“Tales of my mother Goose, or Stories and tales of bygone times with teachings. Tales of My Mother Goose, or Stories and Tales of Bygone Times with the Teachings of Robin of Bobbin

Where: Moscow, st. Vozdvizhenka, 3/5, Russian State Library, Book Museum
When: April 7 - May 16, 2017

Who is the author of the fairy tales "Cinderella", "Sleeping Beauty", "Little Red Riding Hood"? Ridiculous question, you say: every child knows that they were written by the great storyteller, children's writer Charles Perrault. But behind the pages of "The Tales of My Mother Goose" secrets and mysteries are hidden: the name of Charles Perrault on the cover of "Tales ..." first appeared only 27 years after the release of the first edition of the book, and they were not intended at all for children's reading. And Charles Perrault was never a children's writer.

fairy detective

The 320th anniversary of the publication of the first book that brought fashion to fairy tales, raised them to the heights of great literature - "Stories and fairy tales of bygone times with teachings" ("Tales of my mother Goose") - is dedicated to a mini-exhibition, which is currently taking place at the Book Museum Russian State Library.

Charles Perrault (fr. Charles Perrault; January 12, 1628, Paris - May 16, 1703, Paris) was a famous poet in France during the time of the “sun king” Louis XIV, a critic of the classicism era, a member of the Royal Academy of Inscriptions and Medals (Academy of Inscriptions and Fine Literature ), an academician of the French Academy, a public figure and ... an author of fairy tales. True, these tales - "Griselda", "Funny Desires" and "Donkey Skin" - were in verse, and Charles Perrault did not hide his authorship. But he never called himself the author of "The Tales of My Mother Goose". They were presented in 1796 to Princess Louise Elisabeth of Orleans by Pierre Darmancourt, son of Charles Perrault, on his own behalf.

Was a nineteen-year-old youth the author of these tales? Each of the eight stories—Cinderella, Sleeping Beauty, Ricky with a Tuft, Puss in Boots, Little Thumb, Little Red Riding Hood, Bluebeard, Fairy Gifts—has been accompanied by two morals explaining the moral contained in the tale. And the researchers believe that the young man could not write such moralizing. For example, the moralizing to the fairy tale about Little Red Riding Hood (by the way, in the original the fairy tale did not have a happy ending: the wolf simply ate the gullible and overly talkative girl) sounded like this: “When a beautiful and young girl, moreover, will listen to everyone willingly, she will soon be deceived. And then, in the same way, it may soon happen, as it is written in this tale: that her wolf will eat; for wolves are not all wild, there are quite a lot of genera. They seduce many beautiful and trusting girls with their gentle words, trying to please other girls with their courtesy and cheerful appearance. They escort them to the very houses, and sometimes to the bed. Such flatterers, such hypocrites, should be removed more than others, if someone does not want to be deceived. (Tales about sorceresses: With morals / Translated from French [by Lev Voinov]. - St. Petersburg: Senat. type., 1781).

Charles Perrot. Puss in Boots: A fairy tale for children / with colorized pictures. — M.: chromolith. A. V. Morozova, type. Bakhmeteva, 1873 (reg. 1872). - 6 s., 6 l. col. ill.

There is an opinion that Charles Perrault, having given his book to Pierre, helped his son make a career at court, take a place in the retinue of the Princess of Orange - and this was a great way to draw attention to the young man. Other experts believe that Pierre Darmancourt himself wrote down the tales that the nurse told him, and his father only helped him with advice and literary processing. Another option is a classicist, an “immortal” academician, a respected literary figure who could not stoop to a low genre, which was a folk tale, and spoke under the name of someone who has nothing to lose.

Be that as it may, in 1697 "The Tales of My Mother Goose" were published - first in France, and then in Holland. The book was so popular that during the year the publisher repeated the circulation three times! The fairy tale came into fashion, broke into the literary salons of high society and ceased to be a low genre. However, the secret of the real author of fairy tales remained a secret. In 1699, Pierre Darmancourt died, in 1703 his father died, but not once, listing his works, did Charles Perrault mention "Stories and Tales of Bygone Times with Teachings."

Publishers began to include in the collection "Donkey Skin" and "Griselda" by Perrault, tales of followers and imitators (for example, "Beauty and the Beast" by Gabrielle-Suzanne Barbeau de Villeneuve or her version of Jeanne-Marie Leprince de Beaumont). The book instantly spread around the world, translated into many languages. Often the author was not indicated at all - just as his name was not on the very first edition of 1697. And in 1727, the name of Charles Perrault firmly settled on the covers - and it is him that we, without a doubt, call the author of our favorite fairy tales from childhood.

Charles Perrot. Puss in Boots: A fairy tale for children / with colorized pictures. — M.: chromolith. A. V. Morozova, type. Bakhmeteva, 1873 (reg. 1872). - 6 s., 6 l. col. ill.

Not trifles at all!

The head of the sector of museum and exhibition work of the research department of rare books (Book Museum), curator of the exhibition Maria Borisovna Zolotova says: “The purpose of our exhibition is to recall this wonderful date and show how diverse these fairy tales were in different publications and how they looked different at different times. We wanted to show the book in all forms, types and styles - adult editions, older children's editions, and toddler editions." In the exposition of the mini-exhibition, there was a place for scientific editions of fairy tales with comments and forewords by literary critics - and toy books. Different translations, different publishers and publishing houses, pre-revolutionary publications, publications of the Soviet period and recent times ... And all this is a rarity, each of which is interesting in its own way and beautiful in its own way.

For the first time, "Tales ..." were translated into Russian in 1768. You will not see the first edition at the exhibition, unfortunately, it is not in the stock of the Russian State Library. But you will see the second: “Tales about sorceresses: With morals / Translated from French [by Lev Voinov]. - St. Petersburg: Senate. type., 1781". This collection includes nine fairy tales: “Fairy tale 1. About a girl in a red cap”, “Fairy tale 2. About charmed girls”, “Fairy tale 3. About a certain man with a blue beard”, “Fairy tale 4. About a beauty sleeping in the forest”, “ Fairy tale 5. About the father cat in spurs and boots", "Fairy tale 6. About the pot, in which they contain ashes", "Fairy tale 7. Ricket in a scythe", "Fairy tale 8. About the Boy with a finger", "Fairy tale 9. From skillful princess's letter to Countess Murat" (the author of the last tale is Marie-Jeanne Léritier de Villandon).

The author's name is not on the 1781 edition. But the collection of 1825 is signed: “Magic tales, or Pleasant occupation from nothing to do. / Op. Perolta; From which the operas and ballets presented at the imperial theaters are taken; Translated from the French Imperial Moscow Theater by the actor Baranov. - Moscow: In the printing house of August Semyon, 1825. Take a closer look at this book monument: handmade paper, hand-set, hand-colored illustrations.

Charles Perrot. Puss in Boots: A fairy tale for children / with colorized pictures. — M.: chromolith. A. V. Morozova, type. Bakhmeteva, 1873 (reg. 1872). - 6 s., 6 l. col. ill.

