FOLK DRAMA (THEATRE)
Folk drama is oral poetic works in which the reflection of reality is given through the actions and conversations of the characters, in which the word is inextricably linked with the action. The beginning of the Russian folk theater dates back to very distant times. Games, round dances, pagan rituals with elements of dramatic action were widespread not only among Russians, but among all Slavic peoples. In The Tale of Bygone Years, the Christian author disapproves of the "games", "dances" and "demonic songs" organized by some East Slavic tribes. In Russian folklore, rituals, mummers, games (games), round dances, dramatic skits, plays, as well as puppet theater are referred to as dramatic actions. The difference between dramatic performances and other genres is that the general folklore qualities are manifested in them in a special way; the conventionality inherent in folklore is manifested especially clearly here. This is observed both in the characterization of the internal qualities of the characters, and in the depiction of their appearance, and in endowing them with special clothes and accessories. Tradition and improvisation in dramatic performances is expressed differently than in other genres of folklore, here improvisation is manifested in the form of varying the text, inserting new scenes or releasing individual passages of the text. Contrast plays a special role in this genre, it can represent social antitheses (master and peasant), everyday antitheses (husband and wife), antitheses of positive and negative principles (in the puppet theater - Petrushka and his opponents). In dramatic actions, syncretism is more complex, as it includes the merging of words, melody, musical accompaniment, dancing, the use of gestures and facial expressions, costumes, sometimes part of the text is sung, and part is recited, etc.
The folk theater is born at the moment when it separates from the ritual and becomes a reflection of the life of the people. The first mentions of the theater in Rus' usually date back to the 11th century, when the participants in folk games and performances stood out from the playmakers - buffoons. The art of buffoons expressed the thoughts, aspirations and moods of the people, most often rebellious ideas. From this point of view, the epic “Vavila’s Journey with Buffoons” is interesting, which tells how cheerful people, buffoons, together with Vavila decided to outplay the evil Tsar Dog. From the game of buffoons and Vavila, the kingdom of the king of the Dog burned down "from edge to edge", and "they planted Vavilush here on the kingdom." Buffoonery was a form of Russian national theater that existed for a number of centuries, it was the soil on which the Russian theater arose. But Academician P.N. Berkov believes that “it is wrong to derive the Russian folk theater entirely from the art of buffoons: “Russian theater grew out of the very life of the people, and the art of buffoons was only part of the folk theater.”
One of the most ancient forms of folk performances was dressing up, a situation when a person dressed up in animals: a goat, a bear, a wolf, a horse, etc. The custom of disguise was widespread in Kievan Rus, this custom, with some changes, has survived to our time; Russians traditionally dress up during the Russian Winter holiday.
In all rituals, both calendar and family, there are features of dramatic action. Games, round dances and ritual dramatic scenes were not yet a theater in the truest sense of the word, they were not a spectacle. In the emerging theatrical action, the role of "games". "Game" is usually called those improvised folk plays-performances that occupy an intermediate position between "game" and "oral drama". The first mention of such performances dates back to the 17th century (“Playing about the master”, “Landowner, judge and peasant”). From ceremonies and games, the path lay to the actual dramatic performances, for the formation of which folk choral games, as well as everyday scenes played out by wandering singers, musicians and buffoon actors, were of particular importance.
PUPPET SHOW
Fair entertainment and festivities in cities on the occasion of major calendar holidays (Christmas, Maslenitsa, Easter, Trinity, etc.) or events of national importance constituted a special, extremely bright page in the folk theatrical spectacular culture. The heyday of the festivities falls on the 18th - early 19th centuries, although certain types and genres of folk art were created and actively existed long before the designated time, some, in a transformed form, continue to exist to this day. Such is the puppet theater, bear fun, jokes of merchants, many circus numbers. Fairs and festivities have always been perceived as a bright event, as a universal holiday. At fairs, a special place was given to the puppet theater, which in Rus' had several varieties: "Petrushka", "Nativity scene", "Rayok".
Petrushka Theater- This is a theater of puppets dressed on fingers. Such a theater probably existed in Kievan Rus, as evidenced by the fresco in St. Sophia Cathedral in Kyiv. The traveler Adam Olearius, who visited Russia three times in the 30s of the 17th century, left the following description of the puppet theater he saw near Moscow: dolls. To do this, they tie a sheet around the body, lift its free side up and arrange something like a stage above their head, from which they walk the streets and show various performances from dolls on it.
Petrushka is more like Ivanushka from Russian folk tales, he is a resilient hero who emerges victorious from various unpleasant situations. This hero mocks the authorities and the clergy; his well-aimed, sharp word reflected the rebellious moods of the people. Petrushka's adventures boiled down to brawls, he was often beaten, taken to prison, but he always turned out to be the winner in the end. The text of the entire presentation varied depending on local conditions. The action in the Petrushka Theater was commented on in the form of a conversation between the puppeteer and the hero himself; the text consisted of various crude jokes, often rhymed, which could be applied to local events and persons. But Petrushka was not always just the fun of the crowd gathering at fairs and squares. It was a theater of topical satire, for which puppeteers often ended up in prison. Despite the primitiveness of the Petrushka theater, its image has deep roots in Russian folklore. Parsley is the embodiment of folk ingenuity, jokes, laid-back wit, sincere laughter. The comedy about Petrushka expressed the rebellious mood of the people, their optimism and faith in their victory. The Petrushka Theater has been repeatedly reflected in works of fiction. In the poem “Who Lives Well in Rus'”, Nekrasov depicts a rural fair and forces wanderers to watch a “comedy with Petrushka”. M. Gorky highly appreciated this image: “This is the invincible hero of the folk puppet comedy. He defeats everyone and everything: the police, the priests, even the devil and death, while he himself remains immortal. The hero of the comedy is a merry and cunning person, hiding a sly and mocking mind under the guise of a comic grotesque.
nativity scene- a special kind of puppet theater, it came to Russia from Europe. The nativity play is associated with the custom of setting up a manger with figurines of the Virgin, baby, shepherds, and animals in the church at Christmas; this custom came to the Slavic countries from medieval Europe. In Catholic Poland, it developed into a truly popular religious idea and in this form penetrated into Ukraine, Belarus, and some regions of Russia. The den drama was played out in a special box, divided into two floors, which was carried by two people. The carriers of the nativity scene were wandering priests and monks, bursaks, and later peasants and philistines. Nativity scenes are associated with the so-called "school dramas", which were composed and acted out by students of church schools, "colleges" and "academies". School dramas consisted of dramatizations of the birth of Christ and other biblical stories. These scenes got their name from the fact that the scene of the birth of Christ was played out in a den, a cave hidden from people. The events connected with the birth of Christ were performed in the upper tier, and the episodes with Herod and the everyday, comedic part were performed in the lower tier. The upper floor was usually pasted over with blue paper, a manger with a baby was depicted in the center, a star was drawn above the manger. The lower floor was pasted over with bright colored paper, there were doors on the right and left, through which the dolls appeared and left. Wooden dolls were made fifteen to twenty centimeters high, they were painted or dressed up in cloth clothes, fixed on rods, with the help of which they were moved along the slots in the floor of the box. The puppeteer himself spoke for all the characters, musicians and singers sat behind the box. In the Russian tradition, the religious part did not occupy a large place, but the comedy half was quite developed, where everyday, historical, and comic scenes were staged one after another. "Nativity scene" had a great influence on the development of oral folk drama, subsequently, almost all nativity scenes entered the repertoire of the folk theater.
Rayok- This is a picture theater that spread throughout Russia in the 18th-19th centuries. Rayok is a box, a box, of a rather large size. On its front wall there were two holes with magnifying glasses, inside the box was placed a paper tape with drawn pictures (it was twisted from roller to roller). Raeshnik moved the pictures and gave explanations to them. The interest of the district was not so much in the pictures, but in the explanations, which were distinguished by wit, a peculiar way of speaking. The pictures on the tape at first had a religious and ecclesiastical content, but gradually they were replaced by various secular images: fires, foreign cities, the royal coronation, etc. Showing the pictures, the rayshnik gave them a drawling, noisy description, often of a satirical nature. For example, “Here is the city of Paris, as you enter, you will die, here our nobility goes to wind money, leaves with a bag of gold, and returns on a stick on horseback.” Although rajek arose later than many other forms of folk theatre, its influence nevertheless penetrated into oral drama, the influence of the “raiyok style” on the language of folk drama is especially great.
FOLK DRAMA WORKS
The themes and problems of major folk dramas are similar to other genres of folklore. This is evidenced primarily by its main characters - the freedom-loving ataman, the robber, the brave warrior, the recalcitrant royal son Adolf. In them, the people embodied their ideas about goodies, with deeply attractive features for their creators - daring and courage, uncompromisingness, striving for freedom and justice.
Folk dramatic works, formed on the basis of a rich theatrical tradition, can be divided into three groups according to the ideological and thematic features: 1) heroic plays, stories about rebels, spokesmen for spontaneous protest (“Boat”, “Boat”, “Gang of robbers”, “Ataman Storm”, etc.), 2) historical and patriotic plays, expressing the patriotism of the Russian people (“How the Frenchman took Moscow”, “Tsar Maximilian”, “On the hero and the Russian warrior”, etc.), 3) plays on everyday topics(“The Master and Afonka”, “The Master and the Bailiff”, “The Imaginary Master”, etc.).
