Mark Vatagin - fairy tales of the peoples of Russia. Ethnic fairy tales as a means of familiarizing preschoolers with the life and culture of different peoples Project implementation plan

Tales of the peoples of Russia and neighboring countries

Russia is a vast country covered with fields and forests, steppes and mountains, taiga and tundra. Its bowels are full of minerals, fish are found in the rivers and seas, animals are found in the forests.
But the greatest wealth of our country is the people who inhabit it. We are a multinational state, and each nation has its own centuries-old history, original culture that distinguishes us from each other. But all peoples have the main thing that unites us all - this is love for the native land, respect for the person, the desire to make life beautiful and fair.
This is what is said in the fairy tales of different peoples inhabiting Russia.
These books serve the idea of ​​tolerant communication, presenting Russia as a single, diverse country, where dozens of talented peoples and nationalities live.
Each of them has its own history, its own folklore, and hence its own fairy tales. Living conditions, nature and what people believed in - everything was reflected in amazing fairy tales. Sometimes they are funny, colored with humor, often sad, but always wise. They reflected the experience of generations. Reading them means understanding the soul of the people and becoming smarter yourself. They will broaden your horizons, help you better navigate life, and teach you to understand people.

Collections. Tales of the peoples of Russia.

The book brings together under one cover the best fairy tales and legends of numerous peoples of Russia, supplemented by background information about each people - its place of residence, population, history, religion, features of life, folklore, famous people.
The publication presents samples of folk art of Karelians, Nenets, Chukchi, Eskimos, Yakuts, Buryats, Tatars, Bashkirs, Chuvashs, Chechens, Circassians and many others. The texts of fairy tales and legends are given in the literary adaptation of the St. Petersburg writer and historian Evgeny Lukin. The publication is richly illustrated with classical images of representatives of nationalities in national costumes, pictures of everyday folk life and natural landscapes. The book serves the idea of ​​tolerant communication, presenting Russia as a single, diverse country, where dozens of talented peoples and nationalities live.

Tales and legends of the peoples of Russia ,

This is a special book that will not only tell a fairy tale, but also introduce you to the history of the people, in the depths of which the fairy tale was born. What are fairy tales about? About people, about what they wanted in life and how they achieved it. The little reader always understands what a fairy tale teaches, who is kind in it and who is not very ... Small inserts about the history of the people, their traditions and faith, about the nature that surrounds them, will help both children and parents to get to know our country and people better, who live in it. The book will not only entertain the baby, but will give him food for thought. And parents will talk about a big country in which people of different nationalities have been living together for centuries. Our book will be interesting for both kids and their parents. It will also be useful to those who have chosen ethnography as their specialty: the reference material in an accessible form will reveal unknown pages in the life of Russians.

A long time ago ... Tales of the peoples of Russia ,

The collection "Far Far Away" includes fairy tales of different nations in the retelling of Alexandra Lyubarskaya for children.

Why do we love fairy tales? For the fact that they surprise us, amuse us, and even if they scare us, they still promise a happy ending in the end. In a fairy tale, good conquers evil, the weak, the small and the poor receive their well-deserved reward, the hard-hearted and stingy are defeated, justice triumphs, fear recedes, miracles happen at every step. This collection includes fantastic, satirical, social tales, fairy tales and fairy tales-jokes, illustrated by Boris Fedorovich Semyonov, art editor of the legendary children's magazines "Chizh" and "Hedgehog". Collected and retold fairy tales by Alexandra Lyubarskaya, translator, editor, folklorist, who prepared many children's books that have long become textbooks.

In Far Far Away Kingdom, in Far Far Away State

The book includes the brightest and most colorful fairy tales - Russian, Karelian, Latvian, Tatar, Avar, Uzbek, Armenian and many others, which fully reflect the way of life, national traditions and customs of peoples. A. Lyubarskaya told.

Tales of different nations, in Ozone

Russia is a multinational country. Representatives of about 80 nations live in it. But how much do we know about their culture and customs?
Each nation lives in its natural conditions, arranges life in its own way, composes its own special fairy tales and legends, which reflect a specific picture of the world. But we will be surprised how similar are the stories that were born in different parts of our vast country. And how unanimous peoples are in their values! All of them glorify hard-working, kind, resourceful and brave heroes - and condemn the evil, greedy and lazy.
Fairy tales collected and retold by Mark Vatagin and illustrated by Alexander Kokovkin and Tatyana Chursinova will help us to join the history of the peoples of Russia. Isabella Shangina compiled an ethnographic reference to help the young reader.

Tales of the peoples of Russia, in Ozone

"Fabulous Gems. Tales of different nations»

Tales of the peoples of the Far North, Eastern Siberia and the Far East

The publication includes fairy tales of the small peoples of the Far North, Eastern Siberia and the Far East, which make up the golden fund of oral folk art.

Tales of the northern land

A Khanty tale about the funny adventures of a small but brave mouse. Colorfully illustrated folding book on cardboard.
You can play with folding books. They are made of thick cardboard, easily folded into a "house", a screen, a triangle - depending on the wishes of the little reader.

Mouse. Khanty fairy tale ,
Artist:

Oh, how unlucky Masha was with her stepmother - the old woman only thinks how to kill a good girl from the world. She ordered Masha to spin the tow at the hole, and take the spindle and fall into the water. Nothing can be done, the girl had to jump into the hole after him, and there - the road to unknown lands ... The magical world of the Karelian fairy tale, which has absorbed folk wisdom, comes to life in the drawings of Nina Noskovich and is ready to open its doors to young readers.

Spin at the hole. Karelian fairy tale ,
Artist:

Nivkhs, Nanai, Ulchi, Udege and other peoples of the Far East have long lived along the banks of the wide and mighty Amur. And for centuries their elders have been telling stories to children growing up in the camps. About how the boy Indiga overcame seven fears and not only saved his brother, but also acquired the heart of a brave man. How the hero Azmun swam on the back of a killer whale to the house of the Sea Master and begged the old man to send fish to the Nivkhs. How the hunter Choril turned into a bear, and his bride went to the Mountain Master himself to seek the truth...
Far Eastern writer Dmitry Nagishkin carefully studied the oral art of small peoples and, using their plots and language, created an original work of art - the book "Amur Tales", a real ethnographic encyclopedia of the region.
The Khabarovsk artist Gennady Pavlishin also closely studied the unique artistic heritage of the indigenous peoples of the Far East. He watched how Nivkh bone cutters work, how beads are woven into the embroidered pattern of Ulchi clothing, how the lace of a cut ornament appears on a Nanai birch bark. The artist creatively reworked the motifs of folk art and not only amazingly accurately conveyed the features of everyday life and culture, but also created a fantastically colorful world of illustrations that form an inseparable whole with the text of fairy tales.
In 1975, at the International Biennial of Illustration in Bratislava, Gennady Pavlishin received one of the highest awards, the Golden Apple, for Amur Tales.

Nagishkin D. D. "Amur Tales" ,
Artist:

The Amur taiga hides many wonders. The iron bird Corey flies over it, the Creaky old woman hides in its thicket, and Dulen, the keeper of the hearth, looks after the people living among the forests. In a difficult moment, a mapa-bear, an amba-tiger or a queen-fish kaluga come to the aid of the daredevils, and a cunning fox can easily look into the nearest hut, like a neighbor.
Heroic tales about brave hunters, instructive stories about hardworking beauties and funny stories about the inhabitants of the taiga have been carefully recorded and processed for years by folklorists and lovers of antiquity. The Khabarovsk artist Gennady Pavlishin breathed new life into the legends of the small peoples of the Amur region. His decorative illustrations, woven from precise ethnographic details, created a unique and harmonious world of fairy tales from the Amur taiga.

"Taiga Tales" ,
Artist:

Many fairy tales of the peoples of the Far East became known to readers thanks to the founder of the Far Eastern school of ethnographers Yuri Sem and his wife Lydia, a philologist, specialist in the languages ​​of the peoples of the Amur Region and Sakhalin. For many years, the Sem family has been collecting folklore materials and household items. So, their collection of Nanai wooden spoons is well known, each of which is distinguished by its ornament. It was the Nanai ornament that the famous Khabarovsk artist Gennady Pavlishin took as a basis, creating one of his most decorative and striking books - "Mergen and his friends", a fairy tale once written down by Yuri and Lydia Sem.

Mergen and his friends. Nanai fairy tale ,
Artist:

The book invites the young reader into the world of Karelian fairy tale folklore, where good always triumphs over evil, justice prevails, negative characters are punished, and positive characters find love and happiness. Here are the traditional plots of fairy tales and everyday life, as well as fairy tales about animals. All of them introduce the reader to the archaic, but understandable, and in many respects close to modern man, worldview of the Karelians. Fairy tales were collected on the territory of Karelia in 1940-1960. Well-known folklorists U. S. Konkka, A. S. Stepanova and E. G. Karkhu translated them into Russian and edited them for a children's audience. The famous Karelian graphic artist N. I. Bryukhanov illustrated the fairy tales.

Karelian fairy tales ,
Artist:

The book will introduce young readers to the tales of the most western region of our country - Karelia. Through the legends that have come down to us through the centuries, children will be able to learn about the harsh land of lumberjacks and gunsmiths, its history, nature, and legends.
The book includes fairy tales: "Merry Matti", "How the men went to the city", "Why is the water in the sea salty", "Woe" and others.

Tale of the peoples of the north in the literary processing of T. Mikheeva.
Far to the north lived Raven and Fox. The raven ran the household, but the rogue fox did not want to work, everything was cunning and deceiving. But she was punished for her laziness and greed.
A magical fairy tale, filled with a charming northern color, comes to life in the bright and picturesque images of Victoria Kirdiy.

In the Arctic - near the cold seas of the Arctic Ocean, in Siberia and the Far East - along the northwestern coast of the Pacific Ocean, indigenous peoples have long lived: the Chukchi, Eskimos, Orochs, Koryaks, Mansi, Nivkhs, Nanais ... And their old people told fairy tales to their grandchildren: about the snow bunting, eider, guillemot, evrazhka, arctic fox and wolverine. About the inhabitants of the tundra and taiga, unfamiliar to residents of other places. Innocent and cunning, brave and cowardly, unreasonable and wise... And all these qualities of the heroes of northern fairy tales were noticed and conveyed in his illustrations by the artist Yevgeny Rachev.

"Raven Kutha" (artist:)

The collection includes fairy tales about animals and fairy tales of the peoples of the North. In them, brave and kind heroes are rewarded, and unjust and cruel ones are defeated. The book teaches true friendship and the ability to appreciate what is. Lyrical illustrations by Kirill Ovchinnikov convey the national flavor and beauty of northern nature.
Retelling by N. Hesse and Z. Zadunaiskaya.

"The Swan Girl and Other Northern Tales" (artist: Ovchinnikov K.)

The Itelmens are a small ethnic group living on the western coast of Kamchatka.
In their rich folklore, there is often a magical character - the raven Kutkh, the creator of the world and all living things, or members of his family. Tales of the ancient people about kindness and evil, about wisdom and stupidity.
The collection includes three fairy tales: "The Wingless Gosling", "Two Sisters" and "How the Raven Kutkh Ride the Pink Salmon".
In the retelling of Mark Vatagin.

Wingless gosling. Itelmen folk tales, in Ozone

The young Karelian wanted to know what homesickness is, and left his native village to look for work. If only he knew what it would lead to! The beautiful Nasto grew up without a father, because of the machinations of the sorceress Syuoyatar, she was captured by the waterman. And although the prince defeated the sorceress and rescued his wife Nasto from captivity, the beauty found out that there is no power stronger than longing for her home. One of the most famous and beloved Karelian fairy tales was illustrated by the wonderful Karelian artist Tamara Yufa.

