They differ from other fairy tales in their style, their verbal attire, and the form of their execution. It must, however, be borne in mind that in terms of form of execution and style, there are, as already indicated, two types of these tales. Some are told epically calmly and slowly, like any other fairy tales. They can only be called cumulative by their underlying composition. Such, for example, is “Mena,” which is usually classified as a short story, or the fairy tale “For a Rocking Duck,” which is classified as a fairy tale about animals. The same “epic” tales include the tale of the clay boy, the dreams of the milkmaid, etc.
But along with this there is another, more vivid and typical type of cumulative fairy tales. The accumulation or growth of events here corresponds to the accumulation of words. These can be called “formular”. The boundary between these two species is unstable. The same type can different masters be performed in one way or another. But there is undoubtedly a gravitation between types of tales towards one or another method of execution. In the latter case, when each new link is added, all previous links are often repeated. So, in the fairy tale “Tower of the Fly,” each new arrival asks: “Tower, tower, who lives in the tower?” The answerer lists all those who came, that is, first one, then two, then three, etc. The whole charm of these fairy tales lies in repetition. The whole point of them is in colorful artistic execution. So, in this case, each animal is characterized by some apt word, usually in rhyme (creeping louse, spinning flea, burrowing mouse, little fly, rough lizard, frog frog, etc.). Their execution requires the greatest skill: they sometimes approach tongue twisters, sometimes they are sung. Their entire interest is an interest in the word as such. A pile of words is interesting only when the words themselves are interesting. Therefore, such fairy tales gravitate toward rhyme, verse, consonance and assonance, and in this pursuit they do not stop at bold new formations. So, the hare is called “dodge in the Jurassic”, the fox is called “jumping everywhere”, the mouse is called “whip from around the corner”, etc.
These features of cumulative fairy tales make them beloved by children, who are so fond of new, sharp and bright words, tongue twisters, etc., therefore cumulative fairy tales can rightfully be called primarily a children's genre.
On the origin of cumulative tales
Now, when not even an accurate inventory of cumulative fairy tales has been made, and often they are not recognized as a special category, the problems of cumulative fairy tales cannot yet be resolved with sufficient completeness. The principle of cumulation is felt by us as relict. A modern educated reader, it is true, will read or listen to a number of such tales with pleasure, admiring mainly the verbal fabric of these works, but these tales do not correspond to our forms of consciousness and artistic creativity. They are a product more early forms consciousness. We have an arrangement of phenomena in a series, where modern and artistic thinking would no longer begin to list the entire series, but would jump over all the links to the last and decisive one.
A detailed study of fairy tales should show exactly what series there are and what logical processes correspond to them.
Primitive thinking does not know space as a product of abstraction; it does not know generalizations at all. It knows only empirical distance. Space, both in life and in fantasy, is overcome not from the initial link to the final one, but through concrete, really given intermediary links: this is how the blind walk, moving from object to object. Stringing is not only artistic technique, but also a form of thinking that is reflected not only in folklore, but also in the phenomena of language. In language this would correspond to agglutination, i.e. stringing without inflections. But at the same time, fairy tales already show some overcoming of this stage, its artistic use in humorous forms and purposes.
Cumulation as a phenomenon is characteristic not only of cumulative tales. It is part of other fairy tales, for example, the tale of the fisherman and the fish, where the growing desires of the old woman are pure cumulation, or the tale of Nesmeyan, where the princess is amused by people who successively stick to each other. But it is more important for us to note that cumulation is also included in the system of some rituals, reflecting the same way of thinking through intermediary links. As I.I. pointed out, the ritual of the Athenian Bufonias was built on the principle of cumulation. A bull was killed, and then the blame for its murder was sequentially, according to the principle of cumulation, shifted from one participant to another, until it was transferred to the ax, which was subject to punishment. I. I. Tolstoy also pointed out that our clay boy corresponds to the myth of Erysichthon. He is punished by the gods with insatiable hunger: “Erysichthon devours one dish after another and cannot get enough of it. He gradually consumes all the food supplies available in the house and all the animal equipment in the yard and in the field: first, he ate animals kept in barns, then grazing in herds, then work mules unharnessed, then a sleek cow fattened for sacrifice to the goddess Hestia, then a racehorse, then my father’s warhorse, and finally, to top it all off, a house cat.”
