Avar tales

Avars (Greek Άβαροι, Ουαρχωννιται; lat. Avari; Old Russian. Obra) are a nomadic people of Central Asian origin who moved to Central Europe in the 6th century and created the state of the Avar Khaganate there (VI-IX centuries).

Adyghe tales

Adyghe (self-name - Adyghe) - a people in Russia and abroad, the indigenous population of Adygea and the Krasnodar Territory, including the Black Sea coast from Anapa to Sochi - a collective term for Western Adyghe subethnic groups.

Aleutian tales

Aleuts (self-name - unanan / unangan) - the indigenous population of the Aleutian Islands. Most live in the USA (Alaska), some in Russia (Kamchatka Territory).

Balkar tales

Balkars (Karach-Balk. taulula - literally: “mountain people”) are a Turkic-speaking people in the North Caucasus, the indigenous population of Kabardino-Balkaria, inhabiting mainly its mountainous and foothill (so-called Balkaria) areas in the upper reaches of the Khaznidon, Cherek- Balkar (Malkars), Cherek-Bezengievsky (Bezengi, Kholam people), Chegem (Chegem people), Baksan (Baksan people or in the past - Urusbi people) and Malka. In fact, the Balkars are a single people with the Karachais, divided administratively into two parts. They belong to the Caucasian anthropological type of the large Caucasian race. They speak the Karachay-Balkar language of the Polovtsian-Kypchak group of the Turkic family. Dialect differences are minor.

Bashkir fairy tales

Bashkirs (Bashk. Bashorttar) are a Turkic-speaking people living on the territory of the Republic of Bashkortostan and the historical region of the same name. Autochthonous (indigenous) people of the Southern Urals and the Urals. The number in the world is about 2 million people. According to the 2010 All-Russian Population Census, 1,584,554 Bashkirs live in Russia. The national language is Bashkir. Traditional religion is Sunni Islam of the Hanafi madhhab.

Buryat tales

Buryats (Buryat-Mongols; self-name Buryaaduud) are a people in Russia, Mongolia and China. The Buryats are divided into a number of subethnic groups - Bulagats, Ekhirits, Khorintsy, Khongodors, Selenga Buryats (Sartuls, Tsongols, Tabanguts), Khamnigans, and also on a territorial basis, i.e. Western, Eastern, Shenehen. Buryats living in the eastern part of Buryatia and the Trans-Baikal Territory are called eastern.

Dolgan tales

Dolgans (self-name - Dolgan, Tya-kikhi, Sakha) are a Turkic-speaking people in Russia (7900 people in total, in the Taimyr Dolgano-Nenets municipal district of the Krasnoyarsk Territory about 5500 people, in Yakutia about 1900 people). Believers are Orthodox.

Ingush fairy tales

Ingush (self-name - Ingush. GIalgIai - plural, GIalgIa - singular) - Vainakh people in the North Caucasus. They speak the Ingush language of the Nakh group of the North Caucasian family, written on the basis of the Cyrillic alphabet.

Kabardian tales

Kabardians (Kabard-Cherk. Adyghe) - a subethnic group of Adygs, the indigenous population of Kabardino-Balkaria, also live in the Krasnodar and Stavropol territories, in Karachay-Cherkessia, Adygea and North Ossetia. In the Kabardino-Balkarian Republic they make up 45.3% of the population. They speak the Kabardian-Circassian language of the Abkhaz-Adyghe group.

Kalmyk fairy tales

Kalmyks (Kalm. Halmg, Halmgud, Mong. Khalimag) are a Western Mongolian (Oirat) people living mainly in the Republic of Kalmykia, a subject of the Russian Federation. They speak Kalmyk and Russian. They are descendants of the Oirat tribes who migrated at the end of the 16th - beginning of the 17th centuries from Central Asia to the Lower Volga and the Northern Caspian Sea. The number of modern Kalmyks in Russia is 183,372 people (All-Russian Census 2010), there are also small diasporas abroad. The main religion among Kalmyk believers is Tibetan Buddhism of the Gelug school.

Karelian fairy tales

Karelians (common self-name - Karelian karjalaizet) are a Finno-Ugric people who live mainly in Russia: in the Republic of Karelia, Leningrad region, Tver region and eastern Finland.

Kerek Tales

Kereki (self-name ankalgakku - “seaside people”, arakikku - from Chuk. kerekit) - one of the Paleo-Asian peoples of Russia. According to the 2010 census, 4 people recorded themselves as Kerek. (in 2002 - 8 people). In 1959 there were about 100 people. In the 20th century they lived in the settlements of the Beringovsky district of the Chukotka Autonomous Okrug (Meinypilgyno, Khatyrka, Beringovsky). They lived in several villages in separate families mixed with the Chukchi and were assimilated by them.

Ket tales

Ket (self-name keto, ket - “person”, plural deng - “people”, “people”; previously the ethnonyms Ostyaks, Yenisei Ostyaks, Yeniseis were used) are a small indigenous people of Siberia, living in the north of the Krasnoyarsk Territory. They use the Ket language, which belongs to the group of Yenisei languages.

Koryak tales

Koryaks (Nymylans, Chavchuvens, Alyutors) are a people, the indigenous population of the northern part of the Kamchatka Peninsula. Currently they live compactly in the Kamchatka Territory, the Magadan Region and the Chukotka Autonomous Okrug of Russia.

Mansi tales

Mansi (Mansi Mendsi, Moans; obsolete - Voguls, Vogulichi) are a small people in Russia, the indigenous population of the Khanty-Mansi Autonomous Okrug - Ugra. Closest relatives of the Khanty. They speak the Mansi language, but due to active assimilation, about 60% use Russian in everyday life.

Mordovian fairy tales

Mordva are a Finno-Ugric people, which is divided into two subethnic groups - Moksha and Erzya. Self-name Mokshan Moksh. Mokshet, Erzyan - Erz. Erzyat. They speak Moksha and Erzya languages, which belong to the Mordovian subgroup. Ethnographic groups: Erzyan - Shoksha, Mokshan - Karatai. They live in the Russian Federation, about a third live in Mordovia, as well as in adjacent regions - Nizhny Novgorod, Penza, Tambov, Ryazan, Samara, Moscow. They belong to the indigenous population of Central Russia. Believers are mostly Orthodox, there are also adherents of folk religion (the traditional religion of the Mokshans is Mokshen Koi), Lutherans and Molokans.

Nanai tales

Nanai (Nanai. nanai, nani; Chinese 赫哲族; obsolete goldy) are an indigenous small people of the Far East, living along the banks of the Amur and its tributaries the Ussuri and Sungari in Russia and China.

Nganasan tales

Nganasans (ngan. nganasans - “people”, self-name nyaa, nya - “comrade”) - Samoyed people in Siberia. The term nganasan (from nanas, nanasan - person) was introduced by Soviet linguists in the 1930s as an erroneous generalization of the use of the word with the meaning “person” as an endoethnonym, known to many peoples of the North.

Negidal tales

Negidals (from negidal. ңegidal - “coastal”, “coastal”, self-name: elkan beyenin - local people; amgun beyenin - people of the Amgun River) are a small Tungus-Manchu people in the Amur region.

Nenets fairy tales

Nenets (Nenets. Neney Neneche, Khasovo, Neshchang; obsolete - Samoyeds, Yuraks) are a Samoyed people inhabiting the Eurasian coast of the Arctic Ocean from the Kola Peninsula to Taimyr. In the 1st millennium AD e. migrated from the territory of southern Siberia to the place of modern habitat.

Nivkh tales

Nivkhs (Nivkh. Nivakh, Nivukh, Nivkhgu, Nyigvngun; obsolete Gilyaks) are a small ethnic group on the territory of the Russian Federation. Self-names: nivkh - “man”, nivkhgu - “people”.

Nogai tales

Nogais (self-name - Nogai, plural - Nogaylar) are a Turkic-speaking people in the North Caucasus. The number in the Russian Federation is 103.7 thousand people. (2010).

Oroch Tales

Orochi (self-name Orochisel, Oroch, as well as Nani (lost, old self-name, borrowed from the Amur Nanai: “na” - land, “ni” - person, translation - “local resident”; usually called themselves by place of residence, by tribal affiliation )) - people in Russia.

Ossetian fairy tales

Ossetians (ironsk. ir, irӕtӕ, iron adӕm, digor. digorӕ, digorænttæ; other Russian yasi, singular yasin, yas) - people living in the Caucasus, descendants of Alans, the main population of Ossetia: the republics of North Ossetia - Alania and South Ossetia. They also live in other regions of the Russian Federation, in Georgia, Turkey and other countries. The Ossetian language belongs to the Iranian group of the Indo-European family of languages; Ossetians are mostly bilingual (bilingualism - Ossetian-Russian, less often - Ossetian-Georgian or Ossetian-Turkish). The total number in the world is up to 700 thousand people, of which in Russia - 528.5 thousand (according to the 2010 census)

Sami tales

The Sami (Sami, Lapps, Laplanders; self-name - Kild. Sami, S. Sami. sámit, sampelaš; Finnish Saamelaiset, Nynorsk Samar, Swedish Samer) - a small Finno-Ugric people; indigenous people of Northern Europe. Scandinavians and Russians called them “Lapps”, “Loplyans” or “Lop”, from this name comes the name Lapland (Lapponia, Lapponica), that is, “land of the Lapps”. The field of knowledge, the field of study of which is ethnography, history, culture and languages ​​of the Sami, is called “loparistics” or “laponistics”.

Selkup tales

Selkups (Selkup. selӄup, susse ӄum, chumyl-ӄup, shelӄup, sheshӄum; obsolete - Ostyak-Samoyeds) are a people living in the north of Western Siberia. Until the 1930s they were called Ostyak-Samoyeds.

Tales of Komi

The Komi Republic (Komi Komi Republic) is a republic within the Russian Federation, a subject of the Russian Federation, part of the Northwestern Federal District. Komi is a group of peoples living in the north of the Russian Federation: Komi-Zyryans (often simply Komi), Komi-Izhemtsy, Komi-Permyak, Komi-Yazvintsy.

Tatar tales

Tatars (self-name - Tat. Tatar, tatar, plural Tatarlar, tatarlar) are a Turkic-speaking people living in the central regions of the European part of Russia, in the Volga region, the Urals, Siberia, Kazakhstan, Central Asia, Xinjiang and the Far East.

Tofalar Tales

Tofalars (previously they were called Karagasy, their self-name is Tofa, Tofa, Topa, Tokha, Tyva, which means “man”) - an indigenous small people of Russia in Eastern Siberia.

Tuvan fairy tales

Tuvans (self-name - Tuva, plural - Tyvalar; obsolete names: Soyots, Soyons, Uriankhians, Tannu-Tuvians, Tannutuvians) - the people, the main population of Tuva (Tuva). They speak the Tuvan language, which is part of the Sayan group of Turkic languages. Believers are Buddhists; Traditional cults (shamanism) are also preserved.

Udege tales

The Udege are one of the indigenous peoples of the Far East; anthropologically they belong to the Baikal type of Mongoloids. The language is Udege, which belongs to the Amur group of Tungus-Manchu languages, is most similar to Oroch, and is practically supplanted by the Russian language.

Ulch tales

Ulchi (self-name - Nani, Ulcha - “local residents” (common to a number of peoples of the Amur region), obsolete: Manguns, Olchi). Since 1926, the official name Ulchi has been adopted.

Khanty tales

Khanty (self-name - Khanti, Khande, Kantek, obsolete Ostyaks) are a small indigenous Ugric people living in the north of Western Siberia. The self-name Khanty means people.

