What belongs to folklore genres? Features of collecting and researching oral folk art in Russia

Folklore, translated from English, means “folk wisdom, folk knowledge.” It was first introduced by the English scientist W.J. Toms in 1846. At first, this term covered the entire spiritual (beliefs, dances, music, wood carving, etc.), and sometimes material (housing, clothing) culture of the people. Since the beginning of the 20th century. the term is also used in a narrower, more specific meaning: oral folk art.

Folklore is an art that has been formed over many centuries and changes over time.

Only all 3 of these factors, present AT THE SAME TIME, are a sign of folklore and distinguish it from literature.

Syncretism is the unity and indivisibility of various types of art, characteristic of the early stages of its development. Artistic creativity is not separated from other types of activity and, together with them, is directly included in practical life. Syncretism is an undeveloped state of early traditional folklore. The most ancient types of verbal art arose in the process of the formation of human speech in the Upper Paleolithic era. Verbal creativity in ancient times was closely connected with human labor activity and reflected religious, mythical, historical ideas, as well as the beginnings of scientific knowledge. Ritual actions, through which primitive man sought to influence the forces of nature, fate, were accompanied by words: spells and conspiracies were pronounced, and various requests or threats were addressed to the forces of nature. The art of words was closely connected with other types of primitive art - music, dance, decorative art. In science this is called “primitive syncretism.” Traces of it are still visible in folklore.

The Russian scientist A.N. Veselovsky believed that the origins of poetry lie in folk ritual. Primitive poetry, according to his concept, was originally a choir song accompanied by dancing and pantomime. The role of the word at first was insignificant and entirely subordinated to rhythm and facial expressions. The text was improvised according to the performance until it acquired a traditional character.

As humanity accumulated more and more significant life experience, which needed to be passed on to subsequent generations, the role of verbal information increased. The separation of verbal creativity into an independent art form is the most important step in the prehistory of folklore.

Types of folklore: Epic (legends, fairy tales, traditions, epics - genres) Lyric-epic genre (transitional) - romance

Lyrics (songs, ditties); Drama (folklore theater)

Types of folklore: Archaic - folklore develops among peoples at the primitive stage of development. There is no written language yet; culture is oral. The folklore of people with mythological thinking covers the entire culture of the ethnic group. Classical - folklore takes shape in the era when states are formed, writing and literature emerge. Here artistic fiction is formed, a genre system is formed. Modern is post-folklore, which developed in Russia after the abolition of serfdom. His element is the city. Epic songs, fairy tales and traditional lyrical songs are being replaced by songs of a new formation, ditties, and anecdotes.

Folklore (according to V.E. Gusev) – verbally – musically – choreographically – dramatic part folk art(spiritual component of folk culture) - not material art. Materially expressed (DPI) – folk art.

Folklore is a syncretic and synthetic art, because combines various types of art.

Signs of folklore: Orality (not only the form of dissemination, but the form in which it has the greatest aesthetic impact); Impersonality (the work has an author, but is not identified); Collectivity (as an aesthetic category. The quality of the project accepted by the team corresponds to folk tradition. Collectivity = tradition + improvisation); Traditionality (works are inserted on the basis of traditions); Variability (different options in different territories); Improvisation; Nationality (aesthetic category, expression of ideals, interests, aspirations of the people).

Tradition is stable patterns, artistic techniques and means used by a community of people for many generations and passed on from generation to generation. Tradition is understood as the most general principles of creativity, and in folklore - a set of stable plot forms, types, heroes, and poetic forms.

Folklore genres:

The folklore genre is a set of works united by a common poetic system, everyday use, forms of performance and musical structure. (V.Ya. Propp) Genre is a unit of classification of folklore

Ph-r is divided into genera (epic, lyric, drama), genera - into types (eg, songs, fairy tales, etc.), and types into genres. If the method of existence of works is used as the basis for the classification, then the genre will be divided into ritual and non-ritual.

The epic reproduces reality in narrative form in the form of objective pictures. Divided into: Songs (poems)

Epics; historical songs; ballads; spiritual poems; Prose; Fairytale prose; Animal Tales; Fairy tales; Jokes

Novels; Non-fairy prose; Legends; Legends; Bylichki (demonological stories).

In epic folklore genres, the main artistic feature is the plot. It is built on a conflict, which is based on the hero's clash with supernatural or real opponents. The plot can be both simple and complex, the events can be perceived as both real and fictional, and the content can be related to the past, present and future.

Lyrics - lyrics poetically depict the inner, mental state of a person, his subjective experiences

Songs of Ditties; Lamentations; Dramatic genres of folklore have a spectacular and playful nature, and convey an attitude to reality in play action; Ritual games; Dramatic games; Late theatrical genres; Theater of live actors; Puppet show; Rayok;

According to the method of existence of works, folklore is divided into: Ritual; Ritual calendar; Ritual family; Non-ritual.

In addition, there are small genres of folklore: paremias; Proverbs and sayings; Puzzles

As well as such types as children's folklore (lullabies, teasers, horror stories, chants, etc., folklore of workers (songs, ditties, prose), folklore of the Second World War (ditties, front department, rear, driven into occupation, Victory, etc.)

Each folklore genre has its own circle of heroes, its own plots and stylistic devices, however, all folklore genres in their natural existence are interconnected and form a system. In this system, outdated f.zh. are destroyed. and on their basis new ones are born.

