Literary analysis of the Russian folk tale Teremok. Literary and artistic analysis of the Russian folk tale "Geese-swans

Analysis and meaning of a folk tale on the example of the RNS "The Chanterelle - Sister and the Gray Wolf" in children's reading

Zhmurenko Elena Nikolaevna, teacher of MBDOU d / s No. 18 "Ship", Razvilka village, Leninsky district, Moscow region.
Description: given material addressed to kindergarten teachers, primary school teachers, and may also be of interest to parents in organizing children's reading.
The significance of the Russian folk tale in the process of educating and developing the child's personality is undeniable, for modern children born and growing in urban conditions, it is even more relevant - the child does not know, finds it difficult to answer what "threshing floor", "bottleneck", "forest" means , "rags" and the like, because he is not familiar with the elements of rural life. The so-called "archaisms" or obsolete words folk tales open richest world great Russian language.
Russian folklore is original, exists outside of traditions and time, it embodies the experience accumulated by many generations of our ancestors and the basis of the Russian mentality, the value system of our people, which it is certainly important for us to pass on to our children. The repertoire of children's reading of a modern child should undoubtedly include works of oral folk art, along with nursery rhymes, pestushki, jokes, songs, lullabies and simple good tales.
A folk tale unobtrusively forms a healthy moral perception in a child. surrounding reality, corresponding to the traditions, mental attitudes that are accepted in this country. Reading and rereading Russian folk tales "Turnip", "Kolobok", "Teremok", "Ryaba the Hen" and many others to the baby, we gradually offer the child the experience and wisdom of the Russian people.
Expressive, bright, eloquent, original plots of Russian folk tales obey a number of rules: multiple repetitions, a large number of symbolism, hidden and explicit meaning, the alternation of "punishments" and "encouragements" of the hero of a fairy tale, depending on his actions. Thus, our ancestors formed a model of right and wrong behavior, laying down an understanding of the possibility of correcting a mistake, which allows the child, when reading a folk tale, to independently draw conclusions accessible to children's understanding. Thus, the child develops thought processes and forms the correct life, moral attitudes.
Fairy tales are a kind of moral code of the people, and the actions of the heroes of a fairy tale are an example of a model of human behavior in reality.

Literary and artistic analysis of the work (fairy tale)
Plan
1. Title of the work, genre (type for a fairy tale) (author for copyrighted works)
2. Topic (about whom, what - according to the main events)
3. Idea (for what, for what purpose)
4. Characteristics Ch. heroes (quotes from the text)
5. Artistic originality of the work (features of composition, techniques and methods of depiction, characteristics of the language - examples from the text)
6. Conclusions - value in working with children

Analysis of the RNS "Chanterelle - sister and gray wolf".

By genre:"The Chanterelle - Sister and the Gray Wolf" is a Russian folk tale about wild animals.
Fairy tale theme: This tale tells about intelligence and stupidity, about cunning and straightforwardness, about good and evil, about kindness and greed.
Fairy tale idea: The fairy tale teaches to distinguish good from evil, says that not all beautiful and flattering speeches are worth listening to. The tale says that no matter how much you would like to get what you want without much effort, the fastest and easiest way is not always the most correct one. To achieve good results, you should not cheat, you need to try and work to achieve your goal.
The main characters of the fairy tale- this is a fox - a sister and a gray wolf.
Little fox-sister:
- cunning cheat, deceiver: 1). "lies to herself as if dead"; 2). “Oh, brother,” says the fox-sister, “at least you bled, but I have a brain, they nailed me more painfully than yours; I am dragging myself.”;
- smart, dexterous, thief: “... the chanterelle seized the time and began to throw everything out of the cart lightly for fish and for fish, everything for fish and for fish. She threw out all the fish, and left herself. ”;
- greedy, ruthless: 1). “And the fox:“ Freeze, freeze, wolf tail! ”;
2). Here the fox-sister sits, and slowly says: “The beaten unbeaten one is lucky, the beaten one is lucky.”
Wolf:
- gullible, stupid: 1). “The wolf went to the river, lowered his tail into the hole and sits”; 2). “The wolf is tired of sitting. He wants to pull his tail out of the hole, and the fox says: “Wait, top, I’ve caught a little more!” And again they began to sentence each to his own. And the frost is getting stronger and stronger. Wolf tail and froze. The wolf pulled, but it was not there.;
- kind: “And that’s true,” says the wolf, “where are you, sister, to go; sit on me, I'll take you. The fox sat on his back, and he carried it.)
Artistic originality of the work:
Composition:
Saying (“Grandfather and woman lived for themselves”), exposition (“Grandfather says to the woman: “You, woman, bake pies, and I will harness the sleigh and go for fish.” I caught fish and brings home a whole cart”), string (“ And the fox seized the time and began to gently throw out of the cart everything for a fish and for a fish, everything for a fish and for a fish. She threw out all the fish, and left herself. "), the development of the action (in this tale - this is a combination of several episodes, arranged in ascending order : There are three episodes in the fairy tale (three plot motifs) - “The fox steals fish from the sleigh”, “The wolf at the ice hole”, “The beaten unbeaten one is lucky.”), culmination (“The morning has come. : "Wolf, wolf! Beat him! Beat him! "They ran and began to beat: some with a yoke, some with a bucket, some with anything. The wolf jumped, jumped, tore off his tail and started running without looking back") and the denouement ("... So, sister, yes!").
Receptions:
Animism(the animal looks and behaves like an animal, but it seems to think, think, worry), for example, 1. “And the fox runs around the wolf and says: “Clear, clear the stars in the sky! Freeze, freeze, wolf tail! 2. ““That's how many fish fell! the wolf thinks. “And you won’t pull it out!”
Anthropomorphism(humanization), for example, “What are you talking about, little fox? - asks the wolf. “I’m helping you, top, I say: catch, fish, and even more!”
The tale is written narratively with short dialogues of the characters. Old Russian words are used: full, profit, matting, eka, rocker, tub.
Sentences used:“Catch a small and big fish”, “The beaten unbeaten one is lucky ...”

Story conclusion: Life is well traced through this tale. village life. And also in the classroom on a fairy tale, you can touch on the idea of ​​various situations in which you need to listen and act as we are told, and where you need to think about whether it is possible to do so. You can analyze situations with children: Fox and grandfather, fox and wolf, etc.

LITERATURE OF THE COSSACK CLUB SKARB

FAIRY TALES, EPIC, BYLICHKI

BRIEF ANALYSIS OF FAIRY TALE

(examples of analysis)

Hen Ryaba

In the fairy tale, Grandfather and Baba cannot break a golden egg, when a mouse breaks it, they start crying. The egg in world symbolism means the world, and the golden egg means the golden age of mankind or Paradise. Grandfather and Baba were often called ancestors, in particular Adam and Eve. Adam and Eve, while in Paradise, could not use the main gift of God - free will, directly related to the soul. It is known that in order for the process to start, a potential difference, an inclination on a plane, an anode and a cathode for electric current, an acid and an alkali in chemistry, etc. are needed. In this case, in the biblical legend, such a potential difference is created by a snake associated with the lower world, and in a fairy tale by a mouse, in some cases a witch. The Exodus from Paradise is associated with the weeping of Adam and Eve, Grandfather and Baba are also crying. How does Hen Ryaba console them? She offers to demolish a simple testicle, but a person is like the world, he is a microcosm according to ancient and medieval ideas. In other words, to create a "personal paradise", the appropriate behavior is proposed that is necessary for the salvation of the soul, which will go to Paradise. This refers to the basic idea of ​​Christianity and almost all religions. The chicken itself is defined as "pockmarked", i.e. containing white and black feathers, in other words, it is a receptacle for good and evil at the same time. For better understanding In this allegory, we point out that in medieval scholasticism, in the philosophical and religious dispute about “the primacy of the chicken or the egg,” God was understood by the chicken, and the world by the egg. We can say that this Russian fairy tale conveys the main basic truths of the philosophy of the New and Old Testament in twenty seconds.

By magic

The hero is a typical trickster who denies social norms, does not really work (says “reluctance”), drives the general away, and speaks sharply with the king. Such characters appear in world folklore during periods of social tension and transition from one type of government to another. From the tale it is clear that during the attack of a foreign army, the army was defeated. Emelya copes with the enemy. His strength is based on the help of a pike, which he caught and released back into the water. According to Russian symbolism, Pike, one of the symbols of the most ancient ancestor, the image of a pike or its jaws was worn as a talisman. In other words, Emelya is helped by the strength of the ancestors, the strength of folk tradition, which seeks through a person who denies the current social norms to establish new ones that are necessary in an urgent situation.

Teremok

In a fairy tale, completely different animals are asked to live in a tower. According to the folk tale, the teremok is a horse's head. Animals: mouse Noryshka - an underground inhabitant; frog Kvakushka - a resident underwater world; a hare - “a dodge on the mountain”, associated with a hole, the lower world, but also with mountains; the fox - “hop everywhere” - a symbol of cunning; wolf - "because of the bushes, a grabber." However, the bear - "I crush everyone!" the cult ancestor of the Slavs and the tale itself indicates that not everything is compatible in one house.

It is important that the horse and its head are associated with solar symbolism, and sometimes with the symbolism of a happy, “sunny” world. Representatives of the lower underground and underwater world occupy the head - a frog and a mouse. In addition to them, three animal characters in their self-names resemble representatives of hostile peoples. In this case, it is clear why the bear - the symbol of the first ancestor crushes them. This indicates that excessive tolerance and tolerance for everything alien can destroy our home - Terem - Teremok.

Kolobok

The gingerbread man can be considered as a symbol of the created world, where the woman and the grandfather are the Creator gods. He leaves the hare - a symbol of speed, the wolf - a symbol of courage and pressure, the bear - a symbol of strength, but he is deceived and destroyed by the fox - a symbol of cunning, deceit and deceit. The point is that the qualities of a fox are the most dangerous and can destroy not only a person, but the whole world.

Morozko

The tale is characterized by an episode of Alyonushka Frost's three-time test. In folklore, three frosts are known: frost Red nose - invigoration, reddening of the skin, frost Blue nose - the beginning of frostbite, blue skin, frost White or Bone nose - frostbite and death. Accordingly, they correspond with the upper heavenly, earthly middle and lower dead worlds. Alyonushka passes all three tests and does not grumble, to the question “Are you warm, girl?”, She answers: “It’s warm Morozushka.” Having passed ritual death she receives a reward: a dowry and a handsome groom. Her sister, who could not stand the test of stamina and patience, is punished. The meaning of the tale is the need to endure all kinds of trials, up to mortal danger, and a reward will follow.

turnip

In a fairy tale, the turnip itself can be understood either as a world or as a complex and important task for life. If a grandfather and a woman are perceived as ancestors, then together with a granddaughter, this is a change of generations, their connection, human society. society itself can be perceived as a kind of horizontal. The animals participating in the process of pulling out the turnip: the dog Zhuchka, the Cat, the Mouse often correlated with the three-term division of the world. The upper world - a dog or a wolf, as satellites heavenly gods. Note that in the peasant environment, the wolf until the 19th century. was regarded as the dog of St. George, which he sends as a punishment to sinners. The cat is connected with the earthly world and even the house, and the mouse, like a burrowing animal with the underground. The idea of ​​a fairy tale is that in the unity of generations and turning to all the forces of the world, heavenly, earthly and underground, you can complete any task, even an impossible one. Strength in unity. In this case, such unity may be personified by the cross, which was a sacred symbol among many peoples, long before the adoption of Christianity.

The Little Humpbacked Horse

In the fairy tale, the evil, greedy, lustful tsar governs, and Ivan carries out his orders. The appearance of the old king corresponds to his inner essence. Ivan is unprepossessing on the outside, but kind and honest inside. As a result, after bathing in a cauldron of boiling water, the tsar dies, and Ivan is reborn as a tsarevich, acquires a correspondence between his internal and external appearance, and marries the Tsar Maiden. The fact is that the cauldron symbolized rebirth and rebirth since ancient times, it was even placed in graves. In Greek myth, Medea transforms an old ram into a young lamb in a cauldron. We are talking about the inevitability of karmic retribution, which will bring into line the inner essence of a person, his appearance and fate.

Sword Kladenets.

Our ancestors knew that like is destroyed by like. All cute and love magic based on this principle. Influence on an image, photograph, influence on parts of the body is considered in magic as an influence on oneself. Here are the most famous examples of such a worldview in the folk tradition: Werewolves or werewolves are destroyed with a silver bullet, since silver is considered the metal of the Moon, and werewolves have always been associated with the Moon, especially with the full moon. The skeletal Koshchei the Immortal of Russian fairy tales can only be killed by breaking a needle or a bone, which is some kind of him. In Indo-European, and indeed in any other fairy tales, the hero, at the beginning, looks for a treasure sword or some other magical weapon, and then defeats a snake, dragon, giant, as a rule, a chthonic creature. This weapon is most often hidden in a cave, dungeon and belongs to a chthonic creature. The symbolism lies in the fact that it is necessary to resolve any issues in the language and methods of the one with whom you are dealing.

Ivan Tsarevich and the Grey Wolf.

Ivan Tsarevich in the tale does not show any special positive qualities. On the contrary, he is characterized by stupidity and greed, as he disobeys the wolf and grabs first, a golden cage, and then a bridle, because of which he almost dies. In addition, the wolf warns him that he should not brag about his success in front of his brothers, he boasts, and as a result they kill him, appropriating the Firebird, the Horse, and the Princess. The wolf has no motivation to help the prince, although in some versions of the tale the wolf seems to feel sorry for the prince, as he ate his horse. However, no one forced the prince to go to the wolf, as he read on the stone "you will go to the right - you will lose your horse." The stupid behavior of the prince, who not only violates the instructions of the wolf, but also the fact that he constantly "cries", since he is sorry to part , then with a horse, then he can piss anyone off.The question arises: "Why does the wolf help the stupid and greedy prince, and not his older brothers?".

The symbolism of the wolf is associated with hereditary royal power. Let us recall the Persian king Cyrus, Romulus and Remus, the founders of Rome, the grandfather of Genghis Khan and many other legendary and historical kings, who, according to legend, were fed by a she-wolf. Even the Russian epic prince Volga turns into a wolf, which other heroes never do. The wolf, as a defender of royal power, cannot help the "future fratricides" - the brothers of Ivan Tsarevich. He chooses "the lesser of two evils."

Sister Alyonushka and brother Ivanushka.

(content analysis)

Let's consider the fairy tale about the sister Alyonushka and her brother Ivanushka on the basis of a comparative analysis with the myths and legends of various Indo-European peoples. The tale begins: "Once upon a time there was a king and a queen; they had a son and a daughter. The son was called Ivanushka, and the daughter Alyonushka. So the king and queen died; the children were left alone and went wandering around the wide world." Why did the parents die overnight? This is not said. War, pestilence, disease are not mentioned. The children themselves are alive and well. It is completely incomprehensible who let the children go around the world alone, especially since these are royal children. Even stray and abandoned children were not abandoned like that, they were raised, they were taken care of. Somehow all this is mentioned in passing, the tsar's children are empty-handed, wandering somewhere alone. If they ran away from the enemies, why are they not caught? The legitimate heirs of the king, for any invader - a tasty prey. It is not clear what in the world they should do alone? Didn't the Tsar's family have a single friend or comrade-in-arms?

And it was, apparently, so. Kings were elected from different tribes and peoples to rule. The king identified the luck of the people and the fertility of the earth. It was believed that if he had no children, lean years became more frequent, or enemy raids were defeated, they could sacrifice the king and queen, as carriers of failure, to those gods whom they angered, according to the priests and the people. In the Novgorod epic "Sadko", Sadko himself, as the leader of the merchants, was the first to be thrown as a sacrifice to the Tsar of the Sea during a storm. It is he who is pleasing, as the most expensive and valuable of what a clan, tribe, kingdom, caravan of merchants can give to the gods, in the name of common well-being.

