What are Kipling's tales about? Rudyard Joseph Kipling Just So Stories (lexical analysis of fairy tales). The moth that stomped its foot

When the whale had eaten all the fish, the cunning little fish described to him all the delights of the man's snack and told him where to find him, but warned him that man is a restless creature. The whale swallowed the sailor along with his raft and suspenders. In the stomach of the whale, the sailor began to run, jump and generally behave very actively, so that the whale felt unwell. When he asked his prey to crawl out of his stomach, the sailor promised to think about it if the whale would take him home to the white cliffs of Albion. Before going home, the guy inserted a lattice of raft boards and suspenders into the whale’s throat, so that he could only eat very, very small fish. And the cunning fish swam away and hid in the mud, under the threshold of the equator, because it was afraid that the whale would be angry with it.

How a hump appeared on the camel's back

When the earth was completely new, the animals that helped man came to the camel living in the middle of the vast Howling Desert and tried to attract him to active activity, but he only answered “grib” and gave up on their requests. The animals complained to the genie; when the camel told him his usual “hump,” he rewarded him with a hump so that the beast could work for 3 days without lunch breaks.

How folds appeared on the skin of a rhinoceros

A fire-worshipping Persian baked sweet bread with raisins, but a rhinoceros drove him onto a palm tree and ate all the bread. When the rhinoceros took off all his smooth skin and went for a swim, the man poured stale crumbs and burnt raisins into it. To get rid of the tingling sensation, the rhinoceros began to rub against the palm tree, but only rubbed the folds and completely erased the buttons.

How the leopard became spotted

All animals lived in the High Feldt desert, where they were easily found by hunters: humans and leopards. To protect themselves, the animals went into the forest and acquired camouflage stripes and spots. The wise Babun advised the leopard to acquire spots, and the Ethiopian, too, to make changes to his appearance. In the forest they caught a zebra and a giraffe; they showed the hunters why they can hear and smell animals, but cannot see. The Ethiopian turned black and covered the leopard with 5 fingerprints.

Elephant child

When elephants did not have a trunk, a curious baby elephant asked many questions, for which he was beaten several times. Finally, he wanted to know what the crocodile had for dinner. He turned to the crocodile with this question; he grabbed him by the nose and began to pull him into the water. The python pulled the curious baby by the hind legs, but the baby elephant's nose remained extended. With it he could get bananas, and also beat off all those who had previously spread their paws.

Old Kangaroo's Request

The kangaroo, who at that time had a fluffy skin and short legs, asked the three gods to make him different from the others, and so that everyone would know about him by 5 pm. He annoyed one of the gods so much that he asked the dingo to chase the kangaroo. As a result, the kangaroo's hind legs extended to make it easier to jump. But he refused to thank the dingo for acquiring the kangaroo.

How did armadillos appear?

The jaguari told her inexperienced son about the hedgehog (it needs to be thrown into the water to turn around) and the turtle (it’s better to scratch it out of its shell), but they managed to confuse the fool, who, as a result of the hunt, only painfully pricked his paw. To escape, the turtle began to learn to curl up into a ball, and the hedgehog learned to swim. As a result of training, the turtle's scutes separated, and the hedgehog's needles stuck together. The Jaguar advised her son to leave them alone and called the new animals armadillos.

How the first letter was written

A primitive man named Tegulai Bopsulaya had his spear broken. While he was repairing it, Tefi’s daughter sent a drawing with the stranger to her mother with a request to send a new spear, but she was frightened by the strange drawings and raised the whole village to beat the stranger (and his hair was smeared with clay). This is how the first thought about the need for writing appeared.

How the first alphabet was compiled

Tegumai and Tefi came up with images of letters in a few days: A is like the open mouth of a carp, U is like its tail, o is like a stone or an open mouth, etc. The letters were combined into words.

Sea crab who played with the sea

In the most ancient times, a wizard showed the animals how to play, and they began to play: beaver - beaver, cow - cow, etc. This game was too simple for an intelligent person. The sea crab decided to graze and float sideways into the sea. Only Adam's daughter noticed this. The wizard approved the deeds of all animals (for example, he made the pieces of earth that the elephant threw into the Himalayan mountains). But Adam complained about the ebb and flow of the tides; It turned out that it was the Crab who was misbehaving. The wizard made him small and strips him of his armor once a year. The little girl gave the crab her scissors so that he could dig holes and open nuts.

The man was lazy and did not want to row to the shore. To make the sea work for him twice a day, the wizard gave a command to the old man of the moon and the rat that was gnawing his net (the fisherman dragged the sea past the continents with his net).

The cat who walked by himself

A wise primitive woman tamed animals (a dog with tasty bones, a horse and a cow with fragrant hay). The cat, who walked wherever he wanted, watched all this (from the dog he even received a promise of eternal enmity for not going with her on reconnaissance); the woman promised that if she praised the cat once, he could go into the cave, two times, he could sit near the fire, three times, he could drink milk 3 times a day. The woman did not want this, but the cat, playing with her baby and catching a mouse, achieved praise three times, as evidenced by the skin that covered the entrance, the fire and the jugs of milk. But the man made an agreement with the cat: if he did not always catch mice, then the man would throw one of his five things at him (boots, a stone ax, a log and an ax), and the dog promised to chase him if he was not gentle with baby.

