Prose genres of Russian folklore. Main folklore genres

Fairy tales where the main character is a wizard, with the participation of magical animals or objects, are, for example, "Finist Yasen Sokol", "Ivan Tsarevich and the Gray Wolf", "At the command of the pike". Plants and natural phenomena that have their own magic are found in almost every fairy tale - talking apple trees, rivers and wind, seeking to hide the main character from the chase, save from death.

Folklore prose is the key to Russian demonology

The second layer of folklore prose is not fabulous. It is represented by stories or cases from life that tell about a person's contacts with representatives of otherworldly forces - witches, devils, kikimors, spirits, and so on.

It should be noted that all these creatures came into modern times in unconscious images from the depths of centuries and have a pre-Christian pagan origin.

The category of non-fabulous prose folklore also includes stories about shrines, miracles and the saints who perform them - here the theme of communication between higher powers and a person who has come to the Christian faith is revealed.

Prose examples of folklore related to the non-fabulous layer are quite diverse - these are legends, traditions, tales, and stories about dreams.

Modern Russian folklore

It consists of two layers, coexisting and periodically flowing into each other.

The first layer is made up of folk traditions and beliefs transferred to modern realities. They are sayings, religious and daily rituals, signs that are relevant to this day. Examples of Russian folklore, characteristic of modern life, can be observed both in everyday life (placement of a broom with a broom up to attract material wealth) and on holidays. Ritual festive folklore elements are, among other things, carols performed at Christmas time.

The second layer of modern urban folklore is much younger and represents a belief in man-made scientific theories, framed according to human beliefs and fears.

Contemporary urban folklore

It acts as an egregor of collective images of fears and beliefs of people living in cities, originates from the period of industrialization, when harsh living conditions and technical progress were superimposed on the ancient layer of old Russian beliefs.

Examples of folklore reflecting modern Russian realities are mostly focused on several types of human fears. Most often, these are songs, rituals and gestures intended to call otherworldly forces ("Queen of Spades" of dwarves, etc.): ghosts, spirits of various historical figures, as well as for the manifestation of Divine Providence and various entities.

Separate elements of folklore creativity are included in scientifically oriented theories of an industrial nature.

Examples of urban folklore used in modern legends flooded the Internet - these are stories about stations and subway lines closed to the public, about abandoned bunkers and various kinds of unfinished buildings with accompanying stories about mysterious rooms, apparatuses and living beings.

Literary folklore - from the annals to the present

Russian literature, replete with folklore elements, is divided into two layers: that which has come down to us from the period of the 12th-16th centuries, which is a support for the construction of any later symbolic images; created from the 17th to the 19th centuries, using these images in their subjects. Accordingly, examples of folklore in literature are found in the works of both periods. Consider the most famous of them below.

Examples of folklore in "The Tale of Igor's Campaign" consist mainly in metaphorical comparisons of the main characters with pagan gods, for example, Boyan is called the grandson of Veles, the princes are called the grandchildren of Dazhdbog, and the winds are called Stribog's grandchildren. The author's appeal to the Great Horse is also recorded.

In modern literature, folklore elements are used by the main characters in the course of their daily lives.

Examples of folklore in the poem "To whom it is good to live in Russia" come from the field of small and lyrical folklore genera, including sayings, ditties, sayings ("praise the grass in a haystack, and the master - in a coffin"), an appeal to folk signs (chapter "Peasant woman" , where Matryona's fellow villagers see the reason for the crop failure in the fact that she "... She put on a clean shirt at Christmas ..."), as well as inserts into the text of Russian folk songs ("Corvee", "Hungry") and the use of sacred digital symbols ( seven men, seven owls).

Small folklore genres

There is a type of small folklore works that enter a person's life from birth. These are small genres of folklore, examples of which can be observed in the communication of a mother with a child. So, in pestushkas (chants of a poetic form), nursery rhymes (songs-sayings using the gestures of the fingers and toes of the child), jokes, invocations, counting rhymes, tongue twisters and riddles, the necessary rhythm of body movement is set and simple storylines are transmitted.

The first folklore genres in human life

Lullabies and pestles are of ancient origin. They are part of the so-called maternal poetry that enters the life of a child from the moment of his birth.

Pestles are rhythmic short sentences that accompany the activities of the mother and the newborn. Rhythm is as important as content.

The lullaby, with its text and melody, is focused on the child reaching the state of sleep and does not require the use of any musical instrument. In this genre, there are always elements of a talisman that protects the newborn from hostile forces.

Small genres of folklore, examples of which are given above, are the most ancient layer of folk art.

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Folklore- this is a type of collective verbal activity, which is carried out mainly orally. The main categories of folklore are collectivity, traditionalism, formulaicity, variability, the presence of a performer, and syncretism. Folklore is divided into two groups - ritual and non-ritual. Ritual folklore includes: calendar folklore (carols, carnival songs, stoneflies), family folklore (family stories, lullabies, wedding songs, lamentations), occasional (conspiracies, incantations, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. Folklore drama includes: Petrushka theatre, crib drama, religious drama. Folklore poetry includes: by-lina, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetry parodies), sadistic rhymes. Folklore prose is again divided into two groups: fabulous and non-fabulous. Fairy tale prose includes: a fairy tale (which, in turn, is of four types: a fairy tale, a fairy tale about animals, a household fairy tale, a cumulative fairy tale) and an anecdote. Non-fairytale prose includes: tradition, legend, bylichka, mythological story, story about a dream. The folklore of speech situations includes: proverbs, sayings, well-wishes, curses, nicknames, teasers, riddles, quick-works and some others.

An anecdote is one of the genres of folklore: a short oral story with a witty and unexpected ending. Anecdotes can rightly be called the favorite genre of our time. In Slavic folklore, a favorite character was a man playing a prank on a fellow villager.

A tale is a traditionally male oral story of a playful nature, claiming to be plausible; refers to small folklore forms. Tales of hunting, fishing, sea, miners, theatrical and chauffeurs are popular.

Ballad (ballad song, ballad verse) is one of the genres of Russian folklore, which arose from a folk song with a tragic content. The most important characteristics of ballad songs are epic, family themes, and psychological drama. Ballad songs are characterized by a predicted fatal outcome, recognition of the tragic, and one-conflict. As a rule, antagonistic characters act in them: the destroyer and the victim. Ballads have many features that bring them closer to other song genres, saturated with fantastic and magical motifs common to the folk epic. The term "ballad" in folklore is relatively new. Proposed by P.V. Kireevsky in the 19th century, it took root only a century later. The people themselves, performing ballad songs, did not distinguish them from others. An example of a classical ballad is the lyrical epic song "Vasily and Sophia". The whole content is an eternal story about lovers, whose mutual feeling is so strong that it conquers death. Beloved ones are destroyed by the jealous and evil mother of Vasily. The plots of many ballad songs are built on the relationship between the girl and the good fellow (“Dmitry and Domna”, “The girl poisoned the young man”).

Bylina is a work of a song nature, a song-poem. It is characterized by greatness of content, grandiosity, monumentality of images, heroic pathos. The real-historical basis of epics is Rus' in the 10th-11th centuries. About a hundred epic stories are known. There are common plots in Russian and Western European epics (epic heroes fight enemies and non-Christians), but in Russian epics there is no idea of ​​religious wars; neither loyalty to the leader, nor bloody revenge become the defining themes of the Russian epic. In Russian epic traditions - liberation, protection, glorification of the Russian land and its people. The opening of the Russian epic took place relatively recently, after the publication in 1804 of the collections of Kirsha Danilov, including 60 folklore works. Subsequently, the collection of epics was supplemented by the finds of P.N. Rybnikov and A.F. Hilferding. A rare fusion of wisdom and ethics distinguishes the Russian epic. Each epic, in addition to the main idea of ​​honest service to the Fatherland, contains reflections on the painful moral and psychological quest of the main characters. So, Ilya Muromets finds himself in a situation of difficult choice: to marry or die.

Bylichka (bylichka) is a mythological story based on events that allegedly took place in real life. Reliability, fact-graphic nature of these stories is confirmed by specific names; exact geographical names of the place of action. The world of bylicheks is simple and well-known. The main difference between a fairy tale and a bylichka lies in the attitude of the listeners and the narrator to the narrated. If they listen to a fairy tale, realizing that it is fiction, then the bylichka - as if it were true.

Children's folklore is a generalized name for genres that are small in volume, composed and performed both by the children themselves and for them. The genres of children's folklore include songs and poems that accompany the life of a child from the cradle to adolescence: drawing lots, calls, teasers, lullabies, carcasses, sentences, nursery rhymes, counting rhymes.

Boring fairy tale (from bother - to bother) - a specific genre of folklore narratives, endless tales in which the same cycle of events takes place. They are often clothed in a poetic form.

Spiritual poems - songs of religious content, which arose as poetic transcriptions by the people of the foundations of the Christian dogma. Folk names of spiritual verses: antiquities, psalms, verses. A characteristic feature of spiritual poetry is the opposition of the religious to the secular. One of the oldest spiritual verses - "The Lament of Adam" was already known in the XII century. The mass distribution of spiritual poetry begins around the 15th century.

Zhnivnaya song is a kind of autumn songs of calendar-ritual poetry. Autumn ritual poetry has not received such development as summer poetry, singing nimble women - “daughters-winches”, “quail daughters-in-law”, who went out early to the field and harvested crops, “so that there was something good to do, okay.”

A riddle is a type of oral folk art, an intricate allegorical description of an object or phenomenon, offered as a test for ingenuity or an exercise (for children) for the development of logical thinking. The riddle belongs to those most ancient types of folk art, which, continuing to live for centuries, gradually lose their original meaning, become a qualitatively different phenomenon. Having arisen on the basis of the secret language of the family, the riddle was once used in military and embassy negotiations, expressed the prohibitions of family life, and served as a poetic means of conveying wisdom.

