From oral folk art. historical songs

05.03.2019

Volgograd

State Institute of Arts and Culture

Subject: Ethnography and folklore

On this topic : Collectors of folklore

Fulfilled

group student

3RTP AND OZO

Makarov Gennady

Checked by teacher:

Slastenova I.V.

VOLGOGRAD 2005

Collectors of Russian folklore.

Collectors and researchers of folklore have long paid attention to the complexity of Russian proverbs.

I. I. Voznesensky’s study on the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc. (Kostroma, 1908), which has not lost its significance and up to our time.

At the same time, it should be recognized that in pre-revolutionary folklore and Soviet science of the first two decades, the questions of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. Yu. M. Sokolov, in this regard, in the mid-30s quite rightly wrote: If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side of it either. . Researchers usually emphasize that the proverb for the most part is in a measured or folding form, or that the form of a proverb is a more or less short saying, often expressed in a folding, measured speech, often in a metaphorical / poetic / language, but there are still no detailed studies on the question of what exactly the warehouse and measure are.

A certain semantic and intonational independence in proverbs is acquired not only by their parts, but even by individual words, which in their semantic expressiveness often approach a phrase. Here are examples of such proverbs: Endure, fall in love; Said and done, It was and swam away.

We will consider several directions of folklore collectors.

Since we started with proverbs and sayings, then we will start the story about them.

Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and Proverbs of the Russian People, was half Dane by blood, a Lutheran by religion.

Returning from the voyage, Dal was promoted to midshipman and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading from St. Petersburg to the south on the messenger. On the ancient Novgorod land, leaving the Zimogorsky Chm station, the coachman dropped a word: -Rejuvenates ...

And in response to a perplexed question, Dahl explained: it’s getting cloudy, it’s about heat. Seventeen-year-old Dal takes out a notebook and writes down: To become younger - otherwise it will become cloudy - in the Novgorod province means to fill up with clouds, speaking of the sky, tends to bad weather. This entry became the grain from which, 45 years later, the Explanatory Dictionary grew.

But this is still very far away. The collection of extraordinary sayings, words and sayings, folk oral wealth has just begun.

Dal saw the roads of Moldova and Bulgarian villages, and Turkish fortresses. He heard someone else's dialect and all shades of his native Russian speech. At the bivouac fire, in a free moment in the hospital, Vladimir Ivanovich wrote down more and more new words that had not been heard before.

In 1832, the serious literary activity of V.I.Dal began. Metropolitan magazines publish his articles under the pseudonym Vladimir Lugansky or Cossack Lugansky - after the name of his native town. A gifted storyteller, a sociable person. Dal easily enters the literary world of St. Petersburg.

He converges with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works are quickly gaining huge success.

In the spring of 1832, Dal again abruptly turns his fate and goes to distant Orenburg as an official. special assignments under the military governor. Dahl is a collegiate assessor, an official of the 8th grade, which corresponds to a major in the army.

Genre features of historical songs. In the science of folk poetry there is still no consensus on what historical songs are - a special folklore genre or a thematic group of diverse genres. The reason for the discrepancy is the difference in the features of this type of work. B.N. Putilov and V.K. Sokolova believe that historical songs are a single genre, V. Ya. Propp and L. I. Emelyanov believe that they lack genre unity.

However, there is reason to adopt a point of view that can reconcile these two opinions; historical songs are a single genre, but they contain several varieties of songs that originate from different times and have different types of structural features.

The term "historical songs" is not folk; it was created and put into use by folklorists, literary critics, ethnographers, and historians. Among the people, songs of this type are simply called "songs", sometimes "old songs".

historical songs in terms of volume, there are fewer epics (genre of large form) and more lyrical songs (genre of small form). In addition, it is a poetic and epic genre. The verse in the earlier songs is close to the three-strike epic verse. More often than not, he gravitates toward double-strike. It differs from the verse of lyrical songs by a large number of syllables and the absence of a chant (stretching and varying vowel sounds in height).

The epic nature of historical songs is manifested in narrative - a story about events that are depicted objectively, without the narrator interfering in their course. In the literature, one can find the definition of historical songs as lyrical-epic and even lyrical. However, this judgment general form cannot be accepted, since the lyrical beginning penetrates historical songs at a later time. On the grounds that early songs are closer to epics in verse, epic and manner of performance (recitative), it was customary in the 19th and early 20th centuries to call them “older historical songs”.

Historical songs are a story genre. The plot in them is reduced to one event or even an episode. The story about them is dynamic, because it is devoid of developed descriptions and the so-called epic ritual: ornamentation of the narrative, constant formulas, slowdowns (retardations), trinity repetitions (they are rare), stable beginnings and endings, although some of their types are included in older historical songs from epics. .

The subject of a historical song is concrete actual events and persons. B. N. Putilov writes: “The concrete historical nature of the genre does not at all lie in the fact that real facts are recorded here, but in the fact that the songs reflect in the form of concrete historical plots the real political conflicts characteristic of this historical moment and somehow important to the people. In the center of the event are usually the struggle of the people for independence and their socio-political struggle. “By virtue of their concrete historical nature, historical songs reflect the movement of history as it is perceived by folk art.”

Historical songs are a story about the past. However, they usually formed soon after the events, in their wake. Some songs are clearly composed by participants or witnesses of events, “... the subject of historical songs is modern history, and not more or less distant

the past,” writes B. N. Putilov. And further: "A historical song does not refer to the past, it lives in the present." But time passes, and for subsequent generations, the events and persons depicted in the song become history. The transmission of a song from generation to generation is accompanied by a weakening of the faithful reproduction of events and persons, and sometimes the spirit of the times. She sometimes allows inaccurate interpretations of events and assessments of the acts of historical persons, as she does this from the point of view of modern times. IN creative process fiction plays an important role. But in historical songs it does not have the character of fantasy. The historical song, unlike byIna, does not use increased hyperbolization, although it resorts to some means of exaggeration and emphasizing.

Historical songs have their own composition of characters. Their characters are not epic heroes and not ordinary people of everyday lyrical songs and ballads (wife, husband, mother-in-law, girl, well done), but famous historical figures: Ivan the Terrible, Ermak, Razin, Peter I, Pugachev, Suvorov. An important feature historical songs is that in them the people act or are present at the events, which sometimes expresses their attitude to these events.

History songs depict more than just outward action; they reveal the psychology, feelings and motives of the actions of their characters in much more detail and more deeply than epics. The development of the image of the inner world of a person in comparison with previous genres is a characteristic feature of historical songs.

The ideological and artistic goals of historical songs are significant. Songs imprint in the minds of the people the memory of the most important events and persons in history, express the people's understanding of history and evaluate the events and activities of persons. Finally, they often contain explanations of the events and behavior of the characters. Researchers also note the manifestation of acute publicism, especially in the songs of such socially tense periods as Time of Troubles. Patriotic ideas are expressed with great force in the songs - pride in one's Motherland, awareness of the need to protect it, as well as the idea of people's freedom.

There are two main theme lines in story songs; military and social. The first includes, for example, songs about wars and generals, the second includes songs about Stepan Razin and Emelyan Pugachev.

Collection and publication of historical songs. The first recordings of Russian historical songs date back to 1619-1620. They were made for the Englishman Richard James. In the XVIII century. with the development of collecting and publishing folklore materials, historical songs were placed in special collections, for example, in the “Collection of Various Songs” by M. D. Chulkov (1770-1773) and “Collection of Russian Simple Songs with Notes” by V. F. Trutovsky (1776-1795 They were also included in the collection of Kirsha Danilov (1804), and then in “Songs collected by P.V. A. F. Hilferding, A. V. Markov, N. E. Onchukov and A. D. Grigoriev In 1860, I. A. Khudyakov published a “Collection of Great Russian Historical Songs.” A collection of journal publications was published by V. F. Miller in the book "Historical songs of the Russian people of the XVII-XUP centuries." (1915).

After the October Revolution, the collection of historical songs continued. It was conducted by employees of the Institute of Russian Literature of the USSR Academy of Sciences, the Institute of Ethnography of the USSR Academy of Sciences, the Moscow state university, whose archives contain many texts that have not yet been published. Conducted collecting work and individual scientists. Valuable materials include the books by A. N. Lozanova "Folk Songs about Stepan Razin" (1928) and "Songs and Tales about Razin and Pugachev" (1935); B.N. Putilov published the collection "Historical Songs on the Terek" (1948), A. M. Listopadov - "Don Historical Songs" (1948).

Attempts to reduce and combine texts were the books "Northern Historical Songs" edited by A. M. Astakhova (1947) and "Russian Folk Songs about peasant wars and uprisings” edited by A. N. Lozanova (1950).

Of exceptional value are four volumes of texts of historical songs of the 13th-19th centuries, published by the folklore sector of the Institute of Russian Literature of the USSR Academy of Sciences. They combine almost all records of works of this genre known to folklorists. Produced a thorough textual analysis, given a reasonable classification. The lyrics are accompanied by valuable and detailed commentary, helping to understand the content, meaning and origin of the songs.

The study of historical songs. The study of historical songs began relatively late. This was due primarily to the fact that the genre of such songs for a long time did not distinguish itself from epics, and then from ballad songs. Epics attracted the main attention of scientists. In collections of folk poetic works, and mainly epics, they were represented by a few samples, which made it impossible for them to be studied in detail.

The Decembrists were among the first to become interested in historical songs. They highly appreciated this kind of songs for reflecting folk heroism. N.N. Raevsky, A. Kornilovich collected and published historical songs. They especially highlighted Cossack songs because they saw in them a reflection of self-government.

A deep understanding of historical songs is characteristic of N.V. Gogol. He appreciated them for their connection with life, for the faithful transmission of the spirit of the times. If a historian turns to them, he wrote, then "the history of the people will be revealed before him in clear grandeur" (Gogol N.V. Poly. coll. cit., vol. 8, p. 91). On this basis, he considers the name "historical" to be legitimate.

V. G. Belinsky was the first to distinguish historical songs from epics; in articles on folk poetry, he also uses the term “historical songs”. He considers the song “Schelkan Dudentevich” to be the oldest historical song. She, in his opinion, is of a fabulous nature, but is based on a historical event (see: Belinsky V. G. Poly. coll. cit., vol. 5, p. 426). Belinsky gave an analysis of songs known to him, mainly from the collection of Kirsha Danilov.

The dominance of the mythological school in mid-nineteenth V. diverted the attention of scientists from historical songs to those genres in which representatives of this school could find material for comparative comparisons. Historical songs did not give it.

The point of view of L. N. Maikov on the origin of Russian music was important for resolving questions about the composition of historical songs. th epic. Maikov considered epic works contemporary events depicted. He also attributed songs about Yermak and Stepan Razin to the epic.

In the same years, P. A. Bessonov, on behalf of the Society of Amateurs Russian literature supervised the publication of "Songs collected by P. V. Kireevsky." He first divided historical songs into cycles, but his comments are very superficial and often incorrect. More profound are the judgments of F.I. Buslaev, who in “ Historical essays Russian Folk Literature and Art” (1861) analyzed a number of songs, linking them with the people’s worldview. O. F. Miller in his study “Historical Songs” (1869) gave their general characteristics and pointed out parallels to their plots from world literature and folklore.

At the end of the XIX - beginning of the XX century. historical songs are studied by A. N. Veselovsky, V. F. Miller, S. K. Shambinago and others.

