A long time ago, and no one knows exactly when, fairy tales began to be told. Each nation has its own fairy tales, each nation loves, remembers and cherishes its fairy tales. Those that are collected in this book are invented by the Chukchi and Eskimos. The Chukchi and Eskimos live in the tundra, in the Far North of our country, on the Chukchi Peninsula, near the cold seas. In ancient times, in those distant lands, people lived and dressed in a special way. Not at all the way we are used to. And not the way they live there now. The Eskimos were engaged in hunting in the sea and fishing. And the Chukchi also grazed deer. Yarangas served as housing - buildings that looked like large huts. The yarangas were covered with walrus or deer skins. A settlement of several yarangas was called a camp. Yarangi were easily disassembled and assembled. In a few hours, you can put a yaranga. It was very convenient: after all, people had to move - roam - either in search of better pastures for deer, or to good places for hunting or fishing. The Chukchi and Eskimos sewed all their clothes from fur. Fur pants, fur shirt with fur inside. Over it is a fur coat with fur outward - kukhlyanka. Fur boots - torbasa. Fur hat. True, a hat was worn only in the most severe frosts and during a snowstorm or on the road. And usually, even in winter, they walked with an open head. Among the Chukchi and Eskimo tales there are a lot of tales about animals. Some of their heroes - birds and animals - are not familiar to us from Russian fairy tales. There is a polar fox, and a gopher, and a mountain sheep. Birds are also here: eiders, guillemots, snow buntings. These are all inhabitants of the north. Of course, in fairy tales, birds and animals are not ordinary animals, but fabulous ones. They talk, they live and act like the people who invented these fairy tales. At first, fairy tales were only told. Then they were recorded. And they told it to the children. Drawings for fairy tales were made by the People's Artist of the RSFSR, laureate of the State Prize of the RSFSR Evgeny Mikhailovich Rachev. Read fairy tales and you will learn about the Kurkyl raven, Nuteneut-fox, about the swift-footed deer, cowardly brown bear, about the brave hare. about their tricks. About their wisdom. Comp. Gribova L.I.
The book includes fairy tales of the peoples of the Far North, Siberia and the Far East, living on the territory from the eastern to the western borders of our country. Fairy tales paint vivid pictures of the life and life of hunters, fishermen and reindeer herders, introduce them to their ideas and customs. There is a glossary at the end of the book that explains words that young readers may not understand.
Scattered in separate editions, even included in the primers, the works of the writer are brought together for the first time. The daughter of the publisher M. V. Sabashnikov, she was associated with the literary environment from childhood and began writing in the 20s. 50 years of creativity are presented in two volumes.
Annotation: Kazakh folk tales. The collection "Wonderful Garden" presents fairy tales of the Kazakh people. Some tales tell about love for the Motherland ("Wonderful Garden"), others about a high and noble sense of honor ("Adak", "Sons of Nurzhan"), others glorify the mind and ingenuity ("Outlandish Name", "Wandering Brothers" , "Bought a Dream", "Three Friends") and castigate stupidity ("Donkey-singer"). The book also contains funny fairy tales imbued with humor and a smile. The author generously uses folk sayings: proverbs, sayings. Fairy tales were collected and retold by Yevgeny Malyuga. The book is aimed at a wide range of readers. The collection is equipped with a dictionary, which gives the meanings of some words and expressions.
The collection includes fairy tales created by the Albanian people over many centuries, distinguished by great artistic originality and expressiveness, richness of action, which puts them on a par with the legends and fairy tales of the southern Slavs and other Balkan peoples...
This book for family reading contains the best works of Leo Tolstoy, which for more than a century have been loved by both preschoolers and demanding teenagers. The main characters of the stories are children, "troubled", "dexterous", and therefore close to modern boys and girls. The book teaches love - for a person and everything that surrounds him: nature, animals, native land. She is kind and bright, like all the work of a brilliant writer. Artists Nadezhda Lukina, Irina and Alexander Chukavin.
This book introduces the magical world of the Proto-Slavic myth universe - its magic, gods, spirits, richness of folk rituals. On the basis of research, ethnographic works, observations, intelligence, the author-compiler systematized a huge amount of material, so that as a result, a majestic picture of the worldview of a distant Slavic ancestor was formed.
A real collection of fairy tales and legends of American writers opens a series of books "Tales and Legends of Foreign Writers". The collection includes the works of Joel Harris, his funny and instructive "Tales of Uncle Remus"; Michael Goram with his stories and tales about the pioneers and conquerors of the Wild West; Upton Sinclair with his fairy tale about gnomes; Robert McCloskey with the hilarious adventures of Homer Price and Jack Schafer with his legend of the Indian Bear.
