How Russian folk tales end. The beginning of a fairy tale, a saying and an ending

28.09.2017

An integral part of any fairy tale is the presence in it of such structural components as a beginning, a saying or a song, and an ending. Each of these parts plays its specific and very important role in the system of the entire genre. All this is a special formula of style, which determines the enduring interest in the fairy tale, with its rich ideological content, clarity and purity of expressed thoughts, artistic refinement and entertaining plot.

Saying

Usually fairy tales, and especially fairy tales, open their narrative with a saying. The main task of such a beginning is to immerse the reader in the special atmosphere of a fantasy world and set him, the reader or listener, to the necessary perception of the fabulous events of the entire work.

From the first lines, magical space seems to envelop us thanks to the saying, despite the fact that it has a relatively small size. One has only to remember the well-known cat-Bayun, who walks measuredly and sings his songs on a powerful oak towering on an island in the middle of the "ocean".

It is surprising that a special mood, designed to help comprehend the full depth and wisdom of folk thought, is born not from pompous edification, but with the help of humor, which is characteristic of a saying. The reception of a play on words, elements of some confusion help to rid the tale of an unnecessary moralizing tone, but retain its educational purpose.

Zachin

The next integral component of any fairy tale is the beginning. Its purpose is to perform several important tasks, and, above all, it is to provide the reader with sufficient information to help him form a correct idea of ​​​​the heroes of the fairy tale, and in the further course of the story, correctly understand and evaluate their characters, way of thinking, causal connection between their behavior and actions.

Thus, the beginning introduces us to fairy-tale characters, sends us to the right time and place of the events described. Already from the beginning it becomes obvious that the language of the fairy tale is completely special, not like the speech familiar to our ears - it is worth remembering the traditional “once upon a time” or “the fairy tale affects”.

ending

But any fairy-tale action must inevitably be brought to its logical conclusion, and here comes the time for the ending with its goal to end the story told. Usually, already familiar and quite stable statements cope with this task: “they live, they live, but they make good” or “they flowed down their mustaches, they didn’t get into their mouths.”

But not always the ending is some obvious conclusion, the author may well end his tale unexpectedly and suddenly. But he should not forget that the ending, nevertheless, must be composed correctly, so that it certainly contains conclusions about what was told.

The fairy tale genre is also characterized by the abundant use of repetitions, the true purpose of which is to bring the action of the work closer to its completion, denouement. Repetitions, each time pointing to certain details of an object, character or phenomenon, serve to enhance the impression on the reader.

Details repeated three times play a special role here: three sons, three heads of the serpent Gorynych, three trials given to the hero.

Poetic parts of fairy tales

In many fairy tales, poetic parts are also found, with a special rhyme. Thus, its own melody of a fairy tale, motive, its melody and musical mood, in general, is created. A "skazovy" verse can usually include a different number of syllables, but the stresses are mostly equal in number.

This implies another feature of fairy tale narration - you can often find a fairy tale, akin to a song. Often, beautiful girls sing their sad thoughts on the shore of a clear lake, or a vociferous cockerel calls for help with a song, falling into the cunning paws of a nimble fox.

From the last example, we can also conclude that onomatopoeia is also widespread in fairy tales.

Dialogues in a fairy tale are always lively and natural. By intonation, the characters often betray their true intentions and their positive qualities that are not always inherent in them - for example, the speech of a fox will certainly be full of flattery, and the voice of a soldier will remain lively, even and slender in any situation.

The saturation of the tale with various kinds of repetitions, parallelism, rhythmic constructions and other peculiar means of expressive speech undoubtedly prove the colorfulness and richness of the living folk language. Preserving and passing on from generation to generation high concepts of the content of good and evil, justice, truth and other moral values, a fairy tale is the source of all the most important life definitions and patterns.

Julia Korotkova told about the structure of fairy tales

Incredible Facts

Perhaps many will be quite surprised to learn that some of the Disney cartoons that have been so hugely popular among children for several generations, in fact, initially based by no means on good and positive stories.

It may be shocking, but the basis of these very stories were violence, murders, cannibalism and other chilling events.

Original versions of fairy tales

It is generally accepted that Disney, by changing the original versions of fairy tales, made them kind and pleasant, and therefore more accessible to the general public. However, there are those who accuses Disney of unfairly misrepresenting the original stories.

Some, the very first versions of fairy tales, became known to us thanks to the Internet and discussions on various forums. However, there are many Disney stories that actually look different, and we don’t even know. about the "substitution" of the plot.

Below are examples of lesser-known versions of popular cartoons that have grown up with more than one generation of young viewers.

Pinocchio Disney

1. Pinocchio: corpses and murder

Original version: Pinocchio becomes a murderer, and in the end he dies

In the very first version of the tale, Pinocchio was punished by death for his disobedience. wooden boy ruthless in relation to old Geppetto and constantly teases him. The old man begins to pursue Pinocchio and ends up in prison for allegedly offending the boy.

Pinocchio returns home, where he meets a hundred-year-old cricket, who tells him that naughty children turn into donkeys. However, the wooden boy, not wanting to listen to wise advice, in a fit of anger, he throws a hammer at the cricket and kills him.

Pinocchio ends his life by burning in a fire. Before he dies, he sees the same fairy who, in the Disney version, saves him. The wooden boy is choking on the smoke. Witnesses of his deathbed suffering are a cat with a mutilated paw, which Pinocchio had previously bitten off, and a fox. Both animals were hanged by an evil wooden boy.

The editors found this ending to be too angry and sad. Therefore, it was decided to change the second part and add a different ending to make the story more positive and kind.

Thanks to the efforts of Walt Disney, after numerous misadventures that Pinocchio experienced because of his own disobedience and stubbornness, he returns to his old father and becomes a good boy.

History of Aladdin

2. Dismemberment in Aladdin

In the original version: Kassim was mutilated and brutally killed

For those who don't know, Kassim is the father that Aladdin lost in his early childhood. This character appears in the third part of the film. Kassim is the leader of the Forty Thieves. Surely, everyone has heard about this gang.

The stories of "Aladdin" and "Ali Baba and the Forty Thieves" are beginning to intertwine. To go to the wedding of his son and Princess Jasmine, Cassim had to leave the villainous trade for a while.

In the original version, Ali Baba learns what words to say to get into the cave where the forty thieves keep their treasures. Then he tells about the gold to his brother Cassim, also telling him magic words, thanks to which he still ends up in the treasury.

However, from the greedy excitement that seized him at the sight of such untold wealth, Cassim forgets the magic spells and cannot leave the cave. At this moment, the robbers return. Seeing an unexpected guest, they kill him in cold blood.

Fallen princesses: what happened to the heroines of fairy tales after the wedding?

Cassim's body was then cut into pieces. The dismembered limbs were left by the robbers at the entrance to the cave, as a warning to others who want to enter the treasury.