Chechen fairy tales

Chechens (self-called Nokhchi) are a North Caucasian people living in the North Caucasus, the main population of Chechnya. Historically, they also live in the Khasavyurt, Novolak, Kazbekovsky, Babayurt, Kizilyurt, Kizlyar districts of Dagestan, the Sunzhensky and Malgobek districts, Ingushetia, and the Akhmeta region of Georgia. The total number of Chechens around the world is 1,550,000. Anthropologically they belong to the Caucasian type of the Caucasian race.

Chukotka fairy tales

The Chukchi, or Luoravetlans (self-name - ғыгъоруватӓет, оravетӓет), are a small indigenous people of the extreme northeast of Asia, scattered over a vast territory from the Bering Sea to the Indigirka River and from the Arctic Ocean to the Anadyr and Anyui rivers. The number according to the All-Russian Population Census of 2002 is 15,767 people, according to the All-Russian Population Census of 2010 - 15,908 people.

Evenki tales

Evenki (self-name - Evenkil, which became an official ethnonym in 1931, old name - Tungus) - the indigenous people of the Russian Federation (Eastern Siberia). They also live in Mongolia and northeast China. Separate groups of Evenks were known as Orochens, Birars, Manegrs, Solons. The language is Evenki, belongs to the Tungus-Manchu group of the Altai language family. There are three groups of dialects: northern, southern and eastern. Each dialect is divided into dialects.

Enets tales

Enets (self-name Encho, Mogadi, Pebay, obsolete Yenisei Samoyeds) are a small Samoyed people of less than 300 people. Believers are Orthodox, traditional beliefs are preserved. They are close in language and culture to the Nganasans and Nenets.

Eskimo tales

Eskimos (Eskimos. ᐃᓄᐃᑦ) are a people who make up the indigenous population of the territory from Greenland and Nunavut (Canada) to Alaska (USA) and the eastern edge of Chukotka (Russia). The number is about 170 thousand people. The languages ​​belong to the Eskimo branch of the Eskimo-Aleut family. Anthropologists believe that Eskimos are Mongoloids of the Arctic type (Arctic race). Their main self-name is “Inuit”. The word “Eskimo” (Eskimantzig - “raw food eater”, “one who eats raw fish”) belongs to the language of the Abenaki and Athabaskan Indian tribes. From the name of the American Eskimos, this word turned into the self-name of both American and Asian Eskimos.

Yukaghir tales

Yukaghirs (self-name detkil, odul, vadu, alai) are an East Siberian people. They belong to the oldest (aboriginal) population of northeastern Siberia. The origin of the name “Yukaghir” has not been precisely established; it may have been given to this people by the Russians, probably through the Evenki (Tungus) and in the 20th century it became established as the official name. Traditional activities include fishing (using a seine), hunting wild deer, and sled dog breeding.

Yakut tales

Yakuts (the common pronunciation among the local population is Yakuts, self-name is Yakut. Sakha; Yakut. Sakhalar) - a Turkic people, the indigenous population of Yakutia. The Yakut language belongs to the Turkic group of languages. There are many Mongolisms (about 30% of words are of Mongolian origin), there are also about 10% of words of unknown origin, and Russianisms were added at a later time. About 94% of Yakuts genetically belong to the N1c1 haplogroup. The common ancestor of all Yakut N1c1 lived 1300 years ago. According to the results of the 2010 All-Russian Population Census, 478.1 thousand Yakuts lived in Russia, mainly in Yakutia (466.5 thousand), as well as in the Irkutsk, Magadan regions, Khabarovsk and Krasnoyarsk territories. The Yakuts are the most numerous (49.9% of the population) people in Yakutia (the second largest are Russians - 37.8%) and the largest of the indigenous peoples of Siberia within the borders of the Russian Federation.

A person becomes acquainted with the moral wealth and experience of the people in early childhood, in a fairy tale, in the first game. Rich inherited traditions are unique traditions that need to be protected. Having lost the spiritual traditions of his people, a person loses his moral support, his spiritual core. What is embedded in the soul from childhood is irreplaceable later.

In modern society, the problems of moral education, respect for historical monuments, and the formation of patriotic feelings are acute. And what the child hears in childhood determines his further conscious attitude towards the world around him, therefore, the system of upbringing and education should provide for the formation in the child of a sense of belonging to the traditions, spiritual and historical values ​​of his big and small Motherland. Already at preschool age, the child actively absorbs experience, turns it into a habit, into a norm of behavior. Music, fairy tales, proverbs and sayings, ethnic games convey the character of the nation, the spirit of the era.

All ethnic songs and fairy tales are rich in inexhaustible love for their world, their people, their family. They teach the child to be kind, fair, honest, to treat elders with respect, and teaches that beauty can defeat evil. The worship of a working person, be it a fisherman, a plowman, a musician, etc., can also be traced. - in those trades and occupations that are characteristic of a given people, a given area; sang the power of mutual assistance and joint work.

Folk (ethnic) games are close to the emotional nature of a child, thirsting for active activity. Despite the fact that the games have a lot of fun and movement, their rules are strict: this teaches children not to disturb order and to be able to negotiate. For centuries, games have been the only means of physical, mental, and moral education.

Many wise proverbs and sayings strengthen the moral character of the people. A great many people have taken part in their creation and polishing over the centuries.

Fiction and imagination creates a world of fairy tales in which good always triumphs over evil. Fairy tales and tales about animals help to better understand the surrounding reality, understand the relationships of people, the vices of people: greed, stupidity, disobedience, self-interest, etc. are ridiculed.

The ethnic folklore of different peoples, despite their different lifestyles and cultures, is similar to each other; there are almost identical proverbs and fairy tales. For example: the Russian and Greek fairy tales “The Hen and the Cockerel”, the Greek fairy tale “Anfusa - Golden Braids” is similar to the Brothers Grimm fairy tale “Rapunzel” and others, the Adyghe fairy tale “Faruza” is similar to “Cinderella”.

In these fairy tales, truth triumphs, the victory of good over evil. The optimism of fairy tales is close to child psychology and it enhances the educational value of folk pedagogical means.

Fairy tales contain imagery that facilitates perception by children who have not yet developed abstract thinking. The characters clearly show such traits as courage, observation, desire to help the weak, etc. Fairy tales contain bright, living images.

One of the most important features of fairy tales is didacticism. Fairy tales of all nations are always instructive and edifying. The people share their wisdom with the younger generation: to be obedient (Estonian fairy tale “The Forbidden Knot”), not to be greedy (Greek fairy tale “The Cockerel and the Hen”), not to be cowardly (Estonian fairy tale “Why the Hare Has a Cut Lip”), etc. .

Every nation wishes their child to be honest, hardworking, and happy. The art of peoples teaches a person to value life, to be persistent in the fight against lies, cunning, and evil.

Fairy tales also shape gender concepts and moral values. For girls - these are beauties, needlewomen, smart people; for boys - this is a brave, strong, honest, hardworking hero. The ideal formed in childhood largely shapes his personality in the future.

It was developed and tested in our kindergarten project “Tales of the village of Krasnaya Polyana” (Annex 1), within the framework of which proverbs, sayings, and fairy tales of the nationalities living in the village (Greek, Adyghe, Estonian people) were selected, accessible to the understanding of children of senior preschool age. As a result of the project, the (Appendix 2), which included the following tales: Adyghe tales: “Giant Bull”, “Faruza”; Greek fairy tales: “The Rooster and the Hen”, “The Embroiderer of Birds”, “Anfusa - Golden Braids”; Estonian fairy tales: “Why the hare’s lip is cut”, “The wolf and the sheep”, “Magic knots”, “how the master became a horse”, “The young blacksmith”. All fairy tales are illustrated by children of senior preschool age. The book of fairy tales continues to grow.

This book of fairy tales is intended for reading to children aged 5-7 years. The selected ethnic fairy tales are accessible to children and reveal to them the world (life and culture) of different peoples: Circassians, Estonians, Greeks. In ethnic fairy tales, the life of peoples is easily traced. It is easy to trace the crafts of the nationalities: fishing, weaving, hunting, etc.

Fairy tales often contain words that are inaccessible to children. For example, in Adyghe fairy tales there are often words that reflect the way of life of the people: aul, marj, papakha, shepherd, etc. Therefore, before reading a fairy tale to a child, it is necessary to have a short conversation with the child about the people, their way of life, explaining unfamiliar words (using the example "Ethnic Dictionary"(Appendix 3), in which not only the interpretation of words, but also illustrations are selected). Without such preliminary work, a fairy tale may seem boring, pale, and incomprehensible to a child; such work will bring the child closer to the ethnic world. By explaining these unfamiliar words to a child, an adult draws him into the ethnic world. The child develops an elementary ethnic vocabulary, expands his horizons and vocabulary.

When introducing children to ethnic fairy tales, you must adhere to the following algorithm:

1. The teacher gets acquainted with the fairy tale, noting unfamiliar ethnic words.

2. Search for the definition of these words (for example: kannel - a musical instrument of the Estonian people), an accessible explanation for preschool children.

3. If necessary, illustrations of images are selected to define the ethnic word.

4. While reading an ethnic fairy tale to children, it is necessary to briefly introduce new words, giving basic information about the life and culture of the people. (For example, tell that the Adyghe people lived in small settlements called AUL (demonstration of the image), they kept sheep, cows, which were grazed high in the mountains by CHABANY (demonstration of the image). And when they turned to a stranger, they said MARGE. In this there is no translation for the word, most likely it was used to attract attention.). When reading fairy tales, you should not replace the words with Russian ones, because then the originality of the fairy tale is lost.

5. After reading, a short conversation is held with the children about what they learned from the fairy tale, knowledge about the life and culture of the people, about the meaning of new words is consolidated.

6. During the conversation, you can also discuss which episode was most memorable, why it seemed the most vivid, after which the children are invited to draw their favorite passage from a fairy tale, or select attributes and act out a dramatization of the passage.

The method of working with ethnic fairy tales is similar to the method of getting acquainted with original or Russian fairy tales.

Requirements for fairy tales in the younger group:

• simple perception;
• bright, dynamic plot;
• short in content;
• conversation after reading the fairy tale: did you like them, what are they like?

Requirements for fairy tales in the middle group:

• every month it is necessary to introduce a new fairy tale;
• introduction to new words, explanations that children can understand;
• conversation after reading the fairy tale: did you like the heroes, what kind of people they are, what actions they did, whether the heroes did the right thing.

Requirements for fairy tales in the senior group:

• the volume of fairy tales increases significantly;

Requirements for a fairy tale in a preparatory school group:

• a large volume of fairy tales that can be read in parts (several days);
• conversation after reading: motivated attitude towards the heroes of fairy tales;
• determination of the type of fairy tale (about animals, everyday, fairy tale);
• determining the structure of a fairy tale (beginning, repetitions, ending).

With this structure of work with ethnic fairy tales, they will not only serve as entertainment, but will also carry educational meaning, develop imagination, and form a tolerant attitude towards the culture of different peoples.

Bibliography:

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

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

3. Baturina G.I.. Kuzina T.F. Folk pedagogy in the education of preschool children. M.. 1995

Annex 1

Kindergarten based project
"The Living Book of Fairy Tales of the Village of Krasnaya Polyana"

Relevance. 17 nationalities live in our village, 3 of them: Russians, Greeks, Estonians - the nationalities that founded our village. The formation of moral and patriotic feelings based on the regional component, the formation of tolerant feelings is one of the leading tasks of our kindergarten.

At the same time, oral folk art accompanies the child from early childhood. Acquaintance with the world around us begins with nursery rhymes; the concept of good and evil is formed in fairy tales; lullabies soothe. Every nation has its own fairy tales, its own lullabies. Oral folk art contains great creative and educational potential. And cultivating love for the Motherland is impossible without instilling love and respect for one’s “small Motherland,” its culture and traditions. Introducing children to the origins of folk culture is important in the moral and patriotic education of the personality of a preschooler.

