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Topic: “Artistic analysis of P.P. Ershov’s work “Humpbacked Horse”
1. The life story of P.P. Ershov
2. Analysis of the artistic means of a fairy tale.
3. List of references.
Introduction
A fairy tale is a generalized concept. The presence of certain genre features makes it possible to attribute this or that prose work to fairy tales. The life of a fairy tale is a continuous creative process. In each era, there is a partial or complete renewal of the fairy tale plot. And on the example of P.P. Ershov’s fairy tale, one can trace the manifestation folk traditions in a literary tale.
Pyotr Pavlovich Ershov was born on February 22, 1815, in the Siberian village of Bezrukova, in the Topol province. His father often moved on duty. P.P. Ershov remembered for the rest of his life long winter evenings at the pit stations and fairy tales that people told him. In 1824, Ershov, together with his brother Nikolai, was sent to the gymnasium. Ershov studied well, ahead of his brother. Singing something and inventing various fables to make boring lessons more interesting, he graduated from the gymnasium. After the gymnasium, he left for St. Petersburg and entered the Faculty of Philosophy and Law of St. Petersburg University.
Once, Pyotr Alekseevich Pletnev came to the course, who taught Russian literature and read a fairy tale instead of a lecture. The first fairy tale by P. P. Ershov “The Little Humpbacked Horse”. In the same year, the fairy tale was published in the magazine “Library for Reading”. This was not the only work of Ershov. In 1834, the first part of the "Siberian Cossack" was approved for printing, and then the second part of "They were old." Also in 1834, Ershov graduated from the university. By this time, he was left alone with his mother, as his brother and father had died. Together with his mother, Ershov returned to his native Tobolsk, where he began to teach. But my literary activity he didn't quit. In 1835 Ershov created the play "Suvorov and stationmaster". Ershov did not leave literary activity, he wrote a lot, stories, poems, but all these works did not have such success as everyone’s beloved and dear “Humpbacked Horse”. For the rest of his life, after St. Petersburg, Ershov lived in Tobolsk, where he was first a teacher, then inspector, and then director, in 1857, in the same gymnasium in which he studied himself.
The first edition of The Little Humpbacked Horse did not appear in its entirety, part of the work was cut out by censors, but after the release of the second edition, the work was released without censorship.
After the release of the fourth edition, Ershov wrote: “My horse again galloped throughout the Russian kingdom, have a happy journey.” “Humpbacked Horse” was published not only at home, but also abroad.
But now we'll leave them
Let's have fun with a fairy tale again
Orthodox Christians,
What did our Ivan do, ...
“Oh, listen, honest people!
There lived a husband and wife,
The husband will take on jokes
And the wife for jokes,…….”
And the story about any events also begins with a particle “well”:
Well, so here it is! Raz Danilo
(On a holiday, remember, it was),
Stretching green drunk
Dragged into the booth….
Well, this is how our Ivan rides
Behind the ring to the ocean.
The hunchback flies like the wind...
And how the folk narrator interrupts the presentation, explaining something either incomprehensible to the listener:
Here, putting it in a casket,
Screamed (out of impatience)
Confirming your command
Quick swing of the fist:
“Hey! call me a fool!”…..
In Ershov's fairy tale, many sayings, jokes, proverbs, sayings are used:
Ta-ra-ra-li, ta-ra-ra!
The horses came out of the yard;
Here the peasants caught them
Yes, tied tight.
A raven sits on an oak
He plays the trumpet; ......
This saying is being carried out
The story begins after...
Like ours at the gate
The fly sings a song:
“What will you give me as a message?
The mother-in-law beats her daughter-in-law:
Planted on a sixth,………”
Epigraphs play an important role in a fairy tale. Which reveal the storyline to the reader. “The fairy tale begins to tell.” The first epigraph is a kind of prelude to further fairy-tale events. The author speaks, intrigues the reader. “Soon the fairy tale is told, and not soon the deed is done.” In the second epigraph, the author tells the reader that the main character still has a lot to overcome. He, as it were, predetermines the difficulties that the hero will have to overcome. Just before this epigraph, P.P. Ershov lists everything that will happen to the main character:
... How did he get into the neighbor's house,
How his pen slept,
How cunningly caught the Firebird,
How he kidnapped the Tsar-maiden,
How he went for the ring
As he was an ambassador to heaven,
How he is a sunny village
Kitu begged for forgiveness;
How, among other things,
He saved thirty ships;
As in the boilers he did not boil,
How handsome he became;
In a word: our speech is about
How did he become king?
“Before Selev, Makar dug gardens, and now Makar has ended up in governors.” With this epigraph, P.P. Ershov says that the main character, like a folk tale, will be the winner. About the victory of good over evil. Also, through Ivan's relationship to the brothers and to the Tsar, we can judge them. P.P. Ershov depicts them with irony, with humor, but if he portrays Ivan with good humor, then he portrays the brothers Ivan and the Tsar with the courtiers with sarcasm:
The night has come,
Fear came upon him
And with fears our man
Buried under the canopy. …
(about Daniel)
Trembling attacked the little one,
The teeth began to dance;
He hit to run-
And all night I went on patrol
At the neighbor's fence.
(about Gavril)
And here is how P.P. Ershov portrays the brothers when they came to see the horses:
Stumbling three times
Fixing both eyes
Rubbing here and there
Brothers enter to two horses.
The brothers don't just enter like Ivan:
Here he reaches the field,
Hands propped up at the sides
And with a jump, like a pan,
Bokam enters the farce.
Brothers fall, stumble. P.P. Ershov depicts them as greedy, vile, cowardly, and for comparison puts Ivan, who does not lie, but composes, he is honest.
“Shame on you, brothers, to steal!
Even though you are smarter Ivana,
Yes, Ivan is more honest than you:
He didn't steal your horses...
With the same irony, P.P. Ershov depicts the Tsar and courtiers:
And messengers of the nobles
Run along Ivan
But, facing everything in the corner,
Stretched out on the floor.
The king admired that much
And he laughed to the bone.
And the nobleman, seeing
What is funny for the king
Winked among themselves
And suddenly they stretched out.
The king was so pleased with that...
The attitude towards the Tsar and his courtiers is very well manifested when P.P. Ershov describes the order and relationships in the sea kingdom, which is a mirror image of the earthly world. They even need a lot of “fish” to execute the decree. Ivan in P.P. Ershov does not respect the Tsar, since the Tsar is capricious, cowardly and extravagant, he resembles a spoiled child, and not a wise adult.
Although Ivan is called a fool, he is busy from the very beginning of the tale, he is the only one who does not sleep on patrol and catches the thief. He cleans, washes and cares for the horses. He is not after money, fame or power. He enjoys the ordinary things of life.
The Tsar, on the contrary, is depicted as funny and not pleasant, not only Ivan laughs at him, but also Month Mesyatsovich, this is how the Month answered when he learned that the Tsar wants to marry the Tsar Maiden:
You see what the old horse-radish started:
He wants to reap where he did not sow!
Ershov uses folklore motifs in his fairy tale, it is collected from several fairy tales, and there is also a friend of the protagonist. Horse helps Ivan in everything and does not leave him in trouble. As in Russian folk tales main characters survives the incarnation and becomes the husband of the beautiful Princess and becomes the King himself. The main "villains" are defeated and punished.
Although reading this tale for the modern reader causes certain difficulties (many words have already gone out of use and many people do not know the meaning of these words), but common sense fairy tales and her humor is still understandable.
This is a great work about which Pushkin A.S. said after reading: "Now this kind of compositions can be left to me." This great work made P.P. Ershov famous when he was a student and forgotten at the end of his life. When P.P. Ershov died in 1869, many newspapers wrote that the author had died famous fairy tale"The Little Humpbacked Horse" some people of that time were very surprised to see they naively believed that the fairy tale "The Little Humpbacked Horse" folk tale. Others thought that the author of this tale had long since passed away. But despite this, she still pleases the reader and amazes with her humor.
Bibliography:
1. "Humpbacked Horse" Raduga Publishing House Ministry of Press and Information of the Russian Federation 1993
2. Free Encyclopedia Wikipedia http://en.wikipedia.org/wiki/
Tags: Literary analysis of the fairy tale "Humpbacked Horse" Test Literature
The problem of the authorship of the fairy tale "The Little Humpbacked Horse" has been spoken and written for more than 15 years. During this time, a large number of arguments have been found in favor of the fact that Pushkin was the author of the fairy tale and that "Ershov" is a pseudonym. Their number has exceeded three dozen, and for those who want to get acquainted with them, I recommend leafing through the magazine "Literary Education" No. 3 for this year, where an expanded version of my preface to the newly published version of Pushkin's fairy tale was published (Alexander Pushkin. "Humpbacked Horse M., SPC Praxis) with detailed arguments. In my opinion, the number of arguments has reached a "critical mass" - which was one of the reasons for the appearance of the mentioned publication. Further conversation must be translated into a different "format": it's time to include a fairy tale in the corpus of Pushkin's works. And this is where completely different problems arise, which are discussed below.
