One of the dramatic genres of folklore is. What is folklore and what genres does it include?

09.04.2019

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, freckles), family folklore (family stories, lullabies, wedding songs, lamentations), occasional folklore (spells, chants, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. Folklore drama includes: 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 fairy 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.

Folklore

ritual

non-ritual

calendar folklore

carols, Maslenitsa songs, spring flowers,

stubble songs

folk drama

Parsley theater, 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

conspiracies, 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, tale, 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 chauffeur bikes.

Ballad (ballad song, ballad verse) is one ofgenresRussianfolklore that arose from folk song 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.”

Riddle - 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 evoke 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: description 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: Philly the simpleton), which is what makes them 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 true 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 the 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”. The proverbs capture the life experience of the people: People quarrel, but 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 of 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.

Tale - oral folk story, telling 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 crop, here was main topic the sun - the source and continuation of life, light and warmth, the theme of cereals and other plants, the song-games 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.

Carol 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 under New Year. 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 apparent 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, 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 their own code of honor, the desire to comprehend what is happening (“dum dumati”), 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,” i.e., 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 swan, especially beloved in Rus'. The duck and the swan are symbols of eternal femininity, each of which reflects complex vicissitudes 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 placed bread and salt on the tray, and occasionally money; then the guests made offerings. Dialogue songs were extremely popular at weddings. A typical example of girlish songs (performed at a bachelorette party) is 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 grandeur was replaced by the expression of an ideal type of moral behavior, beauty, and 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. Corruption 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 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

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Each exam question may have multiple answers from different authors. The answer may contain text, formulas, pictures. The author of the exam or the author of the answer to the exam can delete or edit a question.

Folklore 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, stoneflies), 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: the Parsley Theater, nativity scene drama, and religious drama. Folklore poetry includes: epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic rhymes. Folklore prose is again divided into two groups: fairy-tale and non-fairytale. Fairy-tale prose includes: a fairy tale (which, in turn, comes in four types: a fairy tale, a fairy tale about animals, an everyday fairy 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, quick-talks and some others.

An anecdote is one of the genres of folklore: 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 fellow villagers.

A tale is a traditionally male oral story of a playful 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 of the genres of Russian folklore, which arose from a folk song with tragic content. The most important characteristics of ballad songs are epicness, family and everyday 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 foreigners), 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 the 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 ethics 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 supposedly took place in real life. The reliability and factual nature of these stories is confirmed by specific names; exact geographical names of the place of action. The world of fairy tales is simple and well known. 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: toss-ups, chants, teasers, lullabies, dog songs, sayings, nursery rhymes, counting rhymes.

A boring fairy tale (from bother - to bother) 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 transcriptions by the people of the fundamentals of Christian doctrine. Popular names for spiritual poems: antiquities, psalms, poems. A characteristic feature of spiritual poems is the opposition of the religious to the worldly. One of the oldest spiritual poems, “Adam’s Lament,” 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 has not received 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, 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 ambassadorial negotiations, expressed the prohibitions of family life, and served as a poetic means of transmitting 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 sound sleep, tame the anger of an angry mother, keep someone going to war unharmed, develop sympathy for someone, something, etc.) or the power of action. birth: “grow, 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, Zhniv-nye) - 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.

Legend is one of the genres of folklore, telling about the wonderful, fantastic, which determines its structure and system of images. One of the ways a legend arises is the transformation of legend. Often oral stories about historical figures or events to which absolute authenticity is attributed (legends about the founding of Kyiv) 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 topic, 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 is a name that unites a group of Russian folklore genres of different nature and origin, extremely small in size (sometimes in two words: Phil the simpleton), which is their main value. This includes jokes, 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 seem funny at first, gradually creates a single picture of a “shifted”, “inverted” 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, song, the richest layer of Russian folklore, is described incompletely and contradictorily. The genre division of songs into historical and ballad, bandit and soldier, lyrical and round dance is quite arbitrary. 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 the 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 it an assessment: 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.

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 of 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.

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.