The moth that stomped its foot

Suleiman ibn Daoud had many grumpy wives and one beloved wife, Balkis, as well as a magic ring that summoned genies (however, Suleiman did not want to show off his strength and pacify his spouse with the help of genies). In the garden, he once saw a married couple of moths who were quarreling, and the husband claimed that all he had to do was stamp his foot and the entire palace of Suleiman would disappear. Balkin’s wife, who had taught him, dared him to stomp, and Suleiman, in cahoots with her husband, ordered the genies to carry the castle into the air. Thus, not only the moth’s wife was pacified, but also the scandalous sultanas.

Book Just Tales

It is precisely the universal humanity poured out in this novel by Kipling, as in his other best works, that seems to isolate “Kim” from the ideology of this writer and introduce him to the flow of high literature.

The same can be said about another amazing creation of Kipling, which appeared in the same years - the book “Just Fairy Tales” (1902).

Like many other things by this writer, they were created gradually.

Just Tales is Kipling's most "universal" book. ( This material will help you write correctly on the topic of the Book Just Fairy Tales. A summary does not make it possible to understand the full meaning of the work, so this material will be useful for a deep understanding of the work of writers and poets, as well as their novels, novellas, short stories, plays, and poems.) In it he acted not only as a storyteller and poet, but also as an artist. For his family, this, I think, was not a surprise - after all, he even kept notebooks in a special way: instead of ordinary notes, he covered them with some kind of squiggles, reminiscent of hieroglyphs, and interesting line drawings. But outside the family, of course, they did not know this, and when Kipling also emerged as a strong professional artist, who did not escape the influence of Burne-Jones, but was quite original, the public was amazed. Since then, Kipling's drawings have formed an unchanging, organic part of each individual edition of Just Fairy Tales.

True, calling this collection of Kipling this way, one has to follow the tradition of Chukovsky’s translation, which conveyed this title exactly like that, nothing more. In English it reads more like “Simple Stories.” However, such “simplicity” was only possible for Kipling.

In order to write these fairy tales, one had to first of all love children very much. Kipling's sister Trix, married to Mrs. Fleming, recalled that during walks he would strike up a conversation with every child he met. “It was an incomparable joy to watch him when he played with the child, because at that time he himself became a child,” she wrote. As for Just Tales, she says, it “anticipates any question a child might ask; in illustrations, he cares about exactly those details that the child expects to see.” The children repaid him with the same unaccountable love. Once, during a sea voyage, a ten-year-old boy, whom his mother could not calm down, rushed to Kipling, sat on his lap and instantly stopped crying. It is easy to understand how Kipling was adored by his own children and nephews. For them, he began to tell stories for the first time, which were later included in the collection “Just Fairy Tales.” After The Jungle Books, he was no longer afraid to consider himself a children's writer, and the first listeners of his fairy tales confirmed this opinion at every step. There were bedtime stories that Kipling told his daughter Effie (Josephine) in Vermont, and when repeated, she would not allow a word to be changed. If he missed a phrase or word, she immediately filled it in. There were other fairy tales intended for a large group of children - they were constantly altered until they acquired their final form. In America, the first version of the fairy tale “The cat walked by itself” appeared. It is also known that in Brattleboro the stories about the rhinoceros, the camel and the whale were first told. The researchers guessed that the last of them was born in America because “suspenders” are designated there by an American, not an English word, and the stations Winchester, Ashuelot, Nashua, Kini and Ficheoro, which the whale lists, are railway stations on the way to Brattleboro. When the family went to South Africa for three months in January 1898, there was a tale of a curious baby elephant and perhaps a leopard. Returning to England, Kipling created the fairy tale “How the First Letter Was Written”, before a new trip to Africa he wrote “The Crab Who Played with the Sea”, and in the first months of 1902 on the Rhodes estate - “The Moth Who Stamped His Foot” and "Cats" remade. This is how this book gradually came together. Each fairy tale was born when its time came. He drew illustrations for the book with great pleasure, also consulting with the children all the time.

Kipling’s nephews later told how in his English house “Elms” (“Elms”) they were invited into the study, a cozy room with a clerestory window, and Uncle Ruddy read to them about the sailor - very resourceful, smart and brave, about his braces: “ please don’t forget your suspenders, my dear.” In print, they recalled, “Just Tales” were nothing compared to what they heard. What pleasure they got when Uncle Ruddy told them in his deep, confident voice! There was something ritualistic about it. Each phrase was pronounced with a certain intonation, always the same, and without it they were just a shell. His voice had unique modulations, he emphasized certain words, highlighted certain phrases, and all this, they said, made his reading unforgettable.

In print, “Simply Fairy Tales” also remained an outstanding work of literature. And with all their simplicity - not only children's literature. Of course, the word “simplicity” applies to them with certain reservations. First of all, it should be noted that the poems accompanying these tales are distinguished by rare rhythmic and lexical sophistication, and the simplicity that distinguishes the main text of the tales is akin to the simplicity of a fable. These stories are simple because there is nothing superfluous in them.

But the main advantage of these tales is their extraordinary originality. The fairy tale tradition as a whole is distinguished by a certain “continuity”, and not only within the boundaries of any particular country. The common medieval roots of fairy tales are visible at every step, and it is extremely difficult to create something radically new in this area. Kipling was one of the few who succeeded. Of course, this cannot be said about all of his tales. “The Crab That Played with the Sea” directly correlates with the mythological plot set out in Walter Skeat’s book “Malay Magic” (1900), published a year earlier, and in the fairy tale “Where the Armadillos Came From” he seemed to subordinate himself to that “logic of the absurd” , which features “Alice in Wonderland! and “Through the Looking Glass” by his beloved Lewis Carroll - he knew both of these books almost by heart.

