In the literature of the 19th century, next to purely literary genres In the system of genres there is a fairy tale. Its authors are Pushkin, Zhukovsky, Ershov, Pogorelsky, Garshin and other writers of the 19th century.
The coexistence of folk and literary fairy tales is an ongoing process that accompanies everything literary development. What is a literary fairy tale? The answer would seem obvious, it is suggested by the genre name, it is supported by the reader’s experience, according to which a literary fairy tale is, in principle, the same thing as folk tale, but unlike a folk tale, a literary fairy tale was created by a writer and therefore bears the stamp of a unique, creative individuality author.
Modern research has shown that not every appeal to a folk tale entails the emergence of a literary fairy tale. It is hardly possible to see the genre of a literary fairy tale where there is only an adaptation of a folk tale, the plot, image and style of which remained unchanged (V.P. Anikin).
V.P. Anikin believes that about a new genre that belongs to a different, non-folklore artistic system, can only be said if the writer has composed a new work that is similar to a folk tale only in its core. Remaining a fairy tale literary work may have a very approximate and indirect connection with the folk poetic tradition. But, despite the tendency towards independent development, a literary fairy tale is still unthinkable in complete isolation from the folk tale.
Community with folklore has become one of the main genre characteristics, its complete loss invariably leads to a transformation of the genre.
A literary fairy tale is one of the few genres whose laws do not require the writer to create a completely new plot. Moreover, the writer is not free to completely free himself from folk fairy tale traditions. Genre originality literary fairy tale consists of a constant orientation towards “someone else’s word”. This orientation concerns not only and not so much the plot, but also composition, style, fantasy, etc.
The high rise of the fairy tale genre can be traced in Russian literature in the 1830s and 40s. It was associated both with the principles of romantic culture and with the peculiarities of the literary situation of this period.
One of the first to turn to this genre was V.A. Zhukovsky. In one of his letters, he wrote: “I would like to collect several fairy tales, large and small, folk, but not just Russian ones, so that later I can give them out, dedicating them... to children.” Along with this letter, he sent “The Tale of Ivan Tsarevich and the Gray Wolf.”
The poet turned to the fairy tale genre twice. The first time was in the summer of 1831 in Tsarskoe Selo, when Pushkin also lived at the dacha there. Frequent meetings and warm conversations inspired poets and caused poetic competition between them. A.S. Pushkin wrote that summer “The Tale of Tsar Saltan”, V.A. Zhukovsky - “The Tale of Tsar Berendey”, “The Sleeping Princess” and “War Mice and Frogs”.
"The Tale of Tsar Berendey." The poet gave the title of his first fairy tale in the spirit of ancient Russian titles: “The Tale of Tsar Berendey, of his son Ivan Tsarevich, of the cunning of the immortal Koshchei, and of the wisdom of Princess Marya, Koshchey’s daughter.”
Zhukovsky saved folk story. He widely used the folk language, its characteristic words and phrases, typical fairy-tale expressions (knee-length beard, icy water, maybe, maybe not, etc.). At the same time, he abandoned some of the techniques of the folk tale. Based on the aesthetics of romanticism and his views on children's literature, Zhukovsky sought to ennoble the fairy tale and imbue it with bright feelings.
Fairy tale "The Sleeping Princess", (1831) was created based on a fairy tale by the Brothers Grimm translated by Zhukovsky. This tale is no less folk than the previous one, although there is less folklore elements. But its nationality does not lie on the surface and is expressed not by external attributes, proverbs and sayings (although there are many of them here), but is reflected in the entire structure of the work. The poet enriched the foreign plot with details of Russian life. Along with an entertaining plot, the fairy tale captivates readers with sonorous, flowing verses, bright pictures, and elegant, light literary language.
Fairy tale "The War of Mice and Frogs", created in the summer of 1831, is a parody of epic poems. Zhukovsky created satirical tale, in which he wanted to ridicule the literary feuds of his time. The hidden meaning of the work is inaccessible to children; they perceive it as a funny fairy tale.
Interest in folk art A.S. Pushkin arose with early childhood. The tales he heard in the cradle sank into his soul for the rest of his life. In the 20s, while living in Mikhailovskoye, he collected and studied folklore.
He turned to folk stories in the 30s, when disputes about Russian national character, about the attitude towards folk art.
“The Tale of the Priest and His Worker Balda” (1830), “The Tale of dead princess and about the seven heroes”, “The Tale of the Fisherman and the Fish” were written in 1833 in Boldin. The poet worked on “The Tale of Tsar Saltan, of his glorious and mighty hero Prince Gvidrna and the beautiful Swan Princess” in Tsarskoe Selo in 1831. The last of them, “The Tale of the Golden Cockerel,” was written in 1834.
The basis of the plot of “The Tale of Tsar Saltan” was a Russian folk tale, recorded at the end of 1824 in Mikhailovskoye from the words of Arina Rodionovna. Pushkin reworked the folk story in such a way that he left only the main links and gave the tale more attractive characters and details close to life.
Researchers recognize the source of “Tales of the Fisherman and the Fish” as a plot from the collection of the Brothers Grimm. However, similar stories are found in Russian folklore.
