Elkina Maria
Scientific-practical conference of research works of students “Youth. The science. Culture»
Scientific direction: Literary criticism
Genre classification of Russian folk tales
student of MOU secondary school No. 2
Scientific adviser: Shitova I.G.,
teacher of Russian language and literature
Noyabrsk, 2009
Content
Introduction
The magical world of Russian folk tales… It excited me from early childhood, when they read them to me, as a very little girl, at night. Time passed, but the passion for fairy tales remained. Only perception has changed. Previously, it was exclusively emotional and evaluative (I plunged into this world and lived in it with the characters, feeling the vicissitudes of their fate), now it has become analytical (I looked at the fairy tale as a special genre that I wanted to explore). That is why I chose fairy tales as the object of my research. But it would seem that a lot of research on fairy tales has been written, what else can be discovered in them? A long study of literature led me to such a controversial issue - this is the problem of the genre classification of fairy tales.
So, reasons for addressing the research topic:
1. The controversial issue of the genre classification of fairy tales, the conventionality of each of the currently known ones, the dissatisfaction of folklorists and literary critics with the classifications that exist at the moment.
2. Personal interest in fairy tales, the desire to study and systematize them for the convenience of further comprehension.
3. There is also a reason of a universal nature, which consists in the formula: "The fairy tale is a lie, but there is a hint in it ...". Will I not find answers to my questions among all this world of magic and transformations?!
So the main purpose of work is an attempt to create their own version of the genre classification of Russian fairy tales. To achieve the goal, the following tasks:
1. Study the currently existing classification options, indicating their pros and cons.
2. Determine the tools (select criteria) for creating a classification option.
3. Offer your own version of the classification.
4. Distribute the Russian folk tales of the Afanasiev collection according to the categories created by the classification.
So, object of study- Russian folk tales. The key reason for contacting them: personal interest and passion. Subject of study- classification of fairy tales. The key reason for the appeal: the lack of a complete, complete and indisputable classification in folklore at the moment.
Hypothesis: An indisputable classification can be created by choosing good criteria that help distribute texts into groups, and taking into account the disadvantages of well-known genre classifications.
Stages of work:
1. Statement of the problem, choice of topic, hypotheses.
2. Collection of material:
A) bibliographic search on the problem of genre classifications of fairy tales;
B) analysis of existing classifications;
B) reading Russian folk tales in order to identify
criteria for creating your own classification.
3. Confirmation of the hypothesis by distributing fairy tales according to the classification.
4. Conclusions.
Chapter 1. The problem of genre classification of fairy tales
Currently, there are several variants of fairy tale classifications proposed by various literary critics and researchers. For the sake of completeness and objectivity of the work, I cite them in my study:
Classification 1.
Sreznevsky expresses his point of view in "A Look at the Monuments of Ukrainian Folk Literature". According to the nature of the content, he divides them into:
mythical (epic);
fairy tales about persons, historical events and private life;
fantastic humorous.
Classification 2.
In the 60s of the 19th century, Snegirev, in connection with the Afanasiev collection in "Lubok pictures of the Russian people in the Moscow world" divides into:
· mythical;
· heroic;
· worldly.
Classification 3.
Bessonov in the "Note to the songs of Kireevsky" divides into:
past, heroic;
past, but not heroic;
popular prints;
Household (this also includes about animals).
Classification 4.
Mythologists, having interpreted Afanasiev's collection in their own way, are trying to create a different classification. Orest Miller proposes the following division into:
mythical tales (343 of those from Afanasiev's collection he still subdivides into 10 plot circles);
moral and mythical (about the soul, fate, truth);
· about animals;
on heroic stories;
arose under the influence of books;
· "Purely morally descriptive, the character of a protester ... in the form of satire."
In fact, this is the first scientific classification. But, although Miller considered it historical, it is, in general, formal.
Classification 5.
M.P. Drahomanov in "Little Russian Folk Traditions and Stories" identifies 13 headings. Veselovsky accuses Dragomanov of not maintaining the stated principle: the past is original, ancient, pagan and new Christian.
Classification 6.
Romanov divides fairy tales into:
· about animals;
· mythical;
humorous;
household;
· cosmogonic;
cultural.
Classification 7.
V.P. Vladimirov in his "Introduction to the History of Russian Literature" tries to use the principle of motive when dividing fairy tales. He discovers three types of motives:
motifs of the animal epic;
mythological nature;
· ancient bylevogo cultural character.
Classification 8.
In 1908, Halansky divided fairy tale plots without definition into general headings.
Classification 9.
A.M. Smirnov in the "Systematic index of themes and variants of Russian folk tales" divides into:
fairy tales about animals
about animals and humans
about the fight against evil spirits.
Classification 10.
An unconventional approach to classification was used by Wundt in The Psychology of Peoples. He divides fairy tales according to the forms of development from the most ancient to the latest formations:
Later education: comic tale, moral fable.
Classification 11.
Afanasiev himself proposed it, forming a collection, then N.P. Andreev in 1927-28 compiled an "Index of Fairy Tale Plots". The stories are divided into:
· about animals;
magic;
household.
This classification is now the most common, but in the future in my work I will point out all its disadvantages. In addition, the authors themselves of numerous textbooks on oral folk art note that a unified classification of fairy tales has not been developed at the present time, that is, there is no correct classification today.
Before I turn to a detailed description of the 11th classification, I would like to note the disadvantages of all the above classifications.
So, according to Sreznevsky's classification (1), the second block seems to be excessively extensive and unclear: fairy tales about persons, historical events and private life. In addition, it is not clear where, in his opinion, the animal epic should be attributed. The same question can be addressed to Snegirev's classification (2). By mistake
Bessonov (3) can be considered the introduction of fairy tales about animals into the category of everyday life, since the contradiction “fantasy-non-fantasy” arises. In Miller's classification (4), the sharpness of the form leaves aside the diverse heroes as actors. Violation of the basic principle by Dragomanov (5)
also discovers Veselovsky.
It is difficult to establish the underlying principle in Romanov's classification (6). Vladimirov (7) in the fractional division by motives takes into account only 40 of them, and there are much more of them (thus, Sumtsev names 400). Cholansky's classification (8) sins by dividing it into plots without defining a common heading, and in general, almost all researchers have now recognized it as obsolete. A.M. Smirnov (9) creates even more confusion without even finishing his work. Wundt's classification is interesting for its non-traditional approach, but, unfortunately, not all fairy tales fall into it.