On one show-window — “Six fairy tales. A Gift for Kind Children”, an 1845 edition (“Cinderella” is called very funny in this collection “Chumichka”) and the famous 1867 edition of the printing house of Matvey Osipovich Volf “Perrot's Fairy Tales”. The fairy tales were translated by Ivan Sergeevich Turgenev, he also owns the preface to the publication, and the illustrations are based on the magnificent engravings of Gustav Doré.

Here is what Ivan Sergeevich Turgenev writes in the preface: “Perro's tales deserve an honorable place in children's literature. They are cheerful, entertaining, laid-back, not burdened with either excessive morality or the author's claim; they still feel the spirit of folk poetry, which once created them; they have precisely that mixture of incomprehensibly wonderful and ordinary-simple, sublime and amusing, which is the hallmark of a real fairy-tale fiction.

This book is addressed, rather, to adults, as well as a serious 1936 edition with scientific comments by the Leningrad publishing house Academia. But there are more children's books at the exhibition “Not at all trinkets” - toy books, fairy tales with illustrations by Vladimir Mikhailovich Konashevich, Pyotr Alexandrovich Alyakrinsky, Georgy, Alexander and Valery Traugotov, signed “G. A. V. Traugot. And the book Puss in Boots and Eight More Fairy Tales of Charles Perrault, published in 1996 by the Vedo publishing house, is interesting in that it was illustrated by children from the studio of the Volgograd Children's Art Gallery.

The name of the exhibition is taken from a statement by Charles Perrault about fairy tales. This is what this great man, who gave impetus to the development of literature for children, said: “... These trinkets are not trinkets at all, but contain useful morality, and [...] the playful narrative was chosen only so that they act on the mind reader with greater pleasantness, teaching and entertaining together.

Charles Perrot. Little Red Riding Hood / Perro Sh. - Baku: Narkompros AzSSR, 1940. - p.: ill.

Little Red Riding Hood: / [toy book based on the fairy tale by Ch. Perrault]. - [M .: T-va I. D. Sytin, beginning of the 20th century]. - l. : ill.

Tales of Perrault / From fig. A.P. Apsita. - M.: V. M. Sablin, 1916. -, 152 p.: ill., 4 p. ill.

"Tales of My Mother Goose, Or Stories and Tales of Bygone Times with Instructions" is a collection of fairy tales by the French writer Charles Perrault. It was published in January 1697 on behalf of Pierre Perrot d'Harmancourt, the writer's 19-year-old son, and with a dedication to Louis XIV's niece, Elizabeth-Charlotte of Orleans, who at that time was 21 years old.

Initially, the collection included eight prose tales with poetic morality; when reissuing the collection, Perrault added three more verse tales to it. One of the tales, "Sleeping Beauty", was published earlier, in 1696, in the magazine "Gallant Mercury" without indicating the name of the author. The unwillingness of the writer to directly declare his authorship is attributed by experts to the fact that the well-known writer, a member of the French Academy, was somewhat ashamed of his own appeal to the “low”, as it was customary at that time, fairy tale genre. On the other hand, Perrault's literary mystification made it possible to create the image of a certain audience of storytellers and listeners of fairy tales - young socialites. The collection “The Tales of My Mother Goose ...” was a resounding success, many reprints followed, the book was translated into other languages, it was imitated in France and abroad. The first Russian translation of the collection entitled "Tales of Sorceresses with Morales" was also made in the 18th century. (1768), one of the tales - "Puss in Boots" - was translated by V.A. Zhukovsky. The most authoritative modern French edition of fairy tales was published under the editorship of Gilbert Rouget in 1967. The modern Russian translation of “The Tales of My Mother Goose ...”, made by S. Bobrov, was published in 1976.

Ch. Perrault created his fairy tales at an advanced age, having retired from business. It is generally accepted that the writer composed them for a children's audience, because his main occupation at that time was the upbringing of children. The reader's fate of the collection seems to confirm this conclusion: Perrault's fairy tales are one of the most popular children's readings, there are many editions adapted for children. However, it is characteristic that these publications give the text of Perrault's fairy tales with alterations and abbreviations: for example, in all fairy tales humorous, sometimes ironically ambiguous (as in Little Red Riding Hood) poetic morality is usually omitted. (In the same "Little Red Riding Hood" the cruel end is remade, in the fairy tale "Sleeping Beauty" its second part is usually omitted - the story of the relationship between the princess and the mother of the prince who woke her up - a cannibal, etc.). It is obvious that since Perrault's texts need to be adapted in a certain way for a children's audience, then his fairy tales were created for an adult, although mainly, perhaps, a young, secularly educated and tasteful reader. At one time, A.N. Veselovsky credited the writer with the fact that he "introduced the folk tale into circulation." However, it should be clarified: Perrault did not write down folk tales. as folklorists would later do, but created a stylistically verified literary fairy tale, incorporating both folklore and book traditions - short stories and novels.

Among the followers of Charles Perrault outside of France already in the 19th century. were L. Thicke and E.T.A. Hoffmann, brothers Grimm and Brentano, Andersen and V.A. Zhukovsky, Dickens and A.S. Pushkin. Traditions and motifs drawn from the writer of the 17th century are found in the literary fairy tale of the 20th century - from A. France to M. Aimé.

The poetry of Perrault's tales did not leave indifferent musicians, choreographers, librettists, theater and film directors from different countries. There are ballets for almost all fairy-tale plots of the collection, several operas and musical comedies, puppet and dramatic performances, films. Of particular note is the fairy tale "Cinderella", which became the basis of three operas (N. Isaura, D. Rossini, J. Massenet), eight ballets, including S.S. Prokofiev (1945), M. Bontempelli's musical comedy and countless theatrical productions and adaptations. The ballet of the same name by P.I. Tchaikovsky (1890), in whose divertissement the heroes of other fairy tales by Perrault also participate.

A book with full-fledged versions of Charles Perrault's fairy tales (engravings and vignettes of the first edition of 1697 were used in the design) and my comments are sold in the following stores in St. Petersburg: Subscription Editions (on Liteiny), Word Order, All Free, and You can order it from Ozone.
The following is the preface "On Charles Perrault and his Tales" from this book.

