Topic: Compositional parts of a fairy tale: saying, beginning, ending.
Target: Systematization of knowledge on the theory of literature (compositional derivatives)
Tasks for students:
1. Know the compositional parts of a fairy tale.
2. Learn to find them in the text.
3. Compose a fairy tale by compositional parts.
Expected results:
1. Know which composite parts consists of a fairy tale and their definition.
2. They know how to find compositional parts in the text.
3. Compose your own fairy tale using all its compositional parts.
During the classes.
I . motivational stage.
1.Psychological mood for the lesson.
Showing the cartoon "Teamwork" on interactive whiteboard.
Questions after watching:
2. Formation of groups.
The teacher appoints group leaders:
Choose one student for yourself - the speaker, the speaker will choose the secretary, the secretary - the time speaker.
Show how you feel in this group with an emoji.
Repetition of the rules of work in groups.
4. Goal setting.
Teacher.
Read the text on the cards and take notes. (Method "Insert")
Students read the text of the card and make notes:
"!" - I know, I agree;
"-" - do not agree;
"+" - interesting and unexpected;
"?" - I don't know, I want to know.
After filling in the table, the class is asked a question:
What interested you in working with the spreadsheet? (They answer and stop at the mark “I don’t know, I want to know”
I want to help you get new knowledge. Determine the topic of today's lesson.
What is a saying, beginning, ending in a fairy tale.
For what purpose do you want to know this?
To find a saying, a beginning, an ending in fairy tales. In order to correctly compose an interesting beautiful fairy tale.
Let's write the topic of the lesson in a notebook.
II . Operational stage.
1. Definition of compositional parts. Work in pairs. Method "Forecasting".
Teacher: Each pair has a card. Consider and try to determine with the help of arrows a saying, beginning, ending. (Two cards are used)
1 option
Name_________1) Oh doo-doo! On oak
The raven roared into the chimney.
And miracles began:
The skies turned blue
Sails out to sea
Dark forests have risen.
2) There lived a grandfather and a woman. Grandfather says to grandmother:
You, woman, bake pies, and I will harness the sleigh, I will go for fish ....
3) So they began to live - live and make good.
ENDING
TELL
START
Option 2.
Name_________1) And in a forest hut
Furnace fired up
Cloudberry pies
Bunny started baking.
Eat pies,
Listen to the story.
2) In the old days, one king had three sons. So, when the sons became old, the king gathered them and said:
My dear sons, while I am still not old, I would like to marry you, look at your children, at my grandchildren ...
3) And I was there. He drank honey-beer, it flowed down his mustache, but it didn’t get into his mouth.
ENDING
TELL
START
2. Check. Mutual verification of pairs by key in the textbook (pp. 39-40. Literary reading, Grade 2)
Who determined correctly? For those who didn’t succeed, don’t be discouraged, now you will read the exact definition of concepts and will be able to correctly find a saying, beginning and ending in fairy tales. ( Independent reading rules in the textbook pp.39-40. group work)
How is a fairy tale different from a story?
There is no beginning or end to the story.
How do we distinguish a fairy tale?
The words "once upon a time," "once upon a time." positive and bad guys. Good and evil. Good wins.
3. Determination of the sequence of compositional parts of the tale. (Group work)
Arrange the cards with the names of the compositional parts in the order in which you think the compositional parts are located in the fairy tale.
Cards:
Saying
beginning
ending
4. Verification by the "Delegation" method. Delegates from groups go to other groups and look at the work done. Leave your thoughts, assessment and suggestions on the sticker. Each group has a speaker who presents the work of his group.
Saying
beginning
ending
5. Fizminutka "Fun exercise" on the interactive board.
6. Consolidation of the studied material.
Cards with multi-level tasks. (Justify your choice)
1 level.
Task: Read the story and divide it into compositional parts.
The story will be interesting. Listen to her carefully. Whoever opens his ears wide will learn a lot of all sorts of things. And who accidentally falls asleep - he will leave with nothing.
Once in the spring, an icicle lived on the roof of a house, which really wanted to have a scarf.
And then one morning a little girl ran past. The little girl was in a hurry Kindergarten and did not notice how the scarf from her shoulders fell directly onto the asphalt. Icicle, in her youth and inexperience, thought that the scarf had been left as a gift for her. All morning she thought about how to get to the scarf. The day came, the sun shone brightly and strongly. The icicle, carried away by its thoughts, slowly melted and dripped down drop by drop, right on the kerchief... She did not even notice how the whole melted... The kerchief, wet from the water, dried up in the evening under the sun's rays. And in the evening, the girl, returning home from the kindergarten, found her in the very place where she left in the morning. That's the end of the fairy tale, and who listened well done!
