The meaning of the fairy tale genre in the world art of words. “The role of Russian folk tales in the education of preschool children

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Reflectionse world of Russian fairy talesin arts and crafts

Introduction

fairy tale decorative applied figurative

Currently, the Federal State Educational Standards for primary and secondary schools establish requirements not only for students’ knowledge of various subjects, but also for personal development of the child, forming the integrity of his nature and need independently obtain knowledge, i.e. teach to learn (48, p. 5; 49, p. 3), to believe in yourself and your strengths.

Today, education has a threefold goal: raising a cultured person ( subject of culture), free citizen ( subject of history, civil society), creative individuality ( subject of activity, self-development). If socialization is aimed at forming the external manifestation of human behavior and at a quick result, which can be under external control, then V education is for the development of internal regulators of human behavior, and in this deep and gradual process he is his own controller. Both processes are realized in the same social space. This is how it is formed value concept of the educational process(6, p. 190).

Many scientists and practitioners have studied issues related to the personal development of a student, because Without this, creative activity is impossible. Personality, as we know, is connected with the spiritual essence of a person and manifests itself in his integrity. People’s Artist of Russia B.M. says that in addition to knowledge, skills and abilities, it is necessary to form an emotional, aesthetic attitude to the world through the experience of creative activity. Nemensky in his book “The Wisdom of Beauty” (34, p. 34), believing that the ability of empathy is the foundation of any understanding of a person by a person, his “humanization”.

Social development is the result of the process of a child “growing into” culture (11, p. 47), genuine cultural acquisition and cultural creation (27). B.F. Lomov, Doctor of Psychological Sciences, spoke about the necessity of forming in a person a complex of cognitive, emotional, and practical spheres in his development (28). However, the position of our other scientist V.P. is absolutely fair. Zinchenko regarding the fact that culture is a very important external source of development, but it is powerless when the individual’s internal sources and driving forces for self-development dry up (20, p. 151).

Education today must have the ideological and organizational potential to carry out a protective function in relation to the spiritual values ​​that culture and art preserve for us. The teacher must provide children with pedagogical support, include their inner spiritual strength, paying attention to the creative potential of Russian culture. No wonder our wonderful classic teacher V.A. Sukhomlinsky wrote about a child’s passion for the noblest creativity - creating joy for people, as is typical for art itself (47, p. 242). Art shapes the ability to be happy: the happiness of communication, mutual understanding, as well as the happiness of creative work.

The values ​​accumulated by art should become a means of humanization, the formation of moral and aesthetic responsiveness to the beautiful and the ugly, and the vigilance of the child’s soul. In simple terms - you need solve the problem of development of the child’s personality, not only his socialization, but also education (rather, self-education, leading to the possibility of choice), to form in him a moral immunity against the ugly in life, so that he can resist the negative manifestations of the environment.

Our contemporary, the famous innovative teacher Sh.Ya. Amonashvili defines the priority goal of art education as the spiritual and moral development of the child, i.e. the formation in him of qualities that meet the ideas of true humanity and kindness (1, p. 9).

A B.M. Nemensky, the leader of the creative team that created the “Fine Arts and Artistic Work” program for the secondary education system (22-25), considers the goal of this academic subject in elementary school to be “the formation of the artistic culture of students as an integral part of spiritual culture, i.e. culture of world relations developed by generations” (22, p. 3; ibid., p. 9). For basic school education, from his point of view, the goal is: “the development of a value-based, aesthetic development of the world as a form of self-expression and orientation in the artistic and moral space of culture” (23, p. 3).

Emotional, valuable, sensory experience expressed in art can only be achieved through own experience- living an artistic image (23, p. 6), expressing in form the content of a work of art; for children - this is the animation of nature, holistically reflected in folklore and works of folk art through images, signs, symbols by skilled craftsmen (otherwise the perceptions of the perceiver of art will turn out to be unimageable, i.e. ugly).

There is enormous potential for the development of humanity and kindness in a child in parables and fairy tales, experiencing which he, together with the hero, acquires moral qualities and reveals his creative potential. The main thing is that it forms an attitude towards oneself, towards others, towards culture and art, towards the surrounding world, towards activity (and this is already good manners).

Russian fairy tales give a holistic picture of a person. Its allegorical form encourages the reader to think for himself, creates a series of questions, the search for answers to which stimulates personal development. The influence of a fairy tale is aimed at maintaining the integrity of any person. Scientists V.Ya. Propp dealt with the issues of systematizing a fairy tale, identifying its specifics, motives, and plots. (41, 42), Zueva T.V. (21), Korepova K.E. (26) and many more. etc. Today, many therapeutic fairy tales have been created (the issues of fairy tale therapy are dealt with by Zinkevich-Evstigneeva T.D. (19), Bezlyudova M.M. (3), etc.). But few people, for this purpose, turned to the study of the pedagogical potential of Russian folk arts and crafts. One cannot help but remember with gratitude the name of the remarkable DPI researcher, ethnographer and teacher V.N. Polunina (40).

So for me, as a teacher of fine arts, the relevance of the problem stated in this work was revealed: the reflection of the world of Russian fairy tales in folk arts and crafts and in children's creativity.

Object My research is the artistic image of a Russian fairy tale.

Subject - perception of fairy-tale images in folk arts and crafts and in children's creativity.

Purpose of the study: to study the features of the Russian fairy tale, to determine the relationship of its spiritual meaning with the essence of folk applied art and, more broadly, with the fine arts, to identify what are the possibilities of their perception in the development of the personality of students.

The goal is identified through setting the following tasks:

to trace the possibilities of a fairy tale, the figurative language of metaphor for the formation of a person’s inner world, instilling in him a respectful attitude towards history, Russian culture, and the moral values ​​of the people;

analyze the symbolic language of decorative art, the reflection of magical fairy-tale images (images of flowers, birds, horses) in folk art;

study the work of storytellers;

to develop a methodology for conducting classes with primary and secondary school students in fine arts lessons in order to determine the potential of Russian fairy tales and folk art for the development and education of children's personality.

Hypothesis lies in the fact that with the help of living a fairy tale, a child is able to develop a value-based attitude towards the world and take a creative position in visual activity, revealing his inner potential, i.e. learn to believe in yourself and not be afraid of open tasks like “go there - I don’t know where, bring that - I don’t know what”, develop the ability of empathy, learn reflection and self-regulation. In addition, he has the opportunity to create a drawing and write his own fairy tale. Those. the teacher can use the potential of a fairy tale, putting the child in the position of the main character, forming his belief in his own strength, responsibility, ability to solve complex problems, live and gain personal experience, absorbing the spiritual wisdom of the Russian people.

M methodology and methods:

· the work is built within the framework of humane-personal and activity-based approaches to pedagogy, in the understanding of the school art lesson as a window into the world of culture, revealed in the works of Birich I.A. (6), Nemensky B.M. (34, 35), Amonashvili Sh.A. (1), Seliverstova E.N. (45), Shcherbakova S.I. (53) and others;

· there is an analysis of sources (scientific literature and Internet materials);

· systematization of available materials about fairy tales and folk arts and crafts is carried out;

· literature on art criticism is used.

1. Russian fairy talehow aboutthe emergence of the people's worldview

1.1 Taleka - source of folk wisdom

Our life journey begins in the world of fairy tales. Our grandmothers read them to us, our parents tell us, as we grow up, we read them ourselves, and as we grow up, we tell them or read them to our children and grandchildren. This is how it has always been and will always be. After all, fairy tales are an inexhaustible source of folk wisdom; they reflect our past, present and future. (53, p. 173)

The fairy tale is one of the oldest genres of traditional Russian folklore. Telling fairy tales in Rus' was perceived as an art; good storytellers were highly revered by the people. Unfortunately, today not all children read fairy tales; many do not even know the main fairy-tale characters, i.e. The connection between generations and closeness to nature is broken, we may lose those moral roots and traditions that have existed for many centuries.

The term “fairy tale” itself appeared in the 17th century, and was first recorded in the charter of Voivode Vsevolodsky. Until this time, the word “fable”, a derivative of the word “bayat”, that is, to tell, was widely used. The first collection of Russian folk tales appeared in the 18th century. IN AND. Dahl, in his dictionary, interprets the term “fairy tale” as “a fictional story, an unprecedented and even unrealizable tale, a legend” and cites a number of folk proverbs and sayings associated with this type of folk art, for example the famous “neither to say in a fairy tale, nor to describe with a pen.” This characterizes the fairy tale as something instructive, but at the same time incredible, a story about something that cannot actually happen, but from which everyone can learn a certain lesson (14).

Many collectors of fairy tales (Rybnikov, Hilferding, Barsov, Onchukov) revealed to us the names of folk master storytellers T.G. Ryabinina, V.P. Shchegolenka, I.A. Kasyanov, Fedosova, Chuprov. At the beginning of the 20th century, a whole series of collections of Russian folk tales was published, incorporating the pearls of folk art, and first of all we turn to Russian folk tales processed by A.N. Afanasyeva (2).

A huge amount of work on the classification of Russian fairy tales was carried out by the Russian philologist V.Ya. Propp (41, 42). He showed what a fairy tale consists of, how it “puts together”, gave an idea of ​​its heroes, the system of events and the role of the fairy tale characters in them, the wealth of visual means and the imagery of folk speech. He saw folk tales as reminders of totemic initiation rituals.

The scientist identified fairy tales of six plot types:

· tales about snake fighting (the hero’s struggle with a wonderful opponent);

· tales about the search for and liberation from captivity or witchcraft of the bride or groom;

· tales about a wonderful helper;

· tales about a wonderful object;

· tales of miraculous power or skill;

· other wonderful fairy tales (fairy tales that do not fit into the first five groups).

He also developed a typology of fairy-tale characters, identifying seven types of characters according to their functions:

· pest (antagonist),

· donor,

· wonderful helper,

· kidnapped hero (requested item),

· sender,

· false hero.

V.Ya. Propp identified 31 functions of the characters (42) in a fairy tale (the so-called Propp cards). The meaning of Propp's discovery is that his scheme applies to all fairy tales. A holistic analysis of fairy tales allows us to consider all the nuances of the artistic structure in close connection with the content of the work and thereby contributes to a higher level of understanding of its ideological content, visual features and artistic merits.

Russian folk tales are distinguished, first of all, by their educational orientation: let us at least remember the famous saying that “a fairy tale is a lie, but there is a hint in it.” They glorify moral values, such as willingness to help, kindness, honesty, and savvy. They are one of the most revered genres of Russian folklore due to their fascinating plot, which reveals to the reader the wonderful world of human relationships and feelings and makes them believe in miracles. Thus, Russian fairy tales are an inexhaustible source of folk wisdom, which we still use today.

There is not a single person who does not know at least one fairy tale, who would not be captivated by its beauty, warmth, cheerfulness and resourcefulness. In all fairy tales, Good defeats Evil. The fairy tale teaches us to love and forgive, to overcome fear. In a fairy tale, together with the hero, we go through tests and solve riddles. She shows us the way to find happiness - this is common, free and joyful work. It is in this that the generosity of the human heart manifests itself.

In a fairy tale, a special, mysterious world appears before the listener. In the fairy tale, there are extraordinary fantastic heroes, good and truth defeat darkness, evil and lies. This is a world where Ivan Tsarevich rushes through the dark forest on a gray wolf, where the deceived Alyonushka suffers, where Vasilisa the Beautiful brings scorching fire from Baba Yaga, where the brave hero finds the death of Kashchei the Immortal (50).

Some of the fairy tales are closely related to mythological ideas. Such images as Frost, Water, Sun, Wind are associated with the elemental forces of nature. The most popular of Russian fairy tales are: “The Three Kingdoms”, “The Magic Ring”, “The Feather of Finist - the Clear Falcon”, “The Frog Princess”, “Kashchei the Immortal”, “Marya Morevna”, “The Sea King and Vasilisa the Wise”, “ Sivka-Burka”, “Morozko”, etc.

The hero of a fairy tale is courageous, fearless. He overcomes all obstacles in his path, wins victories, and wins his happiness. And if at the beginning of the fairy tale he can act as Ivan the Fool, Emelya the Fool, then at the end he certainly turns into the handsome and well done Ivan Tsarevich.

We all, getting into the fairy-tale world, cry and laugh, love and suffer, together with the hero we fight and defeat the Serpent Gorynych. A fairy tale always draws us into its world, makes us suffer, worry, and rejoice. It makes us think, because “it contains a hint, a lesson for a good fellow.” There is so much meaning in a fairy tale that it can: support, encourage in difficult times, cultivate in a child that trait that he really lacks, replacing edification with a beautiful story. A fairy tale is simply a pleasure from the subtlety of the human mind, the accuracy and beauty of the Russian language. The heart skips a beat with surprise, and the soul soars with admiration. A fairy tale always contains a “hint, a lesson for good fellows” and carries a certain psychological message, making you think about your worldview and actions. This is the oldest and very wise source of moral knowledge (46, p. 6).

The fairy tale speaks in the language of metaphor (“Not the friend who smears honey, but the one who tells the truth”), which in a compressed form, appealing simultaneously to the conscious and subconscious, conveys to us the spiritual depth of Russian culture, archetypal symbols, teaching us to imagine images in our imagination and shaping our consciousness (29). Thanks to a fairy tale, a child learns about the world not only with his mind, but also with his heart. The fairy tale calls for a fight against evil, against the enemies of the Motherland, to defend justice. A fairy tale helps to believe in the power of good. The actions of fairy-tale characters instill wonderful feelings in us: love, kindness, trust, beauty, tenderness. We experience pleasure, happiness, joy from their victories and exploits; We are upset at their failures, we stigmatize evil, and we believe that it will be punished. Fairy tales teach us to dream, hope, believe, love, trust, and express our attitude towards good and evil.

A fairy tale is truth and fiction at the same time. Proverbs and sayings are also a source of folk wisdom: “Where there is work, there is good,” “Don’t spit in the well - you’ll need to drink the water.” They reflect everyday life, customs and very often echo fairy tales.

A fairy tale is a fertile and irreplaceable source of moral perception of the world.

1.2 Fairy-tale images in decorative and applied arts

The fairy tale knows a secret source in which dreams, hopes, and aspirations are hidden. She knows everything, and that is her great wisdom, which is not appreciated by everyone.