A conspiracy is a linguistic formula that, according to popular beliefs, has miraculous power. In ancient times, conspiracies were widely used in medical practice (treatment with a word, prayer). They were credited with the ability to cause the desired state of a person (inspire a sound sleep, tame the wrath of an angry mother, keep unharmed the one who goes to war, feel sympathy for someone, something, etc.) or forces to attract childbirth: “grow turnip, sweet, grow, turnip, strong” to get a good harvest.

Calendar-ritual songs (Carols, Podblyudnye songs, Shrovetide songs, Vesnyanka, Trinity-Semitsky songs, Round dance, Kupala, Zhniv-ny) - songs, the performance of which was timed to coincide with strictly defined calendar dates. The most significant rituals and songs of the summer period, which began with the solstice (Peter-turn) on June 12 (25), are associated with various states of nature. The calendar and ceremonial poetry contains valuable ethnographic and historical information: a description of peasant life, mores, customs, observations of nature, and even elements of worldview.

A legend is one of the genres of folklore that tells about the miraculous, the fantastic, which determines its structure and system of images. One of the ways in which a legend arises is through the transformation of a legend. Often legends are oral stories about historical figures or events to which absolute authenticity is attributed (legends about the founding of Kyiv). In these cases, the word "legend" can be replaced by the word "tradition". The narrator, stating the facts, supplements them with those created by his own imagination or combines them with fictional motives known to him. At the same time, the real foundation often fades into the background. According to the subject, legends are divided into historical (about Stepan Razin), religious (about Jesus Christ and his apostles, about saints, about the intrigues of the devil), toponymic (about Bai-kal), demonological (about the Serpent, evil spirits, devils, etc. .), household (about sinners).

Small genres - a name that unites a group of genres of Russian folklore that are different in nature and origin, exceptionally small in size (sometimes in two words: Filya-simple), which is their main value. This includes jokes, riddles, proverbs and anecdotes. Small genres not only decorate and enliven other texts, they are very well adapted to independent life. Unlike the epic epic, small genres are not forgotten, they are as relevant as thousands of years ago.

Fables - works of comic poetry, not-large songs, built on the principle of stringing completely absurd events: Thunder rolled across the sky: \\ A mosquito fell from a tree. It is the fables that clearly demonstrate the reverse, terrible side of the funny. A chain of distorted events, which at first seem ridiculous, gradually creates a single picture of a “shifted”, “turned over” world. Fables are no less philosophical than epic. They, like the global metaphor of laughter, are also a way of knowing life: in visual simplicity they show us the universal connection of opposite, “wrong side” phenomena of reality. In medieval Rus', the performance of fables was certainly an integral part of the "repertoire" of buffoons.

Folk songs - a true artistic encyclopedia of the life of the Russian people. To date, the song, the richest layer of Russian folklore, is described incompletely and inconsistently. The genre division of songs into historical and ballad, robber and soldier, lyrical and round dance is rather conditional. All of them are an example of the finest lyric poetry and all without exception are historical. Attractive by purity and sincerity, the songs deeply reveal the character of a Russian person who values ​​his fatherland; who does not get tired of admiring his native land; and their children.

A saying is a widespread expression that figuratively defines any life phenomenon or gives it an assessment: Damn, it’s not a wedge, it won’t split the belly. Where is the grief of the clever, the fun of the fool.

A proverb is a short, well-aimed, stable saying in speech. Compared with a proverb - a witty description given to a person, object or phenomenon and decorating speech, a proverb has a complete deep meaning, contains a wise generalization. The proverb, by definition of the people, is “flower”, the proverb is “berry”. The proverbs capture the life experience of the people: People quarrel, and governors feed. They hang the Altyn thief, honor the fifty. Among the people that are in a cloud: in a thunderstorm everything will come out.

The famous Russian scientist and poet M.V. was the first to collect and write down proverbs. Lomonosov. Subsequently, collections were published containing 4–9 thousand proverbs each: “Collection of ancient Russian proverbs” (Moscow University, 4291 proverbs), “Complete collection of Russian proverbs and sayings” (Ts.M. Knyazhevich, 5365 proverbs), “Russian folk proverbs and parables” (I.M. Snegirev, 9623 proverbs and sayings), in the famous collection of V.I. Dal "Proverbs of the Russian people" there are more than 30 thousand of them.

Tradition is an artistic and narrative genre of folklore with elements of fiction. The plot of the legend is usually based on a real event. A vivid example of oral narratives of this type are the legends about the son of the Tula blacksmith Demid Antufiev, Nikita Demidov, the founder of the largest factories in the Urals in the first decades of the 18th century.

A tale is an oral folk story that tells about the past without fiction: Cossack and Siberian tales, “working” prose of gold diggers, artisans, miners, etc. In terms of narrative style and structure, tales are similar to legends and legends.

A fairy tale is one of the main prose folklore genres of an artistic and fantastic nature.

For ancient man there is no gap between him and the animal world. He considers animals, first of all, as beings equal to him not only physically, but also socially. The surrounding world for a person is inhabited simply by different tribes with the same social structure as his, and the attitude towards these tribes is either peaceful or hostile, depending on how the attitude of the animals themselves manifests itself towards him. And our ancestors took the exceptional instincts of animals for the manifestation of a higher mind, considering some not only equal to themselves, but also superior to itself. Tales about animals organically combine other plots (everyday and magical), and sometimes it is completely impossible to draw a line between genres. Mythopoetic ideas about nature, expressing a certain knowledge of the world with the help of images of animals and birds, are intertwined in fairy tales with live observations of animal habits, show a gradually growing spirit of rivalry between man and animal, defending their rights to life, struggle for prey and territory. Everyday fairy tales and fairy tales about animals are distinguished by extraordinary optimism and gentle humor that pervades the narrative. As a person became stronger and more self-confident, the folklore images of animals acquired a different, more “condescending” coloring: the wolf turned from a villain into just a fool (“beaten unbeaten carries”), a formidable bear, a totem animal, endowed good-naturedness: Mashenka ordered to take the gifts to the old men - he carried them.

For other fairy tales, everyday (short story), opposition of social heroes is typical: a peasant (his son or daughter) competes with the mind and ingenuity with merchants, priests, and even with the tsar himself. Much attention is paid to family conflicts with an unfaithful, talkative or "fervent" wife, with a younger brother (son), a fool who invariably accompanies good luck ("fools happiness"), despite natural stupidity. The anthropomorphism of Russian nature in folklore works concerns not only the Mother of the Raw Earth, but also trees, primarily oak and birch, capable of talking, giving advice and predicting the further course of events. Trees in fairy tales are true friends and helpers of a person, they shelter from enemies, give magical items, reveal treasures and secrets, rewarding heroes for their work and patience. Thus, fairy tales reflect the life and ideas of the inhabitants of different tribes (the territory that later became Russian) at the stage of the emergence and collapse of the primitive communal system. Both fairy tales about animals and legends associated with belief in the spirits of nature and plants, as well as ritual songs and children's folklore, are characteristic of totemic societies, natural for this stage of pagan relations between man and the world.

Skomoroshins are diverse songs of the mischievous art of buffoons: jester old "rins (epics - parodies), parodic ballads, song-short stories of comic content, fables. They are united by one thing - laughter. If in the classical genres of Russian folklore laughter is only an element of content , then for buffoons it serves as an organizing artistic principle.

Tongue twisters are a comic genre of folk art, belonging to the category of small ones, a phrase built on a combination of sounds that make it difficult to quickly pronounce words. Tongue twisters were used by the people as a teaching tool in the formation of children's speech, its development and subsequent formation, as well as for entertainment purposes.

Chastushka (from frequent) - a short, usually rhyming song of humorous or satirical content. Chastushkas are performed at a cheerful, fervent pace, accompanied by an accordion.

2. Calendar-ritual poetry

Vesnyanka is a song calling for spring and warmth. Ves-nannies sounded in Russian villages after Shrovetide songs. They reminded that the time for field work was approaching, birds were flying and “bringing spring”. The main dates of the spring call: March 4 - the day of Gerasim Grachevnik (rooks arrive); March 9 - the day of the Forty Martyrs (forty forty birds arrive); March 25 - April 7, according to a new style - Annunciation (the day when birds are released from cages).

Zhnivnaya song - a kind of autumn songs in the calendar-ritual poetry. Autumn ritual poetry has not received such development as summer. Only stubble songs are known, filled with gratitude and glorifying nimble women - “daughters-winches”, “quail daughters-in-law”, “early” going out into the field and harvesting, “so that it was, why burn kindly, okay ".

A game song is a kind of spring-summer songs in the calendar-ritual folk poetry. Already in the titles of this type of songs, a cheerful mood is reflected, due to the onset of the long-awaited warmth, hopes for a generous harvest (this is in the dirt, you will be a prince!) The opportunity to throw off heavy clothes, show off and look at the future bride or groom. The game songs talked about sowing and growing the future harvest, here was the main theme of the sun - the source and continuation of life, light and heat, the theme of cereals and other plants, the game songs were called: "Poppy", "Pea ”, “Cabbage”, “Flax”, “Turnip”, “Millet”. Game songs can be divided as follows: - round dance, when the audience moved in a circle or in the same circle depicted various scenes provided for by the content of the song (“There was a birch in the field”); - songs-games performed by participants lined up in two lines one against the other ("And we sowed millet"); - “ghoul” songs, when the players, singing a song, walk one after another around the hut, braid their hands, round off the line, “curl” into a ball (“Twist, wattle”, “Curl, cabbage”). Echoes of both ancient magic and traces of ancient forms of marriage have been preserved in play poetry.

