Composition of cumulative tales. Maslenitsa week. The main themes of Maslenitsa songs. Funeral of Maslenitsa. Scientific methods of literary research

16.04.2019

In every science there are small questions, which, however, may have great importance. In folklore studies, one of these questions is the question of cumulative tales. The range of problems associated with the study of these tales is very wide. One of them is the problem of scientific classification and cataloging of works of folk prose.

Controversy still reigns on the question of which fairy tales should be called cumulative. A. Aarne did not use this term. N.P. Andreev, translating Aarne’s index of fairy-tale plots into Russian and supplementing it with new types, introduced one consolidated type under the code 2015 (2016, 2018), naming it as follows; "Cumulative (chain) tales of various kinds." Only three examples are indicated, and there are no references to Great Russian collections. Andreev has not seen Russian cumulative fairy tales. (...)

The Aarne-Thompson index is useful as an empirical guide to the types of tales available. It has been translated into many languages, and having a single international system makes it easy to navigate. At the same time, however, this index is definitely harmful, since it inspires confused and completely incorrect ideas about the nature and composition of the fairy-tale repertoire. An elementary logical mistake has been made: the categories are established according to criteria that do not exclude each other, as a result of which a so-called cross classification is obtained. For example, the category of fairy tales about animals is distinguished by nature characters, a category of fairy tales - by the nature of the story, by style. Among the magical tales there are such tales as “tales about a wonderful adversary” and “tales about a wonderful helper”. But what about fairy tales in which a wonderful helper helps in the fight against a wonderful enemy? This error permeates the entire index.

The appearance in the latest editions of the category of cumulative tales introduces another new principle: these tales are not distinguished by the nature of the characters, they are distinguished and defined by their composition.

I believe that fairy tales should be defined and classified according to their structural features. In the book “Morphology of Fairy Tales,” an attempt was made to identify, based on structural characteristics, the category of fairy tales usually called fairy tales. (1) It can be assumed that the principle of determining fairy tales by structural features can be used as the basis for a future scientific classification of fairy tales in general; For these purposes, it is necessary to study different types of fairy-tale structures. Cumulative tales in the latest editions of the Aarne-Thompson catalog, they are defined precisely by the nature of their structure. The right path has been groped here, but it has only just been groped. In fact, the question of which tales can be called cumulative remains unclear, and this explains that a large number of cumulative tales are scattered across other sections and vice versa: not all tales included in the category of cumulative tales actually belong to them. Aarne's system with its cross-classification does not make it possible to accurately and unambiguously identify and define genres: attempts by translators to make various adjustments to this index are of a compromise nature. What is needed here are not adjustments, but essentially new system classification based on the study of the poetics of fairy tales.

Before getting close to the issue of cataloging cumulative tales, it is necessary to give at least a preliminary definition of what is meant by the term cumulative tale. There is no unity and clarity on this issue. Aarne's index, as revised by Thompson, includes the term "cumulative tale" but does not define what is meant by this. Many cumulative tales, as indicated, are scattered among other groups (there are especially many of them in the category of tales about animals) and, on the contrary: many tales placed in the cumulative section are in fact not such. This situation reflects the ambiguity of this issue in modern folklore.

The literature devoted to cumulative tales is quite large, but there is no generally accepted definition of this concept. (...)

Basic artistic technique of these tales consists of some repeated repetition of the same actions or elements, until the chain created in this way is broken or unraveled in a reverse descending order. The simplest example of a cumulative fairy tale is the Russian fairy tale “Turnip” (you don’t need to dwell on the content of this). The German designation (...) chain tales is quite applicable to this tale. Overall, however, this name is too narrow. Cumulative tales are built not only according to the principle of a chain, but also according to the most diverse forms of joining, piling up or growing, which ends in some kind of cheerful catastrophe. (...)

...The whole interest and content of such fairy tales lies in the varied accumulation of forms. They do not contain any interesting or meaningful "events" of the plot order. On the contrary, the events themselves are insignificant (or begin with insignificance), and the insignificance of these events sometimes stands in comic contrast with the monstrous increase in the consequences arising from them and with the final catastrophe (beginning: an egg breaks, end: the whole village burns down).

First of all, we will focus on the compositional principle of these tales. It is necessary, however, to pay attention to their verbal attire, as well as to the form and style of execution. Basically two different types of cumulative tales can be outlined. Some, following the example of the English term (...) can be called formulaic. These tales are a pure formula, a pure scheme. All of them are clearly divided into identically designed repeating syntactic units. All phrases are very short and of the same type. Fairy tales of another type also consist of the same epic links, but each of these links can be syntactically formalized differently and in more or less detail. The name “formular” does not apply to them, although they are cumulative in composition. They are told in an epically calm manner, in the style of fairy tales or other prosaic tales. An example of this type of cumulative tales is the fairy tale “Mena”. The hero exchanges a horse for a cow, a cow for a pig, etc., right down to the needle, which he loses, so that he comes home with nothing. These tales, in contrast to the “formular” ones, can be called “epic”. The compositional principle (cumulation) is the same in both cases, and this explains that sometimes a “formular” tale can be told epically and vice versa. But in general, it can still be noted that each type gravitates towards one or another performing technique.

It should also be mentioned that formulaic fairy tales can take not only poetic, but also song form. Such tales can be found not only in collections of fairy tales, but also in collections of songs. For example, in Shane’s song collection “The Great Russian in his songs, rituals, customs...” (1898) there are songs whose composition and plot are based on cumulation. They should be included in the indexes of cumulative tales. Here you can point out that “Turnip” was recorded as a song.

The composition of cumulative tales, regardless of the form of execution, is extremely simple. It consists of three parts: from the exposition, from the cumulation and from the finale. The exposition most often consists of some insignificant event or a very ordinary situation in life: a grandfather plants a turnip, a woman bakes a bun, a girl goes to the river to rinse out a mop, an egg breaks, a man aims at a hare, etc. Such a beginning cannot be called plot, since the action develops not from within, but from without, for the most part completely randomly and unexpectedly. This surprise is one of the main artistic effects of such tales. Exposure is followed by a chain (cumulation). There are extremely many ways to connect an exposure to a circuit. Let us give a few examples, without attempting any systematization yet. In the aforementioned fairy tale about the turnip, the creation of the chain is caused by the fact that the turnip sits in the ground very tightly, it is impossible to pull it out, and more and more new helpers are called. In the fairy tale “The House of the Fly,” a fly builds a mansion or takes up residence in some discarded mitten or in a dead head, etc. But then, one after another, in increasing order of size, animals appear and beg to come into the hut; first a louse, a flea, a mosquito, then a frog, a mouse, a lizard, then a hare, a fox and other animals. The last one is the bear, which ends up sitting on this tower and crushing everyone.

In the first case (“Turnip”) the creation of the chain is motivated and internally necessary. In the second case (“Teremok”) there is no logical necessity for the appearance of more and more new animals. On this basis one could distinguish two types of these tales. The second one prevails - the art of such fairy tales does not require any logic. However, for establishing the types of cumulative tales, this distinction is not significant, and we will not make it.

