Municipal budgetary educational institution
"Average comprehensive school No. 8 named after A.S. Pushkin"
Lesson Development
"Characters of the heroic and mythological epic in the folklore of the peoples of the world"
Russian language
and literature
Nikolaevna
Lesson Objectives:
Summarizing students' knowledge about folk characters different peoples, familiarity with the concept of "electronic album";
Skill Development comparative analysis based on literary texts, the practical application of this technique in compiling an electronic album;
Education of respect for the culture of different peoples, tolerance in communication, understanding of common cultural values.
Equipment: projection system, computer class
Formed UUD: subject, meta-subject, regulatory, personal.
During the classes:
Greetings to students.
Immersion in the problem with subsequent goal setting.
Show slideshow with images of folklore characters
What unites these images? (formulation of the topic of the lesson by students)
Who is on the slides? Who was a folklore hero, who was sung in folk tales and why? Why are you presented with different folk heroes? (formulation of goals and objectives by students)
How else can you portray a folklore hero?
III. Work with text:
Here are excerpts from the works of oral folk art, determine the image of the hero, his status. Determine nationality heroes, indicating signs. Find similarities and differences of the same folklore images different peoples.
What unites the works of oral folk art of different peoples?
What will help to combine the graphic and text images of the characters?
IV. Working on an electronic album:
Choose one of creative groups for work or create your own individual album from the proposed materials. Come up with the names of electronic albums, select pictures and text. Submit a job.
V. Presentation by students of their albums, with comments and arguments.
VI. Reflection:
- What did you like about the lesson? What caused the difficulty? Would you like to continue working on compiling the album?
VII. Homework.
Pick up material to continue compiling your electronic album or try to compose your own album by choosing the theme and structure of the album.
Methodological commentary, introspection of the lesson.
In this lesson, I tested the innovative technique "electronic album", respectively, the goals, ideas and tasks before me were the following:
Development of thought processes, analytical and logical;
Development of a search and research approach;
Development of creative qualities of the individual;
Mastering not only the results of cognition, but also the path itself, the process of obtaining these results (mastering the methods of cognition and creating your own product).
Key Ideas:
Formation of a child's creative approach to the study of the subject;
Development of aesthetic perception skills surrounding reality through images of works of art;
Formation and development of skills to create their own illustrative material that meets the requirements of learning effectiveness;
The possibility of self-realization for all students, taking into account their individual features and opportunities.
- form practical knowledge and skills in creating an electronic album;
Develop Creative skills through the aesthetic design of the slides;
Cultivate a conscious attitude to working with the text and respect for artistic word.
Pedagogical reception " Electronic Album" includes:
Topic selection
Organizing an album
Collection of information
Data processing
Result (electronic album).
Since this technique is unfamiliar to students, I chose the structure of the album and the information for it, and the students performed the rest of the steps on their own.
Used technologies:
Development of critical thinking; - productive reading;
Design;
Problem learning;
Level differentiation.
Used methods:
Heuristic, inductive, deductive, associative, exploratory, illustrative.
I believe that all the goals set have been achieved, the students have coped with the tasks set. Testing was successful this technique can be actively used not only to solve certain problems in the lesson, but also to illustrate design work. For the most effective result, I consider it necessary to continue working in this direction and plan lessons using this innovative pedagogical technique, as well as use it to protect students' project work, and continue work on the formation of UUD. Pay special attention to the individual ICT competence of students, the skills of search and research activities and a conscious attitude to working with text, as well as the development monologue speech students.
A myth is an ancient folk tale about legendary gods, heroes and incredible natural phenomena. Myth means tradition and tale, hence the current purpose of myth as a separate literary genre.
Myth and its place in literature
Such tales arose in primitive society, and therefore all sorts of early elements of philosophy, religion, and art are intertwined in myths. Distinctive feature myth is that it has recurring themes and similar motifs that can be found in the myths of different peoples and times.
It is believed that myths were the main way of knowing the world in primitive society, since they displayed acceptable explanations for many natural phenomena.
This is due to the fact that in myths nature appeared in the form of symbols, which sometimes were in the form of a person. Mythology is close to fiction in the form of figurative narration, therefore it is said that mythology had a huge impact on the development of literature as such.
IN works of art mythological motifs are very common and many plots are based on myths. An example of this would be literary works, like "The Magic Mountain" by T. Mann and "Nana" by E. Zola.
Heroic epic of different peoples and heroes of the epic
Each people is characterized by a certain heroic epic, which reveals the life and customs of certain nations, their values and view of the world. This genre medieval literature in which folk heroes and their exploits were sung. Often the epic was formed in the form of songs.
