Household tales

Household fairy tales are different from magic ones. They are based on the events of everyday life. There are no miracles and fantastic images, real heroes are acting: husband, wife, soldier, merchant, master, priest, etc. These are tales about the marriage of heroes and the exit of heroines in marriage, the correction of obstinate wives, inept, lazy housewives, gentlemen and servants, about the fooled a gentleman, a rich owner, a lady deceived by a cunning owner, clever thieves, a cunning and savvy soldier, etc. These are fairy tales on family and everyday topics. They express an incriminating orientation; the self-interest of the clergy who do not follow the sacred commandments, the greed and envy of their representatives are condemned; cruelty, ignorance, rudeness of the bar-serf.

With sympathy, these tales depict a seasoned soldier who knows how to make and tell fairy tales, cook soup from an ax, can outwit anyone. He is able to deceive the devil, master, stupid old woman. The servant skillfully achieves his goal, despite the absurdity of the situations. And therein lies the irony.

Household tales are short. There is usually one episode in the center of the plot, the action develops quickly, there is no repetition of episodes, the events in them can be defined as ridiculous, funny, strange. Comic is widely developed in these tales, which is determined by their satirical, humorous, ironic character. There are no horrors in them, they are funny, witty, everything is focused on the action and features of the narrative that reveal the images of the heroes. "In them," wrote Belinsky, "the life of the people, their domestic life, their moral concepts and this crafty Russian mind, so inclined towards irony, so simple-minded in its cunning, are reflected."

One of the everyday tales is a fairy tale"The Wife-Prover".

She has all the features of an everyday fairy tale. It begins with the beginning: "An old man lived with an old woman." The tale tells about ordinary events in the life of peasants. Its plot is developing rapidly. A large place in the tale is given to dialogues (a conversation between an old woman and an old man, an old woman and a gentleman). Her heroes are everyday characters. It reflects the family life of the peasants: the heroes "hook" (that is, remove) peas in the field, put devices for fishing ("snares"), fishing tackle in the form of a net ("muzzle"). The heroes are surrounded by everyday things: an old man puts a pike in a "pesterek" (birch bark basket), etc.

At the same time, human vices are condemned in the tale: the talkativeness of the old man's wife, who, having found the treasure, told everyone about it; the cruelty of the master, who ordered the peasant woman to be flogged with rods.

The tale contains elements of the unusual: a pike in the field, a hare in the water. But they are connected with the real actions of the old man, who in an ingenious way decided to play a trick on the old woman, teach her a lesson, punish her for talkativeness. "He (the old man - AF) took the pike, instead put it in the hare's face, and carried the fish in the field and put it in the peas." The old woman believed everything.

When the master began to pry about the treasure, the old man wanted to keep quiet, and his chatty old woman told the master about everything. She argued that the pike was in peas, the hare got in the face, and the devil tore the skin of the master. It is no coincidence that the fairy tale is called "The Wife of the Prover." And even when she is being punished with rods: "They stretched her out, heart, and began to regale her; she must know to herself and under the rods she says the same." The master spat and drove the old man and the old woman away.

The tale punishes and condemns the talkative and stubborn old woman and treats the old man with sympathy, glorifying resourcefulness, intelligence, ingenuity. The tale reflects the element of folk speech.

Fairy tales. Heroes of Russian fairy tales

IN fairy tale before the listener appears a different, than in fairy tales about animals, a special, mysterious world. Extraordinary fantastic heroes act in it, good and truth overcome darkness, evil and lies.

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

Some of the fairy tales are closely related to mythological representations. Images such as Morozko, Water, Sun, Wind are associated with the elemental forces of nature. The most popular of Russian fairy tales are: "Three Kingdoms", "The Magic Ring", "Finista's Feather - the Falcon is Clear", "The Frog Princess", "Kashchei the Immortal", "Marya Morevna", "The Sea Tsar and Vasilisa the Wise", " Sivka-Burka "," Morozko "and others.

The hero of a fairy tale is courageous and fearless. He overcomes all obstacles in his path, wins victories, conquers his happiness. And if at the beginning of the tale he can act as Ivan the fool, Emelya the fool, then at the end he necessarily turns into a handsome and young Ivan Tsarevich. This was pointed out in his time by A.M. Bitter:

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

The positive hero is always helped by other fairy-tale characters. So, in the fairy tale "Three Kingdoms" the hero is selected into the world with the help of a wonderful bird. In other 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. In all this, popular ideas about human morality and ethics are expressed.

Next to the main characters in a fairy tale, always wonderful helpers: Gray wolf, Sivka-Burka, Ovebalo, Opivalo, Dubynya and Usynya, etc. They possess wonderful means: flying carpet, running boots, self-assembled tablecloth, invisible hat. The images of goodies in fairy tales, helpers, and wonderful objects express folk dreams.

The images of women-heroines of fairy tales in the folk presentation are unusually beautiful. They say about them: "Not in a fairy tale, nor to describe with a pen." They are wise, possess witchcraft power, possess remarkable intelligence and resourcefulness (Elena the Beautiful, Vasilisa the Wise, Marya Morevna).

The opponents of goodies are dark forces, terrible monsters (Kashchei the Immortal, Baba Yaga, Dashing one-eyed, Serpent Gorynych). They are cruel, insidious and greedy. This is how the people's idea of \u200b\u200bviolence and evil is expressed. Their appearance sets off the image of the positive hero, his feat. Storytellers spared no pains to emphasize the struggle between light and dark principles. In its content and in its form, a fairy tale contains elements of the wonderful, the unusual. The composition of fairy tales is different from the composition of animal tales. Some fairy tales begin with a saying - a playful joke that is not related to the plot. The purpose of the saying is to attract the attention of the audience. It is followed by an opening that begins the narrative. It transports the audience into a fairy-tale world, designates the time and place of action, the setting, the characters. The 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 (Ivan Tsarevich fights with three snakes on the Kalinov Bridge, three beautiful princesses saves Ivan in the underworld). They use traditional artistic means of expressiveness: epithets (good horse, valiant, green meadow, silk herbs, azure flowers, blue sea, dense forests), comparisons, metaphors, words with diminutive suffixes. These features of fairy tales echo with epics, emphasize the brightness of the narrative.

An example of such a fairy tale is a fairy tale "Two Ivans - Soldier's Sons".

Fairy tales about animals.

One of the oldest types of Russian fairy tales - animal tales... The world of animals in fairy tales is perceived as an allegorical image of the human. Animals personify real carriers of human vices in everyday life (greed, stupidity, cowardice, bragging, cheating, cruelty, flattery, hypocrisy, etc.).

The most popular animal tales are the tales of the fox and the wolf. Form foxes stable. She is portrayed as a deceitful, cunning deceiver: she deceives the peasant by pretending to be dead ("A fox steals a fish from a sleigh"); deceives the wolf ("The Fox and the Wolf"); deceives a rooster ("Cat, Rooster and Fox"); drives the hare out of the bast hut ("The Fox and the Hare"); exchanges a goose for a lamb, a lamb for a bull, steals honey ("The Bear and the Fox"). In all fairy tales, she is flattering, vengeful, cunning, calculating.

Another hero that the fox often encounters is wolf... He is stupid, which is expressed in the attitude of the people towards him, devours goats ("The Wolf and the Goat"), is going to tear the sheep ("Sheep, Fox and the Wolf"), feeds a hungry dog \u200b\u200bto eat it, remains without a tail ("Fox and wolf").

Another hero of animal tales is bear... He personifies brute strength, has power over other animals. In fairy tales, he is often called "everyone's oppressed." The bear is also stupid. Agreeing with the peasant to harvest, he is left with nothing every time ("The Man and the Bear").

Hare, frog, mouse, thrush play the role of the weak in fairy tales. They perform an auxiliary role, often in the service of "large" animals. Only cat and cock act as goodies. They help the offended, are faithful to friendship.

In the characterization of the characters, an allegory is manifested: the image of the habits of animals, the peculiarities of their behavior resembles the image of human behavior and introduces critical principles into the narrative, which are expressed in the use of various methods of satirical and humorous depiction of reality.

Humor is based on reproducing ridiculous situations in which the characters find themselves (the wolf lowers its tail into the hole and believes that it will catch a fish).

The language of fairy tales is figurative, reproduces everyday speech, some fairy tales consist entirely of dialogues ("The Fox and the Grouse", "The Bean Seed"). In them, dialogue prevails over the narrative. The text includes small songs ("Kolobok", "Koza-dereza").

The composition of fairy tales is simple, based on repetition of situations. The plot of fairy tales unfolds rapidly ("A grain of beans", "Animals in the pit"). Animal tales are highly artistic, their images are expressive.

Introduction

Conclusion

Introduction

The animal epic is characteristic of the creativity of many peoples of the world; he expressed himself especially vividly in fables. Here the animal epic is moralizing. In this case, animals are usually endowed with features of a human character; the images of animals are allegorical (the fox identifies cunning, the wolf - greed, the owl - wisdom, the hare - cowardice, and others). The animal epic also manifested itself in fairy tales, but fairy-tale animals only occasionally have an allegorical character; this type of animal epic - usually having a satirical<#"center">1. Types and forms of animal epic

Animal tales are a very ancient type of folk epic. But they have come down to us mainly not in their original form, but in the form of folk satire, leading people out under the guise of different animals, and special fairy tales for children. The use of images of the animal epic for allegory about the vices of people, about abuse in public affairs, about the shortcomings of reality, as the ancient Russian literature shows (see the stories about Ruff Shchetinnikov, about the Kur), took place even in medieval Russia. The possibility of such use was provided by the stability of the image of individual animals, endowing them with the qualities inherent in humans, the assimilation of animals to humans. The beast, fish and bird were presented as generalized carriers of positive or negative properties, were perceived as symbols - types of human society. For example, the fox seemed to be the embodiment of cunning and deceit, the hare - cowardice, the wolf - brute ferocity combined with stupidity, the kite and hawk - predation and violence, the eagle and the falcon - nobility and courage, the ruff - dodge and cunning dexterity etc. The images of the animal epic are identical to the symbolism of the animal world in song poetry, epics; historical songs. The well-known epic about birds and animals, which characterizes the social structure and the position of different strata of society in ancient Russia, in the interpretation of the images of the animal world completely coincides with the satirical tales of animals that denounced reality. The significance of images of individual animals, birds, and fish in most cases is preserved in other fairytale genres (see, for example, in the tale of cunning science); the exception is fairy tales that include images of grateful animals - among them there are a wolf, a fox, a pike, and many others, and they all faithfully serve the fairytale hero: not only save him from impending disaster, but even resurrect him, sprinkling him dead and alive water, when he lies in a dark forest - an open field, killed by his brothers.

