What is included in folklore genres. Main genres of Russian folklore
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 meaning 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 act while simultaneously performing a massage, physical exercise, stimulating motor reflexes. In this genre children's folklore there are incentives to play out the plot with the help of fingers (finger games or Ladushki), hands, and 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
The babies were fed:
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,
Then we flew home!!!
joke
joke (from bayat, that is, to tell) - a poetic short funny story that 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.
Us Cold winter got bored
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 something that 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 of different versions of the same folklore work.
Oral folk art is a reflection of the life, way of life, and beliefs of ancient people. Works folk art accompany a person from birth. They contribute to the formation and development of the child.
Depending on the stage of development, folklore is usually divided into early traditional folklore,classical folklore And late traditional folklore. Each group belongs to special genres, typical for a given stage of development of folk art.
Early traditional folklore
1. Labor songs.
These songs are known among all nations, which were performed during labor processes (when lifting heavy objects, plowing a field, grinding grain by hand.). Such songs could be performed when working alone, but they were especially important when working together, since they contained commands to simultaneous action. Their main element was the rhythm that organized the labor process.
2. Fortune telling and conspiracies.
Fortune telling is a means of recognizing the future. To recognize the future, one had to turn to evil spirits, so fortune telling was perceived as a sinful and dangerous activity. For fortune telling, places were chosen where, according to the people, it was possible to come into contact with the inhabitants of the “other world”, as well as the time of day at which this contact was the most likely. Fortune telling was based on the technique of interpreting “signs”: accidentally heard words, reflections in water, animal behavior, etc. To obtain these “signs,” actions were taken in which objects, animals, and plants were used. Sometimes actions were accompanied by verbal formulas.
Classic folklore
1. Rituals and ritual folklore
Ritual folklore consisted of verbal, musical, dramatic, game and choreographic genres. Rituals had ritual and magical significance and contained rules of human behavior in everyday life and work. They are usually divided into work and family
1.1 Labor rites: calendar rites
The observations of the ancient Slavs on the solstice and the changes in nature associated with it developed into a system of mythological beliefs and practical work skills, reinforced by rituals, signs, and proverbs.
Gradually the rituals formed annual cycle, and the most important holidays were timed to coincide with the winter and summer solstice. There are winter, spring, summer and autumn rituals.
1.2. Family rituals
Unlike calendar rituals, hero of family rituals - a real man. Rituals accompanied many events in his life, among which the most important were birth, marriage and death.
The wedding ceremony was the most developed; it had its own characteristics and laws, its own mythology and its own poetry.
1.3. Lamentations
This is an ancient genre of folklore, genetically related to funeral rites. The object of the lamentation image is the tragic in life, therefore the lyrical principle is strongly expressed in them, the melody is weakly expressed and in the content of the text one could find many exclamatory-interrogative constructions, synonymous repetitions, unity of beginning, etc.
2. Small genres of folklore. Proverbs.
Small folklore genres include works that differ in genre, but have a common external feature - a small volume.
Small genres of folklore prose, or proverbs, are very diverse: proverbs, sayings, signs, riddles, jokes, proverbs, tongue twisters, puns, well wishes, curses, etc.
4. Non-fairy prose
Non-fairy tale prose has a different modality than fairy tales: its works are confined to real time, real terrain, real persons. Non-fairy-tale prose is characterized by not being distinguished from the flow of everyday speech and the absence of special genre and style canons. In the most general sense, we can say that her works are characterized by the stylistic form of an epic narrative about the authentic. The most stable component is the character around whom all the rest of the material is united.
An important feature of non-fairy tale prose is the plot. Usually the plots have an embryonic form (single-motive), but can be conveyed both concisely and in detail.
The following genres belong to non-fairy tale prose: tales, legends and demonological stories.
Bylinas are epic songs in which heroic events or individual episodes of ancient Russian history are sung.
As in fairy tales, epics feature mythological images of enemies, characters are reincarnated, and animals help the heroes.
The epics have a heroic or novelistic character: the idea of heroic epics is the glorification of the unity and independence of the Russian land; in the novelistic epics marital fidelity, true friendship were glorified, personal vices (bragging, arrogance) were condemned.
6. Historical songs
Historical songs are folk epic, lyric epic and lyrical songs, the content of which is dedicated to specific events and real persons of Russian history and expresses the national interests and ideals of the people.
7. Ballads
Folk ballads are lyric-epic songs about a tragic event. Ballads are characterized by personal, family and everyday themes. At the center of the ballads are moral problems: love and hatred, loyalty and betrayal, crime and repentance.
8. Spiritual Poems
Spiritual poems are songs with religious content.