Principles; along which the chain is built up are extremely diverse. So, for example, in the fairy tale “The Cockerel Choked” we have a number of references: the cockerel sends the hen to the river for water, the river first sends her to the linden tree for a leaf, the linden tree to the girl for threads, the girl to the cow for milk, etc. , and there is no logic in which characters are sent for which objects: the river, for example, sends for leaves, etc. Logic is not needed here, and it is not sought or demanded. Other tales are built on a series of exchanges or exchanges, and the exchange can occur in increasing order from worse to better or, conversely, in decreasing order - from better to worse. Thus, the fairy tale “For a Chicken Duck” tells how a fox demands a goose for a chicken that allegedly disappeared from her (which she herself ate), for a goose - a turkey, etc. - right up to a horse. On the contrary: in the already mentioned fairy tale “Mena,” the exchange occurs from better to worse. A man, having earned a bar of gold, exchanges it for a horse, a horse for a cow, a cow for a pig, etc., right down to the needle, which he loses and comes home with nothing. Growing exchange can happen in reality or it can only be dreamed about. A man, aiming a gun at a hare, dreams of how he will sell it, how with the proceeds he will buy a pig, then a cow, then a house, then get married, etc. The hare runs away. In a Western European fairy tale, a milkmaid dreams similarly, carrying a jug of milk on her head for sale. She drops the jug on the ground, it breaks, and with it all her dreams are broken.

Whole line Cumulative tales are built on the sequential appearance of some uninvited guests or companions. A hare, a fox, a wolf, a bear begs to see a man or woman in a sleigh. The sleigh breaks down. Similar: the wolf asks to put a paw on the sleigh, then another, a third, a fourth. When he also puts the tail in the sleigh, the sleigh breaks. The opposite case: an annoying goat that has taken over a bunny’s hut cannot be driven out by a boar, wolf, bull, or bear. A mosquito, a bee, a hedgehog drives her out.

A special type are fairy tales built on the creation of a chain of human bodies or animal bodies. The wolves stand on top of each other to eat the tailor sitting on the tree. The tailor exclaims: “And the bottom one will get the most!” The lower one runs out in fear, everyone falls. Poshekhon residents want to get water from the well. There is no chain on the well; they hang each other. The bottom one already wants to scoop up water, but the top one is having a hard time. He lets go of his hands for a moment to spit in them. Everyone falls into the water.

Finally, we can distinguish a special group of fairy tales in which more and more people are killed over trifles. The egg broke. The grandfather cries, the grandmother howls, the mallow, the sexton, the sexton, the priest join in, who not only raise a howl, but express their despair with some absurd act: tearing up church books, ringing bells, etc. It ends with the church burning down, or even the whole village.

A pitiful girl goes to the river to rinse her mop. Looking at the water, she paints a picture for herself: “If I give birth to a son, he will drown.” Her woman, mother, father, grandmother, etc. join her in crying. The groom leaves her.

Cumulative tales can also include those in which all the action is based on various types comic endless dialogues. An example is the fairy tale “Good and bad.” Rarely grown peas are bad, rare and podded peas are good, etc., without any special connection between the links.

Possessing a completely clear compositional system, cumulative tales differ from others in their style, their verbal attire, and the form of their execution. It must, however, be borne in mind that, in terms of the form of execution, there are, as indicated, two types of these tales. Some are told epically calmly and slowly, like any other fairy tales. They can only be called cumulative by their underlying composition. Such is the fairy tale “Mena”, which we have already mentioned, which is usually classified as a short story, or the fairy tale “For a Rocking Duck,” which in the indexes is classified as fairy tales about animals. Also “epic” are the tales about the clay boy who eats everything in his path, about the dreamy milkmaid, about the chain of exchanges from worse to better or from better to worse, mentioned above.

Other fairy tales have a typical and characteristic storytelling technique. The piling up or escalation of events here corresponds to the piling up and repetition of exactly the same syntactic units, differing only in the designation of more and more new syntactic subjects or objects or other syntactic elements.

The addition of new links in these tales occurs in two ways: in some cases, the links are listed one after another in turn. Another type of attachment is more complicated: when each new link is attached, all previous ones are repeated. An example of this type is the fairy tale “The Tower of the Fly.” Each newcomer asks: “Terem-teremok, who lives in the tower?” The answerer lists all those who came, that is, first one, then two, then three, etc. This repetition is the main charm of these fairy tales. All their meaning is colorful, artistic design. So, in this case, each animal is characterized by some apt word or in several words, usually in rhyme (creeping louse, spinning flea, burrowing mouse, tyutyurushka fly, rough-haired lizard, croaking frog, etc.). Their execution requires the greatest skill. In terms of execution, they sometimes come close to tongue twisters, sometimes they are sung. Their entire interest is an interest in the colorful word as such. A pile of words is interesting only when the words themselves are interesting. Therefore, such fairy tales gravitate towards rhyme, verse, consonance and assonance, and in this pursuit the performers do not hesitate to introduce bold new formations. So, the hare is called “a dodge on the mountain” or “on the field is a match”, a fox - “you will jump everywhere”, a mouse - “a whip from around the corner”, etc. All these words are bold and colorful new formations that we will use in vain search in Russian-foreign dictionaries.

Such verbal coloring of these fairy tales makes them a favorite entertainment for children, who are so fond of new, sharp and bright words, tongue twisters, etc. European cumulative fairy tales can rightfully be called a children's genre par excellence.

Only those fairy tales can be called cumulative, the composition of which is entirely based on the outlined principle of cumulation. Along with this, cumulation can be included as an inserted episode or element in tales of any other compositional systems. So, for example, there is an element of cumulation in the fairy tale about Princess Nesmeyan, where the shepherd makes the princess laugh by using magical means to force more and more animals and people to stick to each other, forming a whole chain.

We will not solve the problem of cumulative tales historically here. Before making such an attempt, it is necessary to give a scientific description of the material not within one nationality, but within the entire existing international repertoire. It should be emphasized that an accurate description is the first stage of historical study and that until a systematic scientific description genre, the question of historical and ideological study cannot be raised. We will not predict methods and ways of historical study of these tales here. Such a study can only be cross-narrative and international. An isolated study of individual plots or groups of them will not lead to reliable general results. Having touched upon the question of the form of performance of these fairy tales, we must also stipulate that some of the cumulative fairy tales rhyme and are sometimes sung. Some cases can equally be considered (and are considered by both performers and collectors) either as songs and appear in their respective collections, or as tales.

Now that an inventory of cumulative tales has not been made, and often they are not even recognized as a special category, the problems of cumulative tales cannot be resolved with sufficient completeness. The principle of cumulation is felt by us as relict. A modern educated reader, it is true, will read or listen to a number of such tales with pleasure, admiring mainly the verbal fabric of these works, but these tales no longer correspond to our forms of consciousness and artistic creativity. They are a product of some more early forms consciousness. In these narratives we have a certain arrangement of phenomena in a row. Detailed international historical study These tales will have to reveal exactly what series there are and what logical processes correspond to them. Primitive thinking does not know time and space as a product of abstraction, just as it does not know generalizations at all. It knows only the empirical distance in space and the empirical length of time measured by actions. Space, both in life and in fantasy, is overcome not from the initial link directly to the final one, but through concrete, realistically given intermediary links: this is how the blind walk, moving from object to object. Stringing is not only an artistic technique, but also a form of thinking in general, affecting not only folklore, but also the phenomena of language. But at the same time, the fairy tale already shows some overcoming of this stage. These fairy tales are for children; new types are not created. The art of telling them naturally falls into oblivion and decline, giving way to new, more modern forms of storytelling.

