Many are interested in the question: what cycle does the epic "Sadko" belong to? Turns out, folk epic with this common name refers to the Old Slavic Novgorod cycle of epics, which, according to researchers, arose in the 12th century - the time of the economic development of the city of Novgorod, but the general decline of the whole Kievan Rus.
At that time, Novgorod was practically not affected by the invasion of the Tatar-Mongol horde, and it was the largest trade and fishing center. By this time, the heyday of Kyiv was already a thing of the past. And epic tales about the feats of arms of Russian soldiers begin to be associated with Novgorod.
Novgorod cycle of epics "Sadko"
The flourishing of craft and trade in Novgorod became a real and living modernity for the 12th century, and therefore themes were sung mainly about social and everyday life: the organization of trade and the life of the merchants.
The protagonist of the epic is the merchant Sadko, and not some historical hero. The epic itself is narrated in three parts, which can also be found as completely independent works. And yet I wonder what cycle the epic "Sadko" belongs to?
Sadko was the hero of the epics of the Novgorod cycle, and I must say that there are 9 of the most famous options that were recorded in And and story line they may be completely different. However, there are only 2 complete ones: from storytellers Vasily Shchegolenok and Andrey Sorokin.
Plot development
In one part, Sadko is in the underwater kingdom, this kind of plot is also found among other peoples.
Later, the epic included a story about how Sadko got rich with the help of goldfish, which he was awarded by hearing the unusual play of the hero on the harp standing on the shores of Lake Ilmen. In some epics about Sadko, storytellers call the king not “sea”, but “water”. And this fact suggests that these are two different characters.
Indeed, in Russian folklore there is a kind of three-level hierarchy of water spirits, some live in small streams and backwaters, others - in rivers and lakes, and there are sea king- master of the seas and oceans.
What cycle does the epic "Sadko" belong to?
The latest part of the epic is a very colorful story about how Sadko argued that he would buy all Novgorod goods from the merchants, but he could not do this.
Some researchers of epics claim that the hero Sadko had a prototype - a wealthy Novgorodian Sadko Sytinich, who is mentioned in one of the chronicles as the builder of the Novgorod church in honor of Boris and Gleb in 1167. It is believed that the tale about him became the basis of the epic.
In the question of which cycle the epic "Sadko" belongs to, the main thing to note is that the plots can sound in a variety of interpretations. Even in one old French novel there is a hero Zadok, whose adventures are very similar to those of our hero. This gives reason to assume that the novel and the epic go back to the same source in which this name already existed.
Novgorod epics did not develop military themes. They expressed something else: the merchant's ideal of wealth and luxury, the spirit of bold travel, enterprise, sweeping prowess, courage. In these epics, Novgorod is exalted, their heroes are merchants.
Purely Novgorod hero is Vasily Buslaev.
Born of elderly and pious parents, left without a father early, Vasily easily learned to read and write and became famous in church singing. However, he showed another quality: the unbridled riot of nature. Together with drunkards, he began to get drunk and mutilate people. Rich townspeople complained to his mother - mother widow Amelfa Timofeevna. Mother began to scold Vasily, but he did not like it. Buslaev recruited a squad of the same fine fellows as he was. Further, a massacre is depicted, which on a holiday was staged in Novgorod by the drunk squad of Buslaev. In this situation, Vasily offered to hit on a great pledge: if Novgorod beat him with a retinue, then every year he would pay tribute-outputs of three thousand; if he beats him, then the men of Novgorod will pay him the same tribute. The contract was signed, after which Vasily and his retinue beat ... many to death. Rich men of Novgorod rushed with expensive gifts to Amelfa Timofeevna and began to ask her to appease Vasily. With the help of a black-haired girl, Vaska was taken to a wide courtyard, planted in deep cellars and tightly locked. Meanwhile, the squad continued the battle that had begun, but could not resist the whole city and began to weaken. Then the black-haired girl undertook to help Vasily's squad - she beat a lot to death with a yoke. Then she released Buslaev. He grabbed the cart axle and ran along the wide Novgorod streets. Along the way, he came across an old pilgrim
But even he could not stop Vasily, who, having entered the fervor, hit the old man and killed him. Then Buslaev joined his squad: He fights and fights day and night. Buslaev defeated the Novgorodians. The peasant peasants submitted and reconciled, brought expensive gifts to his mother and pledged to pay three thousand every year. Vasily won a bet with Novgorod, like Sadko the merchant in one of the epics.
Another type of hero is represented by Sadko. Sadko expresses his infinite prowess; but this strength and prowess are based on endless cash, which can only be purchased in the trading community
Three stories are known about Sadko: a miraculous acquisition of wealth, a dispute with Novgorod, and being at the bottom of the sea king.
The first story has two versions. One by one, the merchant Sadko came from the Volga and conveyed greetings from her to the lacrimal lake Ilmen. Ilmen gifted Sadko: he turned three cellars of the fish he caught into coins. According to another version, Sadko is a poor gusler. He was no longer invited to feasts. With grief, he plays the gusli of the spring on the shore of Lake Ilmen. The king of water came out of the lake and, in gratitude for the game, taught Sadko how to get rich: Sadko must hit the great pledge, claiming that there is a fish-golden feathers in Ilmen Lake. Ilmen gave three such fish in the net, and Sadko became a rich merchant.
The second story also has two versions. Enraged at the feast, Sadko wagers with Novgorod that he can redeem all Novgorod goods with his innumerable gold treasury. According to one version, this is exactly what happens: the hero buys even shards from broken pots. According to another version, more and more new goods arrive in Novgorod every day: either Moscow or overseas. Goods from all over the world cannot be redeemed; no matter how rich Sadko is, Novgorod is richer.
In the third plot, Sadko's ships are sailing on the sea. The wind blows, but the ships stop. Sadko guesses that the sea king demands tribute. The king does not need red gold, or pure silver, or small scat pearls - he requires a living head. Thrice cast lots convinces that the choice fell on Sadko. The hero takes with him the gooselets of the yarovchata and, once on the seabed, amuses the king with music. From the dance of the sea king, the whole blue sea shook, ships began to crash, people began to drown. The drowning people offered prayers to Nikola Mozhaisky, the patron saint of the waters. He came to Sadko, taught him how to break the harp to stop the dance of the sea king, and also suggested how Sadko could get out of the blue sea. According to some options, the rescued Sadko erects a cathedral church in honor of St. Nicholas.
It is difficult to see real historical features in the image of Sadko. At the same time, the epic emphasizes his prowess, which truly reflects the color of the era. The brave merchants who crossed the expanses of water were patronized by the deities of rivers and lakes, and the fantastic sea king sympathized. V. F. Miller attributed to Novgorod - according to a number of everyday and geographical signs - the epic "Volga and Mikula". The regional orientation of this work was reflected in the fact that the Novgorodian Mikula is depicted as stronger than the nephew of the Kyiv prince Volga with his retinue.
