Oral folk art - is a traditional verbal creativity of the people. It can be both ancient and new - created in our days. Its main feature is that this art of the word is passed down from generation to generation by word of mouth.
There are a lot of genres in verbal folk art. These are myths and legends, epics, epics, proverbs and sayings, riddles, ditties, fairy tales, songs ... You can list them endlessly. The Creator is not an individual, but a nation. That is why not a single work has its own specific, single author.
For centuries, the creations of people have evolved into whole verbal forms, subsequently forming rhymes (“poems”). Thanks to this technique, the work was easier to transmit and remember. Thus, ritual, round dance, dance, lullaby songs appeared.
The theme of folklore creativity completely depended and continues to depend on culture, beliefs, history and the region where the people live. But the main feature of such creations was and remains the combination of a direct reflection of life with a conditional one. Simply put, in folklore there is not, and there was no mandatory reflection of life in the form of life itself, convention is always allowed in it.
Genres of folklore
In order to better understand what oral folk art is, it is necessary to get to know its genres better, and there are a great many of them in this form of verbal art.
Proverbs and sayings
Let's start with those that we know well and sometimes use in everyday life - with proverbs and sayings. These types of oral art are among the most interesting genres that have survived to this day.
No one knows for sure when these genres of oral art appeared. The undoubted fact remains how accurately and concisely, figurative, logically complete saying, expresses the people's mind and experience accumulated over many centuries.
Meanwhile, many of us have long been accustomed to thinking that proverbs and sayings are one and the same. Actually it is not. A proverb is a complete sentence containing folk wisdom. It is written in simple, often rhyming language.
An example of Russian proverbs:
"God saves man, who save himself"
"Small spool but precious"
"A penny saves a ruble"
Then, as a saying is an established phrase or phrase. It is meant for decoration.
An example of Russian sayings:
"Stay with the nose" (to be deceived)
"Disservice" (help turning to harm)
"When cancer on the mountain whistles" (never)
Signs
Signs are another folklore genre that has undergone quite a few changes, but still has not lost its wisdom and has reached modern man.
It appeared in ancient times, when our ancestors were very close to nature, when people watched it, the phenomena taking place around, and found connections between events. Over time, the people put their observations into words. So signs appeared that through the centuries carry the knowledge of ancestors collected in themselves.
Some examples of weather signs:
Larks fly - to heat, chaffinch - to cold.
A lot of juice flows from a birch - by a rainy summer.
Sparrows bathe in the sand - to rain.
Also, many old signs associated with home and life have come down to our days. The most common is: "Salt spill - shed tears." It is believed that this sign appeared in the middle of the 17th century, during the times of riots and uprisings in Rus'. Back then, salt was literally worth its weight in gold. From here such a meaning appeared - spilling such an expensive "seasoning" as salt will inevitably lead to a quarrel in the house.
A few more examples of household signs that are undoubtedly familiar to us:
“You whistle at home - you will overlook the money”
"Clothes inside out - to a hassle"
“You sew on yourself - you sew up a memory”
Fairy tales
Since ancient times, individual elements of children's folklore have been preserved - fairy tales. Later, this genre of oral art changed greatly. this happened under the influence of aesthetic and pedagogical functions, but still it continues to exist.
However, some genres of verbal art eventually "die off", and humanity gradually forgets about them. This process is a natural phenomenon, it does not indicate the decline of folk art. On the contrary, the process of “withering away” is a sign that, due to changes in the conditions of human existence, the artistic collective creativity of the people is developing, as a result of which new genres appear and old ones disappear.
epics
These genres include epics (or, as they were also called, antiquities, Russian heroic-patriotic songs-tales, the main plot of which was important historical events or the heroic deeds of heroes and warrior maidens). This genre arose in Ancient Rus', existed until the Middle Ages and gradually began to be forgotten by the 19th century.
In addition, ritual folklore can also be attributed to almost forgotten genres. Let's take a closer look at its components.
Calendar folklore and annual song cycle
These small genres appeared in connection with the need to follow the agricultural cycle, as well as the changes taking place in nature and religious holidays.
Many proverbs, signs, advice and prohibitions have developed in calendar folklore. Here are some of which have survived to this day:
"It will melt early - it will not melt for a long time"
"March sows snow and warms the sun"
Not a few songs were composed by the people for the annual song cycle. So it was customary to bake pancakes on Shrove Tuesday, perform the rites of seeing off winter and sing ritual songs. This and some of the old traditions have survived to this day.
family folklore
It included such small genres as: family stories, lullabies, pestles, nursery rhymes, wedding songs, funeral lamentations.
The name "Family Stories" speaks for itself, and this genre of verbal art has existed since time immemorial - perhaps as long as a person lives in this world. It is noteworthy that it is formed quite apart, as a rule, within the framework of the family and close circle.
