What groups of fairy tales are there in everyday life? Genre classification of Russian folk tales

It is simply impossible to imagine our life without fairy tales. We get to know them back in early childhood. From fairy tales we learn for the first time that there is good and bad, good and evil in the world. Fairy tales awaken and develop the imagination, teach the little man to distinguish good from bad, think, feel and empathize, gradually preparing him to enter into adult life. First, my mother reads to us “Turnip” and “Ryaba the Hen,” then introduces us to the magical world of fairy tales by Pushkin and Charles Perrault. And there we already read it ourselves amazing tales Nikolai Nosov, Vitaly Bianki and Evgeniy Schwartz. What kind of fairy tales are there?

Fairy tales happen

• folk, or folklore;
• literary, or copyright.

The folk tale came to us from time immemorial. After a hard time working day or long winter evenings With a torch lit in the hut, people told and listened to fairy tales. Then they retold them to each other, simplifying or embellishing, enriching them with new characters and events. So they were passed on from mouth to mouth, from generation to generation. But fairy tales were written not only for entertainment; in them people wanted to express their attitude to life. In folk tales we see faith in reason, goodness and justice, the triumph of truth over falsehood, the glorification of courage and bravery, disdain for stupidity, hatred of enemies or ridicule of them. A folk tale allows you to feel a connection with the past and provides an opportunity to join the origins of folk culture.

Folk tales, in turn, are divided into three types:

• tales about animals;
• fairy tales;
• everyday tales.

Animals have lived alongside humans since time immemorial, so it is not surprising that they are often the main characters in folk tales. Moreover, in fairy tales, animals often have human qualities. Such fairy tale character immediately becomes clearer to the reader. And the role of a person in the plot of a fairy tale can be primary, secondary or equal. By genre, there are fairy tales about animals and cumulative tales (repetition fairy tales). Distinctive feature A cumulative fairy tale is the repeated repetition of a plot unit, as, for example, in “Turnip” and “Ryab the Hen”.

Fairy tales are distinguished by the fact that their heroes act in a fantastic, unreal world who lives and acts according to his own special laws, different from human ones. Such a fairy tale is replete with magical events and adventures, exciting the imagination. Fairy tales are classified by plot:

• heroic tales involving the struggle and victory over a magical creature - a snake, an ogre, a giant, a witch, a monster or an evil wizard;
• tales related to the search or use of some magical object;
• tales related to wedding trials;
• tales about the oppressed in the family (for example, about a stepdaughter and an evil stepmother).

A feature of everyday fairy tales is the reflection of everyday folk life and everyday life. They raise social problems and ridicule negative human qualities and actions. An everyday fairy tale may also contain elements of a fairy tale. In everyday fairy tales, as a rule, greedy priests and stupid landowners are ridiculed, and the hero of the fairy tale (a man, a soldier) emerges victorious from all troubles.

What is a literary fairy tale?

A literary fairy tale has an author, which is why it is also called an author's fairy tale. This piece of art, which can be written in prose or poetic form. The plot of a literary fairy tale can be based on folklore sources, or may be an exclusively original idea of ​​the author. A literary fairy tale is more diverse in plot, the narrative in it is more intense, it is replete with various literary devices. It, like a folk tale, also contains fiction and magic. But the predecessor author's fairy tale, of course, it was a folk tale; it was too connected with the folklore that gave birth to it. The author, the author's individual imagination, the selection from the treasury of folklore only of what the author needs to express and formulate his thoughts and feelings - this is the main difference between a literary fairy tale and a folklore one.

Excellent examples of literary fairy tales are the tales of A.S. Pushkina, K.D. Ushinsky, G.Kh. Andersen, the Brothers Grimm, E. Schwartz, V. Bianchi, J.R.R. Tolkien and many other wonderful fairy tale authors.

Despite the differences in types and genres, all fairy tales have one unifying principle - good. After all the twists and turns and untruths in a fairy tale, goodness and justice always win. Can not be evil fairy tales. There are only good fairy tales. That's why they are fairy tales.

Individual existence artistic creativity is a genre - a historically developing type of literary work. One of the most difficult to define and identify common typical features is the fairy tale genre.

The concept of “fairy tale” is the subject of numerous scientific research and disputes. For a long time, scientists did not try to define a fairy tale and, accordingly, did not give its genre characteristics. For example, the definition of the concept and essence of a fairy tale is not found in the works of such major domestic researchers of folklore genres as P.V. Vladimirov, A.N. Pypin.

V.Ya. Propp notes that most European languages ​​do not have a designation for this species folklore creativity, so a variety of words are used. Only two European languages ​​- Russian and German - have special words for fairy tales: “fairy tale” and “Märchen”. On Latin the word “fairy tale” is conveyed using the word fabula, which has many other additional meanings: conversation, gossip, subject of conversation, etc. (“plot” in literary criticism is “the plot, the subject of the story”), as well as a story, including a fairy tale and a fable. In French, the word used for fairy tale is “story.”

Based on their meanings of words that are in different languages is designated “fairy tale”, several conclusions can be drawn:

• 1. The fairy tale is recognized as a narrative genre
• 2. A fairy tale is considered fiction.
• 3. The purpose of a fairy tale is to entertain listeners

One of the first scientific definitions fairy tales were given by European researchers J. Bolte and G. Polivka. Its meaning boils down to the following: a fairy tale is understood as a story based on poetic fantasy, especially from magical world, story not related to conditions real life, which is listened to with pleasure by all levels of society, even if they find it incredible or unreliable.