Objective of the project: active inclusion of children in the development by children of oral folk art of the peoples who founded the village of Krasnaya Polyana and manifestations of creativity in expression from what they read in the “Living Book of Fairy Tales of the Village of Krasnaya Polyana” together with adults.

Tasks:

1. Collect nursery rhymes, jokes, lullabies, and fairy tales from the peoples of the village of Krasnaya Polyana in close contact with the parents of kindergarten students.

2. Select works that are understandable to preschool children.

3. Organize joint activities (adults and children) to create a “Living Book of Fairy Tales of the Village of Krasnaya Polyana”, compiled by adults with children of all groups.

The target audience: children 5-7 years old, parents, kindergarten teachers.

Project Implementation Plan

1. Preparatory:

1.1. Collection of material on oral folk art of the peoples of the village of Krasnaya Polyana with the involvement of parents;

1.2. Selection of methods for introducing preschool children to oral folk art and ethnic fairy tales.

2. Organizational:

2.1. Conducting consultations for teachers on methods of introducing children to oral folk art;

2.2. Hold a drawing competition “Living Pages” in nominations;

2.3. Organize joint activities (adults-children) to create a “Living Book of Fairy Tales of the Village of Krasnaya Polyana”, compiled by adults and children in groups;

2.4. Develop and conduct a quiz “Tales of the Village of Krasnaya Polyana”;

2.5. Conducting a lecture for parents “Reading fairy tales to children”;

3. Final: Creation of the book “The Living Book of Fairy Tales of the Village of Krasnaya Polyana”, illustrated with the works of children.

Expected results:

The implementation of the project will contribute to the formation and development of children:

• interest in folk oral literature (proverbs, sayings, fairy tales, etc.)
• love and pride for our small Motherland
• creativity

The implementation of the project will contribute to the formation and development of teachers:

• interest in national folk art
• knowledge of fairy tales, nursery rhymes, songs and other nationalities that founded the village
• increasing the level of professional competence in the field of using oral folk art

The implementation of the project will contribute to the formation and development of parents:

• an idea of ​​the features of fairy tales of different nationalities and the possibilities of their use
• desire to join children in joint activities

Used Books:

1. N.K. Andrienko, S.I. Semenaka, E.A. Tupichkina “Spiritual and moral education and social development of preschool children: programs, pedagogical projects: educational and methodological manual - Armavir RIO ASPA, 2014.

Fairy tales of the peoples of Russia and neighboring countries

Russia is a huge country covered with fields and forests, steppes and mountains, taiga and tundra. Its depths are full of minerals, there are fish in the rivers and seas, and animals in the forests.
But the greatest wealth of our homeland is the people who inhabit it. We are a multinational state, and each nation has its own centuries-old history and unique culture that distinguishes us from each other. But all nations also have the main thing that unites us all: love for our native land, respect for man, the desire to make life beautiful and fair.
This is exactly what is said in the fairy tales of different peoples inhabiting Russia.
These books serve the idea of ​​tolerant communication, presenting Russia as a single, diverse country where dozens of talented peoples and nationalities live.
Each of them has its own history, its own folklore, and therefore its own fairy tales. Living conditions, nature and what people believed in - everything was reflected in amazing fairy tales. Sometimes they are funny, tinged with humor, often sad, but always wise. They reflected the experience of generations. Reading them means understanding the soul of the people and becoming smarter yourself. They will broaden your horizons, help you better navigate life, and teach you to understand people.

Collections. Tales of the peoples of Russia.

The book brings together under one cover the best fairy tales and legends of numerous peoples of Russia, supplemented by background information about each nation - its place of residence, numbers, history, religion, peculiarities of life, folklore, famous people.
The publication presents examples of folk art of the Karelians, Nenets, Chukchi, Eskimos, Yakuts, Buryats, Tatars, Bashkirs, Chuvash, Chechens, Circassians and many others. The texts of fairy tales and legends are given in literary adaptation by the St. Petersburg writer and historian Evgeniy Lukin. The publication is richly illustrated with classical images of representatives of nationalities in national costumes, pictures of everyday folk life and natural landscapes. The book serves the idea of ​​tolerant communication, presenting Russia as a single, diverse country where dozens of talented peoples and nationalities live.

Fairy tales and legends of the peoples of Russia ,

This is a special book that will not only tell a fairy tale, but also introduce you to the history of the people in whose depths the fairy tale was born. What are fairy tales about? About people, about what they wanted in life and how they achieved it. The little reader always understands what a fairy tale teaches, who is kind in it and who is not so good... Small inserts about the history of the people, their traditions and faith, about the nature that surrounds them will help both children and parents get to know our country and people better, who live in it. The book will not only entertain the baby, but will give him food for thought. And the parents will tell you about a big country in which people of different nationalities have lived together since time immemorial. Our book will be interesting to both kids and their parents. It will also be useful to those who have chosen ethnography as their specialty: reference material in an accessible form will open unknown pages of the life of Russians.

Once upon a time... Tales of the peoples of Russia ,

The collection “The Far Far Away Kingdom” includes fairy tales from different nations retold by Alexandra Lyubarskaya for children.

Why do we love fairy tales? Because they surprise us, amuse us, and even if they scare us, they still promise a happy ending in the end. In the fairy tale, good defeats evil, the weak, small and poor receive a well-deserved reward, the hard-hearted and stingy are defeated, justice triumphs, fear recedes, miracles happen at every step. This collection includes fantastic, satirical, social and everyday tales, parable tales and joke tales, illustrated by Boris Fedorovich Semyonov, art editor of the legendary children's magazines "Chizh" and "Hedgehog". The fairy tales were collected and retold by Alexandra Lyubarskaya, a translator, editor, folklorist, who has prepared many children's books that have long become textbook reading.

In the Far Far Away Kingdom, in the Thirtieth State

The book includes the most vivid and colorful fairy tales - Russian, Karelian, Latvian, Tatar, Avar, Uzbek, Armenian and many others, in which the life, national traditions and customs of peoples are fully reflected. Told by A. Lyubarskaya.

Tales of different nations, in Ozone

Russia is a multinational country. Representatives of about 80 nations live here. But how much do we know about their culture and customs?
Each nation lives in its own natural conditions, organizes its life in its own way, composes its own special fairy tales and legends, which reflect a specific picture of the world. But we will be surprised how similar the stories that were born in different parts of our huge country are. And how unanimous are the peoples in their values! They all glorify hardworking, kind, resourceful and brave heroes - and condemn the evil, greedy and lazy.
Fairy tales collected and retold by Mark Vatagin and illustrated by Alexander Kokovkin and Tatyana Chursinova will help us to join the history of the peoples of Russia. To help the young reader, Isabella Shangina compiled an ethnographic report.

Tales of the peoples of Russia, in Ozone

“Fairytale gems. Tales of different nations"

Tales of the peoples of the Far North, Eastern Siberia and the Far East

The publication includes fairy tales of the small peoples of the Far North, Eastern Siberia and the Far East, which form a golden fund of oral folk art.

Tales of the Northland

A Khanty fairy tale about the funny adventures of a small but brave mouse. Colorfully illustrated folding book on cardboard.
You can play with flip books. They are made of thick cardboard and can easily be folded into a “house,” a screen, or a triangle, depending on the wishes of the little reader.

Mouse. Khanty tale ,
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Oh, how unlucky Masha is with her stepmother - all the old woman can think about is how to get the good girl out of the world. She told Masha to spin a tow at the ice hole, and take the spindle and fall into the water. Nothing can be done, the girl had to jump into the ice hole after him, and there is a road to unknown lands... The magical world of the Karelian fairy tale, which has absorbed folk wisdom, comes to life in the drawings of Nina Noskovich and is ready to open its doors to little readers.

Spinners at the ice hole. Karelian fairy tale ,
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The Nivkhs, Nanais, Ulchis, Udeges and other peoples of the Far East have long lived along the banks of the wide and mighty Amur. And for centuries their elders have been telling fairy tales to children growing up in the camps. About how the boy Indiga overcame seven fears and not only saved his brother, but also gained the heart of a brave man. As a hero, Azmun swam on the back of a killer whale to the house of the Sea Master and begged the old man to send fish to the Nivkhs. How the hunter Choril turned into a bear, and his bride went to the Mountain Master himself to seek the truth...
Far Eastern writer Dmitry Nagishkin carefully studied the oral works of small peoples and, using their stories and language, created an original work of art - the book “Amur Tales”, a real ethnographic encyclopedia of the region.
Khabarovsk artist Gennady Pavlishin also closely studied the unique artistic heritage of the indigenous peoples of the Far East. He watched how the Nivkh bone cutters worked, how beads were woven into the embroidered pattern of Ulchi clothing, how the lace of the cut-out ornament appeared on the Nanai birch bark tueska. The artist creatively reworked the motifs of folk art and not only amazingly accurately conveyed the features of everyday life and culture, but also created a fantastically colorful world of illustrations that forms an inextricable whole with the text of fairy tales.
In 1975, at the International Biennale of Illustration in Bratislava, for “Amur Tales” Gennady Pavlishin received one of the highest awards - the “Golden Apple”.

Nagishkin D. D. “Amur Tales” ,
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The Amur taiga hides many wonders. The iron bird Kori flies over it, the Creaky Old Woman hides in its thicket, and the keeper of the hearth, Dulen, looks after the people living among the forests. In difficult times, a mapa bear, an amba tiger or a Kaluga queen fish come to the aid of daredevils, and a cunning fox can easily look into the nearest hut, like a neighbor.
Heroic tales about brave hunters, instructive stories about hardworking beauties and funny stories about the inhabitants of the taiga have been carefully recorded and processed by folklorists and antiquity lovers for years. Khabarovsk artist Gennady Pavlishin breathed new life into the legends of the small peoples of the Amur region. His illustrations - decorative, woven from precise ethnographic details - created a unique and harmonious world of fairy tales of the Amur taiga.

"Taiga Tales" ,
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Many tales of the peoples of the Far East became known to readers thanks to the founder of the Far Eastern school of ethnographers, Yuri Semu, and his wife Lydia, a philologist and specialist in the languages ​​of the peoples of the Amur region and Sakhalin. For many years, the Sem family collected folklore materials and household items. Thus, their collection of Nanai wooden spoons is well known, each of which has its own ornament. It was the Nanai ornament that the famous Khabarovsk artist Gennady Pavlishin took as a basis, creating one of his most decorative and colorful books - “Mergen and His Friends,” a fairy tale once written down by Yuri and Lydia Sem.

Mergen and his friends. Nanai fairy tale ,
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The book invites the young reader into the world of Karelian fairy-tale folklore, where good always defeats evil, justice triumphs, negative characters are punished, and positive characters find love and happiness. Traditional plots of fairy tales, everyday tales, and tales about animals are presented here. All of them introduce the reader to the archaic, but understandable, and in many ways close to modern man, worldview of the Karelians. The tales were collected on the territory of Karelia in the years 1940-1960. Famous folklorists U.S. Konkka, A.S. Stepanova and E.G. Karhu translated them into Russian and processed them for a children's audience. The fairy tales were illustrated by the famous Karelian graphic artist N. I. Bryukhanov.

Karelian fairy tales ,
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The book will introduce young readers to fairy tales from the westernmost region of our country - Karelia. Through the legends that have come down to us through the centuries, children will be able to learn about the harsh land of lumberjacks and gunsmiths, its history, nature, and legends.
The book includes fairy tales: “Matti the Merry Man”, “How the Men Went to the City”, “Why the Water in the Sea is Salty”, “Grief” and others.

