Plan
Introduction
Main part
1 Fairy tale of the first half of the 19th century.
2 Themes of literary fairy tales.
3 The appearance of V. A. Zhukovsky’s fairy tales in literature
4 Artistic originality fairy tales by V. A. Zhukovsky
5 History of the creation of fairy tales.
6 Thematic originality of V. A. Zhukovsky’s fairy tales
Conclusion
Introduction
V.G. Belinsky called V.A. Zhukovsky “the literary Colombus of Rus', who discovered the America of romanticism in poetry.” Speaking about his enormous service to Russian literature, Belinsky noted that “Zhukovsky introduced a romantic element into Russian poetry: this is his great work , his great feat, which our Aristarchs so unfairly attributed to Pushkin.”
The fairy tales of Vasily Andreevich Zhukovsky were also a significant phenomenon in Russian literature. One cannot help but note their poetic perfection. Many fairy tales were written in poetic versions of prose tales, such as “Puss in Boots”, “Tulip Tree”. Zhukovsky processed them in hexameter - a poetic meter that was widely used in ancient Greek epic poetry.
We know that many writers created their works based on folklore and spiritual literature. This is no coincidence: it was folklore that became the source for many writers, including Vasily Andreevich. In the fairy tales written by Zhukovsky, there is a palpable desire to “ennoble” folklore, to make an elegant literary treatment of it. Highly appreciating the interpretation of fairy tales, Pletnev wrote to Zhukovsky: “It is clear that the fairy tale comes not from a peasant’s hut, but from a manor’s house.”
In this work I would like to turn to the diverse themes of fairy tales, to the artistic originality.
Fairy tale of the first half of the 19th century
A fairy tale can be a creation
High when it serves as an allegorical
Clothes that clothe high spiritual
The truth when it reveals itself tangibly
And apparently even a commoner cares,
Available only to the sage.
N.V. Gogol
A fairy tale is one of the most popular types epic folk art. For many centuries, it lived in oral performance, passed down from generation to generation, striking the attention of listeners with the poetry of a fantasy world living according to its own fairy-tale laws. Having originated in ancient times, the fairy tale lost some features and acquired others during its existence, and included new motifs and images. But people's dreams, ideas about goodness, truth, social justice, embodied in fairy tales, always remained unchanged. Here, good necessarily triumphs over evil, treachery, violence and treason are severely punished, and human vices and shortcomings are distinguished. This was also the reason that the fairy tale became a favorite reading among all peoples.
The first publications of Russian folk tales date back to the 18th century. At the beginning of the 19th century, folk tales attracted the attention of Russian writers. V. A. Zhukovsky asks his friends to write down fairy tales for him; While in exile in Mikhailovskoye, A.S. Pushkin listens with admiration and writes down fairy tales told by his nanny Arina Rodionovna; the famous philologist and writer V.D. Dal, who published his works under the pseudonym Cossack Lugansky, carefully collected and processed folk tales, and in 1832 published them as a separate collection. Under the impression of newly appeared fairy tales, A. S. Pushkina turns to the study of folk tales.
Themes of literary fairy tales
What is the reason for such an increased and sustained interest of Russian writers of the first half of the 19th century in folk tales?
One of the most important events in the history of Russia at the beginning of the 19th century was the Patriotic War of 1812, in which the Russian people won an impressive victory over Napoleon. Simple peasants, dressed in soldiers' greatcoats, together with the best representatives of the noble intelligentsia, showed heroism and courage in the fight against the invaders and defended their native land from the enemy. The liberation war stirred up the patriotic feelings of the Russian nation, awakened national self-awareness, and gave rise to a keen interest of the advanced part of Russian society in the victorious people, in their life, way of life, morals, customs, and creativity.
The search for the origins of folk heroism, courage, patriotism and humanism forced writers to turn to the study of the worldview, moral and aesthetic values of the people. Folk ideas about life that have evolved over centuries are best reflected in works created by the people themselves - in oral folk art: in legends, traditions, fairy tales, epics, songs. This is the main reason why Russian writers turn to folklore, including folk tales.
In addition, the progressive part of the Russian intelligentsia at this time actively advocated the creation of an original national literature. In her opinion, literature should reflect the spirit of the nation, turn to national foundations, and above all to folk art.
Despite the fictionality of the plot and the fantastic nature of the narrative, the fairy tale expressed an active attitude towards life, affirmed the triumph of goodness and justice, the victory of the hero over adversity. Fairy-tale fiction is always subordinated to the idea of the work, “morality,” which is directly addressed to reality. And the very phenomena of real life were reflected in folk tales. “If in all these legends,” wrote N. A. Dobrolyubov in the article “On the degree of participation of the people in the development of Russian literature,” “if there is anything worthy of our attention, then it is precisely those parts of them that reflect living reality.”
One of the first Russian writers to turn to the fairy tale genre was A. S. Pushkin.
The appearance of V. A. Zhukovsky’s fairy tales in literature
Under the influence of A. S. Pushkin, his friend, the poet Vasily Andreevich Zhukovsky, turned to the genre of literary fairy tales.
