How many interesting books my parents read to me as a child! It was they who introduced me to the fairy tales of A. S. Pushkin and K. I. Chukovsky, to the poems of S. Ya. Marshak and S. V. Mikhalkov, to the works about nature by V. V. Bianchi and M. M. Prishvin. And how many interesting fairy tales my grandmother read to me. But from none of them did I hear such words as folklore. That’s why I couldn’t answer the teacher’s questions: “What works of oral folk art do you know? What is folklore?
The teacher’s story about folklore interested me very much, so I decided to learn as much as possible about folklore, study the opinions of my classmates about the meaning of folklore in human life, find out which works of oral folk art the parents introduced their children to, which genres of folklore are most famous, and which we don't know anything.
The topic of my research work was of great interest not only to me, but also to my classmates. The children especially enjoyed finding and guessing Russian folk riddles, which differ from modern riddles. Therefore, we decided to collect all the materials we found about the riddles together. This is how our book “Russian Folk Riddles” was born.
The true history of the working people cannot be known without knowing oral folk art.
M. Gorky
For a long time, man cared not only about food and housing, he sought to understand the world around him, compared various phenomena, created new things in nature and in his imagination. The fruits of centuries-old observations and thoughts of the people, their dreams and hopes were embodied in artistic images stories and legends, fairy tales and songs. This is how the people created their art, their poetry.
Fairy tales, epics and songs, proverbs, riddles and other types of oral folk art are called folklore. The word "folklore" is of English origin (folk lore). It means: folk wisdom, folk knowledge.
IN Explanatory word S.I. Ozhegova explains the meaning of this word as follows: folklore is folk art, a set of folk ritual actions.
The science of folklore - folkloristics - is a living and interesting science that is closely connected with the historical life of the people in various manifestations. Of course, in folklore works there is neither an accurate description of historical facts nor dates, and the events and characters depicted are often even impossible in reality. The historical value of folklore is that it is a spiritual biography of the people, a poetic chronicle of their centuries-old life. Various natural phenomena and public life in the minds of ancient people they were personified in the images of good and evil creatures that helped or harmed a person. People have always dreamed of victory over evil forces and believed in victory over them. This belief determines the victories of fairy-tale heroes over monsters and evil wizards. Fairy-tale heroes, fearless and persistent in achieving their goals, and their adventures delighted people, awakened in them good feelings and hatred of everything dark, selfish, and unfair. Combat life epic heroes reminds of the heroic and difficult past of the Russian people, instills in people pride in their homeland and love for it.
Work did not always bring joy to a person. The Russian people suffered for many centuries from the oppression of boyars and landowners. However, difficult trials did not kill the people’s hope for happy life, the desire for justice and freedom. People sought to bring joy and beauty into their meager, often hungry lives. During the holidays they walked, danced and sang; greeted spring with cheerful round dances; they worked with song and whiled away the long journey; On long winter evenings they asked riddles and listened to fairy tales.
Folklore provides not only historical picture spiritual development of the people. The works of all his genres reveal the unique character of the Russian people. Courageous, strong, stern - according to epics and historical songs; cunning, mocking and mischievous - according to everyday tales; cheerful, playful and cheerful - in dance and comic songs; sad, deeply feeling and experiencing - according to lyrical songs; wise, observant, witty - according to proverbs - such is the Russian man in all his greatness, simplicity and beauty.
Folklore genres did not appear at the same time. Some of them arose in the era of the tribal system (fairy tales, riddles, ritual songs), others arose in a class society (epics, ditties, historical and lyrical songs). In villages and cities, in the vast expanses of the Russian land, there have always been many talented singers and storytellers, masters of apt and living words. However, they were not the only ones involved in the creative process. Once created, the text of an epic or fairy tale did not remain unchanged. In the performance of other people it was changed and remade. Each generation brought something new. In the mouths of different performers, the changes were not the same, so variations of one song, fairy tale, etc. arose. Thus, folklore works are collective in creation, performance and in the views and ideas expressed in them.
CONCLUSION: we must remember that we are all Russian people and it is our sacred duty to know the history of our homeland, the history of our ancestors. And where, if not in works of folk art, can one fully glean all historical knowledge and events.
Maybe we don’t always pay attention, but it’s worth watching, listening to conversations, and you can notice how beautifully some people speak, like my first teacher. Her speech contains many proverbs, sayings, funny and witty phrases. And let the old folklore disappear from oral existence, but it remains the spiritual value of the Russian person.
RITUALS POETRY
Nature and its phenomena have long been incomprehensible and mysterious to ancient man. His imagination infused fantastic creatures into the world around him, who ruled it, and in whose will lay the fate of man. Belief in supernatural forces forced ancient people to look for means of influencing these forces to obtain desired results. The essence of the rituals lies in the fact that the performance of certain actions in a certain order, accompanied by verbal spells or songs, was supposed to help complete the necessary processes. Later, belief in ritual songs and the rituals themselves became not a means of influencing supernatural forces, but fun, a form of expressing a festive mood.
The following works differ ritual poetry: calendar ritual poetry
Ours is a kalyada
Neither small nor great,
She doesn't get into doors
And he sends us out the window:
"Don't break, don't bend -
Serve the whole pie!
The grapes are red and my green!”
Larks, come,
Take away the cold winter,
Bring warmth to spring!
We're tired of winter
She ate all our bread.
Family ritual poetry
It's not thunder that thunders in the mansion,
It is not the willow tree that is staggering in the field,
Bows to the damp earth -
Sweet child is blessed
Go to the golden crown!
The bells rang throughout the city,
The following people brought gifts around the house:
Gave gifts of light (name of the bride),
The good fellow accepted the gifts,
Good fellow - newlywed prince.
PROVERBS AND SAYINGS
Proverbs and sayings are familiar to each of us. How convincing and beautiful speech sounds if a person backs up his thoughts with a proverb or saying! A house cannot be built without corners, speech cannot be said without a proverb - this is how the people very precisely defined the meaning of the proverb.
Proverbs and sayings are very close to each other. They differ in that the first are usually expressed as an independent complete sentence, while the second is included in the sentence as its separate parts. Often the original meaning of a proverb is forgotten, since the phenomenon that gave rise to it passes away, but it is used in an allegorical sense. The collection of proverbs began in the 17th century. The most valuable and complete collection proverbs is the book by V. I. Dahl “Proverbs of the Russian People”, which includes about 30,000 texts. All proverbs can be combined into the following groups: about the homeland
A man without a homeland is like a nightingale without a song.