Heroic epic Eastern Slavs presented by the epic "Ilya Muromets and the Nightingale the Robber". The hero Ilya Muromets is the central figure of the entire Russian epic, he is presented as a defender of the people and his native land. This is the reason why such a character has become the people's favorite - after all, he reflects the main values of the Russian people.
The famous poem "Davil of Sasun" refers to the Armenian heroic epos. This work depicts the struggle Armenian people against the invaders, and his central figure is the personification folk spirit seeking to free itself from foreign invaders.
A reminder of the German heroic epic is the "Song of the Nibelungs" - the legend of the knights. The main character of the work is the brave and mighty Siegfried. This is a just knight who becomes a victim of betrayal and betrayal, but despite this he remains noble and generous.
"The Song of Roland" is an example of the French heroic epic. the main theme of the poem is the struggle of the people against enemies and conquerors. Knight Roland acts as the protagonist, noble and courageous. This poem is close to historical reality.
The English heroic epic is represented by numerous ballads about the legendary Robin Hood, robber and protector of the poor and unfortunate. This courageous and noble hero has a cheerful disposition and therefore he has become a real folk favorite. It is believed that Robin Hood is a historical character who was an earl, but gave up a rich life in order to help the poor and disadvantaged people.
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1 The concept of the heroic epic. "Epos" - (from Greek) word, narrative, one of the three types of literature that tells about various events past. The heroic epic of the peoples of the world is sometimes the most important and the only evidence of past eras. He ascends to ancient myths and reflects a person's ideas about nature and the world. Initially, it was formed in oral, then, acquiring new plots and images, it was fixed in writing. The heroic epic is the result of collective folk art. But this does not detract from the role of individual storytellers. The famous "Iliad" and "Odyssey", as you know, were recorded by a single author - Homer.
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"The Tale of Gilgamesh" Sumerian epic 1800 BC The Epic of Gilgamesh is written on 12 clay tablets. As the plot of the epic develops, the image of Gilgamesh changes. The fairy-tale hero-hero, boasting of his strength, turns into a man who has known the tragic brevity of life. The mighty spirit of Gilgamesh rebels against the recognition of the inevitability of death; only at the end of his wanderings does the hero begin to understand that immortality can bring him the eternal glory of his name.
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Summary I table tells about the king of Uruk Gilgamesh, whose unbridled prowess caused a lot of grief to the inhabitants of the city. Deciding to create a worthy rival and friend for him, the gods molded Enkidu from clay and settled him among wild animals. Table II is devoted to the single combat of the heroes and their decision to use their strength for the good, chopping precious cedar in the mountains. Tables III, IV and V are dedicated to their preparations for the journey, travel and victory over Humbaba. Table VI is close in content to Sumerian text about Gilgamesh and the heavenly bull. Gilgamesh rejects Inanna's love and rebukes her for her treachery. Offended, Inanna asks the gods to create a monstrous bull to destroy Uruk. Gilgamesh and Enkidu kill the bull; unable to take revenge on Gilgamesh, Inanna transfers her anger to Enkidu, who weakens and dies. The story of his farewell to life (table VII) and Gilgamesh's lament for Enkidu (table VIII) become turning point epic tale. Shocked by the death of a friend, the hero sets off in search of immortality. His wanderings are described in IX and X tables. Gilgamesh wanders in the desert and reaches the mountains of Mashu, where scorpion men guard the passage through which the sun rises and sets. The "mistress of the gods" Siduri helps Gilgamesh find the shipbuilder Urshanabi, who ferried him through the "waters of death" disastrous for humans. On the opposite shore of the sea, Gilgamesh meets Utnapishtim and his wife, who time immemorial the gods gave eternal life. Table XI contains famous story about the Flood and the construction of the ark, on which Utnapishtim saved the human race from destruction. Utnapishtim proves to Gilgamesh that his search for immortality is futile, since man is unable to overcome even the semblance of death - sleep. In parting, he reveals to the hero the secret of the "grass of immortality" growing at the bottom of the sea. Gilgamesh extracts the herb and decides to bring it to Uruk to give immortality to all people. On the way back, the hero falls asleep at the source; a snake rising from its depths eats grass, sheds its skin and, as it were, receives a second life. The text of Table XI known to us ends with a description of how Gilgamesh shows Urshanabi the walls of Uruk erected by him, hoping that his deeds will be preserved in the memory of posterity.
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GILFAMESH (Sumerian. Bilga-mes - this name can be interpreted as an “ancestor-hero”), a semi-legendary ruler of Uruk, a hero epic tradition Sumer and Akkad. Epic texts consider Gilgamesh to be the son of the hero Lugalbanda and the goddess Ninsun, and date Gilgamesh's reign to the era of the I Dynasty of Uruk (c. 27–26 centuries BC). Gilgamesh is the fifth king of this dynasty. Gilgamesh is also credited divine origin: "Bilgames, whose father was a demon-lila, en (i.e.," high priest ") of Kulaba." The duration of the reign of Gilgamesh is determined at 126 years. The Sumerian tradition places Gilgamesh as if on the verge of a legendary heroic time and a more recent historical past.
