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major genres of folklore. Main folklore genres

major genres of folklore. Main folklore genres

23.04.2019

Folklore is a system of systems. Like literature, it is divided into poetic genera: epic, lyric, drama. Genera are divided into types (song, fairy tale, non-fairy tale prose, etc.), and types are divided into genres. Some genres have a combination of features of different kinds (lyric epic songs). If the classification is based on the mode of existence of works, then folklore will be divided into ritual and extra-ritual. On the basis of volume, small genres are distinguished.

Genre is the basic unit of study of folklore. Each genre is a typical structural model that has the ability to realize a certain life attitude. In the oral folk poetic tradition, genres are interconnected and interact.

Many genres are universal (for example: proverbs, riddles, fairy tales, legends, epic songs). Being perfect forms of artistic assimilation of reality, they lived for centuries in the folklore of different peoples.

Folklore developed depending on changes in everyday life, social life of the people and their consciousness. Many elements of folklore changed, processed, transformed. There was a gradual replacement of the outdated system of genres with a new artistic system.

Russian folklore has its own history. Its roots go back to the ancient Slavic period, and then to the times of a single ancient Russian people. The feudal era led to the flowering of classical folklore. Later, urban folklore appeared, the folklore of industrial workers, and so on.

Early traditional folklore, classical folklore, late traditional folklore- artistic systems that historically replaced one another.

Folk genres:

I. Early traditional folklore (labor songs, divination, incantations).

II. classical folklore:

1. Ritual.

2. Non-ritual:

a) Prose genres (fairy tale, legend, legend, bylichka);

b) Poetic genres (epic, historical song, ballad);

c) Children's folklore (joke, teaser, pestle, nursery rhyme, underwear, counting rhyme, etc.);

d) Small genres (proverb, saying, omen, curse, tongue twister, etc.).

III. Late traditional folklore: (chastushki, poetry of the Great Patriotic War, working folklore).

The foundations of the artistic imagery of oral folk art were formed in the prehistoric period, when, simultaneously with the language (human speech), early traditional folklore appeared.

Early traditional folklore is a collection of ancient genera and types of folklore, an archaic system that preceded the formation of the actual artistic creativity of the people.

The question of the early stages of the development of folklore cannot be considered on the basis of the material of only one people. It is necessary to take into account the ancient kinship of close peoples (for example, the Slavs), as well as the universal, typological laws of the development of society and culture, which acted everywhere.

Researchers of early traditional folklore turn to the data of history and language. They conduct observations on the life and culture of ethnic groups that have been delayed in their development, as well as on the remnants of primitive culture in the folklore of civilized peoples. This approach is called retrospective.

Labor songs.

Labor activity played a huge role in the origin and development of folklore.

During the labor processes, which required constant rhythmic efforts, labor songs were born already in ancient times. They are known among all peoples and were performed when lifting weights, driving piles, plowing a field, drawing water, manually grinding grain, dressing flax, while rowing, and so on. Such songs could be performed when working alone, but they were especially important when working together. The songs contained commands for simultaneous action. Their main element was the rhythm that organized the labor process.

In Russian folklore, echoes of ancient labor songs have been preserved and have come down to our time, which have not lost their production functions. These are the so-called "clubs" - refrains in burlak songs performed on the Kama, Don, and especially on the Volga. They were sung by barge haulers, porters, boatmen, porters. Depending on the type of labor, its rhythm, a rhythmic pattern of the refrain was created.

Divination. Conspiracies.

Signs, divination, witchcraft, conspiracies are known to all peoples. They are based on the mythical perception of the world, which gave the surroundings a special, intimate meaning. In ancient times, they were based on figurative, metaphorical thinking, assimilation by analogy. The vitality of these phenomena is striking: superstition and witchcraft, especially in a modernized guise, still exist today.

Divination- a means of recognizing the future. The fortuneteller does not try to influence the natural course of events, but only seeks to penetrate the hidden secrets. In order to recognize the future, it was necessary to turn to evil spirits, so fortune telling was perceived as a sinful and dangerous occupation (for example, fortunetellers took off their crosses).

