I. Russian folk song

Volgograd

State Institute of Arts and Culture

On the subject: "Ethnography and Folklore"

On the subject: "Collectors of folklore"

Completed

Group student

3RTP and OZO

Makarov Gennady

Checked by the teacher:

I. V. Slastenova

VOLGOGRAD 2005

Collectors of Russian folklore.

Collectors and researchers of folklore have long paid attention to the "folding" of Russian proverbs.

II Voznesensky's research "On the stock or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc." (Kostroma, 1908), which has not lost its importance to this day.

At the same time, it should be recognized that in pre-revolutionary folklore and Soviet science the first two decades, the issues of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. Yu. M. Sokolov in this regard, in the mid-1930s, quite rightly wrote: “If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore studies also cannot boast of any detailed study of the artistic side her. Researchers usually emphasize that “the proverb mostly is in a measured or folding form "or that" the form of a proverb is a more or less short saying, often expressed in a folding, measured speech, often metaphorical / poetic / language ", but on the question of what exactly is" warehouse and measure ", detailed research still not available. "

A certain semantic and intonational independence in proverbs is acquired not only by their parts, but even by individual words, which in their semantic expressiveness often approach the phrase. Here are examples of such proverbs: "Suffer and fall in love"; "No sooner said than done", "It was - and swam away."

We will consider several areas of folklore collectors.

Since we started with proverbs and sayings, then we will begin the story about them.

Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and the collection of Proverbs of the Russian People, was half Danish by blood, Lutheran by religion.

Returning from the voyage, Dal was promoted to warrant officer and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading south from St. Petersburg on the rebar. On the ancient Novgorod land, leaving the Zimogorskiy Chm station, the coachman dropped the word: -It rejuvenates ...

And in response to a puzzled question, Dahl explained: it will become cloudy, it's a matter of warmth. Seventeen-year-old Dal takes out a notebook and writes down: “To rejuvenate” - otherwise it’s cloudy - in the Novgorod province means being overwhelmed with clouds, talking about the sky, tending towards bad weather. This record became the seed from which the Explanatory Dictionary grew 45 years later.

But this is still very far away. The collection of extraordinary sayings, words and sayings, folk oral riches has just begun.

Dal saw the roads of Moldova and the Bulgarian villages, and Turkish fortresses. He heard someone else's dialect and all the nuances of his native Russian speech. Near the bivouac fire, in his spare moment in the hospital, Vladimir Ivanovich wrote down more and more new words that had not been heard before.

In 1832, V. I. Dal's serious literary activity began. Capital magazines publish his articles under the pseudonym "Vladimir Lugansky" or "Cossack Lugansky" - after the name of his hometown. A gifted storyteller, sociable person. Dahl easily enters literary world Petersburg.

He converges with Pushkin, Pletnev, Odoevsky, others famous writers and journalists. His works are quickly gaining tremendous success.

In the spring of 1832, Dahl again abruptly turns his fate - he went to distant Orenburg as an official on special assignments under the military governor. Dahl is a collegiate assessor, an 8th grade official, which corresponds to a major in the army.

Traveling around the Cossack villages and nomad camps, Dal discovered for himself the special world of the troubled Russian borderland. He not only observed orders and customs, not only wrote down words, he acted, healed the sick, interceded for the offended. “Fair Dal,” the steppe dwellers called him.

In Orenburg, he met with Pushkin, who came to a distant land to collect material on the history of the Pugachev revolt. Together they traveled to the places where Pugachev's movement began, asked the old people. Then Pushkin advised Dal to seriously study literature, probably, he also gave the idea to come to grips with the dictionary.

Dahl's last meeting with Pushkin took place in the tragic days of December 1837 in St. Petersburg, where Dahl came on business. Having learned about the duel between Pushkin and Dantes, Vladimir Ivanovich immediately came to his friend's apartment and did not leave him until the end.

Palace doctors treated Pushkin, Dal was a military doctor.

Although he was not so famous as Scholz, Salomon or Arendt, it was he who gave Pushkin hope until the last hour, it was he who remained with the wounded inseparably last night.

The publication of an explanatory dictionary and a collection of Russian proverbs required a lot of money. Dahl decided to work and earn money, save for the future, so that in old age he could devote himself to his favorite work.

In the spirit of the times, Vladimir Ivanovich instructs his subordinates to deal with his personal business. Grigorovich recalled Dahl: “Taking advantage of his position, he sent circulars to all officials inside Russia, instructing them to collect and deliver him local customs, songs, sayings, etc.”. But it was not the officials who made the Dalev collections with their donations. The fame of Dahl, not only a writer, essayist, but also an ascetic, who took on his shoulders the national cause, spread more and more widely. Well-wishers from all over Russia send him their collections, lists of rare words and sayings. It was the time of the awakening of interest in society in everyday life, the life of the people. Russian geographic society created with the active participation of Dahl, sent to all parts of Russia "Ethnographic circular" with a proposal to study the life of the population of all regions.

The time is over when the geography of France and life Ancient Rome educated people knew more than their own, domestic. Magazines one after another inform the public about Dahl's asceticism, ask for help. Many famous cultural figures, such as Lazhechnikov and Pogodin, collect words, songs, and fairy tales for Dal. In the journal Otechestvennye zapiski, Dahl thanks his assistants again and again.

In 1848 he moved to Nizhny Novgorod, to the post of manager of a specific office.

“During his ten-year stay in the Nizhny Novgorod province, Dal collected a lot of materials for geographical indications the spread of various dialects, ”writes Melnikov-Pechersky.

In this respect, the Nizhny Novgorod province presents a remarkable originality.

Still would! The famous Makaryevskaya fair was an event of European importance. Here the trade routes of the East and the West crossed - tea from China, iron from the Urals, bread from the steppe provinces, carpets from Central Asia, manufactory and industrial goods from the West - everything that was produced in the vast expanses Russian Empire, everything that was imported from neighboring countries was exhibited and sold on a low-lying area filled with shops near the mouth of the Oka. 86 million rubles in silver was the trade turnover of the Makaryevskaya Fair in those years.

The new era pulled out peasants with centuries of familiar places, mixed them in a common pot, and this is how the language that Dahl called the living Great Russian was created.

Dahl perfectly mastered one of the main qualities of a folklorist: the ability to talk to people, to talk to people. “There was someone and there was something to learn, how to speak with a Russian commoner,” recalls Melnikov-Pechersky, who often accompanied Dal on his trips around the province. The peasants did not want to believe that Dal was not a natural Russian person. "He grew up exactly in the village, he was fed on the beds, he was drunk on the stove," they used to say about him, and how good he felt, how pleased he was when he was among our kind and intelligent people! "

Dahl was by nature two-handed, that is, he wielded both his right and left hands with equal dexterity (this helped him in eye operations, where he acted with whatever hand was convenient), he was just the same with regard to his fate: we cannot to call it just a hobby the compilation of a grandiose Explanatory Dictionary of 200 thousand words, a set of proverbs that includes more than thirty-one thousand sayings, literary works occupying almost four thousand pages of text, numerous articles, collections of songs, fairy tales, etc.

In his declining years, Dal settled in Moscow. His house has been preserved - a spacious mansion in Presnya. Here Dahl's titanic, selfless work ended - the compilation of a collection of proverbs of the Russian people and an Explanatory Dictionary .. Dal gave this lesson three to four hours a day for decades. He copied the collected proverbs in duplicate, cut them into "straps". One copy was pasted into one of 180 notebooks by category - it was a collection of proverbs. Another was pasted into an alphabetical notebook for a keyword - these are examples for the Explanatory Dictionary. For half a century, Dahl explained and provided examples of about two hundred thousand words. If you deduce the "average figure", it turns out that with a twelve-hour working day, for half a century, he wrote down and explained one word every hour for half a century. But after all, he not only collected and recorded, he created, served, lived! ...

The Explanatory Dictionary of the Living Great Russian language contains: “Written, colloquial, common, common, local, regional, everyday, scientific, trade and craft, foreign language, learned and newcomers, with translation. explanation and description of objects, interpretation of the concepts of general and particular, subordinate, average, equivalent and opposite, and much more.

Plunging into his wealth, you do not believe that all these thousands of words passed through one hand. Dahl's dictionary lives and will live as long as the Russian people live.

Now, at a temporary distance, we deeply thank Dahl for his great work. A dictionary, sketches of everyday life, a collection of proverbs are for us one of the true keys that open a bygone era. His task - to give in words, proverbs, pictures of everyday life, an accurate photographic snapshot of the Russian world of the mid-19th century, to capture the life of the nation in the smallest details and manifestations - Dahl brilliantly fulfilled. Time will pass, life will change. The colossal image of the era created by Dahl will remain unchanged. And the further, the more valuable it will be for future generations. -

PRINCIPLES OF PUBLICATION. COMPOSITION AND STRUCTURE
SERIES "BYLINA" OF THE ARCHITECTURE OF RUSSIAN FOLKLORE

The epic epic as an expression of the artistic genius of the Russian people is an outstanding monument of universal human culture. Entering the East Slavic cultural and ethnic core, acting as the keeper of the ancient epic heritage, epics combine in their plot the features of epics before the state, era Kievan Rus and the period of Moscow centralization. Permeated with the ideas of patriotic heroism, epic works were one of the most important factors that ensured the consolidation of the Russian nation and Russian statehood. The monumental images of heroes, warriors and plowmen, defenders and builders of the Fatherland, created by the epic, have become symbols of our people.

The publication of epics in the series provides for the release of monuments of the Russian folk song epic at a level equivalent to the level of academic publications of Russian writers.

The epics completed their millennial development and almost entirely passed into the category of cultural monuments. For folklore studies today, the opportunity is open to create, on the basis of an exhaustive accounting of all the material of epics recorded in the 17th-20th centuries, not another anthology, but a stock national library, the corpus of the Russian epic epic, which will ensure the preservation and further popularization of one of the root forms of national culture.

Researchers-specialists in various social sciences still do not have a reliable basic library of Russian epic, capable of satisfying their various requests, which leads to the deliberate preliminaryness of many conclusions, duplication of search processes, and, ultimately, to the unacceptable waste of scientific forces. The publication of the Epics series of the Code of Russian folklore presupposes the creation of the factual foundation of Russian epic studies.

