How to write an analysis of a fairy tale. Culturological analysis of Russian folk tales
A fairy tale is a wonderful work of art, familiar to each of us since childhood. What is a fairy tale? Should any fairy tale be considered? fantastic story or share oral folk prose into fairytale and non-fairytale? How to interpret all those fantastic things that none of the fairy tales can do without? This range of problems has long worried researchers. Exist different interpretations fairy tales. Some scientists say that a fairy tale is an absolute fiction, independent of reality, while others strive to understand how the attitude of folk storytellers to the surrounding reality was reincarnated in fairy-tale fiction. The clearest definition of a fairy tale is given by the famous scientist, researcher of fairy tales E. V. Pomerantseva: “A folk tale (or kazka, tale, fable) is an epic oral work of art, predominantly prosaic, magical, of an adventurous or everyday nature with a focus on fiction. The latter feature distinguishes a fairy tale from other genres of oral prose: tales, legends and tales, that is, from stories presented by the narrator to listeners as a narration about events that actually took place, no matter how unlikely and fantastic they may be."
Plan
Literary and artistic analysis of a work (fairy tale)
- Title of the work, genre (type for a fairy tale) (author for original works)
- Topic (about whom, what - by main events)
- Idea (for what, for what purpose)
- Characteristics of Ch. heroes (quotes from the text)
- Artistic originality of the work
(features of composition, techniques and methods of depiction, characteristics of language - examples from the text)
- Conclusions - implications for working with children
"Sivka-Burka".
Russian folk tale (magical)
Subject: It is about Ivan the Fool, who, with the help of his magical friend (Sivka-Burka), turned into a young man in order to remove the ring from Elena the Beautiful.
Idea: The struggle between good and evil, not for life but for death
The fairy tale is magical, because... present magical characters with magical powers.
Characteristics of the main characters:
Ivan the Fool: The third son in the family, the youngest. The family doesn’t like him, they make fun of him: “What are you doing, you fool! Do you want to make people laugh? Sit on the stove and pour the ashes!”
Executive: “He came to the field, sat on a stone. He sits awake, chews pie, waits for the thief.”
Far from being a fool, savvy, kind, brave:
“Ivanushka released the horse and made him promise never to eat or trample wheat again.”
“Here Ivanushka hit Sivka-burka on the steep sides... The horse snorted, neighed, jumped - only three logs short of the princess.”
Modest: The brothers arrived at the Tsar’s feast, and “Ivanushka climbed behind the stove, into a corner, and sat there.”
In the fairy tale “Sivka-Burka”, Elena the Beautiful does not care at all what Ivanushka looks like and whether he looks like the handsome hero who completed the test. What worries her is precisely the connection between the hero and the magical world, i.e. possession of a magical object - a ring.
Sivka-Burka:
Magical character: “At midnight, a horse galloped into the wheat - one hair is silver, the other is golden; it runs - the earth trembles, smoke pours out of its ears, flames flare out of its nostrils.”
Follows all orders of his master:
Anything, Ivanushka?
I want to look at the Tsar’s daughter Elena the Beautiful! - Ivanushka answers
Well, get into my right ear, get out of my left ear
Ivanushka crawls through the horse to turn into a good fellow. This action traces the ideas of ancient people about the structure of the world and is connected with one of the moments of the rite of passage of adolescents into the world of adults, namely with being inside the totem beast, with passing through it. Ivanushka gets into the horse's ear from the side earthly world, which is on the right, and comes out of the left ear - entering the zone of a magical, fairy-tale world. To turn back into Ivanushka, you need to magical world, that is, on the left side, enter the horse, and get out on the right.!
Artistic techniques:
1. Traditional start:“Once upon a time there was an old man, and he had three sons.”
2. Repeat three times:(3 nights, 3 brothers, 3 whistles) “The first night has come. The eldest son went to guard the wheat, but he wanted to sleep. He climbed into the hayloft and slept until the morning...
On the second night I went middle son. And he slept all night in the hayloft.
On the third night, it’s Ivan the Fool’s turn to go...”
Three times Ivanushka called his horse to him, three times he jumped for the ring of Helen the Beautiful: “.. whistle three times with a valiant whistle. bark a heroic cry..."
- “Sivka-Burka, prophetic kaurka, stand in front of me like a leaf in front of the grass.”
3. Anthropomorphism:“- Let me go free, Ivanushka! I will do you a great service for this.”
4. Magic words: “Sivka-burka, prophetic kaurka, stand in front of me like a leaf in front of the grass!”
5. Dialogues: “ Whatever, Ivanushka. –
I want to look at the Tsar’s daughter Elena the Beautiful! - Ivanushka answers.
Well, get into my right ear, get out of my left!”
6. Cumulativeness: “Ivanushka climbed into the horse’s right ear, and came out into the left - and became such a fine fellow that you couldn’t even think of it, guess it, tell it in a fairy tale, or describe it with a pen!
Ivanushka rushed into an open field, jumped off his horse, climbed into his left ear, and climbed out into his right ear and became still Ivan the Fool.”
7. Description : “And he’s sitting behind the stove, his clothes are thin, his bast shoes are torn, one hand is tied with a rag…. They washed Ivanushka, combed his hair, dressed him, and he became not Ivanushka the Fool, but a fine fellow, you wouldn’t even recognize him!”
8. Ending : And finally, as in any fairy tale, the hero triumphs, receives a reward for his labors, loyalty, kindness and selflessness: Ivan the Fool received a wife - the Tsar’s daughter Elena the Beautiful.
“I was at that feast, honey, beer, drank...”
Language characteristics:
Colloquial: “Izzy”, “brothers”
Emotional: “Eva, what good fungi!”
“Where are you going, you fool! Do you really want to make people laugh?”
Colloquial: “what a fool”
Obsolete: “Returned”, “treats”, “turn”
Exaggeration (hyperbole): « Visible and invisible to the people"
Importance in working with children: First of all, it has educational and cultural-moral significance. A fairy tale is a conductor of culture in the heart of a child. The life of a fairy tale is continuous creative process. The idea in the fairy tale is very simple: if you want happiness, learn to be smart, and heroics are, although imaginary, examples of true human behavior. Vintage folk words open up a new rich world of the great Russian language.
A fairy tale makes a child think, fantasize, teaches him to distinguish between truth and lies, fiction and reality. Great social value fairy tales: it inspires a spirit of confidence, cheerfulness, joyful acceptance of the struggle for justice
"The Fox and the Black Grouse."
Russian folk tale (about animals)
Subject: The cunning fox wanted to deceive the black grouse, but he turned out to be a smart bird and taught the fox a lesson himself. The manner of presentation of a fairy tale is similar to a fable.The fox tells the black grouse about the new decree - now the birds don’t have to be afraid of anyone, walk in the meadows: “Nowadays the animals don’t touch each other,” in order to lure the black grouse to the ground.
Idea: Victory of reason and ingenuity. The cunning man has no faith.
The fox is hypocritical and resourceful:“Hello little black grouse, my friend, when I heard your little voice, I came to see you.” The fox flatters the black grouse, affectionately calling him little black grouse, my little friend, she heard your little voice.
Pretender: In response to the grouse’s response: “Thank you for your kind words,” he pretends to be deaf and asks her to go down to the grass for a walk and “talk to me, otherwise I won’t hear from the tree,” to which the grouse calmly replies: “I’m afraid to go to the grass. It’s dangerous for us birds to walk on the ground.”
Deceiver: It didn’t work out the first time to lure the black grouse to the ground, she came up with a new trick: “No, little black grouse, my friend, today a decree has been announced so that there will be peace throughout the whole earth. Nowadays the animals don’t touch each other,” and the black grouse calmly replies: “Here this is good, but the dogs are running, if it were the old way, you need to leave (he makes it clear that the dogs would have torn the fox apart), but now you have nothing to be afraid of.”
Cowardly : The fox ran in disgrace, although it was found here too - she managed to say that maybe the dogs didn’t hear the decree. The fox was unable to lure the black grouse to the ground. She got scared.
The black grouse is smart and polite:He thanks the fox, realizing that she is flattering him (“thank you for your kind words”)
Black grouse is endowed with such human qualities Howintelligence, ingenuity, resourcefulnessHe knows the fox’s insidious plan and understands that she did not approach the tree on which he was sitting with good intentions, but wants to lure him to the ground to eat him.
I'm afraid to walk on the grass. It's dangerous for us birds to walk on the ground.
Or are you afraid of me?” said the fox.
“It’s not you, I’m afraid of other animals,” said the black grouse. “There are all kinds of animals.”
This dialogue well reveals the characteristics of the characters and the motive of their actions.
Artistic features of the tale:
This tale does not have a traditional beginning.
The plot is based on the motive of a meeting, a dialogue between a fox and a black grouse. The technique of contrast is used(antithesis) the wisdom of the black grouse and the cunning of the fox. The language is simple, colloquial. (“Where are you going? Who knows!”)
anthropomorphism) .The fox and the black grouse speak human language and conduct a dialogue.
Emotional language:“Thank you for your kind words...”, “Who knows them?”
Outdated words: Nowadays, if only you hadn’t heard, where...
Meaning. The fairy tale has educational value. Helps to instill prudence and caution in children, “don’t be overly trusting.” Lets children understand that every action must be thought out.A fairy tale teaches us wisdom, kindness, and intelligence.
Literary and artistic analysis of a fairy tale (sample)
"Fox-sister and wolf."
Russian folktale ( about animals).
Subject: The tale of how sly Fox steals fish from a man's sleigh. He offers the wolf to catch fish by dipping his tail into the hole. In the forest, a fox pretends to be sick and a stupid wolf drags him along.
