The techniques of epic creativity are of a twofold kind: some of these techniques are homogeneous with the techniques used in oral lyrics, the other part is a feature of only bylina creativity.
From the point of view of the animistic worldview, nature is a society of living people. This society is interested people's affairs rejoices in their success. When is born mighty hero, nature responds to this event with extraordinary phenomena: at the birth of Volka-Volkh "the damp earth trembled, the kingdom of the Indians shook gloriously, and the blue sea shook ... The fish went to sea depth, the bird flew high into the heavens, tours and deer went over the mountains, hares, foxes through thickets, and wolves, bears through spruce forests, sables, martens through the islands ". When the hero sleeps, cools off and does not feel adversity over himself, the horse wakes him up and human language warns. With the invasion of Kilin the Tsar, the Dnieper ceases to flow in the old way: in the middle of it, a bloody trickle is visible. The Dnieper ceases to flow in the old way and in the epics about Sukhman, when the Tatar power appeared: the water with sand in it became cloudy; in the daytime, power bridges viburnum bridges on the Dnieper, and at night the Dnieper will dig out.
In connection with the animistic worldview there is a belief in fate, in predestination. Ilya is predicted that death in battle is not written for him, and he believes this; Svyatogor was predicted that he would marry a girl who had been lying in a dunghill for thirty years, and this prediction was being fulfilled.
Sometimes the fate of a person is revealed in prophetic dream. The king of the Turkish land (Indian) is talking with his queen Pantalovna: “Oh, you, Queen Pantalovna! Do you know about that, you know? In Rus', the grass does not grow in the old way, the flowers do not bloom as before ... But it is clear that Volga is not alive ... ". The queen answers him: "Ah, you, Tsar Turkish-Santal! And I know about it, I know: in Rus', the grass still grows in the old way, the flowers bloom as before. a small bird, and from the western side, a black raven bird flew in; they flew in an open field, fought among themselves; a small bird bird of a black raven pecked and plucked it by a feather, and let everything out into the wind. That is, Volga, sir Buslaevich, and what is black raven - Turkish-Santal". The dream comes true: Volga conquers the Turkish land and kills the Turkish Santal.
In connection with the animistic worldview, there is also a belief in the power of conspiracies. In the epics about Dobrynya and Marina, it is depicted how Marina speaks traces of Dobrynushkina. Ilya Muromets in epics about Kalina Tsar shoots an arrow at his godfather, having spoken it in advance. Ivan Godinovich, tied to a damp oak, prays that the arrow, which the Tatar rival was about to shoot at small pigeons, would fall not on the water or on the ground, but would return to the Tatar in his white chest; according to Ivan Godinovich, it happens.
PARALLELISM
The animistic worldview gave rise to one of the the most important tricks oral art, common to popular lyrics and the princely retinue epic, is precisely parallelism in its various forms.
There are many colorful comparisons and epithets in epics. The epithets here are special. They are called permanent because they are, as it were, attached to some concept. The earth is always damp, the stars are frequent, the field is clean. If we look closely at these constant epithets, then in them we will see a reflection of folk thoughts and feelings. The people love their homeland and their heroes. Therefore, Kyiv in epics is called a glorious city, and the hero - good fellow. But on the other hand, the storytellers of epics call enemies filthy, villains, dogs.
The people reflected especially brightly their lofty, noble thoughts and feelings in hyperbole, i.e. artistic exaggerations. For example, the enemy force at the walls of Chernigov is depicted as follows:
Nobody walks around here like infantry,
On a good horse no one rides here,
The black raven bird does not fly,
Let the gray beast not roam.
This hyperbole shows how great the power of the enemy is, but at the same time it emphasizes the power of Ilya Muromets, who "beat this great power."
In some epics, the indestructible strength of the hero in the battle with the enemy is depicted as follows: “Waving to the right (with his hand) - the street lies, to the left - the alley.” This is also hyperbole, and it shows the invincible power of the entire Russian people, just as the feats of many Russian heroes are depicted in the image of one hero.
If you read at least a few epics in a row, you cannot fail to notice another very important feature of them: in many of them the same episodes are repeated. The storytellers knew only the plot, the events associated with this or that hero, and also owned a certain set of such common places, repetitive episodes, from which, like cubes, the backbone, the frame of the epic, was formed. Everything else was born before the eyes of the listeners. Therefore, even the same performer could not repeat the epic word for word twice,
without changing anything in it. Each performance of the epic was at the same time the process of its creation, and each performer was a creator. Otherwise, the singer would have to keep many thousands of lines of poetry in his memory.
3. Compiling a table " Artistic features epic ”(work in a notebook).
Artistic features
epics
Their role in the epic
1) Hyperbole (exaggeration)
Thus, the people emphasized the power
their heroes
2) Trinity reception
The number "three" used to have a conventional meaning of plurality. The people use triple repetitions in epic tales in order to show the repetition of actions or the duration of the passing time.
