Who wrote fairy tales in the 20th century. Development of the fairy tale genre in Russian literature of the 20th century

4. Analysis of Russian literary fairy tales of the 20-30s of the twentieth century.

4.1 Tales of Korney Ivanovich Chukovsky

The scholar-philologist, poet and prose writer, Korney Ivanovich Chukovsky, seemed to deliberately decide to “capture” all the readers for himself: tiny children, who cannot even be called readers, since they do not yet know how to read, and older children, and teenagers, and adults who have devoted themselves to a variety of professions, and all readers in general - just readers. Among his works there are fairy tales, poems, critical articles, memoirs, literary studies, stories, and other books that do not fit into the usual ideas about the genre. Korney Ivanovich decided to drive away boredom from literary genres considered boring.

But he is not only a writer of books - he is a compiler of collections and almanacs, translations of M. Twain and R. Kipling, an editor of translations done by others, a brilliant lecturer, as well as a performer of his poems. The word that M. Gorky pronounces so respectfully is very suitable for him - a writer.

Millions of readers - from two to old age - know Korney Ivanovich primarily as a cheerful, mischievous, wise storyteller.

In 1916, Chukovsky met M. Gorky. In a Finnish railway carriage, M. Gorky told him about his plan to revive genuine children's literature in Russia. “After my first meeting with Gorky, I decided to be bold: I began a poem for children (“Crocodile”), militantly directed against the canons that reigned in children’s literature at that time,” Chukovsky recalled. .

To fight against the canons that reigned in children's literature - that's why Crocodile flew from distant Africa to the beautiful but boring city of Petrograd.

When “Crocodile” was written, Chukovsky offered it to a respectable publishing house, which primarily produced luxurious volumes with gold edges and embossed bindings. The editor was outraged. “This is a book for street boys!” - he declared, returning the manuscript. The publishing house did not serve “street boys.” Then Chukovsky turned to T. A.F. Marx, who published one of the most popular Russian magazines, Niva. It was in this literary environment that “Crocodile” appeared in print, accompanied by wonderful drawings by Remi. The fairy tale was published in small installments from issue to issue, like an adventure novel.

The crocodile walked around Petrograd, causing everyone’s amazement (“Crocodile on the Avenue” is almost the same as “Ichthyosaur on the Avenue” in the verses of the futurist poet), but would not have touched anyone if some watchdog had not “bitten him in the the nose is a bad watchdog, ill-mannered.” The crocodile swallowed the watchdog, but, in self-defense, exceeded the limit of protection and began to swallow everything. Now the Crocodile has become the wrong party, and the one who would stand up for the horrified residents would deserve their gratitude and the good attitude of the author.

And then the brave boy Vanya Vasilchikov, the one who “walks the streets without a nanny,” came out to meet the Crocodile. The crocodile had to shed tears, beg for mercy and return all those swallowed. The winner of the “furious bastard” receives a reward, the comic exaggeration of which suggests that the feat, of course, was not performed for her, but, like all fairy-tale feats, for the sake of the strength and prowess of the valiant:

And give him as a reward

A hundred pounds of grapes

A hundred pounds of marmalade

A hundred pounds of chocolate

And a thousand servings of ice cream!

The “furious bastard”, having returned to Africa, unexpectedly turns out to be a kind father, and then just as unexpectedly calls on the animals to march on Petrograd - the tears shed by the Crocodile turned out to be, in the full sense, crocodile ones.

The animals, inflamed by the call of the Crocodile, went to war against Petrograd. Vanya Vasilchikov saved everyone again and established eternal peace with the defeated animals. Now Crocodile, Vanya, and the author are friends and acquaintances.

What is new for children's literature observed in this work?

“Pre-revolutionary children's poetry,” wrote the famous Soviet literary critic Yu. Tynyanov, “selected from the whole world small objects in the toy stores of that time, the smallest details of nature: snowflakes, dewdrops - as if children had to live their whole lives in a prison term called a nursery, and sometimes you just look out the windows covered with these snowflakes, dewdrops, little things of nature.

The poems were dull and pointless, despite the fact that the poems depicted mainly family celebrations.

There was no street at all...

All these fairy tales had some kind of moral: move as little as possible, be curious as little as possible, be less interested in everything, contemplate and not bother yourself and your parents...”

Chukovsky's fairy tale first paved the street through the domain of children's poetry. On the pages of the fairy tale, a large modern city lives an intense life with its everyday life, rapid pace of traffic, street incidents, squares, zoos, canals, bridges, trams and airplanes.

And, finding himself on this street, alone, without a nanny, Vanya Vasilchikov not only did not cry, did not get lost, did not get run over by a reckless cab driver, did not freeze in front of a Christmas window, was not stolen by beggars or gypsies - no, no, no! Nothing like what happened to girls and boys on the street in all the children's stories. It didn’t happen to Vanya Vasilchikov. On the contrary, Vanya turned out to be the savior of the poor residents of the big city, a powerful defender of the weak, a generous friend of the vanquished, in a word - a hero. Thus, the child ceased to be only the object at which the action of a poetic work for children is directed, and turned into the actor himself.

Chukovsky contrasted the descriptiveness of previous children's poetry with the effectiveness of his fairy tale, the passivity of the literary hero with the activity of his Vanya, and the cutesy “sensitiveness” with perky combativeness. In how many Christmas poems and stories, for example, did children freeze on the festive night! This story made the rounds of all children's magazines during Christmas and Christmastide. M. Gorky protested against such pseudo-touching freezing with his early story “About a boy and a girl who did not freeze.” The direction of Chukovsky’s fairy tale against them is all the more obvious since “Crocodile” is also a Christmas story: “It’s the holidays. The gray wolf will have a nice Christmas tree today...” And one more thing: “We’ll light candles on the Christmas tree, then we’ll sing songs on the Christmas tree.” .

The described character of the previous children's poetry corresponded to its poetics, the basis of which was the epithet. The effective nature of Chukovsky's tale required new poetics. Created on the basis of the study of child psychology, it turned out to be “verbal” poetics.

Unlike previous children's poems, where absolutely nothing happened, in “Crocodile” something happens in literally every line, and therefore a rare quatrain has fewer than four verbs:

Once upon a time there was

Crocodile.

He walked the streets

I smoked cigarettes

He spoke in Turkish -

Crocodile, Crocodile Crocodilovich!

And everything that happened causes the most sincere surprise of the heroes and the author: this is how it happened! Marvelous!

And behind him are the people

And he sings and shouts:

What a freak!

What a nose, what a mouth!

And where does such a monster come from?

Chukovsky came to the creation of his fairy tale from direct observations of children. He took into account the child’s desire to move, play, took into account that the child cannot stand monotony and requires a quick change of pictures, images, feelings, and built his fairy tale on a kaleidoscopic alternation of episodes, moods and rhythms: A crocodile walks around Petrograd, smokes cigarettes, speaks Turkish – it’s funny and funny; The crocodile begins to swallow the frightened residents of Petrograd - it’s scary; Vanya Vasilchikov defeated the predator - universal joy, wild rejoicing; the little crocodiles misbehaved and now they are sick - funny and sad at the same time; The crocodile arranges a Christmas tree for the animals - and again there is fun, songs, dances, but in distant Petrograd other animals are languishing in zoo cages - this causes resentment and anger; The gorilla kidnapped the poor girl Lyalechka, her mother looks for Lyalechka and doesn’t find her - again it’s very scary; but the brave boy Vanya Vasilchikov again defeats the predators, concludes eternal peace with them - and again stormy joy and general rejoicing.

From funny to sad, from sad to scary, from scary to funny - “Crocodile” contains three such or approximately such cycles.

The “fascinating speed of transition from cause to effect”, which captivated Blok in the popular print “Stepka-Raskolka”, was brought by Chukovsky in “Crocodile” to the limit, to the brevity of the formula, to the point of comedy:

And the battle broke out! War, war!

Chukovsky sought from the illustrator of the first edition of “Crocodile” that the drawings correspond not only to the content, but also to the style features of the tale. He wanted the drawings to convey the richness of the tale with action, the rapid change of moods, and the rhythm of the alternation of episodes. The “vortex” composition proposed by Chukovsky is reminiscent of those “vortex” drawings that wash over the text, with which modern artists illustrate, for example, the escape and return of things in “Moidodyr” and “Fedorin’s Mountain.” There is no doubt that the “vortex” composition most accurately conveys through graphics the stormy dynamics of Chukovsky’s fairy tale, its “verbal nature,” the rapid alternation of sad, scary and funny.

The biggest innovation of “Crocodile” was its verse - cheerful, flexible, playing somehow, with changing rhythms, with lively intonations of Russian speech, sonorous alliteration, surprisingly easy to read, sing and remember.

The whole fairy tale sparkles and shimmers with the most intricate, most exquisite rhythms - melodious, dancing, marching, swift, flowing and drawn-out. Each change of rhythm in a fairy tale is timed to coincide with a new turn of action, the appearance of a new character or new circumstances, a change in scenery and the emergence of a different mood. Here the Crocodile informs her husband about a grave misfortune: the crocodile Kokoshenka swallowed the samovar (small crocodiles behave in this fairy tale - and in other fairy tales of Chukovsky - like big ones: they swallow anything). The answer is unexpected:

How will we live without a samovar?

How can we drink tea without a samovar?

Crocodile gives vent to his paternal grief. But here -

But then the doors opened

Animals appeared at the door.

Here, as elsewhere in a fairy tale, a change in rhythm is timed to coincide with a new turn of action, a change in scenery, and the emergence of a different mood. The rhythm changes every time some “doors” open, and each episode thus has its own motive.

The rhythms of Chukovsky’s fairy tale were partly “constructed” by him, partly borrowed from Russian classical poetry. The poem is replete with the funniest, most exquisite rhythms, from the rhythms of children's folklore, which was first used on such a large scale in children's literature, to the rhythms of modern poetry.

To begin the tale, a modified stanza and rhythm of poems about a crocodile, which belonged to the now little-known poet Agnivtsev, were used:

Surprisingly cute

Once upon a time there was a crocodile -

About four feet, no more...

In Chukovsky, this rhythm becomes a counting rhyme. One can easily imagine that along with some “Eniki-beniki ate dumplings” or “A bag rolled off a camel’s hump” in a children’s game it will sound:

Once upon a time there was

Crocodile.

He walked the streets

I smoked cigarettes

He spoke in Turkish -

Crocodile, Crocodile Crocodilovich!

Here clearly epic recitatives burst in, as if Vladimir Krasno Solnyshko was speaking at a princely feast:

Give us overseas gifts

And treat us with unprecedented gifts!

Then follows a long pathetic monologue of the Crocodile, evoking Lermontov’s “Mtsyri”:

Oh, this garden, a terrible garden!

I would be glad to forget him.

There under the scourge of the watchmen

Many animals suffer.

From Lermontov:

"I ran. Oh I'm like a brother

I would be glad to embrace the storm.

I watched with the eyes of a cloud,

I caught lightning with my hands..."

A rhythm similar to Lermontov’s appears in another place in the tale:

Don't destroy me, Vanya Vasilchikov!

Have pity on my crocodiles! –

crocodile begs, as if winking in the direction of “Songs about the merchant Kalashnikov...”. The ironic highlighting of the heroic character, achieved by various means, can be traced throughout the fairy tale and creates a complexity unexpected for a children's work by Vanya Vasilchikov: the boy's feat is glorified and ridiculed at the same time. According to a tradition dating back to time immemorial, ridiculing a hero is a particularly honorable form of glorifying him - researchers of the most ancient layers of folklore encounter such duality at every step. The heroic boy receives the greatest irony of the storyteller precisely at the moments of his triumphs. All of Vanya Vasilchikov’s victories are striking in their ease. Needless to say, they are all bloodless. It is unlikely that in all literature there will be a battle scene shorter than this (including an inconspicuous Pushkin quote):

And the battle broke out! War, war!

And now Lyalya is saved.

In the lively lines of the description of the city holiday:

Everyone rejoices and dances

They kiss dear Vanya,

And from every yard

A loud “hurray” is heard -

the rhythm of the unforgettable “The Little Humpbacked Horse” is recognizable:

Behind the mountains, behind the forests,

Across the wide seas

Not in heaven - not on earth

An old man lived in a village.

In the third part we find lines repeating the characteristic rhythms of some poets of the early 20th century:

Dear girl Lyalechka!

She was walking with a doll

And on Tavricheskaya street

Suddenly I met an elephant.

God, what a monster!

Lyalya runs and screams.

Look, in front of her from under the bridge

The whale stuck its head out.

The lines are so characteristic that they do not need an exact rhythmic analogue to confirm the connection with the rhythms of the poets of that time. Here, for example, are the intonationally similar verses of I. Severyanin:

A girl was crying in the park: “Look, daddy,

The pretty swallow's little foot is broken, -

I’ll take the poor bird and wrap it in a scarf...”

And the father became thoughtful, shocked for a moment.

And forgave all the future and whims and pranks

A sweet little daughter who began to sob with pity.

And finally, completely Nekrasov dactyls:

Here comes the holidays! Glorious Christmas tree

The gray wolf will have it today,

There will be many cheerful guests there,

Let's go there quickly, children!

From Nekrasov:

Sasha also knew sorrow:

Sasha cried as the forest was cut down,

Even now she feels sorry for him to the point of tears.

There were so many curly birches here!

“Chukovsky’s fairy tale completely abolished the previous weak and motionless fairy tale of icicle candies, cotton wool, flowers on weak legs.” .

No, it was not in vain that the Crocodile flew from distant Africa to the boring city of Petrograd!

But the fairy tale had a difficult fate. No other fairy tale by Chukovsky has caused so many controversial opinions, mainly because critics have tried to identify some episodes of “The Crocodile” with specific historical events, sometimes even with those that occurred after the appearance of the fairy tale.

Each of Chukovsky's fairy tales has a closed, complete plot. But at the same time, all together they easily lend themselves to cyclization and form a kind of “animal” epic.

The crocodile from Chukovsky's first children's fairy tale has transformed into other qualities as a main or secondary character. Some fairy tales only mention it, showing that the action takes place in the very fairy-tale world where the Crocodile lives. In "Confusion" he puts out the burning sea. In “Moidodyr” he walks through the Tauride Garden, swallows sponge and threatens to swallow the dirty one. In "The Stolen Sun" the Crocodile swallows the sun; in “Barmalei” he swallows an evil robber, in “Cockroach” he swallows a toad out of fear, and in “Telephone”, while dining with his family, he swallows galoshes. In general, swallowing is his main specialty, and swallowing either someone or something serves as the beginning (“Stolen Sun”) or the denouement (“Doctor Aibolit”). Barmaley participates in “Aibolit”, and Aibolit participates in “Barmaley”. In “Telephone” a kangaroo asks for Moidodyr’s apartment; in “Bibigon” a midget bathed in ink is delivered to this apartment. The apartments are different, but the house is one.

The animal population of fairy tales has grown greatly at the expense of representatives of the fairy-tale fauna of Russian folklore. Along with exotic hyenas, ostriches, elephants, giraffes, jaguars, lions, which appeared in “Crocodile”, fairy tales now contain lop-eared and cross-eyed little hares, talkative magpies, long-legged cranes, good-natured clubfooted bears, a brave mosquito, a clattering fly, a miracle yudo fish whale. Common domestic animals appeared: cows, rams, goats, pigs, chickens, and cats.

Animals from Russian folk tales, having appeared in Chukovsky’s children’s books, significantly increased the number of word names and expanded the subject vocabulary offered by the author to the reader.

The writer knows very well that a child does not perceive things in themselves. They exist for him because she moves. A stationary object in the child’s mind is inseparable from a stationary background, as if merging with it. That’s why in Chukovsky’s fairy tales the most static, inert, heavy things, the hardest to lift, rapidly move in all directions, flutter with the ease of a moth, fly with the speed of an arrow! This is captivating and really makes you follow the stormy whirlwinds that, from the first line, pick up and drive things, for example, in “Fedora’s Mountain”:

The sieve gallops across the fields,

And a trough in the meadows.

There's a broom behind the shovel

She walked along the street.

Axes are axes

So they pour down the mountain.

The reader enters the fairy tale “The Cockroach” as if jumping into a speeding tram:

The bears were driving

By bike.