1. THE SUN KING, THE SHADOW MINISTER AND HIS SERVANT

Alexandre Dumas' book, The Life of Louis XIV, begins with the words: "There are four great ages in the history of the world: the age of Pericles, the age of Augustus, the age of Leo X and the age of Louis XIV."
Getting acquainted with the "Parallels between ancient and new" by Charles Perrault, we see that it is these four centuries that the author compares with each other, invariably drawing a conclusion about the advantages of the age of Louis XIV over the previous "great centuries". The rest of the world - India, China, Africa, etc. - does not exist for the author. We are talking about the development of Europe from infancy (ancient Hellas) to maturity (the current century). It's great that France has become the center of Europe and a model for neighboring countries!
“His (i.e. Louis XIV) army was the most numerous, best organized and led. His diplomacy dominated all European courts. The French nation, with its achievements in the arts and sciences, in industry and commerce, has reached unprecedented heights. The court of Versailles (Louis transferred the royal residence to Versailles) became the object of envy and surprise of almost all modern sovereigns, who tried to imitate the great king even in his weaknesses. Strict etiquette was introduced at the court, regulating all court life. Versailles became the center of all high society life, in which the tastes of Louis himself and his many favorites (Lavaliere, Montespan, Fontange) reigned. All the highest aristocracy coveted court positions, since living away from the court for a nobleman was a sign of sternness or royal disgrace.
The king was the only Sun in the court, illuminating the courtiers with a smile. Deprived of the favor of the king, he felt deeply unhappy. The famous aphorism of the king “The State is me” became the motto of the absolute monarchy, to which Louis XIV aspired all his life.
Behind the Sun King was the Shadow, always dressed in black, Finance Minister Jean-Baptiste Colbert. He is not noble and devoid of secular manners, but he is a friend of the king and the only person to whom the king refers to "you". If Louis was adored, then Colbert was despised. In particular, when superintendent Nicolas Fouquet was cruelly sentenced to life imprisonment - and he knew how to be generous and he had many friends - everyone blamed Colbert for this, who essentially took the place of the deposed Fouquet, but not the king.
Where did Colbert come from? It is the "legacy" of the late First Minister Giulio Mazarin. Once Colbert managed the affairs of "the richest man in Europe", now he manages the affairs of all of France: he builds a fleet, establishes new positions, organizes manufactories. In order to imagine the breadth of powers of the "friend of the king", it is enough to say that the newborn children of Louise de Lavalier's favorite were taken away from their mother and raised by Madame Colbert. All this was done, especially while the Queen Mother Anna of Austria was alive, in great secrecy.
So, Colbert is the only friend and shadow of the Sun King. He helped the young artistic king invent all this court masquerade (1) and, in any case, provided him financially.
The Shadow of the King had an assistant and personal secretary, Charles Perrault. Knowing that that poet, Colbert instructed him to head the "King's Bureau of Glory", learning that he had once led the construction of the estate in Viry, he entrusted him with the construction of Versailles (by the way, one of the projects for the future residence of the king should not have been in Versailles , but in Viry). When Colbert wished to be aware of everything that was happening in the French Academy he had recently established, his assistant became an academician, or, in other words, "Immortal". The high positions held by Charles Perrault during his service to Colbert were invariably associated with the glorification of his majesty: he edited the articles of the General Dictionary of the French Language, composed mottos for the dauphin, monitored the correct use of royal symbols and heraldry in tapestries, etc.
(Looking ahead, we note that the main motives and main participants in the famous fairy tales of Charles Perrault have already been named above.)
After the death of his patron in 1681, Perrault lost almost all his posts and was able to take up literary activities. As a poet and critic (2), he continues to praise the age of Louis XIV, and in 1697 he publishes Tales of My Mother Goose, which immortalized his name (3).

2. DISPUTE ABOUT "ANCIENT" AND "NEW"

1644. Charles Perrault is 16 years old. Due to disagreement with the teacher (the first "ancient" on his way), he, having bowed, leaves the class. Next comes his friend Boren. For the next 3 or 4 years they work together on their own. Charles Perrault wrote about these years in his Memoirs:
“If I know anything, it is thanks to these years of self-study. We read almost the entire Bible, the History of France, translated a lot, read Virgil, Horace, Corneille and most of the other classical authors, extracts from whose works I still have.”
1687. Academician ("Immortal") Charles Perrault reads at the French Academy (1) the didactic poem "The Age of Louis the Great" (Le Siecle de Louis le Grand). This poem, which proves the superiority of the present age over antiquity, caused furious controversy, dividing those present into "ancient" and "new". For many subsequent years, Perrault led the polemic of the "new" against the "ancient", represented primarily by Nicolas Boileau. Criticism of the ancient heritage - science, architecture, sculpture, painting, poetry, etc. - is devoted to the dialogues of Charles Perrault "Parallels between the ancient and the new."
Charles Perrault, like his older brothers, was an ardent supporter of everything French: the French king, French history and the French language. True, French was opposed not to the languages ​​of other countries, but to Greek and Latin, i.e. again, it was in the nature of a preference for the new over the old. Under the leadership of Perrault, in 16 .., the “Great Dictionary of the French Language” was finally completed and published (work on it lasted 56 years), and the inscriptions on the tombstones of royal blood began to be written in two languages ​​- eternal Latin and French. So that ordinary people can read about the deeds of their masters in a language they understand.
The foregoing is the internal prerequisite for the creation of a cycle of fairy tales, while the external factor or background for the appearance of fairy tales is an extraordinary fashion for fairy tales among the ladies of high society. So, fairy tales were told in the salon "Mademoiselle", that is, Elizabeth-Charlotte of Orleans, sister of Philip of Orleans, regent of the kingdom; in the salon of the Marquise de Lambert, where refined society met and where Fontenelle played the most prominent role; in the salon of the Countess de Mura, who later wrote a number of fairy tales; in the salon of Ms. d "Onua, also famous for fairy tales; in the salon of Ms. de Camus, sister of the Cardinal, Duchess d" Epernon, Countess Grammont, Mademoiselle Léritier de Villodon.
Thus, “The Tales of My Mother Goose” appeared on already prepared soil, were addressed primarily to the ladies (which can be judged by the morals after the tales) and, in particular, to the Princess of Orleans, the king’s niece, to whom they were dedicated and presented.

3. PERROT'S TALES AS A RESPONSE OF "NEW" TO "ANCIENT"

The last answer and, as time has shown, the triumph of the "new" over the "ancient" is a collection of fairy tales by Charles Perrault.
In the preface to fairy tales (2), the author, answering "ancient", contrasts the immoral "Milesian stories" and the Renaissance novels imitating them with folk tales in which "virtue is always rewarded, and vice is punished." Thus, what for centuries was considered high in the eyes of the enlightened public is declared low, and what was considered low is declared high. This opposition is reminiscent of “Cinderella”: Cinderella, beautiful even in dirty clothes (folk tale), is preferable for the king (Perro’s king is always Louis XIV, a symbol of his century) noble sisters, representing the heritage of the ancient Greeks and Romans. In this case, the task of the author is similar to what a fairy does in a fairy tale: with the help of art (with a magic wand) dress up a folk tale in a beautiful dress.
So, the first thing that can be said about the fairy tales of Charles Perrault is that they are old folk tales, “dressed up” by the author. At the same time, the folk tale itself is likened to a princess, whom the author, being her godmother, found somewhere in a barn, laundered (we all know that in folk tales there are not only good examples, but also smut, witchcraft and other things for the author are not acceptable), dressed up in a beautiful dress and now represents at the royal court.
This is how it is usually understood. But one more thing needs to be said: the author does not simply oppose the folk tale to that which was left by antiquity. Perfectly versed in the heritage of the "ancients", appreciating a lot, Perrault cleans it at the same time. In particular, speaking of the "Donkey Skin", the author likens it to the tale of Cupid and Psyche (even if Perrault had not compared both stories in the preface, this would already have followed from the title, since the tale of Cupid and Psyche is taken from Apuleius' Golden Ass ). A hint of the continuity of the eternal content when changing the form is contained in the same "Donkey Skin":
The Golden Ass (i.e., antiquity) once defecated with pure gold (ancient heritage: Homer, Plato, Apuleius), but now these stories about Psyche-soul are incomprehensible to people (the golden donkey was slaughtered), moreover, Apuleius' "Miletian stories" immoral (like the feces of an ordinary donkey) and set a bad example, especially for women and children. As a new basis for expressing lofty thoughts, Perrault offers folk tales in his own edition. By supplying folk tales with poetic morals, the author, as it were, introduces the hitherto low genre into the high society. The transition from the old to the new is symbolically shown in The Donkey Skin as the transfer of the throne from father to son. The king's daughter (she is the Soul of the New Age), no less beautiful than her own mother (the Soul in the image of antiquity), from a dirty fugitive becomes a real Queen.
Thus, in the first approximation, the tales of Charles Perrault are, on the one hand, folk tales, cleansed of everything unimportant and vulgar, on the other hand, the Eternal Truth, told in a beautiful literary language in France at the end of the 17th century in the form of a nurse's tale.

