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0PHILOLOGICAL SCIENCES
THE PECULIAR FEATURES OF BRITISH FAIRY TALES
Buyakova E.F.
Amur State University for Humanities and Pedagogy, student
Abstract
The article is devoted to the description of the features that are peculiar for British "author's fairy-tales". The analysis was conducted on the material of the fairy-tales "The Devoted Friend", "The Happy Prince", "The Star Child" written by O. Wilde.
The subject is considered from the point of view of its traditional plot structure, the conflict of the fiction work. The features common for folktales and author's fairy-tales are also studied.
Keywords: a fairy tale, a magic fairy tale, an author's fairy-tale, a folktale, Oscar Wilde.
We all remember fairy tales that adults read to us once. When we were listening to them, we imagined unique stories which taught us the difference between the good and the evil. In childhood everyone wanted to be like one of those brave characters.
Tales always attracted people with their miracles and magic objects, multi-faced characters. But, like any literary work, fairy tales require studying, searching for the features necessary for creating the atmosphere of magic, which is so attractive to listeners. Fairy tales have been studied for a very long time, but the science of fairy tales has come to a standstill because there is not enough theoretical material about this issue.
The source or the author usually serves as the bases for fairy tales classification. It is known that fairy tales can be created not only by people (so-called folktales), but also by a writer. These tales are called "author's fairy-tales" or "literary tales". Sometimes a literary tale can imitate folktale, in other cases the author creates a didactic work based on non-folklore stories, which is modeled on to the folklore tale.
It is usually considered that the tale came from a myth [3, 145]. Most of the researchers do not doubt this point. The mythological origin of the images in the fairy tale is quite obvious: "Marriage with a miraculous totem creature that can put a human face on, a wonderful wife gives her chosen one luck in hunting, honey, a rich harvest, etc., but leaves him when he violates of any prohibition " [4, 441].
Russian scientist and folklorist, V.F. Miller offered the classification of fairy tales based on the elements of the plot: household stories, tales about animals and fairy tales with miraculous content, or magic [6, 386]. Folk life and daily routine are reflected in household stories. The daily life is shown without any magic. In animalistic fairy tales the main characters are animals, birds, fish, which interact with each other. The main feature of these tales is anthropomorphic characters. Moreover, each animal often represents a certain feature: the fox is cunning, the bear is strength, the wolf is simplicity, and so on.
We will pay a special attention to the magic fairy tale. A magic fairy tale has a complex composition - it structurally consists of two or three levels:
1. Preliminary - some giver directs the protagonist's knowledge of the rules and procedures;
2. Main - some action or deed that results in the destruction of primary trouble or lack of something;
3. Additional - the protagonist should prove that it he is the person who won the battle or the prize (as a result the antagonists are punished and the evil falls) [5, 444].
There are always protagonists and antagonists in magic fairy tales, and the good always overcomes the evil. The main feature for such tales is fiction - the described world is different from the real one. It erases the boundary of time and space. Fantastic reality does not have an exact localization. The setting is always a located in some timeless place. The distance in such stories measures by time intervals, for example, three days later, and they have such expressions as: once upon a time, in a far away land and etc. The time is measured by the words such as "many" and "little." But more important that, "the narrator is not interested in either time or place of action, he is interested in the action itself" [2, 12].
The source of the British tale is the Celtic folklore and mythological tradition. From the Celtic myth "grow up" the plot, and images, and the fantastic atmosphere of British fairy tales. There are necessarily some characters presenting "another world" such as giants, elves etc. Meanwhile, the protagonist is mostly a person having no magic or superficial power. Most characters are presented with the help of a portrait description that makes it possible to stress some individual characteristic features. Their names are composed of two or three elements. The usual setting is a forest, a lake, a palace or a castle.
Unlike usual magic fairy tales, British tales are rather simple in their structure. The main feature of the British fairy tale structure is its ironic coloring and close connection with the moral side of the work. In complex with everything magical, it is based on a conflict reflecting social contradictions, social protest [1, 384]. The point can be approved by the tales of O. Wilde «The Devoted Friend», «The Happy Prince», «The Star Child».
Each of these tales has a complicated compositional structure. For example, in the «The Devoted Friend» the fairy tale is presented as a story in a story, in the «The Happy Prince» there are several storylines and an epilogue, in «The Star Child» the tale consists of three semantic parts, where the narrative is mediated.
Spatio-temporal uncertainty is represented by the change of topos, which makes it possible to create the dynamics of the development of actions. The most common is the water space («The Devoted Friend», «The Happy Prince»), the forest («The Star Child», «The Devoted Friend») and the road. The time category in all fairy tales is represented by the change of seasons and only in the fairy tale «The Star Child» we can notice the features of folktale - the distance transfers by the time intervals: three years, three days.