For ancient man there is no gap between him and the animal world. He views animals primarily as beings equal to him not only physically, but also socially. For a person, the world around him is populated simply by different tribes with the same social structure as his, and the attitude towards these tribes is either peaceful or hostile, depending on how the attitude of the animals themselves towards him manifests itself. And our ancestors took the exceptional instincts of animals as manifestations higher intelligence, considering some not only equal to himself, but also superior to himself. Fairy tales about animals organically combine other subjects (everyday and magical), and sometimes it is completely impossible to draw a line between genres. Mythopoetic ideas about nature, expressing a certain knowledge of the world with the help of images of animals and birds, are intertwined in fairy tales with live observations of animal habits, show a gradually growing spirit of competition between man and animal, defending their rights to life, fight for spoils and territory. Everyday tales and fairy tales about animals are distinguished by extraordinary optimism and gentle humor that permeates the narrative. As the person became stronger and more confident, folklore images animals acquired a different, more “lenient” coloring: the wolf from a villain turned simply into a fool (“the beaten unbeaten is lucky”), the formidable bear, the totem animal, was endowed with good nature: Mashenka ordered to take gifts to the old people - and he did.

Other fairy tales, everyday (novelistic), are characterized by confrontation between social heroes: a man (his son or daughter) competes in intelligence and intelligence with merchants, priests, and even with the king himself. Much attention is paid family conflicts with an unfaithful, chatty or “perky” wife, with a younger brother (son) who is a fool, who is invariably lucky (“luck is for fools”), despite his natural stupidity. The anthropomorphism of Russian nature in folklore works concerns not only the Mother of the Raw Earth, but also trees, primarily oak and birch, capable of talking, giving advice and predicting the further course of events. Trees in fairy tales are man's faithful friends and helpers; they provide shelter from enemies, give magical objects, reveal treasures and secrets, rewarding heroes for their work and patience. Thus, fairy tales reflect the life and ideas of different tribal inhabitants (of the territory that later became Russian) at the stage of the emergence and collapse of the primitive communal system. Both fairy tales about animals and legends associated with belief in the spirits of nature and plants, as well as ritual songs and children's folklore are characteristic of totemic societies, natural for this stage of pagan human relations with the world.

Skomoroshins are diverse songs of the mischievous art of skomorokhs: jester oldies (epics - parodies), parody ballads, songs-novels of comic content, fables. They have one thing in common - laughter. If in the classical genres of Russian folklore laughter is only an element of content , then 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 used by the people 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 rhymed song with humorous or satirical content. The ditties are performed at a cheerful, enthusiastic tempo, accompanied by an accordion.

2. Calendar-ritual poetry

Vesnyanka is a song calling for spring and warmth. Ves-nyanki sounded 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 “early” went out into the fields and harvested the harvest, “so that there will be, why jig well, okay "

Game song is a type of spring-summer songs in calendar-ritual folk poetry. Already in the titles of this type of songs, a cheerful mood is reflected, caused by the onset of the 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 to the 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 dances, 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, follow each other around the hut, intertwine their hands, round the line, “curl” in a ball (“braid, 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 Avsen. 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 highlight songs of celebration and songs of request:

The Maslenitsa song is an invitation to the wide and generous swarm of Maslenitsa (she is sometimes called Avdotya Izotyevna).

Podludnye songs - 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 sub-dish song contained an allegory by which the future was judged.

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, towing ships loaded with goods; in addition, they were both loaders and porters.

Historical songs are songs whose origins are associated with a particular historical event or person. At the same time, individual nuances of the event (“I am from the Kama River, Stenka Razin’s son”) or the characterization 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. -falsity. Unlike epics, with their unchanged ethical 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 XVII-XVIII 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 apparent simplicity, historical songs have a wide 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 - are widely used , mountain ash, etc.

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, my canopy”, “There was a birch tree in the field” are widely known.

Robber songs - 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 their own code of honor, the desire to comprehend what is happening (“dum think”), and a courageous readiness to accept all the vicissitudes of fate.

Wedding songs are songs that accompanied all the wedding events from matchmaking to the “prince’s table,” i.e., 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. The bride and groom, a married couple in lyrical songs are symbolized by the inseparable Utushka and Drake or the swan and 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 and lamentations, and corrugations. 1. Wedding sentences were pronounced mostly by the groomsmen, 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 placed bread and salt on the tray, and occasionally money; then the guests made offerings. Dialogue songs were extremely popular at weddings. A typical example of girlish songs (performed at a bachelorette party) is 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 grandeur was replaced by the expression of an ideal type of moral behavior, beauty, and 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 - the service of the sovereign"), describe difficult moments of parting with relatives ("From your young eyes, tears roll like a river flows"), the hardships of barracks life ("What a day - then, not even a night for us, little soldiers, will calm down: Dark night comes - to be on guard, White day comes - to stand in the ranks") and often inevitable death in battle.