However, V. Propp finds a number of inaccuracies and weaknesses in this definition. Firstly, the definition of a fairy tale as “a story based on poetic fantasy” is too broad. Any literary and artistic work is based on poetic fantasy. Secondly, the words “especially from the magical world” exclude from this definition all non-magical tales (about animals, short stories). Propp also did not agree that the fairy tale “is not connected with the conditions of real life.” His opinion is shared by many other researchers who believe that a fairy tale is intended to reflect reality, to convey to listeners and readers some generalized idea that is closely related to life. Finally, the formula that a fairy tale provides aesthetic pleasure, even if listeners “find it incredible or unreliable,” is initially incorrect, since a fairy tale is always considered fictional. However, J. Bolte and G. Polivka are right in defining a fairy tale through the closest genus, that is, through a story, a narrative in general.

Based on the above, we will try to formulate the following definition: a fairy tale is one of oldest species folk literature, a narrative (usually prosaic) about fictitious, often fantastic events.

Speaking about the genre, it is important to pay special attention to the folk tale. By folk tale we mean “one of the main genres of oral folk art, an epic, predominantly prosaic work of art of a magical, adventurous or everyday nature with a focus on fiction”

According to V.Ya. Proppa, a fairy tale is determined, first of all, artistic form. “Each genre has a special, peculiar to it, and in some cases only to it, artistry. The set of historically established artistic techniques can be called poetics.” Based on this, it turns out that general definition: “a fairy tale is a story that differs from all other types of narration by the specificity of its poetics.”

However, this definition also requires further additions. The largest collector and researcher of fairy tales A.I. Nikiforov gave this genre the following definition: “Fairy tales are oral histories, existing among the people for the purpose of entertainment, containing events that are unusual in the everyday sense (fantastic, miraculous or everyday) and distinguished by a special compositional and stylistic structure”, “a work with a fantastic plot, conventionally fantastic imagery, a stable plot-compositional structure, focused on listener through the form of storytelling."

A number of features characteristic of folk tales can be identified:

1) Variability and specificity of the plot

Talking about plot structure folk tales, in my opinion, it is necessary to dwell on the patterns of construction of folklore fairy tales, designated by V.Ya. Proppom. Based on the understanding of the plot as a complex of motives or repeating elements - functions characters, V.Ya. Propp identified thirty-one functions of the characters, the combination of which determines the structure of any fairy tale. In his work “Morphology of a Fairy Tale,” V. Propp notes that fairy tales have one feature - the components of one fairy tale can be placed in another fairy tale without any changes. Thus, the plots of folk tales are traditional and, to some extent, given. It is important to note that this led to variability in the plots: the core of the plot remained intact, but was only supplemented with individual details.

2) Conscious orientation towards fiction

People initially understand a fairy tale as fiction. “Fairy tales are collectively created and traditionally preserved by the people oral prose artistic narratives of such real content, which necessarily require the use of techniques of implausible depiction of reality. They are not repeated in any other genre of folklore,” argued V.P. Anikin.

The fact that they do not believe in the reality of the events described in the fairy tale was noted by V.G. Belinsky, who, comparing epics and fairy tales, wrote: “At the basis of a fairy tale, a hidden thought is always noticeable, it is noticeable that the narrator himself does not believe what he is telling, and internally laughs at his own story.” Aksakov, who made an attempt to distinguish fairy tales from other types of folklore more than a hundred years ago, wrote that the focus on conscious fiction affects the content of fairy tales, the depiction of the scene in them, and the characters of the characters.

Thus, characteristic feature fairy tales - in their fiction, in the fact that they are presented by the storyteller and are perceived by his listeners primarily as a poetic fiction, as a game of fantasy. The role of poetic fiction in a fairy tale, its function, its quality determine its main genre features.”

3) Techniques of poetics

Special techniques of poetics are, first of all, initial and final formulas, trinity, gradation, absence detailed descriptions nature, the spiritual life of heroes and so on. According to V.Ya. Propp, “each genre has a special, peculiar to it, and in some cases only to it, artistry.” Folklore tales usually begin with traditional initial formulas “once upon a time there was”: “Once upon a time there was a little peasant boy...”; “Once upon a time there was a king...”; “In a certain kingdom, in a certain state, a long-awaited heir was born into the royal family...” Folk tales most often have a happy ending and an equally traditional final formula, testifying to the well-being of the heroes: “They had a wedding here, and they got half a kingdom in addition”; “They lived happily ever after, and died on the same day...”

The final formulas sometimes reveal a claim to the authenticity of what is happening: “And I was there, I drank honey and beer...”.

In folk tales, the number three “dominates”: “Once upon a time there was a woman, and she had three sons...”. "One king had three daughters." There are most often three children in a family, they have to overcome three trials, accomplish three feats (in literary criticism, this technique is usually called three-fold repetition, with the help of which an increase in tension is conveyed or attention is focused on the main character). Along with trinity, gradation is also observed. Every new test, every new feat is more difficult, and every treasure is more precious than the previous one; and if the hero first finds himself in a forest of silver, then the road leads him to a forest of gold, and in the end - to a forest of precious stones.

4) Traditional characters

In folk tales there are only a small number of recurring characters: kings, princes, princesses, magic birds, giants, craftsmen, and so on. The specificity of folklore characters lies in their generalized, abstract image, the constancy of their functions and the brevity of their characteristics.

5) Uncertainty of fairy-tale space and time

In folk tales there are almost no indications of time and place, when and where the action takes place. Everything is very vague: “Once upon a time there was a man who had three sons. And when they grew up, they matured...” Sometimes the time and place are specified in some vaguely vague form: “And they live there in joy day after day, west of the sun, east of the moon in the very wind.” If the location of the action is indicated, then it is most often the native village, or the “white world,” or a foreign state.