2nd level.
Cards with cut text.
Task: Read the story, putting together the parts correctly.
In that old time, when the world of God was filled with goblin, witches and mermaids, when milky rivers flowed, the banks were jelly, and fried partridges flew across the fields, at that time there lived a king named Peas ...
In the old, ancient times, King Peas fought with mushrooms.
Mushroom boletus, colonel over the mushrooms, sitting under the oak tree, looking at all the mushrooms, began to order:
- Come you, whites, to my war!
Whites refused:
- We are pillar noblewomen! Let's not go to war!
- Come you, redheads, to me for war! Refused mushrooms:
We are rich men! Let's not go to war!
- Come you, volnushki, to me for war! Waves have given up.
- We, volnushki, are old women! Let's not go to war!
- Come you, honey mushrooms, to me for war! Refused honey mushrooms:
- Our legs are very thin! Let's not go to war!
- Come, milk mushrooms, to my war!
- We, milk mushrooms, are friendly guys! Let's go to war!
So the mushrooms of the king of Peas won!
And I was there. I drank honey-beer for the victory. It ran down his mustache, but it didn't get into his mouth.
Level 3 (talented and gifted)
Task: Orally compose a fairy tale using all the compositional parts.
7. Presentation of the work done by the speakers of the groups.
III .Reflection.
1. Checking the assimilation of the topic.
You have a test. Review what you learned today and answer the questions.
Mini test.
1. Saying
a) the idea of a fairy tale, its characters
b) lure to a hearing
c) good triumphs over evil.
2.Start
a) the idea of a fairy tale, its characters
b) lure to a hearing
c) good triumphs over evil.
3.Ending
a) the idea of a fairy tale, its characters
b) lure to a hearing
c) good triumphs over evil.
2. Check.
Look at the whiteboard and check your work (key on the interactive whiteboard)
Please rate your test.
If:
all answers are correct - emoticon "smiles"
one, two answers are not correct - emoticon "sad"
3. The result of the lesson - the technique "Unfinished sentences"
They speak in a circle in one sentence, choosing the beginning of the phrase from the reflective screen on the board.
Today I found out....
It was interesting…..
It was difficult….
I have been doing assignments...
I realized that…..
Now I can….
I felt that….
I purchased….
I learned….
I managed…
4. Homework.
Repeat the rule on page 39-40.
Compose a saying, beginning or ending - at will to choose from.
I. To the history of the issue
<...>The most common division of fairy tales is the division into fairy tales with wonderful content, everyday fairy tales, fairy tales about animals. At first glance, everything seems right. But the question involuntarily arises: do not fairy tales about animals contain an element of the miraculous, sometimes to a very large extent? And vice versa: don't they play wonderful tales very big role just animals? Can such a sign be considered accurate enough? Afanasiev, for example, classifies the tale of the fisherman and the fish as one of animal tales. Is he right or not? If wrong, then why? Below we will see that the tale with the greatest ease ascribes the same actions to people, objects and animals. This rule is mostly true of so-called fairy tales, but it is found in fairy tales in general. One of the most famous examples in this regard is the tale of the division of the harvest (“For me, Misha, tops, for you - roots”). In Russia, the deceived is the bear, but in the West, the devil. Consequently, this tale, with the involvement of the Western version, suddenly falls out of the series of tales about animals. Where does she go? It is clear that this is not everyday fairy tale, for where has it been seen that in everyday life the harvest is divided in this way? But this is not a fairy tale with a wonderful content. It does not fit in this classification at all.
Nevertheless, we will argue that the above classification is fundamentally correct. The researchers here were guided by instinct, and their words do not correspond to what they really felt. It is unlikely that anyone will be mistaken in referring the tale of the firebird and gray wolf to stories about animals.