Chapter 2. Analysis of the Afanasiev classification
2.1 Animal Tales
Tales about animals are divided into the following thematic groups: about wild animals, about wild and domestic, about domestic, about man and wild animals.
The origins of fiction are due to the most ancient views of man, endowing the animal with reason. The consequence of this is the behavior of animals in fairy tales, similar to human.
Here is how the poetic features of animal tales are defined:
1. Fiction in them arises as a result of the combination of contradictions: the human world and the animal world - the water space, in one sphere. A special, grotesque world of mixed real ideas arises, in which the unbelievable must be perceived as probable.
2. There is no idealized hero. The mind is opposed to brute force and wins, but there is no single bearer of this quality.
3. Not all fairy tales about animals end happily, but despite this, there is no tragic sound.
4. Fairy tales about animals have a potential allegorical possibility; human everyday situations are easily guessed in them.
5. The plot in fairy tales about animals is simple. There are few events. Most often, the motive of the meeting is developed. The duration of the action is indicated by a system of repetitions. A fairy tale can consist of one episode, of several episodes, of a chain of episodes in which one moment is repeated. In terms of composition, one can distinguish between single-plot, multi-plot and chain tales, with the repetition of all episodes - cumulative (a + ab + abc + abcg + ...).
6. The most common form of fairy tales about animals is narrative-dialogical.
7. The didactic, instructive plan of the tale is very clear. At the end of the tale, a conclusion is always summed up, expressed either by a proverb or a generalizing phrase.
8. In fairy tales about animals, traditional fairy tale formulas are used in the process of narration, less often - at the beginning and middle of a fairy tale, more often - at the end.
2.2. Fairy tales
A fairy tale took shape in its main features at a time when primitive man's ideas about the world were developing simultaneously in two dimensions: there was a visible, real world in which a person lived, and an imaginary, unreal world, inhabited by evil and good forces, which had seemed to have a direct impact on life. Both of them in the mind of primitive man constituted a single reality.
According to the nature of the conflict, two groups of fairy tales are distinguished: in one, the hero comes into conflict with magical forces, in the other, with social ones.
Here is how the poetic features of fairy tales are defined:
1. A conflict in a fairy tale is always resolved with the help of miraculous forces, miraculous helpers, with the hero relatively passive.
2. The action unfolds in two space-time plans. From the beginning of the action of the hero to his feat and marriage, many events take place; the hero crosses great spaces, but time does not touch him; he is forever young; sometimes the epic time is near To real: year, month, week and so on. This is one plan that reveals the life of a hero. In another, spatial plane, the opponents of the hero and wonderful helpers live. Here time flows slowly for the hero, but quickly for opponents and wonderful helpers. The time of a fairy tale is connected with the perception of the fairy rhythm. The “one-act” or “multi-act” of an action is measured by a system of repetitions. It is they who create the rhythm of fabulous time. Rhythm organizes expectation, includes the listener in a fairy tale. Rhythm creates tension until the hero performs a feat. Up to this point, time flows slowly, the repetitions keeping the listener in a waiting state. After the hero performs a feat, a rhythmic decline begins - the tension of expectation is removed, the fairy tale ends.
3. There are two types of heroes in fairy tales: a “high” hero endowed with magical powers from birth or received it from a magical assistant (Ivan Tsarevich) and a “low” one (Ivan the Fool).
4. In a fairy tale, description is replaced by poetic formulas. Knowledge of these formulas makes it easy to "build" a fairy tale. An obligatory feature of the formula is its repeatability in a number of fairy tales. There are initial formulas (sayings), final (endings), narrative, which are subdivided in turn into formulas of time (“Is it close, far, short, soon the fairy tale affects, but the work is not done soon”), into formulas-characteristics (“Such beauty , which cannot be said in a fairy tale, nor described with a pen"), on etiquette formulas ("the cross was laid in the written way, the bow was led in a learned way").
2.3. Household fairy tales
The term "everyday fairy tale" combines several
intra-genre varieties: adventurous fairy tales, short stories (adventurous-short stories), social-everyday (satirical), family-everyday (comic).
Here are the poetic features that are generally characteristic of everyday fairy tales:
1. The conflict in everyday fairy tales is resolved thanks to the activity of the hero himself. The story makes the hero the master of his own destiny. This is the essence of the idealization of the hero of a household fairy tale.
2. Fairy-tale space and time in a household fairy tale is close to the listener and the narrator. Empathy plays an important role in them.
3. Fiction in everyday fairy tales is based on the image of alogism. Up to a certain point, a fairy tale is perceived as an everyday, quite plausible story, and its realism is aggravated by specific descriptions. Alogism is achieved by a hyperbolic depiction of some quality of the negative hero: extreme stupidity, greed, stubbornness, and so on.
4. A household fairy tale can have a different composition: novelistic and adventurous fairy tales, which are based on adventure motives, are large in volume, multi-episode. Comic and satirical tales always develop one episode - an anecdotal or acutely satirical everyday situation. Multi-episode and comic tales are combined into a cycle according to the principle of increasing comic or satirical effect.
2.4 Mismatch in ranks
Let me remind you once again that these characteristics of the three fairy-tale genres were written according to the textbook "Russian Folk Poetic Creativity" edited by A.M. Novikova, but if you take and look at the same question in the textbook of Anikin V.P. and Kruglov Yu.L., then with a similar typology, a number of contradictions can be found. I will point out a few. So in Anikin, when characterizing fairy tales about animals, in contrast to Novikova, the emphasis is on humor and a satirical beginning. If Novikova speaks about the absence of an idealized hero in these tales, then Anikin writes that a sharp distinction between positive and negative is in the nature of fairy tales about animals. And when characterizing fairy tales, even a different interpretation of the same lexical content is revealed. So, according to Novikova's textbook, the expression "soon the fairy tale is told, but not soon the deed is done" is presented as a poetic formula, and according to Anikinsky, as the presence of signs of the ordinary in a fantasy world.
Thus, on the basis of all these contradictions, one can once again be convinced that the problem with the typology of Russian folk tales really exists.
Chapter 3: Creating a New Classification Option
To create any classification, the foundation and operation of two principles is necessary: criteriality and logic. So, based on all the above facts, I took the Afanasiev classification as a basis, but concretized and expanded it, using two criteria: characters and compositional features.
