Folklore is oral folk art. Fairy tales, proverbs and sayings reflected the wisdom of the people, the experience accumulated over the centuries, ideas about the structure of the world, and the practical experience of the peasants. Folklore works are still popular, you can often see folk dances, hear songs. Children enjoy reading Russian folk tales. Unfortunately, in the 21st century, not all genres of folklore are known, many are completely forgotten.
1) Problem. Earlier in Rus' there were many genres of small, or children's, folklore. Only riddles, proverbs, sayings and tongue twisters have survived to this day. And what other genres of small folklore are there? Let's try to answer this question.
2) Purpose. Find examples of different small genres of folklore
3) Tasks:
Ask classmates what genres of folklore they know, write down examples.
Find examples in the literature.
Find a definition for each genre.
4) Methods: survey, observation, search.
The object of study is the genres of Russian folklore.
The subject of study is small genres of folklore.
SMALL GENRES OF FOLKLORE
Small genres of folklore- are small in size folklore works. In some works there is a definition children's folklore, since such folk works enter a person's life very early, long before mastering speech.
Types of small genres of folklore
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 in reality this will not happen again. That is why in the lullaby you can find the "gray top" and other frightening characters. Later, lullabies lost their magical elements, gained meaning good wishes 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(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- 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 induce the child to action, while simultaneously making a massage, physical exercise by 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 the emotional realm.
Examples
|
"Magpie" magpie crow, (running finger over palm) |
"Magpie"(option featured in the cartoon "Mouse Song"): magpie-crow |
"Okay" (clap hands on stressed syllables) Okay, okay, where have you been? By Grandma! |
joke(from bayat, that is, to tell) - poetic, short, a 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 teach something.
Road spoon to dinner.
To be afraid of a wolf, do not go into the forest.
Birds of a feather flock together.
You can't even pull a fish out of a pond without difficulty.
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 I knew where you would fall, I 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 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- 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 it to come soon, complain about the winter, complain.
Larks, larks!
Fly to us
Bring us a warm summer
Take the cold winter away from us.
Us Cold winter got bored
Hands, feet frostbitten.
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- 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 to 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, 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, for children - funny stories about things that don't happen, for example:
Because of the forest, because of the mountains Grandpa Egor is riding. He is on a gray wagon, On a creaking horse, Belted with an ax handle, A belt is plugged into his belt, Boots are wide open, A zipun is on his bare feet.
CONCLUSION
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 different options the same piece of folklore.
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.
Our hypothesis was confirmed, with the help of surveys and observation, we found out that there are not so many children's folklore left to this day, but in fact there are a lot of genres.
Folklore in its nature, content and purpose is a deeply democratic, truly folk art. He is distinguished not only by ideological depth, but by high artistic qualities. Folk poetic creativity is distinguished by a peculiar art system visual means and genres.
What are genres of Russian folklore?
One of the most ancient forms of creativity was labor songs with their simplest commands, cries, signals given in the course of work.
Calendar folklore primordially came from the urgent practical goals of people. It was associated with ideas about the annual agricultural cycle and with variable natural conditions. People sought to know the future, so they resorted to fortune-telling, talked about the future according to signs.
This also explained wedding folklore. It is imbued with the idea of the safety of the family and clan, designed for the goodwill of the highest patrons.
Preserved from antiquity and individual elements children's folklore, which later changed under the influence of aesthetic and pedagogical functions.
Among the oldest genres - funeral lamentations. With the advent of universal military duty, there was a mourning for those who were taken to the service - recruiting accounts.
Genres non-ritual folklore also formed under the influence of syncretism. It includes small folklore genres (proverbs): proverbs, fables, omens and sayings. They contained human judgments about the way of life, about work, about higher natural forces, statements about human affairs. "This is a vast area of moral assessments and judgments, how to live, how to raise children, how to honor ancestors, thoughts about the need to follow precepts and examples, these are everyday rules of behavior ... In a word, the functionality of proverbs covers almost all worldview areas." nine
The genres of oral prose include legends, stories, bylichki, legends. These are stories and incidents from life that tell about a person’s meeting with the characters of Russian demonology - sorcerers, witches, mermaids, etc. This also includes stories about saints, shrines and miracles - about the communication of a person who has accepted Christian faith, with forces of a higher order.
