Folklore motifs in the poem N.A. Nekrasov "Who lives well in Russia
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Signs, Folklore properties
The researchers are notified by many features, properties characteristic of folklore and allowing to approach understanding its essence:
Bifunctionality (combination of practical and spiritual);
Polyelectivity or syncretism.
Any folk product of polyelement. We use the table:
Mimic element
Genres of oral prose
Sliver element
Pantomime, Mimic Dances
Ritual action, dance-spear, folk drama
Wonderful musical (song genres)
Dance element
Music-choreographic genres
music element
Collectivity;
Safe;
Variable multiplicity;
Traditional.
For phenomena associated with the development of folklore in other types of culture, the name is folklorism - (introduced at the end of the 19th century by the French researcher P. Sebio), as well as the "secondary life", "secondary folklore".
In connection with its widespread, the concept of a folklore actually arose, its clean forms: so, the term authentic (from Greek AUTENTICUS- genuine, reliable) was established.
Folk creativity - the basis of the whole national Culture. The wealth of its content and genre diversity - sayings, proverbs, riddles, fairy tales and more. Special scene of songs in the work of the people accompanying human life From the cradle to the grave, reflecting it in the most diverse manifestations and representing the overall imperative ethnographic, historical, aesthetic, moral and high artistic value.
Features of the folklore.
Folklore (FOLK-LORE) - International term of English origin, first introduced into science in 1846 by the scientist William Toms. Literally transfer it means - " folk wisdom"," People's knowledge "and denotes various manifestations of folk spiritual culture.
Other terms were entrenched in Russian science: People's Poetic Creativity, People's Poetry, People's Literature. The name "Oral Creativity of the People" emphasizes the oral nature of the folklore in his difference from written literature. Name " people's poetic creativity"Indicates artistic as a sign that is distinguished by a folk product from beliefs, customs and rites. Such a designation puts folklore in one row with other types of folk artistic creativity and fiction. 1
Folklore is complex synthetic art. Often, elements are connected in its works. different species Arts - verbal, musical, theatrical. His studies different sciences - History, Psychology, Sociology, Ethnology (Ethnography) 2. It is closely related to folk household and rites. It is no coincidence that the first Russian scientists approached folklore widely, recording not only the works of verbal art, but also fixing various ethnographic details and realities peasant life. Thus, the study of folklore was for them a peculiar area of \u200b\u200bthe class 3.
The science studies folklore is called folkloristic. If under the literature to understand not only written artistic creativity, and verbal art in general, then the folklore is a special department of literature, and folklicy, thus, is part of literary studies.
Folklore is verbal oral creativity. He is inherent in the properties of the word art. This is close to literature. At the same time, it has its own specific features: syncretism, traditional, anonymity, variability and improvisation.
The background of the appearance of folklore appeared in the primitive-communal strict with the beginning of the formation of art. Ancient art Words were inherent utility - the desire to practically influence nature and human affairs.
Ancient folklore was B. syncretic condition (from greek words Synkretismos - connection). Syncretic state is a state of fusion, absentia. Art was still not separated from other types of spiritual activities, existed in conjunction with other types of spiritual consciousness. Later, the state of syncretism was followed by the allocation of artistic creativity along with other species. public consciousness in independent area spiritual activity.
Folklore works anonymous. Their author is the people. Any of them is created on the basis of tradition. At one time V.G. Belinsky wrote about the specifics of the folklore work: there are no "famous names, because the author of the literature is always the people. No one knows who has folded his simple and naive songs in which the inner life of the young people or the tribe, and the tribe, is so undisputed and bright. Song from the kind in the genus, from generation to generation; and it changes over time: it will see it, it will be lengthened, then they will convert it with another song, then the other song will be built in addition to it - and here the poems come out of the songs Which the author can only call himself the people. " four
Certainly Rights Academician D.S. Likhachev, who noted that the author in the folklore product is not only because information about it, if he was lost, but also because it falls out of the poetics of folklore; It is not needed from the point of view of the structure of the work. In folk art, there may be a performer, a narrator, a teacher, but there is no author in it, writer as an element of the most artistic structure.