For divination, places were chosen where, according to the people, it was possible to make contact with the inhabitants of the "other world" (crossroads, bathhouse, cemetery, etc.), as well as the time of day at which this contact was most likely (evening , midnight, until the first roosters). Nevertheless, Christian images also penetrated divination.

Guessing, people sought to get an answer to one or another important question for them: about health, about the harvest and offspring of livestock, about the fate of those who went to war ... The most numerous were girls' guesses about the upcoming marriage.

The most developed in artistic terms were the sacred fortune-telling - collective fortune-telling about the future. In them, the symbolism of special sub-songs played a paramount role.

The name "observant" comes from a type of divination. Having gathered in a hut, the participants (most often girls) took a dish (bowl), put rings or other small objects in it, taking off themselves, poured water into the dish and covered it with a scarf. (A variation of this rite without water is also known.)

Songs were sung in chorus - poetic predictions, and someone, without looking, took out objects placed there from the dish. First, they paid tribute to the bread and only then sang other songs. They could portend wealth, marriage, the continuation of girlhood, misfortune, death. Whose thing was taken out, the prediction was related to that. The number of songs depended on the number of fortunetellers.

Russian Christmas divination on chickens.1858. Lubok

CONSPIRACY(or spell) - a product of a magical nature, pronounced with the aim of influencing the world around, its phenomena and objects, in order to obtain the desired result. Spells are an integral part of witchcraft. The pronunciation of a conspiracy was often accompanied by actions with water, fire, various objects, etc., as well as the sign of the cross. When pronouncing healing spells (for example, in a bathhouse), the patient was given infusions of medicinal herbs, spat, massage, elements of hypnosis were used.

Conspiracies were passed from elder to younger, more often by relatives. There was a belief that sorcerers must get rid of their knowledge before death, and that they could do this by deceit (for this they had only to touch another person).

They also believed that the text of the conspiracy could not be changed, otherwise its strength would weaken. Therefore, not relying on memory, conspiracies were entered into notebooks. There was even a written form of their existence. However, despite this, conspiracies, like any folklore phenomenon, were subject to variability.

classical folklore- a rich system of developed, artistically full-fledged genres. It functioned productively for centuries, was closely connected with the feudal way of life and the patriarchal consciousness of the people.

The works of classical folklore are usually divided into ritual and non-ritual.

Ritual folklore consisted of verbal-musical, dramatic, game, choreographic genres, which were part of traditional folk rituals.

Non-ritual folklore.

In oral prose, two large sections stand out: fairy tales And fairy tale prose. At the basis of their distinction lies the different attitude of the people themselves to fairy tales as fiction and "events" as truth. From the point of view of the people, fairy tales have no other purpose than to act on fantasy. They amaze, surprise, delight, are interesting for their unusual humorous situations.

Tradition is a story about the past, sometimes very distant. Tradition depicts reality in ordinary forms, although fiction is necessarily used, and sometimes even fantasy. The main purpose of legends is to preserve the memory of national history. Traditions began to be written down before many folklore genres, as they were an important source for chroniclers. In a large number of legends exist in the oral tradition in our days.

Traditions are an "oral chronicle", a genre of non-fairytale prose with an emphasis on historical authenticity. The very word "pre-giving" means "to transmit, to preserve." Traditions are characterized by references to old people, ancestors. The events of the legends are concentrated around historical figures who, regardless of their social position (be it the king or the leader of the peasant uprising), most often appear in an ideal light.

Any legend is historical in its essence, because the impetus for its creation is always a genuine fact: a war with foreign invaders, a peasant revolt, large-scale construction, a crowning a kingdom, and so on. However, tradition is not identical with reality. As a folklore genre, it has the right to fiction, offers its own interpretation of history. Plot fiction arises on the basis of a historical fact (for example, after the hero of a legend stays at a given point). Fiction does not contradict historical truth, but, on the contrary, contributes to its revelation.

legends- these are prose works in which the events associated with the phenomena of inanimate nature, with the world of plants, animals, as well as people (tribes, peoples, individuals) are fantastically comprehended; with supernatural beings (God, saints, angels, unclean spirits ). The main functions of legends are explanatory and moralizing. Legends are associated with Christian ideas, but they also have a pagan basis. In legends, a person turns out to be immeasurably higher than evil spirits. .