A fairy tale of the peoples of the north in the literary adaptation of T. Mikheeva.
Far in the north lived a Raven and a Fox. The raven ran the house, but the trickster fox did not want to work, she kept cunning and deceiving. But she was punished for her laziness and greed.
A magical fairy tale, filled with enchanting northern flavor, comes to life in the bright and picturesque images of Victoria Kirdiy.

In the Arctic - near the cold seas of the Arctic Ocean, in Siberia and the Far East - along the northwestern coast of the Pacific Ocean, indigenous peoples have long lived: Chukchi, Eskimos, Orochi, Koryaks, Mansi, Nivkhs, Nanai... And their old people told their grandchildren fairy tales: about the snow bunting, eider, guillemot, guillemot, arctic fox and wolverine. About the inhabitants of the tundra and taiga, unfamiliar to residents of other places. Simple-minded and cunning, brave and cowardly, foolish and wise... And all these qualities of the heroes of northern fairy tales were noticed and conveyed in his illustrations by the artist Evgeny Rachev.

“Raven Kutha” (artist: )

The collection includes tales about animals and fairy tales of the peoples of the North. In them, brave and kind heroes are rewarded, while unjust and cruel ones are defeated. The book teaches true friendship and the ability to appreciate what you have. Kirill Ovchinnikov’s lyrical illustrations convey the national flavor and beauty of northern nature.
Retelling by N. Hesse and Z. Zadunaiskaya.

“The Swan Girl and Other Northern Tales” (artist: Ovchinnikov K.)

The Itelmens are a small people living on the western coast of Kamchatka.
In their rich folklore, a magical character is often found - the raven Kutkh, the creator of the world and all living things, or members of his family. Tales of the ancient people about goodness and evil, about wisdom and stupidity.
The collection includes three fairy tales: “The Wingless Gosling,” “Two Sisters,” and “How the Raven Kutkh Rode on Pink Salmon.”
Retold by Mark Vatagin.

Wingless gosling. Itelmen folk tales, in Ozone

A young Karelian wanted to know what homesickness was, and left his native village to look for work. If only he knew what this would lead to! The beautiful Nasto grew up without a father, and because of the machinations of the sorceress Suoyatar, she was captured by a merman. And although the prince defeated the witch and rescued his wife Nasto from captivity, the beauty learned that there is no strength stronger than longing for one’s home. One of the most famous and beloved Karelian fairy tales was illustrated by the wonderful Karelian artist Tamara Yufa.

A brother was taking his sister to a wedding with a prince, but the evil sorceress Suoyatar jumped into their boat and tricked her into turning her sister into a black duck, and she dressed up as a bride. But everything ended well: the deception was revealed, the sorceress was punished, and the prince brought the real bride into the palace.

Black duck. Karelian fairy tale
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The book includes two fairy tales: “How the Raven and the Owl Decorated Each Other” and “Teals and the Foxes.”
The character of the first fairy tale, the raven, is hardworking and responsible. He carefully painted the owl with beautiful black spots, hoping in his heart that the owl would also make him handsome. However, the insidious and impatient owl, without thinking twice, turned the raven black from head to tail.
The hero of the second fairy tale, the fox, considered himself more cunning than anyone in the world. But the friendly teal waterfowl taught the braggart a lesson, and even bathed him in the sea.
The tales were illustrated by the wonderful artist Vadim Alekseevich Sinani.
Eskimo tales processed by G.A. Menovshchikov.

About an honest raven, a treacherous owl and a stupid fox. Eskimo tales ,

The old wolverine and her husband got ready to move to a new place and packed their things in bags. The husband left to build a boat, and his wife was sitting on the shore, waiting for him. And then a fox swims past in a boat. You can’t trust a cunning fox - everyone knows that, but Wolverine believed her and was almost left without bags of things if it weren’t for the woodpecker. This tale tells how he outsmarted the fox and what he received as a gift from the wolverines. And Vadim Sinani’s illustrations introduce the reader to the nature surrounding the Evenks and their national costumes.

Wolverine and the fox. Evenki folk tale, in Ozone

For many, many years, Eskimos have lived in the extreme northeast of our country. On holidays, all the people in the camp gather in the largest yaranga and tell each other fairy tales.
Retold by G. Snegirev and V. Glotser.

Little hunter Tagikak. Eskimo folk tales, in Ozone (artist: )

Folk tales of the mysterious, snowy and endless Yakutia are filled with amazing characters, good humor, miracles and magical transformations. How did the tip of Ermine’s tail turn black, why is winter longer and summer shorter, and how did people carry the sun in bags? Imaginative, instructive and fascinating stories, brilliantly illustrated by Lydia Ionova, will tell about this and much more, as well as about the traditions, way of life, customs and beliefs of the Yakuts.

"Yakut folk tales"

In Siberia, there are many tales and fairy tales about bygone times, when our ancestors just began to populate this harsh, but rich in minerals, fur and timber region. Our ancestors were surrounded by an unknown world full of mysteries. It was then that Honey Beard, Poceda, Golden Woman, Moryana appeared in bedtime stories (or maybe they really existed) ... and next to them were ordinary people who were not afraid of trials. The book is about them. All the tales included in it were heard by the author-compiler from her grandmother Elena Vladimirovna Zhdanova, who was born in 1906 in Siberia and lived her life there.

The book contains the best examples of the work of one of the most famous storytellers of the Arkhangelsk region - Stepan Grigorievich Pisakhov. From his tales you will learn how Arkhangelsk peasants lived, how they went to sea, fished, skated on ice floes, dried the northern lights, how bears sold milk at fairs, and how penguins came to work and walked the streets with a barrel organ. Do not believe? Read it!
“There are so many untruths and lies being said about our Arkhangelsk region that I came up with the idea of ​​saying everything as we have it,” writes the author. - The whole truth. Whatever I say, everything is true. All around us are fellow countrymen, they won’t let you lie.”
Perhaps the speech of the heroes of these fairy tales will seem unusual to you at first, but this is exactly what the inhabitants of the region used to say. And we carefully preserved this feature in the text.

Magic Pomeranian Tales continue the successful series “Magic Tales from Around the World”. In this book we turn to the long-standing wisdom of the Russian people who inhabit the harsh places in the vicinity of the White Sea. This is a two-part publication that combines literary adaptations of folk tales from two patriarchs of Russian literature - Boris Shergin and Stepan Pisakhov. Both of them were born and raised in Arkhangelsk, which is why in their tales they so wonderfully recreate the atmosphere, life and even dialectical features of the inhabitants of the region. The fairy tales became so popular that great cartoons were made based on their plots. And even those who do not know the names of the writers will certainly remember the ironic plots of the cartoons about the grumpy Perepilikha, the orange that grew in the middle of the river, and the unlucky simpleton Ivan, who decided to marry the Tsar’s daughter. The book is complemented by magnificent illustrations by Dmitry Trubin, who, being a native of the same places as Boris Shergin and Stepan Pisakhov, accurately conveyed the local flavor.

Here is a collection of amazing, original and magical fairy tales by the Pomeranian writer Boris Shergin. Shergin's fairy tales combine subtle, sparkling poetry and the extraordinary, captivating simplicity of the Russian people. Kind, funny, instructive stories told by a real master give joy not only to children, but also to adults. This is the best choice for family reading. The fairy tales were illustrated by the wonderful artist Anatoly Eliseev. More than one generation has grown up reading books with his pictures. Eliseev's bright, funny illustrations very accurately convey the wonderful atmosphere of Shergin's fairy tales.

Pomeranian tales
Shergin B.V. “Magic Ring” ,
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“How many fairy tales were told, how many epics were sung in old northern houses! Grandmothers and grandfathers showered their grandchildren with ancient verbal gold...” Boris Shergin wrote in his diary. With great respect for folklore, he collected this “gold” of the Russian North - not only capacious, sharp words and phrases, but also intonation, the rhythm of the narrator’s living voice, the manner of its performance, that is, the music of oral creativity itself. And only after this the writer created his original fairy tales - leaving the folklore plot unchanged, he subjected it to the laws of oral speech (for example, using direct appeal to the reader or incomplete sentences) and at the same time supplemented it with invented neologisms, modern details, and sparkling humor. Maybe that’s why it’s not easy to illustrate Boris Shergin. A sense of tact is required so as not to “outplay” the text itself, but to gently and unobtrusively supplement it. Just like the artist Vladimir Chaplya did, creating drawings for a collection of selected fairy tales by Boris Shergin.

Shergin B.V. “Magic Ring”,

Pomeranian tales
Shergin B.V. “Martynko and other tales”

The collection of fairy tales, ballads and fantasies of the Russian artist, poet, philosopher and spiritual devotee offered to the reader in such a volume is undertaken for the first time and gives the most complete idea of ​​this side of the work of a Russian genius unknown during his lifetime, who created his works in the first third of the 20th century in the best traditions of folk art. and literary fairy tales. They contain treasures of folk wisdom, examples of good teaching, the energy of aspiration from the past to the future - to the kingdom of universal love and prosperity.

Chestnyakov E. V. “Fairy tales, ballads, fantasies” ,

A children's (prose) version of the Karelian-Finnish epic “Kalevala” appeared in our country in 1953. It was in that year that a book was published containing a retelling of Alexandra Lyubarskaya, illustrated by Nikolai Kochergin.
For both the author of the text and the author of the illustrations, “Kalevala” became a topic to which they turned for several decades, reworking and expanding the initial versions. The writer continued to polish the phrases, and the artist made more and more new sheets, striving for the utmost imagery of the drawing. As a result, N. Kochergin created two independent versions of the book: black and white and color. The first is considered stronger, more in line with the northern theme of the epic, more poignant, or something. However, the black and white version is actually also in color. It seems that it turned out to be black and white because the printers of that time simply could not reproduce the complex shades invented by the artist.
The publishing house "NIGMA" returns to readers the black and white "Kalevala" in the form in which Nikolai Kochergin created it. At the same time, we considered it possible to include in the book full-page color illustrations made by the master for a later version of Kalevala.
Karelo-Finnish epic retold for children by Alexandra Lyubarskaya.
About a hundred monochrome and color illustrations by Nikolai Kochergin.

Kalevala. Karelo-Finnish epic ,
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A monument of world literature - the Karelian-Finnish folk epic "Kalevala" is given in the classic translation by Leonid Belsky, in the last edition of the translator during his lifetime (1915). In terms of its artistic merits, this translation still remains unsurpassed.
The book is illustrated with works of easel graphics by Karelian artist Tamara Yufa. For more than half a century, “Kalevala” has remained the main creative theme of the artist; it was the “Kalevala” sheets that brought her fame and recognition. The works were written in different years and are stored mainly in art museums and private collections around the world. Created based on the epic, these works were never published along with the text of the epic; most were not published at all.
The release of the book is timed to coincide with the 80th anniversary of Tamara Yufa.

Ukrainian and Belarusian folk tales

Fairy tales, carefully passed down from generation to generation, are an inescapable wealth of oral folk art. These tales - funny and kind, wise and instructive - are full of miracles, magic and invention. Everything about them is unusual, even the animals and birds in fairy tales
think and act like people, fully demonstrating their inherent qualities and character traits. This collection includes Ukrainian and Belarusian folk tales, the rich, rich language of which has fascinated more than one generation of readers. The vivid images of these works are recreated in magnificent illustrations by the Russian artist Evgeny Mikhailovich Rachev, who managed to expressively and accurately convey the features of the national color and the richness of the characters of fairy-tale characters.
Compiled by: Gribova L.

Pan Kotofey. Ukrainian and Belarusian folk tales ,
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Not only well-known heroes - the hare, the wolf and the fox, the cat and the dog - live on the pages of Ukrainian folk tales. Here, a club, a bast and an acorn help save a chicken from the clutches of a ferret thief, a pie runs away from the house in the heat of the heat, and a straw bull easily catches forest animals with its tar barrel. One of the best Soviet illustrators, Evgeny Rachev, created lively and expressive images of animals and, of course, dressed them in bright national costumes: straw bril hats and wreaths of ribbons, high lamb kuchma hats and wide trousers, belted with sashes...