But first, let me remind you of at least some of the arguments that deliberately deny the authorship of Ershov. For example, an 18-year-old student who had not written poetry before (at best, he wrote several frankly weak poems) could not immediately write a brilliant fairy tale. In addition, we have to admit that the 18-year-old Ershov was much more brilliant than the 18-year-old Pushkin, who at that age never dreamed of writing such a fairy tale. And where did the talent go? In the rest of Ershov's poems there is not a single talented line. Moreover, later corrections (1856) worsen the text. Here are examples of pearls introduced by Ershov into the original text: instead of "How to catch a thief" it became "How to look at a thief"; instead of “He takes it firmly by the ears” - “He takes his ears in the rakes”; instead of “They took bread from a basket” - “Brought it with a simple basket”; instead of “If I will be needed” - “If I am forced again”, etc.
Pushkin “dignified a thorough revision” of the fairy tale, but for some reason Ershov destroyed the white copy with Pushkin’s corrections. In Pushkin's phrase "This Ershov owns Russian verse, as if he were his serf," they stubbornly refuse to hear the ironic intonation embedded in it, nor to see it. true meaning, although Pushkin informs us with it that Ershov does not and never has mastered Russian verse: after all, he did not have and could not have any serfs, since serfdom never existed in Siberia, and Pushkin knew this very well.
Ershov was constantly in poverty from lack of money, although the fairy tale was published three times - in 1834, 1840 and 1843. Finally, Pushkin left us evidence of his authorship - he gave his autograph to A.F. Smirdin, in the inventory of papers of which he was listed under the title: "The title and dedication of the fairy tale" The Little Humpbacked Horse "". Regarding this "dedication" P.V. Annenkov wrote down: “The first four verses of this tale, according to Mr. Smirdin, belong to Pushkin” (italics mine. - V.K.), and these words cannot be interpreted in any other way; otherwise, one would have to admit that Pushkin left an autograph with at least one line that did not belong to him. At the same time, it is no coincidence that not a single copy with a dedicatory inscription has been preserved to any of those who patronized Ershov: Zhukovsky, Nikitenko, Senkovsky, Pletnev or Pushkin; and in the letters neither Ershov never wrote "my fairy tale" or "my humpbacked man", nor the named writers mentioned the combination "Ershov's fairy tale". Moreover, the first edition of the tale of 1834 stood on Pushkin's shelf among anonymous and pseudonymous publications. Etc.
The reasons why Pushkin needed a pseudonym are also transparent. They are in the very text of the tale, and we, reading it as Ershov's tale, do not see point-blank what would catch our eye if we knew that it was Pushkin's. Under his own name, Pushkin could not only publish it, but even show it to his highest censor - the tsar. The “sovereign whale”, who “blocked off” the “sea-Okiyan” and was punished for the fact that for ten years already, “without God’s command, he swallowed three dozen ships among the seas”, in the face of the emperor he would not have overlooked Pushkin’s “demand” to free the Decembrists: “If he gives them freedom, then I will take away his hardship.” And could Benckendorff not see himself (and the tsar would have to pass the tale for censorship through him) in the “cunning sleeping bag”?
Even under the name Ershov, the fairy tale lasted only 9 years and was banned.
So, we are dealing with Pushkin's hoax on a scale unprecedented in the history of Russian poetry: there are about 2,300 lines in the tale, the same number as in all the rest of Pushkin's poetic tales combined. As a result, Pushkin's text is published not only under a false name, but also in a badly damaged version.
There is a striking indifference to the problem of clearly uninterested parties, from the "duty" Pushkinists to the Pushkin House. If it were a matter of disagreement with the point of view I am asserting, I would only welcome the dispute over the ownership of the tale and would be ready to consider with due respect any arguments for and against. But all my reminders of the need to solve this problem go to the sand. I am not in favor of looking for some kind of “Pushkinist conspiracy” in such silent resistance for 15 years - but with all the seriousness of the problem, there must be some reasons why they “went underground”!
On reflection, I found several such reasons. Perhaps the Pushkinists from the Pushkin House and IMLI are simply not in the mood for fairy tales: they are busy with a serious matter - they write books about poetry and the fate of Pushkin and about his spiritual path. Or maybe they are silent because they cannot come to terms with the fact that literary critic"teaches the mind" of professional philologists, doctors and candidates of sciences, who missed the best Pushkin's fairy tale? I would reassure them: everyone missed it, except Alexander Latsis - I just followed in his footsteps (but before Latsis, who was hushed up during his lifetime, they really are to blame).
Finally, the reason for the silence of Pushkinists may be their narrow-mindedness: they say, what is there to talk about when there is no Pushkin manuscript, there is no documentary evidence of authorship? But we are talking about a hoax, and Pushkin, deliberately not leaving a manuscript, threw us a lot of "notches", but carefully, counting on the search for distant descendants. His autograph in Smirdin's papers is a very serious document, and it is impossible to ignore it.
But all the reasons can take place at the same time. It is not difficult to imagine that in this case we are unlikely to ever see any kind of reaction to speeches on this problem. Meanwhile, the tale continues to be published in a corrupted form: in the edition of 1856, according to which it is published today, 800 lines are “corrected and supplemented”! After all, this must somehow be stopped - but for this it is necessary to show the widest possible range of readers the difference between Pushkin's and "corrected and supplemented" texts. My unsuccessful attempts to shout to the masters of Pushkin studies led me to the need to take responsibility for myself and take the next logical step - the restoration of Pushkin's text - to do it myself.
That is how this book was born. I see its main drawback - there is no detailed justification for each case of choosing Pushkin's lines. This work, in essence, has already been done by me, this is the material for the next, last step - a detailed scientific publication. Now it is important to move things off the ground and at least realize the fact of Pushkin's authorship of the tale.
In my opinion, it would be expedient to create a cultural commission, consisting of literary critics, Pushkinists and representatives of public organizations, which would be able to make a fundamental decision on the inclusion of a fairy tale in the corpus of Pushkin's works, and in parallel with its creation and work, start discussing this problem in the media right now, to prepare for the final decision and the general public. The problem of the authorship of the best Pushkin's fairy tale goes beyond the scope of pure Pushkin studies - this is a national problem.
On the last day of our contest “The Little Humpbacked Horse as a Mirror…?” we publish an essay of one of the winners
Text: Year of Literature. RF
Photo: slide from a 1966 filmstrip/dia-films.ru
Its author is a user of the social network of readers LiveLib, who registered under the nickname NataliyaSuvorova. The title of the essay speaks for itself - but we still remind you that it was not by chance that we chose April 1 as the day of summing up. Muscovites can express their consent or disagreement in person, at the Literary Institute. Gorky (Tverskoy Boulevard, 25, entrance from B. Bronnaya), at 18.00.
THE Humpbacked Horse AS A MIRROR OF IDEAS ABOUT A WOMAN'S PLACE
For the time being, only male characters act in the fairy tale. Indeed, what can a woman do, can she guard a field, cope with a magical mare, or get a firebird? No, this is an exclusively male affair.
But still, a fairy tale cannot do without a beautiful girl. And finally she appears. In what way? One of the servants tells a tale about the daughter of the Moon and the sister of the Sun, the beautiful Tsar Maiden. What do we learn in the first words about her? That she lives in the infidel side, where the Orthodox do not set a foot and floats on a boat with her own oars.
This description reflects the opinion that a woman should not be given free will, that Orthodox values require a woman to sit at home and personally rule nothing. Even a boat. And to allow the girl such behavior can only be "on a filthy okiyane".
Further, which is not surprising, the tsar orders Ivan to kidnap the girl and bring him to him. Having prepared, according to the advice of the humpbacked man for the abduction, Ivan falls asleep to the song of the beauty. Who does he blame for this? Naturally, the girl herself:
"No, wait, you bastard! -
Ivan says, getting up. -
You won't leave all of a sudden
And you won't fool me."
How familiar! From Eve to the present day, blame a woman for all your failures! Here is the story about it.
Ivan catches the Tsar Maiden on the bait: he sets up a tent and puts food in it. This episode clearly reflects the principle of “she is to blame”: she went into the tent, which means she was trying her luck, she wanted to be kidnapped. Deviant behavior.
Having got to the king, the girl does not even make an attempt to declare that she is a free woman and does not want to marry the king. She understands that her only chance to avoid marriage with an unloved old man is to follow the path of cunning and deceit. She declares to the king that she will marry him only if he gets her ring out of the ocean. 
I wonder what would happen if Ivan did not get this ring? Ivan would have fled the kingdom, or would have been executed, the tsar would have sent another messenger ... In the end, he would have been tired of waiting, and the girl ... Who would have helped her then? Nobody. And she would eventually have to marry the king against her will.
Next is wonderful. The girl's father, Month, learns from Ivan that his daughter is alive and well. The fact that the girl was kidnapped, the Moon is not angry. It turns out that in the infidel side the abduction of a girl strong man not considered a crime. Woman and property there. Or maybe this reflects the opinion that since the girl was kidnapped, she allowed it.
Only the old age of the groom angers the Month. Well, really: what will you get from such a son-in-law? But Month is not in a hurry to go save her fifteen-year-old daughter. Well, why? In the end, the girl will get married one way or another - a cut piece.
The conversation between the king and his bride is remarkable. She refuses to marry the old man, he admonishes her:
“What am I to do, queen?
Fear of wanting to get married
But if at the beginning of the conversation the king begs the bride, says that if she does not agree, then he will die, then towards the end of the conversation, he already frowns. And who knows, the king would not have dragged the girl down the aisle by her braids if she had not come up with an innovative means of rejuvenation: bathing in boilers with boiling and icy water.
