The peculiarities of English fairy tales

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Content

Introduction

1. The peculiarities of English fairy tales

2. Animals in English fairytales

3. Animalistic personages in Kipling's "The Jungle Book"

4. Animalistic personages in folktales and fairytales. Differences between them

Conclusions

Bibliography

Introduction

The aim of my work is to study the animalistic personages in fairy tales. To understand why in folk and authors tales is used the animalistic personages. What the author is trying to do: to hide from the reader something or open a new unknown world, to draw attention to its advantages and disadvantages, make conclusions and draw lessons for themselves.

The subject of my course project is animalistic personages and its role in the fairy tales. We will consider the work of several authors and the animalistic personages in their fairy tales.

The object of my research - paper is English fairy tales, in which the main characters are animals.

Relevance of the course project is to understand the role of fairy tales in the formation of the human person. The use of animals in fairy tales is also relevant, because it is simpler for children to understand the plot and the main idea of the story.

My project include two chapters. Every chapter consists of two points, introduction and bibliography. The first chapter combines two such tables: the peculiarities of English fairytales and animals in English fairytales.

The second chapter combines the following two points:

The key concept of my course project is a fairytale and the animals personages in English fairytales.

The necessary tasks to achieve the objectives of our investigation is to define the peculiarities of English fairy tales;

The methods of research are the following:

· a method of the contextual analysis;

· a method of semantic analysis;

· a method of a dictionary definition.

1. The peculiarities of English fairy tales

The origin of fairy tales is hard to find, since they have an oral tradition. They were passed on from generation to generation or enacted dramatically. The storytellers constantly altered the form of the tales for their own purpose. They were meant to be told to adults and children and did not always content a happy end.

We have to take the fairy tale as a work of art, but as more than one, built on by many tellers and of which the once given ground motive, the archetypal value, how much and often covered with excess decoration, stayed untouched.

Evidence, which one can find in other literary works, proves that fairy tales have existed for thousands of years. They are found throughout the world and in every culture and deal with the same ground motives in endless variations. They are the most international literature one can think of. They tend to take on the color of their location, in their motifs and the style in which they are told.

The more primitive the origin of the fairy tale, the more incoherent the form in which it is told, because the undeveloped mind cannot sufficiently collect the unconscious turning up images, while the flawless fairy tale story can be seen as an artistic product of culture of a more well-ordered society.

The oldest known written fairy tale is "The Two Brothers" from ancient Egypt around 1300BC. It is found in the Egyptian Papyrus of prince Seti Minephtah and deals with the two brothers Anup or Anubis. There are two main theories about the origin of fairy tales which one finds all over the world, in different cultures, with similar plots. The first one wants that the tales originated on one single point and then spread over the world during the centuries [3, p.112]. The second one claims that they arose from a common human experience - which means that all people around the world had certain same thoughts - and therefore have different places of origin.

Actually old English fairy tales are produced, not by Englishmen who are the descendants of foreign invaders, who had a different background and brought a literature with them from Europe, but by the race that already inhabited England before the English invaders came. They had their own civilization, which one can now trace back mainly in Wales. Fairy tales of that race will have therefore a Welsh origin and also belong to the English fairy tales for my analysis. But since fairy tales were passed down only orally a lot of them have been influenced by the new inhabitants of England. Nevertheless we can trace the Welsh origin in the title of many English fairy tales. Just look at the collection of titles in the enclosures.

The tales are a voicing of collective subconscious mental processes. Since they do not contain as much cultural material as myths of legends, the fundamental structures of the psyche are very clear. The essential psychological meaning is expressed in symbolic images and events. The fairy tale itself is its own best explanation. Its meaning is closed in the totality of the motifs which are connected to each other with the thread of the tale. People could not find a way to explain what they had experienced and tried to describe their experience using known material. This way we can say that every fairy tale is a relative closed system with one essential psychological meaning, which is expressed and can be deduced from a set of symbolic images and events. Some authorities believe that all fairy tales try to describe the same inexhaustible complex mental truth. Every individual and every folk experienced this psychological reality in its own way. The different fairy tales are pictures of the different phases of this experience [1, p.45].

Wikipedia describes a fairy tale as a fictional story that usually features folkloric characters (such as fairies, goblins, elves, trolls, witches, giants, and talking animals) and enchantments, often involving a far-fetched sequence of events. In modern-day parlance, the term is also used to describe something blessed with unusual happiness, as in "fairy tale ending" or "fairy tale romance", though there are notable examples and genres of fairy tales that do not end happily. Colloquially, a "fairy tale" or "fairy story" can also mean any far-fetched story. … They take place "once upon a time" rather than in actual times [8].

