The Tale of the Golden Cockerel

Fairy tale as a genre of oral folk art.

Fairy tales - the oldest genre oral folk art, a classic example of folklore. They teach a person to live, instill optimism in him, and affirm faith in the triumph of goodness and justice. Behind the fantastic nature of fairy-tale plots and fiction, real human relationships are hidden. Humanistic ideals and life-affirming pathos give fairy tales artistic credibility and enhance their emotional impact on listeners.

A fairy tale is a generalizing concept. The presence of certain genre characteristics allows us to classify this or that oral prose work as a fairy tale. Belonging to the epic genus puts forward such features as narrative and plot. A fairy tale is necessarily entertaining, unusual, with a clearly expressed idea of ​​the triumph of good over evil, truth over falsehood, life over death; all the events in it are brought to an end; incompleteness and incompleteness are not characteristic of a fairy-tale plot.

Main genre sign fairy tale is its purpose, what connects the fairy tale with the needs of the collective. “In Russian fairy tales that have come down to us in recordsXVIII – XXcenturies, as well as in fairy tales that exist today, the aesthetic function dominates. It is due to the special nature of fairy-tale fiction.”1

Fiction is characteristic of all types of fairy tales of different peoples. The fact that the fairy tale does not pretend to be authentic in its narration is emphasized by its favorite beginnings oriental tales: “It happened or it didn’t happen - three apples fell from the sky,” as well as the endings of Russian fairy tales: “The whole fairy tale - you can’t lie anymore” or German ones: “Whoever believes will pay a thaler.” This also determines the transfer of the fairy-tale action to the vague “far away kingdom, thirtieth state”, the narrators’ remarks emphasizing the “fabulousness” of what they are telling the story about, and, finally, the listeners’ reviews about the skill of the storytellers: “this one will lie to you like crazy,” "a known liar." “An emphasized, conscious focus on fiction is the main feature of fairy tales as a genre.

The educational function of a fairy tale is one of its genre features. “Fairy-tale didacticism permeates the entire fairy-tale structure, achieving a special effect by the sharp opposition of positive and negative. Moral and social truth- this is the didactic conclusion that the fairy tale clearly illustrates.”2

The history of the emergence of fairy tales as a genre.

The historical roots of the Russian fairy tale are lost in hoary antiquity; each historical stage of the life of the Russian people is reflected in the fairy tale, introducing natural changes into it. The study of these changes, or rather, the generalization of these changes, makes it possible to talk about the specific process of the life of Russian tales, that is, about its history.

Install exactly. When exactly the Russian fairy tale was defined as a genre, when exactly it began to live as a fairy tale, and not a belief or tradition, is impossible.

The first mentions of Russian folk tales date back to Kievan Rus, but its origins are lost in time immemorial. As for feudal Rus', there is no doubt that fairy tales, in our understanding, were in Kievan Rus one of the widespread genres of oral folk art. Monuments of ancient Russian literature have preserved enough references to storytellers and fairy tales not to doubt this.

The earliest information about Russian fairy tales dates back toⅩⅡ century. In the teaching “The Word of the Rich and the Poor,” in the description of a rich man’s going to bed, among the servants around him who amuse him in various ways, those who “bad and blaspheme” are indignantly mentioned, that is, they tell him fairy tales for his coming sleep. This first mention of the fairy tale fully reflected the contradictory attitude towards it that we have observed in Russian society for many centuries. On the one side, fairy tale - favorite unraveling is fun, she has access to all layers of society, on the other hand, she is branded and persecuted as something demonic, not permissible, shaking the foundations of ancient Russian life. Thus, Kirill of Turov, listing the types of sins, also mentions the telling of fables; Metropolitan Photius at the beginningⅩⅤ centuries conjures his flock to refrain from listening to fables; royal decreesⅩⅦ centuries have spoken disapprovingly of those who destroy their souls by “telling unprecedented tales.”

All this gives us reason to believe that in Ancient Rus' The fairy tale has already emerged as a genre from oral prose, demarcated from tradition, legend and myth. Its genre features - “the focus on fiction and entertainment functions are recognized equally by both its bearers and its persecutors. Already in Ancient Rus' they -<сказки небывалые>and it is as such that they continue to live in folk repertoire in future centuries."

Tales that throughoutⅩⅡ - ⅩⅦ centuries Russian people told stories that did not mechanically repeat versions that came from ancient times or stories imported from foreign lands; on the contrary, Russian fairy tales responded vividly to events modern life. Tales about Ivan the Terrible speak of pronounced anti-boyar tendencies and, at the same time, the illusions of the people. The tale of the chicken and the fox expresses the anti-clerical sentiments of the time.

"The inner world of manⅩⅧ century, his public face, political sympathies are revealed in a fairy tale that castigates evil, untruth, injustice, bigotry, in a fairy tale that calls for truth and goodness, expressing folk ideals and dreams.”

Researchers about the fairy tale and its genre features.

While studying the fairy tale, scientists have defined its meaning and features in different ways. Some of them, with absolute clarity, sought to characterize fairy-tale fiction as independent of reality, while others wanted to understand how the attitude of folk storytellers to the surrounding reality was refracted in the fantasy of fairy tales. Should any fantastic story be considered a fairy tale in general, or should we distinguish other types of it in oral folk prose - non-fairy tale prose? How to understand fantastic fiction, without which none of the fairy tales can do? These are the problems that have long troubled researchers.

A number of folklore researchers called everything that was “told” a fairy tale. Thus, academician Yu.M. Sookolov wrote: “By folk tale in the broad sense of the word we mean an oral-poetic story of a fantastic, adventurous or everyday nature.” The scientist’s brother, Professor B.Yu. Sokolov also believed that every oral story should be called a fairy tale. Both researchers argued that fairy tales include whole line special genres and types and that each of them can be considered separately.

Yu.M. Sokolov considered it necessary to list all types of fairy tales, and B.M. Sokolov pointed out how entertaining they were.

An attempt to distinguish a fairy tale from other genres of folklore was made more than a hundred years ago by K.S. Aksakov. Speaking about the difference between fairy tales and epics, he wrote: “Between fairy tales and songs, in our opinion, there is a sharp line. The fairy tale and the song are different from the beginning. This distinction was made by the people themselves, and it is best for us to directly accept the division that they made in their literature. A fairy tale is a fold (fiction), and a song is reality, says the people, and its words have a deep meaning, which is explained as soon as we pay attention to the song and the fairy tale.”

Fiction, according to Aksakov, influenced both the depiction of the scene of action in them and the characters characters. Aksakov clarified his understanding of the fairy tale with the following judgments:<<В сказке очень сознательно рассказчик нарушает все пределы времени и пространства, говорит о тридесятом царстве,о небывалых странах и всяких диковинках>>. Aksakov believed that the most characteristic thing about fairy tales is fiction, and conscious fiction at that. The famous folklorist A.N. did not agree with this interpretation of fairy tales. Afanasiev.<< Сказка- складка, песня- быль, говорила старая пословица, стараясь провести резкую грантцу между эпосом сказочным и эпосом историческим. Извращая действительный смысл этой пословицы, поинимали сказку за чистую ложь, за поэттческий обман,имеющий единою целью занять свободный достуг небывалыми и невозможными вымыслами. Несостоятельность такого воззрения уже давно бросалась в глаза>>,” wrote this scientist. Afanasyev did not allow the thought that<<пустая складка>> could be preserved by the people for a number of centuries and over the vast extent of the country, holding and repeating<< один и то жк представления>>. He concluded:<< нет, сказка- не пустая складка, в ней как и вообще во всех созданиях целого народа, не могло быть, и в самом деле нет ни нарочно сочиненённой лжи, ни намеренного уклоднения от действительного понимания сказки.

The feature accepted by Aksakov as significant for a fairy tale narrative was, with some clarifications, used as the basis for the definition of a fairy tale proposed by the Soviet folklorist A.I. Nikiforov. Nikiforov wrote:<< сказки - это устные рассказы, бытовом смысле события (фантастические, чудесные или житейские) и отличающиеся специальным композиционно - стилистическим построением>>. Explaining the meaning of his definition, Nikiforov pointed to three essential features of a fairy tale: the first feature of a modern fairy tale is the goal of entertaining listeners, the second feature is unusual content in everyday life, and finally, the third important feature of a fairy tale is a special form of its construction.