From ancient times in Rus' there was a custom - to kill, and at a later time - to expel princes, "kings" who were not pleasing to the gods in Russian fairy tales. Let us recall, for example, that even Alexander Nevsky was expelled from Novgorod by the people's assembly of Novgorod - Veche - several times, regardless of previous merits. So, the only intelligible explanation of the wanderings of the tsar's children - Alyonushka and Ivanushka, in the "wide world" will be that their parents - the king and queen, were sacrificed to the gods for sins or for an unsuccessful, unfortunate rule for the people, and children, as blood carriers of failure, were simply expelled. They took pity on them. By the way, not everyone agreed with such a pity.

We list the possible sins of parents:

1) Disrespect for the ancestors, for their precepts. Violation funeral rite giving the possibility of rebirth or rebirth of the ancestors. The desire of the witch to kill Ivanushka the goat in the text of the tale indirectly points to the custom of sacrificing a goat to facilitate the path of the ancestors to the afterlife. The goat was also used as an expiatory sacrifice, including the sins of the ancestors. The goat replaced, in this case, ancient sacrifice person. As an example, the biblical "scapegoat" (Leviticus 16:9-10).

2) Insulting the underground, underwater, chthonic gods. The goat was also dedicated to them.

3) Intervention in the battle of the thunder god and chthonic forces. Disrespect for the thunderer or these forces.

Suppose that the plot of the fairy tale was created during the period of matriarchy, then most likely, the second option took place, as well as the first, in terms of disrespect for the precepts of the ancestors. This follows from the fact that the matriarchy relied primarily on the chthonic gods and goddesses associated with the "Mother Raw Earth". Such a god among the Slavs was Veles. In the transition to patriarchy, the heavenly gods, including Perun, come to the fore. These are military male gods. The change in the social system could not but affect the mythological preferences of the Slavs. The transfer of power in the community to the male part of it could not take place peacefully everywhere. The transformation of Ivanushka into a goat is, to some extent, a mockery of Perun, since the royal son, heir to the throne, is turned into a sacrificial animal under earthly gods, opponents of Perun. Tsars or princes and their children, by their very position and origin, are dedicated to Perun. In some special cases, a goat can be a sacrificial animal and a thunderbolt, but the witch priestess insists on the rite of slaughtering Ivanushka the goat, therefore, the sacrifice to Perun cannot be intended. The priests of Perun were exclusively men. We know that the tsar opposes this sacrifice in every possible way, he is playing for time. Although he, as a king whom Perun especially patronizes, a sacrifice to Perun should be useful. This means that this sacrifice did not belong to the circle of interests of the king, rather the opposite. At that time, people did not differ in sentimentality, and if necessary, sacrificed to the gods anyone and anything. Recall the classic biblical example of Abraham sacrificing his son Iisak, simply because "God commanded it." It seems that the ancient Slavs had no less such "commands of God" than the ancient Jews.

In a fairy tale we read that Ivanushka constantly wanted to drink from the heat. This indicates a too hot summer, destroying crops, and first of all, pastures for livestock. In the tale, crops and cereals are not mentioned, and various livestock are listed in detail. Ivanushka wants to get drunk from places where, according to various traditions, livestock grazes. It is listed in the following sequence: 1) horses 2) cows 3) sheep 4) pigs 5) goats (1 option). 1) cows 2) horses 3) sheep (var. 2). 1) horses 2) cows 3) sheep 4) goats (var. 3). The most stable sequence is: 1) horses 2) cows 3) sheep 4) goats. We can see the same sequence of animals on the golden pectoral of Scythian nomads (4th century BC) found in the mound "Tolstaya Grave" near the town of Ordzhonikidze, Dnepropetrovsk region. On it, two men are stretching a sheepskin, and behind them are depicted in both directions: a horse, a cow, a sheep, a goat. In the Indian Upanishads, the sequence of sacrificial animals is listed in the same order: horse, cow, sheep, goat. Let's take a quick look at this sequence.

Among these animals, it was the goat that was the expiatory sacrifice to the underground gods and at the same time the guide to the underworld. The horse could be a guide, but it, like the bull, is associated with solar symbolism. Sheep and rams are a frequent sacrifice to the spirits of ancestors, but not to chthonic gods.

Note that Ivanushka, in most texts, wanted to drink water from a hoof. "They walked, walked, the cow's hoof is standing. "Sister, sister, I'm thirsty!" - "No, don't drink, you'll be a bull", or "Walk, walk, there is a sheep's hoof ..." etc. Another option: "Walked, walked - the sun is high, the well is far away, the heat is pestering, sweat comes out! A cow's hoof is full of water." The question arises, why is it said about a hoof? In ancient magical ideas, including Slavic ones, it is known that the trace of an animal helps the transformation of a werewolf into this animal. In all nations, the impact on a trace or shadow was used in magical rituals for influencing a person or animal. For example, to pierce the trace of a sorcerer with a nail meant to break through his legs. To throw a stone at a reflection or image of a person is to damage a person. Signs associated with a mirror - the carrier of reflection, have ancient magical roots. To grief or death, broken mirror According to ancient beliefs: the soul of a person looking into it is partly in the reflection of the mirror, and therefore suffers damage when this mirror is broken. did not harm living relatives, did not take their souls with him to the afterlife.In the most ancient Neolithic caves, images of animals with traces of ritual influence were found. Mutilating or hitting an image is a hit on its prototype. Our ancestors believed that the footprint is an important part of a person or animal. This is his manifestation in the world, the most obvious interaction with him. A living being interacting with something, especially with the mother of everything - the Earth, opens up, and therefore, it is easiest to influence it through a trace, a shadow, a reflection in the water. Modern conspiracies in the photograph are an action of the same order. Many nationalities still believe that when photographing, the photographer takes their soul. In the animal world, for example, in a herd of zebras, antelopes, etc. , if the male wants to show his superiority and challenge the leader of the herd to a duel, he urinates on the mark from the hoof of the leader. Even our domestic cats, when they are not happy with the owner and want to show their dominance in the house, shit on the bed or favorite resting place of the one they want to "put in their place."

It follows from this that the very fact of drinking or Ivanushka's influence on the trail - the "hoof" of a goat filled with water, indicates that he takes on the role of a goat, moreover, not just a goat, but some kind of "goat king". Drinking from someone else's footprint establishes his superiority over other goats. Alyonushka did not notice him here and the "Fate" happened, i.e. he became exactly the sacrificial animal that he was supposed to become, ridding the evil fate of his parents. The fact of drinking from the trace is also an introduction to the bearer of the trace, sharing fate with him. It is important to point out that if Ivanushka, and not Alyonushka, became the goat, then we are talking about the period of patriarchy or the period of transition from matriarchy to patriarchy. The inheritance, in our case the evil lot of the parents, is passed down through the male line from father to son. Therefore, a certain offense was committed by the king, and not the queen. this offense is not an ordinary streak of misfortunes, one king would be punished for this. Something terrible was done, for which they punished the queen as an accomplice.

At the end of the tale, usually the bewitched hero takes on his former appearance. In our case, this is not the case. Alyonushka comes to life and becomes the queen, and Ivanushka only in one version, out of the five considered, turns into a man. Apparently, they believed in the magic of the "hoof" and in the responsibility for the sins of the father. Redemption goes through the male line, this indicates patriarchy, but the temporary death of Alyonushka, her initiation into the queen through this death, rather speaks of a period of transition from matriarchy to patriarchy.

Consider what happens according to the plot of the fairy tale, after the transformation of Ivanushka into a kid. Quite unexpectedly, Alyonushka and Ivanushka are met by "one king". In a number of versions, the kid himself leads Alyonushka to the king's garden. This is a very interesting moment. Before Ivanushka turned into a goat, he did not know where they were going and why, but then he immediately brought his sister to the palace. It seems that it was not by chance that he came there, and the qualities of a conductor in him somehow immediately manifested themselves. Let us recall the qualities of a goat as a guide, including into the realm of death. He led to death, both himself and his sister. The tragedy of the situation is emphasized by the presence of the sea near the palace, which, in folk beliefs, has always been associated with the world of death and the chthonic gods.

In the tale, about this new feature of Ivanushka, it is simply said: "The kid ran, ran and ran once into the garden to one king." In some versions, it is said about a gentleman passing by, but these are obviously late versions. For example, in a Lithuanian fairy tale, an analogue of the Russian one, “Orphan Elinite and Jonukas is a lamb,” it also says: “In the evening they approached the royal palace. They were afraid to go into the yard, the dogs barked there, climbed onto a haystack, dragged a lamb behind her and fell asleep ".

Let's return to the gift of a guide that appeared at Ivanushka - a goat. Goats are used as leaders of the sheep herd. The sheep are blind, but the goat will find the way to the pasture and home. So Ivanushka the goat found the way to the king's palace. In ancient Indian tradition, the sacrifice of a goat was intended for the fire god Agni. Agni is a divine priest, he conducts the sacrifices of people according to their intended purpose. The goat, as a sacrifice, led the souls of people to their place of refuge. We can conclude that the variant with the appearance of the heroes of the fairy tale in the palace of the king is the most archaic. Moreover, it has semantic counterparts in the ancient Indian Upanishads, which consider the goat as a sacrificial animal, serving as a guide for the victims and souls of ancestors and dedicated to the afterlife.

Consider the Lithuanian version of this tale. The Lithuanian variant is older than the variant with the master, but it is also secondary. In it, the narrator is constantly trying to explain many of the dark places found in the Russian fairy tale. For example, not an outdated concept is used - "hoof", but the phrase: a hoof mark. If in the Russian version one can only guess about the motive of the witch drowning Alyonushka, then the Lithuanian fairy tale says directly: "And the witch lived nearby. She was so afraid that the king would marry her. She envied Elenita and decided to kill her." A difficult moment to understand in a Russian fairy tale, when the dead Alyonushka is talking to her brother, and her body is eaten by fish and snakes, in the Lithuanian version it sounds simplified: "But Elenite did not drown, but turned into a goldfish." Here one can feel the influence of the Karelian-Finnish epos. In one of the songs of Kalevalla, it is said about the beautiful Aina, who does not want to marry an old man, she drowns herself, but does not die, but turns into a goldfish. The idea of ​​turning drowned women into fish was common among Finns, Karelians and Lithuanians, the Slavs believed that drowned women turn into a kind of mermaids. For a Lithuanian listener, Alyonushka's werewolf into a fish and back was more understandable than the speech of a drowned woman:

1) "Ivanushka - brother! A fierce snake sucked out my heart!"

2) "Oh, my brother Ivanushka! A heavy stone rubbed his neck, silk grass curled on his hands, yellow sands lay on his chest."

3) "The stone is heavy to the bottom, the white fish has eaten out the eyes, the snake is fierce

sucked out the heart, tangled the silk grass on the legs.

The listener can perceive the transformation of Alyonushka with the help of magic and higher powers, but without explanation it is not clear to him how an almost decomposed drowned woman can speak, and after the tsar took her out of the water, she suddenly comes to life and becomes the former Alyonushka. In such cases, usually, fairy tales provide for the use of living and dead water. In the case of turning into a goldfish, the situation is clearer and more familiar. If Jovanas has already turned into a lamb, why shouldn't Elenite turn into a fish? In the Lithuanian retelling, the sound mind of the narrator, who is not familiar with the ancient rituals of the Slavs, is clearly felt.

Let's move on to the question of future fate Alyonushka, after her appearance in the Tsar's palace. In all versions of the tale, except for the "meaningful" Lithuanian one, the tsar suddenly falls in love with Alyonushka. In the fairy-tale tradition, this is a frequent occurrence, but in our case, falling in love appears after asking: who she is, and finding out that she is the king's daughter. Our assumption that the tale was composed during the period of transition from matriarchy, or female priestly rule, to patriarchy, male hereditary rule, finds indirect confirmation. According to the content of the tale, Alyonushka and Ivanushka walked around the "white world" for one day or a little more than that. They could not walk more than thirty kilometers. Most likely, they wandered around the kingdom of their deceased parents. The young king, who accepted Alyonushka as his wife, contrary to the decision to exile her, is the new head of the tribe. In Rus', there was a tradition of inviting the prince from outside (“calling the Varangians”), which is why this king Alyonushka could not know by sight, but he needed to establish a hereditary succession of power. He marries the daughter of the former king. This practice existed, both in the times of Kievan Rus, and up to the Muscovite kingdom. After such a hasty marriage, a witch unexpectedly appears in the tale, sending damage and illness to Alyonushka, then drowning her in the sea and taking her place as the king's wife. Everything about this situation is weird. In the Lithuanian retelling, the motivation for the witch's act is given: she wanted to marry the king. In the Russian version, this is not specified. The replacement itself is very strange.

The described events take place in the following order: Alyonushka falls ill, and the "loving" husband, as if nothing had happened, goes hunting every day. Psychologically, it is as if someone today, with a severely, possibly fatally ill, young wife, without even trying to find a means to cure her, walked every day in a restaurant. It is difficult to call such a husband loving. It is not known where the passion, which, according to the tale, made the tsar so hastily marry Alyonushka, disappeared overnight. Further in the text, the sick queen, without any escort, alone, on the advice of a witch, goes to the sea for treatment. Neither the king nor his associates interfere with her. It is felt that the king Alyonushka, as a person, is indifferent. Now let's briefly dwell on the appearance of Alyonushka. The story doesn't say a word about it. Here is the strangest thing. In all Russian fairy tales that talk about female characters, especially when the conversation is about marriage, the unusual beauty or ugliness of the bride is indicated. If in our fairy tale they are silent about this, then the love of the tsar has nothing to do with it, it is not Alyonushka herself that is important, but his political calculation, the political situation itself. Further in the story, the drowned woman Alyonushka is replaced by a witch. She - then just changes into her dress, then turns into her. The king does not notice. It is difficult to imagine a situation where a young husband in love cannot distinguish between the substitution of his wife. You can certainly assume that the witch has the power of hypnosis. It may very well be, but when Alyonushka comes to life, the supposed hypnosis of the witch does not even help her escape from the palace.

Events apparently unfolded as follows. The new young leader - the king of the tribe decided, following the example of his unfortunate predecessor, the sacrificed father of Alyonushka and Ivanushka, to throw off the female priestly guardianship. Having a clear example of the fate of his predecessor, he wanted to strengthen his position. He married the daughter of the late king, thus introducing the succession of kinship. The priestesses of the tribe could not arrange such an option for losing their power. They insist that Alyonushka is the bearer of an evil fate and the curse of her parents. She, Alyonushka, could be regarded as an evil witch who bewitched the king. According to a common European tradition recorded in the Middle Ages, a woman was tied up and thrown into the water to determine whether she was a witch or not. If a woman drowned, then she was not a witch, if she swam out, then a witch and she could be burned alive. This is indicated by the Novgorod Chronicle 1, p. 65. In Pskov, such autodaffes were produced until the 15th century. In 1411, "Pskovians burned 12 prophetic women." Pskov Chronicles (M., 1955, vol. 2, p. 36). Or a mention in the annals: "In the summer of 6735 (1227). The same summer, Izhgosh vlhva four - doing intrigues (witchcraft) in action. And God knows! his surroundings, and he most likely did not, such a precocious bride could well be considered a witch. The replacement of the king's wife is a renewal of the old traditions of matriarchy. The wife must be or be listed as a priestess. A similar custom was recorded among many Indo-European peoples in antiquity, it lasted the longest, apparently, among the Etruscans. Ivanushka suffered from the fact that his parents, who died so unexpectedly, according to the text of the tale, wanted to violate the procedure for electing the king and declared him, Ivanushka, the hereditary ruler. He became the goat of the slaughter to appease the angry spirits of the ancestors and gods.

