It is well known that wisdom and spirit of the people, of the nation are shown in the traditions, especially in folklore, and the knowledge of fairy tales promotes not only to know a language at best, but also facilitates best understanding of views and character of the people.

So, the theme that we have chosen for the research is «Figurativeness of fairy tales of English and Kazakh language».

Comparison of fairy tales of the different nations shows, how much these people have in common that, in turn, promotes their better mutual understanding and rapprochement. In fairy tales rich historical experience of the people, the representations connected with labor activity, a life and culture of people is reflected.

Some may doubt the reasonableness of what we have said above as they constantly question if a fairy tale is a story for children story about fairies, and about magic and charm. To argue they could refer the dictionaries, but it will not offer useful information.

Some best definitions would be like: «a simple story dealing with supernatural beings (such as fairies, conjurers, cannibals, or dragons) which as a rule have a national origin and written or told for entertainment of children'. Fairy tales are a folklore part, but national stories are not necessarily fairy tales: we study a folklore subgenre, along with a myth and legends. There is a need to distinguish such things so as to provide a better understanding of the fairy tale that comprises a huge wealth of the beauty of a nation's thought and wit. Especially now, when we witness a vivid interest of guests and linguists of other countries in the folklore of our nation. Therefore we can underline the topicality of our research work.

The aim of the research is to consider the peculiarities of the English and Kazakh fairy tales, show differences of these fairy tales through comparisons.

According to the aim, we have allocated the following objectives:

* to define a fairy tale in English and Kazakh;

* to get acquainted with history of national fairy tales;

* to Establish the general distinctive features both in Kazakh and in English fairy tales.

Object of the research is peculiar features of fairy tales in English and on Kazakh. Subject is researches on folklore, namely, fairy tales.

During writing the work, we have conducted research and the analysis of English and Kazakh fairy tales.

Comparing Kazakh and English national fairy tales can make it clear that in they contain much in common that can be explained that all nations of the world live on one planet, develop under the general laws of history. But fairy tales simultaneously show the national originality of folklore of each people.

In the work, performing the objectives set, we have analyzed the Kazakh fairy tale «Wolf and kids» and an English fairy tale «the Wolf and three kittens» in details and that has allowed drawing certain conclusions on similarity and distinction of fairy tales.

The theoretical value is in the materials of the work that represent studies on history and classification of fairy tales of the two languages; we also found different interesting stories and included them into the general materials; and the work comprises information on modern and old fairy tales in a contrasting manner.

The practical value of the given work is in the possibility of development of the best mutual understanding and rapprochement of the people through detailed acquaintance with the history of the origin of fairy tales, and also for outlook expansion. The knowledge of separate subtleties of language, including fairy tales, is one of ways of integration of the person in the system of world and national culture.

Research methods:

From all these riches of the saved up national material which was reduced to us through age, we should choose, as we can't overflow the child with all folk stuff which folklore scientists aspire to keep in the scientific purposes. Besides naturally most part of it contains raw state, roughness, and cruelty of a primitive civilization; also it is not necessary, that the child has been burdened by these natural sciences of last society. We should choose from the past. In this choice of that should be presented the child, we should cope two standards: First, we owe it to the child to transfer it its literary heritage; and secondly, we should help to it to make of ourselves the ideal person of the future. Therefore stories which we offer, should promote these two standards. The selected stories will be what age have found interesting; For the fact that they lived, proves their physical form, they lived, because there was something in them which have addressed to universal heart. And because of this fact they will be what in frequent re-telling age have got the classical form and consequently have within itself possibility of to take their fine literary form. The selected stories will be those stories which as we have specified, contain interests of children; for only through its interests does the child, raise to higher interest rates and at last develop to the ideal person. They will be those stories which pass also test of the classic, the literature test, the story test, and the narration and description test. With the child would interfere in life to be unaware of these stories.

The stories approaching for the small child, can be considered under these seven classes of accessible types: (1) accumulated, or history of hours; (2) story of animals; (3) comic story; (4) realistic story; (5) romantic story; (6) old story; and (7) modern story.

The origin of the word «fairy» as given by Thomas Keightley in his Fairy Mythology, and later in the Appendix of his Tales and Popular Fictions, is the Latin fatum, «to enchant.» The word was derived directly from the French form of the root. The various forms of the root were:-

Latin…. fatum, «to enchant.»

French…. fee, feerie, «illusion.»

Italian…. fata.

Provencal…. fada.

In old French romance, fee was a «woman skilled in magic.» «All those women were called Fays who had to do with enchantment and charms and knew the power and virtue of words, of stones, and of herbs, by which they were kept in youth and in great beauty and in great riches.» This was true also of the Italian fata.

The word «fairy» was used in four senses. Fairy represented:-

(1) Illusion, or enchantment.

(2) Abode of the Faes, the country of the Fays.

(3) Inhabitants collectively, the people of Fairyland.

(4) The individual in Fairyland, the fairy Knight, or Elf.

The word was used in the fourth sense before the time of Chaucer. After the appearance of Spenser's Faerie Queen distinctions became confused, and the name of the real fairies was transferred to «the little beings who made the green, sour ringlets whereof the ewe not bites.» The change adopted by the poets gained currency among the people. Fairies were identified with nymphs and elves. Shakespeare was the principal means of effecting this revolution, and in his Midsummer Night's Dream he has incorporated, most of the fairy lore known in England at his time. But the tales are older than their name.