Britannica gives the following definition: "wonder tale involving marvellous elements and occurrences, though not necessarily about fairies, a fairy tale is an allegory, a similarity, a story, that portrays and reflects in symbols an eternal truth. It's not a randomly fantasized story meant for youth entertainment. It is neither a story full of improbabilities or a story where creatures like fairies, elves, dwarfs and giants act. Fantasy stories are often wrongly called fairy tales. In the real fairy tale improbabilities and natural creatures can appear, but only when they are as a symbol pure and precise.

English folk-tales, fairy tales are a subgenre of them, are essentially colloquial and contain rarely romance. But this is not really specific for England. Also folk-tales of other countries have this colloquial and unromantic nature. But literary adapted versions have given us another, more romantic, idea of those folktales. The real folk-tales were completely different. Specific for England is that the productions of folktales contain more humour than romance. And constructive plots are rarely seen.

The traditional English verse has two factors: a fixed number of stresses and a more or less fixed number of syllables to the line.

Joseph Jacobs mentioned in his Preface of English Fairy Tales in 1890, that certain indications existed to think that the cante-fable was the „common form? of the English fairy tale. This is a mixture of narrative and verse, like in ballads.50 In few cases English folk-tales still exist in that metrical form of Ballads. In England, Lowland Scotch or Northern English there is scarcely a trace that implies other ways of telling the tales than in that typical ballad form [4, p.67]. Between the folk-literature of England and that of Northern English or Scots the distinction is very vague. There are no stories of Lowland Scots which have a distinct difference from the stories of Southern England. The stories have the same character and in most cases the same plot.

For Ireland it is a different story. For those fairy tales there is evidence that the tales now told in English, originally existed in Irish and belong to the Celtic culture.

I have found following characteristics of fairy tales:

- kings and queens,

- princesses and gallant princes,

- goose-girls, youngest sons and hunters,

- ogres, giants, dragons, trolls,

- talking horses, foxes or ravens,

- wicked stepmothers, fairy godmothers, …

As Stith Thompson and Carter herself point out, talking animals and the presence of magic seem to be more common to the fairy tale than fairies themselves. However, the mere presence of animals that talk does not make a tale a fairy tale, especially when the animal is clearly a mask on a human face, as in fables [6, p.123].

Fairy tales were mainly meant for adults, as winter entertainment, but children also listened to those tales. Children feel the wisdom in the image unconsciously, adults are able to take in the wisdom of the image by inner activity. It is only since the Grimm brothers international collection with adaptations that we associate fairy tales with children. By the way it is only since the Grimm brothers that people started to have sympathy for the content.

The culture and environment in which a fairy tale originated or has been told, is important to understand the wisdom in the tale in the right way. The wisdom of Arabian tales has a different angle or point of view than that of European tales. It gives the fairy tales a whole other atmosphere.

2. Animals in English fairytales

Some authorities make a clear distinction between fairy tales and animal tales. Others see animal tales as a genre of the fairy tale. For instance Vladimir Propp criticized the distinction in his Morphology of the Folktale on the grounds that many tales contained both fantastic elements and animals. But the name animal is not quite right. The figures are animals, but at the same time they are anthropomorphic beings. They are human beings in the form of animals or animals in the form of humans.

The animal is the bearer of the projection of factors of the human psyche. They are human because they do not in fact present animal instincts, but our animal instincts, and in this sense they are anthropomorphic. If in a story a tiger represents greed, then the greed of the tiger is not presented, but our own tigerly greed. The one who is as greedy as a tiger, dreams about a tiger. So it is about an anthropomorphic tiger. Such animal tales appear unusual often and according to a lot of researchers they form the oldest type of mythological tales.

Of course, as I already cited from Wikipedia, when the animals are distinct masks on human faces, the tale is not a fairy tale but a fable. Also a lot of fantasy stories used to be marked as fairy tales like George Orwell's "Animal Farm" and L. Frank Baum. But also Dickens "Oliver Twist" will be sometimes seen as a fairy tale. And when one reads what Burgess says about this book one can understand why.

In my opinion these tales can also be used under the same name for educational purposes as long as the link is clear and the pupils learn something from the tale.