The brother was taking his sister to the wedding with the prince, but the evil sorceress Syuoyatar jumped into their boat and tricked her sister into a black duck, and she herself dressed as a bride. But everything ended well: the deception was revealed, the sorceress was punished, and the prince brought a real bride into the palace.

Black duck. Karelian fairy tale
Artist:

The book includes two fairy tales: "How a Raven and an Owl Decorated Each Other" and "Teal and Fox".
The character of the first tale is a raven, hardworking and responsible. He carefully painted the owl with beautiful black spots, hoping in his heart that the owl would also make him handsome. However, the cunning and impatient owl, without thinking twice, made the raven black from head to tail.
The hero of the second tale - the fox - considered himself the most cunning of all in the world. But the friendly water birds of the teal taught the bouncer a lesson, and even bathed him in the sea.
Fairy tales were illustrated by a wonderful artist Vadim Alekseevich Sinani.
Eskimo Tales in the processing of G.A. Menovshchikov.

About an honest crow, an insidious owl and a stupid fox. Eskimo Tales ,

The old wolverine and her husband got together to move to a new place, packed things in bags. The husband left to make a boat, and his wife sits on the shore, waiting for him. And then a fox swims by in a boat. You can’t trust a cunning fox - everyone knows this, but the wolverine believed her and almost was left without bags with things if it weren’t for the woodpecker. How he outwitted the fox and what he received as a gift from the wolverines, this tale tells. And the illustrations by Vadim Sinani introduce the reader to the nature surrounding the Evenks and their national costumes.

Wolverine and the Fox. Evenk folk tale, in Ozone

Eskimos have been living in the extreme northeast of our country for many, many years. On holidays, all people in the camp gather in the largest yaranga and tell each other fairy tales.
In the retelling of G. Snegirev and V. Glotser.

Little hunter Tagikak. Eskimo folk tales, in Ozone (artist: )

Folk tales of the mysterious, snowy and boundless Yakutia are filled with amazing characters, good humor, miracles and magical transformations. How did the tip of Ermine's tail turn black, why is winter longer and summer shorter, and how did people carry the sun in bags? About this and many other things, and also about the traditions, way of life, customs and beliefs of the Yakuts, imaginative, instructive and fascinating stories will be told, brilliantly illustrated by Lidia Ionova.

"Yakut folk tales"

In Siberia, there are many tales and tales about bygone times, when our ancestors had just begun to populate this harsh region, but rich in minerals, furs and timber. Our ancestors were surrounded by an unknown world full of mysteries. It was then that Honeybeard, Quest, Golden Baba, Moryana appeared in bedtime stories (or maybe they really existed) ... and next to them were ordinary people who were not afraid of trials. There is a book about them. All the tales included in it were heard by the author-compiler from her grandmother Elena Vladimirovna Zhdanova, who was born in 1906 in Siberia and lived her life there.

The book contains the best examples of creativity of one of the most famous storytellers of the Arkhangelsk region - Stepan Grigoryevich Pisakhov. From his tales you will learn how the Arkhangelsk peasants lived, how they went to the sea, fished, rode on ice floes, dried the northern lights, how bears traded milk at fairs, and how penguins came to work and walked the streets with a hurdy-gurdy. Do not believe? Read!
“There are so many falsehoods and slanders about our Arkhangelsk Territory that I came up with the idea of ​​telling everything as it is with us,” the author writes. - The whole dry truth. Whatever I say, it's all true. All around are our fellow countrymen, they won’t let you lie. ”
Perhaps the speech of the heroes of these fairy tales will seem unusual to you at first, but this is exactly what the inhabitants of the region used to say. And we carefully preserved this feature in the text.

Fairy tales from Pomerania continue the successful series of Fairy Tales from Around the World. In this book, we turn to the long-term wisdom of the Russian people who inhabit the harsh places around the White Sea. This is a two-part publication that combines the literary processing of folklore tales from two patriarchs of Russian literature - Boris Shergin and Stepan Pisakhov. Both of them were born and raised in Arkhangelsk, which is why they so splendidly recreate the atmosphere, life and even dialectical features of the inhabitants of the region in their fairy tales. Fairy tales became so popular that magnificent cartoons were shot based on their plots. And even those who do not know the names of the writers will certainly remember the ironic plots of the cartoons about the grumpy Perepilikh, the orange that grew in the middle of the river, and the unlucky simpleton Ivan, who decided to marry the tsar's daughter. The book is complemented by magnificent illustrations by Dmitry Trubin, who, being a native of the same places as Boris Shergin and Stepan Pisakhov, perfectly conveyed the local flavor.

Before you is a collection of amazing, original and magical tales of the Pomor writer Boris Shergin. In Shergin's fairy tales, subtle, sparkling poetry and the extraordinary, captivating simplicity of the Russian people were combined. Kind, funny, instructive stories told by a real master give joy not only to children, but also to adults. It is the best choice for family reading. The fairy tales were illustrated by the wonderful artist Anatoly Eliseev. More than one generation grew up on books with his pictures. Bright, funny illustrations by Eliseev very accurately convey the wonderful atmosphere of Shergin's fairy tales.

Pomeranian tales
Shergin B. V. "The Magic Ring" ,
Artist:

“How many fairy tales were told, how many epics were sung in old northern houses! Grandmothers and grandfathers poured ancient verbal gold on their grandchildren ... ”Boris Shergin wrote in his diary. With great respect for folklore, he collected this "gold" of the Russian North - not only capacious, sharp words and phrases, but also intonations, the rhythm of the narrator's live voice, the manner of his performance, that is, the very music of oral art. And only after that the writer created his own original fairy tales - leaving the folklore plot unchanged, he subordinated it to the laws of oral speech (for example, using a direct appeal to the reader or incomplete sentences) and at the same time supplemented it with invented neologisms, modern details, sparkling humor. Maybe that's why illustrating Boris Shergin is not easy. A sense of tact is needed so as not to “replay” the text itself, but to complement it gently and unobtrusively. Just as the artist Vladimir Chaplya did, creating drawings for the collection of selected fairy tales by Boris Shergin.

Shergin B. V. "The Magic Ring",

Pomeranian tales
Shergin B. V. "Martynko and other tales"

The collection of fairy tales, ballads and fantasies of the Russian artist, poet, philosopher and spiritual ascetic offered to the reader in such a volume is undertaken for the first time and gives the most complete picture of this side of the work of a Russian genius unknown during his lifetime, who created his works in the first third of the 20th century in the best traditions of folk and literary tale. They contain treasures of folk wisdom, examples of good teaching, the energy of aspiration from the past to the future - to the realm of universal love and prosperity.

Chestnyakov E. V. "Tales, ballads, fantasies" ,

A children's (prosaic) version of the Karelian-Finnish epic "Kalevala" appeared in our country in 1953. It was in that year that a book was published containing a retelling of Alexandra Lyubarskaya, illustrated by Nikolai Kochergin.
For both the author of the text and the author of the illustrations, "Kalevala" has become a topic that they have been addressing for several decades, reworking and supplementing the initial versions. The writer continued to polish phrases, and the artist made more and more new sheets, striving for the ultimate imagery of the drawing. As a result, N. Kochergin created two independent versions of the book: black and white and color. The first is considered stronger, more in line with the northern theme of the epic, more poignant, or something. However, the black and white version is actually also in color. It seems that it turned out to be black and white because the then printers simply could not reproduce the complex shades invented by the artist.
The NIGMA Publishing House returns the readers to the black-and-white Kalevala in the form in which Nikolai Kochergin created it. At the same time, we considered it possible to include in the book full-page color illustrations made by the master for a later version of Kalevala.
Karelian-Finnish epic retold for children by Alexandra Lyubarskaya.
About a hundred monochrome and color illustrations by Nikolai Kochergin.

Kalevala. Karelian-Finnish epic ,
Artist:

The monument of world literature - the Karelian-Finnish folk epic "Kalevala" is given in the classical translation of Leonid Belsky, in the last edition of the translator during his lifetime (1915). In terms of its artistic merits, this translation still remains unsurpassed.
The book is illustrated with easel graphics by the Karelian artist Tamara Yuf. For more than half a century, Kalevala has remained the main creative theme of the artist, it was the Kalevala sheets that brought her fame and recognition. The works were written in different years, are stored mainly in art museums and private collections around the world. Created based on the epic, these works were never published along with the text of the epic, most of them were not published at all.
The release of the book is dedicated to the 80th anniversary of Tamara Yufa.

Ukrainian and Belarusian folk tales

Fairy tales, carefully passed down from generation to generation, are an inescapable wealth of oral folk art. These fairy tales - funny and kind, wise and instructive - are full of miracles, magic and fiction. Everything is unusual in them, even animals and birds in fairy tales
think and act like people, fully showing the inherent qualities and traits of a person. This collection includes Ukrainian and Belarusian folk tales, the rich, juicy language of which fascinates more than one generation of readers. The vivid images of these works are recreated in the magnificent illustrations of the Russian artist Evgeny Mikhailovich Rachev, who managed to expressively and accurately convey the peculiarities of the national color and the richness of the characters of fairy-tale characters.
Compiled by: Gribova L.

Pan Kotofey. Ukrainian and Belarusian folk tales ,
Artist:

Not only the heroes known to everyone - the hare, the wolf and the fox, the cat and the dog - live on the pages of Ukrainian folk tales. Here, a club, a bast and an acorn help save a chicken from the clutches of a ferret thief, a piping hot pie runs away from the house, and a straw goby easily catches forest animals with its resin barrel. One of the best Soviet illustrators, Yevgeny Rachev, created lively and expressive images of animals and, of course, dressed them up in bright national costumes: brill straw hats and wreaths of ribbons, high lambskin caps and wide trousers girded with sashes...

The collection includes both well-known and little-known Ukrainian folk tales - about animals, magical and everyday ones. Fairy tales are distinguished by a variety of plots, vivid images, and expressive speech. Any of them is interesting to read, whether it is a magical story or close to real life.
The real adornment of the collection are the drawings of the most talented graphic artist Yevgeny Rachev, for the first time coming out with Ukrainian fairy tales in such a complete form. The drawings were created in the so-called early period of the artist's work, they were last published in 1955.
Translated from Ukrainian and retold by G. Petnikov, A. Nechaev, L. Gribova, V. Turkov.

Ukrainian folk tales
Artist:

Unusual and original Belarusian fairy tales in the retelling of Margarita Dolottseva combine folk wisdom and unobtrusive instructiveness. And they also laugh merrily at greed and stupidity, no matter who they come from: from a cunning fox who wanted to deceive a black grouse, or from a couch potato who entered into battle with small mosquitoes.
The book was illustrated by the artist Mikhail Karpenko. His bright and funny drawings are made with special love for children and, following a fairy tale, they teach to distinguish between good and evil, find a way out of various situations, and also develop the imagination and logical thinking of the baby.

Fox and black grouse. Belarusian folk tales ,

Oh, lazy Martin! Everything lies on the stove, he doesn’t go to work, and Maxim the Cat brings him food. The hut burned down, and then the stove fell apart ... Martin did not think for long, how could he be, and decided to get married so that his rich wife would build a new house for him. And he chose the princess herself as a bride!
And the cat Maxim went for his master, Pan Martin, nicknamed Glinsky-Pepelinsky, to woo the royal daughter ...
The Belarusian folk tale is the sister of the famous work of the French writer Charles Perrault “Puss in Boots”. It is full of good humor, and Grigory Petnikov's translation will make little readers smile more than once. Bright, imaginative illustrations by Mikhail Karpenko will introduce the children to a magical helper cat who, thanks to his intelligence and ingenuity, will find a way out of any difficulties and even defeat the Serpent Gorynych!

