Preschool education and teaching of foreign languages and literature in primary

SELECTED WORKS
Almanac
"Liechtenstein"
"In the Rose Garden of King Laurin"
"Little Longnose"
"The Story of Little Muck"
"White and Rose"
"The Story of the Guilder with the Deer" "Cold heart"
"The Man from the Moon, or the Train of the Heart - the Voice of Destiny"
"Pages of Satan's Memoirs"
"Othello" "Jew Suess"
"Portrait of the Emperor"
"Aesthetic Club"
"A couple of hours away"


CHAPTER II. ANALYSIS OF THE WORKS OF WILHELM GULF AND ABOUT IMAGES
2.1. Analysis of Wilhelm Gulf's works.

Until now, we do not know too much about Gauf's life. The most complete biography was compiled by Stefan Neuhaus in the book "Playing with the reader" ("Das Spiel mit dem Leser") Neuhaus Stefan . Das Spiel mit dem Leser. Göttingen, 2002. Gauf's short creative period began in 1825 with the publication of such works as Satan's Memoirs, Othello and the first almanac of fairy tales. About his almanac of fairy tales, Gauff wrote a letter to the Stuttgart publishing house JB Metzler:

“Euer Wohlgeboren, habe ich die Ehre anbey das Manuskript des Mährchen-Almanachs auf das Jahr 1826‹, zuzusenden. Erlauben Sie da I ich den Plan de I selben noch einmal wiederhole”. ⁸
I have the honor to send the manuscript of the fabulous almanac. Let me re-introduce the plan. It is intended for girls and boys aged 12-15 and contains 7 oriental tales suitable for this age; I tried to make them as interesting as possible, but I always adhered to strict moral principles, not allowing them to be reduced to applied meaning or to “fabula docet”. cit . In those years, there was a great demand among the German reading public for magazines, pocket-size books (“Taschenbücher”) and almanacs - consequently, the publishing business suddenly expanded. Such an extraordinary growth in the readership could provide a livelihood for almost every German author.
In early May 1826, Hauff traveled to Paris, where he began work on his second almanac. About this he wrote to his friend: “Ich fing sie in Paris an, setzte sie im Brüssel fort, schrieb daran in Atwerpen und Gent und vollendete in Kassel“⁹ “I started them [tales] in Paris, continued in Brussels, then in Antwerp and Ghent, and graduated in Kassel. Cit. by: Gebhardt Schw d b . Dichterkreis. Marburg, 2004. S. 54.. By his return to Stuttgrat, Hauff had completed not only the second almanac of fairy tales, but also the second part of Satan's Memoirs and the novella Die Bettlerin von Pont des Arts. In 1827, Gauff became editor of Morgenblattes für gebildete Stände (Morning Paper for the Educated Class) and married his cousin Louise Gauff. In mid-November of this year, Gauf was diagnosed with pneumonia. He understood that he could no longer cope with this illness: “Ein braves, liebes Weib, die schönsten Aussichten; und alles dies vorbei” “A good, sweet woman, the most beautiful prospects; and it's all over." Cit. Quoted from: Gebhardt Schwäb.Dichterkreis. Marburg, 2004.¹⁰ Gauf also wrote to his friend Moritz Pfaff that he would like to go ahead, that even in the last year of his life he would like to continue writing Ibid. . Gauf died of illness shortly before his 25th birthday, on November 18, 1827, a week after the birth of his daughter.
When choosing the frame composition (“Rahmengeschichte”) for his almanacs of fairy tales, Gauf obviously relied on Boccaccio's Decameron and on the tales of the Thousand and One Nights. At the same time, it is interesting that the word "almanac" comes from the Arabic language (where it meant "calendar"). Sabine Beckmann Beckmann Sabine: Wilhelm Hauff, seine Märchenalmanache als Zyklische Kompositionen. Bonn: Bouvier Verlag Herbert Grundmann, 1976. S. 10. summarizes the different storytelling devices in Hauff's tales as follows: first, according to Beckmann, the storytelling is emphatically spontaneous; secondly, after each tale its influence on the audience or its discussion is shown; thirdly, the narration can be interrupted by intervention (for example, by the listener or the narrator himself) and end only later.
Husham Mohammed Al-Taie notes that in Germany the frame construction was first used by Goethe in 1795 in the work “Conversations of German Refugees” (“Unterhaltungen deutscher Ausgewanderter”), worried not by the plague, like Boccaccio, but by the French Revolution Husham Mohammed Salim Al-Taie . Bagdad und der arabische Raum als fiktive Orte in der deutschen Literatur an ausgewählten Beispielen "West-östlicher Divan" von Johann Wolfgang von Goethe und "Märchen-Almanach" von Wilhelm Hauff, 2017. S. 76. A Thousand and One Nights could be the first example of Rahmengeschichte in the world: despite the fact that there are about 350 years between this book and the Decameron, the researcher suggests that Boccaccio could read it in Persian, Indian or even Arabic.
