Nekrasov's poem is a treasure trove folk wisdom.
The first lines of the “Prologue” resemble a fairy-tale beginning. The beginning is the traditional beginning of a fairy tale: In what year - count...
Almost all the characters are named by name, but surnames are not indicated: Roman, Demyan, Luka,
Ivan and Mitrodor, Pakhom, Prov.
Folklore flavor is enhanced by sacred numbers: 7.
on the sidewalk
Seven men came together:
Seven temporarily obliged...

Seven eagle owls flew together,
Admiring the carnage
From seven big trees,

The plot seems fabulous when Pakhom picks up a chick and talks with it, and then with a warbler, who, as a ransom for the chick, gives a self-assembled tablecloth, a secret place with a “magic box”:
It contains a self-assembled tablecloth,
Whenever you wish,
He will feed you and give you something to drink!
Just say quietly:
"Hey! self-assembled tablecloth!
Treat the men! “
According to your wishes,
At my command
conventional form of address to the tablecloth
“Look, mind you, one thing!
How much food can he bear?
Womb - then ask,
And you can ask for vodka
Exactly a bucket a day.
If you ask more,
And once and twice - it will come true
At your request,
And the third time there will be trouble! »
- the basis of many Russian folk tales
This sparkling stream of words captivates and captivates... The secret of the eternal strength and youth of Nekrasov’s muse lies in introducing her to the inexhaustible source of Russian folk poetry. And could Nekrasov have written a book differently, in his words “useful, understandable to the people and truthful”? A lively, sweeping folk word, apt and witty, “which you can’t come up with even if you swallow a pen,” is the basis of all Nekrasov’s poetry.
In addition to fairy tale motifs, in the “Prologue” great amount signs, sayings, riddles that not only reflect the intelligence, beauty, and wisdom of the speech of the Russian people, but also give the poem extreme folklore richness. Proverbs. “A man, what a bull...” The proverb characterizes the character quality of a simple man, his stubbornness, perseverance, and perseverance. In modern speech, stubborn as a bull. “The bird is small, but its claw is sharp” - (“Small, but distant”), etc.
Riddles - only you, black shadows,
You can't catch - hug! -shadows
Without a body - but it lives,
Without a tongue - screams! -echo
Belief is a belief that comes from antiquity and lives among the people, belief in a sign. A sign is a phenomenon, an incident, which among the people is a harbinger of something.
“Well, the goblin played a nice joke on us.”
Nowadays you can hear the following expressions: the devil has confused you, go to the devil (go away), what devil? (expression of annoyance), the devil knows him (who knows) - they are all used in a colloquial style.
“Cuckoo, cuckoo, cuckoo!
The bread will begin to spike,
You'll choke on an ear of corn -
You won't cuckoo. »

The Slavic epic has not reached us, but fairy tales have been preserved, which to a certain extent reflect the ideas of our ancestors about the world, life and death, about man and his opponents. Baba Yaga - so famous character Russian fairy tales, which requires no introduction. In cinema best image The “evil” Baba Yaga was created by actor Georgy Millyar, who himself invented a costume from a pile of rags and a frightening makeup with a hooked nose, warts and protruding teeth.

There is no clear opinion about the origin of this character's name. Yaga, Yaga-baba, Yagaya, Yagaya baba, Yagikha, Yagabikha, Yagabova, Yagishna, Yaginishna - that’s what they call her in fairy tales. There are many possible etymologies. The German linguist and Slavist Max Vasmer finds a root similar in sound in many Indo-European languages, meaning “to be sick, to waste away, to be angry, to be irritated, to mourn.” Some derive “yaga” from “ancestor” (ancestor), but this is rather doubtful. In the Komi language the word "yag" can mean Pine forest, boron In the mythology of this people you can find a story about Yagmort, a forest man the size of a young pine tree, who kidnapped livestock, children and women. When he stole the elder's only daughter, her fiancé and the entire settlement finally decided to do something. They found the devil's cave, where they found dead girl. After which they killed the monster, took the treasures, and filled up the cave.

Baba Yaga, although a forest creature, never lived in a cave. Everyone knows her “hut about chicken leg, about one window, with a covered red porch.” What kind of “architectural excess” is this? In the dry language of an engineer, this is a pile structure. It is used in areas with regular spills or in swamps. In some regions of Russia, village log houses were placed on stumps to prevent rotting. Among the Finno-Ugric peoples, barns on stilts were common (to protect against mice), which stood at a distance from human habitation (to avoid fire). They are still found in Siberia and the Urals saves- log cabins on poles in the forest where hunters store supplies. If you are not in dire need, you should not take anything from there; but you can put it on your own. It is possible that these supplies will save someone's life.

The prototype of Baba Yaga's hut could have been bdyn. The ancient Slavs cremated their dead. In some regions, a vessel with ashes was placed in a small house or booth on a pillar - a bdyn. It is likely that those that have survived to this day and are very common among the Old Believers grave crosses With stuffed cabbage(decorative roof) originated from here. Being fumigated with incense, they were called smoky.

Old Believers. Russian North. Late XIX- beginning XX centuries

What does Baba Yaga do? The prominent Soviet folklorist Vladimir Propp counted three functions: child abductor (“Swan Geese”); donor (hands the hero a horse or a magic ball); warrior (by defeating her, the hero gains wisdom). According to the scientist, she was once a deity who led the initiation rite. At the same time, each function takes on meaning: a child, ready to transition to a new state, is “kidnapped” from his parents, fights the monster physically or intellectually, proves his independence and returns as an adult. In mythological consciousness, such a transition was associated with the death of the old “I” and the birth of a new one. Thus, Baba Yaga is directly connected with the afterlife. She is a guide, a creature who lives on the border.