In Soviet times, the study of historical songs has received significant development. It has two scientific directions. One continues the tradition historical school while at the same time very different from it. What is new is that folklorists now began to focus on historical songs, which reflected the struggle of the masses for their liberation. Such is the book by M. Ya. Yakovlev “Folk Songwriting about Ataman Stepan Razin” (1924) and the collections by A. N. Lozanova “Folk Songs about Stepan Razin” (1928) and “Songs and Tales about Razin and Pugachev” (1935).

A significant phenomenon was the study of V. K. Sokolova "Russian historical songs of the XVI-XVIII centuries." (1960). It provides an overview of the plots and variants of songs of this time, characterizes their genre features, describes the territorial distribution and regional differences. Recordings of historical songs are used with great completeness, their classification is given, and the question of cycles is raised. An important advantage is that the book examines in detail the social meaning of the songs, their ideological essence.

Another direction in the study of historical songs is represented by the book of B. N. Putilov "Russian historical and song folklore of the XIII-XVI centuries" (1960). According to B. N. Putilov, representatives of the historical school linked songs too directly with historical events and persons, did not take into account that songs are primarily poetic works.

Origin of historical songs. The process of forming historical songs was complex. They began to take shape when vital material appeared that needed to be imprinted in the people's memory. Such material was the events associated with the Mongol-Tatar invasion of Rus' in the 13th century.

In addition, historical songs as a narrative narrative genre relied on simpler, primary stories about events, so there is reason to believe that oral prose legends played some role in the formation of historical songs. On the one hand, they could directly serve as the basis for the plots of historical songs, and on the other hand, with their tradition of preserving the memory of historical events and persons, they could contribute to the emergence of such a tradition in a new song genre.

Historical songs are a poetic form. Therefore, it can be assumed that they had a similar shape as their predecessor. She was epics, established earlier historical songs. The connection of these latter with epics is confirmed by the epic situations and expressive means included in them.

The terrible events of the Mongol-Tatar invasion activated the historical consciousness of the Russian people and their artistic creativity, which captured these events and the tragic situation of the masses. All this led to the creation of works about the Mongol-Tatar rule and the fate of the Russian people. The beginning of the unification of the Russian lands and the strengthening of Moscow domination also contributed to the development of the self-consciousness of the people.

If in the epics in the foreground there were broad generalizations, on the basis of which pictures of the struggle for the independence of the Russian land and majestic images of heroes were created, embodying the power of the Russian people and devotion native land, then a more concrete image of historical events develops in historical songs and images of certain historical persons are created.

Early historical songs. The appearance of the first historical songs should be attributed to the XIII-XIV centuries.

The first well-known sample of Russian historical songs was the song about Shchelkan, which is called “Shchelkan Dudentevich” in Kirsha Danilov's collection. It is based on certain events noted in the annals, the Tver uprising of 1327, when the khan's envoy (baskak) Chol-khan (in the annals Shevkal) was killed.

There is reason to attribute the emergence of the song to the first half of the 15th century. It depicts pictures of terrible self-will and violence perpetrated by hordes of steppe nomads.

The Horde tsar Azvyak distributes the Russian cities of Ples, Kostroma and Vologda to his "Shuryas", and sets a terrible condition for the younger Shchelkan:

Kill your son,

beloved son,

You pour a cup of blood

Drink your blood...

Shchelkan did it for the sake of rich Tver. He began to rule there: to dishonor and disgrace women, he tried to outrage everyone. The Borisovich brothers dealt with him:

And they quarreled with him:

One grabbed by the hair,

And the other for the legs,

And then it was torn apart

The ideological meaning of the song lies in the desire of its composers to inspire the Russian people with the need and possibility of fighting enemies. Pictures of cruel violence and, undoubtedly, the peculiar end of the song call for this:

Here death happened to him,

No one was found. And, 78]

In the song about Clicker and in its variants, some traces of the epic edic manner are visible: the consistent development of action, repetition (the words “Old Tver, rich Tver” are given four times), a special type of syntactic structure:

Who has no money

That child will take

Who doesn't have a child

He will take a wife from him;

Who has no wife

he will take the same head.

There are epithets in the song: “gold-silver and pitched pearls on dug velvet”; tautological phrases: "tribute-exits", "he became arrogant, proud." Often the verses are connected in pairs and form four-strike pairs, as if separated by pauses (caesuras), which is reminiscent of epic verses. All this connects the song with the epic tradition.

Historical songs of the 16th century|XVI century - the time of the formation of the Russian nation and strengthening centralized state. A crushing blow was dealt to the Kazan and Astrakhan kingdoms, long time disturbing the peaceful life of the Russian people. Siberia annexed. The progressive policy of Ivan IV was to fight not only with external enemies, but also with the reactionary forces in the country itself, which interfered with this policy and undermined the unity of the state. A crushing blow was also dealt to the boyars, who as a result lost their role in the life of the country. The masses supported the policy of Ivan GU.ch

Naturally, great historical events and acute social processes could not but be reflected in folk art, and above all in historical songs, which became the most important genre of folklore of that time in ideological terms. In them, the people expressed their support for the new policy, support for the struggle for the strengthening and unity of the state. This, in particular, was manifested in the fact that Ivan the Terrible became the main figure in the songs and received a positive assessment as a statesman. "

| Historical songs of the XVI century. | include three main cycles of works: about the capture of Kazan, about the activities of Ivan the Terrible and about Yermak. The song about Kostryu-ka stands somewhat apart, although it is connected with the main trend of songs of the second half of the 16th century] 1

^Historical songs as a genre occupy important place in the folklore of the 16th century. They acquire significant ideological content, perfection of form, which is expressed in the harmony of the composition, the great expressiveness of the plot development and artistic means. In their structure, language and verse, a connection with the epics is still visible, and at the same time they depart from the epic epic, distinguished by the dynamism of the plot and economical structure.^

Songs about Kostruk. Songs about Kostryuk arose as echoes of the marriage of Ivan the Terrible in 1561 to the daughter of the Kabardian (Circassian) prince Temryuk Maria. Historians and folklorists consider her younger brother Mikhail to be the prototype of Kostruk, although the name Kostruk echoes the name of her older brother Mastryuk, and in some songs the main character is called Mastryuk. Maria's older brother only came to Moscow for a short time, and the younger Mikhail lived for a long time at the court of Grozny, who treated him rudely and executed him in 1571. This makes the plot of the song close to the life situation.

The main idea of the songs about Kostryuk is the triumph of the Russian wrestler, the village boy Potanyushka, who not only overcame the boastful Kostryuk, but also “lowered” his dress, and that naked “okarach” crawled under the porch. The queen was offended by this; she said to the king:

Such is your honor "

To your favorite brother-in-law?

The theme of the triumph of the Russian man over the Tatar was then very acute. The image of Kostruk was to some extent associated with the image of Schelkan.

And in this song there are traces of epic poetics: motifs of boasting, shaming the braggart, poetic phraseology - “mighty heroes”, “fast rivers”, “Smolensk mud”, “Bryansk forests”, some beginnings and endings typical of epics:

Here a century about Kostryuka and the old days are sung,

To the blue sea for consolation,

to you all good fellows for obedience.

Songs about the capture of Kazan. Songs about Kazan are shorter, sketchy, often fragmentary. There are almost no traces of epic poetics and epic breadth in the depiction of events. At the same time, they have an important new feature: the image of a simple gunner as a hero, as a brave man before the king, a warrior devoted to his native land, who is called “master” in the song versions. If the Borisovich brothers in the song about Schelkan and Potanyushka in the song about Kostryuka take by force and prowess, then in the songs about Kazan victory is achieved by the knowledge of the gunners. new way siege of the city - digging under the city walls and their explosion. The events in the song develop in a certain accordance with chronicle evidence. The digging was really done, the besieged behaved defiantly and shouted from the city walls that the Russians would not take Kazan even in ten years; the explosion really decided the fate of Kazan. But the famous episode with the candle, and a number of others, is a poetic fiction.

According to the song, “barrels were rolled up with black powder” under the walls of the city, two candles were lit: one in the field (or in the royal tent), the other underground, in order to know the time when the walls would explode. But in the field the candle burned out, but there was no explosion. The king "inflamed", became angry, ordered the gunners to be executed as "traitors". But the young gunner boldly explained to the tsar:

That in the wind the candle burns faster

And in the earth, a candle burns more quietly.

The candle burned out, and the Kazan walls exploded. The tsar then "became merry" and gifted the gunners.

Songs about Ivan the Terrible's anger at his son. The image of Ivan the Terrible is much more difficult to reveal in songs about his anger at his son. In them, Ivan the Terrible is not only shown as a tsar, who sets as his goal to bring treason in Rus', but also as a father; The songs have two versions: in one, the reason for the anger of the king is the betrayal of his son, whom the king ordered to bring out the confusion in the cities, but he warned the townspeople about the danger; in the second reason is that the son at the feast, when the king boasted that he brought treason, he said to him:

Where can you bring treason out of Pskov,

Where can you bring treason out of stone Moscow?

Maybe treason is sitting at the table,

Drinks and eats with you from one dish.

The king became angry and ordered his son to be executed with a terrible execution:

Oh, you are a goy, Moscow executioners!

You tell the young prince,

Take out the heart with the liver from the chest,

Bring me to testify!

All the executioners were "horrified", only Alyoshka Malyutin, Skurlatov's son, was not "horrified": he led the tsarevich from the table, took off his colored dress, put on a black dress, took him to a fierce execution. The news of this reached the uncle of Tsarevich Nikita Romanovich, he rushed after Malyuta, gave him the groom instead of the prince, "Malyut executed the groom. As the king ordered,

He took out a heart with a liver from his chest, "

And brought the king to testify.

“Tears and rushes about” the king, reproaches the servants:

Oh you, my faithful servants!

Why didn't you put me down

Why did you let the damn thing go

The servants' response is psychologically motivated:

We did not dare to argue with you,

We were afraid of your imminent wrath! .

Gets even more stressful state of mind Terrible when he finds out that in the house of Nikita Rbmanov "joy-gaiety." Enraged that the boyar is having fun during a terrible disaster, the tsar rushes to his house:

Al you are glad, Nikita Romanovich,

My great misfortune

Al you have fun execution of my son

In anger, the tsar plunged a spear into the leg of Nikita Romanov. When he saw that his son was “sitting at the table, cheerful and healthy,” he came to “great joy.”

In this song, the image of Ivan the Terrible is a great achievement of folk art. It is also created by general characteristics his spiritual appearance, and by transferring the features of the manifestation of his experiences in certain life situations. The image is historically correct, as far as historical sources allow us to judge it, it is psychologically complex and artistically expressive.

The historical song genre played an important role in the development of art psychological image in folklore, since in his works it was necessary to give not generalized characteristics of characters, not definitions of their mental states by stable formulas, but to create images of specific historical persons. Such a task suggested the need for psychological individualization of the image. Terrible in the songs is not a fairy tale tsar, not an epic prince Vladimir, namely Ivan the Terrible, the Russian tsar of the second half of the 16th century, whose psychological qualities were widely known among the people. >

Compared with epics in historical songs, the psychological image is more complex and dramatic, corresponding to the dramatic nature of time itself. In them, the art of the psychological image of a person takes a step forward. concreteness distinguishes the new song genre from epics.