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"Mahabharata" Indian epic of the 5th century AD. "The Great Tale of the Descendants of Bharata" or "The Tale of the Great Battle of the Bharatas". Mahabharata is a heroic poem consisting of 18 books, or parv. In the form of an appendix, she has another 19th book - Harivansha, i.e., "The genealogy of Hari." In its current edition, the Mahabharata contains over one hundred thousand slokas, or couplets, and is eight times as long as Homer's Iliad and Odyssey taken together. Indian literary tradition considers the Mahabharata a single work, and its authorship is attributed to the legendary sage Krishna-Dvaipayana Vyasa.
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Summary The main story of the epic is dedicated to the history of irreconcilable enmity between the Kauravas and Pandavas - the sons of two brothers Dhritarashtra and Pandu. Into this enmity and the strife caused by it, according to the legend, numerous peoples and tribes of India, northern and southern, are gradually involved. It ends in a terrible, bloody battle in which almost all members of both sides perish. Those who have won the victory at such a high price unite the country under their rule. Thus, the main idea of the main story is the unity of India.
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Medieval European epic The Nibelungenlied is a medieval Germanic epic poem written by an unknown author in the late 12th and early 13th centuries. Belongs to the number of the most famous epic works of mankind. Its content is reduced to 39 parts (songs), which are called "adventures".
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The song tells about the marriage of the dragon slayer Siekfried to Burgundian princess Krimhilde, his death due to Kriemhilda's conflict with Brunhilda, the wife of her brother Gunther, and then about Kriemhilda's revenge for her husband's death. There is reason to believe that the epic was composed around 1200, that the place of its origin should be sought on the Danube, in the area between Passau and Vienna. Various assumptions have been made in science regarding the identity of the author. Some scientists considered him a shpilman, a wandering singer, others were inclined to think that he was a clergyman (perhaps in the service of the Bishop of Passau), others that he was an educated knight of a low family. The Nibelungenlied combines two initially independent plots: the legend of the death of Siegfried and the legend of the end of the Burgundian house. They form, as it were, two parts of the epic. Both these parts are not fully coordinated, and between them one can notice certain contradictions. So, in the first part, the Burgundians receive a generally negative assessment and look rather gloomy in comparison with the bright hero Siegfried they kill, whose services and help they used so widely, while in the second part they appear as valiant knights who courageously meet their tragic fate. The name "Nibelungs" is used differently in the first and second parts of the epic: in the first it is fairy creatures, northern keepers of the treasure and heroes in the service of Siegfried, in the second - the Burgundians.
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The epic primarily reflects the knightly worldview of the Staufen era (the Staufen (or Hohenstaufen) - the imperial dynasty that ruled Germany and Italy in the 12th - first half of the 13th century. The Staufens, especially Frederick I Barbarossa (1152-1190), tried to carry out a wide external expansion, which eventually accelerated the weakening central government and contributed to the strengthening of the princes. At the same time, the Staufen era was characterized by a significant but short-lived cultural upsurge.).
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Kalevala Kalevala - Karelian - Finnish poetic epic. Consists of 50 runes (songs). It is based on Karelian folk epic songs. The processing of Kalevala belongs to Elias Lönnrot (1802-1884), who connected individual folk epic songs, making a certain selection of variants of these songs and smoothing out some irregularities. The name Kalevala given to the poem by Lönnrot is the epic name of the country in which they live and act Finnish folk heroes. The suffix lla means place of residence, so Kalevalla is the place of residence of Kalev, the mythological ancestor of the heroes Väinämöinen, Ilmarinen, Lemminkäinen, sometimes called his sons. There is no main plot in Kalevalla that would link all the songs together.
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It opens with a legend about the creation of the earth, sky, luminaries and the birth of the main character of the Finns, Väinämöinen, by the daughter of air, who arranges the earth and sows barley. The following tells about the various adventures of the hero, who, by the way, meets the beautiful maiden of the North: she agrees to become his bride if he miraculously creates a boat from fragments of her spindle. Having started work, the hero wounds himself with an ax, cannot stop the bleeding and goes to the old healer, who is told a legend about the origin of iron. Returning home, Väinämöinen raises the wind with spells and transfers the blacksmith Ilmarinen to the country of the North, Pohjola, where he, according to the promise given by Väinämöinen, forges for the mistress of the North a mysterious object that gives wealth and happiness - the Sampo mill (runes I-XI). The following runes (XI-XV) contain an episode about the adventures of the hero Lemminkäinen, a militant sorcerer and seducer of women. The story then returns to Väinämöinen; describes his descent into the underworld, his stay in the womb of the giant Viipunen, last three words needed to create a wonderful boat, the hero's departure to Pohjola in order to receive the hand of a northern maiden; however, the latter preferred the blacksmith Ilmarinen to him, whom she marries, and the wedding is described in detail and wedding songs are given outlining the duties of the wife and husband (XVI-XXV).