The main feature of spiritual verses is the contrast between everything Christian and the worldly.
Spiritual poems are heterogeneous. In oral existence they interacted with epics, historical songs, ballads, lyrical songs, lamentations.
9. Lyrical non-ritual songs
In folk lyrics, word and melody are inseparable. The main purpose of songs is to reveal the worldview of the people by directly expressing their feelings, thoughts and moods.
These songs expressed the characteristic experiences of a Russian person in different life situations.
10. Folklore theater.
Folklore theater is the traditional dramatic creativity of the people.
Specific features of folk theater are the absence of a stage, the separation of performers and audience, action as a form of reflection of reality, the transformation of the performer into another objectified image, the aesthetic orientation of the performance.
Plays were often distributed in written form and pre-rehearsed, which did not exclude improvisation.
Folklore theater includes: booths, traveling picture theater (rayok), folk puppet theater and folk dramas.
11. Children's folklore.
Children's folklore is a specific area of oral artistic creativity, which, unlike the folklore of adults, has its own poetics, its own forms of existence and its own speakers.
A general, generic feature of children's folklore is correlation literary text with the game.
Works of children's folklore are performed by adults for children (mother's folklore) and by the children themselves (actually children's folklore)
Late traditional folklore
Late traditional folklore is a collection of works of different genres and different directions, created in peasant, urban, soldier, worker and other environments since the beginning of the development of industry, the growth of cities, and the collapse of the feudal countryside.
1. Ditties
A chastushka is a short rhyming folk song that is sung at a fast tempo to a specific melody.
The themes of the ditties are varied. Most of them are devoted to love and family themes. But they often reflect modern life people, the changes that are taking place in the country contain sharp political hints. The ditty is characterized by a humorous attitude towards its characters, irony, and sometimes sharp satire.
2. Folklore of workers
Workers' folklore is oral folk works that were created in the working environment or assimilated by it and processed so much that they began to reflect the spiritual needs of this particular environment.
Unlike ditties, workers' folklore did not turn into a national, all-Russian phenomenon. Its characteristic feature is locality, isolation within a particular industrial territory. For example, workers in factories, factories and mines in Petrozavodsk, Donbass, the Urals, Altai and Siberia knew almost no oral works of each other.
Song genres predominated in workers' folklore. The songs depicted the difficult working and living conditions of a simple worker, which were contrasted with the idle life of the oppressors - business owners and overseers.
In form, the songs are monologues-complaints.
3. Folklore of the period of the Great Patriotic War.
Folklore of the period of the Great Patriotic War consists of works of various genres: songs, prose, aphoristic. They were created by the participants in events and battles, workers of factories, collective farm fields, partisans, etc.
These works reflect the life and struggle of the peoples of the USSR, the heroism of the country's defenders, faith in victory, the joy of victory, fidelity in love and love betrayals.
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Folklore 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 include: calendar folklore (carols, Maslenitsa songs, spring flowers), family folklore (family stories, lullabies, wedding songs, lamentations), occasional folklore (spells, chants, counting rhymes). Non-ritual folklore is divided into four groups: folklore drama, poetry, prose and folklore of speech situations. TO folklore drama include: Parsley Theater, nativity drama, religious drama. Folklore poetry includes: by-lina, historical song, spiritual verse, lyric song, ballad, cruel romance, ditty, children's poetic songs (poetic parodies), sadistic poems. Folklore prose is 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, an everyday tale, a cumulative tale) and an 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, quick-talks and some others.
An anecdote is one of the genres of folklore: 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 fellow villagers.
A tale is a traditionally male oral story of a playful 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 of the genres of Russian folklore, which arose from folk song tragic content. The most important characteristics of ballad songs are epicness, family and everyday 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.” All content - eternal plot about lovers whose mutual feeling is so strong that it conquers 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 are known epic stories. Russian and Western European epics have common plots (epic heroes fight enemies and foreigners), 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 the 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 ethics 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 factual nature of these stories is confirmed by specific names; exact geographical names of the place of action. The world of fairy tales is simple and well known. 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. Genres of children's folklore include songs and poems that accompany the life of a child from the cradle to adolescence: toss-ups, chants, teasers, lullabies, dog songs, sayings, nursery rhymes, counting rhymes.
