The scientific editions of the Russian folklore began to appear from the 30s and 1930s of the XIX century. First of all, these are collections of Professor Moscow University I.M. Snegiva "Russian common holidays and superstitious rites" in four parts (1837-1839), "Russian folk proverbs and parables" (1848).

Valuable materials contain collections of a scientist-folklorist I.P. Sakharov "Talk of the Russian people about family life His ancestors "(in two volumes, 1836 and 1839)," Russian folk tales "(1841).

Gradually, wide public circles were included in the work on picking folklore. This was facilitated by the Imperial Russian Geographical Society created in St. Petersburg. It was the separation of ethnography, which was actively engaged in the fee of folklore in all provisions of Russia. From nameless correspondents (rural and urban teachers, doctors, students, clergy and even peasants) A numerous records went to society oral workswho have compiled an extensive archive. Later, much of this archive was published in the "Russian notes geographical society According to the separation of ethnography. "And in Moscow in the 60-70s, the publication of Folklore was engaged in the" society of Russian literature lovers. "Folklore materials were published in the central journals" Ethnographic Review "and" Living Older ", in local periodicals.

In the 30-40s P.V. Kireevsky and his friend Poet N.M. Languages \u200b\u200bwidely unfolded and headed by the gathering of Russian folk epic and lyrical songs (epic, historical songs, songs of ritual and outcomes, spiritual poems). Kireevsky prepared materials for the press, but untimely death did not allow him to fully realize. With his life, the only compilation was released: spiritual poems. "The songs collected by P.V. Kireevsky" were first published only in the 60s-70s of the XIX century (epics and historical songs, the so-called "old series") and in the 20th century (the songs of the ritual and all-contract, "new series" ).

In the same 30-40s, the collectors' activity of V.I. proceeded Dal. He recorded the works of different genres of Russian folklore, however, as a researcher of the "living Great Russian language", the distance focused on the preparation of the collection of small genres, the closest spoken Speech: Proverbs, sayings, prog, etc. In early 60s, a collection of Dalya "Proverbs of the Russian People" came out. In it, all the texts were first grouped according to the thematic principle, which made it possible to objectively represent the attitude of the people to a variety of phenomena of life. This turned a collection of proverbs into the true book of folk wisdom.

Another detailed folk edition was the collection of A.N. Afanasyev "People's Russian Fairy Tales", in which a great collecting contribution also made a distance, who passed by Afanasyev about a thousand tales recorded by him.

The Collection of Afanasyev went out in 8 issues from 1855 to 1863. Fairy tales recorded by Afanasyev, a little more than a dozen, mostly he used the archive of the Russian geographical society, personal archives IN AND. Dalya, P.I. Yakushkin and other collectors, as well as materials from vintage handwritten and some printed collections. In the first edition, only the best material was published. Approximately 600 column texts covered a huge geographical space: the place of residence of Russians, as well as partly Ukrainians and Belarusians.

The output of the collection of Afanasyev caused a wide public response. With the reviews on him were large scientists A.N. Dupin, F.I. Buslaev, A.A. Kotlyarevsky, I.I. Szrevnevsky, O.F. Miller; In the magazine "Contemporary" a positive assessment was given by N.A. Dobrolyubs.

Later, fighting Russian censorship, Afanasyev managed to publish in London a collection of "People's Russian Legends" (1859) and anonymously in Geneva in 1872 a collection of "Russian cherished fairy tales".

The Collection of Afanasyev was partially translated into different foreign languagesand the German translated completely. In Russia, he endured 7 full editions.

From 1860 to 1862, simultaneously with the first edition of the collections of Afanasyev, a collection of I.A. was published Khudyakova "Velikorvsky fairy tales." New trends expressed a collection of D.N. Sadovnikov "Fairy Tales and Traditions of the Samara Territory" (1884). Gardeners - the first one who paid close attention to a separate talented storyteller and recorded his repertoire. Of the 183, the tales of the collection 72 were recorded from Abraha Novopoltsev.

IN mid XIX. century in the history of gathering Russian folklore happened significant event: In the Olonetsk region, an actively extensive live episode tradition was discovered. Her discoverer appeared sent in 1859 for political activities in Petrozavodsk P.N. Rybnikov. Working an official in the office of the governor, Rybnikov began to use official roads for collecting epic. For several years, he traveled a huge territory and recorded a large number of epic and other works of oral folk poetry. The collector worked with outstanding teachers T.G. Ryabinin, A.P. Sorokin, V.P. Scheggle and others, from which other folklinists later were recorded.

In 1861-1867, the four-volume edition of "Songs collected by P.N. Rybnikov" was published, prepared for the seal of P.A. Bessonovy (1 and 2 tt.), Rybnikov himself (3 tons) and O. Miller (4 t.). It includes 224 episodes, historical songs, ballads. The material was located on the plot principle. In the 3rd volume (1864), Rybnikov printed a "gathering note", in which the state of the epic tradition was described in the priene, gave a number of characteristics to the performers, raised the question of creative reproduction of the epic and the personal contribution of the narrator to the epic heritage.

In the footsteps of Rybnikov in April 1871, Slavist A.F. went to Olonetsk province. Hilferding. In two months he listened to 70 singers and recorded 318 epic (the manuscript was more than 2,000 pages). In the summer of 1872, Hilferding again went to the Olonetsky region. In the way, he fell ill and died.

A year after the death of the collector were published "Onega epics, recorded by Alexander Fedorovich Gilafding in the summer of 1871. With two portraits of Onega Rhapsodes and heft epic" (1873). Hilferding for the first time applied the method of studying the repertoire of individual narrators. The epics in the collection, he placed on the narrowers, with pre-biographical references. As a common introductory article was placed the last journal publication of the Hilferding "Olonetsk province and its popular rapes."

The 60-70s of the XIX century appeared for Russian folklores with genuine colors of collecting activity. During these years, the most valuable publications of different genres were published: fairy tales, epic, proverbs, mysteries, spiritual poems, conspiracies, babysitting, ritual and all-contract songs.

At the beginning of the 20th century, work continued to collect and publish folklore. In 1908, a collection of N.E. was published. Onchukova "Northern Fairy Tales" - 303 Tales from Olonets and Arkhangelsk Province. Onchukov placed the material not on the plots, but on fairy tales, bringing their biographies and characteristics. In the future, other publishers began to adhere to this principle.

In 1914, a collection of DK was published in Petrograd Zelenina "Velikorvish fairy tales of the Perm province." It entered 110 fairy tales. The collection of Zelenin's article "Something about the storyters and fairy tales of the Yekaterinburg district of the Perm province" is presented. It describes the types of fairy tales. The collection material is located in performers.

The collection of brothers B.M. was a valuable contribution to science. and Yu.M. Sokolovy "Fairy Tales and Songs of the Belozersky Territory" (1915). It includes 163 fabulous text. The accuracy of the entry can serve as a model and for modern collectors. The collection is drawn up by the materials of the expeditions of 1908 and 1909 in Belozersky and the Cyril Legend of the Novgorod province. It is equipped with a rich scientific apparatus. Subsequently, both brothers became famous folkloride scientists.

Thus, in the XIX century of the 20th century, a huge material was collected and the main classic editions of Russian oral folk art appeared. It was tremended for both science and all Russian culture. In 1875, the writer P.I. Melnikov-Pechersky in a letter to P.V. Shaina so described the importance of labor of folkloristic collectors:

"In the continuation of the quarter century, I drove a lot in Russia, a lot of songs, tales, believes, etc., etc., but I could not stand, if there were no works of late Dahl and Kireevsky, there were no works printed At Bajansky, L. Maikova's works, Maksimova and - yes, the Lord will calm down in the depths of Abraham Drunk soul of him - Yakushkin. Your comparison of your works with the work of an ant, I find a few.<...> Bees you, not ants - your work honey to collect, our work honey (Hudromel) cook. Do not be you, we would coal some kind kvass, not honey.<...> Half a century will not pass, as the people are running out of the grandfathers, customs, the olderous songs will be shuffled or distorted under the influence of the innocent and kabatski civilization, but your works to remote times, to the later descendants will retain the features of the old life. You are longer than us. "1

In the first decades of the 20th century, Russian folklicy finally completely determined as a scientific discipline, separating from other sciences (ethnology, linguistics, literary studies).

In 1926-1928, on the expedition "In the footsteps of P.N. Rybnikova and A.F. Hilferding" brothers were departed by Brothers B.M. and Yu.M. Sokolov. Expedition materials were published in 1948. Records of the epics of 1926-1933 from the collections of the handwritten repository of the folklore commission at the Institute of Ethnography of the Academy of Sciences of the USSR entered the two-volume edition of A.M. Astakhova "epics of the north". Collection of epic continued in the military and post-war years. The materials of the three expeditions on the Pechora (1942, 1955 and 1956) amounted to the "epics Pechoras and the Winter Shore".