She is a rather unfriendly gatekeeper: “On the stove, on the ninth brick, lies Baba Yaga, a bone leg, her nose has grown into the ceiling, snot is hanging over the threshold, her tits are wrapped on a hook, she is sharpening her teeth.” It’s easy to get angry if your home is cramped. The house is surrounded by a wall of bones, and on them are animal or human skulls with flaming eye sockets. The hut itself is sometimes covered with a pancake, propped up with a pie - here this means a funeral meal. When a hero comes from the world of the living, he commands the hut to turn its face to him, and to the kingdom of the dead to turn its back. The hostess does not see him, but recognizes him by his smell (“ugh, ugh, it smells like the Russian spirit!”).

There is no point in walking here, the places are reserved, so Baba Yaga drives away the uninvited guest. However, he does not leave, but demands maximum attention: heat the bathhouse, feed and drink, put him to sleep. By this he demonstrates the seriousness of his intentions. The hero is going to the distant kingdom, that is, the afterlife. To do this, he himself needs to die for a while. He performs a ritual ablution and eats the food of the dead, after which he boldly goes to save the princess or get rejuvenating apples.

The girls also come to Baba Yaga. She loads them with back-breaking work (which small animals often help do) and seriously promises to eat them, so that sometimes they have to flee. The girl learns to work hard and be attentive to all creatures, even tiny ones. She also learns to trust her intuition.

In addition to the fairy tale, there is also a popular print image of Baba Yaga. Two popular prints from the late 17th – early 18th centuries are known. , where she appears in an unusual role for us - comedy. The inscription on the first one reads: “Yaga Baba and a man, with a bald old man, jump, play bagpipes, but don’t know the harmony.” The second is accompanied by the phrase: “Baba Yaga is riding with a crocodile to fight on a pig with a pestle, and they have a bottle of wine under a bush.” In addition to the unusual nature of the plot, the appearance of the old woman is striking. She's not nearly that old; however, she has a nose and a hunchback, but at the same time she is dressed well and even smartly, on her head is a dress of a married or widowed woman, with kolts attached to it. In one case, a spinning wheel and a bottom are tucked into the belt, in the other - a spinning wheel and an ax. On the second splint, she holds the reins and pestle in her hands.

The comic effect is achieved by the juxtaposition of details: the spinning wheel and the bottom can hardly be worn in the belt, the pestle and the ax are masculine attributes, while Baba Yaga looks rather crazy with her tongue sticking out, despite her spectacular appearance; and flowers around. The crocodile fight is especially good. IN popular consciousness the crocodile was associated with dragons and snakes and was endowed with demonic traits. Heroes on horseback usually fight monsters, but here a woman (!) rushes at a creature that doesn’t look at all like a crocodile, rides a pig, from right to left (a hero on a horse usually gallops from left to right), and in the bushes the scale is waiting. We don’t know how the fight will end, but the winner will obviously be pleased.

As we see, Baba Yaga has long ago transformed from a mythical character into a folklore character and, at this everyday level, has acquired new qualities. No wonder it remains one of the most popular fairy-tale heroes and in our time. And even though she has lost her border post, she still takes part in raising children through fairy tales, plays and films.

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A. N. Ostrovsky’s play “The Snow Maiden” and N. A. Rimsky-Korsakov’s opera of the same name created on its basis are a kind of hymn to Russian folklore, a tribute of respect and admiration for the rich heritage of pagan Rus', its beliefs, traditions, rituals and wise attitude to living in harmony with nature. Talking about the folklorism of these works is both easy and difficult. It’s easy because folklore and ethnography constitute the essence, content, language of both plays and operas. Many facts lie on the surface here, so it is not difficult to find the original sources of images, storylines

, episodes in fairy tales, songs, ritual material. We are amazed and delighted by the author's penetration into the world of Russian archaic and modern playwrights and composers of folk art, the amazingly careful and at the same time brightly individual, bold processing of this layer of national culture and the creation on the basis of its greatest in beauty, depth of thought works, in tune with the past and present. The difficulty, and not a small one, is that the folklorism of “The Snow Maiden” is fraught with many mysteries and hidden meanings. This always puzzles and enchants, this is the enduring value and power of art, its eternal relevance and novelty. Let's take the accepted genre definition “The Snow Maidens” is a spring fairy tale. It seems that everything is clear, but, strictly speaking, it is incorrect: what is unfolding before us is by no means a fairy-tale action, if only because it ends with the death of the main characters, which is in no way typical of a classical fairy tale. This is pure mythology, seen through the thickness of centuries, understood and processed artists of the 19th century

By the way, what we habitually call a folk tale about a girl made of snow who melted under the rays of the summer sun is also not a fairy tale. Let us note in parentheses: the plot of the Snow Maiden stands apart in the traditional fairy-tale repertoire, it has practically no variations and is very short, rather reminiscent of a parable about the natural punishment for neglecting the rules of behavior determined by the laws of nature, and the unviability of the artificial, unnaturally created contrary to the laws of life.

The main thing in the plot of the play and opera is the idea of ​​harmony between man and nature, admiration for the beauty of the surrounding world and the expediency of the laws of natural life. All this, according to many representatives of the Russian intelligentsia of the 19th century, was once characteristic of human society and was lost with the advent of civilization of the Western European, urban type. Today it is clear how strong the nostalgia for the “ideal past” was in Russian society and how much this was based on the desire characteristic of Russia to find out its roots, where everything “came from,” to understand and comprehend today’s self through its past - historical and mythological, to improve its health and to correct modern society through an appeal to the precepts of hoary antiquity.