The Holy Russian land is great, and the sun is everywhere.
about study and work
Live and learn.
about a person, his essence, appearance, virtues and vices
A friend in need is a friend indeed.
It's warm in the sun, good in mother's presence.
about religion
An icon and a shovel are from the same tree.
about historical events
The royal favors are sown into the boyar sieve.
about health
Keep your head cold, your stomach hungry, and your feet warm.
practical philosophy
Live for people, people will live for you.
Riddles, like proverbs, have come to us from ancient times. In their origin, they are associated with the secret conventional speech of primitive tribes. The presence of such speech was due to the views of primitive people, who believed that all the nature and living beings around them understood human speech. In order to hide their intentions from those animals that people were going to hunt, or from the fictitious owners of the forest or river where they wanted to hunt, primitive hunters and fishermen used special invented words, believing that their meaning was clear only to them.
Every person who lived in such a primitive community had to be able to use secret speech. Works of folklore indicate that riddles were used to test the intelligence and wisdom of a particular hero.
Having freed themselves from ritual purposes in the course of a long life, riddles turned into a means of education and entertainment. They became interesting questions about objects or phenomena that should be named in answers - guesses. The search for clues develops intelligence and ingenuity, leads a person to understand the connections of some objects with others and realize the unity of the surrounding world.
Riddles began to be written down along with proverbs at the end of the 17th century, but their systematic collection began only in the middle of the 19th century. The most famous collectors of riddles were D. N. Sadovnikov and M. A. Rybnikova.
Riddles about man
In the morning - at four, at noon - at two, in the evening - at three. (Human)
Clothing and jewelry
I'm sitting on horseback
I don't know who
I'll meet an acquaintance,
I’ll jump off and pick you up. (a cap)
Hut, housework
The box is full of golden sparrows. (coals in the stove)
Peasant farming
He's thin, his head is about as big as a pound. (hammer)
Riddles about nature
Mother in the spring in a colored dress, stepmother in the winter in one shroud. (bird cherry)
About studying and books
Black, crooked, all mute from birth; stand in a row, now they'll start talking (letters)
About animals
Kharitonov’s wife walked under a tun,
I found seven hundred shirts,
The wind blew, all the shirts blew out (chicken)
Bylinas are epic works about the heroic past of the Russian people. The word “epic” is one of the popular names for these works, more often they were called “antiques”. As with any phenomenon of the distant past, there is a lot of mysterious and unclear things in epics for us. The study of epics is complicated by the fact that the time of their recording is separated from the time of their composition. And the epics changed from oral transmission from person to person. Something in their content was forgotten, something became incomprehensible. Nevertheless, through the efforts of many scientists, it was possible to resolve many issues relating to the Russian epic. This was facilitated by research into written documents, archaeological materials, and comparison of epics with other types of folk art. The origin of epics is associated with the time of the emergence and flourishing of the ancient Russian Kievan state. It is no coincidence that all the exploits of heroes are subordinated to the interests of the capital Kyiv.
In epics, heroes are glorified who did things impossible for an ordinary person. Only heroes are capable of the feats described in epic songs. Fairy tales also depict the unusual, the fantastic, but there the heroes are helped by wonderful things, magical powers. The epic heroes themselves possess all the necessary qualities to perform feats that only an entire people can do.
The people made Ilya Muromets the strongest and most powerful among all the heroes. More epics have been preserved about this beloved folk hero, the defender of his interests, than about anyone else.
CONCLUSION: There has not been a single century when the Russian people did not have to fight with those who like to profit at the expense of other lands. And in this struggle epics play a significant role. Since childhood, they instill in each of us a sense of patriotism, devotion to our country, pride in our people and their heroes.
SVYATOGOR
Svyatogor got ready for a walk in the open field.
Saddles his good horse
And he drives through an open field.
Svyatogor has no one to measure his strength with,
And the strength is in the veins
This is how it shimmers with life.
It feels heavy, like a heavy pregnancy.
This is what Svyatogor says:
“How would I find traction,
So I would lift the whole earth!”
Svyatogor runs over in the steppe
For a small saddle bag.
He takes the chaser, touches the purse - she won’t hide.
If he moves his finger, it won’t collapse,
Enough with a horse's hand - it won't rise:
“For many years I traveled around the world,
But I didn’t experience such a miracle,
Such a diva; haven't seen:
Small saddle bag
It won’t hide, it won’t collapse, it won’t rise!”
Svyatogor gets off his good horse.
He grabbed the purse with both hands.
He raised his purse above his knees, -
And Svyatogor sunk into the ground up to his knees,
And on the white face there are not tears, but blood flowing.
Where Svyatogor sunk, he couldn’t get up.
That was the end for him.
PESTUSHKS AND Rhymes
Pestushki are songs and rhymes that accompany the child’s first conscious movements. This “children's folklore” is intended to entertain and amuse children. They often reflect pictures of everyday work life. Nursery rhymes – songs and rhymes for a child’s first games with fingers, arms and legs. When the child wakes up and stretches, they stroke his tummy, saying:
Stretchers, stretchers!
Rotok - talkers,
Hands are grasping,
Legs are walkers.
Taking turns fingering the child’s fingers, they say:
Bolshak to chop wood,
And you should carry water,
And you have to heat the stove,
And sing songs to the baby,
Sing songs and dance,
Amuse my siblings.
Taking the child’s hands, they clap them to the beat, and at the last words, the hands are spread and raised on the child’s head:
Okay, okay!
Where were you?
By Grandma.
What did you drink?
Sweet porridge,
The drunken gang
Grandma is kind.
We drank, ate, -
Shu-u-u - they flew,
They sat on their heads.
CALLS AND SENTENCES
Calls - children's song appeals to the sun and rainbow. Rain. To the birds. Sentences - verbal references to a snail, bugs, etc.
At the beginning of March, children call for spring:
Spring is red! What did you come with?
On the bipod, on the harrow,
On a sheaf of oatmeal,
On a rye ear.
It’s already raining, it’s raining,
Water with a ladle!
Sieve, decide,
A whole tub!
Rainbow - arc,
Don't let it rain
Come on honey,
Bell tower!
When there is a drought and the rains pass by or a little rain falls, they ask the rainbow not to take away the rain:
Rainbow is an arc.
Bring us some rain.