The Epics series is the first in the order of the creation of the Code of Russian Folklore. This is dictated not only by the high social and aesthetic value of this circle of cultural monuments, but also due to the scientific preparedness of Russian folklore studies for the publication of the named type of folk poetry (a large number of studies of epics in the aspects of philological, historical, musicological; a solid tradition of publishing a song epic, starting with the works of K. F. Kalaydovich, P. V. Kireevsky, P. N. Rybnikov, A. F. Hilferding). The amount of material - including data on archival accumulations, materials of expeditions of the Soviet era and the current years - is realistically foreseeable.

The scientific term "epics", like the popular term "antiquity", in the practice of research and publication of Russian folklore often, and not without good reason, converge, embracing all varieties of oral song epics, which together form the repertoire of performers of epics (Russian North) and epics songs (South of Russia, the Volga region and some other areas), namely:

epics (heroic, or heroic, epic novellas, epics on local themes, epics on fairy tales, comic epic); older historical songs (XIV - early XVII centuries); older ballads; songs of the Old Russian book edition, influenced by the epic epic (apocryphal songs, or spiritual verses, parable songs, etc.); epic songs; ballad songs.

From the named varieties of song epics into the Epic series on the basis of similarity of content, stylistic and poetic form, plot and genetic relationship, functional closeness, stability of performing and musical traditions, works of category A are combined (with the exclusion of epic transcriptions of fairy tales, as well as stylizations - "novin") and "D".

About a third of the material of the epic epic revealed to date (bearing in mind the total number of records - 3 thousand units of text-variants of works) has not been published and has not been involved in systematic research. The published collections are diverse, differ in their concepts, variegated in composition, and do not have the same textual attitudes.

Science has publications of a consolidated type related to the early, romantic, period of the development of folklore studies (for example, in I-V issues The collection of folk songs by P. V. Kireevsky contains 100 epic versions of 35 stories about heroes) and therefore encompasses only a relatively small part of the currently known records; has a collection of classic collections of epic songs of different genres of the regional type. These collections give a general idea of ​​the composition of the Russian epic epic or the state of the local tradition of a certain time in the volume of material that became known to the collector, but they do not create either an aggregate characteristic of the Russian epic, or a holistic picture of the life of epic epic art in this region all over the records. There are - also not exhaustive - publications of the repertoire of one performer. There are anthologies of epic works about a number of heroes of the Kiev and Novgorod epic cycles, where the leading plots and their versions are presented in selected versions. There are also other valuable editions of epic folklore. But they do not pursue the goal of reuniting the monuments of the epic epic into a single series, capable of concentrating in forms acceptable to a relatively wide circle of readers all the millennial wealth of Russian epic-epic culture and at the same time preserving a maximum of information about this type of Russian folk art. Records and retellings of works of folklore found in Old Russian manuscripts or publications of the 18th century are transmitted with the preservation of the phonetic and morphological features of the source text, but with the elimination of archaic features of graphics and spelling (extension letters in a line; continuous spelling. -

Russian folklore (V. S. Galkin. "Siberian Tales") (review)

Soon the fairy tale will tell ... The fairy tale The magical world of the fairy tale - it was created from time immemorial, when a person did not know not only the printed, but also the handwritten word. The tale lived and passed from mouth to mouth, passed from generation to generation. Its roots are deeply national. And the fairy tale will live as long as the sun will shine in the sky. Of course, a fairy tale of our time is not an oral folklore, but an essay written with the pen of a professional writer. It already inevitably differs from old fairy tales both in form and style. But the fairy tale has not lost its precious initial qualities to this day. This is a cunning, kindness, a search for the best, noble principles in a person's character, a fierce determination in overcoming evil. I recently read a book by Vladimir Galkin "Siberian Tales" and was glad for the author's successes in the development of fabulous Russian traditions. The book about the author says that he is a teacher and for many years has been collecting folklore in order to form new tales on its basis. V. Galkin harmoniously combines the details of the real life of modern Siberia and its past with the magic of the fairy world. Therefore, when reading "Siberian Tales", it is as if you are breathing in the aroma of the spirit of bread leaven, which is still preserved by many rural housewives, and you burn yourself with a fresh Siberian frost, going out into the forest with the heroes of the tales in the morning. The plots of the tales are simple. For example, in the tale "Eremeevo Word" we are talking about the old man Eremey Stoerosov, who lived in the village by weaving baskets for mushrooms and berries. But the thing is that during this work he loved, it is interesting to tell different stories. Often he had a full hut full of people. Everyone wanted to listen to Eremeev's tales. And the people gathered like this: "The mother of some little boy will come and make a noise:" She listens to tales, but you won't get it in the morning! " But others shouted at her: "Take your little one, aunt, but don't bother us!" Baba will be silent. Stands, stands and sits down in the corner: "Evon says so well!" With this short fragment, the author identified two moral principles in the life of the Russian people: first, work is not an end in itself for him, and he always tries to somehow decorate it with a song or a word, in other words - turn everyday life into holidays; second, at the sight of someone else's joy, he forgets his own difficulties and sorrows. But you can't do without envious people. There is a guy in the village, Oska Ryabov, nicknamed Ryabok. Everyone in the village dislikes him. Envious: “A neighbor will bring a handkerchief from the city to his wife for the holiday, Ryabok whispers through the village:“ What is Makar Maryu harnessing? All the same it didn’t come out with a snout ”. Of course, such a person was jealous of the good fame of Eremei the storyteller and tried to pry him. Sits, sits - and suddenly for no apparent reason blurt out: "Vraki all!" Eremey was calm about this diameter, although the villagers tried to intercede for him many times: "If Ryabka were driven away by Eremey, what does he endure?" And other fuel was added to the fire: "I cut it off, you see, his Oska!" The author describes situations where the different characters of the heroes are clearly manifested. Eremey is especially good here. He is not in the least offended by Ryabko, but nevertheless, good-naturedly decides to teach him a lesson, or rather, to instruct him on the true path. To achieve his goal, Eremey chooses an old Russian fairytale version: to ridicule the diameter through some intricate case. He goes to a familiar hunter and asks him for several live hares, knowing that he knows how to catch them not with loops, but in holes. Zaitsev Eremey placed in a box and began to wait for the arrival of the guests - to listen to his tales. The guests came, and with them the diameter of Ryabok. Here Eremey says: “I will catch Zaitsev, why waste time. I will read the conspiracy - they will pile on while I tell you stories ”. Of course, only Ryabok doubted and agreed to a dispute with Eremey. Whoever loses puts a bucket of mead. But Eremey here also shows a breadth of nature: while whispering a conspiracy, the guests treated themselves to his own mead. Of course, Eremey won the argument. While his hares jumped out of the box and flew into the forest, everyone laughed at Ryabok. He had science for all his life. One can speculate on this fragment more broadly. It can be seen that the hunter “sometimes hunted with a gun, but wore it more for force”. There would be more such hunters! And the main character of the tale, Eremey, is not a vindictive and generous person. Although he won the argument, he still put up his mead. And it was the bunnies that helped restore justice. Immediately I remember the tale of how a hare, in the role little brother, took part in the race and won. That is, the author has preserved the Russian fairytale tradition. In conclusion, I would like to say that we do not have so many collectors of folklore. Therefore, every meeting with such a collector of a semi-precious folk word like Vladimir Galkin is always a joy. ...

FROM THE HISTORY OF SONG FOLKLORE COLLECTION OF SAMARA REGION

The history of collecting song folklore Samara region is over a hundred years old. The first editions were collections and scattered publications, in which only lyrics were placed without a photographic recording of tunes. In some works, the authors recorded the dialectal features of local dialects.

One of the first major publications dedicated to the song folklore of the Samara province was the work of the prominent folklorist-collector, researcher of folk art, translator V.G. Varentsova "Collection of songs of the Samara region". The book contains more than 170 texts of songs recorded by students of the Samara district school in several villages of the Samara province. The author supplements the collection with personal comments on the genre features of local folklore, notes the influence on the local song style of immigrants from the Voronezh, Nizhny Novgorod, Simbirsk provinces.

Several Samara round dance songs of the Stavropol district were included in the famous "Collection of Russian folk songs" by M.A. Balakireva.

In 1898. the first volume of the book by P.V. Sheina "Great Russian in his songs, rituals, customs, beliefs, legends, etc." ... The publication includes a lot of Samara wedding, dance, children's and other songs.

At the turn of the century, the largest work in the past century, dedicated to traditional songs, was published - the seven-volume edition "Great Russian Folk Songs Published by Prof. AI Sobolevsky". The collection included a large number of Samara songs of different genres, recorded in Buzuluk, Stavropol districts, the cities of Nikolaevsk, Syzran, Samara.

One of the first major works of the 20th century was the book of the famous folklorist, publicist, archaeographer P.V. Kireevsky. The multivolume edition includes hundreds of lyrics recorded in different regions of Russia. Among them are the first published songs of the Samara province, collected in the middle of the 19th century by the Russian poet and lyricist P.M.Yazykov.

Of interest is a wide variety of genres of song lyrics. The epic genre that has practically disappeared in the Samara Territory is represented here by ten epics, military, Cossack, recruit, soldier, sailor, lyric, wedding songs, ballads, spiritual poems are also recorded.

In the 1920s and 1930s, song lyrics were often dispersed in local periodicals. Notable work in the direction of popularizing traditional folk art was carried out by the collector-folklorist R. Akulshin. So, in 1926 in the local newspapers "Krasnaya Niva", "Music and Revolution" he published the texts of Samara ditties. Several soldiers' songs, recorded by R. Akulshin in the Kuibyshev region, were published by the "Volzhskaya Nov" newspaper. The same edition in the section "Folk Songs" placed on its pages 16 texts of old wedding and military songs collected by R. Akulshin in 1923.

Of interest is the description of an old Russian wedding, recorded by S. Lukyanov in 1929 in the village. Duck. The article contains expeditionary material with a description of the wedding action, set out from the words of the participants in the ceremony, starting from the moment of matchmaking and ending with the second day of the wedding feast. The article also published the texts of some wedding songs performed by a local ethnographic ensemble.