Animal Epic is cycles of interconnected stories, often in the form of long epic poems featuring animals. Although both in animal epic and in fables animals think and act like human beings, there are important differences between these genres. The fable uses animal imagery to teach the reader moral lessons. The purpose of the animal epic is to present society and human follies in a satirical form. The origin of the animal epic has not been precisely clarified, but all researchers agree that in the 12-13 centuries. this genre flourished. The main character of the central epic cycle was the Fox Renard - a cunning man who became a symbol of victorious evil. Nearly all versions of Renard's story originated in the Netherlands, Northern France, and West Germany. Apparently, the plot is based on fairy tales about animals. In Western European literature, this plot was first used by Paul the Deacon in a short Latin poem around 820. Obviously, over the next two centuries, the plot was intensively developed, which allowed the Master Nirvard of Ghent to compose about 1150 his Isengrimus (Ysengrimus) - perhaps the best example of an animal epic. This book of thoughtful composition and written in Latin hexameters includes a large number of episodes in the spirit of the classic epic. It begins with the story of the meeting between the Fox and the Wolf, when the Wolf outwitted his opponent for the first and only time. The first versions of the animal epic in Western European languages \u200b\u200bdate back to 1170-1180 years. Only fragments have survived from Heinrich Gliheser's book Reinhard der Fuchs, also known as Isengrims Not, but a revised version dating from around 1320 has survived. The plot clearly dates back to early versions of the most famous French version. - The Romance of the Fox (Roman de Renart), which is a 30,000-line poem, the original edition of which dates from about 1175. There are many different "branches" of this poem, collectively giving a complete picture of Renard's life from birth to death. In the Netherlands, a certain author, known only by the name of Willem, wrote a whole series of books about the Fox, having a common core and dating back to the 13th century. in Middle Dutch. The main pathos of these books is that Renard, despite his complete immorality, wins victories, playing on other people's weaknesses and vices. When in 1479 in the city of Gouda (the Netherlands) the next reprint of the Novel of the Fox was published, the English printer William Caxton translated it into english language and in 1481 he published it under the title History of Reynard the Fox, after which the epic became famous in England. Thus, the Tale of the Monastery Chaplain from the Canterbury Tales of J. Chaucer is a brilliant reworking of the episode with Renard and the Rooster Chauntecleer. In modern times, modernized versions of the Renard cycle appeared in almost all Western European countries. Characteristic are satirical tales of the animal epic, exposing unrighteous judgment: about the ruff, about the bird's judgment. The tale of the ruff tells how the rogue ruff deceived everyone and left the righteous judgment clean. The tale of the bird's judgment speaks of the bitter cuckoo, the bitter widow who fed the children; a crow ravaged the cuckoo's nest and beat the children; the cuckoo complained to the court; the crow was punished, and the kukushida was not pardoned - at the same time, she was flogged because she had no money.

The fairy tale "The Cat in the Voivodeship" ("The Steward of Siberian Forests") has a significance of social satire, which tells how with a loud grumbling, snorting, and meowing, the cat frightened strong, but stupid forest animals, led over them, and they brought him every animal as a gift.

Negative phenomena in everyday life were also subjected to satirical ridicule: stupidity, talkativeness, absurdity, etc. (see the tale of the "Ryaba Hen", etc.).

fairy tale animal primary school

Satirical tales of the animal epic were told to an adult audience and children. But there were also special children's tales about animals. The plots of these children's fairy tales are extremely simple, the composition is clear, uncomplicated. These tales, in fact, are the main cycle of the animal epic. They talk about the tricks of animals, about their relationships and how a person often defeats even a strong beast. Particularly popular among the tales of the Russian animal epic were tales about the fox, which teaches the wolf how to fish with its tail, lays down on the road and pretends to be dead, and this misleads the old peasant, drives the hare out of the bast hut, eats honey herself, and assures the wolf that he ate honey, manages to escape from the flood and from the fire (in the fire she was burnt, she became red, one tip of her tail remained white), etc. Also widely known are the simple fairy tales "Terem-teremok" (animals come to the "teremku", ask who lives in it, stay in it, etc.), "The thrashing goat", complaining that it is not fed, although it is full to the dump, and others like them.

Russian fairy tales about animals, as you can see, are varied in plots and images. But a comparison of the repertoire of the animal epic among Russians and other peoples shows that in the Russian fairy tale epic tales about animals are less richly represented than in the epics of many foreign and Soviet peoples (in particular, in the Ukrainian and Belarusian epics).

As a rule, animal tales are small in size. Their compositional construction is very simple. The technique of repetition of the same action is often encountered. For example, the meeting of animals is described: first one animal with another, then these two meet the third, then three animals meet the fourth, etc. Sometimes one animal meets in turn with different animals, surpassing each other in strength. Sometimes the repetition of the action is given with a constant increase (according to the formula: 1.1 + 1.1 + 1 + 1, etc.).

This compositional technique underlies the construction of the fairy tale "Terem-teremok". Close to him is the trick of the tale of the thrashing goat, in which we find the multiple images of the same repetitive action (the daily return of the goat home).

The repetition of actions is often associated with the repetition of verbal formulas (in the form of a dialogue or some kind of remark). The verbal formula is repeated as many times as the action itself is repeated. This is how the tale of a hare, from which a fox took away a bast hut, is constructed: the hare meets different animals, they ask who offended the hare, the hare answers, the animals try to drive the fox out, the fox scares them; the rooster drives the fox out.

Some fairy tales about animals are built in a tsevid (cumulative construction) with an increase in action, like the famous fairy tale about the turnip.

Very often, among the tales of animals, there are forms of dialogical narration (prosaic or song-poetic), when the action itself essentially occupies a very small place, and the main attention is paid to the dialogue of individual animals.

The simplicity and at the same time the diversity of the construction of animal tales is one of the reasons that children love these tales, they are entertaining and easily reach children's consciousness.

The origin of the animal epic is usually interpreted according to the model of the hunting theory of the origin of the visual arts. Putting hypothetical stories about animals next to the ancient pictorial activity, ethnographers give us the opportunity to judge the Paleolithic tale. Depending on cultural traditions, territory of residence, ethnic and religious differences of peoples, the main types of animal epic are distinguished. These types also depend on time and space. It is wrong, for example, to consider the tale of the cowardice of a hare, for example, in the desert. Specifically, it is impossible to divide the animal epic into types; they have fuzzy frames and images that move from the context and situation.

However, E. Kostyukhin And in his works he still managed to deduce the main, in his opinion, types of animal epics: fable, fairy tale, myth, legend, story, legend, reality.

They are divided based on the activity of influencing the listener. For example, a myth has a general developmental effect, presenting some historical information based on heroes. Fairy tales and legends serve as instructive examples. In them, a person, based on the behavior of the heroes, sees what needs to be done, what, on the contrary, cannot be done and what consequences this will lead to. Initially, according to E. Kostyukhin, the animal epic originated with the primitive art of painting, that is, in his works he actually accepts the hunting theory, in which people first realized the value of animals in their lives, for the first time began to study their habits and compare their behavior with humans.

1.1 Types of plots, building the motive of deception in animal tales

The set of characters in fairy tales is somewhat consistent with totemism. In Russian fairy tales, the predominance of wild animals over domestic ones is evident. The main characters of fairy tales are a fox, a wolf, a bear, a hare. From birds - crane, heron, thrush, woodpecker, crow. Pets are much less common. This is a dog, cat, goat, ram, pig, bull, horse. Of the birds, the rooster appears most often in fairy tales. Moreover, pets in fairy tales are not independent characters, they interact with wild, forest animals, which play the main role in the story. There are no fairy tales in which only pets would act in Russian folklore at all. Hence, we can conclude that the Russian animalistic epic is the epic of wild animals, a derivative of the consciousness of those times when there were no domestic animals, or their role in the life of mankind was not yet so great as to be noted in folklore. And if so, it can be assumed that the epic about animals was created at the pre-class stage of the development of society, is the most ancient epic layer. The peculiarities of using the motive of deception in fairy tales about animals also correlate with this. Note that deception in these tales is presented not as a negative element, but as a property of dexterity, resourcefulness, subtle sophisticated mind of the character. Deception is not condemned by the narrator and the audience, but the deceived character is laughed at. This happens because in the era of creating fairy tales, deception was perceived as a means of struggle for existence. Thus, with fairy tales about animals, it is possible that a fairy-tale epic as such began in general, and other plots - everyday, magical, and certainly satirical - appeared much later. Of course, this does not mean in any way that individual plots of fairy tales about animals cannot also be later in origin.

There is no unity in the composition and motives of animal tales. There are only a few fragmentary characteristic features of such tales in which the motive of deception is present:

The plot is a set of elementary actions leading to the expected (or unexpected) end. Many fairy tales are built on the insidious advice of one character to another, while the end for the character turns out to be completely unexpected, and for the listener - quite expected, which enhances his comic. Hence the comic nature of many fairy tales and the plot need for an insidious character (most often a fox), and a stupid, fooled one (a wolf or a bear).

The motive of unexpected fright also turns out to be significant for the story. Scare in fairy tales is a special case of deception. Usually, a weaker character scares the stronger, more formidable one. The latter then remains fooled.

Also, a frequent case in fairy tales is the presence of good advice, which is given to the main character, and he neglects him, while getting into difficult, dangerous, and sometimes ridiculous situations. In the end, the hero realizes that good advice must be followed.

You can also separately indicate the plot move when the animal drops something. It is also a widely used element of the plot, serving as a stage in its development or refraction, and as a moralizing moment, a denouement.

In fairy tales about animals, traces of that period of primitive farming have been preserved, when a person could only appropriate the products of nature, but had not yet learned to reproduce them. The main source of human life at that time was hunting, and cunning, the ability to deceive the beast played an important role in the struggle for survival. Therefore, a noticeable compositional device of the animal epic is deception in its various forms: insidious advice, unexpected fright, voice change and other pretensions. The constantly mentioned driving pit is connected with the experience of ancient hunters. He who knows how to outsmart, deceive - wins and gets benefits for himself. The Russian fairy tale has fixed this quality for one of its central characters - the fox.

Representatives of the wild fauna often appear in fairy tales. These are the inhabitants of forests, fields, steppes: fox, bear, wolf, wild boar, hare, hedgehog, frog, mouse. Birds are represented in various ways: crow, sparrow, heron, crane, woodpecker, black grouse, owl. Insects are found: fly, mosquito, bee, ant, spider; less often - fish: pike, perch.

The most archaic plot layer of the animal epic belongs to the pre-agricultural period. In these tales, the real ancient life is mainly reflected, and not the worldview of people, which was then in its infancy. Direct echoes of beliefs, deification of the beast, are found in the only fairy tale - "A Bear on a Linden Leg." The beliefs of the Eastern Slavs about the bear, various information from folklore, ethnography and archeology indicate that here, like many other peoples, the bear was really deified. The fairy tale "The Bear on a Linden Foot" reminds of the prohibition against harming him that once existed. In all other tales, the bear is fooled and ridiculed.