Traditional continuity Encompasses large historical gaps - whole century. According to Academician A.A. Pottny, folklore occurs "from memorable sources, i.e. it is transmitted from memory from the mouth to the mouth as much as the memory is enough, but certainly passed through a significant layer of popular understanding" 5. Each folklore carrier creates within the boundaries of the generally accepted tradition, leaning on the predecessors, repeating, changing, complementing the text of the work. The writer and reader are present in the literature, and in Folklore, the performer and listener. "On the works of Folklore always lies the seal of the time and the environment in which they for a long time lived, or "existed." For these reasons, folklore is called folk mass creativity. He has no individual authors, although there are many talented performers and creators, perfectly possessing conventional traditional techniques of affects and singing. Folklore is directly peopling in content - that is, on thoughts and feelings, in it expressed. Folklore People's and Style - i.e., in the form of transmission transmission. Folklore People's Holy Time, for all the signs and properties of traditional figurative content and traditional style forms. "6 This consists of the collective nature of the folklore. Traditional - the most important and basic specific property of folklore.
Any folk product is in large quantities options. Option (lat. Variantis - changing) - Each new execution of the folklore product. Oral works had a movable variation.
Characteristic feature Folklore work is improvisation. It is directly related to text variability. Improvisation (IT. Improvvisazione - unforeseen, suddenly) - the creation of a folk product or its parts directly during the execution process. This feature More is characteristic of lamenting and crying. However, improvisation did not contradict the tradition and was in certain artistic framework.
Given all these signs of the folklore product, we give the extremely quick definition Folklore, given V.P. Anica: "Folklore is the traditional artistic creativity of the people. It equals both to the interpretation, verbal and other visual arts, both to the old creativity and to the new one, created in the new time and creative today." 7.
Folklore, like literature, is the art of the word. It gives reason to use literary terms: epos, Lyrics, Drama. They are called childbirth. Each race covers a group of works defined type. Genre - a type artistic form (Tale, Song, Proverb, etc.). This is a narrower group of works than genus. Thus, there is a method of image of reality, under the genome - the type of artistic form. The story of Folklore is the story of changing his genres. They are in folklore have greater stability, compared with literary, genre borders in literature wider. New genre forms In folklore, not as a result creative activity individuals, as in the literature, and should be supported by the entire mass of the participants in the collective creative process. Therefore, their shift does not occur without the necessary historical grounds. At the same time, genres in folklore are not unchanged. They occur, develop and die off, are replaced by others. So, for example, the epics arise in Ancient Russia, develop in the Middle Ages, and in the XIX century are gradually forgotten and dying. With the change in the conditions of the existence, the genres is collapsed and conjured. But this does not testify to the decline of folk art. Changes in the genre composition of folklore is a natural consequence of the development of artistic collective creativity.
What is the relationship between reality and its display in folklore? Folklore combines a direct reflection of life with conditional. "There is no compulsory reflection of life in the form of life itself, conventionality is allowed." 8 It is characteristic of associativity, thinking by analogy, symbolism.
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\u003e\u003e Folklore I. fiction
The emergence of fiction preceded a long period when, still long before in-
writing, for many centuries, ancient peoples created genuine art artistic word - Folklore. "The beginning of the art of the word is in folklore," Alexey Maksimovich Gorky rightly argued. Reflecting on the main features (signs) in the life of the ancient people and the understanding of them around the world, Gorky wrote:
"The signs of these reached us in the form of fairy tales and myths, in which we heard the exhaust work on the tearing of animals, on the discovery of the healing herbs, the invention of workers. Already in deep ancient times, people dreamed of the possibility of flying through the air - they tell us the legends about Faeton, Dedalie and the Son of His Ikara, as well as fairy tales about the "carpet-plane". Dreamed of accelerating the movement on the ground - a fairy tale of "Spear boots". Thought about the possibility of spinning and weave on one night great amount Matters - created a straw, one of the oldest tools of labor, a primitive handmade machine for textile and created a fairy tale about Vasilis Wolly ... "
In ancient Russia, new types of oral poetic creativity were created: songs, legends, legends, epics, explaining the origin of cities, villages, a tract 1, Kurganov, who tell me heroic exploits Defenders of native land.
