"No, a fairy tale is not an empty fold,

in it, as in general, in all the buildings of the whole people,

it could not really be there, no purpose of the parted lies,

neither deliberately evasion from the real world

A.N. Afanasyev

The fairy tale is one of the main and most beloved species of people's oral poetic creativity. She lives in oral execution and in the book, she loves children, and adults, in the city and in the village. In the boundless sea of \u200b\u200bfolk prose, among legends, legends, stories about the debates and water, all sorts of fantastic "stories" we are unmistakably learn fairy tales.

Scientists interpret a fairy tale in different ways. Some of them sought to characterize the fabulous fiction as independent of reality, while others wanted to understand how the attitude of folk narrator to the surrounding reality was elected in the fantasy of fairy tales. Do you consider a fairy tale in general, any fantastic story or to allocate in the oral folk prose and its other species is not a fabulous prose? How to understand a fantastic fiction, without which no fairy tale do? What is the origin of the fairy tales? Here are the main problems that have long worried and worry scientists.

For my study it is very important to understand what a fairy tale is, and analyzing this phenomenon is not just guided by poetic a little, but from a scientific point of view to study and understand the essence of this deep word, try to identify its origin. To do this, we need to analyze a huge layer of information.

A large number of scientific papers are dedicated to the study of the fairy tale, one list of names of which could take a whole volume. In this chapter, I do not pursue the goal to give a detailed presentation of the story of the study of the fairy tale, my task is to reveal the basic definitions of the concept of a fairy tale and identify the main problems in studying it.

In the first third of the XIX century, scientific literature on the fairy tale was not too rich. In addition to the fact that few people were published, bibliographic reports showed the following picture: the most issues were published, quite a lot of work on private issues and relatively little general works. If they were, in most cases there were not strictly research, but a philosophical-amateur character. They reminded the works of the erudite naturophilosophers of the XVIII century, whereas people needed accurate observations, analyzes and conclusions. This is how the professor M. Speransky described this position: "Without stopping at the obtained conclusions, scientific people continue to be locked, considering the collected material still insufficient for general construction. Thus, science again refers to the collection of material and to process this material in the interests of future generations, and what will be these generalizations, and when we will be able to do - unknown "(62, p. 400).

What is the reason for this impotence, this dead end, in which in the 20s of the last century, the science of a fairy tale buried? Speransky vinit in this insufficiency of the material. But since the above lines were written, many years have passed. During this time, the capital labor is completed by I. Holy and Polyvka, entitled "Notes to the fairy tales of the Brothers Grimm." Here, for each fairy tale of this collection, options from all over the world were summed up. The last volume ends with a bibliography, where sources are shown, i.e. All confidencers of fairy tales and other materials containing fairy tales are all known to the authors. This list covers about 1,200 titles. True, among the materials there are random, minor materials, but there are the largest collections as "one thousand and one night" or a collection of Afanasyev with its 400 texts. But that's not all. For example, to the II World War in Germany, the encyclopedia of the "Handworthterbuch des Marchens" fairy tales was published, which included several volumes, but the war broke this undertaking.

In Russia, in the era of the USSR at the Institute of Russian Literature (Pushkin House), a department existed, which published the Russian Folklore yearbook. Also, the Department of Oral People's Poetic Creativity was published a bibliography of Russian folklore.

At the same time, a huge number of fabulous material has not yet been published, the part is not even described. It is stored in the archives of various institutions and individuals. Some of these assemblies are available to a specialist.

What number of fairy tales is at our disposal at all? Are there many such researchers who have covered at least one printed material? Is the question of the origin of fairy tales studied? It is still not enough to say that "the material collected material is still not enough." Currently, the case is not in the amount of material. Business in another - in the methods and interest of study. This is a huge work, to the end, unfortunately, not investigated.

While physico-mathematical sciences have a slender classification, a single terminology adopted by special congresses, a methodology improved by the continuity of teachers to students, we have all this. The film and the colorful manifold of fabulous material lead to the fact that the clarity, accuracy in the formulation and decision of the issues is achieved with great difficulty. Even such a simple at first glance, as the identification of the concept and origin of the fairy tale - it turns out to be one of the difficult moments on the way of studying it.

When moving to the study of the concept of a fairy tale, it is necessary to take into account that it is investigated by us within the limits of national and linguistic boundaries. We will only take the Russian folk fairy tale, but it is necessary to understand that its study is in full possible only on a comparative material of fairy tales of the whole globe.

It will be superfluous to bring all the existing research in the definition of the general concept of a fairy tale and its origin: there are many of them, they would have to write a separate book for their disclaim. I will consider only some of them. Analyze the opinions of different researchers and scientists who dealt with the issue of studying the Russian folk fairy tale.

His reflections to define a fairy tale and try to distinguish from other genres of folklore outlined more than a hundred fifty years ago by K.S. Aksakov. Speaking about the difference between fairy tales and epics, he wrote: "Between fairy tales and songs, in our opinion, there is a sharp feature. The fairy tale and song differently inscribed. This difference was established by the people himself, and we all better accept the separation that he did in his literature. The fairy tale - a fold (fiction), and the song - the friend, says the people, and the words of him have the meaningful, which is explained how soon we will pay attention to the song and a fairy tale. "(3, No. 153).

According to Aksakov, the fiction affected the maintenance, and on the image of the action of the action in them, and on the nature of the actors. His understanding of the tales of Aksakov clarified such judgments: "In a fairy tale, a narrator violates all the limits of time and space, talks about the thirtieth of the kingdom, about unprecedented countries and all sorts of wonders" (ibid.). According to Aksakov, fiction is characterized for fairy tales, and conscious.

Not all scientists shared the position of defining a fairy tale as a fiction. Famous folklorist A.N. Afanasyev said: "The fairy tale is a fold, the song - the best," said the old proverb, trying to hold a sharp boundary between the epic fabulous and epic historical. Perverting the actual meaning of this proverb, took a fairy tale for a clean lie, for a poetic deception, which is one of the goal to take free leisure by unprecedented and impossible fiction. The failure of such a view has long rushed into the eyes. " Afanasyev did not allow the thought that "an empty fold" could persist in the people in continuation of a number of centuries and on the huge length of the country, holding and repeating "the same ideas": "What is happening to the arbitrariness of a non-restrained imagination, then unable to produce so complete agreement and could not survive in such freshness; Creativity would not stop on a boring, identical repetition of the same wonders, but would invent new "(9, T. III, p. 381-391). Afanasyev made the following conclusion: "No, a fairy tale is not an empty fold, in it, as in all the creatures of the whole people, it could not be, and in fact there is neither the purpose of the written lies or intentional evasion from the actual world." In my opinion, Afanasyev was right, as he proceeded from a special, mythological understanding of the genesis of fairy tales.

It is important to note the famous academician A.N. Veselovsky, whose works about the fairy tale make up a whole volume. Despite this, he never gave his definition of a fairy tale.

It is useful to remember the definition of a fairy tale, given in the 20s of the last century P.N. Sakulin: "The fairy tale is the advantage of the oral fiction of the surreal warehouse" (57, part 1, p. 65).

A number of researchers of folklore fairy tale called everything that "affected." Academician Yu.M. Sokolov wrote: "Under the folk fairy tale in the broad sense of this word, we understand the oral-poetic story of a fantastic, adventurous-enerstic and domestic nature" (61). Scientist's brother, Professor B.M. Sokolov, also believed that the fairy tale should be called "every oral story." Both researchers argued that fairy tales include "a number of special genres and species" and that each of them can be considered "especially". Yu.M. Sokolov considered it necessary to list all the varieties of fairy tales, and B.M. Sokolov pointed to their enactment: in his opinion, fairy tales are stories reported by "In order to enjoy" (ibid).

Famous Soviet Folklorist A.I. Nikiforov based on the definition of the fairy tale borrowed signs of fabulous narration, put by Aksakov. He wrote: "Fairy tales (it. Marchen, English Tale, Franz. Conte, Ital. Fiaba, Serb.-Horv. PRIPOVIJETKA, BULG. Craftsday, Czech. Pohadka, Polish. Bajka, Belor. And Ukr. Kazka, Bike, Russians before the XVII century. Basn, bike) - these are oral stories that are among the people with a view to entertainment, having a content unusual in the domestic event (fantastic, wonderful or everyday) and distinguished by special composite-stylistic construction "(37, p. 7 ). Explaining the meaning of its definition, Nikiforov pointed to three essential signs of a fairy taway: the first sign is a target for entertainment of students; The second sign of a modern fairy tale is an unusual content in everyday life; The third sign is a special form of its construction. However, it is also important to consider that Nikiforov argued about the existence of some one-sidedness of the definitions of the fairy tale. He attributed his definition only to modern fairy tales.

Outstanding Russian Soviet Folklorist, one of the founders of the modern Text Theory V.Ya. Propp in his book "Russian Fairy Tale" analyzes in detail and highlights the basic definitions of the fairy tale. It comes to the conclusion that the definition given by N. Nikiforov, most accurately and fully displays the concept of a fairy tale. It was how it was the basis of his work as a whole. That's what he writes:

"The set of historically established artistic techniques can be called the poetic, and we would now say that folk genres are determined by the poetic specifically for them. So it turns out the primary, the most common definition: the fairy tale is the story (Genus Proximum - the nearest genus), differing from all other types of narration specificity of its poetics. This definition made in all the rules of logic, still does not fully disclose the essence of the fairy tale and require further additions. By defining a fairy tale through her poetics, we define one unknown, as this poot is not yet sufficiently studied. The concept of "poetics" also admits various interpretations, various understanding. Nevertheless, the principle itself is important. If poetics are not yet sufficiently studied, then this is a matter of time, and not fundamental difficulty "(43, p. 22-25).

V.Ya. Prope analyzes very detailed and displays the main signs of the concept of a fairy tale: "The fairy tale, the folk tale is the narrative folk genre. It is characterized by his form of existence. This is a story passed from generation to generation only by oral transmission. This existence of a folk fairy tale differs from the existence of an artificial, or literary fairy tale, which is transmitted by writing and reading and does not change. The literary fairy tale, like other literary works, can get into the orbit of popular appeal, start running, give options, transmitted from mouth to mouth, and in this case it is subject to the study of the folklorist. Such is the first sign of the folk tale, not yet specific to it, but the one that needs to be highlighted and emphasized. The fairy tale is characterized as a story, i.e. It belongs to narrative genres. This feature is also not decisive, as there are other narrative genres (epics, ballads), which do not belong to fairy tales. As already mentioned, the word "fairy tale" itself indicates something tested. This means that people perceives a fairy tale as a narrative genre of the advantage "(ibid.)

According to the famous folklorist, art historian, candidate philological sciences N.M. Vedernikova, folk tales are a rather complicated genre, but, despite all their multi-levelness, they have uniform qualities that distinguish them from other genres: "People's fairy tales, as we have already noted, the genre is complex, including works, various by origin, maintenance , style. It is enough to compare such well-known fairy tales among themselves, as "Kashing the Immortal", Pop and Worker, "Fox and Wolf" so that it becomes obvious. The division of fairy tales on the magical and fantastic, animal and domestic extent is defined by intrabering differences, but there are many transitional fairy tales "(10, p. 19). Despite the variety of plots and styles, fairy tales have those general and essential properties that distinguish them from all other works of folklore and allow you to characterize as a single genre.

There were also scientists who claim that it is impossible to give a certain concept of this term. For example, a well-known foreign scientist H. Honty wrote: "One-sided definition of all a well-known concept is, in fact, unnecessary, everyone knows what a fairy tale is, and can almost deliberate it from the so-called kindred genres - folk legends, legends and jokes" ( 68, p / 3).

According to the Soviet Researcher, Tajalova E.V. Orange, folk tales are very familiar with everyone, but there is no single definition of this genre in science, not to mention the uniform or at least similar terminology and classification of material in research, signs, textbooks. "The word" fairy tale "we call both moral stories about animals, and full wonders of magical fairy tales, and intricate adventurous stories, and satirical jokes" (45). It highlights the definition that, in her opinion, most fully and accurately displays the essence of the fairy tales: "Folk tale (convolving, bike, affection) - an epic oral artwork, predominantly prosaic, magical, adventurous or domestic nature with a fiction. The last sign is distinguished by a fairy tale from other genres of oral prose: said, legends and fasting, i.e. From the stories, presented by the storytellers, as a narrative of the events that really had the place, as if unlikely and fantastic. " In the book "Russian Folk Fairy Tale", she writes: "The underlined conscious installation on fiction is the main feature of the fairy tale like a genre" (10).

V.P. Anikin in the monograph on a fairy tale writes: "Fairy tales are collectively created and collectively stored by the people of oral artistic epic narratives in prose with such moral and epic, socio-political and social content, which, by its very basis, requires full or partial use of the incremental techniques The images of reality and, by virtue of this, resorts to a fantastic fiction, a variety of and traditional forms of which, not repeating any other genre of the folklore, developed over the centuries in close connection with all the way of folk life and were in the initial connection with mythology. "(4, p. 21).

Let us turn to the interpretation of the definition of a fairy tale from Ozhegov's dictionary (Internet resource No. 1):

"Tale - 1) narrative, usually a people's poetic work on fictional persons and events, mainly with the participation of magical, fantastic forces; 2) a list of persons to be taxed by the pillow. Audivice fairy tales (based on audit). "

In the Ushakov dictionary, the definition of the fairy tale is characterized as a narrative work of oral folk creativity about fictional events (Internet resource No. 2).

If we turn to the first meetings and publishers of fairy tales of the XVIII-XIX centuries., We can observe even in one names that most publishers understand the fairy tale as something unreal, fantastic, serving to entertain people. In the XVIII and XIX centuries, the fairy tales included in collections with characteristic names: "Mockingbird, or Slovenian fairy tales" M. Chulkov (1766-1768), "A funny old woman, a fear of children who tells the vintage and not enough" P. Timofeyev (1790), " Rustic funny old woman, in the evenings telling common funny fairy tales "(1804)," Assembly of common Russian fairy tales who serve as passionateness and fun lovers of a simple word "(1790-1796).