4. TALES-PROTOTYPES

What were the folk tales that Charles Perrault “laundered” and “dressed up in a beautiful dress”?
Usually, the matter is presented in such a way that the writer heard prototype tales from nannies from the common people, in particular from the nurse of the youngest son Pierre (by the way, the tales were published under his name). This is not entirely true, since Perrault's tales had, as will be discussed below, literary prototypes. Besides, we can only guess what French folk tales were like in the time of Charles Perrault. Therefore, it would be incorrect, speaking of "The Tales of My Mother Goose", to refer to the "prototype" tales recorded by folklore collectors only in the second half of the 19th century.
Although we don’t know what kind of fairy tales Perrault heard from his nanny, we have something else - “The Tale of Tales” by Giambatista Basile, “the first collection of folk tales.” Numerous coincidences, up to turns of speech, between Perrault's tales and Basile's tales indicate that our author worked with this collection of tales. Probably many French "nanny's tales" were similar to Basile's tales. It is also possible that the coincidence of the Italian and French fairy tales prompted the author to think about the universality of the fairy tale language.
The Tale of Tales (1634 - 1636) was written in the Neapolitan dialect (which was, among other things, a protest against court Spanish) by the governor of the city Giugliano (i.e. a high-ranking official, like Perro) and published after the death of the author by his sister (usually explained by the fear of the Inquisition). In 1636 it was translated into French.
The "folkish" language of "Tales of Tales", lush and rough, is replete with Neapolitan proverbs and jokes. Basile's style contrasts with Perrault's laconism and moralism. Nevertheless, the "Tale of Tales" is a magnificent fairy-tale constructor: after Charles Perrault, the Grimm brothers made new "folk" tales from it.
The tales-prototypes, in particular the tales of Basile, will be considered below in connection with the concrete tales of Perrault.
"Subtracting" prototype tales from Perrault's tales, we will understand what Perrault brought there. And since, as will be shown below, what was introduced into the prototype tales is related to the "stories of bygone times" implied in the tales, then the legend of the folk origin of Perrault's tales, one would like to hope, will be dispelled.

5. CONCEPTUALITY OF PERROT'S FAIRY TALES

We note several tendentious features that attract attention when you first get acquainted with Perrault's fairy tales:

1. Four of the eight tales of the cycle, as follows from their names, form pairs. The first pair: "Bluebeard" (the story of the defeat of a too tough man) and "Little Red Riding Hood" (the story of the defeat of a too frivolous woman). Another pair is "Mr. Puss, or Puss in Boots" and "Cinderella, or the Glass Slipper" (the rise of an enterprising man from the common people and the rise of a meek woman from the common people). The synchronicity of the two tales is emphasized by the symbolic dressing of the Marquis de Carabas or Cinderella, respectively, in a new dress. The grouping of fairy tales in pairs is gender-based: red - blue, boots - shoe.

2. All but one fairy tale of the cycle begins with the letter I (Il - lived ...). And only the fairy tale "Mr. Cat, or Puss in Boots" begins not with the letter I, but with the letter V (Un - one miller ...), which is the author's selection of this particular fairy tale. So that such a selection does not seem accidental, in the first edition of 1697, it is this tale that is marked with a crown vignette, while other tales either have vegetable vignettes, or they do not exist at all.

3. In almost all fairy tales, names are called, and only one per fairy tale. The very naming of names in fairy tales is systematic: in Bluebeard it is “sister Anna”, in “Cinderella” it is “sister Javotte”, in “Fairies” it is “sister Fanchon”, in “A boy with a finger” it is “son Pierrot. All these names, called only once and always in direct speech, correspond to the sister of the heroine or the brother of the main character of the tale. In addition, in "Sleeping Beauty" the Emperor Cantalabut is called, and in "Puss in Boots" - the Marquis de Carabas.

4. Perrault's tales are interconnected by numerous threads and a common vocabulary. For example, in three fairy tales there are cannibals, in two fairy tales (and counting the "Donkey Skin" - in three) the heroes change clothes in new dresses, in two fairy tales there are boots, they are echoed by Cinderella's shoe, respectively, the fitting by the Boy with a finger of huge walking boots and fitting Cinderella's little shoe. Etc. and so on. All this gives rise to a sense of the tightness of the world of Perrault's fairy tales. Therefore, it is reasonable to consider these fairy tales in the ensemble of the whole.

Given at least the above, the widespread opinion that Perrault's tales are, in fact, folk tales, seems naive.
The first edition of 1697 testifies to the conceptual nature of the cycle of Perrault's tales, in which the artist and publisher brought the author's idea to perfection. This can be judged by comparing the original color drawings from the manuscript, donated in 1695 to the Princess of Orleans, with the engravings of the first edition.
(Prototype drawings and engravings, see the appendix "Reviewing the engravings ...").

6. ORIGIN OF THE NAME "THE TALES OF MY MOTHER GOOSEN"

The frontispiece of the first edition shows an old nanny telling stories to children.
“The frontispiece to her (the book) is a beautiful print, yellowed from time, depicting an old woman at a spindle in a room lit by an old lamp; she tells her tales to three children crowded around her with gaping mouths. The inscription bends around the old woman: “The Tales of My Mother Goose” - Contes de ma Mere I "Oye.
Indeed, isn’t she our common mother, this old nanny?...”
(P. de Saint-Victor "Fairy Tales")
It is clear that in a broad sense, this nurse is mother earth, the keeper of fairy tales, for whom we are all just children. She is called Mother Goose. Thus, intuitively, the title of Perrault's collection of fairy tales can be "translated" as "TALES OF MY MOTHERLAND FRANCE".
The image of the “Mother Goose”, proposed by Charles Perrault as an expression of the homeland, the soul of the people, etc., seems ideal now: the goose is a village bird, and, moreover, talkative ...
However, there is something else in Mother Goose:
Although the Goose is not mentioned anywhere except in the title of the collection, there is still a connection between the Goose from the common name and fairy tales: The Goose refers to the tale of the same name from the Basile collection (7). In that tale, a fairy gives a good sister a goose that defecates gold and precious stones. Which refers us to Perrault's tale "Donkey Skin" and, accordingly, to the "Golden Ass" by Apuleius. Considering the foregoing, we come to understand Mother Goose as a Nanny from the people, and the fairy tales she tells are like gold.
So, having named the Goose, the author not only clarified the name, but referred to the two main primary sources of his own tales - Basil's "Tale of Tales" and the tale of Cupid and Psyche by Apuleius.