Volga went to the three cities granted to him by the Kyiv prince to collect tribute. Having gone out into the field, he heard the work of the oratay: the oratay urges, the bipod creaks, the omeshiki scratches on the pebbles. But Volga managed to approach the plowman only two days later. Having learned that in the cities where he is going, peasants live ... robbers, the prince invited the yelling with him. He agreed: unharnessed the filly, sat on it and rode off. However, he soon remembered that he had left the bipod in the furrow - it must be pulled out, shaken off the land and thrown behind the willow bush. Volga sends warriors three times to remove the bipod, but neither five, nor ten good fellows, nor even the whole good fellow, can lift it. Plowman Mikula pulls out a bipod with one hand. The opposition also extends to horses: Volga's horse cannot keep up with Mikula Selyaninovich's filly.
The image of Volga was somewhat influenced by the image of the mythical Volkh: in the beginning it is reported that Volga can turn into a wolf, a falcon, a pike-fish
POETICS BYLIN
Epics have a special art world. Everything they sing about is different from ordinary life. Poetic language epics are subordinated to the task of depicting the grandiose and significant. The singer-storyteller merges in his soul with the height of heaven, the deep sea, the expanses of the earth, comes into contact with the mysterious world of the "deep pools of the Dnieper"
The poeticization of the steppe will, valiant prowess, the whole appearance of the hero and his horse transferred listeners to the imaginary world of Ancient Rus', majestically elevated above ordinary reality.
compositional basis The plots of many epics are antithetical: the hero is sharply opposed to his opponent ("Ilya Muromets and Kalin Tsar", "Dobrynya Nikitich and the Serpent", "Alyosha Popovich and Tugarin"). Another main device for depicting the hero's feat and epic situations in general is, as in fairy tales, tripling. Unlike fairy tales, epic plots can unfold not only following the actions of the protagonist: the storyline can consistently move from one character to another ("Ilya Muromets in a quarrel with Prince Vladimir", "Vasily Buslaev and the Novgorodians").
Epic stories are built according to the usual, universal principle of construction epic works: they have a beginning, a plot of action, its development, a climax and a denouement.
The narration in the epic is conducted slowly, majestically. In the development of the plot, there are necessarily various and numerous repetitions that have both compositional and stylistic significance.
Slowness of action, or retardation (from Latin retardatio - "slowdown, delay"), is achieved by tripling episodes, repeating common places, speeches of heroes (sometimes with a consistent denial of what was said). So, in the epic "Volga and Mikula" three attempts are depicted by the prince's squad to pull the bipod from the dugout, Shake out the dugout from the omeshikov, Throw the bipod behind the willow bush; in the epic "Three trips of Ilya Muromets" the hero's test of three roads is shown .. When common places began to be repeated within one epic, they were included in the slowdown system.
Definition of historical songs. Features of displaying historical time in them. The content of historical songs of the XVI-XVIII centuries.
In their totality, historical songs reflect history in its movement - in the way that the people realized it. In the plots of the songs, we are confronted with the results of the selection of events, as well as with different aspects their lighting.
In the XVI century. classical samples of historical songs appeared.
The cycle of songs about Ivan the Terrible developed the theme of the struggle against external and internal enemies for the strengthening and unification of the Russian land around Moscow. The songs used the old epic traditions: the organization of their plots, narrative techniques, and style were largely borrowed from epics.
At the same time, the song image of Ivan the Terrible, unlike the heroes of the epic, is psychologically complex and contradictory. Comprehending the essence of royal power, the people portrayed Grozny as the organizer of the state, a wise ruler. But, as it was in reality, the king is quick-tempered, angry and recklessly cruel in anger. He is opposed to any reasonable person who bravely pacifies the anger of the king and prevents his irreparable act.
The song "The Capture of the Kazan Kingdom" describes the events of 1552 quite close to reality. The people correctly realized and displayed the general political and state meaning of the conquest of Kazan: this major victory of the Russian people over the Tatars put an end to their domination. The campaign was organized by the king. Having laid siege to Kazan, the Russians made a dig under the city wall and laid barrels of gunpowder. At the estimated time, there was no explosion, and Grozny became inflamed, suspected treason and conceived gunners to be executed here. But a young gunner stepped out of their midst, who explained to the king why the explosion of the fortress wall was delayed: the candle left on the powder kegs underground had not yet burned out (That the candle burns faster in the wind, And in the ground, that candle goes quieter ). Indeed, soon there was an explosion that raised high mountain and scattered the white stone chambers. It should be noted that the documents do not say anything about the clash between Grozny and the gunner - perhaps this is a folk fiction.
The fight against treason became the main theme of the song about Ivan the Terrible's anger at his son (see "The Terrible Tsar Ivan Vasilyevich"). As is known, in 1581 the tsar killed his eldest son Ivan in a fit of rage. In the song, the tsar's anger falls on his youngest son, Fedor, who is accused of treason by his brother Ivan.
This work reveals the dramatic era of the reign of Ivan IV. It is said about his reprisals against the population of entire cities (those where he brought treason), the cruel deeds of the oprichnina are depicted, creepy pictures mass persecution of people
Regarding the marriage of Grozny to the Circassian princess Maria Temryukovna, a parody "Song of Kostryuka" was composed. Kostruk, the king's brother-in-law, is depicted hyperbolically, in an epic style. He boasts of his strength, demands a duel. But in fact, he is an imaginary hero. Moscow wrestlers not only defeat Kostrkzha, but also, having taken off his dress, make him a laughing stock. The song is composed in the style of a cheerful buffoon. Its plot is most likely fictional, since there is no historical evidence of the struggle of the royal brother-in-law with Russian fist fighters.
There are a number of other historical songs about Ivan the Terrible and his time, varied in subject matter: "The Raid of the Crimean Khan", "Ivan the Terrible near Serpukhov", "Defense of Pskov from Stefan Batory", "Ivan the Terrible and a good fellow", "Terek Cossacks and Ivan Terrible".
The cycle of songs about Yermak is the second large cycle of historical songs of the 16th century.
Ermak Timofeevich - the Don Cossack ataman - deserved the wrath of Ivan the Terrible. Fleeing, he goes to the Urals. At first, Yermak guarded the possessions of the Stroganov breeders from the attacks of the Siberian Khan Kuchum, then he began a campaign into the depths of Siberia. In 1582, Yermak defeated the main forces of Kuchum on the banks of the Irtysh.
"Song of Yermak" depicts a difficult and long haul his detachment along unknown rivers, the fierce struggle against the Kuchum horde, the courage and resourcefulness of the Russian people. In another song - "Ermak Timofeevich and Ivan the Terrible" - Yermak appeared to the tsar with a confession. However, the royal princes-boyars, Duma senators persuade Grozny to execute Yermak. The king did not listen to them.
Yermak is a truly folk hero, his image is deeply embedded in folklore. Breaking chronological framework, later historical songs attribute campaigns to Kazan and Astrakhan to Yermak, turn him into a contemporary and accomplice of the actions of Razin and Pugachev.
So, the main idea of the historical songs of the XVI century. - unification, strengthening and expansion of Muscovite Rus'.
In the 17th century song cycles about the Time of Troubles and about Stepan Razin were composed.
The cycle of songs about the "Time of Troubles" reflected the acute social and national struggle of the late XVI - early XVII V.