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Further runes (XXVI-XXXI) are again occupied by the adventures of Lemminkäinen in Pohjola. The episode about the sad fate of the hero Kullervo, who unknowingly seduced his own sister, as a result of which both, brother and sister, commit suicide (runes XXXI-XXXVI), belongs in depth of feeling, sometimes reaching true pathos, to the best parts of the whole poem. Further runes contain a lengthy story about the common enterprise of three Finnish heroes - obtaining the Sampo treasure from Pohjola, about making a kantele by Väinämöinen, playing on which he enchants all nature and lulls the population of Pohjola, about Sampo being taken away by heroes, about their persecution by the sorceress-mistress of the North, about the fall Sampo at sea, on the beneficence of Väinämöinen home country through the fragments of Sampo, about his struggle with various disasters and monsters sent by the mistress of Pohjola to Kalevala, about the hero’s wondrous game on a new kantele created by him when the first one fell into the sea, and about the return of the sun and moon, hidden by the mistress of Pohjola (XXXVI- XLIX). The last rune contains a folk apocryphal legend about the birth of a miraculous child by the virgin Maryatta (the birth of the Savior). Väinämöinen gives advice to kill him, as he is destined to surpass the power of the Finnish hero, but the two-week-old baby showers Väinämöinen with accusations of injustice, and the ashamed hero, having sung in last time marvelous song, leaves forever in a canoe from Finland, giving way to the baby Maryatta, the recognized ruler of Karelia.
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Other peoples of the world have their own heroic epics: in England - "Beowulf", in Spain - "The Song of my Sid", in Iceland - "The Elder Edda", in France - "The Song of Roland", in Yakutia - "Olonkho", in the Caucasus - the “Nart epic”, in Kyrgyzstan - “Manas”, in Russia - the “epic epic”, etc. Despite the fact that the heroic epic of peoples was composed in different historical settings, it has many common features and similar signs. First of all, this concerns the repetition of themes and plots, as well as the common characteristics of the main characters. For example: 1. The epic often includes the plot of the creation of the world, how the gods create the harmony of the world from the initial chaos. 2. The plot of the miraculous birth of the hero and his first youthful exploits. in which the hero shows miracles of courage, resourcefulness and courage. 5. Glorification of fidelity in friendship, generosity and honor. own freedom and independence.
EPOS AND MYTHS EPOS AND MYTHS
The most important source of the formation of the heroic epic is myths, especially mythological tales about the first ancestors - cultural heroes. In the early epic, which took shape in the era of the decomposition of the tribal system, heroism still appears in a mythological shell; language and concepts are used primitive myths. Historical legends (cf. History and myths) are a secondary source for the development of the archaic epic, to a certain extent coexist with it, almost without mixing. And only later classical forms The epics that developed under the conditions of the state consolidation of peoples are based on historical legends, and there is a tendency towards demythologization in them. The relations of tribes and archaic states that really existed come to the fore. In archaic epics, the past of a tribe is depicted as the history of “real people”, the human race, since the boundaries of humanity and a tribe or group of related tribes subjectively coincide; they tell about the origin of man, obtaining elements of culture and protecting them from monsters. The epic time in these monuments is the mythical era of the first creation.
In the archaic epic, there usually appears a certain, largely mythological, dual system of constantly warring tribes - one's own, human, and someone else's, demonic (at the same time, other mythical worlds and tribes can appear in the background in the epics). This tribal struggle is a concrete expression of the defense of the cosmos from the forces of chaos. "Enemies" for the most part chthonic, i.e. associated with underworld, death, illness, etc., and "their" tribe is localized on the "middle earth" and enjoys the patronage of the heavenly gods. Such, for example, is the opposition, purely mythological at its core, of the Yakut demonic heroes abasy, who are under the auspices of the spirits of diseases, chthonic demons abas, and human bogatyrs ayy, patronized ayy. This purely mythological opposition is superimposed in the Yakut heroic poems on the opposition of the ancestors of the Yakuts - a group of pastoral Turkic tribes - to the Tungus-Manchurian tribes surrounding the Yakuts, engaged in forest hunting and fishing.