G. Lesin about Yermak.; Songs about Yermak were popular among the Don Cossacks. In them, Yermak was portrayed as a Cossack chieftain who takes care of the Cossacks. In the song “Yermak in the Cossack circle”, he addresses the Cossacks with the words that the summer is passing and they need to think about their fate: before they ravaged cities and burned estates, but now you need to either hide from the tsarist troops, or accomplish a great feat and thereby earn the king's request. In the song “The Capture of Kazan by Yermak”, the Cossacks, led by Yermak, take the city and receive rewards from the tsar for this. Finally, the song "Yermak at Ivan the Terrible" depicts Yermak as an ataman recognized by the tsar, to whom he can entrust big things.

A special group are songs about Yermak and the Turks. They reflected the clashes of the Cossacks with the Turks. Yermak, who hardly took part in campaigns against the Turks, was introduced into the circle of these events.

It is curious that historical songs did not reflect this at all. an important event like Yermak's conquest of Siberia. Those songs that mention Yermak and Siberia raise doubts among textual critics. Actually, there is only one song connected with a prose text, which speaks of Yermak and Siberia. "This text" Yermak took Siberia "is placed in the collection of Kirsha Danilov. The text is complex and, perhaps, very new. The most demonstrative judgments are found in the article by A. A. Gorelova "The Trilogy about Yermak in the collection of Kirsha Danilov".

Songs of the 17th century.; The historical songs of the 17th century differ from the songs of the 16th century. First of all, they more widely covered the events of Russian history: they responded to the “distemper”, and to the death of the son of Ivan the Terrible Dmitry, and to the appearance of two False Dmitrys, and to the Poles’ campaign against Russia, and to the struggle against them by Minin and Pozharsky, and on the campaigns of the Cossacks to Azov, and, finally, on the uprising led by Stepan Razin.

Songs of this time were created in various social strata - among peasants, townspeople, residents of towns, "military people", Cossacks. Therefore, sometimes the assessment of the same events is different.

The struggle for the independence of the motherland and the struggle of the masses for "truth" - against their oppressors - determined the two main themes of the historical songs of the 17th century: patriotic and social. The first is revealed most of all in songs about Mikhail Skopin-Shuisky, the second - in songs about Stepan Razin.

Songs about Skopin were popular. This talented commander enjoyed great love among the people: he played an important role in the liberation of Moscow from the Polish siege and in the defeat of the troops of False Dmitry II and the troops of the Polish governor in 1609-1610. His military campaigns and victories are sung in songs. But the main plot of these songs is his unexpected death. Skopin died suddenly at the age of 23, after a feast with Prince Vorotynsky. The songs show the dislike for him of the princes Vorotynsky and Mstislavsky: they rejoice at his death. The masses, who pinned their hopes on Skopin and considered him worthy of being the Russian Tsar, openly accused the boyars of the death of the commander. In the songs, the cause of death is called poisoning. It is possible that the basis was the envy of Skopin's success on the part of his uncle Dmitry Shuisky. According to the songs, he was poisoned by Shuisky's wife, the daughter of Malyuta Skuratov.

The earliest record of a song about Skopin dates back to 1619-1620. (made for Richard James). This is a short but meaningful song. Muscovites mourned the death of Skopin: "And now our heads are bent." And Vorotynsky and Mstislavsky "spoke a word, grinned":

The falcon rose high

And about the mother's cheese the earth was hurt!

In this song, there is still no motive for poisoning, but the attitude of the princes to the death of Skopin is indicative. In the collection of Kirsha Danilov there is a song in which this motive is developed in more detail: Skopin boasted that he had cleared the kingdom of Moscow from the enemy:

And here the boyars became in trouble,

At that hour they did the deed:

They lifted the fierce potions,

Poured into a glass, sweet honey,

Served to the godfather of his cross,

Malyutina's daughter Skurlatova.

She knew, godfather of his godfather,

She brought a glass of sweet honey

Skopin to Prince Mikhail Vasilyevich.

The song in the collection of Kirsha Danilov, like some others, has many epic features: in poetics, verse and melody. This, in particular, is explained by the fact that some songs were recorded from the famous epic storyteller T. G. Ryabinin. In his songs, Skopin, together with Nikita Romanov, liberate Moscow and Lithuania, and both act like epic heroes.

Songs about Stepan Razin. The songs of this cycle are the most popular among all Russian historical songs. This is due to the fact that they touch upon the most important issues of the life of the people, their oppressed position and the desire to throw off oppression .;

* Songs about Razin have historical background. In the second half of the XVII century. growing popular discontent and indignation at the final enslavement of the peasants and those government measures that were aimed at limiting the "freedom" of the Cossacks. By this time there was a significant social stratification among the Cossacks. All this developed into an uprising, into an open protest by the peasant-Cossacks. In 1670-1671. on the Don and Volga, a popular uprising raged under the leadership of Stepan Razin,

It resulted in a series of bold, heroic campaigns along the Volga, to Yaik, to Astrakhan. The songs mostly correctly reflected in their plots and images course and character of the uprising. But the songs are "poetic works, and one cannot look for complete historical accuracy in the transmission of events in them. The most important thing in them is the reflection of people's moods and aspirations.

I The plots of the songs about Stepan Razin quite fully cover his activities: relations with the Cossacks, trips to Yaik and the Caspian Sea, to __Astdahats. There is a song about his imprisonment, about his execution, but there are no songs about his campaign in Persia. This widely publicized romantic literature the plot of the songs dropped out. Among the plots, the main place is occupied by his popups and! his relation to the 8G_s_1sazaks d _ "Ts songs depict two kinds of 4 campaigns of Razin: against ~" infidels ", against the" Rich Horde ", and against Kazan and Astrakhan, and even against Moscow. These are campaigns against governors and boyars. 1

In the songs related to the first campaigns, there is a manifestation of spontaneity, the goal is sometimes "to take the rich treasury." There is a peculiar motive of faith in the tsar and disbelief in the boyars. When the decree comes to send Razin to Moscow, he says: "Not the royal intentions, but boyar intentions". However, the Cossacks have doubts about the justice of the king. They ask the ataman:

What favors the sovereign-tsar and princes and boyars,

Why won't they favor us Cossacks with anything?

It was then that the idea arises to go "to holy Rus'":

We will take Kazan town in the evening,

And we will take Moscow to the white dawn.

Very important in the songs is the theme of Razin's relationship to the people, who are represented in them by "badness" and the Cossacks. Razin is more and more inclined towards the homelessness, dreaming of v6lo7 ~ E "this gives the songs of the Razin cycle an anti-serfdom character. The songs express the aspirations and expectations of the people, the desire for free work and justice. The homelessness supports Razin. All this makes it significant social entity cycle.

Songs about Razin are heroic in nature. The golytba and the Cossacks perform military exploits: they take cities, smash the tsarist troops sent against them, crack down on the governors. considered himself "free people".

There is a significant difference between Razin and Yermak. Ermak wanted to earn the Tsar's forgiveness, Razin did not bow to the Tsar, he spoke out not only against the boyars, but also against the Tsar's governors. Razin is a brave leader of the masses of the people who rebelled against oppression. He is an elected ataman, confident in the rightness of his cause. His image is poeticized in songs. Razin is endowed with extraordinary strength and courage, his “thunderous voice terrifies enemies, in one night he sails through all the Volga cities, he is invincible. When the archers and gunners, on the orders of the governor, wanted to shoot at him, Razin says:

And you do not lose gunpowder and do not break shells,

The bullet will not touch me, the nucleolus will not take me.

He is able to miraculously escape from prison.

In parallel to the image of Stepan Razin, the songs created the image of a “son”, a brave and daring young man in front of the governors. In later songs, he is passed off as Razin's son, but in early songs, "son" is only his nickname, received for loyalty to Razin. Having fallen into the hands of enemies, he holds himself boldly and proudly, directly declares his loyalty to Razin, despite the fact that he is threatened with the gallows. The “son” himself threatens the governor and speaks of an imminent reprisal against him: he is confident in the victory of the people.

The images of the "son", "the naked" and the Cossack poor give a great social sound to this cycle of songs. Their social content is also revealed in sharp satire - ridicule of the boyars and governors, their arrogance, cruelty, greed, fear of the people.

Songs about the execution of Razin in symbolic images (fogs crawled in, forests burned down, “the glorious quiet Don was clouded”) convey the heavy folk grief.

of great importance social phenomenon- the popular uprising of the 17th century - served as the basis for the creation of a cycle of songs of deep social meaning, vivid poetry. The cycle of songs about Razin developed the traditions of Cossack, robber (remote) and old historical songs. It arose on the Volga and Don, spread throughout the country, experienced a number of new historical periods, expressing popular protest and the readiness of the "bad" to fight enemies for their happiness and freedom.

Songs of the 18th century. In the XVIII century. historical songs continued to live active life. New important processes took place in them. On the one hand, they continued the traditions of the songs of the 16th-17th centuries, and on the other hand, they developed new features. First of all, they embodied art pictures and new images vital content, covering the historical events of the XVIII century. Their plots are connected with military events (a campaign against Azov, North War with the Battle of Poltava, the Seven Years' War, the war with the Turks) and with popular unrest (the Bulavin and Pugachev uprisings). This put two images in the center of the songs: the image of Peter and the image of Pugachev.

The time of Peter I, the reforms, the creation of a regular army and navy, a number of military victories strengthened the power of the Russian state and made it the strongest power. The construction of cities, the navy, canals, the recruitment of a significant part of the peasants into the army affected the established forms of folk life and life. At the same time, the intensification of serfdom, the enslavement of factory workers, and the intensification of social contradictions among the Cossacks 183 led to the Bulavin and then to the Pugachev uprisings;

Big changes in Russian life they caused the growth of the national consciousness of the Russian people, expanded their ideas about reality, introduced new phenomena into the field of their attention. This served as the basis for the new content of the songs, the images of new heroes. A more conscious attitude to reality determined the strengthening of assessments, poeticization and satire, lyrical elements in songs, in which the weakening of the plot began and the development of descriptiveness or expression of thoughts and direct assessments. The songs became shorter, more schematic and more realistic. They included many characteristic historical realities of the time: themes of wars, the army and navy, the images of soldiers and sailors, the names of regiments and the names of commanders, military terminology; regional features of songs began to be erased.

A greater place in the songs was occupied by the image of the people (soldiers in songs about wars and "squatting" in songs about uprisings). The mass of the herd is more active; she supported the reforms and the struggle of Peter I to strengthen the state and central power, but at the same time boldly expressed dissatisfaction with oppression, many years of soldiers' "bondage", and class hatred for the boyars.

The soldier became the new hero of historical songs. The songs showed his patriotism, brave defense of the motherland, exploits, courage, victory over the then best army in Europe - the army of the Swedes, as well as the campaigns of Suvorov, who with good reason called the soldiers "miracle heroes." The scope of events, great and victorious wars, the example of such remarkable commanders as Suvorov, contributed to the development of patriotic consciousness and responsibility for the fate of the motherland.,.., Therefore, historical songs of the 18th century. First of all, they are characterized by their bright patriotism. The soldier performed his duty, despite the severity of the service, the severity and cruelty of the commanders, the betrayal and embezzlement of the military authorities. All this is shown in the songs. The historical songs of the 18th century, most composed by soldiers, reflected the whole order of soldier's service: military life, preparations for a campaign and battles. In all these paintings, features of the new are visible. The troops are preparing for a campaign against Azov:

That in the evening the order was given to the soldiers,

To keep the guns clean and the flints sharp,

Broadswords are released, bayonets are attached,

So that the baldrics, the belts were nafuhrena,

Bibs, shirts and stilettos were white...