After the death of Ivan the Terrible (1584), his young son Tsarevich Dimitri (born in 1582), together with his mother Maria Naga and her relatives, was sent by the boyar council from Moscow to Uglich. In 1591, the prince died in Uglich. After the death of Tsar Fyodor Ivanovich in 1598, Boris Godunov became Tsar.
In 1605 Boris Godunov died. In the summer of the same year, False Dmitry I (Grishka Otrepyev) entered Moscow. Folklore has preserved two lamentations of the daughter of Tsar Boris, Ksenia Godunova, whom the impostor tonsured to a monastery: she was carried through all of Moscow, and she lamented (see "Lament of Ksenia Godunova"). The fact that Xenia is the daughter of a tsar hated by the people did not matter to the idea of the work; the only important thing was that she was cruelly and unfairly offended. Sympathy sad fate the princess was at the same time a condemnation of the impostor.
The cycle of songs about Stepan Razin is one of the largest. These songs were widespread in folklore - much wider than those places where the movement of 1667-1671 unfolded. They lived in popular memory for several centuries. Many, having lost their confinement to the name of Razin, entered a wide circle of robber songs.
The songs of the Razin cycle are diverse in content. They go through all stages of the movement: Razin's robbery voyage with the Cossacks along the Caspian (Khvalynsk) Sea; peasant war; songs about the suppression of the uprising and the execution of Stepan Razin; songs of the Razintsy, hiding in the forests after the defeat. At the same time, almost all of them are lyrical, plotless by genre. Only two songs can be called lyrical: "Razin's son in Astrakhan" and "The Astrakhan governor (governor) was killed."
The songs of the Razin cycle were created mainly in the Cossack environment and in many ways expressed the inherent Cossack creativity ideals of struggle and freedom. They are deeply poetic. Stepan Razin is portrayed in them by means of folk lyrics: he is not an individualized, but a generalized hero, embodying traditional ideas about male strength and beauty. There are many images from the natural world in the songs, which emphasizes their general poetic atmosphere and emotional intensity. This is especially evident in the songs about the defeat of the uprising, filled with lyrical repetitions and appeals to nature.
Starting from the XVIII century. historical songs were created mainly among soldiers and Cossacks.
The cycle of songs about Petrovsky time tells about various events of this period. Songs related to wars and military victories of the Russian army come to the fore. Songs were composed about the capture of the fortress of Azov, the cities of Oreshka (Shlisselburg), Riga, Vyborg, and so on. They expressed a sense of pride in the successes achieved by the Russian state, glorified the courage of Russian soldiers. New images appeared in the songs of this period - ordinary soldiers, direct participants in the battles
It should be noted that in most of the songs the soldiers speak of military leaders with respect and even admiration. Field Marshal B.P. Sheremetev (Sheremetev and the Swedish Major, etc.) was especially popular among the soldiers. Heroic romance is fanned by the song image of the ataman of the Don Cossack army I. M. Krasnoshchekov ("Red-cheeked in captivity").
In the songs of Petrovsky time important place occupies the theme of the Poltava battle. The people understood its importance for Russia, but at the same time they realized at what cost the victory over the army of Charles XII
The idealized image of Peter I himself occupies a large place in historical songs. Here, as in the legends, his active nature, closeness to ordinary warriors, and justice are emphasized. For example, in the song "Peter I and the Young Dragoon" the tsar agrees to compete with a young dragoon of about fifteen
The cycle of songs about the Pugachev uprising is a relatively small number of texts recorded in the Urals, in the Orenburg steppes and in the Volga region from the descendants of participants or eyewitnesses of the events of 1773-1775. It is necessary to emphasize its connection with the Razin cycle (for example, the song about the "son" of Stepan Razin was completely dedicated to the name of Pugachev). However, in general, the attitude towards Pugachev in the songs is contradictory: he is seen either as a tsar, or as a rebel.
During the Pugachev uprising, General-in-Chief Count P.I. Panin was appointed commander-in-chief of the troops in the Orenburg and Volga regions. On October 2, 1774, in Simbirsk, he met with Pugachev, who had been captured and brought there.
The popular response to this event was the song "The Trial of Pugachev" (see in the Reader). The song gives its own interpretation of the meeting, filling it with a sharp social meaning. Like the heroes of robber folklore (see, for example, the lyric song “Don’t make noise, mother, green oak tree ...”), Pugachev speaks proudly and courageously with Panin, threatens him and this terrifies him (Count and Panin emitted, knocked his hands together ). Even chained, Pugachev is so dangerous that all Moscow senators cannot judge him.
Songs about the Pugachev uprising are known among different peoples of the Volga region: Bashkirs, Mordovians, Chuvashs, Tatars, Udmurts.
25. Folk ballads: definition, content, poetics.
Folk ballads are lyrical songs about tragic event. Ballads are characterized by personal, family and household themes. Ideological orientation ballads is associated with folk humanistic morality. At the center of the ballads are moral issues: love and hatred, loyalty and betrayal, catharsis brightening the soul (from the Greek katharsis - "purification"): evil wins, innocently persecuted heroes die, but when they die, they win a moral victory.
The manner of performing ballad songs - both solo, and choral, and recitative, and sung, - depending on local tradition. The classical ballad has a tonic verse, no chorus and no strophic rhyme. Its shape is close to historical songs and spiritual verses.
Ballads have many features that bring them closer to others. song genres, so the question of text selection folk ballads difficult. In the oral tradition, some lyrical-epic songs or their variants form a peripheral zone, i.e., according to their characteristics, they can be attributed to different genres. In many cases, the same works can be classified as a ballad, as well as a historical song, a spiritual verse, even an epic.
mythological ballad - classic ballad - new ballad
The plots of mythological ballads were built on an archaic ideological basis. The classical ballad firmly linked its content with feudal life. As D. M. Balashov emphasized, "the ballad was one of the leading song-epic genres of the Russian Middle Ages of the post-Mongol era (XIV-XVII centuries)" . "... The period of serfdom is especially richly represented; it can be considered that the 17th and 18th centuries are the period of the most intensive composition and design of ballads; the second half of the 19th century (especially the end of the century) is already translating ballads into romances
The content of the folk classical ballad is always drawn to the theme of the family. The ballad is concerned about the moral side of the relationship between fathers and children, husband and wife, brother and sister, daughter-in-law and mother-in-law, stepmother and stepdaughter. Mutual love the guy and the girl should also have a moral basis: the desire to create a family. Encroachment on the honor of a girl, abuse of her feelings is immoral.
In the plot of the ballad, evil triumphs, but the theme of repentance, an awakened conscience, is important. The ballad always condemns the atrocity, sympathetically portrays the innocent persecuted, laments the dead.
The power of the artistic impact of ballads lies in the art of depicting the tragic. The plot is concentrated on the conflict, freed from details. It can have an open course of action (immediately begin with a message about the fact of a crime), or it can be built as a predicted fatal outcome or as a tragic recognition. The narrative motifs of the ballads poetically reproduced the events that took place or could take place in reality. Along with this, motifs with wonderful content are known - trace mythological ballad(the artistic function of the miraculous was to expose the crime, to affirm justice). A feature of the ballad is the rapid development of the plot and much less than in the epic, the use of means of slowing down the action. The ballad is characterized by discontinuity of presentation. Often the ballad uses build-up repetition, which exacerbates the tension and brings the dramatic denouement closer. Sometimes the ballad consists almost entirely of dialogue (for example, the children's questions about the missing mother and the father's evasive answers).