Without touching on the author's intention and purely professional techniques of composition, I will limit myself to a few comments on the folklore and ethnographic realities reflected in the libretto of the opera by N. A. Rimsky-Korsakov. Individual details, plot twists, motivations, now perceived as secondary, or even simply strange, in fact turn out to be extremely important and help to penetrate the depths of the people's worldview, to understand the symbolism and logic of the actions of the characters in the opera.

Red Hill is mentioned several times in the play and libretto. First, Spring appears here, then young Berendeys - girls and boys - come here to dance in circles. On Krasnaya Gorka she meets Kupava Mizgir and falls in love with him. This is, of course, no coincidence. Firstly, for a long time it was on the heights and hills that girls called for spring, going there to sing the stoneflies and greet the arrival of birds. Red Hill was, and in some places is still called, the first spring celebration of young people on the street after the winter hut gatherings. The first Sunday after Easter is also called the Red Hill; it is considered a happy day for marriage. Yarilina Mountain “Snow Maiden”, one might say, takes over the baton of Krasnaya Gorka, realizing its matrimonial, erotic orientation and reinforcing the motives for the flourishing of the productive forces of nature and the productivity of the land.

“The Snow Maiden” brilliantly reflects the mythological idea of ​​the eternal cycle of life and the strict laws of nature: everything has its time, everything is inevitably born, matures, grows old and dies; After winter, spring must come, which will certainly be replaced by summer, then, in strict order, autumn and winter. This order is the condition for the eternal existence of the Universe, man and culture. Violation of the order and correct course of things, interference in the once and for all established flow of life is fraught with tragic events - both in the sphere of natural phenomena and in the fate of man. However, centuries-old experience has shown that there is practically no smooth, calm transition from one state to another, breakdowns and disturbances are inevitable, therefore the great mission of man lies not only in strictly following the established order, but also in restoring the lost balance. In pagan times, as well as in those closer to us, rituals and ritual complexes, which necessarily included sacrifices, were a powerful mechanism for regulating life processes.

If you look at “The Snow Maiden” from this position, then it becomes obvious that it is literally permeated with the theme of sacrifice for the sake of the highest good, with motives of purification and transformation through death and destruction. This includes the burning of Maslenitsa with crying and laughter, and the joy of the Berendeys on the occasion of the death of the Snow Maiden and Mizgir. Finally, this is the final apotheosis - the appearance of Yarila the Sun with symbols of life and death, end and beginning - a human head and a sheaf of rye ears. Here it is necessary to once again emphasize the excellent knowledge of Ostrovsky and RimskyKorsakov of folk traditions, rituals and images that underlie the pre-Christian agricultural picture of the world.

In the Prologue, the Berendeys, exactly in accordance with the centuries-old tradition, see off Maslenitsa in the form of a straw effigy dressed in women's clothing. In real ritual practice, Maslenitsa was burned; in “Snegurochka” it is taken (driven away) into the forest. The latter is justified by the circular structure of the play and opera: in final scene On the 4th act, the straw of Maslenitsa turns into ears of rye filled with grain, which Yarilo holds; the dark, cold forest is replaced by the sun-drenched, open space of the Yarilina Valley; people come out of the forest, from the darkness into the light, and their gaze is turned upward - to the mountain with a sharp peak, where the hot sun god appears. In folk tradition, the connection between Maslenitsa fires and Kupala fires was strengthened by a wheel symbolizing the sun. The effigy of Maslenitsa was placed on a wheel and burned along with it; on Kupala night, burning wheels were rolled down from the heights where bonfires were lit.

Even more striking is the almost quoting of real rituals in The Snow Maiden. The most striking example: the final appearance of Yarila with a human head and a sheaf of grain and the ritual of invoking summer, recorded more than once. The following action was timed for April 27 in Belarus: a young woman was chosen who was supposed to portray a young handsome man (apparently Yarila). Barefoot, she was dressed in a white shirt and had a wreath of wildflowers on her head. The woman held in right hand a symbolic image of a human head, and on the left are rye ears. In other places, a girl dressed in the same way, with the same attributes, was mounted on a white horse tied to a tree. The girls danced around her. Voronezh residents performed a similar ritual on the eve of Peter the Great's Fast and dressed up not a girl, but a young man.

Let us recall that Yarila is a Slavic mythological and ritual character who embodies the idea of ​​fertility, especially spring fertility, as well as sexual power. The name of this deity is derived from the root yar. A wide range of meanings is revealed in words with the same root, for example, spring bread, rage, bright, bright (sheep); in the Russian North there is the term “yarovukha”, which means boys and girls hanging out together and spending the night in a hut during Christmastide.

The images of Bobyl and Bobylikha are given completely in the spirit of folk ideas. In fairy tales, legends, and folk songs, bobyls are outcasts, flawed people who were unable or unwilling to fulfill natural social functions- start a family and have children. They were pitied, but also shunned. It is not for nothing that in folklore texts bobyli live on the outskirts of the village, in the last house, and common peasant law deprived them of a number of privileges and rights, in particular, their participation in rituals associated with the productive principle was prohibited; elderly male bobyls were not included in the council of elders. Bobyls, as socially inferior peasants, often became shepherds, the generally accepted disdainful attitude towards which is well known from the mass of ethnographic observations, descriptions, and studies. It is clear why the Snow Maiden, who is half human herself, ends up with such “subhumans”; it is with them that she must go through, in today’s language, a period of adaptation to new conditions. According to the laws of fairy tales and initiation rituals, a house on the outskirts and its owner (owners) must act as a mediator, help the heroine transform, move from one world to another through a system of tests. The Berendeyevsky bobyls are clearly a comical, reduced image of the classic “testers” of fairy-tale heroines: Babyyagi, Metelitsa, witches, etc. The bobyls did not find a magic ball or a cherished word for their adopted daughter that would help a girl from another world turn into a full-fledged member of the human community. But this is not a fairy tale before us...

