Literary fairy tales of the 19th century in children's reading. Development of literature for children in the first half of the 19th century

Preview:

Extracurricular reading lesson

4th grade

Topic: Literary tales of the 19th century.

Goals:

Develop an interest in reading through familiarity with fairy tales;

To develop the skill of competent, attentive reading;

To form moral, volitional qualities of the individual, a culture of feelings;

Develop the ability to use literary and reference sources.

To develop the need and ability to work with a book.

Equipment: slide presentation “Biographies of 19th century writers”, fairy tales by V.F. Odoevsky “Town in a snuffbox”, S.T. Aksakov’s “The Scarlet Flower”, V.M. Garshina’s “Frog-Traveller”, M.Yu. Lermontov’s “Ashik-Kerib”, explanatory dictionary, phraseological dictionary.

Form : work in mobile groups.

During the classes.

Self-determination for activity.

Books are ships of thought

wandering the waves of time

and carefully carrying their

precious cargo

from generation to generation.

Bacon

U. It was not by chance that I chose this epigraph for our lesson. Try to explain its meaning.

Children's answers.

2. Updating knowledge and fixing difficulties in activity.

U. In literary reading lessons, we travel through the history of children's literature. We learned how children's literature appeared, who was at its origins, what importance was attached to the first books, how these books appeared. We also learned many new names of those people who made a great contribution to children's literature. There is a timeline on the board in front of you. Each group has a sheet of paper with the names of the writers. Think about what century these names might belong to and pin your cards on the board.

17th century

Savvaty

Simeon of Polotsk

Karion Istomin

17th century

Andrey Bolotov

Nikolay Novikov

Alexander Shishkov

19th century

Ivan Krylov

Anthony Pogorelsky

Alexander Pushkin

19th century

Vladimir Dal

Vasily Zhukovsky

Alexandra Ishimova

U. At home you read V.F.’s fairy tales. Odoevsky “Town in a snuffbox”, S.T. Aksakov “The Scarlet Flower”, V. M. Garshina “The Frog Traveler”, M.Yu. Lermontov “Ashik-Kerib”. Do you know how you can place the names of these authors on the timeline.(doubts arose).What do we not know to accurately answer this question?

D. Years of life of writers.

Acquaintance with biographies of writers of the 19th century.

Slide presentation “Biographies of 19th century writers.”

Children talk about writers (home preparation)

Aks a kov Sergei Timofeevich 1791 -1859, Russian writer.

Novo-Aksakovo

Sergei Timofeevich Aksakov came from an old but poor noble family. His father Timofey Stepanovich Aksakov was a provincial official. Mother - Maria Nikolaevna Aksakova, nee Zubova, a very educated woman for her time and social circle. Aksakov’s childhood was spent in Ufa and on the Novo-Aksakovo estate, at that time steppe nature still little touched by civilization. His grandfather Stepan Mikhailovich had a significant influence on the formation of Aksakov’s personality in early childhood.
At the age of 8, Aksakov was enrolled in the Kazan gymnasium, and then entered the university.

He studied at the Mining Institute, but did not graduate. The war with the Turks interrupted his studies: he volunteered for active duty in the army and was wounded in the leg; After retiring, he devoted himself to literary activity. In 1880, shocked by the death penalty of the young revolutionary, Garshin became mentally ill and was placed in a mental hospital.
On March 19, 1888, Garshin, after a painful, sleepless night, left his apartment, went down the floor below and threw himself down the stairs.
Garshin entered the literary field in1876 with a story "Four days", which immediately created his fame. This work clearly expresses a protest against war, against the extermination of man by man. Garshin wrote a number of fairy tales:"What didn't happen" , "Frog traveler", "The Tale of the ProudHaggai "and others, where the same Garshin theme of evil and injustice is developed in the form of a fairy tale full of sadnesshumor. The significance of Garshin is that he knew how to acutely feel social evil.

Mikhail Yurjevich Lermontov ( - ) - Russianpoet, prose writer, playwright, artist, Officer.

Lermontov lost his parents early, his mother died when he was a child, and his father, leaving his son, while still a child, in the care of his grandmother Elizaveta Alekseevna Arsenyeva. The poet's grandmother passionately loved her grandson, who was not very healthy as a child. Energetic and persistent, she made every effort to give him everything that the successor of the Lermontov family could claim. His childhood passed on his grandmother’s estate, Tarkhany, Penza province; he was surrounded with love and care - but he did not have the bright impressions characteristic of age.
As a boy of ten years old, his grandmother took him toCaucasus, on the water; here he met a girl about nine years old. First love inextricably merged with the overwhelming impressions of the Caucasus. “The Caucasian mountains are sacred to me,” wrote Lermontov; they united everything dear that lived in the soul of the child poet. As a fifteen-year-old boy, he regrets that he did not hear Russian folk tales as a child. He is captivated by the mysterious “corsairs”, “criminals”, “prisoners”, “prisoners”.
Then he enters the university noble boarding school, and then Moscow University. Lermontov diligently attends Moscow salons, balls, and masquerades. Soon Lermontov became disillusioned with secular society and left the university.

Self-portrait

He enters School of Guards Ensigns. This career change also suited my grandmother’s wishes.
Soon the poet was sent into exile in the Caucasus for his freethinking. Here his attention is attracted by the nature of the Caucasus and he writes beautiful poetry.