"Boat"- the central work of the first group, by the number of records and publications, it belongs to the most famous. Usually the "Boat" is referred to the so-called "robber" folklore. In the eyes of the people, the robbers are the avengers for the oppressed state, they are individuals who defend the people's rights, therefore the robbers were not only not condemned, but were perceived as heroes. Therefore, the drama "The Boat" should be defined as a work with a heroic theme. The basis of the "Boat" is the song "Down the mother along the Volga", this is a dramatization of the events described in the song. The images of the ataman, the captain, the good fellows, the daring robbers are due to the songs of the Razin cycle. The plot of the play is simple: a gang of robbers, led by an ataman and a captain, is sailing along the Volga. Yesaul looks around the area through a telescope and reports to the ataman about what he sees. When a large village comes across on the shore, the robbers land and attack the landowner's estate. One version of the play ends with the call: "Burn, the rich landowner has fallen!"
In the center of the play is the image of a noble robber - chieftain, who sometimes has no name, and in some versions is called Ermak or Stepan Razin. It is the image of Razin that most fully expresses the main ideological meaning of the play: the social discontent of the masses, their protest.
At the heart of the "Boat" are songs about robbers, including about Razin, and popular prints, and popular novels, and literary songs. This was reflected in the complex composition of the play: it contains monologues and dialogues, a conversation between the ataman and the captain, folk songs, and quotations from literary works. "The Boat" went through a complicated history: it included new songs, interludes, for example, a scene with a doctor, but the main plot was preserved. In different regions of Russia, there were different versions of this plot, for example, in the play "A Gang of Robbers" one of the episodes of the peasant war in Ukraine is reflected. In Siberia, a variant of "Boat" was recorded, where the robbers not only burn down the estate of the landowner, but arrange a trial over him. In some versions of the play, inconsistent actions are drawn between the ataman and members of the gang, sometimes the Cossacks quarrel with each other. The motives and situations of the dramas "The Boat", "The Gang of Thieves" are widely known not only in the folklore of different peoples, but also in the literature of the Romantic period.
TO historical and patriotic drama play can be attributed "How the Frenchman took Moscow". The action of this one-act play, which originated among the soldiers, takes place at Napoleon's headquarters. The French leader is shown in this play satirically, he is not allowed to sleep by the plans of military adventures. Napoleon is surrounded by a deceitful and obsequious retinue, he cannot understand the nationwide upsurge in Russia. The play shows the unanimity of the Russian people; these are Russian women who donate their jewelry to the defense of the country, and a peasant who cut off his hand so as not to serve Napoleon. The drama allegorically depicts the feat of Raevsky, who, according to legend, at a decisive moment, in order to inspire the army, sends his own children into battle. In the image of the wife of a general who was shot by Napoleon, a faithful daughter of the motherland is drawn, who mourns her husband-hero as a defender of her native land.
The image of Potemkin captures the typical features of a Russian warrior who is dying, but not surrendering, faithful to his duty. The tyrant in the play dies most often at the hands of the people: a village woman is chasing him with a pitchfork. This play is genuinely historical, it contains reliable historical facts, but fictitious details are also inserted. In general, the play accurately conveys the popular attitude towards the war of 1812.
One recording of the "living den" includes a scene from some play about the war of 1812 that has not come down to us. This scene is a sharp caricature, ridiculing the vanity of Napoleon, who believes that "I will be honored as a king, an earthly god." Napoleon interrogates a poor old man, a partisan: “What village are you from? - "I'm from a village where there are oaks, and birches, and a wide leaf." The partisan not only fearlessly answers Napoleon's questions, but also uses mocking jokes in his speech. The scene ends with the old man suddenly raising his stick and beating Napoleon.
The most beloved play of the folk theater - "King Maximilian"(30 options). A number of researchers (I.L. Shcheglov, D.D. Blagoy) argue that this play reflected the history of the relationship between Peter I and his son Alexei. Historically, this assumption is justified. "Tsar Maximilian" is a play that exposes the outward "splendor" of tsarism and shows its cruelty and heartlessness. The play probably took shape among the soldiers; it displays military characters (warriors and a marshal), reflects the military order, military phraseology is used in the speech of the characters, military and marching songs are quoted. The sources of the play were different works: the lives of the saints, school dramas, where there are images of kings - the persecutors of Christians, interludes.
The action of the play "Tsar Maximilian" develops quite consistently. In the very first scene, the tsar appears (“I am your formidable tsar Maximilian”) and announces that he will judge his rebellious son Adolf. The king demands from his son that he bow to the "idol gods", but Adolf refuses to do this. Three times there is an explanation of the king with his son, then Adolf is shackled and taken to prison. The “Giant Knight” is trying to defend the prince, but the king kicks him out, and orders the brave warrior Anika to defend the city. The king is angry because Adolf does not recognize the "idol gods", and orders the knight Brambeus to execute his son. The executioner cuts off Adolf's head, but then pierces himself in the chest and falls dead. At the end of the play, the symbolic Death appears with a scythe and cuts off the king's head.
The play not only denounces tyranny and despotism, but also exalts the brave Adolf. A fantastic death destroys the king, which speaks of the inevitability of the death of despotism. In this patriotic play, two antagonistic images are contrasted in conflict: Maximilian is a type of tyrant, Adolf is a type of a kind, humane king, a people's intercessor who betrays his native faith. The source of the conflict, of course, is not in differences over religious issues, but in Adolf's connection with the people, it is no coincidence that in one of the options he acts as a member of a band of robbers.
Dramas on everyday topics. These plays mainly ridicule the image of a white-handed gentleman, an arrogant braggart (“I was in Italy, I was further, I was in Paris, I was closer”), his affectation, mannerisms, frivolity. The protagonist of these plays is a cheerful, dexterous servant, practical and resourceful Afonka Maly (Afonka Novy, Vanka Maly, Alyoshka). The servant mocks the master, invents fables, plunges him either into horror or into despair. Muzhik, soldier, Petrushka ridicules and worships the bar before everything foreign; this is how the bar dinner menu is described.
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2 Tamara Fedorovna Kurdyumova Literature. 7th grade. Part 1 Text provided by the copyright holder Literature. 7 cells At 2 pm Part 1: textbook reader / ed. T. F. Kurdyumova: Bustard; Moscow; 2014 ISBN , Annotation Textbook reader for grade 7 students is included in the line of textbooks created according to a single program for grades 5-11, compiled by T. F. Kurdyumova. For each class, a textbook or textbook-reader for students and a methodological guide for the teacher will be issued. The program and the educational books created are aimed at educating the student as an educated and thoughtful reader, able to understand the artistic value of works, to determine their place in the historical and literary process. In the textbook-reader “Literature. Grade 7” reveals the genre structure of literary works, provides information about the history of the development of some genres.
