Words that rhyme with fairytale

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Words That Rhyme with Fairytale - Fairytale Rhymes

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Synonyms of Fairytale

• Fairy Story
• Song And Dance
• Fairy Tale
• Cock-And-Bull Story

Antonyms of Fairytale

No Antonyms Found.

Homophones of Fairytale

BV Shergin's Tale as an Object of Folklore-Literary Interaction

M. Akmulla tel.: (962) 533-09-20

SKAZKA B.V. SHERGINA AS AN OBJECT OF FOLKLORE AND LITERARY

INTERACTION

Imaeva Inna Viktorovna

post-graduate student of the chair of Russian literature, Bashkir State Pedagogical University named after M. Akmulla tel.: (962) 533-09-20

B.V. SHERGIN'S TALE AS AN OBJECT OF FOLKLORE AND LITERARY INTERACTION

Abstract:

The relevance of studying the specifics of B.V. Shergin is determined by the fact that such a study has access to serious problems of modern literary criticism, first of all, to the problem of the folklorism of literature. In the article for the first time all possible folklore sources of the fairy tale by B.V. Shergin "Confessor Fox" and the nature of their transformation. The paper analyzes the use by the writer of images typical of folk tales, features of poetics and language.

Keywords:

literary adaptation, folk tale, mixture of lexical layers, rhyme.

The summary:

The relevance of researching the specificity of Shergin’s creativity is that this study has access to serious problems of modern criticism literature, in the first place - to the problem of folklorism in literature. The article first shows all possible folklore sources of B.V. Shergin's tale “The Fox-Confessor" and nature of their transformation. This work analyzes used by the writer typical images for the fairy tale, the features of poetics and the language.

Keywords:

literary treatment, folk tale, mixture of lexical layers, rhyme.

In Russian literature, the work of B.V. Shergin is a unique phenomenon in its own way, since, unlike many modern Russian writers, he focused his work on folklore in its purest form, and not on the tradition of folklorism that exists in literature. The literary fairy tale in Shergin's work has gone its own way of development, which manifested itself in a change in the ratio of individual and collective principles in his works. A literary fairy tale differs from other genres in that it can be confidently said that its beginning is in folklore, moreover, it is possible to compare the poetics of folklore and literary fairy tales, relying not on hypotheses and conjectures, but on texts. Studying the Sherginskaya fairy tale, we rely primarily on the texts of folk tales.

Shergin's tale "The Confessor Fox" provides us with interesting material for comparison [1, p. 137-139]. The fairy tale plot of the same name is recorded at number 61 A in the Comparative Index of Plots. East Slavic fairy tale" [2, p. 60], where there is an indication of 16 Russian, 4 Ukrainian and 1 Belarusian version. Shergin continued the traditions of folk storytellers, referring to an already existing plot. For example, fairy tales from the collections of A.N. Afanasyev [3, p. 26-27] (main source), N.E. Onchukov [4, p. 50-52] and storyteller M.D. Krivopolenova [5, p. 22] (only individual fragments are used). So, from the version published in the collection of Krivopolenova, the writer borrowed the phrase: “There was a fox because of the nine deserts. I didn’t drink and didn’t eat, I just wanted to eat sickly ”(“ The fox was walking because of the nine desert. She didn’t drink and didn’t eat, and she wanted to feel sick ”[6, p. 2]), and from Onchukov’s collection - an episode about the massacre of the fox over rooster: “Mother fox ran up, grabbed the rooster firmly in the cock, spread wings, feathers to the side, began to ruffle and sentence ...” [7, p. 51].