Idea: To condemn is cunning, deception, stupidity.
Characteristics of the main characters:
Fox is cunning “The fox is curled up and lying on the road. Grandfather got off the cart, went up to the fox, but she didn’t stir, she lay there as if dead. “Eh, kumanek,” says the little fox-sister, “at least you’re bleeding, but I have a brain, I was beaten more painfully than you; I’m dragging along.”
Deceiver “- Hello, gossip! - Hello, kumanek - Give me the fish! - Catch it yourself and eat it. - I can't.
Eka, after all, I caught it; You, kumanek, go to the river, lower your tail into the hole - the fish itself attaches to the tail, but be careful, sit longer, otherwise you won’t catch it.”
The wolf is stupid “The wolf went to the river, lowered his tail into the hole; it was winter. He sat and sat and sat the whole night, and his tail froze; I tried to get up: it didn’t work out that way.”
“Eka, so many fish have fallen in, and you can’t get them out!” - he thinks.
“And it’s true,” says the wolf, “where should you go, gossip; get on me, I’ll take you.”
Artistic features of the fairy tale.The traditional beginning of a fairy tale: once upon a time...; The ending is a general phrase: “The beaten one is lucky”
The main characters of the fairy tale are animals and they act in the image and likeness of humans ( anthropomorphism) . For example: Here the little fox-sister sits and quietly says:
The beaten one brings the unbeaten, the beaten one brings the unbeaten.
What are you saying, gossip?
I, kumanek, say: the beaten one is lucky.
Yes, gossip, yes!.. Cumulativeness (example from the text), dialogue , revealing the characteristics of the heroes and the motive of their actions (for example...), antithesis (stupidity is opposed to cunning), emotional language…. “Wow, how many fish have been caught!”, “run without looking back”, “he grieved a little”, there are outdated words (kumanek, gossip,)
Meaning. The fairy tale has educational value. Helps to instill prudence and caution in children, “don’t be overly trusting.”
Lets children understand that every action must be thought out.
Causes in children a feeling of compassion for some fairy tale characters and rejection negative qualities to others.
Literary and artistic analysis of r.n. fairy tales
“The Sea King and Vasilisa the Wise” (sample)
- “The Sea Tsar and Vasilisa the Wise” (Russian folk tale- magical view)
- The fairy tale tells how Ivan Tsarevich, given to the sea king by his father, married Vasilisa the Wise and with her help managed to get out of the sea kingdom.
- Idea: nothing can replace the native land, glorification of fidelity in love, resourcefulness and ingenuity are praised.
- Ivan Tsarevich: knows how to correct his mistakes (“Why did I scold the old woman? Let me turn her back..”), loving his parents and his native land (“... Ivan Tsarevich missed his parents, he wanted to go to Holy Rus'..”
Vasilisa the Wise: masters magic (“She turned into a dove...”, knows how to take responsibility for her actions (“.. it’s my own fault - I overlooked, I’ll answer myself”), kind, caring, helps those in trouble, has ingenuity (“.. will The pursuit of us is great... We have to manage!”)
Sea king: hot-tempered, demanding fulfillment of promises, strict (example from the text)
5. The fairy tale begins with the traditional beginning (“Far away, in the thirtieth kingdom, state...”), magical assistants: Vasilisa the Wise, bees, ants, doves help achieve noble goals ( For example ....), personification, anthropomorphism (example from the text...), adventures, magic, the law of repeated repetition are used (three tasks of the sea king, three times the servants come to wake up Ivan Tsarevich and Vasilisa the Wise, three times they catch up with the fugitives. Characteristics of the language: proverbs are used and sayings (“the morning is wiser than the evening”), double words (increasing the impression of what is happening (“thought and thought”, i.e. for a very long time, seriously and thoroughly, “far, far away”), stable expressions characteristic of a fairy tale (“neither a lot of time has passed"), constant epithets decorating the language of fairy tales (“red maidens,” “good fellow”), descriptions (“.. went to the underwater kingdom; sees there a light the same as ours; and fields and meadows , and the groves are green, and the sun is warming...”).The fairy tale ends with the traditional ending (“they began to live and get along together, and make good things”).
6. The fairy tale teaches you to love your homeland, your native land, keep promises, believe in goodness and good people. Helps in the formation of moral values.
Literature:
1. Russian folk tales - M., “Pravda”, 1985.
2. Knyazeva O.P. Introducing children to the origins of Russian folk culture. S-P., 2006
3.Afanasyev A.N. Russian folk tales. T.1-3, M.: Khud.lit., 1990.
4. Literature and art: Universal encyclopedia / Compiled by A.A. Vorotnikov.-Mn.: Harvest LLP, 1995.
5Propp V.Ya. Morphology of a fairy tale. Historical roots fairy tale. – M.: Labyrinth, 1999.
6.www. Images.yandex.ru
7.www.google.com
International Festival “Stars of the New Century” - 2014
Humanities (14 to 17 years old)
"The psychological meaning of Russians folk tales»
Lapaeva Alina, 16 years old,
Head of work:
MBU DOD "House of Children's Creativity"
Yaiva village, Aleksandrovsky district.
Introduction p. 2
Chapter I. Russian folk tale as an object of study p. 5
1.1. Definition of the concept “fairy tale” p. 5
1.2. Distinctive features of Russian folk tales. 6
1.3. History of the study of fairy tales p. 9
1.4. Classification of Russian folk tales p. eleven
Chapter II. Analysis of Russian folk tales from the point of view
from the point of view of psychology p. 15
2.1. Analysis of the Russian folk tale “Kolobok” p. 15
2.2. Analysis of the Russian folk tale “Turnip” p. 17
2.3. Analysis of the Russian folk tale “The Frog Princess” p. 18
2.4. Analysis of the Russian folk tale “The Ryaba Hen” p. 20
Conclusion p. 23
List of used literature p. 25
Introduction
“Whatever shadow comes over your life:
Will you be worried about the fate of Russia,
will “black thoughts” come to you?
about your personal destiny or just life
will seem like an “unbearable wound”, remember
about a Russian fairy tale and listen to it
From early childhood, as soon as we begin to understand ourselves, our mother reads fairy tales to us. First these are Russian folk tales, then literary ones. We become older and think about why everything in a fairy tale is not the same as in life.
Russian folk tales contain great educational power. They teach us to be kinder, more modest, stronger, more self-possessed. Do we even need fairy tales? Do we understand and interpret them correctly? In lessons, starting in elementary school, students work together with the teacher to understand the meaning of fairy tales. We wanted to look at the Russian folk tale from a different perspective. We found it interesting to analyze the meaning of the fairy tale from the point of view of psychological knowledge: understand the motivation of the characters, evaluate their ways of communicating with each other, the development of personal characteristics, etc.
Our choice fell on Russian folk tales because, firstly, we have known them since childhood, and secondly, at present great attention is given to the formation of civic feelings, patriotism, love for native land, Russian culture. Our school is no exception.
The phenomenon of Russian folk tales has been studied by such scientists as, etc.
It should be noted that fairy tales and their heroes are excellent material for pedagogical, psychological, psychotherapeutic, correctional and developmental work. , M.-L. von Franz, N. Pezeshkyan, M. Osorina and others paid attention to various aspects of the fairy tale in cultural practice. Interesting scientific and practical results are provided by such a direction of work as fairy tale therapy (T. Zinkevich-Evstigneeva, B. Betelheim, A. Gnezdilov, I. Dobryakov and other researchers).
Classics of psychology have repeatedly turned to the analysis of fairy tales. I also noticed that the characters of fairy tales (as well as myths) express various archetypes and therefore influence the development and behavior of the individual. Another classic, E. Bern, pointed out that a specific fairy tale can become a person’s life scenario.
Object of study:psychological meaning Russian folk tales.
Subject of study: text of Russian folk tales “The Frog Princess”, “Turnip”, “The Ryaba Hen”, “Kolobok”.
Purpose of the study: reveal the psychological meaning of Russian folk tales.
Research objectives:
1. Study the concept of a fairy tale.
2. Reveal the distinctive features of Russian folk tales.
3. Consider the history of the study of fairy tales.
4. Get acquainted with the classification of Russian folk tales.
Research hypothesis: Russian folk tales, in addition to their educational potential, have great psychological knowledge that does not always lie on the surface. You need to be able to consider them.
Research methods: analysis of scientific literature and literary texts.
Practical significance of the work lies in the fact that it is necessary to be able to “see” the deeper, hidden meaning of not only fairy tales, but also texts of any other genre. By revealing it, you can, by working on yourself, improve yourself, change your life scenario, avoid the negative consequences of some actions, learn from the negative experience of heroes, not allowing it in your life, etc.
ChapterI. Russian folk tale as an object of study
1.1. Definition of the concept “fairy tale”
The great writer, linguist, collector and interpreter of Russian words gives two definitions of a fairy tale. In his “Dictionary of the Living Great Russian Language” the word “fairy tale” is explained as an announcement, message, announcement, as well as a fairy tale - “a mental story, an unprecedented and even unrealizable story, a legend.”
Fairy tales are collectively created and traditionally preserved by the people oral prose artistic narratives of such real content, which necessarily require the use of techniques of implausible depiction of reality.
A fairy tale is a type of narrative folklore, including various genres and narrative literary genre. Folklore, as well as literary fairy-tale genres, allow a certain amount of fiction, tell about events that are unusual in the everyday sense (fantastic, miraculous or everyday, demonological stories). The reliability of fairy-tale events is sometimes questioned by the storyteller himself (in folklore), or the author (in literature), and, usually, by the listener and/or literary reader.
