Жанр рассказа царевна лягушка

Пришла пора государю женить трех своих сыновей. Он приказал наследникам выстрелить из лука по одному разу и велел сыновьям искать жену себе там, где упадет их стрела.

Старший сын пустил стрелу, она упала на боярский двор. У среднего она упала на двор богатого купца, а младший пустил свою стрелу далеко. Три дня Иван-царевич искал свою стрелу, а когда нашел, опечалился. Его стрела упала в болото рядом с лягушкой. Пришлось младшему царевичу на ней жениться.

На следующий день после свадеб царь призвал сыновей и наказал их женам к завтрашнему дню испечь для него хлеб. Пришел Иван домой в печали. Лягушка спросила у него, что случилось. Иван-царевич рассказал о приказе отца. Лягушка отправила Ивана спать, а сама сняла кожу и обернулась прекрасной красавицей. Она была Василисой Премудрой. Молодая жена испекла роскошный каравай. Утром она разбудила мужа снова в образе лягушки и отправила с выпечкой ко двору отца. Царь признал хлеб старших невесток непригодным для еды, а каравай Василисы похвалил.

Дал он новое задание сыновьям для невесток — соткать за ночь ему по ковру. Снова всех лучше справилась Василиса Премудрая.

На третий день царь пригласил сыновей с невестками к нему на пир. Василиса сказала мужу, что явится на торжество позднее его. Она предупредила, чтобы гости не боялись шума и грома. Когда братья стали спрашивать Ивана, где его жена, что-то загремело. Младший царевич сказал, что приехала его супруга и призвала гостей не пугаться грохота. Василиса явилась на пир в своем подлинном обличье в золоченой карете.

Когда все сели за стол, младшая невестка стала выливать недопитое вино в один рукав и складывать косточки — в другой. Это заметили жены старших братьев и стали повторять за ней. Пошла Василиса танцевать, махнула одной рукой — появилось озеро, махнула другой — на озере появились лебеди. Когда она перестала танцевать, видение исчезло.

Старшие невестки попытались повторить все это за Василисой, но только обрызгали гостей и побили их собранными косточками. За это царь выгнал их с торжества.

Иван-царевич отправился домой вперед жены и сжег ее кожу. Когда Василиса вернулась домой, она рассказала мужу, что оставалось ей пробыть лягушкой только три дня. Теперь же ей предстоит отправиться к Кощею Бессмертному. Иван сможет ее найти только тогда, когда сносит три пары железных сапог. После этих слов она обернулась птицей и улетела.

Молодой муж отправился на поиски супруги. Однажды в пути он встретил старичка, который подарил царевичу волшебный клубок. Бросил Иван перед собой клубочек и побежал за ним. В дороге он захотел есть. Хотел подстрелить медведя, зайца, селезня и изловить щуку, но пожалел их после просьбы оставить их в живых.

Тем временем клубок привел царевича к Бабе-Яге. Она рассказала Ивану, как ему вызволить жену и одолеть Кощея. Для этого нужно было сломать иглу.

Отправился Иван на поиски дуба, где хранился ларец с волшебной иглой. Когда он нашел дерево с ларцом, сломать дуб помог царевичу медведь. Из ларца выскочил заяц, его помог одолеть заяц, которого пожалел царевич. Из зайца выскочила утка, ее догнал селезень. Игла упала в море. Когда это случилось, иглу со дна достала щука. Иван-царевич сломал иглу и вызволил жену. После этого зажили они в счастье и согласии.

Источник

Читательский дневник по русской народной сказке «Царевна-лягушка»

Автор: народ.

Название произведения: «Царевна-лягушка».

Число страниц: 36.

Жанр произведения: народная волшебная сказка.

Главные герои: Иван-царевич, Лягушка — она же Василиса Премудрая.

Второстепенные герои: Царь, братья, невестки, Баба-Яга

Характеристика главных героев:

Иван-царевич — добрый, доверчивый.

Считал, что ему не повезло, но не бросал свою лягушку.

Василиса — мудрая, находчивая и верная жена.

Была лягушкой, превратилась в прекрасную царевну.

Характеристика второстепенных героев:

Старшие братья и невестки — завистливые и гордые.

Царь — хитрый, мудрый, хотел счастья сыновьям.

Баба-яга — мудрая женщина, волшебница.

Краткое содержание сказки «Царевна-лягушка»

Решил царь женить сыновей и велел пустить им стрелы наугад.

Старшим братьям достались невесты купеческие да боярские, а младшему попалась лягушка.

Решил царь проверить невесток. Приказал хлеб испечь.

Жёны старших братьев невкусный хлеб испекли.

А лягушка превратилась в Василису Премудрую, и шикарный каравай приготовила.

Велел царь невесткам ковры выткать.

У жён старших братьев ничего не получилось, а Василиса отличный ковёр выткала, на котором всё царство показала.

Позвал царь невесток на пир.

Превратилась лягушка в красавицу, всех на пиру затмила своей красотой, и мудростью.

Да только Иван поспешил домой и сжёг её шкурку лягушачью.

Обернулась Василиса голубкой и улетела.

Отправился Иван её искать.

Встретил по дороге различных животных, но пощадил их.

И звери ему помочь обещали.

Добрался Иван до Бабы-яги и подсказала старушка, где смерть Кощея спрятана.

Помогли Ивану медведь, заяц и щука добыть яйцо со смертью Кощея.

Достал Иван иголку и сломал.

Умер Кощей, а Василиса к Ивану вернулась.

Стали они жить счастливо и в любви.

План сказки:

  1. Три стрелы.
  2. Неожиданная невеста.
  3. Хлеб для царя.
  4. Ковёр для царя.
  5. На пиру.
  6. Сожжённая шкурка.
  7. Иван в поисках.
  8. Три зверя лесных.
  9. У Бабы-яги.
  10. Смерть Кощея.

Основная мысль сказки «Царевна-лягушка»

Главная мысль сказки заключается в том, что не стоит человека по его внешности.

Основная идея сказки в том, что свою ошибку нужно уметь исправить.

Ещё одной главной мыслью можно назвать то, что ради любви человек способен преодолеть любые препятствия и трудности.

Чему учит сказка

Сказка учит не судить человека по внешности, а смотреть на его поступки и внутреннюю красоту.

Учит не требовать от человека то, чего он не может выполнить.

Учит ценить своих близких и быть готовым на всё ради них.

Учит бороться за своё счастье и не бояться трудностей.

Учит быть смелыми, отважными, рассудительными и добрыми.

Учит отвечать за свои поступки и думать перед тем, как что-то делать.

Краткий отзыв о сказке «Царевна-лягушка» для читательского дневника

Прочитав эту сказку, я была восхищена смелостью и настойчивостью Ивана, и красотой, и мудростью Василисы.

Эти герои были созданы друг для друга.

Никакие препятствия не могли помешать их счастью.

Сказка очень интересная.

В ней много приключений, волшебных превращений.

В сказке присутствует народный юмор, что делает её ещё более привлекательной.

Главный герой преодолел все трудности и сумел исправить последствия своей поспешности.

Мне понравился Иван.

Царевич был удивлён, когда его стрелу поймала лягушка, но сдержал слово и женился на ней.

И это принесло ему счастье.

Но когда он подумал, что знает секрет жены, то поспешил и всё испортил.

И пришлось ему искать смерть Кощея по глубоким лесам.

Мне понравилась Василиса, дочь Кощея.

Она была такой умной, что завистливый отец превратил её в лягушку.

Но Василиса и тут сумела найти выход и вышла замуж за царевича.

Я всем советую прочитать эту сказку и подумать о том, что у каждого человека есть свои секреты, которые нужно уметь уважать.

Ведь попытки влезть в чужую душу могут привести к неприятным последствиям.

Пословицы к произведению:

  • Не по виду суди, а по делам гляди.
  • Не тот хорош, что лицом пригож, а тот хорош, кто на дело гож.
  • Было бы счастье, да несчастье помогло.
  • Всяк своего счастья кузнец.
  • Семь бед — один ответ.

Словарь неизвестных слов:

  • Стряпать — приготовить.
  • Задворенка — пожилая одинокая женщина.
  • Квашня — тесто на дрожжах.
  • Ширинка — тканевая сумка.

Отрывок, поразивший меня больше всего:

Не бойтесь, гости дорогие! Это, видно, моя лягушонка в своей коробчонке едет!

Подбежали все к окнам и видят: бегут скороходы, скачут гонцы, а вслед за ними едет золочёная карета, тройкой гнедых коней запряжена.

Подъехала карета к крыльцу, и вышла из неё Василиса Премудрая — сама как солнце ясное светится.

Ещё читательские дневники по русским народным сказкам:

  • «Сестрица Алёнушка и братец Иванушка»
  • «Сивка-Бурка»
  • «Волшебное кольцо»
  • «Летучий корабль»
  • «Гуси-лебеди»
  • «По щучьему велению»
  • «Семь Симеонов»
  • «Бой на Калиновом мосту»
  • «Финист Ясный Сокол»
  • «Баба-яга»
  • «Кощей Бессмертный»
  • «Царевна Несмеяна»

Библиотека русских народных сказок пополняется.

Источник
The Frog Princess
Vasnetsov Frog Princess.jpg

The Frog Tsarevna, Viktor Vasnetsov, 1918
Folk tale
Name The Frog Princess
Aarne–Thompson grouping ATU 402 («The Animal Bride»)
Region Russia
Published in Russian Fairy Tales by Alexander Afanasyev
Related
  • Puddocky
  • The Three Feathers

The Frog Princess is a fairy tale that has multiple versions with various origins. It is classified as type 402, the animal bride, in the Aarne–Thompson index.[1] Another tale of this type is the Norwegian Doll i’ the Grass.[2] Russian variants include the Frog Princess or Tsarevna Frog (Царевна Лягушка, Tsarevna Lyagushka)[3] and also Vasilisa the Wise (Василиса Премудрая, Vasilisa Premudraya); Alexander Afanasyev collected variants in his Narodnye russkie skazki.