Genres song epic: epics, historical songs, military songs, spiritual songs and poems.
Gradually, folklore moves away from everyday functions and acquires elements of artistry. It has an increasing role artistic beginning. As a result of historical evolution, folklore became poetic in its main and fundamental qualities, reworking the traditions of all previous states of folklore. 10
Artistic creativity is embodied in all forms fairy tales: fairy tales about animals, fairy tales, household.
This type of creativity is also represented in riddles.
To early views artistic creativity include and ballads.
Lyric songs also carry artistic function. They are performed outside the rites. The content and form of lyrical songs are associated with the expression of the experiences and feelings of the performers.
Modern researchers refer to the artistic song folklore of the latest formation romances and ditties.
Children's folklore has its own system of genres, correlated with the age characteristics of children. It has artistic and pedagogical functions. It is dominated by game beginnings.
artistic spectacular theatrical basis contains folklore spectacles and folklore theater . It is presented in all variety of genres and types ( games, disguise, nativity scene, raek, puppet shows etc.).
A separate genus of artistic representations forms the so-called fair folklore. It arose from fair performances, cries of merchants, farcical barkers, joke speech, jokes and folk rhymes.
At the junction of the connection of old traditions of folklore and trends new culture the genre has developed joke.
A detailed account of individual folklore genres will be undertaken in subsequent sections of the manual.
Folklore. Genres of folklore
Folklore (from English folk - people, lore - wisdom) - oral folk art. Folklore arose before the advent of writing. Its most important feature is that folklore is the art of the spoken word. This is what distinguishes it from literature and other forms of art. Another important distinguishing feature folklore is a collectivity of creativity. It arose as a mass creativity and expressed ideas primitive community and the genus, not the individual.
In folklore, as in literature, there are three types of works: epic, lyrical and dramatic. At the same time, epic genres have poetic and prose form(in literature, the epic genre is represented only by prose works: a story, a novella, a novel, etc.). Literary genres and folklore genres differ in composition. In Russian folklore, epic genres include epics, historical songs, fairy tales, legends, legends, tales, proverbs, sayings. Lyrical folklore genres are ritual, lullabies, family and love songs, lamentations, ditties. To dramatic genres relate folk dramas. Many folklore genres have entered literature: song, fairy tale, legend (for example, Pushkin's fairy tales, Koltsov's songs, Gorky's legends).
Genres of folklore each have their own content: epics depict feats of arms heroes, historical songs - events and heroes of the past, family songs describe the everyday side of life. Each genre has its own heroes: heroes Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich act in epics, Ivan Tsarevich, Ivan the Fool, Vasilisa the Beautiful, Baba Yaga act in fairy tales, wife, husband, mother-in-law in family songs.
Folklore differs from literature in a special system means of expression. For example, the composition (construction) of folklore works is characterized by the presence of such elements as the sing-along, the beginning, the saying, the slowing down of the action (retardation), the trinity of events; for style - permanent epithets, tautologies (repetitions), parallelisms, hyperbolas (exaggerations), etc.
The folklore of different peoples has much in common in genres, artistic means, plots, types of heroes, etc. This is due to the fact that folklore as a form of folk art reflects general patterns community development peoples. Common features in the folklore of different peoples may arise due to the proximity of culture and life or long-term economic, political and cultural ties. A large role is also played by the similarity of historical development, geographical proximity, movement of peoples, etc.
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Folklore in its nature, content and purpose is a deeply democratic, truly folk art. He is distinguished not only by ideological depth, but by high artistic qualities. Folk poetic creativity is distinguished by a peculiar artistic system of visual means and genres.
What are genres of Russian folklore?
One of the most ancient forms of creativity was labor songs with their simplest commands, cries, signals given in the course of work.
Calendar folklore primordially came from the urgent practical goals of people. It was associated with ideas about the annual agricultural cycle and with changing natural conditions. People sought to know the future, so they resorted to fortune-telling, talked about the future according to signs.