The famous Soviet fairytale historian E.Yu. Pomerantseva accepted this point of view:<<народная сказка (или казка, байка, побасенка) - эпическое устное художественное про изведение, преимущественно прозаическое, волшебного, авантюрного или бытового характера с установкой на вымысел. Последний признае отличает сказку от других жанров устной прозы: сказка, предания и былички, то есть от рассказов, преподносимых рассказчиком слушателям как повествование о действительно имевших место событиях, как бы маловероятны и фантанстичны они иногда ни были>>.

The dictionary of literary terms gives the following definition of a fairy tale as a genre: A fairy tale is one of the main genres of folk oral and poetic creativity.<<Сказка - преимушественно прозаический художественный устный рассказ фантастического, авантюрного или быового характкра с установкой на вымысел. Термином <<Сказка>> name various types of oral prose: stories about animals, magical stories, adventure stories, satirical jokes. Hence the discrepancy in determining the specific genre features of a fairy tale>>.

Traditionally, there are three types of fairy tales:

Volshevna;

Household;

A tale about animals.

Each of these types has its own characteristics.

Genre originality of fairy tales.

Let us consider the genre uniqueness of each type of fairy tale.

Fairy tales.

The goal of the genre: to evoke admiration good hero and condemn the villain, express confidence in the triumph of good.

According to the type of conflict, fairy tales are:

Heroic: the hero fights with magical powers;

Social and class: the hero fights with the master, with the king;

Family (pedagogical): the conflict occurs in the family or the fairy tale is of a moralizing nature.

Heroes are divided into: intercessors, villains, sufferers, helpers.

General features of fairy tales:

The presence of obvious fantasy, magic, miracle (magical characters and objects);

Encounter with magical forces;

Complicated composition;

Expanded range of visual and expressive means;

Description dominates gialogue;

Multi-episode (the tale covers a fairly long period of the hero’s life).

Examples of fairy tales are:<<Царевна-лягушка>>, <<Крошечка волке>> and others.

Everyday tales.

The purpose of the genre: to make fun of a person’s bad character traits, to express joyful surprise at his intelligence and resourcefulness.

Everyday tales are divided into the following types:

Aecdotal;

Satirical anti-lord, anti-royal, anti-religious;

Fairy tales - competitions;

Fairy tales are ridicule;

General Features:

It is based on an extraordinary incident within the framework of real human relations(fiction is practically absent);

There is a wonderful assumption based on, for example, hyperbole:

The hero is so cunning that he can outsmart everyone in the world and go unpunished;

Instead of magic, ingenuity is used;

Realism is conventional (real life conflicts receive an extraordinary fairy-tale resolution);

The acting characters are antagonists;

The positive hero is an ironic successor;

The semantic emphasis falls on the denouement;

Widespread use of dialosh;

Abundance of verbs.

Heron: ordinary people (priest, soldier, man, woman, king, master).

Examples of everyday tales are:<<Каша из топора>>, <<как мужик с барином обедал>>, <<Кому горшок мыть>> and others.

Tales about animals.

The task of the genre: to ridicule bad character traits and actions, to evoke compassion for the weak and offended.

By conflict, animal tales depict:

The fight between predators;

The fight of a weak animal with a predator;

The fight between man and beast.

Heroes: animals (traits of animals and conditionally humans).

Special subgroups:

Tales of fox tricks;

Cumulative (chain tales).

General Features:

Specific composition of characters ( fairy tale images- traditional types: fox - cunning, wolf - stupid):

Anthropomorphism (transferring mental properties and character traits inherent in humans to animals);

Conflicts reflect reality life relationships of people;

Lightweight composition;

A narrowed set of visual and expressive means;

Extensive use of dialogue;

Abundance of verbs;

Low-episode, fast-acting;

Introduction of small folklore forms.

Examples of fairy tales about animals are:<<Кот, Петух и Лиса>>, <<Лисичка-сестричка и Волк>>,<<Лиса, Заяц и Петух>> ,<<Лиса и Тетерев>> and others.

Thus, we examined the features of each of the three types of folk tales.

The traditions of fairy tales as an oral folk genre did not allow mixing types of fairy tales.

Fairy tales. This is the most popular and most loved genre by children. They are called magical because everything that happens in its plot fantastic and significant for the task: in such a fairy tale there is always a central positive hero. fights evil and injustice, he is helped by wizards and magical objects. Examples include Russian folk tales about Ivan Tsarevich.

The danger seems especially strong because... main opponents- villains, representatives supernatural dark forces: Serpent Gorynych, Baba Yaga, Koschey the Immortal. By winning victories over the evil spirits, the hero confirms his high human principle, closeness to the light forces of nature. In the struggle he becomes even stronger and wiser, makes new friends and receives every right fortunately - to the satisfaction of little listeners.

A character in fairy tales is always carrier of certain moral qualities . The hero of the most popular fairy tales is Ivan Tsarevich. He helps many people, animals and birds, who are grateful to him for this, and in turn, help him, his brothers, who often try to destroy him. He is represented in fairy tales as folk hero , embodiment highest moral qualities- courage, honesty, kindness. He is young, handsome, smart and strong. This a type of brave and strong hero.

The Russian people are characterized by the consciousness that a person always encounters life’s difficulties on his way, and his own good deeds he will definitely overcome them. A hero endowed with such qualities as kindness, generosity, honesty deeply sympathetic to the Russian people.

To match such a hero female images - Elena the Beautiful, Vasilisa the Wise, Tsar Maiden, Marya Morevna. They are like that beautiful, that “neither can be said in a fairy tale, nor described with a pen,” and at the same time have magic, intelligence and courage. These “wise maidens” help Ivan Tsarevich escape from the sea king and find Koscheev's death, perform impossible tasks. Fairytale heroines in the perfect way embody folk ideas about women's beauty, kindness, wisdom .

Characters oppose the main characters sharply negative- insidious, envious, cruel. Most often it is Koschey the Immortal, Baba Yaga, the Serpent with three to nine heads, Dashing One-Eyed. They are monstrous and ugly in appearance, insidious, cruel in confrontation with the forces of light and good. The higher the price of victory for the protagonist.

In difficult moments they come to the aid of the main character assistants. These are either magical animals (Sivka-burka, pike, Gray wolf, Golden bristle pig), or kind old ladies, wonderful guys, strong men, walkers, boletus mushrooms. There is a great variety of wonderful objects: a flying carpet, walking boots, a self-assembled tablecloth, an invisible hat, living and dead water. Fleeing from persecution, the hero throws the comb and gets up dense forest; a towel or scarf turns into a river or lake.

Fantastic world The distant kingdom, the thirtieth state is multi-colored, filled with many wonders: milk rivers flow here with jelly banks, golden apples grow in the garden, “birds of paradise sing and seals meow.”

Like a fairy tale incorporates many stylistic techniques of other genres folklore Here and constant epithets, characteristic lyrical song(“good horse”, “dense forests”, “silk grass”, “sugar lips”), and epic hyperboles(“runs - the earth trembles, smoke comes out of the nostrils, flames blaze from the ears”), and parallelisms: “Meanwhile, a witch came and cast a spell on the queen: Alyonushka became sick, and so thin and pale. Everything in the royal court was sad; the flowers in the garden began to wither, the trees began to dry out, the grass began to fade.”

Sayings, traditional beginnings, endings. Their appointment - demarcate fairy tale from everyday life.“In a certain kingdom, in a certain state,” “once upon a time,” are the most characteristic beginnings of a Russian fairy tale. The ending, like a saying, is usually of a comic nature; it is rhythmic, rhymed, and pronounced patter. Often the storyteller ended his story with a description of the feast: “They threw a feast for the whole world, and I was there, drinking honey, drinking beer, it flowed down my mustache, but it didn’t get into my mouth.” Explicit to listeners childhood The following saying is addressed: “Here’s a fairy tale for you, and for me a bunch of bagels.”

