The specific nature of the fairy tale genre determines the originality of the image of the emotions of its characters. The narrator focuses on the entertaining and dynamic nature of the plot, and the description of the psychological state of the hera is subordinated to this.

Let's see what traditional stylistic techniques storytellers use when mentioning the feelings and experiences of the characters, and why the fairy tale still pays attention to this. The material for the study was the most reliable collections of fairy tales in terms of language: Zelenin D. K. Great Russian fairy tales of the Vyatka province. Pg., 1915, hereinafter-ZV; Zelenin D. K. Great Russian fairy tales of the Perm province. Pg., 1914, hereinafter-ZP ; North Russian fairy tales in the records of A. I. Nikiforov. Moscow-L., 1961, further - N.; Onchukov N. E. Severnye skazki, SPb., 1908, further-O; Sokolov B. M. and Yu. M. Skazki i pesni Belozerskogo kraya. M., 1915, further-S ; Velikorusskie skazki v zapiski I. A. Khudyakov. M. - L., 1964, further - X.

The list of emotions experienced by the heroes of fairy tales is small.

After parting with their loved ones, they grieve: "This king waited for his son for a month, he could not wait, he went away in sorrow" (O. S. 38); "The king takes him by the hands, he wept himself... And from that time the king gave himself up to sorrow and gave himself up to old age "(Kh. p. 54).

They are angry with their enemies: "Now the firebird is also angry with her middle sister..." (ZP. p. 384); " Then the king shouted angrily at them: "Heads off your shoulders to you... "" (O. S. 185); "She is enraged, draws her sharp sword..." (H. S. 93).

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They are afraid of dangers: "Then Ivan Tsarevich made this maiden afraid" (O. S. 13); " The serpent spouched and fell off Ivan Tsarevich..."(O. S. 42); "He was afraid, did not go" (ZV. p. 351).

The feeling of boredom can act as a motivating function. For example, the verbs I missed you, I missed you perform the function of a psychological explanation of the reasons for sending the hero on the road in a fairy tale: "They were very bored because they did not have children. Because of this, the tsar did not like to live at home "( N. S. 97); " They lived, they lived, he missed them. "I will go," he says, "to visit my father and mother" (Kh. p. 126).

Boredom also acts as a motivation for other actions: "My sister got bored at home alone and fell in love with one beautiful guy" (ZV. p. 30).

Characters ' emotions and experiences can be expressed not only by direct verb naming, but also by stable constructions with prepositional control. To express positive emotions, storytellers often use the construction " from joy (with joy, on joy)" + verb: "And those who dance for joy" (ZV. p. 227); "Again they began to feast and spoil for joy" (n. P.172).

The characters ' complex emotional feelings are conveyed through simple means of contrasting two verbs: happy-crying. So, for example, the contradictory feelings of a father who learned about the birth of a son who should be given to the water king are depicted: "He rejoices in his happiness, but he keeps crying. Well, my wife thought that he was crying for joy... " (N. S. 98).

The characters cry with joy, expressing their extreme degree of emotional excitement: "My sister was overjoyed and took him by the arms and began to cry herself" ( p. 119). In a fairy tale, tears at a meeting are tears of joy: "Then his sister goes out and meets him with tears" (zp . p.208).

The complex complex of feelings experienced by the heroine is conveyed using the traditional phrase "bitterly cried": "I recognized my brother, bitterly cried "(Kh. P. 94).

But in general, the emotions associated with" bitter tears " are situationally determined by the hopeless, desperate situation of the hero. The girl who was given to be eaten by a snake cries in the story "The Winner of the snake": "A beautiful princess is sitting in a chair, crying bitter tears" (ZV. p. 33); "The King's daughter is sitting, crying hot tears" (O. P.41). Crying hero who received an impossible task in the story "Go there, I don't know where".

In some fairy tales, the mention of the emotional state of the hero is necessary for the development of the action, that is, plot-functional. For example, the heroine's tears should wake up the sleeping hero, this is not just a description of emotions, but an important detail of the plot narrative: "She woke him up, could not wake him up and cried bitter tears. I dropped a tear on his cheek; he woke up... "(ZV. p. 225).

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This also includes those episodes in which the characters 'demonstrated sadness or tears are a traditional reason for starting a "typical dialogue": "And he cries and sobs. "What are you crying and crying about?" Eva's wife asks. - "How can I not cry, how can I not grieve!..." "(p.p. 122); " Fyodor Vodovich comes into the hut, the princess sits in the hut crying tearfully. Fyodor Vodovich says: "Hello, princess, why are you sitting there crying?" - "How can I not cry, I am taken to the snake to be eaten" (O. S. 18).