There are many complaints in the songs about the severity of the service:

Oh, poor little heads of soldiers,

No matter how day or night you have no rest!

No matter how hard a soldier's life, soldiers are always ready for battle. The song about the siege of the fortress Oreshek (Shlisselburg) is peculiar. It is difficult to take it; when asked by the king how to do this, the generals answer: "It is better to retreat." But the soldiers say to the king:

Will we retreat from the city,

And we will take him with a white chest.

The songs created images of Peter I and the Russian commanders Sheremetyev and Suvorov.

Tletr I is described both as a talented figure and as a person with a peculiar character. He is easy to deal with soldiers and workers, fair, courageous, he himself commands the troops, he himself works together with shipbuilders. In the song "The Tsar Fights the Dragoon" Peter calls the hunter to fight him. But all the princes-boyars were frightened, they fled to the chambers. A young dragoon volunteered to fight and overcame the king. Peter appreciated the strength and skill and generously endowed the dragoon.

The theme of war is developed in the songs in a peculiar way. The king declares war on the enemy:

In fact, the dress is black on him,

The dress is black, but everything is twisted.

Peter mourns the death of soldiers, the loss of regiments. At the same time, he rejoices at the victories of the Russian troops, especially in the Battle of Poltava.

The death of Peter shakes the soldiers. The plot was very popular: a soldier mourns the death of Peter. Songs about the death of Peter are like laments, like lamentations with characteristic images:

What has faded, our bright month has faded,

The red sun has darkened...

All the regiments stand under banners, waiting for their "colonel Preobrazhensky, captain of the bombardier": the brave army has been orphaned, "the whole Rosseyushka has forgotten about us."

Songs about the Bulavinsky and Pugachev uprisings were probably very common among the people, but few of their texts have survived. An uprising led by Kondrat Bulavin broke out on the Don in 1707-1708. For two years, the Don Cossacks protested against the arbitrariness of their superiors. In 1707, Colonel Dolgorukov was sent to the Don with soldiers: he was supposed to find peasants who had fled from serfdom. More than 3,000 people were captured and sent to Russia in custody. This gave rise to an uprising.

The songs explain the reasons for the uprising as follows:

As on the quiet Don, we are unhealthy:

How two boyars came to us,

Two boyars were sent to us by the king,

They are ruining us all now,

Those boyars - the royal servants - exile the old men,

They take young Cossacks as soldiers,

Wives and children are given to the landowners.

That is why our glorious Don was indignant ...

In songs about this uprising, the theme of the departure of the Cossacks from the Don to the Danube under the leadership of Ignat Nekrasov is also developed.

Songs about Emelyan Pugachev. The unrest of the peasants and Cossacks did not stop for almost the entire 18th century. In 1773-1774. The Pugachev uprising broke out. Songs about him to some extent resemble songs about the Razin uprising: individual plots are processed, adapting to new events and Pugachev's personality. Songs about Pugachev are more realistic. They have no miraculous motifs, no romantic prowess. But they more clearly express the hatred of the masses for the bars, boyars and governors. In songs, plots are most often developed about the defeat of Pugachev's detachments, about his "conversations" with governors and governors. To the question of the Astrakhan governor whether he is a tsar or a tsar's son, Pugachev answers:

I am not a king and not a king's son,
And by birth - Emelya Pugach.
I hung many gentlemen and princes,
According to Russei I hung the unrighteous "people. ,

The broad masses of the people took part in the Pugachev uprising: serfs, Cossacks, working Ural people, Bashkirs. Pugachev is often portrayed in relation to them. He, like the masses, is irreconcilable to the masters, bold and impudent when talking with the governor and the general. The song “Pugachev and Panin” is indicative, in which Pugachev is truthfully told about the behavior of Pugachev during a conversation with Count P.I. Panin in Simbirsk. Answering Panin's question, how many princes and boyars he hanged, Pugachev says:

Thank you, Panin, that you didn't get caught<...>

For your service, I would hang it higher!

Songs about the Pugachev uprising are distinguished by a clear social orientation, anti-serfdom character, bold the lie of the authorities. In them, the meaning! ggel> shoa1VI ^ ё | 1tshg ^ chila satire. "True," satire is also characteristic of earlier songs of the 18th century. In the songs about the time of Peter the Great, the embezzler Gagarin, the swindler Dolgorukov are exposed, the "gentlemen-generals", boyars and princes are ridiculed.

The death of Pugachev is lamented in the same way as the death of Razin:

Emelyan you are our dear father!

Who did you leave us for?

The red sun set...

How were we miserable orphans,

Someone to intercede for us

Think hard for us...

Songs of the 19th century. In the first half of the XIX century. the creative process of creating works about new events and heroes is still going on. On the one hand, the traditions of earlier songs continue, on the other hand, new phenomena are reproduced. But more and more often there is a processing of old plots and their adaptation to new events. This is especially clearly expressed in the second half of the 19th century Songs of this century can be divided into two parts: some are characterized by a plot and a certain amount of fiction, sometimes quite free and leading the work away from historical facts; others - more accurately reproduce events, but differ in schematic, dry presentation. The first include popular songs about Suvorov and Platov, the second - descriptions of campaigns in Prussia and France.

A vivid image of the commander, beloved by the soldiers, is the image of Suvorov. In the cycle of songs about him, songs about his injury and death stand out. Grief seized the army, the drummers do not beat the drums, the "musicians" do not blow the trumpets: they carry Suvorov in their arms, and behind him they carry his bloody dress.

Songs of the 19th century are devoted mainly to wars: the Russian-Persian war of 1804-1813, the Patriotic War of 1812, the Russian-Turkish war of 1828-1829, Crimean War 1853-1856, finally, the Russian-Turkish war of 1877-1878.

There are many similarities in the depiction of these wars, which have become stable in historical songs, but there are also elements in which the originality of the works is manifested.

In connection with the depiction of these wars, the images of Kutuzov, Platov and Nakhimov come to the fore, as well as satirical image Napoleon.

The war of 1812 received the most complete reflection. Songs are put forward about Napoleon's letter to the Russian Tsar, in which he demands that apartments for seven hundred thousand troops be prepared in the capital city of "stone Moscow", merchant houses for the generals, and royal chambers for Napoleon himself. Kutuzov reassures the Russian Tsar and says:

And we will meet the villain in the middle of the way,

In the middle of the road, on their own land,

And we will put tables for him - copper guns,

And we will lay tablecloths for him - bullets are free,

We’ll put on a snack - red-hot buckshot;

They will treat him - gunboats,

They will see him off - all the goats.

The songs give pictures of the main moments of the war: Napoleon's entry into Moscow, the fire of Moscow, the defeat of the French, the entry of the Russians into Paris. This cycle of songs is deeply patriotic. Before the battles, Kutuzov addresses the soldiers with a speech and asks them, sparing neither their lives, nor gunpowder, nor cannonballs, to defeat the "Frenchman".

A number of songs are dedicated to the defeat of the French, their flight, their pursuit by the Cossacks, the entry of the Russians into Paris. There is a peculiar song about a Frenchman who fled to Paris, and, going up to him, says with love: “Paris is a glorious town!” The song ends with the answer of the Russian to the Frenchman:

In many songs, Platov is depicted - the brightest and most popular figure in the songs of that time.

About Platov the Cossack

The glory is good;

For his brave deeds

We will always remember.

Platov is bold, cunning, with an awareness of the "dignity of a Russian warrior," he speaks with the French generals and Napoleon himself. He was the first to announce to the soldiers:

The enemy is already in the trap

In our mother Moscow!

The most popular plot of this cycle of songs is "Platov visiting a Frenchman". Disguised, cut off his beard and cut off his hair, Platov comes to visit the Frenchman. At the end of the song, the Frenchman's daughter Orina recognizes him. Platov guesses that he was recognized, and manages to ride off on a horse. Then Platov sends a letter to the French king:

You are a crow, you are a crow

You are the king of France

You failed, crow.

Keep a falcon in the claws ...

In the second half of the XIX century. historical songs deviate significantly from the traditional structure. The plot is greatly weakened. Songs take the form of a lyrical statement about an event or, more often, about the behavior of a person. The songs are based on individual episodes or positive and negative characteristics.

So, one of the songs about the Crimean War speaks of the boasting of the French king, who intends to go to Moscow; another tells how the Turks are going to go to Russia; both songs end with the statement of the Russian soldiers that they will not let the enemies ravage Russia. Several songs paint pictures of the defense of Sevastopol. The songs are patriotic. The soldiers endure severe hardships, but staunchly defend the city. The activities and courage of Admiral Nakhimov are highly appreciated.

Several themes can be distinguished in the songs about the Crimean War. The first of them is grief at the news of the conscription of young guys into the army. The second is the hard way of the soldiers to Sevastopol and the difficult conditions of military life. The third is the determination of the soldiers to do their duty:

We will fight with the basurman

Until the last drop of blood.

The fourth theme is the glorification of commanders:

How Shchegolev is a brave man

Showed us a sample.

And Nakhimov will go

It will destroy you all in the end.

The fifth is satirical. The French king is subjected to ridicule, who boasts that he will ruin Moscow, take all the generals into full, and give away the Moscow red girls to the soldiers. In the image of the Englishwoman Vasilievna, England and her queen are ridiculed.

However, songs about the Crimean War are the last stage in the history of songs of this type. The process of the rebirth of the genre can be traced with even greater clarity in the songs about the Russian-Turkish war of 1877-1878: they lost a coherent plot, developed a lyrical beginning, and simplified poetics.

Collectors and researchers of folklore have long paid attention to the "coherence" of Russian proverbs.

Special consideration of the poetic form of proverbs and genres close to them is devoted to the study by I. I. Voznesensky “On the warehouse or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc.” (Kostroma, 1908), which has not lost its significance to our time.

At the same time, it should be recognized that in pre-revolutionary folklore and Soviet science of the first two decades, the questions of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. Yu. M. Sokolov, in this regard, in the mid-30s quite rightly wrote: “If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side either. her. Researchers usually emphasize that “a proverb is mostly in a dimensional or folding form” or that “the form of a proverb is a more or less short saying, often expressed in a folded, measured speech, often metaphorical / poetic / language”, but on the question of what “warehouse and measure” precisely consists, detailed studies are still not available.

A certain semantic and intonational independence in proverbs is acquired not only by their parts, but even by individual words, which in their semantic expressiveness often approach a phrase. Here are examples of such proverbs: “To endure, fall in love”; "It is said and done", "It was - and swam away".

We will consider several directions of folklore collectors.

Since we started with proverbs and sayings, then we will start the story about them.

Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and the collection "Proverbs of the Russian People", was half Dane by blood, a Lutheran by religion.

And in response to a perplexed question, Dahl explained: it’s getting cloudy, it’s about heat. Seventeen-year-old Dal takes out a notebook and writes down: “Rejuvenate” - otherwise cloudy - in the Novgorod province means to fill up with clouds, speaking of the sky, tends to bad weather. This entry became the grain from which, 45 years later, the Explanatory Dictionary grew.

But this is still very far away. The collection of extraordinary sayings, words and sayings, folk oral wealth has just begun.

In 1832, the serious literary activity of V.I.Dal began. Metropolitan magazines publish his articles under the pseudonym "Vladimir Lugansky" or "Cossack Lugansky" - after the name of his native town. A gifted storyteller, a sociable person. Dal easily enters the literary world of St. Petersburg.

He converges with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works are quickly gaining huge success.

