The cheerful tale of Winnie the Pooh is a fireworks display of joy and optimism. It is as if she is not subject to the laws of the fairy tale genre. There are no dramatic situations in it, no struggle between Good and Evil, it is light and smiling, and all the adventures that happen with Christopher's toys - the characters in this fairy tale - are very similar to children's games. Milne, chuckling, draws the characters of the “heroes” that determine their behavior and actions. The writer settled the boy and his bear along with other toy characters in a fairy-tale Forest.

The forest is a psychological space for children's play and fantasy. Everything that happens there is a myth born of the imagination of Milne Sr.: the fact is that, as the story progresses, the heroes leave the author’s subordination and begin to live their own lives.

Time in this Forest is also psychological and mythological: it moves only within individual stories, without changing anything as a whole. “A long time ago, it seems like last Friday...” - this is how one of the stories begins. The heroes know the days of the week and determine the hours by the sun. This is a cyclical, closed time of early childhood.

The heroes do not grow up, their age is determined by the chronology of their appearance next to the boy. Christopher Robin is 6 years old, the bear is 5, Piglet seems to be “an awfully long time: maybe three years, maybe even four!”

Teddy bear Winnie the Pooh is the embodiment of optimism and epicureanism. And although his head is full of sawdust, he has to think a lot, he is incredibly inventive. Either he pretends to be a cloud in the blue sky, trying to deceive the bees and enjoy the honey (“I’ll pretend like I’m a little black cloud. Then they won’t guess!”), then he decides to dig a Very Deep
A hole to catch the Heffalump (“The first thing that came to Pooh’s mind was to dig
A Very Deep Pit, and then the Heffalump will go for a walk and fall into this hole, and..."). A little bit of a glutton, a little bit of a poet, Winnie the Pooh is cheerful and for every occasion he composes a song that he sings loudly:

The bear loves honey very much!

Why? Who will understand?

In fact, why

Does he like honey that much?

Cheerful Pooh is always ready to come to the aid of his friends and gift them with his optimism. This is probably why Christopher Robin loves the “silly bear” more than all other toys.

And here is another character - the pissemist donkey Eeyore, who is always sad. He looks dejectedly, first at the ground, then at his reflection in the water. And all he says is an ironic parody of the Piseemists: “Now everything is clear. They shouldn’t be surprised... What can you expect from them!.. That’s what I thought... But no one cares. Nobody cares. A heartbreaking sight..."

Both Piglet, who is proud of his ancestor, and the cautious Rabbit, who says from the hole that “absolutely, absolutely no one is home,” are depicted a little ironically, because you can’t let just anyone into the hole. The Rabbit is also practical: when Pooh got stuck in his hole, the Rabbit used his legs to dry the clothes “...Christopher Robin read aloud just such a digestible, that is, understandable and interesting, book near the Northern Land of Pooh, and the Rabbit hung the washed clothes on his Southern Region..."

Milne also laughs at the learned Owl, who doesn’t even know how to write, but is afraid of losing her authority. Therefore, before writing an inscription on a honey pot, she asks whether Pooh can read at least something. But she speaks terribly pompously, as befits a “very scientist”: “And the Owl spoke and said some terribly long words, and these words became longer and longer... Finally, she returned to where she started...”

Humorous situations are associated in most cases with the fact that the head
Winnie the Pooh is full of sawdust, and he can’t immediately figure out what’s happening.
So, Pooh asks who is answering from the Rabbit's hole, and how this can be if there is absolutely no one at home. “He thought like this: “It can’t be that there is absolutely no one there!” There is still someone there - after all, someone should have said: “Absolutely, absolutely no one!” Or, not understanding Owl’s verbal communication, he asks again, “What does Bull Tsedura mean?”

But for all the inhabitants of the Forest, the unstoppable authority remains
Christopher Robin. It is he who is called to help in difficult cases, it is he who is the smartest: he knows how to write, he is inventive and knowledgeable, he comes up with
An “expedition” to the North Pole, about which the animals have no idea. As the song Pooh composed says:

And everyone is on an expedition

I would be terribly glad

Find out what Pole means,

And what do you eat it with?

From time to time, strangers appear in the forest: real or imagined by the characters themselves (Buka, Heffalump, etc.). Strangers are initially perceived painfully, with fear: this is the psychology of early childhood. The strangers are exposed and disappear.

All the characters have no sense of humor; on the contrary, they approach any issue with extreme seriousness. They are kind; It is important for them to feel loved; they expect sympathy and praise.

The logic of the heroes is childishly selfish, the actions performed on its basis are ridiculous. Winnie the Pooh makes a number of conclusions: the tree itself cannot buzz, but the bees that make honey buzz, and honey exists for me to eat.

The element of children's play is impossible without children's poetry. Winnie the Pooh composes Noisemakers, Screams, Grunts, Snotlets, Songs of Praise, and even theorizes: “Screams are not things that you find when you want, they are things that find you.”

Tara-tara-tara-ra!

Tram-pum-pum-taram-pum-pah!

Tiri-tiri-tiri-ri,

Tram-pam-pam-tiririm-pim-pim! (Grumpy).