The examples only pose the problem, but do not solve it, just as it is not solved by the fact that a purely cumulative fairy tale-song is part of the Jewish haggadah and was formerly performed on Passover. Here the cat eats the kid, the dog bites the cat, the stick hits the dog, the fire burns the stick, the water floods the fire, etc. until the Lord God, after which the reverse series follows in a slightly different order. We can assume that the kid eaten by the cat was once a sacrificial goat and that, according to the principle of cumulation, there is the same shifting of blame as occurs in the rite of the Athenian Bufonia.
With all of the above, we want to say that research should follow the path of establishing all types of cumulation that exist in folklore, they should be compared with the same principles in language and thinking, ritual reflections of the same principle should be found, and if there are enough materials, to place them in a historical series, the problem can be resolved.
Need a cheat sheet? Then save - » Style of cumulative tales. Literary essays!The composition of cumulative fairy tales is extremely simple: the exposition most often consists of some insignificant event or a very ordinary situation in life: a grandfather plants a turnip, a woman bakes a bun, a girl goes to the river to rinse out a mop, an egg breaks, a man aims at a hare. This exposition cannot even be called a set-up, since it is completely unclear where the action is developing from. It develops unexpectedly, and this unexpectedness is one of the main artistic effects of the fairy tale. There are extremely many ways to connect a circuit to an exposure. In the tale of the turnip, the creation of the chain is caused by the grandfather being unable to pull it out. In the fairy tale “The Mansion of the Fly,” a fly builds a mansion or takes up residence in some discarded mitten. But then, one after another, usually in increasing order of magnitude, the animals appear and beg to come into the hut. The last one is the bear, which ends up sitting on this tower.
In the first case (turnip), the creation of the chain is motivated and internally necessary, in the second case (teremok) there is no internal need for the arrival of more and more new animals. On this basis one could distinguish two types of these tales. The second one prevails; the art of such fairy tales does not require any logic.
A whole series of cumulative tales is built on the sequential appearance of some uninvited guests. Other tales are built on a series of exchanges, and the exchange may occur in descending order - from better to worse or from worse to better.
Cumulative tales can also include those in which all the action is based on various types comic endless dialogues.
Style of cumulative tales
Possessing a completely clear compositional system, cumulative fairy tales differ from other fairy tales in their style, their verbal attire, and the form of their execution. It must, however, be borne in mind that in terms of form of execution and style, there are, as already indicated, two types of these tales. Some are told epically calmly and slowly, like any other fairy tales. They can only be called cumulative by their underlying composition.
Along with this, there is another, more vivid and typical type of cumulative fairy tales. The accumulation or growth of events here corresponds to the accumulation of words. These can be called “formular”. The boundary between these two species is unstable. The same type can be performed in one way or another by different masters. But there is undoubtedly a gravitation between fairy tale types towards one or another method of execution. In the latter case, when each new link is added, all previous links are often repeated. The beauty of these tales lies in repetition. The whole point of them is in colorful artistic execution. Their execution requires the greatest skill: they sometimes approach tongue twisters, sometimes they are sung. Their entire interest is an interest in the word as such. A pile of words is interesting only when the words themselves are interesting. Therefore, such fairy tales gravitate toward rhyme, verse, consonance and assonance, and in this pursuit they do not stop at bold new formations.
These features of cumulative fairy tales make them beloved by children, who are so fond of new, sharp and bright words, tongue twisters, etc., therefore cumulative fairy tales can rightfully be called primarily a children's genre.