English folk tales are strikingly different from our usual Russian. They are different - in a way of building space, genre and narrative identity, especially the characters and the characters. Tales, written in English, give us an idea of national myths, legends, ballads, and are familiar with the individual elements of the spiritual and material culture of this rich country. This allows us to learn about the culture and way of life in England, learn the different stages of its history.

Genre originality of English folk tales outwardly very similar species Russian fairy tales, however, internal differences are crucial. It highlighted tales about animals, domestic and fairy tales, which include legends about witches, giants, ghosts. folktale animal personage kipling

English tales about animals - a special group, which dates back to ancient times, its volume is small. Usually the main characters here are the cat and chicken, negative - fox and the wolf, who represents evil. These tales teach empathy weak characters, help them, and there is almost no kind of moral or didactic component. The important role played by humor that softens the acute situations - the characters and their qualities are ridiculed and presented in a comic vein. Space tales of animals in which the unfolding events, special, clearly separated from reality. The most prominent and well-known example "The Tale of the three little pigs." Here are concentrated typical features characteristic of this group of tales: the existence of "evil" beginning (wolf), the cunning hero (the third little pig), the victory of good over evil and cunning, as well as in many Russian fairy tales, the important role played by the magic number " three". As for the linguistic component, in the English tale almost no traditional introductions and endings, but sometimes we can find similar sentence: "And since they lived, not grieve and never drank out of an empty bottle".

Before the animals will find their happiness, they will have to overcome a number of difficulties. At the end of the story the wolf and fox defeated, and in the tales of the animals, in contrast to other species of fairy tales, good triumphs over evil. English folk tale "The Wolf and the three kittens," is very similar to the well-known Russian, the wolf and the kids. But here, in contrast to the Russian fairy tale, where the goats come to the aid of their mother, the kittens themselves to cope with the situation. In this tale, allegedly Western type to a vibrant, strong hero capable of independently resolve emerging issues without help from outside.

These are the features of English fairy tales. As we can see, compared with the Russian, British tales less saturated and not as bright, but they contain specific, but they are inherent features, and have great spiritual and artistic value. Inside the English fairy tales often found proverbs, sayings, songs, spells, allowing the best way to experience the fabulous atmosphere of England and with a better understanding of their culture.

Getting acquainted with the daily English fairy tales can not help noticing that their characters do not aspire to be the best, powerful or rich, famous and be indispensable, in contrast to the characters of Russian fairy tales, and just want to stay alive and avoid failure, they are not a gambler, and not subject to adventurism. But it is worth noting that, thanks to a quirky, everyday tale of England surprise with the comedy, and ridiculous plot situations. Instead of describing the vicissitudes of magic involving the hero, there is a description of what the audience, this is the everyday hero stories, it is not peculiar to the successful completion of the story.

The oldest came to us from ancient times, are considered stories about animals, as a rule, they narrated the good (cat or chicken) and evil (the wolf or fox) animals. It is usually instructive tales, morality which is compassion for the weak and helpless characters. A place where events unfold such stories is far from reality, and heroic qualities and comic characters, soothing tensions. Recall the tale of the three little pigs and the wolf, reading about the good and the evil wolf pigs, we do not see the practicality, running next to wit, cunning and close to power. Kind to animals such stories have to overcome many difficulties and hardships, and admires the tenacity with which they are going to achieve the desired goal.

The beast tale is a very old form which was a story of some successful primitive hunt or of some primitive man's experience with animals in which he looked up to the beast as a brother superior to himself in strength, courage, endurance, swiftness, keen scent, vision, or cunning. Later, in more civilized society, when men became interested in problems of conduct, animals were introduced to point the moral of the tale, and we have the fable. The fable resulted when a truth was stated in concrete story form. When this truth was in gnomic form, stated in general terms, it became compressed into the proverb. The fable was brief, intense, and concerned with the distinguishing characteristics of the animal characters, who were endowed with human traits. Such were the Fables of Aesop. Then followed the beast epic, such as Reynard the Fox, in which the personality of the animals became less prominent and the animal characters became types of humanity. Later, the beast tale took the form of narratives of hunters, where the interest centered in the excitement of the hunt and in the victory of the hunter. With the thirst for universal knowledge in the days following Bacon there gradually grew a desire to learn also about animals. Then followed animal anecdotes, the result of observation and imagination, often regarding the mental processes of animals. With the growth of the scientific spirit the interest in natural history developed. The modern animal story since 1850 has a basis of natural science, but it also seeks to search the motive back of the action, it is a psychological romance. The early modern animal tales such as Black Beauty show sympathy with animals, but their psychology is human. In Seton Thompson's Krag, which is a masterpiece, the interest centers about the personality and the mentality of the animal and his purely physical characteristics. Perhaps it is true that these physical characteristics are somewhat imaginary and overdrawn and that overmuch freedom has been used in interpreting these physical signs. In Kipling's tales we have a later evolution of the animal tale. His animals possess personality in emotion and thought. In the forest-friends of Mowgli we have humanized animals possessing human power of thinking and of expressing. In real life animal motives seem simple, one dominant motive crowds out all others. But Kipling's animals show very complex motives, they reason and judge more than our knowledge of animal life justifies. In the Just-So Stories Kipling has given us the animal tale with a basis of scientific truth. Of these delightful fairy tales, The. Elephant's Child and how the Camel Got His Hump may be used in the kindergarten. Perhaps the latest evolution of the animal tale is by Charles G. D. Roberts. The animal characters in his Kindred of the Wild are given animal characteristics. They have become interesting as exhibiting these traits and not as typifying human motives; they show an animal psychology. The tales have a scientific basis, and the interest is centered in this and not in an exaggeration of it.