“The Tale of the Priest and His Worker Balda” was not published during Pushkin’s lifetime. Her first listener was Gogol, who was delighted with her, called her a completely Russian fairy tale and unimaginable charm. It was created based on the plot of a folk tale heard in the village of Mikhailovskoye
“The Tale of the Dead Princess and the Seven Knights” is based on a Russian fairy tale recorded in Mikhailovsky. Pushkin could also have used the Russian fairy tale "The Magic Mirror".
Finally, The Tale of the Golden Cockerel, first published in 1935, is based on the plot American writer Washington Irving.
The closest successor to A.S. Pushkin in the creation of a literary fairy tale in poetic form, fairy tales in folk style was Petr Pavlovich Ershov(1815-1869). Ershov is often called “a man of one book”: so great was the fame of his “The Little Humpbacked Horse”, which overshadowed everything written by this talented man. Ershov’s main work, the fairy tale “The Little Humpbacked Horse,” which over time became part of the golden fund of literature for children, became a treasure of children’s reading.
The beginning of the 1830s was a time of universal fascination with fairy tales. On this wave, Ershov’s artistic impressions stirred. At the beginning of 1834, he presented to the court of Pletnev, who was teaching a course in Russian literature, the fairy tale “The Little Humpbacked Horse.” The fairy tale was read and analyzed by Pletnev in a university auditorium. This was the first literary success of the nineteen-year-old student. When the fairy tale was published, the name Ershov became known throughout reading Russia. A.S. took part in his fate. Pushkin, who became acquainted with the fairy tale in manuscript. He approved the first work of the young talented poet: “Now I can leave this type of writing to me. Pushkin believed that “The Little Humpbacked Horse” should be published with pictures, at the lowest possible price, in a huge number copies - for distribution throughout Russia. Ershov, inspired by success, dreamed of creating a great fairy-tale poem and organizing an expedition across Russia. But these plans were not destined to come true. After graduating from the university, he returned to Tobolsk and spent his entire life in teaching - first as an ordinary teacher, then as a gymnasium director.
“The Little Humpbacked Horse” worthily continued the tradition of literary poetic fairy tales, primarily Pushkin’s, and at the same time it was a new word in the history of poetic literature. What was extraordinary was the bold immersion into the elements of a common folk, “peasant” fairy tale. It is difficult to name any one specific fairy tale that is identical to the fairy tale “The Little Humpbacked Horse.” Ershov combined in his work a number of images, motifs, and plot devices from famous folk tales. Shortly before his death, reflecting on the phenomenon of “The Little Humpbacked Horse,” the author said: “All my merit is that I managed to get into the folk spirit. The dear one rang - and the Russian heart responded...” The people accepted Ershov’s creation as their own.
Another feature of this wonderful tale is the close interweaving of the fantastic and miraculous with the realities of folk life.
In the traditions of folk tales - the image of the main character - Ivan. As a rule, in fairy tales the performer of difficult tasks with the help of a wonderful assistant is a strong hero. For Ershov, this role is played by Ivan the Fool.
Ershov’s hero embodies all the typical characteristics of fairy-tale “fools”: awkward, sloppy, loving to sleep.
The success of “The Little Humpbacked Horse” among readers was so great that it caused a lot of imitations. From the end of 1860 to the beginning of the new century, more than 60 publications were published based on Ershov’s fairy tale.
Anthony Pogorelsky(1787-1836). Romantic writers discovered the fairy tale genre for “high” literature. In parallel with this, in the era of romanticism, childhood was discovered as a unique, inimitable world, the depth and value of which attracts adults.
Anthony Pogorelsky is the pseudonym of Alexei Alekseevich Perovsky, the illegitimate son of the noble Catherine’s nobleman Razumovsky.
The pseudonym “Antony Pogorelsky” is associated with the name of the writer’s estate Pogoreltsy in the Chernigov province and the name of St. Anthony of Pechersk, who once retired from the world to Chernigov. His works are characterized by a combination of the mysterious, mystical with a realistic depiction of life and customs Russian life. A lively, witty, ironic style of narration makes his works attractive.
The Black Hen (1828) is subtitled "A Magic Tale for Children." There are two lines of narration in it - real and fairy-tale-fantastic. Their bizarre combination determines the plot, style, and imagery of the work. Pogorelsky wrote a story for his ten-year-old nephew. He calls the main character Alyosha. But in it there are tangible echoes not only of Alyosha’s childhood, but also of the author himself (also Alexei). As a child he a short time was placed in a closed boarding house, suffered from separation from home, fled from it, and broke his leg. High wooden fence, enclosing the boarding yard, the living space of its pupils is not only a realistic detail in “The Black Hen”, but also a symbolic sign of the author’s “childhood memory”.
All descriptions are bright, expressive, given taking into account children's perception. For a child, detail is important in the overall picture. Finding himself in the kingdom of underground inhabitants, “Alyosha began to carefully examine the hall, which was very richly decorated. It seemed to him that the walls were made of marble, such as he had seen in the mineral study of the boarding house. The panels and doors were pure gold. At the end of the hall, under a green canopy, on an elevated place stood armchairs made of gold. Alyosha admired this decoration, but it seemed strange to him that everything was in the smallest form, as if for small dolls.”
