VII All-Russian competition of educational and research environmental projects “Man on Earth” Ethnographic research “Animals in the culture of the Ob Ugrians” - presentation. Myths and tales of the Khanty Presentation on the topic of fairy tales of the peoples of the Ob Ugrians

On March 3, 2015, in the scientific library of the Khanty-Mansi Autonomous Okrug-Yugra “Ob-Ugric Institute of Applied Research and Development” there was a presentation of the children's book “Tales of the Ob Ugrians”, compiled and translated into Russian from the native languages ​​of S.S. Dinislamova and G.L. Nakhracheva. Illustrations for the book were made by artist Irina Valentinovna Sokolova, a member of the UNESCO Union of Artists.

The presentation of the book of fairy tales was attended by pupils of the children's ethnocultural and educational center "Lylyng Soyum", students of the Khanty-Mansiysk Technological and Pedagogical College, employees of the Khanty-Mansi Autonomous Okrug - Ugra "Ob-Ugric Institute of Applied Research and Development", Department of Education and Youth Policy Khanty-Mansiysk Autonomous Okrug - Ugra, representatives of the media. The presenters M. Voldina and O. Dinislamova developed a script from which the main audience of the event - children and students - learned a lot of new and interesting things about the symbolism of images of animals and plants in Ob-Ugric fairy tales, the culture and folklore of the peoples of the North, ideas about morality and education Ob Ugrians. The children took an active part in quizzes, answered riddles, listened to fairy tales performed by the Mansi storyteller Lyudmila Panchenko, and learned how the book of fairy tales was created from the compilers. At the end of the meeting, the young guests and students were offered a creative task - to feel like an illustrator of a children's book! For this purpose, they were given a real artist's kit, and everyone was able to try their hand at creating illustrations for the book. In addition, the participants received sweets and the book “Tales of the Ob Ugrians” as gifts.

The book “Tales of the Ob Ugrians” is aimed at developing children's reading and introducing them to the verbal culture of the Khanty and Mansi peoples. Understanding that the Kazym dialect is in demand in the Khanty-Mansi Autonomous Okrug-Yugra, including in educational institutions, the book of fairy tales presents texts by the Khanty storyteller N. Nakhrachev, translated from the Shuryshkar dialect into Kazym.

The book includes 23 fairy tales (12 Mansi and 11 Khanty tales), reflecting the development of children's folklore of the Khanty and Mansi. The use of three languages ​​in the book (Mansi, Khanty, Russian) significantly expands the readership, and as recent studies show, there is an acute shortage of literature for children in the languages ​​of the titular ethnic groups in the region.

Editorial work and scientific advice from a specialist in the field of literature and reading, Doctor of Philology. E.V. Kosintseva was helped to choose the right texts aimed at the development of the child, taking into account ethnocultural characteristics and contributing to the formation of reading competencies.

The artist’s talented author’s illustrations are designed to help the young reader establish a dialogue with the book, attract him to the world of fairy tales, and also, in general, instill in him an interest in reading, since such a bright publication, addressed directly to children, is one of the methods for developing children’s reading, one of the means of raising a child and developing his communicative and creative abilities.

The importance of publishing the book lies in the fact that it can and should be used in teaching the Mansi, Khanty languages ​​and folklore, both in preschool educational institutions and in schools. The publication is not only a tangible contribution to the preservation and development of the language and culture of the Mansi and Khanty people, support and popularization of the culture of the titular ethnic groups of the region and territory branding, but also an important milestone in the preservation of world cultural heritage in the interests of all humanity.

We express our sincere gratitude and gratitude to the Department of Culture of the Khanty-Mansiysk Autonomous Okrug - Ugra for the opportunity to implement a project intended primarily for children. After all

“Tales of the Ob Ugrians” is another opportunity to strengthen family ties, make a child happy, and give him hours of communication with an intelligent and loyal friend who will help form a harmoniously developed personality!

Grinevich A.A.

ABOUT PARALLELS IN RUSSIAN AND MANSI FAIRY TALES

Institute of Philology SB RAS, Novosibirsk

e-mail: annazor@

Published: Humanities in Siberia. 2008, 4. pp. 106-110

The article examines unrelated folklore material: Mansi and Russian fairy tales. This comparison raises the question of female age-related initiations among the Ob Ugrians. Key words: rite of passage, fairy tale. The author describes unrelated folklore material: mansy and Russian fairy tales. Such comparison deals with the question about an age initiations of Ob ugric folks. The folklore of the Siberian peoples is characterized by a high degree of similarity in the plot, motive, and structure of folklore texts. The typological similarity of the folklore of related, for example, Turkic and Mongolian peoples, is generally recognized. The purpose of this article is to consider unrelated material and, within the framework of the genre of Russian and Mansi fairy tales, to identify similar elements. The basis for comparison was the image of Baba Yaga and the female mythological characters of the Mansi fairy tale. We used the text “Pornet and Mosne” as a source. The structure and images of the fairy tale “Porne and Mosne,” as will be shown below, are close to the Russian fairy tale, in which the rite of male initiation is “encoded.” The Mansi fairy tale can also be a symbolic description of the rite of “transition” to a new social status. Just as a man had to have certain skills for hunting, fighting, and be ready for marriage, a woman had to be prepared for marriage and housekeeping. Perhaps Mansi women, upon reaching a certain age, underwent some kind of rite of passage in order to be considered ready for marriage. If the initiation rite for men consisted of obstacles and was the moment of accepting a person into a new circle and transferring secret knowledge to him, then in relation to the female characters of the Mansi fairy tale one can see a kind of test of their readiness for marriage. The Ob Ugrians have many rituals associated with the growing up of a girl. So, at the age of one, her hair is cut. At the age of twelve (at the time of puberty), each girl made a harp. As musicologist G.E. writes Soldatova, “... mastery of the art of playing the jew's harp and the technique of its production reflected the stages of growing up of a Mansi girl and marked her social status.” Similar ritual actions were performed among the Ob Ugrians at different periods of a woman’s life. The supposed rite of passage concerns the immediate preparation of a woman for marriage. The Mansi fairy tale “Porne and Mosne” contains the features of a fairy tale: heroines ready for marriage; an elderly woman, Yanyg Ekva, who has knowledge, checks girls for readiness to marry; the forest is a magical place where she lives; a magical beast that transports heroines to another world; the river is a natural border between two worlds; the trials to which the heroines are subjected. If we imagine the Mansi fairy tale in the scheme developed by V.Ya. Propp for Russian material, it will become clear that all the main plot-forming components of a fairy tale are present in it. Mosne and Porne live together - i(initial situation). Alone in the village - a 1 (hidden designation of lack, in this case the lack of a husband, friend). Mosne goes across the river - (the hero leaves the house, departure). Her black beast swam out, sat on its back, and went across the river - R 2 . She enters the house, Yanyg Ekva is sitting there, and she begins to test the heroine:

Asks to mend his fur coat - D 1 (The Donor tests the hero), Mosne works carefully - G 1 (the hero passes the test); Mosne treats him with his food - D 2 (weakened form of the test, the donor greets and treats the heroine), Mosne takes food - G 2 (the hero answers the greeting D 1 (The Donor tests the hero), Mosne obeys - G 1 (the hero passes the test). This is not stated openly, but the test appears to be a success since there is no indication to the contrary; Asks you to confirm that she is ugly, - D 2 (The Donor questions the hero; a weakened form of the test), Mosne does not agree: “Why do you say that, dear grandmother, you have the small nose and eyes of a sweet woman from a young age” - G 2 (the hero answers politely).

Repair a fur coat - D 1 , Porne works sloppy, sews with large stitches - G 1 (the hero fails the test); Treats Porne with his food - D 2 , Porne scolds the treat: “Grandma, why did you put earwax from your ears into the cauldron?” – G 2 (the hero answers impolitely); He asks to look in her head - D 1 , Porne submits - G 1 (the hero passes the test). This is apparently the only test that Pornet passes (there is no indication to the contrary); Asks you to confirm that she is ugly, - D 2 , Porne agrees with everything that grandma says - G 2 (the hero answers impolitely).