It is also quite clear to us that Afanasiev was mistaken with the tale of the golden fish. But we see this not because animals figure or do not figure in fairy tales, but because fairy tales have a very special structure, which is immediately felt and determines the category, although we are not aware of this.<...>
If the situation with the division into categories is unfavorable, then with the division into plots, complete chaos begins.<...>Fairy tales have one feature: the constituent parts of one fairy tale can be transferred to another without any change. Below this law of displacement will be elucidated in more detail, but for now we can limit ourselves to pointing out that, for example, Baba Yaga can be found in a wide variety of fairy tales, in a variety of plots. This trait is specific feature folk tale. Meanwhile, despite this feature, the plot is usually defined as follows: one part of the tale is taken (often random, just eye-catching), the preposition “o” is added, and the definition is ready. So, a fairy tale in which there is a fight with a snake is a fairy tale “about snake fighting”, a fairy tale in which there is Koschey is a fairy tale “about Koschey”, etc., and there is no single principle in the choice of defining elements. If we now recall the law of displacement, then with logical inevitability we get confusion, or, to be more precise, a cross-division, and such a classification always distorts the essence of the material being studied. Added to this is the inconsistency of the basic principle of division, i.e., one more of the most elementary rules of logic is violated. This state of affairs continues up to the present day.
We will illustrate this point with two examples. In 1924, a book appeared about the tale of the Odessa professor R. M. Volkov. Volkov from the very first pages of his work determines that fantasy tale knows fifteen stories. These stories are as follows:
1) 0 innocent persecuted.
2) About the hero-fool.
3) About three brothers.
4) About snake fighters.
5) About obtaining brides.
6) About the wise maiden.
7) About the cursed and enchanted.
8) About the owner of the talisman.
9) About the owner of wonderful objects.
10) About an unfaithful wife, etc.
How these fifteen plots are established is not specified. If you look at the principle of division, then you get the following: the first category is determined by the plot (we will see below what the plot is really here), the second - by the character of the hero, the third - by the number of heroes, the fourth - by one of the moments of the course of action, etc. e. Thus, the principle of division is generally absent. It's really chaos.<...>
Having touched upon the question of the classification of plots, we cannot pass over in silence the index of tales by Anti Aarne. Aarne is one of the founders of the so-called Finnish school. This is not the place to give a proper assessment of this trend. We only point out that in scientific literature there is a fairly significant number of articles and notes on options for individual plots. Such options are sometimes mined from the most unexpected sources. Gradually, a lot of them accumulate, but there is no systematic development. This is where the attention of this direction is mainly directed. Representatives of this school extract and compare variants of individual plots according to their worldwide distribution. The material is grouped geo-ethnographically according to a well-known, developed system, and then conclusions are drawn about the basic structure, distribution and origin of the plots. However, this approach also raises a number of objections. As we will see below, the plots (especially the plots of fairy tales) are closely related to each other. It is possible to determine where one plot with its variants ends and where another begins only after an inter-plot study of fairy tales and an accurate fixation of the principle of selecting plots and variants. But this is not. The movability of elements is also not taken into account here. The works of this school proceed from the unconscious premise that each plot is something organically integral, that it can be snatched from a number of other plots and studied independently.
Meanwhile, the completely objective separation of one plot from another and the selection of options is not at all a simple matter. The plots of the tale are so closely interconnected, so intertwined one with the other, that this question requires a special preliminary study before the selection of plots. Without such a study, the researcher is left to his own taste, while an objective separation is even simply impossible. (...)
But, be that as it may, the methods of this school first of all demanded a list of plots.
The compilation of such a list was undertaken by Aarne.
This list entered international use and rendered the greatest service to the study of the tale: thanks to Aarne's index, the ciphering of the tale became possible. The plots are called Aarne types, and each type is numbered. Brief symbol fairy tales (in this case - a reference to the index number) is very convenient.
But along with these advantages, the index also has a number of significant drawbacks: as a classification, it is not free from the mistakes that Volkov makes. The main categories are as follows: I. Tales about animals. II. Actually fairy tales. III. Jokes. We can easily recognize the old methods, rearranged for new way. (It is somewhat strange that fairy tales about animals do not seem to be recognized as fairy tales proper.) Next, I want to ask: do we have such precise study the concept of an anecdote, so that it can be used completely calmly ... We will not go into the details of this classification, but will dwell only on the fairy tales that he singled out as a subclass. Let us note by the way that the introduction of subcategories is one of the merits of Aarne, for the division into genera, species and varieties was not developed before him. Fairy tales, according to Aarne, cover the following categories: 1) a wonderful adversary, 2) a wonderful husband (wife). 3) miraculous task, 4) miraculous helper, 5) miraculous object, 6) miraculous power or skill, 7) other miraculous motives. In relation to this classification, objections to Volkov's classification can be repeated almost verbatim. What about, for example, those tales in which a wonderful task is solved by a wonderful helper, which happens very often, or with those tales in which a wonderful wife is a wonderful helper?