Man has long begun to strive for creativity and beauty. After all, beauty always brings joy to people. Admiring nature, its wisdom and harmony, man began to decorate his home, household items, and labor. At the same time, nature has always been his teacher. For centuries, people have been selecting perfect forms and joyful combinations of colors from nature, surprising and delighting with their ingenuity and taste. Russian nesting dolls, Dymkovo toys, wooden Khokhloma products, Gzhel ceramics, lacquer miniatures by Palekh masters, Vologda lace, Zhostovo trays belong to the best examples of decorative and applied art, which is most firmly connected with the everyday life and everyday life of a person (12, 13, p. 66 -105).

Language and folk arts are historical memory, morality, and the spiritual wealth of the people. In Russian folk art, eternal images of Flowers and Herbs, a Horse, a Bird, a Woman, and the Tree of Life have been preserved to this day. Just as a person’s figurative cognition of the world could be “verbal, thing, effective,” so in the process of this cognition metaphors-words, metaphors-things, structures, metaphors-actions were born.

It is important to learn for yourself to distinguish between the artistic richness of folk art monuments. kingdom of copper(artistic style, as in a fairy tale, it is significant for its plastic, graphic and color expressiveness), kingdom of silver(moral ideals of the people, generous work, faith in good, fight against evil, it is important to feel this with your heart), kingdom of gold(the intimate knowledge of the people about the world, giving folk art the necessary significance in the historical path of development of art and the people) . These three facets are harmoniously integrated in the monuments of art into a single whole, which contributes to the penetration into the world of the spiritual heritage of our people, without comprehending which the revival of Russia is impossible (40, p. 58).

Since ancient times, man has admired nature, flowers and herbs. Flower in Rus' it meant chastity, today it means joy, a wish for happiness. A flower is a flower, but we are amazed at its vitality, how it breaks through the asphalt, what strength is hidden in it. Let us recall the fantastic sprout “krin” - a symbol of the spring revival of nature in the art of Ancient Rus', a talisman, protection of the clan; in every seed, bud, the potential of the future flower is hidden (in the same way, in a child we do not always see his future potential, which is hidden for the time being). The most beautiful of the Goddesses - Mother Lada - came to people across the rainbow with a baby and an armful of flowers in her hands. Plants have served man since ancient times. Healers have known about the medicinal properties of flowers, herbs, and fruits since ancient times.

Fern flower- a fiery symbol of Purity of Spirit. Has powerful healing powers. People call it Perunov Tsvet. It is believed that he is able to open treasures hidden in the earth and make wishes come true. He gives a Man the opportunity to reveal his Spiritual Power and Abilities (57). Anyone who gets the Heat-color becomes a prophetic person, knows the past, present and future, guesses other people's thoughts and understands the conversations of plants, birds, reptiles and animals. Charming and tender white water lily- nothing more than the famous fairy-tale overpowering grass. From time immemorial, folk craftsmen have depicted flowers and herbs with great love, decorating products and their homes.

In the products of folk craftsmen, images that come from pagan beliefs and legends, folk epics and fairy tales come to life. One of these images is bird.

With what love V.N. Polunina talks about the figuratively expressive Severodvinsk festive ladle-bird as a thing - a bird that has sailed to us from its distant place, a good messenger, a hope that needs to be passed on to children (40). And art critic A.K. Chekalov (52) surprisingly beautifully describes this image of a bird as an example of the unity of all plastic means, when both material and form, organically merging with the decor, equally participate in creating the image of the bird’s things, when the master is puzzled not by conveying the quality and features of a certain type of bird, but creates a symbolic image of a meal in which all the elements of Nature participate - Sky-Water-Earth-Sun, creates a mythological image-thing, a thing-metaphor. This is when decor does not seem to be deprived of its high purpose, not only to decorate, but, above all, to carry the magic of a thing as part of a general ritual.

The bird is a fairy-tale character who can not only sing beautifully, but also give people joy! The depiction of birds on household items (spinning wheels, cutting boards, huts, embroidery and folk toys) carried enormous philosophical meaning and significance. Legends have been preserved telling about wonderful birds - this is the Bird - Heat from the Golden Khokhloma (36), these are the Sirin and Alkonost birds from Russian epics, this is the Arkhangelsk Chip from the Far North.

There is a familiar legend : In the far north, in the Arkhangelsk province, there lived a hunter. Winter in the north is long and cold: sometimes a blizzard, sometimes a blizzard, sometimes a severe cold. And this year winter lingered for a long time; It chilled the human habitation, and the hunter’s youngest son fell ill. He had been ill for a long time, lost weight, turned pale; Neither the doctor nor the healer helped. Woe to the hunter. I feel sorry for my son. The hunter asked his son: “What do you want?” The boy whispered quietly: “I want to see the sun...”. Where can you get it in the north? The hunter became thoughtful and heated the fire to make it warmer. But fire is not the sun. The hunter noticed a splinter that glowed in the glare of the fire. His face lit up with a smile; and he understood how he could help his son. The hunter worked all night. I cut out a bird from a log, cut chips from a splinter, and decorated them with openwork carvings. He hung the bird over his son’s bed, and the bird suddenly came to life: it began to spin and move in the streams of hot air that came from the stove. The boy woke up, smiled and exclaimed: “Well, here comes the sun!” From that day on, the child began to recover quickly. So they attributed miraculous powers to the wooden bird and began to call it « holy spirit» , guardian of children, symbol of family happiness.

The bird was compared to the sun. Therefore, in ancient times, people believed that birds, with their sonorous singing, drive away winter darkness and cold and bring spring and warm summer on their wings. People were especially preparing to welcome spring. Images of larks were baked from dough; children ran with these gingerbread cookies from house to house, planting them on branches and in thawed patches. So they asked the birds to bring spring on their wings.

Since ancient times, the image of a bird has often been present in fairy tales of different peoples of the world. It can be evil, it can be good, but more often the image of a bird brings happiness, light, and good luck to people, as it is associated with female images of goddesses. We see the image of a bird in fairy tales: “The Swan Princess”, “The Tale of Tsar Saltan”, “Finist - the Clear Falcon”, “The Firebird”, etc.

In decorative art, the image of the bird of happiness can be found in embroidery, wood carving, folk crafts of Gzhel, Khokhloma, Gorodets painting, Mezen, etc. d. And how many interesting images of birds you will find in folk toys: here is a turkey in a Dymkovo toy. The rich imagination of folk craftsmen turns the most ordinary domestic birds into fabulous creatures. From three or four primary colors - red, yellow, green and blue on a white background - the artist creates an amazing spectacle. The origin of the craft is associated with the ancient folk holiday “Whistling”, for which throughout the winter craftswomen prepared a variety of whistles in the form of horses, riders, cows, and birds. Birds symbolized light, warmth, and fertility. They were depicted in the house so that it was always warm and light. This is how they attracted the sun and happiness.

Gzhel (54.55) is associated with tenderness, beauty, harmony, and fairy tales. Gzhel products attract everyone who loves beauty, rich in imagination and harmony, and the high professionalism of their creators. Gzhel is the cradle and main center of Russian ceramics. And here we see amazing fairy-tale birds surrounded by harmony of floral motifs and ornaments. It is here that the pan-European image of the Blue Bird is embodied - a symbol of happiness and dreams coming true (43).

The painting, which is now called Gorodets, was born in the Volga region. You will never confuse the joyful colors of Gorodets painting, its birds with outlandish tails in the shape of a butterfly wing, with anything else. Gorodets painting comes from an icon, and, just like an icon, there is a lot of symbolism in it. The horse in it is a symbol of wealth, the bird is a symbol of family happiness, and the flowers are a symbol of health and prosperity in business (56).

Look at the Gorodets birds - they always have a fat belly. Such an outline of a bird is a tradition, and trying to thoughtlessly change it is the same as depriving an ancient symbolic image of its meaning. Perhaps this “unaesthetic” belly just symbolizes the birth of a new life and is the key to family happiness! We need to respect tradition and draw birds the way thousands of artists before us painted them.

The bird in Gorodets painting has a distinctive silhouette: it has a flexible neck and chest line (sinusoid), a tail in the shape of a butterfly wing, a thread-like beak and legs. The traditional coloring of the bird is: the body is black, the tail is cherry red (kraplak), the wing is green.

At the Firebird in Khokhloma painting(51) The image of the bird has rounded, soft shapes that look like petals and are decorated with smooth curls. The bird looks like a flower or some part of it. And how amazing the firebird is (62). She lives in the thirtieth kingdom in the garden of the Tsar Maiden or Koshchei the Immortal. During the day, the Firebird sits in a golden cage, singing heavenly songs to the Tsar Maiden. At night she flies out into the garden, flies around the garden - the whole of it lights up at once! That miracle bird feeds on magic golden rejuvenating apples, which returns strength, health and youth to the sick and old. After this bird, which brings great happiness to the hero who masters at least one of its feathers, one after another, good fellows from fairy tales set off on an unknown path. You and I see a bird - a symbol of goodness, peace, love! (16.17)

IN Petrikovskaya painting Images of birds occupy an important place. Birds - peacocks, roosters, cuckoos, etc. - are distinguished by decorativeness and richness of color. The image of a bird in the Petryakov painting is beautiful and elegant (38). You can simply admire the works in which the miracle of birds and flowers fabulously reflect the real beauty of nature, the soul of the people, their mythology, songs and love for life and beauty. In Petrikovskaya painting, of course, floral patterns predominate, but many masters, in addition, depict various birds, both real and fabulous (cockerels, owls, firebirds, rooster, cuckoo, etc.). In the composition However, there must always be balance. The birds are placed so that the flowers around them balance the design, but there should be free space between them. The selection of colors in Petrykivka painting has one of the leading meanings. Colors are selected in warm, cold or mixed tones. The center must be highlighted with the main color; the main elements are made larger than the others and more magnificent. To emphasize the basis of the composition, accents can be highlighted in a contrasting color.

The charm of art Zhostovo- in sincerity, spontaneity of its content and means of expression. Garden and wildflowers - both real and those born of the artist’s imagination, collected in bouquets and spread out in wreaths and garlands, magical birds and horses - these themes find a lively response in every person, awakening a sense of beauty (18). The means of art in Zhostovo are clearly expressive. It has its own artistic system, painting techniques and original style, formed from an alloy of ornamental folk paintings. Each tray is a unique author's work.

Majestic and solemn, the embroidery compositions brought to us echoes of the pagan mythology of the ancient Slavs. Scientists believe that female figures, images of horsemen and birds were symbols of Nature and its subordinate elements of fire, water and air.

Horse in Russian folk tales it was often compared to a bird. He also personified all natural phenomena associated with rapid movement - wind, storm, clouds. But he was a male symbol of the Gods. The horse was often depicted as fire-breathing, with a clear sun or a moon on its forehead, and with a golden mane (44).

Horse- a peasant breadwinner, the support of the entire economy, one of the most ancient and beloved images of folk art. The horse was as necessary for the peasant to grow bread as the sun itself. The sun took on the form of a horse, and horse as if acquiring the power of the sun. It was believed that folklore horses, like birds, had wings. They easily galloped from mountain to mountain, across seas and rivers and were distinguished by their size and strength.

“The horse is running - the earth is trembling, sparks are pouring out of its eyes, and smoke is pouring out of its nostrils. It skips mountains and valleys between its legs, covers small rivers with its tail, and jumps over wide rivers,” says one of the fairy tales.

In folk tales, heroes find miracle horses inside mountains, in dungeons, behind cast-iron doors, on iron chains. The image of the mountain is a reimagined image of a cloud, and the doors and chains metaphorically represent the shackles of winter. Among many peoples, the morning dawn was revered as a goddess who brings the brilliant horses of the sun into the sky, and the evening dawn was considered a goddess who leads horses to rest.

In the fairy tale “Vasilisa the Beautiful,” the heroine went to Baba Yaga to ask for fire to light the house, and met fairy-tale horsemen in the forest: “Suddenly a horseman gallops past her: he is white, dressed in white, the horse under him is white and the harness on the horse white - it was dawn in the yard. She goes further, as another horseman gallops: he himself is red, dressed in red and on a red horse - the sun began to rise. When the girl got to Baba Yaga’s hut, she looked: another rider was riding: he was black, dressed all in black and on a black horse, galloped up to the gate and disappeared - night came.” At the meeting, Baba Yaga explained to Vasilisa that the white horseman is a clear day, the red horseman is the clear sun, and the black horseman is a dark night.

A wooden horse, made for children's fun, was often completely decorated with solar signs or flowers . It was believed that this protected the child from evil forces. Images of horses can often be seen on household items (bucket handles, spinning wheels , spindles, on clothes) . In Russian villages, skates still decorate the roof, the upper part of which bears the same name: this is the ancient Russian God Rod protecting his relatives by covering the hut with his wonderful wings. There is a widespread custom of nailing a horseshoe over the entrance to a house for good luck.

We see images of birds and horses in folk embroidery, gold embroidery, lace weaving, and tiles. The creation of these images in decorative and applied arts, I think, is inexhaustible.

We go to a fairy tale along the road of Goodness and Beauty. Good luck!

1.3 Russian artists - fairy tale illustrators

Have you ever been in a hut on chicken legs? Among many Russian painters who sought inspiration in folk history, culture and poetry, V. Vasnetsov occupies a special place. The artist admitted: “I have always been convinced that ... in a fairy tale, in a song, in an epic, the entire image of a people, internal and external, with the past and present, and maybe the future is reflected ...” (8, p. 476). In his painting “The Guslars” are singer-storytellers. In their epic songs, the images of their favorite heroes come to life, becoming a kind of chronicle of folk history.

The name of Viktor Mikhailovich Vasnetsov is one of the most famous and beloved among the names of Russian artists of the 19th century (37). His creative heritage is interesting and multifaceted. He was called “the true hero of Russian painting.” He was the first among painters to turn to epic fairy-tale subjects. “I only lived in Russia” - these words of the artist characterize the meaning and significance of his work. Paintings of everyday life and poetic paintings based on Russian folk tales, legends, and epics; illustrations for the works of Russian writers and sketches of theatrical scenery; portrait painting and ornamental art; paintings on historical subjects and architectural projects - such is the creative range of the artist.