I R 2 (D 1 =G 1 D 2 =G 2 D 1 =G 1 D 2 =G 2 ) Z 2 R 2 ↓ L 4 C*

II R 2 (D 1 =G 1 D 2 =G 2 D 1 =G 1 D 2 =G 2 ) Z 2 R 2 ↓ L 4 G 9

An analysis of the Mansi fairy tale “Porne and Mosne” shows that in the minds of the Ob Ugrians, like other peoples, the forest is a magical place, another world where people go to gain new knowledge, skills, and new experiences. V.Ya. wrote about this. Propp that “... the forest surrounds another kingdom, that the road to another world leads through the forest.” In the minds of traditional peoples, the forest was inhabited by magical creatures. It was also perceived as the world of the dead. Thus, Baba Yaga, one of the characters of the Russian fairy tale, according to the reconstruction of V.Ya. Proppa is a guardian on the border of two worlds - the world of the living and the world of the dead. She is described as dead: she has a bone leg, and her nose is “grown into the ceiling” (Aph. 137). “Yaga resembles a corpse, a corpse in a cramped coffin or in a special cage where they are buried or left to die. She is a dead man." This description is surprisingly reminiscent of the image of Yanyg Ekva. She is ugly and even scary: she does not have a nose, but “... a nose, like the nose of a birch bark mask,” not hands, but “... hands - like shovels with which they rake in the hearth.” But the Mansi do not perceive the forest as the world of the dead. The Ob Ugrians associate the afterlife with the North. The souls of the dead end up there, traveling downstream of the Ob River. The Ob Ugrians are hunters, so the forest cannot be assessed negatively in their culture. But, nevertheless, and this can be seen in the analyzed tale, the forest is a “different” place, which, although not hostile, is separated from the main habitat of people (in this case, the natural border between two worlds - the river). The fact that Yanyg Ekva’s face is compared to a birch bark mask can also serve as a sign that both the forest and Yanyg Ekva are alien to people, they are creatures of a different nature. The birch bark mask, which is mentioned in the comparison, is usually worn during the bear festival at sacred games - tulyglap. People covered with masks became “strangers” and could ridicule the shortcomings of the participants in the holiday. Thus, Pornet and Mosne really find themselves in some “other” place, which, nevertheless, is not hostile to them. If we look for parallels for the image of Yanyg Ekva among the characters of Mansi folklore, then we should mention two female images - Kirt-Nelp-Ekva and Tan-Varp-Ekva. Both are forest dwellers. According to Mansi beliefs, Tan-Varp-Equa (lit. “woman doing (twisting) tendons”) usually comes to a woman at night when she, having been sitting too long at work, continues to twist tendon threads. In Mansi culture, there is a ban on working at night. Therefore, Tan-Warp-Equa proposes a competition, according to the terms of which, if she wins, she will eat the loser, and if she loses, she will give the woman a silver vessel. Another female character, Kirt-Nelp-Equa (lit. "Woman with a Scab on her Nose") also lives in the forest. Three brothers, who went in search of wives, come to her one by one. Kirt-Nelp-Equa turns everyone into stones. The similarity of Yanyg Ekva with these two female characters emphasizes the former’s belonging to the forest world of mythical creatures. The girls Mosne and Porne come to Yanyg Ekwe in the hope of getting a husband. An elderly woman puts them to the test. The main test for girls is, of course, their ability to do a certain job. The implication is that they must be hardworking and able to work, so the grandmother asks each one to mend her fur coat. The listener’s exclamation regarding Yanyg Ekva’s request is noteworthy: “Who keeps tearing her fur coat!?” It should be noted that during the performance of fairy tales, listeners actively participate in the process of telling and therefore the listeners’ remarks are an organic element of fairy tales. This exclamation suggests that this is not just a request, but a constant task-check for those who come to Yanyg Ekva’s house. In another fairy tale, also named after the heroines, Mosne and Porne, in connection with the marriage of young people, as a positive characteristic of the future wife, along with beauty, her ability to work is noted: “Son-Usyn-Otyr Oyka got a beautiful girl, a skillful girl, Son- Tonton-Oiki went to Pornet." A hardworking, capable girl is rated higher than a lazy one. Other tests should reveal the girls' good manners and tolerance. The second test they pass is unpleasant: they must taste the soup that Yanyg Ekva cooks using his own nose crust and earwax as ingredients. Mosne pretends not to notice what kind of soup her grandmother is cooking (and this is correct behavior), but Porne draws attention to this, reproaching the elderly woman: “Grandmother, why did you put earwax in the cauldron? " V.Ya. Propp, analyzing a Russian fairy tale, noted the importance of whether the hero tastes the food offered by Yaga. By the fact that the hero shares a meal with her, he shows that he is “one of his own”: “... having partaken of the food prescribed for the dead, the stranger finally joins the world of the dead. The dead not only does not feel disgust for this food, he must partake of it, since just as the food of the living gives the living physical strength and vigor, the food of the dead gives them the specific magical, magical power needed by the dead.” The food offered by Yanyg Ekva is not like ordinary human food. Without showing aversion to the treat, Mosne shows her involvement in the world in which Pornet finds herself, on the contrary, her foreignness. At the third stage of the test, the grandmother asks to “search in her head” and at the same time questions the girls. She provokes them to be rude, asking them to confirm her terrible appearance. Mosne shows good manners and tact, denying everything that Yanyg Ekva says. So she passes the next test (test of respect for elders). Pornet follows the lead of the elderly woman, thereby failing the task. Mosne seems to know how to behave with this elderly woman, but Porne does not have this knowledge. As V.Ya. correctly noted. Propp, “... the hero always knows how to behave and what to do in the hut. Externally, such knowledge is not motivated by anything, it is motivated<…>internally." Thus, Mosne passes the test, showing her skills and proving her upbringing, receives the gift of a husband (“a little man”), while Porne receives a snake as a gift, which eats her. Yanyg Ekva is close to the image of Baba Yaga the Giver. She gives the heroines what they truly deserve. The house where Yanyg Ekva lives can be compared with the “house of singles” described by V.Ya. Proppa. On the one hand, this is a place where a girl goes to undergo tests and receive some kind of reward, on the other hand, it can be a house where a Mansi woman went during childbirth or menstruation, the so-called man count(lit. "small house"). The life of a woman in a traditional society is surrounded by numerous taboos. Considered an “unclean” being, in different societies a woman is isolated from loved ones (or restrictions on communication are imposed) during special periods of her life, such as childbirth and the postpartum period, regulations. A woman’s isolation from society could be either complete or partial. At Mansi man count performed exactly this function - it served as a place where a woman would retire in the listed cases. “A woman is in the zone of residential, “humanized” space only at a time when in a certain respect she is, as it were, equal to a man, i.e. does not give birth and is not “unclean.” As soon as a woman becomes “unclean,” her place is outside the common home, in man count, on the edge of habitable space." Visit man count associated with certain taboos and ritual actions, which are well described in the book by S.A. Popova. Everything that happens to the girl in the small house is designed to instill in the young woman social norms related to the female gender stereotype of behavior. It is quite possible that the fairy tale in question “Porne and Mosne” describes precisely this moment in a woman’s life - her sending to man count , a meeting with an elderly woman who tests her and teaches her behavior in the family, the role of a wife. “While a girl lives in a small house, she is also ordered to obey the older women who live with her, teach her songs, myths, and tell her how she should behave when she gets married.” Another element is common: this is an assistant, who in a Russian fairy tale can appear in the form of any animal: an eagle, a horse, a wolf. In the analyzed fairy tale, the assistant serves as a guide: in order to cross the river separating two worlds, the world of people and the forest world of spirits, the girls call on a black and a red beast, saying, like a spell: “My black beast, my red beast, swim out!” Apparently, the heroines cannot overcome this border on their own. This also indicates the magical nature of the obstacle. And again Mosne has the necessary knowledge - she chooses a black beast, which carries her to the other side without interference, Pornet crosses on a red beast, which “now goes down, then rises up - so it rushes up and down” - a sign that not everything it will be fine. In this fairy tale, the beast performs only one function - it transports the heroines to the opposite shore, to another world. The moment of crossing into another world is pivotal for a fairy tale. This is its compositional center - the hero goes to another world for some purpose - this is the beginning, in the finale he fulfills his mission. Speaking about crossing in the form of an animal or with its help, V.Ya. Propp connects this with the fact that these animals were either hunting animals or riding animals. It seems interesting to us to connect the images of these ferry animals with shamanic beliefs. Siberian shamans use various magical objects when performing rituals: a tambourine, a mallet, bells, etc. These objects of the swearer are a symbolic image of the “horse”, which he uses as a magical guide to get to other worlds. Each piece of clothing of the shaman is a symbolic reflection of his helping spirits, whose images were attached to the costume. “... parts of the ritual vestment were primarily a tool for the shaman. Anthropomorphic and zoomorphic spirits were “placed” and “inhabited” in them, with the participation of which the fight against supernatural beings was carried out.” In order for the tambourine to fulfill its sacred function, a ritual of “revival” is performed. In general, the tambourine is given different meanings among the Siberian peoples. In some cases it was considered a shield, in others a horse or a boat, sometimes it was used as a magic bow, the mallet was interpreted as a whip, an oar or an arrow. So, to get to another world, you need a guide who can take a person there. Without such a “magic horse” the shaman could not get to other worlds. The same function - to deliver aliens to another world - is performed in the fairy tale “Pornet and Mosne” by black and red animals. It is important to note that they also warn girls crossing to the other side, foreshadowing a good or bad outcome of the event. If we compare the nature of the tests that men undergo during initiation and those described in our material, significant differences will become obvious. In the men's ritual they are more rigid. The fairy tale we are analyzing says nothing about the harsh trials that await the girls. The main goal of Yanyg Ekva’s actions is to find out whether a woman is ready for marriage, whether she has the necessary skills, and whether she can work. It should be noted that heroines are subjected to moral tests, and boys to physical ones. Perhaps this is due to the fact that a woman raises children, so she must have moral maturity. S.A. writes about the nature of female initiations among the Mansi. Popova: “Women’s age-related initiations are closely related to preparation for marriage and, unlike the initiation of boys, do not include either severe tests of endurance and willpower, or specially organized training. Initiations of girls are rites that mark the onset of puberty, introducing the girl into the world of adult women and assigning her the social role of an adult woman.” Another difference concerns the characters themselves. If there is always one male hero, then there are usually two female heroines. (cf. a fairy tale with a similar plot “The Sloth and the Needlewoman”, “Morozko”, etc.). There is a teaching point in these tales. A comparison of the two heroines shows how a young woman should behave. The characters Pornet and Mosne represent the two phratries of Por and Mos. In Mansi fairy tales, as a rule, Mosne is a positive character, while Porne is a negative one. In fairy tales with a male character, there is no moral teaching. Here the emphasis is rather on the process of overcoming obstacles and achieving results. There is no check for the presence of certain moral qualities in the hero. The similarity of the fairy tale “Porne and Mosne” with the Russian fairy tale gives grounds for the assumption that the Mansi could have a special rite of “passage” for women, which, however, had a different character than male initiation. The search for relics of this ritual in folklore material is of great interest. Literature:

Alekseev N.A. Shamanism of the Turkic-speaking peoples of Siberia (experience of areal, comparative research). Novosibirsk: Nauka, 1984. Mythology of the Mansi. Novosibirsk: Publishing house of the Institute of Archeology and Ethnography SB RAS, 2001. Myths, fairy tales, legends of the Mansi (Voguls) / Comp. E.I. Rombandeeva. – Novosibirsk: Science, 2005. (Monuments of folklore of the peoples of Siberia and the Far East, T. 26) Popova S.A. Rites of passage in traditional Mansi culture. Tomsk: Publishing house Tom. University, 2003. Propp V.Ya. Morphology<волшебной>fairy tales. Historical roots of fairy tales. (Collected works of V.Ya. Propp.). M.: Publishing house "Labyrinth", 1998. Soldatova G.E. Mansi phono instruments: composition, functioning, genre specifics // Music and dance in the culture of the Ob-Ugric peoples / Ed. N.V. Lukina, Tomsk: Publishing house Tom. University, 2001. Fraser J.J. The Golden Bough: A Study in Magic and Religion / J. J. Frazer; [transl. from English M.K. Ryklin]. M.: Eksmo, 2006.

Khanty (self-name - Khande, outdated name - Ostyaks) - live on the territory of the Khanty-Mansiysk (on the lower reaches of the Ob) and Yamalo-Nenets Autonomous Okrug, as well as in the Tomsk region. The population size according to 1998 data is 22.3 thousand. Believers are Orthodox. The Khanty language belongs to the Ob-Ugric branch of the Finno-Ugric group of languages. Writing is based on the Russian alphabet.

world creation

There was no land, no water, there was only one Num-Torum. Torum had a house in the air; At a distance of three arshins from the door there was a board, and only on this board did Torum walk when he left the house. And he ate and drank only honey and sur. He was at home day and night, only going out for a walk two or three times a day. When he came back from a walk, he sat down on a feather bed, sat down and thought.

One day, while he was thinking, a drop fell from above onto the table. The drop rolled off the table, fell on the floor, and a baby came out - the woman Evi. The little girl opened the door and entered another room. When she dressed in this room in a dress she got from nowhere, and went out to Num, he threw himself on her neck, kissed her and said:

We will live with you forever.

They lived long, they lived short, they had a son. The son grew up very quickly, because such people grow quickly, and one day he went out for a walk at the entrance hall. His father and mother told him:

Don't go far, you might fall off this board.

He reassured them, saying that he would not fall. Suddenly, a paper came down from above directly to the son of Numa and clung to the palm of his right hand. This paper rose up with him, and he came to his grandfather. He asked him:

You came to me?

Yes, I'm here.

How are you doing?

I live nothing.

Grandfather asked him:

What do you have down there, besides the house, is it wide or narrow?

And he answered him:

I don’t know anything, broad or narrow.

Is there water or land?

I do not know anything. I look down: it’s wide everywhere, I can’t see either land or water.

Then his grandfather gave him some land and the piece of paper with which he had risen up, and brought him back to Num-Torum’s house, saying goodbye:

When you go down, throw the earth down from the vestibule board.

When he came down, he poured all the earth down and came to a house that was golden. Then his father and mother asked him where he had been going for so long. He answered them that he was on the street, on the board, and played. The next day, grandfather himself went down to the golden house of Num Torum. He was given food and drink. The grandfather asked the boy:

Do you know who is greater - the son or the father?

He answered him that the father is God above the son. Father and mother began to argue that there is one god. Grandfather told them:

You have no intelligence, the little one is smarter than you.

Then the grandfather disappeared. The next day the boy again went out onto the same board, looked down and saw the ground, but there was no forest. Then he ran to his parents and said that he saw the ground and began to ask them to take him down. They put him in a golden cradle and lowered him down on a rope. When he came down and put his right leg out of the cradle onto the ground, his leg began to sink as if in liquid. Then his father picked him back up. The boy said that he came down, but the ground was liquid. The mother began to say:

Okay, son, tomorrow we’ll go down together and I’ll see for myself.

The next morning, early in the morning, they both went down in the cradle. They both went down, and then the mother really saw that there was no land, but only a liquid swamp. She first stood on her feet, then had to bend down and grab hold of herself with her hands. And so she began to sink and soon disappeared completely. The boy stayed and cried. Finally he pulled the rope, his father lifted him up and began to ask:

Why are you crying and where is your mother?

Mother, he says, drowned in a swamp.

His father began to console him and said:

Whether soon or not soon, we will all die anyway.

Soon, however, the mother left the room laughing and began to say to her son:

Why were you crying? All the same, when there is peace on earth, children will also mourn their parents. Soon there will be trees and grass on the earth, then people will appear everywhere.

The next day, in the morning, the boy was lowered to the ground again. He came out of the cradle and ran along the ground: there was no swamp, the ground was strengthened. The boy made two people from the earth - a man and a woman. When he blew on them, they came to life. Then Torum created cloudberries and lingonberries - red berries. And Num-Torum said to the people:

Here are cloudberries and red berries for you - eat them.

Then he told them:

When I leave you, Kul will come and seduce you. Don't believe him until I come myself; When I come myself, I will say differently.

He moved the rope and was lifted up. Then Kul came to the newly created people and began to ask:

What? Did Torum command you to eat cloudberries and red berries?

And he gave them a handful of bird cherry and said:

You eat cloudberries and red berries - they don’t make you full, but if you eat this handful of bird cherry, you’ll be full forever.

They didn’t think about eating, but Kul persuaded them. They ate and felt full. Kul disappeared. They continued to eat bird cherry. When Torum came to earth and began to ask what they were eating, they showed it.

Why did you listen to Kul: he seduced you!