Having viewed the animal tale as a growth let us look now at a few individual tales.

One of the most pleasing animal tales is Henny Penny, or Chicken Licken, as it is sometimes called, told by Jacobs in English Fairy Tales. Here the enterprising little hen, new to the ways of the world, ventures to take a walk. Because a grain of corn falls on her top-knot, she believes the sky is falling, her walk takes direction, and thereafter she proceeds to tell the king. She takes with her all she meets, who, like her, are credulous, Cocky Locky, Ducky Daddles, Goosey Poosey, and Turky Lurky until they meet Foxy Woxy, who leads them into his cave, never to come out again. This is similar to the delightful Jataka tale of The Foolish Timid Rabbit, which before has been outlined for telling, which has been re-told by Ellen C. Babbit. In this tale a Rabbit, asleep under a palm tree, heard a noise, and thought "the earth was all breaking up." So he ran until he met another Rabbit, and then a hundred other Rabbits, a Deer, a Fox, an Elephant, and at last a Lion. All the animals except the Lion accepted the Rabbit's news and followed. But the Lion made a stand and asked for facts. He ran to the hill in front of the animals and roared three times. He traced the tale back to the first Rabbit, and taking him on his back, ran with him to the foot of the hill where the palm tree grew. There, under the tree, lay a cocoanut. The Lion explained the sound the Rabbit had heard, then ran back and told the other animals, and they all stopped running. Brother Rabbit Takes Some Exercise, a tale from Nights with Uncle Remus is very similar to Henny Penny and could be used at the same time. It is also similar to Grimm's Wolf and Seven Kids, the English Story of Three Pigs, the Irish The End of the World, and an Italian popular tale.

The Sheep and the Pig, adapted from the Scandinavian by Miss Bailey in For the Children's Hour, given also in Dasent's Tales from the Field, is a delightfully vivacious and humorous tale which reminds one of Henny Penny. A Sheep and Pig started out to find a home, to live together. They traveled until they met a Rabbit and then followed this dialogue:

R. "Where are you going?"

S. and P. "We are going to build us a house."

R. "May I live with you?"

S. and P. "What can you do to help?" [11].

The Rabbit scratched his leg with his left hind foot for a minute and said, "I can gnaw pegs with my sharp teeth and I can put them in with my paws." "Good," said the Sheep and the Pig, "you may come with us!" Then they met a gray Goose who could pull moss and stuff it in cracks, and a Cock who could crow early and waken all. So they all found a house and lived in it happily.

The Story of "Three Pigs" could contend with "The Three Bears" for the position of ideal story for little people. It suits them even better than "The Three Bears", perhaps because they can identify themselves more easily with the hero, who is a most winning, clever individual, though a Pig. The children know nothing of the standards of the Greek drama, but they recognize a good thing; and when the actors in their story are great in interest and in liveliness, they respond with a corresponding appreciation. The dramatic element in The Three Pigs is strong and all children love to dramatize it. The story is the Italian Three Goslings, the Negro Tiny Pig, the Indian Lambikin, and the German The Wolf and Seven Kids. This tale is given by Andrew Lang in his Green Fairy Book. The most satisfactory presentation of the story is given by Leslie Brooke in his Golden Goose Book. The German version occurred in an old poem, Reinhart Fuchs, in which the Kid sees the Wolf through a chink. Originally the characters must have been Kids, for little pigs do not have hair on their "chinny chin chins."