There were many new records of fairy tales, songs, chastushki, works of incommelless prose, proverbs, mysteries, etc. In the publication of new materials prevailed, firstly, genre, and secondly, the regional principle. Collections, reflecting the repertoire of any region, as a rule, consisted of one or few close genres.

Collers began to purposefully identify the working folklore, folklore KORGOV and references. Civil and Great Patriotic War also left their mark in folk poetry, which did not pass by the attention of collectors.

Classic collections of Russian folklore were reprinted: Collections of Tales A.N. Afanasyev, I.A. Khudyakova, D.K. Zelenina, Collection of Proverbs V.I. Daly, Collection of puzzles D.N. Sadovnikova et al. For the first time, many materials of old folklore archives were published. Multi-volume series are published. Among them are "Monuments of the Russian Folklore" (Institute of Russian Literature ( Pushkin House) Russian Academy of Sciences, St. Petersburg) and "Monuments of Folklore Peoples of Siberia and the Far East" (Russian Academy of Sciences; Institute of Philology of the Siberian Branch of the Russian Academy of Sciences, Novosibirsk).

There are centers of philological study of Russian folklore, with their archives and periodic publications. This is the state republican center of Russian folklore in Moscow (Magazine "Living Starina"), the sector of the Russian Folk Creativity of the Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences in St. Petersburg (Russian Folklore Yearbook: Materials and Research "), Department of Folklore Moscow State University. M.V. Lomonosov (Collections "Folklore as the Art of the Word"), as well as regional and edge folk centers with their archives and publications ("Siberian Folklore", "Folklore of the Urals", "Folklore of the Peoples of Russia", etc.). 2.

In the study of Folklore, one of the leading places is occupied by Saratov School of Folkloristics, the history of which is associated with the names of Professor Moscow University S.P. Shevyreva, Poet Songnik N.G. Tsyganova, Kraevda A.F. Leopoldova, a member of the Saratov scientist of the Archival Commission A.N. Minh; Subsequently, professors of Saratov State University - B.M. Sokolova, V.V. Bush, A.P. Scaffties. Professor TM made a great contribution to the study of folklore Akimova and V.K. Arkhangelskaya. 3.

Historical songs

1. Definition of historical songs. Their artistic features

Historical songs are folk epic, lyrol-epic and lyrical songs, the content of which is devoted to specific events and real persons Russian history and expresses national interests and ideals of the people. They arose about important phenomena in the history of the people - those that made a deep impression on participants and

store in the memory of subsequent generations. In the oral tradition, historical songs did not have a special designation and were called simply "songs" or, as epic, "antiquities".

More than 600 stories of historical songs are known. The heyday period of historical songs is the XVI, XVII and XVIII centuries. At this time their cycles were formed around historical individuals or events. In the XVI and XVII centuries. The historical song existed as the peasant and Cossacks, and from the XVIII century. Also as a soldier who gradually became the main.

In historical poetry, a great place was taken by a military-heroic topic and the theme of folk movements. Historical songs tell about the past, but they were created on fresh impressions from genuine facts, also known by written sources. Over time, and sometimes initially, in the songs there was an inaccurate interpretation of events, the assessment of historical individuals and other inconsistencies.

So, in the song "Avdoty Ryazan" Ryazan replaced Kazan. The song about the capture of Kazan (Kazan was taken in 1552) ends with the words: And at that time the prince reignedANDpopulation in Moscow the kingdom that then-de Moscow was founded, and since then the Great Glory since then.but Moscow foundedmuch earlier: In 1147, in the options of the song "Defense of Pskov from Stephen Batory" (1581-1582) among the defenders of Pskov, M.V.Spopin-Shuisky (which was born in 1587, i.e. 5 years After the defense of the city), B. P. Sheremetev (born in 1652, i.e. 70 years after defense). These and some other historical faces entered the song later. In addition, in the siege of Pskov, the hundredsmatic army of Stephen Batory participated, and the song was named forty thousand - an epic number.

The number of examples of such inaccuracies in historical songs could be multiplied. But also sufficient to make sure that the specific persons, events, geographical names mentioned in them, are not always true.

Features artistic historicism Songs allowed fiction. At the same time, the song reproduced the main thing - historical time, which became its main aesthetic factor. People's historical consciousness appeared in the songs first of all.

Compared to epics, historical songs are characterized by more strict historical accuracy. Their characters -

cretaceous, really existing history figures (Ivan Grozny, Ermak, Razin, Peter I, Pugachev, Suvorov, Kutuzov), and next to them - a simple Pushkar, soldiers or "people". For heroes in general, fantasticity and hyperbolization are uncharacteristic, these are ordinary people with their psychology and experiences.

As in the eponymies, large nationwide topics were developed in historical songs. However, the songs are concisely more, their plot is more dynamic, devoid of developed descriptions, permanent formulas, retardation systems. Instead of the detailed story, the plot is limited by one episode. In the composition of historical songs, a monologue and dialogue play a prominent role. The manner of the performance of historical songs is also different from the epic: most often they sang them a chorus, and each song had his own melody. The verse of historical songs, as well as the epic, accent, but shorter (usually two). From the middle of the XVIII century. In the urban and soldier's environment, historical songs appeared with literary signs: with alternating rhymes and silhlor-tonic poems; And in the XIX century. Songs with historical content began to mold as hiking, under the step of the soldier's system (which corresponded to the double size, rhyme, a clear separation of strings from each other).

Historical songs have been distributed in those places where events described in them are: in Central Russia, on the Lower Volga, the Cossacks of Don, in the Russian north. They began to record from the XVII century. (Records for R. Jems) and recorded over the next centuries, but for the first time the plots of historical songs were highlighted and systematized (together with the episodes) in the meeting of P. V. Kireevsky. In 1915, a separate scientific publication of historical songs was published, which was prepared by V. F. Miller. From 1960 to 1973, the most complete multi-volume academic publication was published, equipped with tote applications and detailed scientific apparatus 1.

The collections indicate that historical songs are a significant phenomenon in Russian folklore. Nevertheless, researchers did not come to a single opinion regarding the time of their origin, as well as about their genre nature. F. I. Buslaev, A. N. Veselovsky, V. F. Miller and a modern scientist S. N. Azbeliev considered historical songs as a phenomenon that existed earlier than the XIII century. and the source of heroic epic.

1 See in the literature list to the topic.

If we separate their point of view, it should be recognized that in the XX of historical songs did not cease to exist. Indeed why songs about the Russian-Japanese war, are not historical about the civil and Great Patriotic War? After all, they, like the songs of the previous centuries, were created on the hottest trails of the events themselves by their participants or eyewitnesses and were devoted to large nationwide topics.

A more common opinion is reduced to the fact that historical songs are the phenomenon originated after the golden-melon invasion, and in the XIX century. Already fired. They are - new stage In understanding the people of their history, fundamentally different from understanding reflected by the epics (Yu. M. Sokolov, B. N. Putilov, V. I. Ignatov, etc.).

The occasion for different points of view is served by the historical songs themselves, which in their poetic forms are so different, which does not correspond to the usual ideas about the folk genre. Some scientists believe that historical songs are a single genre that has several style varieties. Others are convinced that they are a multi-sentence phenomenon (historical songs tell about events in the form of ballads, then in the form of a lyrical song or due).

Nevertheless, historical songs occupy a completely independent place in folklore. The main thing, and sometimes the only thing that unites them is their specific historical content. B. N. Putilov wrote: "For these songs, historical content is not just a topic, but the defining ideological and aesthetic principle. Outside this content, such songs simply cannot exist. They have historically plots, heroes, historical conflicts and ways of their permission" 1 .

2. Basic cycles of historical songs

In his aggregate, historical songs reflect the story in her movement - as it was aware of the people. In the scenes of songs, we face the results of the selection of events, as well as with different aspects of their lighting.

1 Putilov B. N.Russian historical song // Folk historical songs / entry. Art., Podgom. text and notes. B. N. Putylova. - m.; L., 1962. - P. 1

2.1. Early historical songs

The earliest of the historical songs known to us reflected the events of the middle of the XIII century, when the individual Russian principalities tried to stop the hordes of Batya.

In the song "Avdoty Ryazanochka" talks about the tragedy of 1237: Old Ryazan was erased by the conquerors from the face of the Earth, and its inhabitants were killed or grieved into slavery. The song is persistently repeated in general place - the image of this disaster:

Yes y ruled Kazan City Podlesna 1 ,

Rasked Kazan de town on-empty.

He in the Kazan princes of Boyar dug everyone away,

Yes, and princess harunt-

Those living in full swing.

He broke the people to many thousands,

He led de in his land Turkish<...>

The heroine of the song - the city of Avdota - showed the courage, patience and wisdom. According to the song, she brought all his people from captivity and built Kazan City Nanoovo(Modern Ryazan is built in another place).

