Russian folklore is the basis of Russian folk culture. What is folklore? Origin story

“The Russian people created a huge oral literature: the wise

proverbs and cunning riddles, funny and sad ritual songs, solemn epics - spoken in a chant, to the sound of strings - about the glorious exploits of heroes, defenders of the people's land - heroic, magical, everyday and funny tales.

It is vain to think that this literature was only the fruit of popular leisure. She was the dignity and intelligence of the people. She established and strengthened him moral character, was his historical memory, the festive clothes of his soul and filled with deep content his entire measured life, flowing according to the customs and rituals associated with his work, nature and veneration of his fathers and grandfathers.”

Words by A.N. Tolstoy very vividly and accurately reflect the essence of folklore. Folklore is folk art, very necessary and important for the study of folk psychology in our days. Folklore includes works that convey the basic, most important ideas of the people about the main values ​​in life: work, family, love, social duty, homeland. We are brought up on these works even now. Knowledge of folklore can give a person knowledge about the Russian people, and ultimately about himself

The word folklore literally translated from English means folk wisdom. Folklore is poetry created by the people and existing among the masses, in which they reflect their labor activity, social and everyday life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. This is oral, artistic verbal creativity that arose in the process of the formation of human speech.

Russian heroic epic(epics) are a wonderful heritage of the past, evidence of the ancient culture and art of the people. It has been preserved in living oral history, perhaps in its original form of plot content and the main principles of form. The epic got its name from the word “byl”, which is similar in meaning. This means that the epic tells about what once really happened, although not everything in the epic is true. The epics were written down from storytellers (often illiterate), who adopted them according to tradition from previous generations.

The epic is an old song, and not everything in it is clear; it is told in a leisurely, solemn tone. Many Russian epics talk about the heroic deeds of the people's heroes. For example, epics about Volga Buslaevich, the conqueror of Tsar Saltan Beketovich; about the hero Sukhman, who defeated his enemies - nomads; about Dobrynya Nikitich. Russian heroes never lie. Ready to die, but not to leave native land, they consider service to the fatherland their first and holy duty, although they are often offended by princes who do not trust them. The epics told to children teach them to respect human work and love their homeland. They united the genius of the people.

Throughout his life, folklore helps a person live, work, relax, helps make decisions, and also fight enemies, as shown above in the examples.

By its specificity, folklore is the most democratic form of art, and under any circumstances - whether there is peace on earth or war, happiness or sorrow, folklore remains stable and also active.

Oral folk art is the richest heritage of every country. Folklore existed even before the advent of written language; it is not literature, but a masterpiece of the art of oral literature. The genera of folklore creativity were formed in the pre-literary period of art on the basis of ceremonial and ritual actions. The first attempts to comprehend literary genera date back to the era of antiquity.

Types of folklore creativity

Folklore is represented by three genera:

1. Epic literature. This genus is represented in prose and poetry. Russian folklore genres of the epic kind are represented by epics, historical songs, fairy tales, tales, legends, parables, fables, proverbs and sayings.

2. Lyric literature. At the heart of everything lyrical works the thoughts and experiences of the lyrical hero are present. Examples of folklore genres of the lyrical direction are represented by ritual, lullabies, love songs, ditties, bayat, haivka, Easter and Kupala songs. In addition, there is a separate block - “Folklore lyrics”, which includes literary songs and romances.

3. Dramatic literature. This is a type of literature that combines epic and lyrical methods of depiction. The basis of a dramatic work is a conflict, the content of which is revealed through the acting of the actors. Dramatic works have a dynamic plot. Folklore genres dramatic kind are represented by family ritual, calendar songs, and folk dramas.

Individual works may contain features of lyrical and epic literature, therefore, a mixed gender is distinguished - lyric-epic, which in turn is divided into:

Works with heroic characters, lyric-epic content (epic, duma, historical song).

Non-heroic works (ballad, chronicle song).

There is also folklore for children (lullaby, nursery rhyme, comfort, pestushka, fairy tale).

Genres of folklore

Folklore genres of folk art are represented in two directions:

1. Ritual works of UNT.

Performed during the rituals:

Calendar (carols, Maslenitsa activities, freckles, Trinity songs);

Family and household (birth of a child, wedding celebrations, celebration of national holidays);

Occasional works - came in the form of spells, counting rhymes, chants.

2. Non-ritual works of UNT.

This section includes several subgroups:

Drama (folklore) - nativity scenes, religious works, theater "Petrushki".

Poetry (folklore) - epics, lyrical, historical and spiritual songs, ballads, ditties.

Prose (folklore) in turn is divided into fairy-tale and non-fairy-tale. The first includes tales about magic, animals, everyday and cumulative tales, and the second is associated with famous heroes and heroes of Rus' who fought witches (Baba Yaga) and other demonological creatures. Also included in non-fairy tale prose are tales, legends, and mythological stories.

Speech folklore is represented by proverbs, sayings, chants, riddles, and tongue twisters.

Folklore genres carry their own individual plot and meaning.

Images of military battles, exploits of heroes and folk heroes are observed in epics, vivid events of the past, everyday life and memories of heroes from the past can be found in historical songs.

Stories about the actions of the heroes Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich are epic. The folklore genre of the fairy tale tells about the actions of Ivan the Tsarevich, Ivan the Fool, Vasilisa the Beautiful and Baba Yaga. Family songs are always represented by characters such as mother-in-law, wifey, hubby.

Literature and folklore

Folklore differs from literature in its unique system of constructing works. Its characteristic difference from literature is that the genres of folklore works have starters, beginnings, sayings, retardations, and trinity. Also significant differences in style compositions will be the use of epithet, tautology, parallelism, hyperbole, synecdoche.

Just as in oral folk art (ONT), folklore genres in literature are represented by three genera. This is epic, lyric, drama.

Distinctive features of literature and CNT

Large works of literature, represented by novels, short stories, novellas, are written in calm, measured tones. This allows the reader, without interrupting the reading process, to analyze the plot and draw appropriate conclusions. Folklore contains a saying, a beginning, a saying and a chorus. The technique of tautology is the basic principle of storytelling. Hyperbole, exaggeration, synecdoche and parallelism are also very popular. Such figurative actions are not allowed in literature all over the world.

Small folklore genres as a separate block of CNT works

This system includes mainly works for children. The relevance of these genres continues to this day, because every person gets acquainted with this literature even before he begins to speak.

The lullaby became one of the first works of folklore. The presence of partial conspiracies and amulets is direct evidence of this fact. Many believed that otherworldly forces act around a person; if a child sees something bad in a dream, it will never happen again in reality. This is probably why the lullaby about the “little gray top” is popular even today.

Another genre is nursery rhyme. To understand what exactly such works are, we can equate it to a sentence song or a song with simultaneous actions. This genre promotes the development fine motor skills and emotional health of the child, key point Plots with finger play “Magpie-Crow”, “Ladushki” are considered.

All of the above small folklore genres are necessary for every person. Thanks to them, children learn for the first time what is good and what is bad, and are taught order and hygiene.

Folklore of nationalities

An interesting fact is that different nationalities, in their culture, traditions and customs, have common points of contact in folklore. There are so-called universal desires, thanks to which songs, rituals, legends, and parables appear. Many peoples hold celebrations and chanting to obtain a rich harvest.

From the above it becomes obvious that different peoples often turn out to be close in many spheres of life, and folklore unites customs and traditions into a single structure of folk art.

