Literary tales". Open lesson "XIX century
Plan
Introduction
Main part
1 Tale of the first half of the 19th century.
2 Themes of literary fairy tales.
3 The appearance of fairy tales by V. A. Zhukovsky in literature
4 Artistic originality fairy tales by V. A. Zhukovsky
5 The history of the creation of fairy tales.
6 Thematic originality of the tales of V. A. Zhukovsky
Conclusion
Introduction
V. G. Belinsky called V. A. Zhukovsky "the literary Colomb of Rus', who opened her America of romanticism in poetry." Speaking of his great merit to Russian literature, Belinsky noted that "Zhukovsky introduced a romantic element into Russian poetry: this is his great work , his great feat, which was so unfairly attributed by our Aristarchs to Pushkin.
The fairy tales of Vasily Andreevich Zhukovsky were also a significant phenomenon in Russian literature. One cannot fail to note their poetic perfection. Many fairy tales were written in verse of prose tales such as "Puss in Boots", "Tulip Tree". Zhukovsky processed them in hexameter, a poetic meter that was widely used in ancient Greek epic poetry.
We know that many writers created their works based on folklore and spiritual literature. This is no coincidence: it was folklore that became the source for many writers, including Vasily Andreevich. In the fairy tales written by Zhukovsky, the desire to “ennoble” folklore, to make an elegant literary processing of it, is palpable. Highly appreciating the interpretation of fairy tales, Pletnev wrote to Zhukovsky: "It is clear that the fairy tale comes not from a peasant's hut, but from a manor house."
In this work, I would like to turn to the diverse themes of fairy tales, to artistic originality.
Fairy tale of the first half of the 19th century
A fairy tale can be a creation
High when it serves as an allegorical
Clothes that clothe the lofty spiritual
Truth when it detects palpably
And apparently even a commoner's business,
Available only to the sage.
N.V. Gogol
A fairy tale is one of the most popular types of epic folk art. For many centuries, she lived in oral performance, passed down from generation to generation, striking the attention of listeners with the poetry of a fantasy world that lives according to its fairy-tale laws. Originating in ancient times, the fairy tale in the process of existence lost some features and acquired others, included new motives and images. But people's dreams, ideas about goodness, truth, social justice, embodied in fairy tales, have always remained unchanged. Here, good necessarily triumphs over evil, treachery, violence and treason are severely punished, human vices and shortcomings are distinguished. This was also the reason that the fairy tale became a favorite reading among all peoples.
The first publications of Russian folk tales date back to the 18th century. At the beginning of the 19th century, the folk tale attracted the attention of Russian writers. V. A. Zhukovsky asks his friends to write down fairy tales for him; while in exile in Mikhailovsky, A. S. Pushkin listens with admiration and writes down the tales told by his nanny Arina Rodionovna; the famous philologist and writer V. D. Dal, who published his works under the pseudonym Cossack Lugansky, diligently collects and reworks folk tales, and in 1832 he publishes them as a separate collection. Impressed by the newly appeared fairy tales, A. S. Pushkin turns to the study of folk tales.
Themes of literary fairy tales
What is the reason for such an increased and sustained interest of Russian writers of the first half of the 19th century in the folk tale?
One of the most important events in the history of Russia at the beginning of the 19th century was the Patriotic War of 1812, in which the Russian people won an impressive victory over Napoleon. Ordinary peasants, dressed in soldier's greatcoats, together with the best representatives of the noble intelligentsia, showed heroism and courage in the fight against the invaders, protected from the enemy native land. The War of Liberation aroused the patriotic feelings of the Russian nation, awakened national self-consciousness, gave rise to a close interest of the advanced part of Russian society in the victorious people, in their life, way of life, customs, customs, and creativity.
The search for the origins of folk heroism, courage, patriotism, humanism forced writers to turn to the study of the worldview, moral and aesthetic values of the people. Folk ideas about life that have evolved over the centuries are best reflected in works created by the people themselves - in oral folk art: in legends, traditions, fairy tales, epics, songs. This is the main reason why Russian writers turn to folklore, including folk tales.
In addition, the progressive part of the Russian intelligentsia actively advocated at this time for the creation of original national literature. In her opinion, literature should reflect the spirit of the nation, turn to national foundations, and above all to folk art.
For all the fictitiousness of the plot and the fantastic nature of the narrative, the tale expressed an active attitude to life, asserted the triumph of goodness and justice, the victory of the hero over adversity. Fairy-tale fiction is always subordinated to the idea of the work, "morality", which are directly addressed to reality. And the phenomena themselves real life reflected in folk tales. “If in all these legends,” wrote N. A. Dobrolyubov in the article “On the degree of participation of the people in the development of Russian literature,” “there is something worthy of our attention, then it is precisely those parts of them that reflect living reality.”
One of the first Russian writers turned to the fairy tale genre, A. S. Pushkin.
The appearance of fairy tales by V. A. Zhukovsky in literature
Under the influence of A. S. Pushkin, his friend poet Vasily Andreevich Zhukovsky turned to the genre of literary fairy tale.
About the talent, about the poems of V. A. Zhukovsky, Pushkin said brighter and more accurately than anyone:
His poetry captivating sweetness
Centuries of envious distance will pass ...
For at least two centuries now, his works have been studied by literary historians, and not only. Zhukovsky's books are published almost every year - and they do not lie on store shelves like a dead weight.
Vasily Andreevich is considered the founder of Russian romanticism, which, it must be said, was a completely original phenomenon that grew up on its national roots. In the elegies and ballads of Zhukovsky, for the first time, with extraordinary sincerity, the inner world was opened to the reader,shades of soul movements poet. Before him, perhaps, there was no such musical verse in Russian poetry, so melodious, rich in nuances and semitones. Along with Batyushkov, Zhukovsky actually created our lyrics. No less talented are the tales of Vasily Andreevich.
Artistic originality of the tales of V. A. Zhukovsky
Zhukovsky's fairy tales are written on the basis of Russian and Western European folk tales, they are well-known heroes - Tsar Berendey, his son Ivan Tsarevich, Baba Yaga, the Gray Wolf, Puss in Boots. While maintaining plot proximity with folk tales, Zhukovsky's tales differed in many respects from them in the author's attitude to the depicted, which is characterized by mild irony and good-natured mockery. He kindly laughs at Tsar Berendey:
He greedily pressed his lips to the water and the spring stream
He began to pull, not caring that his beard was drowned in the water ...
