How does Russian folk art differ from original art? How does a folk tale differ from a literary fairy tale? Similarities and differences

Literary and folk tales belong to the same genre, so it is quite difficult to determine what is different folk tale from literary. The only visible differences are the form of the narrative and the internal content. The basis of the plot of any fairy tale is amazing story about the unprecedented adventures (sometimes misadventures) of the main characters, but in folklore works the plot is built according to a traditional scheme, but in literary storytelling has the author's version of the presentation.

Folk tales

To identify the differences between literary and folk tales, you should study the definitions of these concepts. Folk tale is ancient cultural heritage, which, albeit in an embellished form, preserved the idea of ​​ancestors about the relationship between the surrounding world (nature) and man. Here the line between evil and good is clearly demarcated, the basic laws of morality and moral principles human society, demonstrated bright features national identity, beliefs and way of life. Fairy tales, called folk tales, have their own classification:

• Magic ("Magic Ring", "Two Frosts", "Frost").
• Epic stories (“Bulat-Well done”, “Vavila and the buffoons”, “Dobrynya and the Serpent”).
• Household (“Poor Master and Servant”, “Thieves and Judge”, “Expensive Lunch”).
• Bogatyrsky ("Ivan - peasant son and Miracle Yudo", "Ivan the Cow's Son", "Nikita Kozhemyaka").
• Satirical (" Dobry pop", "The Fool and the Birch", "Porridge from an Ax").

A separate niche in the presented classification is occupied by animals ("Geese-Swans", "Goat-Dereza", "Masha and the Bear"). Experts associate their occurrence with ancient pagan rituals and beliefs.

Literary tales

When comparing folk and literary fairy tales, it is definitely worth considering that the latter arose much later than the first. Thanks to the introduction of educational ideas into European literature, V XVIII century the first author's readings and adaptations of folklore legends appeared, and already in the 19th century traditional fairy tales. Among those who have been particularly successful in this field are A. Hoffmann, C. Perrault, G. H. Andersen and, of course, the Brothers Grimm - recognized classics genre.

The similarities between literary and folk tales are determined by the fact that folklore motifs are repeated in both, magical attributes are necessarily present, but in literary development plots and the choice of main characters are strictly subordinated to the author's will. Also from the second half of the 19th century centuries, the literary fairy tale becomes very close to short stories and even stories. A striking example The works of Russian writers: L. Tolstoy and A. Pogorelsky, and European ones: S. Lagerlöf, and L. Carroll can serve as references.

General. Folklore traditions

When comparing the features of folk and literary fairy tales, special attention should be paid to the folklore traditions of the author's fairy tale, which unites it with folk tales:

• Writers use in their works plot motives folklore (moral and moral temptation - the test of the main character, the presence of animal helpers, the miraculous origin of the characters, hatred of the stepmother's stepdaughter, etc.).
• According to the respected Russian folklorist V. Ya. Propp, writers use traditional images familiar from childhood central characters, which perform certain functions (antagonist, protagonist, assistant to the main character, donor, mischievous pest, stolen object, false hero).
• In their creation, storytellers create time and space in accordance with the unwritten laws of the fairy-tale folklore world: the place is fantastic, sometimes uncertain: Far Far Away kingdom, dilapidated dugout, etc.
• Using poetic speech techniques: triple repetitions, constant epithets, verbal formulas, vernacular, proverbs and sayings, phraseological units.

This close attention To folklore origins allows us to see the appeal of fairy tale writers to them and the specifics of literary fairy tales.

Differences

To understand how a folk tale differs from a literary one, it is worth paying attention to the uniqueness of form and content, namely:

• In the author's fairy tale, figurativeness is more clearly expressed, that is, it is described in more detail, detail and, most importantly, colorfully appearance, emotions of characters, location and events.
• IN literary fairy tale there is psychologism, a more in-depth and detailed study of the inner world, feelings and emotions of the characters.
• The characters of the author's legend are not generalized types, they have unique individual ones. For example, writers such as Ershov, Pushkin, Odoevsky, pay attention to the psychological motives of the actions and actions of the heroes.
• Like any literary work, fairy tales by writers are characterized by a pronounced, stable tone that determines its emotional tone. For example: “The Tale of Tsar Saltan...” - pure, bright, noble; "The Tale of dead princess and about the seven heroes" - elegant, gentle, sad; "The Tale of the Priest and his worker Balda" - jokey, mocking; "The Tale of the Fisherman and the Fish" - ironic, but sad.

How does a folk tale differ from a literary one? The fact that original work allows the reader to recognize the author's face, his spiritual world, addictions and It is fundamental difference folklore legend, in which the ideals of an ethnic group are reflected, and the identity of a particular narrator is erased.

Briefly about the main thing

So, how does a folk tale differ from a literary one? The latter is a work of authorship, unlike the former, which emerged as a result of collective creativity as an epic subgenre. Literary tale is an established, recognized genre fiction, and folk is a special type of folklore genre, the characteristic of which is oral retelling.

Favorite literary genre of kids

Literary fairy tales are one of the most revered literary genres in children. Even the program school reading contains the works of such writers A. S. Pushkina, V.F. Odoevsky, P.P. Ershova, V.A. Zhukovsky, which are included in the golden fund of domestic and world literature for children. Reading them contributes to the rapid formation of moral and aesthetic ideas of children, develops their literary horizons and general culture. But most importantly, such works contribute to the development creativity, imagination and unconventional thinking of the young reader.

The word "folklore", which often denotes the concept of "oral" folk art", comes from the combination of two English words: folk - “people” and lore - “wisdom”. The history of folklore goes back to ancient times. Its beginning is connected with the need of people to understand the natural world around them and their place in it. This awareness was expressed in inextricably fused words, dance and music, as well as in works of fine, especially applied, art (ornaments on dishes, tools, etc.), in jewelry, objects of religious worship... They came to us from the depths of centuries and myths that explain the laws of nature, the mysteries of life and death in figurative and plot form. The rich soil of ancient myths still nourishes both folk art and literature.

Unlike myths, folklore is already a form of art. Ancient folk art was characterized by syncretism, i.e. indivisibility different types creativity. IN folk song Not only could the words and melody be separated, but also the song could not be separated from the dance or ritual. The mythological background of folklore explains why oral works did not have a first author. With the advent of “author’s” folklore, we can talk about modern history. The formation of plots, images, and motifs occurred gradually and, over time, were enriched and improved by the performers.