Bobyl and Bobylikha are deprived of the Shepherd's trumpets and horn of vitality, the heat of love, and therefore are greedy for imaginary, deceptive values ​​(Mizgir's wealth) and are cold towards the Snow Maiden. There is one significant detail in the depiction of Bobylikha’s image, which today escapes attention, but which was well understood by our compatriots in the 19th century and was used as a bright additional touch that makes Bobylikha funny and pathetic in their claims. We are talking about a horny kitty, which Bobyli-ha finally found after betrothing her adopted daughter and receiving a ransom. The fact is that kitschka is not just a traditional women's headdress. A horned kitty (with elevations on the front in the form of a horse’s hoof, a shovel, or horns pointing up and back) could be worn by women who had children, and the height of the “horns” usually directly depended on the number of children. So, having acquired a kitsch, Bobylikha, as it were, equated herself with other Berendey “boyars” and could claim a different attitude towards herself. By the way, the same technique in the same laughter function was used by A.S. Pushkin in “The Tale of the Fisherman and the Fish,” where the Old Woman, having acquired a new status, sits in a decorated horned kitty.

The image of Mizgir is mysterious in its own way. His role in the plot, the attitude of the Berendeys towards him, the motivation for his behavior and the tragic, from our point of view, death become more understandable when turning to beliefs and ideas, some of which survived almost until the beginning of the 20th century.

Mizgir is one of the names of a spider. In traditional culture, a spider is a creature close to a host of evil spirits, insidious, evil, aggressive. There are strong beliefs that whoever kills a spider is forgiven seven sins. On the other hand, misgir is also perceived as one of the hypostases of a brownie; it is believed that a spider in the house cannot be killed, since it brings wealth and prosperity. Surprisingly, both relationships converge in the image of Mizgir the merchant. Merchants have long been respected in Rus', endowed with special qualities and knowledge, almost magical, and even magical, thanks to their stay in distant countries, at the ends of the earth, which means proximity to the unknown, otherworldly and dangerous. (Remember the Novgorod epic Sadko, the merchant from “The Scarlet Flower”, etc.) Money, gold, wealth were usually perceived as a sign of either a miraculous gift or chance, or as a consequence of robbery, an unclean and dishonest deal.

Among the people, the spider is associated with marriage and love themes. In the wedding rituals of Belarusians and residents of Western Russian provinces, complex figures woven from straw are used - symbols of happiness and a strong union. Such an object was called a spider; it was attached to the ceiling of the hut, often above the table where the wedding feast took place. Mizgir is an overseas merchant - although from the Berendey family, he is a stranger, cut off from his roots. In this sense, he is a real fairy-tale groom - unknown and rich, giving happiness to the heroine, but also a wedding “stranger” - a groom who arrived from overseas, “from beyond the forest, from beyond the mountains” and is associated primarily with the - statements about separation and captivity. Mizgir’s ardor, selfishness, and aggressiveness are akin to the exact opposite pole - the coldness and passivity of the Snow Maiden. Both in their extreme manifestations are alien to ordinary Berendeys and dangerous for the community of people.

Let us add that there is a well-known ritual dedicated to the end of summer - the expulsion of insects from the house through the ears of the new harvest. Cockroaches, spiders, and bedbugs are collected in boxes and buried (buried) in the ground with the words: “A sheaf of rye is in the house, cockroaches are out!”

Thus, the very topic of getting rid of insects, taking the guise of a nursery rhyme, and once, perhaps, a serious ritual, was relevant for traditional society. And in certain situations, expelling and killing the spider (mizgir) was considered a good and necessary thing. Another addition - magical rituals of causing rain with the help of spiders are known, which emphasizes the original, mythological involvement of the spider in the water element, in the non-human world. In the context of “The Snow Maiden”, all popular ideas about the spider seem to converge, which justifies the expulsion of Mizgir from the borders of Berendey’s kingdom and forces us to consider his death as a return to his native (non-human) element, to another world, which, Naturally, it was understood as the restoration of lost order and justice and contributed to the return normal life, the arrival of the Yari-ly Sun and summer. Water turns out to be the Snow Maiden’s native element, her essence and normal natural existence in the spring and summer, so the death of lovers is a return to nature. Merging in one element unites them - different, but identical in their alienness towards people and in the doom of death for the sake of eliminating disharmony in the world.

There are many similar examples of a subtle, precise, deeply meaningful approach to traditional Russian culture in The Snow Maiden.

The opera, created by Rimsky-Korsakov, at the libretto level retained both the plot and poetic basis of Ostrovsky’s work.

Of course, the folklorism of the opera is more obvious and vivid due to the inclusion of genuine folk songs and tunes, folklore techniques of onomatopoeia, folk cries and laments, thanks to the musical imagery, an amazing system of leitmotifs, rich and lush instrumentation.

N.A. Rimsky-Korsakov repaid a hundredfold to the people who generously revealed to him a thousand years of spiritual wealth, presenting his brilliant creative fantasy on the themes of Ancient Rus' in a new, modern form.

Komarova A.

ON LITERATURE

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Introduction.