In total, I singled out 17 categories:
1. Classical animals (“Midwife Fox”, “Fox, Hare and Rooster”, “Confessor Fox”, “Sheep, Fox and Wolf”, “Fox and Crane”, “Fox and Cancer”, “Cat, Rooster and Fox”, “Wolf and Goat”, “Goat”, “Wintering of Animals”, “Crane and Heron”). The characters in such tales are exclusively animals, in which human behavior is read, their volume is small, the composition is simple, a good ending.
2. About tragic animals (“Pig and Wolf”, “Mizgir”). Meets all the requirements of the first category in terms of heroic features, but has a tragic ending, which no longer allows us to call them classic animals.
3. About animals with an everyday context (“Beasts in the pit”, “Fox and black grouse”, “Frightened bear and wolves”). In these tales, unlike the first category, it is not the compositional plan that becomes more complicated (as in the second category), but the heroic one: people appear, but they are still just a background for animal heroes, people are not participants in events, they are only mentioned.
4. Tragedy about animals with an everyday context (“Terem flies”). As is already clear from the principle of division, this category includes fairy tales that meet the requirements for the third category, but with a tragic ending.
5. Animals and household (“Fox-sister and wolf”, “For the lapotka - a chicken, for the chicken - a goose”, “Man, bear and fox”, “Cat and fox”, “Fool wolf”, “Tale of the goat peeled”, “Kochet and the Hen”, “The Hen”, “The Tale of Ruff Ershovich, the son of Shchetinnikov”, “The Tale of the Toothy Pike”, “Daughter and Stepdaughter”, “Rooster and Millstones”, “Hunter and His Wife”). This category includes fairy tales with the compositional features of fairy tales about animals, but here, along with the main characters-animals, people act on equal terms, sometimes even engaging in single combat.
6. Animal tragedy ("Bear", "Bear, dog and cat"). They meet the requirements of the 5th category, but have a tragic ending.
7. Animal-everyday tragedy with magical elements ("Gingerbread Man", "Sert cockerel", "Tiny-Havroshechka"). They meet the requirements of the 6th category, but the structure of these fairy tales is even more complicated due to the appearance of magic (these can be either magical heroes of a secondary plan, or magical objects).
8. Household animals with magical elements ("Baba Yaga", "Geese swans", "Horse, tablecloth and horn", "Cunning Science", "Nesmeyana-Princess", "Magic Ring"). The composition of tales of animal life is complicated here by the introduction of either magical heroes or magical objects.
9. Classical magic (“Marya Morevna”, “Ivan Tsarevich and Bely Polyanin”, “Legsless and armless heroes”, “Feigned illness”, “Wonderful shirt”, “The Sea King and Vasilisa the Wise”, “Tsar Maiden” , “The Finist’s Feather is Clear of the Falcon”, “Elena the Wise”, “The Princess Solving Riddles”, “The Enchanted Princess”, “The Petrified Kingdom”, “Knee-deep in gold, elbow-deep in silver”, “Golden slipper”. Fairy tales with a complicated compositional structure based on Propp's well-known formula: here are symbolic numbers, and the action of inanimate and magical objects, and magical heroes, a happy ending is obligatory.
10. Classical household items ("Treasure", "Slandered Merchant's Daughter", "Soldier and Tsar in the Forest", "Robbers", "Healer", "Thief", "Thieving Man", "Soldier's Riddle", "Fool and Birch ”,“ A daring laborer ”,“ Foma Berennikov ”,“ Wife-prover”, “Husband and wife”, “Dear skin”, “How a man weaned his wife from fairy tales”, “Miser”). Fairy tales with a simple composition of everyday life, noted in the Afanasiev classification. A mandatory requirement is the complete absence of magic.
11. Magic household (“The Witch and the Solntseva Sister”, “Morozko”, “Vasilisa the Beautiful”, “The King and his Uncle”, “Three Kingdoms - copper, silver, and gold”, “Frolka-seat”, “Ivan-bykovich”, “Nikita-kozhemyak”, “Koschey Immortal”, “Prophetic dream”, “Arys-field”, “Night dances”, “Likho one-eyed ”, “Kind word”, “The wise maiden and the seven robbers”, “Dock on the dock” and others). Fairy tales in which, based on Propp's formula, the structure is complicated by the introduction of everyday heroes.
12. Magic household with animal characters (“Baba Yaga and Zamoryshek”, “Tereshechka”, “Crystal Mountain”, “Kozma Skorobogaty”, “Firebird and Vasilisa the Princess”, “Sivko-Burko”, “Animal Milk "). An even greater complication of the eleventh category due to the introduction of animal heroes.
13. Magical-pagan with everyday context ("Tales of the Dead", "Tales of Witches", "Death of the Miser", "Fiddler in Hell", "Goblin", "Careless Word"). A special series of fairy tales that has a composition of everyday life. Their peculiarity lies in the fact that heroes are introduced, personifying evil spirits - echoes of paganism.
14. Household tragic (“Ivanushka the Fool”, “Stuffed Fool”, “Mena”, “Wife-disputer”, “Prophetic Oak”). The composition and characters could classify these tales in the tenth category, but there is one feature - a tragic ending.
15. Household with an open ending ("Lutonyushko"). A special category of fairy tales that violates all traditional fairy tale structures - they do not have an ending.
16. Everyday life with a dialogic structure and inanimate characters ("It's good, but it's bad", "Don't like it - don't listen", "Mushrooms"). Fairy tales with a special structure - a form of dialogue.
17. Household with inanimate heroes of a tragic tone ("Bubble, straw and bast shoes"). The structure of a household fairy tale, the characters are inanimate objects.
Conclusion
Thus, I will summarize some of the results of the work done:
1. I analyzed the current classifications of Russian folk tales.
2. Russian folk tales were carefully read, inconsistencies with existing classifications were found.
3. The basis and principles for creating your own classification are determined.
4. A new classification has been created, and the tales from the Afanasiev collection are distributed according to it.
In general, in the process of work, I was interested in the problem of oral folk art. So, today I already see the imperfection of the classification of oral non-fairytale prose. In the future, I intend to address this issue.
