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The poetic heritage of Khvedi Chuvashsky, a natural born poet, or the first translator of Chuvash folk poetry D.P. Oznobishin.

“I sang, stay, my song, in the village...”

Khvedi Chuvash

Zeinetdinov K.F. teacher of Pribrezhnenskaya

secondary school of the Staromainsky district of the Ulyanovsk region, Honored

married teacher of the Russian Federation.

D. S. Likhachev in his “Notes on Russian” writes: “... our roots are not only ancient Russian literature and Russian folklore, but also the entire culture neighboring us. Russia, like a large tree, has a large root system and a large leafy crown that comes into contact with the crowns of other trees.”

Is this why we will show interest not only in our native language, literature, culture, but also in the cultural traditions of our neighbors?

The desire of the people to develop national culture and literature today is a vital necessity. A.S. Pushkin also spoke about this: “disrespect for one’s ancestors is the first sign of savagery and immorality.”

In culture - our origins, our history, our traditions, one

A literature teacher of any school in the Ulyanovsk region, taking into account the historical and geographical position of our region, cannot help but turn to the national culture of the peoples of the Volga region, to the origins of literature.

D. Poznobishin, poet, made a great contribution to the preservation of the Chuvash song culture. folklorist, collector of folk songs, educator.

In connection with the preparations for the 200th anniversary of this wonderful poet - a polyglot, translator, historian and local historian, a guardian of public education and enlightenment, my students and I learned that he, in fact, was the first to introduce the Russian reader to examples of pre-literate Chuvash poetry. collected material that was subsequently used in a literature lesson in 8th grade when studying the topic “Russian folk songs” and in extracurricular activities.

In 1828, having retired, D.P. Oznobishin found himself in his homeland on the Troitskoye estate in the Karsun district of the Simbirsk province. Here the poet collects Russian folk songs.

In 1833, at the suggestion of the Karsun district leader of the nobility Beketov, Oznobishin assumed the title of honorary superintendent of schools, and 4 years later he was awarded the title of honorary trustee of the Simbirsk gymnasium; he maintained close ties with the literary circles of Simbirsk, Kazan, and visited Cheboksary. The appearance of the wandering poet is vividly depicted in a friendly message from N. M. Yazykov in 1834:

Where are you traveling? Where now

My poet and polyglot

Checking a long account?

On one of his trips, he recorded several Chuvash songs from the young man Khvedi, who went down in the history of Chuvash folklore as Khvedi Chuvashsky.

Thus, in the preliterate period, the author of a Chuvash song was first recorded, and in fact, D.P. Oznobishin became their first translator into Russian: he recorded the songs using Russian graphics (there was no Chuvash writing at that time), and made both interlinear and poetic translations of these songs .

In 1847, A. A. Fuks published the book “Notes about the Chuvash and Cheremis of the Kazan province.” This book presented the records of two folklore collectors, A. Fuchs herself and D. Oznobishin. Being a native of the local region, A. Fuchs was apparently familiar with the Chuvash language. While traveling in 1830-1832 through Chuvash villages, she recorded a song:

Let's go, daughter-in-law, for a walk in the forest,

Pick raspberries with you;

Raspberries are sweet like honey

You, daughter-in-law, are no more beautiful.

Fuchs writes: “The song with the correct time signature and stops surprised me. I translated it in one minute.”

One of the four songs of the unknown songwriter “Fedya from the Chuvash”, which were works of Chuvash folk lyrics recorded by D. N. Oznobishin in the same years, was published by him in the magazine “Zavolzhsky Ant” in 1833.

The poet-nugget, using the form of a folk song, brings his own creativity into it.

These are the words that begin one of the songs:

The cuckoo crows on the tree,

In the rye you can hear the cry of a quail;

A nightingale whistles in the bird cherry tree,

What is stopping my song?

“What is stopping my song?” - this is the cry of the soul of an illiterate young poet. These words illustrate what today we call the self-expression of a people.

The work of Khvedi Chuvashsky contains amazing folk wisdom. He seemed to stand on the zero meridian of Chuvash poetry and expressed people's thoughts, people's dreams, people's aspirations.

