Collective artistic creative activity, reflecting the life of an ethnos, its ideals, its views, has absorbed folk art Russia. The people created and circulated from generation to generation epics, fairy tales, legends - this is a genre of poetry, original music sounded - plays, tunes, songs, the favorite festive spectacle was theatrical performances - mainly it was a puppet theater. But dramas and satirical plays were staged there. Russian folk art also penetrated deeply into dance, art, arts and crafts. Russian dances also originated in ancient times. Russian folk art has erected historical background for modern artistic culture, it has become a source of artistic traditions, an exponent of the self-awareness of the people.

Orally and in writing

Written literary works appeared much later than those oral gems that filled the precious box of folklore since pagan times. Those same proverbs, sayings, riddles, songs and round dances, spells and conspiracies, epics and fairy tales that Russian folk art has cut to a brilliant shine. The ancient Russian epic reflected the spirituality of our people, traditions, real events, features of everyday life, revealed and preserved exploits historical characters. So, for example, Vladimir the Red Sun, everyone’s favorite prince, was based on a real prince - Vladimir Svyatoslavovich, the hero Dobrynya Nikitich - the uncle of Vladimir the First, boyar Dobrynya. The types of oral folk art are extremely diverse.

With the advent of Christianity in the tenth century, great Russian literature and its history began. Gradually, with her help, it took shape Old Russian language, become one. The first books were handwritten, decorated with gold and other precious metals, gems, and enamel. They were very expensive, so people didn’t know them for a long time. However, with the strengthening of religion, books penetrated into the most remote corners of the Russian land, since the people needed to know the works of Ephraim the Syrian, John Chrysostom and other religious translated literature. The original Russian one is now represented by chronicles, biographies of saints (lives), rhetorical teachings ("Words", one of them - "The Tale of Igor's Campaign"), walks (or walks, travel notes) and many other genres that are not so well known . The fourteenth century produced a number of exceptionally significant folklore monuments. Some types of oral folk art, such as epics, became written. This is how “Sadko” and “Vasily Buslaev” appeared, recorded by the storytellers.

Examples of folk art

Oral creativity served as a reservoir of folk memory. Heroic Confrontation Tatar-Mongol yoke and to other invaders it was sung from mouth to mouth. It was on the basis of such songs that stories were created that have survived to this day: about the battle on Kalka, where “seventy great and brave” gain our freedom, about Evpatiy Kolovrat, who defended Ryazan from Batu, about Mercury, who defended Smolensk. Russia preserved the facts against the Baskak Shevkal, about Shchelkan Dudentievich, and these songs were sung far beyond the borders of the Tver principality. Compilers of epics conveyed the events of the Kulikovo Field to distant descendants, and old images of Russian heroes were still used by the people for folk works dedicated to the fight against the Golden Horde.

Until the end of the tenth century, the inhabitants of Kievo-Novgorod Rus' did not yet know writing. However, this pre-literary period brought to this day golden literary works passed on from mouth to mouth and from generation to generation. And now Russian folk art festivals are held, where the same songs, tales and epics of a thousand years ago are heard. Ancient genres that still resonate today include epics, songs, fairy tales, legends, riddles, sayings, and proverbs. Most of the folklore works that have reached us are poetry. Poetic form makes it easy to memorize texts, and therefore, over the course of many centuries, folklore works have been passed down through generations, changing towards expediency, polishing from one talented storyteller to another.

Small genres

Small-sized works belong to small genres of folklore. These are parables: puns, tongue twisters, proverbs, jokes, riddles, signs, sayings, proverbs, what oral folk art gave us. Riddles are one of these artistic manifestations folk poetry, which originated in orally. Hint or allegory, circumlocution, roundabout speech - allegorical description in in brief any object - that’s what a riddle is according to V.I. Dahl. In other words, an allegorical image of phenomena of reality or an object that has to be guessed. Even here, oral folk art provided for multivariance. Riddles can be descriptions, allegories, questions, tasks. Most often they consist of two parts - a question and an answer, a riddle and a guess, interconnected. They are diverse in subject matter and are closely related to work and everyday life: flora and fauna, nature, tools and activities.

Proverbs and sayings that have survived to this day from the most ancient times are apt expressions and wise thoughts. Most often they are also two-part, where the parts are proportional and often rhyme. The meaning of sayings and proverbs is usually direct and figurative, containing morality. We often see diversity in proverbs and sayings, that is, many versions of a proverb with the same moral. a generalizing meaning that is higher. The oldest of them date back to the twelfth century. The history of Russian folk art notes that many proverbs have survived to this day shortened, sometimes having lost even their original meaning. So, they say: “He ate the dog on this matter,” implying high professionalism, but the Russian people in the old days continued: “Yes, he choked on his tail.” I mean, no, not that tall.

Music

Ancient types of folk musical creativity Russia are based primarily on the song genre. A song is a musical and verbal genre at the same time, either a lyrical or narrative work, which is intended purely for singing. songs can be lyrical, dance, ritual, historical, and they all express aspirations individual person, and the feelings of many people, they are always in tune with the social internal state.

Are there love experiences, thoughts about fate, a description of social or family life- this should always be interesting to listeners, and without inclusion in the song state of mind as many people as possible will not listen to the singer. People are very fond of the technique of parallelism, when the mood of the lyrical hero is transferred to nature. "Why are you standing there, swaying, "No at night happy month", for example. And it is almost rare to come across a folk song in which this parallelism is absent. Even in historical songs - "Ermak", "Stepan Razin" and others - it constantly appears. This makes the emotional sound of the song much stronger, and the song itself is perceived much brighter.

Epic and fairy tale

The genre of folk art took shape much earlier than the ninth century, and the term “epic” appeared only in the nineteenth century and denoted a heroic song of an epic nature. We know epics sung in the ninth century, although they were probably not the first, they simply did not reach us, having been lost through the centuries. Every child knows well epic heroes- heroes who embodied the ideal of people's patriotism, courage and strength: the merchant Sadko and Ilya Muromets, the giant Svyatogor and Mikula Selyaninovich. The plot of the epic is most often filled with real-life situations, but it is also significantly enriched with fantastic fictions: they have a teleport (they can instantly cover distances from Murom to Kiev), they can defeat an army alone (“if you wave to the right, there will be a street, if you wave to the left, there will be an alley.” ), and, of course, monsters: three-headed dragons - Gorynychi Snakes. Types of folk art in Russia oral genres this is not limited to. There are also fairy tales and legends.

Epics differ from fairy tales in that latest events completely fictitious. There are two types of fairy tales: everyday and magical. In everyday life they are depicted in a variety of ways, but ordinary people- princes and princesses, kings and kings, soldiers and workers, peasants and priests in the most ordinary setting. And fairy tales always attract fantastic forces, produce artifacts with wonderful properties, and so on. The fairy tale is usually optimistic, which is why it differs from the plot of other genre works. In fairy tales, only good usually wins; evil forces are always defeated and ridiculed in every possible way. A legend, in contrast to a fairy tale, is an oral story about a miracle, a fantastic image, an incredible event, which should be perceived as authentic by the narrator and listeners. Pagan legends have reached us about the creation of the world, the origin of countries, seas, peoples, and the exploits of both fictional and real heroes.

Today

Contemporary folk art in Russia cannot represent precisely ethnic culture, since this culture is pre-industrial. Any modern settlement - from the smallest village to a metropolis - is a fusion of various ethnic groups, and the natural development of each without the slightest mixing and borrowing is simply impossible. What is now called folk art is rather a deliberate stylization, folklorization, behind which stands professional art, which is inspired by ethnic motives.

Sometimes this is amateur creativity, like mass culture, and the work of artisans. In fairness, it should be noted that only folk crafts - decorative and applied arts - can be considered the purest and still developing. There is also, in addition to professional, ethnic creativity, although production has long been put on an assembly line and the opportunities for improvisation are scanty.

People and creativity

What do people mean by the word people? The population of the country, the nation. But, for example, dozens of distinctive ethnic groups live in Russia, and folk art has common features that are present in the sum of all ethnic groups. Chuvash, Tatars, Mari, even the Chukchi - don’t musicians, artists, architects borrow from each other in modern creativity? But their common features are comprehended elite culture. And therefore, in addition to the nesting doll, we have a certain export product, which is our joint calling card. A minimum of opposition, a maximum of general unification within the nation, this is the direction contemporary creativity peoples of Russia. Today it is:

• ethnic (folklorized) creativity,
• amateur creativity,
• creativity of the common people,
• amateur creativity.

The craving for aesthetic activity will be alive as long as a person lives. And that is why art flourishes today.

Art, creativity hobby

Art is practiced by the elite, where extraordinary talent is required, and works are an indicator of the level aesthetic development humanity. It has very little to do with folk art, except for inspiration: all composers, for example, wrote symphonies using the melodies of folk songs. But this is by no means a folk song. Property traditional culture- creativity as an indicator of the development of a team or an individual. Such a culture can develop successfully and in many ways. And the result of mass culture, like a master’s pattern, presented to the people for feasible repetition, is a hobby, an aesthetics of this kind, which is designed to relieve stress from the mechanical nature of modern life.