The plot of this song, and perhaps the image of Avdoti - fictional. Artistic fiction relying on poetic forms of epics and early (mythological) fairy tales. Stylistic clichés are associated with these genres: hyperbolic image of the enemy (Scored rivers, lakes deep;Sculpt the beast of Lutyich),the plot of the journey to another kingdom (Turkish land)and those obstacles that were on the road of Avdoti, the motive of the solidification of a difficult riddles. There is a ballad element in the song: "Riddle" King of Bakhmetta passed through the heart of Avdoti, stirring her feelings for her husband, mother-in-law, mother-in-law, son, snowy, daughters, son-in-law and cute brother.Consequently, private human life was put forward to the fore, and the national tragedy is shown through the tragedy of one family.

The household refraction of the historical collision occurred and in the songs of balladte type about half-water girls. The plot motif of the raid of the enemy with the purpose of the girl's immigination goes back to deep antiquity, to those archaic marriage, when a woman was the main prey of a foreign kidnapper. Tied this motive with the goldside invasion, the folklore ticked many life situations of that time.

1 As noted above, the name of the city is replaced by "Kazan".

In the song "Tatar Polon", an elderly woman captured by Tatars and given to one of them in slavery, turns out to be the mother of his Russian wife, his grandmother of his son. The song is imbued with a bright humanistic pathos: Tatar-son-in-law, having learned that the slave is his mother-in-law, refers to her with due respect. In such a interpretation, universal ideals turned out to be higher than the heroic-patriotic. However, in other plots of the same group, the girl runs from the Tatar captivity or even kills himself to not get an enemy.

The epichetic of the story is characteristic of the song "Ltd. Du-Dentevich", which is based on a real fact: a rebellion in the 1327 of the oppressed residents of the Tver against the Khan Rubyer Shevkal (the son of the Douden). The content of the song expressed deep hatred of the people to conquerors, which manifested itself primarily in the generalized image of Scharnna. In his outfit, various artistic agents were used. For example, in the image of Shchelkna, as a collector of Dani, a stepwise narrowing of images 1 was applied, which helped convincingly show the tragic, the subanence position of the people:

FROM princes took the ruble

With a boyars on fifty

From the peasants of five ruble;

What is no money

Tovo child will take;

From which the child is not

That wife will take;

Kotoro's wife is not,

T OO Self-head will take it.

The reception of hyperboles was used. So, in order to deserve the location of Khan Nizvyka to himself, the click fulfilled his fabulous requirement: the broof of his own son, the bowl of his blood came across and drank it. For this, he was made by the Khan governor in Tver, the inhabitants of which hesitated his inconsistencies. However, according to the song, his very inspiration is a terrible end. Skarinna, on behalf of the citizens, appeared with gifts for peace negotiations. Some brothers Borisovichi. He took gifts, but he behaved so that he deeply insulted the petitioners. Recommending the hyperbole, the song portrayed the death of Schlit: one brother grabbed him by the hair, and the other behind his feet - And here Evo ruined.For

1 For him, see the chapter "Lyrical Out Communication Songs".

this Borisovichi remained unpunished (Nor on whom not a cheek-elk),although B. real story The uprising in Tver was brutally suppressed.

Early historical songs are works about the time when Rus was under the oppression of the Golden Town yoke. Songs became a concentrated expression of this tragic period in folk fate.

2.2. Historical songs of the XVI century.

In the XVI century Classic samples of historical songs appeared.

Cycle songs about Ivan Groznydeveloped the topic of struggle with external and inner enemies for strengthening and uniting Russian land around Moscow. The songs used old epic traditions: the organization of their stories, taking the narration, the stylistics were largely borrowed from the epic.

So, for example, the "Kostrich song" in some embodiments had a characteristic end. The defeated Kostryuk tells the king:

"Thank you, Zyatyushko,

Tsar Ivan Vasilyevich,

On your stone Moscow!

God forbid me more

In your stone Moscow

And I would not be, and my children! "

This ending is echoing with the end of some epics of Kiev cycle:

I will order for children and grandchildren

Ride the city to Kiev.

It is also almost literally reproduced in the song "Defense of Pskov from Stephen Batory":

<...>Nasil King Self-third ran away.

Ruffle he, dog, encroaches:

"Do not give, God, in Russia to go,

Neither children mine and not grandchits

And neither grandchits and nor great g. .

Some of the episodes of the epics almost completely transferred the description of the pyr of the epic in the historic song about Ivan Grozny and Son, etc.

"Folk historical songs / entries. Art., Podget. Text and Note. B. N. Putylova. - M.; L., 1962. - P. 88-89.

2 Folk historical songs ... - P. 104.

At the same time, the song image of Ivan the Terrible, unlike the heroes of the epics, is psychologically complicated and contradictory. Insplessing the essence of the royal power, the people depicted the Terrible Organizer of the state, the wise ruler. But, as it was, in fact, the king is quick-tempered, angry and in anger, recklessly cruel. He is opposed to any reasonable person, bravely pacifying the king's wrath and preventing his irreparable act.

The song "Take the Kazan Kingdom" pretty close to the action sets out the events of 1552. The people faithfully realized and reflected the general political and state sense of the existence of Kazan: this large victory of the Russian people over the Tatars laid an end to their domination. The campaign organized the king. The precipitated Kazan, the Russians made a subpople under the city wall and laid the barrels with gunpowder. In the estimated time of the explosion did not follow, and the Terrible inflamedsuspected treason and shook the canonons here.But from their environment made a young canoner who clarified the king, why the explosion of the fortress wall is delayed: the candle left on the powder barrels under the ground, not yet denounced ( That in the wind the candle is burning rather, and in the Earth, the candle goes quiet).Indeed, the explosion soon thundered, which raised high mountainand scattered white chambersIt should be noted that the documents do not talk about the collision of the Terrible and Pushkar - perhaps it is a folk fiction. |

The fight against treason has become the main theme of the song about the anger of Grozny on the Son (see "Grozny Tsar Ivan Vasilyevich"). As you know, in 1581, the king in the seizure of anger killed his eldest son Ivan. In the song, the anger of the king fell on the younger son, Fedor, accused of his brother Ivan in treason.

This work reveals the dramatic era of Ivan IV government. It is said about his rules with the population of whole cities (those where he increased treason),the cruel business is depicted, cruel paintings of the mass persecution of people accusing their younger brother, Tsarevich Ivan says:

Ai Prostrozny sir Tsar Ivan Vasilyevich,

Our parent. Batyushko!

I was driving a street,-

I drove a street,-

Other bil executed yes other hung

Sadil prisons for prisons.

And Fedor da Ivanovich went with a gray boy

Bil executed yes other hung away

Delivery to Sadil Prisons,

Alternately, he decrees and porrosylal,

So that the little yes is posed

To old yes Rostyulyanisi ...

A psychological portrait sketch of the king is held through the song by leitmotif:

Meridly his Oco Pomochilosha.

His royal heart is broken.

The king orders to execute Fyodor, and the Ball of Malyuta Skuratov hurry to fulfill the sentence. However, Tsarevich rescues his mother's brother (the first wife of Ivan the Terrible Anastasia Romanovna) old Mikitushka Romanovich.The next day the king, thinking that the son is no longer alive, deeply suffering. In this scene, we are not a statesman, but a repentant father:

Lucky here the king and picked up:

- On thieves yes on robber

E.<есть>subsunches yes fear.

In my face

There was no nun yes,

Nor outpit, no fence!

But he brightens about the salvation of Tsarevich. The graceful king father gives Nikita Romanovich at his request of the victor, in which he could have to take and get forgiveness with any cool man.

Regarding the marriage of Grozny in the Circassian Princess Mary Temryukovna, a parody "song about Krukhnuk" was folded. Kostryuk, Shurin Tsar, depicted hyperbolic, in the epic style. He brags his power demands selfier.But in fact he is imaginary bogatyr. Moscow wrestlers will not only win Krubok, but also, withdrawing a dress from him, exhibit on the laugh. The song is folded in the style of cheerful chumoros. Her plot is likely to be fictitious, since there are no historical confirmations of the Obbbzarchychychy fighters with Russian fuzzles.

A number of other different ones on the subject of historical songs about Ivan Grozny and about his time are known: "Rye Krymsky'an", "Ivan Grozny under Serpukhov", "the defense of Pskov from

Stephen Batory "," Ivan Grozny and kind well done "," Terek Cossacks and Ivan Grozny. "

Song cycle about Ermak- The second large cycle of historic XVI songs.

Yermak Timofeevich - Donskoy Cossack Ataman - earned the anger of Grozny. Saved, he goes to the Urals. First, Ermak ocher, identified the possessions of Stroganov's breeders from the attacks of Siberian Khan Kuchum, then began a campaign in Siberia. In 1582, Ermak broke the main forces of Kuchum on the shore of Irtysh.

