The word "folklore", which often refers to the concept of "oral folk art", comes from the combination of two English words: folk - "people" and lore - "wisdom". Like literature, folklore works are divided into epic, lyrical and dramatic. Epic genres include epics, legends, fairy tales, historical songs. Lyrical genres include love, wedding, lullabies, funeral lamentations. To dramatic ones - folk dramas (with Petrushka, for example). The original dramatic performances in Russia were ritual games: seeing off Winter and meeting Spring, elaborate wedding ceremonies, etc. One should also remember about small genres of folklore - ditties, sayings, etc.
Children's folklore. This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as passed on to children from the oral creativity of adults. That is, the structure of children's folklore is no different from the structure of children's literature. Many genres are associated with the game, in which the life and work of the elders are reproduced, therefore, the moral attitudes of the people, their national traits, and the peculiarities of economic activity are reflected here. In the system of genres of children's folklore, a special place is occupied by "nurturing poetry", or "mother's poetry". These include lullabies, pestles, nursery rhymes, jokes, fairy tales and songs created for the little ones.
Larger works of children's folklore - a song, an epic, a fairy tale.
Russian folk songs play a big role in shaping children's musical ear, taste for poetry, love for nature, for their native land. In the children's environment, the song exists from time immemorial. Children's folklore also included songs from adult folk art - usually children adapted them to their games. There are ritual songs (“And we sowed millet, sowed ...”), historical (for example, about Stepan Razin and Pugachev), lyrical. Nowadays, children often sing songs not so much folklore as author's. There are also songs in the modern repertoire that have long lost their authorship and are naturally drawn into the element of oral folk art.
Epics. This is the heroic epic of the people. It is of great importance in the education of love for the native history. Epics always tell about the struggle of two principles - good and evil - and about the natural victory of good. The most famous epic heroes are Ilya Muromets. Dobrynya Nikitich and Alyosha Popovich are collective images that capture the features of real people, whose lives and deeds became the basis of heroic narrations - epics (from the word "truth") or olden times. Epics are a grandiose creation of folk art. The artistic conventionality inherent in them is often expressed in fantastic fiction. The realities of antiquity are intertwined in them with mythological images and motifs. Hyperbole is one of the leading devices in epic narration. It gives the characters monumentality, and their fantastic exploits - artistic persuasiveness.
Fairy tales. They originated in ancient times. Telling fairy tales was a common hobby in Rus', they were loved by both children and adults. In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where the correct life paths of a person go, what is his happiness and unhappiness, what is his retribution for mistakes, and how a person differs from a beast and a bird.
In a fairy tale for children, there is a special charm, some secrets of the ancient worldview are revealed. They find in the fairy tale narrative on their own, without explanation, something very valuable for themselves, necessary for the growth of their consciousness. An imaginary, fantastic world turns out to be a reflection of the real world in its main foundations. A fabulous, unusual picture of life gives the baby the opportunity to compare it with reality, with the environment in which he himself, his family, people close to him exist. The tale accustoms him to the idea that evil in any case must be punished.
For children, it doesn’t matter at all who the hero of the fairy tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is - handsome and kind or ugly and angry. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, the character embodies one quality: the fox is cunning, the bear is strong, Ivan is lucky as a fool, and fearless as a prince. The characters in the tale are contrasting, which determines the plot: the diligent, reasonable sister Alyonushka was not obeyed by brother Ivanushka, he drank water from a goat's hoof and became a goat - he had to be rescued; the evil stepmother plots against the good stepdaughter... Thus, a chain of actions and amazing fairy-tale events arises. The tale is built on the principle of a chain composition, which, as a rule, includes three repetitions. Sometimes the repetition is in the form of a dialogue; then children, if they play a fairy tale, it is easier to transform into its heroes. Often a fairy tale contains songs, jokes, and children remember them first of all.
The fairy tale has its own language - concise, expressive, rhythmic. Thanks to language, a special fantasy world is created. According to the theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: fairy tales about animals, fairy tales and household (satirical) ones.
Folk tale and myth
The world origins of children's literature: archaic civilizations, the era of antiquity, the early stages of the development of world religions, world folklore. Mesopotamian civilization - the birth of writing in 3 thousand BC "school" tablets, teaching aids, tablets with exercises in various fields of knowledge (mathematics, language, jurisprudence) were found.
The Sumerian-Akkadian Epic of Gilgamesh, 2-3 thousand BC, entered the reading circle of children and adolescents. Its first Russian translator was Gumilyov. Voskoboynikov in 1997 wrote the children's story "The Brilliant Gilgamesh". This work consists of 12 "songs", their sequence corresponds to the 12 signs of the zodiac. Plot motifs: Gilgamesh, dressed in the skin of a lion he killed, overcomes a heavenly bull, finds a flower of eternal youth, kills a snake that has settled on a tree in a mysterious garden, receives sacred objects from the underworld. Looks like Hercules.
The myth of the Divine child was formed in ancient cultures along with the myths of the Mother, the Father, the World Tree, and the creation of the world. It is included in the system of mythological representations of different peoples. The plots and motifs of children's folklore and children's literature are closely connected with the mythology of the Divine Child. The image of a child is inseparable from a miracle, the main function of the central character is to perform the extraordinary, miracles. The mythologeme of the Deities of the child has a number of structure-forming motifs, each of which is reflected in the children's literature known to us. The birth of a child is often preceded by misfortune - a married couple experiences childlessness, like Samson's parents according to the Old Testament. The divine child is usually raised above the rest of the characters, the scale of his image is enlarged (in the story of Moses, for example). Often the divine child has some kind of physical difference that makes him both beautiful and terrible. For example, the story of the miraculous birth of Samson, who grew up to be a strong man, all the strength of which lay in his hair. There were also child prophets, the future saviors of the world, for example, the prophet Muhammad. A child who witnesses a miracle and sees a divine teacher in his friend is another structuring element in the poetics of child literature. The childhood of Hercules, Alex of Macedon, the Virgin Mary, Jesus Christ is portrayed as the era of the first miraculous deeds. There are many miracles of healing: with one touch, Jesus heals the foot of a young woodcutter. So, the foundations adet lit-ry is the image of a child who creates a miracle. The plot of children's literature largely consists of "good deeds". In ancient texts, the child is depicted in a system of confrontations, conflicts: the child-parents, the child-other children, the child-teachers.
Along with the child characters, there are also "undivine" children. For example, the Old Testament story about the twins Esau and Jacob, one will become a skilled hunter, the other will become a meek “man of tents”, i.e. practitioner and lyricist. Comic and dramatic duets: Chuck and Huck at Gaidar, Tom Sawyer and Huck Finn and Twain.
Ancient Greek and Roman schools. Phlegon of Trall, Rome author, 2nd century AD the collection "Amazing Stories", in these stories there are fantastic creatures and ghosts; oriental fairy tale is combined with elements of mysticism and fantasy.
Ancient civilization left a rich cultural heritage to the countries of the collapsing Roman Empire, it lasted for many centuries until independent national cultures were formed. With the approval of Christianity, relations in society began to change, the authority of the ancient classics ceased to be indisputable, and folklore no longer provided answers to new questions.
(from lectures). The first acquaintance of a child with a myth is through a church service. Myth is a story about the gods and heroes of antiquity. The cult of nature and ancestors is the starting point for the formation of a myth. The grain of myth is an archetype, some kind of knowledge is embedded in us. Myths are: astral (about the stars), calendar, anthropogonic (about the creation and origin of man), totemic (the myth of the relationship of people with objects of wildlife), eschatological (the myth of the end of the world). The Christ myth reveals itself in prose: the rebirth of scripture for children, in a literary fairy tale, where language and Christ myths are superimposed; in the genre of a Christmas story. Easter story, in fantasy plots.
