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«Puss in Boots»
by Giovanni Francesco Straparola Giambattista Basile Charles Perrault
Illustration 1843, from édition L. Curmer
Country	Italy (1550–1553) France (1697)
Language	Italian (originally)
Genre(s)	Literary fairy tale
Publication type	Fairy tale collection

«Puss in Boots» (Italian: Il gatto con gli stivali) is an Italian^[1][2] fairy tale, later spread throughout the rest of Europe, about an anthropomorphic cat who uses trickery and deceit to gain power, wealth, and the hand of a princess in marriage for his penniless and low-born master.

The oldest written telling is by Italian author Giovanni Francesco Straparola, who included it in his The Facetious Nights of Straparola (c. 1550–1553) in XIV–XV. Another version was published in 1634 by Giambattista Basile with the title Cagliuso, and a tale was written in French at the close of the seventeenth century by Charles Perrault (1628–1703), a retired civil servant and member of the Académie française. There is a version written by Girolamo Morlini, from whom Straparola used various tales in The Facetious Nights of Straparola.^[3] The tale appeared in a handwritten and illustrated manuscript two years before its 1697 publication by Barbin in a collection of eight fairy tales by Perrault called Histoires ou contes du temps passé.^[4][5] The book was an instant success and remains popular.^[3]

Perrault’s Histoires has had considerable impact on world culture. The original Italian title of the first edition was Costantino Fortunato, but was later known as Il gatto con gli stivali (lit. The cat with the boots); the French title was «Histoires ou contes du temps passé, avec des moralités» with the subtitle «Les Contes de ma mère l’Oye» («Stories or Fairy Tales from Past Times with Morals», subtitled «Mother Goose Tales»). The frontispiece to the earliest English editions depicts an old woman telling tales to a group of children beneath a placard inscribed «MOTHER GOOSE’S TALES» and is credited with launching the Mother Goose legend in the English-speaking world.^[4]

«Puss in Boots» has provided inspiration for composers, choreographers, and other artists over the centuries. The cat appears in the third act pas de caractère of Tchaikovsky’s ballet The Sleeping Beauty,^[6] appears in the sequels and self-titled Shrek movie to the animated film Shrek and is signified in the logo of Japanese anime studio Toei Animation. Puss in Boots is also a popular pantomime in the UK.

Plot[edit]

The tale opens with the third and youngest son of a miller receiving his inheritance — a cat. At first, the youngest son laments, as the eldest brother gains their father’s mill, and the middle brother gets the mule-and-cart. However, the feline is no ordinary cat, but one who requests and receives a pair of boots. Determined to make his master’s fortune, the cat bags a rabbit in the forest and presents it to the king as a gift from his master, the fictional Marquis of Carabas. The cat continues making gifts of game to the king for several months, for which he is rewarded.

One day, the king decides to take a drive with his daughter. The cat persuades his master to remove his clothes and enter the river which their carriage passes. The cat disposes of his master’s clothing beneath a rock. As the royal coach nears, the cat begins calling for help in great distress. When the king stops to investigate, the cat tells him that his master the Marquis has been bathing in the river and robbed of his clothing. The king has the young man brought from the river, dressed in a splendid suit of clothes, and seated in the coach with his daughter, who falls in love with him at once.

The cat hurries ahead of the coach, ordering the country folk along the road to tell the king that the land belongs to the «Marquis of Carabas», saying that if they do not he will cut them into mincemeat. The cat then happens upon a castle inhabited by an ogre who is capable of transforming himself into a number of creatures. The ogre displays his ability by changing into a lion, frightening the cat, who then tricks the ogre into changing into a mouse. The cat then pounces upon the mouse and devours it. The king arrives at the castle that formerly belonged to the ogre, and impressed with the bogus Marquis and his estate, gives the lad the princess in marriage. Thereafter; the cat enjoys life as a great lord who runs after mice only for his own amusement.^[7]

The tale is followed immediately by two morals; «one stresses the importance of possessing industrie and savoir faire while the other extols the virtues of dress, countenance, and youth to win the heart of a princess».^[8] The Italian translation by Carlo Collodi notes that the tale gives useful advice if you happen to be a cat or a Marquis of Carabas.

This is the theme in France, but other versions of this theme exist in Asia, Africa, and South America.^[9]

Background[edit]

Perrault’s the «Master Cat or Puss in Boots» is the most renowned tale in all of Western folklore of the animal as helper.^[10] However, the trickster cat did not originate with Perrault.^[11] Centuries before the publication of Perrault’s tale, Somadeva, a Kashmir Brahmin, assembled a vast collection of Indian folk tales called Kathā Sarit Sāgara (lit. «The ocean of the streams of stories») that featured stock fairy tale characters and trappings such as invincible swords, vessels that replenish their contents, and helpful animals. In the Panchatantra (lit. «Five Principles»), a collection of Hindu tales from the second century BC., a tale follows a cat who fares much less well than Perrault’s Puss as he attempts to make his fortune in a king’s palace.^[12]

In 1553, «Costantino Fortunato», a tale similar to «Le Maître Chat», was published in Venice in Giovanni Francesco Straparola’s Le Piacevoli Notti (lit. The Facetious Nights),^[13] the first European storybook to include fairy tales.^[14] In Straparola’s tale however, the poor young man is the son of a Bohemian woman, the cat is a fairy in disguise, the princess is named Elisetta, and the castle belongs not to an ogre but to a lord who conveniently perishes in an accident. The poor young man eventually becomes King of Bohemia.^[13] An edition of Straparola was published in France in 1560.^[10] The abundance of oral versions after Straparola’s tale may indicate an oral source to the tale; it also is possible Straparola invented the story.^[15]

In 1634, another tale with a trickster cat as hero was published in Giambattista Basile’s collection Pentamerone although neither the collection nor the tale were published in France during Perrault’s lifetime. In Basile’s version, the lad is a beggar boy called Gagliuso (sometimes Cagliuso) whose fortunes are achieved in a manner similar to Perrault’s Puss. However, the tale ends with Cagliuso, in gratitude to the cat, promising the feline a gold coffin upon his death. Three days later, the cat decides to test Gagliuso by pretending to be dead and is mortified to hear Gagliuso tell his wife to take the dead cat by its paws and throw it out the window. The cat leaps up, demanding to know whether this was his promised reward for helping the beggar boy to a better life. The cat then rushes away, leaving his master to fend for himself.^[13] In another rendition, the cat performs acts of bravery, then a fairy comes and turns him to his normal state to be with other cats.

It is likely that Perrault was aware of the Straparola tale, since ‘Facetious Nights’ was translated into French in the sixteenth century and subsequently passed into the oral tradition.^[3]

Publication[edit]

The oldest record of written history was published in Venice by the Italian author Giovanni Francesco Straparola in his The Facetious Nights of Straparola (c. 1550–53) in XIV-XV. His original title was Costantino Fortunato (lit. Lucky Costantino).