"Song about Yermak" depicts a difficult and long path of his detachment on unknown rivers, a cruel struggle with the Horde of the Kuchum's courage and resourcefulness of Russian people. In another song - "Yermak Timofeevich and Ivan Grozny" - Ermak appeared to the king with the obey. However, royal prince-Boyars, Duma Senaterspersuade the terrible execution of Ermak. The king did not obey them: I

In all wines, forgive him

And only Kazan yes Astrakhan told told.

Yermak is truly a popular hero, his image deeply entered the folklore. Violating chronological frameworks, later historical songs are attributed to Ermak hiking to Kazan and Astrakhan, turn him into a contemporary and a partner of the Razin and Pugachev's action.

So, main idea historical songs of the XVI century. - Association, strengthening and expanding Moscow Rus.

2.3. Historical songs of the XVII century.

XVII century Song cycles were folded about the Epoch Epoch and about

Stepana Razin.

Cycle songs about "troubled time"reflected the acute social and national struggle The end of the XVI - early XVII century.

After the death of Ivan the Grozny (1584), his juvenal son Tsarevich Dimitri (born in 1582), together with Mother, Maria Nagoya and her relatives were sent by the Boyarov Council from Moscow to Uglich. In 1591, Tsarevich died in Uglich. After the death of Tsar Fyodor Ivanovich in 1598, Boris Godunov-Folk song became king, so responded to this event:

Oh, we had, brothers, in the old years ...

<...>How our Orthodox king was pressed

Fedor Ivanovich,

So I went to Rosseyyushka by the villains.

Villainous hand, boyars-gentlemen.

There was one buwny head from the boyars,

One buoy head, Boris Godunov Son.

And this Godunov of all boyar people pissed.

I decided to manage Polofamy Rosseyushka,

He took possession of all Russia, began to reign in Moscow.

I got the kingdom of death of the king,

The death of the king of the glorious, St. Dmitry Tsarevich ^.

In 1605, Boris Godunov died. In the summer of the same year, Lhadmitriy I entered Moscow (Grishka Sberling). Folklore retained two crying of the daughter of King Boris Ksenia Godunova, which the impostor tonsure into the monastery: she was carried through all of Moscow, and she was launched (see "Plach Ksenia Godunova"). The fact that Ksenia is the daughter of the king's hated people, did not matter for the idea of \u200b\u200bthe work; It was important that it was brutally and unfair offended. The sympathy of the coherent fate of the princes was simultaneously condemning the impostor.

Images of Grigory Freakyev and his wife-inken of Marina Mnishek in songs are always parody, caricature. In the song "Mishka Listridge" (see in the Krestomatia) both are condemned for the abuse of Russian customs. Marina Mnishek is called an evil man's guideline.In 1606, the Samozvana was killed, Marina Mnishek Benhel. The song says that she Sorsay was turned around and she flew out of the poll.

The historical songs of this period positively draw those who oppressed the alien invaders. That was Mikhail Vasilyevich Skopin-Shuisky - Prince, a talented commander and a diplomat who won the Poles in 1610. Polish interventories acquired the features of epic enemies in the historical song. National recognition, a solemn meeting of Skopina-Shuisky in Moscow caused envy and hatred of princes and boyars. According to the testimony of contemporaries, in April 1610 in the crosses of Prince I. M. Vorotnsky, he suddenly fell ill and died overnight. It is assumed that the prince was poisoned by the daughter of Malyuts Skuratov. This event shook Muscovites so much that became the basis for several songs (see the song "Mikhail Skopin-Shuisky"). In the Arkhangelsk lips. One of them was reworked in the episodas (records at the beginning of the XX century. A. V. Markova and N. E. Onchukova). Songs mourn the death of Skopina, as a difficult loss for the state.

1 songs collected by P. V. Kireevsky. - Part 2: Wijoy, historical songs. - Vol. VII. - M., 1868. - P. 2-3.

Song cycle about Stepan Raze- One of the largest. These songs were widespread in folklore - much more than those places where 1667-1671 movement was deployed. They lived in popular memory for several centuries. Many, having lost their deritment to the name of Razin, entered into an extensive circle of robbing songs.

The songs of the Razinsky cycle are diverse in content. They spend in all stages of movement: Robber payments "" With Cossacks in Caspian (Puffing)sea; peasant; war; Songs about the suppression of the uprising and the execution of Stepan Razin; Songs of the ruins who hid after the defeat in the forests. At the same time, almost all of them by genre type of lyrical, immutable. Only two songs can be called LarEpic: "" Son "Razin in Astrakhan" and "Killed Astrakhan Governor (Governor)."

In the song O. "Son"there is a balagenic, anecdotal element. Her hero - dissolved well done,who, but not bow to anyone, proudly walks in the city, singing in the prince of kabask." Son "-messenger Razin, appeared in Astrakhan in order to inform the governor about the upcoming arrival of Ataman himself:

"From the river, the rivers of the stray of Senka Razin, I am a son.

My father wanted to visit guests.

I wanted to visit visit, you will be able to accept it,

You will be able to accept it, I'll be able to sweetened.

If you know how you take, I will give a fur coat,

And you can't accept, I will plant "^.

The angry governor plant himself in Belo, the stone is a prison,however, the reversal with robbers is already in a hurry to revenue. "

The most deeply social theme is revealed in a song about the murder of the Astrakhan governor (see in the Chesttomatology). In the exposure exposure, river exposures are colorfully depicted, kras.cool coast, green meadows ...On the river are floating inletesual,on which the robbers are sitting - eVERYTHING BURLAKI, ALL YOU WOMAN WILLS.The song idealizes their appearance:

Good all deals were dressed:

On them hats Sable, the tops of the velvet;

On the Kamka they have kaftans are single-ordinary; CARVATE BSHSHES in the thread are stronger;

Galon Shirts Shelkov are covered;

1 Folk historical songs ... - p. 182.

Boots on all at the wellms of Safyanov;

They were rowing and sang songs.

The goal of Burlakov is to cut the ship on which the Astrakhan governor floats. Here in the distance behind the flags of Governorski.Seeing inevitable death, the governor is trying to boot from the robbers golden treasury, colored dress, overseas wonder- But do not want it remove people free.They arrange over the governor to reprse: cut off from him buyne's headand they throw it in the Volga Mother.The governor deserved punishment that explained the song itself:

"You are good because the governor, the rogger was, you were hit us, you ruined us, referring to the link, on the gate of the wing, the children were shot!"

The songs of the Razinkle cycle were created mainly in the Cossack environment and largely expressed the ideals of struggle and freedom inherent in the Cossack creativity. They are deeply poetic. Stepan Razin is depicted in them with the means of folk lyrics: this is not an individualized, but a generalized hero that embodies traditional ideas about male strength and beauty. In the songs, many images from the world of nature, which emphasizes their overall poetic atmosphere and emotional tensions. This is especially manifested in songs about the defeat of the uprising filled with lyrical repetitions and appeals to nature:

Ah, fogs you mine, fog,

You are my fogs are impenetrable,

How sadness is hated!<...>

You're from the crash, the cloud of terrible,

You are proles, proles part-large rain,

You are a different, wide earthy prison<...>

The image of the peeling quiet dona- From the top to the Black Sea, to the Black Sea of \u200b\u200bAzovskov -sends the sadness of the Cossack circle, who lost her Ataman:

Caught good well done

Blick's hands tied,

Walked to the stone of Moscow

And on the glorious Red Square cut off the buyne head.

Ringing folklore with great artistic advantages, attracted the attention of many poets. In the XIX century appeared folk songs About Stepan Raze Literary Origin: "Because of the island on Strazhen ..." D. N. Sadovni-Kova, "Rock Steenka Razin" A. A. Navrotsky and others.

2.4. Historical songs of the XVIII century.

Starting from the XVIII century. Historical songs were created mainly in the soldiers and Cossack medium.

Song cycle about Petrovsky timetalks about the diverse events of this period. Songs associated with wars and military victories of the Russian army are on the fore. Songs were folded about the taking of the fortress of Azov, the cities of a nut (Sklinburg), Riga, Vyborg, and so on. They expressed a sense of pride for the successes achieved by the Russian power, the courage of Russian warriors was global. The songs of this period were new images - simple soldiers, direct participants in battles. In the song "Under the glorious city of Noodle", Peter I consults about the upcoming hostilities with its generals - they persuade the king from the city of retreat.Then Peter I appeals to the soldiers:

"Ah you are Goy of Esi, my deudes of soldiers!

You will think up to me a breathtaking, arrive-

Is it still told us no nut-city? "

What are not tan bees in the ulle you.

Yes that Russian soldiers expect:

"Oh, you are Goy Esi, our father's sovereign king!