A fairy tale is one of the main genres of folklore, an epic, predominantly prosaic work of a magical, adventurous or everyday nature with a focus on fiction.
Fairy tale: 1) a type of narrative, mostly prosaic folklore (fairy-tale prose), including multi-genre works, the content of which, from the point of view of folklore bearers, lacks strict reliability; 2) genre of literary narrative (literary fairy tale).
Fairy tale – 1) a narrative work of oral folk art about fictitious events; 2) Untruth, lies, fiction, something that no one believes (colloquial).
A famous Russian scientist, writer, lawyer, philosopher gave his definition of a fairy tale in 1942: “A fairy tale is an epic, most often prosaic work with a focus on fiction, a work with a fantastic plot, conventionally fantastic imagery, a stable plot-compositional structure and focused on listener through the form of storytelling"
A well-known fairytale expert gives a definition of a fairy tale, which is worth agreeing with: “A folk tale (or “kazka”, “fable”, “fable”) is an epic oral work of art, predominantly prosaic, magical, of an adventurous or everyday nature with a focus on fiction. The last feature distinguishes a fairy tale from other genres of oral prose: tales, legends and tales, that is, from stories presented by the narrator to listeners as a narrative about events that actually took place, no matter how unlikely and fantastic they may be.”
Having analyzed these definitions, we can highlight common features inherent in a fairy tale:
one of the genres oral folklore;
· the fairy tale contains fictitious events and lacks authenticity.
1.2. Distinctive features of Russian folk tales
Fairy tales different nations have also pronounced national traits. Russian folk tales are extremely diverse, rich in artistic palette and significance. Their national specificity is reflected in the language, in everyday details, in the nature of the landscape, way of life, mainly peasant.
Russian folk tales have a certain ideological orientation, and, above all, humanism, in which lies its longevity and vitality in our days.
Russian fairy tales traditionally contain good and evil heroes, well-established epithets: Vasilisa the Wise, Elena the Beautiful, a beautiful maiden, a good fellow, spring is red and many others. In fairy tales about animals, certain characters - animals - are endowed with “permanent characteristics”: the bear is clumsy, clumsy, strong and kind; gray wolf - fierce but stupid; The sly fox always gets away with any situation. Positive heroes of fairy tales: Ivan the Fool, Elena the Beautiful, Vasilisa the Wise - bearers of folk ideals and high morality.
The bright world of positive fairy-tale heroes and their assistants is contrasted with the dark forces of this kingdom - Kashchei the Immortal, Baba Yaga, Dashing One-Eyed, Leshy, Vodyanoy - all kinds of evil spirits.
Russian folk tales have a traditional composition: the beginning (the opening line) is “Once upon a time... In a certain kingdom, in a certain state...” An interesting, unpredictable development of the plot, a climax, with the inevitable triumph of good, and a denouement. In fairy tales, triplicity of repetitions is often used: three roads, three brothers, 33 years old, etc. Everyday fairy tales, as a rule, have a satirical content and ridicule stupidity, laziness, greed, and carelessness. Particularly popular in Russian folklore are tales about smart men and swaggering, stupid and stubborn landowners and priests. They reflected the aspirations and expectations of the people, their confidence in the triumph of justice. It brings goodness, an understanding of justice, an unshakable faith in the triumph of truth, and the victory of the forces of light.
In Russian fairy tales there are often repeated definitions: good horse, gray wolf, red maiden, good fellow, as well as combinations of words: a feast for the whole world, go wherever the eyes look, hung his head violently, neither can be said in a fairy tale, nor described with a pen, soon the fairy tale is told, but the deed is not done soon, it takes a long time Is it short?
Often in Russian fairy tales the definition is placed after the word being defined, which creates a special melodiousness: my dear sons, the sun is red, the beauty is written. Short and truncated forms of adjectives are characteristic of Russian fairy tales: the sun is red, he hung his head violently, and verbs: grab instead of grabbed, go instead of go.
The language of fairy tales is characterized by the use of nouns and adjectives with various suffixes, which give them a diminutive meaning: small - enk - y, brother - ec, rooster - ok, sun - yshk - ko. All this makes the presentation smooth, melodious, and emotional. Various intensifying-excretory particles also serve the same purpose: that, that, that, ka (What a miracle! Let me go to the right. What a miracle!)
Thus, distinctive features Russian folk tales are:
1. The presence of fairy-tale formulas - rhythmic prose phrases:
· “Once upon a time...”, “In a certain kingdom, in a certain state...” - fairy-tale initials, beginnings;
· “The fairy tale is told soon, but the deed is not done soon” - middle formulas;
· “And I was there, I drank honey and beer, it flowed down my mustache, but it didn’t get into my mouth,” “The fairy tale is a lie, but there is a hint in it, a lesson for good fellows,” - a fairy-tale ending, finale.
2. The presence of “common passages” - whole episodes wandering from text to text of different fairy-tale plots: the arrival of Ivan Tsarevich to Baba Yaga, where prose alternates with rhythmic passages.
3. Clichéd description of the portrait: Baba Yaga - a bone leg, Vasilisa the Wise.
4. Clichéd formulaic questions - answers: “Where is the way - the road you are heading?”, “Stand in front of me, stand with your back towards the forest”, etc.
5. Clichéd description of the scene: “on Kalinov Bridge, on the currant river,” etc.
6. Clichéd description of actions: the hero’s journey on a carpet - an airplane, etc.
7. The presence of general folklore epithets: a beautiful maiden, a good fellow, etc.
1.3. History of the study of fairy tales
The word "fairy tale" first appears in the seventeenth century as a term denoting those types of oral prose that are primarily characterized by poetic fiction. Until the mid-nineteenth century, fairy tales were seen as “mere amusement” worthy of the lower classes or children, so fairy tales published at this time for the general public were often reworked and rewritten according to the tastes of the publishers.
Around the same time, among Russian literary scholars there was a growing interest in authentic Russian fairy tales - as works that could become the foundation for the study of the “real” Russian people, their poetic creativity, and therefore able to contribute to the formation of Russian literary criticism. At that time it was believed that the formation of a national literary school is possible only in the conditions of the existence of “truly folk” literature; for this, in fact, it was necessary to understand what the origins of Russian spirituality, of the Russian national character are.
The study of fairy tales can be carried out from the 18th century, when, in fact, scientific interest in them arose. One of the first scientists who understood the value of fairy tales was a historian who saw in them a reflection of the history and life of the Russian people.
Many writers of the 18th century showed interest in fairy tales, but only at the beginning of the 19th century. They saw in them the expression of “the soul of the Russian people,” as the Decembrist Marlinsky said. He not only found echoes of antiquity in them, but also understood their vital significance.
Belinsky appreciated historical meaning fairy tales He valued satirical tales especially highly. In his opinion, fairy tales are very important for the study of folk concepts, views and language. And he considered the tales “About Shemyakin’s Court” and “About Ersha Ershovich” to be “precious historical documents.”
Since the 50s of the XIX century. The first scientific schools in the field of folklore studies began to form in Russia. They paid a lot of attention to fairy tales. The so-called mythological school saw in fairy tales the necessary material for the study of myths, of which it considered fairy tales to be a direct continuation.
For the study of fairy tales, the system was very important historical poetics which I tried to build. She contributed to the study of many issues related to the fairy tale: its origin, history, structure, typology of plots and their connection with the socio-historical conditions of existence of this genre. His views on the structure of a fairy tale and its main elements turned out to be especially valuable.
Among scientific works about the fairy tale early XIX V. One should mention the large article by V. Bobrov “Russian folk tales about animals” (1906-1908), which gives a detailed description of this type of fairy tales. compiled a “Systematic Index of Themes and Variants of Russian Folk Tales” (1911-1914). The book “Russian Folk Fairy Tale” (1914) is very important, in which the history of collecting and studying Russian fairy tales is outlined in some detail.
Works dedicated to Russian fairy tales are of great interest. From her fascination with the individual characteristics of storytellers, she turned to the general issues of fairy tales. In 1963 the book “Russian Folk Fairy Tale” was published, in 1965 - “The Fates of the Russian Fairy Tale”. The second of them examines in detail historical path Russian folk tales.
A valuable study on the fairy tale is the book “Images of an East Slavic Fairy Tale” (1974). It is devoted to the consideration of four main types of fairy-tale heroes: heroic heroes, ironic losers, hero’s assistants, and hero’s opponents. Research wears comparative nature: the author compares Russian, Ukrainian and Belarusian fairy tales, which makes it possible to highlight what they have in common and establish national differences in language and style, details of everyday life and features of the depiction of nature.
1.4. Classification of Russian folk tales
Attempts to identify types of Russian fairy tales and construct their classification began in the first half of the 19th century, when he divided them according to the characters of the heroes (heroes, daring people, fools, wise men, monsters, etc.). But since characters of this type acted in different types fairy tales, and, in addition, Sakharov did not take into account fairy tales about animals, then the classification he proposed did not take root in science.
Various researchers of Russian folk tales have proposed their own classifications. This is how Russian folk tales are divided into fairy tales:
· about animals;
· magical;
· adventurous - novelistic;
· household .
offers his classification of Russian folk tales:
· magical;
· cumulative;
· about animals, plants, inanimate nature and objects;
· everyday or novelistic;
· fables;
· boring fairy tales.