“A fairy tale is a twist, a song is a reality,” says the proverb. This folk saying aptly captures the essence of fairy tales: they tell about what did not happen and could not happen. Everyone knows about this, but they still love to listen or read fairy tales, these extraordinary stories made up from beginning to end. We excitedly follow all the adventures of Ivan Tsarevich, we are upset when he gets into trouble, we rejoice when he happily gets rid of the danger that threatened him and defeats Koshchei. We are pleased that a greedy wolf or a slow-witted bear gets into trouble, deceived by peaceful pets. We are fascinated by the fox's cunning tricks, but when she rescues the hare from the hut, we wish that she be quickly and severely punished. The peasant's funny and evil jokes about the envious priest and stupid master evoke our sympathy. We even seem to believe that everything was exactly as it is told in fairy tales. In fairy tales, even inanimate objects become alive.
All fairy tales have their roots in the distant past, when people thought that animals lead the same intelligent lives as people. In the fairy tale the strong and beasts of prey are defeated, and the weak and defenseless are the winners. Fairy-tale heroes are brave and courageous, selfless, persistent in achieving their goals, kind and responsive to the grief of others. All best qualities, with which the people endow their heroes, turn out to be precisely the reason why they find support among good wizards, inhabitants of wonderful worlds. And, on the contrary, greedy, envious, evil and ungrateful people are punished.
Fairy tales occupied significant place in the life of a working person. The heroes of fairy tales, who embodied the best qualities of the people and fulfilled their dreams and desires in various ways, nurtured their dignity in a person, awakened hopes and aspirations for a better, happy, beautiful life.
CONCLUSION: The fairy tale affirms faith in goodness and justice. Fairy tales help to understand complex human relationships, see the good and bad in life, expose meanness and cowardice, lies and betrayal, hypocrisy and hypocrisy.
There was a tower in the field. A fly fly has arrived and knocks:
Nobody responds.
A fly fly flew in and began to live in it.
A jumping flea galloped up:
Terem-teremok! Who lives in the mansion?
I, a bitter fly, and who are you?
And I'm a flea jumper.
Come live with me.
The jumping flea jumped into the mansion and they began to live together.
A squeaking mosquito has arrived:
Terem-teremok! Who lives in the mansion?
I, a burning fly and a jumping flea, and who are you?
And I'm a squeaky mosquito.
The three of them began to live together.
A little mouse came running:
Terem-teremok! Who lives in the mansion?
I, a burning fly, a jumping flea, and a squeaking mosquito, and who are you?
And I'm a little mouse.
Come live with us.
The four of them began to live.
The frog-frog jumped up:
Terem-teremok! Who lives in the mansion?
I, a burning fly, a jumping flea, a squeaking mosquito and a little mouse, and who are you?
And I'm a frog.
Come live with us.
Five began to live.
The stray bunny galloped up:
Terem-teremok! Who lives in the mansion?
I, a fly-fly, a flea-hopper, a mosquito-squeaker, a mouse-hole, a frog-frog, and who are you?
And I'm a stray bunny.
Come live with us.
There were six of them.
The little fox-sister came running:
Terem-teremok! Who lives in the mansion?
I, a fly-fly, a flea-hopper, a mosquito-squeaker, a mouse-hole, a frog-frog and a stray bunny, and who are you?
And I am a fox-sister.
Come live with us.
There were seven of them living.
Came to the mansion Gray wolf- from behind the bushes there is a grab:
Terem-teremok! Who lives in the mansion?
I, a fly-fly, a flea-hopper, a mosquito-squeaker, a mouse-hole, a frog-frog, a stray bunny and a little fox-sister, and who are you?
And I am a gray wolf - I grab from behind the bushes.
Come live with us.
They began to live and live.
A bear came to the mansion and knocked:
Terem-teremok! Who lives in the mansion?
I, a fly-fly, a flea-hopper, a mosquito-squeaker, a mouse-hole, a frog-frog, a stray bunny, a little fox-sister and a wolf - I'm grasping from behind the bushes, and who are you?
And I'm a bear, I'm crushing all of you. If I lie down on the tower, I’ll crush everyone!
They got scared, and everyone left the tower! And the bear hit the tower with its paw and broke it.
RESULTS OF THE SURVEY
In order to find out the attitude of school students and teachers towards folk art, to check their knowledge of the genres of oral folk art, I conducted a survey “Folk Art in modern life" A total of 30 people took part in the survey: 15 teachers and 15 students.
No. Question answer students teachers
Did you read fairy tales as a child? Yes -13 Yes -15
Did they read epics to you as a child? Yes -2 Yes -5
Did you read proverbs and sayings as a child?
Where did you first hear the word “folklore”? Yes -0 Yes -0
At school -15 At school - 14
What works of oral folk art do you know? fairy tales -15 fairy tales -15
proverbs -15 proverbs -15
tongue twisters-15 tongue twisters-15
nursery rhymes -3 nursery rhymes -13
pestles -2 pestles -11
epics - 12 epics - 15
nicknames -3 nicknames -12
ritual songs – 5 ritual songs – 14
riddles - 9 riddles - 15
counting rhymes – 9
tall tales – 9
ditties - 7
Do you know about the history of fairy tales, proverbs, riddles, fairy tales - 12 fairy tales - 15
etc. ? proverbs -0 proverbs -3
riddles -0 riddles -3
Why are works of oral folk art studied at school? To know the history of one’s own For the general development of the personality of the people - 8. -3.
Difficult to answer -7. Folklore introduces the history of the people -5.
Name your favorite works of folk art. Fairy tales -15 Fairy tales – 14
proverbs and sayings -1
Do you familiarize yourself with works of folklore? No -15 Yes- 3
Do you use proverbs and sayings in your speech? No -15 No -1
As a result of the analysis of the questionnaires, it was revealed that all respondents read fairy tales in childhood, but their first acquaintance with folklore occurred only in school years. Both students and teachers see the importance of works of Russian folk art in connection with the historical past, in educating the younger generation. Almost all students and teachers know the origin of fairy tales, but the history of the origin of proverbs, riddles, and epics remains an open topic for most respondents. Only 9% of respondents study and read works of folklore on their own. All teachers use proverbs and sayings to more accurately, accurately and expressively color their speech, but none of the students do. From the questionnaire, I learned that the most popular are fairy tales and proverbs with sayings, and not even all the teachers at our school know about nursery rhymes, pestushki, and chants.
CONCLUSION: my contemporaries understand the significance of works of folklore, but do not study them enough, read few books about folklore, or works of oral folk art.
Creation of the book “Russian folk riddles”
The result of my work was a performance at the class hour “Let's get to know folklore.” Together with class teacher we created a presentation about Russian folk art. I told my classmates about the historical significance of folklore, the origin of epics, proverbs, and fairy tales.
