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Musicality is one of the characteristic features of the Ukrainian people.

Music in Ukraine appeared during the times of Kievan Rus and in its development covers almost all types of musical art - folk and professional, academic and popular music. Today, a variety of Ukrainian music sounds in Ukraine and far beyond its borders, develops in folk and professional traditions, is the subject of scientific research.

folk music

Initial period of development

Musical traditions on the territory of modern Ukraine have existed since prehistoric times. Musical instruments found by Kiev archaeologists near Chernigov - rattles from mammoth tusks date back to the 18th millennium BC. The flutes found at the Molodovo site in the Chernivtsi region are also attributed to the same time.

The frescoes of St. Sophia of Kiev (XI century) depict musicians playing various wind, percussion and strings (similar to harps and lutes) instruments, as well as dancing buffoons. These frescoes testify to the genre diversity of the musical culture of Kievan Rus. The chronicle mentions of the singers Boyana and Mitus date back to the 12th century.

In general, primitive music had a syncretic character - song, dance and poetry were merged and most often accompanied rituals, ceremonies, labor process, etc. In people's minds, music and musical instruments played an important role as amulets during spells and prayers. In music, people saw protection from evil spirits, from bad sleep, from the evil eye. There were also special magical melodies to ensure the fertility of the soil and the fertility of livestock.

In the primitive game, soloists and other singers began to stand out. The development of primitive music became the source from which folk musical culture arose. This music gave rise to national musical systems and national characteristics of the musical language.

The original national style is most fully represented by the songs of the central Dnieper region. They are characterized by melodic ornamentation, vowel vocalization. Links with Belarusian and Russian folklore are clearly traced in the folklore of Polesie.

In the Carpathian region and in the Carpathians, special song styles have developed. They are defined as Hutsul and Lemko dialects.

Ukrainian folk songs are subdivided into many different genres, which have certain characteristics. In this understanding, the most typical genres of Ukrainian songs are:

Calendar-ritual- vesnyanka, shchedrivka, haykov, carols, kupala, grub and others

Family ritual and household- wedding, comic, dance (including kolomiyka), ditties, lullabies, funeral, lamentations, etc.

Serf life- Chumak, Naimite, Burlak, etc .;
Historical songs and thoughts
Soldier's life- recruits, soldiers, riflemen;
Lyric songs and ballads.

Dumas and historical songs

In the 15th-16th centuries, historical thoughts and songs became one of the brightest phenomena of Ukrainian folk music, a kind of symbol of national history and culture.

The creators and performers of historical songs and dooms, psalms, cants were called kobzars. They played the kobza or bandura, which became an element of the national heroic-patriotic epic, freedom-loving character and purity of the moral thoughts of the people.

Great attention in the Duma was paid to the struggle against the Turks and Poles. The "Tatar" cycle includes such well-known thoughts as "About Samoil Cat", "About the three Azov brothers", "About a storm on the Black Sea", "About Marusya Boguslavka" and others. In the "Polish" cycle, the central place is occupied by the events of the People's Liberation War of 1648-1654, a special place is occupied by national heroes - Nechay, Krivonos, Khmelnitsky. Later, new cycles of thoughts appeared - about the Swedish people, about the Sich and its destruction, about work on the canals, about the Gaidamatchina, about the servant and freedom.

Already in the XIV-XVII and XVIII centuries, Ukrainian musicians became famous outside Ukraine. Their names can be found in the chronicles of those times among court musicians, including at the court of Polish kings and Russian emperors. The most famous kobzars are Timofey Belogradsky (famous lute player, 18th century), Andrey Shut (19th century), Ostap Veresai (19th century), etc.

Folk musicians united in fraternities: song workshops, which had their own charter and defended their interests. Especially these brotherhoods developed in the XVII-XVIII centuries, and existed until the very beginning of the XX century, right up to their destruction by the Soviet regime.

Instrumental folklore and folk instruments

Instrumental folklore occupies an important place in Ukrainian musical culture. The musical instruments of Ukraine are very rich and varied. It includes a wide range of wind, strings and percussion instruments. A significant part of Ukrainian folk musical instruments comes from the instruments of the times of Rus, other instruments (for example, the violin) took over on Ukrainian soil, later, although later they became the basis of new traditions and peculiarities of performance.

The most ancient layers of Ukrainian instrumental folklore are associated with calendar holidays and rituals, which were accompanied by marching (marches for processions, congratulatory marches) and dance music (gopachki, kozachki, kolomiyka, polechki, waltzes, doves, lassos, etc.) and song- instrumental music for listening. Traditional ensembles most often consisted of triplets of instruments, such as violin, snuffle, and tambourine. Performing music also involves some kind of improvisation.

During prayers in everyday conditions (in the house, on the street, near the church), lyre, kobza and bandura were often used to accompany edgings and psalms.

During the times of the Zaporizhzhya Sich, timpani, drums, Cossack antimony and trumpets sounded in the orchestras of the Zaporizhzhya Army, and the timpani were among the Kleinods of the Zaporizhzhya Sich, that is, they were among the symbols of the Cossack statehood.

Instrumental music has also become an integral part of urban culture. In addition to national instruments such as violins and bandura, urban culture is represented by instruments such as table-like gusli, zither, and torban. Magnificent songs, city songs and romances, religious chants were sung to their accompaniment.

Ukrainian folklore

Family ritual poetry - songs and ritual play actions - wedding (weighing), at christenings and funerals (burial of hollow bones, crying) - was very developed in the early periods of Ukrainian history. Like calendar-ritual poetry, it * pursued the goal of influencing the phenomena of nature hostile to the working man and ensuring his well-being in his economic and personal life. Ukrainian wedding songs and game performances, as well as Russian and Belarusian ones, make up a single highly poetic artistic whole; they represent a folk drama that develops according to the main constituent parts of the wedding.

Ancient genres of Ukrainian folk poetry are riddles (riddles), proverbs (add 1, npunoeidnu) and sayings (orders). The class nature of proverbs and sayings, the social ideals and aspirations of the working people were especially vividly reflected in those of them that were directed against the feudal serf-owners, church and religion, tsarism and the tsar, landowners, capitalists and kulaks.

The Ukrainian fairy-tale epic is exceptionally rich, including both fairy tales proper (about animals - zombie epic, bikts, fantastic and heroic, short stories), and various types of legends, traditions, anecdotes and fables. The main characters of fairy tales, their clothes, tools of labor, way of life provide a lot of informative material about Ukrainian society in the era of feudalism and capitalism. Heroes of fantastic fairy tales - heroes ("1van - muzhichy sin", "Chabanets", "Kirilo Kozhumyaka", "Kotigoroshko", etc.) - successfully fight against terrible monsters that destroy people and the results of their labor, often using the friendship of animals and birds, the sympathy and help of nature ("the water that squeaks," etc.), as well as wonderful objects ("chobot-quick-walkers", "flying ship", etc.). Certain fairy tales (for example, "Kirilo Kozhumyaka", "Ilya Murin" - the development of the plot of the Old Russian epic about Ilya Muromets), folk legends, stories and legends about the origin of the names of rivers and settlements contain information that has historical, cognitive significance.

People's heroic epic - thoughts.Development of folklore before the Great October Revolution

In the conditions of the heroic struggle of the broad popular masses of Ukraine in the XV-XVI centuries. against feudal-serf oppression, against Turkish, Tatar and Polish-gentry invaders, the genre of large poetic epic and epic-lyrical folk works - dooms (the first recording was made in 1684), narrating about the courage, love of freedom and hard work of the Ukrainian people, its indestructible friendship with the great Russian people.

Dumas belong to the best examples of the Ukrainian folk heroic epic, they are devoted to the brightest pages of the true historical reality of Ukraine in the 15th-20th centuries. Most of all, thoughts have been created about the events of the 16th-17th centuries. Dumas paint images of courageous warriors - peasants and Cossacks guarding the borders of their native land, patriots suffering in captivity or cracking down on Ukrainian and foreign lords ("Kozak Golota", "Otaman Matyash old", "1vas Udovichenko-Konovchenko", "Samshlo Shshka" and etc.). The events of the period of the liberation war of 1648-1654 occupy a special place in the Duma. ("Khmelnytsky and Barabash", "Rebel against the Polish Pasha", etc.). The epic and historical heroes of the thoughts of the 15th-17th centuries, like those of the Russian heroic epics, are endowed with heroic strength, great intelligence, ingenuity, and resourcefulness. They defeat enemies in duels ("Kozak Golota"), single-handedly confront numerous enemies-invaders, defeat them or take them prisoner ("Otaman Matyash old", etc.); the thoughts express deeply the popular idea that disregard of the masses, their experience and advice will inevitably lead the "hero" to shameful death ("Widow S1rchikha - 1vanikha" and others). Many thoughts ("Kozatske Zhittya", "Kozak Netyaga Fesko Ganzha Andiber", "Sister That Brother", "Bschna Widow I Three Blue", etc.) talk about the hard life of the masses, their meager food, bad clothes, poor dwelling, paint acute social conflicts. Dumas sharply condemn robbery and oppression, cruelty, money-grubbing, greed. The beautiful image of the native land - Ukraine, created by the people in the Duma, is the best proof of the high humanism and deep patriotism inherent in this type of epic.

Thoughts as an epic are characterized by a strong lyrical coloring, the narration is usually carried out in them with passionate emotion. Thoughts are performed with a solo song recitative (singing recitation), with the obligatory accompaniment of a folk musical instrument - kobza (bandura) or lyre. The verse and stanza (couplet) of dooms are distinguished by a large freedom of size (verse from 5-6 to 19-20 syllables, stanza from 2-3 to 9-12 verses), which creates opportunities for further improvisation and variation. The composition of dooms is slender (singing - narration - ending); the narrative is characterized by slowdowns and lyrical digressions. The constant stanza is replaced by a free stanza-tirade (ledge), with free, mainly verbal rhymes; after the end of the stanza-tirade, a musical refrain follows. Dumas are works of an improvisational nature; not a single folk singer - kobzar or lyre player - repeats and does not seek to repeat canonically the text and melody of this work, but treats them creatively, constantly changing, supplementing or abbreviating them. There are many kobzars-improvisers of doom, among whom stood out such virtuosos as Ivan Strichka (first half of the 19th century), Ostap Veresai, Andrey Shut (mid and second half of the 19th century), Ivan Kravchenko (Kryukovsky), Fedor Gritsenko (Kholodny) (second half of the XIX century), Mikhailo Kravchenko, Gnat Goncharenko, Tereshko Parkhomenko and others (late XIX - early XX century).

Working people of Ukraine in the XV-XVII centuries. also created historical songs of an epic-heroic and lyro-epic character, historical heroic legends, traditions and stories. They were a kind of response to the most important events. Such are the songs about the Turkish-Tatar raids, full and captivity, about the courage of the people's fighters against the foreign yoke (for example, "To Tsarigrad 1 on the market" -about Baida, etc.), historical stories and legends about the atrocities of the Turkish-Tatar and Polish invaders in Ukraine , about the courage and resourcefulness of the Ukrainian population, and especially the Zaporozhye Cossacks, songs about the reprisal of the Cossack dullness with the rich-dooks who tried to mock the Cossacks (“Chorna Khmara came, having become a board of ira”, etc.). Especially many such works were created about the events of the eve and the period of the people's liberation war of 1648-1654. (for example, about the national heroes of this time Bogdan Khmelnitsky, Maxim Krivonos, Danil Nechay, Ivan Bogun, etc.) *

Patriotic rise of the people in the middle of the 17th century, reunification

Ukraine and Russia have left a big imprint on many types of folk poetry. By the same time, it should be attributed to the wide distribution of folk theater - puppetry and theater of live actors, as well as short lyrical, mainly satirical and humorous, ditties and kolomyyk songs, in which the enslavers of the Ukrainian people were ridiculed and images of Zaporozhye and Don Cossacks were drawn - brave and brave fighters against oppression and violence.

