"Research work" Comparative analysis of "The Tale of the Dead Princess and the Seven Bogatyrs" A. S.

A) Creation time:

“The Tale of the Dead Princess and the Seven Bogatyrs” is one of the most famous tales of A. S. Pushkin. Written in the autumn of 1833 in Boldino. It is based on a Russian fairy tale recorded in the village of Mikhailovsky. The plot of the fairy tale strongly echoes the plot of the fairy tale "Snow White and the Seven Dwarfs" by the Brothers Grimm. The fairy tales of the Brothers Grimm were published in the 10-20s of the XIX century, i.e. earlier than Pushkin's fairy tale (1833). The similarity between the two tales is very great, so it can be assumed that Pushkin was familiar with the German version of the tale. But the poet creates his own unique fairy tale. It differs from the fairy tale of the Brothers Grimm in its plot, characters, and language. Pushkin's fairy tale is more poetic, colorful.

Fairy tale by the Brothers Grimm	Pushkin's Tale
1. Seven Dwarfs	1. Seven heroes
2. Stepmother tries to kill her stepdaughter three times	2.The blueberry comes once with the apple
3 The Prince Accidentally Finds Snow White	3. The groom, Prince Elisha, is looking for the princess for a long time, turning to the sun, month, wind
4. Cruel ending: stepmother is killed	4. Stepmother dies of longing and envy
5. The fairy tale is written in prose	5. Written in verse, in beautiful literary language

Hypotheses about the origin of the fairy tale:

1. Tale of A.S. Pushkin "The Tale of the Dead Princess and the Seven Bogatyrs" is a processed repetition of a folk tale, 2. this is an independent work, 3. this is a borrowing from Western European culture

B) Life circumstances:

Pushkin went to Boldino as a fiance. The decision to marry was dictated by many considerations: love for N. Goncharova, but also fatigue from a single, disorderly life, a need for peace, as well as a desire for an independent and dignified existence. However, financial difficulties prevented marriage. He went to Boldino to lay a foundation for a village and return to Moscow in a month. Pushkin arrived in Boldino in a depressed state, because before leaving he had a fight with his future mother-in-law and, in irritation, wrote a letter to his bride in which he returned his word. Now he did not know whether he was a groom or not. An epidemic of cholera in Moscow, which did not allow him to travel from Boldino. The combination of happy peace and mortal danger is a characteristic feature of Pushkin's Boldino autumn. If we try to define the general theme of Pushkin's works of the Boldino autumn in one phrase, then it will be "man and the elements."

Generic features. Features of the genre of fairy tales

Firstly, the fairy tale offers to be transported to a fictional world (everything is possible in a fairy tale that is impossible in reality - miraculous events, magical transformations, unexpected reincarnations).

But the greatest value of a fairy tale is the indispensable triumph of goodness and justice in the finale.

The main characters of fairy tales are also ideal: they are young, beautiful, smart, kind and emerge victorious from any trials. In addition, their images are easy to perceive, because they embody, as a rule, one quality. The system of images in a fairy tale is based on the principle of opposition: the heroes are clearly divided into positive and negative, and the former always defeat the latter.

The perception and memorization of a fairy tale also facilitates its construction: a chain composition and three repetitions (Elisey's three times appeal to the forces of nature). Events follow one after another in strict sequence, and the tension grows with each repetition, leading to a climax and denouement - the victory of a good start.

Epic features:

E., like drama, is characterized by the reproduction of an action that unfolds in space and time - the course of events in the lives of characters. A specific feature of E. is in the organizing role of narration: the speaker (the author or narrator himself) reports events as if they were something past, resorting in passing to descriptions of the situation of the action and the appearance of the characters, and sometimes to reasoning. Narrative speech naturally interacts with the dialogues and monologues of the characters. In general, the epic narrative dominates the work, holding together everything depicted in it. The epic narrative is conducted on behalf of the narrator, a kind of intermediary between the depicted and the listeners (readers), the witness and interpreter of what happened. Information about his fate, his relationship with the characters, about the circumstances of the "narrative" is usually absent.

E. is as free as possible in the development of space and time. The writer either creates stage episodes, that is, pictures that capture one place and one moment in the life of the characters, or in descriptive, overview episodes, he talks about long periods of time or what happened in different places.

The arsenal of literary and visual means is used by E. in its entirety (portraits, direct characteristics, dialogues and monologues, landscapes, interiors, actions, etc.), which gives the images the illusion of volume and visual-auditory authenticity. The volume of the text of an epic work, which can be both prosaic and poetic, is practically unlimited.

Theme, problem, idea. Features of their expression

Eternal subject- love, friendship, man and work, relationships.

Unlike the fairy tale of the Brothers Grimm, Pushkin's fairy tale is about the most important value for the poet - it glorifies human loyalty and love. The motive for the search for his beloved by the prince Elisha is Pushkin's "addition" to the folk story. The theme of love and fidelity is also devoted to the initial picture of the death of the princess’s own mother (“she did not bear admiration”). The relationship between the princess and the heroes, their matchmaking, which are absent in the fairy tale “Snow White”, is connected with the same theme. The theme of devotion and love dictated the inclusion in the fairy tale of the image of the faithful dog Sokolko, who perishes for the sake of his mistress. Idea- the main idea, the purpose of the work. The idea - you can’t trust everyone, work hard, be honest, courageous ...

The plot and its features

Plot- an event or system of events depicted in a work of art. Plot elements: a) exposition (preliminary acquaintance with the character, etc.), b) plot, c) development of the action, d) climax, e) denouement.

In terms of plot, “The Tale of the Dead Princess” largely follows the folk canon: the “trouble”, expressed in the fact that the heroine leaves the house, is connected with the machinations of the evil stepmother, the poor father “worries” for her, and the groom, Prince Elisha, goes to path. The girl finds herself in a forest tower, where the heroic brothers live. The Savior does not yet have time to get to the heroine, as the “common sabotage” is repeated again, as a result of which the heroine dies (climax). In search of a way, the savior turns to magical creatures and finds help from the wind. This is followed by a magical salvation (denouement), the return of the bride and groom and the death of the “pest”.

In a folk tale, all attention is focused on the central character. Other characters are mentioned in passing. In The Tale of the Dead Princess, Pushkin violates this law of one-line construction of the plot. As researchers of Pushkin's work noted, it has three independent plans, and each of them is developed to the extent that the idea of ​​​​the fairy tale required it. The first plan is the life of the princess among the heroes and her death, the second is the experiences of the queen and her dialogues with a magic mirror, the third is the search for a bride by the prince Elisha.

The situation is drawn with realistic completeness. In Pushkin's fairy tales, the main thing is not in the plot, not in the chain of events, but in the general lyrical movement, in characters and pictures.

Composition and its features

Composition- construction of a work of art (connection between individual events, images, lining them up in a logical chain). The concept of composition is wider than the concept of plot, because the composition also includes extra-plot elements (landscapes, descriptions of characters, portraits, internal monologues, etc.).

The composition includes descriptions of nature: like Yaroslavna from The Tale of Igor's Campaign, Prince Elisey turns to the elements of nature - the sun, the moon, the wind, finding sympathy and unraveling a painful mystery from them. These elements of nature are revealed to the reader both as magical creatures endowed with human speech and consciousness, and in their real forms.

Realistic and magical motifs merge naturally and organically in Pushkin's fabulous landscapes. The real features of nature are personified by the poet and also seem fabulous. Both the magical and the real here equally depict nature as a living being. Pushkin retains the basic law of the composition of a folk tale - its desire to present events as they occur in real life.

Of the other laws of folklore composition in Pushkin's tales, the law of threefold repetition with variations of the main plot episodes was especially widely reflected. Prince Elisha turns to the elements three times until he finds out where his bride is.