Realistic objects, everyday details in fairy-tale episodes (tiny lit candles in silver chandeliers, porcelain Chinese dolls nodding their heads, twenty little knights in gold armor with crimson feathers on their hats) bring together the two levels of the narrative, making Alyosha’s transition from real world into magical-fantastic.
A developed imagination, the ability to dream, fantasize constitute the wealth of the personality of a growing person. That is why the hero of the story is so charming. This is the first living, non-schematic image of a child, a boy in children's literature.
Everything that happened to the hero makes the reader think about many serious questions. How to feel about success? How not to be proud of unexpected great luck? What can happen if you don't listen to the voice of conscience? What is fidelity to one's word? Is it easy to overcome the bad in yourself? After all, “vices usually enter through the door and exit through a crack.” Complex moral problems The author puts it without condescension either to the age of the hero or to the age of the reader. A child's life is not a toy version of an adult: everything in life happens once and in earnest.
The organic combination of a humane pedagogical idea, a heartfelt narrative, an artistically expressive form, and entertainment for the reader makes Pogorelsky’s story a classic work of children’s literature, which has few equals in the history of not only domestic but also foreign literature.
A.N. Ostrovsky"Snow Maiden". A literary fairy tale in the 19th century can develop following the path of change tribal affiliation, and then a fairy tale play appears. And here we cannot help but stop at spring fairy tale(as the author himself called her) - “Snow Maiden”, written by A.N. Ostrovsky. (1873)
Ostrovsky’s appeal to folklore material is by no means accidental, but even natural. Who else if not him, the author with organic inherent quality, which is called nationality in Russian literature, to create new genres at the junction of two equally familiar phenomena. Not last role V in this case, of course, Ostrovsky’s Switzerland also played. As you know, for Ostrovsky Shchelykovo (an estate in the Kostroma province) is not just a place to relax, but also creative laboratory, as well as a creative pantry with endless supplies. It was here that he wrote many of his famous works. It was here in 1867 that the playwright conceived his “Snow Maiden”. Living in Shchelykovo, Ostrovsky carefully looked at the morals and customs of the peasants, listening and recording their songs, old and new. Ostrovsky remembered all the holidays local population and was their regular viewer. Many song, ritual and round dance motifs orally- folk poetry heard and recorded by the playwright in Shchelykov, in a creatively revised form were included in “The Snow Maiden”.
Ostrovsky’s nanny also made her contribution to the history of the creation of the fairy tale-play “The Snow Maiden”. Perhaps it was from her that he first heard a fairy tale about how a childless peasant couple - Ivan and Marya - decided to fashion a Snow Maiden girl out of snow, how this Snow Maiden came to life, grew up and took on the appearance of a thirteen-year-old girl, how she went into the forest for a walk with her friends, how they began to jump over the fire, and when she jumped, she melted, and subsequently took her as the basis for her work.
How does Ostrovsky deal with folk tales? The main thing he does is expand the plot of his fairy tale-play.
Another feature of the tale, a feature of Ostrovsky’s tale, is that he introduces into his story not only human characters, but also animals, birds, a goblin, Spring - Red in the form of a young woman, Frost in the form of a fierce old man. Natural phenomena and inhabitants other world Ostrovsky's are personified.
We also find motifs of a childless couple in Ostrovsky’s fairy tale, but in him it takes on a different sound, a different coloring than in the folk tale. Bobyl and Bobylikha are a poor married peasant couple with no children. Bobyl and Bobylikha take the Snow Maiden in for selfish reasons. This is Ostrovsky’s version in the fairy tale-play of the relationship between the adoptive parents and the Snow Maiden.
Ostrovsky also in his work assigns a leading role to the relationships between boys and girls: Mizgir, Lel, Kupava and Snegurochka, etc. In Ostrovsky’s work they are quite complex. There is jealousy, fear, envy, and betrayal. The plot of an author's fairy tale is much more complex than the linear plot of a folk tale.
Just as in the folk tale, Ostrovsky’s Snow Maiden dies - melts, but the reason for her death is, at first glance, different. In Ostrovsky, the Snow Maiden outwardly melts under the rays of the spring sun, but internally she is incinerated by the flame of passion, it burns her from the inside. In the folk tale over the fire, the Snow Maiden, for example, jumps over the fire and melts, i.e. It is still possible to draw a certain kind of associative connection that unites the ending of a folk tale with the ending of an author's fairy tale.
Most often, a folk tale has happy ending. Ostrovsky, despite the “life-affirming speech of Tsar Berendey:
Snow Maiden's sad death
And the terrible death of Mizgir
They cannot disturb us; The sun knows
Whom to punish and have mercy on? Finished
Truthful trial! Frost spawn -
The Cold Snow Maiden died.
