Propp's Tales. Vladimir Propp
Meaning AND YOU, BRUT! in the Phraseology Handbook
AND YOU BRUTE!
exclamation in case of unexpected betrayal, disagreement with something or inconstancy of a friend. Expression - tracing paper from the Latin Et tu, Brute! With these words, the dying Caesar addresses Brutus, who was among the conspirators who attacked him in the Senate, in W. Shakespeare's tragedy "Julius Caesar" (1599). According to legend, Caesar, seeing Brutus attacking him, exclaimed in Greek: “And you, my child?” According to the biography of Caesar written by Suetonius, the emperor, dying, only sighed and said nothing. Phrase And you, Brutus! became winged thanks to Shakespeare's tragedy.
Handbook of Phraseology. 2012
See more interpretations, synonyms, meanings of the word and what is AND YOU, BRUTO! in Russian in dictionaries, encyclopedias and reference books:
- BRUT in the Directory Settlements and postal codes of Russia:
363013, Republic of North Ossetia-Alania, … - BRUT
Brutus Mark Junius (85-42 BC) - in Ancient Rome led (together with Cassius) a conspiracy in 44 to ... - BRUT in the Directory of Characters and Cult Objects of Greek Mythology:
- BRUT in the Dictionary of Generals:
(Brutus) Mark Junius (85-42 BC), associate of Cicero (their extensive correspondence has been preserved). Supporter of Pompey against Julius Caesar. After … - BRUT
The mythical ancestor of the Britons, the great grandson of Aeneas, expelled from Italy for the accidental murder of his father Silvius. After various adventures in Greece… - BRUT in the Encyclopedia of Celtic Mythology:
In the mythology of the Romano-British Celts, Brutus, according to legend, was considered the ancestor of the British people. As the great-grandson of the legendary Trojan hero Aeneas, he was thought to be... - BRUT in the Literary Encyclopedia:
(eng. Brutus) - the hero of the tragedy by W. Shakespeare "Julius Caesar" (1599). historical prototype- Roman republican senator Mark Junius Brutus (85-42 BC). … - BRUT in the Big Encyclopedic Dictionary:
(Brutus) Decimus Junius Albinus (c. 84-43 BC) in Dr. Rome one of Caesar's generals; participated in 44 in ... - BRUT V encyclopedic dictionary Brockhaus and Euphron:
Brutus (Mark-Junius Brutus) - the most famous among the killers of Caesar, came from a plebeian family, was probably born in 79 BC and was ... - BRUT in the Modern Encyclopedic Dictionary:
- BRUT in the Encyclopedic Dictionary:
(Brutus) Decimus Junius Albinus (about 84 - 43 BC), in ancient Rome, one of Caesar's generals. Participated in … - YOU in the Encyclopedic Dictionary:
, you, you, you, you (s), about you; places. personal 2l.unit.h.1. Serves to designate a person, interlocutor, advantage. close. Simple, heartfelt... - BRUT
Mark Junius (85-42 BC), in Dr. Rome led (together with Cassius) a conspiracy in 44 against Caesar. According to legend, one... - BRUT in the Big Russian Encyclopedic Dictionary:
Lucius Junius, according to Rom. According to legend, a patrician who led an uprising against Tarquinius the Proud and established in 510-509 BC. rep. build in... - BRUT in the Big Russian Encyclopedic Dictionary:
(Brutus) Decimus Junius Albinus (c. 84-43 BC), in Dr. Rome one of Caesar's generals; participated in 44 in a conspiracy ... - YOU in the Full accentuated paradigm according to Zaliznyak:
you", you", you", tobo"th, tobo"yu, ... - YOU in the Dictionary of synonyms of Abramov:
|| be on... - YOU in the New explanatory and derivational dictionary of the Russian language Efremova:
- BRUT in the Dictionary of the Russian Language Lopatin:
Brut... - YOU full spelling dictionary Russian language:
you, you, you, you, oh... - YOU in the Spelling Dictionary:
you 2 - in the composition of interjections and particles is written separately, for example. : `oh you, `oh you, `wow, `you are; … - YOU in the Spelling Dictionary:
you 1, you, you, you, you, oh ... - BRUT in the Spelling Dictionary:
bruh... - YOU in the Dictionary of the Russian Language Ozhegov:
colloq. Serves to enhance, highlight + Tried to convince him - but where are you going! - and does not want to listen. It is for you … - YOU in Dahl's Dictionary:
personal sec. faces, units Distorted politeness replaces the word is plural. number, but among us hitherto a simple person says to everyone you, ... - BRUT in Modern explanatory dictionary, TSB:
(Brutus) Decimus Junius Albinus (c. 84-43 BC), in Dr. Rome one of Caesar's generals; participated in 44 in ... - YOU
you, you, you, you, about you (Dat. te and wine. te and te - vernacular, predominantly in colloquial expressions), pronoun. … - YOU in the Explanatory Dictionary of the Russian Language Ushakov:
gorusha bitter! 4. wordless, in meaning. the predicate is bitter, to someone. About a feeling of bitterness or a feeling of bitterness experienced by someone. I'm sad... - YOU in the Explanatory Dictionary of Efremova:
pronoun 1) a) Use. when designating a person, interlocutor (usually close). b) unfold Use when designating a person in general or everyone in ... - YOU in the New Dictionary of the Russian Language Efremova:
places. 1. Used when referring to a person, interlocutor (usually close). ott. unfold It is used when referring to a person in general or everyone in any ... - YOU in the Big Modern Explanatory Dictionary of the Russian Language:
places. 1. Used when referring to a person, interlocutor (usually close). ott. unfold It is used when referring to a person in general or ... - Brutus Junius V Concise Dictionary mythology and antiquities:
(Brutus Iunius). 1) The son of Mark Junius and Tarquinia, sister of Tarquinius the Proud. He was called Brutus, that is, insane, because ... - Brutus Mark Junius in the Directory of Characters and Cult Objects of Greek Mythology:
(85-42 BC) Descendant of Brutus Lucius, champion of the republic, who killed Julius Caesar along with Gaius Cassius (44 BC). … - Brutus Lucius Junius in the Directory of Characters and Cult Objects of Greek Mythology:
According to Roman tradition, detailed by Livy, the legendary founder of the Roman Republic. He led the Romans to Etruria to overthrow the Roman king Tarquinius the Proud, ... - BRUT MARK in the Dictionary-Reference Who's Who in the Ancient World:
Junius (85-42 BC) Descendant of Brutus Lucius, champion of the republic, who killed along with Gaius Cassius (44 BC) Julia ... - BRUTUS LUCIUS in the Dictionary-Reference Who's Who in the Ancient World:
Junius According to Roman tradition, detailed by Livy, the legendary founder of the Roman Republic. He led the Romans to Etruria to overthrow the Roman king Tarquinius... - THE USSR. LITERATURE AND ART in big Soviet encyclopedia, TSB:
and art Literature Multinational Soviet literature represents a quality new stage development of literature. As a certain artistic whole, united by a single socio-ideological ... - Brutus, Mark Junius in Collier's Dictionary:
(Marcus Iunius Brutus) (85?-42 BC), Roman senator. Brutus came from a family that consciously cultivated tyrannical traditions. On his paternal side… - Brutus, Lucius Junius in Collier's Dictionary:
(Lucius Iunius Brutus), according to Roman tradition, the founder of the republican system in Rome (509 BC). Brutus destroyed royal power expelling his... - BLOOD TIES (TV SERIES) in the Quote Wiki:
Data: 2009-06-11 Time: 03:12:05 = Blood Price (Part 1) = * Henry: The center of my world is passion. Without her, there is no... - TORCHWOOD in the Quote Wiki.
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Propp, V.Morphology fairy tale/
V. Propp. – M.: Labyrinth, 2006. – 128 p.
“Morphology must still be legitimized as a special science, making as its main subject that which in others is treated on occasion and in passing, collecting what is scattered there, and establishing new point vision, which allows you to easily and conveniently view the things of nature. The phenomena with which it deals are highly significant; those mental operations by which it compares phenomena are consistent with human nature and are pleasing to her, so that even an unsuccessful experience will nevertheless combine benefit and beauty in itself. (Goethe)
The word morphology means the study of forms. In botany, morphology is understood as the doctrine of the constituent parts of a plant, their relationship to each other and to the whole, in other words, the doctrine of the structure of a plant. In the field of folk folk tale the consideration of forms and the establishment of regularities in the structure is possible with the same accuracy with which the morphology of organic formations is possible.
Fairy tale classifications
The most common division of fairy tales is the division into fairy tales with wonderful content, household tales, tales about animals. [Suggested by V.F. Miller. This classification essentially coincides with the classification of the mythological school (mythical, about animals, domestic).] At first glance, everything seems correct. But the question involuntarily arises: do not fairy tales about animals contain an element of the miraculous, sometimes to a very large extent? And vice versa: don't they play wonderful tales Very big role just animals? Can such a sign be considered accurate enough?
In his famous work"Psychology of peoples" Wundt proposes the following division:
1) Mythological fairy tales-fables.
2) Pure fairy tales.
3) Biological tales and fables.
4) Pure fables about animals.
5) Fairy tales "about the origin".
6) Playful fairy tales and fables.
7) Moral fables.
This classification is much richer than the previous ones, but even it raises objections. Fable (a term that occurs five times with seven digits) is a formal category. What Wundt meant by this is unclear. The term "joking" fairy tale is generally unacceptable, since the same fairy tale can be interpreted both heroically and comically. The next question is: what is the difference between a "pure animal fable" and a "moral fable"? Why are "pure fables" not "moral" and vice versa?
The analyzed classifications concern the distribution of fairy tales by categories. Along with the distribution of fairy tales by categories, there is a division according to plots.
In 1924 there was a book about the tale of the Odessa professor R. M. Volkova(Volkov). Volkov from the very first pages of his work determines that a fantastic fairy tale knows 15 plots. These stories are as follows:
1) About the innocent persecuted.
2) About the hero-fool.
3) About three brothers.
4) About snake fighters.
5) About getting brides.
6) About the wise maiden.
7) About the cursed and enchanted.
8) About the owner of the talisman.
9) About the owner of wonderful objects.
10) About an unfaithful wife, etc.
How these 15 plots were established is not specified. If you look at the principle of division, you get the following: the first category is determined by the plot, the second - by the character of the hero, the third - by the number of heroes, the fourth - by one of the moments of the course of action, etc. Thus, the principle of division does not exist at all. It's really chaos. Thus, this classification is not a scientific classification in the exact sense of the word, it is nothing more than a conditional index, the value of which is very doubtful.