Synopsis[edit]

The king (or an old peasant woman, in Lang’s version) wants his three sons to marry. To accomplish this, he creates a test to help them find brides. The king tells each prince to shoot an arrow. According to the King’s rules, each prince will find his bride where the arrow lands. The youngest son’s arrow is picked up by a frog. The king assigns his three prospective daughters-in-law various tasks, such as spinning cloth and baking bread. In every task, the frog far outperforms the two other lazy brides-to-be. In some versions, the frog uses magic to accomplish the tasks, and though the other brides attempt to emulate the frog, they cannot perform the magic. Still, the young prince is ashamed of his frog bride until she is magically transformed into a human princess.

In Calvino’s version, the princes use slings rather than bows and arrows. In the Greek version, the princes set out to find their brides one by one; the older two are already married by the time the youngest prince starts his quest. Another variation involves the sons chopping down trees and heading in the direction pointed by them in order to find their brides.[4]

Ivan-Tsarevitch finds the frog in the swamp. Art by Ivan Bilibin

In the Russian versions of the story, Prince Ivan and his two older brothers shoot arrows in different directions to find brides. The other brothers’ arrows land in the houses of the daughters of an aristocrat and a wealthy merchant, respectively. Ivan’s arrow lands in the mouth of a frog in a swamp, who turns into a princess at night. The Frog Princess, named Vasilisa the Wise, is a beautiful, intelligent, friendly, skilled young woman, who was forced to spend three years in a frog’s skin for disobeying Koschei. Her final test may be to dance at the king’s banquet. The Frog Princess sheds her skin, and the prince then burns it, to her dismay. Had the prince been patient, the Frog Princess would have been freed but instead he loses her. He then sets out to find her again and meets with Baba Yaga, whom he impresses with his spirit, asking why she has not offered him hospitality. She tells him that Koschei is holding his bride captive and explains how to find the magic needle needed to rescue his bride. In another version, the prince’s bride flies into Baba Yaga’s hut as a bird. The prince catches her, she turns into a lizard, and he cannot hold on. Baba Yaga rebukes him and sends him to her sister, where he fails again. However, when he is sent to the third sister, he catches her and no transformations can break her free again.

In some versions of the story, the Frog Princess’ transformation is a reward for her good nature. In one version, she is transformed by witches for their amusement. In yet another version, she is revealed to have been an enchanted princess all along.

Analysis[edit]

Tale type[edit]

The Russian tale is classified — and gives its name — to tale type SUS 402, «Russian: Царевна-лягушка, romanized: Tsarevna-lyagushka, lit. ‘Princess-Frog'», of the East Slavic Folktale Catalogue (Russian: СУС, romanized: SUS).[5] According to Lev Barag [ru], the East Slavic type 402 «frequently continues» as type 400: the hero burns the princess’s animal skin and she disappears.[6]

Russian researcher Varvara Dobrovolskaya stated that type SUS 402, «Frog Tsarevna», figures among some of the popular tales of enchanted spouses in the Russian tale corpus.[7] In some Russian variants, as soon as the hero burns the skin of his wife, the Frog Tsarevna, she says she must depart to Koschei’s realm,[8] prompting a quest for her (tale type ATU 400, «The Man on a Quest for the Lost Wife»).[9] Jack Haney stated that the combination of types 402, «Animal Bride», and 400, «Quest for the Lost Wife», is a common combination in Russian tales.[10]

Species of animal bride[edit]

Researcher Carole G. Silver states that, apart from bird and fish maidens, the animal bride appears as a frog in Burma, Russia, Austria and Italy; a dog in India and in North America, and a mouse in Sri Lanka.[11]

Professor Anna Angelopoulos noted that the animal wife in the Eastern Mediterranean is a turtle, which is the same animal of Greek variants.[12] In the same vein, Greek scholar Georgios A. Megas [el] noted that similar aquatic beings (seals, sea urchin) and water-related entities (gorgonas, nymphs, neraidas) appear in the Greek oikotype of type 402.[13]

Yolando Pino-Saavedra [es] located the frog, the toad and the monkey as animal brides in variants from the Iberian Peninsula, and from Spanish-speaking and Portuguese-speaking areas in the Americas.[14]

Role of the animal bride[edit]

The tale is classified in the Aarne-Thompson-Uther Index as ATU 402, «The Animal Bride». According to Andreas John, this tale type is considered to be a «male-centered» narrative. However, in East Slavic variants, the Frog Maiden assumes more of a protagonistic role along with her intended.[15] Likewise, scholar Maria Tatar describes the frog heroine as «resourceful, enterprising, and accomplished», whose amphibian skin is burned by her husband, and she has to depart to regions unknown. The story, then, delves into the husband’s efforts to find his wife, ending with a happy reunion for the couple.[16]

On the other hand, Barbara Fass Leavy draws attention to the role of the frog wife in female tasks, like cooking and weaving. It is her exceptional domestic skills that impress her father-in-law and ensure her husband inherits the kingdom.[17]

Maxim Fomin sees «intricate meanings» in the objects the frog wife produces at her husband’s request (a loaf of bread decorated with images of his father’s realm; the carpet depicting the whole kingdom), which Fomin associated with «regal semantics».[18]

A totemic figure?[edit]

Analysing Armenian variants of the tale type where the frog appears as the bride, Armenian scholarship suggests that the frog bride is a totemic figure, and represents a magical disguise of mermaids and magical beings connected to rain and humidity.[19]

Likewise, Russian scholarship (e.g., Vladimir Propp and Yeleazar Meletinsky) has argued for the totemic character of the frog princess.[20] Propp, for instance, described her dance at the court as some sort of «ritual dance»: she waves her arms and forests and lakes appear, and flocks of birds fly about.[21] Charles Fillingham Coxwell [de] also associated these human-animal marriages to totem ancestry, and cited the Russian tale as one example of such.[22]

In his work about animal symbolism in Slavic culture, Russian philologist Aleksandr V. Gura [ru] stated that the frog and the toad are linked to female attributes, like magic and wisdom.[23] In addition, according to ethnologist Ljubinko Radenkovich [sr], the frog and the toad represent liminal creatures that live between land and water realms, and are considered to be imbued with (often negative) magical properties in Slavic folklore.[24] In some variants, the Frog Princess is the daughter of Koschei, the Deathless,[25] and Baba Yaga — sorcerous characters with immense magical power who appear in Slavic folklore in adversarial position. This familial connection, then, seems to reinforce the magical, supernatural origin of the Frog Princess.[26]

Other motifs[edit]

Georgios A. Megas noted two distinctive introductory episodes: the shooting of arrows appears in Greek, Slavic, Turkish, Finnish, Arabic and Indian variants, while following the feathers is a Western European occurrence.[27]

Variants[edit]

Andrew Lang included an Italian variant of the tale, titled The Frog in The Violet Fairy Book.[28] Italo Calvino included another Italian variant from Piedmont, The Prince Who Married a Frog, in Italian Folktales,[29] where he noted that the tale was common throughout Europe.[30] Georgios A. Megas included a Greek variant, The Enchanted Lake, in Folktales of Greece.[31]

In a variant from northern Moldavia collected and published by Romanian author Elena Niculiță-Voronca, the bride selection contest replaces the feather and arrow for shooting bullets, and the frog bride commands the elements (the wind, the rain and the frost) to fulfill the three bridal tasks.[32]

Russia[edit]

The oldest attestation of the tale type in Russia is in a 1787 compilation of fairy tales, published by one Petr Timofeev.[33] In this tale, titled «Сказка девятая, о лягушке и богатыре» (English: «Tale nr. 9: About the frog and the bogatyr»), a widowed king has three sons, and urges them to find wives by shooting three arrows at random, and to marry whoever they find on the spot the arrows land on. The youngest son, Ivan Bogatyr, shoots his, and it takes him some time to find it again. He walks through a vast swamp and finds a large hut, with a large frog inside, holding his arrow. The frog presses Ivan to marry it, lest he will not leave the swamp. Ivan agrees, and it takes off the frog skin to become a beautiful maiden. Later, the king asks his daughters-in-law to weave him a fine linen shirt and a beautiful carpet with gold, silver and silk, and finally to bake him delicious bread. Ivan’s frog wife summons the winds to help her in both sewing tasks. Lastly, the king invites his daughters-in-law to the palace, and the frog wife takes off the frog skin, leaves it at home and goes on a golden carriage. While she dances and impresses the court, Ivan goes back home and burns her frog skin. The maiden realizes her husband’s folly and, saying her name is Vasilisa the Wise, tells him she will vanish to a distant kingdom and begs him to find her.[34]

Czech Republic[edit]

In a Czech variant translated by Jeremiah Curtin, The Mouse-Hole, and the Underground Kingdom, prince Yarmil and his brothers are to seek wives and bring to the king their presents in a year and a day. Yarmil and his brothers shoot arrow to decide their fates, Yarmil’s falls into a mouse-hole. The prince enters the mouse hole, finds a splendid castle and an ugly toad he must bathe for a year and a day. When the date is through, he returns to his father with the toad’s magnificent present: a casket with a small mirror inside. This repeats two more times: on the second year, Yarmil brings the princess’s portrait and on the third year the princess herself. She reveals she was the toad, changed into amphibian form by an evil wizard, and that Yarmil helped her break this curse, on the condition that he must never reveal her cursed state to anyone, specially to his mother. He breaks this prohibition one night and she disappears. Yarmil, then, goes on a quest for her all the way to the glass mountain (tale type ATU 400, «The Quest for the Lost Wife»).[35]

Ukraine[edit]

In a Ukrainian variant collected by M. Dragomanov, titled «Жена-жаба» («The Frog Wife» or «The Frog Woman»), a king shoots three bullets to three different locations, the youngest son follows and finds a frog. He marries it and discovers it is a beautiful princess. After he burns the frog skin, she disappears, and the prince must seek her.[36]

In another Ukrainian variant, the Frog Princess is a maiden named Maria, daughter of the Sea Tsar and cursed into frog form. The tale begins much the same: the three arrows, the marriage between human prince and frog and the three tasks. When the human tsar announces a grand ball to which his sons and his wives are invited, Maria takes off her frog skin to appear as human. While she is in the tsar’s ballroom, her husband hurries back home and burns the frog skin. When she comes home, she reveals the prince her cursed state would soon be over, says he needs to find Baba Yaga in a remote kingdom, and vanishes from sight in the form of a cuckoo. The tale continues as tale type ATU 313, «The Magical Flight», like the Russian tale of The Sea Tsar and Vasilisa the Wise.[37]

