Types of small genres of folklore
Lullaby- one of the oldest genres of folklore, as evidenced by the fact that it retains elements of a charm-charm. People believed that a person is surrounded by mysterious hostile forces, and if a child sees something bad and scary in a dream, then in reality it will not happen again. That is why you can find the “little gray wolf” and other frightening characters in the lullaby. Later, lullabies lost their magical elements and acquired meaning good wishes for the future. So, a lullaby is a song used to lull a child to sleep. Since the song was accompanied by the measured swaying of the child, rhythm is very important in it.
Pestushka - a short poetic chant of nannies and mothers who nurture the baby. The pestle accompanies the child’s actions that he performs at the very beginning of his life. For example, when the child wakes up, the mother strokes and caresses him, saying:
Stretchers, stretchers,
Across the fat girl
And in the hands of the veil,
And in the mouth there is a talk,
And in the head there is reason.
When a child begins to learn to walk, they say:
Big feet
Walked along the road:
Top, top, top,
Top, top, top.
Little feet
Running along the path:
Top, top, top, top,
Top, top, top, top!
Nursery rhyme - an element of pedagogy, a song-sentence that accompanies playing with the child’s fingers, arms and legs. Nursery rhymes, like pesters, accompany the development of children. Small rhymes and songs allow you togame formencourage the child to act while simultaneously performing a massage, physical exercise, stimulating motor reflexes. In this genre children's folklore there are incentives to play out the plot with the help of fingers (finger games or Ladushki), hands, and facial expressions. Nursery rhymes help instill in a child the skills of hygiene, order, develop fine motor skills and the emotional sphere .
Examples: "Magpie"
Option 1.
Magpie-crow (Running a finger over your palm)
I cooked porridge,
I jumped on the threshold,
Called guests.
There were no guests
Didn't eat porridge
All my porridge
Magpie Crow
I gave it to the kids.
(curls fingers)
Gave this one
Gave this one
Gave this one
Gave this one
But she didn’t give it to this:
- Why didn’t you cut wood?
- Why didn’t you carry water?
Option 2. (features in the cartoon " Mouse song»):
Magpie Crow
Cooked porridge
The babies were fed:
Gave this one
Gave this one
Gave this one
But I didn’t give it to this
"Okay" (clap hands on stressed syllables)
Okay, okay, where have you been? By Grandma!
What did you eat? Porridge!
What did you drink? Brashka! (options: drank yogurt, Sour milk. Yummy yogurt, Sweet porridge, Good grandmother!)
Butter porridge!
Brashka sweetie!
(Grandma is kind!)
We drank, ate, wow...
Shuuu!!! (Home) Let's fly!
They sat on their heads! ("Ladushki" sang)
We sat down and sat down,
We flew on (Home)!!!
joke
joke (from bayat, that is, to tell) - a poetic short funny story that a mother tells her child, for example:
Owl, owl, owl,
Big head,
She was sitting on a stake,
I looked to the side,
Turned his head.
Calls - one of the types of spell songs pagan origin. They reflect the interests and ideas of peasants about the economy and family. For example, the spell of a rich harvest runs through all the calendar songs; For themselves, children and adults asked for health, happiness, and wealth.
Calls are an appeal to the sun, rainbow, rain and other natural phenomena, as well as to animals and especially often to birds, which were considered the harbingers of spring. Moreover, the forces of nature were revered as living: they make requests for spring, wish for its speedy arrival, and complain about winter.
Larks, larks!
Come and visit us
Bring us a warm summer,
Take the cold winter away from us.
Us Cold winter got bored
My hands and feet were frozen.
Counting book - a small rhyme with the help of which they determine who drives the game. A counting table is an element of the game that helps establish agreement and respect for the accepted rules. Rhythm is very important in organizing a counting rhyme.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Atty-batty, what did you buy?
Aty-baty, samovar.
How much does it cost?
Aty-baty, three rubles
Aty-baty, what is he like?
Aty-baty, golden.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Atty-batty, what did you buy?
Aty-baty, samovar.
How much does it cost?
Aty-baty, three rubles.
Aty-baty, who's coming out?
Aty-baty, it's me! Tongue twister
Patter - a phrase built on a combination of sounds that makes it difficult to quickly pronounce words. Tongue twisters are also called “pure twisters” because they contribute to the development of a child’s speech. Tongue twisters can be both rhymed and non-rhymed.
Greek rode across the river.
He sees a Greek: there is a cancer in the river,
He stuck the Greek's hand into the river -
Cancer for the hand of a Greek - DAC!
A bull has a dull lip, a bull has a dull lip.
From the clatter of hooves, dust flies across the field.
Mystery , like a proverb, is a brief figurative definition of an object or phenomenon, but unlike a proverb, it gives this definition in an allegorical, deliberately obscure form. As a rule, in a riddle one object is described through another based on similar features: “The pear is hanging - you can’t eat it” (lamp). A riddle can also be a simple description of an object, for example: “Two ends, two rings, and a nail in the middle” (scissors). The importance of riddles cannot be overestimated. This is both a folk pastime and a test of ingenuity and intelligence. Riddles develop children's ingenuity and imagination.
The role of riddles and jokes was also played by inverted fables, which for adults appear as absurdities, but for children - funny stories about something that does not happen, for example:
Because of the forest, because of the mountains
Grandfather Egor is coming
He's on a cart,
On a creaking horse,
Belted with an axe,
The belt is tucked into the waistband,
Boots for plowing,
Zipun on bare feet.
Oral folk art(folklore) existed even in the pre-literate era. Works of folklore (riddles, tongue twisters, fables, etc.) were transmitted orally. They memorized them by ear. This contributed to the emergence of different versions of the same folklore work.
Oral folk art is a reflection of the life, way of life, and beliefs of ancient people. Works of folk art accompany a person from birth. They contribute to the formation and development of the child.
Table “System of genres of Russian folklore”
Folklore - this is a type of collective verbal activity that is carried out primarily orally. The main categories of folklore are collectivity, traditionality, formulaicity, variability, the presence of a performer, and syncretism. Folklore is divided into two groups - ritual and non-ritual. Ritual folklore includes: calendar folklore(carols, Maslenitsa songs, spring songs), family folklore (family stories, lullabies, wedding songs, lamentations), occasional (spells, chants, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. Folklore drama includes: Parsley Theater, nativity scene drama, 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: a fairy tale (which, in turn, comes in four types: a fairy tale, a fairy tale about animals, an everyday tale, a cumulative fairy tale) and an 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, riddles, tongue twisters and some others.
Folkloreritual
non-ritual
calendar folklore
carols, Maslenitsa songs, spring flowers,
stubble songs
folk drama
Petrushka theatre, nativity drama, religious drama
family folklore
family stories, lullabies, wedding songs, laments
poetry
epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic rhymes
occasional
spells, chants, counting rhymes
prose
fabulous
fairy tale (which, in turn, comes in four types: fairy tale, fairy tale about animals, everyday fairy tale, cumulative fairy tale) and anecdote, tale
fabulous
tradition, legend, fable, mythological story, story about a dream
folklore speech situations
proverbs, sayings, well wishes, curses, nicknames, teasers, riddles, tongue twisters
Anecdote is one ofgenresfolklore: a short oral story with a witty and unexpected ending. Jokes can rightfully be called the favorite genre of our time. In Slavic folklore, a favorite character was a man playing pranks on his fellow villagers.