Here you can notice some signs of the original beginning, which draws themes and means of expression from artistic folk art. These are quite common technological processes: weaving, embroidery, carving, forging and casting, decorative painting, embossing and so on. True folk art did not know the contrasts of changes in artistic styles a whole millennium. Now this has been significantly enriched in modern folk art. The degree of stylization changes as well as the nature of the interpretation of all the old borrowed motifs.

Applied arts

Russian folk arts and crafts have been known since ancient times. This is perhaps the only species that has not undergone fundamental changes to this day. These items have been used to decorate and improve home and public life since ancient times. Rural crafts mastered even quite complex designs that were quite suitable in modern life.

Although now all these items carry not so much a practical, but an aesthetic load. This includes jewelry, whistle toys, and interior decorations. Various areas and regions had their own arts, crafts and handicrafts. The most famous and striking are the following.

Shawls and samovars

The Orenburg shawl includes shawls, warm and heavy, and weightless scarves and web scarves. Knitting patterns that came from afar are unique; they identify eternal truths in the understanding of harmony, beauty, and order. The goats of the Orenburg region are also special, they produce unusual fluff, it can be spun thinly and firmly. To match the eternal knitters of Orenburg and Tula masters. They were not discoverers: the first copper samovar was found in excavations in the Volga region city of Dubovka, the find dates back to the beginning of the Middle Ages.

Tea took root in Russia in the seventeenth century. But the first samovar workshops appeared in Tula. This unit is still held in high esteem, and drinking tea from a samovar on pine cones is quite an ordinary occurrence in dachas. They are extremely varied in shape and decoration - barrels, vases, with painted ligature, embossing, decorations of handles and taps, original works art, and also extremely convenient in everyday life. Already at the beginning of the nineteenth century, up to 1200 samovars were produced in Tula per year! They were sold by weight. Brass ones cost sixty-four rubles per pood, and red copper ones cost ninety. This is a lot of money.

There is a huge number of works devoted to the forms of manifestation of folklore consciousness and folklore texts. The linguistic, stylistic, ethnographic features of folklore texts are studied; their compositional structure, including images and motifs; the genesis of some folklore genres and folklore works is studied; the question of the essential properties and features of folklore, manifested in folklore texts, is considered; the moral aspect is analyzed folklore creativity and, accordingly, the importance of folklore in the education of the younger generation, as well as much more. In this huge stream of literature about folklore, one is struck by the variety of its definitions, ranging from folk wisdom and the art of memory to a special form public consciousness and a means of reflecting and understanding reality. Of course, the variety of definitions of folklore is generated by the complexity of this cultural phenomenon, its constant variability and, as a result, the heterogeneity of forms of manifestation at one or another historical stage in the development of society.

The relevance of turning to folklore consciousness as a way to harmonize a person’s relationship with reality is also explained by the trends that are taking place in the development of modern society. The most pressing of them, threatening the spiritual and physical survival of humanity, are, on the one hand, the development of technogenic civilization with its dominant technocratic thinking and the principle of scientific and technical rationality, which enslaves man and makes him hostage to the intensification of sociocultural processes in general; on the other hand, the worsening of the environmental crisis on the planet.

Oral folk art and folklore

Epic. Epic as a genre (or group of genres), i.e. a heroic narrative about the past containing a holistic picture folk life and representing in harmonious unity a certain epic world and heroic heroes. The heroic epic exists in both book and oral form, and most of the book monuments of the epic have folklore origins; The very features of the genre developed at the folklore stage. That's why heroic epic often called a folk epic. However, such an identification is not entirely accurate, since the book forms of the epic have their own stylistic and sometimes ideological specificity, and, of course, ballads, historical legends and songs that belong to the folk epic, folk novel and so on. can be considered a heroic epic only with significant reservations.

The heroic epic has come down to us both in the form of extensive epics, book ("Iliad", "Odyssey", "Mahabharata", "Ramayana", "Beowulf") or oral ("Dzhangar", "Alpamysh", "Manas", and in the form of short “epic songs” (Russian epics, South Slavic youth songs, poems by Edda the Elder), partly grouped into cycles, less often - prose tales.

A fairy tale is one of the main genres of oral folk poetry, epic, mostly prosaic piece of art magical, adventurous or everyday in nature with a fantasy orientation. A fairy tale refers to different types of oral prose, hence the discrepancy in defining its genre features. A fairy tale differs from other types of artistic epic in that the storyteller presents it, and listeners perceive it primarily as a poetic invention, a play of fantasy. This, however, does not deprive the fairy tale of its connection with reality, which determines ideological content, language, nature of plots, motifs, images. Many fairy tales reflect primitive social relations and ideas, totemism, animism, etc. Fairy tales that developed under feudalism are characterized by such images as king, prince, knight, king. In the era of capitalism, the interest of storytellers in the topic of money and trade increases; Fairy tales depict the contrast of wealth and poverty, and the motives of class antagonism are increasingly heard. Currently, some fairy tales continue their life in books, others disappear from folk life or become the property of children, and others continue to interest adult listeners. The fairy tales of the peoples of the world have much in common, which is explained by the similar cultural and historical conditions of their lives. At the same time, fairy tales have national characteristics, reflect the way of life of a particular people, their work and way of life, natural conditions. Storytellers bring their own ideas into the tales they perform. personality traits, so most fairy tales are known in many versions.

A legend is originally the life of a saint, written to be read on the day of his memory. The term originated in medieval Catholic writing. In the 13th-15th centuries. in Europe, numerous consolidated collections of legends on Latin, including " Golden Legend” (“Legenda aurea”, 13th century), translated into most Western European languages ​​and becoming a source of plots for epics, dramas, and lyrics. Later, legends - religious and didactic narratives, parables about animals, plants, objects of Christian worship. In modern everyday meaning, a legend is often called, regardless of genre, works that are distinguished by poetic fiction and at the same time claim to be authentic.

Myths are creations of collective national fantasy, generally reflecting reality in the form of sensory-concrete personifications and animate beings, which are considered by the primitive consciousness to be quite real. The specificity of myths appears most clearly in primitive culture, where myths are the equivalent of science, an integral system in terms of which the whole world is perceived and described. Later, when such forms of social consciousness as art, literature, science, religion, political ideology, etc. are isolated from mythology, they retain a number of mythological models, which are peculiarly rethought when included in new structures; myths are experiencing their second life. Of particular interest is their transformation in literary creativity.

Epics, epic songs composed by the people in Ancient Rus' and reflected historical reality mainly 11th-16th centuries. In the process of centuries-long development, epics changed, absorbed events of later times, and sometimes events of more recent times. early era. Epic riches were discovered in the regions of Zaonezhye, Pinega, Mezen, Pechora, and the White Sea coast. From the end of the 18th century. epics attracted the attention of writers and scientists as highly artistic monuments of folk art.

In the center of the epics are images of heroes endowed with high moral qualities, selflessly devoted to the Motherland. In the image of the beloved hero Ilya Muromets, the people created a poetic biography of a peasant son with his calm self-confidence and strength alien to affectation. He is at the head heroic outpost, blocking the path of enemies (this theme was formed even under the conditions of the Mongol invasion). Equally poetic are the images of other heroes protecting their native land - Dobrynya Nikitich and Alyosha Popovich. The theme of defending the Motherland is naturally merged in epics with the theme of people's life and work. So, the first feat that Ilya Muromets performed after healing was uprooting stumps and clearing a field for arable land. The epic about Volga and Mikul Selyaninovich reflected the eternal dream of the working people about easy plowing, about work that ensures life.

A proverb is a short, rhythmically organized, stable in speech, figurative saying of the people. Has the ability to use multiple meanings based on the principle of analogy. The proposition “They cut down the forest, the chips fly” is interesting not because of its direct meaning, but because it can be applied to other similar situations. The subject of the statement is considered in the light of the generally accepted truth expressed by the proverb. Hence its ideological and emotional character. The compositional division of judgment in proverbs, often supported by rhythm, rhyme, assonance, and alliteration, coincides with the syntactic division.

Riddle is a genre of folk poetry among all peoples of the world; a poetic, often allegorical description of an object or phenomenon. In ancient times it had a cult significance and was associated with beliefs and rituals that prohibited calling objects by their proper names.

Later the mystery becomes for the most part aesthetic and cognitive significance. Serves to test ingenuity. Riddles are distinguished by a variety of themes and a wealth of artistic techniques; they are characterized by compositional clarity, rhyme, the presence of rhythm, and sound writing. Found in riddles comic elements, having a social meaning: “The priest is low, there are a hundred rizok on it” (cabbage). The riddle is widely included in other genres of folklore, as well as in literature.

Conclusion

In the process of existence, genres of verbal folklore experience “productive” and “unproductive” periods (“ages”) of their history (emergence, distribution, entry into the mass repertoire, aging, extinction), and this is ultimately associated with social and cultural everyday changes in society. The stability of the existence of folklore texts in folk life is explained not only by their artistic value, but also by the slowness of changes in the lifestyle, worldview, and tastes of their main creators and guardians - the peasants. The texts of folklore works of various genres are changeable (though in varying degrees). However, in general, traditionalism has immeasurably greater power in folklore than in professional literary creativity.