To correctly judge a subject, it is necessary to formulate about it general concept, and this obliges us to give it a definition. What does it mean to define? Name the characteristics of the object? But each phenomenon has many signs. One could name the main ones, but this would mean giving a characteristic, not a definition. To give a definition, it is necessary to distinguish the characteristics of the genus and species. A generic feature is a feature common to the entire genus of the phenomenon to which the thing being defined belongs, and a specific feature is a feature that distinguishes the thing being defined from others belonging to this genus. What are the characteristics of genus and species in folklore? What phenomena does it coincide with in its generic character and how does it differ from them? These questions can only be answered by considering the subject of folklore.

Let us take as our starting point the generally accepted idea of ​​folklore. It is known that the Russian people have created countless proverbs, sayings, riddles, epics, ballads, anecdotes, magical, everyday, funny tales, and tales about animals. It is also known that songs were sung everywhere. Plowmen-peasants, serfs-nobles, artisans-citizens, hunters, soldiers - in a word, had their own songs. ordinary people all states. Even at the beginning of our century, puppeteers walked around villages and towns and entertained the audience with a comedy with Petrushka. And these days, songs are created, jokes in the form of short aphorisms go from mouth to mouth. What all named and unnamed types of creativity have in common is that it is primarily the art of words. The types of oral prose, poetry and drama that have ever existed and exist among the people collectively constitute what is commonly called folklore.

If we were content with listing different types of folklore works, we would never come closer to understanding them. We would simply convey the most general idea of ​​folklore, but science cannot be satisfied with this. She needs to formulate an accurate concept about him.

Chapter I

From the history of terms

Let's start with the names of folklore, but not in order to base a definition on them: from the names you can only find out which features are considered important or generally characteristic of folklore.

In science, there are several names for folk art. In the middle of the 19th century. The name "folk poetry" was generally accepted. Along with recognition of the artistry of folklore, this name indicated that folklore belonged to the people and indicated that the people created folklore. Folklore works were seen as a direct expression of the people’s view of the world, and folk concepts and ideas were studied from them. By the name itself they wanted to distinguish mass folk art from the work of individual authors. Other folklore names adopted
in the science of that time, the term “folk poetry” was supplemented and clarified: it was called “impersonal”, “natural” and “unartificial”. The name “impersonal” emphasized the lack of individual authorship in folklore works, and the names “natural” and “unartificial” indicated that folklore is created without a theoretical view of artistic creativity, involuntarily, that singers and storytellers do not know either professionalism or artistic skills. Modern science considers the indication of the mass folk creative nature of folklore to be absolutely correct, and makes amendments and additions to other judgments.

IN late XIX- early 20th century In science, the names “oral literature” and “folk literature” have become widespread. Until then, “literature” was the name given to the art of words, most often the professional activity of prose writers and poets, but the former name had a special meaning. The view has become widespread that folklore as the art of words was initially created by professional artists and only after some time their work became known to the people- the people seem to have only assimilated what was ready, but never created anything themselves. The definition of “oral” meant that in non-written, non-bookish
form, the people, for the most part illiterate, could only preserve the “literature” they had learned from others. It was called “folk” in the sense that the people only adopted the “literature”, that it “existed” among the people. The idea that folklore is the original creation of the people was excluded.

Soviet science did not accept either the name “folk literature” or the name “oral literature” or the concepts associated with them. Folklore is called “oral creativity of the people”, “folk-poetic creativity”, “oral-poetic creativity of the people”. These terms are successively associated with the name “folk poetry,” as was customary in the science of the 19th century. At the same time, each of the names of folklore highlights features that are considered especially important.

The name “oral creativity of the people” emphasizes the oral nature of folklore and thereby distinguishes it from written literature. At the same time, folklore as the art of words is separated from other types: music, choreography, the art of embroidery, the art of toys and others.

The name “folk poetic creativity” indicates artistry as a sign by which folklore works are distinguished from beliefs, customs and rituals. This designation simultaneously puts folklore on a par with other types of folk art and fiction.

As for the name “oral poetic creativity of the people,” it combines the features contained in the previous ones; it is more complete than each of them taken separately.

Along with all the listed names of the oral poetic creativity of the people, Soviet science uses the international term “folklore” (English folklore - lit. folk - people, lore - knowledge, wisdom, i.e. “folk knowledge”, “folk wisdom”). This term appeared in the middle of the 19th century, it was proposed by the English scientist W. J. Thoms to designate
materials on ancient poetry, rituals and beliefs, but similar terms already existed in German scientific and fiction literature: das Volkstum, die Volkskunde, die Volksforschung, etc. The term die Volkskunde, corresponding to the English folklore, was introduced into science by J. F. Knaffl back in 1813 1. All this early terminology, denoting a set of works of oral creativity and related customs, rituals, and beliefs, identifies in folklore a sign of its belonging to folk archaic culture.

Western European science of the 19th century. introduced other terms into use. In France, the name “traditions populaires” appeared, similar to it in Italy - “tradizioni popolari”, in Spain - “tradiciones populares”. These names mark the centuries-old sustainable existence of folklore among the people. Folklore was associated with the manifestation of mass characteristics of the folk psyche and accordingly the names “demopsychologie” were introduced
(French) and “demopsychologia” (Italian). Folklore was also dissolved in general “ethnic studies” - “Volksforschung” (German), “demologie” (French), “scienza demica” (Italian), “demosofia” (Spanish), etc. Each of the terms in turn was associated with a special understanding of folklore.

Clarifying the dependence of terminology on understanding the essence of folklore could be the subject of a separate study 1 . Let us only pay attention to the fact that many of the designations adopted in Western European science do not distinguish between folklore and the science of it - for example, “demologie” (French), “demosofia” (Spanish). In the second half of the 19th century. In England, there was a debate about how to understand the content, tasks and methods of the science of folklore. It was said, in particular, that terminologically it is necessary to distinguish folklore from the science of it. The same division between folklore and the science about it was proposed to be adopted in our domestic science by Yu. M. Sokolov 2 . The science of folklore is called folkloristics.

So, several names of folklore passed before us: each of them pointed to several or one of its signs - a sign of the direct expression of nationality, orality, traditionalism, artistry, connection with folk life and other signs. This means that folklore is very complex phenomenon and its definition must include several features.

Chapter II

Folklore - the art of words

When starting to understand the concept of “folklore,” first of all, we must take into account the attribute that almost everyone takes into account, i.e., that folklore is art, artistic creativity. For this reason, the originality of folklore is usually clarified by comparing it with fiction. There is no doubt that folklore works also perform a number of practical non-aesthetic functions in everyday life: they lull children to sleep with lullabies, through spells they wish to restore the sick to health, to inspire affection, etc.; the rhythm of special songs helped to combine the physical efforts of those pulling the net, pushing the load, etc. But in folklore
no less than in literature, the artistic principle is developed, conscious of the people (in epics, fairy tales, lyrical songs, riddles and other works) or unconscious (in lamentations, ritual songs, spells, etc.), which, however, cannot interfere we must recognize the very fact of artistic creativity and in these
cases.

When comparing folklore with literature, one must, of course, take into account that the art of words in folklore is connected with other types of artistic creativity (the performing art of an actor, the skill of storytelling, the art of singing, music, etc.), but when comparing this point is not taken into account attention.
The art of words, bringing folklore and literature closer together, equally distinguishes them from other arts. The legitimacy of such consideration is justified by the very fact that the word in folklore performs a figurative and expressive function, and information and communication functions, as well as the combination of the art of the word with other arts, are nothing more than accompanying
circumstance. Although it is important, it does not prevent us from considering the art of words in itself in folklore. A similar study meets no objection when it comes to a literary work. It can also be combined with other arts (play and dramatic play, poetry and its artistic
reading, song and its performance, etc.).