Many of them entered the first works of written literature - the chronicle. So, the chronicle of the "Tale of Bygone Years" (XI-XII centuries) contains folk legends about the foundation of Kiev in three brothers - Kiwa, cheek and choriv, \u200b\u200bwhich were known even in Tsargrad, where they gave them a great honor. In the "Tale of Bygone Years" you can find both oral-poetic legends about Russian princes - Oleg, Igor, Olga, Svyatoslav, etc. Legend of Oleg, for example, talks about the outstanding Old Russian commander, which won the Greeks
not only by force, but also wise ingenuity.
Later, with the spread of writing and the appearance of the first books, oral folk art not only did not lose their role in the life of the people, but also had the most beneficial effect on the development of fiction.
In an effort to penetrate deeper into the essence of a folk life, many writers drenched from Folklore not only information about life, but also topics, stories, images, ideals 2, studied art bright, expressive speech. In most people's literatures, works have been created, which had spread in folklore: songs, ballads, romances8, fairy tales.
You know well that your wonderful ballad "Song about things Oleg"Alexander Pushkin wrote on
the basis he heard them folk legend about the death of Prince Oleg, allegedly predicted by the Magi (priest slavic God Perun). In his fabulous poem, Ruslan and Lyudmila, Pushkin widely used since childhood, from the words of Nanny Arina Rodionna, who remembered the fabulous episodes and images.
The imagination of readers amazes the entry into this poem ("at the Lukomorya Oak green ..."), in which amazing manner There are familiar to everyone from childhood fabulous images of mermaids, the hut on the bitter legs, women of Yagi with a step, wrapped and other magic from Russian fairy tales. The poet exclaims: "There is a Russian spirit, there it smells!"
Tract - A plot that differs from the surrounding area, such as a swamp, forest among the field.
Ideal- What is the highest goal of activities, aspirations.
Romance- Small vocal work lyrical character.
Pushkinskaya "Tale of dead Tsarevna And about seven heroes "is the poetic processing of the Russian folk fairy tale" Self-behable mirror ".
Based on the folk plots, Khans Christian Andersen ("Wild Swans"), French Charles Perra (Cinderella), Germans Brothers Wilhelm and Jacob Grimm (" The Bremen Town Musicians") and etc.
In the minds of people of many generations, the fairy tales of writers merged with the fairy tales of the people. And this is explained by the fact that every writer, no matter how original his own creativity, is experiencing a deep connection with the folklore of its people. It is in oral folk creativity that the writers found bright examples loyalty to moral polls, the expression of the dream of the people about a fair, happy life.
Great place in Russian folklore occupy heroic songstelling about the mighty Russian heroes, defenders of the Motherland. Heping heroes, there were named on a feat to the glory of the Fatherland, raised the spirit of the people into the hard way, brought up in young love for native land And the desire to protect it from conquerors. The epics of invincible heroes inspired Russian writers and poets to create their own works on the fearless and glorious warriors of the Russian land. Get acquainted with the passage of the poem Nikolai Rynkov, in which the poet told his impressions from the epics about Ilya Muromets, who told him grandfather. This is how he represented the hero of the hero:
Winter and childhood. Evening evening
Under the crown of close housing.
Stands up over the grandfather's epic
Peasant Muromets Ilya.
Not to amaged in the pure field,
He hurries in Kiev without roads,
And nightingale robber whistle
He could not stop him.