Tales about animals. The main characters are animals, birds, fish, as well as objects, plants and natural phenomena. In fairy tales about animals, a person either 1) plays minor role(the old man from the fairy tale “The Fox and the Wolf”), or 2) occupies a position equivalent to an animal (the man from the fairy tale “The Old Bread and Salt is Forgotten”). If in world folklore there are about 140 plots of fairy tales about animals, then in Russian folklore there are 119, of which a significant part is not repeated among any of the nations.
Fairy tales. 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 and unprecedented beasts: Deer-Golden Antlers, Golden bristle pig, Sivka-burka, Firebird. Often people fall into wonderful objects: ball, self-assembled wallet, self-assembled tablecloth, self-assembled baton. In such a fairy tale, everything is possible!
Fairy tales are based on a complex composition, which has an exposition, a plot, plot development, a climax and a denouement. The plot of a fairy tale is based on a story about overcoming a loss or shortage with the help of miraculous means or magical helpers. The exposition of the fairy tale tells about all the reasons that gave rise to the plot: prohibition and violation of the prohibition on some actions. The premise of the tale is that the protagonist or heroine discovers a loss or shortage. Plot development is a search for what is lost or missing. The climax of a fairy tale is that the protagonist or heroine fights an opposing force and always defeats it (the equivalent of fighting is solving difficult problems. These problems are always solved). Denouement is overcoming a loss or lack. The hero or heroine at the end “reigns” - that is, they acquire a higher social status than they had at the beginning.
The moral of a fairy tale is always determined by popular ideas about good and evil, i.e. ideas common people about an ideal embodied in the image of positive heroes who invariably emerge victorious in the irreconcilable struggle against evil and injustice. In Russian folk tales, the most popular stories are about the three kingdoms, about the magic ring, about Ivan the Fool, about Sivka the Burka, about Vasilisa the Wise, about Helen the Beautiful, about Kashchei the Immortal, etc.
Novelistic fairy tale(everyday) has the same composition as a fairy tale, but has a qualitative difference with it. In a fairy tale of this genre, unlike a fairy tale, truly miraculous events occur (the worker defeats the devil). In the short story there is a trickster - a man. He is from the people's environment, he fights for justice with great power and achieves it. In their structure they are close to an anecdote and usually they are imbued with an acute social orientation. Usually the storyteller imagines a peasant, worker or soldier in a situation well known to him.
The novelistic fairy tale accurately conveys life and circumstances folk life. Truth coexists with fiction, with events and actions that cannot actually happen. For example, a cruel queen is corrected by changing places with the wife of a brawling shoemaker for several days. In everyday fairy tales, the weak and the strong, the rich and the poor are contrasted.
In an everyday fairy tale (it is not without reason that it is also called a picaresque), theft is quite acceptable. In fairy tales, failures haunt everyone who in real life dominated the people, robbed them, and offended them. The peasant gains the upper hand over the master, the worker over the priest, the soldier over the general, and the younger one, offended in the family, over the tyrant old men. The beginning of the fairy tale corresponds to the actual, unfair state of affairs, and the end necessarily destroys this injustice.
Cumulative tales are built on the repeated repetition of some link, as a result of which either a “pile up” or a chain arises. The cumulative unit is distinguished:
1. With endless repetition: “The Tale of the White Bull,” “The priest had a dog,” etc.
2. With final repetition:
· “Turnip” - plot units grow into a chain until the chain breaks;
· “The cockerel choked” - the chain “unwinds” until the chain breaks;
· “For a rolling duck” - the previous unit of text is negated in the next episode.
There are few cumulative tales in Russian folklore. In addition to the compositional features, they are distinguished by style, richness of language, often gravitating towards rhythm and rhyme.
Tales - These are fairy tales built on the absurd. They are small in volume and often take the form of rhythmic prose. Fables are a special genre of folklore, which is found among all nations as independent work or as part of a fairy tale, buffoon, bylichka, epic.
Boring tales. Such tales were created as comic and always funny. They were composed primarily to fend off ardent fans of fairy tales, but also adults. These works begin with the usual enticing beginning, and end with a strange ending, when the attentive listener finds himself in unexpected confusion (A crane and a sheep walked around the ring, around the ring: they were sweeping away a haystack, should we say from the end?).
Chapter II. Analysis of Russian folk tales from the point of view of psychology
2.1. Russian folk tale "Kolobok" ( fairy tale text see Appendix No. 1)
The fairy tale begins like this: “Once upon a time there lived an old man and an old woman.” The very beginning of the tale suggests that these old people lived poorly and alone, because if it was said that a grandfather and a woman lived, then one could assume that they have grandchildren, which means they are not alone.
Psychological characteristics of Kolobok
It can be assumed that this character was good-natured. This can be judged by its shape: round, ruddy. Its roundness tells us that it is not conflicting.
Kolobok was also cheerful, because he sang songs all the time. At some points he seems downright stupid. You can draw an analogy between Winnie the Pooh’s song about “there is sawdust in my head” and Kolobok’s song: in his song he also tells what he is made of, what he consists of. However, the fact that he sang songs suggests that his movement caused him not fear, but joy, and joy does not sit inside, which is why he expressed his emotions so actively.
By nature, Kolobok was an extrovert: he did not lie alone on the window, talking to his inner voice, but hit the road.
It can be assumed that Kolobok was an egoist. Firstly, he abandoned his elderly parents, and secondly, when meeting animals, when they wanted to enter into dialogue with him, he spoke only about himself, talking only about his life: he will tell and run away. We can say that the communication process was one-sided. Relationships are built on the principle of avoidance: he will tell about himself and slip away.
The inability to build communication is evidenced by the fact that different animals are different types of people. They appear in the form of a hare, wolf, bear and fox. With each of the types of characters he encounters, he demonstrates the same model of behavior, instead of finding his own approach to each. It is necessary to be able to build your own strategy of behavior and communication with each type of people.
Another component of Kolobok is his vanity. Listening to praise about himself, he forgot about the danger. He paid for his vanity.
The lines from his song speak about Kolobok’s self-confidence: “And I’ll run away from you!”
Motives for Kolobok's actions
His movements and actions were not controlled by consciousness: at first he lay and lay on the window, then he rolled, not realizing where and why. There is no purpose in his movement.
The general meaning of the tale
1. Who eats Kolobok? Someone who knows how to manipulate people. Now it is fashionable to talk about the ability to influence people. Lisa coped with this task more effectively than anyone else. Those who know how to manage people, know all their strengths and especially weaknesses, make good psychologists, managers, lawyers, etc.
2. It is necessary to learn to build relationships with other people, to study effective communication and interaction.
3. The fairy tale “Kolobok” is a fairy tale about spiritual development. Kolobok ran away and abandoned his social group and began his journey of knowledge. The first one on the way was a hare. The hare symbolizes fear and cowardice. Fear is a very huge obstacle to achieving your goal. But he runs away from the hare, which means he overcomes fear. Next is the wolf. The wolf is a predator that lives by killing others. The wolf symbolizes aggressiveness, hostility, temper, anger. These are precisely the qualities that interfere with the path of self-improvement. But Kolobok overcame them too and ran away from the wolf. Next Kolobok met a bear. He is lazy and complacent. Laziness and complacency are a danger that warns any person who has already managed to achieve something in life. For many of us, indulging in these two qualities means one thing - spiritual death. Our Kolobok overcomes this obstacle too. But all spiritual development ended when he met the fox, who played on the weak sides of Kolobok’s personality.
2.2. Russian folk tale "Turnip"(for the text of the tale, see application No. 2)
1. Grandfather could not pull out the turnip. But the grandfather did not lose heart, he found a way out of the situation. If you can’t do something alone, you don’t have to rely only on yourself, be proud and independent, you can call comrades, friends, etc. In any, even the most hopeless situation, you need to have the support of people. After all, we are often unable to cope with our problems on our own. Taking a step forward, you need to realize that you have support and solid support that will not let you down at the most inopportune moment. The fairy tale teaches us to understand that to solve specific problem a unified force is needed.
2. Grandfather called grandmother. The grandfather is, of course, the head of the family, and the grandmother is subordinate to him. The grandfather turned for help to someone who is hierarchically lower than him, which means it was his mistake. But my grandfather had no other choice.
3. The grandmother called her granddaughter. It is interesting that the granddaughter is called not by the grandfather, as the head of the family and the leader of the process of pulling out the turnips, but by the grandmother. This is probably because the girl in the family, when distributing roles and responsibilities, is still subordinate to adult woman, and not from my grandfather. We used the last reserve, but the turnip is still in the ground.
4. The granddaughter called Zhuchka. An interesting fact is that the grandfather, grandmother and granddaughter are nameless, and their four-legged friends have names (Zhuchka, Masha). This suggests that these are not just random animals, but members of their family, residents of this house. The girl calls for help from the one she plays with and spends more time with - Bug.
5. Who should we call Zhuchka if there is only one cat left, Masha, and we know that cats and dogs rarely get along with each other? The inability to pull out a turnip, which means the likelihood of remaining hungry and finding oneself in a difficult life situation, unites the family, and peace replaces hostility. The bug calls, and Masha comes. Here is a test of loyalty to the masters, and, by and large, a test of whether we can forget our impartiality in the face of a common cause, whether we can have this most common thing, and on the other hand: whether we can forgive our enemies.
6. When all the resources of a given family are exhausted, who should you call for help? Masha called her enemy - the mouse. And the mouse came. The motive of the mouse is not clear, because Masha tried to eat the mouse every now and then in real life, and it is unlikely that she would have been treated to a turnip. According to her reasoning, it should probably be like this: let this Masha suffer with the turnip, as I suffered while running away from her. But a mouse is an animal that, one way or another, lives near people and feeds from their table, their crumbs, supplies, etc. Probably, remembering this, the mouse decided to help them solve their problem in gratitude.