The features of the fairy tales and their properties are told in the "History of Russian Literature" A.D. Galakhov, chapter on a fairy tale written by P.P. Morozov: "The most diverse phenomena of the normic nature and public life are depicted in a fairy tale in the form of a fantastic fiction, which is custoded with all sorts of wonders. This is an abundance of a wonderful, unprecedented, impossible characteristic element in a fairy tale, distinguishing it from other species of folk art, as a result of which the people called it "fold" (16, p. 142).

In a number of pre-revolutionary general works on people's literature and teaching aids, the role of fiction is emphasized when determining the genre of fairy tales. "The distinguishing feature of the fairy tale," said I. Porfiryev, - makes fiction, and not the one that usually happens, for example, in novels or the age of new time, but fantastic, i.e. In fairy tales, such persons and items are often depicted, which absolutely not in reality, or truly existing faces and items are presented with such properties as they actually do not possess "(39, p. 148).

In the textbook "Russian People's Poetic Creativity" under the folk fairy tale is understood as "an epic oral artwork, mostly prosaic, magical, adventure or domestic, with a fictional installation" (55, p. 295).

Arecting lectures V.I. Chicherov "Russian Folk Creativity" can be identified a definition: "I put forward a fairy tale as the main signs of the artistic and originality of its content and forms, you can take the following definition of a fairy tale: under the folk fairy tale are the oral narrative artwork works of a magical, adventurous or domesticity with a fictional installation told in educational or entertainment purposes "(66, p. 276).

Most scientists, researchers, apparently, proceeded from the fact that the fairy tale always contains an entertaining fantastic fiction, regardless of which nature is peculiar to the narrative: there will be a legendary, magic, adventurous-novelistic or household fairy tale.

After analyzing all the above definitions, the concept of a fairy tale, an involuntarily asked if they are correct? "Empty fold", "purpose of entertainment", "fictional nonsense", "conscious installation for fiction", "oral fiction of an irreal warehouse", "Pointing poetic fiction". Is it enough to determine the concept of a fairy tale?

In his book "Russian folk fairy tale" V.P. Anikin writes: "There was a time when in the truth of fabulous narrations believed unshakably, as we believe today the historical and documentary story and essay. At one time N.A. Dobrolyubov wrote: "Whether, for example, in the people in the intelligence of relations between beasts, what is spoken in many fairy tales? Do the storytellers think and their listeners about the actual existence of a wonderful three kingdom, with his pearl palaces, richly shores, etc.? Or, on the contrary, all this does not go to the depths of the heart, does not master the imagination and reason, and so-so, says for the beauty of the word and are passed by the ears? Such questions about thousands are born in the head when reading folk fairy tales, and only a lively answer to them will give the opportunity to accept the folk tales for one of the means to determine the degree of development on which the people are located "(5, p. 11-12). Without deciding to give a one-way response, Dobrolyubov noted: "No doubt, the answers should be very diverse for different cases and different locations. Here they believe in one and do not believe in another; It turns out more, there is less; In one place, beliefs dim and colder than in the other; For some, it is already turning into fun what for others serves as a subject of serious curiosity and even respect and fear "(ibid).

As Aynikin notes, the judgments of Dobrolyubov convince us that even in the middle of the XIX century. Many fairy tales did not differ in "Installation for fiction" in the sense, in which the fiction is stated in many definitions of fairy tales. In the reality of many fabulous stories believed.

It is especially important for my study to allocate this statement by Anikina, based on the opinion of Dobrolyubov. It was here that Ainican, one of the few, along with the famous collector Afanasyev, managed to express and confirm with numerous facts that the fairy tale is not an empty fiction and thus questioned enough of the long-term view that any tale is an empty fold and is based mainly on poetic fiction.

In confirmation of the above, N.V. Novikov in his book "Images of East Slavic Magic Fairy Tale" brought a huge number of testimonial collectors of Folklore, who recognized the fact of "faith in pagan wonderful", which confirms the fairy of people in much of what happened in fairy tales, and, therefore, refutes the definition of fairy tale as fiction . However, as Novikov notes, most fairy tale tale considered fiction, but this quality, "believe or do not believe the narrator and his listeners in the real possibility of fabulous wonders, cannot be considered decisive for a fairy tale. The fairy tale regardless of this circumstance remains a fairy tale "(38, p. 14).

Based on the analysis of the main research of researchers on the problem of identifying the definition of the concept of "fairy tale", I concluded that the exhaustive definition of the fairy tale as a genre is still not given domestic scientists. But, despite the diversity of various opinions in determining the concept of "fairy tale", I would like to allocate the definition given by V.P. Anica, who, in my opinion, most fully and accurately managed to express that there is a fairy tale.

The question of determining the concept of "fairy tale" is directly related to the identification of its origin - this is the next important point in the way of studying it.

In folkloristic there are two "types" of the definition of fairy tales as a genre. The first "type" is presented by the definition. M.Sokolova: "Under the folk fairy tale in the broad sense of the word, we understand the oral-poetic story of a fantastic, adventurous-enerstic and domestic nature." In our opinion, this definition does not reveal the specific features of the genre of fairy tales, but only gives a description, which lists the type of fairy tale. Under such a definition, the tale and the legend, and byilovka, and legend, and even a simple story of a domestic nature are quite suitable.

Researchers from a long time sought to narrow the definition and more accurately characterize the fairy tale. So there was a second type of fairy tale definitions. The degree of narrowed definitions can be considered by K.S. Aksakov. He summarized in his judgment the walking ideas about the fairy tale and his difference from the songs. He wrote: "Between fairy tales and songs, in our opinion, there is a sharp feature. The fairy tale and song differently inscribed. This difference was established by the people himself, and we all better directly accept the separation that he made his literature. "The fairy tale of the fold (fiction), and the song-free," the people said, and his words make sense deep, which is explained how soon pay attention to the song and a fairy tale. "

According to K.S. Aksakova, fiction affected the content of fairy tales, on the image of the action of action on them, on the characters of actors: "In a fairy tale, a very consciously narrator violates all the limits of time and space, talks about the thirtieth kingdom, about unprecedented countries and all sorts of wonders." Up to our times, this definition is repeated to different ways: "The underlined, conscious installation for fiction is the main feature of a fairy tale like a genre."

The main disadvantage of this definition is that it does not contain a social, life characteristic of a fabulous fiction. As for the very "plant for fiction", this installation is also in other folk genres. A significant addition to the widespread definitions of the fairy tale should be an indication of a special nature and vital purpose of the very fiction in fairy tales. It is necessary to characterize the fiction in terms of its relationship to reality, historical origin and ideological and artistic functions of works.

Fantasy consciously represents things and phenomena to those that we are accustomed to see in life. The displacement of the actual plan in reproducing reality is justified by the appointment of fantastic fiction as a special reception of poetications or a deliberate reduction in the reproducible life phenomenon.

Unanswered to questions: What is the attitude of the fairy tale to reality? How was the fiction historically? What artistic properties is fancy fairy tales? - It is impossible to define the genre of fairy tales.

Fabulous fantasy was created by the creative efforts of the people, and the identification of social and historical and artistic foundations of fabulous fiction is fruitful only in the case when a massive folk origin of fairy tales is taken into account. In fantastics, as in the mirror, the life of the people and his character was reflected. Through the fairy tale, we are revealed for a thousand-year original history of the people. Fantasy fairy tales had a real life base, and its concrete forms were consumed in the closest connection with reality. Large changes in the life of the people inevitably led to a change in the content of fantastic images and their forms. Since arising, fabulous fiction developed in connection with the entire combination of existing folk ideas and concepts, not once exposed to a new and new processing. The genesis of fabulous fiction and the nature of the changes that fantastic image has experienced for centuries, explain the nature of all the important properties of popular fairy tales.

K.D. Ushinsky said: "Fairy tales are the first brilliant attempts by Russian pedagogy."

Modern definition of a fairy tale is.

The fairy tale is the appearance of an entertaining oral story with fantastic fiction, with an unusual, but fully complete plot, in which good necessarily wins evil.

Signs of fairy tales:

The presence of the completed plot;

Initiality;

Unusual;

The presence of fiction;

Educational orientation.

All fairy tales are divided into three types: fairy tales about animals, household fairy tales and magical fairy tales.

Fairy tales about animals. The specificity of animal fairy tales is primarily in the features of fantastic fiction. It has been established that the fairy tales of animals took the forms of fiction from the animistic and anthropomorphic representations and the concepts of people who attributing the ability to think, talk and reasonably act.

The appearance of fairy tales about animals preceded the stories related to the beliefs in which the future main characters of animal fairy tales acted. These stories have not yet had an allegoric meaning. In animal images, animals were depicted. It was still no art in the literal sense of the word. The stories had a narrow-attractive, vital purpose: they gave advice, they taught people how to treat animals.

Later, with an empty of the cult of animals, the fairy tale began to include an ironic image of a funny cauldron of animals. Negative image of animals in fairy tales There is a traditional feature learned from that time when the ancient reverence of animals was replaced by a new attitude towards them as a result of the increased life experience of the people. The story of the "animal" fairy tale began from the moment the previous stories began to lose touch with the ancient ideas about animals. An image of an animal in the narration began to be perceived as an allegorical image of a person.

In the class society, an ancient fiction took the type of allegory and began to serve as an expression of class-social sympathies and antipathies. Animals began to personify real carriers of those morals that were alien to the mass of the people and condemned them. The people, delivered by the dominant class in the subordinate position, turned a fairy tale into a sharp satirical work. It was on this line that A. M. Gorky in a letter to the collector of the Adygei folklore P. Maksimov: "Very interesting and a fairy tale about the bunny, foxes and wolves, a senior assistant, she exposes the social relations of people, which is usually not seen in fairy tales."

A sharp distinction of a positive and negative is also in the nature of animal fairy tales. Never emerge in doubt, how to treat one or another character. This is not a primitiveness of feeding a vital material, and the necessary clarity of the evaluation of the heroes and their actions, which should be learned by the child.

Fairy tales about animals in Russian folklore are calculated relatively small number of plots. They occupy approximately the tenth of the fabulous repertoire.

Fairy tales of animals are fairy tales-allegory. Their fiction is closely correlated with reality. The fairy tales of this kind have reproduced reality in the conditional poetic form, which has historically established in close relationship with the oldest ideas of people. In modern fairy tales under the larvae there are people. In fairy tales of animals, such moral and ethical, public and household content, which by nature requires complete or partial use of fiction. Fairy tales about animals - People's household encyclopedia, which gathered together all the flavors of those whose life, life, morals and habits were alien to human labor. Fairy tales put on everyone to review and laughter.

Magic fairy tales. The magic fairy tale is distinguished from animal fairy tales, as well as other species of a fabulous genre, a special fiction and associated forms of oral narration. No magic fairy tale costs without a wonderful action, without interference with a person's life, then good supernatural power. Wonderful fiction lies in the basics of the magic and fabulous plot, and it must be understood first of all.

Observations on the similarity of fabulous stories are very important to clarify the historical past magic fairy tale. The similarity, divided by all the variety of plots, testifies to traditional, i.e. From the most ancient times and lying somewhere in the very beginning of the fairy tales, properties of ancient magical narration.

Late Magic Tale arose as a result of the poetic rethinking of the most ancient stories pursued by utilitarian goals. These stories were composed of ritual-magical and mythological concepts and ideas. The predecessor of the magic fairy tale was the story that was taught to observe various household bans - the so-called tabu (Polynesian word denoting "impossible").

Many magical fairy tales talk about the ban to leave the house, leave the home, to eat any food or drink, touch something. From this distant pore, the folklore could not preserve the most ancient plots in immunity. Under the influence of subsequent historical circumstances, the oldest magical narrations are far away from their original forms. Nevertheless, Russian fairy tales traditionally retained plot provisions, which, although changed, acquired a new meaning, but the original epochs must be initially owned by their origin.

Violated for any reason, the ban could still avoid the disastrous action of hostile forces if magical actions committed. A man came up with a saving magic, endowed the power of the faiths many different items. All these motifs originate in the ritual-magical actions, in faith in the saving power of objects-faith.

The connection of fabulous fiction with a magical action is easily found when it comes to a magical word, after the pronunciation of which the world must comply with the will of a person who knows a sense in verbal magic.

The magic fairy tale in its last form allows you to reconstruct your oldest state. The simplest "scheme" of its predecessor was supposed to be this: 1) the initial existence of the ban; 2) violation of the ban of any of the people; 3) consequences with the nature of mythological representations a consequence of violation; 4) narration of practitioning magic; 5) its positive result and the return of the hero to the well-being. All this story permed the idea that there should not be done by a person and what to do if he voluntarily or unwittingly broke a domestic establishment. The sneaker was the vital purpose of these stories.

Late magic fairy tale acquired the features of high art that approves the humane goals and the desire of the masses, they lie to the highest moral principles, in the celebration of social justice.

Magic fairy tales have a strict and slim composition. It basically holds on the unity of the idea that permeates the whole story. At the same time, the plot can become very difficult, including many side moves, but the entire dynamics of the development of the magic narrative is based on the desire of the lavan hero to the goal. The tale is invariably allowed by a favorable outcome for a positive hero.

The fiction of magical fairy tales is closely connected with reality. Tales of this type are characterized by the desire of the people to see the favorable outcome of the fight against carriers of social injustice. Magic fairy tales to come to the listener in conditionally and artistic disclosure.

In magical fairy tales, more than anywhere, of that capacious meaning, which allows them to consider them an expression of the people's practical "philosophy", the arch of practical morality, ethics, the expression of folk ethics, the treasury of judgment and reflection of the people about different phenomena of life.