Almost nothing is known about him, but his songs speak for him.

D. Oznobishin adequately appreciated the songs of young Fedya, this Chuvash Grisha Dobrosklonov. He saw in his poems a living soul, a “living impression”, “a fresh movement of the heart.”

This is Fedya's essay,

Without refined embellishments;

Pegasus did not wear it,

He didn't think about Parnassus,

By creating your creation.

Feelings are a living impression,

Hearts of fresh movement,

He sang in the bright hour of life.

Maybe now in embossing

He will be on display;

There will be mischief here!

But I'm afraid of Zoel's eyes,

Doesn't appreciate inspiration

And will forever fall into oblivion

Diamond in the rough.

It was not in vain that D. P. Oznobishin was worried. In one of the publications of the Kazan University, “Kazan Bulletin,” an article “News about the Chuvash” appeared, which said: “The people are pitiful in all respects, without a happy appearance, they do not have graceful spiritual abilities.”

But the publications of A. Fuchs and D. Oznobishin proved the opposite. There are “graceful spiritual abilities among these people.” This is evidenced, by the way, by the songs of Khvedi Chuvashsky.

His songs are mostly lyrical, one of them with elements of ritual song. They are richly saturated with social motives and vivid poetic images, reflecting the life, dreams and aspirations of the Chuvash people.

His song is full of lyricism

Into the green grove, at dawn,

The girls walked in a crowd

Carelessly looking for flowers,

Suddenly the rain fell, noisily, on the sheets.

All the shkerds didn’t pick up any flowers.

For girls, shkerdam bloom;

If only the young men did not caress the maidens,

Girl's breasts don't grow.

The poet subtly senses the surrounding nature. In the original, he used the epithet [sara] four times, which is a constant epithet in Chuvash folklore and denotes the highest degree of beauty. The beauty of the surrounding nature overwhelms his soul, and his thoughts imperceptibly transfer to the world of people:

If only the young men did not caress the maidens,

Girl's breasts don't grow.

The following verse, constructed in the form of a dialogue, expresses the innermost thoughts of the lyrical hero. The second quatrain testifies to an excellent knowledge of folklore, in particular, sayings.

Girls! Come to my seat;

I have cheese - it’s delicious,

The nuts are tastier and more tender,

That's all for you! Come quickly.

The young girl should not be a girl again,

Although just as beautiful in face:

The cottage cheese started in the room,

Cottage cheese should not be milk!

The soul of the lyrical hero is filled with love. It seems to him that joy and happiness reign everywhere.

I told the black-eyed maiden:

You can’t still live alone;

The whole region blooms with love;

Listen, experience love.

“The whole region blooms with love.” There is harmony in the natural world

Maybe there is an opportunity to establish such harmony in the human world. However, this harmony does not exist.

The answer of the black-eyed woman (in the original - young woman, widow) in the spirit of folk morality, folk chastity, as it were, sobers up the lyrical hero. What does the girl answer?

Let's go get some sleep. - I didn’t have time!

We'll tear up the borscht. - He is young!

So let's find a berry! - Not mature

No! I’m not going into the grove with you!

In Khvedi's poems, human life and the life of nature are inseparable. He proceeds to philosophical reflections on the general laws of life:

Meadow screams in the meadow.

Is this where you live? - On a hummock, -

My nest is built far away. –

The wind would not blow away the earth.

Bereznik will deaf in the mud,

Do not give flowering shoots;

And an elm tree on a mountain top

Without roots and dry and wither.

Maybe this is his way of thinking about the fate of the young widow. And how consonant are the thoughts of an illiterate folk singer with the thoughts of the brilliant A. S. Pushkin:

But near the roots they are outdated

(Where once everything was empty, bare)

Now the young grove has grown,

Green family;………………………

…………………………………….

One of their sullen comrades is standing.

Like an old bachelor, and around him

Everything is still empty.

The last of the four, a plot poem by Khvedi Chuvashsky, is devoted to a description of the wedding ceremony. He is not an outside observer, but an active participant in the wedding. This is not just a description, but a poetic description of the wedding, which is felt from the first lines.

