Epics are built according to a specific plan. Most epics begin with a beginning. It usually talks about the location of the action or where the hero went and from (see the first six lines of the epic “Ilya Muromets and the Nightingale the Robber”). Events in epics are presented in strict order, sequentially. The narration is told slowly, without haste. Since the bulletins lived in oral transmission, the performer told them to focus the attention of the listeners on places that, in his opinion, were especially important. For this purpose, repetitions are widely used in epics, usually three times. Thus, in the epic about Ilya Muromets and the Nightingale the Robber, the description of the strength of the Nightingale the Robber is repeated three times. To add melodiousness to the epic, to make its presentation more expressive and musical, individual words are often repeated in epics. For example: The straight path is blocked, the path is blocked, it is walled up. Or: In the capital in the city of Kyiv, In the affectionate prince in Vladimir Repetitions are found not only in the text of the same epic. Different epics describe similar actions and phenomena in the same way, for example, saddling a hero’s horse, a feast at Prince Vladimir’s, enemy strength, a battle between heroes and enemies, etc. Such similar descriptions found in different epics (and fairy tales) are called commonplaces. Sometimes epics end with a special ending - a conclusion from the entire content of the epic: Now it’s an old story, now it’s a deed, that is, this is how it was in the old days, this is a true story. Main character bylin - Russian hero. To more clearly imagine the strength of the hero, the technique of hyperbole (exaggeration) is used. For example, this is how the battle between a hero and an enemy force is described. If the hero waves right hand, a street is formed among the enemy camp, with an alley on the left. The hero's club (sword) weighs forty or even ninety pounds. If the hero falls asleep, then “heroic sleep for twelve days” (days). His horse matches the hero: “the horse’s first leap is many miles away, but the second leap cannot be found.” To emphasize the strength of the Russian hero, his enemy is depicted hyperbolically. The enemy's countless forces " gray wolf...you can’t outrun a day, you can’t outrun a black crow in a day.” In epics, as well as in oral works in general folk poetry, every word is precise and expressive. Over the centuries, folk singers and poets have perfected their language poetic works, achieving the most accurate and vivid, expressive disclosure through the word of the most significant qualities of the heroes and their actions. Thus, epithets are very rich and varied in oral poetry - colorful definitions indicating the most essential feature of people, objects, and phenomena of life. Often the same epithets constantly characterize certain heroes, objects, phenomena of life, nature, etc. Therefore, they are called constant epithets. In epics, for example, there are such constant epithets: stout, good fellow, great strength, glorious capital Kyiv-grad, tight bow, silk string, red-hot arrows. Comparisons are often used in epics: The forces are overtaken black and black, Black and black, like a black crow. Volga walks like a pike fish in the blue seas, Volga flies like a falcon bird under the shells, Negative comparisons are used: It is not a damp oak tree that bends to the ground, It is not paper leaves that spread out, A son bows before his father... Wanting to emphasize some shade of the meaning of a word, important, in the opinion folk singer, to understand the narrative, epic storytellers widely use synonyms: “Volga began to grow and mature”; “And yell and plow and become peasants,” ; “Here it seemed to Ilya that he was in trouble, for great annoyance...” Important role in the language of epics, nouns with diminutive and affectionate suffixes play a role. They express the people's assessment of the heroes of epics. Bogatyrs are often called pet names: Ilyushenka, Dobrynyushka Nikitich, Mikulushka Selyaninovich, etc. Suffixes endearing meaning are also used in words denoting objects belonging to the hero. “hardened arrows”, “saddle”, “bridles”, “felts”, “sweating pads”, etc.
Over the course of many centuries, unique techniques have been developed that are characteristic of the poetics of epics, as well as the method of their execution. In ancient times, it is believed that storytellers played along with themselves on the harp; later epics were sung with the recitative melodious speech in a vocal-musical work. Epic poems are characterized by a special pure-tonic epic verse (which is based on the commensurability of the lines by the number of stresses, which achieves rhythmic uniformity). Although the storytellers used only a few melodies when performing epics, they enriched the singing with a variety of intonations and also changed the timbre of their voices.
