In folk tales that are not adapted for children's reading (and our textbook contains just similar texts from the collection of A.N. Afanasyev), there are always many words and fixed expressions that are unfamiliar not only to young children, but also to adults, because they either call subjects folk life, long out of use, i.e. are historicisms, either turned out to be ousted in other words and turned into archaisms, either are dialectisms, reflecting the dialect of the area in which the tale was recorded. In addition, these texts reflect the peculiarities of the pronunciation of words by the narrator, which often do not coincide with the modern orthoepic norm.

Therefore, after reading the tale, it is necessary to refer to the dictionary of V.I. Dahl, in order to find out the meaning of the unknown, incomprehensible words and correctly place the emphasis in them.

When getting acquainted with the fairy tale "The Fox and the Crane", children may have difficulties in understanding the following words and fixed expressions: poured, homeland, cook, okroshka, sipped a lot, blame it, regale.

Homeland - christening.

To think - become godfathers at christenings. In everyday life, blood parents called godparents godparents - godfather and godfather. Spiritual kinship turned out to be related and godparents parents (Quoted from: Folk Russian Tales by A.N. Afanasyev. - L., 1983. - P. 27).

Cooking - preparing food.

Regale - treat. In the literary language, the present tense forms of this verb are formed from the stem nomчyj- (treat, treat). The form regards- dialectal or vernacular, it characterizes the speech of the storyteller.

Okroshka- a stew of kvass, into which vegetables are crumbled, filled with sour cream.

It is better to make a verbal commentary during reading, including it in the main text: otherwise, children may not remember the meanings of words, not pay attention to the commentary.

Meaning of the word cooked clear from the context, therefore, there is no need for a replacement or a comment during the narration. You can ask children about it after listening, enter this word into their vocabulary. You can also work with the word regale(treat), also gone from the active vocabulary.

Like all fairy tales about animals, "The Fox and the Crane" carries a huge humorous charge. The actions of animals are reminiscent of the actions of people, the reasons for the conflict are purely human: the fairy tale does not hide this, introducing elements of human life into the plot: christenings, feasts, visiting. The choice of characters from the very beginning causes bewilderment: it is difficult to believe in the friendship of a fox and a crane, but which does not happen in fairy tales!

The choice of characters is due to their external differences, and most importantly - the way they eat food. They are different - and this is the external source of the conflict. The hidden reasons, which the tale does not name, but shows, are that neither the crane nor the fox notice these differences, do not reckon with them, measure others by their own yardstick. Friendship requires the ability to take the position of another, to sacrifice your habits in order to please the other. This lesson (idea) is presented by the fairy tale, forcing the listener to first laugh at the absurd actions of the characters, and then think about their actions.

Let's select the plot elements.

Exposition- the first sentence and the second we added (comment to the word pokumit).

Tie- the third sentence (the fox's intention to invite the crane to visit).

Offers 4-15 - development of action, consisting of two mirrored parts: the visit of the crane to the fox and the visit of the fox to the crane. Each visit has its own culmination. The first climax - sentence 9 - a message that the fox has eaten all the porridge. And we are waiting for the denouement - the response of the crane, which is reported in sentence 10. The second part - sentences 11-15, culminating in sentence 14 and the denouement in the next sentence 15. The symmetry of the mirror composition emphasizes the only difference between the parts - this is the reaction of the fox, which the narrator specifically says: if the crane thanks and invites the fox to him, then the fox does not say words of gratitude, because it is very annoyed. We do not know about the internal reaction of the crane to what happened: the narrator only tells us what he said. Conversely, we do not know what the fox said, but we see her reaction. These two omissions give the fairy tale ambiguity, and the listener is given the opportunity to independently interpret as what the crane's true intentions were (to thank the fox, not a bit offended by her, forgiving her mistake; or, holding a grudge, to teach the fox a lesson, to repay her with the same coin; or not take offense, but laugh at the cunning fox, putting her in the same stupid position, etc.). Depending on the chosen interpretation, we will voice the words of the crane and the subsequent text with different intonation, because the narrator knows in advance about the hero's intentions and reveals them to the listener with his intonation.

The denouement of the whole tale - sentences 16–17. In the first of them, in a proverb, the author's assessment of the incident sounds, and in the last - the actual denouement. Thus, the circle is closed: the tale begins with a message about the beginning of friendship, and ends with a message about its termination. Of course, the narrator does not expect anything else and, telling a fairy tale, all the time leads the listener to the fact that nothing will come of this friendship. But who is to blame for this - only the fox or both heroes together - each storyteller can convey in his own way.

The storyteller's knowledge of the ending, the position of the bearer of truth are reflected in intonation. Presenting a fairy tale to listeners, the storyteller must always transform into a fox, then a crane, or an outside observer. He can help himself with gestures, facial expressions, which will enhance the comic of the situation.

The narrator laughs at his characters, at their shortsightedness, narrowness of their views. Mocking the characters does not lead to hostility, but invites the listener to evaluate the described events and actions for himself.

The speech of the narrator of any folk tale is distinguished by a special melody, which is dictated by a certain rhythm of the text, but lively colloquial intonations, humor do not allow reading the tale in a chant, requiring, first of all, changes in the tempo of the rhythm - a complex rhythmic pattern of speech.

Legend:

/ - syntagmatic pauses;

// - longer pauses between syntagmas or between semantic parts of a sentence;

/// - pauses between sentences;

| - intonation (imaginary) pauses;

\ - psychological pauses;

word in italics - syntagmatic stress;

a word in bold italics - phrasal stress;

a word in bold italic and underlined is logical stress.

Let us remind you that any text allows for different interpretations, and therefore, a different arrangement of stress. So, in the very first sentence, the question awaits us: what word should be selected in the first syntagma: fox, with a crane, made friends! It would seem that according to the rules, a verb should be distinguished, especially since the next syntagma contains a homogeneous predicate thought about it. But after all, the meaning of the sentence can be understood in such a way that something incredible happened: it was not a fox and a fox that made friends, not even a fox with a wolf, but a fox with a crane, i.e. a predator with a potential prey. However, we will immediately make a reservation that for this tale the predator-prey opposition is insignificant, it is important not that usually the fox will simply devour the crane when it meets (if it catches it), but that they are completely different creatures - in their way of life, in their behavior and in eating food ... And if we single out one of the nouns, then we will immediately distort the meaning of the tale. Therefore, the most preferable would be a neutral option with an emphasis on homogeneous predicates in two syntagmas. Naturally, the phrasal stress will fall on the second of them: it is strengthened by the particle even.

The second sentence is inserted by us as a commentary on the verb thought about it. And it must be pronounced with an explanatory intonation: a little quieter and a little faster than the first sentence.

1. Fox with a crane made friends, / even poured with him in someone's homeland, / that is, on christening. /// 2. They were with a cranegodparents. Ill

We pronounce the third sentence, creating the effect of surprise, making for this a psychological pause before the word treat highlighting verbs; an intonation pause will allow you to select two verbs in the next semantic part - went and call for, and put the phrasal stress on the word to visit. It is followed by direct speech, which means that the part ends with a raise of the voice. Next, you need to change the timbre of the voice, raise its tone and speak for the fox, conveying its intonation. Apparently the fox had no malice. Therefore, one should not invest cunning in her words - on the contrary, we will pronounce them sincerely. The energy of the phrase increases, therefore, the second come pronounce it with greater sonority than the first, and put the main emphasis on the exclamation word how.

The pause between the fourth and fifth sentences should not be long, since the action takes place simultaneously: while the crane is walking, the fox is cooking. The fifth sentence clearly emphasizes the words porridge(rule new) and verb smeared emphasizing in advance precisely that the crane will not be able to eat porridge, unlike the fox. In this word - the author's mockery, before the union and will be an effective psychological pause. In the sixth sentence, the author's speech is separated from the words of the fox by a pause. In the author's speech, we focus on the second verb, and in the words of the fox - on the verb in the imperative mood eat and on the pronoun itself. The seventh sentence consists of three syntagmas: in the first syntagma, the use of an interjection clap clap in the role of a predicate, it emphasizes, emphasizes its importance in the text, and in the second syntagma, ordinary verbs are repeated that call the same action, therefore they are not separated by a pause, but pronounced as one word - knocked, knocked(how clap clap). In the third syntagma, the emphasis is on the negative adverb nothing - this is the meaning of the whole phrase. The whole sentence is pronounced with an accelerating tempo, which conveys some excitement of the crane, its attempts to taste at least a drop of porridge. The sympathy of the narrator should also be heard in it. But the next sentence is intonationally opposite, sympathy is replaced by irony in it - a hidden condemnation of the hostess, who was so carried away by food that she did not bother to look at the guest. Stressing verbs that indicate how the characters eat food allow the listener to imagine the event. The pause after the eighth sentence lasts a long time, turns into a psychological one, creating the effect of expectation: how will the fox and the crane behave?

3. So thought of once a fox || treat crane, // go \ call him / to himself in guests:// “Come, kumanek, / come, expensive! /// I'm how I'll treat you! " /// 4. Goes crane / on the called feast. /// 5. And the fox boiled manna porridge\ and smeared on a plate. /// 6. Filed and regards: // “Eat, my darling-kumanek! /// Itself cooked up ”. /// 7. Crane clap clap nose, / knocked, knocked, //nothing misses! /// 8.A fox at that time / licks myself yes licks porridge, // so all / herself and ate. /// \

The ninth sentence consists of three semantic parts: the words of the narrator, announcing the end of the feast, then introducing the words of the fox, which must now be able to assess the situation, and the words of the fox itself. There is a significant pause between the first and second syntagmas - the time to evaluate (semicolon!). The second syntagma is pronounced quickly and quieter - this is the background; After all, the main thing is what the fox will say: the further course of events depends on this! What does the fox put into his words, what does she feel at this moment? First, she is happy because she is full, because the porridge was delicious. She didn't pay any attention to the crane! Therefore, she had no idea that he remained hungry. She, as a hospitable hostess, apologizes for the fact that the meal is over, and not for eating everything alone (only the narrator, the listeners and the crane know about this). You need to pronounce the words of a fox with a feeling of a full belly and a desire to be an amiable mistress. The answer of the crane is the reaction of a well-mannered guest who does not allow himself to make a remark to the hostess, to open her eyes to an oversight.