Having touched upon the question of the classification of plots, we cannot pass over in silence the index of fairy tales Antti Aarne. Aarne is one of the founders of the so-called Finnish school. The works of this school represent at the present time the pinnacle of fabulous study. Representatives of this school extract and compare variants of individual plots according to their worldwide distribution. The material is grouped geo-ethnographically according to a well-known, developed system, and then conclusions are drawn about the basic structure, distribution and origin of the plots. However, this approach also raises a number of objections. The plots (especially the plots of fairy tales) are closely related to each other. It is possible to determine where one plot with its variants ends and where another begins only after an inter-plot study of fairy tales and an accurate fixation of the principle of selecting plots and variants. But this is not. The movability of elements is also not taken into account here. The works of this school proceed from the unconscious premise that each plot is something organically whole, that it can be snatched from a number of other plots and studied independently.
The methods of this school first of all demanded a list of plots. The compilation of such a list was undertaken by Aarne. This list has entered into international use and has rendered the study of the fairy tale the greatest service: thanks to Aarne's index, the ciphering of the fairy tale is possible. The plots are called Aarne types, and each type is numbered. Brief symbol fairy tales (in this case- reference to index number) is very convenient.
But along with these advantages, the index also has a number of significant drawbacks: as a classification, it is not free from the mistakes that Volkov makes. The main categories are as follows:
I. Tales about animals.
II. Actually fairy tales.
III. Jokes.
Fairy tales, according to Aarne, cover the following categories:
1) a wonderful opponent,
2) a wonderful husband (wife),
3) a wonderful task,
4) a wonderful helper,
5) a wonderful item,
6) miraculous power or skill,
7) other wonderful motives.
In relation to this classification, objections to Volkov's classification can be repeated almost verbatim. What about, for example, those tales in which a wonderful task is solved by a wonderful helper, which happens very often, or with those tales in which a wonderful wife is a wonderful helper?
With the classification of the tale, the situation is not entirely safe. But classification is one of the first and most important stages of study.
Plots of fairy tales
He spoke very little about the description of the tale. A. N. Veselovsky. But what he said is great value. Veselovsky understands a plot as a complex of motives. The motive can be timed to coincide with various subjects. "The plots vary: some motifs invade the plots, or the plots are combined with each other." "By plot, I mean a theme in which different positions-motives scurry about." For Veselovsky, the motive is something primary, the plot is secondary. The plot for Veselovsky is already an act of creativity, connection. From this follows for us the need to study not so much according to plots, but primarily according to motives. The plot is not a unit, but a complex, it is not constant, but changeable, it is impossible to proceed from it in the study of a fairy tale. But Veselovsky's doctrine of motives and plots is only a general principle. Veselovsky's specific interpretation of the term motive can no longer be applied at the present time. According to Veselovsky, motive is an indecomposable unit of narration. "By motive I mean the simplest narrative unit." "A sign of a motive is its figurative, one-term schematism; such are the elements of lower mythology and fairy tales that cannot be further decomposed." However, those motives that he gives as examples are decomposed. If a motive is something logically whole, then every phrase of a fairy tale gives a motive, ("the father has three sons" - a motive; "the stepdaughter leaves the house" - a motive; "Ivan fights a snake" - a motive, etc.). Thus, contrary to Veselovsky, we must assert that the motif is not monomial, not indecomposable. The last decomposable unit as such is not a logical whole. Agreeing with Veselovsky that the part for description is more primary than the whole (and, according to Veselovsky, the motive is also primary in origin than the plot), we will subsequently have to solve the problem of identifying some primary elements differently than Veselovsky does.
The existence of fairy tales as a special category is admitted as a necessary working hypothesis. Fairy tales are still meant by fairy tales, highlighted by Aarne-Thompson.
We undertake inter-plot comparison of these tales. For comparison, we single out the constituent parts of fairy tales according to special tricks and then compare the tales according to their constituent parts. The result will be morphology, i.e. description of a fairy tale in terms of its constituent parts and the relationship of parts to each other and to the whole.
What methods Can an accurate description of the tale be achieved? Compare the following cases:
1. The king gives the eagle to the daring one. The eagle takes the daring man to another kingdom (Aph. 171).
2. Grandfather gives the bitch a horse. The horse takes Suchenko to another kingdom (132).
3. The sorcerer gives Ivan a boat. The boat takes Ivan to another kingdom (138).
4. The princess gives Ivan a ring. Well done from the ring take Ivan to another kingdom (156); etc.
In these cases, there are constants and variables. The names change (and with them the attributes) actors, their actions, or functions, do not change. Hence the conclusion that a fairy tale often ascribes the same actions to different characters. This gives us the opportunity study a fairy tale by the functions of characters.
Under function the act of the actor is understood, defined in terms of its significance for the course of the action.
The above observations can be briefly formulated as follows:
I. The constant, stable elements of the tale are the functions of the characters, regardless of who and how they are performed. They form the main components of the tale.
II. The number of functions known to a fairy tale is limited.
III. The sequence of functions is always the same.
IV. All fairy tales are of the same type in their structure.
Since we study fairy tales according to the functions of characters, the attraction of material can be suspended at the moment when it is discovered that new fairy tales do not provide any new functions. We take the Afanasiev collection, start studying fairy tales from number 50 (according to Afanasiev's plan, this is the first fairy tale in the collection) and bring it up to number 151.