In addition, this genre has its own peculiarity, it can form "certain expressions" that are understandable only to family members or people present at the time of the event that led to the appearance of this phrase. So, for example, in the Tolstoy family there was such an expression as "the architect is to blame."
The birth of this expression was preceded by an event: when Ilya Tolstoy was five years old, on New Year's Eve he was presented with the promised cup. The happy child ran to show everyone his gift. Running across the threshold, he stumbled and fell. The cup broke. Little Ilya, justifying himself, said that he was not to blame, but the architect who made this threshold was to blame. Since then, in the family of Leo Nikolayevich Tolstoy, an expression equivalent to the winged one appeared - "the switchman is to blame."
Lullabies
Lullabies were another no less interesting genre in family folklore. In the old days, the ability to sing lullabies was considered a special art. During the game, mothers taught their daughters how to “cradle” correctly. This ability was necessary so that older girls at the age of six or seven could look after the younger ones. That is why special attention was paid to this skill.
The purpose of lullabies was not only to soothe, but also to protect the child. Many of the songs were "conspiracies". They were designed to protect a small child from the dangers that could lie in wait for him in the future. Often the lullabies were addressed to the spirits and mythological creatures, the bearers of sleep - the Dream, the Dream. They were called to lull the baby. At present, this genre of folk art is almost forgotten.
Pestushki and nursery rhymes
Pestushki and nursery rhymes - were short tunes. They helped the child in the development and in the knowledge of the world around. Perhaps someone remembers from childhood - "Magpie-Crow ...". Such small songs-sentences encouraged the baby to act, instilled hygiene skills, developed fine motor skills, reflexes, helped to explore the world.
wedding songs
Wedding songs were strikingly different from all other small genres of family folklore. It was noteworthy that these songs did not sound outside the wedding ceremony. In addition, from a functional point of view, they were extremely important, as they played a kind of "legal role" in this event. Along with wedding songs, lamentations played an important role in the ceremony. They were an integral part of the holiday, they were lyrical stories that described the experiences of the bride, parents and friends.
Magnifications also played a significant role. With them, in the songs, the guests praised the bride and groom, wished the young well-being and happiness. In addition, not a single wedding could do without reproachful songs. This small component of the wedding ceremony was a comic song. As a rule, they were addressed to matchmakers, because of which the bride "left" her family, girlfriends and lost her maiden will.
Funeral lamentations or lamentations are another ancient folklore genre, about the time, the appearance of which, no one knows for sure. It has survived only in fragments to this day, but from the name you can easily understand what it is about and what this genre served for.
The main feature of this oral art was that it had its own “formula”, or rather a strict sequence, which each mourner “decorated” with his own creative element - a story about the life, love or death of the deceased. Now, for example, part of the ceremony, as well as cries can be seen and heard in the film "Viy" (1967).
Occasional folklore
Folklore inconsistent with common usage. It had an individual character, due to a specific situation, an occasion. It included such small genres as: incantations, counting rhymes, conspiracies.
invocations
Russian folklore is incredibly rich. They were small songs, often not devoid of humor and accompanied by playful actions. The plots of this small genre were very different: they could be incantations about the weather and weather phenomena, about nature and the seasons, about animals and fabulous creatures ...
Rain, lei! Rain, lei!
For me and people!
Spoonful for me.
On the people on the bowl.
And on the goblin in the forest -
Lei for a whole bucket!
Rhymes
Rhyming rhymes is another small genre of verbal folk art. It originated a very long time ago, but now it has almost disappeared from modern folklore. Meanwhile, no matter how surprising it may sound, in ancient times, counting rhymes were widely used by adults. Their main function was the distribution of work.
Yes Yes. After all, then many types of work were not only very difficult, but sometimes life-threatening. Therefore, few people of their own free will wanted to take on such a case. And the counting rhymes made it possible to distribute the work between the participants so that no one was “offended”. Nowadays, this "important role" of counting rhymes has been lost, but they still exist and still fulfill their function in children's games.
CONSPIRACY
And finally, the most amazing, but by no means the last, rather complex in its structure, ancient genre of oral folk art, which, oddly enough, continues to live in our time - a conspiracy. The function, since the emergence of this genre, has not changed. He still continues to play the role of a "magic tool" designed to fulfill the desire of the speaker. As mentioned above, this genre is quite original in its execution and often complex in its design - this is its peculiarity.
You can talk about the genres of oral folk art for an infinitely long time, because all directions are interesting and unique in their own way. This article is intended only to acquaint the reader with the immense, multifaceted wealth of human culture and wisdom, clearly reflecting the experience of previous generations.