Thus, Ostrovsky does not lose touch with the original source of his work, the fairy tale-play “The Snow Maiden,” but at the same time brings a lot of his own into the well-known plot, which makes the folk tale his own. In comparison with a folk tale, which by its nature is static, devoid of intrigue, acute conflict, the fairy tale-play by A.N. Ostrovsky. “The Snow Maiden” is unusually dynamic, it is full of tension, opposition, the events in it develop more intensively and have a concentrated character and a pronounced emotional coloring.
Ostrovsky raises in his work acute problems, examines difficult human relationships and conflicts that arise in the process of communication. In his fairy tale-play, he depicts complex natures torn apart by contradictions.
All the realities inherent Slavic mythology and the works found in the text, such as rituals or characters, are creatively comprehended by Ostrovsky and reworked. The use of mythological motifs in the fairy tale-play helps Ostrovsky to fully recreate the pagan picture of the world, to show the peculiarities of life and beliefs of the ancient Slavs.
Oral folk art is also an inexhaustible storehouse for A.N. Ostrovsky. He doesn't just use folklore motives in his work, he gives them a different, original sound. The synthesis of fantasy and reality is one of the leading features of the author's style in the fairy tale-play by A.N. Ostrovsky "Snow Maiden".
Traditionally, a fairy tale-play by A.N. Ostrovsky's "Snow Maiden" is considered to be a song about the great all-consuming power of love, a work of life-affirming nature.
However, an analysis of the fairy tale play leads to the idea that in “The Snow Maiden” the playwright shows us the all-consuming, elemental force of passion that sweeps away everything in its path, and this, of course, fits into his artistic method, and does not contradict his worldview.
Ostrovsky is trying to find his ideal in the peculiarities of people's life and, as M.M. notes. Dunaev, once could not resist the poeticization of the pagan natural elements, which seemed to him to be the truth of the people’s existence - in the drama “The Snow Maiden”.
As the play progresses, Ostrovsky's characters experience feelings typical of the pagan worldview: passion, resentment, thirst for revenge, pangs of jealousy. The author also shows us the consequences of passion: the death of the Snow Maiden, the suicide of Mizgir. What is typical is that these events are perceived by the Berendeys as something ordinary, natural, like a sacrifice to Yarile. Consequently, we can say that the heroes of the fairy tale-play by A.N. Ostrovsky are typical of the pagan picture of the world.
And where is the happy kingdom of Berendev, sung by Ostrovsky? And is it happy? Why do the best die in such a blessed kingdom - in his understanding, Snegurochka and Mizgir? In this regard, he turns to the interpretation of the word “berendey” (“berendeyka”) in the famous “Explanatory Dictionary” by V.I. Dahl “Berendeyka is a grandmother, a toy, a spittle, a chiseled or cut thing, a balabolka... Berendey is something, a berendeyka is to plan - to deal with trifles, toys”(63; 12)
This explanation seems extremely important. Did the author of the fairy tale about the Snow Maiden want to introduce into his plan some secondary meaning that remained incomprehensible to readers and viewers? On the one hand, before us, indeed, is the world of the “bright” kingdom, the triumph of goodness, beauty, and justice. And on the other hand, something like a doll, a toy.
Fairy tale "The Key of the Merciful Enemy"
V. Nemirovich-Danchenko
The caravan walked through the desert... The sun was burning. The golden mounds of sand disappeared into the dazzling distance. The sky was drowning in an opalescent sheen. Ahead, a white winding line of a road... In fact, it was not there. The carcasses of fallen camels seemed like a road here. The wells were left behind, and the pilgrims took water with them for two days. Only tomorrow will they be able to reach the oasis with stunted palm trees. In the morning I could still see in the distance wonderful hazes with blue waters and shady groves. Now the mirages are gone. Everything froze under the stern gaze of the merciless sun... The riders swayed sleepily, following the guide. Someone began to sing, but in the desert and the song falls on the soul with tears. And the singer immediately fell silent. Silence... All you could hear was the uniform rustle of thin legs plunging into the sand, and the rustling of silk curtains behind which dark-skinned Bedouins were hiding from the heat. Everything froze, even the human soul! At least the caravan encountered a dying Arab on the way; nearby lay a driven horse, white on the golden sand; the rider, wrapping his head in a white burnous, laid it on the lifeless body of his friend... The camels passed by dispassionately. None of the people even turned their heads to where, from under the white crack, the gaze of the one dying in the desert sharply and greedily followed them... The entire caravan had already passed him. Only the old man, riding behind, suddenly got off the saddle and leaned over the Arab.
What happened to you?
Drink! - That was all the dying man could say.
The old man looked after the caravan - it was slowly moving into the dazzling distance, no one looked back. The old man raised his head high, and from there he suddenly felt something, some kind of breeze penetrating his soul... The old man took off the bottles of water, first washed the face and mouth of the dying man, then gave him a sip... another.
The dying man's face became animated.
Are you from the Ommiad family?
Yes... - answered the old man.
I guessed from the sign on your hand... I am from the El-Hamids. We are mortal enemies...
In a desert before the face of Allah- We are only brothers. Drink!.. I'm old, you're young. Drink and live...
The dying man greedily fell to the furs... The old man put him on his camel...
Go and tell your people about the revenge of one of the Ommiads.
I still don't have much time left to live.
Let's go together.