The collection includes both well-known and little-known Ukrainian folk tales - about animals, magic and everyday ones. Fairy tales are distinguished by a variety of plots, vivid images, and expressive speech. Any of them is interesting to read, be it a magical story or one close to real life.
The real decoration of the collection are the drawings of the most talented graphic artist Evgeniy Rachev, who are publishing Ukrainian fairy tales in such a complete form for the first time. The drawings were created in the so-called early period of the artist’s work; they were last published in 1955.
Translated from Ukrainian and retold by G. Petnikov, A. Nechaev, L. Gribova, V. Turkov.

Ukrainian folk tales
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Unusual and original Belarusian fairy tales, retold by Margarita Dolotseva, combine folk wisdom and unobtrusive instructiveness. And they also laugh cheerfully at greed and stupidity, no matter who it comes from: from a cunning fox who wanted to deceive the black grouse, or from a lazy bear who entered into a battle with small mosquitoes.
The book was illustrated by artist Mikhail Karpenko. His bright and funny drawings are made with special love for children and, following the fairy tale, teach them to distinguish between good and evil, find a way out of various situations, and also develop the child’s imagination and logical thinking.

Fox and black grouse. Belarusian folk tales ,

Oh, and Martin is lazy! Everything is lying on the stove, he won’t work, but Maxim the Cat brings him food. The hut burned down, and then the stove collapsed... Martin didn’t think long about what he should do, and decided to get married so that his rich wife would build him a new house. And he chose the princess herself as his bride!
And the cat Maxim went to marry his master, Mr. Martin, nicknamed Glinsky-Pepelinsky, to woo the Tsar’s daughter...
The Belarusian folk tale is the sister of the famous work of the French writer Charles Perrault “Puss in Boots”. It is full of good humor, and Grigory Petnikov’s translation will make little readers smile more than once. Bright, imaginative illustrations by Mikhail Karpenko will introduce children to a magical helper cat who, thanks to his intelligence and ingenuity, will find a way out of any difficulties and even defeat the Serpent Gorynych!

Cat Maxim. Belarusian folk tale ,
Artist: Karpenko Mikhail Mikhailovich

The Mitten is one of the most famous Ukrainian folk tales. And thanks to the drawings of the wonderful illustrator Evgeny Mikhailovich Rachev, it will become a real gift for the little reader.

Mitten. Ukrainian fairy tale ,
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The plot of the Ukrainian folk tale “Rukavichka” is similar to the plot of the Russian folk tale “Teremok”: the grandfather was going to the forest to get firewood; I walked and walked and didn’t notice how I lost my mitten. A mouse was running, saw a mitten and decided to live in it. Then a frog jumped up, a bunny came running, followed by a fox, after the fox a wolf, a boar, a bear... As always happens in a fairy tale, there was enough space for everyone!..
The book is illustrated by the famous artist Evgeny Rachev. Drawings of the first and most famous version are presented - the one that today is kept in drawings in art museums around the world. At the same time, one drawing is published for the first time.

A funny tale about the Straw Bull, who turned out to be more cunning than the Bear, the Wolf and the Fox.
The illustrations were made by artist Peter Repkin.

Straw goby - resin barrel. Ukrainian fairy tale ,
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“Spikelet” is an old Ukrainian fairy tale about a hardworking cockerel and lazy mice Krut and Vert, which will teach important life lessons.
The book is illustrated by the outstanding Russian artist Yuri Alekseevich Vasnetsov. The works of this recognized master have long been included in the golden fund of children's literature.

Spikelet. Ukrainian fairy tale ,
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Fairy tales from different countries and peoples, at first glance, are very similar, they are all filled with miracles and teach goodness, but each contains centuries-old wisdom, giving it a unique national flavor.
The amazing drawings of the talented Minsk artist Pavel Tatarnikov open up for readers the bright, magical world of Belarusian fairy tales - a world in which dragons and brave knights, kind wizards and treacherous witches, extraordinary animals and enchanted princesses live.
For his work on the collection “Tsareuna in the Underworld” in 2001, Tatarnikov was awarded the “Golden Apple” - the highest award of the International Biennale of Illustration in Bratislava. This book is published in Russian for the first time. It will be a real gift for connoisseurs of book graphics, because the artist created many new wonderful drawings especially for the Russian edition.
Retelling by V. Yagovdik.

Princess in the Underworld. Belarusian folk tales ,

Why a badger and a fox live in holes, how Vasil overcame a terrible, terrible snake, where the bear beast came from and how to get rid of annoying guests - under the cover of this book are collected Belarusian folk tales on a variety of subjects: magical, everyday and about animals. Funny and ironic, wise and instructive, these stories have much in common with Russian fairy tales, but are also quite different from them.
Illustrations by Anatoly Volkov, one of the most famous Belarusian artists of the last century, help reveal the character of each fairy tale.

Tales of the peoples of the Caucasus

Avars are one of the many peoples in the North Caucasus. Their rich artistic traditions have developed over many centuries. Each Avar village has its own folklore heritage, bright and unique tales and legends. You will read some of them in the collection “The Magic Garden”.
In the retelling of M.A. Bulatova, M.G. Vatagin, A. Kalinina.

Magic garden. Avar folk tales and , in Ozone

The collection of Armenian folk tales translated by Irina Petrovna Tokmakova includes magical and everyday stories. The plot motifs of many of them are familiar to us from childhood: an invisible worker gathers food for the table and faithfully serves his master, stepsisters end up with mysterious sorcerers, and a brave horseman wins the hand of a beauty. Here deception always turns into punishment, and stupidity is punished so that a person gains wisdom: a lazy princess becomes hard-working thanks to her resourceful peasant husband, and the lords of fish and animals help kind-hearted young men achieve their desired goal. The book was illustrated by Grigor Sepukhovich Khanjyan, a famous Armenian painter and book illustrator.

Since ancient times, Dagestan has been famous for its multinationality. More than 14 indigenous peoples live on its territory, one of which is the Laki. Lakis traveled a lot around the world and wrote a lot of fairy tales. About friendship and loyalty, about courage and justice, about the fact that good always triumphs over evil. This book introduces young readers to rich folklore, filled with magic and wisdom of the ancient people. The collection includes fairy tales: “Sulmalaguz”, “Brave Donkey”, “Grandmother and the Goat” and “Nunnuley”.
Illustrations by Pyotr Repkin, a member of the Union of Artists of the USSR, Honored Artist of Russia, recreate the bright and unique world of Dagestan with its morals and customs.

Mazaev K. D. “Tales of the peoples of Dagestan” ,
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A Georgian folk tale about how the Grasshopper, trying to save his friend Ant, goes on a dangerous journey, where he meets various inhabitants of a mountain village. This simple but wise story teaches us patience and the desire to help each other. After all, true friendship will help you cope with any trouble.
For preschool children.
The book features illustrations by Grigory Filippovsky.

Grasshopper and Ant. Georgian folk tale ,

“The Big Book of Georgian Fairy Tales and Legends” is a unique book of wisdom that reflects ideas about the world order, traditions, and way of life of the Georgian people. The illustrations by perhaps the most famous Georgian artist of our time, Nino Chakvetadze, give the collection a special charm. Her illustrations are so cute, warm, cozy, sometimes naive, as if they came from childhood. The artist herself speaks about her works like this: “We all came out of childhood, and this fact makes me draw again and again what left a mark on my soul...”.

The collection of Tatar folk tales “The White Snake” is the first book in the “Tales of the Great Silk Road” series. Heroes of mischievous, wise and kind Tatar fairy tales will open the colorful world of folk art, costumes, traditions and customs of the Tatars, show the geography of the Great Silk Road and modern Tatarstan, teach them to distinguish good from evil, ingenuity from cunning and deception. The book is intended for family reading and will appeal to both children and adults.
Arranged by Alena Karimova

“Red Dog” is a collection of Altai folk tales from the “Tales of the Great Silk Road” series. Together with fairy-tale heroes, young readers will walk along that part of the Great Silk Road that once crossed the lands of the modern Altai Republic, look into the home of Kaichi-Mergen, admire the pristine beauty of Altai nature, and find out what kind of Altaians they are - open, freedom-loving, honest people. This imaginary journey will be fun for the whole family.
Arranged by Irina Bogatyreva.

A collection of Tatar folk tales “Three Doves” from the “Tales of the Great Silk Road” series - a book colored with sunny illustrations by Maryam Saderdinova and magical maps of the Great Silk Road by artists Dmitry Makhashvili and Yulia Panipartova. The publication will tell children and adults about the history and geography of the Tatars, their traditions and customs, language and folk costumes.

White snake. Tatar folk tales
Ginger dog. Altai folk tales(artist: )
Three pigeons . Tatar folk tales

The book “The Sly Fox” includes eight colorful Chuvash folk tales, carefully collected by the folk writer of Chuvashia Mishshi Yukhma. Each of them contains the originality and spirit of the Chuvash people. The tales were literary translated by Alena Karimova and illustrated by Anastasia Malova. On the endpapers of the collection, readers will also find fascinating maps of the Great Silk Road and that part of it that passed through the territory of modern Chuvashia, the authors of which are Dmitry Makhashvili and Yulia Panipartova.

The book “The Magic Rug” includes five fairy tales, which are wonderful examples of folk art of Uzbekistan: a heroic tale, a tale about animals, a magical, lyrical, and philosophical tale. Each of them contains the originality and spirit of the East: they vividly and figuratively reflect eastern customs, traditions, and way of life. Fairy tales in the literary adaptation of Alena Karimova are decorated with illustrations by Olga Monina.

Sly Fox. Chuvash folk tales
Magic rug. Uzbek folk tales

Miracle in feathers. Mordovian fairy tales (artist: )

Songs of the taiga. Tuvan fairy tales

The collection includes the best works of oral folk art, polished over centuries. The book consists of three sections. Simple, straightforward tales about animals contain deep, vital messages. Fairy tales, which contain both folk philosophy and poetry, are interesting and instructive. In everyday fairy tales, human stinginess, stupidity and laziness are ridiculed. The main character of many fairy tales is a simple person.

Philologists from Crimea - Nuria Emirsuinova, Fera Seferova, Nariye Seidametova and Maye Abdulganieva - worked on the creation of a collection of Crimean Tatar fairy tales. Maryam Saderdinova’s colorful illustrations conveyed the beauty of the ornaments and costumes of the Crimean Tatars and the recognizable landscapes of Crimea. On a journey through the magical maps of Crimea and the Great Silk Road, readers will meet the heroes of Crimean Tatar fairy tales - an evil padishah, a cunning vizier, a brave warrior, a moon-faced beautiful princess.

Wonderful charm. Crimean Tatar folk tales

In the wonderful Mordovian fairy tales, adapted by Alena Karimova, you will meet wonderful characters - the smart and beautiful Dubolgo Pichai, the smart and brave young man Rav Zholdyamo, and the Miracle in Feathers will turn out to be a sweet, kind and resourceful girl. Many amazing stories happen to them. They meet the water deity Vedyava and the mistress of the forest Viryava, the mysterious creature Kuygorozh and even bees the size of a horse... Some images will remind you of fairy tales of other peoples, but others will amaze you with their bright, whimsical imagination.

Original Moksha and Erzya fairy tales are a real repository of Mordovian folklore traditions. Very different, with their own special mythology and poetics, sometimes close to Russian folk tales, these stories reflect the spirit of the time in which they were created.
The collection includes fairy tales about animals, magical-fantasy and everyday ones, which are accompanied by graphic illustrations by Pavel Alekseev.