The emphatically solemn style of presentation of the epic, which tells about heroic and often tragic events, determined the need to slow down the action (retardation). For this, a technique such as repetition is used, and not only individual words are repeated “this braid, braid, ... from far, far away, marvelous is marvelous” (tautological repetitions), but also the intensification of Zhdanov’s synonyms, “To literary history Russian epic poetry" (Kyiv, 1881);: fight-fight, tribute-duties, (synonymous repetitions), often the end of one line is the beginning of another (“And they came to holy Rus', / To holy Rus' and to the city of Kyiv ..."). It is not uncommon for entire episodes to be repeated three times, with enhanced effect, and some descriptions are extremely detailed. Characteristic of the epic is the presence of “ common places", when describing similar situations, certain formulaic expressions are used: in this way (and in an extremely detailed manner) the saddle of a horse is depicted: “Ay, Dobrynya comes out into the wide yard, / He saddles the good horse, / He puts on a bridle, / He puts on sweatshirts on sweatshirts, / After all, he puts felt on felt, / On top of it is a Cherkassy saddle. / And he pulled the girths tightly, / And the girths were made of overseas silk, / And the overseas silk of Sholpansky, / Buckles of glorious copper from Kazan, / Pins of Siberian damask iron, / Not beautiful bass, brothers, well done, / But for the fortification it was heroic.” “Commonplaces” also include a description of a feast (mostly at Prince Vladimir’s), a banquet, and a heroic ride on a greyhound horse. The folk storyteller could combine such stable formulas according to at will. The language of epics is characterized by hyperboles, with the help of which the narrator emphasizes the character traits or appearance of the characters that are worthy of special mention. Another device that determines the listener’s attitude to the epic is the epithet (mighty, Holy Russian, glorious hero and filthy, evil enemy), and stable epithets are often found (violent head, hot blood, frisky legs, flammable tears). Suffixes also play a similar role: everything related to heroes was mentioned in diminutive forms (cap, little head, dumushka, Alyoshenka, Vasenka Buslaevich, Dobrynyushka, etc.), but negative characters were called Ugryumishch, Ignatyishch, the king of Batuisch, the filthy Ugarishch. A significant place is occupied by assonance, repetition of vowel sounds and alliteration, repetition of consonant sounds, additional organizing elements of verse.
Bylinas, as a rule, have three parts: a chorus (usually not directly related to the content), the function of which is to prepare for listening to the song; the beginning (within its limits the action unfolds); ending.
It should be noted that one or another artistic techniques, used in the epic, are determined by its theme (for example, for heroic epics antithesis is characteristic).
The narrator's gaze never turns to the past or the future, but follows the hero from event to event, although the distance between them can vary from several days to several years.
Availability of all kinds repetitions, literal or almost literal repetitions often mean. the size of entire episodes. For example, the order of the prince to the ambassador with letters. repeated precisely when the ambassador presented this order to the foreign king. Three times are especially popular. Repetition of episodes, mb with some tendency of “increasing”
Simple repetition of words(“Wonderful, wonderful, wonderful”, “wonderful, wonderful”, “from the forest there was a dark forest”), repetition of prepositions, repetition of the same word in two or more consecutive verses. This also includes increasing the number in each new verse: “There, straighten the tributes, the outputs, For twelve years and for thirteen years, For thirteen years and and a half.” - constant epithets, attached to various objects: white (birch tree, chest, day, gyrfalcon, swan, ermine, hand, light, snow, tent, grid, table, room, gate, etc.), red (sun, gold), gray (wolf , goose, drake), wide (yard, steppe, road, share, expanse), heroic (voice, horse, horse, strength, sleep, prey). Many of these epithets give an idea of aesthetics. tastes and preferences of Russian epics. Most of the constant epithets are applied to only one or two words: a clean field, a blue sea, small pearls, a walking cloud. - comparisons, eg: “Again, day after day, it’s like rain, week after week, like grass growing, And year after year, like a river flowing”;
-likening (Vladimir is a red sun, eyebrows are black sable).
- parallelisms, especially negative ones (eg . “It’s not clear that a falcon flew out here, It wasn’t a black raven that fluttered out here, It’s not clear that an evil Tatar boy is leaving here.”). - “fossilized” epithets, that is, such epithets that, used out of habit, sometimes turn out to be out of place in epics (for example, book. Vladimir is called affectionate even when, according to the action of the epic, he is, on the contrary, very unkind). - hyperboles, with the help of which the narrator emphasizes the character traits or appearance of the characters that are worthy of special mention.
-epithet(mighty, Holy Russian, glorious hero and filthy, evil enemy), and stable epithets are often found (violent head, hot blood, frisky legs, flammable tears).
- suffixes: everything related to the heroes was mentioned in diminutive forms (hat, little head, dumushka, Alyoshenka, Vasenka Buslaevich, Dobrynyushka, etc.), but the negative characters were called Gloomy, Ignatyishch, Tsarish Batuisch, Nasty Ugarishch.
- assonances(repetition of vowel sounds) and alliteration(repetition of consonant sounds), additional organizing elements of the verse. It should be noted that certain artistic techniques used in the epic are determined by its theme (for example, heroic epics are characterized by antithesis). The narrator's gaze never turns to the past or the future, but follows the hero from event to event, although the distance between them can vary from several days to several years.
The technique characteristic of the poetics of epics is the way of their execution. In ancient times, play-by-play narrators. himself on the harp, later the epics were performed in recitative, characterized by a special pure-tonic epic verse (which is based on the commensurability of the lines by the number of stresses, which achieves rhythmic uniformity). Although storytellers used only a few melodies when performing epics, they enriched the singing with a variety of intonations and also changed the timbre of the voice.
typical traditional formulas, describing the favorite positions of B. heroes or B. settings for B. plots (these are, for example, typical descriptive formulas of a hero’s bows at the entrance to the mansion, asking for blessings from the mother, saddling a hero’s horse, matchmaking of heroes, embassies, etc.).
16 These B took shape and developed during the period of early Russian statehood in Kievan Rus.
1) the action takes place in Kyiv or around 2) in the center of the event is Prince Vladimir. 3) the main topic is the protection of Russians. lands from nomads. 4) historical studies and life are characteristic of Kievan Rus. 5) events and enemies of the Russian land before the Mongol period.
