Tale about animals: system of images, plot typology, poetics. The structure of a fairy tale. PRINCIPLES OF WORKING WITH FAIRY STABLES Therefore, art can be called a reaction, deferred par excellence, because between its action and execution lies
The system of characters in Russian folk tales about animals is represented, as a rule, by images of wild and domestic animals. The images of wild animals clearly predominate over the images of domestic animals: fox, wolf, bear, hare, and among birds - crane, heron, thrush, woodpecker, sparrow, raven, etc. Domestic animals are much less common, and appear not as independent or leading characters, but only in conjunction with forest: dog, cat, goat, ram, horse, pig, bull, from domestic birds - goose, duck and rooster. There are no fairy tales only about domestic animals in Russian folklore.
As mentioned a little earlier, in fairy tales about animals, fish, animals, birds act; they talk to each other, declare war on each other, make peace. Such tales are based on totemism (belief in a totem beast, the patron of the family. .
With all of them, the main characters of fairy tales, Ivan the Tsarevich, Ivan the Fool, Ivan Bykovich, are fighting not for life, but for death. They are distinguished by modesty, diligence, fidelity, kindness, willingness to help, disinterestedness. All this makes us admire. We sympathize with them in difficult times, rejoice in their victories. Together they embody the unwritten moral code of the people. Ivan Bykovich, without hesitation, goes to protect the people from the Serpent; Ivan Tsarevich goes in search of his mother, who was suddenly kidnapped by Koschey; Ivan the Fool unquestioningly fulfills the request of the deceased parent to come to his grave.
Fairy tales say: he will emerge victorious in the fight against the enemy, who loves his people, honors his parents, respects his elders, remains faithful to his beloved, who is kind and fair, modest and honest.
With all the plot differences, fairy tales have a unity of poetic structure. This is expressed in the strict correlation of motives that form a consistently developing action from the plot through the development of the action - to the climax leading to the denouement. The action of the fairy tale is built on the principle of growth: each previous motive explains the next one, preparing the events of the main, climactic, which conveys the most dramatic moment of the plot action: Ivan Tsarevich defeats Koshchei, fulfills the difficult orders of the sea king, Ivashka burns the witch, the king reveals the witch's intrigues and returns to his wife , turned into a lynx, the image of a beautiful queen, Culminating, or, in other words, central, the motif is specific to each plot. The rest can vary, i.e., be replaced by motives similar in content within the framework of a given plot.
Conflict, expressed in a sharp opposition of the main characters, is an indispensable condition for plot action. In a fairy tale, she is always motivated. The traditional motivations that determine the actions of heroes are marriage, the desire to receive wonderful objects, the destruction of an enemy that causes some harm to the hero (his family or people in general), for example, the destruction of crops, the abduction of a princess, etc. One fairy tale can contain two motivations ( for example, Ivan Tsarevich defeats a snake and at the same time finds his wife in the underworld). Depending on the direction of the plot, motivations can receive heroic, everyday or social overtones. The composition of a fairy tale is simple in its own way, but this simplicity is the clarity of the complex, the result of centuries-old polishing of a fairy tale in the process of its existence. The stepdaughter politely replies to Frost and he rewards her, the stepmother's daughters are rude to Frost and die.
Taking into account plot differences and author's interpretations, fairy-tale characters appear as a wide gallery of typical images. Among them, the image of the hero is especially important, because it largely determines the ideological and artistic content of fairy tales, embodying folk ideas about justice, kindness, true beauty; it is as if all the best qualities of a person are concentrated in it, thanks to which the image of the hero becomes an artistic expression of the ideal. The high moral qualities of the heroes are revealed through their actions. However, in fairy tales you can find elements of a different nature, attempts to convey the inner world of heroes, their spiritual life: they love, rejoice, grieve, are proud of their victory, experience betrayal and infidelity, look for a way out of difficult situations, sometimes they make mistakes. That is, in the fairy tale we already find outlines of the image of the personality.