In the epic of the Altai Turks and the Buryats, there is no sharp division into two warring tribes (the Buryats preserve such a division as applied to heavenly spirits and gods), but the heroes fight with various Mangadhai monsters in the Buryat uligers (see Art. mongus) or with monsters subordinate to Erlik, the master of the underworld, in the epic of the Altaians. The Sumerian-Akkadian Gilgamesh and Enkidu, the Georgian hero, enter the fight against monsters Amirani, famous Greek heroes Perseus. Theseus, Hercules, German-Scandinavian and Anglo-Saxon heroes Sigmund, Sigurd, Beowulf. For the archaic epos, a purely mythological figure of the “mother” or “mistress” of demonic heroes is typical: the old shaman abasy in the Yakut poems, the old partridge woman is the mother of the Altai monsters, the ugly mangadhaika among the Buryats, the “swan old women” among the Khakasses, the mistress of the Northern Land Loukhi among the Finns etc. These characters can be compared, on the one hand, with the mythical ones - the Eskimo Sedna, the Ket Hosedem, the Babylonian Tiamat, and, on the other hand, the characters of more developed epics - Queen Medb in the Irish sagas, Grendel's mother in Beowulf, the old woman Surkhayil in the Turkic "Alpamysh", etc.
"Own" tribe in the archaic epic does not have historical name. Narts or sons of Kaleva (full identification of Finnish heroes with the sons of Kale-vala takes place only in the text of the Kalevala published by E. Lönrot, cf. Estonian Kalevipoega and Russian Kolyvanoviches) is just a tribe of heroes, heroes, opposing not only chthonic demons, but partly also their crushed descendants. In developed epics - Germanic, Greek, Indian - Goths and Burgundians, Achaeans and Trojans, Pandavas and Kauravas, who have already disappeared as independent tribes and only as one of the components included in the "ethnos" of the epic bearers, act primarily as heroic tribes of a long-standing heroic centuries, are presented as a kind of heroic, in essence mythical, model for subsequent generations.
In some ways, the Narts and similar heroic tribes are comparable to the once active ancestors from ancient myths (especially since they are perceived as the ancestors of the people - the bearer of the epic tradition), and the time of their life and glorious campaigns - with a mythical time like "dream time" . It is no coincidence that in the images of the heroes of the most archaic epic poems and legends, relic features of the first ancestors or a cultural hero are clearly detected. So, the oldest and most popular hero of the Yakut olonkho Er-Sogotokh (“lonely husband”) is a hero who lives alone, does not know other people and has no parents (hence his nickname), since he is the ancestor of the human tribe.
In the Yakut epos, another type of hero is also known, sent by the heavenly gods to earth with a special mission - to cleanse the earth of the abasy monsters. This is also a typical act of a mythological cultural hero. The epic of the Turkic-Mongolian peoples of Siberia also knows the mythological couple of the first people - the founders, organizers of life on the "middle earth". In the Buryat uligers, a sister wooes her brother a heavenly goddess in order to continue the human race. The images of the ancestors-ancestors occupy an important place in the Ossetian legends about the Narts. Such are Satan and Uryzmag - sister and brother who became spouses, as well as twin brothers Akhsar and Akhsartag (compare with the twins Sanasar and Baghdasar - Sasun's founders ancient branch Armenian epic). The most ancient Nart hero Sosruko clearly reveals the traits of a cultural hero.
Even brighter features of the cultural hero-demiurge appear in the image of the Karelian-Finnish Väinämöinen and partly his "double" - the blacksmith-demiurge Ilmarinen. In many ways, Väinämöinen is comparable to the image of the Scandinavian god Odin (the cultural hero is a shaman, his negative variant is the rogue Loki). The connection of the images of Odin, Thor, Loki with the traditions of cultural heroes facilitated the transformation of these gods into heroes of the archaic era.
The mythological layer is easily found in the classical forms of the epic. For example, in the Indian Ramayana, Rama retains the traits of a cultural hero, called upon to destroy demons, and resembles Barid and some other characters of Dravidian myths. In the Mongolian epic about Geser, the hero also has a mission to fight demons in all four countries of the world, which corresponds to the archaic cosmological model; Geser is not alien to the traits of a trickster. In the epic creativity generated by ancient agrarian civilizations, calendar myths specific to these agrarian civilizations are widely used as models for constructing a plot and image.
Many epic heroes, even those with historical prototypes, are in a certain way correlated with certain gods and their functions; therefore, some plots or fragments of plots reproduce traditional mythologemes (which, however, is not proof of the origin of the epic monument as a whole from myths and ritual texts).