Summarizing and repeating what has been said, we can conclude that the plot, composition and some features of the poetics of "The Tale of the Dead Princess ..." bring it closer to a folk fairy tale. However, it also has the features of a literary work: the voice of the author, the variety in the ways of creating the image and characterization of the character, a certain “psychologization” of the characters, a combination of fantastic and real, lyrics and irony.

System of images-characters. The image of a lyrical hero

Princess

Particular attention should be paid to the lines “meanwhile, as a hostess, she will clean and cook in the tower alone” (the influence of the popular idea of ​​\u200b\u200bthe female ideal, in this case, by the way, which is a person of the royal family, and affectionate “hostess”). The lines “instantly by speech they recognized that they received the princess” or the fact that when describing the princess the lexeme “quiet” is very often used: “blooming quietly”, “she said quietly”, “quietly lay down”, “quietly locked the door” , “slowly bit through”, “quiet, motionless became”, “quiet, fresh lay”. The princess is a modest, benevolent, affectionate girl, beautiful, observing the rules of folk etiquette “I gave honor to the owners ...”), hardworking (“I cleaned everything in order”), religious (“I lit a candle to God”), faithful to her fiancé (“But I am forever given to another Prince Elisha is dearest to me.”

Before us is no longer just a fairy-tale heroine, but an artistically embodied Pushkin's ideal.

In the fairy tale there is an author's view - absent in the folk tale (it rather reflects the assessment of the character from the point of view of public morality and morality), repeatedly expressed in Pushkin's fairy tale. “Evil” as a constant epithet for the word “stepmother”, “young” as applied to the “bride” are quite possible in a folk tale, but you are unlikely to find there a phrase like “The devil can cope with an angry woman” or “Suddenly she, my soul , staggered without breathing. The author's assessment is a clear sign of Pushkin's fairy tales.

Ways to characterize characters or a lyrical hero

In Pushkin's fairy tale, we feel the author's open attitude to the heroine, which the folk tale does not know. The author dearly loves his heroine and admires her (“beauty is the soul”, “dear girl”, “my soul”, etc.)

In general, the poet creates a unique individual character of the “young princess” with the help of a detailed description of her appearance, speech, a detailed image of the behavior of the heroine, includes numerous author's assessments in the text of the tale, shows the attitude of other characters towards the heroine.

The princess is also characterized through the attitude of other characters towards her: “the dog runs after her, caressing”, “the poor tsar is grieving for her”, “the brothers fell in love with the dear girl”, even Chernavka, “loving her in her soul, did not kill, did not bind”.

The evil queen is completely devoid of such an assessment: no one prevents her from “harming”, but no one helps either. Even the mirror is completely “indifferent” to her personal experiences.

Features of the speech organization of the work

a) The narrator's speech

In a fairy tale, we see the organizing role of the narrative: the speaker (the author himself or the narrator) reports the events and their details as something that has passed and is remembered, along the way resorting to descriptions of the situation of the action and the appearance of the characters, and sometimes to reasoning (“But how be?”, “The devil can cope with an angry woman?”, “There is nothing to argue” ...). Narrative speech naturally interacts with the dialogues and monologues of the characters. In general, the narrative dominates the work, holding together everything depicted in it.

B) The speech of the characters:

In a fairy tale, dialogues are often reduced to repeated formulas, determined, as already mentioned, by the poetics and history of the fairy tale. The words of the princess, addressed to Chernavka, are not at all like fairy tales: “What, tell me, am I guilty of? Let me go, girl, and when I am a queen, I will take pity on you. In general, the speech of the characters in Pushkin's fairy tales is one of the means of creating an image: “Oh, you vile glass, you are lying to spite me! How can she compete with me! I’ll calm the foolishness in it ”- on the one hand, and“ for me you are all equal, all daring, all smart, I love you all heartily ”- on the other.

C) Lexical composition :

A lot of neutral vocabulary, artistic style vocabulary, narration, archaisms (queen, Inda eyes, young lady, fingers, towers, hay girl, farmstead, in the upper room, with a couch, bed ...), antonyms (from the white dawn to night, day and night, )

phraseology

D) Syntax features :

The realistic manner is also reflected in the language - precise, stingy, clear: in the predominance of words with a specific, material meaning, in the simplicity and clarity of syntax, in the almost complete elimination of the metaphorical element.

In Pushkin's fairy tales, various elements of colloquial, oral-poetic and literary language are fused. In an effort to convey real pictures of the life of the royal court, the nobility, merchants, clergy, and peasantry in conditionally fabulous forms, Pushkin uses many words of the old written and bookish language: a trading city, a hay girl, a slingshot. Slavism expressively conveys the solemnity of often sad fairy-tale events: “I did not rise from sleep.” He influenced fairy tales and Pushkin's modern literary language. From here such words and expressions passed into them: "brothers in sorrow of soul." These words and expressions reinforce the lyrical tone of the narrative in Pushkin's fairy tales.

But book vocabulary and phraseology do not violate the main feature of the language of Pushkin's fairy tales - the national sound. The literary elements of speech acquire a folk coloring, because they are surrounded by numerous verbal forms taken by the poet from folk life and oral poetic creativity. Here are folklore epithets with their vivid imagery and a variety of picturesque colors (“scarlet sponges”, “white hands”, a gilded horn ...). Here and folk-song appeals, tautologies and comparisons.

There are many colloquial and oral-poetic turns of speech in Pushkin's fairy tales, as well as proverbs, sayings and author's sayings close to them: “I took it for everyone”, “not good”, “I can’t leave my place alive”, “I was there, honey - I drank beer - and only wet my mustache, ”etc.

E) Expressive means:

Comparisons: The year has passed like an empty dream.
Metaphors: an oak table under the saints.
Epithets: white earth, sighed heavily, vile glass, mother belly, red maiden, gilded horn, in deep darkness, ruddy fruit, from a valiant robbery, weeping bitterly, dark night.
Humor: I was there, drank honey-beer - and only wet my mustache.
Rhetorical questions, appeals, exclamations: But how to be? Does the devil cope with an angry woman?
Inversions: full of black envy, the poor king is grieving over her.
Gradation: How the queen jumps back, Yes, how she swings the handle, Yes, how she slams on the mirror,
Heel something like stomp! ..; Go around our whole kingdom, Though the whole world!

Rhythmic-intonation system

a) meter and size: two-foot trochee, two-part meter.
B) rhymes: male and female, open and closed, final, steam room, adjacent.
B) stanza: quatrain (quatrain).

Prepared by a 1st year student of the Institute of Psychology and Psychoanalysis at Chistye Prudy Saidova Elena Vladislavovna.

Essay

The story begins with the following lines:

The king and queen said goodbye,
Equipped on the road,
And the queen at the window
She sat down to wait for him alone.

The king is leaving, the queen is having a hard time, there is a feeling of longing, sadness, loneliness, while the queen is expecting a child at that time. The mother spends the whole pregnancy in anticipation, and as soon as a daughter is born, the king-father appears on the threshold.

However, happiness did not happen, as soon as the queen looked at her husband who appeared, she died from the feelings that flooded over her, and a year later the king was already marrying another.

Thus, in the relationship between the newborn daughter and mother, there was, in fact, no mother, as soon as the figure of the father appears (daughter and father "meet"), the mother dies and the stepmother appears. The young princess grows and flourishes by leaps and bounds in spite of this very stepmother.

But the young princess
blooming silently,
Meanwhile, she grew, grew,
Rose and flourished.

It seems that the whole fairy tale is a story about the development of the Oedipus complex in girls. Here we are faced with the problem of femininity. At the same time, it can be assumed that this is most likely the study of Oedipus already in adolescence (earlier they married early), where, if everything proceeds in the normal way, Oedipus is finally resolved.

