Research work Alexander Mikhailovich Listopadov is a collector and researcher of folk Cossack songs. Collection - Epics

Scientific publications of Russian folklore began to appear in the 30-40s of the 19th century. First of all, these are collections by Moscow University professor I.M. Snegirev "Russian common holidays and superstitious rituals" in four parts (1837-1839), "Russian folk proverbs and parables" (1848).

Valuable materials are contained in the collections of the folklorist scientist I.P. Sakharov “Tales of the Russian people about the family life of their ancestors” (in two volumes, 1836 and 1839), “Russian folk tales” (1841).

Gradually, wide public circles became involved in the work of collecting folklore. This was facilitated by the Imperial Russian Geographical Society created in 1845 in St. Petersburg. It had an ethnography department that was actively involved in collecting folklore in all the provinces of Russia. The Society received numerous notes from anonymous correspondents (rural and urban teachers, doctors, students, clergy and even peasants) oral works, which compiled an extensive archive. Later, much of this archive was published in “Notes of the Russian Geographical Society for the Department of Ethnography.” And in Moscow in the 60-70s, the “Society of Lovers of Russian Literature” was engaged in publishing folklore. Folklore materials were published in the central magazines "Ethnographic Review" and "Living Antiquity", in local periodicals.

In the 30-40s P.V. Kireevsky and his friend the poet N.M. Languages were widely deployed and led the collection of Russian folk epics and lyrical songs(epics, historical songs, ritual and non-ritual songs, spiritual poems). Kireyevsky prepared materials for publication, but his untimely death did not allow him to fully implement his plans. During his lifetime, the only collection was published: spiritual poems. “Songs collected by P.V. Kireevsky” were first published only in the 60-70s of the 19th century (epics and historical songs, the so-called “old series”) and in the 20th century (ritual and non-ritual songs, “new series” ).

In the same 30-40s, V.I.’s collecting activities took place. Dalia. He recorded works of various genres of Russian folklore, however, as a researcher of the “living Great Russian language,” Dahl focused on preparing a collection of small genres that are closest to colloquial speech: proverbs, sayings, proverbs, etc. In the early 60s, Dahl’s collection was published "Proverbs of the Russian people." In it, all the texts were grouped for the first time according to a thematic principle, which made it possible to objectively present the people’s attitude to various phenomena of life. This turned the collection of proverbs into a genuine book of folk wisdom.

Another detailed folklore publication was the collection of A.N. Afanasyev’s “Russian Folk Tales”, to which Dahl also made a great collecting contribution, who gave Afanasyev about a thousand fairy tales he recorded.

Afanasyev's collection was published in 8 issues from 1855 to 1863. There are a little more than a dozen fairy tales recorded by Afanasyev himself; he mainly used the archives of the Russian Geographical Society, the personal archives of V.I. Dalia, P.I. Yakushkin and other collectors, as well as materials from ancient handwritten and some printed collections. Only the best material was published in the first edition. Approximately 600 texts in the collection covered a huge geographical space: the places of residence of Russians, as well as partly Ukrainians and Belarusians.

The publication of Afanasyev's collection caused a wide public response. It was reviewed by prominent scientists A.N. Pypin, F.I. Buslaev, A.A. Kotlyarevsky, I.I. Sreznevsky, O.F. Miller; in the Sovremennik magazine, N.A. gave a positive assessment. Dobrolyubov.

Later, fighting Russian censorship, Afanasyev managed to publish the collection “Russian Folk Legends” (1859) in London and the collection “Russian Treasured Tales” anonymously in Geneva in 1872.

Afanasyev's collection was partially translated into various foreign languages, and completely translated into German. In Russia it went through 7 complete editions.

From 1860 to 1862, simultaneously with the first edition of Afanasyev’s collection, a collection by I.A. Khudyakov "Great Russian Tales". New trends were expressed in the collection by D.N. Sadovnikov "Tales and legends of the Samara region" (1884). Sadovnikov is the first who paid close attention to an individual talented storyteller and recorded his repertoire. Of the 183 tales in the collection, 72 were recorded from Abram Novopoltsev.

In the middle of the 19th century, a significant event occurred in the history of collecting Russian folklore: an actively existing living epic tradition was discovered in the Olonets region. Its discoverer was P.N., who was exiled to Petrozavodsk in 1859 for political activities. Rybnikov. While working as an official in the governor's office, Rybnikov began to use official travel to collect epics. Over the course of several years, he traveled around a vast territory and recorded a large number of epics and other oral works. folk poetry. The collector worked with outstanding storytellers T.G. Ryabinin, A.P. Sorokin, V.P. Shchegolenko and others, from whom other folklorists subsequently recorded.

In 1861-1867, a four-volume edition of “Songs collected by P.N. Rybnikov” was published, prepared for publication by P.A. Bessonov (1 and 2 volumes), Rybnikov himself (3 volumes) and O. Miller (4 volumes). It included 224 recordings of epics, historical songs, and ballads. The material was arranged according to the plot principle. In the 3rd volume (1864), Rybnikov published “A Collector’s Note,” in which he outlined the state of the epic tradition in the Onega region, gave a number of characteristics to the performers, and raised the question of the creative reproduction of epics and the personal contribution of the storyteller to the epic heritage.

Following in the footsteps of Rybnikov, in April 1871, the Slavic scholar A.F. went to the Olonets province. Hilferding. In two months, he listened to 70 singers and recorded 318 epics (the manuscript was more than 2000 pages). In the summer of 1872, Hilferding again went to the Olonets region. On the way, he became seriously ill and died.

A year after the collector’s death, “Onega epics, recorded by Alexander Fedorovich Hilferding in the summer of 1871. With two portraits of Onega rhapsodes and melodies of epics” (1873) were published. Hilferding was the first to apply the method of studying the repertoire of individual storytellers. He arranged the epics in the collection according to the storytellers, with biographical information provided. Hilferding’s latest journal publication, “Olonets Province and Its Folk Rhapsodes,” was included as a general introductory article.

The 60-70s of the 19th century were a real heyday of collecting activity for Russian folkloristics. During these years, the most valuable publications of various genres were published: fairy tales, epics, proverbs, riddles, spiritual poems, spells, lamentations, ritual and extra-ritual songs.

At the beginning of the 20th century, work continued on collecting and publishing folklore. In 1908, a collection by N.E. was published. Onchukov "Northern Tales" - 303 tales from Olonets and Arkhangelsk provinces. Onchukov arranged the material not according to plots, but according to storytellers, citing their biographies and characteristics. Later, other publishers began to adhere to this principle.

In 1914, a collection by D.K. was published in Petrograd. Zelenin "Great Russian fairy tales of the Perm province." It included 110 fairy tales. The collection is prefaced by Zelenin's article "Something about storytellers and fairy tales of the Yekaterinburg district of the Perm province." It describes the types of storytellers. The material in the collection is arranged by artist.

The collection of brothers B.M. became a valuable contribution to science. and Yu.M. Sokolov "Tales and songs of the Belozersky region" (1915). It includes 163 fairy tale texts. The accuracy of the recording can serve as a model for modern collectors. The collection is compiled based on materials from the expeditions of 1908 and 1909 to the Belozersky and Kirillovsky districts of the Novgorod province. It is equipped with a rich scientific apparatus. Subsequently, both brothers became famous folklorists.