According to the study of J. Dumézil, the Indo-European trichotomous system of mythological functions (magic and legal power, military strength, fertility) and the corresponding hierarchical or conflict relationships between the gods are reproduced at the “heroic” level in the Mahabharata, Roman legends, and even in the Ossetian version of Nart legends. legends. The Pandavas in the Mahabharata are actually the sons not of the barren Pandu, but of the gods (dharmas, Vayu, Indra and Ashvins) and in their behavior repeat to some extent the functional structure that these gods enter into. Dumezil also sees relics of a similar structure in the Iliad, where Paris, having chosen Aphrodite, set Hera and Athena against himself, representing other mythological functions, and brought about a war. In the history of the destructive war between the Pandavas and the Kauravas, Dumézil also sees a transfer to the epic level of the eschatological myth (cf. a similar phenomenon in the Irish tradition). Considering the mythological substructure of heroic epics, Dumézil reveals a number of epic parallels in ancient literature. Indo-European peoples(Scandinavian, Irish, Iranian, Greek, Roman, Indian). However, the classical forms of the epic, although they retain a connection with myths, unlike the archaic epic, rely on historical legends, use their language to present the events of the distant past, and not mythical, but historical, more precisely, quasi-historical. They differ from the archaic epic not so much in the degree of reliability of the story, but in geographical names, historical names of tribes and states, kings and leaders, wars and migrations. The epic time is presented according to the mythical type as the initial time and the time of the active actions of the ancestors, who predetermined the subsequent order, but it is not about the creation of the world, but about the dawn national history, about the structure of the most ancient state formations, etc.
The mythical struggle for space against chaos is transformed into the defense of a kindred group of tribes, their states, their faith from invaders, rapists, pagans. The shamanic aura of the epic hero completely disappears, giving way to purely military heroic ethics and aesthetics. Like myth, the heroic epic is not perceived as fiction, and in this sense they can be almost equally opposed to the fairy tale. Only in the romantic epic (knightly romance) are the lines of the heroic epic and fairy tale like they merge. Romantic epic is perceived as fiction.
Lit.: Meletinsky E. M., The origin of the heroic epos, M., 1963; Toporov V. N., On the cosmological sources of early historical descriptions, in the book: Works on sign systems, vol. V, Tartu, 1973, p. 106-50; Grintzer P.A., Ancient Indian epic. Genesis and typology, M., 1974; Riftin B.L., From myth to novel. character's image evolution Chinese literature, M.. 1979; Carpnter K., Folk tale, fiction and saga in the Homericepiea, Berkeley - Los Angeles, 1946; Autan Ch., Homere et les origines sacerdotales de l "epopee grecque, t. 1-3, P., 1938-43; his own, L" epopee indoue, P., 1946; Levy G.R., The sword from the rock. An investigation into the origins of epic literature and the development of the hero, L 1953; Vries J. de, Betrachtungen zum Märchen besonders in seinem Verhältnis zu Heldensage und Mythos, Hels., 1954; Dumézil G.. Mythe et epopee, t. 1-3, P., 1968-73.
E. M. Meletinsky.
(Source: "Myths of the peoples of the world".)
See what "EPOS AND MYTHS" is in other dictionaries:
MYTHS- (from the Greek mýthos narration, fable, legend), creations of a collective popular fantasy, generally reflecting reality in the form of sensually specific personifications and animated beings that are thought by primitive consciousness ...
Thematically adjacent to the Vedic literature are the epic poems "Mahabharata" and "Ramayana", separated from it by a significant period of time. They are a monument of Hinduism, which defeated Buddhism, and therefore we have to talk about them after ... ... Encyclopedia of mythology
Where did it come from, how the world was organized and protected Who knows the secret In the beginning there was an egg In the beginning there was Purusha In the beginning there was Prajapati In the beginning there was the sun Speech Where was it? Day and night Flight and return of Agni Buyan Himavata Nakaz ... Encyclopedia of mythology
Genre tragicomic epic Director Yuri Feting Producer Viktor Izvekov Scriptwriter ... Wikipedia
EPOS- (Greek épos word, narration, story), 1) a literary genre, distinguished along with lyrics and drama; represented by such genres as fairy tale, legend, varieties of heroic E. (below is the 2nd value of E.), epic, epic poem, story ... Literary Encyclopedic Dictionary
This term has other meanings, see Epos (meanings). Epos (other Greek ἔπος "word", "narrative") heroic narrative about the past, containing a complete picture folk life and representing in harmonic ... ... Wikipedia
The epic is nothing but fiction. Its main features are eventfulness, narration, digressions and dialogues. are both prosaic and poetic. Similar stories can be found in folk literature. Often they are described in the works of specific authors.
folk epic
Conscious primitive people some rudiments of art and science, morality, religion and other types of directions existed inseparably community development. Only a little later they all gained independence.
Part of the cult, religious, household and labor rites has become verbal art, the main expression of which are ancient legends. It was in them that those, sometimes fantastic, ideas that people had about themselves and about the world around them were reflected.
One of the most ancient types of folk art is a fairy tale. This is a work that has a magical, adventurous or everyday character, which has an inextricable link with reality. His heroes are the heroes of oral epic creativity.