Kyiv is glorified as the center of Russian lands. Bogatyrs travel from Murom, Rostov, and Ryazan to serve in Kyiv. Formir-e Kyiv cycle epic def. historical circumstances in the 9th-11th centuries, when Kyiv reached high power. They glorified the service of the heroes to the prince and the Russian land. They reflected more late time, the struggle of the Russians against the Tatar-Mongol yoke. Propp identifies an even earlier layer of epics. He included the epic “About Volkh” among such epics. Propp clearly spoke about how life develops and it turns out that not only the plot, but also the epic itself, its creation, is attributed to the pre-state time, then the ancient plot of the seizure of women and territories in the epic was overgrown with the features of an epic of the late 12th century. Volkh receives the task of going on a campaign. The image of a feast as a council.
"Epic about the great hero Svyatogor." Propp: it reflected a change in ideas about the vast world, as an ideal, about the mind of a farmer. The ideal of landownership, and not the hunter, as it was before. Of all the princes, Prince Vladimir was nominated - he will put it down. image, because he united the Russian lands. Christianity was adopted under him. He attracted people from different walks of life to his squad.
One of the late epics "Ilya's revolt against Prince Vladimir". Hordes of Tatars are approaching, and Prince Vladimir previously offended Ilya at the feast. In later epics, Vladimir is endowed with tougher, stricter features, but is able to evaluate his mistakes.
A circle of heroes is formed: Ilya Muromets, Alyosha Popovich, etc. These epics were first published in the collection “Ancient Russian Articles” by Danilov.
Heroic– include epics that arose before the Tatar-Mongol invasion, and epics associated with the invasion (about the Kama massacre, about the death of heroes, about Vasily Ignatievich and Batyg);
epics of social life - social conflicts are in first place (Volga and Mikula, Ilya in a quarrel with Vladimir, Duke, Churila),
epics about matchmaking (Mikhailo Potyk, Ivan Godinovich, Danube, Kozarin).
One of the important and characteristic features of the Kyiv cycle are the images three heroes, whose actions and fate are closely connected (Ilya Muromets, Alyosha Popovich, Dobrynya Nikitich).
In epics Kiev. cycle was reflected mainly in the activities of the princely-combatant class of Kiev. Rus' in war and peace. Main stories: 1) military exploits of heroes: a) in campaigns against enemies, to clear roads, for tribute, for the release of Russian prisoners, b) in the fight against the filthy ones besieging Kyiv, with rapists entrenched in Kyiv and c) at the heroic outpost; 2) bride matchmaking for Vladimir and the heroes, and matchmaking often ends with violence against the homeland of the brides and the taking of the latter to Kyiv, with their consent or against their will; 3) the daring of the heroes at the court of Vladimir, manifested in various kinds of competitions.
Epic. Kyiv is a symbol of the unity and state independence of the Russian land. Here, in the courtyard of Prince Vladimir, the events of many epics take place. The military might of Rus' is personified by heroes. Among the heroic epics, those in which Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich act take first place. These main defenders of the Russian land come from three classes: peasant, princely and priestly. Bylinas sought to present Rus' as united in the fight against enemies. Ilya – peasant son, originally from the village of Karacharova near the city of Murom. Until the age of thirty, he was sick - he could not use his arms or legs. The poor wanderers healed Ilya and gave him unprecedented strength. Ilya’s enormous power should benefit all of Rus', so he rushed to Kyiv. Along the way, he accomplished his first exploits: he defeated enemy troops near Chernigov, and cleared the road from the robber nightingale. After Ilya Muromets, Dobrynya Nikitich is most loved by the people. This is a hero of princely origin, he lives in Kyiv. The main work of his life was military service to Rus'. Dobrynya’s heroic feat is depicted in the epic “Dobrynya and the Snake” - a story about how on the Puchai River Dobrynya fought off a snake with one hat, knocking off three of its trunks. The snake begged and offered to make peace. Dobrynya let go of the snake, but then saw how it grabbed the prince’s daughter and went to rescue her. This time the battle was long, but Dobrynya won.
18 Historical songs- these are epic or lyrical-epic works, depicting events or episodes from the life of a historical person. persons Historical songs - plot genre, the plot in them is reduced to one event or even an episode, the action develops quickly, there is no desire to slow down the story, no techniques or tools are used. retardation. The facts of history are present in them in a poetically transformed form, although historical songs strive to reproduce specific ones. events. Historical songs have features similar to epics, but they are of the same quality. a new stage in the development of people. poetry. The events before them are more historical. accuracy than in epics. The first recordings date back to the 17th century, they were included in the collection “Ancient Russian Poems Collected by Kirsha Danilov.” Subsequently, recordings and publications of works in this genre continued; today, research fully understands how historical songs were created and performed. In folkloristics they were classified as epic epics, considered a Moscow or Kazan cycle. But we must take into account that between epics and historical songs there is a fundamental difference in the way they reflect reality.