Folklore researchers: V.N. Tatishchev (18th century), Slavophiles P.V. Kirievsky, N.M. Yazykov, V.I. Dahl et al.; 1850-60s: F.I. Buslaev, A.N. Afanasyev, A.N. Veselovsky, V.F. Miller; beginning of the Soviet era: B.M. and Yu.M. Sokolovs, D.K. Zelenin, M.K. Azadovsky, N.P. Andreev. Second floor. 20 in: V.I. Chicherov, V.Ya. Propp, N.N. Veletskaya, V.K. Sokolova, L.N. Vinogradova, I.E. Karpukhin, V.P. Anikin, E.V. Pomerantseva, E.M. Meletinsky, V.A. Bakhtin, V.E. Gusev, A.F. Nekrylova, B.N. Putilov, etc.

Fairy tales where the main character is a wizard, with the participation of magical animals or objects, are, for example, “Finist Yasen Falcon”, “Ivan Tsarevich and Gray wolf", "By pike command"Plants and natural phenomena that have their own magic are found in almost every fairy tale - talking apple trees, rivers and the wind, trying to hide the main character from pursuit, to save him from death.

Folklore prose is the key to Russian demonology

The second layer of folklore prose is non-fairy tale. It is represented by stories or incidents from life telling about human contacts with representatives of otherworldly forces - witches, devils, kikimoras, spirits, and so on.

It should be noted that all these creatures came to modern times in unconscious images from the depths of centuries and have pre-Christian pagan origin.

The category of non-fairy tale prose folklore also includes stories about shrines, miracles and the saints who perform them - the theme of communication is revealed here higher powers and a person who came to the Christian faith.

Prosaic examples of folklore belonging to the non-fairy tale layer are quite diverse - these are legends, tales, tales, and stories about dreams.

Modern Russian folklore

It consists of two layers that coexist and periodically flow into each other.

The first layer consists of folk traditions and beliefs, transferred to modern realities. They are sayings, religious and daily rituals, and signs that are still relevant today. Examples of Russian folklore, characteristic of modern life, can be observed both in everyday life (placing a broom with the broom facing upward to attract material wealth) and on holidays. Ritual holiday folklore elements include carols performed at Christmas time.

The second layer of modern urban folklore is much younger and represents a belief in man-made scientific theories, framed according to human beliefs and fears.

Contemporary urban folklore

It acts as an egregor of collective images of fears and beliefs of people living in cities; it dates back to the period of industrialization, when harsh living conditions and technological progress were superimposed on the ancient layer of old Russian beliefs.

Examples of folklore reflecting modern Russian realities are mostly focused on several types of human fears. Most often these are songs, rituals and gestures intended to evoke otherworldly forces (“ Queen of Spades"gnomes, etc.): ghosts, various spirits historical figures, as well as for the manifestation of Divine providence and various entities.

Certain elements of folklore creativity are included in scientifically oriented theories of an industrial nature.

Examples of urban folklore used in modern legends, have filled the Internet - these are stories about stations and metro lines that are closed to the public, about abandoned bunkers and various unfinished buildings with accompanying stories about mysterious rooms, devices and living beings.

Literary folklore - from chronicles to modern times

Russian literature, replete with folklore elements, is divided into two layers: that which has come down to us from the period of the 12th-16th centuries, which is the basis for the construction of some later symbolic images; created from the 17th to the 19th centuries, using these images in its plots. Accordingly, examples of folklore in literature are found in the works of both periods. Let's look at the most famous of them below.

Examples of folklore in “The Tale of Igor’s Campaign” consist mainly in metaphorical comparisons of the main characters with pagan gods, for example, Boyan is called the grandson of Veles, the princes are called the grandchildren of Dazhdbog, and the winds are called Stribozh’s grandchildren. The author’s address to the Great Horse is also recorded.

In modern literature, folklore elements are used by the main characters in the process of their daily life.

Examples of folklore in the poem “Who Lives Well in Rus'” come from the area of ​​small and lyrical folklore, including sayings, ditties, sayings (“praise the grass in a haystack, and the master in a coffin”), an appeal to folk signs(chapter “Peasant Woman”, where Matryona’s fellow villagers see the reason for the crop failure in the fact that she “...put on a clean shirt at Christmas...”), as well as insertions into the text of Russian folk songs (“Corvee”, “Hungry”) and use of sacred digital symbols (seven men, seven eagle owls).

Small folklore genres

They distinguish a type of small folklore works that are part of a person’s life from birth. These are small genres of folklore, examples of which can be observed in the communication between mother and child. Thus, in pestushki (tunes of poetic form), nursery rhymes (songs-sayings using gestures of the child’s fingers and toes), jokes, chants, counting rhymes, tongue twisters and riddles, the necessary rhythm of body movement is set and simple story lines are conveyed.

The first folklore genres in human life

Lullabies and pesters have ancient origins. They are part of the so-called maternal poetry, which enters the life of a child from the moment of his birth.

Pestushki are rhythmic short sentences accompanying the activities of mother and newborn. In them, rhythm is important along with the content.

The lullaby with its text and melody is aimed at achieving a state of sleep by the child and does not require the use of any musical instrument. IN this genre There are always elements of a talisman that protects the newborn from hostile forces.

Small genres of folklore, examples of which are given above, are the most ancient layer of folk art.