The collectivity of verbal literature does not mean its impersonality: talented masters actively influenced not only the creation, but also the dissemination, improvement, or adaptation of texts to the needs of the collective. Under the conditions of division of labor, unique professions of performers of works arose (ancient Greek rhapsodes and aeds, Russian buffoons, Ukrainian kobzars, Kazakh and Kyrgyz akyns, etc.). In some countries of the Middle East and Central Asia, in the Caucasus, transitional forms of verbal folklore developed: works created by certain individuals were distributed orally, but the text changed relatively little, the name of the author was usually known and was often introduced into the text (for example, Toktogul Satylganov in Kyrgyzstan, Sayat-Nova in Armenia).

The richness of genres, themes, images, poetics of verbal folklore is due to the diversity of its social and everyday functions, as well as methods of performance (solo, choir, choir and soloist), combination of text with melody, intonation, movements (singing, singing and dancing, storytelling, acting , dialogue, etc.).

Introduction

Folklore is a type of folk artistic creativity, very necessary and important for the study of folk psychology today.

Folklore includes works that convey the basic, most important ideas of the people about the main life values: work, family, love, social duty, homeland. Our children are still being brought up on these works. Knowledge of folklore can give a person knowledge about the Russian people, and ultimately about himself.

Folklore is a synthetic art form. His works often combine elements of various types of art - verbal, musical, choreographic and theatrical. But the basis of any folklore work is always the word. Folklore is very interesting to study as an art of words. In this regard, the study, knowledge and understanding of the poetics of folklore is of paramount importance.

The purpose of this course work is to study the poetic heritage of the folk artistic culture of the Russian people.

The goal involves solving the following tasks:

Conduct an analysis and summarize materials from educational, scientific, and fiction literature on this topic;

Consider the features of poetic folklore works of the Russian people;

Consider genre structure and features of the genres of Russian folk poetry.

The theoretical basis of the course work was the works of S. G. Lazutin, V. M. Sidelnikov; T. M. Akimova and other researchers of Russian folklore.

The structure of the course work includes an introduction, two chapters, a conclusion and a list of references.

Oral folk art of the Russian people

Russian folklore: concept and essence

Folklore (English folklore - folk wisdom) is a designation artistic activity masses, or oral folk art that arose in the preliterate period. This term was first introduced into scientific use by the English archaeologist W. J. Toms in 1846. And it was understood broadly as the totality of the spiritual and material culture of the people, their customs, beliefs, rituals, various forms arts Over time, the content of the term narrowed.

There are several points of view that interpret folklore as folk artistic culture, as oral poetic creativity and as a set of verbal, musical, game types folk art. With all the diversity of regional and local forms, folklore has common features, such as anonymity, collective creativity, traditionalism, close connection with labor activity, everyday life, the transmission of works from generation to generation in oral tradition.

Collective life determined the emergence of various peoples similar genres, plots, such means of artistic expression as hyperbole, parallelism, various types of repetitions, constant and complex epithet, comparisons. The role of folklore was especially strong during the period of predominance of mythopoetic consciousness. With the advent of writing, many types of folklore developed in parallel with fiction, interacting with it, influencing it and other forms of artistic creativity and experiencing the opposite effect.

Researchers believe that even in the pre-state period (that is, before Kievan Rus was formed), the Eastern Slavs had a fairly developed calendar and family ritual folklore, heroic epic and instrumental music.

People's memory has preserved many beautiful ancient songs for centuries. In the 18th century, folk art for the first time becomes a subject of study and creative implementation. The educational attitude towards folklore was clearly expressed wonderful writer humanist A.N. Radishchev in the heartfelt lines of his “Journey from St. Petersburg to Moscow”: “Whoever knows the voices of Russian folk songs admits that there is something in them that signifies spiritual sorrow... In them you will find the formation of the soul of our people.”

As a rule, at the time of creation, a work of oral folk art experiences a period of particular popularity and creative flourishing. But there comes a time when it begins to become distorted, destroyed and forgotten. New times require new songs. Images folk heroes express best features Russian national character; the content of folklore works reflects the most typical circumstances of folk life.

Living in oral transmission, the texts of folk poetry could change significantly. However, having achieved complete ideological and artistic completeness, works were often preserved for a long time almost unchanged as the poetic heritage of the past, as cultural wealth of enduring value.

The word "folklore", which often denotes the concept of "oral folk art", comes from the combination of two English words: folk - "people" and lore - "wisdom". The history of folklore goes back to ancient times. Its beginning is connected with the need of people to understand the natural world around them and their place in it. This awareness was expressed in inextricably fused words, dance and music, as well as in works of fine, especially applied, art (ornaments on dishes, tools, etc.), in jewelry, objects of religious worship... They came to us from the depths of centuries and myths that explain the laws of nature, the mysteries of life and death in figurative and plot form. The rich soil of ancient myths still nourishes both folk art and literature.

Unlike myths, folklore is already a form of art. Ancient folk art was characterized by syncretism, i.e. indivisibility different types creativity. In a folk song, not only words and melody could not be separated, but also the song could not be separated from the dance or ritual. The mythological background of folklore explains why oral works did not have a first author. With the advent of “author’s” folklore, we can talk about modern history. The formation of plots, images, and motifs occurred gradually and, over time, were enriched and improved by the performers.

The outstanding Russian philologist Academician A. N. Veselovsky, in his fundamental work “Historical Poetics,” argues that the origins of poetry lie in folk ritual. Initially, poetry was a song performed by a choir and invariably accompanied by music and dancing. Thus, the researcher believed, poetry arose in the primitive, ancient syncretism of the arts. The words of these songs were improvised in each specific case until they became traditional and acquired a more or less stable character. In primitive syncretism, Veselovsky saw not only a combination of types of art, but also a combination of types of poetry. “Epic and lyric poetry,” he wrote, “seemed to us to be the consequences of the decay of the ancient ritual choir” 1.

1 Veselovsky A. N. Three chapters from “Historical Poetics” // Veselovsky A.N. Historical poetics. - M., 1989. - P. 230.

It should be noted that these conclusions of the scientist in our time represent the only consistent theory of the origin of verbal art. “Historical Poetics” by A. N. Veselovsky is still the largest generalization of the gigantic material accumulated by folklore and ethnography.

Like literature, folklore works are divided into epic, lyrical and dramatic. Epic genres include epics, legends, fairy tales, and historical songs. Lyrical genres include love songs, wedding songs, lullabies, and funeral laments. Dramatic ones include folk dramas (with Petrushka, for example). The original dramatic performances in Russia were ritual games: seeing off Winter and welcoming Spring, elaborate wedding rituals, etc. One should also remember about small genres of folklore - ditties, sayings, etc.

Over time, the content of the works underwent changes: after all, the life of folklore, like any other art, is closely connected with history. A significant difference between folklore works and literary works is that they do not have a permanent, once and for all established form. Storytellers and singers have honed their mastery of performing works for centuries. Let us note that today children, unfortunately, usually get acquainted with works of oral folk art through a book and much less often - in live form.

Folklore is characterized by natural folk speech, striking in its richness of expressive means and melodiousness. Well-developed laws of composition with stable forms of beginning, plot development, and ending are typical for a folklore work. His style tends toward hyperbole, parallelism, and constant epithets. Its internal organization has such a clear, stable character that even changing over the centuries, it retains its ancient roots.

Any piece of folklore is functional - it was closely connected with one or another circle of rituals, and was performed in a strictly defined situation.

Oral folk art reflected the entire set of rules of folk life. The folk calendar precisely determined the order of rural work. Rituals of family life contributed to harmony in the family and included raising children. The laws of life of the rural community helped to overcome social contradictions. All this is captured in various types of folk art. An important part of life is holidays with their songs, dances, and games.

Oral folk art and folk pedagogy. Many genres of folk art are quite understandable for young children. Thanks to folklore, a child can more easily enter into the world, feels more fully the charm of the native when

childbirth, assimilates the people's ideas about beauty, morality, gets acquainted with customs, rituals - in a word, along with aesthetic pleasure, absorbs what is called the spiritual heritage of the people, without which the formation of a full-fledged personality is simply impossible.

Since ancient times, there have been many folklore works specifically intended for children. This type of folk pedagogy has played a huge role in the education of the younger generation for many centuries and right up to the present day. Collective moral wisdom and aesthetic intuition developed a national ideal of man. This ideal fits harmoniously into the global circle of humanistic views.

Children's folklore. This concept fully applies to those works that are created by adults for children. In addition, this includes works composed by the children themselves, as well as those passed on to children from oral creativity adults. That is, the structure of children's folklore is no different from the structure of children's literature.

By studying children's folklore, you can understand a lot about the psychology of children of a particular age, as well as identify their artistic preferences and level of creative potential. Many genres are associated with games in which the life and work of elders are reproduced, therefore the moral attitudes of the people, their national traits, features of economic activity.