Cat Maxim. Belarusian folk tale ,
Artist: Karpenko Mikhail Mikhailovich

The mitten is one of the most famous Ukrainian folk tales. And thanks to the drawings of the wonderful illustrator Evgeny Mikhailovich Rachev, it will become a real gift for the little reader.

Mitten. Ukrainian fairy tale ,
Artist:

The plot of the Ukrainian folk tale "The Mitten" is similar to the plot of the Russian folk tale "Teremok": the grandfather gathered in the forest for firewood; walked and walked and did not notice how he lost his mitten. A mouse ran, saw a mitten and decided to settle in it. Then a frog galloped up, a bunny came running, followed by a fox, followed by a wolf, a wild boar, a bear ... As always happens in a fairy tale, there was enough space for everyone! ..
The book is illustrated by the famous artist Evgeny Rachev. Drawings of the first and most famous version are given - the one that today is stored in pictures in art museums around the world. At the same time, one figure is published for the first time.

A merry tale about the Straw Goby, which turned out to be more cunning than the Bear, the Wolf and the Fox.
The illustrations were made by the artist Peter Repkin.

Straw goby - resin barrel. Ukrainian fairy tale ,
Artist:

"Spikelet" is an old Ukrainian fairy tale about a hard-working cockerel and lazy mice Krut and Vert, which will teach important life lessons.
The book is illustrated by the outstanding Russian artist Yuri Alekseevich Vasnetsov. The works of this recognized master have long been included in the golden fund of children's literature.

Spikelet. Ukrainian fairy tale ,
Artist:

Fairy tales of different countries and peoples, at first glance, are very similar, they are all filled with miracles and teach goodness, but each one contains centuries-old wisdom, which gives it a unique national flavor.
The amazing drawings of the talented Minsk artist Pavel Tatarnikov open up for readers the bright, magical world of Belarusian fairy tales - a world in which dragons and brave knights, good wizards and treacherous witches, extraordinary animals and enchanted princesses live.
For his work on the collection "Tsareuna in the Underworld" in 2001, Tatarnikov was awarded the "Golden Apple" - the highest award of the International Biennale of Illustration in Bratislava. This book is published in Russian for the first time. It will be a real gift for connoisseurs of book graphics, because the artist has created many new wonderful drawings especially for the Russian edition.
Retelling by V. Yagovdik.

Princess in the underworld. Belarusian folk tales ,

Why a badger and a fox live in burrows, how Vasil overcame a terrible, terrible snake, where the beast came from and how to get rid of annoying guests - under the cover of this book are collected Belarusian folk tales on a variety of subjects: magical, everyday and about animals. Funny and ironic, wise and instructive, these stories have much in common with Russian fairy tales, but they also differ a lot from them.
The illustrations of Anatoly Volkov, one of the most famous Belarusian artists of the last century, help to reveal the nature of each fairy tale.

Tales of the peoples of the Caucasus

Avars are one of the numerous peoples in the North Caucasus. Their rich artistic traditions have evolved over many centuries. Each Avar village has its own folklore heritage, bright and unique stories and legends. Some of them you will read in the collection "Magic Garden".
In the retelling of M.A. Bulatova, M.G. Vatagin, A. Kalinina.

Magic garden. Avar folk tales and , in Ozone

The collection of Armenian folk tales translated by Irina Petrovna Tokmakova includes magical and everyday stories. The plot motifs of many of them are familiar to us from childhood: an invisible worker collects on the table and faithfully serves his master, half-sisters end up with mysterious sorcerers, and a brave horseman wins the hand of a beauty. Deception here always turns into punishment, and stupidity is punished so that a person gains wisdom: a lazy princess becomes hardworking thanks to a resourceful peasant husband, and the lords of fish and animals help good-hearted young men achieve their desired goal. The book was illustrated by Grigor Sepukhovich Khanjyan, a well-known Armenian painter and book illustrator.

Dagestan has long been famous for its multinationality. More than 14 indigenous peoples live on its territory, one of which is the Lak. The Laks traveled a lot around the world, they composed many fairy tales. About friendship and fidelity, about courage and justice, about the fact that good always triumphs over evil. This book introduces young readers to the rich folklore, filled with the magic and wisdom of the ancient people. The collection includes fairy tales: "Sulmalaguz", "The Brave Donkey", "Grandmother and the Goat" and "Nunnuley".
Illustrations by Pyotr Repkin, a member of the Union of Artists of the USSR, Honored Artist of Russia, recreate the bright and unique world of Dagestan with its customs and customs.

Mazaev K. D. "Tales of the peoples of Dagestan" ,
Artist:

A Georgian folk tale about how the Grasshopper, trying to save his friend Ant, goes on a dangerous journey, where he meets various inhabitants of a mountain village. This simple but wise story teaches us patience and the desire to help each other. After all, true friendship will help to cope with any trouble.
For preschool children.
The book contains illustrations by Grigory Filippovsky.

Grasshopper and Ant. Georgian folk tale ,

“The Big Book of Georgian Fairy Tales and Legends” is a unique book of wisdom, which reflects ideas about the world order, traditions, way of life of the Georgian people. The illustrations of, perhaps, the most famous Georgian artist of our time, Nino Chakvetadze, give a special charm to the collection. Her illustrations are so cute, warm, cozy, sometimes naive, as if they come from childhood. The artist herself speaks about her works as follows: “We all came out of childhood, and this fact makes me draw again and again what left a mark on my soul…”.

The collection of Tatar folk tales "The White Serpent" is the first book in the Tales of the Great Silk Road series. The heroes of mischievous, wise and kind Tatar fairy tales will open the colorful world of folk art, costumes, traditions and customs of the Tatars, show the geography of the Great Silk Road and modern Tatarstan, teach you to distinguish good from evil, ingenuity from cunning and deceit. The book is intended for family reading and will appeal to both children and adults.
Arranged by Alena Karimova

"Red Dog" is a collection of Altai folk tales from the "Tales of the Great Silk Road" series. Together with fairy-tale characters, young readers will walk along that part of the Great Silk Road that once crossed the lands of the modern Altai Republic, look into the dwelling of Kaichi-Mergen, admire the pristine beauty of the Altai nature, find out what they are, the Altai people - open, freedom-loving, honest people. This imaginary journey will be exciting for the whole family.
Arranged by Irina Bogatyreva.

The collection of Tatar folk tales "Three Doves" from the series "Tales of the Great Silk Road" is a book colored with sunny illustrations by Maryam Saderdinova and magical maps of the Great Silk Road by artists Dmitry Makhashvili and Yulia Panipartova. The publication will tell children and adults about the history and geography of the Tatars, their traditions and customs, language and folk costumes.

White kite. Tatar folk tales
Ginger dog. Altai folk tales(artist: )
three doves . Tatar folk tales

The book "The Sly Fox" includes eight colorful Chuvash folk tales, carefully collected by the folk writer of Chuvashia Mishshi Yukhma. In each of them - the originality and spirit of the Chuvash people. The fairy tales were literary arranged by Alena Karimova and decorated with illustrations by Anastasia Malova. On the endpapers of the collection, readers will also find fascinating maps of the Great Silk Road and that part of it that passed through the territory of modern Chuvashia, the authors of which are Dmitry Makhashvili and Yulia Panipartova.

The book "The Magic Rug" includes five fairy tales, which are wonderful examples of the folk art of Uzbekistan: a heroic fairy tale, a fairy tale about animals, magical, lyrical, philosophical fairy tales. In each of them - the originality and spirit of the East: they vividly and figuratively reflect oriental customs, traditions, way of life. Fairy tales in a literary arrangement by Alena Karimova are decorated with illustrations by Olga Monina.

Sly Fox. Chuvash folk tales
Magic rug. Uzbek folk tales

Miracle in feathers. Mordovian fairy tales (artist: )

Taiga songs. Tuvan fairy tales

The collection includes the best works of oral folk art polished over the centuries. The book consists of three sections. Simple, uncomplicated tales about animals contain deep, vital ideas. Fairy tales are interesting and instructive, in which there is both folk philosophy and poetry. In everyday fairy tales, human stinginess, stupidity and laziness are ridiculed. The main character of many fairy tales is a simple man.

Philologists from the Crimea worked on the creation of a collection of Crimean Tatar fairy tales - Nuria Emirsuinova, Fera Seferova, Nariye Seydametova and Maye Abdulganieva. Colorful illustrations by Maryam Saderdinova conveyed the beauty of ornaments and costumes of the Crimean Tatars, recognizable landscapes of the Crimea. On a journey through the magical maps of the Crimea and the Great Silk Road, readers will meet with the heroes of the Crimean Tatar fairy tales - the evil padishah, the cunning vizier, the brave batyr, the moon-faced beauty princess.

A wonderful charm. Crimean Tatar folk tales

In the wonderful Mordovian fairy tales, arranged by Alena Karimova, you will meet wonderful characters - the smart and beautiful Dubolgo Pichai, the smart and brave young man Rav Zholdyamo, and the Miracle in Feathers will turn out to be a sweet, kind and resourceful girl. They have a lot of amazing stories. They meet the deity of water Vedyava and the mistress of the forest Viryava, the mysterious creature Kuygorozh and even bees the size of a horse... Some images will remind you of fairy tales of other peoples, but the rest will amaze you with their bright bizarre fantasy.

The original Moksha and Erzya fairy tales are a real repository of Mordovian folklore traditions. Very different, with their own special mythology and poetics, sometimes close to Russian folk tales, these stories reflect the spirit of the time in which they were created.
The collection includes fairy tales about animals, fairy tales and everyday life, accompanied by graphic illustrations by Pavel Alekseev.

Goat with curly legs. Tajik folk tale ,
Shah Rooster. Tatar folk tale ,
Artist:

Tajik folk tales invite readers to travel to hot Central Asia, known for its centuries-old history and carefully preserved folklore traditions. Camel caravans go through the pages of this collection, here a wise and insightful girl gives a lesson to a boastful and lazy rich man, pakhlavon strong men fight giant devas, and a cruel padishah and a greedy fox get what they deserve. Tajik fairy tales are not only fascinating, but also wise stories that teach you to appreciate kindness and devotion, truthfulness, curiosity and cheerfulness.

"Tajik folk tales"
Artist: Nikolaev Yuri Filippovich

Dungans are a numerous people who have long lived in China, Kazakhstan and Kyrgyzstan. The folklore of the Dungan people is a real treasure trove of fairy tales.
The book is illustrated by the artist Andrey Andreevich Brey.
Retold by Mark Germanovich Vatagin.

Who is afraid of hares? Dungan fairy tales ,
Artist:

Looking for a dog strong friend. But the hare is afraid of the wolf, the wolf is afraid of the bear, and the bear is afraid of the man. Then a man and a dog began to be friends, and together they are now afraid of no one! A short Mordovian fairy tale illustrated by Mikhail Karpenko will amuse and surprise the youngest readers.

Like a dog looking for a friend. Mordovian fairy tale, in Ozone
Artist: Karpenko Mikhail Mikhailovich

Once upon a time, a dog lived alone. And now she wanted to find a reliable, faithful, brave friend. At first, she tried to make friends with the hare, but one night the dog barked at the rustle, and the hare was frightened and said that he was afraid of wolves that might come running to bark. Then the dog decided to make friends with the wolf, thinking that he was definitely not afraid of anyone. But it turned out that the wolf is terribly afraid of the bear. The dog went to the bear, and the bear also turned out to be a coward: he was afraid that the man would take off his skin. The dog decided to go to the man. He allowed her to stay, fed her, built a warm kennel so that she would not freeze in the cold and not get wet in the rain. And the dog began to guard the man, barking at strangers, and the man did not scold her for it. And so the dog began to live with the man.
The tale "Like a dog was looking for a friend" is very popular among different peoples and has many different interpretations. Dmitry Gorlov illustrated the Mordovian version of the tale. The artist's drawings are beautiful: his animals talk, get scared, run away, etc., that is, they behave as they should in fairy tales. At the same time, they are endowed with all natural-plastic features and look just like real ones.