In the winter of 1841, while on vacation in St. Petersburg, Lermontov tried to retire, dreaming of devoting himself entirely to literature, but his grandmother did not share his passion for literature. Therefore, in the spring of 1841, he was forced to return to his regiment in the Caucasus.
In Pyatigorsk he had a quarrel with a retired majorMartynov Nikolai Solomonovich, who served in the cavalry guards. Lermontov made fun of him. While these jokes were within the bounds of decency, everything went well, but water wears away stones, and when Lermontov allowed himself inappropriate jokes in the company of ladies... these jokes seemed offensive to Martynov’s pride. Spoiled by everyone’s attention, Lermontov could not give in and replied that he was not afraid of anyone’s threats and would not change his behavior.
The duel took place on July 15. Lermontov shot to the sideMartynov- straight into the poet’s chest.
There were always two people in Lermontov: one - good-natured, for those people for whom he had special respect; the other is arrogant and perky, for all other acquaintances.

Monument to M. Yu. Lermontov inTarkhanakh (Penza region). .

Monument to M. Yu. Lermontov inPyatigorsk ().

Monument at the site of the duel of M. Yu. Lermontov

Work in mobile groups.

Each group has a card with tasks for one work. On the tables there is this work, in the group on Odoevsky’s fairy tale there is a phraseological dictionary, in the group on Aksakov’s fairy tale there is an explanatory dictionary.

Each group is given 7 minutes to work. Then the call. The results of the work are assessed by the jury. Each group comes up with a title for the topic in advance.

M.Yu. Lermontov “Ashik-Kerib”.

Tasks.

Rich life in Halaf.

Promise.

Return.

If you love a rose, then endure the thorns.

Cheek brings success.

Solve the crossword puzzle.

Horizontally:

The city in which lived a rich Turk, the father of Magul-Megeri.

How many years has Ashik-Kerib promised to travel?

5. What helped the mother regain her sight.

6. What holiday did Ashik-Kerib attend when he arrived home?

Vertically:

Turkish balalaika.

What Kurshud-bek stole from Ashik-Kerib.

What Magul-Megeri gave to the merchant.

7. How the name “Ashik” is translated from Turkish.

Explain the meaning of the proverb.

Answers

Arrange the outline of the story in order.

1. Promise.

2. Rich life in Halaf.

The magical help of Khaderiliaz.

Return.

Choose a proverb that suits this work.

If you love a rose, then endure the thorns.

Cheek brings success.

Happy feast, and for the wedding.

Solve the crossword puzzle.

Horizontally:

The city in which lived a rich Turk, the father of Magul-Megeri. (Tifliz)

How many years did Ashik-Kerib promise to travel (seven)

5. What helped the mother regain her sight (earth)

6. What holiday did Ashik-Kerib attend when he arrived home (wedding)

Vertically:

2.Turkish balalaika (saaz)

What Kurshud-bek stole from Ashik-Kerib (dress)

What Magul-Megeri gave to the merchant (dish)

7. How is the name “Ashik” translated from Turkish (singer)

Explain.

What is written on a person’s forehead at his birth, he will not escape.

V. Odoevsky “Town in a snuffbox”

Tasks.

Arrange the outline of the story in order.

Mysterious snuff box.

A story about a fairytale dream.

An extraordinary town.

Choose a proverb that suits this work.

Bells

Hammers

Roller

Spring

To go with the flow.

Important bird.

Dancing to someone's tune

Work tirelessly.

Solve the crossword puzzle.

Horizontally:

A music box containing tobacco.

The main character of the fairy tale.

4. How should you draw daddy in the picture?

7. Princess from the music town.

Vertically:

A boy with a golden head and a steel skirt.

What should Misha learn in order to understand why music plays in the town?

Evil guys.

Mr. Warden.

Answers

Arrange the outline of the story in order.

Mysterious snuff box.

An extraordinary town.

Meeting the town's residents.

A story about a fairytale dream.

Choose a proverb that suits this work.

He who helped quickly helped twice.

Hard to find, easy to lose.

It’s not possible to do it alone, but joke with your comrades.

Connect phraseological units with the characters to which they apply.

Bells

Hammers

Roller

Spring

To go with the flow.

Important bird

Dancing to someone's tune

Work tirelessly.

Solve the crossword puzzle.

Horizontally:

Music box in which tobacco is stored (snuff box)

The main character of the fairy tale (Misha).

4.How should daddy be drawn in the picture (small).

7. Princess from the music town (Spring).

Vertically:

A boy with a golden head and a steel skirt (Bell).

What should Misha learn in order to understand why music plays in the town (mechanics).

Evil guys (Hammers).

Mr. Warden (Valik).

Explain.

This happens to me too: when after studying you start playing with toys, it’s so much fun; and when on a holiday you play and play all day long, then by the evening it becomes boring; and you get to grips with this and that toy - it’s not nice.

V. Garshin “Frog Traveler”.

Tasks.

Arrange the outline of the story in order.

Beautiful wet weather.

Frog boasting.

Journey on a twig.

Invention of the frog.

Choose a proverb that suits this work.