In general, much of the fairy tale is based on verbal play, on irony regarding the rules of “good manners.” When the rabbit treats Pooh and asks what to give him bread with - honey or condensed milk, Pooh answers: “Both,” and then realizes that this is impolite and adds that he can have no bread at all. give. The bear cub’s refusal of bread in favor of sweets, combined with “politeness,” creates a comic effect.

The theme of the work is the adventures of toy characters in fairy-tale situations; about friendship and mutual assistance.

"Winnie the Pooh" is recognized throughout the world as one of the best examples of books for family reading. The book has everything that attracts children, but there is also something that makes adult readers worry and think.

Love is the greatest feeling on earth. It makes a person happy, illuminates his whole life, and lifts him to heaven. But often love hurts a person’s heart, makes him suffer and suffer, experiencing an unrequited, unrequited feeling. In Kuprin’s story “The Garnet Bracelet” “love is selfless, selfless, not expecting a reward, the one about which it is said “strong as death.” Love for which anyone can commit! a feat, to give one’s life, to undergo torture is not work at all, but one joy.” It was this kind of extraordinary love that touched the ordinary official Zheltkov. He falls in love with the beautiful princess Vera Sheina and writes letters to her with passionate declarations of love. The girl does not attach much importance to these messages and soon marries a young and handsome prince. Despite this, Zheltkov continues to love the princess, and his love is so strong that he is preparing to adore Vera Nikolaevna from afar. He simply idolizes her: “I mentally bow to the ground of the furniture on which you sit, the parquet floor on which you walk, the trees that you touch in passing, the servants with whom you speak.” Of course, Zheltkov and Vera Nikolaevna are the main characters of the story, but at the same time, Kuprin assigns considerable importance to General Anosov in “The Garnet Bracelet.” With his thoughts about love, he helps his granddaughter begin to look differently at her own life with her husband (Vasily Lvovich) and forces her to take the love of the mysterious G.S.Zh. more seriously. The wisdom gained in the course of his life and certain experience allowed him to see in the love of the poor telegraph operator not the annoying affection of a young man, but a worthy, highly moral feeling. It is he who turns over the established life world of Princess Vera and utters the words that evoked her new attitude to the events taking place: “...maybe your path in life, Verochka, has been crossed by exactly the kind of love that women dream about and which men are no longer capable of.” Such love, according to the general, is extremely rare and incomprehensible to most people who have never experienced anything like this in their lives. He says that people have completely forgotten how to love. Married people usually show each other equal relationships, not love, but respect. Love, “which should not be touched by any of life’s conveniences, calculations and compromises,” which “should be the greatest secret in the world,” “tragedy”—such love no longer exists. Every person dreams of her, “one, all-forgiving, ready for anything, modest and selfless,” and his happiness is if during his life he manages to meet such love. The true, all-consuming feeling experienced by the “little man” fills his life with meaning and does not seem wrong to him. “I knew neither complaint, nor reproach, nor the pain of pride.” This feeling was initially unrequited, and Zheltkov knew this very well. He does not reproach, does not blame the princess for anything, “you, you and the people who surrounded you, you all don’t know how beautiful you were.” He did not demand attention to himself, did not beg for reciprocity, knowing full well that this was impossible. Zheltkov is indeed a “little man” by his social status, but the feeling that is born in his soul cannot be called small. It is vast, has no temporal or spatial boundaries: “Think about what I needed to do? Run away to another city? All the same, the heart was always near you, at your feet, every moment of the day was filled with you, thoughts about you, dreams about you... sweet delirium.”

Please write what topic the author proposes in this passage, as well as the main idea and the main characters in this passage!

But one day a thunderstorm burst over the forest, the trees whispered dully, menacingly. And then it became so dark in the forest, as if all the nights had gathered in it at once, as many as there had been in the world since he was born. Little people walked between large trees and in the menacing noise of lightning, they walked, and, swaying, the giant trees creaked and hummed angry songs, and lightning, flying over the tops of the forest, illuminated it for a minute with blue, cold fire and disappeared just as quickly, how they appeared, scaring people. And the trees, illuminated by the cold fire of lightning, seemed alive, stretching out gnarled, long arms around the people leaving the captivity of darkness, weaving them into a thick network, trying to stop people. And from the darkness of the branches something terrible, dark and cold looked at those walking. It was a difficult journey, and people, tired of it, lost heart. But they were ashamed to admit their powerlessness, and so they fell in anger and anger at Danko, the man who walked ahead of them. And they began to reproach him for his inability to manage them - that’s how it is!

Thanks in advance (1)Several times I heard a strange opinion that “The Three Musketeers” by Alexandre Dumas is a book

harmful and unnecessary and should not be given to children to read. (2) Because her heroes are doing the devil: drinking wine, fighting with swords, being debauched, stealing bottles through a hole in the ceiling of a store, killing a woman, and so on and so forth. (3) The first time I heard such an opinion was on
writing seminar in Dubulti in 1990 from one of the young writers. (4) The second time I heard such an opinion from one famous St. Petersburg science fiction writer at B.N.’s seminar. Strugatsky.

