Ways and means of depicting art. Methods for depicting the surrounding reality by means of graphics

depending from completeness image mode display distinguish between:

show full And partial.

from image mode: general(generalized image methods) and variable

by nature of action: show gesture and showing image reception.

Group And individual the demonstration can take place in the form of a joint action of a teacher and a group of children or a teacher and a child.

Distinguish teacher's show And showing a way of depicting (action) by a child.

In all cases, the display is accompanied by verbal explanations.

Method of application

Demonstration of techniques can be included in the structure as information-receptive, and reproductive method. into the structure heuristic method - if you organize a search activity and children can demonstrate the image options they have found, since all children are put in the search situation, and the display is, as it were, a public demonstration of one of the image options.

Demonstration of techniques at the first lesson - when the object of this form is depicted for the first time - the demonstration is carried out by the teacher, after an appropriate examination. An indispensable condition is an explanation of the relationship between the image method and the movement of the hand along the contour during the examination.

In subsequent lessons, where objects of the same shape are depicted, children are involved in showing the method of depiction.

In the younger groups, the show takes greater place, and in the older ones - less.

Gesture explains the location of the object on the sheet. The movement of a hand or a pencil stick across a sheet of paper is enough for children even 3-4 years old to understand the tasks of the image. With a gesture, the main form of an object, if it is simple, or its individual parts can be restored in the child's memory.

It is effective to repeat the movement with which the educator accompanied his explanation during perception. Such repetition facilitates the reproduction of the connections formed in the mind. A gesture that reproduces the shape of an object helps memory and allows you to show the movement of the drawing hand in the image. How less baby, topics greater value in his training has a display of hand movement. The preschooler is not yet fully in control of his movements and therefore does not know what movement will be required to represent one form or another.

For example, when children observe the construction of a house, the teacher gestures to show the contours of the buildings under construction, emphasizing their aspiration upwards. He repeats the same movement at the beginning of the lesson, in which children draw a high-rise building. There is also such a technique when the educator in junior group makes a picture with the child, leading his hand. This technique should be used when the child's movements are not developed, he does not know how to control them. You have to be able to feel this movement.

With a gesture, you can outline the entire object if its shape is simple (ball, book, apple), or the details of the shape (the location of the branches of a spruce, the bend of the neck of birds). More small parts the teacher demonstrates in a drawing or modeling.

The nature of the show depends on the tasks that the teacher sets in this lesson.

Showing the image of the entire object is given if the task is to teach how to correctly depict the main form of the object. Usually this technique is used in the younger group. For example to teach children to draw round shapes, the teacher draws a ball or an apple, explaining his actions.

If, when depicting an object, it is necessary to accurately convey the sequence of drawing one or another detail, then a holistic display of the entire object can also be given. With such a display, it is desirable that the educator involve the children in the analysis of the subject with the question: “What should I draw now?”

In teaching children of older groups, a partial display is more often used - an image of that detail or a separate element that preschoolers are not yet able to depict. For example, children 4-5 years old draw a tree trunk in the form of a triangle with a wide base. This mistake is sometimes caused by the explanation of the educator: “The trunk of the tree is narrow at the top, and wide at the bottom, and the children literally follow this instruction. The educator needs, along with a verbal indication, to show an image of a tree trunk.

IN senior group in drawing on the theme “Beautiful House”, the teacher shows on the board how different windows and doors can be in shape. Such a variable display does not limit the child's ability to create the entire drawing.

With repeated exercises to consolidate skills and then independently use them, the demonstration is given only individually to children who have not mastered a particular skill.

Passion for constant display methods of completing the task will teach children in all cases to wait for instructions and help from the educator, which leads to passivity and inhibition of thought processes.

14. List the verbal methods and techniques used in the process of teaching preschoolers visual activity. Expand the conditions for the effective use of verbal methods and techniques in the classroom for visual activity. Justify the need for artistic word in the process of teaching preschoolers visual activity.