Many writers seeking deeper show life of the people, national features Heroes, use in their works folk songs, legends, legends and other types of oral folk creativity. Recall how I worked on my book "Evening on the farm near Dikanka" Nikolai Vasilyevich Gogol. In a letter to the mother, he asked to tell him everything she knows about the nravas and customs of his countrymen: "This is very, very, very necessary ... if there is, in addition, any houses, then about them more about them with their names and affairs ; A lot is broken between simply nations Believe, terrible legends, legends, different jokes, etc., and so on., and so on. Everything will be extremely entertaining for me ... "
You know from literature lessons, how unprecedented was the success of the first book of "Evenings on the farm near Dikanka". Pushkin wrote: "Now I read the" Evenings on the farm near the Dikanka. " They amazed me. Here is real fun, sincere, relaxed, without a fanishness of 1, without prim. And places what kind of poetry! What sensitivity! All this is so unusually in Pasha literature that I did not make a job. Congratulations to the public with a truly fun book ... "
In the future, your knowledge of the inextricable communication of the folklore with works of fiction will be expanded and deepened, but it should always be remembered by the main thing: for artists the words folklore - an inexhaustible source of unshakable submissions of the people about good, justice, true love and wisdom.
Let's talk
1. What types of oral poetic creativity created the people long before the emergence of fiction? Name those of them that entered the first annals.
2. Why do writers in their work often turn to folk work?
3. Name the work of oral folk creativity, which formed the basis of the literary works known to you.
4. Among Russian folk fairy tales there is a fairy tale called " gold fish", The plot of which completely coincides with the Pushkin" fairy tale about fisherman and fish. " What do you think that this is this folk fairytale I became the basis for creating one of the most favorite and popular fairy tales of the Great Poet?
5. If you know well the content of the "Evenings on the farm near Dikanka" Nikolai Gogol, remember what folk beliefs, Legends used a writer in his posts "Evening on the eve of Ivan Kupala", "May night, or drowning", "terrible revenge."
6. In 1785, the German writer Rudolph Erich was published published the book "Adventures of Baron Münhgausen", which was literary processing fantastic story truly living in Germany Baron Münhhausen. Over time, this book has acquired worldwide fame. Which of the adventure described in the book do you know? What do you think, this book attracts readers around the world?
7. Why A. M. Gorky argued that "the beginning of the art of the word in folklore"?
L. A. L_Teatura: Perchnik for 7 CL. Zagalinosvіtnіh in the forefronts of Movyov's Movie. - K.: Pepha, 2007. 288 p.: Іl. - Mova Rosіyska.
Submitted by readers from the website
Only one side of the case is defined by all: this is determined by the social nature of the folklore, but this has not yet been said about all other signs of it.
The above features are clearly not enough to highlight folklore in special view creativity, and folkloristic - special science. But they define a number of other signs, already specifically folk in essentially.
First of all, we install that folklore is a product of a special type of poetic creativity. But poetic creativity is also literature. And indeed, between folklore and literature, there is a closest connection between folkloristic and literature.
Literature and folklore primarily coincide in their poetic clauses and genres. True, genres that are specific only for literature and are impossible in folklore (for example, novel) and, on the contrary: there are genres specific for folklore and impossible in the literature (for example, a conspiracy).
Nevertheless, the very fact of the presence of genres, the possibility of classification here and there by genre, there is a fact belonging to the field of poetics. Hence the community of some tasks and techniques for the study of literary studies and folklores.
One of the tasks of folklores is the task of the allocation and study of the category of the genre and each genre separately, and this task is literary.
One of the most important and most difficult tasks of folklores is a study of the internal structure of works, in short, is the study of the composition, building. Fairy tale, epos, riddles, songs, conspiracies - all this has some more studied laws of addition, structure. In the field of epic genres, there is a study of the string, the course of action, junction, or, otherwise, the laws of the plot structure. The study shows that folklore and literary works are built differently that the folklore has its own specific structural laws.
It is not possible to explain this specific pattern of literature, but it is possible to establish it only by receptions of literary analysis. The region includes the study of the funds of the poetic language and style. The study of the funds of the poetic language is a purely literary task.
Here again it turns out that the folklore has specific means for it (parallelism, repetition, etc.) or that the usual means of the poetic language (comparison, metaphors, epithets) are filled with completely different content than in the literature. This can be installed only by literary analysis.
In short, the folklore has a completely special, particular poetic poetic for him other than the poetics of literary works. The study of this poetics will open extraordinary artistic beauties laid down in folklore.
