FAIRY TALES HOUSEHOLD
Adventurous and novelistic tales are tales about adventures and events in the family, personal life of a person, most often this is a story about the chain of adventures of heroes, the dangers that they overcome. These are entertaining stories in which the hero achieves the goal thanks to his dexterity, cunning, and intelligence. In these tales, the hero is a smart, experienced person, he is a traveler, a merchant, a soldier, and incredible events take place here, but the quality of fantasy is different than in fairy tales.
The action of fairy tales does not develop in a fantastic distant kingdom, but in a real setting, most often in the city. The heroes of these tales are usually verbose, gallant and sentimental. Characters adventurous tales are not always perfect moral attitude. The miraculous in fairy tales of this type is not excluded, but it is usually in the background, playing an auxiliary role. The miraculous elements play a secondary role in this fairy-tale type even when the characters are characterized by exaggerated qualities (hearing, sharp eyes, accuracy, etc.). AT fairy tale characters with exaggerated features were the assistants of the protagonist, and here hyperbole becomes the possibility of any dexterous, courageous person. Plots are widespread in adventurous tales: about getting a bride (getting married thanks to cunning), the theme of fidelity, about wise girls, about clever guessers, about successful robbers, etc.
The novelistic tales are extraordinary, unheard-of stories about the absolutely impossible; they contain the most incredible events. Adventurous short story tales are characterized by a desire for simplicity of storytelling, they reflect the peculiarities of the language and style of literature - this is due to the plot and figurative convergence of a fairy tale with a popular tale, with a book novel. The influence of lubok and books on the oral adventurous tale is manifested in the depiction of the urban environment, in a special bookish manner of speech. Adventurous tales, as a rule, have complex compositional schemes that reflect the complexity of the life experiences that the hero finds himself in. The composition is more complex in construction, there are more accidents and surprises in them, they grow to the size of a story.
adventurous tale more late origin. In the adventurous novelistic tale, there are no sayings and beginnings of a fantastic nature. The beginning of the tale is simple and often talks about real event; there is no retardation in it, which creates the impression of epic slowness. The main technique is contrast. The types of heroes and their enemies are outlined in contrast, social relationships are revealed in contrast. Characteristic is the increase in the role of dialogue in these tales as a method of constructing a work (questions and answers), as well as a detailed description of actors. In this type of fairy tales, a desire is noticeable for the individualization of the speech of the characters, for the description of the appearance of the characters, for a more detailed description of them; there are descriptions of the situation, attempts at psychological analysis.
As an example, the fairy tale “Bezhandka” (about the innocently slandered wife of the king) is typical, the narration of which is sustained in terms of fairy tales, and the conflict is resolved in everyday terms. On the verge of fairy tales and short stories, plots can be named: “Magic Ring”, “Beauty Wife”, “Two Merchants”, “Wonderful Mill”, “ Unsolved riddles”, “Husband at his wife’s wedding”, etc. In the group of fairy tales about wise girls, the most characteristic fairy tales are “Seven Years” and “Smart Bride”, in which the heroines answer questions, both fairy tales are often assimilated, tasks and riddles pass from one to another.
Difficult tasks or riddles are a condition of marriage or accession and precede it. However, guessing tasks can also occur after marriage, and in this case it has the character of testing one of the spouses. Usually a wife is tested, which shows extraordinary wisdom and meekness, sharpness and resourcefulness: “Queen-Guslar”, “Wise Wife”, “Patient Wife”, etc.
The so-called "historical fairy tales" are usually distinguished into a special subgroup, in which a historical person acts as the main character of the fairy tale. One of the characters is Peter I; fairy tales bring special features to his image, bring him closer to popular characteristic this king is idealized and at the same time critically evaluated because of his tough temper. The tale “The Careless Monastery” is especially widespread, 492 versions of this tale have been established (V.N. Andersen). The king asks riddles to the abbot of the monastery, or to the monks, or to the bishop, or to the cardinal, or to the priest, and so on. The number and variety of tasks given are very different, but the clergyman himself can never solve them, other characters do it for him (tavernkeeper, miller, shepherd, soldier, etc.). Tsar Ivan the Terrible also appears in historical tales (the tale of Gorshen, the marriage of Ivan the Terrible, the capture of Kazan, etc.).