Solve the pedagogical problem:

Having finished gluing the truck for Mishutka, Yulia shows the work to the teacher: “Did I paste it well?” - "Let's watch! - Lydia Fedorovna responds. “There is a cab, the body is also firmly held, but as soon as the car starts, the wheels will immediately fall off!” The teacher shows the girl to loosely glued wheels. Julia takes the job and goes to glue the wheels. Having finished the job, she meets the approving look of the teacher and, pleased, shows the work to Mishutka, who "agrees" to ride on this car.

Interpret the given situation. Design your activities as a caregiver in a similar situation.

Verbal methods and techniques: conversation, teacher's story, pedagogical assessment and analysis of children's work

questions, encouragement, advice, instructions, art word.

Conversation - one of the leading verbal methods of teaching visual activity . A conversation in a visual activity class is a conversation organized by a teacher, during which the teacher, using questions, clarifications, clarifications, contributes to the formation in children of ideas about the depicted object or phenomenon and how to recreate it in drawing, modeling, appliqué. The specificity of the method of conversation provides for the maximum stimulation of the child's activity. That is why the conversation has found wide distribution as a method of developing teaching of visual activity.

The conversation is used in the first part of the lesson - when the task is to form a visual representation, and at the end of the lesson - when it is important to help children see their work, feel their expressiveness and dignity, and understand weaknesses.

The method of conversation depends on the content, type of lesson, specific didactic tasks.

IN plot drawing when children are taught to convey a story, in the process of conversation it is necessary to help children introduce the content of the image, the composition, the features of the transmission of motion, the color characteristic of the image, i.e. think over visual means to convey the plot. The teacher clarifies with the children some technique work, the sequence of creating an image.

Depending on the content of the image (according to a literary work, on topics from the surrounding reality, on free theme) the methodology of conversations has its own specifics. So, when drawing (sculpting) on ​​the theme of a literary work it is important to remember its main idea, idea; emotionally revive the image(read lines from a poem, fairy tale). To characterize the appearance of the characters, recall their relationships, clarify the composition, techniques and sequence of work.

Drawing (sculpting) on topics surrounding reality needs revitalization life situation, reproducing the content of events, the situation, clarifying expressive means: composition, details, ways of conveying movement, etc., clarifying the techniques and sequence of the image.

When drawing (sculpting) on a free topic necessary preliminary work with children. In conversation, the teacher revives the impressions. Then he invites some children to explain the idea: what they will draw (blind), how they will draw, so that it is clear to others where this or that part of the image will be located. The teacher clarifies some of the technical methods of work. Using the example of children's stories, the teacher once again teaches preschoolers how to conceive an image.

in the classroom, where the content of the image is a separate item, conversation often accompanies the process of his examination (examination). In this case, during the conversation, it is necessary to evoke an active meaningful perception of the object by children, help them understand the features of its shape, structure, determine the originality of color, proportional relationships, etc. The nature, content of the teacher's questions should aim the children at establishing dependencies between the external appearance of the object and its functional purpose or features of living conditions (nutrition, movement, protection). The fulfillment of these tasks is not an end in itself, but a means of forming generalized ideas necessary for the development of independence, activity, and initiative of children in creating an image. The degree of mental, speech activity of preschoolers in conversations of this kind is the higher, the richer the experience of children.

In design classes, applications, where the subject of examination and conversation is often sample, also provide for a greater degree of mental, speech, emotional and, if possible, motor activity of children.

At the end of the lesson in the process of viewing and analyzing children's work children need to be helped to feel the expressiveness of the images they have created. Teaching the ability to see, feel the expressiveness of drawings, modeling is one of the important tasks facing the teacher. At the same time, the nature of the questions and comments of the adult should provide a certain emotional response to the children.

In the older groups, during the conversation, the teacher leads the children to independently establish the dependence of the expressiveness of the image on the methods of action.

Age features affect the content of the conversation, the degree of activity of children. Depending on the specific didactic tasks nature of the questions is changing. In some cases, questions are aimed at describing external signs perceived object, others - for recall and reproduction, for inference. With the help of questions, the teacher clarifies the children's ideas about the subject, phenomenon, and ways of depicting it. Questions are used in general conversation and individual work with children during the course. Requirements for questions are of a general pedagogical nature: accessibility, clarity and clarity of wording, brevity, emotionality.

