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Domestic literary tale of the second half of the XIX century. School encyclopedia Literary tales 19th century authors

WITH mid-nineteenth century, the nature of the domestic literary fairy tale is changing significantly. Prosaic genres are becoming more popular. In a literary fairy tale, individual features of folklore works are preserved, but the author's and individual beginning is strengthened. The Russian literary fairy tale begins to develop in line with pedagogical prose, and the didactic principle intensifies in it. The main authors of this plan are Konstantin Ushinsky and Leo Tolstoy, processing folklore stories.

Ushinsky created two textbooks "Children's World" and " native word". The textbook includes many fairy tales ("The Man and the Bear", "The Rogue Cat", "The Fox and the Goat", "Sivka-Burka"). The author included in the books many informative descriptive stories about animals, nature, history, labor In some works, the moralizing idea is especially strong ("Children in the grove", "How the shirt grew in the field").

Lev Nikolaevich Tolstoy created a school for peasant children. For these children, the writer published the textbook "ABC", which included the fairy tales "Three Bears", "The Boy with a Finger", "The Tsar's New Dress" (the plot goes back to Andersen). Tolstoy emphasized morality, teaching. is in the book and educational stories("Bird cherry", "Hares", "Magnet", "Heat"). The image of a child is almost always in the center of the works ("Filippok", "Shark", "Jump", "Cow", "Bone"). Tolstoy reveals himself as a connoisseur of child psychology. The pedagogical situation educates taking into account the true feelings of the child.

Another author second half of XIX century - M.E. Saltykov-Shchedrin, writing in the tradition of satire. His tales are built on the reception of animal allegory. The main satirical means of Shchedrin is the grotesque (excessive focus on some quality).

Nikolai Leskov wrote the tale "Lefty" for children, which combines literary and folk traditions. The story is oral story, where the function of the narrator is important, there is an emphasis on the realism of the events described (among the characters there are Tsar Alexander I and Nicholas I). Leskov highlights the problem of the Russian national character. On the one hand, Alexander I does not consider his people capable of anything sensible. On the other hand, General Platov says that there are craftsmen in Russia too. The image of the main character is created in the same way as in epic works. Main feature character creation - monumentality and typicality (no name). Leskov actively uses stylization for folk speech, it is colloquial with mangling words ("Melkoskop").

The problems of the formation of children's literature and the various periods of its development have been studied for a long time, and extensive theoretical and practical material has been accumulated. However, despite a significant number of works, the nature of the relationship between literature about children and literature for children has not been fully identified, and this question still far from any satisfactory solution.

So, in relation to the work of L.N. Tolstoy, such attempts were made by A.I. Borshchevskaya and E.Ya. Ilyina, K.D. Ushinsky - D.O. V.A. Golubkov, L.P. Gromov, V.F. Rudenko. For all that, in none of these works is the issue of delimiting literature about children and for children is central and is considered fragmentarily, only in one aspect. In addition, a number of researchers, such as, for example, F.I. Setin, A.I. Borshchevskaya or V.A. Makarova, generally do not separate the concepts of literature for children and literature about children. So V.A. Makarova refers to the stories for children not only “Vanka”, but also “The Man in the Case”, “Everyday Trifle”, “The Case with the Classic”, “The Tutor”, “About the Drama”.

The conclusion that the researcher draws from his analysis is predictable in advance and does not follow from the content of the work: “Chekhov's assessment of classical education ... helped the progressive public and pedagogy in their struggle against dogmatism and conservatism in teaching the younger generation.”

F.I. Setin, completing the analysis of “Childhood”, “Adolescence” and “Youth”, which he interprets as works for children, and tracing the influence of Tolstoy on the further development of the genre of the story about childhood, notes: “True, democratic writers are not only follow Tolstoy, but often argue with him, creating their own concept of the tragic childhood of the poor, far from the picture of the "Golden Childhood" in a landowner's family, drawn by the author of the trilogy.

Thus, two trends can be traced in the distinction between literature for children and about children. Some researchers, such as F.I. Setin, V.A. Makarova or A.I. Borshchevskaya, tend to include all works that touch on the theme of childhood in the field of children's literature. That this point of view is wrong is obvious. The confusion between the theme of childhood in adult literature and the same theme in literature for children seems unreasonable. With the same success, F.M. Dostoevsky’s novel “The Teenager” and “Lolita” by V.V. Nabokov can be attributed to children's literature, since there are children among their main characters. IN in general terms the essence of this trend lies in the fact that children's literature is transferred to works that are not related to it.

On the other hand, the opposite trend in literary criticism is also erroneous, which consists in ignoring in the work of classical writers works addressed to a children's audience, which leads to a significant misunderstanding and even distortion of entire periods of their literary activity. So, for example, Yu.A. Bogomolov and Edgar Broide, analyzing Chekhov's story "Kashtanka", do not take into account at all that this work was classified by Chekhov himself as a children's one, which, among other reasons, gives rise to a fundamentally incorrect interpretation of the text.

Literature for children usually has a specific addressee - a child, while literature about children, although it can be partially perceived by children, is mainly oriented towards an adult reader. It goes without saying that different targeting: to a child or an adult, respectively, requires qualitatively different forms of expression, manifested at the linguistic, plot-compositional and genre levels of perception. In addition, literature for children, in contrast to literature about children, incorporates a number of rather serious moral, ethical and social constraints, while literature about children, if it has constraints, is of a qualitatively different kind.

The ingrained idea that all or most of the works in which children are the main figures can be classified as children's is obviously wrong. Very often a writer who creates a work about a child and his world solves problems that are very far from the tasks of children's literature. In this case, the world of the child is interesting to him not as an end in itself, but as a way to look at the adult world in a new way, from a new angle, or to show the formation and development of character. Typically, remarks of this kind refer either to works with elements of the memoir genre, or to works that reconstruct the development of a particular personality under the influence of the environment and upbringing. An example of such works is “Childhood of the Theme” by N.G. Garin-Mikhailovsky, “In bad company” V.G. Korolenko, “Childhood” by L.N. Tolstoy, “Childhood of Bagrov-grandson” by S.T. Aksakov and many other novels and stories with elements autobiographical prose. However, if the main difficulty consisted in deriving just such works from the general series, we would not feel much need for classification. It would suffice to limit ourselves to the most general set of features that make it possible to single out these works from the very beginning.