At the end of the tale, after numerous scenes of murder, only one slave remains alive.

Cinderella: original version

3. Killer Cinderella

In the original version: Cinderella kills the evil stepmother

Perhaps each of us is familiar with two versions of the tale about the poor girl who was offended by her evil stepmother. Cinderella by Charles Perrault and the Brothers Grimm is based on the fairy tale by Giambattista Basile.

In Basile's version, there is another character - the governess, who at first is very supportive of Cinderella. The girl cries to her about her bitter fate and complains about her evil stepmother. The governess advises her to kill the one who makes Cinderella's life unbearable.

With one blow of the chest lid to the neck, the girl takes the life of her torturer. The governess marries Cinderella's father. However, her life becomes even sadder and harder than before.

As it turned out, the new stepmother has seven daughters, whom she hid. When they were introduced to Cinderella's father, he forgets about his own daughter. Now Cinderella is doomed to hard round-the-clock work. She is forced to do the most menial chores around the house.

5 Little-Known Versions of Famous Children's Fairy Tales

The final part of the story is very similar to the traditional fairy tale. Disney did not change the ending of the story, since in any version of the fairy tale about Cinderella - a happy ending. The poor girl, after suffering trials, marries a handsome prince.

And with Charles Perrault, and with the Brothers Grimm, and with Basile, a simple maid becomes a princess. Disney, who is an adherent of the "happy ending", did not change the final part of the story, but only I added positive and joyful faces to it.

So, the story about a poor girl with whom a prince falls in love was not always so harmless and pure as Disney presents us with.

Sleeping Beauty - original

4 Sleeping Beauty Is Among The Dead

In the original version: the sleeping beauty rests among the decaying corpses

Everyone remembers how in the famous fairy tale the witch cursed the girl. At the age of fifteen, the beauty was supposed to die from an injection with a spindle. However, another sorceress softened the curse by promising that it will not be death, but a dream of a hundred years.

The wild rose bushes that grew thickly around the castle became a thorny trap for hundreds of young people who, in the hope of seeing the sleeping princess, tried to pass these thorns. They all died, entangled in the thickets. They died a terrible and painful death.

Exactly one hundred years later, as the second sorceress had predicted, the curse was lifted. Abundant vegetation, which became the grave for many young guys, turned into wonderful flowers.

The Prince, passing by on horseback, sees Beauty. With his kiss, he brings her back to life. It was this happy ending that Disney filmed.

The original version of this story came from the same Giambattista Basile. And his scenario of the fairy tale was much less pure and joyful.

In his version, the king rapes the sleeping Beauty. In a dream, a girl becomes pregnant and gives birth to twins. Then she wakes up, but her life is overshadowed by the machinations of the evil queen, who, nevertheless, in the end burns in fire destined for Beauty.

Despite the fact that the end of the tale is also happy, it is hard not to admit that the entire plot of the story is filled with disgusting scenes of violence and murder.

Andersen's fairy tale The Little Mermaid

5. Bloodthirsty Little Mermaid

Disney made the cartoon "The Little Mermaid", based on the plot of the fairy tale by Hans Christian Andersen (Hans Christian Andersen). In this story, for the sake of the prince, the young Mermaid makes huge sacrifices: her tongue is cut off, and her legs bleed.

Mermaid endures unbearable pain in order to stay with his beloved. However, the prince marries another. Unable to kill the one she loves more than herself and her family, the Little Mermaid commits suicide by turning into sea foam.

However, Andersen himself invented his fairy tale based on another story written by Friedrich de la Motte Fouque (Friedrich de la Motte Fouque). His version of "Ondine" is more violent and sad.

Having received a human soul, Ondine marries a knight. However, numerous relatives of the mermaid are plotting, thus interfering with her happiness with her husband. In addition, the knight falls in love with Bertida, who settles in their castle.

Disney cartoons pale in comparison with Soviet cartoons

In order to save her lover and his new passion from the wrath of her uncle, the evil merman, Ondine commits suicide by throwing herself into the river. The knight marries Bertida. However, Ondine returns as a mermaid and kills an unfaithful husband.

A stream suddenly appears near the knight's grave, which is a kind of symbol that the mermaid and her lover are together even in the next world, and their love is stronger than life and death.

Fairy tale Snow White and the Seven Thunders

6. Torture of the unfortunate Snow White

In the original version: Snow White was tortured and became a slave

In the story told by the Brothers Grimm, the Queen attempted on the life of Snow White three times: at first she tried to strangle the girl by tightening her corset so tightly that made it impossible for her to breathe.

Then she combs the girl's hair poison comb. When this method did not bring the desired result, the evil queen decides poison your stepdaughter with an apple, biting which she dies.

The dwarves put Snow White in a glass coffin. The prince passing by, seeing the beautiful deceased, decides to take the coffin home. With a strong push, a piece of poisoned apple falls out of Snow White's throat, and she comes to life.

At the wedding of the stepdaughter and the handsome prince, the evil queen dances in hot iron shoes, then dies from burns to his legs.

Perhaps many will be surprised by the fact that the Brothers Grimm borrowed the idea of ​​​​a fairy tale from the same Basile, whose version was distinguished by particular bloodthirstiness and numerous scenes of violence.

According to Basile's story, the girl dies at the age of seven. Her body is placed in seven glass coffins. The key to the coffin is kept by the uncle of the deceased, as the girl's mother dies of grief. In a dream, the girl continues to grow and by a certain age becomes a real beauty.

Uncle's wife finds the coffin with the deceased. She pulls her hair, the poisonous comb falls out, and the girl comes to life. Suspecting the poor thing that she is her husband's mistress, the woman begins to treat her badly.

Snow White has her hair cut off, beaten half to death, and made into a slave. The poor thing is daily humiliated and beaten. This causes black circles under her eyes and bleeding from her mouth.

The girl decides to take her own life, but before that she talks about her plight to the doll. Snow White's uncle, having overheard her confession, understands everything. He divorces his wife, heals his crippled niece, then marries her to a rich and good man.

History of Hercules

7 Self-immolation Of Hercules

In the original version: Hercules burns himself

Zeus, the supreme god, rapes Amphitryon's wife, Alcmene, who also has sex with her that same night. As a result, Alcmene is pregnant with two babies from different fathers. From Zeus son Hercules is born.

The boy grows up, becomes a great and valiant warrior and marries the beautiful Megara. Being in a state of madness, which Hera sent to him, Hercules kills his children.

At the end of the story, his fourth wife hangs herself after seeing Hercules rip off his clothes along with his skin. He's trying to burn himself alive. However, only his flesh burns in the funeral pyre. The immortal part of his being returns to Olympus, where he lives happily ever after with Hera.