After the death of the king, the tsar-maiden declares his claim to the throne. Recall that the fairy tale was written in the 19th century, after women ruled and ruled alone even in an Orthodox country. But what does Ershov write? The girl, asking the people if she is loved by them as a sovereign, demands to recognize
"The volunteer of everything -
And my wife!”
Those. the girl does not see for herself any other opportunity to rule, as soon as in alliance with a man. One, despite 
for youth, beauty, a strong character and mind, she is not ready to rule. And she calls the kidnapper Ivan her husband. As proven as a bold and enterprising man. Recall that Ivan repeatedly calls the Tsar Maiden an ugly, ailing dry skin, says that he would not have taken such a person for himself. However, at the end of the tale, without saying a word, he marries this - from his point of view - ugly. Can we talk about love? No, this is an exclusively political union in which everyone pursues their own benefit. Ivan gets the kingdom, and the maiden gets that notorious shoulder with which and through which she will be able to rule the country. The understanding of this is not hidden from third parties either. The people present on the square recognize Ivan as king only for the sake of the “talan” of the Tsar Maiden.
So, we see that the whole story of the Tsar Maiden reflects the ideas about a woman that exist in a country with true Orthodox values: she cannot be independent. She is always under the authority of either her father or her husband. Or a kidnapper. In this regard, the fairy tale is as relevant as possible now, when, despite the rights won by women to earn and dispose of their earnings, to elect and be elected, and most importantly: the right to control their fate, freedom, their body, they are under pressure. When the average salary of women is often lower than that of men in similar positions; when it is believed that a man needs to feed his family, and a woman ... apparently women earn on pantyhose. When the victim herself is accused of rape for various reasons (the Tsar Maiden had no reason to go into the tent, and the modern woman had no reason to walk in a short skirt / return home late at night, etc.). When attempts to control the life and body of a woman are increasingly being revived, incl. from populist legislators.
Reread the story. Imagine the fate of the Tsar Maiden, forcibly torn out of her life, imagine what it would be like for her to live all her life with Ivan, who, without the help of the Humpbacked Horse, is little of himself. With Ivan, whom she does not love and who does not love her. Would you like, other things being equal, such a fate for yourself?
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"Humpbacked Horse" P.P. Ershov: problems and poetics
Conclusion
Introduction
A fairy tale is a generalized concept. The presence of certain genre features makes it possible to attribute this or that prose work to fairy tales. The life of a fairy tale is a continuous creative process. In each era, there is a partial or complete renewal of the fairy tale plot. And on the example of the fairy tale P.P. Ershov, one can trace the manifestation of folk traditions in a literary fairy tale.
For almost two centuries, the fairy tale "The Little Humpbacked Horse" by Pyotr Pavlovich Ershov has adorned Russian children's literature, captivating the imagination of readers. Our literature, especially the reading of children, cannot be imagined without this masterpiece. This work can be safely called a fabulous encyclopedia of the Russian people.
A decade and a half at the Ishim State Pedagogical Institute, named after the teacher, educator and poet P.P. Ershov, readings are held; many scientific work from the field of philology, presented at these readings, are devoted to the study of the fairy tale of our wonderful fellow countryman.
Since the time of Pushkin, Russian literature has acquired folk character. Pushkin's undertaking was immediately picked up. The fairy tale "Humpbacked Horse" became one of the responses to the great poet's call to turn Russian literature towards the people.
Throughout his life, Ershov did not leave the idea of describing Siberia. He dreamed of creating a novel about the homeland like the novels of Fenimore Cooper.
Thoughts about the people became the reason for the birth of the fairy tale "Humpbacked Horse". Proximity to the people, knowledge of their life, habits, customs, tastes, and views provided the fairy tale with an unprecedented success, which it enjoyed even in the manuscript.
Literature professor Pletnev, who highly appreciated the young poet's fairy tale, arranged a meeting between Pushkin and Yershov. Pushkin praised the tale and set out to publish it with illustrations at the cheapest possible price. Pinning great hopes on Ershov, Pushkin allegedly said: "Now I could leave this kind of writing."
The tale was first published in the "Library for Reading" in 1834, later published in separate editions. Tsarist censorship made its own adjustments - the fairy tale came out with cuts. Pushkin introduced Yershov into poetic circles. There is evidence that he himself edited the tale and wrote an introduction to it.
Ershov's fairy tale took a place next to Pushkin's fairy tales. So it was considered by contemporaries. Official criticism treated it with the same disdain as Pushkin's fairy tales: it is an easy fable for idle people, but not without entertainment.
2. Features of the problems and poetics of the fairy tale
The genre of fairy tale is peculiar. Consider two points of view: V.P. Anikin considers the work of P.P. Ershova as realistic and believes that the fairy tale "The Little Humpbacked Horse" is the poet's response to the process of formation of a realistic fairy tale in literature. An unconventional view of the genre in studies about P.P. Ershov Professor V.N. Evseeva: "The Little Humpbacked Horse" is a work of a romantic poet, "a parody-folk tale", in which "the romantic irony of the author sets the tone"; the novice poet expressed the idea of "freedom as a great value of romantic consciousness." In the fairy tale, one can also find the features of a romantic poem (poetic form, three-part structure, epigraphs to parts, lyrical-epic nature of the narrative, plot tension, originality of events and main characters, expressive style.
In "The Little Humpbacked Horse" there are also signs of a novel: a significant length of the life story of Ivanushka Petrovich, the evolution of his character, a change of functions actors, detailed portraits, landscapes, descriptiveness, dialogues, interweaving of "fabulous rituals" with an abundance of realistic scenes and details, as if snatched from life, the breadth of the social background.
In the first half of the 19th century, among folk tales, there were no plots similar to The Little Humpbacked Horse. Only after the publication of the fairy tale, folklorists began to find plots that arose under the influence of this fairy tale.
However, in a number of folk tales there are motifs, images and plot moves that are present in The Little Humpbacked Horse: tales about the Firebird, the magic horse Sivka-Burka, about a mysterious raid on the Garden of Eden, about how the old fool king was delivered young bride, etc.
Ershov skillfully combined the plots of these fairy tales, creating a magnificent, vivid work with exciting events, wonderful adventures of the protagonist, his resourcefulness and love of life.
fairy tale like literary work has a classic three-part form, a logical sequence in the development of events, the individual parts are organically intertwined into a single whole. All actions performed by the heroes are justified by classical laws. fairy tale.
The work is divided into three parts, each of which is provided with a prosaic epigraph that sets readers up for upcoming events. fairy tale humpbacked horse poetics
The first part, as expected, begins with the saying "once upon a time", which introduces the reader to the course of events, introduces the characters.
The second and third parts begin with detailed sayings, which are concise plots of magical, everyday and satirical fairy tales. So the author distracts the reader from the main content, arouses curiosity and reminds that this is a saying, and the fairy tale will be ahead.
The plot of each of the three parts is a complete whole, consisting of fast-paced events. Time in them is condensed to the limit, and space is limitless; in each part there is a central event that most fully reveals the characters of the characters and predetermines further events.
In the first part, this is the captivity of the mare. She gives Ivan foals, together with them Ivan gets to serve in the royal stable. The first part ends short story about further events up to the final episode, how the main character became king, thereby preparing the reader for further events, intriguing him.
In the second part, there are two events in the center: Ivan, with the help of the Little Humpbacked Horse, catches the Firebird and delivers the Tsar Maiden to the palace. As in many fairy tales, Ivan performs the third, seemingly overwhelming task - he gets the Tsar Maiden's ring and meets with Kit, at the same time he visited heaven, where he talked with the mother of the Tsar Maiden Month Mesyatsovich, freed Kit from torment, for which he got Ivan a ring.
The third part is the most eventful. It also uses motifs known in the folk tale: the hero helps the one he meets, who, in turn, through the chain of characters, rescues the hero himself, helping him to complete the most difficult task.
The tale ends with an ending characteristic of folklore: the victory of the protagonist and a feast for the whole world, which was also attended by the narrator.
Images, characters, theme, idea of a fairy tale:
All three parts are interconnected by the image of Ivan and his true friend Skate. The image of Ivan expressed the very essence of the fairy tale story, the fullness of Ershov's realism. From the people's point of view" common sense"who put up with lies, deceive and cunning for the sake of worldly well-being and peace, Ivan is simply stupid. He always acts contrary to their" common sense ". But it always turns out that this Ivan's stupidity turns into higher human wisdom and emerges victorious over the notorious" common sense ".
Here the father sends Ivan's brothers to guard the wheat. One was too lazy - he spent the night on the sennik, and the second was afraid - he wandered all night at the neighbor's fence. And both lied to their father. Ivan is not like that. But he got wonderful handsome men - horses and a toy horse.
Ivan honestly carries out a difficult service for the absurd king, innocently not noticing the envy and intrigues of the royal courtiers; makes a lot of work, shows courage and perseverance, fulfilling all the royal orders. And everything that he got for the king becomes his reward, in addition he becomes a hand-written handsome man and is elected king by the people themselves. Of course, the magic power of the Little Humpbacked Horse helped him in this, but that’s what the fairy tale is for, so that by the will of its author the magical powers turn out to be on the side of the good, honest, trusting, help truth and justice triumph over evil. That is why Ivan the Fool, guided by the wise folk morality - to live honestly, not to be greedy, not to steal, to be true to his duty and word, turned out to be the winner of all life's adversities.
