X Международная студенческая научная конференция Студенческий научный форум - 2018

Classification is the distribution of objects, phenomena and concepts into groups, depending on their common characteristics. Classification of fairy tales that have stimulated the interest and warmed the hearts of human beings since the beginning of history, is necessary first of all for their scientific study [1]. Meanwhile, Propp states the fact that in science there is still no generally accepted classification of fairy tales. This is due to the fact that there is no evidence that could be used as a basis for classification.

One of the first classifications of Kazakh fairy tales was given by G. Potanin. He divided the fairy tales into seven kinds: 1) tales about animals; 2) magical; 3) heroic; 4) magically-novel; 5) household novelistic; 6) household edifying, 7) satirical.

Another classification belongs to M.O. Auezov, who proposed the following division of fairy tales: 1) fairy tales; 2) tales about the way of life of ancient people and their exploits, to which the writer relates tales reflecting the ancient way of life, the struggle between good and evil, that is, they are fairy tales; 3) satirical tales; 4) real fairy-tales 5) fables.The Kazakh folklore studies distinguish only three main types of fairy tales:

1) magic;

2) household;

3) tales of animals.

To this classification, E. Kostyukhin adds new genres, separating from the classic fairy tale heroic and magical adventurous. Concerning fairy tales, E. Smailov distinguished the following varieties:

1) fairy tales, similar to the tales of other peoples: universal, but not borrowed;

2) borrowed from other peoples: Arabs, Persians, Tatars and processed in the traditions of Kazakh folklore;

3) emerged only among the Kazakhs and have no parallel with other peoples.

E. Smailov also tries to classify fairy-tale images. The main hero of Kazakh fairy tales is, in his opinion, mostly a batyr, a protector of the clan. In addition, the main character can be a bald-headed (tazsha), most often it is a reincarnated protagonist who does such an action on his appearance, so as not to be recognized as an enemy or enemies. Sometimes the main character is a girl.

S. Kaskabasov shares the classification of E. Smailov, supplementing it with the fact that genre syncretism are inherent to Kazakh fairy tales. Some of the tales, in his opinion, "are still at the stage of formation, others occupy an intermediate position between magical and household fairy tales, and others - between magical and heroic." [2]

In the foreword to the collection of Kazakh fairy tales, E. Turekulov indicates that fairy tales have only three main storylines. The first includes tales associated with the initiation ceremony - dedication of the adolescent to adult members of the genus. The protagonist in such tales from the very beginning has no name, he acquires it after difficult trials and finding his wife (the fairy tale "Kanshentei"), that is, when he becomes an adult. The second source of fairy tales is shamanic legends. The third category of fairy tales, in the opinion of the researcher, is related to the process of giving, when the protagonist is presented with wonderful objects that allow him to obtain a certain wealth, most often cattle. It should be especially noted that Propp separated tales from such genres as legend, real and fiction.

First and foremost, fairy tales should be distinguished from real fairy-tales. These names indicate that the people believed in their reality, unlike fairy tales, but at the same time, it should be said that it is not a myth, the people also believed in reality. The main heroes are the demonic creatures: demons, water, brownies, mermaids and others, who experience on their human supernatural good or evil forces. A person can also act as a character in such stories, but it will not be a living, ordinary person, but a corpse, a ghoul, a werewolf, a ghost, etc. And nature is the subject of the narrative of this genre, but again this is another nature with which man deals in everyday life. This is nature, controlled by unknown forces, before which the protagonist is powerless, but tries to master it in various witchcraft ways. Fables, respectively, are works in which people cease to believe, but have similar subjects and elements.

Stories written in English give an idea of national myths, legends, and also represent individual elements of the spiritual and material culture of this rich country.

The genre peculiarity of English folk tales outwardly resembles a variety of Russian fairy tales, however, internal differences prove to be decisive [3].

Among English folk tales it is customary to allocate:

1) fairy tales,

2) household tales,

3) tales of animals.

In household and magical English folk tales, unlike Russians, there are no clearly expressed motives. Here, the desires of heroes are weakened to reach unprecedented heights and successes, to defeat the enemy or to rise above him, to take possession of wealth, to become smarter himself, which was often the main goal of the Russian fairy-tale hero. The driving force of the actions of the heroes is any external circumstances, a sense of conscience and duty, and not true desires and needs. Often it is for this reason that English fairy tales are considered very ordinary. It is worth noting that everyday English fairy tales are especially eccentric, which can astonish the Russian reader. This comic effect of the fairy tale is based on this eccentricity: for example, "Three Intelligent Skills" is based on a combination of a few absurd and unreal elements that are very characteristic of English oral folk art.

Quite common English household fairy tale "Dick Whittington and his cat" very clearly and accurately shows us the customs and life of old England. This is a well-known story of a poor English boy who gave the captain, going to Africa, the most valuable and unique thing he had - a cat, and how the Moors paid enormous sums of money for her.

Fairy tales of England are full of information, magic and fabulous aesthetics are replaced by factuality and, as a result, some dryness. Like fairy tales they just want to convey some information, state certain facts that may have actually occurred. Often a fairy tale simply gives a description of the situation, no sudden outcome should follow. Readers also often act as simple observers, not being fully involved in the process. The fairy-tale space is usually delimited from reality, and the more unusual is the mention and description of a particular geographical place. The narrative is distinguished by its evenness; there are no special splashes and unexpected twists.

A bright and kind ending in English household and fairy tales is not always met. Endings are sharper and even sometimes cruel: for example, "Magic Ointment." But often the denouement is something for granted, a harmonious completion, in which there is no sharp rise or splash. Intellectualism is by no means the most faithful companion of English fairy tales. Stupidity and impracticality can harmoniously coexist with benevolence, morality and decency within one English character, which would be completely inconceivable for a Russian folk tale.

English fairy tales about animals is a special group that goes back to ancient times, its volume is small. Such tales are taught to empathize weak heroes, to help them, and there is practically no morality or didactic component here.

An important role is played by humor, which softens acute situations - heroes and their qualities are ridiculed and presented in a comic manner.

As for the linguistic component, English fairy tales practically lack traditional legends and endings. Before animals obtain their own happiness, they will have to overcome a number of difficulties. At the end of the narrative, good triumphs are over evil. English folk tale "The Wolf and Three Kittens" is very similar to the Russian language known to us - about the wolf and kids. But here, unlike the Russian fairy tale, where their mother comes to the aid of kids, the kittens cope with the situation themselves. In this tale, a Western type of active, strong hero, capable of independently resolving emerging issues, without resorting to outside help, is affirmed.

These are the features of English fairy tales. As you can see, the tales of England are less saturated and not so bright, but they contain specific, only their inherent features. Inside English fairy tales, we can often find folk proverbs, sayings, songs, spells, which allows us to feel the atmosphere of fairy England as well as possible, and at the same time better understand your national culture.

References

1. The Magic of Fairy Tales: Psychodynamic and Developmental Perspectives Martin J. Lubetsky, MD Western Psychiatric Institute and Clinic, Human sciences press, Springer link, 1989.

2. Figurativeness of fairy tales of English and Kazakh language, http://diplomba.ru/work/77766

3. E.K. Soboleva, Associate Professor O.V. Korenkova - National features of the English fairy tale, Volzhsky Polytechnic Institute (branch) of the Volgograd State Technical University, www.volpi.ru

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