He was also familiar with Andrew Lang's book Myth, Ritual and Religion (1887), but from it he merely borrowed the names of the gods Nka, Nking and Nkong in The Tale of the Old Kangaroo. They find small quotes and reminiscences from the Bible and the Koran in Kipling. “The Moth That Stamped Its Foot” was created not without the influence of one of Robert Browning’s poems. Experts in Eastern literature also talk about the influence that Buddhist tales had on Kipling. But Kipling not only found a new, his own intonation. In most cases, he himself invented the plots of his fairy tales. According to Roger Lanceline Green, author of the famous book Kipling and the Children (1965), Just Tales gives the impression of something created out of nothing. We are not always even able to understand from what clay Kipling sculpted; his figures, and one cannot help but appreciate the genius with which he breathed life into them.” A characteristic feature of his tales, he continues, is, in his opinion, their “highly reliable unimaginability, proven with infallible logic.” To this we can add one more interesting feature of Kipling’s tales. Despite their peculiar ancient basis, they are full of modern details. In this respect, Kipling resembles Thackeray, in whose fairy tale “The Ring and the Rose” the hero, living in unknown times and in non-existent kingdom-states, cleans his boots with Warren's paste and does not generally refuse the benefits of modern civilization available to him.

Elizabeth Nesbit, who in her book A Critical History of Children's Literature (1953) diligently searches for the sources of Just Fairy Tales, also correlates them not with any specific works of folklore, but only with the general spirit of the ancient fairy tale tradition. According to her, “these stories, written in the knowledgeable twentieth century, represent such a skillful recreation of the primordial impulses that give rise to the many “whys and whys” of world folklore that it is even difficult to believe. Kipling, no worse than our prehistoric ancestor, grasps the main features or internal properties of an elephant and a camel, a leopard, a cat and a moth, and from all this he manages to weave a narrative in which everything shown is given an exhaustive explanation... But in any case, this is the same Kipling with with its unique style and aroma.” Gilbert Keith Chesterton said something similar about this book by Kipling in his review, published a month after its publication. “The special charm of these new Kipling stories,” he wrote, “is that they read not like fairy tales that adults tell children around the fireplace, but like fairy tales that adults told each other at the dawn of mankind. In them, animals appear as prehistoric people saw them - not as species and subspecies and a developed scientific system, but as independent creatures marked with the stamp of originality and extravagance. The baby elephant is a weirdo with a shoe on his nose; a camel, a zebra, a turtle - all these are particles of a magical dream, watching which is not at all the same as studying biological species.”

Of course, Chesterton forgets that in Kipling’s tales the spirit of European expediency is quite strong, and no matter how incredible the way the baby elephant acquired its trunk, the author has no doubt that now he lives better than before. But the reviewer of the first edition of “Simply Fairy Tales” rightly noted the author’s understanding of the spirit of the world’s most ancient civilizations.

“Just Fairy Tales” is the last of Kipling’s works that have become firmly established among readers and are recognized as classics. They were published in October 1902, in other words, more than two months before he turned thirty-six years old - halfway through his life. It can be said that it was precisely at this time that the creative impulse Kipling received in India was exhausted. Of course, later he had successful stories and poems, but only from time to time. When the Nobel Committee awarded him the prize for literature five years later, it was given to a writer who had already done almost everything he was capable of - in the novel, in the short story, in poetry.

Sources:

Rudyard Kipling Stories. Poetry. Fairy tales / Comp., preface, commentary. Yu. I. Kagarlitsky.- M.: Higher. school, 1989.-383 p.

annotation:

The collection of the remarkable English writer of the late 19th - early 20th century, Rudyard Kipling, includes the most significant stories, poems, and fairy tales written by him in different years.

The publication is equipped with a preface, commentary, and also a dictionary of oriental words found in the works of R. Kipling.