Ballads use epithets, symbols, parables, hyperbole and other stylistic means.
Lyrics - a poetic kind of oral artistic creativity. In folk lyrics, word and melody (singing) are inseparable. The main purpose of lyrical songs is to reveal the attitude of the people through the direct expression of their feelings, thoughts, impressions, moods.
Any person knew lyrical non-ritual songs - one more, the other less - and performed them in moments of joy or sadness. Singing was traditional musical accompaniment. There were solo and polyphonic songs.
Since ancient times, Russians have developed a tradition of singing in chorus - at gatherings, at parties, at a wedding, in a round dance. The choirs were female, male and mixed, of the elderly and youth. Each choir, each age group had its own repertoire. It could change due to a change in the situation (for example: the end of a peaceful life - the beginning of a war, a period of war, again peace). Often, thanks to the choir, the songs were widely disseminated.
In any choir, the most gifted singers stood out, who were the main guardians, performers, and sometimes songwriters.
Extra-ceremonial lyrics reflected the everyday atmosphere of the people's life in the era of feudalism. It was significantly different from ritual poetry with its ancient mythological content, it was more realistic.
Peasant lyrics captured the most important aspects of people's life. A significant part of the repertoire consisted of love songs. Their heroes - a red maiden and a good fellow - are depicted in different typical relationships. The situation of the song could be happy, joyful (dating scene) or sad (separation, quarrel, betrayal). The experiences of the characters were conveyed through external images.
Dramatic collisions of family life received detente in comic and satirical songs. Their heroes are a fastidious bride, a lazy wife, a negligent cook, a woman who cannot spin and weave (Dunya the fine spinner), as well as her mother-in-law and her sons-in-law, stupid and unable to perform men's work Foma and Yerema ... In comic songs, the young woman is self-willed: she goes out into the street to amuse the young man; she spends the night in a meadow, under a crayfish bush, where two daring young men amuse her with their songs.
Separate comic songs could be danceable, if this was facilitated by their fast, perky melody ("Oh, you, canopy, my canopy ..."). However, the most famous dance songs - "Lady" and "Kamarinskaya" - had a short, undeveloped text
Unusually poetic folk songs of social content - robbers and soldiers.
Robber songs appeared in the 16th-17th centuries, during the peasant uprisings against serfdom. Those who managed to escape from their masters created gangs and began to lead a life of robbers. The songs created in their environment revealed the image of a daring robber - a man of courage, freedom-loving and devoted. He can accept death, but will not betray his comrades.
Soldier songs began to be created with late XVII c., when Peter I introduced compulsory military service, first for life, and then for a period of 25 years. Soldiers' songs came into contact with historical songs, depicting the wars of the 18th-19th centuries, in which Russia participated. These songs express the patriotism of Russian soldiers, a complete renunciation of personal life (for them, houses are steep mountains, farmsteads are wide expanses, wives are loaded guns, bayonets are attached ...). The main thing in soldiers' songs is the depiction of psychology simple soldier. The songs generally reproduced his entire life path: recruiting; service to the sovereign and deep longing for home, for his father, mother and young wife; finally, death from wounds in an open field.
The poetics of peasant lyrical songs is common to all thematic groups.
Psychological parallelism is a comparison of a human image and an image from the natural world on the basis of an action or state.
The composition of the song text was subordinated to the disclosure of its meaning, which consisted in the transfer state of mind person.
Sometimes a repetition of the song plot was used, while, as in cumulative tales, one or more elements were replaced.
Song endings, and sometimes beginnings, could express a generalizing judgment. In the composition of folk lyrical songs, the method of chain construction was sometimes used, based on poetic associations between images. Various repetitions occupied a large place in folk lyrics, manifesting themselves at all levels: in composition, in verse, in vocabulary. Song vocabulary knows tautological repetitions (dark dungeon, a wonderful miracle, paths are trailing, a jet streams, you live and live) and synonymous (path-path; sadness-sadness-longing; swore to him, swore; sleeps, dozes; knocks, rattles; thoughtful, pissed off). Lexical repetitions enhanced the artistic impact of the song and deepened its idea. They could be combined with syntactic repetitions related to song rhythm, to verse.
Double epithets are very expressive: the young-gray eagle, dear friend, the young-clear falcon, the bitter-bitter gray cuckoo, the new-high tower, the white-thin tent, the white-silk carpet, the golden-wonderful cross, and often the willow bush , gray-flammable pebble.
Comparisons were used in the songs (Shavings are equipped, like an arrow, flies); hyperbole (I will drown the whole garden with bitter tears, I will dry the whole garden with heavy sighs), diminutive suffixes. Special artistic means had dance, comic and satirical songs.
The poetics of traditional peasant lyrics is rich and varied. However, in each particular song, the use of techniques and means was strictly regulated by the principle of sufficiency. IN folk songs there are no poetic excesses, everything in them is subject to artistic harmony, a sense of proportion and proportion, corresponding to simple, but sincere and deep movements of the soul
Lesson type: combined.
Lesson goals.
- Give the concept of the division of epics into two cycles.
- Find out the reasons for the direction of separation.
Educational:
- Expanding students' horizons.
- Work on the culture of speech.
- Education of aesthetic feelings in students.
Equipment: blackboard, map of Rus' XI-XII centuries. , illustrations for epics.
Lesson method: explanatory and illustrative.
LESSON PLAN.
1. Organization of the class (2 min.)
2. Lecture (30 min.)
3. Fixing the material (10 min.)
4. Homework(3 min.)
DURING THE CLASSES
1. Organization of the class before the lesson: give the task to read in advance and bring the texts of the epics to the lesson.
Organization of the class in the lesson: announcement of the topic, explanation of the goals and objectives of this lesson.
2. LITERATURE TEACHER: “The word “Epic” was used in folk speech in the meaning of a true story, the past, and entered literature as the name of Russian epic songs in the middle of the 19th century. They stopped writing epics XII century; although they were performed for many centuries. IN recent centuries epics were performed without musical accompaniment; in more ancient times, epics were read to the accompaniment of the psaltery. The performers were called storytellers, among the peasants they enjoyed special honor and respect. ” (footnote #1)
A HISTORY TEACHER. History has brought us several names, famous storytellers. So it is known that the storyteller T. G. Ryabinin (Kizhi), who went fishing, tried to lure each artel to him. P. N. Rybnikov, who wrote down the epics from this narrator, exclaimed: “And where did Ryabinin learn such masterful diction: each subject spoke in a real light, each word received its own meaning.” In the Ryabinin family, the skill of telling epics was passed down from generation to generation. Trofim Grigoryevich's son Ivan Trofimovich was also a famous storyteller. From latest art performance of epics was taken over by his stepson Ivan Gerasimovich Ryabinin - Andreev. In the 20-40s of our century, the son of Ivan Gerasimovich, Pyotr Ivanovich Ryabinin-Andreev, was widely known.