With the help of clichéd expressions used at the beginning, the folk tale emphasizes its timeless nature: “it etait une fjis”; "es war einmal"; "one day…".

5) Sociality, the eternal struggle against evil, truth against untruth.

The images of the positive hero, his beloved, and their assistants form a single system expressing people's ideals and dreams. This world is opposed to the evil of life. Good in a fairy tale always triumphs over evil.

All these features will be continued and developed by a literary fairy tale.

The origin of the genre of literary fairy tale is the result of the process of interaction between folklore and literature, penetration into the world of folk tales, into its artistic system of elements of literary creativity.

The literary fairy tale is a genre known already in antiquity. The tale is recognizable in the touching love of Cupid and Psyche, told by Apuleius in the second century AD in the novel The Golden Ass. This is a characteristic folklore beginning, as well as a motive for magical trials. But all traditional folk fairy tales are subject to the individual author’s artistic design- create irony (for example, the Olympian gods are endowed with the features of “mere mortals”; they argue and refer to Roman criminal law).

And yet, the true founders of the genre of literary fairy tales are considered to be the writers of the late Italian Renaissance. Motifs from folk tales were used by G. Straparola (short stories “Pleasant Nights”). Researchers call him partly a follower of G. Boccaccio, but Straparola goes further, borrowing motifs for his short stories and fairy tales from ancient Indian narrative prose, or creating them himself.

The tradition of literary fairy tales was continued in the seventeenth century by the Neapolitan G. Basile. His “Tale of Tales” (or “Pentameron”) simultaneously absorbed the rich folk fairy tale tradition, literary motives, as well as the color of grace and irony that are inherent in Basile’s creative manner.

A few decades later, “Tales of My Mother Goose, or Stories and Tales of Bygone Times with Instructions” (1697), authored by the French writer Charles Perrault, was published. C. Perrault belongs to the baroque movement, hence the features of the literary fairy tales he created: gallantry, grace, moralizing and pretentiousness. In search of sources for his works, the author abandons ancient subjects and turns to folklore. He was looking for new content and new forms of art. Based on folk tradition, Perrault creatively approached the folklore plot, introduced into its development individual details, author's digressions, reflecting the customs and morals of contemporary reality. In literary fairy tales, C. Perrault reflected the beautiful literary language, vivid descriptions, details and images, even the accuracy of time references.

The courtly age was replaced by times that did not really favor fairy tales. It was an era of discovery and knowledge, which was called the Age of Enlightenment. The Enlightenment saw virtue in hard work and learning, rationality in the life of nature, and the undoubted benefit of art in the moral education of humanity. Inspired by the discoveries of natural sciences, educators decided that everything could be explained in terms of practical sense. Many researchers call this period the “crisis of the genre” of the literary fairy tale.

In Rococo literature, the fairy tale turns into an autonomous literary genre. Here the tales are presented in a different, not folklore, but “literary” style. Rococo tales are assessed as courtly and aristocratic art, they analyze and reflect the mores and psychology of their contemporary society, demonstrating duality human nature, affirm the natural imperfection of man. The style of the Rococo fairy tale is “elegantly whimsical metonymic comparisons and emphasized fragmentation and ornamentation, ... virtuoso and graceful play.”

There is a fairly wide range of writers working in the vein of the rocaille literary fairy tale. First of all, this is K.P. Crebillon, Catherine Bernard, Countess d'Aunois, Charlotte Rose Colon Delaforce, Countess de Murat, Jean de Prechac and others. A. France called this period the "golden age" of conte (fairy tales) and short stories.

The literary fairy tale reached its true flowering in the era of romanticism, when the fairy tale genre became the basis of the literature of this period.

Literary fairy tales of the romantics are characterized by a combination of the magical, fantastic, ghostly and mystical with modern reality. Relevant are social issues contemporary society for them (the romantics). The Romantics sought to establish the element of the miraculous, which would resist the monotony of everyday life and romanticism.

Literary tales of this period are close to folk tradition. For example, L. Tick’s fairy tales and plays combine folklore elements with everyday family chronicles. Hoffmann's tales, where connections with folklore are least mediated, are based on a combination of the real and the surreal. For the first time, the writer transfers the setting of fairy tales, night sketches and other fantastic and mystical visions to modern times, to the real world.

Hans Christian (or Hans Christian) Andersen continues the tradition of the romantics Tieck, Hoffmann and others. His work ends the period of European classical romanticism. Andersen's literary fairy tale is based not only on folk tales, but also on legends, beliefs, proverbs, as well as on various literary sources. It has elements of novel, lyricism, drama and short story. Expanding the fairy tale, bringing it closer to the real world, Andersen saturates it with enormous life material to such an extent that he himself begins to doubt whether it remains a fairy tale. From 1858 to 187, numerous issues of the collection “New Fairy Tales and Stories” appeared. The title of the collection indicated that the writer did not abandon the fairy tale genre. The concept of "history" also did not mean the radical fairy tales of his tales from one state to another. Andersen's "History", on the one hand, is not a fairy tale in the usual sense of the word. There are no supernatural miraculous events that have almost nothing to do with reality, and no mysterious, magical characters. On the other hand, Andersen’s “story” is a kind of fairy tale, but with a special, unique, unique fantasy.