Everyday (adventurous novelistic) fairy tale existed in parallel with the fairy tale and the fairy tale about animals, so the processes of mutual influence and interpenetration of plots are possible. In all types of fairy tales, ideas about the ideals of goodness and justice, about conflict situations, the same epic patterns operate in them.
social, satirical tales.
The main content of this fabulous type is everyday and social satire. Stupidity, laziness, inability to work, inability to live - all these vices are ridiculed and often interpreted as vices characteristic of people of the ruling class. The specificity of satirical tales is the grotesque nature of the images, the parodic depiction of situations, the ridicule of shortcomings.
The hero of these fairy tales is a village peasant, a poor man, a laborer, a soldier. The action takes place in a village well known to the narrator, and the hero fights not with a fantastic monster, but with a gentleman or a priest, he fights to improve his life, for a piece of bread.
In a fairy tale, fantasy is emphasized, deliberately presented as something wonderful, unprecedented; in an everyday fairy tale, in a grotesque, pointed, hyperbolic form, real phenomena that they become fantastic. A possible conflict in reality is so sharpened in a satirical fairy tale that it becomes a fantastic fiction, thanks to which a happy fairy tale ending is possible. In an everyday fairy tale, fiction is of a different quality than in a fairy tale. In satirical everyday tales, generalization prevails over individualization. It is characteristic that the hero of a satirical tale, especially negative character, does not have own name(one gentleman, an angry lady) and his absence portrait characteristic. A satirical household tale is characterized by highlighting an important, socially significant feature and emphasizing it throughout the tale.
Two groups of fairy tales are most characteristic of folk fairy-tale satire: fairy tales that reflect social antagonistic contradictions, and fairy tales that ridicule shortcomings in folk life. In the first group, social vices are exposed, the most prominent representatives which are pop, master, reproduced as satirically generalized types. Class hatred for the nobility is manifested in the depiction of his moral humiliation, in his inability to work, in ignorance of ordinary life circumstances, his stinginess, greed, stupidity are always emphasized (the lady sends a pig with piglets to visit; the master believes that he was born a calf, barks at wolves, etc.). Another sharply satirical image of fairy tales is the priest, he is depicted as a greedy, voluptuous ignoramus, a hypocrite. The denunciation of the priest is also a criticism of religious dogma and morality preached by the church. The priest in fairy tales violates all the commandments and goes unpunished, he often commits unacceptable acts, for example, he buries a goat for a bribe according to a church rite (“The Funeral of a Goat”). Pop in fairy tales lazy, ignoramus, he doesn't even know scripture(“Pop forgot Easter”), violates the secrecy of confession, he is constantly drunk, etc. Fairy tales were also very popular. love affairs butt. All the tales of this group consist of a series of episodes with an ever-increasing satirical effect.
In the group of fairy tales that make fun of universal human vices, the heroes are liars, lazybones, fools, cunning people, thieves, etc. The main artistic technique is hyperbolization, stupidity is especially exaggerated, both individual characters and residents of some regions are ridiculed (the Poshekhonians, in order not to get their feet wet in a leaky boat, jumped out of the boat into the river). The most popular image is Ivanushka the Fool, usually the third son in the family. This image is modified: Ivan from fairy tales has a “great mind”, and in satirical tales he has no mind, Ivan turns out to be a genuine fool (“The Fool and the Birch”, “Ivan the Fool”). In fairy tales, this Ivan is also sometimes awarded, but this is not a reward, but an accidental luck, according to Gorky, he is “an ironic lucky one.”
special and interesting group make up fairy tales about the tricks of people posing as sorcerers and healers (“Speech Voditsa”), fairy tales about a soldier who deceives all evil spirits. Anecdotes are also close to this group, they differ little in the specifics of the image; rather, the difference is that the anecdote narrates in a concise, concise form only about one case (one episode), while the everyday satirical tale includes a series of plot-wise often independent episodes connected by one character and a common idea.
