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FOLKLORE. The term "folklore" (translated as "folk wisdom") was first introduced by 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. In modern science there is no unity in the interpretation of the concept of "folklore". Sometimes it is used in its original meaning: an integral part of folk life, closely intertwined with its other elements. From the beginning of the 20th century the term is also used in a narrower, more specific sense: verbal folk art.
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.
Folklore was a verbal art, organically inherent in folk life. The different purpose of the works gave rise to genres, with their various themes, images, and style. In the most ancient period, most peoples had tribal traditions, labor and ritual songs, mythological stories, conspiracies. The decisive event that paved the line between mythology and folklore proper was the appearance of a fairy tale, the plots of which were perceived as fiction.
In ancient and medieval society, a heroic epic took shape (Irish sagas, Kyrgyz Manas , Russian epics, etc.). There were also legends and songs reflecting religious beliefs (for example, Russian spiritual verses). Later, historical songs appeared, depicting real historical events and heroes, as they remained in the people's memory. If ritual lyrics (rites accompanying the calendar and agricultural cycles, family rituals associated with birth, wedding, death) originated in ancient times, then non-ritual lyrics, with its interest in the ordinary person, appeared much later. However, over time, the boundary between ritual and non-ritual poetry is blurred. So, ditties are sung at a wedding, at the same time, some of the wedding songs turn into a non-ritual repertoire.
Genres in folklore also differ in the way of performance (solo, choir, choir and soloist) and in various combinations of text with melody, intonation, movements (singing, singing and dancing, storytelling, acting out, etc.)
With changes in the social life of society, new genres arose in Russian folklore: soldier's, coachman's, burlak's songs. The growth of industry and cities brought to life romances, anecdotes, worker, school and student folklore.
There are productive genres in folklore, in the depths of which new works can appear. Now these are ditties, sayings, city songs, anecdotes, many types of children's folklore. There are genres that are unproductive but continue to exist. So, new folk tales do not appear, but the old ones are still told. Many old songs are also sung. But the epics and historical songs in live performance almost do not sound.
The science of folklore - folkloristics - all works of folk verbal creativity, including literary ones, are classified into one of three genera: epic, lyrics, drama.
For thousands of years, folklore has been the only form of poetic creativity among all peoples. But even with the advent of writing for many centuries, up to the period of late feudalism, oral poetic creativity was widespread not only among the working people, but also among the upper strata of society: the nobility, the clergy. Having arisen in a certain social environment, the work could become a national property.
Collective author.
Folklore is a collective art. Each work of oral folk art not only expresses the thoughts and feelings of certain groups, but is also collectively created and distributed. However, the collectivity of the creative process in folklore does not mean that individuals did not play any role. Talented masters not only improved or adapted existing texts to new conditions, but sometimes created songs, ditties, fairy tales, which, in accordance with the laws of oral folk art, were distributed without the name of the author. With the social division of labor, peculiar professions arose associated with the creation and performance of poetic and musical works (ancient Greek rhapsodes, Russian guslars, Ukrainian kobzars, Kyrgyz akyns, Azerbaijani ashugs, French chansonniers, etc.).
In Russian folklore in the 18–19 centuries. there was no developed professionalization of singers. Storytellers, singers, storytellers remained peasants, artisans. Some genres of folk poetry were widespread. The performance of others required a certain skill, a special musical or acting gift.
The folklore of each nation is unique, just like its history, customs, culture. So, epics, ditties are inherent only in Russian folklore, thoughts - in Ukrainian, etc. Some genres (not only historical songs) reflect the history of a given people. The composition and form of ritual songs are different, they can be dated to the periods of the agricultural, pastoral, hunting or fishing calendar, enter into various relationships with the rites of the Christian, Muslim, Buddhist or other religions. For example, the ballad among the Scots acquired clear genre differences, while among the Russians it is close to a lyrical or historical song. Some peoples (for example, Serbs) have poetic ritual lamentations, while others (including Ukrainians) have them in the form of simple prose exclamations. Each nation has its own arsenal of metaphors, epithets, comparisons. So, the Russian proverb “Silence is gold” corresponds to the Japanese “Silence is flowers”.
Despite the bright national coloring of folklore texts, many motives, images and even plots are similar among different peoples. Thus, a comparative study of the plots of European folklore led scientists to the conclusion that about two thirds of the plots of the fairy tales of each nation have parallels in the fairy tales of other nationalities. Veselovsky called such plots "wandering plots", creating the "theory of wandering plots", which was repeatedly criticized by Marxist literary criticism.