The most famous and prolific storyteller in France in the third quarter of the nineteenth century is considered to be Edouard Rene Laboulaye de Lefebvre. Laboulet created almost all of his fairy tales on a folk basis, but he reworked the plots and images in such a vivid and original way that in the end it was difficult to recognize a folklore source. The writer’s sources were not only fairy tales from all regions of France, but also Spanish, German, Finnish, and Czech fairy tales. In addition, in the fairy tales of the writer Laboule we can observe both satire and humor (edifying ridicule and everyday humor).

The evolution of the genre does not stop there. Romanticism is being replaced by aestheticism. Fairy tales by O. Wilde and fairy-tale short stories by T. Gautier appeared, focused on the principle of the “ideal”, an aesthetic model.

Thus, O. Wilde’s tales, in which the action takes place in magical lands or past centuries are called “fairy tales of the future.” “Fairy tales of the future” include a certain universal cosmic worldview. Wilde himself made a conclusion that was ahead of a whole stream of twentieth-century philosophy: real, true beauty impossible without suffering.

By the end of the nineteenth century, the literary fairy tale ceased to be an apology for its era. In a crisis of European culture, moral and religious values the fairy tale undergoes transformation. The form of consciousness and the condition for overcoming the crisis becomes a conscious renunciation of reason and rational orientation. The fairy-tale reality created in a magical literary fairy tale exists according to its own laws, the way of being of which is the process of co-creation and aesthetic experiences.

In the nineteenth century, the tendency to lose the “purity” of the genre and to transform the fairy tale into a synthetic genre, combining components of different genres, intensified. A literary fairy tale is presented as an original author's art system, fundamentally different from folklore and revealing with it only distant connections and commonality of the main genre features.

During the period of romanticism, many genres were created and developed. In France, for example, so-called confessional prose was widespread - novels that contain the hero’s self-exposure. IN lyrical genres the most important artistic discovery was romantic poem, which was almost the leading genre of romanticism, along with the short story. The literary fairy tale has also become widespread in literature.

The most significant representatives of this genre were Countess de Segur, de Lefebvre and George Sand in France, Novalis, Brentano, Hauff, Hoffmann in Germany.

The literary fairy tale owes its origin to the folk fairy tale, but in many ways it is fundamentally different from it. A significant difference between a literary fairy tale and a folk fairy tale lies in the constant presence of a storyteller - an intermediary between the world of the fairy tale of this author and its creator.

The narrators are individual characters (in the fairy tales of H.H. Andersen, for example, this is the merchant’s son, Ole Lukoje); wind, air, birds, Street light and so on. Sometimes the storyteller speaks from own name. In some fairy tales, the author and the narrator merge together, are identified, and this gives a touch of authenticity to what is happening.

According to N.A. The basket, content, and idea of ​​a literary fairy tale are adjusted not only by the author’s worldview, but also by a complex of philosophical and aesthetic problems of the era in which it was created. Its plot and composition have no variations and, unlike a folk tale, are rigidly fixed.” For example, in the literary fairy tales of the romantics there are practically no traditional initial and final formulas.

In a literary fairy tale, one of the main tasks of the author is to convey his thoughts to readers, show his vision of the world and, to some extent, influence readers.

Thus, a literary fairy tale is a fairy tale of its time, which is inextricably linked with socio-historical events and literary and aesthetic trends. Like the fruit of labor a certain person Belonging to a certain time, a literary fairy tale carries ideas contemporary to that era and reflects contemporary social relations.

Due to the individualization of the heroes' speech, their naming and other characteristics, fairy-tale types are transformed into characters. In addition, the literary fairy tale is distinguished by subtle psychological shades. The characters of a literary fairy tale are individual and artistically differentiated, and their relationships with each other are often distinguished by complex psychological connections. The individualization of the fairy-tale hero is reflected in a literary fairy tale.

To understand the image of the hero in both literary and folk tales important role portraits and psychological characteristics heroes.

Literary fairy tales often include components outside world- natural phenomena, things and objects, elements of everyday life, scientific and technical achievements, historical events and characters, different realities and so on. Thanks to all of the above, the literary fairy tale is widely educational character. Her characters are not nameless; sometimes it contains geographical names that actually exist.

Folklorists and literary scholars note that there is still no unambiguous definition and consensus, even on what should be considered a literary fairy tale: a work that satisfies the ideological and aesthetic principles of a folk fairy tale; prosaic or poetic work, actively using elements of folklore poetics (not necessarily fairy-tale, it could be a legend, an epic, and so on); any work in which there is a happy ending and an unrealistic (with elements of fantasy) plot or mentions fairy-tale characters; an author's work for which an exact indication of a folklore and fairy-tale source is possible, or something else.

Y. Yarmysh defines a literary fairy tale as “a genre of literary work in which, in a magical, fantastic or allegorical development of events, and, as a rule, in original plots and images in prose, poetry or drama, moral, ethical and aesthetic problems». This interpretation genre seems not entirely accurate, since allegory is also characteristic of fables and stories, and the fantastic beginning is characteristic not only of the fairy tale genre, but also of ballads and romantic short stories.

FROM. Surat adheres to his own point of view and gives the following definition of a literary fairy tale: it is “a genre that combines the features of individual author’s creativity with the use, to a greater or lesser extent, of certain folklore canons - figurative, plot-compositional, stylistic.” In my opinion, in this definition reflects one of the main features of a literary fairy tale, however, “folklore canons” are inherent not only in a literary fairy tale, but also in a song, romance, ballad, tale, fable, story, and so on.