About talent, about the poems of V. A. Zhukovsky, Pushkin said more clearly and precisely than anyone:
His poems are captivatingly sweet
The envious distance of centuries will pass...
For at least two centuries now, his works have been alive and well, and not only studied by literary historians. Zhukovsky’s books are published almost every year - and they don’t lie on store shelves like dead weight.
Vasily Andreevich is considered the founder of Russian romanticism, which, it must be said, was a completely original phenomenon that grew out of its national roots. In Zhukovsky’s elegies and ballads, for the first time, the inner world was revealed to the reader with extraordinary sincerity,shades of emotional movements poet. Before him, perhaps, there was no such musical verse in Russian poetry, so melodious, rich in nuances and halftones. Along with Batyushkov, Zhukovsky actually created our lyrics. Vasily Andreevich’s fairy tales are no less talented.
The artistic originality of V. A. Zhukovsky’s fairy tales
Zhukovsky's fairy tales are written on the basis of Russian and Western European folk tales, they feature well-known characters - Tsar Berendey, his son Ivan Tsarevich, Baba Yaga, Gray Wolf, Puss in Boots. While maintaining plot similarity with folk tales, Zhukovsky's fairy tales differed from them in many ways in the author's attitude towards the depicted, which is characterized by gentle irony and good-natured ridicule. He kindly laughs at Tsar Berendey:
He greedily pressed his lips to the water and the spring stream
He began to pull, not caring that his beard drowned in the water...
Having honestly rescued his beard, the Tsar shook himself off like Gogol.
He sprayed all the courtiers, and everyone bowed to the king.
In the yard he meets
Darkness of people, and everyone is sleeping:
He sits rooted to the spot:
He walks without moving;
He stands with his mouth open,
Stopping the conversation with sleep,
And Vustakh has been silent since then
Unfinished speech...
Zhukovsky's fairy tales reflected a kind, humane and poetic view of the world inherent in representatives of the common people. The same ideal heroes act here, endowed with beauty, physical and mental perfection, love for people, valor and courage. Defending justice, carrying out someone's instructions, they act in fairy-tale circumstances, find themselves in the “thirty-ninth kingdom, in the thirtieth state”, invaluable help is provided to them by loyal friends - the Gray Wolf or Puss in Boots, as well as wonderful objects: an invisibility hat, a tablecloth - self-assembly and magic baton.
Faith in the final victory of good is affirmed through the poeticization of a bright fairy-tale world, full of beauty and miracles. The magic of the beautiful Princess Marya helps Ivan Tsarevich himself free himself from the persecution of Koshchei the Immortal and free his father, Tsar Berendey, from the oath promise, cunningly snatched from him by Koshchei. The selfless devotion and friendship of the Gray Wolf, his ability to work miracles, not only provided an invaluable service to Ivan Tsarevich in fulfilling his father’s order - to get the Firebird, but also resurrected the young knight from the dead, helped return Elena the Beautiful and punish the treacherous Koshchei.
The storyteller's kind view of the world was reflected in negative characters who will face inevitable retribution for their crimes. In some cases, exposed evil is generously forgiven, in others it is severely punished. So, having learned about the miraculous salvation of his wife and son, Tsar Saltan mercifully forgives the slanderers. On the contrary, fair retribution awaits the evil stepmother (“Tulip Tree”) and the treacherous brothers of Ivan Tsarevich (“The Tale of Tsar Berendey”). It should be borne in mind that both in folk and literary fairy tales, retribution does not contradict the humane nature of the positive fairy-tale hero. Punishing an enemy, a slanderer, a rapist, a murderer is not a manifestation of mental cruelty, callousness, or a selfish sense of revenge, but the triumph of truth.
Thus, a wonderful invention, fairy-tale fantasy is nothing more than a poetic convention in which people's dreams, hopes, moral ideas are revealed - everything that can be called a bright view of the world, characteristic of the Russian national character.
Zhukovsky's poetic tales largely preserved the stylistic features of folk fairy tales. The poet consciously focused on the epic dimension of the narrative, which is supported by the abundance of verb forms in the fairy-tale phrase. This is how Zhukovsky talks about the duck maidens whom Ivan Tsarevich watches on the shore of the lake:
Ducks swim, splash in the streams, play, dive.
Finally, after playing, diving, splashing, they swam up
To the shore; twenty-nine of them, running with the saddle
To the white shirts, they hit the ground, everyone turned
They dressed up as red girls, fluttered and disappeared at once.
The fairy-tale world of Zhukovsky, for all its fantasticness, did not break with the world around him. The features of reality manifest themselves in beautiful landscape sketches, full of abundance bright colors and diverse sounds:
…It's on its way
One day, another and a third; at the end of the fourth - the sun
As soon as he had time to enter, he drove up to the lake; smooth
The lake is like glass; water is equal to the shores;
Everything in the surrounding area is empty; ruddy evening glow
The covered waters go out, and green is reflected in them
The shore and the dense reeds and everything seemed to be dozing;
The air does not blow; the reed does not rub; rustle in the streams
You can't hear the light ones...