Notes

1. V. Propp. Morphology of a fairy tale, L. 1928; ed. 2nd. M., 1969.

Propp V.Ya. Historical roots fairy tale Chapter 1. Background.

What does it mean to specifically research a fairy tale, where to start? If we limit ourselves to comparing fairy tales with each other, we will remain within the framework of comparativism. We want to expand the scope of our study and find the historical basis that brought the fairy tale to life. This is the task of studying the historical roots of a fairy tale, formulated so far in the most general terms.

(...) We want to explore what phenomena (and not events) of the historical past the Russian fairy tale corresponds to and to what extent it actually conditions and causes it. In other words, our goal is to find out the sources of the fairy tale in historical reality. The study of the genesis of a phenomenon is not yet the study of the history of this phenomenon. The study of history cannot be done immediately - it is a matter of for long years, is not the work of one person, it is the work of generations, the work of the Marxist folkloristics that is emerging in our country. The study of genesis is the first step in this direction. This is the main question posed in this work.

2. The meaning of premises.

(...) Here we should give a critical outline of the history of the study of fairy tales. We won't do this. The history of the study of the fairy tale has been outlined more than once, and we do not need to list the works. But if we ask ourselves why there are still no completely solid and universally accepted results, we will see that this often happens precisely because the authors proceed from false premises.

The so-called mythological school proceeded from the premise that the external similarity of two phenomena, their external analogy testifies to their historical connection. So, if the hero grows by leaps and bounds, then fast growth the hero is allegedly motivated by the rapid growth of the sun rising on the horizon (Frobenius 1898, 242). Firstly, however, the sun does not increase for the eyes, but decreases, and secondly, an analogy is not the same as a historical connection.

One of the premises of the so-called Finnish school was the assumption that the forms that occur more often than others are also inherent in the original form of the plot. Not to mention the fact that the theory of plot archetypes itself requires proof, we will have occasion to repeatedly see that the most archaic forms are very rare, and that they are often replaced by new ones that have become widespread (Nikiforov 1926).

(...) For us, this implies that we need to carefully check our premises before starting the research.

Tales about animals are a unique type of fairy tale genre. This is a conditional name because they often involve both people and mushrooms, and sometimes fantastic characters. There are about 10% of them in the Russian repertoire.

Mostly Russian fairy tales about animals are intended for children. Their appearance is based on ancient totemic legends; the animals in them are anthropomorphic. The legends had a utilitarian designation; they taught how to treat animals. Traces of totemism are preserved, for example, in the fairy tale about the bear on a linden leg.

Totemism implied the veneration of ancestors; the totem animal should not be offended. In tales about animals, traces of an ancient primitive vision of economy have been preserved. The main source of life was hunting. Hence the plot of the beast in the pit is very popular.

The ability to deceive the beast helped to obtain food, so cunning has become the main character trait. When the cult of animals ceased to be popular, an ironic depiction of the habits of animals became part of the fairy tale. For example, this moment is recorded in the fairy tale “The Man and the Bear.”

Gradually, the animal world in the fairy tale began to be perceived as an allegorical image of the human world. Elements of satire appeared in fairy tales. Animals are capable of various tricks, because... the basis was myths about tricksters.

In fairy tales about animals, victory over the strong or the simpleton is welcomed, but victory over the weak is not allowed.

V.Ya Propp highlights six groups of fairy tales this type:

1. Tales about wild animals (tales about a fox, a wolf in an ice hole, a beaten man lucky the unbeaten, a fox and a crane);
2. Tales about wild and domestic animals (a wolf visiting a dog, an old dog and a wolf, a cat and wild animals, a wolf and kids.);
3. A fairy tale about a man and wild animals (about a man, a bear and a fox, the bear is a linden leg);
4. Tales about domestic animals about a whipped goat, a horse and a dog);
5. Tales about a bird, a fisherman, etc. (about the crane and heron);
6. Tales about other animals and plants (about the fox and cancer, bun)

Cumulative tales.

A not very extensive type of fairy tales, which has specific compositional and stylistic features. According to Propp (Russian fairy tale), about 20 different types of cumulative fairy tales can be counted in the Russian fairy tale repertoire.

Main them compositional technique consists of repeated, increasing repetition of the same actions until the created chain breaks or unravels in a reverse, decreasing order. The simplest example is “Turnip”; in addition to the chain principle, other principles of growth are possible, leading to a sudden comic catastrophe. Hence the name: comulare - to pile up, to increase.

The whole interest of fairy tales lies in the accumulation: there are no interesting plot events in them, on the contrary, the event is insignificant, and this insignificance is always in comic contrast, because it entails a catastrophe. An egg breaks and the whole village burns.

The composition is simple:

Exposition. Consists of an ordinary event or life situation. The testicle breaks. Baba is baking a bun. You can’t even call it a plot, because it’s not clear where the action develops from. It develops unexpectedly, and this is the whole effect. The methods of connecting a chain to a composition are quite different. Turnip and Teremok. In the first case, the chain is motivated, in the second, there is no need for the arrival of new animals.

The principles by which the chain is built up are also very different. Sending, devouring (clay boy), threat of devouring (bun), a series of exchanges (for a chicken and a duck), successive appearance of uninvited guests (teremok), creating a chain of human or animal bodies (turnip)

Also cumulative are fairy tales built on various types of comic, endless dialogues.

Two styles of cumulative tales:

1. Some are told epically, calmly, slowly, like any other fairy tales.

2. The accumulation of words contributes to the accumulation and growth. They are called formulaic

The beauty of these tales is in the repetition. Their whole point is in colorful design. It requires skill: sometimes it approaches tongue twisters, sometimes fairy tales are sung. These features make them a children's favorite genre.

Tales about animals.

Fairy tales and cumulative tales are distinguished according to the principle of structure. Tales about animals - based on characters.

In general, everything is debatable, because fairy tales about animals can be classified as both cumulative (for a chicken and a duck) and magical (a wolf and seven kids) in some cases.

Tales about animals are also conventional because animals and humans are interchangeable. “cat, rooster and fox” is the same beginning as in the fairy tale “Baba Yaga and the Zhikhar”

By fairy tales about animals we mean those tales in which the animal is the main object or subject of the narrative. There are fairy tales where both animals and people are present. But you need to distinguish which of the heroes is at the center of the story and which is secondary. A fox stealing fish, not a man. The wolf is at the ice hole, not the woman.

It must be remembered that such tales have little to do with reality, that is, they do not reflect the natural habits of animals. Animals are conditional carriers of action. Tales about animals should be considered fantastic.

The Russian fairy tale about animals is distinguished not only by the originality of its repertoire, but also by its special character. Our animals live in dens and do not reflect human life to the same extent as Western ones. They give the impression of greater spontaneity.

In fairy tales about animals there is no unity of composition: they are diverse. They are built on elementary actions. (bad advice)

The study of composition reveals two types of tales:

Complete, integral, with a certain beginning, development and denouement. They are fairy-tale types in the generally accepted sense of the word. Fox and crane.

Most do not have plot independence.

There are stories that are never told separately. Fox and wolf with ice holes. This connectivity is an internal feature of animal epic, not inherent in other genres.

