What fabulous items. Wonderful fairy tale objects

Introduction

Chapter 1. The world of real things in the structure of a fairy tale.

1.1.Items used for their intended purpose.

1.2.Objective realities that have supernatural properties in the structure of a fairy tale

Chapter 2 Magic objects in the structure of a fairy tale.

2.1. Magic objects are the hero’s assistants.

Chapter 3 Subject realities in fairy-tale formulas.

3.1.Framing formulas.

3.2. Middle formulas.

Conclusion

Bibliography

INTRODUCTION

A fairy tale is one of the oldest genres of folk art, a treasury of human wisdom and imagination, a source of knowledge of the aesthetic thinking of our ancestors. It reflected various historical periods of the life of the people, constituting various layers of development of material and spiritual culture.

The fairy tale has always been relevant, since within the boundaries of its ideological and artistic features it reflected historical development, ethnography, life, and customs of the people with the introduction of many details that were often lost in other genres of folklore.

Today there is a huge amount of research devoted to the fairy tale. These are the works of Propp V. Ya., Meletinsky V. N., Vedernikova N. M., Pomerantseva E. V. and others. They touch on a variety of issues of the fairy tale epic.

Subject of research is the objective world of a fairy tale, i.e. realities of the surrounding reality and wonderful objects in the texts of fairy tales wonderful and real objects

Object of study - fairy tale.

Goal of the work- to identify in the structure of a fairy tale the objective realities used for their intended purpose and the world of things that have miraculous properties.

Degree of development of the problem

In general, in literary studies, the category of the subject has been little studied and not fully theoretically comprehended. We find separate remarks about the essence of the artistic world of things, about the subject area in the work of this or that writer in the works of V. N. Toropov, V. E. Khalizev, A. F. Losev, E. S. Dobin, G. A. Gukovsky and etc.

The most detailed and theoretically complete concept of the “material world” is revealed in the works of A. P. Chudakov “On the methods of creating an artistic object in the Russian classical literary tradition”, “The object world of literature (On the problems of historical poetics)”, “The thing in reality and literature” . In his works, A.P. Chudakov analyzes the forms and methods of organizing the objective world in a work of literature, examines the main components of this world, possible figurative manifestations, and features of the relationship between the world of real things and artistic ones. So A.P. Chudakov gives the following definition of the concept of “artistic object”:

Artistic objects are those conceivable realities that make up the depicted world of a literary work and which are located in artistic space and exist in artistic time. 1

The problem of interpreting the “material” world as the most important component of folk art is also relevant in modern folkloristics. Researchers working in line with this issue (L. S. Vinogradova, S. E. Nikitina, S. M. Tolstaya, N. I. Tolstoy, V. N. Toropov, etc.) note that the “thing” in the traditional system perception has a cultural and symbolic load, and consider how the material attributes of the external world are subject to the process of symbolization in the folklore text and how folklore modeling is carried out through the functioning of units with “thing” semantics.

The problem of an artistic subject in folklore is presented as one of the most important in the poetics of folklore. Meanwhile, if a huge literature is devoted to the study of other aspects of the poetics of folklore, the problem is __________________

1. Chudakov A.P. Artistic and real objects and the task of their dissimilarity // Chudakov A.P. Historical poetics. Results and prospects of the study. – M., 1986. – P.252

the objective world is clearly insufficiently studied; There are almost no special works devoted to it.

This is what determines relevance problems of this research.

The question of the action of objects and their relationship with the heroes of a fairy tale is one of the most promising today. The study of magical objects and the world of things allows us to identify new possibilities for understanding a fairy tale and reveals its content.

To achieve this goal, it is necessary to solve the following tasks:

1. Analyze and systematize the available theoretical and methodological literature on this scientific problem.

2. Study and characterize magical objects, including magical objects of a witchcraft nature in the structure of a fairy tale.

3. Identify in the structure of a fairy tale the objective realities used for their intended purpose and the world of things that have miraculous properties.

4. Explore the formulas of a fairy tale and consider the objects used in the framing and middle formulas.

Scientific novelty of the research determined by the fact that this is the first special study of the objective world of fairy tales.

Theoretical significance of the work is that its results can be used for further research into the objective world of a fairy tale. Practical significance of the study is determined by the possibility of using its results when conducting classes on folklore in higher education. The work materials can also be used in the educational process in educational institutions.

As the main research material fairy tales from the collection of A.N. Afanasyev and the collection “Folk Tales of the Lower Volga” edited by L.L. Ivashneva. Theoretical and methodological basis The thesis was based on the works of leading domestic and foreign experts in the field of structural folklore, such as V.P. Anikina, A.N. Afanasyev, N.M. Vedernikova, V.E. Dobrovolskoy, L.L. Ivashneva, V.Ya. Proppa, E.V. Pomerantseva and others.

Main provisions submitted for defense:

2. The realities of the outside world have a special status in the folklore world order. As a result of aesthetic rethinking, the realities of the external world within the framework of a folklore text acquire a certain symbolic content.

The origin of a fairy tale is associated with mythological motifs associated with initiation rituals, but the appearance in a fairy tale of objects endowed with magical properties is historically associated with primitive beliefs, namely, with fetishism.

In fairy tales there are two types of objects: miraculous and real.

Miraculous objects endowed with magical powers are usually obtained in a certain way: either obtained in case of completing a certain task/request, or in case of victory over an enemy and are associated with the other world (the world of the dead), for example, living and dead water).

Structure of the thesis includes an introduction, three chapters, a conclusion, a list of references and an appendix.

In administered the relevance of the thesis topic is substantiated,

novelty, theoretical and practical significance, goals and objectives are formulated, the object and subject of scientific research are determined, the material and methods of its study are described, and the main provisions put forward for defense are stated.

IN first chapter“The world of real things in the structure of a fairy tale” examines the peculiarities of perception of the realities of the outside world in traditional folk culture. The same chapter reveals the place and role of things used for their intended purpose, and objective realities that have supernatural properties in the structure of a fairy tale.

In second chapter“Magic objects in the structure of a fairy tale” examines objects that have magical powers, used by the hero during tests and during a magical escape - chase.

Chapter Three“Object Realities in Fairytale Formulas” is devoted to the consideration of everyday and miraculous objects used in framing and medial formulas.

IN conclusion The results of the work done are summed up and prospects for further study are outlined.

Bibliography includes literature used in the process of writing the work.

Chapter 1. The world of real things in the structure of a fairy tale

1.1. Things literally

The pagan beliefs and rituals of the ancient Slavs, primarily the agricultural cults of the earth, water, and sun, had a huge influence on the depiction of the other world to which the main character travels, and the poetics of the fairy tale in general. Hence the heroes’ belief in the magic of “golden” objects of the fairy-tale world (their color indicates a connection with the sun) and “living” water, their custom of “hitting the damp earth” in order to use its magical powers and be reincarnated 1 .

Frequent mentions in fairy tales of various tools (axe, plow, plow, yoke, spindle, spinning wheel, weaving mill) are due to the fact that the ancient Slavs deified everything that came into contact with the human body. In everyday life, such items of household utensils and clothing were decorated with magical ornaments, in fairy tales they turned into wonderful objects: “self-chopping ax”, “self-assembled tablecloth”, “golden spindle”, magic “millstones” (grain grinders), a gilded club worth fifty pounds , a wonderful club (hunting club), etc.

The connection with reality does not contradict the position of fiction as one of the leading features of a fairy tale. This was correctly pointed out by folklore researcher A.M. Ganieva, who noted that fantasy in fairy tales is built, as a rule, on a very specific basis connected with reality. Every fairy tale, no matter how fantastic it is filled, no matter what magical heroes it narrates, paints pictures of human work and life, shows

1. Russian folklore: Reader for higher educational institutions / Comp. T. V. Zueva, B. P. Kirdan M.: Flint: Science, 2002. –P. 147

relationships between people and expresses the people's worldview.

The idea of ​​immortality and unity of living beings, characteristic of mythological consciousness, determined the appearance of the poetic device of werewolf in fairy tales. With its help, the narrator describes the pursuit of the main character by the enemy and the miraculous salvation from the latter. So, for example, in the fairy tale “About Gordey, the Gray Hedgehog,” the main character Gordey kills a raven out of whim, criminally. The old woman throws the bird at Gordey’s feet and asks extremely precise rhetorical questions: “Why did you kill my bird? Are you missing some game in the forests? Will you eat? 1

The main character of the fairy tale rudely reprimands the old woman and pushes her off the path so that he can go on his own. As punishment, Gordey is turned into a hedgehog with a spell: to be a forest hedgehog until he does good to three human souls. A similar transformation occurs by Ivanushka in the fairy tale “Morozko”, when the forest sorcerer punished him for his pride by turning him into a bear.

The border between different spheres of existence of a character from a particular Cuckoo Forest turns into a mythologically marked space: “That place has become sworn.” “If they remembered the disappeared Gordey in the village, it was with caution, like an evil spirit.” The mythology of werewolfism here has a traditional basis (the fairy tale uses a verbal spell, and blood from the raven’s wing, and even a detailed explanation of the reasons for the punishment). However, against its background, the differences between the motive of transformation and the established scheme are clearly visible. 2 .

The werewolf motif is universal for fairy tales and myths, widespread _________________

in different genres of Russian folklore. Like the archetype of the world tree, it is linked to different genres of Russian folklore. Like the archetype of the world tree, it is associated with the movement of heroes into otherworldly worlds, with overcoming boundaries between semiotically different spaces. Analysis of specific works shows. Mythologems and archetypes, like symbols, are united and multifaceted even within the same genre. The real, fantastic and symbolic manifest themselves in a unique way and relate to each other not only at the beginning of the storyline, but also at the stages of development of the action and at the culmination of the fairy tale “About Gordey, the Gray Hedgehog”.

In this work there is neither a positive hero in the traditional absolute essence of a fairy tale, nor a personified antagonist. The mythology of werewolfism, the hero’s path in the mythologized space of road encounters and tests of kindness, compassion, readiness to engage in mortal combat with a very real snake, etc. have important symbolic content. The greatest evil resides in the hero himself, and as a result of a difficult and long journey in a fairy-tale and at the same time real space. Proud heals himself by defeating his callousness, pride and alienation from people.

The elimination of misfortune, the elimination of the vices and sinfulness of the previous life occurs without the miraculous intervention of magical objects and assistants, but with the help of various people met by the hero on his path. Gordey makes his way to himself, to his better half, to his true essence and at the same time to his family happiness, to marriage to the girl healed with his help. The spiritual and symbolic level of the mythologem of the path of testing constitutes the main content of this edifying tale.

Each male fairy-tale character has its own type of heroine. "The “low” hero-baker corresponds to the type of a meek girl-stepdaughter, a servant and a scruffy girl (for example, the heroine of the fairy tale “Morozko”). The younger sister in Russian fairy tales is an eternal and faithful lover who trampled three pairs of iron shoes, three cast iron staffs she broke and gnawed three stone prosviras to find her groom (“Feather of Finist the Clear Falcon”).”

In the fairy tale “Baba Yaga,” the witch orders the girl to spin “yarn from the box, heat the stove, store everything.” This is a test of economic abilities, so important in the life of peasants. But that's not the point. The work is too much for her. She's crying. But then the mice appear, she feeds them, the mice help her. A version of this fairy tale says: the girl, before going to the yaga, goes to her aunt, and she teaches her: “There, niece, a birch tree will whip you in the eyes - you tie it with a ribbon; there the gates will creak and slam for you - you pour oil under their heels; there the dogs will tear you apart - you throw them some bread; there the cat will scratch your eyes - give him some ham.” The girl does all this and acquires assistants who help her pass the test. There is an advisor here.

2.2. Acquisition of supernatural properties by real objects in the structure of a fairy tale

The number of objects in a fairy tale is so large that a descriptive examination of them will not lead to any results. There seems to be no such object that could not appear as a magical object. There are various items of clothing (hat, shirt, boots, belt) and jewelry (ring, hairpins), tools and weapons (sword, club, stick, bow, gun, whip, stick, cane), all kinds of bags, sacks, wallets, vessels (barrels), animal body parts (hair, feathers, teeth, head, heart, eggs), musical instruments (whistles, horns, harp, violin), various household items (flint, flint, towels, brushes, carpets, balls, mirrors, books, maps), drinks (water, potion), fruits and berries. No matter how much we classify and list them, this list does not provide the key to understanding them.

It will not be better if we approach objects from the perspective of their functions. The same functions are attributed to different objects and vice versa. Thus, the fellows who carry out the hero’s orders can appear from a horn (Af. 186), from a bag (187), from a barrel (197), from a box (189), from under a cane if it is hit on the ground (193), from a magic book (212), from a ring (156, 190, 191). We will study these functions specifically. Thus, the function of transferring the hero to the thirtieth kingdom will be the subject of a special chapter.

Therefore, we will classify objects differently: we will consider them not according to groups of objects as such, and not according to functions, but according to the commonality of their origin, since the materials allow us to do this.