English writer, prose writer and poet Rudyard Joseph Kipling Joseph Kipling (1865-1936) entered children's literature as the author of the famous story about Mowgli and the humorous and ironic "Fairy Tales", although the writer also had other works intended for children and youth. His tales closely united the traditions of English folk humor and folklore of those countries and continents that the writer knew: South Africa, Australia and New Zealand. The books were created in close communication between Kipling and children. The writer thought of them as answers to the questions of his own children. Kipling told this about one of his daughters, Elsie, in verse, completing the tale of the baby elephant. Elsie’s curiosity cannot be compared with Kipling’s own: Each servant has his own name: “How”, “Why”, “Who”, “What”, “When”, “Where”. But the writer’s daughter - “a person of young years” - has not six, but “hundreds of thousands of servants” - “and there is no peace for everyone”: this is “five thousand where, seven thousand how, one hundred thousand why.” As a playful and ironic response to these countless where, how, why fairy tales were written. They are named: “Where do armadillos come from”, “Why does a camel have a hump”, “Where does a whale have such a narrow throat”, “Where does a rhinoceros have folded skin”, etc. Kipling’s tales follow the tradition of the so-called “etiological tales” (“ etiological" from the Greek words "reason", "concept, doctrine"), i.e. just those that explain something, for example, why a hyena's hind legs are shorter than its front ones, why a hare is cowardly. Etiological tales are known to all peoples of the world - there are many of them in African and Australian folklore. Of course, this does not mean that the writer was focused on reproducing any specific folk-poetic plot from the fairy-tale folklore of Africa and Australia. Kipling did not process existing fairy tales, but created his own, having mastered the general principles of folk tales. His tales begin with a loving appeal to a child: “It’s only now, my dear boy, that the elephant has a trunk.” But the point, of course, is not only in the conversion itself. The entire artistic structure of the fairy tale bears the imprint of the live communication of the narrator with the child listening to him. As shown by researchers, Kipling even used specific children's vocabulary, which was completely understandable to children. Communication with a child is most noticeable in the special intonation of Kipling the storyteller: “It was a long time ago, my dear boy. Once upon a time there lived a Keith. He swam in the sea and ate fish. He ate bream, and ruff, and beluga, and sturgeon, and herring, and the nimble, fast eel. Whatever fish he comes across, he will eat. He opens his mouth, and he’s done!” The fairy-tale narration is interrupted by interpolated replicas, specially intended for little listeners, so that they remember some detail, pay attention to something especially important for themselves. About the Sailor, who was in the womb of the Whale, Kipling says: “The Sailor is wearing blue canvas trousers and suspenders (look, my dear, don’t forget about the suspenders!), and a hunting knife at the side of his belt. The Sailor is sitting on a raft, with his legs dangling in the water (his mother allowed him to dangle his bare legs in the water, otherwise he would not have dangled, because he was very smart and brave).” And whenever the subject of the Sailor and his blue trousers comes up, Kipling will not fail to remind again and again: “Please don’t forget about your suspenders, my dear!” This manner of Kipling the storyteller is explained not only by the desire to play up an essential detail in the development of the action: the Sailor used suspenders to tie up thin splinters that he inserted into Keith’s throat - “Now you understand why you should not have forgotten about the suspenders!” But even after everything has been told, at the very end of the tale, Kipling will again talk about the suspenders that came in handy for the Sailor: “The blue canvas trousers were still on his feet when he walked on the pebbles near the sea. But he was no longer wearing suspenders. They remained in Keith's throat. They tied together splinters, from which the Sailor made a lattice.” The cheerful inspiration of Kipling the narrator gives fairy tales a special charm. That's why he plays up some detail he likes, repeating it many times. For the same reason, the writer gives the child fantastic paintings imbued with everyday humor. The whale, sailing towards England, is likened to a conductor and shouts out the names of the stations: “It’s time to get out! Transfer! Nearest stations: Winchester, Ashuelot, Nashua, Keene and Fitchboro.” The poetic detailing of the action reveals the humorous and ironic intent of the fairy tale, bringing it closer to the cheerful humoresques of English folk children's poetry. In the fairy tale about the cat, the word “wild” is played out many times - the action takes place in a distant time, when tame animals were still wild: “The Dog was wild, and the Horse was wild, and the Sheep was wild, and they were all wild and wild and wandered wildly Wet and Wild forests. But the wildest was the Wild Cat - she wandered wherever she pleased and walked on her own.” Everything in the world was still wild - and it is said about people: “That evening, my dear boy, they dined on wild sheep, roasted on hot stones, seasoned with wild garlic and wild pepper. Then they ate wild duck stuffed with wild rice, wild grass and wild apples; then cartilages of wild bulls; then wild cherries and wild pomegranates.” And even the legs of the Wild Horse and the Wild Dog are wild, and they themselves speak “wildly”. The varied use of the same word brings the narrative closer to a humorous joke. By skillful repetition the writer achieves a remarkable comic effect. The stupid Jaguar, who decided to follow the advice of the Jaguar Mother, was completely confused by the smart Turtle and the cunning Hedgehog. “You say that I say that she said something else,” said the Turtle. “So what of that?” After all, if, as you said, she said what I said, then it turns out that I said what she said.” From such confusing speeches, the painted Jaguar feels that “even the spots on his back hurt.” In Kipling's fairy tales, the same turns, words, expressions, phrases and even entire paragraphs are repeated many times: mother Jaguar gracefully waves her graceful tail, the Amazon is called a “muddy river”, and the Limpopo is called “dirty, muddy green, wide”, Turtle is everywhere “leisurely”, and the Hedgehog is “prickly-thorny”, the Jaguar is “painted”, etc. The whole combination of these figurative and stylistic devices gives fairy tales an unusually bright artistic originality - they turn into a fun game with words. Kipling revealed to his little listeners the poetry of distant travels, strange life on distant continents. Fairy tales call to the world of the unknown, mysteriously beautiful: * From Liverpool Harbor * Always on Thursdays * ouds set sail * To distant shores. The treasury of world culture includes those creations by Kipling that are marked by the spirit of humanism, subtle skill, observation, poetic courage and originality, and closeness to the democratic traditions of folklore of English and other peoples. Along with fairy tales of foreign writers, folk tales from different peoples of the world are widespread in the reading habits of preschool children. These are fairy tales of the Slavic peoples (the Czech fairy tale “Goldilocks”; the Polish “Wonderful Apple Tree”; the Bulgarian “Ashes”, “The Boy and the Evil Bear”; the Serbian “Why the Moon Has No Dress”, etc.); fairy tales of other European nations (Hungarian “Two Greedy Little Bears”, French “The Goat and the Wolf”, English “The Tale of the Three Little Pigs”, Italian “Kittens”, etc.); fairy tales of the peoples of Asia (Korean fairy tale “Swallow”, Japanese “Sparrow”, Chinese “Yellow Stork”, Indian “Tiger, Peasant and Fox”, etc.). Fairy tales from peoples of different continents have significantly expanded the range of children's books. Together with the writers' fairy tales, they entered the "golden fund" of literature for preschoolers.