Pets are rare heroes of fairy tales. If they appear, then in conjunction with the forest ones, and not as independent characters. This suggests ancient origins fairy tales about animals. Propp (Russian fairy tale)

A large group of cult-animistic works adjacent to the animal epic are cumulative tales (from the Latin cumulatio - increase, accumulation, cumulare accumulate, strengthen). Their compositional and structural features differ from fairy tales of other types, which gives grounds to distinguish them among separate group. Cumulative tales are built on multiple repetitions of one link, with the help of which accumulation occurs: a chain is built, a sequential series of meetings or references, exchanges, etc. A chain created as a result of repeating the same actions or elements eventually breaks or unravels in the reverse order.

Genetically, these works reach ancient times and, according to researchers, come from conspiracies in which they are similar in structure: “The compositional logic of conspiracies is the logic of a cumulative fairy tale. As cultural historians suggest, the structural commonality of cumulative fairy tales and spell formulas is a consequence of their genetic commonality. And genetically, both of them originate from the earliest, pre-compositional perception and image of the world.” Such illogicality of texts arises due to the lack of causality and inheritance in the thinking and understanding of ancient man. Here there is only the coexistence of phenomena in the space of being.

In cumulative fairy tales there is no description of events in plot order (there is no plot as such at all). On the contrary, all minor events are unimportant, so a comic contrast is created with their exorbitant buildup or unexpected ending. This accumulation is where the interest of the fairy tale lies.

V. Propp defines two main types of cumulative tales: 1) chain (from German Kettenmdrchen) or formulaic (from English formulatales) and 2) epic. But even within the two groups, some of their varieties can be distinguished.

Ukrainian folk epic is very rich in cumulative tales of all types with various types of cumulation.

Chain (formular) or annoying tales are obviously the most ancient in origin, closest to conspiracies, and retain a connection with the ancient belief system. Such are the works “How the hen revived the cockerel” (or “The Cockerel and the Hen”). The plot of the story is that a hen comes across a dead rooster and runs through the water to revive it. And the sea does not give water, but demands water; the hen asks for the boar's clove, and he asks for the leaf... Then the hen goes to the linden tree for a letter, to the oak tree for an acorn, to the cow for butter, to the girl for hay, to the merchant for a wreath for the girl, etc. Each time the fairy tale is repeated beginning:

Oh, by the field, there are chickens lying on the mountain, chickens

And it doesn’t breathe, it doesn’t move its wings, it doesn’t move its legs.

At the same time, each new hero asks why the chicken needs the thing she is asking for, and her answer increases each time, forming a chain:

Bill of sale, bill of sale, give me a wreath. - Give it to Lipa.

Why a wreath? - Why linden?

Give it to the girl. - He’ll give it to Liszt.

Why does the girl need it? - Why does the leaf need it?

Sena will give. - Give it to the boar.

Why hay? - Why does the boar need it?

Give it to the cow. - He'll give it to Clov.

Why a cow? - Why does Clov need it?

It will give oil. - Give it to the sea.

Why oils? - Why the sea?

Give oak. - He'll give me some water.

Why oak? - Why water?

The acorn will give. - Give me a chicken...

Why an acorn?

Then the merchant gives a wreath, and this chain turns in the opposite direction, the hen pours water on the cockerel, “And then he “kuk-kuriku!” Kukuriku, kukuriku-oo!”

There are a number of variants of the fairy tale “The Sparrow and the Badilink” that are similar in compositional terms. Then the sparrow asks the badilink to lick him, but she refuses. He calls the goat to eat badilinka, the goat asks “Why?”, having heard the answer, says “I don’t want to.” Then the sparrow goes to the wolf so that he eats the goat; to the archer to shoot the wolf; to the fire to burn the shooter; to water to flood the fire; I preferred to drink water; to a log to kill oxen; to worms to sharpen the deck. The conversation between the sparrow and each subsequent character accumulates in the form of a chain. At the end - “worms to the stocks, stocks to the oxen, oxen to the water, water to the fire, fire to the Sagittarius, Sagittarius to the wolf, wolf to the goat, goat to the badilinka!” And the badilink of the sparrow-well done lyu-lyu-lyu-lyu!”

The end of such fairy tales is unexpected and unfounded: it is not explained why everyone refuses the main character, only one person fulfills his request without hesitation, and the fairy tale ends. In such works, the basis of the narrative is dialogue, which is built from short and similar phrases. Often this dialogue is comic. In it, one of the characters asks the same type of questions; or gives regular answers like: “This is good”, “And this is bad” (sometimes the conversation takes on the form of acceleration):

We went to pick cherries. - But there were pitchforks sticking out of it.

This is good. - Is that bad.

But the branch broke. - But we didn’t fall on our pitchforks.

Is that bad. - This is good.

But under the tree there was a haystack. - But we didn’t even fall on a haystack.

This is good. - Is that bad...

The main motives of such works are repeated repetition, recounting, references, a series of meetings or conversations, etc. The composition of cumulative tales consists of exposition, cumulation and ending (denouement). Having lost the role of conspiracies, these stories pass into the rank of fairy tales, and subsequently into the children's genre of annoying fables.

Epic cumulative tales are a group of works with similar types of cumulation, in which identical links either join each other, listed in a row, or each time complement an already existing chain. The difference between this subtype of cumulative tales and the previous one lies in a more pronounced epic beginning. their composition is no more complex than in the first case, but more attention is paid to the epic connections between the links of the chain. Thanks to this, epic cumulative tales are much longer, performed in an over-the-top tone, often with a slower narration. The exposition of such works is wider (for example, in the fairy tale “Kolobok” the poverty of the grandfather and grandmother is described, how the woman bakes a bun with the last flour). As in chain fairy tales, in these fairy tales there is a common motif of successive meetings of the main character: the bun, having escaped from his grandparents, meets with a hare, wolf, bear, fox. There is a certain gradation in these meetings. The connections between the links acquire an epic character: “Here a bun rolls through the forest and rolls. Here a hare meets him...”

Motifs often found in cumulative tales of this type are:

One for one, stepping on each other (“Turnip”);

Naproshuvannya in housing (“Horse Head”, “The Bear and the Residents of the Horse Head”, “The Glove”, “Animals in the Glove”, “Teremok”);

Luring out of the house (“Goat-dereza”, “Goat in a hare’s house”, “Ardent goat half torn”, “Cat and cockerel”).

Unlike works of the first type, epic cumulative tales, as a rule, end unexpectedly, instantly: a turnip is pulled out, a goat goes into a distant forest, a fox eats a bun, a bear sits on a horse’s head and smothers all the animals. Only individual fairy tales end in the same way as chain ones. These include essays like “How a man sold an ox”: a man goes to the market to sell an ox, on the way he exchanges it for a cow, a cow for a calf, a calf for a sheep, a sheep for a goat, a goat for a turkey, a turkey for a goose , a goose - for a duck, a duck - for a chicken, a chicken - for an awl, an awl - for a needle, which is destroyed in the hay. There is a similar tale about a blacksmith who had to make a plow out of iron, but he failed because part of the iron burned out; from what is left, the master tries to forge a scythe, then a shovel, a sickle, a glander, then a needle, which he throws into the water, hears a “zilch” and is left with nothing. The epic nature of these tales is enhanced by the conversations between the husband going to the market and the people he meets, or the blacksmith with his customer.

A common type of epic cumulative tales are works in which accumulation from better to worse (from less to more) or vice versa occurs in the imagination or dreams of the main character. One example is “The Tale of Malanku”: a girl who was carrying milk for sale imagined how to buy chickens with the money, would sell chickens and eggs, start a farm, build big house and get rich quickly. The ending, as always, is unexpected: “How Malanka jumped up, and the milk squished in the can.” Such works are considered epic, since they are performed in a measured, uniform tone.

