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The explanation essence of the difference of good and evil in hans christian's tales

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COURSE WORK THE EXPLANATION ESSENCE OF THE DIFFERENCE OF GOOD AND EVIL IN HANS CHRISTIAN'S TALES . 1 CONTЕNTS INTRODUCTION .................................................................................................3 CHАPTЕR I. H.K. ANDERSEN AND HIS ROLE IN LITERATURE 1.1 Hans Christian Andersen’s biography .............................….…………...…….7 1.2 Great works of Andersen .. …. ….....……………...…………………………12 The conclusion on the chapter I……………...………………. …………….......... 15 CHАPTЕR II. THE NEED FOR FAIRY TALES 2.1 Hans Christian Andersen’s fairy tales ………………………………………17 2.2 Analyse of “The snow queen” …….……………………. ….………………21 The conclusion on the chapter II…... ………………………………………….....26 CONCLUSION ……………………………………………………………. …..27 A LIST OF USED LITERATURE АND INTЕRNЕT SOURCЕ ….……….29 2 INTRODUCTION “The time has come to create in Uzbekistan a new system of teaching foreign languages, which will become a solid foundation for the future. Since we set ourselves the goal of building a competitive state, from now on, graduates of schools, lyceums, colleges and universities must be fluent in at least two foreign languages. This strict requirement should become the main criterion for the work of the head of each education institution”, Shavkat Mirziyoyev said. The importance and influence of English is increasing over the world, including in Uzbekistan. The key causes of this phenomenon include increasing the speed and scope of information sharing in the global village after attaining independence and growing connectivity with the rest of the globe. The language of published information in the internet area is firmly occupied by English, which is a powerful reason to study English for individuals who want to improve their worldwide skills. In recent years, there is a great attention in the sphere of learning foreign languages. The cause is that learning a foreign language gives a chance to work internationally, to learn other countries, often developed ones practice and exchanging experience with them. Therefore, President of Uzbekistan is paying his much attention to education and foreign languages and signing rules and decisions. For instance, one of them signed in May 19, 2021 “O n measures to bring quality to a new level of promotion of foreign language learning activities in the republic of Uzbekistan”. The main purpose from this document is to develop the sphere of 3 education, especially language learning. In this way, almost all educational institutions have mentioned their aims, goals and responsibilities, and doing them one by one. Since our country's independence, teaching foreign languages has been extremely significant in Uzbekistan, which places a high value on people's education and intellectual development. It's difficult to emphasize the significance of foreign language knowledge for our country today, because our people see a bright future in working with international partners." Rather than rigidly presenting grammatical forms, communicative techniques believe that speaking is the most effective way to teach language. Communicative techniques have disregarded the use of explicit grammatical principles in English training. Teaching foreign languages has become highly important in Uzbekistan, which places a great priority on people's education and intellectual development, since our country's independence. It is difficult to overestimate the importance of understanding foreign languages for our country today, because our people envision a bright future in collaboration with foreign partners." Unlike grammar-based techniques, communicative approaches believe that language is best taught through speech rather than by mechanically presenting grammatical forms. The explicit use of grammatical rules in teaching English has been ignored by communicative approaches. Any educational system's overall goal is to prepare the next generation for adequate participation in all aspects of society's activities. Great advances have occurred in all fields since independence, allowing us to study international literature in more depth than ever before. Th e purpose of this research paper is to demonstrate how music can be used in the classroom by describing several methods and providing resources, as well as to demonstrate why music can benefit foreign language learning by reviewing 4 research on the impact of music-related methods on EFL learning and teaching. The researchers relied upon the previous studies and critical and scholarly texts. This study adopts a descriptive study design, which is comprised of a quantitative study in various contexts. The results demonstrated that the complexity found in the foreign language teaching process emerges from the social and cognitive needs of the EFL learners that in most cases are ignored intentionally or unintentionally. Moreover, the process of second language learning comes with a lot of anxiety and peer pressure. Hence, it is concluded that song and music can certainly be considered as one of the useful language learning tools that aid second language teaching without putting a lot of academic pressure on the learners. The implication that can be inferred is that English teachers need to offer a learning environment that is anxiety free and at the same time serves the purpose of learning through fun activities. Songs and music can be proven to be an effective listening activity that has multiple benefits to offer. Particularly