Grandmother's Tales About Strange Lands Translator: Evgenia Mikhailovna Chistyakova-Ver For the modern reader, this book is a unique opportunity to meet the favorite fairy-tale characters of our great-grandmothers and great-grandfathers. Most of the fairy tales and legends included in the collection have not been reprinted in our country since the end of the 19th century. Almost a century of oblivion gives fairy tales a special charm and originality. The book includes Arabic, English, German, Spanish, Caucasian, Belgian, Italian, Icelandic, Egyptian, Turkish, Chinese, Finnish, Hungarian, Indian, Swedish and other fairy tales. in each country, fairy tales take on their own form, their own coloring. Most of the European tales come from ancient India, and therefore we find almost the same tales among many peoples. The Swedes, Italians, Russians and English have, for example, tales of fools; almost every nation has a story about young people, a boy and a girl, escaping from captivity, who, with the help of abandoned things, run away from their pursuers: a comb or spindle turns into a dense forest, a towel into a river, and so on. Among the peoples most dissimilar in character, one can find fairy tales of almost the same content - But what a difference in characters, in descriptions, in small details - they give charm and beauty to fairy tales. This collection includes fairy tales of writers of various nationalities (for example, Kipling, Gustafson. Cavan, Galden, Duyui), folk tales and oriental tales in the artistic processing of European writers (Turkish and Spanish tales of the famous Eduard Laboulet, Arabic - Ms. Barbier). Contents Liar Princess (Swedish fairy tale) __ Coal man (Dutch fairy tale) __ Kaa python hunting (from the book "The Jungle" by R. Kipling) __ Merchant and deceivers (Turkish tale) __ Gray man (Icelandic tale) __ Birds of Countess Morales (Spanish) fairy tale) __ Don Miakka (Spanish tale) __ Mack (Indian tale) __ Matchmaking (Swedish folk tale) __ Al Bagum (Arabic tale) __ Moonbeam (Belgian tale) __ How Jack went to seek his fortune (English folk tale) __ Inheritance ( Swedish fairy tale)__ Ghost priest (Spanish legend)__ Alchemist's daughter (Italian fairy tale)__ Pink bird (French fairy tale)__ Pasha the shepherd (Turkish fairy tale)__ Heart of stone (German fairy tale)__ Horse of the knight Rabogani (Hungarian fairy tale)__ Unknown paradise (Swedish fairy tale)__ The stupid peasant and the smart bird (German fairy tale)__ Juan Arrada (Spanish fairy tale)__ The brave king's son (Turkish fairy tale)__ The little pasha (Egyptian fairy tale)__ The golden-haired girl (Italian fairy tale)__ In search of happiness ( Swedish fairy tale) __ Dogs (French fairy tale) __ Talismans (Turkish fairy tale) __ Queen of snakes (German fairy tale) __ Golden lily (Chinese fairy tale) __ Magic ship (French fairy tale) __ Nodendal tradition (Finnish fairy tale) __ Prince Bul-Bul (Italian) fairy tale) __ Nees - a good fellow (Swedish fairy tale) __ Batty the Bat (Bridget and Julia Cavan) __ The Golden Bee and the White Rabbit (Bridget and Julia Cavan) __ The Sea Boys (Margaret Vandergriff) __ Jack and the Golden Snuffbox (Joseph Jacobs) __ The Witch of Tevis (English folk tale) __ What happened to Prince Cotton Silk (Eliza Scott) __ Roland the Knight (Joseph Jacobs) __ Red Cap Boy in Fairyland (Bridget and Julia Cavan) __
Extensive publication of Burmese narrative folklore. Accompanied by a preface and notes. The collection is intended for an adult reader. Translation from Burmese. Compiled by V. B. Kasevich and Yu. M. Osipov. Notes by V. B. Kasevich. Foreword by D. V. Deopik. - M., Main edition of oriental literature of the publishing house "Nauka", 1976. - 592 p. ("Tales and myths of the peoples of the East").
A fairy tale is an ancient creation. It can be used to judge how the people lived in the old days, what they believed in, how they looked at things. Almost every fairy tale speaks of kings, princes, kings, princesses, king-girls and other "high persons" of the old, obsolete world ...
Folklore
The entire centuries-old experience of the people in the old days was passed down from generation to generation orally. It is this folk art, which is usually of a poetic nature, that we call folklore.
Folklore traditions arose in various parts of the world before the advent of writing. But with the emergence of literature, they do not disappear, they develop further. Even in modern society, folklore works continue to be created.
Features of folklore
Oral creativity, regardless of the environment of the people in which it appeared, has some common characteristics. Anonymity can be named among them - folklore works do not have an author, they have been developed and honed among the people over the course of many generations. In this regard, we can talk about the collective nature of folklore.