Folk demonological stories- these are superstitious narratives associated with characters from the category of lower mythology.

The pagan attitude of the peasants in the middle of the XIX century. captured by I. A. Goncharov. He wrote: “In Oblomovka, they believed everything: both werewolves and dead people. If they tell them that a haystack was walking around the field, they will not think and believe; will anyone miss the rumor that this is not a ram, but that something else, or that such and such a Martha or Stepanida is a witch, they will be afraid of both the ram and Martha: it would never occur to them to ask why the ram became not a ram, and Martha became a witch, and they will even pounce on that Whoever would dare to doubt this - the faith in the miraculous in Oblomovka is taxing!

In science, demonological stories were first called blades of grass. - those. small stories about goblin, brownies, devils and devils, half-creatures, sorcerers - in a word, about representatives of a dark, unclean force.

Demonological stories are turned to the present, what happened in them is incredible, the narrator experiences a feeling of fear. The main goal pursued by a bylichka or a past story is to convince listeners of the truth of what is being reported, to emotionally influence them, to instill fear of a demonic being. The plots of bylicheks and bylytsin are usually not large in size, one-motif. The characters are a human and a demonic being. The devil (devil) was very popular - a universal image denoting any "evil spirit". Different characters of the bylichek could be called devils.

The time, the place of the event, the image of the demonic being (his portrait and behavior) are characteristic. Demons appear at the "unclean", borderline time of the year and day: at Christmas time, on the Kupala night, at noon, at midnight, before dawn, after sunset. Everything happens at dusk, on a hopeless night, in fog, in the light of the moon...

A person meets them where they are: as a rule, in deserted and dangerous places. These are wastelands, forest jungles, swamps; crossroads and rosstans of deserted roads; caves, pits, reservoirs, especially whirlpools (for example, near mills), whirlpools; wells, even vessels of water. Demons live on trees (birches and willows, in hazel); in undergrounds and attics, in abandoned houses, in baths, barns, barns; and even in the hut - under the stove or behind it.

epics- these are epic songs in which heroic events or individual episodes of ancient Russian history are sung. In its original form, epics took shape and developed during the period of early Russian statehood (in Kievan Rus), expressing the national consciousness of the Eastern Slavs. (about Vladimir Svyatoslavovich, Vladimir Monomakh, Dobryn, Sadko, Alexander Popovich, Ilya Muromets, etc.)

historical songs- these are folklore epic, lyrical-epic and lyrical songs, the content of which is dedicated to specific events and real persons of Russian history and expresses the national interests and ideals of the people. They arose about important events in the history of the people - those that made a deep impression on the participants and were preserved in the memory of subsequent generations. (Songs about Ivan the Terrible, about the Time of Troubles, about Stepan Razin, about Petrovsky time, about the Pugachev uprising, about the Patriotic War of 1812)

Folk ballads- these are lyric-epic songs about a tragic event. Ballads are characterized by personal, family and household themes. The ideological orientation of the ballads is associated with folk humanistic morality. In the center of the ballads are moral problems: love and hate, loyalty and betrayal, crime and remorse.

Late traditional folklore- this is a collection of works of different genres and different directions, created in a peasant, urban, soldier, working and other environment since the beginning of the development of industry, the growth of cities, the collapse of the feudal village.

Late traditional folklore is characterized by a smaller number of works and, in general, a lower artistic level compared to classical folklore - a rich, developed, centuries-old culture generated by feudal life and a patriarchal worldview.

Late traditional folklore is distinguished by a complex interweaving of the new with the old. In the village repertoire, the transformation of classical genres took place, which began to experience the influence of literary poetics. Proverbs and sayings, anecdotal tales, folk songs of literary origin, children's folklore showed their viability.