A carol song (carol) is a kind of winter (New Year's Eve) songs in calendar-ritual poetry. The onset of the new year was popularly associated with the increase in the day “by a chicken step” after the winter solstice on December 22. This observation formed the basis of popular ideas about the boundary that separates the end of the old year from the beginning of the new one. The arrival of the new year was celebrated by invoking Kolyada and Avsen. The word "kolyada" goes back to the Latin name of the first day of the month - calendae (cf. calendar). In Rus', caroling was one of the main rituals held on New Year's Eve. It was accompanied by a detour of neighbors and carol songs (Avsen), among which one can single out praise-songs and requests-songs:

Kupala songs - a cycle of songs performed on the feast of Ivan Kupala (the night of July 6-7 - in a new style). They contained elements of ancient magical formulas aimed at protecting the harvest from the machinations of evil spirits and so that bread would be generously harvested.

The Shrovetide song is an invocation of a wide and generous Shrovetide (it is sometimes called Avdotya Izotievna).

Podblyudnye songs - songs performed during the game that accompanied fortune-telling. In the dish, each player put his object (ring), then sung songs were sung. The presenter, without looking, took out the first ring that came across from the dish. The content of the song was attributed to the one whose ring was taken out. The sub-dish song contained an allegory by which the future was judged.

Trinity-Semitskaya song is a kind of summer songs in calendar-ritual poetry. The most significant groups of rituals and songs of the summer period, which began with the summer solstice (Peter-turn) - June 12 (25), are associated with various states of the sun and the plant world. Summer (Semitsky) rites, later combined with the Christian Trinity, are otherwise called green Christmas time. In the Trinity-Semitsky songs, the central place is given to the birch - the cult tree of the Slavs, the ancestor tree, a symbol of warmth and life.

Burlak songs - songs of barge haulers and about barge haulers. Bargainism originated in Russia at the end of the 16th - beginning of the 17th century, when the state was especially interested in the development of water trade relations and the attitude towards fugitive peasants or recruits who were hired as barge haulers was the most condescending. The barge haulers left both family hardships and the cruelties of serfdom. Usually they went downstream on ships and returned, leading ships loaded with goods towed, in addition, they were both loaders and porters.

Historical songs - songs, the occurrence of which is associated with a particular historical event or person. At the same time, individual nuances of the event (“I am from the Kama from the river, Stenka Razin’s son”) or the characteristic details of the artistic and poetic portrait of a historical person could be fictionalized, embellished or turned upside down, sometimes creating an image distorted up to its opposite. -falsehood. Unlike epics, with their unchanging ethical structure, historical songs, while possessing the same informative content, no longer have strict compositional rules and obey the laws of other genres. Over time, the epic leaves the developing new genre. Songs of the 17th-18th centuries. become more diverse, acquire social coloring. The heroes of the new songs are real characters - Stepan Razin, Emelyan Pugachev, Ivan the Terrible, Yermak. With external simplicity, historical songs have a wide folklore context, folklore symbolism actively “works” here: death is perceived as crossing a river, heroes are likened to eagles and falcons, symbolic images of trees - birches, oaks are widely used , mountain ash, etc.

Lyrical songs are songs that reflect the world of personal feelings. The lyrical song helped the people to endure in any situation, absorbed the sadness and pain of loss, resentment and disappointment, was the only way to preserve their own dignity in a state of humiliation and powerlessness. “A song is a friend, a joke is a sister,” says a Russian proverb. Through the spiritual sorrow, the sad "mournfulness" of the lyrical song, the greatness and moral beauty of the people clearly show through.

Dance (comic) songs - the name of this group of songs speaks for itself. A good, cheerful mood is not alien to Russian songwriting, in which there is a place for laughter, and joke, and mockery. Many Russian dancers have entered the golden treasury of world culture: Kalinka is known in almost every country. The songs “The moon is shining”, “You are my canopy, canopy”, “There was a birch in the field” are widely known.

Robber songs - songs of robbers or about robbers. Robbery (and prison) song as a genre was formed during peasant uprisings, mass escapes of peasants and soldiers from cruel forced life (XVII-XVIII centuries). The main theme of robber and prison songs is the dream of the triumph of justice. The heroes of robber songs are daring, brave "good fellows" with their own code of honor, the desire to comprehend what is happening ("the thought of thinking"), a courageous willingness to accept all the vicissitudes of fate.

Wedding songs - songs that accompanied the entire wedding action from matchmaking to the "prince's table", that is, the banquet table in the groom's house: conspiracy, bachelorette party, wedding, arrival and departure of the wedding train to the church. The bride and groom, a married couple in lyrical songs are symbolized by the inseparable Duck and Drake, or the swan with a swan, especially beloved in Rus'. Duck and swan are symbols of eternal femininity, each of which reflects the complex ups and downs of a woman's fate. A Russian wedding is a complex complex of almost theatrical ritual actions, including many songs: sentences, eulogies, songs-dialogues and songs-lamentations, reproachful songs. 1. Wedding verdicts were pronounced mostly by the boyfriend, who played the most important role at the wedding: he was its "director" and the protector of the bride and groom from evil forces. Sometimes sentences were pronounced by a matchmaker, matchmaker or parents. When the friend addressed one of the participants in the ritual, dialogue songs were formed, giving the wedding ceremony the character of a performance in which almost everyone was a participant. After the verdict was pronounced, the parents put bread and salt on the tray, occasionally money; then the guests made offerings. Dialogue songs were extremely popular at weddings. A typical example of girls' songs (performed at a bachelorette party) is a conversation between a daughter and her mother. Magnifications are song praises of the bride and groom, originally associated with incantational magic: the well-being, happiness of the bride and groom seemed real, almost arrived. In later forms, incantatory magnification magic was supplanted by the expression of the ideal type of moral behavior, beauty, prosperity.

Lamentations - lyrical songs that directly convey the feelings and thoughts of the bride, girlfriends, wedding participants. Initially, the function of lamentation was determined by the rite, where the bride presented her departure from the house as undesirable, as an action performed against her will in order to avoid the revenge of the patrons of the hearth. But it cannot be argued that the bride's crying has always been insincere. Swearing songs are joke songs, often parodies of greatness. The function of swearing songs is entertaining, they are tinged with humor. They were performed after the completion of all the main actions of the wedding rite.

Soldiers' songs (their name speaks for itself) began to take shape after Peter I's decree on recruitment kits (1699). The indefinite service, established by decree, forever tore the soldier away from his family, from his native home. Soldier and recruit songs are permeated with doom (“great adversity is the service of the sovereign”), describe the difficult moments of parting with relatives (“Tears roll from your young eyes like a river flow”), the hardships of barracks life (“What a day - something, not a night for us, soldier-kams, there is no calm: A dark night comes - to be on guard, Bel day comes - to stand in the ranks ") and often inevitable death in battle.

Among the soldiers' and recruit's songs, lamentations stand out as a special group.

Round dance songs are game songs, the name of which goes back to the name of the ancient solar Slavic deity Khors (cf. good, mansions, choro-waters). Those gathered moved in a circle, depicting the movement of the luminary across the sky, thereby glorifying, invoking and propitiating the sun, which is so necessary for harvesting. In the same circle, various scenes provided for by the content of the song were depicted. The most popular round dance songs have come down to our time: “There was a birch in the field”, “I walk and walk along the round dance”, “Along and along the river, along and along the Kazanka”, etc.

Coachmen's songs - songs of coachmen or about coachmen. The life of the coachmen, whose main occupation was the "pit chase", was significantly different from the life of the peasants. They were exempted from taxes, but their position was still extremely difficult. Often, "service people" did not pay running money, and when the coachmen refused to carry for free, they were beaten, or even shackled. Coaches who tried to return back to the village were forcibly returned to the outpost. Their songs tell of a bleak fate. Motifs about love for the “red maiden”, who “broke her heart without frost”, and about the death of the driver in the steppe, in an alien side, are especially common in the coachman’s songs.

4. Children's folklore

A teaser is a mocking joke of a rhyming nature aimed at demoralizing the enemy:

Draw is one of the most widespread genres of children's folklore. Like counting rhymes, draws are designed to distribute game roles. The child chooses one thing, getting a player on his team, or something else.

The invocation is a children's song appeal to the sun, rainbow, rain, birds.

Lullabies are the oldest lyrical songs accompanying the motion sickness of a child. The lullaby is notable for its unusual tenderness, regularity and calmness.

Pestle - a song or rhyme that accompanies the first conscious movements of the child.

A nursery rhyme is a short song that accompanies the first games of a child with fingers, pens and knives, for example, “Forty-white-sided”, when each finger of the child feeds on porridge, and they don’t give anything to the little finger, because it’s too small and hasn’t worked out anything. The most popular nursery rhyme since ancient times is "Ladushki".

A rhyme is a rhyming rhyme, with the help of which the playing children assign roles and set the order for starting the game.

Types of small genres of folklore

Lullaby

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

cockle

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

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

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

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

nursery rhyme

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

Examples

"Magpie"

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

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

"Okay" (clap hands on stressed syllables)

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

joke

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

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

Proverbs

They teach something.

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

Games

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

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

Kissing game example:

Drake

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

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

invocations

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

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

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

Rhythm

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

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

Patter

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

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

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

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

Mystery

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

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

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

General history

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

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

Links

• Irina Gurina. Useful poems and tales for all cases of disobedience

see also

Notes

Wikimedia Foundation. 2010 .