We are swimming for it- do not surrender

We dry by go- do not deprecate.

We will not from the city of retreat,

And we will be his white breast of brotherhood "\\

It should be noted that in most songs the soldiers talk about warlords with respect and even with admiration especially popular among the soldiers was Field Marshal B. P. Sheremethev (Sheremetev and Swedish Major, etc.). Heroic Romantic Oweyan Song Image of Ataman Donskoy cossack troops I. M. Krasnoshekova ("Krasnashchekov in captivity").

In the songs of Petrovsky time, the topic of Poltava battle occupies an important place. The people understood his meaning for Russia, but at the same time aware of which price did the victory over the army of Charles XII . The song "Poltava case" (see in Krestomatia) ends with a deployed metaphor "Battle-Pashnya":

Planting Swedish Pashnya.

Unpaid soldier white breasts;

Oran Swedish Pashnya

Soldier's feet;

Broorona Swedish Pashnya

Soldier's hands;

Sunday new Pashnya

Soldier's heads;

Polyvanaya new Pashnya

Hot soldier blood.

The idealized image of Peter I is in historical songs a great place. Here, as in legends, his active nature is emphasized, proximity to ordinary warriors, justice. For example, in the song "Peter I and the Young Dragun", the king agrees to compete with the young dragoon fifteen years old.Once defeated, the king says:

"Thank you, young dragoon, for the Bornese!

Than you, young dragoon, give-complain:

Will those villages, villages,

Ali those golden treasury? "

Young dragoon replies that he needs only one thing: laborly in prince kebaks wine drink 1 .

At the beginning of the XVIII century. Songs were folded about the execution of Streltsov - participants of the Streetsky rebellion, organized in 1698. Tsa-Verny Sofia. They sang on behalf of the Archers and emphasized their courage, although they did not condemn the king ("Streletsky Atamanushka and King Peter first", etc.).

The special group was the songs of Cossacks Nekrasov. They are talking about leaving in 1708 from Don to Kuban several thousand Cossacks-Old Believers, headed by Ataman Ignat Nekrasov, as well as about their secondary care from Kuban for the Danube in 1740

Folk historical songs ... - P. 224.

Folk historical songs ... - P. 211.

Song cycle about Pugachev uprisingmakes a relatively small number of texts recorded in the Urals, in the Oren-Burg's steppes and in the Volga from the descendants of participants or eyewitnesses of events 1773-1775. It is necessary to emphasize his connection with the Razinsky cycle (for example, a song about "Son"Stepana Razin was completely timed to the name of Pugachev). However, in general, the attitude towards Pugachev in the songs is controversial: it is considered as a king, as a rowman.

During the Pugachev uprising, Commander-in-Chief In the Orenburg and Volga region, General-Annef Count P. I. Panin was appointed. On October 2, 1774, his meeting was held in Simbirsk with captured and brought there Pugachev.

Here's how it describes this event (according to documents) in the "History of Pugacheva" A. S. Pushkin: "Pugacheva brought directly to the courtyard to the count of Panin, who met him on the porch, surrounded by his headquarters." Who are you? "He asked Sapphistant. "Emelyan Ivanov Pugachev", - he answered. "How dare you, the thief, turn out to be a sovereign?" - continued Panin. "I am not a raven (I objected Pugachev, playing words and explicitly, in my usual, allegorically), I am a Voronenok, and the corona is still flying." - To know that the Yaitski Bunvaders in the denial of the general Mollev dismissed the rumor that there was someone Pugachev between them, but that he was with a state truck Peter III, by the leading, nothing has nothing to do. Panin, noting that the keenness of Pugacheva was struck by the people, crowded near the courtyard, hit the impostor to face before the blood and snatched his borodel. Pugachev became knees and asked for a pardon. He was planted for a strong guard, mounted on his hands and on the legs, with an iron hoop near the lower back, on the chain, screwed to the wall. "

The folk response for this event was the song "Court of Over Pugachev" (see in the Krestomatia). The song gives his interpretation of the meeting, filling it with an acute social sense. Like the heroes of the robbery folklore (see, for example, lyrical song "Not Shumi, Mati, Green Dubravushka ..."),Pugachev talks with Panin proudly and courageously threatening him and it leads him to horror (Count and Panin were served by hand, "balcia).Even challenged, Pugachev so dangerous that his all Moscow Senators cannot judge.

Songs about Pugachev uprising are known from different peoples of the Volga region: Bashkir, Mordvoy, Chuvash, Tatars, Udmurts.

1 Pushkin A. S.Cathedral So.: in 10 tt. - T. 7. - M., 1976. - P. 85.

2.5. Historical songs of the XIX century.

From the second half of the XVIII century. The image of the king in the soldiers' songs began to decline, he was opposed to the image of this or that commander: Suvorov, Potemkin, Kutuzov, Cossack Ataman Platov.

Cycle songs about the Patriotic War 1812g. In artistic terms very different from the early cycles. It has already lost contact with the epic and at the same time noticeable the tendency towards rapprochement with folk and even book lyrics. Songs are a soldier's story about a kind of event that appears as one episode, not always reliable. (For example, the content of the song "Cards visiting the Frenchman" fully fictional). The plot is transmitted static, unnewned, it is almost definitely preceded by lyric zinch. For example, a song about the conversation of Field Marshal M. I. Kutuzov with a French major (see in Krestomatology) begins with the occasion expressing admiration by the Russian warlord:

What is not the Red Sun and Estimated:

Estraged Cutuzov Acute Saber

. Prince Kutuzov goes out in a pure field<...>

In the songs, typical details predominate, and the heroes are revealed through their actions, speech or by comparisons. Simplicity life situations appear in old, already well-known artistic forms.

For example, an ancient epic motive was used about how an enemy leader sent an ultimatimative letter to the Russian prince:

The French king King White is sent:

"Supply you are me apartments, apartments exactly forty thousand,

I myself, king, white palatins. "

The letter turns the king in despondency: His royal financed.The king encourages Kutuzov:

He spoke about him, the generator,

As if in a pipe of a pipe:

"Do not let you, our father Orthodox king!

And we will meet the villain of the middle way,

Message path on his land,

And we will put the tables to him- copper guns,

And we are tablecloths to him- Volny bullets.

At the snack, we will put Kalenny.

It will treat it canoners, to accompany it all Cape "^"

The artistic loss of historical songs of this period can be considered the incredible lack of plot in them. Some songs consist of random, fragmentary and unfinished episodes, weakly linked to each other.

For example, the song about the Ataman of the Don Cossack troops M. I. Platov begins with lyrical occupation:

From their pure hearts

Council of the feet of the crown.

On the head with Nadpen

Songs of the Songs<...>

Next, the soldiers tell about how well they in the army of gossivUT.- Provided with everything necessary. Then - unmotivated transition to the fight scene (Ours began to Fall ...)and in the end it is reported that frenchman Walitand crumbling threats stone Moscow(cm. inChesttomatia).

Such facts indicate the process of re-formation of the old folklore system, especially its epic forms. The people were looking for new ways of poetic expression. Nevertheless, historical songs captured important events of 1812: battles near Smolensk, Borodino battle, the ruin of Moscow, crossing Berezin and others. Songs expressed a patriotic sense of peasants, Cossacks, soldiers; Their love for folk heroes - the commander Kutuzov, Platov; His hatred of enemies.

In the XIX century Historical songs and other events were folded - for example, about the Crimean (Eastern) war 1853-1856. In the songs dedicated to the defense of Sevastopol, the courage and heroism of ordinary soldiers and sailors were depicted.

Historical songs are the oral poetic chronicle of the people, his emotional story about the history of the country.

Literature to the topic texts.

Songs collected by P. V. Kireevsky. Published by the society of lovers of Russian literature. - Part 2: Wijoy, historical songs. - Vol. 6-10. - M., 1864-1874.

1 Folk historical songs ... - P. 274-275. 266.

Miller V. F.Historical songs of the Russian peopleXVI-XVIIIV. -

Historical HS-Hu1 centuries / ed. B. N. Putilov prepared, B.M. Dobrovolsky. - m.; L., 1960.

Historical songs of the XVIIVe / ed. Prepared O. B. Alekseeva, 5. M- Dobrovolsky and others - m.; L., 1966.

Historical songs of the XVIII century / ed. Prepared O. B. Alekseeva, L. I. Emelyanov. - L., 1971.

Historical songs of the XIXVEK / ed. L. V. Domanovs-Kiye, O. B. Alekseeva, E. S. Litvin. - L., 1973.

Russian historical songs. - 2nd ed., Pererab. and add. / Sost V. I. Ignatov. - M., 1985.

Research.

Putilov B. N.Russian Historical and Song Folklore XIII-XVI centuries. - m.; L., 1960.