The custom of inheritance through the wife is ancient roots. As a possible plot parallel, consider the ancient Khet myth about the snake - the dragon Illuyanka. Its summary is as follows. Illuyanka defeated the thunder god in duel and stole his heart and eyes. To take revenge, the defeated thunder god marries a man's daughter. From her he has a son. His son marries the daughter of the serpent Illuyanka and, entering his father-in-law's house, asks for himself (on his father's advice) the heart and eyes of the thunder god. He has a right to them, as the closest, through his wife, heir to the snake. After the return of the eyes and heart, the god of thunder restores his appearance and enters into a new fight with Illuyanka. In this battle, he kills the serpent and his son, who is standing next to the serpent. The son tells his father not to spare him. The episode with the death of his son is easily explained. Among the Indo-Aryan peoples, including the Hittites, a wife or husband who enters the house of his spouse becomes there blood, tribal relatives. The son of the thunder god, having betrayed his blood relative - the snake Illuyanka, thereby committed the greatest sin. He has no forgiveness. What he did for his father is irrelevant. His father himself punishes him for forced betrayal. If the plot of our fairy tale originated in equally archaic times, then the attitude towards Alyonushka, as having passed into the family, the clan of her husband - the king, should have been similar. By her very appearance, she violated the priestly matriarchal structure of power. The king became not just an invited mercenary, but the ancestral heir of the previous king, i.e. power "de facto" became hereditary. Let us recall historical examples from the history of Rus', when kinship through a wife gave the rights of a blood relative. This is the brother of the mother of Prince Vladimir, who baptized Rus', Dobrynya. Vladimir's mother, Malusha, was a commoner, she worked as a housekeeper for Vladimir's father, Svyatoslav. Her brother was also a simple warrior. The important thing is that Vladimir made Dobrynya his " right hand", even the governor in Novgorod. This was done to the detriment of the well-born relatives on the father's side. At a later time, Catherine the Great ruled Russia on the grounds that she was the widow of Tsar Peter the Third. Boris Godunov became the Russian autocrat on the grounds that his daughter was married for Tsar Fyodor Ioanovich. Dozens of examples can be cited about the role of the relationship of spouses in state government in Russia. For us, it is important that Alyonushka, becoming the wife of the tsar, acquired, in addition to the hereditary right to power by her parents, also the right to power by her husband. her position made her a dangerous competitor to anyone wishing to influence the king and his decisions.Besides, she seemed to take responsibility for both her parents and her husband-king.

But to whom and why did the witch throw Alyonushka into the sea? Why didn't she die there and even be able to talk to her brother?

Let us return to the Hitt myth of Illuyanka. Serpent Illuyanka - the personification of chthonic forces. He steals the thunder god's heart and eyes. In one version of our fairy tale, Alyonushka, at the request of Ivanushka to come out to him from the sea, says that "the white fish ate out the eyes, the fierce snake sucked out the heart." White fish or "white fish", in various versions of the epic about Sadko, is the wife of the Sea King. Academician Rybakov B. A. in "Paganism of Ancient Rus'" proves the identity of the Sea King and the god of the Volkhov River and Lake Ilmen - the Lizard. Rybakov shows that Sadko's meeting with the Sea Tsar takes place not far from Volosovaya (Velesovaya) Street in Novgorod. This already indicates the possible identity of the Lizard and Veles. According to ancient legends, the Lizard has another name - Volkh.

“The greater son of this Prince Sloven is Volkhov, the disliked and sorcerer, then fierce in people and demonic tricks and dreams, creating and transforming into the image of a fierce beast korkodel and lying in that Volkhov river waterway. " - we read in the annals.

We are interested in the name Volkhov. God Veles was also called Volos, the epithets hairy, hairy are synonyms. The word "hairy" is more ancient. So we can conclude that the Sea King - the Lizard appears in the epic about Sadko under his real name Volkh or Voloh, the transition of the sound "X" into the sound "C" in the words "hairy" - "hairy", gives rise to the same transition in the words "hair" - "hair".

It is important for us that Volkh, who has a fierce snake (Veles or Lizard) as a father, has the ability to be a werewolf. Werewolves have always belonged to chthonic forces, Veles himself had the ability to be a werewolf. This follows, at least from his numerous incarnations, including in the image of a man. The name Volkh Vseslavovich also connects the epic hero with a werewolf - the son of Prince Sloven Korkodile-Volkh, whom Rybakov associates with the Lizard of the Volkhov River.

It is interesting that at the birth of Volkh Vseslavievich from the epic of the same name, natural disasters occur. So it should be at the birth of the son of the god Veles or his incarnation. It is interesting that the impact of the birth of Volkh occurs on the moon - the antithesis of the sun, on the blue sea and on the swaying of the earth, that is, on those natural objects to which the chthonic serpent - Volos is directly related. Animals and birds, in which the Volkh is able to turn, are clearly of a solar nature. The tour was attributed to Veles after the adoption of Christianity in Rus'. The falcon (remember the fairy tale "Finist the Clear Falcon"), the wolf, the tour into which Volkh Vseslavich turned - point to the sunny, kind side of Veles. He is on this earth to fertilize it. It is no coincidence that the epic ends with the fact that, having conquered the Indian kingdom, Volkh leaves only three thousand girls alive for his squad, and then distributes gold. The kindness of Volkh-Veles is somewhat bloody and peculiar, but at that cruel time it was the norm.

We have established that the serpent of the Khet myth, the Sea King in the epic "Sadko", the Lizard and the god Veles are one and the same serpentine mythological character. Illuyanka robs the thunder god of heart and eyes. In a Russian fairy tale, these same organs are taken from Alyonushka by snakes and his white fish wife. The heart in mythology was perceived as the center of life force, soul, physical strength character. Eyes, in addition to the function of orientation in the world, carried the following function: to lose an eye means illness or death of children. So Alyonushka, in addition to personal strength, was deprived of the opportunity to have offspring. Illuyanka is the main opponent of the Thunderer. If Alyonushka was subjected to the same punishment as the Khet Thunderer, then she is equated with the main enemies of the chthonic god - Veles. The opponent of Veles is Perun. Alyonushka, as the royal daughter and queen, and as we said, a woman of great importance in the structure of the kingdom, undoubtedly belonged to the jurisdiction of Perun, as the patron of the royal-princely clan power. The ancient Hitt myth, or rather the laws of creation of this myth, was comprehended by the Slavs in a similar, but in a specific Slavic situation. To determine the character of mythology, to whom the sacrifice of Alyonushka and the goat - Ivanushka is intended, we must pay attention to the ancient chthonic gods of the times of matriarchy. One of the victims - Alyonushka, the witch-priestess herself sacrifices, and on the other - the goat - Ivanushka, she insists. Of the female Slavic gods known to us, this could be Makosh. She is the goddess of fate and earthly fertility, but a goat was not sacrificed to her. A sacrificial woman, in our case Alyonushka, is not pleasing to her and would be an insult to her. Most likely it is Veles. Veles is a cattle god, associated with the fertility of the earth, he is the opponent of Perun, the patron saint of warriors and men. The sacrifice of Alyonushka and Ivanushka to Veles is both the punishment of the ambitious king and the final deliverance from the sins of Alyonushka's parents, and the restoration of the foundations of matriarchy.

According to ancient ideas, Veles could be represented as a snake. Novgorod chthonic, snake-like Yasha-lizard could be the hypostasis of the same Veles. The lizard was sacrificed, "given as wives" - girls, as B. A. Rybakov points out in "The Paganism of Ancient Rus'". But Alyonushka was not thrown into the water as a wife to the chthonic god. Alyonushka, being married, lost her virginity and therefore was not fit to be a wife to God. They drowned her to remove the curse from the tribe for violating tribal laws and for political reasons. Alyonushka's repeated phrase: "The fierce snake sucked out her heart" - indicates her sacrifice, namely to the snake-like Veles, or another similar character. It is the heart, as the bearer of the soul of man, his strength, that is pleasing to God. Let us recall the bloody rites of the Mayan Indians with tearing out the victim's heart.

The following reasoning also speaks for the candidacy of Veles. More Propp V.Ya. in the book "Russian Agrarian Holidays" (pp. 47 - 48). established that Ivanushka's complaint:

"Alyonushka, my sister! Swim out to the shore: Flammable fires are burning, Cauldrons are boiling, Damascus knives are sharpening, They want to kill me!"

"Beyond the fast river. The forests are dense, The great fires are burning, There are benches around the fires, The benches are oak, On those benches are good fellows, Good fellows, red girls. Singing songs of kolnodushki (carols) In the middle of them an old man sits, He sharpens his damask knife. The cauldron boils fuel, Near the cauldron a goat stands - They want to slaughter the goat ... "

Academician Rybakov B. A. in "Paganism of Ancient Rus'" writes: "... the Slavic Lizard, who married a drowned girl, corresponds to Hades, the god underworld wife of Persephone. And the sacrifice was made not to these forces of seasonal action themselves, but to the constantly existing ruler of all underground - underwater forces that promote fertility, i.e. Lizard, Hades, Poseidon. "Rybakov B.A. further suggests that Alyonushka is Kupala. "Alyonushka - Kupala herself, a victim doomed to become "sinkable in water." We cannot agree with this statement. Firstly, it is precisely established that the goat was sacrificed at Kolyada. Secondly, on Kupala, the doll of Morena - the personification of moisture, was burned. Drowning was extremely rare. What kind of ritual murder can there be if, as during the Shemyakinov Court, a pike is thrown into the water? Drowning an "unclean", married woman was also a sin before God, especially if she was intended for him, God, as a wife. The error seems to have occurred for the following reason. According to the common European custom, evil witches were thrown into the water. If all-cleansing water (remember the rite of baptism) accepted a woman, then she, a drowned woman, was pure before God and people. The night of Kupala, from ancient times was considered a night of revelry evil spirits and various sorcerers and witches. They were afraid. Apparently, therefore, in order to protect themselves, that night they drowned women who fell under suspicion of black witchcraft. Over time, when such arbitrariness began to be pursued and punished by the state, this custom was gradually mixed with the ritual ritual burning of Morena. We talked about the Kolyada holiday. In that winter holiday a goat mask was obligatory, they baked special cookies - goats and handed them out to caroling youth. In addition to the previously cited song, they sang:

"Seto, seto for the new summer! Where the horse's tail is, There it lives with a bush. Where the goat's horn, There is haystack" ... or: "The goat jumped On the block, on the block. Tausen, tausen" ... etc. .

The rite of burning Badnyak was associated with Kalyada. This happened most often among the southern Slavs. In the "Myths of the Peoples of the World" we read: "Badnyak is associated (according to etymological studies) with the image of a snake at the roots of a tree. The burning of Badnyak at the end of the old year is equivalent, therefore, to the defeat of the snake by fire, the embodiment of the lower world, the harmful beginning and signifies the beginning of a new seasonal cycle, guarantees fertility, etc." We see that at the Kolyada festival there is both a chthonic world and a snake, and a connection with goat symbolism and the sacrifice of a goat. In the case of our fairy tale, there is also a chthonic world in the form of a sea in which Alyonushka is drowned. Alyonushka's phrase: "The fierce snake sucked out the heart", indicates the presence of a snake, the sacrifice of Ivanushka the goat, again corresponds to the Kalyada holiday.

Veles is associated with the Kalyada holiday, as the owner of the underground and underwater world. Veles is many-sided. He is the incarnation of an ancient serpent, is associated with a bear - the owner of the forest, and one of his incarnations is a goat. A characteristic custom is to hit the burning image of Badnyak with a stick and watch how many sparks rose into the air. The more sparks at such a blow, the greater the offspring of livestock is expected. Veles - "cattle god", the attitude to the offspring of cattle, both Badnyak and Veles, once again indicates their connection and even identity.

The symbols and songs of Kalyada are associated with a goat, the winter solstice holiday - Kalyada, is dedicated to Veles, which means the simplest conclusion: the goat is the hypostasis of Veles. Veles has Indo-European relatives: the Asia Minor Dionysus, associated with fertility and incarnated in a goat, as well as Greek and Roman seleniums, satyrs, the god Pan, who are associated with fertility and have goat legs. His distant relative is the Egyptian Osiris. These characters are chthonic in nature, their festivities are similar in rituals and are associated with riots and noisy games. The southern Slavs preferred the serpentine image of Veles under the name Badnyak, the eastern ones celebrated the same holiday, but preferred to honor Veles in the form of a goat. For the image of Satan as a goat, the source is this holiday and its paraphernalia. We have determined the connection of the goat with the world of the dead. Veles, among other duties, was a shepherd of the world of the dead. He performed the function of the Greek Hades.

Fraser, in The Golden Bough, points out that the sacrifice of the god of fertility in order to rejuvenate him and increase his strength was widespread. "Golden Branch" p. 541.: "Participants in Roman and Slavic rites treated the representative of God not only as a deity of vegetation, but also as a redeemer of other people's sins. This is evidenced by at least his exile - after all, there is no need to expel him outside cities or villages of the god of vegetation as such. Another thing is if this god is also a "scapegoat", further p. 543. responsible for his growth. It might seem that he fell under the influence of witchcraft or grew old and decrepit. Therefore, the god in the person of his representative was put to death with all due pomp, so that, having been reborn again, he could pour the energy of his youth into the sluggish course of natural processes ."

Kalyada coped on the days of the winter solstice. It was during this calendar period, when the day should turn to profit, that the earth had to be given new strength. The funeral of Dionysus and Osiris and their revival is akin to burning the old Badnjak and replacing it with Bozic. The sacrifice of a goat for Kalyada acquires in this case a new sacred meaning. Ivanushka not only became the "goat of atonement" for the sins of his father and tribe, but could personify the god Veles himself. With his blood he had to give a new birth to the immortal god. Let us add that the winter solstice, and hence the Kalyada holiday, falls on the astrological time of Capricorn, also associated with the goat and the chthonic world.

The serpentine appearance of Badnyak on Kolyada among the southern Slavs and a similar rite associated with a goat among the Eastern Slavs speaks of the correspondence of the various hypostases of Veles. In addition, it indicates the time of creation of the fairy tale. This time corresponds to the unity of the Slavic peoples, when both hypostases of God were considered as equal. Veles in the form of a snake or Lizard sucks blood from the heart of the drowned Alyonushka, Veles in the form of a goat - Ivanushki is sacrificed to give him new strength and rejuvenation. In the South Slavic version, the serpentine Badnyak is burned for the same purpose. Veles is associated with fertility. Let us show that the Serpent, Lizard, Badnyak are associated with the same fertility. The Belarusian song has been preserved:

"The Lizard sits under the fireworks, On the walnut bush, Where the walnut lusna ... (I want to Zhanitisya) - Take the girl that you want ..."

