Theme: The effective features of magic fairy tales

Theme: The effective features of magic fairy tales.
Content:

INTRODUCTION In Russian folklore prose there are two multi-genre types - fabulous and non-fabulous prose. What distinguishes them is that they perform different functions: fairy tale prose is an aesthetic function (fairy tales are told for entertainment and teaching), non-fairy prose is informative. Fairy tales are divided into three main groups - fairy tales about animals, fairy tales and everyday ones. They are united by one sign: the presence of deliberate fiction, fantasy games. A fairy tale is the most "free" type of folklore, least of all connected with the everyday context. The roots of fairy tales are very diverse. The sources of fairy tales were the mythological beliefs of primitive peoples, and the epic forms of creativity of the peoples of higher cultures, and the usual reflection of situations, the forms of life of individual tribes of peoples, and the products of pure fantasy of inventive minds, the reflection of dreams, and the discharge of known sexual emotions, and the alteration of ready-made books literary works of the lower strata of the people, and simply elements of international plots. Russian folk tales are national versions of international stories, and they cannot be considered Russian in origin. The archetype in fairy tales, especially in fairy tales, is distinguished by a comparative analysis of variants of fairy tale plots. This method of considering fairy tales allows us to draw conclusions about the historical, namely the mythological basis of fairy tales. The study of the poetics of a fairy tale at school should be built on a cultural and historical basis. This approach should be considered relevant, since it corresponds to the aesthetic nature of the fairy tale and the scientific research of Russian folklorists. Despite the research carried out back in the 40s of the XX century, the scientific approach is practically not used in the method of school analysis of a fairy tale. The relevance of this work is due to the fact that in the lower grades the foundations for the perception of the world around are laid for children, and it is in the lower grades that children begin to form a social idea of ​​life. All this happens through figurative perception, and fairy tales in this case perform an informative function, where, using simple and vivid examples, they show the child the character traits of a person and the essence of the world around him. The object of the study is the psychological and pedagogical functions of the Russian fairy tale. The subject of the research is the study of the poetics of the Russian fairy tale in elementary school. The purpose of the work is to study the poetics of the Russian fairy tale and, on this basis, to develop lessons aimed at developing the reading competence of younger schoolchildren. Realization of this goal involves the solution of the following tasks: 1. study of scientific sources on the research topic; . consideration of the historical roots and features of the poetics of the Russian fairy tale; . consider the images of heroes in fairy tales; . analysis of the influence of a fairy tale on the development of the personality of a junior schoolchild; . develop lessons aimed at learning fairy tales in elementary school. The methodological base was the works of philologists-folklorists, psychologists, teachers, as well as articles and publications devoted to the methodology of organizing the educational process in the lessons of literary reading. . PHILOLOGICAL BASES FOR CONSIDERATION OF FAIRY FAIRY TALES 1.1 Myth as the progenitor of fairy tales We rarely think about what became the living basis of literary creativity. And that was the Word. Pronounced, "spoken" in ancient times, it seemed to people a sign "from above", a sign of "God's inspiration", which should be kept in memory, passed on to posterity. The aspiration of this kind was manifested at first in the so-called syncretic form - in the cult song and dance, reflecting the relationship of man with the forces of nature deified by him. Gradually, in the course of people’s labor activity, their development of certain natural resources, in such “actions”, from still disordered ideas about the world around them, a tendency arose for a more harmonious understanding and humanization of its forces - myths about gods were born, although they had supernatural abilities, but very similar by their aspirations and actions on the very unknown creators of these legends. But the less in the process of development of society the dependence of a person on the outside world became, the more often he himself appeared in the epic as an increasingly stronger, invincible hero. Usually such a character was the ruler of the earth, the king, - after all, now not only the forces of nature, but also the leaders determined the life of ordinary people. So there were myths about heroes, heroic epos. These myths were first imprinted with the help of drawings on stones, dishes, fabrics, and with the advent of writing - in cuneiform form on clay tablets. Myth tells about events taking place in space and time. In this narrative, philosophical and religious ideas are expressed in the language of symbols, the inner state of a person is conveyed, and this is the true meaning of the myth. Myth is not a "fiction", not a "relic" of the past. But a certain primary language of description, in terms of which a person has modeled, classified and interpreted himself, society, the world since ancient times. Even in the early stages of history, people not only cared about maintaining their existence, but also sought to preserve their tribe, their clan. And everything that contributed to the upbringing of a smart, strong, dexterous person became the content of lullabies, nursery rhymes, riddles, fairy tales... forms that they can understand. Folklore bears witness to this. Myth is the oldest literary monument [Propp 2010: 48-49]. Scientists believe that myths served as a kind of source for the development of scientific ideas, the emergence of philosophy, literature, painting, sculpture, architecture, music, and theatrical art. The most ancient tales reveal a plot connection with primitive myths. It is quite obvious that the myth was the forerunner of a fairy tale about marriage with an enchanted creature, which then threw off its animal shell and took on a human form (the plot of the well-known fairy tale "The Scarlet Flower"), a fairy tale about a wonderful wife who gives her chosen one good luck in business, hunting, etc. .d., but leaves him due to the violation of any prohibition (“The Frog Princess”). Popular fairy tales about children who fell into the power of an evil spirit, a monster, a sorcerer and were saved thanks to the resourcefulness of one of them (Sister Alyonushka and brother Ivanushka), fairy tales about the murder of a mighty snake, Over time, with the development of human society, children "appropriated" most of these fairy tales, myths, legends. Perhaps this happened because the children's consciousness is somewhat closer to those naive and at the same time deeply wise ideas about human nature, about good and evil, which peoples worked out during their infancy and at the early stages of their history. In Russian science, the term "mythological fairy tales" is often used. It originates from the works of folklorists of the first half of the 19th century, for example, from I. P. Sakharov. He was followed by P. A. Bessonov, O. F. Miller, the collector of fairy tales E. R. Romanov and others who called fairy tales mythological. What is mythological in Russian fairy tales? First, miracles that happen in fairy tales at the behest of characters with magical abilities, or at the behest of miraculous animals, or with the help of magical objects; secondly, characters of a fantastic nature, such as Baba Yaga, koshchei, a many-headed serpent; thirdly, the personification of the forces of nature, for example, in the form of frost, the animation of trees (talking trees); fourthly, anthropomorphism - endowing animals with human qualities - mind and speech (talking horse, gray wolf). But all these are just traces of mythological ideas, since “the formation of the classical form of a fairy tale ended far beyond the historical boundaries of the primitive communal system, in a society that was much more developed,” writes E.M. Meletinsky in the article "Myth and fairy tale" [Chernousova I. P. 2012: 121]. The question of the direct origin of a fairy tale from myth remains controversial. EAT. Meletinsky believes that the transformation of the myth into a fairy tale took place. This view is held by many folklorists. But it needs more justification. Only the opinion is correct that the mythological worldview provided the basis for the poetic form of the fairy tale, that the poetic mythology of the fairy tale was created. The elements of mythology listed above, included in the fairy tale, have acquired artistic functions. The important point is that the plots of fairy tales, the miracles they talk about, have a vital basis. This is, firstly, a reflection of the peculiarities of the work and life of people of the tribal system, their relationship to nature, often their powerlessness in front of it; secondly, a reflection of the features of the feudal system, especially early feudalism (the king is the enemy of the hero, the struggle for inheritance, obtaining the kingdom and the hand of the princess for victory over evil forces). Characteristically, capitalist relations were not reflected in fairy tales. Obviously, its development stopped before the formation of the capitalist formation. The life basis of fairy tales was also that dream of power over nature, which, according to M. Gorky, is so characteristic of them. In fairy tales, goblin, water, kikimora are sometimes found. They replaced real characters in a wonderful story. So, for example, in one of the versions of the fairy tale “Morozko”, instead of the all-powerful master of the winter elements, Frost, a goblin is presented, who gave his stepdaughter everything that a peasant girl could wish for. Having endowed the sorcerer and witch with supernatural abilities, people, in an effort to protect themselves from the influence of spells and black witchcraft, furnished their lives with many magical rites. Magic is the same sorcery and the same sorcery, these are rituals associated with belief in a person's ability to counteract supernatural forces and find support and protection from them. Magic wanted to subjugate the will of other people to a person, conquer animals, nature, and also act on imaginary masters, spirits and gods. The birth of magical rites dates back to primitive times. The appearance of the rite in everyday life became possible due to a person's ignorance of true connections and relationships in the real world. Man depended on nature. His constrained consciousness was looking for means of protection in the fight against the elements of nature and social troubles. The remnants of ritual magic are accurately reproduced in the content of many fairy tales. There is an affinity of magical fairy tale action to magical detachments by pointing to the frequent coincidence of objects that were an integral part of ritual actions with those objects that are endowed with miraculous properties in fairy tales. The ring in fairy tales is endowed with a wonderful property. The tale of the three kingdoms speaks of copper, silver and gold rings, each of which contains a special kingdom. In the tale of the miraculous shirt, a ring worn on the finger turns the hero into a horse. An engagement ring, thrown from hand to hand, makes twelve young men appear with the words “What do you order?”. The hero orders: "Transfer me from this mountain." And the good guys carried it. The ax in all fairy tales cuts itself. Emelya the fool says to the ax: “At the pike’s command, but at my request, come on, ax, chop wood, and you, logs, put yourself in the sleigh and knit!” And the ax set to work. A scarf in fairy tales has a wonderful property. It is enough to throw it or just wave it, as a lake and even a sea that has spread widely around is formed. “Ivan Tsarevich heard a noise, looked around - his sister was about to catch up; he waved his little chopstick, and the lake became deep. While the witch swam across the lake, Ivan Tsarevich went far. Water, a frequent accessory of ritual action, in fairy tales creates miracle after miracle: it restores sight, gives youth, heals from diseases, revives, deprives of strength, makes the hero stronger than the most terrible monsters. There is also such water that can turn a person into a beast, a bird, but there is another one that returns people to their human form. Speaking about the nature of the miraculous in fairy tales, it is necessary to note the preservation in later fantastic fiction of fairy tales of certain properties that come from magical rites. Such are the wonderful "youthful" apples, which in a fairy tale return youth, strength and health to a person. It can be assumed that the penetration of this wonderful object into the magical narrative did not occur without the influence of ritual and magical ideas and concepts that lived among the people. The eaten apple was supposed, according to the people who performed this rite, to ensure fertility and well-being for the new family. So, the historical roots of fairy tales go back to primitive mythology. Many of their motives are associated with magic, with the belief in supernatural connections with animals - totemism. Words and objects have magical power. In fairy tales, there are many transformations of all kinds: after all, in the mythological consciousness there was no strict boundary between man and nature. What is the difference between a myth, as such, and a fairy tale? The difference is usually thought to be that when we listen to a fairy tale, we are aware that it is talking about something invalid and "fabulous", while myth is only a naive form of scientific explanation taken quite seriously. This characterization shows the difference between a fairy tale and a myth in their mature time; correctly highlights the different setting in both cases. However, it would be a mistake not to notice precisely the genetic closeness of fairy tale and myth - and this is of particular importance in order to enter into the understanding of the children's world. Myth and fairy tale grow from the same root, mutually influence each other, and their difference is connected with a more definite awareness of the difference between the world of reality and the world of fantasy. A fairy tale can be compared not only with individual mythological representations, but also with rituals. Ritual-mythological genesis have the motives of a man's marriage with a wonderful totem animal - a creature that has temporarily shed its animal shell. A wonderful wife brings good luck to her chosen one, but leaves him due to a violation of the ban - a taboo ("The Frog Princess"). The plot about a wonderful husband ("Finist - the Clear Falcon") is of the same origin. Such tales reflect not only taboos, but also the custom of taking a wife from another kind - that is why the hero goes for his wife (the heroine follows her husband) to distant lands. A number of fairy-tale motifs and symbols (a lost slipper, baking a ring in a pie, dressing a bride in a pigskin coat, etc.) can be explained by ancient marriage customs and rituals and