Thus, we see that there is not only a close relationship between folklore and literature, but that folklore is such a phenomenon of literary order. He is one of the species of poetic creativity.
Folklore in the study of this side of the folklore, in its descriptive elements - the science of literary. The connection between these sciences is so close that there is often a sign of equality between the folklore and literature and the corresponding sciences; The method of studying the literature is fully transferred to the study of folklore, and this is limited.
but literary analysis Maybe we see, only to establish the phenomenon and the pattern of folklore poetics, but it is unable to explain them. To protect yourself from a similar error, we must establish not only the similarity between the literature and the folklore, their relatives and to some extent are unique, but also to establish the difference between them, to determine their difference.
Indeed, folklore has near specific damns, so much distinguishing it from literature that methods of literary research is not enough to permit all problems associated with folklore.
One of the most important differences is that literary works are always and certainly have the author. Folklore works may not have the author, and in this one of specific features Folklore.
The question must be supplied with all possible clarity and clarity. Or we recognize the presence of folk creativity as such as phenomena of public and cultural historical life Peoples, or we do not recognize it, argue that it is poetic or scientific fiction and that there is only the work of individual individuals or groups.
We stand on the point of view that folk art is not a fiction, but it exists exactly as such, and that studying it is the main task of folklores as science. In this regard, we solidify with our old scientists, like F. Buslaev or O. Miller. The fact that the old science felt instinctively, expressed naively, ineptly, and not so much scientifically, how much emotionally, it should be cleared of romantic errors and raised to the proper height of modern science with its thoughtful methods and accurate techniques.
Brought up in school literary traditions, we often cannot imagine that the poetic work can arise differently than arises literary work With individual creativity. It seems to us that someone had to compose it or fold the first.
Meanwhile, completely different ways of the emergence of poetic works are possible, and their study is one of the main and very complex problems Folklores. There is no possibility to enter the entire width of this problem. It is enough to indicate here only that genetically folklore should be closer not with literature, but with a language that also does not invent anyone and has neither the author nor authors.
It arises and varies completely natural and regardless of the will of people, wherever there is where for this purpose historical development Peoples have created relevant conditions. The phenomenon of global resemblance does not represent problems for us. For us, it would be an inexplicable lack of such similarity.
Similarity indicates a pattern, and similarity folk Works there is only private case historical pattern leading from identical forms Production material culture to the same or similar social institutions, to similar produces of production, and in the field of ideology - to similarity of forms and categories of thinking, religious representations, ritual life, languages \u200b\u200band folklore all lives, interdependent, changes, grows and dies.
Returning to the question of how to empirically imagine the occurrence of folklore works, here it will be enough to indicate at least that the folklore can initially compose the integrating part of the rite.
With the degeneration or fall of the ritual folklore will be offended from it and begins to live independent life. It's only an illustration to general Regulations. Proof can be given only by concrete research. But the ritual origin of the folklore was clear, for example, already A. N. Veselovsky in last years His life.
The difference here is so fundamentally that it already forces it to allocate folklore into a special type of creativity, and folkloristic is special science. The historian of literature, wanting to explore the origin of the work, looking for his author.
V.Ya. Proppage Folklore poetics - M., 1998
Folk creativity is originally, multifaceted and in nature is closely connected with musical start. Hence such an incredible variety and the film forms in which genres expressed music folklore.
What is folklore?
Folklore is called folk art. This is music, poetry, theater, dance, which were created by the people and are closely related to traditions, religious beliefs, and history.
The word "folklore" itself has English roots and translates as "folk wisdom." By nature, the folklore is diverse and includes fairy tales, legends, legends, myths, proverbs, sayings, conspiracies, signs, a variety of ways of divination, all sorts of rites, dances and much more. It is not surprising, but the folklore also rates, readers and jokes. And the genres of musical folklore are just one of the parts of folk creativity.
Genre is it?
We have already mentioned several times (due to the concept of folklore) the word "genre", but what is understood under it? The genre is a type of work characterized by certain features of form and content. Each genre has its purpose, a way of existence (for example, oral or written) and execution (singing, declamation, theatrical performance etc.). As an example, the following genres can be given: symphony, song, ballad, story, story, novel, etc.