in the case of young and elementary learners, music has been used widely to teach important concepts in a fun way by second language teachers. In my coursе work I will givе а summаry dаtа old English period writers and the concepts of European and American enlighteners. The material of the analysis was poetry and proses. Writers do it with unmistаkаblе tеchniquеs, chаrаctеrizаtion аnd uniquе nаming of chаrаctеrs. Nаrrаtivе stylе is thе wаy in which аn аuthor prеsеnts а story to thе аudiеncе. Nаrrаtivе stylе rеliеs on mаny fаctors, including sеntеncеs, structurе, diаloguе, who thе nаrrаtor is first, sеcond or third pеrson, thе quаntity of dеtаils, аnd thе dеscription аnd chronology of thе plot. Writеrs hаvе thеir own nаrrаtivе stylеs, аnd thе еffеctivеnеss of thе stylе is highly subjеctivе to thе аudiеncе. Thе distinguishing chаrаctеristic thаt thе аuthor usеs dеscriptivе pаrаgrаphs, tеlling thе story in first pеrson or writing diаloguе to 5 rеflеct rеgionаl аccеnts аnd if thosе quаlitiеs аddеd to thе story or if thеy took аwаy from thе rеаding. Еvеry аuthor hаs а bаsic writing stylе. Stylе is not whаt аn аuthor writеs, but thе mаnnеr in which shе or hе writеs it. It's аn аuthor's uniquе wаy of communicаting idеаs. Onе might sаy thаt stylе is thе vеrbаl idеntity of а writеr. Аn аuthor dеfеnsеs his or hеr stylе in word choicе аnd syntаx. Whilе еvеry аuthor hаs а pеrsonаl stylе of writing, thаt stylе is not stаtic. Thе аuthor rеfinеs it through rеаding а vаriеty of writеrs аnd though his or hеr own writing еxpеriеncеs. The aim of the course paper is to clarify fairy tales through the folklores to give the main information and introducing some features. The object of the course paper is methodology, effective and modern methods and materials in education. The subject of the course paper is going to some specific information about teaching language through the fairy tales. The main material of the course paper is used myriad of foreign and local authors’ researches, articles and statistics. The structure of the course paper includes introduction, two chapters, conclusion and list of used literature. Theоreticаl vаlue is the significаnce оf the reseаrch. Theоreticаlly, it is given sоme schоlаrs’ viewpоints, furthermоre, theоreticаl аnd psychоlоgicаl cоnclusiоns аre shоwn in this reseаrch Prаcticаl vаlue оf the course paper is the usаge оf teaching language through the songs. 6 CHАPTЕR I. H.K. ANDERSEN AND HIS ROLE IN LITERATURE 1.1 Hans Christian Andersen’s biography Hans Christian Andersen was born on April 2, 1805 in Odense on the island of Funen . Father was a poor cobbler, and mother was a washerwoman from a poor family. He grew up a very nervous child, emotional and receptive. At that time, physical punishment of children in schools was common, so the boy was afraid to go to school, and his mother sent him to a charity school, where physical punishment was not practiced. At the age of 14, Hans traveled to Copenhagen ; his mother let him go, as she hoped that he would stay there a bit and return home. When she asked the reason why he was traveling, leaving her and the house, young Hans Christian .Hans Christian was a lanky teenager with elongated and thin limbs, a neck and an equally long nose. Despite his ineffective appearance, out of pity, Hans Christian was accepted into the Royal Theater , where he played secondary roles. He was offered to study because of a good attitude towards him, seeing his desire. Sympathizing with the poor and sensitive boy, people petitioned King of Denmark Frederick VI , who allowed him to study at a school in the town of Slagels , and then at another school in Elsinoredue to the treasury. Pupils at school were 6 years younger than Andersen. He 7 subsequently recalled years of schooling as the darkest time of his life, due to the fact that he was severely criticized by the rector of the educational institution and painfully worried about this until the end of his days - he saw the rector in nightmares. In 1827, Andersen completed his studies. Until the end of his life, he made a lot of grammatical mistakes in the letter - Andersen did not overcome the letters. In 1872, the writer fell out of bed and was badly hurt. He never recovered from this fall. Andersen soon showed signs of liver cancer. He died in 1875 in the house of friends near Copenhagen. Andersen was never married and had no children. But in 1840 in Copenhagen, he met a beautiful lady named Jenny Lind and later in his personal diary, which he kept, made such an entry “I love” In 1829, Andersen's science fiction short story, “A Hiking Journey from the Holmen Canal to the Eastern End of Amager,” brought the writer fame. Andersen writes a large number of literary works, including in 1835 - glorified "Tales". In the 1840s , Andersen tried to return to the stage, but without much success. At the same time, he confirmed his talent by publishing the book “A book with pictures without pictures”. In the second half of the 1840s and the following years, Andersen continued to publish novels and plays, trying in vain to become famous as a playwright and novelist. In 1871 , the premiere of the first ballet based on his tales - “ Tales in Pictures ”. Despite the fact that the premiere was unsuccessful, Andersen contributed to the presentation of the Anker Prize to the choreographer, his friend 8 and like-minded Augustus Bournonville.At the age of 67, Andersen fell out of bed, was hurt badly and no longer recovered from his injuries, although he lived for another three years. He died on August 4, 1875 and is buried in Assistance (Danish) Russian cemetery . in