Proverbs from epics about the homeland. Cossack folklore oral creativity (legends, fairy tales, epics, proverbs and sayings, riddles)

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Cossack folklore oral creativity(legends, fairy tales, epics, proverbs and sayings, riddles) song creativity(dance choruses, ditties) music and dancing. The people put all the best into these works: folk imagination, knowledge of life, invention and wisdom. And the word “folklore” means “folk wisdom”.

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1. “Yellow color is not suitable for fir trees and pine trees,” complains _______. 2. Oh, and he’s evil: Every time he makes us cry _____. 3. Labor feeds a person, but _______ spoils him. 4. Glued, stitched, No doors, but closed. Whoever opens it always knows a lot _______________. 5. A beautiful maiden is rolling across the sky ______________. 6. A person without friends is like _______ without roots. F 1 2 3 4 5 6 r o w a n d m a l e b o o k a sun t r e e r

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Proverbs and sayings Cossacks are famous wits, and it is the word that is “the burden that does not weigh on the journey and does not fill the shoulders, but warms the soul, and even saves,” as the Cossacks said. Proverbs and sayings flowed from the lips of every adult. Donuts for the chieftains, cones for the Cossacks. Without a horse, a Cossack is an orphan all around. Cheerful halts where the Cossacks began to sing. A dog's life, but a Cossack's glory. A Cossack would rather die than leave his native land. Be patient, Cossack, and you will become an ataman. There is no translation for the Cossack family. A Cossack will drink from a handful and dine from the palm of his hand. I wish I could sing and my stomach would feel so bad.

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The moose won't do any good. They don't look for good from a beaver. A healthy body has healthy fluff. You can't spoil Sasha with oil. It's not the feet that burn the pots. Hunger is not a brush. I bought a whale in a bag. We ourselves have ears. He runs towards the catcher and the door. On the mountain the hat is on fire. One mustache is good, but two are better. Seven do not go alone. The forest is being cut down - caps are flying. A coward is afraid of his laziness. A GAME. Proverb, we know you, But you weren’t like that: Has the mischievous letter really taken someone’s place again?

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Fairy tales - fairy tales, fairy tales - dialogues, fairy tales funny and scary, funny and serious. Cossack tales are part of Russian folklore, although they have their own characteristics. - Odnosum, why did it blow your face so much? Yesterday I was fishing - a wasp landed on my lip... And stung? Thank God I didn’t have time! Her brother killed her with an oar! (fairy tale-dialogue-anecdote)

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1. New dishes, but there are holes in them. 2. Zhovty ball rashe heat. 3.Antoshka is standing on one leg, people are poking at him, but he won’t respond. 4. The boys stood in a row and did not wiggle as they passed. 5. Golden Demid looks at the sun all day. PUZZLES

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The songs of the Cossacks are not only an ideal expression of the Cossack soul, but also a true reflection of the fate of the entire Cossacks. The song surrounded the Cossacks from childhood to the grave. They were born with songs, they went to war with songs, they measured distances with songs, drinking songs and songs of wedding ceremonies. Historical, epic and fairy tale songs. Military anthems and regimental songs. Cossack service was difficult and dangerous. In short moments of respite, a Cossack walked - his prowess and fun sounded in his songs. Each Cossack knew more than a thousand songs.