One of the earliest modern animal tales is "The Good Bear", by Richard Hengist Horne, the English critic. This tale was written in 1846, just when men were beginning to gain a greater knowledge of animal life. It is both psychological and imaginative. It was brought to the attention of the English public in a criticism, On Some Illustrated Christmas Books, by Thackeray, who considered it one of the "wittiest, pleasantest, and kindest of books, and an admirable story." It is now out of print, but it seems to be worthy of being preserved and reprinted. The story is the autobiography of a Bear, who first tells about his interesting experiences as a Baby Bear. He first gives to Gretchen and the children gathered about him an account of his experience when his Mother first taught him to walk alone [10].

The animal tale includes many of the most pleasing children's tales. Indeed some authorities would go so far as to trace all fairy tales back to some ancestor of an animal tale; and in many cases this certainly can be done just as we trace Three Bears back to Scrapefoot. The animal tale is either an old beast tale, such as Scrapefoot or Old Sultan; or a fairy tale which is an elaborated development of a fable, such as The Country Mouse and the City Mouse or the tales of Reynard the Fox or Grimm's The King of the Birds, and The Sparrow and His Four Children; or it is a purely imaginary creation, such as Kipling's The Elephant's Child or Andersen's "The Bronze Pig".

3. Animalistic personages in Kipling's "The Jungle Book"

Joseph Rudyard Kipling was an English short-story writer, poet, and novelist chiefly remembered for his tales and poems of British soldiers in India, and his tales for children. He received the Nobel Prize in Literature in 1907. He was born in Bombay, in the Bombay Presidency of British India, and was taken by his family to England when he was five years old. Kipling is best known for his works of fiction, including The Jungle Book (a collection of stories which includes "Rikki-Tikki-Tavi")[8].

Deep truths and deep insights into and from the human and animal conditions; Kipling's Jungle Book remain a priceless treasure to all. While the Disney cartoon is "cute", it only vaguely resembles what Mr. Kipling actually wrote and certainly contains neither the drama, wisdom or beautiful language of the original text

The Jungle Book was written by Rudyard Kipling in 1894 and is a collection of stories which were inspired by tales about the Indian jungles, tales he heard when he spent his childhood in India. This book was followed by a second book in 1895 and speaks about the adventures of a lost human child Mowgli, who is rescued and nurtured by wolves and other animals in an Indian jungle[8].

These are the stories of Mowgli "the frog," a man-cub raised by wolves, and his journey to adulthood with the help of Baloo the bear, Bagheera the black panther, and many other memorable characters.

Rudyard Kipling is not only a master of the English language, he is a master teller of tall tales who understands animals and people, their habits and 19th century India. His stories are a mix of credibility, delightful critters and colorful characters mixed with a touch of poetic license. The Jungle Book is timeless and filled with stories for children of all ages.

Shere Khan

He is the tiger who wants to kill Mowgli and so Bagheera and the Wolves want to send him back into the village. Mowgli's fights with Shere Khan are some of the unforgettable scenes in the movie. His character is shown as someone very sophisticated and strong.

Raksha

Raksha, who is a demon in wolves' language, is the mother wolf who takes care of Mowgli and raises him up along with her cubs. Mowgli is found by Raksha's mate, the father wolf.

Akela

He is an Indian wolf in the Council of wolves and wants Mowgli to go back to the human village. He is the leader of the pack who presides over the pack's meetings and is shown to be always concerned about the honor of the pack.

Bagheera

He is a black panther who finds the orphaned baby Mowgli and brings him to Raksha. But he is adamant to leave him back into the village amongst humans as he thinks Mowgli doesn't belong to the jungle. Bagheera is Mowgli's friend and guide.

Baloo

Baloo is a carefree bear who loves Mowgli and teaches him the ways of the jungle. He teaches him to use the boomerang and to steal honey from hives. You might remember the song "Bare Necessities", Baloo loves to spoil Mowgli.

Kaa

As per the book, Kaa is the python who is a friend of Mowgli. He is friends with Baloo and Bagheera and even help them to rescue Mowgli when he is in trouble. However, in the film the character is portrayed as the one always trying to kill Mowgli.

Radha

She is the human girl Mowgli sees at the river and follows her to the human village. He wants to know if there are more like him and eventually finds them, leaving Baloo and Bagheera watch him go.