Save - » Cumulative tales. The finished product appeared.

Introduction

1. Definition of the concept of “fairy tale”

2. History of collecting fairy tales

3. Cumulative tales

3.1 General characteristics

3.3 Style of cumulative tales

4. German fairy tales

Conclusion

Introduction

Empirically, we all imagine what a fairy tale is and have a more or less clear idea about it. We, perhaps, keep poetic memories of her, remember her from childhood. We intuitively feel her charm, enjoy her beauty, vaguely understand that we have something very significant in front of us. In understanding and evaluating a fairy tale, we are guided by poetic instinct.

Poetic flair is absolutely necessary for understanding a fairy tale, and not only a fairy tale, but any works of verbal art. However, poetic perception, although necessary for understanding the fairy tale, is still not enough. It will be fruitful only in conjunction with strict methods. scientific knowledge and research.

Science has done an extraordinary amount to study fairy tales. There is a huge, boundless literature about the fairy tale. Before the war, an encyclopedia of fairy tales, Handwörterbuch des Märchens, was published in Germany; several volumes were published. But the war interrupted this endeavor. A new edition of this encyclopedia is being prepared in Germany at the level of modern scientific requirements. There is an Institute for German Ethnic Studies at the Berlin Academy of Sciences. This institute publishes a yearbook that reviews everything that is being done in the study of fairy tales in European countries.

The purpose of this work is to study the cumulative tale within a culture.

The objectives of the work are to consider the history of the fairy tale, reveal the topic “Fairy tale and modernity”, define the concept of “fairy tale”, and also characterize German fairy tales.

The scientific understanding of the term “fairy tale” has its own history.

One of the definitions adopted in Europe was given by Boltier and Polivka. Its meaning boils down to the following: “a fairy tale, since the times of Herder and the Brothers Grimm, has been understood as a story based on poetic fantasy, especially from magical world, story not related to conditions real life, which is listened to with pleasure in all strata of society, even if they find it incredible or unreliable.”

Although this definition accepted, it detects a number weaknesses:

1. The definition of a fairy tale as “a story based on poetic fantasy” is too broad. Any literary and artistic work is based on poetic fantasy.

2. There is no magic in most fairy tales. It exists only in so-called fairy tales. All not fairy tales remain outside this definition.

3. The researcher will not agree that the fairy tale “is not connected with the conditions of real life.” The question of the relationship of fairy tales to real life is very complex.

4. The formula that a fairy tale provides aesthetic pleasure, even if listeners find it “incredible or unreliable,” means that the fairy tale can be considered reliable and probable, and that this depends entirely on the listener.

The definition is made through the closest genus and specific distinction. In this case, the closest genus should be understood as story in general, narrative. A fairy tale is a story; it belongs to the field of epic art. But not every story can be called a fairy tale.

A fairy tale is defined by its plots. Indeed, when we think about a fairy tale, we remember tales about the fox, about the kidnapped princess, about the firebird, etc., i.e. We imagine a whole series of stories.

The plot is very significant for understanding and studying a fairy tale, but a fairy tale is still not defined by its plots. A fairy tale is a story that differs from all other types of narration by the specificity of its poetics.

This definition still does not fully reveal the essence of the fairy tale and requires further additions.

The definition given by A.I. Nikiforov, says: “Fairy tales are oral histories“, existing among the people for the purpose of entertainment, containing events that are unusual in the everyday sense and distinguished by a special compositional and stylistic structure.” This definition has not lost its scientific significance to this day. This should form the basis for understanding the fairy tale.

This definition is the result of a scientific understanding of a fairy tale, expressed in the shortest formula. All the main features characterizing the fairy tale are given here. A fairy tale, a folk tale, is a narrative folklore genre. It is characterized by its form of existence. It is a story passed down from generation to generation only through oral transmission.

A fairy tale is characterized as a story, i.e. it belongs to the narrative genres. A fairy tale means something that is told. This means that people perceive the fairy tale as a narrative genre par excellence.

Another sign established by Nikiforov is that the tale is told for the purpose of entertainment. It belongs to the entertainment genre.

The sign of entertainment is in connection with another sign of a fairy tale, namely the extraordinary nature of the event that makes up the content of the fairy tale. Epic folklore does not talk about the ordinary, everyday, everyday things at all. It serves only as a background for subsequent, always extraordinary events.

The next feature is a special compositional and stylistic structure. Style and composition can be combined general concept poetics and say that a fairy tale is distinguished by its specific poetics. It is this feature that is decisive for determining what a fairy tale is.

There is, however, one sign, although outlined, but not sufficiently disclosed, and this is that they do not believe in the reality of what is being told. That the people themselves understand the fairy tale as fiction. This is one of the main and decisive features of a fairy tale.

This is a very significant sign of a fairy tale, although at first glance it may seem that this is not a sign of a fairy tale, but a property of the listeners. They are free to believe or not to believe.

Thus, we have received some definition of a fairy tale, reflecting the modern point of view on it and making it possible to further study it.

Different types fairy tales differ not only external signs, the nature of the plots, heroes, poetics, ideology, they may turn out to be completely different in their origin and history and require different methods of study.

2. History of collecting fairy tales

At first glance, it seems that writing down a fairy tale is very easy, that anyone can do it without special preparation.

To some extent this is true. However, for such a recording to have scientific value, certain conditions must be met; one must know what to record and how to record it. In this regard, views on the accumulation (collection) and recording of fairy tales changed dramatically. These views partially depended and still depend on the general level of science about folk art, on the socio-political views of the collector and on the goals that the collector sets for himself.

IN ancient Rus' For example, it never even occurred to anyone to write down fairy tales. Fairy tales were not only subjected to official contempt as something completely unworthy of attention, they were persecuted.

The first trends come to Russia from Western Europe and penetrate through Poland. The first compilers of narrative collections were clergy. IN Catholic worship It is customary in churches to preach edifying sermons. These sermons were abstract and boring. To hold the attention of parishioners and make them listen, sermons were equipped with interesting stories, which were given some kind of moralizing or religious-philosophical interpretation. Collections of stories were created for this purpose. They became widespread, were very popular, were translated into European languages and reached us.

In addition to such collections, there are stories of a semi-folklore nature, Western and eastern origin.

3. Cumulative tales

3.1 General characteristics

There is a not very extensive type of fairy tales that have such specific compositional and stylistic features that identifying them in a special category does not raise any doubts. These are the so-called cumulative tales.

The existence of cumulative tales as special type was noticed a long time ago, but corresponding conclusions were not made either for classification or for studying the tale. Thus, reworking and translating into English the index of Aarne's fairy tales, the American scientist Thompson provides 200 numbers for them. Translating the same index into Russian, Prof. Andreev introduces one summary number for all cumulative fairy tales, entitled “Cumulative fairy tales of various kinds.” Thus, both researchers were faced with the need to somehow highlight this material, but they took opposite paths: one provides for two hundred types of fairy tales, the other - one. At the same time, however, the question of which tales can be called cumulative remains unclear, and a large number of typical cumulative tales are scattered among other categories. There are especially many cumulative tales in the section of tales about animals. The Aarne system does not make it possible to accurately identify them, and attempts to make adjustments to the index are of a compromise nature. What is needed here is not adjustments, but essentially a new classification system, built on the study of the poetics of a fairy tale.