The old lingering song was strongly pressed by the city's "cruel romances", as well as the rapidly and widely spread ditty. At the same time, epics, old historical songs, old ballads and spiritual poems, fairy tales were gradually forgotten. Folk rituals and the poetry that accompanied them eventually lost their utilitarian and magical significance, especially in urban conditions.

From the end of the XVIII century. in Russia, the first state-owned factories and serf manufactories appeared, in which civilian workers from impoverished peasants, convicts, passportless vagrants, etc. worked. In this motley environment, works arose that laid the foundation for a new phenomenon - folklore of workers. With the development of capitalism and the growth of the proletariat, the topics expanded, the number of works of oral creativity of workers increased, which was characterized by the influence of book poetry.

The emergence of the working class, a layer of artisans, led to the formation of a new branch in folklore, which over time becomes a noticeable and specific phenomenon.

From peasant folklore, this work inherited the most democratic traditions, experience, forms, and repertoire that meet the spirit of the times and the needs of "their" class.

There was a critical rethinking of them, taking into account the demands of the working class, its position, as can be seen from the example of Russian folk songs that existed in Russia in the second half of the 19th - early 20th centuries.

At the first stage, the emerging songs of the workers were nourished by the traditions of peasant folk songs of social protest, songs of literary origin, Decembrist, populist songs. Peasant song often served as a plot-figurative basis for creating sharply social songs of workers.

The work song, the urban romance, which by that time had formed into an independent branch of creativity, began to actively spread among the peasants, in turn influencing the development of new forms of peasant folklore.

The acquisition by working folklore of its original outlines, the borrowing of various elements from other spheres of creativity and their processing are a process full of drama. It is associated with the rejection of peasant folklore, and in a certain sense with its genre reworking, renewal, and simplification.

The destruction of the patriarchal way of life, which began especially rapidly in the second half of the 19th century. - since the abolition of serfdom and the capitalization of Russia, it has fundamentally changed the situation in traditional art. Folklore gradually moved to other positions in the cultural environment. Folklore of the 20th century is just one paradigm of cultural development with all the consequent cardinal changes in the foundations of its existence.

Types of small genres of folklore

Lullaby

Lullaby- one of the oldest genres of folklore, as evidenced by the fact that it retained elements of a conspiracy-amulet. People believed that a person is surrounded by mysterious hostile forces, and if a child sees something bad, terrible in a dream, then this will not happen again in reality. That is why in the lullaby you can find the "gray top" and other frightening characters. Later, lullabies lost their magical elements and acquired the meaning of a good wish for the future. So, a lullaby is a song with which a child is lulled to sleep. Since the song was accompanied by the rhythmic swaying of the child, the rhythm is very important in it.

cockle

cockle(from the word to nurture, that is, to nurse, groom) - a short poetic chant of nannies and mothers, with which they accompany the actions of the child, which he performs at the very beginning of his life. For example, when the child wakes up, the mother strokes, caresses him, saying:

Stretches, stretchers,
Across the plump
And in the hands of fatyushki,
And in the mouth of talkers,
And in the head of the mind.

When a child begins to learn to walk, they say:

Big feet
We walked along the road:
Top, top, top
Top, top, top.
small feet
Run along the path:
Top, top, top, top
Top, top, top, top!

nursery rhyme

nursery rhyme- an element of pedagogy, a sentence song that accompanies the game with the fingers, arms and legs of the child. Nursery rhymes, like pestles, accompany the development of children. Small rhymes and songs allow in a playful way to encourage the child to act, while doing massage, physical exercises, stimulating motor reflexes. In this genre of children's folklore, incentives are laid for playing the plot with the help of fingers (finger games or Ladushki), hands, and facial expressions. Nursery rhymes help to instill in the child the skills of hygiene, order, develop fine motor skills and emotional sphere.

Examples

"Magpie"

Option 1
magpie crow, (running finger over palm)
magpie crow,
I gave it to the kids.
(bend fingers)
I gave this
I gave this
I gave this
I gave this
But she didn't give it:
Why didn't you cut wood?
Why didn't you carry water?