The prescientific ideas of people about the world are also reflected in myths. This is a story about spirits and gods, as well as epic heroes.
Legends are close to myths. They are semi-fantastic tales about events that actually happened. The heroes of legends are people who really lived in those days.
About historical events, which took place in Ancient Rus', narrate epics. songs or poetry. In them epic hero- This is usually a hero. He invariably embodies the people's ideals of love for the native land and courage. We are all familiar with the epic names of the heroes of Russian epics. These are Alyosha Popovich and Ilya Muromets, as well as Dobrynya Nikitich. However, epic heroes are not only heroes. Glorified in epics and a man of labor. Among them, Mikula Selyaninovich is a hero-plowman. Narratives about other characters were also created. This is Svyatogor - a giant, Sadko - a merchant-gusler and others.
Heroes of the epic
The main character in epics, fairy tales and myths is a man. At the same time, epic heroes personify the people. What they have to face in life is nothing but the fate of the state and society.
Epic heroes are devoid of any selfish traits whatsoever. In addition, they are internally and externally connected with the cause of the whole people.
Epic heroes are people who are not at all devoid of personal psychology. However, its basis is necessarily nationwide. This circumstance makes the participant of the events described in the works the hero of the epic. Moreover, he can be not only a winner, but also defeated, not only strong, but also powerless. But he will certainly become an epic hero if he is in unity with the life of the people.
world heritage
Every nation has own works heroic epic. They reflect the customs and way of life of a particular nation, its view of the world around and its basic values.
The most striking example of the heroic epic of the Eastern Slavs is the epic about Ilya Muromets and the Nightingale the Robber. Here the main actor- rich man. Ilya Muromets is an epic hero, the central figure of many works of this kind. He is presented by the writers as the main defender of his homeland and people, reflecting all the basic values of the Eastern Slavs.
Among the most bright works Armenian epic is the poem "David of Sasun". This work reflects the struggle of the people against the invaders. central figure of this poem is the personification of the spirit of people striving to gain freedom and defeat foreign conquerors.
In the German heroic epic, such a work as the Nibelungenlied stands out. This is a legend about knights. The main character of this work is the mighty and courageous Siegfried. The characterization of the epic hero is visible from the narrative. He is fair, and even when he becomes a victim of betrayal and betrayal, he remains generous and noble.
An example of the French epic is the "Song of Roland". The main theme of this poem is the struggle of the people against the conquerors. The protagonist is endowed with courage and nobility.
The English heroic epic contains many ballads about Robin Hood. This is a legendary robber and protector of all the unfortunate and poor. The ballads speak of his courage, nobility and cheerful disposition.
Ilya Muromets
the brightest hallmark epic is heroic character his stories. From such works it becomes clear who is the people's favorite, and for what merits.
The most vivid image of the epic hero of Ancient Rus', Ilya Muromets, was reflected in the epics relating to the Kyiv cycle. Their action takes place either in Kyiv itself or near it. At the center of each story is Prince Vladimir. The main theme of these epics is the protection of Rus' from the southern nomads.
In addition to Ilya Muromets, such heroes as Alyosha Popovich and Dobrynya Nikitich take part in the events. According to researchers, there are a total of 53 plots of Russian heroic epics. Ilya Muromets is the main character in fifteen of them. The epics present the entire biography of the Russian hero, starting from his birth and ending with his death. Let's consider some of them in more detail.
Healing of Ilya Muromets
From this epic it becomes clear that her main character was the son of a peasant. He, a cripple, was miraculously healed by the elders. They also sent the young man to serve in Kyiv in order to defend Rus' from a formidable enemy. Before leaving his native village, Ilya Muromets accomplished his first feat. He plowed the peasant field. And it's already showing heroic strength this man. After all, he easily uprooted stumps in the field, and this work has always been one of the most difficult. There is nothing surprising in the fact that this feat was one of the first to be reflected in the epic. After all, the peaceful labor of the peasant has always served as the source of his life.
Ilya Muromets and the Nightingale the Robber
In this epic, several main historical episodes are distinguished at once. The first of them concerns the liberation of Chernigov, which was besieged by an enemy force. The inhabitants of the city asked Ilya Muromets to stay with them and be the governor. However, the hero refuses and goes to serve in Kyiv. On the way he meets the Nightingale the Robber. This one looks like a bird, and a man, and a monster. Its resemblance to the nightingale is determined by the fact that it lives in a nest in a tree and can whistle just like this bird. He is a robber because he attacks people. It can be called a monster because of the devastating effects of the whistle.
It was extremely important for the people who created this work that the kind and noble fellow Ilya Muromets defeated the Nightingale the Robber from an ordinary bow with only one shot. It is also important that there is no exaggeration of human strength in this episode. At the same time, the narrator expressed his assertion about the obligatory victory of good over evil. Thanks to this feat, Ilya Muromets stood out from all the heroes. He became the main defender of his native land, the center for which is the city of Kyiv.