Household Novelistic fairy tales. Russian folklore is replete with fairy tales, which were called "household". However, Mostovism speaks only about the topics of these fairy tales. The ambiguity contained in the concept of "household fairy tale", forced scientists to look for other names. And such a name was found - "Novelistic fairy tale." It indicates the proximity of household fairy tales to the novel, a certain literary genre that arose in European literature in the Middle Ages era, but the folk novelistic fairy tale did not arise from the literary novel, and herself created a literary novel, as she was historically preceded by her.

The newlystic fairy tale is characterized by the fact that shows the "alogyrism of the usual", reveals the inner lies, socially loss, indicates the inconsistency of the validity of the values \u200b\u200bof common sense. Alogure, unreasonableness of ordinary, familiar to be revealed in fairy tales with the help of conventional image techniques. Novelistic fairy tale exposes deep internal social contradictions reality.

The world of fairy tale-novels - life, household details that do not exclude rough and ugly moments relating even to the field of physiology. But the household tale makes an ordinary image item for the sake of high goals. The appeal of fairy tales to domestic details and the description of the low-alignment of a person serves as a means of social assessments and meaningful exposures.

The fairy tale novel loves an entertaining plot that is replete with comic situations. It rarely resorts to the use of wonderful fiction outside the household plan. The fiction, the usual in the magic narration, the nominalist story is opposed to a clear look at reality. Irony displaces faith in miracles. In themenestic stories, the use of the multi-valued words, which in their own way understand the different heroes of fairy tales in their own way.

The fairy tale-novel is designed for continuity and unity of perception. It eliminates insert and parallel episodes. The sharpness of the situation and the clarity of the types of types are complemented by a specifically compressed intense plot. An extremely simple form of fairy tale-novels is a story about one event. In these cases, the novelistic fairy tale turns into an anecdotal story, in which the disconnement should be unexpectedly and nevertheless, it is quite natural, in accordance with the character of the characters and circumstances. Unlike the joke, the newlystic fairy tale also knows the detailed narration and more or less detailed characteristics of the characters, but by her, by its nature, are inherent in all the properties of the joke. The only difference is that all its properties appear in a fairy tale not to such a concentrated form.

As if bright, there were neither stylistic techniques for using rhythmic speech, everything is more and more fully presented in fairy tales, popular spokenage. In general, it should be noted that the people's speech, permeated by irony, mockery, in a fairy tale - novel, as in all other fairy tales, discovers its best properties and features.

Having considered all three major types of fairy tales, you can make sure that they are all characterized by their attitude to reality. Their historically established traditional fiction with all associated figurative-scene and narrative and stylistic forms and makes fairy tales with a particular poetic genome. With all the incredibility of events that are stated, the basics are based on the ideas of "natural" and "ordinary"; No installation on fiction is the main line of the genre of the fairy tale, and the installation on the disclosure of life truth with the help of a towering or reducing the reality of the conditionally poetic fiction, the forms of which were in close connection with the extensive circle of ideological and household concepts and the submissions of the people both in the olden and Later, historical time.

The method of analysis of such a genre, as a fairy tale, is determined by its literary specificity.

As mentioned above, the fairy tale is one of the types of narrative literature, the work in prose or - less often - in verses in which we are talking about fictional events, sometimes a fantastic nature in the traditions of the Russian methodology, not to discuss with children the allegorical meaning of the fairy tale: "Let all in a fairy tale He speaks for itself "(V.G. Belinsky). Children without outside intervention capture the ideological orientation of the fairy tales: good wins evil. Already after the initial perception, students exhibit their sympathies and antipathies to the characters. Teacher's task when analyzing fairy tales - to help children notice the formal signs of this genre. In a cumulative fairy tale, it is a journey of events or heroes, links in the chain of events, a method of rolling one events after another, setting the chain, the role of stylistic formulas in the sequence of actions. In a magical fairy tale, this is the specificity of the structure of the space, the presence of two worlds and the boundaries between them, the obligatory transition to the main character of this border "There" and "back", the rebirth of the hero at the end of the fairy tales. In the novelist (household) fairy tale, this is a sharp change in the point of rhenium, with respect to which the story is conducted. Therefore, when reading a cumulative fairy tale, it is useful to schematically designate the chain of heroes and events that led to the tale junction. When reading a magic fairy tale - to give children a task to draw a trip of the hero to the other world and back. And the pi work on the household fairy tale is convenient to use the retelling with a change in the story of the narrator. The allegorical meaning of the fairy tale will turn into a child if it appears the function of the formal elements and it will be able to relate them to the holistic perception of the text, and will not interpret fairy tales based on its everyday installations. It is very important to teach children to separate the plot of fairy tales from the method of its telling, so when analyzing attention is focused on the formulas:

Started: lived, were ..., in some kingdom, in some state ...;

Continuing: how long is it briefly ...; Soon the fairy tale affects, but no sooner is done ...;

End: And I was there, I drank honey beer, flowed across the mustam, and I didn't get into my mouth ...; Here is a fairy tale, and I can cry oil.

They are distinguished by a special poetic, a fascinating plot and manifold. Each of them has its own purpose. We suggest find out what the difference between the myth from the fairy tale. Examples will be shown below. Also, the material covers issues relating to the specifics of the myth as a genre.

Brief acquaintance with genres

Before considering the difference between the myth from the fairy tale, we suggest familiarizing yourself with the definitions of key concepts - genres:

• Myth is the narration of ancient people about the gods and heroes, about the creation of the world and the prediction of his death. The person of the past epoch did not understand the reason for one or another phenomenon in the surrounding nature, did not guessed why thunder thunder, zipper flashes, why graduate seasons. In an attempt to explain all this, he invented myths in which the mighty creatures acted - the gods, governing the natural elements.
• The fairy tale is a work based on fiction, the main characters of which invented creatures are becoming. They act in the fantastic world, make actions, may have magic items or magic assistants.

And that and the other genres were essential in folklore. We will figure out what myths and fairy tales, similarities and differences are presented below. This will help to understand why the people's consciousness used various texts to transfer one or another information.

The role of myth

The difference of the myth from the fairy tale can be identified already when analyzing the features of genres. So, the myth is a form of displaying the reality of an ancient person. The myths found a display of a person's presentation about the world around the world, spurled into a single integral, artistic and practical development of the world. With the help of these small texts, people were transferred from generation to generation their knowledge of the world, about the phenomena of nature, about social order, about the heroes and their great exploits.

Characters of myths

The gods were not abstract character, which is inherent in most modern religions. Dehydrition took place in relation to the forces of nature. So, many ancient peoples gradually developed their pantheon of the gods, each of whose representatives was responsible for some power. There were gods of water, thunder and lightning, goddess-mother, gods of plants, animals and others.

Such features of the genre of the myth make it possible to note that the naive consciousness of the ancient people believed in what was happening in these small texts. Despite the presence of a magic element, a person seemed likely the events taking place in the works. That is why the gods lived in such places, which was completely explained why people never seen them: in the sky, under the ground, in space.

Myths, of course, are inherent in the first place to the ancient peoples, but they still have disappeared to this day. So, some people are quite seriously waiting for an apocalypse, a zombie apocalypse, and quite recently the minds of whole generations owned the insane ideologies of Nazism or communism. People really believe in these modern myths.

Genre features of fairy tales

The fairy tale proposes to plunge into the fictional world, which inhabited fantastic creatures, often helping the hero that prevents him from or somehow affecting his fate. At first glance, in the genre a lot in common with myth: there are mysterious creatures, endowed with a mighty force, which in their will can either destroy human, or become his voluntary assistants.

The tale seeks to make his plot as interesting as interesting as possible, the myth tried to reveal the "truth", such as a collective consciousness see for her, without a claim for interest.

Tales of animals and mythology

The varieties of the genre will help to reveal what the difference between the fairy tale and the myth. The most ancient representatives of the genre are fairy tales of animals in which fox and wolf, goat and piglets, geese and ducks acted. Every people did such characters that were generally inherent in their place of residence. So, in Russia, the bears, wolves, foxes were described in fairy tales, but elephants, leopards, rhinos and lions acted in the works of distant frying India. Every animal hero was humanized, he was attributed to some certain qualities of people. Separate qualities became permanent, so, Fox Cher, and the hare - the cowardly practically in each text.

As you can see, in addition to artistic fiction, nothing combines these fairy tales with myths. They composed them exclusively for entertainment, as well as to show what one or another act could lead to. Ancient people did not believe in the reality of what is happening in such fairy tales.

Myth and Magic Tales

The next kind of genre is magical, they act, as a rule, the heroes, who fight the forces of evil. Often the latter acquire a completely real embodiment: blasting immortal, Baba Yaga, Snake Gorynych. What kind of similarities and differences of the myth and fairy tales can be allocated? And in those and others there are fantastic heroes, but if they are perceived in fairy tales as embellished, then in the myths become quite reliable and existing (existing) in reality.

The relationship of the myth with other species of fairy tales

Household fairy tales appeared much later, in them the heroes are ordinary people and beaten, more often in the comic key, the situation that could well occur in real life. For example, "Porridge from the Ax" gives a tale listener the opportunity to laugh at the stingy old woman punished for his greed, and admire a seamless soldier.

Some researchers allocate adventurous fairy tales as a separate formation, whose heroes fall into a difficult situation and are offended from it thanks to seamless and insaneness. In Russian literature, it is, first of all, the texts about Ivan-fool, over which they were having fun at first, and then they were striking his hidden wisdom.

So, the main difference of the myth from the fairy tale is to prescribe genres. If the creators of the myth believed in what happened in this work, they sought to explain incomprehensible phenomena to these texts, transfer the knowledge to descendants, then the authors of the fairy tales did not take on faith what happened. So, the task of the fairy tale was to praise the listener, make him think about anything, to teach how it is possible and how it should not behave. But the teachers never doubted that they had with fiction.

Comparison of genre

It is very interesting that some researchers believe that the myth is a primary source of fairy tales. When the consciousness was complicated, and people no longer needed to explain the natural phenomena by anger or grace of the gods, the reservoir of mythology was stripped into separate elements, which became sources of fabulous scenes. Imagine the difference between the myth from the fairy tale briefly in the form of a table.

So, the differences of the myth from the fairy tale will help to deal with how not to confuse the texts of one or another genre. There is also a common form between them - the oral form of transmission was used, in both works, fantastic and semi-infantastic creations were acted.

Purpose of genre

Consider the difference between the myth from fairy tales, legends, legends based on the appointment of genres. It was previously mentioned that the genre of the fairy tale was created by collective naive consciousness as an attempt to explain the objects and phenomena incomprehensible to people. So, the will of the gods were attributed to the fosters and eruption of volcanoes, thunderstorms and lightning, successes or defeat in wars. The fairy tale - clean water fiction, people never believed in the reality of events taking place in it, its genre task was to praise listeners.

The purpose of the legend is a story about a kind of event, an attempt to explain this or that phenomenon is usually local, not having global importance. For example, to tell the village of the village, why should not be in the cemetery after sunset, the locals willingly share with him a legend that many years ago a girl from unrequited love lived there and to this day, her inscountful spirit attacks the travelers. And this story could have a completely real basis, so, the girl could reduce the scores with life, and in the very graveyard there could be strange, even the terrible events that the people's consciousness explained by the impact of the ghost.

Myth and Legend

Consider what is the difference between myth from a fairy tale and legend.

Legend is a genre as close as possible to myth. The storytellers perceived the events that occur in them real, but the element of fantasy is obvious here. Often, gods, perfume, heroes and even whole nations became heroes. From myth such a genre is distinguished by the absence of ritual nature. So, to draw the capricious deity, the ancient Egyptians or Ellina brought victims up to human, but they did not seem to influence the legend possible.

This genre was formed within the framework of an incubating folklore, the researchers believe that, despite the abundance of fiction, some of the events in them are quite reliable and can be perceived as a historical source. Therefore, you can allocate the second difference from the myth: if it is built on a fully fictional event, then in the legend there is a reliable element, although very rethinking and distorted.

So, in a fairy tale, people did not believe, legends and myths perceived as a reliable statement of events. But if the legend explained some kind of event of a local scale, the myth interpreted the phenomena of nature as a whole.

Myth and party

Consider the differences of myths from parable, fairy tales and legends. First of all, the key value is the purpose of the text:

• the myth explains the world;
• the fairy tale is merins;
• parable - in witty shape hees. An allegorical form is used, events are not perceived by either a listener nor a storytellor as reliable.

Another difference is the size of the works. If the myth and fairy tale could be impressive in volume, then the parable is always short.

So, we looked at the differences of the myth from the fairy tale. Every genre is beautiful in its own way and interesting, so you can not say what better or more useful. They played their role in the development of popular consciousness and are valuable material to study the characteristics of the life of those distant eras.

Studying long-standing cultures, considering the monuments of folk creativity, which reached us, scientists noticed that all nations of the globe have stories about some fantastic characters and all sorts of wonders. But since these stories were considered fiction, artistic fantasy, they began to be called mythology, and every individual such a story was named the name of the myth, which translated from Greek means nothing but a word.

It has now been reliably established that the mythological stage existed in the cultural development of every nation. After all, myths replaced literature and history, and also served as an example of the younger generation, and the imitation of a certain mythology gave a person a sense of unity with other people.

It is myths that described the gods and other divine characters gave people samples of behavior. Models that have passed testing time helped many peoples survive, turning into moral norms.

Philology scientists began to compare myths in the 19th century in the 19th century, what the peoples of different countries were and came to the unequivocal conclusion that their subject was not distinguished by a great diversity. For example, almost all nations have mythical stories about the origin of the Earth and the sky, about cultural ancestors and about various cataclysms in nature. It could mean that people who belonged to different cultures reflected on the world and about themselves a very similar way, which in turn indicated general prerequisites for mutual understanding and communication.