When developing such a "typical" dialogue, the narrator can use a wide range of emotions to convey the state of the hero-from thoughtfulness, sadness to bitter tears: screwed up, saddened, cried, bitterly cried, burst into tears, sobbed. This technique can be attributed to the phenomenon of gradation of emotions.

The depressed, upset state of the hero is expressed in the fairy tale and through external plasticity - "he hung his head below his shoulders": "Well, hang his head" (O. S. 280); "He climbed into his room, became sad and hung his head below the mighty shoulders" (p.123).

In these examples, the description of the hero's appearance - with a lowered head, downcast eyes-is combined with the direct name of the emotion: saddened, twisted, etc. However, the emotions that have taken hold of the hero can only be described through their external behavior. For example, in the variants of the plot "Miraculous Escape", the hero's state is expressed through a gesture - "he grabbed himself by the mouth": "He came home, they left him to stretsyat, zhona vedet maltsik by the hand in the sixth year. "Oh, me, I promised you a son" (O. S. 162). This gesture expresses "a strong emotion that is caused by the fact that he (gesticulating. - Etc.) negatively evaluates himself or the situation in which he has fallen, " according to modern researchers (Grigorieva S. A., Grigoriev N. V., Kreidlin G. E. Dictionary of the Russian Sign Language, Moscow-Vienna, 2001, p. 52).

Emotion transmitted through gesture, through movement, becomes more "visible"," visually " expressed.

For example, instead of saying: "I was angry", the storyteller "depicts" the emotional state of the angry character: "I saw the prince, stamped my feet on Evo" (ZP. p. 57).

If the storyteller says that his hero's "hands are down", then this is perceived as an external expression of a state of despair: "I came home, and his son was born. Here he was very frightened, his hands fell down, and he does not know what he will do" (ZV. p.378).

Expressive plastic designation of an emotion - " rushed (fell) on his knees (at his feet)" can have different meanings depending on the situation. It can precede a request for forgiveness: "Then the sovereign heard, rushed, fell on his knees, and asked for forgiveness" (N. S. 326). This may be a request for a parental blessing:"...Fuck Saul-

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nyshku-batyushka to fall into the frisky feet, ask for a blessing. Fell to my father and mother in the frisky feet. They said: "God's blessing be upon us" (O. S. 7).

They fall on their knees, expressing their emotions, and when they meet: "The King fell on his knees, wept with joy "(Kh. P. 208); "And en comes to ottsyu on his face and falls on his knees..."(O. S. 238). To describe the emotions of the characters at the meeting, the cliche "threw herself on the neck" is also used: "Vanyusha came, she threw herself on his neck..."(p. p. 201); "She recognized him and threw her arms around his neck..."(Kh. P. 244). Option - "skotsila on the gate": "This bride saw him, skotsila from the feast to him on the gate "(O. S. 218). Not only in everyday life, but also in a fairy tale, the psychological states of heroes "do not last long, they arise quickly and are also quickly transformed into words (less often) or actions (more often) and are replaced by other states" (Savushkina N. I. Image of the inner world of a person in a Russian socio-everyday fairy tale / / Folklore as a whole art of the word. Issue II. Moscow, 1969, p. 77).

These verb series can include the direct designation of an emotion (overjoyed, cried), its "gesture", "sign" expression (threw herself on the neck) and dynamic reaction (runs up, jumped out).

Often, such verb series of homogeneous predicates form whole chains, for example, a sequence like eat-drink -walk - have fun:"... And everyone is happy, amused..."(O. S. 238).

Since food in the peasant consciousness is associated with fun, this is reflected in the fairy tale: "And all sorts of kushans appeared. And they all drank and had fun" (ZV. P. 133).

A happy ending in a fairy tale can be described by listing verbs: "All kings... they drink, walk, and have fun" (X. p. 134).

The characters of the fairy tale violently and energetically show their emotions. They feel in full force, expressively express their experiences: "When the father saw his newborn child, he fell down dead" (N. S. 98).

The description of emotions in a fairy tale is closely related to the plot, obeys the general stylistic laws of creating a fairy-tale text and is embodied in stable formulas that have not only a concrete visual, but also a conditional symbolic expression.

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