Magic objects are not only morphologically related to magical assistants. They are of the same origin as the latter. Thus, many magical objects represent parts of the body of an animal: skins, hairs, teeth, etc. We know that upon initiation young men received power over animals and that the outward expression of this was that they were given a part of this animal. From now on, the young man carried it with him in a bag, or he ate it, or, finally, these parts were rubbed into a person. Thus, ointments must also be included in this category: they are also of animal origin, as can be easily seen in the fairy tale.

More often, however, part of the animal is given into the hands and serves as a means of power over the animal. This happens even when purchasing an assistant individually. The Arapaho Indians go to the top of the mountain for this. “After two or three, maximum seven days, a patron spirit appears to a man, usually a small animal in human form, which, however, when running away, takes on an animal form.” The skin of such an animal is then worn. From these and similar cases we conclude that the oldest form of magical objects is parts of animals. The meaning of such a gift in the fairy tale is preserved with complete clarity: hairs from the horse’s tail give power over the horse. The same applies to birds: “And then the main bird gets up, gives him a feather from his head: “Here, keep this hair, hide it: no matter what misfortune happens, just take this hair out, change it from hand to hand, - we will tell you We will help you with everything" (3B 129). The hero receives a pike bone, at a critical moment the pike hides it in its nest or swallows it, the hero turns into it (J. Art. 265; option: he receives a crow bone, a lion's claw, fish scales, etc.). Finist Clear Falcon also gives the girl a feather from his wing: “Wave it to the right side, “in a moment everything your heart desires will appear before you” (Af. 235). The formula “everything your heart desires,” of course, is a late replacement for others , more ancient and more precise desires. These desires were centered around the animal itself, around the animal - the prey. In American myths this comes through quite clearly. "He saw a man sitting on a high bank. His legs dangled over the abyss. He had two round ratchets. He sang and beat the rattles on the ground. Then the buffaloes appeared in crowds on each side of it, fell to the shore and were killed" (Kroeber 1907, I, 75). It is known that rattles were usually made in the shape of an animal, most often a bird. Thus, here we find the phenomenon that It is not at all necessary to have a strong animal in order to have power over animals. In principle, a raven can provide a good hunt for buffalo. Many peoples have such a belief, including peoples who do not know the initiation rite. Such a belief is found among the Vogul hunters. D. K Zelenin says: “The Vogul belief says: if you have the face of a fox, sable or ermine with you, then everything will work out” (Zelenin 1929, 56).

If our observation is correct, if there is not necessarily a connection between the animal helper (subject of help) and the animal being hunted (object of help), then any animal and any object can serve as a helper. Then the discrepancy between the helper and its function, the non-attachment of the function to individual animals or objects that create the impression of fantasy is not just a technique of poetic creativity, but is also historically justified in primitive thinking. Describing the healing bags that play a role in initiation, Frazer says: “This bag is made of the skin of an animal (otter, cat, snake, bear, raccoon, wolf, owl, ermine) and has a shape vaguely reminiscent of the shape of the corresponding animal. One of these bags every member of society has; he keeps in it absurdly shaped objects that are his amulets or "charms"" (Fraser 652) These talismans and amulets, basically associated with animals, are the prototype of our "magic gifts", among which special The class is represented by all kinds of bags, purses, purses, boxes, etc. From these bags and caskets helper spirits appear. This brings us to the objects (not just of animal origin) from which spirits emerge. But before moving on to these objects, it is necessary to consider those objects for which their origin from tools can be shown.

Everything that has been said so far shows one significant feature in the thinking of primitive man. The main role in hunting is supposedly not played by weapons: not arrows, nets, snares, traps. The main thing is magical power, the ability to attract an animal. If an animal was killed, it was not because the shooter was dexterous or the arrow was good; this happened because the hunter knew a spell that brought the animal under his arrow, because he had magical power over it in the form of a bag of hairs, etc. The function of the weapon is being tested as something secondary. Engels says: “... various false ideas about nature, about the essence of man himself, about spirits, magical forces, etc., for the most part, have an economic basis only in a negative sense; the low economic development of the prehistoric period has as an addition, and sometimes as a condition and even as a cause, false ideas about nature" (Marx, Engels XXVII, 419). We have a special case of such a misconception about nature here. As tools are improved, the following phenomenon can be observed: the magical power, first attributed to the animal helper through some part of it, is now transferred to the object. A person notices his own effort to a lesser extent and the work of the tool to a greater extent. This results in the concept that a weapon works not because of the effort applied (the more perfect the weapon, the less effort), but because of its inherent magical properties. You get the idea of ​​a tool working without a person, for a person. The weapon is now deified. The deified weapon, along with magical hair, etc., is the second, later, substratum in the history of magical objects. The functions of the instrument are the reason for its deification. Very naively, but at the same time absolutely correctly, this is stated in the 16th-century Northern Russian manuscript “The Garden of Salvation,” dedicated to the conversion of Lapps to Christianity. “If sometimes he kills an animal with a stone, he reveres the stone, and if he hits something he catches with a club, he worships the club” (Kharuzin Ethnography. Lectures. St. Petersburg 1901, 137). This purely hunting faith “is still maintained during primitive agriculture: some Indians “pray to their sticks with which they dig roots” (Sternberg Primitive Religion in the Light of Ethnography. L., 1936, 268). The idea that a tool does not act due to the labor applied, and solely due to its inherent special abilities, as indicated, leads to the idea of ​​tools that operate without a person.Such tools are found in hunting myths and have come down to us in fairy tales. In the myth of the Taulipang Indians, the hero just thrusts his knife into the bush - and the knife itself begins to cut down the trees. He hits the tree with an ax - the ax itself begins to chop it. An arrow shot at random into the air strikes birds, etc. (92).

In the fairy tale, the ax itself cuts down a ship (Aph. 212) or chops wood (165), and the buckets themselves bring water. It is interesting that the ancient connection with the animal has not yet been lost here. This is done at the behest of the pike. But this connection is not necessary in a fairy tale. The club itself beats the enemies and takes them prisoner, with the help of a broom and a stick “you can defeat any force you like” (185), etc. Here the connection has already been lost.

The materials presented will bring us closer to understanding the objects with which we can summon spirits. Such objects can be either animal (horse hair), or a weapon (a club) and a number of other objects (a ring).

The above cases show how objects, things, and especially tools were once understood. Strength lives in them. But power is an abstract concept. There are no means to express the concept of force either in language or in thinking. Nevertheless, the process of abstraction still occurs, but this abstracted concept is incorporated, or, more precisely, represented as a living being. This can be seen from the hairs that call the horse. Strength is inherent in the whole animal and all its parts. In the hairs there is the same power as in the whole animal, that is, in the hair there is a horse, just as there is a bridle, just as there is a whole animal in the bones. Representation of power invisible. being is a further step towards the creation of the concept of force, that is, to the loss of the image and its replacement by the concept. This creates the concept of rings and other objects from which a spirit can be summoned. Here we see a higher level than the worship of an instrument. The force is detached from the object and re-attached to any object that does not outwardly show any signs of this force. This is the "magic item".

However, we have so far talked about such objects as if they were not the property of a fairy tale, but the property of practice. Did such objects really exist in everyday practice? Such objects really existed and were used, and we consider this phenomenon to be sufficiently well-known not to dwell on it. These are the so-called fetishes, amulets, talismans, etc. In comparative ethnography, this question is still waiting for its researcher. The forms and method of using these objects sometimes exactly coincide with the picture given by the fairy tale. Thus, here too the fairy tale contains echoes of the past.

Among the objects that can summon an assistant, a special place is occupied by flint, which mainly summons a horse. In a fairy tale, this is usually flint and wood, sometimes combined with hairs. The hairs must be set on fire to summon the horse. That flint is almost consistently (but not exclusively) associated with the horse is explained by its fiery nature.

In flint, the magical powers inherent in things manifest themselves especially clearly, especially strongly. Flint and steel apparently replaced more ancient forms of flint, when fire was produced by friction. Therefore, flint in general is a magical object that serves to summon spirits, and not just a horse. So, in a Belarusian fairy tale, the hero in a forest hut finds a tobacco pouch, in which there is no tobacco, but there is a flint and a flint. “Let me try to squeal! This would be good for a traveler. He smacked his mouse on the flint and 12 fellows jumped out. “What do you want from us?”” (Dobrovolsky 557) In a German fairy tale (Grimm, 116) you need to light a pipe to summon a spirit . This explains to us Aladdin’s lamp, and it may also be that the magic ring sometimes needs to be rubbed for a helping spirit to appear.

The stick, twig or cane goes back to completely different ideas. The objects discussed so far come either from animals or from tools. The wand was created as a result of human communication with the earth and plants. The fairy tale did not preserve only one circumstance: a twig is cut from a living tree, and then it can turn out to be magical, transferring the wonderful properties of fertility, abundance and life to the one with whom it comes into contact. According to Manngardt, people, animals, plants at different times of the year hit or lash with a green branch (resp. stick) in order to become healthy and strong (Manngardt). They cite a lot of such cases, and they clearly show that here the vital force of the plant is transferred to the one struck. The same is attributed to roots and herbs. In the fairy tale “Fake Illness” (Aph. 207), the murdered prince is revived by a root, a gift from an old man. “They took the root, found the grave of Ivan Tsarevich, dug it up, took it out, wiped it with that root and turned over it three times - Ivan Tsarevich stood up.” The power of the root is transferred to the person. In another fairy tale, a snake revives another by attaching a green leaf to it (206, var.) (more on this in the chapter on the snake). From here it is clear why the “little whip” revives the dead (Onch. 3).

So, the consideration of some objects again leads us to the area to which the consideration of many other elements leads: to the kingdom of the dead.

The consideration of another object that stands on the border of magical assistants and magical objects, namely dolls, leads to this same area.

Such a doll appears in the fairy tale “Vasilisa the Beautiful” (Aph. 104). Here the mother dies: “Dying, the merchant’s wife called her daughter to her, took out a doll from under the blanket, gave it to her and said: “I am dying and, together with my parent’s blessing, I am leaving you this doll; always keep it with you and don’t show it to anyone, and when some misfortune befalls you, give it something to eat and ask her for advice.” Azadovsky, Andreev and Sokolov, who published the Afanasyevsky collection, are inclined to consider this motif not folklore, since it has no analogies in folklore. But, firstly, these analogies exist: in the fairy tale “Gryaznavka” (See 214) there are dolls, which are addressed with the same formula as in Afanasyev: “You, dolls, eat, listen to my grief.” In a northern fairy tale: “I have four dolls in my chest, whatever you need, they will help you,” says the mother before her daughter’s death (Northern 70). Along the way, we draw attention to the fact that this doll needs to be fed. Secondly, dolls figure widely in the beliefs of a wide variety of peoples, and the analogy with a fairy tale is quite accurate.

To better understand this motive, let us give another incident from a fairy tale. In the fairy tale “Prince Danila-Spoken” (Aph. 114), the pursued girl gradually sinks into the earth (i.e., goes into the underworld) and leaves in her place four dolls, who respond to the pursuer for her with her voice. In this case, the pupa serves as a substitute for the one who has gone underground.

This is exactly the role that the doll played in the beliefs of many peoples. “It is known that the Ostyaks, Golds, Gilyaks, Orochi, Chinese, and in Europe the Mari, Chuvash and many other peoples made a “wooden blockhead” or a doll in memory of a deceased family member, which was considered a container for the soul of the deceased. This image was fed to everyone by what they ate themselves, and generally looked after him as if he were alive" (Zelenin 1936, 137). This faith is by no means a specific feature of Siberia or Europe. In Africa, among Eime, when a wife dies and the husband remarries, he keeps a doll in his hut, “which represents this wife in the other world. She is given all sorts of honors so that the wife in the next world does not be jealous of the wife in this world.” In the former Netherlands New Guinea, after death, a figure is carved with which to prophesy. Frazer describes in detail how the soul of a patient is lured into a doll (Fraser D. Golden Branch. - M.: REFL - book. 1998 p. 53-54). By containing the soul of the patient, the doll could contain or represent the soul of the deceased in general. Relatives make a small doll which they take care of; a dead person is incarnated in this doll. The doll is fed at the table, put to bed, etc. (Kharuzin 1905, 234).

In Egypt, this idea was reflected in the funeral cult. Yu. P. Frantsov noted this phenomenon in his work on ancient Egyptian tales about high priests. “In ancient Egyptian magic, the use of figurines for magical purposes was widely known. With the nuance with which the use of figurines in our fairy tale is conveyed as an assistant figure, the idea became widespread in the funeral cult in the form of “ushebti” or “shauabti” assistant figures. "(Frantsov 1935, 171-172). And although the figures in question have an animal appearance, the connection here is still undeniable, since the human ancestor replaced the animal ancestor. As Wiedemann points out, the Ushabti figurines had the appearance of figurines. They were placed in the grave of the deceased, they were called “answers” ​​and were supposed to help” in the afterlife (Wiedemann 26).

All these materials show what ideas and customs this doll goes back to. She represents the deceased, she needs to be fed, and then the deceased, incarnated in this doll, will provide assistance.