Folklore. Genres of folklore

Folklore(from English folk- people, lore- wisdom) - oral folk art. Folklore arose before the advent of writing. Its most important feature is that folklore is an art spoken word. This is what distinguishes it from literature and other forms of art. Another important one distinguishing feature folklore - collectivity of creativity. It arose as mass creativity and expressed the ideas of a primitive community and clan, and not of an individual.

In folklore, as in literature, there are three types of works: epic, lyrical and dramatic. At the same time, epic genres have poetic and prose forms (in literature the epic genre is represented only prose works: story, story, novel, etc.). Literary genres and folklore genres differ in composition. In Russian folklore epic genres include epics, historical songs, fairy tales, traditions, legends, tales, proverbs, sayings. Lyrical folklore genres include ritual songs, lullabies, family and love songs, lamentations, and ditties. TO dramatic genres include folk dramas. Many folklore genres have entered literature: song, fairy tale, legend (for example, Pushkin's fairy tales, Koltsov's songs, Gorky's legends).

Genres of folklore each have their own content: epics depict the military feats of heroes, historical songs - events and heroes of the past, family songs describe the everyday side of life. Each genre has its own heroes: in epics there are heroes Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, in fairy tales - Ivan Tsarevich, Ivan the Fool, Vasilisa the Beautiful, Baba Yaga, in family songs - wife, husband, mother-in-law.

Folklore also differs from literature in its special system. expressive means. For example, the composition (construction) of folklore works is characterized by the presence of such elements as a chorus, an opening, a saying, a slowdown in action (retardation), a trinity of events; for style - constant epithets, tautologies (repetitions), parallelisms, hyperboles (exaggerations), etc.

Folklore different nations has much in common in genres, artistic means, plots, types of heroes, etc. This is explained by the fact that folklore as a type of folk art reflects the general patterns of social development of peoples. General Features in the folklore of different peoples can arise due to the proximity of culture and life or long-term economic, political and cultural ties. The similarity of historical development, geographical proximity, movements of peoples, etc. also play a big role.

Table “System of genres of Russian folklore”

Folklore - this is a type of collective verbal activity that is carried out primarily orally. The main categories of folklore are collectivity, traditionality, formulaicity, variability, the presence of a performer, and syncretism. Folklore is divided into two groups - ritual and non-ritual. TO ritual folklore relate: calendar folklore(carols, Maslenitsa songs, spring songs), family folklore (family stories, lullabies, wedding songs, lamentations), occasional (spells, chants, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. Folklore drama includes: the Parsley Theater, nativity scene drama, and religious drama. Folklore poetry includes: epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic rhymes. Folklore prose again divided into two groups: fairy-tale and non-fairytale. Fairy-tale prose includes: fairy tale (which, in turn, comes in four types: fairy tale, a tale about animals, everyday tale, cumulative tale) and anecdote. Non-fairy tale prose includes: tradition, legend, tale, mythological story, story about a dream. The folklore of speech situations includes: proverbs, sayings, well wishes, curses, nicknames, teasers, riddles, tongue twisters and some others.

ritual

non-ritual

calendar folklore

carols, Maslenitsa songs, spring flowers,

stubble songs

folk drama

Petrushka theatre, nativity drama, religious drama

family folklore

family stories, lullabies, wedding songs, laments

poetry

epic, historical song, spiritual verse, lyrical song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic rhymes

occasional

spells, chants, counting rhymes

prose

fabulous

fairy tale (which, in turn, comes in four types: fairy tale, fairy tale about animals, everyday fairy tale, cumulative fairy tale) and anecdote, tale

fabulous

tradition, legend, tale, mythological story, story about a dream

folklore speech situations

proverbs, sayings, well wishes, curses, nicknames, teasers, riddles, tongue twisters

Anecdote is one ofgenresfolklore: a short oral story with a witty and unexpected ending. Jokes can rightfully be called the favorite genre of our time. In Slavic folklore, a favorite character was a man playing pranks on his fellow villagers.

A tale is a traditionally male oral story of a humorous nature, pretending to be verisimilitude; refers to small folklore forms. Popular bikes include hunting, fishing, sea, miner, theater and driver's bikes.

Ballad (ballad song, ballad verse) is one ofgenresRussianfolklore, which arose from folk songs with tragic content. The most important characteristics of ballad songs are epicness, family themes, and psychological drama. Ballad songs are characterized by a predicted fatal outcome, recognition of the tragic, and single-conflict. As a rule, they feature antagonistic characters: the destroyer and the victim. Ballads have many features that bring them closer to other song genres, rich in fantastic and magical motifs common to folk epic. The term “ballad” is relatively new in folklore. Proposed by P.V. Kireevsky in the 19th century, it took root only a century later. The people themselves, performing ballad songs, did not distinguish them from others. An example of a classic ballad is the lyric epic song “Vasily and Sofia.” The entire content is an eternal plot about lovers, whose mutual feeling is so strong that it defeats death. The lovers are destroyed by Vasily’s jealous and evil mother. The plots of many ballad songs are based on the relationship between a girl and a good fellow (“Dmitry and Domna”, “The Girl Poisoned the Young Man”).