King Louie

The character of King Louie is not there in the original book by Kipling, as orangutans are not found in India. However, in the film, Mowgli gets him bananas in exchange to let him stay in the jungle. He is the orangutan who wants to know how to make fire and calls it "Man's Red Flower"

Chil

This character is in the book but is not in the film. Chil is a kite who is a friend of Mowgli. He helps to rescue Mowgli from the Bandar-Log.

Tabaqui

This character also does not appear in the film, but is a part of the book. He is the jackal who is pretty scared of Shere Khan. He lives mostly on the food that is given by Shere khan or one of the wolves.

Colonel Hathi,

Winifred and Junior

These are the friendly elephant family characters who help Mowgli whenever he needs them and Junior, the Colonel's clumsy son is a good friend of Mowgli. Colonel Hathi is the head of the elephant troop. Hope you remember the song, "Colonel Hathi's March", where all the three characters of Colonel Hathi, his wife Winifred and his son Junior march along.

Buzzie, Flaps, Dizzie and Ziggy

These four characters are the singing vultures who resemble 'The Beetles' and always sing to the passersby. The song, "That's what Friends are for" that they sing along to cheer Mowgli, is one of the famous songs.

So those, in short, are the jungle book character names, which are truly unique and memorable. Rudyard Kipling's book differs with the film, with regards to the Jungle Book characters and their roles. Whether you are reading The Jungle Book or watching the movie, at all times, it's a mesmerizing experience.

In fairytales, animals often talk and act like human beings. The animal characters interact with people. Many animals act as "magic helpers" to the human hero or heroine of the tale. Talking animals are taken for granted in these tales.

Animals are the heroes of the book. Kipling provides purely human features the ability to speak, to think. But in addition, it is so masterfully, he describes their behavior, lifestyle, readers not only captures the extraordinary story, but also learn a lot about animals, and in a surprisingly realistic description they appear before our seem a little more - and you can lay my hands a flowery pattern back Kaa, black silky hair Bagheera. She never laid himself what to do, it will always act as it sees fit.

Book by D. Kipling "Mowgli" is a wise and instructive tale. The amazing story of a little boy raised by wolves, reveals ancestral laws of nature, forces reflect on the values of human life.

Human baby, he found himself in the jungle, was not killed, because he found the faithful and reliable friends. These friends are the animals. Kipling but do not make them human traits, as it happens in fairy tales. All of them are thinking beings and act as appropriate in accordance with the laws of nature.

One of these laws is to care for the offspring. The personification of the law are the Father and Mother Wolf. The first time he saw Mowgli, Wolf felt that he is a defenseless "puppy." That's why she has to protect him, as would protect their cubs. All animals admitted its right.

Growing up, Mowgli finds new friends. Akela, Baloo, Bagheera embody wisdom of the natural world. Thanks to them, contained in the jungles of a delicate balance of good and evil, life and death. Mowgli being raised in the jungle

Together with Mowgli we know and understand the law of the jungle, they are useful in many ways, and people. For example, you can only kill animals for food, respect the laws of each society (flocks), respect of who you meet on the trail in the jungle, be wiser to science.

The tale beautifully illustrated images of animals with their characters and customs. It is the teacher Jungle good bear Baloo, the wise elephant Hathi, menacing black panther Bagheera, the noble leader of the wolf pack Akela, terrible and wicked tiger Sher Khan and others.

Animals teach Mowgli, "Father Wolf taught him his work, from Baloo, he learned that honey and nuts - the same great food, like raw meat, Bagheera showed how to hunt, trap, warned on the dangerous path and Sher Khan. For science guy pays kindness, helping animals in difficult moments of their lives, pulling thorns out of their feet" [1, p. 56].

Mowgli rose, felt his power over the beasts (none of them could withstand his gaze, but he is one of the Pack tamed Red Flower - fire). But it did not change his attitude towards the inhabitants of the Jungle. Mowgli still loves his Mother and Father Wolf, brothers, friends and Bagheera.

4. Animalistic personages in folktales and fairytales. Differences between them

Some experts say that fairy tales are simply a sub-genre of folk tales and are different only in that they involve magic and/or fantastic creatures. That's a bit of an oversimplification, but without more instruction about the structure and elements of each story, it will do for now. There is more to know about the structure of these stories, but if I teach you everything now, you'll have nothing left to learn in high school, and that would be a bad thing!

To make things even more confusing, these days, many books are written that cross genres, so you may find elements of a folk tale in a fantasy novel or a mystery. You may find elements of or characters from fairy tales in contemporary fiction, updated for a modern audience. This new approach to storytelling keeps literature alive and is something to celebrate even if it sometimes blurs the lines between genres and makes it hard to give you easy definitions.

