Describe the mirror from the fairy tale about the dead princess. Psychoanalysis of the tale of the dead princess and the seven heroes, A

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“The Tale of the Dead Princess and the Seven Knights” by A.S. Pushkin's novel is based on a traditional fairy tale plot about an evil stepmother and a beautiful, kind stepdaughter. Suffice it to recall folk tales: Russian - “Morozko”, “Vasilisa the Beautiful”, “Little Khavroshechka”, German - “Mistress Blizzard” and “Snow Maiden”, French “Cinderella” and others. But Pushkin managed to fill the traditional plot with special depth, permeated with the light of goodness. Like everything Pushkin, this tale is like a precious stone, sparkling with thousands of facets of meaning, striking us with the multicolored words and the clear, even radiance emanating from the author - not blinding, but enlightening our blind eyes and spiritually sleeping hearts.

Pushkin's tale reveals its treasures to any reader, whether he is ten or fifty years old - if only he has the desire to open it. But the young reader must be led by an adult. It’s good if it’s mom, dad, grandma, grandpa...

After reading the fairy tale “About the Dead Princess and the Seven Knights,” we will try to analyze it by answering a number of questions.

What impression did the fairy tale make on you? What did you especially like or remember?
Why?
Children like the fairy tale primarily because good triumphs over evil. They are very attracted to the image of the young princess with her kindness and loyalty. They talk with pleasure about the wonderful mirror: something magical is always close to a child’s heart. Some of my favorite episodes include Elisha's wanderings in search of a bride, the princess's return to life, and the matchmaking of heroes. They feel sorry for the devoted Sokolko. They also admire the melodic poems, which is especially pleasing.

From the conversation about first impressions, let's move on to an attempt at a compositional analysis of the fairy tale:

Who is the author's focus in the fairy tale? Why?
The focus is on the queen-stepmother and princess because they represent the two poles of life: good and evil.
Are there characters in the fairy tale who are close to the young princess and embody the forces of good?
Eat. This is the queen mother, prince Elisha, heroes, Sokolko, the sun, the month, the wind.
And who embodies the forces of evil?
There is only one frankly evil character in the fairy tale - the stepmother. But if she were completely alone, she could not do evil deeds and achieve success for at least some time.
Who helped her do evil? Chernavka.
Is Chernavka herself evil or not? Then why does she become a performer?
ill will?
No, she loves the young princess, it is said about Chernavka: “She, loving her from the soul...” She doesn’t want to carry out the queen’s order at all, but...
Will the devil deal with an angry woman?
There is nothing to argue...
The fear of punishment turns out to be stronger than mercy, and Chernavka leads the princess into the thicket of the forest... And after some time he brings her a poisoned apple. It turns out that fear and lack of will help evil to be realized, and in this case, even a good person changes in his essence.
Where does the queen’s hatred for the princess come from?
The mirror told her the truth that the princess was more beautiful than her, and aroused the anger of her stepmother. She cannot live without constant confirmation of her unsurpassability. Although, most likely, the beauty of the stepdaughter would sooner or later become obvious to everyone, and, therefore, the young princess would not escape trouble. And evil can even turn the truth into a reason for crime - after all, that is why it is evil, in order to achieve its goals... The most terrible property of evil is that it can not be seen and, therefore, not recognized. We see good heroes right away, but evil, like microbes, is scattered everywhere and for the time being unnoticed.
Remember: when did the princess get a stepmother?
A year after the death of my mother:
A year has passed like an empty dream,
The king married someone else.
Is it possible to learn from a fairy tale about the attitude of the king’s new wife towards his daughter?
We don't know anything about this. But we can guess that the queen didn’t even notice her. The princess grew up “quietly” - that means, without attention, on her own.
When did the stepmother remember about her stepdaughter?
When the time came to marry the princess off, the stepmother, “getting ready for a bachelorette party,” asked the mirror her favorite question and received an answer:
You are beautiful, no doubt;
But the princess is the sweetest of all,
All blush and whiter.
So, the girl grew up without a mother, her stepmother was not interested in her, and her father, apparently, was more busy with his young wife than with his daughter. It is no coincidence that the year after the death of his wife is designated precisely as a “year” (it lasted so long for the king!), and the rest of the time (probably at least 16-17 years) flashed by quickly, so that the daughter had already grown up and become a bride. However, despite all this, the princess “rose and blossomed.”

Find its description and highlight the keywords in it.
Fifth graders name the words: the character of such a meek person. Explain: what does “the character of the meek” mean? (Quiet, calm, modest, friendly.). The princess did not require special attention to herself; she lived and grew up “quietly.” When, by the will of her evil stepmother, she found herself in the forest, and then in the mansion of the heroes, she accepted it with humility, did not harbor anger against anyone, and remained just as kind and friendly (remember her behavior in an unfamiliar house, her attitude towards the “beggar monk”) , loving, faithful to her fiance.

Where do these wonderful qualities come from in the princess?
From my own mother. Let's re-read the beginning of the fairy tale and see what it was like.
He waits and waits from morning until night,
Looks into the field, indian eyes
They got sick looking
From white dawn until night;
I can't see my dear friend!
He just sees: a blizzard is swirling,
Snow is falling on the fields,
The whole white earth.
Nine months pass
She doesn't take her eyes off the field.
She spent the entire time of separation at the window, waiting for her “dear friend.” Love and loyalty are the main qualities of her character.
Why did the queen die?
From happiness that he finally sees his husband:

She looked at him,
She sighed heavily,
I couldn't stand the admiration
And she died at mass.
So great was her love... The ability to love, be faithful, and patient was passed on to her daughter from her mother. Let's draw the children's attention to when the girl was born:
Here on Christmas Eve, right at night
God gives the queen a daughter.
Can you name the princess's date of birth?
Yes - January 6, the day before Christmas.
Since ancient times, people born on the eve of major religious holidays or on the most festive days were considered marked by God and loved by him.
Let us remember when meekness, humility, and patience came to the aid of the princess, rescued her from trouble, and helped her overcome difficulties.
When the princess found herself in a dense forest with Chernavka and realized what was threatening her, she
... begged: “My life!
Tell me, what am I guilty of?
Don't ruin me, girl!
And how will I be a queen,
I will spare you."
and Chernavka took pity on the poor girl:
Didn't kill, didn't tie up,
She let go and said:
“Don’t worry, God is with you.”
The heroes, captivated by her modesty and
beauty, sheltered in their home:
and the princess came down to them,
I gave honor to the owners,
She bowed low to the waist;
Blushing, she apologized,
Somehow I went to visit them,
Even though I wasn’t invited.
Instantly, by their speech, they recognized
That the princess was received;
Sat in a corner
They brought a pie;
The glass was poured full,
It was served on a tray.
From green wine
She denied;
I just broke the pie,
Yes, I took a bite,
And get some rest from the road
I asked to go to bed.

Even the dog received the princess with joy:
A dog comes towards her, barking,
He came running and fell silent, playing;
She entered the gate
There is silence in the courtyard.
The dog runs after her, caressing...
And when the princess was in danger, Sokolko tried to prevent it. The heroes did not dare to bury the princess and this helped Elisha bring her back to life. For her sake, he was ready to do anything without
I was tired of looking for my bride - that means she deserved such selfless love with her
gentle disposition...