3) Replays
Thus, attention is focused on the most important
4) Permanent epithets
Help characterize the heroes of the epic
5) Use of recitatives
It is necessary, since the singing of epics was accompanied by playing the harp
4. Reading the epic "Ilya Muromets and the Nightingale the Robber." Drawing up an epic plan in a notebook.
The use of constant epithets also characteristic of epics: dark woods, blue rivers, red sun. Many of them are well known to us - we often meet them in Russian folk tales. But some epithets require further clarification.
Meeting in the epic expression red girl, we understand that it is not the red color that is meant, but the beauty of the girl. But open field- it's a foreign land. It was also called the space outside the city, village or forest. In the old days, people called the southern steppes a field, where Russian soldiers fought with nomads. Proverbs related to this have survived to this day: "One man in the field is not a warrior"; "Whose field, that will"; "You can't travel the whole field with one horse"; "Do not brag in the field when you go, but brag when you return from the field."
Use of hyperbole (exaggeration) - also a feature of epics. Russian heroes are extraordinary characters. They have tremendous physical strength and incredible, amazing abilities and capabilities. Enemies with whom the heroes fight are also endowed with incredible power: Tugarin Zmeevich, Nightingale the Robber, Poganoe Idolische, Kalin Tsar.
Reality and fiction in epics are closely intertwined. For example, in the epic "Sadko in the underwater kingdom" a description of Veliky Novgorod and the life of Novgorodians is given - this is a reality. But when Sadko falls into the possession of the sea king - this is fiction.
Heroic epics tell about military exploits glorious Russian heroes: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich and others. They tell about the struggle against the enemies of the Russian land. Historical and household epics talk about heroes folk tales: Svyatogora, Sadko, Vasily Buslaev, Mikula Selyaninovich. They convey the love of Russian people for the land and agricultural labor.
The construction of the epic, the use of constant epithets and other artistic means in it
In literature, epics are also called epic songs, that is, such songs that tell about some events united by the same heroes.
Usually the epic begins with a short introduction - conception, which indicates the time and place of epic events.
For example:
As in glorious city in Kyiv,
At the affectionate prince at Vladimir
It was a feast - an honorable feast ...
After the beginning, the main part follows - narration about the feat. The action in the epic always develops slowly, until it comes climax – highest voltage in the turn of events. denouement action is to defeat the enemy. Crowns the epic always ending. Here is her example:
A special epic poetic world is also created by special artistic means. One of the main features of epics is frequent repetitions. In the epic about the feat of Ilya Muromets, for example, the description of the terrible whistle of the Nightingale the Robber is repeated four times. From this, the robber force seems more powerful, which means that the victory of Ilya Muromets is more significant. Descriptions of ominous omens, prophetic words are also repeated.
In epics, repetitions of both individual words and several lines are used. When in the description of the road along which Ilya Muromets traveled to Kyiv, we meet the repetition of the word bogged down(that is, the road became impassable, impassable), the path of the hero seems to us even more difficult:
The straight road is choked up,
Blocked up the path, walled up ...
Often repetitions create a special melodiousness, smoothness and musicality of epic speech:
Yes, By the glorious River By the Currant ...
In his takes IN his white hands, he IN ruchenki ...
Another notable feature of epics – permanent epithets: wild head, frisky little legs, white hands, sugary lips, burning tears. The field is always clean, the grass is green, the sea is blue, and the sun is red. It is interesting that in all works of oral folk art the sun is said to be red even if it is a cloudy autumn day. The sea is also always blue, even if a storm is depicted: the blue sea has turned black. The girl is characterized by the epithet red, and the good fellow is kind. Bogatyr - Holy Russian, mighty. Mother Holy Rus', mother earth cheese - this is how the heroes of epics affectionately call their homeland.
The enemy in epics is characterized by negative epithets: filthy, evil, damned, godless. Often it is called a dog, a thief.
And here are some more constant epithets that we often find in epics: honey drink, white-stone chambers, damask sword, furry gusels, silk string, straight road, tight onion torn, slanting window, brick floor.
Epics also often use hyperbole - exaggeration. Hyperbolas enlarge the image, help to show the strength and exploits of the heroes brighter and more expressively. The strength of heroes is always extremely exaggerated. For example, Ilya Muromets easily, like a swan's feather, raises a club weighing ninety pounds and with one wave of his hand knocks down entire hordes of enemies. And the heroic horse of Ilya Muromets gallops "above a standing tree, a little below a walking cloud." Dobrynya Nikitich plays the harp in Kyiv, and this tune is heard in Constantinople.
The hero is faced with countless hordes of enemies, whom " gray wolf do not jump in three days, a black crow does not fly around in a day.
And even suffixes play an important role in creating poetic world epics and determine the attitude of the narrator to epic heroes. Diminutive suffixes are used in the names of favorite characters: Ilyushenka, Dobrynyushka, Alyoshenka. And derogatory-magnifying suffixes are awarded to the names of their opponents: Idolishche, Serpent.
So bright and varied artistic means epics were created.
Epic bogatyrs
Main characters of all epics - Russian heroes. Each hero is a bright and memorable image. Each of them has its own name and its own biography.