In reality, the problem is much more complicated. Most often, the distinction is complicated by the fact that the border - about children or for children - passes not only through the work of different writers, but also through the work of each of them, taken separately. Unfortunately, so far no generalizations have been made on this topic. The best analysis of children's literature of this period is presented in a significant and interesting book A.P. Babushkina “History of Russian children's literature”. The book deals with issues ranging from the origins of Russian children's literature to the literature of the late 19th - the first third of the 20th century, with the main emphasis on the period of interest to us. Very little information about the role of this period in the history of literature for children could also be gleaned from the textbook by A.A. Grechishnikova “Soviet Children's Literature”.

In the most general terms, the problem stated in the dissertation research can be expressed as follows:

1. Not all works whose heroes are children are written for children and, accordingly, are children's. On the contrary, children's works can also be works in which children do not participate or even meet (animal fiction, adventure stories, fairy tales, fables, parables, etc.).

2. Works written not for children and, in fact, not for children, can also be actively read and demanded by a children's audience (for example, translated adventure novels by Walter Scott, “The Captain's Daughter” and Pushkin's fairy tales, “Childhood” by L.N. Tolstoy etc.).

3. Very often, multi-level adult works are taken for literature for children, usually written in the genre of childhood memories (example: “Childhood of Bagrov-grandson” by S.T. Aksakov, “Childhood” by L.N. Tolstoy). Indeed, due to their specificity and the subject of the image (a child in the process of growing up and various collisions with the adult world), these works are very often read by children, but, as a rule, in excerpts or in a significantly adapted form. The child still returns to these works over time and, as a rule, discovers in them a lot of unread or previously misunderstood.

4. Finally, there are works (and there are quite a few of them) that, having once been created for adults, to a large extent, for one reason or another, very soon passed into the hands of children's literature. In our opinion, this is explained not so much by the process of raising the intellectual level or lowering the threshold of maturity, but by the rapid development of literature and further development genres.

Complicating the classification, the following types of works could be distinguished: a) children's works proper; b) adults themselves, generally incomprehensible to children due to their characteristics and not intended for them; c) "universal" works, most often adventure fiction; d) works that have passed into children's literature from adult literature; e) "multi-level" works, where there are niches for both adults and children. Usually such works are written in the genre of memoirs. These are numerous "Childhoods ...", and besides them, there are many more historical, epic, epic or simply action-packed works, in which the plot, however, plays an auxiliary role.

All of the above creates a significant difficulty in distinguishing between literature and its division into literature for children and literature about children. At the same time, one can often encounter multi-level works that meet the requirements of both children's and adult literature.

This sometimes creates a need to completely abandon the classification and not to distinguish between children's and adult literature, once and for all including them in a single concept of “literature”. However, having done this, we would consciously refrain from studying those processes, installations, “filters” and visual means which define the “childhood” or “non-childishness” of literature and whose roots lie deep in the psyche of an adult and a child.

The topic stated in the dissertation covers a period of more than thirty years - from the beginning of the sixties 19th century until the end of the century. Sometimes the agreed boundaries are deliberately violated, as required by the reconstruction of a holistic picture of creativity for children and about the children of the writers considered in the study, whose years of creative development mainly fell on the period under study. In addition, it has long been noted that the literary age and the calendar age very rarely coincide, and writers who formed and entered literature at the end of the 19th century most often remain faithful to their age and, it seems, should be considered precisely within its boundaries.

So, for example, in the case of A.I. Kuprin, our consideration includes some works created at the beginning of the 20th century. This violation of chronology, however, is justified, since A.I. Kuprin developed as a writer at the end of the 19th century and continued in his work for children the traditions of A.P. Chekhov and D.N. Mamin-Sibiryak, and the framework of the century, of course, did not separate his work from these names.

The second half of the 19th century is an unusually fruitful period for Russian literature in general and, in particular, for literature for and about children. This is the period when such writers as K.D. Ushinsky, L.N. Tolstoy, V.G. Korolenko, A.P. Chekhov, A.I. Kuprin, D.V. Grigorovich, D. N. Mamin-Sibiryak, V. M. Garshin and F. M. Dostoevsky.

№8 Fet is one of the most remarkable Russian poets - landscape painters. In his

Russian spring appears in all its beauty in verse - with flowering trees,

first flowers, with cranes screaming in the steppe. I think the image

cranes, so beloved by many Russian poets, was first designated by Fet.

Fet's poetry depicts nature in detail. In this regard, he is an innovator. Before

Fet in Russian poetry, addressed to nature, generalization reigned. In verse

Feta we meet not only traditional birds with the usual poetic

halo - like a nightingale, a swan, a lark, an eagle, but also such, as it were, simple and

unpoetic, like an owl, a harrier, a lapwing, a swift. Traditional for Russian literature is the identification of paintings

nature with a certain mood and state of the human soul. This

reception figurative parallelism widely used by Zhukovsky, Pushkin and

Lermontov. The same tradition is continued in their poems by Fet and Tyutchev. So,

Tyutchev in the poem " Autumn evening"compares fading nature with

exhausted human soul. The poet succeeded with amazing accuracy

convey the painful beauty of autumn, causing both admiration and

sadness. Bold, but always true epithets are especially characteristic of Tyutchev:

"ominous brilliance and variegation of trees", "sadly orphaned land". And in

human feelings, the poet finds a correspondence to the mood prevailing in

nature. Tyutchev is a poet-philosopher. It is with his name that the flow is associated

philosophical romanticism that came to Russia from German literature. And in

In his poems, Tyutchev seeks to understand nature by including it in the system of his

philosophical views by making it part of your inner peace. Maybe

be this desire to fit nature into the framework of human consciousness

Tyutchev's passion for personifications is dictated. Let's remember the well-known

the poem "Spring Waters", where the streams "run and shine, and speak." Sometimes

this desire to "humanize" nature leads the poet to pagan,

mythological images. So, in the poem "Noon" a description of a dormant

nature, exhausted by the heat, ends with the mention of the god Pan. By the end of his life, Tyutchev realizes that a person is "only a dream

nature." Nature is seen by him as "an all-consuming and peaceful abyss",

which inspires the poet not only fear, but almost hatred. On over her

his mind, "the spirit of powerful domination," is not powerful.