Students are introduced to oral poetry in the 4th grade. Courageous heroes of fairy tales and epics excite schoolchildren with the high order of human feelings and aspirations, forming a moral and aesthetic ideal. Oral folk poetry is inextricably intertwined with the works of Russian folk and classical music, folk visual arts, ancient architecture.
In introductory conversation for the study of oral folk poetry, the teacher tells students that people create not only wonderful literary works, but also music, songs, embroidery, carpets, dishes, toys, furniture decorated with carvings and inlays.
You can show some examples to students. folk art, invite them to collect art reproductions. We recommend that the teacher select books, issues of the magazine " decorative arts USSR", where there are bright and expressive photographs of objects of decorative and applied art. This can be used as illustrative material to help better consolidate artistic images oral poetry.
4th grade. In the 4th grade, two fairy tales are studied according to the program - “Ivan the Peasant Son and the Miracle Yudo” and “The Frog Princess”. In the first conversation about fairy tales, you need to find out what fairy tales the children know, which ones they especially like and why. You can invite schoolchildren to tell one or another fairy tale. Gradually, the conversation will turn into the teacher’s story about the fairy tale, why it is called that, etc. The fairy tale lives among the people thanks to storytellers who create and spread it. Portraits can be shown famous storytellers I. Semenov, A. Baryshnikova, M. Golubkova.
It is advisable to tell children that oral folk art was highly valued by such literary artists as A. S. Pushkin, N. A. Nekrasov, A. M. Gorky.
A. S. Pushkin lovingly collected Russians folk tales, wrote them down in long winter evenings I listened with enthusiasm to the tales of my nanny Arina Rodionovna. Together with the class, you can recall the poet’s fairy tales (“About the Fisherman and the Fish,” “About the Golden Cockerel,” “About Tsar Saltan,” “About the Sleeping Princess and the Seven Knights,” etc.).
A. M. Gorky wrote several fairy tales for children (“Sparrow”, “Samovar”, etc.).
The teacher expressively and emotionally reads the fairy tale “The Frog Princess”, conducts a conversation about its content, then the students, under his guidance, draw up a plan for the fairy tale and work on its language. Children remember the main characters, describe the main events of the fairy tale, define it main meaning. They share without difficulty characters on positive and negative, note excellent human qualities Ivan Tsarevich and Vasilisa the Wise, their struggle with evil (Kashchei the Immortal) and victory over it.
By the end of working on the fairy tale (in the third lesson), when students are already well versed in its content and form, you can show reproductions of paintings by V. Vasnetsov “The Frog Princess” and “Kashchei the Immortal”. “Reading” them develops not only speech, but also aesthetic thinking. It is very important to form in children a stable interest in painting, to teach them to distinguish between artistic and visual arts pictorial and verbal works.
At the beginning of the conversation, it is necessary to explain to students what the word reproduction means. A conversation, designed for 15-20 minutes, can be conducted approximately according to this plan: 1. A short story by the teacher about the artist V. Vasnetsov and his work on paintings on fairy tales. 2. Analysis of paintings.
In the conversation, the ideological and artistic similarity of the paintings with the fairy tale should be revealed. You need to start with the usual and simple questions: Which fairy tale characters do you see in reproductions? Where does the action take place?
Students correctly answer that one reproduction depicts Vasilisa dancing at a feast, and the other depicts Kashchei with the princess in a gloomy dungeon.
Vasilisa’s entire appearance, her facial expression, gestures, and the dance she performs indicate that the princess is lively and in a joyful mood. The children notice that everything around her is light and festive.
- Why did you decide so?
Not only Vasilisa is cheerful and elegant, but also the musicians who play with inspiration cheerful dance. (With the help of the teacher, the children call them musical instruments: gusli, balalaika, horn).
Students notice that the musicians have smiles on their faces, their lips are humming a cheerful tune, their figures are swaying to the beat of the music, and their legs are about to start dancing.
- What else creates the impression of a joyful mood?
The whole situation surrounding the princess. Vasilisa dances on a bright veranda, decorated with carved wooden columns and bright images of birds, fruits, and berries. Children see the stairs that lead to the lake, and the glowing white trunks of birch trees, and a crowd of festively dressed peasants on the opposite shore of the lake. They also pay attention to the fact that far, far away behind the huts and the yellowing field a narrow strip of dark forest is visible. And above this whole picture stretched a light blue sky with white swans flying in it.
- What colors (paints) does the painter use to create this joyful mood?
- Used here light colors, mostly warm colors: yellow, orange, red, brown.
The teacher draws the class’s attention to a reproduction of “Kashchei the Immortal.”
- Who is depicted in the picture?
Vasilisa and Kashchei the Immortal are sitting on a high throne. Students describe the appearance, gestures, and clothing of the princess and Kashchei.
- What colors does the artist use to create the image of Kashchei?
The painter uses colors of cool tones: green, purple, black, gray, and this gives a gloomy sound not only to the appearance of Kashchei, but to the entire picture. Students describe the furnishings of the Kashcheev kingdom: huge, iron-forged chests with locks and keys, a lone candle, low vaults of a dungeon, on the walls of which a field, a dim sun, the sky and a pale silhouette of a swan are depicted in dull black-gray and blue-green tones.
- What did the artist want to say with the image of Kashchei and the environment around him?