Bay, bay, bay horse!

Are you tired of jumping to the wedding;

Gedko, bay, bay!

Folklore elements clearly appear:

We say, not knowing city politeness:

Ah, bride! really, how well you are dressed

We rode behind you like on a thousand sleighs.

Hit, clap your hands, and jump!

Have fun, have fun, and laugh!

A wedding would not be complete without Chuvash beer-sara. In metaphorical form, the poet describes the state of a drunken person:

Forest hops, like apples,

Grabbing me across, he broke me;

He pulled me to the ground by my brown hair.

What was the attitude of the people towards the drunk? Here Khvedi Chuvashsky does not invent anything out of himself, but resorts to the help of folklore. Sayings, when placed in a poetic series, form a tercet expressing folk wisdom:

A drunk man has no mind:

The dead have no soul.

From the extinguished torch there is no light.

Feeling guilty, he accepts his father's well-deserved punishment:

I went out and ran

I broke the stove in the bathhouse,

Father heard this

Yes, he beat me with an elm stick.

This is the way of life of a dark people who have a living soul and unshakable moral traditions. The influence of Chuvash folklore is also felt in the last lines of the poem:

I sang, stay, my song, in the village,

Let your hands remain on the girl.

From them it is clear that spiritual life is inseparable from the rest of the life of the people. “I sang, stay, my song, in the village,” these words can be taken as an epigraph to the small poetic heritage of the Chuvash songwriter Khvedi, discovered by the Simbirsk poet D. N. Oznobishin.
It can be assumed that D.N. Oznobishin managed to record only part of the songs of Khvedi Chuvashsky (4 in total, as mentioned above). Perhaps these were not the best examples of his poetry, but they became the first sign from the land of “one hundred thousand songs” (as the Chuvash call their land) and drew the attention of folklorists to the original culture of the Chuvash people. “The Chuvash people have saved three priceless treasures during their arduous, centuries-long history - one hundred thousand words, one hundred thousand songs, one hundred thousand embroideries,” said I. Ya. Yakovlev and taught how to take care of national treasures. Through the efforts of D.P. Oznobishin, long before the advent of writing, Chuvash folk poetry became known to the Russian reader.

Starting from the 40s of the 19th century, articles and essays on the ethnography and folklore of the Chuvash began to appear in the publications of Kazan University, in Moscow and St. Petersburg magazines, which presented not only folklore works, but also examples of original poetic creativity. For example, in the magazine of the Ministry

Internal Affairs in 1852, an article by V.I. Lebedev “On the Chuvash language,” in which he, retelling the contents of articles and books about the Chuvash by contemporary authors, also gives his opinions about the folklore and ethnography of the Chuvash.

Quite curious is the poem in the Chuvash language by an unknown poet included in his article:

We were born Chuvash

And they settled near the Volga

The clerks ask us

Like, where are the Chuvash people from?

We are Chuvash and there are Chuvash,

The Tatars are related to us,

And our language is Chuvash.
Of particular note is the work of V.V. Sboeva “Research on foreigners of the Kazan province “Notes on the Chuvash” (Kazan, 1856), which contains 8 Chuvash songs, grouped by the author into genre varieties: erotic, elegiac, ritual and satirical songs.
Thus, in the first half of the 19th century, interest in the ethnography and folklore of the Chuvash people arose, the first recordings of samples of oral and poetic creativity were made, and cases of articles, essays and studies about the past and present of the Chuvash people appearing in print became more frequent.

Figures of Russian social thought of a progressive direction played a major role in this.