A tale is a traditionally male oral story of a humorous nature, pretending to be verisimilitude; refers to small folklore forms. Popular bikes include hunting, fishing, sea, miner, theater and driver's bikes.
Ballad (ballad song, ballad verse) is one ofgenresRussianfolklore, which arose from folk songs with tragic content. The most important characteristics of ballad songs are epicness, family themes, and psychological drama. Ballad songs are characterized by a predicted fatal outcome, recognition of the tragic, and single-conflict. As a rule, they feature antagonistic characters: the destroyer and the victim. Ballads have many features that bring them closer to other song genres, rich in fantastic and magical motifs common to folk epic. The term “ballad” is relatively new in folklore. Proposed by P.V. Kireevsky in the 19th century, it took root only a century later. The people themselves, performing ballad songs, did not distinguish them from others. An example of a classic ballad is the lyric epic song “Vasily and Sofia.” The entire content is an eternal plot about lovers, whose mutual feeling is so strong that it conquers death. The lovers are destroyed by Vasily’s jealous and evil mother. The plots of many ballad songs are based on the relationship between a girl and a good fellow (“Dmitry and Domna”, “The Girl Poisoned the Young Man”).
An epic is a work of a song nature, a song-poem. It is characterized by greatness of content, grandeur, monumentality of images, and heroic pathos. The real-historical basis of epics is Rus' of the X-XI centuries. About a hundred epic stories are known. Russian and Western European epics have common plots (epic heroes fight enemies and infidels), but in Russian epics there is no idea of religious wars; Neither loyalty to the leader nor bloody revenge become the defining themes of the Russian epic. In Russian epic traditions - liberation, protection, glorification of the Russian land and its people. The discovery of Russian epic took place relatively recently, after the publication in 1804 of Kirsha Danilov’s collections, including 60 folklore works. Subsequently, the collection of epics was supplemented by the finds of P.N. Rybnikov and A.F. Hilferding. A rare fusion of wisdom and poetry distinguishes Russian epic. Each epic, in addition to the main idea of honest service to the Fatherland, contains reflections on the painful moral and psychological quest of the main characters. So, Ilya Muromets finds himself in a situation of difficult choice: marry or die.
Bylichka (byvalshchina) is a mythological story based on events that allegedly took place in real life. The reliability and factuality of these stories is confirmed by specific names; exact geographical names of the place of action. The world of fairy tales is simple and familiar. The main difference between a fairy tale and a tale lies in the attitude of the listeners and the narrator to the story being told. If they listen to a fairy tale, realizing that it is fiction, then they listen to a fairy tale as if it were true.
Children's folklore is a generalized name for small genres composed and performed both by children themselves and for them. Genres of children's folklore include songs and poems that accompany the life of a child from the cradle to adolescence: draws, chants, teasers, lullabies, pesters, sayings, nursery rhymes, counting rhymes.
A boring fairy tale (from bother - to bore) is a specific genre of folklore narratives, endless fairy tales in which the same cycle of events takes place. They are often presented in poetic form
Spiritual poems are songs of religious content that arose as poetic adaptations by the people of the fundamentals of Christian doctrine. Folk names spiritual verses: antiquities, psalms, poems. A characteristic feature of spiritual poems is the opposition of the religious to the worldly. One of the oldest spiritual poems, “The Lamentation of Adam,” was known already in the 12th century. The mass dissemination of spiritual poems began around the 15th century.
The harvest song is a type of autumn songs of calendar-ritual poetry. Autumn ritual poetry did not receive the same development as summer poetry, glorifying nimble women - “winch daughters”, “quail daughters-in-law”, who went out early to the fields and harvested the harvest, “so that there would be something to make good jigs from.”
A riddle is a type of oral folk art, an intricate allegorical description of an object or phenomenon, offered as a test of intelligence or an exercise (for children) to develop logical thinking. The riddle belongs to those ancient types of folk art that, while continuing to live through the centuries, gradually lose their original meaning and become a qualitatively different phenomenon. Having arisen on the basis of the secret language of the clan, the riddle was once used in military and embassy negotiations, expressed the prohibitions of family life, and served poetic means transmission of wisdom.
A conspiracy is a linguistic formula that, according to popular belief, has miraculous powers. In ancient times, conspiracies were widely used in medical practice (treatment with words, prayer). They were credited with the ability to induce the desired state of a person (induce a sound sleep, tame the anger of an angry mother, keep someone going to war unharmed, feel sympathy for someone, something, etc.) or the forces of nature: “grow the turnip, sweet, grow, turnip, strong” to get a good harvest.
Calendar-ritual songs (Carols, Podblyudnye songs, Maslenitsa songs, Vesnyanka, Trinity-Semitic songs, Round dances, Kupala, Zhnivnye) - songs the performance of which was timed to strictly defined calendar dates. The most significant rituals and songs of the summer period, which began with the solstice (Peter-turn) on June 12 (25), are associated with various states of nature. Calendar-ritual poetry contains valuable ethnographic and historical information: a description of peasant life, morals, customs, observations of nature, and even elements of worldview.
A legend is one of the genres of folklore, telling about the miraculous and fantastic, which determines its structure and system of images. One of the ways a legend arises is through the transformation of legend. Often, oral stories about historical figures or events that are attributed absolute authenticity (legends about the founding of Kiev) are called legends. In these cases, the word “legend” can be replaced by the word “tradition”. The narrator, presenting facts, supplements them with those created by his own imagination or connects them with fictitious motives known to him. At the same time, the real basis often fades into the background. By theme, legends are divided into historical (about Stepan Razin), religious (about Jesus Christ and his apostles, about saints, about the machinations of the devil), toponymic (about Baikal), demonological (about the Snake, evil spirits, devils, etc.), everyday (about sinners).
Small genres - a name that unites a group of genres of different nature and originRussian folklore, extremely small in size (sometimes in two words: Phil the simpleton), which is their main value. This includes nursery rhymes, riddles, proverbs and anecdotes. Small genres not only decorate and enliven other texts, they are very well adapted to independent life. Unlike the epic epic, small genres are not forgotten, they are as relevant as thousands of years ago.
Fables are works of comic poetry, small songs built on the principle of stringing together completely absurd events: Thunder rolled across the sky: A mosquito fell from a tree. It is fables that clearly demonstrate the other, scary side of the funny. A chain of distorted events, which at first seem funny, gradually creates a single picture of a “shifted”, “turned over” world. Fables are no less philosophical than epics. They, like the global metaphor of laughter, are also a way of understanding life: in clear simplicity they show us the universal connection of opposite, “wrong side” phenomena of reality. IN medieval Rus' the performance of fables was certainly an integral part of the “repertoire” of buffoons.
Folk songs are a genuine artistic encyclopedia of the life of the Russian people. Today the song, the richest layerRussian folklore, is described incompletely and contradictorily. The genre division of songs into historical and ballad, bandit and soldier, lyrical and round dance is quite conventional. All of them are examples of the finest lyricism and all, without exception, are historical. Attractive with purity and sincerity, the songs deeply reveal the character of a Russian person who values his fatherland; who never tires of admiring his native land; and to your children.
A proverb is a widespread expression that figuratively defines any life phenomenon or gives an assessment of it: A pancake is not a wedge, it will not split your belly. Where is the sorrow for the wise, and the joy for the fool.
A proverb is a short, apt, stable saying in everyday life. Compared to a proverb - a witty characteristic given to a person, object or phenomenon and decorating speech, a proverb has a complete, deep meaning and contains a wise generalization. A proverb, by definition of the people, is “a flower”, a proverb is “a berry”. Captured in proverbs life experience people: People quarrel, and the governors feed. A thief worth $100 is hanged, a thief worth $500 is honored. The people are like in a cloud: in a thunderstorm everything will come out.