Fairy tales, their features; fairy-tale images.

Russian folk tales about animals. Features of this genre, examples of works.

Young children, as a rule, are attracted to the animal world, so they really like fairy tales in which animals and birds act. In a fairy tale, animals acquire human traits - they think, speak, and act. Essentially, such images bring to the child knowledge about the world of people, not animals.

In this type of fairy tale, there is usually no clear division of characters into positive and negative. Each of them is endowed with one particular trait, an inherent character trait, which is played out in the plot. So, traditionally the main trait of a fox is cunning, while the wolf is greedy and stupid. The bear does not have such an unambiguous image; the bear can be evil, but it can also be kind, but at the same time it always remains a klutz. If a person appears in such a fairy tale, then he invariably turns out to be smarter than the fox, the wolf, and the bear. Animals in fairy tales observe the principle of hierarchy: everyone recognizes the strongest as the most important. It's a lion or a bear. They always find themselves at the top of the social ladder. This brings fairy tales about animals closer to fables, which is especially evident from the presence in both of them of similar moral conclusions - social and universal. These tales have a moral. Linear composition (1 story line) Commencement, climax, denouement. Lots of action, humor, emotions, songs.

Among the tales about animals, there are some quite scary ones. A bear eats an old man and an old woman because they cut off his paw. An angry beast with a wooden leg, of course, seems terrible to kids, but in essence it is the bearer of fair retribution. The narrative allows the child to figure out a difficult situation for himself.

A child must believe in miracles - fantasize, imagine. The fairy tale is one of the people’s favorite genres, which arose on the basis of myths, legends, observations of real life. Fairy tales depict the most different aspects of life, talk about the most different people, they talk about animals, and it is the fairy tale that best meets the needs of children and corresponds to child psychology.

Belief in miracles, craving for goodness, belief in magic that transforms the world. A fairy tale shows a person the right path, shows happiness and misfortune, what can happen due to a mistake. But nevertheless, after the mistake main character gets a second chance, the right to good luck. The main feature of the fairy tale is belief in justice. Child compares real world and washed, isolates the thought, the idea that the fairy tale carries.

Features of the fairy tale genre

· It doesn’t matter who the hero is, it matters what he is.

· Often the heroes have a straightforward character (positive and negative). The fox is cunning, the wolf is evil or narrow-minded - the fairy tale teaches you to evaluate the main qualities.

· The contrast of positive and negative characters is easy to distinguish.

· Linear composition (triple repetitions)

· Songs and jokes are repeated and included in the fairy tale.

· The language of the tale is laconic, expressive, rhythmic

· The world of a fairy tale: everything is large (no small details, drawings), everything is remembered immediately and for a long time.

· Most often, the colors are bright, there are no halftones (the caftan is red, the chambers are white stone)

· A fairy-tale hero is an ideal person (kind, sympathetic, people believe him)

· In a fairy tale, a special world is created in which everything is unusual (even the name), there are magical objects, transformations, and talking animals. The child is interested in all this - it develops his imagination.

· The struggle between dark and light forces. The danger seems most terrible when there are evil spirits - Baba Yaga, Serpent Gorynych.

· Actions often take place in the family

· Ethical motivations: injustice is a source of suffering and misadventures

· No irreparable situations

· The fairy tale teaches you to evaluate the actions and deeds of people

· Linear composition

· The characters remain true to their characters (do not change until the end of the tale)

· Availability of travel

· The presence of a ban (what will happen after a violation of the ban, an error)

· Helpers come in difficult moments, but initially check the hero

· Characters may include children

· There are fairy-tale formulas (once upon a time, in a certain kingdom, soon the tale will tell), as well as sayings, epithets, and hyperboles.

In a fairy tale, a special, mysterious world appears before the listener than in fairy tales about animals. It has extraordinary powers fantastic heroes, good and truth conquer darkness, evil and lies.

"This is a world where Ivan Tsarevich rushes through the dark forest on a gray wolf, where the deceived Alyonushka suffers, where Vasilisa the Beautiful brings from Baba Yaga scorching fire, where the brave hero finds the death of Kashchei the Immortal"..1

Some of the fairy tales are closely related to mythological ideas. Such images as Frost, Water, Sun, Wind are associated with the elemental forces of nature. The most popular of Russian fairy tales are: “The Three Kingdoms”, “The Magic Ring”, “Finist’s Feather – the Falcon is Clear”, “The Frog Princess”, “Kashchei the Immortal”, “Marya Morevna”, “ Sea king and Vasilisa the Wise", "Sivka-Burka", "Morozko" and others.

Hero fairy tale- courageous, fearless. He overcomes all obstacles in his path, wins victories, and wins his happiness. And if at the beginning of the fairy tale he can act as Ivan the Fool, Emelya the Fool, then at the end he certainly turns into the handsome and well done Ivan Tsarevich. A.M. drew attention to this at one time. Bitter:

“The hero of folklore is a “fool”, despised even by his father and brothers, always turning out to be smarter than them, always the winner of all everyday adversities.”2

A positive hero always gets help from others fairy tale characters. So, in the fairy tale “Three Kingdoms” the hero is chosen into the world with the help of a wonderful bird. In other fairy tales, the heroes are helped by Sivka-Burka, the Gray Wolf, and Elena the Beautiful. Even such characters as Morozko and Baba Yaga help the heroes for their hard work and good manners. All this expresses popular ideas about human morality and morality.

Next to the main characters in a fairy tale there are always wonderful helpers: Gray Wolf, Sivka-Burka, Obedalo, Opivalo, Dubynya and Usynya, etc. They have wonderful means: a flying carpet, walking boots, a self-assembled tablecloth, an invisible hat. Images goodies In fairy tales, helpers and wonderful objects express people's dreams.

Images of female heroines of fairy tales in popular imagination extraordinarily beautiful. They say about them: “Neither to tell in a fairy tale, nor to describe with a pen.” They are wise, possess witchcraft powers, have remarkable intelligence and resourcefulness (Elena the Beautiful, Vasilisa the Wise, Marya Morevna).

Opponents of goodies - dark forces, scary monsters(Kashchei the Immortal, Baba Yaga, Dashing One-Eyed, Serpent Gorynych). They are cruel, treacherous and greedy. This is how the people’s idea of ​​violence and evil is expressed. Their appearance sets off the image of a positive hero and his feat. Storytellers spared no expense in color to emphasize the struggle between the light and dark principles. In its content and in its form, a fairy tale contains elements of the wonderful and unusual. The composition of fairy tales is different from the composition of fairy tales about animals. Some fairy tales begin with a saying - a humorous joke that is not related to the plot. The purpose of the saying is to attract the attention of listeners. It is followed by a beginning that begins the story. It takes listeners into a fairy-tale world, designates the time and place of action, the setting, and the characters. The fairy tale ends with an ending. The narrative develops sequentially, the action is given in dynamics. The structure of the tale reproduces dramatically tense situations.

In fairy tales, episodes are repeated three times (with three snakes beating on Kalinov Bridge Ivan Tsarevich, three beautiful princesses saves Ivan underground kingdom). They use traditional artistic media expressiveness: epithets (good horse, brave horse, green meadow, silk grass, azure flowers, blue sea, dense forests), similes, metaphors, words with diminutive suffixes. These features of fairy tales echo the epics and emphasize the vividness of the narrative.

An example of such a tale is the tale "Two Ivans - Soldiers' Sons."

The beginning of the tale abounds everyday paintings and little reminiscent of magical circumstances. It conveys ordinary everyday information: there lived a man, the time came - he joined the soldiers, in his absence twin boys were born, who were named Ivan - “soldier’s sons”. Thus, there are two main characters in this tale. Nothing miraculous or magical is happening in her yet. It tells about how children learn, how they master literacy, “they put the children of lords and merchants in their belts.” In the development of the action, a plot is planned when the fellows go to the city to buy horses. This scene is filled with elements of a fairy tale: the brothers tame the stallions, as fairy-tale heroes have heroic strength. With a “valiant whistle” and a loud voice, the stallions that ran away into the field are returned. The horses obey them: “The stallions came running and stood in place, as if rooted to the spot.” The main characters of the fairy tale are surrounded by special objects that emphasize their heroism (heroic horses, sabers worth three hundred pounds). It is also miraculous that they received these items from a gray-haired old man who led them out the horses, opening a cast-iron door in a large mountain. He brought them two heroic sabers. This is how peasant children turn into heroes. The good fellows mounted their horses and rode off.