This also explained wedding folklore. It is imbued with the idea of the safety of the family and clan, designed for the goodwill of the highest patrons.
Preserved from antiquity and individual elements children's folklore, which later changed under the influence of aesthetic and pedagogical functions.
Among the oldest genres - funeral lamentations. With the advent of universal military duty, there was a mourning for those who were taken to the service - recruiting accounts.
Genres non-ritual folklore also formed under the influence of syncretism. It includes small folklore genres ( proverbs): proverbs, fables, omens and sayings. They contained human judgments about the way of life, about work, about higher natural forces, statements about human affairs. "This is a vast area of moral assessments and judgments, how to live, how to raise children, how to honor ancestors, thoughts about the need to follow precepts and examples, these are everyday rules of behavior ... In a word, the functionality of proverbs covers almost all worldview areas." nine
The genres of oral prose include legends, stories, bylichki, legends. These are stories and incidents from life that tell about a person’s meeting with the characters of Russian demonology - sorcerers, witches, mermaids, etc. This also includes stories about saints, shrines and miracles - about the communication of a person who has accepted the Christian faith with forces of a higher order .
Genres song epic: epics, historical songs, military songs, spiritual songs and poems.
Gradually, folklore moves away from everyday functions and acquires elements of artistry. The role of the artistic principle increases in it. As a result of historical evolution, folklore became poetic in its main and fundamental qualities, reworking the traditions of all previous states of folklore. 10
Artistic creativity is embodied in all forms fairy tales: fairy tales about animals, fairy tales, household.
This type of creativity is also represented in riddles.
The early types of artistic creativity include ballads.
Lyric songs also have an artistic function. They are performed outside the rites. The content and form of lyrical songs are associated with the expression of the experiences and feelings of the performers.
Modern researchers refer to the artistic song folklore of the latest formation romances and ditties.
Children's folklore has its own system of genres, correlated with the age characteristics of children. It has artistic and pedagogical functions. It is dominated by game beginnings.
The artistic spectacular theatrical basis contains folklore spectacles and folklore theater. It is presented in all variety of genres and types ( games, disguise, nativity scene, rayek, puppet shows, etc.).
A separate genus of artistic representations forms the so-called fair folklore. It arose from fair performances, cries of merchants, farcical barkers, joke speech, jokes and folk rhymes.
The genre of joke.
A detailed account of individual folklore genres will be undertaken in subsequent sections of the manual.
The word "folklore", which often refers to the concept of "oral folk art", came from the combination of two English words: folk - "people" and lore - "wisdom". Like literature, folklore works are divided into epic, lyrical and dramatic. Epic genres include epics, legends, fairy tales, historical songs. Lyrical genres include love, wedding, lullabies, funeral lamentations. To dramatic ones - folk dramas (with Petrushka, for example). The original dramatic performances in Russia were ritual games: the farewell to Winter and the meeting of Spring, elaborated in detail wedding ceremonies etc. It should also be remembered about small genres of folklore - ditties, sayings, etc.
Children's folklore. This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as passed on to children from oral art adults. That is, the structure of children's folklore is no different from the structure of children's literature. Many genres are associated with the game, in which the life and work of the elders are reproduced, therefore, the moral attitudes of the people, their national traits, features of economic activity. In the system of genres of children's folklore, a special place is occupied by "nurturing poetry", or "mother's poetry". These include lullabies, pestles, nursery rhymes, jokes, fairy tales and songs created for the little ones.
More major works children's folklore - a song, an epic, a fairy tale.
Russian folk songs play a big role in shaping children's musical ear, taste for poetry, love for nature, for their native land. In the children's environment, the song exists from time immemorial. Children's folklore also included songs from adult folk art - usually children adapted them to their games. There are ritual songs (“And we sowed millet, sowed ...”), historical (for example, about Stepan Razin and Pugachev), lyrical. Nowadays, children often sing songs not so much folklore as author's. There are also songs in the modern repertoire that have long lost their authorship and are naturally drawn into the element of oral folk art.