The famous Russian scientist and poet M.V. was the first to collect and write down proverbs. Lomonosov. Subsequently, collections containing 4-9 thousand proverbs were published: “Collection of ancient Russian proverbs” (Moscow University, 4291 proverbs), “ Complete collection Russian proverbs and sayings" (Ts.M. Knyazhevich, 5365 proverbs), "Russian folk proverbs and parables" (I.M. Snegirev, 9623 proverbs and sayings), in the famous collection of V.I. Dal's "Proverbs of the Russian People" there are more than 30 thousand of them.
Tradition is an artistic and narrative genre of folklore with elements of fiction. The plot of a legend is usually based on a real event. A striking example of oral narratives of this type are the legends about the son of the Tula blacksmith Demid Antufiev, Nikita Demidov, the founder of the largest factories in the Urals in the first decades of the 18th century.
A tale is an oral folk story that tells about the past without fiction: Cossack and Siberian tales, “working” prose of gold miners, craftsmen, miners, etc. In their narrative style and structure, tales are similar to traditions and legends.
A fairy tale is one of the main prose folklore genres of an artistic and fantastic nature.
Skomoroshins are diverse songs of the mischievous art of buffoons: jester oldies (epics - parodies), parody ballads, songs-novels of comic content, fables. They have one thing in common - laughter. If in classical genres While in Russian folklore laughter is only an element of content, for buffoons it serves as an organizing artistic principle.
Tongue twisters are a comic genre of folk art, classified as small, a phrase built on a combination of sounds that make it difficult to quickly pronounce words. Tongue twisters were popularly used as a teaching tool in the formation of children's speech, its development and subsequent formation, as well as for entertainment purposes.
Chatushka (from frequent) is a short, usually rhyming song with humorous or satirical content. The ditties are performed at a cheerful, perky tempo, accompanied by an accordion.
2. Calendar-ritual poetry
Vesnyanka is a song calling for spring and warmth. Vesnyankas were heard in Russian villages after Maslenitsa songs. They reminded that the time for field work was approaching, birds were flying and “bringing spring.” The main dates for the clicking of spring: March 4 - the day of Gerasim Rooker (rooks arrive); March 9 is the day of the Forty Martyrs (forty and forty birds fly); March 25 - April 7 according to the new style - Annunciation (the day when birds are released from cages into the wild).
The harvest song is a type of autumn songs in calendar-ritual poetry. Autumn ritual poetry did not develop as much as summer poetry. Only stubble songs are known, filled with gratitude and glorifying nimble women - “winch daughters”, “quail daughters-in-law”, who went out “early” to the fields and harvested the crops, “so that there is something to be said about it, okay”.
Game song is a type of spring-summer songs in calendar-ritual folk poetry. Already the names of this type of songs reflect a cheerful mood caused by the onset of long-awaited warmth, hopes for a generous harvest (sow in the dirt, you will be a prince!), the opportunity to take off heavy clothes, show off and take a closer look at the future bride or groom. The game songs talked about sowing and growing the future harvest, the main theme here was the sun - the source and continuation of life, light and warmth, the theme of cereals and other plants, the game songs were called: “Poppy”, “Peas”, “Cabbage” ", "Flax", "Turnip", "Millet". Game songs can be divided as follows: – round dance songs, when those gathered moved in a circle or in the same circle depicted various scenes provided for by the content of the song (“There was a birch tree in the field”); - song-games performed by participants lined up in two lines, one opposite the other (“And we sowed millet”); - “ghoul” songs, when the players, while performing a song, walk after each other around the hut, lace their hands, round the line, “curl” them into a ball (“braid yourself, wattle fence,” “curl, cabbage”). In gaming poetry, echoes of ancient magic and traces of ancient forms of marriage have been preserved.
Kolyadovaya song (kolyadka) is a type of winter (New Year's) songs in calendar-ritual poetry. The onset of the New Year was popularly associated with the increase in the day “by a chicken step” after the winter solstice on December 22. This observation formed the basis of popular ideas about the boundary that separates the end of the old year from the beginning of the new. The arrival of the new year was celebrated by calling Kolyada and Avsenya. The word “kolyada” goes back to the Latin name for the first day of the month – calendae (cf. calendar). In Rus', caroling was one of the main rituals performed on New Year's Eve. It was accompanied by a round of neighbors and carol songs (Avsen), among which we can distinguish songs of praise and songs of request:
Kupala songs - a cycle of songs performed on the holiday of Ivan Kupala (the night of July 6-7 - according to the new style). They contained elements of ancient magical formulas aimed at protecting the harvest from the machinations of evil spirits and so that grain would be produced generously.
The Maslenitsa song is an invitation to the wide and generous Maslenitsa (it is sometimes called Avdotya Izotyevna).
Podludnye songs are songs performed during the game that accompanied fortune telling. Each player put his own object (a ring) into the dish, then songs under the dish were sung. The host, without looking, took out the first ring he came across from the dish. The content of the song was related to the person whose ring was taken out. The underwater song contained an allegory by which the future was judged.
Trinity-Semitic song is a type of summer songs in calendar-ritual poetry. The most significant groups of rituals and songs of the summer period, which began with the summer solstice (Peter-turn) - June 12 (25), are associated with various states of the sun and the plant world. Summer (Semitic) rituals, later combined with the Christian Trinity, are otherwise called green Christmastide. In the Trinity-Semitic songs, the central place is given to the birch tree - the cult tree of the Slavs, the ancestor tree, a symbol of warmth and life.
3. Songs
Barge hauler songs are songs of barge haulers and about barge haulers. Barge haulers originated in Russia at the end of the 16th - beginning of the 17th centuries, when the state was especially interested in the development of water trade relations and the attitude towards fugitive peasants or recruits hired as barge haulers was the most lenient. People went into barge haulers both from family hardships and from the cruelties of serfdom. Usually they went downstream on ships and returned, leading ships loaded with goods on a towline; in addition, they were both loaders and porters.
Historical songs are songs whose origins are connected with one or another historical event or face. At the same time, individual nuances of the event (“I am from the Kama River, Stenka Razin’s son”) or characterological details of the artistic and poetic portrait of a historical figure could be fictitious, embellished or inverted, sometimes creating an image distorted to the point of its opposite. Unlike epics, with their unchanged poetic structure, historical songs, while possessing the same information content, no longer have strict compositional rules and are subject to the laws of other genres. Over time, epics disappear from the developing new genre. Songs of the 17th-18th centuries. become more diverse and acquire social connotations. The heroes of the new songs are real characters - Stepan Razin, Emelyan Pugachev, Ivan the Terrible, Ermak. Despite their outward simplicity, historical songs have a broad folklore context; folklore symbolism is actively “at work” here: death is perceived as crossing a river, heroes are likened to eagles and falcons, symbolic images of trees - birch, oak, rowan, etc. - are widely used.
Lyrical songs are songs that reflect the world of personal feelings. The lyrical song helped the people to survive in any situation, absorbed the sadness and pain of losses, insults and disappointments, and was the only means of maintaining their own dignity in a state of humiliation and disenfranchisement. “A song is a friend, a joke is a sister,” says a Russian proverb. Through the spiritual grief, the sad “mourning” of the lyrical song, the greatness and moral beauty of the people clearly emerge.
