Genre features of historical songs. In the science of folk poetry, there is still no consensus on what historical songs are - a special folklore genre or a thematic group of diverse genres. The reason for the discrepancy is the difference in the features of this type of work. B.N. Putilov and V.K. Sokolova believe that historical songs are a single genre, V. Ya. Propp and L. I. Emelyanov believe that they lack genre unity.
However, there is reason to adopt a point of view that can reconcile these two opinions; historical songs are a single genre, but they contain several varieties of songs that originate from different times and have different types of structural features.
The term "historical songs" is not folk; it was created and put into use by folklorists, literary critics, ethnographers, and historians. Among the people, songs of this type are simply called "songs", sometimes "old songs".
Historical songs are smaller in volume than epics (large-form genre) and more lyrical songs (small-form genre). In addition, it is a poetic and epic genre. The verse in the earlier songs is close to the three-strike epic verse. More often than not, he gravitates toward double-strike. It differs from the verse of lyrical songs by a large number of syllables and the absence of a chant (stretching and varying vowel sounds in height).
The epic nature of historical songs is manifested in narrative - a story about events that are depicted objectively, without the narrator interfering in their course. In the literature, one can find the definition of historical songs as lyrical-epic and even lyrical. However, this judgment general form cannot be accepted, since the lyrical beginning penetrates into historical songs in a more late time. On the grounds that early songs are closer to epics in verse, epic and manner of performance (recitative), it was customary in the 19th and early 20th centuries to call them “older historical songs”.
Historical songs are a story genre. The plot in them is reduced to one event or even an episode. The story about them is dynamic, because it is devoid of developed descriptions and the so-called epic ritual: ornamentation of the narrative, constant formulas, slowdowns (retardations), trinity repetitions (they are rare), stable beginnings and endings, although some of their types are included in older historical songs from epics. .
The subject of a historical song is concrete actual events and persons. B. N. Putilov writes: “The concrete historical nature of the genre does not at all lie in the fact that real facts are recorded here, but in the fact that the songs reflect in the form of concrete historical plots the real political conflicts characteristic of this historical moment and somehow important to the people. In the center of the event are usually the struggle of the people for independence and their socio-political struggle. "By virtue of their concrete historical nature, historical songs reflect the movement of history as it is perceived by folk art."
Historical songs are a story about the past. However, they usually formed soon after the events, in their wake. Some songs are clearly composed by participants or witnesses of events, “... the subject of historical songs is modern history, and not more or less distant
the past,” writes B. N. Putilov. And further: "A historical song does not refer to the past, it lives in the present." But time passes, and for subsequent generations, the events and persons depicted in the song become history. The transmission of a song from generation to generation is accompanied by a weakening of the faithful reproduction of events and persons, and sometimes the spirit of the time. She sometimes allows inaccurate interpretations of events and assessments of the acts of historical persons, as she does this from the point of view of modern times. In the creative process significant role belongs to fiction. But in historical songs it does not have the character of fantasy. The historical song, unlike byIna, does not use increased hyperbolization, although it resorts to some means of exaggeration and emphasizing.
Historical songs have their own composition of characters. Their characters are not epic heroes and not ordinary people of everyday lyrical songs and ballads (wife, husband, mother-in-law, girl, well done), but famous historical figures: Ivan the Terrible, Ermak, Razin, Peter I, Pugachev, Suvorov. An important feature of historical songs is that people act or are present at events in them, which sometimes expresses their attitude to these events.
History songs depict more than just outward action; they reveal the psychology, feelings and motives of the actions of their characters in much more detail and more deeply than epics. The development of the image of the inner world of a person in comparison with previous genres is a characteristic feature of historical songs.
The ideological and artistic goals of historical songs are significant. Songs imprint in the minds of the people the memory of the most important events and persons in history, express the people's understanding of history and evaluate the events and activities of persons. Finally, they often contain explanations of the events and behavior of the characters. Researchers also note the manifestation of acute publicism, especially in the songs of such socially tense periods as the Time of Troubles. Patriotic ideas are expressed with great force in the songs - pride in one's Motherland, awareness of the need to protect it, as well as the idea of people's freedom.
There are two main theme lines in story songs; military and social. The first includes, for example, songs about wars and generals, the second includes songs about Stepan Razin and Emelyan Pugachev.
Collection and publication of historical songs. The first recordings of Russian historical songs date back to 1619-1620. They were made for the Englishman Richard James. In the XVIII century. with the development of collecting and publishing folklore materials, historical songs were placed in special collections, for example, in the “Collection of Various Songs” by M. D. Chulkov (1770-1773) and “Collection of Russian Simple Songs with Notes” by V. F. Trutovsky (1776-1795 They were also included in the collection of Kirsha Danilov (1804), and then in “Songs collected by P.V. A. F. Hilferding, A. V. Markov, N. E. Onchukov and A. D. Grigoriev In 1860 I. A. Khudyakov published a “Collection of Great Russian Historical Songs.” A collection of journal publications was published by V. F. Miller in the book "Historical songs of the Russian people of the XVII-XUP centuries." (1915).
After the October Revolution, the collection of historical songs continued. It was conducted by employees of the Institute of Russian Literature of the Academy of Sciences of the USSR, the Institute of Ethnography of the Academy of Sciences of the USSR, Moscow State University, whose archives contain many texts that have not yet been published. Conducted collecting work and individual scientists. Valuable materials include the books by A. N. Lozanova "Folk Songs about Stepan Razin" (1928) and "Songs and Tales about Razin and Pugachev" (1935); B.N. Putilov published the collection "Historical Songs on the Terek" (1948), A. M. Listopadov - "Don Historical Songs" (1948).
Attempts to reduce and combine the texts were the books "Northern Historical Songs" edited by A. M. Astakhova (1947) and "Russian Folk Songs about Peasant Wars and Uprisings" edited by A. N. Lozanova (1950).
Of exceptional value are four volumes of texts of historical songs of the 13th-19th centuries, published by the folklore sector of the Institute of Russian Literature of the USSR Academy of Sciences. They combine almost all records of works of this genre known to folklorists. Produced a thorough textual analysis, given a reasonable classification. The lyrics are accompanied by valuable and detailed commentary, helping to understand the content, meaning and origin of the songs.
The study of historical songs. The study of historical songs began relatively late. This was due primarily to the fact that the genre of such songs for a long time did not distinguish itself from epics, and then from ballad songs. Epics attracted the main attention of scientists. In collections of folk poetic works, and mainly epics, they were represented by a few samples, which made it impossible for them to be studied in detail.
The Decembrists were among the first to become interested in historical songs. They highly appreciated this kind of songs for reflecting folk heroism. N.N. Raevsky, A. Kornilovich collected and published historical songs. They especially singled out Cossack songs, as they saw in them a reflection of self-government.
A deep understanding of historical songs is characteristic of N.V. Gogol. He appreciated them for their connection with life, for the faithful transmission of the spirit of the time. If a historian turns to them, he wrote, then "the history of the people will be revealed before him in clear grandeur" (Gogol N.V. Poly. coll. cit., vol. 8, p. 91). On this basis, he considers the name "historical" to be legitimate.
The first to distinguish historical songs from epics was V. G. Belinsky, in articles about folk poetry he also uses the term "historical songs". He considers the song “Schelkan Dudentevich” to be the oldest historical song. She, in his opinion, is of a fabulous nature, but is based on historical event,(cm.: Belinsky V. G. Poly. coll. cit., vol. 5, p. 426). Belinsky gave an analysis of songs known to him, mainly from the collection of Kirsha Danilov.
The dominance of the mythological school in the middle of the XIX century. diverted the attention of scientists from historical songs to those genres in which representatives of this school could find material for comparative comparisons. Historical songs did not give it.
The point of view of L. N. Maikov on the origin of Russian music was important for resolving questions about the composition of historical songs. th epic. Maikov considered epic works contemporary events depicted. He also attributed songs about Yermak and Stepan Razin to the epic.
In the same years, P. A. Bessonov, on behalf of the Society of Amateurs Russian literature supervised the publication of "Songs collected by P. V. Kireevsky." He first divided historical songs into cycles, but his comments are very superficial and often incorrect. More profound are the judgments of F. I. Buslaev, who, in Historical Sketches of Russian Folk Literature and Art (1861), analyzed a number of songs, linking them with the people's worldview. O. F. Miller in his study “Historical Songs” (1869) gave their general characteristics and pointed out parallels to their plots from world literature and folklore.
At the end of the XIX - beginning of the XX century. historical songs are studied by A. N. Veselovsky, V. F. Miller, S. K. Shambinago and others.
In Soviet times, the study of historical songs has received significant development. It has two scientific directions. One continues the tradition historical school while at the same time very different from it. What is new is that folklorists now began to focus on historical songs, which reflected the struggle of the masses for their liberation. Such is the book by M. Ya. Yakovlev “Folk Songwriting about Ataman Stepan Razin” (1924) and the collections by A. N. Lozanova “Folk Songs about Stepan Razin” (1928) and “Songs and Tales about Razin and Pugachev” (1935).
A significant phenomenon was the study of V. K. Sokolova "Russian historical songs of the XVI-XVIII centuries." (1960). It provides an overview of the plots and variants of songs of this time, characterizes their genre features, describes the territorial distribution and regional differences. Recordings of historical songs are used with great completeness, their classification is given, and the question of cycles is raised. An important advantage is that the book examines in detail the social meaning of the songs, their ideological essence.
Another direction in the study of historical songs is represented by the book of B. N. Putilov "Russian historical and song folklore of the XIII-XVI centuries" (1960). According to B. N. Putilov, representatives of the historical school linked songs too directly with historical events and persons, did not take into account that songs are primarily poetic works.
Origin of historical songs. The process of forming historical songs was complex. They began to take shape when vital material appeared that needed to be imprinted in the people's memory. Such material was the events associated with the Mongol-Tatar invasion of Rus' in the 13th century.
In addition, historical songs as a narrative narrative genre relied on simpler, primary stories about events, so there is reason to believe that oral prose legends played some role in the formation of historical songs. On the one hand, they could directly serve as the basis for the plots of historical songs, and on the other hand, with their tradition of preserving the memory of historical events and persons, they could contribute to the emergence of such a tradition in a new song genre.