An epic is a work of a song nature, a song-poem. It is characterized by greatness of content, grandeur, monumentality of images, and heroic pathos. The real-historical basis of epics is Rus' of the X-XI centuries. About a hundred epic stories are known. Russian and Western European epics have common plots (epic heroes fight enemies and infidels), but in Russian epics there is no idea of ​​religious wars; Neither loyalty to the leader nor bloody revenge become the defining themes of the Russian epic. In Russian epic traditions - liberation, protection, glorification of the Russian land and its people. The discovery of Russian epic took place relatively recently, after the publication in 1804 of Kirsha Danilov’s collections, including 60 folklore works. Subsequently, the collection of epics was supplemented by the finds of P.N. Rybnikov and A.F. Hilferding. A rare fusion of wisdom and poetry distinguishes Russian epic. Each epic, in addition to the main idea of ​​honest service to the Fatherland, contains reflections on the painful moral and psychological quest of the main characters. So, Ilya Muromets finds himself in a situation of difficult choice: marry or die.

Bylichka (byvalshchina) is a mythological story based on events that allegedly took place in real life. The reliability and factuality of these stories is confirmed by specific names; exact geographical names of the place of action. The world of fairy tales is simple and familiar. The main difference between a fairy tale and a tale lies in the attitude of the listeners and the narrator to the story being told. If they listen to a fairy tale, realizing that it is fiction, then they listen to a fairy tale as if it were true.

Children's folklore is a generalized name for small genres composed and performed both by children themselves and for them. To genres children's folklore include songs and poems that accompany the life of a child from the cradle to adolescence: draws, calls, teases, lullabies, pestles, sentences, nursery rhymes, rhymes.

A boring fairy tale (from bother - bother) is a specific genre of folklore narratives, endless fairy tales in which the same cycle of events takes place. They are often presented in poetic form

Spiritual poems are songs of religious content that arose as poetic adaptations by the people of the fundamentals of Christian doctrine. Folk names spiritual verses: antiquities, psalms, poems. A characteristic feature of spiritual poems is the opposition of the religious to the worldly. One of the oldest spiritual poems, “The Lamentation of Adam,” was known already in the 12th century. The mass dissemination of spiritual poems began around the 15th century.

The harvest song is a type of autumn songs of calendar-ritual poetry. Autumn ritual poetry has not received such development as summer poetry, glorifying nimble women - “winch daughters”, “quail daughters-in-law”, who went out early to the fields and harvested the harvest, “so that there would be something to make good jigs from.”

A riddle is a type of oral folk art, an intricate allegorical description of an object or phenomenon, offered as a test of intelligence or an exercise (for children) to develop logical thinking. The riddle belongs to those ancient types of folk art that, while continuing to live through the centuries, gradually lose their original meaning and become a qualitatively different phenomenon. Having arisen on the basis of the secret language of the clan, the riddle was once used in military and embassy negotiations, expressed the prohibitions of family life, and served poetic means transmission of wisdom.

A conspiracy is a linguistic formula that, according to popular belief, has miraculous powers. In ancient times, conspiracies were widely used in medical practice (treatment with words, prayer). They were credited with the ability to induce the desired state of a person (induce a sound sleep, tame the anger of an angry mother, keep someone going to war unharmed, feel sympathy for someone, something, etc.) or the forces of nature: “grow the turnip, sweet, grow, turnip, strong” to get a good harvest.

Calendar-ritual songs (Carols, Podblyudnye songs, Maslenitsa songs, Vesnyanka, Trinity-Semitic songs, Round dances, Kupala, Zhnivnye) - songs the performance of which was timed to strictly defined calendar dates. The most significant rituals and songs are associated with various states of nature summer period, which began with the solstice (Peter-turn) on June 12 (25). Calendar-ritual poetry contains valuable ethnographic and historical information: description peasant life, morals, customs, observations of nature and even elements of worldview.

A legend is one of the genres of folklore, telling about the miraculous and fantastic, which determines its structure and system of images. One of the ways a legend arises is through the transformation of legend. Often, oral stories about historical figures or events that are attributed absolute authenticity (legends about the founding of Kiev) are called legends. In these cases, the word “legend” can be replaced by the word “tradition”. The narrator, presenting facts, supplements them with those created by his own imagination or connects them with fictitious motives known to him. At the same time, the real basis often fades into the background. By theme, legends are divided into historical (about Stepan Razin), religious (about Jesus Christ and his apostles, about saints, about the machinations of the devil), toponymic (about Baikal), demonological (about the Snake, evil spirits, devils, etc.), everyday (about sinners).

Small genres - a name that unites a group of genres of different nature and originRussian folklore, extremely small in size (sometimes in two words: Philly the simpleton), which is what makes them main value. This includes nursery rhymes, riddles, proverbs and anecdotes. Small genres not only decorate and enliven other texts, they are very well adapted to independent life. Unlike the epic epic, small genres are not forgotten, they are as relevant as thousands of years ago.

Fables are works of comic poetry, small songs built on the principle of stringing together completely absurd events: Thunder rolled across the sky: A mosquito fell from a tree. It is fables that clearly demonstrate the other, scary side of the funny. A chain of distorted events, which at first seem funny, gradually creates a single picture of a “shifted”, “turned over” world. Fables are no less philosophical than epics. They, like the global metaphor of laughter, are also a way of understanding life: in clear simplicity they show us the universal connection of opposite, “wrong side” phenomena of reality. In medieval Rus', the fulfillment of fables was certainly integral part"repertoire" of buffoons.

Folk songs are a genuine artistic encyclopedia of the life of the Russian people. Today the song, the richest layerRussian folklore, is described incompletely and contradictorily. The genre division of songs into historical and ballad, bandit and soldier, lyrical and round dance is quite conventional. All of them are examples of the finest lyricism and all, without exception, are historical. Attractive with purity and sincerity, the songs deeply reveal the character of a Russian person who values ​​​​his fatherland; who never tires of admiring his native land; and to your children.