also have ritual and mythological semantics. A very important role in archaic society was played by the so-called transitional rites, which connected the individual fate of a person with his social group. The main transitional rite is initiation (initiation): a young man who has reached maturity passes into a group of adult men and receives the right to marry. Initiation involves a symbolic temporary death and rebirth in a new capacity. The ceremonial symbolism of temporary death in fairy tales is often expressed in the motive of swallowing a newcomer and then spitting him out by a monster, visiting another world and obtaining miraculous objects there. The initiates were taken to the forest, where they lived in a hut and were subjected to all sorts of trials, sometimes cruel. The motif of the youth's initiation is introduced into all the mythical representations, rites, rituals and practices of the tribe. The rite of initiation was not only reflected in fairy tales, but also became their compositional core. In fairy tales, there are both a forest house and a forest teacher, as well as a complex of mythological representations associated with temporary death and a visit to the kingdom of the dead. In Russian fairy tales, this is a distant kingdom with its golden or fiery coloring. The hero must be there. After demonstrating his magical skill and taking out magical items, the hero returns to the living in a new capacity: now he has become a mature person. So, the initial goal of the rite of initiation and the fairy tale ascending to it is a demonstration of the magical and heroic skills of the hero. Gradually, the theme is transformed under the influence of the wedding ceremony: all these skills are needed in order to marry a beautiful princess. Difficult tasks in a fairy tale are almost always presented as wedding trials, the bride-princess - as a "payment" for a feat (this "payment" is often announced at the very beginning along with a difficult task), a happy marriage is a happy ending to a fairy tale. An indispensable condition for the formation of the fairy tale genre based on fiction is the separation of the fairy tale from archaic mythology and ancient rituals. A reliable mythological story had to turn into a poetic fiction. This happened gradually, with the departure of ancient mythological ideas. As E.M. Meletinsky, However, a special impetus was required, which would contribute to the transformation of the myth into a fairy tale. Such an impetus was given by the era of the collapse of the tribal system. There were also victims of this process: socially disadvantaged, innocently persecuted. The fairy tale takes the disadvantaged under protection and makes it its hero: an orphaned youth ("Puss in Boots"), a stepdaughter ("Cinderella", Frost"), orphaned children ("Sister Alyonushka and brother Ivanushka") [Afanasiev 2010: 219]. In addition, during the transition from the tribal system to the patriarchal family, the younger brother found himself in the position of socially disadvantaged. The younger brother is impeccable from the point of view of tribal morality: he remains in the parents' house as the keeper of the hearth and tribal property. He respects the elders, honors the cult of ancestors, protects the tribal principles. Around the new socially disadvantaged heroes, old mythological stories about magical powers generated by mythological thinking begin to gather. But now these magical forces stand up for the oppressed, help him and establish justice that is dying out of life. Conclusion: Russian folklore could not keep intact the oldest stories of this distant time. Under the influence of historical circumstances, ritual and magical narratives have largely departed from their original forms. But the folk tale has traditionally preserved plots that, although they have changed, have acquired a new meaning, but owe their original origin to the most ancient eras in the development of folklore. 1.2 The concept of a fairy tale. Features of poetics What is a fairy tale, and what does it look like? In the works of Propp V. Ya. "Morphology of a fairy tale" and "Historical roots of a fairy tale" a definition of a fairy tale is given, based on the study of its structure. This is a genre of fairy tales, which can usually begin with a desire to have something, harm or damage to someone, in the future the fairy tale develops through sending the hero from home, meeting with the donor, who gives him a magical tool or an assistant, with the help of which the subject of search located. This is followed by a duel with the enemy and the triumphant return of the hero home. This is a brief schematic presentation of the compositional core underlying very many and varied subjects. Fairy tales in which there is a similar scheme are called magical. In the book Morphology of a Fairy Tale, V. Ya Propp dedicates a whole chapter to the question of the classification of fairy tales, “On the History of the Question,” where he describes several different classifications of fairy tales, finds their pros and cons, and comes to the conclusion that a perfect classification does not exist, t .To. it is very difficult among such a huge number of fairy tales to single out something common for everyone, which could subsequently unite them into groups. Nevertheless, I would like to cite as an example the classification of Aarne, the founder of the so-called Finnish school, who introduced the subcategories of fairy tales in order to get a rough idea of ​​fairy tales as a whole. Fairy tales cover the following categories: ) wonderful opponent ) wonderful husband (wife) ) wonderful task ) wonderful helper ) marvelous item ) miraculous power or skill ) other wonderful motifs. The specificity of fairy tale fiction in a fairy tale lies in the presence of such an important artistic component as the chronotope (space and time inseparable from each other are the main categories of the picture of the world). In all fairy tales, the chronotope is common. It is characterized by the fact that the content of fairy tales is not inscribed in real historical time and in real geographical space. It is fabulous. The artistic world of a fairy tale is outside reality, so it can be called closed. From this it follows that fairy tales are connected with reality by their deep historical roots. Much of what began to be perceived as fiction in them actually reflects the archaic way of life and the ancient worldview of people. At the same time, a fairy tale is always directed towards the real future, which, according to the people, should be better than the real present. The fairy tale corresponds to reality in the opposite way. This means that, reacting to certain life problems, the fairy tale offered their utopian solution. However, the main problems connecting the fairy tale with life were moral and ethical. For example, all peoples created a fairy tale about an orphan who is offended by an evil stepmother ("Cinderella", "Frost", "Wonderful Cow"). The fairy tale does not know the reasons for this phenomenon, does not see real ways to overcome it - it only tells people: this is unfair, it should not be so. And in his "closed" world, with the help of his special, fabulous fiction, he "corrects" this injustice. Consequently, the aesthetics of fairy tales acted in unity with folk ethics. The entertaining nature of fairy tales did not interfere with their ideological aspiration, which, in an extremely generalized form, is sympathy for the defenseless and innocently persecuted. Due to the "isolation" of the artistic world of a fairy tale, each of its plots could be philosophically perceived as a kind of metaphor for real human relationships and, therefore, acquired life analogies. People who in life were unfairly offended or deprived of something necessary (and such people always make up the majority) received comfort and hope from a fairy tale. The fairy tale was necessary for people because it helped them to live. Finally, fairy tales are connected with life also by the fact that in the process of natural execution they were filled with truthful everyday details, colored with a kind of "spontaneous realism". This fact is extremely important for working on a fairy tale with students, as it helps to learn the local tradition of storytelling, which should also be taken into account when getting acquainted with the fairy tales of the region. "There is no fairy tale without truth," says the proverb. And it is. Truth and fiction, these two opposite principles are dialectically combined in a fairy tale into one artistic whole [Propp 2012: 322]. Fairy tales have a national and even local flavor. They reflect the historical and natural conditions of life of each people, the surrounding flora and fauna, their way of life. However, the plot composition of fairy tales, appearing in their national interpretations and versions, is mainly international. For this reason, some fairy tales passed from one nation to another, that is, borrowing processes took place. The worldwide similarity of fairy tales has made it possible to create international indexes of plots, which greatly facilitates the search for a plot and its analogues. And when working on a fairy tale, it helps to identify a comparative base of motives and plots. The universal unity of fairy tales was manifested in their common poetic devices. At the heart of a fairy tale there is always an antithesis between a dream and reality, which receives a complete, but utopian resolution. The characters are contrastingly distributed along the poles of good and evil (beautiful and ugly become their aesthetic expression). The plot is consistent, one-line, develops around the main character, whose victory is obligatory. Russian folk fairy tale is distinguished by a special style, the so-called fairy tale imagery. The composition of the fairy tale, the fairy-tale world is specific. The fairy-tale world is divided into "this world" and "other world". They are separated either by a dense forest, or a fiery river, or a sea-ocean, or a colossal space that the hero overcomes with the help of a magical bird. Another world can be underground (and the hero usually gets there through a well or a cave), less often - under water. This world is not a “different reality” in fairy tales: everything is like “with us”: oak trees grow, horses graze, streams flow. And yet this is a different world: not just kingdoms, but copper, silver and gold. If the world is underground, then the hero plunges first into darkness and only then gets used to its special light. There is no afterlife and the hero does not meet his ancestors. But this is precisely the realm of the dead, and other creatures live there: Baba Yaga, Koschey the Immortal. Finally, As for "our" world, it can be called such only conditionally: the action of a fairy tale takes place in an extremely indefinite space. Sometimes the storyteller seems to want to clarify what kind of "some kingdom, some state" is, but usually the clarification is ironic: "on a smooth place, like on a harrow", "against the sky on earth." This makes the fairy-tale world surreal, not tied to a specific geography. Like the formulas of "white" and "black" conspiracies, fabulous formulas could form "mirror" pairs within one text: "Soon she gave birth to two twins, their hair was strung with pearls, they have a clear moon in their head, a clear sun in the crown of the head; on the right - sometimes they have hardened arrows in their hands, long-sized spears on their left hands" [Afanas'eva A.N. 2011:205]. The formulas have been varied. For example: "There is an oak tree by the sea of ​​\u200b\u200bLukomoria, there are golden chains on that oak tree, and a cat walks along those chains: it goes up - it tells tales, it goes down - it sings songs"; “I have a miracle in the forest: there is a birch, and on the birch a cat walks with a horn, goes up and down, sings songs”; The above formula, depicting a bayun cat from the fairy tale "Wonderful Children", could be torn off from its work and attached to other plots in the form of a saying. The stylistics of the fairy tale obeys general folklore laws. There are many so-called formulas here - traditional phrases, often repeated poetic clichés. Part of these formulas is the framing of the tale. Among them is a saying that attracts the attention of listeners, becoming the hallmark of the storyteller, evidence of his skill: "On the sea on the ocean, on the island on Buyan, there is a green oak, and under the oak there is a baked bull, he has crushed garlic in his backside; take it from one side yes, cut it, and on the other, dunk it and eat it! This is not a fairy tale yet - only a saying. The folklore proverb about the scientist cat was used by A. S. Pushkin in the introduction to the poem "Ruslan and Lyudmila". Sayings are special texts, tiny playful fables, not assigned to specific fairy tales. The saying introduces you to the fairy-tale world. The task of the saying is to prepare the soul of the listener, to evoke in it the correct fairy-tale setting. It calls the listener out of his ordinary thinking. An example of a proverb: "When pigs drank wine, and monkeys chewed tobacco, and chickens pecked at it" (Tuvan fairy tale). This formula gives the story a special fabulously surreal tone. There are many middle, medial formulas in the fairy tale: "Soon the fairy tale affects, but not soon the deed is done", "Whether they drove close, far, low, high." They serve as bridges from one episode to another. These traditional portrait-descriptive formulas describe, for example, a horse (“The horse is running, the earth is trembling, flames are bursting from the nostrils, smoke is pouring out of the ears”) or a heroic ride: “He hit his good horse, beat him on steep hips, pierced the skin to the meat , beat the meat to the bone, broke the bones to the brain - his good horse jumped mountains and valleys, let dark forests between his legs "; or Babu Yaga: "Suddenly it spun - it became muddied, the earth becomes a navel, a stone from under the ground, from under a stone Baba Yaga - a bone leg, rides on an iron mortar, drives with an iron pusher." But there are especially many traditional formulas of female beauty in the world fairy-tale folklore (these are formulas: the fairy tale does not know individual characteristics). Here, for example, is the formula of female beauty from a Turkmen fairy tale: "Her skin was so transparent that the water she drank could be seen through her throat, the carrots she ate could be seen through her side." The beauty is just as pampered in the Russian fairy tale: "Far distant lands in a distant state, Vasilisa Kirbityevna sits in a tower - the cerebellum pours from bone to bone." However, more often it is said about the impression that the beauty made on the hero - he simply loses consciousness: "There was a portrait of a beautiful girl on the wall. He decides, when he sees him, he fell and almost broke his head on the floor" (Abkhazian fairy tale); "And she was so beautiful that neither in a fairy tale can be said, nor described with a pen" (Russian fairy tale); "She was so beautiful that it was a pity to touch her with unwashed hands" (Turkmen tale). Many fairy tale formulas are of ancient origin and retain ritual and magical elements in a schematic form. Such, for example, are the formulas used in the episode of the hero's visit to Yaga's hut. Firstly, the hero pronounces a spell formula to stop the continuously spinning hut: "Hut-hut, stand back to the forest, front to