In the epic narrative, the hero usually appears first as the most ordinary person. At a princely feast, among princes, boyars and merchants, he stands out neither by nobility, nor by wealth, nor by special power. But there always comes a moment when it is discovered that the Russian hero has fantastic strength, which allows him to defeat his enemies.
For example, in one of the epics about Ilya Muromets, it is told how Ilya dressed in the dress of a beggar wanderer. I did not recognize the hero in this guise, Idolishe Poganoe, shouted, got angry, pulled out a sharp sword, and threw it at the beggar. Here Ilya Muromets showed his strength - he cut off the head of the Pogany Idol.
The discrepancy between ordinary human size and the ability to wield a many-pound club in epics is never explained. And heroic power, while there is no need for it, also does not manifest itself in any way. And huge physical strength heroes, and the wonderful weapon that is always at hand at the right moment - all this is directed to one main goal– fulfillment of his great duty to defend the Fatherland.
All military affairs of Russian heroes are connected with Kyiv. But they were born and raised in different parts of the Russian land. Ilya Muromets - near the city of Murom, in the village of Karacharovo, Dobrynya Nikitich - in Ryazan, Alyosha Popovich - in Rostov.
Russian heroes have their own moral code. They stand up for the weak, unfair offended people. But sometimes epic heroes appear not only powerful, but also merciful, even to their enemies. They are trusting and ingenuous.
Let us recall the epic about Dobryn Nikitich and the Serpent Gorynych. Defeated in the first battle, the Serpent Gorynych asks the hero for mercy and promises not to fly to Holy Rus', and he immediately breaks his promise and kidnaps Zabava Putyatichna.
Why did Dobrynya believe him? Because in Rus' the violation of the contract was considered a great shame and was severely punished. Has come down to our days famous proverb, which reminds: "A deal is more valuable than money." Dobrynya could not even imagine that the Serpent might not fulfill his promise. And even when the hero convicted the enemy of this, he offers the Serpent to give the girl voluntarily in order to avoid bloodshed. But the Serpent refuses. The heavy battle lasted three days and three nights, and then Dobrynya finally dealt with the evil Serpent.
In epics, Ilya Muromets personifies wisdom and life experience - he is the eldest at the heroic outpost. The main properties of Dobrynya Nikitich are education, upbringing. Alyosha Popovich is the youngest of the heroes. His most important and striking features are sharpness, cunning, intelligence.
Over the course of many centuries, peculiar techniques have been developed that are characteristic of the poetics of the epic, as well as the way they are performed. In ancient times, it is believed that storytellers played along on the harp; later, epics were performed in recitative. Chant speech in a vocal and musical work. Epics are characterized by a special purely tonic epic verse (which is based on the commensurability of lines by the number of stresses, which achieves rhythmic uniformity). Although the storytellers used only a few melodies when performing epics, they enriched the singing with a variety of intonations, and also changed the timbre of the voice.
The emphatically solemn style of presentation of the epic, which tells about heroic and often tragic events, determined the need to slow down the action (retardation). For this, a technique such as repetition is used, and not only the individual words “this spit, spit, ... from far, far, marvelous marvelous” (tautological repetitions) are repeated, but also the injection of Zhdanov’s synonyms, “K literary history Russian past poetry "(Kyiv, 1881);: fight-rattling, tribute-duties, (repetitions are synomimic), often the end of one line is the beginning of another ("And they came to Holy Rus', / To Holy Rus' and even near Kyiv city …”). It is not uncommon for entire episodes to be repeated three times, with increasing effect, and some descriptions are extremely detailed. Characteristic for the epic is the presence of “common places”, when describing situations of the same type, certain formulaic expressions are used: in this way (at the same time in extreme detail) the saddle of the horse is depicted “Ay Dobrynya goes out into the wide yard, / He bridles the saddle of a good horse, / After all, he imposes a bridle, / After all, he puts sweatshirts on sweatshirts, / After all, he puts felts on felts, / He has a Cherkasy saddle on top. / And he tightened the girths tightly, / And the girths of the overseas sholka, / And the overseas sholpan sholka, / Glorious copper buckles would be from Kazan, / Studs of damask-iron Siberian, / Not beautiful basses, brothers, valiant, / And for the fortification, it was heroic. TO " common places”also include a description of the feast (for the most part, at Prince Vladimir), the feast, the heroic ride on a greyhound horse. A folk narrator could combine such stable formulas at his own will. The language of epics is characterized by hyperbole, with the help of which the narrator emphasizes the character traits or appearance of the characters worthy of special mention. Determines the attitude of the listener to the epic and another technique - an epithet (mighty, Holy Russian, glorious hero and filthy evil enemy), and stable epithets are often found (violent head, hot blood, frisky legs, combustible tears). Suffixes also play a similar role: everything related to heroes was mentioned in diminutive forms (hat, little head, little thought, Aleshenka, Vasenka Buslaevich, Dobrynushka, etc.), but negative characters were called Ugryumishch, Ignatishch, Tsar Batuishch, Ugarishch filthy. Considerable place is occupied by assonances, the repetition of vowels and alliteration, the repetition of consonants, additional organizing elements of the verse.