LITERATURE TEACHER: In fact, not every person could be a storyteller, but only people with a good memory. Since the literature of Ancient Rus' did not know poetic speech, it was necessary to memorize prose text, although it has a certain rhythm. The stress fell on every third syllable. The narrator's speech flowed smoothly, but in right places(to attract attention) could become intermittent. The epic also has its own techniques that made it easier to memorize the text (I remind you that writing appeared in Rus' only in the second half of the 9th century, and even then only a select few knew it initially). These are repetitions, set expressions, chants, constant epithets (mother of cheese-earth, a beautiful girl, a good fellow), common places.
According to the content, the epics are divided into two cycles: Kiev and Novgorod. Moreover, the characters and the plots in them are very different. If the Kiev cycle tells us about the heroes - the defenders of the Russian land, then the Novgorod cycle told about merchants, trade and the so-called peaceful exploits. And if there were no historical explanation, then we would hardly be able to guess the reasons for this division.
A HISTORY TEACHER. Yes, indeed, history is very clear on this issue. But first, you need to explain a little the socio-political structure of Ancient Rus'. An integral state did not yet exist, it was at the stage of emergence. In the meantime, each city was a kind of specific principality, had its own ruler, its own army. The most powerful, developed cultural centers of that time were Kyiv and Novgorod. Hence, there are two directions in the creation of epics. The content of the epics reflects the life of these cities. And if we carefully examine the map of Ancient Rus' at the end of the 11th - 12th centuries, we will see that Novgorod was or was located inside the country and was protected by Russian cities from almost all sides. This means that he fought less and more time was left for the development of peaceful crafts and trade. Kyiv, on the other hand, was located on the very border and was forced to constantly repel the attacks of external enemies: the Pechenegs, Mongols, Tatars and Khazars, Polovtsy. Therefore, the heroes Kyiv cycle- wealthy. (see Appendix No. 1,2).
LITERATURE TEACHER: “In general, the word hero entered our lives as a measure of people's assessment in the boundless manifestation of their capabilities and best qualities. Heroes of epics show their heroic qualities in military exploits in the name of protecting their native land. The epic enemy attacking Rus' is always cruel and cunning, he intends to destroy the people, their statehood, culture, shrines. So, Sokolnik, heading to Kyiv, threatens:
I will lower the cathedral churches into smoke,
I'll print more books in the mud,
Wonderful images - icons on a float of water,
I will boil the prince himself in a cauldron,
I myself will take the princess for myself ...
Kalin is a king.
He wants to ruin the capital Kyiv - hail,
Blackie - he will knock out all the peasants ...
Tugarin.
He defiled Orthodox churches,
He trampled all the little children with his horse,
Tugarin captivated all merchants - guests. ”
HISTORY TEACHER: There are many testimonies about the cruelty of the enemies who attacked Rus'. They spared neither children, nor the elderly, nor women. Cities were burned, often along with people. There is a legend that when Ryazan was attacked by enemies, the princess, together with her little son, rushed down from the fortress wall so that he would not be captured by
Polovtsy.
LITERATURE TEACHER: But the heroes stand guard over Kyiv, the Russian land: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, who defeat Tugarin, and the Serpent, and the Nightingale - the robber. Ilya, along the way, also arranges a road: with one hand he tears up trees by the roots, and with the other he bridges bridges. This, of course, is hyperbole, but still it is worth remembering the original routes of communication in Ancient Rus' - only along the rivers - in order to appreciate the greatness of such a thing. Every battle of a hero ends with his victory over the enemy, but a long series of epics shows the continuity of such battles and the appearance of more and more new heroes.
HISTORY TEACHER: “The epics reflected the difficult process of formation and survival of the Ancient Russian state, which for many centuries fought off nomadic raids Eastern peoples. In this struggle, the historical consciousness of the Eastern Slavs and the consciousness of the unity of the Russian land were formed.
Epics of the Kyiv cycle know the only prince - Vladimir. The connection of the epic Vladimir with the Kyiv prince Vladimir Svyatoslavovich (980 - 1015 - years of reign) is beyond doubt. By the end of the 10th - beginning of the 11th centuries, the Old Russian Kievan state reached its peak. Under the rule of Kyiv were, with few exceptions, all the East Slavic tribes, as well as some non-Slavic along the Volga, Oka, Novgorod land. Kievan Rus is one of the strongest states in Europe. The activities of Vladimir Monomakh (1113 - 1125) also helped to consolidate the name of the prince. The epic Dobrynya Nikitich also has a historical prototype - this, who lived at the end of the 10th - beginning of the 11th centuries, was the uncle of Prince Vladimir Svyatoslavovich by mother, his associate in military and political affairs. At least two epics “The Marriage of Vladimir”, “Dobrynya and the Serpent” are associated with real events the last quarter of the 10th century - by marriage Kyiv prince on the Polotsk princess Rogneda (980) and the introduction of Christianity in Rus' (988). ”
LITERATURE TEACHER: but it would be wrong to mistake an epic world for an ideal one. The inner world of epics is always a world of confrontation between good and evil, light and dark forces. Even those few epics that end with the death of heroes, nevertheless, affirm their moral victory. The wide epic world is bright and sunny until it is in danger. In general, in epics there is no natural alternation of the seasons, the change of weather only accompanies the invasion of hostile forces. Then black clouds, fog, a thunderstorm are approaching. The sun and stars fade from countless enemy hordes:
From one or another from a pair of horses,
From that of the human spirit
And the red sun faded,
The father died, the bright moon,
Lost and frequent stars,
The stars are frequent and the dawns are clear.
But all this is in the Kiev cycle of epics, the Novgorodians also had to fight off the attack of foreign conquerors - the Swedes and Germans, participate in all-Russian military campaigns and internecine wars, however, in the small Novgorod cycle of epics, the military affairs of the Novgorod heroes are not told. The main characters of the Novgorod cycle are: Sadko, Vasily Buslaev, Stavr Godinovich. And the last thing is interesting. Movies very often show us merchants as fat, clumsy people, incapable of anything other than counting money. What really happened?
HISTORY TEACHER: in fact, merchants not only owned ships (remember that in Rus' there were mainly waterways). One of these paths was the so-called path "from the Varangians to the Greeks." Between Novgorod and Kiev lay hundreds of kilometers of difficult path.
While the plows were sailing along the Lovat River, there was still nothing to complain about fate, but this is how the land of Smolensk began - here were the first portages. Wooden rollers on each ship were prepared ahead of time, and plows were placed on them. On them they rolled on dry land from water to water. Here then wait for the attack from the robbers. And if the squad falters, the goods are gone and people are ruined. Therefore, Slavic merchants did not have to take courage and military art. When they moved to the Dnieper, all in the same Smolensk land, it became easier.
And finally, the capital city of Kyiv, here the first half of the journey “from the Varangians to the Greeks” ended. Caravans of merchants gathered here to be sent to Constantinople. But that's a topic for another lesson.
LITERATURE TEACHER: before we start talking about the poetics of the epic, let's check what you managed to remember.
- What did the word bylina originally mean?