me, let me go out, I won't live forever, spend one night!" Secondly, the hero responds with a formula to the grumbling of Yaga, who meets the hero with the formula: "Fu-fu-fu, it smells like a Russian spirit!" The antiquity of this formula is confirmed by the fact that it can be found in the tales of the Indo-European peoples: the guardian of the realm of the dead is struck by the smell of a living person. The most important actions of fairy-tale characters, their remarks are also clothed in formulas. So, the heroine always consoles her chosen one in the same way: "Go to bed - the morning is wiser than the evening!". Another framing formula is the ending. Usually she is also playful and returns the listener from the fairy-tale world to the real world: “They played a wedding, feasted for a long time, and I was there, I drank honey-beer, it flowed down my lips, but it didn’t get into my mouth. Yes, I left a spoon on the window; who light on the leg, he runs along the spoon. There are more final formulas in a fairy tale than initial ones. Most often, the presence of the narrator at the fairy tale feast is reported. But this presence is painted in playful, parodic tones: there was something, but nothing got into the mouth. And what kind of a feast is this, if it belongs to the times of fabulously uncertain? This is not only a feast at which nothing enters the mouth, these are gifts received at the feast, from which absolutely nothing remains. The story is over. The final formula sounds like this: "Here's a fairy tale for you, and a bunch of bagels for me", "Here the fairy tale ends, and I have no more vodka". Such a formula gives reason to think that once a fairy tale was told by professionals - bahari and buffoons. Framing is an optional element of the composition of a fairy tale. More often, a fairy tale begins with a message about the heroes; for this, special compositional formulas are used. They fix the action in time and space (the fixation can be parodic: "At number seven, where we sit"), or point to the hero ("Once upon a time", "In a certain kingdom, some state"), or introduce absurd circumstances, for example: "When the horns of a goat rested against the sky, and the short tail of a camel dragged along the ground..." [Lazarev A.I. 2011:62]. Each fairy-tale genre has its own characteristic motifs. A motif is the simplest narrative unit, an elementary plot, or an integral part of a complex plot. As the simplest motive, Veselovsky cited the formula a + b: "the evil old woman does not love the beauty - and sets her a life-threatening task." The motive contains the possibility of increment, development. So, there can be several tasks, then the formula becomes more complicated: a + b + b and so on. As Veselovsky noted, the artistic forms of storytelling have developed historically. This happened in different ways: for example, by complicating elementary (one-motif) plots. The fairy tale also knows such motifs as the kidnapping of the bride, a miraculous birth, a miraculous promise and its fulfillment, the death and miraculous resurrection of the hero, miraculous flight, violations of the ban, miraculous abduction (or disappearance), substitution of the bride (wife), recognition by a miraculous sign, miraculous death of the enemy. In different fairy tales, the motives are concretized (for example, the miraculous death of the enemy may be in an egg, in a fiery river). The more complex the plot, the greater the number of motives it includes. The simplest way to complicate the motive is repetition (repeated use of any element of a folklore text). The tale made extensive use of this artistic medium. In the composition of fairy tales, repetition can be of different types: stringing - a + b + c ... ("Stuffed Fool"); cumulation - a+(a+b)+(a+b+c)…("Terem flies"); ring repetition - an: the end of the work goes to its beginning, the same thing is repeated ("The priest had a dog ..."); pendulum repetition - ab ("Crane and heron"). In more complex plots of fairy tales, a hierarchy arises: a lower narrative level (motive) and a higher one (plot) are formed. The motifs here have different content and are arranged in an order that allows expressing the general idea of ​​the plot. The main structural feature of such a plot is the central motif corresponding to the climax (for example, a fight with a snake). Other motives are fixed, weakly fixed or free in relation to the plot. Motives can be stated both concisely and in expanded form; can be repeated three times in the plot with the growth of some important feature (a fight with a three-, six-, nine-headed snake) [Anikin 2012: 383]. V.Ya. Propp in his book "Morphology of a Fairy Tale" decomposed the motive into its constituent elements, highlighting the plot-necessary actions of fairy-tale characters and defining them by the term "functions". He came to the conclusion that the plots of fairy tales are based on the same set and the same sequence of functions. It turns out a chain of functions. In the identified V.Ya. The entire repertoire of fairy tales "fits" into the scheme with propp. To detect a motive in a fairy tale, it is necessary to take into account the functions of the acting characters, as well as such elements as the subject (the producer of the action), the object (the character to whom the action is directed), the scene of the action, the circumstances accompanying it, its result. As already noted, fairy tale motifs are often tripled: three tasks, three trips, three meetings, and so on. This creates a measured epic rhythm, a philosophical tone, and restrains the dynamic impetuosity of the plot action. But the main thing is that triplings serve to reveal the general idea of ​​the plot. For example, the increasing number of heads of three snakes emphasizes the significance of the feat of the serpent fighter; the increasing value of the next booty of the hero is the severity of his trials. “The song is red in tune, but the fairy tale is in warehouse,” says the proverb, which pays tribute to the fairy-tale composition. The sequence of functions of characters leads to the uniform construction of fairy tales, and the stability of functions leads to the uniformity of fairy tale images. This is a distinctive genre feature of a fairy tale. 1.3 Central images of fairy tales fairy tale development schoolboy The heroes of fairy tales are internally static images-types. The fairy tale is not interested in pedagogy: the world of typical experiences of a Russian person, in all its shades, was talentedly displayed by the richest folklore lyrics. In a fairy tale, we are presented not with characters, but with types, that is, the bearers of some main idea that determines the image. They are internally static, and this can be emphasized by a repeated nickname, portrait, image of a dwelling. However, the internal immutability of fairy-tale images-types is combined with their inherent external dynamism. Fairy tales are characterized by the steady repetition of characters of the same type in different works, but only within the limits of their genre. Thanks to this, fairy tales could be combined in one narrative, that is, contamination occurred. Contamination (from Lat. - mixing, connection) - the combination in one work of art of two or more independent works or their parts. The identification of contaminated plots also indicates the main ways of analyzing fairy tales. For example, it is known that in Russian fairy tales, a typical feature of a fox is cunning, treacherous, a liar, a cheat. Because in fairy tales about the fox, the same type of image was always preserved (although it acquired additional shades in different plots: a midwife fox, crying, even a "confessor"), that is, due to the typification of this character, all fox tales can be reduced to one narrative. In the oral tradition, some of these tales have turned into stable contaminations, that is, they are usually told together: "The fox steals fish from the cart" + "The wolf at the ice-hole" + "The beaten unbeaten one is lucky." The contamination of fairy tales is known to all peoples. The number of characters in a fairy tale does not correspond to the number of characters, since different characters are assigned the same function. So, a snake, Koschey, a little man with a marigold, a baba-yaga and others act as a pest, a backyard grandmother, wonderful birds, etc. act as a donor. There are other characters in fairy tales. Evil is represented in them by fantastic, disgusting monsters. This is, first of all, Koschey the Immortal - a terrible, strong old man who kidnaps women - as a rule, the mother, wife or bride of the hero of a fairy tale. This is Baba Yaga - "a bone leg, itself on a mortar, nose to the ceiling, one leg to the right corner, and the other to the left." This is the Serpent Gorynych, bursting with fire, with three, six, nine or twelve heads. It can be “a man with a fingernail - a beard with an elbow”, etc. These monsters bring death to people and kingdoms. They are unusually strong and aggressive. But the evil principle is also embodied in human characters. This is the stepmother who hates her husband's children, these are the older brothers of the hero, etc. [Zueva 2010: 107]. With all of them, the main characters of fairy tales, Ivan the Tsarevich, Ivan the Fool, Ivan Bykovich, are fighting not for life, but for death. They are distinguished by modesty, diligence, fidelity, kindness, willingness to help, disinterestedness. All this makes us admire. We sympathize with them in difficult times, rejoice in their victories. Together they embody the unwritten moral code of the people. Ivan Bykovich, without hesitation, goes to protect the people from the Serpent; Ivan Tsarevich goes in search of his mother, who was suddenly kidnapped by Koschey; Ivan the Fool unquestioningly fulfills the request of the deceased parent to come to his grave. Fairy tales say: he will come out victorious in the fight against the enemy, who loves his people, honors his parents, respects his elders, remains faithful to his beloved, who is kind and fair, modest and honest. With all the plot differences, fairy tales have a unity of poetic structure. This is expressed in the strict correlation of motives that form a consistently developing action from the plot through the development of the action to the climax leading to the denouement. The action of the fairy tale is built on the principle of growth: each previous motive explains the next one, preparing the events of the main, climactic, which conveys the most dramatic moment of the plot action: Ivan Tsarevich defeats Koshchei, fulfills the difficult orders of the sea king, Ivashka burns the witch, the king reveals the witch's intrigues and returns to his wife , turned into a lynx, the image of a beautiful queen, Culminating, or, in other words, central, the motif is specific to each plot. The rest can vary, i.e., be replaced by motives similar in content within the framework of a given plot. Conflict, expressed in a sharp opposition of the main characters, is an indispensable condition for plot action. In a fairy tale, she is always motivated. The traditional motivations that determine the actions of heroes are marriage, the desire to receive wonderful objects, the destruction of an enemy that causes some harm to the hero (his family or people in general), for example, the destruction of crops, the abduction of a princess, etc. One fairy tale can contain two motivations ( for example, Ivan Tsarevich defeats a snake and at the same time finds his wife in the underworld). Depending on the direction of the plot, motivations can receive heroic, everyday or social overtones. The composition of a fairy tale is simple in its own way, but this simplicity is the clarity of the complex, the result of centuries-old polishing of a fairy tale in the process of its existence. Taking into account plot differences and author's interpretations, fairy-tale characters appear as a wide gallery of typical images. Among them, the image of the hero is especially important, because it largely determines the ideological and artistic content of fairy tales, embodying folk ideas about justice, kindness, true beauty; it is as if all the best qualities of a person are concentrated in it, thanks to which the image of the hero becomes an artistic expression of the ideal. The high moral qualities of the heroes are revealed through their actions. However, in fairy tales you can find elements of a different nature, attempts to convey the inner world of heroes, their spiritual life: they love, rejoice, grieve, are proud of their victory, experience betrayal and infidelity, look for a way out of difficult situations, sometimes they make mistakes. That is, in a fairy tale we already find outlines of the image of a person. And yet, it is possible to speak about the individualization of images with a certain degree of conventionality, since many features inherent in the hero of one plot will be repeated in the heroes of other fairy tales. Therefore, the opinion about the image in fairy tales of a single folk character is fair. This folk character was embodied in different types of heroes - male and female images. The fairy-tale hero is essentially nameless. The name Ivan allows any substitutions - Vasily, Frol, Ivan the peasant son, Ivan Medvedko and others. At the beginning of the tale, he is named among other characters: “Once upon a time there was a king, he had three sons” - this is the typical beginning of most fairy tales. In order to distinguish the hero from the secondary characters, the tale introduces a number of traditional positions and situations associated only with the hero. He is young, among the brothers he is always the youngest and therefore he is not trusted. The definition of “younger” can be not only age related, but also social: Ivan the Fool is despised by his older brothers, he is disinherited, Ivan the peasant son, as the youngest, is opposed to the royal sons. Not infrequently, a hero is distinguished by a miraculous birth: the queen eats a pea, drinks water from a well or stream - twin sons are born to her. Ivan Medvedko will be born from the marriage of a man and a bear, a miraculous fish is eaten by a queen, a servant and a cow, each of them has a son, but the son of a cow (Ivan Bykovich) shows the features of a hero in the future. These motifs that begin the tale, due to their traditional nature, are, as it were, signal situations that draw the attention of listeners to the hero and, accordingly, determine the attitude towards other characters. This bias enhances emotional perception. In most fairy tales, the hero, unlike other characters, is endowed with extraordinary power. His heroism is already revealed in childhood, he "grows by leaps and bounds", "goes out into the street, grabs someone by the hand - hand away, grabs someone by the leg - foot away." He is only capable of a wonderful horse, which awaits the rider on its own in the dungeon, chained with twelve chains. Setting out on his journey, the tsarevich orders himself a club worth twelve poods. The same power is hidden in Ivan the Fool (“Sivka-Burka”): “...He grabbed the nag by the tail, skinned it and shouted: “Hey, flock, jackdaws, hags and magpies! Here is the father sent you a stern. It should be noted that any quality the hero of the tale gives is not like sparing the animals; Ivan the Fool ransoms a dog and a cat with the last money, frees a crane that has fallen into a snare; the hunter, in need, feeds the eagle for three