The story was published under the French title Le Maître Chat, ou le Chat Botté (‘Master Cat, or the Booted Cat’) by Barbin in Paris in January 1697 in a collection of tales called Histoires ou contes du temps passé.^[3] The collection included «La Belle au bois dormant» («The Sleeping Beauty in the Wood»), «Le petit chaperon rouge» («Little Red Riding Hood»), «La Barbe bleue» («Blue Beard»), «Les Fées» («The Enchanted Ones», or «Diamonds and Toads»), «Cendrillon, ou la petite pantoufle de verre» («Cinderella, or The Little Glass Slipper»), «Riquet à la Houppe» («Riquet with the Tuft»), and «Le Petit Poucet» («Hop o’ My Thumb»).^[3] The book displayed a frontispiece depicting an old woman telling tales to a group of three children beneath a placard inscribed «CONTES DE MA MERE L’OYE» (Tales of Mother Goose).^[4] The book was an instant success.^[3]

Le Maître Chat first was translated into English as «The Master Cat, or Puss in Boots» by Robert Samber in 1729 and published in London for J. Pote and R. Montagu with its original companion tales in Histories, or Tales of Past Times, By M. Perrault.^{[note 1][16]} The book was advertised in June 1729 as being «very entertaining and instructive for children».^[16] A frontispiece similar to that of the first French edition appeared in the English edition launching the Mother Goose legend in the English-speaking world.^[4] Samber’s translation has been described as «faithful and straightforward, conveying attractively the concision, liveliness and gently ironic tone of Perrault’s prose, which itself emulated the direct approach of oral narrative in its elegant simplicity.»^[17] Since that publication, the tale has been translated into various languages and published around the world.

[edit]

Perrault’s son Pierre Darmancour was assumed to have been responsible for the authorship of Histoires with the evidence cited being the book’s dedication to Élisabeth Charlotte d’Orléans, the youngest niece of Louis XIV, which was signed «P. Darmancour». Perrault senior, however, was known for some time to have been interested in contes de veille or contes de ma mère l’oye, and in 1693 published a versification of «Les Souhaits Ridicules» and, in 1694, a tale with a Cinderella theme called «Peau d’Ane».^[4] Further, a handwritten and illustrated manuscript of five of the tales (including Le Maistre Chat ou le Chat Botté) existed two years before the tale’s 1697 Paris publication.^[4]

Pierre Darmancour was sixteen or seventeen years old at the time the manuscript was prepared and, as scholars Iona and Peter Opie note, quite unlikely to have been interested in recording fairy tales.^[4] Darmancour, who became a soldier, showed no literary inclinations, and, when he died in 1700, his obituary made no mention of any connection with the tales. However, when Perrault senior died in 1703, the newspaper alluded to his being responsible for «La Belle au bois dormant», which the paper had published in 1696.^[4]

Analysis[edit]

In folkloristics, Puss in Boots is classified as Aarne–Thompson–Uther ATU 545B, «Puss in Boots», a subtype of ATU 545, «The Cat as Helper».^[18] Folklorists Joseph Jacobs and Stith Thompson point that the Perrault’s tale is the possible source of the Cat Helper story in later European folkloric traditions.^[19][20] The tale has also spread to the Americas, and is known in Asia (India, Indonesia and Philippines).^[21]

Variations of the feline helper across cultures replace the cat with a jackal or fox.^[22][23][24] For instance, the helpful animal is a monkey «in all Philippine variants» according to Damiana Eugenio.^[25]

Greek scholar Marianthi Kaplanoglou states that the tale type ATU 545B, «Puss in Boots» (or, locally, «The Helpful Fox»), is an «example» of «widely known stories (…) in the repertoires of Greek refugees from Asia Minor».^[26]

Adaptations[edit]

Perrault’s tale has been adapted to various media over the centuries. Ludwig Tieck published a dramatic satire based on the tale, called Der gestiefelte Kater,^[27] and, in 1812, the Brothers Grimm inserted a version of the tale into their Kinder- und Hausmärchen.^[28] In ballet, Puss appears in the third act of Tchaikovsky’s The Sleeping Beauty in a pas de caractère with The White Cat.^[6]

The phrase «enough to make a cat laugh» dates from the mid-1800s and is associated with the tale of Puss in Boots.^[29]

The Bibliothèque de Carabas^[30] book series was published by David Nutt in London in the late 19th century, in which the front cover of each volume depicts Puss in Boots reading a book.

In film and television, Walt Disney produced an animated black and white silent short based on the tale in 1922.^[31]

It was also adapted by Toei as anime feature film in 1969, It followed by two sequels. Hayao Miyazaki made manga series as a promotional tie-in for the film. The title character, Pero, named after Perrault, has since then become the mascot of Toei Animation, with his face appearing in the studio’s logo.

In the mid-1980s, Puss in Boots was televised as an episode of Faerie Tale Theatre with Ben Vereen and Gregory Hines in the cast.^[32]

1987’s anime Grimm’s Fairy Tale Classics features Puss in Boots, This version of Puss cheats his good-natured master out of money to buy his boots and his hat, hunts the king’s favorite thrush for introduced his master to the king.

Another version from the Cannon Movie Tales series features Christopher Walken as Puss, who in this adaptation is a cat who turns into a human when wearing the boots.

The TV show Happily Ever After: Fairy Tales for Every Child features the story in a Hawaiian setting. The episode stars the voices of David Hyde Pierce as Puss in Boots, Dean Cain as Kuhio, Pat Morita as King Makahana, and Ming-Na Wen as Lani. In addition, the shapeshifting ogre is replaced with a shapeshifting giant (voiced by Keone Young).

Another adaptation of the character with little relation to the story was in the Pokémon anime episode «Like a Meowth to a Flame,» where a Meowth owned by the character Tyson wore boots, a hat, and a neckerchief.

DreamWorks Animation’s 2004 animated film Shrek 2 features a version of the character voiced by Antonio Banderas (and modeled after Banderas’ performance as Zorro). An assassin initially hired to kill Shrek, Puss becomes one of Shrek’s most loyal allies following his defeat. Banderas also voices Puss in the third and fourth films in the Shrek franchise, and in a 2011 spin-off animated feature Puss in Boots, which spawned a 2022 sequel Puss in Boots: The Last Wish. Puss also appears in the Netflix/DreamWorks series The Adventures of Puss in Boots where he is voiced by Eric Bauza.

[edit]

Jacques Barchilon and Henry Pettit note in their introduction to The Authentic Mother Goose: Fairy Tales and Nursery Rhymes that the main motif of «Puss in Boots» is the animal as helper and that the tale «carries atavistic memories of the familiar totem animal as the father protector of the tribe found everywhere by missionaries and anthropologists.» They also note that the title is original with Perrault as are the boots; no tale prior to Perrault’s features a cat wearing boots.^[33]

Folklorists Iona and Peter Opie observe that «the tale is unusual in that the hero little deserves his good fortune, that is if his poverty, his being a third child, and his unquestioning acceptance of the cat’s sinful instructions, are not nowadays looked upon as virtues.» The cat should be acclaimed the prince of ‘con’ artists, they declare, as few swindlers have been so successful before or since.^[11]

The success of Histoires is attributed to seemingly contradictory and incompatible reasons. While the literary skill employed in the telling of the tales has been recognized universally, it appears the tales were set down in great part as the author heard them told. The evidence for that assessment lies first in the simplicity of the tales, then in the use of words that were, in Perrault’s era, considered populaire and du bas peuple, and finally, in the appearance of vestigial passages that now are superfluous to the plot, do not illuminate the narrative, and thus, are passages the Opies believe a literary artist would have rejected in the process of creating a work of art. One such vestigial passage is Puss’s boots; his insistence upon the footwear is explained nowhere in the tale, it is not developed, nor is it referred to after its first mention except in an aside.^[34]

According to the Opies, Perrault’s great achievement was accepting fairy tales at «their own level.» He recounted them with neither impatience nor mockery, and without feeling that they needed any aggrandisement such as a frame story—although he must have felt it useful to end with a rhyming moralité. Perrault would be revered today as the father of folklore if he had taken the time to record where he obtained his tales, when, and under what circumstances.^[34]

Bruno Bettelheim remarks that «the more simple and straightforward a good character in a fairy tale, the easier it is for a child to identify with it and to reject the bad other.» The child identifies with a good hero because the hero’s condition makes a positive appeal to him. If the character is a very good person, then the child is likely to want to be good too. Amoral tales, however, show no polarization or juxtaposition of good and bad persons because amoral tales such as «Puss in Boots» build character, not by offering choices between good and bad, but by giving the child hope that even the meekest can survive. Morality is of little concern in these tales, but rather, an assurance is provided that one can survive and succeed in life.^[35]