Torum moved their hand, they fell in different directions, dead. Torum blew on them, they came to life again. Then he told them:

I revived you. Look, Kul will come again and tempt you - don’t listen to him, eat the cloudberries and red berries that I told you to eat earlier.

Then he created a hare and said to them:

You can eat this.

Then he let them eat the raspberries.

Look,” he told them goodbye, “don’t let yourself be seduced by Kulya; After all, you were already dead, believe me, because you allowed yourself to be seduced by Kulya. Now I will leave you here again, and if Kul seduces you, do not listen to his words until I come.

And he showed them three trees: pine, larch and birch. After Torum left, Kul appeared and began to ask:

Why do you eat these raspberries, what’s filling about them? But there is a cedar - a tall tree, with cones on it. Take this pine cone and you will have a handful of nuts and you will be full.

When they ate this cone, they saw that they were naked and began to be ashamed of each other, then they were tempted by each other and sinned. After that they hid in the grass. When Torum came and began to call them, they responded barely audibly.

Why did you hide? - he asked them.

When he approached them, they were both sitting on the ground and could not get to their feet. And Torum said to them:

Behold, I created for you deer, sheep, hares, cows and horses; with their skin you will dress. I told you not to eat, you didn't listen, now stay on the ground.

Torum did not leave them either a fire or a cauldron, he left only raw meat and he himself went up to heaven. After some time, Torum looked down from the sky and saw an innumerable number of people on earth - so many that they felt crowded and began to fight with each other. “What will come of this? - thought Torum. “We need to give them winter so that they freeze.” And the people began to freeze and die from the frost. Then Torum began to wonder why there were so few people left. And he descended to the ground again.

He walked on the ground and thought. I saw a stone and put my hand to this stone, and heat came from the stone. There was a small stone lying next to him. When he took a small stone and hit it against a big one, the big one crumbled - and a fire woman came out of it. A road began from the stone, it was unknown where it led, but it was very wide. It was not a whole boat that was formed from the stone; it is unknown whether it was the bow or the stern. Torum took the stones again and began to hit each other, and fire appeared. Then Torum made tinder from birch bark, chopped up the tree, chopped firewood and lit a fire. When he lit a fire, he gathered the people and began to warm them up by this fire.

Then he began to think that people cannot live without brew, and he made a cauldron (whether it was made of iron or stone is unknown). And he brought water into this cauldron, hung the cauldron on sticks, and killed the cattle (either a cow or a sheep - it is unknown). When everything was cooked, Torum himself sat down, ate, and the food seemed tasty to him. He fed the rest of the survivors, saying to them:

Here I showed you an example of how to cook: here is fire, here is water; as I did, so do you. If you feel cold, light a fire and you will warm up. Whatever you get and what you get where - cook and bake like this. Eat the food that I advised you.

Then he showed them how to catch poultry with weights, fish with fishing rods, how to seine, how to catch fish, and all sorts of crafts. Then he said to the people:

I won't come to you anymore, so live like this.

When Torum rose up, after a while he began to look down at the ground again. He sees that the people have multiplied, everyone is working. And he began to think: “This is how many people have multiplied, the devil seduced them.” Torum called Kul to him and said:

Don't touch anyone without my permission, don't seduce anyone until I tell you. When I tell you, I point to the old or the young, you will take him. You will take half the people, and half will remain for me.

Devil and God

The devil came to God and said:

Give me what I ask of you.

God said:

Do I have this?

The devil said:

God said:

Okay, I'll give it to you.

The devil said:

Give me the sun and a month.

God gave the devil the sun and the month. The devil began to eat people in the dark. It’s easier to do dark things this way, I started committing robbery. The son came to God and said:

You gave away the sun and the month in vain, go and take it back. God says:

Yes, it’s inconvenient now, since I gave it away.

Son says:

Since you have become friends now, why is it awkward?

How will I get it?

Son says:

Previously, the devil lived without a month and the sun; he does not know what a shadow is. Ask him for shade. If he doesn’t give it back, then you take the sun and the month.

God came to hell and said:

Give me what I ask of you.

Do I have this?

Yes, says God.

They sat down and sat. God points to the shadow and says:

Give me this.

The devil caught it and couldn’t catch it. Then God took away the sun and the month, and it became light again.

Myths about creation and origins

Origin of the month

There lived one man, he didn’t have a wife, he didn’t have anyone else. Then he thinks: “Am I living alone in the forest or are there other people, I need to go and have a look.”

I thought and thought, spent the night, got up in the morning, drank tea, got dressed and went. He walked and walked and looked - there was a hut in the forest, one woman lived there. He began to live with her. He lives, he lives, he sees that this woman’s life is short, and his life is long. He thinks: “I’ll move on.”

It goes day and night. There's a hut ahead again. He came and saw: one woman lives there. He looks - again this woman’s life is short, and his life is long. And he said to the woman:

And went. It goes day and night. I again met a hut in the forest, one woman lives there. She is without a father, without parents. They began to live together. He sees that their lives are the same. Lived, lived, he says:

I'll go home to look at my hut.

But the woman won’t let him in. He got ready and went. I went, looked at the house, and went back. I met the house where the first wife lived and looked - there was no hut. From somewhere the first wife jumped out and chased him. He ran away from her. He ran and ran and looked - somewhere here the second wife lived and there was a hut here. The second wife jumped out from somewhere, and both chased after him. He ran, ran, and looked - the third wife was sitting in the hut on chicken legs, her arms and legs lowered from the door. He shouted:

Open the door!

She opened the door, he climbed in halfway, and his wives tore him into two pieces. One half remained with those two wives, the other with the third. He began to live with his third wife; he is the month, and she is the sun. When he grew up to the end, then she threw one half of her husband up. If so, let it be a month, and she herself become the sun.

Origin of constellations

There were three winged men here: one on the Vakh, another on the Ob, the third, I don’t know where, maybe on the Yenisei. They wanted to compete to see who could reach the ceiling first. The snow was three palms deep. We were running after a one-year-old elk, he is young and runs fast. They ran and ran. Vakhovsky runs and flies through trees that are waist-high to a man. Vakhovsky threw the cauldron to make it easier to escape. Vakhovsky was the first to catch the elk. Now there are three stars in the sky: these are hunters running after the elk, and the ladle is a cauldron that one of them threw.

Human Origins

One person lives not on earth, but in the sky - Kon-iki. He lives alone. He thinks that a person needs to be made. I took clay and made it. How to revive him? He wasn't breathing. I left him and went to my father.

Here, father, it is necessary somehow for a person to live.

You pump air into him, he will come to life.

When he arrived, his arms and legs were broken.

Hey, son, a person does not live forever, he will get sick. Did you do this on purpose?

How on purpose? I left him intact.

No, a person lives, lives and dies.

He came back, gave him air, the man came to life. What should I do? Kon-iki lives alone again. Teras-nay lives alone. This man went to her, and they began to live together.

There were no people on earth at all. They broke two birch branches, put them up at home, and then these branches became people.

How man became mortal

The bear was cursed, I don’t know by whom. And the dog is cursed by Torum. Previously, a person died, and then he always came to life. Once he died, and the dog went to Torum and asked how to revive him.

Torum says:

Put a stone on his feet and rotten stones on his head, and he will come to life.

The dog brought rotten things and a stone to the man, and towards the devil:

Place rotten stones on your feet and a stone on your head.

The dog did just that. When the man stood up, a stone pierced his forehead, and he completely died. The dog went to Torum again:

I put a stone on his head, and he completely died. Then God cursed her:

Wear a fur coat, and whatever the owner puts in the yard, eat it!

Previously, a dog was a real companion to a person, it ate from the same dishes with him, and was clean.

Origin of the Osprey

Torum also had a son, Syuhes. Now this is a bird that flies high - the osprey. Torum sent his son from heaven to earth to do good deeds and ordered him to dress well. He didn’t listen and said that he wouldn’t freeze. He flew up to the ground, and Torum blew frost for disobedience. The son fell. Then Torum felt sorry for him, he turned him into a bird. And now she flies high, but cannot rise to the sky.

Origin of the cuckoo

One day, Kazym-imi’s husband went fishing, and she stayed at home with the boy and girl. Kazym-imi wanted to drink and asked the children to bring her a mug of water, but the children did not bring it.

Kazym-imi turned into a cuckoo. The children chased her through the forest with a mug and asked Kazym-imi to drink water, but the cuckoo flew further and further away from them.