General notions about the fairy tale

Scientists fairy tale are interpreted in different ways. Some of them characterize fabulous fiction as torn from realityOthers are trying to understand how in fabulous fantasy is refracted by the attitude of the storytellers to reality, which surrounds them. The fairy tale has not only many interpretations, but also a lot of definitions. So a number of scientists engaged in folklore, a fairy tale called each oral story. Others believed that the fairy tale contains an entertaining, but not devoid of fiction fiction. But one, undoubtedly, a fairy tale is an excellent creation of art, since the treasures of the spoken speech of a simple people are embodied with unusual generosity in fairy tales.

In fairy tales present infinite imagination and fictionwho inspires confidence in victory over evil forces. Fairy tales do not know irreparable misfortunes and troubles. They advise not to put up with evil, but to enter the struggle with him, condemn the harness, careful and greed, teach good and justice. Fairy tales are filled with miracles, especially fairy tales magic.

Thus, fairy tales are oral artistic narratives of prosaic nature with a content that requires the reality of fantastic techniques in the image.

Fantasy fairy tales

Fantasy fairy tales is created by the collective efforts of the people. In it, as in the mirror, his life is reflected. It is thanks to fairy tales that the centuries-old history of the people is revealed.

Fabulous fantasy has a real base, since any change in the life of the people necessarily leads to a change in fantastic images present in a particular fairy tale. The fabulous fiction, which occurs once, develops due to the existing ideas of the people and their concepts, then undergoing new recycling, and changes over the centuries explain the features of a fiction, which is based on fairy tales.

Varieties of fairy tales

Fairy tales come about animals, magic and fairy tales - Novels. Each such species have not only their own characteristics, but also a number of very specific features that distinguish each type of fairy tales from another. These features have developed as a result of the creativity of the people, his artistic practice, folding over several centuries.

The value of fairy tales

Fairy tales have never been distinguished by unfavorable fantasy. Reproduction in reality fairy tales has always been combined with the thought of its authors. Therefore, today, in the century of technical progress, the fairy tale is still needed by people. After all, the human soul, as in ancient times, is open to charm and what the technical discoveries, the stronger the human feelings that say people in the greatness of life and infinity of her beauty.

Similarity between the fairy tale and myth

So, what unites the fairy tale and myth? Philology scientists when comparing fairy tales and myth came to the conclusion that both a fairy tale and myth created by the people, those and others have any plot with a fantastic bias and fictional heroes. But this, perhaps, the similarity and ends.

The difference of fairy tales from myth

Along with similarities, there are differences between the fairy tale and the myth, which are as follows:

1. The fairy tale is a fiction, and myth reality. In other words, the myth all flares and seeks to find magic in every human practice.
2. The fairy tale tells about any story from the point of view of a separate personality or personalities, but in the myth, the events of a global scale are considered. For example, about the origin of the Earth and the sky, about cultural ancestors and about various cataclysms in nature.
3. The fairy tale teaches how to act in one situation or another, and in the myth tells about the device of the whole world.
4. Only a fairy tale can be considered the art of an artistic word. Myth does not even apply to art, it is interesting only to the transfer of reality.
5. The fairy tale in contrast to the myths may have authorship.

The fairy tale is ancient genre of oral folk creativity, a classic sample of folklore.

The told of fairy tales in Russia was perceived as an art to whom everyone could join, regardless of gender and age, and good fairy tales were very highly revered in the people. They teach a person to live, instimacy inspires him, say faith in the celebration of good and justice. For fantastic fabulous fabul and fiction, real human relations are hidden.

The term "fairy tale" appeared in the 17th century And for the first time recorded in the diploma of Voevvolodsky's governor. Until that time, the word "bass" was widely used, derived from the word "fire", that is, to tell. Unfortunately, the names of professional stories of past times are not known to modern researchers, but the fact is known that already in the 19th century, scientists began to engage in the closest study of Russian folklore, including fairy tales.

Tale - a comprehensive concept. The presence of certain genre features makes it possible to attribute or another oral prosaic work to fairy tales. Belonging to the epic genus puts forward its signs such as narration and plotiness. The fairy tale is definitely entertaining, unusual, with a distinct idea of \u200b\u200bthe celebration of goodness over evil, truth over Kryvda, life over death; All events in it are communicated to the end, incompleteness and incompleteness not peculiar to the fabulous plot ...

The main genre sign of the fairy tale is its purpose, what connects a fairy tale with the needs of the team. "In Russian fairy tales that have come down to us in the records of the XVIII - XX centuries., As well as in fairy tales that are now, the aesthetic function dominates. It is due to the special character of fabulous felt. "

Fiction is characteristic of all kinds of fairy tales of different nations .

IN AND. Dahl in its dictionary interprets the term "Fairy Tale" as "fictional story, unprecedented and even a non-abundant story, tale" and leads a number of folk proverbs and sayings related to this type of folk creativity, such as the famous "Neither in a fairy tale, notice to describe." This characterizes a fairy tale like something in charge, but at the same time an incredible, the story about what can not actually happen, but from which everyone can extract a certain lesson. Already at the beginning of the 20th century, the whole of the pleiad of the collections of Russian folk fairy tales, which entered the pearls of folk art.

Russian folk tales from other tales of the peoples of the world distinguishes, above all, their educational focus: Recall at least the famous promotion that the fairy tale is a lie, and there is a hint. Labor in Russian folk fairy tales is depicted not with a gravitative sentence, but everyone's honorary duty. They are moraleful in them, such as altruism, willingness to help, kindness, honesty, ventilators. They are one of the most revered genres of Russian folklore due to the fascinating plot that opens the reader an amazing world of human relationships and feelings and makes one miracle. Thus, Russian fairy tales are an inexhaustible source of folk wisdom, which still enjoy.

The educational function of the fairy tale is one of its genre signs. "The fabulous didacticism permeates the entire fairytale structure, achieving a special effect with a sharp oppression of positive and negative. Always triumphing moral and social truth - here is the didactic conclusion that the tale is clearly illustrated. "

The history of fairy tales as a genre.

The historical roots of the Russian fairy tale are lost in gray antiquity, each historically stage of life of the Russian people is reflected in the fairy tale, makes a natural change in it. The study of these changes, or rather, the generalization of these changes makes it possible to talk about the specific process of life of the Russian Skazau, that is, about its history.

Install exactly. When exactly the Russian fairy tale was determined as a genre when it was starting to live as a fairy tale, and not belief or legend, it is impossible.

The first mention of the Russian folk fairy tale belong to the Kiev Rus, but its origins are lost in undisputed times. As for Feodal Russia, that is no doubt that fairy tales, in our understanding, were in Kievan Rus one of the widespread genres of oral folk creativity. The monuments of the ancient Russian literature retained quite references to fairy tales and fairy tales in order not to doubt.

The earliest information about Russian fairy tales belongs to12 century. IN teaching "Word about rich and bundle " in the description of the waste to sleep a rich man among the servants around him, holding him on various frets, are mentioned with indignation and such that "bobby and to blasphemes", that is, tell him the coming fairy tale. In this first fairy tale, there was a completely controversial attitude towards it, which we observe in Russian society for many centuries. On the one hand, the fairytale is a favorite scatching of fun, it has access to all sectors of society, on the other hand, it is branded and persecuted as something nonsense, not allowed, loosening the foundations of ancient Russian life. So, Kirill Torovsky, lifting the types of sins, mentions the fireplace of the Bass; Metropolitan Fotius at the beginning of 15 century is spending his flock so that it will refrain from the hearing of the Bass; The royal decrees of the 17th century disapprovingly respond about those who ruin their souls by the fact that "fairy tales is not enough."

All this gives us the basis to gell that in ancient Russia, the fairy tale has already been separated as a genre of oral prose, was located with a legend, legend and myth. Its genre features - "Installation on fiction and rated functions are aware of equally both its carriers and persecutors. Already in ancient Russia they are<сказки небывалые> And it is precisely as such continue to live in the folk repertoire in further centuries. "

Researchers about the fairy tale and its genre features.

Exploring a fairy tale, scientists in different ways determined its meaning and features. Some of them, with unconditional evidence, sought to characterize the fabulous fiction as independent of reality, while others wanted to understand how the attitude of folk narrator to the surrounding reality was in fantasy fairy tales. Do you consider a fairy tale in general any fantastic story or to allocate in oral folk prose and other types of sorts of prose? How to understand a fantastic fiction, without which no one of the fairy tales do not do? Here are the problems that researchers have long been worried.

A number of researchers of folklore fairy tale called all that "affected ». So, academician Yu.M. Coocons wrote; "Under a folk fairy tale in the broad sense of this word, we understand the oral-poetic story of a fantastic, adventure or domestic nature." Brother scientist, Professor B.Yu. Sokolov, also believed that a fairy tale should call any oral story. Both researchers approved that fairy tales include a number of special genres and species and that each of them can be considered particularly.

An attempt to distinguish a fairy tale from other genres of Folklore took more than a hundred years ago by K.S. Aksakov. Speaking about the difference between fairy tales and epics, he wrote: "Between fairy tales and songs, in our opinion, there is a sharp feature. The fairy tale and song differently inscribed. This difference was established by the people himself, and we all better right to take the separation that he did in his literature. The fairy tale is a fold (fiction), and the song - the friend, says the people, and the words of him have the meaning of the deep, which explains how soon pay attention to the song and the fairy tale. "

Fiction, according to Aksakov , influenced the image of the site of action in them, and the characters of the actors. His understanding of the tales of Aksakov clarified such judgments:<<В сказке очень сознательно рассказчик нарушает все пределы времени и пространства, говорит о тридесятом царстве,о небывалых странах и всяких диковинках>\u003e. Aksakov believed that the most characteristic for fairy tales - fiction, and conscious fiction. The famous folklorist A.N. did not agree with this interpretation of fairy tales. Afanasyev . << Сказка- складка, песня- быль, говорила старая пословица, стараясь провести резкую грантцу между эпосом сказочным и эпосом историческим. Извращая действительный смысл этой пословицы, поинимали сказку за чистую ложь, за поэттческий обман,имеющий единою целью занять свободный достуг небывалыми и невозможными вымыслами. Несостоятельность такого воззрения уже давно бросалась в глаза>\u003e, "wrote this scientist. Afanasyev did not allow the thought that<<пустая складка>\u003e could persist in the people in continuation of a number of centuries and on the huge length of the country, holding and repeating<< один и то жк представления>>. He concluded:<< нет, сказка- не пустая складка, в ней как и вообще во всех созданиях целого народа, не могло быть, и в самом деле нет ни нарочно сочиненённой лжи, ни намеренного уклоднения от действительного понимания сказки.

The sign adopted by Aksakov meaningful for fabulous narration was laid with some clarification as a basis for determining the fairy tale proposed by Soviet Falklorist A.I. Nikiforov. Nikiforov wrote:<< сказки - это устные рассказы, бытовом смысле события (фантастические, чудесные или житейские) и отличающиеся специальным композиционно - стилистическим построением>\u003e. Explaining the meaning of his definition, Nikiforov pointed to three essential signs of the fairy tale: the first sign of a modern fairy tale is a target for entertainment of listeners, the second sign - an unusual content in everyday life, finally, the third important fairy tale gipple is a special form of its construction.

A dictionary of literary terms gives such a definition of a fairy tale as a genre: a fairy tale is one of the main genres of people's oral-poetic creativity.

Traditionally, three types of fairy tales are distinguished:

1) Volps;

2) household;

3) Animal fairy tale.

Each of these types has its own characteristics.

1. Waitty fairy tales.

Task genre: Cause the delight of the kind hero and condemn the villain, express confidence in the celebration of good.

By type of conflict, magic fairy tales are:

Heroic: the hero is struggling with magical force;

Socially-class: Boretta hero with Barine, with king;

Family (pedagogical): The conflict occurs in a family or a fairy tale is moralizing.

Heroes are divided by : Intercessors, villains, sufferers, assistants.

General features of magical fairy tales:

The presence of obvious fiction, magic, miracle (magic characters and objects);

Collision with magical forces;

Complicated composition;

Advanced set of fine-expressive means;

Description dominates the lady;

Multipleness (the fairy tale covers a fairly long period of the hero's life).

Examples of magical fairy tales serve:<<Царевна-лягушка>>, <<Крошечка волке>\u003e And others.

2. Incident fairy tales.

Task genre: Make funny bad character traits, express joyful surprise with mind and resourcefulness.

Household fairy tales are divided into the following types:

Anecdotal;

And novietic:

Satyrian antibarsan, antitzar, antireligious;

Fairy tales - contest;

Fairy tales - ridicule;

General features:

At the heart - an extraordinary incident within the framework of real human relations (fiction is practically absent);

There is a wonderful assumption, which, for example, hyperbole:

The hero is so cunning, which can overcome everyone in the world and remain unpunished;

Instead of magic, a sedent is used;

Realism is conditional (real life conflicts receive extraordinary fabulous permit);

Existing characters - antagonists;

A positive hero is an ironic dek;

Semantic emphasis is on the junction;

Wide use of dialosha;

The abundance of verbs.

Geron: ordinary people (pop, soldier, man, babe, king, barin).

examples of household fairy tales are:<<Каша из топора>>, <<как мужик с барином обедал>>, <<Кому горшок мыть>\u003e And others.

3. For animals.

Task genre: Make funny damage character, actions, cause compassion to the weak, offended.

By conflict Fairy tales of animals depict:

Struggle predators among themselves;

The struggle of a weak beast with a predator;

Fighting a man with a beast.

Heroes: animals (traits of animals and a conditional man).

Special subgroups:

Fairy tales of pluts fox;

Cumulative (chain fairy tales).

Chain fairy tale (Cumulative fairy tale, recursive fairy tale, clinging fairy tale) - a fairy tale in which dialogues or actions are repeated and develop as the plot develops. The effect of these fairy tales is often based on reprints and characteristic rhymes.

With infinite repetition:

Restrain fairy tales like "about white bull".

The text of the text is included in another text ("Popa was a dog").

With finite repetition:

"Rack" - the units of the plot into the chain are growing until the chain breaks.