Folklore is a system of systems. Like literature, it is divided into poetic genera: epic, lyric, drama. Genera are divided into types (song, fairy tale, non-fairy tale prose, etc.), and types are divided into genres. Some genres have a combination of features of different kinds (lyric epic songs). If the classification is based on the mode of existence of works, then folklore will be divided into ritual and extra-ritual. On the basis of volume, small genres are distinguished.
Genre is the basic unit of study of folklore. Each genre is a typical structural model that has the ability to realize a certain life attitude. In the oral folk poetic tradition, genres are interconnected and interact.
Many genres are universal (for example: proverbs, riddles, fairy tales, legends, epic songs). Being perfect forms of artistic assimilation of reality, they lived for centuries in the folklore of different peoples.
Folklore developed depending on changes in everyday life, social life of the people and their consciousness. Many elements of folklore changed, processed, transformed. There was a gradual replacement of the outdated system of genres with a new artistic system.
Russian folklore has its own history. Its roots go back to the ancient Slavic period, and then to the times of a single ancient Russian people. The feudal era led to the flowering of classical folklore. Later, urban folklore appeared, the folklore of industrial workers, and so on.
Early traditional folklore, classical folklore, late traditional folklore- artistic systems that historically replaced one another.
Folk genres:
I. Early traditional folklore (labor songs, divination, incantations).
II. classical folklore:
1. Ritual.
2. Non-ritual:
a) Prose genres (fairy tale, legend, legend, bylichka);
b) Poetic genres (epic, historical song, ballad);
c) Children's folklore (joke, teaser, pestle, nursery rhyme, underwear, counting rhyme, etc.);
d) Small genres (proverb, saying, omen, curse, tongue twister, etc.).
III. Late traditional folklore: (chastushki, poetry of the Great Patriotic War, working folklore).
The foundations of the artistic imagery of oral folk art were formed in the prehistoric period, when, simultaneously with the language (human speech), early traditional folklore appeared.
Early traditional folklore is a collection of ancient genera and types of folklore, an archaic system that preceded the formation of the actual artistic creativity of the people.
The question of the early stages of the development of folklore cannot be considered on the basis of the material of only one people. It is necessary to take into account the ancient kinship of close peoples (for example, the Slavs), as well as the universal, typological laws of the development of society and culture, which acted everywhere.
Researchers of early traditional folklore turn to the data of history and language. They conduct observations on the life and culture of ethnic groups that have been delayed in their development, as well as on the remnants of primitive culture in the folklore of civilized peoples. This approach is called retrospective.
Labor songs.
Labor activity played a huge role in the origin and development of folklore.
During the labor processes, which required constant rhythmic efforts, labor songs were born already in ancient times. They are known among all peoples and were performed when lifting weights, driving piles, plowing a field, drawing water, manually grinding grain, dressing flax, while rowing, and so on. Such songs could be performed when working alone, but they were especially important when working together. The songs contained commands for simultaneous action. Their main element was the rhythm that organized the labor process.
In Russian folklore, echoes of ancient labor songs have been preserved and have come down to our time, which have not lost their production functions. These are the so-called "clubs" - refrains in burlak songs performed on the Kama, Don, and especially on the Volga. They were sung by barge haulers, porters, boatmen, porters. Depending on the type of labor, its rhythm, a rhythmic pattern of the refrain was created.
Divination. Conspiracies.
Signs, divination, witchcraft, conspiracies are known to all peoples. They are based on the mythical perception of the world, which gave the surroundings a special, intimate meaning. In ancient times, they were based on figurative, metaphorical thinking, assimilation by analogy. The vitality of these phenomena is striking: superstition and witchcraft, especially in a modernized guise, still exist today.
Divination- a means of recognizing the future. The fortuneteller does not try to influence the natural course of events, but only seeks to penetrate the hidden secrets. In order to recognize the future, it was necessary to turn to evil spirits, so fortune telling was perceived as a sinful and dangerous occupation (for example, fortunetellers took off their crosses).
For divination, places were chosen where, according to the people, it was possible to make contact with the inhabitants of the "other world" (crossroads, bathhouse, cemetery, etc.), as well as the time of day at which this contact was most likely (evening , midnight, until the first roosters). Nevertheless, Christian images also penetrated divination.
Guessing, people sought to get an answer to one or another important question for them: about health, about the harvest and offspring of livestock, about the fate of those who went to war ... The most numerous were girls' guesses about the upcoming marriage.
The most developed in artistic terms were the sacred fortune-telling - collective fortune-telling about the future. In them, the symbolism of special sub-songs played a paramount role.
The name "observant" comes from a type of divination. Having gathered in a hut, the participants (most often girls) took a dish (bowl), put rings or other small objects in it, taking off themselves, poured water into the dish and covered it with a scarf. (A variation of this rite without water is also known.)
