves to fairy tales as fiction and "events" as truth. From the point of view of the people, fairy tales have no other purpose than to act on fantasy.

Fairy tale is a specific phenomenon that unites several genres. Russian fairy tales are usually divided into the following genres :

Animal tales;

Fairy tales;

Household (anecdotal and novelistic).

Historically, fairy tales are a rather late phenomenon. The prerequisite each nation had their creation:

ü decomposition of the primitive communal system

ü decline of the mythological worldview.

At this time, an "artistic explosion" was taking place in the minds of people: the religious and magical content of rituals and myths evolved into the poetic form of fairy tales. Nations that have not overcome primitiveness do not know fairy tales. However, from the point of view modern man the appearance of fairy tales represented an archaic type of authorship: their performers were convinced of the inviolability of the content.

The origin of fairy tale genres is different historical depth... The most ancient are fairy tales about animals, later fairy tales and anecdotal ones appeared, and even later - novelistic ones. The specific unity of all genres was manifested in the similarity of the image, in the same poetic laws that operated in any fairy tale.

The main artistic feature of fairy tales is their plot... The plot arose and developed thanks to conflict, and the conflict was engendered by life, by that reality that did not fully correspond to the popular ideal. The fairy tale is always based on antithesis between dream and reality. The fairy-tale plot offers its complete, albeit utopian, resolution. Dream triumphs in the world of fairy tales.

The principle of antithesis has found universal application in fairy tales. Their characters are contrastingly distributed along the poles of good and evil, the aesthetic expression of which is the beautiful and the ugly.

In oral existence, fairy tales were subject to contractions and growths, processes of assimilation with other works and genres, and finally, they could simply be forgotten ... Therefore, fairy tales had to have not only a harmonious plot, but also an extremely clear composition. The vitality of fairy tales was facilitated by their greatest artistic simplicity.

Fabulous plots have the usual epic development:

But this is their generic, not species characteristic. The plot building of fairy tales has its own specific features.

Each fairytale genre has its own characteristic motives... The meeting determines the structure of many fairy tales about animals, buffoonery deception is typical of anecdotal fairy tales, the search for a wonderful bride is typical of magic ones.

The more complex the plot, the more motives it includes. The motives are arranged in a certain order, they are subordinated to the general idea of ​​the plot. A fairy tale usually has a chief, central motive, which most vividly characterizes the given plot and therefore develops in the most detail.

A fairy tale always has a special relationship to reality: fabulous space and fabulous time are not inscribed in real geography and history, the narrative turns out to be, as it were out of reality, which allows the maximum manifestation of poetic fiction. At the same time, fairy tales retain their lifelike verisimilitude, carry in themselves "spontaneous realism", and are filled with truthful everyday details. Truth and fiction, two opposite principles, are dialectically united in fairy tales into one whole.

2. Heroes fairy tales, like other folklore genres, are distinguished by a broad generalization: these are not characters, but types, carriers of some main quality defining the image. They are internally static, which can be emphasized by a repeated nickname, a portrait, a picture of a dwelling, etc. However, the internal immutability of images is combined with a deeply inherent external dynamism... Fairy-tale characters are revealed primarily in action, and this is - main reception their images. They are wholly and completely dependent on their plot role. Simultaneously, the actions of the fairytale characters create the content and composition of the fairy tale. Merged into one artistic idea, they form a single narrative - a plot. Fairy tales make the most of time as an artistic factor, deeply expressing the essence of the epic poetic genus to which they belong.