Having rescued an honest beard, the tsar dusted himself off like a goldeneye.
He sprayed all the courtiers, and all bowed to the king.
He meets in the yard
The darkness of people, and everyone sleeps:
He sits like a dug in:
He walks without moving;
He stands with his mouth open
Sleep interrupting the conversation,
And vustah has been silent ever since
Unfinished speech...
The fairy tales of Zhukovsky reflected a kind, humane and poetic view of the world, inherent in the representatives of common people. The same applies here perfect heroes endowed with beauty, physical and mental perfection, love for people, valor and courage. Defending justice, carrying out someone's order, they act in fabulous circumstances, end up in the "far-away kingdom, in the far-away state", invaluable help is provided to them by true friends - the Gray Wolf or Puss in Boots, as well as wonderful objects: an invisibility hat, a tablecloth - self-assembly and a magic baton.
Faith in the final victory of good is affirmed through the poetization of a bright fairy-tale world full of beauty and miracles. The magic of the beautiful Marya Tsarevna helps Ivan Tsarevich himself to free himself from the persecution of Koshchei the Immortal and free his father, Tsar Berendey, from the oath promise, cunningly wrested from him by Koshchei. The disinterested devotion and friendship of the Gray Wolf, his ability to work miracles, not only rendered an invaluable service to Ivan Tsarevich in fulfilling his father's order - to get the Firebird, but also resurrected the young knight from the dead, helped return Elena the Beautiful and punish the insidious Koshchei.
The kind view of the storyteller on the world was reflected in negative characters who face inevitable retribution for their crimes. In some cases, the exposed evil is generously forgiven, in others it is severely punished. So, having learned about the miraculous salvation of his wife and son, Tsar Saltan mercifully forgives the slanderers. On the contrary, just retribution awaits evil stepmother(“The Tulip Tree”) and the insidious brothers of Ivan Tsarevich (“The Tale of Tsar Berendey"). At the same time, it should be borne in mind that in both folk and literary tales, retribution does not contradict the humane nature of positive fairy tale hero. The punishment of an enemy, a slanderer, a rapist, a murderer is not a manifestation of spiritual cruelty, callousness, an egoistic sense of revenge, but the triumph of truth.
Thus, a wonderful invention, fabulous fantasy is nothing more than a poetic convention in which folk dreams, hopes, moral ideas are revealed - everything that can be called a bright view of the world, characteristic of the Russian national character.
Poetic tales Zhukovsky largely preserved the stylistic features of folk fairy tales. The poet deliberately focused on the epic regularity of the narrative, which is supported by the abundance of verb forms in the fairy-tale phrase. Here is how Zhukovsky tells about duck maidens, which Ivan Tsarevich watches on the shore of the lake:
Ducks swim, splash in streams, play, dive.
Finally, having played, diving, splashing, swam
To the shore; twenty-nine of them, running with transshipment
To the white shirts, they hit the ground, everyone turned
In red girls, dressed up, fluttered and disappeared at once.
The fabulous world of Zhukovsky, for all its fantasticness, did not break with the outside world. The features of reality declare themselves in beautiful landscape sketches filled with an abundance of bright colors and diverse sounds:
…Already rides
Day he, the other and the third; at the end of the fourth - the sun
Just managed to go in - he drives up to the lake; smooth
The lake is like glass; water is on a par with the shores;
Everything in the neighborhood is empty; ruddy evening glow
The covered waters are extinguished, and green is reflected in them.
The shore and the frequent reeds, and everything seems to be dozing;
The air does not blow; the reed does not tremble; rustle in the streams
Light is not heard ....
Message from V.A. Zhukovsky to folk tales opened up wide opportunities for him to depict folk characters. Fairy shape, fabulous images national heroes allowed the writer to express the social and moral ideals of the people. It should be borne in mind that the literary fairy tale arose and developed in the general stream of Russian literature of the first third of the 19th century, primarily romantic literature, which fought for national literature. And in this sense, the literary fairy tale met the progressive requirements that the writer presented to Russian literature - to find original forms for expressing the national content.
In the process of the development of literature, the assertion of the principles of realism in it, the literary fairy tale itself is modified. It retains its connection with folklore sources and folk worldview, but its ties with reality are becoming more and more strong. There is a literary fairy tale specially intended for children. In some cases, the tale continued the previous tradition and was a literary adaptation of a folk tale. In other cases, the writer strives to bring up in the child good feelings and high moral principles.
The history of the creation of fairy tales
Vasily Andreevich Zhukovsky is a talented Russian poet, contemporary and friend of A.S. Pushkin.
In the summer of 1831, Zhukovsky settled in the suburbs of St. Petersburg in Tsarskoe Selo, where he met daily with Pushkin, who at that time was enthusiastically working on his fairy tales. Pushkin's enthusiasm was transferred to Zhukovsky; between the poets began a kind of "competition" in writing fairy tales. N.V. wrote about this poetic rivalry. Gogol, who at that time often visited Pushkin Zhukovsky in Tsarskoe Selo. “Almost every evening we gathered - Zhukovsky, Pushkin and I. Oh, if only you knew how much beauty came out of the pen of these men. Pushkin's ... Russian folk tales - not like "Ruslan and Lyudmila", but completely Russian .... Zhukovsky also has Russian folk tales, some in hexameters, others in simple four-foot verses, and, a wonderful thing! Zhukovsky is unrecognisable. It seems that a new extensive poet has appeared, and already a purely Russian one.
Victory in the "competition" was on the side of Pushkin; great poet managed to more accurately convey the spirit and style of Russian folk tales. However, this in no way detracts from the merits of Zhukovsky's fairy tales, which were a significant phenomenon in Russian literature.
During this period, A.S. Pushkin wrote "The Tale of Tsar Saltan", and V.A. Zhukovsky three tales: "The Tale of Tsar Berendey", "The Sleeping Princess" and "The War of Mice and Frogs".
In the 40s of the 19th century, Vasily Andreevich Zhukovsky wrote several more literary tales.