Small children can do little on their own and may give up in disappointment and despair with their attempts. Fairy stories, however, give great dignity to the smallest achievements (such as befriending an animal or being befriended by an animal, as in «Puss in Boots») and that such ordinary events may lead to great things. Fairy stories encourage children to believe and trust that their small, real achievements are important although perhaps not recognized at the moment.^[36]

In Fairy Tales and the Art of Subversion Jack Zipes notes that Perrault «sought to portray ideal types to reinforce the standards of the civilizing process set by upper-class French society».^[8] A composite portrait of Perrault’s heroines, for example, reveals the author’s idealized female of upper-class society is graceful, beautiful, polite, industrious, well groomed, reserved, patient, and even somewhat stupid because for Perrault, intelligence in womankind would be threatening. Therefore, Perrault’s composite heroine passively waits for «the right man» to come along, recognize her virtues, and make her his wife. He acts, she waits. If his seventeenth century heroines demonstrate any characteristics, it is submissiveness.^[37]

A composite of Perrault’s male heroes, however, indicates the opposite of his heroines: his male characters are not particularly handsome, but they are active, brave, ambitious, and deft, and they use their wit, intelligence, and great civility to work their way up the social ladder and to achieve their goals. In this case of course, it is the cat who displays the characteristics and the man benefits from his trickery and skills. Unlike the tales dealing with submissive heroines waiting for marriage, the male-centered tales suggest social status and achievement are more important than marriage for men. The virtues of Perrault’s heroes reflect upon the bourgeoisie of the court of Louis XIV and upon the nature of Perrault, who was a successful civil servant in France during the seventeenth century.^[8]

According to fairy and folk tale researcher and commentator Jack Zipes, Puss is «the epitome of the educated bourgeois secretary who serves his master with complete devotion and diligence.»^[37] The cat has enough wit and manners to impress the king, the intelligence to defeat the ogre, and the skill to arrange a royal marriage for his low-born master. Puss’s career is capped by his elevation to grand seigneur^[8] and the tale is followed by a double moral: «one stresses the importance of possessing industrie et savoir faire while the other extols the virtues of dress, countenance, and youth to win the heart of a princess.»^[8]

The renowned illustrator of Dickens’ novels and stories, George Cruikshank, was shocked that parents would allow their children to read «Puss in Boots» and declared: «As it stood the tale was a succession of successful falsehoods—a clever lesson in lying!—a system of imposture rewarded with the greatest worldly advantages.»

Another critic, Maria Tatar, notes that there is little to admire in Puss—he threatens, flatters, deceives, and steals in order to promote his master. She further observes that Puss has been viewed as a «linguistic virtuoso», a creature who has mastered the arts of persuasion and rhetoric to acquire power and wealth.^[5]

«Puss in Boots» has successfully supplanted its antecedents by Straparola and Basile and the tale has altered the shapes of many older oral trickster cat tales where they still are found. The morals Perrault attached to the tales are either at odds with the narrative, or beside the point. The first moral tells the reader that hard work and ingenuity are preferable to inherited wealth, but the moral is belied by the poor miller’s son who neither works nor uses his wit to gain worldly advantage, but marries into it through trickery performed by the cat. The second moral stresses womankind’s vulnerability to external appearances: fine clothes and a pleasant visage are enough to win their hearts. In an aside, Tatar suggests that if the tale has any redeeming meaning, «it has something to do with inspiring respect for those domestic creatures that hunt mice and look out for their masters.»^[38]

Briggs does assert that cats were a form of fairy in their own right having something akin to a fairy court and their own set of magical powers. Still, it is rare in Europe’s fairy tales for a cat to be so closely involved with human affairs. According to Jacob Grimm, Puss shares many of the features that a household fairy or deity would have including a desire for boots which could represent seven-league boots. This may mean that the story of «Puss and Boots» originally represented the tale of a family deity aiding an impoverished family member.^{[39][self-published source]}

Stefan Zweig, in his 1939 novel, Ungeduld des Herzens, references Puss in Boots’ procession through a rich and varied countryside with his master and drives home his metaphor with a mention of Seven League Boots.

References[edit]

Notes

Footnotes

Works cited

Further reading[edit]

• Kaplanoglou, Marianthi (January 1999). «AT 545B ‘Puss in Boots’ and ‘The Fox-Matchmaker’: From the Central Asian to the European Tradition». Folklore. 110 (1–2): 57–62. doi:10.1080/0015587X.1999.9715981. JSTOR 1261067.
• Neuhaus, Mareike (2011). «The Rhetoric of Harry Robinson’s ‘Cat With the Boots On’«. Mosaic: A Journal for the Interdisciplinary Study of Literature. 44 (2): 35–51. JSTOR 44029507. Project MUSE 440541 ProQuest 871355970.
• Nikolajeva, Maria (2009). «Devils, Demons, Familiars, Friends: Toward a Semiotics of Literary Cats». Marvels & Tales. 23 (2): 248–267. JSTOR 41388926.
• Blair, Graham (2019). «Jack Ships to the Cat». Clever Maids, Fearless Jacks, and a Cat: Fairy Tales from a Living Oral Tradition. University Press of Colorado. pp. 93–103. ISBN 978-1-60732-919-0. JSTOR j.ctvqc6hwd.11.

External links[edit]

• Origin of the Story of ‘Puss in Boots’
• «Puss in Boots» – English translation from The Blue Fairy Book (1889)
• «Puss in Boots» – Beautifully illustrated in The Colorful Story Book (1941)
• Master Cat, or Puss in Boots, The public domain audiobook at LibriVox

«Puss in Boots»
by Giovanni Francesco Straparola Giambattista Basile Charles Perrault
Illustration 1843, from édition L. Curmer
Country	Italy (1550–1553) France (1697)
Language	Italian (originally)
Genre(s)	Literary fairy tale
Publication type	Fairy tale collection

«Puss in Boots» (Italian: Il gatto con gli stivali) is an Italian^[1][2] fairy tale, later spread throughout the rest of Europe, about an anthropomorphic cat who uses trickery and deceit to gain power, wealth, and the hand of a princess in marriage for his penniless and low-born master.

The oldest written telling is by Italian author Giovanni Francesco Straparola, who included it in his The Facetious Nights of Straparola (c. 1550–1553) in XIV–XV. Another version was published in 1634 by Giambattista Basile with the title Cagliuso, and a tale was written in French at the close of the seventeenth century by Charles Perrault (1628–1703), a retired civil servant and member of the Académie française. There is a version written by Girolamo Morlini, from whom Straparola used various tales in The Facetious Nights of Straparola.^[3] The tale appeared in a handwritten and illustrated manuscript two years before its 1697 publication by Barbin in a collection of eight fairy tales by Perrault called Histoires ou contes du temps passé.^[4][5] The book was an instant success and remains popular.^[3]

Perrault’s Histoires has had considerable impact on world culture. The original Italian title of the first edition was Costantino Fortunato, but was later known as Il gatto con gli stivali (lit. The cat with the boots); the French title was «Histoires ou contes du temps passé, avec des moralités» with the subtitle «Les Contes de ma mère l’Oye» («Stories or Fairy Tales from Past Times with Morals», subtitled «Mother Goose Tales»). The frontispiece to the earliest English editions depicts an old woman telling tales to a group of children beneath a placard inscribed «MOTHER GOOSE’S TALES» and is credited with launching the Mother Goose legend in the English-speaking world.^[4]

«Puss in Boots» has provided inspiration for composers, choreographers, and other artists over the centuries. The cat appears in the third act pas de caractère of Tchaikovsky’s ballet The Sleeping Beauty,^[6] appears in the sequels and self-titled Shrek movie to the animated film Shrek and is signified in the logo of Japanese anime studio Toei Animation. Puss in Boots is also a popular pantomime in the UK.