As a genre of history. songs were formed in the era of Moscow. Rus', but the first ones appeared chronologically. earlier, in the 13th century. We can talk about the emergence of a small group of songs, connections. its content with the heroic feat of the inhabitants of Ryazan, who tried to stop the hordes of Batu ( Ryazan cycle). These songs are characterized by a search for new historical paths. song narrative - reflected in historical works. specific or using historical topics to create generalizations. Patriotic image, as in "Avdotya Ryazanochka." Historical songs were usually composed soon after the events described. In historical fiction may be present in songs, but it does not play a decisive role; perhaps an exaggeration, but there is almost no hyperbole. In historical The songs reliably reveal the psychology, experiences, motives of the characters’ actions, their inner. world.
Historical song cycles: 13th century Ryazan cycle.(about Avdotya Ryazanochka, about the “Tatar full”), in terms of poetics getting closer to epics, one can find the beginning and chorus, characteristic of an epic epic, slowing down the action created by threefold repetitions, etc. 16th century. A cycle of songs about Ivan the Terrible(about the capture of Kazan, about the marriage of Grozny to Maria Temryukovna and about the king’s anger at his son.) + cycle of songs about Ermak Timofeevich (“Ermak in the Cossack circle”, “Ermak’s capture of Kazan”, “Ermak took Siberia”, “Ermak from Ivan the Terrible” ", "Hike to the Volga", "Ermak in the Cossack circle"). reducing the role of hyperbole, now hyperbole is used not to denote the actions of one person, but to denote the actions of a team. There is a noticeable tendency in the song towards realistic detail, towards liberating the content from fantastic fiction. 17th century Historical songs responded to the “time of troubles”, to the death of Ivan the Terrible’s son Dmitry, the appearance of the False Dmitriev, the Poles’ campaign against Rus', the struggle against them by Minin and Pozharsky, the Cossack campaigns against Azov, and the uprising led by Stepan Razin. Songs about Stepan Razin are the largest cycle of the 2nd half. XVII century. The songs in this cycle are poetic. The side of the image noticeably predominates over the concreteness of the political. problems. As the researcher of historical songs B.N. Putilov suggests, the “Razin cycle” contributed to the fact that in Russian. historical the song has a lyrical beginning. development and became resultant with the narrative. Built epithets depicting the image of Razin are identical to the epithets applied to the depiction of nameless robbers; they emphasize the people's love for the “clear falcons.” This cycle of songs actively uses the technique personification, nature is an active participant in events: “the glorious quiet Don" Songs from the 17th century are under b. influence of lyrical song poetry, they tell about one episode, but are narrated emotionally. 18 century. Song cycle about Peter's time. Appeared in songs of the early 18th century new hero- a soldier, and the genre is replenished soldier's historical song. Suvorov, his life and activities were given factually. material for creating the image of a national hero. Songs about Emelyan Pugachev. The songs of this cycle are close to Razin. cycle, although there is no the plots were reworked, adapting to new events and the personality of Pugachev, folk poet. consciousness almost does not separate these fighters from each other.
19th century. Cycle person about Patriotic War of 1812. About Platov, about Kutuzov. The character of the individual is later. songs, incl. songs about the War of 1812, is used separately. formulas, lines, entire episodes and even ready-made military-historical songs about past wars. Soldier's historical the songs became shorter in size, their melody became closer to marching, marching, military vocabulary was used, they acquired a musical rhythm. forms. One can note the influence of literature in the songs of the 19th century. poetry, which confirms the idea that folk poetry in this era was looking for new forms of poetic expression.
In the 2nd half of the 19th century, the creation of new cycles of oral history finally ceased. songs.
Studying historical songs began relatively late, which is due to the fact that the genre was not distinguished from epics. The first to separate the historical songs from epics Belinsky, in articles about people. poetry he used. the term "historical" songs". Belinsky gave an assessment of the songs known to him, mainly from the collection of Kirsha Danilov. Particularly fruitful. There was a study of historical songs at the end of the 19th - beginning of the 20th century, when they attracted the attention of such researchers as Veselovsky, Miller, Buslaev, etc. In the 20th century, the publication and study of historical songs, mainly Attention to historical songs, which reflect the struggle of the people for their liberation.