years. The same manifestation of ideal qualities is the fulfillment of duty, honoring elders, following wise advice. Usually advice comes from old men and women who embody life experience, the ability to foresee events. These characters often act as wonderful helpers. In the tale of the three kingdoms, Ivan Tsarevich, setting off in search of his kidnapped mother, defeats a many-headed snake, following her order "not to strike with weapons twice" or rearrange the barrels with "strong and powerless water." The plot “Go there, I don’t know where” is all based on the fulfillment by the archer of the wise advice of his wife. Failure to comply with orders The initial erroneous behavior gives special persuasiveness to the right actions. Ivan Tsarevich thinks where to get the heroic horse. When asked by an oncoming backyard grandmother, what he thought about, he answers with rudeness, but then changes his mind, asks the old woman for forgiveness and receives the necessary advice. The personality of the hero is manifested in his actions, in his reaction to the outside world. The plot action (the situations in which the hero is placed) serves to reveal and prove the truly positive qualities of a person, the correctness of his actions, as corresponding to the norms of human behavior in society. For each good deed, the hero is rewarded with magical items: an invisibility cap, a self-assembled tablecloth, wonderful animals - a heroic horse, helper animals. The reward may be in the form of advice - where to find a horse, how to find the way to the betrothed, to overcome the snake [Propp 2010: 219]. A fairy tale knows two main types of heroes: Ivan Tsarevich - the hero of magical and heroic plots ("Three Kingdoms", "Kashchei the Immortal", "Rejuvenating Apples", etc.) and Ivan the Fool - the hero of fairy tales "Sivka-Burka", " The Magic Ring”, “Wonderful Gifts”, “The Little Humpbacked Horse”, etc. The existence of various types of heroes finds its historical and aesthetic conditionality, the latter is determined by the desire to comprehensively reveal the national ideal. The goal of the hero in different plots is different: to return to people the light that the snake swallowed, to save the mother from the monster and find the brothers, to restore the sight and health of the old man, turns the queen into a white duck, and then tries to kill her children. Revealing the images of its heroes, the fairy tale conveys folk ideas about people, their relationships, affirms kindness and fidelity. The image of the hero is revealed in a complex system of plot oppositions. Antithesis is an artistic technique by which the central image receives an in-depth characterization. Contrasting the hero with his opponent (the pest) is of particular importance, since the relationship of these characters is an expression of various life principles and thus becomes a means of revealing the ideological content of fairy tales. The main types of heroes - active (Ivan Tsarevich) and passive (Ivan the Fool, stepdaughter) - also correspond to the types of opponents. Conventionally, they can be divided into two groups: monstrous opponents of the "other" kingdom - snakes, Kashchei, Baba Yaga and others, and opponents of "their" kingdom - the king, princess, brothers, etc. [Pruss I. 2013: 47]. Monstrous opponents are the characters of heroic plots. Folk fantasy paints them as fantastic monsters. Intentionally depicting the heroes as outwardly ordinary people - a good fellow, a red maiden, the fairy tale resorts to hyperbole when describing enemies: a nine-headed snake, a man with a fingernail - a beard with an elbow. All of them are aggressive, bring death and destruction to people: they kidnap women, children, burn kingdoms. But the more monstrous the enemy, the more determination and courage the hero must have. The antagonistic relationship between the hero and his opponent is the basis of all fairy tales. But despite the general similarity of the plot plot, none of the tales nevertheless repeats the other. This difference lies, in particular, in the plot diversity, which is largely due to the numerous images of opponents. Each of them has a specific traditional function in the plot, hence the differences in appearance, attributes, properties that give rise to special forms of struggle with them. The number of opponents of the hero will increase even more if we take into account that different characters can be hidden behind one name. Thus, in addition to the main characters - the hero and his opponent - there are many other characters in the fairy tale, each of which has its own purpose in the plot action; among them, the group of characters who give miraculous helpers, and the miraculous helpers themselves, is especially numerous. These are characters from a fairy tale. In fairy tales, domestic and wild animals always stand on the side of the hero: the horse helps to defeat the snake, the cow Burenushka does hard work for her stepdaughter, the cat, etc. a dog returns the ring stolen by the princess, a bear, a wolf, a hare help the prince get Kashchei's death or deal with the sorcerer - his sister's lover. Since ancient times, wishing to save oneself from illnesses and accidental dangers, striving to ensure good luck in all matters, the popular imagination endowed bread, water, fire, as well as a wide variety of objects with a magical function: flint, towel, needle, mirror, ring, knife, etc. This belief finds confirmation in numerous rites and customs, it was reflected in a peculiar way in the fairy tale about the miraculous properties of individual objects, with the help of which the hero performs difficult assignments and avoids danger. Miraculous objects in a fairy tale are, as a rule, outwardly ordinary household items - a comb, a brush, a towel. Miraculous properties are contained in their action: a tablecloth feeds all the hungry, a towel spreads like a river, a comb turns into an impenetrable forest. One of the most popular negative heroes of the Russian fairy tale is the Serpent Gorynych. A survey among students, which consisted of only one question: “Name the most popular negative heroes of Russian fairy tales in descending order,” showed that the most “popular” negative heroes of Russian folk tales are: Koschei the Immortal, Baba Yaga, Serpent Gorynych, Vodyanoy , Leshy. Koschei the Immortal - 100% Baba Yaga - 98% Serpent Gorynych - 80% Water - 70% Goblin - 65% [Strelkova L.P. 2012:109-110]. At different stages of cultural development and in different national traditions, the Serpent acquired numerous variations of his image, complete and interesting enough to consider this hero, identify his distinctive features, and create a collective image of the negative hero of a Russian folk fairy tale. “In the realm of fabulous legends, one of the most important fields belongs to the fiery, flying serpent…” What is the Serpent and snake fighting in the view of the Slavs? In Afanasiev's Poetic Views of the Slavs on the Nature of the Serpent, it is characterized as a poetic representation of thunder, lightning and meteors. He says that folk fantasy created many mystical images, and one of them was the image of a snake - the personification of lightning, the whimsical bend of which resembled a snake gliding along the ground. The importance of the image of the Serpent Afanasiev finds in close connection with many of the main religious ideas of the Slavs. Beliefs ascribe to the Serpent demonic properties, heroic strength, the ability to change one's appearance, the possession of countless riches and living water, and knowledge of healing herbs [Dmitrieva 2012: 371]. Propp believes that almost all fairy tales can be reduced to a plot about the abduction of a princess by a snake, and he, in turn, to an even more ancient plot of the kidnapping of the sun by a cloud: "... morphologically, all these fairy tales can be derived from fairy tales about the kidnapping of a princess by a snake, of the species that we tend to consider the main one. Propp emphasizes that the kite does not have a full-fledged external description, there are only individual elements, such as many heads or the fact that the kite is flying, but, nevertheless, the wings are almost never mentioned, from which we can conclude that it soars without wings. The flight of a snake resembles the flight of Baba Yaga - accompanied by a storm, wind. The serpent is a very famous character in fairy tales and epics, most often he appears before the reader in the form of an enemy with whom the hero will have to enter into an uncompromising struggle. Among all the negative characters of Russian folk fairy tales, in popularity he is second only to Koshchei the Immortal and Baba Yaga. He is one of the most complex and unsolved figures of world folklore and world religion. The snake image in the fairy tale is extremely complex and versatile, because it is a combination of several animals, that is, it is a hybrid creature. First of all, this creature is multi-headed, especially in Russian fairy tales, and this is its indispensable feature. The number of heads is different, 3, 6, 9, 12 heads predominate, but 5 and 7 also come across. Also, usually, the Serpent is a fire creature that can fly. In addition to the fire element, the serpent is also associated with the water element, and these two elements do not exclude each other. There are fairy tales in which he lives in the water and sleeps on a stone in the sea. At the same time, the serpent is often called the Serpent Gorynych, and, therefore, lives among the mountains. However, such a location does not prevent him from being a sea monster at the same time. In some tales, he lives in the mountains, but when the hero approaches him, he comes out of the water. According to the functions, V.Ya Propp divides Russian fairy-tale kites into 4 categories. fairy tale snake abductor snake The serpent engaged in requisitions Border Guard Serpent Devouring snake [Tolstikova 2012: 59]. As you can see, in fairy tales, the image of a snake can be positive and negative. The duality of his image is explained by different attitudes towards the snake at various historical stages. In primitive society, the serpent was revered as a totem animal, later it was interpreted in folklore as an image that personifies the totemic, formidable forces of nature, and then the oppressor, rapist, enemy of the people. Thus, it is possible to fully describe this negative hero. The snake is engaged in requisitions on the orders of his master - the Water King. Initially, the snake has three heads, but if they are cut off, the number of heads doubles. The snake lives in the water, and, going out on requisitions, raises large waves on the sea, thereby all the other heroes of the fairy tale understand that it is he who is approaching. In a fairy tale, he acts clearly in accordance with his goal, or rather an order. He only needs to pick up Martha the Princess and take her to her owner. Naturally, when he comes across obstacles on the way, such as Ivan - Tsarevich, for example, he eliminates them, engaging in battle with the enemy. In this type of snake, his certain “individuality” and character traits are not manifested, he acts here as a “robot” doing a certain job, so you can’t even agree with him. Thus, the following types of heroes are distinguished in Russian fairy tales: the main characters are Ivan Tsarechiv and Ivan the Fool, antagonist heroes, magical helpers and magical objects. . THE ROLE OF FAIRY TALES IN FORMING THE PERSONALITY OF YOUNGER SCHOOLCHILDREN 2.1 The influence of a fairy tale on the development of a child of primary school age Fairy tales play an important role in terms of the harmonious development of personality. What is harmonious development? Harmony is the ratio of all parts of the whole, their interpenetration and mutual transitions. The strengths of the child's personality, as it were, pull up the weak ones, raising them to higher levels, forcing the entire most complex system - the human personality - to function more harmoniously and holistically. Moral ideas and judgments of people do not always correspond to their moral feelings and actions. Therefore, it is not enough just to know, to understand with your “head” what it is to be moral, and also only to speak in favor of moral deeds, you must educate yourself and your child in such a way as to want and be able to be, and this is already the area of ​​feelings, experiences, emotions. Fairy tales help develop responsiveness, kindness in a child, make the emotional and moral development of the child controlled and purposeful. Why fairy tales? Yes, because art, literature is the richest source and stimulus of feelings, experiences, and precisely higher feelings, specifically human (moral, intellectual, aesthetic). A fairy tale for a child is not just fiction, fantasy, it is a special reality, the reality of the world of feelings. A fairy tale pushes the boundaries of ordinary life for a child, only in a fairy tale form, schoolchildren encounter such complex phenomena and feelings as life and death, love and hate, anger and compassion, betrayal and deceit, and the like. The form of depicting these phenomena is special, fabulous, accessible to the understanding of the child, and the height of the manifestations, the moral meaning, remain genuine, The fairy tale, the constant companion of childhood, has long attracted the attention of teachers. Different scientific schools present its pedagogical meaning in different ways. But everyone agrees on one thing: a fairy tale is a necessary means for a child to comprehend the world, both external and internal. It allows you to make the process of emotional and moral development of the child controlled and purposeful. Its role is also great in terms of the aesthetic development of the individual. Studies conducted by both domestic and foreign teachers have shown that properly organized aesthetic perception has a huge impact on the spiritual development of the child, leading to the acquisition of individual knowledge and skills, the formation of individual internal processes, contributing to the emergence of new motives for the child's activity. A fairy tale can influence both conscious, and on the unconscious sides of the personality, forming certain patterns of behavior. It should be noted that despite the large number of studies devoted to the problem of a fairy tale, methodological issues related to the mechanisms of its influence on a person and a number of theoretical issues have not been sufficiently developed at present. All this speaks of the relevance of the study of fairy tales. Over the years, the baby becomes older and wiser. He sort of moves into a more romantic world. He makes the first palimpsest out of his script and refines it, bringing it into line with new ideas about the world. Under normal conditions, the child is helped in this by fairy tales and stories about animals, which are first read to him by his mother, and then he reads them himself during his leisure hours, when he can let his imagination run wild. Fairy tales have their own magic, although not as amazing. They give the child a whole range of new actors who play roles in his fantasies. Representatives of the animal kingdom are familiar to him either as playmates, or as figures flashing in the zoo, inspiring either horror or admiration, or as semi-imaginary creatures with incomprehensible properties, which he only heard or read about. May be, At the first stage of his child, he deals with "magical" people