Plot[edit]

The tale opens with the third and youngest son of a miller receiving his inheritance — a cat. At first, the youngest son laments, as the eldest brother gains their father’s mill, and the middle brother gets the mule-and-cart. However, the feline is no ordinary cat, but one who requests and receives a pair of boots. Determined to make his master’s fortune, the cat bags a rabbit in the forest and presents it to the king as a gift from his master, the fictional Marquis of Carabas. The cat continues making gifts of game to the king for several months, for which he is rewarded.

One day, the king decides to take a drive with his daughter. The cat persuades his master to remove his clothes and enter the river which their carriage passes. The cat disposes of his master’s clothing beneath a rock. As the royal coach nears, the cat begins calling for help in great distress. When the king stops to investigate, the cat tells him that his master the Marquis has been bathing in the river and robbed of his clothing. The king has the young man brought from the river, dressed in a splendid suit of clothes, and seated in the coach with his daughter, who falls in love with him at once.

The cat hurries ahead of the coach, ordering the country folk along the road to tell the king that the land belongs to the «Marquis of Carabas», saying that if they do not he will cut them into mincemeat. The cat then happens upon a castle inhabited by an ogre who is capable of transforming himself into a number of creatures. The ogre displays his ability by changing into a lion, frightening the cat, who then tricks the ogre into changing into a mouse. The cat then pounces upon the mouse and devours it. The king arrives at the castle that formerly belonged to the ogre, and impressed with the bogus Marquis and his estate, gives the lad the princess in marriage. Thereafter; the cat enjoys life as a great lord who runs after mice only for his own amusement.^[7]

The tale is followed immediately by two morals; «one stresses the importance of possessing industrie and savoir faire while the other extols the virtues of dress, countenance, and youth to win the heart of a princess».^[8] The Italian translation by Carlo Collodi notes that the tale gives useful advice if you happen to be a cat or a Marquis of Carabas.

This is the theme in France, but other versions of this theme exist in Asia, Africa, and South America.^[9]

Background[edit]

Perrault’s the «Master Cat or Puss in Boots» is the most renowned tale in all of Western folklore of the animal as helper.^[10] However, the trickster cat did not originate with Perrault.^[11] Centuries before the publication of Perrault’s tale, Somadeva, a Kashmir Brahmin, assembled a vast collection of Indian folk tales called Kathā Sarit Sāgara (lit. «The ocean of the streams of stories») that featured stock fairy tale characters and trappings such as invincible swords, vessels that replenish their contents, and helpful animals. In the Panchatantra (lit. «Five Principles»), a collection of Hindu tales from the second century BC., a tale follows a cat who fares much less well than Perrault’s Puss as he attempts to make his fortune in a king’s palace.^[12]

In 1553, «Costantino Fortunato», a tale similar to «Le Maître Chat», was published in Venice in Giovanni Francesco Straparola’s Le Piacevoli Notti (lit. The Facetious Nights),^[13] the first European storybook to include fairy tales.^[14] In Straparola’s tale however, the poor young man is the son of a Bohemian woman, the cat is a fairy in disguise, the princess is named Elisetta, and the castle belongs not to an ogre but to a lord who conveniently perishes in an accident. The poor young man eventually becomes King of Bohemia.^[13] An edition of Straparola was published in France in 1560.^[10] The abundance of oral versions after Straparola’s tale may indicate an oral source to the tale; it also is possible Straparola invented the story.^[15]

In 1634, another tale with a trickster cat as hero was published in Giambattista Basile’s collection Pentamerone although neither the collection nor the tale were published in France during Perrault’s lifetime. In Basile’s version, the lad is a beggar boy called Gagliuso (sometimes Cagliuso) whose fortunes are achieved in a manner similar to Perrault’s Puss. However, the tale ends with Cagliuso, in gratitude to the cat, promising the feline a gold coffin upon his death. Three days later, the cat decides to test Gagliuso by pretending to be dead and is mortified to hear Gagliuso tell his wife to take the dead cat by its paws and throw it out the window. The cat leaps up, demanding to know whether this was his promised reward for helping the beggar boy to a better life. The cat then rushes away, leaving his master to fend for himself.^[13] In another rendition, the cat performs acts of bravery, then a fairy comes and turns him to his normal state to be with other cats.

It is likely that Perrault was aware of the Straparola tale, since ‘Facetious Nights’ was translated into French in the sixteenth century and subsequently passed into the oral tradition.^[3]

Publication[edit]

The oldest record of written history was published in Venice by the Italian author Giovanni Francesco Straparola in his The Facetious Nights of Straparola (c. 1550–53) in XIV-XV. His original title was Costantino Fortunato (lit. Lucky Costantino).

The story was published under the French title Le Maître Chat, ou le Chat Botté (‘Master Cat, or the Booted Cat’) by Barbin in Paris in January 1697 in a collection of tales called Histoires ou contes du temps passé.^[3] The collection included «La Belle au bois dormant» («The Sleeping Beauty in the Wood»), «Le petit chaperon rouge» («Little Red Riding Hood»), «La Barbe bleue» («Blue Beard»), «Les Fées» («The Enchanted Ones», or «Diamonds and Toads»), «Cendrillon, ou la petite pantoufle de verre» («Cinderella, or The Little Glass Slipper»), «Riquet à la Houppe» («Riquet with the Tuft»), and «Le Petit Poucet» («Hop o’ My Thumb»).^[3] The book displayed a frontispiece depicting an old woman telling tales to a group of three children beneath a placard inscribed «CONTES DE MA MERE L’OYE» (Tales of Mother Goose).^[4] The book was an instant success.^[3]

Le Maître Chat first was translated into English as «The Master Cat, or Puss in Boots» by Robert Samber in 1729 and published in London for J. Pote and R. Montagu with its original companion tales in Histories, or Tales of Past Times, By M. Perrault.^{[note 1][16]} The book was advertised in June 1729 as being «very entertaining and instructive for children».^[16] A frontispiece similar to that of the first French edition appeared in the English edition launching the Mother Goose legend in the English-speaking world.^[4] Samber’s translation has been described as «faithful and straightforward, conveying attractively the concision, liveliness and gently ironic tone of Perrault’s prose, which itself emulated the direct approach of oral narrative in its elegant simplicity.»^[17] Since that publication, the tale has been translated into various languages and published around the world.