Songs were sung in chorus - poetic predictions, and someone, without looking, took out objects placed there from the dish. First, they paid tribute to the bread and only then sang other songs. They could portend wealth, marriage, the continuation of girlhood, misfortune, death. Whose thing was taken out, the prediction was related to that. The number of songs depended on the number of fortunetellers.
Russian Christmas divination on chickens.1858. Lubok
CONSPIRACY(or spell) - a product of a magical nature, pronounced with the aim of influencing the world around, its phenomena and objects, in order to obtain the desired result. Spells are an integral part of witchcraft. The pronunciation of a conspiracy was often accompanied by actions with water, fire, various objects, etc., as well as the sign of the cross. When pronouncing healing spells (for example, in a bathhouse), the patient was given infusions of medicinal herbs, spat, massage, elements of hypnosis were used.
Conspiracies were passed from elder to younger, more often by relatives. There was a belief that sorcerers must get rid of their knowledge before death, and that they could do this by deceit (for this they had only to touch another person).
They also believed that the text of the conspiracy could not be changed, otherwise its strength would weaken. Therefore, not relying on memory, conspiracies were entered into notebooks. There was even a written form of their existence. However, despite this, conspiracies, like any folklore phenomenon, were subject to variability.
classical folklore- a rich system of developed, artistically full-fledged genres. It functioned productively for centuries, was closely connected with the feudal way of life and the patriarchal consciousness of the people.
The works of classical folklore are usually divided into ritual and non-ritual.
Ritual folklore consisted of verbal-musical, dramatic, game, choreographic genres, which were part of traditional folk rituals.
Non-ritual folklore.
In oral prose, two large sections stand out: fairy tales And fairy tale prose. At the basis of their distinction lies the different attitude of the people themselves to fairy tales as fiction and "events" as truth. From the point of view of the people, fairy tales have no other purpose than to act on fantasy. They amaze, surprise, delight, are interesting for their unusual humorous situations.
Tradition is a story about the past, sometimes very distant. Tradition depicts reality in ordinary forms, although fiction is necessarily used, and sometimes even fantasy. The main purpose of legends is to preserve the memory of national history. Traditions began to be written down before many folklore genres, as they were an important source for chroniclers. In a large number of legends exist in the oral tradition in our days.
Traditions are an "oral chronicle", a genre of non-fairytale prose with an emphasis on historical authenticity. The very word "pre-giving" means "to transmit, to preserve." Traditions are characterized by references to old people, ancestors. The events of the legends are concentrated around historical figures who, regardless of their social position (be it the king or the leader of the peasant uprising), most often appear in an ideal light.
Any legend is historical in its essence, because the impetus for its creation is always a genuine fact: a war with foreign invaders, a peasant revolt, large-scale construction, a crowning a kingdom, and so on. However, tradition is not identical with reality. As a folklore genre, it has the right to fiction, offers its own interpretation of history. Plot fiction arises on the basis of a historical fact (for example, after the hero of a legend stays at a given point). Fiction does not contradict historical truth, but, on the contrary, contributes to its revelation.
legends- these are prose works in which the events associated with the phenomena of inanimate nature, with the world of plants, animals, as well as people (tribes, peoples, individuals) are fantastically comprehended; with supernatural beings (God, saints, angels, unclean spirits ). The main functions of legends are explanatory and moralizing. Legends are associated with Christian ideas, but they also have a pagan basis. In legends, a person turns out to be immeasurably higher than evil spirits. .
Folk demonological stories- these are superstitious narratives associated with characters from the category of lower mythology.
The pagan attitude of the peasants in the middle of the XIX century. captured by I. A. Goncharov. He wrote: “In Oblomovka, they believed everything: both werewolves and dead people. If they tell them that a haystack was walking around the field, they will not think and believe; will anyone miss the rumor that this is not a ram, but that something else, or that such and such a Martha or Stepanida is a witch, they will be afraid of both the ram and Martha: it would never occur to them to ask why the ram became not a ram, and Martha became a witch, and they will even pounce on that Whoever would dare to doubt this - the faith in the miraculous in Oblomovka is taxing!
In science, demonological stories were first called blades of grass. - those. small stories about goblin, brownies, devils and devils, half-creatures, sorcerers - in a word, about representatives of a dark, unclean force.
Demonological stories are turned to the present, what happened in them is incredible, the narrator experiences a feeling of fear. The main goal pursued by a bylichka or a past story is to convince listeners of the truth of what is being reported, to emotionally influence them, to instill fear of a demonic being. The plots of bylicheks and bylytsin are usually not large in size, one-motif. The characters are a human and a demonic being. The devil (devil) was very popular - a universal image denoting any "evil spirit". Different characters of the bylichek could be called devils.