- By what time did epics cease to be created?
- What were the performers called?
- How many and what cycles were the epics divided into?
- What is the content of the epics of the Kyiv cycle?
- What is the content of the epics of the Novgorod cycle?
- Which heroes of this cycle do you know?
- What do epics have in common?
Used Books:
- Sergey Boyko “In the magical Pushkin country”, Moscow - Stavropol 1999, pp. 127 - 130.
- Library of Russian Folklore, volume of Bylina, Moscow “ Soviet Russia” 1988, pp. 5 – 24.
Saint Petersburg State University
economy and finance
General Economic Faculty
Department of the Russian language
Report on the topic:
"Epics"
Performed
2nd year student
Groups No. 229
Ivanova Julia
Saint Petersburg
Introduction.
Epic classification.
History and discovery of epics.
Cycles of development of epic creativity.
Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich.
Conclusion.
Bibliography.
Introduction.
Of course, it is difficult to imagine a person who would not know what epics are and have not read at least one of them. However, most often people have a very general idea about epics, and often erroneous. We get acquainted with epics from books, therefore we consider them literary works, but this is not so. The creator of epics is the people; epics do not have authors, like works of fiction.
Oral folk art arose in the pre-literate period and achieved significant success. The richness of oral language culture is captured in: songs, fairy tales, riddles, proverbs. A significant place is occupied by calendar language poetry, based on a pagan cult: incantations, incantations, ritual songs.
For many generations, the people created and kept a kind of "oral" chronicle in the form of epic tales about the past of their native land. The 10th century saw the emergence of a new epic genre- epic epic, which was the pinnacle of oral folk art.epics - This oral works about the past. Epics were spoken in a singsong voice, often accompanied by harpists, to the sound of strings. The epic got its name from the word “reality” that is close in meaning. This means that the epic tells about what once happened in reality. The source of every heroic song was some historical fact. But this does not mean that everything is true in the epic, in the epic, as in folk tale, a lot of fiction. The presence of inaccuracies and inventions may be due to the fact that for a long time epics were transmitted only orally, were recorded from folk storytellers, often illiterate, who accepted them according to tradition from previous generations. The storytellers performed epics from memory, as they heard from their ancestors.
Epics were recorded only on the territory of Russia, mainly in the North and Siberia. In the southern regions - in the Volga region and on the Don - they turned out to be in a greatly altered and dilapidated form. Meanwhile, it should be assumed that the main number of plots was created within the Kievan state, that is, in those places that are depicted in them. But on the other hand, epics were not found on the territory of Ukraine. There are no Ukrainianisms in their language either.
In epics, as a rule, not a single fact is reflected, but many phenomena of historical life. Bylevoy epic summarizes the historical experience of the people, speaks of their heroic struggle for the independence of the state, without focusing on the description of any one battle or any one event. For example, let's take the epic "Ilya Muromets and Kalin Tsar." Documents do not confirm the historicity of either Ilya Muromets or the Tatar king Kalin. It is also impossible to establish which particular event is captured by the epic. IN this work summarized the entire experience of the struggle of our people with foreign invaders. Ilya Muromets is a generalized image of the Russian warrior, as well as Kalin Tsar - a generalized image of the conqueror Tatar Khan.
Epic classification.
From the point of view of content and genre features, epics can be divided into a number of species groups:
A large group is heroic or heroic epics. All these epics are devoted to the theme of defending the Motherland, they tell about the exploits of heroes-heroes. (Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Vasily Ignatiev, Mikhail Danilovich, Sukhman, Vasily Kazemirovich, Svyatogor and others.).
Another group is made up epics-short stories (social), usually telling about the everyday and social life of the people (epics about Sadko, Vasily Buslaev, Duke Stepanovich, Nightingale Budimirovich, etc.).
A special group is epics-ballads in which the phenomena of social life or historical events are given in the form of dramatic incidents in the personal lives of people (“Prince Roman lost his wife”, “Prince Dmitry and his bride Domna”, “Vasily and Sophia”, etc.).
A small group includes epics of fairy-tale content("Sunflower Kingdom", "Vanka Udovkin and Son", "Untold Dream", "Zhdan - Tsarevich", "Merchant's Daughter and Tsar").
Another small group is epics that arose on the basis of legends and historical songs about eventsXVI- XVIIcenturies(“Rakhta Ragnozersky”, “Butman and Tsar Peter Alekseevich”, and others).
The sixth group is epics of a parodic nature. In these epics, people who perform far from heroic deeds are ridiculed in a paradox-comic form (“Agafonushka”, “Ancient about an ice floe”, various fables).
Thus, epics - This special kind Russian folk epic songs of historical content about the protection of Ancient Rus' and the social life of our people.
History and discovery of epics.
The discovery of the living existence of epics happened by chance. As it turned out, by the middle of the 19th century, the oral performance of epics was preserved only in the north of our country - in Zaonezhye, in villages located along the coast of the White Sea, along the rivers Pinega, Mezen and Pechora.
In the late fifties of the XIX century, P.N. Rybnikov was exiled to the Olonets province. In the summer of 1860, on official business, P.N. Rybnikov made a trip to the cities and villages located around Lake Onega. Once he and his companions stopped on the deserted island of Onega - Shui-navolok. It was here that he was lucky to hear epics. There was a house where travelers take shelter for the night. Since there were a lot of people in it and it was too dirty, P.N. Rybnikov lay down on a sack near the fire in the street. Through his drowsiness, he heard a lively and bizarre melody and saw that several peasants were sitting not far from him, and a gray-haired old man was singing. P.N. Rybnikov persuaded the peasant to repeat what he had sung and wrote it down from his words. This old man's name was Leonty Bogdanovich, and the epic was about Sadko the merchant. P.N. Rybnikov later said: “I later heard a lot of rare epics, I remember the ancient excellent tunes; their singers sang with an excellent voice and masterful diction, but to tell the truth, I never felt that fresh impression that bad versions of epics made, sung by the broken voice of old Leonty on Shui-navolok. P.N. Rybnikov, with the help of correspondents, managed to write down about two hundred epic texts.
But it would be wrong to say that the history of epics begins in the middle of the 19th century, it is rooted in ancient times. For example, the chronicle legend about Kozhemyak, the story about the campaign against Constantinople, "The Tale of Igor's Campaign" and other works of early Russian literature are a retelling of ancient epics.
In the second half of the 19th century, various collectors recorded epics in other regions of the country: in Western and North-Eastern Siberia, in some regions of the central regions, among the Cossacks of the Urals, Terek and Don. However, such epic wealth, as in the north, could not be found anywhere.
Despite the abundance of factual material (several thousand recorded versions of epic stories), science still cannot give a definite answer to the question of the origin and history of epics. There are several schools:
mythological school. It was formed in the middle of the XIX century. F.I. Buslaev, O.F. Miller and others believed that epics, like all folk art, developed during the distant gray-haired antiquity on the ancestral home common to all Indo-European peoples - in ancient India in prehistoric period the lives of peoples. From their point of view, epics are distorted remnants of ancient myths (hence the name of the school).