All of the above fully explains why the originality
folklore is sought through its comparison with fiction. He is closest to her. The challenge is to understand what makes them different from each other.

When comparing folklore with literature, two trends emerged that were equally erroneous: the identification of folklore and literature and the absolutization of their differences. In the 20-50s, the first trend was widespread. In our time, another trend has emerged - an error of the opposite kind, which makes real the danger of the dissolution of folk art among everyday phenomena and the elimination of folkloristics as an art historical discipline.

In order not to fall into the mistake of identifying folklore with literature, we should take a closer look at the view that folklore is no different from literature, that it is created by the same creative individuals as authors - poets and prose writers in literature.

At one time, the famous folklorist Yu. M. Sokolov wrote about the meaning of individual creativity in folklore: “The problem of creative individuality, long posed in Russian folklore, is now considered to be resolved in a positive sense, and the old romantic idea
the “collective” principle in the field of oral creativity is almost discarded or, in any case, limited to a very strong extent. And this is a solid achievement of Russian science” 1. The final work of Yu. M. Sokolov “Russian Folklore” also says: “Systematic observations of the life and work of epic storytellers, storytellers, compilers of tales, wedding groomsmen and other so-called bearers of folklore have shown what a huge role personal artistic skill plays in oral poetry , training, talent; memory and other aspects of the individual psyche" 2. The scientist saw in each performer of oral poetic works to a large extent also a creator - their author. Among folklore “authors” Yu. M. Sokolov saw “no less diversity of individual appearances than in written fiction” 3 .

Another famous folklorist, M.K. Azadovsky, also recognized as correct all theoretical provisions about the individual creative nature of folklore works. He spoke out against “misconceptions” about the existence of “so-called” folk art and considered individual creators in folklore as full-fledged and completely original authors 4 .

Other scientists from the 1930s and 1940s supported these findings. Thus, A.I. Nikiforov wrote: “The idea of ​​collective mass creativity, put forward in the 60s of the last century, has now been replaced by the idea of ​​individual creativity” 1.

The fundamental theoretical error in these judgments about the creative nature of folklore is that the process of creating works in folklore is identified with the literary one. “Original” books of storytellers were published with biographies, with analysis of the creative path, and penetration into “individual” creative “laboratories.” Orality has become the only criterion of folklore.

In the science of folklore, another understanding of its creative specificity has been proposed. This understanding originates from folkloristics of the 40-60s of the 19th century, from “romantic”, as Yu. M. Sokolov and his other contemporaries called them, theories in science. Among the adherents of the “romantic” theory are: F. I. Buslaev, V. G. Belinsky, N. G. Chernyshevsky, O. F. Miller, A. A. Potebnya and many other scientists. In their judgments about folklore, all of them proceeded from the fact that it cannot be equated to literature both in content, and in the nature of creative processes, and in poetics.
In a review of Kirsha Danilov’s collection and other folklore collections, V. G. Belinsky wrote: “... the author of Russian folk poetry is the Russian people themselves, and not individuals.” I. G. Chernyshevsky spoke of folk songs as “created by the whole people,” as if they were created by “one moral person.” In this way, Chernyshevsky distinguished folklore works from works “written by individuals” 2 . F. I. Buslaev, in turn, noted, speaking about the creation of myths, tales, epic songs, that “no one was exclusively
the creator of neither myth, nor legend, nor song. Poetic inspiration belonged to one and all, like a proverb, like a legal maxim. There was a whole people who were poets; He created poetic legends for centuries. Individual persons were not poets, but only
singers and storytellers; they only knew how to tell or sing more accurately and dexterously, which was known to everyone... The invention of fables, persons and events did not belong to the poet... The storyteller or singer was content with a few additions only in detail, when describing a person or event that had long been known to everyone; he was
free only to choose what seemed to him the most important in the folk tale, what could especially touch the heart. But even with the freedom of the story, the poet was not free to choose words and expressions... As if by the law of natural necessity, naive fantasy constantly
refers to the same images, expressions and whole speeches" 1 . Another contemporary scientist of F. I. Buslaev, O. F. Miller, wrote about the “lack of personal creativity” in folklore 2 . The same idea was put into the form of an easily remembered aphorism by Academician A. N. Veselovsky: “ Folk epics anonymous, like medieval cathedrals" 3 . The judgment is true not only in relation to epics.

The remarkable Russian philologist A. A. Potebnya, defining the essence of “folk” - folklore - creativity, noted that it “emerges from memorable sources (that is, when transmitted from mouth to mouth, as far as memory is sufficient), but certainly passed through significant -body layer of popular understanding.” This passage undoubtedly presupposes a change in the work in accordance with the concepts and ideas of the creative environment. The idea of ​​“folk understanding” 4 A. A. Potebnya clarified with the following statement: “For a folk work that arises after another similar one, I assume a complete need, acting apart from consciousness, to remain in a known, predetermined rut of thought” 1 . In other words, traditional creativity is evident in folklore: every new storyteller or singer creates while remaining within the boundaries of the generally accepted tradition.

M. Gorky spoke more than once about the nature of oral folk art. He saw in it “the collective creativity of the entire people, and not the personal thinking of one person” 2. For M. Gorky, every outstanding singer and storyteller in folklore was, first of all, a bearer
the wisdom that people's experience has accumulated, and the work of an individual master is inseparable from the previous tradition.

Modern folklorists owe it to M. Gorky that science has preserved and developed the most valuable part of the theoretical heritage of pre-revolutionary folkloristics. In the article “Specifics of Folklore” V. Ya. Propp wrote: “We stand on the point of view that folk art is not a fiction, but exists precisely as such, and that studying it is the main task of folklore studies as a science. In this regard, we identify ourselves with our old scientists, like F. Buslaev or O. Miller. What the old science felt instinctively, expressed naively, ineptly and not so much scientifically as emotionally, must now be cleared of romantic errors and raised to the proper height of modern science with its thoughtful methods and precise techniques” 3. Another scientist of our time, P. G. Bogatyrev, argued: “In the understanding of folklore as individual creativity, the tendency to eliminate the boundaries between the history of literature and the history of folklore has reached its highest point. ...This thesis must be subjected to thorough revision. Should this revision mean a rehabilitation of the romantic concept, which was so harshly criticized by representatives of the mentioned point of view? Without a doubt. The characterization of the difference between oral poetic creativity and literature given by romantic theorists contained a number of correct thoughts; the romantics were right insofar as they emphasized the collective nature of oral poetic creativity and compared it with language. Along with this correct text, the romantic concept had a number of statements that do not stand up to modern scientific criticism” 1.