Explanation- a verbal way of influencing the minds of children, helping them to understand and learn what and how they should do during classes and what they should get as a result. The explanation is given in a simple, accessible form simultaneously to the whole group of children or to individual children. Explanation is often combined with observation, showing the ways and techniques of doing work.

Advice use in cases where the child finds it difficult to create an image, while not rushing with advice. Children with a slow pace of work and capable of question asked find a solution, often do not need advice. In these cases, the advice does not contribute to the growth of independence and activity of children.

Impressionistic Ways of Depicting Reality in Nikolay Khvylovy's Short Story "Puss in Boots"

Volnovy, after V. Stefanik and M. Kotsiubynsky, created his own style in Ukrainian writing, a kind of lyric-romantic, impressionistic short story. One of the novellas of the writer, "Puss in Boots", although it is based on a realistic foundation - difficult years civil war, contains a powerful lyrical-impressionistic jet. In this short story, realistic events are presented as if through the prism of an impressionistic perception of reality.

In order to analyze the short story "Puss in Boots" from this point of view, let us briefly recall the essence and aesthetic principles impressionism.

Impressionism - artistic movement in art second half of XIX- early XX century Although it arose in the circle of artists, but quickly the principles of the impressionistic image environment moved into literature. The writers tried gracefully, through artistic details convey subjective instantaneous and changing impressions of something and the slightest shades from observations of the surrounding reality. And it is in constant flux. Consequently, the task of the Impressionists was to "catch" and capture a unique moment of impression from an object, landscape or other. Works, like canvases before, were painted with strokes of detail, which is expressed in sound, visual, tactile micro-images or its elements. Dynamism, procedurality, mystery, rozimknenist in eternity - the features of the image-impression.

Such features, in my opinion, have the image of a "puss in boots" - Comrade Zhuchka. The short story "Puss in Boots" can be analyzed in three aspects: specific problems; compositional organization; visual means.

One of the most important problems in this short story is the problem of the discrepancy between dreams and reality. M. Volnovoi, as an impressionist, tries to depict the arrival of the desired happy future through the humanity and spontaneity of a comrade

Bug, depicts Bug's personal time by avoiding historical time, but the inexorable reality shows true position affairs.

And from here - two temporary plans: an imaginary future (or an alluring past) and an unsightly present is opposed to it.

Dream: "... the beginning is October, and the denouement is the sunny age, and we are going to it." Reality: the fall of moral principles in society for revolutionary years; lack of fuel and much more; unsolved national question(Russians and Ukrainians); the truth about Comrade Zhuchka.

If we try to determine the composition of the short story, we will come to the conclusion that it is missing. More precisely, there is no classical composition with a plot, development of action, denouement, but there are separate plot strokes. And this directly indicates the impressionistic nature of the composition of the work. The author of the short story himself warns: “And you won’t expect a tie-up from me... A denouement in guitar poets...” What strokes can be seen in the composition of the short story? I believe that there are five main ones: the image of Comrade Bug; Civil War, freight train; chance meeting lyrical hero with Comrade Zhuchk at the end of the war; "discussion"; the truth about Comrade Zhuchka. These strokes are not directly related to each other, but if you take a look at all together, it is more than a relief picture of this time. It is even possible to make a forecast of the development of society based on these facts.

What about impressionism? visual means, there are a lot of them. Here are just a few striking examples.

How does the author of the novel portray his main character? The non-impressionist would have begun to do so descriptively. M. Volnovoi does it differently: he doesn’t seem to say anything directly about a person, but we get a certain impression: “Gapka is deaf, we are not Gapka, but comrade Zhuchok. This is so, but that is deaf. Or: “But embroidering is bright, because embroidering: embroidering with gold or silver”, “Embroidered is a fragrant word, as it happens in September or grass in synovals - grass when the spirit goes with it at the flooded sedge.” The author uses unusual associative and instantaneous images to depict Comrade Zhuchka: "Puss in Boots" ... warm and close, like a hand with a blue vein, like a transparent evening in autumn chervonets.