Children's literature in Russia in the 15th-18th centuries
The entire history of Old Russian children's literature can be divided into four periods:
1) the second half of the 15th - the first half of the 16th century, when the first cognitive works appeared;
2) the second half of the 16th - early 17th centuries, when 15 printed books for children were published;
3) 20-40s. 17th century, when regular poetry begins;
4) the second half of the 17th century - the period of the development of various genres and types of children's literature.
Great development in the 17th century gets poetry. The poems of that time, addressed to children, were, from a modern point of view, still quite primitive. But it was with them that children's poetry began.
A rare children's handwritten or printed book did without poems. There were especially many of them in the second half of the 17th century, when large-scale works were also written, which we now call poems. The verses set out the rules of behavior, various information about the world was reported. Most of the poems are anonymous. However, some authors were known even then, others are established now. Savvaty, the director of the Moscow Printing House, should be considered the very first children's poet in Rus'. The referee was responsible for the content and literacy of the book. Therefore, the most educated people were appointed to this position. Currently, more than ten poems by Savvaty are known, written by him especially for children. Among them is the first poem in the book of the Moscow press, placed in the alphabet of the 1637 edition. It consists of 34 lines. The poem simply, warmly and clearly tells the reader about the book he is holding in his hands, praises literacy, book wisdom, gives various tips on how to learn and how to read. According to the composition, this is a sincere conversation with the child on an interesting and important topic for him. The author convinces the child not to be lazy in learning, to be diligent, to obey the teacher in everything. Only in this case can he learn "the wise writing » (literacy), to fall into the number of "wise men" and become "a true son of light." Later, in the second half XVII century, this poem was widely distributed through handwritten books.
Another poem by Savvaty was also very famous - "Prohibition in brief on laziness and negligence", consisting of 124 lines. It creates a negative image of a student who is capable, but lazy and negligent. Savvaty tries to instill in children respect for literacy, an enthusiastic attitude towards education and contempt for ignorance. The author leads the reader to the conclusion that teaching is light, and ignorance is darkness. As the main educational tool, Savvaty uses persuasion, and as a literary device - comparison, likening. For example, he says that a diamond is precious by the play of light, color, paints, and a person by education and “his understanding”.
In another large poem, consisting of 106 lines, called "Vacation ABC", an image of a positive student was created, who heeded the advice of his teacher, studied diligently, and therefore the teacher taught him everything that he himself knew and could do. This is like a parting word to the child on the day of graduation.
The greatest poet of the 17th century was Simeon of Polotsk. His real name is Petrovsky. In 1664, at the invitation of the Russian Tsar Alexei Mikhailovich, Simeon moved to Moscow, where he opened a school and began to take an active part in literary and social life. Simeon of Polotsk took part in the creation of the primer of 1664. He also compiled the entire primer of the edition of 1667, which was republished in 1669. The preface written by Simeon for this primer is an outstanding pedagogical treatise of the 17th century.
But the primer of 1679 is of the greatest interest. It contains two poems for children: “Foreword to young men, learn from those who want” And "Exhortation". The first of them talks about the book, praises literacy, contains calls for children to study well, for he who labors in youth will be at rest in old age. Of all labors, reading and learning bring the greatest pleasure and benefit. The second poem is placed at the end of the book. He wrote verse prefaces to the books "Testament" and "The Tale of Vaarlam and Joasaph" published by him for children. In them, he talks about the content of books, draws attention to the most important things, trying to interest children, to prepare for perception. The most important books of Simeon Polotsky are “Reef. mologion”, which has 1308 large format pages, and “Multicolor Vertograd”, consisting of 1316 pages. The books were intended, according to the author, "for the benefit of the young and old", who could "search for words" in them and read "to learn their age." The books contain many poems accessible to children, including greeting verses from children to parents, relatives and patrons.
Poems about nature, minerals, animals, plants, entertaining legends, etc., which had become very famous, were also available to children. For example, the poem “Arc” (“Rainbow”) or poems about earth and water. Being a teacher by profession and an outstanding The poet of his time, Simeon of Polotsk, made a significant contribution to the creation of literature for children.
The first Russian writer and poet whose work was entirely dedicated to children was Karion Istomin. In all his works, Karion Istomin glorified science, "enlightenment," yagi. He believed that everyone should study: children of all classes, boys and girls, people of all nationalities. Science, according to Karion Istomin, should save people from want and grief. Although in most of his poems Istomin directly addressed the princes, he intended them for the entire Russian people.
During the life of Karion Istomin, three of his books for children and a complete set of textbooks were published. In another children's book by Karion Istomin - the Big Primer there were 11 poems. In addition, he wrote more than ten books of poetry. Yes, in the book "Policy" it tells about everyone, seasons, parts of the world, different countries. In a poetry book "Domostroy", consisting of 176 lines, on vivid examples, the rules of behavior are figuratively stated. The main content of the rules is reduced to the requirement to study the "free sciences", etc.
Genre of literary fairy tale. Traditional and innovative in Pushkin's fairy tales
Tales of A.S. Pushkin appeared in the period of the highest flowering of his work. They were not intended for children, but almost immediately entered the children's reading.
In 1830, Pushkin began work on the fairy tale about the bear "Like a warm spring time", which remained unfinished. In 1831, The Tale of Tsar Saltan and The Tale of the Priest and His Worker Balda were completed. In 1833, two fairy tales were written: "The Tale of the Fisherman and the Fish" and "The Tale of the Dead Princess and the Seven Bogatyrs." In 1834, The Tale of the Golden Cockerel appeared.
A.S. Pushkin creates his fairy tales on folklore material. "The Tale of the Priest and his worker Balda" is close in plot to the folk tale "The farmhand Shabarsha". The plot of "The Tale of the Fisherman and the Fish" originates from the fairy tale "The Greedy Old Woman" and was presented to Pushkin by the collector of folklore writer V.I. Dalem. "The Tale of Tsar Saltan" echoes the folk tale "About Wonderful Children". "The Tale of the Dead Princess and the Seven Bogatyrs" is close to the plot of the folk tale "Magic Mirror". Turning to oral folk art, A.S. Pushkin sees in him inexhaustible possibilities for updating literature.
Tales of A.S. Pushkin - plot works that show a sharp conflict between the light and dark world. An example is "The Tale of Tsar Saltan, of his son, the glorious and mighty bogatyr Prince Gvidon Saltanovich, and of the beautiful Princess Swan." It was written in 1831 and first published in 1832 in the third part of A. Pushkin's Poems. It was Pushkin's first fairy tale to appear in print. She met with mixed responses. Not all contemporaries understood Pushkin's innovation and saw the birth of a new poetic genre. From the very beginning, a subtle satirical reduction of the image of the tsar is given in it: “During the whole conversation, he stood behind the fence ...” According to the censorship conditions of A.S. Pushkin could not more frankly ridicule the noble lover of eavesdropping. The fairy tale reflects the diverse shades of human feelings: “The cook is angry in the kitchen, The weaver is crying at the loom, And they envy the Sovereign's wife,” and complex relationships between people are revealed.
Pushkin the storyteller spoke out against the monotony of poetry, against the obliterated rhythmic-syntactic turns. His verse is mobile, conveys the rhythm of movement and the intensity of events. The dynamism and speed of the change of events freely and easily coexist with landscape paintings, laconic and visually colorful: The wind rustles merrily, The ship runs merrily. In the blue sky the stars are shining, In the blue sea the waves are lashing...