19 The fusion of song and game originates from the depths. antiquity - from the first forms of syncretic folklore. Then one of the forms of activity of the primitive people was game– original popular name tongue rituals that had magical functions associated with sunny. cycle, agricultural holidays. Later, this is a ritual complex, in which Gusev distinguishes carnival and round dances. games Carnival- public, bright (both in folklore texts and in costumes - mummers), in which everyone participated (Maslenitsa). Round dances– lyrical drama. tonality, on the outskirts of the village, without outside spectators (youth) properties. monotony of artistic and visual means (choreographic form, a capp. choral singing, festive, but everyday clothes). In syncretic unity with the word, chant, music, game originally acted and choreographic folklore. Early forms of choreographic the factors were inseparable from the work activities of people and were enshrined in calendar rituals. An archaic song-choreographer act was once round dance - a ritual in honor of the sun. In the choreographic actions there were plot points that gave the original choreography theatricality (present both today and in folk dance), and later they formed a separate genus of ph-ra - drama. Folk game, song and choreography were fused together and performed a number of functions: Communicative
Compensatory (rest from work)
Education and training
Socializing (opportunity to express yourself)
Game songs had an ancient ritual origin. They were once part of ritual actions, and later became independent. status. Game and choir songs are performed during various. youth games and round dances; they described and accompanied by imitation of field work, family scenes were played out (for example, matchmaking), they were distinguished. the sign is game action . Among the games, a special variety stands out - “kiss songs”. By place in general compositions round dance or gathering entertainment, game songs are divided into typesetting(they started with them) tunneling And collapsible(they ended up with them). Each song stood on its own. game, finished art. work. Connection with the ancients spell. rituals determined the figurative structure of these songs and the thematic focus of song and play folklore - motives of an agricultural or commercial character and love and marriage motives. Often they united, for example, in the song “And we sowed millet, sowed.” The number of song episodes can be from three to twenty. The game presupposes communication, so game songs are often dialogic, although small monologues and addresses are also possible. Dialogues are interspersed with monologues. The dramaturgy of the song presupposes questions and answers from various groups of players, depicting not so anthropomorphic. characters, but also animals and birds. The effectiveness and dynamism of these songs leads to a special image. system, in which there is no description, but movement is modeled, often associated with labor processes. For example, with rituals of the spring-summer period associated with youth play songs, which were complemented by a plastic depiction of field work (“and we sowed millet”, “we hang the cabbage”). Imitation of animal habits can be seen in the song “Zainka”, imitation of labor processes in their sequence in the song “And we sowed, sowed flax”. For game songs more characteristic are short, melodic. attitude and command-exclaim intonation. Emotion The background of the game is always cheerful, joyful, and it is this that dominates the melody of these songs. Talking about work processes and other actions in an optimistic manner also has a spell. meaning, anticipating the optimistic. results - a good harvest, offspring of domestic animals, successful hunting, etc. Game songs are pre-selected syncretism of performance. They are spectacular thanks to game movements and the transfer of the content of the gameplay itself. The most ancient song-actions evolved over time into playful, recreational systems, in which predominantly the younger generation participated. Later, the meaning of performing these songs becomes non-magical. composition, but fun and entertainment. Later examples of game songs are generally distracted from magic. motives, images of nature disappear in them. events (representatives of the plant and animal world), and social problems associated with a person’s work and family traditions come to the fore. Also, other ritual songs can be classified as play songs and folklore - ritual, majestic, reproachful, because are they present at the wedding? ritual, which itself was a game, worked out to the smallest detail. Song-games. the form also appeared in children's folklore. Thus, the child received his first song and play forms from his mother in the first year of life. These are nursery rhymes and nursery rhymes.
2 basic groups. 1 – production-household motives, poetic reminiscences from everyday life labor activity ("Pashenka"; "Millet"; "White flax" - these songs trace the fate of flax from sowing to the gift of the young man with canvas; "I will sow hemp"; "We weeded cabbage...", etc.). 2 group H.P. dedicated young people- hopes for a happy marriage, the possibility of choosing according to love (“Along and along the river, along the river along Kazanka...”; “In the pockets, in the pockets”; “I walk along the senushki”); Round dance songs performers report. section on spring, summer and autumn-winter cycles. Contents of the MB round dance by type: question-answer). If the content of the song required it, then some tradition would be played out inside the circle. plot.
Round dances They are called spring games - dances with songs. + similar rituals of a different name are remnants of the original. syncretism of poetry, its previous differentiation. In X. the elements of song, dramatic action and dance are still inextricably linked. The content of the game is both the symbolization of natural phenomena (for example, the flight of birds) and the imitation of phenomena of everyday life (agricultural work, matchmaking, marriage). X. is found at all times of the year, even in winter (in huts), but most of all in spring and summer. Similar games towards spring and most of all towards Easter week. Two ideas - spring and love-marriage - are the main ones in spring choral games of a ritual nature, as well as in round dances. Children's games are often the result of dilapidated choral rituals.
Lyrics are poetic. a kind of oral worse. creativity. In folk lyrics, word and melody are inseparable. The main purpose is lyrical. songs - to reveal the worldview of the people by directly expressing feelings, thoughts, impressions, moods.
Voice: – frequent (frequent rhythm, in unison, 2 half-choirs) – ditty – romance ( late XVIII– beginning XIX centuries) – from urban written literature. traditions. Simple musical composition, 4 verses, refrain (poetic structure). – lingering – complex, polyphonic, the words are almost impossible to hear. Songs accompanying the movement: – labor songs (synchronize general action in artels, etc.): fighting, rowing and draft,
– gaming – organize a game, for example, “Stream”. There is a certain plot. – round dances (tanki / korogodnye from the word “city”) – on Easter and Trinity, on patronal holidays, sung by girls of marriageable age, in a slow rhythm – dance – fast, with a change of places, short texts.
Non-ritual lyrics are not tied to ritual. There are no authors of the lyrics: this is a generalized presentation of feelings and emotions. It applies to the feelings of any person. In L.P. captured the people's responses to social and political events. life, expression social emotions related to the relationship between peasants and their owners, the principles of family and everyday life in old village and finally rules unwritten folk morality. You distinguish 2 main types of Russian. adv. L.P.: frequent and prolonged.