Suddenly Kazym-imi saw her husband returning from fishing. She sat down on his oblas, and her husband hit the cuckoo so hard with an oar that his oblas split in half and the oar broke. Since then, the cuckoo has been saying all the time:

Dit chop, loop chop - half oblas, half oar.

About the appearance of deer

Once upon a time, Kaaim-yakh and Ahys-yakh argued who would get the most deer. The owner of all the deer was Kazym-imi. There were two large deer - the important one and the chorus. They were twice the size of the current deer, and all the deer came from them. Their mistress was Kazym-imi. These reindeer were harnessed to a double-sided sled - harness it on one side or the other. The Taz and Kazym people gathered, they wanted to organize a holiday, a sacrifice; sacrifice not a person, but a deer. We argued about who to give these big deer to. The Tazovskys say that it must be given to them, and the Kazym people also demand, they have their own goddess for these two deer - Kazym-imi. Kazym people say:

This woman (Kazim-imi) belongs to whomever needs to give these deer.

So they argue. They tied these large deer with a four-fold lasso, and the deer began to jump. The deer pulled the lasso, broke it and immediately ran away towards Tarko-sale. All the little deer are behind them. At night half of the herd was returned. From this herd the Khanty got reindeer, some got one and some got ten. Large deer were taken from the Ahys-yakh, and then Kazym-imi became their owner. The Kazym people did not go in pursuit on large deer. There the herd was cut up half by dogs and driven away. This double-sided sled is called lunk-aul, you need to look for it from the Ahys-Yakh, they still have it.

Origin of bears

I don’t know whether it’s true or not that the bear used to be a god and had children. And so (there are obedient and disobedient children) God kicked out one disobedient bear cub and said:

Go wherever you want.

The little bear fell to the ground, but did not reach the ground and got stuck in the fork of a tree. Thinks; “I’ll be lost now; You can’t move up or go down to the ground. Worms will probably eat me.” Indeed, the bear died, and worms began to fall out of it onto the ground. From large worms grew bears with long tails - large taiga bears, and from small worms - small northern bears without tails.

Origin of the Pasteur people

Far to the south or not far, who knows, where the Ob begins, the ancestors of the Pasteur people once lived, maybe they still live there. One day two of them went hunting. While hunting, they unexpectedly came across beautiful game, an elk. They started chasing him. The first man, Pasteur, had wings and chased the beast through the air; the second, which had only legs, pursued him along the ground. And although he ran quickly, like a bird, he still lagged behind the elk and the winged man Pasteur. He fell so far behind that he no longer saw them both, they had overtaken him so far! But he still didn’t want to return, so he ran further after them. If he’s running, let him run, let’s see what the other one, the winged one, was doing at that time.

“Oh, how tired I am,” said the man and sat down on the ground next to the elk. While I was sitting there, I began to look around. “I left my land far behind. What kind of land is this? I don't know her! Who knows how many days I chased this elk, who counted them? And if I killed him, then the way home is so long that I will never be able to bring him home, he thought to himself and then stood up. He skinned the elk, trimmed the back fat, and stuffed it into the top of his shoe. He covered the meat with branches and twigs, and put another wicker on top. Then he went back to where he came from. In flight, he lowered one wing into the snow, flew a short distance, and then once again drew a sign in the snow with his wing.

He flew for a long time, or flew for a short time, suddenly he meets another man, Pasteur - the one who fled. He was still chasing the elk.

Did you kill the elk or did you miss it? - asked the winged man on foot.

To kill, I killed him, but so far from here that I left his meat there. “I’m flying home now, and if you need elk meat, then go and get it,” the winged man answered the man on foot.

Then he took the lard out of the boots and gave it to another, so that he would have something to eat while he found meat.

Then he continued:

When I returned, I scribbled my wing across the snow. You will wander a long time, you will wander a short time, then you will find elk meat on my trail. You can eat it and, perhaps, you can even stay there, because if you walk from there you will probably never return.

The winged man Pasteur said this and flew further home, while the man on foot set off and went straight on. On the way, he ate elk fat all the time, so that he did not have to starve. He walked for a long time, or walked for a short time, and finally, when the fat ran out, he found a dead elk. “My homeland is truly far, far behind. When will I be able to get there on foot?” - he thought to himself. Then he took out the elk meat and began to eat it. He ate and ate with gusto, then began to look around. “My homeland is far from here. I will never return on foot, he thought. - There is land here too. There is fish, there is game, it will be nice here. I'll stay here." So he thought to himself, and so it happened. The Pasteur man, on foot, remained there the entire time. He soon completely forgot his former homeland.

From this man Pasteur came the Pasteur people. They had never lived here before, but how they came here is what this story tells.

About the Lar-yah people

Two heroes lived along large debris, along tall grasses, near large waters. They were brothers. And all the people of Lar-yah lived with them in large wastes, by the great water.

The heroes went hunting. One will shoot an arrow, feathered with eagle feathers, the arrow flies above the flowing cloud. Another will shoot an arrow, feathered with eagle feathers, the arrow flies above the dark clouds. They walked, walked, walked... They killed a great great eagle. They got a lot of eagle feathers for their arrows. The heroes came to the yurt at night; it was dark. As soon as the feathers were taken out of the reindeer bag, it became as bright as day in the yurt. One eagle feather burns with a fire brighter than the sun, brighter than the moon. The feather was golden. The heroes began to argue about who should take the eagle feather. One will take a golden eagle feather - the other will argue, the other will take a golden eagle feather - this one will argue.

No one knows how long they argued or fought. One hero remained on the large sora, near the large water, where they had the city of Vat-pugol. He still has a golden eagle feather. And the other hero went to another river. Half the people from the city went with him. So they began to call this people Vat-yah - people from the city.

Origin of the sacred capes

It was a long time ago. This legend is long, no one can tell it from beginning to end.

One family, headed by an old woman, decided to go down the Ob and get to Vasyugan. They say that they did not find Vasyugan, but ended up on Nyurolka and began to climb the Tukh-sige River, which flows into Nyurolka and flows out of Lake Tukh-emtor. Hunger began.

And then there was a custom: if there is nothing to kill, you must give a gift. On one cape on Tukh-sig, an old woman brought one of her sons as a gift, killed him and left him on the cape under a cedar tree, and gave him to the cape. Then the hunt went well, they got some money, and moved on. She had a large family, the supply soon ran out, and hunger began again.

We reached the island, where she sacrificed her old man. This island is still called Iki - old man. On that island there is now a fir tree and a cedar tree, and gifts are still offered there. When they began to swim up to Lake Tukh-emtor, three daughters separated from the family, the old woman separated them. A sacred cape also formed there. Only women's things were brought there as gifts: combs, braids.

The rest swam to Ozernoye, to the people. There the old woman was not accepted as a stranger, and she decided to go back down the Tukh-sig. She left three sons. She decided to dam the Tukh-shiga and flood Ozernoe. Hammers were needed to drive in the stakes. The old woman dammed the river, but the river broke through and went the other way. She sent her two sons to where she had laid the old man, and took the younger one with her. She kept wanting to get water on Vasyugan. On Lake Ves-emtor she laid her youngest son and walked across the lake into the large Lake Tukh-emtor and swam across it. In one place where she was, Cape Pyai-imi (Cape-Old Woman) was formed, where they also bring gifts. She herself again entered Tukh-siga. She had a tame elk calf with her. She brought him as a gift on Tukh-sig, and she herself made his image from a white stone. This stone elk calf has been on Tukhsig for a long time; every hunter and visitor brought him a gift. Nobody sees him, only the Ostyaks. It appears and disappears from underground.

About the origin of surnames

The old people said that people used to go to war from village to village. They lived in holes so that it was difficult to find them. Not far from the village of Letne-Kievskoye there is a place called Yal-velem-pyai. This is a small cape overgrown with young pine trees. Previously, this cape was larger, and there was a large village on it. Then one day the village was attacked by enemies. In the village there lived a hero whose son was married to a very beautiful girl. The war happened because of this beauty. When the enemies attacked (there were three times more of them), the hero made an oar as thick as a capercaillie's neck, and the son made an oar as thick as a swan's neck. They jumped into the clouds, wanting to escape from their enemies. The hero had a thick oar, and he swam far, but his son had a thin oar, the size of a swan’s neck, and when he began to row hard, the oar broke. The enemies caught up with the heroic son and killed him. The hero's daughter-in-law hid in a large swamp between the hummocks. She climbed into a large hole, and her enemies did not find her. All the people in the village were killed, only the hero and his daughter-in-law survived. The hero became friends with his daughter-in-law and began to live with her. They began to call the children Mikumin. The daughter-in-law hid between the hummocks, and the hummock in Ostyak language is mukh, mukh-pyay, hence the Mikumins’ surname. Grandfather Semyon Aptousov told this tale.