General features:

The specific composition of the actors (fabulous images - traditional types: Fox - Sly, Wolf - stupid):

Anthropomorphism (transferring the mental properties and qualities of animals inherent in the person);

Conflicts reflect the real life relationships of people;

Lightweight composition;

A narrowed set of fine-expressive means;

Widespread use of dialogs;

The abundance of verbs;

Lowepness, speed;

Introduction of small folklore forms.

Examples of animal fairy tales serve:<<Кот, Петух и Лиса>>, <<Лисичка-сестричка и Волк>>,<<Лиса, Заяц и Петух>> ,<<Лиса и Тетерев>\u003e And others.

Russian folk song (genre varieties, poetic style)

Russian People's Song - Folklore works, which are preserved in popular memory and are transmitted from mouth to mouth, the product of the collective oral creativity of the Russian people.

Most often, the folk song does not have a definite author, or the author is unknown, but folk songs of literary origin are known. The essential feature of the majority of the genres of Russian folk song - the immediate connection of the folk song with life and labor activity (eg, the songs of labor, accompanying various types of labor - born, constant, weeding, harvest, threshing, etc., ritual, accompanying agricultural and family rites and Festivities, - carols, passenger, spring, coat, wedding, funeral, gaming calendar, etc.).

In folk storage, there is a certain number of drum words in the verse (more often three or four words), the number of syllables from the emphasis before the emphasis may be different; As a rule, these are unimposed poems

Typology

Russian folk songs are divided into:

Song Epos.

epics (Southhouse, Middle Russian, Siberian);

northern epic tradition;

historical songs;

especially and scrocers;

songs in fairy tales.

Calendar ritual songs

congratulatory winter (carols, bushings, grapes, oxa)

saty (see the shints);

passenger;

spring (spring, wizard, easter);

songs Pahotot and Seva;

voznesensky;

troitsko-Semitic (see Semistry, Trinity);

summer (Kupali songs);

full, constant, harvested.

Family ritual songs

birth and prediction rites (Pestushka);

crying and due;

wedding;

lullabies.

With other works of folklore, folk songs bring their linguistic features: People's verse, repeats, comparisons, constant epithets, the use of words with diminutive suffixes.

Family-ritual songs accompanied the rites associated with the most important events in a person's life. Wedding songs sang: the songs of the bacheliness; Great songs of the wedding pyr; Bridal wedding. Recreate songs accompanied the rite of wires into soldiers. There were funeral songs, song-crying. The wedding rite was one of the most difficult. The people's wedding broke out into several stages: the pre-wedding cycle (walling, collusion, depressure, a bachelorette party), actually wedding ceremonies (bride's fees, arrival for the bride, wedding, wedding feast) and post-deputies (fertiliation). The bride before the wedding was supposed to be made: sorry about free, maiden life. These are ritual due:

Historical song They are called epic and some lyrol-epic works, which describe the historical events and episodes from the life of historical persons.

Historical songs are the continuation and development of the epic folk epic. We arena chants the feats of heroes. Their hyperbulsed images embody the people's ideas about Russian power, power, readiness to defend their homeland. Enemy force appears in the eponym as a fantastic, fabulous creature, which has no one-to-one historical speculation. Historical events of gray antiques in the eponymies lose the features of reality.

In historical songs, on the contrary, quite certain historical events are mentioned, concrete historical faces are called. Only outstanding events and outstanding historical figures are honored: these are kings Peter I, Ivan IV (Grozny), this and folk intercessors - the leaders of the peasant uprisings Stepan Razin, Emelyan Pugachev, this is a free Cossack, a bold conqueror of Siberia Ermak Timofeevich ...

Historical songs expressed feelings of unnamed authors in connection with wars, hikes, folk uprisings. This is a national assessment of history, her creators, the expression of the soul of the people.

In the XVI century, the cycles of songs around Ivan the Terrible and Hero put forward by the people - Ermaka. For folk songs it can be seen, for which the king got his nickname. The king is great, his merit is indisputable. At the same time, Ivan Grozny for the slightest suspicion is ready to "execute-hang" his guns, during punisle hiking destroys whole cities, in anger sends their son to the execution

Songs sang not only in connection with rites, but also just for pleasure: at the gatherings, for everyday work. These songs of the centuries served the people to express experiences and feelings, so they are called lyrical. In the song folklore, lyrical songs occupy most. These songs appeared later than rituals. All shades of the spiritual life of the people found an embodiment in them.

In love songs It was said about the first meetings of lovers, their love joy and longing, loyalty and treason. Family songs told about unhappy wife and strict or old husband; About the husband who married not by love and now unhappy, only remains for him to remember the former love. Young sang about harsh parents, daughter-in-law - about nonlaskaya mother-in-law.

There were songs of robbery, prison, soldier, Yamchichsky, Burlacki, songs about the fortress capture - they helped to endure life, alleviate spiritual flour. Such songs of the doctor's soul. Singing felt that he was not alone in his grief, that such a grief was experiencing many and many people. People's sympathy of the suffering that heard in these songs, brought comfort. Here, for example, the robbery song "Not Shumi, Mati Green Dubrovushka, do not bother me Duma Duma ...". She sing in the robbery detachment of Vladimir Dubrovsky, she sings Pugachev in the story of A. S. Pushkin "Captain's daughter". Although the robbers violated many laws, sympathy for their accidents is heard in the song. It challenges and delete youth, and sad meditation hears about imminent death, waiting for harsh reckoning.

These types of lyric songs are differently called long, "voice", "long." All these definitions point to a leisurely, sowing character of the song. The song is basically music. It is difficult to pass the content without music, as the rhyme is practically absent and how verses the lyrics are not perceived. The rhythmic drawing occurs here only when singing, the singer inserts numerous repeats, exclamations, interjections that, on the one hand, enhances emotionality, on the other - emphasizes rhythm.

Russian epic epos (cyclization, subject, images, poetics)

The epic - folk epic song, genre characteristic of Russian tradition. The basis of the plot of the episodes is any heroic event, or a remarkable episode of Russian history (from here the national name of the episodes - "old man", "older", implying that the action of which is in question, took place in the past). The term "epics" in scientific use was introduced in the 40s of the 19th century. Folklist I.P. Sakharov (1807-1863).

Tools of artistic expressiveness. For centuries, peculiar techniques were developed, characteristic of the epics of epics, as well as the way they are execution. In antiquity, as they believed, the narcors played themselves on the festivals, later the epics were performed by a recitative. For epics, a special pure-tonic epic verse is characterized (which is based on the commensity of strings by the number of strokes, which is achieved by rhythmic uniformity). Although the obstellers used in the execution of the epic of only a few melodies, they enriched singing a variety of intonations, and also changed voice timbre.

The solemn style of the presentation of the episodes is emphasized.telling about the events of heroic, and often tragic, determined the need to slow down (retardation). For this, used such a reception like repetition Moreover, not only individual words are repeated: ... Et of braid, braid, ... from the distance, wonderful diverse (repetitions are tautological), but also the fracture of synonyms: fight-tore, Dani duties, (repetitions are synomic), often the end of one line is the beginning Other: And they came to holy Russia, / on the Holy Rus and under Kiev, hail ..., often three-year repetitions of whole episodes, going with the effect of effect, and some descriptions are extremely detailed.Characteristic to the epics and the presence of "common places", When describing the same type of situations are used certain formula expressions: Thus (when it is extremely detailed) depicted by the seat of the horse: Ai comes out of a good courtyard, / he is a good-saddled horse, / he imposes a peppermock. The "general places" also includes the description of the Pir (for the most part, by Prince Vladimir), a pyr, a heroic ride on a Borz Kone. Such sustainable formulas, the people's patrimonial could combine on his own request.

For the language of epic is characterized by hyperbolesWith the help of which the narrator emphasizes the character traits or outfacities of characters worthy of special mention. Determines the attitude of the listener to the epith and the other reception - the epithet (mighty, Svyatourus, the glorious bogatyr and the frowning, an evil enemy), and often there are sustainable epithets (buuch head, blood hot, feet fat, tears combustible). Sunimensions are performed by a similar role: everything that concerns the heroes is mentioned in the forms of diminity (cap, head, Dumushka, Aleshenka, Vaslaevich, Dobrynyushka, etc.), but negative characters are calledSullenly, Ignative, the rearrangement of the Batueta, dregular to Pogan. A consonant place is occupied by associations (repetition of vowel sounds) and alliteration (repetition of consonant sounds), additional organizing elements of the verse.

The epics, as a rule, are three-part: seals (usually not related directly with content), the function of which is to prepare for listening to the song; zinch (within its limits, the action is deployed); ending.

It should be noted that certain artistic techniques used in the episodes are determined by its subject (so, for the heroic epic, antithesis is characterized).

Plots of the epic. The number of epic stories, despite the many recorded options for the same epic, is very limited: they are about 100. They allocate epics, based on the walling or wrestling of the hero behind his wife (Sadko, Mikhailo Pyotk, Ivan Godinovich, Danube, Kozarin, Solovyi Budimirovich and Later - Alyosha Popovich and Elena Petrovichna, Hoten Bluudovich); Fighting monsters (Dobrynya and Snake, Alyosha and Tugarin, Ilya and Idolische, Ilya and the Nightingale-Robber); Fighting ingenic invaders, including: reflection of Tatar raids (Ilya's quarrel with Vladimir, Ilya and Kalin, Dobrynya and Vasily Kazemirovich), war with Lithuanians (epics about the world of Lithuanians).

The mansion is satyric epics or epics-parody (Duke Stepanovich, Competition with Churil).

The main epic characters. Representatives of the Russian "Mythological School" divided the heroes of the epic on the "senior" and "younger" hero . In their opinion, the "elders" (Svyatogor, Danube, Will, Pota) were the personification of the spontaneous forces, the episons were peculiar to the mythological views that exit in ancient Russia. "The younger" Bogatyri (Ilya Muromets, Alesha Popovich, Dobrynya Nikitich) - ordinary mortals, the heroes of the new historical era, and therefore are minimally endowed with mythological features. Despite the fact that serious objections were subsequently nominated against such a classification, such a division is still found in scientific literature.

The images of the Bogatyurians are a folk standard of courage, justice, patriotism and strength (no wonder one of the first Russian aircraft, who possessed an exceptional at that time with a lifting capacity, was named the creators of Ilya Muromets).

Svyatogor Refers to the ancient and most popular epic heroes. His name itself indicates communication with nature. He is grown and mighty, with difficulty wears his land. This image was born in the Docyan era, but later changed. Only two plots were reached, initially associated with Svyatogor (the rest arose later and are fragmented): The plot of the find of the sophisticated Sumy, belonging to how it is specified in some versions, to another epic herder, Mikule Selyaninovich. Soms turns out to be so hard that the hero can not raise her, and, dying, finds out - in this Suma is "the whole earthly burner". The second story tells about the death of the Siberiana, who meets the coffin on the road with the inscription: "Who is destined to lie in the coffin, he will fall into it," and decides to experience fate. Barely Svyatogor falls, the coffin cover itself sharpens and the bogatyr cannot move it. Before his death, Svyatogor transmits Ilya Muromets his strength, thus the hero of antiquity transmits the relay to the reasons for the new hero of the epic.

Ilya Muromets, undoubtedly, the most popular hero of the epic, mighty bogatyr. Epos does not know his young, he is an old man with a gray beard. Oddly enough, Ilya Muromets appeared later his epic junior comrades of Dobryni Nikitich and Alyosh Popovich. His homeland is a city of Murom, the village of Karacharovo.

The peasant son, sick Ilya "Sitted Sydney on the furnace 30 years and three years." Once the wanderers came to the house, "Kaliki disturbing". They healed Ilya, having endowed him with a heroic force. From now on he is a hero who is destined to serve the city of Kiev and Prince Vladimir. On the way to Kiev Ilya, the nightingale-robber wins, puts it in "Toroki" and brings to the Princely Dvor. From other feats of Ilya, it is worth mentioning his victory over idolism, besieged Kiev and forbidden to be disappeared and remember God's name. Here Ilya acts as a defender of faith.

His relationship with Prince Vladimir is unmounted. The Men's Hero does not meet due respect at the court of prince, they are bypassing with gifts, do not plant at the honorable place in Piru. The rebeling bogatyr is concluded in the cellar for seven years and is doomed to hungry death. Only the attack on the city of Tatars led by King Kalin forces the prince to ask for help from Ilya. He collects heroes and enters into battle. The defeated enemy runs, swearing never to return to Rus.

Nikitich - The popular hero of the epics of Kiev cycle. This heroiseebec was born in Ryazan. He is the most polite and educated from Russian warns, no wonder Dobrynya always acts as ambassador and negotiating in difficult situations. The main epics related to the name Dobryni: Dobrynya and Snake, Dobrynya and Vasily Kazemirovich, Dobryni fight with Danube, Dobrynya and Marinka, Dobrynya and Alyosha.

Alyosha Popovich - Rod from Rostov, he is the son of the cathedral pop, the youngest of the famous Trinity of the Bogatyrey. He dare, heter, frivolous, is inclined to merry and joke. Scientists belonged to a historical school believed that this epic hero leads its origin from Alexander Popovich, who died in the battle at Kalka, however, D.S. Likhachev showed that in reality there was a return process, the name of the fictional hero was penetrated into the chronicle. The most famous feat of Alesh Popovich is the victory of him over Tugarine Zmeyshevich. The Bogatyr Alyosha does not always behave a decent way, he often compelled, boastful. Among the epics about him - Alyosha Popovich and Tugarin, Alyosha Popovich and Sister Petrovichi.

Sadko Also one of the oldest heroes, in addition, he is perhaps the most famous hero of the epic of the Novgorod cycle. The ancient plot about Sadko, where he tells how the hero is woven towards the daughter of the sea king, subsequently complicated, surprisingly realistic details appeared concerning the lives of ancient Novgorod.