The stepmother is jealous of the beauty of her stepdaughter and tries to torment her, because she is the main rival for her father.

“I am, tell me, dearest of all,
All rouge and whiter?
What is the mirror in response?
“You are beautiful, no doubt;
But the princess is sweeter than all,
All rouge and whiter.

The mirror is a symbol of the inner, unconscious world of the stepmother. The stepmother turns to her deepest feelings, from where she receives an answer.

While the princess was small, she obviously did not bother her stepmother, but as soon as she reached the period of puberty (the fairy tale says: “And the bridegroom was found by her Korolevich Elisha”), she began to pose a clear threat, with which the stepmother could no longer put up and was ready was on everything, up to the physical destruction of the stepdaughter.

How can she compete with me?
I will calm the foolishness in it.
Look how grown up!
Throwing a mirror under the bench,
Called Chernavka to her
And punish her
The message of the princess in the wilderness of the forest
And, tying her alive
Under the pine tree leave there
To be eaten by wolves.

Here we see the unconscious desire of the mother not to allow the rival, not to allow the girl to become a woman, to “crush” her feminine principle. A mother kills her daughter as a future woman.

And what about the girl? The girl enters Oedipus already castrated, with a narcissistic wound, with a lack of herself. And the girl ALWAYS turns her claims about inferiority to her mother in view of the fantasy that it was her mother who either did not give her a penis or took it away for something. And the girl turns to her father in search of what her mother did not give her and changes her object, her father becomes the object of her attraction.

In the fairy tale, we see this in the fact that the princess is saved from being eaten by wolves, where her evil stepmother sent her, and in the forest she comes across a tower where 7 heroes live. The decoration of the house immediately inspires her confidence.

In a bright room; around
Shops covered with carpet,
Under the saints is an oak table,
Stove with tiled bench.
The girl sees what's here
Good people live;
Know she won't be offended!

It seems that 7 heroes are a collective image of the paternal figure. The relationship between the princess and the heroes is reminiscent of the relationship between father and daughter. The princess lives in their house, runs the household (cleans, cooks, etc.), does not contradict the brothers, treats them with respect, they also revere her and treat her as the smallest.

And she is the hostess
In the tower, meanwhile, alone
Pick up and cook.
She will not rebuke them,
They will not cross her.
So the days go by.

At the same time, at a certain moment, the princess has a fantasy about her relationship with her father, about marrying him. In the tale, this is reflected in the next episode, where the princess speaks with the eldest of the brothers (again, a reference to the image of her father).

Brothers of a sweet maiden
Loved. To her in the light
Once, just dawn,
All seven of them entered.
The elder said to her: “Girl,
You know: you are our sister to all of us,
There are seven of us, you
We all love for ourselves
We would all take you for the sake of
Yes, you can’t, so, for God’s sake,
Reconcile us somehow:
Be one wife
Other affectionate sister.

Feeling this, the queen does not let up, having found out with the help of a magic mirror that the young princess is alive, she sends a blackberry to her under the guise of an old woman so that she would exhaust her - give a poisoned apple. Those. while the princess lives with 7 heroes, she is still a rival for her stepmother and she wants to kill her.

The apple is a symbol of temptation, "original sin." It attracts the princess and she does not resist the desire to taste it. But the apple is poisoned (corrupted) and this poisoned apple was given to her by her stepmother. It can be assumed that these are the mother's unconscious fantasies about how to kill the daughter's desire for her father, to make her not feminine. As a result, the princess is “dead”, there is no vital energy, she does not grow, she froze, her mother does not age.

Having created a sad rite,
Here they are in a crystal coffin
The corpse of a young princess
Put - and the crowd
Carried to an empty mountain.

It is noteworthy that the heroes carried the princess up the mountain (cave). It can be assumed that the mountain is a symbolic image of the mother (her womb), in which the princess is placed. We can say that here on the part of the girl (the princess) there was a refusal from her father. In her rejection of her father, the princess identifies with her mother and assumes a feminine sexual identity. And as soon as this happens, the princess is found by her fiancé - Korolevich Elisha and the princess comes to life.

Perhaps the immobility of the princess (in the fairy tale it is repeatedly noted that her frozen state was more like a dream than like death) is also a kind of stop, the acceptance of her castrated nature. After all, in order to accept identification with their mother, girls must accept their castration.

The happy couple goes home. And as soon as the evil stepmother sees the happy bride and groom appear at the gate, she dies and, accordingly, the rivalry relationship disappears. The daughter is no longer a threat to the mother, the mother is no longer a threat to the daughter. We see a happy resolution of the Oedipal conflict.

The wedding was immediately arranged
And with his bride
Elisha got married;
And no one since the beginning of the world
I have not seen such a feast;
I was there, honey, drinking beer,
Yes, he just wet his mustache.

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MINISTRY OF EDUCATION AND SCIENCE

RUSSIAN FEDERATION

FEDERAL STATE BUDGET

EDUCATIONAL INSTITUTION OF THE HIGHER

PROFESSIONAL EDUCATION

"MOSCOW STATE UNIVERSITY OF PRINTING NAMED AFTER IVAN FYODOROV"

Institute of Publishing and Journalism

Department of Russian Language and Stylistics

Course work

in practical and functional style of the Russian language

“A stylistic analysis of the fairy tale by A.S. Pushkin" on the example: "Tales of the Dead Princess and the Seven Bogatyrs"

IIDIZh student, group: DKiDB2-2

Chekhonadskikh Elena Nikolaevna

Leader: E.Yu. Kukushkina

Moscow 2014

Introduction

The purpose of the work is to analyze one fairy tale by A.S. Pushkin.

To achieve the goal, it is necessary to solve the following tasks: to study the "Tale of the Dead Princess and the Seven Bogatyrs" by A.S. Pushkin and reveal the stylistic devices with which Pushkin makes his fairy tale truly folk.

Relevance. In the modern world there is a large amount of children's literature, books are written in an easy, understandable language for children, but modern fairy tales cannot be compared with the works of A.S. Pushkin. Now there is very little children's literature written in poetic form. Pushkin's fairy tales are written in verse, they have rhyme and rhythm. Rhythm gives a certain mood to fairy tales.

Pushkin's fairy tale is a direct successor of the folk tale. A.S. Pushkin wrote his works on the basis of folk tales, which he collected while in exile in Mikhailovsky in 1824-1826. Dressed in a peasant outfit, he mingled with a crowd of people at fairs, listening to the well-aimed folk word, writing down the stories of storytellers. Pushkin wrote in a bright, juicy, expressive, simple language close to genuine folk speech. Since the time of Pushkin, our language has changed a lot, so modern children no longer understand the full meaning of all the words in Pushkin's fairy tales, but intuitively grasp the main idea. Pushkin's fairy tales are still popular, their special style, melodiousness, which fascinates not only children, but also adults, is unique. Having studied in detail the vocabulary of Pushkin's fairy tales, one can understand why such fairy tales as "The Tale of the Fisherman and the Fish", "The Tale of the Priest and his Worker Balda" and "The Tale of the Golden Cockerel" are so in demand among modern parents.