Thus, in the 19th and early 20th centuries, a huge amount of material was collected and the main classical publications of Russian oral history appeared. folk art. This was of enormous importance both for science and for the entire Russian culture. In 1875, writer P.I. Melnikov-Pechersky in a letter to P.V. Sheinu described the significance of the work of folklorists-gatherers as follows:

“For a quarter of a century I traveled a lot around Russia, wrote down a lot of songs, legends, beliefs, etc., etc., but I could not have set foot if there had not been the works of the late Dahl and Kireevsky, there had not been your published works from Bodyansky, the works of L. Maykov, Maksimov and - may the Lord calm his drunken soul in the depths of Abraham - Yakushkin. I find your comparison of your work with the work of an ant not entirely fair.<...>You are bees, not ants - your job is to collect honey, our job is to cook honey (hudromel). If it weren’t for you, we would be brewing some kind of dank kvass, not honey.<...>Not even half a century will pass before the people's ancient traditions and customs dry up, old Russian songs will fall silent or become distorted under the influence of tavern and tavern civilization, but your works until distant times, until our later descendants, will preserve the features of our ancient way of life. You are more durable than us." 1

In the first decades of the 20th century, Russian folkloristics finally defined itself as a scientific discipline, separating itself from other sciences (ethnology, linguistics, literary criticism).

In 1926-1928, the brothers B.M. went on an expedition “in the footsteps of P.N. Rybnikov and A.F. Hilferding.” and Yu.M. Sokolovs. The materials of the expedition were published in 1948. Records of epics of 1926-1933 from the collections of the Manuscript Repository of the Folklore Commission at the Institute of Ethnography of the USSR Academy of Sciences were included in the two-volume publication by A.M. Astakhova "Epics of the North". The collection of epics continued during the war and post-war years. The materials of three expeditions to Pechora (1942, 1955 and 1956) made up the volume “Epics of Pechora and the Winter Coast”.

Many new recordings of fairy tales, songs, ditties, works of non-fairy tale prose, proverbs, riddles, etc. were made. In the publication of new materials, firstly, the genre, and secondly, the regional principle prevailed. Collections reflecting the repertoire of a particular region, as a rule, consisted of one or a few related genres.

Collectors began to purposefully identify workers' folklore, folklore of hard labor and exile. The Civil and Great Patriotic Wars also left their mark on folk poetry, which did not escape the attention of collectors.

Classic collections of Russian folklore were republished: collections of fairy tales by A.N. Afanasyeva, I.A. Khudyakova, D.K. Zelenin, collection of proverbs by V.I. Dahl, a collection of riddles by D.N. Sadovnikova and others. Many materials from old folklore archives were published for the first time. Multi-volume series are published. Among them are “Monuments of Russian Folklore” (Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences, St. Petersburg) and “Monuments of Folklore of the Peoples of Siberia and Far East"(Russian Academy of Sciences; Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Novosibirsk).

There are centers for the philological study of Russian folklore, with their own archives and periodicals. This is the State Republican Center of Russian Folklore in Moscow (publishing the magazine "Living Antiquity"), the sector of Russian folk art of the Institute of Russian Literature ( Pushkin House) Russian Academy Sciences in St. Petersburg (yearbook "Russian folklore: Materials and research"), Department of Folklore of the Moscow state university them. M.V. Lomonosov (collections "Folklore as the Art of Words"), as well as regional and regional folklore centers with their archives and publications ("Siberian Folklore", "Folklore of the Urals", "Folklore of the Peoples of Russia", etc.). 2

In the study of folklore, one of the leading places is occupied by the Saratov School of Folklore Studies, the history of which is connected with the names of Moscow University professor S.P. Shevyrev, songwriter N.G. Tsyganov, local historian A.F. Leopoldov, member of the Saratov Scientific Archival Commission A.N. Mincha; subsequently - professors at Saratov State University - B.M. Sokolova, V.V. Bush, A.P. Skaftymova. Professor T.M. made a great contribution to the study of folklore. Akimov and V.K. Arkhangelskaya. 3

Dobrovolskaya Varvara Evgenievna,
K. philol. Sc., Head of Folklore and Ethnography Department
State Republican Center of Russian Folklore, fairy tale specialist.

This idea was expressed by priests in the 19th and early 20th centuries. understood this very well. The education provided by the seminaries allowed non-specialists in the field of folklore and ethnography to understand that the people have their own culture, which does not always correspond to both the generally accepted tradition and church dogmas.

It was probably this understanding that led many priests to collect folklore and ethnographic information. These were not isolated facts, as evidenced by the pages of provincial and diocesan gazettes, the works of provincial scientists of archival commissions and classical folklore collections.

Thus, in the collection of Russian fairy tales by A.N. Afanasyev more than 500 fairy tales from different provinces of Russia. And many fairy tales were written down by priests. Thus, the fairy tale “The Man, the Bear and the Fox” was recorded in the Arkhangelsk province by priest Mikhail Fialkin, the fairy tale “The Fox and the Woodpecker” in the Vasilievsky district of the Nizhny Novgorod province - monk Macarius, the fairy tale “Nadzey, Papov Unuk” in the Rzhev district of the Tver province - priest Nikolai Razumikhin . Let us note that the last tale was recorded in compliance with all dialectal features and is still used by dialectologists to illustrate the features of the Tver dialects.

Another example of the active collecting work of clergy is their work within the framework of the activities of the Russian Geographical Society. Thus, in the materials of the Russian Geographical Society for the Nizhny Novgorod province, 100 correspondents are noted. Of these, two are landowners, three police officers, one police officer, that is, 6 people, and the remaining 94 people are priests or people of clergy.

Among the correspondents of the Russian Geographical Society for the Nizhny Novgorod province was Hieromonk Macarius (Mirolyubov), a professor at the Theological Seminary, born in the Ryazan province. He graduated from the Moscow Theological Academy and defended his master's thesis. In 1842 he arrived in Nizhny Novgorod, where he was appointed to the seminary to teach a number of disciplines. In 1846 he accepted monasticism and became Hieromonk Macarius. Under this name he is known as an Orthodox historian, writer, rector of two theological seminaries, and head of several dioceses.

In Nizhny Novgorod, Macarius became involved in the study of church antiquities, the history of monasteries and churches. He created his own network of correspondents from rural priests and with their help collected material on popular religious views and folklore. He sent these materials to the Russian Geographical Society, where he was elected a member-employee for his active work. He compiled a program for collecting historical information and, with the approval of Archbishop Jacob, it was sent to all parishes and churches of the Nizhny Novgorod province.

All folklore and ethnographic works of prof. Macarius, being vaults, contain extensive material that exceeds what is available in the descriptions made by priest-collectors for individual villages. His “Collection of Songs...” contains 53 round dance songs and 23 wedding songs. He was one of the first to draw attention to the fact that there are songs that he designated as “used at feasts and companies and on other occasions of fun.” Only now, science has come to the point that it is necessary to record the context of the existence of a song and recordings of this kind are very helpful to scientists, since in a number of situations we record mainly memories of songs or just some fragments and there is no one to ask about the context. And in this case we have both the text of the songs and a description of their existence. The collection of proverbs and riddles compiled by Macarius contains 233 texts, which is comparable to classical collections.