But most of all my friends were interested in Russian riddles, because without my help they could not guess any of them. This is how the idea of creating a cool book “Russian Folk Riddles” was born. The goal we pursued was to collect little-known folk riddles. As a result of our work we got interesting book, which we presented at the school-wide festival “The Fair Opens the Gates!”, at the parent meeting “Children and Folk Art”.
About a trip to the Belgorod Museum of Folk Culture.
Not only did my classmates like my research, but my parents also became interested in folk art. My mother and I went to the village library and found material about folklore. We organized home readings in the evenings. And dad provided sponsorship for all students in the class in the form of a trip to the regional center, Belgorod, to visit the museum of folk culture. We learned so many interesting and unusual things!
FOLKLORE
(English folklore - folk knowledge, folk wisdom), folk poetry, folk poetry, oral folk art, is a set of various types and forms of mass oral arts. creativity of one or several. peoples The term "F." introduced in 1846 archaeologist W. J. Toms, as a scientist. the term is officially adopted by English. folklore society "Folklore Society", main. in 1878. Originally "F." meant both the subject of research and the corresponding science. In modern historiography is a science that studies the theory and history of f. and its interaction with other types of art, called. folkloristics.
The definition of F. cannot be unambiguous for all historians. stages, because its social and aesthetic. functions, content and poetics are directly dependent on the presence or absence in the cultural system of a given people of its other forms and types (handwritten or printed books, professional theater and pop music, etc.) and various methods of dissemination of literary arts. works (cinema, radio, television, sound recordings, etc.).
F. arose in the process of the formation of human speech and in ancient times covered all forms of spiritual culture. It is characterized by comprehensive syncretism - functional and ideological. (F. contained the rudiments of artistic creativity, historical knowledge, science, religion, etc.), social (F. served all layers of society), genre (epic, fairy tale, legend, myth, song, etc. not yet differentiated), formal (the word appeared in inextricable unity with the so-called extra-textual elements - intonation, melody, gesture, facial expressions, dance, sometimes figurative art). Subsequently, in the process of social differentiation of society and the development of culture, various types and forms of f. arose, expressing the interests of the department. social strata and classes were formed folklore genres, which had various social and everyday purposes (production, social-organizing, ritual, gaming, aesthetic, cognitive). They were characterized by varying degrees of aesthetic development. started various combinations text and extra-textual elements, aesthetic. and other functions. In general, F. continued to remain multifunctional and syncretic.
The use of writing to record text distinguished literature from the oral forms of literary arts that preceded it. creativity. From the moment of their inception, writing and literature turned out to be the property of the highest social strata. At the same time, literature at first, as a rule, was not yet a phenomenon. artistic (for example, chronicles and annals, diplomatic and journalistic works, ritual texts, etc.). In this regard, the actual aesthetic. The needs of society as a whole were satisfied for a long time mainly by oral tradition. The development of literature and growing social differentiation led to the fact that already in the late feudal period. F.'s period became predominant. (and among many nations exclusively) the property of the working people. the masses, because literary forms of creativity remained inaccessible to them. Social differences in the environment that created literary and folklore works led to the emergence of a definition. range of ideas and various arts. tastes. This was accompanied by the development of specific systems of literary (story, novel, poem, poem, etc.) and folklore (epic, fairy tale, song, etc.) genres and their poetics. The transition from oral forms of creation and transmission of art. works that are characterized by the use of natural elements. means of communication (voice - hearing, movement - vision), to fixing and stabilizing the text and reading it meant not only a more advanced way of accumulating and preserving cultural achievements. He was accompanied and determined. losses: a spatial and temporal gap in the moment of creation (reproduction) of art. the work and its perception, the loss of the immediate. contact between its creator (writer) and the perceiver (reader), loss of extra-textual elements, contact empathy and the possibility of making textual and other changes depending on the reaction of the perceivers. The significance of these losses is confirmed by the fact that even in conditions of universal literacy, not only traditional folklore, but also other oral and at the same time synthetic ones continue to exist and re-emerge. forms, and some of them are of a contact nature (theater, stage, readers, performances of writers in front of an audience, performance of poetry with a guitar, etc.).
Characteristic features of f. in the conditions of its coexistence with literature and in opposition to it: orality, collectivity, nationality, variability, combination of words and arts. elements of other arts. Each work arose on the basis of poetics developed by the team, was intended for a certain circle of listeners and acquired its origins. life, if it was accepted by the team. Changes made by the department. performers could be very different - from stylistic. variations until a significant reworking of the plan and, as a rule, did not go beyond the boundaries of the ideology and aesthetics of the definition. environment. Collectiveness creative. process in F. did not mean its impersonality. Talented masters not only created new songs, fairy tales, etc., but also influenced the process of dissemination, improvement or adaptation of traditions. texts to the historically changed needs of the collective. Dialectical the unity of the collective and the individual was contradictory in F., as in literature, but in general the tradition in F. had higher value than in the literature. In social conditions. division of labor on the basis of oral tradition, in parallel with mass and unprofessional performance, which is characteristic of the arts of all nations, unique professions arose associated with the creation and performance of poetic, musical and other works (Ancient Greek rhapsodes and aedas; Roman mimes and French jonglers; later Russian kobzars and chansons. In the early feud. period, performers who served the dominant social strata emerged. A transitional type of singer-poet emerged, closely associated first with chivalry (French troubadours or German minnesingers), later with the burghers (German meistersingers) or the clerical-student environment (French or German vagantes; Polish, Ukrainian and Belarusian . nativity scenes). In some countries and regions, in conditions of slow development, patriarchal-feudalism. way of life, transitional forms of a unique oral literature were formed. Poetic works were created specifically. persons, disseminated orally, there was a desire to stabilize their texts. At the same time, the tradition has preserved the names of the creators (Toktogul in Kyrgyzstan, Kemin and Mollanepes in Turkmenistan, Sayat-Nova in Armenia, Georgia and Azerbaijan, etc.). In Russian F. there was no developed professionalization of singers. We can only talk about the department. names mentioned in the writing of Ancient Rus' (singer Mitus; possibly Boyan).