The world of Russian folklore is a magical pantry of folk wisdom and beauty of speech. Russian folk tales, created many centuries ago, still do not lose their relevance. They teach us kindness and responsiveness, ingenuity and courage. In the retelling of A. Nechaev.

A happy family. Russian folk tales, in Ozone

Bashkirs are the Turkic indigenous people of the Southern Urals, Cis-Urals and Trans-Urals. Their fairy tales glorify the worldly wisdom of the Bashkir people, ancient customs and the beauty of the nature of the Urals.
In the retelling of Anton Ivanov.

Mill at the seven lakes. Bashkir folk tales, in Ozone (artist: )

The book contains the best examples of fairy-tale creativity of the ancient people - the Bashkirs, settled mainly in the Cis-Urals and on the southern slopes of the Ural Mountains. Who are these people? How did they live and live? Through the tales of this people, young readers will be able to learn their legends, traditions and get acquainted with the nature of the region. For example, to find out how the largest lake in Bashkortostan, Aslykul, appeared.
The book contains the best examples of Bashkir fairy-tale creativity: "Aminbek", "Golden Hands", "The Tale of Aslykul" and others.

There is a door in the meadow - all pine, planed, right in the middle of the green grass. And behind it ... If you open this door - just open the book - miracles begin. Baba Yaga's hut stands right on a pine tree, a greedy man holds the sun with his grip, and a lost girl, riding a moose, runs away from a bear - she does not want to be a nanny for the bear cub. And for the artist Nikolai Popov, this “world outside the door” is not so much ethnographic (Komi-Permyak fairy tales are illustrated) or narrative, but picturesque: with its own space and time, light and shadow, with its own special color - restrainedly subdued, as if unsteady - truly magical.
Retelling by Lev Kuzmin.

Meadow door. Komi-Permyak fairy tales, in Ozone
Artist:

Fascinating fairy tales will teach children to see the beauty and magic in what surrounds them, to appreciate and love nature. The collection includes the following stories: "Gift", "Forest Robbers" and "Crane Son".
Expressive and vivid illustrations by the remarkable artist Petr Petrovich Repkin will undoubtedly please readers.

Batulla R. Crane son. Tatar fairy tales, in Ozone
Artist:

The kind and wise tales of Zuleikha Mingazova captivate with the novelty of the plot and bright national colors. They successfully combine the modernity of what is happening and ancient knowledge about the world, nature, magical creatures from legends and myths.

Long as the beards of the elders, unhurried, like camels in the Karakum desert, filled with oriental wisdom and mischievous cunning, Turkmen fairy tales enchant and are remembered for a long time. Bold and smart beyond his years and height (he barely reaches half the size of a camel's ear), the boy Yarty-gulok became a good son to his parents and a protector of ordinary people from greedy and stupid beys and khans.
The artist Vasily Vlasov chose a style to match the text for the design of the book - his illustrations came out both thoughtful and mischievous.
Literary processing by A. Aleksandrova and M. Tuberovsky.

The book will introduce young readers to the tales of the Kalmyks, the people living in the very southeast of our country. Through the legends that have come down to us through the centuries, children will be able to learn about the history and nature of Kalmykia, get acquainted with the traditions of the people living there. The book includes fairy tales: “The Brave Mazan”, “The Left Eye of the Khan”, “The Miserly Rich Man and the Stranger”, “The Unawarded Award” and others.

“Begins, begins a good fairy tale, a glorious tale” - this is how the storyteller began his story, whom our ancestors loved to listen to. The compilers of this book, N. Hesse and Z. Zadunaiskaya, have chosen rare, little-known to the reader fairy tales of eighteen Slavic peoples. You will even find Kashubian, Lusatian, Masurian and Moravian tales here. Each one has its own national flavor, but they all teach goodness and justice, stand on the side of honest people, ridicule the greedy and deceivers.
The book is complemented by inventive, ironic illustrations by Vasily Vlasov, an outstanding representative of the Leningrad school of graphics.
Retelling for children by N. Hesse and Z. Zadunaiskaya.

“Neither far, nor close, neither high nor low. Tales of the Slavs ", in Ozon
Artist:

This publication presents a Latvian folk tale in the retelling of the poet, translator, laureate of the J. Rainis Prize, Lyudmila Viktorovna Kopylova. This kind and wise tale of brotherly love and devotion will surely please both adults and children. The book is illustrated by the honored artist of the RSFSR Kochergin Nikolai Mikhailovich.

White deer. Latvian folk tale, in Ozone
Artist:

The book includes fairy tales by Maria Fedotova, one of the few authors who writes in the Even language today, a true connoisseur of Even folklore. Her fairy tales will introduce young readers to the traditions of one of the small peoples of Yakutia - the Evens. Fairy tales are distinguished by colorful images and genuine humor, which is so necessary for life in the harsh conditions of the North.

Even tales of the wise Nulgynet

Amazing Tuvan fairy tales tell about very ancient times, when everything on earth was just beginning, when the giants-heroes and their huge heroic horses lived. Bogatyrs perform unprecedented feats, wise girls solve the most ingenious riddles and are able to lead an army, animals and birds often help people.

Taiga songs. Tuvan folk tales

The fairy tale will introduce young readers to the folklore of Khakassia, tell about people, spirits and magical inhabitants of the left bank of the Yenisei.

"Tales of the peoples of Russia"

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THE TALE IS A LIE, YES IN IT A HINT

Tell me the peoples of Russia... And how many peoples are there in Russia?

More than 80 peoples and nationalities live in the Russian Federation alone, the largest of our union republics.

And each nation has its own history, its own customs, its own ancient culture. Until the Great October Revolution, which united all the peoples of our country into a single family, they stood at various stages of development. Some could be proud of centuries of writing, masterpieces of world literature, while others - in the far outskirts of Russia - did not even have a written language. But everyone had folklore - oral folk art. All peoples had fairy tales - they were loved at all times, they are loved today, they are loved equally by adults and children.

Much can be learned from fairy tales. They reflect the spirit of the people, their way of life, way of life, national character. The plot can be as fantastic as you like, but the details of the narrative are always real, accurate, corresponding to the land where the fairy tale lives, corresponding to the culture of the people - its creator. Historians and ethnographers succeed in using folklore materials - fairy tales, epic - to restore pictures of ancient times.

Let us pay attention, for example, to how fairy tales are “inhabited”. Let's compare the Evenk "Orphan Boy" and the Chechen "Great Sheikhs". In a northern fairy tale, an orphan boy is pursued by cannibals, and he, taking on the forms of various animals, runs away. What a long flight through the endless and deserted expanses! And vice versa, how densely populated is the southern land, what a huge number of people are present in the satirical tale of the "great" sheikhs!

And let's take such a detail as food. In fairy tales (Russian and Western) familiar to us, it goes without saying that the characters eat, it is not specifically mentioned, except for those cases when the food is something meaningful in the plot (a royal feast, for example, or a heroic meal, when in one sitting the bull is eaten). Ivan Tsarevich wanders the earth, accomplishes his exploits, and the narrator cares little about what he eats. The tales of the peoples of the North reflect a different way of life. There man lived surrounded by harsh nature, in a constant struggle for existence. Hunting was fraught with mortal risk, and people's lives depended on a successful hunt. That is why the Eskimo storyteller does not forget about food. “When they ate, they went to bed. Woke up - again began to eat. In another tale, it says extremely succinctly: “At. Lived."

The most ancient fairy tales depict the mythological ideas of peoples about the origin and structure of the world. All peoples had a belief in the afterlife, in the immortality of the soul. According to the ideas of most peoples, the world was divided into the upper world, in which the gods, celestials live, the middle world - the earth where people live, and the lower world, the underground (and also underwater). All these worlds did not differ significantly from each other. So, the celestials in the Tuvan fairy tale live in yurts and drink tea with cakes. Ivan Tsarevich, once in the underwater world, must perform peasant work: uproot stumps, raise virgin soil, grow bread ... Man created gods in his own image and likeness, created other worlds in the image and likeness of his world. And his world was inhabited by fantastic creatures, personifying the incomprehensible, often hostile forces of nature. Evil spirits exist in the tales of all peoples, they are usually very scary in appearance, humanoid, but their human appearance is distorted. This, for example, is a giant covered with wool, possessing great strength, like a garbash in an Ingush fairy tale or a one-eyed mus in a Kalmyk one. Folk fantasy seeks to make them even more terrible, incomprehensible, and here we have barusi from the Nganasan fairy tale: he is one-legged, one-armed, one-eyed. Abaasy from the Yakut fairy tale is eight-legged, and the only twisted hand grows from his chest. Even more terrible is Guin-padchakh from a Chechen fairy tale: this goblin has a wide ax sticking out of his chest, and the goblin leans with his chest on a man sleeping in the forest. But no matter how terrible and strong various monsters, giants, goblin may be, a man in a fairy tale always defeats them with his mind, ingenuity, and, in addition, animals help the hero, who pay him good for good.

Scientists have long paid attention to the similarity of plots in fairy tales of different peoples living very far from each other. This is explained not only by mutual influence, but also by the similar historical development of different peoples. The main fairy tale plots are international: the hero’s struggle with a multi-headed serpent (dragon), the boy’s meeting with a giant cannibal, the stepmother and stepdaughter (Cinderella), but the tales themselves are always national, filled with numerous details of the life of that people, the land where the fairy tale lives. Let's compare two fairy tales of this book: Kalmyk - "The Great Khan and his precious friends" and Oroch - "Beauty and Evil Pegeliktu". At first glance, how little they have in common! But if we discard the details, it turns out that the same plot is the basis: the hero expels the slandered wife. We are interested not so much in this frequently occurring plot, but in the details that recreate the picture of the life of the people.

So far, we have been talking about the cognitive side of the tale, about the ethnographic information that it contains. But this is only a small part of its payload, the main thing in it is its ideological content: high morality, patriotism, humanism, kindness. Fairy tales glorify loyalty and honesty, valor, fortitude, heroism, and the desire to serve the people. The hero of a fairy tale is always kind, generous. He not only saves animals, which then help him defeat the evil force, he is even able to win over the evil force to himself, as Ivan Tsarevich does when he meets Baba Yaga (“Vasilisa the Wise and the Sea King”). The sympathy of the people is always on the side of the disadvantaged. The hero of a fairy tale is usually a poor man, a person oppressed by others: an orphan boy, a stepdaughter, a younger brother who is considered a fool by his elders. The people believe in the victory of good, and their heroes always come out victorious in a duel with evil forces, they defeat the oppressors, sometimes they themselves become kings, khans. So naively the people embodied the age-old dream of justice.

A king can also be the hero of a fairy tale, but if he is not an opponent of the hero, then this is a conditional, fairy-tale king who has nothing to do with a real autocrat. Most often this is a tribute to the fairy tradition. The Balkar proverb is characteristic: "There is no fairy tale without a khan." At the same time, the history of the Balkar people does not know khans.

A person gets acquainted with the moral wealth, the experience of the people in early childhood, in a fairy tale, in the first game. Rich, inherited traditions are unique traditions that need to be protected. Having lost the spiritual traditions of his people, a person loses in himself a moral support, a spiritual core. What is embedded in the soul from childhood is irreplaceable later.

In modern society, the problems of moral education, respect for historical monuments, and the formation of patriotic feelings are acute. And what the child hears in childhood depends on his further conscious attitude to the world around him, therefore, the system of upbringing and education should provide for the formation in the child of a sense of belonging to the traditions, spiritual and historical values ​​of his large and small Motherland. Already at preschool age, the child actively absorbs experience, turns it into a habit, into a norm of behavior. Music, fairy tales, proverbs and sayings, ethnic games convey the character of the nation, the spirit of the era.