There are other examples.

In the same Nizhny Novgorod province, in the Arzamas district, priest Vasily Stragorodsky actively collected folklore. He submitted to the Russian Geographical Society an article about the folk life and peasant life of the village of Arati, where he presented in detail information about the appearance of the peasants, language characteristics, home and social life, moral abilities, education and folklore. Another priest, Pyotr Mikhailovich Landyshev, who first served the village of Zayastrebye, Sudogodsky district, then the village of Verkhniy Landeh, Gorokhovetsky district, published the first for the Vladimir province and one of the first for the Russian tradition in general, material about the comic custom of a young woman running away from her husband’s relatives from a wedding feast. Ivan Fedorovich Rozanov, priest of the Zimnezolotitsa parish of the Winter Coast of the White Sea, collected a large amount of material on the wedding ceremony of Verkhnyaya Zolotitsa. The list can be continued for quite a long time.

In addition to priests, folklore was actively collected by people who received a theological education, but for one reason or another did not become priests. Nikolai Semenovich Shaizhin, who graduated from the Olonets Theological Seminary and the St. Petersburg Theological Academy, was one of the first to pay attention to such a genre of folklore as laments. It was he who owned the recording of cries from a resident of the village of Nigizhma Lukerya Laneva, it was he who discovered Nastasya Stepanovna Bogdanova (the second most important prisoner of Zaonezhie after Irina Fedosova) from whom the unique cry of a widow was recorded for her husband who died on Kivach while rafting timber, a cry for a thief exiled to Siberia and the recruiting camp.

The answer to the question why priests were such good collectors of folklore is quite simple. One of the main methods of collecting work is expeditions. A researcher comes to a certain locality and begins to interview people about what customs and rituals exist in this area. But a person does not always agree to talk with a researcher. Moreover, the researcher cannot always formulate a question in such a way that the performer will answer it. Even the most ordinary questions, in the opinion of a specialist, show what a gulf there is often between the collector of folklore and the bearer of folklore tradition. For example, the question of division of seasons, which is important for a specialist in the folk calendar, causes bewilderment among folklore performers. A collector (especially a young one) is trying to find out about folk ideas associated with the beginning of summer and can formulate the question like this: - When does summer begin? Usually the answer is as follows: – Like all normal people, June 1st. Although in fact, within the framework of folklore tradition, for example, in the Vladimir region, the beginning of summer is associated with Trinity and Spiritual Day. In this territory, it is believed that spring ends on Trinity, and summer begins on Spiritual Day, when “the Holy Spirit breathed warmth onto the earth.”

To avoid problems associated with understanding the collector and performer, it is better to collect folklore using a stationary method, that is, the collector and performer live nearby and have common problems and worries. Gathering activities require people who live in the village permanently and in almost the same conditions as their informants. But on the other hand, people are literate, able to write down what is told and sung to them, and educated enough to evaluate what exactly they wrote down.

In 1852, “News of the Imperial Academy of Sciences on the Department of Russian Language and Literature,” edited by I.I. Sreznevsky, a program of observations of language and literature was developed. It was assumed that the program would involve wide circles of the literate population. But it turned out that only two groups of the population are considered by the peasants, if not as their own, then at least as close. These are teachers, but there were few of them, and rural priests, who, as is known:

Mowed, reaped, sowed

And drank vodka on holidays

On a par with the peasantry.

Often the priest turned out to be the only link connecting the common people with an educated society.

The Minister of Public Education did not give I.I. Sreznevsky received official permission to approach the clergy with a proposal to collect folklore, since this “is not part of their responsibilities,” but unofficially the Academy began to involve local diocesan bishops in this work. And they responded to the call, and the Academy was overwhelmed by a wave of materials from the field.

One of those who responded was Archpriest Evgraf Andreevich Favorsky.

He was born in 1821 in Pavlovo-on-Oka. And his whole life is connected with this city. He graduated from the Nizhny Novgorod Theological Seminary and was ordained a priest of the Trinity Church, where his father had previously served.

He took his duty to society very seriously. He was a member of the clergy in trials, judicial investigator for clergy affairs, member of the Nizhny Novgorod Statistical Committee.

According to the recollections of relatives, he not only talked with parishioners, but also listened to folk songs and epics performed by them. Scientists have 16 texts written by the priest at their disposal. And these are the lyrics highest quality records. These records contain a rare story for that time about “Vasilisa Nikulishna”. Despite the fact that this pancake was subsequently recorded by Markov, Onchukov, and Grigoriev, in most anthologies it is Favorsky’s text that is given.

Evgraf Andreevich brought into scientific circulation two other epic stories, “About Vasily Ignatievich” and “About how Vasily Kazimirovich and Dobrynya Nikitich went to the horde.” Three more epic plots were known by that time, but the variants of Fr. Evgraf became textbook. This is Ilya Muromets and the Nightingale the Robber, the wedding of Alyosha Popovich and the epic about Churil. In addition to epics, historical songs were recorded. He probably recorded both prose and rituals, but there is no reliable information about this.

When it comes to classical genres, any educated person, if he knows that it is necessary (and the state policy was such that everyone knew that they needed to record their cultural heritage), will capture similar texts. Of course, not everyone will record equally well: the question will arise about how the recording will be carried out, how reliable it is, etc. - but the text will be recorded.

But epics and historical songs are not all Russian folklore. Moreover, folklore material has an ethnographic context. And in this case, the priest finds himself in a kind of dual situation. On the one hand, he understands that this is the heritage of the people, on the other hand, this very heritage comes into conflict with the Christian faith.

Yes, oh. Macarius, mentioned above, published a general manuscript “On religious customs and prejudices in the Nizhny Novgorod province”: it contains more than 260 texts (signs, beliefs, conspiracies, descriptions of rituals, prohibitions various kinds, Christian legends, etc.). And the publication of these materials is largely a feat of the collector, who, by virtue of his professional affiliation must fight such ideas.

In villages there is a tradition of healing with spells. From the point of view of a folklorist, this is something that needs to be identified and recorded; from the point of view of any normal priest, this is magic, and it is necessary to fight it. Which is actually done quite often. And without fixation. And the grandmothers themselves, who heal with spells, say that they heal with prayer, that they turn to God, pray in front of icons, etc. Let us note that often the role of a conspiracy is played by a canonical prayer, most often “Our Father” or “Virgin Mary”. Let's give one example. “Dental erysipelas” (infectious inflammation of the facial nerve) is treated by reading “Our Father.” A prayer is read over the sick person, which naturally does not contradict faith. After reading the prayer, the wool is set on fire and applied to the sore spot. The antiseptic properties of ash are known. Use your hands to pull back the sore spot - this is a massage. It would seem that none of these actions can be called prejudice. Considering that this was done at a time when there were no antibiotics, then probably for the common man this was the only salvation from the disease. And the priest can hardly condemn this. However, if the treatment falls on the feast of the Annunciation, then the wool is not burned before the service, because they are afraid that otherwise there will be fires in the village throughout the year. Of course, this is a superstition that the priest must fight.