1. 
   M. Ya. Sirotkin. Essays on pre-revolutionary Chuvash literature. Cheboksary, 1938
2. 
   A. Fuks “Notes about the Chuvash and Cheremis of the Kazan province”, Kazan 1840
3. 
   Culture of the Chuvash region. Cheboksary 1995
4. 
   D. P. Oznobishin Poems and poems. Moscow, Soviet Russia, 1992

Russia, like a big tree, has a large root system and a large leafy crown that touches the crowns of other trees. We don’t know the simplest things about ourselves. And we don’t think about these things.
Culture is passed on from generation to generation and accumulates. Moreover, memory is not mechanical at all. This is the most important creative process: it is a process and it is creative. What is needed is remembered, and it is remembered gradually, sometimes painfully difficult, by overcoming mistakes and despite the sometimes tragic death of the greatest values.
Amazing property of memory! In the memory of an individual and in the memory of society, predominantly what is needed is preserved, the good is more active than the evil.
Memory is active. It does not leave a person indifferent or inactive. She controls the mind and heart of a person. Memory resists the destructive power of time and accumulates what is called culture. Memory is overcoming time, overcoming death. This is its greatest moral significance. An unmemorable person is, first of all, an ungrateful, irresponsible, unscrupulous person, and therefore, to some extent, incapable of selfless actions. Preserving the cultural environment is a task no less important than preserving the surrounding nature. If nature is necessary for a person for his biological life, then the cultural environment is just as necessary for his spiritual, moral life, for his “spiritual settledness,” for his attachment to his native places, for his moral self-discipline and sociality. If a person does not like to at least occasionally look at old photographs of his parents, does not appreciate the memory of them left in the garden that they cultivated, in the things that belonged to them, then he does not love them. If a person does not love old streets, old houses, even poor ones, then he has no love for his city. If a person is indifferent to the historical monuments of his country, he is, as a rule, indifferent to his country

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In this text, S. Likhachev touches on the problem of preserving the cultural environment.

Reflecting on this problem, the author shows us the relationship between memory and culture. After all, culture is formed as a result of a person’s active memory. “If a person is indifferent to the historical monuments of his country, he is, as a rule, indifferent to his country,” Likhachev emphasizes.

The author leads us to the idea that the problem of preserving culture is no less significant than preserving the environment. After all, culture is important for a person to be attached to his homeland, his moral self-discipline and sociality.

HOW I LEARNED TO WRITE

There was one very significant drawback in my school education: we did not write class papers and did not do homework (however, sometimes we did do homework, but they were rarely assigned). It was impossible to write class papers. During the years of my last classes, the school was not heated in winter, we sat in coats, with mittens on top of gloves, and from time to time the teachers forced us to warm up: we stood up, waved our arms like a coachman, and clapped our hands. There was a revival. It was also difficult to do homework, and it was difficult for teachers to check them. In the evenings, teachers did not sit at home - they earned money by giving lectures, for which they were sometimes paid in provisions.

In general, when I arrived at the university, I could hardly express my thoughts in writing. Although I wrote, as already noted, two diploma works - one about Shakespeare in Russia in the late 18th - early 19th centuries, and the other about ancient Russian stories (about Patriarch Nikon), they were presented in childish language and helpless in composition. I especially struggled with transitions from sentence to sentence. It was as if each sentence lived independently. The logical narrative did not add up. The phrase was difficult to read out loud; she was “unpronounceable.”

And immediately after graduating from university, I decided to learn to write, and I came up with the system myself. He also taught it to his friend, Dmitry Pavlovich Kallistov.

Firstly, in order for my language to be rich, I read books that, from my point of view, were well written, written in good prose - scientific, art history. I read M. Alpatov, Dzhivilegov, Muratov, I. Grabar, N. N. Wrangel (in particular, his guide to the Russian Museum), Kurbatov and made extracts from their books, mainly phraseological units, individual words, expressions, images etc.

Secondly, I decided to write every day, like class essays, and write in a special way. I called this special image “without lifting the pen from the paper,” that is, without stopping. I decided (and decided correctly) that the main source of rich written language is oral speech. Therefore, I tried to record my own, internal oral speech, tried to catch up with my pen the internal monologue addressed to a specific reader - the addressee of the letter or simply the reader. And somehow it started to work out quickly. While working as a proofreader, I kept notebooks where I wrote down especially precisely expressed thoughts.