All ethnic songs, fairy tales are rich in inexhaustible love for their world, their people, family. They teach the child to be kind, fair, honest, to treat elders with respect, teaches that beauty can defeat evil. The same can be traced to the worship of a working person, whether it be a fisherman, a plowman, a musician, etc. - in those crafts and occupations that are characteristic of a given people, a given area; sang the power of mutual assistance, and joint work.

Folk (ethnic) games are close to the emotional nature of the child, thirsting for active activity. Despite the fact that there is a lot of fun in games, movements, their rules are strict: this teaches children not to disturb the order, to be able to negotiate. For centuries, games have been the only means of physical, mental, moral education.

Many wise proverbs and sayings strengthen the moral image of the people. Over the centuries, a great many people have taken part in their creation and polishing.

Fiction and imagination create a world of fairy tales in which good always triumphs over evil. Fairy tales, fairy tales about animals help to better understand the surrounding reality, to understand people's relationships, people's vices: greed, stupidity, disobedience, self-interest, etc. are ridiculed.

Ethnic folklore of different nations, despite the different way of life, culture is similar to each other, there are almost the same proverbs, fairy tales. For example: the Russian and Greek fairy tales "The Hen and the Cockerel", the Greek fairy tale "Anfusa - golden braids" is similar to the fairy tale of the Brothers Grimm "Rapunzel" and others, the Adyghe fairy tale "Faruza" is similar to "Cinderella".

Truth triumphs in these tales, the victory of good over evil. The optimism of fairy tales is close to child psychology and it enhances the educational value of folk pedagogical means.

There is figurativeness in fairy tales, which facilitates perception by children who have not yet formed abstract thinking. The characters clearly show such traits as courage, observation, the desire to help the weak, etc. In fairy tales - bright, lively images.

One of the most important features of fairy tales is didacticism. Fairy tales of all peoples are always instructive and instructive. The people share their wisdom with the younger generation: to be obedient (Estonian fairy tale "The Forbidden Knot"), not to be greedy (Greek fairy tale "The Cockerel and the Hen"), not to be cowardly (Estonian fairy tale "Why is the hare's lip split"), etc. .

Every nation wishes its child to be honest, hardworking, happy. The art of peoples teaches a person to appreciate life, to be steadfast in the fight against lies, cunning, evil.

Fairy tales also form gender concepts and moral values. For girls, these are beauties, needlewomen, smart girls; for boys - this is a brave, strong, honest, hardworking hero. The ideal formed in childhood largely shapes his personality in the future.

In our kindergarten, it was developed and tested project "Tales of the village of Krasnaya Polyana" (Annex 1), within the framework of which proverbs, sayings, fairy tales of the peoples living in the village (Greek, Adyghe, Estonian people) were selected, accessible for understanding by children of older preschool age. As a result of the project, a (Appendix 2), which included the following tales: Adyghe tales: "The Giant Bull", "Faruza"; Greek fairy tales: "The Rooster and the Hen", "The Embroiderer of Birds", "Anfusa - Golden Braids"; Estonian fairy tales: “Why the hare’s lip is cut”, “The wolf and the sheep”, “Magic knots”, “how the master became a horse”, “The young blacksmith”. All fairy tales are illustrated by children of senior preschool age. The book of fairy tales continues to grow.

This book of fairy tales is intended for reading to children 5-7 years old. The selected ethnic tales are accessible to the understanding of children, reveal to them the world (everyday life and culture) of different peoples: Circassians, Estonians, Greeks. In ethnic tales, the life of peoples is easily traced. It is easy to trace the crafts of the peoples: fishing, weaving, hunting, etc.

In fairy tales, there are often words that are inaccessible to the understanding of children. For example, in Adyghe fairy tales there are often words that reflect the way of life of the people: aul, marj, papakha, shepherd, etc. Therefore, it is necessary, before reading a fairy tale to a child, to have a short conversation with the child about the people, their way of life, explaining unfamiliar words (using the example "Ethnic Dictionary"(Appendix 3), in which not only the interpretation of words, but also illustrations are selected). Without such preliminary work, a fairy tale may seem boring, pale, incomprehensible to a child; such work will bring the child closer to the ethnic world. Explaining these unfamiliar words to a child, an adult takes him into the ethnic world. The child develops an elementary ethnic dictionary, expands his horizons and vocabulary words.

When introducing children to ethnic fairy tales, it is necessary to adhere to the following algorithm:

1. The teacher gets acquainted with the fairy tale, noting unfamiliar, ethnic words.

2. Search for the definition of these words (for example: kannel is a musical instrument of the Estonian people), an accessible explanation for preschool children.

3. If necessary, illustrations of images are selected to determine the ethnic word.

4. While reading an ethnic fairy tale, children should be briefly introduced to new words, giving elementary information about the life and culture of the people. (For example, to tell that the Adyghe people lived in small settlements called AUL (demonstration of the image), they kept sheep, cows, which were grazed high in the mountains by Shepherds (demonstration of the image). And when they turned to a stranger, they said MARGE. the word has no translation, most likely it was used to attract attention.). When reading fairy tales, you should not replace the words with Russian ones, because then the originality of the fairy tale is lost.

5. After reading, a short conversation is held with the children about what they learned from the fairy tale, knowledge about the life and culture of the people, about the meaning of new words is consolidated.

6. During the conversation, you can also discuss which episode was most memorable, why it seemed the most striking, after which the children are invited to draw their favorite passage from the fairy tale, or pick up attributes and play out the dramatization of the passage.

The method of working with ethnic fairy tales is similar to the method of acquaintance with author's or Russian fairy tales.

Requirements for fairy tales in the younger group:

• simple perception;
• bright, dynamic plot;
• short in content;
• conversation after reading the fairy tale: did they like them, what they are.

Requirements for fairy tales in the middle group:

• every month it is necessary to introduce a new fairy tale;
• familiarity with new words, an explanation that is understandable to children;
• conversation after reading the fairy tale: did the heroes like them, what they were, what actions they performed, whether the heroes did the right thing.

Requirements for fairy tales in the senior group:

• the volume of fairy tales increases significantly;

Requirements for a fairy tale in a group preparatory to school:

• a large volume of a fairy tale that can be read in parts (several days);
• conversation after reading: a motivated attitude towards the heroes of fairy tales;
• determination of the type of fairy tale (about animals, household, fairy tale);
• determination of the structure of the fairy tale (beginning, repetitions, ending).

With such a construction of work with ethnic fairy tales, they will not only serve as entertainment, but will also carry a cognitive meaning, develop imagination, form a tolerant attitude towards the culture of different peoples.

Bibliography:

1. Children's literature. Textbook for pedagogical schools. Ed. E.E. Zubareva - M .: Education, 1989

2. Pasternak N. Children need fairy tales like air // Preschool education. - No. 8-2008

3. Baturina G.I., Kuzina T.F. Folk pedagogy in the education of preschoolers. M.. 1995

Annex 1

Kindergarten project
"The living book of fairy tales of the village of Krasnaya Polyana"

Relevance. 17 nationalities live in our village, 3 of them: Russians, Greeks, Estonians - the peoples who founded our village. The formation of moral and patriotic feelings on the basis of the regional component, the formation of tolerant feelings is one of the leading tasks of our kindergarten.

At the same time, oral folk art accompanies the child from early childhood. Acquaintance with the outside world begins with nursery rhymes, the concept of good and evil is formed in fairy tales, lullabies soothe. Every nation has its own fairy tales, its own lullabies. In oral folk art there is a great creative and educational potential. And the upbringing of love for the Motherland is impossible without instilling love and respect for one's "small Motherland", its culture and traditions. Introducing children to the source of folk culture is important in the moral and patriotic education of the personality of a preschooler.

Objective of the project: active inclusion of children in the development of children's oral folk art of the peoples who founded the village of Krasnaya Polyana and manifestations of creativity in expression from what they read in the "Living Book of Tales of the Village of Krasnaya Polyana" together with adults.

Tasks:

1. Collect nursery rhymes, jokes, lullabies, fairy tales of the peoples of the village of Krasnaya Polyana in close contact with the parents of kindergarten students.

2. Select works that are understandable for preschool children.

3. Organize joint activities (adults-children) to create a "Living book of fairy tales from the village of Krasnaya Polyana", compiled by adults with children of all groups.

The target audience: children 5-7 years old, parents, kindergarten teachers.

Project Implementation Plan

1. Preparatory:

1.1. Collection of material on the oral folk art of the peoples of the village of Krasnaya Polyana with the involvement of parents;

1.2. Selection of a methodology for introducing preschool children to oral folk art, ethnic tales.

2. Organizational:

2.1. Conducting consultations for teachers on the methodology of introducing children to oral folk art;

2.2. To hold a competition of drawings "Live Pages" in nominations;

2.3. Organize joint activities (adults-children) to create a "Living book of fairy tales of the village of Krasnaya Polyana", compiled by adults with children of groups;

2.4. Develop and conduct a quiz "Tales of the village of Krasnaya Polyana";

2.5. Conducting lectures for parents "Reading fairy tales to children";

3. Final: Creation of the book "The living book of fairy tales of the village of Krasnaya Polyana", illustrated by the works of children.

Expected results:

The implementation of the project will contribute to the formation and development of children:

• interest in folk oral art (proverbs, sayings, fairy tales, etc.)
• love and pride for the small Motherland
• creativity

The implementation of the project will contribute to the formation and development of teachers:

• interest in national folk art
• knowledge of fairy tales, nursery rhymes, songs and other nationalities who founded the village
• increasing the level of professional competence in the field - the use of oral folk art

The implementation of the project will contribute to the formation and development of parents:

• an idea of ​​the features of fairy tales of different nationalities and the possibilities of their use
• desire to get involved with children in joint activities

Used Books:

1. N.K. Andrienko, S.I. Semenaka, E.A. Tupichkina "Spiritual and moral education and social development of preschoolers: programs, pedagogical projects: teaching aid - Armavir RIO AGPA, 2014

Avar tales

Avars (Greek Άβαροι, Ουαρχωννιται; lat. Avari; other Russian Obri) is a nomadic people of Central Asian origin who moved to Central Europe in the 6th century and created the state of the Avar Khaganate there (VI-IX centuries).

Adyghe fairy tales

Adygs (self-name - Adyge) - a people in Russia and abroad, the indigenous population of Adygea and the Krasnodar Territory, including the Black Sea coast from Anapa to Sochi - a collective term for the Western Adyghe subethnoi.

Aleutian tales

Aleuts (self-name - unanan / unangan) - the indigenous population of the Aleutian Islands. Most of them live in the USA (Alaska), some in Russia (Kamchatsky Krai).

Balkar tales

Balkars (Karach-Balk. taulula - literally: "highlanders") - a Turkic-speaking people in the North Caucasus, the indigenous population of Kabardino-Balkaria, inhabiting mainly its mountainous and foothill (so-called Balkaria) regions in the upper reaches of the rivers Khaznidon, Cherek- Balkarsky (Malkars), Cherek-Bezengievsky (Bezengi, Kholamtsy), Chegem (Chegems), Baksan (Baksans or in the past - Urusbievs) and Malka. In fact, the Balkars constitute a single people with the Karachais, divided administratively into two parts. They belong to the Caucasian anthropological type of a large Caucasian race. They speak the Karachay-Balkarian language of the Polovtsian-Kypchak group of the Turkic family. Dialect differences are minor.

Bashkir fairy tales

Bashkirs (Bashk. Bashkorttar) are a Turkic-speaking people living on the territory of the Republic of Bashkortostan and the historical region of the same name. Autochthonous (indigenous) people of the Southern Urals and the Urals. The number in the world is about 2 million people. In Russia, according to the All-Russian Population Census of 2010, there are 1,584,554 Bashkirs. The national language is Bashkir. The traditional religion is Sunni Islam of the Hanafi madhhab.