Summarizing the children’s answers, the teacher will add that V. Vasnetsov sought, in the image of a skinny, hunched old man with a scraggly beard and a hooked nose like an owl’s, to show evil and cruelty that must be destroyed.
- What feelings do Vasilisa and Kashchei evoke in us?
The children respond that the attitude towards them is the same as towards the heroes of the fairy tale: we rejoice when Ivan Tsarevich defeated Kashchei and saved the princess.
- But what is the difference between a fairy tale and a picture? With the help of the teacher, schoolchildren will understand this difference: in a fairy tale, events and characters are narrated in words, but painting depicts the same events with lines and colors on the canvas.
If the teacher does not find reproductions from paintings by V. M. Vasnetsov, they can be replaced with illustrations by S. Malyutin (“Kashchei the Immortal”) or I. Bilibin (“The Frog Princess” and “Vasilisa the Beautiful”). Here we need to draw students’ attention to the bright, decorative form, Russian intricate ornaments of I. Bilibin’s illustrations. And another one important feature illustrations, which must be emphasized, are the transmission of subtle humor and sharp irony of Russian fairy tales. You can ask one or two questions that will help students understand the comic essence of the images created by I. Bilibin:
- How did the artist depict the Tsar and the boyars?
Students give these images negative characterization. A fat, funny and stupid king sits on a high throne, surrounded by equally stupid and funny boyars. With their mouths open in amazement, they watch the beautiful Frog Princess dance, and white swans fly out of her sleeves.
- Why did you decide that they were funny and stupid?
Children answer that their facial expressions and gestures indicate this.
It is useful to have students prepare at home for an oral history or write short essay about the content of the picture. Depending on the level of preparation of the class and the availability of time, the essay can be done in class or at home. In 4th grade, it is imperative to give a plan for such a story.
In conclusion, you can show the children the film strip “The Frog Princess,” which will visually reinforce the beautiful fairy tale images. During the demonstration, have students comment on individual frames of the filmstrip. It is necessary to select the most expressive episodes from the filmstrip, connect them so that they correspond to the goal of the lesson set by the teacher, and are built along a line from the known to the unknown, arousing growing interest in the children. After getting acquainted with the fairy tale “The Frog Princess”, students study the fairy tale “Ivan the Peasant Son and the Miracle Yudo” according to approximately the same plan. During the lessons, you can show, at the teacher’s choice, reproductions of paintings by V. Vasnetsov, M. Vrubel, illustrations by I. Bilibin, E. Polenova.
Also, it would be good to listen to " Children's album"P. Tchaikovsky's play "Baba Yaga" - the only work fairy tale genre in album. The image of Baba Yaga is usually associated with other negative characters fairy tales - witches, Kashchei the Immortal, Leshim, etc., so children can quite easily determine musical image Baba Yaga. But in order for them to understand it more deeply, they need to listen (10 minutes) and compare two quick plays, “The Game of Horses” and “Babu Yaga.” Schoolchildren usually explain correctly: where the boy is riding a horse, the music is fast, but smooth, calm and cheerful. In “Baba Yaga” the music is restless, as if Baba Yaga is running, angry, rushing in one direction or the other.
The theme of the fairy tale can be deepened and supplemented in speech development lessons or extracurricular reading.
At one of the extracurricular reading lessons, the teacher will introduce students to classical musical works to fairy tales. The guys are interested to know that there is an opera “Kashchei the Immortal”. It was written before the Russian Revolution of 1905 by composer N. Rimsky-Korsakov. Kashchei, one of the central images, is not just fairy tale character With negative traits, he is the personification of oppression, violence. All the music of the opera is permeated with the main idea - liberation from oppression. No wonder, first staged in Moscow, it caused a storm of applause, revolutionary slogans, and the audience was removed from the hall with the help of the police. Composer A. Lyadov created short symphonic plays “Baba Yaga”, “Kikimora”, “Magic Lake”, excerpts from which can be listened to in an extracurricular reading lesson.
Particularly interesting is the main part of the play “Baba Yaga” (4 min.), where the composer depicts the rapid flight of Baba Yaga. The music is filled with rustling and rustling, whistling and clicking sounds. Children themselves will identify the dry, ringing and at the same time clicking sound that creates the idea of a “bone leg.”
Studying proverbs, sayings, and riddles based on musical rhythm and vivid metaphors in lessons is always lively. These small genres of folk art in an entertaining way help schoolchildren to comprehend the phenomena of the reality around them and develop an aesthetic vision of the world. Students willingly memorize proverbs, make and solve riddles, orally compose riddles on topics given by the teacher (clock, radio, sun, etc.), and come up with them themselves on any topic.
You can use riddles in drawings, musical works, for example, comic jokes, sayings (“Bom, bom, bom! The cat’s house caught fire!”), as well as texts related to ancient agricultural rituals and nature (“Frost”, “Rain”) , rain, uncle’s wheat”, etc.).
In this conversation, which introduces students to the diverse world of folk art, one can show them the wealth of not only oral folk poetry, but also decorative and applied arts.
5th grade. In oral folk art, epics occupy a special place, of which “Ilya Muromets and the Nightingale the Robber” is studied in the 5th grade.
In the first lesson, dedicated to the epic, students recall the main features of folklore, the heroes of fairy tales, their desire for goodness, justice and freedom.