The composition of a social fairy tale is much simpler: there are no sayings or jokes that would create the impression of a conditional, unreal world. The beginning is very simple: once upon a time there was a poor man. But sometimes a fairy tale begins without a traditional beginning. Often there is a desire to bring the tale closer to the listeners by pointing to the familiar environment, the action often takes place in the village. In these tales, common artistic techniques: repetitions, trinity of action, contrasting comparisons of actors. A satirical tale is characterized by highlighting the most important, socially significant feature and emphasizing it throughout the tale. Dialogue takes up a lot of space and is the main characteristic of a character. The speech of the characters is different: the priest's speech is affectionate, soft, unctuous, it emphasizes his duplicity. The master's speech is a parody of speech educated person, he uses "smart" words inappropriately. The speech of a peasant, a laborer is deliberately coarsened, sharp. The language of satirical tales is close to colloquial speech, but they do not typically use constant epithets, metaphors, comparisons.
Social fairy tales are devoid of horror, they are cheerful, witty, and sometimes end with a traditional ending. V. G. Belinsky in his article “On Folk Tales” wrote: “They show the life of the people, their domestic life, their moral concepts, and this crafty Russian mind, so inclined towards irony, so simple-hearted in its cunning.”
Collecting and studying fairy tales. Fairy tales have been known in Rus' since ancient times. Telling fairy tales is an old Russian custom. Known handwritten collections folk art, which also contain texts of fairy tales, although this is more a retelling of the content, and not exact records. In the 18th century, printed editions also began to appear, but for a very long time collectors remade and retold fairy tales, even the famous folklorist I.P. Sakharov published in the book “Russian folk tales» (1841) texts in their interpretation. The collection of A.N. Afanasyev "Folk Russian Tales" (1855-1864) in three volumes was of great social and scientific importance. In his review, this collection was highly appreciated by N.A. Dobrolyubov, pointed out its completeness, accuracy, and a new approach in the selection of material. However, N.A. Dobrolyubov was dissatisfied with the fact that the collectors did not reflect the environment in which the tales were told. In the future, when recording fairy tales, collectors took into account this requirement of N.A. Dobrolyubov.
Subsequently, in late XIX- the beginning of the twentieth century, a number of well-prepared collections of fairy tales appeared. The study of fairy tales also began in the 18th century, special interest they evoked from the Decembrists, who saw in them the expression of the "soul of the Russian people." Belinsky in mid-nineteenth century appreciated historical meaning fairy tales, especially high he put satirical fairy tales. Representatives of all schools of folklore assessed the commonality of the plots of Russian fairy tales in different ways, compared them with the plots of fairy tales of other peoples (F.I. Buslaev, A.N. Afanasiev, A.N. Veselovsky, A.A. Potebnya, V.F. Miller , A.N. Pypin, V.V. Stasov and others). The problems put forward in the 19th century have not lost their scientific relevance even now: this is the question of the origin of the fairy tale epic and individual plots, the problem of borrowing and national identity fairy tales, collecting and classifying material, the interaction of fairy tales with other genres.
Modern Russian folklore is an established scientific discipline with certain tasks and problems, the theoretical study of the tale is combined with collecting work. At present, the study of the fairy tale epic is being carried out in a comparative typological plan (E.M. Meletinsky, V.Ya. Propp, E.V. Pomerantseva, A.I. Nikiforov, etc.), scientific conferences are being held, collections “Russian folklore".
Along with the "international" plots in Armenian fairy tales, there are a significant number of "national" ones. These are works in which universal human motives are expressed in special intersections of plots, motives and images. More often, "national" is not so much the plot or motive of a separate story, but individual details. Bright examples of “local” Armenian fairy tales are the fairy tales “Dat-Bedat”, “Snake and Shivar”, “Son of the farmer Ogan”, “Hills of Santanat”, parallels were not found in known indexes to their plots. fairy tales. These Armenian fairy tales reflect natural conditions, vegetable and animal world Armenia, social class relations, life and customs of its population, religious performances, ethical and aesthetic views Armenian people.