A proverb is a widespread expression that figuratively defines any life phenomenon or gives an assessment of it: A pancake is not a wedge, it will not split your belly. Where is the sorrow for the wise, and the joy for the fool.

A proverb is a short, apt, stable saying in everyday life. Compared to a proverb - a witty characteristic given to a person, object or phenomenon and decorating speech, a proverb has a complete deep meaning, contains a wise generalization. A proverb, by definition of the people, is “a flower”, a proverb is “a berry”. The proverbs capture the life experience of the people: People quarrel, but the governors feed. A thief worth $100 is hanged, a thief worth $500 is honored. The people are like in a cloud: in a thunderstorm everything will come out.

The famous Russian scientist and poet M.V. was the first to collect and write down proverbs. Lomonosov. Subsequently, collections containing 4-9 thousand proverbs were published: “Collection of ancient Russian proverbs” (Moscow University, 4291 proverbs), “Complete collection of Russian proverbs and sayings” (Ts.M. Knyazhevich, 5365 proverbs), “Russian folk proverbs and parables" (I.M. Snegirev, 9623 proverbs and sayings), in the famous collection by V.I. Dal's "Proverbs of the Russian People" there are more than 30 thousand of them.

Tradition is an artistic and narrative genre of folklore with elements of fiction. The plot of a legend is usually based on a real event. A striking example of oral narratives of this type are the legends about the son of the Tula blacksmith Demid Antufiev, Nikita Demidov, the founder of the largest factories in the Urals in the first decades of the 18th century.

Tale - oral folk story, telling about the past without fiction: Cossack and Siberian tales, “working” prose of gold miners, craftsmen, miners, etc. In their narrative style and structure, tales are similar to traditions and legends.

A fairy tale is one of the main prose folklore genres of an artistic and fantastic nature.

Skomoroshins are diverse songs of the mischievous art of skomorokhs: jester oldies (epics - parodies), parody ballads, songs-novels of comic content, fables. They have one thing in common - laughter. If in the classical genres of Russian folklore laughter is only an element of content, then for skomoroshins it serves as an organizing artistic principle.

Tongue twisters are a comic genre of folk art, classified as small, a phrase built on a combination of sounds that make it difficult to quickly pronounce words. Tongue twisters were popularly used as a teaching tool in the formation of children's speech, its development and subsequent formation, as well as for entertainment purposes.

Chatushka (from frequent) is a short, usually rhyming song with humorous or satirical content. The ditties are performed at a cheerful, perky tempo, accompanied by an accordion.

2. Calendar-ritual poetry

Vesnyanka is a song calling for spring and warmth. Vesnyankas were heard in Russian villages after Maslenitsa songs. They reminded that the time for field work was approaching, birds were flying and “bringing spring.” The main dates for the clicking of spring: March 4 - the day of Gerasim Rooker (rooks arrive); March 9 is the day of the Forty Martyrs (forty and forty birds fly); March 25 - April 7 according to the new style - Annunciation (the day when birds are released from cages into the wild).

The harvest song is a type of autumn songs in calendar-ritual poetry. Autumn ritual poetry did not develop as much as summer poetry. Only stubble songs are known, filled with gratitude and glorifying nimble women - “winch daughters”, “quail daughters-in-law”, who “early” went out to the fields and harvested the harvest, “so that there is something to be said about it, okay”.

Game song is a type of spring-summer songs in calendar-ritual folk poetry. Already the names of this type of songs reflect a cheerful mood caused by the onset of long-awaited warmth, hopes for a generous harvest (sow in the dirt, you will be a prince!), the opportunity to take off heavy clothes, show off and take a closer look at the future bride or groom. The game songs talked about sowing and growing the future harvest, the main theme here was the sun - the source and continuation of life, light and warmth, the theme of cereals and other plants, the game songs were called: “Poppy”, “Peas”, “Cabbage” ", "Flax", "Turnip", "Millet". Game songs can be divided as follows: – round dance songs, when those gathered moved in a circle or in the same circle depicted various scenes provided for by the content of the song (“There was a birch tree in the field”); - song-games performed by participants lined up in two lines, one opposite the other (“And we sowed millet”); - “ghoul” songs, when the players, while performing a song, follow each other around the hut, lace their hands, round the line, “curl” them into a ball (“braid yourself, wattle fence,” “curl, cabbage”). In gaming poetry, echoes of ancient magic and traces of ancient forms of marriage have been preserved.

Kolyadovaya song (kolyadka) is a type of winter (New Year's) songs in calendar-ritual poetry. The onset of the New Year was popularly associated with the increase in the day “by a chicken step” after the winter solstice on December 22. This observation formed the basis of popular ideas about the boundary that separates the end of the old year from the beginning of the new. The arrival of the new year was celebrated by calling Kolyada and Avsenya. The word “kolyada” goes back to the Latin name for the first day of the month - calendae (cf. calendar). In Rus', caroling was one of the main rituals performed under New Year. It was accompanied by a round of neighbors and carol songs (Avsen), among which we can distinguish songs of praise and songs of request:

Kupala songs - a cycle of songs performed on the holiday of Ivan Kupala (the night of July 6-7 - according to the new style). They contained elements of ancient magical formulas aimed at protecting the harvest from the machinations of evil spirits and so that grain would be produced generously.