As already noted, in modern science there is also a tendency to interpret folklore as a phenomenon of everyday life and from here derive all its properties. Thus, one of the ethnographic collections opens with an article that says: “...we do not think of questioning the specificity of folklore as a phenomenon of art. However, this should not shake, but confirm us in the opinion that the main feature of folkloristics is to be and remain at the same time a science - both philological and ethnographic, since every folklore phenomenon is simultaneously and inevitably both a fact of folk life and a fact
verbal art. In other words, every folklore phenomenon is an everyday and aesthetic phenomenon» 2. First of all, the assertion that folklore is always and “simultaneously” a phenomenon of everyday life and art is doubtful. A fairy tale, an epic, a lyrical song, although they exist, belong to the art of words, artistic creativity, and only to it. This can be said about many other folklore works. But lamentations, calendar and wedding songs, like some other types of creativity in folklore, may indeed not be of a conscious artistic nature and may not even be art at all. Folkloristics studies the aesthetic, ideological and artistic properties and features of folk art when it comes to phenomena included in everyday life, and, of course, in all cases when it deals with the art of words as such. Ethnography is occupied with something else: its subject is ethnic processes, ethnic communities. The subject area of ​​ethnography as a science in its modern understanding is ethnos (people), and everything that an ethnographer studies is perceived by him “through the prism of performing” ethnic functions 1 . This also applies to folklore works. The famous Soviet ethnographer Yu. V. Bromley emphasized the difference between folklore and ethnographic analysis: “The general basis for determining the relationship of ethnography with art history disciplines when studying various types of folk art, in our opinion, should be the fulfillment by each of them of both aesthetic and ethnic functions" 2. Folklore studies is a philological and art-scientific discipline, and in this way its analysis of the art that is included in everyday life differs from the ethnographic approach, which has its own goals and objectives. Yu. V. Bromley, in particular, noted that even revealing the everyday purpose of each genre in folklore “does not yet answer the question: how characteristic is it for the culture of a particular people” and does not contain ethnographic specificity: “Consequently, clarification not only philological and aesthetic, but
and cultural and everyday functions of oral folk art does not solve the actual ethnographic problems” 1 . Thus, folkloristics remains a science of art history and philology. Its subject is the art of words, artistic creativity in all its
historically developed specifics. What is this specificity and in what forms is the artistic process carried out in it?

Literature

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Federal agency railway transport

Siberian State University communication lines

Department of Philosophy and Cultural Studies

Russian folklore: origin and place in Russian culture

Essay

In the discipline "Culturology"

Supervisor

Professor

Bystrova A.N.

__________

Developed by

Student gr. D-112

King Y.I.

__________

year 2012

Introduction

Our ancestors, unfamiliar with writing and books, were not cut off from previous generations. Ordinary Russian people, to whom they sang songs a long time ago, told fairy tales and came up with riddles, did not know how to Not read or write. But their verbal creativity was not forgotten or lost. It was carefully passed on from mouth to mouth, from parents to children. Folklore appeared long before literature and was created on the basis of living spoken language, which is impossible without speech intonations and gestures.

Folk songs, fairy tales, proverbs, riddles delight us with the simplicity of their words, infect us with their joy, and excite us with the depth of their thoughts.

Ours are poetic and beautiful folk songs: soulful and gentle lullabies with which women lull their children to sleep; funny, comic songs.

Deep meaning Full of proverbs and sayings of the Russian people.

Folk riddles are witty and varied: about nature, about the house, about people, about animals, about the objects that surround a person, in a word, about everything that we see, hear, know.

Folklore works owe their perfection in the use of figurative language to the creative work of hundreds of people.

The purpose of this work is to review and present the views of historians and cultural scientists on the origin and place of Russian folklore in Russian culture using the exampleritual musical poetic folklore.

1. The concept of folklore

The word folklore literally translated from English means folk wisdom.

Folklore is poetry created by the people and existing among the masses, in which they reflect their work activities, social and everyday life, knowledge of life, nature, cults and beliefs. Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. This is oral, verbal artistic creativity that arose in the process of the formation of human speech 1 .

M. Gorky said: “... The beginning of the art of words is in folklore.”Where did he say this, on what occasion?In a pre-class society, folklore is closely connected with other types of human activity, reflecting the rudiments of his knowledge and religious and mythological ideas. In the process of development of society there arose different kinds and forms of oral verbal creativity.Whose phrases are these? You didn't write them!

Some genres and types of folklore have lived a long life. Their originality can be traced only on the basis of indirect evidence: on texts of later times that retained archaic features of content and poetic structure, and on ethnographic information about peoples at pre-class stages of historical development. Where is the text from?

Only from the 18th century and later are the authentic texts of folk poetry known. Very few records survive from the 17th century.

The question of the origin of many works of folk poetry is much more complicated than that of literary works. Not only the name and biography of the author - the creator of this or that text - are unknown, but the social environment in which the fairy tale, epic, song, time and place of their creation is also unknown. The author’s ideological intention can only be judged from the surviving text, which was often written down many years later. An important circumstance ensuring the development of folk poetry in the past was, according to N. G. Chernyshevsky, the absence of “sharp differences in the mental life of the people.”Where do these words come from? And why is Chernyshevsky not on the list of references?

“Mental and moral life,” he points out, “is the same for all members of such a people; therefore, the works of poetry generated by the excitement of such a life are equally close and understandable, equally sweet and related to all members of the people.”Where does he “point” this and to whom exactly?In such historical conditions, works appeared that were created by “the whole people, as one moral person.” Where is the quote from? Thanks to this, folk poetry is permeated by a collective principle. It is present in the emergence and perception by listeners of newly created works, in their subsequent existence and processing. Whose text is this?

Collectivity manifests itself not only externally, but also internally - in the folk poetic system itself, in the nature of the generalization of reality, in images, etc. In the portrait characteristics of heroes, in individual situations and images, there are few folklore works individual characteristics, occupying such a prominent place in fiction. Whose text is this?

As a rule, at the time of creation, the work experiences a period of particular popularity and creative flourishing. But there comes a time when it begins to become distorted, destroyed and forgotten. Whose text is this?

New times require new songs. The images of folk heroes express best features Russian national character: the content of folklore works reflects the most typical circumstances of folk life. At the same time, pre-revolutionary folk poetry could not help but reflect the historical limitations and contradictions of peasant ideology. Living in oral transmission, the texts of folk poetry could change significantly. However, having achieved complete ideological and artistic completeness, works were often preserved for a long time almost unchanged as the poetic heritage of the past, as cultural wealth of enduring value. 2 Why is this just rewritten?

2. Specifics of folklore

Folklore has its own artistic laws. Oral form of creation, distribution and existence of works that main feature, which gives rise to the specificity of folklore, causes its difference from literature.

2.1. Traditionality

Folklore mass creativity. Works of literature have an author, works of folklore are anonymous, their author is the people. In literature there are writers and readers, in folklore there are performers and listeners.

Oral works were created according to already known models, and even included direct borrowings. The speech style used constant epithets, symbols, comparisons and other traditional poetic devices. Works with a plot were characterized by a set of typical narrative elements and their usual compositional combination. In the images of folklore characters, the typical also prevailed over the individual. Tradition required the ideological orientation of the works: they taught goodness and contained the rules of human behavior in life. Whose text is this?

The general thing in folklore is the main thing. Storytellers (performers of fairy tales), singers (performers of songs), storytellers (performers of epics), voplenitsy (performers of lamentations) sought first of all to convey to listeners what was in keeping with tradition. The repeatability of the oral text allowed for its changes, and this allowed an individual talented individual to express himself. A multiple creative act, co-creation, took place, in which any representative of the people could be a participant. Whose text is this?

The development of folklore was facilitated by the most talented people endowed with artistic memory and creative gifts. They were well known and appreciated by those around them (remember I. S. Turgenev’s story “The Singers”).Who should remember? This is probably what you are suggesting me to do... Thank you, I can do without such advice.

The oral artistic tradition was the common fund. Each person could select for himself what he needed.Is this a market or a store?

In the summer of 1902, M. Gorky observed in Arzamas how two women - a maid and a cook - composed a song (the story “How they composed a song”).

“It was in a quiet street of Arzamas, before evening, on a bench at the gate of the house in which I lived. The city was dozing in the hot silence of June everyday life. I, sitting by the window with a book in my hands, listened to how my cook, the portly, pockmarked Ustinya, talking quietly with the maid<...>Suddenly Ustinya speaks smartly, but in a businesslike manner: “Okay, Mangutka, give me a hint...” “What is this?” “Let’s put together a song...” And, sighing noisily, Ustinya begins to sing quickly:

"Oh, yes, on a white day, in the clear sun,

On a bright night, during the month..."