The hero had an iron hat and an iron shirt. The heroes' enemies were frightened because they saw him walking along the shore and twisting birch trees as he wanted. The enemies got scared and came back. The hero and his daughter-in-law had three sons. From these sons came three Ostyak surnames: Kalins, Mikumins, Vaskins.

Why do the Ostyaks not have their own literacy?

Once upon a time, in the old days, an Ostyak began to invite a Russian to be his comrade, so that they could go together into the forest to hunt animals. The Russian agreed to go into the forest together. Went. In the forest, in the fishery, the Ostyak and the Russian, like faithful comrades, did not leave each other and did not go far from each other, but were always together. They hunted in the forest for some time, like all ordinary fishermen, and nothing special happened to them during this time of hunting. But one day they were walking through the forest to hunt, as usual, together, when suddenly they both saw two papers falling from the sky in front of them. The Russian, when two papers fell in front of him, said on this occasion to the Ostyak:

God lowered two papers from heaven because there are two of us: one for me, and the other for you. So choose from the two papers whichever one you want, and I will take the one that remains.

Then each of them took a piece of paper. The Russian, taking his paper, held it in his hands for a while, looked at what was written on it, and put it in his bosom. Ostyak acted differently with his paper: he looked at what was written on it and put it on a stump that happened here, saying to the Russian this:

I won’t take my paper with me now, but I’ll take it later, when we go back past this place from our day’s fishing to our camp.

Ostyak, leaving his paper on a stump, went with the Russian further into the forest for fishing. At the end of the day's fishing, they returned back to their camp the same way they had gone forward into the forest to take the Ostyak paper that he had placed on the stump. But what, to the Ostyak’s surprise and misfortune, happened to his paper? There was no paper on the stump. This paper was eaten by an elk, which passed by this very place in the absence of the Ostyaks and the Russians, as could be seen from its tracks.

That is why, - the Ostyaks usually conclude their story, - we do not have our own Ostyak charter. If the Ostyak had acted with the paper like a Russian person - he would have taken it with him, then we would have had our own certificate. Although we know that in some places there are literate Ostyaks, they still studied and are studying using Russian literacy, and not Ostyak. There is no Ostyak letter; it was eaten by an elk.

World creation. The text was recorded by A. Sternberg at the end of the 19th or beginning of the 20th century. Khanty myth about the origin of the earth, humans, plants and animals, life benefits, food prohibitions, and fishing tools. Along with the typical cosmogonic motifs of Ob-Ugric mythology (liquid shaky primordial firmament, making fire, teaching crafts, etc.), the influence of Christianity is noticeable in the myth, for example, the dispute about who is stronger - God the Father or God the Son, the episode of Kul’s seduction of the first people who sinned after they ate the forbidden fruit (here a pine cone). The main character is the son of Num-Torum; here his name is Torum, in other mythological legends he is known as the Golden Bogatyr, the Old Prince, the World Watcher, etc.

Evi - literally, “girl, girl.” Perhaps the wife of Num-Torum, named here because of the consonance of this Khanty word with the name Eva.

Origin of constellations. Recorded by N. Lukina in 1969 in the village. Korliki on the river Wow from V. Katkalev. Unlike other options, here the constellation Ursa Major is not an elk, but a cauldron abandoned by a hunter.

Human Origins. Registered by V. Kulemzin in 1974 in the village. Kayukovo on the river Yugan from A. Multanov. The text of the myth about the creation of man combines two versions: making him from clay and turning birch branches into people (birch was considered a sacred tree among the Ob Ugrians), and also contains a prediction that people will die.

Teras-nai (Charas-nai-anki) - literally, “sea-fire”, “sea-fire-mother”. According to the views of the Surgut Khanty, this is the daughter of Torum, living in that place of the sea where it becomes fiery; she gave birth to the first people.

How man became mortal. Recorded by N. Lukina in 1971 in the village. Eatery on the river Vasyugan from A. Angalina. In this myth, the origin of death is associated with the actions of Kul, who persuaded the dog to violate Torum’s orders.

Origin of the Osprey. Recorded by V. Kulemzin in 1970 in the village. Korliki on the river Wow from I. Mychikova.

Origin of the cuckoo. Recorded by E. Titarenko in 1972 in the village. Varegan on the river Agan from N. Kazymkin. The story of a woman turned into a cuckoo because of naughty children is known among many peoples. Here, however, the heroine, usually nameless, bears a name that coincides with the name of one of the most widely revered spirits, Kazym-imi. True, it is not entirely clear from the text whether this refers to a spirit or an ordinary woman living on Kazym.

About the appearance of deer. Recorded by V. Kulemzin and N. Lukina in 1975 in the village. Nomads on the river Tromiegan from I. Sopochin. Here is the folk version of the origin of reindeer husbandry among the Khanty. This issue is debatable among researchers: some consider reindeer husbandry of the Ob Ugrians to be borrowed from the Nenets, others talk about its original nature.

Akhys-yakh - literally, “grassroots people”. This is how the eastern Khanty call the inhabitants of the more northern territories, the lower reaches of the Ob, i.e. the northern Khanty, Nenets, Komi, Chukchi. Here the narrator means the Nenets from the river. Taz.

...into a double-sided sled... - This refers to a sled in which the front and rear ends of the runners are equally bent. On such a sled were placed images of the spirits Kazym-imi among the Khanty and Sort-pupykh among the Mansi. When transporting a sleigh with images of spirits, it was forbidden to turn it, but reindeer can be harnessed to a double-sided sledge from any side without turning it.

Origin of bears. Recorded by V. Kulemzin and N. Lukina in 1973 in the village. Pim on the river Pym from M. Lempina. A brief retelling of the myth about the celestial origin of the bear. Here he is cast down by God for disobedience; the worms falling from his rotten body turn into earthly bears of various breeds.

Origin of the Pasteur people. Recorded by J. Papay. Per. from Nenets N. Lukina. The text of the myth was written down at the end of the 19th century. near the city of Obdorsk, not far from which, in the village. Pel-vosh on the river. Go and sit down. Pasherskie (Paster-kurt) in the lower reaches of the Ob, inhabited by the Khanty social group Paster; a social group with the same name is also known among the Mansi region. Lyapin. They considered the mythical Winged Pasteur and Legged (foot) Pasteur to be their ancestors. The legend about the resettlement of part of this group from the south, from the upper reaches of the Ob, to the river. Poluy echoes the myth of the cosmic hunt; the same characters appear in the Mansi myth about the origin of death.

About the Lar-yakh people. Recorded by M. Shatilov in 1926 in the village. Nagal-yuh from E. Prasin. The widespread story about the division of the people into two halves and the departure of one of them to new territories is timed to coincide with the story of the origin of the Lar-yakhs and Vat-yakhs - social groups of the Khanty on the river. Wow.

Origin of the sacred capes. Recorded by V. Kulemzin in 1973 in the village. New Vasyugan on the river Vasyugan from P. Sinarbin. The story about the emergence of local sacred places on the small river Tukh-Sige echoes information about sanctuaries in the river basin. Nyurolki, where the Tukh-Sig flows. The main Nyurol spirit in the lower reaches of the river was considered the old man Elle-jung (Big Spirit); the sanctuaries of his two sons were higher upstream, closer to the confluence of the Tukh-sigi. According to the published text, the sanctuaries on Tukh-sig were created by an old woman, “separating” or “pawning” (i.e., sacrificing) her husband and children. On both rivers there were cult places where wooden hammers-clubs were given as gifts, which, it was believed, were used by spirits to hammer in the stakes of locks, as well as elk sanctuaries, where elk festivals were held and sacrifices were made in honor of this animal. Most places of worship are located exactly where they are mentioned in the text, and until recently were revered by the local Khanty.

About the origin of surnames. Recorded by E. Titarenko in 1971 in the village. Letne-Kievsky on the river. Ob from V. Vaskin. The legend about the internecine skirmishes of ancient warrior ancestors explains the origin of local names and Khanty names, which were later used as the basis for official surnames.