Epics. This is the heroic epic of the people. It is of great importance in the education of love for native history. Epics always tell about the struggle of two principles - good and evil - and about the natural victory of good. The most famous epic heroes- Ilya Muromets. Dobrynya Nikitich and Alyosha Popovich are collective images that capture the features of real people, whose lives and deeds became the basis of heroic narrations - epics (from the word "truth") or olden days. Epics are a grandiose creation of folk art. The artistic conventionality inherent in them is often expressed in fantastic fiction. The realities of antiquity are intertwined in them with mythological images and motifs. Hyperbole is one of the leading devices in epic narration. It gives the characters monumentality, and their fantastic exploits - artistic persuasiveness.
Fairy tales. They originated in ancient times. Telling fairy tales was a common hobby in Rus', they were loved by both children and adults. In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where the correct life paths of a person go, what is his happiness and unhappiness, what is his retribution for mistakes, and how a person differs from a beast and a bird.
In a fairy tale for children, there is a special charm, some secrets of the ancient worldview are revealed. They find in the fairy tale narrative on their own, without explanation, something very valuable for themselves, necessary for the growth of their consciousness. Imaginary, fantasy world turns out to be a mapping real world in its main foundations. A fabulous, unusual picture of life gives the baby the opportunity to compare it with reality, with the environment in which he himself, his family, people close to him exist. The tale accustoms him to the idea that evil in any case must be punished.
For children, it doesn’t matter at all who the hero of the fairy tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is - handsome and kind or ugly and angry. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, the character embodies one quality: the fox is cunning, the bear is strong, Ivan is lucky as a fool, and fearless as a prince. The characters in the tale are contrasting, which determines the plot: the diligent, reasonable sister Alyonushka was not obeyed by brother Ivanushka, he drank water from a goat's hoof and became a goat - he had to be rescued; evil stepmother intrigues against the kind stepdaughter... Thus, a chain of actions and amazing fairy-tale events arises. The tale is built on the principle of a chain composition, which, as a rule, includes three repetitions. Sometimes the repetition is in the form of a dialogue; then children, if they play a fairy tale, it is easier to transform into its heroes. Often a fairy tale contains songs, jokes, and children remember them first of all.
The tale has own language- concise, expressive, rhythmic. Thanks to language, a special fantasy world is created. According to the theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: fairy tales about animals, fairy tales and household (satirical) ones.
Folk tale and myth
The world origins of children's literature: archaic civilizations, the era of antiquity, the early stages of the development of world religions, world folklore. Mesopotamian civilization - the birth of writing in 3 thousand BC "school" tablets, teaching aids, tablets with exercises in various fields of knowledge (mathematics, language, jurisprudence) were found.
The Sumerian-Akkadian Epic of Gilgamesh, 2-3 thousand BC, entered the reading circle of children and adolescents. Its first Russian translator was Gumilyov. Voskoboinikov in 1997 wrote the children's story "The Brilliant Gilgamesh". This work consists of 12 "songs", their sequence corresponds to the 12 signs of the zodiac. Plot motives: Gilgamesh, dressed in the skin of a lion he killed, overcomes a heavenly bull, finds a flower eternal youth, kills a snake that lives on a tree in a mysterious garden, receives sacred items from underworld. Looks like Hercules.
The myth of the Divine child was formed in ancient cultures along with the myths of the Mother, the Father, the World Tree, and the creation of the world. It is included in the system of mythological representations of different peoples. The plots and motifs of children's folklore and children's literature are closely connected with the mythology of the Divine Child. The image of a child is inseparable from a miracle, the main function of the central character is to perform the extraordinary, miracles. The mythologeme of the Deities of the child has a number of structure-forming motifs, each of which is reflected in the children's literature known to us. The birth of a child is often preceded by misfortune - a married couple experiences childlessness, like Samson's parents according to the Old Testament. The divine child is usually raised above the rest of the characters, the scale of his image is enlarged (in the story of Moses, for example). Often the divine child has some kind of physical difference that makes him both beautiful and terrible. For example, the story of miraculous birth Samson, who grew up to be a strong man, all the strength of which lay in his hair. There were also child prophets, the future saviors of the world, for example, the prophet Muhammad. A child who witnesses a miracle and sees a divine teacher in his friend is another structuring element in the poetics of child literature. The childhood of Hercules, Alex of Macedon, the Virgin Mary, Jesus Christ is depicted as the era of the first miraculous deeds. There are many miracles of healing: with one touch, Jesus heals the foot of a young woodcutter. So, the foundations adet lit-ry is the image of a child who creates a miracle. The plot of children's literature largely consists of "good deeds". In ancient texts, the child is depicted in a system of confrontations, conflicts: the child-parents, the child-other children, the child-teachers.