A fairly complete definition of a literary fairy tale was given by L.D. Braude: “A literary fairy tale is an author’s artistic prose or poetic work, based either on folklore sources, or invented by the writer himself, but in any case subordinate to his will; a work primarily of fantasy, depicting wonderful adventures of fictional or traditional fairy-tale heroes and in some cases child-oriented; a work in which magic, miracle plays the role of a plot-forming factor and helps to characterize the characters.”

In turn, T.G. Leonova defines the genre of literary fairy tale as “ narrative work small epic form with a fantastic plot, with conventionally fantastic imagery, unmotivated miracles and miracles as a given, focused on the reader accepting the convention; a work that is correlated with a folk tale by a purely individual manifestation of folklorism and differs from it in the author’s concept of seeing the world, the ideological and aesthetic tasks of the time and the connection with artistic method writer."

Both researchers highlight such common features literary fairy tale as:

• - author's beginning;
• - fantastic, wonderful plot;
• - correlation with a folk tale.

In the concept of T.G. Leonova's most significant is the selection following features literary fairy tale:

• - conventionally fantastic imagery;
• - orientation towards the reader who accepts the convention;
• - connection with the writer’s artistic method;
• - the author's concept of vision of the world.

Thus, a literary fairy tale is understood as a narrative work of small, medium or large epic form with a fantastic plot, with conventionally fantastic imagery, aimed at the reader who accepts the convention; a work that is correlated with a folk tale by a purely individual manifestation of folklorism and differs from it in the author’s concept of seeing the world, the ideological and aesthetic tasks of the time and the connection with the writer’s artistic method.

When analyzing fairy tales and conducting lessons on fairy tales, the features of folk tales and literary tales should be taken into account.

This is a sensitive topic, well, the most important ideas, main problems, plot cores and - most importantly - the alignment of forces that bring about good and evil, are essentially the same in fairy tales of different peoples. In this sense, any fairy tale knows no boundaries, it is for all of humanity. Folklore studies have devoted a lot of research to the fairy tale, but defining it as one of the genres of oral folk art still remains an open problem. The heterogeneity of fairy tales, the wide thematic range, the variety of motives and characters contained in them, the countless number of ways to resolve conflicts really make the task of defining a fairy tale genre very difficult. And yet, the divergence in views on a fairy tale is associated with what is regarded as the main thing in it: an orientation toward fiction or the desire to reflect reality through fiction. The essence and vitality of a fairy tale, the secret of its magical existence is in the constant combination of two elements of meaning: fantasy and truth. On this basis, a classification of types of fairy tales arises, although not entirely uniform. Thus, with a problem-thematic approach, fairy tales dedicated to animals, tales about unusual and supernatural events, adventure tales, social and everyday tales, anecdote tales, upside-down tales and others are distinguished. The groups of fairy tales do not have sharply defined boundaries, but despite the fragility of the demarcation, such a classification allows you to start a substantive conversation with the child about fairy tales within the framework of a conventional “system” - which, of course, makes the work of parents and educators easier.
To date, the following classification of Russian folk tales has been accepted:1. Tales about animals;
2. Fairy tales;
3. Everyday tales. Let's take a closer look at each of the species. Tales about animals Folk poetry embraced the whole world; its object was not only man, but also all living things on the planet. By depicting animals, the fairy tale gives them human traits, but at the same time it records and characterizes their habits, “way of life,” etc. Hence the lively, intense text of fairy tales.
Man has long felt a kinship with nature; he truly was a part of it, fighting with it, seeking its protection, sympathizing and understanding. The later introduced fable, parable meaning of many fairy tales about animals is also obvious. In fairy tales about animals, fish, animals, birds act, they talk to each other, declare war on each other, make peace. The basis of such tales is totemism (belief in a totemic animal, the patron of the clan), which resulted in the cult of the animal. For example, the bear, which became the hero of fairy tales, according to the ideas of the ancient Slavs, could predict the future. He was often thought of as a terrible, vengeful beast, unforgiving of insults (the fairy tale “The Bear”). The further the belief in this goes, the more confident a person becomes in his abilities, the more possible is his power over the animal, the “victory” over him. This happens, for example, in the fairy tales “The Man and the Bear” and “The Bear, the Dog and the Cat.” Fairy tales differ significantly from beliefs about animals - in the latter, big role plays fiction related to paganism. The wolf is believed to be wise and cunning, the bear is terrible. The fairy tale loses its dependence on paganism and becomes a mockery of animals. Mythology in it turns into art. The fairy tale is transformed into a kind of artistic joke - a criticism of those creatures that are meant by animals. Hence the closeness of such tales to fables ("The Fox and the Crane", "Beasts in the Pit"). Tales about animals stand out in special group according to the character of the characters. They are divided by type of animal. This also includes tales about plants, inanimate nature (frost, sun, wind), and objects (a bubble, a straw, a bast shoe). In fairy tales about animals, man:
1) plays minor role(the old man from the fairy tale “The Fox Steals Fish from the Cart”);
2) occupies a position equivalent to an animal (the man from the fairy tale “The old bread and salt is forgotten”). Possible classification of a fairy tale about animals. First of all, a fairy tale about animals is classified according to the main character (thematic classification). This classification is given in the index of fairy-tale plots of world folklore compiled by Arne-Thomson and in the “Comparative Index of Plots. East Slavic Fairy Tale”: 1. Wild animals.
- Fox.
- Other wild animals.
2. Wild and domestic animals
3. Man and wild animals.
4. Pets.
5. Birds and fish.
6. Other animals, objects, plants and natural phenomena. The next possible classification of a fairy tale about animals is a structural-semantic classification, which classifies the fairy tale according to genre. There are several genres in a fairy tale about animals. V. Ya. Propp identified such genres as: 1. Cumulative tale about animals.