Think about why the queen was given only “one mirror” as her dowry (whilefor the princess they gave “seven trading cities / and one hundred and forty towers”)?
The queen believed that the main thing in her was beauty, which was also her main dowry. Didn't she get the cities and the tower? They got it, of course, but for some reason the poet emphasized the mirror. Why? Probably because she saw herself in the mirror, admired her beauty, and this was the most important thing for her. To be the most beautiful of all has become the goal of her life, which is why she sees nothing around but herself...
Can external beauty become a life goal? And is it possible to judge a person only by external beauty? Is she going to tell him everything?
No, external beauty itself cannot be the only value of a person. Although this is exactly what happened with the queen: beauty is her only advantage. External beauty must be complemented by internal beauty - the beauty of the soul. The way it came together in the young princess, who loved everyone and was kind to everyone. And the queen was only kind with the mirror.
What did this mirror become for her? Why?
It became, in fact, her only interlocutor, “She was alone with him; Good-natured, cheerful, ; I joked with him affably...” It turns out that others were in vain to wait for a friendly word from the queen...
Why was the queen “good-natured and cheerful” only with a mirror?
She was dependent on him. She only wanted to hear about her beauty, everything else did not interest her.
Can an object (even such an unusual one, a talking one!), for example a TV, a computer,
replace living people?
Of course not: after all, it’s just an object, without soul and heart...

What involuntarily strengthened and developed the mirror in the queen?
Pride, confidence in one’s incomparability and beauty, narcissism. It is interesting that, speaking about the queen, the children remembered Narcissus: after all, he also looked into the water, as if into a mirror, and admired himself.
Let's look at and compare illustrations for this episode by different artists.

In Zvorykin’s first illustration, the queen seems unapproachable in her pride, she is like a monument to selfishness and pride. The second one emphasizes her fragility and willfulness.
What qualities can pride give rise to in a person? Why?
Pride gives rise to arrogance, jealousy, envy, selfishness, malice, anger, and selfishness.
All this becomes its natural manifestation, because a person obsessed with pride feels himself to be the center of the Universe... That is why the mirror’s message that “the princess is still sweeter, / Still more rosy and whiter...” caused such a storm of anger from the stepmother.

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Using the example of an analysis of one “The Tale of the Dead Princess and the Seven Knights,” one can see with the help of what stylistic techniques Pushkin makes his tale truly folk.

In his fairy tales, Pushkin combines paganism and Orthodoxy. "The Tale of the Dead Princess and the Seven Knights" is full of symbols from the very first lines:

The king and queen said goodbye

Prepared for the journey... Pushkin A.S. Poems. Poems. Dramas. Fairy tales.--M.: Eksmo Publishing House, 2002. (p. 582)

The road in the minds of the Russian people was associated with grief and suffering. So the queen, after 9 months (like 9 circles of hell) of waiting, dies, but:

Here on Christmas Eve, right at night

God gives the queen a daughter.. Pushkin A.S. Poems. Poems. Dramas. Fairy tales.--M.: Eksmo Publishing House, 2002. (p. 582)

A daughter is born, as it were, as a replacement for the queen and as a consolation for the king. A year later, the king married another woman. The new queen is presented in the fairy tale as a witch:

Tall, slender, white,

And I took it with my mind and with everything;

But proud, brittle,

Willful and jealous. Pushkin A.S. Poems. Poems. Dramas. Fairy tales.--M.: Eksmo Publishing House, 2002. (pp. 582-583)

And the main attribute of witches is a magic talking mirror, which was inherited. In many cultures, a mirror was associated with a passage to the other world; there are still many signs and superstitions associated with a mirror.

Over the years, beauty, the main value of the new queen, fades away, but the princess, on the contrary, “blooms.” And the groom Elisha was found. In this tale, only the princess's groom has a name. The name Elisha, a Hebrew name meaning “God has helped,” is mentioned in the New Testament as a famous prophet in Israel. Throughout the entire tale, the author calls the princess “my soul,” i.e. The fairy tale describes the path of the soul. For Christianity, the soul is something amazing and bright, created by God; it is believed that every person has a soul, and how to dispose of it: sell it to the devil and serve the darkness or remain faithful to the Light, the person himself decides. “The soul is a great, Godly and wonderful thing. When it was created, God created it in such a way that no vice was put into its nature; on the contrary, He created it in the image of the virtue of the Spirit, put into it the laws of virtues, prudence, knowledge, prudence, faith , love and other virtues, in the image of the Spirit." Christian: Macarius of Egypt. 1998. (p. 296) And the queen wants to destroy the soul and orders Chernavka to take her to “the wilderness of the forest... to be devoured by wolves.”

...the princess guessed

And I was scared to death,

And she prayed: “My life”!

For the princess Chernavka is life, and for the queen the hay girl. Chernavka releases her captive with a blessing: “Don’t worry, God be with you” Pushkin A.S. Poems. Poems. Dramas. Fairy tales. - M.: Eksmo Publishing House, 2002. (p. 585). And Elisha soon sets off “on the road for the beautiful soul.” Good always defeats Evil, because it is impossible to defeat the image of God, and the princess is the personification of everything beautiful and divine in a fairy tale. In a dark forest, the princess finds a tower, where a dog greets her, “caressing” her. Animals feel anger, hatred, fear of people, and the princess radiated pure goodness, which the dog immediately felt and calmed down. The girl immediately liked the tower:

...carpeted benches

Under the saints there is an oak table,

Stove with tiled stove bench

The girl understands that she has found herself among good people; saints in this context are icons that evil people would not bring into their home. The princess cleaned the mansion, prayed, lit the stove and lay down. Seven heroes arrived for lunch. The Russian word “bogatyr” goes back to the pre-Aryan beginnings. Philologists Shchepkin and Buslaev directly derived “hero” from the word “God” through the mediation of “rich”. In epics, heroes are often mentioned as defenders of the Russian land; they were perceived by the people as knights of light, endowed with unknown physical and spiritual strength. The number “Seven” is a sacred number in Christianity. The heroes from Pushkin's fairy tale combine seven Christian virtues: chastity, moderation, justice, generosity, hope, humility and faith. The heroes fell in love with the girl and became sworn brothers for her. They lived like a family: the girl took care of the housework, and the heroes hunted and defended their territory. But according to Christian customs, a young girl cannot simply live with men if there are no family ties between them. Therefore, soon the heroes came to woo the princess as husbands:

The elder said to her: “Maiden,

You know: you are a sister to all of us,

All seven of us, you

We all love for ourselves

We'd all be happy to have you...

But the girl is engaged and loves her fiancé very much, which is why she refuses to marry the hero. A woman is considered the guardian of the family hearth and love, and love is a holy feeling - the basis and goal of all religions. It is unknown how long the princess lived with the heroes, but her loyalty to the groom remains unchanged. So, having resigned themselves to fate, the heroes continue to live with the princess as before.