In 1937, the collection "Volga Folklore" compiled by V. Sidelnikov and V. Krupyanskaya was dedicated to the folklore of our region. It includes expedition materials from 1935, reflecting the picture of the existence of oral folk art in the Kuibyshev region. The collection includes samples of local fairy tales, legends, legends, more than 30 texts of historical, wedding, everyday and other songs, 354 texts of Soviet ditties. During the recording, the territory of the Volga coast was surveyed - the Krasnoyarsk region (the villages of Malaya and Bolshaya Tsarevshchiny, Shiryaevo), the Stavropol region (the villages of Russkaya Barkovka, Stavropol, Khryashchevka), as well as some villages of the Ulyanovsk region.

A large number of lyrics of the songs of the Kuibyshev region are included in the collection of 1938 "Volga Songs". In addition to songs dedicated to the revolutionary Stalinist theme, more than 20 texts of historical, lyrical, wedding and dance songs have been published. Among them, "The Nightingale persuaded the cuckoo", "Volozhka spilled widely",

"Oh you, garden, you are my garden", "Oh, fogs, you foggy", "Blow, blow, you, weather", "Ah, father, drink, don't sing me", "Mother sent Vanya", " A spinning wheel for a bench ", etc.

Since the end of the 40s, songs of our region have been published separately in some major metropolitan publications,,,.

The first musical publications of songs recorded in the Samara region appeared in 1862 and 1876-77,. We meet three tunes in the collection of M. Balakirev, published in 1891. The composer undertook a special trip along the Volga, he was the first collector who began to record songs not in the city, but in the village from the peasants. The author gives each melody his own treatment - harmonization.

Collector Lipaev I.V. in the newspaper "Russian Musical Newspaper" he published tunes and texts of the wedding lamentations "You, my breadwinner, father" and the labor artel "There will be no, it will go."

Three tunes, recorded in 1901 by A. Maslov, were published in the collection "Songs from the Volga Region" in 1906. In 1926, songs collected by R. Akulshin were published.

Some songs of the Samara Volga region were included in various collections of the 30-40s. One, recorded by V. Zakharov in 1934 in the Bor region, is included in his work "Thirty Russian Folk Songs". Three songs were published by the Kuibyshev ODST in 1944.

Three more, notated from a phonograph, were included in the Moscow collection "Ten Russian Folk Songs". Four tunes are included in the brochure of V.I. Volkova "Seven Russian Folk Songs". Several song samples have been included in other editions,,,,,.

A large expeditionary work in the Samara Volga region in the late 40s and early 50s was carried out by a group of Leningrad researchers-folklorists who were part of the scientific expedition of the Institute of Russian Literature of the USSR Academy of Sciences. Planned field work the collection and recording of works of local oral folk art was carried out in Elkhovsky, Utevsky, Stavropol, Bogatovsky, Kinel-Cherkassky and Novodevichsky districts of the Samara region.

The Leningrad expeditions resulted in a number of publications devoted to Samara song folklore, published in the late 50s and early 60s.

The main result of the expedition trips in 1948, 1953, 1954 was the collection "Russian folk songs of the Volga region", which became the first major publication dedicated to the folklore of the Samara region. As the newspaper wrote " Soviet culture"," ... among the materials [of the expedition] - more than one and a half thousand Volga ditties,<...>old lyrical and play tunes. ” state of the art folk art in the region.

The collection includes 100 Russian folk songs. It is divided into two sections: Soviet songs (20) and old folk songs (80). Of the 100 songs published, 83 were recorded using a tape recorder and 17 by ear. It seems especially valuable that "... [the songs] were recorded directly from the voice of the people ..." without the author's musical treatment or arrangement. Unfortunately, the poetic texts were edited in accordance with the generally accepted literary transcription, which deprived them of their original dialectal flavor.

The work on collecting and studying the Samara Russian song folklore noticeably intensified with the opening of the department of folk choral art in KGIK in 1979. Expeditionary trips to the regions of the region have become more planned and systematic. Since that time, students and teachers of the university have carried out a huge research work - hundreds of folk songs have been recorded and analyzed, interesting material on history, ethnography of the Samara region,,,,,.

One of the notable publications among the editions of recent times is the book by O. Abramova "Living Springs". Along with the song material collected in the Bogatovsky, Borsky, Neftegorsky, Krasnoyarsk regions, the collection contains information about the traditional culture, ethnography of our region, the analytical article "Cadenzas in folk songs Samara region ".

In 2001, a wonderful book was published in Samara dedicated to the famous collector of the Middle Volga folklore M.I. Chuvashev " Spiritual heritage of the peoples of the Volga region: living origins. "It includes hundreds of samples of traditional Mordovian and Russian songs recorded by the researcher from 1964-1971 in the northern and central regions of the Samara region. Of interest are Russian folk songs that exist in villages with a mixed Russian-Mordovian population. 49 song samples of different genres of Pokhvistnevsky, Shentalinsky, Chelno-Vershinsky, and other districts reflect the specifics of the existence of the Russian song tradition in a foreign language environment.

One of the latest publications dedicated to the folklore of the Samara region are collections published in 2002 by the Syzran College of Arts. Both works include original song material recorded in the Volga and Shigonsk regions. The songs presented in the collections reflect the peculiarities of the genre specificity of local folklore; collected and notated labor, wedding, lullabies, dance, round dance, lyric songs and romances.

So far published song material recorded by researchers in different years, has hundreds of samples. A huge expeditionary work has been done, the results of which have become not only literary publications, but also invaluable sound recordings made decades ago. But, on a national scale, the Middle Volga (and Samara as a component) song tradition is still one of the least studied. This is largely due to the ethnic heterogeneity of the local population, which definitely complicates the search for Russian authentic ensembles. However, the songs that exist in the conditions of "national diversity" are of great interest to the researcher. V.G. Varentsov in his book "Collection of Songs of the Samara Territory" noted: "... those colonists who live, surrounded on all sides by foreigners, retain their special features much longer<...>living among the Chuvashes and Mordovians, they still retain their costumes and dialect. "Thus, the primary tasks of folklorists-local lore specialists are to collect new material in little-studied areas of the region, such as Khvorostyansky, Koshkinsky, Klyavlensky, Bolshechernigovsky, etc. and the classification of samples from the existing collection of records.

Used Books

1. Sokolov Yu. M. Russian folklore. M., 1941, p. 212.

2. See: Dal V. I. Proverbs of the Russian people. M., 1957 (in

text: D., p. ... Ch. Rybnikova M.A.Russian proverbs and

sayings. M., 1961.

3. Pages 3-6

VI Dal - "Proverbs of the Russian people". 1-2-3 vol.

Moscow. "Russian book" 1993.

4.- The author's work on the first two volumes was performed by A. A. Gorelov ("Preface", "Principles of publication. Composition and structure of the series" Epics "of the Code of Russian folklore"); VI Eremina, VI Zhekulin, AF Nekrylova (textual preparation of the corpus of epic texts, "Principles of the distribution of verbal material", "Textological principles of publication", passport and textological commentary, "Biographical data on the performers"); Yu. A. Novikov (plot-variant commentary). The authors of the article "Russian epic epic":

5. ALLSoch.ru: Galkin V.S. Miscellaneous Russian folklore (V. S. Galkin. "Siberian Tales") (review)

Literature

1. Abramova O.A. Living springs. Materials of folklore expeditions in the Samara region. - Barnaul, 2000 .-- 355p.

2. Aksyuk S.V., Golemba A.I. Modern folk songs and songs of amateur performances. M.-L. - Issue 1 - 1950. - 36s .; Issue 2. - 1951. - 59p.

3. Akulshin R. Village dances // Red. cornfield. - 1926. - No. 36. - P.14-15.

4. Akulshin R. Our songs // Music and revolution. - 1926 .-- 7-8. - S.19-28.

5. Akulshin R. Rivals: From the life of the Samara province. // Music and revolution. - 1926. - No. 3.

6. Balakirev M.A. Collection of Russian folk songs. - S.-Pb., 1866 .-- 375s.

7. Balakirev M.A. Collection of Russian folk songs. - S.-Pb., 1891.

8. Bikmetova N.V. Russian folk songwriting Samara region. Anthology. Issue 1. - Samara, 2001 .-- 204p.

9. Borisenko B.I. Children's musical folklore of the Volga region: Collection. - Volgograd, 1996 .-- 254p.

10. Great Russian folk songs published by prof. A.I. Sobolevsky. - T.1-7. - S.-Pb., 1895-1902.

11. Volga Songs: Collection. - Kuibyshev, 1938 .-- 115s.

13. Volga folklore / Comp. V.M. Sidelnikov, V.Yu. Krupyanskaya. - M., 1937.-209 p.

14. Volkov V.I. Seven Russian Folk Songs: Obrab. for voice with ph.-n. - M.-L., 1947 .-- 28p.

15. Ten Russian folk songs (Choirs a capella) / Notted from phonograms by N.М. Bochinskaya, I.K. Zdanovich, I.L. Kulikova, E.V. Levitskaya, A.V. Rudneva. - M., 1944 .-- 17p.

16. Children's folklore of the Samara region: Method. recommendations / Compiled by: Orlitskiy Yu.B., Terentyeva L.A. - Samara, 1991 .-- 184p.

17. Dobrovolsky B.M., Soimonov A.D. Russian folk songs about peasant wars and uprisings. - M.-L., 1956.206s.

18. Spiritual heritage of the peoples of the Volga region: living origins: Anthology / Compiled by: Chuvashev MI, Kasyanova IA, Shulyaev AD, Malykhin A.Yu., Volkova T.I. - Samara, 2001 .-- S.383-429.

19. Zakharov V.G. One hundred Russian folk songs. - M., 1958 .-- 331s.

20. Kireevsky P.V. Songs collected by Kireevsky / Ed. V.F. Miller and M.N. Speransky. - M., 1911-1929. - (New ser.).

21. Krylova N. Children's songs // Teacher. - 1862. -№24.

22. Lipaev I.V. Peasant motives: Note // Rus. muses. newspaper. - 1897. - No. 12. -Stb. 1713-1718, notes.

23. Folk songs: Wedding. Songs of the military and about the military // Volzh. new. - 1935. - No. 8-9.

24. Folk songs. Fairy tales and stories. Chastushki // Volzh. New. -1937. - No. 8-9.

25. On Silver Waves: Russian folk songs recorded in the village. Davydovka of the Samara region. / Under total. ed. IN AND. Rachkova. - Syzran, 2002 .-- S. 108.