And this is his main mistake: maybe the fox would have come to his senses if the crane had given her at least some sign that he could not eat as the fox itself eats! After all, the fox (apparently) does not know about the way of feeding its long-billed guest! However, false modesty leads to the fact that the fox remains completely confident in his impeccable behavior, and therefore, by the way, counts on a similar reception. Last phrase crane can be read in different ways (options are given in brackets): in the first one sounds hidden threat, in the second it is even more veiled, and the third sounds neutral, without hidden meaning.

9. Porridge eaten;// fox is talking: //"Not judge me wrong dear godfather! /// More food nothing. " /// 10. - “Thank you, godfather, and for this! ///Come to my place. (Come to to me to visit. Come to me in guests.)" ///

Crane behavior is nothing better behavior foxes - regardless of whether he had some kind of intent or he sincerely wanted to thank the fox at least for her intention to treat him. (We emphasize that heroes are friends! And in friendship it is no less ugly to act with friends as the crane does. saw the fox eat, and could take this into account if I just wanted to thank her. So, either he is stupid, or there is intent in his behavior.) One way or another, he completely repeats the actions of the fox. And the narrator, seeing and understanding this, clearly ceases to sympathize with the crane: he is no better than a fox, he also does not know how to be friends. But in the center of the narrator's attention is still the fox: he describes her attempts to get food in some detail, clearly mocking the heroine who has fallen into an absurd situation. The fox does not cause sympathy for a second - the proverb says about this. But the tale does not end with the verdict of the fox - there is also a deeper message about friendship in its subtext: it allows us to draw the conclusions already cited.

11. The next day / comes fox, // and cooked the crane okroshka -II (I crumbled cucumbers and onions into kvass), // - put in a jug with a small neck, / set on the table and is talking:// “Eat, gossip! /// Right, more nothing regale ”. /// 12. The fox started spinning around jug,// and So will enter / and that way, // and licks him and sniff something, // all nothing will not get it! /// 13. Not climbs head into a jug, // and the crane meanwhile bite myself yes bites, / while I ate everything. /// 14. “Well, / not judge me wrong godfather! /// More / treat nothing. " /// 15. Took a fox annoyance,// thought // what eat up| for a whole week,/ a home went / how unsalonely slurp. /// 16. How backfired, // so and responded \ /// 17.Since then and friendship a fox with a crane / apart. II /

Tasks

1. Prepare for an expressive reading of The Crane and Heron.

2. Select a folk tale and carry out a literary and performing analysis of it. Practice at home and practice it in class.

It will be very difficult to find a person who does not hear (even out of the corner of his ear), as narrated by The Tale of the Fisherman and the Fish. After all, almost everyone gets to know her as a child. When parents, grandmother or grandfather read this work of Alexander Sergeevich Pushkin to their beloved child at night, so that he fell asleep as soon as possible.

But do you correctly understand the plot of this fairy tale, do you correctly interpret its moral? The analysis of "The Tale of the Fisherman and the Fish" will help to deal with this.

The author of the work

Of course, the analysis of "The Tale of the Fisherman and the Fish" cannot be started without mentioning the author of this work, which is Alexander Sergeevich Pushkin, a very popular Russian writer and poet. His work is equally loved by both adults and children. He has many fairy tales and children's stories, but there are no less serious (designed for an adult audience) works.

Only one "Eugene Onegin" - his legendary novel in verse is worth something! After all, this story has been translated into many languages ​​of the world. And two love letters from Tatiana to Onegin and his answer to the girl are considered one of the most romantic and tragic confessions in the world.

Pushkin was born in 1789 on June 6th. And he died in 1837, on February 10. The death of a literary genius happened as a result of an unsuccessful duel, where Alexander Sergeevich was wounded - fatally for that time.

For a short (by modern standards) life, Pushkin wrote countless poems, stories, articles, reflections, as well as many major works that still resonate in the hearts of people.

History of creation

From childhood, the literary genius showed love for Russian folk art. This was especially facilitated by the famous nanny of Pushkin - Arina Rodionovna. She told her ward fairy tales, and he, like any other child, listened to them with a special trepidation in his eyes, which is, perhaps, only in clever children.

When Alexander Sergeevich grew up, he began to independently study Russian folklore. Many researchers, Pushkin scholars believe that it was during this period that the writer had the first sketches of future fairy tales. And some time later, around the 30s of the XIX century, Pushkin began to write fairy tales known to us now.

The first of them were the works "The Tale of the Fisherman and the Fish" (the analysis of which is presented before you), as well as the fairy tales "About the Pope and his worker Balda" and "About the Golden Cockerel", etc.

The plot of the tale

When writing the tale of the Golden Fish, Pushkin set himself the task of showing the nationality of Russian literature. Therefore, this work is not only light baby reading with morality at the end. This is an example of everyday life, traditions of great Russia of those times, a demonstration of what then ordinary peasants believed in and how they lived.

However, the analysis of "The Tale of the Fisherman and the Fish" will help you understand and understand that in fact the plot of this work is not based on Russian folklore. After all, the German brothers Grimm have "The Tale of the Fisherman and His Wife", which in its content is very similar to the Russian creation of Pushkin.

But the work of Alexander Sergeevich was published in 1833, and the fairy tale of the brothers Grimm was presented to the readers' judgment in 1812.

Why Pushkin's fairy tale is more suitable for a children's audience

It's no secret that the original works of the Brothers Grimm are designed more for an adult audience. This perfectly proves the original content of the fairy tale about Little Red Riding Hood, which has not yet been adapted for children. After all, it is clearly erotic in nature! It is completely unreasonable to read such reading to a kid at night or at any other time, and therefore many of the stories of the Brothers Grimm have been redone to suit the age category of readers.

Therefore, "The Tale of the Fisherman and His Wife" will not be as interesting to children as the usual plot "The Tale of the Fisherman and the Fish" (the psychological analysis of which is presented in the article).

The similarity of the fairy tale of Pushkin and the brothers Grimm

The fairy tale of the Brothers Grimm begins almost the same way, only the fisherman is not catching the Golden Fish, but the magic flounder. And it is from her that he asks chic house, a wonderful castle, after which the grumpy wife (according to the usual scenario) begins to demand that the fish make her a queen, and then an empress (in Pushkin's fairy tale - "The Lady of the Sea").

Until this moment, everything seems to be familiar and similar, but further events (and the demands of the restless fisherman's wife continue, unlike Pushkin's interpretation) develop somewhat unexpectedly.

The fundamental difference between the two tales

After a while, the newly-made empress in the fairy tale of the Brothers Grimm ceases to be satisfied with a new role. And she demands that the fish make her the Pope. Goldfish agrees to this too.

But this status also pleases the fisherman's insatiable wife for a very short time. Finally, she makes her final demand, expressing her desire to become God.

General ending and moral

The fish's patience reaches the limit, and it returns everything to square one. And before us is again a familiar picture: a beggar fisherman with his insatiable wife sitting in a broken hut and regretting the past.

This work as well as "The Tale of the Fisherman and the Fish" (an analysis of Pushkin's work is given in this article) ends with morality. The main idea of ​​both tales is how important it is to learn to be content with what you have and not to demand too much.

main characters

Further analysis of the literary "Tale of the Fisherman and the Fish" is impossible without researching the direct participants in the story. There are three of them in this tale:

• old man;
• old woman;
• Gold fish.

There seem to be few main characters. However, this does not interfere at all, but even, on the contrary, contributes to a better disclosure and subsequent memorization of the plot and its instructive thought.

Many researchers believe that the opposite images of an old man and an old woman embody a single person. Only the old man is his spirit, and the old woman is his body.

Religious subtext of the tale

Remember how many years Jesus Christ lived on earth? How long did you live "An old man with his old woman by the very blue sea"?

"Exactly thirty years and three years"... What is this magical length of time? And why did Pushkin choose exactly such a figure for his plot about the Golden Fish?

Lord went through like this life path, which prepared him for a special outcome. The artistic analysis"Tales of the Fisherman and the Fish" shows that this is why the old man lived for so many years before he first met a fish. After all, this meeting is a kind of test that determines the further development of the old man's life.

Old man image

Based on the name of the tale, the old man is its protagonist. In addition, the narrative of this work also begins with this character. Therefore, the analysis of "The Tale of the Fisherman and the Fish" should investigate him as the first of all the characters.

Religious teachings often reiterate about the triumph of the spirit over the flesh. Perhaps that is why an old man who has caught a goldfish is given a choice: eat it or let it go. Thus, choose between the needs of the body and the triumph of the spirit (spiritual development). And the old man makes the right choice.

In addition, he lets go of the fish just like that, without asking for anything in return. It also demonstrates that the spirit of the old man is growing stronger.

The image of an old woman

The next figure to be touched upon by the psychological analysis of The Tale of the Fisherman and the Fish is the old woman.

As you remember, after the old man caught and released the fish again, he returns home. Where the spirit (old man) meets his body (old woman). Figuratively, this means that the mind fades into the background, giving way to emotions, for which urgent problems are of great importance. And then the process of rethinking what happened begins, on the basis of which desires and requirements arise.

Triumph of the flesh over the body

Further literary analysis of "The Tale of the Fisherman and the Fish" shows that the old woman (emotions, body) completely suppressed the old man (mind, spirit). That is why he meekly runs to the fish, asking to fulfill all the desires and demands of his restless wife. And the fish, which in this fairy tale personifies a higher power, ready to come to the rescue or give what it deserves, does whatever the old woman asks for.

Many researchers believe that in this way she continues to test the old man. Allows the spirit to think better and resist the desires of the body. But the old man does not even think about objecting even a word to the old woman's demands.

This lasts as long as the desires of the body (the old woman) relate exclusively to material wealth. When they move on to the spiritual sphere of life - the old woman wants the Golden Fish to make her the "Lady of the Sea" (for Pushkin) or God (for the Brothers Grimm), the tests of the spirit (of the old man) stop. And he again returns to the beginning of his path.

Brief analysis of "Tales of the Fisherman and the Fish"

The most important thing that should be taken from the result of any human activity (it is not so important what it is: a work, film, music, painting, study, raising children, etc.) is its meaning.