Option 2(features in the cartoon "Mouse Song"):
magpie-crow
cooked porridge,
Feeding children:
I gave this
I gave this
I gave this
And she didn't give it.

"Okay" (clap hands on stressed syllables)

Okay, okay, where have you been? By Grandma!
What did they eat? Porridge!
And what did they drink? Brazhka!
Butter bowl!
Sweetie brat!
(Grandma is kind!)
We drank, we ate, sh-u-u-u...
Shuuuu!!! (Home) Let's fly!
Sat on the head! ("Ladushki" sang)
sat down, sat down
Further (Home) flew!!!

joke

joke(from bayat, that is, to tell) - a poetic, short, funny story that a mother tells her child, for example:

Owl, owl, owl,
Big head,
I sat on a stake
looked to the side,
Turned her head.

Proverbs

They teach something.

Road spoon to dinner.
The wolf is afraid not to go into the forest.
Birds of a feather flock together.
You can't pull a fish out of a pond without effort.
Fear has big eyes.
The eyes are afraid, but the hands are doing.
A rolling stone gathers no moss.
A treasure is not needed if the family is in harmony.
Don't have 100 rubles, but have 100 friends.
An old friend is better than two new ones.
A friend in need is a friend indeed.
If you knew where you would fall, you would lay straws.
You lay softly, but sleep hard.
Motherland is a mother, know how to stand up for her.
Seven do not wait for one.
If you chase two hares, you won't catch one.
The bee is small, but it works.
Bread is the head of everything.
Being a guest is good, but being at home is better.

Games

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

kissing. As a rule, these games were played at parties and gatherings (usually ended with a kiss between a young guy and a girl);
ritual. Such games were characteristic of some kind of ritual, holiday. For example, carnival festivities (characteristic fun: removing a prize from the top of a pillar, tug of war, competitions for agility, strength);
seasonal. Especially common among children, especially in winter. They played the so-called "Warmers": the leader shows any movements, and everyone else repeats. Or traditional "gates" and "brook".

Kissing game example:

Drake

Drake drove the duck,
Young sulfur drove
Go, Duck, go home,
Go home gray
Duck seven children
And the eighth Drake,
And the ninth herself,
Kiss me once!

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

invocations

invocations- one of the types of exclamatory songs of pagan origin. They reflect the interests and ideas of the peasants about the economy and the family. For example, a rich harvest spell runs through all calendar songs; for themselves, children and adults asked for health, happiness, wealth.

The invocations are an appeal to the sun, rainbow, rain and other natural phenomena, as well as to animals and especially often to birds, which were considered the messengers of spring. Moreover, the forces of nature were revered as living: they turn to spring with requests, wish her early arrival, complain about the winter, complain.

Larks, larks!
Fly to us
Bring us a warm summer
Take the cold winter away from us.
We are tired of the cold winter
Hands, feet frostbitten.

Rhythm

Rhythm- a small rhyme, a form of drawing of lots, with the help of which it is determined who drives in the game. The counting room is an element of the game that helps to establish agreement and respect for the accepted rules. In organizing a counting rhyme, rhythm is very important.

Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Aty-baty, what did you buy?
Aty-baty, samovar.
Aty-baty, how much does it cost?
Aty-baty, three rubles
Aty-baty, what is he like?
Aty-baty, golden.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Aty-baty, what did you buy?
Aty-baty, samovar.
Aty-baty, how much does it cost?
Aty-baty, three rubles.
Aty-baty, who's coming out?
Aty-baty, it's me!

Patter

Patter- a phrase built on a combination of sounds that make it difficult to quickly pronounce words. Tongue twisters are also called “pure tongue twisters”, because they contribute and can be used to develop diction. Tongue twisters are both rhyming and non-rhyming.

Greek rode across the river.
He sees a Greek: there is cancer in the river,
He put his Greek hand into the river -
Cancer for the hand of the Greek - DAC!

The bull is stupid, the bull is stupid, the bull's lip was white and dull.