The time, the place of the event, the image of the demonic being (his portrait and behavior) are characteristic. Demons appear at the "unclean", borderline time of the year and day: at Christmas time, on the Kupala night, at noon, at midnight, before dawn, after sunset. Everything happens at dusk, on a hopeless night, in fog, in the light of the moon...
A person meets them where they are: as a rule, in deserted and dangerous places. These are wastelands, forest jungles, swamps; crossroads and rosstans of deserted roads; caves, pits, reservoirs, especially whirlpools (for example, near mills), whirlpools; wells, even vessels of water. Demons live on trees (birches and willows, in hazel); in undergrounds and attics, in abandoned houses, in baths, barns, barns; and even in the hut - under the stove or behind it.
epics- these are epic songs in which heroic events or individual episodes of ancient Russian history are sung. In its original form, epics took shape and developed during the period of early Russian statehood (in Kievan Rus), expressing the national consciousness of the Eastern Slavs. (about Vladimir Svyatoslavovich, Vladimir Monomakh, Dobryn, Sadko, Alexander Popovich, Ilya Muromets, etc.)
historical songs- these are folklore epic, lyrical-epic and lyrical songs, the content of which is dedicated to specific events and real persons of Russian history and expresses the national interests and ideals of the people. They arose about important events in the history of the people - those that made a deep impression on the participants and were preserved in the memory of subsequent generations. (Songs about Ivan the Terrible, about the Time of Troubles, about Stepan Razin, about Petrovsky time, about the Pugachev uprising, about the Patriotic War of 1812)
Folk ballads- these are lyric-epic songs about a tragic event. Ballads are characterized by personal, family and household themes. The ideological orientation of the ballads is associated with folk humanistic morality. In the center of the ballads are moral problems: love and hate, loyalty and betrayal, crime and remorse.
Late traditional folklore- this is a collection of works of different genres and different directions, created in a peasant, urban, soldier, working and other environment since the beginning of the development of industry, the growth of cities, the collapse of the feudal village.
Late traditional folklore is characterized by a smaller number of works and, in general, a lower artistic level compared to classical folklore - a rich, developed, centuries-old culture generated by feudal life and a patriarchal worldview.
Late traditional folklore is distinguished by a complex interweaving of the new with the old. In the village repertoire, the transformation of classical genres took place, which began to experience the influence of literary poetics. Proverbs and sayings, anecdotal tales, folk songs of literary origin, children's folklore showed their viability.
The old lingering song was strongly pressed by the city's "cruel romances", as well as the rapidly and widely spread ditty. At the same time, epics, old historical songs, old ballads and spiritual poems, fairy tales were gradually forgotten. Folk rituals and the poetry that accompanied them eventually lost their utilitarian and magical significance, especially in urban conditions.
From the end of the XVIII century. in Russia, the first state-owned factories and serf manufactories appeared, in which civilian workers from impoverished peasants, convicts, passportless vagrants, etc. worked. In this motley environment, works arose that laid the foundation for a new phenomenon - folklore of workers. With the development of capitalism and the growth of the proletariat, the topics expanded, the number of works of oral creativity of workers increased, which was characterized by the influence of book poetry.
The emergence of the working class, a layer of artisans, led to the formation of a new branch in folklore, which over time becomes a noticeable and specific phenomenon.
From peasant folklore, this work inherited the most democratic traditions, experience, forms, and repertoire that meet the spirit of the times and the needs of "their" class.
There was a critical rethinking of them, taking into account the demands of the working class, its position, as can be seen from the example of Russian folk songs that existed in Russia in the second half of the 19th - early 20th centuries.
At the first stage, the emerging songs of the workers were nourished by the traditions of peasant folk songs of social protest, songs of literary origin, Decembrist, populist songs. Peasant song often served as a plot-figurative basis for creating sharply social songs of workers.
The work song, the urban romance, which by that time had formed into an independent branch of creativity, began to actively spread among the peasants, in turn influencing the development of new forms of peasant folklore.
The acquisition by working folklore of its original outlines, the borrowing of various elements from other spheres of creativity and their processing are a process full of drama. It is associated with the rejection of peasant folklore, and in a certain sense with its genre reworking, renewal, and simplification.
The destruction of the patriarchal way of life, which began especially rapidly in the second half of the 19th century. - since the abolition of serfdom and the capitalization of Russia, it has fundamentally changed the situation in traditional art. Folklore gradually moved to other positions in the cultural environment. Folklore of the 20th century is just one paradigm of cultural development with all the consequent cardinal changes in the foundations of its existence.