One and the same work can have a lot of variants that differ significantly from each other. Another feature of folk art is that for a rather long period it existed exclusively in oral form, even in the presence of writing. Folklore as a cultural phenomenon became interested in scientists and researchers relatively recently. In this regard, many works of oral creativity began to be recorded.
It should be noted that folklore is a folk, national phenomenon. It was formed on the basis of the common cultural, spiritual and everyday proximity of the people who inhabited a certain territory. In this regard, the established tradition reflects the national character, the value orientations of a certain people, their worldview.
Genres of folk art
Folklore is extremely diverse in its form and content. It has a large number of genres:
- lullabies;
- songs;
- ballads;
- legends;
- thoughts and others.
Development of folklore
The first rudiments of oral folk art appeared in primitive society. Ancient man cared not only about daily bread. He wanted to understand the world around him. Over the centuries, experience has been accumulated, observations of natural elements. Beliefs, dreams, aspirations of the people over time developed into an oral tradition, their art.
In a later period, historical events were reflected in folklore, certain archetypes, folk images, elements of a national worldview and worldview were formed. In the images of folklore, we see the ideals that the people aspired to, their understanding of good and bad.
Inca legend of the flood
The people who lived on earth became very evil and greedy. They constantly fought, forgot about the gods. And they were punished for it.
In the high Andes there lived two shepherd brothers. They were not evil and honored the gods. Once they noticed the strange behavior of the llamas - the animals stopped eating and constantly looked at the stars. The brothers asked what was the matter and the lamas answered them that a great flood was coming soon, which would destroy all life.
The shepherds, together with their families and flocks, went to the highest mountain peaks and took refuge there in caves. And then it began to rain, which lasted for many months. Water rose to the entrance to the cave, but the mountains became higher and higher.
Finally the rain stopped. The sun god Inti appeared in the sky and smiled, after which all the water evaporated. The brothers left the cave and descended into the valleys, where they revived humanity.
Ukrainian tale "Pig and Falcon"
In autumn, the pig wandered into the forest. There she found many acorns and began to eat them. She ate and fell asleep under an oak tree. Waking up, out of boredom, she began to dig the ground near the tree and spoil its roots. This was seen by a falcon sitting on a tree.
The bird told the pig to stop, because it might dry out the oak tree. The pig said that she did not care, because she only needed acorns. And the falcon reproached her for her stupidity and said that without a tree there would be no fruit. Then the pig realized that he was wrong and left the forest in shame.
You can read a lot of folklore from all over the world online on our website.
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 related to home and life have come down to our days. The most common is: "Spill salt - 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 “scraps” 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.
Oral folk art is the verbal creativity of the people, who do not write down their compositions, but are orally transmitted (by word of mouth) from generation to generation. Oral folk art is also called in one word - folklore.
Folklore (English folk-lore - “folk wisdom”) is not only the oral verbal creativity of the people, but also musical.
In this article we will talk about oral folk art, which was created over many centuries.
By the way, oral folk art is studied in the 2nd, 3rd, 5th and 7th grades of the school. However, if you love, then it will also certainly be interesting to you.
Features of Russian folklore
For a long time, many legends were created that were invented by the people during reflections on certain problems.
From time immemorial, people have thought about what is good and what is bad; like , and .
Also, oral folk art comprehended the problem of a comprehensive, trying to give important advice on how to become wise.
As a result of this, a mass of instructive tales, sayings and, helping a person to get answers to a variety of questions of interest to him, appeared.
Genres of oral folk art
The genres of folklore are epics, fairy tales, songs, proverbs, riddles and other things that we learned about from our ancestors.
Over time, many expressions have changed, due to which the meaning of this or that saying has become deeper and more instructive.
Often, works invented by the people rhymed and formed into poems and songs that were easy to remember. Thanks to this method, Russian folklore was passed from mouth to mouth for many centuries.
Works of oral folk art
So, let's list the works of oral folk art in order to form a clear list of the types of folklore available.
- epics
- Fairy tales
- Songs
- Proverbs and sayings
- Puzzles
- legends
- Lullabies
- Pestushki and nursery rhymes
- jokes
- Game sentences and refrains
These are the main types of works that are created not by one person, but directly by the whole people.
Stone at the fork in the road Oral folk art of Russia
Well, we will consider oral folk art, since we are interested in this particular topic. At the same time, it must be said that other nations have very similar genres of folklore.
Songs
Among the people, songs were one of the most popular ways to express. Despite the fact that they were significantly inferior in volume to fairy tales and epics, people tried to lay deep and meaningful meaning in them.