True, Aarne did not seek to create a proper scientific classification: his index is important as a practical guide, and as such it is of great importance. But Aarne's pointer is dangerous to others. He inspires misconceptions on the merits. In fact, there is no clear division into types; it is very often a fiction. If there are types, then they do not exist in the same plane as Aarne outlines, but in the plane structural features similar tales but more on that later. The closeness of the plots to each other and the impossibility of a completely objective distinction leads to the fact that when classifying a text as one type or another, one often does not know which number to choose. The correspondence between the type and the text being defined is often only very approximate. (...)
Thus, we see that the situation with the classification of the fairy tale is not entirely successful. (...)
We pass on to another most important field of study of the tale: to the description of it in essence. Here one can observe the following picture: very often, researchers who touch on the issues of description do not deal with classification (Veselovsky). On the other hand, classifiers do not always describe the tale in detail, but study only some aspects of it (Wundt). If one researcher is engaged in both, then the classification does not follow the description, but the description is carried out within the framework of a biased classification.
A. N. Veselovsky spoke very little about the description of the fairy tale. But what he says matters a lot. Veselovsky understands a plot as a complex of motives. The motive can be timed to coincide with various plots 4. (“A series of motives is a plot. A motive grows into a plot.” “Plots vary: some motives invade plots, or plots are combined with each other.” “By plot, I mean a topic in which they scurry different positions- motives.”) For Veselovsky, the motive is something primary, the plot is secondary. The plot for Veselovsky is already an act of creativity, connection. From this follows for us the need to study fairy tales not so much by plots, but primarily by motives.
If the science of fairy tales had better accustomed itself to Veselovsky's precept: "to delimit the question of motives from the question of plots", then many ambiguities would have already been eliminated.
But Veselovsky's position on motives and plots is only general principle. Veselovsky's specific interpretation of the term motive can no longer be applied at the present time. According to Veselovsky, the motif is an indecomposable unit of narration. (“By motive, I mean the simplest narrative unit.” “The sign of a motive is its figurative, one-term schematism; such are the elements of lower mythology and fairy tale that cannot be further decomposed”). However, the motives that he cites as examples are decomposed. If the motive is something logically whole, then every phrase of the fairy tale gives a motive (“the father has three sons” - a motive; “the stepdaughter leaves the house” - a motive; “Ivan fights a snake” - a motive, etc.). It wouldn't be so bad at all if motives didn't really decay. This would make it possible to compile an index of motives. But let's take the motive "the snake kidnaps the king's daughter" (an example not of Veselovsky). This motif is decomposed into four elements, of which each individually can vary. The serpent can be replaced by Koshchei, whirlwind, devil, falcon, sorcerer. Abduction can be replaced by vampirism and various deeds by which disappearance is achieved in a fairy tale. A daughter can be replaced by a sister, fiancee, wife, mother. The king can be replaced by a king's son, a peasant, a priest. Thus, contrary to Veselovsky, we must assert that the motive is not monomial, not indecomposable. The last decomposable unit as such is not a logical or artistic whole. Agreeing with Veselovsky that the part for description is more primary than the whole (and, according to Veselovsky, the motive is also primary in origin than the plot), we will subsequently have to solve the problem of identifying some primary elements differently than Veselovsky does. (...)
The study of the structure of all kinds of fairy tales is the most necessary preliminary condition historical study fairy tales. The study of formal patterns predetermines the study of historical patterns.
However, such conditions can only be met by a study that reveals the laws of structure, and not one that is an external catalog of the formal devices of the art of fairy tales.<...>
//. Method and material
First of all, let's try to formulate our problem.
As already mentioned in the preface, the work is devoted to fairy tales. The existence of fairy tales as a special category is admitted as a necessary working hypothesis. (...) We undertake an inter-plot comparison of these tales. For comparison, we single out the constituent parts of fairy tales according to special tricks(see below) and then compare the tales according to their constituent parts. The result is a morphology, that is, a description of the tale in terms of its constituent parts and the relationship of the parts to each other and to the whole.
By what methods can an accurate description of a fairy tale be achieved?