School of borrowing (comparative, comparative). It was formed almost simultaneously with the mythological one. A.N. Veselovsky, V.V. Stasov, M.E. Khalansky, N.G. Potanin and others believed that Russian epics were not originally Russian by origin, but were borrowed from the peoples of the East and West.
historical school. It was formed at the end of the 19th century. V.F. Miller, M.N. Speransky, A.V. Markov, S.K. Shambinago and others believed that Russian folk art (mainly epics) are a reflection of the history of the people. But in their research, they artificially tried to connect any epic with a specific historical event. They also believed that epics were created only in an educated, cultural environment, i.e. in the ancient Russian aristocracy. But the poetic talent of people is not directly dependent on their literacy. On the question of when the epics took shape, the supporters historical school there was no unanimity of opinion. Most of them - V.F. Miller, M.N. Speransky, A.V. Markov and others - believed that epics were formed back in Kievan Rus. And other researchers - S.K. Shambinago, A.V. Pozdneev - believed that epics were formed not earlier than the 16th-17th centuries.
It is hardly correct to associate the origin of epics with any period. However, for the most part, the action usually takes place during the period of the highest flowering of Kievan Rus. But there are epics that tell about the life of subsequent and even previous historical stages.
Cycles of development of epic creativity.
V. G. Belinsky singled out the Kiev and Novgorod cycles in Russian epics. He established that in the Russian epic there is a group of epics, united by a number of important features.
Kyiv cycle.
The general features of the epics of the Kyiv cycle are as follows: the action takes place in Kyiv or near it; in the center stands Prince Vladimir Svyatoslavovich (978-1015); the main theme is the protection of the Russian land from the southern nomads; historical circumstances and life depicted in epics are characteristic of Kievan Rus; events and enemies of the Russian land in these epics - the pre-Mongolian period; Kyiv is glorified as the center of Russian lands: from Murom, Rostov, Ryazan, Galich, bogatyrs go to serve in Kyiv. In the IX-XI centuries. Kyiv reached a high prosperity and power; he played important role in the fight against the Pechenegs and Polovtsy, blocking their way to the northern Russian lands.
According to most researchers (D.S. Likhachev, V.I. Chicherov, etc.), the appearance of epics about heroes, such as Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Mikhailo Potyk, can be attributed to the Kyiv period. These epics are characterized by the mythological principle of typification of images, since the images of enemies depicted not real people, but some kind of monsters (Nightingale the Robber, Serpent Gorynych, Pogany Idolische, etc.).
The main theme of the epics of the Kyiv cycle was the theme of the fight against foreign invaders, the idea of the unity and greatness of Rus'.
Novgorod cycle.
From the second half of the 11th century Kievan state begins to disintegrate into a number of feudal principalities. In this regard, regional epic cycles begin to form. These epics reflected social contradictions, since the feuds of the princes were alien to the working people, and in response to oppression, the people rose up in revolts. So, a peculiar epic cycle arises in the Novgorod principality (epics about Sadko, about Vasily Buslaev, etc.) and in Galicia-Volynsky (epics about Duke Stepanovich, about Churil, etc.). The meaning of the epics about Sadko, as Belinsky wrote, is "the poetic apotheosis of Novgorod as a trading community." The image of Vasily Buslaev belongs to the number best creatures Russian epic. In the conditions of the Russian Middle Ages, the image of a free-thinking and courageous person who believed only in his own strength could not but arouse popular sympathy.
There are several more stages in the development of epic creativity:
Period of feudal fragmentation (XII- XVcentury). Public life This time is characterized mainly by the struggle of the people against the Tatar enslavers. And it is natural that the epics mainly reflected the theme of the fight against foreign invaders, there was a rethinking of the previously emerged epics, filling them with new content: “Ilya Muromets and Kalin Tsar”, “Ilya Muromets and Batyga” (Batu), “Kama Battle”, Vasily Ignatiev ”, “Dobrynya Nikitich and Vasily Kazimirovich” and others. But in these epics, the action is timed to coincide with the time of Kievan Rus.
The period of strengthening the Russian centralized state (XV- XVIcentury). During this period, local epic cycles are combined into one all-Russian. Moscow, along with Kiev, becomes a symbol of Russian statehood. So, in the epic about the battle of Ilya Muromets with his son, who arose back in Kievan Rus, the great hero is already on the defense of the “Glorious mother of stone Moscow”.
The period of late feudalism (XVII- XVIIIcentury). This is the time of strengthening the feudal monarchy and strengthening the oppression of serfs. Therefore, the epic epic reveals the growth of the class self-consciousness of the people, there is a theme of hatred for ruling classes. This manifested itself, first of all, in the image of Prince Vladimir. Initially, he was, apparently, positive, but now he has become the personification of everything negative (anger, contempt for the people, treachery, self-interest, cowardice, etc.). Epics of the period of late feudalism: “Ilya and the barren tavern”, “Ilya Muromets on the Falcon-ship”, “Dobrynya and Marinka” and others. It is also believed that epics of fairy-tale content arose no earlier than the 18th century on the basis of the processing of fairy-tale plots. During this period, the replenishment of the epic repertoire with new plots ended.
Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich.
The most famous heroes are Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich,
Ilya Muromets.
The most beloved folk hero is Ilya Muromets. The largest number of epics are dedicated to him. The entire “biography” of the hero is contained in the epics: “Healing of Ilya Muromets”, “Ilya Muromets and Nightingale the Robber”, “Ilya Muromets and Idolishche”, “Fight of Ilya Muromets with his son”, “Ilya Muromets and Kalin Tsar”, “Ilya Muromets and goli tavern”, “Quarrel of Ilya Muromets with Prince Vladimir”, “Ilya Muromets on the Falcon-ship”, “Three trips of Ilya Muromets” and others. This image of Ilya Muromets did not develop immediately, but gradually over the long creative life of our epic.
In epics, Ilya Muromets protects native land, drives out the hordes of Tatar conquerors, cracks down on robbers, serves the people. Ilya Muromets is the ideal image of a hero. This is a hero of mighty strength, which gives him confidence and endurance. He has a sense of dignity, which he will not give up even before the prince. He is the defender of the Russian land, the defender of widows and orphans. He hates the "boyars with a belly," he tells everyone the truth in person. He forgets the insult when it comes to the trouble hanging over his native land, he calls on other heroes to stand up for not Prince Vladimir.
The ideal nature of the hero is manifested not only in the moral feeling that guides his actions, but also in the features of his appearance: Ilya is old and gray-haired, which is a sign of his wisdom and experience. 1
Many researchers of the epic wondered: who was the prototype of the Russian hero? The search for historical "prototypes" of the epic Ilya Muromets did not give any tangible results, in the annals and other historical sources there is no similar, at least in consonance, name. The only parallel with the Thunderer Ilya the Prophet was used by mythologists in their interpretations of the image of Ilya Muromets as a double “replacement” in the popular mind of the pagan god of thunder Perun: Perun - Ilya the Prophet - Ilya Muromets.