Epics, as a rule, are three-part: a sing-along (usually not directly related to the content), the function of which is to prepare for listening to the song; beginning (within its limits, the action unfolds); ending.
It should be noted that some artistic techniques used in the epic are determined by its theme (so, for heroic epics typical antithesis).
The narrator's gaze never turns to the past or the future, but follows the hero from event to event, although the distance between them can vary from a few days to several years.
Having all sorts of repetitions, literal or almost literal rep-i often means. for whole episodes. Nr, the prince's order to the ambassador with letters. the accuracy was repeated when the ambassador presented this order to a foreign king. Especially loved three times. Repetition of episodes, mb with some tendency to "increase
Simple repetition of words(“Wonderful, wonderful, wonderful”, “wonderful wonderful”, “from the forest there was a dark forest”), repetition of prepositions, repetition of the same word in two or more consecutive verses. This also includes an increase in the number in each new verse: “There, straighten out the tributes, outputs, For twelve years, yes for thirteen years, For thirteen years, yes and a half.” - permanent epithets attached to various objects: white (birch, chest, day, gyrfalcon, swan, ermine, hand, light, snow, tent, grill, table, room, gate, etc.), red (sun, gold), gray (wolf , goose, drake), wide (yard, steppe, road, share, expanse), heroic (voice, horse, horse, strength, sleep, prey). Many of these epithets give an idea of the aesthetic. tastes and passions of Russian epics. Most of the constant epithets are applied to only one or two words: the field is clear, the sea is blue, small pearls, a walking cloud. - comparisons, for example: “Again, day after day it seems to rain, week after week, like grass grows, And year after year, like a river runs”;
-assimilation (Vladimir - red sun, eyebrows - black sable).
- parallelisms, especially negative ones (ex. . “It’s not clear that the falcon flew out here, It’s not a black crow that flew out here, An evil Tatar girl leaves here”). - "petrified" epithets, i.e. such epithets, which, being used out of habit, sometimes turn out to be out of place in epics (for example, book. Vladimir is called affectionate even when, according to the action of the epic, on the contrary, he is very unkind). - hyperbole, with the help of which the narrator emphasizes the character traits or appearance of the characters worthy of special mention.
-epithet(a mighty, Holy Russian, glorious hero and a filthy, evil enemy), and stable epithets are often found (violent head, hot blood, frisky legs, combustible tears).
- suffixes: everything related to the heroes was mentioned in diminutive forms (hat, little head, little thought, Alyoshenka, Vasenka Buslaevich, Dobrynushka, etc.), but the negative characters were called Ugryumish, Ignatiish, Tsar Batuish, Ugarish filthy.
- assonances(repetition of vowel sounds) and alliteration(repetition of consonant sounds), additional organizing elements of the verse. It should be noted that certain artistic techniques used in the epic are determined by its theme (for example, heroic epics are characterized by antithesis). The narrator's gaze never turns to the past or the future, but follows the hero from event to event, although the distance between them can vary from a few days to several years.
A technique that is characteristic of the poetics of epics is the way they are performed. In ancient times, storytellers played along. himself on the harp, later epics were performed in recitative, a special purely tonic epic verse is characteristic (which is based on the commensurability of lines by the number of stresses, which achieves rhythmic uniformity). Although the narrators used only a few melodies when performing epics, they enriched the singing with a variety of intonations, and also changed the timbre of the voice.
typical traditional formulas, describing the favorite positions of B. heroes or B. environment for B. plots (such are, for example, typical descriptive formulas for bows of a hero at the entrance to the tower, requests for blessings from his mother, saddling a heroic horse, matchmaking of heroes, embassies, etc.).
16 These B took shape and developed during the period of early Russian statehood in Kievan Rus.
1) the action takes place in Kyiv or near 2) in the center of the event is Prince Vladimir. 3) the main theme is the defense of Russian. land from nomads. 4) historical occupations and life are characteristic of Kievan Rus. 5) events and enemies of the Russian land before the Mongolian period.
Kyiv is glorified as the center of Russian lands. From Murom, Rostov, Ryazan, heroes go to serve in Kyiv. Formir-e Kyiv cycle epics determined. historical circumstances in the 9th-11th centuries, when Kyiv reached a high power. They sang the service of the heroes to the prince and the Russian land. They reflected more late time, the struggle of Russians with the Tatar-Mongol yoke. Propp highlights an even earlier layer of epics. He attributed the epic "About the Volkh" to such epics. Propp clearly spoke about how life develops and it turns out that not only the plot, but also the epic itself, its creation, is attributed to the pre-state time, then the ancient plot of the capture of women and territories in the epic acquired the features of an epic of the late 12th centuries. Volkh receives the task to go on a campaign. The image of a feast as advice.