who, in his imagination, can turn into animals on occasion. At a later stage, he simply attributes some human qualities to the animals. This trend continues to a certain extent in the lives of some adults, especially those associated with animals in their work. In adolescence, adolescents review their script, as if to adapt it to the reality that they imagine it to be: still romantic and radiant or artificially glossy, perhaps even gilded with the help of drugs. Gradually, a person moves to the final "performance". The task of the psychotherapist is to make this path as calm and interesting for people as possible. The influence of various types of oral folk art on human life is great. It can manifest itself both on a conscious and unconscious level. Such great psychologists and philosophers as Z. Freud, E. Fromm, K.G. Jung, E. Bern. In particular, E. Bern wrote that various forms of social action contribute to the structuring of time, help to avoid boredom, and also provide an opportunity to extract the maximum possible satisfaction from each situation. Most people, in addition, subconsciously have their own life plan, or script, which is formed in early childhood, mainly under the influence of parents. This impulse with great force pushes a person forward towards his destiny, and very often regardless of his resistance or free choice. Scenes in a person's life script are usually determined and motivated in advance, just like theatrical scenes. Life scenarios are based in most cases on Parental programming, which the child perceives for three reasons. First, it gives life a purpose, which otherwise you would have to find yourself. Everything that a child does, most often he does for other people, usually for parents. Second, Parental Programming gives him an acceptable way to structure his time (i.e. acceptable to his parents). Thirdly, the child must be told how to act and do certain things. Learning by yourself is interesting, but not very practical to learn from your mistakes. One of the goals of scenario analysis is to relate the patient's life plan to the grandiose history of the development of pedagogy from the earliest cave times up to the present day. The first and most archaic version of the script is the primary "protocol", which is perceived by the mind of the child at an age when the world around him is still little real for him. It can be assumed that his parents are giant figures endowed with magical power, like mythological titans, only because they are much taller and larger than him. E. Bern considers a scenario what a person plans to do in the future in childhood. And the path of life is what actually happens. The path of life is to some extent predetermined genetically, as well as the position that the parents create, and various external circumstances. Illnesses, accidents, war can frustrate even the most thorough, comprehensively justified life plan. The same thing can happen if the "hero" suddenly enters the script of some stranger, for example, a bully, a murderer, a car driver. The combination of such factors can close the way for the implementation of a certain line and even predetermine the tragedy of the life path [Dmitrieva T. G., 2012:319]. A fairy tale can reveal elements of the script without which it is difficult to get to the bottom of the story. He proceeds from the need to look for exactly the myth or fairy tale that the patient follows. And the more we approach them, the better for the patient. The fate of each person is determined primarily by himself, his ability to think and reasonably relate to everything that happens in the world around him. Man himself plans his own life. Only freedom gives him the strength to carry out his plans, and strength gives him the freedom to comprehend if it is necessary to defend them or fight against the plans of others. Even if a person's life plan is determined by other people or to some extent determined by the genetic code, even then his whole life will testify to a constant struggle. Every person in childhood, most often unconsciously, thinks about his future life, as if scrolling through his life scenarios in his head. Everyday behavior of a person is determined by his mind, and he can only plan his future. For example, what kind of person will his spouse (wife) be, how many children will be in their family, etc. There are many forces that influence human destiny: parental programming, supported by an inner "voice", which the ancients called the "demon"; constructive parental programming, driven by the flow of life, long called physis (nature); external forces still called fate; free aspirations, which the ancients did not give a human name, since they were the privilege of gods and kings. The products of these forces are different types of life paths, which can mix and lead to one or another type of fate: scripted, non-scripted, violent or independent. In the interpretation of myths and fairy tales, Z. Freud follows the same principle as in the interpretation of dreams. Freud considers the presence of symbols in myths as a regression to the early stages of human development, when such an activity as farming or making fire had the form of sexual libido. In myths, this ancient and now repressed satisfaction of the libido is expressed in the "substitute pleasure", which allows a person to limit the satisfaction of instinctive desires to the realm of fantasy. In myths, as well as in dreams, instinctive desires are expressed not explicitly, but in a disguised form. They deal with desires, which, as Freud suggested, are characteristic of the period of childhood; first of all, incestuous aspirations, sexual curiosity and fear of castration. In myth, as in a dream, events are told about events taking place in space and time. In this narrative, religious and philosophical ideas are expressed in the language of symbols, the inner state of a person is conveyed, and this is the true meaning of the myth. Erich Fromm wrote about the language of symbols and understanding of its meaning. He said that this is such a language with the help of which internal experiences, feelings and thoughts take the form of clearly tangible events of the external world. It is the only universal language invented by mankind, the same for all cultures throughout history, which you need to understand if you want to understand the meaning of myths, fairy tales and dreams. The ability to understand this language allows us to get in touch with the deeper levels of our own personality. In fact, this helps the teacher to penetrate into a specific human layer of spiritual life, common to all mankind both in content and in form [Zakharov A.I. 2011: 276]. Another point of view in the interpretation of fairy tales and myths is expressed by K.G. Jung. He says that in fairy tales the soul expresses itself about itself, and archetypes are found in their natural teamwork. The archetype of the spirit, that is, the old man, always arises where the hero is in a hopeless desperate situation from which he can be rescued only by thorough reflection or a happy accident, that is, a spiritual function that appears in the form of a personified thought, namely in the form of an adviser and the help of an old man. It seems that the intervention of the old man, that is, the spontaneous objectification of the archetype, is completely inevitable. The objective intercession of the archetype, which pacifies a purely affective reaction, linking the processes of internal confrontation and realization into a single chain, is necessary not only in a fairy tale, but also in life in general. This makes it possible to know both the present situation and the goal. The archetype has another special way of its manifestation - the animal form. The animal appearance indicates that the contents and functions under discussion are outside the human realm, that is, on the other side of human consciousness. Both opposite triplicities - one conjuring evil and the other representing its power - seem, so to speak, like two drops of water on the functional structure of our brain - consciousness and the unconscious. A fairy tale, as a spontaneous, naive and unreflected product of the soul, cannot express anything other than what the soul actually is. Listening to a fairy tale, the child "absorbs" philosophical meanings, styles of relationships and behaviors, then plays it out with friends. Moreover, all processes of comprehension proceed at the unconscious-symbolic level. By repeatedly living the events of a fairy tale, the child indirectly acquires significant life experience for himself. Speaking about the influence of various types of oral folk art on a person's life as a whole, one cannot fail to note their special role that they play in childhood. I would especially like to say about the influence of the fairy tale. To understand the complex and influential role of fairy tales in the aesthetic development of children, it is necessary to understand the originality of children's worldview, which we can characterize as children's mythologism, which brings children closer to primitive man and artists. For children, for a primitive man, for a real artist, all nature is alive, full of inner rich life - and this feeling of life in nature has, of course, nothing far-fetched, theoretical, but is directly intuition, living, convincing education. This feeling of life in nature is increasingly in need of intellectual formulation - and fairy tales just meet this need of the child. There is another root of fairy tales - this is the work of children's fantasy: being an organ of the emotional sphere, fantasy is looking for images to express children's feelings in them, Therefore, the lessons that a fairy tale gives are lessons for life for both children and adults. For children, these are incomparable moral lessons; for adults, these are lessons in which a fairy tale reveals its sometimes unexpected impact on a child. Listening to fairy tales, children deeply sympathize with the characters, they have an inner impulse to assist, to help, to protect, but these emotions quickly fade away, as there are no conditions for their realization. True, they are like a battery, they charge the soul with moral energy. It is very important to create conditions, a field of vigorous activity, in which the feelings of the child, experienced by him while reading fiction, would find their application, so that the child could contribute, sympathize really. I would like to draw attention to the imagery, depth and symbolism of fairy tales. Parents are often concerned about the question of how to deal with scary tales, whether or not to read them to their children. Some experts suggest that they should be completely excluded from the "reading repertoire" for young children. But our kids do not live under a glass bell, they are not always under the saving protection of dad and mom. They must grow up bold, persistent and courageous, otherwise they simply will not be able to uphold the principles of goodness and justice. Therefore, they must be early, but gradually and deliberately taught stamina and determination, the ability to overcome their own fears. Yes, children themselves strive for this - this is evidenced by "folklore" and scary stories that children of school age compose and retell to each other. A child brought up on a folk tale feels the measure that the imagination should not cross in art, and at the same time, realistic criteria for aesthetic assessments begin to take shape in the schoolchild. In a fairy tale, especially in a fairy tale, much is permitted. Actors can get into the most extraordinary situations, animals and even inanimate objects speak and act like people, perform all sorts of tricks. But all these imaginary circumstances are needed only for objects to reveal their true, characteristic properties. If the typical properties of objects and the nature of the actions performed with them are violated, the child declares that the tale is wrong, that this does not happen. Here, that side of aesthetic perception opens up that is important for the development of the child's cognitive activity, since a work of art not only acquaints him with new phenomena, expands the circle of his ideas, but also allows him to highlight the essential, characteristic in the subject. A realistic approach to fairy tale fantasy is developed in a child at a certain stage of development and only as a result of education. T.I. Titarenko showed that kids, without having the relevant experience, are often ready to agree with any fiction. Only at school age does a child begin to confidently judge the merits of a fairy tale, based on the plausibility of the events depicted in it. Schoolchildren are so strengthened in this realistic position that they begin to love all sorts of "shifters". Laughing at them, the child discovers and deepens his correct understanding of the surrounding reality. Aesthetic perception, however, is not reduced to a passive statement of certain aspects of reality, even if they are very important and essential. It requires that the perceiver somehow enter into the depicted circumstances, mentally take part in the actions of the characters, experience their joys and sorrows. This kind of activity greatly expands the scope of a person's spiritual life and is of great importance for his mental and moral development. Listening to a fairy tale, along with creative games, is of paramount importance for the formation of this new type of internal activity, without which no creative activity is possible. A clear plot, a dramatized depiction of events in a fairy tale help the child enter the circle of imaginary circumstances and begin to mentally contribute to the heroes of the work. At one time S.Ya. Marshak wrote in “Big Literature for Little Ones”: “If the book has a clear unfinished plot, if the author is not an indifferent registrar of events, but a supporter of some of his heroes and an opponent of others, if there is a rhythmic movement in the book, and not a dry, rational sequence, if the conclusion from the book is not a free application, but a natural consequence of the whole course of facts, and besides all this, the book can be played like a play, or turned into an endless epic, inventing more and more sequels to it, this means that the book is written in a real children's language. language” [Roshiyan 2011: 427]. With appropriate pedagogical work, a student can already arouse interest in the fate of the hero of the story, make the child follow the course of events and experience new feelings for him. In a child, one can observe only the beginnings of such assistance and empathy for the heroes of a work of art. The perception of the work acquires more complex forms among schoolchildren in the lower grades. His perception of a work of art is extremely active: the child puts himself in the place of the hero, mentally acts together with him, fights with his enemies. The activity carried out at the same time, especially at school age, is by its nature very close to the game. But if in play the child really acts in imaginary circumstances, then here both actions and circumstances are imaginary. In the course of the school development of the attitude towards a work of art, the path goes from the direct naive participation of the child in the events depicted to more complex forms of aesthetic perception, which, in order to correctly assess the phenomenon, require the ability to take a position outside them, looking at them as if from the outside. So, the