Functions of actors
For each function is given: 1) summary its essence, 2) an abbreviated definition in one word, 3) symbol her. (The introduction of signs will allow later to compare the construction of fairy tales schematically).
The story usually begins with some initial situation. Family members are listed, or future hero(for example, a soldier) is simply introduced by giving his name or mentioning his position. Although this situation is not a function, it is nevertheless an important morphological element. We define this element as the initial situation. Conventional sign - i.
Following the initial situation, the functions follow:
I. One of the family members leaves home
(definition: absence, designation e)
II. The hero is treated with a ban
(definition - prohibition, designation b)
III. The ban is violated
(definition - violation, designation b)
A new face now enters the tale, which can be named hero antagonist(a pest). His role is to disturb the peace of a happy family, cause some kind of trouble, cause harm, damage.
IV. The antagonist tries to reconnoiter
(definition - elicitation, designation c)
V. The antagonist is given information about his victim
(definition - issue, notation w)
VI. The antagonist tries to trick his victim in order to take possession of him or his property
(definition - catch, designation d)
VII. The victim is deceived and thereby unwittingly helps the enemy
(definition - aiding, designation g)
VIII. The antagonist harms or damages one of the family members
(definition - sabotage, designation A)
This function is extremely important, since it actually creates the movement of a fairy tale. Absence, violation of the prohibition, extradition, the success of deceit prepare this function, create its possibility, or simply facilitate it. Therefore, the first seven functions can be considered as a preparatory part of the tale, while the plot opens with wrecking. The forms of sabotage are extremely diverse.
VIII-a. One of the family members lacks something, he wants to have something
(definition - shortage, designation a)
IX. Misfortune or shortage is reported, the hero is addressed with a request or order, sent or released
(definition - mediation, connecting moment, designation B)
This function introduces a hero into a fairy tale. Upon closer analysis, it can be decomposed into its component parts, but for our purposes this is not essential.
The heroes of a fairy tale can be twofold:
1) If a girl is kidnapped and disappears from the horizon of her father (and with this from the horizon of the listener), and Ivan goes in search of the girl, then Ivan is the hero of the fairy tale, and not the kidnapped girl. Such heroes can be called seekers.
2) If a girl or boy is kidnapped or expelled and fairy tale is coming with the kidnapped, exiled, not interested in what happened to the rest, then the hero of the tale is the kidnapped, exiled girl (boy). There are no seekers in these tales. Such heroes can be called injured heroes.
X. Seeker agrees or decides to resist
(definition - starting counteraction, designation C)
This moment is characterized, for example, by such words: "Let us find your princesses," etc. Sometimes this moment is not mentioned in words, but a strong-willed decision, of course, precedes the search. This moment is typical only for those fairy tales where the hero is a seeker. Exiled, killed, bewitched, changed heroes do not have a strong-willed desire for liberation, and this element is absent here.
XI. The hero leaves home
(definition - sending, designation?)
ABC elements? represent the beginning of a fairy tale. Next, the course of action develops.
A new person enters the tale, which can be called a donor or, more precisely, a supplier. Usually it is found by chance in the forest, on the road, etc. (see Chapter VII - forms of appearance of characters). From him, the hero - both the seeker and the victim - receives some remedy (usually magical), which allows him to subsequently eliminate the trouble. But before getting magic remedy, the hero is exposed to some very various activities, which, however, all lead to the fact that a magical agent falls into the hands of the hero.
XII. The hero is tested, interrogated, attacked, etc., which prepares for him to receive a magical agent or assistant.
(definition - the first function of the giver, designation D)
XIII. The hero reacts to the actions of the future donor
(definition - the reaction of the hero, designation D)
In most cases, the reaction can be positive or negative.
XIV. The hero gets a magic tool
(definition - supply, obtaining a magical agent, Z designation)
The following can serve as magical means: 1) animals (horse, eagle, etc.); 2) objects from which magical helpers are (a flint and a horse, a ring with fellows); 3) objects that have a magical property, such as clubs, swords, harp, balls, and many others; 4) qualities bestowed directly, such as strength, the ability to turn into animals, etc. All these transfer objects are called us (so far conditionally) by magical means.
If we proceed from the forms of transmission of a magical agent when determining types, then we can fix two types of relationships:
1) Theft of a magical agent associated with an attempt to destroy the hero (fry, etc.), with a request for a division, with an offer for an exchange.
2) All other forms of transmission and receipt associated with all other preparatory forms.
XV. The hero is transferred, delivered or led to the location of the subject of the search
(definition - spatial movement between two kingdoms, guidebook; designation R)
XVI. The hero and the antagonist enter into direct combat
(definition - wrestling, designation B)
This form should be distinguished from a fight (fight) with a hostile donor. These forms can be distinguished by their consequences. If, as a result of a hostile encounter, the hero receives a means for further searches, then we have element D. If, as a result of victory, the very object of the search for which he was sent for falls into the hands of the hero, then we have element B.
XVII. The hero is being tagged
(definition - branding, mark, designation K)
XVIII. The antagonist is defeated
(definition - victory, designation P)
XIX. The initial trouble or shortage is eliminated
(definition - elimination of trouble or shortage, designation L)
XX. The hero returns
(definition - return, designation?)