26. Songs recorded on the territory of Samara Luka in 1993. / Zap. Turchanovich T.G., Decoding of Noskov A.K. // Vedernikova T.I. and other Ethnography of the Samara Luka. Toponymy of Samara Luka. - Samara, 1996 .-- S. 84-92.

27. Popova T.V. Russian folk musical creativity: Textbook. manual for conservatories and music. schools. Issue 1-3. - M., 1955-1957, 1962-1964.

28. Rimsky-Korsakov N.A. Collection of Russian folk songs Part 2. - SPb., - 1877. - P.36-37.

29. Russian folk songs of the Volga region. Issue 1. Songs recorded in the Kuibyshev region. - M.-L., 1959 .-- p. 6.

30. Russian folk songs of the Volga region. Issue 1. Songs Recorded in the Kuibyshev Region. - M.-L., 1959 .-- 195p.

31. Russian folk songs: Collection / Comp. A.M. Novikov. - M., 1957 .-- 735s.

32. Russian folk lingering songs: Anthology. - M.-L., 1966 .-- 179s.

33. Russian songs. - M., 1949.212s.

34. Russian songs: Lyrics, per. State Russian bunk bed in chorus to them. Pyatnitsky / Ed. P. Kazmina. - M.-L., 1944 .-- 254s.

35. Russian ancient and modern songs: based on materials from expeditions of the Union of Composers of the USSR / Comp. S.V. Aksyuk. - M., 1954 .-- 80s.

36. Russian ditties / Comp. N.L. Kotikova. - L., 1956. - 317s.

37. Collection of songs of the Samara region / Comp. V.G. Varentsov. - S.-Pb., 1862 .-- 267s.

39. An old Russian wedding // Volzh. new. - 1935. - No. 10.

40. Stage interpretation of folklore (on the example of spring ritual songs): Method. recommendations / Auth.-comp. Terentyeva L.A. - Kuibyshev, 1989 .-- 110p.

41. Terentyeva L.A. Folk songs of the Kuibyshev region: Method. instructions for plank beds. muses. tv-woo. Part 1. - Kuibyshev, 1983 .-- 70s.

42. Thirty Russian folk songs / Zap. V. Zakharova. - M.-L., 1939 .-- 112s.

43. Proceedings of the Musical - Ethnographic Commission, which is part of the ethnographic department of the Society of Natural History, Anthropology and Ethnography Lovers. Vol. 1. - M., 1906. - S. 453-474.

44. Shane P.V. Great Russian in his songs, rituals, customs, beliefs, legends, etc. - Vol. 1. - S.-Pb., 1898 .-- 736s.

45. My apple tree ... Songs recorded in the village. Surinsk, Shigonsky district, Samara region / Zap. and notation by N.A. Krivopust. - Syzran, 2002 .-- P. 72.

And who worked more than many on it; a student who has been collecting all his life bit by bit what he heard from his teacher, living Russian language. " An outstanding connoisseur of the Russian word, V.I.Dal was a sensitive connoisseur and caring collector of Russian speech in its most diverse manifestations: a well-aimed original proverb, saying, riddle, fairy tale, they found in him an attentive collector and careful ...

A period in the history of epics, which is characterized by the attenuation of intensely epic creativity. The historical epic, gradually forming and isolating itself as a genre, entered the complex multi-genre complex of Russian folklore, becoming an expression of the ideological and aesthetic views of the people on political, state and international phenomena. Historical song. There is no common understanding of the term “...

For a thorough study of this topic, we need to solve the following issues: 1. The origin of Russian ethnography 2. The development and formation of Russian ethnography 3. Russian ethnography at the present time 1 The emergence of Russian ethnography The development of human society was accompanied by the expansion of people's knowledge about the world around them, the accumulation of information about neighboring peoples. Already in antiquity alongside ...

They are inherent in Russian culture itself at different stages of its history. It was these discord and contradictions that created the diversity of the national and spiritual life of Russia. 3. Modern view of the peculiarities of the sociodynamics of Russian culture The history of Russia is a set of cultural and historical paradigms. Berdyaev was right when he singled out Russian history alternation " different Russia"understood as a striking change ...

In many scientific studies, the name of the outstanding Smolensk folklorist-ethnographer and dialectologist Vladimir Nikolaevich Dobrovolsky is found. His works were highly appreciated by such prominent figures and scientists as A. A. Shakhmatov, P. V. Shein, E. F. Karsky, V. I. Lamansky, A. N. Pypin, V. F. Miller, N. A. Yanchuk, I. V. Yagich, D. K. Zelenin, V. V. Bogdanov, V. M. Sidelnikov and many others.

V. N. Dobrovolsky was born on July 30 (old style), 1856 in the village of Krasnosvyatsky, Prudkovskaya volost, Smolensk district, Smolensk province, into the family of a small-scale nobleman N. M. Dobrovolsky, a lawyer by training. His father until 1867 served as an official in various institutions of Smolensk province, from 1867 he served as a magistrate in the Dmitrov district of the Oryol province. He was an excellent storyteller, a keen connoisseur of music and was good at drawing. Mother - M. A. Dobrovolskaya (née Zgorzhelskaya) was an educated woman, richly endowed with natural abilities, played the piano perfectly. She was distinguished by her responsiveness towards sick peasants, who often came to her for medicines and medical advice. Later, Vladimir Nikolaevich Dobrovolsky recalled that his mother's communication with the peasants introduced him to the circle of village life, everyday life and the concepts of the people. From an early age he fell in love village life and nature. N. Dobrovolsky, who developed in a favorable home environment, from childhood had an excellent memory, was quick-witted and showed a desire for learning early. In 1868, he was assigned by his parents to the Smolensk gymnasium, after successfully graduating from which in 1876 he first entered St. Petersburg University, from the middle of the first semester he transferred to the Faculty of Philology of Moscow University, completing his studies in 1880. At Moscow University, he listened to lectures by the famous professor F.I.Buslaev, who considered the folk language the richest treasure for studying the everyday life of the people and their life, F.E. Korsh.

While studying at the university, V.N.Dobrovolsky took part in the work of an ethnographic circle organized by V.F.Miller, who was its leader and soul. Kruzhkivtsi

studied independent work, developed various topics on ethnography and folklore, using materials from the Rumyantsev Museum. VN Dobrovolsky's studies in an ethnographic circle instilled in him a love of folk poetry, the way of life and the life of peasants. Attending ethnographic conversations held in VF Miller's house provided VN Dobrovolsky with moral support, became one of the highlights of student life, where he gained experience in collecting materials, became interested in and fell in love with ethnography. In 1880, V.N.Dobrovolsky graduated from the university and until 1883 worked as a teacher of literature, history and logic at the Smolensk Mariinsky women's gymnasium. In 1883, V.N.Dobrovolsky, after filing a letter of resignation, was dismissed from the gymnasium for health reasons. Soon he moved from Smolensk to an estate, the village of Dankovo ​​of the former Prudkovo volost, to his mother's homeland, where he began to live as a result of the division of property by a large and friendly family in newly rebuilt manor houses. (Dankovo, located 9 kilometers southeast of Pochinka, on the Vitebsk-Oryol highway, is an old village with a church church, surrounded by forest lands, has long belonged to the representatives of the Smolensk gentry - the old Shveikovskys, who entered the service to the Russian Tsar) In the village where he lived for 10 years (from 1883 to 1892), V.N. N. Dobrovolsky was accompanied by his wife Evdokia Timofeevna Dobrovolskaya (Vishnevskaya), who knew Smolensk dialects well and rendered him great help in collecting activities, on several occasions in folklore and ethnographic expeditions.

The famous scientist P.V. Shane said that collecting became a cult for Dobrovolsky, absorbed him and provided spiritual food. Although V.N.Dobrovolsky was a young, novice collector, he collected great amount folklore texts. Having no musical education, he is looking for a musician to record songs along with their melodies, and in 1884 he attracted a neighbor on the estate, his grand-nephew, to collecting activities. famous composer MI Glinka, a talented graduate of the Petersburg Conservatory Nikolai Dmitrievich Bera, whom he had previously known in a short period of residence and study in St. Petersburg. Being a passionate enthusiast, V.N.Dobrovolsky managed to captivate Bera with collecting business. N.D.Ber, interested in folk music, traveled with Dobrovolsky to the villages and recorded 420 song folk melodies. Much later, having learned about the appearance in Russia sound recording apparatuses- phonographs, - V.N.

showed interest in the notes of VN Dobrovolsky, since the Smolensk province belonged to the North-Western part of Russia, and he was preparing for publication "Materials for the study of the life and language of the Russian population of the North-Western Territory." In 1885, P.V.Shein stopped by the village of Berov to meet with the collector V.N.Dobrovolsky, who had been interested in him for a long time.

P.V. Shein noted that Dobrovolsky, who lives in the Smolensk province, decided to devote his life to collecting works of folk poetry and recorded more than 4,000 folklore texts in six districts and is going to visit other localities. PV Shein also concluded that the collection of V.N.

Since the late 80s of the XIX century, V.N.Dobrovolsky continues to actively work on collecting and processing folklore and ethnographic material. In 1887, he engaged in collecting activities in the Dmitrovsky district of the Oryol province and soon presented the materials collected there to the Russian Geographical Society, which on December 23, 1887, the chairman of the Ethnographic Department, V.I. Lamansky, reported at the meeting and noted their outstanding merits. For the manuscript "Ethnographic materials collected in the Dmitrovsky district of the Oryol province" V.N.Dobrovolsky was awarded a silver medal.

In 1886 - 1888, V.N.Dobrovolsky carried out painstaking work on the processing and classification of the material recorded in the Smolensk province. Not always having the material opportunity to travel for the purpose of collecting, he conducts office processing of materials. Since his work reflects local peculiarities, V.N.Dobrovolsky accompanies the first part of the collection with a dictionary of Smolensk dialects and sends it for publication to the Russian Geographical Society. V. I. Lamansky highly appreciated the collected materials and offered to publish the manuscript work called by V. N. Dobrovolsky "Smolensk ethnographic collection" in the "Notes of the Russian Geographical Society" and to provide the author with material assistance for further work. On January 11, 1889, the annual meeting of the Russian Geographical Society decided to award VN Dobrovolsky with the Small Gold Medal for the preparation of the first part of the Smolensk Ethnographic Collection.