3 Contents Genres and genres of fiction Folklore Genres of folklore Barin. satirical drama. In short Children's folklore From children's family stories Renaissance literature The world and man in the Renaissance William Shakespeare Romeo and Juliet. In abbreviated form Prologue Act of Shakespeare's Second Sonnet Literature of the 19th century Genres of classical literature of the 19th century From the history of Aesop's fable (VI-V centuries BC) Jean de La Fontaine () Vasily Kirillovich Trediakovsky () Alexander Petrovich Sumarokov () Ivan Andreevich Krylov () Vasily Andreevich Zhukovsky Svetlana Glove From the history of the ballad Alexander Sergeevich Pushkin Elegy To the portrait of Zhukovsky Singer October 19 Cloud K *** I loved you: love still, perhaps To translate the Iliad
4 Literature. 7th grade. Textbookreader. In two parts. Part 1 (Author-compiler T.F. Kurdyumova) Types and genres of fiction The art of distant antiquity was syncretic1, it combined, merged together movement (dance), word (singing), sound (music), color (pictorial principle). Time passed, and independent types of human creative activity arose: ballet and opera, theater, painting and architecture, literature. Speaking about the art of the word, it is impossible not to see that the world of fiction is diverse. It is difficult to capture all his wealth. Many types of works of art are familiar to you. This is a fairy tale and a story, a song and a riddle, a story and a fable. Having named the work a fairy tale, we have defined its genre. Why is it necessary to introduce a new term, if in this case we are talking about the type of literary work? Kind is a familiar word, it is used in various fields of knowledge (for example, in zoology there are types of predatory animals). However, in art, a special term has been introduced to refer to different types of works of art. Genre is a specific type of work of art. Genres exist in literature, fine arts, and music. Each of us, even without knowing anything about genres, will never take a poem for a play. It is probably clear to everyone what distinguishes, for example, a fairy tale from a proverb. This is both the size of the work and a way to reflect the surrounding life: in a fairy tale there are events and heroes, and in a proverb there is only an aphoristic judgment. You can name other signs of these genres. For centuries, signs have evolved in literature that make it possible to distinguish works of one genre from another. The genres of literature are combined into three large groups, which are called genres of literature. The main genres of fiction are epic, lyrics and drama. Each work of art we attribute to one of these three genera. Works that tell about events are called epic. The genres of epic works are familiar to you story, novel, novel, fairy tale. Works that reflect life, conveying the feelings and thoughts of the author, are called lyrical. The genres of lyrical works are extremely numerous: message, epigram, elegy, madrigal, epitaph, etc. Works that are intended to be staged are called dramatic. Among these genres are comedy familiar to you, as well as tragedy, drama. There are genres that combine the features of both epic and lyrical works. We call such works lyrical epic. In lyrical epic works there is both a description of events and an expression of the author's feelings. These include a poem, a ballad, sometimes they include a fable. The fate of genres in the history of literature is different. Some live a very long time, others have just appeared, and the age of some genres has already ended. In this academic year, you will not only get acquainted with the features of long-familiar genres, but also meet with some of them. 4
5 new genres and follow the history of genres that managed to live a long life in literature. Questions and tasks 1. Try to explain what unites the works placed in each of the columns. 1. In the corresponding columns of the previous task, enter the concepts: legend, idyll, legend, romance, thought, essay, anthem, ode, anecdote, canzone. Find explanations of unknown terms in the dictionary of literary terms. 2. How do you see the differences between the works of epic, lyrical and dramatic genres? 5
6 Folklore Folk drama. Children's folklore. 6
7 Genres of folklore Oral folklore preceded literature. All folklore works existed only in oral transmission, and this largely determined the genre features of folklore works, their composition, and performance techniques. The roots of epics and legends, legends and fairy tales go into the distant past. For a long time already there are no storytellers, no bahari. More than a century has passed since folklore scholars began to record oral works. These records are carefully stored in scientific publications, in processed form they are familiar to you from collections of legends, epics, fairy tales, riddles, proverbs and other works of folk art. Now you are reading folklore texts that were passed down orally from one storyteller to another centuries ago. Folklore is often perceived as a memory of the past, as something long gone from our lives. Of course, the antiquity of its appearance is indisputable. But it is also indisputable that oral folk art is alive, and the emergence of new genres is proof of this. Probably, you do not need to think for a long time about which genre of folklore the epic or ditty was born earlier. Even the first reading convinces that these are works of different eras. Indeed, the ditty appeared relatively recently, finally taking shape at the end of the 19th century. So, it must be said that folklore, having arisen as a phenomenon of art in antiquity, lived and was enriched by new works and new genres at different times. Bylina is not the most popular genre of folklore today. The modern reader (and not just the listener!) chooses a fairy tale from all the wealth of folklore, uses the richest set of proverbs and sayings, entertains himself with riddles, uses the song genre, actively responds to ditties and anecdotes. successfully used in animation. In addition to funny puppet shows with a mischievous hero, the folk theater played heroic and historical plays, as well as satirical dramas. 7
8 Meet the satirical drama "Barin", recorded in the village of Tamitsa, Onega district, Arkhangelsk province in 1905. As you read the text, think about whether this work can be considered both a play and a game at the same time. 8
9 Barin. satirical drama. In abbreviation Actors Barin, in a red shirt and jacket; straw epaulettes on the shoulders; on his head is a straw hat with paper figures cut out; in the hands of a cane, decorated with paper figures. The master has a big belly and the jacket is not buttoned up. A farmer, an army coat on his shoulders, a whip in his hands, Panya's hat on his head, a red sarafan kumachnik, a white shirt and a white apron, a two-row silk belt; on the head is a “dressing” with ribbons, in the hands of a fan and a scarf. A horse, a man, a straw tail is forged to him. Amazing people: half a dozen or seven boys of twelve years old; soot-covered faces. The bull, especially, does not dress, but slips out of the fofans (disguised participants in the game). Petitioners, usually fofantsy from the public. The game begins like this: the players come up to the house where, for example, a party takes place. They open the door, and the first horse runs into the hut and whips the audience with a chariot; all those in the hut stand on the benches, some climb on the floor, and thus the hut becomes free for action. Behind the Horse, the whole company enters the hut and goes with songs to the front corner; a lantern is carried in front of them. In the front corner, Barin stands facing the people, next to him on one hand is Panya, on the other is the Farmer. The people and the fofans (mummers) from the street follow the players and stand all over the hut. Barin. Master, hostess, Viceroy, viceroy, Good fellows, Red maidens, Hello! All (answer). Hello, hello, mister barin, hello! Barin. Master, hostess, Viceroy, viceroy, Good fellows, Red girls, Do you have any requests between you? All. Yes, there is. Barin. Come on, come on! One of the Fofans comes up, pretending to be a petitioner. Petitioner. Sir, please accept my request. Barin. Who are you? 9
10 Petitioner (called by a fictitious name, the name of some guy in the village). Vladimir Voronin. Barin. What are you asking for? Petitioner. I ask you to Paraskovya: Parashka loves me in years, and Vasily loves another guy in winters. Barin. And come here, Paraskovya, here. Why do you love two people at once? Paraskovya is also the real name of some girl in the village. Instead of her, at the call of Barin, one of the Fofans comes up and begins to argue and swear with the petitioner. They say whoever decides what the Master and the Farmer consult aloud, which of the suing is guilty and whom to punish: a guy or a girl; find guilty, for example, a girl. The master says: “Come on, Paraskovya, lean on your back!” Paraskovya obeys the court's decision and turns his back. The farmer punishes her with a whip. After the first petitioner, another appears and lays out some other request about a neighbor, about a wife, and so on. The requests are usually based on some fact that really exists in the village, which, of course, is exaggerated, brought to the ridiculous, to the point of absurdity, and thus the court is a satire on local life and customs, sometimes very evil, sometimes cruel. When there are no more petitioners and all requests are considered, court decisions are given and sentences are executed, the sale of the horse begins. Barin. Kupchinushka, is there a horse to sell? Farmer. Yes, there is. They bring a horse. The master leads the Horse around the hut, watches him run, looks into his teeth, pokes his sides, makes him jump over a stick and decides to buy. Barin. How much do you want for a horse? Farmer. One hundred rubles in money, Forty magpies Salted Forty anbars Frozen cockroaches, Arshin butter, Three skeins of sour milk, Mikhalka Tamitsyna's nose, Our Kozharikha's tail. Barin. I'll find a hundred rubles in my pocket, And forty magpies Salted Forty enbars Will you seek dry cockroaches, laymen? All. We'll take it, we'll take it. 10
11 The master gives the money and takes the horse. (Further on, Barin buys a bull and Amazing People.) The whole company goes to another party, which are visited by three or four in the evening. Questions and tasks 1. Why did folklorists call this play-play a satirical drama? 2. Describe the main characters of the show, their appearance, characters. 3. Try to join the game: play the role of "fofans" and come up with comic accusations against one of the participants in the game. It can be any student in your class: after all, the essence of the game is to include familiar participants with familiar problems. 1. Decide if this play is more of a stage performance or a game. eleven