8 The Fox And The Death Of The Hound

In the original version: both animals die a terrible death

Copper and Chief, a brave hunting dog, have a rocky relationship. Copper hates Chief and is jealous of his master. It is obvious that the owner singles out Chifa from all his dogs. This is not surprising: after all, somehow Chief saved him from a bear attack, while Copper, frightened by a huge beast, simply hid.

Tod is the fox who always teased the master's dogs, driving them to madness. One day, after another provocation from Tod, the Chief breaks off the chain. In pursuit of a daring fox, Chief gets hit by a train and dies.

Grieving, the owner vows revenge on the fox. He trains Copper to ignore all the foxes except Tod.

Meanwhile, Tod and the old Fox make a mess in the forest. However, Copper and the owner, having stumbled upon a lair of foxes, gassed the little foxes inside. Master mercilessly kills one by one the cubs of Tod.

Tod himself always manages to get away from death. But Copper finds Tod and kills him. The dog himself is severely emaciated and also almost gives his soul to God. However, the owner takes care of his dog. For a while, both are almost happy.

Unfortunately, the owner starts drinking and ends up in a nursing home. In desperation, he takes a gun and kills his faithful dog. Copper died at the hands of his own master. Here is such a completely sad ending to the original story about the Fox and the faithful dog.

Cartoon hunchback

9. Death and suffering in The Hunchback

In the original version: both Esmeralda and Quasimodo are subjected to the most severe torture, then they both die

Hugo's version is undeniably more tragic. The enamored Frollo inflicts a terrible wound on the handsome Phoebus during his meeting with Esmeralda. Quasimodo then throws Frollo off the roof of Notre Dame. Disney toned down the story's ending. In the classical story, the beautiful gypsy was hung up on the gallows.

At the end of the story, the unfortunate hunchback goes to the crypt where the corpses of executed criminals lie. Finding his beloved among the rotting bodies, Quasimodo embraces her corpse. And after some time, people who entered the crypt see two skeletons that are intertwined in a strong embrace.

10 Pocahontas Was Raped And Murdered

In the original version: Pocahontas was kidnapped, raped and killed

The Disney film about the beautiful Indian girl Pocahontas was based on the notes of English travelers. The story covers the period of early colonization. Actions take place in the colony of Virginia.

When Pocahontas was very young, she was kidnapped by the British for ransom. The girl was raped and her husband was killed. She was then baptized and given the new name Rebecca.

To hide the pregnancy that came after the rape, Pocahontas is married to John Rolf (John Rolf). Together with her new family, the savage departs for England, where familiar things become a curiosity for her.

Two years later, the Rolphs decided to return to Virginia. On the eve of departure, Pocahontos becomes ill, she vomits violently. Suffering in terrible convulsions, the girl dies. Presumably, Pocahontas died of tuberculosis or pneumonia. She was only 22 years old.

However, according to another version, Pocahontas became aware of the plans of the British government to destroy the indigenous Indian tribes. The British intended to take the land from the people of Pacahontas.

Fearing that Pocahontas might reveal political strategies regarding the Indians, the British planned her poisoning. Pocahontas had to die before returning to her homeland and telling what she knew.

Fairy Tales Endings: The Hero's Journey and the Storyteller's Journey

In world folklore, many types of final formulas of fairy tales are known (see: 6 ; 16 ; 19 ; 5 ; 7 ; 14 ; and etc.). In their motley series, a certain type of ending stands somewhat apart: the narrator tells in them about events that happened to him and were in some way connected with the told fairy tale. One of the variants of such a formula is well known in Russian material: “And I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth.” Along with this, there are more lengthy and original stories.

Endings of this kind belong to two known types of final (as well as initial) formulas. In the first, the narrator points to authenticity fabulous events (in the endings - emphasizing that he himself was their witness). Within the framework of the second, on the contrary, he points to a deliberate unreality told (in the endings - he talks about himself in a playful context, using various "impossible formulas").

Despite the cardinal difference in intention (to point out the authenticity/unreliability of the story), the endings we are interested in are built according to a common model. Since they are about a kind of journey, the movement of the hero-narrator, they can be conditionally divided into options for “successful” and “unsuccessful path”. The structure of such formulas in both versions is related to fairy-tale and mythological models (Compare: 12 . pp. 443-444), and it is on this feature that I would like to focus attention in this article.

To begin with, let's turn to the more famous endings of the "bad path".

1. OPTION OF THE "UNSUCCESSFUL PATH"

1.1. " And I was there". Traditionally, the narrator's first statement boils down to the fact that he was present at the fairy tale locus (most often at a feast) and was an eyewitness to the final events of the fairy tale. This is stated directly, or, more rarely, indirectly (“I barely brought my feet home from that feast” ( 1 . S. 227), etc.). The phrase “I was there” is self-sufficient and can be used in the endings of “good luck” without any additions, but in the version under consideration this is only the beginning of the story.

One of the key structural models of a fairy tale is the hero's journey to the "far away kingdom" - the afterlife. The plot construction, as a rule, is three-part: 1 - the road to another world and crossing the border from the world of the living to the world of the dead, 2 - adventures in the world of the dead and 3 - the road back and the reverse border crossing. It is noteworthy that the story told by the hero-narrator about the events that happened to him at the fairy-tale feast is built on a similar pattern in both versions of the endings.

1.2. Inedible treat. Once at the feast, the hero-narrator starts the meal: he wants to taste honey, fish soup, cabbage, etc. However, all his attempts to eat something turn out to be fruitless: the treat is inedible, or simply does not get into the mouth. The model “And I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth” in various modifications is widespread in Slavic fairy tales (See, for example: 3 . 3, 81, 95, 103, 109, 123, 124, 126, 128, 129, 132, 134, 135, 141, 151, 157, 160, 162, 182, 184, 197, 202, 203, 210, 251, 270, 279, 284, 293, 294, 322, 331, 344, 379, etc.) and is present in the folklore of other nations (See, for example: 11 . S. 416). However, "honey-beer" (honey-wine, honey) is by no means the only treat that the hero does not eat; there are also such: “I was there, sipped my ear together, it flowed down my mustache, it didn’t get into my mouth” ( 3 . 81), “I sipped kutya with a large spoon, it flowed down my beard - it didn’t get into my mouth!” ( 3 . 207), “Beluzhins filed - remained without supper” ( 3 . 124). In addition, more original options are also used: “to whom they brought it with a ladle, and to me with a sieve” ( 3 . 322); “They called me to him to drink honey-beer, but I didn’t go: honey, they say, was bitter, and the beer was cloudy. Why such a parable? ( 3 . 151); “They gave me a pancake that had rotted in a tub for three years” ( 26 . S. 217; compare: 31 . S. 103); “here they treated me: they took away the pelvis from the bull and poured milk; then they gave a roll, helping in the same pelvis. I didn't drink, I didn't eat... 3 . 137); “they gave me a cup with a hole, but my mouth is crooked - everything ran past, it didn’t get into my mouth” ( 27 . S. 32); “And they had fish, they had shshuk, I shuffled around the dish, lifted my claws, didn’t score anything - I was so hungry and went away” ( 14 . S. 38), etc. Such options, despite all the variety, emphasize one idea: the food offered at the feast was disgusting, or was unadapted for eating, as a result of which the hero-narrator did not take it into his mouth.