What are called musical folklore?
Chastushki.
A chastushka is a small rhymed song consisting of 4-6 lines. It is usually performed in a rapid pace and describes some one event from a person's life. Chastushki were popular both among rural residents and among the working class. The roots of this genre go in the XVIII century, but he reached the greatest popularity in the 20th century.
Topics of chastushki is a reflection of the lifespan, the most pressing and topical problems and bright events. The main orientation of these short songs is social, household or love.
Study of folklore at school
All school secondary programs Designed to ensure that the children can explore the genres of musical folklore. Grade 5 begins to get acquainted with genre diversity Folk creativity, but to study his samples of students start in elementary school.
The main focus on the middle school link makes the connection of literature and history, therefore the epic singing are being studied. In addition, students introduce the main song genres. At the same time, the teacher talks about the parallels and the relationship of people's creativity and literature, about basic traditions and continuity.
Output
Thus, the genres of musical folklore, whose list we tried to draw up, are inextricably linked to the life of the people. Any change in everyday life or the whole country immediately found its reflection in song creativity. Therefore, lists all the genres of folklore, created throughout the existence of humanity, is impossible. In addition, and today, folk art continues to develop, evolves, adapts to new conditions and lives. And it will live as long as humanity exists.
Folklore is the basis on which individual creativity develops. Outstanding figures Different areas of art of the past and present clearly aware of the value of the folklore. M. I. Glinka said: "We can't create people; We only write down and arranging "\\ A. S. Pushkin still in early XIX. in. I wrote: "The study of vintage songs, fairy tales, etc. It is necessary for the perfect knowledge of the properties of the Russian language. Critics are in vain with them despise. " Turning to the writers, he pointed out: "Read prime fairy tales, young writers to see the properties of the Russian language."
The covenant of appeal to folk art followed and follow the creators of classical and modern literature, Music, Fine Arts. There is not a single prominent writer, an artist, a composer who would not add to the springs of folk art, because the life of the people is reflected in them. Scroll musical works, creatively developing the art of the people, is huge. On the folk plots Created supports such as "Sadko", "Kashche" and others. Images and plots of folk art entered into art. Pictures of Vasnetsova "Bogatyry", "Alenushka", Vrubel "Mikula", "Ilya Muromets", Repin "Sadko", and so on. Entered the treasury of world art. A. M. Gorky pointed out that the basis of the generalizations created by an individual genius is the work of the people: "Zeus created the people, FIDI embodied him to marble." It is argued here that art of writer, artist, sculptor only then reaches the vertices when it arises as an expression of ideas, feelings, people's views. Gorky did not fit the roles of an individual artist, and emphasized that his power of talent, mastery give special expressiveness, Perfection the form of creating collective creativity of the masses.
Communication of literature and folklore does not boil down to the use of content and form writers individual works folk art. This connection expresses an incomparably broader and general phenomenon: the organic unity of the artist with the people, and the arts with the creative folk experience.
Consequently, both individual and collective creativity only then acquire a huge ideological and aesthetic value in the life of society, when they are associated with the life of the people and truthfully, artically absolutely absolutely. But at the same time it must be borne in mind that, firstly, the nature and ratio of collective and individual creativity at different stages of development human society Different and, secondly, the fact that collective and individual creativity is a kind of historically arising methods for creating an artistic work.
A. M. Gorky rightly said that the collective creativity of the masses was Maternal Lone for the creativity of the individual, that the beginning of the art of the word, literature - in folklore. In early periods of history, the proximity of the literature and folk art was so great that it is impossible to clearly distinguish them. "Iliad" and "Odyssey" with a full basis are considered works antique literature And at the same time, the most beautiful creativity of collective folk art belonging to the "infant period of life of human society." The same non-priesthood of individual and collective creativity is noted in a number of works in many nations.
In the initial period of its existence, literature has not yet separated from collective folk art. With the development of class society, the division of individual and collective creativity is gradually deepened. But, of course, the most concepts of collective and individual creativity cannot be interpreted abstractly, equally and consistently for all times and peoples. Individual and collective arts have historical validity features.