Dance (comic) songs - the name of this group of songs speaks for itself. A good, cheerful mood is not alien to Russian songwriting, in which laughter, jokes, and ridicule find a place. Many Russian dancers have entered the golden treasury of world culture: “Kalinka” is known in almost every country. The songs “The Moon is Shining”, “You Are My Canopy, You Are My Canopy”, “There Was a Birch Tree in the Field” are widely known.
Robber songs are songs of robbers or about robbers. Robber (and prison) song as a genre was formed during peasant uprisings, mass escapes of peasants and soldiers from cruel forced life (XVII-XVIII centuries). The main theme of bandit and prison songs is the dream of the triumph of justice. The heroes of robber songs are daring, brave " good fellows“with his own code of honor, the desire to comprehend what is happening (“duma think”), and a courageous readiness to accept all the vicissitudes of fate.
Wedding songs are songs that accompanied the entire wedding event from matchmaking to the “prince’s table,” that is, the feast table in the groom’s house: the conspiracy, the bachelorette party, the wedding, the arrival and departure of the wedding train to the church. Bride and groom married couple in lyrical songs they symbolize the inseparable Utushka and the Drake, or the swan and the swan, especially beloved in Rus'. The duck and the swan are symbols of eternal femininity, each of which reflects the complex vicissitudes of female destiny. A Russian wedding is a complex complex of almost theatrical ritual actions, including many songs: sentences, magnifications, dialogue songs, lamentations, and reproaches. 1. Wedding sentences were pronounced mostly by the groomsman, who played the most important role at the wedding: he was its “director” and the protector of the bride and groom from evil forces. Sometimes the sentences were pronounced by the matchmaker, the matchmaker, or the parents. When the groom addressed one of the participants in the ritual, dialogue songs were formed, giving the wedding ceremony the character of a performance in which almost everyone was a participant. After the verdict was pronounced, the parents put bread and salt on the tray, and occasionally money; then the guests made offerings. Dialogue songs were extremely popular at weddings. Typical example girls' songs (performed at a bachelorette party) - a conversation between a daughter and her mother. Greatnesses are song praises of the bride and groom, originally associated with incantatory magic: the well-being and happiness of the bride and groom seemed real, almost here. In later forms, the incantatory magic of magnification was supplanted by the expression of the ideal type moral behavior, beauty, prosperity.
Lamentations are lyrical songs that directly convey the feelings and thoughts of the bride, girlfriends, and wedding participants. Initially, the function of lamentation was determined by the ritual, where the bride presented her departure from home as unwanted, as an action performed against her will, in order to avoid the revenge of the patrons of the hearth. But it cannot be said that the bride’s crying was always insincere. Corial songs are joke songs, often parodies of greatness. The function of reproach songs is entertaining; they are colored with humor. They were performed after all the main actions of the wedding ceremony were completed.
Soldiers' songs (their name speaks for itself) began to take shape after Peter I's decree on recruitment (1699). Indefinite service, established by decree, forever separated the soldier from his family, from his home. Soldiers' and recruits' songs are permeated with doom (“great adversity is the service of the sovereign”), describe the difficult moments of parting with relatives (“From your young eyes, tears roll like a river”), the hardships of barracks life (“Whatever day or night we , to the little soldiers, there is no calm: Dark night comes - be on guard, White day comes - stand in the ranks") and often inevitable death in battle.
Among soldiers' and recruits' songs, lamentations stand out as a special group.
Round dance songs are play songs, the name of which goes back to the name of the ancient solar Slavic deity Khorsa (cf. well, mansions, round dance). Those gathered moved in a circle, depicting the movement of the luminary across the sky, thereby glorifying, calling and propitiating the sun, which was so necessary for the harvest. In the same circle, various scenes provided for by the content of the song were depicted. The most popular round dance songs have reached our time: “There was a birch tree in the field”, “I walk along the round dance”, “Along and along the river, along and along the Kazanka”, etc.
Coachman songs - songs of coachmen or about coachmen. The life of the coachmen, whose main occupation was “yam racing,” differed significantly from the life of the peasants. They were exempt from taxes, but their situation was still extremely difficult. Often, “service people” did not pay travel money, and when the coachmen refused to carry for free, they were beaten, or even shackled. The coachmen who tried to return back to the village were forcibly returned to the outpost. Their songs tell of a bleak fate. Particularly common in coachman songs are motifs about love for the “red maiden,” who “made my heart soar without frost,” and about the death of a coachman in the steppe, in a foreign land.
Children's folklore
A teaser is a mocking joke of a rhyming nature aimed at demoralizing an enemy.
Drawing lots is one of the most common genres of children's folklore. Like counting rhymes, draws are designed to distribute playing roles. The child chooses one thing, getting a player on his team, or something else.
Zaklichka is a children's song addressed to the sun, rainbow, rain, birds.
Lullabies are the oldest lyrical songs that accompany the motion sickness of a child. The lullaby song is distinguished by its extraordinary tenderness, regularity and calmness.
Pestushka is a song or rhyme that accompanies the child’s first conscious movements.
A nursery rhyme is a short song that accompanies a child’s first games with his fingers, arms and legs, for example, “The White-sided Magpie,” when each of the child’s fingers is fed with porridge, but the little finger is not given anything because it is too small and has not worked out anything. “Ladushki” has remained the most popular nursery rhyme since ancient times.
A counting table is a rhyming rhyme with the help of which playing children distribute roles and establish a sequence for starting the game.
Bibliography
Anikin V.P. Theory of folklore: a course of lectures. – M.: University, 2004.
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The word "folklore", which often denotes the concept of "oral folk art", comes from the combination of two English words: folk - “people” and lore - “wisdom”. Like literature, folklore works are divided into epic, lyrical and dramatic. Epic genres include epics, legends, fairy tales, and historical songs. Lyrical genres include love songs, wedding songs, lullabies, and funeral laments. Dramatic ones include folk dramas (with Petrushka, for example). The original dramatic performances in Russia were ritual games: seeing off Winter and welcoming Spring, elaborate wedding rituals, etc. One should also remember about small genres of folklore - ditties, sayings, etc.
Children's folklore. This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as those passed on to children from oral creativity adults. That is, the structure of children's folklore is no different from the structure of children's literature. Many genres are associated with games in which the life and work of elders are reproduced, therefore the moral attitudes of the people, their national traits, peculiarities economic activity. In the system of genres of children's folklore, “nurturing poetry” or “maternal poetry” occupies a special place. This includes lullabies, nurseries, nursery rhymes, jokes, fairy tales and songs created for the little ones.
Larger works of children's folklore - songs, epics, fairy tales.
Russian folk songs play a big role in the formation in children of an ear for music, a taste for poetry, love for nature, native land. The song has been around among children since time immemorial. Children's folklore also included songs from adult folk art - usually children adapted them to their games. There are ritual songs (“And we sowed millet, sowed...”), historical (for example, about Stepan Razin and Pugachev), and lyrical. Nowadays, children often sing not so much folklore songs as original ones. There are also songs in the modern repertoire that have long lost their authorship and are naturally drawn into the element of oral folk art.
Epics. This heroic epic people. It is of great importance in nurturing love for native history. Epic stories always tell about the struggle between two principles - good and evil - and about the natural victory of good. The most famous epic heroes are Ilya Muromets. Dobrynya Nikitich and Alyosha Popovich are collective images that capture the features real people, whose life and exploits became the basis of heroic narratives - epics (from the word “byl”) or antiquities. Epics - a grandiose creation folk art. Their inherent artistic convention is often expressed in fantastic fiction. The realities of antiquity are intertwined in them with mythological images and motifs. Hyperbole is one of the leading techniques in epic storytelling. It gives the characters monumentality, and their fantastic exploits - artistic credibility.