See what "Small genres of folklore" is in other dictionaries:

GENRES of Lermontov's poetry. Lit. L.'s activity proceeded in the era of destruction and diffusion of the genre system of the 18th century, and his creative work. legacy does not always lend itself to genre classification, reflecting at the same time the search for new forms. Student lyrics L. ... ... Lermontov Encyclopedia

This article or section needs revision. Please improve the article in accordance with the rules for writing articles. Eleazar Mo ... Wikipedia

- (October 22, 1918, Kharkov December 16, 2005, Moscow) Russian scientist philologist, cultural historian, doctor of philological sciences, professor. Founder of the research school of theoretical folklore. Contents 1 Biography 2 Works ... Wikipedia

Meletinsky, Eleazar Moiseevich Eleazar Moiseevich Meletinsky (October 22, 1918, Kharkov December 16, 2005, Moscow) Russian scientist philologist, cultural historian, doctor of philological sciences, professor. Founder of the theoretical school of research ... ... Wikipedia

Eleazar Moiseevich Meletinsky (October 22, 1918, Kharkov December 16, 2005, Moscow) Russian philologist, cultural historian, doctor of philological sciences, professor. Founder of the research school of theoretical folklore. Contents 1 ... ... Wikipedia

Eleazar Moiseevich Meletinsky (October 22, 1918, Kharkov December 16, 2005, Moscow) Russian philologist, cultural historian, doctor of philological sciences, professor. Founder of the research school of theoretical folklore. Contents 1 ... ... Wikipedia

Eleazar Moiseevich Meletinsky (October 22, 1918, Kharkov December 16, 2005, Moscow) Russian philologist, cultural historian, doctor of philological sciences, professor. Founder of the research school of theoretical folklore. Contents 1 ... ... Wikipedia

Eleazar Moiseevich Meletinsky (October 22, 1918, Kharkov December 16, 2005, Moscow) Russian philologist, cultural historian, doctor of philological sciences, professor. Founder of the research school of theoretical folklore. Contents 1 ... ... Wikipedia

Genres of Russian folklore

Fairy tales, songs, epics, street performances - all these are different genres of folklore, folk oral and poetic creativity. You can't confuse them, they differ in their specific features, their role in folk life is different, they live differently in modern times. At the same time, all genres of verbal folklore have common features: they are all works of the art of the word, in their origins are associated with archaic forms of art, exist mainly in oral transmission, and are constantly changing. This determines the interaction in them of the collective and individual principles, a peculiar combination of traditions and innovation. Thus, the folklore genre is a historically emerging type of oral poetic work. Anikin V.P. gave his characteristics to folklore. Childbirth: epic, lyrics, drama

Types: song, fairy tale, non-fairy prose, etc.

Genres: epic, lyrical, historical song, legend, etc.

Genre is the basic unit of study of folklore. In folklore, genre is a form of exploration of reality. Over time, depending on changes in everyday life, the social life of the people, the system of genres developed.

There are several classifications of folklore genres:

Starting to analyze each genre of folklore, let's start with fairy tales.

Fairy tales are the oldest genre of oral folk art. She teaches a person to live, instills optimism in him, affirms faith in the triumph of goodness and justice.

A fairy tale is of great social value, consisting in its cognitive, ideological, educational and aesthetic values, which are inextricably linked. Like other peoples (the Russian, perhaps brighter), a fairy tale is an objectified contemplation of the heart of the people, a symbol of his suffering and dreams, the hieroglyphs of his soul. All art is generated by reality. This is one of the foundations of materialistic aesthetics. This is the case, for example, with a fairy tale, the plots of which are caused by reality, i.e. era, social and economic relations, forms of thinking and artistic creativity, psychology. It, as well as all folklore in general, reflected the life of the people, their worldview, moral, ethical, socio-historical, political, philosophical, artistic and aesthetic views. It is closely connected with folk life and rituals. Traditional Russian fairy tales were created and circulated mainly among the peasantry. Their creators and performers were usually people with great life experience, who traveled a lot around Rus', who had seen a lot. The lower the level of education of people, the more they talk about the phenomena of social life at the level of everyday consciousness. Maybe that's why the world reflected in fairy tales is formed at the level of everyday consciousness, on people's everyday ideas about beauty. Each new era brings tales of a new type, new content and new form. The folktale changes along with the historical life of the people; its changes are conditioned by the changes in the very life of the people, because it is the product of the history of the people; it reflects the events of history and features of folk life. Illumination and understanding of the history and life of the people in folklore change along with changes in people's ideas, views and psychology. In fairy tales, traces of several eras can be found. In the era of feudalism, social themes occupied an increasing place, especially in connection with the peasant movement: anti-serfdom sentiments were expressed in fairy tales. The XVI-XYII centuries are characterized by the rich development of fairy tales. It reflects both historical motifs (tales about Ivan the Terrible), social (tales about judges and priests) and everyday tales (tales about a peasant and a wife). In the fairy tale genre, satirical motifs are greatly enhanced.

XYIII - the first half of the XIX century. - The last stage of the existence of feudal-serf society. This time is characterized by the development of capitalist relations and the disintegration of the feudal system. The tale acquires an even more vivid social aspect. It includes new characters, primarily a smart and cunning soldier. In the second half of the 19th and early 20th centuries, during which the ever more rapid and widespread development of capitalism in Russia falls, great changes take place in folklore. The satirical motives and the critical orientation of the tale are intensifying; the basis for this was the aggravation of social contradictions; the purpose of satire is increasingly becoming the denunciation of the power of money and the arbitrariness of the authorities. A greater place was occupied by autobiography, especially in fairy tales about going to the city to earn money. The Russian fairy tale becomes more realistic, acquires a closer connection with modernity. The coverage of reality, the ideological essence of works, also become different.

The cognitive significance of the fairy tale is manifested, first of all, in the fact that it reflects the features of the phenomena of real life and gives extensive knowledge about the history of social relations, work and life, as well as an idea of ​​the worldview and psychology of the people, about the nature of the country. The ideological and educational significance of the tale is that it is inspired by the desire for good, the protection of the weak, the victory over evil. In addition, a fairy tale develops an aesthetic sense, i.e. sense of beauty .

It is characterized by the disclosure of beauty in nature and man, the unity of aesthetic and moral principles, the combination of real and fiction, vivid depiction and expressiveness.

A fairy tale is a very popular genre of oral folk art, an epic, plot genre. From other prose genres (traditions and legends), the fairy tale differs in a more developed aesthetic side, which is manifested in the installation of attractiveness. The aesthetic beginning, in addition, is manifested in the idealization of goodies, a vivid image of the "fantastic world", amazing creatures and objects, miraculous phenomena, and romantic coloring of events. M. Gorky drew attention to the expressions in fairy tales of folk dreams of a better life: “Already in ancient times, people dreamed of the opportunity to fly through the air - this is what the fairy tale says, about the magic carpet. They dreamed of accelerating the movement on the ground - a fairy tale about boots-walkers ... ".

In science, it is generally accepted to divide fairy tale texts into three categories: fairy tales, short stories (household) tales and fairy tales about animals.

Fairy tales were very popular among the people. Fiction in fairy tales has the character of fantasy. The beginning of the magical contains the so-called remnant moments and, above all, the religious and mythological view of primitive man, his spiritualization of things and natural phenomena, the attribution of magical properties to these things and phenomena, various religious cults, customs, rituals. Fairy tales are full of motifs containing belief in the existence of the other world and the possibility of returning from there, the idea of ​​death enclosed in some material object (egg, flower), of a miraculous birth (from drunk water), of the transformation of people into animals, birds. The fantastic beginning of the tale, on the other hand, grows on a spontaneous materialistic basis, remarkably correctly captures the patterns of development of objective reality.

This is what M. Gorky called "instructive fiction - the amazing ability of human thought to look ahead of the fact." The origin of fantasy has its roots in the peculiarities of the way of life and in people's dream of dominating nature. All these are just traces of mythological ideas, since the formation of the classical form of a fairy tale ended far beyond the historical boundaries of primitive communal society, in a much more developed society. The mythological worldview only provided the basis for the poetic form of the fairy tale.

The important point is that the plots of fairy tales, the miracles of which they speak, have a vital basis. This is, firstly, a reflection of the peculiarities of the work and life of people of the tribal system, their relationship to nature, often their powerlessness in front of it. Secondly, a reflection of the feudal system, especially early feudalism (the king is the enemy of the hero, the struggle for inheritance).

The character of fairy tales is always the bearer of certain moral qualities. The hero of the most popular fairy tales is Ivan Tsarevich. He helps animals and birds, who are grateful to him for this and, in turn, help him. He is presented in fairy tales as a folk hero, the embodiment of the highest moral qualities - courage, honesty, kindness. He is young, handsome, smart and strong. This is a type of bold and strong hero.

A significant place in fairy tales is occupied by female heroines, who embody the folk ideal of beauty, intelligence, kindness, and courage. The image of Vasilisa the Wise reflects the remarkable features of a Russian woman - beauty, majestic simplicity, soft pride in herself, a remarkable mind and a deep heart full of inexhaustible love. The consciousness of the Russian people was just such a female beauty.

The serious meaning of some fairy tales gave grounds for judgments on the most important issues of life. So, in some fairy tales, the freedom-loving aspiration and struggle of the Russian people against arbitrariness and oppressors is embodied. The composition of a fairy tale determines the presence in them of characters hostile to positive characters. The hero's victory over hostile forces is the triumph of goodness and justice. Many researchers have noted the heroic side of the fairy tale, its social optimism. A.M. Gorky said: “It is very important to note that pessimism is completely alien to folklore, despite the fact that the creators of folklore lived hard, their slave labor was meaningless by the exploiters, and their personal life was powerless and defenseless. But with all this, the collective, as it were, is characterized by the consciousness of its immortality and confidence in victory over all forces hostile to it. Fairy tales in which social and domestic relations are at the center of the action are called social and domestic. In this type of fairy tales, the comedy of actions and verbal comedy is well developed, which is determined by their satirical, ironic, humorous nature. The theme of one group of tales is social injustice, the theme of another is human vices, they ridicule the lazy, stupid, stubborn. Depending on this, two varieties are distinguished in social and everyday fairy tales. According to researchers, social fairy tales arose in two stages: everyday - early, with the formation of a family and family life during the decomposition of the tribal system, and social - with the emergence of a class society and the aggravation of social contradictions in the period of early feudalism, especially during the decomposition of the serfdom. and during the period of capitalism. The growing lack of rights and poverty of the masses caused discontent and protest, were the ground for social criticism. The positive hero of social fairy tales is a socially active, critical person. Hard work, poverty, darkness, marriage often unequal in age and property status caused complications in family relations and determined the appearance of plots about an evil wife and a stupid and lazy husband. Socially everyday fairy tales are distinguished by a sharp ideological orientation. This is reflected, first of all, in the fact that the stories mainly have two important social themes: social injustice and social punishment. The first theme is realized in plots where a master, a merchant or a priest rob and oppress a peasant, humiliate his personality. The second theme is realized in plots where a smart and quick-witted peasant finds a way to punish his oppressors for centuries of lack of rights, makes them look ridiculous. In social and everyday fairy tales, the aspirations and expectations of the people, the dream of a socially just, happy and peaceful life are much more clearly expressed. “In these tales, one can see the life of the people, their domestic life, their moral concepts and this crafty Russian mind, so inclined towards irony, so simple-hearted in its cunning.”