1. History of Pushkin's fairy tales. Reviews of contemporaries

Pushkin fairy tale princess vocabulary

1.1 Tales

Tales in the Russian folk spirit Pushkin wrote throughout almost his entire work, from 1814 to 1834. They are sharply divided into two groups: early (before 1825) and late. Our understanding of Pushkin's fairy tales, as an important and serious area of ​​his poetry, refers only to his later fairy tales ("The Tale of the Priest and his worker Balda", "The Tale of the Bear", "The Tale of Tsar Saltan", "The Tale of the Fisherman and a fish”, “The Tale of the Dead Princess and the Seven Bogatyrs” and “The Tale of the Golden Cockerel”). Pushkin's early fairy tales, as well as poems on fairy tales ("Bova", "Tsar Nikita and his forty daughters") are completely devoid of genuine nationality, characteristic of mature Pushkin's work. We will not find in them either an expression of the feelings and interests of the people, the peasantry, or a conscious assimilation and processing of the forms and methods of oral folk art. Pushkin in them only uses individual elements of folk poetry: a fairy tale plot or motif, the names of fairy tale characters, individual turns of folk style and language. Almost all Russian writers of the 18th and early 19th centuries used folk art in a similar way. Pushkin's transition in the mid-20s. to realism was accompanied by his deep interest in the people. This interest was facilitated by the poet's stay in exile in Mikhailovskoye - in the closest contact with the peasants and courtyards. Pushkin begins to carefully study folk poetry. He writes down songs and folk rituals, asks his nanny to tell her fairy tales again, familiar to him since childhood - now he perceives them differently, looking for expressions of the “folk spirit” in them, thus rewarding “the shortcomings of his accursed upbringing.” M. K. Azadovsky. "Sources of Pushkin's fairy tales" ("Pushkin", Vremennik, issue 1, 1936, pp. 136--164)

Pushkin's fairy tales, written in the 30s, after the completion of large realistic works ("Eugene Onegin", "Boris Godunov", etc.), were an expression of the principles of realism and nationality that had fully developed in Pushkin, a kind of result of the poet's many years of aspirations to comprehend the way of thinking and feelings of the people, especially its character, to study the richness of the national language. The most significant departure of Pushkin's fairy tales from the type of folk tale was the poetic form that the poet gave to this prose folk genre, just as in Eugene Onegin he turned the traditional prose genre of the novel into a "novel in verse." In his fairy tales, Pushkin used elements of such genres of folk poetry as: songs, incantations, lamentations. Such, for example, is the spell of Gvidon, addressed to the wave, or the prince Elisha - to the sun, month and wind, reminiscent of Yaroslavna's lament from "The Lay of Igor's Campaign". Pushkin's fairy tales are not a simple transcription of true fairy tales into verse, but a genre that is complex in composition.

Pushkin created fairy tales of two types. In some (“The Tale of the Priest”, “The Tale of the Bear” and “The Tale of the Fisherman and the Fish”), Pushkin reproduces not only the spirit, plots and images of folk art, but also folk forms of verse (song, saying, paradise), language and style. The tales of the priest and the bear are written in genuine folk verse, "The Tale of the Fisherman and the Fish" - a verse created by Pushkin himself and close in structure to some forms of folk verse. We will not find in these tales a single word, not a single turn, alien to truly folk poetry.

The remaining three tales ("About Tsar Saltan", "About the Dead Princess", "About the Golden Cockerel") are written more "literally" - literary, uniform verse (four-foot trochee with paired rhymes). Pushkin uses purely literary poetic expressions and phrases in them, although in terms of their general spirit, motives and images they completely retain their national character. Nazirov R. G. Crystal coffin: Folklore and ethnographic origins of one Pushkin motive // ​​Folklore of the peoples of Russia. Folklore traditions and folklore-literary connections. Interuniversity scientific collection. - Ufa: Bashkir University, 1992. - S. 83 - 89.

Six tales, of which one remained unfinished, were written in the period 1830-1834. “The Tale of the Priest and his Worker Balda”, completed in Boldino in September 1830, was first published by V. A. Zhukovsky only in 1840 under the title “Merchant Kuzma Ostolop, nicknamed aspen forehead” (in the text “pop” is also was replaced by a "merchant"). The original Pushkin text saw the light of day only in 1882. The unfinished "The Tale of the Bear" presumably also dates from 1830 (it had no title in the manuscript). "The Tale of Tsar Saltan" was written in August 1831 in Tsarskoe Selo, where Zhukovsky simultaneously created his fairy tales. The next two tales - "About the Fisherman and the Fish" and "The Tale of the Dead Princess and the Seven Bogatyrs" - were created in Boldino in the autumn of 1833 (dated: the first October 1833, the second - the beginning of November of the same year marked "Boldino "). The Tale of the Golden Cockerel was completed on September 20, 1834. M. K. Azadovsky. "Sources of Pushkin's fairy tales" ("Pushkin", Vremennik, issue 1, 1936, pp. 136--164)

1 .2 Reviews of contemporaries

In the 1830s, there was an acute question in literary circles about how a fairy tale should look like in a folklore style? On this occasion, sharp and sometimes contradictory opinions were expressed, connected with the problem of the nationality of literature in its relation to the poetic heritage of the Russian people. The question of how and to what extent the artistic richness of folklore should contribute to the development of truly folk literature was felt at that time as one of the most important.

M.K. Azadovsky wrote: “The famous competition between Pushkin and Zhukovsky in 1831, when both of them experimented with fairy tales, divided readers and critics into two sharply opposed camps. Pushkin's tales are enthusiastically received in wide circles, but the leaders of literary criticism accept Pushkin's experience with restraint, sometimes with hostility. A negative attitude towards Pushkin's fairy tales united different flanks of Russian journalism and literature: Polevoy, Nadezhdin, Baratynsky converged here, and somewhat later Stankevich, Belinsky. Belinsky V.G. Selected articles M., 1972 According to Azadovsky, a kind of division between the two camps was the attitude of criticism towards the methods of the two authors of literary fairy tales. Yazykov and Stankevich placed Zhukovsky's fairy tales above Pushkin's works in this genre. “Two artistic methods,” writes Azadovsky, “the method of Pushkin and Zhukovsky, denoted in this case two worldviews, two different socio-political positions, clearly manifested in their attitude to ‹...› folklore.” The perception of their fairy tales determines, according to the researcher, the attitude to the problem of “literature and folklore” and, as a result, belonging to one of the camps. However, to which of them, in this case, should Belinsky and N. Polevoy be attributed, who did not accept either Pushkin's fairy tales or Zhukovsky's fairy tales? In our opinion, the classification proposed by M.K. Azadovsky does not provide a solution to the problem associated with the perception of literary fairy tales of the 1830s by contemporaries. Considering all the variety of responses of this period to the works of writers-"storytellers", we must admit that in general the literary fairy tale genre was not accepted by the leading critics of the era. And it was not a matter of denying the artistic value of the poetry of the "common people" - this determined only reviews of literary tales that were openly reactionary in nature. For example, the anonymous critic of fairy tales V. I. Dahl considered this genre “non-literary, counter-elegant, rude, bastard, marked by the seal of the most bad taste and extreme vulgarity, to which belles-lettres should never ‹...› be humiliated, out of respect for the dignity of art and to the educated habits of readers.”

2. The intersection of religion and mythology in "The Tale of the Dead Princess and the Seven Bogatyrs"

2.1 C fairy tale and myth

The word "fairy tale" as the name of the narrative genre appeared no earlier than the 17th century. Previously, the word "fable" was used. Archaic fables were close to mythical "accordions", i.e. to myths that reflected ancient rituals, customs, rituals. Etymological dictionary of the Russian language. -- M.: Progress M. R. Vasmer 1964--1973 Pushkin's fairy tales are classified as a variety of fairy tales, there are also fairy tales: about animals, short stories, anecdotes and fables. A fairy tale tells about overcoming a loss or lack, with the help of miraculous means, or magical helpers.