In Armenian fairy tales supernatural beings: sea horse; an ox that portends the future to its owners; camels talking human voice etc. mythical creatures are: "Khazaran-blbul" - a nightingale; the snake, which in Armenian fairy tales is not the bearer of evil, its highest representative - the snake king Shah Marar - is capable of high heroic self-sacrifice. Monsters, representatives of evil in fairy tales are devas, they are often strong, sometimes many-headed, but by no means invincible. In ancient tales, devas are an invisible being, but gradually the idea of \u200b\u200bthem changes; it's not incorporeal spirit, but half-demon, half-man, an unclean spirit in the form of a giant. In their gardens there are springs of living water, youthful apples and watermelons (for Russians - rejuvenating apples; watermelons - no). In Russian fairy tales, such a deva is often replaced by Koschey. In Armenian fairy tales, there is “Eaten”, which at once can eat from seven millstones; "Opivalo", which can draw in a whole lake; "Skorokhod", which with one foot can step into Khizan (a village near Lake Van), the other - into Istanbul.
In Russian and Armenian fairy tales, like in others Indo-European peoples, the objects that make up an important accessory of the epic legend coincide - magic sword(sword-hoarder - among the Russians), an invisibility hat, a miraculous carpet, a prophetic horse, a wonderful golden nightingale (firebird). In Armenian fairy tales, witches live in the ruins of old mills and towers; Armenians call them "mother nights", they descend into underworld where the heroes are drawn. In fairy tales, bewitched beauties are often found, in the Russian version it is the frog princess, in the Armenian version it is a cat.
Adventurous and novelistic tales are tales about adventures and about the events of a person's family and personal life. In most cases, a fairy tale-story and an adventurous fairy tale cannot be distinguished: the theme of personal life is often revealed in descriptions of adventures. Nevertheless, several groups can be distinguished within this genre, representing to a greater or lesser extent the pure type of these tales.
Actually adventurous tales are a story about a chain of adventures, journeys of heroes, dangers from which they get out thanks to dexterity, cunning, intelligence. These are fairy tales about a resourceful, intelligent, experienced person fighting for his rights. The heroes of adventurous tales are most often a soldier, a traveler, a jester, a thief, a cunning person.
Short story tales, often preserving adventurous, adventure moments, transfer the center of gravity to the description. family relations and the personal life of the hero, the heroine. Common themes such fairy tales - the marriage of the hero to a worthy or unworthy girl; faithful and unfaithful wife; correction by a husband of a lazy or obstinate wife; good, prudent advice, following which saves from trouble and death; destiny and happiness; the wisdom of a girl, etc.
The so-called historical tale. In terms of plots and images, it merges with adventurous and short story tales. It differs from the main groups of this fairy tale genre by the introduction of historical figures as the main characters of the fairy tale, as a result of which the story appears to coincide with a certain chronological period, and the image fairy tale character merged with historical figure, is complicated by the features that this person is generally characterized in folk art - historical songs, legends, etc. So, the tales of Peter I (see, for example, "Moroka", in which the soldier makes Peter see what is not really there; "The Carefree Monastery", in which the tsar makes riddles to the hegumen, a baker, dressed as an abbot, guesses them), introduce special features into fabulous image, bringing him closer to the popular characterization of this king, idealized and at the same time critically evaluated because of his tough temper and unbearable hardships that fell on the shoulders of the people as a result of his policy. Also, fairy tales about Ivan the Terrible, often developing popular plots (see the fairy tale about the cunning thief, about the "ascension" of the bishop to heaven, about the election of Ivan to the kingdom, etc.), emphasizing the democratism of the tsar, his wisdom, approving his struggle against the boyars, do not hide either his cruelty or arbitrariness. This introduction of "historicism" into the adventurous and novelistic tale allows us to speak of the existence of a special, peculiar group of them.
For the genre characteristics of adventurous novelistic fairy tales, not only the specificity of their plots and images is important, but also the combination of the image of life with fantastic, wonderful elements of traditional fairy tale narration.
The concept of "a certain kingdom, a distant state" is absent in adventurous short story tales. The tale tells of a possible, albeit exceptional, event, of what happens in real life. Fantastic, magical fiction is not excluded from adventurous and adventurous tales, but is relegated to the background. The miraculous in a fairy tale-short story or an adventurous fairy tale plays an auxiliary role, sometimes becomes a device of composition, serves to develop the action. So, in the fairy tale “Handless”, the father orders the slandered daughter (the father believed the slander) to cut off her hands and drive her away; his order is carried out; the girl, wandering, reaches the river, entering which she is healed - her hands reappear; dressed in a man's dress, the girl hires her father as a shepherd and eventually exposes her godfather who slandered her.