For peoples with a common historical past and speaking related languages (for example, the Indo-European group), such similarities can be explained by a common origin. This similarity is genetic. Similar features in the folklore of peoples belonging to different language families, but who have been in contact with each other for a long time (for example, Russians and Finns) are explained by borrowing. But in the folklore of peoples living on different continents and probably never communicated, there are similar themes, plots, characters. So, in one Russian fairy tale it is said about a clever poor man who, for all his tricks, was put in a sack and is about to be drowned, but he, having deceived the master or the priest (they say, huge shoals of beautiful horses graze under water), puts him in a sack instead of himself. The same plot exists in the tales of Muslim peoples (stories about Khadja Nasreddin), and among the peoples of Guinea, and among the inhabitants of the island of Mauritius. These works are independent. This similarity is called typological. At the same stage of development, similar beliefs and rituals, forms of family and social life are formed. And therefore, both ideals and conflicts coincide - the opposition of poverty and wealth, intelligence and stupidity, hard work and laziness, etc.
From mouth to mouth.
Folklore is stored in the memory of the people and reproduced orally. The author of a literary text does not have to directly communicate with the reader, while the work of folklore is performed in the presence of listeners.
Even the same narrator voluntarily or involuntarily changes something with each performance. Moreover, the next performer conveys the content differently. And fairy tales, songs, epics, etc. pass through thousands of mouths. Listeners not only influence the performer in a certain way (in science this is called feedback), but sometimes they themselves are connected to the performance. Therefore, any work of oral folk art has many options. For example, in one version of the tale Princess Frog the prince obeys his father and marries the frog without any talk. On the other hand, he wants to leave her. In different ways in fairy tales, the frog helps the betrothed to complete the tasks of the king, which are also not the same everywhere. Even such genres as epic, song, ditty, where there is an important restraining beginning - rhythm, chant, have excellent options. Here, for example, is a song recorded in the 19th century. in the Arkhangelsk province:
Sweet nightingale,
You can fly everywhere
Fly to merry countries
Fly to the glorious city of Yaroslavl...
Approximately in the same years in Siberia they sang to the same motive:
You are my rassy little dove,
You can fly everywhere
Fly to foreign countries
To the glorious city of Yeruslan…
Not only in different territories, but also in different historical eras, the same song could be performed in versions. So, songs about Ivan the Terrible were remade into songs about Peter I.
In order to memorize and retell or sing some work (sometimes quite voluminous), the people developed techniques polished over the centuries. They create a special style that distinguishes folklore from literary texts. In many folklore genres there is a common beginning. So, the folk storyteller knew in advance how to start a fairy tale - In some kingdom, in some state... or Lived once…. The epic often began with the words As in a glorious city in Kyiv…. In some genres, endings are repeated. For example, epics often end like this: Here they sing glory to him…. A fairy tale almost always ends with a wedding and a feast with a saying I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth, or And they began to live and live and make good.
There are other, most diverse repetitions in folklore. Individual words may be repeated: Past the house, past the stone one, // Past the garden, the green garden, or the beginning of the lines: At dawn it was at dawn, // At the dawn it was at morning.
Entire lines are repeated, and sometimes several lines:
He walks along the Don, walks along the Don,
A young Cossack walks along the Don,
And the maiden cries, and the maiden cries,
And the maiden weeps over the swift river,
And the maiden weeps over the swift river.
In the works of oral folk art, not only words and phrases are repeated, but also entire episodes. On the triple repetition of the same episodes, epics, fairy tales, and songs are built. So, when Kaliki (wandering singers) heal Ilya Muromets, they give him a “honey drink” to drink three times: after the first time he feels a lack of strength in himself, after the second - an excess, and only after drinking the third time, he receives as much strength as he needs.
In all genres of folklore there are so-called common or typical places. In fairy tales - the rapid movement of the horse: The horse runs - the earth trembles. “Vezhestvo” (politeness, good breeding) of an epic hero is always expressed by the formula: He laid the cross in the written way, but he led the bows in the learned way.. There are beauty formulas - Not in a fairy tale to say, not to describe with a pen. Command formulas are repeated: Stand before me like a leaf before grass!
Definitions are repeated, the so-called constant epithets, which are inextricably linked with the word being defined. So, in Russian folklore, the field is always clean, the moon is clear, the girl is red (red), etc.