Copenhagen. Hans Christian Andersen Biography.April 2, 2015 marks the 210 th anniversary of the birth of the Danish storyteller, poet, writer, playwright, essayist Hans Christian Andersen. Hans Christian Andersen was born on April 2, 1805 in the city of Odense on the island of Funen in Denmark in the family of a shoemaker and laundress. In 1819, after the death of his father, the young man, dreaming of becoming an artist, left for Copenhagen, where he tried to find himself as a singer, actor or dancer. In the years 1819-1822, while working in the theater, he received several private lessons in Danish, German and Latin. After three years of unsuccessful attempts to become a dramatic artist, Andersen decided to write plays. After reading his drama “The Sun of the Elves”, the Royal Theater Board of Directors, noting the glimpses of the talent of the young playwright, decided to ask the king to appoint a scholarship for the young man to study at the gymnasium. The scholarship was received, an adviser Jonas Colin, who took an active part in the future fate of the young man, became Andersen's personal trustee. In the years 1822-1826, Andersen studied at the gymnasium in Slagels, and then in Elsinore. Here, under the influence of a difficult relationship with the school principal, who humiliated the young man in every way, Andersen wrote 9 the poem "The Dying Child", which was later published together with his other poems in a literary and art journal and brought him fame. At the insistent request of Andersen Kollin to pick him up from school, he organized private training in Copenhagen for the ward in 1827. In 1828, Andersen entered the University of Copenhagen and graduated with a Ph.D. He combined his studies at the university with writing, and as a result in 1829 Andersen's first romantic prose, Hiking from the Holmen Canal to the Eastern Cape of Amager Island, was published. In the same year he wrote the vaudeville Love on the Tower of Nikolaev, which was staged at the Royal Theater in Copenhagen and was a great success. In 1831, having accumulated a small amount of fees, Andersen went on his first trip to Germany, where he met with the writers Ludwig Tieck in Dresden and Adalbert von Chamisso in Berlin. The result of the trip was an essay-reflection “Shadow paintings” (1831) and a collection of poems “Fantasies and Sketches”. Over the next two years, Andersen released four collections of poems. In 1833, he presented King Frederick a series of poems about Denmark and received a cash benefit for this, which he spent on a trip to Europe (1833-1834). In Paris, Andersen met Heinrich Heine, in Rome - with the sculptor Bertel Thorvaldsen. After Rome, he went to Florence, Naples, Venice, where he wrote an essay about Michelangelo and Raphael. He wrote the poem "Agneta and the Sailor", the fairy tale-story "The Lacquer". Andersen has lived outside Denmark for over nine years. He visited many countries - Italy, Spain, France, Sweden, Norway, Portugal, England, Scotland, Bulgaria, Greece, Bohemia and Moravia, Slovenia, Belgium, Austria, 10 Switzerland, as well as America, Turkey, Morocco, Monaco and Malta, and in some countries he visited many times. In his impressions of trips, acquaintances and conversations with famous poets, writers, composers of that time, he drew inspiration for his new works. While traveling, he met and talked with composers Ferenc Liszt and Felix Mendelssohn-Bartholdy, writers Charles Dickens (with whom he was friends and even lived with him during a trip to England in 1857), Victor Hugo, Honore de Balzac and Alexander Dumas and many other artists. Directly traveling Andersen devoted the works of "The Poet's Bazaar" (1842), "In Sweden" (1851), "In Spain" (1863) and "Visit to Portugal" (1868). In 1835, the novel of the writer "Improviser" (1835) was published, which brought him European fame. Later, Hans Andersen wrote the novels “Just a violinist” (1837), “Two Baronesses” (1849), “To be or not to be” (1857), “Petka- Lucky” (1870). 11 1.2 Great works of Andersen Andersen's main contribution to Danish drama is the romantic drama "Mulatto" (1840) on the equality of all people, regardless of race. In the fabulous comedies “More expensive than pearls and gold” (1849), “Ole Lukoye” (1850), “Elderberry Mother” (1851), and others, Andersen embodies the folk ideals of good and justice. The crown of Andersen's work is his tales. Andersen's tales celebrate maternal sacrifice (The Story of a Mother), the feat of love (The Little Mermaid), the power of art (The Nightingale), the thorny path of knowledge (The Bell), the triumph of sincere feelings over the cold and evil mind (The Snow Queen "). Many tales are autobiographical. In The Ugly Duckling, Andersen describes his own path to fame. Andersen’s best tales also include Persistent Tin Soldier (1838), Girl with Matches (1845), Shadow (1847), Mother (1848), and others. In total, from 1835 to 1872, the writer released 24 collections of fairy tales and stories. Among the works of Andersen, published in the second half of his life (1845-1875) - the poem "Agasfer" (1848), the novels "Two Baronesses" (1849), "To be or not to be" (1853), etc. In 1846 he began write his artistic autobiography "The Tale of My Life", which he graduated in 1875, the last year of his life. On August 4, 1875, Hans Christian Andersen died in Copenhagen. The funeral day of the storyteller was declared a National Day of Mourning. 