In the image of the ingenuous Ivan, one should not see the embodiment of the ideal of human behavior. Ivan is foolish, sometimes lazy, loves to sleep. The poet does not hide that the hero is a fool in the literal sense. But he has special foolishness. Not without reason, wherever the author speaks of Ivan as a fool, he contrasts him with "smart".
Ivan's "smart" brothers are supporters of the existing decency, bearers of "common sense" - selfish and prosperous in comparison with their younger brother. There is an episode in the fairy tale: Ivan catches up with the brothers who stole horses from him in order to sell them in the city and profit, and shouts to them:
It's a shame, brothers, to steal!
Even though you are smarter Ivana,
Yes, Ivan is more honest than you ...
However, the hero is not vindictive, and in the finale of the first part the conflict is safely removed: each one achieves what he wants without detriment to the other. And in the royal service, Ivan is honest and kind, he does not intrigue anyone, although around him many ill-wishers stir up passions. The former head of the stable is jealous of Ivan - he talks about the hero, brings him under the royal wrath and disgrace. The tsar and the courtiers caused Ivanushka a lot of evil, but all their cunning intrigues turned out to be in vain - and here he, the fool, is opposed to "smart" people. The question arises: who, in fact, is stupid? Of course, those who oppress him. They do not perform "stupid" deeds, but their "mind" is associated with cunning, cruel deeds. That is why the author puts the "smart" in a stupid position, and Ivan therefore takes over because the deeds of the smart in their own eyes, the sane are not far from stupidity.
In all cases, Ivan shows independence, does not hesitate to express his own opinion, does not lose his self-esteem. Seeing the Tsar - Maiden, he says that she is "not at all beautiful." Talking to the king. Addresses him not only without titles, but also on "you", as an equal.
Once in heaven, Ivan discovers neither God, nor angels, nor paradise. And, although he liked the kingdom, he behaves there completely freely, as well as on earth.
Ivan does not remember God anywhere, only once he "prayed at the fence, / And went to the king's courtyard" - not to the icons or to the east, and in this episode the author's irony is visible.
The image of Ivan's assistant - a skate - is unusual - a "toy" height of three inches, arshin ears, which are convenient to "clap with joy", and two humps.
Both heroes - bosom friends - a deviation from the accepted fairy-tale norm; the first is a fool, the second is clumsy, ugly from the point of view of the philistine look. Skate - the embodied essence of Ivan - is the true content of human - non-fairytale life, the main thing in which is kindness, the desire to help, love, friendship, not built on the calculation.
Why is the horse double-humped? Maybe this image came from childhood - Ershov lived in Petropavlovsk and Omsk - cities that are the gates to the noon lands - India, Persia, Bukhara; there in the bazaars he met animals unprecedented for Siberia - two-humped camels and long-eared donkeys. But perhaps this is an oversimplified analogy. The image of Ivanushka Ershov wrote from the farce Petrushka - the favorite of the Russian people. Petrushka was clumsy: nosy, hunchbacked. Did the humps "move" from Petrushka's back to the skate?
There is another hypothesis: the horse is a distant "relative" of the ancient mythological winged horse, capable of flying up to the Sun. The wings of the miniature Ershov's skate have "fallen off", but the tubercles of the muscles ("humps") have been preserved, and with them the mighty force capable of delivering Ivanushka to heaven. Man has always wanted to fly, so the image of a skate is attractive to the reader.
The myth is the "childish" consciousness of mankind, and children's complexes are tenacious. However, the paradox is that the myth is serious, and the author of The Little Humpbacked Horse also laughs contagiously. His skate is three inches. It is hard to imagine how Ivanushka will sit not on a mythical horse, but saddle a thirteen-centimeter horse. But everything is possible in a fairy tale. It is difficult for an indifferent look to detect a miracle in the surrounding life; Ivan's brothers did not find it either, having profitably sold handsome horses. The growth of the skate could correspond to the puppet from the Petrushka folk theater, over the adventures of which the Russian people laughed. Continuing Pushkin's traditions, Ershov directs all the arrows of sarcasm at the figure of the "glorious" tsar - a pitiful, stupid, petty tyrant scratching himself lazily from boredom.
All appearances of the king are accompanied by remarks like: "The king said to him, yawning", "The king, shaking his beard, shouted after him." By the end of the tale, the contemptuous attitude towards the king is quite clear. He "grinds balusters" in front of the Tsar - a maiden, wants to marry her, but she admonishes him:
All the kings will start laughing
Grandfather, they say, took his granddaughter!
From the dialogue of the king with the girl, it is clear that she, fifteen years old, is smarter and more honest than an old man incapable of thinking. His death in the cauldron ("Bukh in the cauldron - / And he boiled there") completes the image of an insignificant ruler. What is the pop, such is the arrival. The tsar is a tyrant, the nobles are lackeys. Wanting to please, they crawl; depict stupid scenes, wanting to make the ruler laugh.
The nobles and the tsar rob the people: the tsar unceremoniously considers Ivan's good as his own. Demanding from him the feather of the Firebird, he shouts:
By which decree
You hid from our eyes
Our royal goodness is not habitual -
Firebird feather?
But the king is only the main oppressor of the people. The trouble is that all his servants are hosting him. Ershov paints a vivid picture of the gathering of the people. Oppressed not only the peasants, but also the yard people. No matter how hard the people work, they still remain poor. Ivan's brothers sadly exclaim:
How much wheat we do not sow,
We have a little daily bread,
Are we up to the dues here?
And the police officers are fighting.
The appearance of a "city detachment" led by a mayor testifies to the police regime. The people are treated like cattle: the watchman screams, beats people with a whip. The people, without protesting, are silent.
The mayor, overseers, cavalry detachments "stirring the people" - these are the pictures of feudal Rus', appearing through the playful Ershov's verse. The merriment that broke out in the crowd inexpressibly surprised the authorities, they are unaccustomed to people expressing emotions.
Everyday and fantastic intertwined in a fairy tale. The fabulous universe consists of three separate kingdoms - earthly, heavenly and underwater. The main one is earthly, having many characteristics and signs, the most detailed:
Beyond the mountains, beyond the forests
Beyond the wide fields...
brothers carried wheat
... to the city - the capital:
Know that the capital was
Not far from the village.
In addition to "topography", the earthly kingdom has its own weather, signs of royal and peasant life. This kingdom is also the most densely populated: here are peasants, and archers, animals and birds, the king and his servants, merchants and the mysterious "Tsar Saltan". The heavenly kingdom is similar to the earthly one, only "the earth is blue", the same towers with Russian Orthodox crosses, a fence with gates, a garden. The underwater kingdom is contradictory: it is huge, but smaller than the earthly one; its inhabitants are unusual, but subject to one another according to the laws of the earthly kingdom. All three kingdoms, with their seemingly dissimilarity, are one in essence, obey the same social laws - the laws of tsarist bureaucratic Russia, and in relation to geography, the world order - according to the laws of perception of the world by a Russian - a steppe dweller, for whom there is and cannot be anything bigger and more immense than the earth with its fields, forests and mountains.
The reader is surprised by the characters inhabiting the underwater and heavenly kingdoms.
The image of the "Miracle Yuda fish Whale" is an echo of the myths about the origin of the Earth (firmament on three whales):
All sides are pitted
The palisades are driven into the ribs,
Cheese on the tail - boron makes noise,
On the back of the village stands ...
Village, peasant peasant Rus'. Keith is "bonded", "suffering", like Ivan, the last on the social ladder, according to the plot of the tale, he is going through a transformation into an autocratic tyrant.
Ershov, talking about an unusual celestial family - the Tsar Maiden, her mother Month Mesyatsovich and the "brother" the Sun, focuses on the mythological ideas of the Siberian peoples, similar to the Chinese mythological tradition, where the Sun is interpreted as "yang" - the masculine principle, and the Moon - " yin is feminine.
In the context of the plot of the tale, the mythopoetic symbolism of the image of the Tsar-maiden is associated with the deity of Light and the element of Fire. With her disappearance after her abduction by Ivan, the cycle of life was disrupted - changes occurred in nature: a month does not shine for three days and three nights, the Sun is in the mist ("... my son is red / Wrapped up in rainy darkness"). According to archaic myths, children born by the Sun help it shine. The heavenly family is the realm of the dead, a Christian paradise, where the path of the living is barred; Once in this kingdom, Ivan acquired a new status and a bride. One of the main characteristics of the heroine is her girlhood, she is in the role of a potential bride.
The marriage motif in the fairy tale finale is realized in the wedding ceremony of initiation (dedication of the hero), which corresponds to the traditions of Russian folklore fairy tales. The mythological function of the King - the maiden - is to keep the light of the luminaries (Moon and Sun), that is, to keep and give life. Going after her and getting her, Ershovsky Ivanushka plays the role of a cult hero. The plot of the fairy tale is a model of the eternal cycle of life and death.
Story language:
Ershov embodied in his fairy tale the thoughts and aspirations of the people. He transferred the literary style of folk art to the text.
The tale is permeated with light humor, slyness, which is characteristic of the Russian people from time immemorial and reflected in their oral art.
Like Pushkin, Ershov does not abuse metaphors, epithets that adorn words. The exceptions are ritual fairy-tale expressions: "eyes burned like a yacht", "the tail flowed golden", "horses are wild", "horses are boers, siva". But he knows how to give a convex, purely folk image a great semantic load.