Frequent: most characteristic these songs - the clarity of the rhythm in the verse and tune. This is conditional. the fact that Ch.P. in its original origins it was associated with a clear dance rhythm, only then did it move away from its motor function, becoming a “cheerful” lyrical dance. a song that I could perform without moving. In addition to the function of a cheerful dance and comic song, Ch.P. had another internal section - songs satirical, cat. had their own specificity, their own ideological orientation.
Drawing: make up the main section of traditions Krestyansk. lyrics; It is not only richer than all other folk songs in terms of volume, but also in terms of content. These songs reflected the fundamentals more deeply than others. social problems russ.nar. life. The melody and text of a drawn-out song are in a very close connection with each other. Inside extended The songs outline 2 different ways of depicting everyday life and experiencing lyricism. heroes. In one case, the content of the song is associated with certain events in societies. or personal character and is presented in the form story. So built. a lot of love and family songs, as well as songs with the theme of individual social networks. groups (recruits, coachmen). In another case, L.P. have the character of intimate statements, thoughts, complaints, memories, arose. influenced emots. impulse and usually do not have specific plot outlines. In songs love, the main motive, most often, is longing for love, meetings, separations, parental anger and prohibitions, frequent themes of betrayal and violence. marriage. In songs family cycle, a girl married to an unloved man yearns and complains, reproaching her parents; parents feel sorry for their daughter and lament her fate, etc. In songs recruiting basic The plot motives are the drawing of lots, enlistment, the grief of the recruit, his family and fiancée, and farewell to him. In songs soldiers– the cruelty of commanders, the powerless position of privates, the feeling of doom that grips a recruit, the death of a soldier in a foreign land. Songs robbers contain motives of deep social. protest and full of realism. paintings related to prison life, attempts to escape, describes the shame of public punishment, a soldier’s exile to hard labor
Can be divided by function:
Lyrical (confessional, songs for rest (play, dance and square dance), kissing.
There are “dead songs”, they are stored in memory, but how to perform them is unknown.
thematic division according to social affiliation was proposed by Sobolevsky
1. There is a girlish-youthful (love)
2. male - female (family - household)
3. recruits and soldiers
4.robber
5. anti-serfdom
Kolpakova proposed a genre division:
Spell songs, game songs, majestic songs and lyrical songs.
Composition of lyrical songs.
Dialogue (but there is very little pure dialogue)
Narrative or descriptive (introductory part, followed by dialogue or monologue)
Features of poetics:
The analogy between the natural world and the inner world of man (for all types) Veselovsky wrote about this - “psychological parallelism” is another type of parallelism - negative (someone else’s wife is a swan... one’s own is wormwood...)
Chains - stepwise composition, Antithesis, Beginning - it sets the tone, introduces the matter, Endings, Anaphora, Tautology, repetitions. Significant to the meaning of the song. (for example, a bride refuses several grooms) also repetitions of individual words - lexical repetitions. Strengthened the lean. The impact of the song.
Comparisons,
Metaphors. The technique of extended metaphor is especially significant.
Hyperboles,
Epithets. Constant epithets. They poetically typified nature, life, and the image of man.
Reduce- caress suffixes, Predominance of verb forms.
Logical violations are common in lyrical songs:
1. Temporary incoherence of text episodes (captivity separates us.... I sent many letters...) time indicators are mixed up.
2. spatial disturbances (garden in the middle of the forest)
The connection of the lyrical text at the level of experience is therefore not very important.
Various lyrical subjects give different assessments of the situation in a lyrical song, but since the objects are united, they merge. (that someone else’s wife is a white swan, and his own wife is wormwood, a bitter grass... and then: no one picks the grass, no one loves a girl, no one marries)
In L.p. 2 artists are used. systems: 1. Description; 2. Allegory, line. on symbolism. The songs have their own convention. language, what composition from tradition formulas Without their knowledge, it is difficult to understand the content of L.p. In the songs internal the state of the front through the external (sitting is a formula for sadness, thoughtfulness.). Human feelings are revealed in comparison with nature. Nature is animated and therefore often becomes the main character. In l.p. richly represented symbolism. The symbols are stable, song symbolism goes back to archaic ideas. Song characters, plants, animals are symbolic. The songs contain a rich range of colors.
Late 20th century. Maltsev, analyzing the texts, came to the conclusion that The nature of the lyres of songs is a set of poetic formulas.
Signs of formulas: stereotyping, stability and repetition. The formula is a stabilizing factor. The big role is played not by external ones, but by internal communications. The chain connection refers to the external one.