To be a true folk tale, a story must have its origins in what we call the oral tradition. This means the story was first passed down orally by storytellers. Along the way it may have had things added or subtracted as each storyteller made it his or her own. It eventually was written down, which is why you're able to read it in a book now, but it wasn't written down first. For example, Paul Bunyan reads like a folk tale and has many folk tale elements in it, but it is not a true folk tale because it was a written story to begin with and not something passed down through the generations orally.

Characters are not complex. Instead they are stereotypes: the thief, the liar, the clever youth, the evil stepmother, etc.

Even when written down, they are sometimes told in a way that sounds like the spoken word: directly addressing the reader, use of dialect or slang, etc.

The structure may be repetitive. Things that happen in threes are common. Repetition of lines is also common and would have been helpful to whoever was memorizing and telling a story in the oral tradition.

Fairy tales often don't have any fairies in them at all. In terms of the kinds of human characters the stories are peopled with or the structure of the stories themselves, there isn't much difference between folk tales and fairy tales. But the presence of witches, dragons, trolls, magic spells, or other magical elements help distinguish fairy tales from folk tales.

Both folk tales and fairy tales may involve a character learning an important lesson. Both may put the heroes in mortal danger. Like folk tales, fairy tales may serve as cautionary tales to teach their listeners what not to do.

Some fairy tales have roots in the oral tradition, but others, called literary fairy tales, were made up and written down, so technically, these are not folk tales. However, they may share many of the same traits as fairy tales from the folk tale tradition.

Like folk tales, in their original forms often have less than happy endings. Because the stories were invented to be instructive and cautionary, they often feature a main character who suffers for his or her failure to do things the "right" way.

Most folktale settings remove the tale from the real world, taking us to a time and place where animals talk, and magic spells are commonplace.

The settings are usually unimportant and described and referred to in vague terms (e.g., "Long ago in a land far away…" and "Once upon a time in a dark forest…").

Some settings reflect the typical landscape of the tale's culture, for example, medieval Europe with its forests, castles, and cottages, Africa with its jungles, India and China with its splendid palaces [2, p. 59].

The characters in folk literature are usually flat, simple, and straightforward. They are typically either completely good or entirely evil and easy to identify. They do not internalize their feelings and seldom are plagued by mental torment.

Motivation in folktale characters tends to be singular; that is, the characters are motivated by one overriding desire such as greed, love, fear, hatred, and jealousy.

The characters are usually stereotypical, for example, wicked stepmothers, weak-willed fathers, jealous siblings, faithful friends[9]. Physical appearance often readily defines the characters, but disguises are common.

The hero or heroine is often isolated and is usually cast out into the open world or is apparently without any human friends. Evil, on the other hand, seems overwhelming. Therefore, the hero/heroine must be aided by supernatural forces, such as a magical object or an enchanted creature, to fight against evil forces.

Plots are generally shorter and simpler than in fairytales.

The action tends to be formulaic. A journey is common (and is usually symbolic of the protagonist's journey to self-discovery).Repetitious patterns are found, suggesting the ritual nature of folktales and perhaps to aid the storyteller in memorization; for example, events often occur in sets of three (e.g., three pigs, three bears, three sisters, three wishes),

The action is concentrated, no lengthy explanations and descriptions. Conflicts are quickly established and events move swiftly to their conclusion. The action never slows down. Endings are almost always happy ("They lived happily ever after").

Themes in folk literature are usually quite simpler then in fairytales, but more serious and powerful. Folktale themes espouse the virtues of compassion, generosity, and humility over the vices of greed, selfishness, and excessive pride [6].

Common folktale themes include the following :

The struggle to achieve autonomy or to break away from parents ("Beauty and the Beast")

The undertaking of a rite of passage ("Rapunzel")

The discovery of loneliness on a journey to maturity ("Hansel and Gretel")

The anxiety over the failure to meet a parent's expectations ("Jack and the Beanstalk")

The anxiety over one's displacement by another - the "new arrival" ("Cinderella")

These themes are at the very heart of growing up. Also, they are similar to the themes of Greek tragedy: Wisdom comes through suffering. For every benefit there is a condition; nothing in life comes without strings attached, responsibilities to be met, and bargains to be kept.

The language is typically economical, with a minimal amount of description and a heavy reliance on formulaic patterns, e.g., conventional openings and closings.