As the hero Ivan is presented in two plans, so his every word, phrase is ambiguous.
Irony and mockery often sound in his descriptions.
Funny in a fairy tale is also created by comic situations, jokes, proverbs, proverbs. Here are the brothers running to see the horses:
Both Danilo and Gavrilo
What was in the feet of their urine
Straight through the nettle
So they blow barefoot.
To scare the brothers, Ivan composed a deliberately terrible and funny story about his patrol:
Suddenly the devil himself comes
With a beard and mustache;
Erysipelas like a cat
And the eyes are something that those bowls!
So the devil began to jump
And knock down the grain with a tail.
The departure of the mayor on a trifling matter to the market is described so solemnly that it looks comical.
To emphasize the idleness of the royal servants, the author described the grooms to whom the king entrusted the supervision of two horses:
Ten gray-haired grooms,
All in gold stripes,
All with colored sashes
And with morocco whips.
Masterfully, the poet portrayed a playful fairy-tale scene, as Ivan led the horses:
And to the song of the fool
Horses dance trepak;
And his horse is humpbacked
And so it breaks down
To the surprise of all people.
Yershov adopted sayings from the people; in a fairy tale they carry a certain load:
Husband - something will be accepted for jokes,
And the wife for jokes.
And they will have a feast here,
That for the whole baptized world.
This saying is being
The story will begin soon.
Like ours at the gate
The fly sings songs.
What will you give me for the news
The mother-in-law beats her daughter-in-law:
Planted on a sixth
tied with string,
She pulled her arms to her legs.
Right leg undressed,
Don't go through the dawns
Don't look young.
This saying was
And so the fairy tale began...
This proverb is not just a decoration of a fairy tale. It depicts the life of the people. At the same time, the saying is skillfully used as a compositional element. Included in the text, it serves as a breather for the reader:
Whether they go close, far,
Are they going low, high,
And did you see anyone
I do not know anything.
Soon the tale is told
The thing is messy.
Only, brothers, I found out
That the horse ran there,
Where (I heard by the side)
Heaven meets earth
Where peasant women spin flax
Distaffs are placed on the sky.
Amazing folk images- "the sky converges with the earth", "they put spinning wheels on the sky" - they enchant the author's imagination with their miraculousness and at the same time tangible reality, at the same time these images make you stop, think, take a break from the fast-paced plot and concentrate in contemplative meditation.
The tale is of high poetic merit. A rapidly developing plot, consisting of bright fairy-tale events, sometimes funny and funny, sometimes scary, and attracts the reader. Each verse is an independent semantic unit, the sentences are short and simple. Almost every line has a verb denoting movement or action, which creates dynamism. Sometimes there is a whole cascade of verbs. There are many verbal rhymes in the text, they are almost always voiced. Rhyming words carry the greatest semantic load. This will help you remember the content better.
The poet is able to say a lot with a large number of words: to express a complex thought, to paint a picture. Convey feelings, bring a smile:
The mare was
All as winter snow, white,
Mane to the ground, golden,
Curled in crayons.
Ershov masterfully conveys movement. The same mare. When Ivan sat on it,
We twisted our head,
And launched like an arrow
Curls around over the fields,
Hangs flat over the ditches,
Rushing over the mountains,
Walks on end through the woods.
In a folk tale, alliterations (onomatopoeia) are built in a fairy tale:
Ta - ra - ram, ta - ra - ram,
The horses came out of the yard.
One of the traditional artistic techniques used by the storyteller is doubling, which takes on an all-embracing character: plot motifs and fragments are doubled, characters have their doubles and "twins", a lot of parallel syntactic constructions with lexical repetitions appear in the narrative structure.
There is a doubling of the genre - a fairy tale in a fairy tale, the "spheres of the universe" (terrestrial and underwater, earthly and heavenly kingdoms) are doubling. The doubling function is the creation and destruction of a fairy-tale reality; "twins - brothers" "Danilo da Gavrilo" are satirically described.
Each new task of Ivan begins with a repetition:
Here messenger nobles
They started calling Ivan again.
Here Ivan appeared to the tsar,
Bowed, cheered,
Grunted twice and asked:
"Why did you wake me up?"
Having completed this first difficult task, he incurs the second, which is preceded by a new variation of the repetition:
And the messenger nobles
They ran to Ivan;
Found in a deep sleep
And they brought me in a shirt.
This is followed by the third task:
"Hey! Call Ivan to me," -
The king hurriedly shouted
And I almost ran
Here Ivan appeared to the king,
The king turned to him.
Episodes are repeated each time in an updated, enhanced variation. Every time Ivan comes home, Konyok asks:
What, Ivanushka, is sad,
What did you hang your head on?
Compositional repetitions accompany syntactic repetitions. Individual words, adjacent phrases, phrases, individual verses are repeated. The king says to Ivan:
Nothing to do, have to
To serve you in the palace.
You will walk in gold
Dress up in a red dress
It's like rolling cheese in butter.
Ivan answers:
... what a thing!
I will live in the palace
I will walk in gold
Dress up in a red dress
It's like rolling cheese in butter.
Repetitions give the tale credibility and special entertaining.
Doubling is the key to the philosophical concept of "The Little Humpbacked Horse": if in the existing unshakable cosmically inclusive hierarchy of relations the king is evil, it will inevitably be replaced by good.
The poetics of the fairy tale breathes with the element of the people. Folk dances - trepak, squatting, songs "A good fellow went to Presnya", "Like a sea on the sea", proverbs, sayings, the whole spirit and warehouse of a fairy tale, up to historical reminiscences like "It was as if Mamai was at war", with reading a fairy tale about Eruslan - literally everything breathes the spirit of the people. If we add to this the perception of the world, the concept of good and evil, beautiful and carefree up to the words "Month Mesyatsovich", "Miracle-Yudo fish Kit", sayings, jokes, jokes - everything comes from the people and expresses its spirit and worldview .
Zhukovsky, Pushkin and Ershov turned to folk tales. Zhukovsky tried to ennoble their plots, smooth out sharp corners and social contradictions in them. Pushkin elevated them to the level of high poetry, concentrated in them all the best that is characteristic of folk art, getting rid of everything random, superficial, freed the language from common folk elements.
Ershov was taken up by the element of the people. It seems that he wrote a fairy tale quickly, in one breath. And he did not always worry about a more careful selection of words, about finishing the verse. Therefore, in the text of the fairy tale there are many colloquial words, dialectisms that were not included in the literary language, such elements were not in Pushkin's fairy tales.
In general, the tale is written in a sonorous four-foot trochee, and is distinguished by the musicality of the verse. Sometimes there is a violation of the rhythm. Verbal exaggerations come across: “firebirds”, “a mile, a friend ran”, “the hunter said with laughter”, “canal distinguish himself”, etc. All this is the result of an uncritical attitude to folk art, inattention to the strict selection of language units, to the finishing of the verse. But the fairy tale also shocks with the most beautiful figurative, capacious folk expressions like “staring in the morning”, “look half-heartedly”, “slander”, etc.
But now we'll leave them
Let's have fun with a fairy tale again
Orthodox Christians,
What did our Ivan do, ...
"Oh, listen, honest people!
There lived a husband and wife,
The husband will take on jokes
And the wife for jokes,……."
And also the story about any events begins with the particle "well":
Well, so here it is! Raz Danilo
(On a holiday, remember, it was),
Stretching green drunk
Dragged into the booth….
Well, this is how our Ivan rides
Behind the ring to the ocean.
The hunchback flies like the wind...
And how the folk narrator interrupts the presentation, explaining something either incomprehensible to the listener:
Here, putting it in a casket,
Shouted (out of impatience),
Confirming your command
Quick swing of the fist:
"Hey! call me a fool!"…..
In Ershov's fairy tale, many sayings, jokes, proverbs, sayings are used:
Ta-ra-ra-li, ta-ra-ra!
The horses came out of the yard;
Here the peasants caught them
Yes, tied tight.
A raven sits on an oak
He plays the trumpet; ......
This saying is being carried out
The story begins after...
Like ours at the gate
The fly sings a song:
"What will you give me as a message?
The mother-in-law beats her daughter-in-law:
Planted on a sixth,………"
Epigraphs play an important role in a fairy tale. Which reveal the storyline to the reader. "The fairy tale begins to tell." The first epigraph is a kind of prelude to further fabulous events. The author speaks, intrigues the reader. "Soon the fairy tale is told, and not soon the deed is done." In the second epigraph, the author tells the reader that the main character still has a lot to overcome. He, as it were, predetermines the difficulties that the hero will have to overcome. Just before this epigraph, P.P. Ershov lists everything that will happen to the main character:
... How did he get into the neighbor's house,
How his pen slept,
How cunningly caught the Firebird,
How he kidnapped the Tsar-maiden,
How he went for the ring
As he was an ambassador to heaven,
How he is a sunny village
Kitu begged for forgiveness;
How, among other things,
He saved thirty ships;
As in the boilers he did not boil,
How handsome he became;
In a word: our speech is about
How did he become king?