Each genre or group of folk genres fulfilled a specific purpose. social and household functions. This led to the formation of the department. F. genres with their characteristic themes, images, poetics, and style. IN ancient period Most peoples had tribal traditions, work and ritual songs, mythological. stories, early forms of fairy tales, spells, incantations. Later, at the turn of the transition from pre-class society to class society, modern societies arose. types of fairy tales (magical, everyday, about animals) and archaic. epic forms. During the formation of the state, heroic epic, then epic. ballad and historical songs content, history legends. Later other classical genres. F. formed non-ritual lyrical. song and romance, later types of folklore. drama and even later - the genres of worker F. - revolutionary. songs, marches, satire. songs, oral stories. The process of emergence, development of department. genres of f., especially the duration of their productive period, the relationship of f. with literature and other types of professional arts. creativity are determined by the characteristics of history. the development of each people and the nature of its contacts with other peoples. Thus, tribal traditions were forgotten among some peoples (for example, among the Eastern Slavs) and formed the basis of history. legends from others (for example, Icelandic sagas from Icelanders). Ritual songs, as a rule, were timed to coincide with different periods agricultural, pastoral, hunting or fishing calendars entered into various relationships with the rites of the Christian, Muslim, Buddhist and other religions. The degree of connection between the epic and mythological ideas are determined by specific socio-economic. conditions. An example of this kind of connection is the Nart tales of the peoples of the Caucasus, Karelo-Fin. runes, ancient Greek epic Germanic languages left oral existence relatively early. and Western Roman epic. The epic of the Turkic peoples existed for a long time and acquired later forms. and east Slavs
There are different genre versions of African, Australian, Asian and European fairy tales. peoples The ballad among some peoples (for example, the Scots) acquired clear genre differences, while for others (for example, the Russians) it is close to lyrical. or ist. song. The art of each nation is characterized by a unique combination of genres and a specific role of each of them in the overall system oral creativity, which has always been multi-layered and heterogeneous.
Despite the bright national coloring of folklore texts, many motifs, plots and even images of characters in F. different nations strikingly similar. Such similarities could arise as a result of the development of F. from common source(common archaic features of the F. Slavs or Finno-Ugric peoples, which go back to the common Proto-Slavic or Proto-Finnish heritage), either as a result of the cultural interaction of peoples (for example, the exchange of plots of fairy tales between Russians and Karelians), or the independent emergence of similar phenomena (for example ., general plots of tales of American Indians and peoples of Central Europe) under the influence of general patterns of development of the social system, material and spiritual culture.
In the late feudal period. time and during the period of capitalism in the people. lit. began to penetrate the environment more actively than before. works; some forms of lit. creativity acquired mass distribution(romances and songs of literary origin, so-called folk books, Russian “lubok”, German “Bilderbogen”, etc.). This influenced the plot, style, and content of folklore works. People's creativity storytellers acquired certain features of lit. creativity (individualization, psychologism, etc.).
In socialist In society, the availability of education has provided an equal opportunity for the development of talents and professionalization of people, and a variety of modern technologies have become widespread. forms of mass literary arts. culture - amateur lit. creativity (including partly in traditional folklore forms), amateur club performances, folk song creativity. choirs, etc. Some of these forms are creative, others are performing in nature.
Design of folkloristics in independent work. science dates back to the 30-40s. 19th century The formation of folkloristics and the beginning of scientific research. collecting and publishing F. was associated with three main. factors: lit. romanticism, which was one of the forms of expression of the self-awareness of the emerging bourgeoisie. nations (for example, in Germany, France, Italy), national liberation. movement (for example, among the southern and western Slavs) and the spread of social liberation. and educational ideas (for example, in Russia - A. I. Herzen, N. G. Chernyshevsky, N. A. Dobrolyubov; in Poland - A. Mitskevich, etc.). Romantics (German scientists I. G. Herder, L. Arnim and C. Brentano, brothers W. and J. Grimm, etc.; English - T. Percy and J. Macpherson, etc.; Serbian - V. Karadzic and others; Finnish - E. Lönrot and others) saw in F. an expression of nationalism. spirit and national traditions and used folklore works to reconstruct history. facts not reflected in written sources. Emerging within the framework of romanticism, the so-called. mythological school (German scientists A. Kuhn, W. Schwarz, W. Manhardt and others; English - M. Muller, J. W. Cox and others; French - A. Pictet and others; Italian - A . de Gubernatis and others; Russian - F. I. Buslaev, A. N. Afanasyev, etc.), based on the achievements of Indo-European. linguistics, believed F. European. peoples the heritage of the most ancient Proto-Indo-European. myth-making. Romantics in glory. countries saw F. as a general glory. inheritance, preserved to varying degrees by different branches of the Slavs, just like the Germans. Romantics saw modernism in F. German-speaking peoples share the common heritage of the ancient Germans. In the 2nd half. 19th century based on philosophy. positivism, evolutionist schools in folklore studies developed, which is associated with a growing awareness of the unity of the laws of development of folklore and the recurrence of folklore plots and motifs in different ethnic groups. environments So representatives of the so-called. anthropologist schools (E. Tylor, E. Lang and J. Fraser - in England; N. Sumtsov, A. I. Kirpichnikov, A. N. Veselovsky - in Russia, etc.) explained the global recurrence of folklore phenomena by the unity of people. psychology. At the same time, the so-called comparativism (comparative historical method), which explained similar phenomena more or less mechanically. borrowing or “migration of plots” (German - T. Benfey, French - G. Paris, Czech - J. Polivka, Russian - V.V. Stasov, A.N. Pypin, A.N. Veselovsky, etc. .), and the “historical school” (the most vivid expression in Russia - V. F. Miller and his students; K. and M. Chadwick in England, etc.), which sought to connect the history of each people with its history and did a lot of work by comparison of sources documents and folklore stories (especially epic ones). At the same time, the “historical school” was characterized by a simplified understanding of the mechanism of art. reflection of reality in F. and (like certain other trends in bourgeois folklore studies of the late 19th - early 20th centuries) the desire to prove that people. the masses only mechanically perceived and preserved the arts. values created by the top social strata. In the 20th century Freudianism (interpreting folklore stories as a subconscious expression of inhibited sexual and other complexes), ritualistic. theory (linking the origin of verbal art primarily with magical rites; French scientists P. Centiv, J. Dumezil, English - F. Raglan, Dutch - J. de Vries, American - R. Carpenter, etc.) and "Finnish school", establishing historical and geographical. areas of distribution of plots and developing the principles of classification and systematization of F. (K. Kroon, A. Aarne, W. Anderson, etc.).