In the Russian fairy tale repertoire one can count about twenty different types of cumulative fairy tales. It is necessary to resolve the question of what, strictly speaking, cumulative tales are. The ambiguity of this issue leads not only to a confused classification, but also to false conclusions on the essence of the material being studied.

So, B.M. Sokolov in his course on folklore devotes a special chapter to the composition and style of fairy tales about animals. This chapter, however, is entirely based on cumulative tales, and the animal tale is not represented by a single example.

The main compositional technique of cumulative fairy tales consists of some kind of multiple, ever-increasing repetition of the same actions, until the chain thus created breaks off or unravels in a reverse, decreasing order. The simplest example of an increase leading to a break in the chain is the well-known “Turnip”; an example of the reverse development of the chain is the fairy tale “The Cockerel Choked.” In addition to the chain principle, other types of gradual growth or accumulation are possible, leading to some sudden comic catastrophe. Hence the name of fairy tales - accumulate, pile up, increase. In German they are called Kettenmärchen, Häufungsmärchen, Zählmärchen.

This accumulation is where all the interest and content of fairy tales lies. There are no interesting plot events in them. On the contrary, the event itself is insignificant, and the insignificance of this event is sometimes in comic contrast with the monstrous increase in the consequences arising from it and with the final catastrophe.

These tales are of two types in style and method of execution: we call some formulaic, others epic. The first ones are characteristic and typical for cumulative tales, i.e. formulaic.

3.2 Composition of cumulative tales

The composition of cumulative fairy tales is extremely simple: the exposition most often consists of some insignificant event or a very ordinary situation in life: a grandfather plants a turnip, a woman bakes a bun, a girl goes to the river to rinse out a mop, an egg breaks, a man aims at a hare. This exposition cannot even be called a set-up, since it is completely unclear where the action is developing from. It develops unexpectedly, and this unexpectedness is one of the main artistic effects of the fairy tale. There are extremely many ways to connect a circuit to an exposure. In the tale of the turnip, the creation of the chain is caused by the grandfather being unable to pull it out. In the fairy tale “The Mansion of the Fly,” a fly builds a mansion or takes up residence in some discarded mitten. But then, one after another, usually in increasing order of magnitude, the animals appear and beg to come into the hut. The last one is the bear, which ends up sitting on this tower.

In the first case (turnip), the creation of the chain is motivated and internally necessary, in the second case (teremok) there is no internal need for the arrival of more and more new animals. On this basis one could distinguish two types of these tales. The second one prevails; the art of such fairy tales does not require any logic.

A whole series of cumulative tales are built on the sequential appearance of some uninvited guests. Other tales are built on a series of exchanges, and the exchange may occur in descending order - from better to worse or from worse to better.

Cumulative fairy tales also include those in which all the action is based on various types of comic endless dialogues.

3.3 Style of cumulative tales

Possessing a completely clear compositional system, cumulative fairy tales differ from other fairy tales in their style, their verbal attire, and the form of their execution. It must, however, be borne in mind that in terms of form of execution and style, there are, as already indicated, two types of these tales. Some are told epically calmly and slowly, like any other fairy tales. They can only be called cumulative by their underlying composition.

Along with this, there is another, more vivid and typical type of cumulative fairy tales. The accumulation or growth of events here corresponds to the accumulation of words. These can be called “formular”. The boundary between these two species is unstable. The same type can different masters be performed in one way or another. But there is undoubtedly a gravitation between fairy tale types towards one or another method of execution. In the latter case, when each new link is added, all previous links are often repeated. The beauty of these tales lies in repetition. The whole point of them is in colorful artistic execution. Their execution requires the greatest skill: they sometimes approach tongue twisters, sometimes they are sung. Their entire interest is an interest in the word as such. A pile of words is interesting only when the words themselves are interesting. Therefore, such fairy tales gravitate toward rhyme, verse, consonance and assonance, and in this pursuit they do not stop at bold new formations.

These features of cumulative fairy tales make them beloved by children, who are so fond of new, sharp and bright words, tongue twisters, etc., therefore cumulative fairy tales can rightfully be called primarily a children's genre.

3.4 Origin of cumulative tales

Now, when even an accurate inventory of cumulative fairy tales has not been made, and often they are not recognized as a special category, the problems of cumulative fairy tales cannot yet be resolved with sufficient completeness. The principle of cumulation feels like a relic. A modern educated reader, it is true, will read or listen to a number of such tales with pleasure, admiring mainly the verbal fabric of these works, but these tales do not correspond to our forms of consciousness and artistic creativity. They are a product of earlier forms of consciousness. We have an arrangement of phenomena in a series, where modern thinking and artistic creativity would no longer enumerate the entire series, but would jump over all the links to the last and decisive one. A detailed study of fairy tales should show exactly what series there are and what logical processes correspond to them.

Primitive thinking does not know space as a product of abstraction; it does not know generalizations at all. It knows only the empirical state. Space, both in life and in fantasy, is overcome not from the initial link to the final one, but through specific, realistically given intermediary links. Stringing is not only an artistic technique, but also a form of thinking, which is reflected not only in folklore, but also in the phenomena of language. In language this would correspond to agglutination, i.e. name without inflections. But at the same time, fairy tales already show some overcoming of this stage, its artistic use in humorous forms and purposes.

Cumulation as a phenomenon is characteristic not only of cumulative tales. It is part of other tales, for example, the tale of the fisherman and the fish, where the old woman's growing desires are pure cumulation. Cumulation is included in the system of some rituals, reflecting the same way of thinking through intermediary links.

4. German fairy tales

Prominent representatives of German fairy tales are Jacob and Wilhelm Grimm. The first fairy tales of the Brothers Grimm were published in three volumes in 1812. This was the first publication of truly folk tales, most of them recorded directly from the performers. Some texts retain dialect. True, Wilhelm Grimm subjected the texts to light processing, leveling them under a somewhat conventional folk style, but did it without affecting the plot. With such a reservation, the texts can be recognized as authentic. This was a huge achievement, since a new and correct way to understand the original fairy tale was found.

The second problem posed by the Brothers Grimm is the origin of the fairy tale. This problem still occupies science.

Thus, the main merit of the Brothers Grimm lies in a new, strictly scientific formulation of the issues of studying fairy tales. And they not only raised questions, but also resolved them. The Brothers Grimm were not so much folklorists as philologists and linguists.

The problem of the similarity of fairy tales is also solved as the problem of the similarity of languages, i.e. a statement about the existence of a certain ancestral home of European languages, in which lived a single people who spoke the same language. Through gradual settlement and settlement, separate peoples were formed, each speaking their own language.

Another question, the question of the origin of the fairy tale, was more difficult to resolve, and it was impossible to rely on linguistic data. The Brothers Grimm claim the religious origin of the tale. What has now come down to us as fairy tales was a myth in the era of Indo-European unity. Science has not yet had sufficient means to establish what the nature of this myth was.

Since the purpose of our work is to consider cumulative fairy tales, we will give some examples of such fairy tales taken from the Fairy Tales of the Brothers Grimm.

The first example we will look at is the fairy tale “Der gjldene Schlüssel” (“The Golden Key”).