The outstanding Russian philologist Academician A. N. Veselovsky, in his fundamental work “Historical Poetics,” argues that the origins of poetry lie in folk ritual. Initially, poetry was a song performed by a choir and invariably accompanied by music and dancing. Thus, the researcher believed, poetry arose in the primitive, ancient syncretism of the arts. The words of these songs were improvised in each specific case until they became traditional and acquired a more or less stable character. In primitive syncretism, Veselovsky saw not only a combination of types of art, but also a combination of types of poetry. “Epic and lyric poetry,” he wrote, “seemed to us to be the consequences of the decay of the ancient ritual choir” 1.

1 Veselovsky A. N. Three chapters from “Historical Poetics” // Veselovsky A.N. Historical poetics. - M., 1989. - P. 230.

It should be noted that these conclusions of the scientist in our time represent the only consistent theory of the origin of verbal art. “Historical Poetics” by A. N. Veselovsky is still the largest generalization of the gigantic material accumulated by folklore and ethnography.

Like literature, folklore works are divided into epic, lyrical and dramatic. TO epic genres include epics, legends, fairy tales, historical songs. Lyrical genres include love songs, wedding songs, lullabies, and funeral laments. To the dramatic - folk dramas(with Petrushka, for example). The original dramatic performances in Russia were ritual games: seeing off Winter and welcoming Spring, elaborate wedding rituals, etc. One should also remember about small genres of folklore - ditties, sayings, etc.

Over time, the content of the works underwent changes: after all, the life of folklore, like any other art, is closely connected with history. A significant difference between folklore works and literary works is that they do not have a permanent, once and for all established form. Storytellers and singers have honed their mastery of performing works for centuries. Let us note that today children, unfortunately, usually get acquainted with works of oral folk art through a book and much less often - in live form.

Folklore is characterized by natural folk speech, striking in its richness of expressive means and melodiousness. For folklore work Well-developed laws of composition with stable forms of beginning, plot development, and ending are typical. His style tends toward hyperbole, parallelism, and constant epithets. Its internal organization has such a clear, stable character that even changing over the centuries, it retains its ancient roots.

Any piece of folklore is functional - it was closely connected with one or another circle of rituals, and was performed in a strictly defined situation.

Oral folk art reflected the entire set of rules of folk life. The folk calendar precisely determined the order of rural work. Rituals of family life contributed to harmony in the family and included raising children. The laws of life of the rural community helped to overcome social contradictions. All this is captured in various types of folk art. An important part of life is holidays with their songs, dances, and games.

Oral folk art and folk pedagogy. Many genres of folk art are quite understandable for young children. Thanks to folklore, a child can more easily enter into the world, feels more fully the charm of the native when

childbirth, assimilates the people's ideas about beauty, morality, gets acquainted with customs, rituals - in a word, along with aesthetic pleasure, absorbs what is called the spiritual heritage of the people, without which the formation of a full-fledged personality is simply impossible.

Since ancient times, there have been many folklore works specifically intended for children. This type of folk pedagogy has played a huge role in the education of the younger generation for many centuries and right up to the present day. Collective moral wisdom and aesthetic intuition developed a national ideal of man. This ideal fits harmoniously into the global circle of humanistic views.

Children's folklore. This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as those passed on to children from the oral creativity of adults. That is, the structure children's folklore no different from the structure of children's literature.

By studying children's folklore, you can understand a lot about the psychology of children of a particular age, as well as identify their artistic preferences and level of creative potential. Many genres are associated with games in which the life and work of elders are reproduced, therefore the moral attitudes of the people, their national traits, features of economic activity.

In the system of genres of children's folklore, “nurturing poetry” or “maternal poetry” occupies a special place. This includes lullabies, nurseries, nursery rhymes, jokes, fairy tales and songs created for the little ones. Let us first consider some of these genres, and then other types of children's folklore.

Lullabies. At the center of all “mother’s poetry” is the child. They admire him, pamper him and cherish him, decorate him and amuse him. Essentially, it is the aesthetic object of poetry. In a child’s very first impressions, folk pedagogy instills a sense of the value of one’s own personality. The baby is surrounded by a bright, almost ideal world, in which love, goodness, and universal harmony reign and conquer.

Gentle, monotonous songs are necessary for the child's transition from wakefulness to sleep. From this experience the lullaby was born. Here the innate maternal feeling and the sensitivity to the peculiarities of age, organically inherent in folk pedagogy, were reflected. The lullabies are reflected in a softened game form everything a mother usually lives with is her joys and worries, her thoughts about the baby, dreams about his future. In her songs for the baby, the mother includes what is understandable and pleasant to him. This is “gray cat”, “red shirt”, “ a piece of pie and a glass of milk", "crane-

face "... There are usually few words and concepts in the chauduel room - you laugh those

Fundamental;! Gsholpptok;

without which primary knowledge of the surrounding world is impossible. These words also give the first skills of native speech.

The rhythm and melody of the song were obviously born from the rhythm of the rocking of the cradle. Here the mother sings over the cradle:

There is so much love and ardent desire to protect your child in this song! Simple and poetic words, rhythm, intonation - everything is aimed at almost magic spell. Often the lullaby was a kind of spell, a conspiracy against evil forces. Echoes of both ancient myths and the Christian faith in the Guardian Angel are heard in this lullaby. But the most important thing in the lullaby for all time remains the poetically expressed care and love of the mother, her desire to protect the child and prepare for life and work:

A frequent character in the lullaby is a cat. He is mentioned along with the fantastic characters Sleep and Dream. Some researchers believe that mentions of it are inspired by ancient magic. But the point is also that the cat sleeps a lot, so it is he who should bring the baby sleep.

Often mentioned in lullabies, as well as in other children's folklore genres and other animals and birds. They speak and feel like people. Endowing an animal with human qualities is called anthropomorphism. Anthropomorphism is a reflection of ancient pagan beliefs, according to which animals were endowed with soul and mind and therefore could enter into meaningful relationships with humans.

Folk pedagogy included in the lullaby not only kind helpers, but also evil, scary, and sometimes not even very understandable ones (for example, the ominous Buka). All of them had to be cajoled, conjured, “taken away” so that they would not harm the little one, and maybe even help him.

A lullaby has its own system of expressive means, its own vocabulary, and its own compositional structure. Short adjectives are common, complex epithets are rare, and there are many verbose words.

Baiushki bye! Save you

I cry from everything, from all sorrows, from all misfortunes: from the crowbar, from the evil man - the Adversary.