Greedy, stupid, caring, inquisitive, resourceful, brave, modest, boastful.

Solve the crossword puzzle.

Horizontally:

The main character of the fairy tale.

Migratory birds.

4.What took the frog’s breath away.

Where did the frog fall?

The character trait that killed the frog.

Vertically:

Vehicle for a frog

5. What did the ducks hold the twig in?

6. What did the frog experience when the ducks carrying it changed on the fly, deftly picking up the twig.

Explain the meaning of this passage.

- It's me! I!

Answers.

Arrange the outline of the story in order.

Beautiful wet weather.

Invention of the frog.

Journey on a twig.

Frog boasting.

Choose a proverb that suits this work.

It is necessary to hurry to do good.

You can't put a scarf over someone else's mouth.

In words he will swim across the Volga, but in reality he will drown in a puddle.

Highlight the personality traits that suit a frog.

Greedy, stupid, caring,inquisitive, resourceful, brave, modest,boastful.

Horizontally:

The main character of the fairy tale (frog).

Migratory birds (ducks).

4.What took the frog’s breath away (heights).

Where did the frog fall (pond).

The character trait that killed the frog (bragging).

Vertically:

Vehicle for a frog (twig).

5. What did the ducks hold the twig (beak) in?

6. What did the frog experience when the ducks carrying it changed on the fly, deftly picking up the twig (fear).

Explain the meaning of this passage.

So the frog could no longer stand it and, forgetting all caution, screamed with all her might:

- It's me! I!

And with that scream she flew upside down to the ground.

S. Aksakov “The Scarlet Flower”.

Tasks.

Arrange the quotation outline of the fairy tale in order.

“A house is not a house, a palace is not a palace, but a royal or royal palace, all in fire, in silver and gold and in semi-precious stones.”

“I will bring you such gifts as you want...”

“The honest merchant gave his blessing to his youngest, beloved daughter, and the young prince-kingdom... and immediately began a merry feast and a wedding.”

“Bless me, my lord, my dear father: I will go to the beast of the forest, the miracle of the sea, and I will live with him.”

Choose a proverb that suits this work.

Fear has big eyes.

They pay for good with good.

Better water from a friend than honey from an enemy.

Match the words with their meanings.

belongings

Coffers

Eye

Cloth

Yeast

Falsity

Crown

Fathom

Money, property belonging to the state or community.

Insincerity, hypocrisy.

Precious headdress, crown.

Food, food.

An old Russian measure of length equal to three arshins (2.13 m).

Thick wool or cotton fabric with a smooth surface.

Same as the eye.

Belongings, all sorts of household things.

Solve the crossword puzzle.

From Masterweb - Adex

Amazing stories, beautiful and mysterious, full of extraordinary events and adventures, are familiar to everyone - both old and young. Who among us did not empathize with Ivan Tsarevich when he fought with the Serpent Gorynych? Didn’t you admire Vasilisa the Wise, who defeated Baba Yaga?

Creation of a separate genre

focus on fiction; special compositional and stylistic techniques; targeting a children's audience; a combination of educational, educational and entertainment functions; the existence in the minds of readers of bright prototypical images.

Fairy tale writers of the 19th century

Alexander Sergeevich Pushkin; Vasily Andreevich Zhukovsky; Mikhail Yurievich Lermontov; Pyotr Pavlovich Ershov; Sergei Timofeevich Aksakov; Vladimir Ivanovich Dal; Vladimir Fedorovich Odoevsky; Alexey Alekseevich Perovsky; Konstantin Dmitrievich Ushinsky; Mikhail Larionovich Mikhailov; Nikolai Alekseevich Nekrasov; M Ikhail Evgrafovich Saltykov-Shchedrin; Vsevolod Mikhailovich Garshin; Lev Nikolaevich Tolstoy; Nikolai Georgievich Garin-Mikhailovsky; Dmitry Narkisovich Mamin-Sibiryak.

Tales of Pushkin

Writers and storytellers contemporaries of Pushkin

Tales with national flavor

"New" fairy tales

Other 19th century tales

They become very meaningful and are designed in an original way. The War of 1812 aroused increased attention to historical themes, to heroic personalities and led to the need to have national children's literature. The best books dedicated to the War of 1812 instilled love for one's country and hatred of invaders. The best of them are “A Gift to Russian Children in Memory of the War of 1812” by M.I. Trebeneva. in this alphabet, each letter corresponded to a card with a miniature caricature engraved on copper and a rhymed satirical inscription on an anti-Napoleonic theme. This was the first children's book in Russia with political and patriotic content.

The Decembrists saw the book as an effective tool for educating children and youth. They promoted popular scientific historical and biographical literature. Plutarch's book "Comparative Lives of the Great Greeks and Romans" has been translated into Russian. The name of this writer gave the name to a whole type of publications for children in the historical and bibliographic genre. All these publications were called Plutarchs. They were written by French authors, but when translated into Russian they were significantly revised and supplemented. For example, “Plutarch for Youth” (1809) was replenished with biographies of famous Russians, and the 3rd edition (1823) included new chapters, including those about the heroes of the War of 1812. “Plutarch for Young Girls” included biographies of famous women, including the translator’s “Gallery of Russian Women” of 29 biographies (translated by Fyodor Glinka)

The books of B. Polevaya (?) enjoyed great success. One of them is “Russian History for Early Readers.” Ishimov "History of Russia in stories for children." However, Belinsky noted the reactionary spirit of her works and predicted their fragility.

