, whence leaves the person and where it comes back in the end of a way, eternity of a universe, the world of the nature with the freakish phenomena, with riddles and secrets, with its beauty.the same time, the fairy tales created in different languages, reflect way of life of these or those people, geographical, natural and ethnic conditions, work and a life, features of environment, national character. From here an originality of fairy tales, variety of their maintenance, character, orms.
Many times the question, «What is a fairy tale?» has been asked. One has said: «The fairy tale is a poetic presentation of a spiritual truth.» George MacDonald has answered: «Undine is a fairy tale.» Mr. G.K. Chesterton has said: «A fairy tale is a tale told in a morbid age to the only remaining sane person, a child. A legend is a fairy tale told to men when men were sane.»
English fairy tales amazingly differ from other countries. In them other all - space and a way of construction, a genre and subject originality, features of heroes and characters. The fairy tales written in English, give us representations about national myths, legends, ballads, and also acquaint with separate elements of spiritual and material culture of this rich country. All it allows us to get acquainted with culture and a life of England, to learn different stages of its history.genre originality of English national fairy tales outwardly very much reminds versions of fairy tales of other countries, however, internal distinctions appear defining. In general fairy tales on animals, household and magic fairy tales which include legends about witches, giants, phantoms are allocated. Also quite often English fairy tales borrow ballad plots and are under construction on their basis.in research of the Kazakh fairy tale as the major area of the Kazakh folklore had the different periods of development. One of the first publications about the Kazakh fairy tale belong to M. Auezov who in the works in details studied and described the genre nature of the Kazakh fairy tales. It has brought the powerful scientific contribution to studying of definition of the validity and fiction to fairy tales, «people didn't insert anything into the stories it unfamiliar and invented, on the contrary, apparently, everything that has entered into fairy tales in olden time, undoubtedly, is a reality. As well as realities of the today, those fairy tales seemed truthful events. Already later, with the years, the person gives out a fairy tale for the invented. It is result of intellectual development of mankind in comparison with former generations. Collecting and detailed analysis of numerous Kazakh fairy tales is our immediate task».research problem of the Kazakh fairy tales, from the beginning of the last century and to this day, dared at different levels. First of all, it depended on talent and professionalism of the researcher, and also its adherence to traditions of Russian and European school folklorists. S.A. Kaskabasov is to the scientists who have defined absolutely new direction in research Kazakh folklorists. It has improved methods and ways of research of Russian and European scientific specialists in folklore concerning the Kazakh material. The fantastic repertoire of Kazakhs richly and variously reflects human life. Fairy tales give a lot of interesting to understanding of public life and a life, expectations and aspirations of the people. The majority of fairy tales has appeared before Muslim acceptance. In such fairy tales as «Er Tostik», «Edil-Zhajyk», «Kula saggitarius», «the Three-copecks piece», «Penalty-saggitarius», «and Zholaman» and «Asanas of Kajgy» is told by Alaman about noble feats and courageous struggle of hunters, well-aimed arrows, about heroes and beauties, wise aged men-prophets. Many the Kazakh fairy tales are devoted to animals. In fairy tales «Bozingen», «Syrttandar», «Tepen the cook» act as friends and assistants to the person pets, and enemies - animals. Kazakh about Ajaz-bie, Zhirenshe speaker, the Aldar-plait, and Shopane Tazshe are devoted by Kozhe Nasyre to witty, eloquent and wise natives of the people.
1.2 Classification of fairy tales in English and in Kazakh
all these riches of the saved up national material which was reduced to us through age, we should choose, as we can't overflow the child with all folk stuff which folklore scientists aspire to keep in the scientific purposes. Besides naturally most part of it contains raw state, roughness, and cruelty of a primitive civilization; also it is not necessary, that the child has been burdened by these natural sciences of last society. We should choose from the past. In this choice of that should be presented the child, we should cope two standards: First, we owe it to the child to transfer it its literary heritage; and secondly, we should help to it to make of ourselves the ideal person of the future. Therefore stories which we offer, should promote these two standards. The selected stories will be what age have found interesting; For the fact that they lived, proves their physical form, they lived, because there was something in them which have addressed to universal heart. And because of this fact they will be what in frequent re-telling age have got the classical form and consequently have within itself possibility of to take their fine literary form. The selected stories will be those stories which as we have specified, contain interests of children; for only through its interests does the child, raise to higher interest rates and at last develop to the ideal person. They will be those stories which pass also test of the classic, the literature test, the story test, and the narration and description test. With the child would interfere in life to be unaware of these stories.