Next example. M. Volnovoi only depicts the whole buremnity with naming sentences and sound-sounding words For long years war: "Cry! Cry! Cry! Whoo! Whoo! Bach! Bach!

Cry! Cry! Cry! East. West. North. South. Russia. Ukraine. Siberia. Poland. Turkestan, Georgia. Belarus.

A month, two, three, six, twelve... more, more, more... Whoo! Whoo! Bach! Bach!

The months raced by."

Where did the "puss in boots" - comrades Zhuchki - go? For "Comrade Bug No. 1 is not." Instead - No. 2, 3, 4, etc. Maybe she died during endless wars, maybe she turned, in the words of M. Khvylovy himself, "into the world's bastard", or maybe she became an ordinary bureaucrat. But the unique image of Comrade Zhuchka was remembered by the author forever.

To the artistic expressive means painting refercolor, stroke, line, spot, color and light contrast, coloring, shape, composition, texture.

Color. Each living and inanimate object has its own color. Just like color, lighting plays a huge role. The impact of color, location in space, the state of the air affects the color. The beauty that we admire and love is the colorful richness of reality, or otherwise colors.

The artist conveys with the help of color, color sensations, color combinations, harmony of cold and warm colors all the variety of moods, feelings. And treat them - joy, expectation, anxiety, sadness, tenderness.

Stroke in painting - a trace of a brush with paint left by the artist on canvas, paper, cardboard. The technique depends on the individual style of the artist, it is very diverse.

line and spot - a clear outline of the paint of a specific object on the canvas. A spot is a tonal, silhouette image of an object. For example, in order to better understand this expression, let's analyze a spot - a snowy spruce against the background of the distant sky. Or a hill in the dark night sky. The line is easier to imagine by looking at any picture. Clear lines outline the shadow of one or another object, reinforcing feelings of sadness or joy.

Color and light contrast in painting, an example is the sharply distinguishing light and dark relationships of spots, areas of the picture.

coloring - a system of color tones, their combinations and relationships in a work of art.

Texture - the surface of the paint layer of a painting: glossy or matte, continuous or discontinuous, smooth or uneven.

Composition - the location of all objects, elements and parts of the work in a certain system and sequence for better disclosure of the artistic image.

Here we will considershape and design (structure) of the object, we will see artistic and expressive means -tone, stroke, line.

The form of objects is determined by outlines, contour, silhouette. In a simplified form - a square, a triangle, a circle, a rectangle. Each item in a simplified form is similar to geometric figure. For example, the ball is round, the TV is a rectangle, the clown's carnival hat is a triangle.

Design (structure) of objects - the basis of the handicap, the framework of the structure of objects. The design of each object is one or another geometric body. Geometric bodies - cylinder, ball, cone, parallelepiped, cube, pyramid. Very often, when we look at an object, we see that it has several geometric bodies. In drawing, there is a drawing method, or it is more often called “draft”, when you draw its structure, construction, which are not visible to our eyes.

Silhouette in fine arts (graphic technique) is the view graphic image subject. This is a one-color, planar image of an object. Usually silhouettes are drawn with ink on a light background, or on a black background with whitewash, or a figure is cut out of dark or light paper and glued onto a sheet of a different tone.

Composition in fine graphics - the location of all objects, elements and parts of the work in a certain system and sequence for better disclosure of the artistic image. The composition is presented in a circle, in a square, an oval, in a rectangle.

Expressive means of painting, the sequence of thematic composition, the artist, pre-doessketches, sketches, drawings, sketches, thus creates a picture.

Origin of art.