Thus, the songs reflected the love experiences of a person, reflections on life and the future, social and family problems, and many other things.
It is worth noting that songs from oral folk art may differ in style and manner of performance. Songs are lyrical, laudatory, dance, romantic, etc.
In oral folk art, the technique of parallelism is very often used, which helps to feel the nature of the mood of a particular character.
Historical songs were dedicated to various outstanding personalities or events.
It is worth noting that they originated in the 9th century. A vivid example is epics about heroes who possessed incredible strength, beauty, courage and bravery. The most famous Russian heroes were Dobrynya Nikitich, Ilya Muromets and Alyosha Popovich.
As a rule, historical characters or events are described in epics in an embellished and even fantastic style.
Three heroes In them, national heroes can single-handedly destroy entire enemy troops, kill various monsters and travel long distances in the shortest possible time.
Heroes of epics never experience fear of the enemy and are always ready to defend their homeland.
Fairy tales
Fairy tales play an important role in oral folk art. In this genre there are elements of magic and wonderful heroism.
Fairy tales often feature completely different classes: from kings to simple peasants. You can meet workers, soldiers, kings, princesses, jesters and many other characters in them.
However, a fairy tale is not just a fictional and beautifully composed story for children. With the help of fairy tales, people tried to educate children, laying deep morality in them.
As a rule, all fairy tales have a happy ending. In them, good always triumphs over evil, no matter how strong and powerful it may be.
legends
In oral folk art, legends mean oral false stories about the facts reality. They colorfully display the events of the past.
There are many legends about the origin of peoples, states, and the exploits of fictional heroes.
This genre was especially popular in Ancient Greece. Many myths have come down to us that tell about Odysseus, Theseus and other characters.
Puzzles
Riddles are metaphorical expressions in which one object is depicted with the help of another that has some resemblance to it.
On this basis, a person needs to guess this or that object through reflection and ingenuity.
In fact, it is very difficult to imagine oral folk art without riddles, which were often presented in a rhymed form. For example, known to all children "Winter and summer - one color." Of course, you know it's a tree.
Thanks to fairy tales, both children and adults can develop their logical thinking and ingenuity. An interesting fact is that in fairy tales there are often riddles that are usually successfully solved by the main character.
Proverbs and sayings
Proverbs and sayings play one of the key roles in oral folk art. A proverb is a short figurative saying with instructive overtones, carrying some generalized idea or allegory with a didactic (moralizing) bias.
A proverb is a figurative saying that reflects some phenomenon of life. However, it is not a complete statement. Often sayings can be humorous.
Proverbs and sayings are usually attributed to small genres of oral folk art.
In addition to them, jokes, lullabies, game sentences, riddles, pestles and nursery rhymes can be classified as such a genre. Further, we can consider in more detail all these varieties of folklore.
Lullabies
In oral folk art, lullabies are often called tales, since the root of this word “bait” is “to tell”.
With the help of them, parents tried to lull their children who could not sleep. That is why various lullabies began to appear among the people, listening to which the child quickly fell asleep.
Pestushki and nursery rhymes
Pestle and nursery rhymes in folklore were used to educate a growing child. Pestushki come from the word "nurse", that is, "nurse" or "educate." Previously, they were actively used to comment on the movements of the newborn.
Gradually, the pestles turn into nursery rhymes - rhythmic songs sung while the child plays with his toes and fingers. The most famous nursery rhymes in oral folk art are "Magpie-Crow" and "Ladushki".
Interestingly, they also trace a certain morality. Thanks to this, the baby from the first days of life learns to distinguish between good and evil, as well as good or bad qualities of a person.
jokes
When the kids grew up, they began to sing the so-called jokes, which were already of a deeper content and were not associated with games.
In their structure, they resembled short fairy tales in verse. The most famous jokes are "Ryaba Hen" and "Cockerel - Golden Scallop".
Most often, jokes describe some bright event that corresponds to the mobile life of the child.
However, since it is difficult for kids to focus on one topic for a long time, jokes have a very short plot.
Game sentences and refrains
Since ancient times, game sentences and refrains have been very popular among the people. They were used during the games. They talked about the possible consequences of breaking the rules.
Basically, sentences and refrains included various peasant activities: sowing, reaping, haymaking, fishing, etc. After their frequent repetition, children from an early age learned the correct manners and learned the generally accepted rules of behavior.
Types of oral folk art
From all of the above, we can conclude that oral folk art consists of many components. Briefly, to consolidate students of grades 2, 3, 5 and 7, we recall its types:
- epics
- Fairy tales
- Songs
- Proverbs and sayings
- Puzzles
- legends
- Lullabies
- Pestushki and nursery rhymes
- jokes
- Game sentences and refrains
Thanks to all this, the people were able to skillfully convey in a short form the deep thoughts and traditions of their ancestors, while maintaining good traditions and folk wisdom.