The stories approaching for the small child, can be considered under these seven classes of accessible types: (1) accumulated, or history of hours; (2) story of animals; (3) comic story; (4) realistic story; (5) romantic story; (6) old story; and (7) modern story.
I. The Accumulated Story.
The accumulated story - the most simple form of the story. It can be: -
(2) Story about repetition with the addition, increasing repetition.
(3) Story about repetition, with change.and rhythm have grown from municipal conditions. Old stories - the measured pronouncing. At first there was a direct expression of small community, its gesture, action, a sound, both dance, and a word, shout to help. From accumulated stories, Chamber that Jack Built illustrates the first class of stories about simple repetition. This story takes new interest as remarkable research of acoustics.
II. The Story of Animals
The story of animals includes many of the most pleasant children's stories. Really some authorities would go, how much to track all fairy tales to some ancestor of the story of animals; and in many cases it can be, of course, made the same as we trace Three Bears to Scrape foot. The story of animals - or the old story of an animal, such as Scrape foot or Old Sultan; or a fairy tale which is the developed development of a fable, such as the Mouse of the Country and the City Mouse or stories about the Reynard the Fox or the Grimm King Birds, both the Sparrow and Its Four Children; or it is simply imagined creation, such as Kipling the Child of the Elephant or Andersen the Bronze Pig. The story of an animal - very old form which was history of some successful primitive hunting or experience of some primitive person with animals at whom he looked to an animal as the brother, above itself(himself) in force, bravery, endurance, precipitancy, sharp aroma, vision, or cunning. Later, the story of an animal has taken the form of stories of hunters where interest has concentrated in excitement of hunting and in a victory of the hunter.
III. The Comic Story
The comic story - one of the most pleasant to the small child. It is pleasant to everything, but it approaches it especially because essence of humour - a love and surprise mix, and both address to the child completely. The humour brings pleasure in the world so does the small child, their existence - harmony. The humour sees contrasts, shows common sense, and feels compassion. It plays with life, it releases spirit, and it encourages soul.
ІV. The realistic Story
The realistic fairy tale has the big consent with modest life and wishes to reproduce sincerely all reasonable life. Sometimes the realistic history has a scientific spirit and interest. The realistic story which is good will, represents not only that is true, but also that is possible, probable, or is inevitable, doing its impressive truth. Very often it does not reach this ideal. Decoding of the shorthand report of actual life can be selected, but it is a photo and not a picture with the strong purpose to make one point, and with artistic design.
V. The Romantic Story
The romantic story reflects emotion, and it contains an adventure and picturesque; it deals with the dreams remote by places, the sea, the sky, and objects of the surprise mentioned with beauty and strangeness. The purpose of the romanticist consists in clearing emotion, pity, or sense of the heroic; and it often exaggerates character and incidents out of the normal.the Kazakh researcher spends detailed analysis of character of a genre of fairy tales, and also in-depth study of law of its occurrence, development, and change. Having divided the Kazakh fairy tales, into five basic groups: fairy tales on animals, magic fairy tales, a powerful fairy tale, satirical fairy tales, fairy tales of a short story, S.A. Kaskabasov investigating internal laws of these fairy tales, gives their intergroup classification. «Roots of products of this genre of folklore leave deeply in an antiquity, at the time of hunting. In other words, fairy tales on animals have arisen during the early period of human history when people extracted to themselves food hunting for animals. The people living in those days, esteemed and extolled some animals. Also there was a popular belief that some of animals are spirits-patrons of human tribes, the relationship with them admitted, some animals were esteemed by primogenitors of tribes without which blessing hunters will be not not accompanied by good luck. Therefore, when husbands left on hunting, wives, being at home, eulogized these animals, composed about them different laudatory stories and songs. Animals described strong, dexterous, furious. They prefers that will hear such laudatory fairy tales and stories animals, thereby, will be favorable to hunters». Thus, through fairy tales on animals, it traces reached to us from an extreme antiquity such world outlook concepts as magic, an animism, тотемизм. Besides, S. Kaskabasov has defined law of change of this kind of a genre of a fairy tale in connection with development of a society and human consciousness, and has opened value of the ironical description of satirical fairy tales. In other words, it has opened a side of transition of a direct sense of fairy tales on animals in a figurative sense. Thus, on the basis of concrete examples it has formulated as stories about animals and birds from classical fairy tales on animals figuratively began to transfer socially significant problems. On this classification, S. Kaskabasov divides fairy tales on animals inside into three groups: этиологические fairy tales on animals, classical fairy tales, fairy tales апологи (fables).. Kaskabasov considers etymological fairy tales close to etimological to the myths which signs is formation of a method of a cause and effect narration. At the same time, it is considered that in such fairy tales the obvious genre sign and steady composite structure not always takes place., animals in these fairy tales in difference from mythological are allocated by special signs of «sanctity». In S. Kaskabasov's research notices that one of the basic sources of fairy tales on animals are myths. For transfer of process of transformation of myths about animals in S. Kaskabasov's art fairy tales considers group of fairy tales in which tells about an origin and especial sacral character traits inherent in these animals whom fairy tales with development get allegorical sense, and are applied in the description of a human image, in group with etimological fairy tales. In this connection, the scientist carries out detailed analysis of features of lines of characters of fantastic characters, and also pets and wild animals., research of a genre of the Kazakh fairy tale as one of the most significant and powerful part of oral national creativity is the invaluable contribution to studying, preservation and propagation of a great cultural heritage of the Kazakh steppe.