A boring fairy tale (from bother - to 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 transcriptions by the people of the fundamentals of Christian doctrine. Popular names for spiritual poems: antiquities, psalms, poems. A characteristic feature of spiritual poems is the opposition of the religious to the worldly. One of the oldest spiritual poems, “Adam’s Lament,” 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 the same 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, 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 ambassadorial negotiations, expressed the prohibitions of family life, and served as a poetic means of transmitting 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 sound sleep, tame the anger of an angry mother, keep someone going to war unharmed, develop sympathy for someone, something, etc.) or the power of action. birth: “grow, 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, Zhniv-nye) - songs, the performance of which was confined 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: a description of 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 the transformation of legend. Often oral stories about historical figures or events to which absolute authenticity is attributed (legends about the founding of Kyiv) 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 topic, 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 Russian folklore genres of different nature and origin, extremely small in size (sometimes in two words: Phil the simpleton), which is what their main value. This includes jokes, 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 seem funny at first, gradually creates a single picture of a “shifted”, “inverted” 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, song, the richest layer of Russian folklore, is described incompletely and contradictorily. The genre division of songs into historical and ballad, bandit and soldier, lyrical and round dance is quite arbitrary. 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 the 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 it an assessment: A pancake is not a wedge, it will not split your belly. Where woe to the wise man, fun 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), “Russians folk proverbs and parables" (I.M. Snegirev, 9623 proverbs and sayings), in famous collection IN AND. 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 Oral narratives of this type include 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, without fiction, telling about the past: Cossack and Siberian tales, “working” prose of gold miners, artisans, 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.
For ancient man there is no gap between him and the animal world. He views animals primarily as beings equal to him not only physically, but also socially. The world for a person, it is simply inhabited by different tribes with the same social structure as his, and the attitude towards these tribes is either peaceful or hostile, depending on how the attitude of the animals themselves towards him manifests itself. And our ancestors accepted the exceptional instincts of animals as manifestations of a higher mind, considering some not only equal to themselves, but also superior to themselves. Fairy tales about animals organically combine other subjects (everyday and magical), and sometimes it is completely impossible to draw a line between genres. Mythopoetic ideas about nature, expressing a certain knowledge of the world with the help of images of animals and birds, are intertwined in fairy tales with live observations of animal habits, show a gradually growing spirit of competition between man and animal, defending their rights to life, fight for spoils and territory. Everyday tales and fairy tales about animals are distinguished by extraordinary optimism and gentle humor that permeates the narrative. As the person became stronger and more confident, folklore images animals acquired a different, more “lenient” coloring: the wolf from a villain turned simply into a fool (“the beaten unbeaten is lucky”), the formidable bear, the totem animal, was endowed with good nature: Mashenka ordered to take gifts to the old people - and he did.
Other fairy tales, everyday (novelistic), are characterized by confrontation between social heroes: a man (his son or daughter) competes in intelligence and intelligence with merchants, priests, and even with the tsar himself. Much attention is paid family conflicts with an unfaithful, talkative or “perky” wife, with a younger brother (son) who is a fool, who is invariably lucky (“luck is for fools”), despite his natural stupidity. The anthropomorphism of Russian nature in folklore works concerns not only the Mother of the Raw Earth, but also trees, primarily oak and birch, capable of talking, giving advice and predicting the further course of events. Trees in fairy tales - faithful friends and human assistants, they provide shelter from enemies, give magical objects, reveal treasures and secrets, rewarding heroes for their work and patience. Thus, fairy tales reflect the life and ideas of different tribal inhabitants (of the territory that later became Russian) at the stage of the emergence and collapse of the primitive communal system. Both fairy tales about animals and legends associated with belief in the spirits of nature and plants, as well as ritual songs and children's folklore are characteristic of totemic societies, natural for this stage of pagan human relations with the world.
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 buffoons 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 used by the people 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 rhymed song with humorous or satirical content. The ditties are performed at a cheerful, enthusiastic tempo, accompanied by an accordion.
2. Calendar-ritual poetry
Vesnyanka is a song calling for spring and warmth. Ves-nyanki sounded 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 into the fields and harvested the harvest, “so that there will be, why jig well, okay "
Game song - a type of spring-summer songs in the calendar-ritual folk poetry. Already in the titles of this type of songs, a cheerful mood is reflected, caused by the onset of the 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 to the groom. The game songs talked about sowing and growing the future crop, 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 dances, 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, intertwine their hands, round the line, “curl” in a ball (“braid, wattle fence”, “curl, cabbage”). Echoes and ancient magic, and traces of ancient forms of marriage.
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 Avsen. 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 highlight songs of celebration 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 wide and generous swarm of Maslenitsa (she is sometimes called Avdotya Izotyevna).
Podludnye songs - 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 sub-dish 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.