3. Fable (apologist)
4. Satirical tale E. A. Kostyukhin identified genres about animals as: 1. Comic (everyday) tale about animals
2. A fairy tale about animals
3. Cumulative tale about animals
4. A short story about animals
5. Apologist (fable)
6. Anecdote.

Fairy tales are very important genre in literature. This is where young children begin to become acquainted with the world of prose and poetry. But what do they mean, what is the history and specificity of the author's fairy tales? Let's look at all this below, as well as a list of Russian literary fairy tales with their authors and features.

Definition

A fairy tale is a genre in literature, usually based on folklore. It can be both prosaic and poetic. However, basically this folklore prose, and every nation has its own fairy tales. The main difference for them is usually the presence of mythical creatures and/or fantasy, fantastic, and magical elements.

But unlike folklore works, fairy tales always have an author. Often there is an obvious struggle between good and evil, bad and good. Usually there is a main character - the “favorite” of the author and, as a result, the reader. And there is also an antihero - a mythical villain.

Story

As mentioned above, fairy tales originate from folklore. However, not always, because they can also be purely copyrighted. They appeared a long time ago in the form of folklore works, passed on “from mouth to mouth.” In Rus' for a long time this is how their own existed and spread folk tales.

Some works can be classified as very old fairy tales. For example, many folklore tales Ancient Rus' and church parables of the Middle Ages, in many ways reminiscent of the genre we are considering.

Further, fairy tales began to appear in Europe in the usual sense for people: the Brothers Grimm, Hans Christian Andersen, Charles Perrault and many others. But on the territory of modern Russia, Alexander Sergeevich Pushkin was previously (and still is) very popular. In the 18th century, in general, many writers loved to take a basis from folklore and thus create new works.

In the 20th century, even more fairy tales appeared. Such great writers as Maxim Gorky, Alexei Tolstoy and others were known as authors of this genre.

Specifics

Author's fairy tales are also called literary. As already described above, they are distinguished from folklore works by the presence of an author. Of course, even the very old had their creators folk tales, but the authors as such were lost, because for centuries the stories passed orally from one person to another, sometimes even significantly modified, since each person could interpret and retell differently, and so on for a long time.

Another difference between an author’s fairy tale and a folk tale is that it can be in both verse and prose, while the second can only be in prose (initially it was only oral). Also, folklore usually touches on the theme of the confrontation between good and evil, while in literary works this is not necessary.

Another difference is that folk tales have more superficially described characters, while in literary tales, on the contrary, each character is clearly expressed and individual. In folklore there is also a beginning, a saying and peculiar figures of speech. They also tend to be even smaller than literary ones. This is all due to the fact that it was transmitted orally, so much was lost, and the size was shortened because it was forgotten over generations. But nevertheless, the tendency to different speech patterns, characteristic only of Russian fairy tales, has been preserved. For example, "once upon a time", the epithet " good fellow“, and in Pushkin: “in the distant kingdom, in the thirtieth state”, etc.

The most surprising thing is that there is no exact definition of an author's fairy tale as such. Yes, it came from folklore and has changed greatly, which helps in defining this term. Fantastic creatures have been preserved, which change depending on the people. Fairy tales are usually small in size. There is definitely some fiction in them. But you can always find some kind of morality, which is the main purpose of a fairy tale. This distinguishes it from fantasy, where the emphasis is not on morality, but on the narration of the plot, which also differs in that it has more adventures, events, and breathtaking events. Also, fantasy works and epics are long in size. And the world described in them usually has no folklore basis. It is often a fiction of an author who has completely created his own reality. In fairy tales, on the contrary, there is fiction, but it is within the framework of the real world.

Kinds

Many researchers subdivide literary tales into several categories. E. V. Pomerantseva, for example, divides them into 4 genres:

• adventure-novelistic;
• household;
• about animals;
• magical.

But the domestic folklorist V. Ya. Propp divides fairy tales into large quantity categories:

1. About inanimate nature, animals, plants, objects. Everything is simple here: fairy tales tell about this, respectively, about animals or inanimate nature as the main element. An interesting fact here is that such works are rarely Russian or European. But similar tales are often found among the peoples of Africa, North America.
2. Cumulative fairy tales refer to those works where the plot is repeated several times until the denouement reaches the climax. This makes it easier for children to perceive them. A striking example There are stories about the turnip and the kolobok.
3. The everyday (novelistic) genre tells about different people by character. For example, a fairy tale about an evil deceiver or stupid man.
4. Boring fairy tales are designed to lull children to sleep. They are very short and simple. (For example, a fairy tale about a white bull).
5. Fables about something that could not happen in reality. It is worth noting that all fairy tales have a share of fiction, but fables contain the most fiction: talking animals, humanized bears (they live like people, communicate, etc.). As a rule, all subspecies overlap with each other. It is rare that a work belongs to only one of them.

In Russian fairy tales, heroic and soldier branches are also distinguished.

The most interesting thing is that fairy tales as a genre are studied very seriously. In Europe, A. Aarne wrote the so-called “Index of Fairy-Tale Types” in 1910, which also contains divisions into types. Unlike the typology of Propp and Pomerantseva, well-known European tales about fooled devils and anecdotes are added here. Based on the works, Aarne created his index of fairy-tale plots and S. Thompson in 1928. A little later, folklorist N.P. Andreev and many other researchers worked on this typology, but with the introduction of Russian (Slavic) types.