English writer, prose writer and poet Rudyard Joseph Kipling Joseph Kipling (1865-1936) entered children's literature as the author of the famous story about Mowgli and the humorous and ironic "Fairy Tales", although the writer also had other works intended for children and youth.

Kipling has very original, unusual tales, and they are unusual, first of all, because their main characters - people and animals - coexist as equal, equal inhabitants of planet Earth. These tales are called animalistic. Animals in an animalistic fairy tale are depicted as they are in life, their character, habits, habits are depicted, and in no case do they mean people - this is the main difference between these fairy tales and folk tales about animals.

In addition, these fairy tales are also unusual in that they raise very important, philosophical, and not at all fairy-tale questions. For example, can a person survive in the society of animals, deprived of human society (it’s not for nothing that the children raised by animals, with the light hand of Kipling, are called “Mowgli” by scientists around the world) or the question of how writing appeared on earth, how it was the first letter was written.

His real fame as a children's writer was brought to him by the collection “Simply Fairy Tales” or “Little Tales”. These are not “just” fairy tales, but an incredibly homely book written by a loving father for a beloved child, and children cannot help but notice and appreciate it. The writer thought of them as answers to the questions of his own children.

As a playful and ironic answer to the countless where, how, why of his daughter Elsie and fairy tales were written. They are named: “Where did armadillos come from”, “Why does a camel have a hump”, “Where does a whale have such a narrow throat”, “Where does a rhinoceros have folded skin”, etc.

Kipling's tales follow the tradition of so-called "etiological tales" ("etiological" from the Greek words "cause", "concept, doctrine"), that is, just those that explain something, for example, why the hyena's hind legs are shorter than its front ones, why is the hare cowardly? Etiological tales are known to all peoples of the world - there are many of them in African and Australian folklore. But Kipling did not process existing fairy tales, but created his own, having mastered the general principles of folk tales.

His tales begin with a loving appeal to a child (“Little Elephant”): “It’s only now, my dear boy, that the elephant has a trunk.” But the point, of course, is not only in the conversion itself. The entire artistic structure of the fairy tale bears the imprint of the live communication of the narrator with the child listening to him. As shown by researchers, Kipling even used specific children's vocabulary, which was completely understandable to children. It would be appropriate to note here that Kipling continued the tradition of English children's literature - he himself illustrated his fairy tales and gave explanations for the illustrations.

Communication with a child is most noticeable in the special intonation of Kipling the storyteller (“Why does the whale have such a throat”): “It was a long time ago, my dear boy. Once upon a time there lived a Keith. He swam in the sea and ate fish. He ate bream, and ruff, and beluga, and sturgeon, and herring, and the nimble, fast eel. Whatever fish he comes across, he will eat. He opens his mouth, and he’s done!”

The fairy-tale narration is interrupted by interpolated replicas, specially intended for little listeners, so that they remember some detail, pay attention to something especially important for themselves.
About the Sailor, who was in the womb of the Whale, Kipling says: “The Sailor is wearing blue canvas trousers and suspenders (look, my dear, don’t forget about the suspenders!), and a hunting knife at the side of his belt. The Sailor is sitting on a raft, with his legs dangling in the water (his mother allowed him to dangle his bare legs in the water, otherwise he would not have dangled, because he was very smart and brave).”

And whenever the subject of the Sailor and his blue trousers comes up, Kipling will not fail to remind again and again: “Please don’t forget about your suspenders, my dear!” This manner of Kipling the storyteller is explained not only by the desire to play up an essential detail in the development of the action: the Sailor used suspenders to tie up thin splinters that he inserted into Keith’s throat - “Now you understand why you should not have forgotten about the suspenders!” But even after everything has been told, at the very end of the tale, Kipling will again talk about the suspenders that came in handy for the Sailor: “The blue canvas trousers were still on his feet when he walked on the pebbles near the sea. But he was no longer wearing suspenders. They remained in Keith's throat. They tied together splinters, from which the Sailor made a lattice.”

The cheerful inspiration of Kipling the narrator gives fairy tales a special charm. That's why he plays up some detail he likes, repeating it many times. For the same reason, the writer gives the child fantastic paintings imbued with everyday humor. The whale, sailing towards England, sounds like a conductor shouting out the names of the stations: “It’s time to get out!” Transfer! Nearest stations: Winchester, Ashuelot, Nashua, Keene and Fitchboro.”
The poetic detailing of the action reveals the humorous and ironic intent of the fairy tale, bringing it closer to the cheerful humoresques of English folk children's poetry. In the fairy tale “The Cat that Walked by itself” the word “wild” is played on many times - the action takes place in a distant time when tame animals were still wild: “The Dog was wild, and the Horse was wild, and the Sheep was wild, and they were all wild and wild and wandered wildly through the Wet and Wild forests. But the wildest was the Wild Cat - “she wandered wherever she pleased, and walked on her own.” Everything in the world was still wild - and it is said about people: “That evening, my dear boy, they dined on wild sheep, roasted on hot stones, seasoned with wild garlic and wild pepper. Then they ate wild duck stuffed with wild rice, wild grass and wild apples; then cartilages of wild bulls; then wild cherries and wild pomegranates.” And even the legs of the Wild Horse and the Wild Dog are wild, and they themselves speak “wildly”. The varied use of the same word brings the narrative closer to a humorous joke.