In the same year (1889), V.N. The collection contained not only ethnographic data and lyrics of the Smolensk province, but also, for comparison, neighboring provinces: Oryol, Kaluga, Mogilev, where the collector visited. In May 1890 V.N.Dobrovolsky sent three more parts of the collection to the Geographical Society , who later compiled the fourth book. In the same year, on November 29, at a meeting of the Ethnographic Department, a report was made on the receipt from the Smolensk collector of a collection of proverbs (the materials contained five dolls with exact reproduction of the costumes of the Oryol province), which made up a third of his ethnographic works. On January 4, 1890, V.N.Dobrovolsky was awarded a silver medal.

The first part of the "Smolensk Ethnographic Collection" was published in February 1891. His work interested many scientists of that period, who were not slow to express their opinions, ambiguous in their characteristics. Its first reviewers were A.N. Pypin and V.V.Bogdanov. In general, appreciating the work and noting the richness of ethnographic knowledge of the author of the collection, his extraordinary diligence and conscientiousness, the reviewers drew attention to certain shortcomings in the phonetics, arrangement and classification of materials. The collection of V.N.Dobrovolsky contained a large number of folklore works that paint a wide picture folk life in the Smolensk province, reflecting its local characteristics, had a pronounced regional character. VN Dobrovolsky arranged the folklore works he recorded in three main sections, the first of which included biographical stories of peasant performers, beliefs, conspiracies, legends, traditions, etc., the second - fairy tales, the third - were.

The second part of the collection was published in 1894 and included mainly works of family ritual poetry. Like the first collection, the second has three sections: the first contains eighteen baptismal songs, the second contains a description of the wedding ritual and the texts of wedding songs, the third section contains descriptions of funeral rites. The third ethnographic collection was also published in 1894. This part included proverbs, sayings, apt folk expressions, nicknames, spells, omens. Later, the scientist V.M.Sidelnikov, generally giving a high assessment to the folklore and ethnographic works of V.N.Dobrovolsky, noted some shortcomings in the classification of the material in this collection. However, this work of Dobrovolsky, undoubtedly very valuable for the study and characterization of Smolensk folklore, became a significant contribution to the study of spiritual folk culture.

The fourth part of V.N.Dobrovolsky's ethnographic collection was published in 1903 and came out in Moscow, in contrast to the first three published in St. Petersburg. The collection includes a description of merrymaking, songs and spiritual verses. The material, classified according to a clear and orderly system, was located in three sections: the first consisted of descriptions of 27 different peasant games of the winter period, the second contained 1,500 songs, and the third contained 36 spiritual verses.

The fourth collection, containing calendar and ritual works (carols, Maslenitsa, Annunciation, May, game and round dance songs), songs associated with summer, autumn works and holidays, love, dance, party, children's, household, soldier's, prison, ballad, historical songs and other materials were also of great interest.

VN Dobrovolsky strove to accurately reproduce the stanza of the song, realizing that the melody and the length of the verse are in close connection with each other. He was very attentive to every word and during his collecting work he was very careful with the lyrics. The publication of the four parts of the "Smolensk Ethnographic Collection" became a noticeable phenomenon in the study of regional folklore and ethnography. This collection was deservedly considered one of the best publications of that period on the folklore of the Western region of Russia, along with the research of the largest Belarusian collector E.R. Romanov and P.V. Shein. VN Dobrovolsky wrote down all the works of folk poetry himself, while collecting folklore and ethnographic material, he did not use the work of correspondents. In addition, the ethnographer strove to record texts with extraordinary accuracy, without literary processing and corrections. A whole group of talented folk storytellers and singers - Matrena Antonenkov, Fekla Bobarychikha, Audulya Gukov, Vasily Mikhailov, Old Man Khatul and others - are offered to the attention of the readers of the collections.

Being unusually hardworking and passionately interested in collecting, since 1891 V.N. ethnographic collection. The collector invites gypsies to his estate, writing down the most interesting stories, legends, songs; he draws attention to the Gypsy language and to the peculiarities of the Gypsy life in comparison with the life of the other population of the Smolensk province. An interesting fact is that V.N. Having collected abundant material about the Kiselev gypsies, at the end of 1892 he sent the manuscript to

Ethnographic department of the Russian Geographical Society, indicating the places of residence of the Roma, characterizing their way of life and noting the main occupations - theft, begging and fortune-telling. He also gives information about clothing and food and encloses 11 songs recorded in the original language, and then translated into Russian and set to music by ND Berom. Soon, V.N.Dobrovolsky sent to the Society a second essay on the Kiselevsk gypsies, and on December 3, 1893, at a meeting of the Ethnographic Department, two manuscripts of the Smolensk collector were reported - “Kisilevskie gypsies. Dictionary "and" Kiselevskie gypsies. Grammar, etc. ". It should be noted that this information is of great value to this day. The first release of Dobrovolsky's work “Kiselevskie Gypsies. Gypsy texts "was published in 1908. Under the influence of P.V. Shein, a famous collector of Russian and Belarusian songs, who visited Vladimir Nikolaevich and listened to the songs of peasants, Dobrovolsky became interested in the topic of onomatopoeia in nature, which resulted in an interesting article" Onomatopoeia in folk language and folk poetry ”, and the materials he collected were put to music from his voice by ND Berom.

In the "Izvestia of the Department of Russian Language and Literature" of the Academy of Sciences, in the journals "Living Starina" and "Ethnographic Review", starting from 1894, articles and notes by V.N. in the Smolensk, Orel, Ryazan provinces. On behalf of A. A. Shakhmatov, V. N. Dobrovolsky collects linguistic materials in the Smolensk, Oryol and Kaluga provinces for the Academy of Sciences.

In 1896, V. N. Dobrovolsky became a member of the Society of Lovers of Natural Science, Anthropology and Ethnography at Moscow University, the Ethnographic Department of which was headed by V. F. Miller. N. Dobrovolsky was one of the correspondents of the Ethnographic Bureau of Prince V. N. Tenishev, providing him with valuable materials. Published in 1896, the Program of Ethnographic Information about the Peasants of Central Russia, compiled by Prince VN Tenishev, was created with the participation of VN Dobrovolsky. In the same (1896) year, separate edition V.N.Dobrovolsky's program for collecting ethnographic data as an addition to V.N. Dobrovolsky "On the Dorogobuzh bourgeoisie and their Shubrey or Kubrak language", which reflected the special secret language of the bourgeoisie, taking into account the phonetic features of the speech of individuals, their way of life and customs, where a dictionary of the secret language with an explanation of the meanings is attached. This work by V.N.Dobrovolsky became a valuable testimony to the lifestyle, occupations, customs and cultural traditions of the small county town 19th century Russia, reflected ethnographic and language features darling.

It should be noted that V.N.Dobrovolsky, having devoted his life scientific activities, did not have the opportunity to constantly deal with housekeeping and did not serve anywhere. Since travel to collect materials required expenses, he was constantly in need and his work often slowed down due to a lack of material resources. They also needed funds to support a large family - Dobrovolsky had eight children who grew up quickly and entered the gymnasium - and he was forced to mortgage the estate. However, on the initiative of A. A. Shakhmatov and L. M. Maikov, since 1896, V. N. Dobrovolsky began to receive 600 rubles annually from the Academy of Sciences for the submitted materials. He is also looking for work, but only from March 1, 1902 he was appointed to the post of inspector of public schools in the Ryazan province. Since 1906 he has been working as an inspector of the 7th section (Yelnya) of the Smolensk Directorate of Public Schools. In the annual "Commemorative books of the Smolensk province" we also see the name of VN Dobrovolsky in the staff of the Yelninsky district committee of the Guardianship of People's Sobriety, as part of the Guardianship of orphanages. V.V.Dmitriev, in a short biographical sketch about V.N.

VN Dobrovolsky continues his active collecting activity and, while working as an inspector of public schools, is all the time on the road. In Yelnya and Smolensk, he found abundant materials on the folk puppet theater and described the design of the den, the nativity scene with a description of the dolls, which culminated in the work "Some information about the Smolensk and Yelninsky puppet theaters" (1908).

Being an enthusiastic person, V.N. oral folk art. Later, A.F. Palashenkov remembered with warmth about V.N.Dobrovolsky, noted his unceasing interest in folk life and spiritual culture - creativity and language, the ability to win over and interest adults and children. Being constantly on the road and in search, V.N. The ethnographer traveled all over the Smolensk province, collecting rich folklore, ethnographic and linguistic material. His recordings were distinguished by the preservation of all the features folk language... VN Dobrovolsky's interest also extended to the border provinces, where he found an inexhaustible supply of folk wisdom and poetry. He found the richest material in the Minsk province, studied the dialects of the Pskov, Arkhangelsk and Yenisei provinces, meeting with representatives of these regions. The scientist's observations ended with interesting publications describing the nature, culture, life and customs, beliefs of people in other Russian provinces (Ryazan, Kaluga, Oryol, Tver, Zhizdrinsky Polesye, Dmitrovsky district of Oryol province). attention as a local historian was attracted not only by ethnographic phenomena related to the life and customs of the population local area his dialect, but also the flora and fauna of the native side, the spiritual life of the people. In the natural ethnographic works "Insects and worms in the native land", "Beaver in the Smolensk land", "Superstitions about wolves", "Data for folk calendar Smolensk province "," Krosna "," Some legends about suicides "and others. Linguistic material was constantly present, occupying a significant place. His ethnographic and natural-geographical articles, according to the linguistic data available in them, were a kind of threshold to deep lexical research.

V.N.Dobrovolsky constantly studies and collects materials for the regional dictionary of Smolensk dialects, for about 30 years the compiler has been working on it with the scientific and material support of Academician A.A. Shakhmatov and other scientists. In the process of collecting, he did a great job to cover the vocabulary of active use, as well as gradually forgotten archaisms and newly appeared words - neologisms. The Smolensk Regional Dictionary was published in 1914 in Smolensk at the expense of the Academy of Sciences. The regional dictionary is the most significant work of the folklorist, ethnographer and linguist V.N. , who knew perfectly the dialects of the Smolensk and Dukhovshchinsky districts, as well as included in the "Smolensk ethnographic collection". The dictionary for its time was an outstanding phenomenon in Russian lexicography and still has not lost its significance in many ways. This capital labor is the result of many years of observations of the folk language.