"Before Selev, Makar dug gardens, and now Makar has ended up in governors." With this epigraph, P.P. Ershov says that the main character, like in a folk tale, will be the winner. About the victory of good over evil. Also, through Ivan's relationship to the brothers and to the Tsar, we can judge them. P.P. Ershov depicts them with irony, with humor, but if he portrays Ivan with good humor, then he portrays the brothers Ivan and the Tsar with the courtiers with sarcasm:
The night has come,
Fear came upon him
And with fears our man
Buried under the canopy. …
(about Daniel)
Trembling attacked the little one,
The teeth began to dance;
He hit to run-
And all night I went on patrol
At the neighbor's fence.
(about Gavril)
But how P.P. Ershov portrays the brothers when they came to see the horses:
Stumbling three times
Fixing both eyes
Rubbing here and there
Brothers enter to two horses.
The brothers don't just enter like Ivan:
Here he reaches the field,
Hands propped up at the sides
And with a jump, like a pan,
Bokam enters the farce.
Brothers fall, stumble. P.P. Ershov portrays them as greedy, vile, cowardly, and for comparison puts Ivan, who does not lie, but composes, he is honest.
"It's a shame, brothers, to steal!
Even though you are smarter Ivana,
Yes, Ivan is more honest than you:
He didn't steal your horses...
With the same irony P.P. Ershov depicts the Tsar and courtiers:
And messengers of the nobles
Run along Ivan
But, facing everything in the corner,
Stretched out on the floor.
The king admired that much
And he laughed to the bone.
And the nobleman, seeing
What is funny for the king
Winked among themselves
And suddenly they stretched out.
The king was so pleased with that...
The attitude towards the Tsar and his courtiers is very well manifested when P.P. Ershov describes the order and relationships in the sea kingdom, which is a mirror image of the earthly world. They even need a lot of "fish" to execute the decree. Ivan at P.P. Ershova does not respect the Tsar, since the Tsar is capricious, cowardly and extravagant, he resembles a spoiled child, and not a wise adult.
Although Ivan is called a fool, he is busy from the very beginning of the tale, he is the only one who does not sleep on patrol and catches the thief. He cleans, washes and cares for the horses. He is not after money, fame or power. He enjoys the ordinary things of life.
The Tsar, on the contrary, is depicted as funny and not pleasant, not only Ivan laughs at him, but also Month Mesyatsovich, this is how the Month answered when he learned that the Tsar wants to marry the Tsar Maiden:
You see what the old horse-radish started:
He wants to reap where he did not sow!
Ershov uses folklore motifs in his fairy tale, it is collected from several fairy tales, and there is also a friend of the protagonist. Horse helps Ivan in everything and does not leave him in trouble.
As in Russian folk tales, the main characters are incarnated and become the husband of the beautiful Princess and become the Tsar himself. The main "villains" are defeated and punished.
Although reading this fairy tale for the modern reader causes certain difficulties (many words have already gone out of use and many people do not know the meaning of these words), but the general meaning of the fairy tale and its humor remains clear.
Conclusion
Creating a fairy tale, Ershov attacked a gold mine; this is a consequence of closeness to the people, great attention to his work.
A wonderful fairy tale, beloved and familiar to us since childhood, translated into many languages of the world, has become one of the most popular for many generations of children. Operas, ballets, feature films were written and staged on its plot.
This is a great work about which Pushkin A.S. said after reading: "Now this kind of compositions can be left to me." This great work made P.P. Ershov famous when he was a student and forgotten at the end of his life. When in 1869 P.P. Ershov died, many newspapers wrote that the author of the famous fairy tale "The Little Humpbacked Horse" died; some people of that time were very surprised because they naively believed that the fairy tale "The Little Humpbacked Horse" was a folk tale. Others thought that the author of this tale had long since passed away. But despite this, she still pleases the reader and amazes with her humor.
Like Pushkin and Zhukovsky, Ershov wrote his fairy tale for the whole reading Russia. But it organically entered the children's literature. First of all, a children's fairy tale in its unbridled fantasy, amazing adventures, dynamic plot, colorfulness, playful rhythm, song warehouse, the image of the main character - a brave representative of the people, in the victory of good over evil, respect for man, for our great language.
Bibliography
1. Babushkina A.P. History of Russian children's literature / A.P. Babushkin. - M.: Enlightenment, 1948. - 409 p.
2. Life and work of P.P. Ershov: Seminary: scientific and methodical. manual for the course and special seminar for students, teachers and prep. universities / comp.: M.F. Kalinina, O.I. Lukoshkov. - Ishim: Izd-vo IGPI, 2002. - 208 p.
3. Folk and literary tale: interuniversity. Sat. scientific tr. IGPI them. P.P. Ershov. - Ishim: Izd-vo IGPI, 1992. - 198 p.
4. Features of the language of P.P. Ershov "Humpbacked Horse": Sat. scientific Art. / ed. L.V. Shaposhnikov. - Ishim: Publishing house of IGPI im. P.P. Ershova, 2007. - 76 p.
5. Pyotr Pavlovich Ershov - writer and teacher: abstracts of reports and messages. - Ishim: Izd-vo IGPI, 1989. - 75 p.
6. Satin F.M. History of Russian children's literature / F.M. Satin. - M.: Enlightenment, 1990. - 301 p.
7. "Humpbacked Horse" Raduga Publishing House Ministry of Press and Information of the Russian Federation 1993
8. Free Encyclopedia Wikipedia http://en.wikipedia.org/wiki/
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This tale appeared in 1834, at a time when all prominent writers and critics had their say about the nationality. However, the "Humpbacked Horse" called new wave disputes on this topic. V. G. Belinsky refused even the merits of a “funny farce” to a fairy tale, the magazine “ Domestic notes” scolded the fairy tale for the lack of nationality in fiction, for “rhymed absurdities” and “street” expressions. Censorship seemed dangerous satirical image Russian kingdom. However, Ershov and his fairy tale were supported by those who understood the nationality more broadly. The first to recognize The Little Humpbacked Horse was P. A. Pletnev, professor of belles-lettres (as fiction was then called) at St. Petersburg University. The largest fairy tale poets supported the talented writer. Zhukovsky noted that this was not only a fairy tale for children, and Pushkin responded with high praise (“Your fairy tale is a real treasure trove of the Russian language! .. you have chosen the right way. Now this kind of writing can be left to me ... And your fairy tale will be published for the people. A million books! .. with pictures and at the cheapest price ...”).
There were many obstacles on the way of The Little Humpbacked Horse to the people: the fairy tale was either forbidden, then mutilated by censorship or came out in ridiculous alterations, right up to the Flying Horse, on which Ivan surveyed the Land of Soviets. Despite all this, The Little Humpbacked Horse found its way to the people and even got into the collection of folk tales.
In the circle of children's reading, the fairy tale first appeared as a censored alteration, and then in its present form. Until now, it remains one of the best fairy tales of Russian childhood.
№27. The image of a child in Russian literature of the 19th - early 20th centuries.
The 19th – 20th centuries is a time of active development of children's fiction proper, which placed the personality of the child at the center of the narrative, initiated the manifestation of the child's “I”, the essence of the child's soul, the child's worldview and the context of the child's life itself. The view of the world is changing; it ceases to be perceived as a "derived world of adults." Rejecting this perception, an adult saw a child not like himself, but different, having his own psycho-emotional specifics, his own circle of interests, problems, addictions, his own perception of reality, strikingly different from an adult.
The theme of childhood and the image of a growing person were considered against a broad philosophical, social, cultural background. Childhood as a full period human life tried to fit in big picture world, which without this period seemed incomplete, disharmonious, torn apart, since the child is the heir of the past and the bearer of traditions, the keeper of the spiritual and material wealth accumulated by mankind.
A huge role in the knowledge of the child, his soul, his life, his capabilities, both physical and moral, psychological was played by the general literature of the turn of the century (Chekhov, Andreev, Bunin). Realist writers began to depict the child and childhood without idealization, they ceased to be some iconic figures, material for philosophical generalizations.
A toy as a sign of family belonging to childhood is extremely rare in such literature. The doll that Vasya brings is not so much a toy for the dying Marusya, but a psychotherapeutic tool, "the first and last joy of her short life."
The type of child - the "little convict", created by the literature of the turn of the century, excluded the theme of play and toys in its original sense. This exclusion is seen as a kind of artistic and social task of the authors: in a world where the life of a child becomes hell, and death is a deliverance from him, there can be no games and toys, because a full-fledged childhood, and sometimes the right, is taken away from children - "convicts". for life (the little miner Senka).
"Angel" by L. Andreev in a cycle of stories about childhood. Social and artistic significance story.
The toy is the center of the story, one of the brightest works. The hero of the story, thirteen-year-old Sashka, is depicted at the time of farewell to childhood, at the time of the breakdown of his mental and physiological state, dissatisfaction with life and growing disgust for the people around him. He hated and beat not only his schoolmates, but even his own father and mother. He wanted freedom, some kind of plant life, where he didn't have to wash his face in the morning, and "was afraid of hunger alone." Possessing a "rebellious and courageous soul", he began to turn into a wolf cub, into a screaming young animal, which even his own pain could not stop, sober up. A rough, animal, interior feeling overwhelmed Sasha. Even the mother sees him as a puppy.
Sashka is the product of a drinking family, taking revenge for the suffering of each other, flaunting the “horror of human life” and at the same time grieving it. All enemies are in it. What happens to family members - the disintegration of family relations, enmity and hatred, the constant desire to hurt another - the mother calls the word "statistics" inappropriate here, reminiscent of her husband's past - a literate and painfully wounded him, dying of consumption.