student in the perception of a work of art is not egocentric. Gradually, he learns to take the position of a hero, mentally assist him, rejoice at his successes and be upset because of his failures. The formation of this internal activity at school age allows the child not only to understand phenomena that he does not directly perceive, but also to take a detached view of events in which he did not directly participate, which is of decisive importance for subsequent development. A school-age child loves a good fairy tale: the thoughts and feelings caused by it do not fade away for a long time; they manifest themselves in subsequent actions, stories, games, drawings of children. What attracts a child to a fairy tale? As rightly pointed out by A.N. Leontiev, for a correct understanding of certain particular processes, it is necessary to take into account the nature of the motives that prompt the child to act, for the sake of which he performs this operation. These issues are very little covered in traditional pedagogy. From the point of view of, for example, psychoanalysts, the child's interest in a fairy tale is due to dark, asocial inclinations, which, due to the prohibition of adults, cannot manifest themselves in real life and therefore seek satisfaction in the world of fantastic constructions. K. Buhler believes that in a fairy tale the child is attracted by a thirst for the unusual, unnatural, a primitive desire for sensation and miracle. Such theories are in conflict with reality. The huge influence of properly organized aesthetic perception on the spiritual development of the child lies in the fact that this perception not only leads to the acquisition of individual knowledge and skills, to the formation of individual processes, but also changes the general attitude towards reality, contributes to the emergence of new, higher motives for the child's activity [ Tolstikova 2012: 42]. At school age, activity becomes more complicated: what it is aimed at, and what it is done for, turns out to be no longer identical, as it was in early childhood. New motives for activity, which are formed in the general course of the child's development as a result of his upbringing, for the first time make possible a real understanding of works of art, penetration into their ideological content. In turn, the perception of a work of art affects the further development of these motifs. Of course, a small child is fascinated by the colorfulness of the descriptions or the amusing external situations in which the characters find themselves, but very early he also begins to be occupied by the inner, semantic, side of the story. Gradually, the ideological content of the work of art opens up before him. A work of art captivates the student not only with its external side, but also with its internal, semantic, content. If the younger children are not sufficiently aware of the motives of their attitude towards the character and simply declare that this one is good and this one is bad, then the older children are already arguing their assessments, pointing to the social significance of this or that act. Here is already a conscious assessment not only of external actions, but also of the internal qualities of a person, an assessment based on high socially significant motives [Obukhova 2009: 111]. Playing and listening to a fairy tale create favorable conditions for the emergence and development of the internal activity of the child's imagination. Here there are, as it were, transitional forms from real, actual action with an object to reflection on it. When a child begins to master this form of activity, new possibilities open up before his knowledge. He can comprehend and experience a number of events in which he did not directly participate, but which he followed through the artistic narrative. Other positions that do not reach the consciousness of the child, being presented to him in a dry and rational form, are understood by him and deeply touch him when they are clothed in an artistic image. This phenomenon was remarkably shown by A.P. Chekhov in the story "At Home". The moral meaning of an act, if it is expressed not in the form of abstract reasoning, but in the form of real, specific actions becomes available to the child very early. “The educational value of works of art,” as B.M. Teplov, - first of all, it lies in the fact that they make it possible to enter “inside life”, to experience a piece of life reflected in the light of a certain worldview. And the most important thing is that in the process of this experience, certain attitudes and moral assessments are created, which have an incomparably greater coercive force than assessments that are simply communicated and assimilated. In order to comprehend something, a schoolchild needs to act in relation to a cognizable object. The only form of activity available to the student is real, actual action. For a schoolchild, in addition to practical contact with reality, the inner activity of the imagination becomes possible. He can act not only in reality, but also mentally, not only in directly perceived circumstances, but also in imaginary ones. 2.2 Fairy tales in the literary development of children of primary school age Literary development is one of the components in the general system of education, development and education of younger students. The definition of literary development belongs to the methodologist N.D. Moldavskaya: “Literary development is an age-related and at the same time an educational process of developing the ability to perceive the art of the word, complex skills to consciously analyze and evaluate what is read, guided by aesthetic criteria” [Moldavskaya 2010: 21]. Literary development is an age-related process, since as the outlook develops, the reader's experience accumulates, the perception of the same work by the same person will deepen over the years. But this is also an educational process: the nature of teaching necessarily affects the course of literary development, and can not only contribute to its development, but also slow it down due to the inept actions of the teacher. Modern methodological science is looking for means and conditions, technologies that contribute to the literary development of schoolchildren. Literary development as an educational process involves the development of the ability to directly perceive the art of the word, the complex skills to consciously analyze and evaluate what is read, guided by aesthetic criteria, and the development of children's own literary creativity. The goals of literary education at the present stage of education are the familiarization of the world of the child with the world of culture, acquaintance with the language of culture. The problems of literary education and literary development are inseparable from each other. The goal of any education is the development of the personality, so it is easy to understand that the goal of literary education is the literary development of the child. For successful work with children, it is necessary to understand this process, its essence, specificity, and conditions [Ryzhkova 2009: 56]. With regard to elementary school, the problem of literary development was dealt with by Z.N. Romanovskaya. She considers literary development as part of the overall development and defines the main methodological provisions that contribute to literary development: position of developing education; the development of younger students directly depends on the artistic merit of the works studied in the lesson; the subject of study in the lesson should be a literary work as an aesthetic value; the specifics of the work should determine the structure of the lesson [Romanovskaya 2011: 145]. Literary development is interpreted in the modern methodology as an age-related and at the same time educational tripartite process, including: ) the formation of the reader (learning the perception, comprehension and interpretation of a work of art in the unity of its form and content, evaluating it from an aesthetic standpoint and expressing one's assessments, both in verbal and non-verbal form); ) the development of the literary creativity of schoolchildren, the ability to adequately express themselves in a word; ) expansion of the cultural field of the child, the development of the student as a bearer and creator of culture [Romanovskaya 2011: 234] The literary development of schoolchildren as a process was considered by V.G. Marantsman. He argues that literary development, with some delay, realizes the experience of the general development of the child. Shifts in literary development cover all aspects of the reader's perception and are most noticeable in the field of emotions during the transition to the next stage of literary development [Marantsman 2009: 68]. At the elementary school stage, according to V.G. Marantsman, the mechanisms of communication of the child with culture are formed, the horizons of his vision are expanding (from the particular to the general), his imagination and emotional responsiveness to the works of the word are developing. The result of the process of literary development was accurately determined by N.D. Moldavskaya, one of the first researchers of this problem: literary development reflects the child's ability to "think in verbal and artistic images" [Moldavskaya 2011: 64]. Any activity requires from a person certain inclinations and abilities to perform it. Every healthy person learns primitive activities. But there are activities that require the development of not only general, but also special abilities. The process of literary development, as we have defined, is aimed at the development of precisely such special, literary, abilities of the child. That is why the question of literary development is closely connected with the problem of literary ability. Literary abilities are classified as creative. The main criterion of creativity is the originality of the result, its novelty, difference from the previously created one. This means that one of the signs of a creative person will be her desire for originality, novelty, the ability to abandon the familiar, established. Teachers believe that the makings of creative abilities are inherent in almost any person, any normal child. You just need to be able to open them and develop them. They can be revealed only in activity. This means that literary and creative abilities can be revealed, revealed and developed in literary and creative activity [Vygotsky 2010: 69] “Children's discovery of the world,” writes V.F. Asmus, - creativity to the extent that, of course, the child's mastery of the word is creative: language acquisition goes on an individual path, and comprehension of the world and the language that reflects it are unique for everyone in their own way" [Asmus 1961: 21]. This discovery of the world “for oneself” proceeds as a process that creates a person. The activity of this process will increase disproportionately if the child feels the need for action, the embodiment of a plan. The main activity of a child in a literature lesson - reading and comprehension of what is read - is, according to V.F. Asmus, creative activity. Reader's creativity, according to the scientist, can also give rise to authorship, and this manifests the creative fruitfulness of art, which lives not only in the act of the creator, but also in the act of perception. The reader's perception includes both facets of creativity - both the internal process of comprehending art "for oneself", and the possibility of identifying this process in a material result that can be a discovery for everyone. Therefore, the process of forming a reader, due to the specifics of the subject of literature, cannot be focused on creativity and, therefore, needs a methodology aimed at the literary development of the child through the activation of his creative forces [Asmus 2009: 26]. Literary development is considered in science as a process and as a result of the process. Any educational process consists of several components: cognitive (cognitive), communicative, value, activity and creative. The result of the process is the acquisition by a person not only of new knowledge and skills, but of a worldview and attitude, i.e. personality changes, its development [Ryzhkova 2009: 74]. The accumulation of information by mankind in various fields of science has led to specialization, i.e. division of a single educational process into separate areas (science, humanitarian, mathematical) and disciplines. At school, the child gets acquainted with the basics of all areas, although the educational process proceeds in a differentiated and sometimes isolated way, when each discipline is studied on its own, without connections with others. Thus, we single out the process of literary development from the general educational process, not forgetting that it has a common beginning with all other educational processes - the components of education we have named. From this conclusion it follows that in the process of literary development, the child receives a system of scientific knowledge about literature as an art form and literary criticism as a science, develops a system of values ​​in the field of literature as an art, masters the skills necessary to communicate with literature as an art form, and the skills necessary to comprehend literary phenomena, and also develops his creative literary abilities [Ryzhkova 2009: 76]. The interest of modern methodological science in studying the problem of the literary development of schoolchildren is explained by the fact that the theoretical and practical experience in solving this problem, accumulated during the period of the origin and formation of methodology as a science, was not the subject of an objective analysis and was not fully reflected in the historical and pedagogical literature. The generalization of the theoretical and practical experience in solving the problem of the literary development of schoolchildren at the present stage of the development of methodology as a science will make it possible to reveal an objective picture of the state of this problem in methodological science and practice in the 2000s. Literature affects a very wide area: the worldview, speech, moral behavior in society, the team, the family, aesthetic and artistic development - in essence, the formation of the entire personality of a person. However, in order to read and deeply perceive a work of art, one must have the necessary knowledge, a developed, recreating imagination, emotional responsiveness, a sense of the poetic word, observation, and the ability to artistic generalization. Literary development, understood as a special development necessary for activity in the sphere of verbal art (actually creative and reproducing, reading activity), is deeply and comprehensively connected with general mental development. Literary development could be tentatively defined as the process of developing the ability to directly perceive the art of the word, complex skills to consciously analyze and evaluate what is read, guided by the aesthetic criteria and artistic taste developed at school when mastering the curriculum of literature and in broad out-of-school communication with art. The problem of the literary development of schoolchildren in the learning process occupies one of the important places among the problems of studying personality. In modern aesthetic and literary studies, the question of aesthetic perception is included in the broad context of