There are such words in the Russian language that can take us to distant fantastic countries and return to a short time in childhood. Among such words, the sweetest and most magical is the word story.
And let the philologists say that story is one of the oldest folk genres, telling about fantastic events, teaching or entertaining, we will still remember our childhood, when our grandparents, dads and moms told or just read from thick books magic stories. We learned some of them by heart and then, without any prompting, told our children, others simply remained somewhere in the depths of our subconscious.
And this process of transmission, which sometimes seems to us quite stupid stories has been going on for thousands of years. Even progress, which makes us more and more dependent on technology, cannot stop him.
What is the secret of the fairy tale? Why do fairy tales live and are passed down from generation to generation?
Tales of everything
The popularity of fairy tales and their fantastic vitality lies primarily in their universality. Fairy tales are invented about everything that is known to man and even unknown.
Philologists divide fairy tales into several types. They highlight
- fairy tales about animals
- fairy tales,
- adventurous stories,
- household stories.
All these types of fairy tales have one thing in common: their basis is fiction.
Animal Tales
They are considered the most ancient of all existing, because they could have originated, according to scientists, only among the peoples who were engaged in hunting. Initially, these were stories about such animals that had some magical properties.
All animals were divided into patrons of the clan and enemies, which allowed the narrator to endow them with human behavior and such qualities as stupidity and cunning, kindness and deceit. As a result, we now tell fairy tales in which the fox is predominantly cunning, and the wolf is stupid.
Fairy tales
Fairy tales are very close to myths. They are as ancient as fairy tales about animals, but they have preserved to this day the ideas of previous generations about the world, the forces of nature, which they imagined in the form of good and evil spirits, about man and the place that he occupies in the Universe.
Over time, when human knowledge became more and more extensive, the fairy tale also changed. In it, aesthetic and moral ideals one people or another.
A fairy tale is characterized by a hero who seeks justice and is able to fall in love with a frog or a monster for the beauty of his soul. At the same time, good in fairy tales is disinterested. In many fairy tales there are such episodes when villain trying to do exactly the same as it does positive hero, but nothing comes of it, and the result is the opposite: the evil character either fails or simply dies.
adventurous tales
This type of fairy tale is very close to fairy tales, but the main difference between adventurous tales is that the hero solves difficult problems thanks to resourcefulness and intelligence, and not to any magical powers.
Household fairy tales
Everyday fairy tales reflect the time in which they were invented. They are distinguished by their caustic satire, ridiculing social injustice. Everyday fairy tales usually have a one-line plot, not too long in content. Heroes everyday fairy tales experiencing the simplest experiences. Usually in such fairy tales there are no descriptions of adventures or travels, and all the action takes place in one city or village, and the heroes of the fairy tale are quite ordinary people.
Fairy tales and the era of romanticism
Despite the fact that the fairy tale has its roots in ancient times, they began to study and collect fairy tales only in early XIX century. Then in literature, and in art in general, the direction of romanticism dominated. It was the romantics who noticed in the fairy tale dreams of the future and the belief that good will win.
As a result, fairy tales began to be collected and written down. At what this process has begun in all countries of the world.
The similarity of fairy tale motifs
AT different countries world we can meet similar fabulous motifs. This is explained by the fact that the fairy tale originated in similar historical conditions and not too different social environment. So, among many peoples you can find tales about the youngest son-fool, about the stepdaughter, about the peasant who became king and rightly ruling the country, about animals - wonderful helpers of man.
But some fairy tales also have bright national traits. For example, on English fairy tales chivalric romances had a great influence. Only in them can we find plots that are associated with sea voyages, and heroes striving to do everything "inside out".
French fairy tales have grace and irony. They even have punishment. evil heroes softened by mocking phrases with ironic overtones.
In Rus', everyday and satirical tales ridiculing the tsar and the boyars, often rhyming and having a joke ending, were widely used.