The sound organization of verse is energetic and effective in Pushkin the storyteller. Each sound has significance for him, either transmitting the splash of a sea wave, or reproducing the flight of a mosquito or a bumblebee.
Pushkin appears in The Tale of Tsar Saltan as a fighter for the nationality of the language, or "vernacular". The Tale of Tsar Saltan ends not with a moralistic conclusion, as was the case with many other fairy tale writers, but with a merry feast glorifying the triumph of goodness.
Positive characters win in a long struggle: Prince Gvidon meets his father; the weaver, the cook and the in-law Baba Babarikha are put to shame. Readers with all their hearts are on the side of the "bright world" of the fairy tale, personified in the images of the queen mother, Prince Gvidon, Princess Swan. Only the image of Tsar Saltan raises doubts and reflections.
“The Tale of the Priest and His Worker Balda” is a satire on the unscrupulous ministers of the Orthodox Church who deceive the people. It ridicules human greed, stupidity and hypocrisy. Pop is going to hire a servant who will perform the duties of a cook, a groom and a carpenter for a penny. Stupidity and greed make him agree to receive clicks from Balda, whom he took on as workers. But the priest is not only greedy, but cunning and angry, he is trying to destroy Balda, giving him impossible orders, for example, to collect dues from the devils.
“The Tale of the Priest and his worker Balda” was not published during the life of the poet. It was first published by V.A. Zhukovsky in 1840 in the magazine "Son of the Fatherland" with major alterations caused by the strictness of censorship. "Pop" was turned into a "merchant Kuzma Ostolop". She started like this:
Once upon a time there was a merchant Kuzma Ostolop, nicknamed Aspen Forehead, and the whole tale was entitled: "The Tale of the Merchant Kuzma Ostolope and his worker Balda." The changes introduced by Zhukovsky distorted the social orientation of the tale, violated the system of its images and poetic integrity.
Pushkin's fairy-tale characters are psychologically and artistically perfect; in the process of working on a fairy tale, he constantly honed its verse, bringing it closer to the folk, sharpening the satire.
The artistic means of Pushkin's fairy tale are inextricably linked with his poetic worldview. The poet spoke out against the pretentiousness and abstruseness of the verse; he strove to approach the folk saying with its aphorism.
Pushkin's verse in a fairy tale is full of movement. The poet sometimes builds whole stanzas mainly from nouns and verbs in order to convey the sharpness of the struggle:
The poor devil crawled under the mare, strained, strained,
He lifted the mare, took two steps, On the third he fell, stretched out his legs.
At the end of the tale, a mocking attitude towards the priest is clearly expressed. In 1835, The Tale of the Fisherman and the Fish, written two years earlier, appeared in the Library for Reading magazine.
The Tale of the Fisherman and the Fish reflected motifs that exist not only in Russian, but also in foreign folklore. So, in the collection of the Brothers Grimm there is a similar tale. Pushkin's fairy tale is a philosophical reflection on the confrontation between patient good and aggressive evil. The poet is not alien to social motives. This is emphasized by the sharp opposition between the old man and the old woman: he remains a peasant, and she rises higher and higher on the social ladder.
In the image of an old man, the folk beginning of a fairy tale is personified. He is forced to submit to the will of the greedy old woman, but does not respect her, no matter how high she rises. This is evidenced by his appeal to her when she wanted to become queen:
“What are you, woman, overeating with henbane?”
The image of an old woman gradually goes beyond the image of greed and becomes a symbol of social oppression. The Tale of the Fisherman and the Fish reflected the popular attitude towards tyrants. Good does not so much defeat evil in open confrontation as waits it out. The tale ends with an instructive picture of tyranny punished according to the laws of higher justice (their spokesman is a goldfish):
Look: again in front of him is a dugout; On the threshold sits his old woman, And in front of her is a broken trough.
"The Tale of the Dead Princess and the Seven Bogatyrs" was written in 1833. First published in 1834 in the Library for Reading magazine. It especially clearly reflected the humanistic orientation of Pushkin's fairy tales. In The Tale of the Dead Princess, positive characters are endowed with such character traits that are valued by working people: kindness, generosity, courage, devotion in friendship.
The Queen Mother is faithfully waiting for her husband, who has gone on a long journey. Pushkin talks about this in vivid scenes, close in style to oral folk art.
The image of the princess-daughter is dominated by romantic motifs. She evokes the love of the girl Chernavka and the seven heroes both by the fact that “everyone is sweeter, all blusher and whiter,” and, most importantly, with her kindness, responsiveness, and readiness to help.
The image of Prince Elisha is given in epic tones. The hero "sets off on a journey for a beautiful soul, for a young bride." He is close to nature. Elisha's lyrical appeals to the sun and the month, and finally to the wind, poetically color his image, give it a special charm. "The Tale of the Dead Princess" was written by the poet in a creative competition with Zhukovsky. But unlike him, Pushkin is not limited to the romantic depiction of heroes, he introduces realistic pictures of the life of the royal court, and creates satirical characters in his fairy tale. Such, to some extent, is the king-father, who hastened to marry, as soon as the due period of widowhood had expired.
The main force of Pushkin's satire is directed against the queen-stepmother, personifying the "dark world" in the fairy tale. Envy and anger towards everything bright and good eventually lead her to death: "Here her longing took over, and the queen died." So in a fairy tale, the victory of good symbolizes the death of evil.
In "The Tale of the Golden Cockerel", which was written in 1834 and first published in 1835 (magazine "Library for Reading"), a satirical image of King Dadon is created, who prefers to reign without worries, "lying on his side." That is why the king mindlessly agrees to fulfill the first request of the astrologer, who gave him a golden cockerel. King Dadon is depicted as a man unable to love not only the country he rules, but also his own sons. The tears caused by their death easily give way to voluptuous delight in front of the Shamakhan queen. At the same time, the tsar is shown to be far from harmless: he is a tyrant, capable of destroying an old man who had once come to his aid because of a whim: “The tsar hit him on the forehead with a rod; he fell face down, and the spirit out.
It should be noted that the positive characters of all the fairy tales of A.S. Pushkin - people from the people: the industrious, resourceful and cheerful worker Balda ("The Tale of the Priest and his worker Balda"); disinterested, kind, undemanding worker-old man ("The Tale of the Fisherman and the Fish").
For Pushkin's fairy tales, as well as for folk, faith in light forces and feelings is characteristic. Pushkin's fairy tales are optimistic, in them goodness always triumphs over darkness and malice. The resourcefulness and diligence of Balda help him defeat the priest; Elisha's love and faithfulness resurrect his bride; Gvidon's filial devotion, his fight against envy and slander contribute to the triumph of truth.
Poetic speech in Pushkin's fairy tales is also marked by ethnic features. They widely use folk sayings, proverbs, words and expressions, suffixes:
Similar information.
Folklore. Genres of folklore
Folklore(from English folk- people, lore- wisdom) - oral folk art. Folklore arose before the advent of writing. Its most important feature is that folklore is the art of the spoken word. This is what distinguishes it from literature and other forms of art. Another important distinguishing feature of folklore is the collectivity of creativity. It arose as a mass creativity and expressed the ideas of the primitive community and clan, and not of an individual.
In folklore, as in literature, there are three types of works: epic, lyrical and dramatic. At the same time, epic genres have a poetic and prose form (in literature, the epic genre is represented only by prose works: a story, a story, a novel, etc.). Literary genres and folklore genres differ in composition. In Russian folklore, epic genres include epics, historical songs, fairy tales, legends, legends, tales, proverbs, sayings. Lyrical folklore genres are ritual, lullaby, family and love songs, lamentations, ditties. Dramatic genres include folk dramas. Many folklore genres have entered literature: song, fairy tale, legend (for example, Pushkin's fairy tales, Koltsov's songs, Gorky's legends).