Historical songs are a poetic form. Therefore, it can be assumed that they had a similar shape as their predecessor. She was epics, established earlier historical songs. The connection of these latter with epics is confirmed by the epic situations and expressive means included in them.
The terrible events of the Mongol-Tatar invasion activated the historical consciousness of the Russian people and their artistic creativity, which captured these events and the tragic situation of the masses. All this led to the creation of works about the Mongol-Tatar rule and the fate of the Russian people. The beginning of the unification of the Russian lands and the strengthening of Moscow domination also contributed to the development of the self-consciousness of the people.
If in the epics in the foreground there were broad generalizations, on the basis of which the pictures of the struggle for the independence of the Russian land and the majestic images of heroes, who embodied the power of the Russian people and devotion to their native land, were created, then in historical songs a more concrete depiction of historical events develops and images of certain historical persons.
Early historical songs. The appearance of the first historical songs should be attributed to the XIII-XIV centuries.
The first well-known example of Russian historical songs was the song about Shchelkan, which is called “Shchelkan Dudentevich” in Kirsha Danilov's collection. It is based on certain events noted in the annals, the Tver uprising of 1327, when the khan's envoy (baskak) Chol-khan (in the annals Shevkal) was killed.
There is reason to attribute the emergence of the song to the first half of the 15th century. It depicts pictures of terrible self-will and violence perpetrated by hordes of steppe nomads.
The Horde tsar Azvyak distributes the Russian cities of Ples, Kostroma and Vologda to his "Shuryas", and sets a terrible condition for the younger Shchelkan:
stab you his son,
beloved son,
You pour a cup of blood
Drink your blood...
Shchelkan did it for the sake of rich Tver. He began to rule there: to dishonor and disgrace women, he tried to outrage everyone. The Borisovich brothers dealt with him:
And they quarreled with him:
One grabbed by the hair,
And the other for the legs,
And then it was torn apart
The ideological meaning of the song lies in the desire of its composers to inspire the Russian people with the need and possibility of fighting enemies. Pictures of cruel violence and, undoubtedly, the peculiar end of the song call for this:
Here death happened to him,
No one was found. And, 78]
In the song about Clicker and in its variants, some traces of the epic edic manner are visible: the consistent development of action, repetition (the words “Old Tver, rich Tver” are given four times), a special type of syntactic structure:
Who has no money
That child will take
Who doesn't have a child
He will take a wife from him;
Who has no wife
he will take the same head.
There are epithets in the song: “gold-silver and pitched pearls on dug velvet”; tautological phrases: "tribute-exits", "he became arrogant, proud." Often the verses are connected in pairs and form four-strike pairs, as if separated by pauses (caesuras), which is reminiscent of epic verses. All this connects the song with the epic tradition.
Historical songs of the 16th century| The sixteenth century is the time of the formation of the Russian nation and the strengthening of the centralized state. A crushing blow was dealt to the Kazan and Astrakhan kingdoms, which for a long time disturbed the calm life of the Russian people. Siberia annexed. The progressive policy of Ivan IV was to fight not only with external enemies, but also with the reactionary forces in the country itself, which interfered with this policy and undermined the unity of the state. A crushing blow was also dealt to the boyars, who as a result lost their role in the life of the country. The masses supported the policy of Ivan GU.ch
Naturally, great historical events and acute social processes could not but be reflected in folk art, and above all in historical songs, which became the most important genre of folklore of that time in ideological terms. In them, the people expressed their support for the new policy, support for the struggle for the strengthening and unity of the state. This, in particular, was manifested in the fact that Ivan the Terrible became the main figure in the songs and received a positive assessment as a statesman. "
| Historical songs of the XVI century. | include three main cycles of works: about the capture of Kazan, about the activities of Ivan the Terrible and about Yermak. The song about Kostryu-ka stands somewhat apart, although it is connected with the main trend of songs of the second half of the 16th century] 1
^Historical songs as a genre occupy important place in the folklore of the 16th century. They acquire significant ideological content, perfection of form, which is expressed in the harmony of the composition, the great expressiveness of the plot development and artistic means. In their structure, language and verse, a connection with the epics is still visible, and at the same time they depart from the epic epic, distinguished by the dynamism of the plot and economical structure.^
Songs about Kostruk. Songs about Kostryuk arose as echoes of the marriage of Ivan the Terrible in 1561 to the daughter of the Kabardian (Circassian) prince Temryuk Maria. Historians and folklorists consider her younger brother Mikhail to be the prototype of Kostruk, although the name Kostruk echoes the name of her older brother Mastryuk, and in some songs the main character is called Mastryuk. Maria's older brother only came to Moscow for a short time, and the younger Mikhail lived for a long time at the court of Grozny, who treated him rudely and executed him in 1571. This makes the plot of the song close to the life situation.
The main idea of the songs about Kostryuk is the triumph of the Russian wrestler, the village boy Potanyushka, who not only overcame the boastful Kostryuk, but also “lowered” his dress, and that naked “okarach” crawled under the porch. The queen was offended by this; she said to the king:
Such is your honor "
To your favorite brother-in-law?
The theme of the triumph of the Russian man over the Tatar was then very acute. The image of Kostruk was to some extent associated with the image of Schelkan.
And in this song there are traces of epic poetics: motifs of boasting, shaming the braggart, poetic phraseology - “ mighty heroes”,“ fast rivers ”,“ Smolensk mud ”,“ Bryansk forests ”, some beginnings and endings typical of epics:
Here a century about Kostryuka and the old days are sung,
To the blue sea for consolation,
You all good fellows for obedience.
Songs about the capture of Kazan. Songs about Kazan are shorter, sketchy, often fragmentary. There are almost no traces of epic poetics and epic breadth in the depiction of events. At the same time, they have an important new feature: the image of a simple gunner as a hero, as a brave man before the king, a warrior devoted to his native land, who is called “master” in the song versions. , skillful person who know their business. If the Borisovich brothers in the song about Schelkan and Potanyushka in the song about Kostryuka take by force and prowess, then in the songs about Kazan, victory is achieved by the knowledge of the gunners. A new method of city siege has been applied - digging under the city walls and blowing them up. The events in the song develop in a certain accordance with chronicle evidence. The digging was really done, the besieged behaved defiantly and shouted from the city walls that the Russians would not take Kazan even in ten years; the explosion really decided the fate of Kazan. But the famous episode with the candle, and a number of others, is a poetic fiction.
According to the song, “barrels were rolled up with black powder” under the walls of the city, two candles were lit: one in the field (or in the royal tent), the other underground, in order to know the time when the walls would explode. But in the field the candle burned out, but there was no explosion. The king "inflamed", became angry, ordered the gunners to be executed as "traitors". But the young gunner boldly explained to the tsar:
That in the wind the candle burns faster
And in the earth, a candle burns more quietly.
The candle burned out, and the Kazan walls exploded. The tsar then "became merry" and gifted the gunners.
Songs about Ivan the Terrible's anger at his son. The image of Ivan the Terrible is much more difficult to reveal in songs about his anger at his son. In them, Ivan the Terrible is not only shown as a tsar, who sets as his goal to bring treason in Rus', but also as a father; The songs have two versions: in one, the reason for the anger of the king is the betrayal of his son, whom the king ordered to bring out the confusion in the cities, but he warned the townspeople about the danger; in the second reason is that the son at the feast, when the king boasted that he brought treason, he said to him:
Where can you bring treason out of Pskov,
Where can you bring treason out of stone Moscow?
Maybe treason is sitting at the table,
Drinks and eats with you from one dish.
The king became angry and ordered his son to be executed with a terrible execution:
Oh, you are a goy, Moscow executioners!
You tell the young prince,
Take out the heart with the liver from the chest,
Bring me to testify!
All the executioners were "horrified", only Alyoshka Malyutin, Skurlatov's son, was not "horrified": he led the tsarevich from the table, took off his colored dress, put on a black dress, took him to a fierce execution. The news of this reached the uncle of Tsarevich Nikita Romanovich, he rushed after Malyuta, gave him the groom instead of the prince, "Malyut executed the groom. As the king ordered,
He took out a heart with a liver from his chest, "
And brought the king to testify.
“Tears and rushes about” the king, reproaches the servants:
Oh you, my faithful servants!
Why didn't you put me down
Why did you let the damn thing go
The servants' response is psychologically motivated:
We did not dare to argue with you,
We were afraid of your imminent wrath! .
Gets even more stressful state of mind Terrible when he finds out that in the house of Nikita Rbmanov "joy-gaiety." Enraged that the boyar is having fun during a terrible disaster, the tsar rushes to his house:
Al you are glad, Nikita Romanovich,
My great misfortune
Al you have fun execution of my son
In anger, the tsar plunged a spear into the leg of Nikita Romanov. When he saw that his son was “sitting at the table, cheerful and healthy,” he came to “great joy.”
In this song, the image of Ivan the Terrible is a great achievement. folk art. It is created both by a general description of his spiritual appearance, and by transferring the features of the manifestation of his experiences in certain life situations. The image is historically correct, as far as historical sources allow us to judge it, it is psychologically complex and artistically expressive.
The genre of the historical song played an important role in the development of the art of psychological depiction in folklore, since in its works it was necessary to give not generalized characteristics of the characters, not the definition of their mental states with stable formulas, but to create images of specific historical persons. Such a task suggested the need for psychological individualization of the image. Terrible in the songs is not a fairy tale tsar, not an epic prince Vladimir, namely Ivan the Terrible, the Russian tsar of the second half of the 16th century, whose psychological qualities were widely known among the people. >
Compared with epics in historical songs, the psychological image is more complex and dramatic, corresponding to the dramatic nature of time itself. In them, the art of the psychological image of a person takes a step forward. specificity distinguishes the new song genre from epics.