A case from very recent folkloristic practice. In the Kostroma region, a young priest notes a sharp increase in the number of parishioners for the Annunciation. Everyone present in the church takes the prosphora, but does not eat it, but takes it home. During the interview, it turns out that prosphora is needed not as a sacrament, but as a magical remedy for worms. They are taken to be buried in the garden. In this locality such a tradition, which from the point of view of faith is superstition and even blasphemy.

Both priests and folklorists can tell quite a lot of such stories.

In articles that were published to help priests, it was repeatedly noted that for success in the fight against superstitions, prejudices and misconceptions among rural population, the preacher should become familiar with the achievements of ethnography, have an understanding of folk psychology and the specifics of folk Orthodoxy. To help rural priests, religious publications published a variety of ethnographic materials and detailed reviews of the most significant works of ethnographers and folklorists.

Currently, church literature does not make such selections. And rural pastors are often forced to make decisions themselves about what is folklore, what is not, what is acceptable, and what is close to being eradicated, what to do with folk Orthodoxy and superstitions. But in fact, folklorists do not really know what they should tell priests in cases where folk tradition diverges from church tradition.

For example, people come to a certain woman’s grave, pray there, and ask her for help in some worldly matters. They say that during her lifetime she helped the suffering with advice. The local priest writes down everything that happened during the woman’s life, all the miracles that are in one way or another connected with the prayer at her grave, and ensures that she becomes a locally revered saint. The priest’s merit in recording folklore legends is indisputable; he did not destroy tradition, but somehow coordinated it with church life. But what to do with the stories about the origin of goblins and brownies, so popular in folklore? Thus, it is believed that goblins originated from angels overthrown by God, children of Adam and Eve hidden by God, and cursed builders Tower of Babel, descendants of Ham and Pharaoh's army. All of them are connected with biblical events, but at the same time they have nothing to do with the canonical text. The motivation for many ritual actions, prohibitions and regulations is based on biblical motifs. What should a priest do when he hears: “When the enemies captured Jesus Christ, Saint Peter cut off Malchus’ ear. Then Jesus took the ear and, placing it behind him, blessed the Jewish faith"? The legends of Cain and Abel correspond to the biblical story, but are usually told to explain the appearance of spots on the moon.

Folklorists are extremely grateful to the priests, who, before fighting the superstitions of their parishioners, wrote them down. There are huge multi-page texts that priests sent to authorities to find out whether or not to fight superstitions.

Finally, one more aspect. Priests often become participants in ritual practices for their parishioners. And if Epiphany rites and religious processions to holy sources do not contradict the faith of the priest himself and his flock, then ritual rounds of houses, for the priest and for the layman, have different meaning. The priest blesses the room, and the owner of the house waits until the service is over, and he can sweep the departing clergyman, bedbugs and cockroaches with a broom, because, from his point of view, this is a sure way to get rid of harmful insects.

Even the sacrament of confession in folk tradition often reinterpreted. The actions of the priest are interpreted by the bearer of folk tradition as magical. Here is an example of such a recording made in the Urzhum district of the Kirov region: “When a person is sick for a long time, they invite a priest. He opens the Gospel and reads. If he reads about the dead, it means he will die soon; if he reads about the living, he will survive.”

Another priest has the best attitude towards this aspect of folklore - Alexey Nikolaevich Sobolev. He was born in 1878 in the Pokrovsky district of the Vladimir province. He studied at the Moscow Theological Academy and the topic of his dissertation was “The Afterlife According to ancient Russian ideas" In this work, along with ancient Russian works, there are many folklore records: signs, beliefs, dream interpretations. He owns records of laments, a collection dedicated to maternity rituals. He also studied the wedding ceremony. In the preface to this work, he addresses his colleagues and the entire Russian intelligentsia with a call to “look into the depths of people’s life, understand the people’s soul; study the life of a commoner, with all its dark and light sides."

Notes:

Priest Pavel Florensky. From theological heritage. // Theological works. Vol. 17, M., 1976. pp. 127-128.

For more information about this, see Yu.A. Kurdin. Orthodox priests and folk studies in the Nizhny Novgorod province of the mid-19th century // Orthodox Sarov. http://pravsarov.su/content/14/746/841/843.html

Archbishop Macarius (Mirolyubov). Church historian and spiritual shepherd. – Nizhny Novgorod, 2009.

For more details, see: Nikiforova L.A. Shaizhin Dynasty: clergy, educators, teachers // Orthodoxy in Karelia: Materials of the 3rd regional scientific conference dedicated to the 780th anniversary of the baptism of Karelians / Rep. ed. V. M. Pivoev. Petrozavodsk: Publishing House of the Karelian Scientific Center of the Russian Academy of Sciences, 2008. pp. 339-346; It's her. Historian of the Pudozh region N.S. Shaizhin: Pages of biography // Historical and cultural traditions of small cities of the Russian North: Mat. regional scientific conference (September 7–9, 2006). Petrozavodsk, 2007. P.41–51.

For more information about this, see V.E. Dobrovolskaya. The role of context in the existence and reconstruction of folklore text // Traditional culture. 2004. No. 3. P. 46-55.

Sreznevsky I.I. On the history of the publication of Izvestia and Scientific Notes of the Second Department of the Imp. Academy of Sciences (1852–1863) // Collection of the Department of Russian Language and Literature Imp. Academy of Sciences. St. Petersburg, 1905. No. 3. P.52.

For more details, see Smolitsky V.G. E.A. Favorsky // Orthodox priests – collectors of Russian folklore. M., 2004. pp. 12–22.

Sobolev A.N. Wedding ceremony in Sudogodsky district of Vladimir province. Vladimir, 1912. P.8

Volgogradsky

State Institute of Arts and Culture

Subject: Ethnography and folklore

On this topic : Folklore collectors

Completed

Group student

3RTP AND OZO

Makarov Gennady

Checked by the teacher:

Slastenova I.V.

VOLGOGRAD 2005

Collectors of Russian folklore.

Collectors and researchers of folklore have long paid attention to the complexity of Russian proverbs.

I. I. Voznesensky’s study on the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc. (Kostroma, 1908), which has not lost its significance and until our time.

At the same time, it should be recognized that in pre-revolutionary folkloristics and Soviet science of the first two decades, issues of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. In this regard, Yu. M. Sokolov quite rightly wrote in the mid-30s: If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side of it . Researchers usually emphasize that the proverb for the most part appears in a measured or folded form, or that the form of a proverb is a more or less brief saying, often expressed in folded, measured speech, often in metaphorical / poetic / language, but there is still no detailed research on the question of what exactly the warehouse and measure are.

In proverbs, not only their parts, but even individual words, which in their semantic expressiveness often approach a phrase, acquire a certain semantic and intonation independence. Here are examples of such proverbs: If you endure, you will fall in love; No sooner said than done, it was and it was gone.

We will look at several areas of folklore collectors.

Since we started with proverbs and sayings, we will begin the story about them.

Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and collection of Proverbs of the Russian People, was half Danish by blood and Lutheran by religion.

Returning from the voyage, Dahl was promoted to midshipman and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading south from St. Petersburg on a crossroads. On the ancient Novgorod land, leaving the Zimogorsky ChM station, the coachman dropped a word: “Rejuvenates...