Meanwhile, the stepmother learns about the surviving princess, because any deception sooner or later comes to light. This time the witch decides to get rid of the girl on her own using a poisoned apple. In the Christian religion, the apple represents temptation, the Fall of man and his Salvation. Since the Middle Ages, the apple has symbolized the forbidden fruit. The apple led to sin. It was obviously a forbidden fruit, but Eve dared and not only picked it and tried it herself, but also passed on her “knowledge” to Adam. The consequence was expulsion from paradise to earth and the entire long and difficult journey of humanity. In ancient Greek mythology, the golden apple planted by Eris at the wedding of Peleus and Thetis caused a quarrel between Hera, Athena and Aphrodite and indirectly led to the Trojan War.

Pretending to be an old woman, the stepmother came to the mansion, the dog recognized the real essence of the old woman and tried to protect the princess, but the girl, the most innocent and pure creature, could not even imagine that the “grandmother” could wish her harm. They exchanged gifts and the girl:

I couldn’t wait until lunch

I took the apple in my hands,

She brought it to her scarlet lips,

Slowly bit through

And she swallowed a piece...

The poison worked, but could not completely kill the “soul.” The princess remained “as if under the wing of a dream.”

After three days of waiting, the Bogatyrs performed the ceremony and took the bride to an empty mountain. The queen, meanwhile, rejoiced at her victory. But Elisha, without losing hope, looked for his princess. No one heard about her presence, Elisha had only one hope: to seek help from the forces of nature. The image of Prince Elisha was taken by Pushkin from epics. The hero is close to nature. Elisha’s lyrical appeals to the sun and the month and, finally, to the wind poetically color his image and give him a special charm and romanticism:

Elisha, without losing heart,

He rushed to the wind, calling:

“Wind, wind! You are powerful

You are chasing flocks of clouds,

You stir the blue sea

Everywhere you blow in the open air,

You're not afraid of anyone

Except God alone.

Al will you refuse me an answer?

Have you seen anywhere in the world

Are you young princess?

I am her fiancé.” Pushkin A.S. Poems. Poems. Dramas. Fairy tales.--M.: Eksmo Publishing House, 2002 (p. 593)

In appeals to the forces of nature, one senses a combination of poetic elements of fairy tales and oral folk art. The ancient Slavs often turned to the Gods: the wind (Stribog), the sun (Khorsu) and the moon. But in this address, Elisha appeals to the wind not as a god, but as a friend and helper. Throughout history, the Russian people have depended on nature: after all, if there is bad weather, there will be a bad harvest and people will have to starve. Therefore, the cult of nature is still alive. We still celebrate Maslenitsa with joy, burning an effigy in honor of spring and fertility. Having transformed folk appeals and spells into a poetic picture, Pushkin acted as an innovator in the composition of the fairy tale itself.

The wind helped find the bride's crystal coffin:

And about the coffin of the dear bride

He hit with all his might.

The coffin broke. Virgo suddenly

Alive. Looks around...

Crystal, that is, icy. And the phrase “in that crystal coffin” means in the kingdom of death, darkness and winter. And Prince Elisha, like a ray of spring sun, broke the ice with the power of his love and freed the bride from the captivity of death:

He takes it in his hands

And brings light from darkness.

Returning to her world means a new birth of the heroine. New birth of life. After a long sleep, the princess returned home, where the evil stepmother communicated with her mirror, but the queen could not bear to meet the resurrected girl and died. The defeat of the stepmother means the end of the cold winter and the restoration of family life, to which the stepmother is alien. The death of the stepmother is depicted ironically by the poet:

I ran straight to the door

And I met the princess.

Then sadness took her,

And the queen died.

Envy and anger towards everything bright and good leads the stepmother to death from “longing.” As soon as the witch was buried, everyone immediately forgot about her and immediately “celebrated the wedding.” The tale ends with words from the first person:

I was there, honey, drank beer,

Yes, he just wet his mustache.

Similar endings to fairy tales are very popular in world folklore.

Pushkin's work on folk tales shows techniques for combining the simplicity of folk style and literary, book and oral poetic creativity. Pushkin uses literary language techniques to reflect the spirit and style of a folk tale. Pushkin finds in folklore images and techniques a strong means of national renewal and democratization of book and poetic styles. Fairy tales are the history of our people, glorified in images and passed on from mouth to mouth. Pushkin sought to preserve that incredible magical world that had been created over generations. Many scientists are inclined to believe that fairy tales in Rus' arose precisely because with their help they prepared the uninitiated for the initiation rite, talking about what unknown power a person would be endowed with, about what and why it was necessary to pass tests, etc. A lot of archaeological excavations confirm the guesses of scientists. Therefore, it would not be correct to separate Russian folk tales from literary ones. No matter how the authors try to come up with something new, folk tales will still serve as the basis for them. Fairy-tale images would not have survived if they had not expressed the basic, undying values ​​of human life. Only that which is somehow dear to humanity is passed on from generation to generation. The stability of fairy tale tradition proves that a fairy tale contains something important and necessary for all peoples and for all times, and therefore unforgettable.

A) Creation time:

“The Tale of the Dead Princess and the Seven Knights” is one of the most famous fairy tales by A. S. Pushkin. Written in the fall of 1833 in Boldino. It is based on a Russian fairy tale written in the village of Mikhailovskoye. The plot of the fairy tale has strong similarities with the plot of the fairy tale “Snow White and the Seven Dwarfs” by the Brothers Grimm. The fairy tales of the Brothers Grimm were published in the 10-20s of the 19th century, i.e. earlier than Pushkin's fairy tale (1833). The similarities between the two fairy tales are very great, so we can assume that Pushkin was familiar with the German version of the fairy tale. But the poet creates his own unique fairy tale. It differs from the fairy tale of the Brothers Grimm in its plot, characters, and language. Pushkin's fairy tale is more poetic and colorful.

Fairy tale of the Brothers Grimm	Pushkin's fairy tale
1. Seven Dwarfs	1. Seven heroes
2. Stepmother tries to kill her stepdaughter three times	2. Blueberry comes once with an apple
3. The Prince accidentally finds Snow White	3. The groom, the prince Elisha, searches for the princess for a long time, turning to the sun, moon, and wind
4. Cruel ending: the stepmother is killed	4. Stepmother dies of melancholy and envy
5. The tale is written in prose	5. Written in verse, in beautiful literary language

Hypotheses about the origin of the tale:

1. Fairy tale by A.S. Pushkin’s “The Tale of the Dead Princess and the Seven Knights” is a processed repetition of a folk tale, 2. it is an independent work, 3. it is borrowed from Western European culture

B) Life circumstances:

Pushkin was traveling to Boldino as a groom. The decision to get married was dictated by many considerations: love for N. Goncharova, but also fatigue from a single, chaotic life, the need for peace, as well as the desire for an independent and dignified existence. However, financial difficulties prevented the marriage. He went to Boldino to mortgage the village and return to Moscow in a month. Pushkin arrived in Boldino in a depressed state, because before leaving he had a fight with his future mother-in-law and, in irritation, wrote a letter to his bride in which he returned his word. Now he didn’t know whether he was a groom or not. A cholera epidemic in Moscow, which did not allow him to travel from Boldino. The combination of happy peace and mortal danger is a characteristic feature of Pushkin’s Boldino autumn. If you try to define in one phrase the general theme of Pushkin’s works of the Boldino autumn, then it will be “man and the elements.”