Compare the following cases:
1. The king gives the brave eagle. The eagle takes the daring man to another kingdom...
2. Grandfather gives Suchenka a horse. The horse takes Suchenko to another kingdom...
3. The sorcerer gives Ivan a boat. The boat takes Ivan to another kingdom...
4. The princess gives Ivan a ring. Well done from the ring take Ivan to another kingdom ... etc.
In these cases, there are constants and variables. The names change (and with them the attributes) actors, their actions, or functions, do not change. Hence the conclusion that a fairy tale often ascribes the same actions to different characters. This gives us the opportunity to study the fairy tale in terms of the function of the action of the characters.
We will have to determine to what extent these functions really represent the repeated, constant dimensions of the tale. The posing of all other questions will depend on the solution of the first question: how many functions are known to the fairy tale?
Research will show that the repeatability of functions is astounding. So, the Baba Yaga, and Frosty, and the bear, and the goblin, and the mare's head test and reward the stepdaughter. Continuing observations, we can establish that the characters of the tale, no matter how diverse they may be, often do the same thing. The very way of implementing functions can change: it is a variable value. Morozko acts differently than Baba Yaga. But a function as such is a constant value. For the study of a fairy tale, the question is important, what do fairy tale characters, and the question of who does and to and to does is only a matter of adventitious study.
The functions of the actors are those components that can replace Veselovsky's motives... (...) Looking ahead, we can say that there are extremely few functions, and there are extremely many characters. This explains the dual quality fairy tale: on the one hand, its amazing diversity, its variegation and brilliance, on the other hand, its no less amazing uniformity, its repetition.
So, the functions of the characters are the main parts of the tale, and we must first of all single them out. To highlight functions, they must be defined. The definition must come from two points of view. First, the definition should in no case be considered with the character-executor. The definition is most often a noun expressing an action (prohibition, questioning, flight, etc.). Secondly, the action cannot be defined outside of its position in the course of the narrative. The value to be taken into account is given function has in the course of action. So, if Ivan marries a princess, then this is completely different than the marriage of a father to a widow with two daughters. Another example: if in one case the hero receives a hundred rubles from his father and subsequently buys himself a prophetic cat with this money, and in another case the hero is rewarded with money for perfect heroism and the fairy tale ends there, then we have, despite the similarity of the action (transfer of money ), morphologically distinct elements. Thus, the same actions can have different meaning, and vice versa.
A function is understood as an act of an actor, defined in terms of its significance for the course of action.
The above observations can be briefly formulated as follows:
I. The constant, stable elements of the tale are the functions of the characters, regardless of who and how they perform. They form the main components of the tale.
II. The number of functions known to a fairy tale is limited.
If the functions are singled out, then another question arises: in what grouping and in what sequence do these functions occur? First of all, about the sequence. It is believed that this sequence is random. The sequence of elements, as we will see below, is strictly the same. Freedom in sequence is limited by very narrow limits, which can be given exactly. We obtain the third main thesis of our work, which is subject to further development and proof.
III. The sequence of functions is always the same. It should be noted that this pattern applies only to folklore. It is not a feature of the fairy tale genre as such. Artificially created fairy tales are not subject to it. As regards grouping, it should first of all be said that not all fairy tales provide all functions. But this does not change the law of succession at all. The absence of some functions does not change the order of the rest. We shall dwell on this phenomenon for a moment, but for the time being we shall deal with groupings in the proper sense of the word. The very posing of the question prompts the following assumption: if functions are singled out, then it will be possible to trace which tales give the same functions. Such fairy tales with the same functions can be considered of the same type. On this basis, an index of types can subsequently be created, built not on plot features, somewhat vague and vague, but on precise structural features. Indeed, it will be possible. But if we continue to compare structural types with each other, then we get the following, already completely unexpected observation: functions cannot be distributed over rods that exclude each other. This phenomenon . famous fairy tale functions will be placed in one story, none of them falls out of the series, none excludes the other and does not contradict it. Such a conclusion could not have been foreseen. It was, of course, to be expected that where there is a function A, there could not be known functions belonging to other stories. It was expected that we will receive several rods, but the rod turns out to be one for all fairy tales. They are of the same type, and the compounds discussed above are subtypes. At first glance, this conclusion seems ridiculous, even wild, but it can be verified by the most exactly. This uniformity is the hardest problem... This phenomenon will raise a number of questions. Thus we arrive at the fourth main thesis of our work:
IV. All fairy tales are of the same type in their structure.
The study of the fairy tale can in many respects be compared with the study of organic formations in nature. Both the naturalist and the folklorist deal with types and varieties of phenomena identical in essence. The question of the "origin of species" posed by Darwin can also be posed in our field.