Now you know, what is oral folk art and folklore. If you liked this article, please share it on social networks. If you like interesting facts in general, and in particular, subscribe to the site. It's always interesting with us!
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Magic tales. In the study of a fairy tale, one should rely primarily on the research of V.Ya. Propp "The Morphology of the Fairy Tale" and "The Historical Roots of the Fairy Tale". The main provisions of these studies are set out in a special course of lectures by V.Ya. Propp "Russian Fairy Tale".
The starting point in the idea of a fairy tale as a genre variety is that it should be defined "using not a vague concept of magic, but the laws inherent in it" . “Fairy tales,” says V.Ya. Propp, - stand out from others not on the basis of "fantastic" or "magic" (other types of fairy tales may also have these signs), but on the basis of the features of their composition that other types of fairy tales do not possess. The basis of the compositional structure of a fairy tale is, according to the terminology of V.Ya. Propp, "functions", a stable recurring element of a fairy tale. Features are defined as "actions that have a bearing on the development of the plot". It is necessary to dwell in detail on the main functions of a fairy tale; draw up its simplest scheme (ban, violation of the ban, consequence of the violation of the ban, magical action, gaining well-being).
The emergence and formation of a fairy tale is associated with the rethinking of ancient stories that pursued utilitarian goals. For a complete picture of the origin and development of a fairy tale as a genre, V.Ya. Propp's works "The Historical Roots of a Fairy Tale" can be recommended. In the characterization of the characters of a fairy tale, along with the book by V.Ya. Propp, the study of E.M. Meletinsky "Hero of a fairy tale. The origin of the image". Written in the traditions of the historical and sociological explanation of the phenomena of folklore, the study made it possible to see in fairy-tale images a reflection of the real existence of the people in the distant historical past. A summary of the plots and motifs characterizing heroes-heroes, helpers and opponents of the hero, fairy-tale fools is presented by the study of N.V. Novikov "Images of the East Slavic Fairy Tale".
Acquaintance with special bibliographic indexes of fairy tale plots seems necessary. In the "working" everyday life of fairy tale critics there are several bibliographic reference books. At the beginning of our century, the Finnish scientist Antti Aarne developed and published in German the Index of Fairy Types (Helsinki, 1911). This work was translated into Russian, supplemented and developed in relation to Russian fairy tales. Professor om N.P. Andreev ("Index of fairy tale plots according to A. Aarne's system"). The "Index" is provided with bibliographic information about where and in what collections the fairy tales are published. There are three sections in the "Index": I. "Animal Tales" (ie, fairy tales about animals); II. "Fairy tales proper" with four sub-sections: "Fairy tales", "Legendary tales", "Novelistic tales", "Tales about a stupid devil (giant, etc.)"; III. "Jokes". In turn, in each section and in the subsection, groups of fairy tale plots are identified that are similar to each other in terms of themes, images and the presence of some common motifs. Each selected plot or motif received a number from A. Aarne, under which it is customary to register newly published fairy tales since that time. The Fairy Tale Index was translated into English by Stif Thompson and published in 1927. In subsequent editions, the "Index" was supplemented with information about the publication of fairy tales among many peoples of the world and has now become a very complete reference book for everyone who studies fairy tales in a comparative sense. In 1979, the Comparative Index of Plots was published. East Slavic fairy tale "(compiled by L.G. Barag, I.P. Berezovsky, K.P. Kabashnikov, N.V. Novikov). The reference book was prepared and executed with a focus on Stif Thompson's index numbers, but the system of dividing the material as a whole repeats A. Aarne's classification with all its shortcomings, about which Yu.M. Sokolov wrote: "There are many shortcomings in it (the subjectivity and conventionality in the breakdown of plots into groups and in the ordinal distribution of fairy-tale themes is too great)" .
One of the issues that need to be clarified when studying fairy tales is the reflection of reality in the images of fairy tales and the refraction of reality in fantastic fiction.