The motive of eating food is very important in a fairy tale context - on the border of another world, the hero needs to taste the food of the dead, despite the fact that it is antagonistic to the food of the living and very dangerous for the latter. “... We see that, having stepped over the threshold of this world, first of all you need to eat and drink,” wrote V.Ya. Propp, - “Having joined the food intended for the dead, the stranger finally joins the world of the dead. Hence the ban on touching this food for the living. 17 . S. 69). The hero of fairy tales himself asks for the food of the dead from the guard of the border and eats it, thereby passing into the afterlife. He then finds his way back—often the return journey is made possible by acquired magical powers in the form of magical items or helpers (see: 17 . pp. 166-201). Something else happens with the hero-narrator: having got to the feast, he cannot touch the treats. In accordance with the logic of a fairy tale, the border in this case cannot be overcome. Let's see if other elements of the endings correspond to this situation.

1.3. Exile. In the case when the narrator does not confine himself to a brief formula, but continues to talk about his "adventures", the refusal of food is followed by beating and exile hero: “I was at that wedding, I drank wine, it flowed down my mustache, it was not in my mouth. They put a cap on me and push me; they put a body on me: “You, kid, don’t goose, get out of the yard as soon as possible” ”( 3 . 234), “I didn’t drink, I didn’t eat, I decided to wipe myself off, they began to fight with me; I put on a cap, they began to push in the neck! ( 3 . 137), “And I was there, drinking wine and beer, it flowed down my lips, but it didn’t get into my mouth; then they gave me a cap and pushed me out; I resisted, but got out" ( 3 . 250), etc. Sometimes ideas are combined in one rhyming phrase: "... I didn't drink, they started beating me. I began to resist, they started to fight. Scandalous was the feast at which I was "( 20 . S. 269. Hereinafter, my italics - YES.).

Thus, the hero-narrator is quickly expelled from the fairy-tale locus. It is noteworthy that some endings speak specifically of the failed penetration into the fairy-tale space: “Then I wanted to see the prince and princess, but they began to shove them from the yard; I sniffed into the doorway - I knocked my whole back! ( 3 . 313). There is no idea of ​​refusing food here, but the motive of failure on the way to the heroes of the fairy tale is clearly expressed.

1.4. Disappearing Gifts and the Return of a Hero. Following the story of the ill-fated meal, in many endings of the "unfortunate path" it is about the loss of items received at the feast by the hero-narrator. The following endings can serve as an example: “... they gave me a blue caftan, a crow flies and shouts:“ Blue caftan! Blue caftan! I think: "Throw off your caftan!" - took it and threw it away. They gave me a cap and started pushing me in the neck. They gave me red shoes, the crow flies and cries: "Red shoes! Red shoes!" I think: "Stole the shoes!" - took it and left it" ( 3 . 292), “... they gave me a caftan, I go home, and the titmouse flies and says: “Yes blue is good!” I thought: "Throw off and put it down!" I took it off, and put it down ... "( 3 . 430; compare: 30 . S. 405; 31 . S. 103; 22 . pp. 115, 169, 209, 228, 250, 257, 278; 14 . pp. 40-41). So, the hero-narrator receives some things, just as the hero of a fairy tale, having successfully crossed the border, can receive magical gifts from its guardian. However, having not eaten food and being expelled, he loses everything he has received, fails and returns with nothing.

The very movement of the hero-narrator back to the ordinary world from the fairy-tale space often occurs in a comical, unrealistic way. If in the endings of the “good journey” the hero returns on foot or arrives on a horse, then in this version he is fired from a cannon, he sails on an oar, arrives on a chicken, a straw, etc. (See, for example: 11 . S. 377; 23 . S. 273; 24 . S. 55; 19 . pp. 58-61). The road back to the ordinary world takes place in an obviously absurd way (“they took me by the nose and threw me over the bridge; I rolled and rolled, and ended up here”: 14 . S. 39). "Formula of the Impossible" here parody emphasizes the unreality of the events described.

In various modifications, the variant of the “unfortunate path” is known to the storytellers of many peoples (See, for example: 19 . pp. 61-70; 2 . S. 98; 33 . pp. 195-196). Such endings retain traces of fabulous-mythological models that are mirror-transformed in relation to the path of the hero of the fairy tale (and related to the path of the hero-antagonist).

2. OPTION "GOOD WAY"

Unlike the considered final formulas, the version of the "successful path" is built according to the classic scenario of a fairy tale. Here there is a motif of testing by food, but the hero-narrator does not violate the rules: “I myself was visiting him. Braga drank, ate halva! ( 9 . P. 64, cf.: p. 57), “They arranged a rich wedding. And they gave me a good drink, and now they live in happiness and prosperity ”( 8 . P. 140), “I was there recently, I drank honey-beer, bathed in milk, wiped myself with a hollow”, etc. ( 20 . S. 117. Compare: S. 152, 188; 3 . 283). After that, it is no longer about exile and flight, but about crossing the border and successfully returning back: this motif can be represented by many elements, including latently - through a certain contrast between the described loci.

We find a vivid picture of this kind in Persian fairy tales. I will give one of the options, built according to the general model: “We went up - we found curdled milk, and considered the fairy tale to be our truth. We went back down, plunged into the serum, and our fairy tale turned into a fable ”( 15 . S. 188). In this case, we have three oppositions: 1 - curdled milk - whey, 2 - top - bottom, and 3 - fiction - fiction.

2.1. Yogurt - whey. In different variations of the “good luck” endings, the hero-narrator can drink certain drink, or bathe in him. Bathing in two liquids is a well-known fairy-tale plot: both the hero and the antagonist hero (the old king) bathe in milk and water, with different consequences. V.Ya. Propp emphasized that this motive is associated with the transformation of a person on the way to another world and back ( 17 . pp. 321, 341). As in a fairy tale, two liquids are most often mentioned in the final formulas: whey (churning) and curdled milk, which corresponds to a double passage of the border.

A variant of the endings, which talks about drinking liquids (“They hurried upstairs - they drank whey, went downstairs - they ate yogurt”: 15 . P. 35), in turn, refers to the fairy-tale motif of “living and dead” (“strong and weak”) water. These drinks are also used to move between worlds: “A dead man who wants to go to another world uses only water. A living person who wants to get there also uses only one. A person who has set foot on the path of death and wants to return to life uses both types of water. 17 . S. 199). Similarly, the narrator's border crossing is accompanied by drinking two different liquids.