Lizard-Veles sacrificed girls. But in our case, not the bride. The main thing here is the mention of nuts. Nut - in the perception of the ancient Slavs, was akin to an egg. The egg is a symbol of life and the universe, a nut is a vegetable version of the egg. An egg, like a nut, has a hard shell that hides for the time being its fertile, life-giving essence. The lizard gnaws nuts, i.e., releases this essence into the wild. This is a kind of "trampling death by death", as is sung in the Easter Christian prayer. The nut kernel is the germ of life, the germ of the plant world. The lizard releases this hidden plant power, like the earth itself, he demands the death of the bride in song, but through death a new life is born. So the grain dies and is reborn again, so the gods Osiris, Dionysus, Badnyak - Veles, die and are born in order to be reborn again. There is a Russian sign that if there is a harvest for nuts, then there will be a large harvest of bread for next year. It is worth mentioning the Russian fairy tale "Where is the goat with the nuts." Nuts have nothing to do with goats, but in this tale the goat fights hard for the goat to bring nuts. It is also important that the hazel was considered a sacred tree, inaccessible to Perun's lightning. Where else can Veles hide from these lightnings, if not under a hazel tree. We see that Veles is associated with a hazel, but under the hazel or on it, as the song says, the Lizard also sits, the goat of the Russian fairy tale also strives to possess nuts. The nut was considered a talisman against chthonic creatures, primarily snakes. Many nuts were collected and stored in the ground, so they are clearly related to the ground. In Bulgaria, Macedonia, Eastern Serbia, the walnut was considered the habitat of the souls of the ancestors. Veles, also the king and shepherd of these souls. Now it becomes clear what the Lizard is doing under the hazel tree, this is his symbol underworld, and the "bride" is a sacrifice to him. Veles, the Lizard, the goat are united by their connection with the nut, as a symbol of the kingdom of the souls of the ancestors, the afterlife, the underworld kingdom. We add that according to Slavic beliefs, the goat is associated with the winds. Maybe he'll let them in. In the already mentioned fairy tale "Where is the goat with nuts", it is the wind that obeys the goat and helps to bring the goat with nuts. According to the Tale of Igor's Campaign, the winds are Stribog's grandchildren. They blow from the sea - a chthonic place. During the period of dual faith in Rus', there was a legend that Saint Kosyan, who correlated with Chernobog and chthonic forces, holds twelve winds underground on a chain and commands them. In Europe, mainly in Germany, when the wind blows across the field, they say: "the goat is coming." It is also interesting that Stribog, who is correlated with Saturn, commands the winds. It is clearly chthonic. In addition, it is correlated with the constellation Sagittarius. A. Znoiko proves his astral character. In Thrace, on the new moon, which falls on the constellation Sagittarius, a festival was held, during which the Thracians led a goat through the streets. The ancient Greek philosopher Plato and the Roman historian Titus Livius wrote about this. On the Dnieper, a goat was also driven on the new moon. From this it is clear that Stribog could also be associated with Veles or his kingdom. Consider another aspect of the image of Veles and its connection with the sacrifice of the goat - Ivanushka. In Fraser's "Golden Bough" it is said that in Lower Bavaria they say about a man reaping the last sheaf: "He has a bread goat." Horns are stuck into the last sheaf and the horned goat is called. In East Prussia, a woman knitting the last sheaf is shouted: "And there is a goat sitting in the sheaf." In Swabia and Bavaria, the last sheaf is called a goat. In the same place, a goat figurine is cut out and put on the fields during harvesting. Similar rites and customs are found throughout Europe. The last sheaf, the reaper knitting the last sheaf, the last strip of bread is the goat. And in Rus', the last strip of bread - "Veles on the beard." The last stack is "Veles' beard." The goat has a beard, rare in the animal kingdom. Throughout Europe - allegorical - a goat, in Russia it is used real name god - Veles.

We can draw the following conclusions. The fairy tale we are considering is no younger than the oldest ancient Greek myths. It reflects the period of transition from matriarchy to patriarchy, from the female priestly rule of the tribe to the male autochthonous one. This is the period when even leaders could be sacrificed, for sins before the gods and the tribe, for failure, as an analogue of God - for the speedy revival of God. The tale is not built on magic, as in later times. She operates with true magical techniques and rituals. You can specify such fundamental magical techniques as the magic of the trace, the magic of similarity, the magic of a substitute victim, the magic of rebirth through sacrificial death.

We believe that, precisely, Veles was supposed to dedicate the sacrifice of a goat - Ivanushka. The drowning and resurrection of Alyonushka recalls, but in a more cruel, archaic form, the myth of Proserpina and Hades. Here Veles the Serpent is the master of the underworld, Alyonushka is a sacrifice to him. The salvation of Alyonushka and the goat Ivanushka is Perun's victory over Veles. This is the victory of patriarchy over matriarchy, the royal-princely method of government over the female - priestly. Goat - Ivanushka, according to most variants of the tale, remains a goat. He, as it were, is already serving Perun as a guide to the kingdom of Veles. In the realm of underground forces, with the help of his chthonic weapons, Perun can win, overthrow Veles. The murder or exile of the witch-priestess is the apotheosis, the triumph of the tale.

In the fairy tale, the witch personifies the old life, she replaces the young queen Alyonushka. The kid is associated with the ancient generic Slavic god Veles, who is directly related to the cult of ancestors. In the fairy tale, this cult is partially abandoned, and instead a new system of kingship appears, where the witch, the guardian of the ancient tribal traditions the young queen arrives. A partial separation from the family precepts is also connected with the fact that at the beginning of the tale it is said that the parents of Ivanushka and Alyonushka have died, therefore, they have to build their own lives.

In this article, we wanted to show the archaism and mythology hidden in an ordinary, well-known fairy tale. It remains to be studied all the richness of our folklore and the symbolism hidden behind it.

WEAPONS OF THE THUNDERS AND THEIR GUIDES

We list the types of weapons of the Indo-European thundermen. These are: the hammer of the German Thor, the perun of Zeus, the perun of the Slavic Perun and the Lithuanian Perkunas, the Vajra of the Indian Indra.

The origin of this weapon, i.e. what makes these gods thunderers and kings is chthonic. This means that they either directly or indirectly received their power from Mother Earth, or the corresponding chthonic forces.

This is related to the main question - ancient role thunder gods in mythology. The gods of thunder and thunder, in their most ancient incarnation, were opponents of chthonic, evil creatures opposing the sky, creatures of the earth. We can observe this confrontation in almost all Indo-European mythologies. In ancient Greek, these are Zeus and the Titans, in Slavic - Perun and Veles, in ancient Indian - this is Indra and the monster Vritra, in Scandinavian - the confrontation between Thor and frost giants, in the Hittite and Luvian mythologies - Teshub and the snake Illuyanka, etc.

This confrontation is the content of the main Indo-European myth, during the period of transition from pre-mythological ideas to mythological ones.

Let us consider one of the most important pre-mythological magical ideas that still exists today: like is destroyed by like. All sympathetic and love magic to this day is based on this principle. This can be an impact on an image or photograph, or any other image of a person, an impact on a part of the body: hair, nails, sweat, blood, sperm, an impact on a person’s belongings: his things, his trace.

If stones were thought of as part of the earth, i.e. its bones and veins, and the chthonic gods always opposed Heaven, then weapons against them were used of chthonic origin. The action takes place according to the proverb: "The wedge is knocked out with a wedge." There are still beliefs that impure, chthonic power can be destroyed with special weapons.

1) Wolfdog or werewolf - with a silver bullet. Silver is the metal of the Moon, and wolves - people, wolves, and werewolves in general, have always been associated with the Moon, especially the full moon.

2) Ghouls and ghouls, according to legend, can be killed with an aspen stake. Ghouls and ghouls cursed in life (embarrassed) souls. Aspen, also a cursed tree. In Lithuanian folk tradition"Spruce queen of snakes" says that the daughter of Elya - Aspen betrayed her mother and father, caused their death. After death, the girl Aspen turned into an aspen tree. In the Christian tradition, it is believed that Judas strangled himself on an aspen after the betrayal of Jesus Christ. In the encyclopedic dictionary "Slavic mythology" ed. "Ellis Luck" M. 1995 says: "Etymological myths connect the "shaking" of the aspen with God's curse imposed on the aspen because it was used to make the cross on which Christ was crucified, the nails with which he was nailed to the cross, and also the "knitting needles" that Christ's tormentors drove under his nails. In some places among the Eastern Slavs, aspen was also considered a "devil's tree", cf. the characteristic Hutsul name for the feature is "osinovets". In places where aspen grows, according to popular belief, devils “twist.” We see a correlation - a cursed tree kills ghouls and ghouls who are cursed during their lifetime.

3) Koshchei the Immortal can only be killed by breaking a needle or a bone. Destruction of a needle or a bone - similar to Koshchei - leads to his death.

4) In Indo-European, and indeed in any other fairy tales, the hero first looks for a treasure sword, or some other magical weapon, and then defeats a snake, dragon, giant, as a rule, a chthonic creature. This weapon is most often hidden in the dungeon and belongs to a chthonic creature. Even the sword to King Arthur, in the cycle of Celtic legends about the round table, was given by a hand from the lake or from the "other world". After Arthur's death, the sword was returned to the bottom of the lake. A special weapon, directed against a certain character of myth or legend, after fulfilling its purpose, returns to the chthonic world. This emphasizes that it does not belong to our earthly world.

5) All folk conspiracies built on the phrase: "As that toto does, so let there be toto."

We can note that it is precisely the most ancient specificity of the god of thunder, as a serpent fighter, that connects him with the chthonic world through a special weapon, primarily a stone.

The folk etymology of the word "perun" is interesting. Root words: stare (a piercing, piercing look), stare - pierce, poper - onslaught, overcoming, pen - something sharp (a pen, like a knife among criminals), flying, penetrating the air. Words: before, forward - the same root.

German Thor - has a meaning at the root of the name: to beat - to break through, tour - a bull, turn - sharply discard, thorny (man) - brave, skillful, fast, resourceful.

Perun is penetrating, breaking through the earth's firmament, in search of a chthonic enemy. The name of the god of the Scandinavians Thor, according to the same etymology - to beat, to beat, to break through. That is why the weapon of the Greek Zeus is Perun (piercing).

We needed to separate the late Perun (10th - 15th centuries), from the most ancient Indo-Aryan serpent fighter. Just as a first-grader girl is not exactly the same person as she is at the age of forty, so the most ancient Perun does not correspond in everything to the Perun of Prince Vladimir.

It is known that Perun, at least in Novgorod, was depicted with a stone in his hand. This stone, by analogy with flint and flint among people, was the source of heavenly lightning and thunder. Sacred stones dedicated to both Perun and his Lithuanian counterpart - Perkunas, speak of their connection with the stone and, consequently, with the earth. In the Russian fairy tale tradition, the sacred stone Alatyr is apparently also associated with Perun. Let us also pay attention to the fact that the stone is still called the arrows of Perun. Stones, according to the Indo-European and a number of other peoples, are the bones of Mother Earth. They, the stones, are clearly chthonic, earthly in origin. Neighbors, both Slavs and Lithuanians, the Karellis and the Finns, a group of Finno-Ugric peoples, have a thunder god named Ukko. It is important for us that in a number of traditions, Ukko strikes lightning by striking stones (sometimes the knee serves as an anvil and the fist serves as a hammer), the fist and knee, as it were, turn to stone. It is no coincidence that the earthly incarnation of Ukko, the elder Väinämöinen, thus, using a petrified knee and fist, strikes fire in the giant's belly. Sacred stones throughout the area of ​​the Fino-Karelian settlement, dedicated to Ukko, indicate that the Fino-Karelian thunderer, like its Indo-European counterparts Perun and Perkunas, has a stone as a tool for the production of lightning and thunder. Similarly to them, on the basis of the main function, he - Ukko, is associated with a stone and a stone can be represented. The names of the Slavic Perun and the Lithuanian Perkunas are associated with the concept of a thunderstorm: thunder, thunder. If we return to the concept of carving a spark-lightning when stones strike, then both to stones and to the underworld. Compare Estonian porgu, "underworld" and Russian: blizzard, as a manifestation of chthonic forces. Old Icelandic Fjorgyn, the name of the mother of the Thunderer Thor is mountain, stone mountain, cf. Gothic fairguni, "mountain", Khet peruna - "rock", ancient Indian parvata "mountain", the very name of the Slavic Perun and its connection with a stone, perun, like a weapon of the Greek Zeus.

The sky itself, according to the ancient peoples, was made of stone, or there are stones of Perun, Ukko, Perkunas on it. This corresponds to the Indo-European mythology of the stone sky. Sometimes the Lithuanian Perkūnas himself is the creator of his weapon Akmeninis kalvis, "stone smith". This name clearly indicates the connection of the weapon of Perkunas with the stone, as in Perun and Ukko. The Finns and Karelians, both ethnically and according to cultural mythological and other traditions, as well as according to historical references, are most likely a branch of the Indo-European peoples, and not the Finno-Ugric ones. The adoption of a foreign language, in this case, apparently, the language of the Saami, is a frequent occurrence in the history of peoples. In our time, entire peoples in South and Central America speak Spanish, but remain Indians, American blacks speak English while remaining blacks. It is impossible to confuse the Finn and the Mongoloid Ob Ugrian, but by linguistic similarity they are classified as one group of peoples.

Consider the image of Perun. If we take it in the meaning that was assigned to it in the 10th century. n. e., as the god of the prince and the princely squad in the city, as a god associated with the agricultural cycle - in the village, then there is nothing chthonic that can connect him with a goat in his appearance. But the fact is that the meaning and functions of the gods can be developed and rethought over time in the mythology of any people. To understand the ancient function of the Indo-European thunderers in more detail, we will consider their weapons and against whom it is directed. In this case, we will be able to combine historical, mythological, archaeological and other materials and draw correct conclusions about the thundermen themselves.

1) Perkunas (Lithuania), Perkons (Latvia), Perkunas (Prussia). Weapon ax or hammer, stones. Later, a sword that strikes with lightning, a bow and arrows, a club, whips.

Perkūnas is called "stone smith", his weapon is made of earth bone stone, hence Perkūnas's power from earth is chthonic.

2) Perun's main weapon is stones. According to the memoirs of Europeans, in Novgorod the idol of Perun stood with a stone in his hand. Later weapons: axe, bow and arrows ("thunder arrows"). The sick stone is popularly considered the arrow of Perun. The Polish historian Stryikovsky (16th century) wrote that the idol - the idol of Perun (Perkun) held a stone in his hand, and a sacred fire constantly burned in front of him. In the annals, this is written as follows: "Perkonos, this is Perun, they had the oldest god, a likeness of a man was created, in his hands there was a stone, valuable like fire, and the fire that is unquenchable from an oak tree is constantly fired." If the fire went out, then a new flame was carved by the priests from the stone in the hand of the idol. One should compare the description of the precious stone burning like fire in the hand of Perun with the description of the Vajra of the ancient Indian god Indra given below.

3) Scandinavian Thor, Old Norse Borr, German Donar. The weapon is an ax or a hammer, often made of stone. According to legend, the weapons were forged or mined by underground dwarfs - tsvergs. These miniatures were originally worms in the body of the first-born giant Ymir. And from the body of Ymir, the Earth was created. Tsvergi live in the earth and stones, like worms. They are afraid of the light. When light hits them, they die, turn into stone. These tsvergs are very reminiscent of the magma of the earth. Magma, like water, could be thought of as living. Magma is fluid, passes through the "veins of the earth", after hitting the surface, the magma solidifies - "turns into stone." The myths often talk about the treasures of the tsvergs. Magma brings various minerals to the surface. These minerals and precious ores could be thought of as treasures. Tsvergi are clearly chthonic creatures. The weapon of the god Thor is therefore of chthonic origin. It is worth noting that the name of Thor's hammer is Mjollnir, Mjollnir has the same root as the Russian word for "lightning" - Perun's weapon, his arrow.

4) Scandinavian Saami, neighbors of the Scandinavians. "Thunder old man" god of thunder. Miniature stone hammers were sacrificed to him.

5) Karelian and Finnish Ukko, Estonian Uku - in the Balto-Finnish mythology, the supreme god of thunder. Attributes: lightning, ax, sword - of a secondary nature. Initially, Ukko rolls heavenly stones (thunder) and strikes evil spirits with thunder and lightning. Shrines of Ukko - groves and stones. The connection between Ukko's weapon and the stone is clearly visible.