Genre features. Features of the fairy tale genre

Firstly, a fairy tale offers to be transported to a fictional world (in a fairy tale, everything is possible that is impossible in reality - miraculous events, magical transformations, unexpected reincarnations).

But the greatest value of a fairy tale is the inevitable triumph of goodness and justice in the finale.

The main characters of fairy tales are also ideal: they are young, beautiful, smart, kind, and emerge victorious from any challenge. In addition, their images are easy to perceive because, as a rule, they embody one quality. The system of images in a fairy tale is built on the principle of opposition: heroes are clearly divided into positive and negative, and the former always defeat the latter.

The perception and memorization of a fairy tale is also facilitated by its construction: a chain composition and threefold repetitions (Elisha’s threefold appeal to the forces of nature). Events follow one after another in strict sequence, and the tension increases with each repetition, leading to a climax and denouement - the victory of the good beginning.

Features of the epic:

E., like drama, is characterized by the reproduction of an action unfolding in space and time - the course of events in the lives of the characters. A specific feature of E. is the organizing role of the narrative: the speaker (the author or narrator himself) reports events as something that happened in the past, simultaneously resorting to descriptions of the setting of the action and the appearance of the characters, and sometimes to reasoning. Narrative speech interacts naturally with the dialogues and monologues of the characters. In general, the epic narrative dominates the work, holding together everything depicted in it. The epic narrative is told on behalf of the narrator, a kind of intermediary between the depicted and the listeners (readers), a witness and interpreter of what happened. Information about his fate, his relationships with the characters, and the circumstances of the “story” are usually missing.

E. is as free as possible in the exploration of space and time. The writer either creates scenic episodes, that is, pictures that record one place and one moment in the life of the characters, or in descriptive, overview episodes he talks about long periods of time or what happened in different places.

The arsenal of literary and visual means is used by E. in its entirety (portraits, direct characterizations, dialogues and monologues, landscapes, interiors, actions, etc.), which gives the images the illusion of three-dimensionality and visual and auditory authenticity. The volume of text of an epic work, which can be either prosaic or poetic, is practically unlimited.

Topic, problem, idea. Features of their expression

Eternal subject– love, friendship, people and work, relationships.

Unlike the fairy tale of the Brothers Grimm, Pushkin's fairy tale is about the most important value for a poet - it glorifies human loyalty and love. The motive for Prince Elisha’s search for his beloved is Pushkin’s “addition” to the folk plot. The opening picture of the death of the princess’s own mother (“I couldn’t bear the admiration”) is also dedicated to the theme of love and fidelity. The relationship between the princess and the heroes, their matchmaking, which is absent in the fairy tale “Snow White,” is connected with the same theme. The theme of devotion and love dictates the inclusion in the fairy tale of the image of the faithful dog Sokolko, who dies for the sake of his mistress. Idea- the main idea, the purpose of the work. The idea is that you can’t trust everyone, work hard, be honest, be brave...

The plot and its features

Plot– an event or system of events depicted in a work of art. Plot elements: a) exposition (preliminary acquaintance with the character, etc.), b) plot, c) development of action, d) climax, e) denouement.

In terms of plot, “The Tale of the Dead Princess” largely follows the folk canon: the “trouble”, expressed in the fact that the heroine leaves the house, is associated with the machinations of the evil stepmother, the poor father “grieves” for her, and the groom - Prince Elisha - goes to path. The girl ends up in a forest tower where the heroic brothers live. The savior does not yet have time to reach the heroine, when the “common sabotage” is repeated again, as a result of which the heroine dies (climax). In search of a way, the savior turns to magical creatures and finds help from the wind. This is followed by a magical rescue (denouement), the return of the bride and groom and the death of the “pest”.

In a folk tale, all attention is focused on the central character. Other characters are mentioned in passing. In “The Tale of the Dead Princess,” Pushkin violates this law of unilinear plot construction. As researchers of Pushkin’s work have noted, it has three independent plans, and each of them is developed to the extent required by the concept of the tale. The first plan is the life of the princess with the heroes and her death, the second is the experiences of the queen and her dialogues with the magic mirror, the third is the search for the bride by the prince Elisha.

The situation is depicted with realistic completeness. In Pushkin's fairy tales, the main thing is not the plot, not the chain of events, but the general lyrical movement, characters and pictures.

Composition and its features

Composition– construction of a work of art (connection between individual events, images, arranging them in a logical chain). The concept of composition is broader than the concept of plot, because the composition also includes extra-plot elements (landscapes, descriptions of characters, portraits, internal monologues, etc.).

The composition includes descriptions of nature: like Yaroslavna from “The Tale of Igor’s Campaign,” Prince Elisha turns to the elements of nature - the sun, the moon, the wind, finding in them sympathy and a solution to the painful mystery. These elements of nature are revealed to the reader both as magical creatures endowed with human speech and consciousness, and in their real forms.

Realistic and magical motifs naturally and organically merge in Pushkin’s fairy-tale landscapes. The real features of nature are personified by the poet and also seem fabulous. Both the magical and the real here equally depict nature as a living being. Pushkin preserves the basic law of the composition of a folk tale - its desire to present events as they happen in real life.

Of the other laws of folklore composition, the law of threefold repetition with variations of the main plot episodes was especially widely reflected in Pushkin’s fairy tales. Prince Elisha turns to the elements three times until he finds out where his bride is.

Summarizing and repeating what has been said, we can conclude that the plot, composition and some poetic features of “The Tale of the Dead Princess...” bring it closer to a folk fairy tale. However, it also contains the features of a literary work: the author’s voice, diversity in the ways of creating the image and characterization of the character, a certain “psychologization” of the characters, a combination of the fantastic and the real, lyricism and irony.

System of images-characters. The image of a lyrical hero

Princess

Particular attention should be paid to the lines “she is a housewife, meanwhile she will clean and cook in the mansion alone” (the influence of the popular idea of ​​the female ideal, in this case, by the way, representing a person of the royal family, and the affectionate “housewife”). Indicative are the lines “instantly from their speech they recognized that the princess was received” or the fact that when describing the princess the lexeme “quiet” is very often used: “quietly blossoming”, “she quietly spoke”, “quietly lay down”, “quietly locked the door” , “slowly bit through”, “quiet, motionless”, “quiet, lying fresh”. The princess is a modest, friendly, affectionate girl, beautiful, observing the rules of folk etiquette “she gave honor to the owners...”), hardworking (“she cleaned everything up in order”), religious (“she lit a candle for God”), faithful to her fiancé (“But I am forever given to another . My favorite is Prince Elisha.”

Before us is no longer just a fairy-tale heroine, but an artistically embodied Pushkin ideal.

The fairy tale contains the author's view - absent in the folk fairy tale (it rather reflects the assessment of the character from the point of view of national morality and morality), repeatedly expressed in Pushkin's fairy tale. “Evil” as a constant epithet for the word “stepmother”, “young” as applied to “bride” are quite possible in a folk tale, but you are unlikely to find there a phrase like “The devil will deal with an angry woman” or “Suddenly she, my soul , staggered without breathing.” The author's assessment is a clear sign of Pushkin's fairy tales.

