The description of nature and open space in a fairy tale occupies an insignificant place, but it is closely connected with the development of fairy-tale action. Stylistic analysis of landscape presentation techniques shows us this inextricable link, a rapid transition to narrative. Let us consider characteristic examples taken from the main classical collections of Russian fairy tales: A. N. Afanasyev's Folk Tales in three volumes. Vol. I-III. Moscow, 1957, hereinafter-A; Zelenin D. K. Great Russian fairy tales of the Perm province. Pg., 1914, hereinafter-377; Zelenin D. K. Great Russian Fairy Tales of the Vyatka Province. Pg., 1915, further-37?; Northern Russian fairy tales in the records of A. I. Nikiforov. Moscow-L., 1961, further-N.; Onchukov N.E. Northern fairy tales. St. Petersburg., 1908, further-O; Great Russian fairy tales in the records of I. A. Khudyakov. Moscow-L., 1964, further-X. The traditional method of gradual narrowing of images in a lyrical song is used in a fairy tale when describing the landscape that meets the hero on the way. At the same time, the storyteller costs about- page 99 a simple enumeration constructed by chaining addition, as well as the use of extremely few verbs with the meaning of placement in space: standing, sitting, lying down. "Here is a green meadow, in the meadow the grass is an ant, on the grass the bed is cut" (l. T. 2. p. 273); " He comes to the forest, in the forest there is a huge palace. Three oaks stand near this palace "(X. p. 94); " They approach the sea. There is a tower by the sea; there is a pillar by this tower, with a signature on it... " (377, p. 89). Landscape epithets are stable: a clear field, a dense forest, but the fairy-tale description tends to use its verb equivalent along with the epithet: for example, an impenetrable forest is one that can neither pass nor pass: "She threw the comb - it became a dense forest, you can neither pass nor pass" (A. T. 2. P. 207);"We came to such a mountain: neither to as ... Read more