So throughout life, the image of nature changes in the mind and

the work of Tyutchev. The relationship between nature and the poet is increasingly reminiscent of

"duel fatal". But this is exactly how Tyutchev himself defined the true

Fet has a completely different relationship with nature. He does not strive

“rise” above nature, analyze it from the standpoint of reason. Fet feels

itself as an organic part of nature. In his poems, the sensual is conveyed,

emotional perception of the world. Chernyshevsky wrote about Fet's poems that they

could write a horse if she could write poetry. Indeed,

it is the immediacy of impressions that distinguishes Fet's work. He is often

compares himself in verse with "the first inhabitant of paradise", "the first Jew at the turn of

the promised land." This self-perception of the “discoverer of nature”, by the way,

often characteristic of the heroes of Tolstoy, with whom Fet was friendly. Let's remember though

Prince Andrei, who perceives birch as “a tree with a white trunk and

green leaves." poet Boris Pasternak is a lyrical painter. A huge amount of it

poems dedicated to nature. In the constant attention of the poet to the earthly

spaces, to the seasons, to the sun is hidden, in my opinion, the main

theme of his poetry. Pasternak exactly the same as in his time

Tyutchev, is experiencing almost religious surprise at the "God's world."

So, according to people who knew him closely, he liked to call Pasternak boiling

around life - it is "God's world."

It is known that for almost a quarter of a century he lived in Peredelkino on

writer's cottage. All streams, ravines, old trees of this wonderful place

included in his landscape sketches.

Those readers who, like me, love the poems of this poet, know that

there is no division into animate and inanimate nature. Landscapes exist in

poems on an equal footing with genre lyrical pictures of life. For Pasternak

not only his own view of the landscape is important, but also the view of nature on

Natural phenomena in the poet's verses acquire the properties of living beings:

the rain tramples on the threshold "rather forgetful than timid", a different rain at

Pasternak walks along the clearing "like a surveyor and a marker." He can have a thunderstorm

threaten like an evil woman, and the house feels like a man who

afraid to fall.

№9 Features of the genre of autobiographical prose

Appeal to autobiographical prose for poets of the second half of the 19th century. not only was it a way to convey one's experiences, thoughts and emotions, but it was also due to the desire to capture the panorama of Russian life of the indicated period, portray one's contemporaries, and tell the story of one's family. Of course, poetic creativity and literary criticism were priority activities for them. However, without experiencing creative crisis, in search of a deeper introspection, they turned to writing their memoirs. Memoirs are direct evidence of the increased interest of poets in prose artistic activity.

Autobiographical creativity is less studied than poetry. Majority prose texts still remains outside the scope of art literature itself, being of interest, first of all, as an authoritative source of information about life, the system of views and the specifics creative individuality poets. Meanwhile, autobiographical prose is an important component of the artistic heritage. The authors in question are artists who combine several talents - a poet, critic, prose writer, memoirist, whose work should not succumb to one-sided definitions and characteristics. The study of autobiographical prose makes it possible not only to identify the features of the era in which they were formed as poets, but also to analyze the structure of such a specific image as the image of an autobiographical hero, formed under the influence of their own lyrical experience. The insufficient development of this problem in domestic literary criticism is of particular research interest and determines the relevance of the topic of this dissertation work, aimed at studying the poetics of autobiographical prose.

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By Masterweb - Adex

26.03.2017 21:54

Amazing stories, beautiful and mysterious, full of extraordinary events and adventures, are familiar to everyone - both old and young. Which of us did not empathize with Ivan Tsarevich when he fought with the Serpent Gorynych? Didn't admire Vasilisa the Wise, who defeated Baba Yaga?

Creation of a separate genre

Heroes who have not lost their popularity for centuries are known to almost everyone. They came to us from fairy tales. No one knows when and how the first fairy tale appeared. But from time immemorial, fairy tales were passed down from generation to generation, which over time acquired new miracles, events, heroes.
Charm old stories, fictitious, but full of meaning, A. S. Pushkin felt with all his heart. He was the first to bring the fairy tale out of second-rate literature, which made it possible to distinguish the fairy tales of Russian folk writers into an independent genre.
Thanks to the imagery, logical plot and figurative language Fairy tales have become a popular teaching medium. Not all of them are educational and educational in nature. Many perform only an entertaining function, but, nevertheless, the main features of a fairy tale, such as separate genre, is:

installation on fiction; special compositional and stylistic techniques; focus on a children's audience; a combination of educational, educational and entertaining functions; the existence in the minds of readers of vivid prototypical images. The genre of the fairy tale is very wide. This includes folk tales and author's, poetic and prose, instructive and entertaining, simple single-plot tales and complex multi-plot works.

19th century fairy tale writers

Russian writers of fairy tales have created a real treasury amazing stories. Starting from A. S. Pushkin, fairy threads were drawn to the work of many Russian writers. At the origins fairy tale genre literature stood:

Alexander Sergeevich Pushkin; Vasily Andreevich Zhukovsky; Mikhail Yuryevich Lermontov; Pyotr Pavlovich Ershov; Sergei Timofeevich Aksakov; Vladimir Ivanovich Dal; Vladimir Fedorovich Odoevsky; Alexei Alekseevich Perovsky; Konstantin Dmitrievich Ushinsky; Mikhail Larionovich Mikhailov; Nikolay Alekseevich Nekrasov; Mikhail Evgrafovich Saltykov-Shchedrin; Vsevolod Mikhailovich Garshin; Lev Nikolayevich Tolstoy; Nikolai Georgievich Garin-Mikhailovsky; Dmitry Narkisovich Mamin-Sibiryak. Let's take a closer look at their work.