Therefore, a brief analysis of the fairy tale analyzed in this article should relate directly to the meaning of this work, the influence that it had on people.

So, in the article it was already mentioned that Pushkin wrote his works mainly for an adult audience. However, the kids immediately fell in love with the fairy tales that came from the pen of Alexander Sergeevich. Although they understand them in their own way, in a childish way.

Analysis of "The Tale of the Fisherman and the Fish" shows that the morality that one sees younger generation readers, is that each person:

You shouldn't be greedy.

It is important to enjoy what you have.

Thank fate for her gifts.

To achieve everything on their own, because the received gift can be taken away at any time.

And adults, if they ponder a little about the content of the fairy tale analyzed in this article, will see that its true meaning is much greater:

The example of an old man, who personifies the spirit of a person, and an old woman - a body, forms an important idea that people should live not only with feelings, emotions and desires, but also with reason.

Unquestioning indulgence (behavior of the old man - spirit, mind) to his own egoism (old woman - body, emotions), which is clearly demonstrated in this tale, has a destructive effect on a person.

A person should have priority in terms of his spirit, because only spiritual riches really mean something in the world. Material goods are secondary, in most cases they are not able to make people happy. And their loss can literally leave a person at a broken trough.

The analysis carried out in the article clearly proves how important it is to read Russian fairy tales. After all, they are a real treasure of wisdom!

LITERATURE OF THE COSSACK CLUB SKARB

BRIEF ANALYSIS OF FAIRY TALES

(analysis examples)

Ryaba chicken

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

By magic

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

Teremok

In a fairy tale, completely different animals ask to live in the house. According to a folk tale, a teremok is a horse's head. Animals: mouse Noryshka - an underground inhabitant; frog Kvakushka - an inhabitant of the underwater world; hare - "on the mountain a twist" associated with the burrow, the lower world, but also with the mountains; fox - "poskokish everywhere" - a symbol of cunning; wolf - "because of the bushes, a snatch." However, the bear - "I'm crushing everyone!" the cult ancestor of the Slavs and the tale itself indicates that not everything is compatible in one house.

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

Gingerbread man

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

Morozko

The tale is characterized by an episode of the triple test of Alyonushka Morozka. In folklore, three frosts are known: frost Red nose - cheering, reddening of the skin, frost Blue nose - the beginning of frostbite, blue skin, frost White or Bone nose - frostbite and death. Accordingly, they correlate with the upper heavenly, earthly middle and lower dead worlds. Alyonushka passes all three tests and does not grumble, to the question "Are you warm to a girl?", Answers: "Frost is warm." Having passed the ritual death, she receives a reward: a dowry and a handsome groom. Her sister, who did not stand the test of endurance and patience, is punished. The meaning of the tale is in the need to endure all types of trials, up to mortal danger, and a reward will follow.

Turnip

In a fairy tale, the turnip itself can be understood either as the world or as a complex and important task for life. If the grandfather and the woman are perceived as ancestors, then together with the granddaughter it is a change of generations, their connection, human society. society itself can be perceived as a kind of horizontal. The animals participating in the process of pulling out the turnip: the dog Bug, Cat, Mouse often correlated with the three-membered division of the world. The upper world is a dog or a wolf, like the companions of the heavenly gods. Note that in the peasant environment, the wolf until the 19th century. was considered as the dog of St. George, which he sends as punishment to sinners. The cat is connected with the earthly world and even the house, and the mouse, like a burrowing animal with the underground. The idea of ​​\ u200b \ u200bthe tale is that in the unity of generations and turning to all the forces of the world, heavenly, earthly and underground, you can perform any, even an impossible task. Strength is in unity. In this case, such unity is perhaps personified by the cross, which was a sacred symbol among many peoples, long before the adoption of Christianity.

The Little Humpbacked Horse

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

Sword Infant.

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

Ivan Tsarevich and the Grey Wolf.

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

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

Sister Alyonushka and brother Ivanushka.

(content analysis)

Consider the tale of sister Alyonushka and her brother Ivanushka based on a comparative analysis with myths and legends of various Indo-European peoples. The tale begins: "Once upon a time there was a tsar and a tsarina; they had a son and a daughter. The son's name was Ivanushka, and the daughter was Alyonushka. The tsar and the queen died; the children were left alone and went to wander around the world." Why did the parents die overnight? This is not said. War, pestilence, illness - not mentioned. The children themselves are safe and sound. It is completely incomprehensible who allowed the children to walk alone around the world, especially since they are royal children. Even stray and thrown children were not abandoned, they were raised and cared for. Somehow all this is mentioned in passing, the tsar's children with empty hands, wandering somewhere alone. If they ran away from their enemies, why aren't they caught? The legitimate heirs of the king, for any invader - a tasty prey. It is not clear what in the white world they are the only one to do? Didn't the family have a single friend or comrade-in-arms for the tsar?

And it was, apparently, so. Kings were elected from different tribes and peoples to rule. The tsar equated the success of the people and the fertility of the land. It was believed that if he did not have children, the lean years became more frequent, or the enemy raids overcame, the king and queen, as carriers of failure, could be sacrificed to those gods whom they angered, in the opinion of the priests and the people. In the Novgorod epic "Sadko", Sadko himself, as the leader of the merchants, was the first to be thrown as a sacrifice to the Sea Tsar during a storm. It is he who is suitable, as the most expensive and valuable of what a clan, tribe, kingdom, a caravan of merchants can give to the gods, in the name of general well-being.

Since ancient times, there has been a custom in Russia - to kill, and at a later time - to expel princes who are not pleasing to the gods, "tsars" in Russian fairy tales. Let us remember that even Alexander Nevsky was expelled from Novgorod several times by the Novgorod People's Assembly, Veche, in spite of his previous merits. So, the only any intelligible explanation of the wanderings of the tsar's children - Alyonushka and Ivanushka, across the "white world", will be that their parents - the tsar and the tsarina, for their sins or for an unfortunate, unfortunate government for the people, were sacrificed to the gods, and children, as blood carriers of failure, were simply expelled. Have pity on them. By the way, not everyone agreed with such pity.

Let's list the possible transgressions of parents:

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

2) An insult to the underground, underwater, chthonic gods. The goat was dedicated to them.

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

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

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

Among these animals, it was the goat that was the atoning sacrifice to the underground gods and at the same time a guide to the underworld. The horse could be a guide, but just like the bull it is related to solar symbolism. Sheep and rams are frequent sacrifices to ancestral spirits, but not to chthonic gods.

Note that Ivanushka, in most of the texts, wanted to drink water from a hoof. "They still walked, walked, the cow's hoof is standing." Sister, sister, I want to drink! "-" No, don't drink, you will be a bull ", or" Walking, walking, there is a sheep's hoof ... "etc. Another option: "We walked, walked - the sun is high, the well is far away, the heat pesters, the sweat comes out! There is a cow's hoof full of water. "The question arises, why is it said about a hoof? In ancient magical representations, including Slavic, it is known that the footprint of an animal helps the transformation of a werewolf into this animal. magic rituals for exposure to humans or animals. For example, to pierce the sorcerer's trail with a nail meant to pierce his legs. Throwing a stone at the reflection or image of a person will harm the person. Signs associated with a mirror, a carrier of reflection, have ancient magical roots. Broken mirror to grief or death. According to old beliefs: the soul of the person looking into him, in part, is in the reflection of the mirror, and therefore suffers damage when this mirror is broken. They still hang the mirrors when a deceased is lying in the house, so that his reflection and he himself through this reflection do not harm living relatives, do not take their souls with him to the afterlife. In the oldest Neolithic caves, images of animals with traces of ritual influence have been found. Maiming or hitting an image is a blow to its prototype. Our ancestors believed that the footprint is an important part of a person or an animal. This is his manifestation in the world, the most obvious interaction with him. A living being interacting with something, especially with the mother of everything - the Earth, opens up, and therefore, it is easiest to influence him through a trace, a shadow, a reflection in the water. Modern conspiracies in the photograph are of the same order. Many peoples still believe that when photographing, the photographer takes their soul. In the animal kingdom, for example, in a herd of zebras, antelopes, etc. , if the male wants to show his superiority and challenge the leader of the herd to a duel, he urinates on the trail of the leader's hoof. Even our domestic cats, when they are not happy with the owner and want to show their dominance in the house, shit on the bed or favorite place rest of the one they want to "put in place".

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

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

Consider what happens according to the plot of the fairy tale, after Ivanushka turns into a kid. Quite unexpectedly, Alyonushka and Ivanushka are met by "one tsar". In a number of variants, the kid himself leads Alyonushka to the Tsar's garden. This is a very interesting point. Before Ivanushka turned into a goat, he did not know where they were going and why, but then he immediately brought his sister to the palace. I think it was no coincidence that he came there, and the qualities of a guide with him somehow immediately manifested themselves. Let us recall the qualities of the goat as a guide, including to the kingdom of death. He led to death, both himself and his sister. The tragedy of the situation is emphasized by the presence of the sea near the palace, which, in popular beliefs, has always been associated with the world of death and the chthonic gods.

In a fairy tale, about this new feature Ivanushki, they simply say: "The little goat ran, ran and ran into the garden once to a king." In some versions, it is said about a passing master, but these are obviously late versions. For example, in the Lithuanian fairy tale, an analogue of the Russian "Orphan Elinite and Yonukas - the lamb", it also says: "Towards evening they came to the royal palace. ".

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

Consider the Lithuanian version of this tale. The Lithuanian version is older than the barin version, but it is also secondary. In it, the narrator constantly tries to explain many of the dark places found in the Russian fairy tale. For example, it is not the outdated concept of "hoof" that is used, but the phrase: footprint from a hoof. If in the Russian version one can only guess about the motive of the witch drowning Alyonushka, then the Lithuanian fairy tale directly says: "And the witch lived nearby. She was so afraid that the king would marry her. She envied Elenite and decided to destroy her." A difficult moment in a Russian fairy tale, when the dead Alyonushka talks to her brother, and her body is eaten by fish and snakes, in the Lithuanian version sounds simplistic: "But Elenite did not drown, but turned into a goldfish." Here one can feel the influence of the Karelian - Finnish epic. In one of the songs of "Kalevala", it is said about the beautiful Aina, who does not want to marry an old man, she drowns, but does not die, but turns into a goldfish. The idea of ​​the transformation of drowned women into fish was common among the Finns, Karelians and Lithuanians, the Slavs believed that drowned women turn into a kind of mermaid. The Lithuanian listener could understand Alyonushka's shape-shifting into a fish and vice versa more than the speech of a drowned woman:

1) "Ivanushka - brother! The fierce snake sucked the heart!"