1. Find a complex sentence with a homogeneous
subordination of subordinate clauses. Write the number of this offer.

2.NFind a sentence that connects with the previous one when

using the coordinating conjunction, demonstrative and possessive pronouns. (just offer number)

1. She generally advocated banning a lot of things in Russian and non-Russian children’s literature: in particular, books and films about Malysh and Carlson, because Carlson, firstly, lives on the roof, which means he’s homeless, and this alone is a bad sign an example for teenagers, secondly, he lies all the time, eats sweets to excess, substitutes others in his place when he needs to answer for what he has done, and so on and so forth. 2.3 Pinocchio and Winnie the Pooh are subject to prohibition - for almost the same reasons, the fairy tale about Masha and the three bears - because its little heroine came to someone else's house, ate everything there, broke it, and then ran away from a well-deserved punishment.
3. So the musketeers of Alexandre Dumas fell under the heel of this lady. 4. And such a revolution in her thoughts occurred after visiting the United States, where the struggle for political correctness reached such proportions that in some states of America Tom Sawyer and Huckleberry Finn were banned and all suspicious passages were removed from classic children's books.

Question 1

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1. Andrei Andreevich was a simple man who (didn’t) understand anything about thoroughbred horses.
2. The sailors treated the passengers with (un)usual cordiality.
3. Our horses (were not) exhausted.
4. All operational documents, (not) excluding combat logs, were destroyed.
Question 2
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In which sentence is NOT written together with the word?

Select one of the answer options:
1. The fence is still (not) painted.
2. The waters of the tide were noisy (not) silent.
3. The wind shakes the stem with the (not) dried dew.
4. To the right, a (not) blinking star shone over the wooded hills.
Question 3
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Which answer option correctly indicates all the numbers in whose place I is written?

N(1) once I n(2) had to meet a person about whom n(3) who n(4) would say a bad word.

Select one of the answer options:
1. 1,2,3,4
2. 3
3. 1,2
4. 1,3
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Which answer option correctly indicates all the numbers in whose place I is written in the sentence?
Ira never (1) boasted, but this time, no matter how hard she (2) tried, no (3) how n (4) she could resist and told her friends about her new acquaintance.

Select one of the answer options:
1. 1, 2, 4
2. 3
3. 1, 2, 3
4. 1, 2
Question 5
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Which answer option correctly indicates all the numbers that are NOT written together?

A worthy person is not (1) the one who has no (2) wealth, but the one who has (3) undoubted merits and repeated good deeds more than (4) times.

Select one of the answer options:
1. 2, 3, 4
2. 1, 2, 3
3. 2, 3
4. 2, 3, 4
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Select one of the answer options:
1. The house stood in the middle of the steppe, not fenced by anything.
2. Small (un)painted houses are neatly located on both sides of the street.
3. (Not) cleared rocky paths led rare visitors into the depths of the park.
4. Call hope a dream, call (un)truth the truth.
Question 7
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In which sentence is NOT written separately with the word?

Select one of the answer options:
1. Valentin walked with a (not) hasty, but decisive step.
2. Adverbs are (un)changeable words.
3. The sun, still (in)visible to the eye, spread a fan of pink rays across the sky.
4. A yellowish haze, (not) like dust, rose in the east.
Question 8
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In which sentence is NOT written separately with the word?

Select one of the answer options:
1. This (not) young woman was kind and attractive in her own way.
2. Our companion turned out to be (not) talkative, but a very reserved young man.
3. Grasshoppers chattered (in)silently in the grass.
4. A (not) surprising thing was drawn across the dark sky with a golden pattern.
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In which sentence is NOT written together with the word?

Select one of the answer options:
1. The major quickly got used to the never-ending roar of the engines.
2. The buds have not yet (not) blossomed on the trees tired of winter.
3. The story told aroused my (un)fake interest.
4. Kolya, (not) stopping, walked on.
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In which sentence is NOT written together with the word?

Select one of the answer options:
1. Sluchevsky’s poems are (not) forgotten.
2. In the story “Duel” (not) only the main characters evaluate each other.
3. The general talked about the terrible scene, (not) experiencing the slightest embarrassment.
4. Choose (not) tall dahlias.

I wrote an essay. I am confident in my talent in the Russian language, there are mistakes in the text(((Please check:) Children love fairy tales.

Why? Because the child wants to believe in miracles. What a miracle it can be for children living in an orphanage. The main characters of the text, although a child, are already very strong people. He tries to give a miracle to his sister with the help of family photographs, once a month he reminds her that they are not alone. But over time, only the main character and his sister Lyudochka remain in the photographs. This did not break the boy, he shows his resilience. The problem of the text is courage. The boy is trying to protect his sister from the misfortunes that are happening: the loss of his mother, father, his aunt’s refusal to take them to her from the orphanage in Moscow. Being abandoned by his family, the main character experiences what is happening on the sidelines, does not show weakness to his little sister, he does not hold a grudge against his aunt, he understands everything. The boy should be his sister's support, especially when they are alone. He must protect her, must fill the void of loneliness in their small family.

The boy is truly a very courageous man. He can become a worthy man.