G. Lesin about Yermak.; Songs about Yermak were popular among the Don Cossacks. In them, Yermak was portrayed as a Cossack chieftain who takes care of the Cossacks. In the song “Yermak in the Cossack circle”, he addresses the Cossacks with the words that the summer is passing and they need to think about their fate: before they ravaged cities and burned estates, but now you need to either hide from the tsarist troops, or accomplish a great feat and thereby earn the king's request. In the song “The Capture of Kazan by Yermak”, the Cossacks, led by Yermak, take the city and receive rewards from the tsar for this. Finally, the song "Yermak at Ivan the Terrible" depicts Yermak as an ataman recognized by the tsar, to whom he can entrust big things.
A special group are songs about Yermak and the Turks. They reflected the clashes of the Cossacks with the Turks. Yermak, who hardly took part in campaigns against the Turks, was introduced into the circle of these events.
It is curious that historical songs did not reflect this at all. an important event like Yermak's conquest of Siberia. Those songs that mention Yermak and Siberia raise doubts among textual critics. Actually, there is only one song connected with a prose text, which speaks of Yermak and Siberia. "This text" Yermak took Siberia "is placed in the collection of Kirsha Danilov. The text is complex and, perhaps, very new. The most demonstrative judgments are found in the article by A. A. Gorelova "The Trilogy about Yermak in the collection of Kirsha Danilov".
Songs of the 17th century.; The historical songs of the 17th century differ from the songs of the 16th century. First of all, they more widely covered the events of Russian history: they responded to the “distemper”, and to the death of the son of Ivan the Terrible Dmitry, and to the appearance of two False Dmitrys, and to the Poles’ campaign against Russia, and to the struggle against them by Minin and Pozharsky, and on the campaigns of the Cossacks to Azov, and, finally, on the uprising led by Stepan Razin.
Songs of this time were created in various social strata - among peasants, townspeople, residents of towns, "military people", Cossacks. Therefore, sometimes the assessment of the same events is different.
The struggle for the independence of the motherland and the struggle of the masses for "truth" - against their oppressors - determined the two main themes of the historical songs of the 17th century: patriotic and social. The first is revealed most of all in songs about Mikhail Skopin-Shuisky, the second - in songs about Stepan Razin.
Songs about Skopin were popular. This talented commander enjoyed great love among the people: he played an important role in the liberation of Moscow from the Polish siege and in the defeat of the troops of False Dmitry II and the troops of the Polish governor in 1609-1610. His military campaigns and victories are sung in songs. But the main plot of these songs is his unexpected death. Skopin died suddenly at the age of 23, after a feast with Prince Vorotynsky. The songs show the dislike for him of the princes Vorotynsky and Mstislavsky: they rejoice at his death. The masses, who pinned their hopes on Skopin and considered him worthy of being the Russian Tsar, openly accused the boyars of the death of the commander. In the songs, the cause of death is called poisoning. It is possible that the basis was the envy of Skopin's success on the part of his uncle Dmitry Shuisky. According to the songs, he was poisoned by Shuisky's wife, the daughter of Malyuta Skuratov.
The earliest record of a song about Skopin dates back to 1619-1620. (made for Richard James). This is a short but meaningful song. Muscovites mourned the death of Skopin: "And now our heads are bent." And Vorotynsky and Mstislavsky "spoke a word, grinned":
The falcon rose high
And about the mother's cheese the earth was hurt!
In this song, there is still no motive for poisoning, but the attitude of the princes to the death of Skopin is indicative. In the collection of Kirsha Danilov there is a song in which this motive is developed in more detail: Skopin boasted that he had cleared the kingdom of Moscow from the enemy:
And here the boyars became in trouble,
At that hour they did the deed:
They lifted the fierce potions,
Poured into a glass sweet honeys,
Served to the godfather of his cross,
Malyutina's daughter Skurlatova.
She knew, godfather of his godfather,
She brought a glass of sweet honey
Skopin to Prince Mikhail Vasilyevich.
The song in the collection of Kirsha Danilov, like some others, has many epic features: in poetics, verse and melody. This, in particular, is explained by the fact that some songs were recorded from the famous epic storyteller T. G. Ryabinin. In his songs, Skopin, together with Nikita Romanov, liberate Moscow and Lithuania, and both act like epic heroes.
Songs about Stepan Razin. The songs of this cycle are the most popular among all Russian historical songs. This is due to the fact that they touch upon the most important issues of the life of the people, their oppressed position and the desire to throw off oppression .;
* Songs about Razin have a historical basis. In the second half of the XVII century. growing popular discontent and indignation at the final enslavement of the peasants and those government measures that were aimed at limiting the "freedom" of the Cossacks. By this time there was a significant social stratification among the Cossacks. All this developed into an uprising, into an open protest by the peasant-Cossacks. In 1670-1671. on the Don and Volga, a popular uprising raged under the leadership of Stepan Razin,
It resulted in a series of bold, heroic campaigns along the Volga, to Yaik, to Astrakhan. The songs mostly correctly reflected in their plots and images course and character of the uprising. But the songs are "poetic works, and one cannot look for complete historical accuracy in the transmission of events in them. The most important thing in them is the reflection of people's moods and aspirations.
I The plots of the songs about Stepan Razin quite fully cover his activities: relations with the Cossacks, trips to Yaik and the Caspian Sea, to __Astdahats. There is a song about his imprisonment, about his execution, but there are no songs about his campaign in Persia. This widely publicized romantic literature the plot of the songs dropped out. Among the plots, the main place is occupied by his popups and! his relation to the 8G_s_1sazaks d _ "Ts songs depict two kinds of 4 campaigns of Razin: against ~" infidels ", against the" Rich Horde ", and against Kazan and Astrakhan, and even against Moscow. These are campaigns against governors and boyars. 1
In the songs related to the first campaigns, there is a manifestation of spontaneity, the goal is sometimes "to take the rich treasury." There is a peculiar motive of faith in the tsar and disbelief in the boyars. When the decree comes to send Razin to Moscow, he says: "Not the royal intentions, but boyar intentions". However, the Cossacks have doubts about the justice of the king. They ask the ataman:
What favors the sovereign-tsar and princes and boyars,
Why won't they favor us Cossacks with anything?
It was then that the idea arises to go "to holy Rus'":
We will take Kazan town in the evening,
And we will take Moscow to the white dawn.
Very important in the songs is the theme of Razin's relationship to the people, who are represented in them by "badness" and the Cossacks. Razin is more and more inclined towards the homeless, dreaming of v6le7 ~ E "this gives the songs of the Razin cycle an anti-serfdom character. The songs express the aspirations and expectations of the people, the desire for free labor and justice. The homelessness supports Razin. All this makes the social essence of the cycle significant.
Songs about Razin are heroic character. The golytba and the Cossacks perform military exploits: they take cities, smash the tsarist troops sent against them, crack down on the governors. considered himself "free people".
There is a significant difference between Razin and Yermak. Ermak wanted to earn the Tsar's forgiveness, Razin did not bow to the Tsar, he spoke out not only against the boyars, but also against the Tsar's governors. Razin is a brave leader of the masses of the people who rebelled against oppression. He is an elected ataman, confident in the rightness of his cause. His image is poeticized in songs. Razin is endowed with extraordinary strength and courage, his “thunderous voice terrifies enemies, in one night he sails through all the Volga cities, he is invincible. When the archers and gunners, on the orders of the governor, wanted to shoot at him, Razin says:
And you do not lose gunpowder and do not break shells,
The bullet will not touch me, the nucleolus will not take me.
He is able to miraculously escape from prison.
In parallel to the image of Stepan Razin, the songs created the image of a “son”, a brave and daring young man in front of the governors. In later songs, he is passed off as Razin's son, but in early songs, "son" is only his nickname, received for loyalty to Razin. Having fallen into the hands of enemies, he holds himself boldly and proudly, directly declares his loyalty to Razin, despite the fact that he is threatened with the gallows. The “son” himself threatens the governor and speaks of an imminent reprisal against him: he is confident in the victory of the people.
The images of the "son", "the naked" and the Cossack poor give a great social sound to this cycle of songs. Their social content is also revealed in sharp satire - ridicule of the boyars and governors, their arrogance, cruelty, greed, fear of the people.
Songs about the execution of Razin in symbolic images (fogs crawled in, forests burned down, “the glorious quiet Don was clouded”) convey the heavy folk grief.
A social phenomenon of great importance - the popular uprising of the 17th century - served as the basis for the creation of a cycle of songs of deep social meaning, vivid poetry. The cycle of songs about Razin developed the traditions of Cossack, robber (remote) and old historical songs. It arose on the Volga and the Don, spread throughout the country, went through a number of new historical periods, expressing popular protest and the readiness of the "bad" to fight enemies for their happiness and freedom.
Songs of the 18th century. In the XVIII century. historical songs continued to live active life. New important processes took place in them. On the one hand, they continued the traditions of the songs of the 16th-17th centuries, and on the other hand, they developed new features. First of all, they embodied new life content in artistic paintings and images, covering the historical events of the 18th century. Their plots are connected with military events (the campaign against Azov, the Northern War with the Battle of Poltava, Seven Years' War, the war with the Turks) and with popular unrest (the Bulavin and Pugachev uprisings). This put two images in the center of the songs: the image of Peter and the image of Pugachev.
The time of Peter I, the reforms, the creation of a regular army and navy, a number of military victories strengthened the power of the Russian state and made it the strongest power. The construction of cities, the fleet, canals, the prize in the army of a significant part of the peasants affected the established forms folk life and life. At the same time, the strengthening of serfdom, the enslavement of factory workers, the strengthening social contradictions among the Cossacks, 183 led to the Bulavinsky and then to the Pugachev uprisings;
Great changes in Russian life caused the growth of the national consciousness of the Russian people, expanded their ideas about reality, introduced new phenomena into the field of their attention. This served as the basis for the new content of the songs, the images of new heroes. A more conscious attitude to reality determined the strengthening of assessments, poeticization and satire, lyrical elements in songs, in which the weakening of the plot began and the development of descriptiveness or expression of thoughts and direct assessments. The songs became shorter, more schematic and more realistic. They included many characteristic historical realities of the time: themes of wars, the army and navy, the images of soldiers and sailors, the names of regiments and the names of commanders, military terminology; regional features of songs began to be erased.