Along with the child characters, there are also "undivine" children. For example, the Old Testament story about the twins Esau and Jacob, one will become a skilled hunter, the other will become a meek “man of tents”, i.e. practitioner and lyricist. Comic and dramatic duets: Chuck and Huck at Gaidar, Tom Sawyer and Huck Finn and Twain.
Ancient Greek and Roman schools. Phlegon of Trall, Rome author, 2nd century AD collection " Amazing Stories”, these stories feature fantastic creatures and ghosts; eastern fairy tale connects with elements of mysticism, fantasy.
Ancient civilization left a rich cultural heritage to the countries of the collapsing Roman Empire, it lasted for many centuries until independent national cultures were formed. With the approval of Christianity, relations in society began to change, the authority of the ancient classics ceased to be indisputable, and folklore no longer provided answers to new questions.
(from lectures). The first acquaintance of a child with a myth is through a church service. Myth is a story about the gods and heroes of antiquity. The cult of nature and ancestors is the starting point for the formation of a myth. The grain of myth is an archetype, some kind of knowledge is embedded in us. Myths are: astral (about the stars), calendar, anthropogonic (about the creation and origin of man), totemic (the myth of the relationship of people with objects of wildlife), eschatological (the myth of the end of the world). Christ myth reveals itself in prose: rebirth scripture for children, in a literary fairy tale, where the language and Christ of myths are superimposed; in the genre Christmas story. Easter story, in fantasy plots.
Children's literature in Russia in the 15th-18th centuries
The entire history of Old Russian children's literature can be divided into four periods:
1) the second half of the 15th - the first half of the 16th century, when the first cognitive works appeared;
2) the second half of the XVI - early XVII c., when 15 printed books for children were published;
3) 20-40s. 17th century, when regular poetry begins;
4) the second half of the 17th century - the period of the development of various genres and types of children's literature.
big development in the 17th century gets poetry. The poems of that time, addressed to children, were, with modern point view, still quite primitive. But it was with them that children's poetry began.
A rare children's handwritten or printed book did without poems. There were especially many of them in the second half of the 17th century, when large-scale works were also written, which we now call poems. The verses set out the rules of behavior, various information about the world was reported. Most of the poems are anonymous. However, some authors were known even then, others are established now. Savvaty, the director of the Moscow Printing House, should be considered the very first children's poet in Rus'. The referee was responsible for the content and literacy of the book. Therefore, the most educated people. Currently, more than ten poems by Savvaty are known, written by him especially for children. Among them is the first poem in the book of the Moscow press, placed in the alphabet of the 1637 edition. It consists of 34 lines. The poem simply, warmly and clearly tells the reader about the book he is holding in his hands, praises literacy, book wisdom, gives various tips on how to learn and how to read. According to the composition, this is a sincere conversation with the child on an interesting and important topic for him. The author convinces the child not to be lazy in learning, to be diligent, to obey the teacher in everything. Only in this case can he learn "the wise writing » (literacy), get into the number " wise men and become a "true son of light". Later, in the second half XVII century, this poem was widely distributed through handwritten books.
Great fame another poem by Savvaty was also used - "Prohibition in brief on laziness and negligence", consisting of 124 lines. It creates a negative image of a student who is capable, but lazy and negligent. Savvaty tries to instill in children respect for literacy, an enthusiastic attitude towards education and contempt for ignorance. The author leads the reader to the conclusion that teaching is light, and ignorance is darkness. As the main educational tool, Savvaty uses persuasion, and how literary device- comparison, assimilation. For example, he says that a diamond is precious by the play of light, color, paints, and a person by education and “his understanding”.