The Maslenitsa song is an invitation to the broad and generous Maslenitsa (it is sometimes called Avdotya Izotyevna).

Podludnye songs are songs performed during the game that accompanied fortune telling. Each player put his own object (a ring) into the dish, then songs under the dish were sung. The host, without looking, took out the first ring he came across from the dish. The content of the song was related to the person whose ring was taken out. The underwater song contained an allegory by which the future was judged.

Trinity-Semitic song is a type of summer songs in calendar-ritual poetry. The most significant groups of rituals and songs of the summer period, which began with the summer solstice (Peter-turn) - June 12 (25), are associated with various states of the sun and the plant world. Summer (Semitic) rituals, later combined with the Christian Trinity, are otherwise called green Christmastide. In the Trinity-Semitic songs, the central place is given to the birch tree - the cult tree of the Slavs, the ancestor tree, a symbol of warmth and life.

3. Songs

Barge hauler songs are songs of barge haulers and about barge haulers. The barge haulage industry originated in Russia at the end of the 16th - beginning of the 17th centuries, when the state was especially interested in the development of water trade relations and the attitude towards fugitive peasants or recruits hired as barge haulers was the most lenient. People went into barge haulers both from family hardships and from the cruelties of serfdom. Usually they went downstream on ships and returned, leading ships loaded with goods on a towline; in addition, they were both loaders and porters.

Historical songs are songs whose origins are connected with one or another historical event or face. At the same time, individual nuances of the event (“I am from the Kama River, Stenka Razin’s son”) or characterological details of the artistic and poetic portrait of a historical figure could be fictitious, embellished or inverted, sometimes creating an image distorted to the point of its opposite. Unlike epics, with their unchanged poetic structure, historical songs, having the same information content, no longer have strict composition rules and obey the laws of other genres. Over time, epics disappear from the developing new genre. Songs of the 17th-18th centuries. become more diverse and acquire social connotations. The heroes of the new songs are real characters - Stepan Razin, Emelyan Pugachev, Ivan the Terrible, Ermak. Despite their apparent simplicity, historical songs have a broad folklore context; folklore symbolism is actively “at work” here: death is perceived as crossing a river, heroes are likened to eagles and falcons, symbolic images of trees - birch, oak, rowan, etc. - are widely used.

Lyrical songs are songs that reflect the world of personal feelings. Lyric song helped the people to withstand in any situation, absorbed the sadness and pain of losses, insults and disappointments, was the only means of preserving self-esteem in a state of humiliation and powerlessness. “A song is a friend, a joke is a sister,” says a Russian proverb. Through the spiritual sorrow, the sad “mourning” of the lyrical song, the greatness and moral beauty of the people clearly emerge.

Dance (comic) songs - the name of this group of songs speaks for itself. A good, cheerful mood is not alien to the Russian song creativity, in which there is a place for laughter, jokes, and ridicule. Many Russian dancers have entered the golden treasury of world culture: “Kalinka” is known in almost every country. The songs “The Moon is Shining”, “You Are My Canopy, You Are My Canopy”, “There Was a Birch Tree in the Field” are widely known.

Robber songs are songs of robbers or about robbers. Robber (and prison) song as a genre was formed during peasant uprisings, mass escapes of peasants and soldiers from cruel forced life (XVII-XVIII centuries). The main theme of bandit and prison songs is the dream of the triumph of justice. The heroes of robber songs are daring, brave " good fellows“with his own code of honor, the desire to comprehend what is happening (“duma think”), and a courageous readiness to accept all the vicissitudes of fate.

Wedding songs are songs that accompanied the entire wedding event from matchmaking to the “prince’s table,” i.e., the feast table in the groom’s house: the conspiracy, the bachelorette party, the wedding, the arrival and departure of the wedding train to the church. The bride and groom, a married couple in lyrical songs are symbolized by the inseparable Utushka and Drake or the swan and swan, especially beloved in Rus'. The duck and the swan are symbols of eternal femininity, each of which reflects complex vicissitudes female destiny. A Russian wedding is a complex complex of almost theatrical ritual actions, including many songs: sentences, magnifications, dialogue songs, lamentations, and reproaches. 1. Wedding sentences were pronounced for the most part a friend who played the most important role at the wedding: he was its “director” and the protector of the bride and groom from evil forces. Sometimes the sentences were pronounced by the matchmaker, the matchmaker, or the parents. When a friend addressed one of the participants in the ritual, dialogue songs were formed, giving wedding ceremony the nature of the performance, in which almost everyone was a participant. After the verdict was pronounced, the parents put bread and salt on the tray, and occasionally money; then the guests made offerings. Dialogue songs were extremely popular at weddings. A typical example of girlish songs (performed at a bachelorette party) is a conversation between a daughter and her mother. Greatnesses are song praises of the bride and groom, originally associated with incantatory magic: the well-being and happiness of the bride and groom seemed real, almost here. In later forms, the incantatory magic of magnification was replaced by the expression ideal type moral behavior, beauty, prosperity.

Lamentations are lyrical songs that directly convey the feelings and thoughts of the bride, girlfriends, and wedding participants. Initially, the function of lamentation was determined by the ritual, where the bride presented her departure from home as unwanted, as an action performed against her will, in order to avoid the revenge of the patrons of the hearth. But it cannot be said that the bride’s crying was always insincere. Corial songs are joke songs, often parodies of greatness. The function of reproach songs is entertaining; they are colored with humor. They were performed after all the main actions of the wedding ceremony were completed.