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

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

heart has sucked, silk grass has tangled legs ".

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

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

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

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

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

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

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

"The greater son of this prince of Sloven - Volkhov, the devilish and sorcerer, fierce in people then by demonic tricks and dreams, creating and transforming into the image of a fierce beast of a cork-maker and lying in that river Volkhov the waterway. " - we read it in the chronicle.

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

It is important for us that Volkh, who has the father of a fierce serpent (Veles or Lizard), has the ability of a werewolf. Werewolves have always belonged to chthonic forces, Veles himself had the ability to shape-shift. This follows, at least from his many hypostases, including in the image of a person. The name Volkh Vseslavovich connects the hero of the epic, too, with a werewolf - the son of Prince Slovenian korkodail-Volkh, whom Rybakov associates with the Lizard of the Volkhov River.

It is interesting that at the birth of Volkh Vseslavievich from the epic of the same name, natural disasters occur. So it should be at the birth of the son of the god Veles or his hypostasis. It is interesting that the influence of the birth of Volkh occurs on the moon - the antithesis of the sun, on the blue sea and on the wobbling of the earth, that is, on those natural objects to which the chthonic serpent Volos is directly related. Animals and birds, in which the Volkh is capable of transforming, are clearly of a solar nature. The tour was attributed to Veles after the adoption of Christianity in Russia. Falcon (remember the tale "Finist clear falcon"), the wolf, the tour in which Volkh Vseslavich turned, indicate the sunny, good side of Veles. He is on this earth to fertilize it. his squad, and then distributes gold. ”The kindness of Volkh-Veles is somewhat bloody and peculiar, but at that cruel time it was the norm.

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

According to the most ancient ideas, Veles could be represented in the form of a snake. The Novgorod chthonic, snake-like Yasha-Lizard could be the hypostasis of the same Veles. The lizard was sacrificed, "given as wives" - girls, as BA Rybakov points out in "The Paganism of Ancient Rus". But they threw Alyonushka into the water not to the wife of the chthonic god. Alyonushka, being married, lost her virginity and therefore was not suitable for a wife to God. They drowned her to remove the tribe's curse for violating tribal laws and for political reasons. The repeated phrase of Alyonushka: "Luta the snake sucked the heart" - indicates that she was sacrificed to the snake-like Veles, or to another similar character. It is the heart, as the bearer of a person's soul, his strength, that pleases God. Let us recall the bloody rituals of the Maya Indians with the ripping out of the victim's heart.

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

"Alyonushka, my sister! Swim out onto the shore: The flammable fires are burning, The boiling boilers are boiling, The knives are sharpening damask, They want to stab me!"

"Across the river for the fast. The forests are dense, Great fires burn, There are benches around the lights, Oak benches are standing, On those benches are good fellows, Good fellows, red girls. Damask knife. The boiler is boiling with fuel, Near the boiler there is a goat - They want to slaughter a goat ... "

Academician B. Rybakov writes in The Paganism of Ancient Rus: “... the Slavic Lizard, who married a drowned girl, corresponds to Hades, the god of the underworld, the spouse of Persephone. all underground - submarine forces promoting fertility, that is, Lizard, Hades, Poseidon. " Rybakov B.A. further assumes that Alyonushka is Kupala. "Alyonushka is Kupala herself, a victim doomed to become“ in water drowned. " Drowning was extremely rare. What ritual murder can be if, as during the "Shemyakin's trial", a pike was thrown into the water? The mistake, apparently, occurred for the following reason: according to the common European custom, evil witches were thrown into the water. at night rampant evil spirits and various sorcerers and witches. They were afraid. Apparently, therefore, in order to protect themselves, women who fell under suspicion of black witchcraft were drowned that night. Over time, when such arbitrariness began to persecute Xia and punished by the state, this custom was gradually mixed with the ritual of the ritual burning of Morena. We talked about the holiday of Kolyada. In that winter holiday the mask of a goat was obligatory, they baked special cookies - roe deer and handed out to the caroling youth. In addition to the previously cited song, they sang:

"Seto, seto for the new summer! Where the horse's tail is, There is a bush. Where is the goat's horn, There is a haystack" ... or: "The goat jumped Along the block, over the block. ...

The rite of burning Badnyak was associated with Kalyada. This happened most often among the southern Slavs. In "Myths of the peoples of the world" we read: "Badnyak is associated (according to etymological studies) with the image of a snake at the roots of a tree. cycle, guarantees fertility, etc. " We see that at the holiday of Kolyada, both the chthonic world and the snake are present, as well as the connection with the goat symbolism and the sacrifice of the goat. In the case of our tale, there is also a chthonic world in the form of a sea in which Alyonushka is drowned. Alyonushka's phrase: "The fierce snake sucked the heart" indicates the presence of a snake, the sacrifice of Ivanushka the goat, again corresponds to the Kalyada holiday.

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

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

Fraser in the "Golden Branch" indicates that the sacrifice of the god of fertility in order to rejuvenate him and increase his strength was widespread. "Golden branch" p. 541.: "Participants of Roman and Slavic rites treated the representative of God not only as a deity of vegetation, but also as a redeemer for other people's sins. cities or villages of the god of vegetation as such. It is another matter if this god is also a "scapegoat" ", then p. 543." If the harvest, for example, deceived the expectation of the farmer, the failure could be attributed to the decline of the productive capacity of the god, One could get the impression that he had fallen under the influence of witchcraft or that he was old and decrepit. Therefore, God in the person of his representative with all the proper pomp was put to death, so that, having revived again, he was able to pour the energy of his youth into the sluggish course of natural processes . "

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

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

"Sit Lizard under the feast, On a walnut bush, Where is a nut lusna ... (I want to Zhanisya) - Take yourself a girl, Which you want ..."

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

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

We believe that, precisely, Veles was supposed to dedicate the sacrifice of the goat - Ivanushka. The drowning and revival of Alyonushka reminds, but in a more cruel, archaic form, the myth of Proserpine and Hades. Here Veles-Serpent is the master of the underworld, Alyonushka is a victim to him. The rescue of Alyonushka and the goat Ivanushka is Perun's victory over Veles. This is the victory of the patriarchy over matriarchy, the tsarist-princely mode of government over the female - priestly. Goat - Ivanushka, for most of the versions of the tale, remains a goat. He, as it were, is already serving Perun as a guide to the kingdom of Veles. In the kingdom of underground forces, through his chthonic weapons, Perun can win, overthrow Veles. The murder or banishment of the witch-priestess is the apotheosis, the triumph of the tale.

In a fairy tale, the witch personifies old life, she replaces the young queen Alyonushka. The goat is associated with the ancient ancestral Slavic god Veles, who is directly related to the cult of ancestors. In the tale, there is a partial rejection of this cult, and instead appears new system reign, where a young queen comes to replace the witch, the guardian of ancient ancestral traditions. Partial separation from ancestral covenants is also connected with the fact that at the beginning of the tale it is said that the parents of Ivanushka and Alyonushka died, therefore, they have to build their own lives.

In this article, we wanted to show archaism and mythology, hidden in an ordinary, well-known fairy tale. We still have to study all the wealth of our folklore and the symbolism hidden behind it.

WEAPONS OF THE THUNDERSTANDERS AND THEIR GUIDES

Let's list the types of weapons of Indo-European thunderbolts. These are: the hammer of the Germanic Thor, the perun of Zeus, the perun of the Slavic Perun and the Lithuanian Perkunas, the Vajra of the Indian Indra.

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

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

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

Consider one of the most important premythological magical concepts that still exists today: like is destroyed by like. All sympathetic and love magic to this day is based on this principle. It can be an effect on an image or a photograph, or any other image of a person, an effect on a part of the body: hair, nails, sweat, blood, semen, an effect on a person's belongings: his things, his trace.

If stones were thought to be part of the earth, i.e. with her bones and veins, and the chthonic gods always opposed Heaven, then weapons were used against them of chthonic origin. The action takes place according to the proverb: "The wedge is knocked out with a wedge." Until now, there are beliefs that the unclean, chthonic force can be destroyed with a special weapon.

1) Volkodlak or werewolf - with a silver bullet. Silver is the metal of the Moon, and wolf lags are wolf people, and indeed werewolves in general, have always associated with the Moon, especially the full moon.

2) Ghouls and ghouls, according to legend, can be killed with an aspen stake. Ghouls and ghouls damned during life (pledged) souls. Aspen, also a cursed tree. In Lithuanian folk tradition"Spruce queen of snakes" says that Eli's daughter - Aspen betrayed her mother and father, caused their death. After death, the girl Aspen turned into an aspen tree. In the Christian tradition, it is believed that Judas hanged himself on an aspen after the betrayal of Jesus Christ. In the encyclopedic dictionary "Slavic mythology" ed. "Ellis Lack" M. 1995 says: "Etymological myths connect the" shaking "of the aspen with the curse of God imposed on the aspen for the fact that the cross was made from it, on which Christ was crucified, the nails with which he was nailed to the cross, and also the "knitting needles" which Christ's tormentors drove under his nails. " In some places among the Eastern Slavs, aspen was also considered a "devil's tree", cf. the characteristic Hutsul name for the trait is "Osinovets". In places where aspen grows, according to popular beliefs, devils "wind."

3) Koshchei the Immortal can only be killed by breaking a needle or bone. The destruction of a needle or bone - the likeness of Koshchei, leads to his death.

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

5) All popular conspiracies are built on the phrase: "As that toto does, so let it be."

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

The folk etymology of the word "Perun" is interesting. Single-root words: to focus (intent, piercing gaze), to pierce - to pierce, across - an onslaught, overwhelming, a feather - something sharp (a feather like a knife among criminals), flying, piercing the air. Words: before, forward - of the same root.