7. "HISTORIES OF THE OLD TIMES"

The foregoing about the hidden link contained in the title is enough to pay close attention to the full title:
"Tales of my mother Goose, or Stories and tales of bygone times with moral teachings" (6)
(Contes de ma mere "Oye, ou Histores et contesdu temps passe avec des moralites).
In the second part of the title, in addition to understandable fairy tales, “stories of bygone times” are mentioned. What does it mean?
The name through "or" in addition to the general name of the collection is also in two mirror tales of the cycle: "Mr. Cat, or Puss in Boots" and "Cinderella, or a shoe trimmed with fur."
Now for some math:
Let's rewrite the name of the fairy tale "Mr. Cat, or Puss in Boots" as follows:
MR CAT = PUSS IN BOOTS
Removing the common multiplier "CAT" from both parts, we get:
MASTER = IN BOOTS,
Thus, we get the definition of the master:
"THE LORD IS THE ONE IN BOOTS". From which we can conclude that "boots" - this is what makes its owner a master.
(The validity of the conclusion is confirmed by the consideration of the fairy tale - see "Puss in Boots" - the story of the fall of Fouquet. Therefore, the formal operation performed on the name is correct.)
Now we will do a similar operation with a common name:
TALES OF MY MOTHER THE GOOSE = STORIES AND TALES OF THE OLD TIMES WITH INSTRUCTIONS
We remove from both parts of the "TALE" and get the hidden:
“TO MY MOTHER THE GOOSE HISTORIES OF THE OLD TIMES WITH INSTRUCTIONS, i.e.
"MY HOMELAND FRANCE HISTORY OF THE OLD TIMES WITH INSTRUCTIONS".
Q.E.D.
So, in the title of the collection of fairy tales, “Stories of bygone times with teachings” are hidden. An attempt will be made below to show that almost every fairy tale by Charles Perrault contains an allusion to a specific "history of the past." The author does this with the help of the names mentioned in the text and some details (which are usually taken by the "researchers" of Perrault's work as simple decorations of the text).
In the chapter “Dream Book of Charles Perrault”, a peculiar dictionary of Charles Perrault will be considered, with the help of which the tales of the cycle are combined into one. Now, as a hint, we can say that the mill, mentioned in Little Red Riding Hood as a landmark of the grandmother’s residence, is exactly the same one with which the fairy tale Puss in Boots begins.
The morals following fairy tales - they are addressed mainly to girls and are of a comic nature - can also be read on two planes (7). In some cases, they even serve as an additional hint at the story hidden in the fairy tale.
In several tales, the author alludes to 1661, when King Louis XIV became the sole ruler of France (8). In that year, many, including the future author of Mother Goose's Tales, made a rapid career.
(In principle, what has been said is enough for anyone to be able to independently find the stories hidden in fairy tales that deal with the first persons of France: the king, cardinals and favorites)

8. FROM THE SHUT TO THE PALACE

The history of the publication of "The Tales of My Mother Goose" is as follows:
In 1696, the book was presented as a gift to the Princess of Orleans, the favorite niece of King Louis XIV. The dedication to the princess, preceding the tales, was signed with the name of Pierre Darmancourt, son of Charles Perrault (the surname Darmancourt was taken from the name of the estate given by the father to his son).
The presentation of fairy tales composed by a “child” to such an “enlightened mind” in dedication is justified by the fact that, upon closer examination, these fairy tales turn out to be “full of a very reasonable meaning and revealing itself to a greater or lesser degree, depending on how much the readers delve into it.” Further, something is said about parents and children “from the most modest families”, about what a highly enlightened princess has to do with all this, and alludes to a certain husband from her family who was once part of these families.
Here is the passage from the dedication:
“It is true that these tales give an idea of ​​what is happening in the most modest families, where the commendable impatience with which parents hasten to enlighten their children makes them invent completely unreasonable stories in order to adapt themselves to these very children, who still have no reason; but who better to know how peoples live than those persons whom heaven has destined to lead them! The desire to know this led the husbands, moreover, the husbands belonging to your family, to poor huts and shacks, in order to see close up and with their own eyes the remarkable thing that is being done there, for such knowledge seemed to them necessary for the fullness of their enlightenment.
In this regard, the following can be said:
“The most modest families”, “huts and shacks” - this is how Charles Perrault calls the bourgeois and, in particular, his family somewhat coquettishly. Accordingly, “a parent seeking to enlighten the mind of his child” is Charles Perrault himself and his seventeen-year-old son Pierre, on behalf of whom fairy tales are presented. Thus, in initiation, the aged father, as it were, asks the throne to take care of his young son, vouching for the enlightenment of his mind. In addition, the "stories of bygone times" hidden in the tales "The Boy with a Thumb" and "Puss in Boots" hint at the benefits that the young man's father once brought to the throne with his zeal.
The request of the father was considered by the king and granted:
The son of Charles Perrault received a title of nobility (which his father earned, but never received, despite his great services to the throne) and was accepted into the retinue of the Princess of Orleans (9).
Fairy tales, on the highest resolution of Louis XIV, were approved for publication and in 1697 came out immediately in France and Holland. On the title page of "The Tales of My Mother Goose" flaunted the new noble name of Pierre de Armancourt. Under this name, fairy tales were published until 1723, after which they began to attribute the authorship of fairy tales to Charles Perrault.
Summing up the preliminary results, we can say that "Stories and Tales of the Past" are both stories and fairy tales. Like "fairy tales," dressed up folk tales, they came from the shacks to the palace. As "history", they came from the palace to the shacks (by "shacks" one must mean, first of all, the bourgeois). In the "shacks", they probably did not see the "stories" behind the fairy tales, but appreciated the "tales familiar from childhood." Since the publication of "The Tales of Mother Goose", and then "Tales of the Brothers Grimm", collections of folk tales will be replenished with new tales: "Little Red Riding Hood", "Bluebeard", etc.