Ways to characterize characters or a lyrical hero

In Pushkin's fairy tale, we feel the author's open attitude towards the heroine, which is not known in a folk fairy tale. The author dearly loves his heroine and admires her (“beauty is a soul,” “sweet girl,” “my soul,” etc.)

In general, the poet creates a unique individual character of the “young princess” with the help of a detailed description of her appearance, speech, a detailed depiction of the heroine’s behavior, includes numerous author’s assessments in the text of the fairy tale, and shows the attitude of other characters towards the heroine.

The princess is also characterized through the attitude of other characters towards her: “the dog runs after her, caressing her,” “the poor king grieves for her,” “the brothers fell in love with the sweet maiden,” even Chernavka, “loving her in her soul, did not kill her, did not tie her up.”

The evil queen is completely devoid of such an assessment: no one stops her from “harming” her, but no one helps her either. Even the mirror is completely “indifferent” to her personal experiences.

Features of the speech organization of the work

A) Narrator's speech:

In a fairy tale, we see the organizing role of the narrative: the speaker (the author or narrator himself) reports events and their details as something past and remembered, simultaneously resorting to descriptions of the setting of the action and the appearance of the characters, and sometimes to reasoning (“But how be?”, “Can the devil deal with an angry woman?”, “There’s no point in arguing”...). Narrative speech interacts naturally with the dialogues and monologues of the characters. Overall, the narrative dominates the work, holding together everything depicted in it.

B) Characters' speech:

In a fairy tale, dialogues often come down to repeated formulas, determined, as already mentioned, by the poetics and history of the fairy tale. The princess’s words addressed to Chernavka are not at all like fairy tales: “What, tell me, am I guilty of? Let me go, maiden, and when I become a queen, I will have mercy on you.” In general, the speech of the characters in Pushkin’s fairy tales is one of the means of creating an image: “Oh, you disgusting glass, you’re lying to me to spite me! How can she compete with me! I’ll calm the stupidity in her” - on the one hand, and “for me you are all equal, all are daring, all are smart, I love you all from the bottom of my heart” - on the other.

B) Lexical composition :

A lot of neutral vocabulary, vocabulary of artistic style, narration, archaisms (queen, inda eyes, young woman, fingers, towers, hay girl, courtyard, in the upper room, with a couch, bed...), antonyms (from the white dawn to the night, day and night, )

phraseology

D) Features of syntax :

The realistic manner is also reflected in the language - precise, spare, clear: in the predominance of words with a specific, material meaning, in the simplicity and clarity of syntax, in the almost complete elimination of the metaphorical element.

Pushkin's fairy tales combine various elements of colloquial, oral, poetic and literary language. In an effort to convey in conventionally fairy-tale forms real pictures of the life of the royal court, the nobility, merchants, clergy, and peasantry, Pushkin uses many words from the ancient written and book language: trading city, hay girl, slingshot. Slavicisms expressively convey the solemnity of often sad fairy-tale events: “I did not rise from sleep.” The literary language of Pushkin’s contemporary also influenced fairy tales. From here the following words and expressions passed into them: “brothers in spiritual sorrow.” These words and expressions enhance the lyrical tone of the narrative in Pushkin’s fairy tales.

But book vocabulary and phraseology do not violate the main feature of the language of Pushkin’s fairy tales - the nationality of sound. The literary elements of speech receive a folk coloring because they are surrounded by numerous verbal forms taken by the poet from folk life and oral poetry. There are also folklore epithets with their vivid imagery and variety of pictorial colors (“scarlet lips”, “white hands”, gilded horn...). There are also folk song appeals, tautologies and comparisons.

In Pushkin’s fairy tales there are many colloquial and oral-poetic figures of speech, as well as proverbs, sayings and similar author’s sayings: “she took it for everyone,” “it’s not good,” “I won’t leave the place alive,” “I was there, honey.” “I drank beer and only wet my mustache,” etc.

D) Means of expression:

Comparisons: the year passed like an empty dream.
Metaphors: under the saints there is an oak table.
Epithets: white earth, sighed heavily, vile glass, potbellied mother, red maiden, gilded horn, in deep darkness, ruddy fruit, from a brave robbery, crying bitterly, dark night.
Humor: I was there, drank mead and beer - and only wet my mustache.
Rhetorical questions, appeals, exclamations: But what to do? Can the devil deal with an angry woman?
Inversions: full of black envy, the poor king grieves for her.
Gradation: How the queen jumps back, how she waves her hand, how she slaps the mirror,
It’ll stamp like a heel!..; Go around our entire kingdom, even the whole world!

Rhythmic-intonation structure

A) meter and size: bimeter trochee, bipartite meter.
B) rhymes: male and female, open and closed, end, pair, adjacent.
B) stanza: quatrain (quatrain).

6. Sternin I. A., Salomatina M. S. Semantic analysis of words in context. Voronezh: Istoki, 2011. 150 p.

7. Sternin I. A., Rudakova A. V. Psycholinguistic meaning of the word and its description. Voronezh, 2011. 192 p.

8. Ozhegov S.I., Shvedova N.Yu. Explanatory dictionary of the Russian language. 4th ed., add. M.: Azbukovnik, 1999.

9. Explanatory dictionary of the Russian language: In 4 volumes / Ed. D. N. Ushakova; Reprint edition. M., 2000.

10. Fridman Zh. I. Meaning in linguistic consciousness (psycholinguistic research): Dis. ...cand. Philol. Sci. Voronezh, 2006. 280 p.

1. Efremova T. F Novyj slovar "russkogo jazyka. M.: Russkij jazyk, 2000.

2. Popova Z. D., Sternin I. A. Kognitivnaja lingvistika. M.: AST; Vostok - Zapad, 2007. 314 s.

3. Slovar "sochetaemosti slov russkogo jazyka / Pod red. P. N. Denisova, V. V. Morkovkina. Institut russkogo jazyka im. A. S. Pushkina. Izd. 2-e, ispr. M.: Russkij jazyk, 1983.

4. Slovar" russkogo jazyka: V 4 t. / Pod red. A. P. Evgen" evoj. 4th izd., ster. M.: Rus. jaz.; Poligrafresursy, 1999.

5. Covremennyj tolkovyj slovar" russkogo jazyka / Pod red. S. A. Kuznetsova. SPb., 2002.

6. Sternin I. A., Salomatina M. S. Semanticheskij analiz slova v kontekste. Voronezh: Istoki, 2011.150 s.

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9. Tolkovyj slovar" russkogo jazyka: V 4 t. / Pod red. D. N. Ushakova; Reprintnoe izdanie. M., 2000.

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Yu. A. Chaplygina

MYTHOLOGICAL SUBTEXT OF “THE TALE OF THE DEAD QUEEN AND THE SEVEN BOGATYRS” BY A. S. PUSHKIN: EXPERIENCE OF SCHOOL ANALYSIS

The article proposes a new approach to the study of “The Tale of the Dead Princess and the Seven Knights” by A. S. Pushkin in a literature lesson, based on identifying motifs in the text that are rooted in Slavic paganism. Analysis of the images of a fairy tale, taking into account the mythological subtext, contributes to a deeper comprehension of the text by students, increasing the level of their reading culture.