The materials presented here show that real everyday objects endowed with magical properties have different origins in their content.

The main groups are outlined: these are objects of animal origin, plant origin, objects based on tools, objects of diverse composition, which are attributed either independent or personified forces, and, finally, objects associated with the cult of the dead.

This is just a preliminary outline. With a more detailed analysis, new groups may be found; items not considered here can be classified into the groups outlined here.

This is the picture of objects from the perspective of their composition. As a historical category as a whole, they are traced back to the same roots to which the assistant is traced, constituting only a variety of it.

Chapter 2 Magic objects in the structure of a fairy tale.

2.1. Magic objects are the hero's assistants.

According to E.M. Meletinsky, the origin of a fairy tale from myths is beyond doubt; as for a fairy tale, its origin is associated with mythological motifs associated with initiation rituals. As V. Ya. Propp notes, “a fairy tale owes a number of important symbols, motifs, plots and partly its general structure to initiation rituals.” In addition to ritual sources, the genre form of the fairy tale and the originality of fairy-tale fiction were influenced by primitive fetishistic, totemic, and magical ideas. E. M. Meletinsky identifies the following steps in the transformation of myth into a fairy tale:

desacralization;

weakening of strict belief in the truth of mythical events;

development of conscious invention;

loss of ethnographic specificity;

replacement of mythological heroes with ordinary people, mythological time with fabulously indefinite ones;

weakening or loss of etiology;

shifting attention from collective destinies to

individual, from cosmic events to social ones.

The appearance in fairy tales of objects endowed with magical properties is historically associated with primitive beliefs, namely, with fetishism.

Fetishism - religious worship of material objects - fetishes, to which supernatural properties are attributed. Portuguese sailors first became acquainted with the veneration of fetishes (pillars, stones, etc.) among the peoples of West Africa in the 15th century; the term “fetish” was introduced by the Dutch traveler W. Bosman at the beginning of the 18th century. Franz. the scientist C. de Brosse in his essay “On the Cult of the Fetish Gods” (1760, Russian translation “On Fetishism”, 1973) explored Fetishism in the religions of other Egyptians, Greeks, and Romans. French educators considered Fetishism as an archaic form of religion directly related to ignorance. For G. Hegel Fetishism- a form of original, direct religion - witchcraft, when a person exercises indirect power over nature with the help of a magical means - a fetish, achieving what he needs. Fetishism testifies, according to Hegel, to the transition from a direct-lusting to an indirect-labor attitude towards the world, from veneration of direct objects of nature to endowing them with spiritual meaning.
Characteristic Fetishism in ethnography is polysemantic: J. Lubbock founded Fetishism on the primitive belief in the ability to force a deity to fulfill a person’s desire; E. B. Tylor, G. Spencer and others believed Fetishism shape animism (fetishes are receptacles of the spirit). Fetishism- this is the identification of the social and cultural functions of an object with the natural properties of a thing, or a product of human activity, or the natural characteristics of an individual. Various shapes Fetishism are determined precisely by whether the identification of sociocultural characteristics occurs with the naturalistic existence of things, the physical-corporeal substrate of the product of human activity, or the natural characteristics of individuals.
K. Marx first analyzed Fetishism as one of the early forms of religion, the “religion of sensual desires,” which is characterized by enslavement to objects, the transformation of human ideas into the properties of the thing itself. Subsequently, as his socio-economic theory developed, K. Marx considered Fetishism as a structural element of the social consciousness of an antagonistic formation.
For K. Marx Fetishism- this is not only a general and constant element of religion, but also of a whole series of forms of consciousness that are far from religion in the proper sense of the word. In the religious world, “... the products of the human brain are represented as independent beings, endowed with their own lives, standing in certain relationships with people and with each other. The same thing happens in the world of goods with the products of human hands. This is what I call fetishism...” Endowing objects with magical properties, their sacralization, consecration are inherent not only in religious consciousness, but also in various forms of “secular” consciousness (alchemy, bourgeois political economy, especially in its vulgar form, etc.). K. Marx connects Fetishism with the fusion of the cultural and social functions of a thing with its material substrate. In this case, the object Fetishism becomes a kind of magical means designed to ensure the achievement of the desired result, that is, the product of activity becomes a “sensory-supersensible thing.” Fetishism is one of the earliest forms of ancient culture, known to almost all peoples of our planet. A fetish is otherwise a talisman or amulet that has protective, protective and supernatural properties. A fetish sometimes became a particle of a revered object, for example a stone from a worshiped mountain, a piece of a sacred tree, or an image of a revered animal (a figurine of a whale, tiger, bear, bird, snake, etc.). A fetish could even be some kind of drawing, a tattoo on the body, or any object that for some reason captured a person’s imagination.

Many fetishes in the form of amulets have survived to this day. An amulet was an object that was attributed to rum with magical properties to ward off misfortune from a person and bring good luck. The amulet-amulet was supposed to protect its owner in every possible way from troubles and troubles. The ability to ward off trouble was also attributed to talismans (from Lat. - “dedication”). But the amulet was worn openly, usually around the neck, and the talisman was hidden from prying eyes.

In case of failures and troubles, ancient people tried to turn to other forces. Unable to achieve this naturally, people begin to place their hopes on the help of supernatural forces. Under certain circumstances, any thing could seem to primitive man to have, in addition to ordinary properties, also supernatural properties.

The endowment of supernatural properties to an ordinary thing was most often associated with a simple accident. For example, when going hunting, primitive man encountered on his way some conspicuous object, for example a stone. If after this the hunt was successful, he attributed the success to the help of this stone, which from that time became a fetish for him. Subsequently, every time before a hunt, a person worshiped this stone and cajoled it. Belief in the miraculous properties of this stone was strengthened even more if, after the next worship, good luck followed again.

Echoes of fetishism persisted in all modern religions and in the everyday consciousness of religious and superstitious people. Thus, one of the constituent elements of the Christian religion is the belief in the “miraculous” power of various “sacred” objects - “miraculous” icons, relics, crosses and other objects of worship.

The cult of stone fetishes is very ancient. It is quite possible that among the ancient Slavs it arose from the veneration of stone tools needed in hunting and farming. In any case, the ancient Romans had a cult of the primitive flint weapon - the “drummer” (hence the god Jupiter also bore the name Feretrius - the drummer). “The cult of stones turned out to be very tenacious among the Slavs.” Word. John Chrysostom" (according to the Russian list of the 14th century, but written much earlier), when listing the places where Russians "come to pray" and "make sacrifices", he calls "stones". Until recently, there was a belief among Belarusians that in the hoary old days the stones spoke, felt, and grew and multiplied like people.

Fetishes could also be made by people themselves. There are Russian fairy tales in which, before her death, a mother bequeaths a wonderful doll to her daughter. The doll is the spirit of the maternal family. According to custom, the soul of the deceased must be fed, and she will protect her stepdaughter in of a foreign kind.

Myths and rituals in archaic societies are not always interconnected and interdependent, but for myths closely associated with rituals, breaking such connections becomes a step towards turning a myth into a fairy tale. The myth, no longer associated with the ritual, becomes the property of a wide range of “uninitiated listeners,” which leads to an emphasis on fictional and entertaining moments in the story. Accordingly, faith in the events being told is weakened, opening the way for invention.

As E.M. Meletinsky notes, a fairy-tale hero does not have those magical powers that, by definition, are endowed with a mythological hero; these powers are acquired by the hero as a result of the acquisition of magical objects.

Among the items endowed with magical properties, it should be noted such as

Magic objects act in a fairy tale exactly like living beings and from this point of view can be conditionally called “characters”. So, the self-cutting sword cuts the snake itself, the ball rolls and shows the way.

There is no such object that, under certain circumstances, could not play the role of magic. There are tools (clubs, axes, sticks), and various weapons (swords, guns, arrows), and vehicles (boats, strollers), and musical instruments (pipes, violins), and clothing (shirts, hats, boots, belts) ), and jewelry (rings), and household items ( flint, broom, carpet, tablecloth), etc.

This feature of a fairy tale, namely the functioning of an object as a living being, along with its other features, determines the nature of its fantastic nature.

To all that has been said, it must be added that not everyone, not every object of every kind, can be magical, but only those obtained in a certain way. The transfer of a magical remedy could occur when solving a task assigned to the hero, a request, or a fight with the antagonist hero. When there was a rite of passage, this was an object received from the elders. In a fairy tale, this is an object given by a dead father, a yaga, a grateful buried dead, animal hosts, etc. In short, an object taken “from there” is magical. “From there” - this at an earlier stage means “from the forest” in the broad sense of the word, and later - an object brought from another world, and according to fairy tales - from the thirtieth kingdom.

One of the magical items is living and dead water. Many of the Russian folk tales begin with the same beginning: “On the sea-ocean, on the island of Buyan...”. In fairy tales, water is found in various images: rivers, seas, rain, living and dead water. In fairy tales, water plays an important role: sometimes it represents a formidable element, and sometimes, on the contrary, it helps the heroes of the work. We observed the role of water in several folk and original fairy tales.

Thus, in the folk tale “Sister Alyonushka and Brother Ivanushka,” water punishes the hero: “Ivanushka did not listen and drank from a goat’s hoof. He got drunk and became a little goat.”

In another equally famous fairy tale, “Geese and Swans,” a milk river helps a girl:

“Mother River, hide me!

-Drink my milk!

Nothing to do, I drank. The river planted her under the bank, the geese flew by.”

From “The Tale of Magic Water” we learn that water can bring peace to people: “And from then on they stopped quarreling and began to live as in their youth. And all because as soon as the old man starts screaming, the old woman is ready for the magic water. That’s the strength she has!”

It was in folk tales that we first encountered living and dead water, so it is necessary to dwell at least briefly on these concepts.

“Living water (strong or heroic) in folk tales of all Indo-European peoples is a symbol of spring rain, which resurrects the earth from winter sleep. She restores life to the dead and sight to the blind. The difference between dead and living water appears only in Slavic fairy tales and is not repeated anywhere. Dead water is sometimes called healing: it heals inflicted wounds, heals the dissected parts of a dead body, but does not yet resurrect it; only sprinkling with living water returns life to it. According to Afanasyev, dead water is the first spring rain, driving away ice and snow from the fields and, as it were, pulling together the dissected parts of Mother Earth, and the rains that follow give her greenery and flowers.”

In the fairy tale “Ivan Tsarevich and the Gray Wolf,” water helps to resurrect the main character: “The gray wolf sprinkled dead water on Ivan Tsarevich’s wounds, the wounds healed; sprinkled him with living water - Tsarevich Ivan came to life.”

Not all water revives the dead. But the water brought by the bird from the thirtieth kingdom revives the dead man. From this it can be seen that there is a group of objects whose magical power is based on the fact that they were brought from the kingdom of the dead. This includes water that restores life or sight, apples that give youth, tablecloths that give eternal nutrition and abundance, etc. We are just registering this fact.

Among these items, living and dead water and its variety - strong and weak water - deserve special attention. Living and dead water are not opposite to each other. They complement each other. “He sprinkled Ivan Tsarevich with dead water - his body grew together, sprinkled him with living water - Ivan Tsarevich stood up” (Af. 168). This is the canonical formula for using this water.

Two questions arise here: first, where does this water come from? and second - why does this water double? Why can’t you just sprinkle the dead man with living water, as is, however, done in some rare cases?

To answer this question, we will look at some materials regarding the belief in the afterlife of the Greeks. The ancient ideas that the ancient Greeks associated with the belief in the afterlife were, apparently, often combined with the idea of ​​two types of water in the underground kingdom, which is clearly indicated, for example, by southern Italian tablets. Thus, the Petelian golden tablet, placed in the coffin of the deceased, tells the soul of the deceased that in the house of Hades she will see two different sources: one on the left, the other on the right. The first one has a white cypress tree growing, but this is not the source she should approach. The signs tell the soul to turn to the right, to where refreshing water flows from the pond of Mnemosyne, near which its guards stand. The soul must turn to them and say: “I am exhausted from thirst! Give me something to drink!”

Let's take a closer look at this text. He also speaks of two waters. One of them is not guarded and does not represent any benefit for the dead man; the other, on the contrary, is guarded very carefully, and before this water is given, the dead man is questioned. What kind of water is this? In the text she is not named either alive or dead. But it is a blessing for the deceased, water for the dead, or, in other words, “dead” water. It can be assumed that this water calms the deceased, that is, it gives him final death or the right to stay in the region of Hades.

But what then is the other water, standing to the left and not guarded by anyone, used for? This is not clear from this text. According to some parallels, it can be assumed that this is the “water of life”, water for the dead who do not enter Hades, but return from it.

Before entering Hades, it has no effect, so it is not guarded. This is clear from the Babylonian katabasis of the goddess Ishtar. As Jeremias says, “she is sent back after the gatekeeper forcibly injects her with the water of life” (Jeremias 32). If the assumptions made here are correct, then this explains why the hero is first sprayed with dead water, and then with living water. The dead water seems to finish him off, turning him into a complete dead man. This is a kind of funeral rite corresponding to the covering with earth. Only now he is a real dead person, and not a creature hovering between two worlds, who can return as a vampire. Only now, after sprinkling with dead water, will this living water act.