A fairy tale has a complex composition, which has an exposition, plot, plot development, climax and denouement. In the exposition of the tale, 2 generations are necessarily present - the older (the king with the queen, etc.) and the younger (daughter-tsarevna, good fellow - Elisha in "The Tale of the Dead Princess and the Seven Bogatyrs"). The exposition also includes the absence of the older generation or its death. The plot of the tale is that the main character or heroine discovers a loss or shortage, or there are motives for a ban, a violation of the ban, and a subsequent misfortune. Here the beginning of counteraction, that is, the sending of the hero from home. The development of the plot is a search for what is lost or missing. The climax of the fairy tale is that the protagonist or heroine fights an opposing force and always defeats it (the battle equivalent is solving difficult problems that are always solved). The denouement is the overcoming of a loss or lack. Usually the hero (heroine) at the end "reigns" - that is, acquires a higher social status than he had at the beginning. Propp V.Ya. Morphology of the "magic" fairy tale. The historical roots of fairy tales. - Publishing house "Labyrinth", M., 1998. - 512 p.

Pushkin actively uses mythical images in his fairy tales, for example, the characters of fairy tales of a "cosmic scale" have a mythological nature: the Sun, the Moon, the Wind (in "The Tale of the Dead Princess and the Seven Bogatyrs"). The word "mythology" means "telling of legends". But a myth is not only a presentation of legends, not only a naive contemplation of the world or its explanation, but a historically formed state of human consciousness. Myth is a real and active reality. Myths are created by people, reflecting their lifestyle and mentality in them, and when people's lives change, myths become poetic allegories, metaphors, symbols. Each nation has its own mythology, including the Slavs. And although the Slavic mythological texts proper have not been preserved, many facts point to the presence of mythology among the Slavs: these are secondary written data, and material and archaeological sources, albeit rare, and especially the oral creativity of the people, its vocabulary, folklore. Over time, the folk mythological (pagan) worldview: ethics, traditions dissolved in Christianity, creating a unique alloy - Russian Orthodoxy. Tronsky I. M. Antique myth and modern fairy tale // S. F. Oldenburg: On the fiftieth anniversary of the scientific. - societies, activities. 1882-1932. L., 1934.

2.2 The history and plot of "The Tale of the Dead Princess and the Seven Bogatyrs"

"The Tale of the Dead Princess and the Seven Bogatyrs" was written in the autumn of 1833 in Boldino, published for the first time in 1834 in the Library for Reading magazine. It is based on a Russian fairy tale recorded in the village of Mikhailovskoye from the words of Arina Rodionovna "The Magic Mirror" (or "The Dead Princess"). There are many variations of this tale, for example, "Stepdaughter" - a variant of the "Dead Princess". There, the beauty put on a shirt and "fell dead." The robbers, her named brothers, bury the princess in a crystal coffin, tied with silver chains to an oak tree in the forest. In all variants - a crystal coffin, most often suspended from trees. In the coffin, the dead beauty seems to be sleeping. The young man in love manages to awaken her from a long sleep, snatch her from death. Pushkin somewhat deviated from the version of the Russian fairy tale he wrote down: in his fairy tale poem, the coffin is suspended inside a cave. The ending depicts a miraculous deliverance from death, which corresponds to the ancient belief in the rebirth of the dead. The meaning of the plot is the triumph of love over death. A similar plot is known to many peoples, it is originally processed in "A Thousand and One Nights", in "Pentameron" by Giambatista Basile, in Shakespeare's drama "Cymbeline". Also, the most popular, to date, fairy tale with a similar plot was written by the Grimm brothers in the 10-20s of the XIX century - “Snow White and the Seven Dwarfs”. The German Schneewitthen (Snow White) is plot-synonymous with the stepdaughter of Russian fairy tales. Nazirov R. G. Crystal coffin: Folklore and ethnographic origins of one Pushkin motive //

Folklore of the peoples of Russia. Folklore traditions and folklore-literary connections.

Interuniversity scientific collection. - Ufa: Bashkir University, 1992. - P. 83 - 89. The similarity between the two fairy tales is very large, so it can be assumed that Pushkin was familiar with the German version of the fairy tale. But the poet creates his own unique fairy tale. It differs from the fairy tale of the Brothers Grimm in its plot, characters, and language. Pushkin's tale is more poetic and colorful. "The Tale of the Dead Princess and the Seven Bogatyrs" was written by the poet in a creative competition with Zhukovsky. But unlike him, Pushkin introduces realistic pictures of the life of the royal court, and creates satirical characters in his fairy tale. For example, the king-father, who hurried to marry, had barely expired the prescribed period of widowhood.

2.3 Analysis of "The Tale of the Dead Princess and the Seven Bogatyrs"

On the example of the analysis of one "The Tale of the Dead Princess and the Seven Bogatyrs", one can see with the help of what stylistic devices Pushkin makes his fairy tale truly folk.

In his fairy tales, Pushkin combines paganism and Orthodoxy. "The Tale of the Dead Princess and the Seven Bogatyrs" is full of symbols from the very first lines:

The king and queen said goodbye,

On the way, the road was equipped ... Pushkin A.S. Poems. Poems. Drama. Tales.--M.: Eksmo Publishing House, 2002. (p. 582)

The road in the minds of the Russian people was associated with grief and suffering. So the queen dies after 9 months (like 9 circles of hell), but:

Here on Christmas Eve, on the very night

God gives the queen a daughter. Pushkin A.S. Poems. Poems. Drama. Tales.--M.: Eksmo Publishing House, 2002. (p. 582)

A daughter is born, as it were, in exchange for the queen and as a consolation to the king. A year later, the king married another. The new queen is presented in the tale as a witch:

tall, thin, white,

And she took it with her mind and everything;

But proud, broken,

Selfish and jealous. Pushkin A.S. Poems. Poems. Drama. Tales.--M.: Eksmo Publishing House, 2002. (p. 582-583)

And the main attribute of witches is a magical talking mirror, which was inherited. In many cultures, the mirror was associated with a passage to the other world, and there are still many signs and superstitions associated with the mirror.

Over the years, beauty - the main value of the new queen goes away, and the princess, on the contrary, “blooms”. And the bridegroom Elisha was found. In this tale, only the groom of the princess has a name. The name Elisha - Hebrew, meaning "God helped" is mentioned in the New Testament as a famous prophet in Israel. Throughout the tale, the author calls the princess “my soul”, i.e. The fairy tale describes the path of the soul. For Christianity, the soul is something amazing and bright, created by God, it is believed that every person has a soul, and how to dispose of it: sell it to the devil and serve the darkness or remain faithful to the Light, the person decides. "The soul is a great thing, God's and wonderful. When creating it, God created it in such a way that no vice was put into its nature; love and other virtues, in the image of the Spirit." Christ: Macarius of Egypt. 1998. (p. 296) And the queen wants to destroy her soul and orders Chernavka to take her to the "backwoods of the forest ... to be devoured by wolves."

... the princess guessed

And scared to death

And she prayed: "My life"!

For the princess Chernavka is life, and for the queen a hay girl. Chernavka, releases her captive with a blessing: “Don’t - twist, God bless you” Pushkin A.S. Poems. Poems. Drama. Tales.--M.: Eksmo Publishing House, 2002. (p. 585). And Elisha soon sets off "on the road for a beautiful soul." Good always defeats Evil, because it is impossible to defeat the image of God, and the princess is the personification of everything beautiful, divine in a fairy tale. In a dark forest, the princess finds a tower, where a dog meets her “caressing”. Animals feel anger, hatred, fear of people, and the princess radiated pure goodness, which the dog immediately felt and calmed down. Terem immediately liked the girl:

... benches covered with carpet,

Under the saints is an oak table,

Stove with tiled bench

The girl understands that she came to good people, the saints in this context are icons that evil people would not bring to their house. The princess cleaned the house, prayed, lit the stove and lay down. Seven heroes arrived for dinner. The Russian word "bogatyr" goes back to the pra-Aryan origin. Philologists Shchepkin and Buslaev directly deduced "bogatyr" from the word "God" through the medium of "rich". Heroes are often mentioned in epics as defenders of the Russian land; they were perceived by the people as knights of light, endowed with unknown physical and spiritual strength. The number "Seven" is a sacred number in Christianity. The heroes from Pushkin's fairy tale combine seven Christian virtues: chastity, moderation, justice, generosity, hope, humility and faith. The heroes fell in love with the girl and became named brothers for her. They lived like a family: the girl was engaged in housekeeping, and the heroes hunted and defended their territory. But according to Christian customs, a young girl cannot just live with men if there are no family ties between them. Therefore, soon the heroes came to woo the princess as husbands:

The elder said to her: “Girl,

You know: you are our sister to all of us,

There are seven of us, you

We all love for ourselves

We'd all love to have you..