And behind them is a cat

Backwards.

Wolves on a mare

Lions in a car...

Bunnies on a tram

Toad on a broom...

All this rushes so fast that you barely have time to notice what strange types of transport are mixed up here - from a tram, which is powered by electricity, to a broom, driven by evil spirits!

In most fairy tales, the beginning of the action coincides with the first line (“Telephone”). In other cases, at the beginning a number of quickly moving objects are listed, creating something like acceleration, and the beginning occurs as if by inertia (“Confusion”). Enumerative intonation is characteristic of Chukovsky's fairy tales, but objects are always listed either set in motion by the plot, or rapidly moving towards it. The movement does not stop for a minute. Unexpected situations, bizarre episodes, funny details follow each other at a rapid pace.

The plot itself is a danger that arises unexpectedly, like in an adventure story. Either it is a “terrible giant, red and mustachioed Ta-ra-kan” who crawled out of the gateway, or it is a Crocodile who swallows the sun, which previously flooded the pages of Chukovsky’s fairy tales with light, or it is a disease that threatens small animals in distant Africa, then Is it Barmaley, ready to eat Vanechka and Tanechka, or is it the “old spider” who kidnapped the beautiful Fly-Tsokotukha right on her name day, or pretending to be scary, but in fact the kind Umybasnik, the famous Moidodyr, or the terrible wizard Brundulyak , pretending to be an ordinary turkey, the danger is always experienced as quite serious, not at all a joke.

The hero always turns out to be the one from whom it was most difficult to expect heroism - the smallest and weakest. In “Crocodile,” the terrified residents are saved not by a fat policeman “with boots and a sword,” but by a valiant boy, Vanya Vasilchikov, with his “toy saber.” In “The Cockroach,” the terrified lions and tigers are saved by the tiny and seemingly frivolous Sparrow:

Jump and jump

Yes, chirp, chirp,

Chiki-riki-chik-chirik!

He took and pecked the Cockroach, -

So there is no giant.

And in “Bibigon” the midget, who fell from the moon, defeats the powerful and invincible turkey sorcerer, although the midget himself is “small, no more than a sparrow”:

He's thin

Like a twig

He is a little Lilliputian,

He's no taller, poor fellow.

Here's a little mouse.

In “The Cluttering Fly,” the savior is not a horned beetle, not a painfully stinging bee, but a mosquito that came from nowhere, and not even a mosquito, but a mosquito, and even a small mosquito:

Suddenly it flies from somewhere

Little mosquito

And it burns in his hand

Small flashlight.

The motif of the victory of the weak and good over the strong and evil, invariably repeated in Chukovsky’s fairy tales, has its roots in folklore: in the fairy tale, the oppressed people triumph over their oppressors. The situation in which a despised, humiliated hero becomes a hero in the full sense of the word serves as a conventional expression of the idea of ​​social justice.

“The hero of a fairy tale is, first of all, socially disadvantaged - a peasant’s son, a poor man, a younger brother, an orphan, a stepson, etc. In addition, he is often characterized as a “Cinderella” (“bakery”), “fool”, “bald brat”. Each of these images has its own characteristics, but they all contain common features that form the complex of a “low” hero who “does not show promise.” The transformation of “low” traits into “high” or the discovery of “high” in “low” at the end of a fairy tale is a unique form of idealization of the disadvantaged.” For a fairy tale, the persona of a “low” hero is not important; what is important is that in the finale he shows the traits of a “high” one - he turns out to be the strongest and bravest, acts as a liberator, eliminates danger, thereby strengthening the hope and confidence of the weak in victory.

And when the danger is eliminated, when the “terrible giant, the red and mustachioed cockroach” is destroyed, when the sun swallowed by the crocodile shines again for everyone in the sky, when the robber Barmaley is punished and Vanechka and Tanechka are saved, when the mosquito rescues the Tskotukha Fly from the clutches of the blood-sucking spider, when the dishes returned to Fedora, and all his things to the washed dirty one, when Doctor Aibolit cured the animals, such fun begins, such joy and jubilation that, just look, the moon will fall from the tramp of the dancers, as happened in the fairy tale “Stolen the sun,” so then I had to “nail the moon”! On the pages of Chukovsky's fairy tales there are many scenes of uncontrollable stormy fun, and there is not a single fairy tale that does not end with fun.

“Joy” is Chukovsky’s favorite word, and he is ready to repeat it endlessly:

Glad, glad, glad, glad kids

She danced and played around the fire. ("Barmaley")

He absolutely needs “everyone to laugh, sing, and rejoice” (“Bibigon”). Animals rejoice in “Cockroach”:

That's why I'm glad, that's why the whole animal family is happy,

Congratulations and glorification of the daring Sparrow!

Animals also rejoice in Aibolit:

And the doctor treats them all day until sunset.

And suddenly the forest animals laughed:

“We are healthy and cheerful again!”

And in “Confusion” the animals rejoice:

The animals were happy:

They laughed and sang,

Ears flapped

They stamped their feet.

In “The Stolen Sun,” children and animals rejoice together:

Bunnies and squirrels are happy,

Boys and girls are happy.

The insects in “The Cluttering Fly” are just as good at having fun:

The fireflies came running,

The lights were lit

It became fun

That's good!

Hey centipedes,

Run along the path

Call the musicians

Let's dance!

Not only living beings can rejoice and have fun. In “Fedora Mountain” this happened with the dishes:

The pots laughed

They winked at the samovar...

And the saucers rejoiced:

Ding-la-la, ding-la-la!

And they laugh and laugh:

Ding-la-la, ding-la-la!

Even an ordinary broom - a stick stuck into a bunch of thin twigs - and that:

And the broom, and the broom is cheerful, -

She danced, played, swept...

The whole earth is glad, glad,

The groves and fields are glad,

Glad blue lakes

And gray poplars...

Observing children, Chukovsky came to the conclusion that “the thirst for a joyful outcome of all human affairs and actions manifests itself in a child with particular force precisely while listening to a fairy tale. If a child is read a fairy tale where a kind, fearless, noble hero appears who fights evil enemies, the child will certainly identify himself with this hero.” Chukovsky noted the great humanizing significance of the fairy tale: the child experiences any, even temporary, failure of the hero as if it were his own, and thus the fairy tale teaches him to take other people’s sorrows and joys to heart.

Chukovsky boldly offers the child, along with smiling humor, the most frank satire.

Doctor Aibolit, thrown to the fire by the robber Barmaley, does not even think of asking the Crocodile, who has come to his aid, to get rid of his torment. No,

Good Doctor Aibolit

Crocodile says:

“Well, please, quickly

Swallow Barmaley,

To greedy Barmaley

I wouldn't have enough

I wouldn't swallow

These little children!

It is clear that one cannot at the same time sympathize with such an Aibolit and the pathetic cowards who were afraid of the old spider (“Tsokotukha Fly”), or the insolent Crocodile (“The Stolen Sun”), or the insignificant cockroach (“Cockroach”). Chukovsky does not forgive cowardice to any of them. Nor will those horned nonentities command any respect if they respond to a call to gore the oppressor-cockroach with a remark containing a whole ideology of selfishness:

We would be the enemy

Only skin is expensive

And horns are not cheap these days either...

Satirical images in fairy tales seem to exist in order to further exalt the “little hero” and give greater moral value to his feat.

All of Chukovsky’s fairy tales contain acute conflicts; in all of them, good fights evil. The complete victory of good over evil, the affirmation of happiness as the norm of existence - this is their idea, their “morality”. In Chukovsky's fairy tales there is no morality expressed in the form of maxims; Some researchers mistakenly mistook the joyful hymn in honor of water in “Moidodyr” for “morality”:

Long live scented soap,

And a fluffy towel,

And tooth powder

And a thick comb!

Let's wash, splash,

Swim, dive, tumble,

In the tub, in the trough, in the tub,

In the river, in the stream, in the ocean,

Both in the bath and in the bathhouse

Anytime and anywhere -

Eternal glory to the water!

But, unlike other fairy tales, the joy here is not caused by the victory of the little hero over some monstrous giant, on the contrary - the little hero even seemed to have been defeated and had to surrender on the terms dictated by the enemy commander-in-chief Moidodyr, whose full title takes up as many as four poetic lines:

I am the great Laver,

The famous Moidodyr,

Umybasnikov Head

And washcloths Commander.

It all started the minute the dirty guy woke up in the morning opened his eyes: there were so many things in the room, they took off their places and rushed away. Dirty can't understand anything in his sleep:

What's happened?

What's happened?

From what

Everything is all around

It started spinning

Dizzy

And the wheel went off?

Everything is explained by the appearance of Moidodyr, who, although he looks very angry and scary, reproaches the dirty one in a completely homely manner and even a little mischievously. But then, becoming more and more incensed, he moved from reproaches to threats, and from threats to action and sent his soldiers - washcloths, brushes, soap - to the dirt. Now this is truly scary for the dirty guy, who is called the dirty guy because he can’t stand washing his face...

Dirty tries to escape, but the mad bastard pursues him. Dirty meets the Crocodile with the children, and he “swallowed a jackdaw like a jackdaw.” The crocodile demanded that the dirty man wash himself, otherwise:

And not how I’ll fly,

I will trample and swallow,

Speaks.

In “Moidodyr”, unlike “Crocodile”, the two hypostases of the Crocodile - good and evil - lead the hero and the reader to a significant discovery: one must distinguish the demands of friends from the attacks of enemies, not everyone who causes trouble is an enemy, the medicine can be bitter. That is why the dirty one is forced to wash himself by the Crocodile, who protected the boy from the mad washcloth. But, if friends also want the same thing, then it really means:

I need to wash my face

In the mornings and evenings.

Now it is clear that Moidodyr is not an enemy at all, but he simply has such a grumpy but good-natured character, and that he did not inflict defeat on the dirty one, but helped to achieve the victory that the little hero won over himself. This is perhaps the most difficult of all victories for him.

In "Moidodyr" the conventions of Chukovsky's fairy tales are especially clearly visible. This property of them is completely organic: the more strictly the convention is maintained, the more accurate and correct the fairy-tale reality created by Chukovsky, and the destruction of convention leads to an inaccurate and untruthful depiction of living reality.

Where Moidodyr speaks of a head wash, there is not only a head wash, but also a threat. Where a samovar runs away from a slob as if from fire, there is not only boiling over of the water from too much heating, but also disgust.

In cases where the little reader does not understand the figurative meaning of a metaphor, a fairy tale will prepare him for understanding. Having heard a metaphor in a different context, the little linguist will associate the unfamiliar meaning with the familiar one. This is how one of the basic principles of Chukovsky’s fairy tales is implemented in practice - the principle of language education.

Unlike other fairy tales, where the animal world is richly and variedly represented, in “Moidodyr” there are no animals except the Crocodile and his two children. However, in this fairy tale there is an entire zoo invisibly present. All household items are perceived in an “animal” aspect: “the pillow jumped away from me like a frog,” the washbasins “bark and howl” like dogs, the Crocodile swallows a washcloth “like a jackdaw.” All objects behave like animals in a fairy tale: they run, jump, tumble, fly, etc. For example, soap “clung to the hair, and fussed, and lathered, and bit like a wasp.”

Thanks to the dynamism of the images, poetic skill, playing qualities, originality, and elegance of all the artistic means of “Moidodyr,” its reputation as one of Chukovsky’s best fairy tales has deservedly strengthened.

The fairy tale “Telephone” differs from Chukovsky’s other fairy tales in that there is no conflict plot in it, nothing happens in it except a dozen funny telephone conversations. The answer to this mystery lies in what connects the disparate telephone conversations despite the lack of plot. It's a game. Chukovsky's fairy tales generally absorbed many features of children's games, but "Telephone" is a game in its purest form, or rather, an excellently written literary text for the game of "damaged telephone." “Telephone” is much closer to such poems as “Murochka Draws”, “What Murochka did when they read “The Miracle Tree” to her” than to fairy tales. The sequence of conversations in a fairy tale is difficult for a child to assimilate, but any order is suitable for play. The ending is best remembered (which, by the way, has become a saying among adults), because there is action in it, there is work, and not an easy one at that:

Oh, this is not an easy job -

Pulling a hippopotamus from a swamp.

The fairy tale “Confusion” differs even more expressively than “Telephone” from “Moidodyr”, “Fedorin’s Grief”, “Aibolit”, “Cockroach”, “The Stolen Sun” and “Fly-Tsokotukha”. It’s as if completely incomprehensible things are happening in it:

The pigs meowed:

The cats grunted:

Oink oink oink!

The ducks croaked:

Kwa, kwa, kwa!

The chickens quacked:

Quack, quack, quack!

Little Sparrow galloped

And the cow mooed:

Mooo!

In all fairy tales, animals speak with human voices. But a sparrow mooing to a cow - where has this been seen, where has this been heard? Folklore fable songs ask about this in bewilderment:

Where has this been seen?

Where have you heard this?

So that the hen gives birth to a bull,

Did the little pig lay an egg?

A wise teacher - the people - composed dozens of poems and songs for children in which everything happens “wrong”, knowing full well that one can assert, contrary to the evidence, that a pig barks and a dog grunts, and thereby draw attention to the true situation, when in which everything happens just the opposite. Statements that a hen gave birth to a bull and a piglet laid an egg are so contrary to the facts already known to the child that the child perceives his understanding of the nonsense of this as a victory over all nonsense, nonsense, and improbability. Like any other, this victory makes the child happy. The imaginary denial of reality becomes a playful form of its cognition and final approval.

Chukovsky transferred this form to a literary fairy tale and for the first time began to use the term “changeling” to designate it. There are shifters in many fairy tales, and “Confusion” is entirely dedicated to shifters:

Fishes are walking across the field,

Toads fly across the sky

The mice were caught, the cat was caught,

They put me in a mousetrap.

Here every word is “wrong”, and the child understands that everything is “wrong” here, rejoices in his understanding, and this joy for him is the joy of victory of “this way” over “wrong way”. Consequently, the shapeshifter, along with the plot of the heroic fairy tale, brings about the victory of good over evil (over “wrong”) and gives the child a feeling of happiness, which, according to the child’s conviction, is the norm of existence.

To help the baby, Chukovsky, with great tact, introduces the correct characterization of things and phenomena into his shifters, imperceptibly suggesting what is “right” and what is “wrong”:

The kittens meowed:

“We're tired of meowing!

We want, like piglets,

Grunt!"

It was not only shifters that Chukovsky transferred from oral folk art to literary fairy tales. His tales are literally saturated with children's folklore. Now it can be difficult to say whether Chukovsky is quoting children’s folklore, or whether children are quoting Chukovsky:

Early-early

Two rams

They knocked on the gate:

Tra-ta-ta and tra-ta-ta

From a camel.

What do you need?

Chocolate.

Many places live an independent life as counting rhymes, teasers, and tongue twisters. For example, a dirty dog ​​should be teased like this:

There's polish on your neck,

There's a blot under your nose,

You have such hands

That even the trousers ran away...

The flexibility of the language is tested by the ability to quickly pronounce the following lines:

A gorilla came out to them,

The gorilla told them

The gorilla told them,

She was saying...

New English poetry, based on the entire experience of advanced European poetry and national song traditions. Based on the analysis of this work, we came to the conclusion that the genre nature of The Canterbury Tales was strongly influenced by the short story genre. This is manifested in the features of the plot, the construction of images, the speech characteristics of the characters, humor and edification. 1.2. ...

Children's imagination has blossomed, it needs to be given food. Although an exceptional child can create something of his own, the vast majority of children will not be able to imagine even a bear under the bed unless an adult provides them with a bear." According to L. S. Vygotsky, a children's fairy tale realizes the child's creative abilities. He supports the objections of M. Mead about the poverty of children's imagination compared to...

Literary studies tend to identify fairy tales and myths. However, the relationship between fairy tale and myth plays an important role, since it is mythological ideas about the structure of the world that are reflected in folk tales. The literary fairy tale originated in the era of romanticism. The main distinguishing feature of a literary fairy tale is conscious authorship, when the writer himself creates his own work, let...