In chapter Family, Home, Children to the question What does the fairy tale about Winnie the Pooh teach children? given by the author Lesya Ukrainka the best answer is kindness
A cheerful fairy tale about Winnie the Pooh - a fireworks display of joy and optimism. Teddy bear Winnie the Pooh is the embodiment of optimism and epicureanism. AND
although his head is full of sawdust, he has to think a lot, he is incredibly
inventive. The forest is a psychological space for children's play and fantasy. Cheerful Pooh is always ready to come to the aid of his friends and give them gifts
with your optimism. And here is another character - the pissemist donkey Eeyore, who always
sad. He looks dejectedly, first at the ground, then at his reflection in the water. And that's all
what he says is an ironic parody of the Piseemists: Piglet, who is proud of his ancestor, and
a cautious Rabbit saying from the hole that “there is absolutely no one at all”
at home,” because you can’t let just anyone into the hole. The rabbit is also
practical: when Pooh got stuck in his hole, the Rabbit used his legs
for drying clothes “...Christopher Robin read aloud just such a digestible, then
there is a clear and interesting book near the Northern Land of Pooh, and Rabbit
Milne also laughs at the learned Owl, who doesn’t even know how to write, but
afraid of losing her authority. Therefore, before making the inscription
on a honey pot, wondering if Pooh can read anything...
something. But she speaks terribly pompously, as it should be “very
scientist": "And the Owl spoke and said some terribly long words, and
these words became longer and longer... Finally she returned there,
where did it start..."
From time to time, strangers appear in the forest: real or fictitious
by the heroes themselves (Buka, Heffalump, etc.) Strangers are initially perceived
painful, with fear: this is the psychology of early childhood. Strangers
are exposed and disappear.
The logic of the heroes is childishly selfish, the actions performed on its basis
ridiculous. Winnie the Pooh makes a number of conclusions: the tree itself cannot buzz, but
the bees are buzzing, making honey, and honey exists so that I can make it
ate
The main idea of this work is that childhood is a unique time,
and every child is the discoverer of his own world.
"Winnie the Pooh" is recognized throughout the world as one of the best examples of books for
family reading. The book has everything that attracts children, but there is also something
which makes adult readers worry and think.

Creation

Alan Milne is not just the author of the famous Winnie the Pooh, he is a talented poet, prose writer, and playwright who has created many works for adults. Milne began writing poetry as a child. This was followed by publications in a student magazine, followed by work as an assistant editor in the humor magazine Punch. Milne began publishing with small parodies and sketches, which later, under the influence of Herbert Wells, Milne's friend and mentor, were reworked into larger works.

Alan Milne's first book was published in 1905 under the title Lovers in London. The most fruitful, creatively, for the writer was the period between the two world wars: in 1924, the collection of poems “When We Were Very Young” was published, two years later “Winnie the Pooh” was published as a separate edition, in 1927 the collection of poems “Now” appeared we are six," and in 1928 - the story "The House on Poohovaya Edge."

A. Milne is the author of one of the best melodramas “with a secret” - “Full Alibi”, published in the collection “Four Plays” (1932), and the classic story “The Mystery of the Red House”, published in 1922. The writer’s detective work is not large. In addition to “The Riddle” and several collections of stories, he wrote the novel “The Four-Day Miracle” and the drama “The Fourth Wall.” The novel “Two” is noteworthy, where the author talks about a modest villager who wrote a novel that brought him fame. the book “Peace with Honor” (1934), where the author expressed a fierce protest against the war. The book caused a lot of conflicting responses. Among A. Milne’s other prose works, the autobiography “It’s Too Late”, published in 1939, and the novel “Cloey Marr” stand out. (1946).

A. Milne is a talented playwright. His plays, such as Mr. Pym Passes By (1919), The Truth About the Blades (1921) and The Road to Dover (1922), were successfully performed on the professional stage in London and received favorable reviews from critics, although now they are mainly staged in amateur theaters, but still attract full houses and arouse the interest of the public and the press.

Many of Alan Milne's works have not yet been translated into Russian. In particular, these are his poems written for children. I believe that soon all the works of this wonderfully talented person will be translated into Russian.

Analysis of the fairy tale-story "Winnie the Pooh and all-all-all"

A. Milne's fairy tale "Winnie the Pooh", first of all, is undoubtedly the greatest children's work. But a careful reading shows that, both in terms of content and in terms of expression, “Winnie the Pooh” reflected the main features of European modernism and postmodernism. Consideration of the work in the literary context of the late 20s. indicates that "Winnie the Pooh" was written during the period of change from modernist art to postmodernism. At this time, modernist writers formed a new approach to reality: they entered into a kind of “game” - manipulation of plot schemes and images within the mythological scheme of the development of the world, blurring the lines between high and low. And "Winnie the Pooh" is an excellent example for considering the laws of postmodernism.

When analyzing "Winnie the Pooh", we must remember that we are dealing with a translated work. There are two principles of translation: synthetic and analytical. The synthetic one was carried out by B. Zakhoder, the analytical one by Rudnev. According to Rudnev, “the main task of analytical translation is not to let the reader forget for a second that before his eyes a text translated from a foreign language is completely different from his native language, structuring reality, to remind him of this with every word so that so that he does not immerse himself thoughtlessly in what is “happening”, because in fact nothing is happening, but follows in detail the language games that the author, and in this case the translator, plays in front of him... The task of synthetic translation, on the contrary, is is to make the reader forget not only that this is a text translated from a foreign language, but also that this is a text written in some language." In other words, B. Zakhoder’s translation is a funny children’s fairy tale, while V. Rudnev brings to the fore the more adult and complex nature of the work. However, both translations, or retellings, since there is no complete equivalence of English speech structures with Russian ones, are generally adequate to the original. And therefore, researchers resorted in some cases to Rudnev’s analytical translation, in others to Zakhoder’s synthetic translation. In my opinion, the most acceptable option is to rely on both translations in the analysis.