If the assumptions made here are correct, then they throw some light on "strong" and "weak" water.

There is one episode in a fairy tale during which the hero uses a number of wonderful objects. This is a story about a magical escape and chase. They appear before us in a historical perspective as built on the return from the kingdom of the dead to the kingdom of the living. A well-known variant of the magical escape is the escape, during which the rapidly fleeing hero throws a number of objects behind his back, delaying the pursuit. These magical objects are stolen by the hero from the yaga herself, or, if those escaping on horseback, they are taken from the horse’s ear (Aph. 201, var.). A sliver is taken out of the ear - a forest, a bottle - a river.

But not every thing is endowed with magical powers in a fairy tale: as a rule, everyday objects appearing in fairy-tale texts are assigned sacred semantics in the context of traditional culture.
For example, a comb is often found in fairy tales. This is a household and weaving tool for combing (hair, wool, fiber, yarn) and spinning. In a fairy tale, a comb can also appear in this familiar role, for example, in the fairy tale “Medvedko, Usynya, Gorynya and Dubynya the Heroes,” the hero uses the comb for its intended purpose: “His named brothers went hunting, and he cooked and cooked whatever his soul wanted, washed his hair, sat under the window and began combing his curls with a comb.”

But its significance in the peasant world does not end there; the comb acquires unusual functions when it enters the space of ritual. This item is directly related to hair, and hair in peasant culture is a source of strength. It is no coincidence that hair, as a special part of the human body, was believed to have a special magical function in mythological stories, for example, in the Old Testament story of Samson and Delilah. The Slavs also believed that hair requires special treatment. Hair was a subject of special attention - it could not be thrown away or burned, it had to be kept in a secluded place or buried, it was believed that otherwise the person to whom this hair belonged would have a headache. The comb and hair are considered a symbol of female nature; these are attributes of many goddesses - Venus, Aphrodite and Thetis, as well as some female evil spirits. For example, in fairy tales, mermaids comb their long hair with a comb made of fish bones.

Another function of the comb in rites and rituals is as a talisman. The carding comb was widely used by all Slavs as a talisman against evil spirits, damage, illness, and wild animals. For a newborn baby, the comb was placed in the cradle for a restful sleep. And during Christmas time, the amulet had to be taken outside to protect the house from wild animals for the whole year.
The comb is directly connected with funeral traditions. Svetlana Mikhailovna Tolstaya writes in the dictionary article “Slavic Antiquities” that the deceased’s comb was considered unclean and had to be removed and sent outside the space of life. They threw him into the river so that death would float away, or they simply threw him somewhere far from the village.
The comb appears in fairy-tale plot No. 313 I according to the comparative index of fairy-tale plots. Plot No. 313 I is “Escape (from Baba Yaga, etc.) by throwing wonderful objects (brush, comb, etc.) that turn into a forest, mountain, lake, etc. As a rule, the heroine receives it in Baba Yaga's house from a magical donor, for example, a cat, as a reward for correct behavior, for example, for feeding the animal.
In another version of the tale, the hero receives a comb from a magical donor, as, for example, in the fairy tale “The Witch and the Sun's Sister.”
Thus, the connection of the comb with the feminine principle is expressed in the fact that its giver is, in one way or another, a female being.
The comb continues to retain its apotropaic (that is, protective) function in the fairy tale. During the chase, the hero of the fairy tale throws a comb behind him, and it turns into a dense, dense forest.
“Vasilisa the Wise had three things: a brush, a comb and a towel. She waved her brush back - and it became a big dense forest: you can’t get your hands through it, and you can’t go around it in three years! Here Tsar Unbaptized Forehead gnawed and gnawed the dense forest, paved a path for himself, made his way and again went into pursuit. It’s catching up close, just grab it with your hand; Vasilisa the Wise waved her comb back - and a big, big mountain became: you can’t get past it, you can’t get past it! King Unbaptized Lob dug and dug the mountain, paved a path and again chased after them. Then Vasilisa the Wise waved her towel back - and a great, great sea became visible. The king galloped to the sea, saw that the road was blocked, and turned home” (No. 224).
Towel - water - the border of worlds. This can be seen from the fact that the pursuer never makes any attempt to bypass the zero or cross the river. It is the water as a border that stops him. On the other hand, this river very often appears to be fiery. ““Brush, turn into a river of fire!”... They had nothing to do, and they returned back” (Khud. 1). “The river of fire melts” (Aph. 175). “She waved her fly, and there became a river of fire” (3P 55). “Ivan Tsarevich waved the cleaning brush behind him - suddenly it became a lake of fire” (Af. 117).

We can only assume that the escape using miraculous objects is a consequence of the theft of an object brought from another world. The question of the reason for the flight will be reduced to the question of the reason for the abduction. The concept of theft appears late, with the beginning of private property, it is preceded by simple taking. At the earliest stages of economic development, man still produces almost nothing, but only takes from nature; he leads a predatory, consumer economy. Therefore, he does not imagine the first things, things leading to culture, as being done, but only taken by force.

To summarize, we can confidently say that there is nothing accidental in a fairy tale; not a single object appears in it just like that. The appearance of any thing in a fairy-tale text is determined not only by its everyday function, but also, what is especially important, by the sacred function of the object in the “thesaurus” of traditional spiritual culture.

Chapter 3 Subject realities in fairy-tale formulas.

3.1.Framing formulas.

In modern international fairy tale studies, there is no doubt that the nature and character of a fairy tale presuppose the presence of special traditional storytelling formulas and the originality of a fairy tale style. The problems associated with the cognitive aspects of formulas are pointed out by V.Ya. Propp when describing the artistic means of Russian fairy tales. A systematic study of the style of fairy tale narration and fairy tale formulas was carried out by the Romanian folklorist Nicolae Rosianu, who, based on the material of Romanesque (mainly Romanian), as well as Slavic and some oriental fairy tales, makes quite interesting conclusions about the status of traditional formulas in the structure of these texts.

Traditional formulas (TF) of a fairy tale are universal models provided to the storyteller by tradition; these are schemes into which the narrator puts material, modifies plots, while maintaining the form. The essence of traditional fairy tale formulas lies in their functions, directly related to the specifics of the fairy tale as a complex genre; these are not “techniques”, but indicators of a certain attitude to reality. TF tales are presented in three groups - initial, medial and final.

In most works devoted to a fairy tale, its traditional stylistic formulas are considered “petrified”

unchangeable and therefore easily reproducible verbal expressions.

The extent to which this opinion, which is included in all textbooks on folklore, is correct can only be shown by a special study of the principles of organization of various types of formulas and a comparison of formulaic options recorded in collections of the 19th-20th centuries with non-formulaic ones.

context of a fairy tale.

The beginning (initial) and end (final) formulas turned out to be the most

studied, since they are relatively easily identified in texts and are habitually associated with the concept of “fairy tale style”. In this case, the following circumstance is important: if a storyteller uses formulas in certain narrative situations (the sphere of “utterance”), he does not invent them anew each time, but selects them from a number of possibilities accumulated by tradition. All this does not exclude individual creativity, but only means the presence of traditional limitations in varying style.

It is known that the storyteller often uses traditional formulas in

saying and beginning. A saying is a kind of prelude to a fairy tale

action. Paradise rhythm, attraction to metathesis, oxymoron, metaphor

brings the saying closer to the cries of farcical grandfathers, jokes, and fables. Various materials can also serve as materials for creating sayings.

kind of everyday situations.

A saying can contain a variety of vital information,

presented, however, as false, unprecedented: “In a certain kingdom, in

in some state, out of the blue, like on a harrow, about three hundred versts

aside, exactly in the one in which we live, there lived a king. Without

fairy tales, fairy tales, that without runners there is a sled: there is no way for them to get out of the mountain on the ice,

and there is no point in carrying them along a smooth path. Listen to outlandish

speeches: Uncle Luka had beds near the stove, the bridge stood across the river,

potatoes were born in the ground, and rye ripened on ears. If you don’t like it, don’t listen, but don’t interfere with lying. The scarlet ribbon is good, as worn on a young woman, and

For an old woman, at least five, everyone will say that there are wrinkles. Here you go,

if only there lived one priest in our village...

The initial formulas of a saying (“In a certain kingdom,” etc.) are similar to the forms of the beginning (fixation of time - space, the fact of the hero’s existence, a developed element of unreliability).

Like a fairy tale, a saying is dynamic (hence the intensive use of verbs of action or dialogue).

This structure of the saying is not accidental. It reflects its communicative function; Focused on communication between the performer and the audience, it is built on the technique of “deceived expectations.” The inertia of perception of fairy-tale formulas “once upon a time,” promising a long continuation of the story, is broken by the heavenly rhythm and the final formula -

“This is not a fairy tale, but a saying.”

The text of the fairy tale following the saying must begin with the beginning. It can consist of one initial formula of one type, but the maximum number of such types for a Russian fairy tale, according to our observations, is five: formulas of time, formulas of space, formulas for the existence of heroes, formulas for the presence or absence (of someone or something) and formulas of unreliability. The variety of origins is determined by two patterns. The first is formulaic synonymy

The second is in the desire for amplification (expansion, accumulation

synonymous formations in order to increase the expressiveness of the statement) or reduction (weakening, shortening) of the included

into the formula of elements.

As a matter of fact, the same trends are revealed when analyzing

final formulas. The saying here corresponds to a funny ending: “I visited them and drank honey. They gave me a cap and off I went

pushing out of excess. They gave me a shshuka, but I didn’t open the doors. Dali

shlyk, I'll turn it around. They gave me an ice horse, yes

a saddle, a bridle, a blue caftan, and red cats.

“I’m on my way,” my little son shouts: “The blue is good!” - And I felt: “Throw it off.”

I put it under the kokora, and I don’t know which one. Sinochka

shouts again: “The cats are red!” - And I thought, “The cats are torn!” I took

Yes, I quit. I was cold without my caftan; I saw the fire, I came -

The horse melted me; but the pig ate the saddle.”

A developed element of removing authenticity characterizes precisely this type of ending. But along with them, the fairy tale also contains other formulas that signal the end of the fairy tale. Just like the initial ones,

they come in several varieties.

Endings of this kind belong to two known types of final (as well as initial) formulas. As part of the first, the narrator points to reliability fabulous events (at the end - emphasizing that he himself witnessed them). Within the framework of the second, on the contrary, he points to a deliberate unreality told (at the end - he talks about himself in a humorous context, using various “formulas of the impossible”).

Despite the cardinal difference in intention (to indicate the reliability/unreliability of the story), the endings that interest us are built according to a general model. Since they are about a certain journey, the movement of the hero-storyteller, they can be divided into options for a “successful” and “unsuccessful path”. The structure of such formulas in both versions is similar to fairy-tale and mythological models (Cf.: 12 . pp. 443-444), and it is on this feature that we would like to focus attention.

1. Inedible treat. Having arrived at the feast, the hero-narrator begins the meal: he wants to taste honey, fish soup, cabbage, etc. However, all his attempts to eat something turn out to be fruitless: the treat is inedible, or simply does not get into his mouth. The model “And I was there, I drank honey and beer, it flowed down my mustache, but it didn’t get into my mouth,” in various modifications, is widespread in Slavic fairy tales (See, for example: 3 . 3, 81, 95, 103, 109, 123, 124, 126, 128, 129, 132, 134, 135, 141, 151, 157, 160, 162, 182, 184, 197, 202, 203, 210, 251, 270, 279, 284, 293, 294, 322, 331, 344, 379, etc.) and is present in the folklore of other peoples (See, for example: 11 . P. 416). However, “honey-beer” (honey-wine, mead) is by no means the only treat that the hero does not eat; There are also people like this: “I was there, I sipped my ear together, it ran down my mustache, but it didn’t get into my mouth” ( 3 . 81), “I slurped the kutya with a large spoon, it flowed down my beard, but it didn’t get into my mouth!” ( 3 . 207), “the Beluzhins were served, but remained without dinner” ( 3 . 124). In addition, more original options are also used: “to whom they brought it with a ladle, but to me with a sieve” ( 3 . 322); “They invited me to drink honey and beer with him, but I didn’t go: the honey, they say, was bitter, and the beer was cloudy. Why such a parable? ( 3 . 151); “they gave me a pancake that had been rotting in a tub for three years” ( 26 . P. 217; compare: 31 . P. 103); “Here they treated me: they took the basin away from the bull and poured milk; then they gave me a roll of bread and I urinated in the same basin. I didn’t drink, I didn’t eat...” ( 3 . 137); “they gave me a cup with a hole, but my mouth was crooked - everything ran past, it didn’t get into my mouth” ( 27 . P. 32); “And the fish they had was shshuka, I rummaged through the dish, raised my claws, didn’t pick anything up - so I left hungry” ( 14 . P. 38), etc. Such options, despite all the variety, emphasize one idea: the food offered at the feast was disgusting, or was maladapted for eating, as a result of which the hero-narrator did not take it into his mouth.