1.3 Some interesting facts on the examples of two tales
The origin of the word «fairy» as given by Thomas Keightley in his Fairy Mythology, and later in the Appendix of his Tales and Popular Fictions, is the Latin fatum, «to enchant.» The word was derived directly from the French form of the root. The various forms of the root were:-…. fatum, «to enchant.»
French…. fee, feerie, «illusion.»…. fata.…. fada.old French romance, fee was a «woman skilled in magic.» «All those women were called Fays who had to do with enchantment and charms and knew the power and virtue of words, of stones, and of herbs, by which they were kept in youth and in great beauty and in great riches.» This was true also of the Italian fata.word «fairy» was used in four senses. Fairy represented:-
(1) Illusion, or enchantment.
(2) Abode of the Faes, the country of the Fays.
(3) Inhabitants collectively, the people of Fairyland.
(4) The individual in Fairyland, the fairy Knight, or Elf.word was used in the fourth sense before the time of Chaucer. After the appearance of Spenser's Faerie Queen distinctions became confused, and the name of the real fairies was transferred to «the little beings who made the green, sour ringlets whereof the ewe not bites.» The change adopted by the poets gained currency among the people. Fairies were identified with nymphs and elves. Shakespeare was the principal means of effecting this revolution, and in his Midsummer Night's Dream he has incorporated, most of the fairy lore known in England at his time. But the tales are older than their name.to trust fairy tale stories all have arisen in India, they - a part of the general Aryan heritage and should be tracked the rests of their language.at first have been written in Vedas, sacred Sanskrit books of the Buddhism. To this theory incorporate to the Theory of the Myth of the sun a little. This theory was accompanied by Max Müller and sir George Koksom.
The theory of the general source in India won't answer completely for an origin of stories because many similar stories existed in not Aryan countries. Old stories were actual in Egypt, 2000 BC, and have been brought there rom by Participants of public campaign, the Mongolian missionaries, Jews, and gypsies.idea to connect many disconnected stories as we find on the Arabian Nights, Stories of Canterbury, and Decameron, is tracked to idea to make the Buddha by the central figure in folklore of India. And Dzhejkobs says that, at least, one third of all stories, characteristic for children of Europe, is received from India, and is unconditional the majority droll. He also says that in general how much incidents are amazing also true magic character, India - a probable source because of survivability of an animism and transformation to India to all time. Besides, as people, Hindus have extended the sufficient literary educational and intellectual power among their numbers to invent plots.