Books that become the property of the whole world hide a lot of things that are not on the surface. "Winnie the Pooh" is a clear example of this. Researchers cannot even unambiguously determine the genre of this work. An interesting point of view that “Winnie the Pooh” is a saga was expressed by Sverdlov and Rudnev. Moreover, the latter justifies this by the fact that the object of the narration is not the events themselves, but the narration about them. Kagarlitsky, as well as the first translator of fairy tales, Boris Zakhoder, classify Milne’s work as a fairy tale-story. Lipelis most successfully defined the genre of "Winnie the Pooh": he calls it "a fairy tale of children's consciousness." So, let's call "Winnie the Pooh" a literary fairy tale. Why A. Milne chose this particular genre is not difficult to say: the world of childhood is the only surviving value and fulcrum in the world of wars, revolutions and disasters, and the most suitable form of expression of childhood is a fairy tale.

Milne's fairy tales are something special; there is no dramatic situation in them, no struggle between good and evil. A traditional fairy tale clearly shows where a person’s correct path in life is, what his happiness is and what the retribution for a mistake is. The fairy tale tries to teach the child to evaluate the main qualities of the characters and never resort to psychological complications. Most often, a character embodies one quality: the fox is cunning, the bear is strong, etc. etc. V.Ya. Propp identified the functions of the characters who either “set” or “introduce” the hero. A function is understood as an act of an actor, defined in terms of significance for the course of action. They are constant, stable elements of a fairy tale. Their number is limited, and the sequence is always the same. Milnov's heroes do not have such functions. The number of them themselves is unlimited: Kanga, Roo, Tigger came, and nothing much changed. The sequence of events can be freely changed, perhaps with the exception of the first and last chapters. Milne does not have many of the classic elements of the tale. After all, a traditional fairy tale reflects the most ancient example of hero initiation. Milne also has this, but for him, growing up as a child is almost a tragedy. Therefore, the ending of the fairy tale about Winnie the Pooh is rather sad than triumphantly happy.

Moreover, “Winnie the Pooh” is distinguished from other famous fairy tales by its special organization of temporal and spatial relationships.

Winnie the Pooh uses a flashback theme. The story-memory is preceded by a very real beginning: the boy asks his father to tell him an interesting story about Pooh. No matter how short the beginning, it takes root in Winnie the Pooh in real time. The fairy tale begins as an ordinary story, only memory introduces a fairy-tale element.

The motif of the dream is interesting. In folk tales, the hero enters another world only during sleep or as a result of death. Here Milne uses a traditional technique characteristic of all fairy tales. Analysis of the fairy tale allows us to identify two main models of the world. The first model is the world of a child and father sitting in front of a fireplace. This world is limited by a staircase, a fireplace and a bathroom. The second world is the world of Winnie the Pooh and his friends: Green Forest, Pooh Edge, 6 Pines, Sad Place, Enchanted Place, where either 63 or 64 trees grow, the forest is crossed by a river and flows into the outside world. The first model reflects the closed world of an adult, the second is a reflection of a child’s perception of the Cosmos.

Christopher Robin can see the whole world from the top of the forest. There are images in the forest that can model the universe as a whole. This is the World Tree. All actions take place in the forest, most of the characters live in the trees. A number of specific fairy tale plots are associated with the tree. Pooh climbs a tree for honey; from the tree, Christopher Robin watches Pooh and Piglet, who are hunting for their tracks. The tree is the Owl's home. It can be noted that the image of the World Tree echoes the motifs of Scandinavian myths. Mythologism, in general, is a distinctive feature of postmodern literature. The mythology of the World Tree is a symbol of the archaic cosmos that determines the structure of Winnie the Pooh. Wood is the central point of space and composition. In my opinion, the tree in "Winnie the Pooh" symbolizes Yggdrasil - a giant ash tree, the tree of life and destiny, which connects heaven, earth and the underworld. The system of images of the work is determined by the images of the myth about Yggdrasil (the wise eagle at the top is the Owl in Winnie the Pooh, the dragon Nidhogg and the snakes are, respectively, the Rabbit and his relatives in Milne, the mythological four deer are the four original heroes of the fairy tale: Winnie the Pooh, Piglet, Christopher Robin and Eeyore). The anthropomorphic hypostasis of Yggdrasil - Heimdal - is the “brightest of the aces”, the son of Odin, who must herald the end of the world. He is embodied in the image of Christopher Robin. And Christopher-Robin, like Heimdal, has the ability to foresee the future and is the only one of all the fairy tale heroes to go into the adult world, leaving the Forest and its inhabitants in the past.

Now let's talk about the category of time. Time moves only within individual stories, without changing anything as a whole. The hidden space of the forest corresponds to an endlessly repeating cyclical time. It is no coincidence that the last phrase of the book sounds like this: “no matter where they go, no matter what happens to them along the way, the little boy and his teddy bear will always play in the Enchanted Place.” Now we see that in terms of the peculiarities of spatio-temporal organization, a fairy tale-memory approaches a myth.