In fairy tales, as well as in some other genres of folklore prose, reflecting the strengths and weaknesses of the peasant psychology, the centuries-old dream of a happy life, of a kind of "peasant kingdom" was expressed. The search for "another kingdom" in fairy tales is a characteristic motif. A fabulous social utopia depicts people's material well-being, well-fed contentment; the peasant eats and drinks to his heart's content, and makes a "feast for the whole world." N. G. Chernyshevsky noted: “The poverty of real life is the source of life in fantasy.” The peasant judges a “happy” life for himself by the model of those material goods that tsars and landlords own. The peasants had a very strong faith in the "good king", and the fairy-tale hero becomes just such a king in many fairy tales. At the same time, the fairy-tale king in his behavior, way of life, and habits is likened to a simple peasant. The royal palace is sometimes depicted as a rich peasant household with all the attributes of a peasant economy.

Animal tales are one of the oldest types of folklore. Going back to the ancient forms of reflection of reality in the early stages of human consciousness, fairy tales about animals expressed a certain degree of knowledge of the world.

The truth of fairy tales is that although they talk about animals, similar human situations are reproduced. The actions of animals more openly reveal the inhumane aspirations, thoughts, and causes of acts committed by people. Animal stories are all stories in which there is a place not only for fun, but also for expressing a serious meaning. In fairy tales about animals, birds and fish, animals and plants also act. Each of these stories has meaning. For example, in the fairy tale about the turnip, the meaning turned out to be that no, even the smallest force in the matter is not superfluous, and it happens that it is not enough to achieve a result. With the development of human ideas about nature, with the accumulation of observations, fairy tales include stories about the victory of man over animals and about domestic animals, which was the result of their instructions. The identification of similar features in animals and humans (speech - cry, behavior - habit) served as the basis for combining their qualities in the images of animals with the qualities of a person, animals speak and behave like people. This combination led to the typification of the characters of animals, which became the embodiment of certain qualities (fox - cunning, etc.). So fairy tales acquired an allegorical meaning. Under the animals began to understand people of certain characters. Animal images have become a means of moral teaching. In fairy tales about animals, not only negative qualities (stupidity, laziness, talkativeness) are ridiculed, but oppression of the weak, greed, and deceit for profit are also condemned. The main semantic aspect of fairy tales about animals is moral. Tales about animals are characterized by bright optimism, the weak always get out of difficult situations. The connection of the tale with the ancient period of her life is found in the motives of the fear of the beast, in overcoming fear of him. The beast has strength, cunning, but no human mind. The images of animals at a later stage in the life of a fairy tale acquire the significance of social types. In such variants, in the image of a cunning fox, wolf and others, one can see human characters that arose in the conditions of a class society. Behind the image of the animal in them one can guess the social relations of people. For example, in the fairy tale "About Ersh Ershovich and his son Shchetinnikov" a complete and true picture of the ancient Russian legal proceedings is given. In the tales of every nation, universal themes receive a kind of national incarnation. In Russian folk tales, certain social relations are revealed, the life of the people, their domestic life, their moral concepts, the Russian look, the Russian mind are shown - everything that makes the tale nationally original and unique. The ideological orientation of Russian fairy tales is manifested in the reflection of the struggle of the people for a beautiful future. Thus, we saw that the Russian fairy tale is a generalized, evaluative and purposeful reflection of reality, which expresses the consciousness of a person, and in particular the consciousness of the Russian people. The old name of the tale - fable - indicates the narrative nature of the genre. In our time, the name "fairy tale" and the term "fairy tale", which began to come into circulation from the 17th century, are used among the people and in scientific literature. A fairy tale is a very popular genre of oral folk art, a genre of epic, prose, plot. It is not sung like a song, but is told. The tale is distinguished by its strict form, the obligatory nature of certain moments. Fairy tales have been known in Rus' since ancient times. In ancient writing there are plots, motifs and images reminiscent of fairy tales. Telling fairy tales is an old Russian custom. In the manuscripts of the XVI - XVII centuries. records of the fairy tales "About Ivan Ponamarevich" and "About the Princess and Ivashka the White Shirt" have been preserved. In the XVIII century. in addition to handwritten collections of fairy tales, printed editions began to appear. Several collections of fairy tales appeared, which included works with characteristic compositional and stylistic fairy-tale features: "The Tale of the Thief Timoshka" and "The Tale of the Gypsy" in V. Levshin's collection "Russian Tales" (1780-1783), "The Tale of Ivan the Bogatyr , a peasant's son "in the collection of P. Timofeev" Russian fairy tales "(1787). In the 60s of the XIX century. A.N. Afanasiev published a collection of "Treasured Tales", which included satirical tales about bars and priests. At the end of XIX - beginning of XX century. a number of important, well-prepared collections of fairy tales appear. They gave an idea about the distribution of works of this genre, about its state, put forward new principles for collecting and publishing. After the October Revolution, the collection of fairy tales, as well as the collection of works of folklore in general, took on organized forms.

Mikhailova O. S. Considered: fairy tales about animals. Historical roots of the fairy tale about animals (animistic, anthropomorphic, totemic ideas, folk beliefs). The evolution of the genre. Heroes of fairy tales about animals. Style. Absence of abstract fable allegorism. The satirical function of parables. Irony. Plot paradox. Dialogical. compositional features. Cumulative tales. Magic tales. Miracle, magic as a fabulous plot basis of fairy tales. Historical roots of fairy tales (mythological representations, folk demonology, folk rituals, everyday taboos, magic, etc.). Poetic convention of fairy tales. The main ideas of fairy tales. compositional features. Features of the author's word. Dialogical. Fairy stories. Heroes and their functions. Fairy tale chronotope. household tales. The proximity of everyday fairy tale to the short story. Ways of the formation of the genre of the novelistic fairy tale. Typology of everyday fairy tales (family and household, about masters and servants, about the clergy, etc.). Poetics and style (everyday "grounding", entertaining plot, hyperbolization in the depiction of characters, etc.).

One cannot but agree with the opinion of V.P. Anikin that fairy tales seem to have subjugated time, and this applies not only to fairy tales. In each era, they live their own special life. Where does the fairy tale have such power over time? Let us think about the essence of the similarity that fairy tales have with equally stable, as it were, “timeless” truths expressed by proverbs. The fairy tale and the proverb are brought together by the extraordinary breadth of the artistic generalization contained in them. Perhaps this property is most clearly revealed in allegorical tales.

The next genre is epic. The word "epic" is raised to the word "reality"; it means a story about what once happened, happened, what was believed in the reality. The word "epic" as a term denoting folk songs with a certain content and a specific artistic form. The epic is the fruit of fiction and the poetic rise of fantasy. But fiction and fantasy are not a distortion of reality. Epics always contain deep artistic and life truth. The content of the epic is extremely diverse. Basically - this is the song of the "epic", i.e. narrative nature. The main core of the epic are songs of heroic content. The heroes of these songs are not looking for personal happiness, they perform feats in the name of the interests of the Russian land. The main characters of the Russian epic are warriors. But the type of heroic epic is not the only one, although it is the most characteristic of the Russian epic. Along with the heroic, there are epics of a fabulously heroic or purely fabulous character. Such, for example, are epics about Sadko and his stay in the underwater kingdom. Epic narration can also have a social or family character (novelistic epics). Some of these epics can be singled out as a special group of ballad songs. It is not always possible to draw a line between epic and ballad songs.