The fairy tale includes images of crossroads, pillars with inscriptions that determine the choice of path and the fate of the brothers. The objects accompanying the brothers turn out to be miraculous, for example, the handkerchiefs symbolizing death that they exchanged. The narrative is framed by stable fairy-tale formulas. One brother reached the glorious kingdom, married Nastasya the Beautiful and became a prince. “Ivan Tsarevich lives in joy, admires his wife, gives order to the kingdom and amuses himself with animal hunting.”3

And the other brother “jumps tirelessly day and night, and a month, and another, and a third.” Then Ivan unexpectedly finds himself in an unfamiliar state.

In the city he sees great sadness. “The houses are covered with black cloth, people seem to be staggering sleepily”4. The twelve-headed serpent that comes out of blue sea, because of the gray stone, eats a person at a time. Even the king's daughter is taken with a snake to be eaten. The snake personifies the dark forces of the world with which the hero fights. Ivan rushes to help. He is brave, knows no fear and always wins in battle. Ivan chops off all the heads of the snake. The magical-fairy-tale element is enhanced by the description of nature, against the background of which a snake appears: “Suddenly a cloud moved in, the wind rustled, the sea shook - a snake emerges from the blue sea, rises up the mountain...”5. Ivan's duel with the snake is described laconically.

Repeated verbs add speed to the action: “Ivan drew his sharp saber, swung, struck and cut off all twelve heads of the snake; he lifted a gray stone, put the heads under the stone, threw the body into the sea, and returned home, went to bed and slept for three days.” .6

It would seem that the fairy tale should end here, the plot has been exhausted, but suddenly new circumstances are woven into it with the introduction of a character from the royal entourage - a water carrier, whose thoughts are vile and base.

The situation is getting worse. The climax arrives7. The water carrier acts as the “savior” of the princess, forcing her to recognize him as a savior under pain of death. The episode is repeated two more times with two other daughters of the king. The Tsar made the water carrier a colonel, then a general, and finally married his youngest daughter.

And Ivan fights the monster three times, threatens to kill the water carrier three times royal daughters. However, the story ends with the victory of the hero, evil is punished, the water carrier is hanged, truth triumphs, youngest daughter married to Ivan. This episode of the fairy tale ends with the well-known saying: “The young people began to live and live well and make good money.”

The narrative in the fairy tale returns again to another brother - Ivan Tsarevich. It is told how he got lost while hunting and met an ugly monster - a red maiden, the sister of a twelve-headed serpent, who turned into a terrible lioness. She opens her mouth and swallows the prince whole. The fairy tale reveals an element of reincarnation. A wonderful object comes to the hero’s aid - his brother’s handkerchief, notifying him of what has happened. The search for my brother begins. The tale repeats the description of the hunt and the actions of the hero. Ivan the peasant son finds himself in the same situation as Ivan Tsarevich, but remains alive thanks to a wonderful helper - a magic horse. The red maiden puffed up like a terrible lioness and wanted to swallow the good fellow, but a magic horse came running, “clasped her with heroic legs,” and Ivan forced the lioness to throw Prince Ivan out of her, threatening to chop her into pieces.

An extraordinary miracle in a fairy tale and living water, saving, reviving Ivan Tsarevich. The tale ends with the ending: Ivan Tsarevich remained in his state, and Ivan the soldier’s son went to his wife and began to live with her in love and harmony.

The fairy tale "Two Ivans - Soldiers' Sons" combines all the elements of a fairy tale: composition, three-fold repetition of episodes and actions of the heroes, development of the plot, positive heroes and the opposition of negative monsters to them, miraculous transformations and objects, the use of visual and expressive means (constant epithets, persistent folklore formulas). The fairy tale affirms good and debunks evil.

4. Determining the features that distinguish a fairy tale from other similar genres.

The teacher talks about various sources of information. The next section of the project will be created by processing audio recordings.

Excerpts from the epic “Ilya Muromets and Svyatogor”, a fairy tale and legend are heard.

"Analysts" are called features these genres.

“Illustrators” show the corresponding symbol and place it on the blank for the fourth section.

The difference between a fairy tale and other similar genres

5. Determining the features of the language of a fairy tale.

The teacher informs that in this section the source of information will be a dramatized dialogue. As homework illustrators prepared a dramatization of an excerpt from a fairy tale. The task of the “analysts” is to find special fairy-tale words and expressions.

“Analysts” name such words and expressions after watching the dramatization.

The teacher places a reproduction of Vasnetsov’s painting “Ivan Tsarevich and the Gray Wolf” on the fifth section blank.

“Illustrators” create a mini-sketcher based on an illustration for a fairy tale using fairy tale words and expressions.

6. Determination of features of use color range in a fairy tale.

The teacher makes a transition from the previous section.

– From the illustrations one can judge the predominance of certain colors in fairy tales. But the illustration – This is just a reflection of the special flavor of fairy tales. Since ancient times people have attached great importance blossom. Remember the references to different colors from familiar fairy tales.

Children from any group give examples.

– Match situations where colors are mentioned and determine the approximate meaning of each color.

Students from any group can also complete the task.

For self-testing, the teacher attaches cards to the “Experimental Laboratory” different color: yellow, red, white. On the back of each card is written the approximate meaning of that color in the story. After the children's guesses are made, the teacher turns the card over and the corresponding word appears. After completion of the work, the cards are placed in the sixth section of the project.

VI. Project testing stage.

The teacher says that as a result of detailed processing various types information and recording the results of this processing, a reference table was obtained for compiling a report on the fairy tale as a genre.

The testing of the created project will be carried out by students from the “testers” group.

The “testers” talk one by one, based on the compiled table.

VII. Lesson summary.

– What goal and what task did we set for ourselves at the beginning of the lesson?

– Learn to use and process the information received; Create a reference table during project development.

– Did we manage to achieve our goals and objectives? What difficulties did you encounter? What did you find most interesting?

Children respond depending on the results of their work.

“a fairy tale is a lie, but there is a hint in it,
A lesson to good fellows” (A.S. Pushkin)
(general lesson on Russian folk tales)

Goals: introduce children to the origins of Russian culture; teach to appreciate your native word, use beautiful Russian speech; generalize and consolidate previously studied material about Russian folk tales, their compositional and artistic features.

Lesson type: review lesson.

Type of lesson: lesson-game.

Technology: elements of gaming technology.

Equipment: illustrations for Russian folk tales; books with fairy tales; musical works.

The class was previously divided into two teams, each of which had a captain selected. Lesson leaders were appointed. Each team had to prepare a team presentation. As homework, it was necessary to prepare a dramatization of an excerpt from any Russian folk tale.

A jury is invited to the lesson; these can be high school students or teachers.

During the classes

Sounds musical composition(the teacher, at his own discretion, uses music to create the emotional mood of students for the lesson), to applause, students dressed as heroes of Russian folk tales enter the class and take their seats (by command).

Presenters enter – A good fellow and a Red maiden holding a loaf of bread on a towel in her hands.

Good fellow. A low bow to you, good fellows and beautiful maidens. Welcome to amazing country fairy tales – glorious capital Skazograd.

Red maiden. Bow to you, dear guests (brings a loaf to the jury).

You have bread and salt to eat

Yes, listen to a fairy tale.

Good fellow. In a certain kingdom, in a certain state, there lived good fellows and beautiful maidens. As we grew up, we read fairy tales, learned good things, and gained wisdom. And then somehow the royal decree comes.

Herald (takes out a scroll and reads).

Royal decree!