Buryat tales

Buryats (Buryat-Mongols; self-name Buryaaduud) - people in Russia, Mongolia and China. The Buryats are subdivided into a number of sub-ethnic groups - Bulagats, Ekhirits, Khorints, Khongodors, Selenga Buryats (Sartuls, Tsongols, Tabanguts), Khamnigans, and also on a territorial basis, i.e. Western, Eastern, Shenehen. Buryats living in the eastern part of Buryatia and the Trans-Baikal Territory are called eastern.

Dolgan tales

Dolgans (self-name - Dolgan, tya-kihi, Sakha) - a Turkic-speaking people in Russia (total 7900 people, in the Taimyr Dolgano-Nenetsky municipal district of the Krasnoyarsk Territory about 5500 people, in Yakutia about 1900 people). Believers are Orthodox.

Ingush fairy tales

Ingush (self-name - Ingush. GIalgIai - plural, GIalgIa - singular) - the Vainakh people in the North Caucasus. They speak the Ingush language of the Nakh group of the North Caucasian family, writing based on the Cyrillic alphabet.

Kabardian fairy tales

Kabardians (Kabard.-Cherk. Adyghe) - a sub-ethnos of the Circassians, the indigenous population of Kabardino-Balkaria, also live in the Krasnodar and Stavropol Territories, in Karachay-Cherkessia, Adygea and North Ossetia. In the Kabardino-Balkarian Republic they make up 45.3% of the population. They speak the Kabardino-Circassian language of the Abkhaz-Adyghe group.

Kalmyk fairy tales

Kalmyks (Kalm. Halmg, Halmgud, Mong. Halimag) are a Western Mongolian (Oirat) people living mainly in the Republic of Kalmykia, a constituent entity of the Russian Federation. They speak Kalmyk and Russian. They are the descendants of the Oirat tribes who migrated in the late 16th - early 17th centuries from Central Asia to the Lower Volga and the Northern Caspian. The number of modern Kalmyks in Russia is 183,372 people (All-Russian census of 2010), there are also small diasporas abroad. The main religion among believing Kalmyks is Tibetan Buddhism of the Gelug school.

Karelian fairy tales

Karelians (general self-name - Karelian karjalaizet) - Finno-Ugric people, live mainly in Russia: in the Republic of Karelia, the Leningrad Region, the Tver Region and in eastern Finland.

Kerek tales

Kereks (self-names ankalgakku - "seaside people", arakykku - from Chuk. kerekit) - one of the Paleo-Asiatic peoples of Russia. According to the 2010 census, 4 people registered themselves as Kereks. (in 2002 - 8 people). In 1959, there were about 100 people. In the 20th century, they lived in the settlements of the Beringovsky district of the Chukotka Autonomous Okrug (Meynypilgyno, Khatyrka, Beringovsky). They lived in several villages as separate families mixed with the Chukchi, were assimilated by them.

Ket tales

Kets (the self-name keto, ket - “man”, plural deng - “people”, “people”; the ethnonyms Ostyaks, Yenisei Ostyaks, Yeniseis were previously used) - a small indigenous people of Siberia living in the north of the Krasnoyarsk Territory. They use the Ket language, which belongs to the group of Yenisei languages.

Koryak tales

The Koryaks (Nymylans, Chavchuvens, Alyutors) are a people, the indigenous population of the northern part of the Kamchatka Peninsula. Currently, they live compactly in the Kamchatka Territory, the Magadan Region and the Chukotka Autonomous Okrug of Russia.

Mansi tales

Mansi (Mansi mendsi, moans; obsolete - Voguly, Vogulichi) - a small people in Russia, the indigenous population of the Khanty-Mansiysk Autonomous Okrug - Yugra. The closest relatives of the Khanty. They speak the Mansi language, but due to active assimilation, about 60% use the Russian language in everyday life.

Mordovian fairy tales

Mordva is a Finno-Ugric people, which is divided into two sub-ethnoses - Moksha and Erzya. Self-name Mokshan Moksh. mokshet, erzya - erz. Erzyat. They speak Moksha and Erzya languages ​​belonging to the Mordovian subgroup. Ethnographic groups: Erzya - Shoksha, Mokshan - Karatai. They live in the Russian Federation, about a third - in Mordovia, as well as in the adjacent regions - Nizhny Novgorod, Penza, Tambov, Ryazan, Samara, Moscow. They belong to the indigenous population of Central Russia. Believers are mostly Orthodox, there are also adherents of the folk religion (the traditional religion of Mokshan is Mokshen Koi), Lutherans and Molokans.

Nanai tales

Nanais (nanai nanai, nani; Chinese 赫哲族; obsolete golds) are an indigenous people of the Far East living along the banks of the Amur and its tributaries the Ussuri and Sungari in Russia and China.

Nganasan tales

Nganasans (ngan. nganasans - “people”, self-name nya, nya - “comrade”) are a Samoyed people in Siberia. The term nganasan (from nanas, nanasan - man) was introduced by Soviet linguists in the 1930s as an erroneous generalization of the use of the word with the meaning "man" as an endoethnonym known to many peoples of the North.

Negidal tales

Negidals (from negidal. ngidal - “coastal”, “coastal”, self-name: elkan beienin - local people; amgun beienin - people of the Amgun River) - a small Tungus-Manchu people in the Amur region.

Nenets fairy tales

The Nenets (Nenet. Neney Neneche, Khasovo, Neshchang; obsolete - Samoyeds, Yuraks) are the Samoyed people inhabiting the Eurasian coast of the Arctic Ocean from the Kola Peninsula to Taimyr. In the 1st millennium A.D. e. migrated from the territory of southern Siberia to the place of their modern habitat.

Nivkh tales

Nivkhs (nivkh. nivakh, nivukh, nivkhgu, nigvngun; outdated. gilyaks) - a small nationality on the territory of the Russian Federation. Self-names: nivkh - "man", nivkhgu - "people".

Nogai tales

Nogais (self-name - Nogai, pl. - Nogailar) - a Turkic-speaking people in the North Caucasus. Number in the Russian Federation - 103.7 thousand people. (2010).

Oroch tales

Orochi (self-name orochisel, oroch, as well as nani (lost, old self-name, borrowed from the Amur Nanais: “na” - land, “ni” - a person, translation - “local resident”; they usually called themselves by their places of residence, by clan affiliation )) - people in Russia.

Ossetian fairy tales

Ossetians (Ironsk ir, irӕttӕ, iron adĕm, digor. digorӕ, digorænttæ; other Russian yasi, singular yasin, yas) - people living in the Caucasus, descendants of the Alans, the main population of Ossetia: the republics of North Ossetia - Alania and South Ossetia. They also live in other regions of the Russian Federation, in Georgia, Turkey and other countries. The Ossetian language belongs to the Iranian group of the Indo-European family of languages; Ossetians are mostly bilingual (bilingual - Ossetian-Russian, less often - Ossetian-Georgian or Ossetian-Turkish). The total number in the world is up to 700 thousand people, of which in Russia - 528.5 thousand (according to the 2010 census)

Sami fairy tales

Saami (Saami, Lapps, Laplanders; self-name - Kildo. s±m, S.-Saam. sámit, sampelaš; Finnish. Saamelaiset, Nynorsk Samar, Swedish. Samer) - a small Finno-Ugric people; indigenous people of Northern Europe. The Scandinavians and Russians called them "Lapps", "Loplyane" or "Lop", from this name comes the name Lapland (Lapponia, Lapponika), that is, "the land of the Lapps". The field of knowledge, the field of study of which is ethnography, history, culture and languages ​​of the Sami, is called "loparistics", or "laponistics".

Selkup fairy tales

The Selkups (Selkup. Sel'up, Susse ӄum, Chumyl-ӄup, Shelʹup, Sheshʹum; obsolete - Ostyak-Samoyeds) are a people living in the north of Western Siberia. Until the 1930s they were called Ostyak Samoyeds.

Tales of Komi

The Komi Republic (Komi Komi Republic) is a republic within the Russian Federation, a constituent entity of the Russian Federation, part of the Northwestern Federal District. Komi - a group of peoples living in the north of the Russian Federation: Komi-Zyryans (often just Komi), Komi-Izhma, Komi-Permyaks, Komi-Yazvins.

Tatar fairy tales

Tatars (self-name - Tatar Tatar, tatar, pl. Tatarlar, tatarlar) - a Turkic-speaking people living in the central regions of the European part of Russia, in the Volga region, the Urals, in Siberia, Kazakhstan, Central Asia, Xinjiang and the Far East.

Tofalar tales

Tofalars (previously they were called - karagasy, self-name - tofa, tofa, topa, tokha, tyva, which means "man") - the indigenous people of Russia in Eastern Siberia.

Tuvan fairy tales

Tuvans (self-name - Tuva, plural - Tyvalar; obsolete names: Soyots, Soyons, Uriankhians, Tannu-Tuvans, Tannutuvians) - the people, the main population of Tuva (Tyva). They speak the Tuvan language, which is part of the Sayan group of Turkic languages. Believers are Buddhists; traditional cults (shamanism) are also preserved.

Udege tales

Udege - one of the indigenous peoples of the Far East, anthropologically belong to the Baikal type of Mongoloids. The language is Udege, belonging to the Amur group of the Tungus-Manchu languages, most similar to Oroch, practically replaced by the Russian language.

Ulchi Tales

Ulchi (self-name - nani, ulcha - "local residents" (common for a number of peoples of the Amur region), obsolete: manguns, olchi). Since 1926, the official name of Ulchi has been adopted.

Khanty tales

Khanty (self-name - Khanty, Khande, Kantek, obsolete Ostyaks) - an indigenous small Ugric people living in the north of Western Siberia. The self-name Khanty means people.

Chechen fairy tales

Chechens (self-named Nokhchi) are a North Caucasian people living in the North Caucasus, the main population of Chechnya. Historically, they also live in Khasavyurt, Novolak, Kazbek, Babayurt, Kizilyurt, Kizlyar regions of Dagestan, Sunzha and Malgobek regions, Ingushetia, Akhmeta region of Georgia. The total number of Chechens in the world is 1,550,000. Anthropologically, they belong to the Caucasian type of the Caucasoid race.

Chukchi fairy tales

The Chukchi, or luoravetlans (self-name - ԓgygoravetԓet, oravetԓet), are a small indigenous people of the extreme northeast of Asia, scattered over a vast territory from the Bering Sea to the Indigirka River and from the Arctic Ocean to the Anadyr and Anyui rivers. The number according to the All-Russian population census of 2002 is 15767 people, according to the All-Russian population census of 2010 - 15908 people.

Evenk tales

Evenki (self-name - Evenkil, which became the official ethnonym in 1931, the old name is Tungus) - the indigenous people of the Russian Federation (Eastern Siberia). They also live in Mongolia and northeast China. Separate groups of Evenks were known as Orochens, Birars, Manegri, Solons. The language is Evenki, belongs to the Tungus-Manchurian group of the Altai language family. There are three groups of dialects: northern, southern and eastern. Each dialect is subdivided into dialects.

Enets fairy tales

Enets (self-name Encho, Mogadi, Pebai, obsolete Yenisei Samoyeds) are a small Samoyedic people numbering less than 300 people. Believers are Orthodox, traditional beliefs are preserved. In terms of language and culture, they are close to the Nganasans and Nenets.