Thematic originality of the tales of V. A. Zhukovsky
Tale of Tsar Berendey
About his son Ivan Tsarevich,
About the tricks of Koshchei the Immortal
And about the wisdom of Mary the princess,
Koshcheeva's daughter
Pushkin handed it to Zhukrovsky. Pushkin's entry The plot is based on a recording of a folk tale, which was made in 1824 from the words of Arina Rodionovna. Zhukovsky transcribed this entry into verses, processed it in hexameter - poetic meter, widely used in
ancient Greek epic poetry.
sleeping princess
The source of the tale was literary adaptationsAnd German and French fairy tales ("Wild Rose" by the Brothers Grimm and "Beauty Sleeping in the Forest" by Charles Perrault). Zhukovsky combined both versions of these fairy tales and arranged them in poetic size, very close to the verse of Pushkin's fairy tales "About Tsar Saltan", "About the Dead Princess", "About the Golden Cockerel".
War of mice and frogs
The tale is based on the ancient Greek poem "Batrachomyomania" ("The War of Mice and Frogs"), written, probably, by the poet of the late 6th - early 5th century BC Pigret of Caria. In addition, Zhukovsky was familiar with the poem by the German writer of the 16th century G. Rollenchen "The Frog" and its later literary adaptations. Zhukovsky ironically, and sometimes even satirically, shows here his contemporary writers. Cat Fedot Murlyka denounced the corrupt writer and scammer Faddey Bulgarin. Zhukovsky portrayed himself in the wise rat Onuphria, and Pushkin in the poet of the mouse kingdom Klima.
Thumb boy
The poetic fairy tale was written by Zhukovsky in the 40s for his young children.
Puss in Boots
This tale is a poetic adaptation of Ch. Perrault's tale "Uncle's Cat, or Puss in Boots." Zhukovsky in some places developed the laconic text of the French storyteller, introduced features of humor into it.
tulip tree
"The Tulip Tree" is a verse adaptation of a prose tale from the Brothers Grimm collection "On the Almond Tree".
Tale of Ivan Tsarevich and the Gray Wolf
The plot of this tale is based on several Russian folk tales, as well as a number of motifs and images borrowed from the tales of other peoples.
Conclusion
Working on the topic “Artistic and thematic originality of the fairy tales of V. A. Zhukovsky”, I got acquainted with the fairy-tale world, for all the fantastic nature of which the author does not break with the outside world. The fairy tales reflect the kind, humane and poetic view of the world inherent in the representatives of the common people. Poetic tales of Zhukovsky largely preserved style features folk fairy tales. Zhukovsky's tales are written on the basis of Russian and Western European folk and author's tales. I studied the thematic variety of fairy tales by V. A. Zhukovsky.
Bibliography
Grikhin V. A. Over the mountains, over the valleys ... M; 1989
Karpov I. P. Starygina N. N. Public lesson according to literature M; 2001
Kalyuzhnaya L. Ivanov G. One hundred great writers M; 2000
Starobdub K. literary Moscow M; 1997
Details Category: Author's and literary fairy tales Posted on 10/30/2016 10:01 Views: 1727Many author's fairy tales are created on the basis of folk fairy tale plots, but the author supplements each of these plots with his own characters, thoughts, feelings, and therefore these fairy tales are already becoming independent literary works.
Ivan Vasilyevich Kireevsky (1806-1856)
I.V. Kireevsky is known as a Russian religious philosopher, literary critic and publicist, one of the main theorists of Slavophilism. But there is in it fiction and the fairy tale Opal, which he wrote in 1830.
Fairy tale "Opal"
This tale was first read in the salon of Countess Zinaida Volkonskaya, and published in the first issue of the European magazine (1832), which I. V. Kireevsky began to publish. But from the second issue the magazine was banned.
The tale is written in a romantic style, in its plot there is a conflict between the real and the ideal. In the cruel real world, a person with a thirst for the ideal becomes defenseless and powerless.
Brief story
The Syrian king Nureddin was famous for his invincibility and warlike character. “Thus, by luck and courage, the Syrian king obtained for himself both power and honor; but his heart, deafened by the thunder of battle, understood only one beauty - danger, and knew only one feeling - the thirst for glory, unquenchable, boundless. Neither the clinking of glasses, nor the songs of troubadours, nor the smiles of beauties interrupted for a moment the monotonous course of his thoughts; after the battle he prepared for new battle; after the victory, he did not seek rest, but thought about new victories, plotted new labors and conquests.
But minor feuds between the subjects of the Syrian king Nureddin and the Chinese king Origella led to a war between them. A month later, the defeated Origell with the remainder of his chosen troops locked himself in his capital. The siege began. Origell made concessions one after another, but Nureddin was inexorable and wanted only a final victory. Then the humiliated Origell yields everything: treasures, and favorites, and children, and wives, and asks only for life. Nurredin rejected this proposal. And then the Chinese king decided to turn to the sorcerer. He raised his eyes to starry sky and having studied it, he said to Origella: “Woe to you, king of China, for your enemy is invincible and no spell can overcome his happiness; his happiness is contained within his heart, and his soul is firmly created, and all his intentions must be fulfilled; for he never desired the impossible, he never sought the unrealizable, he never loved the unprecedented, and therefore no witchcraft can act on him!
But then the sorcerer said about one means of destroying the enemy: “... if there was such a beauty in the world who could arouse such love in him, which would raise his heart above her star and make him think thoughts inexpressible, seek feelings of the unbearable and speak words incomprehensible; then I might have killed him."
And Nureddin receives a ring with an opal stone, which takes him to an unreal world, where he meets a beautiful woman, whom he falls in love with without memory. Now the Syrian king became indifferent to military affairs, Origell gradually began to conquer his kingdom, but Nureddin ceased to care, he wanted only one thing: to always see the star, the sun and music, new world, the cloud palace and the maiden. He was the first to send Origella an offer of peace and concluded it on shameful terms. Life on a star was the middle ground between dream and reality.
Finally, even the conqueror Origell took pity on Nureddin and asked him: “Tell me, what do you want from me? What do you regret the most about what you lost? Which of the palaces do you wish to keep? Which of the slaves to leave? Choose the best of my treasures and, if you wish, I will allow you to be my viceroy on your former throne!