This material needs to be linked to the story about Ancient Rus', about its people, who waged an intense struggle for their independence against numerous enemies in the East and West, talk about the invasion of the Mongol-Tatars, about people's struggle and the liberation of the Russian land.
These important stages in the history of our country were reflected in the art of that time. At the same time, it must be emphasized that, despite the cruel control of the church, ancient Russian artists, architects, and storytellers were able to express the spirit of their time and reveal high patriotic ideas.
During the same historical period (X-XII centuries), artists from the people created works of lasting aesthetic significance. These are epics about Volga and Mikul, Dobrynya Nikitich, Ilya Muromets, Sadko and Vasily Buslaev, these are outstanding architectural monuments Ancient Rus' - St. Sophia Cathedral in Kyiv (1037); Church of the Intercession on the Nerl (1165); Demetrius Cathedral in Vladimir (1193-1197) with magnificent wall paintings inside.
Photos of the listed cathedrals can be posted on the board. It is advisable to have a conversation (10-12 minutes) about St. Sophia Cathedral in Kyiv, based on the information that fifth-graders gleaned from history, literature, and fine arts lessons. The teacher talks about the components of an architectural image: size, shape, decoration, coloring of the structure. Then he draws the children's attention to the form and decoration of the St. Sophia Cathedral: the originality of the composition, the richness of the mosaics and frescoes. Of great interest are the fresco paintings that convey scenes of princely life, entertainment, hunting, and also recreate images of people different professions, life and customs of Ancient Rus'.
The teacher emphasizes that the St. Sophia Cathedral, which rose in the central part of the city and amazed with its massiveness and some heaviness of forms, affirmed the idea of greatness Kievan Rus. This glorification of the homeland, its power and beauty was also characteristic of epics.
When talking about epics, the teacher will emphasize that the Russian people put their ideas about best qualities a person, endowing him with an unlimited feeling of love for his homeland, enormous physical and moral strength, nobility, bravery, courage, true humanism - the desire to protect the weaker - and hatred of the enemy. Bogatyrs are depicted not only in the fight against the enemies of their homeland, but also in everyday life, in relation to each other, to comrades in the struggle. Students should pay attention to the fact that epic heroes are not specifically historical, real personalities, and artistic images are types created by folk imagination. They revealed the moral and aesthetic ideals of the Russian people, their progressive aspirations.
The epics were not written down, but were transmitted orally ("told") for many centuries by talented singer-storytellers. Hence the special character of the presentation: epic slowness, songlike musicality, bright, emotional coloring of the images. You can show children portraits of outstanding storytellers - T. Ryabinin, I. Fedosova, M. Kryukova.
The epic epic is the most valuable heritage, the pride of our culture. That is why epics inspired Russian writers - G. Derzhavin, A. Radishchev, I. Krylov, A. Pushkin, N. Nekrasov; classical composers A. Borodin, N. Rimsky-Korsakov, A. Lyadov; Russian and Soviet artists V. Vasnetsov, M. Vrubel, V. Surikov, E. Kibrik.
The most popular hero of many epics is Ilya Muromets. You can start getting acquainted with this hero with a story about his illness, healing and receiving heroic strength, using the epic “The Healing of Ilya Muromets”.
An expressive reading of the epic about “Ilya Muromets and the Nightingale the Robber” always leaves a strong impression. Usually students express their opinions and admire the courage and bravery of the epic hero. Then they read the epic in parts. The teacher explains new words and concepts, conducts a conversation about what has been read, and collectively makes a plan.
The main stage of working on the epic is a detailed acquaintance with the main character - Ilya Muromets. In this lesson you can use works easel painting- paintings by V. Vasnetsov, dedicated to the heroic images of epics - “The Guslars”, “The Knight at the Crossroads”, “Bogatyrs”.
In a lesson dedicated to the image of Ilya Muromets, children characterize the hero, talk about how he did many good deeds for the people: he saved Chernigov from the enemy, destroyed the Nightingale the Robber, helped poor people, etc. But characterizing moral qualities Ilya, fifth graders find it difficult to describe it appearance. Therefore, the teacher suggests looking at V. Vasnetsov’s painting “Bogatyrs” and builds a conversation about the painting, approximately, according to this plan:
1. Time and place of action.
2. Characteristics of Ilya Muromets and two other heroes (facial expressions, poses, clothing, weapons, etc.).
3. The role of the landscape in the picture.
4. Fine arts (drawing, paints).
5. The importance of the color harmony of a painting for revealing its ideological intent.
6. The ideological meaning of the title of the painting “Bogatyrs”.
Having examined the picture, fifth-graders specifically imagine the heroes, easily and freely holding a “damask club of forty pounds,” their clothes, weapons and the heroic “good horse.”
Students give detailed description external appearance of Ilya Muromets. A calm expression on his face, a straight and firm gaze, a strong position in the saddle - everything speaks of his confidence in his abilities and readiness to meet the enemy. He is well armed. Together with the teacher, the children examine the club, shield, spear, chain mail, etc. in the picture. Then they describe the appearance of two other heroes - Dobrynya Nikitich and Alyosha Popovich.
- What character traits did the artist emphasize in each of them?
Students will note the cheerfulness of Alyosha Popovich, the severity and restrained strength of Ilya Muromets, the nobility and kindness of Dobrynya Nikitich.