Fairy tale sustainability
Over the centuries of its existence, the fairy tale has acquired many stable features, among which are:
- free disposal of space and time ("How long, how short, three years have passed");
- fixing magical objects and fantastic images (magic comb and ring, Baba Yaga and Kashchei the Immortal);
- trinity of action, repetitions of questions, spells;
- epithets and the very structure of the characters' speech;
- the characters are pre-endowed with character traits known to the listener that will determine their behavior.
All these elements are repeated from fairy tale to fairy tale, but this cannot bore the listener / reader, but rather has some magical power over him.
literary tale
Writers have long been interested in fairy tales and began to use them even before they entered literature and began to be recorded by folklorists and published. Writers use this valuable treasure in different ways. folk wisdom. Some tell them in their own way, as did A.S. Pushkin, Ch. Perrault, E. Laboulet, G.Kh. Andersen. Others make fairy tales part of novels and other works (the tale about the glutton Gargantua in F. Rabelais's novel "Gargantua and Pantagruel"). Still others use only the motives of fairy tales (I. Goethe "Faust", W. Shakespeare "Hamlet").
The life of the fairy tale did not freeze and did not stop there. Folklorists still have something to study, because real storytellers and storytellers still live in the outback, who tell fairy tales in their own way. Writers still write fairy tales for children and adults. And we continue to keep fairy tales in our memory, remembering those people who once told them to us.
"Tales" - Kolobok. Fairy tales: "Cinderella", "Sleeping Beauty". What proverb is suitable for the fairy tale "Winter hut of animals"? If you want a lot, you will lose the last. Snow Maiden. Household. The hedgehog's ray touched, the Hedgehog stretched sweetly. Turnip. Let's go softly, like cubs, And like a clumsy bear. Chicken Ryaba. Which proverb fits the "Tale of the Fisherman and the Fish"?
"Tales for a child" - Heuristic. Think of who else Matveyk could see himself as. Recommended working methods. “A fairy tale heals, a fairy tale warms, a fairy tale teaches to live ...” L.D. Korotkova. Have a rest! Were the girls fairly rewarded? EDUCATION OF KINDNESS. Why was the boy so punished? Guidelines for pedagogical and psycho-correctional work.
“Magic Tales” - “A fairy tale is a fold (fiction), and a song is a true story ... From the word “fold”. The tale respects good, skillful workers, ridicules the incompetent, loafers. Soon the fairy tale tells, but not soon the deed is done. Features of the fairy-tale language. How much, how little time ... In the thirtieth kingdom, an unprecedented state ...
"Fairy tale project" - Let's have a rest? Signs of fairy tales. Project. Beginning (beginning). About animals. Hero. fairy creature. Division into groups statement of the problem. People. Illustrators. Place. magic item. types of fairy tales. Trial. Transformation (miracle). Analysts. Methodical development lesson on the topic literary tale". The end of the fairy tale.
"Questions on fairy tales" - And the sparrow, without thinking twice, jumped to the side! Why do the bear and the mole have dark fur coats? Nest of the fieldfare thrush. Why do foxes walk with outstretched tails? And he didn't even say thank you. I decided to make a dress for myself for a month. What about other birds? How was the oriole punished for being lazy? The dove did not know how to make a nest and went to Drozd to learn.
"A game according to fairy tales" - L.N. Tolstoy. S.Ya.Marshak; K.I. Chukovsky P.P. Ershov. I.S. Turgenev. Spring; Summer; Winter. Bylina. N.V. Gogol. Tale; Fable; Story. Granddaughter, mouse, grandfather, grandmother, bug, turnip, murk. Jules Verne; Jonathan Swift; Daniel Defoe. "Borodino". LN Tolstoy wrote a story……. A.S. Pushkin; M.Yu. Lermontov; N.A. Nekrasov.
Adventurous and novelistic tales are tales about adventures and about the events of a person's family and personal life. In most cases, a fairy tale-story and an adventurous fairy tale cannot be distinguished: the theme of personal life is often revealed in descriptions of adventures. Nevertheless, several groups can be distinguished within this genre, representing to a greater or lesser extent the pure type of these tales.