[edit]

Perrault’s son Pierre Darmancour was assumed to have been responsible for the authorship of Histoires with the evidence cited being the book’s dedication to Élisabeth Charlotte d’Orléans, the youngest niece of Louis XIV, which was signed «P. Darmancour». Perrault senior, however, was known for some time to have been interested in contes de veille or contes de ma mère l’oye, and in 1693 published a versification of «Les Souhaits Ridicules» and, in 1694, a tale with a Cinderella theme called «Peau d’Ane».^[4] Further, a handwritten and illustrated manuscript of five of the tales (including Le Maistre Chat ou le Chat Botté) existed two years before the tale’s 1697 Paris publication.^[4]

Pierre Darmancour was sixteen or seventeen years old at the time the manuscript was prepared and, as scholars Iona and Peter Opie note, quite unlikely to have been interested in recording fairy tales.^[4] Darmancour, who became a soldier, showed no literary inclinations, and, when he died in 1700, his obituary made no mention of any connection with the tales. However, when Perrault senior died in 1703, the newspaper alluded to his being responsible for «La Belle au bois dormant», which the paper had published in 1696.^[4]

Analysis[edit]

In folkloristics, Puss in Boots is classified as Aarne–Thompson–Uther ATU 545B, «Puss in Boots», a subtype of ATU 545, «The Cat as Helper».^[18] Folklorists Joseph Jacobs and Stith Thompson point that the Perrault’s tale is the possible source of the Cat Helper story in later European folkloric traditions.^[19][20] The tale has also spread to the Americas, and is known in Asia (India, Indonesia and Philippines).^[21]

Variations of the feline helper across cultures replace the cat with a jackal or fox.^[22][23][24] For instance, the helpful animal is a monkey «in all Philippine variants» according to Damiana Eugenio.^[25]

Greek scholar Marianthi Kaplanoglou states that the tale type ATU 545B, «Puss in Boots» (or, locally, «The Helpful Fox»), is an «example» of «widely known stories (…) in the repertoires of Greek refugees from Asia Minor».^[26]

Adaptations[edit]

Perrault’s tale has been adapted to various media over the centuries. Ludwig Tieck published a dramatic satire based on the tale, called Der gestiefelte Kater,^[27] and, in 1812, the Brothers Grimm inserted a version of the tale into their Kinder- und Hausmärchen.^[28] In ballet, Puss appears in the third act of Tchaikovsky’s The Sleeping Beauty in a pas de caractère with The White Cat.^[6]

The phrase «enough to make a cat laugh» dates from the mid-1800s and is associated with the tale of Puss in Boots.^[29]

The Bibliothèque de Carabas^[30] book series was published by David Nutt in London in the late 19th century, in which the front cover of each volume depicts Puss in Boots reading a book.

In film and television, Walt Disney produced an animated black and white silent short based on the tale in 1922.^[31]

It was also adapted by Toei as anime feature film in 1969, It followed by two sequels. Hayao Miyazaki made manga series as a promotional tie-in for the film. The title character, Pero, named after Perrault, has since then become the mascot of Toei Animation, with his face appearing in the studio’s logo.

In the mid-1980s, Puss in Boots was televised as an episode of Faerie Tale Theatre with Ben Vereen and Gregory Hines in the cast.^[32]

1987’s anime Grimm’s Fairy Tale Classics features Puss in Boots, This version of Puss cheats his good-natured master out of money to buy his boots and his hat, hunts the king’s favorite thrush for introduced his master to the king.

Another version from the Cannon Movie Tales series features Christopher Walken as Puss, who in this adaptation is a cat who turns into a human when wearing the boots.

The TV show Happily Ever After: Fairy Tales for Every Child features the story in a Hawaiian setting. The episode stars the voices of David Hyde Pierce as Puss in Boots, Dean Cain as Kuhio, Pat Morita as King Makahana, and Ming-Na Wen as Lani. In addition, the shapeshifting ogre is replaced with a shapeshifting giant (voiced by Keone Young).

Another adaptation of the character with little relation to the story was in the Pokémon anime episode «Like a Meowth to a Flame,» where a Meowth owned by the character Tyson wore boots, a hat, and a neckerchief.

DreamWorks Animation’s 2004 animated film Shrek 2 features a version of the character voiced by Antonio Banderas (and modeled after Banderas’ performance as Zorro). An assassin initially hired to kill Shrek, Puss becomes one of Shrek’s most loyal allies following his defeat. Banderas also voices Puss in the third and fourth films in the Shrek franchise, and in a 2011 spin-off animated feature Puss in Boots, which spawned a 2022 sequel Puss in Boots: The Last Wish. Puss also appears in the Netflix/DreamWorks series The Adventures of Puss in Boots where he is voiced by Eric Bauza.

[edit]

Jacques Barchilon and Henry Pettit note in their introduction to The Authentic Mother Goose: Fairy Tales and Nursery Rhymes that the main motif of «Puss in Boots» is the animal as helper and that the tale «carries atavistic memories of the familiar totem animal as the father protector of the tribe found everywhere by missionaries and anthropologists.» They also note that the title is original with Perrault as are the boots; no tale prior to Perrault’s features a cat wearing boots.^[33]

Folklorists Iona and Peter Opie observe that «the tale is unusual in that the hero little deserves his good fortune, that is if his poverty, his being a third child, and his unquestioning acceptance of the cat’s sinful instructions, are not nowadays looked upon as virtues.» The cat should be acclaimed the prince of ‘con’ artists, they declare, as few swindlers have been so successful before or since.^[11]

The success of Histoires is attributed to seemingly contradictory and incompatible reasons. While the literary skill employed in the telling of the tales has been recognized universally, it appears the tales were set down in great part as the author heard them told. The evidence for that assessment lies first in the simplicity of the tales, then in the use of words that were, in Perrault’s era, considered populaire and du bas peuple, and finally, in the appearance of vestigial passages that now are superfluous to the plot, do not illuminate the narrative, and thus, are passages the Opies believe a literary artist would have rejected in the process of creating a work of art. One such vestigial passage is Puss’s boots; his insistence upon the footwear is explained nowhere in the tale, it is not developed, nor is it referred to after its first mention except in an aside.^[34]

According to the Opies, Perrault’s great achievement was accepting fairy tales at «their own level.» He recounted them with neither impatience nor mockery, and without feeling that they needed any aggrandisement such as a frame story—although he must have felt it useful to end with a rhyming moralité. Perrault would be revered today as the father of folklore if he had taken the time to record where he obtained his tales, when, and under what circumstances.^[34]

Bruno Bettelheim remarks that «the more simple and straightforward a good character in a fairy tale, the easier it is for a child to identify with it and to reject the bad other.» The child identifies with a good hero because the hero’s condition makes a positive appeal to him. If the character is a very good person, then the child is likely to want to be good too. Amoral tales, however, show no polarization or juxtaposition of good and bad persons because amoral tales such as «Puss in Boots» build character, not by offering choices between good and bad, but by giving the child hope that even the meekest can survive. Morality is of little concern in these tales, but rather, an assurance is provided that one can survive and succeed in life.^[35]

Small children can do little on their own and may give up in disappointment and despair with their attempts. Fairy stories, however, give great dignity to the smallest achievements (such as befriending an animal or being befriended by an animal, as in «Puss in Boots») and that such ordinary events may lead to great things. Fairy stories encourage children to believe and trust that their small, real achievements are important although perhaps not recognized at the moment.^[36]

In Fairy Tales and the Art of Subversion Jack Zipes notes that Perrault «sought to portray ideal types to reinforce the standards of the civilizing process set by upper-class French society».^[8] A composite portrait of Perrault’s heroines, for example, reveals the author’s idealized female of upper-class society is graceful, beautiful, polite, industrious, well groomed, reserved, patient, and even somewhat stupid because for Perrault, intelligence in womankind would be threatening. Therefore, Perrault’s composite heroine passively waits for «the right man» to come along, recognize her virtues, and make her his wife. He acts, she waits. If his seventeenth century heroines demonstrate any characteristics, it is submissiveness.^[37]

A composite of Perrault’s male heroes, however, indicates the opposite of his heroines: his male characters are not particularly handsome, but they are active, brave, ambitious, and deft, and they use their wit, intelligence, and great civility to work their way up the social ladder and to achieve their goals. In this case of course, it is the cat who displays the characteristics and the man benefits from his trickery and skills. Unlike the tales dealing with submissive heroines waiting for marriage, the male-centered tales suggest social status and achievement are more important than marriage for men. The virtues of Perrault’s heroes reflect upon the bourgeoisie of the court of Louis XIV and upon the nature of Perrault, who was a successful civil servant in France during the seventeenth century.^[8]

According to fairy and folk tale researcher and commentator Jack Zipes, Puss is «the epitome of the educated bourgeois secretary who serves his master with complete devotion and diligence.»^[37] The cat has enough wit and manners to impress the king, the intelligence to defeat the ogre, and the skill to arrange a royal marriage for his low-born master. Puss’s career is capped by his elevation to grand seigneur^[8] and the tale is followed by a double moral: «one stresses the importance of possessing industrie et savoir faire while the other extols the virtues of dress, countenance, and youth to win the heart of a princess.»^[8]

The renowned illustrator of Dickens’ novels and stories, George Cruikshank, was shocked that parents would allow their children to read «Puss in Boots» and declared: «As it stood the tale was a succession of successful falsehoods—a clever lesson in lying!—a system of imposture rewarded with the greatest worldly advantages.»

