Uzbekistan samarkand state institute of foreign languages

Factors contributing to becoming children’s writer

A fairy tale is an active aesthetic creativity that covers all spheres of a child's spiritual life - his mind, feelings, imagination, will. Creating fairy tales is one of the most interesting types of poetry for children. At the same time, it is an important means of mental development. A fairy tale, play, fantasy is a life-giving source of children's thinking, noble feelings and aspirations. Long-term experience convinces us that aesthetic, moral and intellectual feelings, born in the soul of a child under the impression of fairy-tale images, activate the stream of thoughts that awakens the brain to vigorous activity, connects living islands of thinking with full-blooded streams.[3]

The first text Andersen called a "fairy-tale" was "The Diving Bell. A Fairy- tale from the Bottom of the Ocean", which appeared in 1827 in Johan Ludvig Heiberg's literary magazine Kjøbenhavns flyvende Post. However, it is not really a fairy-tale but a fantastic story, a comic fantasy in verse. The text was later incorporated as chapter 12 in his first book, Fodreise (1829).

The first real fairy-tale Andersen published was "Dødningen" (The Dead Man), which concluded his collection of poems from 1830, Digte. It is an old folktale, which is found in many civilizations (e.g. in the Apocrypha of the Old Testament known from "Tobias' Book" or "Tobit's Book"), here retold partly as a local legend and in a witty literary style inspired by the German writer Musäus. It was this tale that Andersen completely rewrote in 1835 as far as style and narrative technique are concerned, giving it the title "The Travelling Companion".

In 1835 appeared the two first booklets which he called Fairy-tales told to the children, (Eventyr, fortalte for Børn) a title he kept up to and including 1841. In 1843 he changed it to Nye Eventyr - New fairy-tales. In 1852 he introduced the title Stories (Historier) signalling a new realism, and later he mixed these two designations, fairy-tales and stories. See the index of fairy tale collections.[3]

Andersen was inspired by traditional Scandinavian, German and Greek stories, from ancient times to the Middle Ages. Fables, real incidents and natural phenomena also triggered his imagination. In a masterful way, he wove different materials and influences to create the fairytales that we know today. But the storyteller, who was born into a very poor household in 1805, did not only write fairy tales. Very few people know that Andersen also wrote poems, plays, novels and travelogues and was a very talented silhouette artist.
Andersen loved traveling and he traveled a lot, above all to Germany to visit his friends and patrons Friederike and Friedrich Anton Serre. Germany was where Andersen became famous even before people in his home country knew him
— at least in his lifetime. When Andersen died at the age of 70 in Copenhagen, he was already an internationally-known author. Until a short time ago, the house where he was born was a place of pilgrimage for his fans. On June 30, 2021, a new kind of museum opened in his native Odense: The H.C. Andersen House, in Danish, the "H.C. Andersen Hus." [3]
The intention of the Japanese architect Kengo Kuma and his team was to communicate not about Andersen, but like Andersen, according to a press release. The worlds outside the museum and inside it communicate with one another. From inside the underground museum, which has a lake built on top of it, visitors can glimpse the sky, just like the little mermaid from the story of the same name.
Hans Christian Andersen never thought of himself only as a storyteller for children. It was important to him that socio-critical or satirical elements of his story, which he consciously included for adult readers, were highlighted as much as the fantastic and fabulous. The museum has its own "children's area," including an atelier with the name "Ville Vau," where children can be creative and participate in workshops. Here, Hans Christian Andersen's fairy-tale motifs are made accessible to children.
Children have enjoyed Hans Christian Andersen's fairy tales for centuries. He has taken them to different places to experience different things. He has expose them inadvertently to nature, beauty, and art through his eloquent descriptions. He has created tales, which teach children spiritual, moral, social, psychological, and emotional educational values. His stories have made millions of children around the world think, and feel, and have made them compassionate toward people, animals, and nature. Through exploration of his fairy tales we will see how he makes their emotions come alive in children.[3] Andersen’s life was clearly reflected in his works, whose heroes are almost always representatives of the poor, noble in heart, talented, but suffering from
contempt of the powerful (“Improviser”, “This is only a violinist”, “Petka-lucky”).

Of everything that Andersen wrote, his dramas are by far the weakest, and the most significant are fairy tales. Plots for fairy tales Andersen took from folk sagas, ancient poetic works, stories heard in childhood, most importantly – from everyday reality. An abundance of descriptions of nature distinguishes Andersen’s tales from folk tales, and in these descriptions, high artistry is combined with geographical accuracy. Often Andersen’s tales are completely devoid of magic, outwardly realistic, their “fairy tale” only in the inner qualities of the characters. Most tales are imbued with soft humor, kindness of heart. The true children’s form, Andersen’s tales are so serious in content that they are completely accessible only to adults.