The return is usually made in the same forms as the arrival. However, there is no need to fix a special function here after the return, since the return already means overcoming space. When going there, this is not always the case. There, following the departure, a means is given (a horse, an eagle, etc.), and then a flight or other forms of travel already take place, but here the return occurs immediately and, moreover, for the most part in the same forms as the arrival. Sometimes the return has the character of flight.
XXI. The hero is persecuted
(definition - pursuit, pursuit, designation Pr)
XXII. The hero flees from persecution
(definition - salvation, designation Sp)
Many fairy tales consist of two rows of functions, which can be called moves. A new trouble creates a new move, and thus sometimes combines into one story. whole line fairy tales.
XXIII. The hero arrives unrecognized at home or in another country
(definition - unrecognized arrival, designation X)
Two cases can be seen here. 1) Arrival home. The hero stops at some artisan: a goldsmith, a tailor, a shoemaker, becomes his apprentice. 2) He comes to another king, enters the kitchen as a cook or serves as a groom. Along with this, sometimes it is necessary to designate a simple arrival.
XXIV. False hero makes unfounded claims
(definition - unfounded claims, designation F)
If the hero arrives home, then the brothers make claims. If he serves in another kingdom, they are presented by a general or a water carrier, etc. The brothers pretend to be miners, the general - to defeat the snake. These two forms could be considered special categories.
XXV. The hero is given a difficult task.
(definition - difficult task, notation 3)
XXVI. Problem solved
(definition - decision, designation P)
The forms of the solution, of course, exactly correspond to the forms of the problems. Some problems are solved before they are given, or before the tasker requires a solution. Such cases of preliminary decision will be denoted by *P.
XXVII. The hero will be recognized
(definition - recognition, designation U)
XXVIII. The false hero or antagonist is exposed
(definition - denunciation, designation O).
XXIX. The hero is given a new look
(definition - transfiguration, designation T)
XXX. The enemy is punished
(definition - punishment, designation H)
XXXI. The hero marries and reigns
(definition - wedding, notation C**).
This is where the tale ends. It should also be noted that some of the fairytale heroes in some cases, they do not obey and are not determined by any of the above functions. There are very few such cases. These are either forms that cannot be understood without comparative material, or forms transferred from fairy tales of other categories (jokes, legends, etc.). We define them as obscure elements and denote them by N.
We see that, indeed, the number of functions is very limited. Only thirty-one functions can be noted. Within the framework of these functions, the action of absolutely all the tales of our material develops, as well as the action of very many other tales of the most various peoples. Further, if we read all the functions in a row, we will see how, with logical and artistic necessity, one function follows from another. We see that, indeed, no function excludes another. All of them belong to one rod, and not to several rods, as noted above.
We see that it is very a large number of functions are located in pairs (prohibition-violation, inquisition-extradition, struggle-victory, persecution-rescue, etc.). Other functions can be arranged in groups. So - wrecking, sending, the decision to oppose and sending from home (A B C?) make up the plot. The test of the hero by the giver, his reaction and reward (D G Z) also constitute a certain whole. Along with this, there are single functions (absences, punishment, marriage, etc.).
Some other elements of the tale
A. Auxiliary elements for linking functions to each other
It can be observed that the functions do not always follow directly one after the other. If successive functions are performed by different characters, then the second character must know what happened before. In this regard, a whole system of information was developed in the fairy tale, sometimes in artistically very striking forms; sometimes the tale misses this awareness, and then the characters act ex machina, or they are omniscient; on the other hand, it is also applied where it is essentially not necessary at all. By these notifications, during the course of action, one function is connected to another.
B. Auxiliary elements in triplings
Both individual details of an attributive nature (three serpent heads), as well as individual functions, pairs of functions (pursuit - rescue), groups of functions and whole moves can be arranged. Repetition can be either uniform (three tasks, serve three years), or repetition gives an increase (the third task is the most difficult, the third battle is the most terrible), or a negative result is given twice, positive once.
C. Motivations
Motivations are understood as the reasons and goals of the characters that cause them to do certain actions. Motivations sometimes give a fairy tale a completely special, bright color, but nevertheless motivations belong to the most inconstant and unstable elements of a fairy tale. In addition, they represent an element less clear and defined than functions or bundles.
Distribution of functions by actors
Many features are logically grouped around known circles. These circles generally correspond to the performers. These are action circles. The tale knows the following circles of action:
1) The circle of actions of the antagonist (pest). Covers: wrecking (A), combat or other forms of struggle with the hero (B), persecution (Pr).
2) The range of actions of the donor (provider). Covers: preparing the transfer of a magical agent (D), supplying the hero with a magic agent (Z).
3) The circle of actions of the assistant. Covers: the spatial movement of the hero (R), the elimination of misfortune or shortage (L), salvation from persecution (Sp), resolution of difficult problems (R), transfiguration of the hero (T).
4) The circle of actions of the princess (the desired character) and her father. Covers: assignment of difficult tasks (3), branding (K), denunciation (O), recognition (U), punishment of the second pest (N), wedding (C*).
5) The circle of actions of the sender. Covers only sending (connecting moment, B).
6) Circle of actions of the hero. Covers: sending in search (C?), reaction to the requirements of the donor (G), wedding (C *). The first function (C?) is characteristic of the seeker hero, the victim hero performs only the rest.
7) The circle of actions of the false hero also includes sending out in search (C?), reacting to the demands of the donor - always negative (Gneg) and, as a specific function - deceptive claims (F).