Finland[edit]

Finnish author Eero Salmelainen [fi] collected a Finnish tale with the title Sammakko morsiamena (English: «The Frog Bride»), and translated into French as Le Cendrillon et sa fiancée, la grenouille («The Male Cinderella and his bride, the frog»). In this tale, a king has three sons, the youngest named Tuhkimo (a male Cinderella; from Finnish tuhka, «ashes»). One day, the king organizes a bride selection test for his sons: they are to aim his bows and shoot arrows at random directions, and marry the woman that they will find with the arrow. Tuhkimo’s arrow lands near a frog and he takes it as his bride. The king sets three tasks for his prospective daughters-in-law: to prepare the food and to sew garments. While prince Tuhkimo is aleep, his frog fiancée takes off her frog skin, becomes a human maiden and summons her eight sisters to her house: eight swans fly in through the window, take off their swanskins and become humans. Tuhkimo discovers his bride’s transformation and burns the amphibian skin. The princess laments the fact, since her mother cursed her and her eight sisters, and in three nights time the curse would have been lifted. The princess then changes into a swan and flies away with her swan sisters. Tuhkimo follows her and meets an old widow, who directs him to a lake, in three days journey. Tuhkimo finds the lake, and he waits. Nine swans come, take off their skins to become human women and bathe in the lake. Tuhkimo hides his bride’s swanskin. She comes out of the water and cannot find her swanskin. Tuhkimo appears to her and she tells him he must come to her father’s palace and identify her among her sisters.[38][39]

Azerbaijan[edit]

In the Azerbaijani version of the fairy tale, the princes do not shoot arrows to choose their fiancées, they hit girls with apples.[40] And indeed, there was such a custom among the Mongols living in the territory of present-day Azerbaijan in the 17th century.[41]

Poland[edit]

In a Polish from Masuria collected by Max Toeppen with the title Die Froschprinzessin («The Frog Princess»), a landlord has three sons, the elder two smart and the youngest, Hans (Janek in the Polish text), a fool. One day, the elder two decide to leave home to learn a trade and find wives, and their foolish little brother wants to do so. The two elders and Hans go their separate ways in a crossroads, and Hans loses his way in the woods, without food, and the berries of the forest not enough to sate his hunger. Luckily for him, he finds a hut in the distance, where a little frog lives. Hans tells the little animal he wants to find work, and the frog agrees to hire him, his only job is to carry the frog on a satin pillow, and he shall have drink and food. One day, the youth sighs that his brothers are probably returning home with gifts for their mother, and he has none to show them. The little frog tells Hans to sleep and, in the next morning, to knock three times on the stable door with a wand; he will find a beautiful horse he can ride home, and a little box. Hans goes back home with the horse and gives the little box to his mother; inside, a beautiful dress of gold and diamond buttons. Hans’s brothers question the legitimate origin of the dress. Some time later, the brothers go back to their masters and promise to return with their brides. Hans goes back to the little frog’s hut and mopes that his brother have bride to introduce to his family, while he has the frog. The frog tells him not to worry, and to knock on the stable again. Hans does that and a carriage appears with a princess inside, who is the frog herself. The princess asks Hans to take her to his parents, but not let her put anything on her mouth during dinner. Hans and the princess go to his parents’ house, and he fulfills the princess’s request, despite some grievaance from his parents and brothers. Finally, the princess turns back into a frog and tells Hans he has a last challenge before he redeems her: Hans will have to face three nights of temptations, dance, music and women in the first; counts and nobles who wish to crown him king in the second; and executioners who wish to kill him in the third. Hans endures and braves each night, awakening in the fourth day in a large castle. The princess, fully redeemed, tells him the castle is theirs, and she is his wife.[42]

In another Polish tale, collected by collector Antoni Józef Gliński [pl] and translated into English by translator Maude Ashurst Biggs as The Frog Princess, a king wishes to see his three sons married before they eventually ascend to the throne. So, the next day, the princes prepare to shoot three arrows at random, and to marry the girls that live wherever the arrows land. The first two find human wives, while the youngest’s arrow falls in the margins of the lake. A frog, sat on it, agrees to return the prince’s arrow, in exchange for becoming his wife. The prince questions the frog’s decision, but she advises him to tell his family he married an Eastern lady who must be only seen by her beloved. Eventually, the king asks his sons to bring him carpet woven by his daughters-in-law. The little frog summons «seven lovely maidens» to help her weave the carpet. Next, the king asks for a cake to be baked by his daughters-in-law, and the little frog bakes a delicious cake for the king. Surprised by the frog’s hidden talents, the prince asks her about them, and she reveals she is, in fact, a princess underneath the frog skin, a disguise created by her mother, the magical Queen of Light, to keep her safe from her enemies. The king then summons his sons and his daughters-in-law for a banquet at the palace. The little frog tells the prince to go first, and, when his father asks about her, it will begin to rain; when it lightens, he is to tell her she is adorning herself; and when it thunders, she is coming to the palace. It happens thus, and the prince introduces his bride to his father, and whispers in his ear about the frogskin. The king suggests his son burns the frogskin. The prince follows through with the suggestion and tells his bride about it. The princess cries bitter tears and, while he is asleep, turns into a duck and flies away. The prince wakes the next morning and begins a quest to find the kingdom of the Queen of Light. In his quest, he passes by the houses of three witches named Jandza, which spin on chicken legs. Each of the Jandzas tells him that the princess flies in their huts in duck form, and the prince must hide himself to get her back. He fails in the first two houses, due to her shapeshifting into other animals to escape, but gets her in the third. They reconcile and return to his father’s kingdom.[43]

Other regions[edit]

Researchers Nora Marks Dauenhauer and Richard L. Dauenhauer found a variant titled Yuwaan Gagéets, heard during Nora’s childhood from a Tlingit storyteller. They identified the tale as belonging to the tale type ATU 402 (and a second part as ATU 400, «The Quest for the Lost Wife») and noted its resemblance to the Russian story, trying to trace its appearance in the teller’s repertoire.[44]

Adaptations[edit]

  • A literary treatment of the tale was published as The Wise Princess (A Russian Tale) in The Blue Rose Fairy Book (1911), by Maurice Baring.[45]
  • A translation of the story by illustrator Katherine Pyle was published with the title The Frog Princess (A Russian Story).[46]
  • Vasilisa the Beautiful, a 1939 Soviet film directed by Aleksandr Rou, is based on this plot. It was the first large-budget feature in the Soviet Union to use fantasy elements, as opposed to the realistic style long favored politically.[47]
  • In 1953 the director Mikhail Tsekhanovsky had the idea of animating this popular national fairy tale. Production took two years, and the premiere took place in December, 1954. At present the film is included in the gold classics of «Soyuzmultfilm».
  • Vasilisa the Beautiful, a 1977 Soviet animated film is also based on this fairy tale.
  • In 1996, an animated Russian version based on an in-depth version of the tale in the film «Classic Fairy Tales From Around the World» on VHS. This version tells of how the beautiful Princess Vasilisa was kidnapped and cursed by the evil wizard Kashay to make her his bride and only the love of the handsome Prince Ivan can free her.
  • Taking inspiration from the Russian story, Vasilisa appears to assist Hellboy against Koschei in the 2007 comic book Hellboy: Darkness Calls.
  • The Frog Princess was featured in Happily Ever After: Fairy Tales for Every Child, where it was depicted in a country setting. The episode features the voice talents of Jasmine Guy as Frog Princess Lylah, Greg Kinnear as Prince Gavin, Wallace Langham as Prince Bobby, Mary Gross as Elise, and Beau Bridges as King Big Daddy.
  • A Hungarian variant of the tale was adapted into an episode of the Hungarian television series Magyar népmesék («Hungarian Folk Tales») (hu), with the title Marci és az elátkozott királylány («Martin and the Cursed Princess»).
  • «Wildwood Dancing,» a 2007 fantasy novel by Juliet Marillier, expands the princess and the frog theme.[48]

Culture[edit]

Music

The Divine Comedy’s 1997 single The Frog Princess is loosely based on the theme of the original Frog Princess story, interwoven with the narrator’s personal experiences.

See also[edit]

  • The Frog Prince
  • The Princess and the Frog
  • Vasilisa (name)
  • Puddocky

References[edit]