Russian bogatyrs
These heroes epic work always have extraordinary power. It is thanks to her that they become extraordinary people. But, despite this, in all the stories, the hero is an ordinary person, and not some kind of magical creature.
In epics, these people, who have the most best qualities, resist evil in the face of snakes, monsters, as well as enemies. Bogatyrs represent the force that is always able to protect native land, to restore justice. They always stand on the side of the truth. Stories about such an ideal force speak of the fact that our people have always dreamed of it.
The main features of Ilya Muromets
This hero is the most beloved hero of Russian epics. He is endowed with powerful strength, which gives him endurance and confidence. Ilya has a feeling dignity which he will never give up even in the face of the Grand Duke.
The people represent this hero as the protector of all orphans and widows. Ilya hates the boyars, telling them the whole truth to their faces. However, this hero forgets the offense when trouble hangs over his native land. In addition, he calls on other heroes to come to the defense, but not of Prince Vladimir, but of the mother of the Russian land. For this he performs his feats.
Prince Vladimir
This character is also present in many epics about Ilya Muromets. At the same time, the capital prince Vladimir is not a hero at all. In the epic about Ilya Muromets and the Nightingale the Robber, he does not commit any bad deeds. The narrator shows him as a man without courage. After all Kyiv prince was frightened by the Nightingale the Robber brought to the city. However, there are other epics. In them, Vladimir is unfair and treats Ilya Muromets badly.
Mikula Selyaninovich
This hero is found in several epics. They also tell about Volga and Svyatogor.
Mikula Selyaninovich is an epic hero, a hero and a wonderful plowman. His image is the personification of the entire Russian peasantry, bearing "earthly traction."
According to the story, it is impossible to fight with this hero. After all, his entire family is loved by “mother damp earth” - one of the most mysterious and monumental images that exists in the Russian epic.
Based on ancient concepts, Mikula Selyaninovich is an Oratay. His patronymic means "tiller".
Mikula Selyaninovich is an epic hero whose image is constantly accompanied by a halo of glory and sacralization. The people perceived him as a peasant patron, the god of Rus', St. Nicholas. Sacralization is present even in the image of a plow, a plow, as well as in the very act of plowing.
According to epics, the main thing in the life of Mikula Selyaninovich is work. His image embodies peasant strength, for only this hero is able to lift "handbags" with a "thrust for the earth."
Volga and Mikula Selyaninovich
The people created this epic for several centuries. At the same time, it is not known whether Mikula Selyaninovich is a real person who lived in those distant times or not. But Oleg Svyatoslavovich is a prince, a cousin of Vladimir Monomakh and a grandson of Yaroslav the Wise.
What is this legend about? It tells about the meeting of two heroes - the prince and the peasant. Prior to that, each of them was engaged in their own affairs. The prince fought, and the plowman It is interesting that in this epic the oratay is dressed in festive clothes. These are the rules of these works. The hero must always be handsome. The image of Volga (Oleg Svyatoslavovich) is opposed to the everyday work of a peasant. At the same time, the work of a plowman is revered in the epic more than a military one.
And this is not accidental, because in those days any plowman could become a good warrior. However, not all warriors were able to cope with the heavy peasant labor. This is confirmed by the episode when the prince's team could not even pull the fry out of the ground. Mikula Selyaninovich pulled it out with one hand, and even shook it off the stuck lumps. Volga yielded to the plowman the primacy in labor and praised him. In his words, one can feel pride in a strong hero who copes with a task that is beyond the strength of the entire squad.
The attitude of the people to the hero
Proving that Mikula is an epic hero is easy. After all, his image, personifying peasant strength, is imbued with great respect. This is also felt in connection with the use of affectionate words when the hero is called oratay-oratayushko.
The modesty of the hero is also welcomed by the people. After all, he talks about his deeds without any boasting.
Svyatogor
This hero is also the oldest Russian epic. In his image, the absolute universal force finds its personification. Svyatogor is the most powerful person in the world. It is so heavy and huge that even the "mother earth" itself cannot withstand it. That is why the hero has to ride a horse only in the mountains.
In one of the epics, where two heroes met, the image of Mikula becomes somewhat different, acquiring a cosmic sound. Once it happened that Svyatogor, riding a horse, saw a young fellow on foot. He tried to catch up with Mikula, but he could not do it.
In another epic, a peasant hero asks Svyatogor to pick up a bag that has fallen to the ground. However, he failed in this task. Mikula lifted the bag with only one hand. At the same time, he spoke about the fact that there is an “earthly burden” in it, which only a peaceful and hardworking plowman can overpower.