In folklore collections, epics of a heroic, fairy-tale, and short story nature are usually placed side by side. Such an association gives a correct idea of ​​the breadth and scope of Russian epic creativity. Together, all this material makes up a single whole - the Russian folk epic. At present, we have a huge amount of epic material, and the epic can be well studied. From the end of the seventeenth century epic stories (“Ilya and the Nightingale the Robber”, “Mikhailo Potyk”, etc.) penetrate the handwritten story and are presented under the title “History”, “Word” or “Tale” as entertaining reading material [9]. Some of these stories are very close to the epic and can be divided into verses, others are the result of complex literary processing under the influence of ancient worldly literature, fairy tales, Russian and Western European adventure novels. Such "histories" were very popular, especially in cities where the original epic in the XVII - XVIII centuries. was little known. The first collection containing epics in the proper sense is the “Collection of Kirsha Danilov”, first published by A.F. Yakubovich in 1804 under the title “Ancient Russian Poems”. It was created, most likely, in Western Siberia. The manuscript contains 71 songs, notes are given for each text. There are about 25 epics here. Most of the songs were recorded from the voice, the recordings are very accurate, many features of the singers' language are preserved, the texts are of great artistic value. Traditionally, Kirsha Danilov is considered the creator of the collection, but who he is and what his role is in compiling this first collection of epics and historical songs in Russia is unknown. The first collector of epics was Peter Vasilyevich Kireevsky (1808 - 1856). Kireevsky collected songs not only himself, but encouraged his friends and relatives to this work. Among the employees and correspondents of Kireevsky was the poet Yazykov (his main assistant), Pushkin, Gogol, Koltsov, Dal, scientists of that time. Epics were published as part of ten issues of "Songs collected by P.V. Kireevsky (1860 - 1874). The first five issues contain epics and ballads, the second half is devoted mainly to historical songs. The collection contains records of epics made in the Volga region, in some central provinces of Russia, in the North and in the Urals; These records are especially interesting in that many of them were made in places where epics soon disappeared and were no longer recorded. One of the most remarkable collections of epics is a collection published by Pavel Nikolaevich Rybnikov (1832 - 1885). Being exiled to Petrozavodsk, traveling around the province as secretary of the statistical committee, Rybnikov began to write down the epics of the Olonets region. He wrote down about 220 texts of epics. The collection was published under the editorship of Bessonov in four volumes "Songs collected by P.N. Rybnikov" in 1861 - 1867. In addition to epics, this collection contains a number of wedding songs, lamentations, fairy tales, etc. The appearance of Rybnikov's collection was a great event in social and literary life. Together with the Kireevsky collection, it opened up a new field of science. Ten years after the appearance of Rybnikov's collection, Alexander Fedorovich Hilferding went to the same places specifically for the purpose of recording epics. He managed to write down more than 300 texts in two months. Some epics were recorded by him later, from singers who came to St. Petersburg. Collected songs entitled "Onega epics, recorded by Alexander Fedorovich Hilferding in the summer of 1871" were published in one volume. There are 318 texts in total. Songs are arranged by regions, villages and performers. The texts are written down with all possible care and accuracy for the collector. From now on, the arrangement of material by performers entered the practice of publishing epics and fairy tales and is still holding on. The sixties were years of special attention to the poetry of the peasants. During these years, “Russian Folk Tales” by A.N. Afanasyev (1855 - 1864), “Great Russian Tales” by I.A. Khudyakov (1863), “Proverbs of the Russian people” by V.I. Dahl (1861) were published. With the onset of reaction in the 1980s, interest in folk poetry fell for some time. Only in 1901, A.V. Markov published a small collection of "Belomorskie epics". Markov moved to the extreme north and visited the eastern shore of the White Sea. In total, the collection contains 116 epics. The plot, style and form of existence of epics turned out to be significantly different here than in the Onega region. Several new stories have been found. In all respects, Markov's collection significantly expanded the ideas about the epic that were available in science. One of the largest and most significant expeditions was the expedition of A.D. Grigoriev to the Arkhangelsk province, which lasted three years. For three years of collecting work, he recorded 424 texts, which were subsequently published in three volumes under the title "Arkhangelsk epics and historical songs" (1904 - 1910). As a result, Grigoriev's collection became the largest and one of the most interesting in Russian folklore. Recordings are highly accurate. For the first time, the recording of epic tunes on a phonograph was widely used. A note book is included with each volume. A detailed map of the North is attached to the entire publication, indicating the places where the epics were recorded. In 40 - 60 years. 19th century in Altai, the remarkable ethnographer Stepan Ivanovich Gulyaev wrote down epics. Siberian records are of great importance, as they often retain a more archaic form of plot than in the North, where epics have changed more. Gulyaev recorded up to 50 epics and other epic songs. His entire collection was published only in Soviet times. During the summer months of 1908 - 1909. brothers Boris and Yuri Sokolov made a folklore expedition to the Belozersky region of the Novgorod province. It was a well organized scientific expedition. Its purpose was to cover the entire folklore of the given region with records. Fairy tale and song turned out to be the predominant genres, but epics were also unexpectedly found. 28 texts were recorded. Epics were collected not only in the North, in Siberia and the Volga region. Their existence in the XIX - XX centuries. was found in the places of Cossack settlements - on the Don, on the Terek, among the Astrakhan, Ural, Orenburg Cossacks.

The largest collector of Don Cossack songs was A.M. Listopadov, who devoted fifty years of his life to this work (starting from 1892 - 1894). As a result of multiple trips to the Cossack villages, Listopadov recorded a huge number of songs, including more than 60 epics; his notes give an exhaustive idea of ​​the Don epic in its form in which it was preserved by the beginning of the 20th century. The value of Listopadov's materials is especially enhanced by the fact that not only texts, but also tunes are recorded.

As a result of the collecting work, it became possible to determine the features of the content and form of the Cossack epic, its plot structure, the manner of execution, to present the fate of the Russian epic in the Cossack regions. The merit of Russian scientists in the field of collecting epics is extremely great. Their labors saved one of the best assets of Russian national culture from oblivion. The work of collecting epics was entirely carried out by individual enthusiasts who, sometimes overcoming various and very difficult obstacles, selflessly worked on recording and publishing monuments of folk poetry.

After the October Revolution, the work of collecting epics took on a different character. Now it is beginning to be carried out systematically and systematically by the forces of research institutions. In 1926-1928. The State Academy of Artistic Sciences in Moscow organized an expedition under the slogan "In the footsteps of Rybnikov and Hilferding." The epics of the Onega region belong to the best, and the Onega region - to the richest in the epic tradition. As a result of planned and systematic work, 376 texts were recorded, many of them in excellent preservation.

Long-term and systematic work was carried out by Leningrad scientific institutions. In 1926 -1929. The State Institute of Art History equipped complex art history expeditions to the North, which included folklorists. In 1931 - 1933 work on the creation of folklore was carried out by the folklore commission of the Institute of Ethnography of the Academy of Sciences in Petrozavodsk. A total of 224 texts were published in the collection. The publication is distinguished by a high scientific level. For each of the epics, salts are given for all variants known in science. In subsequent years, expeditions were also organized to study the epic genre. Intensive and fruitful was the collecting work of Russian scientists both in pre-revolutionary and Soviet times. Much is stored in the archives and is still waiting for its publication. The number of published epics can be determined at approximately 2500 song units.

The concept of epics was also considered by V. V. Shuklin.

Epics and myths, the ancient epic genre of epics (Northern Russian people called them old men) took shape in the 10th century. The word epic, i.e. "reality". "act". Occurs in the Tale of Igor's Campaign. Its author begins his song "according to the epics of this time, and not according to Boyan's reflection." The appearance of epics under Prince Vladimir is not accidental. His warriors accomplished their exploits not in distant campaigns, but in the fight against nomads, i.e. in plain sight, so they became available for epic chanting.

More Anikin V.P. said that among the oral works there are those by which, first of all, the significance of folklore in folk life is judged. For the Russian people, these are epics. Only fairy tales and songs stand side by side with them, but if we remember that ballads were both said and sung at the same time, then their predominance over other types of folklore becomes clear. Epics differ from songs by their solemnity, and from fairy tales by the grandiosity of the plot action. Bylina is both a story and a stately song speech. The combination of such properties became possible because epics arose in ancient times, when storytelling and singing were not yet separated as decisively as it happened later. Singing gave solemnity to storytelling, and storytelling to singing - a resemblance to the intonations of human speech. The solemnity of the tone corresponded to the glorification in the epics of a heroic deed, and the singing put the story into measured lines so that not a single detail would disappear from people's memory. Such is the epic, the song story.

It is also worth noting one of the genres of folklore "legends" about which Zueva T.V. and Kirdant B.P. spoke.

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

Legends existed both in oral and written form. The term "legend" itself came from medieval writing and translated from Latin means "what should be read".

The following genres can be combined into one whole. Since they have a lot in common, these are proverbs and sayings. Kravtsov N. I. and Lazutin S. G. said that the proverb is a small non-lyrical genre of oral creativity; a form of saying that has entered into speech circulation, fits into one grammatically and logically complete sentence, often rhythmized and supported by rhyme. It is characterized by extreme brevity and simplicity.

Sayings are closely related to proverbs. Like proverbs, sayings belong to small genres of folklore. In most cases, they are even shorter than proverbs. Like proverbs, sayings are not specially performed (they are not sung or told), but are used in live colloquial speech. At the same time, sayings differ significantly from proverbs both in terms of the nature of the content, and in form, and in terms of the functions performed in speech.

The collection and study of proverbs went simultaneously with the collection and study of proverbs. N. P. Kolpakova, M. Ya. Melts and G. G. Shapovalova believed that the term "proverb" began to be used to denote the type of folk poetry only from the end of the 17th century. Earlier proverbs were called "parables". However, the existence of proverbs as special sayings expressing people's judgments in a figurative form can be noted in very remote times. folklore fairy tale epic riddle

Many specific historical events of ancient Rus' found echoes in proverbs. However, the historical value of the proverb is not only in this, but mainly in the fact that it has preserved many historically developed views of the people, for example, ideas about the unity of the army and the people: “The world stands before the army, and the army stands before the world”; about the strength of the community: “The world will stand up for itself”, “The world cannot be pulled over”, etc. . It is impossible not to emphasize the opinion of N. S. Ashukin and M. G. Ashukina. deep respect for work, skill, skill, intelligence, courage, truth, honesty. Many proverbs have been created on these topics: “Without labor you can’t catch a fish from a pond”, “Across arable land and brushy”, “The craft is not without craft”, “Cause is time, fun is an hour”, “Unfit in face and good in mind”, “Learning is better than wealth”, “Truth is more precious than gold”, “Poverty and honesty are better than profit and shame.” And, on the contrary, the proverb denounces laziness, deceit, drunkenness and other vices: “Laziness does not do good, dine without salt”, “Give him a flaky testicle”, “Spreads like a leaf, but aims to bite” (about duplicity), “Drunk on honey , drunk with tears ", etc. .

IN AND. Dahl also gave his own definition of the proverb. A proverb is a roundabout expression, figurative speech, a simple allegory, a bluff, a way of expression, but without a parable, without judgment, conclusion, application; this is one first half of the proverb.

Another major genre of folklore is the "mystery". The object of the folk riddle is the diverse world of objects and phenomena surrounding a person.

The folk riddle also draws images from the world of everyday objects and phenomena surrounding a person that the worker encountered in the course of his activity.

The usual form of a riddle is a short description or short story. Each riddle includes a hidden question: who is it? What is this? etc. In a number of cases, the riddle is expressed in a dialogic form: “Crookedly crafty, where did you run? - Green, curly, guard you” (fence).