The fable genre has become widespread in fiction for children. Krylov wrote about 200 fables. In his fables, a whole world of heroes and images opens up for the child. Life lessons were presented visually, colorfully, brightly, picturesquely.

Talented works written especially for children also appeared: “The Black Hen” by Antony Pogorelsky, stories and fairy tales by Odoevsky, poems and fairy tales by Zhukovsky.

"The Black Hen" by A. Pogorelsky (Perovsky) is the first science fiction story for young children. The narrative in this story is extremely accessible to children. For the first time in children's literature, not an abstract character appears, but a real living image of a boy with both shortcomings and positive character traits. Together with 9-year-old Alyosha, the reader takes a fascinating journey and thinks about the question: “What is the real beauty and value of a person?”

1. educational character;
2. cognitive (educational) nature;
3. high morality;
4. presence of a positive ideal;
5. optimism;
6. thematic breadth;
7. proximity to real life;
8. taking into account the psychological characteristics and cognitive capabilities of children associated with their age;
9. entertaining, dynamism;
10. accessibility of presentation;
11. artistic perfection, high aesthetic qualities;
12. correctness of speech.

Since the middle of the 19th century, the nature of the Russian literary fairy tale has changed significantly. Prose genres are becoming more popular. In a literary fairy tale, certain features of folklore works are preserved, but the author’s and individual principles are enhanced. The Russian literary fairy tale begins to develop in line with pedagogical prose, and the didactic principle in it is strengthened. The main authors of this kind are Konstantin Ushinsky and Leo Tolstoy, who work on folklore subjects.

Ushinsky created two textbooks "Children's World" and "Native Word". The textbook includes many fairy tales ("The Man and the Bear", "The Trickster Cat", "The Fox and the Goat", "Sivka the Burka"). The author included in the books many educational stories of a descriptive nature about animals, nature, history, and work. In some works the moralizing idea is especially strong ("Children in the Grove", "How a Shirt Grew in a Field").

Lev Nikolaevich Tolstoy created a school for peasant children. For these children, the writer published a textbook “ABC”, which included the fairy tales “Three Bears”, “Tom Thumb”, “The Tsar’s New Dress” (the plot goes back to Andersen). Tolstoy emphasized morality and teaching. The book also contains educational stories (“Bird cherry”, “Hares”, “Magnet”, “Warmth”). At the center of the works is almost always the image of a child (“Philippok”, “Shark”, “Jump”, “Cow”, “Bone”). Tolstoy reveals himself as a subtle expert in child psychology. The pedagogical situation educates taking into account the true feelings of the child.

Another author of the second half of the 19th century is M. E. Saltykov-Shchedrin, writing in the tradition of satire. His tales are based on the allegory of animals. Shchedrin's main satirical means is grotesque (excessive emphasis on some quality).

Nikolai Leskov wrote a fairy tale “Lefty” for children, which combines literary and folklore traditions. A tale is an oral story, where the function of the narrator is important, and there is an emphasis on the realism of the events described (among the characters are Tsar Alexander I and Nicholas I). Leskov highlights the problem of the Russian national character. On the one hand, Alexander I does not consider his people capable of anything useful. On the other hand, General Platov says that there are craftsmen in Russia too. The image of the main character is created in the same way as in epic works. The main feature of character creation is monumentality and typicality (no name). Leskov actively uses stylization to resemble folk speech; it is colloquial with distortion of words (“Melkoscope”).

The problems of the formation of children's literature and various periods of its development have been studied for a long time, and extensive theoretical and practical material has been accumulated. However, despite a significant amount of work, the nature of the relationship between literature about children and literature for children has not been fully identified, and this issue is still far from any satisfactory solution.

Thus, in relation to the work of L.N. Tolstoy, such attempts were made by A.I. Borshchevskaya and E.Ya. Ilyina, K.D. Ushinsky - D.O. Lordkipanidze, A.F. Uspenskaya, and A.P. Chekhova - V.A.Golubkov, L.P.Gromov, V.F.Rudenko. Despite all this, in none of these works the issue of distinguishing between literature about children and for children is central and is considered fragmentarily, only in one aspect. In addition, a number of researchers, such as F.I. Setin, A.I. Borshchevskaya or V.A. Makarova, do not share the concepts of literature for children and literature about children at all. Thus, V.A. Makarova includes among stories for children not only “Vanka”, but also “The Man in a Case”, “Everyday Trifle”, “The Case of the Classic”, “The Tutor”, “About Drama”.

The conclusion that the researcher draws from his analysis is predictable in advance and does not follow from the content of the work: “Chekhov’s assessment of classical education... helped the progressive public and pedagogy in their struggle against dogmatism and conservatism in teaching the younger generation.”

F.I. Setin, completing the analysis of “Childhood”, “Adolescence” and “Youth”, which he interprets as works for children, and tracing the influence of Tolstoy on the further development of the genre of stories about childhood, notes: “True, democratic writers are not only follow Tolstoy, but often argue with him, creating their own concept of the tragic childhood of the poor, which is far from the picture of “Golden Childhood” in a landowner family, painted by the author of the trilogy.”