Actually adventurous tales are a story about a chain of adventures, journeys of heroes, dangers from which they get out thanks to dexterity, cunning, intelligence. These are fairy tales about a resourceful, intelligent, experienced person fighting for his rights. The heroes of adventurous tales are most often a soldier, a traveler, a jester, a thief, a cunning person.
Short story tales, often preserving adventurous, adventure moments, transfer the center of gravity to the description of family relationships and the personal life of the hero, heroine. Common themes in such tales are the marriage of the hero to a worthy or unworthy girl; faithful and unfaithful wife; correction by a husband of a lazy or obstinate wife; good, prudent advice, following which saves from trouble and death; destiny and happiness; the wisdom of a girl, etc.
The so-called historical fairy tale should be singled out as a special group. In terms of plots and images, it merges with adventurous and short story tales. It is distinguished from the main groups of this fairy-tale genre by the introduction of historical figures as the main characters of the fairy tale, as a result of which the story is confined to a certain chronological period, and the image of a fairy-tale character, merged with a historical person, is complicated by the features that this person is generally characterized in folk art - historical songs, legends, etc. So, tales about Peter I (see, for example, "Moroka", in which a soldier makes Peter see what is not really there; "Careless Monastery", in which the tsar makes riddles to the abbot , and the baker, dressed as an abbot, guesses them), bring special features to the fairy-tale image, bringing it closer to the folk characterization of this king, idealized and at the same time critically evaluated because of his tough temper and unbearable hardships that fell on the ilechs of the people as a result of their policies. Also, fairy tales about Ivan the Terrible, often developing popular plots (see the fairy tale about the cunning thief, about the "ascension" of the bishop to heaven, about the election of Ivan to the kingdom, etc.), emphasizing the democratism of the tsar, his wisdom, approving his struggle against the boyars, do not hide either his cruelty or arbitrariness. This introduction of "historicism" into the adventurous and novelistic tale allows us to speak of the existence of a special, peculiar group of them.
For the genre characteristics of adventurous short story tales, not only the specificity of their plots and images is important, but also the combination of the image of life with fantastic, wonderful elements of traditional fairy tale narration.
The concept of "a certain kingdom, a distant state" is absent in adventurous short story tales. The fairy tale tells about a possible, albeit exceptional, case, about what happens in real life. Fantastic, magical fiction is not excluded from adventurous and adventurous tales, but is relegated to the background. The miraculous in a fairy tale-novel or adventurous fairy tale plays an auxiliary role, sometimes becomes a device of composition, serves to develop the action. So, in the fairy tale “Handless”, the father orders the slandered daughter (the father believed the slander) to cut off her hands and drive her away; his order is carried out; the girl, wandering, reaches the river, entering which she is healed - her hands reappear; dressed in a man's dress, the girl hires her father as a shepherd and eventually exposes her godfather who slandered her.
Magical healing in the tale of the penless man is that compositional turning point, after which it becomes possible further development actions leading to the exposure of the slanderer: The introductory compositional meaning of the magical healing of the girl is confirmed by variants of the tale in which there is no chopping off of hands at all. In such variants, the father orders to kill his daughter for the shame that she allegedly caused, and to bring her heart to him as proof of death; the daughter is not killed, but the father is deceived by showing him the heart of an animal. The versions of "Handless", devoid of magical fantasy, do not lose anything either in content or in the depiction of images. The trend of depicting real life in them is emphasized even more clearly.
Wonderful elements also play a secondary role in this fairy tale genre when the characters are characterized by exaggerated qualities: unusually fine hearing, sharp eyes, accuracy, etc. In a fairy tale, her hero or heroine is people of ideal moral and ethical qualities; fortitude leads them to victory; if characters appear in a fairy tale, in which ordinary human properties are exaggerated, brought to fantastic outlines, then they turn out to be just assistants to the hero. In an adventurous and novelistic fairy tale, such assistants became the main characters. Dexterity in shooting, speed of running, subtlety of hearing, etc., characteristic of many people, exaggerated to such proportions as are not found in life, turn into fantasy element adventurous novelistic tale. As a result, magical boots-walkers in the adventurous fairy tale are excluded and replaced by people-runners, the extraordinary subtlety of smell, which Baba Yaga possesses (thanks to him, she smells Russian spirit), becomes the property of not a fantastic monster, but common man, etc. In a word, fantasy here loses the character of a magical property, and becomes a hyperbole of the possibilities of any dexterous, intelligent, courageous person capable of anything. On the principle of using hyperbole in describing the dexterity, dexterity, and courage inherent in man, the tale of the seven Simeon brothers, who rescue and return the stolen princess to their father, is built. In it, the special nature of the fantasy of an adventurous tale allows you to outline fairytale heroes as people who, by virtue of their personal abilities, can do what is impossible for others.