Eskimo Tales

Eskimos (Eskimos. ᐃᓄᐃᑦ) are the people who make up the indigenous population of the territory from Greenland and Nunavut (Canada) to Alaska (USA) and the eastern edge of Chukotka (Russia). The number is about 170 thousand people. The languages ​​belong to the Eskimo branch of the Eskimo-Aleut family. Anthropologists believe that the Eskimos are Mongoloids of the Arctic type (Arctic race). Their main self-name is "Inuit". The word "Eskimo" (eskimanzig - "raw eater", "one who eats raw fish") belongs to the language of the Abenaki and Athabaskan Indian tribes. From the name of the American Eskimos, this word has become the self-name of both American and Asian Eskimos.

Yukagir tales

Yukagirs (self-name detkil, odul, vadu, alai) are an East Siberian people. They belong to the most ancient (aboriginal) population of northeastern Siberia. The origin of the name "Yukagir" has not been precisely established, perhaps it was given to this people by the Russians, probably through the Evenks (Tungus) and in the 20th century it was fixed as an official name. Traditional occupations are fishing (with the help of a net), hunting for wild deer, sled dog breeding.

Yakut fairy tales

Yakuts (among the local population, the pronunciation is common - Yakuts, self-name - Yakut. Sakha; Yakut. Sakhalar) - a Turkic people, the indigenous population of Yakutia. The Yakut language belongs to the Turkic group of languages. There are many Mongolisms (about 30% of words of Mongolian origin), there are also about 10% of words of unknown origin, at a later time Russianisms joined. About 94% of the Yakuts genetically belong to the haplogroup N1c1. The common ancestor of all Yakut N1c1 lived 1300 years ago. According to the results of the 2010 All-Russian Population Census, 478.1 thousand Yakuts lived in Russia, mainly in Yakutia (466.5 thousand), as well as in the Irkutsk, Magadan regions, Khabarovsk and Krasnoyarsk territories. The Yakuts are the most numerous (49.9% of the population) people in Yakutia (the second largest are Russians - 37.8%) and the largest of the indigenous peoples of Siberia within the borders of the Russian Federation.

The myth of the "Russian" people would not be viable if it had not taken place as a poet Pushkin. A poet who distorted Iranian fairy tales and the fairy tales of the Brothers Grimm into a new, "Russian" manner. It is extremely difficult to come up with a history of a people who do not even have their own epic. More precisely, how would it be more correct to say it: it is impossible to prove the Moscow myth about the “Russian” nation, the thousand-year history of the Third Rome, without laying a basis under it - the foundation that folk legends and fairy tales serve all over the world.

A bit of history...

The starting point, the beginning of Muscovy, can and should be called the year 1439. It was in this year that the Moscow impostor Vasily the Dark forever led his country into the power of the Darkness of Ignorance and Obscurantism, refusing to follow the same path with the entire Christian world. Vasily not only strayed from the path of progress, but also laid the foundation for the construction of a new myth: the ideology of "Moscow - the Third Rome" - the realm of truly orthodox believers - "Russians", who after 200 years were renamed "Orthodox".

The myth of "Moscow" - the city-mosque, but at the same time, no matter how surprising it may seem, the city of the stronghold and the Christian world of the "Third Rome", was originally put on the interpretation of the Old Testament prophecies of Ezekiel, created by the monk Philotheus about the Third Romaic Kingdom, which was embodied in Moscow - Moscow. It should be noted that Philotheus was not driven by bad intentions, he was just trying with his work to stop the bloodshed arranged by the Moscow despot Ivan III. He was sure that by his interpretation he could stop the Moscow satrap, motivating him that he should not destroy Christians, but become their defender. And I must say, from a certain point of view, Filofey achieved success, his doctrine became the basis of the ideology of "Moscow - the Third Rome", the goal of which is world domination.

The idea of ​​Philotheus permeated the whole essence of Moscow's policy, but, it must be admitted, in its modern form it appeared before us only at the end of the war, nicknamed "Patriotic". Only then it began to be actively modified and strengthened with a special meaning. But, as it turned out, there was practically nothing to strengthen. Muscovy in the 19th century never spoke a single language. Turkic words and expressions still dominated in everyday life among ordinary Muscovites, over Ukrainian - Russian - words that became the basis of the state remake - the Russian language.

Novodel - the imperial Moscow-Thirty-Earth-Russian language - had to be legalized, systematized and popularized. And how could it be popularized among the masses, if there was no main instrument of popularization that they understood - fairy tales, and indeed any worthwhile entertainment literature - fiction.

It was in order to strengthen the myth of the ancient "Russian" people that the state program was launched to stimulate the creation of literary works in the still unpopular Russian language. Particular attention was paid to fairy tales. In particular, fairy tales written not in prose, but in poetry, largely because such a form was better remembered and distributed. One of the most significant figures in this field was the great Moscow poet, not a small part of the Tatar - Alexander Sergeevich Pushkin.

Context

Myths of the "Third Rome": nomadic Rus'

Observer 09/15/2017

Insanity grows stronger: Russia or Muscovy? (Weekly 2000)

Weekly 2000 02/23/2016

Muscovy has never been Russian

Observer 10/13/2017

Who surrendered Rus' to Batu?

12/05/2017 In his article “On the insignificance of Russian literature”, dated 1834, fully confirming my words, Pushkin wrote: “The clergy, spared by the amazing sharpness of the Tatars, alone - for two gloomy centuries - fed the pale sparks of Byzantine education. In the silence of the monasteries, the monks kept their uninterrupted chronicle. Bishops in their epistles talked with princes and boyars, consoling hearts in difficult times of temptation and hopelessness. But the inner life of the enslaved people did not develop. The Tatars were not like the Moors. Having conquered Russia, they did not give her either algebra or Aristotle. The overthrow of the yoke, disputes between the grand duchy and appanages, autocracy with the liberties of the cities, autocracy with the boyars, and conquest with the identity of the people did not favor the free development of enlightenment. Europe was flooded with an incredible multitude of poems, legends, satires, romances, mysteries, and so on, but our ancient archives and vivliophics, apart from chronicles, offer almost no food to the curiosity of prospectors. Several fairy tales and songs, constantly updated by oral tradition, have preserved half-erased features of the nationality, and "The Tale of Igor's Campaign" (in which at least 45 Turkisms were counted - ed.) rises as a solitary monument in the desert of our ancient literature.

If we forget that ancient Russian literature, the essence is Ukrainian, and that the Tatar yoke is also a big Moscow myth, then what remains in the bottom line? The living, organic culture of the same Rus of Ukraine had at least a few presented literary sources. Muscovy was dumb. There was no epic, no epics, no fairy tales, legends. It was them that Pushkin urgently needed to create!

What were the "Russian" fairy tales before Pushkin

Actually, for Pushkin to come to an empty place, it’s not. The Moscow propaganda machine at that time had already printed, or rather distorted, a number of foreign epics in its own way. One of these epics can be considered the work "The Tale of the Valiant Knight Bova Gvidonovich", which appeared in Muscovy in the 16th century. As Wikipedia testifies: "The story is an analogue of the medieval French novel about the exploits of the knight Bovo d" Anton, also known since the 16th century in popular Italian editions of poetic and prose works. The oldest version of the French novel that has survived to this day is "Bev from Anton ', dating from the first half of the 13th century, is written in the Anglo-Norman dialect.

Here is a short passage describing the storyline of the work: “The tale of the valiant knight Bova Gvidonovich, who, having fled from the house from the evil mother Militrisa Kirbityevna and the stepfather of King Dodon, ends up with King Zenziviy Andronovich and falls in love with his daughter Druzhevna. In honor of her, he performs miracles of courage, defeats one whole army of contenders for the hand of Druzhevna - kings Markobrun and Lukoper Saltanovich. It is noteworthy that the names used in this work, published in Italian, were later actively used by Pushkin. Bova corresponds to Italian. Buova, Guidon - Duke Guido d "Antoni, Bova Simbalda's uncle - Sinebaldo, Dodon - Duodo di Maganza, Druzhevna - Drusiniana. What is also very important, although this diverts our investigation. The main thread of the narrative necessarily passes through the theme of religion, constantly pointing to the orthodoxy (Orthodoxy) of the protagonist, which is largely borrowed from the legend of the torment of St. George.

The next no less important work attributable to the "Russian" fairy tales is considered to be "The Tale of Yeruslan Lazarevich". We will not go far and turn to the same “Wikipedia” for information of interest to us: “The name of Yeruslan Lazarevich and some plots (search for the heroic horse Arash - cf. Rakhsh, the battle of Yeruslan with his son) date back to the Iranian epic about Rustam (“Shahnameh “). The motifs of the Iranian epic were borrowed through Turkic mediation: Arslan aka Ruslan (“lion”) is the Turkic nickname of Rustam, Yeruslan’s father Zalazar is Rustam’s father Zal-zar. In other words, we see two vivid examples of borrowing epics from the West and the East, rewritten with the sole purpose of strengthening the future myth of a single “Russian” people.

Pushkin's contribution to the proof of the myth

Pushkin's role in the formation of Russia is quite modest, he is considered only as the founder of the modern Russian literary language. What contributed to the choice of such a direction? In many ways, the activity of the autocracy, aimed at the search and formation of the national idea of ​​Russia, which even today cannot be formulated at the official state level. Nevertheless, the propaganda slogan of Pushkin's time was best formulated by Count Uvarov, and it sounded like this: "Autocracy, Orthodoxy, nationality." In fact, it was a decoding of the imperial flag of Russia, where: at the base: AkKhan - the White Tsar, above him - gold is Life - God, and the description of the "Russian world" is completed by the mythical "Russian" people lying on the outskirts of it. At the same time, it should be noted that the colors of the imperial flag of Russia are a kind of tracing paper of the colors of the Palaiologos family - the last emperors of Byzantium, with whom Moscow impostors attribute kinship.

But back to Pushkin! So, the activity of not only the great poet, but also many others, writers, historians and other fabulists, was aimed at the formation of the myth of that very “single nation”. In many ways, they invented a new fairy-tale world, frankly mixing the primordially Moscow - Turkic epic and history, with the history and epic of Rus'. Pushkin took up the compilation of Turkic folk tales and epics with the tales of Rus', abundantly adding to them the storylines of the Brothers Grimm and other popular European fairy tales. Thanks to which, in many respects, the myth of the "Russian" people arose.

Pushkin wrote his first work, which did not receive wide publicity, based on the aforementioned “Russian” fairy tale, the basis for which, as you remember, was the French chivalric romance. From the then popular fairy tale in Muscovy, Pushkin took names in his "Bova". Bova himself, as well as Dodon, Militrisa and Polkan. But with the storyline, he got a little confused, trying to bring into it just an unbearable amount of allegories. Why, most likely, he never finished his fairy tale.

Here is one of the passages in which Pushkin tried to make the prototype of Dodon, the Emperor of France, Napoleon. “You have heard, good people, About the king, that for twenty whole years He did not take off his weapon, He did not get off his zealous horse, He flew everywhere with victory, The baptized world drowned in blood, He did not spare even the unbaptized, And was cast into insignificance by Alexander, a formidable angel , He spends his life in humiliation And, forgotten by everyone, now Elba is called by the emperor: This is how Tsar Dodon was "...

The plot of the first big fairy tale written by Pushkin is much more intricate, meaningful and ideological. The tale is called Ruslan and Lyudmila. Ruslan - a popular Turkic name meaning "Lion", is used by Pushkin for a number of reasons: firstly, it was consonant with Russia, and secondly, it acted as a kind of bridge to the Turkic roots of Muscovy. With Lyudmila, everything is much more complicated. It seems to be like a Slavic name, in fact, it was first used by the poet Vasily Zhukovsky. He named it one of his ballads, which he wrote in 1808.