In another large poem, consisting of 106 lines, called "Vacation ABC", an image of a positive student was created, who heeded the advice of his teacher, studied diligently, and therefore the teacher taught him everything that he himself knew and could do. This is like a parting word to the child on the day of graduation.
The greatest poet of the 17th century was Simeon of Polotsk. His real name is Petrovsky. In 1664, at the invitation of the Russian Tsar Alexei Mikhailovich, Simeon moved to Moscow, where he opened a school, began to take an active part in literary and public life. Simeon of Polotsk took part in the creation of the primer of 1664. He also compiled the entire primer of the edition of 1667, which was republished in 1669. The preface written by Simeon for this primer is an outstanding pedagogical treatise of the 17th century.
But the greatest interest presents a primer of 1679. It contains two poems for children: “Foreword to young men, learn from those who want” and "Exhortation". The first of them talks about the book, praises literacy, contains calls for children to study well, for he who labors in youth will be at rest in old age. Of all the labors greatest pleasure and reading and learning are beneficial. The second poem is placed at the end of the book. He wrote verse prefaces to the books "Testament" and "The Tale of Vaarlam and Joasaph" published by him for children. In them, he talks about the content of books, draws attention to the most important things, trying to interest children, prepare for perception. The most important books of Simeon Polotsky are “Reef. mologion”, which has 1308 large format pages, and “Multicolor Vertograd”, consisting of 1316 pages. The books were intended, according to the author, "for the benefit of the young and old", who could "search for words" in them and read "to learn their age." The books contain many poems accessible to children, including greeting verses from children to parents, relatives and patrons.
Poems about nature, minerals, animals, plants, entertaining legends, etc., which had become very famous, were also available to children. For example, the poem “Arc” (“Rainbow”) or poems about earth and water. Being a teacher by profession and an outstanding The poet of his time, Simeon of Polotsk, made a significant contribution to the creation of literature for children.
The first Russian writer and poet whose work was entirely dedicated to children was Karion Istomin. In all his works, Karion Istomin glorified science, "enlightenment," yagi. He believed that everyone should study: children of all classes, boys and girls, people of all nationalities. Science, according to Karion Istomin, should save people from want and grief. Although in most of his poems Istomin directly addressed the princes, he intended them for the entire Russian people.
During the life of Karion Istomin, three of his books for children and a complete set of textbooks were published. In another children's book by Karion Istomin - the Big Primer there were 11 poems. In addition, he wrote more than ten books of poetry. Yes, in the book "Policy" it tells about everyone, seasons, parts of the world, different countries. In a poetry book "Domostroy", consisting of 176 lines, on vivid examples, the rules of behavior are figuratively stated. The main content of the rules is reduced to the requirement to study the "free sciences", etc.
Genre literary fairy tale. Traditional and innovative in Pushkin's fairy tales
Tales of A.S. Pushkin appeared in the period of the highest flowering of his work. They were not intended for children, but almost immediately entered the children's reading.
In 1830, Pushkin began work on the fairy tale about the bear "Like a warm spring time", which remained unfinished. In 1831 "The Tale of Tsar Saltan" and "The Tale of the Priest and his Worker Balda" were completed. In 1833, two fairy tales were written: "The Tale of the Fisherman and the Fish" and "The Tale of the Dead Princess and the Seven Bogatyrs." In 1834, The Tale of the Golden Cockerel appeared.
A.S. Pushkin creates his fairy tales on folklore material. "The Tale of the Priest and his worker Balda" is close in plot to the folk tale "The farmhand Shabarsha". The plot of "The Tale of the Fisherman and the Fish" originates from the fairy tale "The Greedy Old Woman" and was presented to Pushkin by the collector of folklore writer V.I. Dalem. "The Tale of Tsar Saltan" echoes the folk tale "About Wonderful Children". "The Tale of the Dead Princess and the Seven Bogatyrs" is close to the plot of the folk tale "The Magic Mirror". Turning to oral folk art, A.S. Pushkin sees in him inexhaustible possibilities for updating literature.