The study of fairy tales implies a good acquaintance with their plots, images and peculiarities of poetics. In this regard, it is necessary to get acquainted with the classic collection of fairy tales - the collection of A.N. Afanasiev "Folk Russian fairy tales". (See also: “Folk Russian fairy tales. From the collection of A. N. Afanasyev”;
The specialized scientific literature on the fairy tale is extremely extensive, and many of the works of the pre-revolutionary period retain their value. Among the works created in the pre-revolutionary period is an extensive work on the comparative study of fairy tales L.3. Kolmachevsky "Animal world in the West and among the Slavs", a historiographic review by N.P. Dashkevich “The question of the origin and development of the epic about animals according to the research of the last thirty years” and the review work of V.A. Bobrov Russian folk tales about animals. The scientific significance of the ideas of A.M. Smirnov "Ivanushka the Fool". A kind of result of the study of fairy tales in the pre-revolutionary period was the extensive work of S.V. Savchenko "Russian folk tale (History of collecting and studying)". The most significant works devoted to the fairy tale include: research by V.A. Bakhtina, Aesthetic Function of Fairy Fiction. Observations on the Russian folk tale about animals "; the work of E.V. Pomerantseva "The Fate of a Russian Fairy Tale", which analyzes the deformations that fairy folklore underwent in the 18th-20th centuries. at the stage of destruction and disintegration of his figurative and stylistic canon; monograph by V.P. Anikin "Russian folk tale", which offers a description of modern methods for studying fairy tales, in particular, the principles of research by V.Ya. Propp "Morphology of the fairy tale", the stylistic features, the speech structure of the fairy tale are investigated. In the study of the poetics of a fairy tale, the research of N. Roshiyanu “Traditional formulas of a fairy tale” and Propp V.Ya. "Russian fairy tale" .
Tales about animals. The origin of animal tales is generally considered to be connected with the forms of fiction, perceived from animistic and anthropomorphic ideas and concepts that attributed to animals the ability to act, think and speak. The change in ideas about the world, in connection with which stories about animals lose their connection with archaic ideas, became the beginning of the historical process of the formation of a genre variety of fairy tales about animals. The images of animals lose their connection with their immediate prototypes and are perceived as an allegorical image of a person and human society. Some stories may have a later origin.
Images and characters of fairy tales about animals have real prototypes in human society. At the same time, according to V.Ya. Propp, the animal epic does not arise from observations of the real powers and capabilities of animals. An animal, in his opinion, is a hero by virtue of the power attributed to it, not at all real, but magical, and the transfer of actions from one animal to another is not only an artistic phenomenon, but reflects the specifics of archaic thinking. V.Ya. Propp does not see a direct genetic connection with totemism. “However,” he believes, “if the actors are not people, but animals endowed with strength and abilities inaccessible to humans, but acting like people, then this may indicate a connection with totemism, in which a person is not distinguished from animals.”
Poetics of fairy tales about animals. It should be noted that abstract fable allegorism is not characteristic of animal tales; they skillfully combine the depiction of the habits of the described animal and allegorical social meaning. The social roots of fairy tales about animals have given rise to various methods of satirical and humorous depiction of reality.
Characterizing the poetics of fairy tales about animals, it is necessary to note the features of its compositional construction. Some of them are characterized by a small exposition (“The Wolf and the Goat”: “Once upon a time there was a goat, she made herself a hut in the forest and gave birth to children ...”). The exposition is intended to characterize the situation that precedes the further development of the action, creates motivation for the development of the plot. The beginning in a fairy tale about animals can be quite short (for example, in the fairy tale "The Bear": "Once upon a time there was an old man and an old woman, they had no children ..."). The main function of the beginning in animal tales is to surprise with an unusual situation, to focus attention on the narrative. The plot in this type of fairy tale is simple and consists for the most part of one small episode or some situation. The main focus of the plot of the fairy tale about animals is not the fascination of the story, but the unusual situation. It is necessary to note the role of dialogue in the compositional structure of fairy tales about animals. There are fairy tales, the content of which is entirely a dialogue (“The Fox and the Black Grouse”, “The Fox and the Woodpecker”, “The Sheep, the Fox and the Wolf”). The significance of dialogue in animal tales lies in the fact that it is one of the important methods of "humanizing" its characters. The combination of the real and the unreal, the human and the animal, creates the fantastic element necessary for a fairy tale. One of the types of compositional construction in fairy tales about animals is cumulative plots, which V.Ya. Propp distinguishes it as a separate type (“Kolobok”, “Death of a cockerel”, “Terem flies”, etc.).
Kostyukhin E.A. Types and forms of the animal epic. - M., 1987.
Propp V.Ya. Russian fairy tale. - L., 1984.
Lazutin S.G. Features of a fairy tale plot // Poetics of Russian folklore. - M., 1989. - S.12-26.
Lazutin S.G. Elements of rhythm and rhyme in fairy tales // Poetics of Russian folklore. - M., 1989.- S.148-163.