Christopher Robin connects two time plans. In the first, he is the son of the narrator, in the second, he is some kind of higher being, the personification of justice and knowledge in the forest. And Winnie the Pooh is the boy’s assistant who acts for him: he gets honey, teaches other animals to play. In general, the entire system of heroes is built on the principle of psychological reflections of the boy’s “I”. Christopher Robin is the smartest and bravest, he is the object of universal respect and reverent admiration. Piglet, another best friend of Christopher Robin, embodies the child’s yesterday, infant self, his former fears and doubts: the main fear is being eaten, and the main doubt is whether his loved ones love him.

Owl, Rabbit, Eeyore - these are options for the adult “I” of the child. These heroes are funny with their “toy” solidity, and for them Christopher Robin is an idol, however, in his absence, they try in every possible way to strengthen their intellectual authority. So, the Owl speaks long words and pretends that he knows how to write. The rabbit emphasizes his intelligence and good manners, but he is not smart, but simply cunning. The donkey's mind is occupied only with the "heartbreaking" spectacle of the world's imperfections; its adult wisdom lacks a child's faith in happiness.

From time to time, strangers appear in the forest: Kanga, Roo, and Tigger. Tigger is the embodiment of absolute ignorance and thus causes a lot of trouble to others. All the characters have no sense of humor; they approach any task with extreme seriousness. Their logic is childishly egocentric, their actions are ridiculous and absurd. And yet, this is “the best we had,” says the author. Christopher Robin doesn't want to part with his toys, but they no longer allow him to do anything else.

We must not forget that all the characters are toys, the development of the plot is a game. But it is not Christopher Robin who plays with the dolls, but his father A.A. Milne. After all, it is he who tells the story to Christopher Robin about himself and his toys. But he himself becomes a doll, guided and directed by the writer’s imagination, a toy dependent on the puppeteer more than other characters in the fairy tale.

"Winnie the Pooh" can be viewed from another point of view, since upon careful analysis in this work one can see echoes of almost all the theories that dominated the minds of the 20th century, from Freudianism to Taoism.

Benjamin Goff found parallels between Milne's tale and Taoism, the result of which was the book The Tao of Pooh, published in 1973. In English pronunciation, the last letter of the word Pooh is not pronounced. In classical Taoist language, "pu" means unhewn log. The principle of the rough log is that things in their original simplicity contain their own natural strength, which is easily damaged or lost if simplicity is abandoned. For the character "pu" the usual Chinese dictionary gives the following meanings: "natural", "simple", "clear", "sincere". The character Pu consists of two different characters: the first, root, means “tree”; the second, phonetic, has the meaning of “thicket” or “thicket”. Thus, from “a tree in a thicket” or “uncut thickets” comes the meaning of “things in their natural state” - which is usually rendered in Western translations of Taoist treatises as “unhewn logs”.

Regardless of how others see him, Pooh, the “rough log,” is able to complete what he started thanks to his simplicity. After all, “simple” does not necessarily mean “stupid.” That is why Winnie the Pooh, and not the smart Rabbit, Owl or Eeyore, is the main character of the fairy tale.

After all, if intelligence was the most important thing, then the Rabbit would come first, not the bear. But everything works completely differently

If the smart Rabbit is not completely in control of the situation, then the obnoxious Eeyore is even more so. What is the reason? In what can be called Eeyore’s life position: if the Rabbit strives for knowledge in order to be smart, and the Owl in order to appear so, then Eeyore only needs knowledge in order to complain about something.

It really doesn't seem like much fun, especially if you look at it from the other side. Too complicated or something. After all, why does everyone love Pooh so much? For the simplicity of the Unhewn Log. And the most attractive thing about simplicity is practical wisdom like: “What would you like to eat?” Such wisdom is easy to understand.

Through the state of the Unhewn Log comes the ability to enjoy simplicity and calmness, naturalness and clarity.

V. Rudnev not only made a new translation of “Winnie the Pooh,” but also developed a new approach to analyzing the work. This approach can be called analytical, since it represents a synthesis of analytical paradigms of philosophical analysis of language and text that were developed in the 20th century: classical structuralism and poststructuralism (structural poetics and motivic analysis); analytical psychology in a broad sense (from the psychoanalysis of Z. Freud to the empirical transpersonal psychology of S. Grof); analytical philosophy (ordinary language philosophy of the late Wittgenstein and Oxfordians, theory of speech acts, semantics of possible worlds and philosophical, modal, logic). V. Rudnev called his work “Winnie the Pooh and the Philosophy of Ordinary Language.” This work may seem blasphemous to some: the author finds an explanation for the behavior of Winnie the Pooh with the help of psychoanalysis by S. Freud, and the fairy tale beloved from childhood turns out to be not at all harmless, and the characters in it live an intense sexual life, and everyone has some kind of sexual neurosis , and the entire text is imbued with depictions of childhood sexuality. The work, in general, is paradoxically provocative. In addition to sexuality, the author analyzes "Winnie the Pooh" from the point of view of mythology and such philosophical categories as space and time, proving once again that "Winnie the Pooh" is an example of postmodernism literature.

Thus, "Winnie the Pooh" is a wonderful saga about the wonderful world of childhood, reflecting the main features of European modernism and postmodernism. But the most important thing is that children will never notice them (only the perverted minds of adults are capable of this) and “Winnie the Pooh” for them will remain a funny fairy tale about an extraordinary forest and its inhabitants, about friendship, but certainly not about latent sexuality.