The joint struggle of the Russian and Ukrainian peoples against the autocratic-serf system during the popular movements of Stepan Razin, Kondraty Bulavin, and later Emelyan Pugachev, was reflected in the extensive antifeudal, anti-serf poetry. Songs and legends about the son of Stepan Razin were also composed in Ukraine ("Vihodila child of the bshogo stone", "Kozak Gerasim"). During the XVII-XVIII centuries. songs and legends were created about the courageous heroes of the joint struggle of Russians and Ukrainians against the Turkish-Tatar aggression (about Ivan Sirko, Semyon Palia), about the fight against the Swedish invasion and about the traitor Mazepa, about the capture of Azov, about the victories over the Turkish invaders in the first half of the XVIII century, about the great Russian commander A. V. Suvorov, etc. On the strengthening of the Russian autocracy in the XVIII century. The Ukrainian people responded to feudal-serf oppression with numerous peasant uprisings, which were accompanied by the rise of anti-feudal folk art - new songs, stories and legends about the heroes of this struggle - the Haidamaks (for example, "About Sava Chaly and Gnat Naked", etc.), oprishki (about Oleks Dovbush; they are related to Slovak songs about Yanoshik, Bulgarian and Moldovan about haiduks), about the heroes of the Koliivshchyna - Maxim Zaliznyak, Nikita Shvachka, etc., about the uprising in the village. Turbai 1789-1793 ("Bazilevshch conceived" and others).

During this period, antifeudal songs about serf bondage and serf tyranny, recruit and soldier songs, chumak, burlak (farm laborers) songs, many of which are lyric-epic, historical or everyday, were widely spread during this period; ballad songs based on historical plots ("About Bondar1vnu"), folk satirical poems directed against representatives of the ruling class - pans, judges, priests, etc. are created. , brightly illuminating the antagonistic class relations of feudal society (the favorite hero is a serf or "free" poor peasant, a homeless barge haule, a wise soldier).

Especially a lot was created during this period of social and household and family-friendly soulful, sad, lyrical songs (choral and solo), as well as songs about family life - rodipt, about love - about kohannya. A large group consists of comic songs (, zhart1vliye (), humorous and satirical. folk repertoire receive songs of Russian and Ukrainian poets; the poetic form of a literary song is increasingly influencing the form of a folk lyric song (romance songs).

In the first half of the 19th century. the Ukrainian people reflected in their folklore works the events of the Patriotic War of 1812 (songs about M.I.Kutuzov, M.I. uprisings in Podolia Ustim Karmalyuk and the Western Ukrainian oprishka Miron Shtola, about the outstanding revolutionary leader of Bukovina Lukyana Kobylitsa, etc.). The first samples of workers' songs become known ripKa your share "); the genre of short songs - ditties and kolomyyk of the most varied content flourishes.

The emergence of the working class in the historical arena led to the development of a new type of folk poetry - workers' folklore. Already in the 70s-80s of the XIX century. * Work songs and kolomoyki were recorded and published, reflecting capitalist exploitation, protest and early forms of struggle of the working class (songs "Oh chi will, chi bondage," backwater>, well-known legends about Shubin - the "owner" of the mines, etc.). Popular dramatic ideas about the struggle against despotism (Ukrainian versions of the folk dramas The Boat, Tsar MaksimShan, etc.) are becoming widespread among the workers.

In the proletarian period of the liberation movement, the leading motives of the Ukrainian workers' folklore, which spread in the Ukrainian, Russian and partly Polish languages and thereby acquired an international character, are revolutionary calls for the overthrow of the autocracy and the power of capital, the glorification of the socialist ideal, proletarian internationalism (International, Russian , Ukrainian and Polish editions of "Varshavyanka", "Rage, tyrants" and its Ukrainian original - "Shalshte, shalshte, say kati", Russian, Ukrainian and Polish text of the "Red Banner").

At the beginning of the XX century. Ukrainian revolutionary songs are created (“Take care of me at the field>,“ Well, cotton, rebel ”,“ One Khmara i3 village, and the other z1sta ”, etc.), vivid stories and songs about the events of the first people's revolution in Russia 1905-1907, about the faithful sons of the people - the Bolsheviks, about the First World War ("Karpaty, Karpaty Velikp Gori"), about the overthrow of the autocracy in 1917.

Thus, folk art, which had a pronounced revolutionary character, was engendered by events in the country's social and political life and invariably accompanied the class actions of the workers.

Ukrainian Soviet folklore

The victory of the Great October Socialist Revolution introduced fundamental changes in the character of Ukrainian folk poetry, caused an upsurge of the socialist poetry content of the millions of the Ukrainian people, which is developing on the basis of Soviet ideology. In the Ukrainian folk poetry of the post-October period, the most important events of Soviet reality were reflected - from the victory of the Great October Revolution to the events of the Great Patriotic War of 1941-1945. and the period of the extensive construction of communism. The people praise the great party of communists, V. I. Lenin, labor heroism, the struggle for world peace, the seven-year plan of 1959-1965, friendship of peoples, proletarian internationalism and socialist patriotism.

Fundamental changes have taken place in the traditional genres and types of Ukrainian folk poetry; the old ritual poetry has almost completely died out. At the same time, new songs, thoughts, fairy tales, tales, stories, as well as folk poems on the themes of the Great October Socialist Revolution, the Civil War and the struggle against foreign invaders are widely created (for example, the fairy tale "Lenshska Pravda", songs and legends about Lenin, heroes civil war - Chapaev, Shchors, Kotovsky, about partisans, heroes of the Great Patriotic War, etc., stories onoeidi, often conducted from one person and having elements of memory). Along with heroic works, anecdotes, satirical and humorous short stories were widely developed, ridiculing various enemies of the Soviet state (White Guard generals, Petliura, interventionists, Pilsudski, Japanese samurai, Hitler, etc.), remnants of capitalism and religious prejudices (carriers of negative everyday phenomena truants, idlers, careless, drunkards).

A special flourishing of Soviet Ukrainian folk poetry is observed in the field of songs, ditties and kolomyyas, proverbs and sayings reflecting the main events and phenomena of the daily life of the country of the Soviets (songs: about the events of October and the civil war - "Arriving zozulenka", "3i6 paB Shchors zagsh zazyat "; about Lenin; about the construction of socialism - "Oh, chervonp kvgky", "Zakurshi Bci backwaters "; on the liberation of the Western Ukrainian lands and their reunification with Soviet Ukraine - “Vlada Narodnaya came”, “Rozkvgae Bukovina”, etc .; about the Great Patriotic War - "Stand up for the will of the land", "Our lanka of the front", etc .; about the post-war period, the building of communism, the struggle for peace - "Shd 3 opi Komuni yash ”,“ Mi hochemo miru ”, etc.).

During the Soviet era, the genre of dumas underwent great changes, which now have a lot that is new in poetic form (dumas of song, epic form and type of poetic tale); the character of their singing has changed (they have become more generalizing), delays in narration have almost disappeared, etc. Soviet kobzars (Ivan Zaporozhchenko, Petro Drevchenko, Fyodor Kushnerik, Yegor Movchan, Vladimir Perepelyuk, etc.) created a number of thoughts on modern subjects (for example, the thought about V. I. Lenin - "Who is that soksh, tovoshsh?").

The Ukrainian people have nominated many talented poets, composers and singers from their midst (for example, Pavlo Dmitriev-Kabanov from Donetsk, Olga Dobakhova from Zhytomyr region, Khristina Litvinenko from Poltava region, Frosin Karpenko from Dnepropetrovsk region, etc.)> art at numerous regional, city, regional and republican amateur art shows, which, like the holidays of songs and dances, have become a household tradition. Many factory and collective farm choirs, choirs-links, agitation and culture teams, and amateur ensembles have created texts and music for some songs, ditties and kolotykas.

Both Soviet and pre-October folk poetry was widely used and is used by Ukrainian and Russian writers, composers, and artists. Many images and motives of pre-October Ukrainian folklore were used in the works of a number of prominent writers, especially N.V. Gogol, T.G. Shevchenko, I. Ya. Franko, M.M.Kotsyubinsky, P.A.Grabovsky, Lesya Ukrainka, composers - N. V. Lysenko, N. D. Leontovich, artists - V. A. Tropinin, I. E. Repin,

S. I. Vasilkovsky, N. S. Samokish, A. G. Slastion and many others. The brightest examples today are the works of Soviet Ukrainian writers M. Rylsky, P. Tychina, A. Malyshko, M. Stelmakh, composers K. Dankevich, A. Shtogarenko, S. Lyudkevich, P. Maiboroda, artists I. Izhakevich, M. Deregus and others.

Ukrainian folk poetry has absorbed a lot from Russian and Belarusian folk poetry, and many of its motives and works entered the work of the fraternal - Russian and Belarusian - peoples. It was and is in close interconnection both with the creativity of these peoples, and with the creativity of the Polish, Slovak, Moldavian and other peoples. All this testifies to the fact that Ukrainian folk poetry was and is of great importance in mutual understanding and rapprochement of the working masses on the basis of socialist patriotism and internationalism.

We find some riddles in the literature of the Middle Ages - in Kievan Rus in the works of Daniel the Zatochnik; from the philosophers of the Kiev school of the Renaissance (Ipatiy Potiy, Stanislav Orihovsky, Ivan Kalimon, etc.). They gained particular popularity in the 17th - 18th centuries, when Boileau, Rousseau, and others created literary riddles. A new wave of interest in riddles was associated, on the one hand, with the development of romanticism in literature, especially in Germany (Brentano, Gauf, etc.) and, on the other hand, with an appeal to national roots combined with romanticism, the beginning of the collection, recording and publication of samples of folk art. The collection and publication of Ukrainian folk riddles began in the first half of the 19th century: G. Ilkevich "Galician sayings and riddles" (Vienna, 1841), A. Semenovsky "Little Russian and Galician riddles"; M. Nomis "Ukrainian sayings, proverbs and so on" (1864), P. Chubinsky "Proceedings of an ethnographic and statistical expedition ..." (1877) and others. Ivan Franko is the author of the first, unfortunately, unfinished research on Ukrainian mysteries " Remains of a primitive worldview in Russian and Polish folk riddles ”(“ Zarya ”, 1884). In Ukrainian folklore, the mystery remains an insufficiently studied genre. The riddle not only influenced the work of individual Ukrainian poets who wrote the corresponding author's works (L. Glebov, Y. Fedkovych, I. Franko, S. Vasilchenko), it forms the basis of poetic tropes, which is confirmed by the lyrics of P. Tychina, B.I. Antonich, V. Goloborodko, I. Kalinets, Vera Vovk, M. Vorobyov, M. Grigorieva and others.

Proverbs and sayings

Duma

The 16th century is considered to be the beginning of the Ukrainian assembly of Cossack poetic dumas. The first recording of a Ukrainian folk song can be dated from the second half of the same century (1571 in the grammar of Jan Blagoslav). Simultaneously with these attempts at folk versification, a new kind of folk song arises: thoughts. This is a new Cossack epic, which completely supplanted the Storoukrainian epic, the remnants of which remained in prosaic translations or in the form of verse. The thoughts themselves were collected and recorded for the first time in the 19th century. The oldest mention of the thought is in the chronicle (Annals, 1587) of the Polish historian S. Sarnitsky, the oldest text of the thought was found in the Krakow archive of M. Wozniak in the 1920s in the collection of Kondratsky (1684) “Kozak Golota”. At present, only references to the thoughts of the 16th century have survived in various written sources, but there is not a single complete text to date. In the annals of Sarnitsky, we can learn that the Ukrainians sang thoughts already at the beginning of the 16th century, these were thoughts about the heroic death of the Strus brothers, however, to our great regret, this chronicler did not add a single line of this thought to the annals. The 17th century is more successful with respect to the data that has been preserved about thoughts.