Pushkin's Tales

The appeal of the great poet to the fairy tale was natural. He heard them from his grandmother, from the courtyard, from the nanny Arina Rodionovna. Experiencing deep impressions from folk poetry, Pushkin wrote: “What a charm these fairy tales are!” In his works, the poet widely uses turns of folk speech, dressing them in an artistic form.
The talented poet combined in his fairy tales the life and customs of the Russian society of that time and the wonderful magical world. His magnificent tales are written in a simple living language and are easy to remember. And, like many fairy tales of Russian writers, they perfectly reveal the conflict of light and darkness, good and evil.
The tale of Tsar Saltan ends with a merry feast glorifying goodness. The tale of the priest ridicules the ministers of the church, the tale of the fisherman and the fish shows what greed can lead to, the tale of dead princess talks about envy and anger. In Pushkin's fairy tales, as in many folk tales, good triumphs over evil.

Writers-storytellers contemporaries of Pushkin

V. A. Zhukovsky was a friend of Pushkin. As he writes in his memoirs, Alexander Sergeevich, carried away by fairy tales, offered him a poetic tournament on the theme of Russian fairy tales. Zhukovsky accepted the challenge and wrote fairy tales about Tsar Berendey, about Ivan Tsarevich and the Gray Wolf.
He liked the work on fairy tales, and over the next years he wrote several more: “A Boy with a Finger”, “The Sleeping Princess”, “War of Mice and Frogs”.
Russian writers of fairy tales introduced their readers to the wonderful stories of foreign literature. Zhukovsky was the first translator foreign fairy tales. He translated and retold in verse the story "Nal and Damayanti" and the fairy tale "Puss in Boots".
An enthusiastic admirer of A.S. Pushkin M. Yu. Lermontov wrote the fairy tale "Ashik-Kerib". She was known in Central Asia, in the Middle East and the Caucasus. The poet translated it into a poetic way, and translated each unfamiliar word so that it became understandable to Russian readers. Beautiful oriental tale turned into a magnificent creation of Russian literature.
With brilliance, the young poet P. P. Ershov also clothed folk tales in poetic form. In his first fairy tale, The Little Humpbacked Horse, imitation of the great contemporary is clearly traced. The work was published during Pushkin's lifetime, and the young poet earned the praise of his famous colleague in writing.

Fairy tales with national flavor

Being a contemporary of Pushkin, S.T. Aksakov, began to write at a late age. At the age of sixty-three, he began writing a biography book, the appendix of which was the work "The Scarlet Flower". Like many Russian writers of fairy tales, he opened to readers a story that he heard in childhood.
Aksakov tried to maintain the style of the work in the manner of the housekeeper Pelageya. The original dialect is palpable throughout the work, which did not stop " Scarlet flower to become one of the most beloved children's fairy tales.
The rich and lively speech of Pushkin's fairy tales could not but captivate the great connoisseur of the Russian language V. I. Dahl. The linguist-philologist in his fairy tales also tried to preserve the charm of everyday speech, to bring the meaning and morality of folk proverbs and sayings. Such are the fairy tales “The Half-Bear”, “The Fox-Badfoot”, “The Snow Maiden Girl”, “The Crow”, “The Picky Lady”.

"New" fairy tales

V. F. Odoevsky, a contemporary of Pushkin, was one of the first to write fairy tales for children, which was a rarity. His fairy tale "The City in a Snuffbox" is the first work of this genre in which a different life was recreated. Almost all fairy tales are about peasant life, which Russian writers of fairy tales tried to convey. In this work, the author spoke about the life of a boy from a prosperous family living in abundance.
"About the Four Deaf People" is a fairy tale-parable borrowed from Indian folklore. The most famous fairy tale of the writer "Moroz Ivanovich" is completely borrowed from Russian folk tales. But the author brought novelty to both works - he spoke about the life of the city house and family, included in the canvas the children who were pupils of the boarding house and school.
A. A. Perovsky's fairy tale "The Black Hen" was written by the author for Alyosha's nephew. Perhaps this explains the excessive instructiveness of the work. Need to mark, fabulous lessons did not pass without a trace and had a beneficial effect on his nephew Alexei Tolstoy, who later became a famous prose writer and playwright. Peru of this author belongs to the story-tale "Lafertovskaya Makovnitsa", which was highly appreciated by A. S. Pushkin.
Didactics is clearly visible in the works of K. D. Ushinsky, the great teacher-reformer. But the moral of his tales is unobtrusive. They wake up good feelings: fidelity, sympathy, nobility, justice. These include fairy tales: “Mice”, “Fox Patrikeevna”, “Fox and Geese”, “Crow and Cancer”, “Kids and Wolf”.

Other tales of the 19th century

Like all literature in general, fairy tales could not but tell about the liberation struggle and revolutionary movement 70s of the XIX century. These include the tales of M.L. Mikhailov: "Forest Mansions", "Duma". The well-known poet N.A. also shows the suffering and tragedy of the people in his fairy tales. Nekrasov. Satirist M.E. Saltykov-Shchedrin in his works exposed the essence of the landowner's hatred for common people, spoke about the oppression of the peasants.
V. M. Garshin touched upon the pressing problems of his time in his fairy tales. Most famous fairy tales writer - "The Traveling Frog", "About the Toad and the Rose".
Many fairy tales were written by L.N. Tolstoy. The first of them were created for the school. Tolstoy wrote short fairy tales, parables and fables. Great connoisseur human souls Lev Nikolaevich in his works called for conscience and honest work. The writer criticized social inequality and unjust laws.
N.G. Garin-Mikhailovsky wrote works in which the approach of social upheavals is clearly felt. Such are the fairy tales "Three Brothers" and "Volmai". Garin visited many countries of the world and, of course, this was reflected in his work. While traveling in Korea, he wrote down more than a hundred Korean fairy tales, myths and legends.
Writer D.N. Mamin-Sibiryak joined the ranks of glorious Russian storytellers with such wonderful works as "The Gray Sheika", the collection "Alyonushka's Tales", the fairy tale "About Tsar Pea".
A significant contribution to this genre was made by later tales of Russian writers. The list of remarkable works of the twentieth century is very long. But fairy tales of the 19th century will forever remain a model of classical fairy tale literature. Details Category: Author's and literary fairy tales Posted on 10/30/2016 10:01 Views: 1727

Many author's fairy tales are created on the basis of folk fairy tale plots, but the author supplements each of these plots with his own characters, thoughts, feelings, and therefore these fairy tales are already becoming independent literary works.