Above we looked at the main subspecies, which relate more to folk art. Author's fairy tales, as a rule, are much more complex, and it is not easy to type them into a certain subgenre, but they have adopted a lot from folklore and the types described above as their basis. Also, plot motifs are taken from many sources. For example, the hatred of stepdaughter and stepmother, popular in works.

Now let's move on to the lists of folk and literary fairy tales.

Fairy tales for 1st grade

The list is large, since children begin their introduction to reading with stories and fairy tales, because they are small and easy to remember and master. In first grade it is recommended to read:

1. Small folk tales. Often they are about animals: “The Cat and the Fox”, “Kolobok”, “Crow and Crayfish”, “Geese-Swans”, as well as “Sister Alyonushka and Brother Ivanushka”, “Porridge from an Ax”, “A Man and a Bear”, “ Cockerel-golden comb", "Morozko", "Bubble, straw and bast shoe", "Teremok", "Po pike command" and etc.
2. Charles Perrault, "Little Red Riding Hood".
3. Pushkin Alexander Sergeevich, "The Tale of Tsar Saltan" and other short stories.

Literary fairy tales: 2nd grade, list

1. Folk tales adapted by A. N. Tolstoy.
2. The works of the Brothers Grimm, for example " The Bremen Town Musicians".
3. E. L. Schwartz, "The New Adventures of Puss in Boots."
4. C. Perrault: "Puss in Boots" and "Little Red Riding Hood".
5. Tales of Hans Christian Andersen.
6. As well as small works by A. S. Pushkin, D. N. Mamin-Sibiryak, P. Ershov, P. Bazhov, K. D. Ushinsky and others.

List of literary fairy tales for grade 3

In these classes they also read fairy tales, but they are longer, and there are also fewer folk tales and more literary ones. For example, everyone famous fairy tale Lewis Carroll about Alice Through the Looking Glass. And also larger ones fairy tales Mamin-Sibiryak, Saltykov-Shchedrin, Pushkin, Bazhov, Zhukovsky, Tchaikovsky, Perrault, Andersen and many others.

4th grade

List of literary fairy tales:

• Garshin V. M., “The Tale of the Toad and the Rose”;
• Zhukovsky V. A., “The Tale of Tsar Berendey”, “There the skies and waters are clear”;
• E. Schwartz "The Tale of Lost Time."

5th grade

Literary fairy tales in the secondary school reading program are much less common than in grades 1-4, but nevertheless there are such works. For example, fairy tales by Andersen and Pushkin, which are also in primary school. The list of literary fairy tales for grade 5 does not end here. There are also works by Zhukovsky, Schwartz and many others for children of this age.

Instead of a conclusion

A fairy tale is a very interesting genre, which is still studied by various researchers, and children read according to school curriculum. Initially, they were only folk, transmitted orally. But then author’s literary fairy tales began to appear, which usually take folklore plots and characters as a basis. Such works are small, they contain fiction and a special narrative. But this is precisely what makes the fairy tale genre special and distinguishes it from others.

Russian folk tales: types, principles of storytelling

The word “fairy tale” has been known since the 17th century. Until this time, the term “fable” or “fable” was used, from the word “bayat”, “tell”. This word was first used in a letter from Voivode Vsevolodsky, where people who “tell unprecedented tales” were condemned. But scientists believe that the people used the word “fairy tale” before. There have always been talented storytellers among the people, but there is no information left about most of them. However, already in the 19th century, people appeared who set out to collect and systematize oral folk art.

A.N. Afanasyev was a prominent collector. From 1857 to 1862 he created collections of Russian folk tales.

Fairy tale - narrative work oral folk art about fictional events

Russian folktale - this is a treasure folk wisdom. It is distinguished by the depth of ideas, richness of content, poetic language and high educational orientation (“a fairy tale is a lie, but there is a hint in it”).

The Russian fairy tale is one of the most popular and favorite genres of folklore, it has an entertaining plot, amazing heroes, there is a feeling of true poetry that opens the world to the reader human feelings and relationships, affirms kindness and justice, and also introduces Russian culture, wise folk experience, and the native language.

2. Classification of fairy tales. Character traits each type

To date, the following classification of Russian folk tales has been accepted:

1. Tales about animals;

2. Fairy tales;

3. Everyday tales.

Let's take a closer look at each type.

Animal Tales

Folk poetry embraced the whole world; its object was not only man, but also all living things on the planet. By depicting animals, the fairy tale gives them human features, but, at the same time, records and characterizes habits, “way of life,” etc.

Man has long felt a kinship with nature; he truly was a part of it, fighting with it, seeking its protection, sympathizing and understanding. The later introduced fable, parable meaning of many fairy tales about animals is also obvious.

Fairy tales differ from beliefs - in the latter, fiction associated with paganism plays a large role. The wolf is believed to be wise and cunning, the bear is terrible. The fairy tale loses its dependence on paganism and becomes a mockery of animals. Mythology in it turns into art. The fairy tale is transformed into a kind of artistic joke - a criticism of those creatures that are meant by animals. Hence the closeness of such tales to fables ("The Fox and the Crane", "Beasts in the Pit").

Tales about animals are allocated to a special group based on the nature of the characters. They are divided by type of animal. This also includes tales about plants, inanimate nature (frost, sun, wind), and objects (a bubble, a straw, a bast shoe).