Goat with curly legs. Tajik folk tale ,
Shah-Rooster. Tatar folk tale ,
Artist:

Tajik folk tales invite readers to be transported to hot Central Asia, known for its centuries-old history and carefully preserved folklore traditions. Camel caravans walk through the pages of this collection, here a wise and insightful girl gives a lesson to a boastful and lazy rich man, strong Pakhlavons fight giant devas, and a cruel padishah and a greedy fox get what they deserve. Tajik fairy tales are not only fascinating, but also wise stories that teach to value kindness and devotion, truthfulness, curiosity and cheerfulness.

"Tajik folk tales"
Artist: Nikolaev Yuri Filippovich

The Dungans are a large people who have long lived in China, Kazakhstan and Kyrgyzstan. The folklore of the Dungan people is a real treasury of fairy tales.
The book is illustrated by the artist Andrei Andreevich Brey.
Retold by Mark Germanovich Vatagin.

Who's afraid of hares? Dungan tales ,
Artist:

The dog was looking for a strong friend. But the bunny is afraid of the wolf, the wolf is afraid of the bear, and the bear is afraid of man. Then the man and the dog began to become friends, and together they are now not afraid of anyone! A short Mordovian fairy tale illustrated by Mikhail Karpenko will amuse and surprise the youngest readers.

Like a dog looking for a friend. Mordovian fairy tale, in Ozone
Artist: Karpenko Mikhail Mikhailovich

Once upon a time a dog lived alone. And so she wanted to find herself a reliable, faithful, brave friend. At first she tried to make friends with the hare, but one night a dog barked at a rustle, and the hare got scared and said that he was afraid of wolves who might come running when they barked. Then the dog decided to make friends with the wolf, thinking that he was certainly not afraid of anyone. But it turned out that the wolf was terrified of the bear. The dog went to the bear, and the bear also turned out to be a coward: he was afraid that the man would skin him. The dog decided to go to the man. He allowed her to stay, fed her, built a warm kennel so that she would not freeze in the cold and would not get wet in the rain. And the dog began to guard the man, barking at strangers, and the man did not scold her for this. So the dog began to live with the man.
The fairy tale “How a dog was looking for a friend” is very popular among different peoples and has many different interpretations. Dmitry Gorlov illustrated the Mordovian version of the tale. The artist’s drawings are beautiful: his animals speak, get scared, run away, etc., that is, they behave as they should in fairy tales. At the same time, they are endowed with all natural plastic features and look just like the real thing.

The world of Russian folklore is a magical storehouse of folk wisdom and beauty of speech. Russian folk tales, created many centuries ago, still do not lose their relevance. They teach us kindness and responsiveness, ingenuity and courage. Retold by A. Nechaev.

A happy family. Russian folk tales, in Ozone

Bashkirs are the Turkic indigenous people of the Southern Urals, Cis-Urals and Trans-Urals. Their tales glorify the worldly wisdom of the Bashkir people, ancient customs and the beauty of the nature of the Urals.
Retold by Anton Ivanov.

Mill at the Seven Lakes. Bashkir folk tales, in Ozone (artist: )

The book contains the best examples of the fabulous creativity of the ancient people - the Bashkirs, settled mainly in the Urals and on the southern slopes of the Ural Mountains. Who are these people? How did they live and live? Through the tales of this people, young readers will be able to learn their legends, traditions and get acquainted with the nature of the region. For example, find out how the largest lake in Bashkortostan, Aslykul, came into being.
The book contains the best examples of fairy-tale creativity of the Bashkirs: “Aminbek”, “Golden Hands”, “The Tale of Aslykul” and others.

There is a door in the meadow - all pine, planed, right in the middle of the green grass. And behind it... If you open this door - just open the book - miracles begin. Baba Yaga's hut stands right on a pine tree, a greedy man holds the sun with his grasp, and a lost girl riding an elk runs away from a bear - she doesn't want to be a nanny for the bear cub. And for the artist Nikolai Popov, this “world behind the door” is not so much ethnographic (Komi-Permyak fairy tales are illustrated) or narrative, but rather picturesque: with its own space and time, light and shadow, with its own special coloring - restrained and muted, as if unsteady - truly magical.
Retelling by Lev Kuzmin.

Door in the meadow. Komi-Permyak tales, in Ozone
Artist:

Fascinating fairy tales will teach children to see the beauty and magic in what surrounds them, to appreciate and love nature. The collection includes the following stories: “The Gift”, “Forest Robbers” and “The Crane Son”.
Expressive and bright illustrations by the wonderful artist Pyotr Petrovich Repkin will undoubtedly appeal to readers.

Batulla R. Son-crane. Tatar tales, in Ozone
Artist:

The kind and wise fairy tales of Zuleikha Mingazova fascinate with their novelty of plot and bright national flavor. They successfully combine the modernity of what is happening and ancient knowledge about the world, nature, magical creatures from legends and myths.

Long, like the beards of elders, unhurried, like camels in the Karakum desert, filled with oriental wisdom and mischievous cunning, Turkmen fairy tales enchant and are remembered for a long time. Brave and smart beyond his years and height (he barely reaches half a camel's ear), the boy Yarty-Gulok became a good son to his parents and a protector of ordinary people from greedy and stupid bais and khans.
For the design of the book, artist Vasily Vlasov chose a style that matches the text - his illustrations were both thoughtful and mischievous.
Literary processing by A. Alexandrova and M. Tuberovsky.

The book will introduce young readers to the tales of the Kalmyks, a people living in the very southeast of our country. Through the legends that have come down to us through the centuries, children will be able to learn about the history and nature of Kalmykia, and get acquainted with the traditions of the people living there. The book includes fairy tales: “Brave Mazan”, “The Left Eye of the Khan”, “The Stingy Rich Man and the Foreigner”, “The Unawarded Reward” and others.

“A good fairy tale, a glorious tale begins, begins” - this is how the storyteller, whom our ancestors loved to listen to, began his story. The compilers of this book, N. Hesse and Z. Zadunayskaya, selected rare, little-known tales of eighteen Slavic peoples to the reader. You will even find Kashubian, Lusatian, Masurian and Moravian tales here. Each has its own national flavor, but they all teach goodness and justice, stand on the side of honest people, and ridicule the greedy and deceivers.
The book is complemented by inventive, ironic illustrations by Vasily Vlasov, an outstanding representative of the Leningrad school of graphics.
Retelling for children by N. Hesse and Z. Zadunaiskaya.

“Neither far nor close, neither high nor low. Tales of the Slavs", in Ozone
Artist:

This publication presents a Latvian folk tale as retold by the poet, translator, and J. Rainis Prize laureate Lyudmila Viktorovna Kopylova. This kind and wise tale about brotherly love and devotion is sure to please both adults and children. The book is illustrated by Honored Artist of the RSFSR Nikolai Mikhailovich Kochergin.

White deer. Latvian folk tale, in Ozone
Artist:

The book includes fairy tales by Maria Fedotova, one of the few authors who writes in the Even language these days, a true expert on Even folklore. Her tales will introduce young readers to the traditions of one of the small peoples of Yakutia - the Evens. The tales are distinguished by colorful images and genuine humor, so necessary for life in the harsh conditions of the North.

Even tales of the wise Nulgynet

Amazing Tuvan tales tell about very ancient times, when everything on earth was just beginning, when giant heroes and their huge heroic horses lived. Bogatyrs perform unprecedented feats, wise girls solve the most ingenious riddles and are able to lead an army, animals and birds often help people.

Songs of the taiga. Tuvan folk tales

The fairy tale will introduce young readers to the folklore of Khakassia and tell about people, spirits and magical inhabitants of the left bank of the Yenisei.

"Tales of the Peoples of Russia"

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THE TALE IS A LIE, BUT IT HAS A HINT

Tell me the peoples of Russia... How many peoples are there in Russia?

More than 80 peoples and nationalities live in the Russian Federation alone, the largest of our union republics.

And each nation has its own history, its own customs, its own ancient culture. Before the Great October Revolution, which united all the peoples of our country into a single family, they stood at very different stages of development. Some could be proud of centuries-old writing, masterpieces of world literature, while others - on the distant outskirts of Russia - did not even have a written language. But everyone had folklore - oral folk art. All nations have had fairy tales - they were loved at all times, they are still loved today, both adults and children love them equally.

You can learn a lot from fairy tales. They reflect the spirit of the people, their way of life, their national character. The plot can be as fantastic as you like, but the details of the story are always real, accurate, corresponding to the land where the fairy tale lives, corresponding to the culture of the people - its creator. Historians and ethnographers are able to use folklore materials - fairy tales, epics - to restore pictures of distant times.

Let us pay attention, for example, to how fairy tales are “populated.” Let's compare the Evenk "Orphan Boy" and the Chechen "Great Sheikhs". In a northern fairy tale, an orphan boy is pursued by cannibals, and he, taking the forms of various animals, runs away. What a long flight through endless and deserted spaces! And vice versa, how densely populated is the southern land, what a huge number of people are present in the satirical tale about the “great” sheikhs!

Let's take such a detail as food. In fairy tales familiar to us (Russian and Western), it goes without saying that the heroes eat; this is not specifically mentioned, except in cases where food is something significant in the plot (a royal feast, for example, or a heroic meal, when in one sitting the bull is eaten). Ivan Tsarevich wanders the earth, accomplishes his feats, and the storyteller cares little about what he eats. Fairy tales of the peoples of the North reflect a different way of life. There, man lived surrounded by harsh nature, in a constant struggle for existence. Hunting was fraught with mortal risk, and people's lives depended on a successful hunt. That is why the Eskimo storyteller does not forget about food. “When we ate, we went to bed. We woke up and started eating again.” Another fairy tale says it very succinctly: “They ate. Lived."

The most ancient fairy tales capture the mythological ideas of peoples about the origin and structure of the world. All peoples had a belief in the afterlife, in the immortality of the soul. According to the ideas of most peoples, the world was divided into the upper world, in which gods and celestial beings live, the middle world - the earth where people live, and the lower world, underground (as well as underwater). All these worlds were not significantly different from each other. Thus, the celestials in the Tuvan fairy tale live in yurts and drink tea with flat cakes. Ivan Tsarevich, having found himself in the underwater world, must do peasant work: uproot stumps, raise virgin soil, grow grain... Man created gods in his own image and likeness, and created other worlds in the image and likeness of his world. And he populated his world with fantastic creatures who personified the incomprehensible, often hostile forces of nature. Evil spirits exist in fairy tales of all nations; they are usually very scary in appearance, human-like, but their human appearance is distorted. This is, for example, a giant covered with wool, possessing enormous strength, like the garbash in the Ingush fairy tale or the one-eyed mus in the Kalmyk fairy tale. Folk fantasy strives to make them even more terrible and incomprehensible, and here we have Barusi from the Nganasan fairy tale: he is one-legged, one-armed, one-eyed. Abaasy from a Yakut fairy tale is eight-legged, and his only twisted arm grows from his chest. Even more terrible is Guin-padchakh from a Chechen fairy tale: this goblin has a wide ax sticking out of his chest, and the goblin leans with his chest on a man sleeping in the forest. But no matter how terrible and strong the various monsters, giants, goblins may be, the man in the fairy tale always defeats them with his intelligence, ingenuity, and, in addition, the hero is helped by animals who pay him good for good.