And in response to Dahl’s perplexed question, he explained: it’s cloudy, so it’s warming up. Seventeen-year-old Dahl gets notebook and writes: To rejuvenate - otherwise to become cloudy - in the Novgorod province means to be covered with clouds, speaking of the sky, it tends towards bad weather. This entry became the seed from which the Explanatory Dictionary grew 45 years later.

But this is still very far away. The collection of extraordinary sayings, words and proverbs, and folk oral treasures has just begun.

Dahl saw the roads of Moldova and Bulgarian villages, and Turkish fortresses. He heard someone else's talk and all the shades of his native Russian speech. At the bivouac fire, in a free moment in the hospital, Vladimir Ivanovich wrote down more and more new, previously unheard words.

In 1832, V.I. Dal’s serious literary activity began. Capital magazines publish his articles under the pseudonym Vladimir Lugansky or Kazak Lugansky - after the name of his hometown. A gifted storyteller, a sociable person. Dal enters easily literary world St. Petersburg.

He agrees with Pushkin, Pletnev, Odoevsky, and others famous writers and journalists. His works quickly gain enormous success.

In the spring of 1832, Dahl again turned his fate around and went to distant Orenburg as an official. special assignments under the military governor. Dal is a collegiate assessor, an 8th grade official, which corresponds to a major in the army.

Volgogradsky

State Institute of Arts and Culture

Subject: "Ethnography and folklore"

On this topic : "Folklore Collectors"

Completed

Group student

3RTP AND OZO

Makarov Gennady

Checked by the teacher:

Slastenova I.V.

VOLGOGRAD 2005

Collectors of Russian folklore.

Collectors and researchers of folklore have long paid attention to the “foldability” of Russian proverbs.

A study by I. I. Voznesensky “On the structure or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc.” is specifically devoted to the consideration of the poetic form of proverbs and genres close to them. (Kostroma, 1908), which has not lost its significance to this day.

At the same time, it should be recognized that in pre-revolutionary folkloristics and Soviet science of the first two decades, issues of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. In this regard, Yu. M. Sokolov quite rightly wrote in the mid-30s: “If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore cannot boast of any detailed study of the artistic side her. Researchers usually emphasize that “a proverb is mostly in measured or folded form” or that “the form of a proverb is a more or less short saying, often expressed in folded, measured speech, often in metaphorical / poetic / language,” but on the question of what exactly consists of “warehouse and measure”, there are still no detailed studies.”

In proverbs, not only their parts, but even individual words, which in their semantic expressiveness often approach a phrase, acquire a certain semantic and intonation independence. Here are examples of such proverbs: “If you endure, you will fall in love”; “Said and done”, “It was and it was gone”.

We will look at several areas of folklore collectors.

Since we started with proverbs and sayings, we will begin the story about them.

Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and the collection “Proverbs of the Russian People,” was half Danish by blood and Lutheran by religion.

And in response to Dahl’s perplexed question, he explained: it’s cloudy, so it’s warming up. Seventeen-year-old Dal takes out a notebook and writes: “To rejuvenate” - otherwise cloudy - in the Novgorod province means to be covered with clouds, when talking about the sky, it tends towards bad weather. This entry became the seed from which the Explanatory Dictionary grew 45 years later.

But this is still very far away. The collection of extraordinary sayings, words and proverbs, and folk oral treasures has just begun.

In 1832, V.I. Dal’s serious literary activity began. Capital magazines publish his articles under the pseudonym “Vladimir Lugansky” or “Cossack Lugansky” - after the name of his hometown. A gifted storyteller, a sociable person. Dal easily enters the literary world of St. Petersburg.

He agrees with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works quickly gain enormous success.

In the spring of 1832, Dahl again sharply turned his fate - he went to distant Orenburg as an official of special assignments under the military governor. Dahl is a collegiate assessor official of the 8th class, which corresponds to a major in the army.

Traveling around Cossack villages and nomadic camps, Dal discovered special world Russian troubled borderland. He not only observed orders and customs, not only wrote down words, he acted, treated the sick, interceded for the offended. “Fair Dal,” the steppe people called him.

In Orenburg, he met with Pushkin, who came to the distant region to collect material on the history of the Pugachev rebellion. Together they traveled to the places where Pugachev’s movement began and asked old people. Then Pushkin advised Dahl to study literature seriously; he probably also suggested the idea of taking up the dictionary in earnest.

Dahl's last meeting with Pushkin took place in the tragic December days of 1837 in St. Petersburg, where Dahl arrived on official business. Having learned about the duel between Pushkin and Dantes, Vladimir Ivanovich immediately came to his friend’s apartment and did not leave him until the end.

Pushkin was treated by palace doctors, Dahl was a military doctor.

Although he was not as famous as Scholz, Salomon or Arendt, it was he who gave Pushkin hope until the last hour, it was he who remained with the wounded man throughout the last night.

The publication of an explanatory dictionary and a collection of Russian proverbs required huge amounts of money. Dahl made the decision to work and earn money, save for the future, so that in old age he would be able to devote himself to what he loves.

In the spirit of the times, Vladimir Ivanovich instructs his subordinates to deal with his personal business. Grigorovich recalled about Dahl: “Taking advantage of his position, he sent out circulars to all officials inside Russia, instructing them to collect and deliver to him local morals, songs, sayings, etc.” But it was not officials who made up Dalev’s collections with their offerings. The fame of Dahl, not only a writer and essayist, but also an ascetic, who took on a national cause on his shoulders, spread more and more widely. From all over Russia, well-wishers send him their meetings, lists rare words and sayings. It was a time of awakening interest in society in everyday life, the life of the people. The Russian Geographical Society, created with the active participation of Dahl, sent out an “Ethnographic Circular” to all parts of Russia with a proposal to study the life of the population of all regions.

The time has ended when the geography of France and life Ancient Rome educated people knew more than their own, domestic ones. Magazines, one after another, inform the public about Dahl’s asceticism and ask for help. Many famous cultural figures, such as Lazhechnikov and Pogodin, collect words, songs, and fairy tales for Dahl. In the journal Otechestvennye Zapiski, Dahl thanks his assistants again and again.

In 1848 he moved to Nizhny Novgorod, to the post of manager of a specific office.

“During his ten-year stay in the Nizhny Novgorod province, Dahl collected a lot of materials to geographically indicate the distribution of various dialects,” writes Melnikov-Pechersky.

The Nizhny Novgorod province presents a remarkable uniqueness in this regard.

Still would! The famous Makaryevskaya Fair was an event of European significance. Here trade routes of East and West intersected - tea from China, iron from the Urals, bread from the steppe provinces, carpets from Central Asia, textiles and industrial goods from the West - everything that was produced in the vast expanses Russian Empire, everything that was imported from neighboring countries was exhibited and sold in the lowland space filled with shops near the mouth of the Oka. 86 million rubles in silver - this was the trade turnover of the Makaryevskaya Fair in those years.

The new era uprooted peasants from their centuries-old homes and mixed them in a common cauldron, and thus the language that Dahl called living Great Russian .