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240 rub. | 75 UAH | $3.75 ", MOUSEOFF, FGCOLOR, "#FFFFCC",BGCOLOR, "#393939");" onMouseOut="return nd();"> Abstract - 240 rubles, delivery 1-3 hours, from 10-19 (Moscow time), except Sunday

Ovchinnikova Lyubov Vladimirovna. Russian literary fairy tale of the 20th century (history, classification, poetics): ill. RSL OD 71:2-10/32

Introduction

Part I Literary fairy tale - a type of literature: theoretical issues

Chapter 2. Literary fairy tale and problems of folklorism 54-75

1. Literature for children and fairy tales 77-91

Chapter 4. Genre typology of literature and folklore and literary fairy tale. The problem of classifying author's fairy tales 114-141

Part II The artistic world of literary fairy tales of the 20th century 142-341

Chapter 1. Folklore and literary tales 148-177

1. Literary tale of the “silver” age 178-187

2. "Tales of Life" by M.M. Prishvin 187-242

3. The world and the “anti-world” in the fairy tales of L.S. Petrushevskaya 243-263

Chapter 3. Adventures and worlds of fairy-tale and fantasy cycles by V. Kaverin and V. Krapivin 263-286

1. “The world of strangeness, dreams and fairy tales” by V. Kaverin 264-272

2. Philosophical and adventure “worlds” in V. Krapivin’s fairy tales 272-286

Adventure and didactic tales for children 287-341

Conclusion.

Bibliography

Introduction to the work

The Russian literary fairy tale took in what was developed by traditional folklore (the spiritual experience of the people, ideals and hopes, ideas about the world and man, good and evil, truth and justice - in a perfect, harmonious, capacious form developed over centuries), combining moral values ​​and artistic achievements of the people with the author's talent.

The fairy tale has become an integral part of the spiritual culture of the people; the fairy-tale principles of understanding and depicting the world and man are universal and recognizable in art. The history of the author's fairy tale as a whole reflects the features of the literary process, as well as the originality of literary and folklore interaction in different historical and cultural periods.

In the field of fairy tales, the interaction between folklore and literature was the closest, longest and most fruitful. The fairy tale as a type of folk epic creativity lived not only in traditional, natural existence or existed in the form of texts recording oral tradition, but was also included in Russian literature on equal terms - in the form of a literary fairy tale. Thus, one of the most authoritative domestic folklorists V.P. Anikin notes: “The fairy tales of writers have merged in the minds of people of all generations with the fairy tales of the people. This happens because every writer, no matter how original his own work, felt his connection with folklore.” 1

Moral philosophy and psychological basis, the laws of poetics and the style of fairy tales as one of the oldest types of folk art.

1 Anikin V.P. Russian writers and fairy tales // Fairy tales of Russian writers. - M., 1985, p.22.

It is clear that writers, poets and playwrights have always turned to it in search of answers to the most important questions of our time and for the purpose of artistic understanding of the “eternal” problems of human existence. A fairy tale (as a type of folk art) is also unique because it can be transformed into literary works without being destroyed.

Many features inherent in the fairy tale as a type of literature took shape already in the early stages of its development. The first stage in the history of the Russian literary fairy tale can be called “pre-Pushkin” (fairy tale in the literature of the 18th - early 19th centuries). The result was the final consolidation of the fairy tale in the system of literary genres.

Medieval culture knew two opposing trends in relation to fairy tales: condemnation of fairy tales along with other pagan forms of culture as “harmful fables”, recognition of fairy tales - an entertaining, instructive fictional story - necessary in the life of any person (from a king to a peasant). The genre system of medieval Russian literature is such that it cannot include an author’s fairy tale.

In the XVII-XVIII centuries. The first book and literary adaptations of folk tales and translated Western European and Eastern stories and novels “in fairy-tale style” appear. Folklorism as a feature of literature and an integral feature of a literary fairy tale is just beginning to take shape.

The general rise of national consciousness, especially in the 60-90s. XVIII century, the desire of literature for originality and the revival of traditions led to interest in folk poetry and its active penetration into fiction. The first steps towards creating an original literary fairy tale are often associated with the “pre-romantic” movement.

I mean, understood quite broadly. 2

Around the 60-70s. XVIII century two main directions of development of literary-folklore synthesis were formed, which later influenced the design of fairy tales in literature: “the composition of a literary fairy tale based on a folk fairy tale, borrowing from the latter certain specific elements of content and form” and “the retelling of a folk tale with a clear desire to keep in it as much as possible of its characteristic features...” Entertaining and unusual borrowed works of this time also received a “fairy tale-like” form of written representation, as corresponding to the national tradition of entertaining and educational literature.

The first fairy-tale experiments in literature were of a magical heroic or magical adventure nature, based on the traditions of everyday satirical fairy tales and stories of the 17th century. At the same time, professional literary and fairy-tale works and popular ones appear. In professional literature of the second half of the 18th century. the genre of the “fairytale” poem was born (“Darling” by I.F. Bogdanovich, “Bakhariana” by M.M. Kheraskov, poems by N.M. Karamzin). The fairytale principle in literature is also manifested in allegorical moral “fairy tales” (the tales of Catherine II).

Literary tale of the 17th - 18th centuries. in general, it is more a folklore than an individual author's work. It has not separated from the story, “history”, fable, anecdote, etc., has not formed into an independent literary form and has a bookish-folklore character, is largely focused on the “mass” reader, connects

See: Troitsky V.Yu. Artistic discoveries of Russian romantic prose of the 20-30s of the 19th century. - M, 1985 (chapter “At the origins of Russian romantic prose”). ""Novikov H.B. Russian fairy tales in early records and publications (XII -XVIII centuries). - L., 1971, pp. 23-24.

entertaining and edifying.

Turn of the century and first quarter of the 19th century. - a time when the fairy tale as a “new type of writing” is represented in the works of many authors. These are sentimental “fairy tales” that revealed the “secret” life of the human heart, and the artistic discoveries of romantics who turned to the national past. During this period, the definition of “fairy tale” included sentimental stories, novels, and translated works. The origins of this lie in the rhetoric of the mid-18th century. (primarily M.V. Lomonosov). The turn of the century is the time of understanding fairy tales in literature as “light” and elegant works, built on fiction and generally contrasted with historical, philosophical and political works, that is, serious ones. This is evidenced not only by magazine and newspaper publications and prefaces, but also by various rhetoric and textbooks on the theory of literature. For example, the article “A Look at Stories or Fairy Tales” (“Patriot”, 1804, Vol.N) indicates that fairy tales received the designation “beautiful trifles”, which retained “the character of amiable lightness and beautiful negligence, which later became so say, a condition for their happiness in the world.” 4 The fairy tale is classified as “light” literature, but by the beginning of the 19th century. its value for society is realized: “...with the help of hidden moral teaching, to bring reason and passions, nature and society into harmony - this is the important task of the Writer of fairy tales; This is the sense in which fairy tales themselves can be called a school of morals, and storytellers teachers of the human race.” 5 In the work “On the Fairy Tale” (From the “Dictionary of Ancient and New Poetry by N.F. Ostolopov”), published in the “St. Petersburg Bulletin” in 1812 (Part 2), the main characteristics are given

Sipovsky V.V. From the history of Russian novels and stories. (Materials on bibliography, history and theory of the Russian novel). 4.1. 18th century. - Published by the 2nd Department. Imperial Academy of Sciences. - St. Petersburg, 1903, p. 242. "Ibid., p. 243.

fairy tales - it “...passes at will the boundaries of plausibility and even possibility,” and the existence of a fairy tale in any of the three types of literature is determined: “The form of a fairy tale is of three kinds: the first is when the Poet is not shown, but only only actors; the second kind: when the Poet himself talks about the adventures of his heroes, and the third, when the Poet hides the characters, and only cites their speeches, as if spoken by them themselves. However, to avoid uniformity, it is allowed to mix these genera.” 6 The features of a fairy tale that were formed in the literature of that time (the unity of moral descriptive and educational functions, the universality of themes, the adventurous type of composition and also the possibility of existence in any poetic genre) will continue to live in the author’s classic fairy tale. The scientific and theoretical understanding of the fairy tale, its separation from other types of narrative literature, recorded the natural process of mastering the folk poetic form of fiction.

Interest in the world of folk poetry and the desire to express the spirit of the people in appropriate literary forms were discoveries of romanticism. The fairy tale was an organic genre for romanticism (in the form of a fairy-tale poem or fairy-tale story), which became possible thanks to new genre thinking. So, for example, V.Yu. Troitsky writes: “With the light hand of the romantics, such genres as fairy tales, legends, legends, true stories, etc., were established in literature on equal rights with others and received citizenship rights.” 7 The attitude of the romantics to the fairy tale as a whole is cast in perfect form in the famous words of F. Schlegel from the Athenaeum

6 Ibid., p.263-264.

7 Troitsky V.Yu. Artistic discoveries of Russian romantic prose of the 20-30s of the 19th century. - M., 985, S.Yu.; cm.
also: Mann Yu.V. Poetics of Russian romanticism. - M., 1976 and others.

fragments" (“A fairy tale is like a canon of poetry”). Among the authors of romantic literary fairy tales are V.A. Zhukovsky, A.F. Veltman, V.F. Odoevsky, A.A. Pogorelsky, O.M. Somov, V.I. Dal.

Most of the literary fairy tales of the romantics should be characterized as works “in the folk spirit.” So, for example, considering the relationship between “folklore” and “literaryness” in the fairy tales of V.A. Zhukovsky, T.G. Leonova defines it as “preservation of the folk plot with the author’s style of narration.” This is generally characteristic of fairy-tale literary adaptations of the turn of the 18th-19th centuries, along with artistic dual worlds, poeticization of the wonderful, mysterious, poignant plot, adventurous and “florid and simple-minded” narration. A special place in the literature of romanticism is occupied by “Motley Tales” by V.F. Odoevsky. They are characterized by a social and didactic orientation, satire, and authorial irony, which in general may indicate the emergence of a special type of literary fairy-tale narrative built on “grotesque fantasy,” which will finally be formed in the work of M.E. Saltykov-Shchedrin. 9 And finally, the fairy tale takes on a classical form in romantic literature thanks to A.S. Pushkin’s poem “Ruslan and Lyudmila.”

Fairy tales by A.S. Pushkin are an entire era in the history of the author's fairy tale, the basis of the national literary and fairy-tale tradition, as well as one of the directions in Pushkin studies. 10 According to the fair remark of VL.Anikin, A.S. Pushkin “brought the fairy tale out of the category of secondary literature, as it remained before him,” truly opened it for art

8 Leonova T.G. Russian literary fairy tale of the 19th century. in its relation to the folk tale: The poetic system of the genre in
historical development. - Tomsk, 1982, p.51.

9 See: Bushmin A.S. Tales of Saltykov-Shchedrin. - L., 1976.

10 The largest modern studies: Zueva T.B. Fairy tales by A.S. Pushkin. - M., 1989; Medrish D.N. Way
procession in Lukomorye. Pushkin's fairy tales and folk culture. - Volgograd, 1992.

dozhestvennogo creativity. Noting in Pushkin’s work the strengthening of the “realism of the portrayal of characters”, while maintaining the “atmosphere of a genuine fairy tale,” T. G. Leonova, like other scientists, draws attention to the harmonious unity of the folk poetic tradition and author’s innovations, to “Pushkin’s adherence to the special logic of the fairy tale , the special aesthetic laws of the genre.”

There are several trends in the development of literary fairy tales in the post-Pushkin period. According to T.G. Leonova, there are two of them: creating fairy tales in a folk style and in a parody-folklore style. The first, from the researcher’s point of view, is indicated in the works of V.A. Zhukovsky and P.P. Ershov. “Parodies of fairy tales” are presented in the works of N.M. Yazykov, P.A. Katenin and N.A. Nekrasov. 1870-80s - a new period of high rise of the fairy tale. At this time, fairy tales by M.E. Saltykov-Shchedrin, A.N. Ostrovsky, L.N. Tolstoy, N.P. Wagner appeared. The genre of educational and didactic fairy tales for children, the traditions of which were defined by V.F. Odoevsky (“Town in a Snuffbox”), is addressed by L.N. Tolstoy and K.D. Ushinsky.

By the beginning of the 20th century. There are already serious literary traditions of the author's fairy tale, and some development trends have been outlined. In general, two main literary and fairy-tale forms are emerging: magical-romantic and satirical-allegorical, the main functions of which are moral descriptive and didactic. The merging of fairy tales with mass fiction was also determined. The priority as a “Pragenre” is definitely given to the fairy tale (as a means of “ethnic studies” and depiction).

"Anikin V.P. Russian writers and fairy tales // Fairy tales of Russian writers. - M., 1985, pp.

the expression of eternal human values, a way to form a fascinating plot).

Fairy tale in literature of the 20th century. represented by many genres. To understand it, it is preferable to highlight historically established periods in a single cultural and literary cycle: the fairy tale of the “Silver Age” (relatively, the pre-revolutionary fairy tale of the 20th century), the Soviet literary fairy tale (20-80s) and the fairy tale of the 90s. At any time, the fairy tale actively perceived the problems of time and the “predilections” of literature. So, by fabulous means in the 20-40s. depicted the revolutionary struggle and restoration of social justice, the denial of bourgeois values, then science fiction innovations of the 50-60s, in the 80-90s. Issues of humane treatment of people, the affirmation of eternal moral values ​​and the denial of the bureaucratic “death” of the human soul become relevant. Recently, the author's fairy tale often “dissolves” in the fantastic and allegorical worlds of “fantasy”.

The literary fairy tale of the Silver Age is one of the stages in the history of the literary fairy tale, generally quite clearly dated to the 900-10s. XX century, the last period in the history of classical literary fairy tales, which adopted the traditions of writers of the 19th century. Beginning of the 20th century became the time of interest of Russian word artists in mythology, in myth-making, the time of the emergence of many typological “lines” in the development of literary fairy tales, then transformed in the Soviet fairy tale (for children and adults) and presented in a new way in fairy tales of the last decade of the 20th century. This is the time of the appearance of the first works (travel tales) by M.M. Prishvina; fairy tales by A.M. Gorky," A.N. Tolstoy (cycles "Sunny Songs", "Beyond the Blue Rivers", collections "Mermaid Tales" and "Magpie Tales"; the first fairy tales for children); fairy-tale-mythological works

II niy A.M. Remizova (“Posolon”; “Rusalia”, “Among the Murya”, “Tales of the Russian People”); fairy tales of L.A. Charskaya (“Tales of the Blue Fairy”).

Researchers note that fairy tales and “fabulousness” appear in poems, poems, lyrical cycles by A. Akhmatova, K. Balmont, A. Bely, S. Gorodetsky, F. Sologub, M. Tsvetaeva, as well as in the prose works of M. Gorky, V. Khlebnikov, M. Kuzmin, L. Andreev, A. Kuprin, Vyach. Ivanov and other authors. 12 Fairy tales of Silver Age writers reflected the features of the literature of this time: a sense of frontier, a sense of instability, the fragility of customary values, a neo-romantic aesthetics of mystery, miracle, symbolism, the desire to create new art with a simultaneous focus on many traditions. A fairy tale from the beginning of the 20th century. in the history of literature is characterized by complexity, multifunctionality of connections with folk and world culture, universality in terms of orientation towards mythology, folk demonology, legends, as well as multi-genres (fairy tale-short story, fairy tale-legend, fairy tale-parable, fairy tale-lyrical miniature, fairy tale-myth etc.). Reasons for the appeal of the authors of the first quarter of the 20th century. to a fairy tale are determined not only by “...the attractiveness of the aesthetics of miracle and mystery inherent in this genre, the opportunity to create your own myth, to show the sophistication of thought and fantasy” 13, but also by the desire to feel and artistically recreate the depths of the soul and history of the Russian people.

Soviet literary fairy tale (20-80s gg. XX century) knew ups and periods of “quiet” existence, prohibitions and permissions.

See Krivoschapova T.B. Russian literary fairy tale of the late XIX - early XX centuries. - Akmola, 1995; Lipovetsky M.N. Poetics of a literary fairy tale (based on Russian literature of the 1920-1980s). - Sverdlovsk, 1992. (chapter “Revival of the memory of the genre”). "A Tale of the Silver Age. - M., 1994, p. 11.