7. The fairy tale showed that in this family everyone lives in peace and harmony, with a clear distribution of family roles and responsibilities. IN Hard time everyone is ready to help the other.
8. The smallest of this chain of pullers helped pull out the turnip. This suggests that even the smallest help cannot be neglected, and also that the loss of one, even the weakest link, threatens failure in solving the problem, when working on a common cause.
2.3. Russian folk tale “The Frog Princess” ( For the text of the tale, see appendix no. 3)
1. The tale begins with the king gathering his sons and announcing to them his desire to marry them. To do this, he suggested that they shoot arrows: wherever the arrow hits, there they will woo the bride. Ivan Tsarevich and his brothers in this situation do not show personal maturity, because the father-tsar sets a vital goal for them. They also do not have freedom of choice (take the bride from those places where the arrow will hit). The heroes do not have an active position, but this is understandable: since the goal was not set by them, then there is no motivation in choosing a bride.
IN in this case they act as externals (these are people who shift responsibility for the events that happen to them to other people; mature individuals must be internals, i.e., take responsibility for themselves).
2. Having received a frog as a wife, Ivan resigned himself, although he was upset. Each time he received tasks for his wife from his father, Ivan became sad, gave up, again demonstrating a passive position. In these situations, he refused to do anything, did not even invite his wife to think, discuss the situation in order to find a way out. Ivan obediently went to bed, expecting that the morning would be wiser than the evening.
3. Vasilisa the Wise in the image of a frog, on the contrary, shows activity, wisdom, creativity, and the ability to support the weak. Ivan Tsarevich still shows infantilism, rejoicing that his wife is completing tasks and is not even interested in how she does it. Now his wife solves all his problems for him.
4. When the protagonist burns the frog's skin, he creates problems for both himself and his wife. Here Ivan demonstrates his selfish beginning, indulging only in his own desires. Vasilisa flies away, turning into a bird.
5. At this stage, the formation of Ivan’s personality begins. He shows search activity, responsibility for his wife, and independence in choice, having decided to go in search of his wife. On the way to his goal, Ivan overcomes many obstacles, shows courage, meets new characters, learns to accept and provide help, sympathize, and appreciate the lives of others. This character gradually becomes a mature personality, developing certain qualities in himself, acquiring certain characteristics.
6. When meeting an old man, Ivan receives a ball that should lead him further. This suggests that you don’t always have to rely on yourself, act at random, go “wherever your eyes look,” and it’s not a sin to ask for the advice of an older, more experienced person, to use his “guiding ball.”
7. The ability to negotiate with people, trust partners, and coordinate your actions with them can be traced from scenes of encounters with animals.
8. Returning home with Vasilisa means that Ivan has joined his roots, which creates the impression of stability and stability, confidence in the future.
9. Restoring the integrity of the family and its psychological well-being depends on both spouses: it is necessary to correctly distribute roles in the family, and be able to take responsibility for their actions and decisions regarding the family.
10. We suggested that maybe Ivan did a good thing by burning the frog’s skin. Maybe this was necessary for the frog to become a princess? Only here, too, there is something to think about. If the person next to you is going through a “process of transformation,” then it is useful for him to know that he is supported, respected and understood, and not cut off from going back. Conversely, the way back can remain long enough and create a feeling of freedom (if you want to return to the frog skin, please), and you need to let the person understand that he has already grown out of this frog skin, and as soon as he understands this, burn it together.
2.4. Russian folk tale "Ryaba Hen"(text of the tale see Appendix No. 4)
1. Once upon a time there lived a grandfather and a woman. Why not husband and wife? In the village any woman was called a woman, regardless of her age, but a middle-aged man would be called a muzhik. So the word "grandfather" is a reference to age. It is significant that there are only two of them - grandfather and woman, other people are absent. So you imagine a dilapidated hut, two old people who have no one to turn to for help.
2. And they had a hen called Ryaba. The old people lived poorly, but they still had chicken. They loved her, this can be seen from the way they called her - not hen, but hen.
3. The chicken laid an egg - not an ordinary one, but a golden one. And here’s the mystery – the egg turned out to be not simple, but golden. The course of their lives, which seemed to be set once and for all, was disrupted. Perhaps there is a hint here: constancy is deceiving; while life lasts, everything can change - quickly and at the most inopportune moment. The one who stands tall can fall, and the one who falls can rise. Here a miracle is sent to the elderly. A golden egg from an ordinary chicken should be perceived as a miracle even at the everyday level. It is unlikely that the old people had ever held gold in their hands before; they might never have seen it at all, but they must have heard about it for sure. In any case, the fact that this testicle is not simple is quite obvious. And what are their actions?
4. Grandfather beat and beat, but did not break. They beat the woman and beat her, but she didn’t break her. The listener of the fairy tale - a modern adult - will call such behavior inadequate. What are the signs of inadequacy? The grandfather, and after him the woman, cannot go beyond the stereotype. They are trying to break the golden egg, that is, they treat it the same way as they treated ordinary eggs before. They simply have no other actions in stock. On the one hand, this is naivety and even innocence. The current pragmatist, knowing the price of gold, would certainly find a way to turn a miracle into wealth. However, on the other hand, the grandfather and woman simply cannot accommodate the miracle that befell them. As a result, they don’t need a miracle.
5. The mouse ran, waved its tail, the egg fell and broke.
She pushed the egg not out of malice, but by chance - she simply waved her tail out of place. And the blame for what happened lies not with the mouse, but with the grandfather and woman - they left the egg unattended, and did not even put it in the basket, but forgot it on the table or on the bench, apparently where they were unable to break it. We have to admit the disregard for the miracle. If at first the egg seemed special and aroused interest, then the miracle became boring, especially since it was not possible to get any benefit from it. And the unclaimed miracle goes away. The mouse here is only a physical reason; if it had not run past, something else would have happened.
6. Grandfather is crying, woman is crying. The motive for their crying is unclear, because they just wanted to break it themselves, but they failed. Besides, it’s probably annoying: it turns out they could have broken it, apparently they just didn’t approach it that way. The reason for their tears, if you follow the logic of the relationship between man and miracle, is different. This is repentance. The realization comes that the miracle was taken away due to their unwillingness to accept it. This is a feeling of their internal imperfection, spiritual wretchedness, regret over the loss not of gold as such, but of an unprecedented phenomenon.
7. And the chicken clucks: “Don’t cry, grandfather, don’t cry, woman.” I will lay you a new egg, not a golden one, but a simple one. The appearance of a golden egg is perceived as a gift of fate - so the grandfather and woman were lucky. But they couldn't manage it because they didn't know how. But hope is sent to them again, food is again promised in the form of a simple egg. A golden egg, probably, was a test, a temptation.
8. The meaning of the fairy tale is also that if you are given a chance to change your life, then don’t miss it, take advantage of it, and if you don’t take advantage, then don’t cry about the missed opportunities, but be content with the little that you have.
Conclusion
It often happens that the shorter the tale, more meaning she carries. Fairy tales are varied, like all of our lives. In Russian folk tales, you can find an explanation for your actions, compare yourself and the hero, they help us find a way out of difficult situations, build a positive scenario for changing our lives.
The fairy tale shows possible and desirable forms of behavior. The example of Ivanushka the Fool, who pretended that he did not know how to sit on Baba Yaga’s shovel, shows in which cases cunning is effective. In other situations, while listening to a fairy tale, learn that there are moments when you need to be brave and use direct aggression - take out a sword and defeat the dragon, show your strength or wealth.
A fairy tale, especially a magical one, is a source that restores mental strength. The ability to use magical power is nothing more than a reminder that additional leverage can be found to solve any problem.
A fairy tale allows you to experience emotions. The characters are, of course, fictional, but their actions evoke very real feelings. That is, a fairy tale provides an opportunity to learn from the mistakes of others! You can, for example, experience the state of your sister from the fairy tale “Geese and Swans” and find out how hard it will be if you “leave your brother and play and take a walk.”
A fairy tale has the power of suggestion. Most often, we tell a fairy tale before bedtime, when the child is relaxed, and this is a favorable state for suggestion. Therefore, it is advisable to tell positive stories with a happy ending at night.
The fairy tale prepares you for growing up. The unprepossessing Emelya turns into a handsome groom, little Thumbelina passes a series of tests and ends up in the land of the Elves. These are nothing but stories of transformation little man into an adult.
Psychologists believe that a person repeats the script of his favorite fairy tale. Therefore, let all people be surrounded by kind, optimistic, educational fairy tales.
List of used literature
1. Anikin folk tale: A manual for teachers. – M.: Education, 1977. – 208 p.
2. Vedernikov's folk tale. – M.: Nauka, 1975 – 32 p.
4. Dotsenko the space of a psychotechnical fairy tale // Journal of practical psychologist. - 1999. - No. 10-11.- p. 72-87.
5. Zinkevich - Evstigneeva to magic: theory and practice of fairy tale therapy. – M.: Education, 1996. – 352 p.
6. Pomerantsev features of Russian post-reform fairy tales. – M.: Soviet ethnography, 1956, No. 4, p. 32-44.
7. Pomerantsev folk tale. - M.: Soviet ethnography. – 1963 – 236 p.
8. Propp roots of a fairy tale. – L.: Leningrad State University. – 19s.
9. Russian humanitarian encyclopedic Dictionary: In 3 volumes - M.: Humanit. ed. VLADOS center: Philol. fak. St. Petersburg state Univ., 2002. – 704 p.