There are several genres in a fairy tale about animals. V. Ya. Propp identified suchgenres How:

1. Cumulative tale about animals. (Boring fairy tales, such as: “About the white bull,” Turnip”);

2. A fairy tale about animals;

3. Fable (apologist);

4. Satirical tale.

The leading place in fairy tales about animals is occupied by comic tales - about the pranks of animals (“The fox steals fish from a sleigh (from a cart), “The wolf at the ice hole,” “The fox smears its head with dough (sour cream), “The beaten man is lucky for the unbeaten,” “The fox midwife” ", etc.), which influence other fairy-tale genres of animal epic, especially the apologist (fable).

Fairy tales

Fairy tales of the fairy type include magical, adventure, and heroic. These tales are based onwonderful world .

Wonderful world - This is an objective, fantastic, unlimited world. Thanks to unlimited fantasy and a wonderful principle of organizing material in fairy tales with a wonderful world of possible “transformation”, amazing in their speed (children grow by leaps and bounds, every day they become stronger or more beautiful). Not only is the speed of the process surreal, but also its very nature."Conversion" in fairy tales of the miraculous type usually occurs with the help of magical creatures or objects .

A fairy tale is based on a complexcomposition , which hasexposition, plot development, climax and resolution .

At the coreplot A fairy tale contains a story about overcoming loss with the help of miraculous means, or magical helpers. In the exhibition of the fairy tale there are consistently 2 generations - the older (the king and the queen, etc.) and the younger - Ivan and his brothers or sisters. Also included in the exhibition is the absence of the older generation. An intensified form of absence is the death of the parents.The beginning fairy tale is that the main character or heroinediscover the loss or am I present heremotives for the ban , violation of the ban and subsequent disaster. Here is the beginning of counteraction, i.e.sending the hero from home.

Plot development is a search for what is lost or missing.

The climax of a fairy tale is that the protagonist or heroine fights an opposing force and always defeats it.

Denouement is overcoming a loss or lack. Usually the hero (heroine) “reigns” at the end - that is, acquires a higher social status than he had at the beginning.

Meletinsky, identifying five groups of fairy tales, tries to resolve the issue historical development genre in general, and plots in particular.

The tale contains some motifs characteristic of totemic myths. Absolutely obviousmythological origin universally widespreada fairy tale about marriage with a wonderful “totem” creature , who has temporarily shed her animal shell and taken on a human form (A husband is looking for a missing or kidnapped wife (a wife is looking for her husband): “The Frog Princess”, “The Scarlet Flower”, etc.).

A tale of visiting other worlds for the release of the captives there ("Three underground kingdoms", etc.). Fairy tales about a group of children falling into power are popular evil spirit, monsters, cannibals and those who are saved thanks to the resourcefulness of one of them (“The Witch’s Little Thumb,” etc.), or about the murder of a mighty snake (“The Snake Conqueror,” etc.).

In a fairy tale, we are actively developingfamily theme (“Cinderella”, etc.).Wedding for a fairy tale it becomes a symbolcompensation for the socially disadvantaged ("Sivko-Burko"). The socially disadvantaged hero (younger brother, stepdaughter, fool) at the beginning of the fairy tale, endowed with everything negative characteristics from his environment, is endowed with beauty and intelligence in the end (“The Little Humpbacked Horse”). The distinguished group of tales about wedding trials draws attention to the narrative of personal destinies.

Everyday tales

A characteristic feature of everyday fairy tales is the reproduction of everyday life in them. . The conflict of an everyday fairy tale is often thatdecency, honesty, nobility under the guise of simplicity and naivetyopposes those personality qualities that have always caused sharp rejection among the people (greed, anger, envy ).

As a rule, in everyday fairy tales there is moreirony and self-irony , since Good triumphs, but the randomness or singularity of its victory is emphasized.

The diversity of “everyday” fairy tales is characteristic : social-everyday, satirical-everyday, novelistic and others. Unlike fairy tales, everyday fairy tales contain a more significant elementsocial and moral criticism , she is more definite in her social preferences. Praise and condemnation sound stronger in everyday fairy tales.

IN Lately V methodological literature Information began to appear about a new type of fairy tales - fairy tales of a mixed type. Of course, fairy tales of this type have existed for a long time, but they have not been given of great importance, because they forgot how much they can help in achieving educational, educational and developmental goals. In general, fairy tales of a mixed type are fairy tales of a transitional type.

They combine features inherent in both fairy tales with a wonderful world and everyday fairy tales. Elements of the miraculous also appear in the form of magical objects, around which the main action is grouped.

Fairy tale in different forms and scale strives to embody the ideal of human existence.

Fairy tales broaden one's horizons, awaken interest in the life and creativity of peoples, and foster a sense of trust in all the inhabitants of our Earth engaged in honest work.

3. Principles of telling a fairy tale.

Fairy tale - it's amazingly powerful psychological impact tool for working with inner world human, a powerful development tool. Fairy tales surround us everywhere.

E.A. Flerina, the largest teacher in the region aesthetic education, sawThe advantage of storytelling over reading is that the narrator conveys the content as if he were an eyewitness to the events taking place.She believed that storytelling achieves a special immediacy of perception.

Every teacher should master the art of telling fairy tales, because... It is very important to convey the originality of the fairy tale genre.

The tales are dynamic and at the same time melodious. The speed of development of events in them is perfectly combined with repetition. The language of fairy tales is very picturesque: it contains many apt comparisons, epithets, figurative expressions, dialogues, songs, and rhythmic repetitions that help the child remember the fairy tale.

To the modern child It’s not enough to read a fairy tale, color images of its characters, and talk about the plot.With a child of the third millennium it is necessary make sense of fairy tales, search together and find hidden meanings and life lessons.

Principles of working with fairy tales:

Main focus