And, nevertheless, Ilya Muromets is the only hero of the Russian epic, canonized (Prince Vladimir Svyatoslavovich was also canonized, but not as an epic hero). IN Orthodox calendars to this day, December 19 is celebrated as "the memory of our reverend Ilya Muromets, who was in the twelfth century." 2 Moreover, there is one of the most irrefutable proofs of the reality of Ilya Muromets - his tomb in the famous Anthony Cave of the Kiev Caves Monastery, located next to the tombs of the first Russian chronicler Nestor, the first Russian icon painter Alympius and many other quite real historical figures of Kievan Rus, its ascetics and great martyrs.
Nikitich.
The second popular hero is Dobrynya Nikitich. He is an associate, a faithful comrade, the "cross brother" of Ilya Muromets. Several widespread epic stories are dedicated to him: “Dobrynya and the Serpent”, “Dobrynya and Vasily Kazimirovich”, “Dobrynya Nikitich and Alyosha Popovich”, “The Marriage of Alyosha Popovich to the Wife of Dobrynya Nikitich”, “Dobrynya and Marinka”. There are epics about birth and childhood, his marriage to the heroic polyanytsya, his acquaintance with Ilya Muromets, the conflict with Alyosha Popovich. The name of Dobrynina's mother is known - Amelfa Timofeevna, father - Nikita Romanovich; wife - Nastasya Mikulichna; aunt cross - Avdotya Ivanovna.
The image of Dobrynya Nikitich is one of the most charming and deep in the Russian epic. This is a true hero, always ready for a feat. He is where help is needed, ingenuity, intelligence and tact, the fight against heresy and deceit, loyalty and courage. He achieves his success thanks not only to strength, but also to other abilities: playing chess, archery, playing the harp, and the ability to deal with people ("knowledge").
Unlike Ilya Muromets, Dobrynya Nikitich has a very real historical "prototype" - this is the famous maternal uncle of Prince Vladimir Svyatoslavovich, the Novgorod mayor, and then the governor of Kiev Dobrynya, stories about which are in the "Tale of Bygone Years", and in other chronicles sources. But there is another version, according to which the epic Dobrynya is a collective image that has absorbed the features of many ancient Russian Dobrynyas. Researcher Yu.I. Smirnov notes that the annals connect at least seven Dobryn:
Dobrynya, the uncle of Vladimir I Svyatoslavovich, is mentioned several times in the information from the 10th century;
to the 11th century - Dobrynya Raguilovich, governor of Novgorod;
to the 12th century - the Novgorod posadnik Dobrynya, the Kiev boyar Dobrynka and the Suzdal boyar Dobrynya Dolgiy;
according to the XII - century Dobrynya Galichanin and Dobrynya Yadreykovich, Bishop of Novgorod.
The choice is quite large - almost four centuries, and theoretically it is impossible to exclude any of these "prototypes" or reduce all Dobryns to the first of them. Annalistic news has been preserved about each of these historical Dobryns, and literary works about some of them. Yu.I. Smirnov speaks about the times of pre-Mongol Rus, but even later, in the 15th-17th centuries, this name remained among the most common ancient Russian names. It should be borne in mind that it belonged to the number of "non-calendar" names, it could not be given at baptism. And this means that for all the Dobryns listed above, it was either the second - a pagan name received for certain qualities: kindness, beauty, greatness.
Alesha Popovich.
The third most important and popular hero is Alyosha Popovich. Epics tell about him: “Alyosha Popovich and Tugarin Zmeevich”, “Dobrynya Nikitich and Alyosha Popovich”, “Alyosha Popovich and the sister of the Zbrodovich brothers”.
The characteristic features of Alyosha are courage, determination and cunning. Although Alyosha is boastful and carefree, and sometimes imprudent, he is still a hero. He loves his homeland, is merciless to its enemies and is ready to sacrifice his life for its sake.
Conclusion.
Epics created by the Russian people are our national treasure, our pride and glory.
Bibliography:
Anikin V.P. "Russian heroic epic"
Chicherov V.I. "Epics"
Kalugin V.I. "Strings of Rokotahu ... Essays on Russian folklore"
Kravtsov N.I., Lazutin S.G. "Russian oral folk art"
Rybakov B. "Russian epics"
Yudin Yu.I. Heroic epics(poetic art).
1Yudin Yu.I. Heroic epics. Poetic art p.68
2Kalugin V.I. Strings of Rokotahu…Essays on Russian Folklore
(stariny) - heroic-patriotic songs-tales, telling about the exploits of heroes and reflecting the life of Ancient Rus' in the 9th-13th centuries; a kind of oral folk art, which is characterized by a song-epic way of reflecting reality. The main plot of the epic is some heroic event, or a remarkable episode of Russian history.
Epics expressed the high social and moral and ethical ideals of the people. The bogatyr and heroism possessed the power of an enticing life example. The epic was not only historical memory people, but also its dignity, intelligence, moral code. It always tells about the struggle of 2 principles: good and evil and about the victory of good. Among the epics, a group of the most ancient stands out. These are the so-called epics about the "senior" heroes associated with mythology. The heroes of these works are the personification of the unknown forces of nature associated with mythology. Such are Svyatogor and Volkhv Vseslavievich, the Danube and Mikhailo Potyk. In the second period of its history, the most ancient heroes were replaced by the heroes of the new time - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich.
The main classification of epics: epics of the Kyiv and Novgorod cycles.
Kyiv cycle of epics. Description of the images of the heroes Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich. Novgorod cycle of epics. Three stories about Sadko: Sadko gets rich, Sadko competes with Novgorod, Sadko with the sea king.
The epics of the Kyiv cycle reflected mainly the activities of the princely retinue class of Kievan Rus in wartime and peacetime. The main plots of the epics are as follows: 1) the military exploits of the heroes: a) in campaigns against enemies, to clear the roads, for tribute, to free Russian prisoners, b) in the fight against the filthy besieging Kiev, with the rapists who settled in Kiev and c) at the outpost of the heroic; 2) matchmaking of brides for Vladimir and the bogatyrs, and the matchmaking often ends in violence against the homeland of the brides and the removal of the latter to Kyiv, with their consent or against their will; 3) the daring of the heroes at the court of Vladimir, manifested in various competitions.
Epics of the Novgorod cycle are everyday (cases from the life of the inhabitants of a large trading city - Veliky Novgorod. The reasons are clear: the city and the veche republic formed around it have always occupied a separate place in life, and, therefore, in the culture of Rus'). The heroes of these epics were merchants, princes, peasants, guslars (Sadko, Volga, Mikula, Vasily Buslaev, Blud Khotenovich). Ovgorod bogatyrs, unlike the bogatyrs of the heroic cycle, do not perform feats of arms. This is explained by the fact that Novgorod escaped the Horde invasion, the hordes of Batu did not reach the city. However, Novgorodians could not only rebel (V. Buslaev) and play the harp (Sadko), but also fight and win brilliant victories over the conquerors from the West. The Novgorod cycle of epics that appeared in such circumstances allows us to look not at the fabulous feats of heroes, as in the epics of the Kyiv cycle, but at ordinary life. ancient city. Even the style of presentation and the plot of these songs are more reminiscent of bright and exciting "gossip" spread around the noisy city by buffoons and storytellers. That is why Novgorod epics are singled out among their "brothers", referring rather to the category of European short stories about urban life.