6) The ancient Indian thunderer Indra had the weapon Vajra (vajra). She was conceived as a club, a club. According to the Vedic tradition, the Vajra was forged for Indra by Tvashtar. Tvashtar is the creator. The word create is from the same root. Tvashtar is a creator, but he is married to a demoness from the Assurian family. This shows his chthonicity. He, as an indirect chthonic principle, which is akin to Mother Earth among the Slavs and the goddess Gaia-Earth among the ancient Greeks, gave birth to the enemy of Heaven and Indra - the three-headed monster Vishvarupu. Later, he again appears as a chthonic king progenitor. He gives birth to the monster Vritra from fire and soma. Vritra is the main opponent of Indra. The victory over Vritra is the main merit of Indra, as the king of the heavenly gods. From here one can see the chthonic, even chaotic nature of Tvashtar and his creation of the Vajra, the main weapon of Indra. Tvashtar carries the principle: everything in it, all forms and essences. This completely coincides with the ancient Greek definition of Chaos.

According to the text of the Rigveda (1, 121 12, V 342) - Vajra was in the ocean, in the waters, in the first matter. We can assume that this is the same magma that, petrified in the light, became the Vajra. This is confirmed by her epithets: she is any, copper, gold, iron, and what is important, both from stone or from rock. In this case, the chthonic, stone, and possibly magmatic origin of the Vajra, as the main weapon of the thunderer, is beyond doubt.

7) Thunderer of the Khet and Khurit mythology Teshub. In the myth, the thunderer Teshub defeats the blind and deaf chthonic monster that threatens to destroy the world - Ulikumme. He cuts it off from the rock that supports the sky with a stone cutter with which the Earth was separated from Heaven. The chthonicity of the origin of the weapon is obvious. It was still at the time of Chaos, the mixing of Earth and Sky. Perhaps it was associated with the same frozen magma, as a symbol of chaos and confusion.

8) Greek Thunderer Zeus. In Crete, the weapon of Zeus was revered as a double ax, giving and taking away life. In Delphi, Zeus was revered as a fetish otfal ("navel of the earth") - a stone swallowed by Cronus, or a stone, like the navel of an infant Zeus. The weapon of Zeus is chthonic. This weapon was forged by the children of the Earth - Gaia, hundred-armed Cyclops. They forged it in an underground, or in other words, a volcanic forge. The origin of the weapons of Zeus is clearly magmatic, associated with volcanic activity. origin. These weapons - thunder, lightning and perun, made Zeus the king of the gods.

It is important to note the fact that during a volcanic eruption, when igneous rock is poured out with its "treasures" and "semi-finished products" for weapons, severe thunderstorms and earthquakes occur. A mythological reflection of this may be the battle of a thunderbolt with a terrible chthonic monster shaking the earth. The universality of the myth of the flood and the earthquake and volcanic eruptions associated with it confirms this hypothesis (see Fraser's "Golden Bough").

Solid igneous rocks that come to the surface after an eruption are the most accessible and unique material for making weapons back in the Neolithic era. Only heroes could dare to go on a campaign for such dangerous weapons located on the slopes of volcanoes. These heroes, in ancient times, through acquired weapons and personal courage, could seize power in the tribes, become the first kings - princes. Episodes of such a seizure of power back in Neolithic times could serve as an occasion for the creation of some myths about a thunderer - a king and a hero. The weapon, made from a piece of solidified lava, was of a mystical and magical nature in its origin, in addition, it could "sparkle" with inclusions of minerals and ores. The very appearance and origin of the weapons of the Neolithic hero could terrify his enemies, deprive them of their strength. This weapon, over time, acquired legends, and eventually passed to the heavenly thunderer, and the ancestor hero himself could merge with him. For example, in Germanic mythology the thunder god Thor, at the same time, both a god and an ancestor of the Germans. The description of the weapon as a cudgel, stone hammer or club indicates the appearance of these myths about the weapons of the Thunderers in the Neolithic time. Mace, club, stone ax or hammer - were the most formidable weapons of ancient man.

Let's note a few more reasons why the main weapon of the thunderer is stone or made of stone.

1) In the Neolithic era, the main tool of people was a stone.

2) Fire could be hewn by striking stones, such as flints.

3) The sky was conceived, like the earth as stone.

4) The fall of the metiarites - "heavenly stones", pointed to the stone as an instrument of the heavenly gods. These stones were revered, such as the sacred Muslim stone of the Kaaba.

5) Stones are "veins of the earth", they are chthonic. There is an old Lithuanian fairy tale "Well done and the devil" (Lithuanian folk tales "The Swan Queen", Vilnius, 1965), which corresponds in content to Russian folk tales about the Sea King. In it, the devil, living in the underground or underwater chthonic kingdom, bears the name "Gray mountain bone". By analogy with the Russian Koshchei (Kostei), he personifies a stone, like a bone of the earth. In Germanic mythology, stones and mountains of the earth were made from the bones of the giant Ymir. In the Great Russian Christian apocryphal legends "The Pigeon Book" it is said:

"Bones are strong from stone,

Our bodies are from damp earth,

Blood-ore from the black sea."

The chthonicity of the stone is determined even by the modern name - "ore vein". This name hints that the stone is part of the living organism of the earth.

The chthonic deities of the earth are responsible for the stones: the Cyclopes, the Koschei of Russian fairy tales, the Slavic god Veles, gnomes, dwarfs, tsvirgs, and later, as a collective, devils.

The connection of the ancient Perun with the chthonic world occurs not only through weapons. The most ancient thundermen had a goat as a vehicle. The goat played the role of their guide to another, underground, chthonic world.

The goat is a chthonic animal, not directly related to heavenly and thunderous forces. This is true, but still this connection exists, the goat is related to the thunderers, the chthonic element is associated with the thunderers. But there is one thing... This connection is mediated, through the weapons of the thunderers, through one of their functions. In the encyclopedia "Myths of the peoples of the world" the connection between the goat and thundermen is indicated. Let's consider this question in more detail.

Let's make some digression, consider the ancient Indian god Agni. Agni literally means fire in Sanskrit. In Rus', they turned to fire: Father, you are the King of Fire. He is Agni in Vedic mythology, the god of fire, the god of the hearth (connection with ancestors), the sacrificial fire. In the Rig Veda, Agni is the main of the earthly gods, about 200 hymns are dedicated to him. He is the central character of the main ancient Indian ritual. His main function mediation between gods and people. Agni is a divine priest. The hypostasis of Agni is the fire of the sun and lightning, but he is also the fire in the waters, the fire of the sacrificial fire. Agni was born in three places: in the sky, among people and in the waters. He has three heads, three languages, three dwellings, threefold light, three lives, three powers.

For us, this is important because the goat in the Vedic tradition was almost always sacrificed to Agni. This was done in order to connect with the world of spirits and ancestors. The ancient Indian, Vedic Indra is associated with the goat as a sacrificial animal. A goat was sometimes sacrificed to Indra, there is an indication of this in the Upanishads, but a sacrificial goat was dedicated to the god Agni six to seven times more often. Moreover, the sacrifice of a goat to Indra implied a connection with the ancestors. Indra, as the king of the gods, at the moment of sacrificing a goat to him, took upon himself the function of Agni. There was also a formal basis for this. Agni was the twin brother of Indra. In a number of traditions, twin brothers were treated as one person. First of all, this refers to the ancient Indian tradition: Ashvins, Maruts. In the Greek tradition, these are the Dioscuri - Castor and Polydeuces. Indra, and indeed any king of the gods, personifies his entire kingdom, including chthonic, underground forces. We will talk about the relationship between these forces and the thunderers in this section.

In the future, the function of the goat was taken over by the horse. Hence the contradictions in the interpretation of the image of the horse. The horse, being mainly a symbol of the sun, carries some chthonicity left over from the image of a goat. Being a symbol of the sun or an attribute of the solar god, the horse gradually became an attribute of royal power. With the development of religious teaching, the idea of ​​posthumous retribution, including rewards, appears. The development of these ideas made the horse a guide to the realm of the dead. The horse, as it were, contributes to the reign of the deceased in the afterlife. The sun makes a cycle through the day and night side of the world, so the horse must carry its rider through death to a new rebirth, to a new life.

Scandinavian Thor rode goats and took them for food. Perkūnas led a goat on a rope and sometimes rode it. Zeus was fed in Crete by the goat Amalthea. Aegis or aegis ("goat skin") is an attribute of Zeus. The goat connects the thunderer with the underworld, like a bird or a solar horse with the sky. Without the goat, the thunderer, who, as a rule, is the king of the gods, could not rule the underworld either. Most often, this rule comes down to the possibility of punishment and persecution of dark forces. The goat, in this case, is not only the conductor of the Thunderer, but he is also a kind of military attribute in the fight against dark forces. In this regard, it is similar to the chthonic weapon of the Thunderer. We have already pointed out that, according to ancient views, like should be influenced by like. For example, according to Slavic beliefs, a water (aquatic chthonic creature) can be propitiated with the hair of a black goat, an evil brownie torments all animals in the household, except for a dog and a goat. The Devil has a goat's hoof and one of his favorite victims is a goat. The goat, as it were, disguises the thunderbolt. He finds a way to the chthonic kingdom and makes his companion in some way invulnerable to the forces of this kingdom, he is a kind of amulet. It is known that many ancient Slavic amulets were made according to the principle: from the contrary. The image of the jaw of a predator was protection from predators, the key - protection from thieves, small hatchets or knives - protection from enemy weapons, cookies - a goat (the image of a goat) for the winter holiday Kolyada - protection from dark forces.

Consider another aspect of the connection between the Thunderer and the goat. In the reconstructed Indo-European myth, the thunderer was associated with the mountain, or rather with the rock. The battle of the Thunderer with a serpentine enemy of chthonic origin (in the Russian tradition, Veles (Volos)) was either at the rock, or under the rock, or through the rock. The weapons were, as shown above, stones or some objects of chthonic origin. It is important for us that the goat by its nature is associated with mountains and rocks, and therefore, in this aspect, it can also be associated with the battle of a thunderer and his chthonic opponent. Moreover, he is a goat, he can still provide the thunderer with the help of spirits - the ancestors of people, as a link with them.

So we have established that the weapons and attributes of the Indo-Aryan thunderers are associated with the chthonic forces against which these thunderers are fighting, and this, in turn, is a reflection of the most ancient pre-mythological magic of influencing an object or phenomenon through its likeness.

YARILA, DIONYSUS, FAUN, MANIA, GOAT

Often compared South Slavic Badnyak and Yarila. Yarila is the god of vitality, sexual power - yari. Yaril is wrong, under the influence of Ostrovsky's fairy tale "The Snow Maiden", they compare it with the sun. Yarila bears a sign of strength and fertilization, but this fertilization is earthly, it is chthonic. It is no coincidence that one of the attributes of Yarila is a dead head, an indisputable attribute of death. Yarilo, apparently, is a later Slavic modification of the Lizard, Veles, Badnyak. He is completely akin to the Asia Minor Dionysus. Dionysus is adorned with grape leaves from which wine is made. Yarilo is decorated with hop leaves, from which beer is made. Dionysus and Yarilo are revered noisily, cheerfully. Often the holidays dedicated to them turn into orgies. Girls are kidnapped on the Yarila holidays. The same thing happened on the feasts of Dionysus. Dionysus is chthonic, in many ways corresponds to Veles. it is associated with fertility. Yarila is also associated with fertility, carries a dead head with her, which means she is associated with the world of death. Effinity, gender mixing are present in the figure of Dionysus. Yarila was portrayed by a girl dressed as a young man, which can also indicate the character's bisexuality. Yarila's chthonicity emphasizes the fact that on his holidays it often came to murder and unbridled sexual orgies. The holidays of Dionysus did not differ from the holidays of Yarila in this respect. There were seasonal funerals of Yarila, which corresponds to the veneration of both Dionysus and Badnyak - Veles. The symbol of both Yarila and Dionysus was the phalos. Dionysus came to the Greek Olympus from Thrace, and in Thrace, according to a number of recent theories, Proto-Slavic tribes lived. As an example, let us cite the wearing of an oseledets (forelock) among the ancient Russians, in the Zaporizhzhya Sich and in Thrace. Dionysus, like Yarila, apparently, is a later incarnation of the most ancient Indo-European god Veles - Volos - Lizard - Badnyak. Most likely, the development of the image of Veles in his fertilizing, earthly function led to the isolation of his given hypostasis into the images of Yarila and Dionysus. Yarila's clothes are white. The white color of the Slavs is the color of death, the color of the shroud. White dress bride pointed to her death in the parental family. From this idea comes the custom of mourning the bride as if she had died. In the Apocalypse of St. John, the horse of death is called "the pale horse."

Let us turn to the character of Roman mythology - the Faun. Faun - corresponds Greek god Pan, a member of the retinue of Dionysus. This very fact should draw our attention. Faun (Faunus, from favere, "to help", also Fatuus, Fatulcus, from fatuor, "to be possessed", fando, "to prophesy", Serv. Verg. Aen. VII 47), is considered in Roman mythology the god of forests, pastures, fields , animals. The functions of the Faun largely coincide with the functions of Veles. Faun had a female counterpart - Faun. Faun gave predictions in verse. Boyan, in "The Tale of Igor's Campaign", is called Veles' grandson. Boyan also spoke in verse and gave prophecies, he speaks of this, even if his epithet is "prophetic". It follows that Veles was directly related to prophecies and verses. Faun, when Numa caught him by cunning, was forced to tell how to turn away the lightning of Jupiter. Interestingly, the god Veles also knows how to hide from the lightning of Perun. The faun is chthonic, he can steal children, send nightmares and diseases. The same can be said about Veles. Faun entered into a relationship with all animals and seduced women. This is the quality of the chthonic god of fertility, associated with the most ancient ritual and mystical orgies aimed at the fertilization of all living things. Until the beginning of the 20th century, there was a custom in Rus': during the first spring plowing, a peasant went out alone into the field, made a hole in the ground and performed an act of sacred intercourse with Mother Raw Earth. With his seed, the peasant mystically fertilized all nature, united his masculinity with a female childbearer.

During the festival of the Lupercalia, a goat was sacrificed to the Faun. After the sacrifice, Luperki priests with only a goat skin on their thighs ran around and whipped the women they met with belts cut from the skin of the sacrificial goat. This quilting was supposed to make women fertile. Among other things, Faun, like Veles, was the patron of cattle breeding. Faun, like Dionysus, could also be a development of the image of the most ancient Indo-European god - Veles. He is obviously more archaic than Dionysus and Yarila, he has not yet lost his anthropomorphic features, but he has lost his magical werewolf and the image of a snake. The closer connection of the Faun with the goat, in comparison with Dionysus, suggests that he appeared during the time of matriarchy, at the time of the heyday of female organistic mysteries. Such mysteries, already in ancient Greece, were sharply condemned and preserved for the longest time, perhaps, among the Etruscans and among the plebeians of Rome. The Feast of the Faun was a rite associated with the time of matriarchy. On the feast of the Faun, the terrible chthonic goddess Mania was coaxed. Mania is the goddess of darkness and madness, her cult is associated with the cult of dead ancestors. She, like Veles, was responsible for the posthumous existence of her ancestors. Initially, boys were sacrificed to her (a clear feature of matriarchy). In later times, as in Rus' on the Kupala holiday, a sacrificial doll was made and carried around the city. The boy was placed on a dais so that he could be better seen by the goddess. The boy's head was touched with a knife dipped in the blood of a sacrificial goat. The boy laughed, tried to show madness, and thereby arouse the favor of the goddess Mania. In this holiday, the human sacrifice is replaced by a sacrifice, namely, a goat. The chthonic character of the Faun, and even more so of Mania, is beyond doubt. We have shown the ratio of Faun and Veles. The Roman holiday is similar to the Slavic one and is also interesting because the goddess Mania is clearly the goddess of the times of matriarchy, like the entire ritual dedicated to her. The similarity of the main sacred actions - the sacrifice of a boy to the chthonic gods associated with the cult of ancestors, and his later replacement with a goat, allows us to attribute the Slavic rite of such sacrifice to the time of matriarchy.