Thus, two trends can be traced in the distinction between literature for children and about children. Some researchers, such as F.I. Setin, V.A. Makarova or A.I. Borshchevskaya, are inclined to classify all works that touch on the theme of childhood as children's literature. It is obvious that this point of view is incorrect. Confusing the theme of childhood in adult literature with the same theme in literature for children seems unfounded. F. M. Dostoevsky’s novel “The Teenager” and V. V. Nabokov’s “Lolita” can be equally well classified as children’s literature, since among their main characters there are children. In general terms, the essence of this trend is that children's literature is being transferred to works that do not relate to it.

On the other hand, the opposite tendency in literary criticism is also erroneous, which consists in ignoring works addressed to children's audiences in the works of classical writers, which leads to significant misunderstanding and even distortion of entire periods of their literary activity. So, for example, Yu.A. Bogomolov and Edgar Broyde, analyzing Chekhov’s story “Kashtanka,” do not take into account at all the fact that this work was classified by Chekhov himself as a children’s work, which, among other reasons, gives rise to a fundamentally incorrect interpretation of the text.

Literature for children usually has a specific addressee - a child, while literature about children, although it can be partially perceived by children, is mainly aimed at an adult reader. It goes without saying that different targeting: to a child or an adult, accordingly requires qualitatively different forms of expression, manifested at the linguistic, plot-compositional and genre levels of perception. In addition, literature for children, in contrast to literature about children, incorporates a number of quite serious moral, ethical and social restrictions, while literature about children, if it has restrictions, is of a qualitatively different kind.

The deeply rooted idea that all or most of the works in which children are the main figures can be classified as children's works is obviously incorrect. Very often, a writer creating a work about a child and his world solves problems that are very far from the problems of children's literature. In this case, the child’s world is interesting to him not as an end in itself, but as a way to look at the adult world in a new way, from a new angle, or to show the formation and development of character. Typically, comments of this kind relate either to works with elements of the memoir genre, or to works that reconstruct the development of a particular personality under the influence of environment and upbringing. An example of such works is “Childhood of the Theme” by N.G. Garin-Mikhailovsky, “In a Bad Society” by V.G. Korolenko, “Childhood” by L.N. Tolstoy, “Childhood of Bagrov the Grandson” by S.T. Aksakov and many other novels and stories with elements of autobiographical prose. However, if the main difficulty were to separate just such works from the general series, we would not feel much need for classification. It would be enough to limit ourselves to the most general set of features that would allow us to isolate these works from the very beginning.

In reality the problem is much more complex. Most often, the distinction is complicated by the fact that the border - about children or for children - passes not only through the work of different writers, but also through the work of each of them, taken separately. Unfortunately, until now, practically no generalizations have been made on this topic. The best analysis of children's literature of this period is presented in the significant and interesting book by A.P. Babushkina “The History of Russian Children's Literature.” The book examines issues ranging from the origins of Russian children's literature to the literature of the late 19th - first third of the 20th centuries, with the main emphasis placed precisely on the period of interest to us. Extremely sparse information about the role of this period in the history of literature for children could also be gleaned from A.A. Grechishnikova’s textbook “Soviet Children’s Literature.”

In the most general terms, the problem stated in the dissertation research can be expressed as follows:

1. Not all works whose heroes are children are written for children and, accordingly, are for children. On the contrary, works for children can also be works in which children do not participate or even appear (zoo fiction, adventure stories, fairy tales, fables, parables, etc.).

2. Works that are not written for children and, in fact, not for children, can also be actively read and demanded by a children's audience (for example, translated adventure novels by Walter Scott, “The Captain's Daughter” and fairy tales by Pushkin, “Childhood” by L.N. Tolstoy etc.).

3. Very often, multi-level adult works, usually written in the genre of memories of childhood, are mistaken for literature for children (example: “The Childhood Years of Bagrov the Grandson” by S.T. Aksakov, “Childhood” by L.N. Tolstoy). Indeed, due to their specificity and the subject of the depiction (a child in the process of growing up and various encounters with the adult world), these works are very often read by children, but, as a rule, in fragments or in a significantly adapted form. The child returns to these works over time and, as a rule, discovers in them a lot of things that were unread or previously misunderstood.

4. Finally, there are works (and there are many of them) that, having once been created for adults, to a large extent, for one reason or another, very soon became available to children's literature. In our opinion, this is explained not so much by the process of increasing the intellectual level or lowering the threshold of maturation, but by the rapid development of literature and the further development of genres.

To complicate the classification, we could distinguish the following types of works: a) children's works; b) adults themselves, generally, due to their characteristics, incomprehensible to children and not intended for them; c) “universal” works, most often adventure and fiction; d) works that have passed into children's literature from adult literature; e) “multi-level” works, where there are niches for both adults and children. Usually such works are written in the genre of memoirs. These are numerous “Childhood...”, and besides them many more historical, epic, epic or simply action-packed works, in which the plot, however, plays a supporting role.

All of the above creates significant difficulty in distinguishing literature and dividing it into literature for children and literature about children. At the same time, you can often encounter multi-level works that satisfy the requirements of both children's and adult literature.