Dahl perfectly mastered one of the main qualities of a folklorist: the ability to talk to people, to talk to people. “There was someone and there was something to learn, how to speak with a Russian commoner,” recalls Melnikov-Pechersky, who often accompanied Dahl on his trips around the province. The peasants did not want to believe that Dal was not a natural Russian person. “He grew up exactly in the village, was fed in the tents, was given water on the stove,” they used to say about him, “and how well he felt, how pleased he was when he was among our kind and intelligent people!”

Dahl was by nature oberuk - that is, he could handle both his right and left hands with equal dexterity (this helped him in eye operations, where he acted with whichever hand was convenient), he was just as oberuk in relation to his fate: we cannot I can only call it a hobby the compilation of a grandiose Explanatory Dictionary of 200 thousand words, a collection of proverbs, including more than thirty-one thousand sayings, literary works occupying almost four thousand pages of text, numerous articles, a collection of songs, fairy tales, etc.

In his declining years, Dahl settled in Moscow. His house has been preserved - a spacious mansion on Presnya. Here Dahl’s titanic, ascetic work was completed - the compilation of a collection of proverbs of the Russian people and an Explanatory Dictionary. Dahl devoted three to four hours a day to this activity for decades. Collected proverbs he copied it in two copies and cut it into “straps”. One copy was pasted into one of 180 notebooks by category - it was a collection of proverbs. Another one was pasted into the alphabet notebook for the key word - these are examples for the Explanatory Dictionary. Over half a century, Dahl explained and provided examples in about two hundred thousand words. If you derive the “average figure,” it turns out that with a twelve-hour working day, he wrote down and explained one word every hour for half a century. But he not only collected and recorded, he created, served, lived!...

The explanatory dictionary of the living Great Russian language contains: “Sayings written, conversational, common, general, local, regional, everyday, scientific, trade and craft, foreign language, learned and re-used, with translation. explanation and description of objects, interpretation of the concepts of general and particular, subordinate, average, equivalent and opposite, and much more.

Plunging into its wealth, you cannot believe that all these thousands of words passed through one hand. Dahl's dictionary lives and will live as long as the Russian people live.

Now, from a temporary distance, we deeply thank Dahl for his tremendous work. A dictionary, essays on everyday life, a collection of proverbs are for us one of the sure keys to unlocking a bygone era. Dahl brilliantly accomplished his task - to give in words, proverbs, pictures of everyday life an accurate photographic snapshot of the Russian world of the mid-19th century, to capture the life of the nation in the smallest details and manifestations. Time will pass, life will change. The colossal image of the era created by Dahl will remain unchanged. And the further it goes, the more valuable it will be for future generations. -

Part 2

PRINCIPLES OF PUBLICATION. COMPOSITION AND STRUCTURE
SERIES “Epics” OF THE COLLECTION OF RUSSIAN FOLKLORE

Epic epic as an expression artistic genius of the Russian people - an outstanding monument of universal human culture. Entering the East Slavic cultural and ethnic core, acting as the custodian of the most ancient epic heritage, epics combine in their plot composition the features of epics before the state era Kievan Rus and the period of Moscow centralization. Imbued with the ideas of patriotic heroism, epic works were one of the most important factors ensuring the consolidation of the Russian nation and Russian statehood. The monumental images of heroes created by the epic - warriors and plowmen, defenders and builders of the Fatherland - have become symbols of our people.

The publication of epics in a series provides for the release of monuments of folk song Russian epic at a level equivalent to the level of academic publications of Russian writers.

The epics have completed their thousand-year development and almost entirely passed into the category of cultural monuments. For folkloristics today, the opportunity is open to create, on the basis of an exhaustive account of all epic material recorded in the 17th-20th centuries, not just another anthology, but a stock national library, a corpus of Russian epic epic, which will ensure the preservation and further popularization of one of the indigenous forms of national culture.

Researchers and specialists in various social sciences still do not have a reliable basic library of Russian epics capable of satisfying their diverse needs, which leads to the deliberate preliminary nature of many conclusions, duplication of search processes, and ultimately to unacceptable waste of scientific effort. The publication of the “Epic” series of the Code of Russian Folklore involves the creation of a factual foundation for Russian epic studies.

The “Epics” series is the first in the order of creation of the Code of Russian Folklore. This is dictated not only by high social and aesthetic value this range of cultural monuments, but also due to the scientific preparedness of domestic folkloristics for the publication of this type of folk poetry (a large number of studies of epics in philological, historical, and musicological aspects; a solid tradition of publishing song epics starting with the works of K. F. Kalaidovich, P. V. Kireevsky , P. N. Rybnikova, A. F. Gilferdinga). The volume of material - including data on archival accumulations, materials from expeditions of the Soviet era and current years - is realistically observable.

The scientific term “epics”, as well as the popular term “old times”, in the practice of research and publication of Russian folklore often, and not without serious reasons, come together, embracing all varieties of oral song epic, which together form the repertoire of performers of epics (Russian North) and epics songs (South of Russia, Volga region and some other areas), namely:

epics (heroic, or heroic, epic short stories, epics on local topics, epics based on fairy tales, comic epic); older historical songs (XIV - early XVII centuries); older ballads; songs from ancient Russian books, influenced by epic epics (apocryphal songs, or spiritual poems, parable songs, etc.); epic songs; ballad songs.

From the above-mentioned varieties of song epics, the “Epic” series combines works of category “A” (with the exception of epic-like adaptations) based on the similarity of content, stylistic and poetic form, plot-genetic relatedness, functional similarity, and stability of performing and musical traditions. fairy tales, as well as stylizations - “novin”) and “D”.

Approximately a third of the epic epic material identified to date (meaning the total number of records - 3 thousand units of text-variants of works) has not been published and has not been involved in systematic research. The collections that were published are diverse, different in their concepts, variegated in composition, and do not have identical textual settings.

Science has publications of a consolidated type that relate to the early, romantic period of development of folkloristics (for example, in the I-V editions of the Collected Folk Songs of P. V. Kireevsky there are 100 epic versions of 35 stories about heroes) and therefore cover only a relatively small part of the currently known records; has classical collections of epic songs of various genres of regional type. These collections give a general idea of the composition of the Russian epic or the state of the local tradition of a certain time in the volume of material that became known to the collector, but they do not create either an overall characteristic of the Russian epic or a holistic picture of the life of epic art in a given region throughout records. There are, also not exhaustive, publications of the repertoire of one performer. There are anthologies of epic works about a number of heroes of the Kyiv and Novgorod cycles of epics, where the leading plots and their versions are presented in selected versions. There are also other valuable publications of epic folklore. But they do not pursue the goal of reuniting the monuments of the epic epic into a single series, capable of concentrating in acceptable for relatively wide range readers forms all the thousand-year richness of Russian epic culture and at the same time preserve maximum information about this type of Russian folk art. Recordings and retellings of works of folklore located in Old Russian manuscripts or publications of the 18th century, are transmitted preserving the phonetic and morphological features of the source text, but eliminating archaic features graphics and spelling (reference letters in a line; continuous writing.-

Russian folklore (V.S. Galkin. “Siberian Tales”) (review)