2.2. Top bottom. The concepts of "top" and "bottom" in the endings under consideration complement the opposition of "curdled milk" and "whey"; in a fairy tale context, they, in turn, are directly related to the opposition of the earthly and other worlds. According to one of the basic mythological models, the other world is vertically removed from the earthly one - up and/or down. In the endings, the use of these concepts is unstable - "up" and "down" can be mentioned by the narrator as on the way there, and back. Such instability, in turn, is characteristic of mythology and folklore: the system has the ability to “turn over”, i.e. the concepts of "top" or "bottom" can both mean both the realm of the dead and the world of the living (See: 10 . pp. 233-234).

2.3. Reality - fiction. The third opposition, "true - fiction", is a very remarkable motif that introduces the category reality, or relation to reality. In Persian fairy tales, such examples are often found: “We went upstairs - we found curdled milk, and they considered our fairy tale to be true. We went back down - we plunged into the whey, and our fairy tale turned into a fable, "" And we went down - we found yogurt, we ran along the upper path - we saw the whey, they called our fairy tale a fable. They hurried upstairs - they drank whey, went downstairs - they ate yogurt, our fairy tale became a reality "( 15 . pp. 188, 35, 16; 29 . S. 107), etc. As you can see, the attitude to the fairy tale changes on different sides of the line crossed by the hero: crossing the border leads him to a space where the fairy tale turns out to be true (true), the reverse transition leads to a world where the fairy tale is a fiction. This option is also interesting: “This fairy tale is ours - a true story, if you go up - you will find yogurt, if you go down - you will find yogurt, and in our fairy tale you will find the truth" ( 15 . S. 167). In order to discover the truth in what is told, it is thus necessary to cross the border - a fairy tale is recognized as a truth that belongs to a different space: what is unreal in the earthly world is real in the other world, and vice versa. This is how the relationship between the world of the living and the dead is built in folklore; the world of the dead is an “inverted” world of the living, the laws and realities of these loci are in mirror opposition to each other.

2.4. Return and transfer of knowledge. The motive of return is presented in the endings of the "good luck" in a variety of modifications. Traditionally, the narrator claims that he appeared among the listeners, in a given locality, state, etc., directly from the fairy tale locus: “Now I came from there and found myself among you” ( 1. S. 29); “They are still there, and I came to you” ( 32 . S. 459. Cf.: S. 84, 101, 235, 243), etc. This motif is often associated with a different thought: as a result of the movement, the narrator conveys to people the knowledge he has received (“I was at this feast. I drank mash with them. I found out everything and told you” ( 1. S. 26); “I recently visited them, drank honey-beer, talked to him, but I forgot to ask about something,” etc. ( 20 . P. 117. Cf., for example: 14 . S. 38; 28 . S. 67; 9 S. 26, 42; 21 . S. 89). Often the narrator emphasizes that he himself was an eyewitness to the events described: “and whoever last told this tale saw it all with his own eyes” ( 4. S. 95); “But at their death, I remained, the sage; and when I die, every story is over" ( 35 . P. 182), etc. This, in turn, confirms the authenticity of fairy tale events - having been in another world, the narrator receives knowledge that he successfully passes on to listeners.

* * *

As you can see, both variants of the considered endings are built according to the fabulous-mythological model. In the endings of the “good journey”, the hero-narrator passes the test of food - eats at a feast, drinks a certain liquid or bathes in it, as a result of which he overcomes the border, successfully being in a fairy tale locus. Having gained some knowledge, he comes back, sometimes doing similar operations, and transfers knowledge to people. The “unsuccessful path” variant is close to this model, but the hero's path is built in reverse (mirror) correspondence with respect to the first variant. The rules of behavior of the fairy-tale hero are violated, which entails a violation of the entire system - the situation is turned “upside down” with the introduction of ridicule, a playful context. The comic is directed at the figure of the hero-narrator, who performs unsuccessful actions (he could not eat food, was kicked out, lost his gifts). It is interesting that in some variants of such endings, a buffoon (buffoon) attribute is mentioned - a cap: "... here they gave me a cap and pushed me out" ( 3. 250), “... put a cap on me and push me well” ( 3. 234), etc.; unlike other items, it does not disappear on the way back ( 3. 137, 234, 250, 292, 430, 576).

The comical elements inherent in the "unfortunate path" variant testify in favor of its later origin, along with other playful final formulas. The general goal of such endings is to return listeners to the space of the ordinary with laughter, to point out the unreality of the events described (See: 36 . S. 324-326; 19 . pp. 56-70; 5 . pp. 63-64; 35 . S. 182; 13 . pp. 12-14). At the same time, it seems that the endings of the “successful path” served as the basis for the creation of this version: with the change in the status of the tale, the narrators transformed the more archaic final formulas (“evidence of truthfulness”) into playful models (“evidence of unreliability”). The repertoire of storytellers now included both options (as post-archaic cultures coexist with different attitudes to a fairy tale), and in some cases the elements inherent in these models could overlap each other: “... honey saw, flowed on the lips, in the mouth it was sweet» ( 34 . P. 56), “… delicious was, only now sailed away»; etc. . Thus, the rudimentary structure of the classic fairy tale turned out to be laid down in both versions of the endings, which are different in their function.

Abbreviations:

1 - Abkhazian tales / Under. ed. R.G. Petrozashvili. Sukhumi, 1965.

2 – Alieva M.M. Uighur fairy tale. Alma-Ata, 1975.

3 – Afanasiev A.N. Folk Russian fairy tales: In 3 volumes / Resp. editors E.V. Pomerantseva, K.V. Chistov. M., 1984.

4 - Brothers Grimm. Tales / Per. G. Petnikova. Minsk, 1983.

5 – Vedernikova N.M. Russian folktale. M., 1975.

6 – Volkov R.M. Fairy tale: Research on the plot of a folk tale. T. 1. Odessa, 1924.

7 – Gerasimova N.M. Formulas of the Russian fairy tale (On the problem of stereotype and variability of traditional culture) // Soviet ethnography. No. 5. 1978.

8 - Georgian folk tales / Ed. ed. A.I. Aliyev. T. 2. M., 1988.

9 - Dagestan folk tales / Comp. N. Kapieva. M., 1957.

10 – Ivanov V.V. Top and bottom // Myths of the peoples of the world: Encyclopedia: In 2 volumes / Ch. ed. S.A. Tokarev. M., 1991. T. 1.

11 - Latvian fairy tales. Riga, 1957.

12 – Meletinsky E.M. Fairy tales and myths // Myths of the peoples of the world: Encyclopedia: In 2 volumes / Ch. ed. S.A. Tokarev. M., 1991. T. 2.