Oral folk art is the richest heritage of every country. Folklore was even before the emergence of written speech, it is not literature, but a masterpiece of oral literature. The types of folklore creativity were formed in the pre-literary period of art on the basis of ritual and ritual actions. The first attempts to comprehend literary genres date back to the era of antiquity.
Genera of folklore creativity
Folklore is represented by three genera:
1. Epic literature. This genus is represented in prose and poetry. Russian folklore genres of the epic kind are represented by epics, historical songs, fairy tales, sayings, legends, parables, fables, proverbs and sayings.
2. Lyric literature. At the heart of all lyrical works there are thoughts and experiences of the lyrical hero. Examples of folklore genres of the lyrical direction are represented by ritual, lullabies, love songs, ditties, bayats, haivkas, Easter and Kupala songs. In addition, there is a separate block - "Folklore lyrics", which includes literary songs, romances.
3. Dramatic literature. This is a kind of literature that combines epic and lyrical ways of depiction. The basis of a dramatic work is a conflict, the content of which is revealed through the play of actors. Dramatic works have a dynamic plot. Folklore genres of the dramatic kind are represented by family rituals, calendar songs, and folk dramas.
Individual works may contain features of lyrical and epic literature, therefore, a mixed genus is distinguished - lyric epic, which in turn is subdivided into:
Works with heroic characters, lyrical-epic content (epic, thought, historical song).
Non-heroic works (ballad, chronicle song).
Folklore for children is also distinguished (lullaby, nursery rhyme, comfort, pestle, fairy tale).
Genres of folklore
Folklore genres of folk art are represented by two directions:
1. Ritual works of UNT.
Performed during the ceremonies:
Calendar (carols, Shrovetide actions, stoneflies, Trinity songs);
Family and household (birth of a child, wedding celebrations, celebration of national holidays);
Occasional works - came in the form of conspiracies, rhymes, incantations.
2. Non-ritual works of UNT.
This section includes several subgroups:
Drama (folklore) - nativity scenes, religious works, "Petrushki" theater.
Poetry (folklore) - epics, lyrical, historical and spiritual songs, ballads, ditties.
Prose (folklore), in turn, is divided into fabulous and non-fabulous. The first includes fairy tales about magic, animals, everyday and cumulative tales, and the second is associated with famous heroes and heroes of Rus' who fought witches (Baba Yaga) and other demonological creatures. Also, legends, mythological stories are referred to non-fairytale prose.
Speech folklore is represented by proverbs, sayings, chants, riddles, tongue twisters.
Folklore genres carry their own individual plot and semantic load.
Images of military battles, exploits of heroes and folk heroes are observed in epics, bright events of the past, everyday life and memories of heroes from the past can be found in historical songs.
The stories about the actions of the heroes Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich are epic. The folklore genre of the tale tells about the actions of Ivan Tsarevich, Ivan the Fool, Vasilisa the Beautiful and Baba Yaga. Family songs are always represented by such characters as mother-in-law, wifey, hubby.
Literature and folklore
Folklore differs from literature in a unique system of construction of works. Its characteristic difference from literature is that the genres of folklore works have melody, beginnings, sayings, retardation, trinity. Also, the use of epithet, tautology, parallelism, hyperbole, synecdoche will be significant differences in style compositions.
Just as in oral folk art (UNT), folklore genres in literature are represented by three types. This is epic, lyric, drama.
Distinctive Features of Literature and CNT
Large works of literature, represented by novels, stories, stories, are written in calm, measured tones. This allows the reader, without looking up from the reading process, to analyze the plot and draw appropriate conclusions. Folklore contains sayings, beginnings, sayings and singing. The technique of tautology is the basic principle of storytelling. Hyperboles, exaggerations, synecdoches and parallelisms are also very popular. Such figurative actions are not allowed in the literature of the whole world.
Small folklore genres as a separate block of works by UNT
This system included mainly works for children. The relevance of these genres remains to this day, because every person gets acquainted with this literature even before he starts speaking.
The lullaby became one of the first works of folklore. The presence of partial conspiracies and amulets is a direct proof of this fact. Many believed that otherworldly forces were operating around a person, if the baby saw bad things in a dream, this would never happen again in reality. This is probably why the lullaby about the “gray top” is popular even today.
Another genre is amusement. To understand what exactly such works are, you can equate it to a sentence song or a song with simultaneous actions. This genre contributes to the development of fine motor skills and emotional health in a child; plots with the game of fingers "Magpie-crow", "Ladushki" are considered the key point.
All of the above small folklore genres are necessary for every person. Thanks to them, kids for the first time learn what is good and what is bad, they are taught to order and hygiene.
Folklore of peoples
An interesting fact is that different nationalities in their culture, traditions and customs have common points of contact in folklore. There are so-called universal desires, thanks to which songs, rituals, legends, and parables appear. Many nations hold celebrations and chanting for a rich harvest.