The formation and development of a literary fairy tale for children in general is a rather vibrant and complex process. It is difficult to distinguish periods or stages. Authors of children's literary fairy tales of the 20th century. are based on folklore traditions, on the works of A.S. Pushkin, G.-H. Andersen, social-allegorical and pedagogical fairy tales of the 19th century.

Despite the focus on social and didactic order, a significant number of fairy tales by Soviet authors have entered the history of Russian literature for children. They were created in the 30s, 50s, and 70-80s, often becoming the subject of polemics, literary disputes, and close attention of critics. After a period of condemnation of the fairy tale for escaping reality and the insufficiency of socio-political and revolutionary problems (20s), a period of active development and renewal of the genre began in the mid-second half of the 30s. The reasons for the persecution of fairy tales in the 20s. are diverse: new social and pedagogical priorities that require the abandonment of “mysticism” and fantasy, “kings and kings”, and the emergence of a significant amount of low-grade fairy-tale products that accompanied interest in fairy tales and mythology at the beginning of the century, and the distortions of the revolutionary rethinking of the entire cultural heritage.

A significant role not only in the creation, but also in the scientific and pedagogical understanding of the new fairy tale was played by S.Ya.Marshak and K.I.Chukovsky (articles and speeches of S.Ya.Marshak of different years, combined in the collection “Education with Words”, as well as the famous literary -pedagogical research by K.I. Chukovsky “From two to five”). 14 Artistic creativity was of great importance for the development of literary fairy tales for children.

14 Marshak S.Ya. Education with words. - M., 1964; Chukovsky K.I. From two to five // ​​Chukovsky K.I. Poems and fairy tales. From two to five. - M., 1999. (World Children's Library).

the quality and authority of A.M. Gorky. Scientists associate the beginning of a new stage in the history of Russian literary fairy tales with the name of A.M. Gorky. “The writer completed the traditions of previous literature and at the same time became the founder of a new art. With a keen sense of everything beautiful in the world, with a joyful sense of his calling to fight against those who prevent people from being happy, Gorky entered literature and always remained faithful to this calling. And in fairy tales for children the writer was the same,” writes V.P. Anikin. 15 Tales of A.M. Gorky of the 10-20s. (“Morning”, “Sparrow”, “The Case of Yevseyka”, “Samovar”, “Yashka”, “About Ivanushka the Fool”) determined almost all directions in the development of children's literary fairy tales of modern times. This is the romantic-lyrical fairy tale “Morning”, and the moralizing-ironic “Sparrow”, and the satirical-allegorical “Samovar”, the political one that denies Orthodox values ​​(faith, humility, mercy) “Yashka”, as well as one of the first in Soviet times a fascinating adventure and educational tale “The Case of Evseyka.” The depiction of the miraculous in real life, in people’s work, optimism, the unity of romantic admiration for the beauty of the world and the satirical depiction of philistinism are the special properties of the poetics of Gorky’s fairy tales. It is no coincidence that he also called his works about Italy fairy tales.

A.M. Gorky also wrote a number of articles devoted to the circle of children's reading, as well as the future social and educational role of literature for children in Soviet society (“About a fairy tale,” “About irresponsible people and about children’s books of our days,” “Literature - for children”, “About topics”, “Notes about children’s games and books” and others).

15 Anikin V.P. Russian writers and fairy tales. - M., 1985, p. 14.

16 See: A.M. Gorky about children’s literature: Articles and statements. - M., 1958.

The 20s are a special period for literary fairy tales. This is the time of “revival of the memory of the genre” (M.N. Lipovetsky), the appearance of literary fairy tales (poetic and prosaic) by A. Akhmatova, M. Tsvetaeva, L. Leonov, S. Klychkov, late fairy tales by A. Remizov, E. Zamyatin. M.N. Lipovetsky emphasizes that the “direct” appeal of artists to the moral ideals of the people, “the brave and refreshing attempt they made to find direct answers to the questions of revolutionary times in the centuries-old cultural consciousness of the people” became the basis of the poetics of fairy tales of this period. 17 20s - this is also the time of formation of a new children's literary fairy tale. The main one, from the point of view of I.P. Lupanova, was the tendency to “depict opposing forces as socially hostile”: “Coming directly from fairy-tale folklore, this tendency exploded the complacent tendency of the pre-revolutionary literary fairy tale with its imaginary conflicts and annoying moral maxims. The overwhelming majority of authors who appeared in the fairy tale genre in the 1920s considered it their task to contribute to the development and strengthening of clear class ideas in the young reader.” 1 A successful beginning in the history of Soviet children's literary fairy tales were the tales of K.I. Chukovsky “The Cockroach” (1923), V.V. Mayakovsky “The Tale of Pete, the Fat Child, and of Sima, the Thin One” (1925) and, mainly , - “Three Fat Men” by Y.K. Olesha (1928, created in 1924). The latter is focused on the special relationship between magic and reality, taking a miracle “from an everyday folk tale, where there are no flying carpets or invisible hats, but there are incredible adventures of dexterous and witty heroes, incredible, but not supernatural, always detailed art-

17 Lipovetsky M.N. Poetics of a literary fairy tale (based on Russian literature of the 1920s-1980s). - Sverdlovsk, 1992, p.87. "Lupanova I.P. Half a century. Soviet children's literature 1916-1967. Essays. - M., 1969, p. 92.

justified by the exceptional abilities of the characters or circumstances that are unusual in the everyday sense.” 19

In the 30s The problems of literary fairy tales have acquired particular relevance. They are discussed at the state level (meetings on children's literature), they are addressed by such masters of children's literature as S.Ya. Marshak, K.I. Chukovsky, attempts are made to theoretically understand the genre, and, naturally, many new works of art appear, classified as to the genre of fairy tales (1936 - “The Golden Key, or the Adventures of Buratino” by A. Tolstoy, 1937 - “The Adventures of Karik and Valya” by Y. Larry, 1939 - “The Wizard of the Emerald City” is published as a separate edition) A. Volkova; “The Adventures of Captain Vrungel” by A. Nekrasov, 1940 - “Old Man Hottabych” by L. Lagin - the most famous and have not lost the love of readers to this day).

A significant role in the formation of literary fairy tales for children was played by Y. Olesha’s fairy tale novel “Three Fat Men”. “By revealing the theme of the “struggle of worlds” through the means of literary fairy tales, writers of the 30s developed the traditions outlined by children’s literature of the previous decade. Almost all fairy-tale works that we are talking about today are characterized by those innovative features that were introduced into fairy-tale use by the novel by Yuri Olesha. Firstly, instead of the traditional folk-fairytale lone hero, here is a victorious team. (...) Secondly^ - instead of conventional fairy-tale heroes, there are characters here,” believes

I.P.Lupanova.

The artistic world of new fairy tales reflects a closer connection with socio-political and social reality: their authors

"TamzhЄіS.106, 20 Tamzhe, p.283.

“they choose not a conventionally fairy-tale country as the setting, but let the fairy tale into the streets and houses of a real Soviet city, forcing the heroes to fight, essentially, with the same bearers of the “petty truth” against whom the heroes of realistic works take up arms.” 21

The 30s became the time of formation of the so-called “fairy tales of life”, the origins of which were in the development of romantic traditions, which found their most complete embodiment in the fairy tale of Y. Olesha. “The fairy tale in the world of “Three Fat Men” turns out to be more real and more viable than the wretched reality of the existence of the vulgar mass of townspeople. This is the central artistic idea embodied in the chronotope of the fairy tale novel, and it arises at the intersection of the playful worldview coming from the carnival-circus series and the poetic binary associated with the romantic tradition.

tion,” writes M.N. Lipovetsky. The researcher names a significant number of works that he defines as “fairy tales of life”, built on “the interaction of romantic “poemism” and “romanization” characteristic of a realistic work”, on “living contact of fairy tales with modernity” (fairy tales by E. Shvarts, “The Tale of the War secret..." by A. Gaidar, "The Adventures of Pinocchio" by A. Tolstoy, fairy tale plays by T. Gabbe and S. Marshak, some works by K. Paustovsky, V. Kaverin, LLagin, S. Pisakhov and others). They are characterized by a “subjective, lyrical beginning” and opposing tendencies: on the one hand, varnishing reality, but on the other, opposition to the cruel spirit of the time, the affirmation of the highest moral values. A new type of literary fairy tale will become productive for the literature of the 30-60s.

21 Ibid., p.655-656.

22 Lipovetsky M, N, Poetics of a literary fairy tale (based on Russian literature of the 1920-1980s). - Sverd
Lovsk, 1992, p.96.

23 Ibid., p.101-102

In the process of development of the Soviet literary fairy tale for children of the 30s, another trend was formed - the emergence of “cultural fairy tales,” that is, works built on the reproduction of the literary fairy tale tradition, or “twice” literary fairy tales (such as the fairy tale plays of E. Schwartz “ Shadow" or "Snow Queen").

Children's poetic (lyric-epic) fairy tales were formed in the works of K. Chukovsky and S. Marshak, recognized classics of children's literature. The works of these authors, as well as V. Mayakovsky, A. Tolstoy and A. Volkov, are studied in detail in the book by M. Petrovsky.

In Soviet literature, the structure of a children's story-fairy tale (works by S. Mikhalkov, Y. Olesha, V. Gubarev, A. Volkov, Y. Tomin, N. Nosov, K. Bulychev and other authors), as well as fairy-tale plays, is gradually taking shape (T. Gabbe, S. Marshak, E. Schwartz, S. Mikhalkov and others), the distinctive features of which were the dynamism of the action, the clarity of the idea and plot, internal and external completeness, the central position of the images of child heroes.

Bright figures in the history of children's literary fairy tales of the 30-50s. -TGabbe and E. Schwartz. In their works, issues of moral education became central, which will also be characteristic of literary fairy tales of the 50-60s.

Scientists identify some functional and thematic groups of literary and fairy-tale works of the 50-60s. for children and youth: firstly, these are fairy tales created on the basis of the motif of “fulfillment of wishes” (for example, such as “A Wizard Walked Through the City” by Yu. Tomin), secondly, they are scientific and educational (for example, “Electronic - boy from a suitcase” by E. Veltistova), and, finally, science fiction. Thus, at 50-

24 Petrovsky M. Books of our childhood. - M., 1986.

60s gg. There is an active development of the domestic literary fairy tale based on a closer connection with reality and the complication of genre synthesis.

In general, it can be noted that in literary fairy tales of the 20s. There is a clear focus on folk tales about animals and social and everyday satirical tales, reinterpreted in accordance with the requirements of the time. Fairy tales of the 30-50s. to a greater extent they used the fairy-tale tradition, including that already mastered by literature.

A literary Soviet fairy tale for children, naturally, always presupposed an explicit or hidden in the subtext specific educational order of society. So, for example, in the fairy tales of E. Schwartz, created on the basis of well-known plots of folklore or literary origin (for example, “Little Red Riding Hood”, “Snow Queen”, “Cinderella”, “Shadow” and others), they note the addition of a traditional moral conflict to a social one, bringing social and class problems to the fore, a new “collectivist meaning”, etc. 25 But such an orientation, apparently, did not contradict the general principles of the fairy tale. Created by talented authors, a fairy tale of a specific time turned out to be more viable, “more” than a separate socio-political period in the life of the country. The universal moral meaning of the fairy tale, its universality and “eternity” have become the reason that Soviet literary fairy tales are still included in the circle of literary education; modern children read them with pleasure.

See about this: Rassadin S. An ordinary miracle. A book about fairy tales for the theater. - M., 1964. (section about E. Schwartz).

the caliber of M.M. Prishvin’s creativity, completely built on a fabulous ideological basis.

A striking feature of the development of literary-folklore relations in the 20-40s. became the individual creativity of talented folk storytellers, such as B. Shergin and S. Pisakhov, whose repertoire also included fairy tales.

In the second half of the 20th century. There is practically no folk-literary fairy tale; a folk fairy tale has become a text in a folklore collection or educational anthology, as well as a published retelling for children. According to researchers, the literary fairy tale of the 60-90s. focuses largely on the “memory of the genre”, transformed in accordance with individual creative searches and types of artistic thinking. In general, the type of fairy tale-poem that is productive for literature, the foundations of which were laid in the work of A.S. Pushkin, is practically absent in the second half of the century.

The development of literary fairy tales for children is taking place in a variety of ways. The number of fairy tales intended for children's reading is increasing, and their form is becoming more complex due to synthesis with science fiction. Functional and thematic varieties of fairy tales are drawn up: magical and didactic (V.P. Kataev, S.V. Mikhalkov); natural history (scientific and educational) - in the works of V. Bianki, and then - V.D. Berestov, N.I. Sladkov, S.V. Sakharnov, G.Ya. Snegirev; adventure-fantasy (works by E. Veltistov, V. Gubarev, N. Nosov, R. Pogodin), fiction (E. Uspensky). “Not for children” fairy tales are represented by individual names and works (for example, two fairy tales by V.M. Shukshin).

A literary fairy tale of the last decade of the 20th century. can also be considered a new stage in its development, reflecting the general state of literature and public life (works by Yu.I. Koval, L.S. Petrushevskaya, children's literary fairy tales by K. Bulychev, V. PKrapivin, S.L. Prokofieva, E. Uspensky). The mass-commercial type of fairy tale creation, based on the rethought traditions of literary-folklore relations, is also taking shape and flourishing to the fullest extent. “Multi-part” fairy tales of various origins and nationalities actively influence reader tastes. Film and video fairy tales are becoming widespread, using many stereotypes and predilections of mass consciousness.

Various types of collections of fairy tales of the 20th century. in general, they demonstrate the attitude towards fairy tales in social and literary life and in children's reading, as well as the state of scientific understanding of this artistic phenomenon. There are a lot of different editions of fairy tales. Each reflects its time, social and literary priorities and was compiled for a specific purpose, which corresponds to the selection of works, the reference and bibliographic apparatus, and comments. Collections of fairy tales by Soviet writers combine works of a different nature: revised folk tales, children's literary tales, fairy-tale-legendary works, fairy tales, lyrical miniatures, science-fiction tales, etc.

Among the publications summarizing a significant period in the development of Russian literary fairy tales, the first to be named, apparently, is the collection “The Heat of Dreams: Collection of Fairy Tales by Soviet Writers. Comp. L.A.Kaiev. - M., 1970.” In the short preface, the features of the fairy tale as a literary phenomenon are defined vaguely; varieties are not identified, although they are mentioned.

you “funny tales”, “fantastic tales” and others. The main “direction” of the publication is defined quite clearly (“tales about our, Soviet times”), the multinationality of Soviet literature is taken into account (the collection includes works by O. Ioseliani, E. Mezhelaitis, S. Neris, S. Zemaitis, A. Valdiu and others, many of which are traditions and legends, and not fairy tales, in particular the works of Baltic authors). The genre-species definition is extremely general and socially oriented (“All fairy tales - no matter how many there are - are kindled by a person’s dreams, his desire for the best”). The book includes adaptations of folk tales, folk literary tales, and individual author’s (for example, “The Magic Ring” by A. Platonov, part of the “Nemukhinsky” cycle by V. Kaverin, works by B. Shergin, SPisakhov, lyrical miniatures by M. Prishvin ). In addition to the original fairy tales by V. Mayakovsky, A. Gaidar, K. Chukovsky, V. Bianki, S. Mikhalkov, N. Nosov, V. Kataev and other authors, the book includes “Danko’s Burning Heart” by M. Gorky, “Two Frogs” "L. Panteleev, which are allegories-parables, and a number of other works that gravitate towards genres other than fairy tales. Despite the lack of clarity of classification characteristics, the collection is a striking phenomenon of its time, on the one hand, and on the other, it contains a fairly wide range of works that can be considered “near-fairytale” literary formations. The absence of reference and bibliographic apparatus and comments indicates the popular nature of the publication.

A later collection, “Fairy Tales of Soviet Writers / Comp., Preface, Prep.,” was built on a similar principle. text by L. Khanbekov. - M., 1991.” It is based on an extremely broad understanding of the literary fairy tale and

includes a variety of works (for example, “Rabbits and Boas” by F. Iskander).