If to trust fairy tale stories all have arisen in India, they - a part of the general Aryan heritage and should be tracked the rests of their language.

They at first have been written in Vedas, sacred Sanskrit books of the Buddhism. To this theory incorporate to the Theory of the Myth of the sun a little. This theory was accompanied by Max Muller and sir George Koksom.

The theory of the general source in India won't answer completely for an origin of stories because many similar stories existed in not Aryan countries. Old stories were actual in Egypt, 2000 BC, and have been brought there rom by Participants of public campaign, the Mongolian missionaries, Jews, and gypsies.

The idea to connect many disconnected stories as we find on the Arabian Nights, Stories of Canterbury, and Decameron, is tracked to idea to make the Buddha by the central figure in folklore of India. And Dzhejkobs says that, at least, one third of all stories, characteristic for children of Europe, is received from India, and is unconditional the majority droll. He also says that in general how much incidents are amazing also true magic character, India - a probable source because of survivability of an animism and transformation to India to all time. Besides, as people, Hindus have extended the sufficient literary educational and intellectual power among their numbers to invent plots.

The Old tale vs. the Modern tale

The old fairy tale needs to be distinguished from a modern fairy tale. The majority of the selected stories was old stories because they possess the features approaching for the small child. The modern fairy tale as can speak, begins with Andersen Teles's Fairy. - As Andersen was often mentioned and as research of the Tin tell-tale has been already given, Andersen's work can receive more detailed reference here. - the modern fairy tale, since Andersen, should study simplicity and sincerity nevertheless. It is often long and is involved and represents a variety of images which is confusing. It lacks the big art qualities of the old story, the central unity and harmony of character and plot. The idea should be soul of the story, and the problem consists in making, occur to things of characters which are expressive from idea. The history should keep its interest, and should be sincere and inevitable to be convincing. It should understand that the expression method should be a method of the offer and not that from a detail. The old story hasn't established borders in the offer. It used concrete skill; but because the symbol expressed less, it meant more. The modern story is more definitely intended, and he often establishes borders in the offer because the symbol expresses so much. Often it often underlines a satirical both critical element, and its humor as heavy and clumsy. To be the literature as has been specified, besides characters, plot, settlement, and dialogue, the classic should present truth; it needed to form emotion and imagination with beauty in the language form; and it should have a power of the classic to award mind constant enrichment. Any examination of a modern fairy tale very often shows refusal to meet these requirements. The modern story isn't so bad, however, when we mention such stories as Elis Lewis Kerola in a Wonderland, Oscar Uajlda's Happy prince, Gradual Fairy Elis Brown, prince Frensis Brown Ferifut, the Small Lame prince of Ms. Mulok, Peter Pan Barri, Mopsa Dzhin Indzhelou, the Fairy and Ouphe in Wood, Area History of Klausa, Old Pipes of Stockton and the Dryad, Water Babies of Kingsli, King Raskin of the Gold River, Pinokkio Kollodi, the Azure bird of Meterlinka, Kipling so Stories and stories the Book of jungle, Remarkable Adventures Selmoj Ledzherlof of Zeroes, Uncle Remus Tales about Harris, etc. But this classics - behind few exception, riches of the basic and elementary literature. The modern fairy tale approaching for the child of a kindergarten, is at a great disadvantage for the most probable, it is hidden in some magazine waiting for an estimation to draw some attention to it. And these difficult modern days it is difficult to provide the story which simplicity approaches the small child.

2. Peculiarities in English and in Kazakh fairy tales

We have carried out the all-round analysis of such questions as, addition of an original plot of a fairy tale with additional motive, a situation and episodes, and also its development, has put a scientific basis of system of intragenre classification. For example, a powerful fairy tale, without breaking the habitual scheme, makes the additions, changes of separate elements. That has allowed to carry a powerful fairy tale to a separate kind of fairy tales of the Kazakh folklore.

According to scientists the basic parts of a plot of a fairy tale: childless parents, a wonderful birth of the character not only on the basis of the turkish-Mongolian material, but also on a material of fairy tales of the people with the different periods of historical development. They in details study principles of research Russian and European folklorists, improving them, apply to features of the text of the Kazakh national fairy tale.

S. Kaskabasov interprets ideas and V. Ja. Proppa and A.N. Veselovskogo's judgments about motive of a wonderful birth concerning the Kazakh fairy tales. In S. Kaskabasov's research through consideration of several types of motive about a wonder-working birth of the character, from the scientific point of view for the first time has defined history of development of motive of idealization of the fantastic character from primitive to an artistic image. The main objective of a course of life of the fantastic character - to find a family, however this course of life of the hero according to fairy tale poetics, gets art coloring and is idealized, in a consequence of that, the basic plot is supplemented with various episodes and repetitions, to the full showing law of a fantastic plot. Therefore, in life of the character events, collisions, meetings repeatedly repeat, the number of enemies which are overcome by the hero grows. Such reception is used to show on purpose accruing difficulty of problems carried out by the hero and by that to ennoble it from simple to the notable.

If to compare to the Kazakh fairy tales, fairy tales of England less sated and not such bright, but they too contain specific, only it inherent lines, and possess the big spiritual and art value. And in English fairy tales it is often possible to find out national proverbs, sayings, songs, spells that allows to experience as well as possible atmosphere of fantastic England and thus it is better to understand the national culture. These are features of English fairy tales.

2.1 The comparative analysis of English and Kazakh fairy tales