-Where are the heroes? What surrounds them? Summarizing the students’ answers, the teacher will say that against the backdrop of the boundless steppe, which seems to have no end or edge, knights-heroes stand guard over the borders. The artist, trying to show the beauty and vastness of the earth itself, constructs the picture so that this earth is visible far away: it seems to go up, to the very sky, and a feeling of the boundless, endless expanse of the earth's expanse is born. The figures of heroes, located in the foreground, as if growing out of the ground, testify to the inextricable connection of the heroes with their homeland.
- What means does the painter use to tell the story of the three heroes?
Children usually name paints. The teacher adds that before applying paint, V. Vasnetsov made a drawing that conveyed the volume, recreated the shapes of the depicted objects: faces and figures of heroes, hills, feather grass, horses, clouds, etc. Drawing of the appearance of mighty and strong knights, with broad chest, well-built figure, confidently sitting on “good and heroic” horses, already gives the viewer a feeling of their strength.
- How far are the heroes located from us? The teacher explains that depending on whether the objects in the painting are close or far from the viewer, they appear different in size and shape. In this case, the riders foreground. This creates the impression of impressiveness and monumentality. This means, the teacher concludes, not only the drawing of the object, its shape (in this case, the figures of heroes), but also their location in the picture are important for revealing the ideological meaning of the work.
In addition, V. Vasnetsov deliberately raises the horizon line somewhat (the teacher points to it), as if from below we are looking at the heroes standing out against the background of the bright sky. This artist’s technique also enhances the impression of the indestructible power and greatness of the Russian knights.
The drawing is the basis of the picture, its foundation. Now you can pay attention to the paints and colors. The teacher offers to look at the picture again.
- What gives the people and objects depicted on the canvas special vivacity and persuasiveness?
The teacher will complete the answer. Color and paint in painting convey all the richness and beauty of the world. Color is the soul of painting; painting does not exist without color. An artist, or rather a painter, seems to sculpt with color, revealing the shape of objects, the material and its qualities.
- Name the main colors that the artist uses in the painting.
The guys will name a combination of rich and bright colors: green, brown, red and white, black, blue.
- What did the painter depict on the canvas with these paints? With the help of paints, the artist showed the wide steppe, dark hills, lush greenery of young fir trees, yellowed grass. The colors recreated Ilya’s courageous face, his beard sparkling with silver, a gray strand escaping from under his helmet; Dobrynya Nikitich’s blond hair and the delicate features of his face: Alyosha Popovich’s sly and sly grin; the bright shine of the warriors' weapons. When children talk fully and exhaustively about color relationships, when they see familiar objects in a new way - fabrics, metal, landscapes, people, animals - you can ask them:
- What mood does the whole picture leave? Students will easily answer “joyful.”
- Why do you think?
- The colors are all light, there are no gloomy, dark tones. The teacher, confirming the answer, will say that the combination of colors in a work (light or dark) is called color (from Latin - paint, color). Coloring or color harmony is what creates general mood paintings.
It is advisable to inform the children that V. Vasnetsov painted this picture for about twenty-five years and finished it in the famous Abramtsevo (near Moscow). V. Vasnetsov did not create illustrations for certain epics, but a collective type of heroes - knights. His canvases on these topics belong to the so-called easel painting, that is, specially intended for museums, exhibitions, and art galleries.
In approximately the same way, you can consider the painting “The Knight at the Crossroads.”
Paintings on the themes of the epic epic were also created by M. Vrubel. The language of his creations is unusual and original. M. Vrubel showed the inextricable organic connection between man and real world, nature. This is the main difference between the heroes of M. Vrubel and the epic images in the works of V. Vasnetsov. No matter how harmoniously the images in V. Vasnetsov’s paintings “Heroes” and “The Knight at the Crossroads” are combined with the surrounding nature, the landscape here acts as an illustrative background that emotionally reveals and complements the main idea of the work. M. Vrubel’s characters seem to emerge from the environment that surrounds them; they organically merge with it.
When analyzing the epic “Volga and Mikula”, you can use illustrations Soviet artist E. Kibrik, distinguished by great truth in life, authenticity of the character of the era. He was especially successful in the image of a hero - a kind, generous and cheerful person.
On extracurricular activity We recommend supplementing the study of the epic epic with familiarity with popular prints. There are especially many of them dedicated to Ilya Muromets. An interesting popular print depicts Ilya of Muromets and the Nightingale the Robber in the chambers of Prince Vladimir.
Students will tell its contents. In the center is the Nightingale the Robber in a peasant dress. By order of Ilya Muromets, he whistles “like a nightingale” and screams “like an animal.” Ilya Muromets covers Prince Vladimir and the princess, who came to listen to the Nightingale the Robber, with fur coats. People standing nearby fall from this whistle. This scene accurately reproduces the text of the epic.
Children will immediately notice that the popular print correctly conveys the likes and dislikes of the people towards the epic characters. As in the epic, Ilya Muromets is portrayed as fearless folk hero, the intercessor of all the offended and oppressed. He bravely fights his opponents, emerging victorious from all battles.
Students should pay attention to a characteristic feature of the popular print: one picture depicts several scenes at once; The plot of the epic is given as if in development.
The popular print is also interesting artistic features. For example, the horse is shown in rapid motion, with a characteristic bend of the neck.