The similarity of phenomena both in the realm of nature and in our country does not lend itself to a direct, exactly objective and absolutely convincing explanation. It presents a problem. Both here and there, two points of view are possible: either the internal similarity of two externally unrelated and unconnected phenomena is not raised to a common genetic root- the theory of independent generation of species, or this morphological similarity is the result of a known genetic connection - the theory of origin by metamorphoses and transformations, erected to one reason or another.
In order to resolve this issue, first of all, it is necessary to highlight the question of the nature of the similarity of fairy tales. Until now, this similarity has always been determined by the plot and its variants. This method is acceptable only if one takes the point of view of the independent origin of species. Proponents of this method do not compare plots with each other, and such a comparison is considered impossible or, in any case, erroneous.
Without denying the usefulness of plot-by-plot study and comparison only from the point of view of plot similarity, one can put forward another method, another unit of comparison. Fairy tales can be compared in terms of composition or structure, and then their similarities will appear in a new light.
It can be observed that the characters of fairy tales, no matter how diverse they may be in their appearance, age, gender, occupation, in their nomenclature and other static, attributive features, do the same thing in the course of action. This determines the ratio of constant values to variable values. The functions of the actors are constants, everything else can change.
- The tsar sends Ivan for the princess. Ivan leaves.
- The tsar sends Ivan for a curiosity. Ivan leaves.
- The sister sends her brother for medicine. Brother is leaving.
- The stepmother sends the stepdaughter for fire. The stepdaughter is leaving.
- The blacksmith sends the farmhand for the cow. Batrak is leaving. etc.
Sending and going out in search are constants.
The sending and departing characters, the motivation for sending, etc., are variable quantities. In the future, the stages of searches, obstacles, etc., can again coincide in essence, not coinciding in their design into images. The functions of the actors can be distinguished.
Fairy tales know 31 functions. Not all fairy tales provide all the functions, but the absence of some does not affect the alternation of others. Their combination forms one system, one composition. This system is found to be extremely stable and extremely widespread.
The researcher gets the opportunity to determine exactly that, for example, the ancient Egyptian tale of two brothers, and the tale of the firebird, the tale of Frost, the fisherman and the fish, as well as a number of myths, admit a general concept. This is confirmed by the analysis of the details. 31 functions do not exhaust the system. Such a motive as "Baba Yaga gives Ivan a horse" consists of four elements, of which only one is a function, and the other three elements are static.
All elements, all constituent parts the tale knows about 150. Each of these elements can be titled according to its significance for the course of action. So, in the above example, the Baba Yaga is a gifting character, the word “transfers” represents a moment of supply, Ivan is a gifted character, a horse is a gift.
If the titles for all 150 elements of a fairy tale are written out in the order in which it is dictated by the fairy tale itself, then all fairy tales will be written out under such a table, and vice versa: everything that subscribes to such a table is a fairy tale, everything that is not signs, - there are fairy tales of a different formation, of a different category.
These components are subject to comparison. This would correspond in zoology to the comparison of vertebrae with vertebrae, teeth with teeth, etc. But there is one thing between organic formations and a fairy tale. big difference, which makes our task easier.
Whereas there a change in one part or one feature leads to a change in another feature, in a fairy tale each part can change independently of the other parts.
This phenomenon has been noted by many researchers, although so far there have been no attempts to draw all methodological and other conclusions from it. So Kron, while agreeing with Spies on the question of the transposition of constituent parts, nevertheless considers it necessary to study the tale in whole formations, and not in parts, without putting forward weighty arguments for his position (characteristic of a representative of the Finnish school). We draw the conclusion from this that it is possible to study the constituent parts of a fairy tale, regardless of what plot they enter into. The study of headings along the vertical reveals the norms, the ways of transformations.
What is true for each element individually will be true for whole formations due to the mechanical connection of the constituent parts.
V.Ya. Propp. Poetics of folklore - M., 1998
11.03.2016
A fairy tale like any other literary genre, has a clear structure. If you follow it, then you will easily succeed entertaining story for children and adults. And the well-known linguist V. Ya. Propp developed a model for constructing magical stories. Based on his writings, we can say that the structure of the tale is based on the following rules:
1. The main and invariable element is the functions or actions of the main characters. They connect the storylines. A novice storyteller needs to remember that all the actions of the characters should influence the course of history. Otherwise, they are simply not needed.