Ivan Vasilyevich Kireevsky (1806-1856)

I.V. Kireevsky is known as a Russian religious philosopher, literary critic and publicist, one of the main theorists of Slavophilism. But there is in it fiction And fairy tale"Opal", which he painted in 1830.

Fairy tale "Opal"

This tale was first read in the salon of Countess Zinaida Volkonskaya, and published in the first issue of the European magazine (1832), which I. V. Kireevsky began to publish. But from the second issue the magazine was banned.
The tale is written in a romantic style, in its plot there is a conflict between the real and the ideal. In cruel real world a person with a thirst for the ideal becomes defenseless and powerless.

Brief story

The Syrian king Nureddin was famous for his invincibility and warlike character. “Thus, by luck and courage, the Syrian king obtained for himself both power and honor; but his heart, deafened by the thunder of battle, understood only one beauty - danger, and knew only one feeling - the thirst for glory, unquenchable, boundless. Neither the clinking of glasses, nor the songs of troubadours, nor the smiles of beauties interrupted for a moment the monotonous course of his thoughts; after the battle he prepared for a new battle; after the victory, he did not seek rest, but thought about new victories, plotted new labors and conquests.
But minor feuds between the subjects of the Syrian king Nureddin and the Chinese king Origella led to a war between them. A month later, the defeated Origell with the remainder of his chosen troops locked himself in his capital. The siege began. Origell made concessions one after another, but Nureddin was inexorable and wanted only a final victory. Then the humiliated Origell yields everything: treasures, and favorites, and children, and wives, and asks only for life. Nurredin rejected this proposal. And then the Chinese king decided to turn to the sorcerer. He, raising his eyes to the starry sky and studying it, said to Origell: “Woe to you, the Chinese king, for your enemy is invincible and no spell can overcome his happiness; his happiness is contained within his heart, and his soul is firmly created, and all his intentions must be fulfilled; for he never desired the impossible, he never sought the unrealizable, he never loved the unprecedented, and therefore no witchcraft can act on him!
But then the sorcerer said about one means of destroying the enemy: “... if there was such a beauty in the world who could arouse such love in him, which would raise his heart above her star and make him think thoughts inexpressible, seek feelings of the unbearable and speak words incomprehensible; then I might have killed him."
And Nureddin receives a ring with an opal stone, which takes him to an unreal world, where he meets a beautiful woman, whom he falls in love with without memory. Now the Syrian king became indifferent to military affairs, Origell gradually began to conquer his kingdom, but Nureddin ceased to care, he wanted only one thing: to always see the star, the sun and music, new world, the cloud palace and the maiden. He was the first to send Origella an offer of peace and concluded it on shameful terms. Life on a star was the middle ground between dream and reality.
Finally, even the conqueror Origell took pity on Nureddin and asked him: “Tell me, what do you want from me? What do you regret the most about what you lost? Which of the palaces do you wish to keep? Which of the slaves to leave? Choose the best of my treasures and, if you wish, I will allow you to be my viceroy on your former throne!
To this Nureddin replied: “Thank you, sir! But of everything you took from me, I don't regret anything. When I valued power, wealth and glory, I knew how to be both strong and rich. I lost these blessings only when I ceased to desire them, and I consider unworthy of my care that which people envy. Vanity all the blessings of the earth! Vanity is everything that seduces the desires of man, and the more captivating, the less true, the more vanity! Deception is everything beautiful, and the more beautiful, the more deceptive; for the best thing in the world is a dream.”

Orest Mikhailovich Somov (1793-1833)

The artistic prose of Orest Somov is mainly addressed to everyday topics. But in art world his works include many folklore motifs, ethnographic features of the life of the people (most often Ukrainian). Some of Somov's fairy tales and stories are characterized by mystical fantasy: "The Tale of Treasures", "Kikimora", "Mermaid", "Kyiv Witches", "The Tale of Nikita Vdovinich".

"The Tale of Nikita Vdovinich" (1832)

A fairy tale with a mystical plot characteristic of Somov.

Brief story

In the glorious city of Chukhloma there lived a miserable old woman, Ulita Mineevna. Her husband, Avdey Fedulov, was a big reveler and died with a binge right under the bench. They had a son, Nikitka, who was all like his father, he just didn’t drink yet, but he skillfully played money. The local guys didn’t like it, because he constantly beat them. And then one day Nikita went to the cemetery to hide the money he won on his father's grave. But when he dug up the grave a little, he heard the voice of his father. He suggested that Nikita play cash with the dead. But the most important thing is to win the black grandma on the third night - it has all the power.
The author colorfully describes the whole bacchanalia of the dead playing money.
Nikita managed to win, and he got the black grandma. The dead father taught him the spell: “Grandma, grandma, black ankle! You served the Basurman sorcerer Chelubey Zmeulanovich for exactly 33 years, now serve me, good fellow. And any wish will come true.
A “sweet” life began for Nikita and his mother: any whims, any wishes were fulfilled by a black grandmother.
Then Nikita married a beauty, they also had a son, Ivan. But the wife began to harass Nikita with endless requests - "don't know peace day or night, please her everything." He begged from the black woman “the caskets are full of gold and lari are full of silver; let him spend it on whatever he wants, only he won’t eat my life,” and he himself became, like his father, a bitter drunkard.
And so life went on until a little black boy appeared in their city of Chukhloma. "He was as black as a beetle, as cunning as a spider, but he was said to be Even-Odd, a rootless bean." In fact, it was "an imp that was sent by older devils and damned sorcerers." He won a black grandma from Nikita, and everything went awry: he didn’t have a tower, no wealth ... Son Ivan, the same money player as his father and grandfather, went around the world, and Nikita Vdovinich himself “lost everything: and happiness, and wealth, and people's honor, and he himself finished his stomach, like his father, in a tavern under a bench. Makrida Makarievna (wife) almost laid hands on herself and from grief and poverty she withered and languished; and their son Ivanushka went around the world with a knapsack because he didn’t pick up his mind at the right time.
And in conclusion, the writer himself gives a short proverb-moral to his tale: Deliver, God, from an evil wife, reckless and whimsical, from drunkenness and riot, from stupid children and from demonic networks. Read all this fairy tale, be savvy and wind it into your mouth.