Key words: Slavic mythology, mythological image, teaching literature.

Mythological Connotation of A.S. Pushkin’s “Fairy Tale of the Dead Princess and the Seven Knights”: An analysis of school experience

The article suggests a new approach to the study of the “Fairy Tale of the Dead Princess and the Seven Knights” written by A. S. Pushkin. This approach is based on the identification of the motives in the text, originating in the Slavic paganism. The analysis of images of offairy-tales with the mythological connotations contributes to a better comprehension of the text, increasing the level of their readers' culture.

Keywords: Slavic mythology, the mythological image, methods of teaching literature.

“The Tale of the Dead Princess and the Seven Knights” by A. S. Pushkin has become firmly established in the educational process. The authors of school literature programs (V. Ya. Korovina, V. G. Marantsman, A. B. Esin, O. N. Zaitseva, M. B. Ladygin) suggest studying this work in the fifth grade. In the minds of readers, a fairy tale that they read at the age of ten in a literature lesson remains a clear, understandable, simple work that does not evoke a desire to re-read it and again think about the questions that worried the author. This perception of Pushkin’s text does not correspond to the meanings inherent in it. For almost two centuries, studies have been appearing, the authors of which are trying to understand the deep meanings of Pushkin’s fairy tales, including this one. Among such authors should be named N.V. Gogol, V.G. Belinsky, P.V. Annenkov, S.M. Bondi, A.A. Akhmatova, M.K. Azadovsky and others. Let us turn to some facts of these searches and Let us outline the provisions on which we relied in developing the methodological concept.

“The Tale of the Dead Princess and the Seven Knights” was written by the author in the fall of 1833 in Boldino after he had created realistic works (“Eugene Onegin”, “Boris Godunov”, etc.). Fairy tales, according to I.M. Kolesnitskaya, “were an expression of the principles of realism and nationality that were fully established by this time in Pushkin, a kind of result of the poet’s many years of striving to comprehend the way of thinking and feeling of the people, the peculiarities of their character, and to study the riches of the folk language.” There are several versions regarding the source of this work. According to one of them, it is based on a Russian fairy tale written down in the village of Mikhailovskoye. According to another, its plot is borrowed from the Brothers Grimm. The plausibility of the latter version is given by the fact that the fairy tale “Snow White and the Seven Dwarfs” was published earlier than “The Tale of the Dead Princess and the Seven Gods.”

tyryakh" (in the 10-20s of the 19th century), and therefore we can assume that the author knew it. Until now, literary scholars have not come to a consensus on what the source of Pushkin’s fairy tale is. This question becomes the starting point in solving other problems: about language, about the nature of the characters and about the poetics of the work as a whole. It is quite obvious that Pushkin’s fairy tale is not such a simple and clear work, and it is very important that reading it not only brings pleasure, but also, according to V. G. Marantsman, “certainly echoes a restless thought.”

Methodological science and school practice have accumulated interesting experience in working on the fairy tale by A. S. Pushkin. The ways of identifying the features of a fairy tale as a literary one, the possibility of a comparative analysis of the work with other texts (V. G. Marantsman), with other types of art (E. N. Kolokoltsev, T. A. Sotnikov, O. A. Eremina, E. A. Belkov, N.G. Napolskikh), a special place is given to commented reading (T.G. Solovey, Z.V. Beloretskaya, I.V. Tsikarishvili), appeal to the language and style of the work becomes an obligatory component of school analysis (P. I. Kolosov, R. E. Vulfson, M. V. Sokolova, Z. G. Yampolskaya). Particularly interesting is the idea of ​​M. G. Kachurin on the use of the research method in lessons on studying the fairy tale of A.S. Pushkin*.

An analysis of a fairy tale based on the identification of mythological symbolism in it has not yet been presented in methodological science. Meanwhile, this work is rooted in ancient times: its plot and images originate in ancient Slavic ideas about the world. Analysis of the text on a mythological basis will allow students to look at a fairy tale not as a “children’s book” in which “everything is clear and clear,” but as a creation in which many mysteries and meanings are hidden, previously unknown. This analysis

contains enormous potential for developing research skills in children, ensuring a high level of reading culture. Our task is to show this using the example of several episodes of the fairy tale.

Let us dwell on two fragments: the appearance of the princess in the mansion of the seven heroes and her acquaintance with them. We ask the guys to remember the events that happened before the heroine appeared in the mansion. When Chernavka led the princess into the forest, she was “scared to death,” “begged,” and asked not to destroy her. Trying to get out of the wilderness, the heroine goes to the tower. We re-read the necessary fragments in class (although the children remember the content of the fairy tale well, reproducing the text immerses them in a special atmosphere, the magic of Pushkin’s word fascinates). After reading we ask:

Is she just as scared in the mansion? After all, this is someone else's house.

Children say that fear has disappeared and there is curiosity.

Because she realized that “good people live in it.”

What helped her understand this?

Here we should talk about the fact that the house

This is a special world in which a person lives. We can tell a lot about its inhabitants depending on how it is structured and what is in it. What is the meaning of the word “terem”? We turn to V.I. Dahl’s dictionary: in the 19th century, a tower was called “a raised, tall residential building or part of it.” In the old days, wealthy people had such houses. At first it may seem that Pushkin talks rather sparingly about the interior of the room into which the princess finds herself, but the author’s attention is focused on the most important objects of Slavic life. We ask the children to imagine themselves as the hero of the work and mentally enter the fairy-tale space, and then talk about what they see. Fifth-graders note that “first

Revna sees icons, under which there is a table and benches, and then a stove with a stove bench.” We explain to students that the author counted on the reader’s knowledge of Russian traditions and customs, well known to his contemporaries. First, Pushkin talks about the most significant place of the house, usually facing the southeast, this place is the “red corner”. The teacher explains: among the Slavs, the south and east were associated with the birth of the sun, with life, with warmth, and the west and north with death, cold, and darkness. So the red corner was turned to goodness and light. Even the windows in the house faced the east or south. In the red corner there were icons, under the icons there was a table (“:... under the saints there is an oak table.”). We show the children the ethnographic drawing “The Red Corner in the Hut. XIX century" from the book by M. Semenova "We are Slavs!" The place where the icons stood was associated “with the altar of an Orthodox church” and therefore was perceived “as the place of the presence of the Christian God himself, and the table was likened to a church throne.”

Even earlier, Pushkin draws attention to “carpet-covered benches.” To our question: how did a bench differ from a bench? - the children do not find the answer. And again we turn to the book by M. Semenova “We are Slavs!”, We read: “. the bench was fixedly fixed along the wall of the hut and most often was devoid of stands, and the bench was equipped with legs, it was moved... A place on the bench was considered more prestigious than on the bench; the guest could judge the hosts’ attitude towards him, depending on where he was seated - on a bench or on a bench.” Thus, the shop located in the red corner was considered the most honorable place. It was called the red shop.