Origin of cumulative tales
Now, when not even an accurate inventory of cumulative fairy tales has been made, and often they are not recognized as a special category, the problems of cumulative fairy tales cannot yet be resolved with sufficient completeness. The principle of cumulation feels like a relic. A modern educated reader, it is true, will read or listen to a number of such tales with pleasure, admiring mainly the verbal fabric of these works, but these tales do not correspond to our forms of consciousness and artistic creativity. They are a product of earlier forms of consciousness. We have an arrangement of phenomena in a row, where modern thinking and artistic creativity He would no longer enumerate the entire series, but would jump over all the links to the last and decisive one. A detailed study of fairy tales should show exactly what series there are and what logical processes correspond to them.
Primitive thinking does not know space as a product of abstraction; it does not know generalizations at all. It knows only the empirical state. Space, both in life and in fantasy, is overcome not from the initial link to the final one, but through specific, actually given intermediary links. Stringing is not only an artistic technique, but also a form of thinking, which is reflected not only in folklore, but also in the phenomena of language. In language this would correspond to agglutination, i.e. name without inflections. But at the same time, fairy tales already show some overcoming of this stage, its artistic use in humorous forms and purposes.
Cumulation as a phenomenon is characteristic not only of cumulative tales. It is part of other tales, for example, the tale of the fisherman and the fish, where the old woman's growing desires are pure cumulation. Cumulation is included in the system of some rituals, reflecting the same way of thinking through intermediary links.
Rental block
Cumulative tales.
A not very extensive type of fairy tales, which has specific compositional and stylistic features. According to Propp (Russian fairy tale), the Russian fairy tale repertoire can count about 20 different types cumulative tales.
Main them compositional technique consists of repeated, increasing repetition of the same actions until the created chain breaks or unravels in a reverse, decreasing order. The simplest example is “Turnip”; in addition to the chain principle, other principles of growth are possible, leading to a sudden comic catastrophe. Hence the name: comulare - to pile up, to increase.
The whole interest of fairy tales lies in the accumulation: there are no interesting plot events in them, on the contrary, the event is insignificant, and this insignificance is always in comic contrast, because it entails disaster. An egg breaks and the whole village burns.
The composition is simple:
Exposition. Consists of an ordinary event or life situation. The testicle breaks. Baba is baking a bun. You can’t even call it a plot, because it’s not clear where the action develops from. It develops unexpectedly, and this is the whole effect. The methods of connecting a chain to a composition are quite different. Turnip and Teremok. In the first case, the chain is motivated, in the second, there is no need for the arrival of new animals.
The principles by which the chain is built up are also very different. Sending, devouring (clay boy), threat of devouring (bun), a series of exchanges (for a chicken and a duck), successive appearance of uninvited guests (teremok), creating a chain of human or animal bodies (turnip)
Also cumulative are fairy tales built on various types of comic, endless dialogues.
Two styles of cumulative tales:
1. Some are told epically, calmly, slowly, like any other fairy tales.
2. The accumulation of words contributes to the accumulation and growth. They are called formulaic
The beauty of these tales is in the repetition. Their whole point is in colorful design. It requires skill: sometimes it approaches tongue twisters, sometimes fairy tales are sung. These features make them a favorite among children children's genre.
Tales about animals.
Fairy tales and cumulative tales are distinguished according to the principle of structure. Tales about animals - based on characters.
In general, everything is debatable, because fairy tales about animals can be classified as both cumulative (for a chicken and a duck) and magical (a wolf and seven kids) in some cases.
Tales about animals are also conventional because animals and humans are interchangeable. “cat, rooster and fox” is the same beginning as in the fairy tale “Baba Yaga and the Zhikhar”
By fairy tales about animals we mean those tales in which the animal is the main object or subject of the narrative. There are fairy tales where both animals and people are present. But you need to distinguish which of the heroes is at the center of the story and which is secondary. A fox stealing fish, not a man. The wolf is at the ice hole, not the woman.
It must be remembered that such tales have little to do with reality, that is, they do not reflect the natural habits of animals. Animals are conditional carriers of action. Tales about animals should be considered fantastic.