The riddle is characterized by a two-part structure, it always involves a guess.

Many of the riddles have rhyming endings; in some the first part rhymes, while the second part retains the meter. Some riddles are built on the rhyming of words alone; the riddle rhymes with the answer: “What is the matchmaker in the hut?” (grip); "What's in the hut for Samson?" (barrier).

The riddle is still preserved among the people not only as a means of entertainment, but also as a means of education, development of children's ingenuity, resourcefulness. The riddle answers the child's questions: what comes from? what is made of what? what do they do? what is good for what?

The systematic collection of Russian folk riddles began only in the second half of the 19th century. By the 17th century include only records made by amateur collectors.

Proverbs and sayings

The collection and publication of proverbs began as early as the 17th century. However, in the oldest collections, along with folk proverbs, proverbs of book origin were also included. Folk proverbs, hostile to religion and authorities, were rejected by the compilers. The most democratic tendencies in the selection and publication of folk proverbs were manifested in N. Kurganov's Letter Book (1769), where the compiler included 908 proverbs.

In 1848, I. M. Snegirev published Russian Folk Proverbs and Parables. Genuine folk proverbs prevailed in his collection. Following Snegirev, in 1854. F. I. Buslaev published proverbs. In a special article "Russian Life and Proverbs" he commented on them from the point of view of mythological theory. In 1861 V. I. Dahl’s great work “Proverbs of the Russian people” was published, which included about 30,000 proverbs, sayings and other small genres of folk poetry. The most important collections of proverbs of the second half of the 19th century. and the beginning of the 20th century. there were collections: “Winged words” by S. V. Maksimov (1890), “Accurate and walking words” by M. I. Mikhelson (1894), “The life of the Russian people in its proverbs and sayings” by I. I. Illustrov (1915). Kravtsov N. I., Lazutin S. G. They believed that both proverbs and sayings and riddles belong to small (aphoristic) genres of folklore.

Riddles have much in common with proverbs and sayings in content and in artistic form. However, they also have specific features and represent an independent genre of folklore.

The term "mystery" is of ancient origin. In the Old Russian language, the word "guess" meant "think", "think". This is where the word "mystery" comes from. In a riddle, a subject description of some phenomenon is given, the recognition of which requires considerable thought. Most often, riddles are allegorical in nature. Anikin V.P. said that the riddle emphasizes the variety of forms, the brightness of the colors of the world around the peasant: “Red, round, oblong leaves” (rowan). Some riddles create a sound image: “I listen, I will listen: sigh after sigh, but not a soul in the hut,” says the riddle about the dough, which makes a sound like a sigh during fermentation. Especially often, sound images arose in riddles about peasant work.

The world around a person is presented in a riddle in constant motion: “Grayish, toothy, prowling around the field, looking for calves, looking for guys” (wolf); “The little, hunchbacked one crossed the whole field, read all the pens” (reap); “Five lambs eat up a stack, five lambs run away” (hands and tows).

I would like to say a little about “tradition.” Folklorists have not yet given a sufficient, satisfactory and substantiated definition of legends. Quite often in the scientific literature, traditions and legends are mixed, although these are different genres. This is due to the proximity, as well as the presence of transitional forms, some of which are closer to legends, while others are closer to legends.

Traditions are popularly called "byly" and "byly". They have historical themes. The legends are close to historical songs, but they have a prose form, not a poetic one.

Legends - epic, i.e. narrative genre. The collection of Russian folk traditions was not carried out systematically.

It is also impossible to miss such a genre of folklore as "chastushki". Zueva T.V. and Kirdant B.P. emphasize that the most developed genre of late traditional folklore is ditties.

Chastushki are short rhymed lyrical songs that were created and performed as a lively response to various life phenomena, expressing a clear positive or negative assessment. In many ditties there is a joke or irony. The earliest ditties had six lines. The main type - four-line - was formed in the second half of the 19th century, it was performed to the dance and without it. Four-line ditties are also proper dance ditties, which are performed only to the dance (for example, to the quadrille).

In addition, there are two-line ditties: “suffering” and “Semenovna”.

Chastushkas have varied, but repetitive, steady tunes, both drawn out and fast. The performance of many texts on one tune is characteristic. In living life, ditties are sometimes characterized by recitativity.

Chastushki finally took shape in the last quarter of the 19th century. Simultaneously in different parts of Russia: in the center, middle and lower Volga region, in the northern, eastern and southern provinces.

Chastushki is the main genre of peasant lyrics in later traditional folklore. And finally, I would like to consider a few more genres of folklore, these are all varieties of “songs”. Which are described in detail by S.V. Alpatov, V.P. Anikin, T.B. Dianova, A.A. Ivanova, A.V. Kulagin. The definition of the genre and the issue of limiting the term "historical song". The difference between a historical song and an epic. Continuity links between historical songs and epics. Historical song as a stage in the development of epic creativity. Principles of selective interested depiction of events and persons in historical songs. Historical song as a work relevant for its time and the question of the subsequent transformation of its meaning and images. Early samples of historical songs: a song about Avdotya Ryazanochka, about the murder of Shchelkan Dudentevich, Polonyanka (“Mother meets her daughter in Tatar captivity”, etc.). Differences in style of early historical songs and the question of later changes in them. A cycle of songs about Ivan the Terrible and the events of his reign (“The Capture of Kazan”, “Temryuk-Mastryuk”, “Ivan the Terrible's Wrath on his Son”, “The Raid of the Crimean Khan”, etc.), about Yermak (“Ermak in the Cossack Circle”, etc. .), about the Time of Troubles (“Grishka Otrepiev”, “Lament of Ksenia Godunova”, “Skopin-Shuisky”, “Minin and Pozharsky”), etc. People's view of historical figures and understanding of the meaning of their activities. Cossack historical songs about Stepan Razin (“Razin and the Cossack circle.” “Razin's Campaign to Yaik”, “Sonny”, “Razin near Astrakhan”, “Song of Razin”. “Esaul reports the execution of Razin”). Poetization of Razin as the leader of the Cossack freemen. Condemnation of Razin by the Cossack circle. The lyrical beginning as a factor transforming the epic narrative. Special lyrical-epic song structure. Historical songs about Peter the Great and the events of his reign (“The Tsar judges the archers.” “On the beginning of the Northern War”, “Well done is going to Poltava”, “Tsar Peter on the ship”, etc.). Historical songs about the events of the Patriotic War of 1812 (“Napoleon writes a letter to Alexander”, “Kutuzov calls to defeat the French”, “Napoleon in Moscow”, “Cossack Platov”, etc.). Question about songwriters. Reflection in songs of thoughts and feelings of soldiers. The idea of ​​defending the fatherland. New themes in the soldiers' and Cossack historical songs in comparison with the songs of other cycles. Types of characters in historical songs: folk hero, king, commander. The image of the people. Poetics and style of historical songs. Genre varieties: epic songs (with a detailed plot, one-episode songs), lyrical-epic songs. Collections of historical songs of the XIII - XIX centuries. four books published in the series “Monuments of Russian Folklore”, Institute of Russian Literature Ak. Sciences, 19601973 . Ballad songs. The term “ballad” and its history (Provencal dance songs of the 11th-17th centuries; Anglo-Scottish ballads; literary romantic ballads). Folk Russian names of ballad songs: “verse”, “song”. Definition of the genre, its features. The most important properties of ballad songs: epic, family themes, psychological drama, the art of the tragic. Origin of ballad songs. The question of the time of their occurrence is debatable: a look at the appearance of ballads in the era of decomposition of ancient syncretism (A. N. Veselovsky), in the early period of written history (N. P. Andreev), in the Middle Ages (V. M. Zhirmunsky, D. M. Balashov, B. N. Putilov, V. P. Anikin). Ballad songs about the Tatar (later Turkish) polon: “The girl was taken prisoner by the Tatars”, “The Russian girl in the Tatar captivity”, “The red girl runs from the polonyanka”, “Rescue of the polonyanka”, “Prince Roman and Marya Yurievna”, “Two slaves ”, “Escape of slaves from captivity”. Later adaptations of ballads about polonyanka: “Young khancha”, “Pan brings a Russian polonyanka to his wife”. Plots of ballad songs of the 14th-16th centuries: “Vasily and Sophia”, “Dmitry and Domna”, “Ryabinka”, “Prince Mikhailo”, “Children of the Widow”, etc. Love ballads: “Dmitry and Domna”, “Cossack and Shinkarka ”, “The abduction of a girl”, “A girl defends her honor”, ​​“A nun drowns a child”. Family-everyday ballads: “Prince Roman lost his wife”, “Husband ruined his wife”, “Ryabinka”; “Fyodor Kolyshatoy”, “Alyosha and the sister of two brothers”, “Brother, sister and lover”, “Poisoning sister”, “Daughter of the thousandth”, “Forcible tonsure”. The theme of incest: “The hunter and his sister”, “Brother married his sister”, “Ivan Dorodorovich and Sofya-tsarevna” and others. and sister”, “Robber's wife”, etc. The crisis of the traditional ballad genre. Appearance at the end of the eighteenth and beginning of the nineteenth century. new ballads. Ballads: about social inequality: “Well done and the princess”, “Prince Volkonsky and Vanya the key-keeper”, “Princess and the lackey”, “A girl dies from the love of the voivodship son”; about poverty and grief: “Woe”, “Well done and grief”, “Well done and the Smorodina River”, etc. Features of the composition and plot of ballads: an open course of action, a predicted fatal outcome, tragic recognition. The role of monologues and dialogues. Drama. Single conflict. The dynamics of the development of action. Characteristics of the characters: the destroyer, the victim. Fantastic motifs: metamorphosis, werewolf, talking animals and birds, magical (living and dead water as a means of healing). The art of psychological imaging. Poetic language, allegory. Connections of ballads with epics, historical songs, spiritual poems, lyrical songs). New ballads, their connections with the old ones (plot-thematic commonality and differences). History of collecting ballads. Collection of N. P. Andreev and V. I. Chernyshev, collection of D. M. Balashov.