Epic about the great hero Svyatogor. Propp: it reflected a change in ideas about the vast world, as an ideal, about the mind of the farmer. The ideal of landownership, not a hunter, as it used to be. Of all the princes, Prince Vladimir will be nominated - he will put it. image, because he united the Russian lands. Under him, Christianity was adopted. He attracted to the squad from different walks of life.
One of the late epics "Ilya's rebellion against Prince Vladimir". Hordes of Tatars are advancing, and before that, Prince Vladimir offended Ilya at a feast. In later epics, Vladimir is already endowed with more rigid, strict features, but is able to evaluate his mistakes.
A circle of heroes is being formed: Ilya Muromets, Alyosha Popovich, etc. For the first time, these epics were published in the collection Ancient Russian Sts by Danilov.
Heroic- include epics that arose before the Tatar-Mongol invasion, and epics associated with the invasion (about the Kama massacre, about the death of heroes, about Vasily Ignatievich and Batyga);
epic social life. - social conflicts stand in the first place (Volga and Mikula, Ilya in a quarrel with Vladimir, Duke, Churila),
epics on matchmaking (Mikhailo Potyk, Ivan Godinovich, Danube, Kozarin).
One of the important and characteristic features of the Kyiv cycle are the images three heroes, whose actions and fate are closely connected (Ilya Muromets, Alyosha Popovich, Dobrynya Nikitich).
In epics Kiev. The cycle was reflected mainly in the activities of the princely-druzhinn.class of Kievs. Rus' in wartime and peacetime. Main stories: 1) military exploits of heroes: a) in campaigns against enemies, to clear roads, for tribute, to free Russian prisoners, b) in the fight against the filthy besieging Kyiv, with the rapists who settled in Kyiv and c) at the heroic outpost; 2) brides matchmaking for Vladimir and the heroes, 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) bravery of heroes at the court of Vladimir, manifested in various kinds of competitions.
Epic. Kyiv is a symbol of unity and state independence of the Russian land. Here, in the court of Prince Vladimir, the events of many epics take place. The military power of Rus' is personified by heroes. Among the heroic epics, those in which Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich act are put forward in the first place. These main defenders of the Russian land come from three estates: peasant, princely and priestly. Epics sought to present Rus' as a united in the fight against enemies. Ilya - peasant son, originally from the village of Karacharova near the city of Murom. Until the age of thirty, he was ill - he could not control his arms or legs. The poor wanderers cured Ilya and endowed him with unprecedented strength. The enormous power of Ilya should benefit all of Rus', so he rushed to Kyiv. Along the way, he accomplished his first feats: he defeated the enemy troops near Chernigov, freed the road from the nightingale-robber. After Ilya Muromets, Dobrynya Nikitich is most loved by the people. This is a hero of princely origin, he lives in Kyiv. The main business of his life is the military service of Rus'. The heroic feat of Dobrynya is depicted by the epic “Dobrynya and the Serpent” - a story about how, on the Puchay River, Dobrynya fought off a snake with one hat, knocking off three trunks from it. The snake prayed and offered to make peace. Dobrynya released the snake, but then he saw how he grabbed the prince's daughter and went to rescue her. This time the battle was long, but Dobrynya won.
18 Historical songs- these are epic or lyric-epic works, depicting events or episodes from the life of a historical. persons. Historical songs - plot. the genre, the plot in them is reduced to one event or even an episode, the action develops quickly, there is no desire to slow down the narrative, no techniques or means are used. retardation. The facts of history are present in them in a poetically transformed form, although historical songs tend to reproduce conc. events. Historical songs have features similar to epics, but they are qualities. a new stage in the development of Nar. poetry. Events before-Xia in them with more historical. accuracy than in epics. The first entries date back to the 17th century, they were included in the collection "Ancient Russian Poems Collected by Kirshe Danilov". In the future, recordings and publications of works of this genre continued, at the present time they fully understand how historical songs were created and performed. In folklore, they were attributed to the epic epic, considering the Moscow or Kazan cycle. But it must be borne in mind that there is a fundamental difference between epics and historical songs in the way they reflect reality.
as a genre of history. songs formed in the era of Moscow. Rus', but the first appeared chronological. earlier, in the thirteenth century. We can talk about the appearance of a small group of songs, connected. with its content with the heroic feat of the inhabitants of Ryazan, who tried to stop the hordes of Batu ( Ryazan cycle). These songs are characterized by the search for new ways of historical. song narration - reflected in the production of historical. Concrete or using historical topics to create a generalization. Patriotic image, as in Avdotya Ryazanochka. Historical songs usually formed soon after the events described. In the historical songs may contain fiction, but it does not play a decisive role; perhaps an exaggeration, but almost no hyperbole. In the historical The songs reliably reveal the psychology, experiences, motives of the characters' actions, their internal. world.