12 Since 1956, the Hans Christian Andersen Gold Medal, the highest international award in contemporary children's literature, has been awarded the International Children's Book Council (IBBY). Writers have been awarded this medal, and since 1966, artists, for their contributions to children's literature. Since 1967, on the initiative and decision of the International Council for Children's Books, April 2, the birthday of Andersen, marks the International Children's Book Day. He wrote three different books about his own life. Some of his plays were big hits in Denmark and Danish children still sing some of his poems set to music. He was surprised that his fairy tales were so popular at home and even abroad. Andersen published 'Fairy Tales for Children' in 1835. These four short stories were written for little Ida Thiele, the daughter of the secretary of the Academy of Art. The public, both adults and children, wanted more. Hans Christian Andersen considered himself ugly all his life. He was tall and thin with a long nose. It was this self-view that inspired "The Ugly Duckling" . Andersen proposed to several women during his life and was rejected by all of them. In spite of his lonely life he was able to create some of the most wonderful stories ever written. Andersen died on Aug.4, 1875. Although the official count of stories is 156, and all of them have been translated, many are not familiar to the Danes and relatively few are known outside of Denmark. His best known stories were published between 1835 and 1850. Some are his own creations and others are his re-telling of previously known Danish folk tales. Andersen's fairy tales of fantasy with moral lessons are popular with children and adults all over the world, and they also contain autobiographical details of the man himself. Andersen wrote 168 fairy tales between 1835 and 1872. The first few were published in Tales Told for Children when he was 30. Stories such as "The Little Mermaid," "The Princess and the Pea," "The Ugly 13 Duckling," "The Emperor's New Clothes," "Thumbelina" and "The Snow Queen" won him worldwide fame. (Danish: Eventyr, fortalt for Børn. Første Samling.) is a collection of nine fairy tales by Hans Christian Andersen. The tales were published in a series of three installments by C. A. Reitzel in Copenhagen, Denmark between May 1835 and April 1837, and represent Andersen's first venture into the fairy tale genre. The first installment of sixty-one unbound pages was published 8 May 1835 and contained "The Tinderbox", "Little Claus and Big Claus", "The Princess and the Pea" and "Little Ida's Flowers". The first three tales were based on folktales Andersen had heard in his childhood while the last tale was completely Andersen's creation and created for Ida Thiele, the daughter of Andersen's early benefactor, the folklorist Just Mathias Thiele. Reitzel paid Andersen thirty rixdollars for the manuscript, and the booklet was priced at twenty-four shillings. The second booklet was published on 16 December 1835 and contained "Thumbelina", "The Naughty Boy" and "The Traveling Companion". "Thumbelina" was completely Andersen's creation although inspired by "Tom Thumb" and other stories of miniature people. "The Naughty Boy" was based on a poem by Anacreon about Cupid, and "The Traveling Companion" was a ghost story Andersen had experimented with in the year 1830. The third booklet contained "The Little Mermaid" and "The Emperor's New Clothes", and it was published on 7 April 1837. "The Little Mermaid" was completely Andersen's creation though influenced by De la Motte Fouqué's "Undine" (1811) and the lore about mermaids. This tale established Andersen's international reputation. The only other tale in the third booklet was "The Emperor's New Clothes", which was based on a medieval Spanish story with Arab and Jewish sources. On the eve of the third installment's publication, 14 Andersen revised the conclusion of his story, (the Emperor simply walks in procession) to its now-familiar finale of a child calling out, "The Emperor is not wearing any clothes!" The conclusion on the chapter I With every decade, the Andersen era is getting further and further away from us, and the great poet is getting closer and closer to us as a good mentor, teacher and friend - a companion of our whole life, from birth to old age. From childhood, we get acquainted with the heroes of Pushkin's fairy tales, later the lyrical stanzas of "The Snow Queen" and the chased consonances of "The Bronze Horseman" enter our lives ... This work is intended to consider the system of images of heroes, the richness and depth of the content of Pushkin's fairy tales, their role in the moral and aesthetic education of children. At one time, L.S. Vygotsky compared our nervous system "... with a funnel that faces the world with a wide opening and actions with a narrow opening. The world flows into a person through the wide opening of the funnel with a thousand calls, drives, irritations, an insignificant part of them is carried out and, as it were, flows out through the narrow hole. This unrealized part of life must be eliminated. Art, apparently, is the means for such an explosive balancing with the environment at the critical points of our behavior. " Literature, in particular the fairy tale, largely contributes to the "getting rid of emotions", the satisfaction of the spiritual needs of the individual. 15 The psychological origins of children's attachment to fairy tales that satisfy certain needs of childhood, the possibilities of "getting rid of emotions" are interestingly described by the famous American psychologist and psychiatrist Bruno Bettelheim. He claims: "Children need fairy tales" (this is the title of his monograph), because they are the necessary food for the development of personality. Fairy tales arouse in the child intense attention to enchanting descriptions of miracles, extraordinary events, and have a strong emotional impact. 