Thus, the tale knows seven characters. The functions of the preparatory part (f, b - b, c - w, d - g) are also distributed over the same characters, but the distribution here is uneven, and it is impossible to determine the characters by these functions. In addition, there are special characters for bundles (complainers, informers, slanderers), as well as special traitors for the w function (issuing information: a mirror, a chisel, a broom indicate where the desired victim is). This also includes such characters as One-eye, Two-eye and Three-eye.
Ways to include new faces in the course of action
Antagonist(vermin) appears twice during the action. For the first time, he appears suddenly, from the side (flies, creeps, etc.), and then disappears. The second time he enters the tale as a character found, usually as a result of a guide.
Donormet by chance, most often in the forest (hut), or in the field, on the road, on the street.
Magic Helper included as a gift. This point is marked with Z.
Sender, hero, false hero , as well as princess included in the initial situation. When listing the characters in the initial situation, sometimes nothing is said about the false hero in words, and only later it turns out that he lives at the court or in the house. The princess appears in the tale, like a pest, twice. The second time, she is introduced as a found character, and the seeker can either see her first, and then the pest (the snake is not at home, a dialogue with the princess), or vice versa.
On the attributes of actors and their meaning
“The doctrine of forms is the doctrine of transformations.” Goethe.
Under attributes we understand the totality of all the external qualities of characters: their age, gender, position, appearance, features of this appearance, etc. These attributes give the fairy tale its brightness, its beauty and charm. The study of the attributes of a character creates only the following three main headings: appearance and nomenclature, features of appearance, dwelling. To this is added a number of other, smaller, auxiliary elements.
The fairy tale preserves in its depths the traces of ancient paganism, ancient customs and rituals. A fairy tale gradually metamorphoses, and these transformations, metamorphoses of fairy tales are also subject to certain laws. All these processes create such diversity, which is extremely difficult to understand.
And, nevertheless, the study is still possible ... The permanence of functions is preserved, and this will make it possible to bring into the system those elements that are grouped around functions.
How to create this system?
The best way is to create tables . Veselovsky spoke about the tabulation of fairy tales, although he did not really believe in its possibility.
Fairy tale as a whole
A. Ways of Combining Stories
Morphologically a fairy tale any development from sabotage (A) or lack (a) through intermediate functions to marriage (C*) or other functions used as a denouement can be named. The final functions are sometimes rewarding (Z), extraction or even elimination of trouble (L), rescue from the chase (Cp), etc. We call this development move. Each new infliction of harm or damage, each new shortage creates a new move. One fairy tale can have several moves, and when analyzing a text, one should first of all determine how many moves it consists of. One move can immediately follow another, but they can also be intertwined, the development that has begun is suspended, a new move is inserted. It is not always easy to single out a move, but it is always possible with perfect accuracy. However, if we conditionally defined a fairy tale as a move, this does not mean that the number of moves exactly corresponds to the number of fairy tales. Special techniques of parallelism, repetition, etc. lead to the fact that one tale can consist of several moves.
The connection of moves can be the following:
1) One move immediately follows another. Approximate scheme such connections.
2) A new move begins before the first one ends. The action is interrupted by an episodic move. After the end of the episode comes the end of the first move.
3) The episode, in turn, can also be interrupted, and then quite complex schemes can turn out.
4) A fairy tale can begin with two harms at once, of which one can be completely eliminated first, and then the second. If a hero is killed and a magical agent is stolen from him, then the killing is first eliminated, and then the kidnapping is also eliminated.
The question is: under what conditions do several moves form one tale, and when we have two tales and more? Here, first of all, it must be said that the way the moves are connected has no effect. There are no clear signs. But several clearer cases can be pointed out.
We have one tale in the following cases:
1) If the whole fairy tale consists of one move.
2) If the tale consists of two moves, of which one ends positively and the other negatively. Sample: move I - the stepmother banishes the stepdaughter. Her father takes her away. She returns with gifts. Move II - the stepmother sends her daughters, the father takes them away, they return punished.
3) When tripling whole moves. The snake kidnaps the girl. Moves I and II - the older brothers take turns looking for her, get stuck. Move III - the youngest sets off, rescues the girl and brothers.
4) If a magic tool is obtained in the first turn, which is used only in the second. Sample: move I - the brothers leave the house to get horses for themselves. They get them, they come back. Move II - the snake threatens the princess. The brothers are leaving. With the help of horses, they reach the goal. - Here, apparently, the following happened: the production of a magical agent, usually placed in the middle of a fairy tale, in this case is pushed forward, behind main draw(the threat of a snake). The acquisition of a magical remedy is preceded by the realization of a shortage, which is not motivated by anything (the brothers suddenly want to have horses), but causes a search, i.e. move.
5) We also have one fairy tale, if, before the final liquidation of the trouble, some kind of shortage or shortage is suddenly felt, which causes new searches, i.e. new move, but a new fairy tale. In these cases, a new horse is needed, an egg is the death of Koshchei, etc., which gives rise to a new development, and the development that has begun is temporarily suspended.
6) We also have one fairy tale in the case when two sabotage is given at once in the plot (exile and bewitchment of the stepdaughter, etc.).
7) We also have one tale in the texts, where the first move includes a fight with a serpent, and the second one begins with the brothers stealing the prey, throwing the hero into the abyss, etc., and then the claims of the false hero (F) and difficult tasks. This is the development that became clear to us when enumerating all the functions of the tale. This is the most complete and perfect form of fairy tales.