Hesitantly feeling for the melody, the maid timidly sings in a low voice:

"I'm worried, a young girl..."

And Ustinya confidently and very, touchingly brings the melody to the end:

"My heart is always aching..."

She finished and immediately spoke cheerfully, a little boastfully: “So it has begun, the song! I, my dear, will teach you how to put together songs; how to twist a thread. Well...” After a pause, as if listening to the mournful moans of frogs, the lazy ringing of bells, She again deftly played with words and sounds:

“Oh, no, the blizzards are fierce in winter

No cheerful streams in spring..."

The maid, moving closer to her, ... now more boldly, in a thin, trembling voice, continues:

“They don’t inform from their native side

Comforting news to my heart..."

“So there you go! Ustinya said, slapping her hand on her knee. And I was younger than that better songs folded! Sometimes my friends would pester me: “Ustyusha, teach me a song!” Eh, and I’ll drown!.. Well, what will happen next? “I don’t know,” said the maid, opening her eyes, smiling.<...>"The lark sings over the fields.

The cornflowers in the fields have bloomed,” Ustinya sings thoughtfully, folding her arms on her chest, looking at the sky, and the maid echoes smoothly and boldly: “I wish I could look at my native fields!” And Ustinya, skillfully supporting a high, swaying voice, stole velvet soulful words: “I wish I could take a walk with my dear friend through the forests!”

Having finished singing, they are silent for a long time..., then the woman says quietly, thoughtfully: “Did they compose the song poorly? It’s really good, after all.”What are the rewritten parts of Gorky's story doing here? This text is familiar to me even without student essays. But what he is doing here is completely unclear.

Not everything newly created was preserved in oral history. Repeatedly repeated fairy tales, songs, epics, proverbs and other works passed “from mouth to mouth, from generation to generation.” On this path, they lost what bore the stamp of individuality, but at the same time they identified and deepened what could satisfy everyone. The new was born only on a traditional basis, and it had to not just copy tradition, but complement it. Whose text is this?

Folklore appeared in its regional modifications: folklore central Russia, Russian North, folklore of Siberia, Don folklore, etc. etc. However, local specifics have always had a subordinate position in relation to the all-Russian properties of folklore.

In folklore it constantly flowed creative process, who supported and developed the artistic tradition. Whose text is this?

With the advent of written literature, folklore began to interact with it. Gradually, the influence of literature on folklore increased more and more.

The oral creativity of a people embodies its psychology (mentality, disposition of the soul). Russian folklore is closely related to the folklore of the Slavic peoples. Whose text is this?

National is part of the universal. Folklore contacts arose between peoples. Russian folklore interacted with the folklore of neighboring peoples of the Volga region, Siberia, Central Asia, Baltic States, Caucasus, etc. Whose text is this?

2.2. Syncretism

The artistic principle did not immediately win in folklore. In ancient society, the word merged with the beliefs and everyday needs of people, and its poetic meaning, if it existed, was not realized. Whose text is this?

Residual forms of this state were preserved in rituals, conspiracies and other genres of late folklore. For example, a round dance game is a complex of several artistic components: words, music, facial expressions, gesture, dance. All of them can only exist together, as elements of a whole round dance. This property is usually denoted by the word “syncretism” (from the Greek synkretismos “connection”).

Over time, syncretism has historically faded away. Different types of art have overcome the state of primitive indivisibility and stood out on their own. Their later compounds began to appear in folklore synthesis 3 . Why does this exist here in a form primitively copied from someone else’s work?

2.3. Variability

The oral form of assimilation and transmission of works made them open to change. There were no two completely identical performances of the same work, even when there was only one performer. Oral works had a mobile, variant nature,

Variant (from Latin variantis “changing”) each single performance of a folklore work, as well as its fixed text.

Since a folklore work existed in the form of multiple performances, it existed in the totality of its variants. Each version was different from others told or sung in different time, in different places, in different environments, by different performers or by one (repeatedly). Whose text is this?

Oral folk tradition sought to preserve and protect from oblivion what was most valuable. Tradition kept changes to the text within its boundaries. For variants of a folklore work, what is important is what is common and repeated, and what is secondary is how they differ from one another.

Let's turn to the variants of the riddle about the sky and stars. They were recorded in different provinces - Moscow, Arkhangelsk, Nizhny Novgorod, Novgorod, Pskov, Vologda, Samara, etc. (see in the ReaderWho should go and look at something in the reader? Who is this designation addressed to?).

Artistic basis The riddle is made up of a metaphor: something has fallen apart and cannot be put back together. Metaphor is flexible. From the options we learn what exactly could crumble. As it turns out, peas (polka dots), beads, a carpet, a ship, a cathedral were scattered. It is usually noted where this happened: at our gates, on the matting, in all cities, in all suburbs, along the mosses, along the seas, on twelve sides. In one of the options, a narrative preamble appears, explaining the circumstances of what happened:

There was a girl from St. Petersburg walking,

Carried a jug of beads:

She scattered it<...>

Finally, those who cannot collect what has been scattered are listed: the king, the queen, the red maiden, the white fish (symbol of the girl-bride), the clerks (duma clerks), priests, silversmiths, princes, smart men, literate people, us fools. The mention of Serebrenikov hints at a hidden comparison: money and coins scattered. The white fish speaks of interaction with wedding poetry. In one of the options, the impossibility of collecting what has been scattered is emphasized paradoxically with the help of the statement:

God alone will gather

He'll put it in a box.

God resembles a thrifty peasant with a box, who does not tolerate loss and disorder. Since only God can collect what has been scattered, that means no one else can. In another version, tools are named (broom, shovel), which will not help in this situation. So, in the riddle of the sky and the stars there are stable and variable elements. The function (scattering) and its consequence (impossibility of assembly) are stable. All other elements are variable. Some of the variable elements are required (what was scattered; the place where it was scattered; those who cannot collect the scattered). Along with this, optional variable elements arose sporadically (under what circumstances something fell apart, by what means it was impossible to collect it).

Despite the strength and power of tradition, variation could still go quite far and express some new creative tendency. Then a new version of the folklore work was born.

Version (from Latin versare “to modify”) a troupe of options that give a qualitatively different interpretation of the work.

For example, among the variants of the riddle we considered there is this:

A letter has been written

On blue velvet

And don’t read this letter

Neither priests nor clerks,

Not smart guys.

This is already a new version, since the stable element of the riddle (scattered cannot be collected) has acquired a different appearance (written cannot be read).From which author were these arguments and examples stolen?

As you can see, the differences between versions are deeper and more significant than the differences between variants. Options are grouped into versions according to the degree of similarity and range of differences,

Variability way of existence folklore tradition. An idea of ​​an oral work can only be formed by taking into account as many of its variants as possible. They must be considered not in isolation, but in comparison with each other. Whose text is this?

In the oral tradition there are not and cannot be “right” or “wrong” options; it is flexible in its essence. Options of both high and low artistic quality, expanded or compressed, etc. appear. They are all important for understanding the history of folklore, processes of its development. Whose text is this?

When recording a folklore work, if it is for scientific purposes, certain requirements must be observed. The collector is obliged to accurately reproduce the text of the performer, and the recording made by him must have a so-called “passport” (an indication of who, where, when and from whom he recorded this option). Only in this case will the version of the work find its place in space and time and will be useful for the study of folklore. Whose text is this?