And yet, it is possible to speak about the individualization of images with a certain degree of conventionality, since many features inherent in the hero of one plot will be repeated in the heroes of other fairy tales. Therefore, the opinion about the image in fairy tales of a single folk character is fair. This national character was embodied in different types heroes - male and female images.
The fairy tale hero is essentially nameless. The name Ivan allows any substitutions - Vasily, Frol, Ivan the peasant's son, Ivan Medvedko and others.
At the beginning of the tale, he is named among other characters: "Once upon a time there was a king, he had three sons" - such is the typical beginning of most fairy tales. In order to distinguish the hero from the secondary characters, the tale introduces a number of traditional positions and situations associated only with the hero. He is young, among his brothers he is always the youngest and therefore they do not trust him. The definition of “younger” can be not only age related, but also social: Ivan the Fool is despised by his older brothers, he is disinherited, Ivan the peasant son, as the youngest, is opposed to the royal sons.
Not infrequently, a hero is distinguished by a miraculous birth: the queen eats a pea, drinks water from a well or stream - twin sons are born to her. Ivan Medvedko will be born from the marriage of a man and a bear, a miraculous fish is eaten by a queen, a servant and a cow, each of them has a son, but the son of a cow (Ivan Bykovich) shows the features of a hero in the future.
These motifs that begin the tale, due to their traditional nature, are, as it were, signal situations that draw the attention of listeners to the hero and, accordingly, determine the attitude towards other characters. This bias enhances emotional perception.
In most fairy tales, the hero, unlike other characters, is endowed with extraordinary power. His heroism is already revealed in childhood, he "grows by leaps and bounds", "goes out into the street, grabs someone by the hand - hand away, grabs someone by the leg - foot away." He is only capable of a wonderful horse, which awaits the rider on its own in the dungeon, chained with twelve chains. Setting off on his journey, the prince orders himself a twelve-pound club. The same power is hidden in Ivan the Fool (“Sivka-Burka”): “...He grabbed the nag by the tail, skinned it and shouted: “Hey, flock, jackdaws, hags and magpies! Here is the father sent you a stern.
It should be noted that any quality the hero of the tale gives is not like sparing the animals; Ivan the Fool ransoms a dog and a cat with the last money, frees a crane that has fallen into a snare; the hunter, in need, feeds the eagle for three years. The same manifestation of ideal qualities is the fulfillment of duty, honoring elders, following wise advice. Usually advice comes from old men and women who embody life experience, the ability to foresee events. These characters often act as wonderful helpers. In the tale of the three kingdoms, Ivan Tsarevich, setting off in search of his kidnapped mother, defeats a many-headed snake, following her order "not to strike with weapons twice" or rearrange the barrels with "strong and powerless water." The plot “Go there, I don’t know where” is all based on the fulfillment by the archer of the wise advice of his wife. Failure to comply with the order, violation of this word is regarded as a fault and carries grave consequences: miraculous objects, the bride, are stolen from Ivan Tsarevich.
The initial erroneous behavior gives special persuasiveness to the right actions. Ivan Tsarevich thinks where to get the heroic horse. When asked by an oncoming backyard grandmother, what he thought about, he answers with rudeness, but then changes his mind, asks the old woman for forgiveness and receives the necessary advice.
The personality of the hero is manifested in his actions, in his reaction to the outside world. The plot action (situations in which the hero is placed) serves to reveal and prove the truly positive qualities of a person, the correctness of his actions, as corresponding to the norms of human behavior in society. For each good deed, the hero is rewarded with magical items: an invisibility cap, a self-assembled tablecloth, wonderful animals - a heroic horse, helper animals. The reward may be in the form of advice - where to find a horse, how to find the way to the betrothed, to overcome the snake [Propp 2010: 219].