13 – Meletinsky E.M., Neklyudov S.Yu., Novak E.S., Segal D.M.. Problems of structural description of a fairy tale // Structure of a fairy tale. M., 2001.

14 – Novikov N.V. To the artistic specificity of the East Slavic fairy tale (initial and final formulas) // Reflection of interethnic processes in oral prose. M., 1979.

15 - Persian tales / Comp. M. N. Osmanov. M., 1987.

16 – Pomerantseva E.V. Russian folktale. M., 1963.

17 – Propp V.Ya. The historical roots of fairy tales. M., 1996.

18 – Razumova A.I. Stylistic imagery of the Russian fairy tale. Petrozavodsk, 1991.

19 – Roshiyan N. Traditional fairy tale formulas. M., 1974.

20 - Russian folk tales / Narrator A.N. Korolkova / Comp. and resp. ed. E.V. Pomerantsev. M., 1969.

21 - Tales of the Adyghe peoples / Comp., entry. article, note. A.I. Aliyeva. M., 1978.

22 - Tales of the Belozersk Territory / Recorded by B.M. and Yu.M. Sokolovs. Arkhangelsk, 1981.

23 - Tales of Verkhovyna. Transcarpathian Ukrainian folk tales. Uzhgorod, 1959.

24 - Tales of the green mountains, told by M.M. Galicia. Uzhgorod, 1966.

25 - Tales of the land of Ryazan / Underg. text, intro. article, note. and comm. VC. Sokolova. Ryazan, 1970.

26 - Tales of F.P. Gospodareva / Zap., entry. article, note. N.V. Novikov. Petrozavodsk, 1941.

27 - Tales and legends of the northern region / Zap., vst. article and comm. I.V. Karnaukhova. M.-L., 1934.

28 - Fairy tales and legends of the Chuvash. Cheboksary, 1963.

29 - Tales of Isfahan / Per. from Persian by E. Jaliashvili. M., 1968.

30 - Tales of M.M. Korgulin / Zap., Intro. article and comm. A.N. Nechaev. In 2 books. Book. 1. Petrozavodsk, 1939.

31 - Tales of M.M. Korgulin / Zap., Intro. article and comm. A.N. Nechaev. In 2 books. Book. 2. Petrozavodsk, 1939.

32 - Tales of the peoples of the Pamirs / Comp., per. and comment. A.L. Grunberg and I.M. Steblin-Kamensky. M., 1976.

33 – Suleimanov A.M. Bashkir folk household tales: Plot repertoire and poetics. M., 1994.

34 – Tumilevich F.V. Tales and legends of the Nekrasov Cossacks. Rostov-on-D., 1961.

35 – Uspensky B.A. Poetics of composition // Semiotics of art. M., 1995.

36 – Pop M. Die Funktion der Anfangs- und SchluYformeln im rumänischen Märchen // Volksüberlieferung. Göttingen, 1968.

Separate elements of the “bad luck” endings can be traced in the playful final formulas, which do not talk about a feast, but mention the way to the wedding, disappearing objects, flight, and there is also a food motif. See for example: 3 . S. 146; 11 . S. 377.

It is noteworthy that the role of professional storytellers in medieval Russia was performed by buffoons; this, in turn, is associated with a variety of playful endings in the repertoire of East Slavic storytellers. Cm.: 19 . S. 74; 33 . S. 202.

25 . S. 82; cf.: S. 43. Cf. also options in which a "successful" feast is combined with the loss of gifts: 21 . S. 207; and etc.

Entertainment script based on fairy tales for older preschoolers and younger students

Leisure for children 5-9 years old: "In the world of fairy tales".

Dvoretskaya Tatyana Nikolaevna
GBOU secondary school No. 1499 SP No. 2 preschool department
caregiver
Description: Leisure will introduce children of senior preschool and primary school age to different types of fairy tales.

Purpose of work: Leisure is intended for children of senior preschool and primary school age, teachers of preschool institutions and parents.
Target: the formation of ideas in children about various types of fairy tales.
Tasks:
1. Develop an interest in reading in preschool children
2. Teach attentively, listen to literary works
3. Maintain an emotional interest in the read work
4. Expand children's ideas about different types of fairy tale genre

Introduction in verse.

Fairy tale oral retelling
Plot fiction.
Magic and miracles
Will go around half the world.

Both heroes and villains
In a fairy tale, listeners are waiting.
Invisibly small children
Educate, entertain.

The value of a fairy tale is great!
Storehouse of knowledge!
For violators of the ban
There will be tests.

Who will pass with dignity
Difficulties and sorrows
Awards at the end
For deeds of conscience!

A fairy tale is our priceless gift!
Rich in wisdom.
And with her excitement
The guys are listening.

justice triumphs
Evil is punished with good.
She brings joy to people

Included in every home!

Fairy tale ancient idea
But it has reached our days.
It has an idea.
And messages for the people!

Leisure: In the world of fairy tales.

Presenter: Fairy tales are of great importance in the life of children. Fairy tales have come to us from time immemorial. Tales were composed by the people, memorized and told to each other. Fairy tales went around the world from one listener to another. Each narrator added small changes and additions to the plot of the tale. Then fairy tales began to be collected and written down. This is how fairy tales have survived to this day. The plots of fairy tales are so different: funny and sad, scary and funny. From fairy tales we learn about cultural traditions, about the people's way of life, about the characters of people who lived many years ago. Fairy tales are familiar and loved by all people since childhood.
What is a fairy tale?
folk tale- an oral story of a work of fiction with an installation for fiction, told to listeners for educational or entertainment purposes.
Listen to folk proverbs about fairy tales:
Eat porridge, and listen to a fairy tale: with your mind - with your mind, dare, but shake your mustache.
A fairy tale starts from the beginning, reads to the end, does not interrupt in the middle.
Soon the fairy tale tells, but not soon the deed is done.
Every fairy tale will have an end.
The whole story, no more can be said.

Writing a story is not an easy task. Each fairy tale has a plot construction plan:
1. Saying- an aesthetic element in a fairy tale. It is an optional condition in the construction of the plot of a fairy tale.
The purpose of the saying is to prepare listeners for the perception of the fairy tale, to set them up. The saying exists by itself, it is not connected with the content of the work. The presence of a saying depends on the talent of the storyteller, his character.
Example: “Ay, amuse you with a fairy tale? And the fairy tale is wonderful, there are marvelous divas in it, wonderful miracles!
2. Beginning- the beginning of a fabulous action.
Zachin takes the listener into a fairy-tale world, emphasizes the unusualness of that fairy-tale world about which the story will go on.
Example: “In a certain kingdom, in a certain state, Ivan Tsarevich lived”
The beginning in a fairy tale has a huge role, it determines the place of action and time, introduces the main characters of the fairy tale. With the help of the beginning, the author captivates the reader or listener into the fairy-tale world and fascinates him with mystery and uncertainty.
3. The main part of the tale- this is the central action of the tale and the denouement. It is in this part that magical transformations take place, magic words are pronounced, objects or animal helpers with a magical gift are found, etc.
Example: “Sivka-burka, prophetic kaurka! Stand before me like a leaf before grass!”
4. Outcome or ending- The final part of the story. It summarizes the fabulous action.
Example: "They began to live and live well and make good."
The famous collector of fairy tales Alexander Nikolaevich Afanasyev collected a great many folk tales and divided them according to the plot into: magical, everyday, adventurous, tiresome, fairy tales about animals.