German Thor - has at the root of the name the meaning: punch - punch, round - bull, kick - drop sharply, torso (man) - brave, skillful, quick, resourceful.

Perun is a penetrating, piercing earthly firmament, in search of a chthonic enemy. The name of the God of the Scandinavians Thor, according to the same etymology, is to torment, trample, punch. That is why the weapon of the Greek Zeus is perun (piercing).

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

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

The sky itself, according to the ancient peoples, was made of stone, or on it are the stones of Perun, Ukko, Perkunas. This corresponds to the Indo-European mythologeme of the stone sky. Sometimes Lithuanian Perkunas himself is the creator of his weapons Akmeninis kalvis, "stone smith". This name clearly indicates the connection between the weapon of Perkunas and the stone, as in Perun and Ukko. The Finns and Karelians, both ethnically and culturally, mythological and other traditions, as well as historical references, are most likely a branch of Indo-European peoples, and not Fino-Ugric. The adoption of a foreign language, in this case, apparently, the language of the Sami, is a frequent case in the history of nations. Nowadays, entire peoples in South and Central America speak Spanish, but they remain Indians, American Negroes speak English while remaining Negroes. It is impossible to confuse the Fin and the Mongoloid Ob Ugric, but by their linguistic similarity they are referred to the same group of peoples.

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

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

Perkunas is called "stone blacksmith", his weapon is made of the stone of the bone of the earth, hence the power of Perkunas from the earth is chthonic.

2) Perun's main weapon is stones. According to the recollections of Europeans, in Novgorod the idol of Perun stood with a stone in his hand. Later weapons: ax, bow and arrows ("thunderbolts"). The stone hurts in the people is considered the arrow of Perun. The Polish historian Stryjkovsky (16th century), wrote that the idol-idol of Perun (Perkun) held a stone in his hand, and a sacred fire was constantly burning in front of him. In the annals it is written as follows: "Perkonos, si there is Perun, byashe they have the oldest god, the likeness of man is created, he also has a stone in his hands, valuable like a fire, and he never extinguishes fire from an oak tree." If the fire was extinguished, then a new flame was carved by the priests from the stone in the idol's hand. It is necessary to compare the description of the valuable, burning like fire stone in the hand of Perun, with the description of the Vajra of the ancient Indian god Indra below.

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

4) Scandinavian Sami, Scandinavian neighbors. The "thunderous old man" is the thunder god. Miniature stone hammers were sacrificed to him.

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

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

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

7) The thunderer of the Hittite and Hurite mythology Teshub. In the myth, the thunderbolt Teshub defeats the blind and deaf chthonic monster that threatens to destroy the world - Ulicumma. He cuts it off from the rock supporting the sky with the stone cutter with which the Earth was separated from Heaven. The chthonic origin of the weapon is obvious. It was still during Chaos, the mixing of the Earth and Heaven. Perhaps it was associated with the same frozen magma as a symbol of chaos and confusion.

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

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

Solid igneous rocks that emerge after an eruption to the surface are the most accessible and unique material for making weapons back in the Neolithic era. Only heroes could dare to hike for such a dangerous weapon located on the slopes of volcanoes. These heroes, in ancient times, through the acquired weapons and personal courage, could seize power in the tribes, become the first kings - princes. Episodes of such a seizure of power back in the Neolithic era, could serve as a pretext for the creation of some myths about the thunderbolt - the king and the hero. A weapon made from a piece of solidified lava was of a mystical-magical nature in its origin, besides this, it could "sparkle" interspersed with minerals and ores. The very appearance and origin of the weapon of the Neolithic hero could cause terror in his enemies, deprive them of their strength. Over time, this weapon became overgrown with legends, and in the end it passed to the heavenly thunderbolt, and the hero-ancestor himself could merge with him. For example, in Germanic mythology, the thunder god Thor is both a god and an ancestor of the Germans at the same time. Descriptions of weapons, such as clubs, stone hammers or clubs, indicate the neolithic time of the appearance of these myths about the weapons of the thunders. A club, club, stone ax or hammer were the most formidable weapons of ancient man.

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

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

2) The fire could be hewn out by the impact of stones, such as flints.

3) The sky was thought of as stone.

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

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

"Strong bones from stone,

Our bodies are from the damp earth,

Blood-ore from the black sea. "

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

The chthonic deities of the earth are responsible for the stones: Cyclops, Koschey of Russian fairy tales, the Slavic god Veles, gnomes, dwarfs, tsvirgi, later, as a collective, devils.

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

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

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

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

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

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

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

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

YARILA, DIONYSUS, FAVN, MANIA, GOAT

They often compare South Slavyansky Badnyak and Yarilu. Yarila is the god of vitality, sexual power - yari. Yarilu is incorrectly, under the influence of Ostrovsky's fairy tale "The Snow Maiden", is compared with the sun. Yarila bears a sign of strength and fertilization, but this fertilization is earthly, it is chthonic. It is no coincidence that one of Yarila's attributes is a dead head, an indisputable attribute of death. Yarilo, apparently, is a later Slavic modification of the Yascher, Veles, Badnyak. He is completely akin to the Asia Minor Dionysus. Dionysus is decorated with grape leaves from which wine is made. Yarilo is decorated with hop leaves, from which beer is made. Dionysus and Yarilo are worshiped noisily and cheerfully. Often the holidays dedicated to them turn into orgies. On holidays Yarilas kidnap girls. The same thing happened on the holidays of Dionysus. Dionysus is chthonic, in many ways corresponds to Veles. it is associated with fertility. Yarila is also associated with fertility, carries a dead head with him, which means he is associated with the world of death. Femininity, mixing of sex is present in the figure of Dionysus. Yarila was portrayed by a girl disguised as a young man, which may also indicate the bisexual character of the character. The chthonicity of Yarila emphasizes the fact that on his holidays it often came to murder and unbridled sexual orgies. The holidays of Dionysus did not differ from those of Yarila in this respect. The seasonal funeral of Yarila took place, which corresponds to the veneration of both Dionysus and Badnyak - Veles. The symbol of both Yarila and Dionysus was the phalos. Dionysus came to the Greek Olympus from Thrace, and in Thrace, in a number of latest theories, inhabited by Proto-Slavic tribes. As an example, let us cite the wearing of an oseledts (forelock) among the ancient Russians, in the Zaporozhye Sich and in Thrace. Dionysus, like Yarila, is apparently a later hypostasis of the most ancient Indo-European god Veles - Volos - Lizard - Badnyak. Most likely, the development of the image of Veles in his fertilizing, earthly function led to the isolation of this hypostasis of him in the images of Yarila and Dionysus. Yarila's clothes are white. White color among the Slavs is the color of death, the color of the shroud. White dress the bride indicated her death in the parental family. From this view comes the custom to mourn the bride like a dead woman. In the Apocalepsis of St. John, the horse of death is called "horse bled".

Let's turn to the character of Roman mythology - Faun. Faun - corresponds to the Greek god Pan, who is part of the retinue of Dionysus. This fact itself should attract our attention. Faun (Faunus, from favere, "to help", also Fatuus, Fatulcus, from fatuor, "to be possessed", fando, "to prophesy", Serv. Verg. Aen. VII 47), is considered in Roman mythology to be the god of forests, pastures, fields , animals. Faun's functions are largely the same as those of Veles. Faun had a female counterpart - Faun. Faun gave predictions in verse. Boyan, in "The Lay of Igor's Regiment", is named Velesov's grandson. Boyan also spoke in poetry and gave prophecies, he speaks about it, at least his epithet is "prophetic". It follows that Veles was directly related to the prophecies and verses. Faun, when he caught Numa by cunning, was forced to tell how to ward off the lightning of Jupiter. Interestingly, God Veles also knows how to hide from Perun's lightning. Faun is chthonic, he can steal children, send nightmares and diseases. The same can be said about Veles. Faun entered into a relationship with all animals and seduced women. This is the quality of the chthonic god of fertility associated with the most ancient ritual and mystical orgies aimed at the fertilization of all living things. Until the beginning of the 20th century, there was a custom in Russia: during the first spring plowing, the peasant went out on the field alone, made a hole in the ground and performed the act of sacred intercourse with the Mother of the Raw Earth. With his seed, the peasant mystically fertilized all of nature, united his masculine principle with the feminine one.

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

Consider this image of the Slavic gods, making the assumption that these images are authentic in their main features. If this is the case, then a certain logic should be traced in the composition of the characters and their symbolism. The first we see the image of Perun in his animal form. It is known that oldest gods in Indo-European and other traditions at the beginning they had an animal appearance, and only with the development of ideological concepts did they acquire anthropomorphism - a human form. This image has three characteristics. Archaism is the brutality of the image. The protruding tongue is a symbol of death (see V. Shcherbakov's instructions on the meaning of the protruding tongue in the Roman, Greek, Etruscan visual systems and similar images dead Humbaba in the Assyro-Babylonian tradition). The poured female breast is a symbol of fertility and feeding. Let us recall that Perun, being a thunderbolt, was also associated with rain, and, consequently, with the soldering / feeding of the earth. A protruding tongue may indicate a cyclical annual pattern. natural phenomena- dying and rebirth of nature. Consequently, Perun is depicted as the king of life and death. The next image of Makoshi has the same tongue sticking out as an indication of death and seasonality. The images of Mokos and Khors have goat legs, which determine its chthonicity and connection with fertility. This connects him with the "goat" hypostasis of the Greek Dianis and his goat-footed retinue. Mokosh's body resembles a twisted thread on a spindle, which is associated with her devotion to spinning, including spinning the thread of fate, like Greco-Roman parks. On the head of Khors and Makosha, there are some processes that resemble either horns - a sign of chthonicity, or young shoots. Makosh is associated with the giving birth force of the earth - therefore, an indication of its chthonicity - goat-like, sprouts on the head, as a symbol of plant life, and an indication of cyclicality - the dying of nature (protruding tongue) fully correspond to its image. Horse is depicted as a ruler. He has a scopetr - a symbol of power, his left hand in a government-dominated gesture is spread over the ground, on his head there are "sprouts". It is customary to associate Khors with the Sun according to the etymology of the name "khoro" - "kolo" - a circle, movement in a circle, rotation, the wheel of the sun. It is worth noting that the sun, according to the ideas of the ancients, also made a night path through the underworld, in addition to this, the rotation of the Sun was associated with seasonal changes. In this case, there could be an indication of the hypostasis of Khors as the lord of the underworld, seasonal changes and fertility. Stribog by the etymology of the name is associated with the Etruscan god of the underground fire Satra and the Greco-Roman Saturn - the masters of the underworld. The large ears in the image of Stribog and Khors indicate the predominant meaning of hearing in these gods and, therefore, a certain blindness inherent in chthonic characters. The fire of Stribog is an underground volcanic fire associated with both the Etruscan Satra and the Saturn of the Greeks (see in more detail the article by I. Belkin about Chernobog). The image of one head is an indication of the chthonic character of the character (M. Evzlin "Myth and Ritual" 1992). The underground fire and winds (swedish grandchildren - SOPI) associated with this character affect weather conditions and fertility. We can conclude that all images of the Slavic gods or their hypostases are associated with seasonal cycles and the regenerating fruitful power of the earth. If they were in the same temple, then it was a temple of fertility. We do not find any serious contradictions between these images and the functions of the characters.