From the foregoing, it becomes obvious that different peoples often turn out to be close in many areas of life, and folklore combines customs and traditions into a single structure of folk art.
Works. Such folk works enter a person's life very early, long before mastering speech.
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✪ Literature 5 (Arkhangelsky A.N.) - Encounters with folklore: small genres.
✪ Riddles - small genres of oral folk art
✪ Literature 5 (Arkhangelsky A.N.) - Encounters with folklore. Folklore - an assistant in the game
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Types of small genres of folklore
Lullaby
Lullaby- one of the oldest genres of folklore, as evidenced by the fact that it retained elements of a conspiracy-amulet. People believed that a person is surrounded by mysterious hostile forces, and if a child sees something bad, terrible in a dream, then in reality this will not happen again. That is why in the lullaby you can find the "gray top" and other frightening characters. Later, lullabies lost their magical elements and acquired the meaning of a good wish for the future. So, a lullaby is a song with which a child is lulled to sleep. Since the song was accompanied by the rhythmic swaying of the child, the rhythm is very important in it.
cockle
cockle(from the word to nurture, that is, to nurse, groom) - a short poetic chant of nannies and mothers, with which they accompany the actions of the child, which he performs at the very beginning of his life. For example, when the child wakes up, the mother strokes, caresses him, saying:
Stretches, stretchers,
Across the plump
And grabbers in the hands,
And in the mouth of talkers,
And in the head of the mind.
When a child begins to learn to walk, they say:
Big feet
We walked along the road:
Top, top, top
Top, top, top.
small feet
Run along the path:
Top, top, top, top
Top, top, top, top!
nursery rhyme
nursery rhyme- an element of pedagogy, a sentence song that accompanies the game with the fingers, arms and legs of the child. Nursery rhymes, like pestles, accompany the development of children. Small rhymes and songs allow in a playful way to encourage the child to act, while doing massage, physical exercises, stimulating motor reflexes. In this genre of children's folklore, incentives are laid for playing the plot with the help of fingers (finger games or Ladushki), hands, and facial expressions. Nursery rhymes help to instill in the child the skills of hygiene, order, develop fine motor skills and emotional sphere.
Examples
joke
joke(from play, that is, to tell) - a poetic short funny story that a mother tells her child, for example:
Owl, owl, owl,
Big head,
I sat on a stake
looked to the side,
Turned her head.
Proverbs and sayings
They teach something.
- Road spoon to dinner.
- To be afraid of a wolf, do not go into the forest.
- Birds of a feather flock together.
- You can't even pull a fish out of a pond without difficulty.
- Fear has big eyes.
- The eyes are afraid, but the hands are doing.
- A rolling stone gathers no moss.
- A treasure is not needed if the family is in harmony.
- Don't have 100 rubles, but have 100 friends.
- An old friend is better than two new ones.
- A friend in need is a friend indeed.
- If I knew where you would fall, I would lay straws.
- You lay softly, but sleep hard.
- Motherland is a mother, know how to stand up for her.
- Seven do not wait for one.
- If you chase two hares, you won't catch one.
- The bee is small, but it works.
- Bread is the head of everything.
- Being a guest is good, but being at home is better.
- Feet feed the wolf.
- The work of the master is afraid.
Games
There were special songs for the games. Games could be:
- kissing. As a rule, these games were played at parties and gatherings (usually ended with a kiss between a young guy and a girl);
- ritual. Such games were characteristic of some kind of ritual, holiday. For example, carnival festivities (characteristic fun: removing a prize from the top of a pillar, tug of war, competitions for agility, strength);
- seasonal. Especially common among children, especially in winter. They played the so-called "Warmers": the leader shows any movements, and everyone else repeats. Or traditional "gates" and "brook".
Kissing game example:
Drake
Drake drove the duck,
Young sulfur drove
Go, Duck, go home,
Go home gray
Duck seven children
And the eighth Drake,
And the ninth herself,
Kiss me once!
In this game, "Duck" became in the center of the circle, and "Drake" outside, and played like a game "cat and mouse". At the same time, those standing in a round dance tried not to let the “drake” into the circle.
invocations
invocations- one of the types of exclamatory songs of pagan origin. They reflect the interests and ideas of the peasants about the economy and the family. For example, a rich harvest spell runs through all calendar songs; for themselves, children and adults asked for health, happiness, wealth.
The invocations are an appeal to the sun, rainbow, rain and other natural phenomena, as well as to animals and especially often to birds, which were considered the messengers of spring. Moreover, the forces of nature were revered as living: they turn to spring with requests, wish her early arrival, complain about the winter, complain.
Larks, larks!