  1. ^ Georgias A. Megas, Folktales of Greece, p 224, University of Chicago Press, Chicago and London, 1970
  2. ^ D. L. Ashliman, «Animal Brides: folktales of Aarne–Thompson type 402 and related stories»
  3. ^ Works related to The Frog-Tzarevna at Wikisource
  4. ^ Out of the Everywhere: New Tales for Canada, Jan Andrews
  5. ^ Barag, Lev. «Сравнительный указатель сюжетов. Восточнославянская сказка». Leningrad: НАУКА, 1979. p. 128.
  6. ^ Barag, Lev. «Сравнительный указатель сюжетов. Восточнославянская сказка». Leningrad: НАУКА, 1979. p. 128.
  7. ^ Dobrovolskaya, Varvara. «PLOT No. 425A OF COMPARATIVE INDEX OF PLOTS (“CUPID AND PSYCHE”) IN RUSSIAN FOLK-TALE TRADITION». In: Traditional culture. 2017. Vol. 18. № 3 (67). p. 139.
  8. ^ Johns, Andreas. 2000. “The Image of Koshchei Bessmertnyi in East Slavic Folklore”. In: FOLKLORICA — Journal of the Slavic, East European, and Eurasian Folklore Association 5 (1): 8. https://doi.org/10.17161/folklorica.v5i1.3647.
  9. ^ Kobayashi, Fumihiko (2007). «The Forbidden Love in Nature. Analysis of the «Animal Wife» Folktale in Terms of Content Level, Structural Level, and Semantic Level». Folklore: Electronic Journal of Folklore. 36: 144–145. doi:10.7592/FEJF2007.36.kobayashi.
  10. ^ Haney, Jack V. The Complete Folktales of A. N. Afanas’ev. Volume II: Black Art and the Neo-Ancestral Impulse. Jackson: University Press of Mississippi. 2015. p. 548. muse.jhu.edu/book/42506.
  11. ^ Silver, Carole G. «Animal Brides and Grooms: Marriage of Person to Animal Motif B600, and Animal Paramour, Motif B610». In: Jane Garry and Hasan El-Shamy (eds.). Archetypes and Motifs in Folklore and Literature. A Handbook. Armonk / London: M.E. Sharpe, 2005. p. 94.
  12. ^ Angelopoulos, Anna. «La fille de Thalassa». In: ELO N. 11/12 (2005): 17 (footnote nr. 5), 29 (footnote nr. 47). http://hdl.handle.net/10400.1/1607
  13. ^ Angelopoulou, Anna; Broskou, Aigle. «ΕΠΕΞΕΡΓΑΣΙΑ ΠΑΡΑΜΥΘΙΑΚΩΝ ΤΥΠΩΝ ΚΑΙ ΠΑΡΑΛΛΑΓΩΝ AT 300-499». Tome B: AT 400-499. Athens, Greece: ΚΕΝΤΡΟ ΝΕΟΕΛΛΗΝΙΚΩΝ ΕΡΕΥΝΩΝ Ε.Ι.Ε. 1999. p. 540.
  14. ^ Pino Saavedra, Yolando. Folktales of Chile. [Chicago:] University of Chicago Press, 1967. p. 258.
  15. ^ Johns, Andreas. Baba Yaga: The Ambiguous Mother and Witch of the Russian Folktale. New York: Peter Lang. 2010 [2004]. p. 153. ISBN 978-0-8204-6769-6.
  16. ^ Tatar, Maria. The Classic Fairy Tales: Texts, Criticism. Norton Critical Edition. Norton, 1999. p. 31. ISBN 9780393972771
  17. ^ Leavy, Barbara Fass. In Search of the Swan Maiden: A Narrative on Folklore and Gender. NYU Press, 1994. pp. 204, 207, 212. http://www.jstor.org/stable/j.ctt9qg995.9.
  18. ^ Fomin, Maxim. «The Land Acquisition Motif in the Irish and Russian Folklore Traditions». In: Studia Celto-Slavica 3 (2010): 259-268. DOI: https://doi.org/10.54586/HXAR3954.
  19. ^ Hayrapetyan Tamar. «Combinaisons archétipales dans les epopees orales et les contes merveilleux armeniens». Traduction par Léon Ketcheyan. In: Revue des etudes Arméniennes tome 39 (2020). pp. 499-500 and footnote nr. 141.
  20. ^ Fomin, Maxim. «The Land Acquisition Motif in the Irish and Russian Folklore Traditions». In: Studia Celto-Slavica 3 (2010): 259 (footnote nr. 9). DOI: https://doi.org/10.54586/HXAR3954.
  21. ^ Propp, V. Theory and history of folklore. Theory and history of literature v. 5. University of Minnesota Press, 1984. p. 143. ISBN 0-8166-1180-7.
  22. ^ Coxwell, C. F. Siberian And Other Folk Tales. London: The C. W. Daniel Company, 1925. p. 252.
  23. ^ Гура, Александр Викторович. «Символика животных в славянской народной традиции» [Animal Symbolism in Slavic folk traditions]. М: Индрик, 1997. pp. 380-382. ISBN 5-85759-056-6.
  24. ^ Radenkovic, Ljubinko. «Митолошки елементи у словенским народним представама о жаби» [Mythological Elements in Slavic Notions of Frogs]. In: Заједничко у словенском фолклору: зборник радова [Common Elements in Slavic Folklore: Collected Papers, 2012]. Београд: Балканолошки институт САНУ, 2012. pp. 379-397. ISBN 978–86–7179-074–1 Parameter error in {{ISBN}}: invalid character.
  25. ^ Fomin, Maxim. «The Land Acquisition Motif in the Irish and Russian Folklore Traditions». In: Studia Celto-Slavica 3 (2010): 260. DOI: https://doi.org/10.54586/HXAR3954.
  26. ^ Kovalchuk Lidia Petrovna (2015). «Comparative research of blends frog-woman and toad-woman in Russian and English folktales». In: Russian Linguistic Bulletin, (3 (3)), 14-15. URL: https://cyberleninka.ru/article/n/comparative-research-of-blends-frog-woman-and-toad-woman-in-russian-and-english-folktales (дата обращения: 17.11.2021).
  27. ^ Megas, Geōrgios A. Folktales of Greece. Chicago: University of Chicago Press. 1970. p. 224.
  28. ^ Andrew Lang, The Violet Fairy Book, «The Frog»
  29. ^ Italo Calvino, Italian Folktales p 438 ISBN 0-15-645489-0
  30. ^ Italo Calvino, Italian Folktales p 718 ISBN 0-15-645489-0
  31. ^ Georgias A. Megas, Folktales of Greece, p 49, University of Chicago Press, Chicago and London, 1970
  32. ^ Ciubotaru, Silvia. «Elena Niculiţă-Voronca şi basmele fantastice» [Elena Niculiţă-Voronca and the Fantastic Fairy Tales]. In: Anuarul Muzeului Etnografic al Moldovei [The Yearly Review of the Ethnographic Museum of Moldavia] 18/2018. p. 158. ISSN 1583-6819.
  33. ^ Barag, Lev. «Сравнительный указатель сюжетов. Восточнославянская сказка». Leningrad: НАУКА, 1979. pp. 46 (source), 128 (entry).
  34. ^ Русские сказки в ранних записях и публикациях». Л.: Наука, 1971. pp. 203-213.
  35. ^ Curtin, Jeremiah. Myths and Folk-tales of the Russians, Western Slavs, and Magyars. Boston: Little, Brown, and Company. 1890. pp. 331–355.
  36. ^ Драгоманов, М (M. Dragomanov).»Малорусские народные предания и рассказы». 1876. pp. 313-317.
  37. ^ Dixon-Kennedy, Mike (1998). Encyclopedia of Russian and Slavic Myth and Legend. Santa Barbara, California: ABC-CLIO. pp. 179-181. ISBN 9781576070635.
  38. ^ Salmelainen, Eero. Suomen kansan satuja ja tarinoita. II Osa. Helsingissä: Suomalaisen Kirjallisuuden Seura. 1871. pp. 118–127.
  39. ^ Beauvois, Eugéne. Contes populaires de la Norvège, de la Finlande & de la Bourgogne, etc. Paris: E. Dentu, Éditeur. 1862. pp. 180–193.
  40. ^ «Царевич и лягушка». Фольклор Азербайджана и прилегающих стран. Vol. 1. Баку: Изд-во АзГНИИ. Азербайджанский государственный научно-исследовательский ин-т, Отд-ние языка, литературы и искусства (под ред. А. В. Багрия). 1930. pp. 30–33.
  41. ^ Челеби Э. (1983). «Описание крепости Шеки/О жизни племени ит-тиль». Книга путешествия. (Извлечения из сочинения турецкого путешественника ХVII века). Вып. 3. Земли Закавказья и сопредельных областей Малой Азии и Ирана. Москва: Наука. p. 159.
  42. ^ Toeppen, Max. Aberglauben aus Masuren, mit einem Anhange, enthaltend: Masurische Sagen und Mährchen. Danzig: Th. Bertling, 1867. pp. 158-162.
  43. ^ Polish Fairy Tales. Translated from A. J. Glinski by Maude Ashurst Biggs. New York: John Lane Company. 1920. pp. 1-15.
  44. ^ Dauenhauer, Nora Marks and Dauenhauer, Richard L. «Tracking “Yuwaan Gagéets”: A Russian Fairy Tale in Tlingit Oral Tradition». In: Oral Tradition, 13/1 (1998): 58-91.
  45. ^ Baring, Maurice. The Blue Rose Fairy Book. New York: Maude, Dodd and Company. 1911. pp. 247-260.
  46. ^ Pyle, Katherine. Tales of folk and fairies. Boston: Little, Brown, and Company. 1919. pp. 137-158.
  47. ^ James Graham, Baba Yaga in Film[Usurped!]
  48. ^ https://www.goodreads.com/book/show/13929.Wildwood_Dancing

External links[edit]

  • The Frog Princess on YouTube
  • The Wise Princess (The Blue Rose Fairy Book) from Project Gutenberg
  • The Frog Princess (Ukrainian Folk Tale)
  • The Frog Princess (Polish Folk Tale)
  • The Frog Princess (Chinese Folk Tale)
Источник
The Frog Princess
Vasnetsov Frog Princess.jpg

The Frog Tsarevna, Viktor Vasnetsov, 1918
Folk tale
Name The Frog Princess
Aarne–Thompson grouping ATU 402 («The Animal Bride»)
Region Russia
Published in Russian Fairy Tales by Alexander Afanasyev
Related
  • Puddocky
  • The Three Feathers

The Frog Princess is a fairy tale that has multiple versions with various origins. It is classified as type 402, the animal bride, in the Aarne–Thompson index.[1] Another tale of this type is the Norwegian Doll i’ the Grass.[2] Russian variants include the Frog Princess or Tsarevna Frog (Царевна Лягушка, Tsarevna Lyagushka)[3] and also Vasilisa the Wise (Василиса Премудрая, Vasilisa Premudraya); Alexander Afanasyev collected variants in his Narodnye russkie skazki.

Synopsis[edit]

The king (or an old peasant woman, in Lang’s version) wants his three sons to marry. To accomplish this, he creates a test to help them find brides. The king tells each prince to shoot an arrow. According to the King’s rules, each prince will find his bride where the arrow lands. The youngest son’s arrow is picked up by a frog. The king assigns his three prospective daughters-in-law various tasks, such as spinning cloth and baking bread. In every task, the frog far outperforms the two other lazy brides-to-be. In some versions, the frog uses magic to accomplish the tasks, and though the other brides attempt to emulate the frog, they cannot perform the magic. Still, the young prince is ashamed of his frog bride until she is magically transformed into a human princess.