The Russian fairy tale about animals is distinguished not only by the originality of its repertoire, but also by its special character. Our animals live in dens and do not reflect human life to the same extent as Western ones. They give the impression of greater spontaneity.
In fairy tales about animals there is no unity of composition: they are diverse. They are built on elementary actions. ( bad advice)
The study of composition reveals two types of tales:
Complete, integral, with a certain beginning, development and denouement. They represent fairy tale types in the generally accepted sense of the word. Fox and crane.
Most do not have plot independence.
There are stories that are never told separately. Fox and wolf with ice holes. This connectivity is an internal feature of animal epic, not inherent in other genres.
Pets are rare heroes of fairy tales. If they appear, then in conjunction with the forest ones, and not as independent characters. This suggests ancient origin fairy tales about animals. Propp (Russian fairy tale)
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Cumulative tales.
A not very extensive type of fairy tales, which has specific compositional and stylistic features. According to Propp (Russian fairy tale), about 20 different types of cumulative fairy tales can be counted in the Russian fairy tale repertoire.
Their main compositional technique consists of repeated, increasing repetition of the same actions until the created chain breaks or unravels in a reverse, decreasing order. The simplest example is “Turnip”; in addition to the chain principle, other principles of growth are possible, leading to a sudden comic catastrophe. Hence the name: comulare - to pile up, to increase.
The whole interest of fairy tales lies in the accumulation: there are no interesting plot events in them, on the contrary, the event is insignificant, and this insignificance is always in comic contrast, because it entails disaster. An egg breaks and the whole village burns.
The composition is simple:
Exposition. Consists of an ordinary event or life situation. The testicle breaks. Baba is baking a bun. You can’t even call it a plot, because it’s not clear where the action develops from. It develops unexpectedly, and this is the whole effect. The methods of connecting a chain to a composition are quite different. Turnip and Teremok. In the first case, the chain is motivated, in the second, there is no need for the arrival of new animals.
The principles by which the chain is built up are also very different. Sending, devouring (clay boy), threat of devouring (bun), a series of exchanges (for a chicken and a duck), successive appearance of uninvited guests (teremok), creating a chain of human or animal bodies (turnip)
Also cumulative are fairy tales built on various types of comic, endless dialogues.
Two styles of cumulative tales:
1. Some are told epically, calmly, slowly, like any other fairy tales.
2. The accumulation of words contributes to the accumulation and growth. They are called formulaic
The beauty of these tales is in the repetition. Their whole point is in colorful design. It requires skill: sometimes it approaches tongue twisters, sometimes fairy tales are sung. These features make them a favorite genre among children.
Tales about animals.
Fairy tales and cumulative tales are distinguished according to the principle of structure. Tales about animals - based on characters.
In general, everything is debatable, because fairy tales about animals can be classified as both cumulative (for a chicken and a duck) and magical (a wolf and seven kids) in some cases.
Tales about animals are also conventional because animals and humans are interchangeable. “cat, rooster and fox” is the same beginning as in the fairy tale “Baba Yaga and the Zhikhar”
By fairy tales about animals we mean those tales in which the animal is the main object or subject of the narrative. There are fairy tales where both animals and people are present. But you need to distinguish which of the heroes is at the center of the story and which is secondary. A fox stealing fish, not a man. The wolf is at the ice hole, not the woman.
It must be remembered that such tales have little to do with reality, that is, they do not reflect the natural habits of animals. Animals are conditional carriers of action. Tales about animals should be considered fantastic.
The Russian fairy tale about animals is distinguished not only by the originality of its repertoire, but also by its special character. Our animals live in dens and do not reflect human life to the same extent as Western ones. They give the impression of greater spontaneity.
In fairy tales about animals there is no unity of composition: they are diverse. They are built on elementary actions. (bad advice)
The study of composition reveals two types of tales:
Complete, integral, with a certain beginning, development and denouement. They are fairy-tale types in the generally accepted sense of the word. Fox and crane.
Most do not have plot independence.