The Old tale vs. the Modern tale
The old fairy tale needs to be distinguished from a modern fairy tale. The majority of the selected stories was old stories because they possess the features approaching for the small child. The modern fairy tale as can speak, begins with Andersen Teles's Fairy. - As Andersen was often mentioned and as research of the Tin tell-tale has been already given, Andersen's work can receive more detailed reference here. - the modern fairy tale, since Andersen, should study simplicity and sincerity nevertheless. It is often long and is involved and represents a variety of images which is confusing. It lacks the big art qualities of the old story, the central unity and harmony of character and plot. The idea should be soul of the story, and the problem consists in making, occur to things of characters which are expressive from idea. The history should keep its interest, and should be sincere and inevitable to be convincing. It should understand that the expression method should be a method of the offer and not that from a detail. The old story hasn't established borders in the offer. It used concrete skill; but because the symbol expressed less, it meant more. The modern story is more definitely intended, and he often establishes borders in the offer because the symbol expresses so much. Often it often underlines a satirical both critical element, and its humor as heavy and clumsy. To be the literature as has been specified, besides characters, plot, settlement, and dialogue, the classic should present truth; it needed to form emotion and imagination with beauty in the language form; and it should have a power of the classic to award mind constant enrichment. Any examination of a modern fairy tale very often shows refusal to meet these requirements. The modern story isn't so bad, however, when we mention such stories as Elis Lewis Kerola in a Wonderland, Oscar Uajlda's Happy prince, Gradual Fairy Elis Brown, prince Frensis Brown Ferifut, the Small Lame prince of Ms. Mulok, Peter Pan Barri, Mopsa Dzhin Indzhelou, the Fairy and Ouphe in Wood, Area History of Klausa, Old Pipes of Stockton and the Dryad, Water Babies of Kingsli, King Raskin of the Gold River, Pinokkio Kollodi, the Azure bird of Meterlinka, Kipling so Stories and stories the Book of jungle, Remarkable Adventures Selmoj Ledzherlof of Zeroes, Uncle Remus Tales about Harris, etc. But this classics - behind few exception, riches of the basic and elementary literature. The modern fairy tale approaching for the child of a kindergarten, is at a great disadvantage for the most probable, it is hidden in some magazine waiting for an estimation to draw some attention to it. And these difficult modern days it is difficult to provide the story which simplicity approaches the small child.
We have carried out the all-round analysis of such questions as, addition of an original plot of a fairy tale with additional motive, a situation and episodes, and also its development, has put a scientific basis of system of intragenre classification. For example, a powerful fairy tale, without breaking the habitual scheme, makes the additions, changes of separate elements. That has allowed to carry a powerful fairy tale to a separate kind of fairy tales of the Kazakh folklore.to scientists the basic parts of a plot of a fairy tale: childless parents, a wonderful birth of the character not only on the basis of the turkish-Mongolian material, but also on a material of fairy tales of the people with the different periods of historical development. They in details study principles of research Russian and European folklorists, improving them, apply to features of the text of the Kazakh national fairy tale.. Kaskabasov interprets ideas and V. Ja. Proppa and A.N. Veselovskogo's judgments about motive of a wonderful birth concerning the Kazakh fairy tales. In S. Kaskabasov's research through consideration of several types of motive about a wonder-working birth of the character, from the scientific point of view for the first time has defined history of development of motive of idealization of the fantastic character from primitive to an artistic image. The main objective of a course of life of the fantastic character - to find a family, however this course of life of the hero according to fairy tale poetics, gets art coloring and is idealized, in a consequence of that, the basic plot is supplemented with various episodes and repetitions, to the full showing law of a fantastic plot. Therefore, in life of the character events, collisions, meetings repeatedly repeat, the number of enemies which are overcome by the hero grows. Such reception is used to show on purpose accruing difficulty of problems carried out by the hero and by that to ennoble it from simple to the notable.to compare to the Kazakh fairy tales, fairy tales of England less sated and not such bright, but they too contain specific, only it inherent lines, and possess the big spiritual and art value. And in English fairy tales it is often possible to find out national proverbs, sayings, songs, spells that allows to experience as well as possible atmosphere of fantastic England and thus it is better to understand the national culture. These are features of English fairy tales.
2.1 The comparative analysis of English and Kazakh fairy tales
lines of a fairy tale are defined by folklore traditions of the people. In fairy tales finds reflection animal and flora of that country where these fairy tales have appeared. Animals - heroes of fairy tales - remind the speech and behavior of people of that country where there are these fairy tales. And differently also can't be, as the fairy tale always was reflection of national life, a mirror of national consciousness.problem to compare Kazakh and English national fairy tales. Comparison of the Kazakh and English national fairy tales. For comparison we take Kazakh (translated from Russian) a fairy tale «the Wolf and kids» and an English national fairy tale «the Wolf and three kittens».