A greater place in the songs was occupied by the image of the people (soldiers in songs about wars and "squatting" in songs about uprisings). The mass of the herd is more active; she supported the reforms and the struggle of Peter I to strengthen the state and central government, but at the same time boldly expressed dissatisfaction with oppression, many years of soldier "bondage", class hatred for the boyars.
The soldier became the new hero of historical songs. The songs showed his patriotism, brave defense of the homeland, exploits, courage, victory over the then best army in Europe - the army of the Swedes, as well as the campaigns of Suvorov, who with good reason called the soldiers "miracle heroes." The scope of events, great and victorious wars, the example of such remarkable commanders as Suvorov, contributed to the development of patriotic consciousness and responsibility for the fate of the motherland.,.., Therefore, historical songs of the 18th century. First of all, they are characterized by their bright patriotism. The soldier performed his duty, despite the severity of the service, the severity and cruelty of the commanders, the betrayal and embezzlement of the military authorities. All this is shown in the songs. The historical songs of the 18th century, most composed by soldiers, reflected the whole order of soldier's service: military life, preparations for a campaign and battles. In all these paintings, features of the new are visible. The troops are preparing for a campaign against Azov:
That in the evening the order was given to the soldiers,
To keep the guns clean and the flints sharp,
Broadswords are released, bayonets are attached,
So that the baldrics, the belts were nafuhrena,
Bibs, shirts and stilettos were white...
There are many complaints in the songs about the severity of the service:
Oh, poor little heads of soldiers,
No matter how day or night you have no rest!
No matter how hard a soldier's life, soldiers are always ready for battle. The song about the siege of the fortress Oreshek (Shlisselburg) is peculiar. It is difficult to take it; when asked by the king how to do this, the generals answer: "It is better to retreat." But the soldiers say to the king:
Will we retreat from the city,
And we will take him with a white chest.
The songs created images of Peter I and the Russian commanders Sheremetyev and Suvorov.
Tletr I is described both as a talented figure and as a person with a peculiar character. He is simple in dealing with soldiers and workers, fair, courageous, he himself commands the troops, he himself works together with shipbuilders. In the song "The Tsar Fights the Dragoon" Peter calls the hunter to fight him. But all the princes-boyars were frightened, they fled to the chambers. A young dragoon volunteered to fight and overcame the king. Peter appreciated the strength and skill and generously endowed the dragoon.
The theme of war is developed in the songs in a peculiar way. The king declares war on the enemy:
In fact, the dress is black on him,
The dress is black, but everything is twisted.
Peter mourns the death of soldiers, the loss of regiments. At the same time, he rejoices at the victories of the Russian troops, especially in the Battle of Poltava.
The death of Peter shakes the soldiers. The plot was very popular: a soldier mourns the death of Peter. Songs about the death of Peter are like laments, like lamentations with characteristic images:
What has faded, our bright month has faded,
The red sun has darkened...
All the regiments stand under banners, waiting for their "colonel Preobrazhensky, captain of the bombardier": the brave army has been orphaned, "the whole Rosseyushka has forgotten about us."
Songs about the Bulavinsky and Pugachev uprisings were probably very common among the people, but few of their texts have survived. An uprising led by Kondrat Bulavin broke out on the Don in 1707-1708. For two years, the Don Cossacks protested against the arbitrariness of their superiors. In 1707, Colonel Dolgorukov was sent to the Don with soldiers: he was supposed to find peasants who had fled from serfdom. More than 3,000 people were captured and sent to Russia in custody. This gave rise to an uprising.
The songs explain the reasons for the uprising as follows:
As on the quiet Don, we are unhealthy:
How two boyars came to us,
Two boyars were sent to us by the king,
They are ruining us all now,
Those boyars - the royal servants - exile the old men,
They take young Cossacks as soldiers,
Wives and children are given to the landowners.
That is why our glorious Don was indignant ...
In songs about this uprising, the theme of the departure of the Cossacks from the Don to the Danube under the leadership of Ignat Nekrasov is also developed.
Songs about Emelyan Pugachev. The unrest of the peasants and Cossacks did not stop for almost the entire 18th century. In 1773-1774. The Pugachev uprising broke out. Songs about him to some extent resemble songs about the Razin uprising: individual plots are processed, adapting to new events and Pugachev's personality. Songs about Pugachev are more realistic. They have no miraculous motifs, no romantic prowess. But they more clearly express the hatred of the masses for the bars, boyars and governors. In songs, plots are most often developed about the defeat of Pugachev's detachments, about his "conversations" with governors and governors. To the question of the Astrakhan governor whether he is a tsar or a tsar's son, Pugachev answers:
I am not a king and not a king's son,
And by birth - Emelya Pugach.
I hung many gentlemen and princes,
According to Russei I hung the unrighteous "people. ,
The broad masses of the people took part in the Pugachev uprising: serfs, Cossacks, working Ural people, Bashkirs. Pugachev is often portrayed in relation to them. He, like the masses, is irreconcilable to the masters, bold and impudent when talking with the governor and the general. The song "Pugachev and Panin" is indicative, in which Pugachev's behavior is truthfully told during a conversation with Count P.I. Panin in Simbirsk. Answering Panin's question, how many princes and boyars he hanged, Pugachev says:
Thank you, Panin, that you didn't get caught<...>
For your service, I would hang it higher!
Songs about the Pugachev uprising are distinguished by a clear social orientation, anti-serfdom character, bold the lie of the authorities. In them, the meaning! ggel> shoa1VI ^ ё | 1tshg ^ chila satire. "True," satire is also characteristic of earlier songs of the 18th century. In the songs about the time of Peter the Great, the embezzler Gagarin, the swindler Dolgorukov are exposed, the "gentlemen-generals", boyars and princes are ridiculed.
The death of Pugachev is lamented in the same way as the death of Razin:
Emelyan you are our dear father!
Who did you leave us for?
The red sun set...
How were we miserable orphans,
Someone to intercede for us
Think hard for us...
Songs of the 19th century. In the first half of the XIX century. the creative process of creating works about new events and heroes is still going on. On the one hand, the traditions of earlier songs continue, on the other hand, new phenomena are reproduced. But more and more often there is a processing of old plots and their adaptation to new events. This is especially clearly expressed in the second half of the 19th century Songs of this century can be divided into two parts: some are characterized by a plot and a certain amount of fiction, sometimes quite free and leading the work away from historical facts; others reproduce events more accurately, but differ in schematic, dry presentation. popular songs about Suvorov and Platov can be attributed to the second - descriptions of campaigns in Prussia and France.
Bright image commander, beloved by the soldiers - the image of Suvorov. In the cycle of songs about him, songs about his injury and death stand out. Grief seized the army, the drummers do not beat the drums, the "musicians" do not blow the trumpets: they carry Suvorov in their arms, and behind him they carry his bloody dress.
Songs of the 19th century devoted mainly to wars: the Russian-Persian war of 1804-1813, the Patriotic War, 1812, Russian-Turkish war 1828-1829", the Crimean War of 1853-1856, and finally, the Russian-Turkish War of 1877-1878.
There are many similarities in the depiction of these wars, which have become stable in historical songs, but there are also elements in which the originality of the works is manifested.
In connection with the depiction of these wars, the images of Kutuzov, Platov and Nakhimov, as well as the satirical image of Napoleon, come to the fore.
The war of 1812 received the most complete reflection. Songs are put forward about Napoleon's letter to the Russian Tsar, in which he demands that apartments for seven hundred thousand troops be prepared in the capital city of "stone Moscow", merchant houses for the generals, and royal chambers for Napoleon himself. Kutuzov reassures the Russian Tsar and says:
And we will meet the villain in the middle of the way,
In the middle of the road, on their own land,
And we will put tables for him - copper guns,
And we will lay tablecloths for him - bullets are free,
We’ll put on a snack - red-hot buckshot;
They will treat him - gunboats,
They will see him off - all the goats.
The songs give pictures of the main moments of the war: Napoleon's entry into Moscow, the fire of Moscow, the defeat of the French, the entry of the Russians into Paris. This cycle of songs is deeply patriotic. Before the battles, Kutuzov addresses the soldiers with a speech and asks them, sparing neither their lives, nor gunpowder, nor cannonballs, to defeat the "Frenchman".
A number of songs are dedicated to the defeat of the French, their flight, their pursuit by the Cossacks, the entry of the Russians into Paris. There is a peculiar song about a Frenchman who fled to Paris, and, going up to him, says with love: “Paris is a glorious town!” The song ends with the answer of the Russian to the Frenchman:
In many songs, Platov is depicted - the brightest and most popular figure in the songs of that time.
About Platov the Cossack
The glory is good;
For his brave deeds
We will always remember.
Platov is bold, cunning, with an awareness of the "dignity of a Russian warrior," he speaks with the French generals and Napoleon himself. He was the first to announce to the soldiers:
The enemy is already in the trap
In our mother Moscow!
The most popular plot of this cycle of songs is Platov visiting a Frenchman. Disguised, cut off his beard and cut off his hair, Platov comes to visit the Frenchman. At the end of the song, the Frenchman's daughter Orina recognizes him. Platov guesses that he was recognized, and manages to ride off on a horse. Then Platov sends a letter to the French king:
You are a crow, you are a crow
You are the king of France
You failed, crow.
Keep a falcon in the claws ...
In the second half of the XIX century. historical songs deviate significantly from the traditional structure. The plot is greatly weakened. Songs take the form of a lyrical statement about an event or, more often, about the behavior of a person. The songs are based on individual episodes or positive and negative characteristics.
So, one of the songs about the Crimean War speaks of the boasting of the French king, who intends to go to Moscow; another tells how the Turks are going to go to Russia; both songs end with the statement of the Russian soldiers that they will not let the enemies ravage Russia. Several songs paint pictures of the defense of Sevastopol. The songs are patriotic. The soldiers endure severe hardships, but staunchly defend the city. The activities and courage of Admiral Nakhimov are highly appreciated.