Bibliography
1. Folk Russian fairy tales A.N. Afanasiev. - M., 2004.
2. Fairy tales: Library of Russian folklore. Book. 1-2. - M, 1988, 1989.
Research:
1. Anikin V.L., Kruglov Yu.L. Russian folktale. - M., 2001.
2. Zueva T.V. The wonderful world of fairy tales and historical reality // East Slavic fairy tales. M., 1992. S. 3-28.
3. Korepova K.E. Magic world // Russian fairy tale: Anthology. M., 1992. S. 5-18.
4. Novikova A.M. Russian folk poetry. - M., 2002.
5. Propp V.Ya. Index of plots // Afanasiev A.N. Folk Russian fairy tales: In 3 vols. M., 1957. T. 3. S. 454-502.
6. Pomerantseva E.V. The fate of the folk tale. - M., 2006.
7. Propp V.Ya. The historical roots of fairy tales. - L., 1976.
8. Comparative index of plots. East Slavic fairy tale. - L., 1979.
9. Streltsova L.E., Tamarchenko N.D. Verb and goodness: Magic and household tales. Tver, 2005.
Fairy tale. Types of fairy tales
For the first time, a child encounters a fairy tale at the age of 1 to 1.5 years, it is at this time that every adult in the family becomes a storyteller. At the same time, adults do not just tell fairy tales, but remember fairy tales from their childhood, which, in turn, were told to them by their parents. Thus, it is possible to trace the connection of generations, which will not be interrupted in the future with the advent of a huge amount of modern technology. The first book that appears in a person's life at the age of about 3 years is a fairy tale, a fairy tale that can now not only be heard from adults, but also see its characters in pictures. As a rule, children's books are very well and colorfully illustrated. It is from such books that the child begins to take his first steps into the vast world of literature. And the task of adults is to be interested in increasing these steps and to help the child move forward in acquaintance with the literature of the whole world.
A fairy tale is a fictional story with a happy ending and the obligatory victory of good over evil.
This also includes myths, legends, metaphors, proverbs and more. A fairy tale is one of the forms of aesthetic creativity in children. One of its roots is the work of children's fantasy: being an organ of the emotional sphere, fantasy seeks images to express children's feelings in them. Listening to fairy tales, the child enjoys the same freedom in the game of images that he enjoys in the game of movements. .
A fairy tale is a kind of folklore prose, known to all peoples. If you conduct a poll among adults and children on the street, “What fairy tales do you know, remember and can tell without thinking”, then for the most part they will be “Gingerbread Man”, “Turnip”, “Ryaba Hen”. But if you ask to clarify what kind of folk tales they belong to, then few people will be able to answer this question. At first glance, it may seem that knowledge of the types of fairy tales is not so important. But it is the type of fairy tale that presupposes the events, characters and plot of the work.
Currently, there are two main types of fairy tales: folk and author's. Both folk and author's tales, in turn, can be divided into tales about animals, household, scary, magic and other tales. In addition, author's fairy tales can be didactic and psycho-correctional.
Animal Tales:
Animal stories are a widespread genre. They talk about the habits, tricks and adventures of ordinary, familiar wild and domestic animals, birds and slaves, the relationship between which is very similar to the relationship between people. Yes, and the nature of the animals is likened to a human: the bear is stupid, the hare is cowardly, the wolf is greedy, Lisa Patrikeevna is more cunning than cunning, she will deceive anyone you want. "Once upon a time there was a grandfather and a woman and they had a hen Ryaba ..." a wonderful fairy tale! Deftly built - it is not difficult to remember, which is why she is still remembered from childhood. Short, nothing more. And how much action is in it, heroes - grandfather, grandmother, chicken, mouse. The tale about the turnip is just as lively and interesting. Of course, such works are designed for the smallest. Listening to them, the baby learns a lot, develops the mind, imagination - you have to see, imagine all these running and playing little animals. At the same time, the ring construction of a fairy tale helps to quickly memorize it. These tales are very convenient for staging performances, therefore they are very often used for performances in which the actors are the children themselves.
Tales with animals are short and simple in composition. Often one episode is repeated several times. So, for example, a fox three times comes under the window of the hut of a cat and a rooster, many times animals try to drive the fox out of the hare's house, etc. The inhabitants of forests, fields, and steppes appear in Russian fairy tales. Birds are represented in various ways: raven, sparrow, heron, crane, black grouse, owl, woodpecker. There are insects: a fly, a mosquito, a bee, an ant, a spider.
Another group of plots is domestic animals and birds. The Slavs were surrounded daily and became characters in their fairy tales: an ox, a ram, a horse, a dog, a cat, a rooster, a goose, a duck. Fairy tales contribute to the transfer of knowledge and life experience from adults to children, have a pedagogical orientation, which is served by the simplicity of their artistic form, as well as a playful manner of performance: the use of songs, dialogues, sound recording, rhythm, rhyme.
Particularly useful are the so-called chain-like tales, where one must very carefully follow the order of the episodes, their logic. A striking example of such a tale is the tale about how a goat sent a goat for nuts. The whole tale consists of a long rhyming song of a goat, the words from which: "There is no goat with nuts, there is no goat with red-hot!" are known to almost everyone.
Household tales:
They talk about the vicissitudes of family life, show ways to resolve conflict situations, form a position of common sense and a healthy sense of humor in relation to adversity, talk about little family tricks.
Everyday fairy tales are full of humor, they give comic portraits of unrestrained lazy people, fools who do everything at random, grumbling, stubborn wives. These tales accurately convey the way of life, the circumstances of folk life. But this does not mean that it reflects reality just like in a mirror. Truth coexists here, as it should be in a fairy tale, with fiction, with events and actions that in fact cannot be. So, for example, a cruel queen is corrected by changing places for several days with the wife of a brawler-shoemaker; a peasant who accidentally killed a master's dog, by a court verdict, is obliged to bark at night and guard the estate. In a household fairy tale, there is only one world in which all the heroes of events live. Here everything is ordinary, everything happens in real life.
The characteristics of the heroes of these fairy tales are always the same: the landowner, the master - greedy, stupid, cruel, arrogant, often rude. The attitude towards the king is ambivalent. If the boyars, courtiers act next to him, then the tsar is necessarily on the side of the peasant. But if the muzhik and the tsar meet face to face, then the tsar is against the muzhik. The priest is also often greedy, not averse to drinking, sometimes hypocritical. But he is never rude or cruel. He is always kind. His favorite word is "light": "You are my light Vanyusha!" The fairy tale treats good, skilled workers with respect.