Again we turn to the guys with the question: what else was very important in the house? Children guess: second in importance

The stove was a household item for Russian people. We invite you to recall Russian fairy tales: “Sivko-Burko”, “Baba Yaga”, “Geese”

swans”, “At the behest of the pike”, “Telpu-shock”, “Zhikharka”, “Ivashka and the witch”, “Finicky”. Many of them have a stove

The character is animated; We ask the guys to compose a short monologue on her behalf, using a reference card with a blank text. Let us present one of these works (combinations written in italics - student’s additions).

“I am an old Russian Pechka. I know how to talk, I give good advice, I teach, I help good people in different ways. People call me Mother because I am kind and warm. I take care of the light both day and night, because with a light it is warm and cozy in the house. At all times, Russian people treated me with reverence, as if they were a dear person.”

According to fifth-graders, the stove in folk tales has exclusively positive qualities. She is a reliable friend, assistant, living being. The people endowed the stove with magical properties and miraculous powers. We confirm the correctness of their words and point out the origins of this attitude towards the stove. The Slavs considered it a talisman for the family: “the home fire in the stove was continuously maintained and stored at night in the form of hot coals.” Let's return to the question that was asked earlier: why does the princess understand that “good people live” in the mansion? The icons in the red corner, the oak table under them, the respectful attitude towards the stove, the symbol of the hearth - all this spoke of the owner’s respect and love for the traditions of his ancestors and the desire to preserve and carry through the centuries native customs and moral ideals. That is why the princess understands that “good people live here.” After all, these traditions were known to every Russian person. They united people. Therefore, the princess knows that they will not offend her in this house (“...to know, she will not be offended.”).

We ask schoolchildren how the princess behaves in the palace of the heroes before meeting them? We note that Pushkin allows

for my heroine to walk around an unfamiliar house, approach the stove, clean the room. After all, “the behavior of a guest in the house was strictly regulated.” A stranger was not supposed to go around the house without the owner, cook food, feed the dog or cat. What if a person came to a new home with bad thoughts? “The guest was perceived as the bearer of fate, a person who could influence all spheres of human life.” The guys reason: “Probably, by such behavior of the princess, the author says that she has good thoughts, she does not want to harm anyone.” Having seen the heroes, she “bowed low to the waist; blushing, she apologized.”

We draw your attention to the fact that the heroes also observe the rules of hospitality: Instantly, by their speech, they recognized

That the princess was received;

Sat in a corner

They brought a pie,

The glass was poured full,

It was served on a tray.

And again we offer information that will make an inconspicuous detail memorable and significant. Pies were considered a type of ritual bread. Pies were perceived as a delicacy. The guest should not refuse the treat offered to him. And this is not a matter of simple politeness: the owner of the house, offering to share a meal with a person who came to his house, tried to make him “his own.” The heroes seated the princess “in a corner,” that is, at an oak table, above which there were icons. Schoolchildren remember that this is the most honorable place in the house. This is how the hosts showed the guest that they were very happy about her visit and welcomed her like family.

The character Sokolko deserves special attention. To understand the author’s intention when creating this image, we invite schoolchildren to recall the dog heroes in folklore and literature. Children call the fairy tale “Finist - a clear falcon” and tell how the bird turned into a kind young man who performed various feats. We help

they should remember Cerberus the dog, guarding the entrance to the underground kingdom of Hades in ancient mythology; the dog Martynka (Russian folk tale “The Magic Ring”); the dog in R. Kipling’s fairy tale “The Cat That Walked By Itself.” We build a figurative series - the princess’s assistants and friends: Chernavka - heroes - Sokolko - Elisha. We draw attention to one feature of this series: the author gave names to only two heroes of the fairy tale. Why? The children reason hypothetically: “They save the princess,” “the dog at least tries, but Elisha actually saves,” “the heroes did not save the princess at all.” We ask the guys: what word is the dog’s nickname derived from? Fifth graders understand that “So-kolko” is a derivative of “falcon.” It is no coincidence that Pushkin gives the dog this name. We propose to conduct research (students like this word) and find out what secret, rooted in Slavic paganism, is hidden by the image of Sokolko? We introduce the children to the ancient legend, which is discussed in the book by E. E. Levkievskaya “Myths of the Russian People”: God created a dog from the remains of clay that remained from Adam, and ordered to guard man’s home from evil forces. Because of the cold, she curled up and fell asleep, and then evil was able to get close to people. When God began to reproach the dog, she said plaintively: “Well, I’m cold. Give me wool, then I will be a faithful watchman." God gave the dog fur, and it became man's faithful friend.

Children conclude: “. a dog is a faithful companion, devoted to a person,” “a magical assistant” (according to the terminology of V. Ya. Propp). They reason in line with the theory of D. Frazer: “It was believed that. a selfless animal, like a dog, ... allows itself to be torn to pieces, protecting its owner” **. Sokolko dies trying to save the princess and the heroes from death. Schoolchildren quote the text of the fairy tale:

The dog is at her feet and barks,

And he won’t let me see the old woman;

Only the old woman will go to her,

He, the forest animal, is angry with the old woman...

We supplement the guys’ answers with the remark that in Slavic culture the falcon is a symbol of heroic strength and courage. However, one detail of Pushkin’s text still surprises the students: why did the dog let the princess (a stranger) into the house and how did she feel that the old woman wanted to destroy her? We add information that will help answer this question. A dog, like a wolf, in popular beliefs was often endowed with the gift of foresight, became an intermediary between “this” and “that” light, and sensed danger. She cannot be deceived. The schoolchildren understand: she let the princess in because she felt that in front of her

A kind person, a friend, not an enemy. We introduce students to the ancient Slavic myth about Simargl. “Simargl. - a deity of a lower order; this is a sacred winged dog that protects seeds and crops." Fifth-graders come to the conclusion that in the image of Sokolko the poet united two creatures: the earthly - the dog and the heavenly - the falcon.

Thus, after analyzing only a few episodes of Pushkin’s work during the lesson, the children came to the conclusion: the fairy tale, which seemed so simple and understandable, contains many mysteries that take the reader into the depths of centuries. Fifth-graders said that “this fairy tale is a window into the distant past,” they understood that there was nothing accidental in the text, “everything has a meaning: both the dog’s name and the pies - you just have to figure it out.”

While working on the fairy tale, we tried to avoid a naively fluent, as V. G. Marantsman put it, reading this work. Appeal to the mythological component, to traditions, customs, rooted in paganism and reflected in Pushkin’s text, enriches the reading perception of fifth-graders, directs them to “research” the text, helps them feel the atmosphere of ancient Russian life created by the author, perceive Pushkin’s work as a mystery text .

NOTES

* This idea was reflected in M. G. Kachurin’s book “Organization of students’ research activities in literature lessons” (1988).

** In literature lessons, schoolchildren often reason in line with the theories of great scientists. This idea has already been proven during the experiment of I. D. Postricheva. [Postricheva I.D. Development of tolerance as a quality of a student-reader when turning to a folk fairy tale: Dis. ...cand. ped. Sci. SPb., 2009, p. 95].

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9. Shaparova N. S. Brief encyclopedia of Slavic mythology. M.: AST Publishing House LLC; Astrel Publishing House LLC; LLC "Russian Dictionaries", 2004. 624 p.