The protagonists of fairy tales are usually peasant people, where they are opposed to an antagonist in an image of some rich man. («The Devoted Friend», «The Star Child»). However, in the «The Happy Prince» the main character is a living statue. Despite this, in all fairy tales, protagonists do not possess magical powers, but they have magical helpers: animate objects (Swallow, Hare) and inanimate artifacts (precious stones, gold bars). There are supernatural powers in all fairy tales except "The Devoted friend". The names of the characters are generic mo- and binominal («The Happy Prince», «The Star Child»). The exception is the «The Devoted Friend», in which, the characters have personal names besides mo- and binominal names. It worth noting, that the portrait description of the character also emphasizes his individuality.
These tales have moral and ethical elements: morality («The Devoted Friend») and moralizing, based on the Biblical principles («The Happy Prince», «The Star Child»).
Thus, the British author's tale inherited folklore images, humor, extraordinary adventures and magical events from the folk tale. The works of O. Wilde have pride of place in the fairy-tale heritage of Great Britain. Despite the fact that he wasn't a children's writer, his tales were born from fascinating stories, interesting
games and communication with children. We can trace the theme of beauty through all of O. Wilde's works. The goal of all Wilde's fairy tales is not just to show beauty, but to teach with beauty, to influence the reader's soul. His fairy tales are written in such a simple language that the reader manages to touch the British culture, its heritage. It isn't a coincidence that, on the one hand, there are typical features of the British fairy tale in the Wilde's fairy-tale work, and on the other hand, his fairy tales have tendency to transform its characters, that creates compositionally complex pieces of art. They have an ironic coloring and a close link with the moral side of the work. All this is demonstrated the creative originality of the writer's talent.
References
1. Арнольд, И.В. Стилистика. Современный английский язык: учебник для вузов / И. В. Арнольд. - М.: Флинта: Наука, 2006. - 384 с.
2. Ауэрбах, Э. Мимесис. Изображение действительности в западноевропейской литературе / Пер. с нем. - М.: ПЕР СЭ; СПб.: Университетская книга, 2000. - 511 с.
3. Ланг, Э. Мифология. Происхождение и распространение мифов / Пер. с фр. - М.: Книжный дом «ЛИБРОКОМ», 2012. - 216 с.
4. Мелетинский, Е.М. Герой волшебной сказки / Е.М. Мелетинский. - М., 1946. - 240 с.
5. Мелетинский, Е.М. Сказки и мифы// Мифы народов мира. Энциклопедия в 2 т. Т. 2. - М.: Советская энциклопедия, 1992. - С. 441 - 444.
6. Миллер, Вс.Ф., Очерки русской народной словесности. Былины. I-XVI/ Вс.Ф. Миллер. - М. 1897. - 464 с.
ДО ПИТАННЯ ПРО ОСОБЛИВОСТ1 ПОБУДОВИ ОНОМАС1ОЛОГ1ЧНО1 СТРУКТУРИ ФРАЗЕОЛОГ1ЧНИХ ОДИНИЦЬ Н1МЕЦЬКО1 МОВИ З КОМПОНЕНТОМ НА ПОЗНАЧЕННЯ
ЗВУЧАННЯ
Мартитв О.М.
астрант кафедри германсько'1 фшологи та перекладу Кшвського нацюнального yHieepcumemy iMeHi Т.Г. Шевченка
THE PROBLEM OF THE SPECIFIC CONSTRUCTION OF ONOMASIOLOGICAL STRUCTURE OF PHRASEOLOGICAL UNITS IN THE GERMAN LANGUAGE WITH THE SOUND COMPONENT
Martyniv O M.
postgraduate student of the Department of Germanic Philology and Translation
Taras Shevchenko National University of Kyiv
Анотащя
Стаття присвячена особливостям побудови ономасюлопчно! структури фразеолопчних одиниць з компонентом на позначення звучання. Аналiзуюeтся проблема вербалiзацii понять на пiдставi уявлення про ix поеднання у сввдомосп мовщв.
Abstract
The article is devoted to the specific construction of onomasiological units with the sound component. The problem of verbalization of concept is analysed, based on the notions about their combination in consciousness of the speakers.
Ключов1 слова: ономасюлопчний базис, мотивацшна база, мотиватор, ономасюлопчна iмплiкацiя
Keywords: onomasiological basis, motivational base, motivator, onomasiological implication, onomasiological structure.