The motive of eating food is very important in a fairy-tale context - on the border of another world, the hero needs to taste the food of the dead, despite the fact that it is antagonistic to the food of the living and is very dangerous for the latter. “...We see that, having crossed the threshold of this world, first of all we need to eat and drink,” wrote V.Ya. Propp, “By eating food intended for the dead, the alien finally joins the world of the dead. Hence the ban on touching this food for the living" ( 17 . P. 69). The hero of fairy tales himself asks the border guard for food of the dead and eats it, thereby passing into the afterlife. Then he finds his way back - often the return journey is possible thanks to acquired magical abilities in the form of magical objects or assistants (see: 17 . pp. 166-201). Something different happens to the hero-narrator: once at the feast, he cannot touch the treats. According to the logic of the fairy tale, the border in this case cannot be crossed.

2. Disappearing Gifts and the Return of the Hero. Following the story of the ill-fated meal, many endings of the “unsuccessful path” deal with the loss of objects received at the feast by the hero-narrator. An example would be the following endings: “...they gave me a blue caftan, a crow flies and shouts: “Blue caftan! Blue caftan!” I think: “Take off your caftan!” - he took it and threw it off. They gave me a cap and started pushing me on the neck. They gave me red shoes, the crow flies and shouts: “Red shoes! Red shoes!” I think: “I stole the shoes!” - took it and threw it away" ( 3 . 292), “...they gave me a caftan, I go home, and the titmouse flies and says: “The blue is good!” I thought: “Take it off and put it down!” I took it, threw it off, and put it down...” ( 3 . 430; compare: 30 . P. 405; 31 . P. 103; 22 . pp. 115, 169, 209, 228, 250, 257, 278; 14 . pp. 40-41). So, the hero-narrator receives some things, just as the hero of a fairy tale who successfully crosses a border may receive magical gifts from its guardian. However, having not eaten the food and being expelled, he loses everything he received, fails and returns with nothing.

In various modifications, these versions of the final formulas are known to storytellers of many nations (See, for example: 19 . pp. 61-70; 2 . P. 98; 33 . pp. 195-196). Such endings retain traces of fairy-tale-mythological models, mirror-transformed in relation to the path of the fairy tale hero (and related to the path of the antagonist hero).

3.2. Middle formulas.

In structural and functional terms, there are formulas that are used in the narrative to depict characters, objects, circumstances, actions, etc. These are medial formulas (from the Latin Medialis - middle) - constant elements in the middle of the narrative.

There are several types of medial formulas. Descriptive formulas of characters and objects are more common. This could be an image of appearance: “And the guy was so handsome that the princess, when she saw her, fell in love immediately,” “And everyone was dumbfounded - she was so beautiful. She walked into the house - as if the dawn had risen,” “So smart and beautiful, what can I say you can’t "," So beautiful that you can’t say it in a fairy tale or describe it with a pen "," Such a beautiful girl that you can’t even think and remember how to say it in a fairy tale "," So beautiful that there was no one above her in the world " ; items

("such a towel that he had never seen such a thing before"," or else it was not a simple pipe, but a magic one," "or else there was such an ax that when you order it, it chops itself") or elements of the environment ("and The forest there is so dense that you can’t walk through or move forward, and it’s dark, dark, “such a bridge that even the king doesn’t have one like it: the piles are silver, golden railings, and the platform is covered with glass.”

The heroes of fairy tales traditionally set out to carry out the task assigned to him, but before sending him he asks to be supplied with something, and this point requires some consideration. The items with which the hero is supplied are very diverse: there are crackers, money, a ship with a drunken crew, a tent, and a horse. All these things usually turn out to be unnecessary and are asked only as a diversion. Study will show that, for example, a horse taken from one’s father’s house is no good and is exchanged for another. But among these items there is one that is worth paying special attention to. This is a club. This iron club is usually required before the hero sets off on his journey: “Forge me, good fellows, a twenty-pound club” (Af. 177). What kind of club is this? To test it, the hero throws it into the air (up to three times). From this we could conclude that this is a club, a weapon. However, it is not. Firstly, the hero never uses this club taken from home as a club. The storyteller simply forgets about her in the future. Secondly, from the comparisons it is clear that the hero takes with him an iron club along with an iron prosphora and iron boots. “Ivanushka went to the blacksmith, forged three crutches, baked three breads and went to look for Mashenka” (See 35). The flying Finist says to the girl: “If you decide to look for me, then look far away, in the thirtieth kingdom. First you will trample three pairs of iron shoes, you will break three cast iron staffs, you will devour three stone wafers, before you find me” (Aph. 234). The frog wife says the same thing: “Well, Ivan Tsarevich, look for me in the seventh kingdom, wear out the iron boots and destroy three iron breads” (268).

One or even two links easily fall out of the connection staff+bread6+boots. Often we have only one bread (“Bake him three pounds of bread.” Zh. Art. 275), or only one shoes (“Tell him to sew different pairs of shoes.” Sad. 60), or, finally, only one staff. Bread is often rationalized into crackers, plantains, etc., and a staff into a stick or club, which is reinterpreted as a weapon, but never plays the role of a weapon. This is easy to establish in such cases, for example: “The shoes are worn out from the sand, the hat from the rain is pierced, the stick at hand becomes thinner” (Sev. 14). Here the stick does not serve as a weapon, retaining its original function. Or: “If he wants, let him forge three copper hats, then go. When the spears wear out and the hats wear out, then he will find me” (See 130). Here the staff turns into a spear, but into a spear that is used when walking, and not used as a weapon. It is interesting to establish that this triple element is best preserved in women's fairy tales (Finist and others). This is because the image of a woman is not associated with a weapon, and here the staff is stably preserved in its original form.

It can be established that shoes, a staff and bread were the items that were once supplied to the dead for their journeys on the way to the other world. They became iron later, symbolizing the length of the journey.

Kharuzin says: “Depending on the idea of ​​the path to the afterlife... there are also objects that are lowered into the grave or burned with the deceased. It is quite natural that if the dead person has to cross the water to reach the world of shadows, a boat will be placed in his grave. If he has a long way to go on foot, he will be put on stronger shoes" (Kharuzin 1905, 260).

This idea is already present among the Indians of the North. America. In the tale recorded by Boas, the hero wants to find his dead wife. “He asked his father for five bearskins and made himself one hundred pairs of shoes from them” (Boas 1895, 41). So, to go to the kingdom of the dead, you need to have strong shoes. In California, Indians were certainly buried wearing moccasins (Negelein 1901c, 151). “The natives of California give shoes to their dead, because the path to the places of eternal hunting is long and difficult” (Kharuzin 1905, 260). In Bengal the dead are “provisioned as if they had a long journey ahead of them” (Negelein 1901c, 151). Among the Egyptians, the deceased is given a strong staff and sandals (Reitzenstein 1905, 178). Chapter 125 of the "Book of the Dead" in one version is entitled as follows: "This chapter should be spoken (to the deceased) after he has been cleansed and washed, and when he is dressed in clothes and shod with white leather sandals..." The hieratic papyrus says about Astarte (Astarte is in the underworld): “Where are you going, daughter of Ptah, furious and terrible goddess? Haven’t the sandals that are on your feet worn out? Haven’t the garments that you are wearing been torn at your departure and coming which you have done across heaven and earth? (Struve 51). These real, albeit durable sandals are gradually replaced by symbolic ones. Clay shoes, sometimes two pairs of shoes, were found in burials in ancient Greece (Samter 206). This idea lives on in the Middle Ages and survives to the present day. Candles, fruits, staffs and shoes were found in Alemannic graves (Negelein 1901, II, 151). In some places in Lorraine, boots are pulled on the deceased and a stick is given to him for the upcoming journey to the afterlife (Sternberg 1936, 330). In Scandinavia, “a special type of shoe was placed on the dead during burial; with its help, the deceased could freely walk along a rocky path covered with thorny plants leading to the afterlife (Kharuzin 1905, 260).

“In the case when the path goes there by land, the concern is to make it easier for the deceased to pass by putting him in boots, placing a stick with him, etc.,” says Anuchin (Anuchin 179).

These materials are sufficient to establish that one hundred pairs of shoes, two pairs, clay shoes, special shoes, which appear in our materials, as well as a special staff, in the fairy tale turned into iron shoes and an iron crutch, and if the meaning of this motif is not understood, the staff turns into into a club-weapon.

These materials (especially a lot of them were collected by Samter) allow us to assert that all of the listed items are a sign of the hero’s departure to another world.

Conclusion

A fairy tale, which has long been part of human life, is a kind of history and a treasury of folk wisdom, as well as a universal means of conveying those ideas about the world around us and man himself that people have developed in every historical era. As you know, a fairy tale is a vivid manifestation of the folk culture of every nation. It contains plots, images, situations that are specific to a particular ethnic group, which is expressed in the names of the characters, the names of animals and plants, the location of the action, and in original traditional language formulas. The national character of each nation’s fairy tale is determined by its way of life, rituals, working conditions, folklore traditions, special poetic view of the world, etc. “In a fairy tale, national specificity is felt especially condensed: in the images of a positive hero, in the faces of fairy-tale monsters, in specific fairy-tale formulas: here in everything - small and great - national originality”
Russian folkloristics, having begun to develop rapidly in the nineteenth century, has traveled a long and fruitful path in its development. Representatives of each of the schools made a significant contribution to the study of folklore, since they all understood that the study of any national literature should begin with its origins, which are precisely myths and folklore.

The appearance of objects endowed with magical properties in fairy tales is historically associated with primitive beliefs, namely, with fetishism. In fairy tales there are two types of objects: miraculous and real. Magic items are presented in groups:

Objects that tell the truth and show what is happening in this world (golden saucer and pouring apple, magic book)

Items capable of transporting a hero across a large space in a short time (flying carpet, walking boots)

Items that restore health, youth, revive the dead (living and dead water, rejuvenating apples).

Miraculous objects endowed with magical powers are usually obtained in a certain way: either obtained in case of completing a certain task/request, or in case of victory over an enemy and are associated with the other world (the world of the dead), for example, living and dead water.

Frequent references in fairy tales to real objects: various tools (axe, plow, plow, yoke, spindle, spinning wheel, weaving mill) are due to the fact that the ancient Slavs deified everything that came into contact with the human body.

A fairy tale is a complex and multifaceted phenomenon of folk culture, and it can and should be studied in different aspects. One of the most important linguistic factors is traditional formulaic constructions.
It is well known that the most significant characteristic of the language of folklore is traditionalism. “Once what is aptly said and depicted successfully and clearly is no longer remade, but seems to freeze in this form and is constantly repeated where it is recognized as necessary in the course of the fairy-tale action” (13, p. 8). “The main style-forming feature of all folklore genres is a high degree of cliché” (116, p. 558).

Traditional formulas are presented in folk tales in an extremely diverse manner: these are framing (initial and final) and medial formulas.

Traditional fairy tale formulas are universal models placed at the disposal of the storyteller by tradition. In the framing and medial formulas there are regular references to objects. In the initial formulas of a fairy tale, most often there is a description of objects of real life, in the final formulas there is a description of objects of reality, endowed with a certain meaning and associated with the world of the dead. In the medial formulas there are descriptions of objects of both types.

LIST OF REFERENCES USED.

I TEXTS

1. Balashov D. M., Krasovskaya Yu. E. Russian wedding songs of the Tersky coast of the White Sea. - L.: Music, Leningrad. department, 1969. P. 89.

2. Storm the hero Ivan the cow’s son // Russian folk tales / Comp. A. N. Afanasyev. - Mn.: BelEn, 1993. P. 70.

3. Great Russian in his songs, rituals, legends, etc.: Materials collected and put in order by P. V. Shein. T. I. - St. Petersburg: Publishing house of the Imperial Academy of Sciences, 1900. P. 615 - 747.

4. Second Pudozh Expedition of the Russian State University for the Humanities / Publication by O. A. Simonova, E. A. Klushina // Living Antiquity: a magazine about Russian folklore and traditional culture. - 2005. No. 1. P. 44.

5. Calendar-ritual poetry of the Siberians / USSR Academy of Sciences, Institute of History, Philology and Philosophy. - Novosibirsk: Nauka, 1981. P. 257.

6. Kuznetsova V.P., Loginov K.K. Russian wedding of Zaonezhie (late XIX - early XX centuries) / Scientific. ed. Chistov K.V. - Petrozavodsk: PetrSU Publishing House, 2001. P. 44.

7. Ritual poetry. Book 3. Lamentations / Comp. and preparation 0-24 texts and comments. Yu. G. Kruglova - M.: Sovremennik, 2000. P. 98 - 305.

8. Ritual poetry / Comp., preface, notes, prepared. texts by V. I. Zhekulina, A. N. Rozova - M.: Sovremennik, 1989. P. 65.

9. Essays on researchers of the Astrakhan region. Issue 2. - Astrakhan: ASPU Publishing House, 1997. P. 17, 34 - 40, 111 - 120.