Barge hauler songs are songs of barge haulers and about barge haulers. Barge haulers 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, towing ships loaded with goods; 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’m from the Kama River, Stenka Razin’s son”) or the characteristic details of an artistic and poetic portrait historical person could be fictitious, embellished or inverted, sometimes creating an image distorted to the point of its opposite. Unlike epics, with their unchanged ethical structure, historical songs, while possessing the same information content, no longer have strict compositional rules and are subject to the laws of other genres. Over time, epics disappear from the developing new genre. Songs of the XVII-XVIII 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 wide 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 - are widely used , mountain ash, etc.
Lyrical songs are songs that reflect the world of personal feelings. The lyrical song helped the people to survive in any situation, absorbed the sadness and pain of losses, insults and disappointments, and was the only means of maintaining their own dignity in a state of humiliation and powerlessness. “A song is a friend, a joke is a sister,” says a Russian proverb. Through the spiritual grief, 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 Russian songwriting, in which laughter, jokes, and ridicule find a place. 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, my canopy”, “There was a birch tree in the field” are widely known.
Robber songs - 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 (“thinking thoughts”), and a courageous readiness to accept all the vicissitudes of fate.
Wedding songs are songs that accompanied all the wedding events 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. Bride and groom married couple in lyrical songs they symbolize the inseparable Utushka and the Drake, or the swan and the 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 and lamentations, and corrugations. 1. Wedding sentences were pronounced for the most part 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 the groom addressed one of the participants in the ritual, dialogue songs were formed, giving the wedding ceremony the character of a 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 supplanted by the expression of the 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 - the service of the sovereign"), describe difficult moments of parting with relatives ("From your young eyes, tears roll like a river flows"), the hardships of barracks life ("What a day - then, not even a night for us, little soldiers, will calm down: Dark night comes - to be on guard, White day comes - to stand in the ranks") and often inevitable death in battle.
Among the 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 Khors (cf. good, mansions, horo-vod). 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 included in the content of the song were depicted. The most popular round dance songs have survived to this day: “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,” differed significantly from the life of the peasants. They were exempt from taxes, but their situation was still extremely difficult. Often the “serving people” did not pay travel money, 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.
4. 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 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 book is a rhymed poem, with the help of which playing children distribute roles and set the order for starting the game.
Oral folk art is the richest heritage of every country. Folklore existed even before the advent of written language; it is not literature, but a masterpiece of the art of oral literature. The genera of folklore creativity were formed in the pre-literary period of art on the basis of ceremonial and ritual actions. The first attempts to comprehend literary genera date back to the era of antiquity.
Types of folklore creativity
Folklore is represented by three genera:
1. Epic literature. This genus is represented in prose and poetry. Russians folklore genres epic kind represented by epics, historical songs, fairy tales, tales, legends, parables, fables, proverbs and sayings.
2. Lyric literature. At the heart of everything lyrical works thoughts and feelings are present lyrical hero. Examples of folklore genres of the lyrical direction are represented by ritual, lullabies, love songs, ditties, bayat, haivka, Easter and Kupala songs. In addition, there is a separate block - “Folklore lyrics”, which includes literary songs and romances.
3. Dramatic literature. This is a type of literature that combines epic and lyrical methods of depiction. basis dramatic work is a conflict, the content of which is revealed through the acting. Dramatic works have a dynamic plot. Folklore genres dramatic kind are represented by family ritual, calendar songs, and folk dramas.
Individual works may contain features of lyrical and epic literature, therefore a mixed genre is distinguished - lyric-epic, which in turn is divided into:
Works with heroic characters, lyric-epic content (epic, duma, historical song).
Non-heroic works (ballad, chronicle song).
There is also folklore for children (lullaby, nursery rhyme, comfort, pestushka, fairy tale).
Genres of folklore
Folklore genres of folk art are represented in two directions:
1. Ritual works of UNT.
Performed during the rituals:
Calendar (carols, Maslenitsa activities, freckles, Trinity songs);
Family and household (birth of a child, wedding celebrations, celebration of national holidays);
Occasional works - came in the form of spells, counting rhymes, chants.
2. Non-ritual works of UNT.
This section includes several subgroups:
Drama (folklore) - nativity scenes, religious works, theater "Petrushki".
Poetry (folklore) - epics, lyrical, historical and spiritual songs, ballads, ditties.
Prose (folklore) in turn is divided into fairy-tale and non-fairy-tale. The first includes tales about magic, animals, everyday life and cumulative tales, and the second is associated with famous heroes and the heroes of Rus' who fought with witches (Baba Yaga) and other demonological creatures. Also included in non-fairy tale prose are tales, legends, and mythological stories.
Speech folklore is represented by proverbs, sayings, chants, riddles, and tongue twisters.
Folklore genres carry their own individual plot and meaning.