I, the king of a fairy-tale state, command: to get ready for the journey, to show the queen, to console her with knowledge, to amuse her with a fairy tale. And if she has the will to find out something else. The queen has a chest of wisdom that you won’t be able to count for a century. But if you show off your intelligence, you will take a gift with you.

1st presenter And we should look for the queen in Far Far Away Kingdom, in the Far Far Away State, on green hills, among meadows and oak forests. But how do we get there, how do we get there? And where the fairy tale begins, there the miracle happens. I have a magic bag containing fabulous heel remedies. Whatever you take from the bag will take you to Skazograd.

He approaches each team in turn, the captain takes out a piece of paper from the bag on which a fabulous vehicle is written.

Options: flying carpet, walking boots, Baba Yaga's stupa, Emelya's stove.

2nd presenter (girl in folk costume). So, good fellows, red maidens, we are setting off on a dangerous, but very exciting journey. Here's a ball for each team (distributes balls to teams) so as not to get lost in fairyland.

And here is your first task: the teams need to introduce themselves.

I invite the first team.

The first team shows their business card.

Welcome to the second team.

The second team shows their business card.

After each performance, the team shows their homework.

1st presenter. Whether it’s long or short, here we are already visiting the merman.

The song "Vodyanoy's Song" from the cartoon " flying ship».

Here a wonderful wonder awaits you: the Animal Bridge is in chains, forest birds flock here, the inhabitants of oak forests gather, fish splash under the bridge, they know the prophetic word. They know it, but they don’t open it to everyone. Everyone is happy to see you, everyone has questions in reserve.

The teacher asks the teams a question first competition:

– Name the Russian folk tales where the characters for the 1st team are – bear, and for the 2nd team – fox.

You are given two minutes to prepare. Teams answer in turns.

Good fellow. While the jury evaluates the teams' performances and the first competition, we go further through the fairyland and meet Baba Yaga.

The musical piece “Ditties of Babok Ezhek” from the cartoon “The Flying Ship” is played, three students perform a dance to this piece of music.

Baba Yaga. Fu-fu, it smells like the Russian spirit. Here I am, dear guests. Oh, how many of you are there? I’ll have enough for lunch and dinner, and I’ll have to leave a dozen or two in reserve. Didn't know whose house they were in? I cleverly lured you here.

Good fellow. Wait, little grandma, have pity on the guys, they are still small. The guys are ready to guess all your riddles.

Baba Yaga. And that's true. Let me take you to the Courtyard of Curiosities. There are magical objects here: birds, animals, gems.

Why is there nothing here!

And I’ll tell you, without hiding,

Each one has its own secret.

The teacher conducts second competition. Children are offered magical objects, for example, an apple, a tablecloth, a self-assembly, a ball, a comb.

Assignment: what role do these magical objects play in fairy tales?

Students think and respond.

The jury sums up the results of the two competitions.

2nd presenterIn the middle of Skazograd – the cave of the Serpent Gorynych, and a treasure is hidden in it. The treasure contains countless riches – Russian speech is semi-precious.

You know that there is no such thing as a fairy tale without a saying. Without a saying, a fairy tale is like a skid without runners.

The teacher holds the third competition, reads the beginning of the saying, and the teams take turns finishing them.

Soon the fairy tale will tell... (yes, it won’t be done soon).

Not in a fairy tale... (not to describe with a pen).

Growing by leaps and bounds... (and by the hour).

Why are you, good fellow, not funny... (he hangs his head violently).

Red maiden. So, we went through the hardest part. They amused the queen, consoled her with knowledge, gained their wits, and played with wonders.

Good fellow. A little bit of good stuff, it’s time to hit the road.

The jury sums up the results of the game and awards the teams.

At the end of the lesson you can have a tea party.

section summary
"folklore".
The fabulous adventures of Vitya and Masha

Goals: repeat and summarize the knowledge acquired in this section; continue to develop students' horizons.

During the classes

The song “Fairy tales walk around the world” is played.

Leading. This story happened in our city with third grade students Vitya and Masha. After school, the kids always walked home through the park. It was very beautiful there at any time of the year. As they walked, they looked at the flowers that had appeared, the butterflies fluttering above them, and listened to the birds singing.

But suddenly Masha saw a large hollow near the oak tree.

Masha. Vitya, Vitya, come here quickly!

Vitya. What's happened?

Masha. Look, this hollow was not there yesterday. Who could have done it? Let's see what's inside.

Vitya. What are you saying, Masha? What if someone was hiding there?

Leading. But Masha did not listen to Vitya. She had already taken a step into the hollow, grabbing Vitya’s hand, and... they found themselves in a green meadow. The grass was very soft, like silk. Looking at the meadow where many different flowers grew, it seemed as if you were standing on a carpet. Sun was shining. A forest could be seen in the distance. From which there was a “breath” of fear.

Masha. Where are we? Where did you end up?

Vitya. I told you there’s no need to climb into the hollow, now you need to think about how to get out of here.

Masha. We'll come up with something. Look who's there? He runs, the earth trembles, smoke pours out of his ears, flames burst from his nostrils.

Leading. Guys, what fairy tale is the horse from? How to call him?

Sivka-burka, prophetic kaurka, stand in front of me like a leaf in front of the grass!

Vitya. Sivka-burka, where are we, where are we?

Sivka-burka . You have found yourself in a fairyland.

Masha. Can I see your country?

Sivka-burka . Of course you can. To do this, you need to answer my questions and the questions of everyone you meet, then you can return home.

1) How many times did Ivanushka go to the princess? (3 times.)

2) What mushrooms did Ivanushka bring? (fly agarics.)

3) With what words does the fairy tale “Sivka-Burka” end? (“I was at that feast, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth.”)

Sivka-burka . Sit on me.

Leading. And they galloped across the fields, through meadows, through fairy-tale kingdoms. We arrive at a fork in three roads. They look, there is a stone lying, and on it is written: “Whoever goes to the right – will be rich. Who will go left – will lose a friend. Who will go straight – he himself will be lost and will not save his friend.”

And Sivka-burka disappeared.

Vitya. Masha, let's go to the right, I want to be rich. I’ll buy myself a cake and ice cream and treat you.

Masha. It's scary, what if there's a trap there?

Vitya. If it’s scary, we’ll call Sivka-burka.

Masha. Well, okay, let's go.

Leading. They walk, walk and see: the forest sparkles, the clearing shimmers with gold, on the trees instead of leaves – gold coins, flowers in the clearing are all made of gold. Vitya and Masha began to pick leaves and put them in their pockets. (Masha picked a bouquet of golden flowers and distributed them to the children.) Suddenly the sky darkened, the sun hid, and Koschey the Immortal appeared.

Koschei the Deathless. Who gave you permission to pick my flowers and tear off my golden leaves? Now you will stay with me forever and will serve me forever, take care of my gold. But you have one chance. On back side There is a question written on a piece of paper; whoever answers it correctly, I will let him go.

Students answer questions and return flowers and leaves.

1. On how many oak trees did the Nightingale the Robber sit? (on three.)

2. Which heroes were at Prince Vladimir’s feast?

3. How did Ivanushka from the fairy tale “Sister Alyonushka and Brother Ivanushka” become a boy again?

4. How did Nikita Kozhemyaka defeat the snake?

5. How did Nikita Kozhemyaka and Zmey divide the land?

6. What did the brothers guard in the fairy tale “Sivka-Burka”?

7. What did the brothers guard in the fairy tale “Ivan Tsarevich and the Gray Wolf”?

8. Who did Ivan catch in the fairy tale “Sivka-Burka”?

9. Whom did Ivan Tsarevich catch in the tale of Gray Wolf?

10. Where did Dobrynya Nikitich live?

11. How old was Ilya Muromets?

12. What was the nickname of Dobrynya Nikitich?

Leading. As soon as the last leaf was returned to Koshchei, the guys found themselves again near the stone.

Vitya. Yes, I failed to become rich.

Masha. But they remained alive. Let's go home.

Vitya. No, let's go left. Let's find out what's there.

Leading. Vitya and Masha are walking along the path and see a hut on chicken legs.