And your angel, your savior, have mercy on you, from every sight,

You will live and live, Don’t be lazy to work! Bayushki-bayu, Lyulushki-lyulyu! Sleep, sleep at night

Yes, grow by the hour, You will grow big - You will begin to walk in St. Petersburg, Wear silver and gold.

owls of stress from one syllable to another. Prepositions, pronouns, comparisons, and entire phrases are repeated. It is assumed that ancient lullabies did without rhymes at all - the “bayush” song was kept with smooth rhythm, melody, and repetitions. Perhaps the most common type of repetition in a lullaby is alliteration, i.e. repetition of identical or consonant consonants. It should also be noted that there is an abundance of endearing and diminutive suffixes - not only in words addressed directly to the child, but also in the names of everything that surrounds him.

Today we have to talk with regret about the oblivion of tradition, about the ever-increasing narrowing of the range of lullabies. This happens mainly because the inextricable unity of “mother-child” is broken. And medical science raises doubts: is motion sickness beneficial? So the lullaby disappears from the lives of babies. Meanwhile, folklore expert V.P. Anikin assessed her role very highly: “A lullaby is a kind of prelude to musical symphony childhood. By singing songs, the baby’s ear is taught to distinguish the tonality of words and the intonation structure of native speech, and the growing child, who has already learned to understand the meaning of some words, also masters some elements of the content of these songs.”

Pestushki, nursery rhymes, jokes. Like lullabies, these works contain elements of original folk pedagogy, the simplest lessons of behavior and relationships with the outside world. Pestushki(from the word “nurture” - educate) are associated with the earliest period of child development. The mother, having unswaddled him or freed him from clothes, strokes his body, straightens his arms and legs, saying, for example:

Sweating - stretching - stretching, Across - fat, And in the legs - walkers, And in the arms - grabbers, And in the mouth - a talker, And in the head - a mind.

Thus, pestles accompany physical procedures, necessary for the child. Their content is associated with specific physical actions. The set of poetic devices in pets is also determined by their functionality. Pestushki are laconic. “The owl is flying, the owl is flying,” they say, for example, when waving a child’s hands. “The birds flew and landed on his head,” - the child’s hands fly up to his head. And so on. There is not always a rhyme in pet songs, and if there is, then most often it is a pair. Organizing the text of the pestles as poetic work is also achieved by repeated repetition of the same word: “The geese flew, the swans flew. The geese were flying, the swans were flying..." To the pestles

Some kind of humorous conspiracies are close, for example: “Water is off a duck’s back, but thinness is on Efim.”

Nursery rhymes - a more developed game form than pestles (although they also have enough game elements). Nursery rhymes entertain the baby and create a cheerful mood. Like pestles, they are characterized by rhythm:

Tra-ta-ta, tra-ta-ta, A cat married a cat! Kra-ka-ka, kra-ka-ka, He asked for milk! Dla-la-la, dla-la-la, The cat didn’t give it!

Sometimes nursery rhymes only entertain (like the one above), and sometimes they instruct, giving the simplest knowledge about the world. By the time the child is able to perceive meaning, and not just rhythm and musical harmony, they will bring him the first information about the multiplicity of objects, about counting. The little listener gradually extracts such knowledge from the game song. In other words, it involves a certain amount of mental stress. This is how thought processes begin in his mind.

Forty, forty, First - porridge,

White-sided, the second - mash,

Cooked porridge, gave beer to the third,

She lured guests. The fourth - wine,

There was porridge on the table, but the fifth one got nothing.

And the guests go to the yard. Shu, shu! She flew away and sat on her head.

Perceiving the initial score through such a nursery rhyme, the child is also puzzled by why the fifth one did not get anything. Maybe because he doesn't drink milk? Well, the goat butts for this - in another nursery rhyme:

Whoever doesn’t suck a pacifier, Whoever doesn’t drink milk, That’s whoops! - gore! I'll put you on the horns!

The edifying meaning of the nursery rhyme is usually emphasized by intonation and gestures. The child is also involved in them. Children of the age for whom nursery rhymes are intended cannot yet express in speech everything that they feel and perceive, so they strive for onomatopoeia, repetitions of the words of an adult, and gestures. Thanks to this, the educational and cognitive potential of nursery rhymes turns out to be very significant. In addition, in the child’s consciousness there is a movement not only towards mastering the direct meaning of the word, but also towards the perception of rhythmic and sound design.

In nursery rhymes and petushki, there is invariably a trope such as metonymy - the replacement of one word with another based on the connection of their meanings by contiguity. For example, in famous game“Okay, okay, where have you been? - At Grandma’s”, with the help of synecdoche, the child’s attention is drawn to his own hands 1.

joke called a small funny work, statement or simply a separate expression, most often rhymed. Entertaining rhymes and joke songs also exist outside the game (unlike nursery rhymes). The joke is always dynamic, filled with energetic actions of the characters. We can say that in a joke, the basis of the figurative system is precisely movement: “He knocks, strums along the street, Foma rides on a chicken, Timoshka on a cat - along the path there.”

The age-old wisdom of folk pedagogy is manifested in its sensitivity to the stages of human maturation. The time of contemplation, almost passive listening, is passing. To replace her time goes by active behavior, the desire to intervene in life - this is where the psychological preparation of children for study and work begins. And the first cheerful assistant is a joke. It encourages the child to act, and some of its reticence, understatement causes in the child a strong desire to speculate, to fantasize, i.e. awakens thought and imagination. Often jokes are built in the form of questions and answers - in the form of a dialogue. This makes it easier for the child to perceive the switching of action from one scene to another, and to follow the rapid changes in the relationships of the characters. Others are also aimed at the possibility of quick and meaningful perception. artistic techniques in jokes - composition, imagery, repetition, rich alliteration and onomatopoeia.

Fables, inversions, nonsense. These are varieties of the joke-accurate genre. Thanks to shapeshifters, children develop a sense of the comic as an aesthetic category. This type of joke is also called “poetry of paradox.” Its pedagogical value lies in the fact that by laughing at the absurdity of a fable, the child strengthens the correct understanding of the world that he has already received.

Chukovsky dedicated a special work to this type of folklore, calling it “Silent absurdities.” He considered this genre extremely important for stimulating a child’s cognitive attitude towards the world and very well substantiated why children like absurdity so much. The child constantly has to systematize the phenomena of reality. In this systematization of chaos, as well as randomly acquired scraps and fragments of knowledge, the child reaches virtuosity, enjoying the joy of knowledge.

1 The hands that visited the grandmother are an example of synecdoche: this is a type of metonymy when a part is named instead of the whole.

nia. Hence his increased interest in games and experiments, where the process of systematization and classification is put in first place. Changeling in a playful way helps the child to establish himself in the knowledge he has already acquired, when familiar images are combined, familiar pictures are presented in funny confusion.