In a household fairy tale, deception is never complete; theft is quite acceptable. Due to the improbability of events, everyday fairy tales are fairy tales, and not just everyday stories. Their aesthetics requires an unusual, unexpected, sudden development of the action, which should cause surprise in the listeners and, as a result, empathy or laughter. In these fairy tales, fantastic characters sometimes appear: the devil, Woe-Misfortune, Share. The meaning of these images is only to reveal the life conflict that underlies the fairy tale plot. The plot develops due to the hero's collision not with magical forces, but with complex life problems. The hero comes out unscathed from the most hopeless situations, because he is helped by a happy coincidence. But more often he helps himself - with ingenuity, resourcefulness, even trickery.
Scary Tales:
These stories are about evil spirits. In modern children's literature, there are also fairy tales - horror stories. Apparently, here we are dealing with the experience of children's self-therapy: by repeatedly modeling and living an alarming situation in a fairy tale, children are freed from tension and acquire new ways of responding.
What is a scarecrow? This is the most interesting psychological material that allows you to see the innermost corners of the world of children. Urban horror stories are little "spoiled" by the direct influence of modern adult culture and bear the bright stamp of childishness: children's logic, children's fears and age-related problems. The content of scary stories is very dependent on the cultural and social traditions of the environment in which the child grows and is brought up. These stories in children from different countries have undoubted similarities in plots, poetic features, and manner of performance. The similarity lies both in the common folkloric roots of scary stories, and in the psychology of little storytellers and listeners, in whose collective life horror stories have a special place and significance.
The heroes of the horror story are conditional and nameless. Their characters are not revealed, and their actions are almost not motivated. They simply represent the clash of the forces of good and evil. In a horror story, you can always find characters suffering - these are members of a fairy-tale family. It is with the hero-child that the narrator identifies himself. The variety of horror story plots is small. As in a fairy tale, they are assembled from traditional semantic building blocks - motives, situations. Almost all of them clearly bear the stamp of the psychological problems of childhood.
Fairy tales: .
Unlike other types of fairy tales, fairy tales are based on a very clear composition and plot. And also, most often, a recognizable set of some universal "formulas" by which it is easy to recognize and distinguish it. This is the standard beginning - "Once upon a time in a certain kingdom in a certain state ...", or the ending "And I was there, drinking honey-beer ...", and the standard formulas of questions and answers "where are you going?", "Are you trying or from the case you are crying, "and others. They help to remember and tell a fairy tale, and decorate it...
The protagonist of the tale is always young. According to the legends of primitive man, wisdom can only be obtained from ancestors. But the ancestors are in another world. Hence all these trips to different copper and other kingdoms, to the underworld and underwater world, to a far distant kingdom - a faraway state. That is why the main character leaves his home, and then from the ordinary world. Searches, battles - everything that the character of a fairy tale does, most often takes place in another strange world.
In a fairy tale, the hero communicates with creatures that you will not meet in life: Koschei the Immortal, Baba Yaga, the many-headed Serpent, giants and dwarfs. Here and unprecedented animals: Deer - Golden horns, Mumps - Golden bristle, Heat - Bird. Often, miraculous objects fall into the hands of the hero: gusli - samogudy, self-made tablecloth, invisibility cap. In such a fairy tale, everything is possible. If you want to become young - eat rejuvenating apples, you need to revive the princess or prince, sprinkle them with dead water, and then with living water.
Women's images of a fairy tale, its heroines are more diverse than men's. Here are the wise maidens, who possess wonderful witchcraft power, beauties, gentle, poetic faithful lovers, who, for the sake of their loved ones, can trample three pairs of iron shoes, break three cast-iron staffs, and gnaw three stone marshmallows.
Next to the main characters are always their wonderful assistants, different in nature, origin, they are united in their role - they complement and complete the actions of the main characters, help them in their struggle, in solving difficult problems, obtaining curiosities, winning the bride.
Positive heroes and heroines, their assistants and amazing objects create an impeccable, bright, joyful world. This world opposes the evil of life, the dark forces.
Author's fairy tales: they are more reverent, figurative than folk ones. If we want to help the patient become aware of his inner experiences, we will probably choose the author's fairy tale. Some author's fairy tales form a negative life scenario, but it develops if the philosophical, spiritual meaning of the fairy tale was not understood (i.e., there was a dominant feeling that led to the choice of a certain moment). Then work with the life scenario should be started with a rethinking of the philosophical meaning of the tale.
Such kind of author's fairy tales as didactic fairy tales are created by teachers for "packaging" educational material. At the same time, abstract symbols (numbers, letters, sounds, arithmetic operations, etc.) are animated, a fabulous image of the world in which they live is created. These tales can reveal the meaning and importance of certain knowledge. Educational tasks are "served" in the form of didactic fairy tales. .
Didactic fairy tales are created by teachers to "package" educational material. At the same time, abstract symbols (numbers, letters, sounds, arithmetic operations, etc.) are animated, a fabulous image of the world in which they live is created. Didactic tales can reveal the meaning and importance of certain knowledge. Educational tasks are "served" in the form of didactic fairy tales.
Psychocorrectional fairy tales are created to gently influence the child's behavior. It tells about many problems of a person, and everyone can recognize himself on the pages of a literary work. Psychotherapeutic fairy tales include fairy tales composed by the child himself and fairy tales composed together with the child. .
Correction here means "replacing" an ineffective style of behavior with a more productive one, as well as explaining to the child the meaning of what is happening. In psycho-correctional fairy tales, the listener (reader) is usually presented with a model of behavior that he can use to overcome his difficulties. At the same time, the events that occur with the hero should be similar to real situations from the lives of children. Through a fairy tale, a child gains the opportunity to realize his own experiences, individual psychological characteristics. Alternative models of behavior, understood thanks to a fairy tale, help the child to see different facets of emerging situations and find new meanings in it.
A literary fairy tale is a whole trend in fiction. Over the long years of its formation and development, this genre has become a universal genre, covering all the phenomena of the surrounding life and nature, the achievements of science and technology.
Just as a folk tale, constantly changing, absorbed the features of a new reality, a literary tale has always been inextricably linked with socio-historical events and literary and aesthetic trends.
The literary tales of the romantics are characterized by a combination of magical, fantastic, ghostly and mystical with modern reality.
A decisive step towards the literary fairy tale was made by the founder of this genre, X. K. Andersen, a writer who argued that fairy tales are "brilliant, the best gold in the world, that gold that glitters with a spark in children's eyes rings with laughter from children's lips and the lips of parents" . Each flower, each street lamp told the storyteller its own story, and he passed it on to the children.
The tales of the Danish writer are filled with a whole gamut of human feelings and moods: kindness, mercy, admiration, pity, irony, compassion. And most importantly, love. The basis of a literary fairy tale can be a fantastic image born of the imagination of a child.