Sokolova V.K.Russian historical songs of Hut-Hush explosives. - M., 1960. [Academy of Sciences of the USSR. Proceedings in the ethnography them. N. N. Miklukho-Maclay. New series. - T. 1x1].

Crop N. A.Folk historical songs of the beginningXVIIVEK. - L., 1974.

How can I hear a voice of history? How in his shades, emotional to sense elusive, feel intimate? So source folk memory It is a historic song - ancient, passing through various centuries and epochs, reflecting various events and fate.

Historical songs - Epic and lyrical folklore works, which reflect the understanding of the people of historical events and phenomena and is expressed to their attitude.

Scientist-folkloride, researcher of Russian epics and historical songs B.N. Putilov wrote: "The historical song as a work of art characterizes a peculiar and free attitude towards the actual side of history. The song is not a chronicle, and she is alien to install at any accurate, "documentary" reproduction of facts. On the contrary, most often the inconsistency of songs from the facts is striking. Songs depict events not quite so, and even not as they occur in Reality. Sometimes they are talking about events not at all known stories and in the history of impossible. Historical faces Make such actions in the songs, which they did not actually have done and could not commit. Among the songs, there are also those who do not know the story at all ...<...> Songs should not evaluate the degree of loyalty to their facts, but by the degree of penetration depth in reality and the expression of the people's consciousness. "

Historical songs and chronicles

Historical songs are a genre of populating creativity. They arose in the period of combating the Mongolian invasion, as evidenced by one of the earliest songs of this kind - the song about Shchelkna.

The events referred to in the song are associated with the Tver uprising of 1327 against the governor of the Golden Core Khan in Tver Shevkal (Cholhana, Scholkana, Shchelkna Denevich, how to refer to his Russian chronicles). Shevkal "Created great persecutions for Christians - violence, robbery, beating and cropping." The uprising against Shevkal appeared seemingly suddenly, spontaneously: "... a certain deacon-tranquenine, nicknamed him Dudko" led the horse on the waterway, "Tatars, who saw her, taken away." The inhabitants were encountered for the Dyakon, the fight began, which went into the rebellion: "And they hit all the bells, and the whole people rebelled, and immediately gathered all the people ... and tver clicked, and began to beat the Tatars where they were caught by Shevkal himself "

The chronicler informs that, having learned about the death of his governor, Uzbek, Tatar Khan, "in the winter sent to ruffles in Russian land ... and they killed many people, and others captured, and Tver and all the Tver cities betrayed fire." All this is narrated in the chronicle.

The historic song about Sliver and is close to the chronicle, and is in many ways different. The chronicle record is sequential and strict in the selection of facts and their description. The actions of the characters are motivated, the plot in the chronicles is stressful, dramatic. The chronicler steadily leads to the main conclusion: offenses that Tatari to Tver residents believe inevitably lead people to indignation, an explosion.

In the song Such conflict is also present:

And chippores jigs
He is the judge of the population
Tver one old
In Tver, that rich.
And he sat a little judge:
And widow dishonor
Red Maiden Disorder,
We must disorder everyone
Over houses mocking.

However, in a folk historical song, attention is paid not so much chronology, sequences of events, how many moral assessment of what is happening.

Historical songs and epics

Historical songs appeared later epic. From the epic, they differ from the fact that the basis of their plot is valid events, important social and foreign policy conflicts. Many historical songs, like the epics, were transmitted from generation to generation not only because they were a kind of memory of the past events, but also because they turned out to be consonant new Epoch. The Hero-Bogatyr is valid in the eponym, to submit to which it is impossible in life, many of its characteristics are hyperbolic. Hero of historical songs - a bowl of all the real person. In early historical songs, the influence of epic is especially noticeable. They show inherent grotesque inherent in the enemy's image. At the same time, unlike the epic, they act in them are not bogatyr, endowed with superhuman power, but ordinary people. So, in the earliest song about Clichene, the main force is a simple Tver person.

Collectors and researchers

Historical songs were actively collected and recorded in the XVIII-XIX centuries. The most famous and major collectors were:

Mikhail Dmitrievich Chulkov (1744-1792), Russian writer, folklorist; The result of his collective activity was published in the year 1770-1774 in four parts Book "Collection of different songs";

Petr Vasilyevich Kireevsky (1808-1856), Russian folklorist, archeographer, publicist. The historical songs collected by him, entered the publication of the "Kireevsky" songs in the ten volumes, published in 1860-1874;

Vsevolod Fedorovich Miller (1848-1913), Russian folklorist, linguistic, ethnographer, archaeologist, academician of the St. Petersburg Academy of Sciences. He systematized historical songs in his work "The historical songs of the Russian people of the XVI-XVII centuries.";

Vladimir Nikolaevich Dobrovolsky (1856-1920), ethnographer, folklorist, linguist; The most famous works were the four-volume "Smolensky Ethnographic Collection" (1891 - 1903) and Smolensk Regional Dictionary (1914).

In the class we will get acquainted with historical songs, we learn its role in saving the history of our country. We will understand what the historic song is different from the eponym. Let me read songs about Ermak, about Emelyan Pugachev, we will analyze them.

Fig. 2. Ermak Timofeevich and Khan Kuchum ()

Until this days of information about Yermak, a little came, the songs of it are important as historical evidence. For sure, neither the name of Ermak nor its origin. Presumably, he was from the peasants, ran into the Don, robbed in the lower reaches of the Volga and Caspian. Falling from the persecution of the authorities, Ermak rushed to Kamu with his associates and got to the possessions of the Urals industrialists of Stroganov.

It is known that in April 1579, Yermak, with his buddy, served as Stroganov and protected their possessions from the Siberian Tatars. In those days, Khan Kuchum hinged in Siberia, people were under the devastating oppression of Tatars. Stroganov supported the hike proposed by Ermak, which was very difficult: only 840 people passed through the Ural Mountains. Thanks to the strict discipline, the detachment moved forward.

On October 25, 1581, Ermak took the capital of the Siberian king - Khan Kuchum. For this victory, Ivan Grozny forgave Ermak past sins and rewarded expensive gifts.

Historical songs keep the memory of this hero. His mighty image attracted attention, because he was a leaving of the people, the smart and endowed with courage.

Read the song about Ermak (Fig. 3).

Fig. 3. Song of Ermak ()

The song created a realistic image of the hero, without idealization and exaggeration. Ermak - Ataman Cossacks who are engaged. There is no patriotic idea, the people say that Ermak is going on a hike in order to deserve the forgiveness of the king. The song depicts one episode - the appeal of Ermac to the Cossacks, a traditional intologist receiving was used. The song begins with the zeal (Fig. 4), who introduces the place of events and the main hero.

In the songs are visible artistic techniqueswhich are inherent in folk genres: epithets, hyperbole, words with dimensional suffixes and repetitions. Examples of used artistic techniques in the text (Fig. 5):

Fig. 5. Examples of used artistic techniques in the text ()

In this song, the truth about heroes is not hidden, but we are not a criminal, but a free person who does not want to be a slave. The people admires him by freedom and leadership qualities.

Another folk hero, capable of leading people, is Emelyan Pugachev. Pugachev Emelyan Ivanovich is the leader of the largest in the history of the anti-refreshmental folk uprising of 1773-1775 (Fig. 6), in the history of the Pugachev uprising, or the peasant war.

Fig. 6. Pugachev Emelyan Ivanovich

In 1774, Pugachev issued to the authorities to the conspirators and executed in Moscow on Bolotnaya Square (Fig. 7).

Fig. 7. Pugacheva penalty ()

Read the song about Emelyan Pugachev (Fig. 8).

Fig. 8. Song of Emelyan Pugachev ()

Song tells about the conclusion in the dungeon national Hero Pugacheva, the people sympathize with him. Many dreamed about free life, but not everyone could dare to oppose the power and lead the people. Pugachev loves the people, depicted as a folk assistant to freedom.

At the lesson, we were convinced not only in the originality of folk historical songs, but also in their values \u200b\u200bin the saving of the history of our country.

Bibliography

1. Merkin G.S. Literature. 8th grade. Tutorial in 2 parts - 9th ed. - M.: 2013., Ch. 1 - 384 p., Ch. 2 - 384 p.
2. Kurdyumova T.F. and others. Literature. 8th grade. Textbook-Reader in 2 parts of Part 1 - 12th ed., 2011, 272 p.; Part 2 - 11th ed. 2010, 224 p.
3. Korovina V.Ya. and others. Literature. 8th grade. Tutorial in 2 parts - 8th ed. - M.: Enlightenment, 2009. Part 1 - 399 p.; Part 2 - 399 p.
4. Buneev R.N., Buneeva E.V. Literature. 8th grade. House without walls. In 2 parts. - M.: 2011. Ch. 1 - 286 p.; Part 2 - 222 p.