By skillful repetition, the writer achieves a remarkable comic effect (“Where did armadillos come from”). The stupid Jaguar, who decided to follow the advice of the Jaguar Mother, was completely confused by the smart Turtle and the cunning Hedgehog. “You say that I say that she said something else,” said the Turtle. “So what of that?” After all, if, as you said, she said what I said, then it turns out that I said what she said.” From such confusing speeches, the painted Jaguar feels that “even the spots on his back hurt.”

In Kipling's fairy tales, the same turns, words, expressions, phrases and even entire paragraphs are repeated many times: mother Jaguar gracefully waves her graceful tail, the Amazon is called a “muddy river”, and the Limpopo is called “dirty, muddy green, wide”, Turtle is everywhere “leisurely”, and the Hedgehog is “thorny”, the Jaguar is “painted”, etc.

The whole combination of these figurative and stylistic devices gives fairy tales an unusually bright artistic originality - they turn into a fun game with words. Kipling revealed to his little listeners the poetry of distant travels, strange life on distant continents. She calls to the world of the unknown, mysteriously beautiful.

With his poetry of recognition of the world, spiritual health, irony and jokes, Kipling as a writer gained universal recognition among teachers. The best properties of his artistic talent were revealed precisely in fairy tales.

Children really liked the tale from The Jungle Book about the glorious mongoose who declared a merciless war on the cobras Naga and Nagaina (“Rikki-Tikki-Tavi”). He exudes the poetry of tropical adventures, dangers and victories. A short poem introduces the story in which the mongoose Rikki-Tikki-Tavi will defeat the huge snakes Naga and Nagaina, prevent the snake cubs from hatching and save the family of people feeding him from cruel death.

Children all over the world read stories about the boy Mowgli. It must be said that Kipling did not have a separate work “Mowgli” - these stories are parts of “The Jungle Book”. “The Jungle Books” was created using a mosaic principle. They consist of fifteen fragments, of which only eight are related to the story of Mowgli, but even those are not arranged in a logical sequence, but alternate with stories about the White Cat and the little mongoose Rikki-Tikki-Tavi, as well as other stories.

These fragments are independent, but form a single artistic world. The main characters of the collection are the boy Mowgli, the leader of the wolf pack Akelo, the bear Balu, the panther Bagheera, the wise python Kaa, the cruel and lonely tiger Sherkhan, his constant companion, the insidious and hypocritical jackal Tabaqui, the elephant Hathi, the brave mongoose Rikki-Tikki-Tavi, his enemies are cobras Nag and Nagaina, a persistent and inquisitive White Cat who was looking for the best island for his relatives.

In almost all of Kipling’s fairy tale collections, the text is structured according to the following principle: each fairy tale is preceded by a small (and only occasionally, several pages long) poem, which creates the “mood” of the subsequent prose. In The Jungle Books, the author also combined poetry and prose. The idea of ​​each fragment is presented in the form of a poetic epigraph, and the prose text reveals it.

Kipling's jungle appears as a world of struggle for existence, a confrontation between two instincts - creation and destruction, life and death. The jungle world consists of communities subordinate to each other: family, pack, people. The pack always has its leader, who ensures order, and order is a condition of life. A society without a leader (like Banderlog) is moving towards self-destruction. The law of the jungle allows hunting as killing for life, but prohibits killing for pleasure.

The Jungle Book is somewhat like a fable, a fairy tale and a myth. However, this work does not belong to any of these genres. In the fable, people are depicted as animals, and in The Jungle Book the animals, although they talk, still remain animals. In fairy tales, thanks to a miracle, the plot moves from misfortune to happiness. And in The Jungle Book, happiness and misfortune naturally alternate. The story is based more on the laws of nature than on fairy tales.

Kipling's book shows the real laws of nature from an unusual angle. The entire book is subject to the correct rhythm: violation of the law - renewal of laws. If the tiger Shere Khan violates one of the most important laws of the jungle - not to hunt a person, he must be punished, and is soon defeated by the human cub Mowgli. If the gray monkeys violate the ban (they are not allowed to interfere in the affairs of the jungle), then Fear, the huge python Kaa, is their punishment.

The Jungle Books is based on rich Indian folklore. Fairy tales are filled with exotic extreme situations and keep you in constant suspense.

But Rudyard Kipling also has completely different tales, written based on the events of the distant past of England, on the material of its folklore and legends. They are the ones collected in the book “Tales of Old England”

Many literary scholars classify these tales as fantastic tales. Kipling, in fact, was one of the founders of the “fantasy” genre, creating a fairy-tale epic in two volumes - “Puck of the Magic Hills” and “Gifts of the Fairies.”