10. Song folklore of Mezen: texts / Ed., prepared. N. P. Kolpakova - L.: Science, Leningrad. department, 1967. pp. 219 - 220.

11. Russian folk poetry. Ritual poetry: collection / Comp. and preparation text by K. V. Chistov and B. Chistova; Entry Article, preface to sections and

Tkachev Egor

The object of study of this work is Russian folk tales and magical objects found in them.

The purpose of the work is to explore the purpose of magical objects in Russian folk tales.

1. Identify objects in fairy tales and classify them.

2. Describe the functions of these objects in fairy tales.

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WESTERN DEPARTMENT OF THE MINISTRY
EDUCATION AND SCIENCE OF THE SAMARA REGION

General educational institution

secondary school No. 12 Sizran

Completed by: Tkachev Egor,

3A class student

GBOU secondary school No. 12

Head of work:

Egorova Svetlana Pavlovna,

primary school teacher.

Syzran

2015

The role of magical objects in Russian folk tales

1. Introduction

Russian folk tales are one of the main treasures of our culture. They have been translated into many languages ​​and are world famous. A fairy tale enters the life of every person from early childhood. The most common type of fairy tales are tales about animals. The animals and birds in them are both similar and not similar to real ones. A rooster walks in boots, carrying a braid on his shoulder; The wolf catches a fish and says: “Catch, fish, both small and large!” The fox informs the black grouse about the new “decree”. Older children like fairy tales. They attract with the development of action, the struggle of light and dark forces, and miraculous transformations.

The simplest and at the same time the most important ideas - about intelligence and stupidity, about cunning and straightforwardness, about good and evil, about heroism and cowardice, about kindness and greed - are given to us by fairy tales.

The object of study of this work is Russian folk tales and magical objects found in them.

The purpose of the work is to explore the purpose of magical objects in Russian folk tales.

Tasks:

1. Identify objects in fairy tales and classify them.

2. Describe the functions of these objects in fairy tales.

2. The role of magical objects in Russian folk tales

A fairy tale is a narrative, usually folk-poetic work about fictional persons and events, mainly involving magical, fantastic forces. This definition of a fairy tale is given in the explanatory dictionary of S. I. Ozhegov. Similar interpretations are offered in the dictionaries of D. N. Ushakov (“A fairy tale is a narrative work of oral folk art”) and V. I. Dal (“A fairy tale is a fictional story”).

If you choose words with the same root for the word “fairy tale”, the result will be a series of words that to a certain extent reveal its meaning: fairy tale - tell - tell. In essence, a fairy tale is what is told, an oral story about something interesting both for the performer and for the listener, despite the fact that it is always focused on fiction, be it moral stories about animals, fairy tales, adventurous stories , satirical jokes. Ignorance of fairy tales was regarded by A.S. as one of the significant shortcomings of education. Pushkin: “I listen to fairy tales and make up for the shortcomings of my damned upbringing. What a delight these tales are! Each one is a poem!”

In a fairy tale, a person communicates with creatures that you will never meet in life: Koshchei the Immortal, Baba Yaga, the many-headed Serpent, giants, dwarf sorcerers. Here are also unprecedented animals: the Golden Antlers Deer, the Golden Bristle Pig, the Burka Sivka, the Firebird. Often wonderful objects fall into the hands of a person: a ball, a self-shaking wallet, a self-assembled tablecloth, a self-assembled baton. In such a fairy tale, everything is possible!

A fairy tale begins with the main character, for one reason or another, leaving his home, and then leaving the ordinary world. Everything that a character in a fairy tale does, most often, happens in a strange, strange world: in the kingdom of copper, silver, gold, or in the far distant kingdom of the thirtieth state.

Many fairy tales tell about military feats. But fairy-tale heroes do not fight for Rus', not for the Russian land. They obtain for the king some wondrous, wonderful object.

A fairy tale puts some magical gift into the hands of the hero, and with the help of this gift he achieves his goal.

The number of magical items is unusually large. These are clothes (hat, shirt, boots, belt); tools and weapons (sword, club, whip, stick, stick); all kinds of bags, sacks, purses, vessels; musical instruments (whistles, horns, harps); household items (flint, towels, carpets, tablecloths, balls, mirrors, cards), fruits, berries. The main thing in all these items is the magical power they possess, helping the hero achieve his goal.

Items-tools

In the fairy tale, the ax itself cuts down a ship or chops wood, and the buckets themselves bring water. Interestingly, the ancient connection with animals has not yet been lost here. This is done at the behest of the pike. But this connection is not necessary in a fairy tale. The club itself beats the enemies and takes them prisoner, with the help of a broom and a stick, “you can defeat any force.”

Items that summon spirits

Such objects can be either animal (horse hair), or a weapon (a club) and a number of other objects (a ring). Strength lives in them.Strength is inherent in the whole animal and all its parts. In the hairs there is the same power as in the whole animal, that is, in the hair there is a horse, just as there is in the bridle, just as in the bones.

Wand

The stick, twig or cane goes back to completely different ideas. The objects discussed so far come either from animals or from tools. The wand was created as a result of human communication with the earth and plants. The fairy tale did not preserve only one circumstance: a twig is cut from a living tree, and then it can turn out to be magical, transferring the wonderful properties of fertility, abundance and life to the one with whom it comes into contact. There are a lot of such cases, and they clearly show that here the vital force of the plant is transferred to the one struck. The same is attributed to roots and herbs. In the fairy tale “The Feigned Illness,” the murdered prince is revived by a root, a gift from an old man. “They took the root, found the grave of Ivan Tsarevich, dug it up, took it out, wiped it with that root and turned over it three times - Ivan Tsarevich stood up.” The power of the root is transferred to the person.

Items that provide eternal abundance

These include water that restores life or sight, apples that give youth, tablecloths that give eternal nourishment and abundance.

Living and dead, weak and strong water

Living and dead water are not opposites to each other. They complement each other. “He sprinkled Ivan Tsarevich with dead water - his body grew together, sprinkled him with living water - Ivan Tsarevich stood up.”

Magic objects and their purpose

3. Conclusion

Magic objects in fairy tales are either a kind of portal, a guide to another world, or they serve as helpers, talismans, amulets and protection. Moreover, not a single fairy tale contains a description of these objects. Their magical properties and functions are simply mentioned; any object in fairy tales can serve as an assistant. The main thing is the magical power contained in it.

When reading a fairy tale, a person gets excited, worries, and when everything ends well, he feels pleasure, like from any other good book. A fairy tale today is not a dilapidated monument of the distant past, but a bright, living part of our national culture.

Russian folk tales are often the basis of author's literary and artistic works. Among them: V. A. Zhukovsky, P. P. Ershov, A. S. Pushkin, V. F. Odoevsky, S. T. Aksakov, L. N. Tolstoy, V. M. Garshin, D. N. Mamin -Sibiryak, N.G. Garin-Mikhailovsky, M. Gorky, Yu.K. Olesha, A.N. Tolstoy, M. M. Prishvin, V. V. Bianki, K. G. Paustovsky.

The folk tale had a significant impact on painting, animation and cinema, as well as music and theater.

The practical significance of this study is that the results can be used in literary reading lessons when studying oral folk art, when holding literary competitions, quizzes, as well as in one’s own literary experience, for example, when writing a fairy tale.

List of used literature

Literary texts

1. Afanasyev A. N. Russian folk tales. Publishing house "Samara House of Printing", 1993.

Encyclopedic and reference publications

1. Dal V.I. Explanatory dictionary of the living Great Russian language: In 4 volumes. M., 1981.
2. Ozhegov S.I., Shvedova N.Yu. Explanatory dictionary of the Russian language. M., 1993.
3. Ushakov D. N. Explanatory dictionary of the Russian language. M., 1995.

Scientific critical literature

1. Anikin V.P. Russian folk tale. M., 1984.
2. Pomerantseva E.V. Russian folk tale. M., 1963.
3. Propp V. Ya. Historical roots of the Russian folk tale. L., 1986.
4. Propp V. Ya. Russian folk tale. L., 1984.



Keywords: Russian folk tales, literary tales, magical objects, helping objects, modern inventions.

The fairy tale is a lie, but there is a hint in it,

good fellows a lesson

Modern devices allow us to move quickly, get to know the world, expand our horizons, instantly learn news, make housework easier, etc. Machines and mechanisms have become so firmly established in our lives that we don’t even notice them. But people have dreamed of such devices for a very long time. Ideas can be found in fairy tales: a flying carpet, walking boots, a self-propelled stove, a harp - a samogud... We wanted to look at some of the fairy tales in a slightly different way than just a literary work, to trace the path of several inventions, from dreams to reality.

I love reading fairy tales and imagining the life of this or that people. While reading fairy tales, I noticed the presence of various magical objects, reminiscent of some modern inventions. How, in seemingly old fairy tales, people managed to predict the appearance of modern televisions and players remains a mystery. We decided to find out what specific modern objects are represented in fairy tales by writing a paper on the topic: “Comparative analysis of magical objects from fairy tales with modern inventions.”

The relevance of the study is due to the insufficient knowledge of fairy tales. Nowadays, a lot of research is being carried out, the purpose of which is to compile a unified classification of fairy tales, characters and plots. Therefore, it seems logical to study the realities presented in fairy tales. Such a study will help to get a more complete picture of such a genre as a fairy tale. This determines the scientific novelty and theoretical significance of the work.

The object of the study was magical objects that were given to help the main characters of various fairy tales.

The purpose of the study is to conduct a comparative analysis between fairy-tale magical objects and modern inventions.

In accordance with the purpose of the study, the following tasks were set:

Identify magical objects found in fairy tales;

Consider their functioning in fairy tales;

Conduct a comparative analysis between fairy-tale magical objects and modern inventions.

The work uses the method of comparative analysis. A comparison was made between fairy-tale objects and everyday objects of modern man.

The research material was Russian folk and literary fairy tales.

The subject of the research was magical objects and objects - assistants in Russian folk and literary fairy tales.

The fairy tale is a whole movement in literature. Over the long years of its formation and development, this genre has become a universal genre, covering all phenomena of the surrounding life and nature, achievements of science and technology.

In ancient times, when there were no books or schools yet, grandfathers and grandmothers invented fairy tales to tell their children and grandchildren about the world around them. In them they talked about the struggle between good and evil, about the infinity of the world and the dangers lurking in it. The younger generation told these tales to their children and grandchildren, and then to their own, and so on from century to century.

Events in fairy tales were gradually corrected, acquired new details, and unnecessary ones were gradually forgotten. This is how the age-old wisdom accumulated and came down to us. Fairy tales present the actions of the heroes and their consequences, thus, by their example, fairy tales help to avoid unpleasant mistakes.

The fairy tale was constantly changing, absorbing the features of the new reality, but remained continuously connected with social and historical events.

A fairy tale, as a figurative reflection of the world, requires from the reader special qualities of perception of creative imagination, developed observation, and the ability to understand allegories.

Reading fairy tales, we come across a large number of different magical objects and wonders. In fairy tales they have a variety of functions, one of which is to help the hero and make his existence easier. Already at this stage we can draw an analogy with modernity - the technology used by modern man.

Here are some magical objects, their functions in the fairy tale and compare them with modern inventions.

Fairytale items andtheir modern analogues

Let's turn to the fairy tale "Old Man Hottabych": Hottabych, together with Volka and his friend, set off on a flying carpet - a magic carpet that flies through the air and moves the heroes from one place to another.

"Ivan sat down on Magic carpet, flew out of the underground kingdom and before he could blink, he found himself in a beautiful garden, sat down under a broom bush and began to watch and admire how gold and silver fish were walking in the bright water.”

However, civilization does not stand still and, after some time, an airplane appeared, and then scientists invented modern airplanes. Thus, an analogue of a flying carpet is modern airplane. It, like its counterpart, helps people move from one place to another in a fairly quick time.

The first flight was made on an airplane designed by A.F. Mozhaisky, but the flight was unsuccessful. Six years later, an airplane built by brothers Orville and Wilbur Wright took to the skies and flew 50 meters in 12 seconds. And in 1909 they built an airplane that reached a speed of 60 km per hour. Since that time, the development of aircraft manufacturing in Europe began.

Currently, supersonic aircraft invented in Russia are flying successfully: the SU-27 interceptor fighter, the TU-22 M3 supersonic long-range bomber.

“Baba Yaga bone leg quickly sat down V stupa, rose into the air and rushed after the girl like a pusher, chasing her, sweeping her trail with a broom.”

In the fairy tale "Down the Magic River" the reader meets Baba Yaga's stupa, which, of course, can be compared with modern helicopters.

Despite the fact that the plane had dominated the air for many years, it had one drawback - in order to remain in the air, it must constantly and at a sufficiently high speed move in a horizontal plane, because the lifting force of its wings directly depends on the speed of movement . Hence the need for a takeoff run during takeoff and a landing run, which chains the aircraft to the airfield.

This niche, after a long design search, was occupied by a rotorcraft - a helicopter.