Folklore genres each have their own content: epics depict the feats of arms of heroes, historical songs - events and heroes of the past, family songs describe the everyday side of life. Each genre has its own heroes: heroes Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich act in epics, Ivan Tsarevich, Ivan the Fool, Vasilisa the Beautiful, Baba Yaga act in fairy tales, wife, husband, mother-in-law in family songs.
Folklore differs from literature in a special system of expressive means. For example, the composition (construction) of folklore works is characterized by the presence of such elements as the sing-along, the beginning, the saying, the slowing down of the action (retardation), the trinity of events; for style - constant epithets, tautologies (repetitions), parallelisms, hyperbole (exaggerations), etc.
The folklore of different peoples has much in common in terms of genres, artistic means, plots, types of heroes, etc. This is explained by the fact that folklore, as a form of folk art, reflects the general laws of the social development of peoples. Common features in the folklore of different peoples may arise due to the proximity of culture and life or long-term economic, political and cultural ties. A large role is also played by the similarity of historical development, geographical proximity, movement of peoples, etc.
Folklore, translated from English, means "folk wisdom, folk knowledge." For the first time, the English scientist W.J. Toms in 1846. At first, this term covered the entire spiritual (beliefs, dances, music, woodcarving, etc.), and sometimes material (housing, clothing) culture of the people. From the beginning of the 20th century the term is also used in a narrower, more specific sense: oral folk art.
Folklore is an art that has been formed over many centuries and changes over time.
Only all 3 of these factors present at the same time are a sign of folklore and distinguish it from literature.
Syncretism is the fusion, inseparability of various types of art, characteristic of the early stages of its development. Artistic creativity is not separated from other types of activity and, together with them, is directly included in practical life. Syncretism is an undeveloped state of early traditional folklore. The oldest types of verbal art arose in the process of the formation of human speech in the era of the Upper Paleolithic. Verbal creativity in ancient times was closely connected with human labor activity and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions, through which the primitive man sought to influence the forces of nature, fate, were accompanied by words: spells, conspiracies were pronounced, various requests or threats were addressed to the forces of nature. The art of the word was closely connected with other types of primitive art - music, dance, decorative art. In science, this is called "primitive syncretism." Traces of it are still visible in folklore.
The Russian scientist A.N. Veselovsky believed that the origins of poetry are in the folk ritual. Primitive poetry, according to his concept, was originally a song of the choir, accompanied by dance and pantomime. The role of the word at first was insignificant and entirely subordinated to rhythm and facial expressions. The text was improvised according to the performance, until it acquired a traditional character.
As humanity accumulated more and more significant life experience that needed to be passed on to the next generations, the role of verbal information increased. The separation of verbal creativity into an independent form of art is the most important step in the prehistory of folklore.
Genera of folklore: Epos (legends, fairy tales, legends, epics - genres) Lyric-epic genre (transitional) - romance
Lyrics (songs, ditties); Drama (folk theater)
Types of folklore: Archaic - folklore is formed among the peoples at the primitive stage of development. There is no written language yet, culture is oral. The folklore of people with mythological thinking covers the entire culture of the ethnic group. Classical - folklore develops in an era when states are formed, writing and literature arise. Here artistic fiction is formed, a genre system is formed. Modern - post-folklore, which took shape in Russia after the abolition of serfdom. His element is the city. The epic, fairy tales and traditional lyrical songs are being replaced by songs of a new formation, ditties, anecdotes.
Folklore (according to V.E. Gusev) - verbally - musically - choreographically - the dramatic part of folk art (the spiritual component of folk culture) is not material art. Materially expressed (DPI) - folk art.
Folklore is a syncretic and synthetic art, because combines different types of arts.
Signs of folklore: Orality (not only the form of distribution, but the form in which the pr-e has the greatest aesthetic impact); Impersonality (the work has an author, but is not identified); Collectivity (as an aesthetic category. The quality of the project accepted by the team corresponds to the folk tradition. Collectivity = tradition + improvisation); Traditional (works are invested on the basis of traditions); Variability (different options in different territories); Improvisation; Nationality (aesthetic category, expression of the ideals, interests, aspirations of the people).
Tradition is stable schemes, artistic techniques and means used by a community of people for many generations, and transmitted from generation to generation. Tradition is understood as the most general principles of creativity, and in folklore - a set of stable plot forms, types, heroes, poetic forms.
Genres of folklore:
The folklore genre is a set of works united by a common poetic system, everyday purpose, forms of performance and musical structure. (V.Ya. Propp) Genre is a unit of folklore classification
Phr is divided into genera (epos, lyrics, drama), genera - into types (for example, songs, fairy tales, etc.), and types into genres. If the classification is based on the mode of existence of works, then f-r will be divided into ritual and non-ritual.
The epic reproduces reality in a narrative form in the form of objective pictures. Subdivided into: Song (poetic)
Epics; historical songs; ballads; spiritual verses; prose; Fairy tale prose; Tales about animals; Fairy tales; jokes
Novels; Fairy-tale prose; Traditions; Legends; Bylichki (demonological stories).
In epic folklore genres, the main artistic feature is the plot. It is based on conflict, which is based on the clash of the hero with supernatural or real opponents. The plot can be both simple and complex, events can be perceived as real or fictional, and the content can be related to the past, present and future.
Lyrics - lyrics poetically depict the inner, mental state of a person, his subjective experiences
Songs Chastushki; Lamentations; Dramatic genres of folklore have a spectacular and playful nature, and convey an attitude to reality in a playful action; Ritual games; Dramatic games; Late theatrical genres; Theater of live actors; Puppet show; Rayok;
According to the way of existence of works, folklore is divided into: Ritual; Ritual calendar; Ritual family; Extra-ritual.
In addition, there are small genres of folklore: proverbs; Proverbs and sayings; Puzzles
As well as such types as children's folklore. (lullabies, teasers, horror stories, incantations, etc., folklore of workers (songs, ditties, prose), folklore of the Second World War (chastushki, f-r front, rear, driven into the occupation, Victory and .etc.)
Each folklore genre has its own circle of heroes, its own plots and stylistic devices, however, all together folklore genres in their natural existence are interconnected and form a system. In this system obsolete f.zh. and on their basis new ones are born.
Folklore researchers: V.N. Tatishchev (18th century), Slavophiles P.V. Kirievsky, N.M. Yazykov, V.I. Dahl and others; 1850-60s: F.I. Buslaev, A.N. Afanasiev, A.N. Veselovsky, V.F. Miller; the beginning of the Soviet era: B.M. and Yu.M. Sokolov, D.K. Zelenin, M.K. Azadovsky, N.P. Andreev. Second floor. 20 in: V.I. Chicherov, V.Ya. Propp, N.N. Veletskaya, V.K. Sokolova, L.N. Vinogradova, I.E. Karpukhin, V.P. Anikin, E.V. Pomerantseva, E.M. Meletinsky, V.A. Bakhtin, V.E. Gusev, A.F. Nekrylova, B.N. Putilov, etc.