But the girl is engaged and loves her fiancé very much, so she refuses to marry the hero. A woman is considered the guardian of the family hearth and love, and love is a sacred feeling - the basis and goal of all religions. It is not known how long the princess lived with the heroes, but her loyalty to the groom remains unchanged. So, resigned to fate, the heroes continue to live with the princess, as before.

Meanwhile, the stepmother learns about the surviving princess, because any deception sooner or later pops up. This time, the witch decides to get rid of the girl on her own with the help of a poisoned apple. In the Christian religion, the apple represents temptation, the Fall of man and his Salvation. Since the Middle Ages, the apple has symbolized the forbidden fruit. The apple led to sin. It was obviously a forbidden fruit, but Eve dared and not only plucked it and tasted it herself, but also passed on her “knowledge” to Adam. The result was the expulsion from paradise to earth and the whole long and difficult path of mankind. In ancient Greek mythology, the golden apple thrown by Eris at the wedding of Peleus and Thetis caused a quarrel between Hera, Athena and Aphrodite and indirectly led to the Trojan War.

Pretending to be an old woman, the stepmother came to the tower, the dog recognized the real essence of the old woman and tried to protect the princess, but the girl, the most innocent and pure being, could not even imagine that the “grandmother” could wish her harm. They exchanged gifts and the girl:

Didn't last until lunch

I took an apple in my hands

She brought it to scarlet lips,

Slowly bit through

And swallowed a piece...

The poison worked, but was not able to kill the "soul" to the end. The princess remained, "as if under the wing of a dream."

After three days of waiting, the Bogatyrs performed a ceremony and carried the bride to an empty mountain. The queen, meanwhile, rejoiced at her victory. But Elisha, not losing hope, was looking for his princess. No one heard about her finding, Elisha had only one hope: to seek help from the forces of nature. The image of Prince Elisha was taken by Pushkin from epics. The hero is close to nature. Elisha's lyrical appeals to the sun and the month and, finally, to the wind poetically color his image, give it a special charm, romanticism:

Elisha, not discouraged,

Rushed to the wind, calling:

“Wind, wind! You are powerful

You drive flocks of clouds

You excite the blue sea

Everywhere you fly in the open,

Don't be afraid of anyone

Except God alone.

Al will you refuse me an answer?

Have you seen anywhere in the world

Are you a young princess?

I am her fiancé." Pushkin A.S. Poems. Poems. Drama. Tales.--M.: Eksmo Publishing House, 2002 (p. 593)

In appeals to the forces of nature, a combination of poetic elements of a fairy tale and oral folk art is felt. The ancient Slavs often turned to the Gods: the wind (Stribog), the sun (Khors) and the moon. But in this address, Elisha appeals to the wind not as a god, but as a friend and helper. Throughout history, the Russian people have depended on nature: after all, if there is bad weather, there will be a bad harvest and people will have to starve. Therefore, the cult of nature is still alive. We are also, with joy, celebrating Shrove Tuesday, burning an effigy in honor of spring and fertility. By transforming folk incantations into a poetic picture, Pushkin acted as an innovator in the very composition of the tale.

The wind helped find the bride's crystal coffin:

And about the coffin of the bride dear

He hit with all his might.

The coffin was broken. Virgo suddenly

Revived. Looking around...

Crystal, that is, ice. And the phrase "in that crystal coffin" means in the realm of death, darkness and winter. And the prince Elisha, like a ray of the spring sun that broke the ice, with the power of his love, and freed the bride from the captivity of death:

He takes her in his hands

And brings it into the light from darkness.

Returning to your world means a new birth of the heroine. New birth of life. After a long sleep, the princess returned home, where the evil stepmother communicated with her mirror, but the queen could not bear the meeting with the resurrected girl and died. The defeat of the stepmother means the end of the cold winter and the restoration of family life, to which the stepmother is alien. The death of the stepmother is depicted by the poet ironically:

Ran straight through the door

And I met the princess.

Here longing took her

And the queen died.

Envy and anger towards everything bright and good leads the stepmother to death from “longing”. As soon as the witch was buried, everyone immediately forgot about her and immediately "made a wedding." The story ends with the words in the first person:

I was there, honey, drinking beer,

Yes, he just wet his mustache.

Such endings of fairy tales are very popular in world folklore.

Pushkin's work on folk tales shows the methods of combining the simplicity of folk style and literary-bookish and oral-poetic creativity. Pushkin uses the techniques of the literary language to reflect the spirit and style of the folk tale. Pushkin finds in folklore images and techniques a powerful means of national renewal and democratization of literary and poetic styles. Fairy tales are the history of our people, sung in images and passed from mouth to mouth. Pushkin sought to preserve that incredible magical world that had been created by generations. Many scientists are inclined to believe that fairy tales in Rus' arose precisely because with their help they prepared the uninitiated for the rite of initiation, telling about what unknown power a person will be endowed with, about what and why it is necessary to pass tests, etc. A lot of archaeological excavations confirm the guesses of scientists. Therefore, it would not be correct to separate Russian folk tales from literary ones. No matter how the authors try to come up with something new, folk tales will still serve as the basis for them. Fairy-tale images would not have been preserved if they did not express the basic, undying values ​​of human life. From generation to generation, only that which is somehow dear to mankind is transmitted. The stability of fairy tale tradition proves that a fairy tale contains something important and necessary for all peoples and for all times, and therefore unforgettable.

Pushkin understood this very well and tried to preserve the basis of the Russian fairy tale. Plots can be repeated somewhere, but the Russian mentality is embedded in the fairy tale, which will not be found in any Western fairy tale.

Conclusion

I analyzed the "Tale of the Dead Princess and the Seven Bogatyrs" by A.S. Pushkin. I found out that the poet, when creating his fairy tales, actively used fairy-tale images and vocabulary of folklore. Pushkin synthesized his knowledge of paganism and the Christian religion, creating in a fairy tale an atmosphere inherent in the inner world of a Russian person. Thus, making the folk tale literary. The poet created a new canon for writing fairy tales. He revised all modern aesthetic theories, which were considered unchanged. Thus, Pushkin considers the fairy tale as a great epic genre of literature, in contrast to many contemporary writers who believed that this genre was insignificant and petty. Creating fairy tales, Pushkin did not turn to any one plot, as did many of his contemporaries, but collected and processed the most vivid versions of Russian folklore.

The works of A. S. Pushkin showed a new path for children's literature. They provided classic examples of children's literature and revealed the emptiness and artificiality of the moralistic books of many children's writers.

Bibliography

1. Azadovsky M.K. article Sources of Pushkin's fairy tales ("Pushkin", Vremennik, issue 1, 1936).

2. Belinsky V.G. Selected articles - M.: Children's literature, 1972. - 223 p.

3. V. V. Vinogradov, The Language of Pushkin. M.--L., 1935.

4. Nazirov R. G. Crystal coffin: Folklore and ethnographic origins of one Pushkin motive // ​​Folklore of the peoples of Russia. Folklore traditions and folklore-literary connections. Interuniversity scientific collection. -- Ufa: Bashkir University, 1992.

5. Propp V. Ya. Morphology of the "magic" fairy tale. The historical roots of fairy tales. - Publishing house "Labyrinth", M., 1998. - 512 p.