There are different points of view regarding the classification of Shergin's fabulous heritage. E.Sh. Galimov [8, p. 7], for example, distinguishes three main groups: fairy tales - "reconstruction" or "classical" fairy tales; author's social fairy tales; "debatable" fairy tales or fairy tales-parodies. Galimova also refers the fairy tale “The Confessor Fox” to the first group, explaining that with the help of the “restoration” method, the author combines, selects the most striking features from the many variants of one fairy tale plot and, thus, creates a new version of the well-known fairy tale based on more folklore material. Another researcher - N.V. Syulkova [9, With. 6] - reveals in Shergin's work the actual literary and "folklore" - intermediate fairy tales (in the latter case, the creation of the text goes through two stages: retelling and processing of the folk tale). Syulkova classifies Shergin's tale "The Confessor Fox

" as a retelling, she considers the increase in the role of dialogues in them to be a characteristic feature of this variety (the tale "The Confessor Fox" is built exclusively on the dialogue of characters). Taking into account the points of view of both researchers, it can be assumed that the fairy tale "Confessor Fox" is both a reconstruction and a talented processing by the author of a fairy tale plot, Shergin masterfully adapts the fairy tale to our reality, gives it a new life.

Most Russian writers turned to folklore primarily as a source that enriched their work. For Shergin, it was important to preserve the originality of the folk tale, to convey it in his books to descendants, researchers. V.I. wrote about this. Belov: “Despite all attempts to “bridle” it with “kindness and dragging”, to make it manageable, dependent on ordinary education, this word never fit into the framework of book culture ... Placed in a book, it almost immediately withered and faded. Maybe one B.V. Shergin - this truly original talent - managed so successfully, so naturally to make the spoken word related to the book" [10, p. 222]. Shergin really did not just work at the junction of two independent artistic systems - literature and folklore, he skillfully combined them in the course of his work. His fairy tale retained all the features of national color, turns of speech, the beauty of comparisons and witty figurative phrases. Shergin uses all the rich arsenal of language tools he has in reserve to give various situations a comic effect, creates the impression of real oral speech. To do this, he uses emotionally colored vocabulary: from the rich synonymous rows of the folk language, he chooses words that have a certain emotional and stylistic coloring. These can be reduced vernacular (“I spit on your colored dress”, “drooled”), and vulgarisms (“thin mouth”, “filthy creature”, “bitch”), which have a comic character, or, conversely, solemn or archaic vocabulary (“green”, “tree”, “eye”, “advertisement”, “words”, “child”, “aki”). He also uses witty, unexpected comparisons (“the fox soared like a hawk-bird”), the associativity inherent in them allows you to vividly and concisely describe the hero or his environment. The mixture of various lexical layers, the combination of Old Slavonicisms with vernacular in the fox's speech makes it possible to present her duplicity with particular clarity.

In the process of working on a fairy tale, the main thing for the writer is clarity and intelligibility for the reader, the preservation of the features of folklore poetics and language, the so-called "living word". No wonder he read each of his new fairy tales aloud several times, correcting it in the future according to the reaction of the listeners. The fact is that over time, the language changes, many words go out of circulation, become incomprehensible to the modern reader. Therefore, in his versions, he changes a lot in order to extend the life of the fairy tale. For example, in the tale of Shergin and the variant from the collection of A.N. Afanasiev (which we consider the main source), several groups of differences can be distinguished:

1) Shergin changes many words, as they are incomprehensible to the modern reader. For example, in a fairy tale from the collection of A.N. Afanasyev's rooster addresses the fox with the words "my mother, the fox." Previously, such an expression was understandable, since it meant an appeal to a mentor. Shergin corrects this appeal as "spiritual mother". The same thing happens in the second passage: “The fox went into the forest, like a long demon” (from the collection of A.N. Afanasyev), in Shergin’s fairy tale - “The fox went into the forest, away from these places”;

2) Shergin, in some cases, on the contrary, replaces words with Old Slavonic ones, for example, to make the image of a fox more pious: “I saw a rooster on a high tree, raised a clear eye on it and said such words. ” [11, p. 137], “Seeing a rooster on a tall tree, he speaks affectionate words to him.” [12, p. 26];

3) sometimes the author shortens the text for greater brevity; for example, the following passages disappear from the tale: “O my mother, fox, sugar lips, affectionate words, your flattering tongue! Do not condemn one another, and you yourself will not be condemned; whoever sows will reap. Do you want to bring me to repentance by force and not save me, but devour my body” [4, p. 26]; “Oh, spiritual mother, fox! Your lips are sugary, your words are sweet, your tongue is flattering. I'm afraid of you" [13, p. 138];