Smolensk region is a significant contribution to ethnographic science, history, geography and philology. In the dictionary, in parallel with the actual Russian dialect words, lexemes are presented that are characteristic of Belarusian dialects, as well as the Polish-Lithuanian ones that existed in the Smolensk region. After the publication of the "Smolensk Regional Dictionary" she highly appreciated the work imperial academy sciences, famous scientists V.F.Miller, A.N. Pypin, E.F. Karsky and others, calling it an outstanding phenomenon in Russian lexicography. cultural life- became one of the organizers of the "Society for the Study of the Smolensk Province", created in 1908. Dobrovolsky was a member of the Society's board and made scientific reports at its meetings: about the historian I. I. Orlovsky, about the flying squirrel, gudgeon, and observations about the beaver. This fact is recorded in the permanent annual reports of the Company. In the same years, the Smolensk Scientific Archive Commission was created in the provincial center, and V.N.Dobrovolsky also became one of its full members, as evidenced by the reports of the Commission.

VN Dobrovolsky's contribution to ethnographic science, folklore and lexicology is significant, and his social and pedagogical activity is no less significant. As an inspector of public schools, VN Dobrovolsky constantly traveled around his site and attended schools; students, whom he knew how to win over, to interest in fairy tales and stories, always looked forward to his arrival. After the October Revolution, V.N. Dobrovolsky is also very active as a scientist, public figure and teacher. The main sources of information about the period of life 1917-1920. handwritten materials of the Smolensk Regional Museum appeared - the memoirs of people who worked with him at that time.

V.N.Dobrovolsky also lectured at the general education courses of the Red Army, opened by Professor V.M. Arkhangelsky in Smolensk in 1918. He compiled programs on "Psychology verbal creativity"And" Theater history ", carried away the audience with ritual culture, read poetry in Russian and French.

Carried away by his work, a tireless enthusiast, V. N. Dobrovolsky actively continues to carry out local history work. The province is in the process of creating a wide network of county museums with the aim of collecting and protecting cultural values. On the basis of the art and archaeological subdivision created in Smolensk, the Smolensk provincial museum later arose. VN Dobrovolsky, who possessed both experience and desire, provided significant qualified assistance in local history work. Being an excellent connoisseur of the life and language of the people, he was the first to raise the question of the need to open ethnographic sections at museums. On November 13, 1919, the board of the provincial museum made a decision "To accept the proposal of V. N. Dobrovolsky to organize an ethnographic bureau at the museum section to study the people, their way of life, and art." The bureau included V. N. Dobrovolsky, I. V. Barshchevsky, M. I. Pogodin.

VN Dobrovolskiy drew up a memorandum in which he defined the goals and objectives of ethnographic science in the Smolensk province, approved after a heated discussion at a special conference in the museum. VN Dobrovolsky became a permanent participant in the organization of ethnographic sections and excursions for the study of folk art and setting up a case in the county museums. VN Dobrovolsky constantly collaborates with the Society for the Study of the Smolensk Province, created at the Smolensk University. On his initiative, in 1920, a cultural and historical section was formed at the Society (which was later named after V.N.Dobrovolsky). The scientist constantly makes reports at meetings of the ethnographic and cultural-historical sections of the Society, as well as in the Smolensk Scientific Archive Commission, arousing keen interest among the audience. Along with great social and pedagogical activity, V.N. He continues to visit the counties, constantly making notes. For this work, unfortunately, death overtakes him. In 1920, on the night of May 7-8, unknown bandits, firing two shots at the carts on which he was with his son on the way to the Roslavl district, where he was heading on a folklore expedition (in order to collect materials about the Smolensk guslar S.P. Kolosov, who died in 1919), V.N.Dobrovolsky was killed. The life and fruitful ebullient activity of the Smolensk ethnographer, folklorist, ethnographer and linguist was cut short. Since this was the time of the civil war that engulfed the entire Smolensk province, the tragic death of V.N.Dobrovolsky was not immediately recognized as a significant loss. Even the local Smolensk newspapers responded only later, posting an obituary. A note about his death, published in the "Belarusian Ethnographer" (1922. No. 1), was reprinted in Belarusian, Ukrainian and Lithuanian publications. The peasants of his native village Dankovo ​​remembered VN Dobrovolsky with deep respect. Their eloquent stories, recorded later by V.F.Shurygin, are kept in the Smolensk Regional Museum of Local Lore.

The contribution of V.N.Dobrovolsky to folklore, ethnographic and linguistic science in general is invaluable, but it is especially significant in the cultural heritage of the Smolensk region. It is noteworthy how a contemporary of V.N.Dobrovolsky, the author of an article under the pseudonym Provincial, responded to the publication of the "Smolensk Regional Dictionary":

“... We often complain about boredom, monotony, emptiness of provincial life. We lack cultural entertainment. We feel painfully the absence of a permanent theater. Our social life is underdeveloped. The activities of our public institutions are shallow and not meaningful. And in the midst of such a dull situation of life, VN Dobrovolsky has been living a rich, meaningful life for thirty years. He found content for his life in his studies of ethnography ... The Smolensk province is happy that its ethnographer was found within its limits ... For our descendants the monuments of the past of our land will be dear ... They will also kindly remember the Smolensk ethnographer - V.N. . - 1914. - No. 211, September 10. - P. 4). This is the opinion of a contemporary with a high assessment of the work of a scientist.

Modern researchers note the scientific significance of his records in our time. Studying the life and spiritual culture of peasants not only in Smolensk, but also in Mogilev, Vitebsk, Kaluga, Orel, Ryazan, Bryansk provinces, the scientist contributed

penetration into the very depths of folk life, an understanding of its psychology, the beauty of poetic creativity. From the correspondence of the famous Soviet poets-Smolyans M.V. Isakovsky and N.I. Rylenkov it is clear that they intended to create a book about the activities of V.N.

In the book by E. Dobrovolskaya and Yu. V. Pashkov, "The Seeker of Living Water" (Smolensk, 1987), one after another, day after day, a difficult life path Smolensk collector V. N. Dobrovolsky and the main stages of his creative activity. The entire narration of the documentary essay is permeated with extraordinary warmth and lyricism.

Vladimir Nikolaevich Dobrovolsky spent a significant part of his life in Dankovo, where his burial and memorial complex are located. The Dobrovolskys' house in Dankovo ​​existed until 1998 and was demolished due to extreme dilapidation. The grave of V.N. The Dankov School Museum of History and Local Lore has collected extensive material about the life and work of a famous fellow countryman.

Interesting and rich material offered by expositions Literary Museum Smolensk State University, headed by an enthusiastic specialist in the field of folklore, candidate of philological sciences Mikhail Semenovich Efremenkov, whose dissertation work is devoted to the work of V.N.Dobrovolsky.

The scientific significance of the activities and works of V.N.Dobrovolsky is confirmed by a number of events in honor of the 150th anniversary of his birth. Today's generation of grateful residents of Smolyan deservedly honors the memory of the talented fellow countryman. In the Smolensk regional universal library named after AT Tvardovsky in August 2006, a scientific conference called "The Seeker of Living Water" was held, in which scholars-philologists, folklorists, ethnographers, art critics, musicologists from Moscow, St. Petersburg and Smolensk took part. At various sections, interesting speeches were made on the results of in-depth research and analysis of archival materials about the life and creative activity of V.N.Dobrovolsky, as well as his student and follower A.F. Palashenkov. Based on the materials of the conference, a book was published under the editorship of N.V. Deverilina “V. N. Dobrovolsky in the history of Russian national culture "(Smolensk: Svitok, 2007. - 157 p.: Ill.), Which reflects the significance of the collecting and social-pedagogical activities of the scientist, his significant contribution to Russian science, offers readers Interesting Facts from the pedigree of the family.

In the homeland of V.N.Dobrovolsky, in the Pochinkovsky district, specialists of the central library T.A. Pochinka search group "Fakel" landscaped the territory memorial complex, and thanks to the efforts of the students of the Dankovskaya school, a fascinating film about their famous fellow countryman called "A Life-Long Book" was created.

Smolensk ethnographers have found the descendants of the Dobrovolsky family of different generations, who also have deep respect for their famous relative, attended a scientific conference and events in Pochinkovsky district and the city of Smolensk, honor his memory, visit their native Dankovsky places. The link between generations is not interrupted.

How can you hear the voice of history? How to feel the elusive, to feel the innermost in its shades, emotional structure? Such a source of folk memory is a historical song - an ancient one that has passed through different centuries and eras, reflecting various events and destinies.

Historical songs- epic and lyrical folklore works, which reflect the understanding of the people historical events and phenomena and the attitude towards them is expressed.

Scholar-folklorist, researcher of Russian epics and historical songs B.N. Putilov wrote: “A historical song as a work of art is characterized by a peculiar and free attitude to the actual side of history. The song is not a chronicle, and it is alien to the installation on any exact, "documentary" reproduction of facts. On the contrary, the inconsistency of the songs with the facts is most often striking. reality. Sometimes they talk about events not at all famous stories and in the history of the impossible. Historical persons they do things in songs that they really did not do and could not do. Among the song heroes, there are also those whom history does not know at all ...<...>songs should be evaluated not by the degree of fidelity to their facts, but by the degree of depth of penetration into reality and the expression of its people's consciousness. "

Historical songs and chronicles

Historical songs are a genre of folk poetry. They arose during the struggle against the Mongol invasion, as evidenced by one of the earliest songs of this kind - the song about Shchelkan.

The events referred to in the song are associated with the Tver uprising of 1327 against the governor of the Golden Horde Khan in Tver Shevkal (Cholkhan, Shcholkan, Shchelkan Denevich, as the Russian chronicles call him). Shevkal "created great persecutions against Christians - violence, robbery, beating and desecration." The uprising against Shevkal appeared as if suddenly, spontaneously: "... a certain Tver deacon, his nickname is Dudko" led the horse to a watering hole, "the Tatars, seeing her, took it away." The inhabitants stood up for the deacon, a fight began, which turned into a mutiny: “And they sounded all the bells, and the city revolted, and immediately all the people gathered ... and the Tverichi called, and began to beat the Tatars, where they would catch anyone, until Shevkal himself was killed ".