But the main thing that the artist enriched Russian art with is works written on the basis of folk art. What paintings by Viktor Vasnetsov can be considered the most famous? Anyone will answer that these are the famous fairy-tale works of the master: “Bogatyrs”, which some will call “Three Heroes”, the gentle, thoughtful “Alyonushka” and, perhaps, an equally famous creation - “Ivan the Tsarevich on the Gray Wolf”. Why are these particular works so clearly imprinted in the memory of most people? Perhaps this is due to primordially Russian images or soulful fairy-tale motifs that are passed on to new generations, already at the level of folk memory, and have in some ways even become a reflection of the history of Ancient Rus'.

"Bogatyrs"(1881-98), which we admire, took about thirty years of the master’s life. That’s how long he was looking for that single idea of ​​three images personifying the soul of the Russian people. Ilya Muromets is the people's strength, Dobrynya Nikitich is his wisdom, Alyosha Popovich is the connection between the present and the past with the spiritual aspirations of the people.

Viktor Vasnetsov himself admitted that the fabulous “Alyonushka” (1881) is his favorite work, for the creation of which he traveled from Moscow to his native place. And to convey greater insight to the image, he attended many classical music concerts. Every twig, flower and blade of grass sings a song of praise to Russian nature, glorifying the beauty, freshness and at the same time sad thoughtfulness of the main character.

An equally famous work, “Ivan Tsarevich on the Gray Wolf” (1889), reveals to us the author as a deep connoisseur of everything that is called “the soul of the Russian people.” The fairy-tale characters of the beauty and the prince talk about the time when people knew how to listen and hear nature.

The works of the great master of Russian painting became the world image of everything Russian and folk in painting of the late 19th century.

Another wonderful illustrator - Bilibin Ivan Yakovlevich(1876-1942). He expressed his impressions not only in images, but also in a number of articles (4, 5). Since 1899, creating design cycles for editions of fairy tales (Vasilisa the Beautiful, Sister Alyonushka and Brother Ivanushka, Finist the Clear Falcon, the Frog Princess, etc., including Pushkin’s tales about Tsar Saltan and the Golden Cockerel), he developed - using the technique of ink drawing, highlighted watercolor, - a special “Bilibino style” of book design, continuing the traditions of Old Russian ornament (4).

In the summer of 1899, Bilibin went to the village of Yegny, Tver province, to see for himself the dense forests, clear rivers, wooden huts, hear fairy tales and songs, and began to illustrate Russian folk tales from Afanasyev’s collection. Over the course of 4 years, Bilibin illustrated seven fairy tales: “Sister Alyonushka and Brother Ivanushka”, “White Duck”, “The Frog Princess”, “Marya Morevna”, “The Tale of Ivan Tsarevich, the Firebird and the Gray wolf”, “Feather of Finist Yasna-Falcon”, “Vasilisa the Beautiful”. Bilibin did not create individual illustrations, he strove for an ensemble: he drew the cover, illustrations, ornamental decorations, font - he stylized everything to resemble an old manuscript.

For all seven books, Bilibin draws the same cover, on which there are Russian fairy-tale characters: three heroes, the bird Sirin, the Serpent-Gorynych, the hut of Baba Yaga. All page illustrations are surrounded by ornamental frames, like rustic ones

Bilibin. Red horseman window with carved platbands. They are not only decorative, but also have content that continues the main illustration. In the fairy tale “Vasilisa the Beautiful,” the illustration with the Red Horseman (sun) is surrounded by flowers, and the Black Horseman (night) is surrounded by mythical birds with human heads. The illustration with Baba Yaga's hut is surrounded by a frame with toadstools (what else could be next to Baba Yaga?). But the most important thing for Bilibin was the atmosphere of Russian antiquity, epic, fairy tale. From authentic ornaments and details, he created a half-real, half-fantastic world.

The horse was necessary for the peasant to grow bread, just like the sun itself. Images of the sun and horse in folk art merge into one. In the poetic ideas of the people, a rider on a horse freed spring from winter captivity, unlocked the sun, opened the way for spring waters, after which spring came into its own. This motif in folklore is embodied in the image of Yegor the Brave.

Baba Yaga is a fairy-tale character who lives in a dense forest. “On the stove, on the ninth brick, lies Baba Yaga, a bone leg, her nose has grown into the ceiling, snot is hanging over the threshold, her tits are wrapped on a hook, she is sharpening her teeth” (2); “Baba Yaga gave them something to drink, fed, took them to the bathhouse,” “Baba Yaga, a bone leg, rides in a mortar, rests with a pestle, covers up the trail with a broom.” V. Dahl writes that Yaga is “a kind of witch or an evil spirit under the guise of V. Bilibin Baba Yaga.

Ornamental lines clearly limit the colors, set volume and perspective in the plane of the sheet. Filling a black and white graphic design with watercolors only emphasizes the given lines. For framing the drawings of I.Ya. Bilibin generously uses ornamentation (33).

In our 21st century, the century of narrow specialization, the figure Nicholas Konstantinovich Roerich is a unique phenomenon. A great artist, archaeologist and researcher, Nicholas Roerich enjoys worldwide fame as a painter and scientist. We are less familiar with his literary heritage. For example, few people know that Nikolai Konstantinovich also wrote... fairy tales. With beautiful allegorical images, with the alluring beauty of mysterious worlds. The heroes of his fairy tales are bearers of sublime feelings and thoughts that have eternal universal value (39). They encourage deep thought, incite high feelings, and direct one toward spiritual improvement.

S.K. Makovsky about N.K. Roerich :»… There are artists who recognize the secret of lonely spirituality in man. They look intently into people's faces, and each human face is a world separate from the world of everyone. And there are others: they are attracted by the mystery of the soul, blind, close, common to entire eras and Nicholas Roerich. Gallery of paintings by the artist - Zmievna, 1906 peoples , penetrating the entire element of life , in which the individual drowns , like a weak stream in the dark depths of an underground lake” (30, pp. 33-35).

The faces of the people on Roerich’s canvases are almost invisible. They are faceless ghosts of centuries. Like trees and animals, like quiet stones of dead villages, like monsters of folk antiquity, they are fused with the elements of life in the mists of the past. They are without a name. And they don’t think, they don’t feel lonely. They are not separate and as if they never existed: as if before, long ago, in obvious life, they lived with a common thought and a common feeling, together with the trees and stones and monsters of antiquity.

An artist whom one involuntarily wants to compare with Roerich is M.A. Vrubel. I'm not talking about similarities. Roerich does not resemble Vrubel either in the nature of his painting or in the suggestions of his plans. And yet, at a certain depth of mystical comprehension, they are brothers. Temperaments are different, forms and themes of creativity are different; the spirit of incarnations is one. Vrubel's demons and Roerich's angels were born in the same moral depths. From the same darkness of unconsciousness arose their beauty. But Vrubel’s demonism is active. It is more frank, brighter, more magical. More proud.

“In the painting “Pan,” the Greek god turns into a Russian goblin. Old, wrinkled, with bottomless blue eyes, knobby fingers like twigs, he seems to emerge from a mossy stump.

The characteristic Russian landscape takes on a fantastic, magical coloring - vast wet meadows, a winding river, thin birch trees frozen in the silence of the falling twilight, illuminated by the crimson of the horned moon (64).

The Swan Princess is a character in Russian folk tales. In one of them, retold by A.N. Afanasyev tells about the transformation of twelve birds - swans into beautiful girls, in another - about the appearance of the wonderful Swan-bird on the shore of the blue sea (2).

Sadko (The Rich Guest) is the hero of the epics of the Novgorod cycle. Sadko was at first a poor psaltery player who amused Novgorod merchants and boyars by playing the gusli on the shore of Lake Ilmen. With his play he gained the favor of Tsar Vodyany. The king demanded that the hero marry his daughter, who had to be chosen. In gratitude for his salvation, Sadko built churches in Novgorod in honor of the Blessed Virgin Mary and St. Nicholas of Mozhaisk.

Many wonderful artists illustrated fairy tales: Tatyana Alekseevna Mavrina, Elena Dmitrievna Polenova, Gleb Georgievich Bedarev, each of their works is an amazing image that immerses us in a mysterious magical world.

2. Fairy-tale images in children's artness

I believe that we perceive the world around us through the prism of our attitude and experience: for one the world is beautiful, joyful, happy, for another it is ugly and cruel, but it is one, and this is the truth. As you are, so is the world around you. Observe the beautiful, do good and strive for truth - then the world around you will delight and support you. The world needs to be loved, and it will respond in kind. Each of us is responsible for the world around us, but above all for our own inner world. Learning to manage your feelings and emotions and restrain your thoughts is a huge job. I really liked Socrates' representation of man as a chariot (the emotions are the horses, the chariot is the body, and the charioteer is the mind). We differ from animals in that we have a mind, which means it is important not to impose our opinion, but to lead the children to their own discoveries, to give them freedom of choice and creativity. I believe that an artist is a magician who creates an artistic image himself and is able to change the world around him.

The work of a teacher is not visible with a simple glance; we will see it many years later, when a particle of our soul speaks in people who are already adults by that time. For me, the main thing is to see not so much a student, but a person, to form such important values ​​and meanings as: love for mother, family, respect for people, gratitude, honesty, creative work. But the main thing is to see joy in the eyes of a child, although this does not always work out.

2.1 Alsmall (magical) flower

The lesson “Scarlet (magic) flower” was held in grade 2 “A”. There are 23 students aged 7-8 years in the class. The leading activity of this age period is educational and cognitive. The intellectual and cognitive sphere of the psyche develops predominantly. Primary school age is characterized by the following new developments: voluntariness, internal plan of action, self-control, elements of reflection, which I took into account when planning the lesson. Children have been studying fine arts for the 2nd year, the class is strong, there are many creative children, well prepared to perceive the material offered, and showing interest in the subject. There is a comfortable psychological atmosphere in the classroom.

The theme of the year for the program “Fine Arts” (B.M. Nemensky School) is “Art and You”, the topic of the quarter: “Reality and Fantasy”, the topic of the lesson: “Image and Fantasy” (25). The lesson continues the cycle of lessons from the first quarter. In the previous lesson, children learned to peer into the real world, not only look, but also see. This lesson introduces students to the role of fantasy in human life, images of Russian fairy tales - herbs and flowers. The main goal that I have set for myself is to bring students to an understanding of the importance of nature in human life, the healing role of plants, and also the fact that each plant has its own purpose, each flower has a soul; through familiarization with the story “The Color of the Fern” (Appendix 1) to show that a glow appears above the plant - “when the color appears”, and not the flower (the ancients said so: “The color of the fern”, i.e. above the place where the future fruit of any plants have a glow, which means plants also have a soul); to prove that magic exists not only in Russian fairy tales, but is revealed to those who believe in it.

The purpose of the lesson set for students:

create an image of magical herbs(scarlet flower) based onKhokhloma painting.

The goal of fate set for oneself:

· Teach children to admire the beauty of their native nature and the creativity of folk artists, develop the need to communicate with Russian fairy tales, develop their emotional sphere, fantasy and imagination, and the ability to create an artistic image.

· Teach to listen and hear, watch and see, observe, participate in dialogue, express your opinion, think about the real and magical image.

· Show the principles of working with gouache to create images of magical herbs and a scarlet flower.

The content of the educational material is: acquaintance with the world of Russian fairy tales as the basis for the formation of the ability to develop visual concepts, images of magical herbs and flowers, as well as the simplest elements of Khokhloma painting in order to create a new artistic image. The main idea of ​​the lesson is the development of the spiritual and emotional sphere of the child through the animation of nature, awareness of its role as a human assistant both in the world of fairy tales and in real life.

The development of children's artistic taste was carried out by demonstrating reproductions of works by artists I. Shishkin, N. Roerich, Yu. Kamyshny and others, as well as works by Khokhloma masters. The development of imagination and fantasy was carried out by students creating their own image of a scarlet flower and magical herbs.

During the lesson, the following teaching methods and forms of student cognitive activity were used: attention game; creating a problematic situation when updating the dialogue method. For example, children are asked a question to which there is no answer:

Is the fern blooming? (The fern flower is endowed with magical properties. According to the ancient belief of the Slavs, those who pick a fern flower on the night of Ivan Kupala will find happiness and will be able to understand the language of animals. But in fact, these plants never bloom, so a magical fern flower simply does not exist in nature).

Does the scarlet flower exist? (The scarlet flower is in fairy tales, it’s magical, even if we don’t see it, we can imagine it, invent it...).

The lesson uses conversation, demonstration of the presentation “Magic Flowers and Herbs” and discussion of its content, demonstration of working techniques - elements of Khokhloma painting, and performance of drawing exercises

elements of painting: “sedge”; "blade of grass"; "droplets"; "antennae; "curls"; "bushes"; "berries". Lingonberry, currant, and rowan berries were drawn with a signet-poke (ear sticks); gooseberries, strawberries - with a brush.

Then she suggested closing your eyes and imagining the image of a scarlet flower: “And suddenly the merchant sees a scarlet flower blooming on a green hillock, a beauty unprecedented and unheard of, which cannot be said in a fairy tale or written with a pen... And the merchant said in a joyful voice: “Here is the Scarlet Flower, there is nothing more beautiful in this world, which my youngest, beloved daughter asked me for.” Imagine what kind of flower and herbs you found in the forest, which one you will draw.

The main stage of the lesson was the completion of a practical task. Practical work required almost no individual assistance from the teacher. The previous stages of the lesson motivated the children well for independent creative work. This is also the most successful stage of the lesson, which helped to reveal the creative abilities of each child.

The success of achieving the goal of the lesson was determined by the existing microclimate of mutual trust between the teacher and students, and the students’ enthusiasm for the content of the educational material. The guys quickly got involved in the lesson, watched the presentation with interest and actively answered questions, picked up very beautiful words about the scarlet flower - divine, wonderful, affectionate...

I completed the assigned tasks. The lesson reached its goal. The results were summed up, the results were seen, everyone liked them - joyful smiles, everyone learned something. The children's work was completed successfully. I liked drawing on a dark background, making pokes, drawing flowers. Everyone really liked the work of Inola Khaustova, the flower really turned out magical, they even remembered Stepan Shchipachev’s poem “The blue expanses do not see themselves…” about the soul of plants, where there are amazing lines:

“And it’s sweet to know if you’re walking through the forests,

Are you going down the mountain path?