To this Nureddin replied: “Thank you, sir! But of everything you took from me, I don't regret anything. When I valued power, wealth and glory, I knew how to be both strong and rich. I lost these blessings only when I ceased to desire them, and I consider unworthy of my care that which people envy. Vanity all the blessings of the earth! Vanity is everything that seduces the desires of man, and the more captivating, the less true, the more vanity! Deception is everything beautiful, and the more beautiful, the more deceptive; for the best thing in the world is a dream.”
Orest Mikhailovich Somov (1793-1833)
The artistic prose of Orest Somov is mainly addressed to everyday topics. But in art world his works include many folklore motifs, ethnographic features of the life of the people (most often Ukrainian). Some of Somov's fairy tales and stories are characterized by mystical fantasy: "The Tale of Treasures", "Kikimora", "Mermaid", "Kyiv Witches", "The Tale of Nikita Vdovinich".
"The Tale of Nikita Vdovinich" (1832)
A fairy tale with a mystical plot characteristic of Somov.
Brief story
In the glorious city of Chukhloma there lived a miserable old woman, Ulita Mineevna. Her husband, Avdey Fedulov, was a big reveler and died with a binge right under the bench. They had a son, Nikitka, who was all like his father, he just didn’t drink yet, but he skillfully played money. The local guys didn’t like it, because he constantly beat them. And then one day Nikita went to the cemetery to hide the money he won on his father's grave. But when he dug up the grave a little, he heard the voice of his father. He suggested that Nikita play cash with the dead. But the most important thing is to win the black grandma on the third night - it has all the power.
The author colorfully describes the whole bacchanalia of the dead playing money.
Nikita managed to win, and he got the black grandma. The dead father taught him the spell: “Grandma, grandma, black ankle! You served the Basurman sorcerer Chelubey Zmeulanovich for exactly 33 years, now serve me, good fellow. And any wish will come true.
A “sweet” life began for Nikita and his mother: any whims, any wishes were fulfilled by a black grandmother.
Then Nikita married a beauty, they also had a son, Ivan. But the wife began to harass Nikita with endless requests - "don't know peace day or night, please her everything." He begged from the black woman “the caskets are full of gold and lari are full of silver; let him spend it on whatever he wants, only he won’t eat my life,” and he himself became, like his father, a bitter drunkard.
And so life went on until a little black boy appeared in their city of Chukhloma. "He was as black as a beetle, as cunning as a spider, but he was said to be Even-Odd, a rootless bean." In fact, it was "an imp that was sent by older devils and damned sorcerers." He won a black grandma from Nikita, and everything went awry: he didn’t have a tower, no wealth ... Son Ivan, the same money player as his father and grandfather, went around the world, and Nikita Vdovinich himself “lost everything: and happiness, and wealth, and people's honor, and he himself finished his stomach, like his father, in a tavern under a bench. Makrida Makarievna (wife) almost laid hands on herself and from grief and poverty she withered and languished; and their son Ivanushka went around the world with a knapsack because he didn’t pick up his mind at the right time.
And in conclusion, the writer himself gives a short proverb-moral to his tale: Deliver, God, from an evil wife, reckless and whimsical, from drunkenness and riot, from stupid children and from demonic networks. Read all this fairy tale, be savvy and wind it into your mouth.
Pyotr Pavlovich Ershov (1815-1869)
P.P. Ershov was not a professional writer. At the time of writing his famous fairy tale "The Little Humpbacked Horse" he was a student of the philosophical and legal department of St. Petersburg University.
He was born in Siberia and traveled a lot as a child: he lived in Omsk, Berezov, Tobolsk. He knew a lot of folk tales, legends, stories that he heard from peasants, taiga hunters, coachmen, Cossacks, merchants. But all this baggage was kept only in his memory and in personal records. But when he read Pushkin's fairy tales, he was fascinated by the element of literary creativity, and as a term paper he creates the first part of the fairy tale "The Little Humpbacked Horse". The tale was recognized and immediately published, and Pushkin, having read it in 1836, said: "Now this kind of writing can be left to me."
Fairy tale "Humpbacked Horse" (1834)
Illustration by Dmitry Bryukhanov
The tale is written in poetic meter (trochee). The main characters of the tale are the peasant son Ivanushka the Fool and the magic humpbacked horse.
This is a classic work of Russian children's literature, it is studied at school. The tale is distinguished by the lightness of the verse and many well-aimed expressions. It has been popular with children and adults for almost 200 years.
The Humpbacked Horse, although it is an author's fairy tale, is in fact a folk work, because, according to Ershov himself, it was taken from the lips of the storytellers from whom he heard it. Ershov only brought him to a more slender appearance and supplemented in places.
We will not retell the plot of the fairy tale, because it is known to readers of our site from school.
Let's just say that the folk story is quite famous among the Slavs living off the coast Baltic Sea, and Scandinavians. There is a well-known Norwegian folk tale with a similar plot, Slovak, Belarusian, Ukrainian.
Vladimir Fedorovich Odoevsky (1803-1862)
VF Odoevsky came from an old princely family. He was brought up in Moscow in the family of his uncle, received a good education at home, then studied at the Moscow University Noble Boarding School. He was one of the organizers of the Society of Philosophy, which included D. Venevitinov, I. Kireevsky and others. Odoevsky supported friendly relations with future Decembrists: his cousin Alexander Odoevsky - the author of the "Response" to Pushkin's message "From the depths of Siberian ores ...".
V. Odoevsky is known as a literary and musical critic, prose writer, museum and library worker. He also wrote a lot for children. During his lifetime, he published several books for children's reading: "Town in a snuffbox" (1834-1847), "Tales and stories for children of grandfather Iriney" (1838-1840), "Collection of children's songs of grandfather Iriney" (1847), "Children's book for Sundays" (1849).
Currently, two tales by V. F. Odoevsky are most popular: “Moroz Ivanovich” and “The Town in a Snuffbox”.
Odoevsky attached great importance enlightenment of the people popular reading wrote a number of books. Prince Odoevsky is one of the founders of Russian musicology, music criticism, he composed music, including for the organ. For many years he was engaged in charitable work.