What do you need to say to the hut so that it turns to them?

Masha and Vitya. Hut-hut, stand with your back to the forest and your front to us.

Leading. Vitya and Masha entered the hut, and Baba Yaga lived there.

Baba Yaga. So now I have lunch and dinner.

Masha. Wait, Baba Yaga, why eat us, I’ll cook so many delicious things for you now.

And she began to cook.

Leading. Baba Yaga ate her fill and became kinder.

Baba Yaga. Well, thank you, we fed you. I won’t eat you for this, but I won’t let you go either. I'm bored here alone. Nobody plays with me.

Vitya. Let's play "Guess the Fairy Tale." The guys will read the passage, and we will guess, and vice versa.

1. “We walked and walked – the sun is high, the well is far away, the heat is oppressive, sweat appears.”

2. “The horse is running, the earth is trembling, smoke is pouring out of the ears, flames are burning from the nostrils.” (“Sivka-burka.”)

3. “And the king had a magnificent garden.” ("Ivan Tsarevich and the Grey Wolf".)

4. “Let me go, mother, to go to the Puchai River and swim in the cold water - the summer heat has exhausted me.” (“Dobrynya and the Serpent.”)

5. “Do you feel a lot of strength in yourself?

- A lot, wanderers. If only I had a shovel, I could plow all the land.” (“Healing of Ilya Muromets.”)

6. “What kind of ignoramus is passing here, past my protected oak trees?”

7. “The witch ordered to build high fires, heat cast iron cauldrons, sharpen damask knives.” (“Sister Alyonushka and brother Ivanushka.”)

8. “The brothers returned home and told their wives what they saw in the city: “Well, housewives, what a fine fellow came to the king!” We've never seen anything like this before. I only missed three logs before reaching the princess.” (“Sivka-burka.”)

9. “The priest’s son spoke the right word - it is not suitable for a hero to sit at a feast and grow his belly. Let me go, prince, into the wide steppes, to see if the enemy is prowling around native Rus'“Are there any robbers lying around?” (“Ilya Muromets and Nightingale the Robber.”)

10. “I told you, don’t move the cage! Why didn't you listen to my order?

- Okay, sit on me. I picked up the tug, don’t say it’s not strong.” ("Ivan Tsarevich and the Grey Wolf".)

11. “He drove up to the Oka River, rested his shoulder on a high mountain that was on the shore, and dumped it into the Oka River. The mountain blocked the riverbed and the river began to flow in a new way.” (“Healing of Ilya Muromets.”)

12. “Burushka gained strength from the whip, he began to jump high, throw stones a mile away, and began to shake baby snakes away from his feet. He beats them with his hoof and tears them with his teeth and tramples every single one of them.” (“Dobrynya and the Serpent.”)

Vitya. We played with you, grandma, now let's go home.

Baba Yaga. No, I still want it. I want fairy tales to be told to me, and not those that I have already heard, but new ones, invented by you. And the beginning will be like this... “In a certain kingdom, in a certain state...”

Students “in a chain”, one sentence at a time, come up with a fairy tale.

Baba Yaga. Thank you, you made me happy. I don’t want to let you go, but I keep my word, even though I am Baba Yaga. Go. If you’re still here, come in, let’s play and tell each other fairy tales.

Leading. Masha and Vitya said goodbye to Baba Yaga and moved on. We came to the stone again.

Masha. If I don’t take the middle road, we’ll be lost together. I want to go home. Let's call Sivka-burka, and he will take us home.

Vitya. But nothing happened to us. Let's go find out what's there. And if we can’t cope, then we’ll call Sivka-Burka, and he’ll whisk us away in an instant.

Leading. Vitya and Masha walked along the middle, straight path. They walk, look around, don’t want to lose each other. They go and see – swamp, and in the swamp – hummocks, on the hummocks there are objects from fairy tales (words). If you guess which fairy tale the object is from, you can cross the swamp.

Leading. The guys walked through the swamp. They move on. They see – mountain. Don't go around it, don't climb over it. They're watching – inscription: “If you write the words correctly, the rock will open and you will see a passage. If there is a mistake in even one word, stones will fall and overwhelm you.”

Vertically:

1. What was the name of Ilya Muromets’s horse?

2. Which river did Dobrynya Nikitich go to?

4. In which city did Vladimir the Red Sun reign?

Horizontally:

2. How much did Ilya Muromets’ arrow weigh?

3. What did Ivan the Fool bring in the basket?

5. What was Kozhemyaku’s name?

6. Who turned Ivanushka into a kid?

Leading. A passage to the mountains has opened. Masha and Vitya walked along it and found themselves in a clearing. And there are stones on it, with inscriptions on them. If you don’t find a pair for each stone, then the Serpent Gorynych will fly in and eat you.

Vitya. Okay, say the spell.

The guys all together call Sivka-burka.

Sivka-burka . Do you want to go home? But first, tell me three fairy tales where there is also a horse, and three fairy tales where magic happens.

Well done, now get on me, I'll take you home.

Leading. Before the guys had time to catch their breath, they found themselves in the park. They took their briefcases and went home.

Teacher. What works of oral folk art have we repeated?

– Name your favorite characters.

– What actions of the heroes do you not approve of?

– How do all fairy tales end? Why?

– How did our fairy tale end?

fable. getting to know something new
literary genre

Goals: develop Creative skills students, the need for reading, the ability to independently learn new things, relying on existing knowledge.

Equipment: card with the name “Aesop”; cards “fable”, “fabulist”; portrait of I. A. Krylov; sheets with the text of Aesop's fable “The Fox and the Grapes”; explanatory dictionaries(Shvetsova, Ozhegov); reference table for independent reading(see Attachment); card with terms familiar and unfamiliar to children: morality, catchphrases, personification, allegory. (There is a door drawn on the back of the card.)

Signs of a fairy tale:

A fairy tale is often written in prose, but can also be poetic;

She talks about magical events;

Gives a general picture of the real world;

In it, good conquers evil;

The hero goes through a series of tests, from which, after experiencing difficulties, he emerges victorious;

The fairy tale expresses the people's dreams of a better life;

The fairy tale loves bright artistic techniques;

A fairy tale often has a special beginning and ending.

Give examples of artistic devices often used in fairy tales:

Hyperbole is an artistic exaggeration.

Comparison

Antithesis - opposition

A saying is a type of introduction or ending to a folk tale; usually not related to its content

Joke - a humorous, witty expression, usually in poetic form or of a proverbial nature

Repetition is a technique in artistic speech that consists of repeating the same sounds, words, etc. twice or multiple times. in a certain sequence.

Answer the questions:

1) What do fairy tales tell about?

2) Who are the heroes in fairy tales about animals?

3) What are the stories about in everyday fairy tales?

4) Fairy tales in which fantastic (magical) events occur are called magical. Does the hero in fairy tales always cope with difficulties himself or is he sometimes helped by a magical assistant? Give an example.

Writing a fairy tale about animals

Make a table in your notebook and fill it with your own examples: imagine the qualities and traits of people through animals corresponding to these qualities (Hint: Use the plots of I.A. Krylov’s fables that you know).

Human Qualities Animal

positive

wisdom owl, snake

negative

stupid donkey

Remember the habits and behavior of the animals you named.

Using the above verbs, compose the plot of a future fairy tale about animals, having previously selected its heroes.

In a dense and beautiful forest, in big house The Horse, the Rooster, the Cow, the Chicken, the Dog and the Cat lived together.

The Rooster woke everyone up at dawn and took care of the Chicken. The Horse plowed the land, sowed wheat and harvested the harvest. The cow gave milk to everyone. The dog guarded the house. The cat lulled everyone to sleep in the evening before bed. They lived and made good.

A lone pig came across their house. I saw how the Horse, Cow, Rooster, Chicken, Dog and Cat lived, and envied them. For a long time she asked the friendly and hardworking animals to accept her into big family. They agreed. The Pig was delighted and grunted loudly. The animals ask her: “What can you do?” The Pig answers: “I know how to eat everything. I can dig big holes. I can get fat quickly.” The Horse, Cow, Rooster, Chicken, Dog and Cat got upset and said: “We don’t need such skills!” The Pig got offended and dug deep holes in the yard. And then she went into the field, plowed and sown by the Horse, trampled, ate all the wheat and was so full that she could not move. And a Peasant walked past the field. He saw a fat pig and drove it with a stick to his village house to make stew and sausage.