With your insatiable eyes

Nature admires itself."

Students observed with admiration the images of their native nature, their reflection in painting and decorative arts, and worked with interest on creating new artistic images. However, not everyone fully thought through the composition and got carried away with the poking. Some people got little grass, many forgot about the leaves.

There was an atmosphere of cooperation in the lesson. At the final stage, students developed the ability to evaluate the results of their own and classmates’ artistic and creative activities. As a result, an exhibition of student work was organized in the classroom.

2.2 Bird's image of things

The prophetic bird in Slavic mythology was the mother of the gods Gamayumn, who sings divine songs to people, gives hope, foretells the future to those who know how to hear the secret. Gamayun knows everything in the world. She was considered a bird of paradise, a messenger of the gods, who sang the Book of Songs to people.

Sacred birds were coast guards. These were birds with a woman's face: the sweet-sounding Sirin - a dark force, a bird of sadness, a messenger of the underworld; wonderful Alkonost - bird of joy, bird of paradise; the Phoenix bird rising from the ashes; Stratim is the mother of all birds; Firebird, swan girls (swans) (7).

...

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Funny and sad, scary and funny, they are familiar to us from childhood. Our first ideas about the world, good and evil, and justice are associated with them.

Both children and adults love fairy tales. They inspire writers and poets, composers and artists. Based on fairy tales, plays and films are staged, operas and ballets are created. Fairy tales came to us from ancient times. They were told by poor wanderers, tailors, and retired soldiers.

A fairy tale is one of the main types of oral folk art. A fictional narrative of a fantastic, adventure or everyday nature.

Folk tales are divided into three groups:

• - fairy tales about animals are the most ancient type of fairy tale. They have their own circle of heroes. Animals talk and behave like people. The fox is always cunning, the wolf is stupid and greedy, the hare is cowardly.
• - everyday fairy tales - the heroes of these fairy tales - a peasant, a soldier, a shoemaker - live in the real world and usually fight with a master, a priest, a general. They win thanks to resourcefulness, intelligence and courage.
• - fairy tales - heroes of fairy tales fight tooth and nail, defeat enemies, save friends when faced with evil spirits. Most of these tales involve the search for a bride or a kidnapped wife.

Fairy tale composition:

• 1. Beginning. (“In a certain kingdom, in a certain state there lived…”).
• 2. Main part.
• 3. Ending. (“They began to live – to live well and make good things” or “They arranged a feast for the whole world...”).

Heroes of fairy tales:

The favorite hero of Russian fairy tales is Ivan the Tsarevich, Ivan the Fool, Ivan the Peasant Son. This is a fearless, kind and noble hero who defeats all enemies, helps the weak and wins happiness for himself.

An important place in Russian fairy tales is given to women - beautiful, kind, smart and hardworking. This is Vasilisa the Wise, Elena the Beautiful, Marya Morevna or Sineglazka.

The embodiment of evil in Russian fairy tales is most often Koschey the Immortal, the Serpent Gorynych and Baba Yaga.

Baba Yaga is one of the most ancient characters in Russian fairy tales. This is a scary and evil old woman. She lives in the forest in a hut on chicken legs, rides in a mortar. Most often it harms the heroes, but sometimes it helps.

The Serpent Gorynych, a fire-breathing monster with several heads flying high above the ground, is also a very famous character in Russian folklore. When the Serpent appears, the sun goes out, a storm rises, lightning flashes, the earth trembles.

Features of Russian folk tales:

In Russian fairy tales there are often repeated definitions: good horse; Gray wolf; red maiden; good fellow, as well as combinations of words: a feast for the whole world; go wherever your eyes lead you; the riotous man hung his head; neither to say in a fairy tale, nor to describe with a pen; soon the tale is told, but not soon the deed is done; whether 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; written beauty...

Short and truncated forms of adjectives are characteristic of Russian fairy tales: the sun is red; the riotous man hung his head; - and the verbs: grab instead of grabbed, go 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 and affectionate meaning: little-ey, brother-ey, rooster-ok, sun-ysh-o... All this makes the presentation smooth, melodious, emotional . Various intensifying-excretory particles also serve the same purpose: this, that, what, what... (What a miracle! Let me go to the right. What a miracle!)

Since ancient times, fairy tales have been close and understandable to ordinary people. Fiction intertwined with reality in them. Living in poverty, people dreamed of flying carpets, palaces, and self-assembled tablecloths. And justice has always triumphed in Russian fairy tales, and good has triumphed over evil. It is no coincidence that A.S. Pushkin wrote: “What a delight these fairy tales are! Each one is a poem!”

K.D. Ushinsky called the fairy tales of the Russian people the first brilliant attempts at folk pedagogy. Admiring fairy tales as monuments of folk pedagogy, he wrote that no one is able to compete with the pedagogical genius of the people. The same should be said about fairy tales of other peoples.

Fairy tales, being artistic and literary works, were at the same time for workers and an area of ​​theoretical generalizations in many branches of knowledge. They are a treasury of folk pedagogy; moreover, many fairy tales are pedagogical works, i.e. they contain pedagogical ideas.

Leading Russian teachers have always had a high opinion of the educational significance of folk tales and pointed out the need for their widespread use in pedagogical work. So, V.G. Belinsky valued their national character in fairy tales, their national character. He believed that in a fairy tale, behind fantasy and fiction, there is real life, real social relationships. V.G. Belinsky, who deeply understood the nature of the child, believed that children have a highly developed desire for everything fantastic, that they do not need abstract ideas, but concrete images, colors, and sounds. ON THE. Dobrolyubov considered fairy tales to be works in which people reveal their attitude to life and to modernity. N.A. Dobrolyubov sought to understand from fairy tales and legends the views of the people and their psychology, he wanted “so that, according to folk legends, the living physiognomy of the people who preserved these traditions could be outlined to us.”

The great Russian teacher K.D. Ushinsky had such a high opinion of fairy tales that he included them in his pedagogical system. Ushinsky saw the reason for the success of fairy tales among children in the fact that the simplicity and spontaneity of folk art correspond to the same properties of child psychology. “In a folk tale,” he wrote, “a great and poetic child-people tells children his childhood dreams and, at least half, believes in these dreams.” In passing, a very significant fact should be noted. Ushinsky’s thoughts about fairy tales are very close in nature to K. Marx’s statements about them. In the introduction to “A Critique of Political Economy,” K. Marx wrote that the reason for the popularity of fairy tales among children is the correspondence between the naivety of a child and the unartificial truth of folk poetry, in which the childhood of human society is reflected. According to Ushinsky, natural Russian teachers - grandmother, mother, grandfather, who never leaves the stove, understood instinctively and knew from experience what enormous educational and educational power a folk tale conceals. As is known, Ushinsky’s pedagogical ideal was a harmonious combination of mental and moral-aesthetic development. According to the firm conviction of the great Russian teacher, this task can be successfully completed provided that the material of folk tales is widely used in education. Thanks to fairy tales, a beautiful poetic image grows together in a child’s soul with logical thought; the development of the mind goes hand in hand with the development of fantasy and feeling. Ushinsky developed in detail the question of the pedagogical significance of fairy tales and their psychological impact on the child; he resolutely put folk tales above stories published in educational literature specifically for children, because the latter, as the great teacher believed, were still a fake: a child’s grimace on an senile face.

Fairy tales are an important educational tool, developed and tested by people over centuries. Life and folk education practices have convincingly proven the pedagogical value of fairy tales. Children and fairy tales are inseparable, they are created for each other, and therefore familiarity with the fairy tales of one’s people must be included in the education and upbringing of every child.

In Russian pedagogy there are thoughts about fairy tales not only as educational and educational material, but also as a pedagogical means and method. Thus, the nameless author of the article “The educational significance of the fairy tale,” in the monthly pedagogical leaflet “Education and Training (No. 1, 1894), writes that the fairy tale appeared in that distant time when the people were in a state of infancy. Revealing the significance of a fairy tale as a pedagogical tool, he admits that if children repeat the same moral maxim even a thousand times, it will still remain a dead letter for them; but if you tell them a fairy tale imbued with the same thought, the child will be excited and shocked by it. Further in the article comments on the story of A.P. Chekhov. The little boy decided to smoke. He is admonished, but he remains deaf to the convictions of his elders. The father tells him a touching story about how smoking had a harmful effect on the health of one boy, and the son, with tears, throws himself on his father’s neck and promises never to smoke. “There are many such facts from the lives of children,” the author of the article concludes, “and every teacher probably had to sometimes use this method of persuasion with children.”

The outstanding Chuvash teacher I.Ya. widely used fairy tales as a method of persuasion in his teaching activities. Yakovlev.

Many fairy tales, and even stories by I.Ya. Yakovlev, compiled in the manner of everyday fairy tales, are in the nature of ethical conversations, i.e. act as a means of persuasion in the moral education of children. In a number of fairy tales and stories, he admonishes children with reference to the objective conditions of life, and most often - to the natural consequences of children’s bad actions: he assures and convinces them of the importance of good behavior.

The educational role of fairy tales is great. There is an assertion that the pedagogical significance of fairy tales lies on the emotional and aesthetic plane, but not on the cognitive plane. We cannot agree with this. The very opposition of cognitive activity to emotion is fundamentally wrong: the emotional sphere and cognitive activity are inseparable, without emotion, as we know, knowledge of the truth is impossible.

Fairy tales, depending on the topic and content, make listeners think and make them think. Often a child concludes: “This doesn’t happen in life.” The question involuntarily arises: “What happens in life?” Already the conversation between the narrator and the child, which contains the answer to this question, has educational significance. But fairy tales also contain educational material directly. It should be noted that the educational significance of fairy tales extends, in particular, to individual details of folk customs and traditions and even to everyday trifles.

For example, in the Chuvash fairy tale “He who does not honor the old will not see the good himself,” it is said that the daughter-in-law, not listening to her mother-in-law, decided to cook porridge not from millet, but from millet and not in water, but only in oil. What came of it? As soon as she opened the lid, millet grains, not boiled, but fried, jumped out and fell into her eyes and blinded her forever. The main thing in the fairy tale, of course, is the moral conclusion: you need to listen to the voice of the old, take into account their everyday experience, otherwise you will be punished. But for children it also contains educational material: they fry in oil, not boil, therefore, it is absurd to cook porridge without water, in oil alone. Children are usually not told about this, because no one does this in life, but in the fairy tale children are given instructions that everything has its place, that there should be order in everything.

Here's another example. The fairy tale “A penny for a miser” tells how a smart tailor agreed with a greedy old woman to pay her one penny for every “star” of fat in her soup. When the old woman was putting in the butter, the tailor encouraged her: “Put it in, put it in, old woman, don’t skimp on the butter, because it’s not for nothing that I ask you: for every “star” I’ll pay a penny.” The greedy old woman put more and more oil in order to get a lot of money for it. But all her efforts yielded an income of one kopeck. The moral of this story is simple: don't be greedy. This is the main idea of ​​the fairy tale. But its educational meaning is also great. Why, the child will ask, did the old woman get one big “star”?

The fairy tale “Ivanushka the Fool” tells how he walked through the forest and reached a house. I entered the house, there were 12 stoves, 12 stoves - 12 boilers, 12 boilers - 12 pots. Ivan, hungry on the road, began to try food from all the pots in a row. Already trying, he was full. The educational significance of the given detail of the fairy tale is that it presents the listeners with the task: 12 x 12 x 12 =? Could Ivan have eaten? Not only could he, moreover, only a fairy-tale hero could eat so much: if he tried in all the pots, he ate 1728 spoons of food!

Of course, the educational value of fairy tales also depends on the storyteller. Skilled storytellers usually always try to use such moments, asking questions during the telling of the tale like: “What do you guys think, how many cauldrons were there in total? How many pots? and so on.

The educational significance of fairy tales in geographical and historical terms is well known.

So, in the fairy tale “May parents always be held in high esteem” the following is told. The son went to harvest peas and took his old mother with him to the field. The wife, a lazy, quarrelsome woman, stayed at home. Seeing her husband off, she said: “We don’t feed your mother properly at home; she, being hungry, wouldn’t eat all the peas there. Keep an eye on her." In fact, the son in the field did not take his eyes off his mother. As soon as the mother arrived at the field, she took one pea and put it in her mouth. She rolled the pea with her tongue, sucked, and tried with all her might, toothless, to taste the peas of the new harvest. The son, noticing this, remembered his wife’s order: “He doesn’t eat in the morning, so she will eat everything. She’s not much use on the field, I’d rather take her back home.” When we arrived home, the mother, while getting off the cart, dropped a single pea from her mouth and confessed this to her son with tears. The son, hearing about this, put his mother on the cart and hurried back to the field. But he was in a hurry in vain, by the time they arrived on his plot there was not only not a single pea, but also no straw left: the peas were eaten by a large flock of cranes, the straw was eaten by a large herd of cows, goats and sheep. So, a man who spared one pea for his own mother was left without a single pea.

The moral of the story is quite obvious. From the point of view of its educational significance, something else attracts attention. Many tellers of this tale present it as the “true truth”: they name the old woman’s son, not only the village where he lived, but also the place where his field (paddock) was. One of the storytellers reported that the old woman dropped a pea on a pothole known to the listeners, and not near the house, as recorded in the version of the fairy tale given by us. As a result, the fairy tale introduces the past of the village, some of its inhabitants, and talks about economic ties and relationships.

The fairy tale “How They Fell into the Underworld” tells how the mother of three sons and three daughters wanted to marry them to each other. She managed to marry her eldest and middle daughter to her eldest and middle son, respectively. The youngest daughter did not agree to marry her brother and ran away from home. By her return, their house with their mother, two sons and two daughters had fallen through the ground. “As soon as the earth bears him!” - they talk about a very bad person. So in the fairy tale, the earth could not withstand the criminal guilt of the mother, and the children who obeyed the immoral demands of the mother were also punished. It should be noted that the mother is shown to be disgusting in all respects: heartless, cruel, a drunkard, etc. Consequently, her action towards her own children is not an accident, but a consequence of her personal qualities. The moral of this tale is obvious: marriage between relatives is immoral, unnatural, and therefore unacceptable. But this tale at the same time also has educational significance: once in ancient times, marriage between relatives was allowed. The ancient fairy tale is a reflection of the struggle to abandon such marriages and to prohibit them. Such a tale, of course, could only have arisen in ancient times.