Tales of A.S. Pushkin - plot works, which show a sharp conflict between the light and dark world. An example is "The Tale of Tsar Saltan, of his glorious and mighty son Prince Gvidon Saltanovich and beautiful princess Swans. It was written in 1831 and first published in 1832 in the third part of A. Pushkin's Poems. It was Pushkin's first fairy tale to appear in print. She met with mixed responses. Not all contemporaries understood Pushkin's innovation and saw the birth of a new poetic genre. From the very beginning, a subtle satirical reduction of the image of the tsar is given in it: “During the entire conversation, he stood behind the fence ...” According to the censorship conditions of A.S. Pushkin could not more frankly ridicule the noble lover of eavesdropping. The story has many shades human feelings: “The cook is angry in the kitchen, The weaver is crying at the loom, And they envy the sovereign’s wife,” and complex relationships between people are revealed.
Pushkin the storyteller spoke out against the monotony of poetry, against the obliterated rhythmic-syntactic turns. His verse is mobile, conveys the rhythm of movement and the intensity of events. The dynamism and speed of the change of events freely and easily coexist with landscape paintings, laconic and visually colorful: The wind rustles merrily, The ship runs merrily. In the blue sky the stars are shining, In the blue sea the waves are lashing...
The sound organization of verse is energetic and effective in Pushkin the storyteller. Each sound has significance for him, either transmitting the splash of a sea wave, or reproducing the flight of a mosquito or a bumblebee.
Pushkin appears in The Tale of Tsar Saltan as a fighter for the nationality of the language, or "vernacular". The Tale of Tsar Saltan ends not with a moralistic conclusion, as was the case with many other fairy tale writers, but with a merry feast glorifying the triumph of goodness.
Positive characters win in a long struggle: Prince Gvidon meets his father; the weaver, the cook and the in-law Baba Babarikha are put to shame. Readers with all their hearts are on the side of the "bright world" of the fairy tale, personified in the images of the queen mother, Prince Gvidon, Princess Swan. Only the image of Tsar Saltan raises doubts and reflections.
“The Tale of the Priest and His Worker Balda” is a satire on the unscrupulous ministers of the Orthodox Church who deceive the people. It ridicules human greed, stupidity and hypocrisy. Pop is going to hire a servant who will perform the duties of a cook, a groom and a carpenter for a penny. Stupidity and greed make him agree to receive clicks from Balda, whom he took on as workers. But the priest is not only greedy, but cunning and angry, he is trying to destroy Balda, giving him impossible orders, for example, to collect dues from the devils.
“The Tale of the Priest and his worker Balda” was not published during the life of the poet. It was first published by V.A. Zhukovsky in 1840 in the magazine "Son of the Fatherland" with major alterations caused by the strictness of censorship. "Pop" was turned into a "merchant Kuzma Ostolop". She started like this:
Once upon a time there was a merchant Kuzma Ostolop, nicknamed Aspen Forehead, and the whole tale was entitled: "The Tale of the Merchant Kuzma Ostolope and his worker Balda." The changes introduced by Zhukovsky distorted the social orientation of the tale, violated the system of its images and poetic integrity.
Pushkin's fairy-tale characters are psychologically and artistically perfect; in the process of working on a fairy tale, he constantly honed its verse, bringing it closer to the folk, sharpening the satire.
Artistic media Pushkin's fairy tales are inextricably linked with his poetic worldview. The poet spoke out against the pretentiousness and abstruseness of the verse; he strove to approach the folk saying with its aphorism.
Pushkin's verse in a fairy tale is full of movement. The poet sometimes builds whole stanzas mainly from nouns and verbs in order to convey the sharpness of the struggle:
The poor devil crawled under the mare, strained, strained,
He lifted the mare, took two steps, On the third he fell, stretched out his legs.
At the end of the tale, a mocking attitude towards the priest is clearly expressed. In 1835, The Tale of the Fisherman and the Fish, written two years earlier, appeared in the Library for Reading magazine.