A similar genre exists among other nations, including the British. The name “Sculptural absurdities” given by Chukovsky corresponds to the English “Topsy-turvy rhymes” - literally: “Rhymes upside down.”

Chukovsky believed that the desire to play shifters is inherent in almost every child at a certain stage of his development. Interest in them, as a rule, does not fade even among adults - then the comic effect of “stupid absurdities” comes to the fore, not the educational one.

Researchers believe that fables-shifters moved into children's folklore from buffoon and fair folklore, in which the oxymoron was a favorite artistic device. This is a stylistic device that consists of combining logically incompatible concepts, words, phrases that are opposite in meaning, as a result of which a new semantic quality arises. In adult nonsense, oxymorons usually serve to expose and ridicule, but in children's folklore they are not used to ridicule or ridicule, but deliberately seriously tell about a known improbability. The tendency of children to fantasize finds application here, revealing the closeness of the oxymoron to the child’s thinking.

In the middle of the sea the barn is burning. The ship is running across an open field. The men on the street are beating 1, They are beating - they are catching fish. A bear flies across the sky, waving its long tail!

A technique close to an oxymoron that helps a shapeshifter to be entertaining and funny is perversion, i.e. rearrangement of subject and object, as well as attribution to subjects, phenomena, objects of signs and actions that are obviously not inherent in them:

Lo and behold, the gate is barking from under the dog... Children on calves,

A village was driving past a man,

In a red sundress,

From behind the forest, from behind the mountains, Uncle Egor is riding:

Servants on ducklings...

Don, don, dili-don,

Himself on a horse, in a red hat, wife on a ram,

The cat's house is on fire! A chicken runs with a bucket, Floods the cat's house...

Stabs- fences for catching red fish.

Absurd upside-downs attract people with their comic scenes and funny depictions of life’s incongruities. Folk pedagogy found this entertainment genre necessary, and it used it widely.

Counting books. This is another small genre of children's folklore. Counting tables are funny and rhythmic rhymes, to which a leader is chosen and the game or some stage of it begins. Counting tables were born in the game and are inextricably linked with it.

Modern pedagogy assigns play an extremely important role in the formation of a person and considers it a kind of school of life. Games not only develop dexterity and intelligence, but also teach one to obey generally accepted rules: after all, any game takes place according to pre-agreed conditions. The game also establishes relationships of co-creation and voluntary submission according to game roles. The one who knows how to follow the rules accepted by everyone and does not bring chaos and confusion into a child’s life becomes authoritative here. All this is working out the rules of behavior in future adult life.

Who doesn’t remember the rhymes of his childhood: “White hare, where did he run?”, “Eniki, beniks, ate dumplings...” - etc. The very opportunity to play with words is attractive to children. This is the genre in which they are most active as creators, often introducing new elements into ready-made rhymes.

Works of this genre often use nursery rhymes, nursery rhymes, and sometimes elements of adult folklore. Perhaps it is precisely in the internal mobility of the rhymes that lies the reason for their such wide distribution and vitality. And today you can hear very old, only slightly modernized texts from children playing.

Researchers of children's folklore believe that the counting in the counting rhyme comes from pre-Christian “witchcraft” - conspiracies, spells, encryption of some kind of magic numbers.

G.S. Vinogradov called the rhymes of counting rhymes gentle, playful, a true decoration of counting poetry. The counting book is often a chain of rhyming couplets. The methods of rhyming here are very diverse: paired, cross, ring. But the main organizing principle of the rhymes is rhythm. A counting rhyme often resembles the incoherent speech of an excited, offended, or amazed child, so the apparent incoherence or meaninglessness of the rhymes is psychologically explainable. Thus, the counting rhyme, both in form and content, reflects the psychological characteristics of age.

Tongue Twisters. They belong to the funny, entertaining genre. The roots of these oral works also lie in ancient times. This is a word game included in the component cha

ust into the cheerful holiday entertainments of the people. Many of the tongue twisters, which meet the aesthetic needs of a child and his desire to overcome difficulties, have become entrenched in children's folklore, although they clearly came from adults.

The cap is sewn, but not in the Kolpakov style. Who would wear Pereva's cap?

Tongue twisters always include a deliberate accumulation of difficult-to-pronounce words and an abundance of alliteration (“There was a white-faced ram, he turned all the white-headed rams”). This genre is indispensable as a means of developing articulation and is widely used by educators and doctors.

Tricks, teases, sentences, refrains, chants. All these are works of small genres, organic to children's folklore. They serve the development of speech, intelligence, and attention. Thanks to the poetic form of a high aesthetic level, they are easily remembered by children.

Say two hundred.

Head in dough!

(Underdress.)

Rainbow-arc, Don't give us rain, Give us the red sun around the outskirts!

(Call.)

There is a little bear, there is a bump near the ear.

(Tease.)

Zaklichki in their origin are associated with the folk calendar and pagan holidays. This also applies to sentences that are close to them in meaning and use. If the first contain an appeal to the forces of nature - the sun, wind, rainbow, then the second - to birds and animals. These magical spells passed into children's folklore due to the fact that children were early introduced to the work and cares of adults. Later calls and sentences take on the character of entertaining songs.

In the games that have survived to this day and include chants, sentences, and refrains, traces of ancient magic are clearly visible. These are games held in honor of the Sun (Kolya

dy, Yarily) and other forces of nature. The chants and choruses accompanying these games preserved the people's faith in the power of words.

But many game songs are simply cheerful, entertaining, usually with a clear dance rhythm:

Let's move on to more major works children's folklore - songs, epics, fairy tales.

Russian folk songs play a big role in the formation in children of an ear for music, a taste for poetry, love for nature, native land. The song has been around among children since time immemorial. Children's folklore also included songs from adult folk art - usually children adapted them to their games. There are ritual songs (“And we sowed millet, sowed...”), historical (for example, about Stepan Razin and Pugachev), and lyrical. Nowadays, children more often sing not so much folklore songs as original ones. Available in modern repertoire and songs that have long lost their authorship and are naturally drawn into the element of oral folk art. If there is a need to turn to songs created many centuries, or even millennia ago, then they can be found in folklore collections, as well as in educational books K. D. Ushinsky.