The most ancient of familiar to us works of art belong to the late Paleolithic era (twenty thousand years ago BC). The desire to realize one's place in the world around us is honored in those images that were conveyed to us by engraved and pictorial images on the stone. These stones were located mainly in Bourdelle, El Parnallo, Istyuritz. Also widely known are Paleolithic paintings and petroglyphs (images engraved, scratched or carved on stone) of the Lasko, Altamira, Nio, rock art North Africa and the Sahara. Before in 1879 the nobleman Marcelino de Southwalla discovered the paintings in the Spanish cave of Altamira among ethnographers, archaeologists believed that the primitive man was completely devoid of spirituality, he was only looking for food. Individual scientists to today rather simplistic approach to assessing the images of the primitive artistic creativity. However, already at the beginning of the century, in England, the researcher primitive art Henri Breuil spoke of the true "civilization of the Stone Age". He was able to trace the evolution of primitive art from the simplest spirals and handprints on clay, through engraved images of animals on bones, stone and horn, to multicolored cave paintings in vast expanses of Europe and Asia. Henri Breuil is an adherent of the magical theory, according to which all frescoes, figurines and engravings should be perceived as objects of worship, directly combining them with the need to lure animals into hunting grounds.

About 4 thousand years ago, another turning point occurred in the evolutionary development of man - the discovery by people of metals, the beginning of their processing. Copper was the first metal used by man to make tools, as it was easier to mine. Later, a person began to extract and extract other metals from ore, among which were tin and lead. Fusing copper with tin, man created the first metal that did not exist in nature - bronze. Celtic cultures, who dominated Europe before the Roman conquest, widely used bronze and other metals, creating their own decorative traditions with their help.

The emergence of art is directly related to the development of society and the conditions of human life. Society developed, culture developed, more and more new types of art were born, inextricably linked with the way of life of a person.

Ways of reflecting reality in art.

Art itself is a way of reflecting reality. There are two main ways of reflecting reality in art - realistic and conditional. In art, these ways of representing reality are always present. They can exist either in parallel, or one of them will be considered the leader. Realistic art is not just an ordinary cast of reality. Artistic images of a realistic way represent life as if in a concentrated form, focusing significant for this cultural era characters, events, feelings, ideas, problems. Conditional art provides more opportunities for expanding and interpreting the content of artistic images. Such art can be symbolic.

IN European culture medieval art was more conditional, symbolic: picturesque and sculptural images, far from believability, served religious ideas, the triumph of spirit over physicality. Thanks to this sculpture gothic cathedrals so conditional, the figures are usually hidden behind the folds of clothing.

Realistic art reads well in rock art primitive man, it conveys reality modern world in which the person exists. Reveals his present, without embellishing, and without thinking out.

Art masters and expresses reality in an artistic-figurative form, this is what allows it to be distinguished from all other types. human activity. Artistic image is not just an external resemblance to reality, but a manifestation creative attitude to reality, a way to add certain colors to real life.

It is widely believed that no fundamental differences between ways of depicting reality in folklore and in fiction. And here and there the reality is depicted equally true and truthful. So, for example, M. M. Plisetsky, in his book on the historicism of Russian epics, does not agree with those who claim that the epics depict not the events of a particular era, but its aspirations.

Why, he asks, historical events are depicted, for example, in songs about the capture of Kazan, about Stepan Razin, why "The Tale of Igor's Campaign" can correctly depict the campaign of the Polovtsy against the Russians, why L. N. Tolstoy in the novel "War and Peace" or A. N. Tolstoy in the novel "Peter the Great" could depict many historical persons and events, but the epic cannot do this? “Why is this not allowed by epics?” the author exclaims. So, there is no fundamental difference in the depiction of reality between epics, historical songs, "A word about Igor's regiment" and historical novels XIX-XX centuries.

This is an opinion in which the author does not take into account artistic means genres of folklore and literature, social environment creating art, nor with centuries historical development people, despite its obvious and somewhat primitive anti-historical nature, is quite typical for a number of contemporary works. The same truthful depiction of reality, as for epics, is allowed even for a fairy tale.

In fairy tales, for example, they look for reflections of those forms of class struggle that took place in the 19th century. So, E. A. Tudorovskaya writes the following about a fairy tale: “The age-old class enmity between the oppressors-feudal lords and the oppressed people is truly shown.” But when it comes to examples, the following turns out to be: “Baba Yaga, the “mistress” of the forest and animals, is portrayed as a real exploiter, oppressing her animal servants ...”. According to E. A. Tudorovskaya, the class struggle in a fairy tale acquires a “kind of fiction”. "It somewhat limits the realism of the fairy tale."