They lived in holes... - This refers to underground dwellings.

Yal-velem-pyay - lit. "At the War of the Cape Killed."

Why do the Ostyaks not have their own literacy? Recorded by P. Krasnov at the end of the 19th or beginning of the 20th century. on the river Vasyugan.

Myths and legends of the peoples of the world. Peoples of Russia: Collection. - M.: Literature; World of Books, 2004. - 480 p.

Municipal educational institution

"Lyantor Secondary School No. 5"

Obsko-Ugric folklore (sacred tales, songs and heroic tales)

INTRODUCTION………………………………………………………………………………………..3-5

CHAPTER I. Classification of Khanty folk art …………………………..6-8

CHAPTER II. ……………………………..…9-22

2.1. Sacred tales (songs)……………………………………………….... 9-13

2.2. Stories (heroic tales, legends, tales)… ………………………...

CONCLUSION……………………………………………………………………………….. 23

LIST OF REFERENCES…………………………………….24

Introduction

The work is devoted to the study of Ob-Ugric folklore, presented in works of oral folk art: sacred tales, songs and heroic tales.

Currently, there is a problem manifested in the low level of motivation to study the folk art of the indigenous population. Students can be interested in the traditions and culture of the area where you live if you include in the general education program a subject such as literature of the Khanty-Mansi Autonomous Okrug. Therefore, it is important to use interdisciplinary connections: the history of the Khanty-Mansi Autonomous Okrug, the geography of the Khanty-Mansi Autonomous Okrug, the literature of the Khanty-Mansi Autonomous Okrug. The idea arose of turning to works of folklore that reflect the life of the indigenous population. At the same time, it is important to determine the points of contact between different forms of knowledge of the surrounding world: knowledge through reason in one case and through feelings in another.

As object research includes works of folklore genre,subject studies are the life and traditions of the Khanty depicted in them.

Target The research is to reveal the folk traditions of the indigenous population through the prism of human consciousness in works of folklore. To achieve this goal, the following were identifiedtasks:

Collect and systematize material for research;

Identify and describe the traditions of the Khanty people using examples from fairy tales, songs and legends;

Establish the possibilities of practical orientation of the texts under consideration.

The achievement of the set goal and the solution of the above tasks are served bymethods descriptions, comparisons of functional-semantic analysis.

Practical significance research work lies in the advisability of using its materials and conclusions when studying various issues of literature, history and geography of the Khanty-Mansi Autonomous Okrug as educational subjects.

Work structure. The research work consists of an introduction, two chapters, a conclusion, a list of references, and appendices.

Myth, legend, fairy tale are scientific concepts.

In essence, all three words mean

the same thing - just a story.

E. Bethe

[Propp V. Ya. Russian fairy tale. – L.: Publishing house

Leningrad University, 1984. – P. 41-46]

It should be noted that the basic school does not solve the problems of training and providing sufficient education for the successful self-realization of small nationalities. The so-called basic educational process is today a necessary, but by no means sufficient condition that allows building that individual trajectory of child development, which the developers of personality-oriented educational paradigms talk about so much (N. I. Alekseev, V. V. Serikov, etc.) .

It is necessary to decide what needs to be given to students, in what volume, and, most importantly, what educational goals will be. Without preserving folk art and respecting traditions, it is impossible to imagine the future of a civilized state. And to solve this problem, I allowed myself to turn to Ob-Ugric folklore in my research work.

The folklore of the Ob Ugrians goes back to ancient times. The oral form of creativity, characteristic of all peoples, remained relevant among the Khanty almost until the middle of the 20th century. This phenomenon is due to the fact that the taiga population of Western Siberia had no written language throughout history, and appeared only in the 30s of the 20th century. Until this time, they used pictographic icons that were carved into the trunk of a tree. Such icons marked paths, dangerous places and indicated hunting trophies. And each notch on a special tablet appeared when the need for a written account arose.

For the Ob Ugrians, folklore has no value in itself. This is not art in our understanding of the word, not an element of the aesthetics of life. Folklore is part of the worldview and is closely connected with the belief system [I. A. Ivanov Yugra. – Lyantor-1998. - p.80-82].

CHAPTER I

Classification of Khanty folk art

For the first time, works of folklore were recorded by Hungarian and Finnish scientists in the middle of the 19th century. At the beginning of the twentieth century, Russian scientists became involved in the process of collecting and processing folklore texts and made a significant contribution to the development of the classification. When considering this issue, specialists encountered a number of problems, both general methodological and specific. It is often quite difficult to distinguish a fairy tale from a myth: vague criteria, confusing plot, etc. The complexity of the classification problem is aggravated by the fact that some works of one genre are performed in the technique of another and vice versa. In addition, the speech in the narratives can take place in eras of different significance, the attitude towards which is strictly differentiated. For example, three eras were reflected in the imagination of the Ob Ugrians: the era of first creation, the heroic era, and the era of the “Khanty-Mansi” man. It is quite natural that texts related to the first era enjoy unquestioned authority. This makes the development of a unified classification quite difficult. Nevertheless, conventionally all Ob-Ugric folklore can be divided into three categories: legend, song and story.

The first category, in this case, includes a set of oral texts that cover the divine era of “first creation.” These are sacred tales and myths. They are performed quite rarely, during public holidays. However, as noted above, certain fragments of texts are prohibited for various categories of persons. This may include: women, children, members of another clan, just strangers, etc. A sacred legend can be performed in front of a wide audience, until it comes to a forbidden place. Then the narration is interrupted with an indication that what follows is “sacred” and the uninitiated are asked to leave.

The second category includes sacred tales (songs or recitatives). The line between legend and song, in its most sublime sense, is extremely blurred and arbitrary. Eyewitnesses testify that the performance of heroic songs covering the “era of heroes” was accompanied by the same enormous effort of the narrator. At the end of the story, he simply fell exhausted. Sometimes, in order to be able to sing a particularly long narrative in full, he would first eat several fly agaric mushrooms in order to enter a trance and lose the sense of time. Such people were called pankal-ku (fly agarics).

The third category conventionally includes heroic tales, legends and epic tales. It is characteristic that in principle any text can be presented in prose form, but only in the form of a retelling. At the same time, certain variations and generalizations are allowed within the competence of the narrator. This technique is used when translating from one language to another.

As we see, despite the lack of writing, the Ob Ugrians for a long time successfully used the verbal method of transmitting information. At the same time, what we now call a communication session turned into a process that qualitatively separated weekdays and holidays.

CHAPTER II

Features of folklore of the Khanty people

2.1. Sacred tales (songs)

The manner of performing the sacred legend is song, or special, recitative. Both of these forms are very typical for the performance of any

ritual actions. The opposite is also true: if a text loses its sacred meaning, it becomes prose. The song form of performance is more respected among the O6-Ugric ethnos than the prose form. It is believed that in prose “you can make things up, but in song you can’t.” Rhyme greatly contributes to the preservation of a particular text, since it has a clear, predetermined structure. Canonized texts of significant volume, as a rule, are presented in precisely this rhymed form, which is more conducive to their preservation.

The old woman heated the stove, smoked a pipe, and sang Putin’s farewell song:

I dried the tender muksuns,

I saved some sweet nelma,

I don’t count fat ides,

There is plenty of pike manure.

It will be easy to winter.

The hero looks at that smoke and strikes the strings of the swan. The pods say:

Olle is my bride,

I spent years

Hunting, feasts and conversations.

Olle is my bride,

Now I only think about you.

I'll save up by winter

Strength in your wings._

Wait for me, Olle,

Don't call me a coward.

Music spreads throughout the city. The Olle brothers hear and get angry. And the good people in the Lower Town rejoice

The recitative form is also often present in the narrator’s arsenal. It represents something in between prose and song, and clearly gravitates towards the latter. There is also a certain rhyme here, which means a clear structure and rhythm. The recitative sounds in a certain timbre and with a predetermined intonation, allowing the narrator to accurately reproduce the canonized texts. This is probably one of the most ancient forms of information transmission, when the voice served as the only means of influencing listeners.

Surgut contrasts.

Then the sun shines with a million candles,

The nights are cold with icy dew.

Everything is familiar here: albino nights

And flocks of black long nights.

The pines will be chilled in the biting frost,

Or the unberryless summer will sadden you,

for many there is still no better place,

Than a coniferous edge with gaps of birch trees.