Epics. This is the heroic epic of the people. It is of great importance in nurturing love for native history. Epic stories always tell about the struggle between two principles - good and evil - and about the natural victory of good. The most famous epic heroes - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich - are collective images that capture the features of real people, whose lives and exploits became the basis of heroic narratives - epics (from the word “byl”) or old Epics are a grandiose creation of folk art. The artistic convention inherent in them is often expressed in fantastic fiction. The realities of antiquity are intertwined in them with mythological images and motifs. Hyperbole is one of the leading techniques in epic storytelling. It gives the characters monumentality, and their fantastic exploits - artistic credibility.

It is important that for the heroes of epics the fate of their homeland is more valuable than life, they protect those in trouble, defend justice, and are full of self-esteem. Given the heroic and patriotic charge of this ancient folk epic, K.D. Ushinsky and L.N. Tolstoy included in children's books excerpts even from those epics that generally cannot be classified as children's reading.

Baba sowed peas -

The woman stood on her toes, and then on her heel, began to dance Russian, and then squatted!

Jump-jump, jump-jump! The ceiling collapsed - Jump-jump, jump-jump!

The inclusion of epics in children's books is made difficult by the fact that without an explanation of events and vocabulary, they are not entirely understandable to children. Therefore, when working with children, it is better to use literary retellings of these works, for example, I.V. Karnaukhova (collection “Russian Heroes. Epics”) and N.P. Kolpakova (collection “Epics”). For older people, the collection “Epics”, compiled by Yu. G. Kruglov, is suitable.

Fairy tales. They arose in time immemorial. The antiquity of fairy tales is evidenced, for example, by the following fact: in the unprocessed versions of the famous “Teremka”, the role of the tower was played by a mare’s head, which the Slavic folklore tradition endowed with many wonderful properties. In other words, the roots of this tale go back to Slavic paganism. At the same time, fairy tales do not at all testify to the primitiveness of the people's consciousness (otherwise they could not have existed for many hundreds of years), but to the ingenious ability of the people to create a single harmonious image of the world, connecting everything that exists in it - heaven and earth, man and nature, life and death. Apparently fairy tale genre It turned out to be so viable because it is perfect for expressing and preserving fundamental human truths, the foundations of human existence.

Telling fairy tales was a common hobby in Rus'; both children and adults loved them. Usually, the storyteller, when narrating events and characters, reacted vividly to the attitude of his audience and immediately made some amendments to his narrative. That is why fairy tales have become one of the most polished folklore genres. They best meet the needs of children, organically corresponding to child psychology. A craving for goodness and justice, a belief in miracles, a penchant for fantasy, for a magical transformation of the world around us - the child joyfully encounters all this in a fairy tale.

In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where a person’s correct life paths are, what his happiness and unhappiness are, what his retribution for mistakes is, and how a person differs from animals and birds. Every step of the hero leads him to his goal, to final success. You have to pay for mistakes, and having paid, the hero again gains the right to luck. This movement of fairy-tale fiction expresses an essential feature of the people's worldview - a firm belief in justice, in the fact that the good human principle will inevitably defeat everything that opposes it.

A fairy tale for children contains a special charm; some secrets of the ancient worldview are revealed. They find in the fairy tale story independently, without explanation, something very valuable for themselves, necessary for the growth of their consciousness.

The imaginary, fantastic world turns out to be a reflection real world in its main principles. A fabulous, unusual picture of life gives the child the opportunity to compare it with reality, with the environment in which he, his family, and people close to him exist. This is necessary for developing thinking, since it is stimulated by the fact that a person compares and doubts, checks and is convinced. The fairy tale does not leave the child as an indifferent observer, but makes him an active participant in what is happening, experiencing every failure and every victory with the heroes. The fairy tale accustoms him to the idea that evil must be punished in any case.

Today the need for a fairy tale seems especially great. The child is literally overwhelmed by a constantly increasing flow of information. And although the mental receptivity of children is great, it still has its limits. The child becomes overtired, becomes nervous, and it is the fairy tale that frees his consciousness from everything unimportant and unnecessary, concentrating his attention on the simple actions of the characters and thoughts about why everything happens this way and not otherwise.

For children, it doesn’t matter at all who the hero of the fairy tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is like - handsome and kind or ugly and angry. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, a character embodies one quality: the fox is cunning, the bear is strong, Ivan is successful in the role of a fool, and fearless in the role of a prince. The characters in the fairy tale are contrasting, which determines the plot: brother Ivanushka did not listen to his diligent, sensible sister Alyonushka, drank water from a goat’s hoof and became a goat - he had to be rescued; the evil stepmother plots against the good stepdaughter... This is how a chain of actions and amazing fairy-tale events arises.

A fairy tale is built on the principle of a chain composition, which usually includes three repetitions. Most likely, this technique was born in the process of storytelling, when the storyteller again and again provided listeners with the opportunity to experience a vivid episode. Such an episode is usually not just repeated - each time there is an increase in tension. Sometimes repetition takes the form of dialogue; then, if children play in a fairy tale, it is easier for them to transform into its heroes. Often a fairy tale contains songs and jokes, and children remember them first.

A fairy tale has its own language - laconic, expressive, rhythmic. Thanks to language, a special fantasy world is created, in which everything is presented large, prominently, and is remembered immediately and for a long time - heroes, their relationships, surrounding characters and objects, nature. There are no halftones - there is a tone

side, bright colors. They attract a child to them, like everything colorful, devoid of monotony and everyday dullness. /

“In childhood, fantasy,” wrote V. G. Belinsky, “is the predominant ability and strength of the soul, its main figure and the first intermediary between the spirit of the child and the world of reality located outside it.” Probably, this property of the children's psyche - a craving for everything that miraculously helps to bridge the gap between the imaginary and the real - explains this undying interest of children in fairy tales for centuries. Moreover, fairy-tale fantasies are in line with the real aspirations and dreams of people. Let's remember: the flying carpet and modern airliners; a magic mirror showing distant distances, and a TV.

And yet, the fairy-tale hero attracts children most of all. Usually this is an ideal person: kind, fair, handsome, strong; he certainly achieves success, overcoming all sorts of obstacles, not only with the help of wonderful assistants, but above all thanks to his personal qualities - intelligence, fortitude, dedication, ingenuity, ingenuity. Every child would like to be like this, and the ideal hero of fairy tales becomes the first role model.

Based on theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: tales about animals, fairy tales and everyday (satirical) tales.

Tales about animals. Young children, as a rule, are attracted to the animal world, so they really like fairy tales in which animals and birds act. In a fairy tale, animals acquire human traits - they think, speak, and act. Essentially, such images bring to the child knowledge about the world of people, not animals.