Fairy tales. They arose in time immemorial. Telling fairy tales was a common hobby in Rus'; both children and adults loved them. In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where a person’s correct life paths are, what his happiness and unhappiness are, what his retribution for mistakes is, and how a person differs from animals and birds.
A fairy tale for children contains a special charm; some secrets of the ancient worldview are revealed. They find in the fairy tale story independently, without explanation, something very valuable for themselves, necessary for the growth of their consciousness. Imaginary, fantasy world turns out to be a mapping real world in its main principles. A fabulous, unusual picture of life gives the child the opportunity to compare it with reality, with the environment in which he, his family, and people close to him exist. The fairy tale accustoms him to the idea that evil must be punished in any case.
For children, it doesn’t matter at all who the hero of the fairy tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is like - handsome and kind or ugly and evil. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, a character embodies one quality: the fox is cunning, the bear is strong, Ivan is successful in the role of a fool, and fearless in the role of a prince. The characters in the fairy tale are contrasting, which determines the plot: brother Ivanushka did not listen to his diligent, sensible sister Alyonushka, drank water from a goat’s hoof and became a goat - he had to be rescued; the evil stepmother plots against the good stepdaughter... This is how a chain of actions and amazing fairy-tale events arises. A fairy tale is built on the principle of a chain composition, which usually includes three repetitions. Sometimes repetition takes the form of dialogue; then, if children play in a fairy tale, it is easier for them to transform into its heroes. Often a fairy tale contains songs and jokes, and children remember them first.
A fairy tale has its own language - laconic, expressive, rhythmic. Thanks to language, a special fantasy world is created. Based on theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: tales about animals, fairy tales, and everyday (satirical) tales.
Folk tale and myth
World origins of children's literature: archaic civilizations, the era of antiquity, early stages of the development of world religions, world folklore. Mesopotamian civilization - the birth of writing in 3 thousand BC. “school” tablets, teaching aids, and tablets with exercises in various fields of knowledge (mathematics, language, law) were found.
The reading circle of children and teenagers included the Sumerian-Akkadian “Epic of Gilgamesh”, 2-3 thousand BC. Its first Russian translator was Gumilyov. In 1997, Voskoboynikov wrote the children's story “The Brilliant Gilgamesh.” This work consists of 12 “songs”, their sequence corresponds to the 12 signs of the zodiac. Plot motives: Gilgamesh, dressed in the skin of a lion he killed, defeats the heavenly bull, finds the flower of eternal youth, kills a snake that settled on a tree in a mysterious garden, receives sacred objects from the underworld. Looks like Hercules.
The myth of the Divine Child was formed in ancient cultures along with the myths about the Mother, the Father, the World Tree, and the creation of the world. It is included in the system of mythological ideas of different peoples. The plots and motifs of children's folklore and children's literature are closely connected with the mythologeme of the Divine Child. The image of a child is inseparable from a miracle; the main function of the central character is to perform extraordinary things, miracles. The mythologem of the child’s Deities has a number of structure-forming motifs, each of which is reflected in the children’s literature known to us. The birth of a Child is often preceded by misfortune - a married couple experiences childlessness, like Samson’s parents in the Old Testament. The Divine Child is usually raised above the other heroes, the scale of his image is increased (in the story of Moses, for example). Often the Divine Child has some physical difference that makes him both beautiful and terrible. For example, the story of the miraculous birth of Samson, who grew up to be a strong man, all of whose strength lay in his hair. There were also child prophets, future saviors of the world, for example the prophet Muhammad. A child testifying to a miracle, seeing a divine teacher in his friend, is another structuring element of the poetics of children's literature. The childhood of Hercules, Alex of Macedon, the Virgin Mary, and Jesus Christ is depicted as the era of the first miraculous acts. There are many miracles of healing: with one touch Jesus heals the foot of a young woodcutter. So, the basics are right lit-ry- image a child performing a miracle. The plot of children's literature largely consists of “good deeds.” In ancient texts, the child is depicted in a system of oppositions, conflicts: child-parents, child-other children, child-teachers.
Along with child characters, there are also “undivine” children. For example, the Old Testament story about the twins Esau and Jacob, one will become a skilled trapper, the other a meek “man of tents,” i.e. practitioner and lyricist. Comic and dramatic duets: Chuk and Huck by Gaidar, Tom Sawyer and Huck Finn and Twain.
Ancient Greek and Roman schools. Phlegon of Tralles, Rome author, 2nd century AD. collection “Amazing Stories”, in these stories there are fantastic creatures and ghosts; Eastern fairy tales are combined with elements of mysticism and fantasy.
Ancient civilization left the countries of the collapsing Roman Empire a rich cultural heritage, it lasted for many centuries until independent national cultures. With the establishment of Christianity, relations in society began to change, the authority of the ancient classics ceased to be indisputable, and folklore no longer provided answers to new questions.
(from lectures). A child's first acquaintance with myth is through a church service. Myth is a story about the gods and heroes of ancient times. The cult of nature and ancestors is the starting point for the formation of a myth. The grain of myth is an archetype, a certain knowledge embedded in us. Myths are: astral (about the stars), calendar, anthropogonic (about the creation and origin of man), totemic (myth about the kinship of people with objects of living nature), eschatological (myth about the end of the world). The Christ myth reveals itself in prose: a rebirth of sacred scripture for children, in a literary fairy tale, where the overlap of language and Christ myths occurs; in the genre of a Christmas story. Easter story, in fantasy plots.
Children's literature in RussiaXV-XVIII centuries
The entire history of ancient Russian children's literature can be divided into four periods:
1) the second half of the 15th - the first half of the 16th century, when the first educational works appeared;
2) the second half of the 16th - beginning of the 17th century, when 15 printed books for children were published;
3) 20-40s. XVII century, when regular poetry begins;
4) the second half of the 17th century - the period of the development of different genres and types of children's literature.
Great development in the 17th century. receives poetry. Poems of that time, addressed to children, were, from a modern point of view, still quite primitive. But it was with them that children's poetry began.
It was a rare children's handwritten or printed book without poems. There were especially many of them in the second half of the 17th century, when large works were written, which we now call poems. Poems set out rules of behavior and conveyed various information about the world. Most of the poems are anonymous. However, some authors were already known then, others have been identified now. The very first children's poet in Rus' should be considered the director of the Moscow Printing House, Savvaty. The reference book was responsible for the content and literacy of the book. Therefore, the most educated people were appointed to this position. Currently, more than ten poems by Savvaty are known, written by him specifically for children. Among them is the first poem in the book of the Moscow press, placed in the ABC edition of 1637. It consists of 34 lines. The poem simply, warmly and clearly tells the reader about the book he is holding in his hands, praises literacy and book wisdom, and gives various advice on how to study and how to read. According to the composition, this is an intimate conversation with a child on a topic that is interesting and important to him. The author convinces the child not to be lazy in learning, to be diligent, and to obey the teacher in everything. Only in this case can he learn the “wisdom scripture » (letter), become one of the “wise men” and become a “true son of light.” Later in the second half XVII c., this poem was widely distributed through handwritten books.