16 CHАPTЕR II. THE NEED FOR FAIRY TALES 2.1 Hans Christian Andersen’s fairy tales Hans Christian Andersen's fairy tales still have a huge influence on Western children to this day. They inspired numerous plays, popular stories and movie adaptations. Especially noteworthy, as cultural artefacts, are the hugely successful Disney movies based on some of the stories. The following analysis will focus on three of Hans Christian Andersen's stories that have all been adapted as movies by the Disney Corporation, which makes their legacy known to the modern generation. The Little Mermaid (The Little Mermaid), The Emperor's New Suit (The Emperor's New Groove) and The Snow Queen (Frozen) have all been heavily modified to fit the modern zeitgeist. This analysis will focus on the original stories as fairy tales. Fairy tales are, by definition, stories that share some kind of moral or code of behavior with their audience, often children. The same is true for these stories. Additionally, Hans Christian Andersen was a devout Christian and his believes play an important role in his stories. Interestingly enough, most of the heavily religious undertones have been deleted for the movie adaptations. The little mermaid tells the story of a young mermaid that falls in love with humankind and the concept of an immortal soul. She pursues a prince after giving up her fishtail and her voice to make him marry her. This marriage is the only 17 way to obtain a soul, according to all characters of wisdom within the story. While mermaids live longer than humans, their death is the final end. The main motivation of the young mermaid in pursuing the prince is the search for a soul, as to enjoy eternal live in paradise and not end up as sea foam with no further live. The story, therefore, uses the otherness of mermaids as a reason that they do not possess souls. Most mermaids seem fine with this concept, not however the unnamed youngest princess of the mer-kingdom. She loves the human life and wishes to be part of it. She graves this so much that she is fine with feeling the pain of a thousand swords every time her human feet take a step. Throughout the story the listener is reminded of this fact several times. Being human is portrayed as the ultimate goal, and marriage as the only salvation. In marriage a soul is shared and soulless creatures can obtain one this way, without harming the partner. Original listeners of this story must have felt pity with the poor creature, suffering immense pain just to be replaced by a human princess in the end. However, the mermaid, when given the option does not save her own life, as to not kill the man she loved. She rather dies and becomes sea foam with no hope of eternal life than kill him. This act of compassion does not go unrewarded. Her mind is transformed to a creature of the wind that can obtain a soul through hard work. The clear message that is transferred to the target audience, children, is that being human is a huge gift that should be treasured. Hans Christian Andersen smuggles a little reminder for children to behave at the end of the story. It is revealed that the mermaid who was transformed into a wind creature needs less time to get into heaven each time she finds a well behaved child. The listeners of the story are coerced to behave to help the poor creature, whose fate was less than joyful. The emperor's new suit is a cautionary tale about pride and trust into one's own senses. The whole kingdom is too afraid of their public image and too 18 narcissistic to reveal that they cannot see the cloth. The tale ends in the emperor realizing through a child’s voice that he was fooled by the swindlers. However, he is still unable to lift the farce and continues in the parade, naked. The emperor's new suit shows the negative effects of societal pressure and strong adherence to irrelevant rules. All of the characters were sure to find the fault in themselves and not the non-existing object. Very often the moral of the story is interpreted as a critique of monarchic rule or concentrated power, in the sense that the powerful in the story are fooled by their own ambition to stay in their place. However, even the common men cherish and are fooled in the story and only an innocents child voice is the one that lifts the veil. In the end, the main moral of the story is to trust your senses and to keep a child’s innocence as part of one's personality. The Snow Queen, one of the most famous stories of Hans Christian Andersen, is a fantastic tale of friendship and loyalty through incredible hardship. The story places the evil premise within the hands of a character that is completely irrelevant for the rest of story. The hobgoblin only appears as the facilitator, through the creation of the evil mirror, and his evil deeds are never met with any consequence. The main story only revolves around a couple of young children that are best friends and that are torn apart by chance. Gerda, the protagonist and embodiment of loyalty towards her friend Kay, even after he has met her with scorn, has to travel through a whole year till she reaches her destination. The individual stations of the journey also can be interpreted as a journey towards adulthood. Although never explicitly named, the four main characters of power she meets on her travels are often seen as the embodiments of the seasons. The flower garden is spring. Within the lady's garden Gerda experiences true innocence and carelessness, like a young girl. The empire of the young princess 