6. Pushkin A.S. Poems. Poems. Drama. Tales.--M.: Eksmo Publishing House, 2002.--606 p.

7. Tronsky I. M. Antique myth and modern fairy tale // S. F. Oldenburg: To the fiftieth anniversary of scientific. societies, activities. 1882-1932. L., 1934.

8. Christ: Macarius of Egypt. 1998. (p. 296)

9. Etymological dictionary of the Russian language. -- M.: Progress M.R. Vasmer 1964--1973.

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Yu. A. Chaplygina

THE MYTHOLOGICAL SUB-TEXT OF A. S. PUSHKIN'S TALES ABOUT THE DEAD PRINCESS AND THE SEVEN BOGATYRS: THE EXPERIENCE OF SCHOOL ANALYSIS

The article proposes a new approach to the study of "The Tale of the Dead Princess and the Seven Bogatyrs" by A. S. Pushkin in a literature lesson, based on the identification of motifs in the text that have their roots in Slavic paganism. The analysis of the images of the fairy tale, taking into account the mythological overtones, contributes to a deeper comprehension of the text by students, increasing the level of their reading culture.

Key words: Slavic mythology, mythological image, teaching literature.

Mythological Connotation of A.S. Pushkin's "Fairy Tale of the Dead Princess and the Seven Knights": An analysis of school experience

The article suggests a new approach to the study of the "Fairy Tale of the Dead Princess and the Seven Knights" written by A. S. Pushkin. This approach is based on the identification of the motives in the text, originating in the Slavic paganism. The analysis of images offairy-tales with the mythological connotations contributes to a better comprehension of the text, increasing the level of their readers " culture.

Keywords: Slavic mythology, the mythological image, methods of teaching literature.

"The Tale of the Dead Princess and the Seven Bogatyrs" by A. S. Pushkin has firmly entered the educational process. The authors of school programs in literature (V. Ya. Korovina, V. G. Marantsman, A. B. Esin, O. N. Zaitseva, M. B. Ladygin) suggest studying this work in the fifth grade. In the minds of readers, a fairy tale that they read at the age of ten in a literature lesson remains a clear, understandable, simple work that does not cause a desire to re-read it and re-think about the questions that worried the author. Such a perception of Pushkin's text does not correspond to the meanings inherent in it. For almost two centuries, studies have been appearing, the authors of which are trying to understand the deep meanings of Pushkin's fairy tales, including this one. Among these authors, we should mention N. V. Gogol, V. G. Belinsky, P. V. Annenkov, S. M. Bondi, A. A. Akhmatova, M. K. Azadovsky and others. Let us turn to some facts of these searches and let us designate the provisions on which we relied in the development of the methodological concept.

“The Tale of the Dead Princess and the Seven Bogatyrs” was written by the author in the autumn of 1833 in Boldino after he created realistic works (“Eugene Onegin”, “Boris Godunov”, etc.). Fairy tales, according to I. M. Kolesnitskaya, "were an expression of the principles of realism and nationality that had fully developed by that time in Pushkin, a kind of result of the poet's many years of aspirations to comprehend the way of thinking and feeling of the people, the peculiarities of his character, to study the riches of the folk language" . There are several versions regarding the source of this work. According to one of them, it is based on a Russian fairy tale, recorded in the village of Mikhailovsky. According to another, its plot is borrowed from the Brothers Grimm. The plausibility of the latest version is given by the fact that the fairy tale "Snow White and the Seven Dwarfs" was published earlier than "The Tale of the Dead Princess and the Seven Gods".

tyryah" (in the 10-20s of the XIX century), and therefore it can be assumed that the author was aware of it. Until now, literary scholars have not come to a consensus on what is the source of Pushkin's fairy tale. This question becomes the starting point in solving other problems: about the language, about the nature of the characters and about the poetics of the work as a whole. It is quite obvious that Pushkin's fairy tale is not such a simple and clear work, and it is very important that reading it not only brings pleasure, but also, according to V. G. Marantsman, "certainly echoes a restless thought."

Methodological science and school practice have accumulated an interesting experience of working on A. S. Pushkin's fairy tale. The ways of identifying the features of a fairy tale as a literary one, the possibility of a comparative analysis of a work with other texts (V. G. Marantsman), with other types of art (E. N. Kolokoltsev, T. A. Sotnikov, O. A. Eremina, E. A. Belkova, N. G. Napolskikh), a special place is given to commented reading (T. G. Solovey, Z. V. Beloretskaya, I. V. Tsikarishvili), an appeal to the language and style of the work becomes an obligatory component of school analysis (P. I. Kolosov, R. E. Wolfson, M. V. Sokolova, Z. G. Yampolskaya). Particularly interesting is the idea of ​​M. G. Kachurin on the use of the research method in the lessons on the study of A.S. Pushkin*.

An analysis of a fairy tale based on the identification of mythological symbolism in it has not yet been presented in methodological science. Meanwhile, this work is rooted in the depths of centuries: its plot and images originate in ancient Slavic ideas about the world. Analysis of the text on a mythological basis will allow students to look at the fairy tale not as a "children's book", in which "everything is clear and understandable", but as a creation in which many mysteries and meanings are hidden, previously unknown. Such an analysis

contains a huge potential for the development of research skills in children, providing a high level of reading culture. To show this on the example of several episodes of a fairy tale is our task.

Let us dwell on two fragments: the appearance of the princess in the chamber of the seven heroes and acquaintance with them. We ask the guys to remember the events that took place before the appearance of the heroine in the tower. When Chernavka led the princess into the forest, she was "frightened to death", "begged", asked not to destroy her. Trying to get out of the wilderness, the heroine goes to the tower. We reread the necessary fragments in the class (although the children remember the content of the fairy tale well, the reproduction of the text immerses them in a special atmosphere, the magic of Pushkin's word is fascinating). After reading ask:

Is she just as scared in the tower? After all, this is someone else's house.

Children say that fear is gone, there is curiosity.

Because she realized that “good people live” in it.

What helped her understand this?

Here we should talk about the fact that the house

This is a special world in which a person lives. We can tell a lot about its inhabitants, depending on how it works, what is in it. What is the meaning of the word "terem"? We turn to the dictionary of V. I. Dahl: in the 19th century, a tower was called “a raised, high residential building or part of it”. Such houses in the old days were owned by wealthy people. At first it may seem that Pushkin talks rather sparingly about the interior of the room into which the princess enters, but the author's attention is focused on the most important items of Slavic life. We ask the children to imagine themselves as the hero of the work and mentally enter the fairy-tale space, and then tell about what they see. Fifth graders notice that “first

jealous sees the icons, under which there is a table and benches, and then - a stove with a stove bench. We explain to the students that the author counted on the reader's knowledge of Russian traditions and customs, well known to his contemporaries. First, Pushkin talks about the most significant place in the house, usually facing the southeast, this place is the “red corner”. The teacher explains: among the Slavs, the south and east were associated with the birth of the sun, with life, with warmth, and the west and north with death, cold, darkness. So the red corner was turned to goodness and light. Even the windows in the house faced east or south. In the red corner were icons, under the icons - a table (": ... under the saints there is an oak table."). We show the children the ethnographic drawing “Red corner in the hut. XIX century ”from the book by M. Semenova“ We are Slavs! ”. The place where the icons stood was associated “with the altar of an Orthodox church” and therefore was perceived “as a place of the presence of the Christian God himself, and the table was likened to a church throne.”

Even earlier, Pushkin draws attention to "shops covered with carpets." To our question: what was the difference between a bench and a bench? - children do not find the answer. And again we turn to the book by M. Semenova “We are Slavs!”, We read: “. the bench was motionlessly strengthened along the wall of the hut and most often was deprived of racks, and the bench was equipped with legs, it was moved ... The place on the bench was considered more prestigious than on the bench; the guest could judge the attitude of the hosts towards him, depending on where he was seated - on a bench or on a bench. Thus, the shop, located in the red corner, was considered the most honorable place. It was called the red shop.