Historical songs can be defined as a genre of small epics. Forming at first spontaneously in the bosom of other genres of songwriting, the historical song (like the thought) reaches its culmination in the 17th-18th centuries. - in the era of the Cossacks in Ukraine. She tends to closely observe historical events, the fate of specific heroes. The genre "historical song" is known to all Slavic peoples. This is a lyric-epic work dedicated to a certain historical event or a famous historical figure. It should be noted that this is not a chronicle of events, not a document in which facts play an important role; This is a work of art, therefore creative speculation is possible in it. The main requirement for a historical song is to correctly reflect the era, the essence of the era, its spirit, and national orientation. In terms of volume, historical songs are less thought, but more than lyrical songs. The epic character is manifested in the story of events, which are portrayed objectively, but without clear recording of events, the life of historical characters. There are symbolism, hyperbole, emotional and evaluative elements in the songs. N. Gogol introduced the concept of "historical song" into Ukrainian folklore in his article "On Little Russian Songs" (1833). He points to the defining feature of this genre: "they do not break away from life for a moment and ... always correspond to the present state of feelings." Among the features of historical songs, it is also worth noting: showing important public events and historical figures; a short story about them; the presence of outdated words and expressions; stanza or couplet construction.

Ballad

Fairy tales

Legends

The most widespread genre of European medieval literature (starting from the 6th century), formed in Catholic writing mainly as the life of a saint, written on the day of his memory, or as a collection of instructive stories about the life of holy martyrs, confessors, saints, monks, hermits, pillars, called “ Patericon ". In Western European countries, a collection of Christian legends in the 13-14 centuries was especially popular. called "The Golden Legend" ("Legenda aurea"), translated into many languages.

Proverbs

A parable is an instructive allegorical (allegorical) story. In contrast to the ambiguity of the interpretation of the fable, a certain didactic idea is concentrated in the parable. The parable is widely used in the Gospel, expressing in an allegorical form spiritual instructions, such as the "parables of Solomon", which, following the psalter, became widespread during the times of Kievan Rus. Particularly popular is the "Tale of Varlaam and Yosaf", which became the subject of the scientific studio of I. Franko. This genre had a great influence on his work, it is not for nothing that original parables form the compositional basis of his collection "My Izmaragd" (1898). Modern poets also turn to the parable (D. Pavlichko, Lina Kostenko, etc.). The genre of the parable was also reflected in Ukrainian painting, in particular, in a series of drawings by T. Shevchenko. In the latest European literature, the parable has become one of the means of expressing the moral and philosophical reflections of the writer, often opposed to generally accepted, and prevailing ideas in society. Here the parable does not depict, but communicates a certain idea, laying the basis of the parabola principle: the narrative seems to move away from the given temporal space and, moving along a curve, returns back, illuminating the phenomenon of artistic comprehension in a philosophical and aesthetic aspect (B. Brecht, J. P. Sartre, A. Camus and others) An example of this is Kafka and his "Works for a reader". In such a new quality, the parable is observed in the work of modern Ukrainian writers, in particular V. Shevchuk ("House on the Hill", "On the humble field" and others).

We find some riddles in the literature of the Middle Ages - in Kievan Rus in the works of Daniel the Zatochnik; from the philosophers of the Kiev school of the Renaissance (Ipatiy Potiy, Stanislav Orihovsky, Ivan Kalimon, etc.). They gained particular popularity in the 17th - 18th centuries, when Boileau, Rousseau, and others created literary riddles. A new wave of interest in riddles was associated, on the one hand, with the development of romanticism in literature, especially in Germany (Brentano, Gauf, etc.) and, on the other hand, with an appeal to national roots combined with romanticism, the beginning of the collection, recording and publication of samples of folk art. The collection and publication of Ukrainian folk riddles began in the first half of the 19th century: G. Ilkevich "Galician sayings and riddles" (Vienna, 1841), A. Semenovsky "Little Russian and Galician riddles"; M. Nomis "Ukrainian sayings, proverbs and so on" (1864), P. Chubinsky "Proceedings of an ethnographic and statistical expedition ..." (1877) and others. worldview in Russian and Polish folk riddles "(" Zarya ", 1884). In Ukrainian folklore, the mystery remains an insufficiently studied genre. The riddle not only influenced the work of individual Ukrainian poets who wrote the corresponding author's works (L. Glebov, Yu. Fedkovych, I. Franko, S. Vasilchenko), it forms the basis of poetic tropes, which is confirmed by the lyrics of P. Tychina, B.I. Antonich, V. Goloborodko, I. Kalinets, Vera Vovk, M. Vorobyov, M. Grigorieva and others.

Examples:

Two brothers marvel at the water, but do not go away.

Chervona sagged through the rychka.

Vlіtku naїdaєatsya, charge to hang.

Hanging out to amuse, to cool down, in the fall of the year, to collect the amount.

Not fire, but obpіkaє

There is a club, and on the club there is a khatinka, and in those khatinks there are people.

I don’t їм вівса, nі sina, give a drink to the gasoline, I will burn my horses, whom I want to nominate.

Without hands, without nig, and the gate is vidchinyak.

Proverbs and sayings

The priceless jewels of Ukrainian folklore include proverbs and sayings - short apt sayings. Proverbs and sayings are the generalized memory of the people, conclusions from life experience, which give the right to formulate views on ethics, morality, history and politics. In general, proverbs and sayings make up a set of rules that a person should be guided by in everyday life. They rarely state a certain fact, rather recommend or warn, approve or condemn, in a word, teach, because behind them is the authority of generations of our people, whose inexhaustible talent, high aesthetic flair and sharp mind and now continue to multiply and enrich the spiritual heritage that has been accumulating over the centuries. A proverb is a small form of folk poetic creativity, which has been transformed into a short, rhythmized statement, carrying a generalized opinion, conclusion, allegory with a didactic bias. In folklore, proverbs and sayings are designated by the term paremia. In medieval Europe, collections of proverbs were compiled; about three dozen manuscript collections have come down to us, compiled in the 13th early 15th century. For example, the collection of so-called Villani's proverbs includes a series of six-fold six-verses, each of which is presented as a peasant proverb. Everything in general is distinguished by a rare rhythmic and thematic homogeneity. The compiler of this collection, a certain cleric from the family of Philip of Alsace in the XIII century, more than once became the subject of processing or imitation. Texts of this kind are found up to the 15th century, sometimes with illustrations: then the proverb serves as a signature for the drawing.

A proverb is a genre of folklore prose, a short, stable figurative expression of a stating character, which has a one-term structure, which often forms part of a proverb, but without a conclusion. Used in a figurative sense.

For example: Truth hurts. Not our field is a berry.

A feature of the saying is that it is usually attached to what has been said as an aphoristic illustration. Unlike the proverb, it is a kind of generalization. Often a proverb is an abbreviation for a proverb. In the western regions of Ukraine, proverbs and sayings are combined into one concept - "sayings".

Examples:

Living life is not a field to cross.

It’s not hard to pull off without їzhі and wil.

The bird is red to her feast, and the lyudin to her knowledge.

A head without rosum, like a lichtarnya without a candle.

Hto move yours to cuddle, hi to stand up for yourself.

Little pratsya brushing for a great bezillya.

Take care of the honor of the youth, and health - for old age.

A good and inn is not a zip, and an evil one cannot be sent to a church.

Duma

In particular, Kondratsky's handwritten collection contains four samples of Ukrainian Duma creativity: "Cossack Netyaga", "Death of Koretsky" and two samples of humorous parodies of thoughts. The name of the Duma was introduced into the scientific terminology by M. Maksimovich, who, like M. Tsertelev, P. Lukashevich, A. Metlinsky, P. Kulish, carried out the first publications of the Duma. The first scientific collection of thoughts with variants and commentary was published by V. Antonovich and M. Dragomanov ("Historical Songs of the Little Russian People", 1875). Fundamental studies of thoughts were left by the folklorist-musicologist F. Kolessa, who in 1908 led a special expedition to Poltava, organized by Lesya Ukrainka, with a phonograph for recording the repertoire of kobzars ("Melodies of Ukrainian People's Dumas", "Ukrainian People's Dumas"). The most thorough scientific publication of dooms in the 20th century. carried out by Ekaterina Hrushevska ("Ukrainian People's Dumas"), but it was withdrawn from the libraries, and the researcher was repressed.

Examples:

Duma "Kozak Golota":

Oh, by the keel field,

Then we beat proudly with a road,

Oh there, having walked the Cossack Golota,

Not to be afraid of neither fire, nor sword, nor third swamp.

True, on the Kozak's shati dear -

Three seven-legged dashing:

One is bad, a friend is worthless,

And the third is not good for hl_v.

And yet, however, on the Kozakovs

Postoli v'yazov,

And onuchi Chinese -

Shirі zhіnotskі ryadnyany;

Shovkov trails -

Doubling zhіnotskі shirі valovі.

True, on Kozakov's hat-tag -

Above the dirk,

Sewn with grass

Вітром підбита,

Kudi vіє, thudi y provіvav,

Kozak young cool.

That is a walker, the Cossack Golota, take a walk,

No cities, no villages not borrowed, -

Look at the city of Kilia.

Near the town of Kilia, the Tartars sit with beards,

It looks like in the upper roomsє,

Before the Tatar with the words of promovlyaє:

“Tatarko, Tatarko!

Oh, who are you thinking, who am I thinking?

Oh, chi bachish those, who am I bachu? "

Like: “Tartar, oh, sidiy, bearded!

I just bachu, I look like in front of me in the upper rooms,

But I don’t know if you think so. ”

Like: “Tatarko!

I bachu: in a clean field is not an eagle of a literal, -

Then the Cossack of Golota is a good horse, a ghoulє.

I want to take it with live bait

Yes, to the city of Kilia to sell,

And yet, before the great panami-bashi, they wiggle,

For yogo many hearts are not fond of brothers,

Then you are promising,

The road to pay is nadiva,

Choboti shoesє,

Slik velvet on his head nadіvaє,

On a horse,

Endlessly behind the Cossack Golota ganyaє.

Then the Cossack Golota is a good Cossack call know, -

Oh, look at the Tatar skriva,

More like: “Tartar, Tartar!

For all you are important:

Chi on my clear sky,

Chi on my black horse,

Chi on me, young Cossack? "

“I, - as it were, - I am important on your bright zombie,

And even better on your black horse,

And even better on you, young Cossack.

I want you to take live bait in your hand,

To the city of Kilia to sell,

Before the great panami-bashi wiggle

I don’t pick up a lot of hearts,

Don't be dear to the dear cloth. "

Then the Cossack Golota kindly call the Cossack sign.

Oh, look at the Tatar skrivaє.

"Oh, - like, - Tartar, oh sit, bearded

Libon, however, on the rosum of nebagatii:

Without taking the Cossack from your hand,

And even spared for the yogo and penny.

And yet there are no Cossacks,

Cossack porridge is not eaten

I don’t know any Cossack names ”.

Then, having washed,

On the sidelines, becoming.

Without peace to gunpowder,

She gave the Tartar a gift at the breast:

Oh, the Cossack do not settle,

And the Tatar іk the dashing mother thrashing about the horse!

Vin yomu viri not donimє,

Before you arrive,

Kelep between the shoulders of the make-up,

If you look around, your spirit is already dumb.