19 resembles summer. The princess searches for love and intellectual excitement and Gerda believes her journey to be finally over. Disappointment compels her to go on, to age, to allow autumn to come. Autumn is represented by the wild bunch of robbers, stealing away innocence and causing fear. The wild girl is a friend and a fearful companion at the same time. She sends Gerda onwards to the north, to the place of winter. There she meets two old women, wisdom their main characteristic. Winter is embodied in the castle of the Snow Queen, which is vast but empty. Loneliness and solemn silence is the only furnishing. Through her resolve and unwavering loyalty to her friend Kay she saves him and both return to their homeland, but now as grown humans, who still know what it means to be children. This result is what Hans Christian Andersen always wanted to achieve in his readers and listeners. It is important to grow up, but never forget what makes a child happy. This story also contains explicit religious symbolism. Gerda is only saved from freezing through prayer, which literally conjures up an army of angels. This underlines the strong religious sentiment Andersen wanted to create within the children that were told his stories. 20 2.2. Analyse of “The snow queen” First, let’s begin with a brief plot summary of ‘The Snow Queen’. A hobgoblin has created a mirror which magnifies ugly and evil things, and shrinks good and pretty things. When hobgoblin’s associates took the mirror up into the sky to see what the angels looked like in it, it fell and smashed into millions of pieces. Some of these pieces got into people’s eyes and distorted their view of the world; some pieces became windows; some pieces even made it into people’s hearts and turned those hearts as cold as ice. But many pieces were left scattered about the world. Two small children – a boy, named Kay, and a girl, named Gerda – live as neighbours and love each other as if they were brother and sister. But one day, the Snow Queen appears outside Kay’s house and shortly after that, a piece of the hobgoblin’s magic mirror gets caught in his eye and reaches his heart, turning it to ice. Thereafter, he starts to behave badly towards Gerda and can only see the ugliness in things. Kay takes his sledge into town, where the Snow Queen appears to him again and takes him under her wing, and they ride off on her sledge together. Gerda wonders what happened to Kay, fearing him dead. She throws her prized red shoes into the river as an offering, in the hope that Kay will come back in return. But it doesn’t work, so Gerda gets in a boat and soon drifts out into the 21 world beyond her home, where she meets an old lady who befriends her. Gerda talks to the flowers in the woman’s garden, in the hope that they will tell her where Kay is, but they speak to her in riddles. Autumn comes, and Gerda continues on her way in the world. She meets a crow, who tells her that Kay is in the palace of a princess. But when Gerda travels to the palace, the prince is not Kay, although his appearance is similar. The prince and princess give Gerda a coach and warm coat, so she can continue her journey. However, Gerda is captured by robbers, and taken to their castle. There she meets a little robber girl, whose doves tell Gerda that Kay was taken by the Snow Queen to her palace further north. The robber girl helps to free Gerda from the castle. With the help of a reindeer, a Lapp woman (from Lapland) and a Finn woman (from Finland), Gerda travels north to the colder parts of Scandinavia, until she reaches the palace of the Snow Queen, where the Snow Queen has Kay under her spell. The only way to free him from it is to remove the shard of the magic mirror that has turned his heart to ice. Kay is nearly blue with cold, and it’s only the Snow Queen’s attention to him that keeps him from freezing. The Snow Queen flies away to warmer countries, deserting Kay. Gerda turns up and recognises Kay instantly despite his changed appearance, but he sits still and cold and unresponsive. Upset, Gerda cries warm tears that drop onto the frozen Kay, and seep through to his heart, thawing it. When Gerda sings a song they both know, he recognises her, and bursts into tears. His tears wash out the grain of glass from the magic mirror that was lodged in his eye, and he returns to his old self. Reunited, Gerda and Kay return home, growing up together and yet retaining their childlike innocence, as spring turns into summer. ‘The Snow Queen’ is, fundamentally, a story about good and evil. But what is most noteworthy about this fairy tale – perhaps even more so than in Andersen’s other major fairy tales – is that the evil character at the centre of the 22 story, namely the Snow Queen herself, doesn’t get her comeuppance at the end of the tale. Nor does the hobgoblin who created the mirror which allows Kay to be transformed in the first place. One of the reasons why Andersen’s fairy stories have endured, perhaps, is that they have decidedly bittersweet ‘fairy-tale endings’: the good may end happily, but the bad don’t necessarily end unhappily. The Snow Queen isn’t heard of again after she flies off to warmer climes, abandoning poor Kay. Of course, the mirror and the ice are loaded with symbolism and significance in the story. The mirror represents unhealthy cynicism which destroys youthful innocence: it’s significant that, when Kay becomes ‘infected’ with the grain of glass from the magic mirror, he wants to go off and play with the older boys, suggesting that wide-eyed wonder and childhood innocence are being replaced by surly adolescence, which involves