There are stories that are never told separately. Fox and wolf with ice holes. This connectivity is an internal feature of animal epic, not inherent in other genres.
Pets are infrequent heroes of fairy tales. If they appear, then in conjunction with the forest ones, and not as independent characters. This suggests an ancient origin for animal tales. Propp (Russian fairy tale)
QUESTION 22. general characteristics oral non-fairy prose. The concept of oral narrative.
Memorial story
Fabulate - legend, incident
certificate
The term “folklore non-fairy prose” refers to wide circle oral stories, in the English-speaking scientific tradition called legends. These are stories, legends and mythological stories, as well as such specific narrative genres as dream stories, disbelief stories, modern urban legends.
From the point of view of the people, works of folklore non-fairy prose are important as a source of information, and in in some cases as edification and warning. Consequently, cognitive and didactic functions prevail over artistic ones.
Non-fairy tale prose differs from fairy tales: its works are confined to real time, locality, and persons. Non-fairy tale prose is characterized by not being distinguished from the flow of everyday speech, the absence of special canons... in general, it is characterized by the stylistic form of an epic narrative about the authentic: the old people said... my mother told... here in our village one woman...
An important feature of non-fairy tale prose is the plot and content. Usually the stories are single-motive and can be told either concisely or in detail.
Genres: tales, legends, tales and tales. The problem of distinguishing genres is complex. Flexibility of works. The blurring of genre boundaries led to interactions with fairy tales and among themselves. The same plot could take different shapes, appearing in the form of epics, legends, traditions or fairy tales. It is no coincidence that they were often published in collections of fairy tales.
Today, folklore studies have a generally accepted system of genres of non-fairy tale prose, which retains the thematic principle at its core. It distinguishes the following thematic (genre) groups: legend, tradition, bylichka, byvalshchina, tale, rumors and rumors. Veselova.
The rapprochement of folk non-fairy tale prose and children's scary stories not by chance. Both of them were formed “under the influence of ideas about the interpermeability of two worlds, “that”, parallel,<…>and “this”, inhabited by people who, under certain conditions, also manage to overcome the boundaries of another world and even return from it. Moreover, emanations mythical creature, containing a magical and some kind of energetic force, or the signs-symbols of its locus can serve in “this” world as completely material things, which, however, contain one or another spiritual substance" [Krinichnaya
The concept of oral narrative.
Narrative- history (story), historically and culturally based interpretation of some aspect of the world from the position of some human personality
oral narrative - a first-person story about events that happened to the narrator himself or to someone he knows (personal experience stories, or stories personal experience), made for a specific audience, such stories are one of the most common forms of verbal interpersonal communication, occurring at a wide variety of levels of communication, in a wide variety of situations.
I.S. Veselova.
Oral storytelling is considered as a combination of three components. Firstly, as a material object - a verbal text that has a beginning and an end, an internal structure. Secondly, as an act interpersonal communication(storyteller and listener with their own goals and objectives). Thirdly, as information (knowledge) transmitted to the interlocutor.
Oral storytelling is a verbal form of transmission of general knowledge, i.e. a folklore statement in nature. Being a folklore text, it meets such qualities as repetition, variability and authorlessness.
The repeatability of oral stories is undeniable. The preamble of the texts are references to its regular reproduction: “My mother told me...”, “Grandfather said...”, “We love to remember..”, etc. Thus, judging by these links, even in the absence of material fixations of the same text in different situations, we can talk about its repeatability.
The variability of the text is a consequence of its spontaneous reproduction. Informed listeners react to changes in the text: “Last time you didn’t tell it that way...”, “Do you remember, there’s also...”, etc. Variability can be traced in the presence of recordings of oral conversation and written texts (in memoirs, letters).