12 Children's Folklore You are introduced to children's folklore from an early age. These are counting rhymes, teasers, fables, horror stories, family stories and much more. Children's folklore works of oral folk art created by children and for children. From children's family stories The origin of the surname Old documents are kept in our family. Among them is a document from which we know that at the beginning of the nineteenth century my ancestors lived in the Smolensk province in a village called Rakity, and were peasants. The village was called so because it was located in a place where there were many small rivers and ponds, along the banks of which grew a lot of beautiful trees, which were called willows. At these trees, the branches bend down to the very water, forming a thick green wall. All the inhabitants of the village had the same surname Rakitin, after the name of the village. Therefore, they did not call each other by their last names, but only by their first names. Lazy people were called only by the name of Proshka, Afonka, etc., while hard-working people and old people were called respectfully by their first and patronymic names. And everyone always knew who the conversation was about. Children's tricks Previously, there were almost no buttons, and those that were sold were very expensive. Grandmother took nickels, sheathed them with cloth, and sewed instead of buttons. And my mother and her sister tore off these “buttons”, took out patches and went to the movies for them. Questions and tasks 1. Why did the mother tell her daughter about this method of getting money for movie tickets? 2. Recall funny stories about grandparents in your family. Early in the morning, in the evening, At noon, at dawn, Baba rode on horseback in a painted carriage. And behind her at full speed, With quiet steps, the Wolf tried to swim across the bowl of pies. 12
13 This tale was first recorded in the 19th century, in 1863. But even now the guys create such works. Remember, you may have written something similar. That part of speech, which fell from the oven, hit the floor is called "verb". Given: Sasha climbs out the window. Let's say we won't let him in. It is required to prove: how it will get out. The short comic pieces that we reminded you of are only part of the school folklore that your peers create. Questions and tasks 1. Remember the genres of children's folklore known to you. Give examples. 1. Hold a children's folklore competition in the classroom for works created by the students themselves. 13
14 Renaissance Literature Tragedy. 14
15 The World and Man in the Renaissance The Renaissance, or Renaissance (Italian name), in the history of culture and the ideological development of European countries covers the 14th and early 17th centuries. This is the era of transition from the Middle Ages to the New Age, the turning point of which is the affirmation of the beauty and harmony of reality, faith in the creative possibilities of man and the power of his mind. The boundless belief in the self-worth of the individual was the basis of the teachings of the thinkers of the Renaissance, so they began to be called humanists (from Latin homo man). However, each person is endowed not only with reason, but also with feelings (passions). This explains their desire for a realistic knowledge of man and the world. The Renaissance gave the world a huge number of titans of thought: scientists, artists, writers. Among them, a special place belongs to W. Shakespeare. 15
16 William Shakespeare () The great English playwright and poet, who appeared at the end of the Renaissance, and is now one of the most famous writers. He is the author of tragedies, historical chronicles, comedies and lyrical works (sonnets). The world created by this author is huge: in it the duration and course of human life is measured by the clock of historical time, historical events are closely connected with the fate of man. There is very little documented evidence of the life of William Shakespeare. The biography of the writer is still a mystery to scientists. The paucity of reliable facts about Shakespeare has given rise to many biographical legends. The man who gave face to his time, who painted a gallery of contemporary human types, himself remained in the shadows. Literary scholars offer us, readers, at least thirty names of those who can be considered the creators of Shakespeare's plays. But these scrupulous long-term searches are another confirmation of the significance of his work. Readers and viewers of many generations become devoted admirers of this author's talent. However, Europe discovered Shakespeare only in the 18th century: in the 30s, Voltaire recognized him and made him famous in France, and in the early 70s in Germany, in particular, Goethe discovered him for himself and for the subsequent romantic era. So Shakespeare enters European culture, embodying the ideals of the "universal genius", making possible a new look at history, which for the first time appears in his plays as the world history of mankind. If Hamlet and Othello, King Lear and Macbeth are the heroes of Shakespeare's later tragedies, then Romeo and Juliet are the young heroes of the very first tragedy written by him. The enmity of two families and the love of children from the warring houses came together in a play called Romeo and Juliet after their names. In the finale, they die, defeating the enmity with love, because they have not betrayed either her or themselves. Tragedy is a play in which there is a sharp clash of personality with other people or circumstances, leading to the death of the hero. Romeo and Juliet. In abbreviation (Translated by B. L. Pasternak) Characters Escalus, Prince of Verona. Count Paris, a young man, a relative of the prince. Montagues, Capulets heads of two warring houses. Uncle Capulet. Romeo, son of Montague. Mercutio, relative of the prince, friend of Romeo. Benvolio, Montague's nephew, Romeo's friend. Tybalt, nephew of Lady Capulet. Brother Lorenzo, Brother Giovanni Franciscan monks. Balthasar, Romeo's servant. Samson, Gregorio servants of Capulet. 16
17 Peter, servant of the nurse. Abram, servant of the Montagues. Apothecary. Three musicians. Page of Paris. First citizen. Lady Montague, Montague's wife. Lady Capulet, Capulet's wife. Juliet, daughter of the Capulets. Juliet's Nurse. Citizens of Verona, male and female relatives of both houses, mummers, guards, servants. Chorus. Venue Verona and Mantova. Prologue Chorus enters. Choir Two equally respected families In Verona, where events meet us, Conduct internecine battles And do not want to stop the bloodshed. The children of the ringleaders love each other, But fate arranges intrigues for them, And their death at the coffin doors Puts an end to irreconcilable hatred. Their life, love and death, and, moreover, the Peace of their parents on their grave For two hours will constitute the being Played out before you were. Have mercy on the weaknesses of the pen. The game will try to smooth them out.< >Act II Scene II The Capulet's Garden Romeo enters. Romeo 17
18 Unknowingly, this pain is funny to them. But what kind of glitter do I see on the balcony? There is a light there. Juliet, you are like the day! Stand at the window, kill the moon with your neighborhood; She is already sick with envy, That you have eclipsed her with whiteness. Juliet appears on the balcony. Leave to serve the goddess of purity. The virgin's dress is pathetic and plain. He doesn't suit you. Take it off. Oh honey! O my life! O joy! Worth not knowing who she is. She moves her lips, but no words are heard. Empty, there are views speech! Oh how stupid I am! Others talk to her. The two brightest stars, hurrying to leave the sky on business, ask Her eyes to sparkle for the time being. Ah, if her eyes actually moved to the vault of heaven! With their radiance, the birds would sing, Mistaking the night for a sunrise. She stands alone, pressing her hand to her cheek. What was she thinking furtively? Oh, to be a glove on her hand, A glove on her hand! Juliet Oh, woe to me! Romeo said something. Bright angel, In the darkness above my head You soar like a winged herald of heaven Above, at an inaccessible height, Above the astonished crowd of people, Which is watching him from the ground. Juliet Romeo, I'm sorry you're Romeo! Deny your father and change your name, And if not, make me your wife, So that I will no longer be a Capulet. 18
19 Romeo Listen further or answer? Juliet Only this name wishes me harm. You'd be yourself if you weren't a Montecchi. What is a Montague? Is that the name of the Face and shoulders, legs, chest and arms? Are there no other names? What does the name mean? A rose smells like a rose, Call it a rose or not. Romeo, by any name, would be the height of perfection as he is. Call yourself something else, Romeo, And then take all of me in return! Romeo Oh, deal! Now I'm your chosen one! I will accept a new baptism, Just to be called differently. Juliet Who is it that penetrates in the dark Into my cherished dreams? Romeo I dare not. Call yourself by your first name. It Thanks to you, I hate. If it came across to me in a letter, I would tear the paper with it to shreds. Juliet A dozen words are not spoken among us, And how I already know this voice! Are you Romeo? Are you a Montague? ROMEO Neither the one nor the other: names are forbidden. Juliet 19
20 How did you get here? For what? The fence is high and impregnable. You are here for inevitable death, If only my relatives found you. Romeo Love brought me here, Walls don't stop it, In need it decides on everything, And because your family is to me! Juliet They will see you and kill you. Romeo Your gaze is more dangerous than twenty daggers. Take a friendly look down from the balcony, And this will be my chain mail from them. Juliet Don't get caught by them! ROMEO The night will cover me with a cloak. If only you were warm with me. If not, I prefer death from their blows, Than a long age without your tenderness. Juliet Who showed you the way here? Romeo Love has found her. I'm not a sailor, But if you were at the end of the world, Without a moment's hesitation, I would, without fear, Set off into the sea for such goods. Juliet Darkness saves my face, Otherwise, you know, I would burn with shame That you learned so much about me. 20
21 I would like to restore decency, But it's too late, there's no point in pretending. Do you love me? I know, I believe, That you will say yes. But don't rush. After all, you will cheat. Jupiter is said to disregard the vows of love. Don't lie, Romeo. It's not a joke. Am I gullible, maybe I seem? Well, I'll correct the impression And deny you my hand, Which I would not do voluntarily. Of course, I'm so much in love, That you must seem stupid, But I'm more honest than many touchy people, Who play prudes. I should have been more restrained, But I did not know that they would hear me. Forgive me for my ardor and do not take Direct Speech for ease and accessibility. Romeo My friend, I swear by the shining moon That silvers the tips of the trees Juliet Oh, swear not by the moon that changes once a month, this is the way to treason. ROMEO So what shall I swear? Juliet Swear nothing. Or swear by yourself as the highest good, which is sufficient for oaths. Romeo I swear, my friend, whenever this heart Juliet Do not, I believe. No matter how sweet you are to me, I'm scared how we soon agreed. Everything is too hasty and rash, 21