Fairy tale "Town in a snuffbox" (1834)
"The Town in the Snuffbox" is the first science fiction work in Russian children's literature. The researcher of children's literature I.F. Setin wrote: “In the everyday life of wealthy Russian families in the first half of the 19th century, there was perhaps no other object that would seem to a child so mysterious, enigmatic, capable of arousing burning curiosity, like a music box. She prompted children to numerous questions, made them want to take apart the magic chest in order to look inside.
Father (in the fairy tale he is called "daddy", according to the custom of that time) brought a musical snuffbox. A small town with houses, turrets and gates was arranged on its lid. “The sun comes out, sneaks quietly across the sky, and the sky and the town are getting brighter and brighter; the windows burn with bright fire and from the turrets like a radiance. Here the sun crossed the sky to the other side, lower and lower, and, finally, completely disappeared behind the hillock, and the town darkened, the shutters closed, and the turrets faded, but not for long. Here an asterisk began to glow, here another, and here the horned moon peeped out from behind the trees, and it became brighter again in the city, the windows turned silver, and bluish rays stretched from the turrets.
A melodious ringing sounded from the snuffbox. The boy became interested in the thing, especially the device attracted his attention, he wanted to look inside the outlandish little thing. “Daddy opened the lid, and Misha saw bells, and hammers, and a roller, and wheels. Misha was surprised.
Why these bells? Why hammers? Why a roller with hooks? Misha asked papa.
And papa replied:
- I won't tell you, Misha. Take a closer look yourself and think: maybe you can guess. Just don't touch this spring, otherwise everything will break.
Papa went out, and Misha remained over the snuffbox. So he sat over her, looked, looked, thought, thought: why are the bells ringing.
Looking at the snuffbox, Misha fell asleep and in a dream ended up in a fairy-tale town. Traveling along it, the boy learned about the device of the music box and met the inhabitants of the town in a snuffbox: the bell boys, the hammer uncles, the overseer Mr. Valik. He learned that their lives also had certain difficulties, and at the same time, other people's difficulties helped him to understand his own. It turns out that the daily lessons are not so terrible - the bell boys have a more difficult situation: “No, Misha, our life is bad. True, we have no lessons, but what's the point. We would not be afraid of lessons. Our whole misfortune lies precisely in the fact that we poor people have nothing to do; we have neither books nor pictures; there is no father or mother; have nothing to do; play and play all day long, but this, Misha, is very, very boring!
“Yes,” Misha replied, “you are telling the truth. This happens to me too: when after school you start playing with toys, it's so much fun; and when on a holiday you play and play all day long, then by the evening it will become boring; and for this and for another toy you will take - everything is not cute. For a long time I did not understand why this was, but now I understand.
Misha also understood the concept of perspective.
“I am very grateful to you for your invitation,” Misha told him, “but I don’t know if it will be possible for me to use it. True, here I can pass freely, but there further, look at what low vaults you have; there I am, let me tell you frankly, there I will not even crawl through. I wonder how you pass under them ...
- Ding, ding, ding, - the boy answered, - let's go, don't worry, just follow me.
Misha obeyed. In fact, with every step, the vaults seemed to rise, and our boys went everywhere freely; when they reached the last vault, then the bell boy asked Misha to look back. Misha looked around and what did he see? Now that first vault, under which he approached, entering the doors, seemed to him small, as if, while they were walking, the vault had lowered. Misha was very surprised.
- Why is this? he asked his guide.
“Ding, ding, ding,” answered the conductor, laughing, “from a distance it always seems so; it’s obvious that you didn’t look at anything in the distance with attention: in the distance everything seems small, but when you approach it, it’s big.
“Yes, it’s true,” Misha answered, “I still haven’t thought about it, and that’s why this is what happened to me: on the third day I wanted to draw how my mother plays the piano next to me, and my father, at the other end of the room, reads book. I just couldn't do it! I work, I work, I draw as accurately as possible, and everything will turn out on paper, that papa is sitting next to mama and his chair is standing near the pianoforte; meanwhile, I can see very well that the piano is standing near me by the window, and papa is sitting at the other end by the fireplace. Mommy told me that daddy should be drawn small, but I thought that mommy was joking, because daddy was much larger than her; but now I see that mamma was telling the truth: papa should have been drawn small, because he was sitting far away: I am very grateful to you for the explanation, very grateful.
The scientific tale of V. Odoevsky helps the child learn to think, analyze the knowledge gained, see the internal connections between them, acquire the skills of independent work.
“Well, now I see,” said papa, “that you really almost understood why the music plays in the snuffbox; but you will understand even better when you study mechanics.
They become very meaningful, they are designed in an original way. The War of 1812 aroused increased attention to historical topics, to heroic personalities and led to the need to have a national children's literature. Best Books dedicated to the war of 1812, brought up love for their country, hatred for the invaders. The best of them are "A gift to Russian children in memory of the war of 1812" by M.I. Trebenev. in this alphabet, each letter corresponded to a card with a miniature caricature engraved on copper and a rhyming satirical inscription on an anti-Napoleonic theme. It was the first children's book in Russia with political and patriotic content.
The Decembrists saw in the book an effective tool for educating children and youth. They promoted popular scientific historical and biographical literature. Plutarch's book "Comparative Biography of the Great Greeks and Romans" has been translated into Russian. The name of this writer gave its name to a whole type of publications for children in the historical and bibliographic genre. All these publications were called plutarchs. They were written by French authors, but when translated into Russian, they were significantly revised and supplemented. For example, "Plutarch for Youth" (1809) was replenished with the biographies of famous Russians, and the 3rd edition (1823) included new chapters, including including the heroes of the war of 1812. "Plutarch for Young Maidens" included biographies of famous women, including the "Gallery" introduced by the translator Russian women"from 29 biographies (translated by Fedor Glinka)
The books of B. Poleva (?) enjoyed great success. One of them is Russian History for Primary Readers. Ishimova "History of Russia in stories for children". However, Belinsky noted the reactionary spirit of her works and predicted their fragility.
In fiction for children, the fable genre has become widespread. Krylov wrote about 200 fables. In his fables, a whole world of heroes and images opens up to the child. Life lessons were presented visually, colorfully, brightly, picturesquely.
Talented works written especially for children also appeared: "The Black Hen" by Anthony Pogorelsky, stories and fairy tales by Odoevsky, poems and fairy tales by Zhukovsky.