Humor in a literary fairy tale has a different character and has become its hallmark. Sometimes literary fairy tales written for adults become children's favorite reading. Fairy-tale literature with elements of nonsense is very popular among children: paradox, surprise, apparent nonsense, poetic "nonsense". E. Uspensky with his Cheburashka and Gena the crocodile, E. Raud, R. Pogodin showed the inexhaustible possibilities of nonsense.
Literary tale has many faces these days. Among the definitions, the most complete is the wording of L. Yu. Braude: "A literary fairy tale is an author's artistic prose or poetic work, based either on folklore sources, or invented by the writer himself, but in any case subject to his will; a work, predominantly fantastic, depicting wonderful adventures of fictional or traditional fairy-tale characters and in some cases children-oriented; a work in which magic, miracle plays the role of a plot-forming factor, helps to characterize the characters.
"Fairy tale" - from the word "tell". The concept of "fairy tale" acquired its modern meaning in the 17th century. Before that, the word "fable" was used.
As a rule, fairy tales are designed for children. These are epic works of a magical nature. The end of the story is usually happy. The fairy tale helps the child in the process of learning the rules and purpose of life, the need to protect their family values, a worthy attitude towards others.
At the same time, a fairy tale carries a lot of information that is passed down from generation to generation, which helps to shape a person's character and which is based on respect for one's ancestors.
By origin, fairy tales are folklore and author's.
folklore tales
Folklore tales are created by the people of different countries. This is a prose (sometimes poetic) oral account of fictional events at one time or another. A fairy tale does not claim to be authentic (unlike, for example, a myth, epic or legend). The folk tale historically precedes the literary tale, it is anonymous (it does not have a specific author).
The folklore tale has its own specific poetics and cliche(stamps). For example, the beginning “Once upon a time...”, “In a certain kingdom, in a certain state ...”, etc.
Since a folk tale is a work of oral folk art, the plot of a folk tale can be repeated in many texts. It allows improvisation of the performer of the tale. Therefore, the texts of one fairy tale may have variations.
literary tales
Literary tales are closely related to the folk tale, but they have a specific author. Their content is new and non-verbal.
Author's tales
Author's fairy tales are close to literary ones in terms of originality of the plot. But they can be an adaptation of a well-known folklore story, which the author uses at his own discretion: he changes the course of action, adds characters, etc. Usually the term "author's fairy tale" is used for those fairy tales that have an author, i.e. and for literary
The main genres of fairy tales
Animal Tales
Kolobok. Forged Figures Park (Donetsk)
Author: Sigismund von Dobschütz - Own work, from Wikipedia
In these tales, animals, birds, fish, as well as plants, natural phenomena or objects (“Tereshechka”, “Gingerbread Man”, “Ryaba Hen”, “Teremok”, etc.) act as the main characters. Often, fairy tales about animals are magical at the same time - in Russian fairy tales, popular characters are magical animals that can talk and help the main character ("Baba Yaga", "Geese Swans", "By Pike", etc.).
Fairy tales
V. M. Vasnetsov "The Frog Princess" (1918)
The plot of a fairy tale is based on a story about overcoming some obstacles with the help of miraculous means or magical helpers. Usually a fairy tale has the following composition: exposure(the beginning of the main events in the work), eyeballs actions, plot development, climax And interchange. climax- the highest point of development of the action in the work. The culmination of a fairy tale is the hero's victory over an opponent or circumstances ("Ivan Tsarevich and the Gray Wolf", "Morozko", etc.).
Social fairy tales
N. Matorin "Boy-with-finger" (postcard)
Fairy tales of this genre have the same composition as fairy tales, but are more connected with reality. Only the earthly world exists in them, the features of everyday life are realistically conveyed, and the main character is an ordinary person who fights for justice and achieves his goal with the help of ingenuity, dexterity and cunning.
Anecdotal tales
Such tales are a detailed narrative of an anecdote.
A young peasant went to work, and his wife went to see him off; walked a mile and cried.
Don't cry, wife, I'll be right back.
Do I cry about it? My legs are cold!
Fables
Fables (fabulous stories) are fairy tales built on nonsense. They are small in volume and often have the form of rhythmic prose. Fables are a special genre of folklore that is found among all peoples.
“I used to live and wear an ax on my bare foot, gird myself with an ax handle, chop wood with a sash ... Zhona was a beauty ... she looks out the window, so the dogs bark for three days ...” (fragment from “Northern Tales” by N.E. Onchukov).
Oskar Herrfurth "Baron Munchausen and his Chopped Horse"
In fiction, examples of fables include the adventures of Baron Munchausen as presented by Erich Raspe, the adventures of the heroes of Rabelais' novel "Gargantua and Pantagruel", Korney Chukovsky's poem "Confusion".
Collectors of fairy tales
The first collector of folk tales in Europe was the French poet and literary critic Charles Perrault (1628-1703).
F. Lallemald "Portrait of Charles Perrault" (1665)
In 1697, he published the collection Tales of Mother Goose. The collection included 8 prose tales, today world famous:
"Cinderella"
"Puss in Boots"
"Little Red Riding Hood"
"Thumb boy"
"Fairy Gifts"
"Rike-Crest"
"Sleeping Beauty"
"Blue Beard".
In 1704-1717. An abridged edition of the Arabian tales of the Thousand and One Nights, prepared by Antoine Galland for King Louis XIV, was published in Paris. But these were single collections. But the beginning of the systematic collection of fairy-tale folklore was laid by representatives of the German mythological school in folklore - primarily members of the circle of Heidelberg romantics Brothers Grimm: Wilhelm and Jacob.
Elizabeth Yerichau-Baumann "The Brothers Grimm"
In 1812-1814. they published the collection “Home and Family German Tales”, which included the hitherto popular fairy tales “Snow White”, “The Bremen Town Musicians”, “The Wolf and the Seven Kids” and many others. After the appearance of the collection, writers and scientists from other European countries showed interest in their native folklore.
The Brothers Grimm had predecessors in Germany itself: back in 1782-1786. The German writer Johann Karl August Museus compiled the 5-volume collection "Folk Tales of the Germans", which was published only in 1811.
In Russia, Russian folk tales were the first to be collected by the Russian ethnographer Alexander Nikolaevich Afanasiev.
Funny and sad, scary and funny, they are familiar to us from childhood. Our first ideas about the world, good and evil, about justice are connected with them.