In the spring of 1832, Dal again abruptly turns his fate - he goes to distant Orenburg as an official for special assignments under the military governor. Dahl is a collegiate assessor, an official of the 8th grade, which corresponds to a major in the army.

Traveling around the Cossack villages and camps of nomads, Dal discovered for himself the special world of Russian disturbing borderlands. He not only observed orders and customs, not only wrote down words, he acted, treated the sick, interceded for the offended. "Fair Distance", - the steppe people called him.

In Orenburg, he met with Pushkin, who came to a distant land to collect material on the history of Pugachev rebellion. Together they traveled to the places where Pugachev's movement began, questioned the old people. Then Pushkin advised Dahl to seriously engage in literature, probably he gave the idea to come to grips with the dictionary.

Last meeting Dal and Pushkin happened in the tragic days of December 1837 in St. Petersburg, where Dal came on official business. Having learned about the duel between Pushkin and Dantes, Vladimir Ivanovich immediately appeared at the apartment of a friend and did not leave him until the end.

Pushkin was treated by palace doctors, Dahl was a military doctor.

Although he was not as famous as Scholz, Salomon or Arendt, it was he who gave Pushkin hope until the last hour, it was he who remained with the wounded inseparably the last night.

The publication of an explanatory dictionary and a collection of Russian proverbs required a lot of money. Dahl made a decision to work and earn, save for the future, so that in old age he could devote himself to his favorite business.-

In the spirit of the times, Vladimir Ivanovich instructs his subordinates to deal with his personal business. Grigorovich recalled Dal: “Using his position, he sent out circulars to all officials inside Russia, instructing them to collect and deliver to him local traits, songs, sayings, and so on.” But it was not the officials who made up the Dahl collections with their offerings. The fame of Dahl, not only a writer and essayist, but also an ascetic who took on the nationwide cause, spread more and more widely. From all over Russia, well-wishers send him their collections, lists of rare words and sayings. It was the time of the awakening of interest in society to the way of life, the life of the people. The Russian Geographical Society, created with the active participation of Dahl, sent an "Ethnographic Circular" to all parts of Russia with a proposal to study the life of the population of all regions.

The time was coming to an end when the geography of France and the life of Ancient Rome educated people knew more than their own, domestic. Magazines, one after another, inform the public about Dahl's asceticism, asking for help. Many famous figures cultures such as Lazhechnikov and Pogodin collect words, songs, fairy tales for Dahl. In the journal Otechestvennye Zapiski, Dahl thanks his assistants again and again.

In 1848 he moved to Nizhny Novgorod, to the post of manager of a specific office.

“During a ten-year stay in the Nizhny Novgorod province, Dal collected a lot of materials for the geographical indication of the distribution of various dialects,” writes Melnikov-Pechersky.

Nizhny Novgorod province in this respect is remarkable originality.

Still would! The famous Makariev Fair was an event of European significance. Here the trade routes of East and West intersected - tea from China, iron from the Urals, bread from the steppe provinces, carpets from Central Asia, manufactory and manufactured goods from the West - everything that was produced in the vast expanses of the Russian Empire, everything that was imported from neighboring countries , exhibited, sold on the lowland area lined with shops near the mouth of the Oka. 86 million rubles in silver - such was the trade turnover of the Makariev Fair in those years.

The new era tore out the peasants with centuries of their homes mixed in a common cauldron, and so the language was created, which Dahl called living Great Russian .

Dahl perfectly mastered one of the main qualities of a folklorist: the ability to talk to people, to talk people. “There was someone and something to learn, how to speak with a Russian commoner,” recalls Melnikov-Pechersky, who often accompanied Dahl on his trips around the province. The peasants did not want to believe that Dal was not a natural Russian person. “He grew up exactly in the village, he was fed on boards, he was drunk on the stove,” they used to say about him, and how well he felt, how pleased he was when he was among our kind and intelligent people!

Dahl was by nature manipulative - that is, he wielded both his right and left hands with equal dexterity (this helped him in eye operations, where he acted with the hand that was convenient), he was just as manipulative in relation to his fate: we will not be able to to name only a hobby the compilation of a grandiose Explanatory Dictionary for 200 thousand words, a set of proverbs, including more than thirty-one thousand sayings, literary works, occupying almost four thousand pages of text, numerous articles, a collection of songs, fairy tales, etc.

In his declining years, Dal settled in Moscow. His house has been preserved - a spacious mansion on Presnya. Here Dahl's titanic, ascetic work was completed - compiling a collection of proverbs of the Russian people and an Explanatory Dictionary .. Dahl devoted three to four hours a day to this occupation for decades. He copied the collected proverbs in two copies, cut them into "straps". One copy was pasted into one of the 180 notebooks by category - it was a collection of proverbs. The other was pasted into the alphabetical notebook to the keyword - these are examples for the Explanatory Dictionary. For half a century, Dahl explained and provided with examples about two hundred thousand words. If you deduce the “average figure”, it turns out that with a twelve-hour working day, for half a century, he wrote down and explained one word every hour. But he not only collected and recorded, he created, served, lived!...

The explanatory dictionary of the living Great Russian language included: “Written, colloquial, common folk, general, local, regional, everyday, scientific, trade and craft, foreign, learned and re-used, with translation. explanation and description of objects, interpretation of the concepts of general and particular, subordinate, average, equivalent and opposite, and much more.

Plunging into its wealth, you do not believe that all these thousands of words passed through one hand. Dahl's dictionary lives and will live as long as the Russian people live.

Now, at a temporary distance, we deeply thank Dahl for his tremendous work. A dictionary, essays on everyday life, a collection of proverbs is for us one of the sure keys that open the past era. His task - to give in words, proverbs, pictures of everyday life an accurate photographic snapshot of the Russian world of the middle of the 19th century, to capture the life of the nation in the smallest details and manifestations - Dahl brilliantly fulfilled. Time will pass, life will change. The colossal image of the era created by Dahl will remain unchanged. And the further, the more valuable it will be for future generations. -

Volgograd

State Institute of Arts and Culture

Subject: "Ethnography and folklore"

On the subject: "Collectors of folklore"

Fulfilled

group student

3RTP AND OZO

Makarov Gennady

Checked by teacher:

Slastenova I.V.

VOLGOGRAD 2005

Collectors of Russian folklore.

Collectors and researchers of folklore have long paid attention to the "coherence" of Russian proverbs.

At the same time, it should be recognized that in pre-revolutionary folklore and Soviet science of the first two decades, the questions of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. Yu. M. Sokolov, in this regard, in the mid-30s quite rightly wrote: “If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side either. her. Researchers usually emphasize that "a proverb is mostly in a dimensional or folding form" or that "the form of a proverb is a more or less short saying, often expressed in a folded, measured speech, often metaphorical / poetic / language", but on the question of what exactly is "warehouse and measure", there are still no detailed studies.

A certain semantic and intonational independence in proverbs is acquired not only by their parts, but even by individual words, which in their semantic expressiveness often approach a phrase. Here are examples of such proverbs: “To endure, fall in love”; “It is said and done”, “It was - and swam away”.

We will consider several directions of folklore collectors.

Since we started with proverbs and sayings, then we will start the story about them.

Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and the collection "Proverbs of the Russian People", was half Dane by blood, a Lutheran by religion.

But this is still very far away. The collection of extraordinary sayings, words and sayings, folk oral wealth has just begun.

He converges with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works are quickly gaining huge success.

In Orenburg, he met with Pushkin, who came to a distant land to collect material on the history of the Pugachev rebellion. Together they traveled to the places where Pugachev's movement began, questioned the old people. Then Pushkin advised Dahl to seriously engage in literature, probably he gave the idea to come to grips with the dictionary.

Dahl's last meeting with Pushkin took place on the tragic days of December 1837 in St. Petersburg, where Dahl had come on official business. Having learned about the duel between Pushkin and Dantes, Vladimir Ivanovich immediately appeared at the apartment of a friend and did not leave him until the end.

Pushkin was treated by palace doctors, Dahl was a military doctor.

Although he was not as famous as Scholz, Salomon or Arendt, it was he who gave Pushkin hope until the last hour, it was he who remained with the wounded inseparably the last night.

The time was coming to an end when educated people knew more about the geography of France and the life of Ancient Rome than their own, domestic ones. Magazines, one after another, inform the public about Dahl's asceticism, asking for help. Many famous cultural figures, such as Lazhechnikov and Pogodin, collect words, songs, fairy tales for Dahl. In the journal Otechestvennye Zapiski, Dahl thanks his assistants again and again.

In 1848 he moved to Nizhny Novgorod, to the post of manager of a specific office.

“During a ten-year stay in the Nizhny Novgorod province, Dal collected a lot of materials for the geographical indication of the distribution of various dialects,” writes Melnikov-Pechersky.

Nizhny Novgorod province in this respect is a remarkable originality.

The new era tore out the peasants with centuries of their homes mixed in a common cauldron, and so the language was created, which Dahl called the living Great Russian.

Plunging into its wealth, you do not believe that all these thousands of words passed through one hand. Dahl's dictionary lives and will live as long as the Russian people live.

PRINCIPLES OF EDITION. COMPOSITION AND STRUCTURE
SERIES "EPIC" CODE OF RUSSIAN FOLKLORE

The epic epic as an expression of the artistic genius of the Russian people is an outstanding monument of universal culture. Entering the East Slavic cultural and ethnic core, acting as the guardian of the most ancient epic heritage, epics combine in their plot features of epics before the state, the era of Kievan Rus and the period of Moscow centralization. Permeated with the ideas of patriotic heroism, epic works were one of the most important factors that ensured the consolidation of the Russian nation and Russian statehood. The monumental images of heroes created by the epic - warriors and plowmen, defenders and builders of the Fatherland have become symbols of our people.

The publication of epics in the series provides for the release of monuments of the Russian folk song epic at a level equivalent to the level of academic publications of Russian writers.

The epics have completed their thousand-year development and almost completely passed into the category of cultural monuments. Folkloristics today has the opportunity to create, on the basis of an exhaustive accounting of all the material of epics recorded in the 17th-20th centuries, not just another anthology, but a stock national library, a corpus of Russian epic epics, which will ensure the preservation and further popularization of one of the indigenous forms of national culture.

Researchers-specialists in various social sciences still do not have a reliable base library of Russian epic capable of satisfying their diverse requests, which leads to the deliberate preliminaryity of many conclusions, duplication of search processes, and ultimately to unacceptable wastefulness of scientific forces. The publication of the series "Epics" of the Code of Russian Folklore involves the creation of a factual foundation for Russian epic studies.

The Byliny series is the first in the order of the creation of the Code of Russian Folklore. This is dictated not only by the high social and aesthetic significance of this circle of cultural monuments, but also due to the scientific readiness of Russian folklore to publish this type of folk poetry (a large number of studies of epics in the aspects of philological, historical, musicological; a solid tradition of publishing song epos starting from the works of K. F. Kalaidovich, P. V. Kireevsky, P. N. Rybnikov, A. F. Gilferding). The amount of material - including data on archival accumulations, materials of expeditions of the Soviet era and current years - is realistically foreseeable.

The scientific term "epics", as well as the folk term "old times", in the practice of research and publications of Russian folklore often, and not without good reason, converge, embracing all varieties of oral song epic, which together form the repertoire of performers of epics (Russian North) and epics songs (South of Russia, the Volga region and some other areas), namely:

epics (heroic, or heroic, epics-short stories, epics on local themes, epics on fairy tales, comic epic); older historical songs (XIV - early XVII centuries); older ballads; songs of the old Russian book edition, influenced by the epic epic (apocryphal songs, or spiritual verses, songs-parables, etc.); epic songs; ballad songs.