In this type of fairy tale, there is usually no clear division of characters into positive and negative. Each of them is endowed with one particular trait, an inherent character trait, which is played out in the plot. So, traditionally the main feature of a fox is cunning, therefore we're talking about usually about how she fools other animals. The wolf is greedy and stupid; in his relationship with the fox, he certainly gets into trouble. The bear does not have such an unambiguous image; the bear can be evil, but it can also be kind, but at the same time it always remains a klutz. If a person appears in such a fairy tale, then he invariably turns out to be smarter than the fox, the wolf, and the bear. Reason helps him defeat any opponent.

Animals in fairy tales observe the principle of hierarchy: everyone recognizes the strongest as the most important. It's a lion or a bear. They always find themselves at the top of the social ladder. This brings the tale closer together

ki about animals with fables, which is especially clearly visible from the presence in both of them of similar moral conclusions - social and universal. Children easily learn: the fact that a wolf is strong does not make him fair (for example, in the fairy tale about the seven kids). The sympathy of the listeners is always on the side of the just, not the strong.

Among the tales about animals, there are some quite scary ones. A bear eats an old man and an old woman because they cut off his paw. An angry beast with a wooden leg, of course, seems terrible to kids, but in essence it is the bearer of fair retribution. The narrative allows the child to figure out a difficult situation for himself.

Fairy tales. This is the most popular and most loved genre by children. Everything that happens in a fairy tale is fantastic and significant in its purpose: its hero, finding himself in one or another dangerous situation, saves friends, destroys enemies - fights for life and death. The danger seems especially strong and terrible because its main opponents are not ordinary people,” but representatives of the supernatural. dark forces: Serpent Gorynych, Baba Yaga, Koshey the Immortal, etc. By winning victories over these evil spirits, the hero, as it were, confirms his high human beginning, his closeness to the bright forces of nature. In the struggle, he becomes even stronger and wiser, makes new friends and receives every right to happiness - to the great satisfaction of his little listeners.

In the plot of a fairy tale, the main episode is the beginning of the hero’s journey for the sake of one or another important task. On his long journey, he encounters treacherous opponents and magical helpers. He has very effective means at his disposal: a flying carpet, a wonderful ball or mirror, or even a talking animal or bird, a swift horse or a wolf. All of them, with some conditions or without them at all, in the blink of an eye fulfill the requests and orders of the hero. They do not have the slightest doubt about his moral right to give orders, since the task assigned to him is very important and since the hero himself is impeccable.

The dream of the participation of magical helpers in people’s lives has existed since ancient times - since the times of the deification of nature, belief in the Sun God, in the ability to summon light forces with a magic word, witchcraft and ward off dark evil. " "

Everyday (satirical) tale closest to everyday life and does not even necessarily include miracles. Approval or condemnation is always given openly, the assessment is clearly expressed: what is immoral, what is worthy of ridicule, etc. Even when it seems that the heroes are just fooling around,

They delight the listeners, their every word, every action is filled with significant meaning and is connected with important aspects of a person’s life.

Constant heroes satirical tales“ordinary” poor people speak out. However, they invariably prevail over the “difficult” - rich or noble man. Unlike the heroes of a fairy tale, here the poor achieve the triumph of justice without the help of miraculous helpers - only thanks to intelligence, dexterity, resourcefulness and even fortunate circumstances.

For centuries, the everyday satirical tale has absorbed the characteristic features of the life of the people and their attitude towards those in power, in particular towards judges and officials. All this, of course, was conveyed to the little listeners, who were imbued with the healthy folk humor of the storyteller. Fairy tales of this kind contain the “vitamin of laughter,” which helps the common man maintain his dignity in a world ruled by bribery officials, unjust judges, stingy rich people, and arrogant nobles.

In everyday fairy tales, sometimes animal characters appear, and perhaps the appearance of such abstract characters as Truth and Falsehood, Woe and Misfortune. The main thing here is not the selection of characters, but the satirical condemnation of human vices and shortcomings.

Sometimes such a specific element of children's folklore as a shapeshifter is introduced into a fairy tale. In this case, a shift in real meaning occurs, encouraging the child to correctly arrange objects and phenomena. In a fairy tale, the shapeshifter becomes larger, grows into an episode, and already forms part of the content. Displacement and exaggeration, hyperbolization of phenomena give the child the opportunity to laugh and think.

So, a fairy tale is one of the most developed and beloved genres of folklore by children. It reproduces the world in all its integrity, complexity and beauty more fully and brightly than any other type of folk art. A fairy tale provides rich food for children's imagination, develops imagination - this most important trait of a creator in any area of ​​life. And the precise, expressive language of the fairy tale is so close to the mind and heart of a child that it is remembered for a lifetime. It is not for nothing that interest in this type of folk art does not dry out. From century to century, from year to year, classic recordings of fairy tales and their literary adaptations are published and republished. Fairy tales are heard on the radio, broadcast on television, staged in theaters, and filmed.

However, it cannot be said that the Russian fairy tale has been persecuted more than once. The Church fought against pagan beliefs, and at the same time against folk tales. Thus, in the 13th century, Bishop Serapion of Vladimir forbade “telling fables,” and Tsar Alexei Mikhailovich drew up a special letter in 1649 demanding

We want to put an end to “telling” and “buffoonery”. Nevertheless, already in the 12th century, fairy tales began to be included in handwritten books and included in chronicles. And from the beginning of the 18th century, fairy tales began to be published in “face pictures” - publications where heroes and events were depicted in pictures with captions. But still, this century was harsh in relation to fairy tales. There are known, for example, sharply negative reviews about the “peasant fairy tale” of the poet Antioch Cantemir and Catherine II; largely agree with each other, they were guided by Western European culture. The 19th century also did not bring the folk tale recognition from protective officials. Thus, the famous collection of A. N. Afanasyev “Russian Children's Fairy Tales” (1870) aroused the claims of a vigilant censor as allegedly presenting to the children's mind “pictures of the most crude self-interested cunning, deception, theft and even cold-blooded murder without any moralizing notes.”

And it was not only censorship that struggled with the folk tale. From the middle of the same 19th century, then-famous teachers took up arms against her. The fairy tale was accused of being “anti-pedagogical”; they were assured that it retarded the mental development of children, frightened them with images of terrible things, weakened the will, developed crude instincts, etc. Essentially the same arguments were made by opponents of this type of folk art both in the last century and in Soviet times. After the October Revolution, leftist teachers also added that the fairy tale takes children away from reality and evokes sympathy for those who should not be treated - for all sorts of princes and princesses. Similar accusations were made by some authoritative public figures, for example N.K. Krupskaya. Discussions about the dangers of fairy tales stemmed from the general denial of the value of cultural heritage by revolutionary theorists.