Appeal from V.A. Zhukovsky's approach to folk tales opened up wide opportunities for him to depict folk characters. Fairytale shape fairy tale images national heroes allowed the writer to express the social and moral ideals of the people. It should be kept in mind that literary fairy tale arose and developed in the general flow of Russian literature of the first third of the 19th century, predominantly romantic literature, which fought for national literature. And in this sense, the literary fairy tale met the progressive demands that the writer presented to Russian literature - to find original forms for expressing national content.
In the process of development of literature, the establishment of the principles of realism in it, the literary fairy tale itself changes. It retains connections with folklore sources and the national worldview, but its connections with reality are becoming increasingly stronger. A literary fairy tale appears, especially intended for children. In some cases, the tale continued the previous tradition and represented a literary adaptation folk tale. In other cases, the writer strives to use modern everyday and life material to cultivate good feelings and high moral principles in the child.
The history of fairy tales
Vasily Andreevich Zhukovsky is a talented Russian poet, contemporary and friend of A.S. Pushkin.
In the summer of 1831, Zhukovsky settled in the suburbs of St. Petersburg in Tsarskoe Selo, where he met daily with Pushkin, who at that time was enthusiastically working on his fairy tales. Pushkin's passion was transferred to Zhukovsky; a kind of “competition” began between poets in writing fairy tales. N.V. wrote about this poetic rivalry. Gogol, who often visited Pushkin Zhukovsky in Tsarskoye Selo at that time. “We gathered almost every evening - Zhukovsky, Pushkin and me. Oh, if only you knew how many wonderful things came from the pens of these men. Pushkin... has Russian folk tales - not like “Ruslan and Lyudmila”, but completely Russian... Zhukovsky also has Russian folk tales, some in hexameters, others simply in tetrameter verse, and, wonderful thing! Zhukovsky cannot be recognized. It seems that a new, broad poet has appeared, and this time a purely Russian one.”
Victory in the “competition” was on Pushkin’s side; the great poet was able to more accurately convey the spirit and style of Russian folk tales. However, this in no way detracts from the merits of Zhukovsky’s fairy tales, which were a significant phenomenon in Russian literature.
During this period A.S. Pushkin wrote “The Tale of Tsar Saltan”, and V.A. Zhukovsky three tales: “The Tale of Tsar Berendey”, “The Sleeping Princess” and “The War of Mice and Frogs”.
In the 40s of the 19th century, Vasily Andreevich Zhukovsky wrote several more literary fairy tales.
Thematic originality of V. A. Zhukovsky’s fairy tales
The Tale of Tsar Berendey,
About his son Ivan Tsarevich,
About the tricks of Koshchei the Immortal
And about the wisdom of Princess Marya,
Koshcheeva's daughter
Pushkin gave it to Zhukrovsky. Pushkin's recording The plot is based on a recording of a folk tale, which was made in 1824 from the words of Arina Rodionovna. Zhukovsky transposed this recording into verses, processed it in hexameter - poetic meter, widely used in
ancient Greek epic poetry.
Sleeping princess
The source of the tale was literary adaptationsAnd German and French fairy tales (“Rose Hip” by the Brothers Grimm and “Beauty Sleeping in the Forest” by Ch. Perrault). Zhukovsky combined both versions of these tales and rearranged them in poetic meter, very close to the verse of Pushkin’s tales “About Tsar Saltan”, “About the Dead Princess”, “About the Golden Cockerel”.
War of Mice and Frogs
The tale is based on the ancient Greek poem “Batrachomyomania” (“War of Mice and Frogs”), probably written by the late 6th – early 5th century BC poet Pigret of Caria. In addition, Zhukovsky was familiar with the poem by the 16th century German writer G. Rollenchen “The Frog-mousekeeper” and its later literary adaptations. Zhukovsky ironically and sometimes satirically shows contemporary writers here. The cat Fedot Murlyka exposed the corrupt writer and informer Thaddeus Bulgarin. In the wise rat Onufria, Zhukovsky portrayed himself, and in the poet of the mouse kingdom, Klim, Pushkin.
Thumb Boy
The poetic fairy tale was written by Zhukovsky in the 40s for his young children.
Puss in Boots
This fairy tale is a poetic adaptation of the fairy tale by C. Perrault “Uncle's Cat, or Puss in Boots.” Zhukovsky in some places developed the laconic text of the French storyteller and introduced features of humor into it.
tulip tree
“The Tulip Tree” is a poetic adaptation of a prose fairy tale from the Brothers Grimm collection “The Almond Tree.”
Tale of Ivan Tsarevich And Gray Wolf
The plot of this tale is based on several Russian folk tales, as well as a number of motifs and images borrowed from fairy tales of other peoples.
Conclusion
While working on the topic “Artistic and thematic originality of V. A. Zhukovsky’s fairy tales,” I met fairy world, for all its fantastic nature, the author does not break with the world around him. Fairy tales reflect the kind, humane and poetic view of the world inherent in representatives of the common people. Zhukovsky's poetic tales largely retained the stylistic features of folk fairy tales. Zhukovsky's fairy tales are written on the basis of Russian and Western European folk and original fairy tales. I studied the thematic diversity of V. A. Zhukovsky’s fairy tales.