21 Folkl. theater- traditional Dramatic creativity of the people. The types of folk entertainment culture are varied: rituals, round dances, mummers, clownery, etc. In the history of folklore, it is customary to consider the pre-theatrical and theatrical stages of folk drama. TV-va Pre-theater includes theatrical elements in calendar and family rituals. 1. B calendar: symbolic figures of Maslenitsa, Kupala, Yarila, Kostroma, etc., acting out scenes with them, dressing up. Agricultural magic played a prominent role, magical d-i and songs. (on winter holidays they pulled a plow around the village, sowed grain in the house, etc.) with the loss of magic. This means the ritual is fun. 2. wedding The ceremony was also a theatrical performance. game: distribution of “roles”, sequence of scenes. However, the wedding ceremony was not perceived by the people as a theatrical performance. 3. in calendar and family rituals, participants in many scenes were mummers. On Christmastide, Maslenitsa, and Easter they performed humorous and satirical skits. Some of them later merged into folk dramas. 4. In addition to rituals, theater elements accompanied the performance of many folk genres: fairy tales, comic songs, etc. for example, the storyteller did not just tell a fairy tale, but gesticulated, changed his voice, picked up some objects, etc. it was actually a one-man show.
The use of constant epithets also typical for epics: dark forests, blue rivers, red sun. Many of them are well known to us - we often meet them in Russian folk tales. But some epithets require additional clarification.
Meeting the expression in the epic red girl, we understand that it is not the color red that is meant, but the beauty of the girl. And here open field- this is a foreign land. This was also the name for the space outside the city, village or forest. In the old days, people called the southern steppes where Russian soldiers fought with nomads. Proverbs related to this have survived to this day: “Alone in the field is not a warrior”; “Whose field is his will”; “You can’t cover the whole field with one horse”; “Do not boast while going into the field, but boast when returning from the field.”
Using hyperbole (exaggeration) - also a feature of epics. Russian heroes are extraordinary characters. They have enormous physical strength and incredible, amazing abilities and capabilities. The enemies with whom the heroes fight are also endowed with incredible power: Tugarin Zmeevich, Nightingale the Robber, Idolishche Poganoe, Kalin the Tsar.
Reality and fiction in epics are closely intertwined. For example, in the epic “Sadko in the Underwater Kingdom” a description is given of Veliky Novgorod and the life of Novgorodians - this is reality. But when Sadko falls into the possession of the sea king, this is fiction.
Bogatyr epics tell about military exploits glorious Russian heroes: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich and others. They talk about the fight against the enemies of the Russian land. Historical and everyday epics talk about heroes folk tales: Svyatogor, Sadko, Vasily Buslaev, Mikula Selyaninovich. They convey the love of the Russian people for the land and agricultural labor.
Construction of an epic, the use of constant epithets and other artistic means in it
In literature, epics are also called epic songs, that is, songs that tell about some events united by the same heroes.
Usually the epic begins with a short introduction - the beginning, which indicates the time and place of epic events.
For example:
Like in the glorious city of Kyiv,
At the affectionate prince Vladimir
There was a feast - an honorable feast...
After the beginning comes the main part - narration about the feat. The action in the epic always develops slowly, until it comes climax – highest voltage in the turn of events. Denouement actions - defeat the enemy. The epic always crowns ending. Here is her example:
A special epic poetic world is created by special artistic means. One of the main features of epics is their frequent repetitions. In the epic about the feat of Ilya Muromets, for example, the description of the terrible whistle of the Nightingale the Robber is repeated four times. This makes the robber force seem more powerful, and therefore the victory of Ilya Muromets - more significant. Descriptions of ominous omens and prophetic words are also repeated.
In epics, repetitions of both individual words and several lines are used. When in the description of the road along which Ilya Muromets traveled to Kyiv, we encounter the repetition of the word staked(that is, the road has become impassable, impassable), the hero’s path seems even more difficult to us:
The straight path is blocked,
The path has been blocked up, walled up...
Often repetitions create a special melodiousness, smoothness and musicality of epic speech:
Yes, by the glorious river, by Smorodina...
He takes his white hands into his white hands...
Another remarkable feature of epics is permanent epithets: wild head, playful legs, white hands, sugar lips, burning tears. The field is always clean, the grass is green, the sea is blue, and the sun is red. It is interesting that in all works of oral folk art the sun is called red, even if a cloudy autumn day is mentioned. The sea is also always blue, even if a storm is depicted: the blue sea has turned black. The girl is characterized by the epithet red, and the fellow is kind. Bogatyr - Holy Russian, mighty. Mother Holy Rus', mother of the damp earth - this is how the heroes of epics affectionately call their homeland.
The enemy in epics is characterized by negative epithets: vile, evil, damned, godless. He is often called a dog, a thief.
And here are also the constant epithets that we often find in epics: honey drink, white stone chambers, damask sword, spring goosenecks, silk bowstring, straight road, taut torn bow, slanted window, brick floor.
In epics they are also often used hyperboles – exaggerations. Hyperboles enlarge the image and help show the strength and exploits of the heroes more clearly and expressively. The strength of heroes is always extremely exaggerated. For example, Ilya Muromets easily, like a swan feather, lifts a club weighing ninety pounds and with one wave of his hand brings down entire hordes of enemies to the ground. And the heroic horse of Ilya Muromets gallops “higher than a standing tree, slightly lower than a walking cloud.” Dobrynya Nikitich plays the harp in Kyiv, and this tune is heard in Constantinople.
The hero is faced with countless hordes of enemies, whom “a gray wolf cannot outrun in three days, and a black crow cannot fly around in a day.”