Let's get acquainted with the amazing and diverse world of fairy tales.

1. Tales about animals.

Tales about animals are the most ancient works. Ancient man animated nature, endowed animals with the properties and qualities inherent in man.
In fairy tales about animals, animals can talk to each other, perform household chores. Animals in folk tales cannot think, they do not think about their actions, they only act.
In fairy tales about animals, animals are carriers of one character trait: the fox is cunning, the bear is clumsy, the wolf is stupid.
Tales about animals are interesting, simple, unpretentious, based on a dialogue between animals, sometimes short expressive songs are used in the plot.
Example: I'm Gingerbread Man, Gingerbread Man! I'm scraped in a box,
Meten in the bottom of the barrel, Meshon on sour cream, Yarn in butter,
There is a frost on the window; I left my grandfather, I left my grandmother,
And from you, hare, do not cunningly leave!
Guys, what fairy tales about animals do you know? (children's answers)
Examples of fairy tales about animals: “Teremok”, “Top-Roots”, “Fox sister and wolf”, “Cat, rooster and fox”, “Kolobok”, “Ice and Bast hut” and others.

2. Boring tales.

Boring tales are tales with endlessly repetitive content. From the word "to bother" - to bother. With their help, the storyteller either kindled interest in listening to fairy tales, or, on the contrary, stopped those who were ready to listen to them endlessly. Guys, how many of you are already familiar with such fairy tales?
Example: Once upon a time there was a grandmother near the river.
Grandma wanted to swim in the river.
And the grandmother bought herself a washcloth
This tale is good - Start over!

3. Household fairy tales

A household fairy tale is an unusual, unheard of story, a story about the impossible. The heroes of everyday fairy tales are boyars, officials, judges endowed with all sorts of vices: stupidity, greed, irresponsibility.
On the other hand, smart, cunning, brave, resourceful peasants and soldiers. There are no magic items and helpers in these fairy tales. The events of the tale are ordinary events from life, but are described with humor. In everyday fairy tales, such negative traits as stupidity, greed, and injustice are ridiculed.
Example: The tale of the priest and the worker Balda, Porridge from an ax.

4. Fairy tales are adventurous

Adventurous Tales - a short entertaining story, a plot from real life that makes fun of universal human vices. These are tales about talkative and greedy wives, about lazy and sloppy housewives, about naivety and human simplicity. Guys, remember and name such fairy tales? (children's answers)
Example: Greedy old woman, Spoken water, Bezruchka.

5. Fairy tales

A fairy tale is the brightest and most widespread in the world. The story is filled with wonders and adventures.
In fairy tales, there will definitely be objects and things endowed with magical powers (a tablecloth is self-assembled, boots are runners, a hat is invisible, and others), words can have magical powers (At the pike’s command, at my will), magical helpers (Humpbacked Horse, Pike sorceress and others)
In fairy tales, there are positive characters and negative characters.
The main features of a fairy tale: the presence of a ban (do not drink from a hoof, you will become a goat), a violation of the ban (brother Ivanushka did not obey his sister and drank from a hoof), a test (turned into a goat), a reward (the kid threw over his head three times with joy and turned around boy Ivanushka).
In a fairy tale, violators of the ban always take the path of correcting those troubles that they themselves have done. In the process of overcoming trials and difficulties, the hero atones for his guilt with good deeds and pure spiritual thoughts.
Story- an optimistic work in which good always triumphs over evil. Fairytale fiction always has a hidden moral. A fairy tale is a lie, but there is a hint in it - a good lesson for a good fellow. While reading fairy tales, children try on the roles of certain fairy-tale characters, the imagination draws images. Children sincerely worry about the fate of their favorite heroes of fairy tales.
Guys, what fairy tales do you already know? (children's answers)
Examples: Geese - Swans, By pike command, Sister Alyonushka and brother Ivanushka, Princess Frog, Cinderella and others.

Quiz: Guess the fairy tale
1. In what fairy tale did the miracle yudo fish whale live on the sea ocean? (The Little Humpbacked Horse)
2. In what fairy tale did a vegetable grow that three people and 3 animals could not pull out of the ground? (Turnip)
3. In what fairy tale did a simple village peasant go to the palace on the stove? (By magic)
4. In what fairy tale did the evil stepmother send the girl to the forest for snowdrops? (Twelve months)
5. In which fairy tale was the old woman punished for being greedy? (Gold fish)
6. In which fairy tale did the girl outwit the bear? (Masha and the Bear)
7. In what fairy tale did the father leave a cat as an inheritance to his son? (Puss in Boots)
8. In what fairy tale did the girl help the sick swallow to recover? (Thumbelina)
9. In which fairy tale did all the animals live in the same house? (Teremok)
10. In what fairy tale did the wolf reforge the voice of the blacksmith? (The wolf and the seven Young goats)
11. In what fairy tale did a hurricane take a girl and her dog to a fairy-tale land, where she found friends? (The Wizard of Oz)
12. In what fairy tale was the Flower City in which the short men lived? (Adventures of Dunno and his friends)
13. In which fairy tale did the pumpkin turn into a carriage? (Cinderella)
14. In which fairy tale is the main character a naughty man who lives on the roof? (Carlson, who lives on the roof)
15. In what fairy tale did the one-eyed, two-eyed and three-eyed sisters live? (Tiny-Havrochechka)

Presenter: Well done guys, you listened carefully to the fairy tales, you know all the fairy-tale heroes, and you called the names of the fairy tales absolutely right!
Do you know how to write your own stories? (children's answers) And now we will check this.
I start and you take turns continuing.
So, in a certain kingdom, in a certain state, there lived Tsar Jeremy. He had three sons. One was tall, the other was of medium height, and the youngest was short, with a stool-sized sprout. And so the father gathered his sons and said: ... (Further, the plot of the tale is added up by all the children of the group in turn).

Topic: Compositional parts of a fairy tale: saying, beginning, ending.