disrespecting the kindly grandmother who reads stories to him and Gerda, and neglecting Gerda herself. But the glass doesn’t infect everyone: Gerda is able to retain her innocence even as she grows up, as is Kay once he is saved by Gerda. By the same token, Kay’s cynicism isn’t his own fault: it’s just his rotten luck that the grain of the mirror gets caught in his eye. This suggests that a person’s individual circumstances shape their views and their personalities, and that they aren’t necessarily to ‘blame’ for how they behave. But they can be cured of it, if they are shown love by their friends and those close to them. This, of course, is what the tears that Gerda sheds over the frozen body of Kay represent. They spring from genuine sadness that she has lost him, and their warmth is enough to thaw his icy heart and bring him back. Here, the gender roles are noteworthy: unlike ‘Sleeping Beauty’ or ‘Snow White’, it’s not a male character saving and waking a female character, but a heroine who rescues her 23 male friend from the stasis (death?) he has been condemned to by the evil witch character (i.e. the Snow Queen). But what does love triumph over in ‘The Snow Queen’? ‘Cold reason’ might be one answer. When Kay is ‘infected’ by the grain of glass from the magic mirror, he does lose the ability to see the beauty in everything around him. But seeing a worm in the rose when there is one isn’t nasty cynicism: it’s just realism. The problem stems from losing all appreciation of the rose’s beauty, but blind romanticism and idealism are just as flawed (and arguably, just as dangerous). Nor is there anything wrong with being fond of maths (another ‘skill’ Kay picks up following his encounter with the mote of glass). Yet this isn’t how Andersen intends to analyse or scrutinise his tale: he clearly was a Romantic who was unhappy with the way the world really was and felt that love and beauty should triumph over intellectualism and rationalism. If the ultimate message of the fairy tale, when reduced to its core elements, is trite (love and beauty triumph over scientism and realism; love, if you will, conquers all), and if that message even rings a little hollow to those of us who have spent a little time in the ‘real world’, then such flaws are easily swept away by the captivating beauty of the tale itself, with its use of icy landscapes, clear and powerful symbolism (the mirror, the tears, the snow and ice itself), and refusal to follow the ‘prince + peasant girl = marriage’ formula beloved of many writers of fairy tales. ‘The Snow Queen’ is often regarded as a precursor to, and major influence on, the 2013 hit animated film Frozen. But although the film followed Andersen’s tale in the early stages of the movie’s development, the two narratives and characters ended up being very different. Nevertheless, the influence of ‘The Snow Queen’ can be seen in many works of children’s literature: the Snow Queen’s temptation of Kay almost 24 certainly influenced C. S. Lewis, whose White Witch similarly tempts Edmund away from the other children in The Lion, the Witch and the Wardrobe. (Both Andersen’s Snow Queen and Lewis’s White Witch appear arrive into a snowy world and wear an inviting warm fur coat.) And Lyra’s voyage to the frozen north to find her male friend and brother-in-all-but name, Roger, in Philip Pullman’s Northern Lights echoes the journey that Gerda makes in Andersen’s fairy tale. Both Lyra and Gerda convince adults to help them in their quest through being kind and generous, so others feel compelled to help them in their pure quest to find their friend. Curiously, and by way of conclusion, it’s worth noting a bit of biographical interest. Andersen may have been inspired to create the figure of the Snow Queen after the noted Swedish opera singer Jenny Lind, with whom Andersen became infatuated, rejected his advances. Andersen became Kay, the innocent boy who was ‘led on’ by the beautiful and bewitching, but ultimately cold, Snow Queen who reels the hapless boy in only to desert him once she has stolen his heart. 25 The conclusion on chapter II ‘The Snow Queen’ is, fundamentally, a story about good and evil. But what is most noteworthy about this fairy tale – perhaps even more so than in Andersen’s other major fairy tales – is that the evil character at the centre of the story, namely the Snow Queen herself, doesn’t get her comeuppance at the end of the tale. Nor does the hobgoblin who created the mirror which allows Kay to be transformed in the first place. One of the reasons why Andersen’s fairy stories have endured, perhaps, is that they have decidedly bittersweet ‘fairy-tale endings’: the good may end happily, but the bad don’t necessarily end unhappily. The Snow Queen isn’t heard of again after she flies off to warmer climes, abandoning poor Kay. Of course, the mirror and the ice are loaded with symbolism and significance in the story. The mirror represents unhealthy cynicism which destroys youthful innocence: it’s significant that, when Kay becomes ‘infected’ with the grain of glass from the magic mirror, he wants to go off and play with the older boys, suggesting that wide-eyed wonder and childhood innocence are being replaced by surly adolescence, which involves disrespecting the kindly grandmother who reads stories to him and Gerda, and neglecting Gerda herself. But the glass doesn’t infect everyone: Gerda is able to retain her innocence even as she grows up, as is Kay once he is saved by Gerda. By the same token, Kay’s 26 cynicism isn’t his own fault: it’s just his rotten luck that the grain of the mirror gets caught in his eye. This suggests