Repetitious phrases are common; they supply a rhythmical quality desirable in oral tales and perhaps aided in memorization the stories.

Dialogue is frequently used; it captures the nature of the character speaking.

Folktales often use a technique - stylized intensification, which occurs when, with each repetition, an element is further exaggerated or intensified. This has the effect of increasing the drama.

Folktale motifs (i.e., recurring thematic elements) are quite prevalent; they may have served as mnemonic devices when the tales were still passed on orally. Examples of common motifs include journeys through dark forests, enchanted transformations, magical cures or other spells, encounters with helpful animals or mysterious creatures, foolish bargains, impossible tasks, clever deceptions, and so on.

Some folktales have powerful visual images that we can readily identify, such as a glass slipper, a bean stalk, a spinning wheel, a poisoned apple, a red riding hood, a magic lamp, and a blue bird. These stark visual elements give the tales their enduring strength.

Many folktale motifs (i.e., recurring thematic elements) are examples of magic: helpful animals, enchanted transformations, granted wishes, etc. The magic, when it appears, is always greeted by the characters with matter-of-factness. Characters acknowledge magic as a normal part of life without surprise or disbelief. This stylistic feature distances the folktale from reality, and it provides an important distinction between folk literature and literary/modern fantasy.

Folktales often lift their heroes and heroines to higher and more refined levels where they remain beautiful, noble, and pure through the process of sublimation.

Conclusions

During my research, I compared "The Jungle Book" by Kipling and some folktales. There are many differences between its composition and structure, but there is one difference, which is the most important. In folktales the animal personages reflect the world of people, their characters and behavior . In "The Jungle Book" the author does not give his characters human logic. The heroes come to the inhabitants as did the jungle, they live by the laws of the jungle.

Kipling knew that readers will compare their world with the world of animals. That was the idea, why the animals in his fairytale were not the reflection of people.

The theme of my course project has been always relevant and it is relevant nowadays. The fairytales play in people`s life very important role. Fairy tale is the first books with which children started their travelling to the world of literature .

Children under five years are usually more receptive to stories about animals and the relationship between humans and animals. They best convey the kids experience. For the youngest children, the fairytales must be easier and shorter, there must be more repetitions. Children like fairy tales. They tell the child about the spiritual development of human wisdom of life.

Traditional education contrasts fairytale imperative knowing how lightweight - heavy, as natural - unnatural as an affordable and necessary here and now - hard to get and it is not clear why we need. But the fairytale for a child, it's not just a fairy tale, not just a game, it is life and life is acceptable and consonant of the child means materializing concern its relations and circumstances, the constitution of morals and a code of laws of life, rules of life and standards of politeness, the categories of good and evil, relative social assessments.

Fairytale is an amazing force on the psychological impact of the vehicle with the inner world of the child, a powerful development tool.

The actions and deeds of fantastic heroes opposed to hard work - lazy, good - evil, courage - cowardice. Likes kids always attract those who are peculiar: compassion, love of work, courage. Children are happy when good triumphs, sigh of relief, when the heroes overcome difficulties and comes a happy ending.

Bibliography

1. R.J. Kipling "The Jungle Book" - M.: Progress Publisher, 1985. - 205p.

2. A. Arne and S. Thompson "The Types of the Folktale" - H.: Higher school, 1961. - 176p.

3. C. Vito "The Irish Fairy Tale: A Narrative Tradition from the Middle Ages to Yeats and Stephens" - Roma-Lanham.: John Cabot University Press/University of Delaware Press, 2011. - 156p.

4. V. Propp "Morphology of the Folk Tale" - M.: Progress Publisher, 1994. - 189p.

5. H. A. Heiner "What Is a Fairy Tale?" - H.: Higher school, 1986. - 145p.

6. S. Thompson "The Folktale" - University of California Press, Berkeley Los Angeles London, 1977. - 55p.

7. Практикум по стилистике английского языка: Учеб. пособие для студентов филол. фак. ун-тов, ин-тов и фак. ин. яз. --М.: Высш. шк., 1986.-- 123 с.

8. http://en.wikipedia.org/wiki/Fairy_tale

9. http://www.first-school.ws/theme/fairytales.htm

10. http://www.e-reading.org.ua/book.php?book=102770

11. http://nota.triwe.net/lib/tales01.htm

Dictionaries and reference books

12. Cambrige International Dictionary of English . - Cambridge University Press, 1995. - 1773p.

13. Collins English Dictionary. - Collins London and Glasgow, 1976. - 1263p.

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