Russian fairy tales about animals are associated with laughter and even with naturalistic details, which, according to V.A. Bakhtina, "are perceived as fantastic and have a deep meaningful character<#"justify">· ". Not finding his comrade, carried away by the villainous fox, the cat grieved, grieved and went to rescue him from trouble. He bought himself a caftan, red boots, a hat, a bag, a saber and a gusli; he dressed up as a guslar, came to the fox's hut and sings:

· Trin-bullshit, geese,

· Golden strings!

Is Lisafia at home

· With my children. "

Thanks to dialogues and songs, the performance of each fairy tale turned into a small performance.

Structurally, the works of the animal epic are diverse. There are one-motive fairy tales ("The Wolf and the Pig", "The Fox Drowns the Jug"), but they are rare, since the principle of repetition is very developed. First of all, it manifests itself in cumulative plots of various types. Among them - a three-time repetition of the meeting ("Lubyanaya and Ice Hut"). Known plots with a multiple line of repetition ("Wolf-fool"), which sometimes can pretend to develop into bad infinity ("Crane and heron"). But most often, cumulative stories are presented as a multiple (up to 7 times) increasing or decreasing recurrence. The last link has a resolving ability. So, only the last of all and the smallest - the mouse - helps to pull out a large, very large turnip, and the "fly tower" exists until the last and largest of the animals comes - a bear. Contamination is of great importance for the composition of animal tales. Only in a small part of these fairy tales represent stable plots, but in the main, the index reflects not plots, but only motives. Motives are connected with each other in the process of storytelling, but almost never performed separately. Contamination of these motives can be both free and fixed by tradition, stable. For example, the motives "Fox steals fish from the wagon" and "Wolf at the hole" are always told together.

2. The method of reading fairy tales about animals in primary school

A fairy tale for a child is of great educational and cognitive value. This is a favorite genre of many children. And it is no coincidence that various fairy tales are included in the elementary school curriculum.

So in the first grade, students get acquainted with fairy tales about animals, read everyday and fairy tales ("Fox and black grouse"; "Two frosts"; "Porridge from an ax").

In the second grade, the guys read folk tales ("Sivka-burka", "Sister Alyonushka and brother Ivanushka", "Ivan Tsarevich and the gray wolf"; epics "Dobrynya Nikitich", "Dobrynya and the serpent", "Healing of Ilya Muromets", "Ilya Muromets and Nightingale the robber" ), as well as the literary tales of V.F. Odoevsky ("Moroz Ivanovich"), S.T. Aksakova ("The Scarlet Flower") and others.

It can be seen from the program that the fairy tale takes a large place in the reading of primary schoolchildren. Their educational value is enormous. They teach modesty, disinterestedness, politeness, ridicule vices, which led to their satirical orientation.

Work on a fairy tale is carried out in the same way as on stories, but fairy tales have their own characteristics: there are magical, everyday, about animals and fantastic fairy tales.

Usually, before reading a fairy tale, a small preparatory conversation is held (you can ask what fairy tales are, which ones you read; organize an exhibition of fairy tales). Before reading fairy tales about animals, you can recall the habits of animals, show an illustration of these animals.

The fairy tale is usually read by the teacher, but it is advisable to tell it.

Work on a fairy tale as on a realistic story, without explaining that "this does not happen in life", that it is fiction.

A fairy tale can be used to draw up characteristics and assessments, since the characters in fairy tales usually express one or two characteristic features that are clearly revealed in their actions.

Do not translate the moral of the tale into the area of \u200b\u200bhuman characters and relationships. The didacticism of the tale is so strong and vivid that the children themselves draw conclusions: "The frog is right — no need to brag" (the tale "The Frog the Traveler"). If the children come to such conclusions, then we can assume that the reading of the fairy tale has achieved its goal.

The specificity of a folk tale is that it was created for storytelling. Therefore, prosaic tales are retold as close as possible to the text. The story should be expressive. A good way to prepare for it is to read a fairy tale in faces. Dramatization of fairy tales in extracurricular time helps to express the fairytale character, develops speech and creativity in children.

The tale is also used for educational work on drawing up plans, since it is clearly segmented into scenes - parts of the plan, headings are easily found in the text of the tale.

Students in grades I - II willingly draw a picture plan.

Usually, reading a fairy tale about animals does not require any preparation, but sometimes it should be reminded in a conversation about the morals and habits of animals.

If a fairy tale is read about nature close to children, then the material of the excursion, entries in the calendars of nature, that is, observations and experience are used.

In connection with reading a fairy tale, it is possible to make dolls, decorations for a puppet theater, figurines of animals and people for a shadow theater.

Elementary observations should be made on the peculiarities of the composition of a fairy tale, since these observations increase the consciousness of the perception of a fairy tale by children. Already in grades I-II, children encounter fairy-tale techniques of three-fold repetition and notice that this helps to remember a fairy tale.

When reading fairy tales, the following types of work are used:

Preparation for the perception of a fairy tale;

reading a fairy tale;

exchange of views on what has been read;

reading a fairy tale in parts and their analysis;

preparation for storytelling;

generalizing conversation;

summarizing;

homework for children.

Fairy tales are magical, everyday, social, fantastic, about animals.

In everyday fairy tales, they talk about the characters of people, the habits of animals. It is not worth comparing the characters of people with the characters of people.

Social fairy tales show the life of the people, their grief, deprivation, poverty, lack of rights.

It is necessary to compare how people lived before the revolution, how they live now, what rights they received.

In fairy tales, the dream of the people, ingenuity, talent, skill, hard work are shown.

Comparison with modern life (cars, cranes, airplanes, etc.).

.In fairy tales about animals, observations, excursions, illustrations, films are important. You need to teach how to make a characteristic. (Remember in what tales and how animals are shown).

2.Not to say that this does not happen in life.

.To pose the question: Why? What does this mean?

.The moral of the tale cannot be translated into human relations.

.The speech of a fairy tale is simple, the retelling should be close to the text (with laughter, play or sadness).

.Retelling according to illustrations, according to the picture plan, according to the verbal plan, but using the speech features of the tale (beginning, repetitions, ending).

.Reading in faces, showing cardboard dolls, puppet performance, shadow theater, gramophone records is important.

.Write on the blackboard vivid definitions, characteristic expressions necessary for the introduction when retelling.

.To pose a problem - what is the character, prove it with your reasoning and the words of the text.

.Intonation, brightness of expression is important in a fairy tale.

4. The fairy tale genre is many-sided and diverse. There are such types of fairy tales as literary and folk, such intra-genre varieties as fairy tales about animals, magic and everyday ones.

The methodology provides a general direction for working with fairy tales, depending on their belonging to one or another intra-genre variety, but at the same time it does not fully take into account the qualitative heterogeneity of the fairy tale genre, does not determine the optimal amount of skills that must be formed in younger students when reading different types of fairy tales. But it is precisely the knowledge of literary foundations that helps the teacher to comprehend more deeply the role of the fairy tale, to choose methods and techniques that correspond to this type of fairy tale and contributes to the formation of the necessary skills in the analysis of fairy tales.

Skills make it possible for standards in work, to diversify it in order to create the desired emotional tone in children's perception, to tune them to the fact that there are no identical fairy tales, that each fairy tale is interesting in its own way.

In the practice of teaching the reading of fairy tales, they often pass one-sidedly, without taking into account the literary specifics of this genre, as a result of which children learn not the depth of the content of the "fairy world", not its metaphor, and not the moral and social meaning hidden in it, but only the plot which they often literally correlate with reality.

The main thing in any fairy tale can be meaningful for younger students if the teacher, when guiding the reading of fairy tales, will rely on their literary specifics and consistently form the necessary skills that are important in terms of the literary development of students.

What is included in the concept of "literary foundations" of a fairy tale? A folk and literary fairy tale creates its own special "fairy world". It is voluminous, meaningful and specifically designed. The concept of "volume" includes the number of signs and parts, the concept of "form" includes a complicated and uncomplicated composition associated with and unrelated to folklore tradition, narrative, poetic, dramatic.

These signs are important not only from the point of view of artistic features, but also in the psychological and pedagogical terms. They help to better understand and describe the "fairy world".

"Wonderful World" is an objective, practically unlimited, meaningful world, created by the wonderful principle of organizing material.

When reading a fairy tale with a "wonderful world", you can organize an independent search for students, conducted under the guidance of a teacher.

In the process of reading and searching, students must generalize and deepen their practical ideas about the fairy tale as a genre, about the "wonderful world", that is, they need to lay the optimal amount of skills, such as:

The ability to see the specific beginning of a fairy tale - the beginning and a happy end for good heroes;

Ability to determine a fabulous place and time of action;

The ability, when working with text, to find a turning point in the development of an action, which makes it possible to trace the changes in characters;

Ability to give an elementary assessment of the behavior of characters;

The ability to find and name magical objects and magical creatures, to determine their place and role in the development of the plot, the function of good or evil in relation to the characters.

To form these skills, reading a fairy tale with a "wonderful world" should be organized in such a way that children from the beginning to the end of the work are in a state of search, read the tale in paragraphs, comprehend the fairytale action and actions of the heroes according to the "plot milestones".

2.1 The process of children's perception of animal tales

Fairy tales teach a person how to live, instill optimism in him, assert faith in the triumph of good and justice. Real human relations are hidden behind the fantastic nature of the fairy tale plot and fiction, which was noted by A.M. Gorky: "Already in ancient times, people dreamed of the possibility of flying through the air," the legends about Phaeton, Daedalus and his son Icarus tell us about this, as well as the tale of the "flying carpet".

Fantastic ideals lend artistic credibility to fairy tales and enhance their emotional impact on listeners.

In the fairy tales of each nation, common human themes and ideas get a kind of embodiment.

In Russian folk tales, certain social relations are revealed, the life of the people, their home life, their moral concepts, the Russian view of things, the Russian mind are shown, the specificity of the Russian language is conveyed - everything that makes the fairy tale nationally distinctive and unique.

The ideological orientation of Russian classical fairy tales is manifested in the reflection of the people's struggle for a better future. Passing from generation to generation the dream of a free life and free creative labor, the fairy tale lived on it. That is why it was perceived until recently as a living art of the people. Preserving the elements of the past, the fairy tale has not lost its connection with social reality.

A fairy tale is a generalizing concept. The presence of certain genre characteristics allows one or another oral prose work to be attributed to fairy tales.

Belonging to the epic family puts forward such a feature of it as the narrative of the plot.

The tale is necessarily entertaining, unusual, with a distinctly expressed idea of \u200b\u200bthe triumph of good over evil, lies over truth, life over death; All events in it are brought to an end, incompleteness and incompleteness are not characteristic of a fabulous plot.