The idea of humiliation, subjugation of all to himself, and perhaps even revenge on "clean children" hovers over Sasha. He does not spare even little Kolya Svechnikov, who handed him a toy gun. The toy in Sashka's hands becomes the focus of evil and revenge, unexpected for Kolya and therefore even more terrible and painful. The Christmas tree, to which the Svechnikovs invited Sasha, which delighted the children, turned out to be the border between two worlds for him. Sasha's transformation occurs when he notices a toy - a wax angel hanging on a Christmas tree. Here, on the Christmas tree, Sashka realizes for the first time that he seems to "have a father and mother, his own home, but it turns out as if there is nothing of this and he has nowhere to go."
And this is another border between the world of the former Sasha, a puppy, a wolf cub, who threatened to turn into a hardened beast, and the world of Sasha renewed, which now even a possible touch to the wings of an angel considered "insane cruelty."
IN realistic story Andreev's toy becomes a symbol of the possibility of changing children's consciousness, children's worldview, touching a pure, spiritualized life. Angel for a moment stops Sasha from the final fall, turning into a beast. Andreev's toy is something spiritual, not objectivable. Sasha perceived the angel not with his eyes, but with his feelings. An incredible desire was born and strengthened in him to receive him, to touch him. For the sake of fulfilling this desire, Sashka was ready for anything: to repent, to start studying again, to kneel before the mistress of the house, to endure and seem good until she agrees to give him a toy.
Having received an angel, Sasha outwardly becomes different: “two small tears sparkled in his eyes.” The little angel in Sasha's hands is a "short moment" of the "spirit of human happiness".
Until the age of thirteen, Sasha did not know the state of spirituality that arises in a pure and unspoiled life, which has a positive effect on mental health and human development. With the angel, he experienced a new feeling of brief unity with his father, that feeling “that merged hearts together and destroyed the bottomless abyss that separates man from man and makes him so lonely, unhappy and weak. The feeling of a pure, joyful, bright life for a moment was bestowed not only on Sasha, but also on his father. After all, the angel was taken from the tree and given to his son by a woman whom he once loved himself.
But everything that happens in Sasha and around him is brief, instantaneous, illusory. Taking the angel, he returns home to his drunken mother, to the "log wall covered with soot", to the "dirty table", to the "dead man" - his father. Minutes of unexpected joy, experienced with his father, will interrupt the dream. And the wax angel melted at night will carry with it the illusory hope for the renewal of his being. With it, the period that in human life is called childhood will end. And instead of a symbol of childhood - a toy with the coming morning, another symbol bursts into Sashka's life - the sound of an iron ladle of a frozen water carrier. He is evidence of that terrible circle of life from which Sasha cannot escape, cannot escape the fate of his father and mother, cannot overcome even with the help of that bestial strength and perseverance that matured in him.
Naturally, in those works that were directly addressed to children, there is no sense of the tragedy of a child's life. Actually, children's literature, while developing the theme of play and toys, has almost no contact with this theme in general literature. She does not rise to symbolic generalizations, much less connect this topic with social problems life in Russia at that time. On the contrary, it brings her back to her childhood, to the world that originally belonged to her.
№28. Natural history children's literature: the history of formation and development.
Natural literature for children appeared late. At the end of the 18th century, I. Novikov's magazine "Children's Reading for the Heart and Mind" was the first to publish essays on natural phenomena and even poems that describe the feelings that arose in the lyrical hero from contemplating nature (Karamzin's "Spring Song of the Melancholic").
Such a late appeal to the topic is due to the lack of tradition: after all, ancient literature did not know the descriptions of nature, and, if necessary, used stable stylistic formulas, which most likely testified to the canon, rather than to the individual perception of the natural world.
Stories about animals existed in oral literature for a long time, they were replaced by fairy tales, many of which immediately took root in the children's environment and satisfied children's curiosity about the animal world.
But in the 19th century it became clear that a children's natural history book was needed. Note that in the 1940s 19th century - the time of active development of children's literature - it is said about the scientific and educational book. There is no mention of literature.
In the 60s. In the 19th century, there were so many popular science books that N. Mamin-Sibiryak testifies to them as a "bright sign of the times."
At this time, natural history works are actively in demand both by readers and compilers of anthologies. Teachers and methodologists say that teaching a child should begin with stories about the seasons, the person himself, domestic and wild animals, etc.
Not being satisfied with the way “natural knowledge” was presented in a children's book, the compilers of anthologies themselves compose children's works. This is how the zoo-fiction of L. Tolstoy and K. Ushinsky appears. The stories of these authors, short, full of action, were created primarily as educational. They introduce the reader to appearance, habits, lifestyle of animals and at the same time are the material for exercises in the technique of reading. Hence the conciseness, dynamics, simplicity of the language.
Ushinsky's manner of narration is fabulous, colloquial. The writer's animals talk, have a family, read books. He often uses folklore artistic means"patterns on the tail, spurs on the legs."
Since the works in more were created as educational, the authors did not forget about communicating new knowledge to children, useful information suitable for real life. L. Tolstoy's story "Pheasants" describes in detail the process of hunting a pheasant by a dog, how she looks for him, drives him up a tree and the hunter shoots him.
Noble development goal little man was important for writers and educators. But educational goals were no less important. Ushinsky was one of the first to note in children's literature the moral impact of nature on a person (“Children in the Grove”). The story is psychologically accurate, the author animates the natural world, knowing that his children perceive it as such, alive, like himself. Animism as a feature of children's thinking, presented in this story, will later become the main artistic device of natural history literature.
The traditions of Tolstoy and Ushinsky quickly took root, and in the reviews of the 80s of the XIX century. natural history stories recommended for reading to young children appear frequently. They are written and translated. They note the good knowledge of the authors of the natural habitat, habits, lifestyle of animals and birds.
Two ways of development of natural history literature were determined in the 60-80s of the XIX century:
1. Scientific and educational literature related to knowledge, education of children, development of their intellect, curiosity;
2. Fiction, which has a strong impact on emotions, forms the moral attitude of children to the natural world, the aesthetic perception of its real beauty and strength.
He played a worthy role in the development of fiction D.N. Mamin- Sibiryak. "The Gray Neck", "Alyonushka's Tales", where the real or fabulous natural world is presented, a world full of drama and joy. It is closely connected with the human: in nature, as in human society, there are misfortunes, troubles, problems. Just like the old, half-blind Emelya, the Duck, the mother of Gray Sheika, dramatically feels her powerlessness, the inability to help the weak, to protect him from danger.
But works for children, especially "Alyonushka's Tales", which, "wrote love itself", despite the drama of the narration, are full of bright hope for a change in the sad situation of the heroes, fun, laughter, an explosion of emotions of the inhabitants of the coastal space.
The world of nature is portrayed by the writer as harmonious. The characters of his works try to live in harmony with each other, to find compromises.
But the most important thing for the writer is harmony in the relationship between man and nature. To emphasize the importance of this thought, the writer chooses as his hero a destitute person, for whom all living things are primarily a means of subsistence, an opportunity to survive. Emelya needed to find a deer and kill it for her granddaughter, because. the grandson can no longer eat black bread and salted goat meat, so he wanders through the taiga. When he finds a fawn, he cannot kill it, because it means to become like a foolish pack of wolves. Emelya lowers his gun, and the sick grandson understands his grandfather and rejoices that it did not happen.
Starting with the stories of Mamin-Sibiryak, the theme of the relationship between man and nature sounds like a deeply moral theme. He talks about the priority of reason in the relationship between man and nature, about understanding nature as an animal organism similar to man. In connection with this, he chooses anthropomorphism as the main artistic device. Individual representatives of the natural world can not only perform similar actions like a person, but also think like a person, think deeply, experience.
Anthropomorphic perception of the animal world is also characteristic of A.P. Chekhov. "Kashtanka", "White-fronted". Chekhov's stories were spoken of as interesting phenomena in children's literature. And at the same time, not all reviewers agreed to classify them as children's reading"not designed for children's understanding, too much fine finish."
It was real, great literature for little ones. Creating them, the author made high demands on himself, said that it was difficult to write for children, worked for a long time, honing every detail, edited, discussed what was written with publishers, and specifically looked for an animal artist to design Kashtanka.
Chekhov's innovation lies in the creation psychological image of the animal. His characters think, analyze their actions. Kashtanka understands that having lost her way, she is to blame herself. The author describes the character of his characters, their state of mind, those experiences that overcome them: "The wolf was in poor health, suspicious."
The pictures of animal life that Chekhov himself draws are amazingly accurate: warm steam, the smell of manure and sheep's milk is felt not only by the she-wolf raking the thatched roof of the barn, but also by the reader. His stories are permeated with smells, sounds, he knows the habits, lifestyle, habits of animals (wolves usually teach their children to hunt, letting them play with prey). Thereby literary hero for some time becomes a typical inhabitant of the natural world.
The turn of the century did not introduce any striking changes in the process of development of natural history literature. Stories attract a lot of attention from what has been created Natalya Ivanovna Manaseina. "Butuzka". The author seeks to penetrate into the psychology of the animal (the dog loves a woolen scarf, which reminds him of his mother and is perceived as her warmth and affection). Manaseina advocates that animals live naturally, i.e. familiar to them, life: brought from the dacha to the city house, Butuzka cannot get used to the rules of life in captivity, upsets and suffers from this. A teacher by education, the author does not forget to give in his stories an example of children's behavior in relation to the natural world ("Frog").