Scientists have long noticed the similarity of plots in fairy tales of different peoples living very far from each other. This is explained not only by mutual influence, but also by the similar historical development of different peoples. The main fairy tale plots are international: the hero’s struggle with a multi-headed serpent (dragon), a boy’s meeting with an ogre giant, a stepmother and stepdaughter (Cinderella), but the fairy tales themselves are always national, filled with numerous details of the life of the people, the land where the fairy tale lives. Let's compare two fairy tales in this book: the Kalmyk one - “The Great Khan and His Precious Friends” and the Oroch one - “The Beauty and the Evil Pegeliktu”. At first glance, how little they have in common! But if we ignore the details, it turns out that the basis is the same plot: the hero expels his slandered wife. We are interested not so much in this frequently occurring plot, but in the details that recreate the picture of the life of the people.

So far we have talked about the cognitive side of the fairy tale, about the ethnographic information that it contains. But this is only a small part of its payload; the main thing in it is its ideological content: high morality, patriotism, humanism, kindness. Fairy tales glorify loyalty and honesty, valor, perseverance, heroism, and the desire to serve the people. The hero of a fairy tale is always kind and generous. He not only saves animals, which then help him defeat the evil force, he is even able to win over the evil force to himself, as Ivan Tsarevich does when meeting Baba Yaga (“Vasilisa the Wise and the Sea Tsar”). The sympathy of the people is always on the side of the disadvantaged. The hero of a fairy tale is usually a poor man, a person oppressed by others: an orphan boy, a stepdaughter, a younger brother who is considered a fool by his elders. The people believe in the victory of good, and their heroes always emerge victorious in a duel with evil forces, they defeat the oppressors, and sometimes become kings and khans themselves. So naively the people embodied the age-old dream of justice.

The hero of a fairy tale can be a king, but if he is not the hero’s opponent, then he is a conditional, fairy-tale king who has nothing in common with the real autocrat. Most often this is a tribute to the fairy tale tradition. A typical Balkar proverb is: “There is no fairy tale without a khan.” At the same time, the history of the Balkar people does not know khans.

The myth of the “Russian” people would not be valid if Pushkin had not succeeded as a poet. A poet who twisted Iranian fairy tales and fairy tales of the Brothers Grimm into a new, “Russian” manner. It is extremely difficult to come up with a history of a people who do not even have their own epic. More precisely, how can I put it more correctly: it is in no way possible to prove the Moscow myth about the “Russian” nation, the thousand-year history of the Third Rome, without laying under it a basis - a foundation that serves as folk legends and fairy tales all over the world.

A little history...

The starting point, the beginning of Muscovy, can and should be called 1439. It was this year that the Moscow impostor Vasily the Dark took his country forever into the power of the Darkness of Ignorance and Obscurantism, refusing to follow the same path with the entire Christian world. Vasily not only left the path of progress, but also laid the foundation for the construction of a new myth: the ideology of “Moscow - the Third Rome” - the kingdom of truly faithful believers - “Russians”, who 200 years later were renamed “Orthodox”.

The myth of “Mosca” - a city-mosque, but at the same time, no matter how surprising it may seem, the city of the stronghold of the Christian world of the “Third Rome”, was initially based on the interpretation of the Old Testament prophecies of Ezekiel created by the monk Philotheus about the Third Roman Empire, which was embodied in Mosca - Moscow. It should be noted that Philotheus was not driven by bad intentions; he was just trying to stop the bloodshed perpetrated by the Moscow despot Ivan III with his work. He was sure that with his interpretation he could stop the Moscow satrap, motivating him with the fact that he should not destroy Christians, but become their defender. And I must say, from a certain point of view, Philotheus achieved success; his doctrine became the basis of the “Moscow - Third Rome” ideology, the goal of which is world domination.

Filofey’s idea permeates the entire essence of Moscow’s policy, but, it must be admitted, in its modern form it appeared before us only after the end of the war, nicknamed “Patriotic”. Only then did they begin to actively modify and strengthen it with special meaning. But, as it turned out, there was practically nothing to strengthen. Muscovy in the 19th century never spoke a common language. Turkic words and phrases still dominated in everyday life among ordinary Muscovites, over Ukrainian - Russian - words, which became the basis of the state remake - the Russian language.

The remake - the imperial Muscovite-Terrior-Mei-Russian language - had to be legalized, systematized and popularized. How could it be popularized among the masses if there was no main tool of popularization that they understood - fairy tales, and indeed any worthwhile entertaining literature - fiction.

It was precisely with the goal of strengthening the myth of the ancient “Russian” people that a state program was launched to stimulate the creation of literary works in the still unpopular Russian language. Particular attention was paid to fairy tales. Especially fairy tales written not in prose, but in poetry, largely because this form was better remembered and disseminated. One of the most significant figures in this field was the great Moscow poet, not a small part of the Tatar - Alexander Sergeevich Pushkin.

Context

Myths of the “Third Rome”: nomadic Rus'

Observer 09/15/2017

The insanity is growing stronger: Russia or Muscovy? (Weekly 2000)

Weekly 2000 02/23/2016

Muscovy was never Russian

Observer 10/13/2017

Who surrendered Rus' to Batu?

Observer 12/05/2017 In his article “On the insignificance of Russian literature,” dating back to 1834, fully confirming my words, Pushkin wrote: “The clergy, spared by the amazing ingenuity of the Tatars, alone - for two dark centuries - nourished the pale sparks of Byzantine education. In the silence of the monasteries, the monks kept their continuous chronicle. The bishops in their messages talked with princes and boyars, comforting hearts in difficult times of temptation and hopelessness. But the inner life of the enslaved people did not develop. The Tatars were not like the Moors. Having conquered Russia, they did not give it either algebra or Aristotle. The overthrow of the yoke, disputes between the grand duchy and appanages, autocracy against the liberties of cities, autocracy against the boyars, and conquest against national identity were not conducive to the free development of education. Europe was flooded with an incredible variety of poems, legends, satires, romances, mysteries, etc., but our ancient archives and life books, except for chronicles, provide almost no food for the curiosity of researchers. Several fairy tales and songs, constantly updated by oral tradition, have preserved the half-erased features of the nationality, and “The Tale of Igor’s Campaign” (in which at least 45 Turkisms were counted - author's note) rises as a solitary monument in the desert of our ancient literature.”

If we forget that ancient Russian literature, the essence is Ukrainian, and that the Tatar yoke is also a big Moscow myth, then what remains in the bottom line? The living, organic culture of the same Rus', Ukraine, had at least a few literary sources represented. Muscovy was dumb. There were no epics, no epics, no fairy tales, tales. It was these that Pushkin urgently needed to create!

What were “Russian” fairy tales like before Pushkin?

Actually, for Pushkin to come to a completely empty place, it’s not like that. At that time, the Moscow propaganda machine had already published, or more accurately, distorted, a number of foreign epics in its own way. One of these epics can be considered the work “The Tale of the Valiant Knight Bova Gvidonovich,” which appeared in Muscovy in the 16th century. As Wikipedia testifies: “The story is an analogue of the medieval French novel about the exploits of the knight Bovo d'Anton, also known since the 16th century in popular Italian editions of poetic and prose works. The oldest version of the French novel that has survived to this day is “Bev from Anton “, dating from the first half of the 13th century, written in the Anglo-Norman dialect.”

Here is a short excerpt describing the storyline of the work: “The tale of the valiant knight Bova Gvidonovich, who, having fled from home from his evil mother Militrisa Kirbityevna and stepfather King Dodon, ends up with King Zenziviy Andronovich and falls in love with his daughter Druzhevna. In her honor, he performs miracles of courage, defeating one entire army of contenders for Druzhevna’s hand - kings Markobrun and Lukoper Saltanovich.” It is noteworthy that the names used in this work, published in Italian, were subsequently actively used by Pushkin. Bova corresponds to Italian. Buova, Guidon - Duke Guido d'Antoni, Bova's uncle Simbalda - Sinebaldo, Dodon - Duodo di Maganza, Druzhevna - Drusiniana. What is also very important, although this takes our investigation aside. The main thread of the narrative necessarily runs through the theme of religion, constantly pointing to the orthodoxy (Orthodoxy) of the protagonist, which is largely borrowed from the legend of the torment of St. George.

The next equally important work classified as “Russian” fairy tales is “The Tale of Eruslan Lazarevich.” Let’s not go far and turn to the same Wikipedia to obtain the information we are interested in: “The name of Eruslan Lazarevich and some plots (the search for the heroic horse Arash - cf. Rakhsh, the battle of Eruslan with his son) go back to the Iranian epic about Rustam (Shakhname “). The motifs of the Iranian epic were borrowed through Turkic media: Arslan aka Ruslan (“lion”) is the Turkic nickname of Rustam, Eruslan’s father Zalazar is Rustam’s father Zal-zar.” In other words, we see two striking examples of borrowing the epics of the West and the East, rewritten with only one purpose - to strengthen the future myth of a single “Russian” people.

Pushkin's contribution to the proof of the myth

Pushkin's role in the development of Russia is quite modest; he is considered only as the founder of the modern Russian literary language. What contributed to the choice of this direction? In many ways, the activity of the autocracy is aimed at the search and formation of the national idea of ​​Russia, which even today cannot be formulated at the official state level. However, the propaganda slogan of Pushkin’s time was best formulated by Count Uvarov, and it sounded like this: “Autocracy, Orthodoxy, nationality.” In essence, it was a decoding of the imperial flag of Russia, where: at the core: AkKhan is the White Tsar, above him, in gold, is Life - God, and the description of the “Russian world” ends with the mythical “Russian” people lying on the outskirts of it. At the same time, it should be noted that the colors of the imperial flag of Russia are a kind of tracing of the colors of the Palaiologos family - the last emperors of Byzantium, with whom the Moscow impostors attribute kinship to themselves.

But let's return to Pushkin! So, the activity of not only the great poet, but also many others, writers, historians and other fabulists, was aimed at the formation of the myth about that very “single nationality”. In many ways, they invented a new fairy-tale world, openly mixing the original Moscow - Turkic epic and history, with the history and epic of Rus'. Pushkin began compiling Turkic folk tales and epics with tales of Rus', abundantly adding storylines of the Brothers Grimm and other popular European fairy tales. Thanks to which, in many ways, the myth of the “Russian” nationality arose.

Pushkin wrote his first work, which did not receive wide publicity, based on the above-mentioned “Russian” fairy tale, the basis for which, as you remember, was a French chivalric romance. Pushkin took names from a fairy tale that was then popular in Muscovy in his “Bova”. Bova himself, as well as Dodon, Militrisa and Polkan. But he got a little confused with the storyline, trying to introduce an overwhelming amount of allegories into it. Why, most likely, he never finished his fairy tale.

Here is one of the passages in which Pushkin tried to make the prototype of Dodon, the Emperor of France, Napoleon. “Have you heard, good people, about the king that for twenty whole years he did not take off his weapons, did not dismount from his zealous horse, flew everywhere in victory, drowned the baptized world in blood, did not spare even the unbaptized, and was cast into insignificance by Alexander, the formidable angel , He spends his life in humiliation And, forgotten by everyone, is now called Emperor of Elba: That’s what King Dodon was like”...

The plot of the first great fairy tale written by Pushkin is much more intricate, meaningful and ideological. The fairy tale is called Ruslan and Lyudmila. Ruslan is a popular Turkic name meaning “Lion”, used by Pushkin for a number of reasons: firstly, it was in tune with Russia, and secondly, it acted as a kind of bridge to the Turkic roots of Muscovy. With Lyudmila everything is much more complicated. It seems to be a Slavic name, but in fact it was first used by the poet Vasily Zhukovsky. He named it one of his ballads, which he wrote in 1808.

From the first lines, Pushkin sends the reader into the fairy-tale world of the Rus' he invented. Rus', in which he found a place and Lukomorye - the mythical ancestral home of the Ugrians, one of the nationalities that has inhabited Muscovy since ancient times. Pushkin not only creates a new “Russian” world, but also, without much hesitation, populates it with characters from all the fairy tales he heard: French, Ukrainian, Finnish, Turkic, as if deliberately preparing for himself a work plan for the implementation of the myth. Here you have the Celtic-Russian oak and the Finnish Baba Yaga and the Turkic Koschey.