Of the named varieties of song epic, the series "Epics" on the basis of the proximity of content, stylistic and poetic form, plot-genetic relationship, functional proximity, stability of performing and musical traditions - works of category "A" are combined (with the exclusion of epic-like arrangements from it fairy tales, as well as stylizations - "news") and "D".

Approximately a third of the material of the epic epic revealed to date (meaning the total number of entries - 3 thousand units of texts-variants of works) has not been published and has not been involved in a systematic study. The published collections are diversified, different in their concepts, variegated in composition, do not have the same textological settings.

Science has publications of a consolidated type, related to the early, romantic, time of the development of folklore (for example, in the I-V editions of the Collection of Folk Songs by P. V. Kireevsky contains 100 epic versions of 35 plots about heroes) and therefore embracing only a relatively small part of the currently known records; has classical collections of epic songs of various genres of the regional type. These collections give general idea about the composition of the Russian epic epic or about the state of the local tradition of a certain time in the amount of material that became known to the collector, but they do not create either a cumulative characteristic of the Russian epic, or a complete picture of the life of epic-epic art in this region throughout the records. There are - also not exhaustive - publications of the repertoire of one performer. There are anthologies of epic works about a number of heroes of Kyiv and Novgorod cycles epics, where the leading stories and their versions are presented in selected versions. There are other valuable editions of epic folklore. But they do not pursue the goal of reuniting the monuments of the epic epic into a single series capable of concentrating in forms acceptable to a relatively wide range of readers all the millennial wealth of Russian epic culture and at the same time preserving the maximum information about this type of Russian folk art. Recordings and retellings of works of folklore found in ancient Russian manuscripts or publications of the 18th century are transmitted with the preservation of the phonetic and morphological features of the source text, but with the elimination of archaic features of graphics and spelling (extension letters in a line; continuous spelling.-

Russian folklore (V. S. Galkin. "Siberian Tales") (review)

Soon the fairy tale takes its toll... Saying The magical world of a fairy tale - it has been created since time immemorial, when a person was unaware of not only the printed, but also the handwritten word. The fairy tale lived and passed from mouth to mouth, passed from generation to generation. Its roots are deeply folk. And the fairy tale will live as long as the sun will shine in the sky. Of course, the fairy tale of our time is not an oral folk art, but an essay written by a professional writer. It inevitably differs both in form and style from the old fairy tales. But the fairy tale has not lost its precious original qualities to this day. This is cunning, kindness, the search for the best, noble principles in the character of a person, fierce determination in overcoming evil. I recently read Vladimir Galkin's book "Siberian Tales" and rejoiced at the author's success in developing Russian fairy tale traditions. The book tells about the author that he is a teacher and has been collecting folklore for many years in order to form new tales on its basis. V. Galkin harmoniously combines the details of the real life of modern Siberia and its past with the magic of the fairy-tale world. Therefore, when reading the Siberian Tales, it is as if you breathe in the aroma of spirited bread sourdough, which is still preserved by many rural housewives, and you are burned by the fresh Siberian frost, going out into the forest in the morning along with the heroes of the tales. The plots of the stories are simple. For example, in the tale “Yeremey's word” we are talking about the old man Yeremey Stoerosov, who lived in the village by weaving baskets for mushrooms and berries. But the thing is that he loved during this work, it is interesting to tell different stories. Often he had a full hut filled with people. Everyone wanted to listen to Yeremeyev's tales. And the people gathered like this: “The mother of some boy will come, make a noise:“ He listens to stories, but you won’t wake up in the morning! But others will shush her: “Take, aunt, your little one, don’t bother us!” Baba is silent. He will stand, stand and sit down in the corner: “Evon speaks so fluently!” With this short fragment, the author outlined two moral principles in the life of the Russian people: the first is that work is not an end in itself for him, and he always tries to somehow decorate it with a song or a word, in other words, turn weekdays into holidays; secondly, at the sight of someone else's joy, he forgets his own difficulties and sorrows. But not without envious people. There is a guy in the village Oska Ryabov, nicknamed Ryabok. Everyone in the village dislikes him. Envious: “A neighbor will bring a scarf from the city for the holiday to his wife, Ryabok whispers in the village: “What does Makar Maryu dress up? Still didn’t come out with a snout. ” Of course, such a person envied the good reputation of Yeremey the storyteller and tried to taunt him. He sits, sits - and suddenly, for no reason at all, blurts out: “All lies!” Yeremey treated this diameter calmly, although the villagers tried to intercede for him many times: “Ryabka Yeremey would have driven Ryabka, what does he endure?” And other oils were added to the fire: “He cut off, you see, his Oska!” The author describes situations where the different characters of the characters are clearly manifested. Jeremey is especially good here. He is not at all offended by Ryabka, but nevertheless he meekly decides to teach him a lesson, or rather, to guide him on the right path. To achieve his goal, Eremey chooses an old Russian fairy-tale version: to ridicule the diameter through some intricate case. He goes to a familiar hunter and asks him for several live hares, knowing that he knows how to catch them not with loops, but in pits. Yeremey placed Zaitsev in a box and began to wait for the guests to arrive - to listen to his stories. The guests came, and with them the diameter of Ryabok. Here Yeremey says: “I will catch Zaitsev, why waste time. I’ll read the plot - they will pile on while I’m telling you stories. ” Of course, only Ryabok doubted and agreed to a dispute with Yeremey. Whoever loses, he puts a bucket of mead. But Yeremey also shows the breadth of nature here: while he was whispering a conspiracy, the guests were treated to his own mead. Of course, Yeremey won the argument. While his hares jumped out of the box and fled into the forest, everyone laughed at Ryabko. All his life he had science. It is possible to speculate on this fragment more broadly. It can be seen that the hunter "sometimes hunted with a rifle, but wore it more for force." More such hunters! And the main character of the tale, Eremey, is not a vindictive and generous person. Although he won the argument, he still put out his mead. And it was the bunnies that helped restore justice. I immediately recall the tale of how a hare, in the role little brother, participated in the race and won. That is, the author retained the Russian fairy tradition. In conclusion, I want to say that there are not so many collectors of folklore in our country. Therefore, every meeting with such a collector of the semiprecious folk word, like Vladimir Galkin, is always a joy. .

FROM THE HISTORY OF THE COLLECTION OF SONG FOLKLORE OF THE SAMARA REGION

The history of collecting song folklore Samara region is over a hundred years old. The first editions were collections and scattered publications, in which only lyrics were placed without a notographic recording of the tunes. In some works, the authors recorded the dialectal features of local dialects.

One of the first major publications devoted to the song folklore of the Samara province was the work of a prominent folklorist-collector, researcher of folk art, translator V.G. Varentsov "Collection of songs of the Samara region". The book contains more than 170 texts of songs recorded by students of the Samara district school in several villages of the Samara province. The author supplements the collection with personal comments about genre features local folklore, notes the influence of settlers from the Voronezh, Nizhny Novgorod, Simbirsk provinces on the local song style.

Several Samara round dance songs of the Stavropol district were included in the well-known "Collection of Russian Folk Songs" by M.A. Balakirev.

In 1898 the first volume of P.V. Shane "Great Russian in his songs, rituals, customs, beliefs, legends, etc." . The publication includes many Samara wedding, dance, children's and other songs.

At the turn of the century, the largest work over the past century devoted to traditional songs was published - the seven-volume book Great Russian Folk Songs Published by Prof. AI Sobolevsky. The collection included a large number of Samara songs of various genres, recorded in Buzuluk, Stavropol districts, the cities of Nikolaevsk, Syzran, Samara.

` One of the first major works of the 20th century was the book of the famous folklorist, publicist, archeographer P.V. Kireevsky. The multi-volume edition includes hundreds of lyrics recorded in different regions of Russia. Among them are the first published songs of the Samara province, collected in the middle of the 19th century by the Russian poet - lyricist P. M. Yazykov.

Of interest is a large genre variety of lyrics. The epic genre, which has practically disappeared in the Samara Territory, is represented here by ten epics; military, Cossack, recruit, soldier, sailor, lyrical, wedding songs, ballads, spiritual poems are also recorded.

In the 20s and 30s of the 20th century, publications of song lyrics were often dispersed in local periodicals. Notable work in the direction of popularization of traditional folk art was carried out by the collector-folklorist R. Akulshin. So, in 1926, in the local newspapers "Krasnaya Niva", "Music and Revolution", he published the texts of Samara ditties. Several soldiers' songs recorded by R. Akulshin in the Kuibyshev region were published by the Volzhskaya Nov newspaper. The same publication in the section "Folk Songs" placed on its pages 16 texts of old wedding and military songs collected by R. Akulshin in 1923.

Of interest is the description of an old Russian wedding, recorded by S. Lukyanov in 1929 in the village. Duck. The article contains expeditionary material with a description of the wedding action, set out from the words of the ritual participants themselves, starting from the moment of matchmaking and ending with the second day of the wedding feast. The article also published the texts of some wedding songs performed by a local ethnographic ensemble.

In 1937, a collection compiled by V. Sidelnikov and V. Krupyanskaya "Volga folklore" was dedicated to the folklore of our region. It includes expeditionary materials of 1935, reflecting the picture of the existence of oral folk art in the Kuibyshev region. The collection includes samples of local fairy tales, legends, more than 30 texts of historical, wedding, everyday and other songs, 354 texts of Soviet ditties. During the recording, the territory of the Volga coast was examined - the Krasnoyarsk region (the villages of Malaya and Bolshaya Tsarevshchina, Shiryaevo), the Stavropol region (the villages of Russkaya Barkovka, Stavropol, Khryashchevka), as well as some villages of the Ulyanovsk region.

A large number of texts of songs of the Kuibyshev region are placed in the 1938 collection "Volga Songs". In addition to songs dedicated to the revolutionary Stalinist theme, more than 20 texts of historical, lyrical, wedding and dance songs have been published. Among them are "The Nightingale Persuaded the Cuckoo", "The Volozhka Spilled Widely",

“Oh, you, garden, you are my garden”, “Oh, fogs, you, fogs”, “Blow, blow, you weather”, “Ah, father, drink, don’t drink me”, “Vanya’s mother sent”, “ Spinning wheel under the bench ", etc.

Since the end of the 40s, the songs of our region have been published separately in some major metropolitan publications,,,.

The first musical publications of songs recorded in the Samara region appeared in 1862 and 1876-77,. We meet three tunes in the collection of M. Balakirev, published in 1891. The composer made a special trip along the Volga, he was the first of the collectors who began to record songs not in the city, but in the countryside from the peasants. Each tune the author gives his processing - harmonization.

Collector Lipaev I.V. in the newspaper "Russian Musical Newspaper" he published the tunes and texts of the wedding lament "You, my breadwinner, father" and the labor artel "Here it will not come, it will go".

Three tunes recorded in 1901 by A. Maslov were published in the collection "Songs from the Volga Region" in 1906. In 1926, songs collected by R. Akulshin were published.

Separate songs of the Samara Volga region were included in various collections of the 30-40s. One, recorded by V. Zakharov in 1934 in Bor district, is placed in his work "Thirty Russian Folk Songs". Three songs were published by the Kuibyshev ODNT in 1944.