The Tale of the Fisherman and the Fish reflected motifs that exist not only in Russian, but also in foreign folklore. So, in the collection of the Brothers Grimm there is a similar tale. Pushkin's fairy tale is a philosophical reflection on the confrontation between patient good and aggressive evil. The poet is not alien to social motives. This is emphasized by the sharp opposition between the old man and the old woman: he remains a peasant, and she rises higher and higher on the social ladder.
In the image of an old man, the folk beginning of a fairy tale is personified. He is forced to submit to the will of the greedy old woman, but does not respect her, no matter how high she rises. This is evidenced by his appeal to her when she wanted to become queen:
“What are you, woman, overeating with henbane?”
The image of an old woman gradually goes beyond the image of greed and becomes a symbol of social oppression. The Tale of the Fisherman and the Fish reflected the popular attitude towards tyrants. Good does not so much defeat evil in open confrontation as waits it out. The tale ends with an instructive picture of a person punished according to the laws of higher justice (their spokesman is gold fish) tyranny:
Look: again in front of him is a dugout; On the threshold sits his old woman, And in front of her is a broken trough.
"The Tale of the Dead Princess and the Seven Bogatyrs" was written in 1833. First published in 1834 in the Library for Reading magazine. It especially clearly reflected the humanistic orientation of Pushkin's fairy tales. In "The Tale of the Dead Princess" positive characters endowed with such character traits that are valued by working people: kindness, generosity, courage, devotion in friendship.
The Queen Mother is faithfully waiting for her husband, who has gone on a long journey. Pushkin talks about this in vivid scenes, close in style to oral folk art.
The image of the princess-daughter is dominated by romantic motifs. She evokes the love of the girl Chernavka and the seven heroes both by the fact that “everyone is sweeter, all blusher and whiter,” and, most importantly, with her kindness, responsiveness, and readiness to help.
The image of Prince Elisha is given in epic tones. The hero "sets off on a journey for a beautiful soul, for a young bride." He is close to nature. Elisha's lyrical appeals to the sun and the month, and finally to the wind, poetically color his image, give it a special charm. "The Tale of the Dead Princess" was written by the poet in a creative competition with Zhukovsky. But unlike him, Pushkin is not limited to the romantic depiction of heroes, he introduces realistic pictures of the life of the royal court, and creates satirical characters in his fairy tale. Such, to some extent, is the king-father, who hastened to marry, as soon as the due period of widowhood had expired.
The main force of Pushkin's satire is directed against the queen-stepmother, personifying " dark world» in a fairy tale. Envy and anger towards everything bright and good lead her in the end to death: "Here her longing took, and the queen died." So in a fairy tale, the victory of good symbolizes the death of evil.
In The Tale of the Golden Cockerel, which was written in 1834 and first published in 1835 (Library for Reading magazine), satirical image King Dadon, who prefers to reign without worries, "lying on his side." That is why the king mindlessly agrees to fulfill the first request of the astrologer, who gave him a golden cockerel. King Dadon is depicted as a man unable to love not only the country he rules, but also his own sons. The tears caused by their death easily give way to voluptuous delight in front of the Shamakhan queen. At the same time, the tsar is shown to be far from harmless: he is a tyrant, capable of destroying an old man who had once come to his aid because of a whim: “The tsar hit him on the forehead with a rod; he fell face down, and the spirit out.
It should be noted that goodies all the tales of A.S. Pushkin - people from the people: the industrious, resourceful and cheerful worker Balda ("The Tale of the Priest and his worker Balda"); disinterested, kind, undemanding worker-old man ("The Tale of the Fisherman and the Fish").
For Pushkin's fairy tales, as well as for folk, faith in light forces and feelings is characteristic. Pushkin's fairy tales are optimistic, in them goodness always triumphs over darkness and malice. The resourcefulness and diligence of Balda help him defeat the priest; Elisha's love and faithfulness resurrect his bride; Gvidon's filial devotion, his fight against envy and slander contribute to the triumph of truth.
Poetic speech in Pushkin's fairy tales is also marked by ethnic features. They are widely used folk sayings, proverbs, words and expressions, suffixes:
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