8) Fairy tales where the characters part at a road post can also be considered whole fairy tales. It should be noted, however, that the fate of each brother can give a completely separate tale, and it is possible that this case will have to be excluded from the category of integral tales.
In all other cases we have two tales and more.
A fairy tale is a story built on the correct alternation of the given functions in various types, in the absence of some of them for each story and in the repetition of others. - With such a definition, the term magical loses its meaning, because one can easily imagine a magical, enchanting, fantastic fairy tale constructed in a completely different way (cf. Goethe's fairy tale about the snake and the lily, some of Andersen's fairy tales, Garshin's fairy tales, etc.). On the other hand, some of the few non-magic tales can be built according to the above scheme. A known number of legends, isolated animal tales, and isolated short stories reveal the same structure. Thus the term magical must be replaced by another term. It is very difficult to find such a term, and we temporarily leave the old name behind these tales. It can be changed in connection with the study of other classes, which will make it possible to create appropriate terminology. Fairy tales could be called fairy tales subject to the seven-character scheme. This term is very precise, but very inconvenient. If we define this class of tales from the historical point of view, then they deserve the ancient, now discarded name of mythical tales.
Correct classification can be done in three ways:
1) by varieties of one trait (deciduous and coniferous trees);
2) by the absence and presence of the same trait (vertebrates and invertebrates);
3) according to mutually exclusive features (artiodactyls and rodents among mammals).
Within one classification, techniques can vary only by genera, species and varieties or other degrees of gradation, but each degree of gradation requires consistency, uniformity of reception.
The general thesis of the work: the complete uniformity of the structure of fairy tales .
If all fairy tales are so uniform in their form, does this mean that they all come from the same source? The morphologist has no right to answer this question. Here he conveys his conclusions to the historian, or must become a historian himself. single source can be psychological, and historical-social or domestic.
The storyteller is bound, not free, does not create in the following areas:
1) In the general sequence of functions, a number of which develop according to the above scheme.
2) The storyteller is not free to replace those elements whose varieties are associated with absolute or relative dependence.
3) The storyteller is otherwise not free to choose certain characters in terms of their attributes if a certain function is required.
4) There is a known relationship between the initial situation and the following functions. So, if it is required or wanted to use the A2 function (abduction of an assistant), then this assistant should be included in the situation.
The storyteller is free and applies creativity in the following areas:
1) In the choice of those functions that he skips or, conversely, that he uses.
2) In choosing the method (type) in which the function is carried out. It is in these ways that new variants, new plots, new fairy tales are being created.
3) The storyteller is completely free to choose the nomenclature and attributes of the characters. Theoretically, freedom is complete. A tree can show the way, a crane can give a horse, a chisel can peek, and so on. This freedom is a specific feature only of a fairy tale. It must be said, however, that even here the people do not make much use of this freedom. Just as functions are repeated, so are characters. Here, as already indicated, a well-known canon has developed.
4) The storyteller is free to choose language tools. This richest area is not subject to study by a morphologist who studies the structure of a fairy tale. The style of a fairy tale is a phenomenon that should be studied specifically.
The question of composition and plot, plots and variants
The entire content of the story can be expressed in short phrases, such as the following: parents leave for the forest, forbid children to go outside, a snake kidnaps a girl, etc. All predicates give the composition of fairy tales, all subjects, additions and other parts of the phrase determine the plot. In other words: the same composition can underlie different plots. Whether the serpent abducts the princess or the devil the peasant's or the priest's daughter is irrelevant from the point of view of the composition. But these cases can be considered as different plots. We allow another definition of the concept of plot, but this definition suitable for fairy tales.
“Is it permissible in this area to raise the question of typical schemes ... schemes that were passed down through generations as ready-made formulas that can be enlivened by a new mood, cause new formations? .. Modern narrative literature, with its complex plot and photographic reproduction of reality, apparently eliminates the very possibility of such a question; but when for future generations it will be in the same distant perspective as antiquity is for us, from prehistoric to medieval times, when the synthesis of time, this great simplifier, having passed through the complexity of phenomena, will reduce them to the size of points that go deep into, their lines will merge with those that are revealed to us now, when we look back at distant poetic creativity, and the phenomena of schematism and repetition will be established throughout" (Veselovsky).
I was quite convinced that a common type based on transformations runs through all organic beings, and that it can be well observed in all parts on a certain average section.
First of all, let's try to formulate our problem. As already mentioned in the preface, the work is devoted to fairy tales. The existence of fairy tales as a special category is admitted as a necessary working hypothesis. Fairy tales are still meant by fairy tales, singled out by Aarne-Thompson under Nos. 300–749. This is a preliminary, artificial definition, but later there will be an opportunity to give a more precise definition based on the findings. We undertake an inter-plot comparison of these tales. For comparison, we single out the constituent parts of fairy tales according to special devices (see below) and then compare fairy tales according to their constituent parts. The result is a morphology, that is, a description of the tale in terms of its constituent parts and the relationship of the parts to each other and to the whole.