Win Todi Dobre Dbav,

Choboty Tatar іstyagav,

Having put on your shoes on your coats' legs;

I wear clothes,

On his cossack shoulders he pressed;

Velvet slip izdіyma,

Nadіvaє on his cossack head;

Take the Tatar horse for the lead,

At the city of Sichi, it fell,

There are sobi p'є-gulyє,

Praise-vikhvalya kiliyimske field:

“Oh, the field of kilіїmske!

Give it a green light to the summer,

Yak, I was honored with unhappy years!

Give, God, the Cossacks drank and walked,

Good misli mali,

They took one more dobich

The first enemy was trampled underfoot! "

Glory is not yet, not polar

One nini to vika!

Examples:

"Oh ti, my nivo, nivo"

"Oh ti, my nivo, nivo"

Nivo gold

For you, my field,

The hollow was beating.

More than once for you, my field,

Trampled by the horde

More than once for you, my field,

Cursed b_dnota.

More than once, bulo, over you

The crooks were spinning,

More than once they tore your tilo

Vovki-hijaki.

The sun went down because of the gloom,

Vіtri roared,

View of the Pansky Svovol

You have been recognized.

Get out, my cornfield,

Into greenery, rose,

І before the sleepy lands

Pour the ear!

Ballad

The ballad changed at the very beginning of its existence (12-13 centuries), when it was used as a love song for dance (first introduced by Pont Chapten), which was widespread in Provence. In French poetry of the 14th century, the ballad acquired canonical features, had constant three stanzas, a constant rhyme scheme (ab ab bv bv), an obligatory refrain and appeals to a certain person; flourished in the work of F. Villon (1431-1463). Ballads are:

Social ballads:

“Oh, what is it?” Is a social and everyday ballad. It is based on the moral conflict between the mother-in-law and the daughter-in-law, who was so intimidated that she turned into a poplar. The motive of transforming people into plants, animals, birds is very common in ballads. Social ballads depict the relationship between parents and children, brothers and sisters, and reveal feelings of love and hate.

Historical ballads:

Historical ballads are ballads with historical themes. They describe the life of a Cossack, the death of a Cossack on the battlefield ("Yes, the miracle of the dumbrovoonka make noise"), tells about the great sorrow that war brings to people. "She's lost in the field" is a ballad in which the tragic situation of Ukrainians in Turkish captivity is recreated. A mother in Crimea is taken prisoner by her daughter, who has already become a bit drunk, becoming the wife of a Tatar. The daughter invites the mother to "rule" with her, but the mother proudly refuses. The ballad "Oh boo in Sichi old Kozak" condemns the betrayal of Savva Chaly and approves of his just punishment by the Cossacks.

Ukrainian literary ballads

In Ukrainian poetry, the ballad, showing its genre affinity with thought and romance, spread among the assets of Pyotr Gulak-Artemovsky, L. Borovikovsky, Ivan Vagilevich, early Taras Shevchenko, etc., reaching the second half of the 19th century (Y. Fedkovich, B. Grinchenko and etc.); the tense plot in it unfolded against the backdrop of fantastic signs.

Ukrainian literary ballads of the 20th century

In this form, it appears in Ukrainian lyrics not so often ("Ballad" by Y. Lipa: "The stitch between the bushes is overgrown with char-silli ...") and is supplanted by historical and heroic motives associated with the era of the liberation struggle 1917-1921 The city, to which the poets of the “shot revival” and emigration addressed, in particular, the event of this genre was the “Book of Ballads” by A. Vlyzko (1930).

In the second half of the 20th century, the ballad acquired social and everyday significance, but did not lose its dramatic tension, which was reflected in the work of I. Drach, who reasonably called one of his collections "Ballads of Everyday Life" (1967), constantly emphasizing the conscious grounding of traditionally ballad pathos ...

Examples:

"Over the mountains, behind the lines"

Behind the mountains, beyond the woods

Dancing Marijana with the hussars. (Two)

Visley on nude father and matz:

Marianno, swarna panels, under the spats house! (Two)

I'm not going - go yourself,

Bo I will dance with the hussars. (Two)

And in the hussars there are black eyes,

I will dance with them until the evening. (Two)

From one night to the next

Marianna swearing dances ... (Dvіchі)

Fairy tales

A fairy tale is a narrative in which fictional events or persons are mentioned. One of the main genres of folk art, an epic, predominantly prosaic work of a magical, adventurous or everyday character of oral origin with a focus on fiction. The fairy tale is based on a fascinating story about fictional events and phenomena that are perceived and experienced as real. Fairy tales have been known from ancient times among all peoples of the world. Related to other folk-epic genres - legends, sagas, legends, traditions, epic songs - fairy tales are not directly related to mythological representations, as well as historical figures and events. They are characterized by the traditional nature of the structure and compositional elements (ties, interchanges, etc.), the contrasting grouping of characters, the absence of detailed descriptions of nature and life. The plot of the tale is multi-episode, with a dramatic development of events, the concentration of actions on the hero and a happy ending.

Examples:

The tale "Kirilo Kozhum'yaka"

If a prince, a prince, a prince, a prince, and a serpent, were given a tribute to him, they gave him a tribute: they gave either a young boy, or a girl.

Oto came Cherga vzhe th to the daughter of the prince himself. There is nothing to frighten, if the townspeople gave it, demanding to give it to you. The prince sent his daughter to pay tribute to the serpent. And the daughter of Bula is so good, you can't tell. Having fallen in love with the serpent. From won to new, that and nourished once at a new:

Chi є, - seemingly, - on the light of such a cholovik, why bother you?

- Є, - like, - such - at Kiev over Dnipro ... Yak viyde on Dnipro to moisten skin (bo win kozhum'yaka), then not one, but two at a time, and how to fill up the stench with water from Dnipro, then I will I’ll learn for them, why is it? And yomu baiduzha: if you want to buy something, then less trochas on the shore are not worthy of them. From that cholovik just me scary.

Knyazivna and took her thoughts on the thought and thought, how can you send me a tribute before daddy go free? And with no souls, only one dove. Vona spent the night awaiting yogi, cheek at Kyiv Bul. I thought and thought, but I wrote to my father.

From so and so, - as if, - you, a tattoo, є in Kiev cholovik, on the name of Kirilo, on the nickname of Kozhum'yak. Bless you through the old people, who do not want to be beaten from the serpent, why not let me, I’m not, out of bondage! Bless him, a little one, with words, and with gifts, that you have not formed a word for a yake! I will pray to God for you and for you.

I wrote it like this, tied it to the blues with a krill, and I let it go to the window. The dove is angry from the sky and arriving before the house, on the way to the prince. And the children themselves ran along the way and they kicked the dove.

Tatusu, Tatusu! - it seems. - Chi Bachish - the dove from the sisters arriving!

The prince is more than healthy, but after thinking and thinking that and thinking:

There are already some curses from the child, apparently, my child!

And dal, having lured a dove to themselves, lo and behold, already a card with a krill. Win for the card. Chitaє, my daughter already writes: so and so. Oto at once calling to himself the entire foreman.

Chi is such a cholovik, why should you be nicknamed Kiril Kozhum'yakoy?

- Є, to the prince. Live over Dniprom.

What would you like to get started without having heard that?

They were so happy that they sent the old people themselves. The stench came to yogo hati, little by little they opened the doors with fear that they were angry. To marvel, even to sit Kozhum'yaka himself, with his back to them, and I have two skins with my hands, only you can see that I have such a white beard! From one of the quiet messengers: "Kakhi!"

Kozhum'yaka zhahnuvshaya, and twelve skins just tread! Turning around to them, and youmu stink in the belt:

From so and so: the prince sent to you because of a request ...

And I won’t be surprised: I am angry that through them she has torn twelve skins.

Stink of knowledge, let's ask for yo, give yo blessings. Steel navkolishki ... Skoda! They asked and asked that they went with their heads bowed.

What is robitimesh here? Sumuє prince, sumuє and all foreman.

Why don't you send us more young ones?

Young people were sent - nothing is going to go there. To move that sope, at first it seems. So he picked it up for those skins.

Distant prince and sent to the new little children. When they came, when they started asking, when they began to cry, they started crying, then Kozhum’yaka himself wasn’t worn out, crying that and like:

Well, for you, I'm already angry. Pishov to the prince.

Let’s, - see, - me twelve barrels of tar and twelve carrying hemp!

Having wrapped himself in hemp, gummed up with resin good, taking a mace taku, maybe ten pounds, that pishov to a snake.

And snake yomu and like:

What about, Kirilo? Priyshov bitisya chi put up?

Even put up? We will fight with you, we will curse the germ!

From i started to beat the stench - already the earth is buzzing. How to get rid of the snake and swallow with Cyril's teeth, then so a piece of resin and virve, how to get rid of it and swallow, then so creepy as hemp and virve. And if you hit a yak with a hefty mace, then so and vzhen in the ground. And the snake, like a fire, burn, - so hot, and leave the zbig to Dnipro, get drunk, jump up by the water, cool down the troch, then Kozhum’yaka is already wrapped in hemp and tarred with resin. Oto viskakuє from the waters of the curses of the child, and to get fired up against Kozhum’yaki, then blame it with a mace only loops! If you get excited, then win, know, with a mace only a loops that loops, already the moon is gone. They fought, fought - as much as smoking, as much as skri to jump. Rosіgrіv Cyril the serpent is shorter, like a forging lemish near the furnace: already pyrhaє, already buried, curses, and the earth will only stop there.

And then at the bell ringing ringing, ruling the prayer, and the people standing on the mountains, like the inanimate, with their hands locked, waiting, that will be! If there is a snake - booby! Already the earth shook. The people, standing on the mountains, clasped their hands: "Glory to you, Lord!"

From Cyril, having driven in a snake, having swayed the prince and sent the prince. The prince no longer knew, yak yomu th dyakuwati. It was at that very hour that those tracts in Kiev, de vin alive, were called Kozhum'yakami.

Legends

Legend in folklore

Examples:

"Legend about the stench of that water"

Legends

Legend in Ukrainian literature

In the Ukrainian writing of the princely days, one of the translations of such collections of legends is "Prologue". At the same time, a collection of original legends appeared - "Kiev-Pechersk Paterik". Later, legends began to call various legends of religious content with pious and instructive instruction about holy places, parables about the origin of animals and plants. Of these works, numerous collections were ordered, which were translated into different languages, their plots were conveyed in poetry, used in school religious performances (mysteries, Miracles, morality). In Ukraine, the famous Paterikon - Sinai, Skete, Athos, Jerusalem, and others. The plots of the legends were reflected in icon painting, knightly novels and stories. They have grown such a pearl of European classics as Dante Alighieri's Divine Comedy.

Legend in folklore

Oral folk tales of a miraculous event that are perceived as authentic. Legends are very close to translations, differing from them most of all in that they are based on biblical plots. Unlike fairy tales, legends do not have traditional initial and final formulas, an established sequence of events. Only sometimes they have something in common with fairy tales: the initial formulas are “that was a long time ago”, “once upon a time”; fantastic content, but one that is interpreted as a miracle, created by unusual people.

Examples:

"The legend about the end of the world"

Old people will find out, how can they be injected at the same time, nibi ball. Htos yogo shtovhnuv and vіn rose; Pieces of the whole ball flew to the different sides and the earth, sun, moon, dawn were set. In one piece, the earth was made up, which is alive on them. The whales, who lifted their tail, overshadowed our land, or the bully would fly into the abyss. A lot of whales will lie down and start wagging their tail, and the earth will start to collapse.