Subsequently, when I entered the Institute of Russian Literature (Pushkin House), it was in 1938, and Varvara Pavlovna Adrianova-Peretz instructed me to write a chapter for “The History of Culture of Ancient Rus'” (volume 2; it was published only in 1951) about the literature of the 11th–13th centuries, I wrote it as a “prose poem.” This was very difficult for me. At the dacha in Elizavetina, I rewrote the text by hand at least ten times. I edited and rewrote, edited and rewrote, and when everything seemed fine, I sat down to rewrite again, and in the process of rewriting, certain improvements were born. I read the text aloud and to myself, in fragments and checked the whole in pieces and the logic of the presentation as a whole. When I read my text at the IIMK (now the Institute of Archeology of the USSR Academy of Sciences), on whose initiative the “History of the Culture of Ancient Rus'” was created, the reading was a great success, and from that moment on I was willingly invited to participate in various publications. To my great regret, the text of my chapter was greatly damaged in the printed edition by the editor's editing. And yet, I received my first State Prize, among very few, precisely for my participation in the “History of the Culture of Ancient Rus'”.

And branches and roots

RUSSIAN NORTH

It is difficult for me to express in words my admiration, my admiration for this region.

When for the first time, as a boy of thirteen years old, I traveled along the Barents and White Seas, along the Northern Dvina, visited the Pomors, in peasant huts, listened to songs and fairy tales, looked at these extraordinarily beautiful people who behaved simply and with dignity, I was completely stunned. It seemed to me that this is the only way to truly live: measuredly and easily, working and receiving so much satisfaction from this work. In what a well-coordinated karbas I had the opportunity to sail (“go,” the Pomors would say), how magical fishing and hunting seemed to me! And what an extraordinary language, songs, stories!.. But I was just a boy, and my stay in the North was very short - only a month, a summer month, the days were long, sunsets immediately turned into sunrises, colors changed on the water and in the sky every five minutes, but the magic remained the same. And now, after so many years, I can swear that I have never seen a better land. I am fascinated by him until the end of my days.

Why? In the Russian North there is a most amazing combination of present and past, modernity and history (and what history - Russian! - is the most significant, the most tragic in the past and the most philosophical), man and nature, watercolor lyricism of water, earth, sky and the formidable power of stone, storms, cold snow and air.

Our northern writers write a lot about the Russian North. But they are northerners, many of them left the village (they left, but to some extent they remained) - they are embarrassed to write about their own things. They themselves sometimes think that if they praise their own, it will be perceived as bragging. But I was born in St. Petersburg, Petrograd, Leningrad, maybe also in St. Petersburg - this is a special, working-class city that emerged from St. Petersburg. I’m not at all embarrassed to write about my endless love for the Russian North...

But the most important thing that the North cannot fail to touch the heart of every Russian person is that it is the most Russian. He is not only Russian in spirit, he is Russian in that he played an outstanding role in Russian culture. He not only saved Russia in the most difficult times of Russian history - the era of the Polish-Swedish intervention, in the era of the First Patriotic War and the Great War, he saved us from oblivion Russian epics, Russian ancient customs, Russian wooden architecture, Russian musical culture, Russian great lyrical element - song, verbal, Russian labor traditions - peasant, craft, seafaring, fishing. From here came wonderful Russian explorers and travelers, polar explorers and warriors unparalleled in stamina. Can you really tell us about everything that our North is rich and famous for, why it is dear to us and why we must protect it like the apple of our eye, not allowing mass migrations, loss of labor traditions, or desertion of villages! People come and will continue to come here to experience the moral healing power of the North, just as they go to Italy to experience the healing power of the European South.

ABOUT THE MORAL IDEAL

The time has passed when peoples were proud of their conquests, captures, the large number of their armies and fleets - in a word, their aggressiveness. In the middle of the 20th century, all this turned out to be firmly abandoned, and only backward people continued to live by medieval ideas. In the war against fascism, the moral principle, the power of self-sacrifice, and the power of active kindness were victorious. The consciousness of the moral unity of mankind, the commonality of its culture has won...

The moral dignity of the people is what has now replaced all the imaginary values ​​of primitive aggressiveness.

But what is the moral dignity of the people? What does it consist of? What determines the face of a people, its individuality, the best traits of its character? What should be the moral ideal of a nation to which it should strive?