Helicopter is an aircraft with vertical take-off and landing. There are single-rotor helicopters with a tail rotor; two- or multi-screw.

Boris Yuryev made a significant contribution to the invention of the helicopter. He improved the propeller blades and created an automatic skewer that ensures the necessary installation of the blades.

In addition, to move in space, heroes of Russian fairy tales often used walking boots. In various fairy-tale states, messengers always had a pair of magic boots for quickly transporting royal decrees. So, for example, in the fairy tale “Down the Magic River,” Tsar Makar sent a messenger in magic boots to Vasilisa the Wise for advice. In the modern world we can find analogues of running boots even on children - figure skates in winter androller skates - in summer. Of course, their purpose of use is somewhat different, but they still remain a means of moving in space. The first roller skates appeared at the beginning of the 17th century! The Dane Hans Brikur attached wooden spools to his shoes.

Among our compatriots, perhaps, there is not a single one who has not watched the cartoon “Well, wait a minute!” in particular the episode in which the Wolf finds himself in a fairy tale. Entering Baba Yaga's house, he discovers there samogudy harp. This magical object plays music itself, without human intervention.

In modern everyday life, a number of devices perform the same function - music player, tape recorder, player.

Speaking about modern technology, one cannot fail to mention TV. Modern TV is modernized saucer withapple. The saucer was used to observe events, for example, those taking place in various places of the fairy-tale land, for example, Baba Yaga in the fairy tale “Down the Magic River” used the saucer to learn about the main events in the capital of the fairy-tale kingdom, and subsequently watched the battle between the heroes of the Tsar and the army of Koshchei the Immortal.

In fairy tales, characters often found themselves in situations where they needed to get to someone's palace or castle, the location of which was unknown to them. In such situations, the heroes always came to the rescue magic ball thread or yarn showing the way.

Modern man often finds himself in such situations, and in our world he comes to the aid of navigator, which is an analogue of a fairy tale ball.

The navigator was invented back in 1932, with a scrolling map, the scrolling speed depended on the speed of the car.

“Stove, at the pike’s command, at my request, go bake the stove straight to the king’s palace. And the stove crackled, and suddenly flew out into the wild. And faster than any bird she rushed to the king."

In the Russian folk tale “At the Pike’s Command,” the reader encounters a magical oven, which Emelya rode.

All he had to do was put the wood in the stove, and it was immediately ready to hit the road. An analogue of a magic oven is modern car. The word car means “self-propelled carriage,” although in the modern world it is customary to call cars only vehicles equipped with autonomous engines.

The beginning of the modern automobile era is usually counted from 1895, when independently of each other G. Daimler and K. Benz built self-propelled carriages with internal combustion engines with a high number of revolutions and a high compression ratio. Since then, the Russian automotive industry has come a glorious way. Russian inventors of the pre-revolutionary period made a significant contribution to the development of automotive technology, ranging from the muscular self-propelled vehicles of Shamshurenkov and Kulibin to Puzyrev’s cars and the products of the Russian-Baltic Carriage Plant.

"Cockerel from a high knitting needle

Began to guard its borders,

A little danger where visible

A faithful watchman, as if from a dream,

Will move, perk up,

Will turn to that side

And shouts: “Kiri-ku-ku!”

This tale may make you think about modern radar. Christian Hülsmeier first invented radar in 1904. The radar sends out a directed beam of radio waves. A car, plane or other large metal object that comes into the path of a radio beam reflects it like a mirror. The radar receiver picks up the reflection and measures the time it takes for the pulse to travel to the reflecting object and back.

“The fire burns brighter,

The little hunchback runs faster

Here he is in front of the fire.

The field shines as if it were day;

Wonderful light flows all around,

But it doesn’t heat, it doesn’t smoke

Ivan was amazed here.

“What,” he said, “what kind of devil is this!

There are five hats in the world;

But there is no heat and no smoke.

This is a miracle - a light!

The horse tells him:

There is something to marvel at!

Here lies a feather of a firebird...”

Are we talking about fluorescent lamps?

Daylight lamp- This is a fluorescent lamp with a bluish glow. Used for general lighting purposes. All types of fluorescent lamps are often called fluorescent lamps. It was invented in 1872 by Russian electrical engineer A. N. Lodygin.

“... Grandma took it millstones and started grinding like you couldn’t turn it - damn it, it’s cake!” .

This magical fairy tale item can be compared With microwave oven. This device converts electricity into electromagnetic microwaves. The microwave oven was first patented by the American inventor Percy Spencer in 1945.

Summing up the work done, it should be noted that in Russian fairy tales there are many parallels with the life of modern man. We came to the conclusion that people’s dreams are encrypted allegorically in these works.

These works indicate that a person’s dreams can sooner or later come true. To realize any dream, mental and physical effort, economic opportunities, and an irresistible desire are required.

But there is a magic object in fairy tales that can help heroes in various situations - a magic wand, and, unfortunately, it has not yet been possible to invent an analogue of a magic wand.

Literature:

1. www.litra.ru
2. www.bizyukov.temator.ru
3. www.tehnologid.ru
4. Russian folk tales. Compiled and notes by V. P. Anikin, Moscow: Children's Literature, 1986.
5. Works in 3 volumes. Moscow: Fiction, 1986.
6. Encyclopedia for children. Volume 11. Technology. Editor-in-Chief: Aksenova, Moscow: Avanta, 2004.
7. The Little Humpbacked Horse: A Russian fairy tale in three parts. Moscow: Children's literature, 2002.
8. Kamov F., Kurlyandsky A. Well, wait a minute! - L., 1997.
9. Lagin L. Starik-Hottabych. M.: Children's literature, 1973.
10. Propp V. Ya. Historical roots of a fairy tale. L., 1986.
11. Russian folk tale “At the command of the pike.”
12. Russian folk tale "Firebird".
13. Pushkin A.S. Golden Cockerel.
14. Uspensky E. “Down the Magic River”
15. Russian folk tale "The Rooster and the Millstones." Edited by A. N. Afanasyev.

Keywords: Russian folk tales, literary tales, magical objects, helper objects, modern inventions.

Annotation: The article is devoted to a comparative analysis between fairy-tale magical objects and modern inventions; an analogy is drawn between magical wonders that help the hero and make his existence easier with the technology used by modern man.

Olga Voevodina
Competition game “Magic objects”

Target: recall and consolidate previously acquired knowledge about magical items, develop attention, reveal the creative abilities of children, create physical activity.

Leading:

Hello guys. Today I am the keeper of a fabulous chest that contains magic items.

I want to check if you know you well fairy tales. But before I get out of my chest magic items, you will have to guess them and complete my task. I will make wishes items, and you must tell what they are Magic power, or maybe even call it a fairy tale! Let `s start?

Children are divided into two teams. During the competition, for each task the winner receives a chip.

1 task "Boots-walkers"

And far away lands,

And beyond the distant seas,

Through mountains and forests

You'll be home in half an hour. (Walking boots)

Run in one boot, pass it to another team member.

2 task « Magic ball»

I'm round, fluffy, soft,

I have a tail, but I'm not a cat.

You'll meet me in fairy tales

I will show you the way, friends. (Ball of thread)

Rewind the ball - who is faster.

3 task "Tablecloth self-assembled"

Full of delicious food.

All you have to do is spread it out -

He will be able to feed everyone. (Self-assembled tablecloth.)

From the cut pictures, assemble and cover on "table".

4 task "Invisible hat"

If you put it on, stood there, and instantly disappeared.

You can sneak into every house.

And overhear all the secrets.

Protect yourself from villains and save your friends.

After all, you can’t see who’s underneath her. (Invisible hat.)

Children close their eyes, one of the children or a character from a fairy tale needs to be hidden under "invisible hat". Guess who is missing.

5 task "Needle"

There is a chest hanging on an oak tree.

The hare is sitting in the chest,

And in the bunny there is a duck.

Well, the duck has an egg

What does it contain? (Needle)

A cardboard needle and thread, everyone should run like a snake between the children, return to their place and pass it to the next one.

Task 6 "Gusli - samogudy"

If you touch the strings of an instrument,

Then your legs will immediately begin to dance.

So what kind of instrument is this?

If your feet dance by themselves? (Gusli)

Free dance to music.

The results are summed up. All children receive prizes (coloring book based on fairy tales).

Publications on the topic:

“We are funny guys!” - game-competition in physical education for children of senior preschool age“We are funny guys!” - a competition game for children of senior preschool age. Goals: promoting a healthy lifestyle; attraction.

And again I am with YOU, COLLEAGUES! I’ll show you another tutorial-game “Funny Strings”. Previously, I used it to reinforce students’ knowledge about curves.

Play is the leading activity of preschool children and the most effective method of development for preschoolers, as it combines.

Didactic game for preschool children from 4 to 7 years old. Rules of the game: Children are given a card with a task - a sample and an empty card.

We came up with a game for sensory development. The material used is very simple and cheap; cocktail straws and composite mats.

The game is a lesson on the formation of cultural and hygienic skills for children of the middle group “Personal hygiene items” Objectives: To develop cognitive interest, imagination, logical thinking, attention and memory. Improve your ability to distinguish and...

Cosmonautics Day is a great occasion to talk with children about the structure of our solar system, the starry sky, and space rockets. In that.

Several years ago I wrote the “Encyclopedia of Fairy-Tale Characters,” where I tried to talk in detail about their lives, habits, parents, culinary preferences and education. It turned out that the heroes of fairy tales are not much different from us; They have the same bunch of problems, capricious parents, disobedient children, they always don’t have enough time and money for anything, and family life is so ordinary that it doesn’t even fit into a fairy tale. It all ends with a wedding, there is nothing further to describe - like everyone else.
And yet, something important was missing from that Encyclopedia. Namely, fairy-tale objects: golden keys, flying carpets and other magic lamps. Not a single fairy tale, not a single fairy-tale hero can do without them. Without these things, Ivan the Fool would never have become Ivan Tsarevich, Aladdin would not have married Princess Budur, and Jack would not have defeated all the giants.
Therefore, fairy-tale objects deserve our attention and may someday be useful in life. In the future, if you have one or more fabulous items, you can look into this encyclopedia and find out how to care for them, use them usefully and safely, and store them carefully.

Your-
Boris Goldovsky

The Scarlet Flower.
It grows in a single copy somewhere on a distant island, protected by the Beast. It's better not to tear it - there may be unpleasant consequences.

Drum.
A percussion instrument belonging to a recently discharged soldier. In fairy tales, this soldier, having served the required 25 years, returns home. Since he served all these years, apparently, in a musical company, the Soldier returns with his favorite drum. As soon as some misfortune happens, or if the Soldier is faced with the evil forces of the enemy that are superior to him, he immediately begins to loudly beat the drum. Immediately from afar, hundreds of other soldier drums from his company answer him. The evil spirit is immediately afraid that the entire company will come to the Soldier’s aid (the evil spirit does not like music) and retreats in panic. Thus, the magic drum is one of the most humane types of fairy-tale weapons with a deterrent effect.

Bean.
A leguminous plant used by the heroes of European fairy tales as a stepladder, on which they climb to quite great heights. Sometimes to the moon. It usually does not grow higher than the Moon. It grows quickly, but requires plenty of watering. The stem of the magic bean is thick and durable, nothing is known about the taste of the fruit, but most likely they are edible, otherwise the hero would have died of starvation during the many years of climbing the bean from the Earth to the Moon. In some fairy tales, pea plants are used instead of legumes. But this is a matter of taste.

Magic lamp.
Not intended for lighting and is not afraid of dampness. Such lamps are used in Arabian tales as places for storing genies. Apparently, living inside a lamp is cramped and uncomfortable, which negatively affects their character.
The method of using a magic lamp is simpler than a magic wand (see the corresponding article). If the latter needs to be able to swing correctly and know spells, then the lamp just needs to be lightly rubbed. The sound of rubbing is so unpleasant to the genie inside the lamp that he immediately comes out and is ready to fulfill your every desire.
Recommended for beginner wizards. Storage locations: the cave of Harun al Rashid, the bottom of an abandoned well and others.
WARNING: To avoid damage to home furniture during the appearance of the Genie, use the lamp only in deserted, open spaces: in the field, in the mountains, in the forest, in the desert, in the middle of the ocean.

Magic club.
In terms of method of application and effect, it is very different from a magic wand (see the corresponding article). If you are not a hero or a prince, but, for example, Ivan the peasant son, or, especially Ivan the Fool, you have absolutely no need for a treasure sword. It will be completely replaced by a magic club. Of course, it doesn’t look as impressive as a treasure chest, but it doesn’t look any worse. Does not require knowledge of the technique of using edged weapons. Effective in close combat with evil spirits.

Magic wand.
A must have for any wizard. It is made in different fairy tales in different ways - most often from the branches of a magic tree. Production technology is unknown. Most often it is inherited from a wizard to a wizard or sorceress.
Capable of performing miracles when swung. In this she is similar to a conductor. Only specialists know how to swing. The region of distribution is European fairy tales. However, it is sometimes found in Russian literary works.