And again the Horse, Cow, Rooster, Chicken, Dog and Cat began to live and prosper and make good things.

Find signs of genre in the fairy tale. Underline and write their names.

Write a fairy tale about animals on a separate sheet of paper. Make illustrations.

We write socially everyday fairy tale

List which character traits you dislike most. Opposite each quality or group of qualities and character traits, draw and write down a portrait of a person whose appearance corresponds to this quality or character trait (use epithets, comparisons, hyperboles in the portrait).

Come up with the plot of an everyday fairy tale.

For example.

In a certain kingdom, in a certain state, there lived two brothers: one was Zhadka (he was very greedy), and the other was Shchedrotka (he gave everything he had to people).

(Include a portrait of the brothers in the fairy tale.)

Continue the story by answering the questions:

How did others treat the brothers? (use antithesis, choose antonyms: loved - hated, respected - despised, came to visit - walked around, etc.)

What could happen to Zhadka's wealth? (Options: fire, flood from a terrible downpour, hurricane, attack by thieves).

How did people repay Shchedrotka for his generosity and kindness?

How did people punish Zhadka?

How do you think the fairy tale should end if good in it must defeat evil? Should Zhadka change?

Did the brothers begin to live amicably and make good and share with people?

Title the story.

Find the features of this genre in the everyday fairy tale you wrote using questions, underline them and sign them.

Write an everyday fairy tale yourself. Make illustrations.

Writing a fairy tale

And now the fun begins. Come up with and write down any fantastic events. But remember, they must be based on real incidents.

And if aliens act in your fairy tale, they should still look like people, since the subject of depiction in literature is always a person’s life, his relationships with other people, with the authorities, with society, with the outside world.

Now try to write a fairy tale.

Use these tips:

In a fairy tale, you can talk about the transformations of heroes, resurrection from the dead, endow animals with human speech, invent images of fantastic creatures, or use images of heroes known to you from myths, legends, superstitions and beliefs.

Remember that in fairy tales there may be a magical assistant to the main character.

The plot often uses triplicate repetition.

The hero in a fairy tale goes through a series of tests and receives an award for courage, bravery, kindness, ingenuity, and hard work. And the evil, selfish ones receive punishment.

You can use the image of a path-path, which plays the role of a person’s destiny.

The strength of the hero, his helpers and his enemies can be exaggerated.

Remember, a fairy tale must have a happy ending.

Don't invent too many heroes. It will be difficult for you to connect their actions into one plot.

Follow the usual composition and mandatory elements of a fairy tale: a fairy tale beginning, repetitions, fantastic events, sayings, jokes, folk epithets (beautiful maiden, good fellow, dark forest, high mountains, dark forests, blue sea, silk grass, red sun, etc.), a fairy-tale ending.

When describing characters and events, try to express your attitude to what is happening.

Having analyzed the structure of a folk tale, and especially carefully its Russian version (which is largely part of the Indo-European heritage, to which German and Italian fairy tales also belong), V.Ya. Propp formulated the following three principles:

The constant, stable elements of a fairy tale are the functions of the characters, regardless of who and how they are performed.

The number of functions known to a fairy tale is limited.

The sequence of functions is always the same.

According to Propp's system, there are thirty-one of these functions, and if we take into account that internally they still vary and are modified, then the material is quite sufficient to describe the form of a fairy tale. Here she is:

1. Absence of a family member.

Parents go to work. “The prince had to go on a long journey, leave his wife in someone else’s arms.” “He (the merchant) somehow leaves for foreign countries.” Forms of absence are common: to work, to the forest, to trade, to war, “on business.”

An intensified form of absence is the death of the parents.

Sometimes people of the younger generation are absent. They go or go to visit, fish, walk, pick berries.

“You couldn’t look into that closet.” "Take care of your brother, don't leave the yard." “If Baba Yaga comes, don’t say anything, be silent.” “The prince persuaded her a lot, commanded her not to leave the high tower,” etc.

3. Violation of the ban.

The forms of violation correspond to the forms of prohibition, functions 2 and 3 constitute a paired element.

4. Scouting.

A new face now enters the fairy tale, which can be called the hero’s antagonist (pest). His role is to disturb the peace of a happy family, cause some kind of misfortune, cause harm, damage. The hero’s opponent can be a snake, a devil, robbers, a witch, a stepmother, etc. The purpose of scouting is to find out the whereabouts of children, sometimes precious objects, etc. Bear: “Who will tell me about the royal children, where did they go?” Clerk: “Where do you get these semi-precious stones?”

5. Issue.

The antagonist receives a direct answer to his question.

6. The catch.

An antagonist or pest takes on someone else's appearance. The serpent turns into a golden goat, a beautiful youth. The witch pretends to be a “cordial old woman” and imitates her mother’s voice. The thief pretends to be a beggar.

Then comes the function itself. The witch offers to accept the ring, the godfather offers to take a steam bath, the witch offers to take off the dress and swim in the pond. The stepmother gives her stepson poisoned cakes. She sticks a magic pin into his clothes. The evil sisters line the window through which Finist must fly in with knives and points.

7. Unwitting complicity.

The hero agrees to all the persuasion of the antagonist, i.e. takes the ring, goes to steam, swim, etc. It can be noted that prohibitions are always violated, deceptive proposals, on the contrary, are always accepted and implemented.

8. Sabotage (or shortage).

This function is extremely important, since it actually creates the movement of the fairy tale.

The antagonist kidnaps a person. He steals or takes away a magical remedy. He plunders or spoils the crops. Causes bodily harm. It causes sudden disappearance. He drives someone out. He orders someone to be thrown into the sea. He bewitches someone or something. He makes a substitution. He orders to kill. He commits murder. He kidnaps a person. He declares war, etc. and so on. It should be noted here that the pest often causes two or three damages at once.

9. Mediation.

Trouble or shortage is reported, the hero is approached with a request or order, sent away or released.

10. Beginning opposition.

The hero agrees or decides to resist. "Let us find your princesses."

11. The hero leaves the house.

The dispatches of hero-seekers and heroes-victims are different. The first have the goal of searching, the second open the beginning of that path without searching, on which various adventures await the hero. You need to keep in mind the following: if a girl is kidnapped and a seeker goes after her, then two people leave the house. But the path that the story follows, the path on which the action is built, is the path of the seeker. If, for example, a girl is expelled and there is no seeker, then the narrative follows the departure and adventures of the injured hero.

12. The donor tests the hero.

The hero meets a magical donor. The hero is tested, interrogated, attacked, etc., which prepares for him to receive a magical remedy or assistant. Yaga gives the girl homework. The forest heroes offer the hero to serve for three years. A dying or deceased person asks for a favor. The hero is approached with a request for mercy, etc.

13. The hero reacts to the actions of the future donor.

The hero passes (or fails) the test. The hero answers (does not answer) the greeting. He provides (does not provide) a service to the deceased. He releases the prisoner. He spares the one who asks, etc.

14. Receiving a magic remedy.

The following can serve as magical means: 1) animals (horse, eagle, etc.); 2) objects that serve as magical helpers (a flint with a horse, a ring with fellows); 3) objects that have magical properties, such as clubs, swords, harps, balls and many others; 4) qualities bestowed directly, such as strength, the ability to turn into animals, etc.

15. The hero is transported, delivered or brought to the location of the subject of the search.

He's flying through the air. On a horse, on a bird, in the form of a bird, on a flying ship, on a flying carpet, on the back of a giant or spirit, a devil in a carriage, etc. Flight on a bird is sometimes accompanied by a detail: it needs to be fed along the way, the hero takes a bull with him, etc. He rides on land or water. On horseback or on a wolf. On the ship. The armless man carries the legless man. A cat swims across a river on the back of a dog. The ball points the way. The fox leads the hero to the princess, etc.