The short tale “Fishing” tells how the Chuvash, Russians and Mordovians fished on one large lake. The main idea and main purpose of the fairy tale is to develop and strengthen in children a sense of friendship between peoples: “Russian, Mordvin and Chuvash are all one: people.” But at the same time it also contains a little educational material. The Chuvash say: “Syukka” (No), the Mordovians “Aras” (“No”), the Russians also did not catch a single fish, therefore, essentially in this case the position of the Chuvash, Mordovians and Russians is the same. But the Russians heard the words “syukka” and “aras” as “pike” and “crucian carp”. People speak different languages, words may be similar to each other, but their meaning is different. To understand foreign languages, you need to study them. The tale assumes that the fishermen do not know each other's languages. But the listener learns from the fairy tale that “syukka” and “aras” mean “no” in Chuvash. The fairy tale, although it introduces only two words of other peoples, still arouses the child’s interest in foreign languages. It was the masterful combination of educational and cognitive in fairy tales that made them very effective pedagogical tools. In the preface to “The Tale of the Liberation of the Sun and the Moon from Captivity,” the writer of the tale admits that he heard it only once, when he was nine years old. The style of speech was not retained in the memory of the person who recorded it, but the content of the story was preserved. This recognition is significant: it is generally accepted that fairy tales are remembered due to a special style of speech, presentation, etc. It turns out that this is not always true. Undoubtedly, in memorizing fairy tales, their capacious meaning and the combination of educational and educational material in them play an important role. This combination contains the peculiar charm of fairy tales as ethno-pedagogical monuments; in them, the idea of ​​​​the unity of teaching (education) and upbringing in folk pedagogy is realized to the maximum extent.

FEATURES OF FAIRY TALES AS FOLK EDUCATIONAL MEANS

Without being able to thoroughly analyze all the features of fairy tales, we will dwell only on their most characteristic features such as nationality, optimism, fascinating plot, imagery and fun, and, finally, didacticism.

The material for folk tales was the life of the people: their struggle for happiness, beliefs, customs, and the surrounding nature. There was a lot of superstition and darkness in the beliefs of the people. This is dark and reactionary - a consequence of the difficult historical past of the working people. Most fairy tales reflect the best features of the people: hard work, talent, loyalty in battle and work, boundless devotion to the people and homeland. The embodiment of the positive traits of the people in fairy tales has made fairy tales an effective means of transmitting these traits from generation to generation. Precisely because fairy tales reflect the life of a people, their best features, and cultivate these features in the younger generation, nationality turns out to be one of the most important characteristics of fairy tales.

Fairy tales, especially historical ones, trace interethnic ties between peoples and the joint struggle of workers against foreign enemies and exploiters. A number of fairy tales contain approving statements about neighboring peoples. Many fairy tales describe the journeys of heroes to foreign countries, and in these countries they, as a rule, find helpers and well-wishers; workers of all tribes and countries can agree among themselves; they have common interests. If a fairy-tale hero has to wage a fierce struggle in foreign countries with all kinds of monsters and evil wizards, then usually victory over them entails the liberation of people languishing in the underworld or in the dungeons of monsters. Moreover, those freed hated the monster just as much as the fairy-tale hero, but they did not have the strength to free themselves. And the interests and desires of the liberators and the liberated turned out to be almost the same.

Positive fairy-tale heroes, as a rule, are helped in their difficult struggle not only by people, but also by nature itself: a densely leafed tree hiding fugitives from the enemy, a river and lake that direct the pursuit along the wrong path, birds warning of danger, fish searching and finding a ring dropped into the river and passed on to other human assistants - a cat and a dog; an eagle that lifts the hero to a height inaccessible to man; not to mention the devoted fast horse, etc. All this reflected the age-old optimistic dream of the people to subjugate the forces of nature and force them to serve themselves.

Many folk tales inspire confidence in the triumph of truth, in the victory of good over evil. As a rule, in all fairy tales, the suffering of the positive hero and his friends is transitory, temporary, and they are usually followed by joy, and this joy is the result of struggle, the result of joint efforts. Optimism Children especially like fairy tales and enhance the educational value of folk pedagogical means.

The fascination of the plot, imagery and fun make fairy tales a very effective pedagogical tool. Makarenko, characterizing the features of the style of children's literature, said that the plot of works for children should, if possible, strive for simplicity, the plot - for complexity. Fairy tales most fully meet this requirement. In fairy tales, the pattern of events, external clashes and struggles is very complex. This circumstance makes the plot fascinating and attracts the attention of children to the fairy tale. Therefore, it is legitimate to assert that tales take into account the mental characteristics of children, first of all, the instability and mobility of their attention.

Imagery- an important feature of fairy tales, which facilitates their perception by children who are not yet capable of abstract thinking. The hero usually very clearly and clearly shows those main character traits that bring him closer to the national character of the people: courage, hard work, wit, etc. These features are revealed both in events and through various artistic means, such as hyperbolization. Thus, the trait of hard work as a result of hyperbolization reaches the utmost brightness and convexity of the image (in one night build a palace, a bridge from the hero’s house to the king’s palace, in one night sow flax, grow, process, spin, weave, sew and clothe the people, sow wheat , grow, harvest, thresh, thresh, bake and feed people, etc.). The same should be said about such traits as physical strength, courage, boldness, etc.

Imagery is complemented funnyness fairy tales The wise teacher-people took special care to ensure that fairy tales were interesting and entertaining. A folk tale contains not only bright and lively images, but also subtle and cheerful humor. All nations have fairy tales, the special purpose of which is to amuse the listener. For example, “changeling” fairy tales: “The Tale of Grandfather Mitrofan”, “What was his name?”, “Sarmandey”, etc.; or “endless” fairy tales, such as the Russian “About the White Bull.” In the Chuvash proverb “One had a smart cat,” the cat died. The owner buried her, put a cross on the grave and wrote on the cross: “One had a smart cat...”, etc. And so on until the listeners, with laughter and noise (“Enough!”, “No more!”) deprive the narrator of the opportunity to continue the tale.

Didacticism is one of the most important features of fairy tales. Fairy tales from all peoples of the world are always instructive and edifying. It was precisely noting their instructive character, their didacticism, that A.S. Pushkin wrote at the end of his “Tale of the Golden Cockerel”:

The fairy tale is a lie, but there is a hint in it!

A lesson to good fellows.

Allusions in fairy tales are used precisely for the purpose of enhancing their didacticism. The peculiarity of the didacticism of fairy tales is that they give “good fellows a lesson” not with general reasoning and teachings, but with vivid images and convincing actions. Therefore, didacticism does not in any way reduce the artistry of fairy tales. This or that instructive experience seems to take shape completely independently in the minds of the listener. This is the source of the pedagogical effectiveness of fairy tales. Almost all fairy tales contain certain elements of didacticism, but at the same time there are fairy tales that are entirely devoted to one or another moral problem, for example, the Chuvash fairy tales “Smart Boy”, “What is learned in youth - on stone, what is learned in old age - in the snow”, “You can’t go far with a lie”, “An old man - four people”, etc. There are many similar tales among all nations.

Due to the features noted above, fairy tales of all nations are an effective means of education. A.S. wrote about the educational value of fairy tales. Pushkin: “...in the evening I listen to fairy tales and thereby compensate for the shortcomings of my damned upbringing.” Fairy tales are a treasury of pedagogical ideas, brilliant examples of folk pedagogical genius.

PEDAGOGICAL IDEAS OF FAIRY TALES

In a number of folk tales we encounter certain pedagogical concepts, conclusions, and reasoning. First of all, it should be noted the people's desire for knowledge. In fairy tales there is an idea that books are a source of wisdom. The fairy tale "In the Land of a Yellow Day" talks about "one big book." In the short fairy tale “Arguing in Vain,” it is indicated that only those who can read need a book. Therefore, this tale asserts the need to learn to read in order to have access to bookish wisdom.

Folk tales reflect some methods of influencing a person, the general conditions of family education are analyzed, the approximate content of moral education is determined, etc.

Once upon a time there lived an old man with his son and daughter-in-law. He also had a grandson. His son and daughter-in-law were tired of this old man; they did not want to look after him. And so the son, on the advice of his wife, put his father on a sled and decided to take him into a deep ravine. He was accompanied by the old man's grandson. The son pushed the sleigh with his father down into the ravine and was about to go back home. But he was detained by his little son: he rushed into the ravine to get a sled, despite his father’s angry remark that he would buy him a new, better sled. The boy pulled the sled out of the ravine and said that his father should buy him a new sled. And he will take care of this sled so that many years later, when his father and mother are old, he can deliver them to this same ravine.

The main idea of ​​the fairy tale is that a person should receive the punishment he deserves for his crime, that punishment is a natural consequence of his crime. The content of the Russian fairy tale, processed by L.N. Tolstoy, is completely similar, in which a child playing with wood chips tells his parents that he wants to make a tub in order to feed his father and mother from it, just as they wanted to do with his grandfather.

The power of example in education is emphasized in folk pedagogy to the maximum extent possible. In the fairy tale “Let parents always be held in high esteem,” the natural consequence of the daughter-in-law’s action is her blindness, and the son’s is that he is left without peas. In another fairy tale, “You Can't Get Far with a Lie,” a liar is severely punished: his neighbors did not come to his aid when his house was attacked by thieves. Russians, Ukrainians, Tatars, etc. have a similar tale.

The conditions of family education and measures of influence on the individual are discussed in the fairy tales “Blizzard”, “The Magic Sliver” and some others. The fairy tale “Blizzard” tells that disagreements and quarrels in the family are worse than the strongest snowstorm on the street; I want to run out of the house without looking at anything. In such conditions, naturally, proper upbringing of children is impossible. The fairy tale “The Magic Sliver” contains a hint that parents should engage in self-education, that family relationships should be built on mutual concessions.

There lived a husband and wife. The wife was grumpy. She constantly made scandals for her husband, which ended in fights. And this woman decided to turn to the wise old woman for advice: “What to do with a husband who offends me all the time.” This old woman already realized from her conversation with the woman that she was quarrelsome, and immediately said: “It’s not difficult to help you. Take this sliver, it’s magical, and as soon as your husband comes home from work, put it in your mouth and hold it tightly with your teeth. Don’t let me out for anything.” On the advice of the old woman, the woman did all this three times and after the third time she came with gratitude to the old woman: “My husband has stopped offending.” The fairy tale calls for compliance, accommodatingness, and complaisance.

In fairy tales, including the one cited, the problem of the personality of the teacher and the direction of his educational efforts are posed. In this case, the old woman is one of the folk master teachers. Fairy tales show that their distinctive feature is that they educate not only children and youth, but also their parents. This is quite typical.

The principle of conformity to nature, almost in the spirit of J. A. Komensky, is contained in the fairy tale “What is learned in youth - on stone, what is learned in old age - in snow.” Stone and snow - in this case - are images introduced to substantiate an empirically established objective physiological and psychological pattern. This pattern is that in childhood and youth a person assimilates educational material much more firmly than in old age. The grandfather tells his grandson: “Snow is carried away by the wind, melts from the heat, but the stone lies safe and sound for hundreds and thousands of years.” The same thing happens with knowledge: if it is acquired in youth, it is retained for a long time, often for a lifetime, but knowledge acquired in old age is quickly forgotten.

Fairy tales also raise many other problems of public education.

An amazing pedagogical masterpiece is the Kalmyk fairy tale “How the Lazy Old Man Started to Work,” which considers gradually drawing a person into work as the most effective way to overcome laziness. The fairy tale reveals in a fascinating way the method of accustoming to work: initiation to work begins with advance encouragement and the use of the first results of labor as reinforcement, then it is proposed to move on to the use of approval; internal motivation and habit of work are declared indicators of the final solution to the problem of instilling industriousness. The Chechen fairy tale “Hasan and Ahmed” teaches how to preserve the sacred bonds of brotherhood, calls for cherishing the feeling of gratitude, being hardworking and kind. In the Kalmyk fairy tale “Unresolved Court Cases,” even a kind of symbolic experiment is staged, proving the need for extremely gentle treatment of a newborn. “The brain of a newborn baby is like the froth of milk,” the tale goes. When the herds of Gelyung Gavang walked noisily to a watering place past the wagon, the child suffered a concussion and he died.”

Fairy tales comment on the pedagogical ideas of proverbs, sayings and aphorisms, and sometimes fairy tales argue for these ideas, revealing them on specific facts. For example, the Chuvash aphorism is known: “Work is the support of life” (options: “handle of fate”, “rule of life”, “basis of life”, “support of the universe”). Other nations also have many adequate proverbs about work. Thoughts similar to this aphorism are contained in fairy tales of many peoples. The author of this book at one time selected and translated into the Chuvash language Russian, Ukrainian, Georgian, Evenki, Nanai, Khakass, Kyrgyz, Lithuanian, Latvian, Vietnamese, Afghan, Brazilian, Tagalog, Hindu, Bandu, Lamba, Hausa, Iraqi, Dahomey, Ethiopian tales, the main idea of ​​which corresponds to the above proverb. The title of the collection is taken from its second part - “Support of Life”. This small anthology of fairy tales from different nations shows the universal human nature of ideas about work and hard work.

The collection opens with the Kyrgyz fairy tale “Why is man the strongest in the world?” A similar plot is known to many peoples. The fairy tale is interesting because it contains the best answer to the riddle-question: “Who is the strongest in the world?”

The wild goose's wings are frozen to the ice, and he admires the power of the ice. Ice says in response that the rain is stronger, and the rain - that the earth is stronger, the earth - that the forest is stronger (“sucks the power of the earth and stands rustling with leaves”), the forest - that the fire is stronger, the fire - that the wind is stronger (it blows and puts out the fire , will uproot old trees), but the wind cannot overcome the low grass, it is stronger than the ram, and the gray wolf is stronger than that. The wolf says: “Man is the strongest in the world. He can catch a wild goose, melt ice, he is not afraid of rain, he plows the earth and makes it useful to himself, he extinguishes fire, conquers the wind and makes it work for himself, he mows grass for hay, that which cannot be mowed, he uproots and throws it away, slaughters a sheep and eats its meat, praising it. Even I am nothing to a man: he can kill me at any time, skin me and sew a fur coat for himself.”