Soldiers' songs (their name speaks for itself) began to take shape after Peter I's decree on recruitment (1699). Indefinite service, established by decree, forever separated the soldier from his family, from his home. Soldiers' and recruits' songs are permeated with doom (“great adversity is the service of the sovereign”), describe difficult moments of parting with relatives (“From your young eyes, tears roll like a river”), the hardships of barracks life (“Whatever day or night we , to the little soldiers, there is no calm: Dark night comes - be on guard, White day comes - stand in the ranks") and often inevitable death in battle.

Among soldiers' and recruits' songs, lamentations stand out as a special group.

Round dance songs are play songs, the name of which goes back to the name of the ancient solar Slavic deity Khorsa (cf. well, mansions, round dance). Those gathered moved in a circle, depicting the movement of the luminary across the sky, thereby glorifying, calling and propitiating the sun, which was so necessary for the harvest. In the same circle, various scenes provided for by the content of the song were depicted. The most popular round dance songs have reached our time: “There was a birch tree in the field”, “I walk along the round dance”, “Along and along the river, along and along the Kazanka”, etc.

Coachman songs - songs of coachmen or about coachmen. The life of the coachmen, whose main occupation was “yam racing,” was significantly different from the life of the peasants. They were exempt from taxes, but their situation was still extremely difficult. Often, “service people” did not pay money for transportation, and when the coachmen refused to carry for free, they were beaten, or even shackled. The coachmen who tried to return back to the village were forcibly returned to the outpost. Their songs tell of a bleak fate. Particularly common in coachman songs are motifs about love for the “red maiden,” who “made my heart soar without frost,” and about the death of a coachman in the steppe, in a foreign land.

Children's folklore

A teaser is a mocking joke of a rhyming nature aimed at demoralizing an enemy.

Drawing lots is one of the most common genres of children's folklore. Like counting rhymes, draws are designed to distribute playing roles. The child chooses one thing, getting a player on his team, or something else.

Zaklichka is a children's song addressed to the sun, rainbow, rain, birds.

Lullabies are the oldest lyrical songs that accompany the motion sickness of a child. The lullaby song is distinguished by its extraordinary tenderness, regularity and calmness.

Pestushka is a song or rhyme that accompanies the child’s first conscious movements.

A nursery rhyme is a short song that accompanies a child’s first games with his fingers, arms and legs, for example, “The White-sided Magpie,” when each of the child’s fingers is fed with porridge, but the little finger is not given anything because it is too small and has not worked out anything. “Ladushki” has remained the most popular nursery rhyme since ancient times.

A counting table is a rhyming rhyme with the help of which playing children distribute roles and establish a sequence for starting the game.

Bibliography

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Anikin V.P. Russian oral folk art: a textbook for university students, educational. according to special "Russian language and literature". – M.: graduate School, 2009.

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Gudziy N. K., Dylevsky N. M., Dmitriev L. A., Nazarevsky A. A., Pozdneev A. V., Alshits D. N., Robinson A. N. What problems arise for further study of “The Tale of the Regiment” Igor"? Question No. 7. - In the book: Sat. answers to questions on literary criticism. M., 1958, p. 25-45.

Demin A.S. Art worlds ancient Russian literature. – M.: Heritage, 1993.

Dmitriev L. A. The most important problems of the study “The Tale of Igor’s Campaign.” - TODRL, M.; L., 1964, t. 20, p. 120-138.

Old Russian literature in research: Reader. – M.: Higher School, 1986.

Ancient Russian literature. Reader. / Comp. N.I. Prokofiev. – M.: Education, 1988.

Ivanov Vyach. Vs., Toporov V.N. Slavic language modeling semiotic systems. M., 1965.

History of Russian literature X-XVII centuries. /Ed. D.S. Likhacheva. –M.: Education, 1979.

Karpukhin I.E. Russian oral folk art: educational method. allowance. – M.: Higher School, 2005.

Kravtsov N. I. System of genres of Russian folklore; Folklore and mythology // Kravtsov N. I. Problems Slavic folklore. M., 1972. S. 83-103; 113-143.

Kuskov V.V. History of Old Russian Literature. – M.: Higher School, 2003.

Likhachev D.S. Poetics of Old Russian Literature. – M.: Nauka, 1979.

Likhachev D.S. “The Tale of Igor’s Campaign” is a heroic prologue of Russian literature. L., 1967. 120 p.

Meletinsky E. M. Poetics of myth. M., 1976.

Propp V. Ya. Folklore and reality. Selected articles. M., 1976.

Putilov B. N. Folklore and folk culture. St. Petersburg, 1994.

Smirnov I.P. System of folklore genres // Lotmanov collection. T. 2. M., 1997. P. 14-39.

Specificity of folklore genres / Rep. ed. B.V. Kirdan. M., 1973.

Trubachev O. N. Ethnogenesis and culture the most ancient Slavs. Linguistic research. M., 1991.

Folklore. Poetic system / Answer. ed. A. I. Balandin, V. M. Gatsak. M., 1977.

Types of small genres of folklore

Lullaby- one of the oldest genres of folklore, as evidenced by the fact that it retains elements of a charm-charm. People believed that a person is surrounded by mysterious hostile forces, and if a child sees something bad and scary in a dream, then in reality it will not happen again. That is why you can find the “little gray wolf” and other frightening characters in the lullaby. Later, lullabies lost their magical elements and acquired the meaning of good wishes for the future. So, a lullaby is a song used to lull a child to sleep. Since the song was accompanied by the measured swaying of the child, rhythm is very important in it.