Another poem by Savvaty was also very famous - “A brief statement about laziness and negligence”, consisting of 124 lines. Created in it negative image a capable student, but lazy and careless. Savvaty tries to instill in children respect for literacy, an enthusiastic attitude towards education and contempt for ignorance. The author leads the reader to the conclusion that teaching is light, and ignorance is darkness. Savvaty uses persuasion as the main educational means, and comparison and likening as a literary device. For example, he says that a diamond is precious because of the play of light, color, and paints, and a person is precious because of his education and “his understanding.”
In another long poem of 106 lines called "The ABC of Vacation", an image of a positive student was created who heeded the advice of his teacher, studied diligently, and therefore the teacher taught him everything that he himself knew and could. This is like a parting word to a child on graduation day.
The most important poet of the 17th century. was Simeon of Polotsk. His real name is Petrovsky. In 1664, at the invitation of the Russian Tsar Alexei Mikhailovich, Simeon moved to Moscow, where he opened a school and began to take an active part in literary and public life. Simeon of Polotsk took part in the creation of the primer of 1664. He also compiled the entire primer of the 1667 edition, which was republished in 1669. The preface written by Simeon for this primer is an outstanding pedagogical treatise of the 17th century.
But the primer of 1679 is of greatest interest. It contains two poems for children: “Preface to young men who want to learn” And "Admonition". The first of them talks about the book, praises literacy, and calls on children to study well, for those who work in youth will be at peace in old age. Of all labors, reading and learning bring the greatest pleasure and benefit. The second poem is placed at the end of the book. He wrote poetic prefaces to the books he published for children, “Testament” and “The Tale of Baarlam and Joasaph.” In them he talks about the content of the books, draws attention to the most important thing, trying to interest children and prepare them for perception. The most important books of Simeon of Polotsk are “Reef. Mologion”, which has 1308 large format pages, and “Vertograd multicolor”, consisting of 1316 pages. The books were intended, according to the author, “for the benefit of young and old,” who could “look for words in them” and read “to teach their age.” The books contain many poems that are accessible to children, including greeting poems from children to parents, relatives and patrons.
Poems about nature, minerals, animals, plants, entertaining legends, etc., were also available to children. For example, the poem “Arc” (“Rainbow”) or poems about earth and water. Being a teacher by profession and an outstanding The poet of his time, Simeon of Polotsk, made a significant contribution to the creation of literature for children.
The first Russian writer and poet whose work was entirely dedicated to children was Karion Istomin. In all his works, Karion Istomin glorified science, “enlightenment,” yagi. He believed that everyone should study: children of all classes, boys and girls, people of all nationalities. Science, according to Karion Istomin, should save people from want and grief. Although in most of his poems Istomin directly addressed the princes, he intended them for the entire Russian people.
During Karion Istomin’s lifetime, three of his books for children and a complete set of textbooks were published. Another children's book by Karion Istomin, The Big Primer, had 11 poems. In addition, he wrote more than ten books of poetry. Yes, in the book "Policy" tells about all the seasons, parts of the world, different countries. In a book of poetry "Domostroy", consisting of 176 lines, on vivid examples, figuratively sets out the rules of behavior. The main content of the rules boils down to the requirement to study the “free sciences”, etc.
Genre of literary fairy tale. Traditional and innovative in Pushkin's fairy tales
Tales of A.S. Pushkin appeared during the peak period of his creativity. They were not intended for children, but almost immediately entered children's reading.
In 1830, Pushkin began work on a fairy tale about a bear, “Like Warm Spring Time,” which remained unfinished. In 1831, “The Tale of Tsar Saltan” and “The Tale of the Priest and His Worker Balda” were completed. In 1833, two fairy tales were written: “The Tale of the Fisherman and the Fish” and “The Tale of dead princess and about the seven heroes." In 1834, “The Tale of the Golden Cockerel” appeared.
A.S. Pushkin creates his fairy tales based on folklore material. “The Tale of the Priest and His Worker Balda” is close in plot to the folk tale “The Farmhand Shabarsha.” The plot of “The Tale of the Fisherman and the Fish” is connected in origin with the fairy tale “The Greedy Old Woman” and was presented to Pushkin by the folklore collector writer V.I. Dahlem. “The Tale of Tsar Saltan” echoes the folk tale “About Wonderful Children.” “The Tale of the Dead Princess and the Seven Knights” is close to the plot folk tale"Magic Mirror". Turning to oral folk art, A.S. Pushkin sees in it inexhaustible possibilities for updating literature.
Tales of A.S. Pushkin - plot works that show a sharp conflict between the light and dark worlds. An example is “The Tale of Tsar Saltan, his glorious and mighty hero Prince Gvidon Saltanovich and the beautiful Swan Princess.” It was written in 1831 and first published in 1832 in the third part of “Poems by A. Pushkin.” This was Pushkin's first fairy tale to appear in print. She received mixed responses. Not all contemporaries understood Pushkin’s innovation and saw the birth of a new poetic genre. From the very beginning, it gives a subtle satirical reduction in the image of the king: “During the entire conversation, he stood behind the fence...” According to the censorship conditions of A.S. Pushkin could not have ridiculed the high-born eavesdropper more openly. The fairy tale reflects the diverse shades of human feelings: “The cook is angry in the kitchen, the weaver is crying at the loom, and they envy the Sovereign’s wife,” and complex relationships between people are revealed.
Pushkin the storyteller spoke out against the monotony of poetry, against erased rhythmic and syntactic phrases. His verse is moving, conveying the rhythm of movement and the tension of events. Dynamism and speed of change of events freely and easily coexist with landscape paintings, laconic and visually colorful: The wind is rustling merrily, the ship is running merrily. The stars shine in the blue sky, the waves lash in the blue sea...
The sound organization of verse in Pushkin the storyteller is energetic and effective. Every sound has significance for him, sometimes conveying the splash of a sea wave, sometimes reproducing the flight of a mosquito or bumblebee.
Pushkin appears in “The Tale of Tsar Saltan” as a fighter for the nationality of the language, or “vernacular.” “The Tale of Tsar Saltan” ends not with a moralistic conclusion, as was the case with many other fairy tale writers, but with a cheerful feast glorifying the triumph of good.
Positive characters win in a long struggle: Prince Guidon meets with his father; the weaver, the cook and the matchmaker, Baba Babarikha, are put to shame. Readers wholeheartedly side with the “bright world” of the fairy tale, personified in the images of the Queen Mother, Prince Guidon, and the Swan Princess. Only the image of Tsar Saltan raises doubts and thoughts.
“The Tale of the Priest and His Worker Balda” is a satire on unscrupulous servants of the Orthodox Church deceiving the people. It ridicules human greed, stupidity and hypocrisy. The priest is going to hire a servant who will perform the duties of a cook, groom and carpenter for a pittance. Stupidity and greed force him to agree to receive clicks from Balda, whom he hired as an employee. But the priest is not only greedy, but insidious and evil, he is trying to destroy Balda by giving him impossible tasks, for example, collecting rent from the devils.
“The Tale of the Priest and His Worker Balda” was not published during the poet’s lifetime. It was first published by V.A. Zhukovsky in 1840 in the magazine “Son of the Fatherland” with major alterations caused by the strictness of censorship. "Pop" was turned into "merchant Kuzma Ostolop." It started like this:
Once upon a time there lived a merchant Kuzma the Stupid, nicknamed Aspen Forehead, and the whole tale was entitled: “The Tale of the Merchant Kuzma Ostolop and his Worker Balda.” The changes made by Zhukovsky distorted the social orientation of the fairy tale and violated the system of its images and poetic integrity.