Several themes can be distinguished in the songs about the Crimean War. The first of them is grief at the news of the conscription of young guys into the army. The second is the hard way of the soldiers to Sevastopol and the difficult conditions of military life. The third is the determination of the soldiers to do their duty:
We will fight with the basurman
Until the last drop of blood.
The fourth theme is the glorification of commanders:
How Shchegolev is a brave man
Showed us a sample.
And Nakhimov will go
It will destroy you all in the end.
The fifth is satirical. The French king is subjected to ridicule, who boasts that he will ruin Moscow, take all the generals into full, and give away the Moscow red girls to the soldiers. In the image of the Englishwoman Vasilievna, England and her queen are ridiculed.
However, songs about the Crimean War are the last stage in the history of songs of this type. The process of the rebirth of the genre can be traced with even greater clarity in the songs about the Russian-Turkish war of 1877-1878: they lost a coherent plot, developed a lyrical beginning, and simplified the poetics.
Epics. historical songs. ballads
Compiled by A.Kalugina, V.Kovpik
The book that we offer the reader publishes the best examples of the song epos of the Russian people: epics, historical and ballad songs, as well as buffoons. They reflected in poetic form, on the one hand, the historical consciousness of the people, the idea of serving the Motherland, love for the native land, for agricultural work, for close people, and on the other hand, the denunciation of enemies encroaching on Rus' and ruining cities and villages, condemnation villainy, ridicule of human vices and vile deeds.
Epics - the heroic epic of the Russian people, dating back to the times Kievan Rus, until the middle of the 20th century. were preserved mainly in the Russian North (Arkhangelsk region, Karelia) in the mouths of storytellers who called these songs “old men” or “old men”. The term "epic" in relation to them was introduced in the 30s. 19th century the collector and publisher of folklore I.P. Sakharov, who borrowed it from The Tale of Igor's Campaign (the author of which tells the story “according to the epics of this time”, and not according to the old “glory” songs in honor of the princes, created by the prophetic singer Boyan).
Now it may seem strange, but in the middle of the XIX century. our domestic science did not have information about the existence of epics, nor about their performers - and this at a time when the Bogatyr epic, as we now know, was still widespread in Russia! The reason for this phenomenon can be found in the Petrine reforms, as a result of which the educated strata of Russian society joined European culture and at the same time moved away from the main mass of their people - the peasants - so much that they had only the most approximate idea of \u200b\u200bRussian folk art (and sometimes - and the language itself: it is no coincidence that Pushkin's Tatyana, "Russian in soul", "knew Russian poorly" and "expressed with difficulty in her native language"). The situation began to change only in the era of romanticism, which aroused the attention of educated Russian society to the creations of the "folk spirit", transmitted orally among the mass of the illiterate peasantry. In the 1830-1850s. In 1808-1856, the activity of collecting folklore works was launched, organized by the Slavophil Pyotr Vasilyevich Kireevsky (1808–1856). Kireevsky's correspondents and himself recorded about a hundred epic texts in the central, Volga and northern provinces of Russia, as well as in the Urals and Siberia, but these records were published only in 1860-1874, when the collection folk songs Kireevsky was published by P. A. Bessonov.
Until the middle of the XIX century. epics were known to the Russian reader only from the collection of Kirsha Danilov, the first (heavily abridged) edition of which, under the title “Ancient Russian Poems”, was published in Moscow in 1804, the second (much more complete) - in 1818 (“Ancient Russian Poems collected by Kirsha Danilov”). It was believed, however, that the songs presented in this book had already ceased to exist among the people. The very identity of the compiler of this collection of works of the folk song epic, as well as the place, time and circumstances of its occurrence remained a mystery until recently, when, through the work of scientists who undertook extensive historical and archival research, it was established that Kirill Danilov was a factory foreman in Demidov Nizhny Novgorod. Tagil. Owning an extensive folklore repertoire, he mid-eighteenth V. wrote it down (or dictated it for recording) on behalf of the owner of the factories - Prokofy Akinfievich Demidov, who, in turn, wanted to transfer these songs as an important historical source to the famous historian, academician Gerard-Friedrich ("Fyodor Ivanovich", as he was called) Russian) Miller. It is very likely that Kirill Danilov ended up beyond the Urals not of his own free will: in Russia, for a different song, they could be exiled “to places not so remote” both in the 20th and in the 18th century. The phrase dropped by P. A. Demidov in a letter to G.-F. Miller on September 22, 1768: "I got [this song] from the Siberian people, because all reasonable fools are sent there, who sing the past history in voice."
A real shock to the scientific world was the discovery in the middle of the XIX century. living tradition of the epic epic, and not far from St. Petersburg - in the Olonets province. The honor of this discovery belongs to Pavel Nikolayevich Rybnikov (1831–1885), a populist exiled to Petrozavodsk under police supervision. Serving in the provincial statistical committee, Rybnikov in 1859-1863. made business trips around the province, during which he discovered dozens of epic experts - storytellers - and wrote down 165 texts of epics from them, which he published in 1861-1867. Here is how the collector describes his first meeting with epics (during an overnight stay on Shui-navolok, an island 12 versts from Petrozavodsk):
“I lay down on a sack near a skinny fire, brewed tea for myself in a saucepan, drank and ate from the travel supply, and, warming myself by the fire, fell asleep imperceptibly; I was awakened by strange sounds: before that I had heard many songs and spiritual verses, but I had never heard such a tune. Lively, whimsical and cheerful, sometimes it became faster, sometimes it broke off and in its own way resembled something ancient, forgotten by our generation. For a long time I did not want to wake up and listen to the individual words of the song: it was so joyful to remain in the grip of a completely new impression. Through my drowsiness, I saw that several peasants were sitting about three paces from me, and a gray-haired old man with a bushy white beard, quick eyes and a good-natured expression on his face was singing. Squatting down by the dying fire, he turned now to one neighbor, then to another, and sang his song, interrupting it sometimes with a smile. The singer finished, and began to sing another song: then I made out that the epic was being sung about Sadka the merchant, the rich guest. Of course, I was immediately on my feet, persuaded the peasant to repeat what he had sung, and wrote it down from his words. He asked if he knew anything. My new acquaintance, Leonty Bogdanovich, from the village of Seredki, Kizhi volost, promised me to tell me a lot of epics: about Dobrynushka Nikitich, about Ilya Muromets and about Mikhail Potyk, son of Ivanovich, about the daring Vasily Buslavievich, about Khotenushka Bludovich, about forty kaliks with kaliks, about Svyatogor Bogatyr ... "
Encouraged by the discovery of P. N. Rybnikov, domestic folklorists in the 2nd half of the 19th - early 20th centuries. undertook many expeditions, mainly to the Russian North, where new centers of preservation of the song epic were discovered and thousands of epic texts were recorded from hundreds of storytellers (in total, the epic researcher Professor F. M. Selivanov counted by 1980 about 3000 texts representing 80 epic stories ). Unfortunately, by our time, epics have completely disappeared from living existence and are now only majestic cultural heritage the bygone past of our country and people. The condition for the preservation of the epics was the complete faith of the narrators in the veracity of the events they describe (this was repeatedly noted by folklorists), in the reality of the Bogatyrs, who single-handedly beat the enemy troops, the Nightingale the Robber, who whistled the Bogatyr horse, the winged Serpent Tugarin and other curiosities of the artistic world of the epic epic . Shocks of the XX century. in the world and society, the spread of school education, a change in the worldview and life of the Russian peasant destroyed this naive faith, and epics were doomed to extinction.
Particularly noteworthy is the question of the relationship between the epic epic and historical reality (the so-called “problem of the historicism of the Russian epic”), which caused heated debate in both the 19th and 20th centuries (especially between historians and philologists).
Definition of folklore, basic distinctive features. The system of genera and genres of UNT.
Folklore (folk-lore) is an international term English origin, it means - "folk wisdom", "folk knowledge" and denotes various manifestations of folk spiritual culture.
The name "oral creativity of the people" emphasizes the oral nature of folklore in its difference from written literature.
Folklore is a complex, synthetic art. Often in his works elements are combined various kinds arts - verbal, musical, theatrical. It is being studied different sciences- history, psychology, sociology, ethnology (ethnography). It is closely connected with folk life and rituals.
Folklore is verbal oral art. It has the properties of the art of the word. In this he is close to literature. At the same time, it has its own specific features: syncretism, traditionalism, anonymity, variability and improvisation.
Traditional continuity covers large historical gaps - whole centuries.
It arises from memorable sources, that is, it is passed from memory from mouth to mouth, but it certainly passed through a significant layer of people's understanding. Each carrier of folklore creates within the boundaries of the generally accepted tradition, relying on predecessors, repeating, changing, supplementing the text of the work. In literature there is a writer and a reader, and in folklore there is a performer and a listener. "The works of folklore always bear the seal of time and the environment in which they lived for a long time, or "existed." Folklore is directly folk in content - that is, in terms of thoughts and feelings expressed in it. Folklore is folk and in style - t "Folklore is folklore in origin, according to all the signs and properties of traditional figurative content and traditional stylistic forms. This is the collective nature of folklore. Any folklore work exists in a large number of variants.
Folklore, like literature, is the art of the word. This gives reason to use literary terms: epic, lyric, drama. They are called genera. Each genus covers a group of works of a certain type. Genre - type of art form (fairy tale, song, proverb, etc.). This is a narrower group of works than the genus. Thus, genus means a way of depicting reality, and genre means a type of artistic form. The history of folklore is the history of the change of its genres. In folklore, they are more stable than literary ones; genre boundaries in literature are wider. New genre forms in folklore do not arise as a result of creative activity individuals, as in literature, but must be supported by the entire mass of participants in the collective creative process. Therefore, their change does not occur without the necessary historical grounds. At the same time, genres in folklore are not unchanged. They arise, develop and die, are replaced by others. So, for example, epics appear in Ancient Rus', develop in the Middle Ages, and in the 19th century they are gradually forgotten and die off. With a change in the conditions of existence, genres are destroyed and forgotten. But this does not indicate the decline of folk art. Changes in the genre composition of folklore are a natural consequence of the process of development of artistic collective creativity.