Another critic, Maria Tatar, notes that there is little to admire in Puss—he threatens, flatters, deceives, and steals in order to promote his master. She further observes that Puss has been viewed as a «linguistic virtuoso», a creature who has mastered the arts of persuasion and rhetoric to acquire power and wealth.^[5]

«Puss in Boots» has successfully supplanted its antecedents by Straparola and Basile and the tale has altered the shapes of many older oral trickster cat tales where they still are found. The morals Perrault attached to the tales are either at odds with the narrative, or beside the point. The first moral tells the reader that hard work and ingenuity are preferable to inherited wealth, but the moral is belied by the poor miller’s son who neither works nor uses his wit to gain worldly advantage, but marries into it through trickery performed by the cat. The second moral stresses womankind’s vulnerability to external appearances: fine clothes and a pleasant visage are enough to win their hearts. In an aside, Tatar suggests that if the tale has any redeeming meaning, «it has something to do with inspiring respect for those domestic creatures that hunt mice and look out for their masters.»^[38]

Briggs does assert that cats were a form of fairy in their own right having something akin to a fairy court and their own set of magical powers. Still, it is rare in Europe’s fairy tales for a cat to be so closely involved with human affairs. According to Jacob Grimm, Puss shares many of the features that a household fairy or deity would have including a desire for boots which could represent seven-league boots. This may mean that the story of «Puss and Boots» originally represented the tale of a family deity aiding an impoverished family member.^{[39][self-published source]}

Stefan Zweig, in his 1939 novel, Ungeduld des Herzens, references Puss in Boots’ procession through a rich and varied countryside with his master and drives home his metaphor with a mention of Seven League Boots.

References[edit]

Notes

Footnotes

Works cited

Further reading[edit]

• Kaplanoglou, Marianthi (January 1999). «AT 545B ‘Puss in Boots’ and ‘The Fox-Matchmaker’: From the Central Asian to the European Tradition». Folklore. 110 (1–2): 57–62. doi:10.1080/0015587X.1999.9715981. JSTOR 1261067.
• Neuhaus, Mareike (2011). «The Rhetoric of Harry Robinson’s ‘Cat With the Boots On’«. Mosaic: A Journal for the Interdisciplinary Study of Literature. 44 (2): 35–51. JSTOR 44029507. Project MUSE 440541 ProQuest 871355970.
• Nikolajeva, Maria (2009). «Devils, Demons, Familiars, Friends: Toward a Semiotics of Literary Cats». Marvels & Tales. 23 (2): 248–267. JSTOR 41388926.
• Blair, Graham (2019). «Jack Ships to the Cat». Clever Maids, Fearless Jacks, and a Cat: Fairy Tales from a Living Oral Tradition. University Press of Colorado. pp. 93–103. ISBN 978-1-60732-919-0. JSTOR j.ctvqc6hwd.11.

External links[edit]

• Origin of the Story of ‘Puss in Boots’
• «Puss in Boots» – English translation from The Blue Fairy Book (1889)
• «Puss in Boots» – Beautifully illustrated in The Colorful Story Book (1941)
• Master Cat, or Puss in Boots, The public domain audiobook at LibriVox

Литературное чтение, 2 класс

Урок 64. Ш. Перро «Кот в сапогах»

Перечень вопросов, рассматриваемых на уроке:

1. Шарль Перро и его сказки
2. Особенности жанра волшебной сказки
3. Литературная (авторская) сказка

Тезаурус

Место сказки «Кот в сапогах» в творчестве Шарля Перро; особенности жанра волшебной сказки; литературная (авторская) сказка.

Сказка — это занимательный рассказ о необыкновенных событиях и приключениях.

Литературная (авторская) сказка — ориентированное на вымысел произведение, тесно связанное с народной сказкой, но, в отличие от нее, принадлежащее конкретному автору.

Волшебная сказка — это повествование о необыкновенных событиях и приключениях, в которых участвуют нереальные персонажи.

Общие особенности волшебных сказок: наличие очевидной фантастики, волшебства, чуда (волшебные персонажи и предметы).

Ключевые слова

Творчество, писатель-сказочник, Шарль Перро, волшебная сказка, литературная сказка.

Список литературы

1. Литературное чтение. 2 класс. Учеб. для общеобразоват. организаций. В 2 ч. / Л.Ф. Климанова, В.Г. Горецкий, М.В. Голованова и др. – 9-е изд. – М.: Просвещение, 2018. – С. 182–193.

2. Литературное чтение. 2 класс. В 2 ч. Аудиоприложение к учебнику Л.Ф. Климановой, В.Г. Горецкого, М.В. Головановой и др. – М.: Просвещение, 2013.

3. Литературное чтение. Методические рекомендации. 2 класс / Н.А. Стефаненко. – М.: Просвещение, 2018.

Обозначение ожидаемых результатов.

На уроке узнаем о творчестве Ш. Перро, особенностях волшебной сказки, о том, какие сказки считают литературными; вспомним ход сказки «Кот в сапогах».

Основное содержание урока

Сегодня у нас необычный урок: мы отправимся в сказочный мир Шарля Перро и героев его сказок. Что вы знаете об этом человеке? Почему он запомнился многим поколениям читателей как писатель-сказочник? Потому что он писал сказки. Какие сказки Шарля Перро вам известны? «Золушка», «Мальчик-с-пальчик», «Красная Шапочка», «Ослиная шкура».

Шарль Перро, известный сейчас всем взрослым и детям как автор «Красной Шапочки», «Кота в сапогах», «Золушки» и других сказок, родился в городе Турне 12 января 1628 года. Говорят, что при рождении младенец закричал так, что было слышно на другом конце квартала, возвестив весь мир о своем появлении на свет.

Вырос Шарль Перро в обеспеченной богатой образованной семье. Семья была многодетной. Все братья Пьеро, в том числе и Шарль, закончили колледж Бове. Шарль Перро поступил в этот колледж в 8 лет и окончил в нем факультет искусств. Известно, что сначала Шарль Перро отнюдь не блистал успехами в обучении, но потом всё резко изменилось. Он выдвинулся в число лучших учеников и вместе с другом разработал свою систему занятий — такую, что даже перегнал программу по истории, латыни и французскому языку.

Шарль Перро усердно делал карьеру, и о литературе как серьезном занятии даже и не думал. Он стал богат, силен, влиятелен.

Сказки Шарля Перро были написаны как сказки «нравственные» и обучающие жизни. Известен факт, что основу всех сюжетов сказок Шарля Перро составляют известные народные сказки, а не его авторский замысел. Перро же создал на их основе авторскую литературную сказку.

Дома вы прочитали сказку Шарля Перро «Кот в сапогах».

Если её написал автор, то какая это сказка? (Литературная (авторская).)

Можно ли сказку «Кот в сапогах» отнести к жанру волшебных сказок?

Без чего не может существовать волшебная сказка?

Давайте проследим, какое волшебство есть в сказке «Кот в сапогах».

Сапоги. Превращение Людоеда в льва. Превращение Людоеда в мышь.