At the same extracurricular lesson, since getting to know the popular print will take a little time (15-18 minutes), it is advisable to familiarize students with symphonic musical works dedicated to the epic epic. These are, first of all, the symphonies of A. Borodin.
A. Borodin entered the history of Russian music as a representative of the heroic-epic movement. The main theme of the composer's work was the Russian epic with its heroes-heroes who embody the people's strength.
The theme of the Russian epic sounded especially brightly and deeply in A. Borodin’s 2nd symphony, which V. Stasov called “Bogatyrskaya”. The composer liked this definition, and he wrote it on the score of the symphony.
All the music of the “Bogatyr” Symphony is distinguished by its epic breadth, smoothness and grandeur. This is an epic whose content is expressed through music.
It is especially interesting, in our opinion, to listen to the first part of the symphony (Allegro, 6 min.), which significantly complements the epic and picturesque appearance of the Russian hero. Here the composer unfolds musical characteristic Russian heroes. The courageous and harsh melody of the orchestra's string and bow section (violins, violas, cello, double bass) sounds.
Children (with the help of the teacher) determine (by tempo, rhythm, sometimes smooth, sometimes jumpy, by the melody, sometimes chanting, sometimes intermittent) that the music tells about the life of heroes, about their hot battles, brave prowess and the joy of victory. The truly heroic music of A. Borodin had a huge influence on next generation composers. In creations Soviet composers: Y. Shaporin (cantata “On the Kulikovo Field”, oratorio “The Tale of the Battle for the Russian Land”), R. Gliere (symphony “Ilya Muromets”), S. Prokofiev (cantata “Alexander Nevsky”) created heroic-epic images, developing musical traditions of A. Borodin.
If it is not possible to listen to the first part of A. Borodin’s symphony, we recommend introducing children to excerpts from N. Rimsky-Korsakov’s operas “Sadko” or “The Tale of the Invisible City of Kitezh”.
The Russian composer N. Rimsky-Korsakov, an unsurpassed “storyteller-gusliar”, devoted all his bright talent to the fairy-tale epic. The fairy-tale themes of his operas are very wide. Students are already familiar with some of them; they can name the operas “Kashchei the Immortal”, “The Tale of Tsar Saltan”, “The Snow Maiden”.
The composer himself compiled the libretto of the opera "Sadko", taking many texts directly from epics, introducing into it traditional verbal expressions typical of epic speech, and most importantly, creating a special epic recitative. All this taken together made his opera the most original work of Russian opera classics.
The composer wrote: “...what sets my “Sadko” apart from all my operas, and perhaps not only mine, but operas in general, is the epic recitative. This recitative is not colloquial, but as if conditionally epic tale or a chant... Running like a red thread through the entire opera, this recitative imparts to the entire work that national, true-life character that can only be fully appreciated by a Russian person.”
The majestic orchestral introduction “Blue Ocean-Sea” is also the leitmotif of the entire opera. By listening to this introduction, students will get a sense of the overall tone and direction of the opera. We recommend listening to one or two popular parts of Sadko, which reveal the hero’s struggle against the oppressors of the poor Novgorod people, his love for hometown, for example, the aria “If only I had a treasury of gold.” The first part of Sadko’s recitative monologue is excited and passionate. The second part is more melodious and lyrical. But the entire monologue retains the strict epic rhythm. This epic chant also permeates the choral episodes. Sadko sings the free-spirited Russian song “Height, height in heaven”, it is picked up by the squad and the people; the orchestra enters, the song expands and strengthens, leading to a jubilant, powerful finale.
In terms of the epic and epic style of music and singing, the opera “The Tale of the Invisible City of Kitezh” is close to “Sadko”. What brings them together is the plot, in which the historical basis is closely intertwined with fantasy. According to legend, the city of Kitezh was saved from destruction by the Tatars by “God’s will”: it became invisible and became a place of ideal, according to popular understanding, earthly life. “The Tale of Kitezh” is an opera legend. One of the strongest places in the opera is the symphonic picture “The Battle of Kerzhenets” - an example of Russian program music. We recommend listening to it. Students prepared a short story teachers about opera, will be able to characterize what they heard. Here, through musical means, the battle between the Russians and the Tatars is narrated. The guys will tell you that here they hear the clanking of swords, the wheezing of horses, the sound of falling bodies, a groan, etc. Then there seems to be a lull, the slaughter stops and only the echoes of a receding wild race can be heard - these are the Tatars running.
Students need to be explained that instrumental music, created on a specific topic (the name of which is necessarily displayed in the title of the work, as in this case), is called program music. The peculiarity of music of this kind is that its musical visual means evoke in listeners certain sound and visual ideas, for example, the cries of fighting warriors, the clanking of weapons, gusts of wind, the trampling of horses, etc. You can remind children of the same music in A. Lyadov's play "Baba Yaga" (the sound of a "bone leg"), N. Rimsky-Korsakov's opera "The Tale of Tsar Saltan", in A. Borodin's "Heroic" symphony.
The world of Russian folk tales, legends, epics served as the basis for N. Rimsky-Korsakov’s opera, therefore, when studying oral history in an eight-year school poetic creativity you can't do without his music. If possible, it is very good to listen to N. Rimsky-Korsakov’s opera in the theater with the whole class. Music in combination with picturesque scenery, dance, poetry makes a great impression and evokes strong aesthetic experiences.