22 Like the sparkle of lightning bolts that fades, You barely have time to say "the sparkle of lightning bolts." Good night! This bud of happiness is ready to bloom next time. Good night! I wish you The same captivating dream, Like a bright world, which I am full of. Romeo But how can I leave you so soon? Juliet And what can be added to our agreement? Romeo I swore an oath. Now you swear. Juliet I was the first to swear and I'm sorry That it's in the past, not in the future. ROMEO Would you take that oath back? Juliet Yes, in order to give it again. I don't own what I own. My love is bottomless, and kindness is like the expanse of the sea. The more I spend, The more boundless and richer I become. Nurse's voice behind the scenes My name is. I'm leaving. Goodbye. I'm coming! Sorry, don't forget. I may be back again. Wait a minute. (Exits) ROMEO Holy night, holy night! What if this is all a dream? So exorbitant happiness, 22
23 It's all so fabulous and wonderful! Juliet returns to the balcony. Juliet Two more words. If you, Romeo, Decided to marry me without joking, Let me know tomorrow when and where the wedding. In the morning my man will come to you To find out your decision on this matter. I will lay down everything good at your feet And I will follow you everywhere. NURSE (behind the scenes) Dear! Juliet Coming! This minute! And if you have a deceit in your mind, Then, then Nurse (offstage) Dear! Juliet Leave me at once and go no more. I'll manage tomorrow. Romeo I swear by my salvation Juliet Farewell a hundred thousand times. (Leaves) Romeo A hundred thousand times I'll sigh with anguish away from sweet eyes. To friends we are like schoolchildren home, 23
24 And from girlfriends as with a bag to class in winter. (He heads for the exit) Juliet returns to the balcony. Juliet Romeo, where are you? I would like a pipe, To lure this bird back! But I'm in captivity, I can't scream, Otherwise I'd bring the echo to a wheeze By incessant repetition of these words: Romeo, where are you? Where are you, Romeo? Romeo My soul calls me again. Like calls at night the voices of lovers! Juliet Romeo! Romeo Dear! Juliet What time Will you send me tomorrow for an answer? Romeo At nine. Juliet Twenty years before that! Torment to wait What did I want to say? Romeo Remind me, I'll stand for the time being. Juliet Wait, while I forget again, 24
25 Just to keep you again. Romeo Remember and forget, as long as I don't remember myself, I will stand. Juliet Almost dawn. It's time for you to disappear. And how, tell me, to part with you? You, like a dandy hand bird, Tied with a thread to your hand. She is then allowed to fly up to the entire suspension, then dragged down on a silk cord. That's how we are with you. Romeo I wish I were that bird! Juliet Oh, I would like that too, but I would kill You with my caresses. Goodbye! Farewell, farewell, but there is no urine to disperse! So they would say for a century: "Good night." (Exits) ROMEO Farewell! Peaceful sleep come to you And spread sweet peace in your chest! And I'll go to my spiritual father's cell To talk about joy and deeds. (leaves)< >Scene Three Cemetery. Tomb of the Capulet family.< >Prince 25
26 Hold back sorrowful exclamations Until these mysteries have been clarified. When I know their meaning and root, Then I, as the leader of your troubles, I will not keep you from death. For now, let the victims remain silent. Where are these suspicious people? Brother Lorenzo Though without guilt, as if I was in charge. So say, at first glance, the evidence. And so I stand here in double person, As the accused and the accuser, To condemn myself and justify myself. Prince Tell me what you know about it. Brother Lorenzo I will be short, short and so For a long story my breath. Juliet's husband prostrated on the ground is Romeo, and she is Romeo's wife. I secretly married them, and on this day Tybalt was killed, and his death is the reason for the Expulsion of the newlywed. Juliet wept for him, not for her brother. Then, to stop these tears, you ordered her to marry Paris. She came to me to help me Get rid of her second marriage, Otherwise she would commit suicide. I, using my knowledge, Gave her sleeping pills. As I expected, She fell asleep like death, And I wrote a letter to Romeo, So that he would come for her this night, When the effect of drinking weakened, And took with him. Unfortunately, brother Giovanni, my Messenger, could not take the letter And he returned it to me, stuck in Verona. Then for the poor prisoner, to the time when she was supposed to wake up, I myself went and thought to shelter her, before calling Romeo, in a cell. However, when I entered her 26
27 A few minutes before awakening, I immediately came across the bodies of the Dead Paris and Romeo. But then she gets up. I, as best I can, I call her with me and convince her to resign herself to fate, but the noise from outside suddenly forces me to hide. She did not want to leave And, apparently, committed suicide. That's all I know. Their secret marriage is known to the nanny. If I am to blame for what happened in any way, let my age be shortened for the sake of justice A few hours before the end. Prince We have always considered you righteous. Servant Romeo, what will you tell us? BALTHASAR I brought Romeo the news of Juliet's death, And we set off on horseback From Mantua here, to the fence of the crypt. He gave a letter for his father, Which is with me, and threatened to leave him alone. PRINCE Give me a letter. Let's see the content. Where is the count's page that called the guard? What did your master do in this place? Page He laid flowers on the coffin of his wife And ordered me to move away. Suddenly someone enters with a torch in his hands, And the master draws his sword. Here I ran for the guard. Prince The letter confirms the monk's words. Telling how he received the news about the death of his wife, Romeo adds, That he got poison in the poor man's shop, 27
28 To be poisoned in Juliet's crypt. Where are you, implacable enemies, And your dispute, Capulet and Montague? What a lesson for the haters That the sky kills you with love! And I lost two relatives For indulging you. Everyone got it. Capulet Montagues, let me shake your hand. Only by this will repay me the widow's share of Juliet. Montecchi I'll give more for her. I will erect a monument to her in gold. As long as our city is called Verona, The best of the statues of Juliet will stand in it, faithfully keeping faithful. Capulet And next to the golden statue of Romeo, we will honor him with dignity. Prince Your rapprochement is enveloped in twilight. The sun does not shine through the thick clouds. Let's go, we'll discuss the losses together And we'll accuse or justify you. But the story of Romeo and Juliet Will remain the saddest in the world. (They leave) Questions and tasks 1. Read the tragedy in its entirety. What do you think of the era described in this tragedy? How was the relationship of people in this era? 2. Read the scene that you think is the opening and the one where you see the denouement of the play. 3. What are the scenes of the climax? 4. Does this play have a prologue and an epilogue? 28
29 1. Name the words that convey to the modern reader the flavor of the era (see B. Pasternak's translation). Create a short explanatory dictionary of these words. 2. What artistic techniques are used in the speech of young heroes? 3. How do the lines of the young heroine help to present her appearance? 4. What style of speech is most appropriate to use when retelling the tragedy "Romeo and Juliet"? 1. What role do the characters play in the rapid development of the plot, what cases and circumstances? 2. Which of the heroes of the tragedy Romeo or Juliet is superior to the other in the strength of feelings and devotion to his chosen one? Do you see this difference? 3. Describe one of the characters, having previously prepared a plan for your story. 4. Do the merits or demerits of young heroes underlie the tragic events of their fate? 5. What are the most important signs that give reason to consider "Romeo and Juliet" a tragedy. 6. Name the tragedies of Shakespeare. What heroes of these tragedies are included in the list of names familiar to the whole world? 7. What plays by Shakespeare are still being played on the stages of our country and appear on television screens? Shakespeare's sonnets Shakespeare is not only a playwright, but also a poet. The brightness of the colors of his poetic palette allows the reader to penetrate the thoughts and feelings of the author, the high structure of which cannot leave anyone indifferent. Shakespeare's poetic virtuosity is also amazing because each of his poems is a sonnet. This form of verse has a rigid framework. The main requirements are as follows: the work must have 14 lines, clearly divided into stanzas with a certain rhyme. Shakespeare's Sonnet consists of three quatrains and a final rhyming couplet. Sonnet 130 (Translated by S. Ya. Marshak) Her eyes don't look like stars, You can't call her mouth corals, Her skin is not snow-white, And a strand winds like a black wire. With a damask rose, scarlet or white, The shade of those cheeks cannot be compared. 2 Damascus is the capital of Syria. 29
30 And the body smells the way the body smells, Not like a tender violet petal. You will not find perfect lines in it. A special light on the brow, I do not know how the goddesses march, But my dear steps on the earth. And yet she will hardly yield to those Whom in the comparisons of magnificent slandered. Questions and tasks 1. How did you imagine the appearance of the heroine after reading the sonnet? 2. Why does the poet argue with the usual idea of beauty? Do you agree with his arguments? What is he right about, and what do you think he is wrong about? 3. What canonical requirements are met in sonnet 130? 1. In what meter did S. Marshak translate this sonnet? 2. What artistic techniques help to present the heroine of the sonnet? 1. Does the clear form of the sonnet help or, on the contrary, make it difficult to present its heroine? 2. How do you explain the popularity of the sonnet genre in the literature of different countries and peoples? thirty
31 Literature of the 19th century Fable. Ballad. Novel. Poem. Satire. 31