The chronicler reports that, upon learning of the death of his governor, Uzbek, the Tatar khan, "in the winter he sent an army to the Russian land ... and they killed many people, and took others prisoner, while Tver and all Tver cities were set on fire." All this is told in the annals.

The historical song about Shchelkan is close to the chronicle story, and in many respects differs from it. The chronicle record is consistent and strict in the selection of facts and their description. The actions of the characters are motivated, the plot in the chronicle is intense, dramatic. The chronicler steadily brings to the main conclusion: the insults that the Tatars inflict on the inhabitants of Tver must inevitably lead people to indignation, an explosion.

The song also has such a conflict:

And vtapory young Shchelkan
He is the judge inhabited
Tver that old
To that rich Tver.
And a little he sat as a judge:
And widows of dishonor,
Shame the girls are red,
We must curse everyone
Make fun of the houses.

However, in the folk historical song, attention is paid not so much to the chronology, the sequence of events, but to the moral assessment of what is happening.

Historical songs and epics

Historical songs appeared later than epics. They differ from epics in that the basis of their plot is actual events, important social and foreign policy conflicts. Many historical songs, like epics, were passed down from generation to generation, not only because they were a kind of memory of past events, but also because they turned out to be consonant with each new era. In the epics, a hero-hero acts, whom it is impossible to imagine in life, many of his characteristics are exaggerated. The hero of a historical song is most often a real person. In early historical songs, the influence of epics is especially noticeable. They show the grotesque inherent in epics in the image of the enemy. At the same time, in contrast to the epics, it is not heroes endowed with superhuman strength that act in them, but ordinary people... So, in the earliest song about Shchelkan, the main force is the simple people of Tver.

Gatherers and Explorers

Historical songs were actively collected and recorded in the 18th-19th centuries. The most famous and largest collectors were:

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

Peter Vasilievich Kireevsky(1808-1856), Russian folklorist, archaeographer, publicist. The historical songs collected by him were included in the edition "Songs Collected by Kireevsky" in ten volumes, published in 1860-1874;

Vsevolod Fedorovich Miller(1848-1913), Russian folklorist, linguist, ethnographer, archaeologist, academician of the St. Petersburg Academy of Sciences. He systematized historical songs in his work Historical Songs of the Russian People of the 16th-17th Centuries;

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

Folklore recordings during the period of Old Russian literature (XI - 391 XVII centuries). As mentioned in the previous chapter, Russian literature makes extensive use of folklore already at the earliest stages of its formation and development. Various genres of folklore (traditions, legends, songs, fairy tales, proverbs and sayings) are included in the chronicle collection "The Tale of Bygone Years" ( early XII c.), in "The Lay of Igor's Regiment" (end of the 12th century), "Zadonshchina" (end of the 14th century), "The Tale of Peter and Fevronia" (15th century), "The Tale of the Woe-Evil Part" (XVII c.) and other monuments of Old Russian literature.

The possibility is not excluded that some folklore works, before getting into literature, were first recorded. For example, scientists believe that "Zadonshchina" and "The Tale of Peter and Fevronia" were created on the basis of recorded folk legends and stories. In the manuscripts of the XVI century. scientists have discovered records of fairy tales. From the 17th century. the names of the collectors of Russian folklore have come down to us. For example, it is known that for the English traveler Richard James in 1619-1620. in the Arkhangelsk Territory, historical songs about the events of the era of "Troubles" were recorded. Another English traveler, Collins, in the period from 1660 to 1669, wrote down two tales about Ivan the Terrible. In 1681 P.A.Kvashnin-Samarin recorded folk songs.

In the XVII century. works of almost all genres of Russian folklore were recorded. For example, the fairy tales "About Ivan Ponomarevich", "About the Princess and Ivashka White Shirt" and others, epics about Ilya Muromets, Mikhail Potyk and Stavr Godinovich, many legends, songs, proverbs and sayings.

By the 17th century. the tradition of compiling handwritten folklore collections dates back to. At this time, there were many handwritten songbooks among the people, which, in addition to literary verses of spiritual content, included folk songs. From the 17th century. a handwritten collection of "Stories or popular proverbs in alphabetical order" has reached us. The collection included about 2800 proverbs.

Collection, study and publication of folklore in the 18th century. The tradition of compiling handwritten folklore collections continues in the 18th century. Especially many handwritten songbooks appear, in which literary and folk songs are placed. The 18th century is the beginning of the development of folkloristic thought in Russia. Scientific interest in folklore in the first half of the 18th century. associated with the names of V. N. Tatishchev, V. K. Trediakovsky and M. V. Lomonosov.

VNTatishchev (1686-1750) turned to the study of folklore while working on the "History of the Russian ...". He attracts folklore as historical source... Tatishchev studies folklore from the annals and in living existence. Describing ancient Russian history, Tatishchev touches on the epics about Ilya Muromets, Alyosha Popovich, Nightingale the Robber and Duke Stepanovich. He was also interested in other genres of folklore. Tatishchev, for example, compiled a small collection of proverbs.

Unlike the historian V.N.Tatishchev, the poet V.K.Trediakovsky (1703-1768) has an interest in folklore not historical, but philological. Trediakovsky studies folklore as a source of poetic phraseology and the national metric system. In the practice of Russian literature before the reform of Trediakovsky, syllabic versification was used. Having studied the peculiarities of Russian folk versification, Trediakovsky, in his treatise A New and Brief Method for Composing Russian Poems (1735), proposed a system of syllabotonic versification, which was later used by all Russian literary poetry. Interesting are some of Trediakovsky's remarks about the peculiarities of the language of Russian folk poetry. In particular, he notes the constant folklore epithets "tight bow", "white tent", etc.

Even more important in the study of Russian folk poetry are the works and individual statements of M.V. Lomonosov (1711-1765). Growing up in the North, Lomonosov was well acquainted with all genres of Russian folklore (fairy tales, epics, songs, proverbs and sayings). He also studies folklore from chronicles and manuscript collections. In his works, Lomonosov speaks of folklore as a valuable source of information in pagan rituals, talks about the holding of calendar holidays. Following Trediakovsky, Lomonosov studied folk versification and in his work "Letter on the Rules of Russian Poetry" (1739) further develops the theory of syllabo-tonic versification. Lomonosov studies the language of folk poetry to comprehend national characteristics Russian language. He uses folk proverbs and sayings in his works "Rhetoric" (1748) and "Russian grammar" (1757). In his writings on the history of Russia, Lomonosov draws on folklore as a historical source.

In the middle of the 18th century. collecting folklore for historical and ethnographic purposes. S.P. Krasheninnikov is engaged. In 1756, the first volume of his work "Description of the Land of Kamchatka" was published, which speaks about the rituals of Kamchadals, a number of folk songs are given. AP Sumarokov responded to SP Krasheninnikov's book "Description of the Land of Kamchatka" with a review, which expresses his views on folk poetry. Sumarokov assesses the folklore of the Kamchadals mainly from an aesthetic standpoint. The pathos of Sumarokov's review is a struggle for simplicity and naturalness in poetry.

The work on collecting Russian folklore intensifies in the last third of the 18th century. If earlier folklore records were concentrated in manuscript collections, now they, like literary works, are published. For the first time samples of Russian folklore were published in the "Letter" by NG Kurganov (1796). More than 900 proverbs, about 20 songs, several fairy tales and anecdotes were printed in the supplements to The Writer.

In the future, separate collections are devoted to various genres of Russian folklore. So, M.D. Chulkov from 1770 to 1774 published in four parts "Collection of different songs", N. I. Novikov in 1780-1781. publishes in six parts "A new and complete collection of Russian songs", V.F. Trutovsky for the period from 1776 to 1795 publishes in four parts "Collection of Russian simple songs with notes." At the end of the 18th century. Less significant songbooks are also published:

"New Russian Songbook" (parts 1-3,

1790-1791), "The Selected Songbook" (1792),

"Russian Erata" by M. Popov (1792), "Pocket Songbook" by I. I. Dmitriev (1796) and others.

The collection of N. Lvov - and... Pracha "Collection of Russian folk songs with their voices ..." (1790). This is the only collection of the 18th century in which folk songs are published in their original form, without any editorial revision. In the period from 1780 to 1783, the collection of V. A. Levshin "Russian Fairy Tales" was published in 10 parts. Literary and folk works are processed here. In addition to fairy tales of a magical and heroic character, the collection also publishes everyday fairy tales, in which satirical elements prevail. Folk tales in processed form are also published in collections 394 "The Medicine for Thoughtfulness" (1786), "Russian Fairy Tales Collected by Peter Timofeev" (1787), "Peasant Tales" (1793), in the collection of V. Berezaysky "Anecdotes of Ancient Poshekhonts" ( 1798) and others.

Collections of proverbs appear. So, A. A. Barsov in 1770 published "Collection of 4291 ancient proverbs". NI Novikov in 1787 republished this collection. Two years earlier, the poet IF Bogdanovich published the collection "Russian Proverbs", in which folklore material was selected tendentiously and underwent significant literary processing.

The merit of Russian educators is the second half of XVIII v. (N.G. Kurganova, M.D. Chulkov, V.A. Levshina, N.I. Novikova and others) in the fact that they were able to correctly assess the importance of Russian folklore in the development of national literature, did a great job of publishing ( albeit in edited form) of folk songs, fairy tales, proverbs and sayings. In their literary work, they used folklore to depict folk customs and morals.

In the person of A.N. Radishchev (1749-1802), Russian educational thought of the 18th century. receives its highest development, rises to a truly democratic, revolutionary consciousness.

Radishchev's revolutionary convictions determined the special nature of his use of folklore, a fundamentally new understanding of folk art. For the first time, Radishchev speaks about folklore as an exponent of the people's worldview. In folk songs, Radishchev saw "the formation of the soul of our people." In Radishchev's opinion, they reflected not only the everyday side of life, but also the social ideals of the people. They serve the comprehension of Russian national character... In his Journey from St. Petersburg to Moscow (1790), Radishchev draws on folk art as a material that reveals the true soul of an oppressed people, its painful situation under serfdom. It is for these purposes that in the chapter "Gorodnya" he cites laments over the recruitment of the mother and the bride. Note that this is the first publication (albeit literary processed) of folk laments.