"The Black Hen" by A. Pogorelsky (Perovsky) is the first fantasy story for younger children. The narrative in this story is extremely accessible to children's perception. For the first time in children's literature, not an abstract character appears, but a real living image of a boy with both shortcomings and positive traits character. Together with 9-year-old Alyosha, the reader makes an exciting journey and thinks about the question: "What is the real beauty and value of a person?"
- educational character;
- cognitive (educational) character;
- high morality;
- the presence of a positive ideal;
- optimism;
- thematic breadth;
- proximity to real life;
- taking into account the psychological characteristics and cognitive capabilities of children associated with their age;
- entertainment, dynamism;
- accessibility of presentation;
- artistic perfection, high aesthetic qualities;
- correct speech.
In the literature of the 19th century, next to purely literary genres a fairy tale appears in the system of genres. Its authors are Pushkin, Zhukovsky, Ershov, Pogorelsky, Garshin and other writers of the 19th century.
The coexistence of folk and literary fairy tales is an ongoing process that accompanies everything literary development. What is a literary tale? The answer, it would seem, is obvious, it is suggested by the genre name, it is supported by the reader's experience, according to which a literary fairy tale is, in principle, the same as a folk tale, but unlike a folk tale, a literary fairy tale was created by a writer and therefore bears the stamp of a unique , the creative individuality of the author.
Modern research has shown that not every appeal to a folk tale entails the emergence of a literary tale. It is hardly possible to see the genre of a literary fairy tale where there is only an adaptation of a folk tale, the plot, image and style of which remained unchanged (V.P. Anikin).
V.P. Anikin believes that about the new genre, which belongs to a different, non-folklore art system, one can speak only if the writer has composed a new work that is similar to a folk tale only in its basis. Staying a fairy tale literary work may have a very approximate and indirect connection with the folk poetic tradition. But, despite the tendency towards independent development, a literary fairy tale is still unthinkable in complete isolation from the folk one.
Commonality with folklore has become one of the main genre features, its complete loss invariably leads to the transformation of the genre.
literary tale- one of the few genres, the laws of which do not require the writer to create a completely new plot. Moreover, the writer is not free to completely free himself from folk fairy-tale traditions. Genre originality literary fairy tale consists in a constant orientation to "someone else's word". This orientation concerns not only and not so much the plot, but also composition, style, fantasy, and so on.
high rise fairy tale genre can be traced in Russian literature in the 1830s and 40s. He was connected both with the principles of romantic culture and with the peculiarities of the literary situation of this period.
One of the first to address this genre was V.A. Zhukovsky. In one of his letters, he wrote: “I want to collect several fairy tales, large and small, folk, but not only Russian, so that after they give out, dedicating ... to children.” Along with this letter, he sent The Tale of Ivan Tsarevich and the Gray Wolf.
The poet addressed the genre of fairy tale twice. The first time was in the summer of 1831 in Tsarskoye Selo, when Pushkin also lived in his dacha. Frequent meetings and warm conversations inspired the poets and caused a poetic competition between them. A.S. Pushkin wrote “The Tale of Tsar Saltan” that summer, V.A. Zhukovsky - "The Tale of Tsar Berendey", "The Sleeping Princess" and "War Mice and Frogs".
"The Tale of Tsar Berendey". The poet gave the name of his first fairy tale in the spirit of ancient Russian titles: “The Tale of Tsar Berendey, of his son Ivan Tsarevich, of the cunning of the immortal Koshchei and the wisdom of Marya Tsarevna, Koshcheeva’s daughter.”
Zhukovsky preserved the folk story. He widely used vernacular, words and phrases characteristic of him, typical fabulous expressions(a beard to the knees, icy water, maybe, but no, etc.). At the same time, he abandoned some of the tricks of the folk tale. Proceeding from the aesthetics of romanticism and from his views on children's literature, Zhukovsky sought to ennoble the fairy tale, imbue it with bright feelings.
Fairy tale "Sleeping Princess", (1831) was created on the basis of the fairy tale of the Brothers Grimm translated by Zhukovsky. This tale is no less popular than the previous one, although there are fewer folklore elements. But its nationality does not lie on the surface and is expressed not by external attributes, proverbs and sayings (although there are many of them here), but is reflected in the entire structure of the work. The poet enriched the foreign plot with details of Russian life. Along with an entertaining plot, the fairy tale captivates readers with sonorous, flowing verses, vivid pictures, and elegant, light literary language.
Fairy tale "War of Mice and Frogs", created in the summer of 1831, is a parody of epic poems. Zhukovsky created satirical tale, in which he wanted to ridicule the literary strife of his time. The hidden meaning of the work is inaccessible to children, they perceive it as a funny fairy tale.
interest in folk art A.S. Pushkin arose from early childhood. For the rest of his life, the fairy tales heard in the cradle sunk into his soul. In the 1920s, while living in Mikhailovsky, he collected and studied folklore.
He turned to folk stories in the 1930s, when disputes flared up about the Russian national character, about the attitude to folk art.
"The Tale of the Priest and His Worker Balda" (1830), "The Tale of the Dead Princess and the Seven Bogatyrs", "The Tale of the Fisherman and the Fish" were written in 1833 in Boldin. Above the "Tale of Tsar Saltan, of his glorious son and mighty hero Prince Gvidrn and about the beautiful Princess Swans "the poet worked in Tsarskoye Selo in 1831. The last of them -" The Tale of the Golden Cockerel "- was written in 1834.
The plot of The Tale of Tsar Saltan was based on a Russian folk tale recorded at the end of 1824 in Mikhailovskoye from the words of Arina Rodionovna. Pushkin reworked the folk plot in such a way that he left only the main links, endowed the fairy tale with more attractive characters and life-like details.
Researchers recognize the plot from the collection of the Brothers Grimm as the source of "The Tale of the Fisherman and the Fish". However, similar plots are also found in Russian folklore.
"The Tale of the Priest and His Worker Balda" was not published during Pushkin's lifetime. Her first listener was Gogol, who was delighted with her, called her a completely Russian fairy tale and unimaginable charm. It was created on the basis of the plot of a folk tale heard in the village of Mikhailovsky
"The Tale of the Dead Princess and the Seven Bogatyrs" was created on the basis of a Russian fairy tale recorded in Mikhailovsky. Pushkin could also use the Russian fairy tale "Magic Mirror".