Origins

As is known, works of art, attributable to a single author.

Its author is the people who pass on different knowledge from generation to generation. What’s most interesting is that this includes music, theatrical performances, and the so-called catchphrases, and sayings, and proverbs, and riddles, and songs, and epics, and fairy tales. Very often, folk wisdom in works of oral folk art is associated with the concept, which we will now consider in more detail.

Folklore concept

In general, the very concept of folklore comes from English word folklore, which is a combination of two terms - folk (folk) and lore (knowledge, wisdom). From here it becomes clear that folklore essentially means folk wisdom, and it doesn’t matter in what artistic form it is expressed.

How beauty and folk wisdom are manifested in works of oral folk art

Russian folklore in the world is considered one of the most unique and rich in terms of the heritage that our ancestors left us. Judge for yourself: no matter what kind of work you take, it always has a moral like a fable. But only in this case you need to look much deeper, read between the lines in order to fully understand what exactly folk wisdom is expressed in works of oral folk art. Proverbs or the same catch phrases with sayings, for example, are some instructive elements of the creativity of the people.

By and large, we can say that their main idea seems to warn us against wrong actions. Often such statements take on a kind of allegorical form and do not always have a literal meaning, say, as in the phrase that without making an effort, you won’t catch a fish.

Let's take for example famous expression: - shallow water in a reservoir). It is clear that initially it was indeed applicable to avoiding danger when wading a body of water. However, over time, it also acquired a broader meaning associated with thinking through the outcome of a situation in advance so that it does not end badly. Similar folk wisdom in works of oral folk art can be traced in the phrase “Measure seven times...”. And there are a lot of such examples that can be given. For example, it is clear that a phrase that states that you need to give time to work, and an hour to fun, in the understanding comes down to the fact that you cannot rest until you have finished all your work, or to the fact that you first need to finish what you started, and only then rest .

What can you learn from folklore?

The wisdom of generations can teach us a lot. Another element that is included in works of oral folk art looks very interesting. Epics, tales or legends, for example, are works that combine literary and musical aspects. Very often they were performed by wandering storytellers.

For the most part, they describe some historical events or people’s hopes for better life. Thanks to such works, you can even study the history of a particular people. Although the plot or images of the main characters may be greatly embellished, nevertheless, the main idea or course historical events remain unchanged. One of the most important treasures of Russian folklore is considered to be “The Tale of Igor’s Campaign.”

In almost all genres you can find some associations that help you understand why some phrases used in everyday life arose. Bogatyrs in Rus' have always been considered as strong as oaks. Well, it’s not for nothing that people came up with such a comparison about the indestructibility of their heroes? Sometimes good fellows they compared them to eagles (sometimes to drakes), and the red maiden to a swan or dove.

Conclusion

In terms of teachings, folk wisdom in works of oral folk art carries a deeper meaning than people think about it. Many people believe that the same fairy tales are just fiction. Eh, no! Although they contain animate animals, birds, plants, objects or elements, as well as heroes and phenomena that do not exist in nature, the people themselves say about them that although a fairy tale is a fiction (a lie), it contains a hidden hint that should serve as a lesson for the future.

If you think about it carefully, that’s how it is. At the same time, there is no need to perceive works of folklore in literally. Here you need to delve into hidden essence narratives. The most interesting thing is that many classics of literature adopted this technique of comparative allegories from folklore.

Epics- This is one of the most ancient genres of literature. These are ancient tales in which people's memories of the distant past are preserved: about wars with enemies of the people, about the struggle of three well-known heroes with monsters and robbers, about legendary heroes who performed feats in the name of the people.

Read epics to kid more difficult, than other genres of literature: fairy tales, poems, stories. Let us immediately explain why this is so: in these tales (unlike other genres) there is no dynamics, i.e. they are designed for slow, quiet reading. There is a very thoughtful structure of the text, an overly detailed description of everything. And the child loves a quick change of actions. The child has a CLIP CONSCIOUSNESS, i.e. he thinks in images. Therefore, in order for him to have a picture of what is happening in a fairy tale, one phrase is enough. For example, “the hen laid an egg” - and immediately an image! Is not it? And in order for an image to appear when reading the epic, you will need much more words:

“In the capital city of Kyiv,
And from the affectionate prince Vladimir,
The prince started an honorable feast
And for many princes, for boyars
And they are daring in all clearings.
Everyone got drunk at the feast,
Everyone ate their fill at the feast,
Everyone is at a feast and drunk and happy”...

It also follows from this that the child does not like to read works of this genre; for him it is difficult and uninteresting. The question arises:

How to read epics?

1) we need to saturate them with images so that the child gets used to their complex language!