Target: Systematization of knowledge on the theory of literature (compositional derivatives)

Tasks for students:

1. Know the compositional parts of a fairy tale.

2. Learn to find them in the text.

3. Compose a fairy tale by compositional parts.

Expected results:

1. They know what compositional parts the fairy tale consists of and their definition.

2. They know how to find compositional parts in the text.

3. Compose your own fairy tale using all its compositional parts.

During the classes.

I . motivational stage.

1.Psychological mood for the lesson.

Showing the cartoon "Team Interaction" on an interactive whiteboard.

Questions after watching:

2. Formation of groups.

The teacher appoints group leaders:

Choose one student for yourself - the speaker, the speaker will choose the secretary, the secretary - the time speaker.

Show how you feel in this group with an emoji.

Repetition of the rules of work in groups.

4. Goal setting.

Teacher.

Read the text on the cards and take notes. (Method "Insert")

Students read the text of the card and make notes:

"!" - I know, I agree;

"-" - do not agree;

"+" - interesting and unexpected;

"?" - I don't know, I want to know.

After filling in the table, the class is asked a question:

What interested you in working with the spreadsheet? (They answer and stop at the mark “I don’t know, I want to know”

I want to help you get new knowledge. Determine the topic of today's lesson.

What is a saying, beginning, ending in a fairy tale.

For what purpose do you want to know this?

To find a saying, a beginning, an ending in fairy tales. In order to correctly compose an interesting beautiful fairy tale.

Let's write the topic of the lesson in a notebook.

II . Operational stage.

1. Definition of compositional parts. Work in pairs. Method "Forecasting".

Teacher: Each pair has a card. Consider and try to determine with the help of arrows a saying, beginning, ending. (Two cards are used)

1 option

Name_________

1) Oh doo-doo! On oak

The raven roared into the chimney.

And miracles began:

The skies turned blue

Sails out to sea

Dark forests have risen.

2) There lived a grandfather and a woman. Grandfather says to grandmother:

You, woman, bake pies, and I will harness the sleigh, I will go for fish ....

3) So they began to live - live and make good.

ENDING

TELL

START

Option 2.

Name_________

1) And in a forest hut

Furnace fired up

Cloudberry pies

Bunny started baking.

Eat pies,

Listen to the story.

2) In the old days, one king had three sons. So, when the sons became old, the king gathered them and said:

My dear sons, while I am still not old, I would like to marry you, look at your children, at my grandchildren ...

3) And I was there. He drank honey-beer, it flowed down his mustache, but it didn’t get into his mouth.

ENDING

TELL

START

2. Check. Mutual verification of pairs by key in the textbook (pp. 39-40. Literary reading, grade 2)

Who determined correctly? For those who didn’t succeed, don’t be discouraged, now you will read the exact definition of concepts and will be able to correctly find a saying, beginning and ending in fairy tales. (Independent reading of the rules in the textbook P.39-40. Group work)

How is a fairy tale different from a story?

There is no beginning or end to the story.

How do we distinguish a fairy tale?

The words "once upon a time," "once upon a time." Positive and negative characters. Good and evil. Good wins.

3. Determination of the sequence of compositional parts of the tale. (Group work)

Arrange the cards with the names of the compositional parts in the order in which you think the compositional parts are located in the fairy tale.

Cards:

Saying

beginning

ending

4. Verification by the "Delegation" method. Delegates from groups go to other groups and look at the work done. Leave your thoughts, assessment and suggestions on the sticker. Each group has a speaker who presents the work of his group.

Saying

beginning

ending

5. Fizminutka "Fun exercise" on the interactive board.

6. Consolidation of the studied material.

Cards with multi-level tasks. (Justify your choice)

1 level.

Task: Read the story and divide it into compositional parts.

The story will be interesting. Listen to her carefully. Whoever opens his ears wide will learn a lot of all sorts of things. And who accidentally falls asleep - he will leave with nothing.

Once in the spring, an icicle lived on the roof of a house, which really wanted to have a scarf.

And then one morning a little girl ran past. The little girl was in a hurry to go to kindergarten and did not notice how the scarf from her shoulders fell directly onto the asphalt. Icicle, in her youth and inexperience, thought that the scarf had been left as a gift for her. All morning she thought about how to get to the scarf. The day came, the sun shone brightly and strongly. The icicle, carried away by its thoughts, slowly melted and dripped down drop by drop, right on the kerchief... She did not even notice how the whole melted... The kerchief, wet from the water, dried up in the evening under the sun's rays. And in the evening, the girl, returning home from the kindergarten, found her in the very place where she left in the morning. That's the end of the fairy tale, and who listened well done!

2nd level.

Cards with cut text.

Task: Read the story, putting together the parts correctly.

In that old time, when the world of God was filled with goblin, witches and mermaids, when milky rivers flowed, the banks were jelly, and fried partridges flew across the fields, at that time there lived a king named Peas ...

In the old, ancient times, King Peas fought with mushrooms.

Mushroom boletus, colonel over the mushrooms, sitting under the oak tree, looking at all the mushrooms, began to order:
- Come you, whites, to my war!
Whites refused:
- We are pillar noblewomen! Let's not go to war!
- Come you, redheads, to me for war! Refused mushrooms:
We are rich men! Let's not go to war!
- Come you, volnushki, to me for war! Waves have given up.
- We, volnushki, are old women! Let's not go to war!
- Come you, honey mushrooms, to me for war! Refused honey mushrooms:
- Our legs are very thin! Let's not go to war!
- Come, milk mushrooms, to my war!
- We, milk mushrooms, are friendly guys! Let's go to war!

So the mushrooms of the king of Peas won!

And I was there. I drank honey-beer for the victory. It ran down his mustache, but it didn't get into his mouth.

Level 3 (talented and gifted)

Task: Orally compose a fairy tale using all the compositional parts.

7. Presentation of the work done by the speakers of the groups.

III .Reflection.

1. Checking the assimilation of the topic.

You have a test. Review what you learned today and answer the questions.

Mini test.

1. Saying

a) the idea of ​​a fairy tale, its characters

b) lure to a hearing

c) good triumphs over evil.

2.Start

a) the idea of ​​a fairy tale, its characters

b) lure to a hearing

c) good triumphs over evil.

3.Ending

a) the idea of ​​a fairy tale, its characters

b) lure to a hearing

c) good triumphs over evil.

2. Check.

Look at the whiteboard and check your work (key on the interactive whiteboard)

Please rate your test.

If a:

all answers are correct - emoticon "smiles"

one, two answers are not correct - emoticon "sad"

3. The result of the lesson - the technique "Unfinished sentences"

They speak in a circle in one sentence, choosing the beginning of the phrase from the reflective screen on the board.

Today I found out....

It was interesting…..

It was difficult….

I have been doing assignments...

I realized that…..
Now I can….

I felt that….

I purchased….

I learned….

I managed…

4. Homework.

Repeat the rule on page 39-40.

Compose a saying, beginning or ending - at will to choose from.