This sometimes creates the need to abandon classification altogether and not distinguish between children’s and adult literature, once and for all including them in the single concept of “literature.” However, by doing this, we would deliberately avoid studying those processes, attitudes, “filters” and visual means that determine the “childhood” or “non-childhood” of literature and the roots of which lie deep in the psyche of an adult and a child.

The topic stated in the dissertation covers a period of more than thirty years - from the early sixties of the 19th century to the end of the century. Sometimes the agreed boundaries are deliberately violated, as required by the reconstruction of a holistic picture of creativity for children and about the children of the writers considered in the study, whose years of creative development mainly fell on the period under study. In addition, it has long been noted that the literary age and the calendar age very rarely coincide, and writers who formed and entered literature at the end of the 19th century most often remain faithful to their age and, it seems, should be considered precisely within its boundaries.

So, for example, in the case of A.I. Kuprin, our scope of consideration includes some works created at the beginning of the 20th century. This violation of chronology, however, is justified, since A.I. Kuprin emerged as a writer at the end of the 19th century and continued in his work for children the traditions of A.P. Chekhov and D.N. Mamin-Sibiryak, and the framework of the century, of course, did not separate his work from these names.

The second half of the 19th century was an unusually fruitful period for Russian literature in general and, in particular, for literature for children and about children. This is the period when such writers as K.D. Ushinsky, L.N. Tolstoy, V.G. Korolenko, A.P. Chekhov, A.I. Kuprin, D.V. Grigorovich, D. N. Mamin-Sibiryak, V. M. Garshin and F. M. Dostoevsky.

№8 Fet is one of the most remarkable Russian landscape poets. In his

Russian spring appears in all its beauty in the verses - with flowering trees,

the first flowers, with cranes calling in the steppe. It seems to me that the image

Cranes, so beloved by many Russian poets, were first identified by Fet.

In Fet's poetry, nature is depicted in detail. In this regard, he is an innovator. Before

Fet in Russian poetry, addressed to nature, generalization reigned. In verse

Feta we meet not only traditional birds with the usual poetic

halo - like a nightingale, a swan, a lark, an eagle, but also such as simple and

unpoetic, like the owl, harrier, lapwing, and swift. Traditional for Russian literature is the identification of paintings

nature with a certain mood and state of the human soul. This

the technique of figurative parallelism was widely used by Zhukovsky, Pushkin and

Lermontov. Fet and Tyutchev continue this tradition in their poems. So,

Tyutchev in his poem “Autumn Evening” compares fading nature with

tormented human soul. The poet succeeded with amazing precision

convey the painful beauty of autumn, causing both admiration and

sadness. Tyutchev’s bold but always true epithets are especially characteristic:

“the ominous shine and variegation of the trees”, “the sadly orphaned earth.” And in

human feelings, the poet finds correspondence to the mood prevailing in

nature. Tyutchev is a poet-philosopher. It is with his name that the current is associated

philosophical romanticism, which came to Russia from German literature. And in

In his poems, Tyutchev strives to understand nature by including it in the system of his

philosophical views, turning them into part of your inner world. Maybe

be this desire to place nature within the framework of human consciousness

dictated by Tyutchev's passion for personifications. Let us at least remember the well-known

the poem “Spring Waters”, where streams “run and sparkle and shout.” Sometimes

this desire to “humanize” nature leads the poet to pagan,

mythological images. Thus, in the poem “Noon” the description of a dozing

nature, exhausted by the heat, ends with the mention of the god Pan. By the end of his life, Tyutchev realizes that man is “only a dream.”

nature." He sees nature as an “all-consuming and peaceful abyss”,

which inspires the poet not only fear, but almost hatred. On top of her

His mind is not in power, “the powerful spirit is in control.”

Thus, throughout life, the image of nature changes in the mind and

Tyutchev's works. The relationship between nature and the poet increasingly resembles

"fatal duel" But this is exactly how Tyutchev himself defined the true

Fet has a completely different relationship with nature. He doesn't strive

“rise” above nature, analyze it from the standpoint of reason. Fet feels

yourself as an organic part of nature. His poems convey the sensual,

emotional perception of the world. Chernyshevsky wrote about Fet’s poems that they

a horse could write if it learned to write poetry. Indeed,

It is the immediacy of impressions that distinguishes Fet’s work. He is often

compares himself in verses with “the first inhabitant of paradise”, “the first Jew at the turn

promised land." This is the self-perception of a “discoverer of nature,” by the way,

often characteristic of Tolstoy’s heroes, with whom Fet was friends. Let's remember though

would be Prince Andrei, who perceives the birch as “a tree with a white trunk and

green leaves." poet Boris Pasternak - lyrical painter. A huge amount of it

poems dedicated to nature. In the poet's constant attention to earthly

spaces, to the seasons, to the sun is hidden, in my opinion, the main

theme of his poetic work. Parsnip exactly the same as in its time

Tyutchev experiences almost religious surprise at the “God’s world.”

So, according to people who knew him closely, Pasternak liked to call boiling water

Life around us is precisely “God’s world.”

It is known that he lived in Peredelkino for almost a quarter of a century.

writer's cottage. All the streams, ravines, old trees of this wonderful place

included in his landscape sketches.