Kipling borrowed his main character, Puck, or Good Robin, from Shakespeare. This forest spirit, often mischievous, but kind and sympathetic to the undeservedly offended, is found in many folk tales, from where it was taken by Shakespeare. By coincidence, Puck appears in front of the children Yuna and her brother Dann. Puck tells them the history of England and amuses them with his tricks and magic. Kipling's dilogy is a classic of the fantasy genre - magical stories about elves and spirits.

The plot of the fairy tales was also suggested by life. Kipling, along with his children John and Elsie, acted out scenes from Shakespeare's A Midsummer Night's Dream. Their stage was an abandoned quarry overgrown with grass. John played Puck, Elsie played Titania, and Kipling himself played the weaver Warp, and for his role he took out a paper donkey's head. This is roughly how the first fairy tale begins. Tales of old England are special tales. They were called differently: historical stories, instructive parables, romantic fairy tales, putting one or another of their features in the first place. Of course, there is instructiveness in them, but it is presented covertly and imperceptibly under external influence, so that it is not always visible.

The author himself admitted that in his fairy tales he “hid” something: “I arranged the material in three or four layers superimposed on each other, which may or may not be revealed to the reader, depending on his age and life experience.” . Therefore, it is not always easy to determine what this or that fairy tale is about: some think it’s about one thing, others think it’s about something else. Much in these tales may seem unusual and, therefore, incomprehensible, especially upon first reading. Fragmentary images, vague descriptions and comparisons, unusual psychological motivation for some remarks - all this may seem difficult at first. But, only from the beginning. These tales are thought out and verified by the author to the last word. They are designed to be read (precisely read, and not perceived by ear, such as, for example, “Fairy tales just like that”).

Moreover, it is better to read them more than once, and then with each new reading, new, previously unnoticed details will be revealed to you, and unclear phrases will become clear. In Kipling, all the details are very important. Kipling calls for a closer look at the surrounding land. Through the lips of Pak, he says that it contains much more than the people living on it think. The land that absorbed the sweat of thousands of unknown workers and the blood of defenders, the land on which the spirit of the people was forged, the land that merged with history and itself became history - it is she who is the true hero of Kipling’s fairy tales, it is she who helps modern people to correctly understand their place in life.

The two-volume set consists of twenty-one short stories, none of which specifically indicate a date or century. The reader must guess this himself, which is facilitated by hints generously scattered throughout the text of the books.

Conclusion

Rudyard Kipling was called the “lawless comet” that burst into English literature. And there were reasons for this: in the era of literary timelessness, his works attracted attention with their harmony and clarity, strength and courage, vitality and healthy optimism of the characters.

The rich language of Kipling's works, full of metaphors, made a great contribution to the treasury of the English language.

The treasury of world culture includes those creations by Kipling that are marked by the spirit of humanism, subtle skill, observation, poetic courage and originality, and closeness to the democratic traditions of folklore of English and other peoples.

In addition, Kipling in English literature is noted for the presence of four lifetime collected works, an unusual fact for England, which knows almost no lifetime collected works.

Rudyard Kipling
(1865-1936)
"Fairy tales just like that"

Integrated lesson.
"Book Structure"; the concept is revealed"Translator".

Target:

Tasks:

§ introduce the biography of R. Kipling;

§ evoke: an emotional attitude towards the text read, cognitive interest;

§ open the mind;

§ consolidate knowledge about the structure of the book;

§ reveal the content of the concept of “translator”;

Lesson form:
Method:
Form of work: collective, individual.
Equipment: board, book exhibition, crosswords, tablets, video

Download:

Preview:

Rudyard Kipling. Fairy tales just like that

And now we will get acquainted with another wonderful fairy tale by R. Kipling from the series “Fairy Tales Just Like That,” which is called “Where the Armadillos Came From” (Viewing an excerpt from the cartoon “Hedgehog Plus Turtle” based on the fairy tale).

Once you shed your skin, you can't fit back into it. - (Kaa)

People definitely need to set traps for other people, and without this they will all be unhappy. - (Mowgli)

Everyone has their own fear. - (Hathi)

The law is like a tenacious vine: it grabs everyone and no one can escape it. - (Balu)

Money is something that changes hands and never gets any warmer. - (Mowgli)

It is better to be torn to pieces by beasts than to be killed by people - (Messui's husband)

There are many words in the jungle, the sound of which does not match the meaning. - (Bagheera)

The whole jungle will think tomorrow the way monkeys think today. - (Bandar-Logi)

Grief does not interfere with punishment - (Balu)

One of the beauties of the Law of the Jungle is that with punishment everything ends. There are no quibbles after that.

The animals say that man is the weakest and most defenseless of all living creatures and that touching him is unworthy of a hunter. They also say - and this is true - that cannibals become lousy over time and their teeth fall out.

Every dog ​​barks in his yard! - (Sherkhan)

Words are the most powerful drug that humanity uses.

And the secret that was buried
At the foot of the pyramids
That's all there is to it,
What a contractor, although he
I respected the law very much,
Lightened Cheops by a million.

The stupidest woman can cope with a smart man, but only the smartest can cope with a fool.

What does the Law of the Jungle say? Strike first, then give your voice. By your carelessness alone, they will recognize you as a person. Be reasonable. - (Bagheera)

Brave heart and polite speech. You'll go far with them. - (Kaa)

At least a hundred villagers came running: they stared, chatted, shouted and pointed at Mowgli. “How ignorant they are, these people!” Mowgli said to himself. “Only gray monkeys behave like that.”