10. Fairy tale//Fasmer M. Etymological dictionary Russian language. T. 1-4. M., 1964-1973.
11. Skvortsova Russian fairy tale from a psychological point of view // Russian culture of the new century: problems of studying, preserving and using historical and cultural heritage / Ch. editor. Compound. . – Vologda: Book Heritage, 2007. – 708 p.
12. Dictionary literary terms. – M.: Education, 1974. – 332 p.
13. Dictionary Russian language: In 4 volumes / Ed. . - M.: State. Institute "Sov. encycl."; OGIZ; State foreign publishing house and national words, p.
14. Yanichev functions of a fairy tale. - Journal of a practical psychologist, No. 10–11, 199 p.
12. http://www. teremok. in/narodn_skazki/russkie_skazki/russkie_ckazki. htm
13. http://old. vn. ru
Approximate analysis folk tales
"The Fox, the Hare and the Rooster"
(Russian folk tale for children 3 - 4 years old)
In a simple and fascinating form, the fairy tale conveys to the child the idea of the triumph of justice.
The bunny, feeling sorry for the fox, let her into the hut to warm up. She warmed up and drove the bunny out of his own house. He walks through the forest and cries bitterly. The sympathies of the children are on the side of the offended bunny. The animals he meets along the way sympathize with him and strive to help - they make an attempt to drive out the fox.
The invader-fox intimidates the animals, they do not have the courage to resist her threats: the dogs and the bear run away. Only the cockerel does not give in to deceptive intimidation. He himself threatens to blow off the fox's head. The fox got scared and ran away, and the bunny began to live in his hut again.
In order for the idea of a fairy tale to become understandable to children, the narrator must create a correct sound picture of all events and the actions of each character. The responsive bunny let the fox warm up. When the fox drove him out, “the bunny goes and cries bitterly.” The fairy tale depicts a weak, defenseless animal. The narrator, using appropriate intonations, must show both the character of the bunny and his grief. The bunny’s complaint to the animals he meets sounds bitterly: “How can I not cry?..”
When the bunny sees that neither the dogs nor the bear drove the fox out, he says to the cockerel: “No, you won’t drive him out. They chased the dogs but didn’t drive them out, the bear chased them but didn’t drive them out, and you won’t drive them out!” There is hopelessness in his words.
The image of a fox is negative: it is an invader, an insidious, cruel deceiver. At the very beginning, the fairy tale depicts her behavior. In the words of the narrator: “She warmed herself up, and then kicked him out of the hut” - there should already be a condemnation of her action. Then the fox’s cunning should be conveyed when she intimidates the animals: “As soon as I jump out, as soon as I jump out, scraps will fly through the back streets!” She boldly and boldly scares animals. It is necessary to show this with intonation of voice. Her words at the end of the fairy tale sound completely different: “I’m getting dressed!.. I’m putting on a fur coat!” Here she herself is frightened by the rooster and, after the third insistent demand, quickly jumps out of the hut.
Dogs, a bear, a cockerel sympathize with the bunny. Each of them sympathetically asks: “What are you crying about, bunny?” By appearance and the animals are different in character. To accurately convey their images, the narrator uses different timbres and tempos of voice: the abrupt, fast, ringing voice of a dog, the slow, low-pitched speech of a bear, the ringing, melodious voice of a cockerel. For greater persuasiveness, it is good to use onomatopoeia: dogs should bark, a cockerel should crow.
The general tone of the entire tale, despite the bunny’s grief, is cheerful and cheerful. A good beginning prevails in her, a desire to help a friend. Against this cheerful backdrop, the narrator paints the unfolding events.
The composition of the fairy tale is based on a favorite fairy-tale device - repetition of the action: three meetings of a bunny with animals. Each of them is a complete episode and must be separated from the others by a significant pause.
You should also pause at the end of the fairy tale to give the children the opportunity to feel its happy ending.
"Snow Maiden"
(Russian folk tale for children 5 - 6 years old)
The fairy tale “The Snow Maiden” is magical: in it there is a miraculous transformation of a snow girl into a living one. As in any fairy tale, its wonderful element is intertwined with an everyday realistic basis: the fairy tale depicts the life of childless old people, pictures of native nature at different times of the year, and the fun of children.
This tale is somewhat different from other Russian folk tales in the nature of its content. While most of our fairy tales are cheerful and cheerful, this fairy tale is lyrical, with a tinge of sadness caused by the death of the Snow Maiden.
Reading the tale carefully during the preparation process, the narrator notes that in composition it differs from others. It does not have the dynamism characteristic of fairy tales, nor does it have the usual technique of repeating the action three times. All attention is focused on the image of the Snow Maiden, her behavior, and experiences.
The image of the Snow Maiden was created with great love. Hardworking, smart, friendly. The Snow Maiden is also beautiful in appearance: “every day, it becomes more and more beautiful. She herself is as white as snow, her braid is brown to the waist, but there is no blush at all.”
An image created with such love also requires appropriate lyrical intonations from the narrator, which evokes sympathy in the listeners for the Snow Maiden. The narrator's voice should sound warm, loving, but without cooing, without excessive sentimentality.
The fairy tale wonderfully shows the contrast between the joyful spring awakening of nature and the growing sadness and melancholy of the Snow Maiden. “Winter has passed. The spring sun has begun to warm up. The grass in the thawed patches turned green, the larks began to sing.” The narrator’s voice contains cheerful, cheerful intonations, and then, after a short pause, he continues with a tinge of sadness: “And the Snow Maiden suddenly became sad.”
The end of the fairy tale is expressive - the death of the Snow Maiden. A miracle happens - the Snow Maiden melted and “turned into a white cloud.” The narrator must depict both the surprise and the alarm of her friends when they call her: “Ay, ay, Snow Maiden!”
Russian folk tale "Kolobok" is a tale about animals.
A fairy tale about how a woman, at her grandfather’s request, baked a bun and “put it on the window to chill.” And the bun jumped from the window and rolled along the path. While he was rolling, he met various animals (bear, hare, wolf). All the animals wanted to eat the bun, but he sang a song to them and the animals let him go. When he met the fox, the bun sang a song to her, but she pretended to be deaf and asked the bun to sit on her sock and sing it one more time. The bun sat on the fox's nose, and she ate it.
The main characters of the fairy tale are the bun and the fox. Kolobok is kind, simple, brave. The fox is cunning and affectionate.
Moral of the story: “Say less, think more”, “Guess is as good as reason”, “Carefully planned, but foolishly done”, “Easy to boast, easy to fall.”
The fairy tale contains repetitions of phrases such as “Kolobok, Kolobok, I’ll eat you,” “Don’t eat me, I’ll sing you a song.” The kolobok song is also repeated.
Children should be explained words such as susek, barn, cold.
The fairy tale meets the requirements for the content of works for children, that is, it is accessible to children’s understanding, interesting for children, small in volume, the language is simple, the plot develops quickly, a small number of incomprehensible words.
This fairy tale is intended for reading to children of primary and secondary preschool age.
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17 Yudin Yu. Fool, jester, thief and devil (historical roots of everyday fairy tales). Publisher: Labyrinth-K, 2006-336с
BIOGRAPHICAL NOTE
Ershov Petr Pavlovich - famous writer(1815 - 1869), native of Siberia; received his education at St. Petersburg University; was the director of the Tobolsk gymnasium. He published poems in Senkovsky's Library for Reading and Pletnev's Sovremennik. Ershov gained fame from the fairy tale “The Little Humpbacked Horse,” which he wrote while still a student and was first published as an excerpt in 3 volumes of “Libraries for Reading” in 1834 with a commendable review from Senkovsky; The first four verses of the tale were sketched by Pushkin, who read it in manuscript. “Now I can leave this type of writing to me,” Pushkin said then. The great poet liked the lightness of the verse, with which, he said, Ershov “treats like his serf.” It was then published as a separate book and went through 7 editions during Ershov’s lifetime; starting from the 4th edition, in 1856 it was published with the restoration of those places that were replaced by dots in the first editions. “The Little Humpbacked Horse” is a folk work, almost word for word, according to the author himself, taken from the lips of the storytellers from whom he heard it; Ershov only brought it into a more slender appearance and added in places.
Simple, sonorous and strong verse, purely folk humor, an abundance of successful and artistic paintings (a horse market, a zemstvo fish court, a mayor) made this tale widespread; it gave rise to several imitations (for example, the Little Humpbacked Horse with golden bristles).
The first edition of “The Little Humpbacked Horse” was not published in its entirety; part of the work was cut out by censorship, but after the release of the second edition the work was released without censorship.
After the release of the fourth edition, Ershov wrote: “My horse again galloped throughout the Russian kingdom, happy journey to him.” “The Little Humpbacked Horse” was published not only at home, but also abroad.
Analysis literary fairy tale“The Little Humpbacked Horse” by Pavel Petrovich Ershov.
1) History of the creation of the work:
Since the time of Pushkin, Russian literature has acquired folk character. Pushkin's initiative was immediately taken up. The fairy tale “The Little Humpbacked Horse” became one of the responses to the call of the great poet to turn Russian literature towards the people.
Throughout his life, Ershov was haunted by the idea of describing Siberia. He dreamed of creating a novel about his homeland like the novels of Fenimore Cooper.
Thoughts about the people became the reason for the birth of the fairy tale “The Little Humpbacked Horse.” Closeness to the people, knowledge of their life, habits, customs, tastes, views ensured the fairy tale unprecedented success, which it enjoyed even in the manuscript.
The fairy tale was first published in the “Library for Reading” in 1834, and was later published separate publications. Tsarist censorship made its own adjustments - the fairy tale came out with banknotes. Pushkin introduced Ershov into poetic circles. There is evidence that he himself edited the tale and wrote the introduction to it.