The main genre feature of a tale is its purpose, that which connects the tale "with the needs of the collective." Aesthetic function dominates in Russian fairy tales that are now common. It is due to the special nature of the fabulous fiction.

In defining the nature of the "fabulous fiction", the question of the specifics of the reflection of reality by a fairy tale takes on a fundamental character.

The tale goes back to the reality of the era that gave birth to it, reflects the events of the era in which it exists, but this is not a direct transfer of real facts into a fairy tale plot.

In the fabulous image of reality, mutually exclusive concepts, conformity and inconsistency with reality are intertwined, which constitutes a special fabulous reality.

The educational function of a fairy tale is one of its genre features.

Fairy-tale didactism permeates the entire fairy-tale structure, achieving a special effect by a sharp opposition of positive and negative.

The moral and social truth always triumphs - this is the didactic conclusion that the tale clearly illustrates.

As a phenomenon of folklore, a fairy tale retains all folklore characteristics: the collectivity, orality of being and the collective nature of fairy creativity, is a variation of the fairy text. As a rule, each narrator tells a new version of the plot.

The variants coincide with the idea, the general scheme of the plot, the repetitive general motives, but in particular they are not combined.

The ideological and artistic value of a variant depends on many reasons: on knowledge of fairytale traditions, on personal experience and peculiarities of the narrator's psychological makeup, on the degree of his giftedness.

The life of a fairy tale is a continuous creative process. In each new era, there is a partial or complete renewal of the fairy tale plot. When it comes to permutation of ideological accents, a new fairy-tale version emerges. This feature of the tale requires a careful study of each fairytale text.

In a fairy tale, there are constant values \u200b\u200bthat have emerged as a result of its tradition, and variables that have arisen as a result of endless retellings.

Judging by the records of Russian fairy tales of the 18th - 20th centuries, the constant values \u200b\u200bare the ideological orientation of the fairy tale, its composition, the function of the characters, common places, variables are the values \u200b\u200bassociated with the personality of the performer. One and the same story heard from different storytellers will be perceived as a new fairy tale.

The most important feature of a fairy tale is a special form of its construction, a special poetics. Narrativeness and plot, an attitude towards fiction and edification, a special form of narration - these signs are found in various genres of the epic cycle.

A fairy tale as an artistic whole exists only as a combination of these features.

Fairy tales in general were one of the most important areas of folk poetic art, which had not only ideological and artistic, but also great pedagogical and educational significance.

They formed stable folk ideas about the moral principles of life, were a visual school of the amazing art of speech. And fantastic fantasy developed the thinking abilities of the people, elevating them above the natural world since ancient times.

According to the tradition in literary criticism, the latter are divided into three groups: animal tales, fairy tales and everyday life.

A) Fairy tales about animals.

The Russian repertoire includes about 50 stories from animal tales.

There are several thematic groups: tales of wild animals, wild and domestic animals, domestic animals, man and wild animals.

This type of fairy tales differs from others in that animals act in fairy tales.

Their features are shown, but human features are conventionally implied.

Animals usually do what people do, but in these fairy tales, animals are somehow similar to humans, but somehow they are not.

Here animals speak human language.

The main task of these tales is to ridicule bad character traits, actions and evoke compassion for the weak, offended.

The reading books include animal tales. Most of all, children are interested in history itself.

The most elementary and at the same time the most important ideas - about intelligence and stupidity, about cunning and straightforwardness, about good and evil, about heroism and cowardice - lie in the mind and determine the norms of behavior for the child.

Children's fairy tales about animals touch upon social and ethical problems in an interpretation that is accessible to children's perception.

B) Fairy tales.

A fairy tale is a work of art with a clearly expressed idea of \u200b\u200ba person's victory over the dark forces of evil.

Primary school children love the fairy tale.

They are attracted by the development of action, coupled with the struggle between light and dark forces, and a wonderful fiction.

There are two groups of heroes in these tales: the good and the bad. Usually good triumphs over evil. Fairy tales should inspire admiration for good heroes and condemnation of villains. They express confidence in the triumph of good.

In the books for reading in grades II - IV such fairy tales are presented: "The Snow Maiden", "Geese-Swans", "Three Sisters", "The Tale of the Goldfish", "Hot Stone", "Ayoga".

In each of these tales, the heroes resort to the help of objects or living beings with magical powers.

Fairy tales are united by magic: transformation.

C) Household tales.

In everyday life tales talk about the relationship of social classes. Exposing the hypocrisy of the ruling classes is the main feature of everyday fairy tales. These tales differ from magical ones in that the fiction in them does not have a pronounced supernatural character.

The action of the positive hero and his enemy in the everyday fairy tale takes place in the same time and space, is perceived by the listener as an everyday reality.

The heroes of everyday fairy tales: the landlord, the tsar-prince, the khan are greedy and indifferent people, loafers and egoists. They are opposed by seasoned soldiers, poor farm laborers - dexterous, courageous and intelligent people. They win, and magic items sometimes help them in victory.

Household tales are of great educational and educational value. Children will learn about the history of the people, their way of life. These tales help the moral education of students, as they convey folk wisdom.

Conclusion

Summarizing the conclusions from the material discussed above, we can highlight the following:

.The archaic nature of animal tales. Many ideas and images found in animal tales attribute them to one of the most archaic layers of folklore heritage. Hence the second point follows.

2.The target audience of animal tales is children. There are, of course, fairy tales about animals that are aimed at an adult listener, but there are very few of them. This is consistent with the previous point, since we know from research experience that all folklore phenomena that have lost their original direction over time are borrowed by the children's cultural environment. This happened with the pagan conspiracies of the weather, which turned into children's chants (rain - rain, wilder, the grass will be thicker); with riddles, from magical allegorical turns, turned into a game; in the same way, albeit not so clearly, animal tales have evolved. Hence the points three and four.

.The upbringing and moralizing of animal tales are rather primitive. They do not consider nobility, patriotism, civic duty and other virtues that are difficult or inaccessible to a child's worldview. Here we see friendship, comradely mutual assistance, compassion, care - everything that is simple and understandable for young listeners, what helps them become better, what they can show and feel in everyday life - games, walks with friends, etc. etc.

.The culture of the comic in animal tales is on the same level. This is exactly children's laughter. Children laugh at a wolf whose tail has been torn off, not realizing how the poor animal feels, laugh at the clash of the characters of various animals, not realizing that in the wild, representatives of these species do not behave this way, and even more so they would not even somehow communicate. This is a spontaneous laugh, situations are funny, the characters are funny, the whole world of the work is funny. It is ridiculous as much as it is conventional. A world that is still too simple. A world that is not yet worthy to be taken seriously.

List of sources used

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2.Bibko N.S. The fairy tale comes to the lesson, Primary school, - M .: Education, 1996, No. 9, 111 p.

.Vavilova M.A. Fairy tales // Russian folk poetry / M. A. Vavilova V. A., Vasilenko B. A., Rybakov et al. - 2nd ed. - M .; Higher. school, 1978.440s.

.Eleonskaya E.N. About the remnants of primitive culture in fairy tales. // Eleonskaya E.N. Fairy tales, conspiracies and witchcraft in Russia. Collection of works. - M .; Publishing house "Indrik", 1994, 272 p.

.Zamyatin S.N. Essays on the Paleolithic by M. - L., 1961.314 p.

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.E.P. Lebedeva Archaic plots of the Evenk fairy tale about animals. Languages \u200b\u200band folklore of the peoples of the Siberian North) M. - L., 1966, 309 p.

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.Songs and fairy tales of the Voronezh region. Sat. compiled by A.M. Novikova, I.A. Ossovetsky, F.I. Mukhin, V.A. Tonkov. Voronezh, 1940, 717 p.

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Animal tales differ significantly from other types of fairy tale genre. Their specificity is manifested primarily in the peculiarities of fantastic fiction. The question of the original origins of fantasy in animal tales has been worrying scientists for many decades. Jacob Grimm also wanted to understand the origin of the fiction of fairy tales. The scientist published the medieval poem "Reinhart Fuchs" (Berlin, 1834) in translation into modern German. The poem told about the adventures of the cunning insolent, liar and prude Reinecke-Fox.

Reinecke is the hero of numerous literary works... He was known from the Latin poem "Yzengrimus", named after Reinecke's unlucky adversary, the wolf Isengrim (mid-12th century). In Holland, Reinecke was known as Reinart from the poem "Reinart" (13th century). In France, he is Renard ("Roman de Renart", XII-XIII centuries). The poem about the fox, which was circulated throughout Europe in copies, was embossed in the printing house with the invention of typography, and in 1498 its first edition, Reineke de Vos, appeared in Lubeck. At the end of the 18th century. Johann Wolfgang Goethe undertook the processing of the medieval legend about the fox - "Reinecke-Fox" (1793). In the adaptation of the great writer, the poem about the cunning Reineck became known all over the world 17 .

The source of literary legends about the fox was tales known from ancient times to the peoples of Europe, but for some time now Reinecke-Fox began to be perceived as a hero of purely literary origin. The French scientist F.I.Monet spoke about the non-national origin of the poem about the fox. By translating "Reinecke-Fox", Grimm tried to return medieval legends to their folk-folk character. In an extensive introduction to the publication of Reinecke-Fox, Grimm revealed the folk nature of stories about the fox, described the history of the emergence of medieval poems based on folk legends. At the same time, the scientist expressed very important thoughts about the essence of the tale. Critically accepted, they can even today help to clarify the question of the origin and historical fate of animal tales.

The meaning of Grimm's statements about the initial forms of folk artistic creation comes down to the following. Poetry was not content with depicting the fate, deeds and thoughts of people: it also wanted to master the hidden life of animals. Animals move, shout at different voices, experience pain and passions in different ways. According to Grimm, man unwittingly transferred his properties to animals. Naive primitive fantasy has erased the boundaries that separate the human world from the animal world. Man made no distinction between himself and animals. The animistic views of primitive people, according to Grimm, created the possibility of the appearance of an animal epic.

With the expansion of this epic, a tale of animals and a fable stood out. The poetry that arose at the time of the birth of poetry, both the fairy tale and the fable, took from the views of primitive hunters and shepherds a firm confidence in the ability of animals to speak, think, but pushed all the events that took place in the animal world far into history - to the time when the animals were still talking ...

Jacob Grimm saw in the epic stories of animals a mixture of human and animal elements. The human connotation gives the narration meaning, and the preservation of the properties and characteristics of animals in the heroes makes the presentation amusing, not boring.

Once it arose, the tale and the fable began to be passed down from generation to generation, from century to century. About the fable, Grimm wrote that, like any epic, in its never-ending growth it marks the stages of its development; it was tirelessly transformed and reborn in accordance with the place, country and changed human order.