Lyric songs. Determination of the genre features of non-ritual songs as a type of folk lyrics: their freedom from ritual, relative untimedness at the time of performance, the predominance of poetic functions over pragmatic ones, the use of a kind of metaphorical and symbolic language for versatile life content and disclosure of the inner world of a person. The possibility of the inclusion of lyrical non-ritual songs into the composition of rituals and labor cycles and the diversity of folk terminology explained by this. Genetic connection of non-ritual songs with ritual lyrics (spells, lamentations, lamentations, play songs) and ballads. Continuity and processing of artistic traditions in the process of style formation. Problems of classification of non-ritual lyrical songs. A variety of systematization principles: by subject (love, family, recruiting, remote), by the social environment of creation and existence (soldiers, barges, coachmen, Cossacks, etc.), by the predominant composition of performers (male and female), by forms of melody and intrasyllabic chanting (frequent and lingering), in connection with the movement (stepping, marching, dancing), according to the emotional dominant (comic, satirical). The combination of several principles in the creation of scientific classifications (V. Ya. Propp, N. P. Kolpakova, T. M. Akimova, V. I. Eremina). The system of artistic images of non-ritual lyrics. The variety of folk characters and social types in the songs, the image of versatile relationships between people. Images of nature, life, social phenomena. The place of conditionally generalized images of love, longing, grief, will, separation, death and others in the artistic system of folk lyrics. Characteristic features of the connection of diverse images in the creation of symbolic paintings that form the subject-content basis of non-ritual songs. Techniques for depicting characters: idealization, humor, satire. Features of the composition of non-ritual songs. Their structure by belonging to the lyrical family. Figurative-symbolic parallelism and its forms (A. N. Veselovsky), the method of stepwise narrowing of images (B. M. Sokolov), the principle of chain-associative connection (S. G. Lazutin), the juxtaposition of autonomous thematic-style formulas (G. I. . Maltsev). N. P. Kolpakova, N. I. Kravtsov about the main types and forms of composition. Poetic language of non-ritual lyrics: functions of constant epithets, comparisons, metaphors, antitheses. Stereotypical stable verbal complexes in songs. The peculiarity of the rhythmic-syntactic structure of the folk song verse (the system of repetitions, syllabic breaks, intra-syllable chants, stanza, meter). The use of lexical and phonetic expressiveness of oral speech in lyrics. Collection of folk songs. Activities of P. V. Kireevsky. Folk lyrics as part of the collection of P. V. Shein, a collection of folk songs by A. I. Sobolevsky “Great Russian Folk Songs”. Types of editions of songs of local traditions.

Spiritual verses. The definition of spiritual poetry as a complex of epic, lyrical-epic and lyrical works, the unifying beginning of which is the concept of "spiritual", religious-Christian, opposed to worldly, secular. Folk names of the genre: “poems”, “old times”, “psalms”, “kants”. The origin of spiritual verses and sources: the books of Holy Scripture (Old and New Testament), Christian canonical and apocryphal literature, which penetrated into Rus' after Baptism from the end of the 10th century. (lives, biblical stories, moralizing stories, etc.), church sermons and liturgy. Senior spiritual verses (epic) and junior (lyric). The creators and performers of spiritual verses Kaliki (cripples) are passers-by, pilgrims to holy places. Folk rethinking of biblical and gospel themes, lives, apocrypha. “Spiritual verses are the result of the people's aesthetic assimilation of the ideas of Christian dogma” (F. M. Selivanov). The main idea of ​​spiritual verses: assertion of the superiority of the spiritual over the material, bodily, glorification of asceticism, martyrdom for the faith, denunciation of sinfulness, non-observance of God's commandments. Reflection in the older spiritual verses of cosmogonic ideas. Main themes and plots: poems about the universe (“Pigeon Book”); on biblical Old Testament stories (“Osip the Beautiful”, “Lament of Adam”); gospel (“Nativity of Christ”, “Massacre of the Innocents”, “Dream of the Virgin”, “Crucifixion of Christ”, “Ascension”); about snake-fighting heroes (“Fyodor Tiron”, “Egoriy and the Serpent”), martyrs (“Egoriy and Demyanishche”, “Kirik and Ulita”, “Galaktion and Epistimia”, “On the Great Martyr Barbara”), ascetics (“Josaf and Varlaam ”, “Alexei is a man of God”); miracle workers (“Mykola”, “Dmitry of Thessalonica”); the righteous and sinners (“Two Lazarus”, “About Mary of Egypt”, “About the Prodigal Son”, “Anika the Warrior); about the end of the world and the Last Judgment (“Mikhailo the archangel the terrible judge”, “Archangels Mikhailo and Gabriel - carriers across the fiery river”). Echoes of pagan beliefs in verses about mother damp earth (“Cry of the earth”, “Unforgivable sin”, “Rite of farewell to the earth before confession”). Edifying verses about worldly temptations and salvation in the wilderness, the need for repentance (“Friday and the Hermit”, “A Poem about Laziness”, “Basil of Caesarea”). Poems based on plots from ancient Russian history (“Boris and Gleb”, “Alexander Nevsky”, “Mikhail and Fedor of Chernigov”, “Dmitry Donskoy”). Junior spiritual verses (psalms, cants) on themes from the Old Believer history (XVIIХ1Х centuries): “About Nikon”, “A Verse about the Antichrist”, “Mount Athos” and songs of sectarian mystics (eunuchs, whips). Poetics. General folklore properties of spiritual poems, allowing them to be correlated with epics, ballads, historical and lyrical songs. The influence of literary Christian style, the widespread use of Church Slavonicisms. Spatio-temporal characteristics of the artistic world of spiritual poetry. The specifics of the miraculous, connected in them with Christ and the saints (healing of the sick, invulnerability under torture, resurrection from the dead, etc.). Composition (a chain of episodes of an event or character's life). Monologue verses (“Lament of Joseph the Beautiful”), the role of dialogues (“Dream of the Virgin”). Poetic language (epithets, parallelisms, comparisons). The image of the earth after the Last Judgment. Description of the parting of the soul with the body, crossing the fiery river, etc. The history of the gathering (P. V. Kireevsky, V. G. Varentsov, T. S. Rozhdestvensky and M. I. Uspensky). The study of spiritual verses. Mythological direction (F. I. Buslaev, A. N. Afanasiev, O. F. Miller); cultural and historical direction (research by A. N. Veselovsky, A. I. Kirpichnikov, V. P. Adrianova); historical and domestic (“Materials on the history of the study of Russian sectarianism and schism (Old Believers)”, edited by V. D. Bonch-Bruevich (St. Petersburg, 1908-1911), four issues). Resumption of research in the early 70s of the twentieth century. : articles by Yu. A. Novikov, S. E. Nikitina, F. M. Selivanov and others.

Types of oral folk art

Folklore ( English Folklore - "folk wisdom") - folk art, most often it is oral; artistic collective creative activity of the people, reflecting their life, views, ideals; created people and existing among the masses.

1. Proverb - a small form of folk poetry, dressed in a short, rhythmic saying, carrying a generalized thought, conclusion, teaching.

ñ "Tears of sorrow will not help"

ñ "Bread is the head of everything"

ñ “You can’t pull a fish out of the pond without labor”

ñ "Seven do not wait for one"

ñ "Too many cooks spoil the broth"

ñ "Measure seven times - cut one"

ñ "A well-fed is not a friend to the hungry"

ñ "Who does not work shall not eat"

ñ "The word is precious, but silence is golden"

ñ “The word is not a sparrow - it will fly out, you won’t catch it”

ñ "Cause time - fun hour"

ñ "A bird in the hand is worth two in the bush"

ñ “If you like to ride, love to carry sleds”

ñ "Your own burden does not pull"

ñ "On the thief and the hat is on fire"

ñ “To be afraid of wolves - do not go into the forest”

ñ "The sheep will bark - the herd will repeat"

ñ "Stubborn sheep - self-interest to the wolf"

ñ "A penny saves a ruble"

ñ "God saves man, who save himself"

ñ “Under a lying stone and water does not flow”

ñ "Knowledge is power"

ñ "There is safety in numbers"

ñ "From the world by a thread - a beggar's shirt"

ñ "Fight fire with fire"

ñ "You're fine with dying, but this is bread"

ñ “Lie on the floors - you can’t see a chunk”

2. Saying - phrase, turn of speech, reflecting any phenomenon of life, one of small genres of folklore . Often humorous.

A saying, unlike a proverb, does not contain a generalizing instructive meaning.

ñ « Hunger is not an aunt, she will not feed you a pie »

ñ « Teach your grandmother to suck eggs »

ñ « Called a load - climb into the box »

ñ « A fly in the ointment »

ñ « How do you call the boat - so it will float »

ñ « Road spoon to dinner »

ñ « Yes, curls of convolutions will not replace! »

ñ « A friend in need is a friend indeed »

ñ « Do not renounce from the sum and from the prison »

ñ « Found a scythe on a stone »

ñ "Without God to the threshold"

ñ « Kiss means love »

ñ "Beats means loves"

3. Song, words and music which have developed historically in the course of development Russian culture . The folk song does not have a specific author, or the author is unknown.

4. Chastushka - folklore genre, short Russian folk song (quatrain), humorous content, usually transmitted orally.

5. Riddle - an expression in which one item is represented by another, having with him any resemblance, however remote. ; based on the last person and must guess intended subject. IN antiquities riddle - a means of testing wisdom , now folk fun . Riddles are for everyone peoples no matter what stage of development they are at.

A proverb and a riddle differ in that the riddle must be guessed, and the proverb is a lesson.

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

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

7. Rhyme - an element of pedagogy, a sentence song that accompanies the game with the fingers, arms and legs of the child.

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

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

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

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

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

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

Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Aty-baty, what did you buy?
Aty-baty, samovar.

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

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