At Pushkin's fairy tale characters psychologically and artistically perfect; In the process of working on the fairy tale, he constantly honed its verse, bringing it closer to the folk tale, sharpening the satire.
Artistic media Pushkin's fairy tales are inextricably linked with his poetic worldview. The poet spoke out against the pretentiousness and abstruseness of the verse; he sought to get closer to the folk saying with its aphorism.
Pushkin's verse in the fairy tale is full of movement. The poet sometimes constructs entire stanzas primarily from nouns and verbs in order to convey the severity of the struggle:
The poor demon crawled under the mare, strained, strained,
He lifted the mare, took two steps, fell on the third, and stretched out his legs.
At the end of the tale, a mocking attitude towards the priest is clearly expressed. In 1835, “The Tale of the Fisherman and the Fish,” written two years earlier, appeared in the magazine “Library for Reading.”
“The Tale of the Fisherman and the Fish” reflects motifs that exist not only in Russian, but also in foreign folklore. So, in the collection of the Brothers Grimm there is similar tale. Pushkin's fairy tale is a philosophical reflection on the confrontation between patient good and aggressive evil. The poet is no stranger to social motives. This is emphasized by the sharp contrast between the old man and the old woman: he remains a peasant, and she rises higher and higher on the social ladder.
The image of an old man personifies the folk beginning of a fairy tale. He is forced to submit to the will of the greedy old woman, but has no respect for her, no matter how high she rises. This is evidenced by his address to her when she wanted to become a queen:
“Why, woman, have you eaten too much henbane?”
The image of the old woman gradually goes beyond the image of greed and becomes a symbol of social oppression. "The Tale of the Fisherman and the Fish" reflected popular attitude to the tyrants. Good does not so much defeat evil in open confrontation as survive it. The tale ends with an instructive picture of a person punished according to the laws of supreme justice (their spokesman is gold fish) tyranny:
Lo and behold, there was a dugout in front of him again; His old woman sits on the threshold, and in front of her is a broken trough.
“The Tale of the Dead Princess and the Seven Knights” was written in 1833. Published for the first time in 1834 in the magazine “Library for Reading”. It particularly clearly reflected the humanistic orientation of Pushkin’s fairy tales. In “The Tale of the Dead Princess,” positive characters are endowed with such character traits that are valued by working people: kindness, generosity, courage, devotion in friendship.
The Queen Mother is faithfully waiting for her husband, who has set off on a long journey. Pushkin talks about this in vivid scenes, close in style to oral folk art.
Romantic motifs predominate in the image of the princess-daughter. She arouses the love of the girl Chernavka and the seven heroes by the fact that she is “cuter than everyone else, blushing and whiter than everyone else,” and, most importantly, with her kindness, responsiveness, and readiness to help.
The image of Prince Elisha is given in epic tones. The hero “sets out on the road for a beautiful soul, for a young bride.” He is close to nature. Elisha's lyrical appeals to the sun and the month, and finally to the wind, poetically color his image and give him a special charm. “The Tale of the Dead Princess” was written by the poet in a creative competition with Zhukovsky. But unlike him, Pushkin does not limit himself to a romantic depiction of heroes; he introduces realistic pictures of the life of the royal court, and creates satirical characters in his fairy tale. This is, to some extent, the king-father, who hastened to get married as soon as the prescribed period of widowhood had expired.
The main force of Pushkin’s satire is directed against the queen-stepmother, personifying “ dark world"in a fairy tale. Envy and anger towards everything bright and good ultimately lead her to death: “Then melancholy took her, and the queen died.” So in a fairy tale, the victory of good symbolizes the death of evil.
In “The Tale of the Golden Cockerel,” which was written in 1834 and first published in 1835 (magazine “Library for Reading”), a satirical image of King Dadon was created, who prefers to reign without worries, “lying on his side.” That is why the king thoughtlessly agrees to fulfill the first request of the astrologer, who gave him a golden cockerel. King Dadon is depicted as a man incapable of loving not only the country he rules, but also his own sons. Tears caused by their death easily give way to voluptuous delight in front of the Shamakhan queen. At the same time, the king is shown to be far from harmless: he is a tyrant, capable of, on a whim, destroying an old man who at one time came to his aid: “The king grabbed him on the forehead with his staff; he fell on his face and lost his breath.”
It should be noted that goodies all fairy tales by A.S. Pushkin - people from the people: the hardworking, resourceful and cheerful worker Balda (“The Tale of the Priest and His Worker Balda”); a selfless, kind, undemanding hard worker-old man (“The Tale of the Fisherman and the Fish”).
Pushkin's fairy tales, as well as folk tales, are characterized by faith in bright forces and feelings. Pushkin's fairy tales are optimistic; in them, good always triumphs over darkness and evil. Balda's resourcefulness and hard work help him defeat the priest; Elisha's love and faithfulness resurrect his bride; Guidon's filial devotion, his fight against envy and slander contribute to the triumph of truth.
Poetic speech in Pushkin’s fairy tales is also marked by national features. They widely use folk sayings, proverbs, words and expressions, suffixes:
Related information.
Types of oral folk art
Folklore ( English Folklore - “folk wisdom”) - folk art, most often oral; artistic collective creative activity people, reflecting their life, views, ideals; created by the people and existing among the masses.
1. Proverb - a small form of folk poetry, clothed in a short, rhythmic saying, carrying a generalized thought, conclusion, teaching.
ñ "Tears of sorrow will not help"
ñ “Bread is the head of everything”
ñ “You can’t even pull a fish out of a pond without effort.”
ñ "Seven do not wait for one"
ñ "Too many cooks spoil the broth"
ñ “Measure seven times - cut once”
ñ “The well-fed are no friend to the hungry”
ñ "Who does not work shall not eat"
ñ “The word is precious, but silence is golden”
ñ “The word is not a sparrow - it will fly out and you won’t catch it”
ñ "Time for business - time for fun"
ñ "A bird in the hand is worth two in the bush"
ñ “If you love to ride, you also love to carry a sled”
ñ “I can’t carry my own burden”
ñ “The thief’s hat is on fire”
ñ “If you are afraid of wolves, do not go into the forest”
ñ “The sheep barks, the flock repeats”
ñ “The stubborn sheep is the wolf’s gain”
ñ “A penny saves the ruble”
ñ "God saves man, who save himself"
ñ “Under a lying stone, no water flows”
ñ "Knowledge is power"
ñ "There is safety in numbers"
ñ “A shirt for the world, a shirt for the beggar”
ñ "Fight fire with fire"
ñ “It’s okay to die, but this is bread”
ñ “Lying on the floors, you won’t even see the slice”
2. Saying - phrase, figure of speech reflecting some phenomenon of life, one of small genres of folklore . Often has a humorous character.
A saying, unlike a proverb, does not contain a general instructive meaning.
ñ « Hunger is not an aunt, it won’t feed you with pie »
ñ « Teach your grandmother to suck eggs »
ñ « Called himself a milk mushroom - get into the box »
ñ « A fly in the ointment »
ñ « Whatever you call the boat, that’s how it will float »
ñ « Dear spoon for dinner »
ñ « Yes, curls cannot replace convolutions! »
ñ « A friend in need is a friend indeed »
ñ « Don’t renounce money or prison »
ñ « Found a scythe on a stone »
ñ "Without God not to the threshold"
ñ « Kisses means he loves »
ñ “Hitting means loving”
3. Song, words and music which arose historically during the development Russian culture . A folk song does not have a specific author, or the author is unknown.