the main theoretical issues of art as the cognition of reality. In defining art as a form of cognition, the cognitive act is interpreted not only as a process of artistic creation, but also as a process of artistic perception. A work of art for the perceiver is not only a means of cognition of reality, but also an object of cognition as an independent aesthetic value. This explains the multidimensional nature of the study of artistic perception. Aesthetic perception is considered in three main aspects: ) historical (analysis of the phylogeny of aesthetic perception); ) from the point of view of studying the aesthetic perception of an individual (ontogeny); ) proceeding from the analysis of aesthetic perception as a special system of human activity [Moldavskaya 1982: 78]. Human creativity, including artistic creativity, is a further development and improvement of the active reflection (cognition) of reality. Cognition of reality in the form of artistic generalization is always accompanied by its assessment. The impact of art on a person is an impact that usually causes an ambiguous reaction of the perceiver. This is due to the ambiguity of the artistic image and the possible variability of artistic perception as a revelation of the internal state, internal conditions of life of a particular person. The problem of the literary development of schoolchildren under the influence of education must be correlated with related problems and concepts of pedagogy, pedagogical and child psychology in order to more accurately outline the range of issues related to the study. The general principle of explaining the development of personality in the lower grades leads directly to the system of pedagogical concepts proper, the specific content of which must be clarified before revealing the concept of literary development. Since we are talking about special development, namely, the mental development of a person, more precisely, a junior schoolchild, in a completely specific area of ​​\u200b\u200bactivity (in the field of reading and perception of fiction, in the field of assimilation of the corresponding academic subject), since the clarification of the system of concepts must begin with the question of development mental abilities. If we switch the study of the ability to think in verbal and artistic images from the properties of the personality to the plan of activity, to the plan of internal processes, then, first of all, we must turn to such two main types of spiritual activity as artistic readership and literary creativity. In these two types of activity, the ability to think in verbal and artistic images is formed and realized; and at the same time, as a property, this ability is improved, developed, enriched. Here the main place is occupied by the perception of literary and artistic works, since it is precisely this mental activity that is improved under the influence of training in the assimilation of literature itself and the foundations of literary criticism. As for the actual literary creativity of students, it has a subordinate character and serves the general development, improvement of the artistic perception and speech of students. V.F. Asmus in the article “Reading as work and creativity” reveals the perception of a literary work as a complex process: “The mind of the reader is active while reading. He resists both hypnosis, which invites him to accept the images of art as a direct manifestation of life itself, and the voice of skepticism, which whispers to him that the life depicted by the author is not life at all, but only a fiction of art. As a result of this activity, the reader realizes a kind of dialectics in the process of reading. He simultaneously sees that the images moving in his field of vision are images of life, and understands that they are not life itself, but only its artistic reflection” [Asmus 2009: 44]. The activity of the reader's mind is a specific activity that combines the efforts of thinking, memory, imagination, aesthetic and moral feelings, and many other processes. In this case, the reader's thinking is based not on data obtained by direct knowledge, but on artistic facts and phenomena. This means that the reader's thinking deals with the phenomena of reality already mediated by the artist's (writer's) thinking. Connections of thought, new in their nature, with the object of knowledge (a work of literature) arise, in which the phenomena of immediate life are already generalized in the concrete-sensual form of a verbal-artistic image. The connections between thinking and the activity of the recreating imagination are especially pronounced in the artistic (reader's) perception. Based on a broad understanding of the term "perception", one can define literary development as a process of qualitative changes in the ability to think in verbal and artistic images, which is revealed both in the reader's perception and in literary creativity itself. In the genetic approach to the problem of the literary development of schoolchildren in the learning process, it is important to point out those moving forces under the influence of which it proceeds. These are, first of all, direct artistic impressions (mainly reading literary works), correlated with the life experience of a school reader, mastering the necessary theoretical knowledge and developing speech [Ryzhkova 2009: 79]. Consideration of the process of literary development from the point of view of its interaction with the learning process brings to the fore the problem of criteria, or indicators, of literary development. The unity of views on the criteria for general mental development has not yet developed, however, all domestic teachers, one way or another dealing with this problem, mean by the criteria some general properties of the mind. 2.3 Studying the composition and plot of a fairy tale: developing lessons We offer the development of four models of lessons on the topic "Studying the composition and plot of a fairy tale." Each lesson constitutes a certain stage in the study of this topic. In the first lesson, students get acquainted with the genre of folk fairy tales. This lesson will use such a method as compiling a formula for a fairy tale using Propp's Cards, proposed by D. Rodari in the book "Grammar of Fantasy" and developed by Y. Sipinev and I. Sipineva in the manual "Russian Culture and Literature. The purpose of the second lesson is to tell about the two worlds of a fairy tale, about the features of the language of a folk tale. In the next lesson, information about the plot and composition of the fairy tale is updated (the main situations of a fairy tale). In the last lesson, to consolidate the general theme, the plot and composition of "Tales of Tsar Berendey, of his son Ivan Tsarevich, of the tricks of Koshchei the Immortal and the wisdom of Marya, the princess, Koshcheeva's daughter" by V.A. Zhukovsky are analyzed. Let's consider each lesson separately. Lesson 1 The objectives of this lesson will be: Educational: to introduce students to the genre of folk fairy tales, to teach how to formulate a fairy tale; show children the greatness and beauty of folk and literary tales. Developing: the formation in children of the ability to listen and perceive the speech of the teacher, the development of logical and figurative thinking of students; enrichment of knowledge, development of oral speech of students. Educational: development of humanity, spirituality, moral and aesthetic qualities of students, instilling a love of reading. Lesson Type: Introduction to new material. Lesson form: lesson-game. Teaching methods: visual, verbal, search, problem, game. Skills and abilities to be acquired by students: Students should know how to define the genre of a folk fairy tale. Students should be able to compose the formula of a fairy tale. Equipment: texts of the fairy tale "Ivan the Peasant Son and Miracle Yudo", cards with a fairy-tale situation (function) - "Propp's cards" (see Appendix 1). During the classes: I. Organizational moment: Greeting, message about the topic and purpose of the lesson. II. Introduction to new material: Introductory speech of the teacher: The folk fairy tale genre has been deeply studied in folklore. Folkloristics is the science of oral folk art (folklore). A fairy tale is a kind of oral folk art. Fairy tales were created later than animal tales, but also came to us from ancient times when people believed in magic. Features of fairy tales: the presence of magical powers and fantastic creatures assisted by birds and animals, as well as magical things (self-assembled tablecloths, walking boots). As a rule, various miraculous transformations happen to the heroes of these fairy tales, the heroes are always brave, resourceful, they are endowed with remarkable strength, and this helps them successfully overcome all obstacles on the way to a noble goal. As you already know, fairy tales were composed by people a very long time ago, in those days when a person sincerely believed in miracles, believed that the world was inhabited, besides him, by other living beings. He thought that the nature surrounding him was alive, that every animal, every tree or flower had a soul and mind, lived its own life. Moreover, our great-grandfather thought that this life is common, that you can communicate with wildlife, that it can either help a person or hinder him. If he does something wrong, nature can be angry with him, and this anger can be terrible. People in those days hoped for the miraculous intervention of the forces of nature in human affairs, and all this was reflected in fairy tales that were composed precisely at that distant time. The hope of people for the help of the powerful forces of nature in the good deeds of man, for the justice of these forces, the victory of good is embodied in the happy endings of fairy tales, in the obligatory victory over evil of a simple, but kind and hardworking person. Therefore, all fairy tales end well, and their main characters, humble and not very beautiful, receive a reward for their good deeds. Why do different peoples have fairy tales with similar miracles or miraculous transformations, for example, fairy tales about Cinderella. Belief in a miracle, and not just a miracle, but in life's justice, has always been among people, among all people, regardless of the country in which they lived. Frontal discussion with the class. The teacher distributes cards to the children, they examine them, exchange cards. Then, in turn, read the records on them. Guys, determine what is named on the card? (fabulous events are named). The teacher's story about the "Propp cards": The scientist V. Propp, who studied fairy tales, discovered that fairy tales are built from a set of fairy tale situations. These are situations-bricks with the help of which the building of a fairy tale is created. "Propp's cards" are the names of fairy-tale situations. Here are some of them: - Ivan Tsarevich, soldier - heroes; - evil king, snake, stepmother - antagonists or pests;  late father, animals, helpers, donors.  Wreckership - kidnapping of a person, bewitchment. - Absence - the elders leave, the death of parents. - Prohibition - do not look into the closet and the like.  Test of the hero - can he get into another world, is he able to use magic skills. - The first test is to check the hero, whether he knows the rules of behavior in the new world. - The hero receives a magical remedy after meeting with the giver.  Liquidation of trouble is the main test of the hero.  Additional test - recognition of the hero. It turns out who actually accomplished the feat, the false hero, the impostor is put to shame [Dobrovolskaya V.E. 2011:262]. Determination of the sequence of events in the fairy tale "Ivan the Peasant Son and Miracle Yudo" based on the "Propp Maps" (the fairy tale was read in the class earlier, texts on the desks): Three sons leave home to fight Chud-Yud. Grandfather-donor tells how to find damask swords. Heroes find damask swords. Meeting with the grandmother-assistant. She had an overnight stay. The heroes ended up at the Smorodina River, at the Kalinov Bridge. Big brother's watch (false hero). Ivan and the snake enter the fight. Ivan won. Watch of the middle brother (false hero). Ivan and the snake are fighting. The snake is defeated. Ivan's watch. Fight with the enemy. Ivan's victory. The hero is pursued by the wives and mother of the serpent. The first problem is a well. The second problem is the apple tree. The third trouble is the carpet and pillow. Pig pursuit. Ivan's victory. Homecoming. Happiness. III. Consolidation of the studied material. Drawing up a fairy tale formula together with students: 10-11-12-14-15-16-18-16-18-16-18-19-20-21-22-21-22-21-22-21-22-31 [Dobrovolskaya V.E. 2011:78]. IV. Lesson Summary: Today we have learned how to formulate a fairy tale; learned how the genre of a folk fairy tale is defined. V. Comments on evaluations. VI. Homework: read the fairy tale "The Sea King and Vasilisa the Wise." Compose your own fairy tale using the "Propp cards", draw up its formula (optional). Lesson 2. Two worlds of a fairy tale. Features of the language of a folk tale Goals: Educational: talk about the two worlds of a fairy tale, about the features of the language of a folk tale; determine the formula of the fairy tale "The Sea King and Vasilisa the Wise". Developing: the formation in children of the ability to listen and perceive the speech of the teacher, the development of logical and figurative thinking of students; enrichment of students' knowledge, development of students' oral speech. Educational: development of humanity, spirituality, moral and aesthetic qualities of students, instilling a love of reading. Lesson type: combined. Teaching methods: visual, verbal, search, problem, game. Skills and abilities to be acquired by students: Students should know the peculiarities of the language of a fairy tale. Students should be able to use the schemes of fairy tales and draw up a fairy tale formula. Equipment: texts of the fairy tale "The Sea King and Vasilisa the Wise". Cards with a fabulous situation (function) - "Propp's cards". Schemes "Two worlds of a fairy tale" (see Appendix 2). During the classes: I. Organizational moment: greeting, message about the topic and purpose of the lesson. II. Checking homework: students read their fairy tale at will, determine its formula, students lay out the cards in a certain sequence. III. Introduction to new material . Students are given schemes "Two worlds of a fairy tale". Students study the diagrams and listen to the teacher: Philologist, researcher of Russian folklore and Russian folk tale V. Ya. a young man who leaves home.He leaves at random, not knowing either the path or the goal.On the way he meets magical helpers, these are old men or old women who show him the way, or animals who, in gratitude for the help provided to them by the hero, help him to get into another country, the "thirtieth kingdom". There he meets with the kidnapper, there is a fight with him, and the hero, sometimes with the help of magical assistants, defeats his enemy. Then he returns home and is rewarded, most often by marrying his chosen one " . . The student's story about the features of fairy-tale speech, about the reasons for its simplicity, conciseness, about the appointment of repetitions, set expressions, about constant epithets (according to preliminary homework). Independent work of students: illustration of the speaker's message with examples from a fairy tale read at