Despite the frequent use of this construction by various writers, Beckmann believes that Hauff's work occupies a special place here: sondern zu einer inneren Einheit zusammenzuschlieЯen, bereits bei der Motivierung der Grundsituation des Erzählens gegenüber seinen Vorgängern einen wesentlichen Fortschritt erzielt“ made a big step up from its predecessors" Beckmann Sabine : Wilhelm Hauff, seine Märchenalmanache als Zyklische Kompositionen. Bonn: Bouvier Verlag Herbert Grundmann, 1976. S. 11. . Obviously, Gauf himself was of the same opinion. For example, in a letter to Heinrich Erhard of JB Metzler dated 15 April 1825, Gauff writes that his ideas are new and that he is proud of his work “Ideen des Almanachs neu sind und sie werden besonders in höheren Ständen vielleicht nicht unwillkommen“. cit . by : Pfäfflin Friedrich Wilhelm Hauff, der Verfasser des "Lichtenstein". Chronik seines Lebens und Werks. Marbach, 1981. S. 16.
In his study, Schwabe notes the combination of romantic and realistic elements in Gauf's work. He adheres to the principle of demystifying the miraculous and focuses on costumes, food and oriental customs - this decision was in line with the interests and needs of Biedermeier Germany, which was on the threshold of the realist movement. Already in the "Saying" to the first almanac of fairy tales, Gauf reminds the reader that he is subject to reason and rational thought. Skazka complained to her mother, the Queen of Fantasy, that nowhere else even children love her, that people everywhere have sent learned watchmen who vigilantly inspect everything. The queen, in turn, suggested that all this was the work of the evil aunt Fashion. As a result, the Tale under the guise of an almanac manages to put the guards to sleep, and one friendly person invites her to his house, to entertain his educated sons and daughters. Already in this allegorical preface one can see hints of the target audience of the almanac. "The saying" echoes the subtitle of the almanac - "Für Schne und Töchter gebildeter Stände" ("For the sons and daughters of the educated estates"). However, it seems that the tales are also aimed at aesthetically and politically sophisticated adults - this assumption is confirmed by the presence, for example, of social allusions and the layering of his texts that needs more complex interpretation. The same hypothesis can be put forward in relation to the second Gauf almanac. In it, a young man discusses the nature of the charm of stories and admits that in childhood he could easily be reassured by a fairy tale - however, as an adult, stories could no longer satisfy him. He needed longer tales that would touch on human destinies "Sie [die Märchen] mussten schon länger sein, mussten von Menschen und ihren wunderbaren Schicksalen handeln". S. 139. . Schwabe believes that Gauf's success in the literary market was based on four points. First, he sold his tales in the popular almanac form; secondly, he adapted his tales for a wide audience; thirdly, he combined romantic elements with realistic ones; fourthly, he included exotic elements of the East in his fairy tales, combining them together with traditional German and European ones. Gauf still emphasizes non-supernatural, realistic stories, although his stories “are entertaining and full of adventure, with puzzling entanglements and unexpected twists and turns” “Entertaining and full of adventure, with mysterious and unexpected twists. 
In the second almanac of fairy tales, The Sheikh of Alexandria and His Slaves, the elderly and learned dervish Mustafa draws a clear line between the genres of a story and a fairy tale. Mustafa explains to his listeners, young men, that a fairy tale is associated with miracles and events that go beyond the ordinary: “Ihr werdet bei dem Märchen auf die Erscheinung anderer Wesen als allein sterblicher Menschen rechnen können; es greifen in das Schicksal der Person, von welcher das Märchen handelt, fremde Mächte, wie Feen und Zauberer, Genien und Geisterfürsten, ein” in reality you see people, spirits, fairies and the magical wonderful world around them, which you will not meet in everyday life, and then, when you are left alone, you have something to remember, like a thrifty traveler in the desert has something to satisfy his hunger. C. 151. . However, the dervish internally contradicts Gauf himself, because his tales are arranged differently: here the amazing events are mainly connected with a man and his incredible fate. In Gauf, one rarely finds magic potions, witchcraft, and everything that usually belongs to this genre. In order to become happy, the hero needs an unexpected twist of fate. 