Consider this image of the Slavic gods, making the assumption that these images are authentic in their main features. If this is so, then a certain logic should be traced in the composition of the characters and their symbolism. The first we see is the image of Perun in his animal incarnation. It is known that the oldest gods in the Indo-European and other traditions at the beginning had an animal appearance, and only with the development of worldview concepts acquired anthropomorphism - a human form. There are three characteristic features in this image. Archaism - bestiality of the image. A protruding tongue is a symbol of death (see V. Shcherbakov's instructions on the meaning of a protruding tongue in Roman, Greek, Etruscan visual systems and similar depictions of the dead Humbaba in the Assyro-Babylonian tradition). The poured female breast is a symbol of fertility and feeding. Recall that Perun, being a thunderer, was also associated with rain, and therefore soldering / feeding the earth. A protruding tongue may indicate the cyclic annual nature of natural phenomena - the dying and rebirth of nature. Consequently, Perun is depicted as the king of life and death. The next image of Mokosh has the same protruding tongue as an indication of death and seasonality. Images of Mokosh and Khors have goat legs - which determine its chthonicity and connection with fertility. This connects him with the "goat" hypostasis of the Greek Dianis and his goat-footed retinue. Mokosh's body resembles a twisted thread on a spindle, which is associated with her patronage of spinning, including spinning the thread of fate, like Greco-Roman parks. On the head of Khors and Mokosh there are some processes resembling either horns - a sign of chthonicity, or young shoots. Makosh is associated with the generative power of the earth - therefore, an indication of her chthonicity - goat-legged, sprouts on her head, as a symbol of plant life and an indication of cyclicity - the dying of nature (protruding tongue) are fully consistent with her image. Horse is depicted as a ruler. He has a scope - a symbol of power, left hand in a patronizing imperious gesture it is spread over the earth, "sprouts" are on its head. Khorsa is usually associated with the Sun by the etymology of the name "horo" - "kolo" - a circle, movement in a circle, rotation, the wheel of the sun. It is worth noting that the sun, according to the ideas of the ancients, also made a night journey through the underworld, in addition to this, the rotation of the Sun was associated with seasonal changes. In this case, there could be an indication of the hypostasis of Khors as the lord of the underworld, seasonal changes and fertility. Stribog, by the etymology of the name, is associated with the Etruscan god of underground fire Satre and the Greco-Roman Saturn - the masters of the underworld. The large ears at the image of Stribog and Khors indicate the predominant importance of hearing in these gods and, therefore, a certain blindness characteristic of chthonic characters. The fire of Stribog is an underground volcanic fire associated with both the Satra of the Etruscans and Saturn of the Greeks (see I. Belkin's article about Chernobog for more details). The image of one head is an indication of the character's chthonicity (M. Evzlin "Myth and Ritual" 1992). Underground fire and winds (Stribog grandchildren - SoPI) associated with this character affect weather conditions and fertility. We can conclude that all images of the Slavic gods or their incarnations are associated with seasonal cycles and the regenerating fruitful power of the earth. If they were in the same temple, then it was a temple of fertility. We do not find any serious contradictions between these images and the functions of the characters.

Russian folk tale "Kolobok" is a fairy tale about animals.

A fairy tale about how a woman, at the request of her grandfather, baked a bun and "put it on the window to get cold." And the gingerbread man jumped from the window and rolled along the path. While he was rolling, he met various animals (bear, hare, wolf). All the animals wanted to eat the bun, but he sang a song to them and the animals let him go. When he met the fox, the gingerbread man sang a song to her, but she pretended to be deaf and asked the bun to sit on her toe and sing it one more time. The gingerbread man sat on the fox's nose, and she ate it.

The main characters of the tale are the gingerbread man and the fox. Gingerbread man - kind, simple, courageous. Fox - smart, affectionate.

The moral of the fairy tale: "Speak less, think more", "Guess is not worse than reason", "Intelligently conceived, but done without mind", "It is easy to boast, it is easy to fall down."

In the fairy tale there are repetitions of phrases such as "Gingerbread man, bun, I'll eat you", "Don't eat me, I'll sing a song for you." The song of the kolobok is also repeated.

Children should explain such words as bottom barrel, barn, get cold.

The fairy tale meets the requirements for the content of works for children, that is, it is accessible to children's understanding, interesting for children, small in size, the language is simple, the plot develops quickly, a small number of incomprehensible words.

This tale is intended to be read to children of primary and secondary preschool age.

Bibliography

1 Anikin V.P. Russian folk tale / V.P. Anikin - M .: Education, 1977 - 430s.

2 Afanasiev A.N. Folk Russian fairy tale / A.N. Afanasiev - M .: Education, 1980 - 111s.

3 Belinsky V.G. Complete works, vol. 4 / V. G. Belinsky - M .: Education, 1970 - 107 p.

4 Children's literature. Textbook for pedagogical schools. Ed. E.E. Zubareva - M .: Education, 1989 -398s.

5 Nartova-Bachaver S.K. Folk tale as a means of spontaneous psychotherapy. - M., 1996.-S. 3-14

6 Nikiforov A.I. Fairy tale, its existence and carriers / A.I. Nikiforov - M .: Education, 1930 - 105s.

7 Ozhegov S.I., Shvedova N.Yu. Explanatory dictionary of the Russian language / S.I. Ozhegov, N.Yu. Shvedova - M.: Azbukovnik, 1997 - 944s.

8 Pasternak N. A child needs fairy tales like air// Preschool education. - No. 8-2008. -23-35s.

9 Popov L.K., Popov D.K., Kavelin J. Journey to the country of virtues. A guide for parents on education. / L.K. Popov, D.K. Popov, J. Kavelin - S.-P.: Neva, 1997 - 108s.

10 Propp V.Ya. Russian fairy tale / V.Ya.Propp - L .: Lenizdat, 1984 -263s.

11 Propp V.Ya. Historical roots fairy tale/ V.Ya.Propp - L.: Lenizdat, 1986 - 415s.

12 Sukhomlinsky V.A. I give my heart to children / V.A. Sukhomlinsky - Mn .: Narodnaya asveta, 1981 - 287p.

13 Statsenko R. Methods of introducing children to the artistic word / / Preschool education - No. 7 -1980-6-11s.

14 Tkatsky I.L. Hurry to do good // Pioneer - 1990 - No. 5 - 55s.

15 Ushinsky K.D. Collected works. Children's world and reader / K.D.Ushinsky - M .: Education, 1986 - 350s.

16 Franz von M.-L. The psychology of fairy tales. Interpretation of fairy tales. - St. Petersburg, 1998.

17 Yudin Yu. Fool, jester, thief and devil (historical roots of a household tale). Publisher: Labyrinth-K, 2006-336s

International Festival "Stars of the New Age" - 2014

Humanities (from 14 to 17 years old)

"Psychological meaning of Russian folk tales"

Lapaeva Alina, 16 years old,

Work manager:

MBU DOD "House of Children's Creativity"

settlement of Yayva, Alexandrovsky district.

Introduction p. 2

Chapter I. Russian folk tale as an object of study p. 5

1.1. Definition of the concept of "fairy tale" p. 5

1.2. Distinctive features of the Russian folk tale p. 6

1.3. The history of the study of fairy tales p. 9

1.4. Classification of Russian folk tales p. eleven

Chapter II. Analysis of Russian folk tales from a point

view of psychology. 15

2.1. Analysis of the Russian folk tale "Kolobok" p. 15

2.2. Analysis of the Russian folk tale "Turnip" p. 17

2.3. Analysis of the Russian folk tale "The Frog Princess" p. 18

2.4. Analysis of the Russian folk tale "The Ryaba Hen" p. 20

Conclusion p. 23

List of used literature p. 25

Introduction

“Whatever shadow comes over your life:

will you be visited by anxiety about the fate of Russia,

will "black thoughts" come to you

about your personal destiny or just life

seems like an "unbearable wound", remember

about a Russian fairy tale and listen to it

From early childhood, as soon as we begin to realize ourselves, mother reads fairy tales to us. First, these are Russian folk tales, then literary ones. We become older and think about why everything in a fairy tale is not the same as in life.

There is a great educational power in Russian folk tales. They teach us to be kinder, more modest, stronger, more self-possessed. Do we even need fairy tales? Do we understand and interpret them correctly? In the classroom, starting with elementary school, students understand the meaning of fairy tales together with the teacher. We also wanted to look at the Russian folk tale from the other side. It seemed interesting to us to analyze the meaning of the fairy tale from the point of view of psychological knowledge: to understand the motivation of the characters, to evaluate their ways of communicating with each other, the development of personal characteristics, etc.

Our choice fell on Russian folk tales because, firstly, we know them from childhood, and secondly, now much attention is paid to the formation of civic feelings, patriotism, love for the native land, Russian culture. Our school is no exception.

The phenomenon of Russian folk tales was studied by such scientists as, etc.

It should be noted that fairy tales and their heroes are excellent material for pedagogical, psychological, psychotherapeutic, correctional and developmental work. , M.-L. von Franz, N. Pezeshkyan, M. Osorina and others paid attention to various aspects fairy tales in cultural practice. Interesting scientific and practical results are obtained by such a direction of work as fairy tale therapy (T. Zinkevich-Evstigneeva, B. Betelheim, A. Gnezdilov, I. Dobryakov and other researchers).

The classics of psychology have repeatedly turned to the analysis of fairy tales. I also noticed that the characters of fairy tales (as well as myths) express various archetypes and therefore influence the development and behavior of the individual. Another classic, E. Bern, pointed out that a particular fairy tale can become a person's life scenario.

Object of study: psychological meaning of Russian folk tales.

Subject of study: text of Russian folk tales "The Frog Princess", "Turnip", "Pockmarked Hen", "Gingerbread Man".

Purpose of the study: reveal the psychological meaning of Russian folk tales.

Research objectives:

1. Study the concept of a fairy tale.

2. Reveal the distinctive features of the Russian folk tale.

3. Consider the history of the study of fairy tales.

4. Get acquainted with the classification of Russian folk tales.

Research hypothesis: Russian folk tales, in addition to educational potential, have great psychological knowledge, which do not always lie on the surface. They must be considered.

Research methods: analysis of scientific literature and literary texts.

The practical significance of the work lies in the fact that it is necessary to be able to “see” the deeper, hidden meaning not only of fairy tales, but also of texts of any other genre. By revealing it, you can work on yourself to improve yourself, change your life scenario, avoid the negative consequences of some actions, learn from the negative experience of the heroes, not allowing it in your life, etc.

ChapterI. Russian folk tale as an object of study

1.1. Definition of the concept of "fairy tale"

The great writer, linguist, collector and interpreter of Russian words gives two definitions of a fairy tale. In his “Dictionary of the Living Great Russian Language”, the word “fairy tale” is explained as an announcement, message, announcement, as well as a fairy tale - “a mental story, an unprecedented and even unrealizable story, legend”.

Fairy tales are collectively created and traditionally preserved by the people oral prose artistic narratives of such real content that, of necessity, requires the use of methods of implausible depiction of reality.

A fairy tale is a type of narrative folklore that includes various genres and narrative literary genre. Folklore, as well as literary fairy-tale genres, allow a certain amount of fiction, tell about events that are unusual in the everyday sense (fantastic, wonderful or worldly, demonological stories). Reliability fabulous events is sometimes called into question by the narrator himself (in folklore), or the author (in literature), and, usually, by the listener and / or literary reader.

A fairy tale is one of the main genres of folklore, an epic, mostly prose work of a magical, adventurous or everyday nature with a fantasy setting.

Fairy tale: 1) a type of narrative, mostly prose folklore (fairy tale prose), which includes works of different genres, the content of which, from the point of view of folklore speakers, lacks strict reliability; 2) genre of literary narration (literary fairy tale).

Fairy tale - 1) a narrative work of oral folk art about fictitious events; 2) Untruth, lie, fiction, what no one believes (colloquial).

A well-known Russian scientist, writer, jurist, and philosopher gave his definition of a fairy tale in 1942: “A fairy tale is an epic, most often prose work with a fantasy setting, a work with a fantastic plot, conventionally fantastic imagery, a stable plot-compositional structure and focused on listener in the form of narration"

A well-known fairy tale specialist gives a definition of a fairy tale, with which one should agree: “A folk tale (or“ a fairy tale ”,“ a tale ”,“ a fable ”) is an epic oral piece of art, predominantly prosaic, magical, adventurous or everyday in nature with a fantasy setting. The last feature distinguishes a fairy tale from other genres of oral prose: tales, legends and bylichka, that is, from stories presented by the narrator to listeners as a story about real events that took place, no matter how unlikely and fantastic they were.

After analyzing these definitions, we can highlight the common features inherent in a fairy tale:

one of the genres of oral folklore;

There are fictitious events in the fairy tale, there is no authenticity.

1.2. Distinctive features of the Russian folk tale

Fairy tales of different nations also have pronounced national traits. Russian folk tales are extremely diverse, rich in artistic palette and significance. Their national specificity is reflected in the language, in everyday details, in the nature of the landscape, the way of life, mainly peasant.

Russian folk tales have a certain ideological orientation, and, above all, humanism, in which lies its longevity and vitality today.

In a Russian fairy tale, there are traditionally good and evil heroes, well-established epithets: Vasilisa the Wise, Elena the Beautiful, a beautiful maiden, good fellow, spring is red and many others. In fairy tales about animals, certain characters - animals are endowed with "permanent signs": the bear is clumsy, clumsy, strong and kind; gray wolf - fierce, but stupid; sly Fox always comes out "dry" from any situation. The positive heroes of fairy tales: Ivan the Fool, Elena the Beautiful, Vasilisa the Wise are the bearers of folk ideals and high morality.

To the bright world of positive fairytale heroes and their assistants are opposed by the dark forces of this kingdom - Kashchei the Immortal, Baba Yaga, Famously One-Eyed, Goblin, Water - all evil spirits.

Russian folk tales have a traditional composition: beginning (singing) - “Once upon a time ... In a certain kingdom, in a certain state ...” An interesting, unpredictable development of the plot, a climax, with certainly triumphant goodness, and a denouement. A trinity of repetitions is often used in a fairy tale: three roads, three brothers aged 33, etc. Everyday fairy tales, as a rule, of satirical content ridicule stupidity, laziness, greed, negligence. Particularly popular in Russian folklore are tales about sharp-witted peasants and swaggering, stupid and stubborn landowners and priests. They reflect the aspirations and expectations of the people, their confidence in the triumph of justice. It brings goodness, an understanding of justice, an unshakable faith in the triumph of truth, the victory of the forces of light.

In Russian fairy tales, there are often repeated definitions: a good horse, a gray wolf, a red maiden, a good fellow, as well as combinations of words: a feast for the whole world, go where your eyes look, hang your head wildly, neither to say in a fairy tale, nor to describe with a pen, soon the fairy tale is telling, but the deed is not done soon, whether it is long or short.