In Calvino’s version, the princes use slings rather than bows and arrows. In the Greek version, the princes set out to find their brides one by one; the older two are already married by the time the youngest prince starts his quest. Another variation involves the sons chopping down trees and heading in the direction pointed by them in order to find their brides.[4]

Ivan-Tsarevitch finds the frog in the swamp. Art by Ivan Bilibin

In the Russian versions of the story, Prince Ivan and his two older brothers shoot arrows in different directions to find brides. The other brothers’ arrows land in the houses of the daughters of an aristocrat and a wealthy merchant, respectively. Ivan’s arrow lands in the mouth of a frog in a swamp, who turns into a princess at night. The Frog Princess, named Vasilisa the Wise, is a beautiful, intelligent, friendly, skilled young woman, who was forced to spend three years in a frog’s skin for disobeying Koschei. Her final test may be to dance at the king’s banquet. The Frog Princess sheds her skin, and the prince then burns it, to her dismay. Had the prince been patient, the Frog Princess would have been freed but instead he loses her. He then sets out to find her again and meets with Baba Yaga, whom he impresses with his spirit, asking why she has not offered him hospitality. She tells him that Koschei is holding his bride captive and explains how to find the magic needle needed to rescue his bride. In another version, the prince’s bride flies into Baba Yaga’s hut as a bird. The prince catches her, she turns into a lizard, and he cannot hold on. Baba Yaga rebukes him and sends him to her sister, where he fails again. However, when he is sent to the third sister, he catches her and no transformations can break her free again.

In some versions of the story, the Frog Princess’ transformation is a reward for her good nature. In one version, she is transformed by witches for their amusement. In yet another version, she is revealed to have been an enchanted princess all along.

Analysis[edit]

Tale type[edit]

The Russian tale is classified — and gives its name — to tale type SUS 402, «Russian: Царевна-лягушка, romanized: Tsarevna-lyagushka, lit. ‘Princess-Frog'», of the East Slavic Folktale Catalogue (Russian: СУС, romanized: SUS).[5] According to Lev Barag [ru], the East Slavic type 402 «frequently continues» as type 400: the hero burns the princess’s animal skin and she disappears.[6]

Russian researcher Varvara Dobrovolskaya stated that type SUS 402, «Frog Tsarevna», figures among some of the popular tales of enchanted spouses in the Russian tale corpus.[7] In some Russian variants, as soon as the hero burns the skin of his wife, the Frog Tsarevna, she says she must depart to Koschei’s realm,[8] prompting a quest for her (tale type ATU 400, «The Man on a Quest for the Lost Wife»).[9] Jack Haney stated that the combination of types 402, «Animal Bride», and 400, «Quest for the Lost Wife», is a common combination in Russian tales.[10]

Species of animal bride[edit]

Researcher Carole G. Silver states that, apart from bird and fish maidens, the animal bride appears as a frog in Burma, Russia, Austria and Italy; a dog in India and in North America, and a mouse in Sri Lanka.[11]

Professor Anna Angelopoulos noted that the animal wife in the Eastern Mediterranean is a turtle, which is the same animal of Greek variants.[12] In the same vein, Greek scholar Georgios A. Megas [el] noted that similar aquatic beings (seals, sea urchin) and water-related entities (gorgonas, nymphs, neraidas) appear in the Greek oikotype of type 402.[13]

Yolando Pino-Saavedra [es] located the frog, the toad and the monkey as animal brides in variants from the Iberian Peninsula, and from Spanish-speaking and Portuguese-speaking areas in the Americas.[14]

Role of the animal bride[edit]

The tale is classified in the Aarne-Thompson-Uther Index as ATU 402, «The Animal Bride». According to Andreas John, this tale type is considered to be a «male-centered» narrative. However, in East Slavic variants, the Frog Maiden assumes more of a protagonistic role along with her intended.[15] Likewise, scholar Maria Tatar describes the frog heroine as «resourceful, enterprising, and accomplished», whose amphibian skin is burned by her husband, and she has to depart to regions unknown. The story, then, delves into the husband’s efforts to find his wife, ending with a happy reunion for the couple.[16]

On the other hand, Barbara Fass Leavy draws attention to the role of the frog wife in female tasks, like cooking and weaving. It is her exceptional domestic skills that impress her father-in-law and ensure her husband inherits the kingdom.[17]

Maxim Fomin sees «intricate meanings» in the objects the frog wife produces at her husband’s request (a loaf of bread decorated with images of his father’s realm; the carpet depicting the whole kingdom), which Fomin associated with «regal semantics».[18]

A totemic figure?[edit]

Analysing Armenian variants of the tale type where the frog appears as the bride, Armenian scholarship suggests that the frog bride is a totemic figure, and represents a magical disguise of mermaids and magical beings connected to rain and humidity.[19]

Likewise, Russian scholarship (e.g., Vladimir Propp and Yeleazar Meletinsky) has argued for the totemic character of the frog princess.[20] Propp, for instance, described her dance at the court as some sort of «ritual dance»: she waves her arms and forests and lakes appear, and flocks of birds fly about.[21] Charles Fillingham Coxwell [de] also associated these human-animal marriages to totem ancestry, and cited the Russian tale as one example of such.[22]

In his work about animal symbolism in Slavic culture, Russian philologist Aleksandr V. Gura [ru] stated that the frog and the toad are linked to female attributes, like magic and wisdom.[23] In addition, according to ethnologist Ljubinko Radenkovich [sr], the frog and the toad represent liminal creatures that live between land and water realms, and are considered to be imbued with (often negative) magical properties in Slavic folklore.[24] In some variants, the Frog Princess is the daughter of Koschei, the Deathless,[25] and Baba Yaga — sorcerous characters with immense magical power who appear in Slavic folklore in adversarial position. This familial connection, then, seems to reinforce the magical, supernatural origin of the Frog Princess.[26]

Other motifs[edit]

Georgios A. Megas noted two distinctive introductory episodes: the shooting of arrows appears in Greek, Slavic, Turkish, Finnish, Arabic and Indian variants, while following the feathers is a Western European occurrence.[27]

Variants[edit]

Andrew Lang included an Italian variant of the tale, titled The Frog in The Violet Fairy Book.[28] Italo Calvino included another Italian variant from Piedmont, The Prince Who Married a Frog, in Italian Folktales,[29] where he noted that the tale was common throughout Europe.[30] Georgios A. Megas included a Greek variant, The Enchanted Lake, in Folktales of Greece.[31]

In a variant from northern Moldavia collected and published by Romanian author Elena Niculiță-Voronca, the bride selection contest replaces the feather and arrow for shooting bullets, and the frog bride commands the elements (the wind, the rain and the frost) to fulfill the three bridal tasks.[32]

Russia[edit]

The oldest attestation of the tale type in Russia is in a 1787 compilation of fairy tales, published by one Petr Timofeev.[33] In this tale, titled «Сказка девятая, о лягушке и богатыре» (English: «Tale nr. 9: About the frog and the bogatyr»), a widowed king has three sons, and urges them to find wives by shooting three arrows at random, and to marry whoever they find on the spot the arrows land on. The youngest son, Ivan Bogatyr, shoots his, and it takes him some time to find it again. He walks through a vast swamp and finds a large hut, with a large frog inside, holding his arrow. The frog presses Ivan to marry it, lest he will not leave the swamp. Ivan agrees, and it takes off the frog skin to become a beautiful maiden. Later, the king asks his daughters-in-law to weave him a fine linen shirt and a beautiful carpet with gold, silver and silk, and finally to bake him delicious bread. Ivan’s frog wife summons the winds to help her in both sewing tasks. Lastly, the king invites his daughters-in-law to the palace, and the frog wife takes off the frog skin, leaves it at home and goes on a golden carriage. While she dances and impresses the court, Ivan goes back home and burns her frog skin. The maiden realizes her husband’s folly and, saying her name is Vasilisa the Wise, tells him she will vanish to a distant kingdom and begs him to find her.[34]

Czech Republic[edit]

In a Czech variant translated by Jeremiah Curtin, The Mouse-Hole, and the Underground Kingdom, prince Yarmil and his brothers are to seek wives and bring to the king their presents in a year and a day. Yarmil and his brothers shoot arrow to decide their fates, Yarmil’s falls into a mouse-hole. The prince enters the mouse hole, finds a splendid castle and an ugly toad he must bathe for a year and a day. When the date is through, he returns to his father with the toad’s magnificent present: a casket with a small mirror inside. This repeats two more times: on the second year, Yarmil brings the princess’s portrait and on the third year the princess herself. She reveals she was the toad, changed into amphibian form by an evil wizard, and that Yarmil helped her break this curse, on the condition that he must never reveal her cursed state to anyone, specially to his mother. He breaks this prohibition one night and she disappears. Yarmil, then, goes on a quest for her all the way to the glass mountain (tale type ATU 400, «The Quest for the Lost Wife»).[35]

Ukraine[edit]

In a Ukrainian variant collected by M. Dragomanov, titled «Жена-жаба» («The Frog Wife» or «The Frog Woman»), a king shoots three bullets to three different locations, the youngest son follows and finds a frog. He marries it and discovers it is a beautiful princess. After he burns the frog skin, she disappears, and the prince must seek her.[36]

In another Ukrainian variant, the Frog Princess is a maiden named Maria, daughter of the Sea Tsar and cursed into frog form. The tale begins much the same: the three arrows, the marriage between human prince and frog and the three tasks. When the human tsar announces a grand ball to which his sons and his wives are invited, Maria takes off her frog skin to appear as human. While she is in the tsar’s ballroom, her husband hurries back home and burns the frog skin. When she comes home, she reveals the prince her cursed state would soon be over, says he needs to find Baba Yaga in a remote kingdom, and vanishes from sight in the form of a cuckoo. The tale continues as tale type ATU 313, «The Magical Flight», like the Russian tale of The Sea Tsar and Vasilisa the Wise.[37]

Finland[edit]