The heroes of The Sheikh of Alexandria came to the conclusion that stories and short stories can have the same influence on the reader as fairy tales: “Solche reine Geschichten finden sich auch in den herrlichen Erzählungen der Scheherazade, die man Tausendundeine Nacht nennt… dennoch eine Grundursache, die beiden [Geschichten und Märchen] ihren eigentümlichen Reiz gibt, ndmlich das, dass wir etwas Auffallendes, AuÃergewöhnliches miterleben. Bei dem Märchen liegt dieses Aüergewöhnliche in jener Einmischung eines fabelhaften Zaubers in das gewöhnliche Menschenleben, bei den Geschichten geschieht etwas zwar nach natürlichen Gesetzen, aber auf überraschende, ungewöhnliche Weise“ where neither fairies, nor wizards, nor crystal castles appear... I think it is necessary to make a certain distinction between a fairy tale and those stories that are usually called short stories . That's right, picked up one of the young men. “Such stories, without any admixture of the miraculous, are also found in the beautiful stories of Scheherazade, known as the Thousand and One Nights.”¹¹ In the second almanac, Gauf sticks to a non-fairy tale. However, the desire to escape from reality is clearly visible here: after the tragic loss of his son, the Alexandrian sheikh Ali-Banu surrounds himself with storytellers every year to forget about his sadness. Gauf successfully demonstrates that even without the presence of supernatural forces, it is possible to create a powerful tool that allows you to escape from the gloomy reality. 
Throughout the story, the characters reflect on the nature of the enchanting power of fairy tales, and one of the young men suggests that listening to a story is the best way to escape the painful reality: “Soll er zum Getränke seine Zuflucht nehmen, oder Opium speisen, um den Schmerz zu vergessen ? Ich bleibe dabei, es ist die anständigste Unterhaltung in Leid und Freude, sich erzählen zu lassen” “Should he [the Sheikh] resort to various drinks or take opium in order to forget the pain ?¹² I think that the most worthy thing in sorrow and joy is to listen to stories. WITH. 149. . Thus, we can conclude that the combination of realistic and romantic elements in the works of Gauf lies in the fact that in some fairy tales of the German romantic there are supernatural forces (magic objects, fairies, etc.), while most of his fairy tales are emphatically realistic and demystify everything magical. . Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. 
Thus, we can conclude that the combination of realistic and romantic elements in the works of Gauf lies in the fact that in some fairy tales of the German romantic there are supernatural forces (magic objects, fairies, etc.), while most of his fairy tales are emphatically realistic and demystify everything magical. . Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. Thus, we can conclude that the combination of realistic and romantic elements in the works of Gauf lies in the fact that in some fairy tales of the German romantic there are supernatural forces (magic objects, fairies, etc.), while most of his fairy tales are emphatically realistic and demystify everything magical. . Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. we can conclude that the combination of realistic and romantic elements in the works of Gauf lies in the fact that in some of the tales of the German romantic there are supernatural forces (magic objects, fairies, etc.), while most of his tales are emphatically realistic and demystify everything magical. Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. ¹³
Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. we can conclude that the combination of realistic and romantic elements in the works of Gauf lies in the fact that in some of the tales of the German romantic there are supernatural forces (magic objects, fairies, etc.), while most of his tales are emphatically realistic and demystify everything magical. Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. 
Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. that the combination of realistic and romantic elements in the works of Gauf lies in the fact that in some fairy tales of the German romantic there are supernatural forces (magic objects, fairies, etc.), most of his fairy tales are emphatically realistic and demystify everything magical. Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. that the combination of realistic and romantic elements in the works of Gauf lies in the fact that in some fairy tales of the German romantic there are supernatural forces (magic objects, fairies, etc.), most of his fairy tales are emphatically realistic and demystify everything magical. Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. 
For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. that in some of the tales of the German romantic there are supernatural forces (magical objects, fairies, etc.), while most of his tales are emphatically realistic and demystify everything magical. Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. 
For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. that in some of the tales of the German romantic there are supernatural forces (magical objects, fairies, etc.), while most of his tales are emphatically realistic and demystify everything magical. Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. 
For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. most of his tales are emphatically realistic and demystify everything magical. Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. 
Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. most of his tales are emphatically realistic and demystify everything magical. Following Schwabe, we tried to show this on the examples of Gauf's fabulous almanacs. For example, as can be seen from the words of the characters in The Sheikh of Alexandria, even without resorting to the supernatural or addictions/actions, one can force the reader to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. and without recourse to the supernatural or addictions/actions, the reader can be forced to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger. and without recourse to the supernatural or addictions/actions, the reader can be forced to escape from reality. Thus, it can be concluded that both fairy tales and short stories were considered by Gauf to be equally suitable for charm and entertainment of the reader. In terms of their strength, they displaced alcohol and opium, i.e. their escapist action was even stronger.