Bibliography
Grikhin V. A. Beyond the mountains, beyond the valleys... M; 1989
Karpov I. P. Starygina N. N. Public lesson according to literature M; 2001
Kalyuzhnaya L. Ivanov G. One Hundred Great Writers M; 2000
Starobdub K. Literary Moscow M; 1997
From Masterweb - Adex
26.03.2017 21:54Amazing stories, beautiful and mysterious, full of 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.The charm of ancient stories, fictional, but full of meaning, was felt with all my soul by A. S. Pushkin. 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; focus on a children's audience; combination of educational, educational and entertainment functions; existence in the minds of readers of bright prototypical images.
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; Vasily Andreevich Zhukovsky; Mikhail Yurievich Lermontov; Pyotr Pavlovich Ershov; Sergei Timofeevich Aksakov; Vladimir Ivanovich Dal; Vladimir Fedorovich Odoevsky; Alexey Alekseevich Perovsky; Konstantin Dmitrievich Ushinsky; Mikhail Larionovich Mikhailov; Nikolai Alekseevich Nekrasov; M Ikhail Evgrafovich Saltykov-Shchedrin; Vsevolod Mikhailovich Garshin; Lev Nikolaevich Tolstoy; Nikolai Georgievich Garin-Mikhailovsky; Dmitry Narkisovich Mamin-Sibiryak.
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 expressions of folk speech, putting them into artistic form.The talented poet combined in his fairy tales the life and customs of Russian society of that time and the wonderful magical 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, 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 did not prevent “The Scarlet Flower” from becoming 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, in his fairy tales, tried to preserve the charm of everyday speech, to introduce the meaning and morality of folk proverbs and sayings. 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 brought novelty to 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 a 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 the liberation struggle and revolutionary movement of the 70s of the 19th 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 the landowners' hatred of the common people and spoke about the oppression of the 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. The great expert on 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.
WITH mid-19th century, the character of the Russian literary fairy tale changes significantly. Prose genres are becoming more popular. Certain features are preserved in a literary fairy tale folklore works, but the author’s and individual beginnings are enhanced. The Russian literary fairy tale begins to develop in line with pedagogical prose, and the didactic principle in it is strengthened. The main authors of this kind are Konstantin Ushinsky and Leo Tolstoy, who work on folklore subjects.
Ushinsky created two textbooks " Child's world" and "Native Word". The textbook includes many fairy tales ("The Man and the Bear", "The Trickster-Cat", "The Fox and the Goat", "Sivka-Burka"). The author included many educational stories descriptive in nature about animals, nature, history, work. In some works the moralizing idea is especially strong ("Children in the Grove", "How a Shirt Grew in a Field").
Lev Nikolaevich Tolstoy created a school for peasant children. For these children, the writer published a textbook “ABC”, which included the fairy tales “Three Bears”, “Tom Thumb”, “The Tsar’s New Dress” (the plot goes back to Andersen). Tolstoy emphasized morality and teaching. The book also contains educational stories (“Bird cherry”, “Hares”, “Magnet”, “Warmth”). At the center of the works is almost always the image of a child (“Philippok”, “Shark”, “Jump”, “Cow”, “Bone”). Tolstoy reveals himself as a subtle expert in child psychology. The pedagogical situation educates taking into account the child’s true feelings.
Another author of the second half of the 19th century is M. E. Saltykov-Shchedrin, writing in the tradition of satire. His tales are based on the allegory of animals. Shchedrin's main satirical means is grotesque (excessive emphasis on some quality).
Nikolai Leskov wrote a fairy tale “Lefty” for children, which combines literary and folklore traditions. A tale is an oral story, where the function of the narrator is important, and there is an emphasis on the realism of the events described (among the characters are Tsar Alexander I and Nicholas I). Leskov highlights the problem of Russian national character. On the one hand, Alexander I does not consider his people capable of anything useful. On the other hand, General Platov says that there are craftsmen in Russia too. The image of the main character is created in the same way as in epic works. Main feature character creation - monumentality and typicality (no name). Leskov actively uses stylization to folk speech, it is colloquial with distortion of words (“Melkoskop”).
The problems of the formation of children's literature and various periods of its development have been studied for a long time, and extensive theoretical and practical material has been accumulated. However, despite a significant amount of work, the nature of the relationship between literature about children and literature for children has not been fully identified, and this question is still far from any satisfactory solution.
Thus, in relation to the work of L.N. Tolstoy, such attempts were made by A.I. Borshchevskaya and E.Ya. Ilyina, K.D. Ushinsky - D.O. Lordkipanidze, A.F. Uspenskaya, and A.P. Chekhova - V.A.Golubkov, L.P.Gromov, V.F.Rudenko. Despite all this, in none of these works the issue of distinguishing between literature about children and for children is central and is considered fragmentarily, only in one aspect. In addition, a number of researchers, such as F.I. Setin, A.I. Borshchevskaya or V.A. Makarova, do not share the concepts of literature for children and literature about children at all. Thus, V.A. Makarova includes among stories for children not only “Vanka,” but also “The Man in a Case,” “Everyday Trifles,” “The Case of the Classic,” “The Tutor,” and “About Drama.”