32 Genres of classical literature of the 19th century Literature of the 18th century was built according to strict laws. Each genus and each genre had a set of rules by which literary works were created. The most talented authors broke strict barriers, and works were born that did not fit into a rigid framework. In the 19th century, the requirements for specific genres were not observed so strictly. The poet, playwright and prose writer felt freer: they could combine the features of different genres in one work. Often the beginning of the 19th century is called the "golden age" of Russian poetry. This period was the heyday of Russian lyrics. Based on the traditions of folk songs, ancient poetry, a new poetic language was created, the technique of versification changed. Based on already created genres, Russian poets created new ones. There was a tendency to mix lyrical genres. In the middle of the 19th century, poetry gave way to prose. The strengthening of the role of prose is often associated with the name of Gogol. The second half of the 19th century in Russian literature was the heyday of such an epic genre as the novel. The novels of L. N. Tolstoy and I. S. Turgenev, F. M. Dostoevsky and A. I. Goncharov will soon enter your reader's world. Think a little about the difference between poetry and epic. How would you evaluate the judgment: “Poetry is a pedestrian calling for a walk, prose is a train delivering to its destination”? In search of an answer, you will immediately put a lot of questions in front of you. You will be looking for answers to the questions posed by works of different genres for your entire reading life. 32
33 From the history of the fable The fable is one of the most enduring genres of literature. You remember that a fable is a short, most often poetic story of moralizing content. The moral is contained in the moral of the fable. “The story and the goal is the essence of the fable,” wrote the critic V. G. Belinsky. In ancient Greek literature, the semi-legendary fabulist Aesop (VI-V centuries BC) became famous. In Rome Phaedrus (1st century AD). In France, La Fontaine (XVII century). The fable was so popular and important for the spiritual life of peoples that many legends are associated with its existence. So, they say that Socrates, before his execution, occupied himself with transcribing Aesop's prose fables into verse. The fable is characterized by allegory. It constantly uses personification: the heroes of the fable are not only people, but also animals, plants, things. The expression of Aesopian language exists as a designation of allegorical speech, which masks the meaning of the statement. A fable with its laconicism and vivid characteristics of the characters, with an appeal to dialogue scenes, with aphorisms, helps us to make our own speech more vivid. In order to see the persistence of the fable as a genre and understand the interest of fabulists in some subjects, let's try to repeat the journey of the Crow and the Fox through countries and centuries. We meet this plot in the fables of Aesop, Phaedrus, La Fontaine, Trediakovsky, Sumarokov and Krylov. As you read fables, try to figure out why the story is so popular. Aesop (VI-V centuries BC) Raven and Fox The raven carried off a piece of meat and sat on a tree. The fox saw, and she wanted to get this meat. She stood in front of Raven and began to praise him: he is already great and handsome, and he could become better than others king over birds, and he would, of course, if he also had a voice. The raven wanted to show her that he had a voice; he released the meat and croaked in a loud voice. And the Fox ran up, grabbed the meat and said: “Oh, Raven, if you also had a mind in your head, you would not need anything else to reign.” A fable is appropriate against a foolish person. Questions and tasks 1. How did you understand the moral of the fable? 2. What was Raven's unreasonableness? 3. How did the Fox affect him? 33
34 1. How do you understand the word "flattery"? Prove that it is appropriate in assessing what the Fox said. Jean de La Fontaine () Raven and the Fox Uncle Raven, sitting on a tree, Held cheese in his beak. Uncle Fox, attracted by the smell, Made such a speech to him: “Good afternoon, noble Raven! What a look you have! what a beauty! Indeed, if your voice is As bright as your feathers, Then you are the Phoenix of our oak forests! This seemed not enough to the raven, He wanted to shine with his voice, He opened his beak and dropped the cheese. The Fox picked it up and said: "Sir, Remember: every flatterer Feeds on those who listen to him, Here is a lesson for you, and a lesson is worth cheese." And the embarrassed Raven swore (but too late!) that he would not need another lesson. Questions and tasks 1. What distinguishes Aesop's Raven from La Fontaine's Raven? 2. Which of the fables speaks of flattery and flatterers? 3. In what fable did Raven, albeit late, realize his mistake? Vasily Kirillovich Trediakovsky () The Raven and the Fox There was nowhere for the Crow to carry away some of the cheese; On a tree with that flew up, which fell in love. This Fox wanted to eat here; In order to get drunk, I thought of such flattery: Raven's beauty, honoring the color of feathers And also praising his thing, She directly said: “I will honor you with Zeus in the future as a bird, if your voice is for myself And I will hear the song, I am worthy of all your kindness.” Raven, arrogant with praise, I am decent to myself, 34
35 He began, as loudly as possible, to croak and shout, To receive the last seal of praise. But thus from his nose dissolved That cheese fell to the ground. Liska, encouraged by It's self-interest, says to him in laughter: "You are good to everyone, my Raven: only you are fur without a heart." Questions and tasks 1. How do you explain that this fable is so difficult to read? 2. Does this fable also talk about flattery? Read the eulogy of the Fox. Alexander Petrovich Sumarokov () The crow and the fox And the birds keep to human craft: The crow once carried away the cheese, And sat on the oak. She sat down, but she hasn’t eaten a crumb yet. The Fox saw a piece in her mouth, And she thinks: “I will give the Crow juice: Although I won’t jump up there. I'll get this piece. Oak no matter how high. “It's great, says the Fox, Friend Voronushka, named sister: You are a beautiful bird; What legs, what a sock, And I can tell you without hypocrisy, That you are more than all measures, my little light, good; And the parrot is nothing before you, soul; More beautiful than your peacock feathers a hundred times; It is pleasant for us to endure unflattering praise. Oh, if only you could sing! There wouldn't be a bird like you in the world." The crow opened its neck wide, To be a nightingale, "And the cheese, he thinks, and then I'll sing: At this moment, I'm not here about the feast." She opened her mouth And waited for the post: She barely sees only the end of the fox's tail. Wanted to sing, did not sing; Wanted to eat, did not eat; 35
36 The reason is that there is no more cheese; The cheese fell out of Lisice's company for lunch. Questions and tasks 1. Read what the Fox thought, and then what the Crow said. Where do you see the difference? 1. What birds did the Fox remember to praise the non-existent virtues of the Crow? 1. Do you see the difference between the fables of Trediakovsky and Sumarokov? What is she in? Ivan Andreevich Krylov () Crow and Fox How many times have they told the world That flattery is vile, harmful; but everything is not for the future, And in the heart of a flatterer will always find a corner. *** Somewhere God sent a piece of cheese to a crow; Crow perched on the spruce, I was quite ready to have breakfast, Yes, I thought about it, but I kept the cheese in my mouth. To that misfortune, the Fox ran close; Suddenly the cheese spirit stopped the Fox: The Fox sees the cheese, The Fox was captivated by the cheese. The swindler approaches the tree on tiptoe, Twirls his tail, keeps his eyes on Crow, And says so sweetly, breathlessly: “Darling, how pretty! Well, what a neck, what eyes! To tell, so, right, fairy tales! What feathers! What a sock! And, of course, there must be an angelic voice! Sing, little one, don't be ashamed! What if, sister, With such beauty, you are a master of singing, After all, you would be our king bird! Veshunin's head was dizzy with praise, From joy his breath stopped in the goiter, And at the friendly fox's words 36
37 The crow croaked at the top of its throat: Cheese fell out with him was such a cheat. Questions and tasks 1. Read all the fables about the Raven and the Fox and compare them. You can compare two of them, the ones you like best. 2. In which of the fables do you think the image of the flatterer Fox or the Fox is more vividly created? 3. In which of the fables of the Raven (Raven) does it seem to you especially stupid and conceited? 4. Compare morals in fables. Do all fables teach the same thing? 5. Make illustrations for one of the fables. 6. In the lessons you learn to master all forms of communication. Every kind of artwork helps you with this. How does a fable help you? 7. Choose for yourself one of the options for independent work. The fable can be read from the sheet. The fable can be read by heart. A fable can be performed in persons like a play. You can use the moral of the fable or its plot for independent work. 37
38 Vasily Andreevich Zhukovsky () You are already familiar with the work of V. A. Zhukovsky. For the first two decades of the 19th century, he occupied the first place in Russian poetry. In addition to the ballads that you read, the poet created many other works of various genres. Among them are the most famous work about the Patriotic War of 1812 "A Singer in the Camp of Russian Warriors" and the text of the Russian anthem of those years "God Save the Tsar". Both works were very popular and liked the sovereign. They became the reason for the brilliant court career of the poet. For many years, Zhukovsky was the tutor of the heir to the throne (the future Alexander II). Such a high position in the world did not change the kind and cordial character of the writer. Zhukovsky always helped those around him, acutely felt someone else's misfortune. The genre of the ballad with a tragic plot and full of sympathy for the suffering heroes perfectly corresponded to the personal moods of the poet. In 1808, Zhukovsky wrote his first ballad "Lyudmila" and published it with the subtitle: "Imitation of Burger's Lenore." Zhukovsky created three dozen ballads, some of which were translations of works by Schiller, Goethe, Burger and other authors. Zhukovsky dedicated the ballad "Svetlana" to his niece Alexandra Andreevna Voeikova. The ballad was such a success with contemporaries that Zhukovsky was called by many "Singer of Svetlana", and his niece was often called Svetlana. Svetlana (A. A. Voeikova) Once in the Epiphany evening The girls wondered: Out of the gate slipper, Taking it off their feet, they threw it; Weed the snow; under the window Listened; fed counting chicken grain; Burning wax was drowned; In a bowl of pure water They put a golden ring, Emerald earrings; They spread a white cloth And over the bowl they sang in tune The moon shines dimly In the dusk of the fog Silent and sad Dear Svetlana. 3 Songs podblyudny ritual songs that accompanied Christmas divination using a dish. 38