In the system of genres of children's folklore, “nurturing poetry” or “maternal poetry” occupies a special place. This includes lullabies, nurseries, nursery rhymes, jokes, fairy tales and songs created for the little ones. Let us first consider some of these genres, and then other types of children's folklore.

Lullabies. At the center of all “mother’s poetry” is the child. They admire him, pamper him and cherish him, decorate him and amuse him. Essentially, it is the aesthetic object of poetry. In a child’s very first impressions, folk pedagogy instills a sense of the value of one’s own personality. The baby is surrounded by a bright, almost ideal world, in which love, goodness, and universal harmony reign and conquer.

Gentle, monotonous songs are necessary for the child's transition from wakefulness to sleep. From this experience the lullaby was born. The innate maternal feeling and sensitivity to the peculiarities of age, organically inherent in folk pedagogy, were reflected here. Lullabies reflect in a softened playful form everything that a mother usually lives with - her joys and worries, her thoughts about the baby, dreams about his future. In her songs for the baby, the mother includes what is understandable and pleasant to him. This is “gray cat”, “red shirt”, “ a piece of pie and a glass of milk", "crane-

face "... There are usually few words and concepts in the chauduel room - you laugh those

Fundamental;! Gsholpptok;

without which primary knowledge of the surrounding world is impossible. These words also give the first skills of native speech.

The rhythm and melody of the song were obviously born from the rhythm of the rocking of the cradle. Here the mother sings over the cradle:

There is so much love and ardent desire to protect your child in this song! Simple and poetic words, rhythm, intonation - everything is aimed at almost magic spell. Often the lullaby was a kind of spell, a conspiracy against evil forces. Echoes of both ancient myths and the Christian faith in the Guardian Angel are heard in this lullaby. But the most important thing in the lullaby for all time remains the poetically expressed care and love of the mother, her desire to protect the child and prepare for life and work:

A frequent character in the lullaby is a cat. He is mentioned along with the fantastic characters Sleep and Dream. Some researchers believe that mentions of him are inspired ancient magic. But the point is also that the cat sleeps a lot, so it is he who should bring the baby sleep.

Often mentioned in lullabies, as well as in other children's folklore genres and other animals and birds. They speak and feel like people. Endowing an animal with human qualities is called anthropomorphism. Anthropomorphism is a reflection of ancient pagan beliefs, according to which animals were endowed with soul and mind and therefore could enter into meaningful relationships with humans.

Folk pedagogy included in the lullaby not only kind helpers, but also evil, scary, and sometimes not even very understandable ones (for example, the ominous Buka). All of them had to be cajoled, conjured, “taken away” so that they would not harm the little one, and maybe even help him.

A lullaby has its own system of expressive means, its own vocabulary, and its own compositional structure. Short adjectives are common, complex epithets are rare, and there are many verbose words.

Baiushki bye! Save you

I cry from everything, from all sorrows, from all misfortunes: from the crowbar, from the evil man - the Adversary.

And your angel, your savior, have mercy on you, from every sight,

You will live and live, Don’t be lazy to work! Bayushki-bayu, Lyulushki-lyulyu! Sleep, sleep at night

Yes, grow by the hour, You will grow big - You will begin to walk in St. Petersburg, Wear silver and gold.

owls of stress from one syllable to another. Prepositions, pronouns, comparisons, and entire phrases are repeated. It is assumed that ancient lullabies did without rhymes at all - the “bayush” song was kept with smooth rhythm, melody, and repetitions. Perhaps the most common type of repetition in a lullaby is alliteration, i.e. repetition of identical or consonant consonants. It should also be noted that there is an abundance of endearing and diminutive suffixes - not only in words addressed directly to the child, but also in the names of everything that surrounds him.

Today we have to talk with regret about the oblivion of tradition, about the ever-increasing narrowing of the range of lullabies. This happens mainly because the inextricable unity of “mother-child” is broken. And medical science raises doubts: is motion sickness beneficial? So the lullaby disappears from the lives of babies. Meanwhile, folklore expert V.P. Anikin assessed her role very highly: “A lullaby is a kind of prelude to musical symphony childhood. By singing songs, the baby’s ear is taught to distinguish the tonality of words and the intonation structure of native speech, and the growing child, who has already learned to understand the meaning of some words, also masters some elements of the content of these songs.”

Pestushki, nursery rhymes, jokes. Like lullabies, these works contain elements of original folk pedagogy, the simplest lessons of behavior and relationships with the outside world. Pestushki(from the word “nurture” - educate) are associated with the earliest period of child development. The mother, having unswaddled him or freed him from clothes, strokes his body, straightens his arms and legs, saying, for example:

Sweating - stretching - stretching, Across - fat, And in the legs - walkers, And in the arms - grabbers, And in the mouth - a talker, And in the head - a mind.

Thus, pestles accompany physical procedures, necessary for the child. Their content is associated with specific physical actions. The set of poetic devices in pets is also determined by their functionality. Pestushki are laconic. “The owl is flying, the owl is flying,” they say, for example, when waving a child’s hands. “The birds flew and landed on his head,” - the child’s hands fly up to his head. And so on. There is not always a rhyme in the songs, and if there is, then most often it is a pair. Organizing the text of the pestles as poetic work is also achieved by repeated repetition of the same word: “The geese flew, the swans flew. The geese were flying, the swans were flying..." To the pestles

similar to the original humorous conspiracies, for example: “Water is off a duck’s back, and thinness is on Efim.”

Nursery rhymes - a more developed game form than pestles (although they also have enough game elements). Nursery rhymes entertain the baby and create a cheerful mood. Like pestles, they are characterized by rhythm:

Tra-ta-ta, tra-ta-ta, A cat married a cat! Kra-ka-ka, kra-ka-ka, He asked for milk! Dla-la-la, dla-la-la, The cat didn’t give it!

Sometimes nursery rhymes only entertain (like the one above), and sometimes they instruct, giving the simplest knowledge about the world. By the time the child is able to perceive meaning, and not just rhythm and musical harmony, they will bring him the first information about the multiplicity of objects, about counting. The little listener gradually extracts such knowledge from the game song. In other words, it involves a certain amount of mental stress. This is how thought processes begin in his mind.

Forty, forty, First - porridge,

White-sided, the second - mash,

Cooked porridge, gave beer to the third,

She lured guests. The fourth - wine,

There was porridge on the table, but the fifth one got nothing.

And the guests go to the yard. Shu, shu! She flew away and sat on her head.

Perceiving the initial score through such a nursery rhyme, the child is also puzzled by why the fifth one did not get anything. Maybe because he doesn't drink milk? Well, the goat butts for this - in another nursery rhyme:

Those who don’t suck a pacifier, those who don’t drink milk, those who don’t suck! - gore! I'll put you on the horns!

The edifying meaning of the nursery rhyme is usually emphasized by intonation and gestures. The child is also involved in them. Children of the age for whom nursery rhymes are intended cannot yet express in speech everything that they feel and perceive, so they strive for onomatopoeia, repetitions of the words of an adult, and gestures. Thanks to this, the educational and cognitive potential of nursery rhymes turns out to be very significant. In addition, in the child’s consciousness there is a movement not only towards mastering the direct meaning of the word, but also towards the perception of rhythmic and sound design.

In nursery rhymes and petushki, there is invariably a trope such as metonymy - the replacement of one word with another based on the connection of their meanings by contiguity. For example, in famous game“Okay, okay, where have you been? - At Grandma’s”, with the help of synecdoche, the child’s attention is drawn to his own hands 1.

joke called a small funny work, statement or simply a separate expression, most often rhymed. Entertaining rhymes and joke songs also exist outside the game (unlike nursery rhymes). The joke is always dynamic, filled with energetic actions of the characters. We can say that in a joke, the basis of the figurative system is precisely movement: “He knocks, strums along the street, Foma rides on a chicken, Timoshka on a cat - along the path there.”

The age-old wisdom of folk pedagogy is manifested in its sensitivity to the stages of human maturation. The time of contemplation, almost passive listening, is passing. It is being replaced by a time of active behavior, a desire to intervene in life - this is where the psychological preparation of children for study and work begins. And the first cheerful assistant is a joke. It encourages the child to act, and some of its reticence, understatement causes in the child a strong desire to speculate, to fantasize, i.e. awakens thought and imagination. Often jokes are built in the form of questions and answers - in the form of a dialogue. This makes it easier for the child to perceive the switching of action from one scene to another, and to follow the rapid changes in the relationships of the characters. Others are also aimed at the possibility of quick and meaningful perception. artistic techniques in jokes - composition, imagery, repetition, rich alliteration and onomatopoeia.

Fables, inversions, nonsense. These are varieties of the joke-accurate genre. Thanks to shapeshifters, children develop a sense of the comic as an aesthetic category. This type of joke is also called “poetry of paradox.” Its pedagogical value lies in the fact that by laughing at the absurdity of a fable, the child strengthens the correct understanding of the world that he has already received.

Chukovsky dedicated a special work to this type of folklore, calling it “Silent absurdities.” He considered this genre extremely important for stimulating a child’s cognitive attitude towards the world and very well substantiated why children like absurdity so much. The child constantly has to systematize the phenomena of reality. In this systematization of chaos, as well as randomly acquired scraps and fragments of knowledge, the child reaches virtuosity, enjoying the joy of knowledge.