Thus, a fairy tale is realistic, but it has one drawback - it is fiction, and this reduces, limits its realism. The logical consequence of such an opinion is the assertion that if there were no fiction in the fairy tale, it would be better.

Such curious opinions would not be worth mentioning if the point of view of E. A. Tudorovskaya was single. But others share it. So, V.P. Anikin writes: “Direct life socio-historical experience is the source of a truthful depiction of reality in oral art people." Anikin sees the class struggle in fairy tales about animals.

He declares them to be allegories. "Social allegorism is the most important property folk tales about animals, and without it allegorical meaning a fairy tale would not be needed by the people. Thus, the people do not need a fairy tale as such.

Need only allegorical social meaning. The author is trying to prove that the wolf is a "people's oppressor". The bear belongs to the same oppressors. In the field of a fairy tale, Koschey and other antagonists of the hero are attributed to the people's oppressors of the social order.

Justice demands to be noted that in the book of V.P. Anikin there are many correct observations. But in the years when this book was written, such concepts were considered to some extent mandatory and progressive.

We will not go into further polemics, but we will try to approach the question of how reality is depicted in folklore, what means it has for this, and what are the specific differences between folklore and realist literature, not by abstract speculation, but by studying the material itself.

We will see that folklore has specific laws of its poetics, different from the methods of professional artistic creation. The question should have been posed historically; however, before doing so, it is necessary to get a clear picture of what is available today.

We will consider folklore monuments according to the records of the 18th-20th centuries, pushing aside historical study process of addition and development for the future. We will consider only Russian folklore. Such a descriptive study must be done before beginning a historical-comparative study.

There are patterns that are common to all or many genres of folklore, and there are patterns that are specific only to individual genres. We will consider the issue of genres, by no means striving for an exhaustive description of them, but confining ourselves to the problem of the relationship of folklore to reality.

We will begin our study with the fairy tale as a genre in which the question of relation to reality is comparatively simple. At the same time, it is the fairy tale that makes it possible to reveal some general laws narrative genres in general.

Speaking about a fairy tale, it is necessary to recall the statement of V.I. Lenin: "In every fairy tale there are elements of reality ...". The most cursory glance at the tale is enough to convince oneself of the correctness of this assertion. IN fairy tales there are fewer of these elements, in other types it is more.

Such animals as the fox, the wolf, the bear, the hare, the rooster, the goat, and others, are precisely the animals with which the peasant has to deal; peasants and women, old men and old women, stepmother and stepdaughter, soldiers, gypsies, laborers, priests and landowners passed from life into a fairy tale.

The fairy tale reflects both prehistoric reality and medieval customs and mores. social relations feudal times and times of capitalism. All these elements of reality are carefully studied by Soviet and foreign science, and there is already a very significant literature on them.

However, looking closer at Lenin's words, we see that Lenin does not at all assert that a fairy tale consists entirely of elements of reality. He says only that they "are" in it. As soon as we turn to the question of what these realistic men, women, soldiers or other characters do in a fairy tale, that is, we turn to plots, we will immediately plunge into the world of the impossible and invented.

It is enough to take a pointer fairy tales Aarne-Andreev and open at least the section “Novelistic tales” there, in order to immediately make sure that this is so. Where in life are these jesters who deceive everyone in the world and are never defeated? Are there such clever thieves in life who steal eggs from under a duck or a sheet from under a landowner and his wife? Is it so in life that obstinate wives are tamed, as in a fairy tale, and are there such fools in the world who look down the barrel of a gun to see how a bullet flies out? There is not a single plausible plot in the Russian fairy tale.

We will not go into details, but will focus on just one typical example as an example. This is the tale of the ill-fated dead. IN in general terms the matter proceeds as follows. The fool accidentally kills his mother: she falls into a trap or falls into a hole that the fool dug in front of the house.