Pestushka - a short poetic chant of nannies and mothers who nurture the baby. The pestle accompanies the child’s actions that he performs at the very beginning of his life. For example, when the child wakes up, the mother strokes and caresses him, saying:

Stretchers, stretchers,
Across the fat girl
And in the hands of the veil,
And in the mouth there is a talk,
And in the head there is reason.

When a child begins to learn to walk, they say:

Big feet
Walked along the road:
Top, top, top,
Top, top, top.
Little feet
Running along the path:
Top, top, top, top,
Top, top, top, top!

Nursery rhyme - an element of pedagogy, a song-sentence that accompanies playing with a child’s fingers, arms and legs. Nursery rhymes, like pesters, accompany the development of children. Small rhymes and songs allow you togame formencourage the child to take action while simultaneously performing massage, physical exercises, and stimulating motor reflexes. This genre of children's folklore provides incentives to play out the plot with the fingers ( finger games or Ladushki), hands, facial expressions. Nursery rhymes help to instill in a child hygiene and order skills, develop fine motor skills and the emotional sphere .

Examples: "Magpie"

Option 1.
Magpie-Crow (Running a finger over your palm)
I cooked porridge,
I jumped on the threshold,
Called guests.
There were no guests
Didn't eat porridge
All my porridge
Magpie Crow
I gave it to the kids.
(curls fingers)
Gave this one
Gave this one
Gave this one
Gave this one
But she didn’t give it to this:
- Why didn’t you cut wood?
- Why didn’t you carry water?

Option 2. (features in the cartoon " Mouse song»):
Magpie Crow
Cooked porridge
She fed the babies:
Gave this one
Gave this one
Gave this one
But I didn’t give it to this

"Okay" (clap hands on stressed syllables)

Okay, okay, where have you been? By Grandma!
What did you eat? Porridge!
What did you drink? Brashka! (options: drank yogurt, Sour milk. Yummy yogurt, Sweet porridge, Good grandmother!)
Butter porridge!
Brashka sweetie!
(Grandma is kind!)
We drank, ate, wow...
Shuuu!!! (Home) Let's fly!
They sat on their heads! ("Ladushki" sang)
We sat down and sat down,
We flew on (Home)!!!

joke

joke (from bayat, that is, to tell) - short poetic a funny story which a mother tells her child, for example:

Owl, owl, owl,
Big head,
She was sitting on a stake,
I looked to the side,
He turned his head.

Calls - one of the types of spell songs of pagan origin. They reflect the interests and ideas of peasants about the economy and family. For example, the spell of a rich harvest runs through all the calendar songs; For themselves, children and adults asked for health, happiness, and wealth.

Calls 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 harbingers of spring. Moreover, the forces of nature were revered as living: they make requests for spring, wish for its speedy arrival, and complain about winter.

Larks, larks!
Come and visit us
Bring us a warm summer,
Take the cold winter away from us.
We're tired of the cold winter,
My hands and feet were frozen.

Counting book - a small rhyme with the help of which they determine who drives the game. A counting table is an element of the game that helps establish agreement and respect for the accepted rules. Rhythm is very important in organizing a counting rhyme.

Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Atty-batty, what did you buy?
Aty-baty, samovar.
How much does it cost?
Aty-baty, three rubles
Aty-baty, what is he like?
Aty-baty, golden.
Aty-baty, the soldiers were walking,
Aty-baty, to the market.
Atty-batty, what did you buy?
Aty-baty, samovar.
How much does it cost?
Aty-baty, three rubles.
Aty-baty, who's coming out?
Aty-baty, it's me! Tongue twister

Patter - a phrase built on a combination of sounds that makes it difficult to quickly pronounce words. Tongue twisters are also called “pure twisters” because they contribute to the development of a child’s speech. Tongue twisters can be both rhymed and non-rhymed.

Greek rode across the river.
He sees a Greek: there is a cancer in the river,
He stuck the Greek's hand into the river -
Cancer for the hand of a Greek - DAC!
A bull has a dull lip, a bull has a dull lip.
From the clatter of hooves, dust flies across the field.

Mystery , like a proverb, is a short figurative definition of an object or phenomenon, but unlike a proverb, it gives this definition in an allegorical, deliberately obscure form. As a rule, in a riddle one object is described through another based on similar features: “The pear is hanging - you can’t eat it” (lamp). A riddle can also be a simple description of an object, for example: “Two ends, two rings, and a nail in the middle” (scissors). The importance of riddles cannot be overestimated. This and folk pastime, and a test of ingenuity and ingenuity. Riddles develop children's ingenuity and imagination.

The role of riddles and jokes was also played by inverted fables, 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
Grandfather Egor is coming
He's on a cart,
On a creaking horse,
Belted with an axe,
The belt is tucked into the waistband,
Boots for plowing,
Zipun on bare feet.

Oral folk art (folklore) existed even in the pre-literate era. Works of folklore (riddles, tongue twisters, fables, etc.) were transmitted orally. They memorized them by ear. This contributed to the emergence different options the same folklore work.

Oral folk art is a reflection of the life, way of life, and beliefs of ancient people. Works of folk art accompany a person from birth. They contribute to the formation and development of the child.