It is forbidden. The camel is small, it cannot withstand such weight.
The Arab hesitated. But he was young, fame and love awaited him. He sat down silently... Stopped...
Do you have any relatives?
Nobody! - answered the old man.
The one who remained looked after him for a long time... He deceived his enemy. The old man had children, but they were famous as brave warriors... They no longer needed him.
The caravan disappeared into the dazzling distance... The sun was burning... The sky was drowning in an opal shine. The old man wrapped his head in a blanket and lay down with his face to the ground.
Several months have passed.
The same desert. The same golden mounds. The same caravan was heading back. Also pilgrims They took water with them for two days in the last oasis... The riders on tired camels swayed sleepily, and suddenly the guide stopped...
What's there? - he pointed into the distance. Those who caught up with him pilgrims they also looked there in amazement... There, among the endless sands, greenery was visible. Tall, proud palm trees stretched out, a spring gurgled between the lush bushes, and the cheerful babble of cool streams filled the languid, ominous silence of the surrounding desert... Bright flowers greeted the weary travelers with a delicate fragrance, as if with a gentle greeting.
The incorrupt body of a merciful old man lay by the stream. He was picked up, wrapped in silk veils and taken to the oasis of his family.
The Arabs say that a new source bubbled up from the deepest bowels of the earth at the behest of Allah where a few drops of water from the old sheikh's furs fell into the sand. The Bedouins call this wonderful oasis the key of the merciful enemy.
Questions and tasks for the fairy tale:
Why do you think the old man showed mercy?
What would you do if you were a young Arab? Was it possible to find some way out to save the two of them?
Why did an oasis appear where the merciful old man died?
Imagine you are driving through the desert and you run out of water. What will you do?
Fairy tales of the 19th century: fairy tale 1
A good book is my companion, my friend,
Leisure time is more interesting with you,
We're having a great time together
And we slowly carry on our conversation.
My road is long with you -
To any country, in any century.
You're telling me about the deeds of brave men,
About evil enemies and funny eccentrics.
About the secrets of the earth and the movement of planets.
There is nothing unclear about you.
You teach to be truthful and valiant,
To understand and love nature, people.
I treasure you, I take care of you,
I can't live without a good book.
N. Naydenova.
Today, in our modern world, more than ever, it is important to form a spiritually full-fledged personality in a child, to prepare a qualified reader. Literary reading lessons serve this purpose.
In the process of working with works of art, artistic taste develops, the ability to work with text is mastered, which contributes to the introduction of children to reading books and, on this basis, enriching their knowledge about the world around them.
With the help of books we create cultured and educated people.
And our task, primary school teachers, is to pay special attention to reading lessons, try to improve them and find new effective forms and methods of teaching so that the reading process is desirable and joyful for the child.
Lesson objectives.
1) Summarize and systematize children’s knowledge of literary fairy tales of the 19th century, teach them to ask questions about what they read and answer them;
2) Develop attention, speech, thoughtful attitude to reading, imagination;
3) Cultivate kindness, love of reading, and hard work.
Equipment:
- Reading textbook 4th grade (Buneev R.N., Buneeva E.V.)
- Portraits of A.S. Pushkin, N.V. Gogol, V.A. Zhukovsky.
- C. Perrault, Brothers Grimm.
- Children's drawings.
- Messages from children.
- Books by V.A. Zhukovsky, A. Pogorelsky, V.F. Odoevsky, A.S. Pushkin,
- P.P. Ershov, M.Yu. Lermontov, N.V. Gogol, S. Aksakov, Garshina, Dahl.
- Dictionary living Great Russian language Dahl.
- Excerpts from fairy tales writers of the 19th century century.
- Musical tracks: P.I. Tchaikovsky. Waltz from the ballet “Sleeping Beauty”.
- Rimsky-Korsakov. "Flight of the Bumblebee".
- Cards:
DURING THE CLASSES
1). Organizing time.
2). Working on the material covered.
The 19th century can be called the “golden age” of Russian literature.
Gifted by the genius of Pushkin, Lermontov, Gogol, Zhukovsky, Krylov, Griboyedov, Russian literature took a truly gigantic step forward in the first half of the century. This is primarily due to the unusually rapid development of Russian society.
In no other country has such a powerful family of giants, such greatest masters artistic expression, such a bright constellation of brilliant names as in Russian literature of the 19th century.
In the first half of the 19th century, talented works written specifically for children appeared in Russian children's literature:
– poems for younger age V. A. Zhukovsky;
– story “ Black chicken or underground inhabitants” by A. Pogorelsky;
– stories and fairy tales by V. F. Odoevsky;
– fairy tales by A. S. Pushkin;
– fairy tale “The Little Humpbacked Horse” by P. P. Ershov;
– poems by M. Yu. Lermontov;
– stories by N.V. Gogol;
– tales by S. Aksakov, V.M. Garshin, Vl. Dalia.
Today we take a time machine to the 19th century.
Our path runs from a folk tale to a literary fairy tale.
3). Working on the topic of the lesson.
Not in reality and not in a dream,
Without fear and without timidity
We're wandering around the country again
Which is not on the globe.