Finally, The Tale of the Golden Cockerel, first published in 1935, relies on the plot American writer Washington Irving.
The closest successor to A.S. Pushkin in creating a literary fairy tale in poetic form, fairy tales in folk style appeared Pyotr Pavlovich Ershov(1815-1869). Ershov is often called "a man of one book": so great was the glory of his "Humpbacked Horse", which overshadowed everything written by this talented person. The property of children's reading was Ershov's main work - the fairy tale "The Little Humpbacked Horse", which eventually became part of the golden fund of literature for children.
The beginning of the 1830s was the time of the general fascination with the fairy tale. On this wave, Ershov's artistic impressions were stirred up. At the beginning of 1834, he presented to the court of Pletnev, who was reading a course in Russian literature, the fairy tale "The Little Humpbacked Horse". The tale was read and analyzed by Pletnev in the university auditorium. It was the first literary success of a nineteen-year-old student. When the fairy tale was printed, Ershov's name became known to all reading Russia. A.S. took part in his fate. Pushkin, who got acquainted with the fairy tale in the manuscript. He approved the first work of the young talented poet: “Now this kind of writing can be left to me. Pushkin believed that The Little Humpbacked Horse should be published with pictures, at the lowest possible price, in a huge number of copies - for distribution throughout Russia. Ershov, inspired by success, dreamed of creating a great fairy tale poem, of organizing an expedition to Russia. But these plans were not destined to come true. After graduating from the university, he returns to Tobolsk and has been engaged in pedagogical activity all his life - first as an ordinary teacher, then as a director of a gymnasium.
"The Little Humpbacked Horse" worthily continued the tradition of literary poetic fairy tales, especially Pushkin's, and at the same time it was a new word in the history of poetic literature. Unusual was a bold immersion in the elements of a common folk, "muzhik" fairy tale. It is difficult to name any one specific fairy tale identical to the fairy tale "Humpbacked Horse". Ershov combined in his work a number of images, motifs, plot moves of famous folk tales. Shortly before his death, reflecting on the phenomenon of the “Humpbacked Horse”, the author said: “All my merit here is that I managed to get into the vein of the people. The native rang - and Russian heart responded ... "The people accepted Ershov's creation as their own.
Another feature of this wonderful fairy tale is the close interweaving of the fantastic, the miraculous with realities. folk life.
In the traditions of a folk tale - the image of the main character - Ivan. As a rule, in fairy tales the performer of difficult tasks with the help of a wonderful assistant is a strong hero. In Yershov, this role is played by Ivan the Fool.
The hero of Ershov embodies all the typical properties of fairy-tale "fools": clumsy, slovenly, loving to sleep.
The success of The Little Humpbacked Horse among readers was so great that it caused a lot of imitations. From the end of 1860 to the beginning of the new century, more than 60 publications based on Ershov's fairy tale were published.
Anthony Pogorelsky(1787-1836). Romantic writers opened up the fairy tale genre for "high" literature. In parallel with this, in the era of romanticism, childhood was discovered as a unique, unique world, the depth and value of which attracts adults.
Anthony Pogorelsky is the pseudonym of Alexei Alekseevich Perovsky, the natural son of the noble Catherine's grandee Razumovsky.
The pseudonym "Anthony Pogorelsky" is associated with the name of the estate of the writer Pogoreltsy in the Chernigov province and the name of St. Anthony of the Caves, who once retired from the world in Chernigov. His works are characterized by the combination of the mysterious, the mystical with a realistic depiction of everyday life, the mores of Russian life. A lively, witty, ironic manner of narration makes his works attractive.
The Black Hen (1828) is subtitled A Fairy Tale for Children. It has two lines of narration - real and fabulous-fantastic. Their bizarre combination determines the plot, style, imagery of the work. Pogorelsky wrote a story for his ten-year-old nephew. He calls the main character Alyosha. But in it, echoes are felt not only of Alyosha's childhood, but also of the author himself (also Alexei). As a child, he a short time was placed in a closed boarding house, suffered from separation from home, fled from it, broke his leg. High wooden fence, enclosing the boarding yard, the living space of his pupils, is not only a realistic detail in The Black Hen, but also a symbolic sign of the author's "childhood memory".
All descriptions are bright, expressive, given taking into account children's perception. The child is important in big picture detail, detail. Caught in the kingdom underground inhabitants, “Alyosha began to examine with attention the hall, which was very richly decorated. It seemed to him that the walls were made of marble, such as he saw in the mineral room of the boarding house. The panels and doors were solid gold. At the end of the hall, under a green canopy, chairs of gold stood on an elevated place. Alyosha admired this decoration, but it seemed strange to him that everything was in the very small form, as if for small dolls.
Realistic objects, everyday details in fairy-tale episodes (tiny lighted candles in silver chandeliers, porcelain Chinese dolls nodding their heads, twenty little knights in gold armor with crimson feathers on their hats) bring the two narrative planes together, make Alyosha’s transition from real world into magical fantasy.
Developed imagination, the ability to dream, fantasize make up the wealth of the personality of a growing person. Therefore, the hero of the story is so charming. This is the first living, non-schematic image of a child, a boy in children's literature.
Everything that happened to the hero makes the reader think about many serious questions. How to deal with success? How not to be proud of unexpected big luck? What can happen if you do not listen to the voice of conscience? What is word loyalty? Is it easy to overcome evil in yourself? After all, “vices usually enter through the door and out through the crack.” Complex moral problems puts the author, condescending neither to the age of the hero, nor to the age of the reader. Children's life is not a toy version of an adult: everything in life happens once and seriously.
The organic combination of a humane pedagogical idea, a heartfelt narrative, an artistically expressive form, and entertainment for the reader makes Pogorelsky's story a classic work of children's literature, which has few equals in the history of not only domestic, but also foreign literature.