The better we know the past, the easier it will be
the more deeply and joyfully
let's understand the great meaning
the present we create.
A. M. Gorky

“Tell me how the people lived, and I will tell you how they wrote” - these wonderful words of the great Russian scientist academician L.N. Veslovsky can also be attributed to oral creativity: as the people lived, so they sang and told stories. Therefore, folklore reveals folk philosophy, ethics and aesthetics. M. Gorky could say with full good humor that “ true story you cannot know the working people without knowing oral folk art.” The song serves as a source for studying the history, life and customs of the people, their spiritual make-up and character. The texts of songs from each era contain regional, historical, cultural, everyday, spiritual, value, and political information. The song reflects the lexical-semantic, morphological, word-formation and syntactic features of language development.

Everyone knows the captivating power of Russian folk songs. They have the ability not only to penetrate deeply into the soul, but also to evoke empathy.

This wonderful genre of folklore has become an integral part of our lives; it has confirmed its right to exist, having passed the long test of time. The sociocultural changes taking place in Russia in recent decades have a significant impact on speech and language processes and cannot but affect the song creativity of domestic authors, since song is one of the most dynamic genres of mass culture.

Topic: folklore elements in modern art songs.

Relevance of the topic: Russian art song as a phenomenon that combines poetry, music and performance, and as a unique social movement The Russian intelligentsia belongs primarily to the world of folk culture.

Purpose of the study: to identify folk elements in modern art songs.

Object of study - modern art song.

Subject of study– text of a modern art song.

The practical significance of the work lies in the fact that this research can be used in further studying the phenomenon of the author's song, in the practice of school and university teaching of folklore and other disciplines studying ethnicity and folk culture.

In accordance with the purpose and hypothesis of the study, the following tasks were set:

Analyze the poetics of the texts of Russian folk songs;

Establish the degree of influence of folklore on modern art song.

Research materialThe texts of popular art songs from the last 20 years and Russian folk songs were used. The main criteria for selecting material were the presence of song lyrics in modern collections and periodic printed publications the last 20 years, repeated playing of songs in music radio and television programs, publication of song lyrics on Internet sites.

Material selection made subject to certain restrictions. The objects of study were not: 1) songs, the verbal part of which represents exemplary texts of classical and modern literature(songs based on poems by S. Yesenin, M. Tsvetaeva, B. Pasternak, E. Yevtushenko, A. Voznesensky, B. Akhmadullina and other poets); 2) “secondary works”, i.e. songs written and performed earlier and now presented in a new musical arrangement, in a new performance; 3) texts of thieves, half-thieves, and yard songs; 4) lyrics of songs of modern informal groups containing profanity.

Main part.

1. Poetics of the texts of Russian folk songs.

Fairy tales, songs, epics, street performances - all this different genres folklore, folk oral and poetic creativity. You can’t confuse them, they differ in their specific characteristics, their role in people’s life is different, they live differently in modern times. No people in Europe have such a wealth of songs and tunes, beautiful and original, as the Russian people. More from XVIII century we have evidence of how our songs surprised foreign musicians with their freshness and musical beauty. For example, composer Paisiello, having heard Russian songs, could not believe “that they were a random creation ordinary people, but believed them to be the work of skilled musical composers"

Folk song- a musical and poetic work, the most common type of vocal folk music. Folk song is one of the oldest forms of musical and verbal creativity. In some ancient and partly modern types folk music exists in unity with dance, playing, instrumental music, verbal and visual folklore. Its isolation is the result of the long historical development of folklore.

The famous expert and collector of Russian songs P. V. Shein divided his multi-volume collection of Great Russian songs (up to 3 thousand) into two main categories, on two sides of the life of a peasant - personal and public: a) songs reflecting the main moments of a person’s life - birth , marriage, death - but within one’s family, one’s own volost, and b) songs that express the transition to social, state life. Lopatin, excluding epics from them, divides all Russian songs into two categories: 1) lyrical songs, including most historical songs, and 2) ritual songs - weddings, round dances and games. This classification holds up less to criticism because the lyrical and personal element is to a certain extent inherent in ritual songs.

Folk song is distinguished by a wealth of genres, different in origin, character and function in folk life. An essential feature of most traditional genres is the direct connection of folk songs with everyday life and work activities (for example, labor songs accompanying different kinds labor - hauling, mowing, weeding, reaping, threshing and others, ritual, accompanying agricultural and family rituals and festivals - carols, Maslenitsa, Vesnyanka, Kupala, wedding, funeral, calendar games, etc.). Historical folk songs are valuable because they reflect real events of past years. Passed from generation to generation without significant changes, they preserved their plots and characters, forms and means of expression for many centuries.

The themes of historical songs are varied and multifaceted: wars, campaigns, popular uprisings, incidents from the lives of kings, statesmen, and riot leaders. From them one can judge the people’s attitude to what is happening, their priorities and moral values.

Dance folk songs are inseparable from various folk dances. Lyrical songs received the greatest musical development in the folklore of all nations. They are sung solo, ensemble, choir. It was in this genre that they appeared higher forms polyphony, complex melodic and musical-poetic compositional structures. The diversity of the content of lyrical folk songs is primarily due to the diversity of social groups that create and perform them (farmers, artisans, workers and others). Each social group society has its own song lyrics.

In folk songs, the strophic and verse form predominates, often with a compositionally distinguished chorus. The poetic stanzas (verses) of each folk song, which differ in content, usually correspond to one tune, which varies with repeated repetition (throughout the entire song).

“WE SOWED MILLET”

And we hired the land, hired it.

Oh did-lado hired, hired.

And we sowed millet, sowed,

Oh dil-lado, they sowed, they sowed.

And we will trample down the millet, trample it down.