From the first lines, Pushkin sends the reader to the fairy-tale world of Rus' he invented. Rus', in which he found a place and Lukomorye - the mythical ancestral home of the Ugric peoples, one of the nationalities inhabiting Muscovy since ancient times. Pushkin not only creates a new “Russian” world, but also, without being particularly shy, populates it with the characters of all the fairy tales he hears: French, Ukrainian, Finnish, Turkic, as if deliberately preparing for himself a work plan for the implementation of the myth. Here you have the Celtic-Russian oak and the Finnish Baba Yaga and the Turkic Koschey.

The fairy tale invented by Pushkin is in many ways a romanticization of the “History of the Russian State” by another no less significant builder of the Third Rome, also a Tatar-Karamzin. “With friends, in the tall grid, Vladimir the sun feasted; He married off his younger daughter to the brave Prince Ruslan”… At the table with Ruslan sit three of his rivals, contenders for Lyudmila’s hand: “One is Rogdai, a brave warrior, Pushing the boundaries of the rich Kiev fields with his sword; The other is Farlaf, an arrogant screamer, In feasts not defeated by anyone, But a modest warrior among swords; The last, full of passionate thought, Young Khazar Khan Ratmir "...

I cannot but note that the plot of Pushkin's fairy tale has something in common with the legend about the choice of religion by Prince Vladimir of Kiev: Ruslan (Pushkin passes off this name as the original “Russian”) is the Russian faith, Farlaf (Swedish name, found in one of Oleg's combatants) - represents Rome, Rogdai - Islam. The Khazar prince with the only typical Slavic name Ratmir (again, to the question of mixing concepts) is Judaism. The prince, of course, prefers the Russian faith, but the bride does not reach Ruslan. The sorcerer Chernomor (like a genie from "A Thousand and One Nights"), which can be easily associated with Batu, takes the Russian faith to the full, from where Ruslan goes to rescue her. From this point of view, the subsequent story takes on a very interesting shape in general, although it still shows a clear interweaving of storylines: the aforementioned "Thousand and One Nights", Western chivalric novels and short stories, with their kidnapped princesses and knights in shining armor, killing snakes , fairy tales about Yeruslan Lazarevich, which, of course, became the basis for Pushkin's literary research.

The names of Tsar Saltan, or simply put - Sultan, and Gvidon - Guido, have already been used by Moscow fabulists in misrepresenting the French fairy tale about Bova Gvidonovich, to which Pushkin was not indifferent. Another thing is the name of the Turkic warrior - "batyr", whose transformation with the light hand of Pushkin into a "Russian" hero became simply a masterpiece. Pushkin, using his entire arsenal of possibilities, wove this Turkism into the canvas of the "Russian" epic so organically that it simply became inseparable from it. As for the storyline itself, at the end of the 50s, G.P. Snesarev, a member of the Khorezm archaeological and ethnographic expedition of the USSR Academy of Sciences, described a Turkic legend that practically did not differ in the storyline from Pushkin's The Tale of Tsar Saltan. In this Turkic legend, there are also motives for the deceit of the king's elder wives, and the substitution of a boy for a puppy, and a girl for a cat, and the king's expulsion of his younger wife, and exposure of slander, and the king's grown-up son, and the expulsion of older wives.

Separately, it is worth noting the comparison made by Snesarev of the images of Pushkin's swan princess and the wager from the Khorezm legend, with the help of which the son of the padishah builds the Golden City. Snesarev, without any doubt, claims that the swan princess is a "Russified image of an oriental bet." But this is not the only mention of Pushkin borrowing a storyline in Turkic legends. I. M. Oransky in the article “Another Central Asian version of The Tale of Tsar Saltan” reports on a fairy tale he recorded in the Gissar Valley of the Tajik SSR, which, in terms of plot and some motives, again does not differ from Pushkin’s “The Tale of Tsar Saltan”. N. N. Tumanovich, in his article “On the Central Asian Versions of The Tale of Tsar Saltan,” talks about another Tajik version of the plot of Pushkin’s fairy tale, preserved in the manuscript fund of the Leningrad Branch of the Institute of Oriental Studies of the USSR Academy of Sciences. Karakalpak folklorists K. Aimbetov and K. Maksetov speak about the plot coincidences of A. S. Pushkin’s Tale of Tsar Saltan and the Karakalpak folk epic poem Sharyar.

Of all the Central Asian plots known to science, similar to the plot of Pushkin's fairy tale, we will present two for example: the plot of the Uzbek fairy tale "Hasan and Zuhra" and the Karakalpak epic poem "Shar'yar". So in the Uzbek fairy tale “Hasan and Zuhra” it is briefly told that: “The Shah is looking for his forty-first wife - none of his forty wives bore him an heir. Through his vizier, he learns that three poor girls-sisters, sitting under a mulberry tree, were talking and dreaming about what they would do if they were taken as a wife by the king; the eldest Nasiba promised to weave beautiful clothes for the shah; middle, Gulbahor - cook him a delicious pilaf; the younger sister, Zulfiya, gave birth to a boy and a girl and named them Hasan and Zuhra. Upon learning of all this, the shah immediately decided to marry the youngest of the sisters. Forty wives of the Shah, fearing that in the event of the birth of an heir, the khan will forget about them and give all his love to his new, forty-first wife, plot against her. Zulfiya, as promised, gave birth to a boy and a girl. The shah was on the hunt at that time. With the help of an old sorceress, the Shah's wives hid the newborns in a sack, and instead of them they put a kid and a goat in the cradle.

The old woman told Zulfiya that they were her children. The young mother burst into bitter tears. The Shah's wives informed him of the birth of goat children. Meanwhile, the old sorceress threw the bag with Zulfiya's children onto the road. Here they were found and picked up by a caravan leader, a childless man. He took the children to him and gave them the names Hassan and Zuhra. When the children grew up, the adoptive father told them their story. Once while hunting, the shah, having met with the leader of the caravan, also learned about the history of the children found in the desert. The leader's wife drew attention to the great similarity between the Shah and Hasan and advised the lord to ask his wife about the events of twelve years ago. The Shah ordered Zulfiya to be brought out of the dungeon, listened to her story and interrogated the rest of the wives. The secret has been revealed. The Shah arranged a forty-day feast in honor of his children Hassan and Zuhra. Everyone is happy. Hasan and Zuhra take care of those who raised them - the caravan-bashi and his wife.

In the Uzbek fairy tale "Takhir and Zuhra" there is an episode with a chest: in order to separate Tahir and his daughter Zuhra, the Shah ordered to seize Tahir, put him in a chest and throw him into the river. The chest floated towards Rum - Byzantium. The similarity of the plots of the ancient epic poem of the Karakalpaks "Sharyar" and Pushkin's "The Tale of Tsar Saltan" is also surprising. “Khan Darapsha, despite being married nine times, had no heir. The disappointed king leaves the throne, and, dressed in simple clothes, goes on a pilgrimage to Mecca. One night, in search of a lodging for the night, he looked into the luminous window and, seeing three beauties there, involuntarily overheard their conversation. The girls spun and dreamed: the eldest that if she became the wife of Khan Darapshi, then from one cocoon she would weave heaps of atlas and sew tents from it for all his troops; the middle one said that from one grain she would bake a mountain of cakes for forty thousand warriors of the khan; and the youngest promised to give birth to two twins to the khan.

Khan married all three girls in the hope that one of them would bear him an heir. The wedding "toy" died down. The two older wives did not fulfill their promises, which aroused the anger of the khan and were expelled. Gulynar's younger wife conceived and gave birth to twins: a boy and a girl. Khan on the hunt was waiting for news of his pregnant wife. The nine former wives of the khan, overwhelmed with envy, with the help of an old sorceress, planted a puppy and a kitten in Gulshara, and the newborn twins were thrown into the pond. When the Khan returned from hunting, his wives informed him that Gulshara had given birth to a puppy and a kitten. The enraged Khan ordered the younger wife to be driven out into the steppe.

One of the slaves - the servants of the khan's wives - Shiruan accidentally discovered at the bottom of the pond and pulled out two babies with shining gold and silver forelocks. But the insidious wives, having learned about this, beat her and forced her to be silent, and they tried to kill the children with the help of the butcher Kodar. But they were saved by the slave Karaman. Children with wonderful forelocks were brought up by the owners of Karaman - a childless khan's couple from another possession - Shasuar and Akdaulet. Forty wise men predict heroic deeds for a boy, wisdom for a girl and advise them to name them Sharyar and Anzhim.

In addition, there are separate coincidences in Sharyar and Pushkin's fairy tale. For example, Sharyar, like Gvidon, misses his father, his native places; the insidious old woman praises Sharyara the daughter of the owner of the magical city of Takhta sarin Zhuldyzshi - Kundyzsha, like Babarikha, who describes the overseas princess to Tsar Saltan, who “during the day the light of God overshadows, At night it illuminates the earth, The moon shines under the scythe, And the star burns in her forehead.” The walls of the buildings of the magical city of Takhta Sarin are made of gold, silver, marble, etc. At Pushkin, merchants tell Tsar Saltan about a city with golden-domed churches, a crystal palace, a squirrel that gnaws nuts with golden shells. The name of the owner of the city Takhta sarin Zhuldyz-khan or Zhuldyzsha (Khan-star, or Asterisk), Pushkin's swan princess has "a star burns in her forehead."

Listen! “The moon shines under the scythe” (“The moon shines under the scythe, And the star burns in the forehead”; “The moon shines under the scythe, And the star burns in the forehead”). It is the moon under the scythe that indicates the close connection of Pushkin's fairy tale with the fairy tales and legends used by the poet.

Pushkin frankly stole the plot of The Tale of the Golden Cockerel from the legend of the Arab astrologer. Anna Akhmatova, at one time, established that the source of Pushkin's "The Tale of the Golden Cockerel" is Washington Irving's story "The Legend of the Arab Stargazer", which Pushkin could get acquainted with thanks to the French edition of the book by the American writer Washington Irving "Alhambra" in 1832. At the same time, it is worth recognizing that in Pushkin's fairy tale, there are also Turkic-Moscow components native to him. Pushkin's Shamakhan queen is certainly connected with Azerbaijan, the city of Shemakha, and it was written after the poet's visit to Orenburg, where he could personally hear and see what he later wrote into the literary plot line.

Summing up…

The expression "Scratch a Russian - you will find a Tatar" came to us from the French language, and in the original it sounds like this: "Grattez le Russe, et vous verrez un Tartare". These words, despite the fact that they were attributed to Napoleon, belong to Astolf de Custine, and are a short version of a fragment of his famous essay Russia in 1839 (“La Russie en 1839”): “After all, a little more than a hundred years ago they were real Tatars . And under the outer veneer of European elegance, most of these upstart civilizations kept the bearskin - they only put it on with fur inside. But it is enough to scrape them a little bit - and you will see how the wool crawls out and bristles.

Why am I writing this? Moreover, Russia is a truly amazing country, whose people, their national composition, history, aspirations and hopes are a state secret. Do you think I am emphasizing the Tatar origin of Pushkin, Karamzin and, in general, the people inhabiting Muscovy in many respects in order to offend them? Offend? You are absolutely wrong. It’s really incomprehensible and unpleasant for me to look at how a really big, huge, cultured people became a hostage of religious fanatics, who actually destroyed their identity, forced them to abandon their culture, history, language. From their legends and fairy tales. And all for what? For the Moscow myth of the "Third Rome"? In order to become a tool in the hands of despots and petty tyrants? Is your own priceless life worth putting on the altar of tyranny, ignorance and obscurantism? Is it possible to live differently, without giving up your ancestors, your roots?

Is it possible to live in a country where you don't have to pretend to be "Russian" in order for the country to take place? Or should everyone around, yourself and your children, lie about the fact that you are “Russian”? Which is better: to be yourself or like a crazy transsexual who can’t decide on a gender, to have surgery after surgery for himself just to not be like everyone else, not to be himself?

The materials of InoSMI contain only assessments of foreign media and do not reflect the position of the editors of InoSMI.