2.4. Improvisation

The variability of folklore could practically be achieved through improvisation.

Improvisation (from Latin improviso “unforeseen, suddenly”) creation of the text of a folklore work, or its individual parts, during the performance process.

Between acts of performance, the folklore work was stored in memory. While being voiced, the text seemed to be born anew each time. The performer improvised. He relied on knowledge of the poetic language of folklore, selected ready-made artistic components, and created their combinations. Without improvisation, the use of speech “blanks” and the use of oral-poetic techniques would be impossible. Whose text is this?

Improvisation did not contradict tradition; on the contrary, it existed precisely because there were certain rules, an artistic canon.

An oral work was subject to the laws of its genre. The genre allowed for one or another mobility of the text and set the boundaries of fluctuation.

IN different genres improvisation manifested itself with greater or lesser force. There are genres focused on improvisation (lamentations, lullabies), and even those whose lyrics were one-off (fair cries of traders). In contrast, there are genres intended for precise memorization, therefore, as if they did not allow improvisation (for example, conspiracies).

Improvisation carried a creative impulse and generated novelty. She expressed the dynamics of the folklore process 4 . Why, as I understand it, and everywhere else, is a primitive rewriting of other people’s texts proposed?

3 . Genres of folklore

Genres in folklore also differ in the method of performance (solo, choir, choir and soloist) and different combinations of text with melody, intonation, movements (singing, singing and dancing, storytelling, acting).

With changes to social life societies, new genres also arose in Russian folklore: soldiers', coachmen's, and barge haulers' songs. The growth of industry and cities gave rise to romances, jokes, worker, school and student folklore. Whose text is this?

In folklore there are productive genres, in the depths of which new works can appear. Now these are ditties, sayings, city songs, jokes, and many types of children's folklore. There are genres that are unproductive, but continue to exist. Yes, new folk tales does not appear, but the old ones are still told. Many old songs are also sung. But epics and historical songs are practically no longer heard live. Whose text is this?

For thousands of years, folklore was the only form of poetic creativity among all peoples. The folklore of every nation is unique, just like its history, customs, and culture. Thus, epics and ditties are inherent only in Russian folklore, dumas in Ukrainian, etc. Some genres (not just historical songs) reflect the history of a given people. The composition and form of ritual songs are different, which can be timed to coincide with periods of the agricultural, pastoral, hunting or fishing calendar; can enter into various relationships with rituals Christian, Muslim, Buddhist or other religions. Whose text is this?

Folklore of late times is the most important source for studying the psychology, worldview, and aesthetics of a particular people.

4. Ritual folklore as the most massive genre of folklore

The most extensive area of ​​folk musical creativity Ancient Rus' consists of ritual folklore, testifying to the high artistic talent of the Russian people. The ritual was a normative, strictly regulated religious act, subject to the canon that had developed over the centuries. He was born in the depths of the pagan picture of the world, the deification of natural elements. The most ancient are considered to be calendar ritual songs. Their content is associated with ideas about the cycle of nature and the agricultural calendar. These songs reflect various stages life of peasant farmers.

They entered the winter, spring, summer rituals, which correspond to turning points in the changing seasons. When performing the ritual, people believed that their spells would be heard by the mighty gods, the forces of the Sun, Water, and Mother Earth and would send them a good harvest, offspring of livestock, and a comfortable life.

One of the most ancient genres round dance songs. They held round dances throughout almost the entire year - on Christmastide, on Maslenitsa, after Easter. Round dances-games and round dances-processions were common. Initially, round dance songs were part of agricultural rituals, but over the centuries they became independent, although images of the work of the tiller were preserved in many of them:

And we just sowed and sowed!

Oh, Did Lado, they sowed, they sowed!

And we’ll just trample, trample!

Oh, Did Lado, let's trample it down.

Dance songs that have survived to this day accompanied men's and women's dances. Men's symbolized strength and dexterity, women's - tenderness, plasticity, stateliness. For many centuries, the dance tunes “Oh you, canopy, my canopy,” “Kamarinskaya,” “Barynya,” “I have it in my little garden,” and others have retained their popularity.

On the eve of Christmas and Epiphany, round dances and round dances were replaced by the singing of sub-dish songs - the mysterious time of Christmas fortune-telling began. One of the oldest sub-bread songs is “Bread Glory”, which has repeatedly attracted the attention of Russian composers:

A We sing this song to our bread, Slava!

We eat bread and give honor to bread, Glory!

Over the centuries, the musical epic begins to be replenished with new themes and images. Epic epics are born telling about the struggle against the Horde, about travel to distant countries, about the emergence of the Cossacks, and popular uprisings.

People's memory has preserved many beautiful ancient songs for centuries. IN XVIII century, during the period of formation of professional secular genres (opera, instrumental music) folk art for the first time becomes a subject of study and creative implementation. The educational attitude towards folklore was clearly expressed by the wonderful writer, humanist A.N. Radishchev, in the heartfelt lines of his “Journey from St. Petersburg to Moscow”: “Whoever knows the voices of Russian folk songs admits that there is something in them that signifies spiritual sorrow... In in them you will find the formation of the soul of our people.” IN XIX V. The assessment of folklore as the “education of the soul” of the Russian people became the basis of the aesthetics of the school of composers from Glinka to Rimsky-Korsakov, and folk song one of the sources of the formation of national musical thinking 5

Conclusion

The role of folklore was especially strong during the period of predominance of mythopoetic consciousness. With the advent of writing, many types of folklore developed in parallel with fiction, interacting with it, influencing it and other forms of artistic creativity and experiencing the opposite effect. Folk musical art originated long before the emergence of professional music in the Orthodox church. IN public life In ancient Rus', folklore played a much greater role than in subsequent times. The most extensive area of ​​​​folk musical creativity of Ancient Rus' consists of ritual folklore, testifying to the high artistic talent of the Russian people. The ritual was normative, strictly regulated religious action, subject to the canon that had developed over centuries. It was born in the depths of the pagan picture of the world, the deification of natural elements.

In the traditional folk culture of Russians there is no generalizing concept corresponding in meaning to the Western European term “music”. However, this word itself is used, but most often it means a musical instrument, preferably a purchased one, such as an accordion or balalaika.

Even at the beginning of the twentieth century, dramatic games and performances formed an organic part of festive folk life, be it village gatherings, religious schools, soldier and factory barracks, or fair booths. In later times, this experience was enriched by borrowings from professional and popular literature and democratic theater.

The formation of the most famous folk plays occurred in the era of social and cultural transformations in Russia at the end of the 18th century. From that time on, popular prints and pictures appeared and were widely distributed, which were both a topical “newspaper” for the people, information and sources of knowledge. Sellers of popular prints ofeni penetrated into the most remote corners of Russia. Popular prints, sold at all fairs since the 19th century, were a mandatory decoration for the peasant hut. At city and later rural fairs, carousels and booths were set up, on the stage of which performances on fairy-tale and national historical themes were performed, which gradually replaced earlier translated plays.

The specifics of the genre each time determined and limited the choice of repertoire, artistic means and methods of execution. The peculiarity of urban spectacular folklore partly helps to understand the widespread use of folk comedians in performances. They literally permeate the verbal fabric, and they largely determine the external form and content of ideas.

List of used literature

1. Bakhtin M.M. Folk art and culture of the Middle Ages. M.: Yurayt 2001. 326 p.
2. Velichkina O.V. Music in Russian folk weddings. M.: Eksmo 2003. 219 p.
3. Vertko K.A. Russian folk musical instruments..-M. : Unipress 2004. 176 p.
4. Gusev V.E. Rituals and ritual folklore.-M. :Phoenix 2003. 236
5. Propp V.Ya Folklore.-M. : Yurayt 2000. -221 s.