Those readers who, like me, love the poems of this poet, know that

there is no division into living and inanimate nature. Landscapes exist in his

poems on equal terms with genre lyrical pictures of life. For Pasternak

not only his own view of the landscape is important, but also nature’s view of the

Natural phenomena in the poet’s poems acquire the properties of living beings:

the rain stomps at the threshold “more forgetful than timid”, a different rain at

Pasternak walks along the clearing “like a surveyor and a marker.” He may have a thunderstorm

threaten like an angry woman, and the house feels like a person who

afraid to fall.

№9 Features of the genre of autobiographical prose

An appeal to autobiographical prose for poets of the second half of the 19th century. not only was it a way to convey one’s experiences, thoughts and emotions, but it was also driven by the desire to capture the panoramic view of Russian life of that period, to portray one’s contemporaries, and to tell the story of one’s family. Of course, poetry and literary criticism were priority activities for them. At the same time, without experiencing a creative crisis, in search of deeper internal introspection, they turned to writing their memoirs. Memoirs are direct evidence of the increased interest of poets in prosaic artistic activity.

Autobiographical creativity has been less studied than poetry. Most prose texts still remain outside the scope of literary literature proper, being of interest, first of all, as an authoritative source of information about the life, belief system and specifics of the creative individuality of poets. Meanwhile, autobiographical prose is an important component of artistic heritage. The authors under consideration are artists who combine several talents - poet, critic, prose writer, memoirist, whose work should not be subject to one-sided definitions and characteristics. The study of autobiographical prose makes it possible not only to identify the characteristics of the era in which they were formed as poets, but also to analyze the structure of such a specific image as the image of an autobiographical hero, formed under the influence of their own lyrical experience. The insufficient development of this problem in domestic literary criticism is of particular research interest and determines the relevance of the topic of this dissertation, aimed at studying the poetics of autobiographical prose.

Related information.

Amazing stories, beautiful and mysterious, full of extraordinary events and adventures, are familiar to everyone - both old and young. Who among us did not empathize with Ivan Tsarevich when he fought with the Serpent Gorynych? Didn’t you admire Vasilisa the Wise, who defeated Baba Yaga?

Creation of a separate genre

Heroes who have not lost their popularity for centuries are known to almost everyone. They came to us from fairy tales. No one knows when and how the first fairy tale appeared. But since time immemorial, fairy tales have been passed down from generation to generation, which over time acquired new miracles, events, and heroes.

The charm of ancient stories, fictional, but full of meaning, was felt with all my soul by A. S. Pushkin. He was the first to bring the fairy tale out of second-rate literature, which made it possible to distinguish the fairy tales of Russian folk writers into an independent genre.

Thanks to their imagery, logical plots and figurative language, fairy tales have become a popular teaching tool. Not all of them are educational and training in nature. Many perform only an entertainment function, but, nevertheless, the main features of a fairy tale as a separate genre are:

• installation on fiction;
• special compositional and stylistic techniques;
• targeting a children's audience;
• combination of educational, educational and entertainment functions;
• the existence in the minds of readers of bright prototypical images.

The genre of fairy tales is very wide. This includes folk tales and original ones, poetic and prose, instructive and entertaining, simple single-plot tales and complex multi-plot works.

Fairy tale writers of the 19th century

Russian fairy tale writers have created a real treasury of amazing stories. Starting from A.S. Pushkin, fairy tale threads reached out to the works of many Russian writers. The origins of the fairy-tale genre of literature were:

• Alexander Sergeevich Pushkin;
• Mikhail Yurjevich Lermontov;
• Pyotr Pavlovich Ershov;
• Sergey Timofeevich Aksakov;
• Vladimir Ivanovich Dal;
• Vladimir Fedorovich Odoevsky;
• Alexey Alekseevich Perovsky;
• Konstantin Dmitrievich Ushinsky;
• Mikhail Larionovich Mikhailov;
• Nikolai Alekseevich Nekrasov;
• Mikhail Evgrafovich Saltykov-Shchedrin;
• Vsevolod Mikhailovich Garshin;
• Lev Nikolaevich Tolstoy;
• Nikolai Georgievich Garin-Mikhailovsky;
• Dmitry Narkisovich Mamin-Sibiryak.

Let's take a closer look at their work.

Tales of Pushkin

The great poet’s turn to fairy tales was natural. He heard them from his grandmother, from the servant, from his nanny Arina Rodionovna. Experiencing deep impressions from folk poetry, Pushkin wrote: “What a delight these fairy tales are!” In his works, the poet widely uses folk speech, putting them into artistic form.

The talented poet combined in his fairy tales the life and customs of Russian society of that time and the wonderful magical world. His magnificent tales are written in simple, lively language and are easy to remember. And, like many fairy tales of Russian writers, they perfectly reveal the conflict of light and darkness, good and evil.

The tale of Tsar Saltan ends with a cheerful feast glorifying goodness. The tale of the priest makes fun of church ministers, the tale of the fisherman and the fish shows what greed can lead to, the tale of the dead princess tells of envy and anger. In Pushkin's fairy tales, as in many folk tales, good triumphs over evil.