Not shown on the map
But you and I know
What is she, what is the country
Literature.
P.I. Tchaikovsky (1889)
Waltz from the ballet “Sleeping Beauty”.
What is the connection between the writers whose portraits you see in front of you?
Ch. Perrault - The Brothers Grimm - Zhukovsky.
How do you understand the phrase Vl. Dalia: “Front to rear axle”?
Front rear axle.
- Rhetoric competition.
(Children read essays prepared for the lesson about writers of the 19th century.)
– What work is the excerpt from?
(group – in rows + protection)
(Groups receive excerpts from fairy tales and determine the title and author.)
– Poetry competition “Let’s play the word.”
I will find words everywhere:
Both in the sky and in the water,
On the floor, on the ceiling,
On the nose and on the hand!
Haven't you heard this?
No problem! Let's play word!
(Rhyme Day)
What 19th century poetry competition can you tell us about?
(Competition between A.S. Pushkin and V.A. Zhukovsky)
Who undertook to judge the masters of literature?
What was the result of this competition?
– Press conference.
Today, a master of literary sciences, winner of a poetry competition, and expert will answer your questions. literature of the 19th century century.
(Children ask the “expert” questions about the 19th century).
– Circular questions.
PHYSICAL MINUTE. (Kinesiological exercises)
- Blitz tournament.
1) Translate from Russian into Russian.
Versta is a measure of length, more than 1 km.
Vershok is a measure of length, 4.4 cm.
A club is a heavy club.
Pud is a measure of weight, 16 kg.
Susek - a stall with flour.
Finger - finger.
Towel - towel.
Mansions are a big house.
2) Catchphrases.
“Ay, Moska! Know she is strong, that she barks at an elephant”
I.A. Krylov. “Elephant and Moska”
“In some kingdom, not in our state.”
Russians folk tales.
“The stars shine in the blue sky.”
A.S. Pushkin. "The Tale of Tsar Saltan…"
“Great is the benefit of book learning”
Chronicler.
“Wind, wind! You are powerful.”
A.S. Pushkin. “The Tale of the Dead Princess...”
“The fairy tale is a lie, but there is a hint in it,
A lesson to good fellows.”
A.S. Pushkin. “The Tale of the Golden Cockerel.”
“Living overseas is not bad.”
A.S. Pushkin. "The Tale of Tsar Saltan."
“Don’t let someone pass without greeting them.”
Teachings of Vladimir Monomakh.
3) Russian folk riddles by V. Dahl.
The earth is white, and the birds on it are black. (Paper)
Not a bush, but with leaves,
Not a shirt, but sewn,
Not a person, but a storyteller. (Book)Not by measure, not by weight,
And all people have it. (Mind)One father, one mother,
And neither one nor the other is the son? (Daughter)Where does the water stand still and not spill? (In glass)
What did the priest use to buy the hat? (For money)
You, me and you and me.
Are there many of them? (Two)
4) Folk proverbs and sayings.
But the wife is not a mitten.
You can't shake off the white pen
And you can’t put it in your belt. (The Tale of Tsar Saltan)From now on, science for you, ignoramus,
Don't sit in the wrong sleigh! (The Tale of the Fisherman and the Fish)You fool, you simpleton!
You begged for a trough, you fool!
Is there a lot of self-interest in the trough? (The Tale of the Fisherman and the Fish)
- How do you understand proverbs?
Reading is the best teaching.
He who wants to know a lot needs little sleep.
Which one belongs to A.S. Pushkin?
Folk tale – Recording and processing of a fairy tale – Author’s literary fairy tale.
– Return to the 20th century. (Rimsky - Korsakov. “Flight of the Bumblebee.”)
4). Lesson summary.
Give examples of books for children written at the beginning of the 19th century that readers
- teach,
- entertain,
- inform,
- form,
- educate.
What demands did children's literature place on the reader?
(be an attentive and thoughtful reader, do not hesitate to ask questions, constantly use your imagination, believe in miracles).
Are these qualities important for the modern reader?
The path to knowledge is compared to a ladder that has a first step and no last. We have risen one more step in our knowledge of literature. But the staircase does not end. And our research doesn’t end there either. And our travels around the country of Literature intend to continue literally in the next lesson.
The 19th century continues……..
They become very meaningful and are designed in an original way. The War of 1812 aroused increased attention to historical themes, to heroic personalities and led to the need to have national children's literature. Best books, dedicated to the War of 1812, fostered love for their country and hatred of invaders. The best of them are “A Gift to Russian Children in Memory of the War of 1812” by M.I. Trebeneva. in this alphabet, each letter corresponded to a card with a miniature caricature engraved on copper and a rhymed satirical inscription on an anti-Napoleonic theme. This was the first children's book in Russia with political and patriotic content.