4) the writer also introduces religious changes into the text: in the tale from Afanasiev's collection, the rooster seduces the fox by serving at the Metropolitan of Trunchinsky, while in Shergin it is the Pope. The writer also replaces the parable of the publican and the Pharisee, about which the fox recalls as a warning to the rooster, with a mention of the pharaoh, which has a rather humorous effect: “You will be destroyed for pride, like a pharaoh. Pharaoh was proud, he drowned himself in the sea, and we will be proud - where can we fit? ”;

5) uses Shergin and modern special vocabulary: “It will be good for a rooster to sing, he knows how to sing according to the salts and the partes understands”; “Praised by all the wings and the cathedral: a good fellow, handsome, a lot of books to read, and a good voice” [14, p. 27];

6) in the author’s text there are also changes in the everyday plan: “I’ll get you out of mallow, you’ll bake pies and shangs, pancakes and pancakes with egg and butter, in fasting with honey and molasses” [15, p. 139]; “They will give us sweet prosvir, large rebakes, and butter, and testicles, and cheese” [16, p. 27]. In the author's version, baking prosvir is forgotten;

7) the traditional beginnings and endings of fairy tales disappear: for example, in a fairy tale from Afanasiev's collection, the traditional ending "To Him be glory and power from now on and forever, and the fairy tale is over. " And in Shergin's version, the tale ends with the words of the fox;

8) words and whole sentences are changed to give the characters a comic effect: “The fox drooled, her ears hung out, her claws relaxed” [17, p. 139]; “The Fox recognized the cock’s sign, released the Rooster from its claws more weakly” [18, p. 27];

9) Shergin's text is characterized by a special sound, rhythm and rhyme. One of the most characteristic features of the style of Shergin's fairy tales is the presence of measured and rhymed speech. Sound repetitions in a fairy tale divide the text into relatively commensurate segments (columns), which at the end of syntactic rows (in a clause) form a rhyme. Rhythmic articulation is not arbitrary. The first type of Shergin's rhymes are those in which closely standing words rhyme. This rhyme is also called adjacent. It is presented in several varieties. One, two or three last syllables rhyme: “creaks, sees”, “sugar, affectionate”, “didn’t fast, didn’t pray”, “neither happened, didn’t accept”. One or two syllables rhyme, to which a prefix is ​​added: “proud, drowned”, “talked, cackled, barked, neighed, grumbled, ran”, “dissolved, hung up, relaxed”, “touched, shed a tear”. Simultaneously with the final rhyme, the writer uses sound repetition or a roll call of vowels and consonants: “he was proud, drowned himself”, “destroyed, pharaoh”, “did not fast, did not pray”. Another type is rhymes included in the tale for the sake of jokes: "Moses endured, Elisha endured, Elijah endured - I will also endure." It is customary to call such a rhyme proverbial, since here the game is represented by rhymes and consonances to proper names (compare with the proverb: “Our Grishka does not take too much”). The writer also uses a grammatically heterogeneous rhyme: “high, eye”, “mother, I can’t stay”.

Thus, Shergin's fairy tale creativity makes it possible to understand how the traditions of a genre that has a long history develop in new conditions, which is transformed, not disappearing, but significantly transforming. Shergin's fairy tale "The Fox Confessor" is characterized by the figurativeness and aphorism of the language, the mixing of various lexical layers, the combination of Old Slavonicisms with vernacular, rapprochement with modern reality and a tendency to rhythmic speech. The analysis of the fairy tale undertaken in this article makes it possible to make sure that two scales, on one of which - the folklore of the writer's fairy tales, and on the second - their literary character, are practically in balance.

Links:

1. Shergin B.V. Arkhangelsk novels. M., 1936.

2. Comparative index of plots. East Slavic fairy tale / comp. L.G. Barag, I.P. Berezovsky, K.P. Kalashnikov, N.V. Novikov. L., 1979.

3. Russian folk tales A.N. Afanasiev: in 3 volumes / comp. A.N. Afanasiev; prepared texts, foreword and note. V.Ya. Propp. M., 1957.