The origin of the Marxist trend in folklore studies is associated with the names of P. Lafargue, G. V. Plekhanov, A. M. Gorky. In the 20-30s. 20th century The formation of Marxist folklore studies continued in the USSR, after the 2nd World War of 1939-45 it became widespread in socialism. countries (B. M. and Yu. M. Sokolov, M. K. Azadovsky, V. M. Zhirmunsky, V. Ya. Propp, P. G. Bogatyrev, N. P. Andreev, etc. - in the USSR; P Dinekov, C. Romanska, S. Stoykova and others - in Bulgaria; M. Pop and others - in Romania; D. Ortutai and others - in Hungary; , J. Ex, O. Sirovatka, V. Gasparikova and others - in Czechoslovakia; V. Steinitz and others - in the GDR). She considers f., on the one hand, as the oldest form of poetic poetry. creativity, a treasury of arts. people's experience masses, as one of the components of the classic. heritage of the national arts culture of each people and, on the other hand, as the most valuable source. source.
When studying the most ancient eras of human history, philosophy is often (together with archeology) an indispensable source of history. source, especially for studying history. development of ideology and social psychology of people. wt. The complexity of the problem lies in the fact that archaic. folklore works are known, as a rule, only in records of the 18th-20th centuries. or in earlier lit. processing (for example, German "Song of the Nibelungs"), or archaic. elements included in later aesthetics. systems. Therefore, the use of F. for history. reconstructions require great care and, above all, the involvement of comparisons. materials. The features of reflecting reality in various genres F., combining aesthetic, cognitive, ritual and other functions in different ways. Experience in studying genres that were perceived by performers as an expression of history. knowledge (prosaic historical traditions and legends, song historical epic), showed the complexity of the relationship between plots, characters, time, to which their actions are attributed, epic. geography, etc. and authentic history. events, their real chronological, social and geographical. environment. Development of artistic history the thinking of the people did not come from empiricism. and a specific depiction of events to their poeticization and generalization or legendary-fantastic. processing as events are forgotten, but vice versa - from the so-called. mythological epic, which is a fantastic reflection of reality in mythological categories (for example, the successes of mankind in mastering fire, crafts, navigation, etc. are personified in F. in the image of a “cultural hero” of the Promethean type), to heroic. epic and, finally, to history. songs, in which much more specific history is drawn. situations, events and persons, or history. ballads, in which nameless heroes or heroes with fictitious names act in a situation close to real-historical ones.
In the department the same stories of history. legends or epic. songs are reflected largely non-empirically. ist. facts, but typical socialist. collisions, history state of politics and arts. consciousness of the people and folklore traditions of previous centuries, through the prism of which history is perceived. reality. At the same time, as in the historical legends, and in historical-epic songs. works often preserved the most valuable historical data. points of view details, names, geographical. names, everyday realities, etc. So, G. Schliemann found the location of Troy, using data from ancient Greek. epic songs "Iliad" and "Odyssey", although he did not accurately determine the location of the "Homeric" layer in the cultural layers of the Trojan excavations. The mechanism of reflection of the source is even more complex. in reality in vernacular fairy tales, lyrical and everyday songs. Songs of a ritual nature, conspiracies, etc., to a greater extent, reflect non-history. reality as such, and the everyday consciousness of the people themselves are facts of the people. everyday life That. F. as a whole did not passively reproduce the empirical. socio-economic facts and political reality or everyday life, but was one of the most important means of expressing people. aspirations. F. is also of great importance for elucidating the history of ethnicity. contacts, the process of formation of ethnographic. groups and historical-ethnographic. regions.
Lit.: Chicherov V.I., K. Marx and F. Engels on folklore. Bibliographical materials, "Soviet folklore", 1936, No. 4-5; Bonch-Bruevich V.D., V.I. Lenin on oral folk art, "Soviet ethnography", 1954, No. 4; Friedlander G.M., K. Marx and F. Engels and questions of literature, 2nd ed., M., 1968 (chapter folklore); Propp V. Ya., Specifics of folklore, in the collection: "Proceedings of the anniversary scientific session of Leningrad State University. Section of Philological Sciences, Leningrad, 1946; his own, Historical roots fairy tale, L., 1946; his, Folklore and Reality, "Russian Literature", 1963, No. 3; his, Principles of classification of folklore genres, "Soviet ethnography", 1964, No. 4; his, Morphology of a fairy tale, 2nd ed., M., 1969; Zhirmunsky V.M., On the issue of people. creativity, "Uch. zap. Leningrad. Pedagogical Institute named after A. I. Herzen", 1948, v. 67; his, Folk heroic epic, M.-L., 1962; Gusev V. E., Marxism and Russian. folkloristics of the late XIX - early. XX century, M.-L., 1951; his, Problems of folklore in the history of aesthetics, M.-L., 1963; his, Folklore. History of the term and its modernity. meaning, "Soviet ethnography," 1966, No. 2; by him, Aesthetics of Folklore, Leningrad, 1967; Putilov B.N., On the main features of people. poetic creativity, "Scholarship of the Grozny Pedagogical Institute. Ser. Philological Sciences", V. 7, 1952, No. 4; him, About the historical. studying Russian folklore, in the book: Rus. folklore, c. 5, M.-L., 1960; Cocchiara J., History of folkloristics in Europe, trans. from Italian, M., 1960; Virsaladze E. B., The problem of the specificity of folklore in modern times. bourgeois folklore, in the book: Literary Research of the Institute of History. cargo. lit., v. 9, Tb., 1955 (summary in Russian); Azadovsky M.K., History of Russian. folkloristics, vol. 1-2, M., 1958-63; Meletinsky E. M., Hero of a fairy tale, M., 1958; his, Origin of heroic. epic Early forms and archaic monument, M., 1963; Chistov K.V., Folklore and modernity, "Soviet ethnography", 1962, No. 3; his, Sovr. problems of textual criticism in Russian. folklore, M., 1963: his own. On the relationship between folklore and ethnography, "Soviet ethnography", 1971, No. 5; his, Specificity of folklore in the light of information theory, "Problems of Philosophy", 1972, No. 6; Folklore and ethnography, Leningrad, 1970; Bogatyrev P. G., Questions of the theory of people. Art, M., 1971; Zemtsovsky I.I., Folklore as a science, in: Slav. musical folklore, M., 1972; Kagan M.S., Morphology of Art, Leningrad, 1972; Early forms of art, M., 1972; Corso R., Folklore. Storia. Obbietto. Metodo. Bibliographie, Roma, 1923; Gennep A. van, Le folklore, P., 1924; Krohn K., Die folkloristische Arbeitsmethode, Oslo, 1926; Croce V., Poesia popolare e poesia d "arte, Bari, 1929; Brouwer S., Die Volkslied in Deutschland, Frankreich, Belgien und Holland, Groningen-Haag., 1930; Saintyves P., Manuel de folklore, P., 1936 ; Varagnac A., Definition du folklore, P., 1938; Alford V., Introduction to English folklore, L., 1952; Ramos A., Estudos de Folk-Lore. (1951); Weltfish G., The origins of art, Indianapolis-N. Y., 1953; Marinus A., Essais sur la tradition, Brux., 1958; Jolles A., Einfache Formen, 2 ed., Halle/Saale, 1956; Levi-Strauss S., La pendee sauvage, P., 1962; Bawra S. M., Primitive song, N. Y., 1963; Krappe A. H., The science of folklore, 2 ed., N. Y., 1964; Bausinger H., Formen der "Volkspoesie", B., 1968; Weber-Kellermann J., Deutsche Volkskunde zwischen Germanistik und Sozialwissenschaften, Stuttg., 1969; Vrabie G., Folklorue Obiect. Principle. Metoda, Categorii, Buc, 1970; Dinekov P., Bulgarian folklore, Parva chast, 2nd ed., Sofia, 1972; Ortutay G., Hungarian folklor. Essays, Bdpst, 1972.