By what methods can an accurate description of a fairy tale be achieved? Compare the following cases:
1. The king gives the brave eagle. The eagle takes the daring man to another kingdom (Aph. 171).
2. Grandfather gives Suchenka a horse. The horse takes Suchenko to another kingdom (132).
3. The sorcerer gives Ivan a boat. The boat takes Ivan to another kingdom (138).
4. The princess gives Ivan a ring. Well done from the ring take Ivan to another kingdom (156); etc.
In these cases, there are constants and variables. The names (and with them the attributes) of the actors change, their actions do not change, or functions. Hence the conclusion that a fairy tale often ascribes the same actions to different characters. This gives us the opportunity to study the tale by the functions of the characters.
We will have to determine to what extent these functions really represent the repeated, constant dimensions of the tale. The posing of all other questions will depend on the solution of the first question: how many functions are known to the fairy tale?
Research will show that the repeatability of functions is astounding. So, Baba Yaga, and Morozko, and the bear, and the goblin, and the mare's head test and reward the stepdaughter. Continuing observations, we can establish that the characters of the tale, no matter how diverse they may be, often do the same thing. The very way of implementing functions can change: it is a variable value. Morozko acts differently than Baba Yaga. But a function as such is a constant value. For the study of a fairy tale, the question of what the fairy-tale characters do is important, and the question of who does it and how it does it is a question of only adventitious study.
The functions of actors are those components that can be replaced motives Veselovsky or elements Bedier. Let us note that the repetition of functions with different performers has long been noted by historians of religion in myths and beliefs, but not noticed by historians of fairy tales. Just as the properties and functions of the gods pass from one to another and, finally, are even transferred to Christian saints, in the same way the functions of some fairy tale characters move on to other characters. Looking ahead, we can say that there are extremely few functions, and there are extremely many characters. This explains the double quality of the fairy tale: on the one hand, its amazing diversity, its variegation and colorfulness, on the other, its no less amazing uniformity, its repetition.
So, the functions of the characters are the main parts of the tale, and we must first of all single them out.
To highlight functions, they must be defined. The definition must come from two points of view. First, the definition should in no case be considered with the character-executor. The definition is most often a noun expressing an action (prohibition, questioning, flight, etc.). Secondly, the action cannot be defined outside of its position in the course of the narrative. The value to be taken into account is given function has in the course of action.
So, if Ivan marries a princess, then this is completely different than the marriage of a father to a widow with two daughters. Another example: if in one case the hero receives a hundred rubles from his father and subsequently buys himself a prophetic cat with this money, and in another case the hero is rewarded with money for perfect heroism and the fairy tale ends there, then we have, despite the similarity of actions (transferring money ), morphologically various elements. Thus, the same actions can have different meaning and vice versa. A function is understood as an act of an actor, defined in terms of its significance for the course of action.
The above observations can be briefly formulated as follows:
I. The constant, stable elements of the tale are the functions of the characters, regardless of who and how they are performed. They form the main components of the tale.
II. The number of functions known to a fairy tale is limited.
If the functions are singled out, then another question arises: in what grouping and in what sequence do these functions occur? First of all, about the sequence. It is believed that this sequence is random. Veselovsky says: "The choice and schedule of tasks and meetings (examples of motives - V.P.) ... presupposes already known freedom" (Veselovsky 1913, 3). Shklovsky expressed this idea even more sharply: "It is completely incomprehensible why the random (Shklovsky's discharge - V.P.) sequence of motives. With witness testimony, it is the sequence of events that is distorted most of all "(Shklovsky 1925, 23). This reference to witness testimony is unsuccessful. If witnesses distort the sequence, then their story is stupid, but the sequence of events has its own laws, and similar laws have fictional story. Theft cannot happen before the door is broken. As for the fairy tale, it has its own very special, specific laws. The sequence of elements, as we will see below, is strictly the same. Freedom in sequence is limited by very narrow limits, which can be given exactly. We obtain the third main thesis of our work, which is subject to further development and proof:
III. The sequence of functions is always the same.
It should be noted that this pattern applies only to folklore. It is not a feature of the fairy tale genre as such. Artificially created fairy tales are not subject to it.
As regards grouping, it should first of all be said that not all fairy tales provide all functions. But this does not change the law of succession at all. The absence of some functions does not change the order of the rest. We shall dwell on this phenomenon for a moment, but for the time being we shall deal with groupings in the proper sense of the word. The very posing of the question prompts the following assumption: if functions are singled out, then it will be possible to trace which tales give the same functions. Such fairy tales with the same functions can be considered of the same type. On this basis, an index of types can subsequently be created, built not on plot features, somewhat vague and vague, but on precise structural features. Indeed, it will be possible. But if we continue to compare structural types with each other, then we get the following, already completely unexpected phenomenon: functions cannot be distributed over rods that exclude each other. This phenomenon in all its concreteness will appear before us in the next and in last chapters. In the meantime, it can be explained as follows: if we denote the function that occurs everywhere in the first place by the letter A, and the function that (if it exists) always follows it by the letter B, then everything famous fairy tale functions will be placed in one story, none of them falls out of the series, none excludes the other and does not contradict it. Such a conclusion could not have been foreseen. It was, of course, to be expected that where there is a function A, there could not be known functions belonging to other stories. It was expected that we will receive several rods, but the rod turns out to be one for all fairy tales. They are of the same type, and the compounds discussed above are subtypes. At first glance, this conclusion seems absurd, even wild, but it can be verified by the most exactly. This uniformity is a very difficult problem, which will have to be dealt with later. This phenomenon raises a number of questions.