2. The number of functions is limited. Propp singled out only 31 actions, known to the world fairy tale.
3. The sequence of functions is the same regardless of the storyline. 
In a fairy tale, there are only 7 roles for characters. These are: the sender, the princess or her father, the hero, the false hero, the helper, the giver and the antagonist. However, all the characters involved can transform and change roles.
The structure of a folk tale: details
Any magical story begins with a preparatory part. Here are the possible options:
1. Absence. One of the characters leaves, goes to war, etc.
2. Prohibition. The hero receives some indication. For example, do not go off the trail or do not enter the room.
3. Violation. The hero forgets about the ban.
4. Finding out. The antagonist is trying to get information.
5. Issuance of information.
6. Trick. The actor tries on himself new image. As an example, we can recall how the Wolf imitated the voice of the Mother Goat.
7. Aiding. The hero performs an action with the participation of another character (for example, eats poisoned food).
8. Initial trouble or shortage. The hero disappears or falls ill, the princess is kidnapped, and so on.
The preparatory part is followed by a tie. In the structure of a fairy tale, it is expressed by the following functions:
1. Mediation. The hero receives information or guidance from another character.
2. Beginning resistance. Main character receives permission to "try his luck" in an action unusual for him.
3. Sending. The hero is on his way. 
The main part involves the appearance of the donor. Establishing contact with him requires a reaction on the part of the hero. Then he receives a magical remedy (potion, horse, magic phrase, etc.). Together with the gift, the hero moves to another kingdom. Here he is sure to be wrestled and branded (obtaining a special sign by which he can always be recognized). After the victory of the hero, the shortage from the preparatory part is eliminated: the king recovers, the king-maiden comes out of the dungeon. Then the hero returns home. At this stage, the pursuit and salvation from it is possible.
Sometimes a fairy tale can continue with an additional line. A false hero is already at work in it. He commits sabotage (stealing prey, for example) and real hero once again forced to go on a journey and find a new magical remedy. The following functions are possible here:
1. Secret arrival in your hometown.
2. Another character claims to win the hero.
3. The hero is given a difficult task.
4. Search for a solution.
5. Recognition of the hero by other characters.
6. Reproof, or revealing the truth.
7. Transfiguration. The hero changes due to some action. For example, bathes in a magical spring and becomes more beautiful than before.
8. Punishment of the guilty.
9. Wedding or accession.
The fairy tale does not have to contain all the described functions. A magical story is a puzzle that you can collect as your heart desires. If you prepare cards with functions in advance, then you can “collect” a fairy tale with your child. For clarity, be sure to take the playing field on which mark the plot parts, for example, the plot, a special circumstance (ban, illness, etc.), the test and the appearance of an assistant, the victory of the hero, the punishment of the guilty, and a happy instructive ending. And then add other features to the story sections as you write the story as you go.
Features of a fairy tale
Before fabulous images drawn from myths. That's why magic stories universal for any nation. They are based on primitive ideas about the world, and most of constructive elements were born from the idea of initiation and reflections on the other world. Initially, fairy tales rarely had a happy ending. Such a denouement became possible when the roles of helper and giver appeared. 
According to the fairy tale, it is easy to determine how people lived, what they dreamed about and what they were afraid of. It always reflects existing traditions. So, in one of the first versions of Little Red Riding Hood, the girl ate the remains of her grandmother. The very mention of this refers us to the time when cannibalism was not yet a strict taboo. And in the girl’s basket there could be not only pies and a pot of butter, but also a bottle of wine, fresh fish and a whole head of young cheese. A beginner storyteller should pay attention to this. A good story contains familiar cultural codes. The more understandable Magic world, the closer the narrative and the more effective it is.
The main goal of a fairy tale is to convey knowledge. It has not lost its educational component even today. But it is very important that the didactic material is hidden deep. The child should not guess that he is being taught. This the most important feature fabulous story.
Knowing the structure of a folk tale, you can easily create own stories. You can do this not only to entertain the child, but also to answer his most difficult questions.
We have created more than 300 costless fairy tales on the Dobranich website. It is pragmatic to remake the splendid contribution to sleep at the homeland ritual, the recurrence of turbot and heat.Would you like to support our project? Let's get drunk, s new strength we continue to write for you!