Fly to us
Bring us a warm summer
Take the cold winter away from us.
We are tired of the cold winter
Hands, feet frostbitten.
Rhythm
Rhythm- a small rhyme, a form of drawing of lots, with the help of which it is determined who drives in the game. The counting room is an element of the game that helps to establish agreement and respect for the accepted rules. In organizing a counting rhyme, rhythm is very important. He sees a Greek: there is cancer in the river,
He put his Greek hand into the river -
Cancer by the hand of the Greek - DAC!
The bull is stupid, the bull is stupid, the bull's lip was white and dull.
From the clatter of hooves, dust flies across the field.
Mystery
Mystery, like a proverb, is a brief figurative definition of an object or phenomenon, but unlike a proverb, it gives this definition in an allegorical, deliberately obscured form. As a rule, in a riddle one object is described through another based on similar features: “A pear is hanging - you can’t eat it” (lamp). The riddle can also be a simple description of the object, for example: “Two ends, two rings, and in the middle there are carnations” (scissors). This is both folk fun and a test of ingenuity and ingenuity.
The role of riddles and jokes was also played by fables-shifters, which for adults appear as absurdities, but for children - funny stories about what does not happen, for example:
Because of the forest, because of the mountains
Grandpa Egor is coming.
He is on a gray wagon,
On a creaky horse
Belted with an ax
The belt is tucked into the waist
Boots wide open
Zipun on bare feet.
General history
Oral folk art (folklore) existed in the preliterate era. Folklore works (riddles, tongue twisters, fables, etc.) were transmitted orally. They memorized by ear. This contributed to the emergence of different versions of the same folklore work.
Oral folk art is a reflection of the life, life, beliefs of ancient people. Works of folk art accompany a person from birth. They contribute to the formation and development of the child.
Folklore in its nature, content and purpose is a deeply democratic, truly folk art. He is distinguished not only by ideological depth, but by high artistic qualities. Folk poetic creativity is distinguished by a peculiar artistic system of visual means and genres.
What are genres of Russian folklore?
One of the most ancient forms of creativity was labor songs with their simplest commands, cries, signals given in the course of work.
Calendar folklore primordially came from the urgent practical goals of people. It was associated with ideas about the annual agricultural cycle and with changing natural conditions. People sought to know the future, so they resorted to fortune-telling, talked about the future according to signs.
This also explained wedding folklore. It is imbued with the idea of the safety of the family and clan, designed for the goodwill of the highest patrons.
Preserved from antiquity and individual elements children's folklore, which later changed under the influence of aesthetic and pedagogical functions.
Among the oldest genres - funeral lamentations. With the advent of universal military duty, there was a mourning for those who were taken to the service - recruiting accounts.
Genres non-ritual folklore also formed under the influence of syncretism. It includes small folklore genres ( proverbs): proverbs, fables, omens and sayings. They contained human judgments about the way of life, about work, about higher natural forces, statements about human affairs. "This is a vast area of moral assessments and judgments, how to live, how to raise children, how to honor ancestors, thoughts about the need to follow precepts and examples, these are everyday rules of behavior ... In a word, the functionality of proverbs covers almost all worldview areas." 9
The genres of oral prose include legends, stories, bylichki, legends. These are stories and incidents from life that tell about a person’s meeting with the characters of Russian demonology - sorcerers, witches, mermaids, etc. This also includes stories about saints, shrines and miracles - about the communication of a person who has accepted the Christian faith with forces of a higher order .
Genres song epic: epics, historical songs, military songs, spiritual songs and poems.
Gradually, folklore moves away from everyday functions and acquires elements of artistry. The role of the artistic principle increases in it. As a result of historical evolution, folklore became poetic in terms of its main and fundamental qualities, reworking the traditions of all previous states of folklore. 10
Artistic creativity is embodied in all forms fairy tales: fairy tales about animals, fairy tales, household.
This type of creativity is also represented in riddles.
The early types of artistic creativity include ballads.
Lyric songs also have an artistic function. They are performed outside the rites. The content and form of lyrical songs are associated with the expression of the experiences and feelings of the performers.
Modern researchers refer to the artistic song folklore of the latest formation romances And ditties.
Children's folklore has its own system of genres, correlated with the age characteristics of children. It has artistic and pedagogical functions. It is dominated by game beginnings.
The artistic spectacular theatrical basis contains folklore spectacles and folklore theater. It is presented in all variety of genres and types ( games, disguise, nativity scene, rayek, puppet shows, etc.).
A separate genus of artistic representations forms the so-called fair folklore. It arose from fair performances, cries of merchants, farcical barkers, joke speech, jokes and folk rhymes.
The genre of joke.
A detailed account of individual folklore genres will be undertaken in subsequent sections of the manual.