In adventurous and novelistic tales, fantasy is in a number of cases based on superstitious beliefs. Superstitions in these cases allow you to create images of witches, sorcerers. There is, for example, a fairy tale about a sorceress wife who turns her husband into a sparrow or a dog.
Among the tales that arise in connection with beliefs are tales about a soldier who deceives ghouls or runs away from them, fools devils, and defeats all evil spirits. A soldier who has been drilled, who has been in all troubles and experienced everything, who knows how to do everything, a jack of all trades, becomes one of classic looks adventurous tale. His image contrasts with the images of all evil spirits, and even those who are afraid of it; in this way, he approaches the images of a jester, a wandering man, a dodger and a clever thief, in a word - all those heroes of an adventurous short story tale who, with their personal qualities, are opposed to the "otherworldly" terrible fantastic force. From this contrast real opportunities man to the magical and otherworldly power of creatures created by superstition, in fact, a parody of fantasy and a comic reduction of fantastic images are born. By this parody, adventurous novelistic tales are drawn closer to legends that satirically interpret the plots and images of scripture.
The type of adventurous tales that parody fantastic images includes, for example, a tale about a soldier who got into afterworld, frightening both devils and saints ("The Tale of the Soldier Kuroptev"). The soldier Kuroptev managed to frighten the saints in heaven by deciding to build a pub for drinking and takeaway, and in hell he frightened the devils by deciding to build a church with bells. The soldier fell out of favor with both devils and saints. Not knowing where to put him, he was placed at the crossroads to guide the righteous to heaven and the sinners to hell.
Also ridiculed are notions of afterlife in the fairy tale "Nikonets - a native of the other world."
special and very interesting thematic group form fairy tales about the tricks of people posing as sorcerers and healers. A classic example of the tales of this group can be considered the tale of the "Sorcerer Bug", who became famous by finding things stolen at his direction.
0 tricks of the healer says the fairy tale "Speaking water" (the healer gives the absurd old woman quarreling with her husband water and tells her, as soon as she starts swearing, to take water in her mouth, but not to swallow it; the old woman does as the healer told her, and in peace comes to the family). This tale also denies superstition and laughs at it. Such a reduction and parody of the fantastic theme in adventurous novelistic tales leads to a departure from ritual, to a reduction in the conventionality of the depiction of life, which is characteristic of most fairy tales, where a magical, wonderful beginning colors the entire narrative. Adventurous novelistic tales are characterized by a desire for simplicity of the story. At the same time, the style of these fairy tales clearly perceives the peculiarities of the language and style of popular literature - this is due to the plot and figurative convergence of the adventurous popular print story and the genre of adventurous short story, which were loved both by the peasantry and among the urban bourgeoisie and working people.
In an adventurous novelistic fairy tale, there are rarely a saying and beginnings that introduce one into a fantastic, unusual world. The beginning of the tale is simple and often speaks of the reality of the event that will be discussed. There is no retardation in the adventurous novelistic tale that creates the impression of epic duration. Contrast should be considered the main device of such fairy tales. The types of the hero (heroine) and their enemies are depicted in contrast; social relationships (poor and rich) are revealed in contrast. This contrast makes it possible to construct the conflict development of the action more sharply and clearly, always culminating in a victory over that which causes universal hatred and condemnation. Also characteristic is the increase in the role of dialogue in these tales as a method of constructing a work (cf. questions and answers of riddles that determine the development of the plot), and a detailed description of the characters. In this type of fairy tales, the desire for individualization of the speech of fairy tale characters is noticeable.