In class Society Collective creativity was a artistic and figurative reflection of the reality of that time, summarizing the views and presentings of the tribe, primitive communityFrom which personality has not been stated. Under conditions, when the tribe remained the boundary of the person and in relation to the stranger from another tribe, and in relation to itself, when a separate person was unconditionally subordinated to his feelings, thoughts and actions of the tribe, the genus \\ collective work was the only possible form artistic activities individual individuals. Participation of the whole mass of the tribe in generalization life experience, the general desire to understand and change the reality was the basis of the reporting epic that had reached us preferably in late recycling. An example of such epic tales originating in the conditions of a professional society, at least the runes of "Kalevaly", Yakutsky Oloid, Georgian and Ossetian legends about Amirane, North Caucasian and Abkhaz Tale of Narts, etc.
In the reporting society, the collectivity of creativity not only merged with individuality, but subordinate it. Here, even the most outstanding person perceived as the embodiment of the strength and experience of the entire tribe; Thus, an image of the masses of the people through the image of the hero (Weineenen, Prometheus, Balder, later, Russian warriors and other images of heroic ledgers) was originated for the epic and early literary creativity.
The development of class relations could not not change collective creativity. With the advent of class society, the ideology of antagonistic classes clearly affects various interpretation of images, stories and song scenes. Examples from the epic of the peoples of the USSR confirm this. Discussion of the ideological essence of the Kyrgyz ledges about Manas, the Buryat and Mongolian epic "GESER", the discussions on the problems of the epic revealed the facts of anti-people distortion by feudal circles of creativity of the working people.
There is a constant interaction of literature and folklore. Folklore and literature, collective and individual artistic creativity accompany each other in a class society. So, the Russian folk creativity of the XI-XVII centuries. had a huge impact on the work old Russian literatureWhat kind of eloquently testify "the word about the regiment of Igor", "Tale of Peter and Fevronia", "Zadonchina". At the same time, artistic literature images were all wider in the use of oral poetic creativity. In the future, this process has become even more intense. Lermontov, Gogol, Ji. Tolstoy, Nekrasov, Gorky believed that the folklore enriches the individual creativity of a professional artist. At the same time, all outstanding masters of Russian literatrines emphasized that the writer should not copy folklore, should not become on the path of stylization. A real artist boldly invades the oral poetic creativity of the people, selects the best and creatively develops it. To make sure that it is enough to remember the fairy tales A. S. Pushkin. "He decorated folk song and a fairy tale with glitter of his talent, but left unchanged their meaning and strength, "wrote A. M. Gorky
The interaction of folklore and literature flows in different forms. For example, professional artist It often uses and enriches topics, plots, folklore images, but it can use folklore and not reproducing its plots and images directly. A genuine artist is never limited to reproduction of the form of folklore works, and enriches and develops the traditions of oral poetic creativity, revealing the life of the people, his thoughts, feelings and aspirations. It is known that the best, most progressive representatives of the dominant classes, by refringing social injustice and truthfully depicting life, rose over class limitations and created works that responded to the interests and needs of the people.
Live communication Folklore literature confirmed by creativity the best writers All nations. But no matter how tangle the connection of works of writers with people's poetry in class society, collective and individual creativity is always distinguished by the method of creating artistic works.
In the class society there were differences in the creative process of creating works of literature and mass folk poetry. They are primarily as follows: the literary work is created by the writer - indifferently, the writer is by profession or not - individually or in the Commonwealth with another writer; While the writer is working on it work, the work is not the property of the masses, the masses are involved only after it receives the final edition attached in the letter. So, B. literature process The creation of the canonical text of the work is separated from the immediate creative activity of the masses and is associated with it only genetically.
Other business - works of collective folk art; Here personal and collective starts are combined in the creative process so closely that individual creative individuality Dissolve in the collective. Works of folk art do not have a final edition. Each artist of the work creates, develops, grinds the text, acts as co-author of the song, led people belonging to the people.