Often in Russian fairy tales, the definition is placed after the word being defined, which creates a special melodiousness: my dear sons, the sun is red, the beauty is written. Short and truncated forms of adjectives are characteristic of Russian fairy tales: the sun is red, he hung his head wildly, and verbs: grab instead of grab, come instead of go.

The language of fairy tales is characterized by the use of nouns and adjectives with various suffixes, which give them a diminutive - petting meaning: small - little - y, brother - ets, rooster - ok, sun - yshk - ko. All this makes the presentation smooth, melodious, emotional. Various amplifying-excretory particles serve the same purpose: that, that's what, ka (That's a miracle! Let me go to the right. What a miracle!)

Thus, the distinctive features of Russian folk tales are:

1. The presence of fabulous formulas - rhythmic prose phrases:

· “Once upon a time ...”, “In a certain kingdom, in a certain state ...” - fabulous initials, beginnings;

· “Soon the fairy tale affects, but not soon the deed is done” - median formulas;

“And I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth”, “A fairy tale is a lie, but there is a hint in it, a lesson for good fellows”, - a fabulous ending, finale.

2. The presence of "common places" - whole episodes wandering from text to text of different fairy tale plots: the arrival of Ivan Tsarevich to Baba Yaga, where prose is interspersed with rhythmic places.

3. Cliched description of the portrait: Baba Yaga - a bone leg, Vasilisa the Wise.

4. Cliched formula questions - answers: “Where is the way - are you holding the road?”, “Stand in front of me, back to the forest”, etc.

5. A clichéd description of the scene: “on the viburnum bridge, on the currant river”, etc.

6. A clichéd description of actions: the hero's journey on a carpet - an airplane, etc.

7. The presence of general folklore epithets: a beautiful girl, a good fellow, etc.

1.3. History of the study of fairy tales

The word "fairy tale" first appears in the seventeenth century as a term for those types of oral prose that are primarily characterized by poetic fiction. Until the middle of the nineteenth century, fairy tales were seen as "one fun" worthy of the lower strata of society or children, so fairy tales published at this time for the general public were often altered and altered according to the tastes of publishers.

At about the same time, among Russian literary critics, interest was growing precisely in genuine Russian fairy tales - as works that could become the foundation for studying the “real” Russian people, their poetic creativity, and therefore could contribute to the formation of Russian literary criticism. At that time, it was believed that the formation of a national literary school is possible only in the conditions of the existence of “truly folk” literature, for this, in fact, it was necessary to figure out what the origins of Russian spirituality, the Russian national character are.

The study of fairy tales can be carried out from the 18th century, when, in fact, scientific interest in them arose. One of the first scientists who understood the value of fairy tales was a historian who saw in them a reflection of the history and life of the Russian people.

Many writers of the 18th century showed interest in fairy tales, but only at the beginning of the 19th century. they saw in them the expression of the “soul of the Russian people,” as the Decembrist Marlinsky said. He not only found echoes of antiquity in them, but also understood their vital significance.

Belinsky appreciated the historical significance of fairy tales. He especially appreciated satirical tales. In his opinion, fairy tales are very important for the study of folk concepts, attitudes and language. And he considered the tales “About the Shemyakin Court” and “About Ersh Ershovich” to be “precious historical documents”.

From the 50s of the XIX century. in Russia, the first scientific schools in the field of folklore studies began to form. They paid a lot of attention to fairy tales. The so-called mythological school saw in fairy tales necessary material for the study of myths, the direct continuation of which she considered fairy tales.

For the study of fairy tales great importance had a system of historical poetics, which he tried to build. She contributed to the study of many issues related to the fairy tale: its origin, history, structure, typology of plots and their connection with the socio-historical conditions of existence of this genre. Especially valuable were his views on the structure of the tale and its main elements.

Among the scientific works on the fairy tale early XIX V. we should mention the large article by V. Bobrov "Russian folk tales about animals" (1906-1908), in which a detailed description of this type of tales is given. compiled the "Systematic Index of Themes and Variants of Russian Folk Tales" (1911-1914). The book "Russian Folk Tale" (1914) is very important, in which the history of collecting and studying Russian fairy tales is quite detailed.

Of great interest are the works devoted to the Russian fairy tale. From her fascination with the individual characteristics of storytellers, she turned to general issues fairy tales. In 1963 the book "Russian folk tale" was published, in 1965 - "The fate of the Russian fairy tale". In the second of them, the historical path of Russian folk tales is considered in detail.

A valuable study of the fairy tale is the book "Images of the East Slavic Fairy Tale" (1974). It is devoted to the consideration of four main types of fairy-tale heroes: hero heroes, ironic losers, hero's helpers, hero's opponents. Research wears comparative character: the author compares Russian, Ukrainian and Belarusian fairy tales, which makes it possible to highlight their common features and establish national differences in language and style, details of everyday life and features of the image of nature.

1.4. Classification of Russian folk tales

Attempts to identify the types of Russian fairy tales and build their classification began in the first half of the 19th century, when he divided them according to the characters of the heroes (heroes, daring people, fools, smart people, monsters, etc.). But since characters of this type acted in different kind fairy tales, and, moreover, Sakharov did not take into account the fairy tales about animals, then the classification he proposed did not take root in science.

Various researchers of Russian folk tales offered their own classifications. So he divides Russian folk tales into fairy tales:

· about animals;

magic;

adventurous novelistic;

household.

offers his own classification of Russian folk tales:

magic;

· cumulative;

about animals, plants, inanimate nature and objects;

household or novelistic;

fables;

· boring tales.

Tales about animals. The main characters are animals, birds, fish, as well as objects, plants and natural phenomena. In fairy tales about animals, a person either 1) plays a secondary role (the old man from the fairy tale "The Fox and the Wolf"), or 2) occupies a position equivalent to the animal (the peasant from the fairy tale "The old bread and salt is forgotten"). If in world folklore there are about 140 plots of fairy tales about animals, then in Russian folklore there are 119, of which a significant part is not repeated among any of the peoples.

Magic tales. In a fairy tale, a person communicates with creatures that you will not meet in life: Koshchei the Immortal, Baba Yaga, the many-headed Serpent, giants, dwarf sorcerers. Here and unprecedented animals: Deer-Golden horns, Mumps-Golden bristles, Sivka-burka, Firebird. Often, wonderful objects fall into the hands of a person: a ball, a self-shaking purse, a self-assembled tablecloth, a self-made club. In such a fairy tale, everything is possible!

Fairy tales are based on a complex composition, which has an exposition, plot, plot development, climax and denouement. The plot of a fairy tale is based on a story about overcoming a loss or shortage, with the help of miraculous means, or magical helpers. The exposition of the tale tells about all the reasons that gave rise to the plot: the prohibition and violation of the ban on some actions. The plot of the tale is that the main character or heroine discovers a loss or shortage. The development of the plot is a search for the lost or missing. The climax of the fairy tale is that the protagonist or heroine fights against the opposing force and always defeats it (the battle equivalent is solving difficult problems. These problems are always solved). Resolution is overcoming a loss or lack. The hero or heroine at the end "reigns" - that is, they acquire a higher social status than they had at the beginning.

The moral of a fairy tale is always determined by popular ideas about good and evil, i.e., the ideas of the common people about the ideal embodied in the image of positive heroes, who invariably emerge victorious in an uncompromising struggle against evil and injustice. In Russian folk tales, the most popular stories are about the three kingdoms, about the magic ring, about Ivan the Fool, about Sivka the cloak, about Vasilisa the Wise, about Elena the Beautiful, about Kashchei the Immortal, etc.

novelistic fairy tale(household) has the same composition as a fairy tale, but has a qualitative difference with it. In a fairy tale of this genre, unlike a fairy tale, truly miraculous events take place (the worker defeats the devil). In the novelistic tale, there is a trickster - a man. He is from the people's environment, he fights for justice with the great powers that be and achieves this. In their structure, they are close to an anecdote and usually they are permeated with a sharp social orientation. Usually the storyteller represents a peasant, worker or soldier in a setting well known to him.

The novelistic fairy tale accurately conveys the life, the circumstances of the people's life. Truth coexists with fiction, with events and actions that in fact cannot be. For example, a cruel queen is corrected by changing places with the wife of a brawler-shoemaker for several days. In everyday life, the weak and the strong, the rich and the poor are contrasted.

In a household fairy tale (it is not for nothing that it is also called picaresque), theft is quite acceptable. Failures haunt in the fairy tale all those who in real life dominated the people, robbed them, offended them. The peasant takes over the gentleman, the worker - over the priest, the soldier - over the general, and the youngest, offended in the family - over the old tyrants. The beginning of the tale corresponds to the actual, unfair state of affairs, and the end necessarily destroys this injustice.

Cumulative tales are built on the repeated repetition of some link, as a result of which either a “piling up” or a chain arises. The cumulative unit is distinguished:

1. With endless repetition: "The Tale of the White Bull", "The priest had a dog", etc.

2. With final repetition:

· "Turnip" - plot units grow into a chain until the chain breaks;

· “Cockerel choked” - the chain is “untwisted” until the chain breaks;

· "For a rolling pin duck" - the previous unit of text is denied in the next episode.

There are few cumulative tales in Russian folklore. In addition to the features of the composition, they differ in style, richness of language, often gravitating towards rhythm and rhyme.

Fables - they are fairy tales built on absurdity. They are small in volume and often have the form of rhythmic prose. Fables are a special genre of folklore that is found among all peoples as an independent work or as part of a fairy tale, buffoon, bylichka, bylina.

Boring tales. Such fairy tales were created as comic and necessarily funny. They were composed primarily in order to fend off the ardent zealots of fairy tales, but also adults. These works begin with a habitually enticing beginning, and end with a strange ending, when an attentive listener finds himself in unexpected confusion (A crane and a sheep walked around the ring, around the ring: they swept away a stack of hay, can’t we tell from the end?).

Chapter II. Analysis of Russian folk tales from the point of view of psychology

2.1. Russian folk tale "Kolobok" ( fairy tale text see Appendix No. 1)

The tale begins like this: "Once upon a time there was an old man with an old woman." The very beginning of the tale suggests that these old people lived in poverty, alone, because if it was said that a grandfather and a woman lived, then one could assume that they have grandchildren, which means they are not alone.

Psychological characteristics of Kolobok

It can be assumed that this character was good-natured. This can be judged by its shape: round, ruddy. His roundness tells us that he is not in conflict.

Also, Kolobok was cheerful, because he sang songs all the time. At some points, he just seems stupid. You can draw an analogy of the song winnie the pooh about “there is sawdust in my head” and the songs of Kolobok: in his song, he also tells what he is made of, what he consists of. However, the fact that he sang songs suggests that his movement caused him not fear, but joy, and joy does not sit inside, which is why he actively expressed his emotions.

By nature, Kolobok was an extrovert: he did not lie alone on the window, talking with his inner voice, but went on his way.

It can be assumed that Kolobok was an egoist. Firstly, he left his elderly parents, and secondly, when meeting with animals, when they wanted to enter into a dialogue with him, he spoke only about himself, talking only about his life: he would tell and run away. We can say that the communication process was one-sided. He builds relationships on the principle of avoidance: he will tell about himself and slip away.

The inability to build communication is evidenced by the fact that different animals are different types of people. They appear in the form of a hare, a wolf, a bear and a fox. With each of the types of characters he meets, he demonstrates the same model of behavior, instead of finding his own approach to each. It is necessary to be able to build your own strategy of behavior and communication with each type of people.

Another component of Kolobok is his vanity. Hearing the praise of himself, he forgot about the danger. He paid the price for his vanity.

The lines from his song speak of Kolobok's self-confidence: "And I'll run away from you!"

Motives for Kolobok's actions

Consciousness did not control his movements and actions: at first he lay-lay on the window, then he rolled, not realizing where and why. There is no purpose in his movement.

General meaning of the story

1. Who eats Kolobok? Someone who knows how to manipulate people. Now it is fashionable to talk about the ability to influence people. Lisa coped with this task most effectively. Someone who knows how to manage people, knows all their strengths and especially weaknesses, makes good psychologists, managers, lawyers, etc.

2. It is necessary to learn to build relationships with other people, to learn effective communication and interaction.

3. The fairy tale "Kolobok" is a fairy tale about spiritual development. Kolobok ran away, left his social group and began his journey of knowledge. The first on the way met a hare. The hare symbolizes fear, cowardice. Fear is a very huge barrier to achieving a goal. But he runs away from the hare, which means he overcomes fear. The next one is the wolf. The wolf is a predator that lives by killing others. The wolf symbolizes aggressiveness, hostility, irascibility, anger. These are precisely the qualities that hinder the path of self-improvement. But Kolobok overcame them too, ran away from the wolf. Further Kolobok met a bear. He is lazy and self-satisfied. Laziness and complacency are a danger that warns any person who has already managed to achieve something in life. For many of us, indulging in these two qualities means one thing—spiritual death. Our Kolobok overcomes this obstacle as well. But all spiritual development ended when he met the fox, which played on the weaknesses of Kolobok's personality.

2.2. Russian folk tale "Turnip"(for the text of the story, see application number 2)

1. Grandfather could not pull out a turnip. But the grandfather did not lose heart, he found a way out. If you cannot do something alone, it is not necessary to rely only on yourself, be proud and independent, you can call comrades, friends, etc. In any even the most hopeless situation, you need to have people's support. After all, often we are not able to cope with our problems on our own. Taking a step forward, you need to be aware that you have support, and a solid support that will not let you down at the most inopportune moment. The tale teaches us to understand that a single force is needed to solve a specific problem.

2. Grandfather called grandmother. The grandfather, of course, is the head of the family, and the grandmother is subordinate to him. Grandfather turned for help to someone who is hierarchically below him, which means that this is his mistake. But my grandfather had no other choice.

3. The grandmother called her granddaughter. It is interesting that the granddaughter is called not by the grandfather, as the head of the family and the head of the process of pulling out the turnip, but by the grandmother. This is probably because the girl in the family, in the distribution of roles and responsibilities, is, after all, subordinate to an adult woman, and not to her grandfather. Used the last reserve, and the turnip is still in the ground.

4. The granddaughter called Zhuchka. An interesting fact is that the grandfather, grandmother and granddaughter are nameless, and their four-legged friends have names (Bug, Masha). This suggests that these are not just random animals, but members of their family, residents of this house. The girl calls for help the one with whom she plays, with whom she spends more time - the Bug.

5. Who is Zhuchka's name if there is only one cat Masha left, and we know that a cat and a dog rarely get along with each other? The inability to pull out a turnip, which means that the likelihood of remaining hungry, finding yourself in a difficult life situation, unites the family, peace comes to replace hostility. The bug calls, and Masha comes. Here is a test of loyalty to the owners, but by and large- checking whether we can forget our lack of partiality in the face of a common cause, whether we can have this most common thing, and on the other hand: can we even forgive our enemies.

6. When all the resources of this family are exhausted, who to call for help? Masha called her enemy - the mouse. And the mouse came. The motive of the mouse is not clear, because Masha kept trying to eat a mouse in real life, and it is unlikely that she would have been treated to a turnip. According to her reasoning, it should probably be like this: let this Masha suffer with a turnip, as I suffered, running away from her. But a mouse is an animal that, one way or another, lives near people and feeds on their table, their crumbs, supplies, etc. Probably, remembering this, the mouse decided to help them solve their problem in gratitude.

7. The fairy tale showed that in this family everyone lives in peace and harmony, with a clear distribution of family roles and responsibilities. In difficult times, everyone is ready to help another.

8. The smallest of this chain of pullers helped to pull out the turnip. This suggests that even the smallest help cannot be neglected, and also that the loss of one, albeit one weak link, threatens to fail when solving a problem, when working on a common cause.