Images of military battles, exploits of heroes and folk heroes observed in epics, vivid events of the past, everyday life and memories of heroes from the past can be found in historical songs.
Stories about the actions of the heroes Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich are epic. The folklore genre of the fairy tale tells about the actions of Ivan the Tsarevich, Ivan the Fool, Vasilisa the Beautiful and Baba Yaga. Family songs are always represented by characters such as mother-in-law, wifey, hubby.
Literature and folklore
Folklore differs from literature in its unique system of constructing works. Its characteristic difference from literature is that genres folklore works have beginnings, beginnings, sayings, retardations, trinities. Also significant differences style compositions there will be the use of epithet, tautology, parallelism, hyperbole, synecdoche.
Just as in oral folk art (ONT), folklore genres in literature are represented by three genera. This is epic, lyric, drama.
Distinctive features of literature and CNT
Large works of literature, represented by novels, short stories, novellas, are written in calm, measured tones. This allows the reader, without interrupting the reading process, to analyze the plot and draw appropriate conclusions. Folklore contains a saying, a beginning, a saying and a chorus. The technique of tautology is the basic principle of storytelling. Hyperbole, exaggeration, synecdoche and parallelism are also very popular. Such figurative actions are not allowed in literature all over the world.
Small folklore genres as a separate block of CNT works
This system includes mainly works for children. The relevance of these genres continues to this day, because every person gets acquainted with this literature even before he begins to speak.
The lullaby became one of the first works of folklore. The presence of partial conspiracies and amulets is direct evidence of this fact. Many believed that there were actions around a person otherworldly forces If a baby sees something bad in a dream, it will never happen again in reality. This is probably why the lullaby about the “little gray top” is popular even today.
Another genre is nursery rhyme. To understand what exactly such works are, we can equate it to a sentence song or a song with simultaneous actions. This genre promotes the development fine motor skills and emotional health of the child, the key point is considered to be the plots with the play of fingers “Magpie-Crow”, “Ladushki”.
All of the above small folklore genres are necessary for every person. Thanks to them, children learn for the first time what is good and what is bad, and are taught order and hygiene.
Folklore of nationalities
An interesting fact is that different nationalities, in their culture, traditions and customs, have common points of contact in folklore. There are so-called universal desires, thanks to which songs, rituals, legends, and parables appear. Many peoples hold celebrations and chanting to obtain a rich harvest.
From the above it becomes obvious that different peoples often turn out to be close in many spheres of life, and folklore unites customs and traditions into a single structure of folk art.
Literary researchers identify certain varieties or types of folk art. Folklore is divided according to various criteria, but most often the following species groups are distinguished:
Labor songs
This is a type of song genre, the main feature of which is the mandatory accompaniment of work activity. This type of folklore is a method of organizing a collective, common work process. Its purpose is to set the rhythm with the help of a simple motive and words.
Calendar folklore
The basis for the formation was the ritual traditions of the calendar year. The lifestyle of a peasant who works “on the land” largely depended on weather conditions. This gave rise to a large number of different rituals designed to attract good luck, prosperity, a good harvest, etc. The most famous and important holidays were Christmas, Maslenitsa, Easter, Epiphany and Trinity. Each holiday was necessarily accompanied by songs, chants, spells and special rituals.
Wedding folk art
Wedding folklore involves, first of all, songs that were sung in three main rituals: matchmaking, farewell between parents and the bride, and at the main holiday.
Non-ritual folklore
This includes all varieties of small genres of oral folk art (ditty, zapevka, etc.). But this approach is ambiguous. For example, some varieties are classified as children's folk art: pesters, lullabies, riddles, nursery rhymes, teasers, etc.
Oral prose
Implies such varieties of Russian folk art as traditions, legends, incidents - brief retelling real events, the peculiarity of which is that the narrator was not a witness to what happened.
Song epic (heroic)
This is a very ancient form of oral folk art, telling about some events that happened long ago in the form of a song. An epic is an ancient song that needs to be told solemnly and slowly.
Artistic creativity
This block includes epic and song genres created in the style of folk and artistic creativity. The most famous of them is a fairy tale.
Folklore theater
Performances on the streets were very popular among the population of old Rus'. Nativity scene is a type of dramatic work intended for performances in street puppet theater. Rayok is a type of picture presentation, which was carried out using a box-shaped device with alternating illustrations. The performance was accompanied by oral histories.
Thus, you can see how diverse folk art culture, it includes different kinds(from song folklore to folk theater), as well as genres (from songs and ditties to legends, epics, fairy tales, etc.).
At the same time, forms of folk art have always been connected with each other: songs were accompanied by dances and round dances, and fine art reflected the thinking and worldview of people.