9. THE TALES OF CHARLES PERROT IN THE MODERN WORLD

Today, the fairy tales of Charles Perrault are known to the general public mainly in retelling for children and without the morals of the author. The fairy tales themselves have also changed - for example, "Sleeping Beauty" ends with a wedding, and "Little Red Riding Hood" ends with the rescue of grandmother and Little Red Riding Hood. Such changes - and they were undertaken by the Brothers Grimm in Rosehip and Little Red Riding Hood - turn Perrault's tales into folk tales, which also usually end with a wedding, and in which the death of the protagonist is necessarily followed by his resurrection.
Note that the "happy ending" of "Little Red Riding Hood" contradicts Charles Perrault's intention, since this tale is a couple, as the name implies, "Bluebeard". Perrault's "Bluebeard" is the story of the defeat of a too tough man, "Little Red Riding Hood" is the story of the defeat of a too frivolous woman. Another gender pair of the collection is “Mr. Cat, or a cat in boots” and “Cinderella, or a shoe trimmed with fur” (boots - a shoe; the rise of an enterprising man and the rise of a modest woman). The popular version of "Little Red Riding Hood" ends with the arrival of the lumberjacks and the rescue of Grandmother and Little Red Riding Hood, which almost literally repeats the ending of "Bluebeard" (two lumberjacks - two brothers). Thus, there is a gender bias, as two tales kill a man. Men are punished, "helpless" women triumph. Which corresponds to the current state of affairs, but not the desire of the author.
The attempt, by simplifying Perrault's tales, to make them popular and childish, was not entirely successful. For example, in the same "Little Red Riding Hood" with a happy ending, one feels the struggle of the sexes, ending in the defeat of a man. Brought to the simplicity of the archetype, the story “teaches” the little girl not to compromise with the “wolves”, who will surely die in the end (“all men are dangerous animals”; the author only warned the girls against premarital sexual relations). In this regard, we can raise the question of the usefulness for kids of such fairy tales as "Bluebeard", "Little Red Riding Hood" and "The Boy with a Thumb" - after all, these fairy tales, being gender-colored, lay certain life scenarios in children's minds. Are these scripts good?
(It would be more correct to consider “The Tales of My Mother Goose” as fairy tales for youth. For young children, folk tales or fairy tales of the Brothers Grimm are much more suitable. But in practice, everything happens just the opposite - the folk tale is disappearing, and Perrault’s “psychological” tales are extremely popular)
Perhaps the following circumstance contributed to the transformation of Perrault's fairy tales into children's fairy tales: at the time of Perrault, "The Tales of My Mother Goose" were superimposed in the minds of readers on already known folk tales, in our time they replace almost unknown folk tales. At the same time, the author's irony and detachment were no longer perceived.
(Here, for example, with what charming lisping in the style of “fairy tales for kids” “Little Red Riding Hood” begins: “Once upon a time there lived a girl in one village, so pretty that there was no other like it in the world ...”)
So, the fairy tales of Charles Perrault were "appointed" to be children's, something was corrected. True, it is not clear what to do with the severed heads of the Ogre's daughters, the chopped body of Bluebeard, and so on. The wolf from an insidious seducer of inexperienced girls turned into just a wolf (it's like Aesop's fables, ignoring allegory and morality, are considered fairy tales about animals). Numerous "horrors" of Perrault's tales are usually explained "historically": in the old gloomy times, people lived poorly, did not wash, they had a high mortality rate, cannibalism flourished in besieged cities, cannibalism roamed the roads in search of unfortunate children, whom the peasants considered sorcerers -werewolves, who in the old days were often burned at the stake, etc. and so on.
At present, two trends prevail when considering the tales of Charles Perrault - "folklore" and "psychological" (or "psychoanalytic").
The “folklore” direction tries to present the matter as if “The Tales of My Mother Goose” are folk tales “collected” and only slightly processed by Charles Perrault (10).
(See the chapter "Folklore approach and the question of authorship")
Another, also democratic, tendency to consider Perrault's fairy tales is psychological and psychoanalytic. Feeling the interconnectedness of the tales of the cycle, the hermeticism of tales in general, some "psychologists" see in the tales of Charles Perrault a set of life scenarios, an exhaustive collection of neurotic states, etc. people play. People who play games (1964). But the interpretation of Perrault's tales in the spirit of vulgar Freudianism (a kind of pornography) has now become most widespread. To use the terminology of Perrault himself, the beautiful Princess, i.e. The soul, unrecognized by anyone, ended up in a pigsty
see the chapter "Perrault's Tales and Psychoanalysis").
In any case, the fairy tales of Charles Perrault have a life of their own. Since everyone knows these fairy tales from childhood, they actively “work” in the modern world.

10. ABOUT THIS STUDY

Since each subsequent chapter supplements and clarifies the previous one, and the final result is unknown, then this work is a study or even an investigation. So, for example, when analyzing the fairy tale "A boy with a finger", we notice that in "Puss in Boots" there is a similar "cannibal deception". Turning to "Puss in Boots", we clarify the images of boots and the cannibal. Going further to the "Little Red Riding Hood" we find there a mill familiar from "Puss in Boots", etc. and so on. - pull the rope and unravel everything.
(In principle, what has been said is enough for anyone to be able to independently find the stories hidden in fairy tales that deal with the first persons of France: the king, cardinals and favorites).
In the first part, the “stories of bygone times” will be considered, hidden in our opinion in the fairy tales of Charles Perrault. In order to see specific stories in fairy tales, you need to “defocus” your eyes in a certain way (if you take a certain point of view, hidden stories are easily found, and moreover unambiguously). When describing these stories, anonymous Internet quotes will be used, which in this case play the role of popular rumor. At the same time, it is not so important that correspondents confuse two cardinals who loved cats and two executed queens, since these errors are of an associative nature. Along the way, from fairy tale to fairy tale, Charles Perrault's "dictionary" will be updated. So we will try to understand and describe his author's Method of creating fairy tales.
The visual part of the proof will be based mainly on very conceptual engravings for the first edition of the 1697 tales.
In "General remarks on the tales of Charles Perrault" we will consider what applies to all the tales of the cycle. To show the originality of Charles Perrault's fairy tales, we will compare them with prototype fairy tales, with folk tales, with the fairy tales of the Brothers Grimm, as well as with nightmares, etc.

NOTES:

(1) Largely with the aim of introducing the courtiers to the new fashion, an example of which was demonstrated by Louis XIV himself, from 1672 the “world’s first glossy magazine” “The Gallant Mercury” began to appear. dependent on his majesty. In addition, fashion could distract the young nobles from the Fronde. In the meantime, lace, which used to be bought for a lot of money in Venice, begins to be produced at manufactories established by Colbert inside France.
In 1696, The Gallant Mercury published incognito The Sleeping Beauty (Beauty in the Sleeping Forest), the first prose tale of My Mother Goose's Tales.

(2) Given all of the above, the usual characterization of Charles Perrault as a poet and critic of the late classic era should be somewhat corrected.
Let's return to the quote from A. Dumas. Following the naming of the “great ages”, the names that glorified each century are listed. Among the few names relating to the century of Louis XIV, there is the name of Perrault. True, judging by the fact that the name stands between the artist Lebrun and the sculptor Girardon, this refers to the elder brother of the writer Nicolas Perrault, an architect. Thus, neither Charles Perrault nor Colbert are named among the best people of their century. Elsewhere in his book, A. Dumas writes: “Famous artists united to decorate the concentration of mysterious pleasures (i.e. The Grotto of Thetis) - Perrault created architecture, Lebrun composed statues and, according to his drawings, Girardon carved the main group from marble.” So, "artists united" to glorify the king and themselves, but how did it happen that they united? who united them? Maybe a government order? But many kings have done the same without succeeding. How are great eras created? The crowd sees the Sun King and the brilliant Versailles, but does not see the modest "stage workers". Which, however, the king knows well and does not leave with his favors.

(3) The Tales of My Mother Goose appeared under the name of Pierre de Armancourt, the youngest son of Charles Perrault. Under this name, fairy tales were published until 1715, after which they began to attribute authorship to Charles Perrault.

(4) The preface was written by Charles Perrault to a collection of three tales in verse, including "Donkey Skin", "Ridiculous Desires" and "Griselda". The collection came out in 16.

(5) Also widely known was a collection of 52 classic nursery rhymes (nursery rhymes) published in England in 1760 under the title Mother Goose Melodies. As you know, this collection inspired Edward Lear and Lewis Carroll to create nonsense. Now the image of Mother Goose as an expression of something primordially folk seems ideal.