Soon the fairy tale will tell... Saying The magical world of fairy tales has been created since time immemorial, when man knew not only the printed word, but also the handwritten word. The fairy tale lived on and was passed on from mouth to mouth, passed from generation to generation. Its roots are deeply folk. And the fairy tale will live as long as the sun shines in the sky. Of course, the fairy tale of our time is not oral folk art, but an essay written by a professional writer. It inevitably differs both in form and style from old fairy tales. But the fairy tale has not lost its precious original qualities to this day. This is cunning, kindness, the search for the best, noble principles in a person’s character, a fierce determination in overcoming evil. I recently read Vladimir Galkin’s book “Siberian Tales” and rejoiced at the author’s success in developing Russian fairy tale traditions. The book about the author says that he is a teacher and has been collecting folklore for many years in order to compose new tales based on it. V. Galkin harmoniously combines the details of the real life of modern Siberia and its past with the magic of the fairy-tale world. Therefore, reading “Siberian Tales”, it’s as if you inhale the aroma of the perfumed bread leaven that many rural housewives still have, and you get burned by the fresh Siberian frost when you go out into the forest in the morning along with the heroes of the fairy tales. The plots of the tales are simple. For example, in the tale “Eremeevo’s Word” we're talking about about the old man Eremey Stoerosov, who lived in the village by weaving baskets for mushrooms and berries. But the thing is that during this work he loved, it’s interesting to tell different stories. Often his hut was full of people. Everyone wanted to listen to Eremeev’s tales. And the people gathered like this: “Some boy’s mother will come and make noise: “He’s listening to stories, but you won’t wake up in the morning!” But others shush her: “Take your little one, aunt, and don’t bother us!” Baba will shut up. He’ll stand and stand and sit down in the corner: “Evon says it so well!” With this short fragment, the author outlined two moral principles in the life of the Russian people: first, work is not an end in itself for them, and they always try to somehow decorate it with a song or a word, in other words, to turn everyday life into holidays; second, when he sees someone else’s joy, he forgets his own difficulties and sorrows. But it cannot be done without envious people. There is a guy in the village, Oska Ryabov, nicknamed Ryabok. Everyone in the village dislikes him. Envious: “The neighbor will bring a scarf from the city to his wife for the holiday, Ryabok whispers around the village: “Why is Makar dressing Marya up? Still didn’t come out with a snout.” Of course, such a person was jealous of the good reputation of Eremey the storyteller and tried to tease him. He sits and sits, and suddenly, out of the blue, he blurts out: “They’re all lies!” Eremey treated this diameter calmly, although the villagers tried to intercede for him many times: “Eremey would drive Ryabka away, what is he putting up with?” And other people added fuel to the fire: “Oska must have cut him off!” The author describes situations where the different characters of the heroes are clearly manifested. Eremey is especially good here. He is not at all offended by Ryabok, but still kindly decides to teach him a lesson, or rather, to set him on the right path. To achieve his goal, Eremey chooses an old Russian fairy tale option: to ridicule the diameter through some intricate incident. He goes to a hunter he knows and asks him for several live hares, knowing that he knows how to catch them not with loops, but in holes. Eremey placed Zaitsev in a box and began to wait for the guests to arrive to listen to his stories. The guests arrived, and with them the diameter of Ryabok. Here Eremey says: “I’ll catch hares, why waste time. I’ll read the conspiracy and they’ll come pouring in while I’m telling you stories.” Of course, only Ryabok doubted and agreed to argue with Eremey. Whoever loses bets a bucket of mead. But here too Eremey shows a generous nature: while the conspiracy was whispered, the guests treated themselves to his own mead. Of course, Eremey won the argument. While his hares jumped out of the box and ran away into the forest, everyone laughed at Ryabok. He had science for his whole life. You can think about this fragment more broadly. It can be seen that the hunter “sometimes hunted with a gun, but carried it more for force.” There should be more such hunters! And you main character Tale Eremey is not a vindictive and generous person. Even though he won the argument, he still put out his mead. And it was the bunnies who helped restore justice. I immediately remember a fairy tale about how a hare, in the role little brother, took part in the race and won. That is, the author has preserved the Russian fairy tale tradition. In conclusion, I would like to say that we don’t have many folklore collectors. Therefore, every meeting with such a gem collector folk word, like Vladimir Galkin, is always joy. .

Part 4

FROM THE HISTORY OF COLLECTING SONG FOLKLORE OF THE SAMARA REGION

Collection history song folklore The Samara region dates back more than a hundred years. The first publications were collections and scattered publications, which contained exclusively song lyrics without notographic recording of the tunes. In some works, the authors recorded the dialectal features of local dialects.

One of the first major publications dedicated to the song folklore of the Samara province was the work of a prominent folklorist-collector, researcher of folk art, translator V.G. Varentsov "Collection of songs of the Samara region". The book contains more than 170 lyrics of songs recorded by students of the Samara district school in several villages of the Samara province. The author supplements the collection with personal comments about genre features local folklore, notes the influence on the local song style of immigrants from the Voronezh, Nizhny Novgorod, Simbirsk provinces.

Several Samara round dance songs from the Stavropol district were included in the famous “Collection of Russian Folk Songs” by M.A. Balakireva.

In 1898 The first volume of P.V.’s book was published. Sheina "Great Russian in his songs, rituals, customs, beliefs, legends, etc." . The publication includes many Samara wedding, dance, children's and other songs.

At the turn of the century, the largest work devoted to traditional songs over the past century was published - the seven-volume book "Great Russian Folk Songs, Published by Prof. A.I. Sobolevsky." The collection included a large number of Samara songs of different genres, recorded in the Buzuluk and Stavropol districts, the cities of Nikolaevsk, Syzran, and Samara.

` One of the first major works of the 20th century was the book of the famous folklorist, publicist, archaeographer P.V. Kireevsky. The multi-volume edition includes hundreds of song lyrics recorded in different regions of Russia. Among them are the first published songs of the Samara province, collected in the middle of the 19th century by the Russian poet and lyricist P. M. Yazykov.

Of interest is the wide genre variety of song lyrics. The epic genre, which has practically disappeared in the Samara region, is represented here by ten epics; military, Cossack, recruit, soldier, sailor, lyrical, wedding songs, ballads, and spiritual poems are also recorded.

In the 20s and 30s of the 20th century, publications of song lyrics were often dispersed in local periodicals. Notable work towards the popularization of traditional folk art was carried out by the folklorist collector R. Akulshin. So, in 1926, he published the texts of Samara ditties in the local newspapers “Krasnaya Niva” and “Music and Revolution”. Several soldiers' songs recorded by R. Akulshin in the Kuibyshev region were published by the Volzhskaya Nov newspaper. The same publication, in the “Folk Songs” section, placed on its pages 16 texts of ancient wedding and military songs collected by R. Akulshin in 1923.

Of interest is the description of an old Russian wedding, recorded by S. Lukyanov in 1929 in the village. Utyovka. The article contains expeditionary material describing the wedding event, presented in the words of the ceremony participants themselves, starting from the moment of matchmaking and ending with the second day of the wedding feast. The article also published the texts of some wedding songs performed by a local ethnographic ensemble.