Three more, notated from a phonograph, were included in the Moscow collection Ten Russian Folk Songs. Four tunes are included in the brochure by V.I. Volkov "Seven Russian Folk Songs". Several song samples have been included in other editions of , , , , , .

A large expeditionary work in the Samara Volga region in the late 40s and early 50s was carried out by a group of folklore researchers from Leningrad, who were part of the scientific expedition of the Institute of Russian Literature of the USSR Academy of Sciences. Planned field work to collect and record works of local oral folk art was carried out in the Elkhovsky, Utevsky, Stavropol, Bogatovsky, Kinel-Cherkassky and Novodevichensky districts of the Samara region.

The result of the Leningrad expeditions was a number of publications dedicated to Samara song folklore, which were published in the late 50s and early 60s.

The main result of the expedition trips of 1948, 1953, 1954 was the collection "Russian folk songs of the Volga region", which became the first major publication dedicated to the folklore of the Samara region. As the newspaper Sovetskaya Kultura wrote, “...among the materials [of the expedition] are more than one and a half thousand Volga ditties,<...>old lyrical and play tunes". The work has a preface and an introductory article by N. Kolpakova, which reveals a number of issues in the history of the settlement of the Kuibyshev region, as well as analyzes the current state of folk art in the region.

The collection includes 100 Russian folk songs. It is divided into two sections: Soviet songs (20) and old folk songs (80). Of the 100 songs published, 83 were recorded with a tape recorder and 17 by ear. It seems especially valuable that "... [songs] were recorded directly from the voice of the people ..." without copyright musical processing or arrangements. Unfortunately, the poetic texts have been edited according to the generally accepted literary transcription, which has deprived them of their original dialect flavor.

The work on collecting and studying the Samara Russian song folklore noticeably intensified with the opening of the department of folk choral art at the KGIK in 1979. Expeditionary trips to the regions of the region have become more planned and systematic. Since that time, students and teachers of the university have carried out a huge research- hundreds of folk songs were recorded and analyzed, the most interesting material on the history and ethnography of the Samara Territory was collected,,,,,,.

One of the most notable publications among recent publications was O. Abramova's book "Living Springs". Along with the song material collected in the Bogatovsky, Borsky, Neftegorsky, Krasnoyarsk regions, the collection contains information about traditional culture, ethnography of our region, analytical article "Cadenzas in folk songs of the Samara region".

In 2001, a wonderful book was published in Samara, dedicated to the famous collector of the Middle Volga folklore M.I. Chuvashev "The spiritual heritage of the peoples of the Volga region: living sources". It includes hundreds of samples of traditional Mordovian and Russian songs recorded by the researcher from 1964-1971 in the northern and central regions of the Samara region. Of interest are Russian folk songs that exist in villages with a mixed Russian-Mordovian population. 49 song samples of different genres of Pokhvistnevsky, Shentalinsky, Chelno-Vershinsky, and other regions reflect the specifics of the existence of the Russian song tradition in a foreign language environment.

One of the latest publications on the folklore of the Samara region was the collections released in 2002 by the Syzran College of Arts,. Both works include original song material recorded in the Volga and Shigon regions. The songs presented in the collections reflect the genre specifics of local folklore; labor, wedding, lullabies, dance, round dance, lyrical songs and romances are collected and notated.

To date, the published song material, recorded by researchers in different years, has hundreds of samples. A huge expeditionary work has been done, the results of which are not only literary publications, but also priceless sound recordings made decades ago. But, on an all-Russian scale, the Middle Volga (and Samara as a component) song tradition still remains one of the least studied. This is largely due to the national heterogeneity of the local population, which definitely complicates the search for authentic Russian ensembles. However, the songs that exist in the conditions of "national diversity" are of great interest to the researcher. V.G. Varentsov in his book "Collection of songs of the Samara region" noted: "... those colonists who live, surrounded on all sides by foreigners, keep their special features <...>, living among the Chuvash and Mordovians, still retain their costumes and dialect. "Thus, the primary tasks of folklorists and local historians are to collect new material in poorly studied areas of the region, such as Khvorostyansky, Koshkinsky, Klyavlensky, Bolshechernigovskiy, etc. and classify samples from the already existing stock of records.

Used Books

1. Sokolov Yu. M. Russian folklore. M., 1941, p. 212.

2. See: Dal V.I. Proverbs of the Russian people. M., 1957 (in

text: D., p. ...Ch. Rybnikova M. A. Russian proverbs and

sayings. M., 1961.

3. Page 3-to-6

V.I.Dal - "Proverbs of the Russian people." 1-2-3 vol.

Moscow. "Russian Book" 1993.

4.- The author's work on the first two volumes was performed by A. A. Gorelov ("Foreword", "Principles of publication. Composition and structure of the Epic series of the Code of Russian Folklore"); V. I. Eremina, V. I. Zhekulina, A. F. Nekrylova (textological preparation of the corpus of texts of epics, “Principles of the distribution of verbal material”, “Textological principles of publication”, passport and textological commentary, “Biographical data about the performers”); Yu. A. Novikov (plot-variant commentary). The authors of the article "Russian epic epic":

5. ALLSoch.ru: Galkin V.S. Miscellaneous Russian folklore (V. S. Galkin. "Siberian Tales") (review)

Literature

1. Abramova O.A. Living springs. Materials of folklore expeditions in the Samara region. - Barnaul, 2000. - 355s.

2. Aksyuk S.V., Golemba A.I. Modern folk songs and songs amateur performances. M.-L. -Issue 1. - 1950. - 36s.; Issue 2. - 1951. - 59p.

3. Akulshin R. Village dances // Krasn. field. - 1926. - No. 36. - S.14-15.

4. Akulshin R. Our songs // Music and revolution. - 1926. - 7-8. - P.19-28.

5. Akulshin R. Rivals: From the life of the Samara province. // Music and revolution. - 1926. - No. 3.

6. Balakirev M.A. Collection of Russian folk songs. - S.-Pb., 1866. - 375s.

7. Balakirev M.A. Collection of Russian folk songs. - S.-Pb., 1891.

8. Bikmetova N.V. Russian folk song creativity of the Samara region. Anthology. Issue 1. - Samara, 2001. - 204p.

9. Borisenko B.I. Children's musical folklore of the Volga region: Collection. - Volgograd, 1996. - 254 p.

10. Great Russian folk songs published by prof. A.I. Sobolevsky. - V.1-7. - S.-Pb., 1895-1902.

11. Volga songs: Collection. - Kuibyshev, 1938. - 115p.

13. Volga folklore / Comp. V.M. Sidelnikov, V.Yu. Krupyanskaya. - M., 1937.-209 p.

14. Volkov V.I. Seven Russian Folk Songs: Arranged. for voice with f.-n. - M.-L., 1947. - 28s.

15. Ten Russian folk songs (choirs a capella) / Notated from phonograms by N.M. Bochinskaya, I.K. Zdanovich, I.L. Kulikova, E.V. Levitskaya, A.V. Rudneva. - M., 1944. - 17p.

16. Children's folklore Samara Territory: Method. recommendations / Comp.: Orlitsky Yu.B., Terentyeva L.A. - Samara, 1991. - 184p.

17. Dobrovolsky B.M., Soymonov A.D. Russian folk songs about peasant wars and uprisings. - M.-L., 1956. 206s.

18. Spiritual heritage of the peoples of the Volga region: living sources: Anthology / Authors-compilers: Chuvashev M.I., Kasyanova I.A., Shulyaev A.D., Malykhin A.Yu., Volkova T.I. - Samara, 2001. - S.383-429.

19. Zakharov V.G. One hundred Russian folk songs. - M., 1958. - 331s.

20. Kireevsky P.V. Songs collected by Kireevsky / Ed. V.F. Miller and M.N. Speransky. - M., 1911-1929. - (New Ser.).

21. Krylova N. Children's songs // Teacher. - 1862. -№24.

22. Lipaev I.V. Peasant motives: Note // Rus. music newspaper. - 1897. - No. 12. -Stb. 1713-1718, note.

23. Folk songs: Wedding. Songs of the military and about the military // Volzh. new. - 1935. - No. 8-9.

24. Folk songs. Tales and tales. Chastushki // Volzh. Nov. -1937. - No. 8-9.

25. On silver waves: Russian folk songs recorded in p. Davydovka, Samara region. / Under the total. ed. IN AND. Rachkova. - Syzran, 2002. - S. 108.

26. Songs recorded on the territory of Samarskaya Luka in 1993. /Zap. Turchanovich T.G., Deciphering Noskov A.K.//Vedernikova T.I. etc. Ethnography of the Samarskaya Luka. Toponymy of the Samarskaya Luka. - Samara, 1996. - S. 84-92.

27. Popova T.V. Russian folk musical creativity: Proc. manual for conservatories and muses. schools. Issue. 1-3. - M., 1955-1957, 1962-1964.

28. Rimsky-Korsakov N.A. Collection of Russian folk songs Part 2. - St. Petersburg, - 1877. - S.36-37.

29. Russian folk songs of the Volga region. Issue 1. Songs recorded in the Kuibyshev region. - M.-L., 1959. - P.6.

30. Russian folk songs of the Volga region. Issue 1. Songs recorded in the Kuibyshev region. - M.-L., 1959. - 195s.

31. Russian folk songs: Collection / Comp. A.M. Novikov. - M., 1957. - 735s.

32. Russian folk lingering songs: Anthology. - M.-L., 1966. - 179s.

33. Russian songs. - M., 1949. -212s.

34. Russian songs: Lyrics, performed. State. Russian nar. chorus to them. Pyatnitsky / Ed. P. Kazmina. - M.-L., 1944. - 254s.

35. Russian ancient and modern songs: based on the materials of the expeditions of the Union of Composers of the USSR / Comp. S.V. Aksyuk. - M., 1954. - 80s.

36. Russian ditties / Comp. N.L. Kotikov. - L., 1956. - 317s.

37. Collection of songs of the Samara region / Comp. V. G. Varentsov. - S.-Pb., 1862. - 267s.

39. Ancient Russian wedding // Volzh. new. - 1935. - No. 10.

40. Stage interpretation of folklore (on the example of spring ritual songs): Method. recommendations / Aut.-stat. Terentyeva L.A. - Kuibyshev, 1989. - 110p.

41. Terentyeva L.A. Folk songs of the Kuibyshev region: Method. instructions for adv. music tv-woo. Part 1. - Kuibyshev, 1983. - 70s.

42. Thirty Russian folk songs / Zap. V. Zakharova. - M.-L., 1939. - 112p.

43. Proceedings of the musical-ethnographic commission, which is attached to the ethnographic department of the Society of Lovers of Natural Science, Anthropology and Ethnography. T.1. - M., 1906. - S.453-474.

44. Shein P.V. Great Russian in his songs, rituals, customs, beliefs, legends, etc. - T.1. - S.-Pb., 1898. - 736s.

45. My apple tree... Songs recorded in p. Surinsk Shigonsky district of the Samara region / Zap. and notation N.A. Krivopust. - Syzran, 2002. - S. 72.

And who worked on it more than many; a student who has been collecting all his life bit by bit what he heard from his teacher, the living Russian language. An outstanding connoisseur of the Russian word, V. I. Dal was a sensitive connoisseur and caring collector of Russian speech in its most diverse manifestations: a well-aimed original proverb, saying, riddle, fairy tale, they found in him an attentive collector and careful ...

The period in the history of epics, which is characterized by the fading of intensely epic creativity. The historical epic, gradually forming and separating itself as a genre, entered the complex multi-genre complex of Russian folklore, becoming an expression of the ideological and aesthetic views of the people on political, state and international phenomena. Historical song. There is no common understanding of the term "...