39 “What, my friend, is the matter with you? Say a word: Listen to the songs of the circle; Get yourself a ring. Sing, beauty: Blacksmith, Forge me gold and a new crown, Forge a golden ring; I will be married with that crown, Be engaged with that ring At the holy altar. “How can I, girlfriends, sing? Dear friend far away; I am destined to die In lonely sadness. The year rushed to lead no; He does not write to me; Oh! And for them only the light is red, Only the heart breathes for them Or don't you remember me? Where, which side are you? Where is your abode? I pray and shed tears! Satisfy my sadness, comforting angel. Here in the room the table is covered with a white shroud; And on that table stands a Mirror with a candle; Two appliances on the table. “Guess, Svetlana; In a clean mirror glass At midnight without deceit You will recognize your lot: Your dear will knock at the door With a light hand; The lock will fall from the door; He will sit down at his device To have supper with you. Here is one beauty; He sits down by the mirror; With secret timidity she looks into the mirror; Dark in the mirror around Dead silence; 4 Abode here: place of residence, habitation. 39
40 A candle with a quivering fire A radiance shimmers in it Shyness stirs her chest, It's scary to look back, Fear clouds her eyes With a crackling light puffed, A cricket called plaintively, Herald of midnight. Leaning on her elbow, Svetlana breathes a little. Here, lightly with the lock, Someone knocked, hears; He looks timidly into the mirror: Behind her shoulders Someone, it seemed, shines Bright eyes The spirit is busy with fear Suddenly a rumor flies into her A quiet, light whisper: “I am with you, my beauty; The heavens were tamed; Your murmur has been heard! Looked around dear to her Stretches out his hands. “Joy, the light of my eyes, There is no separation for us. Let's go! The priest is already waiting in the church With the deacon, the deacons; The choir sings the wedding song; The temple is lit up with candles. There was a touching look in response; They go to a wide courtyard, At the gates of the board; At the gate their sledges are waiting; With impatience, the horses are tearing Silk reins. The horses sat down from their place at once; They blow smoke through their nostrils; From their hooves a blizzard rose above the sleigh. Jumping empty all around; Steppe in the eyes of Svetlana, On the moon a foggy circle; The fields sparkle a little. The prophetic heart trembles; Timidly the maiden says: "Why are you silent, dear?" 40
41 Not a word to her in response: He looks at the moonlight, Pale and dull. The horses race along the mounds; They trample deep snow. Here, on the sidelines, is God's temple. A lonely one is seen; The whirlwind opened the doors; The darkness of people in the temple; The bright light of the chandelier5 Dims in incense6; In the middle is a black coffin; And the pop says drawlingly: “Be taken by the grave!” The girl trembles more; Horses past, a friend is silent, Pale and dull. Suddenly a blizzard is all around; Snow falls in tufts; Black crow, whistling its wing, Hovering over the sleigh; Raven croaks: sadness! The horses are hurried, Sensitively looking into the dark distance, Raising their manes; A light glimmers in the field; A peaceful corner is visible, A hut under the snow. Greyhound horses are faster, Snow blowing up, right to her Rushing in a friendly run. Here they rushed in and instantly disappeared From the eyes: Horses, sleighs and the groom As if they had never been. Lonely, in the dark, Abandoned by a friend, In scary places; Around the blizzard and blizzard. There is no trace to return. She sees light in the hut: Here she crossed herself; A 5 6 Panikadi lo chandelier with candles or a large candlestick in a church knocks on the door prayerfully. Incense is an aromatic smoke used in worship. 41
42 The door staggered and creaked Quietly dissolved. Well? There is a coffin in the hut; covered with a white curtain7; Spasov's face stands at his feet; Candle in front of the icon Ah! Svetlana, what's wrong with you? Whose abode did you go to? Scary hut empty Meek inhabitant. Enters with trepidation, in tears; Before the icon she fell to dust, she prayed to the Savior; And, with her cross in her hand, She timidly hid under the saints in a corner. Everything subsided There is no blizzard Weakly the candle smolders, It will shed a trembling light, Then it will again be eclipsed Everything is in a deep, dead sleep, Terrible silence Chu, Svetlana! , flew in, To her percy quietly sat down, Embraced them with wings. Everything around was silent again. Here Svetlana imagines that under the white canvas the Dead moves. The veil has been torn off: a dead man (The face is darker than the night) The whole crown on the forehead is visible, The eyes are closed, Suddenly a groan is in the closed mouth; He is trying to push them apart His hands have grown cold. What is the girl? 7 Zapo on the veil, cover. 42
43 Startled, he unfolded Light wings; To the dead man's chest fluttered All devoid of strength, Groaning, gnashed Terribly he teeth And flashed at the maiden With menacing eyes Again pallor on his lips; In the rolling eyes Death was depicted Look, Svetlana, O Creator! Her dear friend is dead! Ah! .. and woke up. Where is it? .. At the mirror alone In the middle of the room; In the thin curtain of the window Shines a ray of daylight; A noisy rooster beats with its wing, Welcoming the day with song; Everything shines Svetlana's spirit Confused by a dream. "Oh! terrible, terrible dream! Not good he broadcasts A bitter fate; The secret darkness of the days to come. What do you promise my soul, Joy or sorrow? Sela (chest aches heavily) Under the window Svetlana; From the window a wide path is visible through the fog; The snow glistens in the sun, The steam turns red thin Chu! .. in the distance an empty bell rattles A ringing bell On the road snow dust; They rush, as if on wings, Sledge horses are zealous; Closer; right at the gate; The stately guest goes to the porch. Who?.. Svetlana's fiancé. What is your dream, Svetlana, the Foreteller of torment? A friend is with you; he is still the same In the experience of separation; 43
44 The same love in his eyes, Those are pleasant looks; Those conversations on Mila's sweet lips. Open well, God's temple; You fly to heaven, Faithful vows; Get together, old and young; Shifting the calls of the bowl, into harmony Sing: for many years! *** Smile, my beauty, At my ballad; There are great miracles in it, Very little warehouse. With your happy gaze, I do not want glory: Glory taught us smoke; Light is a crafty judge. Here are my sense ballads: “The best friend to us in this life is Faith in Providence. The blessing of the maker of the law: Here misfortune is a false dream; Happiness awakening. ABOUT! do not know these terrible dreams You, my Svetlana Be, the Creator, cover her! Not a wound of sadness, Not a momentary sadness a shadow Let it not touch her; Her soul is like a clear day; Oh! let the hand pass by Calamity; Like a pleasant brook Shine in the bosom of the meadow, Be her whole life bright, Be gaiety, as it was, Her friend of days. 44
45 Questions and tasks 1. Which of the baptismal fortune-telling seemed to you the most amusing, poetic? 2. What role does the heroine's dream play in the overall composition of the ballad? 3. Find the opening, climax, and denouement in the ballad. 4. What part of the ballad can be considered as an epilogue? 1. What poetic size is the ballad written in? 2. What artistic means are actively used in the ballad "Svetlana"? 3. What means of expression used in the ballad "Svetlana" are often found in folklore? 4. Find lines full of playfulness and fun. How do you explain their appearance in the ballad? 1. Prepare a short retelling of the plot of the ballad. Describe the character's dream. 2. Tell us how the heroine of the ballad Svetlana seems to you. 3. Prepare a short message about the niece of the poet A. A. Voeikova. 4. Find a description of the pictures of nature in the ballad and decide how they relate to the general mood of the story and the character of the heroine. 5. Why did contemporaries often call Zhukovsky a "ballade player"? How many ballads did he write? Find them and read. Often the same ballad was translated by different poets. So, V. A. Zhukovsky and M. Yu. Lermontov translated the work of F. Schiller “The Glove”. Schiller himself called it a story, because it is not written in strophic form, but as a narrative. Zhukovsky called the story, but Lermontov did not designate the genre. Belinsky considered this work a ballad. The controversy is still going on. Read Zhukovsky's translation and decide what genre you would classify it as. The Glove Before his menagerie, With the barons, with the crown prince, King Francis sat; From a high balcony he looked at the field, expecting a battle; Behind the king, bewitching the eyes of the ladies of the court, enchanting with the blossoming charm, was a magnificent row. The king gave a sign with his hand. The door opened with a thud, And the formidable beast 45
46 With a huge head, Shaggy lion Comes out; Around the eyes sullenly leads; And so, looking around, He wrinkled his forehead with a proud posture, Moved his thick mane, And stretched, and yawned, And lay down. The king again waved his hand. But he sees a lion, becomes timid and roars, Beats himself with his tail on the ribs, And sneaks, squinting, And licks the muzzle with his tongue, And, bypassing the lion around, Grows and lies down next to him. And for the third time the king waved his hand Two leopards in a friendly couple In one jump they found themselves over the tiger; But he gave them a blow with a heavy paw, And the lion stood up with a roar. They resigned themselves, Baring their teeth, moved away, And growled, and lay down. And the guests are waiting for the battle to begin. Suddenly, a woman's glove fell off the balcony. Everyone is looking after her. She fell among the animals. Then His beauty looks at the knight Delorge with a hypocritical And sharp smile and says: “When you love me, my faithful knight, as you say, You will return my glove.” Delorge, without answering a word, Goes to the beasts, Boldly he takes the Glove And returns to the assembly again. The knights and ladies at such audacity From fear, the heart was clouded; And the young knight, As if nothing had happened to him, Calmly ascends the balcony; He was greeted with applause; He is greeted by beautiful eyes 46
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Characters:
Barin, in a red shirt and jacket; straw epaulettes on the shoulders; on his head is a straw hat with paper figures cut out; in the hands of a cane, decorated with paper figures. The master has a big belly and the jacket is not buttoned up.
From the merchant, on the shoulders of an army coat, in the hands of a pusher, on his head he holds a hat - an ordinary one.
Panya, Kumachnik - a red sundress, a white shirt and a white apron, a two-row belt, silk; on the head there is a "dressing" with ribbons, in the hands of a "koragushka" - a fan and a scarf.