Other artistic techniques also help with listening comprehension. For example, the so-called method of stepwise narrowing of images. Here is the beginning of the folk song:
There was a glorious city in Cherkassk,
New stone tents were built there,
In the tents, the tables are all oak,
A young widow is sitting at the table.
A hero can also stand out with the help of opposition. At a feast at Prince Vladimir:
And how everyone is sitting here, drinking, eating and boasting,
But only one sits, does not drink, does not eat, does not eat…
In a fairy tale, two brothers are smart, and the third (the main character, the winner) is a fool for the time being.
Stable qualities are assigned to certain folklore characters. So, the fox is always cunning, the hare is cowardly, the wolf is evil. There are certain symbols in folk poetry: the nightingale - joy, happiness; cuckoo - grief, trouble, etc.
According to researchers, from twenty to eighty percent of the text consists, as it were, of ready-made material that does not need to be memorized.
Folklore, literature, science.
Literature appeared much later than folklore, and always, to one degree or another, used his experience: themes, genres, techniques are different in different eras. So, the plots of ancient literature are based on myths. Author's fairy tales and songs, ballads appear in European and Russian literature. Due to folklore, the literary language is constantly enriched. Indeed, in the works of oral folk art there are many ancient and dialect words. With the help of affectionate suffixes and freely used prefixes, new expressive words are created. The girl is sad You are my parents, destroyers, my killers…. Guy complains: Already you, darling-twist, cool wheel, twirled my head. Gradually, some words enter into colloquial, and then into literary speech. It is no coincidence that Pushkin called: "Read folk tales, young writers, in order to see the properties of the Russian language."
Folklore techniques were especially widely used in works about the people and for the people. For example, in Nekrasov's poem Who lives well in Rus'? - numerous and varied repetitions (situations, phrases, words); diminutive suffixes.
At the same time, literary works penetrated folklore and influenced its development. As works of oral folk art (without the name of the author and in various versions), the rubai of Hafiz and Omar Khayyam were distributed, some Russian stories of the 17th century, Prisoner And Black shawl Pushkin, beginning Korobeinikov Nekrasov ( Oh, the box is full, full, // There are chintz and brocade.// Have pity, my sweetheart, //Molodetskogo shoulder…) and much more. Including the beginning of Ershov's fairy tale The Little Humpbacked Horse, which became the beginning of many folk tales:
Beyond the mountains, beyond the forests
Beyond the wide seas
Against heaven on earth
An old man lived in a village.
Poet M.Isakovsky and composer M.Blanter wrote a song Katyusha(Blooming apple and pear trees...). The people sang it, and about a hundred different Katyushas appeared. So, during the Great Patriotic War they sang: Apple and pear trees do not bloom here ... The Nazis burned apple and pear trees…. The girl Katyusha became a nurse in one song, a partisan in another, and a signalman in the third.
In the late 1940s, three students - A. Okhrimenko, S. Christie and V. Shreyberg - composed a comic song:
In an old and noble family
Lived Lev Nikolayevich Tolstoy,
He ate neither fish nor meat,
I walked barefoot through the alleys.
It was impossible to print such poems at that time, and they were distributed orally. More and more versions of this song began to be created:
Great Soviet writer
Leo Nikolaevich Tolstoy,
He didn't eat fish or meat.
I walked barefoot through the alleys.
Under the influence of literature, rhyme appeared in folklore (all ditties are rhymed, there is rhyme in later folk songs), division into stanzas. Under the direct influence of romantic poetry (), in particular ballads, a new genre of urban romance arose.
Oral folk poetry is studied not only by literary critics, but also by historians, ethnographers, and culturologists. For the most ancient, pre-literate times, folklore often turns out to be the only source that conveyed to the present day (in a veiled form) certain information. So, in a fairy tale, the groom receives a wife for some merits and exploits, and most often he marries not in the kingdom where he was born, but in the one where his future wife comes from. This detail of a fairy tale, born in ancient times, suggests that in those days a wife was taken (or abducted) from another kind. There are also echoes of the ancient rite of initiation in the fairy tale - the initiation of boys into men. This rite usually took place in the forest, in the "men's" house. Fairy tales often mention a house in the forest inhabited by men.
Late time folklore is the most important source for studying the psychology, worldview, and aesthetics of a particular people.