Again we turn to the guys with the question: what else in the house was very important? Children guess: the second most important

the subject of everyday life for Russian people was a stove. We suggest recalling Russian fairy tales: "Sivko-Burko", "Baba Yaga", "Geese-

swans”, “At the command of a pike”, “Telp-shock”, “Zhikharka”, “Ivashka and the witch”, “Fussy”. Many of them have stoves.

Animated character; we ask the guys to compose a short monologue on her behalf, using a reference card with a blank text. Here is one of such works (combinations written in italics - additions of the student).

“I am an old Russian Pechka. I can talk, I give good advice, teach, I help good people in many ways. People call me Mother, because I am kind, warm. I protect the light both day and night, because with the light it is warm and cozy in the house. At all times, Russian people treated me with reverence, as if they were a dear person.

According to fifth graders, the stove in folk tales has extremely positive qualities. She is a reliable friend, helper, living being. The people endowed the stove with magical properties, miraculous powers. We confirm the correctness of their words and point to the origins of such an attitude towards the furnace. The Slavs considered it a family talisman: "home fire in the furnace was continuously maintained and kept at night in the form of hot coals." We return to the question that was asked earlier: why does the princess understand that “good people live” in the tower? The icons in the red corner, the oak table under them, the respectful attitude towards the stove, the symbol of the hearth - all this spoke of respect, the owner's love for the traditions of his ancestors and the desire to preserve and carry through the centuries native customs, moral ideals. That is why the princess understands that "good people live" here. After all, these traditions were known to every Russian person. They brought people together. Therefore, the princess knows that they will not offend her in this house (“... to know, she will not be offended.”).

We ask schoolchildren how the princess behaves in the tower of heroes before meeting them? We note that Pushkin allows

her heroine to walk around an unfamiliar house, approach the stove, clean the room. After all, "the behavior of the guest in the house was strictly regulated." A stranger was not supposed to go around the house without a host, cook food, feed a dog, a cat. What if a person came to a new house with unkind thoughts? "The guest was perceived as a bearer of fate, a person who could influence all spheres of human life" . The guys argue: “Probably, by such behavior of the princess, the author says that she has good thoughts, she does not want to harm anyone.” Seeing the maidens of the heroes, she “bowed low from the waist; blushing, she apologized.

We draw attention to the fact that the heroes also observe the rules of hospitality: In an instant, by speech, they recognized

That the princess was accepted;

seated in a corner,

They brought a pie

Pour a glass full

Served on a tray.

And again, we offer information that will make an inconspicuous detail memorable and meaningful. Pies were considered a kind of ritual bread. Pies were perceived as a delicacy. The guest should not refuse the food offered to him. And the point here is not simple politeness: the owner of the house, offering to share a meal with a person who came to his house, tried to make him “his”. The bogatyrs put the princess “in a corner”, that is, at an oak table, over which there were icons. Schoolchildren remember that this is the most honorable place in the house. This is how the hosts showed the guest that they are very happy with her visit and welcome her as if they were their own.

The character Sokolko deserves special attention. In order to understand the author's intention when creating this image, we suggest that schoolchildren recall dog heroes in folklore and literature. Children call the fairy tale "Fi-nist - the clear falcon" and tell how the bird turned into a good fellow who performed various feats. Help

they remember Cerberus the dog, guarding the entrance to the underworld of Hades in ancient mythology; dog Martynka (Russian folk tale "The Magic Ring"); a dog in R. Kipling's fairy tale "The Cat Who Walked By Herself". We build a figurative row - assistants-friends of the princess: Chernavka - heroes - Sokolko - Elisha. We draw attention to one feature of this series: the author gave names to only two heroes of the fairy tale. Why? Children argue hypothetically: “They save the princess”, “the dog at least tries, but Elisha generally saves”, “the heroes did not save the princess at all.” We ask the guys: from what word is the nickname of the dog formed? Fifth graders understand that "So-kolko" is a derivative of "falcon". It is no coincidence that Pushkin endows the dog with such a name. We propose to conduct a study (students like this word) and find out what secret, rooted in Slavic paganism, hides the image of Sokolko? We introduce the guys to the ancient legend, which is discussed in the book by E. E. Levkievskaya “Myths of the Russian people”: God created the dog from the remains of clay that remained from Adam, and ordered to guard the man’s dwelling from evil forces. From the cold, she curled up and fell asleep, and then the evil could get close to people. When God began to reproach the dog, she plaintively said: “So I froze. Give me wool, then I will be a faithful watchman. God gave the dog wool, and it became a true friend of man.

Children conclude: a dog is a faithful companion, devoted to a person”, “a magical helper” (according to the terminology of V. Ya. Propp). They argue in line with the theory of D. Fraser: “It was believed that. a selfless animal, like a dog, ... allows itself to be torn to pieces, protecting its owner” **. Sokolko dies, trying to save the princess and heroes from death. Pupils quote the text of the fairy tale:

The dog under her feet - and barks,

And he won't let me see the old woman;

Only the old woman will go to her,

He, the forest beast, is more angry at the old woman ...

We supplement the guys' answers with the remark that in Slavic culture the falcon is a symbol of heroic strength and courage. However, one detail of Pushkin's text still surprises the students: why did the dog let the princess (a stranger) into the house and how did she feel that the old woman wanted to kill her? We add information that will help answer this question. The dog, like the wolf, in folk beliefs was often endowed with the gift of foresight, became an intermediary between "that" and "that" light, felt danger. She cannot be deceived. Schoolchildren understand: she let the princess in because she felt that in front of her

A good man, a friend, not an enemy. We introduce students to the ancient Slavic myth of Simargl. "Simargl. - deity of the lowest order; this is a sacred winged dog guarding seeds and crops. Fifth-graders come to the conclusion that in the image of Sokolko the poet united two creatures: the earthly - a dog and the heavenly - a falcon.

Thus, having analyzed only a few episodes of Pushkin's work in the lesson, the children came to the conclusion that the fairy tale, which seemed so simple and understandable, contains many mysteries that take the reader back into the depths of centuries. Fifth-graders said that "this fairy tale is a window into the distant past", they understood that there is nothing accidental in the text, "everything has a meaning: both in the dog's name and in pies - you just need to think of it."

While working on the fairy tale, we tried to avoid the naively fluent, in the words of V. G. Marantsman, reading this work. Appeal to the mythological component, to traditions, customs, rooted in paganism and reflected in Pushkin's text, enriches the reader's perception of fifth-graders, aims them at the "research" of the text, helps to feel the atmosphere of ancient Russian life created by the author, perceive Pushkin's work as a text-mystery .

NOTES

* This idea was reflected in the book by M. G. Kachurin "Organization of research activities of students in literature lessons" (1988).

** At literature lessons, schoolchildren often reason in line with the theories of great scientists. This idea has already been proven in the course of the experiment by ID Postricheva. [Postricheva I. D. The development of tolerance as a quality of a student-reader when referring to a folk fairy tale: Dis. ... cand. ped. Sciences. SPb., 2009, p. 95].

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V. Yu. Chkhutiashvili

EVENT AS A TEXT-FORMING FACTOR OF A JOURNALIST'S COMMENTARY

The article considers the "event" as a minimal substantive and semantic basis for the formation of the text of a journalistic commentary. In this regard, the characteristic features of the "commentary" genre are touched upon and the place of the event in its structure is determined. As a research task, the author attempts to analyze various forms of manifestation of an event in relation to the text of a journalistic commentary.

Key words: journalistic commentary, fact, referential event, event as an idea, text event.