Pyotr Pavlovich Ershov (1815-1869)

P.P. Ershov was not a professional writer. At the time of writing his famous fairy tale "The Little Humpbacked Horse" he was a student of the philosophical and legal department of St. Petersburg University.
He was born in Siberia and traveled a lot as a child: he lived in Omsk, Berezov, Tobolsk. He knew a lot of folk tales, legends, stories that he heard from peasants, taiga hunters, coachmen, Cossacks, merchants. But all this baggage was kept only in his memory and in personal records. But when he read Pushkin's fairy tales, he was carried away by the element literary creativity, and he as term paper creates the first part of the fairy tale "Humpbacked Horse". The tale was recognized and immediately published, and Pushkin, having read it in 1836, said: "Now this kind of writing can be left to me."

Fairy tale "Humpbacked Horse" (1834)

Illustration by Dmitry Bryukhanov
The tale is written in poetic meter (trochee). The main characters of the tale are the peasant son Ivanushka the Fool and the magic humpbacked horse.
This classic Russian children's literature, it is studied at school. The tale is distinguished by the lightness of the verse and many well-aimed expressions. It has been popular with children and adults for almost 200 years.
"Humpbacked Horse" although it is author's fairy tale, but in essence it folk work, because, according to Ershov himself, it was taken from the mouths of the narrators from whom he heard it. Ershov only brought him to a more slender appearance and supplemented in places.
We will not retell the plot of the fairy tale, because it is known to readers of our site from school.
Let's just say that the folk story is quite well known among the Slavs living near the coast of the Baltic Sea, and the Scandinavians. There is a well-known Norwegian folk tale with a similar plot, Slovak, Belarusian, Ukrainian.

Vladimir Fedorovich Odoevsky (1803-1862)

VF Odoevsky came from an old princely family. He was brought up in Moscow in the family of his uncle, received a good education at home, then studied at the Moscow University Noble Boarding School. He was one of the organizers of the Society of Philosophy, which included D. Venevitinov, I. Kireevsky and others. Odoevsky supported friendly relations with future Decembrists: his cousin Alexander Odoevsky - the author of the "Response" to Pushkin's message "From the depths of Siberian ores ...".
V. Odoevsky is known as a literary and musical critic, prose writer, museum and library worker. He also wrote a lot for children. During his lifetime, he published several books for children's reading: "Town in a snuffbox" (1834-1847), "Tales and stories for children of grandfather Iriney" (1838-1840), "Collection of children's songs of grandfather Iriney" (1847), "Children's book for Sundays" (1849).
Currently, two tales by V. F. Odoevsky are most popular: “Moroz Ivanovich” and “The Town in a Snuffbox”.
Odoevsky attached great importance enlightenment of the people popular reading wrote a number of books. Prince Odoevsky, one of the founders of Russian musicology and music criticism, composed music himself, including for the organ. For many years he was engaged in charitable work.

Fairy tale "Town in a snuffbox" (1834)

"The Town in the Snuffbox" is the first science fiction work in Russian children's literature. The researcher of children's literature I.F. Setin wrote: “In the everyday life of wealthy Russian families in the first half of the 19th century, there was perhaps no other object that would seem to a child so mysterious, enigmatic, capable of arousing burning curiosity, like a music box. She prompted the children to numerous questions, aroused a desire to sort out magic chest to look inside."

Father (in the fairy tale he is called "daddy", according to the custom of that time) brought a musical snuffbox. A small town with houses, turrets and gates was arranged on its lid. “The sun comes out, sneaks quietly across the sky, and the sky and the town are getting brighter and brighter; the windows burn with bright fire and from the turrets like a radiance. Here the sun crossed the sky to the other side, lower and lower, and, finally, completely disappeared behind the hillock, and the town darkened, the shutters closed, and the turrets faded, but not for long. Here an asterisk began to glow, here another, and here the horned moon peeped out from behind the trees, and it became brighter again in the city, the windows turned silver, and bluish rays stretched from the turrets.

A melodious ringing sounded from the snuffbox. The boy became interested in the thing, especially the device attracted his attention, he wanted to look inside the outlandish little thing. “Daddy opened the lid, and Misha saw bells, and hammers, and a roller, and wheels. Misha was surprised.
Why these bells? Why hammers? Why a roller with hooks? Misha asked papa.
And papa replied:
- I won't tell you, Misha. Take a closer look yourself and think: maybe you can guess. Just don't touch this spring, otherwise everything will break.
Papa went out, and Misha remained over the snuffbox. So he sat over her, looked, looked, thought, thought: why are the bells ringing.
Looking at the snuffbox, Misha fell asleep and in a dream ended up in a fairy-tale town. Traveling along it, the boy learned about the device of the music box and met the inhabitants of the town in a snuffbox: the bell boys, the hammer uncles, the overseer Mr. Valik. He learned that their lives also had certain difficulties, and at the same time, other people's difficulties helped him to understand his own. It turns out that the daily lessons are not so terrible - the bell boys have a more difficult situation: “No, Misha, our life is bad. True, we have no lessons, but what's the point. We would not be afraid of lessons. Our whole misfortune lies precisely in the fact that we poor people have nothing to do; we have neither books nor pictures; there is no father or mother; have nothing to do; play and play all day long, but this, Misha, is very, very boring!