А теперь обратимся к самой сказке. Ответьте на некоторые вопросы, подтверждая свои ответы цитатами из текста.

Назовите главных героев сказки?

Какое наследство оставил сыновьям отец?

Почему именно младшему брату достался кот?

Почему именно младшему брату достался кот?

Почему он горевал по поводу своего наследства?

Как отреагировал кот на то, что из его шкуры сошьют рукавицы?

Почему кот решил помочь хозяину?

Почему хозяин поверил коту?

Куда отправился кот с добычей?

Какое новое имя кот дал своему хозяину?

Какую хитрость придумал кот, чтобы представить своего хозяина королю?

Почему король помог Маркизу?

О какой волшебной силе Людоеда разузнал кот?

Какое предложение сделал король Маркизу?

Почему кот перестал охотиться на мышей?

А вам известно, что изначально сказки Шарля Перро существовали в стихотворной форме?

Послушайте мораль к сказке «Кот в сапогах»:

И если мельников сынишка может

Принцессы сердце потревожить,

И смотрит на него она едва жива,

То значит молодость и радость

И без наследства будут в сладость,

И сердце любит, и кружится голова.

Значит, ни жизнь, ни сказка невозможны без любви! Будет любовь — будет и молодость, и радость даже без наследства! Вот такой интересный завет от Шарля Перро.

Разбор типового тренировочного задания

Текст вопроса: Ответьте на вопросы по содержанию сказки:

1. Животное, в которое Людоед превратился в первый раз.

2. Часть наследства, которое досталось старшему брату.

3. Часть наследства, которая досталась среднему брату.

4. Животное, в которое Людоед превратился во второй раз.

5. Какое имя придумал своему хозяину кот в сапогах?

6. Кто первым попался в мешок коту?

7. Кто сказал королю, что поля принадлежат маркизу Карабасу?

Карточки для подстановки:

1. Лев

2. Мельница

3. Осёл

4. Мышь

5. Маркиз де Карабас

6. Кролик

7. Жнецы

Ответ:

1. Животное, в которое Людоед превратился в первый раз. (Лев)

2. Часть наследства, которое досталось старшему брату. (Мельница)

3. Часть наследства, которая досталась среднему брату. (Осёл)

4. Животное, в которое Людоед превратился во второй раз. (Мышь)

5. Какое имя придумал своему хозяину кот в сапогах? (Маркиз де Карабас)

6. Кто первым попался в мешок коту? (Кролик)

7. Кто сказал королю, что поля принадлежат маркизу Карабасу? (Жнецы)

8. Каких птиц преподнёс в дар королю кот? (Куропатки)

Разбор типового контрольного задания

Текст вопроса: Отгадайте произведение. Подчеркните слова-помощники

Принцесса быстро схватила веретено и не успела прикоснуться к нему, как предсказание феи исполнилось: она уколола палец и упала замертво….

Трудно описать словами, как хороша была спящая принцесса. Она нисколько не побледнела. Щеки у нее были розовые, а губы красные, точно кораллы.

Король приказал не тревожить принцессу до тех пор, пока не наступит час ее пробуждения.

Ответ:

Принцесса быстро схватила веретено и не успела прикоснуться к нему, как предсказание феи исполнилось: она уколола палец и упала ….

Трудно описать словами, как хороша была спящая принцесса. Она нисколько не побледнела. Щеки у нее были розовые, а губы красные, точно кораллы.

Король приказал не тревожить принцессу до тех пор, пока не наступит час ее пробуждения.

Ш.
Перро «Кот в сапогах»

Задачи: 1) в ходе
организованной познавательной деятельности уточнить содержание и
последовательность событий в сказке; 2) на основе анализа полученной информации
решать задачи на осмысление сюжета и главной мысли сказки; 3) в ходе
совместного обсуждения осознавать роль дружбы, взаимовыручки при преодолении
неблагоприятных жизненных ситуаций.

Ход
урока:

1.
Организационный момент.

-Нам
веселый дан звонок, начинается урок. Ребята, мы проводим урок литературного
чтения. Проверьте порядок на своих рабочих местах. Давайте улыбнемся друг другу
и пожелаем удачной работы.

2.
Актуализация знаний.

—
Что за зверь гуляет в сказке?

Усы
топорщит, щурит глазки,

В
шляпе, с саблею в руках,

И
в огромных сапогах. (Кот в сапогах)

-Ребята,
скажите, героем какой сказки является этот кот (Приложение 1)? 
Покажите на выставке книг (Приложение
2) эту сказку Шарля Перро. Что помогло вам
правильно справиться с заданием? (название книги, автор, иллюстрация).

3.
Проверка домашнего задания.

-Дома
вы перечитывали сказку и сделали словарики для своих одноклассников, где
объяснили смысл, значение непонятных слов, встречающиеся в тексте. Кто готов
показать словарики? (Дети показывают рисунки в своих словариках, зачитывают
лексическое значение слов. Одноклассники оценивают работу по критериям:
понятность, красочность/эстетичность.)

4.
Мотивация познавательной деятельности.

-На
ваших партах лежат такие таблицы:

-Отметьте знаком «+» в столбике «знаю» то, что вы хорошо знаете.
Давайте вместе посмотрим, что мы знаем, а чему нам предстоит научиться сегодня
на уроке. (У учителя на откидной доске такая же таблица, на  которой он
работает: если большинство детей поставили «+» в своих
таблицах, то тогда и в общей таблице учитель ставит этот знак. Дети знают
автора и содержание произведения, героев сказки).

5.
Целеполагание.

-Посмотрите
на таблицу. Что же нам предстоит узнать, чему научиться? Какие учебные задачи
мы поставим на уроке? (Дети называют учебные задачи: определить вид сказки,
дать характеристику главным героям, понять сюжет и главную идею, научиться
составлять план произведения). Во втором столбце напротив четвертой – седьмой
строк проставляется «?»)

6.
Организация познавательной деятельности.

-Молодцы,
вы правильно сформулировали учебные задачи. Объём работы большой. Как мы будем
работать? (Дружно, быстро, помогать друг другу, не ссориться) Давайте определим
вид сказки. Есть ли у сказки автор или она сочинена народом? (Автор –
авторская). К какому виду сказок мы отнесём произведение Ш. Перро «Кот в
сапогах»: бытовая, волшебная, о животных? Почему вы так думаете? Без чего не
может существовать волшебная сказка? (волшебные превращения, волшебный
предмет/помощник, добрые и злые герои). Кто и в кого превращался в сказке «Кот
в сапогах»? Сколько раз? Кого можно назвать добрым волшебным помощником? Почему
вы так считаете? Кто в сказке добрый герой, а кто – злой? Обоснуй мнение.

-Итак,
подведем итог. Назовите, к какому виду сказок мы отнесём сказку Ш. Перро «Кот в
сапогах»? (Авторская, волшебная). Вы быстро и правильно решили первую учебную
задачу. Кто уверен, что он знает вид сказки, ставит «+» в третьем столбике
напротив четвертой строки. Кто отметил, что эта учебная задача решена?  Я вижу,
что все дети знают вид сказки, поэтому тоже ставлю знак «+» в нашей общей 
таблице.

7.
Работа в группах. Проверка коллективного выполнения заданий.

-Переходим
к решению следующих учебных задач. Делимся на группы по 4-5 человек. Группы
получают задания:

1.
Составить план сказки, используя отдельные пункты плана.

2.
Проследить развитие сюжета и найти завязку, кульминацию и развязку.

3.
Составить описание главного героя сказки – Кота в сапогах.

4.
Составить описание главного героя сказки – хозяина Кота в сапогах.