Collection of Russian folklore in the 19th - early 20th centuries. Names famous collectors folk songs, proverbs, fairy tales, epics and their works.
Interest in the history of the Russian people, its culture, and in particular folklore, noticeably increased after the Patriotic War of 1812. The main attention in the 20s of the XIX century. is given to Russian folk songs, proverbs and sayings, in which the national self-consciousness of the Russian people is most fully reflected.
In the first third of the XIX century. songbooks continue to be published. The most significant of them is the “Newest General and Complete Songbook”, published in 1819 in 6 parts by I. Glazunov. At the very beginning of the XIX century. the poet A. Kh. Vostokov collects folk songs, proverbs and sayings. In 1822, D. Knyazhevich published The Complete Collection of Russian Proverbs and Sayings (about 5,000).
In parallel with the collection and publication of Russian folklore, its study is also underway. In 1812, A. Kh. Vostokov publishes. his study "Experience on Russian versification", which defines and examines in detail the tonic versification of Russian folk songs. In 1816, A.F. Richter publishes “Two Experiences in Literature. Reasoning about Russian proverbs. In 1831-1834. I.M. Snegirev publishes “Russians in their proverbs. Reasoning and research on domestic proverbs and sayings.
20s of the 19th century - the period of rapid flowering of romanticism in Russia. Striving for the development of the national principle in domestic literature, romantics, as never before, widely use folklore (plots, images, poetic style) in their work.
However, romantic poets did not treat folklore in the same way, they evaluated it differently and used it in their work. For example, V. A. Zhukovsky was interested in the reflection of the “dear old times” in it. And for these purposes, he used folk rituals, customs and beliefs with great pleasure.
The Decembrists had a completely different attitude to folk art. The views of the Decembrists on folklore are most fully expressed in the literary reviews of A. Bestuzhev-Marlinsky, published by him in the almanac "Polar Star" (1823-1825), and in the article by V. Küchelbecker "On the direction of our poetry, especially lyrical in last decade"("Mnemosyne", 1824). The Decembrists had a particular interest in folklore. In the annals and folk songs, they looked for evidence of "ancient Slavic" tyranny and love of freedom. Epics and historical songs arose even before serfdom, and therefore, according to the Decembrists, they most fully expressed the freedom-loving and heroic character of the Russian people. The Decembrists for the first time begin to collect Cossack historical songs, including songs about Razin. The lack of Decembrist folklore was expressed in the fact that the Decembrists, in essence, were terribly far from the people, did not understand their needs and were not at all interested in modern Russian folklore.
The folklore views of A. S. Pushkin were formed under the influence of the Decembrists. Pushkin, like the Decembrists, is interested in Cossack songs, writes songs and legends about Razin and Pugachev. However, Pushkin's folklore interests were much broader than the views of the Decembrists. He is attracted not only by historical, but also by modern lyrical folk songs. He recorded a song about Arakcheev, as well as folk ballads, soldiers' and family songs, mostly wedding songs. Pushkin decided to compile a collection of folk songs, but his plan was not destined to come true, and he handed over his collection of songs to P. V. Kireevsky.
Considering folklore as an important form of expression of people's self-consciousness and a manifestation of people's poetic talent, Pushkin made apt statements on many genres of Russian folklore (fairy tales, songs, proverbs and sayings). The poet had great respect for folklore and its bearers. However, he did not have a blind idealization of folk art.
Pushkin rejected the features of conservatism, the manifestation of all kinds of prejudices.
Folklore interests of N. V. Gogol were formed under the influence of Ukrainian and Russian folk poetry. Gogol's interest in folklore appeared in the years of childhood and youth and persisted throughout his life. Gogol recorded Ukrainian folk songs himself; at his request, this was done by his relatives and acquaintances. As a result, Gogol formed a large collection of Ukrainian songs, most of which were published only in 1908.
Collections are also of undoubted scientific interest; ShaneP. V. Russian folk songs (1870); LagovskyF. Folk songs of the Kostroma, Vologda, Novgorod, Nizhny Novgorod and Yaroslavl provinces (1877); Sadovnikov D. N. Fairy tales and legends Samara region(1884); Melgunov Yu.N. Russian songs, directly
By the middle of the XIX century. in the folklore and literature of different peoples of the world was found a large number of similar plots that cannot be explained by the kinship of these peoples, their origin from one “pro-people”, from which the mythologists proceeded. And here the mythological theory was replaced by the "borrowing theory" (or the migration theory of "wandering plots"). Similar phenomena in the verbal art of various peoples were explained by borrowing.
Fairy tales are collected by D. I. Sadovnikov, N. E. Onchukov, D. K. Zelenin, brothers B. M. Sokolov and Yu. M. Sokolov; epic-A. V. Markov, N.E. Onchukov and A. D. Grigoriev; lyrical songs -P. V. Shein, S.M. Lyapunov, G.O. Dyutsh and others; proverbs and sayings - I I Ilyustrov; folk dramas- N. N. Vinogradov and N. E. Onchukov; ditties-D. K. Zelenin, E. N. Eleonskaya, V. I. Simakov and others.
The following collections of Russian folklore are most significant: Sobolevsky A. I. Great Russian folk songs (7 volumes, 1895-1902); Shane P. V. Great Russian in his songs ... (2 issues, 1898-1900); Markov A. V. White Sea epics (1901); Grigoriev A D. Arkhangelsk epics (1904); IllustrovI. I. Life of the Russian people in its proverbs and sayings (1904); Onchukov NOT Northern Tales (1909); Simakov V.I. Collection of village ditties (1913); Eleonskaya E. N. Collection of Great Russian ditties (1914); Sokolov B. and Yu. Tales and songs of the Belozersky region (1915).
Folklore materials in the late XIX-early XX century. were also systematically published in the journals "Ethnographic Review" (1889-1916) and " Living antiquity» (1890-1917).
Published in the late XIX - early XX century. the collected materials, the most academically authoritative folklore collections, will then be fruitfully used in research by Soviet folklorists.
Collecting work continued in Soviet times. In 1926-1928 brothers B. M. and Yu. The materials of the expedition were published in 1948. Recordings of epics 1926-1933. from the collections of the Manuscript Depository of the Folklore Commission at the Institute of Ethnography of the Academy of Sciences of the USSR were included in the two-volume edition of A. M. Astakhova "Epics of the North". The collection of epics continued in the war and post-war years. The materials of three expeditions to the Pechora (1942, 1955 and 1956) made up the volume "Epics of the Pechora and the Winter Coast".
Many new recordings of fairy tales, songs, ditties, works of non-fairytale prose, proverbs, riddles, and so on were made. The publication of new materials was dominated, firstly, by the genre, and secondly, by the regional principle.
Collectors began to purposefully identify working folklore, the folklore of hard labor and exile. Civil and Great Patriotic war also left their mark on folk poetry, which did not pass by the attention of collectors. However, research also requires those sections of folklore that long years were insufficiently studied and hardly recorded (religious folklore, folklore of political prisoners, urban folklore, etc.).
An interesting and representative list of sources, which includes works of different times from 1893 to 1994. It is a pity that it did not include M. Lipovetsky's book "Poetics literary fairy tale(Sverdlovsk, 1992) and M. Petrovsky's book "Books of Our Childhood" (M.) 1986). century, because it considers new types of literary and folklore connections among fairy tale writers and not only among them (A. Blok), when there is a synthesis of cultures - high with folklore, mass and even kitsch.
Undoubtedly, the appearance of the book by T.V. Krivoshchapova is another step towards creating a complete history of the Russian literary fairy tale, as well as towards restoring the picture hard way aesthetic, ideological, philosophical searches of writers and poets of the turn of the 19th and 20th centuries.
T.A. Ekimov
COLLECTOR OF URAL FOLKLORE
Once Vladimir Pavlovich Biryukov admitted that until the mid-1930s, being a convinced local historian, he had little interest in folk songs, fairy tales, ditties, although he wrote them down on occasion. Only after the First Congress of Soviet Writers, where
A.M. Gorky uttered memorable words to everyone (“Collect your folklore, study it”), when the collection of folklore became a truly mass movement in our country, and not just occupation of specialists,
B.P. Biryukov became interested in this activity. In fact, his first performance as a folklorist was the article "The Old Urals in Folk Art", published in the newspaper "Chelyabinsk Rabochy" on November 24, 1935. Soon the well-known collection “Pre-revolutionary folklore in the Urals” (1936) was published, and about V.P. Biryukov immediately started talking among the folklorists of Moscow and Leningrad. I remember how in 1937, we, a first-year student at the Moscow Institute of History, Philosophy and Literature, Academician Yu.M. Sokolov, at a lecture on working folklore, stated that the collection of V.P. Biryukova - big scientific discovery. And then, instead of the traditional lecture, he began to expressively read and enthusiastically comment on the texts from the book. He enthusiastically noted the tales of P.P. Bazhov (published for the first time in this collection). Immediately after the lecture, I rushed to the institute's library and greedily "swallowed" the book, which struck me with its inconsistency.
commonplace, Soon I began to work in a special folklore seminar by Yu.M. Sokolov and I remember how in the spring of 1938 my teacher once announced to us that in Leningrad, at the Institute of Ethnography, a scientific conference was held, at which V.P. Biryukov made a report on his collecting activities.
Here happy man! - said Yu.M. Sokolov. - Attacked a gold mine! We folklorists, in the old fashioned way, think that folk art must be collected in a peasant environment, we send expeditions to the wilderness. But Biryukov and his comrades walked around the old Ural factories and taught us all a lesson. Go, my dears, and you will go to some Moscow factory, write songs there. After all, the Moscow proletariat deserves the same attention of folklorists as the workers of the Urals.
So, long before we met, V.P. Biryukov, without knowing it, determined the beginning of my work as a collector of folklore. I went to the Bogatyr factory and throughout the spring of 1938 I recorded folk songs there among hereditary Moscow workers.