From the series of articles "Psychodiagnostics and correction in fairy tale therapy"

ACCORDING TO NATURE

DIGITAL KNOWLEDGE

In the context of psychodiagnostics, through the author's fairy tales in childhood (up to 10-11 years), we can learn, basically, how the process of accumulating knowledge about the world and about oneself proceeds, how this “bank of knowledge about life” is being formed.
Using the author's fairy tale of a child for psychodiagnostic purposes, you need to ask yourself a few basic questions, the answers to which will make it possible to draw up a psychological conclusion.
· How well is the process of accumulating knowledge about life proceeding?
· Is there an explicit or hidden indication in the tale of the manifestation of the conflict (through symbols or plot)?
· What topic excites the child? What questions about life at the moment are unconsciously
explores the child?
· Did he find the answer to his question by writing a story? If not, does he need help
suggesting a conversation on this topic?
· What needs are actualized in the child at the moment (psychophysiological;
security and protection needs; needs for belonging and love; need for self-esteem; need for knowledge; aesthetic needs)?
· What kind of help, support can a teacher, psychologist or parents provide to a child?
· Is there an indication in the child's fairy tale of his individual characteristics that should be taken into account in his education and upbringing?
Knowledge of the individual characteristics of the process of accumulating knowledge about life will allow us to draw up specific recommendations for raising a child for his parents and mentors. In addition, this information is used to form an individualized child support and development program.
If a children's author's fairy tale contains clear signs of conflict (fears, a tendency to self-destruction, repressed anger
etc.) - this is a direct indication for psychological work not only with the child, but also with the family as a whole. With normal development and upbringing, in the absence of life troubles in the family, children write fairly conflict-free fairy tales.

I WANT A FRIEND

A characteristic feature of the author's tales of 8-9 year old children is the actualized theme of loneliness, the need to have an unusual friend (either an animal or an imaginary character). Since this topic is encountered quite often, one can speak of the experience of loneliness not as a personal problem of the author, but as a common feature characteristic of a given age. A similar situation may be associated with the emerging sense of one's own individuality against the background of an actualized need for emotionally close relationships. In this case, the unusual friend can symbolize the "alter ego", the inner helper of the hero.
Many children unknowingly choose or invent such a friend or helper.
It is believed that such fantasies are due to the experience of loneliness, "rejection", "incomprehensibility" of the child. We dare to assert that the experience of loneliness is necessary for a growing up person. The main thing is to form in him an adequate idea of ​​these experiences. “Each person is lonely, for he is unique,” ​​the sages say. Probably, you should not immediately feel pity and compassion for an 8-9-year-old child who feels lonely. It is important to teach him to accept his state, because it is the forerunner of the feeling of independence and individuality.
So, children's fairy tales are carriers of information about the peculiarities of the process of accumulating knowledge about the world and their possibilities in it.

CONNECTING TO THINKING

Beginning at the age of 11-12, the child begins to systematize the collected knowledge, actively correcting, specifying, supplementing his own picture of the world. And in this process, the composition of fairy tales provides him with significant assistance.
When composing fairy tales, a teenager unconsciously draws actual topics from the inner world and explores them. If in this process the problem areas of his inner world are affected, the bank of knowledge about life is unconsciously activated. Information and experience accumulated over the previous period of life are connected to the comprehension and analysis of a difficult situation. Thus, at the end of the tale, the author finds for himself a solution to the problem. And the psychologist has to establish how this ending is positive for the development of the author's personality.
Destructive endings are easy to define: they contain ideas of death, destruction, collapse of plans, devaluation of the hero's achievements, pain of disappointment and enjoyment of it, and so on.
Tales of adolescents and adults are richer in plot and symbolic content and, accordingly, can tell a psychologist more about the author's inner world.
These considerations allow us to conclude that projective psychodiagnostics using the composition of fairy tales is most effective starting from the age of 11-12. However, this does not mean that at an earlier age it is impossible to use the author's tales for psychodiagnostics. They simply contain much less projective information.
In psychodiagnostics using author's tales in the age range from 12 years and older, it is advisable to use the scheme of psychological analysis of the author's tale.

SCHEME OF PSYCHOLOGICAL ANALYSIS OF A FAIRY TALE

Analyzing ancient stories, we do not use special schemes, we just try, as far as possible, to comprehend the meaning encoded in them. However, in the context of projective psychodiagnostics, a structure is needed to systematize the information contained in the client's tale.
In order to draw up a scheme for the psychological analysis of fairy tales, we need to highlight key characteristics of the tale.
Key characteristics are qualitative indicators that can be used to describe the author's tale. Key characteristics help the psychologist to identify the starting points of the analysis of a fairy tale and thus embark on the path of understanding the client's inner world and the characteristics of his relationship with the outside world.
The amount of information contained in the tale is enormous. But the psychologist is able to understand and comprehend only a certain part of it. However, this part itself is quite impressive. The introduction of key characteristics greatly facilitates the process of organizing information.
The proposed list of key characteristics was developed empirically. It is possible that over time it will be supplemented with new indicators.
So, the key characteristics of a fairy tale are:
· energy-informational field;
· main theme;
· plot;
· the line of the main character;
· symbolic field.
Energy information field - this is a special energy of a fairy tale that leaves a certain “aftertaste” for the listener from sensations, feelings, thoughts and impressions.
The tale has a part of the energy of its author and contains information about his internal processes. Thus, every person who reads or listens to a fairy tale comes into contact with its energy-informational field. This field can have a certain effect on us: to influence the psychosomatic state, mood, thought processes. Reading different fairy tales, we notice changes in our feelings and impressions.
The fairy tale therapist usually only records his first reaction, but does not follow it. Because if you submit to the energy-informational wave of a fairy tale, you can lose the objectivity of the professional view, especially if the client has pronounced psychopathological features. As a rule, the "sucking" energy of these tales is quite high. If the psychologist's first impression of a fairy tale is difficult, this is a sure indicator that the author has serious internal conflicts.
Most often, a fairy tale therapist, a psychologist has an adequate response to the energy of a fairy tale. He comes into a kind of working condition, the first sign of which is a sincere interest in the fairy tale.
We still know too little about the energy-informational field of a fairy tale, but we understand the importance of this key characteristic. In fact, the energy-informational field is the main repository of knowledge about the author. However, it is still difficult for us to formalize this knowledge, so other key characteristics come to the rescue.
The main theme of the tale - This is a topic that reflects the actual values ​​of life, needs, the "zone of proximal development" of the author. In other words, the main theme will show us what is most significant for the client at the moment, what he is consciously or unconsciously working on, what he is striving for.
The most common themes of fairy tales are: fairy tales about love, stories about parent-child relationships and family relationships, fairy tales about personal growth, fairy tales about basic life values(with a life morality), stories of friendship.
To determine the main theme, you need to ask yourself or the author a question: what is this fairy tale about; what does she teach?
The plot of the tale - this is a description of events, by the example of which the main topic is revealed. Working with the plot of the client's fairy tale, we try to establish three points:
· originality of the plot;
· fairy tale genre;
· sequence of events.
The originality of the plot is understood as its novelty, uniqueness, dissimilarity to popular stories. As a rule, original plots are invented by people with a well-developed imagination, prone to individualism, striving for new sensations and experiences. Traditional plots testify to the author's involvement in interaction with layers of the collective unconscious.
The genres of fairy tales can be different and completely non-standard. For example:
· adventurous;
· mystical;
· sentimental dramatic;
· love-romantic;
· real-dramatic;
· intrapsychic - the author's inner experiences, a description of the process of reflection;
· moral and ethical - a description of virtue or vice, with an indispensable
the punishment of the latter;
· philosophical - dramatization of a philosophical idea, life principle or phenomenon;
· life stories;
· mixed genre.
The genre of the tale indicates the nature of the experience and the area of ​​interest that is actual for the author.
When working with the plot of a fairy tale, it is also important to analyze the sequence of events in it. It happens that the author encrypts the real events of his life. On the other hand, the author can program a certain sequence of events in his real life, describing them in a fairy tale. In any case, this is extremely important, since it affects the fate of the author.
Main character line is a key characteristic that reflects the author's current self-awareness and aspirations.
The main character is the image of the author, either real or ideal. Therefore, if we have the goal of a deeper understanding of the personality traits of the author, we will conduct a psychological analysis precisely from the position of this key characteristic.
It is important for us to clarify four points here.
· The image of oneself, the attitude towards oneself, the dynamics of changes in the attitude towards oneself - this is manifested through the character of the description of the protagonist. How does he appear before us: beautiful or ugly, capable or mediocre; Does his status and capabilities change as the plot progresses?
· The image of the goal that the main character strives for is clear from the ending of the tale. It is assumed that in the finale, if not the conscious, then the unconscious aspiration of the hero is realized. Knowing the ending of the tale, we can answer the question: what did the hero really want?
· The motives for the actions of the protagonist.
· Relations with the outside world are determined by the actions of the hero and the nature of the influence of other characters on him. In this aspect, the criterion "destroyer - creator" is also relevant.
Symbolic field of a fairy tale - reflects information about the client's inner world, encrypted in images and symbols.
For some researchers, this key characteristic is the most attractive. Some of our colleagues think that until they know the meanings of all (!) Symbols, it is not worth starting to work with the projective material of a fairy tale. We would like to dispel this misconception.
First, it is impossible to simply "learn" the meanings of the symbols. This is the work of a lifetime, this is a constant process of reflection, search new information, analysis of our own observations. Secondly, who would dare to claim that they know the true meaning of the symbol? Perhaps only A. Meneghetti. Only he can be extremely categorical in his own free interpretations of the symbolic meaning of the most common images.
It is generally recommended to use "Jungian" literature for working with symbols. K.G. Jung and his followers were, among other things, encyclopedic educated people. Their interpretation of the symbolic meaning of the image is always multivalued, multilevel. Working with such literature gradually forms a culture of relationships with symbols. And this, in turn, is a defense against vulgar interpretations.
We recommend that you be sensitive to symbolic analysis, protecting yourself from redundant information. The fact is that “complete” knowledge of the symbolic meaning of all images of a fairy tale can overload the psychologist with information and divert from the main tasks of counseling. Symbolic analysis is extremely interesting, but you shouldn't get too carried away with it. Everything is good in moderation. An analysis of the symbolic field of a fairy tale complements the information about its author and should work for his benefit. Analysis for the sake of analysis can lead the psychologist away from actually helping the client.
Working with the symbolic field of the tale, we write out the most bright images and explore them symbolic meaning on two levels:
· personal;
· deep.
Personal meaning can be determined by asking the author the question: "What is ... (image) for you?" The deep meaning is determined through reflection and study of special literature ("dictionaries of symbols").
Often there are stories in which there are no bright symbols, the action takes place in the real world, in everyday life. In this case, symbolic analysis is not carried out, other key characteristics.
After analyzing the tale according to its key characteristics, we draw up a conclusion about conflict and resource content fairy tales and define the promising tasks of psychological work with the author.
Under conflicting the content of a fairy tale is understood as a set of destructive elements identified for each key characteristic.
Under resource the content of a fairy tale is understood as a set of constructive, constructive elements (spiritual, mental, emotional, behavioral) identified for each key characteristic.