16. The hero and antagonist enter into a fight.

They fight in an open field. This primarily includes a fight with a snake or with Miracle Yuda, etc., as well as a fight with an enemy army, with a hero, etc. They enter into a competition. The hero, using cunning, wins. The Gypsy puts the Snake to flight by squeezing out a piece of cottage cheese instead of a stone, passing off a blow of a club to the back of the head as a whistle, etc.

17. The hero is marked.

The hero receives a wound during the battle. The princess wakes him up before the fight by stabbing him in the cheek with a knife. The princess marks the hero on the forehead with a ring. She kisses him, causing a star to light up on his forehead. The hero receives a ring or a towel. We have a combination of two forms when a hero is wounded in battle and the wound is bandaged with a handkerchief of a princess or king.

18. The antagonist is defeated.

He is defeated in open combat. He is defeated by competition. He loses at cards. He loses at the weigh-in. He is killed without a preliminary fight (the Snake is killed while sleeping). He is directly expelled, etc.

19. The trouble or shortage is eliminated.

This function forms a pair with sabotage. With this function the story reaches its peak.

20. Return of the hero.

The return is usually carried out in the same forms as the arrival.

21. The hero is persecuted.

The pursuer flies after the hero. The snake catches up with Ivan, the witch flies after the boy, and the geese fly after the girl. He pursues the hero, quickly turning into various animals, etc. The sorcerer pursues the hero in the form of a wolf, pike, man, rooster. The pursuers (Snake's wives, etc.) turn into tempting objects and stand in the way of the hero. “I’ll run ahead and let him have a hot day, and I myself will become a green meadow: in this green meadow I will turn into a well, in this well a silver cup will float... Then he will tear them apart, poppy seed by grain.”

22. The hero escapes persecution.

The hero runs, and during his flight he puts obstacles in the way of his pursuer. He throws down the brush, comb, and towel. They turn into mountains, forests, lakes. Vertogor and Vertodub turn up mountains and oaks and place them in the path of the Snake. While fleeing, the hero turns to objects that make him unrecognizable. The princess turns herself and the prince into a well and a ladle, into a church and a priest. The hero hides while fleeing. A river, an apple tree, and a stove hide a girl.

Many fairy tales end with salvation from persecution. The hero arrives home, then, if the girl has been obtained, he marries. But this does not always happen. The fairy tale forces the hero to experience a new misfortune. His enemy appears again, Ivan’s booty is stolen, he himself is killed, etc. In a word, the initial sabotage is repeated, sometimes in the same forms as at the beginning, sometimes in others, new for this tale. This marks the beginning of a new story. There are no specific forms of repeated sabotage, i.e. we again have kidnapping, bewitchment, murder, etc. But there are specific pests for this new trouble. These are Ivan's older brothers. Shortly before arriving home, they take the loot from Ivan, sometimes killing him himself. If they leave him alive, then in order for a new quest to be created, it is necessary again to somehow lay a huge spatial line between the hero and the subject of his quest. This is achieved by throwing Ivan into the abyss (into a hole, into the underground kingdom, sometimes into the sea), where he sometimes flies for three whole days. Then everything is repeated all over again, i.e. again a chance meeting with a donor, a test passed or a service rendered, etc., receiving a magical remedy and using it to return home to one’s kingdom. From this moment on, the development is different than at the beginning. This phenomenon means that many tales consist of two rows of functions, which can be called moves. A new misfortune creates a new move, and thus sometimes a whole series of fairy tales are combined into one story. However, the development that will be outlined below, although it creates a new move, is a continuation of this tale.

23. The hero arrives home or to another country unrecognized.

24. A false hero makes unreasonable claims.

25. The hero is offered a difficult task.

26. The problem is being solved.

27. The hero is recognized.

28. The false hero or antagonist is exposed.

29. The hero is given a new look.

30. The enemy is punished.

31. The hero gets married.

Of course, not all fairy tales have all the functions; the strict sequence of functions may be violated, jumps, additions, and synthesis are possible, but this does not contradict the main course. A fairy tale can begin with the first function, with the seventh or with the twelfth, but - if, of course, the fairy tale is old enough - it is unlikely that it will go back and restore the missing pieces.

This is where we will finish our observations on “Proppian functions”; We will only advise those who have the desire to practice and compare the given list with the plot of any adventure film; It’s amazing how many coincidences will be revealed and how almost exactly the same order will be observed: this is what the tradition of the fairy tale means, how imperishable it is, how eternally it lives in our culture. Many adventure books follow the same outline.

We are interested in these functions because on their basis we can build an infinite number of stories, just as we can compose as many melodies as we want with twelve notes (not counting quarter tones, that is, remaining within the strictly limited sound system of the pre-electronic music period accepted in the West) .

At our seminar in Reggio Emilia, in order to test the “Proppian functions” for productivity, we arbitrarily reduced them to twenty, omitting some, and replacing others with the same number of fairy-tale themes. Our two artist friends made twenty playing cards, on each of which there was a short name of the corresponding function and a drawing was depicted - conventional or cartoonish, but always very accurate:

1. Order or prohibition. 2. Violation. 3. Damage or shortage. 4. Departure of the hero. 5. Task. 6. Meeting with the donor. 7. Magical gifts. 8. The appearance of the hero. 9. Supernatural properties of the antagonist. 10. Fight. 11. Victory. 12. Return. 13. Arrival home. 14. False hero. 15. Difficult tests. 16. The trouble is eliminated. 17. Recognizing the hero. 18. The false hero is exposed. 19. Punishment of the antagonist. 20. Wedding.

The group then began to work on coming up with a story, structured according to the “Propp series” system, from twenty “Propp cards”. I must say, it was a joyful affair, with a noticeable slant towards parody.

I saw that with the help of these “cards” it doesn’t cost children anything to compose a fairy tale, because each word in the series (denoting a function or fairy tale theme) is rich in fairy-tale material and can be easily varied. I remember how the “ban” was once interpreted in a peculiar way: when leaving home, my father forbade the children to throw pots of flowers from the balcony onto the heads of passers-by...

When it came to “difficult trials,” someone did not fail to suggest that the hero go to the cemetery at midnight: until a certain age, a child considers this the height of courage - nothing could be more terrible.

But the guys also love to shuffle cards and come up with their own rules; for example, build a story on three cards drawn at random, or start composing from the end, or divide the deck in half and act in two groups, competing to see who can come up with the most interesting story. It happens that a single card makes you think of a fairy tale. Thus, a card depicting “magical gifts” was enough for one fourth grade student to come up with a story about a pen that does its homework on its own.

Anyone can make a deck of “Propp cards” - twenty pieces or thirty-one, or even fifty, as anyone pleases: just write the names of functions or fairy-tale themes on the cards; You can do without illustrations.

Some people make the mistake of believing that this game resembles a puzzle, where you are given twenty (or a thousand) pieces of some pattern with the task of restoring this mosaic pattern. As has already been said, Propp's maps make it possible to create an infinite number of completed drawings, because each individual element is ambiguous, each lends itself to multiple interpretations..."

How else can old fairy tales help us in composing new magical stories? These are the methods Gianni Rodari offers us in “The Grammar of Fantasy.”

-- "Twisting" old fairy tale(for example, Little Red Riding Hood calls the police for help and chases the Wolf on a motorcycle; Cinderella goes to the royal ball, but arrives in another kingdom).

Fairy tales “inside out” (for example, Boy-Thumb does not run away from the Ogre, but becomes his friend, teaches him to eat porridge; Snow White met not seven dwarfs, but seven giants).

Continuation of the old fairy tale: what happened next?

A mixture of fairy tales (for example, Pinocchio helps Cinderella with housework and goes with her to the ball; Sleeping Beauty warns about the intrigues evil witch Thumbelina).

Transferring the characters and plot of an old fairy tale to another time and place (for example, Hans the Pied Piper with his magic pipe, the sounds of which fascinate rats, modern city also “hypnotizes” all the cars and takes them with him into the dungeon).

And this, of course, is not all that can be thought of.