Fairy tales are loved by both children and adults. They inspire writers and poets, composers and artists. Based on fairy tales, performances and films are staged, operas and ballets are created. Fairy tales have come to us from ancient times. They were told by poor wanderers, tailors, retired soldiers.
A fairy tale is one of the main types of oral folk art. Artistic narrative of a fantastic, adventure or everyday nature.
Folk tales are divided into three groups:
Tales about animals are the most ancient kind of fairy tale. They have their own circle of heroes. Animals talk and act like people. The fox is always cunning, the wolf is stupid and greedy, the hare is cowardly.
Everyday fairy tales - the heroes of these fairy tales - a peasant, a soldier, a shoemaker - live in the real world and usually fight with a gentleman, priest, general. They win thanks to resourcefulness, intelligence and courage.
Fairy tales - the heroes of fairy tales fight for life and death, defeat enemies, save friends, encountering evil spirits. Most of these tales are connected with the search for a bride or a kidnapped wife.
Tales about animals.
Young children are usually attracted to the world of animals, so they really like fairy tales in which animals and birds act. In a fairy tale, animals acquire human features - they think, speak, and act. In essence, such images bring to the child knowledge about the world of people, not animals.
In this kind of fairy tales, there is usually no distinct division of characters into positive and negative ones. Each of them is endowed with any one trait, an inherent feature of his character, which is played out in the plot. So, traditionally the main feature of the fox is cunning, the wolf is greedy and stupid. The bear has a not so unambiguous image, the bear can be evil, but it can also be kind, but at the same time it always remains a klutz. If a person appears in such a fairy tale, then he invariably turns out to be smarter than the fox, and the wolf, and the bear. Animals in a fairy tale observe the principle of hierarchy: everyone recognizes the strongest and the main one. Is it a lion or a bear. They are always at the top of the social ladder. This brings animal tales closer to fables, which is especially evident from the presence in both of them of similar moral conclusions - social and universal.
There are among the tales about animals and quite scary. The bear eats the old man and the old woman because they cut off his paw. An angry beast with a wooden leg, of course, seems terrible to the kids, but in fact he is the bearer of just retribution. The story gives the child the opportunity to understand a difficult situation.
Russian folk fairy tales, their features.
This is the most popular and favorite genre of children. Everything that happens in a fairy tale is fantastic and significant in its task: its hero, getting into one or another dangerous situation, saves friends, destroys enemies - he fights not for life, but for death. The danger seems especially strong, terrible because his main opponents are not ordinary people, but representatives of supernatural dark forces: the Serpent Gorynych, Baba Yaga, Koschey the Immortal, etc. By defeating this evil spirits, the hero, as it were, confirms his high human principle, closeness to the light forces of nature. In the struggle, he becomes even stronger and wiser, makes new friends and gets the full right to happiness - to the satisfaction of little listeners.
In the plot of a fairy tale, the main episode is the beginning of the hero's journey for the sake of one or another important task. On his long journey, he meets with insidious opponents and magical helpers. Very effective means are at his disposal: a flying carpet, a wonderful ball or mirror, or even a talking animal or bird, a swift horse or wolf. All of them, with some conditions or without them at all, in the blink of an eye fulfill the requests and orders of the hero.
Russian folk social fairy tales, their features.
Everyday (satirical) fairy tale is closest to everyday life and does not even necessarily include miracles. Approval or condemnation is always given in it openly, the assessment is clearly expressed: what is immoral, what is worthy of ridicule, etc. Even when it seems that the characters are just fooling around, amusing the listeners, their every word, every action is filled with significant meaning, connected with important aspects of a person's life.
The constant heroes of satirical tales are "simple" poor people. However, they invariably prevail over the "difficult" - rich or noble person. Unlike the heroes of a fairy tale, here the poor achieve the triumph of justice without the help of wonderful helpers - only thanks to intelligence, dexterity, resourcefulness, and even fortunate circumstances.
For centuries, the everyday satirical tale has absorbed the characteristic features of the life of the people and their relationship to those in power, in particular to judges and officials.
In everyday fairy tales, animal characters sometimes appear, and perhaps the appearance of such abstract characters as Truth and Falsehood, Woe-Misfortune. The main thing here is not the selection of characters, but a satirical condemnation of human vices and shortcomings.
Sometimes such a specific element of children's folklore as a changeling is introduced into a fairy tale. In this case, a shift in the real meaning arises, prompting the child to the correct arrangement of objects and phenomena. In a fairy tale, the changeling becomes larger, grows up to an episode, and is already part of the content. Displacement and exaggeration, hyperbolization of phenomena give the baby the opportunity to both laugh and think.
A fairy tale is a specific phenomenon that unites several genres. Russian fairy tales are usually divided into the following genres: about animals, magical and everyday (anecdotal and novelistic). In historical terms, fairy tales are a rather late phenomenon. The prerequisite for their creation in each nation was the decomposition of the primitive communal system and the decline of the mythological worldview. The most ancient are fairy tales about animals, later fairy tales and anecdotes appeared, and even later short stories.
The main artistic feature of fairy tales is their plot. The plot arose due to the conflict, and the conflict was generated by life. At the heart of a fairy tale there is always an antithesis between a dream and reality. In the world of a fairy tale, a dream triumphs. In a fairy tale, the main character always appears, the action unfolds around him. The victory of the hero is an obligatory setting of the plot, the fairy-tale action does not allow a violation of the chronology or the development of parallel lines, it is strictly sequential and one-line.
Fairy tales can be combined in one story. This phenomenon is called contamination (from Latin contaminatio - "mixing.
Fairy-tale plots have the usual epic development: exposition - plot - development of action - climax - denouement. Compositionally, a fairy tale plot consists of motives. A fairy tale usually has a main, central motif. Fairy tale motifs are often tripled: three tasks, three trips, three meetings, etc. This creates a measured epic rhythm, a philosophical tone, and restrains the dynamic impetuousness of the plot action. But the main thing is that triplings serve to reveal the idea of the plot. Elementary plots consist of only one motif (probably ancient myths were such). A more complex type are cumulative plots (from Latin cumulare - "increase, accumulation") - resulting from the accumulation of chains of variations of the same motif. Telling fairy tales they used traditional beginnings and endings - initial and final formulas. They were used especially consistently in fairy tales. The most typical are: In a certain kingdom, in a certain state, there lived...(beginning); Made a feast for the whole world. And I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth(ending). The beginning took the listeners out of reality into the world of a fairy tale, and the ending brought them back, jokingly emphasizing that the fairy tale is the same fiction as the very same honey beer, which did not enter the mouth.