An important contribution to the theoretical understanding and formation of the principles of scientific publishing of literary fairy tales was made by V.P. Anikin. His most famous collections: Fairy tales of Russian writers / Comp., introduction, art. and comm. V.P. Anikina. - M, 1985; Tales of the peoples of the world in 10 volumes. - M., 1989. -t.7 (fairy tales of Russian writers); Fairy tales of Russian writers / Comp., entry, art. and note. V.P. Anikina. - M., 1996 (Tales of the peoples of the world in 10 volumes, v.11). The first of these collections includes works by authors of the 19th and first half of the 20th centuries. (M. Gorky, N.D. Teleshov, A.N. Tolstoy, K.I. Chukovsky, P.P. Bazhov, S.Ya. Marshak, A.P. Gaidar, S.G. Pisakhov, V.V. .Bianki, D.D.Nagishkin, K.G.Paustovsky, L.Panteleev). The 1996 collection is dedicated to the author's fairy tale of the 20th century. The contents of the collection consist of works by authors of the first half of the century (from the fairy tales of M. Gorky, which determined the literary and fairy-tale tradition of the time as a whole, to the famous tale of N. Nosov about Dunno). All books by V.P. Anikin include the largest works, including those included in the classics of children's literature, scientific introductory articles, a developed reference and bibliographic apparatus, notes characterizing the work of fairy tale writers.

Publications intended for family or extracurricular reading are of a different nature. A striking example is the book “Russian fairy tales of writers of the XIX-XX centuries / Comp. approx. T.P. Kazymova, entry, art. E.A.Samodelova. - M., 1995. (Educational publication).” The compilers note that the book is intended for “family reading.” The preface by E.A. Samodelova, who belongs to a new generation of folklorists, represents a serious scientific understanding of the author’s fairy tale (you-

its origins, the originality of poetics are revealed, a classification based on the interpenetration of “literary” and “folklore” components is proposed). The nature of this collection can be defined as folk-lore-literary, since the selected works are based on traditional folk fairy tales. This book includes from the 20th century. works by Silver Age authors (fairy tales by K. Balmont, A. Remizov), folk literary tales by S. Pisakhov and B. Shergin; presents a variety of fruitful work on the fairy tales of A.N. Tolstoy (the cycles “Mermaid Tales”, “Magpie Tales”, adaptations of folk tales from the book “Russian Folk Tales”), as well as adaptations of folk fairy tales by A. Platonov.

A new stage in the scientific and pedagogical development of the literary fairy tale of the 20th century. as a whole, the book “The Magic Box: Russian Literary Fairy Tale of the 20th Century” reflects / Comp., author. entry, art. and applications by V.P. Zhuravlev. -M., 1998. (Educational publication).” It is intended for the reader - a child or teenager, and is defined as a reader. For the first time, the compiler tried to show the maximum breadth of the concept of “literary fairy tale of the 20th century” by including in the collection works by N. Teleshov, O. Forsh, L. Charskaya, S. Cherny, A. Kuprin, A. Tolstoy, P. Bazhov, A. Platonov, E. .Shvarts, B.Shergin, S.Marshak, K.Paustovsky. Thus, the texts of the book represent a prose author's fairy tale of the 20th century. (for children and “double-faced”) in the unity of individual authorial and folk literary traditions, classics and forgotten names, romantic and satirical orientation.

A distinctive feature of the book market in recent years has been the publication of fairy tales in the form of popular “libraries”, “series”, etc. They often include original and folk tales, including various

personal nationality. The characteristic features of these publications are the advertising “lures” of authors and publishers, as well as the desire for some kind of “encyclopedic”. Often, expensive illustrated books do not include prefaces, dates of creation, or mention of the country in which the author lives.

Over the centuries of the existence of fiction, the fairy tale (or better said, various genres of folk tales) in certain aspects of its ideological and artistic world corresponded to the creative searches of poets and writers. Exact correspondences in time and individual authors, of course, cannot be established, but in general it is possible to characterize the dominants of literary and fairy-tale “reflections” of different times. Thus, the aesthetics of miracle, mystery, as well as the expression of national spiritual life became relevant for the literature of romanticism. The Russian literary fairy tale has forever preserved the romantic traditions (in the view of the world, its comprehension and “experience”), which were reflected in different ways in the works of many authors of the 20th century. (such as L.A. Charskaya, M. M. Prishvin, Yu. K. Olesha, K. G. Paustovsky, V. V. Krapivin and others). 26

For literature of the 70-80s. XIX century, as well as for many authors of the first quarter of the XX century. - the possibility of satirical depiction of certain aspects of life. For poets and writers of the early 20th century. in general - the mythopoetics and moral and philosophical harmony of the fairy tale. For children's literature, the possibility of combining an adventure plot with a didactic and educational orientation.

See also about this: Leonova T.G. Russian literary fairy tale of the 19th century. in its relation to the folk tale: The poetic system of the genre in historical development. - Tomsk, 1982; Chernysheva T.A. The nature of fantasy. - Irkutsk, 1984 (chapter “Romanticism and Fantasy”), Lipovetsky M.N. Poetics of a literary fairy tale (based on Russian literature of the 1920-1980s). - Sverdlovsk, 1992 and others.

Russian literary fairy tale of the 20th century. - a complex and multifaceted subject of research, a current direction of philological science, uniting a whole group of interrelated theoretical, historical and literary problems. This is history, genre typology and genre synthesis, the “status” of a fairy tale in the system of literary genres of the 20th century, classification, features of poetics, as well as the originality of folklorism.

The presented concept is based on the following provisions:

A literary fairy tale is a historically established epic type of literature. Its basis is the unity of the artistic world of fairy tales as a whole and the synthesis of various elements and principles of creating literature and folklore. Two main types of literary fairy tales - folk-literary and individual-authored - combine various genres and genre varieties.

The poetics of a literary fairy tale is dialogical, conditionally symbolic and compensatory. The dominant feature of the artistic world of a literary fairy tale is the author’s position.

The laws and boundaries of the literary and fairy-tale way of reflecting reality are based on the ideological and artistic principles of folk tales.

The study of the author's fairy tale in folklore and literary criticism began quite a long time ago, almost from the time of the first definitions of the genre of “old stories and fairy tales” and should be dated back to the beginning of the 19th century. Literary criticism and folkloristics of the 19th century. did not purposefully study literary fairy tales, but came into the orbit of attention

Naturally, they fell into the hands of scientists, publicists and literary artists (for example, romantic criticism touched upon the problem of fairy tales in connection with the concept of “nationality”; the fairy tales of A.S. Pushkin, M.E. Saltykov-Shchedrin, and fairy-tale elements in the works of other authors were studied) .

The history of the Russian literary fairy tale has not yet been written in full, but its individual periods have been studied quite fully and deeply in the works of N.V. Novikov, I.P. Lupanova, T.G. Leonova, T.V. Krivoschapova, M.N. Lipovetsky, M.I. Meshcheryakova, E.V. Pomerantseva; This issue has also been given significant space in textbooks and teaching aids on children's literature in recent years. 27 Special studies are devoted to the study of Russian fairy tales in early literary forms, adaptations, recordings and publications of modern times (the so-called “pre-Afanasyev period”). 28 Among modern works, we note the books of N.V. Novikov. “Fairytale” component of literature of the last third of the 18th - first quarter of the 19th century. discussed in detail in studies devoted to Russian romanticism. A literary fairy tale of the 19th century has been studied. (the so-called “classical version”) and a fairy tale from the turn of the century in the aspect of connection with the main trends in the development of literature, ideological and artistic originality, preservation of the folk fairy tale basis and features of poetics (research by V.P. Anikin, A.S. Bushmin, T. V. Zueva, T. G. Leonova, I. P. Lupanova and others).

27 See: Arzamastseva I.N., Nikolaeva S.A. Children's literature. - M., 2000; Russian literature for children. Ed.
T.DLolozova. - M., 1997 - and others.

28 Pypin A.N. Essay on the history of ancient Russian stories and fairy tales. - St. Petersburg, 1857; Sipovsky V.V. From the history of Russian
sky novel and story. (Materials on bibliography, history and theory of the Russian novel). Part 1. XVIII century. - Edition 2-
th Dept. Imperial Academy of Sciences. - St. Petersburg, 1903 and others.

2 "Russian fairy tales in records and publications of the first half of the 19th century. - M.-L., 1961; Russian fairy tales in early records and publications (XVI-XVIII). - L., 1971.

By the middle of the 20th century. the opportunity arose to comprehend various genre varieties of literary fairy tales using significant artistic material.

We can talk about several stages in the study of Russian literary fairy tales of the 20th century. For the first time, the question of the direct relationship of the author's fairy tale with literature and folklore was raised in the late 50s. A book by D. Nagishkin, a monograph by I.P. Lupanova, and a study by Z.V. Privalova have been published. 30 50-70s - the time of the appearance of the first studies by V.P. Anikin, devoted to the processing of folk tales by writers and literary fairy tales. 31 In general, in the first scientific studies, the literary fairy tale was comprehended through a system of comparative analysis with the folk tale, its genre-forming features and features of its relationship with reality were identified. The significant interest of scientists and critics in literary fairy tales for children was also evidenced by the events that unfolded in the 70s. on the pages of the magazines “Children's Literature” and “Preschool Education” there is a discussion about the uniqueness of the miraculous in a fairy tale, its significance in children's reading and development prospects. Despite the appearance of a certain number of works, back in the late 70s. experts have noted the lack of theoretical generalizations in studies of literary fairy tales. 32

80s and 90s were a time of active research into modern conventional (and eclectic) forms of literature, the influence of folk poetry on literature, as well as understanding the literary fairy tale of the 20th century. in the center

30 Nagishkin D. Fairy tale and life. - L., 1957; Lupanova I.P. Russian folk tale in the works of the first writers
half of the 19th century - Petrozavodsk, 1959; Privalova Z.V. Soviet children's literary fairy tale of the 20-30s: Diss. ...
Ph.D.-M., 1959.

31 Anikin V.P. The great art of fairy tales (Treatment of folk tales by Soviet writers) - LG, 1952, No. 12;
Anikin V. Writers and folk tales // Russian fairy tales as processed by writers. M., 1969; Anikin V. Evergreen
branch. On the poetic quest for a writer’s fairy tale // “Literature at school”, 1970, No. 2.

32 See about this: Bakhtina V.A. Literary fairy tale in the scientific understanding of the last twenty years // Folklore
peoples of the RSFSR: Interuniversity. scientific Sat. - Ufa, 1979, issue 6, p. 70.

scrap. This scientific direction has become one of the priorities (as evidenced by defended dissertations). A significant number of large works have appeared devoted to the theoretical problems of folklore literature (D.N. Medrish, U.B. Dalgat), the literary fairy tale of the 19th century. and the turn of the 19th - 20th centuries. (T.G. Leonova, T.V. Krivoschapova), identifying connections between literary fairy tales and science fiction literature (A.F. Britikov, Yu.I. Kagarlitsky, E.M. Neelov, T.A. Chernysheva and others) .

Some periods, authors and tales have been studied quite fully, while less has been written about others. In the history of the author's fairy tale of the 20th century. The works of the 20-80s have been most fully studied. Repeatedly, scientists turned to the works of such authors as A.M. Gorky, A.N. Tolstoy, S.Y. Marshak, K.I. Chukovsky, S.V. Mikhalkov, E.L. Shvarts (whose works became classics of Russian children's literature fairy tales), to folk literary tales of S. Pisakhov and B. Shergin. There is significant scientific, educational and popular literature on the fairy tales of M. Prishvin, V. Bianki, K. Paustovsky, V. Shukshin.

About the literary fairy tale of the second half - the end of the 20th century. many modern philologists and teachers have written and are writing (M.I. Meshcheryakova, I.N. Arzamastseva, T.M. Kolyadich and others), reports and communications at scientific and pedagogical conferences, dissertation research are dedicated to her; Thus, there is an active process of its scientific understanding.

53 Candidate's theses: Bogatyreva N.Yu. “Literary fairy tale by V.P. Krapivin” (1998); Dubrovskaya I.G. “Soviet children's fairy tale of the 30s” (1985); Isaeva E.Sh. “The genre of literary fairy tales in the dramaturgy of E. Schwartz” (1985); Leiderman M.N. “Soviet literary fairy tale (Main development trends)” (1989); Lyakhova V.V. “Soviet children's dramatic tale of the 30s” (1980); Khalutornykh O.H. “A fairy tale as a cultural phenomenon (socio-philosophical aspect)” (1998); doctoral dissertations: Leonova T.G. “Russian literary fairy tale of the 19th century. in its relation to the folk tale" (1988); Medrish D.N. "Literature and folklore tradition: (Problems of poetics") (1983); Trykova O.Yu. “Domestic prose of the last third of the 20th century: genre interaction with folklore” (1999) and others.

In one of the new studies devoted to the folklorism of literature of the last quarter of the 20th century, it is noted, in particular, that the fairy tale has become a productive type of folklore for literature, that there has been a tendency “towards the creation of larger epic forms focused on the fairy tale”, that “the fairy tale is becoming the a universal genre, under the banner of which completely different writers unite: realists, post-realists, and postmodernists.” 34 It is significant that, considering the originality and priorities of the latest literature, built on “fairy tale reflections”, the author (like many others) does not specifically define the concept of the author's fairy tale in the unity of the genesis of traditions and new artistic discoveries, but classifies as literary fairy tales works that use only individual elements of fairy-tale poetics (for example, “Rabbits and Boas” by F. Iskander, “Squirrel” by A. Kim and a number of other works).

By the end of the 20th century. Scientific schools have emerged that deal with the problems of folklorism in literature, as well as the influence of fairy tales on literature (Moscow, Voronezh, Petrozavodsk, Sverdlovsk, Chelyabinsk and others). Conferences in Ml 11 U, dedicated to world literature for children and about children, as well as literary fairy tales, accompanied by the publication of scientific collections, are becoming traditional. 35 Regularly, articles devoted to author’s fairy tales appear on the pages of the magazines “Russian Literature”, “Children’s Literature”, “Preschool Education”, “Literature at School”, “Book Review” and others. Tale of the 20th century for children and adults is also briefly described in the prefaces to existing collections.

m Trykova O.Yu. Domestic prose of the last third of the 20th century: genre interaction with folklore: Abstract of diss.... Doctor of Philosophy. n. - M., 1999, pp. 9-10.

For example: Literary fairy tale: history, theory, poetics. - M„ 1996; Literary fairy tale: History. Poetics. Method of teaching. - M., 1997; World literature for children and about children. Issue 4. - M., 1999; issue 5. - M., 2000; Issue 6.-M., 2001.

By the end of the 20th century. The study of the uniqueness of the artistic world has become productive for the Russian literary fairy tale. Current problems were identified: the connection of a literary fairy tale with reality, the specificity of the miraculous, spatio-temporal organization, the originality of the author's position.

In addition to scientific articles, commentaries and reviews, to date there are a number of major works of a generalizing and conceptual nature on the literary fairy tale of the 20th century. These may include books by D.D. Nagishkin, I.P. Lupanova, M.N. Lipovetsky, T.V. Krivoschapova, as well as studies of the magical fairy-tale roots of science fiction by E.M. Neelova and a special section in the monograph by M.I. Meshcheryakova, dedicated to children's and youth literature of the second half of the 20th century. 36

Generalization studies present a variety of study methods. Thus, in the books of T.G. Leonova and I.P. Lupanova, the “folkloristic” approach prevails. For the monograph by M.N. Lipovetsky, the concept of “memory of the genre” became central. In the book by T.V. Krivoschapova, the theoretical basis is the idea of ​​a creative “dialogue” of traditions. M. Meshcheryakova examines fairy tales in connection with the “conventional” forms of children's and youth literature.

One of the first major studies was the work of DDNagishkin, in which the properties of a literary fairy tale were considered

36 Nagishkin D.D. Fairy tale and life. - L., 1957; Lupanova IL. Half a century. Soviet children's literature. 1916-1967. Essays. - M., 1969; Lipovetsky M.N. Poetics of a literary fairy tale (based on Russian literature of the 1920-1980s). - Sverdlovsk, 1992; Krivoshapova T.B. Russian literary fairy tale of the late 19th and early 20th centuries. - Akmola, 1995; Neelov E.M. The magical and fairy-tale roots of science fiction. - L., 1986, His: Fairy tale, fantasy, modernity. - Petrozavodsk, 1987; Meshcheryakova M.I. Russian children's, teenage and youth prose of the second half of the 20th century - Moscow, 1997.

through a system of constant and variable genre features, formed on the basis of the creative use of various features of folk tales.