5.
(за компьютером) Сделать подписи под иллюстрациями сказки, используя текст
сказки Ш. Перро. (Приложение
3)

6.
Подготовить выразительное чтение диалога Кота в сапогах и Людоеда.

Дети работают в группах. Учитель осуществляет помощь
детям, координирует  работу групп. Когда все группы готовы, начинается проверка
выполнения заданий.

-Третья группа готовила описание главного героя сказки
– Кота в сапогах. Давайте послушаем и оценим работу группы по критериям:
правильность построения текста, полнота передаваемой информации, слаженность в
работе, участие в работе всех членов группы.

-Четвертая группа готовила описание главного героя
сказки – хозяина Кота в сапогах. Давайте послушаем и оценим работу группы по
критериям: правильность построения текста, полнота передаваемой информации, слаженность
в работе, участие в работе всех членов группы.

После прослушивания и оценивания текстов-описаний дети
проставляют «+» в третьем столбике напротив строки 5.

-Ребята, давайте посмотрим, как первая группа детей
справилась с заданием – составить план сказки.

Дети выходят к доске, крепят пункты плана на магнитную
доску, зачитывают план сказки. Одноклассники оценивают работу группы по
критериям: правильность выполнения задания, слаженность в работе, участие в
работе всех членов группы.

План.

1.Наследство отца.

2.Неожиданное предложение кота.

3.Первая охота и подарок королю.

4. Второе подношение королю.

5. Планируемое путешествие короля и принцессы.

6. Купание маркиза де Карабаса.

7. Страшные предупреждения Кота в сапогах.

8. Волшебные превращения в замке Людоеда.

9. Приятное предложение короля маркизу де Карабасу.

-Пятая группа работала за компьютером и выполняла
такое задание: подписать строчками текста иллюстрации к сказке «Кот в сапогах».
Проверим выполнение задания по следующим критериям: правильность выбора
предложений из текста, громкость и четкость при озвучивании, слаженность в
работе, участие в работе всех членов группы.

-Ребята, посмотрите на цитаты, которые использовали
дети. Какой вывод можно сделать, прочитав эти предложения? Ученики говорят, что
получился цитатный план сказки.

После проверки правильности выполнения заданий дети
отмечают «+» в своих таблицах в третьем столбике напротив строки 7.

-Вторая группа работала с текстом сказки и проследила
развитие сюжета. Дети выходят к доске, прикрепляют к магнитной доске слова
«завязка», «кульминация», «развязка» и доказывают, какая часть текста относится
к развязке, какая – к кульминации, а какая – к развязке. Одноклассники
оценивают работу группы по критериям: правильность выполнения задания,
слаженность в работе, участие в работе всех членов группы.

-Сейчас мы послушаем выразительное чтение двух
диалогов Кота в сапогах и Людоеда и определим место этих диалогов в сюжете
сказки. Шестая группа читает диалог (3 действующих лица: Кот в сапогах, автор,
Людоед). Одноклассники оценивают работу группы по критериям: выразительность и
грамотность чтения, слаженность в работе, участие в работе всех членов группы,
определяют, что диалог относится к развязке сюжета.

-Ребята, посмотрите на экран (Приложение 4).
Познакомившись с характеристикой героев, составив план сказки и проследив
развитие сюжета, мы решим последнюю учебную задачу – определим основную идею
сказки Ш. Перро «Кот в сапогах». Почему дружат хозяин и кот? Какие поступки
совершает главный герой сказки? Чему учит сказка? Кто понял основную идею
сказки, поставьте «+» в третьем столбике напротив 6 строчки.

8. Рефлексия.

-Скажите, кого можно назвать настоящим другом?
Возьмите рисунок солнышка (Приложение
5) и дополните его своими определениями:
какой должен быть настоящий друг?

На откидной доске нарисован такой же кластер. Дети
зачитывают свои ответы и прикрепляют их к лучам. Когда кластер готов, дети
вслух читают строчки стихотворения Н. Добронравова. (Приложение 4).

-Посмотрите на нашу таблицу. Перечислите, какие
учебные задачи мы решали на уроке? Кто из вас справился с решением всех задач,
поставленных на данном уроке? Покажите свои таблички! Кто доволен своей
работой? Обозначьте свое отношение смайликом.

9. Домашнее задание.

Дома вы раскрасите рисунок Кота в сапогах (Приложение
6) и по желанию выполните одно задание: 1)подобрать
пословицы о дружбе, 2)придумать продолжение сказки, которое начинается со слов
«Ровно через год Кот в сапогах…»

Творения Шарля Перро, французского автора XVII века, любимы всеми маленькими читателями. «Красная шапочка», «Золушка» и другие произведения содержат в себе не только фантастический сюжет, но и важный урок. 

«Кот в сапогах» — анализ сказки Перро: эта, как и многие другие сказки, содержит в основе фантастический элемент, умный и сообразительный кот решает многие проблемы своего хозяина

Анализ сказки «Кот в сапогах» начнем с характеристики «бродячего сюжета». В фольклоре разных народов традиционно встречаются перипетии, связанные с тем, как умное животное помогает бедному хозяину приобрести богатство и счастье. В разных интерпретациях это — лиса, шакал, газель и т.д. Вспомним русскую «Царевну-лягушку» — аналогия очевидна.  Перро делает таким помощником домашнее животное. 

Анализ сказки «Кот в сапогах» Шарля Перро: сюжет кратко

Автор отразил традиционный для своей эпохи закон: только старшим сыновьям полагалось наследство. Младшему по сюжету здесь достается «живое имущество». При этом волшебный помощник не только умеет говорить, но и очень сообразителен. 

Кот придумывает ситуации, в которых его хозяин может остаться в выигрыше. Представляет его не бедным сыном мельника, а Маркизом Карабасом. Сказочный проныра умеет предвидеть события: узнав о том, что король с принцессой хотят посетить замок Карабаса, он подкупает крестьян на пути следования, сражается с Людоедом и побеждает.

Младший брат получает в результате богатый замок, земельные владения и дочь короля в жены. 

Анализ «Кота в сапогах» Шарля Перро: характеристика героев

Несмотря на количество персонажей (отец, трое сыновей, кот, король, принцесса, людоед), в центре повествования юноша и кот. С данными образами связана сюжетная коллизия. 

Младший брат, получивший живое наследство, показан слабым по характеру. Без помощи он не может добыть себе на пропитание. При этом послушно выполняет все просьбы волшебного помощника, в сказке этот герой пассивен. 

Кот, напротив, отличается сообразительностью, он активно действует и быстро принимает решения. Попутно еще и освобождает крестьян от страшного и жестокого чудовища. Композиционно каждое следующее испытание становится более жестким и требует большей смекалки — но герой успешно выдерживает все. 

Анализ произведения «Кот в сапогах»: проблематика

Становится ясно, что герои вознаграждаются за различные качества:

• Сын мельника — за отсутствие зависти к старшим братьям. Он принял как должное свое положение и научился довольствоваться тем, что имеет. К тому же не оскорбил память отца, заботился о животном, которое тот оставил ему на попечение.
• Кот — за преданность хозяину. Юноша беден и пассивен, такая же участь ожидала и его живое наследство. Однако он не предал, не убежал к старшим сыновьям, а начал помогать бедняку. При этом он бескорыстен, ничего не просит за свою помощь. Всю фантазию Кот направляет на благо юноши, поэтому сказка прощает усатому волшебнику его обманы.

На примере поступков персонажа показано, что силу и жестокость (пример противоборства с Людоедом) можно победить хитростью и смекалкой. Поэтому не стоит бояться вступать в бой с ними.

Какие уроки извлекает читатель из фантастической истории? Не унывать, не опускать руки ни при каких обстоятельствах. Оставаться добрым к другим, не завидовать чужому благополучию.