The fairy tale invented by Pushkin is in many ways a romanticization of the “History of the Russian State” by another no less significant builder of the Third Rome, also a Tatar, Karamzin. “With friends, in the high gridna Vladimir the sun feasted; He married off his younger daughter to the brave prince Ruslan.” Three of his rivals, contenders for Lyudmila’s hand, are sitting at the table with Ruslan: “One is Rogdai, a brave warrior, who with his sword pushed the boundaries of the rich fields of Kyiv; The other is Farlaf, an arrogant screamer, not defeated by anyone at feasts, but a humble warrior among swords; The last, full of passionate thought, the Young Khazar Khan Ratmir”...

I cannot help but note that the plot of Pushkin’s fairy tale has something in common with the legend about the choice of religion by the Kiev prince Vladimir: Ruslan (Pushkin passes off this name as an original “Russian”) is the Russian faith, Farlaf (a Swedish name, found in one of the Oleg's warriors) - represents Rome, Rogdai - Islam. The Khazar prince with the only typical Slavic name Ratmir (again to the question of mixing concepts) - Judaism. The prince, of course, gives preference to the Russian faith, but the bride does not reach Ruslan. The sorcerer Chernomor (like the genie from The Arabian Nights), who can easily be associated with Batu, takes the Russian faith to the full, from where Ruslan goes to rescue it. From this point of view, the subsequent story generally takes on a very interesting outline, although it still shows a clear interweaving of plot lines: the aforementioned “One Thousand and One Nights”, Western chivalric novels and short stories, with their kidnapped princesses and knights in shining armor killing the serpent , tales about Eruslan Lazarevich, which, of course, became the basis for Pushkin’s literary research.

The names of Tsar Saltan, or simply put - Sultan, and Guidon - Guido, were already used by Moscow fabulists in distorting the French fairy tale about Bova Gvidonovich, to which Pushkin was partial. Another thing is the name of the Turkic warrior - “batyr”, whose transformation, with the light hand of Pushkin, into a “Russian” hero became simply a masterpiece. Pushkin, using his entire arsenal of possibilities, wove this Turkism into the fabric of the “Russian” epic so organically that it simply became inseparable from it. As for the storyline itself, at the end of the 50s, G.P. Snesarev, a participant in the Khorezm archaeological and ethnographic expedition of the USSR Academy of Sciences, described a Turkic legend, which in its storyline was practically no different from Pushkin’s “The Tale of Tsar Saltan.” In this Turkic legend there are motives for the treachery of the king’s older wives, and for the replacement of a boy with a puppy, and for a girl with a cat, and the expulsion of his younger wife by the king, and the exposure of slander, and the king’s son growing up, and the expulsion of the older wives.

Separately, it is worth noting the comparison made by Snesarev between the images of Pushkin’s swan princess and the bet from the Khorezm legend, with the help of which the padishah’s son builds the Golden City. Snesarev asserts without any doubt that the Swan Princess is “a Russified image of an oriental bet.” But this is not the only mention of Pushkin’s borrowing of a storyline from Turkic legends. I. M. Oransky, in the article “Another Central Asian version of “The Tale of Tsar Saltan,” reports on a tale he recorded in the Gissar Valley of the Tajik SSR, which in its plot and some motives, again, is no different from Pushkin’s “Tale of Tsar Saltan.” N. N. Tumanovich in the article “On the Central Asian versions of “The Tale of Tsar Saltan” talks about another Tajik version of the plot of Pushkin’s tale, preserved in the manuscript collection of the Leningrad branch of the Institute of Oriental Studies of the USSR Academy of Sciences. Karakalpak folklorists K. Aimbetov and K. Maksetov speak out about the plot coincidences of “The Tale of Tsar Saltan” by A. S. Pushkin and the Karakalpak folk epic poem “Sharyar”.

Of all the Central Asian plots known to science, similar to the plot of Pushkin’s fairy tale, let us present two as examples: the plot of the Uzbek fairy tale “Hasan and Zukhra” and the Karakalpak epic poem “Sharyar”. So in the Uzbek fairy tale “Hasan and Zukhra” it is briefly described that: “The Shah is looking for his forty-first wife - not one of his forty wives gave birth to an heir. Through his vizier, he learns that three poor girl sisters, sitting under a mulberry tree, were talking and dreaming about what they would do if the king took them as wives; the elder Nasiba promised to weave beautiful clothes for the Shah; middle, Gulbahor - prepare him delicious pilaf; younger sister, Zulfiya - give birth to a boy and a girl and name them Hasan and Zuhra. Having learned about all this, the Shah immediately decided to marry the youngest of the sisters. The forty wives of the Shah, fearing that if an heir is born, the Khan will forget about them and give all his love to his new, forty-first wife, they are plotting against her. Zulfiya, as promised, gave birth to a boy and a girl. The Shah was hunting at that time. The Shah's wives, with the help of an old witch, hid the newborns in a sack, and instead of them they put a kid and a female goat in the cradle.

The old woman told Zulfiya that these were her children. The young mother burst into burning tears. The Shah's wives informed him about the birth of children-goats. Meanwhile, the old witch threw the bag with Zulfiya’s children onto the road. Here they were found and picked up by the caravan leader, a childless man. He took the children to him and gave them the names Hassan and Zukhra. When the children grew up, the adoptive father told them their story. Once while hunting, the Shah, having met the caravan leader, also learned about the story of the children found in the desert. The counselor's wife drew attention to the great similarity between the Shah and Hassan and advised the ruler to ask his wife about the events of twelve years ago. The Shah ordered Zulfiya to be brought from prison, listened to her story and interrogated the other wives. The secret has been revealed. The Shah organized a forty-day feast in honor of his children Hassan and Zukhra. Everyone is happy. Hassan and Zukhra take care of those who raised them - the caravan bashi and his wife.”

In the Uzbek fairy tale “Tahir and Zukhra” there is an episode with a chest: the Shah, in order to separate Tahir and his daughter Zukhra, ordered Tahir to be seized, put in a chest and thrown into the river. The chest floated towards Rum - Byzantium. The similarity of the plots of the ancient epic poem of the Karakalpaks “Sharyar” and Pushkin’s “Tale of Tsar Saltan” is also surprising. “Khan Darapsha, despite the fact that he was married nine times, did not have an heir. The disappointed king leaves the throne, and, dressed in simple clothes, goes as a pilgrim to Mecca. One night, in search of lodging for the night, he looked into the luminous window and, seeing three beauties there, involuntarily overheard their conversation. The girls spun and dreamed: the eldest that if she became the wife of Khan Darapsha, she would weave piles of satin from one cocoon and sew tents from it for his entire army; the middle one said that from one grain she could bake a mountain of cakes for forty thousand warriors of the khan; and the youngest promised to give birth to the khan two twins.

Khan married all three girls in the hope that one of them would give him an heir. The wedding ceremony has died down. The two eldest wives did not fulfill their promises, which angered the khan and were expelled. Gulynar's younger wife conceived and gave birth to twins: a boy and a girl. Khan was on a hunt waiting for news about his pregnant wife. Nine former wives of the khan, overwhelmed with envy, with the help of an old witch, placed a puppy and a kitten on Gulshara, and threw the newborn twins into a pond. When the khan returned from the hunt, his wives told him that Gulshara had given birth to a puppy and a kitten. The angry khan ordered his youngest wife to be driven out into the steppe.

One of the slaves - the servants of the khan's wives - Shiruan accidentally discovered at the bottom of the pond and pulled out two babies with shining gold and silver forelocks. But the insidious wives, having learned about this, beat her and forced her to remain silent, and tried to kill the children with the help of the butcher Kodar. But they were saved by slave Karaman. Children with wonderful forelocks were taken in by the owners of Karaman - a childless khan couple from another possession - Shasuar and Akdaulet. Forty sages predict heroic deeds for the boy and wisdom for the girl and advise them to name them Sharyar and Anjim.”

In addition, there are some coincidences in “Sharyar” and Pushkin’s fairy tale. For example, Sharyar, like Guidon, misses his father and his native place; the insidious old woman praises Sharyara, the daughter of the owner of the magical city of Takhta, Sarin Zhuldyzshi - Kundyzsha, like Babarikha describing to Tsar Saltan the overseas princess, who “Darkens the light of God during the day, Illumines the earth at night, The moon shines under the scythe, And the star burns in her forehead.” The walls of the buildings of the magical city of Takhta Sarin are made of gold, silver, marble, etc. In Pushkin, merchants tell Tsar Saltan about a city with golden-domed churches, a crystal palace, and a squirrel that gnaws nuts with golden shells. The name of the owner of the city of Takhta is Zhuldyz-khan or Zhuldyzsha (Khan-star, or Zvezdochka), Pushkin’s swan princess has “a star burning in her forehead.”

Listen up! “Under the scythe the moon shines” (“The moon shines under the scythe, And in the forehead the star burns”; “Under the scythe the moon shines, And in the forehead the star burns”). It is the moon under the scythe that indicates the close connection of Pushkin’s fairy tale with fairy tales and legends used by the poet.

Pushkin openly stole the plot of “The Tale of the Golden Cockerel” from the legend of the Arabian astrologer. Anna Akhmatova, at one time, established that the source of Pushkin’s “Tale of the Golden Cockerel” is Washington Irving’s story “The Legend of the Arabian Astrologer,” which Pushkin could become familiar with thanks to the French edition of the book by the American writer Washington Irving “Alhambra” in 1832. At the same time, it is worth recognizing that in Pushkin’s fairy tale there are also native Turkic-Moscow components. Pushkin’s Shamakhan Queen is certainly connected with Azerbaijan, the city of Shamakhi, and it was written after the poet’s visit to Orenburg, where he could personally hear and see what he later wrote into the literary plot line.

To sum it up...

The expression “Scratch a Russian and you will find a Tatar” came to us from the French language, and in the original it sounds like this: “Grattez le Russe, et vous verrez un Tartare.” These words, despite the fact that they were attributed to Napoleon, belong to Astolphe de Custine, and are a short version of a fragment of his famous essay Russia in 1839 (“La Russie en 1839”): “After all, a little more than a hundred years ago they were real Tatars . And under the outer veneer of European elegance, most of these upstart civilizations retained the bearskin - they just put the fur on it inside. But just scratch them a little and you will see how the wool comes out and bristles.”

Why am I writing this? Moreover, Russia is truly an amazing country, whose people, their national composition, history, aspirations and hopes are a state secret. Do you think I emphasize the Tatar origin of Pushkin, Karamzin and, in general, the people who largely inhabit Muscovy in order to offend them? Insult? You are absolutely wrong. It is truly incomprehensible and unpleasant for me to look at how a truly large, huge, cultured people became hostage to religious fanatics, who actually destroyed their identity and forced them to abandon their culture, history, and language. From your legends and fairy tales. And all for what? For the sake of the Moscow myth of the “Third Rome”? In order to become a tool in the hands of despots and tyrants? Is your own priceless life worth putting it on the altar of tyranny, ignorance and obscurantism? Is it possible to live differently without abandoning your ancestors, your roots?

Is it possible to live in a country where you don’t have to pretend to be “Russian” in order for the country to succeed? Or should you lie to everyone around you, yourself and your children about the fact that you are “Russian”? What’s better: to remain yourself or, like a crazy transsexual who can’t decide on his gender, to perform surgery after surgery on himself just so as not to be like everyone else, not to be himself?

InoSMI materials contain assessments exclusively of foreign media and do not reflect the position of the InoSMI editorial staff.