With the rapid entry of V.P. Biryukov, one amusing misunderstanding is connected with folklore. At the session of our seminar new works of Soviet folklorists were discussed. The student, who was instructed to review the folklore collections of those years, began briskly: "The young Ural folklorist Biryukov ...". Yu.M. Sokolov burst into laughter and interrupted the speaker: “Do you know that this young man is already ... fifty years old!” At that time we did not know what V.P. Biryukov already had a great experience and authority as a local historian. And only then did we understand that the compiler of the collection “Pre-revolutionary folklore in the Urals” was not just a lucky man, from the young and early, who accidentally attacked a gold mine, but a prospector who went along and across his native land and came to folklore not from a student’s bench, like we, but from "grassroots" science, closely connected with the life of the people.
Several years passed, and my generation of front-line folklorists traveled a lot around their native land before they were able to go on expeditions that they dreamed about in the peaceful pre-war years ... And although in the breaks between battles we did not forget to write down soldiers' songs and stories, - truly, naturally, our professional activity resumed after the war.
Demobilized from Soviet army, I was assigned to work at the Chelyabinsk Pedagogical Institute, where I began to read a course in folklore and ancient Russian literature. My strongest desire was to meet V.P. Biryukov, who already at that time turned out to be a semi-legendary personality. From all sides I heard about him
the most controversial opinions. Some spoke of him as an erudite, overwhelming his interlocutor with his universal knowledge. Others - as about an unsociable hermit, an impregnable keeper of innumerable riches, which he holds behind seven castles. Still others - as about an eccentric and a vagabond, an indiscriminate collector of all sorts of things. Not without a joke about how V.P. Biryukov once lost his hat and since then, at any time of the year and in any weather, he walks with his head uncovered ... I retained in my soul the impression that his book made on me in my student years, and therefore a completely different image appeared in my mind - a kind of Ural patriarch, a sgarets-ascetic. But already at our first meeting, I realized how far from the truth were the superficial ironic characteristics of V.P. Biryukov and my own idealized, icon-painting idea of him.
V.P. Biryukov lived in those years in quiet Shadrinsk, taught folklore at the local pedagogical institute and occasionally traveled to Chelyabinsk on business. On one of his visits, he went to G.A. Turbin, when I was visiting him (we were preparing for our first joint folklore-dialectological expedition), and my acquaintance with V.P. Biryukov began with a business conversation.
It has arrived in our regiment! - V.P. was delighted. Biryukov and immediately began to generously share with me his advice and addresses. I was amazed at his simplicity in getting around, even unexpected rusticity for me. And later I noticed that the person who first met V.P. Biryukov, did not immediately guess that he was dealing with an intellectual who graduated from two higher educational institutions, knew foreign languages and collaborated with academic institutions. There was nothing in his manner of bearing and speaking that could be mistaken for a sense of superiority, and this showed his worldly wisdom and tact. Then, in the house of G. A. Turbin, he did not teach me and did not demonstrate his knowledge in the field of folklore and ethnography, on the contrary, as it seemed to me, he even tried to belittle his professional experience. But in front of him was just a novice teacher and a completely unknown folklorist. This spiritual softness and delicacy of his immediately allowed me to reach out to him trustingly. Without losing any respect, I felt in him not only a mentor, but also a comrade in a common cause. And I was also struck by his appearance. I was not surprised by his more than modest attire (in those first post-war years no one flaunted), but I expected to meet a venerable old man, and in front of me sat a cheerful and youthful man, with fair-haired curls falling almost to his shoulders, with fervently gleaming gray eyes and not descending from the lips, although hidden in a low-hanging mustache, a smile. I easily introduced him cheerfully and tirelessly
walking with a hiking bag along the Ural roads and, despite the difference in years, felt like his "companion".
We easily became close, and soon our scientific cooperation turned into friendship. In 1958, when Vladimir Pavlovich's seventieth birthday was celebrated, he sent me to Leningrad the book "Soviet Urals" published for the anniversary with the inscription dear to me: "... in the year of the decade of our friendship ...". Yes, that memorable decade was marked by many significant events for me of our joint friendly work, mutual support and help in difficult days for each of us...
Modesty and shyness of V.P. Biryukova exceeded all limits. When in 1948 my article about his sixtieth birthday was published in the Chelyabinsk Rabochiy newspaper, at the very first meeting he “reprimanded” me: - Well, why did you write such a thing about a living person! I have been portrayed as such a Holy Russian hero that now I am ashamed to appear in front of people! And no matter how I tried to convince him that I wrote not so much for his glory, but for the sake of the cause that we both serve, he could not calm down and kept saying: - You should only write praiseworthy words! The case speaks for itself.
And about his seventieth birthday, he wrote to me in Leningrad (in a letter dated August 7, 1958): “You have long known that I am generally against the anniversary of a living person and I was already planning to escape from Shadrinsk, as they told me:“ You can’t! - the regional jubilee commission was created...». I had to obey ... Where, from whom did all this come from, I'm at a loss. Suddenly such attention! They even published a book about me. That way, only academics are lucky. What's the matter?" Very typical for V.P. intonations of bewilderment and self-irony!
I also remember how I urged him to write his memoirs. He even got offended. - Well, do you think that my song is sung? After all, memoirs are written when there are no years for any other business!
But nevertheless, one day he brought me to Chelyabinsk a manuscript called “The way of the collector (autobiographical sketch)” and jokingly demanded from me: - Only you testify that I did this not of my own free will, but was forced by you. And then he unexpectedly and mischievously admitted: - This essay has been ready for me for a long time, but I kept quiet.
"The way of the collector" appeared, as is known, in the sixth issue of the almanac "Southern Urals", although this publication did not bring much joy to the author. And even a few years later (in a letter dated as follows: “On the morning of January 26, 1957”), he regretfully recalled that the editor “greatly distorted” his essay and introduced some distortions and factual inaccuracies. By the way, I have preserved the first galleys of the "Way of the Gatherer", containing many interesting details, to
unfortunately excluded from the published text. Biographers and researchers of V.P. Biryukov, on this occasion, it is better to refer not to the journal text, but directly to the manuscript of his memoirs, stored in the archive that remained after him.
What to write about the modesty of V.P. Biryukov, manifested in his attitude to anniversaries and memoirs, even if he was persuaded to speak at a meeting of the folklore and ethnographic circle of the Chelyabinsk Pedagogical Institute or in front of the participants of our folklore expedition, it was not an easy task (he believed that I had already taught them everything and he had nothing to say to them). Heading the Department of Literature, I decided to involve V.P. Biryukov to lectures on folklore for correspondence students. I spoke to him on this topic at every meeting, wrote him private and official invitations, but in vain. It seemed to him that he was not “academic” enough for a “capital university” (as he called the Chelyabinsk Pedagogical Institute, alluding to the saying “Chelyabinsk is the capital of the Southern Urals” then in use). And he agreed only when I told him that since he refuses to teach a folklore course, I must do it myself and therefore I will have to sacrifice the summer expedition. Hearing this, he got excited:
No, no, how can you! I'll help you out - go, go!
My little trick was designed for V.P. camaraderie - how could he allow me to sacrifice the expedition! And after that, for several years he accompanied and admonished me with the students on an expedition to the Southern Urals, and he himself read a folklore course to correspondence students, which is now immortalized, to my joy, on a memorial plaque, on one of the columns of the pediment of the Chelyabinsk Pedagogical Institute.
I recall another episode that characterizes the modesty of V.P. Biryukov. In January 1949, the seventieth birthday of the famous P.P. Bazhov. Writers, journalists, critics gathered. Among the most desired guests for the hero of the day was V.P. Biryukov. I had the honor to represent the Chelyabinsk Writers' Organization. We took pictures after the conference. P.P. Bazhov, who was sitting in the center of the first row, invited V.P. to take a seat in the same row. Biryukov. The experience of his call and other oldest writers of the Urals. But V.P. Biryukov waved his hands in fright and took quick steps towards the exit from the hall. I rushed to catch up with him, and he eventually perched behind everyone, climbing onto a chair next to me (I keep this photo among the most dear to me).
In the evening P.P. Bazhov and his family called small group conference participants to visit. Of course, V.P. was also invited. Biryukov. I followed him into the hotel room and found him sitting
sitting at the table, immersed in their notebooks. I see that he does not even think of going to the party, I say:
Time to go.
I'm not well, I'll probably go to bed ...
From the tone, I feel that this is an excuse.
Do not dissemble, Vladimir Pavlovich. Offend the good
They know me - they won't be offended.
Well, I won't go without you!
He sat down at the table, took out his notebook from his pocket and also began to write something into it. We sit, we are silent. Vladimir Pavlovich could not stand it, jumped up and, stammering slightly, threw out:
Don't ride on someone else's horse!
I did not immediately realize what he wanted to say by this, and then I guessed: they say, writers will gather, and our folklorist brother has nothing to do there.
Why, Pavel Petrovich rode into literature on the same horse, - I objected to him in tone.
Then he drove in, but he re-harnessed the horses for a long time - he couldn’t catch up ...
For a long time we bickered in the same spirit, but at last he gave in,
convinced that, indeed, without him I would not go, but to deprive me of the opportunity to spend the evening in the family of P.P. Bazhov, he did not dare.
What a folklorist I am! - he modestly remarked V.P. in one of his conversations with me. Biryukov. - I am not a folklorist at all, moreover, I am not a scientist, I am a local historian.
Indeed, V.P. Biryukov cannot, strictly speaking, be called a folklorist in the usual sense of the word, and yet his name has firmly entered the history of Soviet folklore. Folklore studies were only a small and, I would say, subordinate area in his diverse, extensive local history activities. He looked at folklore as an organic part of the entire spiritual culture of the people, inseparable from work, life, struggle, philosophy, and practical morality of the working masses. In the collecting activity of V.P. Biryukov, initially spontaneously, and then consciously implemented the program of the Russians revolutionary democrats- to study folklore as "material for the characterization of the people" (Dobrolyubov).
There was another feature in the work of V.P. Biryukov as a collector - although he wrote in one of his methodological articles that the collective, expeditionary method of collecting material is the best (see: “Folklore and dialectological collection of the Chelyabinsk Pedagogical Institute”, Chelyabinsk, 1953, p. 140), however, he himself
he still preferred individual searches, conversations and recording. At the same time, he combined a systematic stationary method of collecting in one place and from several persons - with long and distant trips with a specific thematic goal (this is how he traveled almost the entire Urals, collecting the folklore of the civil war).