An example of cumulation here is the following: the action from household theme– Zur Winterzeit, als einmal ein tiefer Schnee lag, musste ein armer Junge hinausgehen und Holz auf einem Schlitten holen. - in winter, when there was deep snow, the poor young man left the house to chop firewood. This kind of action has a direct bearing on life. Next, there is a direct stringing of events. The young man finds the key and looks for the lock. Wo der Schlüssel wäre, müsste auch das Schloss dazu sein. And finally he finds it. In this case, a chain of locks is built, among which the young man searches for a key suitable for the found key. What else distinguishes this cumulative tale is its simplicity of presentation.

Another example of a cumulative fairy tale is the fairy tale “Die Brautschau” - literally “The Choice of the Bride.” In this case, an everyday topic is also considered. There is a stringing of events. The groom chooses a wife from three sisters, trying on a ring for each of them. Whoever it suits will be his wife. In this case, there is a consistent “sticking” of people to each other. That is, one sister is replaced by a second, and a second by a third.

Another example: the fairy tale “Der Fuchs und das Pferd” - “The Fox and the Horse”. Here, in addition to the everyday topic: “Es hatte ein Bauer en treues Pferd, das war alt geworden und konnte keine Dienste mehr zu tun” - “One peasant had a faithful horse, which grew old and could no longer perform its service”; The theme of animals is also touched upon, which is also a type of cumulative fairy tale.

“Der Hase und der Igel” – “The Hare and the Hedgehog” is an example of a cumulative tale about animals. In addition, there is a string of events here: a meeting of a hare and a hedgehog in the forest, then a speed competition arranged between them, and, as a finale, a comic ending - the fast hare remains the loser.

“Das Lügenmärchen” – “A fairy tale is a fiction.” A direct example of stringing together events and actions. Presented by the author in the form of fiction. The simplicity of the story is observed; in this tale, the phenomenon of patter is observed. “Ein Frosch sass und frass eine Pflugschar zu Pfingsten...”. Which is also a sign of a cumulative fairy tale.

All examples given are prominent representatives cumulative tales. Of course, in German fairy tales there is no such stringing together of actions or people as in Russian folk tales, for example, “Turnip”, “Teremok”, but similar phenomena are still observed.

In Germany, the fairy tale is perceived as a symbol of the deepest wisdom. It was stated. That the fairy tale goes back to the myths about the gods. What can be traced in the work of the Brothers Grimm. Many tales deal with divine and supernatural themes and phenomena. “The Tale of a Lonely Boy”, “Messengers of Death”, etc. The Brothers Grimm collected bit by bit all the data related to the pagan cultures of the ancient Germans. Which is reflected in the works of the Brothers Grimm.

Conclusion

Just as a song is sung, a fairy tale is told. A fairy tale is not meant to be read with the eyes, but to be perceived by ear. Fairy tale - typical folklore phenomenon.

It is impossible to recognize as fairy tales everything that is included in a collection of fairy tales. The world of a fairy tale is extremely colorful, varied and moving. The topic of classification, which we touched upon a little within the framework of this work, is important not only because it brings order and structure to the motley world of fairy tales. It also has purely educational significance. Different types of fairy tales differ not only in external features, the nature of plots, heroes, poetics, ideology, they can turn out to be completely different in their origin in history and require different methods of study.

The purpose of our work was to consider not the entire classification of fairy tales, but only its separate type - the cumulative fairy tale. In paragraph 3 of this work we gave detailed description this type of fairy tale.

In conclusion, it should be said that the tasks assigned to us at the beginning of the work have been completed. Since we have defined the concept of “fairy tale” as it is considered by various authors and researchers. We have covered the topic of fairy tales and modernity, that is, how a fairy tale is viewed today, from what positions and sources it was formed in order to appear before us in its present form. We also sorted out genre types cumulative fairy tales using examples of German fairy tales as presented by the Brothers Grimm. And also on some examples of Russian folk tales.

Bibliography

1. Akimova A.F. Fairy tales. – Moscow: “Culture”, 2001. – 288 p.

2. Brothers Grimm. Children's fairy tales. – Berlin – 2000 – 319 p.

3. Veselovsky A.N. Works about folklore. – Moscow: “IMLI-RAN”, 2004. – 544 p.

4. Desnitsky V.A. Works about folklore. – M., 2003 – 471 p.

5. Propp V.Ya. Russian fairy tale. – St. Petersburg: “University”, 1995 - 334 p.

6. Propp V.Ya. Folklore and reality. Selected articles. – Moscow: “Science”, 2002. – 358 p.

7. Rakhimova E.G. German folklore. – Moscow: “Foreign Literature”, 2004. – 511 p.

8. Sokolov B.M. Russian folklore. Fairy tale. – Moscow: “Creativity”, 2003. – 511 p.

9. Toporkov A.L. Fairy tales of the Brothers Grimm. – Moscow: “Foreign Literature”, 2000. – 413 p.

10. Yagich V.I. The works of the Brothers Grimm. – Moscow: “Science”, 2000. – 219 p.

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Introduction

2. History of collecting fairy tales

3. Cumulative tales

3.1 General characteristics

3.3 Style of cumulative tales

4. German fairy tales

Conclusion

Bibliography

Introduction

Poetic flair is absolutely necessary for understanding a fairy tale, and not only a fairy tale, but any works of verbal art. However, poetic perception, although necessary for understanding the fairy tale, is still not enough. It will be fruitful only in combination with strict methods of scientific knowledge and research.

The purpose of this work is to study the cumulative tale within a culture.

The objectives of the work are to consider the history of the fairy tale, reveal the topic “Fairy tale and modernity,” define the concept of “fairy tale,” and also characterize German fairy tales.

1. Definition of the concept of “fairy tale”

The scientific understanding of the term “fairy tale” has its own history.

One of the definitions adopted in Europe was given by Boltier and Polivka. Its meaning boils down to the following: “a fairy tale, since the times of Herder and the Brothers Grimm, has been understood as a story based on poetic fantasy, especially from the magical world, a story not connected with the conditions of real life, which in all strata of society is listened to with pleasure, even if they find its incredible or unreliable."

Despite the fact that this definition is accepted, it reveals a number of weaknesses:

1. The definition of a fairy tale as “a story based on poetic fantasy” is too broad. Any literary and artistic work is based on poetic fantasy.

2. There is no magic in most fairy tales. It exists only in so-called fairy tales. All non-fairy tales remain outside this definition.

3. The researcher will not agree that the fairy tale “is not connected with the conditions of real life.” The question of the relationship of fairy tales to real life is very complex.

This definition still does not fully reveal the essence of the fairy tale and requires further additions.

The definition given by A.I. Nikiforov, says: “Fairy tales are oral stories that exist among the people for the purpose of entertainment, containing events that are unusual in the everyday sense and are distinguished by a special compositional and stylistic structure.” This definition has not lost its scientific significance to this day. This should form the basis for understanding the fairy tale.

Another sign established by Nikiforov is that the tale is told for the purpose of entertainment. It belongs to the entertainment genre.

The next feature is a special compositional and stylistic structure. Style and composition can be united by the general concept of poetics and it can be said that a fairy tale is distinguished by its specific poetics. It is this feature that is decisive for determining what a fairy tale is.

Thus, we have received some definition of a fairy tale, reflecting the modern point of view on it and making it possible to further study it.

Different types of fairy tales differ not only in external features, the nature of plots, heroes, poetics, ideology, they can turn out to be completely different in their origin and history and require different methods of study.