Oh dil-lado, let's trample, trample.

What should you use to trample, trample?

Oh dil-lado, trample, trample?

And we are her horses, horses,

Oh dil-lado, horses, horses,

And we will take the horses captive, we will take them captive,

Oh dil-lado, we’ll take you prisoner, we’ll take you prisoner.

1. Genre – work, round dance, dance.

3. Verse form: strophic with repetition of one of the syllabic groups.

And we millet / sowed, sowed.

Oh, dil-ladoo, / sowed, sowed.

4.The key of the song is G major.

5. Rhythm – smooth, with a chant of each syllable.

6. A tune consists of a musical phrase repeated many times. Each syllable in the song is sung, this gives it a playful, dance-like character.

1. Features of the author's song.

The author's song is a multifaceted, living, constantly evolving phenomenon. In the beginning, original songs were not called that way. It was called amateur until such famous literary artists as B. Okudzhava, V. Vysotsky, A. Galich, N. Matveeva - true professionals - became involved in the process of understanding their role in culture.

The author's (bardic) song is an original cultural phenomenon of our country. Its origins lie in oral folk art. The author's song is modern folklore, a mirror of the life of Russia at different historical stages. The author's song is a modern genre of oral poetry (“singing poetry”), formed at the turn of the 50s - 60s. in the informal culture of students and young intellectuals. In itself, “sung poetry” - oldest species creativity, known to the cultures of almost all nations, and it is no coincidence that representatives of art song are often called “bards”, compared with ancient Greek lyricists, Russian guslars, Ukrainian kobzars, etc., based primarily on the fact that the modern “bard”, like the ancient poet, he usually sings his poems to his own accompaniment on string instrument(most often - guitar). However, these are still external, and, moreover, not always obligatory, signs of the genre. The term “author’s song” was introduced (according to legend, by V.S. Vysotsky) in order to emphasize its personal character, in order to separate it, on the one hand, from the songs supplied by the professional stage, and on the other, from the urban folklore that gave birth to it and unpretentious “homemade” songs, composed, on occasion, for “their company”, “their institute”, and of little interest to anyone outside this narrow circle.The soil on which the author's song grew is, first of all, our Russian folklore: a ditty, laconic, metaphorical, witty; urban romance, soldiers' songs.

Author's song as part modern folklore in our country developed rapidly during the Khrushchev “thaw”. But against the backdrop of the general confusion, young people noticed and picked up the first songs of Yuri Vizbor, Ada Yakusheva, Mikhail Ancharov, Alexander Gorodnitsky, Yuli Kim...

With the traditional transmission of an author's song in oral form, an important feature characteristic of oral colloquial speech is manifested - the ability of a person, within one text, to prove himself as a subject of speech, action, to realize evaluative and emotional plans, which psychologically enriches the text. However, the lack important components, characteristic of oral colloquial speech - unpreparedness, spontaneity, dependence on the situation - does not allow us to identify it with an original song. Consequently, these texts are at the junction of oral (in form) and book (in content) speech.

The personal element permeates the author's song and determines everything in it - from the content to the manner of presentation, from the stage appearance of the author to the character lyrical hero. And in this sense, modern “sung poetry” is a deeply intimate, even confessional art. The level of trust and openness here significantly exceeds the norms acceptable in professional creativity.

It goes without saying that such a song, unlike mass pop production, is not addressed to everyone. It is addressed only to those whom the author trusts, who are in tune with him, are ready to share his thoughts and feelings, or, at least, are mentally disposed towards him. Therefore, the audience, its composition, its mood, even its size are an important component of the art song genre.

Musically, the author's song was based on that layer of common, easily recognizable and beloved intonations that existed in her environment and was formed from a wide variety of sources. Among them are everyday romance, student and courtyard folklore (including the thieves' song), folk song, popular dance music, songs Soviet composers and so on. Wartime lyrics played a special role in preparing the intonation ground for the author’s song.
The favorite heroes of their songs are climbers, geologists, sailors, pilots, soldiers, athletes, circus performers, troubled “kings” of city yards and their girlfriends - people are not just courageous and risky, but, above all, individuals.
Several stages can be distinguished in the development of an author's song. The first, the undisputed leader of which was the singer of the “Children of Arbat” B. Okudzhava, lasted until approximately the mid-60s. and was colored with genuine romanticism, in tune not only with the age of the audience, but also with the prevailing mood in society. Its content has not yet bothered the authorities, and they paid almost no attention to it, considering it a harmless manifestation of amateur creativity, an element of intellectual life. Nostalgia for the past, the bitterness of losses and betrayals, the desire to preserve oneself, one’s ideals, and a thinning circle of friends sounded more and more clearly in her. This lyrical-romantic line was continued in the works of S. Nikitin, A. Rosenbaum, V. Dolina, A. Dolsky, bard rockers (A. Makarevich, B. Grebenshchikov) and many others, but it did not determine the face of the author's song of her period heyday And if at the previous stage the leading role was played by the “song of wanderings,” then here the “song of protest” became such, the undisputed leader of which was V.S. Vysotsky, behind whom can be seen figures of varying importance: A. Galich, Y. Aleshkovsky, A. Bashlachev, V. Tsoi, Y. Shevchuk, K. Kinchev and many others. The aesthetics of a “protest song” - a protest against the absurdity of “Soviet” existence, against this sick society itself.