Ershov's fairy tale took a place next to Pushkin's fairy tales. This is how it was viewed by contemporaries. Official criticism treated it with the same disdain as Pushkin’s fairy tales: this is a light fable for idle people, but not without some entertainment.
2) Genre features:
A unique genre of fairy tales. Let's consider two points of view: V.P. Anikin examines the work of P.P. Ershova as realistic and believes that the fairy tale “The Little Humpbacked Horse” is the poet’s response to the process of formation in literature realistic fairy tale. An unconventional view of the genre in studies about P.P. Ershov Professor V.N. Evseeva: “The Little Humpbacked Horse” is a work of a romantic poet, “a parody - folk tale”, in which “the romantic irony of the author sets the tone”; the aspiring poet expressed the ideas of “freedom as the great value of romantic consciousness.” In the fairy tale you can also find features romantic poem(poetic form, three-part structure, epigraphs to parts, lyrical-epic nature of the narrative, plot tension, originality of events and main characters, expressiveness of style.
In “The Little Humpbacked Horse” there are also signs of a novel: a significant length of the life story of Ivanushka Petrovich, the evolution of his character, a change of functions characters, extensive portraits, landscapes, descriptiveness, dialogues, the interweaving of “fairytale rituals” with an abundance of realistic scenes and details, as if snatched from life, the breadth of the social background.
In the first half of the 19th century, plots similar to “The Little Humpbacked Horse” were not found among folk tales. Only after the fairy tale was published, folklorists began to find plots that arose under the influence of this fairy tale.
However, in a number of folk tales there are motifs, images and plot devices present in “The Little Humpbacked Horse”: tales about the Firebird, the magic horse Sivka-Burka, about a mysterious raid on the Garden of Eden, about how the old fool - the king was delivered young bride, etc.
Ershov talentedly combined the plots of these fairy tales, creating a magnificent, vibrant work with exciting events, wonderful adventures of the main character, his resourcefulness and love of life.
3) Topic, problem, idea. Features of their expression.
The meaning of the fairy tale is in irony, in a joke, in direct satire: those who want to get rich do not get wealth. And Ivan the Fool achieved everything because he lived honestly, was generous and always remained true to his duty and word.
4) Plot and composition:
The very beginning of “The Little Humpbacked Horse” testifies to Ershov’s deep interest in genuine folk life. Instead of the idyllic “villages” that exist in literature, Ershov shows people who live by their labor interests. The fairy-tale plot unfolds against the everyday, prosaic background of reality. peasant life. Ershov shows the everyday prosaic underside of the repeatedly idealized “rural life.”
Fairy tale like literary work has a classic three-part form, a logical sequence in the development of events, the individual parts are organically woven into a single whole. All actions performed by the heroes are justified by the classical laws of a fairy tale.
Compositionally, P.P. Ershov’s fairy tale consists of three parts, each of which is preceded by an epigraph:
1. The fairy tale begins to tell.
2.Soon the fairy tale will tell. But it won’t be done soon.
3. Until now, Makar has been digging vegetable gardens. And now Makar has become a governor.
In these epigraphs one can already guess the pace and density of the narrative, and the changing role of the main character, determined by the aptness of the folk proverb.
Each part has its own dominant conflict:
1.Ivan and Little Humpbacked Horse - and savvy brothers. (The space of the family is the state.)
2. Ivan and the Little Humpbacked Horse - and the Tsar with his servants. (The space of the kingdom, so strikingly reminiscent of Russian borders in its breadth.)
3.Ivan and the Little Humpbacked Horse - and the Tsar Maiden. (Space of the Universe.)
The plot of each of the three parts represents a complete whole, consisting of rapidly occurring events. Time in them is compressed to the limit, and space is limitless; in each part there is a central event that most fully reveals the characters of the characters and predetermines further events.
In the first part it is the capture of a mare. She gives Ivan foals, and with them Ivan ends up serving in the royal stables. The first part ends with a brief story about further events up to the final episode, how the main character became king, thereby preparing the reader for further events, intriguing him.
In the second part, two events are central: Ivan, with the help of the Little Humpbacked Horse, catches the Firebird and delivers the Tsar Maiden to the palace.
As in many folk tales, Ivan performs the third, most difficult, almost impossible task - he gets the Tsar Maiden's ring and meets with a whale; At the same time, he visited heaven, where he talked with Mesyats Mesyatsovich, the mother of the Tsar Maiden, freed the whale from torment, for which he helped Ivan get the ring. The third part is thus the most eventful. It uses motifs known in folk tales: the hero. helps the person he meets, who, in turn, through a chain of characters, helps the hero himself, helping to complete the most difficult task.
The third part is the most eventful. It also uses motifs well-known in folk tales: the hero helps someone he meets, who, in turn, through a chain of characters, helps the hero himself, helping him complete the most difficult task.
All three parts of the tale are tightly connected by the image of Ivan and his faithful friend the Little Humpbacked Horse.
The fairy tale ends with an ending characteristic of folklore: the victory of the main character and a feast for the whole world, at which the narrator was also present.
The engine of the plot is mainly the character of the main character, who is always at the center of events. His courage, bravery, independence, resourcefulness, honesty, ability to value friendship, self-esteem help to overcome all obstacles and win.
One of the traditional artistic techniques, used by the storyteller, is doubling, which takes on an all-encompassing character: plot motifs and fragments are doubled, characters have their own doubles and “twins,” many parallel syntactic constructions with lexical repetitions appear in the narrative structure. There is a doubling of the genre - a fairy tale within a fairy tale, the “spheres of the universe” (earthly and underwater, earthly and heavenly kingdoms) are doubled. The function of doubling is the creation and destruction of fairy-tale reality; the “double-brothers” of “Danilo da Gavrilo” are satirically described.
SPACE IN A TALE:
The everyday and the fantastic are intertwined in a fairy tale. The fairy-tale universe consists of three separate kingdoms - earthly, heavenly and underwater. The main thing is earthly, having many characteristics and signs, the most detailed:
Behind the mountains, behind the forests, behind the wide fields...,
The brothers sowed wheat and transported it to the capital city: You know, that capital was not far from the village.
In addition to “topography,” the earthly kingdom has its own weather, signs of royal and peasant life. This kingdom is also the most densely populated: there are peasants, archers, animals and birds, the king and his servants, merchants and the mysterious “Tsar Saltan”. “I came from the land of Zemlyanskaya, from a Christian country.”
Heavenly Kingdom similar to earthly, only “the earth is blue”, the same tower with the Russians Orthodox crosses, fence with gate, garden.
The underwater kingdom is contradictory: it is huge, but smaller than the earthly one; its inhabitants are unusual, but subordinate to one another according to the laws of the earthly kingdom.
All three kingdoms, despite their seemingly dissimilarity, are one in essence, subject to the same social laws - the laws of tsarist bureaucratic Russia, and in relation to geography, the world order - according to the laws of perception of the world by a Russian - a steppe dweller, for whom there is and cannot be anything larger and more vast than the earth with its fields, forests and mountains.
The readers are surprised by the characters inhabiting the underwater and celestial kingdoms.
The image of the “Miracle-Yuda of the Whale Fish” is an echo of the myths about the origin of the Earth (firmament on three whales):
All its sides are pitted, palisades are driven into its ribs, there is cheese on its tail - the pine forest is noisy, on its back there is a village...
Village, peasant peasant Rus'. Keith is “bonded”, “suffering”, like Ivan, the last on the social ladder, according to the plot of the fairy tale, he experiences a transformation into an autocratic tyrant.
Ershov, talking about the unusual heavenly family– The Tsar – to the maiden, her mother Mesyatsa Mesyatsovich and “brother” the Sun, is guided by the mythological ideas of the Siberian peoples, similar to the Chinese mythological tradition, where the Sun is interpreted as “yang” - masculinity, and the Moon is “yin” - feminine.
5) System of images-characters:
On the one side, character system consists of traditional images of folk tales. This is Ivan the Fool, Ivan's brothers, the old Tsar, the Tsar Maiden, a wonderful horse - a magical assistant, the Firebird.
On the other hand, Ershov’s fairy-tale world is multi-character. It presents a multi-level gradation of the main and minor characters, supplemented by “doubles” - in the “mirror” reflection of the earthly kingdom underwater (Tsar - the whale, Ivan - the ruff).
The folk-fairytale type of Ivan the Fool was chosen as a positive hero. The prototype of Ivanushka Petrovich is the “ironic fool”. Like an ironic fool, he is extremely active in speech: the author depicted in this image a critical, ironic-looking detached attitude of the people's mind and heart to any power, to any human temptations (Ivanushka's only temptation is the Firebird's feather, which delighted him).
Already at the first test, Ivan turned out to be the most honest and courageous. If his brother Danilo immediately chickened out and “buried himself under the hay,” and the second, Gavrilo, instead of guarding the wheat, “walked watch all night under the neighbor’s fence,” then Ivan conscientiously and without fear stood guard and caught the thief. He treats his surroundings soberly, perceives any miracle as a natural phenomenon, and if necessary, enters into a fight with it. Ivan correctly assesses the behavior of others and directly tells them about it, regardless of their faces, be it his brothers or the Tsar himself.
At the same time, he is easy-going and able to forgive the misdeeds of others. So, he forgave his brothers who stole his horses when they convinced him that they did it out of poverty.
In all cases, Ivan shows independence, does not hesitate to express his opinion, and does not lose his self-esteem. Seeing the Tsar Maiden, he directly says that she is “not beautiful at all.”