The conclusion that the researcher draws from his analysis is predictable in advance and does not follow from the content of the work: “Chekhov’s assessment of classical education... helped the progressive public and pedagogy in their struggle against dogmatism and conservatism in teaching the younger generation.”
F.I. Setin, completing the analysis of “Childhood”, “Adolescence” and “Youth”, which he interprets as works for children, and tracing the influence of Tolstoy on the further development of the genre of stories about childhood, notes: “True, democratic writers are not only follow Tolstoy, but often argue with him, creating their own concept of the tragic childhood of the poor, which is far from the picture of “Golden Childhood” in a landowner family, painted by the author of the trilogy.”
Thus, two trends can be traced in the distinction between literature for children and about children. Some researchers, such as F.I. Setin, V.A. Makarova or A.I. Borshchevskaya, are inclined to classify all works that touch on the theme of childhood as children's literature. It is obvious that this point of view is incorrect. Confusing the theme of childhood in adult literature with the same theme in literature for children seems unfounded. F. M. Dostoevsky’s novel “The Teenager” and V. V. Nabokov’s “Lolita” can be equally well classified as children’s literature, since among their main characters there are children. IN general outline The essence of this trend is that children's literature is being transferred to works that are not related to it.
On the other hand, the opposite tendency in literary criticism is also erroneous, which consists in ignoring works addressed to children's audiences in the works of classical writers, which leads to significant misunderstanding and even distortion of entire periods of their literary activity. So, for example, Yu.A. Bogomolov and Edgar Broyde, analyzing Chekhov’s story “Kashtanka,” do not take into account at all the fact that this work was classified by Chekhov himself as a children’s work, which, among other reasons, gives rise to a fundamentally incorrect interpretation of the text.
Literature for children usually has a specific addressee - a child, while literature about children, although it can be partially perceived by children, is mainly aimed at an adult reader. It goes without saying that different targeting: to a child or an adult, accordingly requires qualitatively different forms of expression, manifested at the linguistic, plot-compositional and genre levels of perception. In addition, literature for children, in contrast to literature about children, incorporates a number of quite serious moral, ethical and social restrictions, while literature about children, if it has restrictions, is of a qualitatively different kind.
The deeply rooted idea that all or most of the works in which children are the main figures can be classified as children's works is obviously incorrect. Very often, a writer creating a work about a child and his world solves problems that are very far from the problems of children's literature. In this case, the child’s world is interesting to him not as an end in itself, but as a way to look at the adult world in a new way, from a new angle, or to show the formation and development of character. Typically, comments of this kind relate either to works with elements of the memoir genre, or to works that reconstruct the development of a particular personality under the influence of environment and upbringing. An example of such works is “Childhood of the Theme” by N.G. Garin-Mikhailovsky, “In a Bad Society” by V.G. Korolenko, “Childhood” by L.N. Tolstoy, “Childhood of Bagrov the Grandson” by S.T. Aksakov and many other novels and stories with elements of autobiographical prose. However, if the main difficulty were to separate just such works from the general series, we would not feel much need for classification. It would be enough to limit ourselves to the most general set of features that would allow us to isolate these works from the very beginning.
In reality the problem is much more complicated. Most often, the distinction is complicated by the fact that the border - about children or for children - passes not only through creativity different writers, but also according to the creativity of each of them, taken separately. Unfortunately, until now, practically no generalizations have been made on this topic. The best analysis of children's literature of this period is presented in the significant and interesting book by A.P. Babushkina “The History of Russian Children's Literature.” The book examines issues ranging from the origins of Russian children's literature to the literature of the late 19th - first third of the 20th centuries, with the main emphasis placed precisely on the period of interest to us. Extremely sparse information about the role of this period in the history of literature for children could also be gleaned from A.A. Grechishnikova’s textbook “Soviet Children’s Literature.”
In the most general terms, the problem stated in the dissertation research can be expressed as follows:
1. Not all works whose heroes are children are written for children and, accordingly, are for children. On the contrary, works for children can also be works in which children do not participate or even appear (zoo fiction, adventure stories, fairy tales, fables, parables, etc.).
2. Works that are not written for children and, in fact, not for children, can also be actively read and demanded by a children's audience (for example, translated adventure novels by Walter Scott, “ Captain's daughter” and fairy tales by Pushkin, “Childhood” by L.N. Tolstoy, etc.).
3. Very often, multi-level adult works, usually written in the genre of memories of childhood, are mistaken for literature for children (example: “The Childhood Years of Bagrov the Grandson” by S.T. Aksakov, “Childhood” by L.N. Tolstoy). Indeed, due to their specificity and the subject of the depiction (a child in the process of growing up and various encounters with the adult world), these works are very often read by children, but, as a rule, in fragments or in a significantly adapted form. The child returns to these works over time and, as a rule, discovers in them a lot of things that were unread or previously misunderstood.
4. Finally, there are works (and there are many of them) that, having once been created for adults, to a large extent, for one reason or another, very soon became available to children's literature. In our opinion, this is explained not so much by the process of increasing the intellectual level or lowering the threshold of growing up, but by the rapid development of literature and further development genres.