1 The hands that visited the grandmother are an example of synecdoche: this is a type of metonymy when a part is named instead of the whole.

nia. Hence his increased interest in games and experiments, where the process of systematization and classification is put in first place. Changeling in a playful way helps the child to establish himself in the knowledge he has already acquired, when familiar images are combined, familiar pictures are presented in funny confusion.

A similar genre exists among other nations, including the British. The name “Sculptural absurdities” given by Chukovsky corresponds to the English “Topsy-turvy rhymes” - literally: “Rhymes upside down.”

Chukovsky believed that the desire to play shifters is inherent in almost every child at a certain stage of his development. Interest in them, as a rule, does not fade even among adults - then the comic effect of “stupid absurdities” comes to the fore, not the educational one.

Researchers believe that fables-shifters moved into children's folklore from buffoon and fair folklore, in which the oxymoron was a favorite artistic device. This is a stylistic device that consists of combining logically incompatible concepts, words, phrases that are opposite in meaning, as a result of which a new semantic quality arises. In adult nonsense, oxymorons usually serve to expose and ridicule, but in children's folklore they are not used to ridicule or ridicule, but deliberately seriously tell about a known improbability. The tendency of children to fantasize finds application here, revealing the closeness of the oxymoron to the child’s thinking.

In the middle of the sea the barn is burning. The ship is running across an open field. The men on the street are beating 1, They are beating - they are catching fish. A bear flies across the sky, waving its long tail!

A technique close to an oxymoron that helps a shapeshifter to be entertaining and funny is perversion, i.e. rearrangement of subject and object, as well as attribution to subjects, phenomena, objects of signs and actions that are obviously not inherent in them:

Lo and behold, the gate is barking from under the dog... Children on calves,

A village was driving past a man,

In a red sundress,

From behind the forest, from behind the mountains, Uncle Egor is riding:

Servants on ducklings...

Don, don, dili-don,

Himself on a horse, in a red hat, wife on a ram,

The cat's house is on fire! A chicken runs with a bucket, Floods the cat's house...

Stabs- fences for catching red fish.

Absurd upside-downs attract people with their comic scenes and funny depictions of life’s incongruities. Folk pedagogy found this entertainment genre necessary, and it used it widely.

Counting books. This is another small genre of children's folklore. Counting rhymes are funny and rhythmic rhymes, to which a leader is chosen and the game or some stage of it begins. Counting tables were born in the game and are inextricably linked with it.

Modern pedagogy assigns play an extremely important role in the formation of a person and considers it a kind of school of life. Games not only develop dexterity and intelligence, but also teach one to obey generally accepted rules: after all, any game takes place according to pre-agreed conditions. The game also establishes relationships of co-creation and voluntary submission according to game roles. The one who knows how to follow the rules accepted by everyone and does not bring chaos and confusion into a child’s life becomes authoritative here. All this is working out the rules of behavior in future adult life.

Who doesn’t remember the rhymes of his childhood: “White hare, where did he run?”, “Eniki, beniks, ate dumplings...” - etc. The very opportunity to play with words is attractive to children. This is the genre in which they are most active as creators, often introducing new elements into ready-made rhymes.

Works of this genre often use nursery rhymes, nursery rhymes, and sometimes elements of adult folklore. Perhaps it is precisely in the internal mobility of the rhymes that lies the reason for their such wide distribution and vitality. And today you can hear very old, only slightly modernized texts from children playing.

Researchers of children's folklore believe that the counting in the counting rhyme comes from pre-Christian “witchcraft” - conspiracies, spells, encryption of some kind of magic numbers.

G.S. Vinogradov called the rhymes of counting rhymes gentle, playful, a true decoration of counting poetry. The counting book is often a chain of rhyming couplets. The methods of rhyming here are very diverse: paired, cross, ring. But the main organizing principle of the rhymes is rhythm. A counting rhyme often resembles the incoherent speech of an excited, offended, or amazed child, so the apparent incoherence or meaninglessness of the rhymes is psychologically explainable. Thus, the counting rhyme, both in form and content, reflects the psychological characteristics of age.

Tongue Twisters. They belong to the funny, entertaining genre. The roots of these oral works also lie in ancient times. This is a word game included in the component cha

ust into the cheerful festive entertainments of the people. Many of the tongue twisters, which meet the aesthetic needs of a child and his desire to overcome difficulties, have become entrenched in children's folklore, although they clearly came from adults.

The cap is sewn, but not in the Kolpakov style. Who would wear Pereva's cap?

Tongue twisters always include a deliberate accumulation of difficult-to-pronounce words and an abundance of alliteration (“There was a white-faced ram, he turned all the white-headed rams”). This genre is indispensable as a means of developing articulation and is widely used by educators and doctors.

Tricks, teases, sentences, refrains, chants. All these are works of small genres, organic to children's folklore. They serve the development of speech, intelligence, and attention. Thanks to the poetic form of a high aesthetic level, they are easily remembered by children.

Say two hundred.

Head in dough!

(Underdress.)

Rainbow-arc, Don't give us rain, Give us the red sun around the outskirts!

(Call.)

There is a little bear, there is a bump near the ear.

(Tease.)

Zaklichki in their origin are associated with the folk calendar and pagan holidays. This also applies to sentences that are close to them in meaning and use. If the first contain an appeal to the forces of nature - the sun, wind, rainbow, then the second - to birds and animals. These magical spells passed into children's folklore due to the fact that children were early introduced to the work and cares of adults. Later calls and sentences take on the character of entertaining songs.

In the games that have survived to this day and include chants, sentences, and refrains, traces of ancient magic are clearly visible. These are games held in honor of the Sun (Kolya

dy, Yarily) and other forces of nature. The chants and choruses accompanying these games preserved the people's faith in the power of words.

But many game songs are simply cheerful, entertaining, usually with a clear dance rhythm:

Let's move on to larger works of children's folklore - songs, epics, fairy tales.

Russian folk songs play a big role in the formation in children of an ear for music, a taste for poetry, love for nature, native land. The song has been around among children since time immemorial. Children's folklore also included songs from adult folk art - usually children adapted them to their games. There are ritual songs (“And we sowed millet, we sowed...”), historical (for example, about Stepan Razin and Pugachev), and lyrical. Nowadays, children more often sing not so much folklore songs as original ones. There are also songs in the modern repertoire that have long lost their authorship and are naturally drawn into the element of oral folk art. If there is a need to turn to songs created many centuries, or even millennia ago, then they can be found in folklore collections, as well as in educational books by K. D. Ushinsky.

Epics. This is the heroic epic of the people. It is of great importance in nurturing love for native history. Epic stories always tell about the struggle between two principles - good and evil - and about the natural victory of good. The most famous epic heroes - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich - are collective images that capture the features of real people, whose lives and exploits became the basis of heroic narratives - epics (from the word “byl”) or old Epics are a grandiose creation of folk art. The artistic convention inherent in them is often expressed in fantastic fiction. The realities of antiquity are intertwined in them with mythological images and motifs. Hyperbole is one of the leading techniques in epic storytelling. It gives the characters monumentality, and their fantastic exploits - artistic credibility.

It is important that for the heroes of epics the fate of their homeland is more valuable than life, they protect those in trouble, defend justice, and are full of self-esteem. Taking into account the heroic and patriotic charge of this ancient folk epic, K.D. Ushinsky and L.N. Tolstoy included excerpts in children’s books even from those epics that generally cannot be classified as children’s reading.

Baba sowed peas -

The woman stood on her toes, And then on her heel, She began to dance Russian, And then in a squat!

Jump-jump, jump-jump! The ceiling collapsed - Jump-jump, jump-jump!

The inclusion of epics in children's books is made difficult by the fact that without an explanation of events and vocabulary, they are not entirely understandable to children. Therefore, when working with children, it is better to use literary retellings of these works, for example, I.V. Karnaukhova (collection “Russian Heroes. Epics”) and N.P. Kolpakova (collection “Epics”). For older people, the collection “Epics” compiled by Yu. G. Kruglov is suitable.

Fairy tales. They arose in time immemorial. The antiquity of fairy tales is evidenced, for example, by the following fact: in the unprocessed versions of the famous “Teremka”, the role of the tower was played by a mare’s head, which the Slavic folklore tradition endowed with many wonderful properties. In other words, the roots of this tale go back to Slavic paganism. At the same time, fairy tales do not at all testify to the primitiveness of the people's consciousness (otherwise they could not have existed for many hundreds of years), but to the ingenious ability of the people to create a single harmonious image of the world, connecting everything that exists in it - heaven and earth, man and nature, life and death. Apparently, the fairy tale genre turned out to be so viable because it is perfect for expressing and preserving fundamental human truths, the foundations of human existence.

Telling fairy tales was a common hobby in Rus'; both children and adults loved them. Usually, the storyteller, when narrating events and characters, reacted vividly to the attitude of his audience and immediately made some amendments to his narrative. That is why fairy tales have become one of the most polished folklore genres. They best meet the needs of children, organically corresponding to child psychology. A craving for goodness and justice, a belief in miracles, a penchant for fantasy, for a magical transformation of the world around us - the child joyfully encounters all this in a fairy tale.