The Decembrists saw the book as an effective tool for educating children and youth. They promoted popular scientific historical and biographical literature. Plutarch's book "Comparative Lives of the Great Greeks and Romans" has been translated into Russian. The name of this writer gave the name to a whole type of publications for children in the historical and bibliographic genre. All these publications were called Plutarchs. They were written by French authors, but when translated into Russian they were significantly revised and supplemented. For example, “Plutarch for Youth” (1809) was replenished with biographies of famous Russians, and the 3rd edition (1823) included new chapters, including those about the heroes of the War of 1812. "Plutarch for Young Maidens" included biographies of famous women, including the translator's "Gallery Russian women"from 29 biographies (translated by Fyodor Glinka)
The books of B. Polevaya (?) enjoyed great success. One of them is “Russian History for Early Readers.” Ishimov "History of Russia in stories for children." However, Belinsky noted the reactionary spirit of her works and predicted their fragility.
IN fiction The genre of fables has become widespread for children. Krylov wrote about 200 fables. In his fables, a whole world of heroes and images opens up for the child. Everyday lessons were presented visually, colorfully, brightly, picturesquely.
Talented works written especially for children also appeared: “The Black Hen” by Antony Pogorelsky, stories and fairy tales by Odoevsky, poems and fairy tales by Zhukovsky.
"Black Hen" by A. Pogorelsky (Perovsky) - first fantastic story for younger ages. The narrative in this story is extremely accessible to children. For the first time in children's literature, not an abstract character appears, but a real living image of a boy with both shortcomings and positive features character. Together with 9-year-old Alyosha, the reader makes an amusing trip and thinks about the question: “What is the real beauty and value of a person?”
- educational character;
- cognitive (educational) nature;
- high morality;
- presence of a positive ideal;
- optimism;
- thematic breadth;
- proximity to real life;
- accounting psychological characteristics and cognitive abilities of children associated with their age;
- entertaining, dynamism;
- accessibility of presentation;
- artistic perfection, high aesthetic qualities;
- correctness of speech.
Amazing stories, beautiful and mysterious, full extraordinary events and adventures, are familiar to everyone - both old and young. Who among us did not empathize with Ivan Tsarevich when he fought with the Serpent Gorynych? Didn’t you admire Vasilisa the Wise, who defeated Baba Yaga?
Creation of a separate genre
Heroes who have not lost their popularity for centuries are known to almost everyone. They came to us from fairy tales. No one knows when and how the first fairy tale appeared. But since time immemorial, they have been passed down from generation to generation fairy tales, which over time acquired new miracles, events, and heroes.
Charm old stories, fictional, but full of meaning, was felt by A. S. Pushkin with all his soul. He was the first to bring a fairy tale out of second-rate literature, which made it possible to highlight Russian fairy tales folk writers into an independent genre.
Thanks to their imagery, logical plots and figurative language, fairy tales have become a popular teaching tool. Not all of them are educational and training in nature. Many perform only an entertainment function, but, nevertheless, the main features of a fairy tale as a separate genre are:
- installation on fiction;
- special compositional and stylistic techniques;
- targeting a children's audience;
- a combination of educational, educational and entertainment functions;
- the existence in the minds of readers of bright prototypical images.
The genre of fairy tales is very wide. This includes folk tales and original ones, poetic and prose, instructive and entertaining, simple single-plot tales and complex multi-plot works.
Fairy tale writers of the 19th century
Russian fairy tale writers have created a real treasury amazing stories. Starting from A.S. Pushkin, fairy tale threads reached out to the works of many Russian writers. The origins of the fairy-tale genre of literature were:
- Alexander Sergeevich Pushkin;
- Mikhail Yurjevich Lermontov;
- Pyotr Pavlovich Ershov;
- Sergey Timofeevich Aksakov;
- Vladimir Ivanovich Dal;
- Vladimir Fedorovich Odoevsky;
- Alexey Alekseevich Perovsky;
- Konstantin Dmitrievich Ushinsky;
- Mikhail Larionovich Mikhailov;
- Nikolai Alekseevich Nekrasov;
- Mikhail Evgrafovich Saltykov-Shchedrin;
- Vsevolod Mikhailovich Garshin;
- Lev Nikolaevich Tolstoy;
- Nikolai Georgievich Garin-Mikhailovsky;
- Dmitry Narkisovich Mamin-Sibiryak.
Let's take a closer look at their work.
Tales of Pushkin
The great poet’s turn to fairy tales was natural. He heard them from his grandmother, from the servant, from his nanny Arina Rodionovna. Experiencing deep impressions from folk poetry, Pushkin wrote: “What a delight these fairy tales are!” In his works the poet widely uses phrases folk speech, putting them into artistic form.
The talented poet combined in his tales the life and customs of Russian society of that time and the wonderful Magic world. His magnificent tales are written in simple, lively language and are easy to remember. And, like many fairy tales of Russian writers, they perfectly reveal the conflict of light and darkness, good and evil.
The tale of Tsar Saltan ends with a cheerful feast glorifying goodness. The tale of the priest makes fun of church ministers, the tale of the fisherman and the fish shows what greed can lead to, the tale of the dead princess tells of envy and anger. In Pushkin's fairy tales, as in many folk tales, good triumphs over evil.
Writers and storytellers contemporaries of Pushkin
V. A. Zhukovsky was a friend of Pushkin. As he writes in his memoirs, Alexander Sergeevich, fascinated by fairy tales, offered him a poetry tournament on the theme of Russian fairy tales. Zhukovsky accepted the challenge and wrote tales about Tsar Berendey, Ivan Tsarevich and the Gray Wolf.