So, scheme of psychological analysis of the author's tale includes seven steps.

1. Determination of the energy-informational field of the tale.
You need to listen to your own feelings and impressions after reading a fairy tale; capture and describe them.

2. Determination of the main theme of the tale.
We must ask ourselves the question: what is this fairy tale about, what does it teach? Consider the answer from the standpoint of four levels: value, mental, emotional, vital.

3. Analyze the plot of the tale.
Determine the originality of the plot and its genre, analyze the sequence of events.

4. Analyze the line of the protagonist.
The line of the protagonist is viewed from four sides: the image of oneself, the image of the goal, motives of actions, relations with the outside world.

5. Analyze the symbolic field of the tale.
It is required to highlight the most striking images and determine their symbolic meaning on the personal and deep levels.

6. Make a conclusion about the conflict and resource content of the tale.
Analyze key characteristics from the perspective of reflecting conflict and resource content. Understand the degree of correlation between the conflict and resource aspects. Reveal the degree of formation of moral immunity.

7. To formulate perspective tasks of psychological work with the author.
Identify the author's main problem and find resources to work with it. Understand the prospects and individual means of forming "moral immunity".
This scheme can be used in full or abbreviated form.
Using the diagram in an abbreviated form, the psychologist will focus on defining the general conflict and resource content of the tale.
If the psychologist is faced with specific tasks of diagnosing certain aspects of the author's personality through his tale, you can use the table below.
Of course, the circuit works best when explained with an example. Therefore, in the next article we will give an example of a psychological analysis of a high school girl's fairy tale. We hope this will be helpful.

Tatiana ZINKEVICH-EVSTIGNEEVA,
Rector of the St. Petersburg Institute of Fairy Tale Therapy,
Elena TIKHONOVA,
fairy tale therapist

International Festival "Stars of the New Age" - 2014

Humanities (14 to 17 years old)

"The psychological meaning of Russian folk tales"

Lapaeva Alina, 16 years old,

Work supervisor:

MBU DOD "House of Children's Art"

settlement Yaiva, Aleksandrovsky district.

Introduction p. 2

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

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

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

1.3. History of studying fairy tales p. nine

1.4. Classification of Russian folk tales p. eleven

Chapter II. Analysis of Russian folk tales from a point

view of psychology with. 15

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

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

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

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

Conclusion p. 23

List of used literature p. 25

Introduction

“Whatever shadow comes over your life:

will anxiety about the fate of Russia visit you,

will "black thoughts" come to you

about your personal destiny or just life

will seem like an "unbearable wound", remember

about the Russian fairy tale and listen to her

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

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

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

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

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

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

Object of study: psychological meaning of Russian folk tales.

Subject of study: the text of Russian folk tales "The Frog Princess", "Turnip", "Ryaba Hen", "Kolobok".

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

Research objectives:

1. Explore the concept of a fairy tale.

2. To reveal the distinctive features of the Russian folk tale.

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

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

Research hypothesis: Russian folk tales, in addition to their educational potential, have great psychological knowledge that do not always lie on the surface. You must be able to consider them.

Research methods: analysis of scientific literature and literary texts.

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

ChapterI... Russian folk tale as an object of study

1.1. Definition of the concept of "fairy tale"

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

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

A fairy tale is a kind of narrative folklore that includes various genres and a narrative literary genre. Folklore as well as literary fairy-tale genres admit a certain share fiction, tell about unusual events in the everyday sense (fantastic, miraculous or everyday, demonological stories). The reliability of fairytale events is sometimes questioned by the narrator himself (in folklore), or by the author (in literature), and, usually, by the listener and / or literary reader.

A fairy tale is one of the main genres of folklore, an epic, predominantly prosaic work of a magical, adventurous or everyday character with a focus on fiction.

Fairy tale: 1) a kind of narrative, mostly prose folklore (fairy tale prose), which includes works of different genres, in the content of which, from the point of view of the bearers of folklore, there is no strict reliability; 2) the genre of literary narration (literary tale).

Fairy tale - 1) oral narrative work folk art fictional events; 2) Lies, lies, fiction, what no one believes (colloquial).

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

A well-known fairytale historian gives a definition of a fairy tale, which is worth agreeing with: “A folk tale (or“ Kazka ”,“ bike ”,“ fable ”) is an epic oral work of fiction, mostly prosaic, magical, adventurous, or everyday in nature with a focus on fiction. The last feature distinguishes a fairy tale from other genres of oral prose: tale, legend and bylichka, that is, from the stories presented by the narrator to the listeners as a story about events that actually took place, no matter how unlikely and fantastic they were "

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

· One of the genres of oral folklore;

· There are fictional events in the fairy tale, there is no reliability.

1.2. Distinctive features of the Russian folk tale

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

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

In the Russian fairy tale, there are traditionally good and evil heroes, established epithets: Vasilisa the Wise, Elena the Beautiful, a red girl, a good fellow, spring is red and many others. In fairy tales about animals, certain characters - animals are endowed with " permanent signs»: The bear is clubfoot, clumsy, strong and kind; grey Wolf- ferocious, but stupid; the sly fox always comes out "dry" from any situation. Positive heroes of fairy tales: Ivan the Fool, Elena the Beautiful, Vasilisa the Wise - bearers of popular ideals and high morality.

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

Russian folk tales have a traditional composition: the beginning (song) - "Once upon a time ... In a certain kingdom, in a certain state ..." An interesting, unpredictable development of the plot, culmination, with certainly triumphant goodness, and a denouement. In a fairy tale, a trinity of repetitions is often used: three roads, three brothers, 33 years old, etc. Everyday fairy tales, as a rule, of satirical content ridicule stupidity, laziness, greed, and negligence. Especially popular in Russian folklore are tales about smart men and arrogant, stupid and stubborn landowners and priests. They reflect the aspirations and expectations of the people, their confidence in the triumph of justice. She brings goodness, an understanding of justice, an unshakable faith in the triumph of truth, the victory of light forces.

In Russian fairy tales, repeating definitions are often found: a good horse, a gray wolf, a red maiden, a good fellow, as well as combinations of words: a feast for the whole world, go wherever you look, hang your riotous head, neither say in a fairy tale, nor describe with a pen, soon the tale tells itself, but it is not soon done, whether for a long time, or for a short time.

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

The language of fairy tales is characterized by the use of nouns and adjectives with various suffixes, which give them a diminutive - affectionate meaning: small - enk - iy, brother - ets, cock, sun - eyshk - ko. All this makes the presentation smooth, humorous, emotional. Various amplifying-excretory particles serve the same purpose: this, that, that for, for (What a miracle! I'll go right. What a miracle!)

Thus, the distinctive features of Russian folk tales are:

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

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

· “Soon the tale will tell itself, but not soon the work will be done” - middle formulas;

· “And I was there, drinking honey and beer, flowing down my mustache, but it didn't get into my mouth”, “A fairy tale is a lie, but there is a hint in it, a lesson for good fellows”, - a fairy ending, finale.

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

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

4. Cleared formula questions - answers: "where is the way - you keep the road?", "Stand in front of me, back to the forest", etc.

5. Cleared description of the scene: "on the Kalinovy ​​bridge, on the currant river", etc.

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

7. The presence of general folklore epithets: the maiden is red, the good fellow, etc.

1.3. History of the study of fairy tales

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

Around the same time, among Russian literary scholars, interest is maturing precisely in genuine Russian fairy tales - as works that can become the foundation for the study of the "real" Russian people, their poetic creativity, and therefore can contribute to the formation of Russian literary criticism. At that time, it was believed that the formation of a national literary school is possible only under the conditions of the existence of "truly popular" literature, for this, in fact, it was necessary to figure out what kind of origins were in Russian spirituality, in the Russian national character.

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

Many people showed interest in fairy tales writers xviii century, but only at the beginning of the XIX century. saw in them the expression of "the soul of the Russian people", as the Decembrist-Marlinsky said. He not only found echoes of antiquity in them, but also understood their vital significance.

Belinsky appreciated the historical significance of fairy tales. Especially highly he placed satirical tales. In his opinion, fairy tales are very important for the study of folk concepts, views and language. And the fairy tales "Oh Shemyakin court”And“ About Ruff Ershovich ”he considered“ precious historical documents ”.