In Russia at the end of the 20th - beginning of the 21st centuries. increased interest in the folklore of the 20th century, those aspects of it that not so long ago remained outside the boundaries of official science (political anecdote, some ditties, folklore of the Gulag). Without studying this folklore, the idea of the life of the people in the era of totalitarianism will inevitably be incomplete and distorted.
Ludmila Polikovskaya
Folk (folklore) culture
culture, which is based on artistic traditional images, archetypes.
☼ a collective concept that does not have a clearly defined definition. boundaries and including cultural layers of different eras from ancient times to the present. Formation and functioning of the phenomenon of N. to. in ethnic community or social groups and communities of various types is associated with the awareness of their belonging to people. Self-identification with the people, Nar. traditions in the stereotypes of social behavior and actions, everyday ideas, the choice of cultural standards and social norms, orientations towards certain forms of leisure, amateur art and creativity. practices - manifestations of N. to. In our time, its common feature is its non-professional status in the modern sphere. multi-layered culture, the non-specialized nature of cultural activity, which, however, does not exclude a high level of skill, skill, knowledge, which is based on fluency in tradition.
Traditionalism is an important quality of N. to. in all periods, which determines both its value-normative and semantic content, as well as the social mechanisms of its transmission, inheritance in direct communication from person to person, from master to student, from generation to generation, bypassing institutional and organizational forms.
N. to. in history. the past means. coincides with the ethnic one, then acquires a pronounced social, national component, merges with subcultural formations and even elements of ideology (for example, in Soviet times). Traditional N. to. determines and normalizes all aspects of the life of the community: way of life, forms of economic activity, customs, rituals, regulation of social relationships among members of the community, type of family, upbringing of children, nature of the home, development of the surrounding space, type of clothing, nutrition, relationship with nature, the world, legends , beliefs, beliefs, knowledge, language, folklore as sign-symbolic. expression of tradition - all these manifestations of N. to. are studied by a wide range of humanitarian disciplines: ethnology, cultural anthropology, folklore, ethnolinguistics, art history, cultural history.
The task of the culturologist is to isolate some invariant content that permeates all of these components of traditions. cultures and having in means. least of ethnicity. character. These are, in particular, such ideas - values - meanings as ideas about nature, space, man's place in the world, religious mythology. concepts of human relations with supernatural, higher powers, ideas about the ideals of wisdom, the power of heroism, beauty, kindness, about the forms of “correct” and “wrong” social behavior and the arrangement of life, about serving people, the homeland, etc.
Concrete traditional forms. cultures, as well as the social mechanisms of their transmission, are historically transient. The holistic system of the normative-value life support of the people breaks up into fragments, which eventually lose their functional and semantic content. At the same time, the general ideas and ultimate values of N.K. remain relevant and move into the field of professional activity of specialists in various fields. However, then they can again return to the mass consciousness and, in a modified form, again become part of the N.C. So in means. least happens in present. the time when in Russia, as in other countries, interest in traditional cultures, including their early forms, intensified.
Orientation towards Postmodernism in culture and post-industrial forms of civilization is associated with a rethinking of vast layers of history and def. movement towards conservatism and traditionalism, which is noted by some scientists. The second (according to some definitions, secondary) life of folk traditions, the social reproduction of various models of the inclusion of cultural Archetypes of the past in modern. life determine the relevance of the development of a holistic culturological. approach to the range of phenomena, objects, processes associated with N. to.
Lit.: Chistov K.V. Folk Traditions and Folklore: Essays on Theory. L., 1986; Bakhtin M.M. Creativity of Francois Rabelais and folk culture of the Middle Ages and the Renaissance. M., 1990; Putilov B.N. Folklore and folk culture. SPb., 1994; Traditional folk culture: Sat. inform.-analyst. materials. M., 1995.
N.G. Mikhailov.
Cultural studies of the twentieth century. Encyclopedia. M.1996
Large explanatory dictionary of cultural studies.. Kononenko B.I. . 2003 .
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HORIZONTALLY:
1. Rookie - Who else among the servicemen "didn't even sniff gunpowder"?
5. KARPOV - Who lost the chess throne to Garry Kasparov?
9. Mohawk - Laying punk.
10. IRONY - "Veil" for ridicule.
11. HYPOTHESIS - "Very possibly" in one word.
14. TSIOLKOVSKY - A teacher from Kaluga among the godfathers of astronautics.
16. UDDER - "Buryonka's reservoir".
18. SINGER - Americans called the first sound film "... jazz".
19. FOX - A fur-bearing animal whose name comes from a dog.
20. SMITH - He believed that in order for the state to rise to the highest level of prosperity, only peace, light taxes and tolerance in government are needed (cult economist).