People are people, and their speech is similar to the speech of frogs in a pond. - (Gray Brother)

The Law of the Jungle taught Mowgli to restrain himself, because in the jungle life and food depend on it. But when the children teased him because he did not want to play with them or fly a kite, or because he pronounced some word incorrectly, only the thought that it was unworthy of a hunter to kill small, defenseless cubs did not allow him to grab and tear them in half.

People kill because they don’t hunt, out of idleness, for fun. - (Mowgli)

The people of the Jungle know that they should not rush while eating, because they cannot get back what they miss.

The puppy is ready to drown himself just to bite the moon in the water - (Mowgli)

People are always more willing to eat than to run - (Mowgli)

RUDDYARD KIPLING (1865-1936) “Once upon a time there was Rudyard Kipling. Just, moor-meow, don’t say: “Who is this?” Of course, a writer. And also a very famous one. For example, he wrote about one my close relative - a cat who walks on her own. And in general, he knew and loved animals and wrote many fairy tales about them. Do you remember Riki-Tiki-Tavi, the brave mongoose? And the inquisitive Elephant, who wanted to meet the Crocodile? , the mighty boa constrictor Kaa and the leader wolf Akella? And, of course, you know Mowgli! That’s how many wonderful stories Rudyard Kipling wrote for you during his long life. But, I swear by his mustache and tail, you don’t even suspect how hard his life was. in childhood, when he was the same age as you are now. Well, that is, I hope you know that Rudyard Kipling is an Englishman. But if you think that he was actually born in England, you are deeply. You’re wrong. Because he was born in India! Rudyard’s dad was a decorative artist, but something didn’t work out for him in England, and he left for India. Of course, he took his mother with him. And there they had Rudyard. And he lived the first six years of his life in India. By the way, he considered these years the happiest of his life. Father's affairs in India improved, they lived quite richly, and there was a whole crowd of servants in his father's house. All the servants adored little Rudyard. But he loved them, was friends with them, and did not address his servant in any other way than “brother.” Well, as is usual with adults, Rudyard’s mother was sometimes out of sorts and began to scold the servants. However, often it’s down to business. And little Rudyard settled these quarrels by standing up for his friends - laundresses, yard sweepers... And quite successfully.

And how many fairy tales and stories they told him! If you ask what language they did this in, then I will tell you straight away: this language was called Urdu, and Rudyard at that time knew it better than English, in which he later wrote his wonderful books... In general, it was a sunny, happy life, full of love and brotherhood. And then Rudyard turned six years old, and it was all over!.. Because an English boy at that age began to study. And it was considered better to study at home, in England. And Rudyard was sent from his beloved sunny India to his native foggy land, to a boarding house, which was maintained by one of his relatives. It was then that his great misfortunes began. Because my aunt-relative really didn’t like the nephew from India. He was somehow different. A visionary, unhearing, he did everything his own way, and not as it should be. And this strict teacher took the most decisive measures to, as they say, make a decent person out of a blockhead. She was not lazy to lecture him and pester him with comments. She fought against his fantasy, which she, you know, called a lie, with all her considerable strength - and succeeded: the cheerful inventor turned into a pale, silent, sad boy. However, from time to time, he still continued to fantasize. That is, from the teacher’s point of view, “it’s shameless to lie!” One day, as punishment for this, she sent him to school, hanging a cardboard sign on his chest, on which was written in large letters: “LIAR”... And Rudyard, unable to bear this last humiliation, became seriously ill. He went blind and almost went crazy...

On this, thank God, the aunt’s “good upbringing” ended: Rudyard’s mother, who urgently arrived, realized what was happening to her boy and took him from the boarding school. Having recovered, Rudyard studied at a private boys' school, where there was also plenty of drill, cramming, and insults. But he endured. And then he even wrote in one of his stories: he is grateful to school for preparing him for life and tempering his soul. After all, adult life, I’ll tell you a secret, is also not smeared with honey, and a person must be able to resist misfortunes, try to withstand difficulties and at the same time not become embittered at the whole world, but remain kind and sympathetic. Is not it? When Rudyard grew up and became a world-famous writer, the children of the English and Russians, Indians and French began to read his wonderful fairy tales, and adults began to read his stories, poems, and stories. What Kipling created for children is unlikely to ever be forgotten.

And, preserving the memory of me, For one short moment, Ask about me Only from my books. R. Kipling "Request"

A translator is a specialist in translations from one language to another.

"The time will come when people will call it the ability to write."

The Journey of a Chief A rock inscription from North America tells how a chief named Mayenguk set out on a journey in 5 canoes. The journey lasted 3 days (3 suns under the curved sky). The eagle is a symbol of courage. Other animals are images of good guardian spirits.

Game "We are primitive artists"

Later, people realized that it was much faster and more convenient to write with icons - each icon represented a word.

Finally, people decided that it was easiest, most accurate and most convenient for the picture to correspond not to the whole word, but to the spoken sounds of speech. Letters appeared.

How can a modern person convey information? oral communication from person to person the alphabet of gestures drawing a written message telephone communication radio communication color signals (colored plates) sound signals light signals (bonfire, signal flare) semaphore alphabet (signalman with flags on a ship) flags of the international code of signals (on ships) musical notation alphabet mathematical Morse code formulas, etc.

"WHERE DID THE BATTLES COME FROM"