In the work of V. Vysotsky, the author's song has reached a level that remains the standard today. Since the mid-80s, after a short surge of general interest in the original song as everything that had recently been prohibited, its development has moved into a calm, now legal, professional direction. The number of “singing poets” and their performing skills are growing, the number of their organizations, concerts, and festivals is multiplying, numerous collections, cassettes and CDs are being published, but nothing fundamentally new is happening creatively. Both “veterans” and younger “bards”, among whom A. Sukhanov, K. Tarasov, G. Khomchik, L. Sergeev, duets of A. Ivashchenko and G. Vasiliev, Vadim and Valeria Mishukov, etc., gained popularity, exploit in their work, they once found techniques, increasingly turning into ordinary pop performers. The creative crisis of the author's song has become a fait accompli today.

1. The influence of folklore on modern art song

The author's song is an independent direction in art, which arose at the junction of two of its movements: folklore and the song direction of modern pop music. Distinctive features author's song as a genre: a) a special trusting attitude towards the listener, b) personal coloring of the songs, c) the presence of social and civic motives. Folk poetic traditions are very strong in the original song.

In this work we tried to analyze the songs of A. Rosenbaum and I. Talkov from the point of view of the use of folk poetic means.

1. Creativity of A. Rosembaum

Rosenbaum actively invades life with his creativity, acting boldly, talentedly, and brightly. He helps people. He strives to educate them, appeals to their hearts, to the best that no system can kill. As an interpreter, he can be said to create an image of a song that penetrates the soul - and in this he is Vysotsky’s associate and heir.

The very names of the songs speak for themselves: “Kuban Cossack”, “Shackled”, “Oh, Dudari, Dudari” (“Scene at the Fair”), “On the Don, on the Don” and others. It should be noted

The girl went crazy and went into the chest:

He's dragging a white dress - maybe suddenly?

If we don't wash, we'll ride

She'll be lucky with the soldier.

Maybe he's wooing

Dear friend…

Elements corresponding to folk poetry:

1) doubled words (these elements are characteristic of skaz):

Far, far away, they go and go, they run and run;

2) connected words:

She screamed and began to fight, with fences and tines, mockingbirds, ladies and nobles;

3) epithets:

Black thought, good horses, daring riders, evil sadness, mind-mind, path-path, dog-soldier, girls-maidens.

However, the opposite is often observedword order (inversion), for example, the song “0y, dudari, dudari” full It was built using folk elements:

Oh dudari, dudari, lapotniks, guslars.

Mockingbirds!

Blessed heads, ring the Tsar Bell,

Have fun, ladies and gentlemen!...

4) The use of the conjunction “yes” in the meaning of “and” is typical:

Rus' is baggy, barefoot,

With towers and forts.

And in the steppe there is freedom...

5) Using magic numbers:

- “thirty-three fulfilled wishes”, “far away lands”;

6) use of folk signs. For example, in the same song “Oh, Dudari, Dudari” there are a number of signs indicating that there is trouble:

...If you don’t give birth in winter, they will take you away.

The turtledove screamed and started screaming

Yes, the horseshoe fell in the upper room.

An owl flew into a clearing and sat down,

Voronoi crashed down from the cliff.

3.2. Creativity of I. Talkov.

Igor Talkoy occupies a special place among representatives of the art song, because. he is the author of social, journalistic, civil songs that are distinguished by their genre diversity; These are songs-screams, songs-protests, songs-confession, songs-ballads.

1. It should be noteda large number of elements characteristic of colloquial speech:

I don't dare to prophesy
But I know for sure that I will return
Even after a hundred centuries
To a country not of fools, but of geniuses

1. In paragraph 1 of the work, we noted that historical folk songs reflected real events of past years. I. Talkov reacted very sharply to the events taking place in Russia and reflected this in his work (“Mr. President” (1991), related to the political realities of August 1991, “I’ll be back”, etc.).

3)Use of epithets, metaphors,comparisons and especially repetitions:

The memory no longer stings,
Thoughts don't hit hands
I'll see you off
To other shores.
You are a migratory bird,
You look for happiness on the way,
You come to say goodbye
And leave again.

Summer rain, summer rain
Started early today.

Conclusion.

1. Folk song is distinguished by a wealth of genres, different in origin, character and function in folk life.
2. The author's song, being a sociocultural phenomenon of the 50s -70s of the XX century, expressed ideas and images that were different from the official culture of the “Khrushchev era”. This movement of youth and urban intelligentsia was characterized by individual self-expression, freedom of speech
3. A modern art song combines elements of folklore.
4. Widespread use of folk poetic artistic and visual means traditional for folklore in modern art song

1. Introduction………………………………………………………………………………3

2. Poetics of the texts of Russian folk songs…………………………6

4. The influence of folklore on modern art song………..13

5. Conclusion………………………………………………………17

6. Literature……………………………………………………….18

MBOU secondary school in the village of Bolshoye Popovo

RESEARCH WORK

ON LITERATURE

“FOLK ELEMENTS IN A MODERN AUTHOR’S SONG”

Prepared

7th grade student

Komarova A.

Supervisor:

teacher of Russian language and literature

Konstantinova G.S.

2012

Literature

1. Literary encyclopedic dictionary. – M., Soviet encyclopedia, 1987..
2. N.I. Kravtsov. Poetics of Russian folk lyrical songs. - M., 1974.
3. S.G. Lazutin. Russian folk lyrical songs, ditties and proverbs. - M., 1990.
4. T.V. Popova. About the songs of our days. - M., 1969.
5. Anthology of original songs. // Russian speech. - No. 1-12. – 1990.

Internet resources:

1. grushin. samara. ru - all about the Grushinsky Art Song Festival

2. www. bards. ru - all about bards, biographies, lyrics, audio recordings.

3. lib. ru/KSP/ - lyrics with chords, audio recordings

6. bardz. by. ru – all about bards, biographies, lyrics, audio recordings.