Magic pipe.
A magical musical instrument used by some fairy-tale characters for self-defense. To play it does not require special musical education and knowledge of musical notation. As soon as you blow into it, it will begin to play, and these sounds will make your enemies freeze, and fairy-tale princesses will fall in love with you.
It is recommended to keep away from dampness and small children.

Galoshes of happiness.
A type of rubber fairy shoe, worn in wet weather over your boots or felt boots. When worn, they fulfill any of your wishes. In the fairy tale, they do not bring anything good to the owners, so they have no practical significance.
CONTRAINDICATION: Do not wear on walking boots!

Pot
A fabulous kitchen utensil decorated with bells and used for preparing various types of porridge. The process of cooking in a magic pot does not require human intervention.
It is practical because it does not require a stove, cereal, water, salt, or oil, saving the owner from unnecessary expenses. To prevent the owner of the pot from getting bored from idleness, he sings songs while cooking, accompanying himself with the ringing of bells.

Oak.
A fairytale tree, on whose branches a golden chain is hung from time to time for the convenience of the learned Cat. Under the roots of the oak tree, objects useful for heroes and princes are usually stored: treasure swords, chests, eggs with Koshcheev’s death, bottles with living and dead water, etc.

Living water.
A fabulous medicine as well as a tonic that can revive anyone. Indispensable for travelers, wanderers, heroes and others. It is located miles away in a source, from where it is usually delivered by either a raven or a gray wolf. It is a non-carbonated, colorless, transparent liquid. Keeps well in a bottle, flask, jug. Freezing point unknown.

Mirror.
Most often used by fairy-tale heroines in order to “tell the whole truth” about their heroines’ beauty. At times, disappointing. In “on-line” mode, it shows the heroine or hero of a fairy tale events occurring in other fairy-tale kingdoms, states, and kingdoms. Sometimes a golden (sometimes liquid) apple is attached to the mirror as a gadget (see the corresponding article), but in this case a magic plate is more often used.

Golden chain.
As a rule, it hangs on an oak tree, for the convenience of the learned cat to walk left and right. Fulfilling this useful task, the golden chain is also an undoubted decoration for any oak tree.

Golden Key.
Opens a secret door located under the stairs in Papa Carlo's closet behind a painting depicting a burning hearth. Because of this key, a series of dramatic events took place in the life of Buratino and his friends, ending with the opening of a new puppet theater. The further fate of the artists and the theater's repertoire are unknown.

Clew.
A fabulous prototype of a compass and GPRS navigator. Able to lead you to the expected goal and prevent you from getting lost. An indispensable item for any fairy-tale hero, especially if he is not a hero and is poorly oriented in the area. Nothing is known about the color and size of the ball, but, apparently, it should be large, bright and glow in the dark, since it leads over long distances and should be noticeable even in a dark dense forest.

Book.
It looks quite ordinary, shabby, without a title page, indication of the author's name, title and year of publication. One of the coolest fairy-tale items, because on any page, if you are literate, you will read everything you want; Where the treasure sword is kept, under which oak tree the egg (see the corresponding article), where the Serpent Gorynych took Vasilisa the Wise. How to get there and, most importantly, how to get out of there.
A magic book is an extremely rare thing in fairy tales, since fairy tale characters themselves read little.

Carpet plane.
A type of air transport widely used in oriental fairy tales. Convenient for traveling long distances. When flying, safety precautions must be observed, since seat belts are not provided and the carpet surface is not fenced.
Does not require cleaning. Pairs comfortably with a self-assembled tablecloth.

Ring.
A fabulous item that fulfills all the wishes of the owner. With the help of such a ring you can find yourself in the past and in the future, you can build a palace, get married, get married and get rich. To do this, you just need to put this ring on your finger, make a wish and turn it.
Ease of use and practicality make this ring an essential item for every fairy-tale hero. Beware of fakes.

Paints.
The thing is very useful, since everything drawn and depicted by them becomes real. If you're hungry, you draw a sandwich with sausage, and you're already full. I was cold - I drew a fur coat and was already warmed up. The main thing is to be able to draw correctly. Recommended for use only by realist artists.

Dead water.
. Delivered by Raven or Gray Wolf complete with living water (see related article). The mechanism of action is as follows: first, the chopped hero must be watered with dead water so that the wounds grow together and heal, and only then he is usually watered with living water so that the hero comes to life.
Caution: In color, taste and smell, dead water is indistinguishable from living water.
Contraindications: do not water a living hero. Do not use for watering garden plants. Keep out of the reach of children.

Milk river - jelly banks.
It flows somewhere in the countryside. It constantly needs cleaning, which it asks everyone passing by: “Drink my milk, eat jelly...”. The banks of the river are muddy and jelly, so her requests are rarely fulfilled. It is of no importance for fishing and land reclamation, since fish are not found in the milk river. Where it flows and, moreover, where it flows from is unknown.

Broom.
An everyday attribute of Baba Yaga, an integral part of the stupa (fuselage), which serves to control the flight of the aircraft. Unpretentious in appearance. In common parlance it is called “pomelo”. When the stupa is idle, you can sweep the yard or hut on chicken legs with a broom.

The sword is a treasure.
Second generation weapon (first - magic club). “Kladenets” was most likely named for its effectiveness in close combat and high destructive power. It does not require any special skill in use, as it works even in inexperienced hands. Invaluable in battle with Kashchei the Immortal, Serpent Gorynych, dragons and other reptiles.
The owner receives the sword either by inheritance or as a gift. It is often found in various magical treasures, as well as under fuel stones and the roots of an old oak tree.

Bag.
It looks empty, but you just have to hit it several times (some models of magic bags also require saying magic words), and three (sometimes two) appear from the bag. It is unknown what they look like, since not a single eyewitness was able to describe them in detail. The main thing is that they perform their duties perfectly - they beat your offenders.
Some fairy-tale bags do not represent anything magical and serve their intended purpose: naughty children, princes deceived by Baba Yaga, their brides and other cargo are placed in them and carried from place to place.

Flint.
An old name for a regular lighter. Summons three huge dogs that carry out the delicate tasks of their owners.
How to use a magic flint: strike a spark and wait for the dogs to appear. When they appear, do not be afraid, but loudly and clearly order them to fulfill their desire: bring something, or take you somewhere. For safety reasons, dogs need to be fed from time to time.

Feather of the Firebird.
It is used to decorate and illuminate a home (most often a royal one, but sometimes a hut). The thing is beautiful and practical. Saves fuel, electricity, environmentally friendly. Firebird feathers are not produced in mass quantities, as the firebird population is on the verge of extinction.

Stove.
A necessary piece of furniture and mode of transport for Russian folk tales and epics. Grandfather and woman, Ilya Muromets, Baba Yaga, Emelya and many others have been lying on it for many years.
Acting as a vehicle, it smokes heavily, but develops a decent speed. It's a rare Russian fairy tale without a stove.

Sagebrush.
She is the “overcome”, “stand up” grass. A tonic medicinal plant, similar in effect to living water (see the corresponding article). Once you drink its decoction, you immediately turn into a hero, even if you didn’t notice this in yourself before taking the medicine.
Recommended for wounded and treacherously killed heroes, wild and domestic animals, birds (Sivka-burke, Clear Falcon, Gray Wolf, and so on). In some cases, it is also used in raw, uncooked form. In dried form, such herb is usually obtained from Baba Yaga, who collects it in the forest on a moonlit and always fairy-tale night.

Mortar.
Another fabulous form of transport. Belongs to Baba Yaga. In order to take off, sit comfortably in the mortar, pick up a broom and hit the ground with it. The stupa immediately takes off. For control in the air, a broom is used, which turns the aircraft in the direction you want, being the fuselage of the stupa.

Self-assembled tablecloth.
Operates on an all-inclusive basis. An essential item for fabulous travels. Mode of application:
1) Wash your hands.
2) Spread a self-assembled tablecloth on a flat surface (table, stump, clearing).
3) Place your order loudly and clearly.
4) After eating, carefully fold the tablecloth along with the used dishes.
The self-assembled tablecloth is practical and compact. Does not require washing, grocery shopping, or cooking. Successfully replaces a dishwasher. Probably, after the use of a self-assembled tablecloth, the popular expression “to cover the clearing” arose among the people.

Walking boots.
A type of high-speed transport common in fairy tales. Western European analogue of the stupa and the flying carpet. Practical, comfortable wearable shoes for long journeys. The speed of movement in walking boots is not inferior to other fairy-tale analogues.

Box.
Not just part of the home interior in oriental and Russian fairy tales. This is both a repository of countless treasures, where sometimes some of the fabulous items listed here lie, and an aircraft, in which the heroes can fly wherever they wish. Chests come in different sizes. Small ones are called caskets, tiny ones are called caskets. The caskets contain a variety of surprises. Let us recall, for example, two from the casket (sometimes three), who not only fulfill wishes, but can mistakenly beat the owner.
Boxes are more harmless. Magic mirrors, rings and other fabulous jewelry are stored there.

Snuffbox.
Previously, tobacco was not only smoked, but also sniffed. This pleasure was kept in snuff boxes. In fairy tales, soldiers use a magic snuffbox to rescue either Marya the Artisan, or the Bear, or even an entire fairy-tale kingdom from trouble.
Sometimes the story ends well - the Soldier moves on home. Sometimes he marries a princess and becomes a king. In any case, the snuff box works flawlessly. In some fairy tales it plays the role of a magic casket (see the corresponding article), in others it becomes a place where the Soldier hides Sorrow-Misfortune.

Plate
Magic utensils, always used for other purposes. They do not eat from it, using it as a monitor for viewing fabulous news and the latest news. Does not require an Internet connection.
Principle of operation; Place the magic plate on the table, put a golden apple in it (see the corresponding article) and spin it clockwise. The sound level of the image is adjusted automatically.
Do not throw! Before turning on, thoroughly wipe off dust.

Cane.
A useful fairy-tale item with the help of which heroes of European fairy tales find various treasures and objects. Actually, the heroes of fairy tales themselves do not take part in this search. They give orders to the cane, which is engaged in treasure hunting. From time to time, the cane can perform the functions of a magic baton, punishing one of the hero’s offenders.
The subject is unpopular in Russian folk tales; Neither Emelya, nor Ivan the Fool, nor, especially, Dobrynya Nikitich use a cane.

Figs.
Magic figs (better known in our country as figs, in common parlance as “duli”) come in two types: the first one actively stimulates the growth of branched horns in the person who eats them, the second one gets rid of them.
Both types of figs are externally indistinguishable from each other. They grow in the wild, but nearby. Accepted only as prescribed by your court physician.

Invisible hat.
Fabulous thing! Used by fairy tale heroes for reconnaissance purposes, as well as during active hostilities with various evil spirits (Serpent Gorynych, Kashchei the Immortal, Dragon, Baba Yaga and others). Simple and easy to use. It does not require special care. Store in a dry, visible place.

Apple tree.
Useful tree. Apples grow on it (see related article). In fairy tales, it is usually strewn with fruits, asking everyone passing by to “taste my apple.” As a reward, it can shelter a traveler or traveler from geese-swans and Bab-Yagas. It can be wild or garden. Wild - grows in the forest, in the field, on the banks of the milk river. Sadovaya - in the royal garden. From time to time it bears fruit with golden apples.

Bullseye.
It comes in bulk, gold and rejuvenating. The most dangerous thing in fairy tales is the pouring apple. Very appetizing to look at, it is used as a means of poisoning pretty princesses and princesses, after which princes and princes have to go on a long journey to find a way to revive them - either with living water (see the corresponding article) or with a kiss. Both are given to them with great difficulty, and sometimes even with danger to their lives.
Another thing is the rejuvenating apple. It may not be so appetizing in appearance, but the result exceeds the expectations of the hero (heroine) who ate it. The old man turns into a good young man. The old woman is a good (or good) maiden. Rejuvenating apples grow in gardens guarded by Kashchei the Immortal, the Serpent - Gorynych, Baba Yaga, and the Giant. In the absence of the latter - just a big, angry and hungry dog.
Unlike liquid and rejuvenating apples, golden apples are inedible. In any case, in fairy tales they are not eaten, but are used as an integral part of magic mirrors and plates. They are thrown, like a roulette ball, onto a round mirror or plate. The apple spins, resulting in a flat color image of what the owner wants to see on the surface of the mirror or plate.
Magic apples never spoil and last forever. They are not used for filling pies, preparing various jams, preserves, and cider.

Egg.
It can be simple and golden. A simple egg usually contains a needle, at the end of which is the death of Kashchei. This egg itself is in the duck, the duck is in the hare, the hare is in the chest (see the corresponding article), the chest is under the roots of the oak tree. In short, this egg is under reliable protection.
Not a simple egg, but a golden egg is significantly less protected. The hen Ryaba carries it the first time, but due to the negligence of Grandfather and Baba and the negligence of the Mouse, it breaks. From this we can conclude that the shell of the golden egg is fragile.
A simple egg with a needle in the yolk is much more in demand in fairy tales than gold, since its scope is wider.