(6) The title by which Perrault's tales became known, The Tales of Mother Goose in the first edition (1697), was placed only on the frontispiece, and the title title was Fairy Tales, or Stories, or Tales of Old Times with Instructions (Contes de fees ou Histores ou Contes du temps passe avec des moralites).

(7) An essay by Charles Perrault on the labyrinth of Versailles is given in this edition as an example of reading a text on several planes.

(8) The events of this most important year for France are very symbolically shown in Roberto Rossellini's film "The Seizure of Power by Louis XIV".

(9) Usually the name of the son under fairy tales is explained as follows: the clever courtier did not want to compromise his name with the low genre of the fairy tale; at the same time, however, it is immediately added that, for example, Lafontaine published fairy tales under his own name.
(It would seem that the second statement cancels the first, so you can not talk about all this ... but this is how a double thought is slipped into the reader’s head now, leading him to a stupor. An uncritical reader who has perceived a double thought feels objective and even proud of himself, in fact it is a bare zero, incapable of action.This is a typical example of "information" from the Internet, superficial and insidious, which spreads like a virus.)

(10) The fate of Pierre de Armincourt was sad. Unlike his father, he did not make a career at court. In 1698, he got into a fight with a neighbor and stained the sword of a nobleman with the blood of a commoner. Then the prison, for a lot of money, the father seeks the release of his son and buys a position for him in the Dauphin's regiment. In 1700, Pierre went to war and died in the first battle.

Charles Perrault (1628-1703) was a famous French storyteller, poet and critic. The fairy tales of Charles Perrault are familiar to everyone since childhood. Who has not heard fairy tales for children about the resourceful Puss in Boots, about the brave Little Red Riding Hood, about the beautiful Sleeping Beauty, about the strong Thumb Boy and about the kind Cinderella! For more than three hundred years, all the children of the world love and know these fairy tales.

Perrault's literary activity comes at a time when a fashion for fairy tales appears in high society. Reading and listening to fairy tales is becoming one of the common hobbies of secular society, comparable only to the reading of detective stories by our contemporaries. Some prefer to listen to philosophical tales, others pay tribute to the old tales, which have come down in the retelling of grandmothers and nannies. Writers, in an effort to satisfy these requests, write down fairy tales, processing stories familiar to them from childhood.

1697 - a collection of fairy tales "Tales of Mother Goose, or Stories and Tales of Bygone Times with Moral Instructions" is published

Perrault's tales are fairy tales (containing magical or supernatural elements). They date back to folk tradition and were first written down. In many countries there are different versions of the same fairy tale. Therefore, we often meet different versions of Perrault's tales.

The book of fairy tales was an unprecedented success among the Parisians in 1696, every day in the shop of Claude Barben sold 20-30, and sometimes 50 books a day! This - on the scale of one store - was not dreamed of today, probably even by the bestseller about Harry Potter.

During the year, the publisher repeated the circulation three times. It was unheard of. First, France, then all of Europe fell in love with magical stories about Cinderella, her evil sisters and a glass slipper, reread the terrible tale of the knight Bluebeard, who killed his wives, rooted for the suave Little Red Riding Hood, who was swallowed by an evil wolf. (Only in Russia did the translators correct the ending of the tale, in our country woodcutters kill the wolf, and in the French original the wolf ate both the grandmother and the granddaughter).

In fact, the tales of Mother Goose became the world's first book written for children. Before that, no one specifically wrote books for children. But then children's books went like an avalanche. The phenomenon of children's literature was born from Perrault's masterpiece!

Perrault's tales are based on well-known folklore plots, which he outlined with his usual talent and humor, omitting some details and adding new ones, "ennobling" the language. Most of all, these fairy tales were suitable for children. And it is Perrault that can be considered the founder of children's world literature and literary pedagogy.

The operas “Cinderella” by G. Rossini, “The Castle of Duke Bluebeard” by B. Bartok, the ballets “Sleeping Beauty” by P.I. Tchaikovsky, Cinderella by S.S. Prokofiev and others.

List of literature and methodological developments on the biography and work of Charles Perrault

1. Aleshina, G.N. At the ball at Cinderella: [matinee based on the fairy tale by Charles Perrault "Cinderella"] / G.N. Aleshina // Books, notes and toys for Katyushka and Andryushka. -2011.-№5.-S. 11-12.
2. Ardan, I.N. Literary game based on the work of Charles Perrault / I.N. Ardan // Pedagogical Council. - 2010. - No. 5. - S. 3-10.
3. Begak, B. Academic storyteller: [about the work of the French writer Ch. Perrault] // Preschool education, 1981, No. 10, p. 53-55.
4. Begak, B. The fairy tale lives!: To the 350th anniversary of Ch. Perrault. // Teacher's newspaper, 1978, January 12.
5. Boyko, S.P. Magic country of Charles Perrault. - Stavropol: Book. publishing house, 1992. - 317 p. (The second part of the book describes an imaginary dialogue of our contemporary visiting Charles Perrault with an entertaining retelling of the biography through the lips of Charles himself)
6. Boyko, S.P. Charles Perrault (from the ZhZL series - Life of Remarkable People). M.: Young Guard, 2005. 291 p.
7. Brandis, E.P. Tales of Charles Perrault. Book: From Aesop to Gianni Rodari. - M.: Det.lit., 1980. S. 28-32.
8. Zurabova K. The Tale of the Storyteller // Preschool Education, 2010. No. 8. P. 70-79.
9. Competition on the fairy tales of Ch. Perrault for the attentive and well-read: for students in grades 5-6 / ed. L.I. Beetle // In fairy land. - Minsk, 2007. - S. 120-125. - (Holiday at school).
10. Kuzmin, F. Storyteller of Mother Goose. To the 350th anniversary of the birth of Ch. Perro. / / Family and School, 1978. No. 1. pp. 46-47.
11. Sharov, A. Beautiful and tragic world of Perrault// In the book: Sharov A. Magicians come to people. - M.: Children's literature, 1979. - S. 251-263

As well as beautiful fairy tales, and. For more than three hundred years, all the children of the world love and know these fairy tales.

Tales of Charles Perrault

View the full list of fairy tales

Biography of Charles Perrault

Charles Perrault- a famous French storyteller, poet and critic of the era of classicism, a member of the French Academy since 1671, now known mainly as an author " Tales of Mother Goose».

Name Charles Perrault- one of the most popular names of storytellers in Russia, along with the names of Andersen, the Brothers Grimm, Hoffmann. The marvelous fairy tales of Perrault from the collection of fairy tales of Mother Goose: "Cinderella", "Sleeping Beauty", "Puss in Boots", "Boy with a Thumb", "Little Red Riding Hood", "Blue Beard" are famous in Russian music, ballets, films, theater performances , in painting and drawing dozens and hundreds of times.

Charles Perrault born January 12, 1628 in Paris, in a wealthy family of the judge of the Paris Parliament, Pierre Perrault, and was the youngest of his seven children (the twin brother Francois was born with him, who died after 6 months). Of his brothers, Claude Perrault was a famous architect, the author of the east facade of the Louvre (1665-1680).

The boy's family was concerned about the education of their children, and at the age of eight, Charles was sent to Beauvais College. As historian Philippe Aries notes, the school biography of Charles Perrault is the biography of a typical excellent student. During the training, neither he nor his brothers were ever beaten with rods - an exceptional case at that time. Charles Perrault dropped out of college before finishing his studies.