Tales about animals (or animal epic) are distinguished by the main feature that their main characters are animals. Structurally, the works of the animal epic are diverse. There are single-motif tales ("The Wolf and the Pig", "The Fox drowns the jug"), but they are rare, since the principle of repetition is very developed. First of all, it manifests itself in various types of cumulative plots. Among them - a three-time repetition of the meeting ("Bast and ice hut"). Plots are known with a multiple line of recurrence ("Foolish Wolf"), which can sometimes claim to develop into a bad infinity ("The Crane and the Heron"). But most often cumulative plots are presented as multiply (up to 7 times) increasing or decreasing frequency. The last link has a resolving possibility.
For the composition of fairy tales about animals, contamination is of great importance. Only in a small part of these tales are stable plots, but in the main, the index does not reflect plots, but only motives. The motifs connect with each other in the process of storytelling, but are almost never performed separately.
The genre form of the fairy tale was determined in folklore rather late, only after the decline of the mythological worldview. The hero of a fairy tale is an ordinary person, morally and economically infringed as a result of the historical reconstruction of the everyday way of life. Actually, the fairy tale conflict is a family conflict, it is in it that the social nature of the fairy tale genre is manifested. Two conflicts of different historical depths - mythological and family - are united within the same genre thanks to the image of the protagonist, who in all his modifications combines mythological and real (everyday) features.
From mythology, the tale inherited two types of hero: "high" (hero) and "low" (fool); the fairy tale itself generated the third type, which can be defined as "ideal" (Ivan Tsarevich). A hero of any type, as a rule, is the third, younger brother and is named Ivan.
The most ancient type of hero is the hero miraculously born from a totem. Endowed with great physical strength, he expresses the early stage of human idealization. Around the extraordinary strength of the hero. The main role of the heroine of a fairy tale is to be an assistant to the groom or husband. The fairy tale is one of the largest narrative forms of classical folklore. All her plots retain the traditional uniformity of the composition: his kingdom road to another kingdom - V another kingdom - road from another kingdom - his own kingdom. According to this narrative logic, a fairy tale unites a chain of motifs into a whole (into a plot).
Traditional stylistics played a certain role in the construction of fairy-tale plots: beginnings, endings, as well as internal formulas of a compositional nature.
The presence of formulas is a clear sign of the style of a fairy tale. Many formulas are pictorial in nature, associated with wonderful characters, they are a kind of marking.
The fairy tale actively used the poetic style common to many folklore genres: comparisons, metaphors, words with diminutive suffixes; proverbs, sayings, jokes; various nicknames for people and animals Formulas depicting a wonderful horse, Baba Yaga, are widely known. Some fairy tale formulas go back to conspiracies, they retain clear signs of magical speech (calling a wonderful horse,
Household fairy tales. In everyday fairy tales, a different view of a person and the world around him is expressed. At the heart of their fiction are not miracles, but reality, folk everyday life.
The events of everyday fairy tales always unfold in one space - conditionally real, but these events themselves are incredible. Due to the improbability of events, everyday fairy tales are fairy tales, and not just everyday stories. Their aesthetics requires an unusual, unexpected, sudden development of action. In everyday fairy tales, purely fantastic characters sometimes appear, such as the devil, grief, share. The plot develops due to the hero's collision not with magical forces, but with difficult life circumstances. The hero comes out unscathed from the most hopeless situations, because he is helped by a happy coincidence of events. But more often he helps himself - with ingenuity, resourcefulness, even trickery. Everyday fairy tales idealize the activity, independence, intelligence, courage of a person in his life struggle.
The artistic sophistication of the narrative form is not characteristic of everyday fairy tales: they are characterized by brevity of presentation, colloquial vocabulary, and dialogue. Everyday fairy tales do not tend to triple motives and generally do not have such developed plots as fairy tales. Tales of this type do not know colorful epithets and poetic formulas.
Of the compositional formulas, the simplest concept is common in them Once upon a time, there were as a signal for the beginning of a fairy tale. It is archaic in origin.
The artistic framing of everyday fairy tales with beginnings and endings is not mandatory, many of them begin right from the beginning and end with the final touch of the plot itself.
Anecdotal tales. Researchers call everyday anecdotal tales differently: "satiric", "satiric-comic", "everyday", "social everyday", "adventurous". They are based on universal laughter as a means of resolving conflict and destroying the enemy. The hero of this genre is a person humiliated in the family or in society: a poor peasant, a hired worker, a thief, a soldier, a simple-hearted fool, an unloved husband. His opponents are a rich man, a priest, a gentleman, a judge, a devil, "smart" older brothers, an evil wife.
No one accepts such stories as reality, otherwise they would only cause a feeling of indignation. An anecdotal tale is a hilarious farce, the logic of the development of its plot is the logic of laughter, which is opposite to ordinary logic, is eccentric. The anecdotal tale took shape only in the Middle Ages. She absorbed later class contradictions: between wealth and poverty, between peasants. In fairy tales, realistic grotesque is used - fiction based on reality. The tale uses the technique of parody, comic word creation. Anecdotal tales can have an elementary, one-motif plot. They are also cumulative ("Stuffed fool", "Good and bad"). But their especially characteristic property is a free and mobile composition, open to contamination.
Novels tales. Everyday novelistic tales introduced a new quality into narrative folklore: an interest in the inner world of a person.
The theme of short stories is personal life, and the characters are people related to each other by premarital, marital or other family relationships. The heroes of short stories are separated lovers, a slandered girl, a son expelled by his mother, an innocently persecuted wife. According to the content in this genre, the following groups of plots are distinguished: about marriage or marriage ("Signs of the Princess", "Unsolved Riddles"); about testing women ("Dispute about fidelity of the wife", "Seven years"); about robbers ("Groom-robber"); about the predetermination of the predicted fate ("Marko the Rich", "Truth and Falsehood"). Often the plots are "wandering", developed at different times and among many peoples.
In the Russian fairy tale, many short stories came from folk books of the 17th-18th centuries. together with extensive translated literature - chivalric novels and stories. Short stories have a structure similar to fairy tales: they also consist of a chain of motifs with different content. However, unlike fairy tales, short stories depict not the whole life of the hero, but only some episode from it.