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Folklore- this is a type of collective verbal activity, which is carried out mainly orally. The main categories of folklore are collectivity, traditionalism, formulaicity, variability, the presence of a performer, and syncretism. Folklore is divided into two groups - ritual and non-ritual. Ritual folklore includes: calendar folklore (carols, carnival songs, stoneflies), family folklore (family stories, lullabies, wedding songs, lamentations), occasional (conspiracies, incantations, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. Folklore drama includes: Petrushka theatre, crib drama, religious drama. Folklore poetry includes: by-lina, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetry parodies), sadistic rhymes. Folklore prose is again divided into two groups: fabulous and non-fabulous. Fairy tale prose includes: a fairy tale (which, in turn, is of four types: a fairy tale, a fairy tale about animals, a household fairy tale, a cumulative fairy tale) and an anecdote. Non-fairytale prose includes: tradition, legend, bylichka, mythological story, story about a dream. The folklore of speech situations includes: proverbs, sayings, well-wishes, curses, nicknames, teasers, riddles, quick-works and some others.
An anecdote is one of the genres of folklore: a short oral story with a witty and unexpected ending. Anecdotes can rightly be called the favorite genre of our time. In Slavic folklore, a favorite character was a man playing a prank on a fellow villager.
A tale is a traditionally male oral story of a playful nature, claiming to be plausible; refers to small folklore forms. Tales of hunting, fishing, sea, miners, theatrical and chauffeurs are popular.
Ballad (ballad song, ballad verse) is one of the genres of Russian folklore, which arose from a folk song with a tragic content. The most important characteristics of ballad songs are epic, family themes, and psychological drama. Ballad songs are characterized by a predicted fatal outcome, recognition of the tragic, one-conflict. As a rule, antagonistic characters act in them: the destroyer and the victim. Ballads have many features that bring them closer to other song genres, saturated with fantastic and magical motifs common to the folk epic. The term "ballad" in folklore is relatively new. Proposed by P.V. Kireevsky in the 19th century, it took root only a century later. The people themselves, performing ballad songs, did not distinguish them from others. An example of a classical ballad is the lyrical epic song "Vasily and Sophia". The whole content is an eternal story about lovers, whose mutual feeling is so strong that it conquers death. Beloved ones are destroyed by the jealous and evil mother of Vasily. The plots of many ballad songs are built on the relationship between the girl and the good fellow (“Dmitry and Domna”, “The girl poisoned the young man”).
Bylina is a work of a song nature, a song-poem. It is characterized by greatness of content, grandiosity, monumentality of images, heroic pathos. The real-historical basis of epics is Rus' in the 10th-11th centuries. About a hundred epic stories are known. There are common plots in Russian and Western European epics (epic heroes fight enemies and non-Christians), but in Russian epics there is no idea of religious wars; neither loyalty to the leader, nor bloody revenge become the defining themes of the Russian epic. In Russian epic traditions - liberation, protection, glorification of the Russian land and its people. The opening of the Russian epic took place relatively recently, after the publication in 1804 of the collections of Kirsha Danilov, including 60 folklore works. Subsequently, the collection of epics was supplemented by the finds of P.N. Rybnikov and A.F. Hilferding. A rare fusion of wisdom and ethics distinguishes the Russian epic. Each epic, in addition to the main idea of honest service to the Fatherland, contains reflections on the painful moral and psychological quest of the main characters. So, Ilya Muromets finds himself in a situation of difficult choice: to marry or die.
Bylichka (bylichka) is a mythological story based on events that allegedly took place in real life. Reliability, fact-graphic nature of these stories is confirmed by specific names; exact geographical names of the place of action. The world of bylicheks is simple and well-known. The main difference between a fairy tale and a bylichka lies in the attitude of the listeners and the narrator to the narrated. If they listen to a fairy tale, realizing that it is fiction, then the bylichka - as if it were true.
Children's folklore is a generalized name for genres that are small in volume, composed and performed both by the children themselves and for them. The genres of children's folklore include songs and poems that accompany the life of a child from the cradle to adolescence: drawing lots, calls, teasers, lullabies, carcasses, sentences, nursery rhymes, counting rhymes.
Boring fairy tale (from bother - to bother) - a specific genre of folklore narratives, endless tales in which the same cycle of events takes place. They are often clothed in a poetic form.
Spiritual poems - songs of religious content, which arose as poetic transcriptions by the people of the foundations of the Christian dogma. Folk names of spiritual verses: antiquities, psalms, verses. A characteristic feature of spiritual poetry is the opposition of the religious to the secular. One of the oldest spiritual verses - "Adam's Lament" was already known in the XII century. The mass distribution of spiritual poetry begins around the 15th century.
Zhnivnaya song is a kind of autumn songs of calendar-ritual poetry. Autumn ritual poetry has not received such development as summer poetry, singing nimble women - “daughters-winches”, “quail daughters-in-law”, who went out early to the field and harvested crops, “so that there was something good to do, okay.”
A riddle is a type of oral folk art, an intricate allegorical description of an object or phenomenon, offered as a test for ingenuity or an exercise (for children) for the development of logical thinking. The riddle belongs to those most ancient types of folk art, which, continuing to live for centuries, gradually lose their original meaning, become a qualitatively different phenomenon. Having arisen on the basis of the secret language of the family, the riddle was once used in military and embassy negotiations, expressed the prohibitions of family life, and served as a poetic means of conveying wisdom.
A conspiracy is a linguistic formula that, according to popular beliefs, has miraculous power. In ancient times, conspiracies were widely used in medical practice (treatment with a word, prayer). They were credited with the ability to cause the desired state of a person (inspire a sound sleep, tame the wrath of an angry mother, keep unharmed the one who goes to war, feel sympathy for someone, something, etc.) or forces to attract childbirth: “grow turnip, sweet, grow, turnip, strong” to get a good harvest.
Calendar-ritual songs (Carols, Podblyudnye songs, Shrovetide songs, Vesnyanki, Trinity-Semitsky songs, Round dance, Kupala, Zhniv-nye) - songs, the performance of which was timed to coincide with strictly defined calendar dates. The most significant rituals and songs of the summer period, which began with the solstice (Peter-turn) on June 12 (25), are associated with various states of nature. The calendar and ceremonial poetry contains valuable ethnographic and historical information: a description of peasant life, mores, customs, observations of nature, and even elements of worldview.
The legend is one of the genres of folklore that tells about the miraculous, the fantastic, which determines its structure and system of images. One of the ways in which a legend arises is through the transformation of a legend. Often legends are oral stories about historical figures or events to which absolute authenticity is attributed (legends about the founding of Kyiv). In these cases, the word "legend" can be replaced by the word "tradition". The narrator, stating the facts, supplements them with those created by his own imagination or combines them with fictional motives known to him. At the same time, the real foundation often fades into the background. According to the subject, legends are divided into historical (about Stepan Razin), religious (about Jesus Christ and his apostles, about saints, about the intrigues of the devil), toponymic (about Bai-kal), demonological (about the Serpent, evil spirits, devils, etc. .), household (about sinners).
Small genres - a name that unites a group of genres of Russian folklore that are different in nature and origin, exceptionally small in size (sometimes in two words: Filya-simple), which is their main value. This includes jokes, riddles, proverbs and anecdotes. Small genres not only decorate and enliven other texts, they are very well adapted to independent life. Unlike the epic epic, small genres are not forgotten, they are as relevant as thousands of years ago.
Fables - works of comic poetry, not-large songs, built on the principle of stringing completely absurd events: Thunder rolled across the sky: \\ A mosquito fell from a tree. It is the fables that clearly demonstrate the reverse, terrible side of the funny. A chain of distorted events, which at first seem ridiculous, gradually creates a single picture of a “shifted”, “turned over” world. Fables are no less philosophical than epic. They, like the global metaphor of laughter, are also a way of knowing life: in visual simplicity they show us the universal connection of opposite, “wrong side” phenomena of reality. In medieval Rus', the performance of fables was certainly an integral part of the "repertoire" of buffoons.