To complicate the classification, we could distinguish the following types of works: a) children's works; b) adults themselves, generally, due to their characteristics, incomprehensible to children and not intended for them; c) “universal” works, most often adventure and fiction; d) works that have passed into children's literature from adult literature; e) “multi-level” works, where there are niches for both adults and children. Usually such works are written in the genre of memoirs. These are numerous “Childhood...”, and besides them there are many more historical, epic, epic or simply action-packed works, in which the plot, however, plays a supporting role.
All of the above creates significant difficulty in distinguishing literature and dividing it into literature for children and literature about children. At the same time, you can often encounter multi-level works that satisfy the requirements of both children's and adult literature.
This sometimes creates the need to abandon classification altogether and not distinguish between children’s and adult literature, once and for all including them in the single concept of “literature.” However, by doing this, we would consciously withdraw from studying those processes, settings, “filters” and visual arts, which determine the “childishness” or “not childishness” of literature and whose roots lie deep in the psyche of an adult and a child.
The topic stated in the dissertation covers a period of more than thirty years - from the beginning of the sixties XIX century until the end of the century. Sometimes the agreed boundaries are deliberately violated, as required by the reconstruction of a holistic picture of creativity for children and about the children of the writers considered in the study, whose years of creative development mainly fell on the period under study. In addition, it has long been noted that the literary age and the calendar age very rarely coincide, and writers who formed and entered literature in late XIX centuries, most often remain faithful to their century and, it seems, should be considered precisely within its boundaries.
So, for example, in the case of A.I. Kuprin, our scope of consideration includes some works created at the beginning of the 20th century. This violation of chronology, however, is justified, since A.I. Kuprin emerged as a writer at the end of the 19th century and continued in his work for children the traditions of A.P. Chekhov and D.N. Mamin-Sibiryak, and the framework of the century, of course, did not separate his work from these names.
The second half of the 19th century was an unusually fruitful period for Russian literature in general and, in particular, for literature for children and about children. This is the period when such writers as K.D. Ushinsky, L.N. Tolstoy, V.G. Korolenko, A.P. Chekhov, A.I. Kuprin, D.V. Grigorovich, D. N. Mamin-Sibiryak, V. M. Garshin and F. M. Dostoevsky.
№8 Fet is one of the most remarkable Russian landscape poets. In his
Russian spring appears in all its beauty in the verses - with flowering trees,
the first flowers, with cranes calling in the steppe. It seems to me that the image
Cranes, so beloved by many Russian poets, were first identified by Fet.
In Fet's poetry, nature is depicted in detail. In this regard, he is an innovator. Before
Fet in Russian poetry, addressed to nature, generalization reigned. In verse
Feta we meet not only traditional birds with the usual poetic
halo - like a nightingale, a swan, a lark, an eagle, but also such as simple and
unpoetic, like the owl, harrier, lapwing, and swift. Traditional for Russian literature is the identification of paintings
nature with a certain mood and state of the human soul. This
the technique of figurative parallelism was widely used by Zhukovsky, Pushkin and
Lermontov. Fet and Tyutchev continue this tradition in their poems. So,
Tyutchev in his poem “Autumn Evening” compares fading nature with
exhausted human soul. The poet succeeded with amazing precision
convey the painful beauty of autumn, causing both admiration and
sadness. Particularly characteristic of Tyutchev are his bold but always true epithets:
“the ominous shine and variegation of the trees”, “the sadly orphaned earth.” And in
human feelings, the poet finds correspondence to the mood prevailing in
nature. Tyutchev is a poet-philosopher. It is with his name that the current is associated
philosophical romanticism, which came to Russia from German literature. And in
In his poems, Tyutchev strives to understand nature by including it in the system of his
philosophical views, turning them into part of your inner world. Maybe
be this desire to place nature within the framework of human consciousness
dictated by Tyutchev's passion for personifications. Let us at least remember the well-known
the poem “Spring Waters”, where streams “run and sparkle and shout.” Sometimes
this desire to “humanize” nature leads the poet to pagan,
mythological images. Thus, in the poem “Noon” the description of a dozing
nature, exhausted by the heat, ends with the mention of the god Pan. By the end of his life, Tyutchev realizes that man is “only a dream.”
nature." He sees nature as an “all-consuming and peaceful abyss”,
which inspires the poet not only fear, but almost hatred. On top of her
His mind is not in power, “the powerful spirit is in control.”
Thus, throughout life, the image of nature changes in the mind and
Tyutchev's works. The relationship between nature and the poet increasingly resembles
"fatal duel" But this is exactly how Tyutchev himself defined the true
Fet has a completely different relationship with nature. He doesn't strive
“rise” above nature, analyze it from the standpoint of reason. Fet feels
yourself as an organic part of nature. His poems convey the sensual,
emotional perception of the world. Chernyshevsky wrote about Fet’s poems that they
a horse could write if it learned to write poetry. Indeed,
It is the immediacy of impressions that distinguishes Fet’s work. He is often
compares himself in verses with “the first inhabitant of paradise”, “the first Jew at the turn
promised land." This is the self-perception of a “discoverer of nature,” by the way,
often characteristic of Tolstoy’s heroes, with whom Fet was friends. Let's remember though
would be Prince Andrei, who perceives the birch as “a tree with a white trunk and
green leaves." poet Boris Pasternak - lyrical painter. Great amount his
poems dedicated to nature. In the poet's constant attention to earthly
spaces, to the seasons, to the sun is hidden, in my opinion, the main
theme of his poetic work. Parsnip exactly the same as in its time
Tyutchev experiences almost religious surprise at the “God’s world.”
