What are proverbs, epic sayings. Heritage of Rus': proverbs about heroic strength

Everyone knows about the creative heritage each country has from its ancient ancestors. For any people it can be safely put at the top cultural heritage of all times, for here the wisdom of generations and even the self-awareness of the people as a single whole are manifested to the greatest extent.

Origins

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

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

Folklore concept

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

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

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

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

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

What can you learn from folklore?

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

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

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

Conclusion

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

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

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

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The main character of the epic “Sadko” is a musician who went to holidays and feasts, and played the harp there. But one day it happened that Sadko was no longer invited to feasts, and out of boredom he began to go to Lake Ilmen and play the harp there. His play made the lake ripple every time. One day he appeared from the lake sea ​​king, praised the wonderful music and decided to reward the musician. He persuaded Sadko to go to Novgorod and argue with the merchants that he would get three wonderful fish with golden feathers from the lake.

Sadko did just that. In Novgorod, he argued with the merchants about this. On his own behalf, Sadko set up his wild head, and three merchants set up three of their shops with goods. Sadko won the bet, caught three unprecedented fish with golden feathers, and after that he lived the life of a rich merchant.

And one day he could not resist and started a new argument that he would use his own money to buy every single item of goods in Novgorod. On the first day, he and his retinue went and bought all the goods that were in the city. But the next day new goods were delivered. He bought them too. And only on the third day Sadko realized that he could not be richer than the whole city.

He compensated for the loss, built ships, loaded them with goods purchased in Novgorod and sailed across the blue sea to the Golden Horde to sell these goods. He traded with great profit and returned back much richer. But the sea became agitated with waves and the ships froze in place. Sadko began to offer gold as a sacrifice to the king of the sea, but the ships did not move. He realized that the king of the sea needed a human sacrifice and everyone who was on the ships began to cast lots. And it happened that Sadko himself had to go to the bottom. He disposed of his inheritance and released the ships, and he himself went to the king of the sea, taking his favorite harp.

The sea king ordered Sadko to play the harp, and he himself began to dance. From these dances on the sea, excitement began and ships with people began to die. People began to appeal to Mikola Mozhaisky. He came to Sadko and began to ask him to stop playing the harp. And Sadko makes an excuse by saying that the king of the sea ordered him to play without stopping. The old man then advised him to pluck the strings from the psaltery and predicted that the sea king would reward Sadko, allow him to choose a beautiful wife and return him to Novgorod. And so it happened. When Sadko pulled out the strings, the sea king stopped dancing and allowed Sadko to choose a beautiful wife for himself and returned him to Novgorod.

Sadko ended up in Novgorod before his squad that was sailing on the ships. People were amazed when they returned that Sadko, alive and well, was home before them. And Sadko unloaded the gold from the ships and used that money to build a church for Mikola Mozhaisky. Sadko never went to sea again, but lived in Novgorod.

That's how it is summary works.

The main idea of ​​the epic “Sadko” is that you have to pay for everything in this life. With the help of the sea king, Sadko became rich, but forgot to thank him. For this, the king of the sea took him to his bottom. Only by miracle did Sadko return home, having listened to the advice of Mikola Mozhaisky. The epic “Sadko” teaches you to listen to advice wise people who will not teach you bad things.

In the epic "Sadko" I liked the main character, who takes an active life position. He was not afraid to risk his head and entered into a dispute with Novgorod merchants, which is why he became rich. When he settled the second dispute, he managed to competently manage the purchased goods and sold them profitably in the Golden Horde, becoming even richer. Sadko knows how to listen to advice, knows how to be obliging.

What proverbs are suitable for the epic “Sadko”?

Debt good turn deserves another.
Figure out for yourself where the shore is, where the edge is.
Adversity teaches a person wisdom.

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

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

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

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

How to read epics?

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

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

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

How to do it:

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

— Find and explain all unclear words and expressions.

Auxiliary material when working with epics:

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

2. You can sculpt story characters from plasticine.

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

4. Try to arrange home performance from toys to epics. Voice the speech of the characters, first simplifying it, and then as it is, with complex turns of phrase. This, by the way, will help in the development of your child’s speech.

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

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

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

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

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

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

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

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

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

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

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

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