The unit with which all definitions of narratives operate is the event. As already mentioned, an event is any violation of the normal course of life (“an event is the crossing of a semantic boundary” - Yu.M. Lotman). An oral story is characterized by a failure to differentiate between a life event and a text event, since the text has arrogated to itself the right to call an event an event. "Until the event has a name, it cannot be identified as an event." Since the concept of an event is closely related to the norm, it is social. Depending on the nature of the norm of society, completely different incidents will be considered events in it, and they will also be identified differently. Thus, an atheist will not notice a drop of moisture on the icon, but for a believer the flow of myrrh will be an event called a “miracle.”
The next stage in the formation of an oral story is linking events into a plot. Some events are given the meaning of the beginning (plot) in the text, others - the ending of the plot. The concept of plot in narratology is associated with the figure of the hero. Goals, objectives and desires, the needs of the hero form the beginning of the story, and their implementation/non-realization makes up its ending. The shortage and its replenishment are the starting and ending points of the hero’s movement. Hero-centricity is at the core classical definitions plot (V.B. Shklovsky, B.M. Eikhenbaum, Yu.M. Lotman). At the same time, most oral stories are characterized by human passivity; events in them occur outside of human will. Man, at best, is destined to play the role of interpreter. Thus, stories with an active hero and stories with a passive hero (main character) are distinguished. In texts with a passive hero of modern oral stories, the movement of the plot is associated with the way of interpreting events, building them into cause-and-effect relationships. A person pays attention to an event that disrupts the flow ordinary life. The random upsets the balance of the world order, which can be restored by explaining it, i.e. giving it the status of a natural one. Thus, a reason (plot) is selected for the existing ending in the past.
1. Cause-and-effect texts include texts with a passive hero that retrospectively connect events: from the final event-consequence to the initial event-cause.
2. “Unfinished” narratives are texts in their structure related to cause-and-effect: there is an event that is fraught with interpretation, but the consequence or cause is only implied. These texts can be a “reminder” of a legend or tradition folded into a formula (etiological formulas) - then the reason is omitted
3. Narratives with an active hero are built according to the classical plot scheme, based on the actions of the hero, overcoming the “semantic boundary” (this method of connecting events is further called “herocentric”). The main constructive task is performed by a semantically borderline situation. Because the actor is a person, then events are located in the sphere of human “jurisdiction”: for example, ethical choice or overcoming social, ideological, bureaucratic barriers. Such plots are oriented towards literature and are prone to speculation: these are historical legends, close to historical anecdote, tales.
Bunch in oral histories with an active hero is an action hero. He violates, as defined by Yu.M. Lotman, a semantic boundary dividing the text space into two semantic subspaces. In classical folklore texts, this definition has a direct meaning: the space of the text is really divided into pure and impure, one’s own and someone else’s. In the texts of modern tales and historical legends, semantic space has a metaphorical meaning. The border often lies not in real spatial coordinates, but in the area of ethical or cultural imperatives.
In cause-and-effect texts, the plot connection of events is the method of interpretation, the worldview of the narrator. Its basis can be an ethical rule, an idea about the reason for the appearance of any objects of reality - etiology, beliefs and signs, etc. The connective focuses the semantic meaning of the story. The genre register of a story depends on the nature of the connection. Belief in Divine providence and providence interprets events in miracles, the idea of the existence of other worlds - stories about UFOs, poltergeists, etc., belief in witches - stories about the evil eye and corruption
Storytelling situation. Storytelling occurs during a conversation, or an established “communication corridor” (the term of S.B. Adonyeva). Telling in general, and especially telling folklore stories, is not only the communication of information, but also the manifestation of one’s life credo. Sharing stories demonstrates high degree openness of interlocutors. Various situations of interpersonal communication (family, youth “get-togethers,” meeting classmates, drinking beer on a Friday night, etc.) correspond to specific topics of conversation and a repertoire of narratives.
The roles of the participants (leading, teaching, listening) depend on gender, age and social status interlocutors.