Bibliography: Akimova T. M., Seminar on Narratives. poetic creativity, Saratov, 1959; Melts M. Ya., Questions of the theory of folklore (materials for the bibliography), in the book; Russian folklore, vol. 5, M.-L., 1960; his, Modern folklore bibliography, in the book: Russian folklore, vol. 10, M.-L., 1966; Kushnereva Z.I., Folklore of the peoples of the USSR. Bibliographical source in Russian language (1945-1963), M., 1964; Sokolova V.K., Sov. folkloristics for the 50th anniversary of the October Revolution, "Soviet ethnography", 1967, No. 5; Volkskundliche Bibliographie, V.-Lpz., 1919-57; Internationale volkskundliche Bibliographie, Basel-Bonn, 1954-; Coluccio F., Diccionario folklorico argentino, B.-Aires, 1948; Standard dictionary of folklore, mythology and legend, ed. by M. Leach, v. 1-2, N.Y., 1949-50; Erich O., Beitl R., Wörterbuch der deutschen Volkskunde, 2 Aufl., Stutt., 1955; Thompson S., Motif-index of folk-literature, v. 1-6, Bloomington, 1955-58; his, Fifty years of folktale indexing, "Humanoria", N.Y., 1960; Dorson R. M., Current folklore theories, "Current anthropology", 1963, v. 4, No. 1; Aarne A. and Thompson S., The types of folktale. A classification and bibliography, 2 rev., Hels., 1961; Slownik folkloru polskiego, Warsz., 1965.
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Synonyms:See what “FOLKLORE” is in other dictionaries:
- (in the cultural aspect) in the “broad” sense (all folk traditional peasant spiritual and partly material culture) and “narrow” (oral peasant verbal artistic tradition). Folklore is a collection of... ... Encyclopedia of Cultural Studies
There is not a single person in the world who does not like folk tales, songs and dances. You can find everything in them - spontaneity, subtle sadness and daring joy. And, probably, the most important thing that attracts modern people to them is the unique charm of antiquity and a certain nostalgic aroma of deep antiquity. So, folklore - what is it and what are its main features?
Basic definition
Folklore is the collective creativity of a people, expressing its worldview and ideals, and also serving as a complete reflection of its mentality. Usually this is oral creation - epics, tales, proverbs, conspiracies, riddles. Considering the question of what folklore is, one cannot help but mention the very meaning of this word. Translated, “Folk-lore” literally means “folk wisdom” or “folk knowledge.” This term was introduced into use in 1846 by the English explorer William Toms.
In our country, many enlightened people made a huge contribution to the study of this area of culture - M. Lomonosov, A.S. Pushkin, G. Derzhavin, N. Roerich, I.I. Shishkin and many other writers, artists, historians and scientists. After the revolution, Maxim Gorky paid great attention to the question of what folklore is. It was thanks to this main proletarian writer that the main problems of Soviet folklore were developed.
Main characteristics
So, folklore - what is it and what are its characteristics? The main distinctive features of folk art can be called lack of writing, verbality, of course, collectivity and deep traditionality. This is, in fact, the only area of culture on which the state and government cannot have any influence at all. For centuries, tales, epics and legends have been passed down from father to son. In addition to the literary sphere, mentality and traditionalism are also manifested in all other areas of folk art - in dance, music, etc.
Basic varieties and genres of folklore
The main folk art includes epics, riddles, proverbs and lamentations.
Oral tradition, dance, crafts and songs are the main types of folklore proper. At the same time, it is also worth highlighting its ritual types. This area of art usually has pagan roots and appears as a kind of opposition to the new religion. However, this is not always the case. For example, during the years of the USSR, when all cults were prohibited, it was Christian ritual folklore that showed itself very strongly. In this light, folk art can even be considered a reflection of some kind of confrontation common people and authorities, any of them.
Works of folklore reflect the experience of thousands of years. And regardless of what stage of social development a particular people stands at, fairy tales and epics are one of the most valuable sources of knowledge of their history. Perhaps the Russian darling of fate Ivan the Fool, the beautiful Vasilisa, the Greek villain Prometheus and Hercules, the German Freya, Scandinavian trolls, etc. are able to tell about what events took place on earth in ancient times, much more than it might seem at first glance.
Word " folklore"borrowed from English and translated literally as a folk song. Folklore is, firstly, a collection of texts of various genres: fairy tales, epics, conspiracies, laments and lamentations, ritual and non-ritual songs, historical songs, urban romance, ditties, anecdotes. Secondly, folklore refers to the visual folk art and music, traditional toys, folk costumes. Folklore is everything that is created by the people. At the same time, the people are the collective creator of folklore works. This means that folklore works do not have a specific author. They were created and formalized over a long period of time collectively. As a result, a folklore tradition was developed.
Heroes and symbols of folklore
Tradition- This is a key concept for folklore. All folklore works are called traditional. Tradition is a certain established pattern, developed over a long time, according to which individual folklore works are created.
Tradition is closed. For example, a fairy tale has only six possible characters: the hero (Ivan Tsarevich), the sender (the king, the father), the desired character (the bride), the antagonist (Koschei, the serpent Gorynych), the giver (the character who gives something to the hero) and the helper (usually animals that help the hero). This is where her isolation manifests itself. There can't be any other characters here.