The episodes about Sadko are shaped into three relative to independent parts. In the first Husar, Sadko, who struck his playing the skill of his own king, receives the advice from him how to get rich. From that moment on, Sadko is no longer a poor musician, but a merchant, a rich guest. In the next song, Sadko beats about a mortgage with Novgorod merchants, which can buy all goods of Novgorod. In some embodiments, Sadko wins, in some, on the contrary, the defeat suffers, but in any case leaves the city due to an intolerable attitude towards him of merchants. The last song tells about the journey of Sadko by sea, during which the sea king calls him to marry his daughter and leave in the underwater kingdom. But Sadko, abandoning Krasavitz-Tsareven, marries Chernavushka-mermaid, which personifies the Novgorod River, and she takes him to his native shores. Sadko returns to his "earthly wife", leaving the daughter of the sea king. V.Ya.propp points out that the episodas about Sadko - the only one in the Russian epic, where the hero goes to the other world (the underwater kingdom) and marries the otherworldly creature. These two motifs indicate antiquity of both the plot and the hero.

Vasily Buslaev. Two episons are known about this with an indomitting and a rusty citizen of Veliky Novgorod. In the rebellion of his own against everyone and all he does not pursue any purpose, except for the desire to beat and cloudy. The son of the Novgorod widow, a tricky citizen, Vasily from the youngsters showed his unbridled temper in fights with peers. Growing, he gathered a squad to survive forces with all the great Novgorod. The fight ends with a complete victory of Vasily. The second episode is devoted to the death of Vasily Buslaev. Having gone with a friend in Jerusalem, Vasily mocks over the dead head met by him, despite the ban, bathes naked in Jericho and neglects the requirement, stated on the stone found by him (you can not jump out the stone along). Vasily, due to the indomitability of his nature, begins to jump and jumping through it, engages the foot for the stone and breaks his head. This character in which the unbridled passions of Russian nature is embodied, was the favorite hero of M. Gorky. The writer thoroughly copied the materials about him, the cherry thought to write about Vasya Buslaev, but learning that the play about this hero writes A.V. Amphitaters, gave all the accumulated materials to a member of Peru. This play is considered one of the best works A.V. Samfiteatrova.

Historical stages of the development of epics. Researchers disagree when epic songs appeared in Russia. Some refer to their occurrence to 9-11 centuries., Others - by 11-13 centuries. Undoubtedly, having existed such a long time transmitted from the mouth to the mouth, the episons did not reach us in their original form, they have undergone many changes, since the state system, and an internal and foreign policy situation, the worldview of students and performers changed. It is almost impossible to say, in which age was created by one or another, some reflect earlier, some are a later stage of the development of the Russian epic, and in other epics, researchers distinguish between later layers of very ancient stories.

V.Ya.propp. It believed that the most ancient are the plots related to the walling of the hero and with Smeaking. For such epics, elements, meaningful and for a magical fairy tale, in particular: the tripling of the plot components (Ilya at Svattie is running to a stone with an inscription foreshadowing one or another fate, and consistently chooses each of the three roads), the ban and violation of the ban (Dobryna is prohibited swim in the Poocha-river), as well as the presence of ancient mythological elements (the will born from the Father-Snake, has a gift of reincarnation in animals, Tugarin Zmeyshevich in different versions of the epics appeases that snake, then the snake, endowed with anthropomorphic features, is the creature of nature Human, either snake; as well as the straw-robber, whether the bird is, or the person, or even connects those and other features in itself).

The greatest number of episodes reached us belong to the period from 11 to 13-14 centuries. They were created in South Russian regions - Kiev, Chernigov, Galico-Volyn, Rostov-Suzdal. The most relevant during this period the topic of struggle of the Russian people with nomads, which committed raids on Kievan Rus, and later with Ordi invaders. The epics begin to be grouped around the plot of protection and liberation of the Motherland, brightly painted by patriotic feelings. The people's memory retained only one name for the enemy-nomad - Tatar, but the researchers find among the names of the heroes of the names of not only Tatar, but also the Polovyvsky military leaders. In the eponym, the desire to raise the People's Spirit noticeably, express love for the native country and fierce hatred for foreign invaders, praise the feats of powerful and invincible folk heroes-heroes. At this time, the images of Ilya Muromets are popular, Danube-Swat, Alyosha Popovich, Dobryni Nikitich, Vasily Kazemirovich, Mikhail Danilovich and many other heroes.

With the formation of the Moscow state, starting from the 16th century, the heroic episodes gradually move into the background, the bodies are more relevant (Vavilov and Skomorokhi, Birds) and satirical epics with their acute social conflicts. They describe the feats of the heroes in a peaceful life, the main characters are opposed to the princes and boyars, and the task of them is reduced to the protection of their own family and honor (Sukhman, Danilo Lovechanin), while the dominant strata of society is ridiculed. At the same time, a new genre arises - historical songs, where it is narrated by the specific historical events that took place from 13 to 19 centuries, there are no fiction and exaggeration characteristic of the epics, and in battles, several people or a whole army can be performed in battles.

In the 17th century The epics gradually begins to push out a translation knightly novel, adapted for the Russian audience, meanwhile they remain popular popular entertainment. Then the first written retells of epic texts appear.

Cyclization of epic. Although, because of the special historical conditions in Russia, it was not possible for a solid epic, the scattered epic songs add up to the cycles or around a hero, or in common areas where they were extinguished. The classification of epics, which would be unanimously adopted by all researchers, does not exist, nevertheless, it is customary to allocate the epics of Kiev, or "Vladimirov", Novgorod and Moscow cycles. In addition to them, there are epics that do not fit into any cycles.

Kiev or "Vladimirov" cycle. In these epics, the warriors are going around the courtyard of Prince Vladimir. The prince himself does not make exploits, however, Kiev - a center that entails heroes, designed to protect the Motherland and faith from enemies. V.Ya.propp believes that the songs of the Kiev cycle - the phenomenon is not local, characteristic only for the Kiev region, on the contrary - the epics of this cycle were created throughout Kievan Rus. Over time, the image of Vladimir changed, the prince acquired the features, initially unknown for the legendary ruler, in many epics he was a cowardly, "it is often intentionally humiliated by Heroes (Alyasha Popovich and Tugarin, Ilya and Idolisch, Quarrel Ilya with Vladimir).

Novgorod cycle. The eponymists differ sharply from the series "Vladimirov" cycle, which is not surprising, since Novgorod never knew the Tatar invasion, and was the largest shopping center of ancient Russia. Heroes of Novgorod epic (Sadko, Vasily Buslaev) are also very different from others.

Moscow cycle. In these epics, the life of the highest layers of the Moscow society was reflected. In the eponymis about Hoten Bludovich, Duke and Churil contain many details characteristic of the era of the rise of the Moscow state: clothing, morals and behavior of citizens are described.

Collecting and publishing Russian epic. The first record of Russian epic songs was made at the beginning of the 17th century. Englishman Richard James. . However, the first significant work on the collection of epic, who had a great scientific importance was done cossack Kirshiy Danilov about 40-60 18 V. The collection collected them consisted of 70 songs. For the first time, an incomplete record was published only in 1804 in Moscow, called ancient Russian poems and for a long time were the only meeting of Russian epic songs.

The next step in the study of Russian epic songs did P.N.rybnikov (1831-1885). He found that in the Olonets province were still executed, although by that moment this folk genre was considered dead. Thanks to the discovery of P.N. Rybnikov, it was possible not only to study the epic epic deeper, but also to get acquainted with the way of his execution and with the performers themselves. The final arch of the epic was published in 1861-1867 under the title of songs collected by P.N. Zhebnikov. Four volumes contained 165 epic

Next followed the collections of A.F.gilferding (1831-1872), P.V. Kireevsky (1808-1856), N.E.ONchukova (1872-1942) and others, the material for which is assembled, in the advantage of Siberia, on average and lower Volga region, on Don, Terek and the Urals (in the central and southern regions, the epic has been preserved in very minor sizes).

Russian and Soviet folkloristics. To comprehend Russian Epos for the first time as a whole artistic phenomenon and understand its relationship with the course of Russian history, K.F. Kalajdovich tried (1792-1832) In the preface to the collegen, the ancient Russian poems made by the second edition, collected by Kirchem Danilov (1818).

According to representatives of the "Mythological School", to which F.I. Buslaev belonged (1818-1897), A.N. Afanasyev (1826-1871), O.F. Miller (1833-1889), the epic songs were no more than derived from more ancient myths. Based on these songs, school representatives tried to reconstruct the myths of primitive peoples.

Scientists, "comparativists", among which - G.N.Potanin (1835-1920) and A.N.Veselovsky (1838-1906), considered the epic with an extra-historical phenomenon. They argued that the plot after their origin begins to wander, modifying and enriched.

The representative of the "Historical School" V.F. Miller (1848-1913) studied the interaction between the epic and history. In his opinion, historical events were registered in the epic, and thus epos is a kind of oral chronicles.

A special place in Russian and Soviet folklore is occupied by V.Ya.propp (1895-1970). In their innovative works, he combined the historical approach with the approach of structural (Western structuralists, in particular K. Levi-Skros (r. 1909), called him a height of their scientific method, against which V.Ya.propp abruptly objected).

The epic stories and heroes in art and literature. Already since the publication of the collection of Kirsi Danilov, eponymous plots and heroes are firmly included in the world of modern Russian culture. Traces of acquaintance with Russian epics It is not difficult to see in the poem A.S. Pushkin Ruslan and Lyudmila and in the poetic ballads A.K. Tolstoy.

Multifaceted reflection received images of Russian epics and in music. Composer A.P. Borodin (1833-1887) was created by Opera Fars Bogatyri (1867), and his 2nd Symphony (1876) gave the name Bogatyr, he used the images of the Bogatyrs Epos and in his romance.

Assistant A.P. Borodina according to the "Mighty Kuchka" (combining composers and musical critics) N.A. Rimsky-Korsakov (1844-1908) twice appealed to the image of the Novgorod "rich guest". At first, he created a symphonic musical picture of Sadko (1867), and later, in 1896, the same opera. It is worth mentioning that the theatrical production of this opera in 1914 drawn up the artist I.Y.Bibin (1876-1942).

V.M.vasnetsov (1848-1926) is mainly known to the public in the picture, the plots for which are taken from the Russian heroic epic, it is enough to name the canvas of the Rights at the crossroads (1882) and heroes (1898).

M.A.Vrubel (1856-1910) appealed to the epic stories. Decorative panels Mikula Selyaninovich (1896) and Bogatyr (1898) in their own way treats these, it would seem good familiar images.

Heroes and plots of epics are precious material for cinema. For example, the film of the director A.L.Ptushko (1900-1973) Sadko (1952), the original music for which he wrote the composer V.Ya.Shebalin, partly using the classical music of N.A. Rimsky-Korsakov in the musical design, was one of the most Entertainment films of their time. And the other film of the same director Ilya Muromets (1956) became the first Soviet widescreen film with stereo sound. The Multiplier Director V.V. Kurchevsky (1928-1997) created a multiplication version of the most popular Russian epics, his work is called Sadko rich (1975).

"Tale of time years." The main ideas and types of chronicle narration

"Tale of time years." At the beginning of the XII century. (It is believed that around 1113) "The initial arch" was reworked by the monk Kiev-Pechersk Monastery Nestor. The work of Nestor received in science the name "Tale of Bygone Years" in the first words of its extensive title: "Being the story of the time (past) years, there is a soldier, the Russian land has gone, who in Kiev initiated the first of the princes, and the sputum of the land began to eat."

Nestor was a scribe of a wide historic outlook and large literary talent: even before working on the "Tales of the Championships of the Year", he wrote "Life Boris and Gleb" and "Life of Feodosia Pechersk". In the "Tale of Bygone Years", Nestor put a grand task: not only to supplement the "initial arch" by a description of the events of the XI-XII centuries, the contemporary of which he was, but also to rework the story about the oldest history of Russia - "Where is there I went Russian land. "

Nestor introduces the history of Russia in the world of world history. He begins his chronicle with the presentation of the biblical legend on the division of land between the sons of Noah. Leading a lengthy list of the peoples of the whole world (Extracted from "Chronicle George Amartol"), Nestor inserts the mention of the Slavs in this list; In another place of the text, the Slavs are identified with Norika - residents of one of the provinces of the Roman Empire, located on the shores of the Danube. Nestor thoroughly talks about the ancient Slavs, about the territory that individual Slavic tribes occupied, but especially in detail - about the tribes inhabited in Russia, in particular about the "meek and quiet custom" Polyany, on the land of which the city of Kiev arose. Nestorus clarifies and develops the Varangian legend of Nikon: The Varanteys Askold and Deer mentioned in the "primary arch" are now all the boyars of Rurik (besides "not the tribe"), and it is them attributed to the campaign on Byzantium during the Emperor Mikhail. Having established according to the documents (texts of contracts with the Greeks) that Oleg was not a governor of Igor, but an independent prince, Nestor sets out a version that Oleg is a relative of Rüric, which was contacted during the years of Igor.

At the same time, Nestor includes some new ones in the chronicle (relatively with the "initial arch") People's historical legends, such as the story about the fourth revenge of Olga Drevlyamam, the stories about the match of the young men, with Pechenezhsky Bogatira and about the siege of Belgorod Pechenegs (talking about They will go below).

So, it is Nermer "Tale of Bygone Years" it is obliged to its wide historical outlook, the introduction of world history facts, against the background of which the history of Slavs is deployed, and further - the history of Russia. It is Nestor who strengthens and improves the version of the origin of the Russian prince dynasty from the "designed" of the Norman Prince. Nestor is an active advocate of the ideal of the State Device of Russia, proclaimed by Yaroslav Wise: All princes are brothers and all of them must submit to the eldest in childbirth and occupying Kiev Grand Double table.