In a fairy tale, truth and goodness certainly triumph. A fairy tale is always on the side of the offended and oppressed, no matter what it tells. It clearly shows where a person’s correct life paths are, what his happiness and unhappiness are, what his retribution for mistakes is, and how a person differs from animals and birds. Every step of the hero leads him to his goal, to final success. You have to pay for mistakes, and having paid, the hero again gains the right to luck. This movement of fairy-tale fiction expresses an essential feature of the people's worldview - a firm belief in justice, in the fact that the good human principle will inevitably defeat everything that opposes it.

A fairy tale for children contains a special charm; some secrets of the ancient worldview are revealed. They find in the fairy tale story independently, without explanation, something very valuable for themselves, necessary for the growth of their consciousness.

The imaginary, fantastic world turns out to be a reflection real world in its main principles. A fabulous, unusual picture of life gives the child the opportunity to compare it with reality, with the environment in which he, his family, and people close to him exist. This is necessary for developing thinking, since it is stimulated by the fact that a person compares and doubts, checks and is convinced. The fairy tale does not leave the child as an indifferent observer, but makes him an active participant in what is happening, experiencing every failure and every victory with the heroes. The fairy tale accustoms him to the idea that evil must be punished in any case.

Today the need for a fairy tale seems especially great. The child is literally overwhelmed by a constantly increasing flow of information. And although the mental receptivity of children is great, it still has its limits. The child becomes overtired, becomes nervous, and it is the fairy tale that frees his consciousness from everything unimportant and unnecessary, concentrating his attention on the simple actions of the characters and thoughts about why everything happens this way and not otherwise.

For children, it doesn’t matter at all who the hero of the fairy tale is: a person, an animal or a tree. Another thing is important: how he behaves, what he is like - handsome and kind or ugly and evil. The fairy tale tries to teach the child to evaluate the main qualities of the hero and never resorts to psychological complication. Most often, a character embodies one quality: the fox is cunning, the bear is strong, Ivan is successful in the role of a fool, and fearless in the role of a prince. The characters in the fairy tale are contrasting, which determines the plot: brother Ivanushka did not listen to his diligent, sensible sister Alyonushka, drank water from a goat’s hoof and became a goat - he had to be rescued; the evil stepmother plots against the good stepdaughter... This is how a chain of actions and amazing fairy-tale events arises.

A fairy tale is built on the principle of a chain composition, which usually includes three repetitions. Most likely, this technique was born in the process of storytelling, when the storyteller again and again provided listeners with the opportunity to experience a vivid episode. Such an episode is usually not just repeated - each time there is an increase in tension. Sometimes repetition takes the form of dialogue; then, if children play in a fairy tale, it is easier for them to transform into its heroes. Often a fairy tale contains songs and jokes, and children remember them first.

A fairy tale has its own language - laconic, expressive, rhythmic. Thanks to language, a special fantasy world is created, in which everything is presented large, prominently, and is remembered immediately and for a long time - heroes, their relationships, surrounding characters and objects, nature. There are no halftones - there is a tone

side, bright colors. They attract a child to them, like everything colorful, devoid of monotony and everyday dullness. /

“In childhood, fantasy,” wrote V. G. Belinsky, “is the predominant ability and strength of the soul, its main figure and the first intermediary between the spirit of the child and the world of reality located outside it.” Probably, this property of the children's psyche - a craving for everything that miraculously helps to bridge the gap between the imaginary and the real - explains this undying interest of children in fairy tales for centuries. Moreover, fairy-tale fantasies are in line with the real aspirations and dreams of people. Let's remember: the flying carpet and modern airliners; a magic mirror showing distant distances, and a TV.

And yet, the fairy-tale hero attracts children most of all. Usually this is an ideal person: kind, fair, handsome, strong; he certainly achieves success, overcoming all sorts of obstacles, not only with the help of wonderful assistants, but above all thanks to his personal qualities - intelligence, fortitude, dedication, ingenuity, ingenuity. Every child would like to be like this, and the ideal hero of fairy tales becomes the first role model.

Based on theme and style, fairy tales can be divided into several groups, but usually researchers distinguish three large groups: tales about animals, fairy tales and everyday (satirical) tales.

Tales about animals. Young children, as a rule, are attracted to the animal world, so they really like fairy tales in which animals and birds act. In a fairy tale, animals acquire human traits - they think, speak, and act. Essentially, such images bring to the child knowledge about the world of people, not animals.

In this type of fairy tale, there is usually no clear division of characters into positive and negative. Each of them is endowed with one particular trait, an inherent character trait, which is played out in the plot. So, traditionally the main feature of a fox is cunning, therefore we're talking about usually about how she fools other animals. The wolf is greedy and stupid; in his relationship with the fox, he certainly gets into trouble. The bear does not have such an unambiguous image; the bear can be evil, but it can also be kind, but at the same time it always remains a klutz. If a person appears in such a fairy tale, then he invariably turns out to be smarter than the fox, the wolf, and the bear. Reason helps him defeat any opponent.

Animals in fairy tales observe the principle of hierarchy: everyone recognizes the strongest as the most important. It's a lion or a bear. They always find themselves at the top of the social ladder. This brings the tale closer together

ki about animals with fables, which is especially clearly visible from the presence in both of them of similar moral conclusions - social and universal. Children easily learn: the fact that a wolf is strong does not make him fair (for example, in the fairy tale about the seven kids). The sympathy of the listeners is always on the side of the just, not the strong.

Among the tales about animals, there are some quite scary ones. A bear eats an old man and an old woman because they cut off his paw. An angry beast with a wooden leg, of course, seems terrible to kids, but in essence it is the bearer of fair retribution. The narrative allows the child to figure out a difficult situation for himself.

Fairy tales. This is the most popular and most loved genre by children. Everything that happens in a fairy tale is fantastic and significant in its purpose: its hero, finding himself in one or another dangerous situation, saves friends, destroys enemies - fights for life and death. The danger seems especially strong and terrible because its main opponents are not ordinary people,” but representatives of the supernatural. dark forces: Serpent Gorynych, Baba Yaga, Koshey the Immortal, etc. By winning victories over these evil spirits, the hero, as it were, confirms his high human beginning, his closeness to the bright forces of nature. In the struggle, he becomes even stronger and wiser, gains new friends and receives every right to happiness - to the great satisfaction of his little listeners.

In the plot fairy tale the main episode is the beginning of the hero’s journey for the sake of one or another important task. On his long journey, he encounters treacherous opponents and magical helpers. He has very effective means at his disposal: a flying carpet, a wonderful ball or mirror, or even a talking animal or bird, a swift horse or a wolf. All of them, with some conditions or without them at all, in the blink of an eye fulfill the requests and orders of the hero. They do not have the slightest doubt about his moral right to give orders, since the task assigned to him is very important and since the hero himself is impeccable.

The dream of the participation of magical helpers in people’s lives has existed since ancient times - since the times of the deification of nature, belief in the Sun God, in the ability to summon light forces with a magic word, witchcraft and ward off dark evil. " "

Everyday (satirical) tale closest to everyday life and does not even necessarily include miracles. Approval or condemnation is always given openly, the assessment is clearly expressed: what is immoral, what is worthy of ridicule, etc. Even when it seems that the heroes are just fooling around,

They delight the listeners, their every word, every action is filled with significant meaning and is connected with important aspects of a person’s life.

The constant heroes of satirical fairy tales are “ordinary” poor people. However, they invariably prevail over the “difficult” - rich or noble man. Unlike the heroes of a fairy tale, here the poor achieve the triumph of justice without the help of miraculous helpers - only thanks to intelligence, dexterity, resourcefulness and even fortunate circumstances.

For centuries, the everyday satirical tale has absorbed the characteristic features of the life of the people and their attitude towards those in power, in particular towards judges and officials. All this, of course, was conveyed to the little listeners, who were imbued with the healthy folk humor of the storyteller. Fairy tales of this kind contain the “vitamin of laughter,” which helps the common man maintain his dignity in a world ruled by bribery officials, unjust judges, stingy rich people, and arrogant nobles.

Animal characters sometimes appear in everyday fairy tales, and perhaps the appearance of such abstract characters, like Truth and Falsehood, Woe and Misfortune. The main thing here is not the selection of characters, but the satirical condemnation of human vices and shortcomings.

Sometimes such a specific element of children's folklore as a shapeshifter is introduced into a fairy tale. In this case, a shift in real meaning occurs, encouraging the child to correctly arrange objects and phenomena. In a fairy tale, the shapeshifter becomes larger, grows into an episode, and already forms part of the content. Displacement and exaggeration, hyperbolization of phenomena give the child the opportunity to laugh and think.