2) everything needs to be worked out!!! unclear words and expressions. After all, in epics many outdated words are used to create images of antiquity, but now these words are not used. The child must understand what we're talking about. And for this you need to understand the words.

Only after working through these steps will the child be ready to fully read and perceive epics.

How to do it:

— The first reading of the epic should be exemplary (either read by an adult, or read by a speaker).

— Find and explain all unclear words and expressions.

Auxiliary material when working with epics:

1. Draw pictures: heroes, princes, troops, etc. But before that, read those lines that will help us imagine this picture, and then formulate the thought in simpler words that are understandable to a child, so that the image immediately appears.

2. You can sculpt story characters from plasticine.

3. You can prepare drawings for the child, and let him choose which lines they go to. And if these drawings are black and white, let him also color them!

4. Try to arrange a home performance of toys based on the epic. Voice the speech of the heroes, first simplifying it, and then as it is, with complex turns. This, by the way, will help in the development of your child’s speech.

5. Play role-playing game, for example: “You are a hero, and I am the Nightingale the Robber.” This will help make the plot more dynamic.

6. In addition to all of the above, after reading the epic, to make it easier to understand, watch its film adaptation (cartoon) with your child.

All these methods will help you bring your child closer to the world of literature and show him how fascinating such a genre as epics is!

And for dessert I prepared this picture for you: Proverbs and sayings about heroes.

Bylinas are the heroic epic of the Russian people, dating back to the times of Kievan Rus, until the middle of the 20th century.

Bylinas were preserved mainly in the Russian North (Arkhangelsk region, Karelia) in the mouths of storytellers, who called these songs “old times” or “old women”. The term " epic"in relation to them was introduced in the 30s. XIX century by the collector and publisher of folklore I.P. Sakharov, who borrowed it from the epic “The Tale of Igor’s Campaign” (the author of which tells the story “by epics of this time,” and not according to the ancient “glory” songs in honor of princes, created by the prophetic singer Boyan).

Now this may seem strange, but back in the middle of the 19th century. our domestic science did not have information about the existence of epics, nor about their performers - and this at a time when the Bogatyr epic, as we now know, was still widespread in Russia! The reason for this phenomenon can be found in Peter’s reforms, as a result of which the educated strata of Russian society became familiar with European culture and at the same time alienated themselves from the bulk of their people so much that they had only the most approximate concept of Russian folk art (and sometimes even language: it is no coincidence that Pushkin’s Tatyana, “Russian in soul,” “knew Russian poorly” and “had difficulty expressing herself in her native language”).

The situation began to change only in the era of romanticism, which awakened the attention of educated Russian society to the creations of " folk spirit”, transmitted orally among the largely illiterate peasantry. In the 1830-1850s. Activities began to collect works of folklore, organized by the Slavophile Pyotr Vasilyevich Kireevsky (1808–1856). Kireevsky's correspondents and himself recorded about a hundred epic texts in the central, Volga and northern provinces of Russia, as well as in the Urals and Siberia, but these records saw the light only in 1860–1874, when the collection folk songs Kireevsky was published by P. A. Bessonov.

Before mid-19th V. epics were known to the Russian reader only from the collection of Kirsha Danilov, the first (heavily abridged) edition of which, entitled “Ancient Russian Poems,” was published in Moscow in 1804, the second (much more complete) in 1818 (“Ancient Russian Poems, collected by Kirsha Danilov"). It was believed, however, that the songs presented in this book had already ceased to exist among the people.

The very identity of the compiler of this collection of works of folk song epic, as well as the place, time and circumstances of its origin, remained a mystery until recently, when, through the work of scientists who undertook extensive historical and archival research, it was established that Kirill Danilov was a factory foreman in Demidov Nizhny Tagile. Possessing an extensive folklore repertoire, he mid-18th century V. recorded it (or dictated it for recording) on behalf of the owner of the factories, Prokofy Akinfievich Demidov, who, in turn, wanted to convey these songs as important historical source famous historian, academician Gerard K. Avtorov, V. Kovpik, A. Kalugina. ". Historical songs. Ballads"

Friedrich (“Fedor Ivanovich”, as he was called in Russian) Miller. It is very likely that Kirill Danilov ended up beyond the Urals not of his own free will: in Russia, for a different song, one could be exiled “to places not so distant” both in the 20th and 18th centuries. The phrase dropped by P. A. Demidov in a letter to G.-F makes one think so. Miller on September 22, 1768: “I got [this song] from the Siberian people, because all the intelligent fools are sent there, who past history sing with their voices."

In the section of the site that we offer to the reader, we publish best samples song epic of the Russian people: epics, historical and ballad songs, as well as buffoons. in them poetic form reflected, on the one hand, the historical consciousness of the people, the idea of serving the Motherland, love for the native land, for agricultural work, for loved ones, and on the other hand, the denunciation of enemies encroaching on Rus' and ruining cities and villages, condemnation of atrocities, ridicule human vices and base actions.