1. Licey.net ().
2. Uskazok.ru ().
3. SilverHorseshoe.narod.ru ().

Homework

1. What is the main difference between historical songs from the epic?
2. What are artistic techniques that are inherent in folk genres are used in historical songs?
3. Explain what the love of folk heroes is due.

Aarn Anti (1867-1925) - Finnish folklorist, one of the founders of the historical and geographical method. Its "Pointer of fabulous types" (1910) lay down the basis of dozens of national signs of fabulous scenes.

avdeeva Ekaterina Alekseevna (1785-1865) - a wonderful Siberian life-order, who also published a lot of songs and fairy tales. The main essay is "notes about the old and new Russian life" (1842).

azadovsky Mark Konstantinovich (1888-1954) Russian folklorist, collector fairy tales. His work on Russian storytellers (1932) laid the beginning of the study of individual skills of folk artists. His capital labor "History of Russian Folklinistics" (1958-1963) was posthumously.

anderson Walter Nikolayevich (1885-1962) is the largest European talented, who belonged to the historical and geographical ("Finnish" school. His scientific activity began in Russia, and the first works ("Roman Apulean and the People's Fairy Tale", "Emperor and Abbat") are written in Russian.

Andreev Nikolai Petrovich (1892-1942) is a wonderful folklorist, a researcher of fairy tales. The creator of the "Pointer of fabulous stories according to Anti Aarn" (1929), a commentator of the academic edition of the "People's Russian Fairy Tales A. N. Afanasyev" (1936-1940), the author of one of the best Krestomati "Russian Folklore" (1936, 1938).

Anichkov Evgeny Vasilyevich (1866-1937) - Russian critic, literary critic and folklorist, author of monographs on ritual poetry and Old Russian paganism.

Anikin Vladimir Prokopyevich (1924) - a famous researcher of Russian folklore, professor, doctor philological Sciences, head. Folklore Department of the Philological Faculty of Moscow State University, author 400 articles and 20 books, united by a common topic - Folklore as the national art of the word ("Russian Folk Tale", "Russian Bogatyrsky Epos", "Russian Folklore", "Russian oral folk art"," Folklore theory ", etc.).

afanasyev Alexander Nikolaevich (1826-1871) - an outstanding Russian scholar-mythologist, the compiler of the classic meeting of Russian fairy tales. He owns the capital labor "Poetic views of Slavs in nature."

bakhtin Mikhail Mikhailovich (1895-1975) is an outstanding Russian literary critic and theorist of art. Related to folklore work - "Francois's creativity and the People's Culture of the Middle Ages and Renaissance", "Epos and Roman".

bessonov Petr Alekseevich (1826-1899) - Russian folkloride of the Slavophile sense, publisher of the classical assemblies of P. Kireevsky and P. Rybnikov and their own collections of spiritual poems and children's songs.

bogatyrev Petr Grigorievich (1893-1971) - an outstanding Russian folklorist, author of works on people's Theater. and applied art.

buslaev Fyodor Ivanovich (1818-1897) is the largest Russian philologist and folklorist, one of the most striking representatives of mythological school.

veselovsky Alexander Nikolaevich (1838-1906) is an outstanding Russian literary critic and folklorist, who studied the phenomena of literature in a comparative historical vein, one of the founders of "historical poetics", interpreting the origin and development of verbal art.

vinogradov Georgy Semenovich (1896-1945) - Russian folklorist, author of classic work on children's folklore.

Gurevich Aron Yakovlevich (r. 1924) - an outstanding historian, author of monographs about medieval culture, including folklore.

dal Vladimir Ivanovich (1801-1872) - Wonderful Russian writer, folklorist, linguist, compiler of classical " Intelligent dictionary living Great Russian language "and most full collection Russian proverbs.

elena Elena Nikolaevna (1873-1951) Outstanding researcher of fairy tales and conspiracies.

zhdanov Ivan Nikolayevich (1846-1901) - Russian folklorist, Epos researcher, who puts the epics in contact with the medieval verbose of Western Europe.

zhirmunsky Viktor Maksimovich (1891-1971) - an outstanding Russian philologist, the author of capital research in many areas of language and literature. As the folklorist was engaged in the heroic epic, especially Turkic, and was one of the founders of the historical and typological theory.

zelenin Dmitry Konstantinovich (1878-1954) - an outstanding Russian scholar ethnographer and folklorist, a collector of fairy tales and chastushk. From ethnographic works are the most interesting "essays of Russian mythology" (1916) and "East Slavic ethnography" (published in 1927 in German, in 1991 - in Russian).

Zemskiy Isali Iosifovich (r. 1936) - prominent ethnomyzic, the author of the folk song and the theory of folklore.

Ilyin Ivan Aleksandrovich (1882-1954) - Russian philosopher expelled in 1922. abroad. It owns valuable observations in the field of study of the folk fairy tale.

Kireevsky Peter Vasilyevich (1808-1856) - Russian folklorist, collector and publisher of Russian folk songs. Left after himself the most complete collection of works of Russian classical folklore in several volumes ("Songs collected by Kireevsky", Issue 1-10, 1860-74).

kostomarov Nikolai Ivanovich (1817-1885) - Russian and Ukrainian historian. A significant place in his rich heritage occupies the works on the folklore and the traditional culture of the Russian people.

Kruglov Yuri Georgievich (1944) - Russian Folklorist, author of textbooks and advantages for higher educational institutions: "Russian ritual songs", "family-household folklore" and others.

Le Hoff Jacques (r. 1924) is a major French historian, the author of work on medieval culture.

levi-Bruhl Lucien (1857-1939) is an outstanding French ethnologist, the author of the fundamental work on primitive thinking.

Levi-Ros Claude (1908-2009) is a French ethnographer, a sociologist and cultural scientist, the creator of the school of structuralism in ethnology, the theory of "incest" (one of the theories of origin of law and the state), researcher of kinship systems, mythology and folklore.

likhachev Dmitry Sergeevich (1906-1999) is an outstanding researcher of the ancient Russian literature and folklore. He put forward the concept of an epic time, made valuable observations on the specifics of time and space in folklore.

losev Alexey Fedorovich (1893-1988) is a large Russian philosopher and philologist-classic, author of works on Greek mythology.

lotman Yuri Mikhailovich (1922-1993) is an outstanding Russian literary critic, the historian of Russian culture.

mikekov Leonid Nikolaevich (1839-1900) - Literary critic, who applied to Folklore at the beginning of his scientific activity. The first staged epics in touch with concrete historical events, widely attracting the chronicle for this.

makarov Mikhail Nikolaevich (1789-1847) - publisher of magazines and folkloride engaged in the study of songs and fairy tales. In his collection "Russian legends" (1838-1840), many interesting observations on the national prose, which he considers in connection with the oldest mythology.

maksimov Sergey Vasilyevich (1831-1901) - Russian writer and ethnographer. His books contain the richest material on the traditional culture of different layers of the Russian people.

Malinovsky Bronislav (1884-1942) is an outstanding English ethnographer, the founder of the "functional school", which appealing to the role of folklore in society.

Markov Alexey Vladimirovich (1877-1917) - collector and researcher of the epic, specialist in Russian eposu, mythology adhered to the concept historical school. A prominent scientist engaged in the folklore of the Russian North, the history of Russian people's literature and chronicle. Considered Russian-Mordovian folklore relationships.

muletinsky Eleazar Moiseevich (r. 1918-2005) is an outstanding folklorist and literary critic. The main works are devoted to the origin and historical poetic Epos, mythology, archaic folklore.

Melnikov-Pechersky Pavel Ivanovich (1818-1883) - Russian writer, ethnographer and folklorist, author of a series of essays about the peoples of the Volga region "Road notes on the way from Tambov province to Siberia", "Essays Mordvoy", novels "in the forests" and "on the mountains "

Mikloshich Franz (1813-1891) - prominent Slavist, author of capital works on the comparative grammar of Slavic languages. Part of the work is devoted to ethnography and folklore of Slavic peoples.

miller Vsevolod Fedorovich (1848-1913) - an outstanding Russian folklorist, the head of the "historical school" of folklorestics, striving to find a reflection of real facts in the eponyms.

miller Orest Fedorovich (1833-1889) is a Russian folklorist, who erected heroic epos to mythology and put forward by the idea of \u200b\u200bits layer composition.

Morokhin Vladimir Nikolaevich (1921-1996) - Russian folklorist, author of monographs, folklore collections "Nizhny Novgorod legends and legends", "Readings on the history of Russian folkloristics", "Tales native region"," Volga fairy tales "," legends and legends of the Volga-River "and others.

nikiforov Aleksandr Isaakovich (1893-1942) - Tappy and researcher of the ancient Russian literature. One of the pioneers of the morphological study of fairy tales. He made a study of the "alive" fairy tale, taking into account the peculiarities of its execution.