Household novelistic tales. The general characteristic of everyday short story tales involves considering it in comparison with other types of tales, determining its specific features and features. The peculiarity of everyday novelistic fairy tales is their close connection with reality. The term "short stories" is due to the brevity and entertaining nature of the plot of this genre type of fairy tale, and the name "everyday" - they received because they widely reflected the peasant pre-reform life. Everyday short stories can serve as a means of studying the peasant worldview and peasant everyday philosophy. According to V.Ya. Propp, one of the main features of this type of fairy tales is the "absence of the supernatural". Unlike a fairy tale, in which the hero achieves the desired goal with the help of a magical means, in a fairy tale of everyday short stories, or realistic, there is no magical means, and this can also serve as one of the differentiating signs of this type of fairy tales. At the same time, the supernatural is present in these tales, but it is included in the context of everyday life and receives a comic coloring. "The contrast of everyday background with the fantastic content creates the comic of the situation". “The nature of the realism of these tales is determined by the fact that the mode of transmission, style is realistic; the events depicted are not always realistically possible. The realism of these tales is very conditional. Short story tales contain a large number of everyday elements, well-captured observations, and vital details. Everyday fairy tale gravitates towards an anecdote.
The origin of everyday short stories is associated with the historical period when agriculture leaves the primitive stage, and the tribal system is replaced by a slave-owning state. The composition of everyday short stories is extremely diverse and allows for various ways of division and classification. Among the novelistic fairy tales there are those that are close to fairy tales. They represent, as it were, a transitional, adjacent group. The boundary between the magical and the novelistic here is purely arbitrary, it should be considered not as a formal boundary, but as a historical one, as a result of a long process of degeneration of one species into another. The morphological relationship between some short stories and fairy tales suggests the origin of this group of fairy tales (“Signs of a Princess”).
A necessary condition for understanding the specifics of everyday short stories is to study the features of its poetics and style. A novelistic fairy tale is characterized by an entertaining plot full of comic situations. One of the most commonly used techniques of comic representation is the exaggerated depiction of the main features of the characters. A feature of the construction of the plot of a novelistic fairy tale is a conscious violation of the usual and natural course of actions, the depiction of unreal situations and situations. One of the common techniques for creating a comic effect in a short story is to play on the polysemy of words, a bizarre combination of inconsistencies. A fairy tale-short story is characterized by a focus on continuity and unity of perception, which is realized in the absence of inserted and parallel episodes and the presence of one conflict, a limited number of characters.
Everyday short story is close to an anecdote, and a necessary condition for understanding its specificity is to define the boundaries separating the fairy tale-short story and anecdote. Unlike an anecdote, which is a story about one event, in which the denouement follows unexpectedly, and at the same time quite motivated and natural, in accordance with the circumstances and characters of the characters, the short story tale knows both a detailed narrative and more or less detailed characteristics of the characters. . The difference between a fairy tale-short story and an anecdote lies in the volume of the narrative and in its compositional structure, as well as in the sense itself, which is extensive in a fairy tale and lapidary in an anecdote. For the style of a novelistic fairy tale, rhymed and rhythmically organized speech is common, but colloquial speech is most fully represented in the short story.
Tarasenkova E.F. Genre originality of Russian satirical fairy tales // Russian folklore. Materials and research. - M.-L., 1957. Issue 2. - S. 62-84.
Yudin Yu.I. Russian folk household tale. - M., 1998.
Questions for self-examination
- 1. What are the characteristic features of a fairy tale as a genre of Russian oral art?
- 2. On what basis V.Ya. Propp distinguishes fairy tales from all other tales?
- 3. Why do researchers consider it necessary to separate fairy tales and fairy tale motifs?
- 4. What structural units can be distinguished in a fairy tale?
- 5. What is the simplest scheme of a fairy tale?
- 6. What elements complicate the ancient structure of a fairy tale?
- 7. What artistic means and techniques are used in the poetic organization of a fairy tale?
- 8. As V.Ya. Propp the "function" of a fairy tale?
- 9. What types of characters are characteristic of a fairy tale?
- 10. What time does the design of the novelistic fairy tale as a genre belong to?
- 11. What artistic techniques are characteristic of a novelistic fairy tale?
- 12. What is the difference between a novelistic fairy tale and its other genre varieties?
- 13. What is the basis of the forms of fiction of fairy tales about animals?
- 14. What preceded the appearance of fairy tales about animals?
- 15. What is characteristic of the compositional form of fairy tales about animals?
- 16. How is a fairy tale different from other forms of folk prose?
- 17. How is a fairy tale built? Is the theory of V.Ya. Propp to other folklore genres?
- 18. How do fairy tale and myth relate?
- 19. How do Russian plots compare with Western European and Eastern fairy tales?
- 20. How are riddles and fairy tales related?
- 21. Who developed the first Index of Fairy Plots, published in 1911? By whom was it translated and supplemented in relation to Russian folklore?