A horse, a man, a straw tail is forged to him.
Amazing people: half a dozen or seven boys of twelve years old; soot-covered faces.
The bull, especially, does not dress, but slips in from the Fofans.
Askers, usually from the audience.
In Tamtsa, players who play "Barin" are usually taken from different "quarters" of the village (the village is divided into four "ends" that have special names), - Barin, for example, from Zarechye, Otkupchik even from the Upper, Panya, let's say, from Serechye, Horse, let's say, from the bottom. This is done so that no end of the village is offended.
The game begins like this: the players come up to the house where, for example, a party takes place. They open the door, and the first horse runs into the hut and whips the audience with a chariot; all those in the hut stand on the benches, some climb on the floor, and thus the hut becomes free for action. Behind the Horse, the whole company enters the hut and goes with songs to the front corner; a lantern is carried in front of them. In the front corner, Barin stands facing the people, next to him on one hand is Panya, on the other is the Farmer. The people and the fofans (mummers) from the street follow the players and stand all over the hut.
Viceroy, Viceroy,
good fellows,
red girls,
Hello!
In with e (answer). Hello, hello, mister barin, hello!
B a r i n. Owner, hostess
Viceroy, Viceroy,
good fellows,
red girls,
Do you have any proseb between you?
In with e. Yes, there is.
B a r i n. Come on, come on!
One of the Fofans comes up, pretending to be a petitioner.
P r o s i t e l. Sir, please accept my request.
B a r i n. Who are you?
Beggar (called by a fictitious name, - the name of some guy in the village). Vladimir Voronin.
B a r i n. What are you asking for?
P r o s i t e l. I ask for Paraskovya: Parashka loves me in years, and Vasily loves another guy in winters.
B a r i n. And come here, Paraskovya, here. Why do you love two people at once?
Paraskovya is also the real name of some girl in the village. Instead, one of the Fofans comes up to the call of the Master and begins to argue and swear with the petitioner. They say what they want; who swears stronger and wittier, he has more success with the public. The master and the farmer consult aloud which of the suing men is guilty and whom to punish: a guy or a girl; find guilty, for example, a girl. The master says: "Come on, Paraskovya, lean on your back!" Paraskovya obeys the court's decision and turns his back. The farmer punishes her with a whip. After the first petitioner, another appears and lays out some other request about a neighbor, about a wife, and so on. The requests are usually based on some fact that really exists in the village, which, of course, is exaggerated, brought to the ridiculous, to the point of absurdity, and thus the court is a satire on local life and customs, sometimes very evil, sometimes cruel. When there are no more petitioners and all requests are considered, court decisions are given and sentences are executed, the sale of the horse begins.
B a r i n. Kupchinushka, is there a horse to sell?
About t to y p sch and k. There is, there is.
They bring a horse. The master leads the Horse around the hut, watches him run, looks into his teeth, pokes his sides, makes him jump over a stick and decides to buy.
B a r i n. How much do you want for a horse?
O t to y p sch and k. One hundred rubles in money,
forty magpies
Salty.........
Forty anbars
frozen cockroaches,
Arshin oil,
Three skeins of sour milk,
Mikhalka Tamitsyna nose,
Our Kozharikha's tail.
B a r i n. I'll find a hundred rubles in my pocket,
And forty magpies
Salty.....
Forty anbars
dry cockroaches
Seek whether, laity?
In with e. We will seek, we will seek.
The master gives the money and takes the Horse.
B a r i n. And what, merchant, do you have a bull to sell for meat?
O t to u p s ch and k. As no, yes, yes.
B a r i n. How much do you want for a bull?
O t to y p s ch and k. One hundred rubles in money.
forty magpies
Salty.....
Forty anbars
Dry cockroaches...
As usual, the bargain goes to the end. When the bargaining ends, the Bull - a man in a turned-out fur coat and with a lid on his head, is brought up, and the Master hits him on the head with a log, the lid breaks, the Bull falls; the fofans pounce on him and crumple his sides; release blood.
B a r i n. And what, merchant, don't you have amazing people to sell?
About t to y p sch and k. There is, there is. Hey Amazing people, get out!
Amazing people jump out, make faces, dance, spit in all directions, then leave.
B a r i n. Hey, little one, give me scarlet vodka.
One of the Fofans goes and carries a bottle of water. They sing the song "In the Pit", and Barin, arm in arm with Panya, walk several times through the hut. Leaving the hut for another party, they say goodbye.
B a r i n. Owner, hostess
Viceroy, Viceroy,
good fellows,
red girls,
Farewell!
In with e. Farewell. Farewell!
The whole company goes to another party, which is visited by three or four in the evening.
Literature test Folk drama Barin. Children's folklore for grade 7 with answers. The test includes 2 options. Each version has 3 parts. In part A - 4 tasks. Part B has 2 tasks. In part C - 1 task.
1 option
A1. What does Barin ask the laity after the greeting?
1) why everyone gathered
2) whether the audience has any requests
3) is the horse for sale
4) is the bull for sale
A2. What was the name of the girl who loved two young people?
1) Malanya
2) Thekla
3) Paraskovya
4) Broadsword
A3. What did Barin do after considering all the requests?
1) left
2) bought a Horse
3) treated everyone
4) sang a song
A4. What did the wolf try to swim across in the fable "Early in the morning, in the evening ..."?
1) river
2) trough
3) shark pond
4) a bowl of pies
IN 1. Who were called fofans?
AT 2. Who was the first to run into the house where the party was taking place?
C1. Why is the trial of the villagers presented in a satirical way?
Option 2
A1. What color is Barin's shirt?
1) red
2) blue
3) white
4) yellow
A2. What is the name of the Petitioner who complains about the girl?
1) Kozma Egorov
2) Egor Ivanov
3) Pyotr Kozlov
4) Vladimir Voronin
A3. How does the Farmer deal with a girl who loved two?
1) let go
2) punish with a whip
3) expelled from the village
4) sends to the monastery
A4. What part of speech is spoken about in a comic work of school folklore?
That part of speech
that fell from the oven.
1) noun
2) adjective
3) pronoun
4) verb
IN 1. How much money did they ask Barin for the Horse?
AT 2. Who does the Barin buy after the Horse?
C1. Why is the satirical drama "Barin" called both a play and a game at the same time?
Answers to the literature test Folk drama Barin. Children's folklore for grade 7
1 option
A1-2
A2-3
A3-2
A4-4
IN 1. Mummers
AT 2. Horse
Option 2
A1-1
A2-4
A3-2
A4-4
IN 1. One hundred rubles
AT 2. Bull and amazing people
Barin. Kupchinushka, is there a horse to sell?
farmer. Yes, there is.
lead Horse. Barin leads Horse around the hut, watching him run, staring into his teeth, poking his sides, making him jump over a stick, and contemplating a purchase.
Barin. How much do you want for a horse?
farmer.
One hundred rubles in money Forty forty Solyony……… Forty enbars frozen cockroaches, Arshin oil, Three skeins of sour milk,Mikhalka Tamitsyna nose,Our Kozharikha's tail.
Barin.
I'll find a hundred rubles in my pocket,And forty magpies Salted……… Forty enbars Dry cockroaches Will you seek, laymen?
All. We'll take it, we'll take it.
The master gives the money and takes the Horse.
The whole company goes to another party, which is visited by three or four in the evening.
Questions and tasks
1. Why did folklorists call this play-play a satirical drama?
2. Describe the main characters of the performance, their appearance, characters.
3. Try to join the game: play the role of "fofans" and come up with comic accusations against one of the participants in the game. It can be any student in your class: after all, the essence of the game is to include familiar participants with familiar problems.
1. Decide what is more in this play - a stage performance or a game.
Children's folklore
You get acquainted with the works of children's folklore from an early age. These are counting rhymes, teasers, fables, horror stories, family stories and much more.
Children's folklore - works of oral folk art created by children and for children.
From children's family stories
Origin of the surname
We have old documents in our family. Among them is a document from which we know that at the beginning of the nineteenth century my ancestors lived in the Smolensk province in a village called Rakity, and were peasants. The village was called so because it was located in a place where there were many small rivers and ponds, along the banks of which grew a lot of beautiful trees, which were called willows. At these trees, the branches bend down to the very water, forming a thick green wall. All the inhabitants of the village had the same surname - Rakitins - after the name of the village. Therefore, they did not call each other by their last names, but only by their first names. Lazy people were called only by their first names - Proshka, Afonka, etc., while hard-working people and old people were called respectfully by their first and patronymic names. And everyone always knew who the conversation was about.
Children's antics
Previously, there were almost no buttons, and those that were sold were very expensive. Grandmother took nickels, sheathed them with cloth, and sewed instead of buttons. And my mother and her sister tore off these “buttons”, took out patches and went to the movies for them.
Questions and tasks
1. Why did the mother tell her daughter about this way of getting money for movie tickets?
2. Recall funny stories about grandparents in your family.
Early in the morning, in the eveningAt noon, at dawnBaba rode on horseback in a painted carriage.