“Yes,” Misha replied, “you are telling the truth. This happens to me too: when after school you start playing with toys, it's so much fun; and when on a holiday you play and play all day long, then by the evening it will become boring; and for this and for another toy you will take - everything is not cute. For a long time I did not understand why this was, but now I understand.
Misha also understood the concept of perspective.
“I am very grateful to you for your invitation,” Misha told him, “but I don’t know if it will be possible for me to use it. True, here I can pass freely, but there further, look at what low vaults you have; there I am, let me tell you frankly, there I will not even crawl through. I wonder how you pass under them ...
- Ding, ding, ding, - the boy answered, - let's go, don't worry, just follow me.
Misha obeyed. In fact, with every step, the vaults seemed to rise, and our boys went everywhere freely; when they reached the last vault, then the bell boy asked Misha to look back. Misha looked around and what did he see? Now that first vault, under which he approached, entering the doors, seemed to him small, as if, while they were walking, the vault had lowered. Misha was very surprised.
- Why is this? he asked his guide.
“Ding, ding, ding,” answered the conductor, laughing, “from a distance it always seems so; it’s obvious that you didn’t look at anything in the distance with attention: in the distance everything seems small, but when you approach it, it’s big.
“Yes, it’s true,” Misha answered, “I still haven’t thought about it, and that’s why this is what happened to me: on the third day I wanted to draw how my mother plays the piano next to me, and my father, at the other end of the room, reads book. I just couldn't do it! I work, I work, I draw as accurately as possible, and everything will turn out on paper, that papa is sitting next to mama and his chair is standing near the pianoforte; meanwhile, I can see very well that the piano is standing near me by the window, and papa is sitting at the other end by the fireplace. Mommy told me that daddy should be drawn small, but I thought that mommy was joking, because daddy was much larger than her; but now I see that mamma was telling the truth: papa should have been drawn small, because he was sitting far away: I am very grateful to you for the explanation, very grateful.

The scientific tale of V. Odoevsky helps the child learn to think, analyze the knowledge gained, see the internal connections between them, acquire the skills of independent work.
“Well, now I see,” said papa, “that you really almost understood why the music plays in the snuffbox; but you will understand even better when you study mechanics.

A good book is my companion, my friend,
Leisure is more interesting with you,
We are having a great time together
And our conversation is on the sly.
My road is far with you
In any country, in any age.
You talk to me about the deeds of daredevils,
About vicious enemies and funny eccentrics.
About the secrets of the earth and the movement of the planets.
There is nothing incomprehensible with you.
You teach to be truthful and valiant,
Nature, people to understand and love.
I cherish you, I protect you,
I can't live without a good book.

N. Naydenova.

Today, in our modern world, more than ever, it is important to form a spiritually complete personality in a child, to prepare a qualified reader. This is the lesson of literary reading.

In the process of working with works of art, artistic taste develops, the ability to work with text is mastered, which contributes to introducing children to reading books and, on this basis, enriching them with knowledge about the world around them.

With the help of the book, we form cultured and educated people.

And our task, primary school teachers, is to pay special attention to reading lessons, try to improve them and find new effective forms and methods of teaching so that the reading process is desirable and joyful for the child.

Lesson goals.

1) Generalize and systematize the knowledge of children in literary fairy tales XIX century, to learn to ask questions on what they read and answer them;

2) Develop attention, speech, thoughtful attitude to reading, imagination;

3) Cultivate kindness, love of reading, diligence.

Equipment:

Reading textbook Grade 4 (Buneev R.N., Buneeva E.V.)
Portraits of A.S. Pushkin, N.V. Gogol, V.A. Zhukovsky.
C. Perro, Brothers Grimm.
Drawings of children.
Children's messages.
Books by V.A. Zhukovsky, A. Pogorelsky, V.F. Odoevsky, A.S. Pushkin,
P.P. Ershov, M.Yu. Lermontov, N.V. Gogol, S. Aksakov, Garshin, Dahl.
Dictionary living Great Russian language Dal.
Fragments from fairy tales of 19th century writers.
Music tracks: P.I. Tchaikovsky. Waltz from the ballet Sleeping Beauty.
Rimsky-Korsakov. "Flight of the Bumblebee".
Cards:

DURING THE CLASSES

1). Organizing time.

2). Working on learned material.

The 19th century can be called the “golden age” of Russian literature.

Gifted with the genius of Pushkin, Lermontov, Gogol, Zhukovsky, Krylov, Griboyedov, Russian literature took a truly gigantic step forward in the first half of the century. This is primarily due to the unusually rapid development of Russian society.

In no country did such a powerful family of giants arise in such a short period of time, such the greatest masters artistic word, such a bright constellation of brilliant names, as in Russian literature of the 19th century.

In the first half of the 19th century, talented works written especially for children appeared in Russian children's literature:

- poems for younger age V. A. Zhukovsky;

- story " black hen or underground inhabitants” by A. Pogorelsky;

- stories and fairy tales by V. F. Odoevsky;

- fairy tales by A. S. Pushkin;

- the fairy tale “Humpbacked Horse” by P. P. Ershov;

- poems by M. Yu. Lermontov;

- stories by N.V. Gogol;

- fairy tales by S. Aksakov, V.M. Garshin, Vl. Dahl.

Today we are going to the 19th century in a time machine.

Our path runs from folk tale- to a literary fairy tale.

3). Work on the topic of the lesson.

Not in reality and not in a dream,
Without fear and without timidity
We roam the country again
Which is not on the globe.
Not marked on the map
But you and I know
What is she, what is the country
Literature.

P.I. Tchaikovsky. (1889)

Waltz from the ballet Sleeping Beauty.

What is the connection between the writers whose portraits you see in front of you?

Ch.Perrot - The Brothers Grimm - Zhukovsky.

How do you understand the phrase Vl. Dahl: “The front rear axle”?

Front rear axle.

- Competition of rhetors.

(Children read essays prepared for the lesson about writers of the 19th century.)

What piece is the excerpt from?

(group - in rows + protection)

(Groups receive extracts from fairy tales and determine the title and author.)

- Poetry competition "Playing with the word".

I will find words everywhere:
Both in the sky and in the water
On the floor, on the ceiling
On the nose and on the hand!
Haven't you heard this?
No problem! Let's play with the word!

(rhyme day)

What poetic contest of the 19th century can you tell about?

(Competition between A.S. Pushkin and V.A. Zhukovsky)

Who undertook to judge the masters of literature?

What was the outcome of this competition?

– Press conference.

Today, your questions are answered by the master of verbal sciences, the winner of a poetic competition, an expert literature XIX century.

(Children ask the “expert” questions about the 19th century).

– Circle questions.

PHYSMINUTKA. (Kinesiology exercises)

- Blitz tournament.

1) Translate from Russian into Russian.

A verst is a measure of length, more than 1 km.

A vershok is a measure of length, 4.4 cm.

The club is a heavy club.

Pud - a measure of weight, 16 kg.

Susek - a chest with flour.