Among the 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 Khors (cf. good, mansions, horo-vod). 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 included in the content of the song were depicted. The most popular round dance songs have survived to this day: “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 the “serving 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.

4. Children's folklore

A teaser is a mocking joke of a rhyming nature aimed at demoralizing an enemy:

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 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 book is a rhymed poem, with the help of which playing children distribute roles and set the order for starting the game.

Hello, dear readers of the blog site. Modern literature has its beginning and one of its forerunners was the folklore genre.

Even before the invention of printing, works of folk art were passed on by word of mouth.

Let's take a look today at what folklore is in the modern sense, what functions it performs, who studies it and how, by what features folklore works can be distinguished and, of course, let's look at examples of such works in Russian creativity.

Folklore is our genetics

The term "folklore" (from the English folk-lore " folk wisdom") appeared in Europe at the turn of the 18th-19th centuries. In Russia it began to be actively used in the 30s of the 19th century.

He generalized ideas about literary and musical works (songs, dances) created by a group of unknown authors from the people over several tens (or hundreds) of years in the distant historical past.

Until the twentieth century, folklore also called works of decorative, applied and architectural creativity.

Simply put, folklore is oral folk art. Currently, the concept is actively used in the musical and literary sense.

We are interested in the latter, and it is important to note that it is the first source of the emergence of fiction. Its second source - spiritual literature created in such cultural centers as monasteries - influenced the people's worldview with a cementing moral principle.

Folklore opened the floodgates of everyday colloquial speech, the sources of verbal imagery and fairy-tale fantasy.

Genres of folklore

Works of oral folk art are usually divided into three varieties:

Lyrical;
Epic;
Dramatic.

As in fiction, epic, and are represented by traditional genres for each of the genera. Lyrical songs reveal hidden themes of folk life.

The following types are distinguished:

historical;
love;
wedding;
funeral;
labor;
road (drivers);
robbers;
comic.

Epic genres- , fairy tale, fairy tale, true story, fable, bylichka, byvalshchina.

Small genres folklore - proverb, saying, tongue twister, riddle, joke - also elements of the epic.

To present folklore dramatic works, you need to see the folk fair theater "rajek". The texts for him were written in a special verse - raeshnik. Christmas mysteries, farcical comedies, cartoons, everyday sketches - all this is folk drama.

Features of folklore works

Having carefully read the definition, we can identify several important features of folklore:

it's our genetics. If a people disappears from the face of the Earth, its culture can be “pieced together” with the help of fairy tales, legends, proverbs, and songs.

Russian folklore

Works of Russian literary folklore are studied from the first stages schools. These are Russians folk tales, proverbs, riddles. Older children get acquainted with epics about Russian heroes.

In high school schools study folklore sources of works classical literature: stories and poems by A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol. Without knowing folk stories and characters, which in a sense have become the ABC of national imagery, it is impossible to fully understand the diverse world of Russian culture.

Many people think that apart from “Chicken Ryaba”, “Kolobok” and “Turnip” the Russian people have nothing to tell. This is wrong. Open the collection fairy tales- exciting reading is guaranteed!

In a moment of lyrical melancholy, leaf through the collection folk songs, or better yet, listen to them in musical accompaniment. What is sung about in them concerns everyone, touches the most secret strings, causes both smiles and tears. This is our sounding life, our knowing that everything in the world is repeatable.

What is the meaning of folklore works

Folk art is always functional, it does not appear out of nowhere and always has a clear goal. Scientists suggest share works of folklore for the following types:

Ritual;
Non-ritual.

The first type describes the repetition of ritual actions and life events that are significant for many generations. Ritual folklore is divided into family and calendar. The first concerns the milestones of family life: matchmaking and weddings, the birth of children, the death of relatives. It is widely represented by wedding and funeral songs, lamentations, and incantations.

Worth it separately children's folklore with his lullabies, nursery rhymes, petes.

Non-ritual folklore is associated with the calendar circle of peasant life: the change of seasons and economic activity hard worker-farmer. Each event of the cycle is accompanied by special songs: carols, chants, smells, etc.

Non-ritual genres include epics, fairy tales, ditties, riddles, proverbs, and sayings.