The book by I.P. Lupanova was written from the point of view of the social and class functionality of literature. The evolution of the author's fairy tale, its achievements and artistic discoveries are considered against the background of all literature for children in the 20-60s. A theoretical understanding of the author's fairy tale as a whole has not been carried out; genre varieties of written fairy tales for children have been characterized in connection with their focus on folklore and literary traditions.

T.V. Krivoschapova’s research is devoted to the literary fairy tale of the turn of the 19th-20th centuries. in the genre system of literature. In it, in the light of folk-lore and literary “reflections”, poetic and prose fairy tales of authors belonging to a variety of literary movements (realism, symbolism, futurism, acmeism) were studied in detail, such as A. Remizov, A. Tolstoy, S. Gorodetsky and other.

Among the named works on the literary fairy tale of the 20th century. a small part touches on the theory of this genre formation.

The most complete development of the literary fairy tale of the 20-80s. XX century in historical and theoretical terms and from the point of view of the originality of the poetics of the genre, it is presented in the works of M.N. Lipovetsky. The concept and methodology of the researcher is devoid of the empiricism inherent in many works on literary fairy tales; it has a serious scientific basis, built on the development of the theory of the genre in the historical and cultural process (works by A.N. Veselovsky, A.A. Potebnya, M.M. Bakhtin, O .M.Freidenberg, I.P.Smirnova, works of Western and domestic mythologists and others). Thus, the author comes to identify the central for literary

fairy tales of the theoretical concept of “memory of the genre”. The structural-genetic approach, most adequate to the object under study, allowed the scientist to draw important theoretical conclusions about the semantic “core” of a literary fairy tale, the originality of poetics and the playful principle in the structure of the genre and the main development trends in the 20-80s. XX century

Given the breadth of the general theoretical approach, the depth of generalizations and findings, the author deliberately narrowed the object of research (non-children's and two-address fairy tales), and also suggested that the “memory of the genre” of a literary fairy tale is based only on a magical folk tale (its “semantic” core). In addition, M.N. Lipovetsky had in mind “not so much specific fairy-tale works as a certain theoretical invariant fairy tale genre, the general structure of the genre tradition of folk fairy tales." 37 It is no coincidence that such a position aroused objections. T. Leonova, for example, noted that in this case “the folklore prototype of the literary fairy tale is inaccurately defined, a narrowed understanding of the folk tale is given only as a magical one, and accordingly the significance of folk tales about animals and novelistic ones is ignored in the development of Russian literary fairy tales.” 38 Valuable and important is the idea of ​​M.N. Lipovetsky that most authors (with the exception of those who specially processed real records of folk tales - for example, A.N. Tolstoy or A.P. Platonov) consciously or unconsciously focus on the “memory of the genre”, but the very concept of “memory of the genre” in relation to literary fairy tales of the 20th century. and some other polo-

37 Lipovetsky M.N. Poetics of a literary fairy tale (based on Russian literature of the 1920-1980s). - Sverd
Lovsk, 1992, p.9.

38 Leonova T.G. On some aspects of the study of literary fairy tales // Literary fairy tale: history, theory, poets
ka: Sat. articles and materials. - M., 1996, p. 4-7; Sat.

concepts and ideas of fundamental research need to be developed, specified and clarified.

A review of major studies and publications (scientific and popular) indicates that for the literature of the 20th century. In general, the concept of “author's fairy tale” is quite arbitrary, and many problems still require solutions. Their complexity is also due to the fact that the concepts of “history of Russian literature of the 20th century” and “modern literary process” now seem ambiguous and largely fluid; the principles of interaction between folklore, “mass” and highly artistic literature that are relevant for the history of literary fairy tales have not been fully clarified. literature. One of the main unresolved issues in historical, literary and theoretical studies of fairy tales of the 20th century is genre affiliation (and, accordingly, the selection of works for analysis). In most studies and publications, a distinction has not been drawn between a work that includes fairy tale elements, a work containing the “experience” of a fairy tale, and a literary fairy tale itself, and the types of fairy tales have not been defined.

Russian literary fairy tale of the 20th century. still remains an insufficiently studied phenomenon, although individual periods, names, and varieties have been studied in detail and deeply. In a number of works, the path of the fairy tale in the literature of the 20th century was comprehended, the ideological and thematic originality and features of poetics were examined.

Unconditional priority in research and critical literature belongs to the domestic literary fairy tale for children. Based on studies of the creativity of outstanding masters of children's literary fairy tales, methods for classifying author's fairy tales were proposed,

genre forms of fairy tales of the 30-40s. 39, including fairy tale plays, 40 identified such features of children's literary fairy tales as a combination of authenticity and fantasy, an adventure plot, rethinking traditions in connection with modernity, the central position of the child hero and others.

The fairy tales of the first half of the century have been most fully and deeply studied, while the author's fairy tales of the second half of the 20th century have been studied most fully and deeply. and especially the last decade need more serious attention from literary scholars and folklorists. A comprehensive domestic literary fairy tale of the 20th century. (in the unity of “children’s” and “adults”, highly artistic and “mass”, in various genre varieties, etc.) has not been studied, although there are large works of a generalizing nature.

V~Ya. Propp pointed out the inexhaustibility of the fairy tale as a subject of research: “The area of ​​the fairy tale is enormous; its research requires the work of several generations of scientists. The study of fairy tales is not so much a private discipline as an independent science of an encyclopedic nature.” 41 Apparently, the literary fairy tale also represents a huge field for research, which is also due to the fact that it is a productive and developing artistic form.

The study of Russian literary fairy tales, which is relevant for literary studies and folklore studies, has not generally become an independent scientific direction in fairy tale studies. Throughout the 20th century there was

Begak B.A. The truth of fairy tales: Conversations about fairy tales of Russian Soviet writers. - M., 1989; Lupaiova I.P. Half a century. Soviet children's literature. 1916-1967. - M., 1969; Nagishkin D. Fairy tale and life. -L., 1957; Petrovsky M. Books of our childhood. - M., 1986; Privalova Z.V. Soviet children's literary fairy tale of the 20-30s: Diss. Ph.D. n. - M., 1959; Sivokon SI. Children's classics lessons. - M., 1990 and others.

40 For example: Rassadin S. Ordinary miracle: A book about fairy tales for the theater. - M, 1965; Dubrovskaya I.G. Soviet
children's fairy tale of the 30s: diss. ... Ph.D. - Gorky, 1985; Isaeva E.Sh. Genre of literary fairy tale
dramaturgy of V. Schwartz: Diss. ... Ph.D. - M., 1985; Lyakhova V.V. Soviet children's dramatic tale of the 30s
Dov: Diss. ... k.phil. n.-Tomsk, 1980.

41 Propp V.Ya. Russian fairy tale (Collected works of V.Ya. Propp). - M., 2000, pp. 6-7.

There was a change in the artistic world of the literary fairy tale, due to both the originality of the socio-cultural path and the author’s individual creative searches, but undeniable, from our point of view, is the idea of ​​\u200b\u200bthe 20th century. as a single literary and cultural cycle. A literary and folklore analysis of the artistic world of author's fairy tales throughout the century will make it possible to draw conclusions about promising trends for author's fairy tales and about the essence of the so-called “dead ends” or crisis phenomena of the literary fairy tale tradition. Its center is the idea of ​​genre synthesis as the basis for the formation of the artistic world of a literary fairy tale, in which, at a new level, in accordance with the specific creative searches of writers and the time of creation, traditions and artistic discoveries of different cultural periods (including pre-fairy tale) were united.

The objectives of our research: identifying the main trends in the development of the author's fairy tale as a type of literature based on the study of works by different authors; determining the origins of the formation of the peculiarities of poetics and the main genres of literary fairy tales that emerged in various periods of literary development of the 20th century; research of the artistic world of a literary fairy tale in various aspects (genre synthesis; spatio-temporal organization; system of images; author's position) based on the dialogue of the individual author's beginning and traditional fairy tale genre-forming elements. We study the literary fairy tale of the 20th century, combining historical-typological, historical-functional and structural-genetic methods, using the principles of specific historical analysis and the methodology of comparative literary and folklore research.

The theoretical and methodological basis for the study of Russian literature
tour fairy tale of the 20th century. are works of different years on the specific literature
but folklore connections (M.K. Azadovsky, F.I. Buslaev, U.B. Dalgat,
D.N. Medrish, A.N. Pypin, V.Ya. Propp, V.V. Sipovsky, K.V. Chistov);
philosophical, worldview and poetic originality of folk
fairy tales, their place in the history of culture (V.P. Anikina, A.N. Afanasyeva,
V.A. Bakhtina, A.N. Veselovsky, T.V. Zueva, Yu.G. Kruglov,

S.Yu.Neklyudov, D.S.Likhachev, E.M.Meletinsky, V.Ya.Propp,
E.V. Pomerantseva, Yu.M. Sokolov, etc.), genre specificity and type
gies of literature (M.M. Bakhtin, N.L. Leiderman, Y.M. Lotman,
G.N.Pospelova, I.P.Smirnova, N.P.Utekhina, L.V.Chernets,

T.A. Chernysheva, A.Ya. Esalnek); “fabulousness” as a property of literature at various stages of its development (V.V. Agenosova, V.G. Bazanova, P.S. Vykhodtseva, T.V. Zueva, N.I. Kravtsova, M.I. Meshcheryakova, T G. Leonova, I. P. Lupanova, N. I. Savushkina, etc.).

The current state of philological sciences (literary studies and folkloristics) opens up new prospects for research, allows us to more accurately define the concept of “folklorism” and give genre-type characteristics to literary fairy tales, conduct their comprehensive study in the unity of diverse varieties based on scientific classification.

The scientific novelty of the presented research is due to the fact that it:

A comprehensive study of the Russian literary fairy tale of the 20th century is given. in the unity of genre-specific types, sections and periods of literary development.

Based on a generalization of existing in folklore and literature

tour studies positions in the study of theoretical aspects of the problem (dialectics of folklore-literary relationships, the concept of folklorism of literature, genre-species typology of literature and folklore), the idea of ​​a literary fairy tale as a multi-genre type of literature is put forward and a classification of literary fairy tales of the 20th century is proposed, based on the understanding of literary and folklore connections, the uniqueness of the author’s position and the peculiarities of poetics.

The general features of the poetics of the literary fairy tale of the 20th century are determined. as poetics of literary and folklore: the unity of magic and reality, emphasizing dual worlds and transitions from one world to another, a multifaceted image of childhood, the maximum expansion of space-time boundaries, multi-level dialogue.

The object of the study is a Russian literary fairy tale of the 20th century. Just one description of fairy tales by writers and poets of the 20th century. could constitute an entire reference and encyclopedic publication. The research is carried out on the basis of an analysis of literary fairy tales of the 20th century, created by different authors at different times for children or adult audiences. You cannot “embrace the immensity,” so, naturally, some authors, fairy tales, problems, etc. are presented briefly, but in general we focus on those aspects of the phenomenon that have been little or not touched upon in the scientific literature. An overview of various genres is combined with detailed analysis.

zom works that most clearly represent the originality of one or another type of literary fairy tale in accordance with the classification we propose (literary folk tales by B. Shergin and S. Pisakhov, works by M. Prishvin, V. Kaverin, V. Krapivin, S. Mikhalkov, K .Bulychev, S. Prokofieva, L. Petrushevskaya and others).

The theoretical significance of the study lies in the fact that the Russian literary fairy tale of the 20th century. studied in connection with various aspects of the relationship between literature and folklore, the ideological and artistic properties of folk tales, which determined the diversity of author's fairy tales, the relationship of fairy tales with children's, adventure and mass literature of the 20th century, were comprehended, a classification of literary fairy tales was constructed and the originality of the artistic world of fairy tales of various genre types was revealed .

The practical value of the work lies in the fact that the materials and results of the presented scientific direction can be used in the further study of literary fairy tales, in basic and special courses in the history of Russian literature, as well as for compiling scientific comments and reference bibliographic apparatus when publishing author's fairy tales of the 20th century.

The work was tested in reports at interuniversity conferences: “Current problems of modern literary criticism” (Moscow, MGOPU - 1997, 1998, 1999, 2000); “World literature for children and about children” (Moscow, MPGU - 1999, 2000); “Current problems of modern interpretation of works of Russian literature” (Penza, PSPU, 2000); “Humanization and humanization of education. Current problems of the modern lesson" and "Current problems of education. Science at the turn of the century" (Ulyanovsk, Ulyanovsk State University, 2000); "The legacy of I.A. Bunin in

context of Russian culture" (Elets-Voronezh, 2001).

The main provisions of the dissertation are reflected in 19 scientific publications, including 3 monographs: Literary fairy tale of the 20th century: world - hero - author. - Yuzhno-Sakhalinsk, 2000 - 6.5 p.l.; A fairy tale in the artistic world of M.M. Prishvin. - M., 2000. - 5 pp; Russian literary fairy tale of the 20th century. (history, classification, poetics). - M., 2001. - 14 pp.

Categorical-conceptual apparatus of research

The literary fairy tale belongs to the so-called “borderline” artistic forms, the emergence of which became one of the features of the mutual influence of folklore and literature during the 19th-20th centuries.

With a strict terminological approach, the phrase “literary fairy tale” seems to be an oxymoron. But this contradiction gives rise to many promising directions in the study of the phenomenon itself.

The concept of “literary fairy tale” is broad and not precise enough, since it unites heterogeneous works. First of all, this is due to different approaches to the interpretation of the original term “fairy tale”. In various fields of humanities, in fiction, criticism and journalism, as well as in everyday speech, a fairy tale can mean anything. From the type (or genre) of oral folk art to ordinary lies. It is obvious that a generalization and theoretical understanding of everything related to the Russian literary fairy tale of the 20th century. impossible without clarification and improvement of the categorical terminological apparatus, which would adequately reflect all the features and systemic-typological connections of this phenomenon. A variety of explanations of the concept of “fairy tale” are reflected in all kinds of dictionaries and reference and encyclopedic publications. Let's look at different types of publications.

V.I. Dahl’s interpretation of the fairy tale was broad and multifaceted: “A fairy tale is a legend, a story, a story, a legend. (...) A fairy tale is a fictional story, an unprecedented and even unrealizable tale, a legend.” The types of fairy tales are named: heroic, everyday, joker, boring.

The explanatory dictionary of the Russian language by S.I. Ozhegov records two main meanings of the word “fairy tale”: “1. A narrative, usually folk poetic work about fictional persons and events, mainly involving magical, fantastic forces. 2. Fiction, untruth, lie (colloquial).” In the short literary encyclopedia (the article about the fairy tale was written by E.V. Pomerantseva), the definition is as follows: “A fairy tale is one of the main genres of oral folk poetry, an epic, predominantly prosaic work of art of a magical, adventurous or everyday nature with a focus on fiction.” The “new” life of the fairy tale in the literature of the 20th century interests us. characterized quite generally: “In Soviet times, some fairy tales continue their life in books, other fairy tales completely disappear from folk life and become the property of children, and still others continue to attract the attention of adult listeners.” The literary fairy tale itself is not specifically defined, although the wide possibilities of folklorism, based on the use of “folk fairy tale images, themes and plots that create literary fairy tales,” are noted.3

The scientific body of ethnographic concepts and terms gives the broadest interpretation: “Fairy tales are a type of oral folk prose with a dominant aesthetic function. This distinguishes them from other oral stories, where the main function is informative (legends, tales, etc.). The unreliability of the narration (orientation to fiction) remains, in essence, the only feature that allows us to classify oral stories as fairy tales told for the purpose of entertainment and instruction."4 It also says that fairy-tale prose is a "multi-genre phenomenon." . The “fictional attitude”, often recognized as a general specific property of fairy tales, was clarified and supplemented in the books and textbooks of V.P. Anikin. The scientist notes that “it is not the focus on fiction that is the main feature of the fairy tale genre, but the focus on revealing life’s truths with the help of elevating or reducing reality of conventionally poetic fiction, the forms of which developed in close connection with a wide range of ideological and everyday concepts and ideas of the people, like in ancient as well as in later historical times.” And further: “Whatever varieties of the fairy tale genre you take, they will all fit this characteristic: in all fairy tales, the disclosure of the idea necessarily leads to an appeal to fantasy.”3

Literature for children and fairy tales

The origin of the Russian literary fairy tale as a type of literature is often associated with the needs of children's reading. Thus, the first literary fairy tales for children are considered to be the allegorical and didactic original works of Empress Catherine II, written by her for her grandson, the future Emperor Alexander I.