Finnish author Eero Salmelainen [fi] collected a Finnish tale with the title Sammakko morsiamena (English: «The Frog Bride»), and translated into French as Le Cendrillon et sa fiancée, la grenouille («The Male Cinderella and his bride, the frog»). In this tale, a king has three sons, the youngest named Tuhkimo (a male Cinderella; from Finnish tuhka, «ashes»). One day, the king organizes a bride selection test for his sons: they are to aim his bows and shoot arrows at random directions, and marry the woman that they will find with the arrow. Tuhkimo’s arrow lands near a frog and he takes it as his bride. The king sets three tasks for his prospective daughters-in-law: to prepare the food and to sew garments. While prince Tuhkimo is aleep, his frog fiancée takes off her frog skin, becomes a human maiden and summons her eight sisters to her house: eight swans fly in through the window, take off their swanskins and become humans. Tuhkimo discovers his bride’s transformation and burns the amphibian skin. The princess laments the fact, since her mother cursed her and her eight sisters, and in three nights time the curse would have been lifted. The princess then changes into a swan and flies away with her swan sisters. Tuhkimo follows her and meets an old widow, who directs him to a lake, in three days journey. Tuhkimo finds the lake, and he waits. Nine swans come, take off their skins to become human women and bathe in the lake. Tuhkimo hides his bride’s swanskin. She comes out of the water and cannot find her swanskin. Tuhkimo appears to her and she tells him he must come to her father’s palace and identify her among her sisters.[38][39]

Azerbaijan[edit]

In the Azerbaijani version of the fairy tale, the princes do not shoot arrows to choose their fiancées, they hit girls with apples.[40] And indeed, there was such a custom among the Mongols living in the territory of present-day Azerbaijan in the 17th century.[41]

Poland[edit]

In a Polish from Masuria collected by Max Toeppen with the title Die Froschprinzessin («The Frog Princess»), a landlord has three sons, the elder two smart and the youngest, Hans (Janek in the Polish text), a fool. One day, the elder two decide to leave home to learn a trade and find wives, and their foolish little brother wants to do so. The two elders and Hans go their separate ways in a crossroads, and Hans loses his way in the woods, without food, and the berries of the forest not enough to sate his hunger. Luckily for him, he finds a hut in the distance, where a little frog lives. Hans tells the little animal he wants to find work, and the frog agrees to hire him, his only job is to carry the frog on a satin pillow, and he shall have drink and food. One day, the youth sighs that his brothers are probably returning home with gifts for their mother, and he has none to show them. The little frog tells Hans to sleep and, in the next morning, to knock three times on the stable door with a wand; he will find a beautiful horse he can ride home, and a little box. Hans goes back home with the horse and gives the little box to his mother; inside, a beautiful dress of gold and diamond buttons. Hans’s brothers question the legitimate origin of the dress. Some time later, the brothers go back to their masters and promise to return with their brides. Hans goes back to the little frog’s hut and mopes that his brother have bride to introduce to his family, while he has the frog. The frog tells him not to worry, and to knock on the stable again. Hans does that and a carriage appears with a princess inside, who is the frog herself. The princess asks Hans to take her to his parents, but not let her put anything on her mouth during dinner. Hans and the princess go to his parents’ house, and he fulfills the princess’s request, despite some grievaance from his parents and brothers. Finally, the princess turns back into a frog and tells Hans he has a last challenge before he redeems her: Hans will have to face three nights of temptations, dance, music and women in the first; counts and nobles who wish to crown him king in the second; and executioners who wish to kill him in the third. Hans endures and braves each night, awakening in the fourth day in a large castle. The princess, fully redeemed, tells him the castle is theirs, and she is his wife.[42]

In another Polish tale, collected by collector Antoni Józef Gliński [pl] and translated into English by translator Maude Ashurst Biggs as The Frog Princess, a king wishes to see his three sons married before they eventually ascend to the throne. So, the next day, the princes prepare to shoot three arrows at random, and to marry the girls that live wherever the arrows land. The first two find human wives, while the youngest’s arrow falls in the margins of the lake. A frog, sat on it, agrees to return the prince’s arrow, in exchange for becoming his wife. The prince questions the frog’s decision, but she advises him to tell his family he married an Eastern lady who must be only seen by her beloved. Eventually, the king asks his sons to bring him carpet woven by his daughters-in-law. The little frog summons «seven lovely maidens» to help her weave the carpet. Next, the king asks for a cake to be baked by his daughters-in-law, and the little frog bakes a delicious cake for the king. Surprised by the frog’s hidden talents, the prince asks her about them, and she reveals she is, in fact, a princess underneath the frog skin, a disguise created by her mother, the magical Queen of Light, to keep her safe from her enemies. The king then summons his sons and his daughters-in-law for a banquet at the palace. The little frog tells the prince to go first, and, when his father asks about her, it will begin to rain; when it lightens, he is to tell her she is adorning herself; and when it thunders, she is coming to the palace. It happens thus, and the prince introduces his bride to his father, and whispers in his ear about the frogskin. The king suggests his son burns the frogskin. The prince follows through with the suggestion and tells his bride about it. The princess cries bitter tears and, while he is asleep, turns into a duck and flies away. The prince wakes the next morning and begins a quest to find the kingdom of the Queen of Light. In his quest, he passes by the houses of three witches named Jandza, which spin on chicken legs. Each of the Jandzas tells him that the princess flies in their huts in duck form, and the prince must hide himself to get her back. He fails in the first two houses, due to her shapeshifting into other animals to escape, but gets her in the third. They reconcile and return to his father’s kingdom.[43]

Other regions[edit]

Researchers Nora Marks Dauenhauer and Richard L. Dauenhauer found a variant titled Yuwaan Gagéets, heard during Nora’s childhood from a Tlingit storyteller. They identified the tale as belonging to the tale type ATU 402 (and a second part as ATU 400, «The Quest for the Lost Wife») and noted its resemblance to the Russian story, trying to trace its appearance in the teller’s repertoire.[44]

Adaptations[edit]

  • A literary treatment of the tale was published as The Wise Princess (A Russian Tale) in The Blue Rose Fairy Book (1911), by Maurice Baring.[45]
  • A translation of the story by illustrator Katherine Pyle was published with the title The Frog Princess (A Russian Story).[46]
  • Vasilisa the Beautiful, a 1939 Soviet film directed by Aleksandr Rou, is based on this plot. It was the first large-budget feature in the Soviet Union to use fantasy elements, as opposed to the realistic style long favored politically.[47]
  • In 1953 the director Mikhail Tsekhanovsky had the idea of animating this popular national fairy tale. Production took two years, and the premiere took place in December, 1954. At present the film is included in the gold classics of «Soyuzmultfilm».
  • Vasilisa the Beautiful, a 1977 Soviet animated film is also based on this fairy tale.
  • In 1996, an animated Russian version based on an in-depth version of the tale in the film «Classic Fairy Tales From Around the World» on VHS. This version tells of how the beautiful Princess Vasilisa was kidnapped and cursed by the evil wizard Kashay to make her his bride and only the love of the handsome Prince Ivan can free her.
  • Taking inspiration from the Russian story, Vasilisa appears to assist Hellboy against Koschei in the 2007 comic book Hellboy: Darkness Calls.
  • The Frog Princess was featured in Happily Ever After: Fairy Tales for Every Child, where it was depicted in a country setting. The episode features the voice talents of Jasmine Guy as Frog Princess Lylah, Greg Kinnear as Prince Gavin, Wallace Langham as Prince Bobby, Mary Gross as Elise, and Beau Bridges as King Big Daddy.
  • A Hungarian variant of the tale was adapted into an episode of the Hungarian television series Magyar népmesék («Hungarian Folk Tales») (hu), with the title Marci és az elátkozott királylány («Martin and the Cursed Princess»).
  • «Wildwood Dancing,» a 2007 fantasy novel by Juliet Marillier, expands the princess and the frog theme.[48]

Culture[edit]

Music

The Divine Comedy’s 1997 single The Frog Princess is loosely based on the theme of the original Frog Princess story, interwoven with the narrator’s personal experiences.

See also[edit]

  • The Frog Prince
  • The Princess and the Frog
  • Vasilisa (name)
  • Puddocky

References[edit]