Despite the difficult fate, the fairy tale lived on, always had ardent defenders and found its way to children, connecting with literary genres.

The influence of a folk tale on a literary tale is most clearly evident in the composition, in the construction of the work. The famous folklore researcher V.Ya. Propp (1895-1970) believed that a fairy tale amazes not even with imagination, not with miracles, but with the perfection of composition. Although the author's fairy tale is freer in plot, in its construction it obeys the traditions of folk fairy tales. But if genre features it is used only formally; if there is no organic perception of it, then the author will fail. It is obvious that mastering the laws of composition that have evolved over centuries, as well as the laconicism, specificity and wise generalizing power of a folk tale, means for a writer to reach the heights of authorship.

It was folk tales that became the basis for the famous poetic tales of Pushkin, Zhukovsky, Ershov, and fairy tales in prose

(V.F. Odoevsky, L.N. Tolstoy, A.N. Tolstoy, A.M. Remizov, B.V. Shergin, P.P. Bazhov, etc.), as well as dramatic tales (S.Ya. Marshak, E. L. Schwartz). Ushinsky included fairy tales in his books “Children’s World”, “ Native word", believing that no one can compete with the pedagogical genius of the people. Later, Gorky, Chukovsky, Marshak and our other writers passionately spoke out in defense of children's folklore. They convincingly confirmed their views in this area by modern processing of ancient folk works and the composition of literary versions based on them. Beautiful collections of literary fairy tales, created on the basis or under the influence of oral folk art, are published in our time by a variety of publishing houses.

Not only fairy tales, but also legends, songs, and epics have become models for writers. Certain folklore themes and plots merged into literature. For example, the 18th century folk story about Eruslan Lazarevich was reflected in the image of the main character and some episodes of Pushkin’s “Ruslan and Lyudmila”. Lullabies created by folk motives, is found in Lermontov (“Cossack Lullaby”), Polonsky (“The Sun and the Moon”), Balmont, Bryusov and other poets. Essentially, “By the Bed” by Marina Tsvetaeva, “The Tale of a Stupid Mouse” by Marshak, and “Lullaby to the River” by Tokmakova are lullabies. There are also numerous translations of folk lullabies from other languages ​​made by famous Russian poets.

Results

Oral folk art reflects the entire set of rules folk life, including rules of education.

The structure of children's folklore is similar to the structure of children's literature.

All genres of children's literature have been and are influenced by folklore.

Is it different from written literature? Folk art, unlike works of literature, does not have one author, because it was created over a long period of time by many authors from the people. Such works are variant, i.e. the same thing can exist in different versions, depending on the territory and time of execution (each narrator adds something of his own and leaves something out). Folk art was created and long time existed only in oral speech. Folk works have a special artistic structure, constant epithets and comparisons, own rhythm and style.

What genres of folk art do you know? Ukrainian creativity very varied. It includes epic works, which tell about heroic events from the life of the people (first of all, these are thoughts), folk epics in the form of fairy tales, legends, retellings, from folk demonology, sayings, proverbs, lyrical songs, ballads, humorous works and drama.

Name the main themes of historical songs of Ukrainians. Historical songs depict heroic figures of the past and important events for the people. Ukrainian historical songs tell us about the fight against Tatar invasion, with the Turks, heroic times Cossacks, the struggle against national oppression or social injustice. In fact, historical songs reflect every significant historical event: there are folk songs both about long-standing events and about relatively recent ones (famous songs of UPA fighters and songs of the Second World War). So, the Ukrainian song is several thousand years old.

How are historical figures portrayed in folk songs? The images of historical figures in folk songs are often similar to each other: they are depicted as ardent patriots, courageous and fearless warriors, wise and worthy people. But everyone also has their own individual traits, just as everyone has them. Combining idealization with individual traits makes these images brighter and more interesting for the reader.

5. Retell the legend of Marus Churay? Express own attitude to ancient events.

6. What songs do you know? What is their topic? The most famous songs Marusya Churai has “The winds are blowing, wild winds are blowing”, “The Cossacks have stood frozen”, “Oh, don’t go, Gregory...” and many others. In her songs, the talented Poltava girl depicts all aspects of human life: love and friendship, some moments from public life, Cossacks, creates pictures of his native nature.

7. If you have already read Lina Kostenko’s poems, tell us which one is shown in this work.

8. Define duma as a genre of folk art. Duma is a lyric-epic work of heroic content, relatively large in form. It necessarily has a plot, is performed in recitative musical accompaniment. Dumas have their own rhythmic and melodic features associated with the specifics of their execution.

9. What types of thoughts do you know? What do you know about doom artists? Name the most famous kobzars. The performers of the dumas were kobzars; the generalized image of a kobzar became one of the symbols of the Ukrainian nation. The most famous masters there were Ostap Veresay, G. Goncharenko, G. Kravchenko. Now this art is being revived, schools of bandura players are being founded, and new professionals are appearing. Among modern bandura players we can mention Nevezha and the Litvins. Analyze the problems of the thought “About Marusya Boguslavka”.

Need a cheat sheet? Then save - » Oral folk art. Literary essays! 1.Literary work.

A literary work is a work of human thought, enshrined in writing and possessing social significance. As an example of a literary work, I chose the play by S. Ya. Marshak<<Двенадцать месяцев >>.

Play by S. Ya. Marshak<<Двенадцать месяцев>> tells that good always triumphs over evil, that the power of nature only helps kind and hardworking people.

This tale tells how the Queen is under New Year She issued a decree that she would reward the one who brought her a basket of snowdrops. Greedy and evil stepmom The Stepdaughter is sent to the forest with the Daughter. The stepdaughter meets 12 brothers - months - by the fire. They help her, give her snowdrops and a magic ring. The stepmother and her own daughter bring snowdrops to the palace, and the Queen orders them to show them where they picked the flowers. The stepmother and daughter talk about the Stepdaughter, and the Queen and her retinue, with the Stepmother, Daughter and Stepdaughter go to the forest. The Queen wants to execute her stepdaughter, but the brothers come to her aid for months, turn the stepmother and her daughter into dogs, disperse the courtiers and force the Queen to think about what good is.