Song source cycles: 13th century Ryazan cycle.(about Avdotya Ryazanochka, about the "Tatar full") in poetics, approaching epics, you can find the beginning and sing-along, a slowdown in action created by triple repetitions, which is characteristic of the epic epic, etc. 16th century Cycle of songs about Ivan the Terrible(about the capture of Kazan, about the marriage of Grozny to Maria Temryukovna and about the tsar’s anger at his son.) + cycle of songs about Yermak Timofeevich (“Ermak in the Cossack circle”, “Ermak’s capture of Kazan”, “Ermak took Siberia”, “Ermak at Ivan the Terrible ”, “Campaign to the Volga”, “Ermak in the Cossack circle”). reducing the role of hyperbole, now hyperbole is used not to refer to the actions of one person, but to refer to the actions of a team. There is a noticeable tendency in the song towards realistic detail, towards the release of content from fantastic fiction. 17th century historical songs responded to the "Time of Troubles", to the death of Ivan the Terrible's son Dmitry, the appearance of the False Dmitrievs, the campaign of the Poles against Rus', the struggle against them by Minin and Pozharsky, the campaigns of the Cossacks against Azov, and the uprising led by Stepan Razin. Songs about Stepan Razin are the largest cycle of the 2nd floor. XVII century. The songs of this cycle are poetic. the side of the image is noticeably predominant over the concreteness of the political. problems. As the researcher of historical songs B.N. Putilov suggests, the “Razin cycle” contributed to the fact that in Russian. historical the song lyric. the beginning got it. development and became the resultant with the narrative. Built the epithets that depict the image of Razin are identical to the epithets used to describe the nameless robbers, they emphasize the people's love for the "clear falcons". In this cycle of songs, the reception is actively used impersonation, nature is an active participant in events: “the glorious Quiet Don". Songs of the 17th century are under b. the influence of the lyric song poetry, they tell about one episode, but it is narrated emotionally. 18 century. Song cycle about Peter's time. Appeared in songs of the early 18th century new hero- a soldier, and the genre is replenished soldier's history song. Suvorov, his life and work gave factual. material for creating the image of a national hero. Songs about Emelyan Pugachev. The songs of this cycle are close to Razinsk. cycle, although some the plots were reworked, adapting to new events and the personality of Pugachev, folk poetic. consciousness almost does not separate these fighters from each other.
19th century. Cycle persen about Patriotic War of 1812. About Platov, about Kutuzov. The character of the individual is later. songs, incl. songs about the war of 1812, is used separately. formulas, lines, entire episodes, and even ready-made military-historical songs about past wars. Soldier's Historical songs become shorter in size, their melody approaches marching, marching, military vocabulary is used, they acquire musical-rhythmic. forms. It can be noted in the songs of the XIX century and the influence of lit. poetry, which confirms the idea that folk poetry in this era was looking for new forms of poetic expression.
In the 2nd half of the 19th century, the creation of new cycles of oral history finally ceased. songs.
The study historical songs began relatively late, which is due to the fact that the genre is not demarcated from epics. The first to separate the historical songs from epics Belinsky, in articles about Nar. poetry he used. the term "historical songs". Belinsky gave an assessment of the songs known to him, mainly from the collection of Kirsha Danilov. Especially fruitful. was the study of historical songs in the late XIX - early XX century, when they attracted the attention of such researchers as Veselovsky, Miller, Buslaev and others. .attention - historical songs, in which the struggle of the people's masses for their liberation was reflected.
19 The fusion of song and game has its origin in the depths. antiquity - from the first forms of syncretic folklore. Then one of the forms for the activities of the primitive people was game- sign. name of people tongue rituals that had magical functions associated with sunny. cycle, agricultural holidays. Later, this is a ritual complex in which Gusev singles out carnival and round dances. games. Carnival- public, bright (both in folklore texts and in costumes - mummers), in which everyone participated (Maslenitsa). round dance- lyric drama. tonality, on the outskirts of the village, without outsiders (youth) their properties. monotony of artistic and visual means (choreographic form, a capp. choral singing, festive, but everyday clothes). In syncretic unity with the word, melody, music, game, originally performed and choreographic folklore. Early forms of choreographic f-ra were inseparable from the labor activity of people and were fixed in the calendar rites. An archaic song-choreographer action was once round dance - a rite in honor of the sun. In the choreographic actions, there were plot moments that gave the original choreography theatricality (presence both today and in folk dance), and in the last they formed a separate genus f-ra - drama. Folk game, song and choreography were merged and performed a number of functions: Communicative
Compensatory (rest from work)
Education and training
Socializing (opportunity to express yourself)