  1. ^ Georgias A. Megas, Folktales of Greece, p 224, University of Chicago Press, Chicago and London, 1970
  2. ^ D. L. Ashliman, «Animal Brides: folktales of Aarne–Thompson type 402 and related stories»
  3. ^ Works related to The Frog-Tzarevna at Wikisource
  4. ^ Out of the Everywhere: New Tales for Canada, Jan Andrews
  5. ^ Barag, Lev. «Сравнительный указатель сюжетов. Восточнославянская сказка». Leningrad: НАУКА, 1979. p. 128.
  6. ^ Barag, Lev. «Сравнительный указатель сюжетов. Восточнославянская сказка». Leningrad: НАУКА, 1979. p. 128.
  7. ^ Dobrovolskaya, Varvara. «PLOT No. 425A OF COMPARATIVE INDEX OF PLOTS (“CUPID AND PSYCHE”) IN RUSSIAN FOLK-TALE TRADITION». In: Traditional culture. 2017. Vol. 18. № 3 (67). p. 139.
  8. ^ Johns, Andreas. 2000. “The Image of Koshchei Bessmertnyi in East Slavic Folklore”. In: FOLKLORICA — Journal of the Slavic, East European, and Eurasian Folklore Association 5 (1): 8. https://doi.org/10.17161/folklorica.v5i1.3647.
  9. ^ Kobayashi, Fumihiko (2007). «The Forbidden Love in Nature. Analysis of the «Animal Wife» Folktale in Terms of Content Level, Structural Level, and Semantic Level». Folklore: Electronic Journal of Folklore. 36: 144–145. doi:10.7592/FEJF2007.36.kobayashi.
  10. ^ Haney, Jack V. The Complete Folktales of A. N. Afanas’ev. Volume II: Black Art and the Neo-Ancestral Impulse. Jackson: University Press of Mississippi. 2015. p. 548. muse.jhu.edu/book/42506.
  11. ^ Silver, Carole G. «Animal Brides and Grooms: Marriage of Person to Animal Motif B600, and Animal Paramour, Motif B610». In: Jane Garry and Hasan El-Shamy (eds.). Archetypes and Motifs in Folklore and Literature. A Handbook. Armonk / London: M.E. Sharpe, 2005. p. 94.
  12. ^ Angelopoulos, Anna. «La fille de Thalassa». In: ELO N. 11/12 (2005): 17 (footnote nr. 5), 29 (footnote nr. 47). http://hdl.handle.net/10400.1/1607
  13. ^ Angelopoulou, Anna; Broskou, Aigle. «ΕΠΕΞΕΡΓΑΣΙΑ ΠΑΡΑΜΥΘΙΑΚΩΝ ΤΥΠΩΝ ΚΑΙ ΠΑΡΑΛΛΑΓΩΝ AT 300-499». Tome B: AT 400-499. Athens, Greece: ΚΕΝΤΡΟ ΝΕΟΕΛΛΗΝΙΚΩΝ ΕΡΕΥΝΩΝ Ε.Ι.Ε. 1999. p. 540.
  14. ^ Pino Saavedra, Yolando. Folktales of Chile. [Chicago:] University of Chicago Press, 1967. p. 258.
  15. ^ Johns, Andreas. Baba Yaga: The Ambiguous Mother and Witch of the Russian Folktale. New York: Peter Lang. 2010 [2004]. p. 153. ISBN 978-0-8204-6769-6.
  16. ^ Tatar, Maria. The Classic Fairy Tales: Texts, Criticism. Norton Critical Edition. Norton, 1999. p. 31. ISBN 9780393972771
  17. ^ Leavy, Barbara Fass. In Search of the Swan Maiden: A Narrative on Folklore and Gender. NYU Press, 1994. pp. 204, 207, 212. http://www.jstor.org/stable/j.ctt9qg995.9.
  18. ^ Fomin, Maxim. «The Land Acquisition Motif in the Irish and Russian Folklore Traditions». In: Studia Celto-Slavica 3 (2010): 259-268. DOI: https://doi.org/10.54586/HXAR3954.
  19. ^ Hayrapetyan Tamar. «Combinaisons archétipales dans les epopees orales et les contes merveilleux armeniens». Traduction par Léon Ketcheyan. In: Revue des etudes Arméniennes tome 39 (2020). pp. 499-500 and footnote nr. 141.
  20. ^ Fomin, Maxim. «The Land Acquisition Motif in the Irish and Russian Folklore Traditions». In: Studia Celto-Slavica 3 (2010): 259 (footnote nr. 9). DOI: https://doi.org/10.54586/HXAR3954.
  21. ^ Propp, V. Theory and history of folklore. Theory and history of literature v. 5. University of Minnesota Press, 1984. p. 143. ISBN 0-8166-1180-7.
  22. ^ Coxwell, C. F. Siberian And Other Folk Tales. London: The C. W. Daniel Company, 1925. p. 252.
  23. ^ Гура, Александр Викторович. «Символика животных в славянской народной традиции» [Animal Symbolism in Slavic folk traditions]. М: Индрик, 1997. pp. 380-382. ISBN 5-85759-056-6.
  24. ^ Radenkovic, Ljubinko. «Митолошки елементи у словенским народним представама о жаби» [Mythological Elements in Slavic Notions of Frogs]. In: Заједничко у словенском фолклору: зборник радова [Common Elements in Slavic Folklore: Collected Papers, 2012]. Београд: Балканолошки институт САНУ, 2012. pp. 379-397. ISBN 978–86–7179-074–1 Parameter error in {{ISBN}}: invalid character.
  25. ^ Fomin, Maxim. «The Land Acquisition Motif in the Irish and Russian Folklore Traditions». In: Studia Celto-Slavica 3 (2010): 260. DOI: https://doi.org/10.54586/HXAR3954.
  26. ^ Kovalchuk Lidia Petrovna (2015). «Comparative research of blends frog-woman and toad-woman in Russian and English folktales». In: Russian Linguistic Bulletin, (3 (3)), 14-15. URL: https://cyberleninka.ru/article/n/comparative-research-of-blends-frog-woman-and-toad-woman-in-russian-and-english-folktales (дата обращения: 17.11.2021).
  27. ^ Megas, Geōrgios A. Folktales of Greece. Chicago: University of Chicago Press. 1970. p. 224.
  28. ^ Andrew Lang, The Violet Fairy Book, «The Frog»
  29. ^ Italo Calvino, Italian Folktales p 438 ISBN 0-15-645489-0
  30. ^ Italo Calvino, Italian Folktales p 718 ISBN 0-15-645489-0
  31. ^ Georgias A. Megas, Folktales of Greece, p 49, University of Chicago Press, Chicago and London, 1970
  32. ^ Ciubotaru, Silvia. «Elena Niculiţă-Voronca şi basmele fantastice» [Elena Niculiţă-Voronca and the Fantastic Fairy Tales]. In: Anuarul Muzeului Etnografic al Moldovei [The Yearly Review of the Ethnographic Museum of Moldavia] 18/2018. p. 158. ISSN 1583-6819.
  33. ^ Barag, Lev. «Сравнительный указатель сюжетов. Восточнославянская сказка». Leningrad: НАУКА, 1979. pp. 46 (source), 128 (entry).
  34. ^ Русские сказки в ранних записях и публикациях». Л.: Наука, 1971. pp. 203-213.
  35. ^ Curtin, Jeremiah. Myths and Folk-tales of the Russians, Western Slavs, and Magyars. Boston: Little, Brown, and Company. 1890. pp. 331–355.
  36. ^ Драгоманов, М (M. Dragomanov).»Малорусские народные предания и рассказы». 1876. pp. 313-317.
  37. ^ Dixon-Kennedy, Mike (1998). Encyclopedia of Russian and Slavic Myth and Legend. Santa Barbara, California: ABC-CLIO. pp. 179-181. ISBN 9781576070635.
  38. ^ Salmelainen, Eero. Suomen kansan satuja ja tarinoita. II Osa. Helsingissä: Suomalaisen Kirjallisuuden Seura. 1871. pp. 118–127.
  39. ^ Beauvois, Eugéne. Contes populaires de la Norvège, de la Finlande & de la Bourgogne, etc. Paris: E. Dentu, Éditeur. 1862. pp. 180–193.
  40. ^ «Царевич и лягушка». Фольклор Азербайджана и прилегающих стран. Vol. 1. Баку: Изд-во АзГНИИ. Азербайджанский государственный научно-исследовательский ин-т, Отд-ние языка, литературы и искусства (под ред. А. В. Багрия). 1930. pp. 30–33.
  41. ^ Челеби Э. (1983). «Описание крепости Шеки/О жизни племени ит-тиль». Книга путешествия. (Извлечения из сочинения турецкого путешественника ХVII века). Вып. 3. Земли Закавказья и сопредельных областей Малой Азии и Ирана. Москва: Наука. p. 159.
  42. ^ Toeppen, Max. Aberglauben aus Masuren, mit einem Anhange, enthaltend: Masurische Sagen und Mährchen. Danzig: Th. Bertling, 1867. pp. 158-162.
  43. ^ Polish Fairy Tales. Translated from A. J. Glinski by Maude Ashurst Biggs. New York: John Lane Company. 1920. pp. 1-15.
  44. ^ Dauenhauer, Nora Marks and Dauenhauer, Richard L. «Tracking “Yuwaan Gagéets”: A Russian Fairy Tale in Tlingit Oral Tradition». In: Oral Tradition, 13/1 (1998): 58-91.
  45. ^ Baring, Maurice. The Blue Rose Fairy Book. New York: Maude, Dodd and Company. 1911. pp. 247-260.
  46. ^ Pyle, Katherine. Tales of folk and fairies. Boston: Little, Brown, and Company. 1919. pp. 137-158.
  47. ^ James Graham, Baba Yaga in Film[Usurped!]
  48. ^ https://www.goodreads.com/book/show/13929.Wildwood_Dancing

External links[edit]

  • The Frog Princess on YouTube
  • The Wise Princess (The Blue Rose Fairy Book) from Project Gutenberg
  • The Frog Princess (Ukrainian Folk Tale)
  • The Frog Princess (Polish Folk Tale)
  • The Frog Princess (Chinese Folk Tale)
Источник

«Царевна-Лягушка» читательский дневник

«Царевна-Лягушка» читательский дневник

«Царевна-Лягушка» – замечательная народная сказка о том, как Иван Царевич волей судьбы женился на лягушке, а на деле оказалось, что его женой стала Василиса Премудрая, заколдованная Кощеем.

Краткое содержание «Царевна-Лягушка» для читательского дневника

ФИО автора: Русская народная сказка, записанная Афанасьевым Александром Николаевичем.

Название: Царевна-Лягушка

Число страниц: 53. «Царевна-лягушка». Издательство «АСТ». 2004 год

Жанр: Сказка

Год написания: 1886 год

Опыт работы учителем русского языка и литературы — 27 лет.

Главные герои

Иван Царевич – младший сын царя, добрый, верный, жалостливый.

Василиса Премудрая – красивая, мудрая девушка, искусная мастерица, превращённая в лягушку.

Царь – умный, опытный старик с чувством юмора.

Баба-Яга – колдунья, которая помогла Ивану в поисках Василисы.

Кощей Бессмертный – злой волшебник, отец Василисы Премудрой.

Обратите внимание, ещё у нас есть:

Сюжет

Однажды царь решил женить трёх своих сыновей. Он каждому раздал луки и велел пустить по одной стреле: куда стрела упадёт, там и невесту нужно искать. У старшего сына стрела залетела на боярский двор, у среднего – на купеческий, а у младшего – на болото. Отправился Иван Царевич на поиски стрелы и увидел её в лапах лягушки. Та принялась уговаривать юношу забрать её, и он согласился. Увидев лягушку у младшего сына, царь рассмеялся и велел на ней жениться.

Чтобы проверить мастерство своих невесток, приказал им царь за ночь испечь хлеб. Расстроился Иван, но лягушка его успокоила. Ночью она обернулась в Василису Премудрую и испекла чудесный каравай с городами, птицами и зверями. Царю очень понравился этот хлеб, а стряпню старших невесток он приказал дворне отнести.

В следующий раз царь велел невесткам соткать ковёр. Ночью лягушка вновь превратилась в Василису Премудрую и выткала красивый ковер с узорами и цветами. Увидев его, царь велел расстилать его только по праздникам, а ковры старших невесток убрать с глаз долой.