1. Introduction.

2. Biography.

3. Creation.

4. Analysis of the work “Winnie the Pooh and all-all-all...”.

5. Conclusion.

6. Literature.

Introduction.

The English writer A. A. Milne entered the history of preschool children's literature as the author of the fairy tale about the teddy bear Winnie the Pooh and a number of poems. Milne also wrote other works for children, but the greatest success fell on the named fairy tale and poems.

The adventures of Winnie the Bear are loved by both adults and children. Conducted in 1996 A poll conducted by English radio showed that this book took 17th place in the list of the most striking and significant works published in the twentieth century.
Worldwide sales of Winnie the Pooh since 1924 to 1956 exceeded 7 million. As you know, when sales exceed a million, publishers stop counting them.

Biography.

Scottish by birth, Alan Alexander Milne spent his childhood in London, where his father worked at a school. His early education was largely determined by the influence of his youth teacher H. G. Wells - much later Milne wrote about Wells as “a great writer and a great friend.” He continued his education at Westminster School and Trinity College, Cambridge. Subsequently, he presented the handwritten original of his books “Winnie the Pooh” and “The House on Pooh Edge” to the College Library. As a student at Cambridge, he edited Grant (a student magazine, as I understand it) and his first literary efforts were published in the humorous magazine Punch. A month after his twenty-fourth birthday, Milne began working for Punch as assistant editor until the outbreak of the First World War.
In 1913 Milne married Dorothy Daphne de Selincote, from which one son was born, Christopher. A born pacifist, Milne was drafted into the Royal Army and served in France. His famous anti-war work, An Honorable Peace, was published in 1934. The book found a huge response in the interwar times, and in 1924 Maffin published Milne's famous When We Were Young stories, some of which had previously appeared in Punch and were well known to regular readers of the magazine.
Two years later, in 1926, the first version of Winnie the Pooh appeared. The second part of the stories “Now there are six of us” appeared in 1927 and, finally, the final part of the book “The House on the Pooh Edge” was published in 1928. It seemed to Milne that he had written something like a well-selling detective story, because his book immediately earned two and a half thousand pounds. Even after the dizzying success of Winnie the Pooh, Milne remained in doubt about his literary talent. He wrote: “All I wanted was to run away from this fame, as I used to want to run away from Punch, as I always wanted to run away... However...”
Milne has always acknowledged and repeatedly gratefully emphasized the decisive role of his wife, Dorothy, and his son, Christopher, in the writing and production of Winnie the Pooh. The history of the creation of this book is indeed full of mysteries and contradictions, but the fact remains that books about Pooh Bear have been translated into 25 languages and have taken their place in the hearts and on the shelves of millions of readers.
The first chapter of Pooh, “in which we first meet Winnie the Pooh and the Bees,” was first published in a London evening newspaper on December 24, 1925, and broadcast on BBC Radio on Christmas Day by Donald Calfrop. Winnie the Pooh was first published by Meffin in October 1926, and for many years now Milne's books have been recognized classics of children's bookshelves and Disney cartoons.
The irony is that Milne was convinced that he wrote neither children's prose nor children's poetry. He spoke to the child inside each of us. He never read his Pooh stories to his son, Christopher Robin, preferring to raise Christopher on the works of his favorite writer, Wodehouse. Wodehouse subsequently returned the compliment to Milne, saying that "Milne is his favorite children's writer."
Wodehouse's books continued to live in Milne's house after his death. Christopher Robin read these books to his daughter Claire, whose bookshelves in her room were literally bursting with books by this children's writer. Christopher wrote to his friend Peter (an actor): “My father understood nothing about the specifics of the book market, knew nothing about the specifics of sales, he never wrote books for children. He knew about me, he knew about himself and about the Garrick Club (writers and artists’ club of London, approx. Elena-Troy, I know from literature) - and he simply did not pay attention to everything else... Except, perhaps, life itself.” Christopher Robin first read the poems and stories about Winnie the Pooh 60 years after they first appeared, when he heard Peter's recordings on record.
Since 1968, the Muffin publishing house has sold 500,000 copies annually, with 30 percent sold in “new countries” - Australia, South Africa, New Zealand. By 1996, about 20 million copies had been sold, published only by Muffin. This does not include publishers in the United States, Canada, or non-English-speaking countries.
In 1985, Winnie the Pooh was brilliantly translated into Russian by Boris Zakhoder *. Anyone who speaks two languages can attest that the translation was done with exquisite precision and ingenious ingenuity. In general, Vinnie has been translated into all European and almost all world languages.
In 1952, Milne became seriously ill... He had to undergo severe brain surgery. The operation was successful, and after the operation Milne returned to his home in Sexes, where he spent the rest of his life reading. After a long illness, he died in 1956, on January 31.
Shortly after the release of Winnie the Pooh, A.A. Milne wrote in the Nation: “I think that each of us secretly dreams of immortality... In the sense that his name will outlive the body and will live in this world, despite the fact that man himself has passed into another world.” When Milne died, no one doubted that he had discovered the secret of immortality. And this is not 15 minutes of fame, this is real immortality, which, contrary to his own expectations, was brought to him not by plays and short stories, but by a little bear cub with sawdust in his head.
In 1996, Milne's beloved teddy bear was sold at Bonham's London auction to an unknown buyer for £4,600.