So, a fairy tale is one of the most developed and beloved genres of folklore by children. It reproduces the world in all its integrity, complexity and beauty more fully and brightly than any other type of folk art. A fairy tale provides rich food for children's imagination, develops imagination - this most important trait of a creator in any area of ​​life. And the precise, expressive language of the fairy tale is so close to the mind and heart of a child that it is remembered for a lifetime. It is not without reason that interest in this type of folk art does not dry out. From century to century, from year to year, classic recordings of fairy tales and their literary adaptations are published and republished. Fairy tales are heard on the radio, broadcast on television, staged in theaters, and filmed.

However, it cannot be said that the Russian fairy tale has been persecuted more than once. The Church fought against pagan beliefs, and at the same time against folk tales. Thus, in the 13th century, Bishop Serapion of Vladimir forbade “telling fables,” and Tsar Alexei Mikhailovich drew up a special letter in 1649 demanding

We want to put an end to “telling” and “buffoonery”. Nevertheless, already in the 12th century, fairy tales began to be included in handwritten books and included in chronicles. And from the beginning of the 18th century, fairy tales began to be published in “face pictures” - publications where heroes and events were depicted in pictures with captions. But still, this century was harsh in relation to fairy tales. There are known, for example, sharply negative reviews about the “peasant fairy tale” of the poet Antioch Cantemir and Catherine II; largely agree with each other, they were guided by Western European culture. The 19th century also did not bring the folk tale recognition from protective officials. Thus, the famous collection of A. N. Afanasyev “Russian Children's Fairy Tales” (1870) aroused the claims of a vigilant censor as allegedly presenting to the children's mind “pictures of the most crude self-interested cunning, deception, theft and even cold-blooded murder without any moralizing notes.”

And it was not only censorship that struggled with the folk tale. From the middle of the same 19th century, then-famous teachers took up arms against her. The fairy tale was accused of being “anti-pedagogical”; they were assured that it retarded the mental development of children, frightened them with images of terrible things, weakened the will, developed crude instincts, etc. Essentially the same arguments were made by opponents of this type of folk art both in the last century and in Soviet times. After the October Revolution, leftist teachers also added that the fairy tale takes children away from reality and evokes sympathy for those who should not be treated - for all sorts of princes and princesses. Similar accusations were made by some authoritative public figures, for example N.K. Krupskaya. Discussions about the dangers of fairy tales stemmed from the general denial of the value of cultural heritage by revolutionary theorists.

Despite the difficult fate, the fairy tale lived on, always had ardent defenders and found its way to children, connecting with literary genres.

The influence of a folk tale on a literary tale is most clearly evident in the composition, in the construction of the work. The famous folklore researcher V.Ya. Propp (1895-1970) believed that a fairy tale amazes not even with imagination, not with miracles, but with the perfection of composition. Although the author's fairy tale is freer in plot, in its construction it is subject to traditions folk tale. But if its genre features are used only formally, if their organic perception does not occur, then the author will face failure. It is obvious that mastering the laws of composition that have evolved over centuries, as well as the laconicism, specificity and wise generalizing power of a folk tale, means for a writer to reach the heights of authorship.

It was folk tales that became the basis for the famous poetic tales of Pushkin, Zhukovsky, Ershov, and fairy tales in prose

(V.F. Odoevsky, L.N. Tolstoy, A.N. Tolstoy, A.M. Remizov, B.V. Shergin, P.P. Bazhov, etc.), as well as dramatic tales (S.Ya. Marshak, E. L. Schwartz). Ushinsky included fairy tales in his books “Children’s World”, “ Native word", believing that no one can compete with the pedagogical genius of the people. Later, Gorky, Chukovsky, Marshak and our other writers passionately spoke out in defense of children's folklore. They convincingly confirmed their views in this area by modern processing of ancient folk works and the composition of literary versions based on them. Beautiful collections of literary fairy tales, created on the basis or under the influence of oral folk art, are published in our time by a variety of publishing houses.

Not only fairy tales, but also legends, songs, and epics have become models for writers. Certain folklore themes and plots merged into literature. For example, the 18th century folk story about Eruslan Lazarevich was reflected in the image of the main character and some episodes of Pushkin’s “Ruslan and Lyudmila”. Lullabies created by folk motives, is found in Lermontov (“Cossack Lullaby”), Polonsky (“The Sun and the Moon”), Balmont, Bryusov and other poets. Essentially, “By the Bed” by Marina Tsvetaeva, “The Tale of a Stupid Mouse” by Marshak, and “Lullaby to the River” by Tokmakova are lullabies. There are also numerous translations of folk lullabies from other languages ​​made by famous Russian poets.

Results

Oral folk art reflects the entire set of rules of folk life, including the rules of education.

The structure of children's folklore is similar to the structure of children's literature.

All genres of children's literature have been and are influenced by folklore.

1. The techniques of epic poetics are

a) rhyme, allegory, syntactic parallelism

b) irony, rhythm, reliable depiction of reality

c) retardation, hyperbolization, “common place”

2. The genres of winter ritual poetry include

a) walking songs, stubble songs, chants

b) carols, grapes, sub-dish songs

c) mermaid songs, Trinity songs, Maslenitsa songs

3. The genres of spring rituals include

a) loach songs, calls, stoneflies

b) Shchedrovka, Trinity songs, stubble songs

c) Kupala songs, volochnye songs, autumn

4. The epics of the Novgorod cycle include

a) “Mikhailo Kazarenin”, “The Marriage of Dobrynya”

b) “Sadko”, “Vasily Buslaev”

c) “Volga and Mikula”, “Skopin”

5. The “elder” heroes in Russian epics are

a) Volga (Volkh Vseslavevich), Svyatogor, Mikula Selyaninovich

b) Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich

c) Mikhailo Potyk, Sadko, Duke Stepanovich

6. Genres of non-fairy tale prose include

a) boring tale, visitation, tale

b) happened, cumulative tale, joke

c) legend, legend, tale

7. To genres wedding ceremony relate

a) boring fairy tales, chants, autumn

b) volitional songs, game refrains, ditties

c) songs such as monologue-imperative, lamentation, magnification

8. Genres of the wedding ceremony include

a) reproachful songs, friends’ verdict, lamentations

b) lullabies, plot, nursery rhyme

c) pestelka, bylichka, round dance songs

9. Genres of the wedding ceremony include

a) tales, grapes, choruses

b) magnifications, songs commenting on acts of ritual, lamentations

c) jokes, louse songs, inverted tales

10. Plots folk ballads are

a) “Sister and brothers are robbers”, “The husband destroys his wife”,

b) “The Pigeon Book”, “The Death of Churila”,

c) “The Dream of the Mother of God”, “Babylo and the buffoons”

11. The subjects of a folk ballad are

a) “Agafonushka”, “About Arakcheev”,

b) “Rowanka”, “Well done and the princess”

c) “Battle of Poltava”, “Tatar full”

12. The subjects of a folk ballad are

a) “Petrov’s recruits on Sparrow Hills”, “Pop Emelya”

b) “About the Votsn of 1812”, “Streltsy and Peasants”

c) “Vanka the Key Holder”, “The Slandered Wife”

13. The subjects of historical songs are

a) “The Capture of Kazan”, “Mikhailo Skopin”.

b) “Forty kalik with kalik”, “Seven riddles”.

c) “Old Eagle”, “Horse and Falcon”.

14. The subjects of historical songs are

a) “Prince Roman was losing his wife,” “Children of the widow.”

b) “Well done and the Queen,” “Vasily and Sophia.”

c) “Avdotya Ryazanochka”, “Son of Stenka Razin”.

15. The subjects of historical songs are

a) “Shchelkan Dyudentievich”, “Execution of the Streltsy Ataman”.

B) “The Slandered Wife”, “The Sage Maiden”.

B) “Dmitry and Domna”, “Indrik the Beast”.

16. Genres of children's folklore include

a) horror stories, teasers, nursery rhymes

b) pesters, boring fairy tales, legend

c) chants, epics, rhymes

17. Genres of children's folklore created by children themselves include

18. Genres of children's folklore created by adults include

a) teases, lottery agreements, teases

b) lullabies, upside-down tales, pesters

c) chants, game refrains, rhymes

19. Tales about animals include:

a) “Little little havroshechka”, “Zhikharko”, “Geese-swans”, “Dog and wolf”

b) “Crying Fox”, “Rolling Pin for a Goose”, “Cat and Rooster”

c) “Ivan the Dog’s Son”, “Snow Maiden”, “Pop’s Wife”

20. Cumulative tales are

a) "Baba" worse than the devil", "The Man and the Master", "Treasure"

b) “The Wolf and the Seven Little Goats”, “Sivka-Burka”, “The Frog Princess”

c) “Teremok”, “Kolobok”, “Turnip”

21. Fairy tales include:

a) “Ice and Bast Hut”, “Ryaba Hen”, “Animals in the Pit”

b) “Porridge from an Axe”, “Morozko”, “Mashenka and the Bear”

c) “Ivan Tsarevich and the Gray Wolf”, “ Rejuvenating apples", "Firebird"

22. The saying is

a) “In Sagittarius, the bet is good, but the exhibition is dashing”

b) “A miserable soldier is worse than a bast bast”

c) “Take care of your honor from a young age”

23. The proverb is

a) “A spoon is for dinner, and an egg is for Christ’s Day”

b) “When the cancer whistles on the mountain”

c) “Where did Makar drive his calves?”