V.P. Biryukov was helped in his work not only by vast experience, but also by intuition, the ability to win people over, knowledge of folk speech. He did not imitate the manner of the interlocutor, but quickly grasped the peculiarities of the dialect and could always pass for a fellow countryman. He never parted with a notebook anywhere and kept notes literally continuously, everywhere, in any situation - on the street, in a tram, at the station, even while at home or being treated in a sanatorium and in a hospital. He did not neglect anything and no one, he entered into a notebook any well-aimed word, any message that struck him, a fragment of a song, even one verse of it ... singing (at night or in the rain), but every time he conscientiously stipulated this in his manuscripts, so as not to mislead those who would use his materials. The collection of folklore has become
for him a vital need, and one can easily imagine what a misfortune for him was gradually developing deafness. In December 1963 he wrote to me: “Remember how I was with you in 1958. Then the deafness was already beginning, and now it has intensified ... Because of the deafness, we have to leave the recording of folklore.”
It is not surprising that V.P. Biryukov alone managed to collect such a colossal folkloric and ethnographic archive that any scientific institution could be proud of. His house on Pionerskaya Street in Shadrinsk was a unique repository of a wide variety of materials on the life and spiritual culture of the Ural population, which was listed in the official lists. The archive occupied several cabinets and shelves in the brick closet of his house, specially adapted by him for storing manuscripts. The practical inaccessibility of the archive for specialists brought V.P. Biryukov is very upset. Naturally, he began to think about transferring his collections to some scientific institution or about the organization in the Urals, on the basis of its collections, of an independent archive. He had high hopes for Chelyabinsk. The writers' organization and friends fussed about moving V.P. Biryukov. But for some reason this did not materialize. In the letter I have already quoted of December 29, 1963, V.P. Biryukov wrote bitterly: “Next year it will be 20 years since the question arose of my moving to Chelyabinsk and organizing a literary archive there on the basis of my collection. Over the past 19 years, an inexhaustible amount of blood has been spoiled.<...>Now the issue has been finally and irrevocably settled, so that I can already calmly talk and write to my friends. Since October, the transfer of our assembly to Sverdlovsk began ...> So far, six and a half tons have been transported and the same amount remains to be transported. Thus ended his Odyssey... In Sverdlovsk, as is known, on the basis of V.P. Biryukov, the Ural Central State Archive of Literature and Art was created, and V.P. Biryukov became its first custodian.
no matter how great literary heritage V.P. Biryukov, but his books included only a part of the materials he collected on the folk culture of the Russian population of the Urals. The fate of his books was not always easy. I recall, for example, the preparation of the collection "Historical tales and songs", in the publication of which I was involved. The manuscript had already been edited and approved, when unexpected doubts arose in the publishing house - is it worth publishing a book dedicated to the events of pre-revolutionary times? Then the saving thought came to me to turn for support to the oldest and honored Moscow folklorist and literary critic I.N. Rozanov, who knew V.P. Biryukov, and he agreed to put his name on the title page,
and I wrote a special preface to explain the value and relevance of the materials included in the collection. And yet, despite all these precautions, a sacramental phrase appeared in the review of the collection published in the newspaper Krasny Kurgan (May 31, 1960, No. devoid of shortcomings. It is composed out of touch with the present." And this is about a collection of historical songs and tales, where most of materials is associated with the liberation and revolutionary movement! When the book came out. V.P. Biryukov gave it to me with the inscription: "To my editor and printer." On the title page, above the name of the collection, it is indicated: “Folklore of the Urals. First issue." But, unfortunately, he remained the only one conceived by V.P. Biryukov series of similar scientific folklore collections.
Fortunately, other books by V.P. were published in Sverdlovsk and Kurgan. Biryukov: "Ural in its living word" (1953), "Soviet Ural" (1958), "Winged words in the Urals" (1960), "Notes of the Ural local historian" (1964), "Ural piggy bank" (1969).
V.P. Biryukov created a peculiar type of folklore collections. They clearly manifested the principles of his approach to folklore, which I mentioned above in connection with his collecting activities and which he himself well formulated in the preface to the collection “The Urals in its living word”: “Through oral folk art, through vernacular- to the knowledge of the native land. It is enough to look at the composition of V.P. Biryukov, on the titles and composition of their sections, to make sure that the main thing for him was history or state of the art of this or that folklore genre, not the transfer of certain ideological and artistic features of folklore, but, first of all, the desire to give a holistic view of this or that historical event, about this or that side of the life and life of the people, about the features of this or that social group, about one form or another labor activity. Therefore, all genres in his collections within one thematic section are interspersed, and a fairy tale, a song, a documentary story, a ditty, a proverb, and sayings, and lyrics, and satire, can stand side by side - in a word, everything, which helps to cover the topic of interest with the utmost completeness. I often heard from colleagues and even read unfounded reproaches against V.P. Biryukov, which are the result of a misunderstanding of the creative concept and purpose of his collections. Meanwhile, the collections of V.P. Biryukov should not be measured by a common academic yardstick, look for in them what is excluded by their very nature, the originality of the principles of their compiler. We must appreciate what V.P. Biryukov gave to science and what no one else could give. In collections
V.P. Biryukov, one should first of all look for something new and original that they contain and perceive folklore in its historical, social and everyday contexts, to see more clearly inseparable bond folklore with the life, way of life and work of the people. If we touch on the fact that V.P. Biryukov was not always guided in the selection of material by aesthetic criteria, he himself did not hide this - after all, he did not create anthologies literary texts, but books that could serve as a reliable historical source.
Merits of V.P. Biryukov have long been recognized. There were people who appreciated his folklore activities. Suffice it to mention Yu.M. Sokolov and P.P. Bazhov, constantly supported V.P. Biryukov in all trials, contributed to the appearance of his books, A.A. Shmakov, V.P. Timofeev, D.A. Panov... The more time separates us from those years when we witnessed the versatile activities of V.P. Biryukov, the clearer becomes its significance for national science and culture. And, as always happens after death outstanding person, does not leave the sad thought that after all, not enough has been done so that he can work comfortably and calmly.
The last time we saw each other was in the winter of 1969, when V.P. Biryukov came to Leningrad on business of his depository. One evening the bell rang, and at the door I saw a gray-haired old man in a sheepskin coat that I knew well, taking off mittens attached to a string, stretched out into his sleeves. We embraced, and before I had time to seat him in a chair, he already, with his usual delicacy, began to apologize that he would soon have to leave. Of course, we talked all evening without looking at the clock, and when I begged him to stay the night, he gently but unwaveringly refused, trying to assure that in the hotel of the Academy of Sciences, where he was provided private room, not finished, but planned for today, are waiting for him. An eternal, tireless worker, he really could not sleep peacefully at a party. The next day, I took him to the train, and we, as if foreseeing that we were seeing each other for the last time, did not say the usual “see you again” ...
But before my mind's eye, he appears not as a tired, stooping old man entering the car, but as I knew him in the old good time: slender, youthful, with a sly look in his eyes, dressed in tight old-fashioned trousers, shod in large hiking boots, with a well-worn leather "paramedic's" bag in one hand and a "knotty stick" in the other, cheerfully striding unmeasured miles along the rocky Ural road.
Volgograd
State Institute of Arts and Culture
Subject: Ethnography and folklore
On this topic : Collectors of folklore
Fulfilled
group student
3RTP AND OZO
Makarov Gennady
Checked by teacher:
Slastenova I.V.
VOLGOGRAD 2005
Collectors of Russian folklore.
Collectors and researchers of folklore have long paid attention to the complexity of Russian proverbs.
I. I. Voznesensky’s study on the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc. (Kostroma, 1908), which has not lost its significance and up to our time.
At the same time, it should be recognized that in pre-revolutionary folklore and Soviet science of the first two decades, the questions of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. Yu. M. Sokolov, in this regard, in the mid-30s quite rightly wrote: If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side of it either. . Researchers usually emphasize that a proverb is mostly measured or folded, or that the form of a proverb is a more or less short saying, often expressed in a folded, measured speech, often metaphorical / poetic / language, but on the question of what exactly the warehouse and measure are, detailed studies are not yet available.
A certain semantic and intonational independence in proverbs is acquired not only by their parts, but even by individual words, which in their semantic expressiveness often approach a phrase. Here are examples of such proverbs: Endure, fall in love; Said and done, It was and swam away.
We will consider several directions of folklore collectors.
Since we started with proverbs and sayings, then we will start the story about them.
Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and Proverbs of the Russian People, was half Dane by blood, a Lutheran by religion.
Returning from the voyage, Dal was promoted to midshipman and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading from St. Petersburg to the south on the messenger. On the ancient Novgorod land, leaving the Zimogorsky Chm station, the coachman dropped a word: -Rejuvenates ...
And in response to a perplexed question, Dahl explained: it’s getting cloudy, it’s about heat. Seventeen-year-old Dal takes out a notebook and writes down: To become younger - otherwise it will become cloudy - in the Novgorod province means to fill up with clouds, speaking of the sky, tends to bad weather. This entry became the grain from which, 45 years later, the Explanatory Dictionary grew.
But this is still very far away. The collection of extraordinary sayings, words and sayings, folk oral wealth has just begun.
Dal saw the roads of Moldova and Bulgarian villages, and Turkish fortresses. He heard someone else's dialect and all shades of his native Russian speech. At the bivouac fire, in a free moment in the hospital, Vladimir Ivanovich wrote down more and more new words that had not been heard before.
In 1832, the serious literary activity of V.I.Dal began. Metropolitan magazines publish his articles under the pseudonym Vladimir Lugansky or Cossack Lugansky - after the name of his native town. A gifted storyteller, a sociable person. Dal easily enters the literary world of St. Petersburg.
He converges with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works are quickly gaining huge success.
In the spring of 1832, Dal again abruptly turns his fate and goes to distant Orenburg as an official for special assignments under the military governor. Dahl is a collegiate assessor, an official of the 8th grade, which corresponds to a major in the army.