Fairy tale elementsthe Kazakh fairy taleEnglish national fairy taleHeroes of fairy tales.Fairy tale characters.a petA wild animal (wolf) and a pet (a cat with kittens).Opposition (strong - weak) - an antithesis.Camel-mouseA wolf - kittens.Characters (animals) Think and speak. Think and speak.Mouse gets into the mountains a camel to see the sunrise.The help from outside the Help of the smith (has reforged a throat). Itself has gorged on to sugar, paws a flour has rolled in.Problems which are solved by heroes.Who was the first to see the sunrise, he will be the beginning of the year.The wolf needs to satisfy hunger, and to kittens to escape.Speech of heroes.I was very useful to all, I will…Sound imitationGreat joy mouse…Sound repetition [р], transferring rumbling, purring of a cat.References.Children. Mum.Exclamatory offers.Great joy mouse…In speech of a wolf, the Big cat, kittens.Suffixation.Scene of action.Wood - sphere Where the power of the strong is shown.The bad wolf lives in wood.The house - a place where there live the weak.Kittens live in the house together with a cat - mum.Fairy tale composition.Beginning (the fairy tale beginning) thereThe cat lives in the house near to wood (there is no beginning).The culmination (point of the higher pressure)The wolf couldn't eat kittens, they have hidden.Outcome (action end).Weak (kittens) come out from difficult situations winners. Kittens cope with a trouble. Ideal - hero independently solving the problem (the western way of life).Dialogue, driving action.The cat talks to kittens, a wolf with kittens.Songs which slow down action (retardation), strengthening intensity.There is no song.Magic numbers.Three times the wolf comes to the house of the Big cat (three frequency rate situations). Three kittens.Repetitions.Art means of languageEpithets the Grass silk, water ice cold.the Big cat, the Grey kitten, white kitten, the Black the kitten (logic definitions).National colloquial words and expressions.Figures of speech.Inversion (change of a word order in the offer).Syntactic parallelism.Intensifying designs.Consecutive type of communication of offers in the text (the first and last words in offers repeat).remarks on the comparison made:the work we have compared Kazakh and English national fairy tales on animals and have found out the following:
. In English fairy tales, as well as in any others, there are wise reasoning on good and harm and a lot of philosophical sense, but the accent on the material is swept obviously up.
. The Kazakh fairy tale, unlike English, is more universal: she can be told to children of any age, even the smallest as in it isn't present excessive moralization.
. The Kazakh variant of a fairy tale is more optimistically, as well as in the majority of other Kazakh fairy tales on animals: the girl manages to run away from bears, and we haven't met gloomy forecasts of its further future with which the English fairy tale comes to an end.
. The Kazakh fairy tale has appeared is more neutral on action time: such history could occur at any time, even today.
. A certain innuendo in the description of dwelling and shape of bears in the Kazakh fairy tale promotes development of imagination of listeners, forcing them to finish thinking about every possible details and details.a whole, we have seen that in the Kazakh and English fairy tales it is a lot of general as nations of the world live on one planet, develop under the general laws of history. But fairy tales simultaneously show a national originality of folklore of each people. And animals - heroes of fairy tales - remind both the speech, and behavior of people of that country where there are these fairy tales. Otherwise also can't be, as the fairy tale always was reflection of national life. Thus, we could find acknowledgement of the theory on «wandering» plots: when one fairy tale travels all over the world together with its story-tellers, but undergoes various modifications, being as though arranged under mentality and a way of life of those people in which folklore it remains forever. Fairy tales there are no morals as the fairy tale is a fable, a baize, fiction. The Kazakh fairy tale at external similarity of a plot and heroes with an English fairy tale, more live, bright, figurative. In it there are more than epithets, sound imitations, songs. It is connected with ancient tradition of telling of a fairy tale under music and its staging.
Conclusion
fairy tales, always we plunge in their fantastic, magic and simultaneously such live and real world. Each fantastic image revives in imagination more brightly, than cinema or television shots. After all the fairy tale - perfect product of national spirit, is perfected centuries or even in the millennia. Any internal movement of a fairy tale, its any hero, any word in the offer set of times were weighed and verified before to become such with what we them see now. In a fairy tale there is nothing superfluous. All on the necessary, precisely driven place. And consequently the fairy tale is eternal. A fairy tale understand resolutely all. It free passes all language borders, from one people to another, and remains in a live kind in the millennia.the studied material it is visible that the aims laid down for us and problems have been solved, on all questions interesting us we have received answers. In the work we have compared Kazakh and English national fairy tales on animals and have seen that in them it is a lot of general as nations of the world live on one planet, develop under the general laws of history. But fairy tales simultaneously show a national originality of folklore of each people. And animals - heroes of fairy tales - remind both the speech, and behavior of people of that country where there are these fairy tales. Otherwise also can't be, as the fairy tale always was reflection of national life.there is a mankind, it needs dream and consequently, it not to do without a fairy tale which inspires, gives hope, amuses and consoles.
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fairy tale wolf kazakh