So, a childish, naive attitude towards living nature has become the basis of man's views on the living world: the beast is intelligent, speaks. Whatever amendments we make to these views, their correct basis will remain unshakable. Fairy tales about animals really took the forms of fiction from the ideas and concepts of primitive people, who ascribed to animals the ability to think, speak and act rationally. Grimm was wrong when he characterized the social nature of these mythical views. Belief in the rational actions of animals was not the fruit of contemplation. The notions of people who ascribed human thoughts and reasonable actions to the beast arose in the vital struggle to master the forces of nature.

The beast sensed the hunter from afar and hurried to hide. Natural selection and the struggle for existence gave birth to that expediency and natural rationality in the animal world that amazed the primitive hunter. The way of life of animals and birds seemed thoughtful to man. Man ascribed to animals the ability to reason and speak, but people's misconceptions were also permeated with the desire to understand the life of animals, to master the means of their domestication, protection from attack, and methods of fishing.

Under the early clan system, a kind of belief in family ties between a group of people (most often a genus) and some kind of animals was widespread almost everywhere. The animal was considered the ancestor - the totem. The totem could not be killed or eaten. Each member of the tribal collective showed reverence for his totem by refraining from harming it. It was believed that the totem patronizes the family. Belief in the totem led to the emergence of all sorts of magical rites, which, over time, became the cult of the animal among many peoples.

Totemism was a peculiar form of religious awareness of the relationship between man and nature and dependence on it. At the same time, in totemism, and especially in rituals associated with belief in a totem, the desire to find protection against the dangers that lay in wait for people at every step was manifested.

A person who called himself a relative of a bear or a wolf wanted to protect himself and his home. To do this, it was only necessary to show respect for the totem in all cases. The man hoped to find protection from the beast, to earn his respect for himself as a relative. Any "non-observance" of the law of ancestral respect on the part of a predatory beast was attributed by man to his violation of the existing rules. Totemism as a special form of social consciousness was a force that fettered the living thought of a person who was looking for a causal connection between life phenomena.

Often, tribal clans and primitive tribes chose the most harmless creatures as a totem. The totem could be some tiny forest bird or a completely peaceful and fearless animal like a frog and even a plant, some kind of cereal. This, it would seem, does not fit with the expressed thoughts about the natural and social nature of totemism, but in the minds of a person of those distant times, a harmless bird and a weak frog were part of a huge living world, in general, powerful and influential. The bird is akin to the wind, and the wind carried death. The relative frog was close to various reptiles, predators of waters and poisonous inhabitants of swamps. The world for man was a continuous chain of family ties. Through some weak being, a person found himself in a kinship with those forces of nature that he wanted to dispose in his favor.

When these views on the animal world gave way to other, more complex forms of religious consciousness, only a few characteristic superstitions survived, which testified to the former, widespread belief in the mind of animals, their conscious actions and those relationships that, according to the thought of primitive people, from time immemorial existed between people and beasts.

Traces of totemism have also been preserved in the superstitions of the Russian people, although the latest studies are very careful about the existence of totemism among the distant ancestors of the Russian people. Pointing to the lack of direct evidence that this or that animal was once a totem of a Slavic tribe or part of it, the famous ethnographer S.A.Tokarev noted:

"Of course, the possibility that some distant ancestors of the Slavs knew totemism cannot be denied: moreover, it is even very likely, but from that distant era hardly any vestiges could reach us." Other scholars hold the point of view of the firm recognition of totemism among the ancient Slavs. Here is what GI Kulikovsky wrote about northern superstitions associated with the bear: “In the north of Russia, in the Olonets province, for example, they believe that a bear is a person who has been transformed by some magic into a bear (stories about the Lip-tree and spoilage at weddings), therefore, the peasants say, the bear itself never attacks a person; he attacks only out of revenge for the displeasure caused to him or in revenge for a committed sin, at the direction of God (even if he eats a cow, then they believe that God allowed him). Therefore, they say, hunters have never killed a pregnant bear; she, like a pregnant village woman, is afraid that someone will not see her during the act of birth: therefore, as they say, the dog, otherwise barking at a wolf, otherwise at a hazel grouse, otherwise on a squirrel and other creatures, a man and a bear barks in exactly the same way: it seems to smell a human being in him, therefore, finally, the peasants do not eat its meat either.

This reliable message speaks of the bear's closeness to man, that the bear takes revenge for the dissatisfaction caused to him or for any sin, acting as the executor of the higher will, and finally, that bear meat is not eaten. Here are the most important components of totem performances associated with the worship of the bear. Not only is it not said that a person is a relative of a bear.

Observations of other ethnographers of pre-revolutionary times do not contradict what G.I.Kulikovsky wrote about northern superstitions. So, for example, N.M. Yadrintsev says: “Russian Cossack hunters in the Turonian guard say that a bear, like a man, makes an undertaking in the trees, as if asking if there is anyone older and taller than him: if a man does , the bear makes it higher. " It is definitely said here that the bear considers himself the elder over people.

The nicknames of the bear, which exist among the Slavs, also carry ideas about the consanguineous relationship of a person to a bear. The Hutsuls call the bear "vuiko" (Wed-Russian "uy" - maternal uncle); the Russian population has a bear - "grandfather", "old man", etc. .

Observations of ethnographers convince that the bear was considered by people as a patron. They believed that a bear could lead a lost person out of the forest.

Numerous Belarusian beliefs speak about the patron bear. There was a custom to invite a bugbear with a bear to the houses. The bear was planted in a red corner, under the image, generously treated with honey, cheese, butter, and after the treat, they were led through all the nooks and crannies of the house and into the barn. They believed that the bear drove out evil spirits. In other cases, the bear stepped over the patient or even stepped on him. As if the healing power of the beast was at work. This power allegedly saved pregnant women from damage by witchcraft. The peasants believed that a mysterious force was hidden in the bear's paw: the bear's claws, drawn along the udder of the cow, made it milky, and hung the paw in yard "from the brownie" or underground - for chickens.

The bear's grace was invoked through various magical rites. The well-known collector of Russian and Belarusian folklore P.V. Shein in his Materials for Studying the Life and Language of the Russian Population of the North-Western Territory published a description of the festive rite of the comedian made by priest Simeon Nechaev in 1874. The rite existed in Borisov district of the former Minsk province. “This holiday always happens on the eve of the Annunciation of the Most Holy Theotokos and is dedicated in honor of the bear. On this day, special dishes are prepared, namely: for the first course, dried turnips are prepared as a sign that the bear eats mainly plant foods and herbs; jelly is served for the second course, because the bear loves oats; the third dish consists of pea lumps, which is why the day itself was called "komoeditsa". After lunch, everyone is old and young - they lie down, do not sleep, and every minute, in the slowest way, roll from side to side, trying as much as possible to adapt to the turning of the bear. This ceremony lasts about two hours, and all this is done so that the bear can easily get up from its winter den. After dinner, the peasants no longer do their day's work - they celebrate. According to the peasants, the bear awakens from hibernation for the Annunciation. So they greeted him with good will. " The peasants' desire to appease the bear so that it does not harm livestock is understandable.

Archaeologists have discovered direct traces of the bear cult among the Slavs. In the burial grounds of the Yaroslavl Territory, drilled bear teeth and necklaces from animal teeth, which in ancient times had the meaning of talismans, were found. “Thus,” writes N.P. Voronin, “archaeological monuments, the number of which could be multiplied, testify to the undoubted cult significance of the bear in the northwestern and northeastern parts of the forest belt, especially in the Novgorod land and the Rostov-Yaroslavl Volga region. where indications of this come from the depths of pre-class society and enter the beginning of the feudal period. "

In ancient times, the bear was considered a special creature: one had to beware of it. "The pagan belief in the bear was so strong that in Ancient Russia, in one of the canonical questions, they asked:" Is it possible to make a fur coat from a bear? " The answer read:

"Yes, you can." Why is this question raised about the bear? Is it because this beast has long been considered an inviolable creature? But this, of course, was contrary to the spirit of the new Christian religion.

So, nothing prevents us from recognizing the existence of a bear cult among the Slavs as more than probable. The bear was associated with the idea of \u200b\u200ba patron close to a totem. But even regardless of the solution to the question, whether the ancestors of the Eastern Slavs had totemism or not, scientists have proved the fact that the Slavic peoples have mythical ideas about animals endowed with intelligence. It was a world that they feared and did not want to quarrel with: a person observed all sorts of customs and magical rites.

The belief about wolf people was widespread throughout Eastern Europe. Herodotus in his "History" wrote about the Nevras - a people who lived in the territory of present-day Belarus and, according to scientists, was undoubtedly associated with the Slavs. Herodotus narrated the stories of the Greeks and Scythians that "every neuron becomes a wolf for several days every year, and then again takes on its former form." Isn't this belief reflected in the "Lay of Igor's Campaign", which tells how Prince Vseslav "himself in the night prowling"

Traces of the veneration of the wolf are well preserved in the life of the Bulgarian people. On the special days of November and February, "vlchi celebrations" were held.

Almost everywhere among the Eastern Slavs, there was a belief that wolves have a patron - a shepherd - Saint Yuri (Egoriy, George). The howling of a wolf at night was perceived as a conversation between wolves and their shepherd: the peasants believed that hungry wolves were asking St. George for food.

SA Tokarev writes, finishing his review of the beliefs about the wolf: “All these beliefs refer to real, real wolves, not werewolves. They seem to testify to the existence in the past, possibly in ancient times, of a real cult of wolves.

Other wild animals also took their place in the beliefs of the ancient Slavs. Perhaps the good preservation of the ancient beliefs about the bear and the wolf is explained by the fact that until very recent times these strong animals caused serious harm to livestock, were dangerous to man himself. The fox, hare, birds (raven, eagle owl, owl, cuckoo, sparrow), reptiles (snakes, frogs, toads) were much less dangerous, and the ancient superstitions associated with them remained only in extremely obscure, residual forms. So, for example, we almost do not know the superstitions associated with the fox, but the fact that they once existed says the "Word about Igor's regiment", mentioning the foxes barking ("breshut") at the "red" shields of the warriors of Igor's regiment when they entered the Polovtsian steppe. Meeting with foxes foreshadowed misfortune. The mention of foxes is put on a par with other unkind omens: “Already more (after all) his (that is, Igor's) bardy (guards) the birds over the dub; vltsi thunderstorm in the yarugam (that is, wolves excite horror with howling in the ravines); eagles are klektom on the bones, they call ... ". Until very recently, there was a thin omen seen in a meeting with a fox.

This sign will gain even greater historical significance when compared with archaeological data. A necklace consisting of animal teeth was found in ancient burials. It was put on the neck of the dead. Among the teeth of the bear, wild boar and lynx were fox teeth. They had their own magical meaning.