"Legend about the stench of that water"

Kick in arguing the fire with water, who is the strongest? Now, when the fire is half, then the water and the hall; If the fire appears, then the water and the line on the new one. If you don't bother to fire, that duck in the stone - there is already nothing to spill water there. It’s dumb in the light of the wise and cunning, like a fire: it’s all to overwhelm cleanly. If the cholovik is sinking, then at least it is vityagnesh; and even as it burns, then I’ll poppeletsyu zagrebesh in the purchase, that and then - vіter dune, then thwart.

"The legend about the origin of gir and stone on the ground"

Yakos, the crafty arguing with God, wip'є all the water and the whole lot of food on the ground. Now drink water and sacrifice food. If he got drunk, he got drunk on the squeak, then he was terribly blown out, and he got drunk: fly that blues, fly that blues. Having observed the temples of the mountains, swamps. And if it pidpiralo with a kick to the chest, then it fell to the ground, swaying on the ground with a wrist, beating with his hands and feet, and from there, bending the whole of the valley and the glib hole. So the crafty spaskudiv miracle I god the earth with mountains and failures. And from the skeletons that burn, as having watched Satan, God-knowers would grow, the same Saint Peter and Pavlo, as the stench walked on the earth, cursed them. From this time, the stench stopped growing. For this reason, the Lord dedicated the earth and began to cultivate the writing of his labors.

Ukrainian folklore

Ukrainian folklore

Oral folk poetry

For a long time, folk literature in Ukraine prevailed over writing, book literature and in the field of the artistic word "national pride" of the Ukrainian intelligentsia of the 19th-20th centuries. was based precisely on folklore, with wealth, diversity, the artistic value of which would be difficult to compare the work of Ukrainian poets of modern times. Ukrainian songs were especially famous outside of Ukraine. A number of rave reviews about them have been going on since the beginning of the 19th century. from representatives of different nationalities and different social groups. In Russian literature of the XIX century. the artistic influence of Ukrainian songs, by his own admission, was experienced by Pushkin and widely used in his work. Gogol wrote pathetically that "songs for Little Russia are everything - poetry, history, and the father's grave." The same universal meaning of the song for the Ukrainian people was later emphasized in his article about “Kobzar” by Shevchenko Dobrolyubov: “It is known that in the song the whole past fate, the whole real character of Ukraine was expressed; the song and the thought constitute a national shrine there, the best heritage of Ukrainian life. The whole circle of vital vital interests is covered in the song, merges with it, and without it life itself becomes impossible. "

The fascination with Ukrainian song and its influence definitely affected the Polish literature of the 19th century, especially in the era of romanticism (Malchevsky, Goschinsky, Bogdan Zalessky) and "Kozakophilia". Ukrainian song has acquired a high reputation among Western European poets and scholars. Back in 1845, the translator of Russian poets and Ukrainian folk songs, Bodenstedt, found that "in no other country has the folk song tree given such wonderful fruits, nowhere has the spirit of the people expressed so vividly and brightly in songs as among the Ukrainians." The new Ukrainian literature also begins with the collection and study of songs: "ethnography", the appeal to folklore material and its use have long remained its characteristic feature.

The first period (up to about 40-50s of the XIX century.)

It takes place under the sign of noble romance, differing in the same features of the approach to collecting and studying folklore, as in other countries. At this time, the main attention is paid to the song. Song creativity by romantically inclined noble collectors was interpreted as "old times" - "a dying echo of harmony, once heard on the banks of the Dnieper", according to the preface to "Experience in collecting old Little Russian songs" - their first collector, Prince. N. A. Certeleva. Dreams of opening a new Iliad or a new Ossian are unrealizable: only “ruins” have survived from the wonderful past, but they can satisfy, on the one hand, “curiosity about the past”, and on the other, romantic craving for “artless poetry” ... Tsertelev's collection is a product of amateurism; the collections of his closest successor, M. Maksimovich, whose friendly ties with representatives of the Russian "official nation" were combined with local Ukrainian patriotism, open the history of Ukrainian folklore studies as a science - of course, with the necessary reservations in view of that time. In terms of the variety of content and the desire for accuracy of texts, Maksimovich's collections rank first among similar publications of the first half of the 19th century. (I. "Sreznevsky", Zaporozhye antiquity, parts I-III, 1833-1838; P. "Lukashevich", Little Russian and Chervonorusskie folk dumas and songs, St. Petersburg, 1836; A. "Metlinsky", Folk South Russian songs, 1854).

The ideas about the nature of folklore and its history did not go beyond the typical romantic fantasies about impersonal "folk art". Only Maksimovich alone had the beginnings of a future "historical" method of studying folklore. In general, folklore has so far remained the subject of aesthetic admiration, antiquarian collectors' work, romantic sighs about the passing "antiquity" - about the decaying patriarchal way of life. In Russian literature of the 20-30s. a strong fashion was established for Ukrainian folklore, as for the exotic necessary for romanticism ("here ... everything that is Little Russian occupies everyone," Gogol wrote in 1829 from St. Petersburg); this fashion was satisfied, among other things, fantastic stories based on Ukrainian folklore, Op. Somov, Ukrainian ballads by N. Markevich ("Ukrainian Melodies", 1831), and especially "Evenings on a Farm near Dikanka" by Gogol. Along with this, Ukrainian song folklore was also used by Russian writers who developed historical Ukrainian plots (Ryleev, Narezhny, A.S. Pushkin, N.V. Gogol, E.V. Aladyin, etc.). It is clear that it is sometimes very difficult to separate the genuine from the free inventions of the authors in all this literature.

Second period

The "second" period of Ukrainian folklore, in which bourgeois tendencies were already felt, was distinguished by other features. It starts from the 40s. XIX century. and represented by the activities of Panteleimon Kulish ("Notes on Southern Russia", vol. I-II, 1856-1857), O. Bodyansky, N. Kostomarov (thesis "On the historical significance of Russian folk poetry", 1843), J. Golovatsky (" Folk Songs of Galician and Ugric Rus ", 1863-1865), I. Rudchenko (" Folk South Russian Tales ", 1869) and others. publishing of texts. In "Notes on Southern Russia" Kulish was no longer limited to one collection, he tried to introduce the reader to the very atmosphere in which monuments of folk poetry are circulated and distributed, to collect and report information about its carriers, about the environment, which is its main consumer. For Kulish, folklore is also a departing "old time", but its departure, from his point of view, is a legitimate phenomenon; the reason for it is the spread of "civilization", the transition of the "people" to the ranks of the intelligentsia. "We and the people," wrote Kulish, "are one and the same, but only he, with his oral poetry, represents the first period of education in the spiritual life, and we represent the beginning of a new higher period."

Third period

The characteristic features of the third period of studying folklore are, first, the transition to collectively organized work in the field of collecting folklore; secondly, the application of Western European methods. (and Russian) science to the study of its monuments - "comparative-historical" and "historical"; thirdly, the deepening and development of nationalist tendencies, which manifested themselves already in the second period. The most significant fact of the third period was the publication of a collection of ethnographic materials: “Proceedings of an ethnographic and statistical expedition to the Western Russian region, equipped by the Russian Geographical Society (southwestern department); materials and research collected by Dr. PP Chubinsky "(1872-1878, 7 vols., In total about 300 printed sheets). The publication, carried out mainly by the exclusive energy of Chubinsky himself, revealed enormous folklore riches (see Al-Dra Veselovsky's review in the Report on the Award of the Uvarov Prizes, 1880), starting from superstitions, omens, riddles, proverbs, etc. (vol. I ), continuing with fairy tales (vol. II - 296 titles), the folk calendar and related ritual poetry (vol. III), extra-calendar rituals, wedding, funeral, etc. and corresponding songs (vol. IV), family songs and love (v. V - 1209 pages), folk juridical customs (v. VI) and ethnographic information about the national minorities of the "southwestern region" (gl. arr. Kiev, Volyn and Podolsk provinces).

Before this mass of material, previous reports, like "Life of the Russian People" by A.V. Tereshchenko, where Ukrainian material was included only incidentally. "Works" were, among other things, another work related to the activities of the Kiev branch - the "southwestern department" of the Geographical Society, which since 1873 united the most prominent Ukrainian scientists of that time: its members were V. Antonovich and M. Dragomanov, published in 1874-1875 the first scientific edition of Ukrainian epic songs, dumas ("Historical Songs of the Little Russian People", 2 volumes - unfinished edition), P. Zhitetsky, F. Volkov (Khvedir Vovk), P. Chubinsky, M. Lysenko and others. In a short time, the correspondents of the branch collected a huge amount of material, from which the filia managed to publish only the collection "Little Russian folk legends and stories", edited by the same M. Dragomanov. Some of the rest were published in the foreign editions of M. Dragomanov; B. Grinchenko later used some of them (Ethnographic Materials, 3 vols., 1895-1899, From the Oral Family, 1900), but most of them disappeared unknown after the Kiev branch was closed in 1876. Government bans on the publication of books in the "Little Russian language" translated Ukrainian folklore studies within b. Russian Empire to a semi-legal position. Its leaders in the 80-90s. XIX century. mainly representatives of petty-bourgeois democracy became here - petty zemstvo officials, statisticians, folk teachers - the epigones of populism, who implemented the theory of "small deeds", cautious enlightenment, "kagantsyuvannya in the village". Ukrainian folklore, along with political self-education, has become an inevitable subject of study for illegal Ukrainian student circles - "communities". Since the 80s. the only printed organs where materials and research about them were published were in Ukraine the journal "Kievskaya starina", founded by F. Lebedintsev (from 1882 to 1906), published in Russian, and the works of "archival commissions", "statistical committees" under zemstvos, scientific societies at universities [eg. the Kharkov collection of the Historical and Philological Society, in the 2nd volume of which a collection of fairy tales and other materials recorded in the Kharkov and Yekaterinoslav provinces is printed. I. Manzhuroyu (1890), in the 10th - the collection of songs of the Luben region of V. Miloradovich (1897), in the 17th - the work of P. Ivanov "Life and beliefs of the peasants of the Kupyansk district, Kharkov province." (1907) and a number of other valuable materials]. In similar publications and, moreover, in the Ethnographic Review, the Russian Philological Bulletin, comparatively few studies of folklore - A. A. Potebnya, N. F. Sumtsov, A. V. Vetukhov, P. Ivanov, H. Yashchurzhinsky, and others. Nevertheless, interest in folklore studies was capturing ever wider circles; these studies developed outside of tsarist Russia until 1906. Made in 1876 a political emigrant, first in Switzerland, then in Bulgaria, M. Dragomanov, along with publicistic activity and in close connection with it, continued the publication and study of folklore: in 1881 he published in Geneva " News of Ukrainian letters about community references 1764-1830 ", and then in the same place" Political (tobto historical) pictures of the Ukrainian people XVIII-XIX table. " (1883-1885, 2 volumes). As a researcher, Drahomanov took the point of view of the "theory of migration" (borrowing), rejecting the idea of the perfect originality of Ukrainian folk art, especially in the field of narrative folklore; this did not bother him for example. on the basis of the song material, make subjective conclusions about the "state ideals" of the Ukrainian masses (a collection of his studies on folklore was published in 4 vols. in Lvov, 1899-1907). The main focus of Ukrainian folklore since the 90s. In 1898, a special ethnographic commission was founded, which took over the publication of the Ethnographic Zbirnik (40 volumes), and in 1899 supported it with a separate publication, Materials to Ukrainian Ethnology (22 volumes). The well-known writer and scientist Ivan Franko (he published the largest collection of proverbs and published a number of valuable works on the study of songs), Volodymyr Gnatyuk, Z. Kuzel, I. Svєntsitsky, F. Kolessa and others. A large contribution to the collection of materials was also made by Polish ethnographers since the 70s. a number of collections of main arr. song material (Vaclav Zaleski, Zhegota Pauli, K. Voytsytsky, later, in 1857, A. Novoselsky-Marcinkovsky, etc.). Since 1842, the fruitful work of the largest of the Polish-Ukrainian ethnographers Oskar Kohlberg (1814- 189 0), of whose works Pokutie is famous (Pokutie is the common name of the area between the Carpathians and the Dniester in Galicia) - the experience of a comprehensive and detailed ethnographic survey of one specific area, with rich folklore materials. According to the type of this work by Kohlberg, the Ukrainian ethnographer V. Shukhevych later presented the same description of the life and work of the Hutsuls ("Hutsulshchina" in "Materials to the Ukrainian-Russian Ethnology", 5 vols. , 1899, 1901, 1902, 1904 and 1908). On the other hand, the works of Kohlberg (preceding "Pokutya") were taken as a model by the collaborators of the large, undertaken back in 1877 by the Krakow Academy of Sciences, ed. "Collection of information on regional anthropology" (Zbiór wiadomości do antropologii krajowej wydawany staraniem komisyi antropologicznej Akademii umiejetności w Krakowie, 1877-1894) - Yu. others, who published a large folklore material from different areas of Galicia and the Russian Dnieper Ukraine. "Works" by Chubinsky, "Ethnographic collection" of Lviv "Tovaristva" and this edition of the Krakow Academy still remain the most important part of the legacy left to us by the bourgeois period of Ukrainian folklore.