Studying folklore

You see how important folklore is! That is why to study it it was necessary to create a separate scientific discipline. It's called folkloristics. Along with ethnography, this science explores the life of ordinary people.

Ethnographers are engaged in describing dwellings, clothing, dishes, food, rituals, discovering objects material culture, A folklorists do the same when studying artistic expression.

Their goal is to trace how the types and genres of artistic creativity changed, how new plots and motifs appeared, what social and psychological phenomena were reflected in certain works.

Outstanding domestic scientists I. M. Snegirev, I. P. Sakharov, F. I. Buslavev, A. N. Veselovsky, P. N. Rybnikov, V. Ya. Propp and many others became the first collectors of folklore works.

Under their editorship, collections of proverbs and tales were published, recorded by them on expeditions around the country. By obtaining ancient examples of folk art, folklorists give readers a rich world of our sounding past.

Good luck to you! See you soon on the pages of the blog site

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✪ Literature 5 (Arkhangelsky A.N.) - Meetings with folklore: small genres.

✪ Riddles - small genres of oral folk art

✪ Literature 5 (Arkhangelsky A.N.) - Meetings with folklore. Folklore is a helper in the game

Subtitles

Types of small genres of folklore

Lullaby

Lullaby- one of the oldest genres of folklore, as evidenced by the fact that it retains elements of a talismanic conspiracy. 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

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 my hands I grab something,
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

Nursery rhyme- an element of pedagogy, a song-sentence that accompanies playing with a child’s fingers, arms and legs. Nursery rhymes, like pesters, accompany the development of children. Small rhymes and songs allow you to encourage the child to take action in a playful way, while simultaneously performing massage, physical exercises, and stimulating motor reflexes. This genre of children's folklore provides incentives to play out the plot with the fingers ( finger games or Ladushki), hands, facial expressions. Nursery rhymes help instill in a child the skills of hygiene, order, and develop fine motor skills And emotional sphere.

Examples

joke

joke(from babble, that is, to tell) is 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,
He turned his head.

Proverbs and sayings

They teach something.

The road is a spoon for dinner.
If you're afraid of the wolf, don't go into the forest.
Birds of a feather flock together.
You can’t even pull a fish out of a pond without difficulty.
Fear has big eyes.
The eyes are afraid, but the hands are doing.
A rolling stone gathers no moss.
There is no need for treasure if there is harmony in the family.
Don't have 100 rubles, but have 100 friends.
An old friend is better than two new ones.
A friend in need is a friend indeed.
If I had known where you would fall, I would have laid out straws.
You make a soft bed, but sleep hard.
The Motherland is your mother, know how to stand up for her.
Seven do not wait for one.
If you chase two hares, you won't catch either.
The bee is small, but it also works.
Bread is the head of everything.
Being a guest is good, but being at home is better.
The wolf's legs feed him.
The master's work is afraid.

Games

There were special songs for the games. Games could be:

kissing. As a rule, these games were played at parties and get-togethers (usually ending with a kiss between a young guy and a girl);
ritual. Such games were characteristic of some kind of ritual, holiday. For example, Maslenitsa festivities (typical fun: removing a prize from the top of a pole, tug of war, competitions for dexterity, strength);
seasonal. Particularly common among children, especially in winter. We played the so-called “Warmers”: the leader shows some movements, and everyone else repeats. Or the traditional “collar” and “stream”.

An example of a kissing game:

Drake

The drake chased the duck,
The young man was driving sulfur,
Go home, Ducky,
Go home, Gray,
Duck has seven children,
And the eighth Drake,
And the ninth itself,
Kiss me once!

In this game, the "Duck" stood in the center of the circle, and the "Drake" outside, and played like a game of "cat and mouse". At the same time, those standing in the round dance tried not to let the “drake” into the circle.

Calls

Calls- one of the types of invocation 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

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. He sees a Greek: there is a cancer in the river,
He stuck the Greek's hand into the river -
Cancer by the hand of the Greek - DAC!

The bull was blunt-lipped, the bull was blunt-lipped, the bull's white lip was dull.

From the clatter of hooves, dust flies across the field.

Mystery

Mystery, like a proverb, is a short 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). This and folk pastime, and a test of ingenuity and ingenuity.

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 Yegor is coming.
He's on a cart,
On a creaking horse,
Belted with an axe,
The belt is tucked into the waistband,
Boots wide open
Zipun on bare feet.

General history

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.