In 1937, a collection compiled by V. Sidelnikov and V. Krupyanskaya “Volga Folklore” was dedicated to the folklore of our region. It includes expeditionary materials from 1935, reflecting the picture of the existence of oral folk art in the Kuibyshev region. The collection includes samples of local fairy tales, traditions, legends, more than 30 texts of historical, wedding, everyday and other songs, 354 texts of Soviet ditties. During the recording, the territory of the Volga coast was examined - the Krasnoyarsk region (villages of Malaya and Bolshaya Tsarevshchina, Shiryaevo), Stavropol region (villages of Russkaya Barkovka, Stavropol, Khryashchevka), as well as some villages of the Ulyanovsk region.

A large number of lyrics from songs from the Kuibyshev region were included in the 1938 collection "Volga Songs". In addition to songs dedicated to revolutionary-Stalinist themes, more than 20 texts of historical, lyrical, wedding and dance songs have been published. Among them are “The Nightingale persuaded the cuckoo”, “Widely Volozhka was spilling”,

“Oh, you garden, you are my garden”, “Oh, the fogs, you little fogs”, “Blow, blow, you little weather”, “Oh, father, drink, don’t drink me away”, “Mother sent Vanya”, “ Spinning wheel under the bench" etc.

Starting from the late 40s, songs from our region were published scatteredly in some major metropolitan publications, , , .

The first sheet music publications of songs recorded in the Samara region appeared in 1862 and 1876-77. We find three tunes in the collection of M. Balakirev, published in 1891. The composer took a special trip along the Volga; he was the first of the collectors who began recording songs not in the city, but in the village from the peasants. The author gives each tune his own treatment - harmonization.

Collector Lipaev I.V. in the newspaper "Russian Musical Newspaper" he published the tunes and texts of the wedding lament "You, my breadwinner, father" and the labor artel "Here he comes, he will go."

Three tunes, recorded in 1901 by A. Maslov, were published in the collection “Songs from the Volga Region” in 1906. In 1926, songs collected by R. Akulshin were published.

Some songs from the Samara Volga region were included in various collections of the 30s and 40s. One, recorded by V. Zakharov in 1934 in the Bor region, is included in his work “Thirty Russian Folk Songs”. Three songs were published by the Kuibyshev ODNT in 1944.

Three more, notated from a phonograph, were included in the Moscow collection "Ten Russian Folk Songs". Four tunes are included in V.I.’s brochure. Volkov "Seven Russian folk songs". Some song samples were included in other publications , , , , , .

A large expeditionary work in the Samara Volga region in the late 40s and early 50s was carried out by a group of Leningrad researchers and folklorists who were part of scientific expedition Institute of Russian Literature of the USSR Academy of Sciences. Planned field work to collect and record works of local oral folk art was carried out in the Elkhovsky, Utevsky, Stavropol, Bogatovsky, Kinel-Cherkassky and Novodevichensky districts of the Samara region.

The result of the Leningrad expeditions was a number of publications dedicated to Samara song folklore, published in the late 50s and early 60s.

The main result of the expedition trips of 1948, 1953, 1954 was the collection "Russian folk songs of the Volga region", which became the first major publication dedicated to the folklore of the Samara region. As the newspaper wrote " Soviet culture", "...among the materials [of the expedition] are more than one and a half thousand Volga ditties,<...>ancient lyrical and playing tunes." The work has a foreword and an introductory article by N. Kolpakova, which reveals a number of issues in the history of the settlement of the Kuibyshev region, and also analyzes current state folk art in the region.

The collection includes 100 Russian folk songs. It is divided into two sections: Soviet songs (20) and ancient folk songs (80). Of the 100 songs published, 83 were recorded using a tape recorder and 17 by ear. It seems especially valuable that “...[the songs] were recorded directly from the voice of the people...” without the author’s musical processing or arrangement. Unfortunately, the poetic texts are edited according to generally accepted literary transcription, which deprives them of their original dialect flavor.

Work on collecting and studying Samara Russian song folklore noticeably intensified with the opening of the Department of Folk Choral Art at KGIK in 1979. Expeditionary trips to the regions have become more planned and systematic. Since that time, students and teachers of the university have carried out enormous research work - hundreds of folk songs have been recorded and analyzed, collected most interesting material on history, ethnography of the Samara region, , , , , .

One of the notable publications among recent publications was O. Abramova’s book “Living Springs”. Along with song material collected in the Bogatovsky, Borsky, Neftegorsky, Krasnoyarsk regions, the collection contains information about traditional culture, ethnography of our region, and an analytical article “Cadenzas in folk songs of the Samara region.”

In 2001, a wonderful book was published in Samara, dedicated to the famous collector of Middle Volga folklore M.I. Chuvashev "The spiritual heritage of the peoples of the Volga region: living origins." It includes hundreds of samples of traditional Mordovian and Russian songs, recorded by the researcher from 1964-1971 in the northern and central regions of the Samara region. Of interest are Russian folk songs that exist in villages with a mixed Russian-Mordovian population. 49 song samples of different genres from Pokhvistnevsky, Shentalinsky, Chelno-Vershinsky, and other districts reflect the specifics of the existence of the Russian song tradition in a foreign language environment.

One of latest publications, dedicated to the folklore of the Samara region, were collections published in 2002 by the Syzran College of Arts. Both works include original song material recorded in the Volga and Shigonsky regions. The songs presented in the collections reflect the genre specific features of local folklore; labor songs, wedding songs, lullabies, dance songs, round dances, lyrical songs and romances were collected and notated.

To date, published song material recorded by researchers over the years has hundreds of samples. A huge expeditionary work was done, the results of which were not only literary publications, but also priceless sound recordings made decades ago. But, on an all-Russian scale, the Middle Volga (and Samara as a component) song tradition still remains one of the most poorly studied. This is largely explained by the national heterogeneity of the local population, which definitely makes it difficult to find authentic Russian ensembles. However, songs that exist in conditions of “national diversity” are of great interest to the researcher. V.G. Varentsov in his book “Collection of Songs of the Samara Territory” noted: “...those colonists who live surrounded on all sides by foreigners retain their special features <...>, living among the Chuvash and Mordovians, they still retain their costumes and dialect." Thus, the primary tasks of folklorists and local historians are to collect new material in little-studied areas of the region, such as Khvorostyansky, Koshkinsky, Klyavlensky, Bolshechernigovsky, etc. and classify samples from an existing collection of records.

Used Books

Part 1

1 . Sokolov Yu. M. Russian folklore. M., 1941, p. 212.

2 . Cm.: Dal V.I. Proverbs of the Russian people. M., 1957 (in

text: D., p. ...Ch. Rybnikova M. A. Russian proverbs and

sayings. M., 1961.

3 . Page 3-to-6

V.I. Dal - “Proverbs of the Russian people.” 1-2-3 volume.

Moscow. "Russian book" 1993.

Part 2

4 .- The author’s work on the first two volumes was carried out by A. A. Gorelov (“Preface”, “Principles of publication. Composition and structure of the series “Epics” of the Code of Russian Folklore”); V. I. Eremina, V. I. Zhekulina, A. F. Nekrylova (textological preparation of the corpus of epic texts, “Principles of distribution of verbal material”, “Textological principles of publication”, passport and textual commentary, “Biographical information about the performers”); Yu. A. Novikov (plot-variant commentary). Authors of the article “Russian epic epic”:

Part 3

5 . ALLSoch.ru: Galkin V.S. Miscellaneous Russian folklore (V. S. Galkin. “Siberian Tales”) (review)

Part 4

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