And even suffixes play big role in building poetic world epics and determine the narrator’s attitude towards epic heroes. Diminutive suffixes are used in the names of favorite characters: Ilyushenka, Dobrynyushka, Alyoshenka. And derogatory-increasing suffixes are awarded to the names of their opponents: Idolishche, Serpent.
So bright and varied artistic means epics were created.
Epic heroes
Main characters all epics are Russian heroes. Each hero is a bright and memorable image. Each of them has their own name and their own biography.
In epic narration, the hero usually appears first as the most ordinary person. At the princely feast, among the princes, boyars and merchants, he does not stand out for his nobility, wealth, or special strength. But there always comes a time when it is discovered that the Russian hero has fantastic strength that allows him to defeat his enemies.
For example, one of the epics about Ilya of Muromets tells how Ilya changed into the dress of a beggar wanderer. Idolishche Poganoe did not recognize the hero in such a guise, he shouted, became angry, pulled out a sharp sword, threw it at the beggar. Here Ilya Muromets showed his strength - he cut off the head of the Poganous Idol.
The discrepancy between ordinary human size and the ability to wield a multi-pound club is never explained in epics. And heroic power, while there is no need for it, also does not manifest itself in any way. Both the enormous physical strength of the heroes and the wonderful weapons that are always at hand at the right moment - all this is directed towards one main goal- fulfilling his great duty of protecting the Fatherland.
All military affairs of Russian heroes are connected with Kiev. But they were born and raised in different parts of the Russian land. Ilya Muromets - near the city of Murom, in the village of Karacharovo, Dobrynya Nikitich - in Ryazan, Alyosha Popovich - in Rostov.
Russian heroes have their own moral code. They speak out in defense of the weak, unfairly offended people. But sometimes epic heroes appear not only powerful, but also merciful, even towards their enemies. They can be gullible and simple-minded.
Let us remember the epic about Dobrynya Nikitich and the Serpent Gorynych. Defeated in the first battle, the Serpent Gorynych asks the hero for mercy and promises not to fly to Holy Rus', but he immediately breaks his promise and kidnaps Zabava Putyatichna.
Why did Dobrynya believe him? Because in Rus', violation of the treaty was considered a great shame and was severely punished. A well-known proverb has survived to this day, which reminds us: “An agreement is more valuable than money.” It never occurred to Dobrynya that the Serpent might not keep his promise. And even when the hero caught the enemy in this, he invites the Snake to give up the girl voluntarily in order to avoid bloodshed. But the Serpent refuses. The difficult battle lasted three days and three nights, and then Dobrynya finally dealt with the evil Snake.
In the epics, Ilya Muromets personifies wisdom and life experience - he is the eldest at the heroic outpost. The main qualities of Dobrynya Nikitich are education and good manners. Alyosha Popovich is the youngest of the heroes. His most important and striking features are sharpness, cunning, and intelligence.
The epics contain many colorful comparisons and epithets. The epithets here are special. They are called constant because they are, as it were, attached to some concept. The earth is always damp, the stars are frequent, the field is clean. If you look closely at these constant epithets, then we will see reflection in them people's thoughts and feelings. The people love their homeland and their heroes. That’s why Kyiv is called in epics glorious city, and the hero - good fellow. But the storytellers of epics call their enemies filthy, villains, dogs.
The people especially vividly reflected their high, noble thoughts and feelings in hyperbole, i.e. artistic exaggerations. For example, the enemy force at the walls of Chernigov is depicted as follows:
No one walks here as infantry,
No one rides here on a good horse,
The black raven bird does not fly,
Let the gray beast not prowl.
This hyperbole shows how great the enemy’s power is, but at the same time it emphasizes the power of Ilya Muromets, who “beat this great strong woman.”
In some epics, the invincible strength of a hero in a battle with an enemy is depicted as follows: “If he waves his hand to the right, there is a street, to the left, there is an alley.” This is also a hyperbole, and it shows the invincible power of the entire Russian people, just as epics depict the exploits of many Russian heroes in the image of one hero.
If you read at least several epics in a row, you cannot help but notice another very important feature: in many of them the same episodes are repeated. The storytellers knew only the plot, the events associated with this or that hero, and also owned a certain set of such commonplaces, repeating episodes, from which, like cubes, the backbone, the frame of the epic was formed. Everything else was born before the eyes of the listeners. Therefore, even the same performer could not repeat the epic word for word twice,
without changing anything about it. Each performance of the epic was at the same time the process of its creation, and each performer a creator. Otherwise, the singer would have to keep many thousands of poetic lines in his memory.
3. Drawing up a table " Artistic Features epics" (work in a notebook).
Artistic Features
epics
Their role in the epic
1) Hyperbole (exaggeration)
In this way the people emphasized their power
their heroes
2) Reception of trinity
The number “three” used to have a conventional meaning of plurality. People use triple repetitions in epic tales to show the repetition of actions or the length of time that passes.
3) Repetitions
This way, attention is focused on what is most important.
4) Constant epithets
Help characterize the heroes of epics
5) Use of recitatives
Necessary, since the singing of epics was accompanied by playing the harp
4. Reading the epic “Ilya Muromets and Nightingale the Robber.” Drawing up an epic plan in a notebook.