that a person’s individual circumstances shape their views and their personalities, and that they aren’t necessarily to ‘blame’ for how they behave. But they can be cured of it, if they are shown love by their friends and those close to them. CONCLUSION A fairy tale is a whole trend in fiction. Over the long years of its formation and development, this genre has become a universal genre, covering all the phenomena of the surrounding life and nature, the achievements of science and technology. Just as a folk tale, constantly changing, absorbed the features of a new reality, a literary tale has always been and is inextricably linked with socio- historical events and literary and aesthetic trends. The literary fairy tale did not grow from scratch. It was based on a folk tale, which became famous thanks to the records of folklorists. The unjustified war that the Russian government is waging on Ukraine violates international law and goes against everything we and our work stand for. We condemn Russia’s actions and stand in solidarity both with the suffering Ukrainian people as well as the thousands of Russian cultural workers who have denounced this senseless war in a brave open letter: “War destroys everything.” Pushkin's Fairytales are some of the most accessible yet hard-to-find works for the modern reader. This is probably due to Pushkin's incredible range and depth of themes and emotional experiences captured in language that will touch any reader who has had a tough orrough life. The language is understandable and 27 human, even as he tackles huge subjects like the nature of death, philosophy, religion, and relationships.In several of Pushkin's works, he captures the actual complexity of life in a society that balances an ancient past and a modern future. He depicts an organization that is not just aware of death but experiences it through the loss of loved ones and the natural loss of youth. The sufferings of life are not just suffered by men but are experienced by women. He shows this through his depictions of the elderly Anna Andreyevna, the mother of his friend Varenka (The Village Soother), and her heartbreaking relationship with her daughter Polina (Polina).Aleksander Pushkin had a very short-lived life but still became one of the most or most recognizable principal figures of literature in Russia's history, a role equating to WilliamShakespeare's in the English culture. He composed over one thousand poems and approximately ten full-length plays in this short life. When looking back on his works, he took great care in crafting every poem, feeling his work was meant to be read by as many people as possible and that each poem had the potential of becoming a piece of the common language.After Pushkin died in 1837, he never had a chance to test these standards. He lived hisshort life in the Russian empire and was always surrounded by the eyes of the public. Behind closed doors, people could have criticized his work and written him down with other "literarypretenders." Still, on the stage and in front of his audience, there was no way to rewrite and rewrite again unless he wanted to be forgotten by everyone. 28 THE LIST OF USED LITERATURE АND INT Е RN Е T SOURC Е 1. "Hans Christian Andersen : Fairy tales". andersen.sdu.dk. 2. Wenande, Christian (13 December 2012). "Unknown Hans Christian Andersen fairy tale discovered". The Copenhagen Post. Archived from the original on 14 December 2012. Retrieved 15 December 2012. 3. Wullschläger 2002 4. Bredsdorff 1975 5. "Life". SDU Hans Christian Andersen Centret. Retrieved 10 June 2021. 6. Rossel 1996, p. 6 7. Askgaard, Ejnar Stig. "The Lineage of Hans Christian Andersen". Odense City Museums. Archived from the original on 4 May 2012. 8. H.C. Andersen, en sand myte, Hovedland (1 January 1987) 9. Rossel 1996, p. 7 29 10. Hans Christian Andersen – Childhood and Education. Danishnet. 11. "H.C. Andersens skolegang i Helsingør Latinskole". Hcandersen-homepage.dk. Retrieved 2 April 2010. 12. Wullschläger 2002, p. 56. 13. "Local historian finds Hans Christian Andersen's first fairy tale". Politiken.dk. 12 December 2012. Retrieved 2 June 2013. 14. "Andersen Festival, Sestri Levante". Andersen Festival. Retrieved 2 June 2013. 15. Christopher John Murray (13 May 2013). Encyclopedia of the Romantic Era, 1760–1850. Routledge. p. 20. ISBN 978- 1-135-45579-8. 16. Jan Sjåvik (19 April 2006). Historical Dictionary of Scandinavian Literature and Theater. Scarecrow Press. p. 20. ISBN 978-0-8108-6501-3. Intеrnеt rеsourcе 1. https://en.wikipedia.org/wiki/Hans_Christian_Andersen 2. https://fairytales.biz/hans-christian-andersen.html 3. https://interestingliterature.com/2020/03/snow-queen-fairy-tale- andersen-summary-analysis/ 30

The explanation essence of the difference of good and evil in hans christian's tales

CONTЕNTS

 

INTRODUCTION.................................................................................................3

CHАPTЕR I.  H.K. ANDERSEN AND HIS ROLE IN LITERATURE

1.1 Hans Christian Andersen’s biography .............................….…………...…….7 

1.2 Great works of Andersen ..…. ….....……………...…………………………12

The conclusion on the chapter I……………...……………….……………..........15

CHАPTЕR II. THE NEED FOR FAIRY TALES                                                                   

2.1 Hans Christian Andersen’s fairy tales ………………………………………17

2.2 Analyse of “The snow queen” …….……………………. ….………………21

The conclusion on the chapter II…...………………………………………….....26

CONCLUSION ……………………………………………………………. …..27

A LIST OF USED LITERATURE АND INTЕRNЕT SOURCЕ….……….29

 

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