The man in the Kyrgyz fairy tale is a hunter (catches birds at the beginning of the tale and hunts wolves at the end), a tiller, a mower, a cattle breeder, a butcher, a tailor... He also puts out fire - this is not an easy job. Thanks to work, man becomes the ruler of the universe, it is thanks to work that he conquers and subjugates the powerful forces of nature, becomes stronger and smarter than everyone else in the world, and acquires the ability to transform nature. The Chuvash fairy tale “Who is the strongest in the universe?” differs from the Kyrgyz fairy tale only in some details.

Other peoples also have similar tales in slightly modified versions. The Nanai fairy tale “Who is the strongest?” is unique and interesting. The boy fell while playing on the ice and decided to find out what the power of ice is. It turned out that the sun is stronger than ice, a cloud can cover the sun, the wind can disperse a cloud, but cannot move a mountain. But the mountain is not stronger than anyone else in the world; allows trees to grow on their top. Adults were aware of human strength and wanted children to know this and try to be worthy of the human race. The boy, playing, grows and prepares for work. But an adult is strong precisely through work, and he says to the boy: “It means that I am stronger than anyone if I knock down a tree growing on the top of a mountain.”

In Russian, Tatar, Ukrainian fairy tales, as well as in fairy tales of other peoples, the idea is clearly conveyed that only one who works can be called a person. Through work and struggle a person acquires his best qualities. Hard work is one of the main human characteristics. Without work, a person ceases to be a person. In this regard, the Nanai fairy tale “Ayoga” is interesting, which is a true masterpiece: a lazy girl who refuses to work ultimately turns into a goose. Man became himself through work; he may cease to be one if he stops working.

The main idea of ​​the Dargin fairy tale “Sununa and Mesedu” is that work is joyful creativity, it makes a person strong, saves him from all everyday troubles. The central character of the fairy tale, Sununa, is brave, resourceful, honest, and generous. The leading idea of ​​the fairy tale is clearly expressed: “... and Sununa’s friends helped him master all the skills that people knew, and Sununa became stronger than all his brothers, because even the Khanate can be lost, but you will never lose what your hands can do and head."

In the Ossetian fairy tale “What is more expensive?” one of the young men, by his personal example, proves to the other that the most valuable thing in the world is not wealth, but a faithful friend, and loyalty in friendship consists of joint work and struggle. The Udmurt fairy tale “The Lazy Woman” describes a whole system of measures to influence a lazy wife in order to instill in her hard work. The Koryak fairy tale “The Boy with a Bow” tells that “earlier fathers made bows for boys who started walking so that they could practice shooting.” The Yakut fairy tale “The Stupid Daughter-in-Law” contains a call to first learn work, then obedience, and consciousness is required from the obedient: “This is how those who want to obey everyone have to live - they even have to draw water with a sieve!” - the fairy tale ridicules the daughter-in-law, who has not learned the rule, known to the neighboring Nenets people: “You can’t scoop up water with a net.” The Bulgarian fairy tale “Reason Wins” shows that a person wins not with strength, but with his mind. The same idea is preached in Kyrgyz, Tatar and Chuvash fairy tales.

The hero of Chechen fairy tales is not afraid to go into battle with a huge serpent and sea monsters, a fire-breathing dragon and the terrible wolf Berza Kaza. His sword strikes the enemy, his arrow never misses. The horseman takes up arms to stand up for the offended and to subdue the one who sows misfortune. A true horseman is one who will never leave a friend in trouble and will not change his word. He is not afraid of danger, saving others, he is ready to lay down his own head. This self-forgetfulness, dedication and self-denial is a wonderful feature of a fairy-tale hero.

The themes of Chechen fairy tales are unexpected, some are unique. A Chechen sits on patrol for many days and nights. On his knees is a saber, point to face. He falls asleep for a moment, his face hits a sharp saber, and his neck is wounded - blood flows. The wounds do not allow him to sleep. Bleeding, he will not let the enemy pass. Here's another tale. “There lived two friends - Mavsur and Magomed. They became friends as boys. Years passed, Mavsur and Magomed grew up, and their friendship grew stronger along with them.” This is how the fairy tale begins, and ends: “Magomed could only be saved by a friend who was ready to die with him. Mavsur proved this and saved Magomed. And they began to live and get along, and were never separated again. And no one knew their friendship stronger.” To die with him, for him, is a typical manifestation of friendship for Chechens. Devotion in friendship is the highest human value for a Chechen. The theme of another fairy tale is the hero's help to his father's friend. The sons said to their father in one voice: “If there is something between heaven and earth that can help your friend, we will get it and help your friend out of trouble.”

There is nothing on earth more valuable than the Motherland. A horse hurries towards his native mountains - and he understands the Chechen.

The coat of arms and flag of the Chechen Republic - Ichkeria - depicts a Wolf... This is a symbol of courage, nobility and generosity. The tiger and the eagle attack the weak. The wolf is the only animal that dares to attack the strong. He replaces the lack of strength with courage and dexterity. If the wolf loses the battle, he does not die like a dog, he dies silently, without making a sound. And, dying, he turns his face to his enemy. The wolf is especially revered by the Vainakhs.

Fairy tales simply and naturally pose the problems of instilling a sense of beauty in young people, developing moral traits, etc. In one ancient Chuvash fairy tale, “The Doll,” the main character sets off to look for a groom. What interests her in her future groom? She asks everyone two questions: “What are your songs and dances?” and “What are the daily routines and rules?” When the sparrow expressed a desire to become the doll’s groom and performed a dance and song, talking about living conditions, the doll ridiculed his songs and dances (“The song is very short, and its words are not poetic”), and she did not like the sparrow’s rules of life and everyday routines . The fairy tale does not deny the importance of good dancing and beautiful songs in life, but at the same time, in a witty form, it very angrily ridicules those slackers who, without working, want to spend time in fun and entertainment; the fairy tale inspires children that life cruelly punishes the frivolity of those , who does not appreciate the main thing in life - everyday, hard work and does not understand the basic value of a person - hard work.

The Ossetian fairy tales “The Magic Papakha” and “The Twins” give the moral code of the highlander. In them, the covenants of hospitality are cultivated, good wishes are confirmed by the example of the father, the means of combating need are declared to be work combined with intelligence and kindness: “To drink and eat alone, without friends, is a disgrace for a good mountaineer”; “When my father was alive, he did not spare churek or salt, not only for his friends, but also for his enemies. I am my father’s son”; “May your morning be happy!”; “May your path be straight!” Harzafid, “a good mountaineer,” “harnessed oxen and a cart and worked day and night. A day passed, a year passed, and the poor man drove away his need.” The characterization of the young man, the son of a poor widow, her hope and support, is noteworthy: “He is as brave as a leopard. Like a ray of sunshine, his speech is direct. His arrow hits without missing."

The three virtues of the young mountaineer are clothed in a beautiful form - an implicit call for beauty is added to the formulated virtues. This, in turn, enhances the harmony of the perfect personality. Such an implicit presence of individual features of a perfect person characterizes the oral creativity of many peoples. So, for example, the highly poetic Mansi fairy tale “Sparrow”, from beginning to end in the form of a dialogue, consists of nine riddles-questions and nine guesses-answers: “Sparrow, sparrow, what is your head? – A ladle for drinking spring water. - What is your nose? - A crowbar for chiseling spring ice... - What are your legs? “Supports in the spring house...” The wise, the kind, the beautiful appear in a fairy tale in poetic unity. The highly poetic form of the fairy tale itself immerses its listeners into the world of beauty. And at the same time, it vividly depicts the life of the Mansi people in its smallest details: it tells about a painted paddle for riding up the river, a lasso for catching seven deer, a trough for feeding seven dogs, etc. And all this fits into eighty-five words of the fairy tale, including prepositions.

The pedagogical role of fairy tales was presented most generally in his works by V.A. Sukhomlinsky. He effectively used them in the educational process; in Pavlysh the children themselves created fairy tales. The great democratic teachers of the past, including Ushinsky, included fairy tales in their educational books and anthologies.

For Sukhomlinsky, fairy tales became an integral part of his theoretical heritage. Such a synthesis of folk principles with science becomes a powerful factor in enriching the country’s pedagogical culture. Sukhomlinsky achieved the greatest success in educational work, primarily due to the fact that he was the first of the Soviet teachers to begin to widely use the pedagogical treasures of the people. Progressive folk traditions of education were implemented by him to the maximum extent.

The formation of Sukhomlinsky himself was greatly influenced by folk pedagogy. He brilliantly transferred his experience to his students. Thus, the experience of self-education becomes a support in education. The book “Methods of Collective Education,” published in Kyiv in 1971, contains an amazing fairy tale, based on which Sukhomlinsky makes important pedagogical generalizations.

What is love?... When God created light, he taught all living things to continue their race - to give birth to others like themselves. God placed a man and a woman in a field, taught them to build a hut, and gave the man a shovel and the woman a handful of grain.

Live: continue your lineage, - said God, - and I will go about the housework. I'll come back in a year and see how you're doing here...

God comes to people a year later with the Archangel Gabriel. Comes early in the morning, before sunrise. He sees a man and a woman sitting near a hut, in front of them there is bread ripening in the field, under the hut there is a cradle, and in it a child is sleeping. And the man and woman look first at the orange field, then into each other’s eyes. The minute their eyes met, God saw in them some kind of unprecedented strength, a beauty unusual for him. This beauty was more beautiful than the sky and the sun, the earth and the stars - more beautiful than everything that God blinded and made, more beautiful than God himself. This beauty surprised God so much that his Godly soul trembled with fear and envy: how is it that I created the foundation of the earth, molded a man out of clay and breathed life into him, but apparently I could not create this beauty, where did it come from and what kind of beauty is this?

This is love, said Archangel Gabriel.

What is love? - asked God.

The Archangel shrugged.

God approached the man, touched his shoulder with his senile hand and began to ask: teach me to love, Man. The man did not even notice the touch of the hand of God. It seemed to him that a fly had landed on his shoulder. He looked into the eyes of a woman - his wife, the mother of his child. God was a weak, but evil and vengeful grandfather. He got angry and shouted:

Yeah, so you don’t want to teach me how to love, Human? You will remember me! From now on, grow old. Let every hour of your life take away your youth and strength, drop by drop. Become a wreck. Let your brain dry out and your mind become impoverished. Let your heart become empty. And I will come in fifty years and see what remains in your eyes, Man.

God came with the Archangel Gabriel fifty years later. He looks - instead of a hut there is a little white house, a garden has grown in a vacant lot, wheat is heading in the field, sons are plowing the field, daughters are harvesting flax, and grandchildren are playing in the meadow. Grandfather and grandmother are sitting near the house, looking first at the morning dawn, then into each other’s eyes. And God saw in the eyes of the man and woman a beauty even stronger, eternal and invincible. God saw not only Love, but also Fidelity. God is angry, he screams, his hands are shaking, foam is flying from his mouth, his eyes are rolling out of his head:

Is old age not enough for you, Man? So die, die in agony and strive for life, for your love, go to the ground, turn into dust and decay. And I will come and see what your love will turn into.

God came with the Archangel Gabriel three years later. He looks: a man is sitting over a small grave, his eyes are sad, but in them there is an even stronger, extraordinary and terrible human beauty for God. God saw not only Love, not only Fidelity, but also the Memory of the Heart. God’s hands trembled from fear and powerlessness, he approached the Man, fell to his knees and begged:

Give me, O Man, this beauty. Ask whatever you want for her, but just give me her, give me this beauty.

“I can’t,” answered the Man. - This beauty comes at a very high price. Its price is death, and you, they say, are immortal.

I will give you immortality, I will give you youth, but just give me Love.

No, don't. Neither eternal youth nor immortality can compare with Love,” answered the Man.

God stood up, grabbed his beard in a fistful, walked away from his grandfather, who was sitting near the grave, turned his face to the wheat field, to the pink dawn and saw: a young man and a girl were standing near the golden ears of wheat and looking first at the pink sky, then into each other’s eyes. . God grabbed his head with his hands and went from earth to heaven. Since then, Man has become God on Earth.

This is what love means. She is more than God. This is eternal beauty and human immortality. We turn into a handful of dust, but Love remains forever...

Based on the fairy tale, Sukhomlinsky makes very important pedagogical conclusions: “When I told future mothers and fathers about love, I sought to establish in their hearts a sense of self-worth and honor. True love is the true beauty of a person. Love is the flowers of morality; If there is no healthy moral root in a person, there is no noble love.” Stories about love are the hours of “our happiest spiritual unity.” Boys and girls are waiting for this time, according to Sukhomlinsky, with hidden hopes: but in the words of the teacher they are looking for answers to their questions - those questions that a person will never tell anyone about. But when a teenager asks what love is, he has completely different questions in his thoughts and heart: how should I deal with my love? These intimate corners of the heart must be touched with special care. “Never interfere in personal matters,” advises Sukhomlinsky, “do not make the subject of general discussion what a person wants to hide most deeply. Love is noble only when it is bashful. Do not concentrate the spiritual efforts of men and women on increasing the "knowledge of love." In the thoughts and heart of a person, love should always be surrounded by an aura of romance and inviolability. You should not hold debates in the team “on the topic” of love. This is simply unacceptable, this is a deep moral lack of culture. You, father and mother, talk about love, but let them be silent. The best conversation between young people about love is silence.”

The conclusions of the talented Soviet teacher indicate that the pedagogical treasures of the people are far from exhausted. The spiritual charge accumulated by the people over thousands of years can serve humanity for a very long time. Moreover, it will constantly increase and become even more powerful. This is the immortality of humanity. This is the eternity of education, symbolizing the eternity of humanity’s movement towards its spiritual and moral progress.

FAIRY TALES AS A MANIFESTATION OF NATIONAL PEDAGOGICAL GENIUS

A folk tale contributes to the formation of certain moral values ​​and ideals. For girls, this is a beautiful maiden (clever, needlewoman...), and for boys, a good fellow (brave, strong, honest, kind, hardworking, loving the Motherland). The ideal for a child is a distant prospect, to which he will strive, comparing his deeds and actions with it. The ideal acquired in childhood will largely determine him as a person. At the same time, the teacher needs to find out what the child’s ideal is and eliminate negative aspects. Of course, this is not easy, but this is the skill of a teacher: to try to understand each student.