A fairy tale knows two main types of heroes: Ivan Tsarevich - the hero of magical and heroic plots ("Three Kingdoms", "Kashchei the Immortal", "Rejuvenating Apples", etc.) and Ivan the Fool - the hero of fairy tales "Sivka-Burka", "Magic Ring", "Wonderful Gifts", "Humpbacked Horse", etc. The existence of various types of heroes finds its historical and aesthetic conditionality, the latter is determined by the desire to comprehensively reveal the national ideal. The goal of the hero in different plots is different: to return to people the light that the snake swallowed, to save the mother from the monster and find the brothers, to restore the sight and health of the old man, turns the queen into a white duck, and then tries to kill her children.
Revealing the images of its heroes, the fairy tale conveys folk ideas about people, their relationships, affirms kindness and fidelity. The image of the hero is revealed in a complex system of plot oppositions. Antithesis is an artistic technique by which the central image receives an in-depth characterization. Contrasting the hero with his opponent (the pest) is of particular importance, since the relationship of these characters is an expression of various life principles and thus becomes a means of revealing the ideological content of fairy tales.
The main types of heroes - active (Ivan Tsarevich) and passive (Ivan the Fool, stepdaughter) - also correspond to the types of opponents. Conventionally, they can be divided into two groups: monstrous opponents of the "other" kingdom - snakes, Kashchei, Baba Yaga and others, and opponents of "their" kingdom - the king, princess, brothers, etc. [Pruss I. 2013: 47].
Monstrous opponents are the characters of heroic plots. Folk fantasy paints them as fantastic monsters. Intentionally depicting the heroes as outwardly ordinary people - a good fellow, a red maiden, the fairy tale resorts to hyperbole when describing enemies: a nine-headed snake, a man with a fingernail - a beard with an elbow. All of them are aggressive, bring death and destruction to people: they kidnap women, children, burn kingdoms. But the more monstrous the enemy, the more determination and courage the hero must have.
The antagonistic relationship between the hero and his opponent is the basis of all fairy tales. But despite the general similarity of the plot plot, none of the tales nevertheless repeats the other. This difference lies, in particular, in the plot diversity, which is largely due to the numerous images of opponents. Each of them has a specific traditional function in the plot, hence the differences in appearance, attributes, properties that generate special forms fight them. The number of opponents of the hero will increase even more if we take into account that different characters can be hidden behind one name.
Thus, in addition to the main characters - the hero and his opponent - there are many other characters in the fairy tale, each of which has its own purpose in the plot action; among them, the group of characters who give miraculous helpers, and the miraculous helpers themselves, is especially numerous. These are characters from a fairy tale.
In fairy tales, domestic and wild animals always stand on the side of the hero: the horse helps to defeat the snake, the cow Burenushka does hard work for her stepdaughter, the cat, etc. the dog returns the ring stolen by the princess, the bear, the wolf, the hare help the prince get Kashchei's death or deal with the sorcerer - his sister's lover.
Since ancient times, wishing to save oneself from illnesses and accidental dangers, striving to ensure good luck in all matters, the popular imagination endowed bread, water, fire, as well as a wide variety of objects with a magical function: flint, towel, needle, mirror, ring, knife, etc. This belief finds confirmation in numerous rites and customs, it was reflected in a peculiar way in the fairy tale about the miraculous properties of individual objects, with the help of which the hero performs difficult assignments and avoids danger. Miraculous objects in a fairy tale are, as a rule, outwardly ordinary household items - a comb, a brush, a towel. Miraculous properties are contained in their action: a tablecloth feeds all the hungry, a towel spreads like a river, a comb turns into an impenetrable forest.
One of the most popular negative heroes of the Russian fairy tale is the Serpent Gorynych. A survey among students, which consisted of only one question: “Name the most popular negative heroes of Russian fairy tales in descending order,” showed that the most “popular” negative heroes of Russian folk tales are: Koschei the Immortal, Baba Yaga, Serpent Gorynych, Vodyanoy , Leshy.
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