1 Propp V.Ya Folklore.-M. : Yurayt 2000. с.21

2 Propp V.Ya Folklore.-M. : Yurayt 2000. с.43

3 Velichkina O.V. Music in Russian folk weddings. M.: Eksmo 2003. p.50

4 Velichkina O.V. Music in Russian folk weddings. M.: Eksmo 2003. p.69

5 Propp V.Ya Folklore.-M. : Yurayt 2000. с.190.

The word “folklore” came to us from the English language, and it means “oral folk art”. These are fairy tales, proverbs, sayings, riddles, counting rhymes and jokes. Every nation has its own folklore. It is called oral creativity because it was created in those distant times when there was no writing yet. Folklore was passed on “from mouth to mouth,” that is, the father told his son, who then told his children... this is how folklore was preserved among the people. And when writing appeared, scientists began to collect and record all this wealth with great interest. A lot of fairy tales, songs (runes), epics were recorded here in Karelia.

And today, scientists and amateur experts in folk traditions collect folklore. Thanks to their many years of work, you will get acquainted with children's games, tongue twisters, and nursery rhymes that have long been common in Karelia.

Tongue Twisters

Tongue twisters are pure tongue twisters. The better you learn to pronounce tongue twisters, the clearer and more understandable your speech will be. They can be taken as entertainment, fun, and their benefits are great. Practice:

Dear Mila washed herself with soap.

A baker bakes rolls in the oven.

And now more complicated:

The parrot says to the parrot: “Parrot, I’ll scare you.” The parrot answers him: “Parrot, parrot, parrot.”

Margarita collected daisies in the yard, Margarita lost daisies in the yard.

But your grandparents also knew these tongue twisters:

There is grass in the yard, there is firewood on the grass, don’t split firewood on the grass in the yard.

From the clatter of hooves, dust flies across the field.

Helpful advice: Tongue twisters are first pronounced slowly and clearly, and then faster and faster.

The first who paid attention to tongue twisters and wrote them down was Vladimir Ivanovich Dal, the famous compiler of “ Explanatory dictionary living Great Russian language." By the way, his grandfather and father lived in Petrozavodsk.

Teases and teases

Although they are called that, in fact clever man never gets offended by them. You have to play some pranks sometime! Teases usually come in the form of small rhymes in which a name and nickname rhyme, or highlight some quality of the person they are trying to tease. For example:

Alyoshka the cook-

Raw potatoes.

Alka-stick-servelat-

Don't go to the parade.

Andrew the Sparrow swam in the lake,

When I saw the sparrow, I immediately got scared.

But crybabies are sometimes told this:

Kok-mli, kok-mli

Your eyes are wet

If you cry for a long time,

You will begin to croak like a frog.

We laughed and joked a little. We are friends again and play together. In ordinary life, not during a game, you should remember: “Whoever calls you names is called that himself.”

Puzzles

You already know what a “riddle” is. Guys love to solve riddles! Guess these:

1. They appeared in a yellow fur coat, goodbye two shells.

2. Two brothers look into the water, but still can’t get together.

3. Not a horse, but running, not a forest, but making noise.

4. In the fall he undresses, in the spring he dresses.

5. Yarmulka stands in a red yarmulke: whoever passes by makes every bow.

6. In a fur coat in the summer, and naked in the winter.

7. A boy in a gray army jacket sneaks around the yards, collects crumbs, spends the night in the fields, steals hemp.

8. I swam in the lake and was left dry.

9. First - shine, after shine - crackling, after crackling - splashing

10. Twelve brothers follow each other, but do not bypass each other.

You will find the answers at the end of the section.

Karelian proverbs and sayings.

That's why it's expensive because it's short.

Proverbs are folk wisdom. Knowing proverbs is very useful; they help express thoughts and make our speech more beautiful. But thinking about the meaning of proverbs and speculating is not only useful. but also exciting! Think about these proverbs. How do you understand them?

The Karelian land is rich and sweet.
Human power moves rocks too.
Then you water the field and you will return strength with bread.
An ax is warmer than a fur coat.
The guest will dine, the house will not become poor.
A person's work is beautiful.
The beginning is difficult, the end makes the work beautiful

Think and answer.

Why do they say “A proverb is said for a reason”?

Homework.

1. Find out from your relatives what tongue twisters, proverbs or riddles they know. Write them down.

2. Try with the whole family or on your own to come up with your own riddles or tongue twisters.

On your bookshelf.

CM. Loiter. “Where there is a flower, there is honey

Calls and rhymes

Calls

What do you think the word “cliques” means? It comes from the word “click”, that is, to call, call. You “call” your friends to go out for a walk (and then your mother “calls” you home). In the old days, children and adults called not only to each other, but also to rain, sun, snow and other natural phenomena. After all formerly man depended on nature much more than now. That's why such nicknames were born

Bucket sun,

Look through the window!

Sunshine, appear

Red, show yourself!

Rain, rain, more,

I'll give you the grounds

I'll go out onto the porch,

I'll give you a cucumber

I'll give you a loaf of bread too.

Rain, water it more!

Rainbow-arc,

Don't let it rain

Give me some sunshine -

Bell tower!

Come up with nicknames that can be used, for example, while searching for mushrooms in the forest! Or for the cold to go away and summer to finally come, and with it the summer holidays.

Counting books

Counting tables - what are they for? The name itself suggests that they are used to decide (count) who should drive, who should squint, who should play what role. In a counting rhyme there really is always a count, this is its main part:

One two three four five

I'm already going to look.

One-two - lace,

Three or four - hooked,

Five or six - eat porridge,

Seven-eight - we mow hay,

Nine-ten - the butter is kneaded,

Eleven or twelve - people are arguing in the street.

Everyone says - they share sundresses.

To whom should you sing, to whom should you stand?

Who needs a whole sundress.

Lemon glass –

Get out!

In this counting rhyme there are two unclear words: “Tonya” is a net for catching fish, “stan” is a part of clothing.

The counting game in the game teaches the laws of equality, honesty and friendship. Usually, the number of players determines the score with which the counting game is chosen. If there are many players, then count to ten or twelve; if there are fewer, then to five.

One two three four

There were mice living in an apartment,

They drank tea, broke cups, and paid three pieces of money.

Those who don't want to pay should drive.

The fox tore the stripes,

the fox weaved bast shoes -

Two for my husband, three for myself

And the kids - bast shoes.

And here is the Pomeranian counting rhyme:

Scows, scows,

Over the bush, over the bridge,

Along Swan Mountain,

On the other side

There are cups, nuts,

Honey, sugar -

Get out, little wren!

"Scows, scows"- these words in in this case don't mean anything. Often such meaningless words are inserted into rhymes, just for the sake of rhyme.

Tear the stripes– process birch bark so that it is thin and flexible.

And here is a counting aid. Although she is funny, she is very easy to remember musical notes, you just have to repeat the first two lines several times.

Do, re, mi, fa, salt, la, si,

The crucian carp lived together.

How did we get to the note “B” -

We asked for a taxi.

And there was a cat in the taxi

Smiled at them through the window!

The crucian carp got scared -

And we were left without a taxi.

Homework.

What counting rhymes do you know? Learn a new rhyme.

The children's poet Boris Zakhoder, whose funny poems are loved by many children, liked the counting rhymes so much that he wrote a whole book about the fabulous, amazing country and called it “Readings”.