Game songs had an ancient ritual origin. status. Game and choir songs are performed during the differences. youth games and round dances; they described and were accompanied by an imitation of field work, family scenes were played out (for example, matchmaking), they will be distinguished. sign is game action . Among the games, a special variety stands out - “kissing songs”. Place in total compositions round dance or gathering entertainment game songs are divided into typesetting(started with them) tunneling and collapsible(they finished). Each song was on its own. game, finished artist. work. Link with ancient spells. rites determined the figurative structure of these songs and the thematic orientation of song and game folklore - motives of agrarian or fishing character and love-marriage motives. Often they united, for example, in the song "And we sowed millet, sowed." The number of song episodes can be from three to twenty. The game presupposes communication, therefore game songs are often dialogic, although small monologues-addresses are also possible. Dialogues are interspersed with monologues. The dramaturgy of the song presupposes questions and answers from various groups of players, depicting not so anthropomorphic. characters, but also animals, birds. The effectiveness, dynamism of these songs leads to a special imagery. system, in which there is no description, but modeling of movement, often associated with labor processes. For example, with rituals of the spring-summer period youth game songs are connected, which were supplemented by a plastic image of field work (“and we sowed millet”, “weave cabbage”). Imitation of the habits of animals can be traced in the song "Hare", imitation of labor processes in their succession in the song "and we sowed, sowed lenok." For game songs more char-ny are short, in melodic. relation-and command-exclaim intonation. Emotion the background of the game is always cheerful, joyful, it is he who dominates in the melody of these songs. The story about labor processes and other actions in an optimistic way also has a spell. value, anticipating optimistic. the results are a good harvest, offspring of domestic animals, successful hunting, etc. Game songs performance syncretism. They are spectacular due to the game movements and the transfer of the content of the gameplay itself. The oldest action songs have evolved over time into gaming, recreational systems, in which the younger generation participates predominantly. Later, the meaning of the performance of these songs becomes non-magic. composition, but fun and entertainment. Later samples of game songs generally diverted from magic. motives, images of nature disappear in them. origin (representatives of the plant and animal world), and social problems associated with work and family traditions of a person come to the fore. Other ceremonial songs - ritual, laudatory, reproaches - can also be attributed to folklore. they are present at the wedding. ritual, which in itself was a game worked out to the smallest detail. Song-games. the form also had a manifestation in children's folklore. So, the child received the first song and game forms of the doctor from the mother in the first year of life. These are pestles and nursery rhymes.
2 main groups. 1 – production-domestic motives, poetic reminiscences from everyday labor activity ("Pashenka"; "Millet"; "White Flax" - these songs trace the fate of flax from sowing to bestowing a young man with a canvas; "I will sow hemp"; "We weeded cabbage ...", etc.). 2 group H. P. dedicated. young people- hopes for a happy marriage, the possibility of choosing for love ("Along and along the river, the river along the Kazanka ..."; "In the puddles, in the puddles"; "I walk through the senyushki"); Round dance songs, performers are clear. section on spring, summer and autumn-winter cycles. The content of the round dance mb by type: question-answer). If the content of the song required it, then some tradition would play out inside the circle. plot.
round dance are called in spring games-dances with songs. + similar rituals of a different name are the remains of the first. the syncretism of poetry, the forerunner of its differentiation. In Kh., the elements of song, dramatic action, and dance are still inextricably linked. The content of the game is both the symbolization of natural phenomena (for example, the flight of birds), and the imitation of the phenomena of everyday life (agricultural work, matchmaking, marriage). H. is found at any time of the year, even in winter (in huts), but most of all in spring and summer. Similar games by spring and most of all by Easter week. Two performances - spring and love-marriage - are the main ones in the spring choral games of a ritual nature, as well as in round dances. Children's games are often the result of the dilapidation of choral rituals.
Lyrics are poetic. kind of oral artist. creativity. In folk lyrics, word and melody are inseparable. The main purpose of the lyric. songs - to reveal the worldview of the people by direct expression of feelings, thoughts, impressions, moods.
Voice: - frequent (frequent rhythm, in unison, 2 half-choirs) - ditty - romance ( late 18th- early XIX centuries) - from urban written literature. traditions. Simple musical composition, 4 verses, refrain (poetic structure). - drawling - complex polyphonic, words are almost impossible to hear. Songs accompanying the movement: - labor (synchronize general action in artels, etc.): fighting, rowing and draft,
- game - organize a game, for example, "Brook". There is a certain plot. - round dance (tanks / short-year from the word “city”) - on Easter and Trinity, on patronal holidays, they are sung by girls of marriageable age, in a slow rhythm - dance - fast, with a change of places, short texts.
Non-ritual lyrics are not tied to the rite. there are no authors for the lyrics: this is a generalization of feelings and emotions. It applies to the feelings of any person. In L.P. capturing the responses of the people to the events of the general-watered. life, expression social emotions associated with the relationship of peasants and their owners, the principles of family and everyday life in old village and finally regulations unwritten folk morality. You-divide 2 main types of Russian. nar. L.P.: frequent and lingering.