home. III. Fixing new material Practical work in groups Students are divided into 2 groups. Each group needs to draw up a formula for the fairy tale "The Sea King and Vasilisa the Wise." After completing the task, the answers of the groups are compared and analyzed, and the group that completed the task correctly is singled out. Self-control card Absence of the king from home. The king makes a promise to the sea king. Father brings Ivan Tsarevich to the lake. The old helper tests Ivan. He apologizes for being rude. The assistant gives advice. Ivan receives a magical remedy (a golden ring) from Vasilisa the Wise (donor). The hero goes to the "foreign" world (underwater kingdom). Ivan and the sea king enter the fight. Ivan, with the help of Vasilisa, performs three tasks for the king. The sea king admitted defeat. Ivan marries Vasilisa. Ivan and Vasilisa return to Holy Rus' (the world of the living). They are persecuted by the sea king. Ivan, returning home, forgets Vasilisa (memory loss). Ivan wants to get married. Vasilisa reminds of herself. Reunion of Vasilisa and Ivan. IV. Lesson Summary: Today we determined the formula of the fairy tale "The Sea King and Vasilisa the Wise". They learned what "two worlds of a fairy tale" are, and determined the features of the language of a folk tale. V. Comments on evaluations. VI. Homework: Compose a fairy tale using "Propp's cards" (optional). Lesson 3 Goals: Educational: to introduce students to the plot of a fairy tale, to give an idea of ​​the composition of a fairy tale and the purpose of its parts, to teach how to determine the composition of fairy tales. Developing: the formation in children of the ability to listen and perceive the speech of the teacher, the development of logical and figurative thinking of students; enrichment of knowledge, development of oral speech of students. Educational: development of humanity, spirituality, moral and aesthetic qualities of students, instilling a love of reading. Lesson type: combined. Teaching methods: visual, verbal, search, problem, game. Skills and abilities to be acquired by students: Students should know the definition of the plot and composition of a fairy tale. Students should be able to determine the composition of fairy tales. Equipment: texts of the fairy tale "The Sea King and Vasilisa the Wise", memos "The plot of a fairy tale"; a triangle for studying the plot of a fairy tale (see Appendix 3); "Propp's Maps". During the classes: I. Organizational moment: greeting, message about the topic and purpose of the lesson. II. Introduction to new material Vocabulary work. Students write new concepts in their notebooks. The plot is the course of events in a work of art. Composition (Latin compositio - composition, compilation, connection) is characteristic of all works of art. In literature, the composition is understood as the unfolding of the plot. The word of the teacher about the composition and plot of a fairy tale. Compositionally, a fairy tale consists of an exposition (a story about the causes that gave rise to a problem, damage, for example, a violation of a ban), a beginning (detection of damage, shortage, loss), plot development (search for the lost), culmination (a battle with evil forces) and denouement (solution, overcoming the problem, usually accompanied by an increase in the status of the hero, his accession). Consider the plot of a fairy tale based on a triangle. (the triangle depicts the main elements of the plot). Children are given memos "The plot of a fairy tale": Beginning. Exposure: the situation before the start of the action. Plot: the hero is faced with a new situation (sabotage, lack, the hero leaves the house). The development of the action: the hero sets off on a journey, crosses the border of another world (donor, magic tool). Climax: A hero between life and death. Development of action: tense moments. Resolution: resolution of contradictions (wedding, accession of the hero). Ending. The teacher's explanation of the essence of the plot elements [Bern E. 2011:217]. Exposure: the family lives peacefully and happily (not always). The plot is wrecking, causing damage to a family member (kidnapping); violation of the prohibition leads to sabotage; the hero leaves the house. The development of the action is a meeting with the donor, receiving a magical remedy, crossing the border of another world, the path, the struggle of the hero with the antagonist. The climax is the most difficult test, the trouble is eliminated. The development of action - the pursuit of the hero, the solution of the problem, the enemy is punished. The denouement is the wedding, the accession of the hero. III. Fixing new material Practical work in groups on the study of the plot of the fairy tale "The Sea King and Vasilisa the Wise". Students are divided into 2 groups. Each group needs to determine the plot of the fairy tale "The Sea King and Vasilisa the Wise." After completing the task, the answers of different groups are compared, analyzed, and the group that completed the task correctly is singled out. Self-control card Exposure. The king's promise. Tie. The king brought Ivan to the lake. Action development. Ivan goes to a "foreign" world, with the help of Vasilisa, he completes the tasks of her father, marries her. Climax. Return to Rus', three times Vasilisa saves her husband from death. Action development. Return home, loss of memory, Ivan wants to marry another. Interchange. Reunion of Ivan and Vasilisa. IV. Lesson Summary: Today we got acquainted with the concepts of "plot" and "composition of a fairy tale, analyzed its parts, learned to determine the composition of fairy tales. V. Comments on ratings. VI. Homework: read "The Tale of Tsar Berendey, his son Ivan Tsarevich, the tricks of Koshchei the Immortal and the wisdom of Marya, the princess, Koshcheeva's daughter" by V.A. Zhukovsky, write down the plot of the fairy tale by V. Zhukovsky, draw pictures. Lesson 4 Goals: Educational: to consolidate knowledge on the topic "Studying the composition and plot of a fairy tale"; to analyze the plot and composition of "The Tales of Tsar Berendey, his son Ivan Tsarevich, the tricks of Koshchei the Immortal and the wisdom of Marya, the princess, Koshcheeva's daughter" by V.A. Zhukovsky. Developing: the formation in children of the ability to listen and perceive the speech of the teacher, the development of logical and figurative thinking of students; enrichment of knowledge, development of oral speech of students. Educational: development of humanity, spirituality, moral and aesthetic qualities of students, instilling a love of reading. Type of lesson: consolidation of knowledge. Teaching methods: visual, verbal, search, problem, game. Skills and abilities to be acquired by students: Students should know the definition of the concepts of "plot" and "composition" of a fairy tale. Students should be able to analyze the plot and composition of a fairy tale. Equipment: texts "The Tale of Tsar Berendey ..." by V. Zhukovsky, "Propp's Maps", memos "The Plot of a Fairy Tale". During the classes: I. Organizational moment: greeting, message about the topic and purpose of the lesson. II. Quiz "Guess the author" .Author of fairy tales "Cinderella", "Puss in Boots", "Little Red Riding Hood". (Ch. Perrot) Author of the fairy tale "Twelve Months". (S. Marshak) The author of the fairy tale "The Frog is a Traveler". (V. Garshin) Author of the fairy tale "The Golden Key". (A. Tolstoy) Author of "The Tale of Lost Time". (E. Schwartz) Author of the fairy tale "Humpbacked Horse". (S. Ershov) III. Updating information. Front poll:  Formulate the definition of a fairy tale. Name the characteristics of a fairy tale.  Name the main situations in the composition of a fairy tale. - Define composition. Name the elements of the plot of a fairy tale. - What is a plot? - Name the two worlds of a fairy tale - What is on the border between the worlds? - What are the linguistic features of the fairy tale? - Give examples of fairy tales. - Give examples of fairy tale endings [Kamburova M.A. 2012:86]. IV. Presentation of children's drawings for Zhukovsky's fairy tale. V. Checking homework: a presentation of the plot "Tales of Tsar Berendey ...". Answers to homework: Exposure. Tsar Berendey lived with his wife. Absence from home. Well. The king's promise. The birth of a son. Tie. Meeting of the prince in the forest with the old man. Action development. Ivan - Tsarevich left home. Ducks by the lake. Meeting with Marya - the princess. Underworld (world of the dead). Ivan served two services of Koshchei with the help of Marya. Escape of Ivan and Marya. Climax. The return of heroes to the world of living people. Chase. Marya saves Ivan from death three times. Action development. Ivan is in a beautiful city. Memory loss. Mary turned into a flower. Marya goes to Ivan's wedding. Pie. Return memory. Departure of the heroes. Return to the kingdom of Berendey. Interchange. The wedding of Ivan da Marya. VI. Formation of skills and abilities Prove that "The Tale of Tsar Berendey ..." is magical in genre. Answer: The presence in the fairy tale of such fragments as: two worlds - the world of the living and the world of the dead; lake - the border of two worlds; ducks turn into red girls; the underworld - another world; Koschey the Deathless - the living dead. Composition "Tales of Tsar Berendey ...". - What fabulous situations did Zhukovsky use in his fairy tale? Brief retelling of excerpts: the tsar's absence, a trick (does not know about his son), involuntary complicity (the tsar's promise), Ivan leaves the house, Marya tests the hero, the hero is transferred to another world, the hero and antagonist Koschei enter the fight, Koschei is defeated, Ivan's misfortune is eliminated , the return of Ivan and Marya, the heroes are pursued by Koschey, the heroes are fleeing from persecution, Ivan arrives in another country, the solution of a difficult task, the hero marries. Group work. Compare the plot and composition of Zhukovsky's fairy tale and the folk tale "The Sea King and Vasilisa the Wise". Messages from representatives of each group. Reflection. Finish the phrases: I learned in class today... I learned in class today... The most interesting part of the lesson was... It was difficult for me... I want to commend myself... I now feel... IV. Lesson Summary: Today we consolidated knowledge on the topic "Studying the composition and plot of a fairy tale"; analyzed the plot and composition of "The Tales of Tsar Berendey, his son Ivan Tsarevich, the tricks of Koshchei the Immortal and the wisdom of Marya, the princess, Koshcheeva's daughter" by V.A. Zhukovsky. V. Comments on ratings. VI. Homework: prepare for work in the creative workshop. Write a draft essay in the genre of a fairy tale. With the help of these lessons, students will acquire basic skills in working with the plot and composition of a fairy tale, which will help them cope with tasks of this type when studying literary works. CONCLUSION The main problems connecting the fairy tale with life were moral and ethical. Due to the "isolation" of the artistic world of a fairy tale, each of its plots could be philosophically perceived as a kind of metaphor for real human relationships and, therefore, acquired life analogies. People who in life were unfairly offended or deprived of something necessary (and such people always make up the majority) received comfort and hope from a fairy tale. The fairy tale was necessary for people because it helped them to live. The specificity of fairy tale fiction in a fairy tale lies in the presence of such an important artistic component as the chronotope (space and time inseparable from each other are the main categories of the picture of the world). From this it follows that fairy tales are connected with reality by their deep historical roots. At the same time, a fairy tale is always directed towards the real future, which, according to the people, should be better than the real present. The fairy tale corresponds to reality in the opposite way. This means that, reacting to certain life problems, the fairy tale offered their utopian solution. Finally, fairy tales are connected with life also by the fact that in the process of natural execution they were filled with truthful everyday details, colored with a kind of "spontaneous realism". This fact is extremely important for working on a fairy tale with students, as it helps to learn the local tradition of storytelling, which should also be taken into account when getting acquainted with the fairy tales of the region. Heroes of fairy tales are internally static images-types. The fairy tale is not interested in pedagogy: the world of typical experiences of a Russian person, in all its shades, was talentedly displayed by the richest folklore lyrics. In a fairy tale, we are presented not with characters, but with types, that is, the bearers of some main idea that determines the image. They are internally static, and this can be emphasized by a repeated nickname, portrait, image of a dwelling. However, the internal immutability of fairy-tale images-types is combined with their inherent external dynamism. The main artistic features of a fairy tale fairy tale are plot and composition. Fairy-tale characters are revealed, first of all, in action, and this is the main method of their portrayal. They are entirely dependent on their plot role. At the same time, the actions of fairy tale characters determine the development of the plot. Fairy tales make the most of time as an artistic factor, thus expressing their epic essence. The plot and type of the hero are interdependent. We can say that their unity determines the nature of this or that genre within the fairy tale system. Fairy tales are characterized by the steady repetition of characters of the same type in different works, but only within the limits of their genre. Thanks to this, fairy tales could be combined in one narrative. The identification of contaminated plots also indicates the main ways of analyzing fairy tales. The fairy-tale plot has the usual epic development: exposition - plot - development of the action - climax - denouement. The specificity of the fairy tale composition is determined by the division of the plot into motifs. The style of fairy tales also has its own specifics. There is such a thing: "fabulous ritual". It implies a kind of "poetic etiquette" of a fairy tale, mainly a fairy tale, which was achieved by stylistic means. These include formulas and sayings. A fairy tale is a favorite reading for younger students, attracting them with its adventure story, unusual characters, and vivid figurative language. Fairy tales entered the school curriculum in the 19th century and are still popular today. Currently, there is not a single educational program on literary reading that would not include Russian fairy tales. The poetics of a fairy tale (its language, composition, system of images) should be the subject of study in elementary school. This will make the lessons of literary reading more meaningful, interesting and attract the attention of younger students to them. The genre approach is one of the ways to form the reading competence of younger students, which is a priority task of literary education at the present stage of primary general education. LIST OF USED SOURCES Adonieva, S. B. “A fairy tale in the context of traditional folk culture” / S.B. Adonieva. L.: LGU, 2011. 502 p. Anikin, V.P. Russian folk tale / V.P. Anikin. 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