At all levels of analysis, differential features of texts were identified:
according to the character of the actor - with an active and passive hero,
by the way events are linked in the text - cause-and-effect, “herocentric”,
by the nature of the plot connection - ethical, mythological, religious,
according to the deictic orientation of the spatial-temporal relations of the text - personal and public chronotope,
according to the degree of reliability of the text - strict reliability, non-strict reliability,
set of functions,
which were collectively used in defining individual genre complexes of oral stories. Moreover, “genre” is understood not only as a thematic or stylistic community of texts, but as a group of texts united by a commonality of syntagmatic, semantic and pragmatic characteristics (what, how and why). Thus, as a result of the dissertation research, it became possible to more clearly define individual genre complexes (terms already established in folkloristics were used to designate these complexes).
Bylichki(mythological stories) - texts of a cause-and-effect type with a mythological plot connection, a personal chronotope, strict or non-strict authenticity, with the following possible set of functions: identification, didactic, regulatory, orientation, psychotherapeutic.
Legends- texts of cause-and-effect type with a mythological or ethical plot connection, social chronotope, strict or non-strict reliability with possible functions: identification, didactic, regulatory, orientation, information.
Miracles(legends) - texts of a cause-and-effect type of plot with a religious (Christian) plot connection, a personal or social chronotope, preferably of strict reliability, with an identification, didactic, regulatory, orientation, psychotherapeutic function.
Gossip- texts of a cause-and-effect type of plot with a mythological or ethical connective, preferably a social chronotope, non-strict reliability, with a regulatory, psychotherapeutic, prognostic, informational function.
Tales(historical anecdotes) - texts with an active hero with an ethical plot connection, a social chronotope, preferably loose authenticity, with an identification, regulatory, and entertainment function.
QUESTION 23. mythological characters of oral prose, reflection of the traditional worldview in it.
There is a not very extensive type of fairy tales that have such specific compositional and stylistic features that identifying them in a special category does not raise any doubts. These are the so-called cumulative tales.
The existence of cumulative tales as a special type was noticed long ago, but corresponding conclusions were not made either for classification or for the study of fairy tales. So, processing and translating into English language The index of Aarne's tales, the American scholar Thompson, provides 200 numbers for them. Translating the same index into Russian, Prof. Andreev introduces one summary number for all cumulative fairy tales, entitled “ Cumulative tales various kinds" Thus, both researchers were faced with the need to somehow highlight this material, but they took opposite paths: one provides for two hundred types of fairy tales, the other - one. At the same time, however, the question of which tales can be called cumulative remains unclear, and a large number of typical cumulative tales are scattered among other categories. There are especially many cumulative tales in the section of tales about animals. The Aarne system does not make it possible to accurately identify them, and attempts to make adjustments to the index are of a compromise nature. What is needed here is not adjustments, but essentially new system classification based on the study of the poetics of fairy tales.
In the Russian fairy tale repertoire there are about twenty various types cumulative tales. It is necessary to resolve the question of what, strictly speaking, cumulative tales are. The ambiguity of this issue leads not only to a confused classification, but to their false conclusions on the essence of the material being studied.
So, B.M. Sokolov in his course on folklore devotes a special chapter to the composition and style of fairy tales about animals. This chapter, however, is based entirely on cumulative tales, and the animal tale is not represented by a single example.
The main compositional technique of cumulative tales consists of some kind of multiple, ever-increasing repetition of the same actions, until the chain thus created breaks off or unravels in a reverse, decreasing order. The simplest example of an increase leading to a break in the chain is the well-known “Turnip”; an example of the reverse development of the chain is the fairy tale “The Cockerel Choked.” In addition to the chain principle, other types of gradual growth or accumulation are possible, leading to some sudden comic catastrophe. Hence the name of fairy tales - accumulate, pile up, increase. IN German they are called Kettenmärchen, Häufungsmärchen, Zählmärchen.
This accumulation is where all the interest and content of fairy tales lies. There are no interesting events plot order. On the contrary, the event itself is insignificant, and the insignificance of this event is sometimes in comic contrast with the monstrous increase in the consequences arising from it and with the final catastrophe.
These tales are of two types in style and method of execution: we call some formulaic, others epic. The first ones are characteristic and typical for cumulative tales, i.e. formulaic.