23. GOBI - In which desert did Nikolai Przhevalsky meet a horse named after himself?
28. SINGING - Who delays, and the choir picks up?
29. ZVENIGOROD - The small homeland of the great film actress Lyubov Orlova.
30. JAKOV - The English king, deposed as a result of the Glorious Revolution of 1688-1689.
31. ARTIST - Melodrama "... from Gribov" with Irina Muravyova in the title role.
32. SEDIMENT - Having sunk to the very bottom.
33. STEPPE - "Feathered open space".
34. EYE - What organ of the Gorgon jellyfish became a talisman from corruption among the Turks?
40. PHILOLOGIST - Who was the science fiction writer Arkady Strugatsky by profession?
42. Joy - Folk witticism.
43. ELK - What animal did the Swedes use as a draft force a couple of centuries ago?
44. STOMACH
45. CASE - Why are there 46 in Tabasaran, 21 in Hungarian, 15 in Finnish, 12 in Mordovian, 6 in Russian, and only 2 in English?
46. GOMORRAH - "City of sins".
47. MOON - Osip Mandelstam's lines: "Two lovers in the night marveled at a huge star - in the morning they comprehended - it shone ...".
48. SARAFAN - Dress for Vasilisa the Beautiful.
49. LIMIT - Once upon a time, provincials were registered in Moscow according to it.
50. COMMENT
51. SHARE - "There is... truth in every joke."
52. LASAGNE - Favorite dish for cartoon cat Garfield.
VERTICALLY:
1. NEUROSURGEON - Who repairs fractures in the skull?
2. SCINGA - "A feisty woman, her face is blue, wrinkled, her teeth caress, cloudberries, cranberries and lettuce are afraid" from Pomeranian tales.
3. SUSCEPTIBILITY - In smokers... colors are reduced.
4. ACTIVITY - A person of social significance.
6. AURA - What radiation feeds psychics?
7. FOAM - "It was by the sea, where the openwork ... where the city crew is rarely found."
8. VOYAGE - Romantic trip.
10. WEAR - Aging of the unit.
12. Plaintiff - The instigator of a judicial disassembly.
13. LYCEUM - In Tsarskoye Selo ... children of the nobility were accepted from the age of ten.
15. OVOSCOPE - Enlightener of eggs.
18. OVERFLOW - "Game of shades".
21. PASTA - Not only toothpaste, but also tomato.
22. PHEASANT - What kind of bird should actually be used to cook the Georgian dish "chakhokhbili"?
24. GRIND - Exposure of fangs.
25. TRANSPORT - The business of a taxi driver.
26. DETAILS - With all the details.
27. COMEDY FILMS - Gaidai's genre.
31. APORT - Dog command, behind which is hidden "Bring!".
34. ICE - What do they scold when they fall in winter?
35. ARSENAL - Warehouse on the territory of a military unit.
36. DOJ - Which ruler did Shakespeare's Othello serve?
37. OVERTAKING - "Automotive lead".
38. Suvorov - Russian commander, in honor of whose Victoria they composed the song "Thunder of victory resound!".
39. SHKURNIK - Money-grubber, but not so pretentiously.
41. GUITAR - What instrument appeared in Russia during the reign of Tsaritsa Anna Ioannovna, but was rejected on the move for a quiet and indistinct sound?
42. LIPSTICK - "Persistent ..." stays on the lips, not on the cup.
46. GAT - "Pass" through the swamp.
Children use folklore of various genres outside the game, in everyday life. But in these cases, it also often has the character of fun and entertainment.
Interesting materials and observations on non-playful children's folklore were given in A. Mozharovsky's book "From the Life of Peasant Children of the Kazan Province" (1882).
In the non-fiction children's folklore, we see not only the previously noted genres (sayings, songs, etc.), but also some new ones (witties, jokes, teasers, tongue twisters, etc.). Let's give examples.
Here is a sentence that is performed by girls after bathing:
Olya, Olya, wash cups,
Pour out the water for the horses to drink.
On an oak deck.
And here is the sentence performed by the children when they find the snail:
Snail, snail, stick out your horns! Give me the end of the pie.
On the oak, on the pine At the mother-cresne.