There is no need to count the names of all its individual representatives both abroad and within b. tsarist Russia, where, since 1906, for a short while again there was an opportunity for a relatively legal collection and study of Ukrainian folklore, which completely ceased during the years of the imperialist war, which had a most pernicious effect on the ethnographic materials collected by the Lviv scientific society, but not yet published. Published in 1930, the index of printed materials on Ukrainian folklore until 1917 (Oleksandr Andryevsky) is a huge volume of more than eight hundred pages of one list of books and articles (about 1800). One gets the impression that the words of one of the prominent bourgeois folklorists, Vol. Hnatiuk, that Ukrainian ethnography, in comparison with others, "not only did not remain behind, but in many directions moved forward and outstripped other peoples", as if they were not an exaggeration and boast ...

Bibliography

"Pypin" AN, History of Russian Ethnography, vol. III - Ethnography of the Little Russian, St. Petersburg, 1891; "Sumtsov" N.F., Modern Little Russian Ethnography (in the journal "Kievskaya Starina", 1892-1893, 1895-1896 and separately - 2 issues, Kiev, 1893-1897); "His Same", Malyanka from the life of the Ukrainian folk word, Kharkiv, 1910; "Grinchenko" B., Literature of Ukrainian folklore (1777-1900), Chernigov, 1901; "Andrіevsky" O., Bibliography of Literature from Ukrainian Folklore, vol. I, Kiev (1930), ed. Vseukr. Ak. Science periodical of the Institute of Folkloristics of the Academy of Sciences of the Ukrainian SSR "Ukrainian Folklore" and others.

Types and genres of Ukrainian oral folk poetry in its historical development

At the current stage of study, the history of Ukrainian folklore can only be constructed hypothetically. Undoubtedly, we must include a variety of works of a magical nature, including conspiracies and "ritual poetry", to its "most ancient period". At the end of the XVI century. Ukrainian ritual poetry has already stopped in its development, having taken the forms in which the collectors of the 19th century found it. The well-known church publicist of this time, Ivan Vishensky, in one of his messages, recommending the struggle against the remnants of paganism, advises to expel from cities and villages "into the swamp" - "Kolyada, generous evening", "dragging on Resurrection", "St. George the Martyr's holiday devilish "," Bathed on the Baptist ", etc., listing as follows. arr. almost all the main holidays of the ancient agrarian calendar, however, already amalgamated with the church calendar as a result of compromises between the new Christian cult and the beliefs of the era of paganism. "Kolyada" - a holiday of the winter solstice, timed to coincide with Christian "Christmastide"; "Dragging" (dragging - great songs and rituals) - the holiday of spring, the spell of the future harvest, which became a continuation of the church "Easter"; holiday "on St. George" - April, spring events on the day of St. George - Yuri, patron god of herds, head of spring; "Kupalo" - the holiday of the summer "solstice", timed to June 24, Art. Art. ("The Nativity of John the Baptist" - Ivan, Kupala) and the following celebration of the seeing off of the sun, the funeral of the sun god, attached to the first Sunday after the "petrivok" (June 29, old style) - these are the most important agrarian festivals, about which he speaks Vishensky and which existed in Ukraine almost up to the imperialist war and revolution. The agrarian calendar is similar for all peoples of the northern hemisphere; in Russian folklore we will find almost the same names for the holidays, and here it is enough to just list the genres of Ukrainian ritual poetry with their sometimes peculiar terminology. The concept of Ukrainian ritual poetry includes:
* "Christmas carols" and "generosity" - great songs on the eve of Christmas and New Year (a new collection of them was given by V. Gnatyuk in "Ethnographic book", vols. 35-36, 1914) - sometimes accompanied by special actions of mummers (walking with " Goat ");
* "spring" songs, in turn, are divided into:
** gaivki ("gai" - forest) - round dance songs at the edge of the forest, with games ("Millet", "Vorotar", "Poppy", etc. Russian ethnology ", v. 12, 1909);
** tsarinni pisnі ("tsarina" - the outskirts of the village, behind a cut is a plowed field);
** songs are mermaid and "troetski" (Russian "seven" - Ukrainian "rusal" or "mausky great day"; Mavka is the same as a mermaid, from the old "nav" - a dead man; mermaids - from the Greco-Roman rosaries - rituals are dedicated initially honoring deceased ancestors and then timed to "green saints" - Trinity Day);
** songs "Kupala" (the most complete collection of them was given by Y. Moshinska, Zbiór wiadom, v. 5, 1881) - songs associated with the festivities in honor of Kupala and combining elegiac lament about the dead and drowned "Marena" with mocking satirical bickering marvels with lads. This cycle is adjacent to the so-called. "Obzhinochnі" or "zhnivnі" songs (songs accompanying the stubble), the least colored with cult motifs and most clearly revealing the basis of "ritual" poetry - labor, "work song". There are special collections of working songs: "Miloradovich" V. Working songs of the Lubensky district, Poltavsk. lips., "Kievskaya starina", 1895, book 10. The rhythmic side of them is still little studied, and in the content there are obvious traces of a later era - work in the panshchina or at the rich master-kulak. The category of "ritual poetry" also includes the extra-calendar order of songs associated with the customs of "chrestin", "wedding" (wedding) and "funeral" (the richest material on all this ritual is given in the 4th volume of Chubinsky's Works). Particularly developed in Ukraine was the "wedding ritual" ("vesіllia"), which has long attracted the attention of ethnographers (already in 1777 the book of Gr. Kalinovsky was published in St. Petersburg "Description of Ukrainian common folk wedding rites") and more than others studied ("Sumtsov" N., O wedding ceremonies, mostly Russian, Kharkov, 1881; "Volkov" F.K., Rites et usages nuptiaux en Ukraïne, in the journal "L'antropologie" 1891-1892, parts II-III, and his "Ethnographic features of the Ukrainian people "in the collective work" Ukrainian people in its past and present ", 1916, vol. II, 621-639; also Yashurzhinsky Kh.," Lyrical Little Russian songs, mostly wedding ", Warsaw, 1880, and his own," Little Russian wedding , as a religious and everyday drama ”,“ Kievskaya staryna ”, 1896, II, et al.). The Ukrainian wedding ceremony is significant both for its lyrical parts and for its dramatic and theatrical side. From the latter point of view, it can be divided into three acts:
#svatannya
# engagement (engagement)
# a wedding (actually a wedding) of which each in turn breaks up into a series of scenes, repeating three times from action to action, with greater development and complication; scenes of the abduction of the bride, rebuff from her relatives, reconciliation of the conflicting parties, the ransom of the bride from her relatives, symbolic rituals. The verbal part of the drama consists of a prosaic dialogue, which varies around themes set once and for all, lyrical monologues of the bride, joyful and sad (but usually not turning into crying and lamentations of the Great Russian wedding) and parts of the chorus, commenting on the actions either solemnly magnified, or violently riotous songs. Both the content of the songs and the nature of the actions are highly arbitrary: this is a notion, the essence of which is that a marriage concluded between fellow villagers or good acquaintances, with mutual consent, is portrayed as a violent abduction: "endogamous" (intratribal) marriage is presented " exogamic "(non-tribal) and only on condition of this staging is considered" correct "and lasting. The wedding drama is like that. arr. staged a picture of a prehistoric, tribal marriage, and at the same time, by the names of the characters, by the props, not so much real as supposed by the songs of the choir, by the actions themselves - it also reflected the features of the princely wedding of the era of early feudalism. Feudal flavor is obviously secondary; The wedding ceremony, which took shape among the masses in the prehistoric era, was mastered by the ruling class, overgrown with features characteristic of a princely retinue of life, and it was no longer free from these features. With these features, which acquired symbolic and magical significance, the "vesіlnaya" ritualism was preserved in Ukraine almost up to the present day. The "funeral rituals" turned out to be less stable, information about a cut has been going on for a long time (Polish writers Jan Menetsky, 1551, poet Sevastian Klenovich, 1602 lead Ukrainian funeral laments); Russian “lamentations” correspond to the Ukrainian “golosinnya” (texts and comments to them in “Ethnographic zb.”, vols. 31-32, I. Svєntsitsky and V. 1905, and "Ukraine", 1907), accompanied in Podolia and in some places of the Carpathian region by special "funeral amusements", "grashki at the flicker" (playing with a dead man) - a kind of religious mimes staging a debate between God and the devil ("pulling God") , and sometimes turning into comedy and everyday scenes.

To the same ancient era of Ukrainian folklore, as mentioned above, we must attribute the genesis of conspiracies (zamovlyuvannya, swearing: the best collection of P. Efimenko, "Collection of Little Russian spells" in "Readings of General History and Antiquities of Russia", Moscow, 1874, book 88; studies by A. Vetukhov, 1907, and V. Mansikka, Ueber russische Zauferformeln, 1909), "proverbs" (collections of M. Nomis, Ukr. , Galician-Russian folk pripovidki, 6 vols., "Ethnogr. Zb." ... It goes without saying that all these genres developed, differentiated class and, like others, served as an instrument of the class struggle. Between ex. proverbs such as “hto get up early, so God dae” or “the Cossack family is dumb in translation”, on the one hand, and such as “God has a lot of everything, but in a man it’s hard for a shelya” (penny), or “scho panska ailment, then our health ", or:" be friends with the gentlemen, and hold a stone in your bosom "- the difference in classes and the difference in epochs are also obvious.

Narrative folklore - a "fairy tale" in all its varieties [ukr. bourgeois folkloristic studies distinguished "kazki" - fantastic stories, where the miraculous is mixed with the real and possible; "tales" - fairy tales about animals; "perekaz" - sagas, stories about historical figures, places and events; "miti" (myths) - superstitious legends; "novellas" are fairy tales without a wonderful element, everyday ones; anecdotes or "orders"; finally "legends" - tales based on Christian beliefs]. The periodization of extensive fairy-tale material is a task for the future. The total number of Ukrainian fairy tales in 1914 was estimated at more than 2 thousand (S. V. Savchenko, Russian folk tale, ch. IV); since that time, this number has increased even more, not to mention the mass of hitherto unpublished material. In the Ukrainian fairy tale we will find the same plots and themes as in the fairy tale folklore of other European peoples; formal features are also similar, with the only difference that recordings of Ukrainian fairy tales give less samples of elaborate, rhythmic, rich in stereotypical formulas of fairytale speech than, for example. Russian fairy tales; on the other hand, Ukrainian fairy tale folklore has a fantasy that is exceptionally rich in terms of demonological representations (especially in fairy tales recorded in Galicia, see collection of V. Hnatyuk, Znadobi before Ukrainian demonology, vols. 1-2, Ethnographer. zbirn., v. 15, v. 34-35 - 1,575 stories). Attention is also drawn to the comparative richness of comic motifs with different shades of comic from caustic satire to soft humor - especially in short stories (see the titles above collections of Chubinsky and Dragomanov and, in addition to them, "Kazki and Reporting from Podilla", in records of 1850-1860 pp. ., ordering M. Levchenko, 1928) and anecdotes (Gnatyuk V., Galitsko-Rus'kі jokes, Ethnogr. zbіrn., vol. VI), which so often nourished the new Ukrainian literature and contributed to the spread of the current idea of "Ukrainian folk humor." This succession will be discussed further.