24. The saying is

a) “Hunger is not a woman - she won’t slip you a pie”

b) “Work is not a wolf”

c) “The hungry Frenchman is glad for the crow”

25. What genre of folklore does the following text belong to:

Golden damask is developing. Lada!

Someone is getting ready to go. Lada!

To whomever we sing, we sing well. Lada!

Whoever gets it, it will come true, it will not fail! Lada!

a) wedding ceremony

b) nickname

c) sneaky song

26. What genre of folklore does the following text belong to:

There's a lot of milk left, Elijah!

The top is gilded. Or me!

To whom we sing, it is with goodness, Elijah!

Whoever has it come true will not miss it. Or me!

He should live richly, Elijah!

Walk well and do nothing, Elijah!

Sit on the stove and get fat. Or me!

a) a riddle

b) sneaky song

c) conspiracy

27. What genre of folklore does the following text belong to:

I sit at the bowl, driving with my fingers. Glory!

I’ll sit still, I’ll drive some more. Glory!

Who will get this song?

It will happen for one, it will come true for another, it will not pass away. Glory!

a) wedding ceremony

b) nickname

c) sneaky song

28. What type of lamentation does this fragment of text belong to:

And you are my dear, okay dear,

And you are my dear, mountain high,

Where are you going with me, oh my god, are you packing up?

Where are you going, my dear?

a) wedding lament

b) recruiting lamentation

c) funeral lamentation

29. What type of lamentation does this fragment of text belong to:

Lord's friends,

Dear Lords,

Give the guy some booze

Yes, not the first in my lifetime,

Yes, yes, but not the last,

You're just the last one

With honest maiden beauty,

Yes, with free will

On the home side...

a) wedding lament

b) recruiting lamentation

c) funeral lamentation

30. What type of lamentation does this fragment of text belong to:

They have already wrapped you in white shrouds,

And they built you a new upper room,

A new room for you without doors,

Without doors, my dear, without windows...

a) funeral lament

b) wedding lament

c) recruiting lamentation

31. What genre of folklore does the following fragment of text belong to:

They drank, the boyars drank wine.

They built a falcon's nest.

Vasilyushka calls, calls his wife,

He calls, Ivanovich calls his.

a) wedding song

b) wedding lament

c) sentence

32. What genre of folklore does the following fragment of text belong to:

"...By the ocean sea stands a throne,

The Most Holy Mother of God sits on the throne,

There is a golden whisk in front of her.

I will ask her: “Come to my aid,

Take a broom, sweep and clean up the lessons, dears..."

a) conspiracy

b) legend

c) lamentation

33. What genre of folklore does the following fragment of text belong to:

"Cheer-beep,

There is no place for you on a white body,

There is a place for you on the tree.

As it dries, so does the boil dry."

a) round dance song

b) tease

c) conspiracy

34. What genre of folklore does the following text fragment belong to:

The straight path is blocked,

The path was closed up and walled up;

Ay, is this the right path?

Yes, no one walked around as infantry,

No one rode by on a good horse.

a) epic

b) non-ritual lyrical song

c) dance song

35. What genre of folklore does the following fragment of text belong to:

We drove through clean fields, green meadows.

We drove, we drove, we arrived at Rostan,

Our horses got up - they wanted to eat.

a) counting rhyme

b) lyrical non-ritual song

c) friend’s verdict

36. What genre of folklore does the following fragment of text belong to:

Who is sitting in our bench?...

Yes, there is no mustache, and there is no beard,

Yes, his hair is silk,

Yes, in three rows, let them roam,

Yes, they curl into three rings...

a) reproach song

b) game song

c) praise song

37. What epic plot does the following fragment of text refer to?:

And boasting is not enough to boast of a countless golden treasury:

To your countless gold treasury

I will buy Novgorod goods,

Bad goods and good ones!”

Before he could utter a word,

Like the abbots of Novgorod

They hit a great bet,

About the countless golden treasury...

a) “Vasily Buslaev”

b) “Mikhailo Potyk”

c) "Sadko"

38. What epic plot does the following fragment of text refer to?:

We drove to Razdolitsa, an open field,

We heard shouting in the open field.

How Oratay screams in the field and whistles,

Oratai's bipod creaks,

The little guys are scratching the pebbles.

We drove all day from morning to evening,

We couldn’t get to Oratai.

a) “Svyatogor”

b) “Mikula Selyaninovich”

c) “Three trips of Ilya Muromets”

39. What epic plot does the following fragment of text refer to?:

Her playful little legs broke;

In the Nightingale he was shrewd,

He threw away his ringing harp,

He grabbed the girl by the white hands,

He laid ivory bones on the bed,

But those feather beds are down:

“Why are you scared, Zapava?

We're both getting older."

“And I am also a girl of marriageable age,

I came to marry you myself.”

a) “Nightingale Budimirovich”

b) “Ilya Muromets and Nightingale the Robber”

c) "Sadko"

40. “Transitional” rites include

a) building a house, putting out a fire

b) caroling, first cattle drive

c) wedding, homeland

41. “Transitional” rites include

a) funeral, wedding

b) moving to a new house, plowing

c) Trinity rites, dressing up

42. “Transitional” rites include

a) making an ordinary object, burning an effigy

b) bedbug funeral, beard curling

c) homeland, funeral

a) A.N. Veselovsky

b) V.Ya. Propp

c) B.N. Putilov

a) A.N. Veselovsky

b) V.Ya. Propp

c) B.N. Putilov

a) A.N. Veselovsky

b) V.Ya. Propp

c) B.N. Putilov

Keys to the test

1 – in	26 – b
2 – b	27 – in
3 – a	28 – in
4 – b	29 – a
5 – a	30 – a
6 – in	31 – a
7 – in	32 – a
8 – a	33 – in
9 – b	34 – a
10 – a	35 – in
11 – b	36 – in
12 – in	37 – in
13 – a	38 – b
14 – in	39 – a
15 – a	40 – in
16 – a	41 – a
17 – a	42 – in
18 – in	43 – a
19 – b	44 – b
20 – in	45 – in
21 – in
22 – in
23 – a
24 – b
25 – in

Exam in the course “Oral Folk Art” involves identifying mastery of all types of competencies provided for by the basic educational program Bachelor of Philology. Exam questions include extensive material on both general issues folkloristics, as well as history and theory of individual genres. During the exam, students are also required to be offered a practical task on analyzing works of folklore.

Questions for the exam:

1. The concept and subject of folklore.
2. Folkloristics as a science. Problems of the origin of folklore.
3. Syncretism, orality, collectivity, changeability and variability of folklore.
4. System of genres of oral folk art.
5. Traditional folklore and Mass culture. Literature and folklore.
6. Christmas rituals. Carols, grapevines, sub-dish songs. Fortune telling. Mummers.
7. Maslenitsa rituals and songs.
8. Meeting spring. Stoneflies.
9. Trinity-Semitic rituals and songs.
10. Kupala ritual.
11. Reaping rituals and songs. Cover.
12. Typology calendar rituals, their magical character.
13. Forms of marriage.
14. The relationship between words and ritual action. Types of producing and preventive magic.
15. The structure of the wedding ritual.
16. Wedding rites and their functions.
17. Incantatory songs and songs of the monologue-imperative type. Pecking and glorifying songs. Songs commenting on the acts of the ritual.
18. Wedding lamentations.
19. Buddy's verdict.
20. Structure of the funeral rite.
21. Funeral and recruitment lamentations.
22. The structure of the birth ritual.
23. The connection between the birth ritual and other life cycle rituals.
24. Definition of a conspiracy, its magical nature and connection with ritual. Types of conspiracies and their artistic originality.
25. The poetic structure of the conspiracy. The connection between the conspiracy and other genres of folklore.
26. Proverbs. Sayings. Puzzles.
27. The problem of determining the genre of a fairy tale. Problems of fairy tale classification.
28. Tales about animals. The origin and development of the genre. The origin of fiction. Oldest structure. Plots of fairy tales about animals.
29. Fairy tales. The nature of the fantastic. Art space and time. The structure of a fairy tale.
30. Everyday short story tales. Structural originality of the genre. Social nature genre.
31. The problem of classifying non-fairy tale epic genres.
32. Tradition. Genre characteristics and definitions. Historical legends. Toponymic legends.
33. Legend, genre definition and artistic specificity. The connection between legends and church literature.
34. Bylichki and byvalshchina as a genre. Forms of storytelling. Demonological characters in tales and stories.

35. Definition and genesis of epics. History of collection and distribution areas.

1. Epics ancient period, their plots, themes and images, connections with mythological ideas.
2. Heroic and novelistic epics. Principles of selection.
3. Epics of the Kyiv and Novgorod cycles, plots and images.
4. Poetics of epics.
5. The emergence, development and classification of historical songs.
6. Songs about the Tatar invasion.
7. Songs from the era of Ivan the Terrible.
8. Songs from the era of Peter I.
9. Songs about Russian commanders.
10. Soldiers' songs. Features of the artistic style.