A.F. Mozharovsky wrote: “When children, playing on the street, see flying jackdaws above them, they shout to them together:
My jackdaw in advance, the Jug will pick up money.
My jackdaw is behind, Pick up a pot of money.
She pinched her lip, She ran to the elm tree, She ran away without an eye, She ran to the linden tree; They beat her with a bark, she ran to the spruce, the wolves ate her.
The children amused each other with jokes - short stories in poetic form. Here is a joke about a goat whose house caught fire:
Don, don, don! The goat house caught fire. The goat jumped out, Gouged out her eyes, Let her children out, Ran to the tavern, Sniffed tobacco, Ran to the oak,
And let's beat the stick, The barn dog tucked it in, Yes, in the tail and ran away. The hut came to the peasant, There kneading the woman kneads.
A special kind of jokes are the changeling and. Changelings are called songs in which the relationships and connections between objects and phenomena turn out to be inverted. It is said, for example, that it was not a peasant who rode among the village, but the village rode among the peasant, not the peasant was girded with a bast, but the bast was girded with a peasant, etc. Here is an example of such a joke-shifter:
The peasant's bast was girded, The village rode among the peasant, Looking out from under the dog, the gates were barking, The gates were colorful, the dog was new. The man grabbed the dog
In changelings, children's ability to invent, the desire to surprise, cheer and amuse are manifested.
I will go to the forest. Listener: Me too. I will cut down the tree. Listener: Me too. I'll cut the deck
Children's non-game folklore is permeated with fun, jokes and witticisms. Let's give a children's witticism - l about in at sh to at.
Listener: Me too. And I'll mess with the pigs. Listener: Me too. They will eat. Listener: Me too.
Various poetic nicknames were widespread among children. But no one was offended by them, since almost each of the guys had his own nickname. Here are the nicknames for the boy Petya and the girl Praskovya:
Petka-rooster, Pashka-bug,
It's rotten on the heap. Pig calabash.
A special genre of children's non-playing folklore is the so-called underwear, with which the children tried to "pry" each other. Here are two coats:
Say "ax", Say "There is a vine in the bathhouse."
Axe. - There is a vine on the bath.
Your dad is a thief. - Your mother is a goat.
The so-called teasers have become even more widespread in non-fiction children's folklore. In teasers, as a rule, the names of those who are ridiculed are called. Here is an example of such teasers:
Yegorushka was horse-drawn by Ivan chatterbox,
He shod a cat's leg, Chatted milk -
I went to get married - I didn’t blurt out,
Tied a trough. And he blew everything.
The trough dangles, the wife baked the donut,
The wife smiles. She gave him a shish.
The favorite genre of non-fiction children's folklore is tongue twisters. Tongue twisters are expressions built on a combination of sounds that make it difficult to pronounce words quickly and clearly. A mistake in the pronunciation of any word caused laughter from those around him. Here are tongue twisters recorded from children. “The cap is sewn, the cap is weighty, but not in the style of a cap”; “The pig was dumb, it dug up the whole yard”; "There is a mop with a podprikopenochkom" . Sometimes tongue twisters are more detailed, have a dialogic form of construction. For example:
Tell me about shopping. - About shopping, about shopping,
About what about purchases? About my shopping.
In conclusion, we can say that children's own oral and poetic creativity is distinguished by a great variety of genres.
Children's folklore borrowed from adults. We settled on the genres of folklore, the works of which were created and performed by the children themselves. As already noted, children's folklore proper (both play and non-play) differs significantly from the folklore of adults both in its content and artistic form, and in terms of the conditions of existence and the functions performed.
At the same time, it should be said that the poetic creativity of children is not isolated from the poetic creativity of adults, which children are witnesses from a very young age. The article by E. S. Litvin "On the Question of Children's Folklore" is devoted to the consideration of the connections of children's folklore with the folklore of adults.
Already in infancy, children listen to the so-called nursery rhymes of adults, with the help of which they learn to play with their hands and feet. The most common nursery rhymes for adults are "Ladushki", "Magpie-Duda", etc. Already at this time, literally with mother's milk, children are instilled with the skills of using folklore in the game.