For a general study of this topic, we need to resolve the following issues: 1. The origin of Russian ethnography 2. The development and formation of Russian ethnography 3. Russian ethnography at the present time peoples. Already in antiquity, along with ...

Inherent in Russian culture itself on different stages her history. It was these discords and contradictions that created the diversity of the national-spiritual life of Russia. 3. A modern view on the features of the sociodynamics of Russian culture The history of Russia is a set of cultural and historical paradigms. Berdyaev was right when he singled out in Russian history the alternation of "different Russias", understood as a change of striking ...

Scientific editions of Russian folklore began to appear in the 30s and 40s of the 19th century. First of all, these are collections of professor of Moscow University I.M. Snegirev "Russian folk holidays and superstitious rites" in four parts (1837-1839), "Russian folk proverbs and parables" (1848).

Valuable materials are contained in the collections of the folklorist I.P. Sakharov "Tales of the Russian people about the family life of their ancestors" (in two volumes, 1836 and 1839), "Russian folk tales" (1841).

Gradually, broad public circles became involved in the work of collecting folklore. This was facilitated by the Imperial Russian Geographical Society established in 1845 in St. Petersburg. It had a department of ethnography, which was actively engaged in the collection of folklore in all the provinces of Russia. From nameless correspondents (village and city teachers, doctors, students, clergy and even peasants) the Society received numerous records of oral works, which made up an extensive archive. Much of this archive was later published in Zapiski Russkogo geographical society Department of Ethnography". And in Moscow in the 60-70s, the "Society of Lovers of Russian Literature" was engaged in the publication of folklore. Folklore materials were published in the central journals "Ethnographic Review" and "Live Antiquity", in local periodicals.

In the 30-40s P.V. Kireevsky and his friend the poet N.M. Languages were widely deployed and led the collection of Russian folk epic and lyrical songs (epics, historical songs, songs of ritual and non-ritual, spiritual poems). Kireevsky prepared materials for publication, but an untimely death did not allow him to fully implement his plans. During his lifetime, a single collection was published: spiritual poems. "Songs collected by P.V. Kireevsky" were first published only in the 60-70s of the XIX century (epics and historical songs, the so-called "old series") and in the XX century (ritual and non-ritual songs, "new series" ).

In the same 30-40s, V.I. Dahl. He recorded works of various genres of Russian folklore, however, as a researcher of the "living Great Russian language", Dahl focused on preparing a collection of small genres that are closest to colloquial speech: proverbs, sayings, sayings, etc. In the early 60s, Dahl's collection was published "Proverbs of the Russian people". In it, for the first time, all the texts were grouped according to the thematic principle, which made it possible to objectively present the attitude of the people to various phenomena of life. This turned the collection of proverbs into a genuine book of folk wisdom.

Another detailed folklore publication was the collection of A.N. Afanasyev "Folk Russian Tales", to which Dal also made a great collecting contribution, who gave Afanasyev about a thousand fairy tales recorded by him.

Afanasiev's collection was published in 8 issues from 1855 to 1863. There are a little more than a dozen fairy tales recorded by Afanasiev himself, he mainly used the archive of the Russian Geographical Society, the personal archives of V.I. Dahl, P.I. Yakushkin and other collectors, as well as materials from old manuscripts and some printed collections. Only the best material was published in the first edition. Approximately 600 texts of the collection covered a huge geographical area: the places of residence of Russians, as well as partially Ukrainians and Belarusians.

The publication of Afanasiev's collection caused a wide public response. It was reviewed by prominent scientists A.N. Pypin, F.I. Buslaev, A.A. Kotlyarevsky, I.I. Sreznevsky, O.F. Miller; in the journal "Contemporary" a positive assessment was given by N.A. Dobrolyubov.

Later, fighting against Russian censorship, Afanasiev managed to publish in London the collection "Folk Russian Legends" (1859) and anonymously in Geneva in 1872 the collection "Russian cherished tales".

Afanasiev's collection was partially translated into various foreign languages, and completely translated into German. In Russia, he withstood 7 complete editions.

From 1860 to 1862, simultaneously with the first edition of Afanasiev's collection, a collection of I.A. Khudyakov "Great Russian Tales". New trends were expressed in the collection of D.N. Sadovnikov "Tales and legends of the Samara region" (1884). Sadovnikov - the first who drew close attention on a separate talented storyteller and recorded his repertoire. Of the 183 tales in the collection, 72 were written down from Abram Novopoltsev.

In the middle of the 19th century, a significant event took place in the history of collecting Russian folklore: an actively existing living epic tradition was discovered in the Olonets region. Its discoverer was exiled in 1859 for political activity in Petrozavodsk P.N. Rybnikov. While working as an official in the governor's office, Rybnikov began to use official travel to collect epics. Within a few years, he traveled over a vast territory and recorded a large number of epics and other works of oral folk poetry. The collector worked with outstanding storytellers T.G. Ryabinin, A.P. Sorokin, V.P. Shchegolenok and others, from whom other folklorists subsequently recorded.

In 1861-1867, a four-volume edition of "Songs collected by P.N. Rybnikov" was published, prepared for publication by P.A. Bessonov (1 and 2 vols.), Rybnikov himself (3 vols.) and O. Miller (4 vols.). It includes 224 recordings of epics, historical songs, ballads. The material was arranged according to the plot principle. In the 3rd volume (1864), Rybnikov published "A Collector's Note", in which he outlined the state epic tradition in Prionezhye, gave a number of characteristics to the performers, raised the question of the creative reproduction of epics and the personal contribution of the narrator to the epic heritage.

Following in the footsteps of Rybnikov, in April 1871, Slavic scholar A.F. went to the Olonets province. Hilferding. In two months, he listened to 70 singers and wrote down 318 epics (the manuscript was more than 2000 pages). In the summer of 1872 Hilferding again went to the Olonets region. On the way, he fell seriously ill and died.

A year after the death of the collector, "Onega epics recorded by Alexander Fedorovich Hilferding in the summer of 1871. With two portraits of Onega rhapsodes and melodies of epics" (1873) were published. Hilferding was the first to use the method of studying the repertoire of individual storytellers. He arranged the epics in the collection according to the narrators, with biographical information prefaced. As a general introductory article, Hilferding's latest journal publication "Olonets Gubernia and Its People's Rhapsody" was placed.

60-70s XIX years centuries were for Russian folklore a real flourishing of collecting activity. During these years, the most valuable publications of various genres were published: fairy tales, epics, proverbs, riddles, spiritual poems, incantations, lamentations, ritual and non-ritual songs.

At the beginning of the 20th century, work continued on collecting and publishing folklore. In 1908, a collection of N.E. Onchukov "Northern Tales" - 303 fairy tales from the Olonets and Arkhangelsk provinces. Onchukov arranged the material not according to plots, but according to storytellers, citing their biographies and characteristics. Subsequently, other publishers began to adhere to this principle.

In 1914, a collection of D.K. Zelenin "Great Russian fairy tales of the Perm province". It includes 110 stories. The collection is prefaced by Zelenin's article "Something about storytellers and fairy tales of the Yekaterinburg district of the Perm province." It characterizes the types of storytellers. The material of the collection is arranged by performers.

A valuable contribution to science was the collection of brothers B.M. and Yu.M. Sokolov "Tales and songs of the Belozersky region" (1915). It includes 163 fabulous texts. The accuracy of the record can serve as a model for modern collectors. The collection was compiled based on the materials of the expeditions of 1908 and 1909 to the Belozersky and Kirillovsky districts of the Novgorod province. He is supplied with rich scientific apparatus. Subsequently, both brothers became famous folklorists.

Thus, in the 19th and early 20th centuries, a huge amount of material was collected and the main classical editions of Russian oral folk art appeared. This was of tremendous importance both for science and for the entire Russian culture. In 1875, the writer P.I. Melnikov-Pechersky in a letter to P.V. Sheinu described the significance of the work of folklorists-gatherers in the following way:

“For a quarter of a century, I traveled a lot around Russia, wrote down a lot of songs, legends, beliefs, etc., etc., but I couldn’t set foot if there weren’t the works of the late Dal and Kireevsky, there weren’t your works printed from Bodyansky, the works of L. Maikov, Maksimov and - may the Lord calm his drunken soul in the bowels of Abraham - Yakushkin.I find your comparison of your work with the work of an ant not entirely fair.<...>You are bees, not ants - your business is to collect honey, our business is to cook honey (hudromel). If it wasn't for you, we would have cooked some kind of dank kvass, not honey.<...>In less than half a century, grandfather's traditions and customs will dry up among the people, old Russian songs will become silent or distorted under the influence of tavern and tavern civilization, but your works until remote times, until our later descendants, will retain the features of our ancient way of life. You are more durable than us." 1

In the first decades of the 20th century, Russian folklore finally defined itself as scientific discipline, separating from other sciences (ethnology, linguistics, literary criticism).

In 1926-1928 the brothers B.M. and Yu.M. Sokolovs. The materials of the expedition were published in 1948. Recordings of epics of 1926-1933 from the collections of the Manuscript Depository of the Folklore Commission at the Institute of Ethnography of the USSR Academy of Sciences were included in the two-volume edition of A.M. Astakhova "Epics of the North". The collection of epics continued in the military and post-war years. Materials of three expeditions to the Pechora (1942, 1955 and 1956) made up the volume "Epics of the Pechora and the Winter Coast".

Many new recordings of fairy tales, songs, ditties, works of non-fairytale prose, proverbs, riddles, etc. were made. Firstly, the genre principle, and secondly, the regional principle prevailed in the publication of new materials. Collections reflecting the repertoire of a region, as a rule, consisted of one or a few related genres.

Collectors began to purposefully identify working folklore, the folklore of hard labor and exile. The Civil and Great Patriotic Wars also left their mark on folk poetry, which did not pass by the attention of collectors.

Classical collections of Russian folklore were republished: collections of fairy tales by A.N. Afanasiev, I.A. Khudyakova, D.K. Zelenin, a collection of proverbs by V.I. Dahl, a collection of riddles by D.N. Sadovnikova and others. Many materials from old folklore archives were published for the first time. Multi-volume series are published. Among them are "Monuments of Russian Folklore" (Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences, St. Petersburg) and "Monuments of Folklore of the Peoples of Siberia and the Far East" (Russian Academy of Sciences; Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Novosibirsk).

There are centers for the philological study of Russian folklore, with their own archives and periodicals. These are the State Republican Center of Russian Folklore in Moscow (publishing the journal "Live Antiquity"), the sector of Russian folk art of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences in St. Petersburg (yearbook "Russian Folklore: Materials and Research"), the Department of Folklore State University. M.V. Lomonosov (collections "Folklore as the Art of the Word"), as well as regional and regional folklore centers with their archives and publications ("Siberian Folklore", "Folklore of the Urals", "Folklore of the Peoples of Russia", etc.). 2

In the study of folklore, one of the leading places is occupied by the Saratov school of folklore, the history of which is associated with the names of Professor of Moscow University S.P. Shevyrev, songwriter N.G. Tsyganov, local historian A.F. Leopoldov, a member of the Saratov Scientific Archival Commission A.N. Minha; later - professors of Saratov State University - B.M. Sokolova, V.V. Bush, A.P. Skaftymov. A great contribution to the study of folklore was made by professors T.M. Akimov and V.K. Arkhangelsk. 3