Folk songs - a true artistic encyclopedia of the life of the Russian people. To date, the song, the richest layer of Russian folklore, is described incompletely and inconsistently. The genre division of songs into historical and ballad, robber and soldier, lyrical and round dance is rather conditional. All of them are an example of the finest lyric poetry and all without exception are historical. Attractive by purity and sincerity, the songs deeply reveal the character of a Russian person who values his fatherland; who does not get tired of admiring his native land; and their children.
A saying is a widespread expression that figuratively defines any life phenomenon or gives it an assessment: Damn, it’s not a wedge, it won’t split the belly. Where is the grief of the clever, the fun of the fool.
A proverb is a short, well-aimed, stable saying in speech. Compared with a proverb - a witty description given to a person, object or phenomenon and decorating speech, a proverb has a complete deep meaning, contains a wise generalization. The proverb, by definition of the people, is “flower”, the proverb is “berry”. The proverbs capture the life experience of the people: People quarrel, and governors feed. They hang the Altyn thief, honor the fifty. Among the people that are in a cloud: in a thunderstorm everything will come out.
The famous Russian scientist and poet M.V. was the first to collect and write down proverbs. Lomonosov. Subsequently, collections were published containing 4–9 thousand proverbs each: “Collection of ancient Russian proverbs” (Moscow University, 4291 proverbs), “Complete collection of Russian proverbs and sayings” (Ts.M. Knyazhevich, 5365 proverbs), “Russian folk proverbs and parables” (I.M. Snegirev, 9623 proverbs and sayings), in the famous collection of V.I. Dal "Proverbs of the Russian people" there are more than 30 thousand of them.
Tradition is an artistic and narrative genre of folklore with elements of fiction. The plot of the legend is usually based on a real event. A vivid example of oral narratives of this type are the legends about the son of the Tula blacksmith Demid Antufiev, Nikita Demidov, the founder of the largest factories in the Urals in the first decades of the 18th century.
A tale is an oral folk story that tells about the past without fiction: Cossack and Siberian tales, “working” prose of gold diggers, artisans, miners, etc. In terms of narrative style and structure, tales are similar to legends and legends.
A fairy tale is one of the main prose folklore genres of an artistic and fantastic nature.
For ancient man there is no gap between him and the animal world. He considers animals, first of all, as beings equal to him not only physically, but also socially. The surrounding world for a person is inhabited simply by different tribes with the same social structure as his, and the attitude towards these tribes is either peaceful or hostile, depending on how the attitude of the animals themselves manifests itself towards him. And our ancestors took the exceptional instincts of animals for the manifestation of a higher mind, considering some not only equal to themselves, but also superior to itself. Tales about animals organically combine other plots (everyday and magical), and sometimes it is completely impossible to draw a line between genres. Mythopoetic ideas about nature, expressing a certain knowledge of the world with the help of images of animals and birds, are intertwined in fairy tales with live observations of animal habits, show a gradually growing spirit of rivalry between man and animal, defending their rights to life, struggle for prey and territory. Everyday fairy tales and fairy tales about animals are distinguished by extraordinary optimism and gentle humor that pervades the narrative. As a person became stronger and more self-confident, the folklore images of animals acquired a different, more “condescending” coloring: the wolf turned from a villain into just a fool (“beaten unbeaten carries”), a formidable bear, a totem animal, endowed good-naturedness: Mashenka ordered to take the gifts to the old men - he carried them.
For other fairy tales, everyday (short story), opposition of social heroes is typical: a peasant (his son or daughter) competes with the mind and ingenuity with merchants, priests, and even with the tsar himself. Much attention is paid to family conflicts with an unfaithful, talkative or "fervent" wife, with a younger brother (son), a fool who invariably accompanies good luck ("fools happiness"), despite natural stupidity. The anthropomorphism of Russian nature in folklore works concerns not only the Mother of the Raw Earth, but also trees, primarily oak and birch, capable of talking, giving advice and predicting the further course of events. Trees in fairy tales are true friends and helpers of a person, they shelter from enemies, give magical items, reveal treasures and secrets, rewarding heroes for their work and patience. Thus, fairy tales reflect the life and ideas of the inhabitants of different tribes (the territory that later became Russian) at the stage of the emergence and collapse of the primitive communal system. Both fairy tales about animals and legends associated with belief in the spirits of nature and plants, as well as ritual songs and children's folklore, are characteristic of totemic societies, natural for this stage of pagan relations between man and the world.
Skomoroshins are diverse songs of the mischievous art of buffoons: jester old "rins (epics - parodies), parodic ballads, song-short stories of comic content, fables. They are united by one thing - laughter. If in the classical genres of Russian folklore laughter is only an element of content , then for buffoons it serves as an organizing artistic principle.
Tongue twisters are a comic genre of folk art, belonging to the category of small ones, a phrase built on a combination of sounds that make it difficult to quickly pronounce words. Tongue twisters were used by the people as a teaching tool in the formation of children's speech, its development and subsequent formation, as well as for entertainment purposes.
Chastushka (from frequent) - a short, usually rhyming song of humorous or satirical content. Chastushkas are performed at a cheerful, fervent pace, accompanied by an accordion.
2. Calendar-ritual poetry
Vesnyanka is a song calling for spring and warmth. Ves-nannies sounded in Russian villages after Shrovetide songs. They reminded that the time for field work was approaching, birds were flying and “bringing spring”. The main dates of the spring call: March 4 - the day of Gerasim Grachevnik (rooks arrive); March 9 - the day of the Forty Martyrs (forty forty birds arrive); March 25 - April 7, according to a new style - Annunciation (the day when birds are released from cages).
Zhnivnaya song - a kind of autumn songs in the calendar-ritual poetry. Autumn ritual poetry has not received such development as summer. Only stubble songs are known, filled with gratitude and glorifying nimble women - “daughters-winches”, “quail daughters-in-law”, “early” going out into the field and harvesting, “so that it was, why burn kindly, okay ".
A game song is a kind of spring-summer songs in the calendar-ritual folk poetry. Already in the titles of this type of songs, a cheerful mood is reflected, due to the onset of the long-awaited warmth, hopes for a generous harvest (this is in the dirt, you will be a prince!) The opportunity to throw off heavy clothes, show off and look at the future bride or groom. The game songs talked about sowing and growing the future harvest, here was the main theme of the sun - the source and continuation of life, light and heat, the theme of cereals and other plants, the game songs were called: "Poppy", "Pea ”, “Cabbage”, “Flax”, “Turnip”, “Millet”. Game songs can be divided as follows: - round dance, when the audience moved in a circle or in the same circle depicted various scenes provided for by the content of the song (“There was a birch in the field”); - songs-games performed by participants lined up in two lines one against the other ("And we sowed millet"); - “ghoul” songs, when the players, singing a song, walk one after another around the hut, braid their hands, round off the line, “curl” into a ball (“Twist, wattle”, “Curl, cabbage”). Echoes of both ancient magic and traces of ancient forms of marriage have been preserved in play poetry.
A carol song (carol) is a kind of winter (New Year's Eve) songs in calendar-ritual poetry. The onset of the new year was popularly associated with the increase in the day “by a chicken step” after the winter solstice on December 22. This observation formed the basis of popular ideas about the boundary that separates the end of the old year from the beginning of the new one. The arrival of the new year was celebrated by invoking Kolyada and Avsen. The word "kolyada" goes back to the Latin name of the first day of the month - calendae (cf. calendar). In Rus', caroling was one of the main rituals held on New Year's Eve. It was accompanied by a detour of neighbors and carol songs (Avsen), among which one can single out praise-songs and requests-songs:
Kupala songs - a cycle of songs performed on the feast of Ivan Kupala (the night of July 6-7 - in a new style). They contained elements of ancient magical formulas aimed at protecting the harvest from the machinations of evil spirits and so that bread would be generously harvested.