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V. Yu. Chkhutiashvili

EVENT AS A TEXT-FORMING FACTOR OF JOURNALISTIC COMMENTARY

The article examines the “event” as the minimum content and semantic basis for the formation of the text of a journalistic commentary. In this regard, the characteristic features of the “commentary” genre are touched upon and the place of the event in its structure is determined. As a research task, the author attempts to analyze various forms of manifestation of an event in relation to the text of a journalistic commentary.

Key words: journalistic commentary, fact, referential event, event as an idea, text event.

Familiar to everyone from childhood, A.S. Pushkin’s fairy tale “About the Dead Princess and the Seven Knights” describes the miracles of love, kindness, morality, and fidelity.

At the center of the work is the conflict between the young princess and her stepmother, the beautiful queen. The conflict arises due to the queen's jealousy of her stepdaughter.

The beautiful queen wants to be the only beauty in the whole wide world. Striving for this goal, she completely forgets about such qualities as kindness, decency, and responsiveness. The growing young princess becomes the main competitor before the task set, to become “the most beautiful of all, the cutest of all.”

Chasing the title of “most beautiful,” the queen commits a crime, forgetting about everything. She is too “willful and proud” to think about others. The queen is hostile to everyone around her.

When she finds out that the maid did not kill the young princess in the forest, and that she lives quietly among the 7 heroes, she decides to commit a crime. The queen wants to poison the young princess. In her impulse to be “herself,” she decides to kill a young girl, which, as a result, did not work out for the queen.

Possessing determination, the queen at the same time is not confident in herself. She requires praise from the “mirror” in her beauty and uniqueness. When she learns from the mirror that her stepdaughter is alive and well, her heart breaks into pieces with horror, the queen dies.

The resurrected beautiful young princess, possessing virtue, meekness, responsiveness, and loyalty, becomes the wife of Prince Elisha. Everyone loves the princess, her father, each of the 7 heroes is happy to take her as his wife, Prince Elisha. But she remains faithful to her lover, waiting for Elisha to find his bride. At the end of the fairy tale, they have a magnificent wedding.

As in all fairy tales, in this work evil is punished and good wins.

The fairy tale of A.S. Pushkin teaches us the good that we cannot neglect the most important qualities of people for the sake of beauty, career, we cannot “step over people.” Only kindness, understanding, mutual assistance, friendship, love can work wonders not only in fairy tales, but also in real life.

Option 2

Pushkin Alexander Sergeevich is the greatest poet. Since childhood, he listened to the stories of his nanny Arina Rodionovna. He began recording folk songs and fairy tales; he loved folklore. And then he began to compose his own. He is the author of many works. “The Tale of the Dead Princess and the Seven Knights” was written by Alexander Sergeevich in 1833 in Boldino.

In the fairy tale by Pushkin A.S. describes such human qualities as kindness, loyalty, morality, love, which works miracles. The main root in the work: the envy of the stepmother (queen) towards the young princess. The queen is jealous of her stepdaughter. And all because of what? Mere beauty becomes guilt. The queen dreams of being the most beautiful in the whole world, although she is already very beautiful. But she fell into complete oblivion about what goodness is, the feeling of love, mercy, responsiveness. She needs to eliminate her first rival, the princess, who grows up year after year and becomes more beautiful and sweeter.

The queen commits a grave sin. He wants to kill the princess for the sake of his title "Beauty in the whole world." She is “proud and willful”, she has no time to think about other people. Everything around her is alien to her; it is better to sow evil and hostility around her.

The maid, on the orders of the queen, could not kill the princess and left her alone in the deep forest. The princess, wandering, came to the house of the seven heroes and began to live there, waiting for her beloved prince Elisha. The queen, of course, found out about this with the help of her talking mirror. And the evil stepmother herself goes on a long journey to kill her stepdaughter. But good overcomes evil. And by all miracles the princess remains alive.

Full of determination, but still not self-confident, the queen again turns to her mirror. The mirror again answered her that the princess was better than her. Horror grips the queen. The anger and cruelty sitting inside the queen so engulfs the mind that the heart cannot stand it and death occurs.

The princess, who has all the good qualities, is sincere, loving, faithful, meek, marries Prince Elisha. The seven heroes with whom she lived were in love with her. But she was faithful only to Elisha. His love helped him find his beloved. Their wedding was magnificent.

Good defeated evil, as it always happens. The fairy tale is meant to show how powerless evil is. And goodness is always valuable.

The fairy tale “About the Dead Princess and the Seven Knights” shows us that we cannot think only about ourselves and care about outer beauty. You need to preserve spiritual beauty within yourself. Take care and appreciate your friends. Treat people with understanding, then it may happen that they, too, will lend a helping hand to you at the right time.

Analysis of fairy tale 3

Alexander Pushkin is one of the greatest writers of Russian literature. From early childhood he was interested in folk songs and fairy tales. And his nanny Arina Rodionovna told him about them. And already in his adult life, Pushkin used folklore stories heard from childhood when creating his wonderful fairy tales. He was a famous author of poems, poems, and novels, so for many it seemed strange that the writer began to write fairy tales. In fact, this was not an ordinary adaptation of a folk tale; Pushkin in his work violated eternal questions that the sages of many generations could not answer.

“The Tale of the Dead Princess and the Seven Knights” was written in Boldino in 1833. The fairy tale tells that in the same kingdom there lived a king and a queen. One day the ruler went on a long journey, and while he was away the queen gave birth to a daughter. As soon as the king returns, his wife dies. The king is sad, but over time he finds himself a new wife. She is beautiful, but heartless and envious.

She also has a magic mirror that tells her every day that she is the most beautiful in the world. But years pass, her stepdaughter grows up, she already has a fiancé. And one day the mirror told the queen that there was no one more beautiful in the world than her stepdaughter. The queen seems to go crazy with anger, immediately calls the maid and orders her to take her stepdaughter into the forest and leave her to the wolves. The maid does not want to do this, but cannot go against her will. The princess guesses everything and asks to let her go.

The king grieves that he has lost his daughter, Elisha, the princess’s bride, goes in search of her. And the princess came across the house of seven warrior brothers and stayed in them. The queen finds out that the princess is alive and decides to kill her herself. She pretends to be an old beggar and goes to the house of the heroic brothers and gives the princess an apple soaked in poison. As soon as she took a bite of the apple, she fell down without breathing. The brothers saw her body and decided to put her in a crystal coffin in a cave. Meanwhile, her fiancé is looking for her everywhere, asking for help from the sun, moon and wind. The wind told him about the cave. Yelesey rushes there. Out of despair, he breaks the coffin, and the princess comes to life. They return to the kingdom and when the queen meets her rival, he dies of anger and envy. The tale ends with the wedding of the princess and the prince.

Comparing the images of the princess and her stepmother, readers understand well that external beauty is worth nothing without inner beauty, kindness and sincerity. And envy and deceit lose the beauty - the queen. In a world where sincere feelings, devotion and love win, there is and cannot be a place for deceit. The ending of Pushkin's work, as befits a fairy tale, is happy. Human virtues are rewarded. Beauty, Goodness and Justice win.

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