Thanks to the state view, the latitude of the horizons and literary talent of Nestor, the Tale of Byversion, was "not just a meeting of the facts of Russian, history and not just a historical and journalistic composition related to the pressing, but the transient tasks of Russian reality, and the whole, literary stated history of Russia" .

As believed, the first edition of the "Tale of Bygone Years" has not reached us. The second edition was preserved, compiled in 1117 by the Igumen of the Vestubitsky Monastery (near Kiev) Sylvester, and the third edition, compiled in 1118 on the command of Prince Mstislav Vladimirovich. In the second edition, only the final part of the "Tale of Bygone Years" was recycled; This edition and reached us as part of the Lavrentiev Chronicles of 1377, as well as other later chronicles. The third editorial office, according to a number of researchers, is presented in the Ipatiev Chronicle, the senior list of which is Ipatievsky - dates back to the first quarter of the XV century.

Composition "Tale of Bygone Years". We now consider the composition of the Tale of Bygone Years, which it appears in front of us in the Lavrentiev and Radzivilovsky chronicles.

In the introductory part there is a biblical legend on the division of the Earth between the sons of NO NOY - Sym, Ham and Jafete - and the legend of the Babylonian pillar, leading to the separation of "single kind" on 72 people, each of which has its own language. Having determined that "Language (people) Slovesque" from the Japthe tribe, the chronicle narrates further about the Slavs inhabited by them, about the history and customs of the Slavic tribes. Gradually, narrowing the subject of their narration, the chronicle focuses on the history of Pollas, tells about the emergence of Kiev. Speaking of ancient times, when Kiev Polyana were danutrics of Khazar, "Tale of Bygone Years" with pride notes that now, as it was destined, the Hazars themselves are danted by Kiev princes.

The exact indications of the years begin in the "Tale of Bygone Years" from 852, as the chronicler claims, Russia is mentioned in the Greek Chronicles: This year, the Kiev princes Askold and Dir attacked Constantinople. The chronological statement is immediately given - the countdown of the years who passed from one to another significant event. Ends the calculation of the calculation of years from "Death Yaroslavl to death of Svyatopolch" (i.e. from 1054 to 1113), from which it follows that the "Tale of Bygone Years" could not be prepared before the second decade of the XII century.

Next, the chronicles are narrated by the most important events of the IX century. - "Variagov's vocation", campaign on Byzantium Askold and Dira, the conquest of Kiev Oleg. The legend included in the chronicle of the origin of the Slavic diploma ends important for the general concept of the "Tale of Bygone Years" by the statement of the identity of Slovenian and Russian languages \u200b\u200b- another reminder of the place of Polyan among the Slavic peoples and Slavs among the peoples of the world.

In subsequent chronicle articles, the reign of Oleg. The chronicler cites the texts of his contracts with Byzantium and folk legends about Prince: the story about the campaign of him to Tsargrad, with spectacular episodes, undoubtedly folk nature (Oleg approaches the walls of the city in the rooks moving under the sails on land, hides their shield over the gates of Constantinople, "Showing the victory"). There is also a well-known legend of the death of Oleg. Volkhv predicted the prince death from his beloved horse. Oleg decided: "Nicoli is the same on Hy, I do not see him more than that." However, afterwards he learns that the horse is already dead. Oleg laughed at a false prediction and wished to see the bone of the horse. But when the prince stepped his foot on the "forehead" (skull) of the horse, he was otvayn the Snake "Identious" "from his forehead", he died and died. The chronicle episode, as we know, the basis of the ballads A. S. Pushkin "Song about Oleg's meaning".

This tradition is accompanied by a lengthy discharge from the "Chronicle George Amartol"; The link to the Byzantine Chronicle should confirm that they are sometimes turning out to be things and prophecies of the pagan wise men, and therefore, the introduction of Oleg's death predicted by wrappers into the chronicle is not represented by the Christian christianity.

Oleg inherited at the Kiev "Table" Igor, whom the chronicler considered the son of Rurik. Two campaigns of Igor on Byzantium are reported and the text of the agreement concluded by the Russian Prince with the Byzantine Emperors-Coordarents: Roman, Konstantin and Stephen. Igor's death was unexpected and inglorious: on the advice of the squad, he went to the land of Ridge for the collection of Dani (usually a tribute was collected by his governor Svevend). On the way back, the prince suddenly appealed to his soldiers: "We go with the tribute to Divi, and I envied, look like more." Drevlyan, having heard that Igor intends to collect tribute to the second time, outraged: "Throwing a wolf (if the wolf is having something) in the sheep, then it's not to carry it out a herd, it's not to kill him, Tako and CE: they don't kill him, then you will not kill him . But Igor did not return the warning of the Drevlyan and was killed by them.

The story of the death of Igor in the chronicle of very brief; But in the people's memory, legends were preserved about how the widow of Igor - Olga revenged the trees for the murder of her husband. Traditions of the etiibolis are reproduced by the chronicler and are read in the "Tale of Bygone Years" in Article 945

After the murder, Igor Drevlyan was sent to Kiev to Olga ambassadors with a proposal to marry their prince Mala. Olga pretended that she was "Luba" the words of the ambassadors, and told them to appear the next day, while not riding and not on foot, but a very unusual way: on the orders of Princess, Kievans were to bring Drevlyan to the prince's courtyard in Ladyah. At the same time, Olga orders to dig up near his terme deep pit. When the triumph of the Trees (they sit in the Floor "proud", emphasizes the chronicler) contributed to the princely courtyard, Olga ordered to relieve them together with the root in the pit. Going to her edge, the princess with a grin asked: "Do you honor?". "We are the forest (worse) Igor Death," answered Drevlyan. And Olga ordered to fall asleep them alive in the pit.

The second embassy, \u200b\u200bwhich consisted of noble Treated "husbands", Olga ordered to burn in the bath, where the ambassadors were invited to "bezing". Finally, the Druzhina Drevlyan, sent to towards Olga, so that with honor to introduce it to the capital of Mala, Prince ordered to kill during TRIZNES - a memorial feast at the grave of Igor.

Attentive consideration of the legends on how Olga revenged three times with rallies, discloses the symbolic meaning of the legend: each revenge corresponds to one of the elements of the pagan burial rite. According to the customs of that time, the dead mans were buried, putting in the root; For the dead, they prepared a bath, and then his corpse burned, triction was arranged on the burial day, accompanied by military games.

This story about three seats Olga was already read in the "primary arch". In the "Tale of Bygone Years", another legend was made - about the fourth revenge of Princess.

By interrupting the Druzhina Drevlyan, Olga nevertheless could not take them to the capital - the city is estimated. Then the princess again resorted to tricks. She turned to besieged, convincing that she was not going to impose their heavy tribute, as Igor once, but asks a negligible redemption: three sparrows and three pigeons from the house. Drevlyan again did not guessed Olga's insidiousness and readily sent her the required tribute to it. Then the warriors of Olga according to her order were tied to the birds of the birds "Cerr" (grilled clutch, dried ruts) and let them go. Birds flew into their nests, and soon the whole city was covered by fire. People who tried to escape the flight were captured by the warriors of Olga. So, according to legend, the princess revenged for the death of her husband.

Further, the chronicles are narrated by visiting Olga Tsargrad. Olga really came to Constantinople in 957 and was adopted by Emperor Konstantin Bagrynorogennoe. However, the story is completely legendary, as she "switched" (reached) the emperor: according to him, Olga was baptized in Constantinople, and Konstantin was her godfather. When the emperor suggested her to become his wife, Olga objected: "What kind of storms are sick, cross me myself and naren a dress?"

Enthusiastly depicts the chronicler of Son Igor - Svyatoslav, his militantness, a knightly straightness (he would definitely warned his enemies in advance: "I want you to"), unpretentious in everyday life. The chronicle tells about the campaigns of Svyatoslav for Byzantium: he almost reached Constantinople and suggested, winning the Balkan countries, move their capital to Danube, for there, according to him, "there is a Sereda Earth", where all the benefits are flown - precious metals, expensive fabrics , Wine, horses and slaves. But the plans of Svyatoslav were not destined to come true: he died, hitting the ambush Pechenegs at the Dnieper thresholds.

After the death of Svyatoslav between his sons - Oleg, Yaropolk and Vladimir - the civil struggle broke out. Vladimir came out the winner of it, who became the one-chased ruler of Russia in 980.

In the "Tale of Bygone Years", dedicated to Vladimir's princess, the topic of the Baptism of Russia is a great place. In the chronicle, the so-called "philosopher's speech" is read, with whom the Greek missionary turned to Vladimir, convincing the prince to adopt Christianity. "The speech of the philosopher" had a great informative value for the Old Russian reader - the entire "sacred story" was summarized in it and the basic principles of Christian religion were reported.

Various folk legends around the name Vladimir were grouped. They were reflected in the chronicles - in the memoirs about the generosity of the prince, his crowded piras, where all the warriors were hardly invited, about the exploits of obscure heroes who lived in the times of this prince, - about the victory of the hotel-leatherhead over Pechenezhsky rich or about the old man, his wisdom The city of Belgorod, liberated from the siege of Pechenegs. These legends will still go below.

After Vladimir's death in 1015, a civil struggle broke out between his sons again. Svyatopolk - the son of Yaropolk and the prisoners-monastery, which Vladimir, destroying his brother, made his wife, killed his summary brothers Boris and Gleb. A brief story about the fate of the princes-martyrs, about the struggle of Yaroslav Vladimirovich, with Svyatopolk, who ended with a military defeat of the last and terrible Divine Retribution was read. When Svatopolk is broken in battle. He appealed to the "attack" to him, "and the rash bone of His, not the seasure of Koni." Svyatopolk seems to be followed by pursuing heels, he hurts his warriors who carry it on her stretchers. "Gonim God's anger", Svyatopolk dies in the "desert" (in a blind, unplaced place) between Poland and the Czech Republic, and from his grave, according to the chronicles, "comes ... Smyrah". The chronicler enjoys the case to emphasize that the terrible death of the Svyatopolka should serve as a warning of Russian princes, to protect them from the resumption, the brother-in-law contention. This idea sounds from the pages of the chronicle more than once: in the story of the death of Yaroslav, and in the description of the strip among his sons in the 70s. The XI century, and in the story about the blinding of the Terborovsky Prince Vasilka his blood brothers - David and Svyatopolk.

In 1037, in the chronicles, Yaroslav's construction activity (in particular, on the bookmark of the famous Sofia Cathedral in Kiev, fortress walls with gold gates, etc.) and his book is glorified: the prince "Pricking books and Read E (them) often In the boilers and in the bottom. " According to his order, numerous scribes translated books from Greek "on Slovenian (i.e. russian) letter." An article was important in the article 1054. The death testament of Yaroslav, who called on his sons to live in the world, take care of the land "His and grandfather's grandfather", which they found "the work of their great", to obey the eldest in the Kiev princess.

Weather entries in the "Tale of Bygone Years" alternate with stories and reports, other times only indirectly connected with the political history of Russia, which, in fact, should be dedicated to the chronicle. So, in Article 1051, there is a lengthy story about the foundation of the Kiev-Pechersk Monastery. This topic will be continued in the "Tale of Bygone Years" and further: in Article 1074, the death of the Hegumen of this monastery of Feodosia is described, the episodes of the mobility life in the monastery of Feodosia himself and other conversions are given; Article 1091 describes the transfer of the relics of the Feodosia and is given to the saint praise. In Article 1068, in connection with Polovtsy invasion, the chronicler talks about the causes of the disasters of the Russian Earth and explains the "finding of the integrenniks" of the Divine Kari for the scent. In Article 1071, the story is read about the revolt heads headed by the wavelets in the Rostov land; The chronicler argues about the shock beams and leads two more stories, thematically related to the previous one: about Novgorod, who gaded the Kudesnik, and the appearance of the waist in Novgorod. In 1093, the Russian princes were defeated from the Polovtsy. This event was a reason for the chronicler's new reasoning about why God "punishes Russian land," why "Crying on all the streets of simulatory". Dramatic description of the sufferings of Russian prisoners who are wandered by a stranger, "Peallenni, Muchimi, Winter Outliemi (suffering from cold), Alci, and in the thumb, and in trouble," with tears speaking to each other: "Az Bech of this city" , "Yaz Say VSI (village) ..." This article, as mentioned above, perhaps the initial arch ended.

The last decade of the XI century. It was full of rapid events. After internecine wars, the instigator and the indispensable participant of which Oleg Svyatoslavich was ("the word about Igor's regiment" refers to his Oleg Gorislavlich), the princes gather in 1097 in Lisher to the congress, on which from now on to live in peace and friendship, keep holdings of the Father and Do not encroach on other people's diets. However, immediately after the congress, a new atrocity was accomplished: the Volyn Prince Davyd Igorevich convinced Kiev Prince Svyatopolk Iaslavich's fact that the Terbell Prince Vasilko is malicious against them. Svyatopolk and Davyd lured the cornflower to Kiev, captured him and the eyes of his eyes. The event shook all the princes: Vladimir Monomakh, according to the chronicler, complained that there was no such evil in Russia "Neither Dedekh Oh, nor from our ours." In Article 1097, we find a detailed story about the dramatic fate of the Terebovsky Vasilka; It was probably written specifically for the chronicle and fully included in its composition.

We do not know exactly how the final part of the "Tale of Bygone Years" looked out of the second edition. In the Lavrentiev Chronicles, the text of Article 1110 is artificially convertible: the record of the Churchrist Sylvester should be directly behind the story of a wonderful sign in the Pechersk Monastery, which is considered as an angel's phenomenon; At the same time, in the Ipatiev chronicle, following the description of the sign, the argument of angels is read, which, undoubtedly, was part of the initial text of Article 1110, that is, it should have been present in the text of the second edition of the "Tale of Bygone Years". In addition, it is not known whether Article 1110 was the last in this edition: after all, in the prescription Sylvester, it was reported that he wrote "Book Si Chronicler" in 1116. The question of the relationship of the second edition of the "Tale of Bygone Years" and the third edition remains the controversial , like that which text the second editorial office "Tale" was completed.