Creation.

In addition to the world famous Winnie the Pooh, Alexander Alan Milne is known as a playwright and short story writer. His plays were successfully performed on the professional stage in London, but are now staged mainly in amateur theaters, although they still attract full houses and arouse the interest of the public and the press.

Milne also composed numerous poems. In 1924, a collection of children's poems, “When We Were Very Little,” appeared in print, and three years later another collection entitled “Now We Are Already Six” was published. Milne dedicated many poems to the bear cub, named after Winnie the bear at London Zoo and a swan named Pooh.

Not all of Milne’s poems written for children have yet been translated into Russian. Among those translated, the poems about the nimble Robin became widely known:

My Robin doesn't walk

Like people -

Top-top, -

And he gallops along,

Gallop –

Hop-hop!..

The humorous poem “Tails” is about a little boy’s intention to acquire an “excellent tail”:

I said to the lion, the cat, and the camel:

I won't envy you.

Look, from now on

I also have a tail.

Subtle lyricism marks the poem “At the Window” - about the movement of raindrops on glass:

I gave each drop a name:

This is Johnny, this is Jimmy.

The drops run down with an uneven movement - sometimes they linger, sometimes they hurry. Which one will reach the bottom first? A poet must look at the world through the eyes of a child. Milne, both poet and prose writer, remains faithful to this creative principle throughout.

In 1922 he wrote a detective story, The Red House Mystery, which was published by Meffin in 1939 along with 25 other plays, short stories and Milne's autobiography Now Too Late.

“Winnie the Pooh” consists of two independent books: “Winnie the Pooh” (1926) and “The House at Bear Corner” (1929). A teddy bear appeared in the Milne house in the first year of the boy’s life. Then a donkey and a pig settled there. To expand the company, Dad came up with Owl, Rabbit, and bought Tiger and Kangaroo with baby Roo.

The habitat of the heroes of future books was Cochford Farm, acquired by the family in 1925, and the surrounding forest.

A. A. Milne structured his works as fairy tales told by a father to his son, a technique also used by R. Kipling. At the beginning, the tales are interrupted by “real” digressions.

Analysis of the fairy tale “Winnie the Pooh and all-all-all...”

Teddy bear Winnie the Pooh is the embodiment of optimism and epicureanism. And although his head is full of sawdust, he has to think a lot, he is incredibly inventive. Either he pretends to be a cloud in the blue sky, trying to deceive the bees and enjoy the honey (“I’ll pretend like I’m a little black cloud. Then they won’t guess!”), then he decides to dig a Very Deep Hole to catch the Heffalump (“First, What came to Pooh’s mind was to dig a Very Deep Hole, and then the Heffalump would go for a walk and fall into this hole, and...”). A little bit of a glutton, a little bit of a poet, Winnie the Pooh is cheerful and for every occasion he composes a song that he sings loudly:

The bear loves honey very much!

Why? Who will understand?

In fact, why

Does he like honey that much?

Cheerful Pooh is always ready to come to the aid of his friends and gift them with his optimism. This is probably why Christopher Robin loves the “silly bear” more than all other toys.

Milne also laughs at the learned Owl, who doesn’t even know how to write, but is afraid of losing her authority. Therefore, before she writes on the honey pot, she asks whether Pooh can read anything. But she speaks terribly pompously, as befits a “very scientist”: “And the Owl spoke and said some terribly long words, and these words became longer and longer... Finally, she returned to where she started...”

Humorous situations are associated in most cases with the fact that Winnie the Pooh's head is full of sawdust, and he cannot immediately figure out what is happening. So, Pooh asks who is answering from the Rabbit's hole, and how this can be if there is absolutely no one at home. “He thought like this: “It can’t be that there is absolutely no one there!” There is still someone there - after all, someone should have said: “Absolutely, absolutely no one!” Or, not understanding Owl’s verbal communication, he asks again, “What does Bull Tsedura mean?”

But for all the inhabitants of the Forest, Christopher Robin remains the unquestionable authority. It is he who is called to help in difficult cases, it is he who is the smartest: he knows how to write, he is inventive and knowledgeable, he comes up with an “Expedition” to the North Pole, about which the animals have not the slightest idea. As the song Pooh composed says:

And everyone is on an expedition

I would be terribly glad

Find out what Pole means,

And what do you eat it with?

All the characters have no sense of humor; on the contrary, they approach any issue with extreme seriousness. They are kind; It is important for them to feel loved; they expect sympathy and praise.

Tara-tara-tara-ra!

Tram-pum-pum-taram-pum-pah!

Tiri-tiri-tiri-ri,

Tram-pam-pam-tiririm-pim-pim! (Grumpy).

The theme of the work is the adventures of toy characters in fairy-tale situations; about friendship and mutual assistance.

Conclusion.

Milne's tale captivates with an intonation in which good-natured ridicule is combined with ease. The combination of these qualities expressed the joyful feeling of life - the charm of its humorous situations. This is the secret of the unusual popularity of Milne’s tale, translated into many languages of the world. S. Ya. Marshak considered the writer a “direct heir” to the traditions of the classic of English poetry Edward Lear.

Lukoyanovsky Pedagogical School

Nizhny Novgorod region.