Folklore is a means, an instrument for consolidating, preserving and transmitting folk wisdom from generation to generation. This means that the performance of fairy tales, epics, and songs is initially necessary in order to convey traditional cultural information and experience from parents to children. For example, fairy tales convey moral standards that every member of society must meet: the hero of fairy tales is brave, hardworking, honors parents and the elderly, helps the weak, wise, noble. IN heroic epics it says that you need to defend your homeland: the hero-defender is strong, brave, wise, ready to stand up for the Russian land.
Folklore is symbolic. This means that folk wisdom is passed on to symbolic form. A symbol is a sign, the content of which in folklore is the traditional folklore meaning. For example, a drake, a dove, an eagle, an oak are symbols denoting a good fellow. A dove, a duck, a swan, a birch tree, and a willow tree are symbols that represent the red maiden.
Folklore should not be taken literally. It is necessary to learn to see traditional folklore meanings behind symbols. The gold and silver bridle of a heroic horse does not at all mean that it is made of gold and silver. These metals symbolically denote the folklore meaning of “rich, noble.”
Who studies folklore?
Folklore reflects traditional folk culture. Russian traditional folk culture is a fusion of pagan and folk-Orthodox views on nature and society. In works of folklore, the characters are often animals and forces of nature (wind, sun). This reflects the pagan worldview of the people who spiritualized nature, believed in wonderful creatures, and prayed to them. Along with this, there are Christian characters (Virgin Mary, saints) - these are Orthodox Christian traditions.
Folklore is studied by folklorists. They go on expeditions to record works of oral folk art. After this, the symbolism of these works, their content and structure are examined. Outstanding researchers of folklore are V.Ya. Propp, A. N. Afanasyev, S. Yu. Neklyudov, E. M. Meletinsky, B.T. Putilin.
Introduction
The works created by the people several centuries ago convey the wisdom, talent, and insight of the people themselves. Fairy tales, proverbs, sayings - all these means of literary expression that people have created over the centuries are not only interesting works that you can spend more than one hour reading, but they are also the moral source of the people.
In the first part of my work, genres of folklore, as well as its subtypes, will be considered. The second part of the work contains material about images of evil spirits in the national folklore of different peoples. The third part of my work involves comparing similar images of evil spirits.
This work is devoted to the study of the characteristics of national folklore, and it will also consider some of the most famous images evil spirits. Using the example of some of the folklore heroes I have chosen, I will try to consider the path of development literature has taken, and I will also focus on what people believed in and what they worshiped. In my work I touch upon the problem of modern society’s interests in folklore creativity, as well as the relevance of folk art in modern literature.
I chose this topic because it is quite interesting and informative; what also seemed very interesting to me in this topic was that I would have to work mainly with folk tales, and working with texts, especially fairy tales, is always a fascinating and entertaining process. I also found it very interesting that now people practically do not pay attention to images of evil spirits in literature.
This topic is quite relevant in our time. After all, in Lately Interest in the unreal and fictitious is lost; fairy tales in our time are rapidly relegated to the background. They are rarely read, unless to children, and the deep subtext of the content is rarely thought of.
The hypothesis of my work is that people began to “move away” from fairy tales, and, consequently, from the heroes who are present in them.
In my work I have set the following goal: generalization and comparison of images of evil spirits in national folklore.
In this regard, the objectives of the abstract are:
Review and summarize material about the meaning and characteristics of oral folk art.
Study the images of evil spirits in Slavic, Russian and Latvian folklore
Conduct a survey on the topic: “Which heroes of national folklore do you know?”
What is folklore?
Folklore (English folklore - folk wisdom) is a designation artistic activity the masses, or oral folk art, which arose in the preliterate period. This term was first introduced into scientific use by the English archaeologist W.J. Toms in 1846. And it was understood broadly as the totality of the spiritual and material culture of the people, their customs, beliefs, rituals, and various forms of art. Over time, the content of the term narrowed. There are several points of view that interpret folklore as folk artistic culture, as oral poetry and as a set of verbal, musical, game types of folk art. With all the diversity of regional and local forms, folklore has common features, such as anonymity, collective creativity, traditionalism, close connection with work, everyday life, and the transmission of works from generation to generation in the oral tradition. Collective life determined the appearance among different peoples of the same type of genres, plots, such means of artistic expression as hyperbole, parallelism, various types of repetitions, constant and complex epithet, and comparisons. The role of folklore was especially strong during the period of predominance of mythopoetic consciousness. With the advent of writing, many types of folklore developed in parallel with fiction, interacting with it, influencing it and other forms artistic creativity influence and experiencing the opposite effect. An inexhaustible source of Russian musical originality (the most ancient types of folklore) In the social life of ancient Rus', folklore played a much greater role than in subsequent times. Unlike medieval Europe, Ancient Rus' did not have secular professional art. In her musical culture Only two main areas developed - temple singing and folk art of the oral tradition, including various, including “semi-professional” genres (the art of storytellers, buffoons, etc.). By the time of Russian Orthodox hymnography (1), folklore had a long history, an established system of genres and means of musical expression.
Folklore is folk art that originated in ancient times - the historical basis of the entire world artistic culture, the source of national artistic traditions, and an exponent of national self-awareness. Some researchers also classify all types of non-professional art as folk art (amateur art, including folk theaters). A precise definition of the term “folklore” is difficult, since this form of folk art is not immutable and ossified. Folklore is constantly in the process of development and evolution: Chastushki can be performed to the accompaniment of modern musical instruments on modern themes, new fairy tales may be dedicated to modern phenomena, folk music may be influenced by rock music, and modern music itself may include elements of folklore, folk art and applied arts may be influenced computer graphics etc.
Folklore is divided into two groups -- ritual And non-ritual. TO ritual folklore include: calendar folklore (carols, Maslenitsa songs, spring songs), family folklore (family stories, lullabies, wedding songs, lamentations), occasional folklore (spells, chants, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. Folklore drama includes: the Parsley Theater, nativity scene drama, and religious drama.
Folklore poetry includes: epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic rhymes. Folklore prose is again divided into two groups: fairy-tale and non-fairytale. Fairy-tale prose includes: fairy tale (which, in turn, comes in four types: fairy tale, a tale about animals, everyday tale, cumulative tale) and anecdote. Non-fairy tale prose includes: tradition, legend, tale, mythological story, story about a dream. The folklore of speech situations includes: proverbs, sayings, well wishes, curses, nicknames, teasers, dialogue graffiti, riddles, tongue twisters and some others. There are also written forms of folklore, such as chain letters, graffiti, albums (for example, songbooks).