In Marshak's fairy-tale play, the characters' characters and their actions are lifelike and truthful. The Queen's whims, the insincere behavior of courtiers, for example, the Chamberlains, the anger and greed of the Stepmother and Daughter, the kindness of the Soldier, the loyalty and warmth of the Stepdaughter are truthfully depicted.
The very existence of the moon brothers in the form of people, the meeting of the girl with them by the fire in the forest, the transformation of winter into spring and then the rapid change of all seasons in a short time is implausible, fantastic.
With this combination of the fantastic and the real, Marshak achieves an amazing result: viewers and readers begin to believe that the moon brothers really exist; Marshak teaches us kindness and compassion, but does this not in the form of boring teachings, but in the form of a fairy tale that reaches the very heart.
We condemn greedy stepmother with the Daughter, the wayward Queen, the stupid and insincere Chamberlain, we sympathize with the Queen’s Stepdaughter and Teacher. We laugh at greed, stupidity and lies, and believe in goodness and justice.

2. Folklore work.

A folklore work is the result of a collective creative process, in which it is impossible to establish authorship. Literature unites works whose authorship is reliably known. As an example, I chose a fairy tale<<Морозко>>.

The stepmother lives with her own daughter and stepdaughter. The old woman decides to drive her stepdaughter out of the yard and orders her husband to take the girl “to an open field in the bitter cold.” He obeys.

In an open field, Frost the Red Nose greets a girl. She answers kindly. Frost feels sorry for his stepdaughter, and he does not freeze her, but gives her a dress, a fur coat, and a dowry chest.

The stepmother is already holding a wake for her stepdaughter and tells the old man to go to the field and bring the girl’s body to bury. The old man returns and brings his daughter - alive, dressed up, with a dowry! The stepmother orders that her own daughter be taken to the same place. Frost Red Nose comes to look at the guest. Without waiting from the girl " good speeches", he kills her. The old woman expects her daughter to return with wealth, but instead the old man brings only a cold body.

main character fairy tales - a stepdaughter, a hardworking, helpful and meek girl - a “socially disadvantaged character” in the stepmother’s house: “Everyone knows how to live with a stepmother: if you turn over, you’ll be beaten, and if you don’t turn over, you’ll be beaten...” homework I did, but I couldn’t please my evil, cruel stepmother.

According to canon fairy tales the heroine leaves home before finding her happiness. The reason is that the stepmother drives her out: “So the stepmother came up with the idea of ​​driving her stepdaughter away from the world. “Take her, take her, old man,” he says to her husband, “where you want my eyes not to see her! Take her to the forest, into the bitter cold.”

The stepdaughter's character is so meek that she does not argue or resist when biological father leaves her cold winter forest. And she behaves just as meekly when the title character of the fairy tale, Morozko, tests her character, increasing the frost more and more. The girl’s answers are friendly, despite the bitter cold. For this, Morozko takes pity on the girl and generously gifts her. Wealth as a reward - characteristic technique folk tales.

The stepmother, domineering, envious and greedy, seeing her stepdaughter unharmed and with rich gifts, orders the old man to take her own daughter to the same place in the forest. The main reason for such envy is clear from the words of the dog: “They take an old man’s daughter in gold and silver, but they don’t marry an old woman.” It is for the dowry that the old woman sends her beloved daughter out into the cold.

The situation in the forest repeats itself: Morozko appears and subjects the girl to the cold test three times. She, however, is not endowed with kindness or meekness and is filled with pride. Her answers are rude and disrespectful, and Morozko cruelly punishes this heroine: she dies from the cold.

With such a tragic ending, the folk tale “Morozko” shows the reader how cruelly the people condemn envy, greed, anger and oppression of the weak and defenseless, like the stepdaughter. Behavior negative heroes fairy tales, a stepmother and her own daughter, causes a rejection of anger and injustice in a child’s soul. And the punishment that the girl suffered is perceived by the reader as a triumph of justice.

3.What is the difference between a literary work and a folklore work.

There is a close connection between folklore and literature, due to the specifics verbal creativity, which displays a person’s ideas about the world around him and patterns of development public consciousness. However, in folklore and literary works there are fundamental differences that determine their characteristic features and features. There are also differences in the heroes.

The examples I gave have similar characters. There are also differences. In a fairy tale<<Морозко>>, as in the fairy tale-play by S. Ya. Marshak<<Двенадцать месяцев>> there are identical heroes such as: Stepdaughter, stepmother, queen, daughter, soldier, etc.. In fairy tale play S.Ya. Marshak<<Двенадцать месяцев >> characters clearly not of folklore, but of literary origin: the Queen's Teacher, the Chamberlain, the Chancellor, the Chief of the Royal Guard, the Royal Prosecutor and other members of the Queen's retinue.

FolkloreV in a broad sense- this is historically formed, absorbed folk traditions collective co-authorship, conveying in oral or playful form a poetic generalization of the experience of many generations. Folklore genres include ritual, song and epic. Epic genres include fairy tales, legends, epics, legends, tales, as well as small forms of oral folk art - proverbs, sayings, riddles and anecdotes. The word “folklore” is often used in a narrower meaning - to define the content and method of creating verbal artistic images characteristic of these genres.

Originliteratureas an art form in many cultures is associated with the development of folk epic. It served as the basis for chronicles and biographies of saints; storytelling principle borrowed from folk tales, was used in plotting adventure and picaresque novels- prototype of many genres modern prose; The figurative structure and rhythmic organization of epics, historical, and ritual songs are reflected in the author's poetry.

However literary works did not obey folklore canons, had a more complex composition, arbitrarily developing plot and could only exist in written form, since each of them was an original composition created by one person.

Since the Renaissance, characteristic feature fiction becomes the author's style, and the object of the image is the inner world of the hero, in which the reader finds moral priorities and features of the era characteristic of a particular historical period in the development of society.

Modern literary process- complex and varied cultural phenomenon, manifested in the diversity of already established and emergingforms of verbal creativity.

Unlike literature, folklore retains stable forms and inactive compositional structure text. Inner world the hero is closed: only an event or act matters, in which it is not character traits that are manifested, but generally accepted principles of behavior, accepted as the basis of an order that establishes a balance between good and evil.

1)No personal creator

2)Arose and developed as oral folk art

3)Lives in many variants

4)Can be conveyed in recitative

5) You can dance and sing

2) Originated as writing and develops as writing

3) Has one version written by the author

4) The writer wrote

5) The reader reads

It’s the same in our examples, in the fairy tale<<Морозко>> not a personal creator, it develops as oral folk art, this fairy tale, once upon a time, was invented by the people, later appeared different variants. There is Tolstoy's version and Afanasyev's version.

Korovina V.Ya.Literature and folklore. Tutorial for students in grades 9-11 - M., 1966.