Frequent: most feature these songs - the clarity of rhythm in verse and melody. This is a condition. the fact that CH.P. in the original sources it was associated with a clear rhythm of dance, only then it moved away from its motor function, becoming a “fun” lyric. song, which I could perform without movement. In addition to the function of a cheerful dance and comic song, Ch.P. had another internal section - songs satirical, cat. had their own specifics, their own ideological orientation.
lingering: make up the main. traditional section. Krestyansk. lyrics; it is not only richer than all other folk songs in terms of volume, but also means them in terms of content. In these songs, more deeply than in others, the basics were reflected. social problems russ.nar. life. The melody and the text of the lingering song are very closely connected with each other. Inside the stretch songs, 2 different ways of depicting everyday life and experiencing the lyric are outlined. heroes. In one case, the content of the song is associated with certain social events. or personal character and is stated in the form story. So build. a lot of love and family, as well as songs with the theme of individual social networks. groups (recruitment, coachmen). In another case, L.P. have the character of intimate statements, reflections, complaints, memories, arose. under the influence emots. impulse and usually do not have specific plot contours. In songs love, the main motive, most often - love longing, meetings, separations, parental anger and prohibitions, themes of betrayal, violence are frequent. marriage. In songs family cycle, a girl married to an unloved one, yearns and complains, reproaching her parents; parents pity their daughter and lament her fate, etc. In songs recruiting main the plot motives are the drawing of lots, the taking into the soldiers, the grief of the recruit, his relatives and the bride, farewell to him. In songs soldier's- the cruelty of the commanders, the disenfranchised position of the rank and file, the sense of doom that embraces the recruit, the death of a soldier in a foreign land. Songs robbery contain motives of deep social. protest and full of realistic. paintings related to prison life, attempts to escape, the shame of public punishments is described, the exile of a soldier to hard labor
Can be divided by function:
Lyrical (confessional, songs for relaxation (game, dance and quadrille), kissing.
There are "dead songs", they are stored in memory, but it is not known how to perform them.
thematic division according to social affiliation was proposed by Sobolevsky
1. There is a girlish-youthful (love)
2. male - female (family - household)
3. recruit and soldier
4.robber
5. antiserfdom
Kolpakova proposed a genre division:
Spell songs, game songs, songs of praise and lyrical songs.
Composition of lyrical songs.
Dialogue (but there is very little pure dialogue)
Narrative or descriptive (introductory part, and then dialogue or monologue)
Features of poetics:
An analogy between the natural world and the inner world of a person (for all types) Veselovsky wrote about this - “psychological parallelism” is another kind of parallelism - negative (an alien wife is a swan ... own wormwood ...)
Chains - stepped composition, Antithesis, Beginning - he sets the tone, brings up to date, Endings, Anaphora, Tautology, repetitions. Significant for the meaning of the song. (for example, a bride refuses several grooms) and repetitions of individual words are lexical repetitions. Enhanced thin. Song impact.
Comparisons
Metaphors. especially significant is the reception of a detailed metaphor.
hyperbole,
Epithets. Constant epithets. They poetically typified nature, life, the image of man.
Reduce- caress suffixes, Predominance of verb forms.
Logical violations are common for lyrical songs:
1. Temporary incoherence of episodes of the text (bondage separates us .... I sent many letters ....) temporary indicators are mixed up.
2. spatial disturbances (a garden in the middle of a forest)
The connection of the lyrical text at the level of experiences, therefore, is not very important.
Various lyric. the subjects give a different assessment of the situation in the lyric song, but since the objects are one, they merge. (that someone else's wife is a white swan, and one's own wife is wormwood bitter grass ... and right there: no one picks grass, no one loves a girl, no one marries)
In L.p. 2 artists are used. systems: 1. Description; 2. Allegory, building. on symbolism. The songs have their own conventions. language, k-th composition from the traditional formulas. Without their knowledge it is difficult to understand the content of L.p. In songs inside the state of the front-I through the external. (sitting is a formula of sadness, thoughtfulness.). Human feelings are revealed in comparison with nature. Nature is animated and therefore often becomes the main character. In l.p. richly presented. symbolism. Symbols are stable, song symbolism goes back to archaic representations. Song characters, plants, animals are symbolic. The songs have a rich color scheme.
End of 20th century. Maltsev, analyzing the texts, came to the conclusion that the nature of the lyre songs is a set of poetic formulas.
Signs of formulas: stereotype, stability and repeatability. The formula is a stabilizing factor. Big role play not external, but internal communications. A chained connection refers to an external connection.
21 folklore theatre- traditional. Dramatic creativity of the people. The types of folk entertainment culture are diverse: rituals, round dances, dressing up, clowning, etc. In the history of folklore, it is customary to consider the pre-theatrical and theatrical stages of folk drama. tv-va Do-theater includes theatrical elements in calendar and family rituals. 1. In calendar: symbolic figures of Shrovetide, Kupala, Yarila, Kostroma, etc., playing scenes with them, dressing up. Agrarian magic played a prominent role, magical d-i and songs. (on winter Christmas time they pulled a plow around the village, sowed grain in the house, etc.) with the loss of magic. meaning rite - fun. 2. wedding the rite was also a theatrical performance. game: distribution of "roles", sequence of scenes. However wedding ceremony not perceived by the people as a theater action. 3. in calendar and family rituals, participants in many scenes were mummers. At Christmas time, Shrovetide, Easter, they performed humorous and satirical skits. Some of them later merged into folk dramas. 4. In addition to rituals, theater elements accompanied the performance of many folk genres: fairy tales, comic songs, etc. for example, the storyteller did not just tell a fairy tale, but gesticulated, changed his voice, picked up some objects, etc. in fact it was a one-man act.