If the “brothers” embody inertia, greed and other unattractive traits for Ershov, then Ivan is in his eyes the true personification of the best moral qualities of the people.
A natural, reasonable idea of the need for humane relations between man and man lies at the heart of the image of Ivan. Hence the uniqueness of his relationship with the king; a “fool” will never learn the need to maintain a respectful tone; he speaks to the king as to an equal, he is insolent to him - and not at all demonstratively, but simply because he sincerely does not understand the “indecency” of his tone.
The image of Ivan’s assistant, the horse, is unusual - a “toy” height of three inches, arshin ears that are convenient to “clap with joy,” and two humps.
Why is the horse double-humped? Maybe this image came from childhood - Ershov lived in Petropavlovsk and Omsk - cities that are the gates to the midday lands - India, Persia, Bukhara; There, at the bazaars, he met animals unprecedented for Siberia - two-humped camels and long-eared donkeys. But perhaps this is too simplistic an analogy. Ershov based the image of Ivanushka on the farce of Parsley, the favorite of the Russian people. Petrushka was unprepossessing: he had a nose and a hunchback. Have the humps “moved” from Parsley’s back to the skate?
There is another hypothesis: the horse is a distant “relative” of the ancient mythological winged horse, capable of flying towards the Sun. The wings of the miniature Ershovsky horse “fell off”, but the “humps” were preserved, and with them a powerful force capable of delivering Ivanushka to heaven. Man has always wanted to fly, so the image of a skate is attractive to the reader.
IVAN AND KONEK:
A pair of heroes as one main character is presented in this fairy tale in a completely original way (in comparison with the folk fairy tale tradition).
These heroes are both opposed and compared: the hero and his “horse”. The curious, reckless, even arrogant hero - and his reasonable, wise, compassionate comrade are essentially two sides of the same "broad Russian nature."
With all this, they are surprisingly similar to each other: Ivan is a fool, the youngest, a “hero with a defect” from the generally accepted point of view; The Little Humpbacked Horse is a “freak” in his world, he is also the third, the youngest, so they turn out to be dialectically complementary and mutually exclusive heroes.
The anti-humanistic principle, hostile to the people, is embodied in Ershov’s fairy tale by the tsar, represented by a ferocious and stupid tyrant - an image no less revealing than Pushkin’s Tsar Dadon. He is far from a good-natured and sincere king. “I’ll screw you up,” “I’ll impale you,” “out there, slave.” The vocabulary itself, typical of everyday serfdom, indicates that in the person of the Tsar Ershov gave collective image feudal Russia.
I will give you over to torture, I will order you to be tormented, I will tear you into small pieces...
Continuing Pushkin's traditions, Ershov directs all the arrows of sarcasm at the figure of the tsar - a pathetic, stupid tyrant lazily scratching himself out of boredom.
All appearances of the king are accompanied by remarks like: “The king told him, yawning,” “The king, shaking his beard, shouted after him.”
The attitude towards the Tsar and his courtiers is very well demonstrated when P.P. Ershov describes the orders and relationships in the sea kingdom, which is a mirror image of the earthly world. They even need a lot of “fish” to carry out the decree. P.P. Ershov’s Ivan does not respect the Tsar, since the Tsar is capricious, cowardly and extravagant, he resembles a spoiled child, and not a wise adult.
The Tsar is depicted as funny and unpleasant, not only Ivan laughs at him, but also Mesyats Mesyatsovich, this is how the Month responded when he learned that the Tsar wanted to marry the Tsar Maiden:
Look what the old horseradish is up to: He wants to reap where he didn’t sow!...
By the end of the tale, the contemptuous attitude towards the king is quite clear. His death in the cauldron (“Thumped into the cauldron - / And there he boiled”) completes the image of an insignificant ruler.
COURTIERS:
But the king is only the main oppressor of the people. The trouble is that all his servants are in charge with him. Ershov draws a bright picture gatherings of the people. Not only peasants are oppressed, but also courtyard people. No matter how hard the people work, they still remain poor.
The appearance of a “city detachment” led by a mayor indicates a police regime. The people are treated like cattle: the watchman screams and beats people with a whip. The people remain silent without protesting.
The mayor, overseers, horse detachments, “stirring up the people” - these are the pictures of feudal Rus' that appear through Ershov’s playful verse. The merriment that broke out in the crowd incredibly surprised the authorities; they were unfamiliar with people expressing emotions.
6) Features of the speech organization of the work:
A) the narrator's speech:
But now we will leave them, Once again we will amuse the Orthodox Christians with a fairy tale, What our Ivan has done...
“Eh, listen, honest people! Once upon a time there lived a husband and wife...”
And also the story about any events begins with the particle “well”:
Well, sir, so here it is! Once Danilo (On a holiday, I remember it was)...
Well, so our Ivan is going to the ocean for the ring...
And like a folk storyteller, he interrupts the presentation, explaining something incomprehensible to the listener:
Here, having put it in the casket, He screamed (with impatience)...
B) syntax and vocabulary:
Each verse is an independent semantic unit, the sentences are short and simple.
The language of a fairy tale, according to L.A. Ostrovsky, has 700 verbs, which makes up 28 percent of the text. The verbs theatricalize the fairy-tale action, create dynamism, the movements of the characters are emphatically stage-like, comic: “Well done, he jumped from the cart...”, “with a flying leap...”, “shaking his beard,” “with a quick swing of his fist.” Sometimes there is a whole cascade of verbs.
The characters' speech should be "farcical", colloquial, rudely familiar. The verse form approaches folk, partly raesh (spoken) verse - with its paired rhyme, with a small number of syllables in this rhythmic unit of folk verse speech. Lexical “discordance” and “corrupted” syntax are not only appropriate, but necessary as signs of a free element theater square, playing with the word. The theatrical nature of The Little Humpbacked Horse explains why many theaters throughout the century willingly staged performances based on this work.
C) means of expression (language of a fairy tale):
The tale is permeated with light humor and slyness, which has long been characteristic of the Russian people and reflected in their oral artistic creativity.
Like Pushkin, Ershov does not overuse metaphors and epithets that decorate words. Exceptions are ritual fairy-tale expressions: “the eyes were burning like a yacht,” “the tail was flowing golden,” “the horses are violent,” “the horses are brown and gray.” But he knows how to give a large semantic load to a convex, purely folk image. Just as the hero Ivan is presented in two planes, so every word and phrase of his is ambiguous. His descriptions often contain irony and mockery.
What’s funny in a fairy tale is also created by proverbs, sayings, sayings, and jokes:
Ta-ra-ra-li, ta-ra-ra! The horses came out of the yard; So the peasants caught them and tied them tighter...
A raven sits on an oak tree, He plays the trumpet...
The fly sings a song: “What will you give me for the news? Mother-in-law beats her daughter-in-law..."
Comparisons: that mare was all like winter snow white; she twisted her head like a snake and launched herself like an arrow; the face looks like a cat’s, and the eyes are like those bowls; the greenery here is like an emerald stone; like a rampart on the ocean, a mountain rises; The little humpback flies like the wind.
Epithets: stormy night, golden mane, diamond hooves, wonderful light, summer rays, sweet speech.
Metonymy: you will walk in gold.
Rhetorical questions, appeals, exclamations: What a miracle?
Outdated words: sennik (mattress with hay), malakhai (slob), matting (fabric), rage (strong, healthy), prozumenty (braid, ribbon), shabalka (means for crushing something), forelock (strand of hair, cowlick) , busurman (infidel, non-Christian), balusters (funny stories).
Phraseologisms: he didn’t hit the dirt with his face, he doesn’t even let his hair down, even if he broke his forehead, it’s like rolling cheese in butter, he’s neither alive nor dead, damn you!
7) Rhythmic-intonation structure:
In general, the tale is written in a sonorous trochaic tetrameter and is distinguished by the musicality of the verse. Sometimes a rhythm disturbance occurs.
There are verbal stretches: “the heat is like birds”, “I ran a mile to a friend”, “the hunter said when he died with laughter”, “distinguish himself like a canal”, etc. All this is a consequence of an uncritical attitude towards folk art, inattention to the strict selection of linguistic units, to finishing the verse.
The text contains a lot of verbal rhymes, almost always voiced. Rhyming words carry the greatest semantic load. This helps you remember the content more firmly.
The fairy tale “The Little Humpbacked Horse” and its ideological and artistic merits
The main advantage of the fairy tale is its clearly expressed nationality. It’s as if not one person, but the whole people collectively composed it and passed it on orally from generation to generation: it is inseparable from folk art. Meanwhile, this is a completely original work of a talented poet who emerged from the depths of the people, who not only learned the secrets of their oral poetic creativity, but also managed to convey their spirit.
Among the countless folk tales, there were no such stories as “The Little Humpbacked Horse,” and if, from the second half of the 19th century, folklorists recorded similar stories, they arose under the influence of Ershov’s tale. At the same time, in a number of Russian folk tales there are similar motifs, images and plot devices depicted in “The Little Humpbacked Horse”: there are tales about the Firebird, the extraordinary horse Sivka-Burka, about mysterious raids on the garden, about how they procured a young wife for the decrepit king, etc.
Ershov did not just connect the pieces from individual tales, but created a completely new, integral and complete work. It attracts readers with bright events, wonderful adventures of the main character, his optimism and resourcefulness. Everything here is bright, lively and entertaining. The fairy tale is distinguished by its amazing severity, logical sequence in the development of events, and the cohesion of individual parts into one whole. Everything that the heroes do is fully justified by the laws of the fairy tale.
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