Peasants associated special superstitions with domestic animals: sheep, ram, rooster, goat, dog, horse, cat and small pests - mice. The Eastern Slavs know the belief that the cry of a rooster in the predawn gloom drives away the night evil. It was believed that a black rooster lays an egg in the third year, from which a snake hatches, and according to other stories, a black cat. The sheep and the ram, according to superstition, resist the evil and insidious power of the magical forces of the forest. It was believed that even a simple mention of sheep's wool drives away the goblin.

The belief was held firmly that a brute — a cow and a horse — was capable of understanding human speech and that it had a soul. The dog howls - to the deceased; the imagination of people endowed her with prophetic knowledge. The goat was credited with the ability to drive out devils. The peasants kept him in the stables for protection from the brownie - the owner. There are many forms of participation of the goat in rituals aimed at increasing the fertility of the fields. Such is walking with a goat during Christmas caroling. Through the centuries, the peasants carried a vaguely distrustful attitude towards the cat. Black cats in particular seem to be scary.

The beliefs of the Russian people and, in general, the beliefs of the East Slavic peoples allow us to confidently assume which animals were the heroes of mythical stories and legends of ancient fables. The unconscious fantasy of these legends consisted in the fact that animals were endowed with various human qualities, but it was animals that were seen in the animals. Not all stories and legends of this kind have disappeared from the memory of the people. Their traces have been preserved in fairy tales, which, according to tradition, adopted some of its essential features from ancient fable. This is the tale of a bear on a lime leg. This fabulous story is unknown in Western Europe... Its origin is purely East Slavic.

The man met a bear and cut off his paw in a fight. He took it with him and gave it to the woman. The old woman tore off the skin from her paw and set it to cook in the oven, while she sat down to spin bear wool. Meanwhile, the bear broke a linden tree, made a wooden leg for himself and went to the village. Goes and sings:

Squeak, foot!

Squeak, lime!

And the water is sleeping

And the earth is sleeping

And they sleep in the villages

They sleep in the villages

One woman does not sleep

Sits on my skin

Spins my wool

My meat is cooking

Dries my skin

Hearing the song, the man and the woman extinguished the torch and buried themselves on the beds. The bear broke into the hut and ate his offenders.

The tale echoes with untouched ancient beliefs. The bear did not leave a single insult unrevenged. He takes revenge according to all the rules of the generic law: an eye for an eye, a tooth for a tooth; They intend to eat his meat - and he eats living people, although it is known that bears themselves attack people on rare occasions. For a person, bears are dangerous only when he pursues them, wounds, frightens and generally disturbs them in any way. A bear in a fairy tale appears as a prophetic being who knows everything and everyone. The closeness of the fairy-tale depiction of a bear to ancient mythical concepts is beyond doubt. The tale conveys the feelings that a person experiences during a quarrel with a mighty forest beast. This is one of the "scary" fairy tales. The impression is especially enhanced by the description of a nighttime village with sleeping earth and water. Everything is asleep, everything is quiet, you can only hear the creak of the lime-tree leg on which the bear walks. The tale taught to honor the beast.

Of course, the tale of a bear on a linden leg is not exactly the same legend that existed in antiquity. In some versions of the tale, a man and a woman get rid of death, in others, the bear is the offender himself, and in a fair fight-fight the man grabbed his paw with an ax. These liberties, fully justified in fiction story, only obscure the well-preserved mythical basis of the tale.

The meaning of the ancient mythical belief and the tale of Ivan Tsarevich and the gray wolf has not badly preserved. Folklorists classify it as a type of fairy tales. As we know it, it is truly a fairy tale. The son watches over his father's garden. The Firebird is pecking apples in it, the hero wants to catch it; he is looking for a golden-maned horse and gets himself a bride in distant lands - such plot points are loved by a fairy tale. At the same time, the fairy tale about Ivan Tsarevich was influenced by ancient beliefs about animals. A werewolf acts in the fairy tale. At times he takes the form of a man and even a horse. The gray wolf serves the hero faithfully. Where does this location come from? The wolf explains to Ivan Tsarevich: "Since I tore your horse to pieces, I will serve you with faith and truth."

If we see the remnants of totemism in the beliefs about werewolves, then it is understandable why the fabulous wolf, having caused harm to a person, considers itself obliged to compensate for the damage by faithful service. Family ties were considered sacred and violation of it was punishable. When actions were contrary to generic morality, they demanded compensation, and compensation for the most accurate. The wolf ate the horse. He himself serves the hero as a horse. He takes on the responsibility to help a person voluntarily, without coercion: for him, family ties are sacred. The logic of primitive thinking is beyond doubt here. True, we do not know what specific form the ancient stories about wolves had, but it is quite possible that the fabulous situation we have taken is in some way connected with them.

Let's draw some conclusions. The appearance of fairy tales about animals proper was preceded by stories directly related to beliefs about animals. In these stories, the future protagonists of animal tales acted. These stories did not yet have an allegorical meaning. In the images of animals, animals were meant and no other. Existing totemic concepts and ideas obliged to endow animals with the features of mythical creatures, the animals were surrounded by veneration. Such stories directly reflected ritual-magical and mythical concepts and ideas. It was not yet art in the literal and precise sense of the word. Stories of a mythical nature were distinguished by a narrowly practical, life purpose. It can be assumed that they were narrated for instructional purposes and taught how to relate to the animals. By observing the well-known rules, people tried to subordinate the animal world to their influence. This was the initial stage of the birth of fantastic fiction. Later, animal tales were based on it.

Before proceeding to characterize the purely artistic properties of animal tales, we make one remark. The tale of a bear on a linden leg differs from all other fairy tales where the bear acts. In it, the bear is surrounded by veneration and is endowed with the right of immunity, whereas in ordinary fairy tales the bear is not clever, but stupid, it embodies great, but not clever strength. If the originality of the fantastic fiction in the fairy tale about the bear were an exceptional phenomenon, it would not even be worth talking about it, but almost all fairy tales judge animals in the opposite way to how they are said about them in mythical beliefs and stories.

The wolf, like the bear, in popular beliefs appears as an animal, in whose honor they organized holidays. They didn’t call him by his real name, fearing that by doing so they would call him too. The creature is hostile and dangerous, the wolf evoked respect and fear.

From experience, people knew that the wolf is a predatory, cunning, intelligent, resourceful, evil creature. Meanwhile, in fairy tales, the wolf is stupid, it is easy to deceive him. There seems to be no such misfortune, no matter what this unlucky, always hungry, always beaten beast gets into.

The respectful attitude towards the fox expressed in beliefs also contradicts the frank ridicule with which fairy tales tell about her frequent mistakes and failures.

The difference between fairy tales and beliefs is so significant that, only by understanding its reason, we will be able to understand the essence of the relationship of fairy tales to fiction, according to tradition, taken from ancient beliefs. Finding out the reasons for the difference between animal tales and beliefs is of great interest for the science of fairy tales of all Slavic peoples. Moreover, a similar difference between fairy tales and beliefs is observed among other peoples of the world.

At one time the opposition of myth and totemic beliefs occupied the famous English scientist James Fraser. In his work “Totemism and Its Origins,” he wrote: “Sometimes myths say the exact opposite, that man did not come from a totem animal, but it came from man. For example, the snake clan of the Mokez tribe in Arizona allegedly descended from a woman who gave birth to snakes. Grocers in western Equatorial Africa believe that their women gave birth to totem animals: one gave birth to a calf, the other to a crocodile, the third to a hippopotamus, the fourth to a monkey, etc. "

The opposition between totem beliefs and myth, as well as the difference between fairy tales and beliefs, testifies to the fact that with the change in the life of the people, a different attitude arose to the previous ideas. This evolution of popular beliefs was explained by a materialistic view of history. Science, which has adopted the only correct method of explaining social consciousness, proceeding from the development of the material conditions of society's life, has understood the reason for the evolution of totemic beliefs, traced their history on a number of concrete ethnographic facts. In the article "The Cult of the Evenki Bear and the Problem of the Evolution of Totemistic Beliefs" AF Anisimov proposed a correct explanation of the duality that is observed in relation to totem animals among a number of northern peoples. The scientist was interested in why in the rituals associated with the cult of the bear, as well as in fairy tales about animals, the bear is everywhere endowed with such features that deliberately denigrate him as a totemic beast, deprive him of the halo of holiness, make the divine funny and pitiful. The same ambivalence is noted for the attitude towards the raven - the Kamchadal Kukht, the Koryak Kuikil (or Kuikinyakh), as well as the American-Indian Iel. On the one hand, the crow, the ancestor, the helper of the supreme being, and in this capacity enjoys respect and veneration, and on the other hand, all sorts of bad deeds and tricks are attributed to him. Funny stories with deadly irony accurately reproduce habits beast its features.

AF Anisimov sees the reason for this duality "in the disintegration of the ancient totemic cult", "in the disintegration of the totemic myth." In the fairy tale folklore, the scientist with good reason saw "the expression in the artistic form of the overthrow of the mother's family." He repeated and developed his conclusions in the book “The Religion of the Evenks in the Historical and Genetic Study and the Problems of the Origin of Primitive Beliefs” (M.-L., 1958).

Totemism is associated with the era of the maternal family. Maternal clans bore the name of a totem beast, and each of the members of the tribal organization was considered a descendant of an animal ancestor and, of course, a relative of one or another animal-totem. A negative attitude towards the totem beast is excluded from the maternal clan. The transition from veneration of the totemic being to its ridicule took place in the conditions of the collapse of the ancient maternal family and the establishment of patriarchy.

The disintegration of the maternal clan largely explains why in the mythical legends and legends of many peoples of the world those animals that are the subject of worship in ancient cults are ridiculed.

Slavic beliefs about animals have undergone a historical evolution similar to that noted among peoples who have preserved ancient cult holidays, customs and myths.

Life changed on the East European plains, one way of life in the ancient settlements of the Slavs was replaced by another, - there were also changes in the mythical views of people on nature and society. What was once an object of veneration and was considered indestructible, holy and inviolable, over time was condemned. Previously revered beasts were cruelly ridiculed. There was a breakdown of old concepts and ideas. The veneration of animals was rejected, and other views replaced the old views. At a certain stage of historical development, stories in which animals were surrounded by a halo of respect were replaced by new ones, in which animals no longer occupied an honorable position.

From old stories and legends, new narratives took their characters, but gave these heroes the exact opposite assessment. The exposure of the former idols was accompanied by a deliberately ironic depiction of the funny sides of the animal. The subject of jokes was the appearance of the beast, its habits and way of life. We will find indirect confirmation of this idea in bearish fun, which was widespread among the Eastern Slavs. Here is what the archaeological and ethnographic literature says about this: “... Together with the whole complex of pagan ritual and magical actions, degenerated into“ glum ”of buffoons, the“ learned bear ”is a distorted relic of its“ sacred past ”.

The time when the previous cult beliefs were lost was the appearance of new stories about the bear. Unlike real fairy tales, which will take shape when a complete break with mythological views occurs, these new narratives portrayed the beast. The beast that acted in them was still a beast, but already ridiculous, deprived of those honors that were previously given to him.