He liked working on fairy tales, and over the next years he wrote several more: “Tom Thumb”, “The Sleeping Princess”, “The War of Mice and Frogs”.
Russian fairy tale writers introduced their readers to wonderful stories foreign literature. Zhukovsky was the first translator of foreign fairy tales. He translated and retold in verse the story of “Nal and Damayanti” and the fairy tale “Puss in Boots.”
An enthusiastic fan of A.S. Pushkin M.Yu. Lermontov wrote the fairy tale “Ashik-Kerib”. She was known in Central Asia, in the Middle East and Transcaucasia. The poet translated it into poetry, and translated each unfamiliar word so that it became understandable to Russian readers. Beautiful oriental tale turned into a magnificent creation of Russian literature.
The young poet P. P. Ershov also brilliantly put folk tales into poetic form. In his first fairy tale, “The Little Humpbacked Horse,” his imitation of his great contemporary is clearly visible. The work was published during Pushkin’s lifetime, and the young poet earned the praise of his famous fellow writer.
Tales with national flavor
Being a contemporary of Pushkin, S.T. Aksakov began writing at a late age. At the age of sixty-three, he began writing a biography book, the appendix of which was the work “The Scarlet Flower.” Like many Russian fairy tale writers, he revealed to readers a story he heard in childhood.
Aksakov tried to maintain the style of the work in the manner of the housekeeper Pelageya. The original dialect is palpable throughout the work, which didn’t hurt “ To the scarlet flower"become one of the most beloved children's fairy tales.
The rich and lively speech of Pushkin’s fairy tales could not help but captivate the great expert on the Russian language, V. I. Dahl. The linguist-philologist tried to preserve the charm of everyday speech in his fairy tales, to introduce meaning and morality folk proverbs and proverbs. These are the fairy tales “The Bear-Half-Maker”, “The Little Fox”, “The Girl Snow Maiden”, “The Crow”, “The Picky One”.
"New" fairy tales
V. F. Odoevsky is a contemporary of Pushkin, one of the first to write fairy tales for children, which was very rare. His fairy tale “The City in a Snuffbox” is the first work of this genre in which a different life was recreated. Almost all fairy tales told about peasant life, which Russian fairy tale writers tried to convey. In this work, the author talked about the life of a boy from prosperous family living in abundance.
“About the Four Deaf People” is a fairy tale-parable borrowed from Indian folklore. The writer’s most famous fairy tale, “Moroz Ivanovich,” is completely borrowed from Russian folk tales. But the author introduced novelty into both works - he talked about the life of a city home and family, and included children in boarding schools and schools in the canvas.
The fairy tale by A. A. Perovsky “The Black Hen” was written by the author for his nephew Alyosha. Perhaps this explains the excessive instructiveness of the work. It should be noted that the fabulous lessons did not pass without a trace and had a beneficial effect on his nephew Alexei Tolstoy, who later became famous prose writer and playwright. This author penned the fairy tale “Lafertovskaya Poppy Plant”, which was highly appreciated by A. S. Pushkin.
Didactics is clearly visible in the works of K. D. Ushinsky, the great teacher-reformer. But the moral of his tales is unobtrusive. They awaken good feelings: loyalty, sympathy, nobility, justice. These include fairy tales: “Mice”, “Fox Patrikeevna”, “Fox and Geese”, “Crow and Crayfish”, “Kids and the Wolf”.
Other 19th century tales
Like all literature in general, fairy tales could not help but tell about liberation struggle And revolutionary movement 70s of the XIX century. These include the tales of M.L. Mikhailova: “Forest Mansions”, “Dumas”. He also shows the suffering and tragedy of the people in his fairy tales. famous poet ON THE. Nekrasov. Satirist M.E. Saltykov-Shchedrin in his works exposed the essence of landowner hatred towards to the common people, spoke about the oppression of peasants.
V. M. Garshin touched upon the pressing problems of his time in his tales. Most famous fairy tales writer - “The Frog Traveler”, “About the Toad and the Rose”.
L.N. wrote many fairy tales. Tolstoy. The first of them were created for school. Tolstoy wrote short fairy tales, parables and fables. Great connoisseur human souls Lev Nikolaevich in his works called for conscience and honest work. The writer criticized social inequality and unjust laws.
N.G. Garin-Mikhailovsky wrote works in which the approach of social upheaval is clearly felt. These are the fairy tales “Three Brothers” and “Volmai”. Garin visited many countries of the world and, of course, this was reflected in his work. While traveling throughout Korea, he recorded more than one hundred Korean fairy tales, myths and legends.
Writer D.N. Mamin-Sibiryak joined the ranks of glorious Russian storytellers with such wonderful works as “The Gray Neck”, the collection “Alenushka’s Tales”, and the fairy tale “About Tsar Pea”.
Later fairy tales of Russian writers also made a significant contribution to this genre. The list of remarkable works of the twentieth century is very long. But fairy tales of the 19th century will forever remain examples of classic fairy-tale literature.