Ozarovskaya Olga Erastovna (1874-1933) is a collector of Russian folklore (epic and fairy tales), artist.

onchuk Nikolai Evgenievich (1872-1942) - a collector of Russian folklore, publisher of classical assembly of fairy tales and epics.

Permyakov Grigory Lvovich (1919-1983) - an outstanding researcher of proverbs and sayings, the creator of their logic and semiotic classification.

oranges Erna Vasilyevna (1899-1980) - an outstanding Russian collector and a researcher of the people's prose.

plebenza Alexander Afanasyevich (1835-1891) is a wonderful Ukrainian and Russian philologist, author of classical works in language and folklore.

Propp Vladimir Yakovlevich (1895-1970) is the largest researcher of Russian folklore. Wide international resonance caused his "fairy tale morphology" (1928). Author of monographs about the magic fairy tale, heroic epic, agricultural holidays.

Putilov Boris Nikolayevich (1918-1997) is an outstanding Russian folklorist, the author of the fundamental work on the heroic epic and the theory of folklore.

rybnikova Maria Alexandrovna (1882-1942) is a prominent teacher, the author of the work on the method of teaching literature. In the field of folklores - a collector, publisher and a researcher of proverbs and mysteries.

savushkina Nina Ivanovna (1929-1994) is a research and collector of Russian folklore. Main works - about the folk theater.

Sakharov Ivan Petrovich (1807-1863) - ethnographer, folklorist, archaeologist, paleographer ), "Songs of the Russian People" (part 1-5, 1838-1839), "Russian folk tales" (1841), "Russian ancient monuments" (in. 1-3, 1842)

Alexander Pavlovich's scaffties (1890-1968) - a wonderful literary critic, who applied to the problems of folklore in the book "Poetics and the Genesis of the epics" (1924), in which the methodology of the "historical school" was issued.

snegirev Ivan Mikhailovich (1793-1868) - Folklorist and the historian of culture, the author of the meaningful work folk rites And the compiler of one of the best meetings of Russian proverbs.

Sokolov Boris Matveyevich (1889-1930) - Russian folklorist, collector and popularizer of folk creativity, supporter of the "historical school".

Sokolov Yuri Matveyevich (1889-1941) - a major theorist and collector (together with Brother B. M. Sokolov) Folklore, author of the capital textbook "Russian Folklore" (1938).

speransky Mikhail Nestorovich (1863-1938) - prominent Slavist, a researcher of the language and literature of ancient Russia. The author of several historical and literary courses, among which - "Russian oral literature" (1917).

Strlen-Kamensky Mikhail Ivanovich (1903-1981) - a major scandinvist, author of work on medieval sagas and mythology.

nikolai Fedorovich Nikolai (1854-1922) -Ukrain folkloride and ethnographer, author of folk rites.

tylletor Eduard Bernett (1832-1917) - English ethnographer, historian of primitive culture, the founder of the evolutionary theory of culture. His classic work "primitive culture" is translated into many languages, including Russian.

tereshchenko Alexander V.S. (1806-1865) - the ethnographer and folklorist, the author of the encyclopedic labor "life of the Russian people" (1848), which includes and describing rites. Researcher of life, crafts, family and public relations, folk legal relations. The collector of folk wedding poetry in Nizhny Novgorod, Penza, Saratov lips.

tikhonravov Nikolai Savvich (1832-1893) is an outstanding Russian literary critic who belonged to the so-called "cultural and historical school", which considered literature on a wide cultural background. Published for the first time many works of Old Russian literature. One of the first to fully took into account the role of folklore in the formation of literature.

tokarev Sergey Alexandrovich (1899-1985) - prominent Russian ethnographer, one of the editors of the wonderful encyclopedia "myths of the peoples of the world", the author of research on folk spiritual culture.

Tolstoy Ivan Ivanovich (1880-1954) - a philologist-classic, author of the history of the story of the plots and the ancient epic.

Tolstoy Nikita Ilyich (1923-1996) - outstanding Russian Slavist, linguist, ethnographer and folkloride, researcher of the traditional spiritual Slavic culture.

toporov Vladimir Nikolaevich (r. 1928) - Philologist, researcher of mythology and rituals, archetypes in Russian classics.

fedotov Georgy Petrovich (1886-1951) - Russian religious philosopher, among whose writings - books about spiritual verses and Russian medieval culture.

Freudenberg Olga Mikhailovna (1890-1955) is a wonderful philologist-classic, the author of the original work on the folk-mythological tradition.

FERSER JAMES George (1854-1941) is an English ethnographer and a cultureologist, a supporter of an evolutionary theory, which has been widely used by the methodology of typological research. Among the many works, the famous "Golden Branch" occupies the main place.

khalansky Mikhail Georgievich (1857-1910) is a Russian folklorist, researcher of the heroic epic.

Hasing Johan (1872-1945) is an outstanding Dutch historian and theoretics of culture.

Chistov Kirill Vasilyevich (r. 1919) - Russian folklorist, researcher ritual poetry and folk prose.

chicherov Vladimir Ivanovich (1907-1957) is a large Russian folklorist, the author of studies dedicated to calendar rites and heroic epic, as well as a course of lectures in Russian Folklore (1959).

Chess Aleksey Alexandrovich (1864-1920) - famous Russian philologist and historian, founder historical study Russian languages, Old Russian chronicles and literature. Dialectologist, ethnographer and folkloride. Made two dialectological, folklore expeditions to Arkhangelsk and Olonets lips. The compiler of the outstanding folk army "Mordovian Ethnographic Collection" (1910).

Steental Heiman (1823-1899) - prominent German linguite, founder of the theory of "psychology of peoples", an important source for which folklore was. I had an impact on the formation of the classics of Russian folklinistics - A. N. Veselovsky and A. A. Pothebni.

sternberg Lev Yakovlevich (1861-1927) - Russian ethnographer, a researcher of primitive culture, mythology and rites.

Eliade Mircha (1907-1986) is an outstanding philosopher, cultural student, researcher of mythology and the history of religion.

Yudin Yuri Ivanovich (1938-1995) - Russian folklorist, author of works on the heroic epic and a fairy tale.

Yakushkin Pavel Ivanovich (1822-1872) - ethnographer and folkloride. The author of folklore collections "Being and Nearbyness", "Song Assembly", posthmort. "The writings of Pavel Yakushkin." The collector of oral folk poetic works in the Volga region.

Glossary

Animism- faith in the existence of spirits, in an alignment of living and inanimate nature

Anthropomorphism- like a person on appearance

Archetype- a prototype, primary form, prototype; In folkloristic: an idea of \u200b\u200ba single primary motive, plot, image

Option- Each single execution of the folk work, as well as its fixed text

Crab variability - organic and universal properties of folklore; The folk process is a change on the traditional basis of plot topics, motifs, situations, images, style elements, and so on.

Version- a group of options that gives a qualitatively different interpretation of a folk work

Crightenice- Performed in due respect

Demonology - a complex of mythological ideas and beliefs about demons of pagan and Christian origin (demons, devils, houses, etc.), as well as a set of works reflecting these views

Zoomorphism- like an animal in appearance

Improvisation - creating text or its individual parts at the time of execution

Initiation - The rite of generic society, providing initiation, the transition of his members to a new sexual group

Informant, informant - a person who gives information; executor folk worksfrom which these works are recorded for scientific purposes

Bond - The holy rite of visiting houses by groups of participants who congratulated the owners, performing the songs of the card and received a reward for it

Contamination - Association in one artistic work two or more independent works or their parts

Cumulative composition plot - Composition based on the principle of chains from the same variative repetitive motive

Mythology- The system of archaic representations of any people about the world, the totality of myths

Common places - Formulas of the usual image in folk poetry

"The main myth" - Myth about the martial arts of God thunderstorm with a snake-shaped opponent and victory over him

Palylogue - Repetition last words previous string at the beginning of the subsequent, one of the row connection techniques

Pollulism psychological - in folk poetry: comparison of the human image and image from the world on the basis of action or state

Parema– common name Small genres of folklore prose

Passport folklore text - a set of data containing information about collector (surname, name, patronymic), fixation time of the folklore work (date), place of its record (village, city, area, area), information about the informant (last name. Name, patronymic. Age, nationality , profession, education coming from how long live in this area) and other additional information

Post-folklore - One of the designations of the late-winning folklore of the last quarter of the twentieth century.

Retardation - Slow plot action achieved with a variety of repetitions

Syncretism - mucia, absent, characterizing the initial undeveloped state primitive artin which dance, singing, music, and so on. existed in unity

Totemism- an ancient form of religion, faith in supernatural communications and blood proximity to people with a totem

Travism - ritual change of sex by changing women in men's suit, men - in female

Folklore- oral folk poetic creativity of the people; People's spiritual culture in various volumes of her species

Formula - stable verbal design, usually rhythmically ordered and carrying signs of genre

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