2. History of collecting fairy tales

At first glance, it seems that writing down a fairy tale is very easy, that anyone can do it without special preparation.

In ancient Rus', for example, no one even thought of writing down fairy tales. Fairy tales were not only subjected to official contempt as something completely unworthy of attention, they were persecuted.

The first trends come to Russia from Western Europe and penetrate through Poland. The first compilers of narrative collections were clergy. In Catholic worship, it is customary for churches to preach edifying sermons. These sermons were abstract and boring. In order to hold the attention of parishioners and make them listen, sermons were equipped with interesting stories, which were given some kind of moralizing or religious-philosophical interpretation. Collections of stories were created for this purpose. They became widespread, were very popular, were translated into European languages and reached us.

In addition to such collections, there are stories of a semi-folklore nature, of Western and Eastern origin.

3. Cumulative tales 3.1 General characteristics

The existence of cumulative tales as a special type was noticed long ago, but corresponding conclusions were not made either for classification or for the study of fairy tales. Thus, reworking and translating into English the index of Aarne's fairy tales, the American scientist Thompson provides 200 numbers for them. Translating the same index into Russian, Prof. Andreev introduces one summary number for all cumulative fairy tales, entitled “Cumulative fairy tales of various kinds.” Thus, both researchers were faced with the need to somehow highlight this material, but they took opposite paths: one provides for two hundred types of fairy tales, the other - one. At the same time, however, the question of which tales can be called cumulative remains unclear, and a large number of typical cumulative tales are scattered among other categories. There are especially many cumulative tales in the section of tales about animals. The Aarne system does not make it possible to accurately identify them, and attempts to make adjustments to the index are of a compromise nature. What is needed here is not adjustments, but essentially a new classification system, built on the study of the poetics of a fairy tale.

These tales are of two types in style and method of execution: we call some formulaic, others epic. The first ones are characteristic and typical for cumulative tales, i.e. formulaic.

3.2 Composition of cumulative tales

Cumulative fairy tales also include those in which all the action is based on various types of comic endless dialogues.

3.3 Style of cumulative tales

Along with this, there is another, more vivid and typical type of cumulative fairy tales. The accumulation or growth of events here corresponds to the accumulation of words. These can be called “formular”. The boundary between these two species is unstable. The same type can be performed in one way or another by different masters. But there is undoubtedly a gravitation between fairy tale types towards one or another method of execution. In the latter case, when each new link is added, all previous links are often repeated. The beauty of these tales lies in repetition. The whole point of them is in colorful artistic execution. Their execution requires the greatest skill: they sometimes approach tongue twisters, sometimes they are sung. Their entire interest is an interest in the word as such. A pile of words is interesting only when the words themselves are interesting. Therefore, such fairy tales gravitate toward rhyme, verse, consonance and assonance, and in this pursuit they do not stop at bold new formations.

3.4 Origin of cumulative tales

4. German fairy tales

Prominent representatives of German fairy tales are Jacob and Wilhelm Grimm. The first fairy tales of the Brothers Grimm were published in three volumes in 1812. This was the first publication of truly folk tales, most of them recorded directly from the performers. Some texts retain dialect. True, Wilhelm Grimm subjected the texts to light processing, leveling them to a somewhat conventional folk style, but he did this without affecting the plot. With such a reservation, the texts can be recognized as authentic. This was a huge achievement, since a new and correct way to understand the original fairy tale was found.

The second problem posed by the Brothers Grimm is the origin of the fairy tale. This problem still occupies science.

Since the purpose of our work is to consider cumulative fairy tales, we will give some examples of such fairy tales taken from the Fairy Tales of the Brothers Grimm.

The first example we will look at is the fairy tale “Der gjldene Schlüssel” (“The Golden Key”).

An example of cumulation here is as follows: an action from an everyday topic is described - Zur Winterzeit, als einmal ein tiefer Schnee lag, musste ein armer Junge hinausgehen und Holz auf einem Schlitten holen. - in winter, when there was deep snow, the poor young man left the house to chop firewood. This kind of action has a direct bearing on life. Next, there is a direct stringing of events. The young man finds the key and looks for the lock. Wo der Schlüssel wäre, müsste auch das Schloss dazu sein. And finally he finds it. In this case, a chain of locks is built, among which the young man searches for a key suitable for the found key. What else distinguishes this cumulative tale is its simplicity of presentation.

All the examples given are clear representatives of cumulative fairy tales. Of course, in German fairy tales there is no such stringing together of actions or people as in Russian folk tales, for example, “Turnip”, “Teremok”, but similar phenomena are still observed.

Conclusion

Just as a song is sung, a fairy tale is told. A fairy tale is not meant to be read with the eyes, but to be perceived by ear. A fairy tale is a typical folklore phenomenon.

The purpose of our work was to consider not the entire classification of fairy tales, but only its separate type - the cumulative fairy tale. In paragraph 3 of this work we gave a detailed description of this type of fairy tale.

In conclusion, it should be said that the tasks assigned to us at the beginning of the work have been completed. Since we have defined the concept of “fairy tale” as it is considered by various authors and researchers. We have covered the topic of fairy tales and modernity, that is, how a fairy tale is viewed today, from what positions and sources it was formed in order to appear before us in its present form. We also analyzed the genre types of cumulative fairy tales using examples of German fairy tales, as presented by the Brothers Grimm. And also on some examples of Russian folk tales.

Bibliography

1. Akimova A.F. Fairy tales. – Moscow: “Culture”, 2001. – 288 p.

2. Brothers Grimm. Children's fairy tales. – Berlin – 2000 – 319 p.

3. Veselovsky A.N. Works about folklore. – Moscow: “IMLI-RAN”, 2004. – 544 p.

4. Desnitsky V.A. Works about folklore. – M., 2003 – 471 p.

5. Propp V.Ya. Russian fairy tale. – St. Petersburg: “University”, 1995 - 334 p.

6. Propp V.Ya. Folklore and reality. Selected articles. – Moscow: “Science”, 2002. – 358 p.

7. Rakhimova E.G. German folklore. – Moscow: “Foreign Literature”, 2004. – 511 p.

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Statements. Having examined the questions of the first chapter, we can conclude that the fifth year of life is a period of high speech activity in children and intensive development of all aspects of their speech. Chapter II. Fairy tale as a means of developing coherent speech in middle school children preschool age§1. Fairy tale as a genre of fiction Fairy tale, folk tale, is a narrative folklore genre. This...

Contents characteristic inner world any person, allow the child to recognize and identify his own experiences and his own mental processes, understand their meaning and the importance of each of them. Russians folk tales, introducing children into the circle of extraordinary events and transformations that occur with their heroes, express deep moral ideas. They teach good attitude to people, show...

Sometimes touching, sometimes funny, they never leave doubt for a moment about the happy ending of events. The poem contained grains of nationality in the characters of Ruslan and Lyudmila, in battle scenes and fantastic scenes. The poem displays the author's digressions - a characteristic feature of Pushkin's free poetic thinking. The poem is written in iambic tetrameter. This size was common in lyrical...

Creative self-realization, was of great importance for the formation of ideas about culture. The method used by Hegel to create his philosophical system became the basis for the subsequent professionalization of knowledge about culture. Hegel, like I. Newton once did, perceived the universe as a harmonious order. But for him the Universe was not a mechanism, but a complex organism that arose thanks to...