The Shrovetide song is an invocation of a wide and generous Shrovetide (it is sometimes called Avdotya Izotievna).
Podblyudnye songs - songs performed during the game that accompanied fortune-telling. In the dish, each player put his object (ring), then sung songs were sung. The presenter, without looking, took out the first ring that came across from the dish. The content of the song was attributed to the one whose ring was taken out. The sub-dish song contained an allegory by which the future was judged.
Trinity-Semitskaya song is a kind of summer songs in calendar-ritual poetry. The most significant groups of rituals and songs of the summer period, which began with the summer solstice (Peter-turn) - June 12 (25), are associated with various states of the sun and the plant world. Summer (Semitsky) rites, later combined with the Christian Trinity, are otherwise called green Christmas time. In the Trinity-Semitsky songs, the central place is given to the birch - the cult tree of the Slavs, the ancestor tree, a symbol of warmth and life.
Burlak songs - songs of barge haulers and about barge haulers. Bargainism originated in Russia at the end of the 16th - beginning of the 17th century, when the state was especially interested in the development of water trade relations and the attitude towards fugitive peasants or recruits who were hired as barge haulers was the most condescending. The barge haulers left both family hardships and the cruelties of serfdom. Usually they went downstream on ships and returned, leading ships loaded with goods towed, in addition, they were both loaders and porters.
Historical songs - songs, the occurrence of which is associated with a particular historical event or person. At the same time, individual nuances of the event (“I am from the Kama from the river, Stenka Razin’s son”) or the characteristic details of the artistic and poetic portrait of a historical person could be fictionalized, embellished or turned upside down, sometimes creating an image distorted up to its opposite. -falsehood. Unlike epics, with their unchanging ethical structure, historical songs, while possessing the same informative content, no longer have strict compositional rules and obey the laws of other genres. Over time, the epic leaves the developing new genre. Songs of the 17th-18th centuries. become more diverse, acquire social coloring. The heroes of the new songs are real characters - Stepan Razin, Emelyan Pugachev, Ivan the Terrible, Yermak. With external simplicity, historical songs have a wide folklore context, folklore symbolism actively “works” here: death is perceived as crossing a river, heroes are likened to eagles and falcons, symbolic images of trees - birches, oaks are widely used , mountain ash, etc.
Lyrical songs are songs that reflect the world of personal feelings. The lyrical song helped the people to endure in any situation, absorbed the sadness and pain of loss, resentment and disappointment, was the only way to preserve their own dignity in a state of humiliation and powerlessness. “A song is a friend, a joke is a sister,” says a Russian proverb. Through the spiritual sorrow, the sad "mournfulness" of the lyrical song, the greatness and moral beauty of the people clearly show through.
Dance (comic) songs - the name of this group of songs speaks for itself. A good, cheerful mood is not alien to Russian songwriting, in which there is a place for laughter, and joke, and mockery. Many Russian dancers have entered the golden treasury of world culture: Kalinka is known in almost every country. The songs “The moon is shining”, “You are my canopy, canopy”, “There was a birch in the field” are widely known.
Robber songs - songs of robbers or about robbers. Robbery (and prison) song as a genre was formed during peasant uprisings, mass escapes of peasants and soldiers from cruel forced life (XVII-XVIII centuries). The main theme of robber and prison songs is the dream of the triumph of justice. The heroes of robber songs are daring, brave "good fellows" with their own code of honor, the desire to comprehend what is happening ("the thought of thinking"), a courageous willingness to accept all the vicissitudes of fate.
Wedding songs - songs that accompanied the entire wedding action from matchmaking to the "prince's table", that is, the banquet table in the groom's house: conspiracy, bachelorette party, wedding, arrival and departure of the wedding train to the church. The bride and groom, a married couple in lyrical songs are symbolized by the inseparable Duck and Drake, or the swan with a swan, especially beloved in Rus'. Duck and swan are symbols of eternal femininity, each of which reflects the complex ups and downs of a woman's fate. A Russian wedding is a complex complex of almost theatrical ritual actions, including many songs: sentences, eulogies, songs-dialogues and songs-lamentations, reproachful songs. 1. Wedding verdicts were pronounced mostly by the boyfriend, who played the most important role at the wedding: he was its "director" and the protector of the bride and groom from evil forces. Sometimes sentences were pronounced by a matchmaker, matchmaker or parents. When the friend addressed one of the participants in the ritual, dialogue songs were formed, giving the wedding ceremony the character of a performance in which almost everyone was a participant. After the verdict was pronounced, the parents put bread and salt on the tray, occasionally money; then the guests made offerings. Dialogue songs were extremely popular at weddings. A typical example of girls' songs (performed at a bachelorette party) is a conversation between a daughter and her mother. Magnifications are song praises of the bride and groom, originally associated with incantational magic: the well-being, happiness of the bride and groom seemed real, almost arrived. In later forms, incantatory magnification magic was supplanted by the expression of the ideal type of moral behavior, beauty, prosperity.
Lamentations are lyrical songs that directly convey the feelings and thoughts of the bride, girlfriends, wedding participants. Initially, the function of lamentation was determined by the rite, where the bride presented her departure from the house as undesirable, as an action performed against her will in order to avoid the revenge of the patrons of the hearth. But it cannot be argued that the bride's crying has always been insincere. Swearing songs are joke songs, often parodies of greatness. The function of swearing songs is entertaining, they are tinged with humor. They were performed after the completion of all the main actions of the wedding rite.
Soldiers' songs (their name speaks for itself) began to take shape after Peter I's decree on recruitment kits (1699). The indefinite service, established by decree, forever tore the soldier away from his family, from his native home. Soldier and recruit songs are permeated with doom (“great adversity is the service of the sovereign”), describe the difficult moments of parting with relatives (“Tears roll from your young eyes like a river flow”), the hardships of barracks life (“What a day - something, not a night for us, soldier-kams, there is no calm: A dark night comes - to be on guard, Bel day comes - to stand in the ranks ") and often inevitable death in battle.
Among the soldiers' and recruit's songs, lamentations stand out as a special group.
Round dance songs are game songs, the name of which goes back to the name of the ancient solar Slavic deity Khors (cf. good, mansions, choro-waters). Those gathered moved in a circle, depicting the movement of the luminary across the sky, thereby glorifying, invoking and propitiating the sun, which is so necessary for harvesting. In the same circle, various scenes provided for by the content of the song were depicted. The most popular round dance songs have come down to our time: “There was a birch in the field”, “I walk and walk along the round dance”, “Along and along the river, along and along the Kazanka”, etc.
Coachmen's songs - songs of coachmen or about coachmen. The life of the coachmen, whose main occupation was the "pit chase", was significantly different from the life of the peasants. They were exempted from taxes, but their position was still extremely difficult. Often, "service people" did not pay running money, and when the coachmen refused to carry for free, they were beaten, or even shackled. Coaches who tried to return back to the village were forcibly returned to the outpost. Their songs tell of a bleak fate. Motifs about love for the “red maiden”, who “broke her heart without frost”, and about the death of the driver in the steppe, in an alien side, are especially common in the coachman’s songs.
4. Children's folklore
A teaser is a mocking joke of a rhyming nature aimed at demoralizing the enemy:
Draw is one of the most widespread genres of children's folklore. Like counting rhymes, draws are designed to distribute game roles. The child chooses one thing, getting a player on his team, or something else.
The invocation is a children's song appeal to the sun, rainbow, rain, birds.