7. http://www. bardic. ru/ - history, biographies, PCB and much more

8. www. mityaev. ru – Oleg Mityaev’s website.

Analysis of folklore elements of “The Tale of Woe-Misfortune”

everyday story folklore

Among the everyday stories of the 17th century, one of the most significant is “The Tale of the Mountain of Misfortune,” which was discovered by academician A.N. Pypin in 1856 among the manuscripts of the collection of M. N. Pogodin (State Public Library named after Saltykov-Shchedrin). Its full title is “The Tale of Grief and Misfortune, how Grief-Misfortune brought a young man into the monastic rank.” The story is based on a fairy-tale motif - the animation of Grief, however, its theme is far from fairy-tale - topical for that time, about parents who adhere to the old days, and about children striving to live according to their own will.

The Tale has only one person as its hero. This is a monodrama. All other characters are relegated to the shadows and are characterized by the author through the plural, which is most clearly contrasted, albeit generalized, but at the same time, with the fundamental “uniqueness” of the protagonist (“father and mother,” “friends,” “good people,” “ naked and barefoot", "carriers"). Only at the beginning of the story is it said about one “dear friend” who deceived and robbed him. But this only concrete human character in the story, besides the Good Man, is depicted in such a generalized way that he is more likely perceived as a symbol of all his drinking companions than as a specific person. There is only one brightly lit character in the story - the unlucky and unhappy Well done.

True, in “The Tale”, besides the Well done, there is another clearly depicted character - this is Grief-Misfortune itself. With his introduction, the “Tale” takes on a fabulous quality. But this character, although fictitious, nevertheless represents the alter ego of the Well done himself. This is his individual destiny, a unique embodiment of his personality. Grief is inseparable from the very personality of the Well done. This is his fate, chosen by him of his own free will, although it subjugated him to itself, relentlessly following him, clinging to him. It does not pass to Molodets from his parents and does not appear to him at birth. Woe-Misfortune jumps out to the Young Man from behind a stone when he has already chosen his own path, has already left home, became a homeless drunkard, made friends with the “naked and barefoot”, dressed in a “tavern gunka”.

The work is permeated with folklore symbolism and imagery. The author widely uses folk song language, common epithets and repetitions (“ Gray wolf", "damp earth", "valiant prowess").

It was the genres of folk songs and epics that determined the new things that this story introduced into Russian prose of the 17th century: the author’s lyrical sympathy for his hero and folk-poetic artistic elements.

However, it should be noted that the everyday descriptive element in the story is unique. In the narrative there are no precise ethnographic details indicating the location of the action, geographical concepts (list of cities, rivers), the time of action, the characters are not named, and no historical signs of time are found.

The everyday background is recreated by indicating the everyday rules of society, through a description of the parental sermon, the practical wisdom of merchants, household advice, and moral instructions. The moral covenants of good people and relatives create a moral atmosphere in everyday life, however, devoid of historical specificity.

The picture of everyday life is also complemented by individual ethnographic details, although not numerous enough - the “tavern yard” where the good fellow finds himself, “an honest feast”:

And in the yzbe there is a great feast of honor,

guests drink, eat, make fun...

In the story, individual elements of clothing are named: “living room dress”, “tavern gunka”, “dragye ports”, “chiry” (shoes), bast shoes - “heaters”. There is no specific specificity in the description of the scene of action. Details of the surrounding world are drawn in the spirit of folk poetics: “a foreign country is distant, unfamiliar.” It is mentioned without specifications about the “hail”, the hut “with a high tower” in the yard.

Constant elements and epithets indicate folk style and involvement in folklore folk tale. As, for example, in the scene of Grief’s pursuit of the Young Man: “clear falcon”, “white gyrfalcon”, “rock dove”, “feather grass”, “grass grass”, “sharp scythe”, “violent winds”, etc. In the description the specific dynamics of folk speech are conveyed:

Well done flew like a clear falcon,

And Grief follows him like a white merlin.

Well done, he flew like a rock dove,

And Woe follows him like a gray hawk.

Well done, he went into the field like a gray wolf,

And Woe is behind him and the greyhounds are polite.

Well done, the feather grass grass stood in the field,

And grief came with a scythe.

From folk poetry, with its characteristic repetitions emphasizing the intensification of the action, came the spell pronounced by Grief in the scene of the pursuit of the Molodets:

You, little grass, will be whipped,

You, little grass, lie cut down.

And the violent winds will be scattered for you.

In the spirit of folk poetry, lamentations are also given good fellow, addressed to Gore:

Oh, for me, Gorin’s misfortune!

I, the Young Man, was getting into trouble:

It starved me to death, a fine fellow.

The techniques, formulas, and constant epithets of the epic style used in the story are typical of folk poetry. So, for example, in the description of the custom according to which the Well done comes to the feast: he “crossed his white face, bowed in a wonderful way, beat his forehead good people on all four sides." The young man is sad at the feast: "at the feast he sits gloomily, gloomily, mournfully, joyless." As in folklore poetics, Grief initially appears to the young man in a dream, elements of reincarnation are also present in the story (Grief takes the form of the Archangel Gabriel) .

However, the work contains not only a folklore style, but also a bookish language, which is revealed primarily in the introduction to the story, which sets out the origin of sin on earth after Adam and Eve violated God’s commandment not to eat the fruit of the vine. He is also present in the last lines of the story. Both the introduction and the conclusion bring it closer to works of the hagiographic genre. The book tradition is evident both in some typical bookish epithets of the story and in its thematic proximity to book works on the topic of drunkenness.