A.N. Ostrovsky"Snow Maiden". A literary fairy tale in the 19th century can develop, following the path of a change in family affiliation, and then a fairy tale play appears. And here it is impossible not to dwell on the spring fairy tale (as the author himself called it) - “The Snow Maiden”, written by A.N. Ostrovsky. (1873)
Ostrovsky's appeal to folklore material is by no means accidental, but even natural. Who, if not him, the author with an inherent quality, which is called nationality in Russian literature, should create new genres at the junction of two phenomena equally native to him. Not the last role in this case, of course played and Switzerland Ostrovsky. As you know, for Ostrovsky, Shchelykovo (an estate in the Kostroma province) is not just a place to relax, but also a creative laboratory, as well as a creative pantry with inexhaustible reserves. It was here that he wrote many of his famous works. It was here in 1867 that the playwright conceived his The Snow Maiden. Living in Shchelykovo, Ostrovsky carefully studied the customs and customs of the peasants, listening to and recording their songs, old and new. Ostrovsky remembered all the holidays of the local population and regular viewer. Many song-ritual and round dance motifs of oral folk poetry heard and recorded by the playwright in Shchelykovo were included in Snegurochka in a creatively revised form.
Ostrovsky's nanny also contributed to the history of the creation of the fairy tale-play "The Snow Maiden". Perhaps it was from her that he first heard a fairy tale about how a childless peasant couple - Ivan and Marya - decided to fashion a snow maiden girl out of the snow, how this Snow Maiden came to life, grew up and acquired the appearance of a thirteen-year-old girl, how she went to the forest for a walk with her friends, how they began to jump over the fire, and when she jumped, she melted, and subsequently took her as the basis for her work.
How does Ostrovsky deal with folk tales? The main thing he does is to expand the plot of his fairy tale play.
Another feature of the fairy tale, the peculiarity of Ostrovsky's fairy tale is that he introduces into his story not only characters of people, but also animals, birds, wood goblin, Spring - Krasnu in the form of a young woman, Frost in the form of a fierce old man. The phenomena of nature and the inhabitants of the other world are personified by Ostrovsky.
We find in Ostrovsky's fairy tale the motives of a childless couple, but in him it gets a different sound, a different color than in a folk tale. Bobyl and Bobylikha are a poor family peasant couple with no children. Bobyl and Bobylikha take in the Snow Maiden out of selfish motives, this is Ostrovsky's version in the fairy tale-play of relationships foster parents and Snow Maiden.
Also, Ostrovsky in his work assigns the leading role to the relationship between boys and girls: Mizgir, Lel, Kupava and Snegurochka, etc. In Ostrovsky's work, they are quite complex. Here and jealousy, and fear, and envy, and betrayal. Plot author's fairy tale much more complex than the linear plot of a folk tale.
Just as in the folk tale, Ostrovsky's Snow Maiden dies - melts, but the reason for her death at first glance is different. Ostrovsky's Snow Maiden outwardly melts under the rays of the spring sun, but internally she is incinerated by the flame of passion, it burns her from the inside. In a folk tale, the Snow Maiden, for example, jumps over the fire and melts over the fire, i.e. it is still possible to draw a kind of associative genus uniting the ending of the folk tale with the ending of the author's tale.
Most often, a folk tale has happy ending. Ostrovsky, despite the “life-affirming speech of Tsar Berendey:
Snow Maiden sad death
And the terrible death of Mizgir
They cannot disturb us; The sun knows
Whom to punish and pardon. Happened
Righteous Judgment! Frost spawn -
The cold Snow Maiden died.
Thus, Ostrovsky does not lose touch with the original source of his work of the fairy tale-play "The Snow Maiden", but at the same time brings a lot of his own into the well-known plot, which makes the folk tale the author's. Compared to a folk tale, which is static in nature, devoid of intrigue, acute conflict, a fairy tale-play by Ostrovsky A.N. The Snow Maiden is unusually dynamic, full of tension, opposition, the events in it develop more intensively and have a concentrated character and a pronounced emotional coloring.
Ostrovsky raises acute problems in his work, considers difficult human relationships, and conflicts that arise in the process of communication. He draws in his fairy tale-play complex, torn by contradictions of nature.
All realities inherent Slavic mythology and the works found in the text, such as rituals, or characters, are creatively comprehended by Ostrovsky and reworked. Usage mythological motifs in a fairy tale-play, he helps Ostrovsky to fully recreate the pagan picture of the world, to show the features of life, the beliefs of the ancient Slavs.
Oral folk art is also an inexhaustible pantry for A.N. Ostrovsky. He not only uses folklore motifs in his work, he gives them a different original sound. The synthesis of fantasy and reality is one of the leading features of the author's style in A.N. Ostrovsky "Snow Maiden".
Traditionally, a fairy tale-play by A.N. Ostrovsky's "The Snow Maiden" is considered to be a song about the great all-consuming power of love, a work of a life-affirming nature.
However, the analysis of the fairy tale play leads to the idea that in The Snow Maiden the playwright shows us the all-consuming, sweeping away everything in its path, the elemental power of passion, and this, of course, fits into his artistic method, and does not contradict his worldview.
Ostrovsky is trying to find his ideal in the peculiarities of folk life and, as M.M. Dunaev, once could not resist the poeticization of the pagan natural elements, which seemed to him the truth of precisely the people's life - in the drama "The Snow Maiden".
In the course of the play, the heroes of Ostrovsky experience feelings typical of a pagan worldview: passion, resentment, a thirst for revenge, the pangs of jealousy. The author also shows us the consequences of the impact of passion: the death of the Snow Maiden, the suicide of Mizgir. Tellingly, these events are perceived by the Berendeys as something ordinary, natural, as a victim of Yarile. Therefore, we can say that the heroes of the fairy tale-play A.N. Ostrovsky are typical for the pagan picture of the world.
And where is the happy Berendevo kingdom, sung by Ostrovsky? And is it happy? Why, then, in such a blissful kingdom, the best die -, in his understanding, the Snow Maiden and Mizgir? In this regard, he refers to the interpretation of the word "berendey" ("berendeyka") in the famous " explanatory dictionary" IN AND. Dalia “Berendeyka is a grandmother, a toy, a spillikin, a chiseled or carved little thing, a balabolka ... Berendey then, planing berendeyka - doing trifles, toys”(63; 12)
This explanation seems to be extremely important. Did the author of the fairy tale about the Snow Maiden want to introduce some secondary meaning into his plan, which remained incomprehensible to readers and viewers? On the one hand, we have before us, indeed, the world of the “bright” kingdom, the triumph of goodness, beauty, and justice. And on the other - something puppet, toy.