After the revolution of 1917 fundamental changes are taking place in the natural history literature. For a long time, the leading theme has been the theme of the conquest of nature by man, the theme of man's dominance over nature (V.I. Inber "Night near Moscow").
The direction of the development of literature has also changed drastically. It basically becomes scientific and artistic and continues to be so until the end of the 20th century. Its priority over fiction became possible because children's literature, starting from the 1920s and 1930s, was visited by writers who possessed a huge stock of professional knowledge about nature, had the talent of an intelligent interlocutor, and were well aware of the age-related characteristics of children's perception. These are Bianki, Akimushkin, etc.
The professional knowledge of the writers influenced the originality of natural history works. This is manifested in the combination of scientific, authenticity and fiction, the artistic display of nature. Mucha had to work hard (Bianchi's "Tails") to understand: the tail of every living creature is given for business, and not for beauty, as she naively believed before. All the characters in this work are animated, which naturally brings them closer to the child reader and makes strict scientific truths available to him.
Nature writers enjoy a special genre fairy tales, whose ancestor is V. Bianki. He wanted everything to be clear in all his works, so that in each of them there was some kind of discovery, so that the reader would understand the interconnection of all living things.
The main book of Bianchi's life, according to Sladkov, is the "Forest Newspaper", created in the genre encyclopedias, where the system of knowledge about the seasons is presented. The encyclopedia is thematically diverse, systematic, it presents a lot of interesting information on various issues.
Sometimes encyclopedic knowledge is presented to the reader in the form of a fairy tale (Shurko "The Salty Boy"). Andryusha, a future first-grader, believing in a fairy tale, begins to understand all human languages, the languages of animals and birds, and at the same time accumulates knowledge from various fields of science.
In addition to books devoted to the natural life of nature, there are books about animals living in captivity (Durov's "My Animals", Chaplin's "Zoo Pets").
In the second half of the XX century. in the natural history literature is noticeable authors specialization. Charushin wrote about baby animals, close in age to those readers to whom the book is addressed. N. Romanova writes about small living creatures ("A lizard without a tail"), and her book "The Red Dot Ant" is a scientific and artistic description of an experiment conducted by the author.
The author marks the ant with a red dot for observation, so that it is more convenient to observe it. He acquires a name, the author - the opportunity to observe him. The ant has a family, its own home, an aphid girlfriend who treats him to a "sweet drop of birch sap." The experimenter experiences the dramatic moment of the disappearance of an ant in the rain and a joyful meeting with him, brave and strong. He comprehends the secrets of ant nature: it turns out that “ants can feel time”, they sleep soundly at night, even the bright light of a flashlight will not be them; have common children who are fed together; touching the antennae to each other, they report the news. Thanks to the ant with the red dot, the reader not only learned about ants, but also wanted to be an explorer himself.
S. Sakharnov writes most of all about the inhabitants of the sea, since his profession is connected with it (“Across the seas around the earth”, a children's marine encyclopedia).
Writers depict nature as full of secrets. They find secrets where, it would seem, they do not exist, where everything has long been known and clear. Dmitriev writes about dogs, cats, horses, i.e. about those who have long been close to a person.
But main problem natural literature is moral problem relationship between man and nature. Contrary to the national attitude that existed for a long period (20-90s of the 20th century) that a person is the owner and transformer of nature, children's literature sets itself the task of forming a moral attitude of a person to nature, a relationship in which a person acts as a being. sensible, respectful of nature, knowing the features its development, feeling itself a part of nature, able to use its riches wisely. The peculiarity of solving this problem lies in the absence of prima edification, open didactics, and teaching. To make the moral content of the conversation clearer to the child, writers resort to the genre of fairy tales (Bianchi's "Red Hill"). In an ordinary realistic story, it is also not excluded moral issues(Prishvin "Moose"). And also personification is used as artistic technique, consonant with the worldview of the child (Prishvin “Aspen is cold”).
The morality of natural history literature also lies in the special love for nature of those who write about it, sincere love that infects others.
The nature of writers is personification of the Motherland. Task contemporary writers- to change a person's view of nature, to make a stable understanding of the blood connection between the human world and the natural world. Having a small reader as an object of application of its ideas, children's literature, with the help of a special artistic language, speaks to him about the same things that Chekhov passionately discussed in Lesh.
Natural problems in children's literature are closely related to environmental issues: the soul of a person and the soul of the world around him equally need protection and protection.
Art direction The development of literature on nature is represented by the names of Prishvin, Paustovsky, Zhitkov (cycle "Stories about animals").
Definition of the concepts "natural history literature", "animism", "anthropomorphism".
In the theory of children's literature there is no scientific definition of the concept work of nature. Obviously, they can be considered a work where the main theme is the very theme of nature, the relationship between man and nature, the main object of the image is the natural world, the main artistic means are animism, anthropomorphism, in scientific literature - scientific description. The main task is to cultivate the spirit of curiosity, to arouse interest in the active study of nature (1919). In our time, it is necessary to add to this the task of educating a reasonable attitude of man to the entire natural world.
Animism(soul) is the animation of animals, plants, objects, endowing them with the properties and qualities inherent in man.
Anthropomorphism(from anthropo ... and Greek morpho - view), likening to a person, endowing with human mental properties of objects and phenomena of inanimate nature, celestial bodies, animals, mythical creatures.
V. Belinsky about the natural history children's book .
Belinsky was the first to note that natural history literature was needed. Doing annual reviews of what was published for children, I noticed the absence of "sensible books" that give children knowledge about the world around them. The critic not only spoke about the creation of a scientific-educational and educational book for children, but also outlined the topics, considering it necessary to "lead the child through all three kingdoms of nature." He suggested the main way of depicting nature - animation, anthropomorphism.
The path of a child's acquaintance with the world of nature should be simple: you need to tell the baby about what surrounds him, about the most ordinary and everyday. Belinsky repeatedly pointed out what a children's natural history book should be like: it is a “picture book”, with “a simple explanatory text about how beautiful nature is”, a text that presents “scientific systematization of what is presented”.
Mikhalkov's poems, cheerful and caustic, lyrical and sublime, deeply humane and truly childish, entered our Soviet and Russian life, became a particle of the life of our country and our people. Born in the late 20s - early 30s, and then their children, grandchildren and great-grandchildren absorbed and continue to absorb, along with Mikhalkov's lines, the desire for mutual assistance, friendship, respect for work and workers, hostility to selfishness, laziness, lies and cowardice.
Mikhalkov's children's poems are moralistic. He draws both laudable and reprehensible human actions, thus teaching children to distinguish between "good" and "bad", good and evil, possible and impossible, affirms justice and calls to counteract injustice. All this in an openly journalistic manner. And - what is wonderful - the children, who usually reject any teachings that adults try to "impose" on them, accept Mikhalkov's good advice, accept it willingly and with joy. They confidently plunge into the element of this wonderful, bright poetry, which, on the one hand, is intended for children, and on the other hand, shows them a large and complex "adult world".
It may seem paradoxical, but the peculiarity of Mikhalkov's humor is that the author never makes children laugh on purpose. On the contrary, his story is serious, exciting. But young readers smile and laugh. This is especially noticeable in the same "Uncle Styopa", who, by the way, is not very comfortable with his height: in the movies he is asked to sit on the floor, and in the shooting range he has to bend down. Uncle Styopa also acts as a hero, and in a comical situation: raising his hand, he acts as a semaphore, preventing a catastrophe. And after the war, Uncle Styopa works as a policeman - a noble profession. Why do we love Uncle Styopa so much? Not for his gigantic stature, but for his kindness, courage and help to all who need it.
The poems of Sergei Mikhalkov can be called an original and very significant phenomenon of Russian poetry. They are an excellent combination of sonority and purity of a child's voice, pedagogical wisdom and tact, wit and artistry. It was thanks to these qualities that Mikhalkov was able to revive the fable genre in Russian literature. It is worth noting that these qualities are also inherent in Mikhalkov's prose, plays, and film scripts.
Mikhalkov's children's poems are extremely simple and understandable. However, behind the outward simplicity one can see the greatest talent, life experience, and hard work. From the first day of the Great Patriotic War, Mikhalkov worked as a military journalist - he knew firsthand what war is. He saw all her horrors with his own eyes. His children's poetry, kind, open, sunny, is a call for world peace, for friendship between nations, the protection of human rights and, in particular, the child on happy life without war or other disasters. In the post-war years, Mikhalkov published the book “Everything Starts with Childhood”, and also wrote a number of articles reflecting on what education should be like in a modern family, at school, with the formulation of his own thoughts on this matter.
Sergei Mikhalkov is also known as a translator. Being a magnificent master of verse, he did an excellent job of conveying to young Russian readers the works of the Pole Julian Tuwim and the Bulgarian Asen Bosev. Mikhalkov also translated poets from the republics of the former USSR. Mikhalkov's translations retain the spirit of the original, while remaining independent works of art. It is curious that the famous English tale of the Three Little Pigs, retold by him in the 1930s, which gained immense popularity among us, was published in 1968 in an English translation by S. Mikhalkov.
Creativity S. Mikhalkov has long been known throughout the world, translated into many languages. He has been awarded many orders and awards, domestic and foreign, but the main award is the nationwide recognition that he deserved thanks to his talent and love for people.