"Tale of the time year" and her editorial board

In 1110-1113, the first editorial office (version) of the Tale of the Warrant Year - a lengthy chronicle, who had a numerous information on the history of Russia was completed: On Russian wars with the Byzantine Empire, about calling on Rus to the reign of Scandinavians Rurik, Trumor and Sineus, about the history of Kiev Pechersk Monastery, about princely crimes. The likely author of this chronicles is the monk of the Kiev-Pechersk Monastery Nestor. In the initial form, this edition is not preserved.

In the first edition of the Tale of Bygone Years, the political interests of the then Kiev prince Svyatopolk Iaslavich were reflected. In 1113, Svyatopolk died, and Knyaz Vladimir Vsevolodovich Monomakh joined the Kiev throne. In 1116 by the monk Sylvester (in Promonomakh Spirub) and in 1117-1118. An unknown scribe from the surroundings of the Prince Mstislav Vladimirovich (son Vladimir Monomakh) Text of the Tale of the Day of May was recycled. So there were the second and third edition of the Tale of Bygone Years; The oldest list of the second edition reached us as part of Lavrentievsky, and the earliest list of the third - as part of the Ipatiev chronicle.

Encyclopedia "Circlevet"

Editing "Tale of Bygone Years"

Becoming Kiev Prince, Vladimir Monomakh, retained his "perception" - the Principality of Pereyaslavlsky, as well as the Suzdal Earth and Rostov. He recognized the power of Vladimir and Veliky Novgorod, obeying his orders and taking princes from him. In 1118, Vladimir demanded that the "whole boyars Novgorod" to bring them to the oath. Part of them he let go back to Novgorod, and "I will leave yours." With Vladimir, the former military power of the ancient Russian state was restored, weakened by preceding feudal straits. Polovtsy was caused a crushing blow, and they did not dare to attack Russian land ...

One of the measures during the work of Vladimir Monomakh in Kiev in 1113 there was a correction of the Nestor's "Tale of Bygone Years" in order to more properly cover the Board of Svyatopolka Izaslavich, hated by the Kiev Labor People. This Monomah case instructed the Igumen of the Votubetsky Monastery Sylovestra. The vytubetsky monastery was founded by the father of Vladimir Monomakh, Prince in Vsevolod Yaroslavich, and, naturally, he held the side of this prince, and after his death - to the side of his son. Sylvester in good faith fulfilled the case entrusted to him. He rewrote the "Tale of Bygone Years" and supplemented it with several inserts about the negative actions of the Svyatopolka. So, Sylvester introduced in the "Tale of Bygone Years" under the 1097 year the story of Vasily about blinding Vasilka Rostislavich. Then, in a new way, he outlined the history of the Russian princes against Polovtsy in 1103. Although this campaign was headed by Svyatopolk, as the senior Kiev Prince, Feather Sylvester Svyatopolk was moved to the background, and Vladimir Monomakh was put to the first place, which really participated in this campaign, but did not lead it.

The fact that this version could not belong to Northar, the monk of the Kiev-Pechersk Monastery, it is clear from the mapping with her story about the same campaign available in Kiev-Pechersk Catering, coming, probably, according to the tradition of Nestor himself. In the story of "Catema", Vladimir Monomakh is not even mentioned, and the victory over the Polovtsy is attributed to one Scholopolku, who received a blessing before going from the monks of the Kiev-Pechersk Monastery.

Editing the "Tale of Bygone Years" of Nestor, Sylvester did not continue it for one year, but released an indication of the authorship of Kiev-Pechersk monk. Under the same 1110, Sylvester made such a prescription: "Igumen Sylvester of St. Michael writing a book of Si, the chroniclee, happiness from God the mercy of pleasant at Prince Volodimer, princess to him Kyiya, and I need to need to be needed by St. Michael, in summer 6624 (1116) Indictant 9. And the right to read the books of this, then boudi in prayers. " Since the editorial office of Sylvester received official recognition, she formed the basis of all further Russian chronicles and reached us in many later chronicle lists. Nestorovsky text "Tale of Bygone Years", who remained the property of the Kiev-Pechersk tradition, did not reach us, although some traces of the differences of this text from the Sylovetrovsk edition were preserved, as already mentioned, in the individual stories of the later "Kiev-Pechersk Pavering". In this "Catema", an indication of Nestor, who wrote the Russian "Chronicler" was preserved.

In 1118, the Sylovetrovsk edition of the "Tale of Bygone Years" was continued, apparently, in connection with the inclusion of the famous "teachings of Vladimir Monomakh, written this year. According to the convincing assumption of M. Podelkova, the supplement made the son of Vladimir Monomakh Mstislav, then in Novgorod. Of great interest among these additions are two stories about the Nordic countries, heard by the author in 1114, when he was present when laying a stone wall in Ladoga. Ladoga Posadan Paul told him about the Nordic countries for the Ugra and Summary. Another story about these countries, heard by the author from the Novgorod Guryat Rogovic, was placed under the 1096 year, indicating that he was heard "pervasy it 4 years old." Since both stories are closely related to the content of the content, the words "pervasy it are 4 years old" should be attributed to the time of writing this insert in 1118, when he was heard the author and the first story .. Since I did not reach us a script manuscript of Mstislava, but only Her later lists, then the only explanation of the resulting confusion can be a random permutation of the original sheets, from which these lists were given. Such an assumption is all the more permissible that in the existing lists under 1096 is the "teaching of Vladimir Monomakh", written not earlier than 1117.

"The word about the regiment of Igor." Idea content, art form, communication with folklore.

"Words about the regiment of Igor" was opened by the famous collector of the old-Russian manuscripts by Count A. I. Musin-Pushkin at the end of the XVIII century. Since that time, an intensive study of this outstanding monument of Old Russian literature began.

The researchers analyzed the text "Words", his artistic advantages, language, considered the ideological idea of \u200b\u200bthe monument, the historical horizon of his author, found out the circumstances of the detection of the "Words" manuscript and the principles of his publication. Most of these issues are currently deeply and comprehensively studied.

The controversy about writing the "Words".

In research literature on the "Word", a controversy of the monument or the time of its creation is essential.

Differences for the antiquity of the "Word" arose after the death of the manuscript in the fire of 1812. The reasons for the emergence of a "skeptic look" on antiquity "words" were several. First, at the beginning of the XIX century. Scientists knew too much about the literature of ancient Russia, and therefore "the Word" seemed to them unnaturally perfect for the level of artistic culture of Kievan Rus. Secondly, they were embarrassed by unclear, "dark places" "words", an abundance of incomprehensible words in him, who at first tried to explain on the material of other Slavic languages. But the main reason for mistrust to "Word" was the direction in Russian historiography of the beginning of the XIX century, which is called the Skeptic School. Doubt on the authenticity of the "Words" was only a private episode in this trend: "Skeptics" were also questioned by the antiquity of Russian chronicles, a collection of ancient Russian laws - "Russian truth", writings of Kirill Torovsky, etc.

In the middle of the XIX century. After the opening of the "Zadonshchina", the eldest of the known lists of which is dated to the end of the XV century., Doubts in the antiquity of the "Words" stopped. However, in the 90s. The same century Louis lesion put forward a hypothesis that not the author of the Zadonshchina shed out "Word", but, on the contrary, "the word" is the imitation of the "Zadonshchina". This assumption L. lesion was developed in the works of the French scientist, Academician A. Mazon, and later in the works of the Soviet historian A. A. Zimin. A. A. Zimin believed that "the word" was written on the basis of "Zadonshchina" in the XVIII century. And the author of him was Joil Bykovsky, Yaroslavsky Archimandrite, who has A. Musin-Pushkin acquired a collection with "Word"

Subsequent studies of the entire amount of questions affected by A. A. Zimin's hypothesis: the relationship between "Words" and "Zadonshchina", the language and style of "Words", the history of the find of the collection and the publication of the "Words" by A. I. Musin-Pushkin, personality characteristics and Creativity of Ioil Bykovsky - it was clearly approved by the authenticity and antiquity of "Words"

"Composition" Words ".

"The word" begins an extensive entry, in which the author recalls the ancient singer "Slav" Boyana, wise and skillful, but nevertheless declares that he will not be in his work to follow this tradition, he will lead his "song" on the eponym , not on the grace of the boyoi. "

Having determined the chronological range of his narration ("from the Stargo of Vladimer to the current Igor"), the author talks about the bold plan of Igor "to bring his shelves to the Polovtsian land," Spit the Shelving Don. " He seems to "try on his theme to his theme by the poetic manner of Boyan (" Not a storm of Sokol put a widespread field - the Galici herds run to Donu Glitnoye "or:" Comoni to zoom for Suloi - to star in Kyev ").

Genre "Words".

The composition "Words" is unusual for the historical story. We see that the author's focus is not so much a consistent story about the events of the campaign, how much reasoning about him, the assessment of the act Igor, thinking about the reasons "tags" and sorrow, which covered the whole Russian land in the present, appeal to the events of the past with his victories and misfortunes. All these features "Words" summarize us to the question about the genre of the monument. This question is all the more important, that in the ancient Russian literature, with its strict system of genres, "the word" (like a number of other monuments) turns out to be as if outside the genre system. A. N. Robinson and D. S. Likhachev compare the "Word" with the genre of the so-called "chanson de gesture" - "Songs about the exploits", the analogies in this case are, for example, "Song of Roland" or other similar works of Western European feudal epic.

In the "Word" combined an epic and book principle. "Epos is full of appeals to protect the country ... - writes D. S. Likhachev. - It is characteristic of his "direction": the call comes from the people (hence the folklore principle), but he turned to the feudalists - the golden word of Svyatoslav, and hence the bookstitch. " .

Poetics "Words".

The poetics of "Words" are so unique, the language and style of it are so colorful and distinct that at first glance it may seem that the "word" is completely outside the sphere of the literary traditions of the Russian Middle Ages.

In general, the style of monumental historicism is manifested in the "Word" diverse and deep. The action "Words" is deployed on a huge space from Novgorod the Great in the north to Ttumutokani (at the Taman Peninsula) in the south, from the Volga in the East to Galich and the Carpathians in the West. The author of "Words" mentions in his appeals to the princes, many geographical points of the Russian land, the glory of Svyatoslav extends far beyond its limits - to the Germans, Chekhov and Venetians. The acting persons "Words" see Russian land as if "panoramic vision", as if from a high height. Such, for example, the appeal of Yaroslavna from Putivly not only to the Sun and the wind, but also to the distant Dnieper, which can take her beloved husband from Polovtsy captivity to her. Yaroslav Osmomysl controls its principality, also in emphasized "spatial" borders, backing the mountains of Ugors, "the courts of the row to the Danube." The Battle of Battle with Polovtsy acquires all-time scales: black clouds, symbolizing enemies of Russia, go from the sea itself.

Already mentioned the historites of "Words", also a characteristic feature of monumental historicism. And events, and actions, and the quality of the characters of the "Words" heroes are assessed against the background of all Russian history, against the background of events not only XII, but also the XI century.

In a word, the author's retreats shift (and displaced intentionally and deliberately) the actual course of events, for the author's goal is not so much a story about them, well-known contemporaries, how much to express your attitude towards them and reflections on what happened. Saying these features of the story building "Words", we will see that they do not have the meaning of reasoning about what moment the solar eclipse was found at what exactly the solar eclipse, and how accurately this moment is fixed by the "Word", about whether Polovtsy tribute was collected On white courtyard, "or how apparent was to call for the help of Igor Prince Vsevolod a big nest, and without the undertaking to intervene in South Russian affairs. "The word" is not documented, it is epic, it does not tell so much about events as it reflects about them.

Nature is actively involved in the fate of Igor, in the fate of the Russian land: the grass is nicking from pity, and, on the contrary, happily help Igor, running from captivity, Donets and birds living in coastal groves.

This does not mean that in the "Word" there is no image of nature as such. But it is characteristic that in it, as in other ancient Russian monuments, there is no static landscape: the surrounding world appears in front of the reader in motion, in phenomena and processes. In the "Word" it does not say that the night is light or dark, "she" fades ", the color of the river water is not described, but it says that the rivers are tearing a muddy," Dvina "the swamp flows", the Sula has already no longer "flowing silver jets" ; The shores of the Donets are not described, but it is said that the Donets of Stellet Igor Green Grass on his silver shores, puts it with warm mists under the Seni of the Green Tree, etc.

The time of writing "Words" and the question of his author.

the monument could be created no later than October 1, 1187 - the time when Yaroslav Osmomysl died, since he is mentioned in "Word" as a living.

"Word" in new Russian literature.

But in the new time, "the word" produced a great impression on Russian readers. Russian poets literally from the first years after the publication "Words" found in it the grateful material for imitations and variations on the Old Russian topics, endless attempts began to find the best poetic equivalent of the great monument of antiquity. From the translations of the XIX century., Of course, the best were the translations of V. A. Zhukovsky (positively estimated by A. S. Pushkin), M. D. Deliary, A. N. Makova, L. Maya; At the beginning of our century, poems on the "Word motives" creates A. A. Blok, translates the "word" K. D. Balmont. Excellent transfers belong to Soviet translators and poets - S. V. Shervinsky, V. Stelletsky, Storm, I. Novikov, N. Zabolotsky and others. "The word about the regiment of Igor" is widely known in translations into the languages \u200b\u200bof the Peoples of the USSR, I translated it to the Ukrainian language M. Ryllsky, to Belorussky - Ya. Kupala, in Georgian - S. Chikovani. There are translations of "Words", made abroad, a monument translated into English, Bulgarian, Hungarian, Spanish, German, Polish, Romanian, Serbohorvatsky, Turkish, Finnish, French, Japanese and other languages.

Tale of the Tatar-Mongolian invasion in the ancient Russian literature. Their patriotic pathos and poetic forms of its expression.