A.N. Radishchev uses folklore as a means of achieving not only nationality, but also true realism, deep psychologism. So, in the chapter "Mednoe" against the background of the merry round dance song "In the field there was a birch tree," Radishchev, by contrast, deeply truthfully, with great force of psychology, depicts a picture of the sale of serfs. The problem of the folk singer, first put forward by Radishchev, is of no small importance both for literature and for folklore. The image of the folk singer is drawn by Radishchev in the chapter "Wedge" "Travels from St. Petersburg to Moscow". The singing of an old blind singer portrayed by Radishchev is a genuine art "penetrating into the hearts of listeners." Then to the topic folk singers Radishchev once again addressed himself in his poem "Songs in the Competition in Honor of the Ancient Slavic Deities" (1800-1802). Here folk singers-poets act as the spiritual leaders of the people. It is curious that Radishchev's Songs ... in its poetic imagery and style has some signs of the Lay of Igor's Campaign, which Radishchev, like many of his contemporaries, considered not a literary but a folklore monument.

It is obvious from what has been said that the 18th century represents an important stage in the prehistory of Russian folklore studies as a science. At this time, significant folklore material is collected and published, its significance as a phenomenon of national culture is correctly assessed. Radishchev expresses the most valuable idea about the 396 folk song as the expression of the soul of the people.

However, it should be noted that in the XVIII century. Russian folklore studies have not yet emerged as a science. Folklore has not yet been recognized as an independent object of research, it is not yet distinctly separated from literature. In most collections, folklore works are placed together with literary works. Folk works are printed in literary processing. At this time, specific folkloristic methods and research techniques had not yet been developed.

Collectors and researchers of folklore have long paid attention to the "folding" of Russian proverbs.

II Voznesensky's research "On the stock or rhythm and meter of short sayings of the Russian people: proverbs, sayings, riddles, sayings, etc." (Kostroma, 1908), which has not lost its importance to this day.

At the same time, it should be recognized that in the pre-revolutionary folklore studies and Soviet science of the first two decades, the issues of the poetic organization of Russian proverbs did not become the object of comprehensive consideration. Yu. M. Sokolov in this regard, in the mid-1930s, quite rightly wrote: “If the proverb is still completely insufficiently studied in socio-historical terms, then Russian folklore studies also cannot boast of any detailed study of the artistic side her. Researchers usually emphasize that "a proverb is for the most part in a measured or folding form" or that "the form of a proverb is a more or less short saying, often expressed in a folding, measured speech, often metaphorical / poetic / language", but on the question of what it is precisely the "warehouse and measure", there are still no detailed studies. "

A certain semantic and intonational independence in proverbs is acquired not only by their parts, but even by individual words, which in their semantic expressiveness often approach the phrase. Here are examples of such proverbs: "Suffer and fall in love"; "No sooner said than done", "It was - and swam away."

We will consider several areas of folklore collectors.

Since we started with proverbs and sayings, then we will begin the story about them.

Few people know now that Vladimir Ivanovich Dal, the compiler of the famous Explanatory Dictionary and the collection of Proverbs of the Russian People, was half Danish by blood, Lutheran by religion.

Returning from the voyage, Dal was promoted to warrant officer and sent to serve in Nikolaev. In March 1819, Vladimir Dal was heading south from St. Petersburg on the rebar. On the ancient Novgorod land, leaving the Zimogorsk Chm station, the coachman dropped the word: - It rejuvenates ...

And in response to a puzzled question, Dahl explained: it will become cloudy, it's a matter of warmth. Seventeen-year-old Dal takes out a notebook and writes down: “To rejuvenate” - otherwise it’s cloudy - in the Novgorod province means being overwhelmed with clouds, talking about the sky, tending towards bad weather. This record became the seed from which the Explanatory Dictionary grew 45 years later.

But this is still very far away. The collection of extraordinary sayings, words and sayings, folk oral riches has just begun.

Dal saw the roads of Moldova and the Bulgarian villages, and Turkish fortresses. He heard someone else's dialect and all the nuances of his native Russian speech. Near the bivouac fire, in his spare moment in the hospital, Vladimir Ivanovich wrote down more and more new words that had not been heard before.

In 1832, V. I. Dal's serious literary activity began. Capital magazines publish his articles under the pseudonym "Vladimir Lugansky" or "Cossack Lugansky" - after the name of his hometown. A gifted storyteller, sociable person. Dahl easily enters the literary world of St. Petersburg.

He converges with Pushkin, Pletnev, Odoevsky, and other famous writers and journalists. His works are quickly gaining tremendous success.

In the spring of 1832, Dahl again abruptly turns his fate - he went to distant Orenburg as an official on special assignments under the military governor. Dahl is a collegiate assessor, an 8th grade official, which corresponds to a major in the army.

Traveling around the Cossack villages and nomad camps, Dal discovered for himself the special world of the troubled Russian borderland. He not only observed orders and customs, not only wrote down words, he acted, healed the sick, interceded for the offended. “Fair Dal,” the steppe dwellers called him.

In Orenburg, he met with Pushkin, who came to a distant land to collect material on the history of the Pugachev revolt. Together they traveled to the places where Pugachev's movement began, asked the old people. Then Pushkin advised Dal to seriously study literature, probably, he also gave the idea to come to grips with the dictionary.

Dahl's last meeting with Pushkin took place in the tragic days of December 1837 in St. Petersburg, where Dahl came on business. Having learned about the duel between Pushkin and Dantes, Vladimir Ivanovich immediately came to his friend's apartment and did not leave him until the end.

Palace doctors treated Pushkin, Dal was a military doctor.

Although he was not so famous as Scholz, Salomon or Arendt, but it was he who gave Pushkin hope until the last hour, it was he who remained with the wounded last night.

The publication of an explanatory dictionary and a collection of Russian proverbs required a lot of money. Dahl decided to work and earn money, save for the future, so that in old age he could devote himself to his favorite work.

In the spirit of the times, Vladimir Ivanovich instructs his subordinates to deal with his personal business. Grigorovich recalled Dahl: “Taking advantage of his position, he sent circulars to all officials inside Russia, instructing them to collect and deliver him local customs, songs, sayings, etc.”. But it was not the officials who made the Dalev collections with their donations. The fame of Dahl, not only a writer, essayist, but also an ascetic, who took on his shoulders the national cause, spread more and more widely. Well-wishers from all over Russia send him their collections, lists of rare words and sayings. It was the time of the awakening of interest in society in everyday life, the life of the people. The Russian Geographical Society, created with the active participation of Dahl, sent an Ethnographic Circular to all parts of Russia with a proposal to study the life of the population of all regions.

The time is over when educated people knew the geography of France and the way of life of Ancient Rome more than their own, domestic ones. Magazines one after another inform the public about Dahl's asceticism, ask for help. Many famous cultural figures, such as Lazhechnikov and Pogodin, collect words, songs, and fairy tales for Dal. In the journal Otechestvennye zapiski, Dahl thanks his assistants again and again.

In 1848 he moved to Nizhny Novgorod, to the post of manager of a specific office.

“During his ten-year stay in the Nizhny Novgorod province, Dal collected a lot of materials for the geographical indication of the distribution of various dialects,” writes Melnikov-Pechersky.

In this respect, the Nizhny Novgorod province presents a remarkable originality.

Still would! The famous Makaryevskaya fair was an event of European importance. Here the trade routes of the East and West intersected - tea from China, iron from the Urals, bread from the steppe provinces, carpets from Central Asia, manufactory and industrial goods from the West - everything that was produced in the vast expanses of the Russian Empire, everything that was imported from neighboring countries , exhibited, sold on a low-lying area filled with benches near the mouth of the Oka. 86 million rubles in silver was the trade turnover of the Makaryevskaya Fair in those years.

The new era pulled out peasants with centuries of their homes, mixed in a common cauldron, and this is how the language that Dahl called living Great Russian .

Dahl perfectly mastered one of the main qualities of a folklorist: the ability to talk to people, to talk to people. “There was someone and there was something to learn, how to speak with a Russian commoner,” recalls Melnikov-Pechersky, who often accompanied Dal on his trips around the province. The peasants did not want to believe that Dal was not a natural Russian person. "He grew up exactly in the village, he was fed on the beds, he was drunk on the stove," they used to say about him, and how good he felt, how pleased he was when he was among our kind and intelligent people! "

Dahl was by nature two-handed, that is, he wielded both his right and left hands with equal dexterity (this helped him in eye operations, where he acted with whatever hand was convenient), he was just the same with regard to his fate: we cannot to call it just a hobby the compilation of a grandiose Explanatory Dictionary of 200 thousand words, a set of proverbs that includes more than thirty-one thousand sayings, literary works occupying almost four thousand pages of text, numerous articles, collections of songs, fairy tales, etc.

In his declining years, Dal settled in Moscow. His house has been preserved - a spacious mansion in Presnya. Here Dahl's titanic, selfless work ended - the compilation of a collection of proverbs of the Russian people and an Explanatory Dictionary .. Dal gave this lesson three to four hours a day for decades. He copied the collected proverbs in duplicate, cut them into "straps". One copy was pasted into one of 180 notebooks by category - it was a collection of proverbs. Another was pasted into an alphabetical notebook for a keyword - these are examples for the Explanatory Dictionary. For half a century, Dahl explained and provided examples of about two hundred thousand words. If you deduce the "average figure", it turns out that with a twelve-hour working day, for half a century, he wrote down and explained one word every hour for half a century. But after all, he not only collected and recorded, he created, served, lived! ...

The Explanatory Dictionary of the Living Great Russian language contains: “Written, colloquial, common, common, local, regional, everyday, scientific, trade and craft, foreign language, learned and newcomers, with translation. explanation and description of objects, interpretation of the concepts of general and particular, subordinate, average, equivalent and opposite, and much more.

Plunging into his wealth, you do not believe that all these thousands of words passed through one hand. Dahl's dictionary lives and will live as long as the Russian people live.

Now, at a temporary distance, we deeply thank Dahl for his great work. A dictionary, sketches of everyday life, a collection of proverbs are for us one of the true keys that open a bygone era. His task - to give in words, proverbs, pictures of everyday life, an accurate photographic snapshot of the Russian world of the mid-19th century, to capture the life of the nation in the smallest details and manifestations - Dahl brilliantly fulfilled. Time will pass, life will change. The colossal image of the era created by Dahl will remain unchanged. And the further, the more valuable it will be for future generations. -