4. Ditty - folklore genre, short Russian folk song (quatrain), humorous content, usually transmitted orally.
5. Riddle - an expression in which one item depicted through another who has with him some, even remote, similarity ; based on the last person and must guess intended subject. IN antiquities riddle - test tool wisdom , now - folk fun . Everyone has riddles peoples , no matter what stage of development they are at.
A proverb and a riddle differ in that a riddle needs to be guessed, while a proverb is a teaching.
6. Pestushka (from the word nurture, that is, to nurse, groom) - a short poetic chant of nannies and mothers, with which they accompany the actions of a child that he performs at the very beginning of his life. For example, when the child wakes up, the mother strokes and caresses him, saying:
Stretchers, stretchers,
Across the fat girl
And in the hands of the veil,
And in the mouth there is a talk,
And in the head there is reason.
7. Nursery rhyme - an element of pedagogy, a song-sentence that accompanies playing with a child’s fingers, arms and legs.
Magpie-crow (running finger over palm)
Magpie Crow,
I gave it to the kids.
(curls fingers)
Gave this one
Gave this one
Gave this one
Gave this one
But she didn’t give it to this:
- Why didn’t you cut wood?
- Why didn’t you carry water?
8. Jokes (from bayat, that is, to tell) - a poetic, short, funny story that a mother tells her child, for example:
Owl, owl, owl,
Big head,
She was sitting on a stake,
I looked to the side,
Turned his head.
9. Calls - one of the types of invocation songs of pagan origin. Calls are an appeal to the sun, rainbow, rain and other natural phenomena, as well as to animals and especially often to birds, which were considered the harbingers of spring. Moreover, the forces of nature were revered as living: they make requests for spring, wish for its speedy arrival, and complain about winter.
Larks, larks!
Come and visit us
Bring us a warm summer,
Take the cold winter away from us.
We're tired of the cold winter,
My hands and feet were frozen.
10. Counting book - a short rhyme, a form of drawing lots to determine who leads the game. A counting table is an element of the game that helps establish agreement and respect for the accepted rules. Rhythm is very important in organizing a counting rhyme.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Atty-batty, what did you buy?
Aty-baty, samovar.
11. Tongue twister - a phrase built on a combination of sounds that makes it difficult to quickly pronounce words. Tongue twisters are also called “ purely speaking ”, as they promote and can be used to develop diction. Tongue twisters can be both rhymed and non-rhymed.
Greek rode across the river.
He sees a Greek: there is a cancer in the river,
He stuck the Greek's hand into the river -
Cancer for the hand of a Greek - DAC!
Oral folk art is the richest heritage of every country. Folklore existed even before the advent of written language; it is not literature, but a masterpiece of the art of oral literature. Childbirth folklore creativity formed in the pre-literary period of art on the basis of ritual and ritual actions. The first attempts to comprehend literary genera date back to the era of antiquity.
Types of folklore creativity
Folklore is represented by three genera:
1. Epic literature. This genus is represented in prose and poetry. Russians folklore genres epic kind represented by epics, historical songs, fairy tales, tales, legends, parables, fables, proverbs and sayings.
2. Lyric literature. All lyrical works are based on the thoughts and experiences of the lyrical hero. Examples of folklore genres of the lyrical direction are represented by ritual, lullabies, love songs, ditties, bayat, haivka, Easter and Kupala songs. In addition, there is a separate block - “Folklore lyrics”, which includes literary songs and romances.
3. Dramatic literature. This is a type of literature that combines epic and lyrical methods of depiction. The basis of a dramatic work is a conflict, the content of which is revealed through the acting of the actors. Dramatic works have a dynamic plot. Folklore genres dramatic kind are represented by family ritual, calendar songs, and folk dramas.
Individual works may contain features of lyrical and epic literature, therefore a mixed genre is distinguished - lyric-epic, which in turn is divided into:
Works with heroic characters, lyric-epic content (epic, duma, historical song).
Non-heroic works (ballad, chronicle song).
There is also folklore for children (lullaby, nursery rhyme, comfort, pestushka, fairy tale).
Genres of folklore
Folklore genres of folk art are represented in two directions:
1. Ritual works of UNT.
Performed during the rituals:
Calendar (carols, Maslenitsa activities, freckles, Trinity songs);
Family and household (birth of a child, wedding celebrations, celebration of national holidays);
Occasional works - came in the form of spells, counting rhymes, chants.
2. Non-ritual works of UNT.
This section includes several subgroups:
Drama (folklore) - nativity scenes, religious works, theater "Petrushki".
Poetry (folklore) - epics, lyrical, historical and spiritual songs, ballads, ditties.
Prose (folklore) in turn is divided into fairy-tale and non-fairy-tale. The first includes tales about magic, animals, everyday and cumulative tales, and the second is associated with famous heroes and heroes of Rus' who fought witches (Baba Yaga) and other demonological creatures. Also included in non-fairy tale prose are tales, legends, and mythological stories.
Speech folklore is represented by proverbs, sayings, chants, riddles, and tongue twisters.
Folklore genres carry their own individual plot and meaning.
Images of military battles, exploits of heroes and folk heroes are observed in epics, vivid events of the past, everyday life and memories of heroes from the past can be found in historical songs.
Stories about the actions of the heroes Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich are epic. The folklore genre of the fairy tale tells about the actions of Ivan the Tsarevich, Ivan the Fool, Vasilisa the Beautiful and Baba Yaga. Family songs are always represented by characters such as mother-in-law, wifey, hubby.
Literature and folklore
Folklore differs from literature unique system construction of works. Its characteristic difference from literature is that genres folklore works have beginnings, beginnings, sayings, retardations, trinity. Also significant differences stylistic compositions will use epithet, tautology, parallelism, hyperbole, synecdoche.
Just as in oral folk art (ONT), folklore genres in literature are represented by three genera. This is epic, lyric, drama.
Distinctive features of literature and CNT
Large works of literature, represented by novels, short stories, novellas, are written in calm, measured tones. This allows the reader, without interrupting the reading process, to analyze the plot and draw appropriate conclusions. Folklore contains a saying, a beginning, a saying and a chorus. The technique of tautology is the basic principle of storytelling. Hyperbole, exaggeration, synecdoche and parallelism are also very popular. Such figurative actions are not allowed in literature all over the world.
Small folklore genres as a separate block of CNT works
This system includes mainly works for children. The relevance of these genres continues to this day, because every person gets acquainted with this literature even before he begins to speak.
The lullaby became one of the first works of folklore. The presence of partial conspiracies and amulets is direct evidence of this fact. Many believed that otherworldly forces act around a person; if a child sees something bad in a dream, it will never happen again in reality. This is probably why the lullaby about the “little gray top” is popular even today.
Another genre is nursery rhyme. To understand what exactly such works are, we can equate it to a sentence song or a song with simultaneous actions. This genre promotes the development of fine motor skills and emotional health in a child; the key point is considered to be scenes with the play of fingers “Magpie-Crow”, “Ladushki”.
All of the above small folklore genres are necessary for every person. Thanks to them, children learn for the first time what is good and what is bad, and are taught order and hygiene.
Folklore of nationalities
An interesting fact is that different nationalities, in their culture, traditions and customs, have common points of contact in folklore. There are so-called universal desires, thanks to which songs, rituals, legends, and parables appear. Many peoples hold celebrations and chanting to obtain a rich harvest.
From the above, it becomes obvious that different peoples are often close in many spheres of life, and folklore unites customs and traditions into a single structure of folk art.