Sometimes, however, he kills her intentionally; she hides in a chest to find out what the fool is talking about with his family, and he knows it and pours boiling water over the chest. He puts his mother's corpse in a sleigh, gives her a hoop or a bottom, a comb and a spindle, and rides. Towards the lord's troika rushes. He does not turn off the road, and he is knocked over.

The fool cries that his mother, the royal goldsmith, has been killed. He is given a hundred rubles compensation. He goes on and now puts the corpse in the cellar to the priest; in his hands he gives his dead mother a jug of sour cream and a spoon. Popadya thinks she is a thief and hits her on the head with a stick. The fool again receives a hundred rubles compensation. After that, he puts her in a boat and lowers her down the river. The boat runs into the fishermen's nets.

The fishermen hit the corpse with an oar, it falls into the water and drowns. The fool cries that his mother drowned. He also receives a hundred rubles from the fishermen. He comes home with the money and tells his brothers that he sold his mother in the city at the market. The brothers kill their wives and take them to be sold. The gendarmes take them to prison, and the property of the brothers goes to the fool. With this property and the money brought, he begins to live in clover.

There is another version of this tale, which, however, can be considered a different tale. Here things are a little different. The man's wife treats her lover. Husband is watching.

While she goes to the cellar for oil, the husband kills her lover, and puts a pancake in his mouth so that they think he choked. Then the tricks with the corpse begin, which may partially coincide with the previous version, partially have a different shape.

In this case, the corpse must be disposed of in order to dump the suspicion of murder from oneself. A man leans a corpse against the house where wedding feast and starts cursing. The guests jump out, thinking that the peasant leaning against the wall was cursing, and hit him on the head. Seeing him dead, they get frightened and, in order to get rid of the dead man, they tie him on horseback to a horse and let him go.

The horse runs into the forest and spoils the hunter's traps. The hunter beats the dead man and thinks he killed him. He puts the corpse in the boat, and the action ends, as in the previous version: the unfortunate dead man falls into the water from the blow of the fisherman, and the corpse disappears.

If modern Soviet writer decided to write a story about how his mother was killed and how the killer then used the corpse to extort money, then not a single publishing house would have printed such a story, and if it had been printed, it would have caused justified indignation of readers.

Meanwhile, the tale does not cause any indignation among the people, despite the fact that the peasants treat the dead with some special reverence. This tale is popular not only among Russians, but among many European nations. It has penetrated even to the Indians of North America.

Why could such an outrageous plot become popular? This was possible only because this tale is a hilarious farce. Neither the narrator nor the listener relates the story to reality. The researcher can and should refer it to reality and determine which aspects of everyday life gave rise to this plot, but this already applies to the field of not artistic perception, but scientific. This is not reduced, limited or fairy-tale realism, this is not an allegory or a fable, this is a fairy tale.

We dwelled on this example in such detail because it is indicative and typical of the question of the relation of a fairy tale to reality.

A fairy tale is a deliberate and poetic fiction. It is never presented as reality. “A fairy tale is a fold, a song is a true story,” says the proverb. "A fairy tale warehouse, the song is red in tune." Having finished the story, they say: “The whole fairy tale, you can’t lie anymore.” IN modern language the word "fairy tale" is a synonym for the word "lie".

But what then attracts a fairy tale, if the depiction of reality is not its goal? First of all, she attracts with the unusualness of her story. Inconsistency with reality, fiction as such delivers special pleasure.

In fairy tales, reality is deliberately turned inside out, and this is all their charm for the people. True, the extraordinary takes place in fiction.

IN romantic prose it is stronger (the novels of Walter Scott, Hugo), in realistic it is weaker (Chekhov). In literature, the extraordinary is portrayed as possible, evoking emotions of horror, or admiration, or surprise, and we believe in the possibility of what is portrayed.

In folk prose, the extraordinary is such that in fact it would be impossible in real life. True, in everyday fairy tales in most cases there is no violation of the laws of nature. Everything that is told, in fact, could be. But still the events that are told are so extraordinary that they could never have happened in reality, and this is what excites interest.

V.Ya. Propp. Poetics of folklore - M., 1998