After college Charles Perrault takes private law lessons for three years and eventually earns a law degree. He bought a lawyer's license, but soon left this position and went as a clerk to his brother, the architect Claude Perrault.

He enjoyed the confidence of Jean Colbert, in the 1660s he largely determined the policy of the court of Louis XIV in the field of arts. Thanks to Colbert, Charles Perrault in 1663 was appointed secretary of the newly formed Academy of inscriptions and belles-lettres. Perrault was also the general controller of the surintendentship of the royal buildings. After the death of his patron (1683), he fell into disfavor and lost the pension paid to him as a writer, and in 1695 lost his position as secretary.

1653 - first work Charles Perrault- a parody poem "The Wall of Troy, or the Origin of Burlesque" (Les murs de Troue ou l'Origine du burlesque).

1687 - Charles Perrault reads his didactic poem "The Age of Louis the Great" (Le Siecle de Louis le Grand) at the French Academy, which marked the beginning of a long-term "dispute about the ancient and the new", in which Nicolas Boileau becomes Perrault's most violent opponent. Perrault opposes the imitation and long-established worship of antiquity, arguing that the contemporaries, the "new", surpassed the "ancients" in literature and science, and that this is proved by the literary history of France and recent scientific discoveries.

1691 – Charles Perrault for the first time in the genre fairy tales and writes "Griselda" (Griselde). This is a poetic adaptation of Boccaccio's short story, which completes the Decameron (the 10th novella of the 10th day). In it, Perrault does not break with the principle of plausibility, there is still no magic fantasy here, just as there is no color of the national folklore tradition. The tale has a salon-aristocratic character.

1694 - the satire "Apology of Women" (Apologie des femmes) and a poetic story in the form of medieval fablios "Amusing Desires". At the same time, the fairy tale "Donkey Skin" (Peau d'ane) was written. It is still written in verse, in the spirit of poetic short stories, but its plot is already taken from a folk tale, which was then widespread in France. Although there is nothing fantastic in the fairy tale, fairies appear in it, which violates the classic principle of plausibility.

1695 - issuing his fairy tales, Charles Perrault in the preface he writes that his tales are higher than the ancient ones, because, unlike the latter, they contain moral instructions.

1696 - The magazine "Gallant Mercury" anonymously published the fairy tale "Sleeping Beauty", for the first time fully embodying the features of a new type of fairy tale. It is written in prose, accompanied by a verse moralizing. The prose part can be addressed to children, the poetic part - only to adults, and the moral lessons are not devoid of playfulness and irony. In the fairy tale, fantasy turns from a secondary element into a leading one, which is already noted in the title (La Bella au bois dormant, the exact translation is “Beauty in the Sleeping Forest”).

Perrault's literary activity comes at a time when a fashion for fairy tales appears in high society. Reading and listening to fairy tales is becoming one of the common hobbies of secular society, comparable only to the reading of detective stories by our contemporaries. Some prefer to listen to philosophical tales, others pay tribute to the old tales, which have come down in the retelling of grandmothers and nannies. Writers, trying to satisfy these requests, write down fairy tales, processing the plots familiar to them from childhood, and the oral fairy tale tradition gradually begins to turn into a written one.

1697 - a collection of fairy tales " Mother Goose Tales, or Stories and tales of bygone times with moral teachings ”(Contes de ma mere Oye, ou Histores et contesdu temps passe avec des moralites). The collection contained 9 fairy tales, which were a literary processing of folk tales (it is believed that they heard from the nurse of Perrault's son) - except for one ("Riquet-tuft"), composed by Charles Perrault himself. This book made Perrault widely known outside the literary circle. Actually Charles Perrault introduced folk tale into the system of genres of "high" literature.

However, Perrault did not dare to publish the tales under his own name, and the book he published contained the name of his eighteen-year-old son, P. Darmancourt. He was afraid that with all the love for "fabulous" entertainment, writing fairy tales would be perceived as a frivolous occupation, casting a shadow on the authority of a serious writer with its frivolity.

It turns out that in philological science there is still no exact answer to an elementary question: who wrote the famous fairy tales?

The fact is that when the book of fairy tales of Mother Goose was first published, and it happened in Paris on October 28, 1696, a certain Pierre D Armancourt was designated as the author of the book in the dedication.

However, in Paris they quickly learned the truth. Under the magnificent pseudonym D Armancourt, none other than the youngest and beloved son of Charles Perrault, nineteen-year-old Pierre was hiding. For a long time it was believed that the writer father went to this trick only in order to introduce the young man into high society, specifically into the circle of the young Princess of Orleans, the niece of King Louis the Sun. After all, this book was dedicated to her. But later it turned out that young Perrault, on the advice of his father, wrote down some folk tales, and there are documentary references to this fact.

In the end, the situation was completely confused by himself Charles Perrault.

Shortly before his death, the writer wrote a memoir, where he described in detail all the more or less important things of his life: serving with Minister Colbert, editing the first General Dictionary of the French Language, poetic odes in honor of the king, translations of the fables of the Italian Faerno, a three-volume study on comparing ancient authors with new ones. creators. But nowhere in his biography did Perrault mention the authorship of the phenomenal tales of Mother Goose, a unique masterpiece of world culture.

Meanwhile, he had every reason to put this book in the register of victories. The book of fairy tales was an unprecedented success among the Parisians in 1696, every day in the shop of Claude Barben sold 20-30, and sometimes 50 books a day! This - on the scale of one store - was not dreamed of today, probably even by the bestseller about Harry Potter.

During the year, the publisher repeated the circulation three times. It was unheard of. First, France, then all of Europe fell in love with magical stories about Cinderella, her evil sisters and a glass slipper, reread the terrible tale of the knight Bluebeard, who killed his wives, rooted for the suave Little Red Riding Hood, who was swallowed by an evil wolf. (Only in Russia did the translators correct the ending of the tale, in our country woodcutters kill the wolf, and in the French original the wolf ate both the grandmother and the granddaughter).

In fact, the tales of Mother Goose became the world's first book written for children. Before that, no one specifically wrote books for children. But then children's books went like an avalanche. The phenomenon of children's literature was born from Perrault's masterpiece!

Great merit Perrot in what he chose from the mass of folk fairy tales several stories and fixed their plot, which has not yet become final. He gave them a tone, a climate, a style characteristic of the 17th century, and yet very personal.

At the core Perrault's fairy tales- well-known folklore plots, which he outlined with his inherent talent and humor, omitting some details and adding new ones, "ennobling" the language. Most of all these fairy tales fit the kids. And it is Perrault that can be considered the founder of children's world literature and literary pedagogy.

"Tales" contributed to the democratization of literature and influenced the development of the world fairy tale tradition (brothers V. and J. Grimm, L. Tiek, G. H. Andersen). In Russian, Perrault's fairy tales were first published in Moscow in 1768 under the title "Tales of Sorceresses with Morales". The operas “Cinderella” by G. Rossini, “Duke Bluebeard’s Castle” by B. Bartok, the ballets “Sleeping Beauty” by P. I. Tchaikovsky, “Cinderella” by S. S. Prokofiev and others were created on the plots of Perrault's fairy tales.