The finger is a finger.

Towel - towel.

Mansions are a big house.

2) Catch phrases.

“Hey, Moska! She is strong to know that she barks at the elephant ”

I.A. Krylov. “Elephant and Pug”

"In a certain kingdom, not in our state."

Russian folk tales.

"The stars are shining in the blue sky."

A.S. Pushkin. "The Tale of Tsar Saltan…"

“Great is the benefit of book learning”

Chronicler.

“Wind, wind! You are powerful."

A.S. Pushkin. “The Tale of the Dead Princess…”

“The tale is a lie, but there is a hint in it,

Good fellows lesson.”

A.S. Pushkin. "The Tale of the Golden Cockerel"

“Beyond the sea life is not bad.”

A.S. Pushkin. "The Tale of Tsar Saltan."

“Don't miss a person without greeting them.”

Teachings of Vladimir Monomakh.

3) Russians folk riddles V. Dahl.

The earth is white, and the birds on it are black. (Paper)

Not a bush, but with leaves,
Not a shirt, but sewn
Not a person, but tells. (Book)

Not by measure, not by weight,
And all people have. (Mind)

One father, one mother,
And neither the one nor the other is not a son? (Daughter)

Where does the water stand in a column, does it not spill? (In glass)

What did you buy the pop hat for? (For money)

You, me, and you and me.
Are there many of them? (Two)

4) Folk proverbs and sayings.

But the wife is not a mitten.
You can't shake off a white pen
And you won't shut your belt. (The Tale of Tsar Saltan)

Henceforth, you, ignoramus, science,
Don't get in your sleigh! (The Tale of the Fisherman and the Fish)

You fool, you fool!
Begged, fool, trough!
Is there a lot of self-interest in the trough? (The Tale of the Fisherman and the Fish)

How do you understand proverbs?

Reading is the best teaching.

Whoever wants to know a lot needs little sleep.

Which of them belongs to A. S. Pushkin?

Folk tale - Recording and processing of a fairy tale - Author's literary tale.

- Return to the 20th century. (Rimsky - Korsakov. “Flight of the bumblebee”.)

4). Summary of the lesson.

Give examples of books for children written in the early 19th century that the reader

- teach

- entertain

- inform

- form

- educate.

What are the requirements for the reader in children's literature?

(be an attentive and thoughtful reader, do not be shy to ask questions, constantly turn on the imagination, believe in a miracle).

Are these qualities important for the modern reader?

The path to knowledge is compared to a staircase that has a first rung and no last. We have climbed one more step in our knowledge of literature. But the stairs don't end. And our research is not over either. And our travels around the country Literature are going to continue literally in the next lesson.

The 19th century continues……..

Fairy tale "The key of the merciful enemy"

V. Nemirovich-Danchenko

The caravan was moving through the desert... The sun was burning. The golden mounds of sand disappeared into a dazzling distance. The sky was drowned in an opal glow. Ahead, a white winding line of the road ... It, in fact, was not. The skeletons of fallen camels seemed to be dear here. The wells were left behind, and the pilgrims took water with them for two days. Only tomorrow they will be able to reach the oasis with stunted palms. In the morning, wonderful hazes with blue waters, with shady groves, still seemed in the distance. Now the mirages are gone. Everything froze under the stern gaze of the merciless sun... The horsemen swayed drowsily, following the guide. Someone sang, but in the desert and the song falls on the soul with tears. And the singer immediately fell silent. Silence ... Only the steady rustle of thin feet plunging into the sand was heard, and the rustle of silk curtains, behind which dark-faced Bedouins were hiding from the heat. Everything froze, even the human soul! At least the caravan met a dying Arab on the way; beside him lay a driven horse, white on the golden sand; the rider, wrapping his head in a white burnous, laid it on the lifeless body of his friend... Camels passed impassively. None of the people even turned their heads to where, from under the white silk, the gaze of the perishing in the desert followed them sharply and greedily ... The whole caravan had already passed it. Only the old man, riding behind, suddenly dismounted from his saddle and leaned over the Arab.

What happened to you?

Drink! - only the dying man could say.

The old man looked after the caravan - it was slowly moving into a blinding distance, no one looked back. The old man raised his head in height, and from there he suddenly felt something, some kind of wind that penetrated his soul ... The old man took off the waterskins, first washed the face and mouth of the dying man, then gave him a sip ... another.

The face of the dying man revived.

Are you from the Ommiad family?

Yes... - answered the old man.

I guessed by the sign on your hand... I am from the El-Hamids. We are mortal enemies...

In a desert before the face of Allah We are only brothers. Drink!.. I am old, you are young. Drink and live...

The dying man greedily fell to the furs... The old man put him on his camel...

Go and tell your people about the revenge of one of the Ommiads.

I still don't have much left to live.

Let's go together.

It is forbidden. The camel is small, it cannot bear such weight.

The Arab hesitated. But he was young, fame and love awaited him. He silently sat down... Stopped...

Do you have relatives?

Nobody! - answered the old man.

The one who remained looked after him for a long time ... He deceived his enemy. The old man had children, but they were famous as brave warriors... They no longer needed him.

The caravan disappeared into the dazzling distance... The sun was burning... The sky was drowning in an opal glow. The old man wrapped his head in a blanket and lay face down on the ground.

Several months have passed.

Same desert. The same golden mounds. The same caravan was moving back. Also pilgrims in the last oasis they took water with them for two days ... The riders on tired camels swayed sleepily, and suddenly the guide stopped ...

What's there? he pointed into the distance. Catching up on him pilgrims they also looked there in amazement ... There, among the endless sands, greenery was visible. Tall, proud palm trees spread out, a spring murmured between the lush bushes, and the merry babble of cool jets filled the languid, ominous silence of the surrounding desert ... Bright flowers greeted tired travelers with a gentle fragrance, as if with a gentle greeting.

By the stream lay the incorruptible body of a merciful old man. He was lifted up, wrapped in silk covers and taken to the oasis of his family.

The Arabs say that a new source gushed from the deepest bowels of the earth at the behest of Allah where a few drops of water from the old sheikh's furs fell into the sand. Bedouins call this wonderful oasis the key of a merciful enemy.