So. arr. the main genres of the most ancient era of Ukrainian folklore can be considered ritual poetry, conspiracies, mythological and animal tales, remembering, however, that the primary forms of all these genres are unknown to us. We have only very vague indications of folklore in written records of the early feudal period (up to the 16th century). There is no doubt, however, that already at this time folklore was class differentiated with sufficient clarity. The genres created by the laboring masses were assimilated by the partially ruling class, which in turn exerted pressure and influence on folk art. This pressure and influence, however, rarely led to passive absorption. So, probably, from very ancient times, the penetration of motifs of church origin into the narrative folklore of the laboring peasantry began. But only those legends gained popularity, which in one way or another met the needs of the masses. The characters of the Christian Olympus adapted themselves to help and serve the chliborob: "Peter's saints to walk at the plow, Paul's saints to drive, to wear the holy ones," says one of the generous, as if hinting at the motives of the apocryphal apostolic "walks." The literature of the ruling class was not attracted by such topics. On the other hand, monuments that did not lend themselves to this kind of processing remained outside the assimilation of the masses.

"During the period of serfdom in the Ukraine," when the lands of the Kiev and Galicia-Volyn princedoms were part of the Polish-Lithuanian state, the history of folklore looms for us in a clearer outline. The 16th century was the century when the struggle for liberation from the Polish yoke began. In this century, the Ukrainian nationality was formed, a stubborn struggle began for the political establishment of the Ukrainian nation. Since the XVI century. there are a number of news and recordings of folklore: in the Czech grammar of Jan Blagoslav [d. 1571], a recording of the song "About Stefan to the voivode" was found (A. Potebnya, Little Russian folk song according to the list of the 16th century, 1877); in one Polish brochure in 1625, Franko found a dialogue song "About the Cossack and Kulina" - on the theme of a girl who left home with a Cossack and then abandoned by him (see Notes of the Scientific Tov-va im. Shevchenko, 1902, III); in various other collections, sometimes completely, sometimes in excerpts, the texts of songs are given that respond to the historical events of the turbulent era of the second half of the 16th-17th centuries. This time, marked by the heroic struggle of the Ukrainian people against the Polish landlords and Sultan's Turkey, caused a great upsurge in epic creativity, which in Ukraine was cast into a kind of "doom" form. In its form, the duma is an epic song, not divided into stanzas, consisting of non-syllabic, syllabic verses, with rhymes - most often verbal and with a characteristic parallelism that determines the entire composition of the work. At the heart of its thought is folk art, although it has a specifically Cossack color, since the Cossacks in the first half of the 17th century were a single, more or less organized force that led the movement - in particular, during the liberation war of the Ukrainian people with the Polish gentry Poland in 1648-1654 when the very fact of the existence of the Ukrainian people was threatened. With the deepening of class differentiation, the creativity of thoughts begins to fade, leaving the memory of this later period in such works as thoughts about the Cossack Golot, about Ganzha Andiber and about the "Cossack life." They are followed (already in the 18th century) by parodies (“thought” about Micah). The best works of this poetry are preserved in the memory of the people, performed by kobzars, and in subsequent centuries; new historical events are not displayed, however, in the form of dooms (except for the collection of "Antonovich" and "Drahomanov", named above, see the later edition: Ukrainian Narodni Dumi, vol. I. Texts and introductions by K. Hrushevskoy, ed. Ukr. Academy of Sciences, 1927; vol. II, 1931). The place of thoughts is taken by the "historical" song, which, one must assume, arose simultaneously with the thoughts, and perhaps even earlier than them. The form of a historical song is characterized by a stanzaic articulation, less closedness and completeness of the plot, compared to the Duma, a greater variety of tone - in thoughts it is always solemn and serious. The historical song is sung, the thought is expressed by a melodic-recitative tale, only in places turning into singing. The historical song is composed immediately after the event; the thought could take shape later. The Duma is more closely connected with the Cossack, military environment than the historical song. Being in some cases a reworking of artificial historical verses, the historical song in the process of its development became a popular response to the events and actions of individuals. Along with the historical songs that emerged from circles close to the Cossack foreman, a large number of songs interpret history from the point of view of the interests of the working people. These songs have their own heroes: bypassing the hetmans in silence, the songs retain the names of the peasant leaders who carried out reprisals against the masters who did not adhere to the Zborov agreement and stubbornly continued the struggle. He is surrounded by special sympathy, for example. the image of Necha, about whose death a song with a large number of variants has survived, and the image of Perebiynos (Krivonos). At a later time, in the 18th century, when the "thoughts" had already completed their cycle of development, the folk historical song did not respond, for example. to events such as the betrayal of Mazepa, but then burst into a bright flame in the era of the so-called. "Koliyivshchyna", creating images of struggle and tragic death of Maxim Zaliznyak, Shvachka, Levchenko. It is known that in the "kodnenskaya book" (the list of convicts in the kodna haidamaks) there are several death sentences for bandura players only for the fact that they sang to the accompaniment of bandura in the rebel detachments. It is clear from this what agitational significance, terrible for the Polish priests, epic and lyric-epic songs could acquire.

End of the 17th and 18th centuries - the time when the very fiction of a single Ukrainian "folk poetry" disappeared. According to many data, it can be argued that from the same time peasant creativity in the field of folklore became more active, creativity is also not homogeneous, since the village more and more became an arena of class struggle. While one - "patriarchal" - part of the peasantry continued to assimilate religious legends introduced from outside, "godly" (pious) songs performed by professional singers (kobzars, lyre players, bandura players), and along with this supported the folklore antiquity (ritual poetry ), the other - the advanced - part created new forms both in the field of the epic and in the field of lyrics. This creativity proceeded in especially unfavorable conditions, characterized not only by the absence of a “peaceful” environment, but also by the difficulties of resisting the ideological onslaught of the upper classes, the power of the “tradition of dead generations”. The so-called. "everyday songs" vividly show this power, and at the same time the struggle against it. Household songs in the vast majority of the collected records, one might think, took shape precisely in this era. Family life and the social status of the peasant are the two main themes of this cycle. Subdivisions in it will be songs "lullabies" (koliskovі), "children's", "love" (love of a boy and a maid, etc.), "family" (a willing or unhappy life of spouses). A special group is composed of songs "orphan", hireling and burlak (barge haulers), chumak, recruiting and "soldier" songs. Finally, the third group, which is especially interesting for us, but unfortunately in a timely manner not recorded in its entirety or poorly recorded, is represented by songs about "panschina" and "serf bondage". Household songs predominated quantitatively in song folklore, nevertheless, in comparison with ritual poetry, they have not yet been studied enough (for example, there is still only one generalizing work of Kostomarov about family songs: "Family life in the works of South Russian songwriting"). Meanwhile, in addition to their content, they are extremely interesting in form. In the latter, we find all the typical features of the song style: constant epithets, repetitions, positive and negative parallels, symbolic images from the world of inorganic nature, from the world of animals and plants (the image of a viburnum is a woman, the image of a sycamore is a symbol of sadness, etc.). All this gives the style a great deal of convention; and nevertheless, this outwardly conventional style is basically a realistic style, and typicality, for example. song picture of family life and relationships is beyond doubt. To an even greater extent, this should be said about songs dedicated to panshchina, or songs depicting the class struggle in the countryside (see M. Dragomanov, Novi Ukr. our people about the panshchina and will, Kreminchuk, 1917). While the noble literature in the comic opera of the 18th century, in the sentimental story of the early 19th century. deduced "a singing and dancing tribe of villagers" living carelessly either under the cover of a landowner-father, or in fantastic isolation from serfdom - the peasant song, stage by stage, revealed the horrors of the "hostile serfdom", the nationality of which was not decisive. There was "Chorna Khmara" - Poland, Polish lords; for her came "Siva Khmara" - Russian landowners; endless mockery of the gentry and their henchmen - clerks, housekeepers, "osaulov" - "by guessing", "lanovikh". The only way out in case of passive protest is flight to the Danube or impotent curses. The protest, however, was not always passive: sometimes a real threat is heard in the curses. Bourgeois folklorists, ready to "sympathize" with this peasant grief, at the same time often hushed up the fact of song responses to the anti-Panzer uprisings of the 18th-19th centuries, such as the famous uprising in the village of Turbay in the Poltava region, in 1788, which ended in the murder of landowners, a brutal government reprisal against the guilty and innocent and destruction of the village of Turbai. Oprishki, a kind of partisans of the class struggle of the peasantry with the landowners, acted in the Carpathian region, and some of them - Dovbush - became heroes of song cycles that have outlived their era. Already by the 19th century. Songs and legends about Karmelyuk, another folk hero, who became a symbol of the struggling, exiled to Siberia, languishing in the panshchina and looking for a way out in the unorganized revolt of the peasantry, belong to the songs and legends. Song of the 18th-19th centuries in general, gives a broad and versatile description of the peasant "dashing". She also states the fact of class stratification in the environment of the peasantry itself and calls for a struggle against the rich-kulaks or mocks these "fools". The parallel growth of everyday satirical tales, anecdotes, proverbs against the Poles and Poles, and so on, testifies to the fact that the rural poor saw their enemies quite clearly. In the Chumak songs that have also developed since the 18th century, we also find a distinct contrast between the moods of the Chumak farm laborers and the Chumak entrepreneurs. This contrast completely destroys, by the way, the bourgeois idyll of "free plague", which is more than once encountered in the Ukrainian literary literature of the 19th century.

So, the leading role in folklore creativity of the XVIII-XIX centuries. obviously belonged to the peasantry. This did not exclude the creative activity of other groups; It was in the Ukrainian conditions of this time that this activity inevitably had to intensify: the book literature, constrained in development, had to resort to oral transmission, and folklore began to overflow with materials of book origin. These are, firstly, all the "pious" songs, psalms and cants, performed by itinerant students, distributed by printed publications like "God-glazed", which were included in the repertoire of kobzars and lyre players. These are further songs-elegies, songs-romances with a love theme, sometimes attributed to certain semi-legendary authors, such as the “Cossack-poet” Klimovsky (“Ukhav Cossack beyond the Danube”) or Marusya Churaivna (“Oh, do not go, Gritsu”, “Vіyut vіtri "," Sleepy little goats "). According to their social affiliation, the authors of such songs are different: among them are the Bursak bohemia, and clerks, and people from the Cossack environment; undoubtedly, the participation of the small gentry - the nobility, cultivated a sensitive song-romance style. All this creativity penetrated the masses both directly and through handwritten and printed collections - "songbooks". The abundance of sentimental love lyrics in them is clear evidence of the departure of a certain part of the philistine and small gentry from the social struggle. However, among the songs of the urban bourgeoisie, we in the XVIII century. we find such powerful things as the ballad about Bondarivna and Pan Kanevsky, the drama of a cut more than once captivated the playwrights of the 19th century.