Writers and storytellers contemporaries of Pushkin

V. A. Zhukovsky was a friend of Pushkin. As he writes in his memoirs, Alexander Sergeevich, fascinated by fairy tales, offered him a poetry tournament on the theme of Russian fairy tales. Zhukovsky accepted the challenge and wrote tales about Tsar Berendey, Ivan Tsarevich and the Gray Wolf.

He liked working on fairy tales, and over the next years he wrote several more: “Tom Thumb”, “The Sleeping Princess”, “The War of Mice and Frogs”.

Russian fairy tale writers introduced their readers to the wonderful stories of foreign literature. Zhukovsky was the first translator of foreign fairy tales. He translated and retold in verse the story of “Nal and Damayanti” and the fairy tale “Puss in Boots”.

An enthusiastic fan of A.S. Pushkin M.Yu. Lermontov wrote the fairy tale “Ashik-Kerib”. She was known in Central Asia, the Middle East and Transcaucasia. The poet translated it into poetry, and translated each unfamiliar word so that it became understandable to Russian readers. A beautiful oriental fairy tale has turned into a magnificent creation of Russian literature.

The young poet P. P. Ershov also brilliantly put folk tales into poetic form. In his first fairy tale, “The Little Humpbacked Horse,” his imitation of his great contemporary is clearly visible. The work was published during Pushkin’s lifetime, and the young poet earned the praise of his famous fellow writer.

Tales with national flavor

Being a contemporary of Pushkin, S.T. Aksakov began writing at a late age. At the age of sixty-three, he began writing a biography book, the appendix of which was the work “The Scarlet Flower.” Like many Russian fairy tale writers, he revealed to readers a story he heard in childhood.

Aksakov tried to maintain the style of the work in the manner of the housekeeper Pelageya. The original dialect is palpable throughout the work, which did not prevent “The Scarlet Flower” from becoming one of the most beloved children's fairy tales.

The rich and lively speech of Pushkin’s fairy tales could not help but captivate the great expert on the Russian language, V. I. Dahl. The linguist-philologist, in his fairy tales, tried to preserve the charm of everyday speech, to introduce the meaning and morality of folk proverbs and sayings. These are the fairy tales “The Bear-Half-Maker”, “The Little Fox”, “The Girl Snow Maiden”, “The Crow”, “The Picky One”.

"New" fairy tales

V.F. Odoevsky is a contemporary of Pushkin, one of the first to write fairy tales for children, which was very rare. His fairy tale “The City in a Snuffbox” is the first work of this genre in which a different life was recreated. Almost all fairy tales told about peasant life, which Russian fairy tale writers tried to convey. In this work, the author talked about the life of a boy from a prosperous family living in abundance.

“About the Four Deaf People” is a fairy tale-parable borrowed from Indian folklore. The writer’s most famous fairy tale, “Moroz Ivanovich,” is completely borrowed from Russian folk tales. But the author introduced novelty into both works - he talked about the life of a city home and family, and included children in boarding schools and schools in the canvas.

The fairy tale by A. A. Perovsky “The Black Hen” was written by the author for his nephew Alyosha. Perhaps this explains the excessive instructiveness of the work. It should be noted that the fabulous lessons did not pass without a trace and had a beneficial effect on his nephew Alexei Tolstoy, who later became a famous prose writer and playwright. This author penned the fairy tale “Lafertovskaya Poppy Plant”, which was highly appreciated by A. S. Pushkin.

Didactics is clearly visible in the works of K. D. Ushinsky, the great teacher-reformer. But the moral of his tales is unobtrusive. They awaken good feelings: loyalty, sympathy, nobility, justice. These include fairy tales: “Mice”, “Fox Patrikeevna”, “Fox and Geese”, “Crow and Crayfish”, “Kids and the Wolf”.

Other 19th century tales

Like all literature in general, fairy tales could not help but tell about the liberation struggle and revolutionary movement of the 70s of the 19th century. These include the tales of M.L. Mikhailova: “Forest mansions”, “Dumas”. The famous poet N.A. also shows the suffering and tragedy of the people in his fairy tales. Nekrasov. Satirist M.E. Saltykov-Shchedrin in his works exposed the essence of the landowners' hatred of the common people and spoke about the oppression of the peasants.

V. M. Garshin touched upon the pressing problems of his time in his tales. The writer’s most famous fairy tales are “The Frog Traveler” and “About the Toad and the Rose”.

L.N. wrote many fairy tales. Tolstoy. The first of them were created for school. Tolstoy wrote short fairy tales, parables and fables. The great expert on human souls Lev Nikolaevich in his works called for conscience and honest work. The writer criticized social inequality and unjust laws.

N.G. Garin-Mikhailovsky wrote works in which the approach of social upheaval is clearly felt. These are the fairy tales “Three Brothers” and “Volmai”. Garin visited many countries of the world and, of course, this was reflected in his work. While traveling throughout Korea, he recorded more than one hundred Korean fairy tales, myths and legends.

Writer D.N. Mamin-Sibiryak joined the ranks of glorious Russian storytellers with such wonderful works as “The Gray Neck”, the collection “Alenushka’s Tales”, and the fairy tale “About Tsar Pea”.

Later fairy tales of Russian writers also made a significant contribution to this genre. The list of remarkable works of the twentieth century is very long. But fairy tales of the 19th century will forever remain examples of classic fairy-tale literature.