It is necessary to reflect on this. This issue needs to be seriously studied and discussed. And even if we do not immediately come to common conclusions, the discussion itself will be necessary, useful, and fruitful, because many stagnant ideas will disappear...

ART OF MEMORY AND MEMORY OF ART

Russia, like a large tree, has a large root system and a large leafy crown that comes into contact with the crowns of other trees. We don't know the simplest things about ourselves. And we don’t think about these simple things.

D.S. Likhachev is one of the remarkable masters of artistic expression. His works, dedicated to the spiritual development of the individual and the moral education of young generations, are very important. In the text I read, the author talks about the amazing properties of memory.

What is the greatest moral significance of cultural memory? It is this problem that the author poses in his text.

Revealing the problem, Dmitry Likhachev recalls how “the peasant left forests and copses untouched, so they grew in even clumps, as if placed in a vase,” about how “the village architect erected huts and churches like gifts to Russian nature.” These words prove to us that any culture in one way or another turns to its past, shaping a person’s ideas about beauty.

The philologist is convinced that it is very important to remember the culture of your country, your people. Preserve these amazing landscapes, once created by a peasant, monuments that were erected by a simple village architect. After all, culture moves forward through accumulation, and not through abandonment of the past.

I agree with the author’s position, because this topic is close and understandable to me. When I arrived in a new city, I always loved to go through museums and galleries, where all the traditions, life and customs of a particular people are displayed. I am interested in studying how the cultural heritage of different countries was created, where it originates. Cultural memory is indeed very important; it forms, elevates, and enriches the culture of both an individual and humanity as a whole. To prove my point, I will give an example from the world of cinema.

The film, based on the poem of the same name by Alexander Tvardovsky, “Vasily Terkin,” illustrates to us the heroism and courage of an ordinary soldier during the Great Patriotic War. It says that someone’s life saved is more important than fame and awards. This film is a real cultural heritage of the Russian people. It shapes the personalities of more than one generation of young people, helps to understand all the troubles that the Russian people suffered during the war.

2nd argument

After reading the article, I realized how important cultural memory really is and what its greatest significance is. How you need to value the cultural heritage of your people and preserve these “age-old” values ​​for future generations.

Option 2

In his text, D.S. Likhachev raises the problem of the role of memory in human life.

In order to attract the attention of readers to this issue, the author discusses why memories are an important component of human life: “With the help of memory, human experience is accumulated, traditions that make life easier are formed..., the aesthetic level of perception and creativity increases, knowledge is created.” In addition , D.S. Likhachev warns people against unconsciousness, explaining this by saying that “an unconscious person is, first of all, an ungrateful, irresponsible, unscrupulous person...”

I completely share the position of D.S. Likhachev. And, indeed, only memory, controlling the mind and soul of a person, can stop him from committing rash acts. However, the main advantage of memory, in my opinion, is the ability to assimilate new knowledge about the world around us, without which the development of science, education, and society as a whole is impossible.

Arguments to confirm my point of view can be found in works of Russian fiction. Let's consider the events from A.P. Chekhov's play "The Cherry Orchard", the main character of which kept warm memories from her childhood spent in the cherry orchard all her life. For Ranevskaya, the garden is not just rows of trees, but a symbol of beauty, purity and harmony. Feeling an inextricable connection with this place and even being on the verge of bankruptcy, the heroine is not ready to be separated from it under any circumstances. So, despite the fact that Ranevskaya’s commitment to childhood memories led to the death of the cherry orchard, under the influence of memory she remained devoted to her moral ideals to the end.

As a second argument, we can cite events from L.N. Tolstoy’s story “Childhood,” in which we are presented with a vivid example of the influence of memories from childhood on the formation of a future personality. As a child, Nikolenka Irtenev more than once took part in ridicule and bullying of Ilenka Grap, who came from a poor family. Later, the main character deeply repents of his actions and even asks for forgiveness. Thus, we saw that memory allowed Nikolenka to gain invaluable experience in interpersonal relationships and become a worthy person in the future who did not make previous mistakes.

Summarizing the above, we can conclude that a person’s memory is his most important value, which makes it possible to accumulate experience and remember information. Each of us needs to cherish, appreciate and increase our memories.