2.3. Russian folk tale "The Frog Princess" ( see the text of the story. application no. 3)

1. The tale begins with the fact that the king gathered his sons and announced to them his desire to marry them. To do this, he suggested that they shoot arrows: where the arrow hits, there the bride will be wooed. Ivan Tsarevich and his brothers in this situation do not show personal maturity, since the father-king sets a vital goal for them. They do not have freedom of choice either (take the bride from those places where the arrow hits). The heroes do not have an active position, but this is understandable: since the goal was not set by them, then there is no motivation in choosing a bride.

In this case, they act as externals (these are people who shift responsibility for the events happening to them to other people, mature individuals must be internals, that is, take responsibility for themselves).

2. Having received a frog as his wife, Ivan resigned himself, although he was upset. Each time receiving assignments for his wife from his father, Ivan became sad, lowered his hands, again demonstrating a passive position. In these situations, he refused to do anything, did not even offer his wife to think, to discuss the situation in order to find a way out. Ivan obediently went to bed, expecting that the morning would be wiser than the evening.

3. Vasilisa the Wise in the form of a frog, on the contrary, shows activity, wisdom, creativity, the ability to support the weak. Ivan Tsarevich still shows infantilism, rejoicing that his wife completes the task and is not even interested in how she does it. For him, all the problems are now solved by his wife.

4. When the protagonist burns the frog skin, he creates problems for himself and his wife. Here Ivan demonstrates his selfish beginning, indulging only his desires. Vasilisa flies away, turning into a bird.

5. At this stage, the formation of Ivan's personality begins. He shows both search activity, and responsibility for his wife, and independence in choosing, deciding to go in search of his wife. On the way to his goal, Ivan overcomes many obstacles, shows courage, gets to know new characters, learns to accept and provide help, sympathize, appreciate the lives of others. This character gradually becomes a mature person, developing certain qualities in himself, acquiring certain characteristics.

6. When meeting with the old man, Ivan receives a ball that should lead him further. This suggests that it is not always necessary to rely on yourself, to act by the “poke” method, to go “where your eyes look”, and it’s not a sin to ask the advice of an older, more experienced person, use his “guiding tangle”.

7. The ability to negotiate with people, trust partners, coordinate their actions with them can be traced from the scenes of meetings with animals.

8. Returning home with Vasilisa means that Ivan has joined the roots, which creates the impression of stability and stability, confidence in the future.

9. Restoring the integrity of the family and its psychological well-being depends on both spouses: it is necessary to properly distribute roles in the family, to be able to take responsibility for their actions and decisions regarding the family.

10. We suggested that maybe Ivan did a good job of burning the frog skin. Maybe it was necessary for the frog to become a princess? Here, too, there is something to think about. If the person next to you man goes“transformation process”, then it is useful for him to know that he is supported, respected and understood, and not cut off the way back. Conversely, the way back can remain long enough and create a feeling of freedom (if you want to return to the frog skin, please), and you need to let the person understand that he has already grown out of this frog skin, and as soon as he understands this, burn it together.

2.4. Russian folk tale "Ryaba the Hen"(text of the fairy tale see Appendix No. 4)

1. Once upon a time there was a grandfather and a woman. Why not husband and wife? Any woman in the village was called a woman, regardless of her age, but a middle-aged man would be called a man. So the word "grandfather" is a reference to age. It is significant that there are only two of them - a grandfather and a woman, other people are absent. So you imagine a dilapidated hut, two old men who have no one to turn to for help.

2. And they had a pockmarked chicken. The old people lived in poverty, but the chicken, after all, was. They loved her, it can be seen from the way they called her - not a chicken, but a chicken.

3. A chicken laid an egg - not a simple one, but a golden one. And here's the mystery - the testicle turned out to be not simple, but golden. The course of their lives, which seemed to be wound up once and for all, was disrupted. Perhaps here is a hint: constancy is deceptive, while life lasts, everything can change - quickly and at the most inopportune moment. He who stands high may fall, and the fallen may rise. Here, a miracle is sent to the elderly. A golden egg from under an ordinary chicken should be perceived as a miracle even at the household level. It is unlikely that the old people had ever had to hold gold in their hands before, they might never have seen it at all, but they must have heard about it for sure. In any case, the fact that this testicle is not a simple one is quite obvious. And what are their actions?

4. Grandfather beat, beat - did not break. Baba was beaten, beaten - did not break. The listener of the tale - a modern adult - will call such behavior inadequate. What are the signs of inadequacy? The grandfather, and after him the woman, cannot go beyond the stereotype. They are trying to break the golden egg, that is, they are treating it in the same way as before with ordinary eggs. They just don't have any other options left. On the one hand, this is naivety and even innocence. The current pragmatist, knowing the price of gold, would surely find a way to turn a miracle into wealth. However, on the other hand, the grandfather and the woman simply cannot accommodate the miracle that has befallen them. In the end, they don't need a miracle.

5. The mouse ran, waved its tail, the testicle fell and broke.
She pushed the testicle not out of malice, but by chance - she simply waved her tail out of place. And the fault for what happened lies not with the mouse, but with the grandfather and the woman - they left the egg unattended, and they didn’t even put it in the basket, but forgot it on the table or on the bench, apparently where they couldn’t break it. We have to state the neglect of the miracle. If at first the testicle seemed special and aroused interest, then the miracle became boring, especially since it was not possible to get benefit from it. And an unclaimed miracle leaves. The mouse here is only a physical reason, if it hadn't run past, something else would have happened.

6. Grandfather is crying, woman is crying. The motive of their crying is not clear, because they just wanted to break it themselves, but they did not succeed. In addition, it’s probably annoying: it turns out that it was possible to break it, apparently, they just didn’t approach it that way. The reason for their tears, if you follow the logic of the relationship between a man and a miracle, is different. This is repentance. The realization comes that the miracle is selected because of their unwillingness to accept it. This is a feeling of their inner imperfection, spiritual wretchedness, regret over the loss of not gold as such, but an unprecedented phenomenon.

7. And the chicken cackles: “Don't cry, grandfather, don't cry, woman. I will lay you a new testicle, not a golden one, but a simple one. The appearance of a golden egg is perceived as a gift of fate - that's the bitter fate of the grandfather and the woman fell happiness. But they couldn't dispose of it because they didn't know how. But hope is again sent to them, food is again promised in the form of a simple egg. And the golden egg must have been a test, a temptation.

8. The meaning of the tale is also that if you are sent a chance to change your life, then do not miss it, use it, and if you did not use it, then do not cry about missed opportunities, but be content with little, with what you have.

Conclusion

It often happens that the shorter the story, the more meaning it carries. Fairy tales are diverse, like our whole life. In Russian folk tales, you can find an explanation for your actions, compare yourself and the hero, they help us find a way out of difficult situations, build a positive scenario for changing our lives.

The tale shows possible and desirable forms of behavior. The example of Ivanushka the Fool, who pretended not to know how to sit on Baba Yaga's shovel, shows in what cases cunning is effective. In other situations, listening to a fairy tale, learn that there are times when you need to be brave and use direct aggression - draw a sword and defeat the dragon, show your strength or wealth.
A fairy tale, especially a fairy tale, is a source that restores spiritual strength. The ability to use magical power is nothing more than a reminder that additional leverage can be found to solve any problems.

The story allows you to experience emotions. The characters are fictional, of course, but their actions evoke very real feelings. That is - a fairy tale provides an opportunity to learn from the mistakes of others! You can, for example, survive the condition of the sister from the fairy tale "Geese Swans" and find out how hard it will be if "leave your brother and start playing, take a walk."

The story has the power of suggestion. Most often, we tell a story before bedtime, when the child is relaxed, and this is a favorable state for suggestion. Therefore, at night it is desirable to tell positive fairy tales with a happy ending.

Fairy tale prepares for growing up. Unsightly Emelya turns into a handsome groom, little Thumbelina goes through a series of trials and ends up in the country of the Elves. This is nothing more than the story of the transformation of a small person into an adult.

Psychologists believe that a person repeats the script of his favorite fairy tale. Therefore, let all people be surrounded by kind, optimistic, cognitive tales.

List of used literature

1. Anikin folk tale: A guide for teachers. - M.: Enlightenment, 1977. - 208s.

2. Vedernikova folk tale. - M.: Nauka, 1975 - 32 p.

4. Dotsenko space of psychotechnical fairy tale // Journal practical psychologist.- 1999. - Nos. 10-11.- p. 72-87.

5. Zinkevich - Evstigneeva to magic: theory and practice of fairy tale therapy. - M.: Enlightenment, 1996. - 352 p.

6. Pomerantseva features of the Russian post-reform fairy tale. - M .: Soviet ethnography, 1956, No. 4, p. 32-44.

7. Pomerantseva folk tale. - M.: Soviet ethnography. - 1963 - 236 p.

8. Propp the roots of a fairy tale. – L.: LGU. - 19s.

9. Russian Humanitarian Encyclopedic Dictionary: In 3 volumes - M .: Humanit. ed. Center VLADOS: Philol. fak. St. Petersburg. state un-ta, 2002. - 704 p.

10. Fairy tale / / Fasmer M. Etymological dictionary of the Russian language. T. 1-4. M., 1964-1973.

11. Skvortsov of the Russian fairy tale from a psychological point of view // Russian culture of the new century: problems of studying, preserving and using historical - cultural heritage/ Ch. editor. Compound. . - Vologda: Book heritage, 2007. - 708 p.

12. Dictionary of literary terms. – M.: Enlightenment, 1974. – 332 p.

13. Explanatory dictionary of the Russian language: In 4 volumes / Ed. . - M.: State. in-t “Owls. encycle."; OGIZ; State. foreign publishing house and national words, p.

14. Yanichev functions of a fairy tale. - Journal of a practical psychologist, No. 10–11, 199s.

12. http://www. teremok. in/narodn_skazki/russkie_skazki/russkie_ckazki. htm

13. http://old. vn. en

Lesson Objectives:

To acquaint with the features of the fairy tales of D.N. Mamin-Sibiryak.

Development of skills to analyze works, skills of expressive, conscious reading.

Cultivate positive life positions, faith in the best, goodness.

Equipment: a portrait of D.N. Mamin-Sibiryak, an exhibition of books, a scheme for analyzing a literary fairy tale.

Literature: Tales of D.N. Mamin-Sibiryak.

During the classes

1. Creating a situation of success.

2. Orientation-motivational stage-10 minutes.

Exercise 1.

Traveling to the world of fairy tales, we got acquainted with Russian folk and literary tales.

What are their similarities and how do they differ?

Task 2.

- What literary fairy tales have we met and who is their author?

– Tell us about the work of the fairy tale writer P.P. Ershov.

3. Operational-executive stage - 30 minutes.

Formulation of the problem.

– Many writers and poets have worked in the literary fairy tale genre. One of these masters of the word is D.N. Mamin-Sibiryak. He began to work in this genre not by chance. Life forced him. In 1892, the writer's wife dies. And he remains with a sick daughter in his arms. A difficult fate awaited the girl: her mother died, her father was not young, and a serious illness prevented her from counting on a prosperous destiny. The father had to prepare his daughter for life, for its harsh sides, and most importantly, to teach the child to love life.

What fairy tales did the writer create? Who are they about? What is the theme of fairy tales?

Today in the lesson we have to find out, and draw a conclusion, what is the peculiarity of the fairy tales of D.N. Mamin-Sibiryak.

Of course, in order to have a complete picture of his tales, you need to read some of the wonderful tales of D.N. Mamin-Sibiryak.

Therefore, in order for the work to be fruitful, we organize activities in groups. Each group will be given a story and an analysis scheme.

Assignment (group work)

Analyze “The Tale of the Kozyavochka” - 1 group

Analysis of “The Tale of Sparrow Vorobeich” - group 2

Analysis of “Tales about Komar Komarovich” - group 3

Analysis of "The Tale of the Brave Hare" - group 4

Fairy tale analysis gray neck”- 5th group

Performance of the creative team

Exercise 1

- What is the plot of the story?

The basis of the plot of the tale is the birth of Kozyavochka and her collision with obstacles and dangers (bumblebee, worm, frogs). The ending of the tale is the death of Kozyavochka, falling asleep until next spring.

Task 2

• What is the composition of the story?

The story is in three parts:

1 - the birth of Kozyavochka and her view of the world at that moment.

2 - a change in Kozyavochka's worldview due to the events that happened to her.

3 - the end of the life of the Kozyavochka. An analysis of the events that happened to her in life.

Task 3

• Are there magical phenomena, objects?

The magic is that all animals talk.

Task 4

• Describe the characters in the story.

Goat (small insect). At first she is frivolous, but in the course of the plot of the tale she encounters some obstacles that change her character - they force her to adapt to life, get used to difficulties, and successfully overcome them.

The flower is kind, helps the Kozyavochka at birth, fed her.

Bumblebee - angry, formidable, rude, the first negative character that Kozyavochka encountered.

The worm is serious, strict, believing that everything belongs to him: grass and flowers.

Other goats are frivolous, like Goat.

Sparrows, fish, frogs are shown in the tale as enemies that impede the life of Goats.

Task 5

• What is the theme of the tale?

It is impossible to remake the world, it is impossible to change oneself and one's attitude towards the environment for one's own good. No need to be angry with the world, you should realistically assess your capabilities and hope for the best, sacredly believe in justice, goodness.

Task 6

• Tell us about the artistic features of the tale.

- the presence of verbs at the beginning of the sentence gives the narrative movement, speed of action: “How Kozyavochka was born ... Kozyavochka spread her wings, rubbed her thin legs one against the other, looked around. Kozyavochka played, had fun and sat down to rest not a swamp sedge.

- the presence of repetitions in a fairy tale:

The sky is blue-blue; good good! Kind is kind.

- the presence of colloquial vocabulary: - Oh, you trashy Kozyavka, get out!

- the use of diminutive suffixes: goat, worm, flower, sun, grass.

Task 7

• What children will learn about after reading a fairy tale, reveal the cognitive moment.

From the fairy tale, children learn about the life of insects, what they eat, that birds (sparrow), amphibians and fish eat insects.

Task 8

• What does this story teach children?

The child is invited to look at the world through the eyes of Kozyavochka in order to gain a true human worldview. Not everything in the world is simple as it seems, sometimes the environment may seem complicated and cruel, but do not be upset - you just need to find your own approach to each situation, an approach that corresponds to the norms of behavior, the laws of goodness, justice.

(Other groups report similarly)

Self-esteem

4. Reflective-evaluative stage - 5 minutes

So, what are the features of the fairy tales of D.N. Mamin-Sibiryak?

1. The heroes of fairy tales - a fly, a goat, a mosquito, a hare - are emphasized small, weak, invisible, but all the action is welded to their victory.

2. The main themes of fairy tales:

The weak prevail over the strong.
– The invisible find their place in life.
- It is impossible to remake the world to please yourself, but you can change yourself and your attitude to the environment for your own good.
Spiritual strength is more important than physical strength.

3. Action, plots are based on funny, funny incidents.

4. The description of nature occupies an insignificant place. The sketches are short, but very expressive.

5. Fairy tales are educational. Humanizing the characters helps the child to more vividly and vividly present to the child the characteristic properties of animals, their life.

6. Artistic features: the presence of verbs at the beginning of the sentence gives the narrative a special rhythm, dynamics, the presence of repetitions, colloquial vocabulary.

Conclusion: Tales of D.N. Mamin-Sibiryak are a peculiar way of talking between an adult and a child about vital things. The child is invited to look at the world through the eyes of a goat, a fly, a dog, a duck, in order to gain a truly human worldview.

Self-esteem.

• Homework assignment.

Prepare entertaining material based on the fairy tales of D.N. Mamin-Sibiryak.