4. Northern fairy tales: collection of N.E. Onchukov. SPb., 1909.

5. Krivopolenova M.D. Epics, buffoons, fairy tales / ed. , entry. Art. and note. A.A. Morozov. Arkhangelsk, 19b0.

6. Russian folk tales A.N. Afanasiev.

7. Krivopolenova M.D. Decree. op.

8. Galimova E.Sh. Prose B.V. Shergin: author's abstract. dis. ... cand. philol. Sciences. Gorky, 19S7.

9. Syulkova N.V. Genre originality of the modern Russian literary fairy tale (based on the work of B.V. Shergin and S.G. Pisakhov): Author. dis. ... cand. philol. Sciences. M., 199S.

10. Belov V.I. Lad: essays on folk aesthetics. M., 1982.

11. Shergin B.V. Decree. op.

References (transliterated):

1. Shergin B.V. Arkhangel'skie novelly. M., 1936.

2. Sravnitel'niy ukazatel' syuzhetov. Vostochnoslavyan-skaya skazka / comp. by L.G. Barag, I.P. Berezovskiy, K.P. Kalashnikov, N.V. Novikov. L., 1979.

3. Narodnye russkie skazki A.N. Afanas'eva: in 3 vols. / comp. by A.N. Afanas'ev; Prepared. texts, foreword. and comment. of V.Y. Propp. M., 1957.

4. Severnye skazki: collection of N. E. Onchukov. SPb., 1909.

5. Krivopolenova M.D. Byliny, skomoroshiny, skazki /

ed., introd. article and comments of A.A. Morozov. Arkhangel'sk, 1950.

6. Narodnye russkie skazki A.N. Afanas'eva.

7. Krivopolenova M.D. Op. cit.

8. Galimova E.SH. Proza B.V. Shergina: autoref. dis. ... cand. filol. science. Gor'kiy, 1987.

9. Syul'kova N.V. Zhanrovoe svoeobrazie sovremennoy russkoy literaturnoy skazki (on materiale tvorchestva B.V. Shergina i S.G. Pisakhova): avtoref. dis. ... cand. filol. science. M., 1998.

10. Belov V.I. Lad: ocherki o narodnoy estetike. M.,

1982.

11. Shergin B.V. Op. cit.

12. Russian folk tales A.N. Afanasiev. 12. Narodnye russkie skazki A.N. Afanas'eva.

13. Shergin B.V. Decree. op. 13. Shergin B.V. Op. cit.

14. Russian folk tales A.N. Afanasiev. 14. Narodnye russkie skazki A.N. Afanas'eva.

15. Shergin B.V. Decree. op. 15. Shergin B.V. Op. cit.

1b. Folk Russian fairy tales by A. N. Afanasiev. 1b. Narodnye Russian skazki A.N. Afanas'eva.

17. Shergin B.V. Decree. op. 17. Shergin B.V. Op. cit.

18. Russian folk tales A.N. Afanasiev. 18. Narodnye russkie skazki A.N. Afanas'eva.

Synonyms and antonyms "fairy tale" - analysis and associations to the word "fairy tale". Morphological analysis and declension of words

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Translation of the word fairy tale

We offer you the translation of the word fairy tale into English, German and French.
Implemented using the Yandex.Dictionary service

• English
• German
• French

• tale - story, fable
  • folk tale
  • terrible tales - terrible tales

• Märchen - fable
  • just a beautiful fairy tale - nur ein Märchen
• Fabel - fable

• conte - history
  • fairy tales of the brothers grimm - contes de grimm
• histoire - story, fable
  • bedtime stories - histoires au coucher
• list

Hypo-hyperonymic relations

work fairy tale

What is a fairy tale like (adjectives)?

Selection of adjectives for a word based on the Russian language.

What can a fairy tale do? What can be done with a fairy tale (verbs)?

Selection of verbs for a word based on the Russian language.

Associations to the word fairy tale

Part Speech:

Nouns

genus:

female

Number:

only

Adjustment:

Inanimate

Cape:

Objective

Blowjob

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