At the moment of performing a sacred legend, the performer enters a state that is very close to ecstasy. Monotonously pronounced phrases, constructed in a certain sequence and set in a set rhythm, bring the state of a person’s psyche to the threshold when consciousness turns off. Gradually, the boundaries between reality and the textual plot are blurred. The narrator feels like he is part of the story; he seems to see everything with his own eyes and conveys to the listeners what is happening at the moment before his eyes. The narration is told in the first person, as if on behalf of an eyewitness. In turn, the listeners begin to experience feelings similar to those experienced by the narrator. They are accomplices in the action, of course, to one degree or another. A talented performer is able to completely capture the attention of the audience. At the same time, listeners can be in a state close to hypnotic: their breathing and pulse quicken, muscle motor activity appears, etc. As a result, at the end of the story, everyone present gets the feeling that everything the narrator talked about has once again happened. The world has been updated, and everything can start over.

2.2. Stories (heroic tales, legends, tales)

The stories differed from sacred tales and songs in that they were performed exclusively in prose form. This category can conditionally include heroic tales, legends and tales. It is characteristic that in principle any text can be presented in prose form, but only in the form of a retelling. At the same time, certain variations and generalizations are allowed within the competence of the narrator. This technique, for example, is widely used when translating from one language to another or in response to a request from the uninitiated to perform sacred texts.

Fairy tales have great educational potential because they contain wisdom, kindness and beauty, which are so necessary for people. Fairy-tale characters live and act on Earth; it is here that traditions and rituals appear in accordance with certain life patterns. And this creates a positive emotional background.

One Khanty tale, for example, tells how, as a reward for a kind and selfless act, a woodpecker received beautiful suede outerwear and a steel beak. Another tale tells how a father turned his daughter into a bear. A few years later, hunters identified this girl by a bracelet preserved under the skin of a killed bear. The nature of the story, its very intonation, suggests that in the first case we are dealing with a genuine fairy tale, in the second - we have before us a little tale, telling with complete faith about an out-of-the-ordinary, but “genuine” case.

Of particular interest are the tales of the indigenous peoples of the North - the Khanty and Mansi, which depict natural phenomena. Everything in them is concise, simple and clear. And unlike fairy tales for adults, dialogue is more often used.

Yes, in a fairy tale "The mouse is warming itself" A conversation between a mouse and a stone and water is presented.

He came to the stone and asked:

Big stone, are you really the strongest?

Yes, I really am the strongest,” answered the stone.

If you are the strongest, then why does water leave cracks on you? - asked the mouse.

“The water is stronger than me,” answered the big stone.

It’s not for nothing that people say that water wears away stones.

In this case, heroic tales are understood as texts that chronologically cover the period of history of the Ob Ugrians during the formation of principalities and the heyday of ancient settlements. As a rule, these are stories about military campaigns and battles of heroes. At the same time, the texts usually indicate the names of real historical figures and the names of specific settlements, often existing to this day.

THE OB BOGATYR AND HIS SON KESHI-PALAT-POKH.

That was a long time ago. On a large hill near the Ob, the three brothers of the hero lived in harmony, always helping each other.

The eldest lived at the very top, his name was Wun-Vurt - Great Hero. Middle - Orty-Iki - in the middle of the hill. He had seven sons. The younger one lived at the bottom of the hill on the very shore, his name was Vankrep-Iki. Him

there were also seven sons

Often fragments of sacred texts fall into the category of heroic tales. Such a substitution of events becomes possible due to the fact that some mythological stories contain relevant educational and instructive subtext. At the same time, both the names and the location of the main characters are changed, and at the same time some particularly forbidden fragments are excluded.

PARTridgeS ARE SO WHITE.

Grandfather is old - the old man lived with his ancient grandmother in the forest. It was winter. Grandfather went into the forest to hunt partridges. Partridges, all white except for their eyes, ran through the forest around the mountain, and grandfather began to put films and loops of horsehair on them. A kind, dexterous hunter, grandfather - steam from his mouth, his eyes are sharp, alive and warm.

Thus, a significant number of texts are removed from prohibitions and become available to the general population. In the folklore of the Ob Ugrians, a whole direction of this kind of parallel plots has developed and actively exists.

Traditions are usually considered as "grandfather's testaments." At their core, they are very close to fairy tales in the generally accepted sense of the word. Their main goal is to explain a number of incomprehensible phenomena, clarify certain behavioral norms and rules, as well as instructions and guidelines for action in certain cases. As a rule, legends are of a moralizing nature and are intended to educate the younger generation.

WHY DID THE HOUSE FALL?

Previously, the Ob Khanty moved to the fisheries with their families twice a year. In autumn and winter they lived on the hill in winter yurts. Before the snow, they took lingonberries, peeled pine cones and dried nuts. And they went hunting along the first white trail, catching the beast until the thaw. From Khanty spring to summer

yurts went down to the fishing spot. And the most catching ground of the old Trenka, where As and Tanat - the large rivers Ob and Irtysh met.

The Ob Ugrians often include tales of other peoples, for example, Russians, in this category.

PUTPELYK.

There lived a widower hunter in Urman. He had a daughter, Tasya, eight sables tall. The widower did not know grief with her.

A proverb from the legend “why the house fell down”: Seven do not wait for one, said the young fisherman to his relatives. – I heard this from the Russians.

If the essence of the borrowed plot meets the necessary requirements and is relevant, then the text can proceed practically unchanged, with the same composition of characters and objects. However, there are often cases of linking other people's fairy tales to our own, local conditions and heroes. In any case, the fairy tale becomes “our own”, since the installation of authenticity is triggered.

And the stories, no matter what category they belong to, are widely popular among taiga residents. The prose form of storytelling does not make such strict demands on the narrator, and therefore in some cases it is considered as entertainment. For example, this form of rest is sometimes used during long trips by boat, but more often at the end of a working day. Sometimes the story could drag on all night, until the morning.

Thus, the oral form of transmitting complex and detailed information, in fact, was the only way to preserve it for posterity. On the other hand, some elements of what is commonly called folk art are actually components of a belief system. The latter circumstance gives grounds to assert that the origins of Ob-Ugric folklore are truly lost in the darkness of millennia.

CONCLUSION

The study of oral folk art (stories, songs, fairy tales) allows us to draw the following conclusions.

Stories, songs, fairy talesare of particular value. Their content, imagery, conciseness and diversity help to awaken interest in many issues studied in the course of literature, history, geography, as well as the use of knowledge in various life situations.

Literary texts of oral folk art are an acceptable basis for the formation of aesthetic taste and at the same time contribute to the education of culture and the preservation of the traditions of the indigenous population.

Turning to rich and varied folklore material can help to create positive motivation for students to study folk art.

Bibliography

Ivanov I.A. Yugra. //Lantor. 1998

Propp V. Ya. Russian fairy tale. // L.: Leningrad University Publishing House. 1984

Eliade M. Shamanism. Archaic techniques of ecstasy. // Sofia. 1993

Fedorova E. G. Ob Ugrians. // Siberia, ancient ethnic groups and their cultures. S.-P. 1996

Dachshunds Ch. M. Shaman and the Universe. // Shaman and the Universe. S.-P. 1997

Golovnev A.V. Talking cultures. // Ekaterinburg. 1995

Lapina M. A. Ethics and etiquette of the Khanty. // Tomsk. 1998

Rombandeeva E.R. Mansi tales // St. Petersburg: Alphabet. 1996

Dyadyun S.D. A ray of sunshine: Khanty folk riddles for children // Tomsk: Tomsk University Publishing House. 2006

Ozhegov, S.I., Shvedova, N.Yu. Explanatory dictionary of the Russian language // M. 2003

Annex 1

The material was recorded in the ethnographic museum of the town. Lyantor. We express our sincere gratitude to the residents who carefully preserve the traditions of their ancestors in their memory. Such as:

Sengepova Svetlana Mikhailovna

Bulusheva Nadezhda Mikhailovna

Sinyukaeva Nadezhda Vasilievna

annotation

The research work is devoted to the study of sacred legends, fairy tales and songs presented in the works of oral folk art of the Khanty.

In the process of working with small genres of folk art, material is presented that reflects the life, customs and traditions of the Ob-Ugric population. The collected material testifies to the observation skills of the people, their ability to speak vividly, figuratively, and laconically about traditions and life phenomena.