So, according to people who knew him closely, Pasternak liked to call boiling water
Life around us is precisely “God’s world.”
It is known that he lived in Peredelkino for almost a quarter of a century.
writer's cottage. All the streams, ravines, old trees of this wonderful place
included in his landscape sketches.
Those readers who, like me, love the poems of this poet, know that
there is no division into living and inanimate nature. Landscapes exist in his
poems on equal terms with genre ones lyrical paintings being. For Pasternak
not only his own view of the landscape is important, but also nature’s view of the
Natural phenomena in the poet’s poems acquire the properties of living beings:
the rain stomps at the threshold “more forgetful than timid”, a different rain at
Pasternak walks along the clearing “like a surveyor and a marker.” He may have a thunderstorm
threaten like an angry woman, and the house feels like a person who
afraid to fall.
№9 Features of the genre of autobiographical prose
An appeal to autobiographical prose for poets of the second half of the 19th century. not only was it a way to convey one’s experiences, thoughts and emotions, but it was also driven by the desire to capture the panoramic view of Russian life of that period, to portray one’s contemporaries, and to tell the story of one’s family. Of course, poetry and literary criticism were priority activities for them. At the same time, without experiencing a creative crisis, in search of deeper internal introspection, they turned to writing their memoirs. Memoirs are direct evidence of the increased interest of poets in prosaic artistic activity.
Autobiographical creativity has been less studied than poetry. Most prose texts still remain outside the scope of literary literature proper, being of interest, first of all, as an authoritative source of information about life, belief systems and specifics creative individuality poets. Meanwhile, autobiographical prose is an important component of artistic heritage. The authors under consideration are artists who combine several talents - poet, critic, prose writer, memoirist, whose work should not be subject to one-sided definitions and characteristics. The study of autobiographical prose makes it possible not only to identify the characteristics of the era in which they were formed as poets, but also to analyze the structure of such a specific image as the image of an autobiographical hero, formed under the influence of their own lyrical experience. The insufficient development of this problem in domestic literary criticism is of particular research interest and determines the relevance of the topic of this dissertation, aimed at studying the poetics of autobiographical prose.
Related information.
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LITERARY TALE OF THE 19TH CENTURY
1.V.F.ODOEVSKY “THE TOWN IN THE STOFFBOX” 2.M.Yu.LERMONTOV “ASHIK-KERIB” 3. V.M.GARSHIN “THE FROG IS A TRAVELER”, “THE TALE OF THE TOAD” 4.A.S.PUSHKIN “ THE TALE OF THE GOLDEN COCK” 5.V.A.ZHUKOVSKY “THE TALE OF KING BERENDEY...” 6.S.T.AKSAKOV “THE SCARLET FLOWER” Have you read them? Not really
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It's a pity…
I d i ch i t a y! V.f. Odoevsky "Town in a Snuff Box" M.Yu. Lermontov "Ashik-Kerib" A.S. Pushkin "The Tale of the Golden Cockerel" V.A. Zhukovsky "The Tale of Tsar Berendey..." V.M. Garshin "The Frog Traveler" " V.M. Garshin "The Tale of the Toad and the Rose" S.T. Aksakov "The Scarlet Flower" BACK
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LESSON OBJECTIVES
1) LEARN TO COMPARE, GENERALIZE, Draw conclusions; 2) TO DEVELOP FANTASY, IMAGINATION, THE ABILITY TO GIVE A COMPLETE, CONNECTED ANSWER; 3) LEARN TO WORK COLLECTIVELY, IN GROUPS; further
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HELLO GUYS!
I'm glad to see you. To get into this amazing country, we must name a fairy tale that ends with the words: “THE FAIRY TALE IS A LIE, YES IT HAS A HINT! A LESSON FOR GOOD YOUNG PEOPLE!”