From an early age, children listen to the so-called "boring" or "childish" fairy tales about animals and the like. There are many such tales. For example, D.K. Zelenin in his collection “Great Russian Tales of the Vyatka Province” (1915) publishes “children’s tales”: “About a goat”, “About a cow-cow”, “Cat, golden tail”, “Cat and fox”, “The Wolf and the Fox”, “The Cockerel”, “The Goat with the Kids”, “The Wolf, the Bear and the Fox”, etc. Children remember some of these tales and tell each other. Specific material on this issue is contained in N. M. Zliash's article "On the Question of a Children's Fairy Tale." Separate fairy-tale images and plot situations, short fairy-tale songs, children introduce into their games, create game dramas on their basis, play out original theatrical performances.
Collectors of folklore noted that in the past, at winter meetings of youth, at parties, on holidays, peculiar competitions in guessing and guessing riddles were often held, which developed intelligence, figurative and poetic thinking. Often, riddles were made to children in the family circle for their development. Adults understood that “playing with riddles is that thematic and verbal world that is akin to a child, close and understandable.” Therefore, it is not surprising that riddles have also entered the repertoire of children's folklore.
With great pleasure, children watched the amusements of adults during various calendar holidays, and sometimes they themselves took part in these holidays, sang various calendar songs. Collectors of folklore from children recorded children's versions of carols and schedrivbk. Let's take a children's carol.
I am a little boy, I turned on my side,
Get on the sofa. Please, piglet.
And here's a baby treat:
Generous, hips, Zyalena broom,
New buckets, Daitya dumpling.
Participating in the Shrovetide games, the children sang the Shrovetide song:
“Wide Maslenitsa, We ride on the mountains, We boast of you. We eat pancakes."
The ancient ritual of the funeral of Kostroma with the corresponding songs in the last third of the 19th century. was registered as child's play.
Ethnographer V.N. Kharuzina at the beginning of the 20th century. wrote that the spring rite of conjuring birds "has long been observed as child's play." According to her, in the Kursk province on March 9, children ran out into the street with baked larks or waders and shouted:
"Spring, spring! On what did you come, on what did you come? On a bipod, on a little harrow, Sandpipers and larks, Flock to the cloaks!
Folklorists noted that on Egor's Day (April 23) in some provinces, children went around the huts and at the same time sang a song in which they asked Egory to save their cattle from predatory animals "both in the field and beyond the field, and in the forest and beyond the forest".
In children's folklore, we also find traces of conspiracy spells. Famous collector of folklore of the second half of the 19th century. P.V. Shein wrote: “In the spring, playing in the yard, on the street, children joyfully call out the first rain, greet the first warm sun, the first rainbow with the following songs, with which they then meet these natural phenomena all summer long.” And then, among others, he cites such songs:
1) Rainbow, rainbow,
Bring us rain.
2) God forbid rain On the woman's rye,
In thick reins! On man's oats
Water all day On a girlish thunderstorm
On our barley; On baby millet.
One of the collectors of folklore of the last third of the XIX century. wrote:
"Sun, bucket, Your children are crying,
Look out the window! They want to drink, they want to eat."
With these rhymes, children turn to the sun every spring, as soon as it begins to warm the earth brightly and warmly.
Older children were often present at the festivities of adult youth, participated in their games and round dances. Therefore, it is not surprising that play and round dance songs of adults sometimes passed into their folklore repertoire. So, for example, E.A. Pokrovsky noted that in the last third of the XIX century. older children sometimes led round dances and at the same time performed round dance songs “And we sowed millet”, “My green flax”, “I’m burying gold, I’m burying it”, etc. .
It was included in the children's folklore repertoire and such a youth genre as a ditty. With special interest, the children sang dance and comic ditties. Here are examples of such ditties:
Akulina strangled the gander from above. The gander squeaks, drags a hundred rubles.
Red ginger asked:
What did you dye your beard with?
I'm neither paint nor putty, Only enough minium.
Do we rightly consider as children's folklore works borrowed by children from adults? It seems to be completely fair. Firstly, these works, existing among children, perform the functions of children's folklore. They, as a rule, are performed for fun, often being an organic component of one or another children's game. Secondly, these works are staggeringly transformed and reworked in accordance with the peculiarities of children's psychology, the poetic creativity of children. Thus, the researchers noted that the round dance, in which the "drake" and "duck" were symbols of the bride and groom, is performed by children as a regular game song, in which the named birds are understood literally. Children in the game imitate their movements. The girlish lyrical ditty, being among children, turns into an ordinary children's counting rhyme. And finally, thirdly, in genres borrowed from adults, children often created new folklore works. Above were examples of children's carols, generosity, spells of rain, sun, etc.
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