Lullabies are the oldest lyrical songs accompanying the motion sickness of a child. The lullaby is notable for its unusual tenderness, regularity and calmness.
Pestle - a song or rhyme that accompanies the first conscious movements of the child.
A nursery rhyme is a short song that accompanies the first games of a child with fingers, pens and knives, for example, “Forty-white-sided”, when each finger of the child feeds on porridge, and they don’t give anything to the little finger, because it’s too small and hasn’t worked out anything. The most popular nursery rhyme since ancient times is "Ladushki".
A rhyme is a rhyming rhyme, with the help of which the playing children assign roles and set the order for starting the game.
In the 20th century, children's folklore was represented by oral folk literature intended for children, but performed by adults. Most scholars of children's folklore attribute not only what exists in the children's environment, but also the poetry of cherishing. Thus, children's folklore is a special area of folk art. It includes a whole system of poetic and musical-poetic genres of folklore. The main methods of ethnopedagogy. In peasant families, they did not think about education. Skills and techniques were passed down naturally - from generation to generation. The main methods of education in traditional culture: 1. Personal experience. 2. participation in the life of the community, the listener. 3. inclusion in ritual life. 4. labor duties. 5.game. Genres of children's folklore. 1. Lullabies. 2. Fairy tales are boring. 3. Pestlets. Lullabies- songs that lull children to sleep. Their goal is to transfer the child from the state of wakefulness to the state of sleep. It was believed that a child grows in a dream. Dream-dream. Characteristics: monotony, repetition of a melody, quiet dynamics, a single rhythmic form. The text is filled with sizzle. The function of lulling, calming, educating. Pestushki - helped to bring up a cheerful person, brought up joy in a child. Nursery rhymes are special funs for adults with children, songs, sentences using body parts. For the development of creative abilities. jokes- a funny story that gives the speech a humorous connotation. Not accompanied by a game.
Boring Tales are used instead of fairy tales. They exist even today. They are used to develop endurance, moderation in desires, a sense of humor in children. Household folklore - children's songs, chants, sentences, teasers, horror stories. they reflected the diversity of life phenomena. Calls and sentences. The existence and preservation of texts depend on local traditions. In some regions they are almost never used, in others fragments are preserved, in others they exist in their ancient form. There are widespread incantations - parodies: "Airplane, airplane, put me in flight, but in flight it is empty, cabbage has grown." In the process of growth, children inevitably come into contact with fauna. Their interest is attracted by songbirds, brightly colored insects, children are looking for a means of communication with them.
Children's ritual poetry. Over time, the forms and methods of education have changed. Religious rites, festive calendar songs no longer have a great meaning, but rather a figurative meaning. Nicknames and teases. The tradition of giving nicknames is inherited by children from adults. But they went further and created rhyming nicknames, which in turn gave rise to teasers. Some teasers almost do not differ from nicknames, but the nickname is attached to a person as a stable epithet, and the teaser is applied only to the occasion. General literacy, familiarity with professional art, a higher speech culture reduced the number of teasers about appearance by 5 times, and there were twice as many teasers characterizing moral character. Texts about officers, priests, saints, poverty, that is, everything that is unfamiliar to modern children, have disappeared from teasers.
Children's fairy tales. Every day and everywhere people read fairy tales to children, the skill of storytelling has become the property of very many.
Scary stories. Horror stories still matter today. But elements of modern paraphernalia were included: a telephone, a piano, a mechanical doll, etc.
Fantasy for a child is a means of understanding the world around with the unity and struggle of opposites. Meeting with the unusual, mysterious, terrible, overcoming fear, helps to analyze what is perceived by the senses, maintain clarity of mind, self-control, and the ability to act in any situation. 3. Amusing folklore.
The purpose of these genres is to amuse yourself and your peers.
Word games. The value of games is evidenced by the fact that almost all known in the 19th century. the games persist to this day. There are: "Spoiled phone", "Lady", "Krasochki", "Gardener". The general education of children has increased. This also affected the playing repertoire. The geographical word game “To the cities” has become widespread.
Silences and voices. Silent women are still very popular among children. The texts are mostly traditional. Golosyanki, on the contrary, pursue the goal - to draw out a vowel sound. The advantage of this game is the development of voice data. In recent times, no golosyanka has been noted in the living tradition. Apparently she disappeared, forgotten.
Undershirts. Funny jokes - fun "at the expense of a friend": how to decipher the word Dunya? We don't have fools. - And I? There are undershirts over the name (Aunt Lyuba will love everyone, fall in love, fall in love.) Undershirts are also common - riddles (A and B were sitting on the pipe).
Cuts. Today, cuts are not widely used. They became mostly school fun. The secant tool is replaced by a pencil, wood - by paper. Instead of "Seku, seku ...", a new one appeared:
"I write, I write, I write, I will write sixteen sticks, if you do not believe, take it and check it." Most children do not know this fun at all. Tongue Twisters. Today, works with complex and rich sound design are especially popular. Tongue twisters have become a tool for improving pronunciation in kindergartens, schools, and in the work of speech therapists. Fiction - shifters. At the present stage, it is an effective means of stimulating the cognitive activity of children (I’ll stab it with a Rezhik, you will kick with jerks, the belly will flow out of the blood). Puzzles. New living conditions had a decisive impact on the repertoire of riddles. Much of the old way of life of the peasants is incomprehensible to modern children. The riddles that reflected this way of life disappear. Now riddles about recognizable things, images, animals, vegetables, mushrooms, watches, teapots, books, transport, household appliances and other novelties of our life have become traditional. If earlier the riddle existed among older children and adults, now the riddle has become the property of schoolchildren (5-7 years old). Apparently this indicates a more intensive, rapid development of modern children. 4. Game folklore. Formal role-playing games without a poetically organized text. Most games carry images that are close to children, reflect the world of children's interests and aspirations. In such a game genre, the text does not play a major role, it does not have a verse organization. They reflect the phenomena of everyday life, show moral attitudes in the family, etc. Formal role play with game choruses. At present, they cannot characterize the children's song repertoire, because they are not widespread. These games are gradually losing their appeal, being forgotten, despite the fact that they are intensively introduced into the children's consciousness in kindergartens, in elementary school.
Children willingly sing them under the guidance of teachers, but they do not take them out of the children's institution. Radio, cinema, television, with their greatest content and literary and musical processing, lead to the inevitable death of children's games with game choruses. Formal role-playing games with game sentences. At the present stage, these games, although not forgotten, are used much less frequently.
Games are improvisations. These games are popular to this day, remain active.
Lot talks. In recent decades, there has been a gradual replacement of traditional children's games with modern sports games, computer games. Therefore, collusions lose their former meaning.
Rhymes. Today, counting rhymes remain a very popular genre of folklore. Creativity in counting rhymes reflects technical and scientific progress. This causes a new content, sustained in the traditional form. The new living conditions of children affected their playing repertoire. Formal role-playing games no longer have their former significance, but improvisational games have become richer and more meaningful; collusions of lots lose their poetic form, counting rhymes are enriched with new content, their poetics is being improved. Traditional game folklore becomes the property of younger children (4-12 years old) and still serves as an effective means of moral and aesthetic education.
Conclusion. A large place in modern children's folklore is occupied by works that reflect school life. This area is very diverse, has an everyday ethical and aesthetic impact on children. The genres of children's amateur creativity can be considered a school ditty, a song, school poetry, an anecdote. In every school, camp, camping trip, a large number of such works are created, they help to form in the children a sense of the word, beauty, and humor. Children's folklore should become a valuable means of educating a person who harmoniously combines spiritual wealth, moral purity and physical perfection.