Working with fairy tales has various forms: reading fairy tales, retelling them, discussing the behavior of fairy-tale characters and the reasons for their successes or failures, theatrical performances of fairy tales, holding a competition for experts in fairy tales, exhibitions of children's drawings based on fairy tales, and much more*.

* Baturina G.I.. Kuzina T.F. Folk pedagogy in the education of preschool children. M.. 1995. P. 41-45.

It’s good if, when preparing the staging of fairy tales, the children themselves select the musical accompaniment, sew their own costumes, and assign roles. With this approach, even small fairy tales have a huge educational resonance. Such “trying on” the roles of fairy-tale heroes, empathizing with them, makes the problems of the characters even more familiar and understandable even for a long time and well-known “Turnip”.

TURNIP

Grandfather planted a turnip and said:

Grow, grow, sweet turnip! Grow, grow, turnip, strong!

The turnip grew sweet, strong, and big.

Grandfather went to pick a turnip: he pulled and pulled, but couldn’t pull it out. Grandfather called grandma.

Grandma for grandfather

Grandfather for the turnip -

The grandmother called her granddaughter.

Granddaughter for grandmother,

Grandma for grandfather

Grandfather for the turnip -

They pull and pull, but they can’t pull it out.

The granddaughter called Zhuchka.

A bug for my granddaughter,

Granddaughter for grandmother,

Grandma for grandfather

Grandfather for the turnip -

They pull and pull, but they can’t pull it out.

Bug called the cat.

Cat for Bug,

A bug for my granddaughter,

Granddaughter for grandmother,

Grandma for grandfather

Grandfather for the turnip -

They pull and pull, but they can’t pull it out.

The cat called the mouse.

A mouse for a cat

Cat for Bug,

A bug for my granddaughter,

Granddaughter for grandmother,

Grandma for grandfather

Grandfather for the turnip -

They pull and pull - they pulled out the turnip.

I was lucky enough to attend an unforgettable performance of the fairy tale “Turnip” at the Shorshenskaya secondary school, brilliantly performed by teacher Lidia Ivanovna Mikhailova. It was a musical tragicomedy, with songs and dances, where the simple plot was expanded by the dialogues of the characters.

In the graduating class, an hour-long lecture is given on the topic “The wise pedagogical philosophy of “Turnip”.” In the same school, in the tenth grade, a discussion was held “One Hundred Questions about the Turnip.” We collected our own questions, those heard by chance, and those from children. They also arose spontaneously, in the course of reasoning.

Everything in this tiny tale makes sense. You can talk about this with your children. For example, why did grandfather plant a turnip? Not carrots, not beets, not radishes. The latter would be much more difficult to pull out. The turnip is all outward, holding onto the ground only with its tail. The primary action is important here - sowing a single tiny seed, barely visible to the eye, having a round, spherical shape; the turnip itself almost exactly reproduces the ball, increasing in size thousands of times. This is very similar to Christ's parable of the mustard seed: it is the smallest of all seeds, but when it grows, it becomes the largest of all garden plants. Infinitely small and infinitely large. The fairy tale reveals resources, reserves of endless, universal development. And the mouse is from the same category of relationships: the infinitely small has its own meaning, its own meaning in the world, the infinitely large is made up of the infinitely small, without the latter there is no first: “Mouse urine is a help to the sea,” say the Chuvash. The Buryats have a similar proverb.

So, in “Turnip” a whole philosophical concept, wise and highly poetic, is revealed, as well as enormous resources of words, verbal means and methods. This fairy tale is evidence of the extraordinary capabilities and spiritual potential of the Russian language, the fact that the Russian language has rightfully become the language of interethnic communication. Therefore, no matter how the situation in the country and in the world changes, we must under no circumstances allow the study of the Russian language and Russian culture to deteriorate.

Test questions and assignments

1. The most brilliant fairy tales in the world are “The Ryaba Hen”, “Kolobok”, “Turnip”. Try to justify this with reasoning.

2. I typed almost a hundred questions about “Turnip”, my own and my students’. Grandfather planted a turnip, sowed it, perhaps? Grandfather was a grandfather, how could he fail to pull out a turnip and immediately become a grandfather? And grandma is a match for him. The main characters of the fairy tale seem to be a turnip and a granddaughter - is that really true? How is the idea of ​​the infinitely large embodied in the fairy tale? What can you say about the diminutive suffix “k” in relation to a huge turnip? What do you think about the “overlapping” pairs of seven fairy-tale heroes? What can you say about pairs like cat and mouse, dog and cat? (G.N. Volkov).

Ask two or three more questions, and use proverbs in your reasoning.

3. How do you imagine a morning of fairy tales in the classroom?

4. Name your favorite fairy tale and explain why you especially like it?

5. Highlight the moral basis of A.S. Pushkin’s fairy tale “About the Fisherman and the Fish.”

6. Think about V.A. Sukhomlinsky’s favorite fairy tale about love.

The first literary work in every person’s life is a fairy tale. We probably all remember well how our mother read them to us in our very early years. However, one should not perceive a fairy tale solely as a way to entertain a child or amuse him.

It seems so only at first glance, but upon detailed analysis, we see that such a literary genre performs a very important function, namely, raising a child. Let's remember together how fairy tales made us feel.

The role of fairy tales in the life of the reader

The plot necessarily had negative and positive characters who found themselves in the same life situation or took part together in a certain event. Evil characters hindered the good ones in every possible way, playing various tricks on them.

However, in the end, good always defeated evil, and often won it over to its side. The unformed psyche of a child, using the example of the main characters of a fairy tale, begins to understand what is good and what is bad; how to treat people and how not to; what are real life values ​​and what are false.

Moral values ​​in fairy tales for adults

One should not assume that fairy tales leave a child as he grows up: they accompany a person throughout his adult life. After all, people tend to lose their life guidelines, and these literary works in every possible way help to find them again. Fairy tales for adults contain somewhat transformed moral values ​​of children's fairy tales.

Such works teach a person to be a patriot of his state, to have ideas about true love and friendship. Poetic images of fairy tale heroes make a person think about whether he has forgotten about the main thing in his life - spiritual formation.

After all, very often adults are busy with various everyday chores - work, study and raising children. The spiritual idea of ​​life sharply fades into the background, and ultimately, completely loses its relevance. Fairy tales act as a tool through which adults begin to understand the true values ​​of their lives.

The place of fairy tales in the world of fiction

The fairy tale occupies one of the most significant places in world fiction. Moreover, this genre is a pioneer in the development of the direct literary process in the life of mankind. The fairy tale always went in rhythm with time and fully reflected the dominant guidelines that were characteristic of humanity in a certain period of its history.

This literary genre did not arise out of nowhere. In ancient times, it was oral and passed down from generation to generation. Such tales were called folk tales, since they did not have an author, but were an expanded and modified oral text.

Author's fairy tales first appeared in the 17th century. Charles Perot is considered the father of the classic literary fairy tale; it was he who created the literary construction of the fairy tale, which was repeatedly used by many writers in the future. The fairy tale meets all the criteria of a literary work, the main one of which is a lesson for the reader.

Application for participation in the All-Russian pedagogical competition “Excellence in Education”

Participant information must be typed into the table below. The necessary explanations for these items are given below the table (the items below the table do not need to be filled out).

Nomination	Last name, first name and patronymic of the participant	Name of educational institution(indicating the locality)	Topic (title) of work)	Region	Email address	(Yes or no)
Research	Ivanova Maria Alexandrovna	MBDOU kindergarten No. 394 Samara	The role of folk tales in the development and upbringing of children	Samara Region	[email protected]

The role of folk tales in the development and upbringing of children

Introduction. Fairy tale as a genre of Russian folklore.

The role of folk tales in the development and upbringing of children.

1. Folklore is a universal pedagogical system

development and education of children.

2. Fairy tales are an artistic way of understanding the world

as a child.

3. Cognitive and educational significance of fairy tales

about animals.

4. Fairy tales - lessons in the triumph of good.

5. Everyday fairy tales - a school for preparing children for adulthood

Conclusion. Folk tale and fiction

literature.

INTRODUCTION

Fairy tale as a genre of Russian folklore.

What is a fairy tale? At first glance it may seem that this question is completely idle, that everyone knows this. Such views were expressed even in science. The Finnish scientist H. Honti writes: “A one-sided definition of a well-known concept is, strictly speaking, unnecessary: ​​everyone knows what a fairy tale is and can instinctively distinguish it from the so-called related genres - folk traditions, legends and anecdotes.” It can be noted that A.N. Veselovsky, whose works on fairy tales comprise an entire volume, never gave his definition of a fairy tale. According to V.Ya. Propp: “1) the fairy tale is recognized as a narrative genre (bayat - say, tell); 2) a fairy tale is considered fiction.”

A.S. Pushkin wrote in 1824 from Mikhailovsky exile: “In the evening I listen to fairy tales - and thereby compensate for the shortcomings of my damned upbringing. What a delight these tales are! Each one is a poem!” But the great poet did not just listen to Arina Rodionovna’s fairy tales in the evenings; he was one of the first to write them down, and later created his famous fairy tale poems.

Fairy tales occupy a large and important place in my life. It is with them that the first memories of childhood are associated; They are the ones who still help us believe in miracles and, therefore, hope for the best. Fairy tales bring kindness, understanding, and warmth into the world of our family. Most of all, I loved the evenings when my mother, a literature teacher, read fairy tales aloud in preparation for lessons. Then even my older brother calmed down, he and I sat down under my mother’s side and forgot about everything in the world.

I am sure that fairy tales play the most important role in raising people to be kind, merciful, and honest. Anyone who “grew up on fairy tales” will never commit meanness and will remain optimistic in the most difficult moments of life, because a folk tale is the best teacher. This means that the study of fairy tales remains a relevant, necessary area of ​​work in a modern school. The purpose of my work is to show the role of folk tales not only in the upbringing, but also in the development of children.

THE ROLE OF FOLK FAIRY TALES IN THE DEVELOPMENT AND EDUCATION OF CHILDREN.

1. Folklore is a universal pedagogical system for the development and upbringing of children.

That’s why oral folk literature is called oral, that for centuries, from generation to generation was transmitted word of mouth, was kept only in the memory of the people. World literature would not have known either the Iliad, or the Odyssey of Homer, or the Icelandic sagas, or Russian fairy tales and epics, if they had not been written down and collected. In Russia, such pioneer folklore collectors were A.S. Pushkin, N.V. Gogol, N.M. Yazykov, V.I. Dal, A.N. Koltsov. The first collection of Russian folk tales was collected and published in 1855 - 1863 by A.N. Afanasyev. In the same way, samples of children's folk art, riddles, historical songs, lamentations and other genres of folklore were first collected and published in the 19th century. This century is rightly called golden, referring to the highest achievements of literature. He was golden and for collecting, studying, publishing Russian folklore.

The word “folklore” itself, in a more accurate translation from English, means folk studies, folk studies. This is the way of understanding the people through folk art. Knowledge of the people, and therefore of oneself. It is not for nothing that the people themselves call those who break away from their roots “Ivans who do not remember their kinship.”

But folklore is not only one of the forms of literature (oral, nameless). Folklore is the basis of the upbringing and development of children. This is a universal pedagogical system in which millennia of folk experience have already selected the most natural and necessary forms of development of speech, musical abilities, logical and imaginative thinking, work skills, ethical and moral ideals. And they didn’t just select them as a sum of certain methodological techniques, but put them into artistic form.

Folklore is artistic pedagogy! This is the same system of aesthetic education of children with the help of literature and art (words, music, dance), which some experimental studios and art schools are still trying to implement. All this is inherent in folklore from the very beginning. Folk pedagogy simply does not know any other methods and forms other than aesthetic and artistic education.

In folklore, the first months and years matter almost more than the entire subsequent life. Not a single education system, except folklore, takes as a basis that very “critical period of development” of the child, in which, as experts say, “the decisive laying of sound information occurs.” Decisive – for life!

It all starts with the poetry of nurturing - lullabies, pesters, nursery rhymes. Lullabies are amulets based on the magical power of words and music, their ability to calm, protect, and protect.

Oh, bye, bye, bye,

A raven sits on the edge

And he plays the trumpet.

The trumpet plays loudly,

Dream is catching up with sleep too.

Sleep, daughter, sleep,

Take you away.

From the very first minutes of his earthly existence, the child finds himself not in the chaos of sounds, but in the power of words and music, in an ordered musical and poetic environment.

Many people are not even aware of the magical significance of children's folklore. But “Okay, okay, where were you - at grandma’s”, “Soroka-magpie, where was you? “Far” is the best way to coordinate movement, children’s gymnastics (ancient aerobics), as a tongue twister - the development of speech, eliminating its natural deficiencies (ancient speech therapy), where everything is based on rhythm, on the poetic word.

“The horned goat is coming,” children's games are the next stage of folk artistic multi-level education. And as a result, imperceptibly and unobtrusively, by the age of two or three the child is fully prepared for independent word creation. He went through the necessary poetry and music school, and gained an understanding of rhythm and rhyme.

Folklore is also the comprehension of the linguistic riches of living folk speech. We must not forget that folklore is oral, not written literature. The famous folklorist A.I. Nikiforov wrote about this in 1927: “Works of folk literature are not literature that is written by a writer silently at the table. On the contrary, a fairy tale, song, epic, etc. first of all they are pronounced. The text of a fairy tale without taking into account its execution is a corpse. And studying this text will give an understanding of the anatomy of a fairy tale, but not the life of a fairy-tale organism.”

2. Fairy tales are an artistic way for a child to understand the world.

Folklore laid the foundations of not only aesthetic, but also moral education. Almost all children's fairy tales are based on moral teaching. Fairytale didacticism begins with the very first simple stories about animals; it is found in everyday, satirical, magical, and heroic tales. At the same time, the educational meaning of fairy tales is inseparable from the educational one. Fairy tales are an artistic way of understanding the world around us. It is no coincidence that they are called the people's pedagogical encyclopedia. But this encyclopedia is artistic, embodied in images and plots. Any moral teaching is achieved here unobtrusively, as if by itself. Such hidden edification is contained in almost all children's fairy tales, the meaning of which is sometimes extremely simple: you cannot go outside without asking, you cannot drink from a puddle, you cannot be greedy... But the child does not even suspect that in “Geese and Swan”, in “ Sister Alyonushka and brother Ivanushka” are instilled in him with all these pedagogical taboos.