Царь захотел познакомиться с жёнами своих сыновей и устроил пир. Лягушка сообщила Ивану, что появится на пиру чуть позже. Братья посмеивались над Иваном, но вдруг ударил гром и молния и приехала карета с прекрасной Василисой Премудрой. Во время танца она взмахнула руками, и появилось озеро с лебедями. Все гости были поражены женой Ивана, который, недолго думая, отправился домой, чтобы сжечь лягушечью кожу. Узнав об этом, Василиса опечалилась – ей оставалось всего три дня, чтобы освободиться от колдовства. Обернувшись голубкой, улетела она к Кощею, своему отцу.

Отправился Иван Царевич на поиски жены. Сносив две пары сапог, он встретил старика, который дал ему клубок и посоветовал идти за ним. По дороге царевич встретил медведя, зайца, селезня и щуку, но не убил их, а отпустил. Клубок привёл Ивана к избушке Бабы-Яга. Та, услышав о его беде, рассказала, как одолеть Кощея, который держал в плену Василису.

Иван Царевич нашёл дуб, на котором в сундуке в яйце на конце иглы находилась смерть Кощея. Медведь, заяц, селезень и щука помогли Ивану добыть заветную иглу, которую он тут же сломал и освободил свою жену. С тех пор Иван Царевич и Василиса Премудрая жили долго и счастливо.

План пересказа

  1. Поиск невест.
  2. Жена Ивана Царевича – лягушка.
  3. Первое задание царя – каравай.
  4. Второе задание – ковёр.
  5. Царский пир.
  6. Появление Василисы Премудрой. Иван сжигает лягушечью кожу.
  7. Поиск Василисы.
  8. Старичок и волшебный клубок.
  9. Баба-Яга открывает тайну Кощея.
  10. Смерть Кощея и счастливое избавление Василисы.

Главная мысль

Излишнее любопытство может стать причиной серьезных проблем.

Чему учит

Сказка учит доверять любимым людям, быть терпеливыми, добрыми, справедливыми, также учит отвечать за свои поступки.

Отзыв

Сказка волшебная, завораживающая. Особенно выделяется образ Василисы Премудрой – очень умной и красивой девушки, которая нашла свое счастье, несмотря на злые чары Кощея Бессмертного.

Рисунок-иллюстрация к сказке Царевна-лягушка

Рисунок-иллюстрация к сказке Царевна-лягушка.

Пословицы

  • Не по виду суди, а по делам гляди.
  • Умел сказать, умей и ответ держать

Что понравилось

Понравилась настойчивость Ивана Царевича, который преодолел немало невзгод, чтобы отыскать Василису Прекрасную и навсегда избавить её от злых чар Кощея Бессмертного.

Рейтинг читательского дневника

А какую оценку поставите вы?

Источник

«Царевна-лягушка»

Смысл названия: в названии таится парадокс (как лягушка может быть царевной?), призванный привлечь внимание читателей.

Литературное направление: фольклор.

Литературный жанр: волшебная сказка.

Действующие лица

  • Царь.
  • Старший сын царя.
  • Средний сын царя.
  • Иван, младший сын царя.
  • Боярская дочь — невеста старшего сына.
  • Купеческая дочь — невеста младшего сына.
  • Лягушка (она же впоследствии Василиса Премудрая) — невеста Ивана.
  • Кощей Бессмертный — главный злодей.
  • Баба-Яга — в данной сказке (как и в ряде других) выполняет функции волшебного помощника.

Краткое содержание

Когда настало время женить царских сыновей, царь велел им пустить из лука по стреле. Куда стрела полетит, там и судьба их ждёт.

Стрела старшего сына попала на боярский двор, среднего — на купеческий. А младшего — Ивана — угодила в болото. Иван нашёл эту стрелу у лягушки, которая сказала, что она теперь его невеста. Делать нечего — принёс Иван домой лягушку. Все смеялись, конечно.

Царевна-лягушка

Как только справили три свадьбы, царь велел невесткам умения демонстрировать. Для начала — сшить ему по рубахе. Опечаленный Иван пришёл к Лягушке, поделился с ней, а та ему велела спать: завтра всё образуется.

Иван уснул, а супруга его сбросила лягушачью кожу и превратилась в Василису Премудрую. Василиса кликнула своих нянек и приказала к утру сшить для царя рубаху. Утром Иван был поражён, увидев рубаху — да не простую, а драгоценными камнями и хитрыми узорами украшенную.

Царя работы двух невесток разочаровали, только рубашка Лягушки пришлась ему по душе.

Следующим заданием было испечь хлеб. Жёны старших братьев хотели подсмотреть за Василисой, но та схитрила: замесила тесто, верх печки сломала и сверху поставила квашню. Конечно, у Василисы получился изумительный хлеб, а у её невесток — горелые корки.

В качестве последнего испытания царь пригласил невесток на пир. Иван был очень смущён: как же он придёт с Лягушкой? Но жена ему велела ехать самому — а она прибудет позже. Когда Иван уехал, Лягушка сбросила кожу и сделалась красавицей. И на пиру поразила царя танцами: взмахнёт одним рукавом — озеро появится, взмахнёт другим (в который косточки за обедом прятала) — лебеди на озере.

Понравилось Ивану, что жена такая красивая. Пока шёл пир, он прибежал домой и лягушачью шкуру сжёг. Василиса как вернулась — ахнула: ей оставалось всего три дня быть лягушкой, а теперь её заберёт Кощей.

Кощей действительно похитил Василису, и Иван пошёл её искать. По дороге ему встретился добрый старичок, который дал Ивану волшебный клубочек, указывающий дорогу. По пути Иван проявил свою доброту: спас щуку и не стал стрелять в медведя, селезня и зайца.

Клубочек привёл Ивана к Бабе-Яге, а та рассказала, где смерть Кощея таится. Пришёл Иван к дубу, на котором сундук со смертью Кощея, а что делать — не знает. Но прибежал медведь, дуб повалил. Сундук свалился, из него выскочил заяц. Но другой заяц, спасённый Иваном, этого разорвал. Из зайца вылетела утка, но её клюнул спасённый Иваном селезень. Утка выронила в море яйцо, а щука его достала. Извлёк Иван из яйца иголку, сломал — и Кощею смерть пришла. А Иван с Василисой жили долго и счастливо.

Экранизации

«Василиса Прекрасная» (СССР, 1939); «Царевна-Лягушка» (СССР, 1954, мультфильм); «Василиса Прекрасная» (СССР, 1977, мультфильм); «Принцесса и лягушка» (США, 2009, мультфильм).

Задания для подготовки к ЕГЭ и ОГЭ

Назовите персонажей, которые стали волшебными помощниками Ивана.

Ответ. Баба-Яга, добрый старичок, заяц, медведь, селезень, щука.

Почему животные помогали Ивану погубить Кощея?

Ответ. Потому что Иван проявил доброту по отношению к животным. Он спас щуку, не причинил зла ни медведю, ни селезню, ни зайцу. И когда Иван попал в трудную ситуацию, животные отплатили ему добром.

Поделиться ссылкой

Источник

Царевна-лягушка с открытки нач. XX века

«Царе́вна-лягу́шка» — русская народная волшебная сказка. Сказки с подобным сюжетом известны также в некоторых европейских странах — например, в Италии[1] и в Греции.[2] Персонаж этой сказки — прекрасная девушка, обычно обладающая познаниями в колдовстве (Василиса Премудрая) и принуждённая жить какое-то время в облике лягушки.

Сюжет

По типичному сюжету сказки, Иван Царевич вынужден жениться на лягушке, так как находит её в результате обряда (царевичи стреляли из луков наугад, куда стрела попадёт — там невесту и искать). Лягушка, в отличие от жён братьев Ивана Царевича, отлично справляется со всеми заданиями царя, своего свёкра, либо с помощью колдовства, либо с помощью «мамок-нянек». Когда царь приглашает Ивана с женой на пир, она приезжает в облике прекрасной девушки. Иван Царевич тайно сжигает лягушачью кожу жены, чем вынуждает её покинуть его. Иван отправляется на поиски, находит её у Кощея Бессмертного и освобождает свою жену.

По классификации Аарне-Томпсона сюжету присвоен номер 402.

См. также

  • Король-лягушонок

Примечания

  1. ↑ Italo Calvino, Italian Folktales p 438 ISBN 0-15-645489-0
  2. ↑ Georgias A. Megas, Folktales of Greece, p 49, University of Chicago Press, Chicago and London, 1970
 Просмотр этого шаблона Сказочные жанры
Главный герой (А. Аарне, С. Томпсон), по тематике Сказки о животных, растениях, неживой природе и предметах  • Волшебные сказки  • Легендарные сказки  • Новеллистические (бытовые) сказки  • Сказки об одураченном чёрте  • Анекдоты  • Небылицы  • Кумулятивные сказки  • Докучные сказки
О животных
(А. Аарне, С. Томпсон)		 Дикие животные (Лиса, Другие дикие животные)  • Дикие и домашние животные  • Человек и дикие животные  • Домашние животные  • Птицы и рыбы  • Другие животные, предметы, растения и явления природы
О животных
(В. Я. Пропп), структурно-семантическая		 Кумулятивная сказка о животных  • Волшебная сказка о животных  • Басня (аполог)  • Сатирическая сказка
О животных
(Е. А. Костюхин), по содержанию		 Комическая (бытовая) сказка о животных  • Волшебная сказка о животных  • Кумулятивная сказка о животных  • Новеллистическая сказка о животных  • Аполог (басня)  • Анекдот  • Сатирическая сказка о животных  • Легенды, предания, бытовые рассказы о животных  • Небылицы
Целевая аудитории Детские сказки (Сказки рассказанные для детей, Сказки рассказанные детьми) • Взрослые сказки
Кумулятивные (рекурсивные) сказки С бесконечным повторением (Докучные-«Про белого бычка», Единица текста включается в другой текст-«У попа была собака») • С конечным повторением (нарастают единицы сюжета в цепь, пока цепь не оборвётся — «Репка»; расплетание цепи, пока цепь не оборвётся — «Петушок подавился», предыдущая единица текста отрицается в следующем эпизоде — «За скалочку уточку»)
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