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I thought that I knew and could do everything, but I had never heard of these fairy tales. Let each group present their fairy tale so that everyone else can guess which fairy tale they encountered. further
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Group 1 – V.F. Odoevsky “Town in a Snuff Box” Group 2 – M.Yu. Lermontov “Ashik-Kerib” Group 3 – A.S. Pushkin “The Tale of the Golden Cockerel” Group 4 – V.A. Zhukovsky “Fairy Tale” about Tsar Berendey..." Group 5 V.M. Garshin "The Frog Traveler", "The Tale of the Toad and the Rose"
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Vladimir Fedorovich Odoevsky
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Mikhail Yurjevich Lermontov
Work plan: 1. Prepare a short description of the fairy tale: - who is the author (a little about him); - correct name; - what is its topic (what is it about?) and idea (what does it teach?). 2. Creative task. Prepare a skit, reading the passage role-playing. further further further
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Vasily Andreevich Zhukovsky
Work plan: 1. Prepare a short description of the fairy tale: - who is the author (a little about him); - correct name; - what is its topic (what is it about?) and idea (what does it teach?). 2. Creative task. Prepare a skit, reading the passage role-playing. further
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Alexander Sergeevich Pushkin
Work plan: 1. Prepare a short description of the fairy tale: - who is the author (a little about him); - correct name; - what is its topic (what is it about?) and idea (what does it teach?). 2. Creative task. Prepare a skit, reading the passage role-playing. further
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Vsevolod Mikhailovich Garshin
Work plan: 1. Prepare a short description of the fairy tale: - who is the author (a little about him); - correct name; - what is its topic (what is it about?) and idea (what does it teach?). 2. Creative task. Prepare a skit, reading the passage role-playing. further
Slide 14
The floorboard is creaking about something, And the knitting needle can’t sleep again, Sitting down on the bed, the pillows Already pricked up their ears..... And immediately the faces change, The sounds and colors change..... The floorboard creaks quietly, SKAZKIs walk around the room. physical minute
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Are you probably tired? Well, then everyone stood up together! They stomped their feet, patted their hands, lean lower to the right, lean to the left too, they twirled, twirled, and everyone sat down at their desks. We close our eyes tightly, together we count to five 1-2-3-4-5 We open, blink and begin work.
Slide 16
A NOTE FOR THOSE WHO ARE LISTENING
1. Listen carefully to your friend’s answer. 2. Evaluate: 1) completeness of the answer; 2) sequence (logic); 4) use of examples of presentation; 3) visibility; 5) presence of output. 3.Correct errors and complete answers. 4. Give an informed estimate.
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THE SECRET OF A TALE
THANK YOU, my dear guys. I learned so many new and interesting things today! You made me happy and for that I will tell you one secret NEXT
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In the fairy tale “THE SCARLET FLOWER,” familiar from childhood, love works wonders, helping the beauty to disenchant the monster and turn him into a prince. You will learn about the mysterious transformations that the fairy tale itself experienced in today's lesson.
Slide 20
Sergei Timofeevich Aksakov
The fairy tale “The Scarlet Flower” was written down by the famous Russian writer Sergei Timofeevich Aksakov (1791 - 1859). He heard it as a child during his illness. The writer talks about it this way in the story “The Childhood Years of Bagrov the Grandson”:
Slide 21
“My speedy recovery was hampered by insomnia... On the advice of my aunt, they once called the housekeeper Pelageya, who was a great master at telling fairy tales and whom even her late grandfather loved to listen to... Pelageya came, not young, but still white and ruddy... sat down at stove and began to speak, in a slightly chanting voice: “In a certain kingdom, in a certain state...” Need I say that I did not fall asleep until the end of the fairy tale, that, on the contrary, I did not sleep longer than usual? The next day I listened to another story about “The Scarlet Flower.” From then on, until my recovery, Pelageya told me every day one of her many fairy tales. More than others, I remember “The Tsar Maiden”, “Ivan the Fool”, “The Firebird” and “The Snake Gorynych”.
Slide 22
In the last years of his life, while working on the book “The Childhood Years of Bagrov the Grandson,” Sergei Timofeevich remembered the housekeeper Pelageya, her wonderful fairy tale “The Scarlet Flower” and wrote it down from memory. It was first published in 1858 and has since become our favorite fairy tale.
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HOUSEKEEPER PELAGEIA
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The opinion has taken root that literary fairy tales about Beauty and the Beast, including “The Scarlet Flower,” have one primary source: the short story “Cupid and Psyche” from the novel “The Golden Ass” by Apuleius (2nd century AD).
Slide 25
PSYCHE'S CURIOSITY
Psyche was so beautiful that she aroused the jealousy of the goddess of beauty, Venus, and she sent her son Cupid to her to inflict a wound on Psyche. But when Cupid saw the girl, he did not harm her, but carried her secretly to his palace and visited her at night, in complete darkness, forbidding her to see his face.
Slide 26
The insidious and envious sisters taught Psyche to break the ban, and she tried to look at her lover with the help of a night light.
Slide 27
At night, burning with curiosity, she lights a lamp and looks admiringly at the young god, not noticing the hot drop of oil that fell on Cupid’s delicate skin.
Slide 28
In the fairy tale “Cupid and Psyche,” the envious sisters assured the beauty that her lover was a real monster. They also described his appearance:
Slide 29
“We have certainly learned and cannot hide from you, sharing your sorrow and grief, that a huge monster secretly sleeps with you at night, whose neck is filled with destructive poison instead of blood and whose mouth is open like an abyss.”
Slide 30
S. T. Aksakov in the fairy tale “The Scarlet Flower” literally constructs a monster from fragments of the bodies of various animals and birds: - Yes, and the beast of the forest was terrible, the miracle of the sea: crooked arms, animal nails on the hands, horse legs, great camel humps in front and back , all shaggy from top to bottom, boar tusks protruding from his mouth, a hooked nose like a golden eagle, and the eyes were like an owl. In all likelihood, the writer himself composed it in purely Russian taste. He himself came up with a name for it: “beast of the forest, miracle of the sea”
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 complete personality in a child and 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 XIX century, learn to ask questions about what you 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 children by 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.
A towel is a 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.”
Russian 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……..