There are still significantly fewer non-children's literary fairy tales in the 20th century, although elements of fairy-tale poetics are present in the works of almost all poets and writers, in the structure of a wide variety of works.

An appeal to the “children's theme” naturally leads to a fairy tale. Most authors of children's works, and fairy tales in particular, reproduce the purity and spontaneity of moral feeling, the famous “lessons” of traditional fairy tales in a fascinating form. A fairy tale is one of the best, if not the best, artistic form for telling a child about everything in the world. Let's consider this aspect of the problem in more detail.

The topic “childhood and fairy tales” is interdisciplinary. Writers, critics, teachers and psychologists have invariably linked together the problems of adequate reflection of reality, literary world-making, children's perception and fairy-tale art form, but the concept of “the nature of a fairy tale” in focusing on children's perception is complex and multifaceted.

The characteristics of the emotional sphere, thinking and imagination of children are favorable specifically for the perception of fairy tales. On the other hand, a fairy tale is the most adequate means for raising and developing a child. Children have a need for a fairy tale.

Of course, it is the fairy tale, along with myth, that is the universal means of “introducing” a child into the national cultural society. But this is not the result of its primitiveness or simplicity. A fairy tale (folk tale, first of all) unites the eternal, universal and childish principles precisely because of its world-modeling function and special moral philosophy, that “complexity of simplicity” that any researcher of it pays attention to. E.M. Meletinsky noted that “in a fairy tale, through the bizarre fantasy and in spite of it, one can see the modeling of an obligatory stage in an individual’s life.” T.V. Tsivyan wrote in the work cited above: “Along with other folklore genres, a fairy tale is an educational material that prepares a person for conscious entry into the world. The fact that a fairy tale is considered “children’s reading” par excellence does not speak of its primitiveness, but once again testifies to its fundamental role in the process of a person’s mastering, among other things, orientation in the surrounding space.”

M. Petrovsky, in a book dedicated to children's literary fairy tales of the 20-30s, noted that myth gave the child in the first stages of human development “a sensory picture of the world, developed through the efforts of previous generations.” From the point of view of M. Petrovsky, “this socio-cultural role in modern life is played by a children's fairy tale. Having absorbed debris, fragments and entire structures of the myth of antiquity, enriched by centuries of development experience (first folklore, then literary), the fairy tale in the reading of today's children has become something like an “age-related myth” - a transmitter of the original norms and institutions of national culture. A fairy tale turns the child of this father and this mother’s family into a child of culture, a child of the people, a child of humanity. “Social man” in modern terminology.”

The question of the relationship between fairy tales and children's literature seems quite complex.

There are many things in common between children's literature and oral folk art in general: firstly, children's folklore (fairy tales, horror stories, etc.); secondly, folk fairy tales, which always “sympathize” with the weak or offended and make him a winner; thirdly, fairy tales with “wonderful children”, as well as tales about animals, distinguished by laconicism, a clearly expressed educational and edifying orientation, lively, vivid dialogues and entertaining play on words and meaning.

Initially, folk tales and many literary tales (by V.A. Zhukovsky, A.S. Pushkin and others) were not created specifically for children, but they took a central place in children's reading in the 19th-20th centuries.

Despite the obvious fact that fairy tales and children's literature are inseparable, for a long time Soviet criticism opposed fairy tales and storytellers. This process in detail The unity of the artistic world of a fairy tale allows us to characterize its varieties and consider the question of the relationship between literary fairy tales and related genres.

The original concept of “artistic world” (or “inner world of a work”) has been established in literary criticism over the past thirty years. “The artistic world” is a broad and multifaceted concept. For its understanding, it is important, first of all, the position of D.S. Likhachev. Introducing the concept of “the inner world of a work of art,” D.S. Likhachev, in addition to characterizing the components, pays special attention to its integrity, considers it as a harmonious system, artistic unity, and also connects it with the general patterns of the writer’s creativity, the trends of the era and the characteristics of various types and genres of literature. It seems important that the scientist views the inner world of a folk tale as an organic unity (not of individual fairy tales or different genre varieties, but of the Russian fairy tale as a whole).

It cannot be said that the concept of “artistic (inner) world” is completely established and unambiguous. Therefore, as was said, different interpretations coexist: understanding the artistic world as the meaningful form of a work, as an objective world, as poetics, etc.

When characterizing the artistic world of a literary work, researchers, as a rule, define its two main components: reality and artistic fantasy, the actual creative act that recreates phenomena of the real world, including them in a different context and giving them new qualities. D.S. Likhachev used the word “reacting”: “Literature “reacts” reality. This “replaying” occurs in connection with those “style-forming” trends that characterize the work of this or that author, this or that literary movement or the “style of the era.” From the point of view of M.M. Girshman, verbal and artistic reality “reflects and manifests in itself a larger universe, the fullness of human life, the entire integrity of being.”2

For a literary fairy tale, apparently, there is a third component of the artistic world - folklore tradition, which dictates its own laws, thanks to which a multi-level dialogue and artistic synthesis are formed as the main principles of organizing the artistic world of a literary fairy tale. The question of the components and levels of the artistic world of a fairy tale was raised by supporters of structural-semantic analysis. For example, T.V. Tsivyan notes the possibility of identifying semantic and informative fields of the artistic world of a fairy tale (cosmological, spatial, temporal, character, subject), each of which “plays a special formative role in the structure of a fairy tale.”

The original attempt to view a fairy tale in this way was made by J. R. Tolkien. Tolkien does not consider himself a researcher or a competent specialist (in his own words, he is an “inquisitive tramp” in the fairy-tale world) and, without scientific snobbery, considers not only folk tales, but pays a lot of attention to retellings and reworkings of fairy tales by writers or compilers of collections (like “ The Green Book of Fairy Tales"), exactly the kind that are now in use among us. The writer’s thoughts and conclusions may well be used to explain the uniqueness of fairy-tale and “near-fairy-tale” fiction of the 20th century. The writer uses “gastronomic comparisons”: a pot of soup, the ingredients of this dish, the cook. “By “soup” I mean a fairy tale in the form as it is given by the author or storyteller, and by “bones” I mean its material or sources (in those cases where they are known).”4 Further, the author shows that in the “pot “soup” could contain very different ingredients (gods, heroes, mythological and historical characters, kings, ordinary people). It is also important that in the world of a fairy tale they are all one (cooked together). And further: “All sorts of things are cooked in the “pot”, but the Cooks do not scoop out everything with a ladle. Their choice is not the last thing.”

The artistic world of a literary fairy tale is a moving concept, changing depending on the time of creation, the author’s position, orientation towards “their” reader, and much more. Therefore, most likely, we can talk about the originality of the artistic world of individual genres of literary fairy tales. discussed in the book by K.I. Chukovsky “From two to five” (chapter “The Fight for a Fairy Tale”, including impressions from different years).

K.I. Chukovsky talks in detail about the “highbrow specialists” in raising children, who agreed to the point that new children in a new country do not need folklore at all, much less a fairy tale with its wonders, the specialists who invented the concept of “Chukovism”. The anti-fairy tale campaign, which broke out at a time when many educators, critics and authors thought that in the new country everything needed to be built from scratch, throwing away centuries of the formation of folk culture, when half of the country felt like prosecutors, and the other - defendants, subsided partially after The First All-Union Congress of Soviet Writers. As K.I. Chukovsky writes, “repentant teachers, editors, and heads of kindergartens began to appear everywhere, who began to plant the fairy tale with the same zeal with which they had just eradicated it.” However, there were relapses in the fight against fairy tales in both the 50s and 60s.

Folklore and literary tales

The concept of a folk-literary (or folk-literary) fairy tale was established thanks to the work of very special writers-storytellers - S. Pisakhov and B. Shergin.

The harmonious unity of labor and creativity, an integral folk culture became the basis for the works of the successors of the northern folklore tradition. To understand the artistic world of such works, the concepts of “connection with folklore” or “influence of folklore” are unacceptable. This is a continuation of tradition, its preservation in other sociocultural conditions of the first half of the 20th century.

In our opinion, the basis for understanding the work of B. Shergin and SPisakhov in the selected aspect is the understanding of literary storytelling as a special type of artistic creativity.

B.V. Shergin acted as a performer, was engaged in collecting activities, was familiar with folklorists, and took part in Yu.M. Sokolov’s lectures on folklore. The organic inheritance of folk poetic tradition is combined in the work of B. Shergin with a scientific presentation of it and his own work in a historical and cultural perspective. B. Shergin’s work is artistically convincing, imbued with the belief that “this is how it is,” as he says. And at the heart of this reader’s and listener’s “faith” is the author’s boundless love, knowledge and understanding of the spiritual and everyday life of the North, and direct kinship with folk art.

What folklorists systematize by genre, in the natural life of folk poetry exists in unity, just as nature, the human soul and the folk word are united. In various works of Shergin, these are the images of folk poets. For example, Konon (story “The Birth of a Ship” from the book “Fatherly Knowledge”): “In a quiet hour, on a sunny summer night, Konon sits with his apprentices to look at the pearl-golden sky, the sleeping waters, the islands - and sings lingering heroic songs. And the earth is silent, and the water is silent, and the midnight sun has stopped over the sea, as if everyone is listening to Konon... And Konon will tell a fairy tale and ask a riddle.”8 “Buffoon,” the poet and artist Shergin calls his old friend Ankudinov (“Pafnuty Ankudinov” from the book “Fine Masters” and “White Sea Rus'”). “... He will finish the heroic epic, start singing the buffoon... He jokes to himself: “My mouth can’t shut up anymore.” How much I sleep, how much I remain silent. From a young age I feed my soul with fairy tales and songs. Pomors listen to them drink honey. The old man will stand on ceremony differently: “He’s grown old, he’s told a lot of fairy tales.” And from a young age I went on a drinking binge in the bunks, and a round dance began under the windows. The artels will go to sea, the men will be beaten with chopping blocks because of me. For songs and fables, from the age of eighteen I had a first name with a patronymic. They didn’t allow me to do any work at the fishery. Food from the kitchen, firewood from the ax - know, sing and talk... In the evening the people will gather, I say. There are crowds of men, there is nowhere to rush, there are no taverns. The evening won't be enough, we'll grab the night... Then they'll start falling asleep one by one. I will ask: “Are you sleeping, baptized?” - “We don’t sleep, we live! Continue speaking..."

The same artist and master was B. Shergin, who from childhood comprehended the beauty and harmony of his native culture, having heard a lot of “golden words”.

Experts and commentators view the storyteller’s books differently, but we can still conclude that the first editions were largely folklore (“At the Arkhangelsk city, at the ship’s harbor”, 1924); they were followed by the so-called repertoire collections (“Shish Moskovsky”, “Arkhangelsk Novels”, “Pomorshchina-Korabelytsina”, “At the Song Rivers”) and, finally, the “writer’s” book “Russian Ocean-Sea” (1957), which brought Shergin universal recognition. B. Shergin's fairy tales were published in the form of separate books (for example, “Shish Moskovsky” - “a buffoon epic about pranks on the rich and powerful” or “Pomeranian Tales”), and were also included in collections.

A special, scientific and folkloristic definition of Shergin's fairy tales as literary fairy tales has practically not been carried out in research.

Shergin's works, called fairy tales, can be classified as literary works in the traditional sense of the word. They are folklore and literary tales (namely, “folklore” in the first place). The audience nature of birth, references to tradition, and a certain variability in editions of fairy tales go back to the living folklore tradition.

It seems significant that in different publications (including lifetime editions) there are discrepancies or variations. Collections of Shergin's works from different years also differ in the different layout of the material. For example, “The Magic Ring” and “Gilded Foreheads” were included both in the cycle “Near the Arkhangelsk City” and in “Buffoon’s Tales”.

Literary fairy tale of the "silver" age

The literature of the first quarter of the 20th century is multifaceted, represented in a variety of movements, schools, and names. As with any transitional cultural and historical period, the literature of this time is characterized by the desire to understand its time in connection with eternity, in the unity of the old and the new. This explains the special attitude towards folklore, including fairy tales. The “fairytale” principle manifested itself in different ways in the works of writers and poets, but almost any appeal to a fairy tale at this time was associated with the authors’ desire to understand the general, global problems of history and human destiny. Not all fairy tales of the first quarter of the 20th century. are the same. What gives them a special “world-modeling” character is their emphasis on universality, their focus on mythology, and on individual genres of folklore (fairy tales, legends, tales, etc.), and on various literary traditions. In addition, fairy tales of the Silver Age in terms of genre represent a diverse phenomenon (fairy tale-short story, fairy tale-legend, fairy tale-parable, fairy tale-lyrical miniature, fairy tale-myth, etc.).

Confirmation of the validity of attributing the works of Silver Age authors to the genre of philosophical fairy tales can be the words of N.K. Roerich from the miniature fairy tale (focused on the traditions of legend and prayer) - “Martha the Posadnitsa”: “New boundaries are being drawn in art. The motley masquerade of the zipun and the murmolka is far removed from the beauties of antiquity in their true sense. The tied beards remain on the hooks of the booth.

Crude prejudices will disappear before true knowledge. New depths will open up for art and knowledge. It is atavism that will tell you how to love what is beautiful for everyone and always. Through the spell of atavism the best of the past is revealed to us.

Poverty patches and clownish stripes must be removed. We must be able to reveal in full the touching appearance of human souls. These images appear vaguely in a dream - the milestones of these paths are difficult to discover in reality.”4

That “what is beautiful for everyone and always” is largely due to the orientation towards the poetics of the traditional fairy tale.

The object of analysis will be some fairy tales of Silver Age writers that are closest to traditional fairy tale genres.

The question of what allows us to say that these works belong specifically to literary fairy tales can be resolved in the process of studying their artistic world, built on various ways of the magical entering into reality, the connection between

two worlds, the real everyday one and the fabulous, unusual one. “The appeal of the writers of the Silver Age to the literary fairy tale was due to the attractiveness of the aesthetics of miracle and mystery inherent in this genre, the opportunity to create their own myth, to show the sophistication of thought and imagination,” writes T. Bereguleva-Dmitrieva.49

In most of A.M. Remizov’s fairy tales from the neo-mythological collection “Posolon”, especially those dedicated to spring and summer, there is no ideological, moral and plot-figurative completeness; in them, the writer seems to be making an attempt to look detachedly at the folk poetic world, not evaluating it, but wisely admiring him. This world is huge and beautiful, there is no grief, no suffering and death, but there is an eternal renewal of life, good and evil coexist in it, the actions of the characters do not have a clear motivation (why? or why?). The world of people, animals and mystical forces coexist in it, penetrating each other and echoing. This living life flows and is eternally renewed outside of specific time and space; the chronotope could be called mythopoetic or fairy-tale-ritual.

A literary fairy tale is probably one of the most popular genres of our time. Interest in such works is inexhaustible both among children and among their parents, and Russian fairy tale writers have made a worthy contribution to the common creative cause. It should be remembered that a literary fairy tale differs from folklore in several ways. First of all, because it has a specific author. There are also differences in the way the material is conveyed and the clear use of plots and images, allowing us to say that this genre has the right to complete independence.

Poetic tales of Pushkin

If you compile a list of fairy tales by Russian writers, it will take more than one sheet of paper. Moreover, works were written not only in prose, but also in poetry. A striking example here is A. Pushkin, who initially did not plan to compose children's works. But over time, the poetic works “About Tsar Saltan”, “About the priest and his worker Balda”, “About the dead princess and the seven heroes”, “About the Golden Cockerel” joined the list of fairy tales of Russian writers. A simple and figurative form of presentation, memorable images, vivid plots - all this is characteristic of the work of the great poet. And these works are still included in the treasury

Continuation of the list

The literary tales of the period under review include some other, no less famous ones. Russian fairy tale writers: Zhukovsky ("The War of Mice and Frogs"), Ershov ("The Little Humpbacked Horse"), Aksakov ("The Scarlet Flower") - made their worthy contribution to the development of the genre. And the great collector of folklore and interpreter of the Russian language, Dal, also wrote a certain number of fairy tales. Among them: “The Crow”, “The Snow Maiden Girl”, “About the Woodpecker” and others. You can recall other fairy tales by famous Russian writers: “The Wind and the Sun”, “The Blind Horse”, “The Fox and the Goat” by Ushinsky, “The Black Hen, or the Underground Inhabitants” by Pogorelsky, “The Frog Traveler”, “The Tale of the Toad and the Rose” Garshina, “Wild Landowner”, “The Wise Minnow” by Saltykov-Shchedrin. Of course, this is not a complete list.