The psychology of children, the basic laws of children's logic and perception - all this is taken into account in folklore, summarizing the pedagogical experience of the people. Even the feeling of fear is used in horror stories as one of the forms of education of feelings. Children's “horror stories” are the oldest folklore genre. Listening to such horror tales “about the dead, about the exploits of Bova,” young Pushkin fell asleep, and the boys in Turgenev’s “Bezhin Meadow” listened to them. Not to mention the fact that “May Night, or the Drowned Woman”, “Terrible Revenge” by N.V. Gogol, “Rusalka”, “The Groom” by A.S. Pushkin, “The Scarlet Flower” by S.T. Aksakov, as well as many other works of the so-called “furious” school of Russian and European romanticism (the “horror” literature of their time) were based on similar folk horror stories. Overcoming the feeling of fear, according to psychologists, is also included in the system of pedagogical education.

To all the listed features of folklore, it is necessary to add one more. Folklore is not only the most national, but also the most international art form. Almost all fairy tales are among the “vagrant” ones that coincide in the folklore of many countries and peoples. Uzbek, Tatar, Serbian, Scandinavian fairy tales have their own “Kolobok”, as well as Lithuanian, Swedish, Spanish - their own “Turnip”, Portuguese, Turkish, Indian, Arabic - their own “Frog Princess”. And Emelya, and Alyonushka with brother Ivanushka, and Snegurochka, and Little Khavroshechka - all these fairy-tale images also coincide. Moreover, the coincidences are sometimes so striking that they leave, it would seem, no doubt about the borrowings. So, for example, in a Russian fairy tale, Ivanushka calls out by the pond:

Alyonushka, my sister!

Swim out, swim out to the shore.

The fires are burning flammable,

The cauldrons are bubbling,

Damask knives are sharpened,

They want to kill me!

And sister Alyonushka answers him:

Brother Ivanushka!

The heavy stone pulls to the bottom,

The fierce snake sucked out my heart!

In an Italian fairy tale, this dialogue between brother and sister looks like this: “My sister! The knife is sharpened, the cauldron is ready, they want to kill me.” - “My brother! I’m in the depths of the well, I can’t protect you.” In German: “Oh, sister, save me! The owner’s dogs are chasing me.” - “Oh, brother, be patient! I'm lying in deep water. The earth is my bed, the water covers me. Oh, brother, be patient! I'm lying in deep water."

There are many similar examples that can be cited, but they do not indicate borrowings, but rather the coincidence of life and historical situations: all the mothers of the world lull and nurture their children in the same way, all heroic fights, meetings with “unrecognized” children, brothers, sisters coincide, as do decisions identical arithmetic problems, regardless of where this problem (twice two is four) is solved: in Africa, China, Russia, America or India.

Aesthetic, moral and patriotic education - all this is contained in a folk tale, in the pedagogical and creative genius of the people.

3. Cognitive and educational significance of fairy tales about animals.

In the modern school curriculum, folk tales are divided into three types: about animals, magic and everyday ones. It is worth dwelling on the enormous educational and developmental role of each of these groups.

Tales about animals arose at a very early stage in the development of human society and at first had a purely practical, vital significance for humans. They were stories of ancient hunters, trappers, fishermen about actual events that happened to them, and were simple stories about the most remarkable habits of animals, birds and fish. Along with real features, these stories bore the imprint of a connection with the ancient forms of consciousness of people of the distant past - the animation of nature (animism), the belief in the origin of one or another human race from some animal or even plant (totemism) and, finally, the belief in the possibility of magical (magical) influence on various phenomena of the surrounding world. At first, these stories were not allegorical. Gradually, people's knowledge of the world around them expanded, faith in supernatural forces was lost, and power over nature grew.

With the loss of a naive attitude towards nature and admiration for animals in this genre group, a new, ironic approach to the characters in these narratives is increasingly emerging. Images of many animals are depicted not only as scary, but also funny. Since then, images of animals, fish, and birds have been used as allegories to expose human flaws and weaknesses. Stories about animals become real fairy tales.

Each of the characters in fairy tales about animals reproduced some strictly defined properties inherent in individual people. So, for example, the most powerful forest animal in the central part of Russia - the bear - was the embodiment of a predatory person, not limited by the power of man; the wolf symbolized hypocrisy and cruelty combined with mental limitations; the fox personified deception, resourcefulness and treachery; hare and mouse - weakness and timidity; rooster - gullibility and courage; falcon - courage and moral greatness; kite - greed and ferocity; ruff - resourcefulness and resourcefulness, etc. By exposing human relationships, fairy tales about animals condemned human vices.

In our time, fairy tales about animals still have great cognitive and educational significance, since they not only introduce children to the behavioral characteristics and characteristic habits of various animals, birds and fish, but also carry a great educational load. The popular tale of the turnip, for example, speaks of the role of the collective; a fairy tale about a cat, a rooster and a fox - about the power of friendship; fairy tales “The Man, the Bear and the Fox”, “The Fox-Midwife” and others ridicule the excessive talkativeness, incompetence, and absurdity of the behavior of some characters.

Russian fairy tales about animals are quite simple in structure and are often small in volume. A successful combination of their stylistic originality with specific techniques of their performance (onomatopoeia, the use of gestures, facial expressions, songs) allows you to unobtrusively teach a child to distinguish between good and bad, good and evil, truth and lies, develop the ability to recognize animals by the sounds they make, by their external appearance. signs and habits.

4. Fairy tales - lessons in the triumph of good.

Fairy tales owe their appearance to the work of people from the distant past. Overcoming the forces of nature, people not only wanted to understand the world around them, they dreamed of making their work easier, of turning treeless spaces into blooming gardens, of wonderful helpers from among the animals and plants they knew and imagined. About fantastic speeds of movement and much more. These good dreams have become the primary element of a significant number of fairy tales. The reported facts and characters of fairy tales have little history and are rightfully considered fictitious.

The main characters of fairy tales: Ivan the peasant or soldier's son, the prince or prince, Andrei the Sagittarius, Yasen the Falcon, Emelya the Fool and others - as a rule, are endowed with beautiful appearance, remarkable internal qualities, and extraordinary abilities. Often, to make the image more vivid, storytellers at the beginning of the story strive not only not to show all this, but also to present their hero as a stupid, defenseless creature, with a repulsive appearance and unflattering actions. Because of this, his brothers and strangers do not like him. But there comes a moment when the main character, to the surprise of everyone, changes radically: he easily solves the most difficult problems, easily defeats many enemies, copes with any task and, as a reward for all good things, receives untold riches and even a beautiful maiden wives. According to the fair remark of M. Gorky, the fairy-tale hero, “despised even by his father and brothers, always turns out to be smarter than them, always the winner of all life’s adversities...”

An important place in fairy tales is occupied by female characters close to the main character: Vasilisa the Wise, Elena the Beautiful, Lebed Zakharyevna, Marya Morevna, Sineglazka, Nastasya the Golden Braid. Each of them, along with the femininity characteristic of the fairer sex, is characterized by inexhaustible activity, creative energy, love of life, extraordinary ingenuity and unprecedented strength. Next to them are tender images of patient, modest, unreasonably persecuted, but later rewarded according to their merits, such as stepdaughter, sister Alyonushka, Snow Maiden, Cinderella and others. Somewhat close in their fate to the image of Ivan, persecuted by everyone, these heroines evoke deep sympathy from listeners.

The heroes of fairy tales in successfully solving problems receive great help from real and fantastic animals (Sivka-burka, golden-bristle pig, bayun cat, gray wolf, duck, eagle, pike, etc.), as well as creatures and objects endowed with supernatural qualities (“uncles”, “old women from the backyard”, Oedalo, Listener, stove, river-milk banks, apple tree, etc.). Of great importance in fairy tales are wonderful objects and wonders, which often perform very important tasks: a flying carpet, walking boots, a samogud harp, a self-cutting sword. Various “inexhaustible” items are also noteworthy: a self-assembled tablecloth, a cap, a purse, as well as a magic invisible cap, rejuvenating apples, living and dead water.

Wonderful things and wonders in fairy tales can be very difficult to acquire, and on his way to them the hero comes into conflict with those who personify dark, hostile forces in fairy tales. Among them are envious and cunning brothers and sisters, unjust and greedy kings and merchants, Baba Yaga, Koschey the Immortal, Dashing One-Eyed, Serpent Gorynych, Miracle of the Sea, Woe. All of them are the embodiment of inhumanity, treachery, ferocity, force that destroys everything good and bright in life.

But the hero’s enemies, despite their monstrous strength and fantastic vitality, are ultimately defeated, and in the end of the fairy tale, good triumphs over evil.

The educational and developmental value of fairy tales lies in the fact that they teach us to overcome any obstacles in achieving a goal, to remain cheerful even in the most difficult situations, and to believe in the all-conquering power of good.

5. Everyday fairy tales are a school for preparing children for adult life.

Everyday fairy tales appeared much later than fairy tales and fairy tales about animals and were firmly connected with the everyday life of the people. In them there are almost no fantastic conditions in which the characters act, no miraculous deeds of the heroes, no supernatural helpers. In these tales, everything happens in an ordinary, often rural, setting; the main characters are usually farmers, carpenters, shoemakers, soldiers, and just men.

Among everyday fairy tales, one can highlight themes related to showing personal and family relationships, telling stories about the deeds of wise and resourceful people, and some others. In fairy tales about family and personal relationships, we are talking about the marriage or marriage of the main characters of the story, about marital relationships, about the re-education of careless and disobedient wives by husbands, about the inability and unwillingness of wives to run a household. These tales ridicule adultery, betrayal, and deception.

In the group of fairy tales about wise and resourceful people, a special place is occupied by numerous versions of works about a girl or girl who amazes with her intelligence, about a soldier or peasant who does not get lost in any situation. These tales very clearly reveal the inner nobility, the mental superiority of the common man over the masters. The main characters of such fairy tales can get out of any difficult situation, are able to complete such tasks and answer such questions that are beyond the power of the rich man. And at the same time, these heroes are ready to laugh heartily at the stupid owner, the roguish old woman, and the very narrow-minded general. Depicting in fairy tales everything positive that is inherent in ordinary workers, storytellers show with undisguised satisfaction their superiority over their masters. It invariably manifests itself in the triumph of reason, justice, and the hero’s skillful overcoming of any hostile forces.

When telling about the relationship between the common people and the propertied class, storytellers often present wishful thinking. The downtrodden, powerless peasant in these tales invariably emerges victorious. He perfectly sees and skillfully uses each of his master’s shortcomings. A man not only laughs at the vices of his masters (“The Master and the Man,” “The Soldier and the Master,” “The Lady and the Chickens”), but also punishes his opponents in various ways (“The Angry Lady,” “The Master and the Carpenter,” “About Need” ). Moreover, the peasant acts against the master not with the help of miraculous “sleepy drops”, but in the most real way - he beats the master three times, steals his three horses, takes the lady’s money and even a pig and piglets.

A characteristic feature of everyday fairy tales is that in them the people, while castigating the vices inherent in individual people: laziness, stubbornness, sloppiness, greed and stupidity, at the same time show the best that is characteristic of working people: a brilliant practical mind, extraordinary ingenuity, the ability to do any job well. It is clear that everyday fairy tales prepared children for adult life, showed its complexities and difficulties and at the same time convinced them of the strength of mind, ingenuity, courage and cunning.

CONCLUSION.

Folklore tale and fiction.

Fairy tales are works of great art. Getting to know them, you don’t notice their complex structure - they are so simple and natural, you don’t even notice how much you learn with their help. The importance of Russian folk tales in the upbringing and development of children is great. Having absorbed the centuries-old experience of man, reflecting his thoughts and hopes, fairy tales teach and instruct people, awaken their consciousness, and force them to think seriously about the important problems of our time. While resolutely ridiculing human vices, Russian fairy tales have always glorified the good and bright that existed on earth. All of the above is confirmed by the results of a survey conducted among the pupils of our group in kindergarten, only 1 of whom claims that they do not like fairy tales. The guys believe that folk tales teach kindness, courage, justice, hard work, honesty, wisdom (this is the order in which the percentages were formed). They are sure that in fairy tales the kindest heroes are those who are weaker, those who are offended. They do not like heroes who are evil, greedy, soulless, envious, treacherous, unjust, boastful, dishonest (Koschei - 68%, Baba Yaga - 29%). And all those surveyed (even the one who doesn’t like

It is no coincidence that works of fairy-tale folklore and its heroes are often

fiction was circulated. A.S. Pushkin felt the power of the folklore word. Hence the poet’s special attention to the form and style of folk tales, which manifested itself already in the images of his early poem “Ruslan and Lyudmila.” Later, in the tales about Tsar Saltan, about the goldfish, about the priest and his worker Balda, Pushkin, according to T.F. Kurdyumova, “will enter into direct poetic “competition” with folklore originals.”

The line of creative interaction between folklore and literature is continued by M.Yu. Lermontov and A.K. Tolstoy. N.V. Gogol sees the special beauty and animation of everyday life in folk tales. The interaction of 19th-century literature and folklore develops in the direction from the use of individual elements to the depiction of detailed pictures of peasant life and folk spiritual ideals. An important milestone in this movement is the work of N.A. Nekrasov, in whose poems and poems the theme of “people's happiness” is developed.

N.S. Leskov had a keen sense of the spoken word, followed by A. Remizov, B. Pilnyak, and A. Platonov who used tale processing. The appeal of all these authors to the stylistic canons of folk tales is associated with the desire to convey the deep meanings inherent in the national culture from time immemorial, and to use its great educational and developmental power.

Bibliography.

Anikin V.P. Russian folktale. Manual for teachers. – M., 1977.

East Slavic fairy tales. Compiled by T.V. Zueva. – M., 1992.

Literature of the peoples of Russia. – M.: Bustard, 2002.

Morokhin V.N. Prose genres of Russian folklore. Reader. M., 1977.

Nugaibekova M.A. Proverbs and sayings as a means of developing competencies. Samara, 2005.

Russian folk riddles, proverbs, sayings. Compiled by Yu.G. Kruglov. – M., 1990.

Folklore of the peoples of Russia. In 2 volumes: T. 1 – M.: Bustard, 2002.