Russian fairy tales, like the fairy tales of some peoples, did not linger at this stage of development. In our animal tales, one can hardly find clear traces of this period in the development of fairy tales, but that such a time existed must be assumed with all certainty. The negative depiction of animals is a traditional trait adopted by fairy tales from the time when the old ancient veneration of animals was replaced by outright mockery of them.

This is the background of the fantastic fiction, the forms of which were assimilated by animal tales. The history of the fairy tale as an artistic phenomenon began from the moment when the previous stories about animals began to lose all connection with mythical concepts. The image of an animal was already perceived as an allegorical image of a person.

Labor made a person strong, freeing him from the power of prejudice and superstition. Ancient myths were a thing of the past. True, for a long time the remnants of ancient views were retained in the minds of peoples. The triumph of a worldview, not obscured by previous ideas, made possible the flourishing of animal tales as a genre of artistic creativity. The animal tale is free from any signs of mythical and religious concepts. Fiction in fairy tales lost its former character and turned into poetic convention, fiction, allegory. The transition of the unconscious fiction of antiquity into poetic allegories was facilitated by the fact that animals were endowed with human traits from ancient times.

In early narrative forms, inseparably associated with beliefs about animals, the essence of the folk story consisted in the expression of animal mythology, which every member of the clan should have known if he wanted to provide himself and his relatives with a well-fed and safe life. The weakness of primitive man in the struggle with the forces of nature ultimately determined the nature and properties of ancient stories about animals.

In those fairy tales that have replaced the ancient narratives, different goals are pursued. By this time, a new social system was established. In a class society, fiction took the form of allegories and began to serve as an expression of class-social sympathies and antipathies. Art emerged from mythology. In fairy tales, animals personified the real bearers of those mores that were alien to the people and were condemned by them. The people, placed in a subordinate position by the ruling class, turned the fairy tale into a satirical work. This particular to hell folk tales were shrewdly pointed out by AM Gorky in a letter to the collector of Adyghe folklore P. Maksimov: “The tale of the hare, the fox and the wolf, the assistant to the foreman is also very interesting - it exposes the social relations of people, which is usually not seen in fairy tales about animals " (italics mine .- V.A.).Note that A.M. Gorky gave a general meaning to his remark. An attempt to limit the writer's judgment to a specific assessment of one particular fairy tale must be considered unfounded.

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Table of contents

1. Russian folk tales about animals. Features, structure and characteristics of the heroes of animal tales. Cumulative Tales 3
2. Sh. Perot. The history of the creation of the collection "The Tales of My Mother Goose ...". Fairy tale "Little Red Riding Hood" 6
3. Small stories by L.N. Tolstoy. Their educational focus and huge emotional impact on children. Analysis of the story "The Stone" 8
4. Funny fairy tales in verse - the main genre of Chukovsky's creativity for children. History of creation, main ideas, main conflict, elements of satire, artistic features of the fairy tale "Moidodyr" 10
References 13

1. Russian folk tales about animals. Features, structure and characteristics of the heroes of animal tales. Cumulative tales

Russian folk tales about animals are the most ancient group of fairy tales, which are based on totemistic and animistic cults. These tales are associated with archaic worlds in which animal characters stood at the origins of the creation of the world. In the stories that have come down to us, these mythological elements are reinterpreted differently. The tale shows that earlier people tried to explain the phenomena that take place in nature, and experienced a sacred awe of animals that symbolize strength. This is how the negative characters of Russian fairy tales appeared. Each of this hero has his own individual character and only his inherent features.
The characterization of animals in the fairy tale includes several pronounced characters who personify strength and cunning, anger and brute force.
In the animal world of fairy tales, there is a special type of hero - a trickster, a rogue and a deceiver. The fox in fairy tales is the main trickster. This is a stable image dominated by cunning, a tendency to deception and tricks. The fox will go to any lengths to get her own - she will pretend to be weak and helpless, use all her charm and eloquence. In Russian fairy tales, the trickster is contrasted with a simpleton character. It can be a wolf, which the fox successfully fools, a rooster ("Cat, Rooster and Fox"), or a weak hare, which she drives out of her hut ("Fox and the Hare"). Initially in the myth, it was his unusual behavior that contributed to the creation of the world and the acquisition of knowledge. Unlike myth, the trickster fox is often punished for its antics, especially when it attacks weak, helpless heroes. For example, the Fox in the fairy tale "Fox with a Rolling Pin" flees and hides in a hole.
The wolf in fairy tales traditionally personifies greed and anger. He is often portrayed as stupid, so he is often fooled by characters in more cunning fairy tales, for example, Fox. The opposition of these two strong animal characters is found in many fairy tales, and in almost all the wolf, being slow-witted and short-sighted, again and again allows itself to be deceived. However, in ancient cultures the image of a wolf was associated with death, therefore in fairy tales this animal character often eats someone ("The Wolf and the Seven Kids") or disrupts the quiet life of animals ("Wintering of Animals"). But in the end, the kind fairy-tale characters of Russian fairy tales always deceive or defeat the wolf. For example, the wolf in the fairy tale "The Fox-Sister and the Wolf" is left without a tail.
The bear in fairy tales is the embodiment of brute force. Sometimes he is ferocious, sometimes he is naive and kind. As the master of the forest, he has power over other animals, but, nevertheless, his character is simple. The presence of physical strength in this animal character practically excludes the mind - the bear in fairy tales is stupid and turns out to be fooled by weak animals. You can see a parallel between the image of a bear and the image of wealthy landowners during serfdom. Therefore, people and other animals, symbolizing the free and cunning Russian people in fairy tales, often try to outwit and fool the bear. For example, a bear is left with nothing (the tale "The Man and the Bear") or is completely eaten by a crowd of people ("The Bear is a lime leg"). In some fairy tales, the bear is lazy, calm and appreciates its peace very much. There are also fairy tales in which the bear manifests itself as a kind animal character helping people. For example, a bear gives gifts to Masha, thus acting as a symbol of the good forces of nature that love hard work and honesty.
There is not a 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.
Cumulation - the cyclical repetition and expansion of plot nodes - is one of the main methods of creating a fabulous text. Three-time check of strength by the hero with the help of a club - cumulation, the hero's visit to the copper, silver, gold palaces - cumulation, three-time battle with the serpent - cumulation. Especially many cumulative tales are listed in the section of animal tales.
The composition of cumulative fairy tales, regardless of the form of performance, is extremely simple. It is composed of ...

1. Arzamastseva IN Children's literature. - M .: Academy, 2008.
2. Children's literature: A textbook for university students. / Under. ed. Zubareva E.E. - M .: Higher school, 2004.
3. Kuznetsova N.I., Meshcheryakova M.I., Arzamastseva I.N. Children's writers. A guide for teachers and parents. - M., 2009.
4. Latova N.V. What the tale teaches. // Literature at school. 2003. No. 4.
5. Setin F.I. History of Russian children's literature. - M., 2001.

Animal tales are a kind of fairy tale genre. Arising in ancient times, they reflected the observations of the animals of a man of primitive society - a hunter and a trapper, and then a cattle breeder. The meaning of these tales in those days consisted, first of all, in the transfer of life experience and knowledge about the animal world to young people. In the beginning, there were simple stories about animals, birds and fish. Later, with the development of artistic thinking, the stories turned into fairy tales. The genre was formed for a long time, enriched with plots, types of characters, developing certain structural features. With the development of man's ideas about nature, with the accumulation of observations, stories about man's victory over animals and about domestic animals, which was the result of their domestication, enter into fairy tales. These tales are very simple and everyday. Their spatial world is limited by the situation in the Russian countryside. The circle of problems that the heroes have to solve is very grounded: How to lure a rooster out of the house, how to spend the winter in the forest, how to satisfy hunger, get out of the hole, etc. In fairy tales about animals, animals, birds, fish, and in some also plants act. V. Ya. Propp in the index attached to the third volume of Russian folk tales by A.N. Afanasyev (1957), distinguishes six groups of fairy tales of this type:

• 1) tales of wild animals;
• 2) tales of wild and domestic animals;
• 3) fairy tales about man and wild animals;
• 4) fairy tales about pets;
• 5) fairy tales about birds, fish, etc .;
• 6) tales of other animals, plants, etc. [Eleonskaya E.N. 1994: 272].

Spiritualization of nature, coming from animistic views, has become a familiar convention in many fairy tales and songs of ballads. But the animals themselves in them, possessing the ability to speak and think, are not the main characters. They act as wonderful helpers, or as conventional characters who help to reveal the emotional experiences of a person. In addition, fairy tales about animals do not include fairy tales such as "The Lynx Girl", in which the stepmother turns her stepdaughter into a lynx, her husband rips off her skin, burns her and thus removes the spell. The fairy tale "Ivan Medvedko", where the hero is "a man up to the waist, and a bear from the waist," cannot be attributed to fairy tales about animals.

Afanasyev himself made the division of fairy tales into those where the animal is the subject or the main object of the story. For example, "Midwife Fox", "Fox and Crane", "Foolish Wolf", etc. However, there are fairy tales in which both humans and animals are the characters. But in the fairy tale "The Wolf at the Hole", the main character is undoubtedly the wolf fishing, and not the women going to the hole and beating the wolf. This classification is not absolutely reliable. In some fairy tales, animals and people act on equal terms: "The bear is a lime leg." Thus, the plot typology of animals is not a fully explored topic and has many questions and mysteries.