Russian fairy tale writers

Leo Tolstoy, Paustovsky, Mamin-Sibiryak, Gorky, and many others wrote literary fairy tales. Among the particularly outstanding works can be noted “The Golden Key” by Tolstoy Alexei. The work was planned as a free retelling of “Pinocchio” by Carlo Collodi. But here is the case when the alteration surpassed the original - this is how many Russian-speaking critics evaluate the writer’s work. The wooden boy Pinocchio, familiar to everyone since childhood, won the hearts of little readers and their parents for a long time with his spontaneity and brave heart. We all remember Buratino's friends: Malvina, Artemon, Pierrot. And his enemies: the evil Karabas and the nasty Duremar, and the fox Alice. The vivid images of the heroes are so unique and original, recognizable that, once you read Tolstoy’s work, you remember them for the rest of your life.

Revolutionary tales

One of them can be confidently included the creation of Yuri Olesha “Three Fat Men”. In this tale, the author reveals the theme of class struggle against the backdrop of such eternal values ​​as friendship, mutual assistance; The characters of the heroes are distinguished by courage and revolutionary impulse. And Arkady Gaidar’s work “Malchish-Kibalchish” tells about a difficult period for the formation of the Soviet state - the civil war. Malchish is a bright, memorable symbol of that era of struggle for revolutionary ideals. It is no coincidence that these images were subsequently used by other authors, for example, in the work of Joseph Kurlat, who revived the bright image of the hero in the fairy tale-poem “The Song of Malchish-Kibalchish.”

These authors include those who gave literature such fairy tales and plays as “The Naked King” and “The Shadow” - based on the works of Andersen. And his original creations “Dragon” and “Ordinary Miracle” (at first prohibited from production) were forever included in the treasury of Soviet literature.

The poetic works of the genre also include the fairy tales of Korney Chukovsky: “The Tsokotukha Fly”, “Moidodyr”, “Barmaley”, “Aibolit”, “Cockroach”. To this day, they are the most widely read poetic fairy tales in Russia for children of all ages. Instructive and daring, brave and monstrous images and characters of the heroes are recognizable from the first lines. What about Marshak’s poems and Kharms’ delightful creativity? What about Zakhoder, Moritz and Kurlat? It is impossible to list them all in this rather short article.

Modern evolution of the genre

We can say that the genre of literary fairy tales evolved from folklore, in a sense exploiting its plots and characters. So today, many Russian fairy tale writers are evolving into science fiction writers, giving birth to good works in the fashionable fantasy style. Such authors probably include Yemets, Gromyko, Lukyanenko, Fry, Oldie and many others. This is a worthy successor to previous generations of authors of literary fairy tales.

The 20th century has gone down in history as the era of scientific and technological revolution, marked by a colossal leap in the development of civilization. Scientific thought, which penetrated into the depths of the atom and into the distances of interstellar space, expanded human capabilities for understanding the world, and technical inventions, which filled all spheres of human activity, significantly changed the way of life. Some of these inventions - telephone, television, tape recorder, computer, refrigerator, vacuum cleaner, car, airplane, etc. - have become such familiar and “natural” companions of everyday life that modern man cannot imagine his existence without them.

But just a hundred years ago, not only a car or an airplane was a novelty, but also an electric light bulb or a telephone. The stream of scientific and technical discoveries that poured in at that time was perceived by many contemporaries as a sign of the advent of the era of the triumph of the human mind, when people would assert their power over nature, unravel the secrets of the universe and build a fair, prosperous society. Every technical innovation, every scientific sensation strengthened the belief that humanity in its development had already reached a new stage at which it could fulfill its cherished dreams or, as it was sung in one once popular song, “make a fairy tale come true.”

The tragic and bloody history of the first half of the 20th century. showed how far such hopes were from reality. Revolutions, totalitarian states, world wars, and the invention of weapons of mass destruction not only destroyed hopes for the rapid implementation of humanistic ideals, but also brought humanity itself to the brink of survival. Nevertheless, the spirit of world transformation was the main distinguishing feature of this era. He left his mark on its culture, art and literature.

Literary works were filled with technical innovations that were part of everyday use, they sounded with new themes and problems, and sparkled with bold artistic experiments. The feeling of amazement at the discoveries of the human mind and the desire to comprehend their consequences for the future fate of mankind sharply intensified the interest of writers in the realm of the fantastic. The time of miracles inspired the creation of new “fairy tales”. Hence the flourishing of the science fiction and fantasy genres. Hence the authors’ widespread use of allegorical plots, philosophical parables and unrealistic imagery.

Some of the most significant directions in the development of the fantasy line in the literature of the 20th century. are represented by the works included in this section - “Scarlet Sails” by A. S. Green, “Amphibian Man” by A. R. Belyaev and “The Little Prince” by A. de Saint-Exupéry.

The first of them, the story “Scarlet Sails” by Green, is a type romantic fairy tale, somewhat reminiscent of the stories of H. C. Andersen, in which the miraculous and magical happen in everyday life. But “Scarlet Sails” is a fairy tale from a different era, and its inherent pathos of faith in miracles is permeated with the spirit of 20th-century romance. There are no supernatural creatures, fantastic transformations, or scientific and technical wonders in it. Nature, people, things and events do not go beyond the real world here. And yet, before us is an indisputable fairy tale, telling about the miraculous fulfillment of a Dream, which occurs not by magic, but by the command of the human soul. This miracle unfolds in the midst of gloomy everyday life, transforming both the lives of the main characters and the reality in which they exist. So Green, in an allegorical form, affirms the idea that the world is ruled by a romantic dream.

The novel “Amphibian Man” by A. R. Belyaev belongs to the genre science fiction. At the center of this novel is the fate of the young man Ichthyander, “created” by a brilliant scientist, who, as a result of a fantastic operation, acquired the ability to live in water. Like his distant and close literary predecessors (and their chain stretches from the mythical deities of the water element all the way to Jules Verne’s Captain Nemo, who settled in a wonderful submarine), Ichthyander embodies the long-standing dream of humanity about the exploration of the underwater depths. Just as in “Scarlet Sails,” in “Amphibian Man” there is a clash of lofty dreams with rough reality, alien to high aspirations. However, in Belyaev’s novel it ends with the victory of reality over dream: exhausted by human greed and meanness, Ichthyander sails to the ends of the world. With the story of his “amphibious man,” Belyaev warned readers that the greatest achievements of scientific thought are doomed to collapse in the world of profit and predatory calculation. Material from the site

The third of the mentioned works, “The Little Prince” by A. de Saint-Exupéry, at first glance, is a bizarre interweaving of elements of fantasy and fairy tales: it tells about the space travel of the “alien” Little Prince, depicts animals and plants that can feel and think and talk. But in fact, these fictional elements appear in the work only as colorful decorations for the writer’s thoughts about the purpose of life, about its true and false values, about the ways of understanding the world and the human soul. Following the traditions of his native French literature, which since the Renaissance has been distinguished by its penchant for philosophizing, A. de Saint-Exupéry composed philosophical fairy tale-parable with an allegorical plot containing the most important spiritual issues. This connection made his tale fascinating and exciting for everyone - from young readers to philological professors.

Getting acquainted with these works, you will be able to feel the pulse of life in the 20th century, which only recently left the stage of history.

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Amazing stories, beautiful and mysterious, full of extraordinary events and adventures, are familiar to everyone - both old and young. Who among us did not empathize with Ivan Tsarevich when he fought with the Serpent Gorynych? Didn’t you admire Vasilisa the Wise, who defeated Baba Yaga?

Creation of a separate genre

Heroes who have not lost their popularity for centuries are known to almost everyone. They came to us from fairy tales. No one knows when and how the first fairy tale appeared. But since time immemorial, fairy tales have been passed down from generation to generation, which over time acquired new miracles, events, and heroes.

The charm of ancient stories, fictional, but full of meaning, was felt with all my soul by A. S. Pushkin. He was the first to bring the fairy tale out of second-rate literature, which made it possible to distinguish the fairy tales of Russian folk writers into an independent genre.

Thanks to their imagery, logical plots and figurative language, fairy tales have become a popular teaching tool. Not all of them are educational and training in nature. Many perform only an entertainment function, but, nevertheless, the main features of a fairy tale as a separate genre are:

• installation on fiction;
• special compositional and stylistic techniques;
• targeting a children's audience;
• combination of educational, educational and entertainment functions;
• the existence in the minds of readers of bright prototypical images.

The genre of fairy tales is very wide. This includes folk tales and original ones, poetic and prose, instructive and entertaining, simple single-plot tales and complex multi-plot works.

Fairy tale writers of the 19th century

Russian fairy tale writers have created a real treasury of amazing stories. Starting from A.S. Pushkin, fairy tale threads reached out to the works of many Russian writers. The origins of the fairy-tale genre of literature were:

• Alexander Sergeevich Pushkin;
• Mikhail Yurjevich Lermontov;
• Pyotr Pavlovich Ershov;
• Sergey Timofeevich Aksakov;
• Vladimir Ivanovich Dal;
• Vladimir Fedorovich Odoevsky;
• Alexey Alekseevich Perovsky;
• Konstantin Dmitrievich Ushinsky;
• Mikhail Larionovich Mikhailov;
• Nikolai Alekseevich Nekrasov;
• Mikhail Evgrafovich Saltykov-Shchedrin;
• Vsevolod Mikhailovich Garshin;
• Lev Nikolaevich Tolstoy;
• Nikolai Georgievich Garin-Mikhailovsky;
• Dmitry Narkisovich Mamin-Sibiryak.

Let's take a closer look at their work.

Tales of Pushkin

The great poet’s turn to fairy tales was natural. He heard them from his grandmother, from the servant, from his nanny Arina Rodionovna. Experiencing deep impressions from folk poetry, Pushkin wrote: “What a delight these fairy tales are!” In his works, the poet widely uses folk speech, putting them into artistic form.

The talented poet combined in his fairy tales the life and customs of Russian society of that time and the wonderful magical world. His magnificent tales are written in simple, lively language and are easy to remember. And, like many fairy tales of Russian writers, they perfectly reveal the conflict of light and darkness, good and evil.

The tale of Tsar Saltan ends with a cheerful feast glorifying goodness. The tale of the priest makes fun of church ministers, the tale of the fisherman and the fish shows what greed can lead to, the tale of the dead princess tells of envy and anger. In Pushkin's fairy tales, as in many folk tales, good triumphs over evil.

Writers and storytellers contemporaries of Pushkin

V. A. Zhukovsky was a friend of Pushkin. As he writes in his memoirs, Alexander Sergeevich, fascinated by fairy tales, offered him a poetry tournament on the theme of Russian fairy tales. Zhukovsky accepted the challenge and wrote tales about Tsar Berendey, Ivan Tsarevich and the Gray Wolf.

He liked working on fairy tales, and over the next years he wrote several more: “The Little Thumb Boy,” “The Sleeping Princess,” “The War of Mice and Frogs.”

Russian fairy tale writers introduced their readers to the wonderful stories of foreign literature. Zhukovsky was the first translator of foreign fairy tales. He translated and retold in verse the story of “Nal and Damayanti” and the fairy tale “Puss in Boots”.

An enthusiastic fan of A.S. Pushkin M.Yu. Lermontov wrote the fairy tale “Ashik-Kerib”. She was known in Central Asia, the Middle East and Transcaucasia. The poet translated it into poetry, and translated each unfamiliar word so that it became understandable to Russian readers. A beautiful oriental fairy tale has turned into a magnificent creation of Russian literature.

The young poet P. P. Ershov also brilliantly put folk tales into poetic form. In his first fairy tale, “The Little Humpbacked Horse,” his imitation of his great contemporary is clearly visible. The work was published during Pushkin’s lifetime, and the young poet earned the praise of his famous fellow writer.

Tales with national flavor

Being a contemporary of Pushkin, S.T. Aksakov began writing at a late age. At the age of sixty-three, he began writing a biography book, the appendix of which was the work “The Scarlet Flower.” Like many Russian fairy tale writers, he revealed to readers a story he heard in childhood.

Aksakov tried to maintain the style of the work in the manner of the housekeeper Pelageya. The original dialect is palpable throughout the work, which did not prevent “The Scarlet Flower” from becoming one of the most beloved children's fairy tales.

The rich and lively speech of Pushkin’s fairy tales could not help but captivate the great expert on the Russian language, V. I. Dahl. The linguist-philologist, in his fairy tales, tried to preserve the charm of everyday speech, to introduce the meaning and morality of folk proverbs and sayings. These are the fairy tales “The Bear-Half-Maker”, “The Little Fox”, “The Girl Snow Maiden”, “The Crow”, “The Picky One”.

"New" fairy tales

V.F. Odoevsky is a contemporary of Pushkin, one of the first to write fairy tales for children, which was very rare. His fairy tale “The City in a Snuffbox” is the first work of this genre in which a different life was recreated. Almost all fairy tales told about peasant life, which Russian fairy tale writers tried to convey. In this work, the author talked about the life of a boy from a prosperous family living in abundance.

“About the Four Deaf People” is a fairy tale-parable borrowed from Indian folklore. The writer’s most famous fairy tale, “Moroz Ivanovich,” is completely borrowed from Russian folk tales. But the author brought novelty to both works - he talked about the life of a city home and family, and included children in boarding schools and schools in the canvas.

The fairy tale by A. A. Perovsky “The Black Hen” was written by the author for his nephew Alyosha. Perhaps this explains the excessive instructiveness of the work. It should be noted that the fabulous lessons did not pass without a trace and had a beneficial effect on his nephew Alexei Tolstoy, who later became a famous prose writer and playwright. This author penned the fairy tale “Lafertovskaya Poppy Plant”, which was highly appreciated by A. S. Pushkin.

Didactics is clearly visible in the works of K. D. Ushinsky, the great teacher-reformer. But the moral of his tales is unobtrusive. They awaken good feelings: loyalty, sympathy, nobility, justice. These include fairy tales: “Mice”, “Fox Patrikeevna”, “Fox and Geese”, “Crow and Crayfish”, “Kids and the Wolf”.

Other 19th century tales

Like all literature in general, fairy tales could not help but tell about the liberation struggle and revolutionary movement of the 70s of the 19th century. These include the tales of M.L. Mikhailova: “Forest Mansions”, “Dumas”. The famous poet N.A. also shows the suffering and tragedy of the people in his fairy tales. Nekrasov. Satirist M.E. Saltykov-Shchedrin in his works exposed the essence of the landowners' hatred of the common people and spoke about the oppression of the peasants.

V. M. Garshin touched upon the pressing problems of his time in his tales. The writer’s most famous fairy tales are “The Frog Traveler” and “About the Toad and the Rose”.

L.N. wrote many fairy tales. Tolstoy. The first of them were created for school. Tolstoy wrote short fairy tales, parables and fables. The great expert on human souls Lev Nikolaevich in his works called for conscience and honest work. The writer criticized social inequality and unjust laws.

N.G. Garin-Mikhailovsky wrote works in which the approach of social upheaval is clearly felt. These are the fairy tales “Three Brothers” and “Volmai”. Garin visited many countries of the world and, of course, this was reflected in his work. While traveling throughout Korea, he recorded more than a hundred Korean fairy tales, myths and legends.

Writer D.N. Mamin-Sibiryak joined the ranks of glorious Russian storytellers with such wonderful works as “The Gray Neck”, the collection “Alenushka’s Tales”, and the fairy tale “About Tsar Pea”.

Later fairy tales of Russian writers also made a significant contribution to this genre. The list of remarkable works of the twentieth century is very long. But fairy tales of the 19th century will forever remain examples of classic fairy-tale literature.