Boris Zakhoder “Calculations”

Children's games and fun

Don't be lazy - go for a run

Outdoor games in which several children participate are the most fun and favorite. Boys and girls are taught dexterity, endurance, intelligence, imagination, and the ability to follow the accepted rules of the game. And while playing, you learn to come up with new words, speak correctly, pronounce letters clearly, and count correctly! All this will be useful to you and your peers in adulthood.

It turns out that children's fun is very important! Agree?

Here are the games recorded by Viola Malmi:

Run. The players stand in pairs. The leader draws a line for the pair to run to. When the leader claps, the first couple, holding hands, runs up to him, and then runs away in different directions. If the leader caught someone, then they become last couple, and the one who remained is the leader. The game continues until all the pairs have run.

Crows on the field. The owner of the field is chosen. A small square is drawn on the ground. This is the field that the owner must guard. All other players are crows. They fly into the field and shout: “We trample the field, we peck the grain.” The awakened owner tries to catch the impudent birds. But if they fly out of the field, they can no longer be caught. The owner tries to pretend to be asleep longer so that the emboldened crows will come closer to him. The caught crow becomes the owner, and the owner becomes the crow.

Cockfight. A competition game for boys. Two people play at first. Standing on one leg and tucking the other, they try to push each other out of place. The one who stands on two legs or falls is the loser. The next rooster emerges from the audience and the fight continues. The winner is the one who managed to defeat two or three (agreed in advance) roosters. The winner will receive a reward or the right to choose a new pair of rooster fighters.

Sit, sit Yasha.

Someone voluntarily becomes “Yasha”. He is blindfolded and placed in the center of the circle. The rest join hands and walk counterclockwise to the song:

Sit, sit Yasha,

You are our fun.

Nibble some nuts

For your own amusement.

Put your hands on the dark

And tell us a word:

One, two, three - look!

After these words, “Yasha” jumps up - and everyone runs away. “Yasha” is trying to catch someone. The one who is caught becomes "Yasha". Game continues.

Cube. A circle is drawn in the center of the playing field - the leader's hole. 5-6 players draw their smaller holes at an equal distance from the central one. All players have sticks in their hands, with which they rest against the hole. The driver places a wooden cube in his hole and hits it with a stick, trying to direct it into someone else's hole. Players use a stick to try to prevent the cube from flying into their hole and hit it back in the center. The driver runs to this player's hole and tries to touch him with his stick. If he succeeds, they change places, but if not, the game starts over.

For the curious and active.

Collect the games you know with the kids and hold “Karelian games” in the classroom. You can go outside or gather in the gym. Invite your parents to these fun games too.

Homework.

1. Together with your parents, come up with a chant or rhyme.

2. If you have books with Karelian fairy tales at home, bring them to class. This will be useful to you in the next lesson.

On your bookshelf.

V. Malmi “Games of Karelian children.”

Tales of the native land.

Fairytale land.

Karelia is often called a fabulous land for its rare beauty and its wondrous nature. Our pine trees are able to withstand bare granite. Their heroic roots push the stone apart in search of food. The harsh land and the cold, but gentle water managed to embrace so closely under the common sky that traveling around Karelia is impossible without a nimble boat. Every strait, cape, island is a new mystery. A fairy tale has helped people resolve it since ancient times. Therefore, Karelia is also the land of fairy tales. Fairy tales have always been spread, even in those distant times when books had not yet been published. Storytellers spread them orally. Everyone added to known history something of its own. Heard from old people, the fairy tale was passed on to their grandchildren and has reached our days.

Lapotok.

Read this Karelian fairy tale by role:

“Once upon a time there lived an old woman. And all she had was one paw. The old lady went around the world. She walked and walked and saw a house. She went into the hut and said:

Is it possible to spend the night at your place?

It’s possible, the owners said.

I have a little shoe, where should I put it?

Place it under the bench, with the bast shoes.

“I don’t want it with bast shoes,” said the old lady, I’ll confuse it. I'll put it with the chickens.

And she threw the shoe to the chickens.

In the morning she began to get ready for the journey and said:

I had a chicken...

The hostess was surprised:

It wasn’t a chicken you had, but a lapot!

Old lady arguing:

There was a chicken, a chicken!

And she took the chicken."

In the next house she put the chicken not in the chicken coop, but with the calves. So she had a calf. And then a cow, a horse and a sleigh to boot! She drove on. On the way, she put a mouse, a hare, a fox, a wolf and a bear in the sleigh.

“We drove and drove - the shaft broke. The old woman sent the hare for the shafts. He brought a thin twig - it’s not good.

The fox has gone. I brought a thin twig - it’s not good.

The wolf has gone. He brought a very long tree - it also doesn’t fit.

Go now, bear.

The bear brought a thick, knotty log - and it was no good.

“You’ll have to go yourself,” said the old woman. - And you are guarding the horse.

While the old woman was looking for the shaft, the animals ate the horse and left one skin. They pulled the skin onto the poles. An old woman came, changed the shaft, and harnessed the horse. I started to urge him - the horse wouldn’t go. She hit the horse and the horse fell.

My little shoe was gone, I had nothing left. - the old woman said and began to cry.

New, incomprehensible words.

Shafts are light, strong poles that connect the cart to the horse's harness. You can't ride without a shaft.

To urge - to encourage, to force.

Think and answer.

1. Name the animals from the fairy tale “Lapotok”.

2. What do you think is the main idea of ​​the fairy tale?

3. What Karelian fairy tales do you know?

Animals in Karelian fairy tales.

When people come up with fairy tales, of course, all the living (and sometimes inanimate) creatures that people see around them become its heroes. Therefore, animals could not help but appear in Karelian fairy tales; the forests in the old days were very rich in them. Animals in fairy tales are endowed with human qualities. The most common species are bear, fox, and hare. For a bear, the main thing is strength, for a fox, it’s cunning, and for a hare, it’s cowardice. There are tales about how a bear “lost” its tail; and about why the hare has a split lip, and about the mouse bride.

Read Karelian fairy tales, think about them! Often the most main meaning fairy tales are hidden, but they are always there.

For further reading.

About books.

Full text You will find the fairy tale “Lapotok”, as well as many other fairy tales, in books. This version of the text is from the book “Karelian Tales”, published in 1977. It contains beautiful illustrations by artist Nikolai Bryukhanov. Fairy tales from our region were published not only in Karelia, but also in Moscow, in Russian and Karelian languages. There was even a very beautiful gift edition “Karelian Tales”. This little book fits in the palm of your hand. And it is decorated with drawings by the famous artist Tamara Yufa. Her drawings cannot be confused with any others. Once upon a time, this wonderful artist taught drawing to children in the village of Ladva. Lucky for them! They are probably now proud to say that their teacher was T. Yufa herself! photographic reproductions of Yufa's drawings.

A fairy tale beckoned me into the distance,

The fairy tale captivated my heart,

Laughed loudly in joy,

She cried with me in grief.

Think and answer:

Why is a fairy tale dear to a poet?

Why do people need fairy tales at all?

Tell us about your favorite fairy tales.

Homework.

1. Why is a fairy tale called a fairy tale? Think about it!

2. Read fairy tales at home with the whole family. These can be not only Karelian, but also Russian, Vepsian, Finnish, and fairy tales of other peoples living in Karelia today. A journey “On the roads of fairy tales” awaits you. Why Journey? Because fairy tales came to us in Karelia from different places. Welcome, fairy tales!

Answers to riddles.

1 - chickens, 2 - banks, 3 - river, 4 - tree, 5 - strawberries, 6 - forest, 7 - sparrow, 8 - duck, 9 - thunderstorm, 10 - months

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