Literature
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- 13. Dal V.I. Proverbs of the Russian people. In 2 vols. - M., 1984.
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- 18. Kolesnitskaya I.M. A riddle in a fairy tale // UZ LGU: A series of philological sciences. - Issue 12. - No. 81. - S. 98-142.
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- 21. Kruglov Yu.G. Russian ritual songs. Textbook for universities. - M.: Higher school, 1989.
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- 30. Levy-Bruhl L. Primitive thinking. - M., 1930.
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- 33. Maksimov S.V. Winged words. - M., 1955.
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Fairy tales- one of the main types of oral folk poetry.
“The word “fairy tale” refers to moralizing stories about animals, fairy tales full of miracles, intricate adventurous stories, and satirical anecdotes. Each of these types of oral folk prose has its own distinctive features: its own content, its own theme, its own system of images, its own language ... These fairy tales differ not only thematically, but the whole character of their images, compositional features, artistic techniques ... all their style. 1
characteristic sign of a fairy tale is poetic fiction, and an obligatory element is fantasticness. This is especially evident in fairy tales. The story does not claim to be authentic. The action in it is often transferred to an indefinite "far away kingdom, far away state." This is also emphasized by the replicas of the storytellers themselves, who perceive the fairy tale as a fiction, with all its fantastic images: a flying carpet, an invisible hat, walking boots, a self-collected tablecloth, etc. The storyteller takes the listener into a fairy tale world that lives in its own way. laws. In fairy tales, not only fantastic faces and objects are depicted, but also real phenomena are presented in fantastic lighting. At the same time, moralization, propaganda of goodness, justice, and truth are constantly present in fairy tales.
Fairy tales are distinguished by their national characteristics, but at the same time they have an international beginning. The same fairy tales appear in the folklore of different countries, which partly brings them together, but they are also different, because they reflect the national characteristics of the life of a particular people.
Like any genre of folklore, a fairy tale retains the features of individual creativity, and at the same time is the result of the collective creativity of the people who carried the fairy tale through the ages. The tales of each nation specifically reflect the reality on the basis of which they existed. The fairy tales of the peoples of the world reflect common themes, plots, images, stylistic and compositional techniques. They are characterized by a common democratic orientation. In fairy tales, people's aspirations, the pursuit of happiness, the struggle for truth and justice, and love for the motherland found expression. Therefore, the tales of the peoples of the world have much in common. At the same time, each nation creates its own unique and original fairy tale epic.
Russian fairy tales are usually divided into the following types: about animals, magical and domestic. The plot is the main feature of a fairy tale, in which dream and reality are opposed. The characters are contrasting. They express good and evil (beautiful and ugly). But good in a fairy tale always wins.
In many proverbs, fairy tales are compared with songs: "a fairy tale is a fold, and a song is a true story", "a fairy tale is a lie, and a song is true." This suggests that the fairy tale tells about events that cannot happen in life. The origin of the term "fairy tale" is interesting. In Ancient Rus', the word “fable”, “tale”, from the verb “bayat”, was used to designate the genre of a fairy tale, and storytellers were called “bahars” 2. The earliest information about Russian fairy tales dates back to the 12th century. In the monument of ancient Russian writing “The Word of the Rich and the Poor,” in describing the going to bed of a rich man, among the servants around him, there are also those who “babble” and “blaspheme”, that is, they tell fairy tales. This first mention of the tale fully reflected the contradictory attitude towards it. On the one hand, a fairy tale is a favorite entertainment and fun, on the other hand, it is stigmatized and persecuted as something demonic, shaking the foundations of ancient Russian life.
Already in Ancient Rus', the main features of the poetics of fairy tales were formed, which influenced the ancient Russian scribes. In the Russian chronicles one can find many fabulous turns and images. Undoubtedly, the influence of the fairy tale on the well-known monument of the 13th century "The Prayer of Daniel the Sharpener", in which the author, along with book quotations, uses fairy-tale elements.
In the historical and memoir literature of the 16th-17th centuries, one can find a number of references to the fairy tale, proving that at that time the fairy tale was widespread among various segments of the population.
“Tsar Ivan IV could not fall asleep without the bahar's stories. In the bedchamber, three blind elders usually waited for him, who in shifts told him tales and fables. Famous storytellers Vasily Shuisky, Mikhail and Alexei Romanov. As it is clear from “Notes on fools, holy fools and others”, cited by I. Zabelin, storytellers were rewarded for the fables that they played, “according to the sovereign, tsar and grand prince of this Rus', named order” either with azure cloth, or with veal boots, or with English cherry coat." 3
Foreign travelers mention that Russians in the 17th century amused themselves by listening to fairy tales during feasts.