The characters are most developed in animal tales. It is no coincidence that we easily notice any substitution of characters in the plots and perceive this as a violation of tradition. In animal tales, each image is individually elaborated. The fox and wolf are most often found in animal tales. This is explained by the fact that, firstly, a person most often had to deal with them in economic activity; secondly, these animals occupy the middle in size and strength in the animal kingdom; finally, thirdly, thanks to the previous two reasons, a person had the opportunity to get to know them very closely. But no less common are other characters in fairy tales - wild and domestic animals - bear, hare, ram, dog, fish, cat, insects, etc. Each of the characters is the image of a very specific animal or bird. The characterization of the characters is based on observations of the habits, demeanor of the animal, and its appearance. Also, in the images of animals, parallels are drawn with the qualities of man: animals speak and behave like people. This combination also led to the typification of the characters of animals, which became the embodiment of certain qualities: a fox - cunning, a wolf - stupidity and greed, a bear - gullibility and reluctance, a hare - cowardice. So fairy tales acquired an allegorical meaning: people of certain characters began to be understood by animals. The images of animals became a means of moral teaching, and then social satire. Animal tales not only ridicule negative qualities (stupidity, laziness, talkativeness), but also condemn oppression of the weak, greed, deception for profit. However, there is hardly any reason to believe that human features are depicted in all animal images. The peculiarity of the image of an animal in fairy tales consists precisely in the fact that human traits in it never completely supplant the traits of an animal. No matter how developed an allegory is in fairy tales of this type, one can find in them samples in which it is difficult to find an allegory. The famous tale of the fox and the black grouse contains a clear allegory; it is obvious from a number of details: the fox, for example, tells the grouse about the decree requiring that the grouse not fly up a tree, but walk on the ground. But in the fairy tale "The Bear is a Linden Foot" or in the fairy tale "The Wolf and the Kids" there is probably no allegory. These fairy tales are fascinating not by allegory, but by the depiction of action. In fairy tales about animals, the analogy "man-animal" does not allow the fairy tale to miss out on either the qualities of man or the qualities of an animal. This is the originality of fairy tales, this is a special aesthetic effect. And it is precisely in the interweaving, the intersection of the animal and the human in the unexpected contact of these, in essence, different plans (conventional and real) that the effect of the comic lies in the animal tale. IN morally Two main ideas of animal tales can be distinguished: the glorification of fellowship, through which the weak defeat the evil and the strong, and the glorification of victory itself, which brings moral satisfaction to the listeners. The wolf is often stupid, but this is not its main feature: it is cruel, ferocious, angry, greedy - these are its main qualities. He eats a poor old man's horse, breaks into "the animals' winter quarters" and disrupts their peaceful life, wants to eat the kids. Peaceful animals, even if they are stupid, achieve victory: the ram fools the wolf, the sheep and the fox defeat the wolf. The fox wants to eat a rooster, a black grouse. But if she, together with other animals opposes the wolf, then receives a positive assessment, if she harms others - negative [Morokhin V. N. 1975: 514].

The wolf in fairy tales traditionally personifies greed and anger. He is often portrayed as stupid, so he is often fooled by more cunning characters in fairy tales, such as the Fox. The opposition of these two strong animal characters is found in many fairy tales, and in almost all the wolf, being slow-witted and short-sighted, again and again allows itself to be deceived. However, in ancient cultures, the image of a wolf was associated with death, so in fairy tales this animal character often eats someone ("The Wolf and the Seven Kids") or disrupts the quiet life of animals ("Wintering Animals").

A nimble, strong and fearless bear gets a manner of clumsiness, sluggishness and stupidity. These qualities were attributed to him to ridicule him as the enemy of the peasant. The terrible ceased to be terrible. In the fairy tale "The Bear is a Linden Foot," the bear is neither stupid nor trusting, as we are used to seeing him in other fairy tales. The tale echoes with untouched ancient beliefs. The bear did not leave a single grievance unavenged. He takes revenge according to all the rules of the generic law: an eye for an eye, a tooth for a tooth. But this is rather an exception. Indeed, in animal tales, the bear most often appears as a simpleton. But in more ancient sources, the bear is shown as a friend or brother of a man, enters into a bra with a woman, has a son who belongs to the human collective, fights against evil spirits, brings wealth to a person. The bear has a double nature: he is the master of both forests and a creature closely related to man.

The fox is very ambivalent. She is a robber, godfather, bear and drag, but smarter and more cunning than all other animals, which cannot but arouse some sympathy. An aesthetic image also gives it liveliness and dexterity: an elegant skin, an elegant muzzle, a bright tail. The fox appears to be a crafty, cunning, cunning beast, with its cunning taking advantage over other animals, stronger than it - over the wolf and the bear. But with all this, she easily manages to maintain good relations with all the deceived. Another characteristic feature of it is, of course, hypocrisy. In fairy tales, the fox has a number of nicknames: godfather-fox, fox-sister, fox-Patrikeevna, Lizaveta Ivanovna, etc. In addition, in the animal world of fairy tales, there is a special type of hero - a trickster, a rogue and a deceiver, whom she most often appears. This is a stable image dominated by cunning, a tendency to deception and tricks. The fox will go to any lengths to get her own - she will pretend to be weak and helpless, use all her charm and eloquence. In Russian fairy tales, the trickster is contrasted with a simpleton character. It can be a wolf, which the fox successfully fools, a rooster ("Cat, cock and fox"), or a weak hare, which she drives out of her hut ("Fox and the hare"). Initially in the myth, it was his unusual behavior that contributed to the creation of the world and the acquisition of knowledge. Unlike myth, the trickster fox is often punished for its antics, especially when it attacks weak, helpless heroes. For example, the Fox in the fairy tale "Fox with a Rolling Pin" flees and hides in a hole.

The structure of animal tales is fairly simple. The composition is based on the plot structure. All the narrative material is distributed depending on the course of the action. The most remarkable structural feature of animal tales is the so-called cumulative, or chain, structure. The rooster choked on a bean grain, the hen runs from one to the other, asks for help until he saves the rooster ("Bean seed"); a fly built a teremok, different animals come to it in turn: one, another, a third ... ("Teremok"). The same structure in the fairy tales "Kolobok" and "Goat with nuts. The encounter of animals with each other is very characteristic of the development of action. As Yu. M. Sokolov rightly noted, in the plot of fairy tales about animals, the method of encounters is very widely used - the meeting of animals with each other or with a person. Thus, the fairy tale "Fox, hare and rooster" is based on the meeting of a hare with a fox, dogs, a bear, a bull and a rooster. In the fairy tale "Old bread and salt is forgotten," a man first meets a wolf, and then together they meet a horse, a dog and a fox. The reception of meetings is the best possible answer to the ideological and artistic task of animal tales. On the one hand, through it, some elements of the real are transmitted (by themselves, the meetings of animals with each other and between people and animals are quite possible). On the other hand, this technique makes it possible to bring together, collide any animals in the plot, rewarding them with the appropriate qualities and actions, thus conveying the most incredible, surreal and fantastic. But the meeting is usually just the beginning of a whole series of other meetings. The threefold situation in fairy tales is quite typical: three times the fox turns to the rooster and three times to the black grouse; three times the wolf comes to the goat's hut. In fairy tales about animals, dialogism is much more developed than in fairy tales of another type: it moves the action, reveals situations, shows the state of the characters. Songs are widely introduced into fairy tales: the fox lures the rooster with a song, the wolf deceives the kids with a song, the bun runs and sings a song: "I scraped along the box, swept along the bottom ..." There are fairy tales, the main content of which is transmitted only through dialogues: for example, fairy tales " Sheep, fox and wolf "; "Fox and Black Grouse"; "The Wolf and the Goat". Dialogue is so widely used in animal tales because it is one of the simplest and at the same time effective forms of endowing animals with human characteristics and qualities (speech and judgment). The amazing in such a fairy tale is achieved by a peculiar combination of the real and the surreal, human and animal. That is why the tale is interesting for the listener.

The beginning of fairy tales is characterized by the construction “there lived an old man and an old woman” (different variants). Accordingly, in fairy tales about animals we find: "there lived a godfather with a godfather - a wolf with a fox", "there lived a wolf and a chanterelle", "there lived a fox and a hare." The plot of some of them has a small exposure. For example, the fairy tale “The Wolf and the Goat” begins with the following exposition: “Once upon a time there was a goat, made a hut in the forest and gave birth to children. The goat often went into the forest to look for food; as soon as she leaves, the kids will lock the hut behind her, but they themselves will not go anywhere. A goat will come back, knock on the door and sing: “Little kids, kids! Open up, open up! .. "And the kids unlock the door." The given exposition characterizes the situation preceding the development of the action, provides some motivation for a certain plot. However, it already contains a fabulousness, it paints a very amazing picture: a goat and its children have human qualities. Most animal tales do not have any exposition, but immediately begin with a set. For example, the tale “Animals in the Pit” begins with the following plot: “A pig went to St. Petersburg to pray to God. A wolf comes across to her: "Pig, pig, where are you going?" - "To St. Petersburg, pray to God." - "Take me too." - "Come on, kumanek!" The main purpose of the above beginnings is to surprise the listener with an unusual situation, to rivet his attention to the incredible and unusual. So, undoubtedly, it is surprising that a bear approaches an old man in the forest and says to him in a human voice: "Old man, let's fight." It is no less surprising that a pig goes to St. Petersburg to pray to God, and a wolf begs for it as a peaceful companion [Propp V.Ya. 2000: 416]

The plot in the tale is followed by the development of the plot. But it must be said right away that the plot in fairy tales about animals has not received any significant development, it is very simple. Sometimes it consists of any one situation, one small episode. Most often, the plot, as mentioned earlier, is a kind of everyday, village picture, representing a more or less expected end, prepared in a known way. Many animal fairy tales are based on insidious advice ("The Foolish Wolf"), unexpected fright ("Bast and Ice Hut") or deceit ("Fox-midwife").

The ending of animal tales is usually quite predictable and short. Most often this is the fooling of a simpleton hero (for example, a goat invites the ox to stand downhill and open its mouth so that it can jump into its mouth, and the masses knocks over the wolf and runs away) or punishment of the cunning one (this is what happens in Bast and Ice Huts). Animal tales are currently targeted at children. They are characterized by the process of transition to the genre of a joke or a funny tale as a result of detaching a song from a fairy tale, which is performed already as an independent work in the form of a joke, or as a result of the transition of a fairy tale into rhythmic prose. The significance of animal tales is also worth noting. They not only moralize, showing through animals the purely human aspects of good and evil, the sides of human behavior, but also equate man with animals, thus removing a certain idealization of man, the fact of his superiority over animals. The structure of animal tales is fairly simple. The composition is based on the plot structure.

Chain structure

The most remarkable feature of the plot of the structure of this type of fairy tales is the stringing of episodes. The meeting of animals with each other is very characteristic of the development of action. But the meeting is usually just the beginning of a whole series of other meetings. The so-called comulative or chain structure is very typical of animal tales. The beginning of the tale is characterized by the construction “once upon a time there was an old man and an old woman” (there may be different versions).

Dialogism

It is much more developed than in other types of fairy tales: he moves the action, reveals situations, shows the state of the characters.

Optimism

For fairy tales about animals, bright optimism is characteristic: the weak always get out of difficult situations. It is supported by the comedy of many situations and humor [Okladnikov AP 1967: 392].

Undoubtedly, fairy tales about animals are active today. Children not only willingly listen, but also tell them themselves, supplementing them with fairy tales drawn from books. Fairy tales about animals are widely published in numerous children's books and school anthologies, as a rule, repeating the same texts, which is facilitated by the small size of the tales and the limited number of plots. This explains why the records of animal tales have only minor variant differences. The erasure of local peculiarities in fairy tales leads to the establishment of a single all-Russian repertoire of fairy tales about animals, stable in plot structure and poetics. In fairy tales about animals, all the traits characteristic of humans, their reactions and certain actions are presented on the example of animals. They act as the main symbols of the human character, its vices, flaws, stupidity and greed. They also show examples of kindness and caring, which at an early age should be perceived by children as models of behavior in adulthood.