Since the 50s of the XIX century. in Russia, the first scientific schools in the study of folklore. They paid a lot of attention to fairy tales. It was in fairy tales that the so-called mythological school saw the necessary material for the study of myths, the direct continuation of which it considered fairy tales.

For the study of fairy tales, the system historical poetics that I was trying to build. She contributed to the study of many issues related to the fairy tale: its origin, history, structure, typology of plots and their connection with the socio-historical conditions of the existence of this genre. His views on the structure of the tale and its basic elements were especially valuable.

Among the scientific works about the tale of the beginning of the XIX century. the long article by V. Bobrov "Russian folk tales about animals" (1906-1908) should be mentioned, which gives a detailed description of this type of fairy tales. compiled a "Systematic Index of Topics and Variants of Russian Folk Tales" (1911-1914). The book "Russian folk tale" (1914) is very important, in which the history of collecting and studying Russian fairy tales is presented in a rather detailed way.

The works devoted to the Russian fairy tale are of great interest. From hobbies for the individual characteristics of storytellers, she turned to general issues fairy tales. In 1963 the book "Russian folk tale" was published, in 1965 - "The fate of the Russian fairy tale". The second of them thoroughly examines the historical path of Russian folk tales.

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

1.4. Classification of Russian folk tales

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

Various researchers of Russian folk tales have proposed their own classifications. This is how he divides Russian folk tales into fairy tales:

· about animals;

· Magic;

· Adventurous novelistic;

· Household.

offers its own classification of Russian folk tales:

· Magic;

· Cumulative;

· About animals, plants, inanimate nature and objects;

· Everyday or short stories;

• fables;

· Boring fairy tales.

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

Fairy tales. In a fairy tale, a person communicates with creatures that you will not find in life: Koshchei the Immortal, Baba Yaga, the many-headed Serpent, giants, dwarf sorcerers. There are unprecedented animals here: Deer-Golden Horns, Pig-Golden Bristle, Sivka-Burka, Firebird. Often wonderful objects fall into the hands of a person: a ball, a self-shaking purse, a self-assembled tablecloth, a self-striking club. In such a fairy tale, everything is possible!

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

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

Short story(household) has the same composition as a fairy tale, but has a qualitative difference with it. In a fairy tale of this genre, in contrast to a magic one, truly wonderful events take place (the worker wins the devil). In a short story tale, a trickster - a man - acts. He is from the people, he fights for justice with a great power in power and achieves this. In their structure, they are close to the anecdote and usually they are permeated with an acute social orientation. Usually the storyteller presents a peasant, worker, or soldier in a setting that is well known to him.

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

In an everyday fairy tale (it is not without reason that it is also called a roguish tale), theft is quite permissible. Failures are pursued in the tale of all who in real life dominated the people, robbed them, offended them. The peasant takes over the master, the worker over the priest, the soldier over the general, and the younger, offended in the family, over the tyrant old men. The beginning of the tale corresponds to the actual, unfair state of affairs, and the end necessarily destroys this injustice.

Cumulative tales are built on the repeated repetition of some link, as a result of which there is either a "pile-up" or a chain. The cumulative unit is distinguished:

1. With endless repetition: "The Tale of the White Bull", "The Priest Had a Dog", etc.

2.With final repetition:

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

· "Cockerel choked" - the chain "unweaving" occurs until the chain breaks;

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

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

Fables - these are fairy tales based on absurdity. They are small in volume and often look like rhythmic prose. Fables are a special genre of folklore, which is found among all peoples as an independent work or as part of a fairy tale, buffoonery, bylichka, epics.

Boring tales. Such tales were created as comic and always funny. They were composed primarily in order to fend off zealous adherents of fairy tales, but also adults. These works begin with a familiarly enticing beginning, and end with a strange ending, when the attentive listener finds himself in unexpected confusion (A crane and a sheep walked around the ring, around the ring: they swept away a stack of senets, shouldn't we tell us from the end?).

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

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

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

Psychological characteristics of Kolobok

It can be assumed that this character was good-natured. This can be judged by its shape: round, ruddy. Its roundness tells us that it is not conflicting.

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

By nature, Kolobok was an extrovert: he did not lie alone at the window, talking with an inner voice, but set off on a journey.

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

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

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

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

Motives of Kolobok's actions

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

The general meaning of the tale

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

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

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

2.2. Russian folk tale "Turnip"(for the text of the tale, see Appendix No. 2)

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

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

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

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

5. Whom should a bug be called if there is only one cat left, Masha, but we know that a cat and a dog rarely get along with each other? The inability to pull out the turnip, which means the likelihood of staying hungry, finding yourself in a difficult life situation, unites the family, and peace comes to replace enmity. The bug calls, and Masha comes. Here is a test of loyalty to the owners, and by and large - a test whether we can forget our impartiality in the face of a common cause, whether we can have this most in common, and on the other hand: can we forgive enemies like that.

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

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

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

2.3. Russian folk tale "The Frog Princess" ( for the text of the tale, see Appendix No. 3)

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

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

2. Having received a frog as his wife, Ivan resigned himself, although he was upset. Receiving each time tasks for his wife from his father, Ivan became disdainful, dropped his hands, again demonstrating a passive position. In these situations, he refused to do anything, did not even offer his wife to reflect, discuss the situation in order to find a way out. Ivan obediently went to bed, expecting the morning to be wiser than the evening.

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

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

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

6. When meeting with an old man, Ivan gets a ball, which should lead him further. This suggests that it is not always necessary to rely on oneself, to act “at random”, to go “wherever they look,” and it’s not a sin to ask the advice of an older, more experienced person, to use his “guiding ball”.

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

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

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

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

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

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

2. And they had a poached hen. The old people lived poorly, but there was still a chicken. They loved her, this is evident from the way they called her - not a chicken, but a chicken.

3. The chicken laid an egg - not a simple one, but a golden one. And here is the riddle - the testicle turned out to be not simple, but golden. The course of their lives, which seemed to have been started once and for all, was disrupted. Perhaps here is a hint: constancy is deceiving, as long as life lasts, everything can change - quickly and at the most inopportune moment. The one who stands tall can fall, but the fallen one can rise. Here a miracle is sent to the old people. A golden egg from an ordinary chicken should be perceived as a miracle, even at an everyday level. It is unlikely that the old people had ever had to hold gold in their hands, they might never see it at all, but they should have heard of it for sure. In any case, the fact that this testicle is not simple is quite obvious. And what are their actions?

4. Grandfather beat, beat - did not break. Baba was beaten, beaten - not broken. A listener of a fairy tale - a modern adult - will call this behavior inappropriate. What are the signs of inadequacy? The grandfather, and after him the woman, cannot go beyond the stereotype. They are trying to break the golden testicle, that is, they treat it in the same way as before with ordinary eggs. They simply have no other actions in store. On the one hand, this is naivety and even innocence. The current pragmatist, knowing the price of gold, would surely find a way to turn miracles into wealth. However, on the other hand, the grandfather and the woman simply cannot accommodate the miracle that has befallen them. As a result, they do not need a miracle.

5. The mouse ran, waved its tail, the testicle fell and broke.
She pushed the testicle not out of malice, but by chance - she just waved her tail out of place. And the blame for what happened does not lie with the mouse, but with the grandfather and the woman - they left the testicle unattended, and even did not put it in the basket, but forgot it on the table or on the bench, apparently where they could not break it. We have to admit the disregard for the miracle. If at first the testicle seemed special and aroused interest, then later the miracle became boring, especially since it was not possible to get any benefit from it. And the unclaimed miracle goes away. The mouse here is just a physical reason, if it hadn't run past, something else would have happened.

6. The grandfather is crying, the woman is crying. The motive of their crying is incomprehensible, because they just wanted to break it themselves, but they did not succeed. Besides, it’s probably a shame: it turns out that it was possible to break it, apparently, they simply did not approach it that way. The reason for their tears, if we follow the logic of the relationship between man and miracle, is different. This is remorse. The realization comes that the miracle was taken away due to their unwillingness to accept it. This is a feeling of their inner imperfection, spiritual wretchedness, regret over the loss of not gold as such, but an unprecedented phenomenon.

7. And the chicken cackles: “Don't cry, grandfather, don't cry, woman. I will lay a new egg for you, not a golden one, but a simple one. The appearance of the golden testicle is perceived as a gift of fate - so happiness fell to the bitter lot of the grandfather and the woman. But they could not dispose of it, because they did not know how. But hope is sent to them again, food is promised again in the form of an already simple egg. And the golden egg was probably a test, a temptation.

8. The meaning of the tale is also that if you are given a chance to change your life, then do not miss it, take it, and if you didn’t take it, then don’t cry about the missed opportunities, but be content with the little that you have.

Conclusion

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

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

A fairy tale allows you to experience emotions. The characters, of course, are fictional, but their actions evoke quite real feelings. That is - a fairy tale makes it possible to learn from the mistakes of others! You can, for example, relive the state of the sister from the fairy tale "Geese-Swans" and find out how hard it will be if "you leave your brother and play, take a walk."

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

A fairy tale prepares you for growing up. Ugly Emelya turns into a handsome groom, little Thumbelina goes through a series of tests and ends up in the country of Elves. This is nothing more than the stories of the transformation of a small person into an adult.

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

List of used literature

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

2. Vedernikov's folk tale. - M .: Nauka, 1975 - 32 p.

4. Dotsenko space of psychotechnical fairy tale // Journal of practical psychologist. - 1999. - №№ 10-11. - p. 72-87.

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

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

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

8. Propp the roots of a fairy tale. - L .: LSU. - 19p.

9. Russian humanitarian encyclopedic dictionary: In 3 volumes - M .: Humanit. ed. center VLADOS: Filol. fac. St. Petersburg. state University, 2002 .-- 704 p.

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

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

12. Dictionary literary terms... - M .: Education, 1974 .-- 332 p.

13. Explanatory dictionary Russian: In 4 volumes / Ed. . - M .: State. in-t "Sov. encyclopedia. "; OGIZ; State publishing house foreign and nat. words, p.

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

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

13.http: // old. vn. ru