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

Mystery

Mystery, like a proverb, is a brief figurative definition of an object or phenomenon, but unlike a proverb, it gives this definition in an allegorical, deliberately obscured form. As a rule, in a riddle one object is described through another based on similar features: “A pear is hanging - you can’t eat it” (lamp). The riddle can also be a simple description of the object, for example: “Two ends, two rings, and in the middle there are carnations” (scissors). This is both folk fun and a test of ingenuity and ingenuity.

The role of riddles and jokes was also played by fables-shifters, which for adults appear as absurdities, but for children - funny stories about what does not happen, for example:

Because of the forest, because of the mountains Grandpa Egor is riding. He is on a gray wagon on a cart, On a creaky horse, Belted with an ax, A belt is plugged into his belt, Boots are wide open, A zipun is on his bare feet.

General history

Oral folk art (folklore) existed in the preliterate era. Folklore works (riddles, tongue twisters, fables, etc.) were transmitted orally. They memorized by ear. This contributed to the emergence of different versions of the same folklore work.

Oral folk art is a reflection of the life, life, beliefs of ancient people. Works of folk art accompany a person from birth. They contribute to the formation and development of the child.

Notes

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Uranium(VI)-diuranium(V) oxide
Tilt (rotation)

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Folklore in its nature, content and purpose is a deeply democratic, truly folk art. He is distinguished not only by ideological depth, but by high artistic qualities. Folk poetic creativity is distinguished by a peculiar artistic system of visual means and genres.

What are genres of Russian folklore?

One of the most ancient forms of creativity was labor songs with their simplest commands, cries, signals given in the course of work.

Calendar folklore primordially came from the urgent practical goals of people. It was associated with ideas about the annual agricultural cycle and with changing natural conditions. People sought to know the future, so they resorted to fortune-telling, talked about the future according to signs.

This also explained wedding folklore. It is imbued with the idea of the safety of the family and clan, designed for the goodwill of the highest patrons.

Preserved from antiquity and individual elements children's folklore, which later changed under the influence of aesthetic and pedagogical functions.

Among the oldest genres - funeral lamentations. With the advent of universal military duty, there was a mourning for those who were taken to the service - recruiting accounts.

Genres non-ritual folklore also formed under the influence of syncretism. It includes small folklore genres ( proverbs): proverbs, fables, omens and sayings. They contained human judgments about the way of life, about work, about higher natural forces, statements about human affairs. "This is a vast area of moral assessments and judgments, how to live, how to raise children, how to honor ancestors, thoughts about the need to follow precepts and examples, these are everyday rules of behavior ... In a word, the functionality of proverbs covers almost all worldview areas." 9

The genres of oral prose include legends, stories, bylichki, legends. These are stories and incidents from life that tell about a person’s meeting with the characters of Russian demonology - sorcerers, witches, mermaids, etc. This also includes stories about saints, shrines and miracles - about the communication of a person who has accepted the Christian faith with forces of a higher order .

Genres song epic: epics, historical songs, military songs, spiritual songs and poems.

Gradually, folklore moves away from everyday functions and acquires elements of artistry. The role of the artistic principle increases in it. As a result of historical evolution, folklore became poetic in terms of its main and fundamental qualities, reworking the traditions of all previous states of folklore. 10

Artistic creativity is embodied in all forms fairy tales: fairy tales about animals, fairy tales, household.

This type of creativity is also represented in riddles.

The early types of artistic creativity include ballads.

Lyric songs also have an artistic function. They are performed outside the rites. The content and form of lyrical songs are associated with the expression of the experiences and feelings of the performers.

Modern researchers refer to the artistic song folklore of the latest formation romances And ditties.

Children's folklore has its own system of genres, correlated with the age characteristics of children. It has artistic and pedagogical functions. It is dominated by game beginnings.

The artistic spectacular theatrical basis contains folklore spectacles and folklore theater. It is presented in all variety of genres and types ( games, disguise, nativity scene, rayek, puppet shows, etc.).

A separate genus of artistic representations forms the so-called fair folklore. It arose from fair performances, cries of merchants, farcical barkers, joke speech, jokes and folk rhymes.

The genre of joke.

A detailed account of individual folklore genres will be undertaken in subsequent sections of the manual.

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.