The genius poet of revolutionary democracy, Shevchenko, was the first to concentrate in his work an angry protest and vague impulses to freedom of the peasant masses of the 18th-19th centuries. and found for this a complete poetic form. It is not for nothing that many of his poems have become favorite folk songs that still live among the masses. Other writers from the ranks of radical and revolutionary democracy followed Shevchenko's path, from I. Franko to M. Kotsyubinsky and others.

The era of feudal crisis is characterized by the development of a genre of small songs, corresponding partly to Russian ditties: these are "kolomyyki", "kozachki", "sabadashki", "chabarashki" "- differing in rhythm from each other (kolomyikas are collected from them:" Gnatyuk "V., Ethnographic book, vols. 17-19, ed. Not finished). They responded to Ch. arr. the peasantry of Galicia to their "spite of the day"; small song forms similar to them, closer to the type of ditties, began to appear in the 20th century. and in the workers 'and peasants' environment within tsarist Russia. But alongside the small ones, large forms also lived, changing. The Russo-Japanese War, the events of 1905, the imperialist war - all this found expression in the creativity of the masses, although most of these responses became known only in Soviet times.

Short description

The oldest types of verbal art arose in the process of the formation of human speech in the Upper Paleolithic era. In ancient times, verbal creativity was closely associated with human labor activity and reflected religious, mythical, historical ideas, as well as the rudiments of scientific knowledge. Ritual actions through which primitive man sought to influence the forces of nature, fate, were accompanied by words: spells, conspiracies were pronounced, the forces of nature were addressed with various requests or threats.

Attached files: 1 file

Ministry of Education and Science of the Republic of Kazakhstan

Kurmangazy Kazakh National Conservatory

On the topic: "Ukrainian folklore"

Completed by: Filyuk V.

Supervisor: Senior Lecturer

Berdibay A.R.

Almaty, 2013

Folklore (English folklore) - folk art, most often oral; artistic collective creative activity of the people, reflecting their life, views, ideals; created by the people and existing among the masses of poetry (legends, songs, ditties, anecdotes, fairy tales, epics), folk music (songs, instrumental tunes and plays), theater (dramas, satirical plays, puppet theater), dance, architecture, visual and arts and crafts. The term "folklore" was first introduced into scientific use in 1846 by the English scientist William Thoms, as a set of structures integrated by word, speech, regardless of what non-verbal elements they are associated with. Probably, it would be more accurate and definite to use the old and from the 20-30s. the out-of-use terminological phrase "oral literature"; or the not very definite sociological limitation of "oral folk literature".

This use of the term is determined by different concepts and interpretations of the links of the subject of folklore with other forms and layers of culture, the unequal structure of culture in different countries of Europe and America in those decades of the last century when ethnography and folklore studies arose, different rates of subsequent development, different composition of the main fund of texts, which science used in each of the countries.

Folklore works (fairy tales, legends, epics) help to recreate the characteristic features of folk speech, melodic and melodious. And proverbs and sayings, for example, demonstrate her conciseness and wisdom.

As mankind accumulated more and more significant life experience, which needed to be passed on to future generations, the role of verbal information increased. The separation of verbal creativity into an independent art form is the most important step in the prehistory of folklore.

Folklore was a verbal art, organically inherent in folk life. The different purpose of the works gave rise to genres, with their various themes, images, style. In the most ancient period, most peoples had ancestral legends, labor and ritual songs, mythological stories, conspiracies. The decisive event that paved the line between mythology and folklore proper was the appearance of a fairy tale, the plots of which were perceived as fiction.

In ancient and medieval society, a heroic epic was formed (Irish sagas, Kyrgyz Manas, Russian epics, and others). There were also legends and songs reflecting religious beliefs (for example, Russian spiritual poetry). Later, historical songs appeared, depicting real historical events and heroes, as they remained in the people's memory. If ritual lyrics (rituals accompanying the calendar and agricultural cycles, family rituals associated with birth, wedding, death) originated in ancient times, then non-ritual lyrics, with its interest in an ordinary person, appeared much later. However, over time, the border between ritual and non-ritual poetry is erased. So, at the wedding, ditties are sung, at the same time, some of the wedding songs pass into the non-ritual repertoire.

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

With the changes in the social life of society, new genres arose in Russian folklore: soldier's, coachman's, burlak songs. The growth of industry and cities gave rise to romances, anecdotes, workers, school and student folklore.

In folklore, there are productive genres, in the depths of which new works can appear. Now these are ditties, sayings, city songs, anecdotes, many types of children's folklore. There are genres that are unproductive, but they continue to exist. Thus, new folk tales do not appear, but old ones are still told. Many old songs are also sung. But bylinas and historical songs in live performance practically do not sound anymore.

For thousands of years, folklore was the only form of poetic creativity among all peoples. The folklore of each nation is unique, as well as its history, customs and culture. So, bylinas, ditties are inherent only in Russian folklore, thoughts - in Ukrainian, etc. Some genres (not only historical songs) reflect the history of a given nation. The composition and form of ritual songs are different, which can be confined to the periods of the agricultural, cattle-breeding, hunting or fishing calendar; can enter into a variety of relationships with the rites of the Christian, Muslim, Buddhist or other religions.

Folklore of the late period is the most important source for the study of psychology, worldview, aesthetics of a particular people.

For the first time, people became interested in folklore as a phenomenon of the historical memory of the people in the 19th century. The first collectors of folk songs and legends of deep antiquity have not yet tried to determine what is hidden behind the mysterious and poetic images, what is their hidden meaning, what they can tell about the past. Experiments in the analysis of folklore materials will come much later - in the 20th century a special, "mythological school" will appear. The 21st century will be marked by the emergence of the "fantasy" genre, in which traditionally folk heroes mingle with our contemporaries, becoming idols of youth. One way or another, folklore has always attracted the reader, listener, heir. Here is an entertaining, often chilling plot, and a special feeling of "involvement" (after all, this is the legacy of ancestors!), And an attempt to unravel the mystery, and the eternal desire to pass on the experience to the next generation.

Ukrainian musical culture originates from the ancient Eastern Slavs. It has evolved over the centuries since the 14th century. It was based on the original song folklore of the Ukrainian people, which reflected its history, the national liberation struggle. Folk music developed as an art of monophonic, as well as polyphonic and harmonic, in vocal, vocal-instrumental and instrumental forms. The melos and rhythm of Ukrainian songs are rich. In the central and southeastern regions, polyphonic singing is developed, close to Russian, Belarusian. In Western Podillia and the Carpathians, songs are usually monophonic, contain many archaic features, traces of ties with Polish, Slovak, Czech, as well as Romanian and Hungarian art. The intonation-modal structure of Ukrainian music is diverse - from non-semitone scales to major and minor. Among the folk instruments - violin, bassola (stringed bowed), kobza, bandura, torban (stringed plucked), cymbals (string-percussion), lyre (stringed keyboard), sopilka, trembita (wind), jew's harp (drymba, reed - plucked), drum, tambourine, tulumbas (drums). The genre composition of the Ukrainian song is rich.

Musicality is one of the characteristic features of the Ukrainian people; musical traditions on the territory of modern Ukraine have existed since prehistoric times. Musical instruments found by Kiev archaeologists near Chernigov - rattles from mammoth tusks date back to the 18th millennium BC. By the same time, the flutes found at the Molodovo parking lot in the Chernivtsi region are attributed).

In the primitive play, soloists and other singers began to stand out; developing, the elements of the musically expressive language are differentiated. Recitation in one tone even without the exact dimension of interval moves (the descending glisanding movement of a primitive melody in close, most often neighboring, sounds) led to a gradual expansion of the sound range: the fourth and fifth are fixed as natural boundaries of raising and lowering the voice and as reference intervals for the melody and filling them with intermediate (narrow) passages. This process, which took place in ancient times, was the source from which the folk musical culture arose. He gave rise to national musical systems and national characteristics of the musical language.

Folk songs

The practice of folk song, which existed in ancient times on the territory of Ukraine, can be judged by the old ritual songs. Many of them reflect the integral worldview of primitive man and reveal his relationship to nature and natural phenomena. The original national style is most fully represented by the songs of the central Dnieper region. They are characterized by melodic ornamentation, vocalization of vowels, modes - Aeolian, Ionian, Dorian (often chromatized), Mixolydian. Links with Belarusian and Russian folklore are clearly traced in the folklore of Polesie.

In the Carpathian region and in the Carpathians, special song styles have developed. They are defined as Hutsul and Lemko dialects. Hutsul folklore is distinguished by arachaic features of melos and manner of performance (intonations close to the natural mode, descending glissandos at the end of phrases, singing with exclamations, improvisational melismatics, sylabic recitative). Hutsul songs are characterized by a special, Hutsul, mode, as well as Aeolian, Ionian and Dorian modes. The Lemko dialect is characterized by connections with Polish, Hungarian, Slovak song traditions, which are manifested in an acutely pulsating syncopated rhythm, the predominance of major over minor, the dominance of sylabic recitative.

Genre variety of Ukrainian songs.

According to its importance in the life of the people, according to the theme, plot and musical characteristics, the Ukrainian folk song is divided into many different genres, which have certain characteristics. In this understanding, the most typical genres of Ukrainian songs are:

Calendar-ritual - vesnyanka, shchedrivka, haykov, carols, kupala, grub, etc.

Family ceremonial and household - wedding, comic, dance (including kolomiyka), ditties, lullabies, funeral, lamentations, etc.

Serf life - Chumak, hireling, burlak, etc .;

Historical songs and thoughts

Soldiers' life - recruits, soldiers, streltsy;

Lyric songs and ballads.

In the 15th-16th centuries, historical thoughts and songs became one of the brightest phenomena of Ukrainian folk music, a kind of symbol of national history and culture. As noted by the Arab traveler Pavel Aleppsky (memoirist, son of the Antiochian Patriarch, who visited Ukraine in 1654 and 1656): “The singing of the Cossacks consoles the soul and heals from melancholy, because their melody is pleasant, comes from the heart and is performed as if from one mouth; they are passionate about music singing, gentle and sweet melodies. "

The immediate source from which the thoughts developed was the tradition of historical and grandiose songs, which were very common even in princely Russia. They usually glorified princes, campaigns, and other historical events. So, even in the XI century, they sang praises to Mstislav, Yaroslav and others. The annals contain many indications of the musical performance of various historical narratives about the campaigns "against the Greeks and the Khazars", about the "quarrels and fights of the princes", etc.

Already in the XIV-XVII and XVIII centuries, Ukrainian musicians became famous outside Ukraine, their names can be found in the chronicles of those times among court musicians, including at the court of Polish kings and Russian emperors. The most famous kobzars are Timofey Belogradsky (famous lute player, 18th century), Andrey Shut (19th century), Ostap Veresai (19th century), etc.

Duma is a lyric-epic work of Ukrainian oral literature about the life of the Cossacks of the 16th-17th centuries, which was performed by itinerant music singers: kobzars, bandura players, lyre players in Central and Left-Bank Ukraine.

The characteristic signs of doom

In terms of volume, the Duma is larger than historical ballad songs, which, as with the old squad epic ("The Tale of Igor's Host", old carols, epics), have a genetic link. One of the particular questions of the problem of the genre "The Lay of Igor's Host" in the literature about him was the question of its relationship with the Ukrainian Duma. For the first time, the proximity of the rhythmic structure of S. to the size of the "Little Russian Duma" was noted by M. A. Maksimovich, who assumed that S. contains the beginnings of the well-known contemporary dimensions of Ukrainian and Great Russian poetry (Song of Igor's Regiment). The researcher found in S. 10 verses containing rhyme and corresponding to the size of the verse in the Duma, which is characterized by the presence of verses of varying complexity of various sizes.

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